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Z ü r c h e r K a m m e r o r c h e s t e r D a n i e l H o p e
2
A R IEL R A MÍRE Z ( 19 2 1– 2 0 10 )
Misa Criolla Text: Alejandro Mayol, Osvaldo Armando Catena, Jesús Gabriel Segade
Arr. for Solo Violin, Vocal Quartet, Charango, Guitar, Percussion and String Orchestra by Paul Bateman
A 1. Kyrie (vidala-baguala) 3:50
B 2. Gloria (carnavalito-yaraví) 5:30
C 3. Credo (chacarera trunca) 3:10
D 4. Sanctus (carnaval cochabambino) 2:19
E 5. Agnus Dei (estilo pampeano) 5:34
Palau de la Música Vocal Quartet:Irene Mas soprano | Eulàlia Fantova alto Carles Prat tenor | Daniel Morales bassSimon Halsey artistic advisor | Carles Prat artistic coordination Rubén Dubrovsky charango | Sebastián Sciaraffia guitarMichael Metzler percussion | Zürcher Kammerorchester
JOHN DOWL A ND ( 15 6 3 –16 2 6 )
F Time Stands Still 4:34
No. 2 from Third and Last Booke of Songs or Aires (1603) | Arr. for Violin and Vocal Ensemble
Ensemble Amarcord
FR A NZ SCHUBERT ( 17 9 7–18 2 8 )
G Die Nacht D 983c 4:31
Text: Friedrich Wilhelm Krummacher
Arr. for Violin and Vocal Ensemble by Wolfgang Heinzel
Ensemble Amarcord
REMO GIA ZOT TO ( 19 10 –19 9 8 )
H Adagio in G minor 8:15
Based on two thematic sketches and a figured bass by Tomaso Albinoni (1671–1751)
Arr. for Solo Violin, Organ and String Orchestra
Katta organ | Zürcher Kammerorchester
BECH A R A EL- K HOURY ( * 19 5 7 )
I Byblos, The Old City | World Premiere Recording 8:27
Patrick Messina clarinet | Zürcher Kammerorchester
ARVO PÄ RT ( * 19 3 5 )
J Spiegel im Spiegel 9:57
Jacques Ammon piano
EDWA RD ELG A R ( 18 5 7–19 3 4 )
K Nimrod 4:11
Var. IX from Enigma Variations op. 36
Arr. for Violin and Vocal Ensemble by Paul Bateman
Ensemble Amarcord
S T EPHEN FOS T ER ( 18 2 6 –18 6 4 )
L Ah! May the Red Rose Live Alway 4:32
Text: Stephen Foster | Arr. for Baritone, Violin and Piano by Molly Mason & Jay Ungar
Thomas Hampson baritone | Julia Okruashvili piano
3
5
T R A DI T ION A L
M Danny Boy (A Londonderry Air) 4:32
Arr. for Solo Violin, Harp and String Orchestra by Paul Bateman
Marie-Pierre Langlamet harp | Zürcher Kammerorchester
FA BIA N A NDRE ( 19 10 –19 6 0 ) & WILBUR SCHWANDT ( 19 0 4 –19 9 8 )
N Dream a Little Dream 3:24
Arr. for Solo Violin, Harp, Piano and String Orchestra
Marie-Pierre Langlamet harp | Jacques Ammon pianoZürcher Kammerorchester
T R A DI T ION A L
O Amazing Grace 5:02
Arr. for Solo Violin, Voice, Harp, Piano and String Orchestra by Paul Bateman
Colin Rich vocalist | Marie-Pierre Langlamet harpJacques Ammon piano | Zürcher Kammerorchester
DANIEL HOPE violin
I should like to dedicate this album to Desmond Tutu, who once remarked: “Hope is being able to see that there is light despite all of the darkness.”
4
ZÜRCHER K AMMERORCHESTER
Daniel Hope music director
Violin I
Willi Zimmermann concertmaster
Donat Nussbaumer assistant concertmaster
Jana Karsko | Tanja Sonc
Violin II
Daria Zappa Matesic section leader
Silviya Savova-Hartkamp | Anna TchinaevaPhilipp Wollheim | Simon Wiener
Viola
Ryszard Groblewski section leader
Frauke Tometten MolinoJanka Szomor-MekisPierre Tissonnier
Cello
Nicola Mosca section leader
Anna Tyka Nyffenegger Silvia Rohner Geiser Natalia Chybiak
Double Bass
Seon-Deok Baik section leader
Ivo Schmid
5
Music was one of the first things to which people turned
impulsively during the first coronavirus lockdowns in the
spring of 2020. They stood on their balconies singing
songs, they joined forces for musical Zoom calls, even
performing chorales, whilst at the same time streaming
their recitals from their own living rooms. Making music
and in particular singing brought the world closer
together after social distancing had created greater bar-
riers than ever before.
For Daniel Hope, too, these exceptional circum-
stances were the motivation for him to continue to make
music either through his online recital series Hope@
Home or through this new album. It was never a ques-
tion of performing alone or just for himself, but always
to share common ideals with other colleagues. With
Hope the goal was to uphold all that we have in common
and to offer a ray of hope to scores of musicians. This
album brings together works of diverse genres that are
scored for a variety of different instruments: “It’s the
music that I frequently heard during lockdown and in
some cases the pieces that I played in the course of my
streamed house concerts,” says Hope. “This music lent
us support and provided us with comfort throughout
that time.”
Well-known favourites from Hope’s childhood such
as Amazing Grace and Danny Boy are as integral to this
album as Schubert’s Die Nacht and “Nimrod” from
Elgar’s Enigma Variations. Several different periods are
illuminated in this way, and the same is true of the most
disparate styles and musical contexts.
Unlike his previous releases, which were often
planned in the minutest detail over a period of decades,
there are many elements of the present album that
arose “spontaneously”, as Daniel Hope observes. More-
over, it came into being entirely during lockdown. As a
result, chance played a significant role in its develop-
ment, as did the constant need to take account of
restrictions and to make readjustments – much as we
have done in our daily lives during the pandemic: “The
entire year was like this – fragile, fluid and nimble-
minded,” says Hope.
It was not only superficially, however, that spontane-
ity played a role in this project – this aspect is reflected,
in part, in the featured works. Take the Enigma Varia-
tions: Elgar began to write them in 1898 on a theme that
came to him spontaneously while he was improvising at
the piano. While composing the individual movements,
he thought of some of his close friends, as he explained
in a letter: “I’ve written the variations each one to rep-
resent the mood of the ‘party’.” For Elgar, this was no
more than an amusing idea and his work on the score
was a kind of a game. And yet the first performance of
the Enigma Variations in St. James’s Hall in London in
June 1899 proved hugely significant inasmuch as it is
now regarded as marking the birth of one of the first
symphonic masterpieces to emerge from England.
By comparison, songs such as John Dowland’s Time
Stands Still from 1603 and Stephen Foster’s Ah! May the
Red Rose Live Alway from two and a half centuries later
seem to come from another world. Foster’s popular bal-
lad is an example of the sort of song that enjoyed a large
following in America in the middle of the nineteenth cen-
tury. It is intended to be performed at a slow parlando
and to convey a particular emotional depth, constituting
a regretful sigh at the transience of life: “Ah! may the red
rose live alway, / to smile upon earth and sky! / […] Why
should the beautiful die?” Daniel Hope feels that this
question is particularly relevant to our present emo-
tional state. Dowland’s Time Stands Still, conversely,
sounds like a parable of the way in which our bustling
lives came to a standstill during the pandemic: “Time
stands still,” the poem begins. “All other things shall
change, / but she remains the same, / till heavens
changèd have their course / and time hath lost his name.”
At the musical heart of the present album is a
sacred work, the Misa Criolla by the Argentine com-
poser Ariel Ramírez. It was written in 1963/4 for two
solo tenors, mixed chorus, percussion, piano and an
array of traditional Latin American instruments such as
the charango. Ramírez had studied in Europe in the
1950s and dedicated his Mass to all the people who
had supported him during that time, especially two Ger-
man women who for months had secretly helped to
provide food for concentration camp inmates under the
Nazis. He had set out, he explained, to write a “spiri-
tual” piece designed to express humanity’s hopes of a
better world.
Daniel Hope was only eighteen when he acquired
the rights that would allow him to prepare an arrange-
ment of Ramírez’s Mass for solo violin instead of the
solo tenors. Hope has been working closely with the
distinguished arranger Paul Bateman for the last
decade, and for the version heard here Bateman has
added an orchestra that is not present in the original,
while at the same time restoring the folk-music element
by including parts for percussion, guitar and charango.
The choral part of the original is taken by a vocal quar-
tet since it was impossible to write for a larger body of
singers during the pandemic. But none of this was an
obstacle: “Music has a tremendous power,” says Daniel
Hope, “and it deserves our tremendous respect. This
album is my attempt to send out a ray of hope and to
provide people, myself included, with a sense of support
and perhaps even consolation.”
6
7
Musik war einer der wichtigsten Impulse, mit denen die
Menschen im Frühjahr 2020 auf die ersten Corona-
Lockdowns reagierten. Die Leute standen überall auf
Balkonen und sangen gemeinsam Lieder, Sänger*innen
schalteten sich in Zoom-Calls zusammen und interpre-
tierten Choräle, viele andere begannen aus ihren Wohn-
zimmern hinaus in die Welt zu streamen. Das gemein-
same Singen und Musizieren verband sie miteinander
und mit der Welt – in einer Zeit, in der die Entfernungen
zueinander größer waren als je zuvor.
Auch für Daniel Hope war es essenziell, in diesem
Ausnahmezustand der Pandemie weiterhin Musik
zu machen, sei es durch seine Online-Konzerte
Hope@Home oder durch das vorliegende Albumprojekt.
Es ging ihm nie darum, alleine für sich zu musizieren,
sondern immer zusammen mit anderen: Mit Hope
wollte er das Gemeinsame hochhalten und engagier-
ten Musiker*innen auch dadurch ein Hoffnungszei-
chen bieten. Sein Album vereint Werke unterschied-
lichster Couleur in diversen Besetzungen: »Es ist die
Musik, die ich häufig während der Lockdowns gehört
und teilweise in meinen Sendungen gespielt habe«,
sagt Hope. »Diese Musik gab uns Halt und Trost in
dieser Zeit.«
Bekannte Traditionals aus Hopes Kindheit wie
Amazing Grace und Danny Boy gehören für ihn darum
genauso auf das Album wie Franz Schuberts Die Nacht
oder Edward Elgars Nimrod aus den Enigma-Variationen.
So treffen verschiedene Epochen aufeinander, aber
auch höchst unterschiedliche Stile und musikalische
Kontexte. Anders als bei seinen bisherigen Aufnahmen,
die manchmal über Jahrzehnte minutiös geplant wur-
den, entstand bei diesem Album »vieles sehr spontan«,
wie Daniel Hope anmerkt, und zudem ausnahmslos in
Zeiten des Lockdowns. In der Konzeption spielte dem-
entsprechend der Zufall eine große Rolle, das ständige
Abwägen von Restriktionen und das Neu-Justieren –
ganz wie im alltäglichen Leben während der Pandemie:
»Das ganze Jahr verlief so: fragil und fluid, beweglich«,
so Hope.
Das Spontane spielt in diesem Projekt aber nicht nur
äußerlich eine Rolle – es spiegelt sich zum Teil auch in
den interpretierten Werken. So konzipierte Edward Elgar
seine Enigma-Variationen 1898 über ein Thema, das ihm
spontan beim Improvisieren am Klavier eingefallen war.
Beim Komponieren der einzelnen Sätze dachte er an
gute Freunde, wie er in einem Brief schreibt: »Ich habe
die Variationen jeweils so geschrieben, dass ich die
Stimmung des oder der ›Beteiligten‹ darstelle.« Für
Elgar war diese Vorstellung schlicht amüsant, die Kom-
position eine Art Spiel – die Uraufführung der Variatio-
nen im Juni 1899 in der Londoner St. James’s Hall
wurde jedoch ungemein bedeutsam, gilt sie doch als
Geburtsstunde des ersten symphonischen Meister-
werks aus England.
Daneben wirken Lieder wie John Dowlands Time
Stands Still aus dem Jahr 1603 oder das 250 Jahre
jüngere Ah! May the Red Rose Live Alway von Stephen
Foster wie aus einer anderen Welt. Die letztgenannte
Ballade ist ein Beispiel für das populäre amerikanische
Lied aus der Mitte des 19. Jahrhunderts. Im langsamen
Parlando vorgetragen will es eine besondere emotiona-
le Tiefe vermitteln, ein Seufzen über die Vergänglichkeit
des Lebens: »Möge die rote Rose für immer leben, über
Erde und Himmel lächeln«, heißt es im Text. »Warum
sollte das Schöne je vergehen?« Hope fand genau diese
Frage für die Gefühlslage im Lockdown zutreffend.
Dowlands Time Stands Still klingt dagegen wie eine
Parabel auf das in der Pandemie gleichsam angehalte-
ne Treiben der Welt: »Die Zeit steht still«, heißt es hier.
»Alles wandelt sich, doch sie bleibt sich immer gleich,
bis des Himmels Lauf sich wendet und die Zeit ihren
Namen verliert.«
Das musikalische Zentrum des Albums bildet Ariel
Ramírez’ Misa Criolla, ein geistliches Werk. Der Argen-
tinier schrieb die Messe 1963/64 für zwei Solo-Tenöre,
gemischten Chor, Schlagzeug, Klavier und traditionelle
lateinamerikanische Instrumente wie das Charango.
Ramírez widmete die Messe all jenen Menschen, die
ihn während einer Europareise in den 1950er Jahren
unterstützt hatten – besonders aber zwei deutschen
Frauen, die in der NS-Zeit Häftlinge in Konzentrations-
lagern monatelang heimlich mit Essen versorgt hatten:
»Ich nahm mir vor, ein religiöses Werk zu komponieren,
das die Hoffnung der Menschheit auf eine bessere Welt
ausdrücken sollte«, sagte Ramírez über seine Kompo-
sition.
Daniel Hope sicherte sich bereits mit 18 Jahren die
Rechte für eine Bearbeitung des Werkes für Solovioline
anstelle der Gesangssolisten. Der renommierte Arran-
geur Paul Bateman, mit dem Hope seit einem Jahrzehnt
intensiv zusammenarbeitet, ergänzte dafür in der hier
zu hörenden Version ein Orchester, das im Original
nicht vorhanden ist, bewahrte jedoch die folkloristi-
schen Elemente durch den Einsatz von Schlagzeug,
Gitarre und Charango. Ein Vokalquartett setzt die Chor-
partie um, da ein größeres singendes Ensemble wäh-
rend der Pandemie nicht möglich war. Das alles sollte
jedoch kein Hindernis darstellen: »Musik hat eine unge-
heure Macht«, sagt Daniel Hope, »und sie verdient
einen ungeheuren Respekt. Dieses Album ist mein
Versuch, einen Hoffnungsschimmer zu senden und den
Menschen, mich eingeschlossen, Halt und Zuversicht
zu geben.«
C 3. CredoPadre todopoderoso,Creador de cielo y tierra.Su unico hijo, nuestro Señor,fué concebido por obra y gracia del Espíritu Santo.Descendió a los infiernos.Al tercer dia resucitóde entre los muertos.Subió a los cielos.Padre todopoderoso.Desde alli ha de venira juzgar vivos y muertos.Santa Iglesia Católica,resurreción de la carney la vida perdurable.Amén.
The Father almighty, maker of heaven and earth. His only son, our Lord, was conceived fromthe Holy Spirit. He descended into hell,rose again from the deadon the third day, and ascended into heaven. The Father almighty.He who will come againto judge the living and the dead.The Holy Catholic Church, the resurrection of the bodyand the life everlasting. Amen.
ARIEL RAMÍREZ
MISA CRIOLL A
A 1. KyrieTen piedad, Señor,ten piedad de nosotros.
Have mercy, Lord,have mercy on us.
B 2. GloriaGloria a Dios,y en la tierra paz a los hombres.Te bendecimos, glorificamos.Te damos gracias.Señor Dios, Rey celestial.Dios Padre todopoderoso.Sólo eres santo, Señor,tú sólo altisimo, Jesu Cristo.Con el Espíritu Santoen la gloria de Dios Padre.Amén.
Glory to God,and on earth peace to men.We bless you, we glorify you.We give you thanks.O Lord God, heavenly King.God the almighty Father.You alone are the Holy One, O Lord,you alone, Jesus Christ, the Most High.With the Holy Ghost in the glory of God the Father. Amen.
FRANZ SCHUBERT
G Die NachtWie schön bist du,freundliche Stille, himmlische Ruh!Sehet, wie die klaren Sternewandeln in des Himmels Auen,und auf uns herniederschauenschweigend aus der blauen Ferne.
Wie schön bist du,freundliche Stille, himmlische Ruh!Schweigend naht des Lenzes Mildesich der Erde weichem Schoß,kränzt den Silberquell mit Moosund mit Blumen die Gefilde.
How fair you are,O welcoming stillness, heavenly calm!Look how the clear starswander across heaven’s pasturesand gaze down on ussilently from the blue distance.
How fair you are,O welcoming stillness, heavenly calm!Silently spring’s gentlenessdraws closer to earth’s soft womb,crowning the silvery fountain with mossand filling the fields with flowers.
D 4. SanctusSanto, santo, santo.Bendito el que vieneen el nombre del Señor.Josana en las alturas.
Holy, holy, holy.Blessed is he who comes in the name of the Lord.Hosanna in the highest.
E 5. Agnus DeiDános la paz.
Grant us peace.
JOHN DOWLAND
F Time Stands StillTime stands still with gazing on her face.Stand still and gaze, for minutes, hours and years to her give place.All other things shall change but she remains the same,till heavens changèd have their course and time hath lost his name.Cupid doth hover up and down, blinded with her fair eyes,and fortune captive at her feet contemned and conquered lies.
8
STEPHEN FOSTER
L Ah! May the Red Rose Live AlwayAh! may the red rose live alway,to smile upon earth and sky!Why should the beautiful ever weep?Why should the beautiful die?Lending a charm to ev’ry raythat falls on her cheeks of light,giving a zephyr kiss for kiss,and nursing the dewdrop bright.Ah! may the red rose live alway,to smile upon earth and sky!Why should the beautiful ever weep?Why should the beautiful die?
Long may the daisies dance the field,frolicking far and near!Why should the innocent hide their heads?Why should the innocent fear?Spreading their petals in mute delightwhen morn in its radiance breaks,keeping a floral festivaltill the night-loving primrose wakes –Long may the daisies dance the field,frolicking far and near!Why should the innocent hide their heads?Why should the innocent fear?
Lulled be the dirge in the cypress bough,that tells of departed flowers!Ah! that the butterfly’s gilded wingfluttered in evergreen bowers!Sad is my heart for the blighted plants – its pleasures are aye as brief –they bloom at the young year’s joyful call,and fade with the autumn leaf:Ah! may the red rose live alway,to smile upon earth and sky!Why should the beautiful ever weep?Why should the beautiful die?
TRADITIONAL
O Amazing GraceAmazing grace, how sweet the sound,that saved a wretch like me!I once was lost, but now I am found,was blind, but now I see.
’Twas grace that taught my heart to fear,and grace my fears relieved;how precious did that grace appear,the hour I first believed!
When we’ve been there ten thousand years,bright shining as the sun,we’ve no less days to sing God’s praisethan when we first begun.
Amazing grace, how sweet the sound,that saved a wretch like me!I once was lost, but now I am found,was blind, but now I see.
Daniel Hope and Amarcord
Palau de la Música Vocal Quartet
9
10
Daniel Hope plays the “Ex-Lipiński” violin, a 1742 instrument by Giuseppe Guarneri del Gesù,
made available to the violinist by a German family that wishes to remain anonymous.
Recordings: Zürich, ZKO-Haus, 7 & 9/2020 (1–5, 8, 9, 13–15);
Berlin, Teldex Studio, 9 & 12/2020 (6, 7, 10, 11); Schloss Elmau, 6/2020 (12)
Recording Producers: Christoph Claßen (1–11, 13–15), Tobias Lehmann (12)
Recording Engineer (Tonmeister): René Möller (1–11, 13–15)
Executive Producers: Daniel Hope & Daniel Engstfeld
Executive Producer (Deutsche Grammophon): Angelika Meissner
Project Coordinator: Christina Khosrowi
Product Managers: Leonie Petersen, Isabel Stibor
Product Coordination Manager: Johanna Ihnen
Creative Production Manager: Nicole Albring
Publishers: WC Music Corp. – Neue Welt Musikverlag GmbH / A Warner Chappell Music Company (Ramírez);
� Casa Ricordi, Milano (Giazotto); � Éditions Durand, Paris (El-Khoury); � Universal Edition AG, Wien (Pärt);
Swinging Door Music – Neue Welt Musikverlag GmbH / A Warner Chappell Music Company (Foster);
� EMI Music Publishing France SA. Mit freundlicher Genehmigung der EMI Music Publishing Germany
GmbH (Andre & Schwandt)
� 2021 Deutsche Grammophon GmbH, Stralauer Allee 1, 10245 Berlin
� 2021 Deutsche Grammophon GmbH, Berlin
Booklet Editor: Eva Reisinger
Front & Back Cover Photos � Inge Prader
Artist Photos: � Inge Prader (Daniel Hope); � Harald Hoffmann (ZKO);
� Daniel Waldhecker (p. 9)
Design: Fred Münzmaier
www.deutschegrammophon.com
DANIEL HOPEALFRED SCHNITTKE: WORKS FOR VIOLIN AND PIANO
DANIEL HOPEHOPE@HOME
DANIEL HOPEBELLE ÉPOQUE