Beaux Arts Trio

Speaker 10:00

Hello, I'm Kirsty Young, and this is a podcast from the Desert Island Discs Archive.

Speaker 10:05

The programme was originally broadcast in nineteen eighty one, and the presenter was Roy Plumley.

Presenter0:27

One week in October 1981, we had three castaways on our desert island.

Presenter0:33

They're from the United States and they're members of a very celebrated instrumental group, the Beauzar Trio.

Presenter0:39

Now there was a slight difficulty in organizing this because there are three people and eight discs and three into eight obviously don't go. So we had to draw odd man out to see which of them was the unlucky one with only two discs.

Speaker 10:56

I

Beaux Arts Trio0:56

John

Speaker 10:58

Yeah.

Beaux Arts Trio0:58

What is that?

Speaker 20:58

Uh

Speaker 10:58

Uh

Beaux Arts Trio0:59

He's the lucky one. No, no, no, no, no. Let's just do it the even rhythm.

Presenter1:03

The way we always do it. That sounds very practical. It's still like it alphabetical, but I think it's a very good idea.

Beaux Arts Trio1:15

Both

Beaux Arts Trio1:16

Tells

Presenter1:20

No, we're going to have two commonal ones, two that you agree on that you could all three live with. All right. Right, now let's have one of the commonal ones first. Would you like to introduce it, Bernard Beenhoff? All right.

Presenter1:35

Well, I think that we have decided on the Toscanini recording of the Beethoven Seventh Symphony. I think we decided on it uh mostly because uh I was influential with my two friends. I was part of that recording, I believe it's the NBC Symphony Orchestra.

Beaux Arts Trio1:57

No, I would say that the Seventh Symphony is at any case a magnificent choice, even though Mr. Greenhouse was on the recording.

Presenter1:58

You know, I

Speaker 12:04

Uh

Presenter3:08

Part of the fourth movement of the Beethoven Seventh Symphony,

Presenter3:11

Arturo Toscanini conducting the NBC Symphony Orchestra.

Presenter3:15

Now, let's hear one of the personal choices. I'm going to start with you, Mnachim Presle.

Presenter3:21

Pianist with the Beaux-Arts trio. You're the only one of the three to be born in Europe.

Beaux Arts Trio3:27

Yes, I was born, to my dismay, in Magdeburg, a town that is now in Eastern Germany, but I was still one of the very few lucky ones who escaped.

Presenter3:37

Your parents had the good sense to get out, I believe, when the girl was good.

Beaux Arts Trio3:38

Yeah.

Beaux Arts Trio3:40

Oh yeah, they got out in 1939. In 39. Just after the war had begun, and so it truly was the last minute.

Speaker 13:49

Yeah.

Beaux Arts Trio3:50

got out and arrived in Palestine or Israel today.

Presenter3:53

Were your parents?

Presenter3:55

Musical.

Beaux Arts Trio3:57

They loved music. My father played terribly the violin, and that's the first instrument that I started with was the violin. How old were you? I was six when I started to play the violin. But it was seven when I started to play the piano.

Presenter4:14

Now you won an important music prize when you were in your

Beaux Arts Trio4:16

Your teens.

Presenter4:18

Yeah.

Beaux Arts Trio4:18

That was already after having studied in Israel.

Beaux Arts Trio4:22

Then pass and for

Beaux Arts Trio4:24

That time and I came for the first time to America. That was my reason for coming to America was a debusi prize given in San Francisco.

Beaux Arts Trio4:32

By the French government, and the judges at that time was Darius Millot, one of the great French composers.

Presenter4:38

You had of course gone in for preliminary heaps. In France

Beaux Arts Trio4:41

And and in Palestine.

Presenter4:43

No

Beaux Arts Trio4:43

No, you went into the preliminaries right there, and it was murderous. I even couldn't get all the music.

Presenter4:47

And

Speaker 14:47

Uh

Beaux Arts Trio4:50

In

Beaux Arts Trio4:52

Israel at the time a

Beaux Arts Trio4:54

Got the last piece in New York, and I did learn it without a piano.

Beaux Arts Trio4:58

Things that you do in desperation, I guess. And

Speaker 14:58

Synx is a

Speaker 24:58

Yeah.

Speaker 14:58

That you

Speaker 15:00

And

Beaux Arts Trio5:02

We played in back of the screen and when I was selected to go the second round and the third round, I felt absolutely on.

Beaux Arts Trio5:12

Top of the world, an ad sortnan.

Beaux Arts Trio5:14

And it sounded right and it sounded good, so therefore I was thrilled. I can still remember, of course, that last minute when the screen opened and they said first prize. I had to pinch myself to say, is it me? and go send the telegram home to say I won the first prize, and that was actually the start in America.

Presenter5:40

And with that prize went some very useful engagements.

Beaux Arts Trio5:43

Oh yes, indeed. I I was fortunate enough to make then my debut with Ormondy and the Philadelphia Orchestra. And out of that too I was lucky. I

Beaux Arts Trio5:54

Was the second one to be selected in that orchestra's history to get a four-year contract to play with that orchestra.

Presenter6:02

You were off to a good start. Indeed. So let's break off at this point and hear your first personal choice for a desert island. What's it to be?

Beaux Arts Trio6:11

I heard the fourth piano concerto.

Beaux Arts Trio6:15

Now it was, as I started to realize, a combination that is not to be beat to hear one of the most beautiful pieces on the piano, played by a man who has played more beautiful to my mind than anyone else this particular piece, who transformed a scale into a musical pronouncement. And it has stayed with me to this very day, that joy and inspiration that I got out of this particular record.

Presenter7:50

part of the first movement of Beethoven's fourth piano concerto,

Presenter7:54

Arto Schnabel with the London Philharmonic Orchestra conducted by Sir Malcolm Sargent.

Presenter8:00

Well, now it's your turn, Bernard Greenhouse.

Presenter8:03

What part of the United States are you from?

Presenter8:05

I'm from a little town about uh thirty miles out of New York called Newark, New Jersey. And do you come from a musical family too? Not really, no. We were four boys in the family. My father loved music very much. We had the old Victrola and all of the Caruso records and the the old uh favorites on seventy eight. And we had musical evenings and each of the four boys

Presenter8:33

had to play an instrument as part of his musical education. The the first one chose the piano and the second one the violin.

Presenter8:42

And the third, the flute, and I was the youngest, and there was very little left. And I was given a cello and said, Well, this is this is the next instrument in line. This is what you'll play. You were the smallest one, and you had to carry the biggest and heaviest instrument. Well, I did have an older brother stronger than than myself, and uh I made him carry the cello to rehearsals. Where did you study? I studied at that time in Newark.

Presenter9:09

and then later I went to the jewel yard.

Presenter9:13

and studied with an English cellist by the name of Felix Salmond.

Presenter9:17

Uh he was very well known in America and has taught most of the cellis of my generation.

Presenter9:23

And after that went on to work with uh Emmanuel Feureman. Yes. And then with Gasals for two years. This was a sort of little postgraduate tuition. You you decided you would like to go to the top man.

Speaker 19:30

Orange.

Presenter9:37

And see castles in Enpradis.

Presenter9:42

When I started working with him, he had accepted me as a student because he said, well, what I needed was the working with a master as an apprentice, and he felt that since there was no one he could recommend as a great master, that I would have to stay in the village and work with him for six months, which of course was just what I wanted to hear. But he asked for twenty dollars at that time as a fee for each lesson, and my lessons were to be three or four times a week. Well, after several uh weeks of this, I was beginning to see my little bankroll disappearing. And one day I came and played very well for him, and he said, Well, today

Speaker 110:19

Yeah.

Speaker 210:19

Right.

Speaker 110:19

Uh

Speaker 210:19

Uh

Presenter10:24

You've played so well, you keep the twenty dollars.

Presenter10:28

And of course I was delighted. The next lesson was not so good and he accepted the 20. But the following lesson he said to me, well now I know that you're running out of funds and someday when you can afford it I would like you to make a contribution to the Spanish exiles. And that was the end of the payment for lessons and eventually I was able to send him a check for the Spanish refugees. And you were his pupil for two years? For two years, yes. So back to the United States trading clouds of glory after that. Well it was a it was a wonderful experience for me working with a great man and it was the beginning of my career actually.

Speaker 211:14

Peter

Presenter11:15

And you went back to the States. You played with the with the string quartet for a number of years. I had a a a string quartet, I've had a a harpsichord quartet, and I've been a member of the Bach Arya group in New York for twenty-eight years. But the great uh point in my career has been uh the Beaux-Arts trio. I've found that to be the most exciting career and uh most gratifying musically.

Speaker 111:34

Right.

Presenter11:40

He preserves a very old and beautiful cello.

Presenter11:43

I have one of the great instruments today of Stradivari. There are many Stradivari violins, fewer violas and fewer cellos, and mine is the Paganini.

Presenter11:57

It was made in seventeen hundred and seven and one of the great masterpieces of The Greatest Master.

Presenter12:03

It must be a great joy to you. It is, and it's a great worry sometimes, especially carting it around on airplanes and traveling as much as possible. It has a seed to itself, I'm sure. Oh, yes, yes, it does. It does. As a matter of fact, I even insist on getting some food for the cello. Now, what's your first personal choice, Bernard?

Speaker 112:12

But has a seam

Presenter12:25

My choice is the recording of the

Presenter12:29

A Schumann Concerto played by Gregor Piatogorski. It's an old, old record on seventy-eight and uh it made an enormous impression on me at a point in my life when I wasn't sure I wanted to become a cellist, but after listening to this record I knew that the instrument was mine, that I had to spend my life with it.

Presenter13:48

The opening of the Schumann cello concerto in A minor,

Presenter13:52

Gregor Piatogowski with the London Philharmonic Orchestra conducted by Sir John Barbirolli.

Presenter13:58

Now the third member of the Beauzard trio, violinist Isidore Cohen.

Presenter14:04

The trio celebrated its twenty fifth birthday last year, but you're a new boy, Isidore. Yep, I'm the youngest of the group, and I joined them twelve years ago. Where are you from?

Presenter14:14

I'm from New York. I was born there. I was educated there. And have lived there all my life. What about your musical beginnings?

Presenter14:21

No members of my family have ever been musical in any real sense. I remember being taken to the

Presenter14:28

Second Avenue Jewish Theatre in New York, and sitting next to my grandmother she always hummed, and I decided that she was the most musical member of the family.

Presenter14:36

But my cousin started to study the violin, and I used to be terribly jealous of him. I always envied his toys and all the good things he had, and my parents didn't seem to get them for me. So I uh convinced my parents to buy me a violin, get me a violin teacher, and that's how it all started. Now, you went into the United States Army, didn't you, during the war?

Presenter14:54

Yes, I was in the army during the war and uh

Presenter14:58

In a way, the misery of the war was responsible for my turning to music as a profession, because I had actually been a pre med student.

Presenter15:05

And towards the end of the war, one day, when I was in Saint-Asaur-Orient area, cruising round in a jeep, I saw a

Presenter15:12

A man with a violin and I

Presenter15:15

convince him to trade me his violin for my gun.

Presenter15:19

He happened to be a submarine man, so it was a full size violin, but the bow was only about a foot long.

Presenter15:25

Which was an interesting phenomenon. I have pictures to prove it. And so I practiced with this foot-long bow.

Presenter15:32

And some people heard me practising out in a field somewhere and they said, You know, we've been trying to get into a GI symphony now for years and you sound pretty good, and we'll include your name on our letters. Mhm. And they did get me into a GI symphony, and there I met some very, very fine instrumentalists who were studying with a particular teacher, Glamion.

Presenter15:52

In New York.

Presenter15:53

And well, it all worked out for me. I was able to get back to New York in one piece and I went and studied at Juilliard. And you played with two or three celebrated string quartets in the States.

Presenter16:05

Well, after I graduated I started out first in something called the Schneider Quartet and we were uh recording all of the Heidenstring quartets. That's a big project. There are eighty-seven of them. Then I joined the Juilliard Quartet, was with them for about ten years. And after that I joined the celebrated Beaux Art Trio. Yes, you were approached about joining these two.

Speaker 116:12

That's

Speaker 216:19

Villa?

Presenter16:25

What's the procedure in in such a case? I mean, you you were happy, presumably, with with the Juilliard Quartet. Could you suggest that you join for a trial period, the the Beaux Art? I mean, to see how you got on. I mean, yeah. Well, that would be the normal thing. Uh they called me up. I'd actually met them.

Speaker 116:34

The CHAPTER.

Presenter16:41

Once I remember in Vienna I was playing with the quartet and the members of the Beaux Art trio then came backstage and and they were very nice. And I knew Bernie because he was a member of the faculty at Juilliard and I was a member of the faculty. I only knew Menachem by name, reputation, having heard the trio. But then at a point when I had decided to leave the quartet, one day I got a call from one of these fellows and they said, Would you join us?

Presenter17:07

And my idea of joining a group would have been, you know, we sit down, we play a while and we see whether we like the same food and the same sort of women and, you know, and then if we're that compatible, why you stick together?

Presenter17:18

But they said no, that wasn't necessary. If I wanted to join, all I had to do was say yes, and that was it.

Presenter17:24

So I thought it was pretty silly of them, and they probably regretted it since, but I joined on that basis. Twelve years ago. Yep.

Presenter17:32

And what's your first personal choice of record?

Presenter17:36

Oh, well, I just this summer, uh, after not hearing or playing the work for a number of years, played Beethoven fifty nine, number two, the E minor quartet, and I found it so moving, so exciting, that I think on a desert aisle, well, this would be some solace for me.

Presenter18:56

The Juilliard Quartet playing part of the third movement of the Beethoven string quartet in E minor, opus fifty nine, number two.

Presenter19:05

Now, who can tell me the story of how the Beaux-Arts trio came into being? You were there on the evening that it started, weren't you, Bernard? Really. I think there might have been a couple of evenings before I joined to form the permanent group. I think the idea originally was for the trio, it had no name at the time, to make records for one of the companies in New York, to do the complete Mozart trios.

Presenter19:35

Um mister Guillet and and Menachem uh were searching for a cellist who would fit into the picture well, and they called me on the phone and asked whether I wouldn't come and have an evening with them of of Mozart.

Presenter19:49

And that was the beginning of the trio. Was it your intention, Bernard, that this should be a full-time job or just something that you would all get together on occasionally? We were each of us involved at that time in a solo activity. Nachem was very active uh with the orchestral appearances and

Speaker 119:55

Yeah.

Speaker 119:57

Get together on the

Presenter20:08

And I was uh also at that time very much active in in solo playing.

Presenter20:13

And this was just a lark for us. We felt that we wanted to have a good time making uh music together. But it uh it worked out that uh in a natural series of events, the the number of concerts, we started living together, traveling together a great deal, and we enjoyed it. And so it's it's just gone on and on for twenty-six years now.

Presenter20:36

Isador, when you joined the trio it was already established and you must have got to know all the statistics. How many concerts do you reckon they must have given in twenty-six years? Well when I joined them they were doing over a hundred a year. I'd say about a hundred twenty. Now we're up to about between a hundred thirty and a hundred forty a year. You pushed up the rate of strikeout. Oh well I don't know whether I was responsible but so I would say an average of uh maybe a hundred ten, a hundred fifteen for a period of twenty-five, twenty-six years. Yes. So close to three thousand concerts. That is a a lot of concerts. Has a lot of notes, yes. That doesn't count the rehearsals.

Speaker 120:55

Yeah.

Presenter21:13

Malachi Presler, it's your turn to choose another, a personal choice. Record number five, we've got.

Beaux Arts Trio21:19

I have chosen as my choice.

Beaux Arts Trio21:22

Here the Ravel trio, the second movement, it has a special meaning to me and actually it was my friend Bernie who always said when I touched a new piano I would try that particular theme and he would say, Oh, it's your theme song or something like that. And somehow it seemed to have developed into a theme song for me for a reason that I do love the movement. I do love that moment and I find it in its beauty pristine and yet so sensuous and so beautiful as far as the piano sonorities are concerned. And at the same time, when the strings take it, I think it's ethereal. And so that's my choice.

Presenter22:08

And this is indeed the Boza Trio.

Beaux Arts Trio22:11

Uh It's

Presenter23:02

Part of the second movement of the Ravel Piano Trio played by the Beauz Art Trio.

Presenter23:09

The name Bernard who decided that should be called the Beaux Art.

Presenter23:13

Daniel Guillet was French.

Presenter23:16

He wanted the trio to be called the Guille Trio.

Presenter23:20

There were two objections, one from the pianist. As a compromise, it became the Beaux-Art triumph. It was a French name, and it satisfied Guillet and Menachem and myself.

Speaker 123:26

And that's it.

Speaker 223:27

Yeah.

Speaker 123:27

Yeah.

Speaker 223:28

Yeah.

Speaker 123:29

As a compromise.

Speaker 223:41

Yeah.

Presenter23:42

Now autistic decisions, Bernard, democratic decisions? I mean definitely. Yes, absolutely democratic. It has to be the one with the loudest voice. And at the moment, no, we we work together as a team. Chamber music can't be done in any other manner.

Presenter24:01

Which of you ordinarily is the spokesman who goes into battle to to argue on behalf of the three of you? I mean, obviously you don't travel an agent with you. I mean

Presenter24:11

There there are occasions when you have to Well, I think that for the most part we trust Menachem with many of the uh

Presenter24:20

Affairs of the trio. I think that he's capable and we trust him and

Speaker 124:21

I think

Presenter24:25

Well, that's Bern Germany when he speaks the language. The work is divided, actually, between the three of us.

Speaker 124:25

So

Speaker 224:27

Uh

Speaker 124:27

No, but there it's divided.

Presenter24:34

Menachem, you you you travel the world together, the three of you. What are your leisure pursuits? Who goes off to look at new buildings? Who goes off to find the good restaurants? What do you all get up to?

Beaux Arts Trio24:44

What you will get on to. We've got one man who always finds the churches. That is mister Cohen, as he who is always very eager to find the interesting churches.

Presenter24:50

Yeah.

Presenter24:56

Of what period do you favor?

Presenter24:58

Any organization.

Speaker 225:00

Yeah. Okay, so

Presenter25:02

No, I uh I don't have time to wander around much anymore, so I'm afraid I've neglected my churches of all periods.

Beaux Arts Trio25:10

But we hope he always puts in a good word for us when he talks in the church. But the interest for the restaurants, I think, is mutual. We all three

Speaker 225:15

Yeah.

Beaux Arts Trio25:21

do like to eat well, and we follow the maxim of Isai, who says, in order to play well, you've got to eat well. And so I don't know if we always play well, but we always try to

Presenter25:33

Yeah.

Beaux Arts Trio25:33

Yeah.

Presenter25:35

Whose choice is it now? Um

Presenter25:37

I think it's yours, ma'am. It's mine, yes. And what is it? It's the Corto Thibault Casal's recording of the Schubert trio in B-flat, and particularly the slow movement.

Presenter25:49

which I find to be one of the great moments in Casals and Thibault's playing.

Presenter26:53

The opening of the slow movement of the Schubert Trio No. One in B flat major.

Presenter26:58

Played by Corto Thibo and Casals.

Presenter27:02

Now, you're all handing on your skills, aren't you? You're all teachers, Isidor. Yes, we teach. Bernie and I teach at New York State University at at Stony Brook. It's about thirty files from the

Presenter27:14

Heart of the city. Menachem teaches at um the University at Bloomington in Indiana. It's because of your teaching that you don't like doing long tours abroad. Well, that's one of the problems because then when we come back

Presenter27:27

we have to catch up on the teaching which we've missed, which means that we double up on time. It leaves very little time for rest, for concentration on the next concerts which are coming up. So it's uh it's not easy for us.

Presenter27:41

Whose turn is it now? Yours, Isidore, for another record. Looks that way. What have you chosen?

Presenter27:47

Well, I have this lead from the Eda in a special performance for me that is one with Bruno Walter conducting, Kathleen Ferrier, and Julius Patzak singing.

Presenter27:57

I heard Ferrier when she came to New York, and I was just swept off my feet by the vision of this lady and her voice. She sang Orfeo.

Presenter28:08

But the work uh does lead from the Eduh, I think, since if I have to be stranded on an island

Presenter28:15

Is a kind of a summary of perhaps life and its experiences and what it has to offer, its joys and its sadness.

Presenter28:23

And so I, you know, I would take this along for consolation again.

Presenter29:24

Marlow's The Song of the Earth, Kathleen Ferrier with the Vienna Philharmonic Orchestra conducted by Bruno Walter.

Presenter29:32

Now this Desert Island problem, gentlemen, who is the handyman? Who's going to look after the practical?

Speaker 229:40

I saw all the

Presenter29:42

And you also clean their rooms. He talks about sewing on buttons, but when you say to him actually, look, I need a button sewed on, he begins to say something like, Well,

Speaker 129:44

Uh

Presenter29:55

How much you'll give me for it?

Beaux Arts Trio29:56

The fright scores up.

Presenter29:57

He'll come into our rooms and say, My God, what a sloppy room. And when we say, Well, why don't you clean it up? He says, Well,

Presenter30:04

How much do I get for cleaning it up? All right, Bernard. What's your price for putting up a shelter on a desert island and how efficient would you be? I'll tell you that later in the program. I have some surprises for you. Really? Yes. I want to hear what they're going to choose to take along with them as luxuries first. I see.

Speaker 130:11

What?

Speaker 230:12

I'll tell you that.

Speaker 230:23

I see.

Presenter30:24

Uh

Presenter30:25

Who's going to organize the escape? Manachin, could you could you do something about organizing?

Beaux Arts Trio30:29

Oh my god. No, no. On an island, upset. Absolutely.

Presenter30:31

On an island absolutely wrong, man. On an island, absolutely useless. Let's have another record. Whose turn is it? The trio's turn this time. Oh, it's a c now the cominal one, your second cominal one. What's that? And this is the Schubert

Speaker 130:42

I took it now the common one, your second

Speaker 230:44

Copy the one.

Presenter30:48

C major quintet.

Presenter30:50

It's something which all three of us feel is one of the great, great pieces in the not only the chamber music literature, but in all music.

Presenter30:59

And we we were unanimous in this decision, very quickly decided that this was a great, great piece. And the performances of the Juilliard Quartet and I had the great pleasure of assisting as the second cello.

Presenter32:10

The Juilliard Quartet, augmented by Bernard Greenhouse.

Presenter32:14

The slow movement.

Presenter32:16

of the quintet in C major.

Presenter32:19

No, gentlemen, you are each allowed to have one luxury and one book on the island.

Presenter32:25

Isidore, one luxury from you. Well, uh as a luxury item I have to take along my violin because there's things that I've wanted to do, wanted to play, and never had the time to learn because of the

Presenter32:39

demands of, you know,

Beaux Arts Trio32:41

Yeah.

Presenter32:41

Life of the Trio. Right.

Presenter32:44

Menachem, what are you choosing?

Beaux Arts Trio32:46

I guess

Beaux Arts Trio32:47

I would have to ask as a luxury item.

Beaux Arts Trio32:50

To have a bearable

Beaux Arts Trio32:52

Existence on an island.

Presenter32:55

All right, so we've got a violin and a piano. And Bernard, are we going to have a cello as well, as your luxury? No, no. I'm going to ask to be able to take along a large packet of piano strings and violin strings, and I'm going to set up a trading post.

Presenter33:16

And if my friends want uh a new A string for the violin, they're going to go out and catch a fish for me. And if my pianist friend wants to fix that C that's in the base of the instrument, he's going to go out and raise some vegetables.

Speaker 133:21

Uh

Speaker 233:21

Hey.

Speaker 133:21

Jeff.

Speaker 233:22

Yeah.

Speaker 133:23

And if my

Speaker 233:23

Okay.

Speaker 133:24

Alice f

Speaker 133:26

That's in the basis.

Presenter33:33

And you're allowed one book each. Already on the island is a copy of the Bible and a copy of the complete works of Shakespeare. You may each take one book.

Presenter33:43

As a dog.

Presenter33:44

Mine is just sort of practical and

Presenter33:47

enjoyable choice for me, that is, because I'm going to take along a book which tells me how to garden, grow vegetables, fruits, nuts, wines, and even tobacco. Yes, you're going to do your own digging, yes? I'm going oh, I'm going to do my own digging and uh

Speaker 134:03

Yeah.

Presenter34:04

You know, this way I'll be able to pay Bernie for the strings and the rise of.

Speaker 134:06

Ross

Presenter34:07

Monarch in one book

Presenter34:09

Yeah.

Beaux Arts Trio34:09

Yeah.

Presenter34:09

It

Beaux Arts Trio34:09

would be a a collection of pictures, because I can imagine many things on an island, but I think I would forget how beautiful things in life could be, and so I think I would have a collection of the finest paintings of the Metropolitan or the Amsterdam

Beaux Arts Trio34:30

Museum of the Spanish Museum, one of the fine museums

Presenter34:33

Bernard, what are you going to read? My choice would be the Chapman book on small boat handling and seamanship. I find that there is an enormous knowledge to be had out of a a book of that kind which really goes through the gamut of seamanship, of boat handling.

Presenter34:52

It's fascinating to me since I've had uh sailing as a hobby since I was just a child.

Speaker 234:58

Yeah.

Presenter34:58

And uh it keeps me interested continuously. And you could rent the boat out by the hour, of course. And I know who I would rent it to. The f the first choice for rental would be Menachemenizi.

Speaker 235:05

And I know who I would rent it to.

Beaux Arts Trio35:09

Uh

Speaker 235:09

For rental would be

Beaux Arts Trio35:10

Remana

Presenter35:12

Yeah.

Beaux Arts Trio35:12

I guess he said too easily. The only thing I could repay it would be play a song for you.

Presenter35:13

Yeah.

Presenter35:18

Or a dukey, the ship's musician. Well, thank you, Menachim Presler, Bernard Greenhouse and Isidore Cohen, the Beaux-Arts trio, for letting us hear your Desert Island discs.

Beaux Arts Trio35:22

Well, thank you.

Presenter35:31

Thank you. Thank you very much. It was a pleasure to be here. Enjoy being with you. Thank you. Goodbye, everyone.

Beaux Arts Trio35:31

Thank you very much. It was a pleasure to be here. I enjoyed being with you. Thank you.

Speaker 135:34

Uh

Speaker 135:42

You've been listening to a podcast from the Desert Islandists Archive. For more podcasts please visit bbc.co.uk slash radio four.