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| 埃里克·弗里德曼(Erick Friedtm,1939-2004) | |||||||||||||||||||||||
埃里克·弗雷德曼 & 美丽的黄昏 德彪西-海菲茨 & 小提琴 |
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Debussy-Heifetz:Beau
Soir Violin-Erick Friedman notturna |
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音乐历史上的今天
1939年8月16日埃里克·弗里德曼出生于美国新泽西州的纽瓦克市。 |
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| 埃里克.弗雷德曼演奏维尼亚夫斯基《潭诗》 OP.17 | |||||||||||||||||||||||
| Légende, for violin & orchestra (or piano) in G minor, Op. 17 | |||||||||||||||||||||||
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| One of the most widely circulated images of Erick Friedtm playing | |||||||||||||||||||||||
| 埃里克·弗里德曼(Erick Friedtm）是小提琴比赛最大的受害者之一，1965年，他至莫斯科参加柴可夫斯基国际音乐比赛，受到不公正待遇，事业也因之受到影响；不久，左臂和手又在一次交通事故受伤，致使演奏生涯突然中止。 | |||||||||||||||||||||||
| Erick Friedtm was one of the biggest victims of violin competition. In 1965, he went to Moscow to participate in the Tchaikovsky International Music Competition and was unfairly treated and his career was affected. Soon after, his left arm and hand were injured in a traffic accident, resulting in an abrupt end to his playing career. | |||||||||||||||||||||||
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| 埃里克·弗里德曼(Erick Friedtm）精彩的演奏图片 | |||||||||||||||||||||||
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埃里克·弗雷德曼在RCA录制的“小提琴炫技作品集”，后以“红印鉴”BMG再版的24K GOLD
CD，录音时间为于1962—1963年间，是典型的黄金年代名盘。 这张由米尔斯坦和海菲兹的嫡传弟子弗雷德曼演奏的小提琴炫技作品，被称为小提琴演奏录音典范中的典范；由于本专辑采用的是较近麦克风的录音方式，这样使弗雷德曼高超的演奏技巧表现得更为淋漓尽致。 小提琴音色听来线条粗犷，非常苍劲；小提琴的低吟浅唱和管弦乐伴奏的直接和丰润，如泣如诉时也同样透发出应有的力度，那种绝美的琴腔共鸣令人深为震撼。 弗里德曼的弓法同海飞兹十分相近，对小提琴中音区的演奏技巧甚有特色，运弓力度适宜，音色扎实饱满，尤其是双弦拉得特好，把位准确，韵律和谐，在当代提琴家中特树一帜。 |
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Eric Friedman's
"Violin Showpiece album" recorded at RCA, and later reissued as "Red
Seal" BMG 24-K GOLD CD, recorded between 1962 and 1963, is a typical
golden age disc. This violin showpiece by Milstein and Heifetz's disciple Fred Man is known as the quintessential recording of violin performance.Because this album USES the recording method which is closer to the microphone, this makes The excellent performance of Friedman more incisively and vividly. The violin sounded bold and vigorous;The directness and richness of the violin crooning and the orchestral accompaniment, as well as the SOB and SOB, also give out due strength, and the resonance of that beautiful piano cavity is deeply shocking. Friedman's bow technique is very similar to Heidfeld's, and he has special characteristics in playing the violin's middle area. He has appropriate bow strength, solid and full timbre, especially good double strings, accurate positioning and harmonious rhythm, which makes him unique among contemporary violinists. |
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| 埃里克·弗里德曼(Erick Friedtm）的老师海菲兹（Heifetz）和他的朋友Gregor Piatigorsky是南加州大学后的UCLA教授。他在比佛利山庄的私人工作室里教过许多课程。如今，这间工作室已经成为'Colburn'学校的主要所在地，在这里它以Heifetz的精神用于大师班。在海菲兹（Heifetz）的职业生涯中，有许多学生，当今最著名的是：皮埃尔·阿莫（Pierre Amoyal），埃里克·弗里德曼（Erick Friedman），尤金·福多（Eugene Fodor），克莱尔·霍奇金斯（Claire Hodgkins），加美由纪子（Yukiko Kamei），鲁道夫·科曼（Rudolf Koelman），保罗·罗森塔尔（Paul Rosenthal）和尤瓦·亚伦（Yuval Yaron）。 | |||||||||||||||||||||||
| 弗雷曼成为小提琴大师 雅沙·海菲兹最得意的门生 | |||||||||||||||||||||||
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弗里德曼(Erick Friedman 1939-)曾任耶鲁大学音乐学院教授。
作为20世纪中最伟大的小提琴演奏大师．在世界小提琴艺术史上具有着无与伦比酌影响和地位。他那以神奇的技艺、稀有的风格和高尚的情趣所形成的伟大艺术精神，是整个20世纪现代小提琴家们奉若神明的境界。然而在后辈小提琴家当中，谁是海菲茨艺术精神的真正继承者，一直就是人们所经常议论的话题。故然
，以帕尔曼为首的众多现代小提琴家们，在他们的演奏中都或多或少地受到了这位神话般的天才大师的影响．但是从根本上说，他们还都是属于借鉴的范畴之内的，而真正成为海
菲茨艺术精神直接继承者的人物，就是20世纪中叶卓越的美国小提琴家弗里德曼。 弗里德曼这位海菲友所教授的著名学生，与他的思师之间存在着一种特殊的微妙关系。正如著名弦乐理论家阿普尔跑姆博士所说的那样，“弗里德曼在继承海菲茨的衣钵方面，就像伊戈尔· 奥伊斯特拉赫继承大卫·奥伊斯特拉赫的衣钵一样，而且是有过之无不及的*”由此便可以看出，弗里德曼作为一位具有特殊意义的小提琴演奏家，他在世界现代小提琴演奏艺术中是处在多么微妙的位置上。埃里克·弗里德曼于1939年8月16日出生在美国新泽西州的纽瓦克市。他的家庭并不是职业音乐家的家庭，但他的父亲却是—位热心的业余小提琴爱好者和演奏者，弗里德曼走上学习小提琴的道路，可以说是由这位非常热衷小提琴艺术的父亲所指引的。 |
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Erick
Friedman (born 1939) was a professor at the Yale School of
Music.One of the greatest violinists of the 20th century.It has
an unparalleled influence and status in the history of violin in
the world.His great artistic spirit, with its marvelous
technique, rare style, and noble taste, was the deified realm of
modern violinists throughout the 20th century.However, among the
later violinists, who is the true successor of Heifetz's
artistic spirit has always been a topic of frequent
discussion.Thus, many modern violinists, led by Perlman, were
more or less influenced by this mythical genius in their
performances.But fundamentally, they are still within the scope
of reference, and the real successor of Heifetz's artistic
spirit is the outstanding American violinist Friedman in the
mid-20th century. Friedman, the famous student of Hafid, had a special and delicate relationship with his teacher.As noted string theorist Dr. Applebaum puts it, "Friedman is like Igor In inheriting Heifetz's mantle "Oysterlach follows in the same vein as David Oysterlach, but without any other parallel *" Thus it can be seen that Friedman, as a violinist of special significance, is in a delicate position in the art of modern violin playing in the world.Eric Friedman was born on August 16, 1939, in Newark, New Jersey.His family was not that of a professional musician, but his father was an avid amateur violinist and player, and Friedman's path to violin learning was guided by his father, who was very keen on violin art. |
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约翰·帕特里克，天使唱片公司副总裁；埃里克·弗里德曼；让-菲利普·科拉德；迪米特里斯·斯古罗斯； 马克·马尔科维奇博士，三世，罗德岛新港节主任；安东尼·卡洛尼亚，天使唱片纽约。 |
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John Pattrick, Vice President of Angel Records L.A.; Erick Friedman ;
Jean-Philippe Collard ; Dimitris Sgouros ; Dr. Mark P. Malkovich, III, Director Newport Festival, Rhode Island ; Anthony Caronia, Angel Records New York |
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| 弗里德曼从六岁起开始学习小提琴，他的启蒙老师就是著名小提琴和弦乐理论家阿普尔鲍姆。弗里德曼一共跟他学习了四年．在此期间。他掌握了演奏小提琴所应具备的严格基本功。据弗里德曼自己所言，是阿普尔鲍姆使他懂得了如何严格认真地对待学习小提琴这件令人生畏的苦事，从而在一开始就使得他端正了学习的态度。十岁以后．技巧能力已得到进一步发展的弗里德曼开始成为加拉米安的私人学生。这段时期。是弗里德曼在小提琴演奏技艺中产生飞跃的阶段。加拉米安以科学有效的方法，教会了弗里德曼如何掌握放松的原则和怎样养成正确而富有成效的练琴方法，应该说．弗里德曼从十岁到16岁跟随加拉米安学习期间。是他在小提琴演奏技艺上取得全面成熟的阶段。弗里德曼在跟随加拉米安学习期间，还利用一些难得的机会在另一位小提琴大师米尔斯坦的门下上课。与加拉米安不同的是，米尔斯坦并不像加拉米安那样教授他怎样拉小提琴，而是着重在音乐及其它艺术修养方面培养和熏陶他．使他明白了如何做一个音乐家而不仅仅是一个小提琴家的道理。用弗里德曼自己的话说就是：“他把我从单纯拉小提琴的狭隘观念中解放了出来。弗里德曼从17岁起开始投师在海菲获的门下学习。虽然在这之前他已经是一位小有名气的青年演奏家了，但海菲茨对他仍然给予了极其严格的要求和训练。就拿练音阶来说吧．尽管弗里德曼已经是一位具有相当成就的小提琴家了．但海菲茨仍然经常突击检查他的音阶练习，由此便可以看出这位大师对基础训练是多么的重视。 | |||||||||||||||||||||||
| Friedman began to learn violin at the age of six, and his first teacher was the famous violin and string theorist Applebaum.Friedman studied with him for four years.In the meantime.He mastered the strict fundamentals of playing the violin.By Friedman's own account, Applebaum taught him how to take the daunting task of learning the violin seriously enough to correct his attitude in the first place.After the age of ten.Friedman, whose technical abilities had been further developed, began to be Jaramian's private student.This period.It was the stage at which Friedman made a leap in violin playing.Galamian taught Friedman, in a scientific and effective way, how to master the principles of relaxation and how to develop correct and productive practice.Friedman studied with Jaramian from the age of 10 to 16.It was the stage at which he reached full maturity in violin playing.While studying with Galamian, Friedman also took advantage of rare opportunities to teach under another master violinist, Milstein.Unlike Galamean, Milstein did not teach him how to play the violin, but rather trained and nurtured him in music and other artistic pursuits.Made him understand how to be a musician and not just a violinist.In Friedman's own words: "He freed me from the narrowness of playing the violin.Friedman began his apprenticeship under Hafid at the age of 17.Although he was already a young player of some renown before this time, Heifetz still gave him extremely strict requirements and training.Take scales for example.Friedman, though, was already an accomplished violinist.But Hefferts still makes frequent raids on his scales, a sign of the master's emphasis on basic training. | |||||||||||||||||||||||
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| 好友王大君收藏的埃里克·弗里德曼(Erick Friedtm）演奏《帕格尼尼协奏曲》和圣桑的《引子与回旋随想曲》的唱片封面 | |||||||||||||||||||||||
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弗里德曼在海菲茨的身边大约学习了三年的时间，这期间他每星期在海菲茨那里上两次课。此外。还经常与海菲茨一起演奏室内乐。通过这一段珍贵的学习过程．弗里德曼学到了许多在别人那里学不到的东西．他在经过了海菲茨的谆谆教诲和自己的深刻研究与实践之后，逐步了解到海菲茨演奏技艺中的奥妙和风格特点，并将这些宝贵的经验运用到了自己的演奏当中。关于这些，弗里德曼本人曾回忆说：“是海菲茨教会了我如何把总体上的放松和使演奏富有激情而需要使用的紧张结合起来。从他那里，我学到了怎样以最小的力量取得最大效果的方法。” 弗里德曼作为一名天赋极高的小提琴演奏家，他的演奏生涯开始得很早。在幼年时，他也曾被人们当作神童而广泛地宣传过。当时，弗里德曼六岁开始学琴，八岁就正式登台举行了独奏会，14岁时又以音乐比赛获奖者的身份在纽约举行公演。1956年，17岁的弗里德曼赢来了他演奏生涯中的重要时刻，这一年他在纽约的卡内基音乐厅举行了独奏音乐会，这不但使他获得了相当响亮的名声，同时也为他今后的独奏生涯铺平了道路。在此以后，他使广泛地与纽约、芝加哥、华盛顿和底特律等城市中的著名交响乐团合作举行音乐会和录制唱片，很快便成为美国颇有影响的青年小提琴家之一。后来．著名的曼哈顿音乐学院在小提琴大师米沙·埃尔曼辞职以后，热情地向弗里德曼发了聘书，邀请他接替埃尔曼担任学院的小提琴教授职务，弗里德曼愉快地接受了邀请，从此便开始了演奏家与教育家相结合的艺术生涯。 弗里德曼是20世纪中最有代表性的美国小提琴演奏大师之一。他的演奏处处体现着富于时代感的激情和浪漫主义的色彩，由于他与海菲茨之间所存在的特殊关系，使得他的演奏风格非常接近这位前辈大师。人们在聆听他的演奏时，马上便会感觉到他是如此出色地吸收和掌握了海菲获所常用的技术手段和表现方法，包括滑指，同音换指，揉弦和各种技巧弓法及分句法等等。然而尽管他将海菲茨的演奏风格模仿得惟妙惟肖，人们仍然能够感觉到这并非是海菲茨的演奏而是弗里 德曼的演奏。由此可以看出，弗里德曼在掌握和体现海菲茨式的技艺时，仍然保留着自己独特的风格，他是将海菲茨那富有激情和个性的风格技法掌握、消化和吸收，最终变成了自己的东 西。从这方面来看，弗里德曼不愧为是新一代的小提琴演奏大师。正如其他稀有的超—流小提琴演奏大师一样．弗里德曼也具有着令人掠讶的精湛演奏技巧‘他的左右手技术十分均衡，体现出了极其强有力的机能和素质。他的左手速度奇快，颤音技术尤为出色．音色如同银铃一般清脆响亮 他的揉弦十分富有情感，滑指技巧润热流畅，具有扑朔迷离的效果。他的右手运弓技术更为出色， 良好的运弓方法使得他的声音变化极为丰富，既有宏大宽厚的音响，又有纤细迷人的音色．且相互之间的变换转化轻灵默契，常常给人以一种耐人寻味的感觉。弗里德曼是一位驾驭作品能力极强的演奏家，同他的老师海菲茨和米尔斯坦一样，他涉猎的作品的深度和广度都是极为可观 的：从他的演奏作品目录中．可以看到从古到今各个国家、各个流派的作曲家的优秀协奏曲、奏鸣曲等大型作品和一些风格各异，情趣别致的美妙小品。在这方面，他颇有一些如同他的老师海菲茨的那种无所不及的能力。 |
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Friedman stayed
with Heifetz for about three years, during which time he taught at her
twice a week.In addition.He often played chamber music with
Heifetz.Through this precious learning process.Friedman learned much
that he could not learn from others.After his inculcate and his own deep
research and practice, he gradually got to know the secret and style
characteristics of Haefitz's performance skills, and applied these
valuable experiences to his performance.About this, Friedman himself
recalled: "It was Heifetz who taught me how to combine general
relaxation with the tension that makes playing passionate and
demanding.From him I learned how to get the most effect with the least
effort." Friedman's career as a gifted violinist began early.As a child, he was widely publicized as a child prodigy.Friedman began playing at the age of six, gave a recital at the age of eight, and premiered in New York at the age of 14 as a winner of a music competition.In 1956, at the age of 17, Friedman won a pivotal moment in his playing career. This year, he gave a recital at Carnegie Hall in New York, which not only gained him considerable fame, but also paved the way for his future solo career.After that, he made concerts and recordings with leading orchestras in cities such as New York, Chicago, Washington, and Detroit, and soon became one of the most influential young violinists in America.Later on.The Renowned Manhattan School of Music, after the resignation of master violinist Misha Ehrman, enthusiastically offered Friedman an appointment to succeed Ehrman as its violin professor. Friedman gladly accepted the offer, and a career of virtuographer and educator began. Friedman was one of the most representative American violin masters of the 20th century.His performance is full of the passion of The Times and the color of romanticism. Because of the special relationship between him and Haefitz, his performance style is very close to that of the elder master.When one listens to his performance, one immediately feels how well he has absorbed and mastered the techniques and expressions commonly used by Hafid, including finger sliding, homophonic fingering, string kneading and various techniques of bowing and phrasing.But even though he imitates Heifetz's style to perfection, one can still sense that this is not A Heifetz performance but a Friedman one.It can be seen that Friedman still retained his own unique style while mastering and embodying Heifetz's skills. He mastered, digested and absorbed heifetz's passionate and individual style and techniques and finally made them his own.In this respect friedman is a new master of the violin.Like other rare virtuoso violinists.Friedman also has an astonishingly good playing skill. 'He has a very balanced left and right hand, which is extremely powerful in function and quality.His left hand is extremely fast, and his vibrato is particularly good.The timbre is as clear and sonorous as a silver bell. His string-rubbing is full of emotion, and his finger-sliding technique is smooth and hot, with a complicated and confusing effect.His right hand bow-handling technique is more excellent, and his good bow-handling method makes his voice extremely varied, including both grand and generous acoustics, and delicate and charming timbre.And the transformation between each other light spirit tacit understanding, often give a person with a kind of thought-provoking feeling.Friedman was a masterful performer who, like his teachers Haefitz and Milstein, dabbed at the depth and breadth of his work: from his catalogue of performances.You can see the excellent concerto, sonata and other large works of composers from different countries and schools from ancient to modern times, and some wonderful pieces with different styles and unique interests.In this respect he had some of the omnipotence of his teacher, Haefitz. |
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| 弗雷德曼和老师亚沙·海菲兹演奏巴赫D小调小提琴二重协奏曲 bwv 1043 | |||||||||||||||||||||||
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弗里德呈一生中曾录制了大量的唱片，其中包括柴科夫斯基、门德尔松、帕掐尼尼和巴托克等作曲家的著名协奏曲．弗朗克和德彪西等作曲家的奏呜曲以及萨拉萨蒂
的《流浪者之歇》，拉威尔的《茨冈狂想曲》，肖松的《音诗》和圣一桑的《哈瓦涅斯》等等，而当年他与老师梅菲茨一起录制的巴赫的《小提琴二重协奏曲》，则已经成为一张难得的精品唱片，与许多其他大师一样，弗里德曼也是—位十分热衷于室内乐演奏的小提琴大师。对于室内乐艺术．弗里德曼曾有过深入的研究和实践．他自己曾说：“力争获得均衡和匀称的合奏效果．是他演奏室内乐时所遵循的准则。”在他的室内乐演奏生涯中．与中提琴家伊曼纽尔‘瓦尔迪和大提琴家雅沙·西尔维斯坦一起组成了一个优秀的弦乐三重奏小组。他们不但在各地举行了许多场精彩的音乐会，还录制了包括贝多芬弦乐三重奏作品在内的许多出色唱片。除此以外，弗里德曼还与钢琴家尤金·伊斯托明一起演奏钢琴和小提琴的二重奏。提及这方面的情况，弗里德曼总是显得很激动．他称赞伊斯托明是对他有着教育作用和影响的人物，通过与伊斯托明的合作，使他进一步开拓了艺术视野，并且懂得了音乐艺术中更加深刻的内涵。 弗里德曼是一位艺术修养全面而深厚的人。他除了从事繁忙的小提琴演奏与教学工作以外，还利用业余时间来到普林斯顿大学学习希腊、法国和英国文学以及数字和物理学等自然科学课程— 正是基于这种广泛的文化艺术修养和刻苦钻研精神，才使得弗里德曼成为了一位德才兼备的优秀艺术家。1965年，鉴于弗里德曼本人的高超技艺，出色成就相非凡影响，“国际雅各·蒂博小提琴比赛会”特邀请他担任了当年比赛的评委，从此以后，弗里德曼便 在世界上更加牢固地确立了著名小提琴大师的地位。弗里德曼是20世纪中十分富有个性的小提琴演奏家。他与海菲茨之间的特殊师生关系，使得他更加名声大振。然而弗里德曼绝非是海菲茨演奏艺术的模仿者。从他的全面艺术风格和业绩上来看，他的确称得上是海菲茨艺术精神的伟大继承者。（田润德根据1983年出版的《世界著名弦乐艺术家谈演奏》第二集《埃里克.弗里德曼》一文整理） |
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During his
lifetime, Friedchen made numerous recordings, including famous concertos
by composers such as Tchaikovsky, Mendelssohn, Pacpinini and
Bartok.Frank and Debussy play blare such composers as well as the press
of the rest of the rangers, ravel tzigane rhapsody, "poem" and the holy
one of chausson mulberry hava nunez, etc., and then he recorded with the
teacher murph, Bach's "double violin concerto", has become a rare
masterpiece of music, like many other masters, friedman is - a very keen
on chamber music playing a master violinist.For chamber music
art.Friedman has been deeply researched and practiced.He himself once
said, "Strive for balance and symmetry in the ensemble.It's the
principle by which he plays chamber music."During his career as a
chamber musician.An excellent string trio with violinist Emmanuel Vardi
and cellist Yasar Silveston.They not only gave many wonderful concerts
everywhere, but also recorded many excellent records, including
Beethoven's string trio.In addition, Friedman played a piano and violin
duet with pianist Eugene Istomin.Friedman always gets excited about
this.He praised Istomin as a person who had an educational effect and
influence on him. Through the cooperation with Him, he further broadened
his artistic vision and understood the deeper connotation of music art.
Friedman was a man of comprehensive and profound artistic accomplishment.In addition to his busy work playing and teaching violin, he spent his spare time at Princeton studying Greek, French and English literature, as well as natural science courses such as number and physics. It is based on this extensive cultural and artistic accomplishment and the spirit of assiduous study that Makes Friedman an excellent artist with both political integrity and talent.In 1965, friedman was invited to judge the International Jacob Tebow Violin Competition because of his great skill and great achievements, and from then on he established himself even more firmly in the world as a renowned master of the violin.Friedman was a very individualistic violinist in the 20th century.His special teacher-student relationship with Heifetz made him even more famous.Friedman, however, was by no means an imitator of Heifetz's playing art.Judging from his overall artistic style and achievements, he is indeed the great successor of Heifetz's artistic spirit.(Tian Runde, based on Eric Friedman, the second volume of The World's Famous String Artists on Playing, published in 1983) |
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Today in the
history of music Eric Friedman was born on August 16, 1939, in Newark, New Jersey. Erick Friedman (August 14,1939 -- March 30, 2004).American violinist;Born in Newark, New Jersey, in 1939;He began to learn violin at the age of 6, and later from Applebaum and Galamian.He performed in New York in 1954 and Carnegie Hall in 1956. He studied with renowned violinists Milstein and Heifetz.Friedman has worked extensively with conductors Steinberg, Sargent, Seiji Ozawa, Plewin, Boston Symphony Orchestra, Chicago Symphony Orchestra, RCA Victory Symphony Orchestra, etc.In 1965 his playing career was suspended because of an arm injury.Engaged in music education in his later years. Erick Friedman's father was an amateur violinist and began teaching him violin lessons at the age of 6.He studied with Samuel Applebaum and later with Ivan Galamian when he was 10.Eric Friedman made his debut as a soloist in New York in 1954, made his famous debut at Carnegie Hall in 1956, and began his studies with Nathan Milstein the same year. In the late 1950s, Freyidmann became his first official student, after master violinist Jascha Heifetz withdrew from frequent concert performances.He was so keen on his talent that in 1960 he was invited to collaborate with him on Bach's concerto for two violins, the only time he had ever collaborated on a musical recording of two violins. He soon began his concert career, working with orchestras and famous conductors such as Boston, Chicago, London, Berlin and Philadelphia, as well as Steinberg, Malcolm Sargent, Seiji Ozawa and Andre Pleven. He also recorded for RCA Records, including the best selling Prokofiev Violin Concerto No. 1. In 1965, he went to Moscow to take part in the Tchaikovsky International music competition, which unfairly affected his career.Soon after, he was injured in a traffic accident on his left arm and hand, bringing his playing career to an abrupt halt. He began a career in music education, teaching violin lessons at the North Carolina School of the Arts and Manhattan College.He began teaching at Southern Methodist University and the Yale School of Music in 1989.He also serves as music director and conductor of the Garrett Lake Music Festival Orchestra in Maryland. Friedman was a virtuoso with great personal charm, with his precise and aesthetic notes and his elegant sentences. On March 30, 2004, Eric Friedman died of cancer at the age of 65. Today's video and audio: 1. Eric Friedman's Performance of Debussy Heifetz's "Beautiful Dusk";2. Eric Friedman playing Vinyavsky's "Tan Poem" op.17;3. Chrysler "flower drum China" violin solo Eric friedman;4. Yasha Heifetz and Eric Friedman, Bach's Violin Concerto in D Minor, BWV 1043;5. Interview with Eric Friedman (David Dubal, 1982). |
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| 克莱斯勒《中国花鼓》小提琴独奏 埃里克·弗雷德曼 | |||||||||||||||||||||||
| Pinchas Zukerman-Violin Sonata No.9 in A major "Kreutzer"-Ludwig van Beethoven | |||||||||||||||||||||||
| 亚沙·海菲兹和埃里克·弗雷德曼演奏巴赫D小调小提琴二重协奏曲 bwv 1043 | |||||||||||||||||||||||
| 【乐谱】Bach: Double Concerto in D Minor for Two Violins, BWV 1043 | |||||||||||||||||||||||
| 埃里克·弗雷德曼访谈录（David Dubal, 1982） | |||||||||||||||||||||||
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