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AUBREY BHAIN (liorn) ADOLF BUSCH (violin)
HERMANN BUSCH (cello) RUDOLF SERKIN (piano)

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Opera in three acts
Music by Mozart
Libretto by GOTTLIEB STEPHANIE after Bretzner
Sung in German: records
Cast in order of singing:
BEECHAM CHORAL SOCIETY
ROYAL PHILHARMONIC ORCHESTRA
Conducted by Sir THOMAS BEECHAM
The action takes place in Pasha Selim 's Palace in Turkey
ACT 1
Outside the palace
9.46* ACT 2
The palace garden
10.26* Acr 3
Scene 1 A courtyard outside the harem
Scene 2 A hall in the palace
Third In a series of weekly programmes devoted to Mozart's last eight full-length operas

Introduced by Steve Race.

Third Test
Third day at The Oval
The whole day's play, from the first ball to the last, described by John Arlott, Robert Hudson, Omar Kureishi the visiting commentator with comments and summaries from F.R. Brown and E.W. Swanton
11.25-1.35; 2.10-4.15; 4.30-6.35 including lunchtime and close of play summaries
1.35* Lunch Interval

World Cycling Championships
Track Events
John Burns with news of the fourth day's track events
From the Olympic Stadium, Amsterdam
Broadcast by arrangement with Netherlands Radio Union
See page 9

Lawn Tennis
Wimbledon World Professional Championships
Fred Perry reports from the Centre Court of the All England Club

Swimming
Great Britain v. Holland
A report by Alun Williams
From the Derby Baths, Blackpool

European Horse Trials
Raymond Brooks-Ward talks about the prospects for this event which starts at Punchestown, Eire, today

Bowls
The Middleton Cup
Reports by Cedric Smith
From Watney's Sports Club, Mortlake, Surrey
1.55 Cricket
Lunchtime Scoreboard

4.15* Tea Interval

Cricket
Teatime Scoreboard

World Cycling Championships
Track Events
John Burns brings further news of the fourth day's track events
From the Olympic Stadium, Amsterdam
Broadcast by arrangement with Netherlands Radio Union

Swimming
Great Britain v. Holland
Further reports by Alun Williams
From the Derby Baths, Blackpool

Bowls
The Middleton Cup
Reports by Cedric Smith
From Watney's Sports Club, Mortlake, Surrey

Lawn Tennis
Wimbledon World Professional Championships
Further reports by Fred Perry
From the All England Club

† by BERNARD CRICK
Professor of Political Theory and Institution, University of Sheffield
' Freedom is relationships and activities; it cannot be simply regarded as either the successful avoidance of politics, as for the liberal, or its sublimation for better things, as for the totalitarian ideologist ... The roots of politics, precisely defined, and of freedom, historically defined, are all but identical.

An opera in three acts
A fable by W. H. Auden and Chester Kallman
Music by Stravinsky
In the Scottish Opera production
From the King's Theatre, Edinburgh

Act 1

Scottish Opera production of THE RAKE'S PROGRESS
An opera in three acts by Igor Stravinsky
Cast in order of singing
Anne Trulove Elizabeth Robson (soprano) Tom Rakewell Alexander Young (tenor) Trulove, Anne's father David Kelly (bass) Nick Shadow............Peter van der Bilt (bass) Mother Goose Johanna Peters (contralto) Baba the Turk Sona Cervena (mezzo-soprano) Sellem, an auctioneer... Francis Egerton (tenor) Keeper of the madhouse...Ronald Morrison (bass)
Scottish Opera Chorus Chorus-Master, Arthur Oldham
Scottish National Orchestra Leader, Sam Bor
Conductor, Alexander Gibson
Produced by Peter Ebert
The action takes place in eighteenth-century England
ACT 1 at 7.0
Scene 1 The garden of Trulove's house in the country. Spring
Scene 2 Mother Goose's brolhel in London. Summer
Scene 3 The garden of Trulove's house. Autumn
ACT 2 at 8.5*
Scene 1 The morning-room of Tom's house in London
Scene 2 The street in front of Tom's house
Scene 3 The morning-room or Tom's house
ACT 3 at9.5*
Scene 1 The morning-room of Tom's house
Scene 2 A churchyard
Scene 3 Bedlam
Edinburgh International Festival

For their first appearance at the Edinburgh Festival, Scottish Opera have happily chosen to give Stravinsky's The Rake's Progress, one of the very few works written in the past forty years that has established itself firmly in the operatic repertory. Because it is basically a brilliant pastiche of classical, romantic, and comic opera, it is a piece that can-and has been-readily appreciated even by those who find much modern music uncongenial. The composer himself has said that' having chosen a period-piece subject, I decided-naturally, as it seemed to me-to assume the conventions of the period as well.' But Stravinsky has nevertheless heard these conventions with twentieth-century ears and bent them to his own aesthetic purpose, creating, of course, an entirely original conception that is exactly suited to the somewhat equivocal libretto of Auden and Kallman, poised as it is between an objective view of the characters and a very human sympathy with their predicament-an attitude, in fact, very much akin to Mozart's in Cosi fan tutte.
The librettists have likewise used Hogarth only as the basis of their inspiration. Tom Rakewell does not go to pieces as a just retribution, as in the drawings, for his guilty actions; he is simply the victim of circumstances who engages our sympathies because he seems so helpless. Even when he assigns his soul to Nick Shadow he does it from the upright motives so why should we condemn him? Then, when we have seen him go insane, Baba the Turk in the brittle Epilogue declares 'All men are mad' and the moral we must draw is perhaps that we, like Tom, can expect final redemption.
Whether the opera has a ' 'message' or is just an elaborate send-up of operatic convention, Stravinsky's music is in itself consistently enjoyable and perfectly tailored to the job in hand. The pastoral bliss of the first scene, the abandonment of Mother Goose's brothel, the controlled chaos of the auction, the intensity of the graveyard scene and the touching eloquence of the last duet between Tom and Anne followed by her tender lullaby show that the composer - like Mozart in Cosi - fell in love with his characters in the act of creating them and their ambience in musical terms.

Reflections and Reminiscences
4: The Director tThe fourth of five talks in which Basil Dean remembers the past and discusses the present state of the theatre

ACT 2

The first in a series of monthly commentaries on the arts and the social scene in and around New York by Alan Pryce-Jones
Mr. Pryce-Jones has lived in New York for the past seven years. Before he went to America he was Editor of The Times Literary Supplement for a number of years, and was a frequent speaker in the Third Programme. He is now a contributor to a wide range of American periodicals and for three seasons was drama critic of Theatre Arts.

Act 3

by ALAN GOSLING with Hilary Hardiman as The Woman
Isabel Rennie as The Nurse
Roger Swaine as The Man
' Visiting time, ladies! Sit up and smile. Don'let your hubbies sit on the beds. for chairs are provided. There's good girls.'
Produced by John Gibson
Third broadcast
First broadcast August 20. 1964

PARIS CONSERVATOIRE ORCHESTRA Conducted by GEORGES PRÊTRE
0 gramophone records