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I've just been replaying the recording I have by the Chester String Quartet and another recording I found yesterday in Wellington Central Library by the Emerson String Quartet.
The first one has a total playing time of 20:34, the second 16:36. The biggest difference is in the tempo of the Adagio.
The initial question is relevant to another current topic-Dads.
After my father died a few years ago and I had arranged his Church funeral, out of respect for him although I'm no longer a believer, my daughters asked me what I would like for my funeral. So I've compiled a tape of music (including the Adagio) and a few possible readings (including the RLS). I'm no longer sure about including the Barber, it's a bit obvious.I've threatened my daughters with a haunting if they don't respect my wishes.
I still chuckle over Spike Milligan's remark vis a vis his and Harry Secombe's deaths.

Mart

cheers for that.

mart : The Emersons are an American quartet, well known for their robust approach to native composers. They also follow Barber's score comments quite closely. They take a similarly straightforward line with, for example, the six quartets of Bartok which is a brilliant recording.

The reason for recommending the Tokyo Quartet version is that it is still in print ; is remarkably fine and coupled with Brittens second quartet op. 36, a very good piece and includes a work by Takemitsu, 'A Way A Lone' which, given The Last Word's reference to Philip Glass, may have been of interest.

The Emerson version is also superb, and may still be available on DG 435 864-2, but is coupled with both Charles Ives quartets and they are wonderful, if difficult pieces.

By the way, these are all cd issues. Although I still listen to many treasured jazz lps on vinyl, I gave up the classical vinyl trail some time ago.

Top info as ever, WB. I've got some catching up to do...

Regarding your earlier Alien comment - yes a great use, but Scott cribbed this idea from 2001, surely? It matters not, of course, though - on a broader note - I have heard the argument that classical usage in films robs the piece(s) of personal interpretation by the listener because of the immediate association. A fair point, but I find listening to a piece often enough soon gives it a meaning all of its own. Glass' film work being a prize example.

Now, it's sunny out, the coast beckons...