─ 帕菲爾．哈斯弦樂四重奏 PAVEL HAAS QUARTET

蕭士塔高維契的音樂是每一個四重奏樂團遲早要面對的挑戰. 但對帕菲爾．哈斯弦樂四重奏而言卻如同是在他們的遺傳基因一樣的熟悉. 此四重奏樂團不受限制, 衝動的, 而且有時狂熱的能量, 極端對比的感覺, 有發揮從令人嘆為觀止的細節與柔和到交響樂般的戲劇效果等各種層次的能力, 這些都是與蕭士塔高維契的音樂本質上有關的各種面向. 寫於1944年的第二號弦樂四重奏雖然是在安全的遠離第二次世界大戰所帶來的恐怖下完成, 卻反映出當時生活的苦難, 不確定性和焦慮(尤其是在第二樂章的抒情詩, 由第一小提琴手維諾妮卡.雅魯斯柯夫演奏). 同時在1960年完成的弦樂四重奏第七號和第八號是真實親密的自白. 雖然他將最短的第七號獻給他回憶中的前妻, 他卻很可能在生命徘徊在生與死薄薄的界線之間時打算將第八號當作自己的墓誌銘. 在第八號弦樂四重奏開始的DSCH音樂動機(motif)就是他的音樂簽名, 在整件作品中不斷的出現.


Shostakovich – his music is a challenge each and every quartet sooner or later has to face up to. Yet when it comes to the Pavel Haas Quartet, it seems to be in their very DNA. The ensemble`s unbridled, impulsive and, now and then, frenetic energy, sense for extreme contrast, ability to bring to bear gradation from breath-taking subtlety and tenderness to symphonic drama are facets essentially incident to Shostakovich`s music. Although composed in safety, away from the horrors of World War II, String Quartet No. 2 (1944) reflects the suffering, uncertainty and anxiety of living at the time (the lyrical Recitative of the second movement, as performed by Veronika Jaruskova, the first violin). Both dating from 1960, String Quartets Nos. 7 and 8 are truly intimate confessions. While Shostakovich dedicated the former (the shortest piece of the cycle) to the memory of his first wife, he most likely intended the latter as his own epitaph, at the time when be hovered on the thin line between life and death. Attesting to the autobiographical nature of String Quartet No.8 is the opening DSCH motif, Shostakovich`s musical signature, which reoccurs throughout the piece.