The violinist, Daniel Hope, was a protégé of Sir Yehudi Menuhin, who was a protégé of the violinist Louis Persinger (1887-1966), who was a protégé of the violinist Hans Becker (1860-1917) and on that line of connection extends through history, one generation encouraging the next.

Of the many things Daniel Hope says he learned from Mehuhin, one was resilience. In the 1970s, Hope’s parents escaped apartheid-South Africa where they had been under surveillance because of their support of black creative artists. Safely in London, they quickly ran out of money. Hope’s mother took a job as Menuhin’s secretary. As Daniel Hope says in My Tribute to Yehudi Menuhin, “For the next years, I grew up in Mehuhin’s hoause in Highgate, London, where my mother would take me every day to play, while she worked.”

Fast forward. In 2007, Daniel Hope’s career as a soloist is in full flight, and he is invited to collaborate with the Swedish soprano, Anne Sofie von Otter, on her Terezín/Theresienstadt project, an exploration of music written and performed in the camp that the Nazis were trying to portray as a propaganda showcase. Just north of Prague, Theresienstadt was the “Jewish Settlement” where imprisoned Jewish creative artists where were granted “permission” to continue creating art, not for the concert stage but for the camp’s other residents before they were transported to their demise.

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