{"id":33711,"date":"2016-01-29T15:43:08","date_gmt":"2016-01-29T20:43:08","guid":{"rendered":"https:\/\/www.ludwig-van.com\/?p=33711"},"modified":"2016-03-26T17:51:32","modified_gmt":"2016-03-26T21:51:32","slug":"33711","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2016\/01\/29\/33711\/","title":{"rendered":"SCRUTINY | Daniel Hope: If It Were Not For Yehudi Menuhin"},"content":{"rendered":"
\"Daniel
Daniel Hope and pianist Sebastian Knauer perform an evening of Menuhin-inspired works in celebration his 100th birthday.<\/figcaption><\/figure>\n

Yehudi Menuhin @ 100 with Daniel Hope (violin) and \u00a0Sebastian Knauer (piano) at Koerner Hall Thursday, Jan. 28.<\/h3>\n

[Originally Published in the Toronto Star<\/a>]<\/p>\n

It’s hard to believe Yehudi Menuhin, one of the most prominent violin virtuosos of the 20th-century, has only been gone for 17 years. His spirit is still warmly remembered. He created new possibilities for the violin and showed that it could sing every bit as lyrically a dramatic soprano, or play every bit as smoothly as a viol in a baroque court. Later in life, his technique waned, but he re-reinvented himself as a thoughtful and searching musical ambassador.<\/p>\n

This is when young British violinist Daniel Hope first rose. The connection between them was so deeply felt<\/a> that Hope proclaimed Menuhin was the very reason he became a violinist. The two performed together for many years and regarded one another as family.<\/p>\n

This fateful impact was intensely felt last night under the microscopic acoustics of Koerner Hall in honour of Menuhin’s 100th birthday.<\/p>\n

Hope, joined by pianist Sebastian Knauer, opened the Menuhin doors with J. S. Bach’s beguiling Violin Sonata No. 4 \u2013 a piece Menuhin originally recorded with Glenn Gould<\/a> in 1965. Playing at a snappy pace that would have dared any baroque purist to oblige, Hope, using an iPad rather than a score, countered the perpetual counterpoint in the piano with a dangerously precarious rubato. The effect was an uneasy tension throughout the contrasting slow-fast-slow-fast movements.<\/p>\n

The duo then introduced George Enescu’s swashbuckling, yet sincere “Impromptu”. Hope’s tone made swift converts out of those who take heart-on-sleeve romantic repertoire to task for its maudlin sensibility.<\/p>\n

Yehudi Menuhin’s now definitive version of Mendelssohn’s Violin Sonata in F Major provided an ideal vehicle for the palaver between Hope and Knauer. Each navigated the devilishly difficult final Assai vivace<\/em> with finesse. The audience was heard gasping at the sheer virtuosity on display.<\/p>\n

Next was Ravel’s darkly lit “Kaddisch”. Hope had played it as an encore for Menuhin’s last public appearance, just days before he died. The sentiment was powerful. Lines were shaped with a velvet tenderness while Knauer’s open chords sounded a prayer for the dead. Hearing it was worth the price of admission alone.<\/p>\n

Other highlights included Bart\u00f3k’s six \u201cRumanian Folk Dances\u201d, which were not so much played, but danced… as they should be. There was also Walton’s Violin Sonata, which Menuhin originally commissioned to help him cover a friend’s medical bills (funny how these things come about). Rarely played, they deserve to be heard more often.<\/p>\n

Responding to the roused audience, Hope and Knauer closed the night with two encores: Gershwin’s “I got Rhythm”, and Aaron Copland’s “Nocturne”, to reflect Menuhin’s love of Jazz. Hope and Knauer played the first in a hybrid style between Oscar Peterson and Stephane Grappelli. The second was drippingly lush and left everyone with a grin on their face for the drive home.<\/p>\n

All told it was a moving tribute by one of the most authentically talented violinists of his generation. One could feel the spirit of Yehudi Menuhin grinning along with us.<\/p>\n

#LUDWIGVAN<\/em><\/strong><\/p>\n

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