After an absence of more than a decade the welcome to Daniel Hope and accompanying emerging pianist Marie-Sophie Hauzel was robust and enthusiastic. Hope’s sobriquet is a ‘virtuosic fiddle player’ with a slick stage presence and artistry, noted for pushing boundaries and seamlessly traversing that ‘silky tone’ and expressive vibrato. He is a concert soloist, chamber musician, recording artist, here tonight to show off his major tenure as a classical violinist. German pianist Marie-Sophie Hauzel is recognised as one of the most gifted and exciting young artists of her generation. An award- winning pianist she has graced the leading venues of Europe and America.
The duo have a close, empathetic interplay that’s curated with warmth, dexterity and a thoroughly classy act demonstrating both instruments’ vocal and rhythmic versatilities. They exude a magnetic presence on stage presenting music from the “La Belle Epoch” (1871-1914) featuring major works by Elgar and Dvorak, with salon pieces by Gabriel Faure, Felix Mendelssohn and George Enescu. Beginning with an expressive performance of Enescu’s Impromptu Concertante, a rarely-performed piece, producing contrasting styles while sustaining a long lyrical line to Hauzel’s empathetic accompaniment.
The duo extracted the depth of this characteristic Parisian feel. Hope’s impressive instrument is a rare 1742 Guarneri violin once employed by the virtuoso Lipinsky, was masterfully played by Hope with refined musical insight. Enescu’s piece is a beautifully fluid romantic short work that’s known for sounding spontaneous with sweeping melodies that showcase the virtuosity and communication of both musicians. The Impromptu Concertante is intensely lyrical and rhapsodical with rolling waves and intense dialogue. As the piece nears its end, Enescu settles the structural tension, dissolving into a quietly warm finish.
Gabriel Faure’s Andante Op.75 originated as a reworking of his unfinished Violin Op.14 which relates to a walking, slow tempo. Composed in 1897, it personified his unique and progressive style for which he was regarded as the greatest master of French song, piano and chamber music. Its freely expanding melody and harmonic form ensures Faure delivers something better than could be expected. His piano compositions contain some of the most beautiful music ever written.
With Antonin Dvorak’s Sonatina Op.100, a celebrated chamber music masterpiece composed to celebrate the composer’s 100th opus milestone in the U.S. The Sonatina is structured into four highly melodic movements reflecting a blend of Native American themes , spiritual folk styles with traditional Czech rhythms.
Our duo extracted every ounce of energy and sensitivity, featuring a spirited dialogue between the instruments, carrying the folk character which morphs into a haunting melodic stand-alone violin encore. It is followed by a short movement that has a polka-like feel ending in a light-hearted burst of technical flair. Our two musicians showed artistic fulfilment in playing it.
Felix Mendelssohn’s On Wings of Song is one of the greatest compositions of the early Romantic era. (Auf Flugeln des Gesanges Op.34 No.2) is a famous lyrical art song that has become a staple of classical violin repertoire, that preserves the delicate vocal line by adding rich double-stops with high register showcasing the warmth of the instruments with flowing piano arpeggios. Listening to this achingly beautiful piece is akin to being wooed or serenaded by someone, the spirit entranced by the outpouring of another’s love. It reflects the representation of music as agency in Nineteenth century culture. While the violin does the wishful courting sounds, it is the piano that is the celebrated power.
The concert reaches the closing score with Edward Elgar’s Sonata for Violin and Piano Op.82, a master-class of virtuosity where both performers expressed the full gamut of emotions giving a gripping experience of Elgar’s less popular work compared to Pomp and Circumstance with striking musical vitality. The three pieces are emotional depth charges drawing in the audience with their profoundly moving melodies. By the end of the Great War, Elgar was in poor health and deeply disturbed by what had befallen Europe. Ensconced in Sussex, he enjoyed his last creative period by tributing the melancholic theme from the slow movement to the memory of a dear friend, Marie Joshua, who passed just days after receiving his letter. The movements contain anger, frustration and impending grief echoed in the piano chords. The slow movement Romance has the two instruments flirting and teasing each other with a constant tempo. The forlorn melody gives way to a more defined bitter-sweet memory where the coda gathers strength and warmth for one last outburst with an affirmation of a hopeful note.
The furious clapping and stomping was thunderous ensuring an encore. More insistent clapping got the engaging musicians back on stage with a stellar performance of Lilli Boulanger’s glistening Nocturne.
This performance was created by Classical Music Australia’s innovative payment options which by “Pay what you can” and “Pay it forward “ gave 120 audience members a ticket they would have otherwise foregone.
The concert, presented by Classical Music Australia, played the Concourse Chatswood on Wednesday 11 June 2026.
Hope he played some of his signature pieces. Did he include anything unexpected during the recital?