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Violins of Hope

Live at Kohl Mansion - Heggie, Schubert & Mendelssohn

Sasha Cooke (mezzo-soprano), Daniel Hope (violin), Sean Mori (violin), Kay Stern (violin), Dawn Harms (violin), Patricia Heller (viola), Emil Miland (cello)

Awards:

Heggie accomplishes the task with incontestable fluency, opting for a musical language that marries the contours of Jewish melody with popular idioms…Whether the music penetrates fully the horror...

Violins of Hope

Live at Kohl Mansion - Heggie, Schubert & Mendelssohn

Sasha Cooke (mezzo-soprano), Daniel Hope (violin), Sean Mori (violin), Kay Stern (violin), Dawn Harms (violin), Patricia Heller (viola), Emil Miland (cello)

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Awards:

Heggie accomplishes the task with incontestable fluency, opting for a musical language that marries the contours of Jewish melody with popular idioms…Whether the music penetrates fully the horror...

About

Violins of Hope presents instruments that were owned by Jewish musicians before and during the Holocaust, representing strength and optimism for the future during mankind's darkest hour. They have been refurbished by luthiers Amnon and Avshalom Weinstein, founders of the Violins of Hope project. On this album, recorded live at Kohl Mansion, the instruments are used to perform two string quartet masterpieces by Schubert and Mendelssohn, alongside a new composition by Jake Heggie, inspired by the violins histories. Schubert's unfinished Quartettsatz is often considered Schubert's first mature work, and displays a typically Schubertian mix of impetuous agitation and sublime lyricism. Mendelssohn wrote his Quartet in F Minor as a Requiem for his deceased sister Fanny, not knowing that tragically enough he would follow her fate only two months later, at the age of 38. These two captivating works are performed by Kay Stern, Dawn Harms, Patricia Heller and Emil Miland, who join forces with mezzo-soprano Sasha Cooke, violinist Daniel Hope and the young violin talent Sean Mori on Heggie's INTONATIONS: Songs of the Violins of Hope. The recording took place in the context of Holocaust Memorial Day 2020.

Jake Heggie has a vast PENTATONE discography, including the opera It's a Wonderful Life (2017) and song recital albums by Jamie Barton (Unexpected Shadows, 2020), Melody Moore, Lisa Delan and Joyce DiDonato. Sasha Cooke returns to PENTATONE after having featured on Mason Bates Grammy Award-winning opera The (R)evolution of Steve Jobs (2018). Daniel Hope, Sean Mori, Kay Stern, Dawn Harms, Patricia Heller and Emile Miland all make their debut on the label.

Contents and tracklist

No. 1, Ashes [Live]
Track length5:13
No. 2, Exile [Live]
Track length4:21
No. 3, Concert [Live]
Track length6:37
No. 4, Motele [Live]
Track length5:40
No. 5, Feivel [Live]
Track length6:50
No. 6, Lament [Live]
Track length5:34
No. 7, Liberation [Live]
Track length6:02
I. Allegro assai (Live)
Track length8:23
I. Allegro vivace assai (Live)
Track length7:41
II. Allegro assai (Live)
Track length5:04
III. Adagio (Live)
Track length7:55
IV. Finale. Allegro molto (Live)
Track length5:51

Spotlight on this release

  • Violins of Hope

    12th Feb 2021by Katherine Cooper

    Instruments previously owned by Holocaust survivors and restored by the Weinstein family sing with a special power in Schubert, Mendelssohn, and a new work by Jake Heggie which tells their stories.

Awards and reviews

  • Presto Recording of the Week
    12th February 2021

March 2021

Heggie accomplishes the task with incontestable fluency, opting for a musical language that marries the contours of Jewish melody with popular idioms…Whether the music penetrates fully the horror is for each listener to decide; but there’s no gainsaying the power and sincerity of the performance headed up by the probing mezzo of Sasha Cooke and impassioned eloquence of the aptly-named solo violinist Daniel Hope.

April 2021

The performance here, recorded live at its premiere, is remarkable for being as polished as it is ferocious.

12th February 2021

It’s Heggie and Scheer’s remarkable new work that lingers longest in the memory: as with their previous collaborations, the treatment of difficult subject-matter is unfailingly direct and sympathetic, avoiding the pitfalls of either crassness or sentimentality, and hearing it performed on some of the very instruments it depicts is moving in the extreme.
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