During my second doctoral recital, two problems occurred. The Bach motet was rendered unusable by extreme difficulties in the brass; the choir sang beautifully, exactly as rehearsed, but the overall quality did not meet my professional standards. In the Beethoven Opferlied the second bassoonist failed to bring her part; I learned to always bring a second set of parts.
The Schönberg, however, was nearly perfect, salvaging one of the most important sections of the recital. The Liszt Ossa arida was usable, but the video and audio cannot be located. Murphy’s law enforced.