Violinist, Professor & Producer

Hailed by Michael Tilson Thomas as “an excellent violinist,” Tomás Cotik is internationally recognized as a soloist, chamber musician, and professor. A much sought-after recording artist, Dr. Cotik has released seventeen CD recordings for Naxos and Centaur Records, which have received over three million streams and more than two hundred enthusiastic reviews from the international press. Committed to passing on his passion for music, Dr. Cotik is the violin professor at Portland State University.

Violinist, Professor & Producer

Hailed by Michael Tilson Thomas as “an excellent violinist,” Tomás Cotik is internationally recognized as a soloist, chamber musician, and professor. A much sought-after recording artist, Dr. Cotik has released seventeen CD recordings for Naxos and Centaur Records, which have received over three million streams and more than two hundred enthusiastic reviews from the international press. Committed to passing on his passion for music, Dr. Cotik is the violin professor at Portland State University.

Upcoming Concert

Tomas_Cotik_2021_-6756
11 Nov 2022
Lincoln Recital Hall, Portland
, at 7:30 pm

Mozart: Sonata for Violin and Piano, K. 301
Franck: Sonata in A for Violin and Piano
Poulenc: Sonata for Violin and Piano, Op. 119

Tomás Cotik, Violin
Eunhye Grace Choi, Piano

Tomas Cotik and Grace Choi present a tour de force through the Sonata genre, which developed in France and inspired Mozart’s early Sonatas. Mozart’s dialogue’ Sonata K. 301 is followed by one of the best-known compositions in the genre, César Franck’s Sonata in A. This Sonata features an amalgam of his rich native harmonic language with the Classical traditions Frack valued highly, held together in a cyclic framework. It was written in 1886 as a wedding present for the 28-year-old violinist Eugène Ysaÿe.

The program finishes with Francis Poulenc Violin Sonata, composed in memory of the Spanish poet Federico García Lorca and premiered by the violinist Ginette Neveu with the composer at the piano on 1943 in Paris. It represents a marked contrast to Cesar Franck’s Sonata. Poulenc wrote:

The monster is finished. I will begin the realization. It is not bad, I think, and in any case very different from the eternal “violin-melody line” of the French sonatas of the 19th century…. The violin prima donna over piano arpeggio makes me vomit.

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