Robert Dauber: Serenade
Ernest Bloch: Nigun
John Williams: Theme from Schindler's List
Julius Chajes: The Chassid
Sharon Farber: Bestemming - Triumph
Szymon Laks: Trois pièces de concert
George Perlman: Dance of the Rebbitzen
Paul Ben-Haim: Berceuse sfaradite
Maurice Ravel: Kaddisch
Paul Ben-Haim: Three Songs Without Words

Every time I see a recording project based on this type of concept being released, my "cynical" radar beacon goes up, and the signal I receive is usually one of a struggling musician trying to prey on people's emotions by latching on to a cause, but without any artistic backbone or merit to support the endeavour. Well, sometimes my radar equipment is defective. In this case for example, violinist Niv Ashkenazi, a former student of Itzhak Perlman, has all the consummate musicianship and artistic vision to pull this off. Mind you, none of the pieces on this recording really demand a high level of technical prowess, but what they do require to come across as intended, is a finely-tuned expressive character. And Niv Ashkenazi, along with pianist Matthew Graybil, well project their pain, joy, sorrow, and deep rooted Jewish heritage.

The booklet notes explain: "Violins of Hope is an artistic and educational project composed of instruments that were owned by Jewish musicians before and during the Holocaust. Violins in the collection were played in the concentration camps and ghettos, providing a source of comfort for some and a means of survival for others. Above all, the instruments represented strength and optimism for the future during mankind's darkest hour. Wherever there was music, there was hope. The project was founded by Amnon Weinstein and his son Avshalom Weinstein, Israeli luthiers who collect the instruments, refurbish them to concert quality, and bring them to communities all over the world. Although the instruments make beautiful museum pieces, at the heart of the Violins of Hope project is the Weinsteins' commitment to ensuring that the instruments are played again. Niv Ashkenazi is the only violinist in the world to hold an instrument from the Violins of Hope collection on a long-term loan." {James A. Grymes}

Niv Ashkenazi adds this comment about the instrument itself: "The violin was built between 1900-1929 in eastern Europe or Germany. I have chosen Jewish repertoire from throughout its lifetime." To my ears, it seems the Weinsteins took great care in the restoration of this instrument. It projects a rich, and darkly burnished sweet tone, perfectly suited to the music at hand. I'm sure there are many ways to memorialize and immortalize the Holocaust, but this one definitely brings to it a deeply human, and intimate touch.