South-African born and raised in England, 35-year-old Daniel Hope was heralded by the Italian press in the days before his performance this past Tuesday at Milan's Conservatorio (for Società del Quartetto di Milano's 2008-09 season) as the conduit for a little glamor and fresh blood at our old-skool music halls ('tho fresh blood for near-taxidermied Conservatorio is like 60 years old). Toting his Antonio Gagliano violin -- acquired from the legendary Yehudi Menuhim 15 years ago -- Hope's fluffy 'fro of ginger hair and his impressive clique of friends (Mia Farrow, Sting, Stewie Copeland, and Uri Cane...not to mention his current tenure as Associate Artistic Director of Chamber Music with the Savannah Music Festival where he jams with the likes of Chick Corea, Bella Fleck, and Savion Glover) helped sell tickets to a traditional Milanese audience who'd rather flock to the more conventional, by-the-book violinists like as Uto Ughi and Shlomo Mintz.
**Click on the secksy link below to read the full review and see all the write-ups of Daniel Hope from Corriere della Sera, la Repubblica, and ViviMilano, in addition to the program list**
Not to neglect his shining talent, we're more celebratory of Vivimilano's recent write-up for Daniel Hope as "tecnicamente ineccepibile e capace di un'espressivita' raffinata", and we particularly liked la Repubblica's nod as a, "protagonista eccentrico della musica classica".
The first piece at Tuesday night's recital was Manuel de Falla's Suite Populaire Espagnole, the violin/piano version of Siete Canciones Populares Españolas (written by de Falla in Paris between 1913-1914 for voice and piano), which was transcribed in 1925 through the composer's collaboration with celebrated violinist, Pavel Kochanski. De Falla, a great pianist in addition to a prolific composer, peppered the half-dozen songs with inflections and allusions from his native Cádiz, one of the eight provinces that comprise Andalusia, native Spanish music weaved with hints of flamenco. Through the six songs played (El Paño Moruno, Nana, Canción, Jota, Asturiana, and Polo), Hope barely impressed on the skills that we've heard others raving about.
It wasn't until Beethoven's Sonata #9 in A minor, Opus 47 "Kreutzer" -- named after the 18th century French violisnt/composer Rodolphe Kreutzer, friend of Beethoven, and recipient of the title after Beethoven got in a drunken quarrel with the original violinist who played the premiere of the work in May 1803 -- that Hope and German pianist Sebastian Knauer punched through the ennui of de Falla's spell, and perked us up with an energized, sparkling sound.
The entire work is full of unexpected and spontaneous notations -- eccentric and full of contrasts -- although the violin line is molded in the calculated form of a concerto. Hope allowed the rhetoric of the work to breath in his version. Adagio sostenuto - Presto was delightful, especially via pianist Knauer's lightness on the keys. Hope retained the balance, an earthbound voice, sonorous and resonant. When Beethoven's composition called for lofty, soaring notes, Hope literally lifted himself up on his toes, leaving the stage below. Andante con variazione called for meditation and introspection, and while Hope glazed a bit over the depth with a brighter touch, Knauer supplied the rich legato. Finale Presto picked up, Hope transcended the measures, but filled the hall with a very sobering, realistic, intelligent narrative. The passages weren't overworked or overbearing, and Hope's violin perpetuated a very dusty, powdery timbre.
After the pause, the most treasured selection (for O.C., at least) was Felix Mendelssohn's collection of Lieder ohne Worte, which were transcribed by Hope for violin. Out of a collection of six from Lieder Opus 34 -- from the middle of the 1930s when Mendelssohn was the music director of the Gewandhause Leipzig. Suleika Opus 34 #4, from the volumes of Goethe, was suffused with glittering expression. And while Auf Flügeln des Gesanges Opus 34 #2 was a bit too romantic and sappy for O.C.'s pragmatic tastes, Hexenlied opus 8 #8 carried a serious, responsible expression that nonetheless soared.
Last on the program was Edvard Grieg's Sonata 2 in C minor, Opus 45. Adagio sostenuto - Presto was twinkling and lovely. Hope's lower notes were earnest, though his high notes were reedier and dustier. Andante con variazioni had well-paced movement and a tapestry of well sustained notes, whereas the Finale Presto was very playful.
It wasn't until the bis (Hope gave three to a warm reception) that Hope's improvisational, impulsive, and spontaneous nature that is always donated to his characteristics fully shone. The first two selections were George Gershwin selections: "I've Got Rhythm" and Porgy & Bess's "It Ain't Necessarily So". Hope played with brio...OC could easily have listened to the entire program of Gershwin. The last bis was the Andante sostenuto from Mozart's sweet little Violin Sonata KV 296, and when Hope announced it, the entire audience, exasperated from the Gershwin, let out a collective sigh of satisfaction. Two more curtain calls, and Hope was out like a trout. Hopefully to enjoy a nice Milanese meal, his recital with Sebastian Knauer tucked away.
Hope leaves Milan to play in NYC next weekend, where he'll be participating in the $159 million USD makeover festivities of Lincoln Center's Alice Tully Hall, playing a program called, "War and Pieces" with The Chamber Music Society of Lincoln Center.
(Above: Conservatorio's entrance)
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