古典音樂版本比拼擂台 |
<   >   1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
 
*** ﹝請按主旨作出回應﹞ ***
主旨寄件者更新日期
回覆 (332): 古典音樂版本比拼擂台
Tenfingers,  
 
You opinion are most appreciated. And because of the reason you mention, I did not compare Kremer/Harnoncourt, Heifetz/Munch, Grumiaux/Davis with Repin/Muti, because their approach is different.  
 
For a similiar approach, I think we can compare how good the violinist or the conductor performed. I understand music is not a tennis game there are no losers or winner.  
 
Rosalyn Tureck's Bach cannot be compared with Glenn Gould, but how about Murray Perahia or Angela Hewitt?  
 
CKM
09-12-24
13:12:19
回覆 (331): 古典音樂版本比拼擂台
 
 
Rosalyn Tureck's Bach  
 
no.1 70/100  
no.2 100/100  
no.3 95/100  
 
Glenn Gould's Bach  
 
no.1 100/100  
no.2 60/100  
no. 3 100/100
tenfingers
09-12-24
12:00:14
回覆 (330): 古典音樂版本比拼擂台
 
 
One example, when I said bad taste to George about Richter's Bach.  
 
no. 1 100/100  
no. 2 30/100  
no. 3 50/100
tenfingers
09-12-24
11:57:54
回覆 (329): 古典音樂版本比拼擂台
Morning CKM,  
 
Let me ask you a simple question. You are a doctor yourself and do you have a favorite doctor and what are the criterion?  
 
That's how we judge musician/composer/music genre.  
 
There are many specialties in different professions and the same happens in the music business.  
 
Basically we look into several areas of a piece of music when we are listening/watching a performance:  
 
1. Technical capability  
 
 
2. Understanding of the historical background of a piece/performance practice/research into a piece such as tempo, dynamics, use of the instruments.  
All these can be reflected in the interpretation.  
 
 
3. Stylistic character of the musician/performance --- the ability to create one's unique interpretation of a piece music but at the same time bringing out all the flavor in the music itself. This is the most difficult aspect in playing music and usually a mature musician can do that. In a simple word, this is the 味道。  
 
What I am looking for in an interpretation is no. 3.
tenfingers
09-12-24
11:50:58
回覆 (329): 古典音樂版本比拼擂台
 
 
 
enlighten us as a unprofessional listener  
______________________________________  
 
Please advise whether there is a training course or examination that leads us to be qualified as a "professional listener". I always want to be a professional anything.  
 
 
 
cpsjj
09-12-24
11:36:07
回覆 (328): 古典音樂版本比拼擂台
tenfingers,  
 
Thank you for your expert advice, your view enlighten us as a unprofessional listener.  
 
I am trying to be objective, that is why I list out my approach right at the very beginning, but listen to music objectively is a goal that can never be achieved.
CKM
09-12-24
10:55:48
回覆 (327): 古典音樂版本比拼擂台
 
cpsjj,  
 
Critical listening is like taking instrumental exam and the candidate's playing is judged by one or more than one examiners. The report/mark sheet is full of written comment and those are based on critical listening. Comments will be given on both technical and musical aspect and with the score in front of examiner's desk. Those comment is very objective.  
 
As for music critics one read from newspaper and music magazine are more like writing personal feelings towards a performance/a CD. One may add his/her personal feeling towards the playings or music. The depth of the critics is entirely based on the listener's background, musical experience etc. Excellent critics are very rare musicians don't trust the critics normally.  
 
tenfingers
09-12-24
00:25:10
回覆 (326): 古典音樂版本比拼擂台
 
 
 
This is the difference between critical listening/ listening for pleasure  
___________________________________________________________  
 
What exactly is the difference ? I listen primarily for pleasure, but that doesn't warrant me to state my comments without a fact. The statement "........not much feeling to the music and just plays according to the score" looks familiar and is a platitude of nonsense repeatedly applied to eminent musicians such as Heifetz, Toscanini etc. The very notion of playing a score exactly as written is musically absurd. Musical notation is known to be far from perfect and a composer cannot possibly indicate exactly how he intends his music to be played by musical notation; as a result a performer must read into the score those elements of style and execution that lie well beyond the limits of the printed notation. The situation is tersely summed up by Couperin "just as there is a great distance between grammar and rhetorical delivery, there is an infinitely greater distance between musical notation and artistic performance".  
 
 
 
cpsjj
09-12-24
00:10:32
回覆 (325): 古典音樂版本比拼擂台
Quite on the contrary, I always feel the warmth of Perlman’s humanity instead  
______________  
 
limage,  
 
Let's be very specific. I find all the 哀傷 and 悲屈 in minor, slow, expressive sections in a piece of music he plays. If you compare the same section with other violinists, Perlman's playing is more 哀傷 and 悲屈 than others. On the contrary, you are right on the spot that his warmth and humanity can be felt in a major, lively section of a piece of music. I was more attracted to the darker side of Perlman and you are on the contrary. Those are the two sides of Perlman. It is his character.  
 
 
My point is, kh's statement 'He seems afraid to put too much feeling to the music and just plays according to the score.' -- the first half of his statement is making some sense, but not the second half.  
 
Feeling is a very subjective thing, but criticism is very different. I wouldn't say Perlman is/is not following the score without the score in my hand. This is the difference between critical listening/ listening for pleasure.
tenfingers
09-12-23
23:19:06
回覆 (324): 古典音樂版本比拼擂台
 
 
 
Beethoven Violin Concerto, op. 61  
 
1. Chung / Vienna Phil / Kondrashin 音樂: ( ) 音響: ( )  
2. Chung / Concertgebouw / Tennstedt 音樂: ( ) 音響: ( )  
3. Francescatti / Columbia Sym Orch / Walter 音樂: ( ) 音響: ( )  
4. Grumiaux / Concertgebouw / Colin Davis 音樂: ( ) 音響: ( )  
5. Heifetz / Boston Sym / Munch 音樂: ( ) 音響: ( )  
6. Hirshhorn / Orchestre National de Belgique / Zollman 音樂: ( ) 音響: ( )  
7. Kogan / Moscow Phil Sym Orch / Kondrashin 音樂: ( ) 音響: ( )  
8. Krebbers / Concertgebouw / Haitink 音樂: ( ) 音響: ( )  
9. Kremer / Chamber Orch of Europe / Harnoncourt 音樂: ( ) 音響: ( )  
10. Milstein / Philharmonia / Leinsdorf 音樂: ( ) 音響: ( )  
11. Oistrakh / Orch National de la Radiodiffusion / Cluyten 音樂: ( ) 音響: ( )  
12. Perlman / Philharmonia / Giulini 音樂: ( ) 音響: ( )  
13. Repin / VPO / Muti 音樂: ( ) 音響: ( )  
14. Rosand / Monte Carlo Phil Orch / Inouye 音樂: ( ) 音響: ( )  
15. Schneiderhan / Jochum / Berliner 音樂: ( ) 音響: ( )  
16. Shumsky / Davis/ Philharmonia 音樂: ( ) 音響: ( )  
17. Szeryng / Concertgebouw / Haitink 音樂: ( ) 音響: ( )  
18. Ferras / Berliner / Karajan 音樂: ( ) 音響: ( )  
 
 
 
 
cpsjj
09-12-23
20:36:27
回覆 (324): 古典音樂版本比拼擂台
 
I always find 哀傷 and 悲屈in his playing  
___________________________________  
 
Quite on the contrary, I always feel the warmth of Perlman’s humanity instead.  
 
Now this again reflects personal feelings, very subjective and yet true, both for you and for me. There seems nothing wrong to be subjective, isn’t it? At least one is honest to speak one’s mind.  
 
limage
09-12-23
20:27:36
回覆 (323): 古典音樂版本比拼擂台
kh,  
 
Your comments on Perlman shows that your opinion is entirely subjective. Could you read a score BTW?
tenfingers
09-12-23
19:11:26
回覆 (323): 古典音樂版本比拼擂台
kh,  
 
Your comments on Perlman shows that your opinion is entirely subjective. Could you read a score BTW?
tenfingers
09-12-23
19:11:25
回覆 (322): 古典音樂版本比拼擂台
kh and CKM,  
 
I think much of Perlman's expressiveness in the music is due to his physical disability and I always find 哀傷 and 悲屈in his playing. No, his playing does not sound exciting as Heifetz or Milstein. He is of a completely different character from other musicians.  
 
 
A musician always speaks his/her feelings out through music and a dedicated audiophile/music lover should be able to distinguish this quality IMHO.  
 
What make a musician special is not entirely depends on technique, but the ability to communicate with the composer/music/the innermost of the musician himself. A good interpretation means a musician who can be able to create a sound that is absolutely unique, but yet making a good sense of the music. I think what makes Perlman great is that he is able to create that sort of very juicy, characteristics Perlman sound. Perlman is not my favorite violinist because I don't have a favorite. I listen to a musician's character when I am listening to the music. This is the most interesting aspect in 版本比較 from the listening point of view。On top of that, a listener's character by the choice of his/her favorite version.  
 
CKM, I hope you will consider my little point when doing a 版本比較 in the future. I will be most delighted to make any contributions towards anything I know.
tenfingers
09-12-23
19:00:51
回覆 (321): 古典音樂版本比拼擂台
 
limage,  
 
I also have the Perlman's LP that you posted, first EMI pressing, still concur with CKM that I like a little bit more adrenalin .
kh33
09-12-23
18:16:49
回覆 (320): 古典音樂版本比拼擂台
Limage, cpsjj,  
 
Let me elaborate further, Perlman have a very clean technique, but I would prefer something more, a little bit more adrenalin in the music would make the music sound more exciting.
CKM
09-12-23
17:21:43
回覆 (319): 古典音樂版本比拼擂台
 
kh,  
 
May be you've run into the same predicament I am in, much the same way I have with Milstein. Simply put, you must have picked the wrong recording(s).  
 
Good performances/recordings from Perlman are plenty, each and everyone sufficiently involving to leave you speechless for an hour on end.  
 
&#38748;&#19979;&#20358;&#65292;&#20877;&#32893;&#32893; Perlman &#25903;&#38746;&#29748;&#65292;&#21448;&#21029;&#26377;&#35433;&#24847;&#12290;  
 
LPs 004  
 
LPs 002  
 
limage
09-12-23
17:06:05
回覆 (318): 古典音樂版本比拼擂台
 
 
 
造句方面Repin 經常能點出樂句重點,Perlman 則較平鋪直敍,長長音階在Repin 手下是一層層向目標衝去,Perlman 則像唸書一樣。  
________________________________________________________________________________________________  
 
Views are bound to be divided; that's what sharings are for.  
 
I rather find Perlman's phrasing mellifluous and Repin is at times rather hesitant.  
 
 
 
cpsjj
09-12-23
17:02:41
回覆 (317): 古典音樂版本比拼擂台
 
 
各位親愛的網友,  
 
cpsjj 絕對是好人。他只是看不過眼才幫忙,請還他清白。  
 
我認為個人私事不應太公開,我曾為此大受刺激,本不想悲劇重覆,但我如不作澄清,亦對我的朋友不公平。  
 
追求本身沒有錯,但如涉欺騙成份,後果須自負。
tenfingers
09-12-23
14:17:26
回覆 (316): 古典音樂版本比拼擂台
 
 
cpsjj,  
 
I know you have been 被屈 for a long time. I think it is the reason you never invite me to your studio. 人言可畏嘛!  
 
Am I correct?
tenfingers
09-12-23
14:00:12
回覆 (315): 古典音樂版本比拼擂台
 
 
 
I like Perlman a lot. He always has a most beautiful tone and his Saint-Saens and Prokofiev concertos are amongst the best.  
 
 
cpsjj
09-12-23
13:29:20
回覆 (314): 古典音樂版本比拼擂台
Not me.
tenfingers
09-12-23
12:53:16
回覆 (313): 古典音樂版本比拼擂台
 
 
One final word, kh, I think Eric Tang and you are the ones who need to consult a psychiatrist.  
tenfingers
09-12-23
12:52:40
回覆 (312): 古典音樂版本比拼擂台
 
 
 
kh,  
 
Eric Tang told me you HAVE a wife and 2 kids. Is that true?  
 
 
tenfingers
09-12-23
12:46:45
回覆 (311): 古典音樂版本比拼擂台
 
 
Morning kh,  
 
You told me 防人之心不可無, which is very true. Therefore I will 起底before making any decision. I won't make friend with 質地不好之人。Any more advice to me?
tenfingers
09-12-23
11:48:24
回覆 (310): 古典音樂版本比拼擂台
 
 
Morining kh,  
 
Does your wife like Perlman? I bet Mrs. Ng is also a classical music lover. If I have a chance to meet her one day, I will discuss music with her.  
 
 
 
tenfingers
09-12-23
11:41:12
回覆 (309): 古典音樂版本比拼擂台
 
I also have the Perlman/Giulini version and listened to it once only. Perlman is funny. His technique is claimed to be amongst the best of the living violinist yet I found quite a number of his records are uninteresting and uninvolving. He seems afraid to put too much feeling to the music and just plays according to the score.
kh33
09-12-23
10:58:08
回覆 (308): 古典音樂版本比拼擂台
風格相近高下立見  
網誌分類:Beethoven | 網誌日期:40分鐘前  
昨夜再聽Perlman/Giulini 演奏的Beethoven Violin Concerto, 正如Jensen 所說,版本比較是十分殘酷的比較,那怕一個小提琴家表演得多麽精彩,在另一個高手面前就高下立見。  
 
Perlman/Giulini 這版本速度較寬廣,和之前Repin/Muti 比較相當合適,EMI的錄音也細緻自然。但Perlman和Repin 的琴藝有很大分別,Repin 琴音揉音較多,感情較濃烈;Perlman 則較少,表情比較單調。造句方面Repin 經常能點出樂句重點,Perlman 則較平鋪直敍,長長音階在Repin 手下是一層層向目標衝去,Perlman 則像唸書一樣。  
 
但Perlman的音準節奏十分準確,音階也十分清晰,故依然不失為一好版本,但要是你想聽速度比較寬廣浪漫一點的Beethoven Violin concerto, 我的票是投向Repin的。  
 
Perlman /Giulini  
 
音樂: 3  
 
音響: 4  
 

 

 
 
CKM
09-12-22
11:17:47
回覆 (307): 古典音樂版本比拼擂台
 
 
Beethoven Violin Concerto, op. 61  
 
1. Kyung-Wha Chung / Vienna Phil / Kondrashin  
2. Kyung-Wha Chung / Royal Concertgebouw / Tennstedt  
3. Francescatti / Columbia Sym Orch / Walter  
4. Grumiaux / Concertgebouw / Colin Davis  
5. Heifetz / Boston Sym / Munch  
6. Philippe Hirshhorn / Orchestre National de Belgique / Zollman  
7. Leonid Kogan / Moscow Phil Sym Orch / Kondrashin  
8. Herman Krebbers / Concertgebouw / Haitink  
9. Gidon Kremer / Chamber Orch of Europe / Harnoncourt  
10. Oistrakh / Orchestre National de la Radiodiffusion / Cluyten  
11. Milstein / Philharmonia / Erich Leinsdorf  
12. Perlman / Philharmonia / Giulini  
13. Vadim Repin / VPO / Muti  
14. Aaron Rosand / Monte Carlo Phil Orch / Inouye  
15. Schneiderhan / Jochum / Berliner  
16. Shumsky / Davis/ Philharmonia  
17. Szeryng / Concertgebouw / Haitink  
18. Ferras / Berliner / Karajan  
 
 
 
cpsjj
09-12-19
23:28:35
回覆 (306): 古典音樂版本比拼擂台
 
 
 
Then how about Campoli / LSO / Krips ?  
 
 
Beethoven Violin Concerto, op. 61  
 
1. Kyung-Wha Chung / Vienna Phil / Kondrashin  
2. Kyung-Wha Chung / Royal Concertgebouw / Tennstedt  
3. Francescatti / Columbia Sym Orch / Walter  
4. Grumiaux / Concertgebouw / Colin Davis  
5. Heifetz / Boston Sym / Munch  
6. Philippe Hirshhorn / Orchestre National de Belgique / Zollman  
7. Leonid Kogan / Moscow Phil Sym Orch / Kondrashin  
8. Herman Krebbers / Concertgebouw / Haitink  
9. Gidon Kremer / Chamber Orch of Europe / Harnoncourt  
10. Oistrakh / Orchestre National de la Radiodiffusion / Cluyten  
11. Milstein / Philharmonia / Erich Leinsdorf  
12. Perlman / Philharmonia / Giulini  
13. Vadim Repin / VPO / Muti  
14. Aaron Rosand / Monte Carlo Phil Orch / Inouye  
15. Vadim Repin / VPO / Muti  
16. Schneiderhan / Jochum / Berliner  
17. Shumsky / Davis/ Philharmonia  
18. Szeryng / Concertgebouw / Haitink  
19. Ferras / Berliner / Karajan  
 
 
 
 
cpsjj
09-12-19
23:09:16
回覆 (305): 古典音樂版本比拼擂台
 
Gentlemen, one important contestant not on the list:  
 
Ferras / BPO / Karajan / DG
jules
09-12-19
22:53:50
回覆 (304): 古典音樂版本比拼擂台
 
 
Beethoven Violin Concerto, op. 61  
 
1. Kyung-Wha Chung / Vienna Phil / Kondrashin  
2. Kyung-Wha Chung / Royal Concertgebouw / Tennstedt  
3. Francescatti / Columbia Sym Orch / Walter  
4. Grumiaux / Concertgebouw / Colin Davis  
5. Heifetz / Boston Sym / Munch  
6. Philippe Hirshhorn / Orchestre National de Belgique / Zollman  
7. Leonid Kogan / Moscow Phil Sym Orch / Kondrashin  
8. Herman Krebbers / Concertgebouw / Haitink  
9. Gidon Kremer / Chamber Orch of Europe / Harnoncourt  
10. Oistrakh / Orchestre National de la Radiodiffusion / Cluyten  
11. Milstein / Philharmonia / Erich Leinsdorf  
12. Perlman / Philharmonia / Giulini  
13. Vadim Repin / VPO / Muti  
14. Aaron Rosand / Monte Carlo Phil Orch / Inouye  
15. Vadim Repin / VPO / Muti  
16. Schneiderhan / Jochum / Berliner  
17. Shumsky / Davis/ Philharmonia  
18. Szeryng / Concertgebouw / Haitink  
 
 
cpsjj
09-12-19
18:05:33
回覆 (303): 古典音樂版本比拼擂台
 
Heard live performance of Repin's Beethoven violin concerto with De Waart and HPO a few years ago. One of the best live performance I've heard. His playing was like that described by CKM and his violin tone is of exceptional beauty. He was playing with a ?Guarnari.  
kh33
09-12-19
12:43:46
回覆 (302): 古典音樂版本比拼擂台
昨晚先聽Repin 和Muti 合作的Beethoven Violin Concerto, 這個錄音比他的Brahms 錄得還早,但Repin 出色的特點始終如一。  
 
Repin 的風格十分純正,速度選取偏慢,讓音符有很多空間舒展。要在寬廣的速度下維持樂曲的節奏不是容易,但Repin 和Muti 冷靜沉着,二十多分鐘的第一樂章沒有衝快收慢,一氣呵成。Repin 的小提琴音色優,猶如前輩Oistrakh 一樣揉音較多,琴音較為浪漫,第二樂章優美的旋律奏得有如天籟。第三樂章和第一樂章的華彩樂段展現了Repin 精準技巧,快速樂段絕不含糊。令我拍案叫絕的是Repin 的造句,清晰之餘還能點出長長樂句的重點,那怕是連綿不斷的音階,Repin 也能令聽者找到方向,並一步步一層層向目標進發。他琴音充滿感情,最短的樂句都像有千言萬語。錄音也是現代發燒級。是喜愛浪漫地演奏Beethoven Violin Concerto 的好選擇。  
 
 
 
 
 
 
 
 
 
CKM
09-12-19
11:25:17
回覆 (301): 古典音樂版本比拼擂台
 
I do have the Furtwangler's Beethoven no.5 LP.  
You can call me superficial but I much prefer the reading by Kleiber with his electrifying tempo, the attention to details and the ultra wide dynamics. Perhaps if I listen to both Furtwangler and Kleiber using vintage amp, mono cartridge and with one full range speaker only, then I may fully appreciate the mightiness of Furtwangler.  
I do not have the Callas' 1954 Norma, so cannot say much. I've browsed through some reviews by critics and inputs from end user, quite a number prefer the reading in 1960, performance-wise. But what a sound from the 1960 stereo LP! It is the quintessential opera sound from the golden days of EMI recording. If I were allowed only one opera record, this is the one.
kh33
09-12-19
10:43:48
回覆 (301): 古典音樂版本比拼擂台
小提琴王者中的王者-Beethoven Violin Concerto  
網誌分類:Beethoven | 網誌日期:2009-12-19 09:23  
說起Beethoven 的Violin Concerto, 相信大家都會耳熟能詳,全曲旋律優美,為廣大樂迷喜愛。北京道一号(www.pekingroad.com) 的朋友要集思廣益,評出最佳版本,自然值得大力支持。然而北京道有Jensen, Tony 此等小提琴大師,在他們面前談小提琴無異班門弄斧,還望各位多加指正,以免貽笑大方。  
 
貝多芬這首小提琴協奏曲誕生之時,小提琴家的地位比今天的明星有過之而無不及,而首演者Clement 更在樂曲第一二樂章之間加入自已寫的作品,更將小提琴倒轉來演奏,極盡嘩眾取寵之能事。之後樂曲一直受冷落,直至Mendelssohn 和當時12歲的Jochaim再演奏此曲才重新受歡迎。  
 
和貝多芬同期樂曲不一樣,這曲沒有命運叩門,也沒有怒火争鬥,只有優美的旋律。第二樂章更是令人暖入心沁,一聽難忘。  
 
要在各年代的著名錄音中選出最佳版本實在十分困難,皆因各有所長,但我會從以下幾方面着手:  
 
1. 音色:小提琴音色是否優美?揉音能和樂曲配合嗎?  
 
2. 音準:世上難有絕對音準,但要在快速樂段維持並不容易,貝多芬這首樂曲有多段沒有樂隊掩護下小提琴獨奏的音階,音準稍有差池很容易曝露。  
 
3. 發音:(articulation) 小提琴發音好比人說話,是抑揚頓挫,平舖直敘,還是含含糊糊?  
 
4. 造句:小提琴家分句是否清晰,他能否找到樂句中重點,並望着重點進發?  
 
5. 節奏:小提琴家和樂隊節奏是否一置,首尾節奏是否一置,有沒有突然衝快收慢?  
 
6. 速度:速度選取是否合適,和作曲家標示是否適合,小提琴家能否在所選取的速度下發揮自已和樂隊的優點?  
 
7. 感情:整體能否使人感動,能令人投入其中嗎?  
 
評分準則如下:  
 
1分:此版本不可取  
2分:此版本缺點甚多但仍有可取突出之處  
3分:整體表現出色  
4分:整體表現出色之餘有突出的見解或特色  
5分:各方面表現完美,充滿特色,難以超越  
 
 
當然錄音水平也是重要考慮:  
 
1分:比收音機還差  
2分:和收音機相約  
3分:基本平衡  
4分:動態出色,音色自然  
5分:發燒天碟,試機精品  
 
CKM
09-12-19
10:40:09
回覆 (300): 古典音樂版本比拼擂台
 
 
 
And I think it's almost a general consensus that the all so famous, demonstrative "casta diva" by Maria Callas is much better heard in mono in her 1954 recording than the later 1960 stereo recording !  
 
 
 
cpsjj
09-12-18
21:54:18
回覆 (299): 古典音樂版本比拼擂台
 
 
 
I just want to share with the respectable "audiophiles" that after I heard Furtwangler's Beethoven no.5, I can forget all the other sym. 5 recordings, whether it's the most famous Kleiber's reading.  
 
 
cpsjj
09-12-18
21:39:30
回覆 (298): 古典音樂版本比拼擂台
 
 
 
I shall add either Tetzlaff/Zinman or Zimmermann/Tate into the list to make the number 18. We always go for a good number. Both of them are excellent modern recordings. I shall make up my mind by tomorrow evening.  
 
 
Photobucket  
 
Photobucket  
 
 
cpsjj
09-12-18
21:33:53
回覆 (297): 古典音樂版本比拼擂台
 
 
 
CKM has got Perlman/Giulini, Hahn/Zinman and Mullova/Gardiner in his list. With your permission, I think both Hahn and Mullova shall be dismissed. Perlman/Giulini is not a bad recording, much better than his later recording with Barenboim.  
 
Photobucket  
 
Photobucket  
 
Photobucket  
 
The list shall now be  
 
Beethoven Violin Concerto, op. 61  
 
Francescatti / Walter  
Oistrakh / Cluyten  
Grumiaux / Concertgebouw / Colin Davis  
Kyung-Wha Chung / Vienna Phil / Kondrashin  
Kyung-Wha Chung / Royal Concertgebouw / Tennstedt  
Philippe Hirshhorn / Orchestre National de Belgique / Zollman  
Leonid Kogan / Moscow Phil Sym Orch / Kondrashin  
Herman Krebbers / Concertgebouw / Haitink  
Gidon Kremer / Chamber Orch of Europe / Harnoncourt  
Aaron Rosand / Monte Carlo Phil Orch / Inouye  
Perlman / Philharmonia / Giulini  
Vadim Repin / VPO / Muti  
Szeryng / Concertgebouw / Haitink  
Milstein / Philharmonia / Erich Leinsdorf  
Heifetz / Boston Sym / Munch  
Schneiderhan / Jochum / Berliner  
Shumsky / Davis/ Philharmonia  
 
 
 
cpsjj
09-12-18
21:20:35