Daniel's Video Blog

ARTE Lounge mit Asaf Avidan, Jean-Yves Thibaudet und Salut Salon

Der Stargeiger Daniel Hope und Alice Tumler laden zu einer neuen Staffel der „ARTE Lounge“ mit zahlreichen hochkarätigen Künstlern aus Klassik und Pop.
Bereits am Sonntag, den 01/02 um 22:35 startet die vierteilige Staffel mit  Asaf Avidan, Jean-Yves Thibaudet und Salut Salon.

Newsroom

  • Daniel presents latest album „For Seasons“ in Berlin, Thursday March 2nd

    On Thursday 2nd March in Berlin at 19:30 CET, Daniel will be presenting his new album, „For Seasons“ with performance and talk. 19:30 at Joseph Joachim Saal (der Universitat der …

      read more
  • Daniel Hope and New Century Chamber Orchestra Join in “Artistic Partnership”

    British Violinist Daniel Hope Is Named Artistic Partner of New Century Chamber Orchestra; Three-Season Appointment Launches in 2017/18 Season   It was announced yesterday that British violinist Daniel Hope has …

      read more
  • Daniel Hope begins his new role as Music Director of the Zurich Chamber Orchestra

    „He is the most versatile violinist of his generation.“ (Julia Spinola, Neue Zürcher Zeitung, 9.9.2016) http://zko.ch/konzertkalender/ Daniel Hope becomes Music Director of the Zurich Chamber Orchestra On Tuesday September 27th …

      read more

LISTEN TO

Cover

Journey to Mozart

Journey to Mozart

  read more

Journey to Mozart

Cover

WHEN MOZART LAUGHS

“Stop!” Daniel Hope wants to exclaim when Mozart’s Violin Concerto K 216 begins to pick up speed. “The opening bars still show us a sublime and noble world, but Mozart then breaks out of it with a single phrase and never really returns. He continues to make new discoveries, constantly spinning and turning. None of this is the result of his love of pure virtuosity however, but stems from his extraordinary talent. Every time I play Mozart I can’t even begin to fathom the scale of his genius.”

This Mozartian miracle becomes even greater when we compare K 216 with Joseph Haydn’s magnificent Violin Concerto Hob. VIIa:4, also in G major. It was written in 1768, seven years before Mozart’s, by a composer who was his elder by twenty-four years. Daniel Hope says that Haydn’s concerto is a jewel – but that Mozart’s is a revelation. “Haydn remains rooted in beauty, whereas Mozart really takes off. With Haydn I hear elegance and nobility: a perfect style filled with a sense of propriety. Mozart, too, champions these virtues but this is not enough for him – he simply can’t leave it at that.” Haydn beautifully embellishes the key of G major, Daniel Hope emphasizes, but Mozart opens it up in such a way that the key itself is almost no longer tangible. And the simplicity of the melody in the second movement – for Daniel Hope this Adagio is one of the most beautiful ever written – reminds him of Schubert.
Would a piece by Schubert have been a more obvious way of bringing this Journey to Mozart to its conclusion?

Perhaps, but this album not only guides us towards Mozart, it also leads us away again. Daniel Hope chooses an unexpected course. In his 1810 D major Romance for violin and strings, Johann Peter Salomon sought to develop Mozart’s thinking and take it in a more Romantic direction. Salomon is a scintillating figure. As a concert promoter he introduced Haydn to London audiences, and it was probably he who named Mozart’s Symphony No. 41 the “Jupiter”.

In Journey to Mozart, Daniel Hope explores the world of Mozart by demonstrating what was written before and after him. “This album is a reflection of the Age as
I see and hear it.” The other works included here are by composers whom Mozart publicly acknowledged or with whom he was in personal contact. One such composer is Christoph Willibald Gluck.

“Gluck was revolutionary,” says Daniel Hope enthusiastically. “His wig is deceptive.” With Mozart we know about the unfathomable depths of his music, but with
Gluck, too, we can discern an equally uncanny depth and honesty in his compositions. Daniel Hope says that this was sometimes frowned upon at the time. “Not
everything could be expressed in music. Indeed, certain dances were censored.” But Gluck refused to be put off by this and did exactly what he felt he had to do – and,
what’s more, he did it with tremendous expression. The Dance of the Furies from Orfeo ed Euridice that opens this album must have come as a shock to contemporary
society.

Daniel Hope has great respect for many of the composers who were later eclipsed by Mozart: “There’s a mass of fêted and hugely talented composers, each of whom influenced the next one, assimilating ideas from many different sources.” This point is clearly audible in the Violin Concerto in D major by Josef Mysliveček that
dates from 1769. Bohemian by birth, Mysliveček was celebrated in Italy. Daniel Hope sees him as closer to Mozart than to Haydn in terms of his technique: there
is the same sort of delight in virtuosity with Mysliveček, whereas Haydn is more interested in expression. In his violin concertos Haydn never wanted merely to impress.

But Journey to Mozart also traces another expedition, namely, the one that Daniel Hope and the Zurich Chamber Orchestra are currently undertaking. “Each
time I play Mozart with someone, I hear his music from an entirely different angle. In Zurich I’m experiencing this in a particularly exciting way. Our journey together has already lasted many years, but now we’re undertaking it as a family.” Earlier Daniel Hope was a guest soloist with the Zurich Chamber Orchestra, but since the autumn of 2016 he has become its Music Director and has already left his mark within a short space of time.

Daniel Hope has rediscovered Mozart on this journey. “He is the greatest inspiration and at the same time an enigma. Each time I engage with Mozart, I realize how
much we can all learn from him. And just when you think that you’ve understood him, you realize that you’re further away from him than ever before. You should never think ‘Now I know you, Mozart’.” As a musician, however, you have to come to terms with Mozart as man and artist. And at some point you have to venture an interpretation: you have to try to continue your own quest whilst at the same time knowing that you’ll never really get close to him: “There are times when I’m almost inclined to curse him, although I could never do so. For that I love him too much.”

What remains is the question of how it is possible to achieve the extraordinary lightness that Daniel Hope and the Zurich Chamber Orchestra have succeeded in finding. Thinking about this, we recall a single brief moment at a Mozart rehearsal with the Zurich Chamber Orchestra. After the musicians had repeated a phrase countless times and the much-debated eight bars suddenly made sense, there was total silence in the hall. The achievement was scarcely greeted by even so much as a smile before the usual hubbub of instruments rehearsing began all over again. Daniel Hope smiles and says that something like this works only when the thousand considerations, the notes and the pencil markings in the scores disappear again behind the music. “If you intend to take account of twenty-five different suggestions within the space of three bars, then things are bound to become difficult.”

Gluck provides Journey to Mozart with its frenzied opening. But it is Mozart who has the last word with an arrangement of the final Rondo alla turca (“Turkish
March”) from his Keyboard Sonata in A major K 331. We can almost envisage Mozart cocking a snook at his colleagues, especially when we recall what he wrote in a letter to his father: “As far as music is concerned, I’m among beasts and brutes.” And to Haydn: “You’re the exception, but all other composers are veritable asses!” Daniel Hope does not refute this suggestion but says something more beautiful and conciliatory: “He’s laughing! And in this I see that this impertinent, vain and brilliant young man was also a human being. That’s why I feel even more respect for him: the genius leads us a merry dance.”

Christian Berzins / Translation: texthouse

Journey to Mozart

EINAUDI GLASS NYMANN PÄRT RICHTER

  1. Orfeo ed Euridice, Wq. 30 / Act 2 - Dance Of The Furies
  2. Orfeo ed Euridice, Wq. 30 / Act 2 - Dance Of The Blessed Spirits (Arr. For Violin Solo And Chamber Orchestra By Olivier Fourés)
  3. Concerto For Violin And Orchestra In G Major, Hob. VIIa:4 - 1. Allegro moderato
  4. Concerto For Violin And Orchestra In G Major, Hob. VIIa:4 - 2. Adagio
  5. Concerto For Violin And Orchestra In G Major, Hob. VIIa:4 - 3. Allegro
  6. Concerto For Violin And Orchestra In D Major - 2. Larghetto
  7. Violin Concerto No.3 In G Major, K.216 - 1. Allegro
  8. Violin Concerto No.3 In G Major, K.216 - 2. Adagio
  9. Violin Concerto No. 3 In G Major, K. 216 - 3. Rondeau. Allegro
  10. Adagio For Violin And Orchestra In E Major, K. 261
  11. Romance For Violin And Strings In D Major
  12. Piano Sonata No.11 In A, K. 331 - 3. Alla Turca (Arr. For Violin Solo And Chamber Orchestra By Olivier Fourés)
 more Journey to Mozart




THE Echo klassik prize

Fame and honor
echo

Five times winner of the ECHO Klassik Prize

Five times winner of the ECHO Klassik Prize, British violinist Daniel Hope has performed as soloist with some of the world's most distinguished orchestras, such as the Boston, Chicago and London Symphony Orchestras, Israel and Royal Philharmonic, Leipzig Gewandhaus, Orchestre National de France and NHK Tokyo, and with conductors such as Kurt Masur, Christian Thielemann and Sir Roger Norrington. He is the winner of the Classical Brit Award, and is four times Grammy nominated.


Daniel's Video Blog

ARTE Lounge mit Asaf Avidan, Jean-Yves Thibaudet und Salut Salon

Der Stargeiger Daniel Hope und Alice Tumler laden zu einer neuen Staffel der „ARTE Lounge“ mit zahlreichen hochkarätigen Künstlern aus Klassik und Pop.
Bereits am Sonntag, den 01/02 um 22:35 startet die vierteilige Staffel mit  Asaf Avidan, Jean-Yves Thibaudet und Salut Salon.

Newsroom

  • Daniel presents latest album „For Seasons“ in Berlin, Thursday March 2nd

    On Thursday 2nd March in Berlin at 19:30 CET, Daniel will be presenting his new album, „For Seasons“ with performance and talk. 19:30 at Joseph Joachim Saal (der Universitat der …

      read more
  • Daniel Hope and New Century Chamber Orchestra Join in “Artistic Partnership”

    British Violinist Daniel Hope Is Named Artistic Partner of New Century Chamber Orchestra; Three-Season Appointment Launches in 2017/18 Season   It was announced yesterday that British violinist Daniel Hope has …

      read more
  • Daniel Hope begins his new role as Music Director of the Zurich Chamber Orchestra

    „He is the most versatile violinist of his generation.“ (Julia Spinola, Neue Zürcher Zeitung, 9.9.2016) http://zko.ch/konzertkalender/ Daniel Hope becomes Music Director of the Zurich Chamber Orchestra On Tuesday September 27th …

      read more

LISTEN TO

Cover

WHEN MOZART LAUGHS

“Stop!” Daniel Hope wants to exclaim when Mozart’s Violin Concerto K 216 begins to pick up speed. “The opening bars still show us a sublime and noble world, but Mozart then breaks out of it with a single phrase and never really returns. He continues to make new discoveries, constantly spinning and turning. None of this is the result of his love of pure virtuosity however, but stems from his extraordinary talent. Every time I play Mozart I can’t even begin to fathom the scale of his genius.”

This Mozartian miracle becomes even greater when we compare K 216 with Joseph Haydn’s magnificent Violin Concerto Hob. VIIa:4, also in G major. It was written in 1768, seven years before Mozart’s, by a composer who was his elder by twenty-four years. Daniel Hope says that Haydn’s concerto is a jewel – but that Mozart’s is a revelation. “Haydn remains rooted in beauty, whereas Mozart really takes off. With Haydn I hear elegance and nobility: a perfect style filled with a sense of propriety. Mozart, too, champions these virtues but this is not enough for him – he simply can’t leave it at that.” Haydn beautifully embellishes the key of G major, Daniel Hope emphasizes, but Mozart opens it up in such a way that the key itself is almost no longer tangible. And the simplicity of the melody in the second movement – for Daniel Hope this Adagio is one of the most beautiful ever written – reminds him of Schubert.
Would a piece by Schubert have been a more obvious way of bringing this Journey to Mozart to its conclusion?

Perhaps, but this album not only guides us towards Mozart, it also leads us away again. Daniel Hope chooses an unexpected course. In his 1810 D major Romance for violin and strings, Johann Peter Salomon sought to develop Mozart’s thinking and take it in a more Romantic direction. Salomon is a scintillating figure. As a concert promoter he introduced Haydn to London audiences, and it was probably he who named Mozart’s Symphony No. 41 the “Jupiter”.

In Journey to Mozart, Daniel Hope explores the world of Mozart by demonstrating what was written before and after him. “This album is a reflection of the Age as
I see and hear it.” The other works included here are by composers whom Mozart publicly acknowledged or with whom he was in personal contact. One such composer is Christoph Willibald Gluck.

“Gluck was revolutionary,” says Daniel Hope enthusiastically. “His wig is deceptive.” With Mozart we know about the unfathomable depths of his music, but with
Gluck, too, we can discern an equally uncanny depth and honesty in his compositions. Daniel Hope says that this was sometimes frowned upon at the time. “Not
everything could be expressed in music. Indeed, certain dances were censored.” But Gluck refused to be put off by this and did exactly what he felt he had to do – and,
what’s more, he did it with tremendous expression. The Dance of the Furies from Orfeo ed Euridice that opens this album must have come as a shock to contemporary
society.

Daniel Hope has great respect for many of the composers who were later eclipsed by Mozart: “There’s a mass of fêted and hugely talented composers, each of whom influenced the next one, assimilating ideas from many different sources.” This point is clearly audible in the Violin Concerto in D major by Josef Mysliveček that
dates from 1769. Bohemian by birth, Mysliveček was celebrated in Italy. Daniel Hope sees him as closer to Mozart than to Haydn in terms of his technique: there
is the same sort of delight in virtuosity with Mysliveček, whereas Haydn is more interested in expression. In his violin concertos Haydn never wanted merely to impress.

But Journey to Mozart also traces another expedition, namely, the one that Daniel Hope and the Zurich Chamber Orchestra are currently undertaking. “Each
time I play Mozart with someone, I hear his music from an entirely different angle. In Zurich I’m experiencing this in a particularly exciting way. Our journey together has already lasted many years, but now we’re undertaking it as a family.” Earlier Daniel Hope was a guest soloist with the Zurich Chamber Orchestra, but since the autumn of 2016 he has become its Music Director and has already left his mark within a short space of time.

Daniel Hope has rediscovered Mozart on this journey. “He is the greatest inspiration and at the same time an enigma. Each time I engage with Mozart, I realize how
much we can all learn from him. And just when you think that you’ve understood him, you realize that you’re further away from him than ever before. You should never think ‘Now I know you, Mozart’.” As a musician, however, you have to come to terms with Mozart as man and artist. And at some point you have to venture an interpretation: you have to try to continue your own quest whilst at the same time knowing that you’ll never really get close to him: “There are times when I’m almost inclined to curse him, although I could never do so. For that I love him too much.”

What remains is the question of how it is possible to achieve the extraordinary lightness that Daniel Hope and the Zurich Chamber Orchestra have succeeded in finding. Thinking about this, we recall a single brief moment at a Mozart rehearsal with the Zurich Chamber Orchestra. After the musicians had repeated a phrase countless times and the much-debated eight bars suddenly made sense, there was total silence in the hall. The achievement was scarcely greeted by even so much as a smile before the usual hubbub of instruments rehearsing began all over again. Daniel Hope smiles and says that something like this works only when the thousand considerations, the notes and the pencil markings in the scores disappear again behind the music. “If you intend to take account of twenty-five different suggestions within the space of three bars, then things are bound to become difficult.”

Gluck provides Journey to Mozart with its frenzied opening. But it is Mozart who has the last word with an arrangement of the final Rondo alla turca (“Turkish
March”) from his Keyboard Sonata in A major K 331. We can almost envisage Mozart cocking a snook at his colleagues, especially when we recall what he wrote in a letter to his father: “As far as music is concerned, I’m among beasts and brutes.” And to Haydn: “You’re the exception, but all other composers are veritable asses!” Daniel Hope does not refute this suggestion but says something more beautiful and conciliatory: “He’s laughing! And in this I see that this impertinent, vain and brilliant young man was also a human being. That’s why I feel even more respect for him: the genius leads us a merry dance.”

Christian Berzins / Translation: texthouse

  1. Orfeo ed Euridice, Wq. 30 / Act 2 - Dance Of The Furies
  2. Orfeo ed Euridice, Wq. 30 / Act 2 - Dance Of The Blessed Spirits (Arr. For Violin Solo And Chamber Orchestra By Olivier Fourés)
  3. Concerto For Violin And Orchestra In G Major, Hob. VIIa:4 - 1. Allegro moderato
  4. Concerto For Violin And Orchestra In G Major, Hob. VIIa:4 - 2. Adagio
  5. Concerto For Violin And Orchestra In G Major, Hob. VIIa:4 - 3. Allegro
  6. Concerto For Violin And Orchestra In D Major - 2. Larghetto
  7. Violin Concerto No.3 In G Major, K.216 - 1. Allegro
  8. Violin Concerto No.3 In G Major, K.216 - 2. Adagio
  9. Violin Concerto No. 3 In G Major, K. 216 - 3. Rondeau. Allegro
  10. Adagio For Violin And Orchestra In E Major, K. 261
  11. Romance For Violin And Strings In D Major
  12. Piano Sonata No.11 In A, K. 331 - 3. Alla Turca (Arr. For Violin Solo And Chamber Orchestra By Olivier Fourés)
 more Journey to Mozart