─ 法蘭茲．哈拉茲／吉他
─ 黛博拉．哈拉茲／鋼琴
在大約1800年時，維也納和巴黎一樣是歐洲的吉他表演中心，這種樂器很適合維也納的古典主義慣用語法並且是國內音樂製作的理想選擇。吉他被像是名演奏家瑪諾.朱利亞尼(Mauro Giuliani)和作曲家兼發行商安東‧狄亞貝里(Anton Diabelli)等人推廣，但是維也納的音樂巨擘貝多芬似乎不被吉他的魅力所感動，反而替吉他的兄弟曼陀鈴譜曲。
由法蘭茲．哈拉茲和黛博拉．哈拉茲夫妻檔組成的哈拉茲二重奏現在糾正了這一點，徵用了貝多芬現存的四首曼陀鈴與鋼琴作品(WoO 43與44)，還有改編一些早期的作曲，包含給長笛與鋼琴的D大調小夜曲和莫札特的給小提琴與鋼琴的變奏曲(如果他想跳舞 Se vuol ballare)。這樣的作法讓他們效法與貝多芬同時期的一位傑出吉他手，就是費迪南多.卡魯里(Ferdinando Carulli)，在此節目結尾的有一首卡魯里在1825年改編莫札特的(一位女孩還是一位女人 Ein Madchenoder Weibchen)變奏曲，法蘭茲和黛博拉．哈拉茲曾經各自單獨或一起為BIS廠牌錄製過幾張廣受好評的錄音專輯，包含獲得2015年拉丁葛萊美獎最佳古典專輯的巴西作曲家尼亞塔利(Radames Gnattali)室內樂作品(巴西魂Alma Brasileira, SACD2086)。
Around 1800 Vienna was, alongside Paris, one of the European centres for guitar performance. The instrument was well suited for the idiom of Viennese classicism and ideal for domestic music-making and it was promoted by figures such as the virtuoso Mauro Giuliani and the composer/publisher Anton Diabelli. But Beethoven, the towering giant of musical Vienna, seems to have been unmoved by the charms of the guitar –while instead composing for its sibling, the mandolin.
Duo Halasz, the husband and wife team of Franzand Debora Halasz,has now rectified this, by appropriating Beethoven`s four extant pieces for mandolin and piano (WoO 43and 44) as well as adapting some other early compositions, including the Serenade in D major for flute and piano and the Variations on Mozart`s `Se vuolballare` for violin and piano. In doing so they follow the example of an eminent guitarist and contemporary of Beethoven, nam ely Ferdinando Carulli, whose 1825 arrangement of the Variations on Mozart`s `Ein Madchenoder Weibchen` closes the programme. Franz and Debora Halasz have made a number of recordings for BIS, together and separately, to critical acclaim, including a Latin Grammy Award for their disc Alma Brasileira with chamber works by Radames Gnattali.
DISK 1 CD
| 編號 | 曲目 |
| 1. | | Serenade in D major, Op. 41, I. Entrata. Allegro |
| 2. | | Serenade in D major, Op. 41 II. Tempo ordinario d’un Menuetto |
| 3. | | Serenade in D major, Op. 41 III. Allegro molto |
| 4. | | Serenade in D major, Op. 41 IV. Andante con Variazioni |
| 5. | | Serenade in D major, Op. 41 V. Allegro scherzando e vivace |
| 6. | | Serenade in D major, Op. 41 VI. Adagio |
| 7. | | Serenade in D major, Op. 41 VII. Allegro vivace e disinvo |
| 8. | | Sonatina in C minor, WoO 43a (orig. for mandolin & piano) |
| 9. | | 12 Variations in F major on ‘Se vuol ballare’, WoO 40 (orig. for violin & piano |
| 10. | | Sonatina in C major, WoO 44a (orig. for mandolin & piano |
| 11. | | Adagio ma non troppo in E flat major, WoO 43b (orig. for mandolin & pian |
| 12. | | Andante con Variazioni in D major, WoO 44b (orig. for mandolin & piano) |
| 13. | | Pieces originally for mechanical clock, Adagio in F major, WoO 33a |
| 14. | | Pieces originally for mechanical clock, Allegro non piu molto in C major, WoO 33b |
| 15. | | Pieces originally for mechanical clock, Scherzo. Allegro in G major, WoO 33a |
| 16. | | Pieces originally for mechanical clock, Allegretto in C major, WoO 33b |
| 17. | | Pieces originally for mechanical clock, Allegro in G major, WoO 33 |
| 18. | | 12 Variations in F major on ‘Ein Madchen oder Weibchen’ Op.66 (arr. Carulli 1825) |
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