ベートーヴェン: ギターとピアノのための作品集

名ギタリスト、フランツ・ハラースが
ベートーヴェンの作品に挑む!

SACDハイブリッド盤。BISレーベルでもおなじみギターの名手フランツ・ハラースとピアニスト、デボラ・ハラースが2020年ベートーヴェン生誕250周年を記念してベートーヴェンの作品に挑みました。原曲は弦楽器またはフルートと鍵盤楽器のための作品とハラースが卓越した妙技で演奏。ギターの奥深い音色とピアノとの掛け合いが絶妙です。
キングインターナショナル

Listeners may be wondering which Beethoven works for guitar and piano are referred to in the title of this release by the husband-and-wife team of guitarist Franz Halasz and pianist Debora Halasz, who have performed often as the Halasz Duo. Beethoven wrote nothing for the guitar. He did compose several works for the mandolin, however, all of which are included here in transcriptions for guitar and piano by Debora Halasz. The program is filled out with variation sets and other early Beethoven works transcribed in the same way. The mandolin pieces are pretty rare themselves, and even rarer are the Five Pieces for mechanical clock, WoO 33. One work, the 12 Variations on Ein Madchen oder Weibchen, Op. 66, was transcribed not by Halasz but by Ferdinando Carulli, an Italian guitarist of the period, and this indeed suggests that the Duo Halasz was not going far beyond what would have been expected in Beethovens time. The mechanical clock pieces lose the strange sound that would have been their primary appeal, but the rest of the music is attractive stuff for the growing home market, and it works quite well in Halaszs arrangements. The mandolin pieces come out close to the originals, but the Serenade, Op. 41, originally for flute and piano, has a melodic facility that crosses the instrumental boundary; listen especially to the entrancing Adagio. Certainly, this is an hour and a quarter of music that will sound great at a party, which was the function much of it would have served in Beethovens time. The auditorium sound from the University of Munich is too spacious for the intimate scale of the music.