# Desert Island Discs



## Owen David (May 15, 2020)

UK posters will be famliar with Desert Island Discs. Others may want to look up this Wikipedia entry:

https://en.wikipedia.org/wiki/Desert_Island_Discs

Does anyone want to share their top 8 pieces* with a bit of bio as to why they are important to you?

* OK given this is a classical music forum let's say at least 5 of the pieces have to be generally accepted as "classical".


----------



## Owen David (May 15, 2020)

If no one starts within 24 hours I'll do my own! lol


----------



## Gray Bean (May 13, 2020)

In no particular order:
Bruckner 7-9
Strauss Four Last Songs
Beethoven Missa Solemnis
Bach B minor Mass
Mozart Marriage of Figaro
& Don Giovanni
Mahler 3 & The Song of the Earth 
Brahms 4

Bio: I am a retired horn player. Now a clergyman with a PhD in European History. I live in the American Deep South. As a brass player I love Bruckner, Mahler and Strauss. As a clergyman the two Masses. As a human being Mozart opera. I have always been moved by the two song cycles and Brahms 4...to me they represent the end of an era, or life itself maybe. Bittersweet in the extreme. Sorry. I cheated a little.


----------



## MatthewWeflen (Jan 24, 2019)

Blu-Ray audio makes this a fair bit easier.

Beethoven 9 symphonies Blu-Ray







Bruckner 9 symphonies Blu-Ray







Tchaikovsky 6 symphonies Blu-Ray







Richard Strauss Blu-Ray (This one hurts because the BD doesn't include Alpensinfonie, but it's otherwise a lot of Strauss on one thin disc)







Mozart Symphonies Blu-Ray


----------



## Gray Bean (May 13, 2020)

I'm moving to your island!


----------



## MatthewWeflen (Jan 24, 2019)

Not my top Sibelius cycle, but again, all one one disc, and a fine enough rendering:







Also not my top, but a fine recording and one disc:







Schubert symphonies and masses








There you have it. Cheating? Pshaw. They're on one disc apiece, and no format was specified


----------



## SanAntone (May 10, 2020)

*Miles Davis - Kind of Blue*. Is an explanation really necessary?
*Robert Johnson - Centennial Collection*. This 2CD set collects all of his recordings in excellent re-mastered sound, presented chronologically.
*The Stanley Brothers and The Clinch Mountain Boys: The Complete Mercury Recordings*. I will have to limit myself to only one of their collectons, but this one is the best, IMO.
*Durufle - Requiem, Sir Phillip Ledger, Janet Baker*. This recording of the organ/cello version is arguably the best of its kind available, sold primarily by Janet Baker's phenomenal performance of the "Pie Jesu".
*Liszt: Via Crucis, Reinbert de Leeuw , Netherlands Chamber Choir*. This is the first of three recordings of this work by Reinbert de Leeuw, and is one I treasure.
*Bernstein - Mass*, 1971 original recording. Yes, I am a fan.  And I count this as a Classical choice.
*Debussy - Pelleas et Melisande, Abbado.* A work that has, at times, been almost an obsession for me, and this recording is about as good as it gets.
*Machaut - Messe de Nostre Dame, Andrew Parrott*. A work I dearly love, and this recrding is for me the one I go to when I want to hear it as it ought to be done.

Well, there are my eight choices. Tomorrow they would no doubt be different, except for Miles and Pelleas which would always make the cut.


----------



## BlackAdderLXX (Apr 18, 2020)

SanAntone said:


> *Miles Davis - Kind of Blue*


Great minds!!!

Miles Davis - Kind of Blue
Pink Floyd - Dark Side of the Moon
Nora Jones - Come Away With Me
Vivaldi - Four Seasons - 1969 I Musici - Michelucci
Prokofiev PC #3, #1 - Graffman/Szell/Cleveland
Beethoven Symphonies 5 & 7 - Kleiber
Mozart Requiem - Karajan
Beethoven Symphonies 4 & 6 - Bruno Walter


----------



## Allegro Con Brio (Jan 3, 2020)

These are mostly big box sets rather than "discs," so sorry for breaking the rules if I did indeed do so.

*Bach - The Well-Tempered Clavier*: Andras Schiff EMI
*Bach - The Complete Cantatas*: Suzuki/Bach Collegium Japan. 
*Schubert - Piano Works*: Mitsuko Uchida
*Beethoven - Late String Quartets*: Takacs Quartet
*Brahms - Complete Chamber Music*: DG "Collectors' Edition"
*Mahler - The Symphonies*: Bernstein DG
*Faure - Requiem*: Marriner/AMSF
*Sibelius - The Symphonies*: Berglund/Bournemouth

Sooooo many works and recordings that are dear to my heart would have to be parted from. Thank goodness said island is but hypothetical.


----------



## 89Koechel (Nov 25, 2017)

OK, maybe a man could add-in ... Jussi Bjorling, esp. in his numerous performances/recordings of Puccini's "Manon Lescaut".


----------



## 89Koechel (Nov 25, 2017)

also, to SanAntone - thanks for remembering the short-lived bluesman - Robert Johnson. For a man who recorded only a handful of sides ... yes, there in San Antonio ... his reputation as probably the "greatest of all country bluesmen", has another place, solidified. I don't know, but his INFLUENCE is large, also - eh?


----------



## ORigel (May 7, 2020)

1. Beethoven String Quartet 13
2. Beethoven String Quartet 12 and 14 (one CD)
3. Beethoven String Quartet 15 and 16 (one CD)
4. Schubert String Quartet 15
5. Schubert String Quintet
6 and 7. Bach's B Minor Mass (takes up two CDs)
8. Messiah Part 1


----------



## consuono (Mar 27, 2020)

All Bach, Beethoven and Mozart.

-Bach: Mass in B minor, the Corboz/Lausanne ensembles recording
-Bach: St Matthew Passion, the 1958 Richter recording
-Bach: Magnificat, the Rilling recording from the late 60s (not sure exactly, but it included the Christmas interpolations within the 1733 D major version)
-Bach: Art of Fugue, Münchinger, SCO
-Bach: Goldberg Variations: Kirkpatrick, Tureck or Perahia
-Bach: Musical Offering, Marriner
-Beethoven: Missa solemnis, Klemperer 1966 recording
-Mozart: Marriage of Figaro, maybe Böhm 1954 or 1957

That's enough for several lifetimes and frankly everything since has just been riffing on those anyway. Alternatively, I could take the Rilling box set of Bach's complete cantatas.


----------



## Bulldog (Nov 21, 2013)

Bach - Art of Fugue (Kenneth Gilbert/Archiv)
Bach - WTC - Rosalyn Tureck/DG)
Bach - St. Matthew Passion (Herreweghe/Harmonia Mundi/1st version)
Beethoven - Cello Sonatas, op. 5 (Coin/Cohen/Harmonia Mundi)
Berlioz - Symphonie Fantastique (Abbado/DG)
Mozart - Great Mass in C minor (Leppard/EMI)
Mozart - Piano Concertos (Schiff/Vegh/Decca)
Weber - Clarinet Chamber Music (Janet Hilton/Chandos)


----------



## Rogerx (Apr 27, 2018)

Related topic, one of many

https://www.talkclassical.com/7966-your-desert-island-discs.html?highlight=Desert+Island+Discs


----------



## consuono (Mar 27, 2020)

Oh yeah, a couple of posts up reminds me, I'll have to make room for a ninth: the Fournier recording of the Bach cello suites.


----------



## Owen David (May 15, 2020)

All on one disc? Isn't that cheating? lol


----------



## Owen David (May 15, 2020)

Thanks I suppose I should have searched!


----------



## Guest002 (Feb 19, 2020)

Britten: Peter Grimes
Britten: A Midsummer Night's Dream
Britten: Death in Venice
Britten: Sinfonia da Requiem
Britten: A Young Person's Guide to the Orchestra
Britten: War Requiem
Britten: Paul Bunyan
Britten: Phaedra

If I had to choose just one: Peter Grimes

And the book? Most Secret War, by R. V. Jones.


----------



## Art Rock (Nov 28, 2009)

Sticking to one per composer to avoid a Mahler overdose:

Bach - St Matthew's Passion
Mahler - Das Lied von der Erde
Brahms - Clarinet quintet
Schubert - Winterreise
Bruckner - Symphony 9
Faure - Requiem
Gorecki - Symphony 3
Barber - Knoxville summer of 1915


----------



## Guest002 (Feb 19, 2020)

Art Rock said:


> Sticking to one per composer to avoid a Mahler overdose:
> 
> Bach - St Matthew's Passion
> Mahler - Das Lied von der Erde
> ...


Hmm. Maybe I should have used the same approach.

OK, then:

Britten: Peter Grimes
J. S. Bach: Cantata BWV 147
Mahler: Symphony No. 7
Sibelius: Symphony No. 5
Purcell: Dido and Aeneas
Vaughan Williams: Sir John in Love
Mozart: Marriage of Figaro
Monteverdi: Vespro della Beata Vergine

But I'd be happy with either approach, to be honest!


----------



## Animal the Drummer (Nov 14, 2015)

Mozart: "Marriage of Figaro" (ultimate choice) - Erich Kleiber's recording on Decca.
Mozart: Piano Concerto no.21 (both for its own sake and representing the corpus of major works I love most in all of music) - Brendel/Marriner/ASMF.
Mozart: "Jupiter" Symphony - most especially for that miraculous finale - any number of possible recordings.
Mozart: Clarinet Quintet, in its own right and as representative of his chamber music overall - one of Jack Brymer's recordings.
Brahms: Violin concerto - probably the piece which has been on this list longer than any other - has to be Arthur Grumiaux, preferably with van Beinum conducting.
Bach: "Christmas Oratorio" - there's so much by JSB that I could have chosen but this is (a) one of my favourites and (b) irrepressibly optimistic - Münchinger's "stout and steaky" recording (absolutely NOT the one by Gardiner which comes across to me as technically superb but joyless).
Rachmaninov: Cello sonata - both for its own sake and as representative of my fondness for Russian music in general and Rachmaninov in particular - a performance on Russian Disc with none other than Evgeny Svetlanov as the (tremendously impressive) pianist.
Chopin: Ballades, esp.no.4 in F minor - possibly (may well have changed this time next week!) my favourite pieces by my favourite composer for my instrument (not that I can play them; I wish!) - the idea that he was anything less than an authentic genius I find utterly incomprehensible - Murray Perahia's recording.


----------



## flamencosketches (Jan 4, 2019)

consuono said:


> -Bach: Musical Offering, Marriner


Happy to see you've chosen the Marriner Muskalisches Opfer. I just bought it and am really impressed, despite the non-HIP-ness of it all.


----------



## larold (Jul 20, 2017)

Beethoven symphonies by Ansermet

Brahms Symphony 4 by Furtwangler (1948 EMI)

DebussyNocturnes, Children's Corner Suite by Stokowski (1950)

Haydn Sturm und Drang symphonies Bruggen

Mahler songs: Wayfarer by Alfred Poell & Furtangler, Kindertotenlieder by Flagstad & Boult

Mozart Wind Concertos by Pay (basset clarinet), Beznosiuk (flute), Kelly (harp) and Danny Bond (bassoon) & Hogwood

Shostakovich Syms 7, 8 and 10 Mravinsky, Leningrad Philharmonic

Sibelius Syms 4 & 7 Maazel Decca

Smetana Ma Vlast Susskind St. Louis Symphony

Richard Strauss Four Last Songs by Flagstad & Furtwangler


----------



## consuono (Mar 27, 2020)

Owen David said:


> All on one disc? Isn't that cheating? lol


Of course. I'd have a few mega-discs of my own devising...somehow... :lol:


flamencosketches said:


> Happy to see you've chosen the Marriner Muskalisches Opfer. I just bought it and am really impressed, despite the non-HIP-ness of it all.


Yeah, I like some HIP recordings but I'm not a fan overall. I think when you get to Musical Offering and AofF you're in more "abstract" territory anyway.


----------



## Bulldog (Nov 21, 2013)

Animal the Drummer said:


> Bach: "Christmas Oratorio" - there's so much by JSB that I could have chosen but this is (a) one of my favourites and (b) irrepressibly optimistic - Münchinger's "stout and steaky" recording (absolutely NOT the one by Gardiner which comes across to me as technically superb but joyless).


I find this surprising; Gardiner's my favorite version, a main reason being what I consider a wonderfully joyous interpretation.


----------



## Animal the Drummer (Nov 14, 2015)

I fully respect that of course and I'm glad you get such joy from it, as in fairness I know others do too, but I've found myself simply unable to hear that in it. It was the first version I owned, having heard the work on radio (conducted by Ton Koopman) and then having researched recommended recordings. The contrast couldn't have been greater and I ended up taking the Gardiner to the charity shop, because what I got from it was tremendous technical polish but, to these ears at any rate (battered as they may have been by years of playing rugby when I was younger), no beating heart. I do know I'm not entirely alone in my reaction though: a professional orchestral cellist of my acquaintance once said in my hearing that Gardiner has two speeds - too fast and too b****y fast.

Ah well - it takes all sorts to make a world.:tiphat:


----------



## Simplicissimus (Feb 3, 2020)

I’m thinking about this as being alone on a desert island and wanting to hear music including the human voice so I’ll feel less lonely. My preferred recordings and some of the vocal soloists who are my favorites are indicated by way of bio details. Cheat: I wish I could add Mahler’s DLvdE and Prokofiev’s Nevsky.

J.S. Bach – Mattäus-Passion, BWV 244. Gardiner/English Baroque Soloists (Anne Sophie von Otter, Barbara Bonney, Andreas Schmidt, Olaf Bär), 1989, Deutsche Grammophon.

Samuel Barber – Knoxville Summer of 1915, Op. 24. Zinman/St. Luke’s Orchestra (Dawn Upshaw), 1988, Nonesuch.

Johannes Brahms – Ein Deutsches Requiem, Op. 45. Giulini/Wiener Philharmoniker (live) (Barbara Bonney, Andreas Schmidt), 1987, Deutsche Grammophon.

Manuel de Falla – El amor brujo (1915 original version), Gil-Ordoñez/Perspectives Ensemble (Esperanza Fernández, cantaora), 2018, Naxos.

Gabriel Fauré – Requiem, Op. 48. Giulini/Philharmonia Orchestra (Kathleen Battle, Andreas Schmidt), 1986, Deutsche Grammophon.

Paul Hindemith – When Lilacs Last in the Dooryard Bloom’d. Shaw/Atlanta SO & Chorus (William Stone, Jan DeGaetani), 1986, Telarc.

Felix Mendelssohn – Elias (Elijah), Op. 70. Sawallisch/Gewandhausorchester Leipzig (Peter Schreier, Theo Adam), 1968, Decca.

Ralph Vaughan Williams – Symphony No. 1 “A Sea Symphony.” Thomson/London SO & Chorus (Yvonne Kenny, Brian Rayner Cook), 1989, Chandos.


----------



## perdido34 (Mar 11, 2015)

I like some of these pieces, but with different performances, e.g.:
Barber Knoxville -- Leontyne Price or Roberta Alexander
St. Matthew Passion: Netherlands Bach Society
Faure Requiem: Willcocks and an English boy choir, can't recall which one
Vaughan Williams Sea Symphony: The first recording by Hickox for Virgin Classics


----------



## pianoforever (May 20, 2020)

1. Bach. Goldberg Variations. Perahia. Alternatively, Derzhavina, Tureck (BBC)
2. Beethoven. Hammerklavier. Annie Fischer. Alternatively Pollini, Lucchesini, Richter, Solomon
3. Mozart. Le Nozze di Figaro. Gui. Alternatively Giulini
4. Wagner. Meistersinger. Kubelik
5. Brahms. 4th symphony. Kleiber
6. Debussy. String quartet. Ebene.
7. Schubert. Sonata D960. Richter
8. Stravinski. The Rite of Spring. Abbado
9. Mahler. Das Lied Von der Erde. Walter/Ferrier
10. Ravel. Gaspard de la Nuit. Michelangeli. Alternatively Argerich


----------



## Barbebleu (May 17, 2015)

AbsolutelyBaching said:


> Britten: Peter Grimes
> Britten: A Midsummer Night's Dream
> Britten: Death in Venice
> Britten: Sinfonia da Requiem
> ...


I'd swap Bunyan and Phaedra with Billy Budd and Gloriana. Apart from that.......


----------



## 20centrfuge (Apr 13, 2007)

Art Rock said:


> Sticking to one per composer to avoid a Mahler overdose:
> 
> Bach - St Matthew's Passion
> Mahler - Das Lied von der Erde
> ...


We have more in common than I thought! The Schubert, Fauré, and Barber works you list are three of my all time favorites!


----------



## Dirge (Apr 10, 2012)

JOSQUIN des Prez: *Missa "L'homme armé" super voces musicales* (1490s)
:: Turner/Pro Cantione Antiqua [Archiv '76]
Super voces musicales is in many ways a throwback to the pre-dawn of the Renaissance, a more rigorous and prescribed and mathematically oriented time when mensuration canons and isorhythmic motets still roamed the Earth. Such prescribed formality, and respect for the old ways might sound like a recipe for one deadly dull mass, but Josquin thrives on the challenge of composing within these bounds, which seems to focus and inspire him to be as inventive as possible "within the rules," to make the utmost of what he's still free to do. In effect, the more he embraces these limitations, the more he transcends them, finding a rare and elusive beauty in the abstract polyphonic rigor and a sincere and unaffected expressiveness in the emotionally guarded, almost academic, ways of the past. In many ways, Josquin's mass is the antithesis of the very mass that likely inspired it, Busnois' athletic and free-spirited Missa "L'homme armé," a work that defies convention as Josquin's work exploits it. The Turner/PCA recording, what with the great rapport of its contrasting but complementary voices, turned me from an early music dabbler into an early music fan.

J. S. BACH: _*Die Kunst der Fuge*_ (1742-49)
:: Scherchen/Radio Beromünster Orchestra [Decca '49] Tahra
DKdF is a work that can be performed in so many vastly different ways that I'm always curious to hear what the next performer/group makes of it. Although I have many favorite recordings of the work, this old Scherchen/Beromünster account is the most special to me, both for the 1937 Roger Vuataz orchestration, which divvies up and treats the orchestra like a virtual four-keyboard organ, and for the poignant, intensely plaintive playing of the unvarnished but game Beromünster Orchestra.

Franz SCHUBERT: _*Winterreise*_ (1827)
:: Anders & Raucheisen [DG '45]
At the time of this recording, Peter Anders was a lyric tenor working his way up the dramatic ladder to dramatic/Heldentenor, and his is the extroverted and intensely dramatic performance of a natural opera singer singing lieder. There's no introverted pussyfooting around here: he's hurting and lonely and he's damn well going to make sure that you know it. ("A visceral cry of pain," as critic Joseph Horowitz has described Anders' performance.) Many listeners find Anders' approach emotionally overwrought and too operatic for lieder, which I can appreciate, but it works for me-not least for his vocal acting and storytelling prowess. And it doesn't hurt that Anders possesses a superb voice, with its compelling combination of substance and clarity, and a slightly ringing top end when singing full throttle. He doesn't have the impossibly beautiful golden tone of Fritz Wunderlich, but his is the more penetrating and powerful tone, and for many, Anders is the epitome of the classic German tenor. Raucheisen's accompaniment isn't especially pointed or imaginative, but it's proficient and well characterized, providing a nicely flowing and sympathetic setting for Anders to do his thing.

Franz LISZT: _*Sonata in B minor*_ (1853)
:: Levy [Unicorn '56] Marston
:: Gilels [Melodiya, live '61]
Gilels gives as focused and resolute and tightly wound a performance of the Sonata as I've heard, summoning all of his Mr. Spock-like discipline and concentration to contain a great reserve of pent-up energy. But can he possibly maintain that level of focus and concentration for the duration? The ever-present underlying threat/danger that he could erupt at any given moment generates a level of tension and suspense that even Alfred Hitchcock would be proud of. Gilels is very much a man on a mission, and he's not going to let anything distract him or get in his way en route to his final destination. In that respect, he strikes me as the polar opposite of Ernst Levy, who's very much a man on an exploration, a man for whom the journey's the thing. The question for him, then, is can he somehow hold everything together and make sense of it? In the end, I get the sense that Gilels has conquered the Sonata, whereas Levy has communed with it-both approaches work for me; they're just very very different.

Gustav MAHLER: _*Das Lied von der Erde*_ (1908)
:: Baker, Kmentt, Kubelik/Bavarian RSO [Bayerischer Rundfunk, live '70] Audite
This well-balanced, finely integrated performance manages to be scrupulous and refined yet flowing and dramatic-though the drama here is less overt than in some performances, achieved as much through subtle but telling gestures made in an atmosphere of unflagging concentration and tension as through theatricality and dynamic intensity. Kubelik is keenly attuned to the intricately woven nature of the work, and his flexible but faithful conducting is well suited to the task. His ability to logically relate and gracefully transition between even the most disparate of elements allows him to maintain tension and momentum throughout and to impart a fluid-like flow to the music, and he's aided and abetted by the Bavarian RSO, whose admirably responsive playing combines studio-like accuracy and refinement with live frisson and sense of occasion. Janet Baker is in excellent voice and sings better and more purely, I think, than she does for Leppard [BBC Classics] or for Haitink [Philips] in this work, but Kmentt's voice/tone may not be to everyone's liking, as it has a slightly airless, cardboard-y tone that doesn't quite fully bloom. For me, the quality of his singing more than compensates for the quality of his voice/tone, but others may have trouble coming to terms with it.

Igor STRAVINSKY: _*Pétrouchka*_ (1911)
:: Stokowski/Leopold Stokowki Symphony Orchestra [RCA '50] Testament
Stokowski's is the _Mr. Toad's Wild Ride_ of _Pétrouchka_ performances, reveling in the carnival aspects of the score and bringing them out in all their cinematic/Technicolor glory-even via RCA's primitive 1950 mono recorded sound. Stokowski & orchestra tread the precipitous ridge between inspired madness and just plain madness with the skill of a mountain goat, somehow managing to hold everything together and make it coalesce-how they do it, I don't know, but there's clearly an underlying method to the madness at work here. Paladins of the score and listeners with delicate constitutions will want to steer clear, but hale and hearty listeners in search of interpretive adventure will find it here. (The Leopold Stokowski Symphony Orchestra is essentially the NYPO in contractual disguise and features Leonid Hambro on piano.)

Béla BARTÓK: *Music for Strings, Percussion & Celesta* (1936)
:: Kubelik/BRSO [Orfeo, live '81]
When the subject of "best" work of the 20th Century comes up, I reflexively think of MfSP&C, and Kubelik and company give it one of the most deftly characterized and compelling performances I've heard. The dismal atmosphere of the opening Andante tranquillo is wonderfully cultivated, growing creepier and more uneasy as every layer of the methodical fugue is insidiously laid down. The tempo here is somewhat slower than usual, but focus and concentration couldn't be better, and tension never even hints at flagging. Much excitement is generated in the two Allegro movements, not through uncommonly fast tempos (the tempos are quite moderate) but through vigorous playing marked by incisive yet resilient and well-sprung rhythms-the playing could be a bit more trenchant and severe in absolute terms, but it's perfectly in keeping Kubelik's interpretation. A slowish Andante usually means a slowish Adagio, but Kubelik confounds expectations and takes the Adagio at a fast clip while somehow managing to make the most of the eerie nocturnal atmosphere of Bartók's "night music"-no mean trick.

I've taken the liberty of substituting a Desert Island CD-R (~78 minutes' worth of shorter favorites) for my final Desert Island Disc …

Thomas TALLIS: _*Spem in alium*_ (1573?)
:: Phillips/Tallis Scholars [Gimell '85]
Claudio MONTEVERDI: _*Lamento della Ninfa*_ (from Madrigals, Book VIII, p. 1638)
:: Zomer, Veldhoven/Cappella Figuralis [Channel '01]
Gaspar SANZ: _*Canarios*_ (p. 1674)
:: Bream [RCA '65]
J. S. BACH (arr. Kurtág): *Sonatina* (from Cantata "Gottes Zeit ist die allerbeste Zeit" BWV 106 … aka "Actus tragicus") (c. 1708)
:: M. & G. Kurtág [ECM '9?]
J. S. BACH: *Chaconne* (from Partita No. 2 in D minor for solo violin, BWV 1004) (c. 1720)
:: Grumiaux [Philips '60/'61]
J. S. BACH: *Adagio ma non tanto* (from Sonata No. 3 in E major for violin & harpsichord, BWV 1016 (early 1720s)
:: Zimmermann & Pace [Sony '06]
G. F. HANDEL: *Musette* (from Concerto grosso in G minor, Op. 6/6) (1739)
:: Marriner/ASMF [Argo '68]
Felix MENDELSSOHN: *Overture "The Hebrides"* (aka "Fingal's Cave") (1830/32)
:: Maag/LSO [Decca '60]
Frédéric CHOPIN: *Ballade No. 4 in F minor, Op. 52* (1842/3)
:: Hofmann [Casimir Hall Recital, live '38] Marston
Johannes BRAHMS: *Geistliches Lied, Op. 30* (1856)
:: Pedersen/Det Norske Solistkor [BIS '11]
Carl NIELSEN: *Præludium and Tema con variazioni* (from Wind Quintet) (1922)
:: New York Woodwind Quintet [Concert-Disc, early '60s] Boston Skyline
_Man cannot live on lengthy works alone._


----------

