在这张CD里，女中音Frederica von State只唱了二首歌，其中一首是「妈妈教我的歌」。但是，就这二首歌就足以让她入选。短短的二首歌，但是她表现出圆润甜美与厚实的嗓音却让人赞赏再三。除了女主角之外，这张CD的其它节目也是所有女中音演唱CD所没有的。您同时还可以听到帕尔曼、马友友、Rudolf Firkusny以及小泽征尔指挥波士顿交响乐团的精彩演出。这张是1993年12月16日在布拉格史麦塔纳厅所录下的，全部都是德弗札克的作品。没想到在这个厅里所录下的音质会这么的优美，我建议所有古典乐迷都要买一张.——摘自《刘汉盛榜单100碟》

条码077774716727。

1.The Trout
On August 30th 1969, five young musicians, all of whom were about to become established as international artists of the highest rank, came together to play Schubert's "Trout Quintet" in the new Queen Elizabeth Hall in London. Their names: Daniel Barenboim, Itzhak Perlman, Pinchas Zukerman, Jacqueline du Pré and Zubin Mehta.
It was clear to us that the concert might well become legendary in time and so we decided to make a film about it.
The intention was two-fold: to film the concert itself live on stage, exactly as it happened, with five of the newly invented, silent 16mm film cameras and to make an introduction to it during the preceding week, documenting the preparations and, in particular, the spirit behind the event.
The artists had all been intimate friends for many years, but, more importantly, they had a great deal in common musically and, in addition, they shared an exuberance in their talents which was as appealing as it was filmable.
The introduction takes the television viewer into areas of music-making that are not normally accessible even to the committed concert-going public and the first part of the film ends with the final seven minutes of back-stage preparation before the concert. They are minutes which contain scenes that have passed into musical and television history.
The film then continues with the complete performance shot during the concert, just as it happened, with not a note re-taken.
2.The Greatest Love and the Greatest Sorrow
Franz SchubertSchubert's reputation also suffered from the fact that he did things differently and when a work of art is new and different, and the world cannot categorise or label it, it often takes a long time for the world to understand and accept what that work has to offer. In some ways, these things haunt Schubert's reputation even today.
To complicate the picture still further, Schubert lived, and in some ways his music continues to live, under the shadow of Beethoven. Schubert himself asked the question "Wer vermag nach Beethoven noch etwas zu machen?" (Who would dare to do anything after Beethoven?). The answer, of course, was Franz Peter Schubert and, most notably, in the music that he wrote after the death of his God, Ludvig van Beethoven.

介质为2VCD！内附中文译本！本VCD无歌词，无字幕，无卡拉OK！

二十一世纪小提琴的新王者，惊艳更胜于感动，伊萨克·帕尔曼。巴伦波姆指挥柏林爱乐管弦乐团，贝多芬、勃拉姆斯，经典协奏曲连奏。

在这份录像之前，帕尔曼在演奏生涯中期就已经和大师朱利尼合作了这两曲的录音，如果说和朱利尼的录音以经典自制的风格取胜，那么他与长年好友巴伦波姆在这两份录像中惺惺相惜、互相应答的演奏就是一种更多性灵抒发与自发性演奏的表现。他们两人的合作，在柏林爱乐这个举世第一乐团的烘托下，给了我们一份弥足珍贵的经典录像。

身为二十世纪后三十年最顶尖的小提琴独奏家，帕尔曼克服了小儿麻痹的种种不便，以他那手连同侪提琴家都惊艳的弓法，近乎完美的音准和细腻平衡的音乐品味，为二十世纪的提琴美学下了新的批注。除了在演奏厅以外，帕尔曼的录像作品却不多，除了贝多芬三重协奏曲以及早年与杜普蕾合作的鳟鱼五重奏以外，我们很少有机会亲眼看到他在重要的协奏曲中展现他那出神入化的弓法。从这份一九九二年初摄于柏林剧院的现场演出中，我们透过安设在乐团背后的摄影机，第一次清楚看到帕尔曼那独特的高手肘运弓手法，这是他那均匀优美音色的来源。同时我们也看到他如何籍由特殊的握弓手法，掌握住飞快的跳弓技巧，以运用在本片中克莱斯勒为贝多芬协奏曲所写的装饰奏。

另外，透过本片，我们也得以观察到帕尔曼如何以巨大多肉的手指在琴颈上处理按音的问题，一般提琴家往往在快速乐句中必须以大拇指移动更换把位的作法，在片中，我们会看到，帕尔曼几乎只是靠屈动手肘，将大拇指一转就达到让上面四指触及高把位。这种特别的手法，可以在本片勃拉姆斯协奏曲中第一和第三乐章的双按和弦音演奏中看到。

01 Ludwig van Beethoven 1770-1827
Concerto for Violin and Orchestra in D Op.61
贝多芬：D大调小提琴协奏曲

02 Johannes Brahms 1833-1897
Concerto for Violin and Orchestra in D Op.77
勃拉姆斯：D大调小提琴协奏曲

03 Itzhak Perlman violin
Berlin Philharmoniker
conducted by Daniel Barenboim

小提琴：伊萨克·帕尔曼
丹尼尔·巴伦波姆 指挥 柏林爱乐管弦乐团
一九九二摄于柏林音乐会现

总时长：约95分钟