巴托克的《44首双小提琴二重奏》,sz98,受德国教育家多夫莱因(erich doflein,1900- )的委托,作于1931年。这是巴托克为多夫莱因创作的小提琴教材,1932年1月20日,由瓦尔德鲍尔(waldbauer)与哈诺瓦在布达佩斯首演。这首作品取自民间音乐素材,采用巴赫圣咏的编曲方式,即“旋律以全不变形的民歌原样,或稍作变形,加上适当的伴奏。”
(摘自林逸聪编着《音乐圣经》)
Gramophone Classical Music Guide
2010
“Hearing top-grade quartet violinists tackle these flavoured educational duos is a delight, though not an original one. (The Emerson's co-leaders Eugene Drucker and Philip Setzer have already done likewise, albeit to quite different effect.) All, or virtually all, is revealed right from the opening 'Transylvanian Dance' where the newcomers' phrasing and rhythm are appropriately unbuttoned, their combined tone full but unforced.
(Note: Keller and Pilz actually start at the end with Duo 'No 44'.) Bartók's original plan had been to place the easiest pieces first, then gradually pile on the challenges as the series progressed.
However, for concert purposes he sanctioned the idea of not playing them in order.
Their chosen sequence is very well planned.
The interpretative axis centres principally on harmony and rhythm, and characterisation is always vivid. In general the slower pieces leave the strongest impression: that's where these players harbour their most personal responses, but then the slowest pieces probably are the best. Though Sándor Végh's accounts with Alberto Lysy are rather more earthy, the advantage of this version is that it seems to have been conceived with continuous listening in mind: the ear never tires.
It would be easy to pigeonhole this set as veering in the general direction of the Végh's Bartók, just as the Keller's Bartók quartet cycle does, then make a parallel observation of Drucker and Setzer as representing the less stylised manner of their own Emerson Quartet.
Which would be fairly accurate and explain a preference for this disc, where an extra shot of interpretative re-creativeness ultimately wins the day. The sound quality is spacious and pleasingly full bodied.”