Kornauth, Fuchs: Viola Sonatas
Katharina Kang Litton (viola), Andrew Litton (piano) (BIS)
(scroll down for English review)
指揮列頓的太太Katharina Kang是紐約市芭蕾舞團的首席中提琴，這碟婦唱夫隨，列頓以鋼琴伴奏。曲目雖然全是在20世紀初創作，但聽來卻是早半世紀的音樂語言，因為都是維也納作曲家，但他們的維也納，不是馬勒或者分離派的末世絢爛維也納，而是布拉姆斯的保守維也納。
所以這裏三首作品都是和布拉姆斯的兩首中提琴奏鳴曲一脈相承，抒情的旋律盡量簡單地在中提琴表達，鋼琴則營造熱情或柔情的背景。Robert Fuchs即是那個在維也納音樂院教作曲，被馬勒一眾年青前衛學生鄙視的那位。不過坐得上維也納教席，即使沒有驚天動地的創意，也會有穩妥的根基，他那兩首中提琴作品都是穩打穩紥，要旋律有旋律，要感情有感情，只差在夠不夠深刻而已言。
Kornauth於1912年寫的《中提琴奏鳴曲》（軌一至三）我覺得一般，有時是鋼琴還好聽過中提琴。至於Fuchs，我喜歡《六首幻想小曲》（軌四至九）多過《中提琴奏鳴曲》（軌十至12），或者這種旋律在較短的格式會更為自然，寫得長就比較勉強了。作為安歌有一首《阿里郎》（軌13）的中提琴／鋼琴版本，由侯夫改編，以他和列頓的交情，很大機會是他專為這對夫妻而寫的。
This is Andrew Litton and Mrs. Litton’s first collaboration on disc, with three works for viola written in early 20th century. However, the musical idiom is anything but modern, because these Viennese composers belonged to the conservatism of Brahms’s Vienna.
Obviously written in the shadow of Brahms’ viola sonatas these works are worthy additions to the repertoire but probably won’t appeal to most ears already spoiled by immortal melodies. I’m more attracted by Fuchs than Kornauth, although both works conform to the good taste of ample melodies and emotions. Of the two works by Fuchs I recommend the Six Fantasiestücke (tracks 4-9) because Fuchs’ simple melodies seemed to work better in the more concise form.
As an encore, the Arirang (track 13) is the obvious reminder of Mrs. Litton’s Korean heritage. It was arranged by Stephen Hough, and judging his numerous collaborations with Mr. Litton I’d say he made this arrangement especially for this couple.