Further to the above, another recent binge led me to this, which combines solo violin and chamber ensemble rather than piano. I like the combination very much, especially those moments where the violin is absorbed into the collective timbre, but then reemerges as its own voice again, e.g. @1m50s onwards. The intensity of the soloist is also very captivating to watch. And if Little's mid-section feels like skin and souls being torn asunder, all rough and ragged with no rhyme or reason, at 6m10s, Meyers' version amounts to an outright razor slice, both beautifully violent in their own ways. It will never be my faveyfave, but fair play to 'em. This is a great performance.In recent years, I found myself returning to this recording more and more. With orchestration being flexible and the soloist rendition featuring additional embellishment, there are plenty of opportunities to personalise and I rate a satisfying number, the Kronos Quartet on Winter Was Hard being a heartbreaking example of its more reverent incarnation (will post underneath). I prefer Little's take on this one, however, including others that also feature violin. Occasionally I still go hunting for new-to-me versions, but it has imprinted so deeply now that none of them ever come close. The sounds she wrings out of that instrument with such delicacy and violence transport me to...I don't know...elsewhere. There are no words for it. Exquisite performance.