A story from the Arab tribes of the Lower Euphrates as set down and translated by C. G. Campbell
Reader, Roger Snowdon

General editor, Gerald Abraham
69-Keyboard Music in Beethoven's time
John Simons (piano)
Introduced by Alec Robertson
Including music by Clementi ,Dussek ,, Tomaschek ,. Field ,Berger ,, Weber ,. and Hummel

Douglas Woodruff reviews ' The Debate on the French Revolution, 1789-1800,' edited by Alfred Cobban , Reader in Modern French History at London University

Margaret Ritchie (soprano)
Gladys Ripley (contralto)
Richard Lewis (tenor)
Norman Walker (bass)
Richard Standen (bass)
The Bach Choir
Gareth Morris (flute obbligato)
Joy Boughton (oboe obbligato)
Peter Newbury (oboe obbligato)
Dennis Brain (horn obbligato)
Thornton Lofthouse (continuo)
0. H. Peasgood (organ)
Jacques Orchestra
(Leader, Irene Richards )
Conductor, Reginald Jacques
From the Royal Albert Hall , London
(Norman Walker broadcasts by permission of the General Administrator of Covent Garden Opera Trust)
Part 1
Kyrie; Gloria
In Bach's day, parts of the liturgy were still sung in Latin in the Lutheran Church, and the word Mass was still used. Besides his great Mass in B minor Bach wrote four other Masses, each consisting of a Kyrie and a Gloria. These may be called Lutheran Masses, as opposed to the full-scale one In B minor, which his son C. P. E. Bach described as a ' Catholic It was completed by 1738; and although parts of it may have been given at St. Thomas' and elsewhere it is unlikely that the work was performed as a whole in Bach's lifetime. Its magnificence and its noble proportions suggest that Bach's intention was to express the spirit of the Church Universal. Harold Rutland

Read by the author
Love in Barrenness The Terraced Valley Like Snow
Through Nightmare
To Juan at the Winter Solstice The Song of Blodeuwedd The White Goddess

(continued)
Sanctus; Credo; Agnus Del

by C. R. Morris , Vice-Chancellor of Leeds University
Fourth of six talks in which speakers present their own view of what the nature and function of a university should be in contemporary society

Sextet in G, Op. 36 played by the Blech String Quartet:
Harry Blech (violin)
Lionel Bentley (violin)
Keith Cummirigs (viola)
Douglas Cameron (cello)
Jean Stewart (viola)
John Shinebourne (cello)
Second of six programmes

A memoir by Lady Cynthia Asquith
It may well be that like Johnson he will live rather through the influence which he exerted on those who were privileged to know him than through the written word,' D. 0. Malcolm wrote of Charles Whibley.
John Connell 's biography of W. E. Henley has aroused a fresh interest in the character of Whibley, who was Henley's close friend and correspondent, and prominent in the world of letters from 1890 till his death in 1930.

Prelude, Aria, and Finale played by Solomon (piano)