Thursday finds Tim Horton back in his "more rewarding" chamber music environment when he offers his desert island music in Music in the Round's autumn season at Upper Chapel.
Berwald's Grand Septet for clarinet, horn, bassoon, violin, viola, cello and double bass begins the concert: "I just love it.
"It's one of most charming pieces the ensemble has unearthed in the last three or four years," he says.
Isn't Schoenberg's Chamber Symphony Op 9, arranged by Webern using the former's instrumentation for Pierrot Lunaire of flute/ piccolo, clarinet, violin, viola, cello and piano, likely to scare people off?
"Which always saddens me greatly, I have to say. It's the one name that really upsets people which I've never understood. People who have a fear of him probably haven't heard a lot of his music.
"Schoenberg was a Romantic composer and always was, even when he wrote atonal music. The work in the concert was his last tonal piece before he started writing atonal music.
"The reason Brahms (his Piano Quartet Op 60 which follows) is on the programme is not just because I love that work, but because it shows there are very clear links, not necessarily between the pieces, but between the two languages.
"A lot of people don't realise the Wagner and Brahms connection with Schoenberg which is such a clear link.
"The tonal language is very Wagnerian and the compositional way he treats his material is very Brahmsian."
Need more be said?
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