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

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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.”

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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

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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