Robert MacDermot introduces your request records

Peter Keane at the BBC theatre organ

and his Orchestra with the Merry Makers

Conducted by Jack Atherton
From the Grand Parade Bandstand,
Eastbourne

Commentaries on the opening laps of the race

A summer holiday programme
Edited and produced by Lionel Gamlin
Saturday Showboat
A summer holiday concert with Billy Mayerl and the Rhythm Players
Jean Carson and Willie Lowe
Ronald Chesney

What's on today
Interviews, talks, and discussions with and about today's personalities and events
115 Cricket
Middlesex v. Surrey
Sussex v. Yorkshire
Commentaries by E. W. Swanton , from Lord's, and by Rex Alston , from the Saffrons, Eastbourne
Introduced by Cliff Michelmore
Edited by Angus Mackay

Conductor, David Curry
(Continued in next column)

Commentaries on the closing stages

Middlesex v. Surrey
Sussex v. Yorkshire
Further commentaries

with his Music Makers

Burnley v. Arsenal
Commentary, by Alan Clarke , during the second half
From Turf Moor. Burniey

Middlesex v. Surrey
Sussex v. Yorkshire
Further commentaries

Freddy Randall and his Orchestra
Introduced by Denis Preston

including football results
Special reports on: Association Football: Manchester United v. Fulham, by Henry Rose : Tottenham Hotspur v. Blackpool, by W. J. Hicks ; Wolverhampton Wanderers v. Liverpool, by Teddy Eden : Swansea Town v. Birmingham City, by S. Vincent Jones
Scottish Lreague: Cyril Home on today's outstanding matches
Motor Cycling: Graham Walker rePorts on the Ulster Grand Prix
Talking Sport
Henry Riddell on Cross-Channel Swimming; Peter Wilson on topics of the moment
Introduced by Alex McCrindle
Edited by Angus Mackay

Middlesex v. Surrey
Sussex v. Yorkshire
Further commentaries

and his Sextet

including cricket close of play scores

Janine Micheau (soprano)
Gladys Ripley (contralto)
Heddle Nash (tenor)
Eric Harrison (piano)
BBC Opera Chorus
(Trained by Alan G. Melville)
BBC Opera Orchestra (Leader, John Sharpe)
Conductor, Stanford Robinson
From the Royal Albert Hall, London

Though Bizet's opera The Fair Maid of Perth owes its plot to Sir Walter Scott 's novel, its atmosphere is anything but Scottish-in either sense of the adjective. Bizet, himself described 'The Fair Maid' as a detestable novel, but an excellent book, and he judiciously gave his music that Latin character which he was so adept at evoking. This suite, indeed, takes us south rather than north, with its clear-cut line, sparkling rhythm, and alternately langorous and invigorating melody.

Berlioz' great opera The Trojans was written 'on the Shakespearean model' from the narrative of the second and fourth books of the Aeneid. It is in two parts, to be performed on successive evenings, The Capture of Troy and The Trojans at Carthage. The Royal Hum and Storm is a mimed scene from the second part. In a woodland near Carthage Naiads are bathing in a sunlit stream. The sound of a hunt echoes in the distance, the Naiads disappear and the huntsmen cross the stage. A storm breaks, and Dido and Aeneas seek shelter in a cave, Aeneas renewing the vows of love that he is about to break. At the climax of the storm a flash of lightning strikes a tree and woodland spirits brandish its flaming branches. Clouds obscure the scene, the storm dies down, and as the mists clear the Naiads return to their woodland stream, and the sounds of the hunt echo in the far distance. The Trojan March is a concert-piece made by Berlioz from the ceremonial music associated with Dido's court.

in which Leonard Cassini , at the piano, helps him to recall the sights and sounds of many places all over the world they like to remember
5-The United States of America

Part 2
The Rio Grande and Facade have more in common than the fact that there is, so to speak, a Sitwell in both of them. Both Constant Lambert's setting of Sacheverell Sitwell 's poem and William Wahon 's entertainment based on Edith Sitwell 's verses were written in the 1920s, and both possess the youthfully exuberant vitality. the sureness of technique, and the search for novelty and sensation which characterised that now almost fabulous era. In other respects, however, the two works could scarcely be more dissimilar. Lambert's, despite its use of jazz and Latin-American idioms, its brilliant orchestration for brass, strings, and percussion, and its glittering piano part, is essentially an evocative and romantic fantasy. Walton's is musical caricature, deft and peaetrating, streamlined in its economy of means. To paraphrase Dryden, it contains ' much wit mingled with a little malice.' Who else could have distorted a few notes of the William Tell overture and placed them so cunningly at the close of the Yodelling
Julian Herbage

Lew Stone and his Orchestra
Edmundo Ros and his Rumba Band
The Johnny Paradise Orchestra with The Mermaids