A selection of his poems
Readers:
Anne Cullen , John Fabian
Marius Goring , Henry Reed
Production by R. D. Smith

(sung in English)
Part 2
Elsie Suddaby (soprano)
Kathleen Joyce (contralto)
William Herbert (tenor) Norman Walker (bass)
Continuo:
Harvey Phillips (cello)
Thornton Lofthouse (harpsichord)
Geraint Jones (organ)
The Cantata Singers
The Jacques Orchestra
(Leader, Irene Richards )
Conducted by Reginald Jacques

Max Beloff discusses the writings of the French historian Charles Moraze. and in particular the recently published first volume of his Essai sur la Civilisation d'Occident'

Music drama in four scenes by Wagner
(Continued in next column)
Orchestra of La Scaia. Milan
Conducted by Wilhelm Furtwangler
Scene 1:
At the bottom of the Rhine
Scene 2:
An open space on a mountain height
Scene 3:
The subterranean caves of Nibelhelm
Scene 4:
An open space on a mountain height (This recording of a performance on March 4 at La Scala, Milan, has been made available by courtesy of Radio Italiana. Milan)
' Die Walkure ': Friday. Bee also Thursday at 9.10, Saturday at 10.40 followed by an interlude at 10.0

A ballad cantata
Devised and produced by Terence Tiller
The music arranged and composed by Elizabeth Poston
Elsie Suddaby (soprano)
Catherine Lawson (contralto) Alfred Deller (counter-tenor)
Eric Barnes (tenor)
Gordon Clinton (bass-baritone)
Speaker. Jill Balcon
The Garvent Singers
Welbeck String Orchestra
Conducted by Douglas Robinson
The producer and the composer believe this work, specially composed for Christmas 1950, to be the first of its kind ever attempted. Although a true cantata, it bears much the same relation to the conventional form as ballad opera does to grand opera. Its libretto is a careful mosaic derived from traditional ballads and carols and medieval lyrics, together with a few lines written in imitation of these. The score itself is based almost entirely on folk-melodies or on those of medieval carols. However, Elizabeth Poston has woven round them much original music, and has made wholly original settings-in the style of the rest-of three ' numbers.' The ideal aimed at, throughout both libretto and score, has been a simple (but not naive) beauty.

Quartet in F (K.590) played by the Budapest String Quartet on gramophone records

Byzantine Art by Hugo Buchthal Ph.D ,., Reader in the History of Art, Warburg Institute, London University (The recorded broadcast of Dec. 22)
Third of four talks

Szymon Goldberg (violin)
Lucille Wallace (harpsichord)