- Impromptu concertant, for violin & piano in G flat major
- Schliesse mir die Augen beide, song for voice & piano
- Sonata for violin & piano No. 1 in A minor ("Posthumous"), M. 12
- Andante for violin & piano in B flat major, Op. 75
- Little Pieces (4) for horn, violin (or viola) & piano, Op. 32
- Suite (Serenade) in A major, for violin & piano: 1. Mäßig - Energisch
- Untitled piece for violin & piano in D minor
- Pieces (2) for violin & piano, Op. 6: No. 1 from 2 Morceaux de salon
- Pieces (4) for violin & piano, Op. 7
- Préludes (12) for piano, Book I, L. 125 (117): Minstrels No. 12 (nerveux et avec humour)
- A Chloris, for voice & piano (from "Melodies, Book II")
- Liebesleid (Love's Sorrow), for violin & piano
- Préludes (12) for piano, Book I, L. 125 (117): La Fille aux cheveux de lin No. 8
- Miniatures, for violin, cello & piano, H. 87-89: Valse russe
- Winter, song for voice & piano (from "Jugendlieder")
- Berceuse, for violin & piano, Op. 28/3: No. 3 from 4 Pieces
- Morceau de lecture, for violin & piano
- Introduction and Allegro, for string quartet & string orchestra in G major, Op. 47
- Pieces (2) ("Chanson de matin" & "Chanson de nuit"), for violin & piano (later orchestrated), Op. 15: Chanson de matin
- Notturno (Adagio) for violin, harp & strings in A flat major
- Morgen ("Und morgen wird die Sonne wieder scheinen"), song for voice & piano (or orchestra), Op. 27/4 (TrV 170/4)
- Méditation, for violin & orchestra (or other arrangement) (from opera "Thaïs")
- Rêverie, for piano, L. 76 (68)
- Concert, for violin, piano & string quartet in D major, Op. 21
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0028948372447
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Overview
The Belle Époque, the era lasting from the end of the Franco-Prussian War to the beginning of World War I (1871-1914), was a diverse period; the name is indicative at best of general tendencies such as peace and prosperity, along with darker trends. Violinist Daniel Hope's Belle Époque album contains music from various countries in a wide range of styles, and it's not quite a concept album. However, it does hang together in interesting ways. Hope's program mixes orchestral pieces and chamber music; this could easily have happened in a late 19th century concert, which might have thrown in some solo piano music as well. His selections from both the salon and the learned studio, pieces like Fritz Kreisler's "Liebesleid," bump up against Webern's "Four Pieces, Op. 7," with most of the music somewhere in between. What's fascinating is that the light and heavy works seem to have things to say to each other. It helps that Hope unearths some less familiar items and recruits enthusiastic collaborators. The "Concerto for violin, piano, and string quartet" of Chausson (here played with a string orchestra) is an unusual and moody work, and there are such novelties as Schoenberg's totally tonal "Notturno for violin, harp, and string orchestra." Several pieces make use of Jane Berthe's harp, an instrument that doesn't always get its due in 19th century programming. The chamber music disc is full of attractive and rarely played items, such as Alexander Zemlinsky's "Serenade" and George Enescu's "Impromptu concertant," and if the Webern seems to come out of nowhere, an audience of the early 20th century might not have heard it that way. Both enjoyable and innovative, like so much of Hope's work.
Product Details
| Release Date: | 02/21/2020 |
|---|---|
| Label: | Deutsche Grammophon |
| UPC: | 0028948372447 |
| catalogNumber: | 003161002 |
| Rank: | 47979 |