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Daniel Hope Plays Schnittke, Weill & Takemitsu

Alfred Schnittke , Toru Takemitsu , Kurt Weill , William Boughton , English Symphony Orchestra , et al. Audio CD

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Sonata for Violin and Chamber Orchestra: Andante 2:36£0.99  Buy MP3 
Listen  2. Sonata for Violin and Chamber Orchestra: Allegretto 4:54£0.99  Buy MP3 
Listen  3. Sonata for Violin and Chamber Orchestra: Largo 5:11£0.99  Buy MP3 
Listen  4. Sonata for Violin and Chamber Orchestra: Allegretto 4:49£0.99  Buy MP3 
Listen  5. Concerto for Violin and Wind Orchestra: Andante Con Moto 9:55£0.99  Buy MP3 
Listen  6. Concerto for Violin and Wind Orchestra: Notturno: Allegreo Unpoco Tenuto 3:21£0.99  Buy MP3 
Listen  7. Concerto for Violin and Wind Orchestra: Cadenza: Moderato - Vivace 3:50£0.99  Buy MP3 
Listen  8. Concerto for Violin and Wind Orchestra: Serenata: Allegretto 3:39£0.99  Buy MP3 
Listen  9. Concerto for Violin and Wind Orchestra: Allegro Molto, Un Poco Agitato 7:02£0.99  Buy MP3 
Listen10. Concerto Grosso No. 6: Andante - Allegro 3:31£0.99  Buy MP3 
Listen11. Concerto Grosso No. 6: Adagio 4:36£0.99  Buy MP3 
Listen12. Concerto Grosso No. 6: Allegro Vivace 5:28£0.99  Buy MP3 
Listen13. Nostalghia14:07Album Only

Product Description

Schnittke : Sonate pour violon & orch. de chambre - Concerto Grosso n°6 - Weill : Concerto violon & orch. d'instruments à vents op.12 - Takemitsu : "Nostalghia" pour violon & orch. à cordes / Daniel Hope, violon - English Symphony Orchestra, dir. William Boughton

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Most Helpful Customer Reviews on (beta) 4.5 out of 5 stars  4 reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars A fascinating modernist program that communicates on an emotional level 5 Jun 2014
By Santa Fe Listener - Published on
Format:Audio CD|Verified Purchase
This early album from the ginger-haired Daniel Hope validates his status as Menuhin's heir. Where Menuhin was forward-looking when he played Bartok and joined forces with Ravi Shankar, Hope is advocating Schnittke and moving beyond minimalism in various crossover CDs for DG. It's too bad that Schnittke's name is likely to frighten prospective buyers off. He managed, like his great predecessor Shostakovich, to express Russian soul under conditions of duress, to further the models of symphony, concerto, and chamber music in an original modernist vein, and to span conventional harmony and avant-gardism.

The program consists of concertante works more than true concertos. Schnittke places a large emphasis on piano and harpsichord, sometimes leaving the violin in the background. Weill scores his concerto for a wind band that the violin often joins as equal partner. The other strain that unites Schnittke and Weill is their absorption of multiple styles, from the baroque concerto grosso to modern jazz. As essentially an Expresionistic composer, Weill unifies the Violin Cto. through its quasi-Hidemith utilitarian mood, which is quick, impersonal, and anti-sentimental. I don't find the work inspired, but the long cadenza that turns into a dialogue for violin and trumpet is innovative. Otherwise, we are in the world of Hindemith's Kammermusik, which is too functional for me.

Schnittke's two substantial works are the product of genius, however, and the only thing that keeps me form calling them masterpieces is that he worked at this high level much of the time. The Sonata for Violin and Chamber orchestra moves form dark to light, from near silence to a passionate outpouring, in an arc than any listener can follow emotionally, even if his post-Shostakovich idiom is tougher than Weill's. The sudden arrival of a sumptuous diatonic chord to ground the Largo is just one example of Schnittke's ability to move us. The Concerto Grosso no. 6 is a fascinating example of how to weave the past into the present. Much of it resembles Bartok's Divertimento or Stravinsky's Dumbarton Oaks Cto. in presenting new harmonies wrapped inside familiar forms. The utter calm of Takemitsu's Nostalghia features Hope in a seamless cantilena that must appeal to Hope's minimalist tastes.

Hope is a special musician who stands out in the current landscape for his adventurousness and serious purpose. This is his most serious album, but that shouldn't deter you from experiencing what a modernist virtuoso like him - and Gidon Kremer, another strong Schnitke advocate - is all about.
9 of 13 people found the following review helpful
5.0 out of 5 stars A CHAMPION OF THE CONTEMPORARY VIOLIN 11 July 1999
By A Customer - Published on
Format:Audio CD
" SAFE IN HIS HANDS...A CHAMPION OF THE CONTEMPORARY VIOLIN: The remarkable new talent of British violinist Daniel Hope has been launched skyward with a debut recording....Hope has undoubtedly gained invaluable insights into both Schnittke's personality and his music....the future of the contemporary violin is indeed safe in his hands."
3.0 out of 5 stars Unfortunate change from harpsichord to piano. 19 Feb 2012
By Goncalo C. Cardoso - Published on
Format:Audio CD
The programme on this CD is beautiful and coherent, and the playing is superb. Unfortunately, Schnittke's sonata, originally orchestrated with strings and harpsichord accompaniment, is played here with piano rather than harpsichord from midway the second movement onwards. Daniel Hope explains his decision in the booklet notes, as due to balance problems with the harpsichord (which I did not notice in the movements harpsichord was used), and to preserve some interesting effects from the original version for violin and piano (which I had to listen to really attentively to notice). Although I prefer the crispness of the harpsichord in this setting, and its easier blend with the strings, the piano does sound good also. The important annoyance, to my ears, is the incoherent change in sound world midway through the sonata.
5.0 out of 5 stars Winner! 17 July 2014
By Customer Bob - Published on
Format:Audio CD|Verified Purchase
Daniel Hope is a fantastic artist. I bought this disc primarily for the Schnittke Sonata--a wonderful work (but then I am something of a Schnittke fan)--and ended up enjoying the Weill and Takemitsu just as much.
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