Kodály: Duo for Violin and Cello
Dvořák: Piano Trio No.4 “Dumky”
Barnabás Keleman (violin), Nicolas Altstaedt (cello), Alexander Lonquich (piano) (Alpha)
(scroll down for English review)
高大宜及德伏扎克本是常見的節目組合，尤其是在管弦樂，但把高大宜《小提琴及大提琴二重奏》和德伏扎克《悲歌三重奏》放在一起卻很少見。三位演奏者早前在同一品牌，和其他人錄的一張巴托《鋼琴五重奏》，在好些音樂獎項拿了獎，這次繼續推出中歐室樂錄音。
高大宜這首《二重奏》可謂布拉姆斯《雙重協奏曲》以外，寫給小提琴及大提琴作獨奏的音樂中最重要的作品。創作於一戰爆發前的布達佩斯，亦是一個時代見證，風格也可和同時代的楊納傑克及巴托相提並論。Keleman及Altstaedt的演奏，優勝在沒有過度誇張的帶出民族音樂的味道，他們把高大宜很細緻的發音指示，當成表現民族音樂風味的提示，令演奏看似充滿兩人的即興增減，其實是原曲如此。
德伏扎克《悲歌三重奏》則屬另一時代、對所謂民族音樂的另一種表達風格，我覺得在這裏，加入了Alexaner Lonquich的這個組合就較受作品掣肘，可以增強的空間不多，然而小提琴及大提琴傾向往內縮，給鋼琴更強的領導位置。Lonquich的琴音，敲擊感稍強，不知道是否他專為此曲營造的民族風味？
The combination of Kodály and Dvořák is more frequently seen in orchestral music than in chamber music. Following their success of the Bartók Piano Quintet album, here’s more Central European chamber music from these performers.
The Kodály duo is probably the most important work for solo violin and cello, apart from the Brahms Double Concerto. And the date of its composition, 1914, seemed to be a testament to the pre-WWI world. Keleman and Altstaedt’s interpretation didn’t overemphasize the folk element, yet its attention to Kodály’s minute details gave me the impression of two folk musicians ornamenting here and there. But actually it was also in the score.
The beloved Dumky trio is in a quite different, or nostalgic style. I suppose Keleman, Altstaedt and Lonquich were somehow constricted by Dvořák’s more restrained style. And I feel that the strings withdrew too much to make way for the piano. Lonquich’s percussive piano playing might or might not be an intentional folk nuance.