Interview, Chad Hoopes plays Adams and Mendelssohn

At the age of just nineteen, the American violinist Chad Hoopes has already built up an impressive musical CV; having first attracted attention by winning the Young Artists Division of the Yehudi Menuhin International Violin Competition, he has since appeared with numerous orchestras worldwide, as well as making appearances on TV and radio.

His latest disc is a fascinating juxtaposition of old and new, pairing John Adams's 1993 Violin Concerto with the time-honoured favourite by Mendelssohn.

The sleeve notes accompanying this disc shed a little light on some areas of common ground between these two works, in particular the circumstances in which they were composed. Even so, they're worlds apart stylistically and musically, not to mention in time - what made you choose this particular pairing?

>I chose the Mendelssohn Concerto because it is a piece which I love so much. I have many memories and emotions connected to this particular concerto and I feel like I am able to communicate and express these musical emotions to the listener. My dream is to contribute to the rich legacy that the concerto offers. Adams, on the other hand, is something completely new and quite technically demanding. I wanted to challenge myself and present two works which I felt would represent my passion for new music, in addition to the standard repertoire. I feel like this pairing is a unique combination and will leave a significant impression.

Which came first? Did you set out to record the Mendelssohn and then search for a contrasting counterpart, or were you initially drawn to the Adams - or both, or neither?

>I had always wanted to feature the Mendelssohn Concerto on my debut album. The Adams was indeed something I found while searching for a contrasting counterpoint. I simply fell in love with the jazzy and improvisational character of the concerto. In addition, I feel it is crucial to play music composed by living composers.

The Mendelssohn concerto is probably one of the top three concertante works for violin in the entire Western canon. Did you find it difficult to avoid being too strongly influenced by the various other musicians (living and dead) who have put their stamp on it - to find your own way of making the work your own?

>I've never thought or worried about avoiding the influence other violinists have had on particular pieces of music. If I am genuine, and have an honest approach to the music, I will automatically put my own distinct stamp on it. My musical voice is what makes it my own.

When listening to the Adams, various composers' names sprang to mind - Shostakovich, Copland, Barber, even Messiaen at some points! Was there a composer or style that you felt cast a particularly long shadow over this work?

>There are indeed similar characteristics a listener can distinguish while listening to the different concertos listed. However, I think Adams is so innovative in the way he builds and structures the piece by weaving operatic melodies in and out of the solo and orchestral part. The themes posses a depth of human nature that a listener can relate to.

You're obviously not afraid to stray off the beaten track in terms of your performance choices - where do you see your next few albums taking you repertoire-wise?

>The repertoire for the next few albums is something I am still considering, but please stay tuned for updates!