Monique Haas

別名：莫尼克·阿斯

國籍：法國

生日：1909-10-20

Monique Haas (20 October 1909 – 9 June 1987) was a French pianist.

Born in Paris, she studied at the Conservatoire there with Joseph Morpain and Lazare Lévy, taking a Premier Prix in 1927. She went on to study with Rudolf Serkin and Robert Casadesus. As a performer she toured all over the world, winning much praise for her performances of 20th-century music. The composer Francis Poulenc, himself an accomplished pianist, praised her as "the adorable Monique Haas who plays the piano ravishingly", and Henri Dutilleux described her as "a celebrated interpreter of the music of Ravel"

風(fēng)格：French piano players of Haas's generation were moving away from the facile and often brittle technique associated with Marguerite Long (frequently referred to as the "diggy-diggy-dee" style).[2] Haas combined the cleanness and precision associated with the older school with a warmth of tone colour that reflected the influence of Alfred Cortot. Her unsentimental readings, especially of Debussy and Ravel, give a different view of their music, presenting them as both modern and as inheritors of the tradition of Couperin and the clavecinistes of the 18th century.

Fascinating contrasts can be found between her two recordings of the Ravel Concerto in G. The earlier one, made in 1948, makes much of the work's connections with the jazz idiom of the twenties. The later recording, made in 1965, on the other hand, is far more "Mozartean", reflecting Ravel's self-confessed debt to Mozart when he wrote the concerto.

個人生活：Monique Haas的父親Louis Haas是個工程師，出生在巴黎的她從小衣食無憂。在巴黎高等音樂學(xué)院，Haas師從Joseph Morpain以及法國四大鋼琴教師之一的拉扎·列維并于1927年從列維班上以一獎畢業(yè)。走出學(xué)校后，Haas繼續(xù)在包括時任最出色并且也是如今我們耳熟能詳?shù)匿撉俅髱熆ㄋ_德許、塞爾金、埃內(nèi)斯庫等人手下接受私人教導(dǎo)。

Haas是一個現(xiàn)代派專家，不僅將德彪西、拉威爾的音樂處理得出神入化，Haas同當(dāng)時現(xiàn)代派的有名作曲家也交往甚密，包括Bohuslav Martin? ， Alexander Tcherepnin ， Alexander Tansman ， Conrad Beck ， Tibor Harsanyi 等人以及后來成為她丈夫的Marcel Mihalovici。她在斯特拉文斯基本人面前為作曲家演奏了Les Noces，指揮家更是大名鼎鼎的舍爾辛，并且早在貝爾格、韋伯恩等人還沒出名時便彈奏過他們的曲子。巴托克第三鋼琴協(xié)奏曲首演僅僅幾天后，Haas便能夠完美地將之再現(xiàn)，同時她還被公認(rèn)為亨德米特的演奏專家。

如果你認(rèn)為Haas只會彈奏現(xiàn)代派的音樂那么你就錯了。莫扎特和海頓同樣占據(jù)了這位氣質(zhì)出眾的鋼琴家相當(dāng)大比例的演奏曲目，而舒曼則是她最喜愛的浪漫派作曲家，更不用說她還對肖邦有著相當(dāng)深的研究。

二戰(zhàn)期間，身為猶太人的她和丈夫一起在戛納躲避戰(zhàn)亂。戰(zhàn)后她訪問了蘇聯(lián)以及中國，她的足跡也遍布美國、歐洲和澳大利亞。1968到1969年期間，Haas還曾短暫的在巴黎高等音樂學(xué)院擔(dān)任教授。

Haas晚年錄制的德彪西，拉威爾鋼琴獨奏作品全集，是頗具風(fēng)范的名演。