Carl Dolmetsch (descant recorder), Natalie Dolmetsch (treble recorder), Arnold Dolmetsch (virginal): Green Sleeves to a ground

Carl Dolmetsch (treble recorder), Millicent Dolmetsch (viola da gamba), Rudolph Dolmetsch (harpsichord): Sonata No. 11 (Handel)

Kolisch String Quartet, with D. Capito and J. Barrows (French horns): Sextet in F (A Musical Jest) (K.522) (Mozart)

Moyse (flute), Godeau (clarinet), Dherin and Piard (bassoons), Foveau and Vignal (trumpets), Lafosse and Delbos (trombones), Conducted by Stravinsky: Octet for Wind Instruments (Stravinsky)

Stravinsky's Octet for Wind Instruments was one of the first fruits of the tendency that originated with Stravinsky's 'Pulcinella', in which he had adapted classical melodies of Pergolesi to his own modern idiom. That was in 1919, and the Octet did not make its appearance until 1923, but of the intervening works only the Concertino for String Quartet points definitely in the same direction, which has come to be known as neo-classic.

The Octet is for flute, clarinet, two bassoons, two trumpets, and two trombones. It is classical in form and retains here and there a little of the buffo spirit that went to the making of Mabra, the opera that intervened in 1922, but what made the deepest impression at the time was the transparent quality of the writing. To adopt a colloquialism, it was all clear and above board. There were no devices to dazzle or trick the ear. Virtuosity there was certainly, but not used for that purpose.