法国小提琴家与音乐纪录片导演布鲁诺·蒙桑容的作品，风格相当接近他在两年后拍摄的《里赫特：谜》，由传主面对镜头，讲述他的音乐人生，穿插大量纪录片影片镜头。

在德裔苏联大钢琴家里赫特去世前一年，纪录片导演、小提琴家布鲁诺·蒙桑容（他因拍摄古尔德、梅纽因而成为音乐家纪录片领域内的大师）带着摄制组和传主同起居近一年，其成果是这部纪录片以及一本谈话录《里赫特：笔记与对话》见
。
纪录片拍摄得非常朴实，传主本人对着镜头，用俄语讲述他的一生事件和艺术观念。态度和用语相当直率，据说在书中，保留了更多他的“粗话”。

人称小提琴是魔鬼用以蛊惑人心的名器，足以煽动天雷燎燃地火於股掌之间。自帕格尼尼以降，驰骋於弓弦之间的名家们以迥然迴异的风格与技法挑战此一乐器的所有可能，发展出与钢琴对列为王者之姿的浩然轨迹。
本片详实而中肯的记录了二十世纪小提琴巨匠的一脉相承与艺术面向，丰沛而深入的凿痕纪实与多样侧写使您在欣赏了无数的演奏与唱片赏析经验后得以重新省视那源源不绝的音乐能量是如何的起源。对於亟欲在2个小时内窥尽音乐史上此一绝代乐器之尊所勾勒的重重巨峰者，这是绝佳的入门之钥。一如华纳古典所精心筹画的「大指挥家的艺术」(The Art Of Conductors)、「歌唱家的艺术」(The Art Of Singers)等系列影音瑰宝巨藏，本片中仍然不以特定人物为主轴，而是以广泛而整齐的搜罗纳入几乎面面俱到的巨星身影。从自神童之姿而起的曼钮因的莫札特演绎为Introduction导入，进而可以窥见北国巨雄欧伊史特拉夫浑然昂扬的俄式挥洒。而极大的篇幅则灌注於世纪不可争的第一交椅海飞兹的撼动寰宇身采，其传奇的帕格尼尼24首随想曲的历历如目，1945年於卡内基厅的柴可夫斯基协奏曲之吉光片羽，这是在有声遗产之外令爱乐者如获至宝的前所未有体验，而由俄式体系发軔进而征服全美的密尔斯坦，其尊贵而浑厚的风华则在将近10分鐘的巴哈奏鸣曲与布拉姆斯协奏大作的经典篇章中豁然呈现。其餘入列者如易沙意、克莱斯勒、史坦等举世同仰的巨人皆能串联触动您的全新影音经验。同时难能可贵的是本片在小提琴乐器的传奇家族史特拉底瓦里与瓜纳里的引介以及有关小提琴技法和风格评析上皆有相当程度的著墨，做为一部无可挑剔的旷世通鑑可谓实至名归。

1. Sonata for Piano no 9 in E major, Op. 14 no 1 by Ludwig van Beethoven
Performer: Grigory Sokolov (Piano)
Period: Classical
Written: 1798; Vienna, Austria
Date of Recording: 11/04/2002
Venue: Théâtre des Champs-Elysées, Paris

2. Sonata for Piano no 10 in G major, Op. 14 no 2 by Ludwig van Beethoven
Performer: Grigory Sokolov (Piano)
Period: Classical
Written: 1799; Vienna, Austria
Date of Recording: 11/04/2002
Venue: Théâtre des Champs-Elysées, Paris

3. Sonata for Piano no 15 in D major, Op. 28 "Pastoral" by Ludwig van Beethoven
Performer: Grigory Sokolov (Piano)
Period: Classical
Written: 1801; Vienna, Austria
Date of Recording: 11/04/2002
Venue: Théâtre des Champs-Elysées, Paris

4. Dances (6) for Piano by Komitas Vardapet
Performer: Grigory Sokolov (Piano)
Period: 20th Century
Written: Armenia
Date of Recording: 11/04/2002
Venue: Théâtre des Champs-Elysées, Paris

5. Sonata for Piano no 7 in B flat major, Op. 83 by Sergei Prokofiev
Performer: Grigory Sokolov (Piano)
Period: 20th Century
Written: 1939-1942; USSR
Date of Recording: 11/04/2002
Venue: Théâtre des Champs-Elysées, Paris

6. Mazurkas (3) for Piano, B 162/Op. 63: no 3 in C sharp minor by Frédéric Chopin
Performer: Grigory Sokolov (Piano)
Period: Romantic
Written: 1846; Paris, France
Date of Recording: 11/04/2002
Venue: Théâtre des Champs-Elysées, Paris

7. Mazurkas (4) for Piano, Op. 68: no 4 in F minor, B 168 by Frédéric Chopin
Performer: Grigory Sokolov (Piano)
Period: Romantic
Written: 1849; Paris, France
Date of Recording: 11/04/2002
Venue: Théâtre des Champs-Elysées, Paris

8. Pièces de clavecin, Book 3: Ordre 18 in F minor/F major - Le tic-toc-choc ou Les maillotins by François Couperin
Performer: Grigory Sokolov (Piano)
Period: Baroque
Written: by 1722; Paris, France
Date of Recording: 11/04/2002
Venue: Théâtre des Champs-Elysées, Paris

9. Pièces de clavecin, Book 3: Ordre 18 in F major/F minor - Soeur Monique by François Couperin
Performer: Grigory Sokolov (Piano)
Period: Baroque
Written: by 1722; Paris, France
Date of Recording: 11/04/2002
Venue: Théâtre des Champs-Elysées, Paris

10. Well-Tempered Clavier, Book 1: Prelude and Fugue no 10 in E minor, BWV 855 - Prelude by Johann Sebastian Bach
Performer: Grigory Sokolov (Piano)
Period: Baroque
Written: 1722; Cöthen, Germany
Date of Recording: 11/04/2002
Venue: Théâtre des Champs-Elysées, Paris

From the pianist Piotr Anderszewski's first comments in 'Unquiet Traveller' ('Voyageur Intranquille'), a new documentary film that follows him on a concert tour by train through his native Poland, you would think that this fiercely individual artist found being a pianist an agonizing impossibility. In a winter coat and a hat with thick wool lining, Mr. Anderszewski walks solitarily along snow-covered train tracks at a railroad station, as we hear his reflections in a voice-over, in English. 'When I play with orchestra,' he says, 'I sometimes tell myself I'll never play a concerto again. Too many artistic compromises.' Yet, he continues, when confronted with 'the extreme loneliness of the recital, the heroism and also the cruelty involved, I sometimes think that I 'l never do recitals ever again. I'll only make recordings.' Then again, he says, in the recording studio, when he is free to repeat the work as often as he desires, the possibility of always doing better creates another kind of terrible pressure. 'In fact,' he concludes, 'the real, the ultimate temptation would be to stop everything, lie down, listen to the beat of my heart and quietly wait for it to stop.'. . . Mr. Anderszewski, who speaks Polish, Hungarian, French and English in the film, is shown during a recording session, playing and conducting Beethoven's First Piano Concerto with the Deutsche Kammerphilharmonie Bremen. On the concert totour, he travels in a specially appointed train car, complete with a kitchen, a dining area and a place for his Steinway grand, which we see being lifted onto the train by movers. In one scene he hosts a New Year's Eve dinner party on board for friends. Early in the film, right after Mr. Anderszewski's confession about his frustrations with the pianist's profession, he is shown in concert playing the lively Gigue from Bach's Partita No. 1. Though he takes a brisk, nearly breathless tempo, the playing is so articulate that all the notes come through. Sometimes he really thumps out the bass notes, with clanking tone. Yet there is such zest in the playing over all that the effect is wonderfully ambiguous like dangerous whimsy. There is something extreme in this performance, exactly the quality that gave me reservations about Mr. Anderszewski's early work, which was unquestionably brilliant and intensely expressive but strong-willed and feisty. Maybe he has mellowed or maybe I have gained insight into his approach. But in recent years I have found almost everything he does riveting. --New York Times, Anthony Tommasini, July 31, 2009

Actors: Beethoven, Piotr Anderszewski
Format: Classical, Color, NTSC
Language: English, French
Region: All Regions
Number of discs: 1
Rating
Studio: Virgin Classics
DVD Release Date: June 15, 2004
Run Time: 86 minutes