Daniel Hope's latest album, Irish Roots, embodies his deep connection to Ireland, inherited from his paternal great-grandfather who left Waterford for South Africa in the 1890s. Although never residing in Ireland, Hope's fascination with it's culture led to the creation of the documentary, Celtic Dreams: Daniel Hope's Hidden Irish History. LP

DANCE

Elmo's Fire

Classical Music

Profiles of three Czech composers, each of whom was imprisoned in a Nazi concentration camp: this is the somber premise of "Forbidden Music", an album helmed by the fantastic young English violinist Daniel Hope. Two of these three composers, Gideon Klein and Hans Krása, were imprisoned at Terezín (Theresienstadt); the third, Ervín Schulhoff, was interned not far away. As Hope writes in his introduction, all three wrote music that is "powerful, unsentimental, and uncompromising." It's a poignant joy to hear this trio of composers given their due by three passionate and intelligent interpreters.


Gideon Klein was 21 years old and already a precocious talent when he entered Terezín. A noted pianist, he was about to enroll at London's Royal Academy of Music when he was taken away. That same year, he penned his Duo for Violin and Cello, which stands as two movements: a spiky Allegro con fuoco and a richly colored, unfinished Lento. The most affecting of Klein's pieces, however, is his String Trio, completed nine days before he was moved to Auschwitz. (He died the next year at Fürstengrube, very shortly before the war's end). This three-movement work, built upon Moravian folk themes, is a powerful example of his talent, both in terms of harmonic sophistication (from a largely self-taught composer) and its keen sense of rhythmic dynamism.


Until his internment at Terezín in 1942, Hans Krása led quite a charmed life: his wealthy parents gave him an Amati violin while he was still a child; he was mentored by Alexander Zemlinsky as a student; and he became an assistant conductor in Prague under George Szell. The vamps of his Tanec (Dance) demonstrate both his cool-eyed worldliness and his idiomatic understanding of jazz rhythms--and it's a world away from the elegiac Passacaglia e Fuga for string trio (written in 1944, two months before he was moved to Auschwitz and gassed upon arrival). Krása begins with a sweet waltz, handsomely articulated by Hope, which is shortly transmogrified into a ghostly and then increasingly distorted version of itself. It's a truly chilling work, one that defies the sensibilities of Krása's most famous piece associated with Terezín, the children's opera Brundibár (which the Nazis used as showpiece propaganda).


The third composer showcased here is Ervín Schulhoff, who was interned not at Terezín, but at the nearby Wulzburg camp. The two works of his included here provide a greater context for the other music on this collection. 1925's brilliantly colored Duo for Violin and Cello, which was dedicated to Janácek, is replete with Czech and other folk undertones--particularly in the wild and technically demanding second-movement Zingaresca. Similarly, his 1922 Sonata for Solo Violin, masterfully played by Hope, winds its way through a panoply of moods, from a sizzling Allegro con fuoco to an elegant Andante cantabile. To end (and, in a way, consecrate) this disc, Hope includes his own arrangement of Ravel's Kaddish for solo violin. "Kaddish" is the Jewish prayer for the dead, and although brief, Hope's plangent eloquence speaks worlds about lives lost and mourned.


Although in many ways this is Hope's endeavor, his partners match him in technical mastery and emotional depth. The sound also is first-rate, the presence so realistic that you feel as if you're sitting next to the musicians. This album is an important project, and it receives the love and care that it deserves. [Editor's note: for an excellent recording of Krása's Brundibar, look for the version on Channel Classics, conducted by Joža Karas; for the most authoritative account of the Terezín story, read the book Music in Terezín 1941-1945 by Joža Karas, published by Pendragon Press.] [4/20/2004]
--Anastasia Tsioulcas, ClassicsToday.com

Many young violinists' debut CDs come and go without making much of a mark, oftentimes less because the performers are untalented as because their repertoire failed to stand out in a crowded field. Another disc of Mozart, Bach, Beethoven, or Kreisler has to be truly outstanding to stand out.
Daniel Hope scores on both of these points: he and his collaborators give excellent performances, and he (and, presumably, his teachers, managers, and label executives) chose a program which cannot help but stand out from the pack. The danger in such a program--lesser-known contemporary works--is failing to live up to the technical and interpretive challenges. Hope needn't worry.
A child prodigy, Hope was just 21 when this program was recorded, and he had already had the opportunity to discuss the Schnittke and Takemitsu works with their composers. The performances here are indeed excellent, and Hope has no difficulty distinguishing himself from his peers.
REVIEWS:
International Record Review (3/00, p.77) - "...cannily programmed and thoughtfully executed..."

This program delivers a wonderful, nostalgia-laden tribute to the Hollywood stars who took their show "on the road" to American troops abroad in World War II. Along with film clips of Jack Benny, Jimmy Durante, Abbott and Costello, Eddie Cantor, Lucille Ball, and dozens of others doing their part, Bob Hope is featured in a special reunion with some of his leading ladies of the USO years. Songs include "Any Bonds Today," "Don't Fence Me In," "Thanks for the Memory," and many more.

As a child, Sebastian Knauer was present at seminal performances of the St Matthew Passion and the “Christmas Oratorio” in St Michael’s Church in Hamburg. And even at that early age, he enjoyed playing Bach on the piano. But his childhood enthusiasm was tempered with respect for the works of the great Thomaskantor. “I noticed at once: It is a huge challenge – not only in terms of keyboard technique, but mentally too,” he recalls. “In my student days and during the first few years of my career as a pianist I was constantly working on his music, but rarely played it in public concerts. Particularly when it came to the piano concertos, I never really felt myself to be ready, because I was searching all the time for my own picture of the music.” Sebastian Knauer deliberately gave himself time, engaging himself intensively with Bach’s musical cosmos until he was prepared to take his discoveries before an audience. The conductor’s artistic credo, that what matters for historical performance practice is not the sort of instrument you play, but the way and the style in which you play it, is one that Sebastian Knauer fully subscribes to. That is no less true of “Bach & Sons 2”, on which the pianist has once more explored the musical legacy of the Bach dynasty. It is this mixture of exceptional curiosity with the aspiration to enrich the established repertoire with unusual pieces that so typifies Sebastian Knauer – elsewhere and on this recording. Alongside the two Concertos BWV 1055 and 1056 there are real rarities on this release, such as the Concerto by C.P.E. Bach. The compositions selected by Sebastian Knauer are of great interest not only as repertoire but because they give an absorbing account of how the piano-concerto genre evolved. That is relevant to the works of C.P.E. Bach, an intermediary between the classic Baroque of his father and the dawning age of Viennese Classicism.

SOMM Recordings is proud to announce the premiere recording of Ian Venables’ exquisite and moving Requiem with the Choir of Gloucester Cathedral conducted by the Cathedral’s of Music Adrian Partington and Assistant of Music Jonathan Hope playing the organ. Completed in 2018, the Requiem received its first performance in the imposing surroundings of Gloucester Cathedral, where this recording was made in 2019. Widely acclaimed for his songs and chamber music, the Requiem is Ian Venables’ most substantial choral work to date and is a compelling piece full of fine melodies and gorgeous harmonies. Adrian Partington describes the Requiem as “a significant addition to the choral repertoire. The music is eloquent, resourceful and exerts a strong emotional appeal”. Ian Venables comments: “Composing a Requiem is a daunting creative challenge because so many great settings have been written in the past. However, as a composer of songs, words are always crucially important to me and I found that the words of the Mass for the Dead came to appeal to me strongly. I felt an overwhelming desire to set them to music. I am delighted that Adrian Partington, his excellent choir and Jonathan Hope have brought my music so vividly to life.” The album also includes first recordings of Ivor Gurney’s God mastering me (arranged by Venables), John Joubert’s O eternal God and Venables’ O Sing Aloud to God alongside John Sander’s Dedication. SOMM’s long relationship with Ian Venables includes his chamber music (SOMMCD 0101), of which Gramophone declared: “Lovers of the 20th- century English music renaissance will derive much pleasure from this enterprising and rewarding SOMM anthology”.

NIcholas Sackman's music is not limited by particular stylistic lines but within the freedom of contemporary expression uses traditional qualities of harmony, pitch and rhythm to engage with the performer and listener. More simply, just really good music.

PUT ON A HAPPY FACE

Most people recognize Stan Hope as the favorite pianist of Houston Person (who appears on this album), Etta Jones & others - here he makes his debut as a leader, sprinkling some Erroll Garner tunes in with a selection of other great standards

Daniel Hope's latest album, Irish Roots, embodies his deep connection to Ireland, inherited from his paternal great-grandfather who left Waterford for South Africa in the 1890s. Although never residing in Ireland, Hope's fascination with it's culture led to the creation of the documentary, Celtic Dreams: Daniel Hope's Hidden Irish History. CD

In Search Of Hope

FITZGERALD, F.: Great Gatsby (The) (Abridged)