and the Use of Chorus in Tragedy by William McCausland Stewart
Esther was specially written for performance at the Maison Royale de St. Cyr in 1689. The play is unique as the meeting-place of tragedy, opera, and oratorio, for the choruses-introduced into his tragedy for the first time-were sung to music specially composed under Racine's direction by Jean-Baptiste Moreau.
Professor Stewart discusses Racine's use of the chorus in Esther and its relation to his work as a whole. Examples are sung and spoken from the performance shortly to be given in Bristol by students of the University French Circle and of the Umversitv Music Society under the direction of Dr. W. K. Stanton. Professor of Music in the University of Bristol, and under the scenic direction of Marcelle Gabarre , formerly of the Comedie Francaise. Marcelle Gabarre , who performed in Esther when it was revived at the Theatre Francaise, speaks passages from the Prologue and gives examples of the verse of the sung choruses.
This performance of Esther at Bristol
University by non-professionals corresponds to the conditions intended by Racine for the original performance by the pupils at St. Cyr.

Concerto in the Italian style Toccata in D played by Robert Wallenbom (piano)
See also Tuesday at 10.26

.Talk by H. G. Nicholas
In 1945 R. B. McCallum and Alison Readman , under the auspices of Nuffield College, Oxford, undertook the first comprehensive study of a British General Election. For the General Election of 1950 H. G. Nicholas , Fellow of Exeter College, Oxford, and Faculty Fellow of Nuffield College, is undertaking a similar study. In this talk he describes the technical problems involved in the writing of this new branch of contemporary history.

From the Theatre Royal, Drury Lane
Part 1

by Compton Mackenzie
As a small boy the speaker was taken to call upon the novelist at his house in De Vere Gardens. Compton Mackenzie also recalls his last meeting with Henry James in 1914-a meeting complicated by the necessity for ordering some marmalade.

Part 2

Ex umbris et imaginibus in veritatem
A portrait by Sean O'Faolain with Robert Harris as John Henry Newman
Produced by Douglas Cleverdon
We go from shadows and imaginings to the truth.' Sean O'Faolain takes as his subject the years of happy disputation and high hopes, the years of triumph and of certainty, that ended with Newman's conversion to Roman Catholicism; after which for many years he found himself deserted by his old friends and snubbed by his superiors.

String Quartet in G minor played by the Vienna Philharmonia Quartet:
Franz Samohyl (violin)
Siegfried Rumpold (violin)
August Pioro (viola)
Emanuel Bnaibec (cello)

John Guest tells a story about the Algarve province of Portugal

Symphony Orchestra of the Polish Radio
Conducted by Witold Rowicki