- Humoresque for piano No. 7 in G flat major, B. 187/7 (Op. 101/7)
- Geistliches Wiegenlied ("Die ihr schwebet"), song for alto, viola & piano, Op. 91/2
- Auf dem Wasser zu singen ("Mitten im Schimmer der spiegelnden Wellen"), song for voice & piano, D. 774 (Op. 72)
- Hungarian Dance for piano, 4 hands, in G minor, WoO 1/5
- Nocturne for violin & orchestra in A, Op 12
- Hungarian Dance for piano, 4 hands, in G minor, WoO 1/1
- Pieces (3) for violin & piano, Op. 2: 1. Romanza
- Scherzo for violin & piano in C minor (third movement of "F-A-E Sonata"), WoO posth. 2
- Romance, for violin & piano in D flat major, Op. 22/1
- Violin Concerto No. 1 in G minor, Op. 26
The Romantic Violinist features both famous pieces and lesser-known works associated with Joachim, including Bruch's ever-popular Violin Concerto No. 1 in G minor and two of Joachim's own compositions, the Notturno for violin and orchestra and the Romance for violin and piano. The album includes Joachim's arrangements of Brahms's Hungarian Dances Nos. 1 and 5 in new versions for violin and strings, as well as an arrangement for violin and orchestra by mid-20th-century film composer Franz Waxman of Dvorák's Humoresque, Op. 101, No. 7.
The orchestral works feature the Royal Stockholm Philharmonic conducted by Sakari Oramo. There are also chamber pieces by Clara Schumann (a Romanze dedicated "in deep friendship" to Joachim) and Brahms (the Scherzo from the "F-A-E" Sonata, the multi-composer tribute based on Joachim's motto, "free but lonely"), performed with pianist Sebastian Knauer.
Hope adds his own transcription of Schubert's song "Auf dem Wasser zu singen," which he was inspired to include after discovering that it was performed in recital by Joachim's wife, a contralto. Finally, Hope switches from violin to viola for Brahms's "Wiegenlied" (the Brahms lullaby), joined by mezzo Anne Sofie von Otter and pianist Bengt Forsberg.
In his liner notes to The Romantic Violinist, Hope writes: "For as long as I can remember, the name Joseph Joachim has intrigued me. I first saw it on the title page of Brahms's Violin Concerto -- which he dedicated to Joachim -- when I was a boy studying the piece, then again in the score of the Bruch Violin Concerto in G minor, which Joachim edited. Some of the first records I owned were of 'vintage' violinists, including Ysaÿe and Sarasate, but it was Joachim's unique sound that especially captivated me and put a musical face to the mysterious name.
"Then one night after a concert in Munich, a lady gave me a book she had written about Joachim. I began to research this fascinating figure, and was struck by his creativity and the breadth of his influence on Romantic composers. With this album, I have tried to paint a musical picture of this extraordinary violinist and visionary." From the Label