巴伦博伊姆和杜普蕾在1967年结婚经常搭档进行室内乐演出，并留下了大量精彩的录音。这给他们提供了一个很好的私密交流空间。虽然杜普蕾早就录制了埃尔加大提琴协奏曲，但是他们期待着能够来一次埃尔加的“回归”
1970年11月，巴伦博伊姆正好在费城管弦乐团担任客席演奏员，杜普蕾也随行。这段录音是他们举行一场音乐会时留下的录音。两人在听过录音后认为这是相当完美一个现场录音：杜普蕾和乐队配合的天衣无缝。这份录音很好地表达了两人的音乐理念：虽然音乐演出碰巧的临场完美发挥，但实际上是实实在在的完美表现而不是几百个演奏员单调的合一。音乐必须能够“呼吸”，是活的，其表达的细微差别是不能用言语来形容的。完美的音乐不仅仅是“正确”，任何一个精心准备的瞬间都有可能出差错。但在这样的场合，任何差错都是正确的。

賈桂琳·瑪麗·杜·普蕾，OBE，英國大提琴演奏家。

德沃夏克的《大提琴协奏曲》是继《新大陆交响曲》之后，晚年最重要的作品。而且还可以说，比起“新大陆”来，这首协奏曲是更真率、更诚恳的，其中饱含着作者本人更多、更深、更有质量的人生体验和复杂情感。三个乐章都笼罩在一个整体性的苍凉感之中。音乐是美丽的，却也饱经风霜，有一股烈士暮年的萧瑟之气，令人想起布拉姆斯的晚年作品。（文字摘自李杭育《经典唱片》)

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.