柴可夫斯基小提琴协奏曲--by Oistrakh, Heifetz, Perlman

Some fantastic violin playing here:

1. David Oistrakh, complete concerto:  [ZT] 由于前苏联的政治原因 Oistrakh 直到年过四十，才开始国际演奏生涯。在20世纪50年代，当他出现在西方音乐舞台上的时候，异常轰动。在他生命的最后20年，他被看成是少数几位当之无愧的艺术家，受人爱戴与尊敬。这张转集会帮助您印证这种感受。强壮的身体与如同摔跤手的肩膀，使奥伊斯特拉赫在他的乐器上拉出了巨大的音量，传递出与众不同的音质、呼吸、深度以及音色；他的演出同样洋溢着热情与博爱。.奥伊斯特拉赫的演奏，以浑厚、温暖的抒情性著称，他的分句极有特色.

2. Jascha Heifetz, only part of the 1st mvmt, except from the movie "Carnegie Hall", conducted by Fritz Reiner.

3. Itzhak Perlman (1970, complete concerto), PPO conducted by Eugene Ormandy.

 

[rbrb]

长期以来，我游走于海、奥之间，一会儿觉得海好，一会儿觉得奥高。虽说风格不同，其实认真起来海、奥之间还是能分高下的。奥的演奏，气势磅礴，雷霆万钧，但细细想来，这却是用速度低（较海而言）换来的。器乐演奏，速度一放慢，你便可以“做”起来，“做”感情，“做”气势，等等。差一点的演奏家，你一眼就看出他在“做”。大师的妙处在于做了你没察觉。能够又快又做又看不出，这才是武功超一流水平。
至于帕氏，他游走于海、奥之间，一会儿模仿海，一会儿模仿奥（他自己说的）。可惜只听过帕氏音乐会，而海、奥皆已作古，只能听录音聊以充饥。

[weston]

The modification was required by the producer so he could fit the 1st mvmt in the movie.

As for performance, heifetz had a different interpretation from Oistrakh's, there was more a "masculine" quality to it, as shown by higher bow speed and pressure, that gave his interpretation more an external reach.

Oistrakh's reading was more conservative, but his inner power shown through. It was masterful.

Perlman produced great smooth and round sound, although the whole performance didn't break any ground.

Thanks for stopping by!

[箫笛]

这里数海菲茨的差劲！第一乐章结尾处让他改得没型了，可以说烂！帕尔曼有大卫的遗风，但比他更细腻，非常好！