Friday, February 28, 2025
Wednesday, February 26, 2025
REad my interview with violinist extraordinaire Daniel Pope
On February 28, the Schwartz Center for Performing Arts at Emory University in Atlanta will host an extraordinary musical event featuring acclaimed violinist Daniel Hope and the renowned Polish Chamber Orchestra, an ensemble that traces its history back to Yehudi Menuhin’s musical legacy. The performance tour marks a significant reunion as the orchestra returns to the United States for the first time after nearly two decades.
The upcoming program features Joseph Haydn’s Violin Concerto in G major, a work of elegance and virtuosity, along with his striking Symphony No. 49, “La Passione.” Additionally, the concert includes Wojciech Kilar’s Orawa, an exhilarating piece that captures the rhythmic vitality of Polish folk music.
In anticipation of this special event, EarRelevant’s William Ford sat down with Daniel Hope in a Zoom conversation to discuss his ongoing projects, the upcoming concert, and his enduring connection to the Polish Chamber Orchestra. Their discussion offers insight into Hope’s artistic vision and the significance of this tour.
William Ford: Before we dive into the concert details, I’d like to ask about what you’re doing these days. I noticed you’re the music director at the Frauenkirche Cathedral in Dresden. Could you tell me more about that role?
Daniel Hope: Absolutely. I’ve been serving as the music director there since 2019. We organize around 35 performances a year—not only in the main church, which seats nearly 2,000 people, but also in the crypt that accommodates 200 to 300 guests. Our season includes a mix of guest orchestras, soloists, and our own performances. It’s a tremendous honor to make music in such historic spaces.
Ford: Do you also perform as part of your duties at the church?
Hope: Yes, I perform in about four to five concerts annually, both in the crypt and in the main sanctuary.
Ford: And what about your geographical base? I understand you once lived in Berlin.
Hope: That’s right. I lived in Berlin until last summer. Now, my family and I are based in Zurich. I commute between Zurich and Dresden—a short, one‐hour flight.
Ford: You’re also involved with the Beethoven Haus in Bonn. Can you explain your role there?
Hope: I’ve been the president of the Beethoven House since 2020, an honorary position. Our mission is to celebrate and internationalize Beethoven’s legacy. We organize our own concert series, including an annual Beethoven and chamber music festival, and invite artists to perform in our dedicated halls. The Beethoven House is not only a museum—Beethoven’s birth house—but also the world’s leading research center for his life, housing the largest collection of his letters and memorabilia, with 80 scholars working to preserve everything Beethoven.
Ford: Have there been any exciting discoveries recently?
Hope: Yes. We sometimes uncover new manuscripts or editions. For example, we recently acquired one movement from one of Beethoven’s final string quartets. This handwritten manuscript has a remarkable history: it originally belonged to a Jewish family in the Czech Republic, was stolen by the Nazis, passed through various hands under the communist regime, and only recently was returned to its heirs in the United States. We were honored to purchase it on their behalf, restore it to the collection, and digitalize it for worldwide access. The manuscript, dating from 1827, is in perfect condition—you can even turn its pages, although one must be careful due to its age. It is currently on display at the Beethoven Haus, accompanied by an exhibition detailing its extraordinary journey.
Ford: Is it the original engraving? Is it the handwritten manuscript?
Hope: It’s the handwritten manuscript. It’s absolutely amazing. And it’s also an interesting story. It was Opus 130, and that piece was dissected into movements, and each movement was sold off in the 19th century. And one of the movements. belonged to a Jewish family in the Czech Republic and it was stolen by the Nazis. And when they then fled the Czech Republic, it was then passed back to the then Czechoslovakian government, which then became the communist regime. And it took the family who live in the United States until last year to get restitution. They finally actually got it back. They contacted us and said, would we be interested in buying it and putting it in our collection? After 70, 80 years of turbulence, it finally came back to the house in which Beethoven was born.
I’ve had the joy of looking at and studying the Kreutzer Sonata of Beethoven, for example, of which we have the original manuscript. And if it’s a piece that you’re playing in particular, and then you suddenly see it in front of you, it’s a really moving and very, very thrilling moment to actually be one-on-one with the composer’s thoughts in that moment. There’s no editions, no publishers. It’s just Beethoven and the very singular way in which he expressed himself. And if you’re alone with him in that room, it’s really spine-tingling!
Violinist Daniel Hope with Polish Chamber Orchestra. (courtesy of Classical Music Communications, New York)
Ford: You’ve also been active with the Zurich Chamber Orchestra. How does that role differ from your work in Dresden?
Hope: I’ve been the music director with the Zurich Chamber Orchestra since 2016, performing about 10 to 12 concerts locally and up to 40 when touring. With Zurich, I lead from the first chair rather than conducting with a baton. I call it “play directing.” It’s a practice I’ve embraced for nearly 20 years—it brings a direct, almost conversational energy to the performance. With conductorless orchestras like the New Century Chamber Orchestra in the US, we develop our own signals during rehearsals. Of course, that means there are occasional moments when we need to recalibrate our timing, but it’s all part of the dynamic, collaborative process.
Ford: What about your work with the New Century Chamber Orchestra in San Francisco?
Hope: I remain deeply involved with them. I began as an artistic partner in 2016 and became their music director in 2018. I spend about four weeks a year with the ensemble, based mainly at the Herbst Theatre in San Francisco, while also touring throughout the Bay Area and beyond. The New Century Chamber Orchestra has a strong focus on 20th-century and contemporary music, commissioning new works and providing a vibrant platform for modern repertoire. Working with them is a dynamic and refreshing experience.
Ford: Switching gears a bit—how many concerts do you perform nowadays?
Hope: I now do about 120 concerts a year. On my 50th birthday in 2023, I played 180 concerts—that was a record, but I decided to scale back afterward. Approximately 70% of my concerts are in Europe, while the rest take me to the United States, Asia, and occasionally Australia.
Ford: Do you notice differences in audiences around the world?
Hope: Absolutely. Every audience is unique—even within the same city, one evening might feel very different from another. I find American audiences to be very open, friendly, and enthusiastic. In contrast, European audiences sometimes require a bit more engagement to build that connection over the course of an evening. I’ve experienced everything from the thunderous applause in South America—where it feels like scoring a goal—to moments of polite reserve in places like Japan. Rarely are audiences discourteous, no matter the location. Once, during a performance at Vienna’s Musikverein, I witnessed a rare, jarring instance of booing, which was both shocking and deeply unfair to the performer. But it appeared to be only one patron who was making the commotion.
Ford: Moving on, when did the idea for your current tour come together?
Hope: We’ve been planning this tour for about a year and a half. It’s co-financed by the Minister of Culture and National Heritage of the Republic of Poland and was also driven by my dear friend Doug Sheldon—a superb presenter who wanted to reunite our musical family. It’s been a real pleasure reconnecting with old friends and welcoming new ones, especially since I’ve performed in Warsaw and continue to nurture those long-standing relationships.
Ford: And your connection with the Polish Chamber Orchestra—what’s the story there?
Hope: I’ve known them since I was five, largely through my mentor Yehudi Menuhin. The Polish Chamber Orchestra is part of Sinfonia Varsovia, which was Menuhin’s ensemble of choice. We share a long and cherished history. In fact, it’s been almost 20 years since they last toured the United States, so reuniting with them in Atlanta is particularly special.
Polish Chamber Orchestra (courtesy of Classical Music Communications, New York)
Ford: You will be performing Haydn’s first violin concerto?
Hope: Yes, I’m playing the G major Haydn violin concerto—a beautiful work with a gorgeous second movement. It’s one of only three extant Haydn violin concertos. There’s an interesting debate about the authorship of the string quartets, but the G major is indisputably Haydn. Alongside that, our program features Haydn’s “Passione” Symphony—a piece that contrasts lightness with brooding darkness—and even a work by Wojciech Kilar, whose music, though less known in the US, is incredibly powerful. Kilar’s composition Orawa was written for the Polish Chamber Orchestra, and it perfectly captures a modern, rhythmic energy that resonates deeply with audiences.
Ford: On a related note, why are there so few Haydn violin concertos?
Hope: The violin concerto was still emerging as a form during Haydn’s time, and the court of Esterházy—where he worked—prioritized symphonic works to impress royalty. Although he wrote only a handful, the concertos he did compose, such as the C major concerto, display an elegance and ease that foreshadow the developments we later see in Mozart’s work. Haydn himself recognized Mozart’s genius, famously telling Leopold Mozart that his son was the most talented composer he’d ever encountered. In a way, Haydn may have been waiting for someone like Mozart to expand on the form.
Ford: Will you be both conducting and soloing?
Hope: I only direct from the violin. I don’t actually conduct. I only take on the concertmaster position, or I guess you would say kind of kapellmeister. So leading symphonies or leading concertos, I’m doing it with the violin.
I am really looking forward to returning to Atlanta with the Polish Chamber orchestra. The concert will be at Emory University’s Schwartz Center on February 28 at 8 p.m.
Ford: You’ve also dabbled in film music. Could you tell me about that?
Hope: Certainly. About a decade ago, I recorded an album titled Escape to Paradise (The Hollywood Album), focusing on composers who fled Europe and shaped the early Hollywood sound. I’ve performed works by Max Steiner, Miklós Rózsa, and even contemporary composers like John Williams and Alexandre Desplat. I’m a huge film fan, and one unforgettable experience was performing Bernard Herrmann’s score for Hitchcock’s Psycho live with the Zurich Chamber Orchestra. Synchronizing a live orchestra to film heightens the tension and drama—an experience I’ll never forget.
Ford: Before we wrap up, you mentioned having a special connection to Georgia. Could you elaborate?
Hope: Certainly. I spent 16 wonderful years at the Savannah Music Festival, where I helped organize both classical and chamber music performances. That region holds a very special place in my heart, and I’m excited to return to Atlanta to share this journey of Mozart and Haydn with an audience that I know will be both enthusiastic and receptive.
Ford: Thank you, Daniel, for sharing these insights. Your work bridges history, performance, and innovation—and it’s always inspiring to hear about your musical journey.
Hope: Thank you very much. It’s been a pleasure to chat, and I look forward to sharing more music with all of you soon. ■
Tuesday, February 25, 2025
Academy of St. Martin's in the Field: A Review
rom Lincoln to living rooms: Academy of St. Martin in the Fields delivers warmth in Lied Center livestream
February 19, 2025
Lied Center for Performing Arts, University of Nebraska–Lincoln
Lincoln, Mebraska – USA
Academy of St Martin in the Fields, Stephane Gonley, concertmaster; Inon Barnatan, piano; Mark David, trumpet.
C.P.E. BACH: Symphony in G Major (1741)
Dmitri SHOSTAKOVICH: Piano Concerto No. 1 in C minor (1933)
Leoš JANÁČEK: String Quartet No. 1 (1923)
W.A. MOZART: Symphony No. 15 in G major, K. 124 (1772)
William Ford | 21 FEB 2025
Universities across the United States play a pivotal role in enriching their local communities by hosting touring ensembles that might bypass larger metropolitan areas dominated by major classical music organizations. The University of Nebraska–Lincoln exemplifies this through its Lied Center for Performing Arts, which brings a diverse array of classical music artists to the region. These events provide residents with unique cultural experiences that might otherwise be inaccessible locally.
Last evening, the Lied Center, a 2,258-seat auditorium, hosted the Academy of St Martin in the Fields (ASMF) chamber orchestra. Renowned globally, ASMF was founded in 1958 by Sir Neville Marriner and is one of the world’s most frequently recorded chamber orchestras. Its current music director is superstar violinist Joshua Bell. ASMF performs without a conductor on this U.S. tour, with principal violinist Stephane Gonley providing the downbeat. Given that the temperature in Lincoln was a record -2°F, it was quite wonderful to sit in relatively warm McDonough, GA, and enjoy the video feed of the concert.
Since the pandemic, many music organizations and venues have continued to provide video streams of their concerts, allowing them to reach their local communities more effectively. However, these noble outreach efforts are sometimes marred by poor camera work and non-optimal microphone placement. In contrast, the technical quality of the Lied Center feed was outstanding. The videography was intelligent, featuring at least three cameras, with only one being slightly off-axis. Microphone placement around the ensemble perfectly captured the rich colors of ASMF’s sound. Equally impressive was how the microphones captured the warm acoustics of the Lied Center, which has a relatively long sound decay time. The acoustical richness made the 20-member ASMF sound much larger than it is. Such reverberant spaces are relatively forgiving of mistakes, although few, if any, were noticed.
The evening’s program appeared designed to present works that each represent a significant departure from the established musical norms of their time, showcasing the composers’ innovative spirits and contributions to the evolution of classical music.
The first work on the program was C.P.E. Bach’s Symphony in G Major (1741), a three-movement piece (“Allegro di molto,” “Largo,” and “Allegro assai”). This work marks a movement away from Baroque period ornamentations and intricate polyphony. It is characterized by sudden changes in mood and dynamics, features typical of the emerging “sensitive style.” Notably, the symphony is “through-composed,” meaning each section presents new material without reference to previous themes. In contrast to his famous father’s music, C.P.E. Bach’s work sounds flatter and simpler, with fragmented phrases and irregular rhythms. The ASMF performed this piece competently; despite the absence of a conductor, the all-string orchestra was well-balanced. It quickly became apparent that this is an ensemble truly deserving of its fine reputation.
The concerto’s four movements (“Allegro moderato,” “Lento,” “Moderato,” and “Allegro brio”) showcase Shostakovich’s early style. While the melancholic second movement hints at the turmoil that would dominate his later works due to conflicts with Soviet officials, this piece remains relatively light-hearted. Barnatan played enthusiastically, occasionally facing the ASMF behind him and “conducting” them. This performance demonstrated ASMF’s technical brilliance, regardless of the period in which the music was composed. Barnatan’s performance was stimulating and compelling, highlighting his exceptional talent.
Pianist Inon Barnatan, trumpeter Mark David (right) and the Academy of St Martin in the Fields perform ‘Piano Concerto No. 1 in C minor’ by Dmitri Shostakovich. (video still / Lied Center)
After the intermission, ASMF played a string orchestra arrangement of Leoš Janáček’s String Quartet No. 1, commonly known as “The Kreutzer Sonata.” Unfortunately, I could not determine who arranged this emotionally charged work for string orchestra. Composed in 1923, Janáček drew inspiration from Leo Tolstoy’s novella The Kreutzer Sonata, itself a reference to Beethoven’s Violin Sonata No. 9. The story revolves around a woman trapped in a loveless marriage, leading to tragic consequences. Janáček musically portrays the protagonist’s inner turmoil and suffering with remarkable compassion. The composition uses a technique that captures the natural rhythms of spoken language.
For me, the arrangement used by ASMF seemed to hyperinflate the music’s emotionality. Combined with the Lied Center’s rich acoustics, the performance created an overload of latter-day Romanticism. I believe I would have preferred the original string quartet version.
The final work on the program was Wolfgang Amadeus Mozart’s Symphony No. 15 in G major, K. 124, composed in early 1772 when Mozart was just 16. The symphony’s four movements (“Allegro,” “Andante,” “Menuetto and Trio,” “Presto”) reflect the orchestral practices of the time, scored for two oboes, two horns, and strings. Some of Mozart’s early works exhibit a certain “sewing-machine” quality—quick bowings, punctuated rhythms, and terraced dynamics. However, the Lied Center’s acoustics added a richness that softened these mechanical aspects. The ASMF’s performance wasn’t as though they were playing Mozart as if it were Rachmaninoff, but the interpretation felt smoother and richer than it might have in a drier acoustic.
The Academy of St Martin in the Fields certainly deserves its place in the classical music hall of fame. Its musicians are technically brilliant, and their sound is rich and vibrant. This was an exceedingly well-played concert, livestreamed in a competent, professional style—a demonstration of how effective livestreaming can be when done right. ■