A star named hope. The British violinist on Odessa, the teachers and the hope of dialogue

Biography of Daniel hope’s reminiscent of a disney fairy tale. The main character is a boy whose family had to leave home and seek his fortune in a strange land. The boy meets on his journey of good wizards that give him the ability to reach out to every soul.

In the case of Hope the foreign land was the United Kingdom, and a wizard — whether famous violinist Yehudi Menuhin, first drew attention to the ability of young immigrants, whether unknown German collector who had entrusted Daniel Guarneri.

However, reality has its own laws: no matter how wise nor was the advice of teachers, as wonderful as a musical instrument, success comes only to the violinist, who is ready for hard work. Daniel hope, a four-time nominee for the Grammys, knows this better than others.

On the eve of the festival’s 43-year-old virtuoso violinist told Focus that in some cases, career is more important than personal life that changed him beyond recognition, and why Odessa concert will be for the students a passport to another world.

7 Jun you play in Odessa. What do you know about this city?

I have to say about the city I know a little. The main thing for me is a musical reference. Odessa is connected with the great violinist David Oistrakh, who kept an incredible tradition of playing the violin.

I work with Grigory Zhislin and Zakhar Bron, teachers, which is strongly influenced by this school of violinists. So the trip to Odessa more than just a journey.

His first big move — from Durban to England — you’ve been through in 6 months. Your father persecuted for his anti-government views. How and when you learned that your family was in danger?

— When I was four years old, dad (a writer and a fighter against apartheid Christopher hope. — Focus) began to tell me about politics and about what is happening the world. I learned that South Africa was our home that our family lives in exile. 6 or 7 years, my father started taking me to rallies against apartheid. In London they were organized by Amnesty International.

Do you have any fear that someday prosecution can resume?

— No, never anything like what I feel. Thanks to Yehudi Menuhin we grew up in Haygate, very beautiful and green part of London. It was a heavenly place.

I had no fear, but knew that in other countries, refugees were worried about it. I think it kind of pushed me in school to study history.

They say that Yehudi Menuhin has inspired you to take up the violin and in 4 years you first picked up an instrument. What emotions did you have when you first touch it?

— It happened in front of Sheila Nelson, a magnificent children’s teacher, which Menuhin helped us find.

I was 4 years old when I first came to her. Sheila told my parents that I was too young and we should come later — perhaps six months or a year. I saw a violin hanging on the wall, and could not understand why I was not allowed to play. I was very angry. The teacher experienced a slight shock: I started to scream and shout, because obviously he did not want to leave. She removed the violin from the wall, gave me, I immediately grabbed her bow and began to play.

Distinctly remember this feeling: first, you don’t have allow, then you get it and then feel the violin and enjoyment from this, it seems, has not left me until now.

Looked like a typical day for a student hope? Did you have time for any Hobbies?

— Of course. I studied for a long time in the ordinary Highgate school. The school was concerned that students were always loaded. Therefore, the first years of teaching were for me a real challenge: how to do everything, but still find the time to work with the tool? I did everything that was recommended: played sports, participated in the debate, which in some English schools still remain a mandatory school subject. At some point the adults around me even began to worry about whether enough attention I pay to the tool.

When I was 13 or 14, I decided it was time to change the schedule. I realized that I wanted to focus on working with the violin, because the game is what I wanted to do. I had to prioritize.

However, I still have a few non-music Hobbies. For example, I still play tennis, though not as often as I would like.

In 10 years you first came on TV. Have you managed to avoid star fever?

— I don’t feel like a superstar. Was proud, happy and very nervous. At that time and age March on TV was akin to jumping into the ocean. But I wanted to, and I was inspired.

Since then, public speaking has become easier or more difficult?

— I would say that playing is always hard. Things change, you go through different phases. To come up on stage easier — on stage I feel like a fish in water. For me it’s something natural.

But playing the violin is still a big challenge. You should continue to grow, to prepare. My teacher Zakhar Bron says: “Any actor on stage — completely naked.” Therefore, psychologically — and musically — you face constant difficulties.

You had the opportunity to learn from musicians from around the world: Sheila Nelson is a native of Manchester, Zakhar Bron — from oral, Itzhak Rashkovsky — Odessa. Does the personal story of musicians-teachers on how they teach?

— I think so. Without Isaac Rostovskogo I would have never came close to what I managed to achieve. Today rashkovskii, a very popular teacher, but after moving to Israel he still had no pupils. I was the first and for some time only. It was an incredible success and unprecedented generosity on his part.

Isaac saw that I was a talented kid who has no idea how much work it has to perform. He laid the Foundation that gave me the opportunity to physically and technically to play the way I do it. The history of Israel and the relationship with Odessa was part of his personality. He loved to talk about it. In addition, we discussed with him the style of the great Russian musicians of Yampolsky and Yankelevich. How they worked with violinists-violinists and left handed-right-handed — a science. But Zakhar Bron was the brainchild of Oistrakh and talking about it.

Each teacher taught me the techniques characteristic of his school. And each of them brought something personal and different.

In his youth, many have difficulties with building personal relationships first. Playing violin helped you or, conversely, prevented?

— Probably helped. Put anyone on the scene, and the scene will give him something that will make it look special. I realized this quite early and as a young man sometimes allowed himself to use it. I think it’s natural (laughs).

At the age of 18+ people, as a rule, only begin to make serious plans for the future. You have already received education at the Royal College of music and moved to Hamburg for lessons with Zakhar Bron. Dreamed about this period?

— About how to play better. When I came to learn from Bron realized that I have a lot of work.

Together with his team of Maxim Vengerov and Vadim Repin this teacher caused a furore. Their appearance in Europe can be compared with the eruption of the volcano.

When I came to the Zakhar Bron, these disciples left him. In the life of a teacher has created a vacuum, he was trying to fill it with other musicians. Remember, I have realized that those who have advanced in the art of the game much further than I, was enough. For me it was something of a Wake-up: I want to achieve something — roll up your sleeves and Pasha. It was very hard to work with.

The impression that a career is the only thing you cared about.

— At that time — Yes. I was young, focused on learning and self-improvement. Family or something else was not on the agenda. Later, when I was studying in Lubeck, met his first wife. We had a long relationship in 2004 we got married.

Does the change in my personal life, for your style of play and teaching?

— Each new step is somehow changing me. Not only as a teacher but as a person. In 2014 I got married a second time. The wife is a fantastic artist. It’s really inspiring me with your work. Both marriages have changed my life and way of thinking and perception of the world. But it doesn’t compare to how I’m influenced by a three year old son.

He changed absolutely everything and what I want out of life, and the way I think about the future, looking at how it grows. Understanding that I am not the center of the universe, that somewhere out there there’s a little person who completely depends on me, is changing beyond recognition. No matter what I do, I always have to remember that he comes first. The love I have is limitless. This is incredible.

If you ascribe a son to the music?

— Play the violin I do not teach. But I already see that the son of a musical: once he hears music, he starts dancing and moving towards her. My wife and I often take him to concerts of classical music. And, of course, he attends all my concerts and rehearsals.

In addition, he showed a great love for rock music. We went to the London concert Eric Clapton. Since then, the boy heard of this musician, he is obsessed with electric guitars. Recently he has appeared. He sings, dances and plays — I think the family is growing by. Don’t know exactly what he is going to play which style choose. If he is interested in playing the violin, will do everything in my power to see that he learned to play.

You are one of those who listens exclusively to classical music. What’s in your playlist?

— I listen to folk, jazz, classical. It is important for me and someone who makes music. I am interested in the rock performers of the classics such as Eric Clapton, sting, with whom we cooperate. I listen to Peter Gabriel, lenny Kravitz, Prince, David Bowie. They’re my heroes in the music world.

In addition, I am in the organizing Committee of the music festival in Savannah (Georgia, United States. — Focus). Every year in March under the auspices of this festival takes place about a hundred concerts. Flamenco, bluegrass, gospel. On this site are incredible folk and jazz musicians.

In 14 years of cooperation with the festival, I was able to meet with many participants and organizers. People like Edgar Meyer, Christine Lee, Mike Marshall, Zakir Hussain, and what they do, expands my consciousness. And, consequently, my playlist.

You — the author of several books about classical music. What inspired you to write?

— Of course, this helped my dad. He was always pushing me to ensure that I have all had an opinion.

In high school, I attended classes of creative writing. Began to keep a diary — just transferred thoughts to paper. It was a great opportunity to take a breath and capture some moments in this crazy world.

I remember in my school years I was editor of the school magazine. Then, in 1999-2000-m working on their first albums, I started to take notes. And they just collected. One day I caught myself on the fact that I write a musical script. And then it came to books.

Despite the fact that most of the time I dedicate to the game, I like to sit down for hours to write. Some of this will be published, something- no, I do it for myself.

Your name inevitably evokes associations with the word “hope” is translated into Russian hope. What or whom do you hope?

— We live in a very strange world. Things change quickly, sometimes very strange. Certainly, we live in a very cruel world. Having a very young son, of course, want to protect him. I wish he was safe and happy.

I look forward to the dialogue. Without dialogue we as human beings have no chance. All we get is madness and confusion. It would be a real tragedy for the world. I hope that the channels for discussion, dialogue and diplomacy will continue to remain open. And hope that somehow we humans will find a way to get along with each other.

Hope the Ukrainian audience during your concert in Odessa?

— We with Alexey Botvinevym will bring an amazing program. I am very grateful to this talented pianist that he invited me.

Our program mix. The first part is more traditional, we will play Schumann, Brahms, Elgar also beautiful, but, I think, less known in Ukraine composer.

And the second part is a kind of retreat from the world classics. This is music that is written by our contemporaries. Imagine a lot of short etudes; works of Ludovico Einaudi, Arvo pärt and other composers. This will entice listeners on a journey they will start with very traditional pieces and are interested to follow what is happening until the very end of the modern the second part. The music of his contemporaries will pass to another world.