by Jean Cocteau
Translation by Mary C . Hoeck
Edited and produced by E. J. King Bull
Characters in order of speaking:

Antonio Janigro (cello)
Ernest Lush (piano)

Second of three talks by Erich Heller
In these talks Erich Heller discusses what he believes to be the distinctive problems of poetry in the modern age: the emergence of the notion of ' absolute poetry,' the ever-increasing emphasis on the creativeness of the poetic imagination, and the relationship of this kind of poetry to ordinary experience.

(1763-1817)
Margaret Field-Hyde (soprano)
Marjorie Westbury (soprano)
Stuart Ward (counter-tenor)
Paul Derenne (tenor)
Lloyd Strauss-Smith (tenor)
William Parsons (bass-baritone)
Ian Wallace (bass-baritone)
Stanley Riley (bass)
(Continued in next column)
BBC Men's Chorus
(Cfhorus-Master, Leslie Woodgate )
Philharmonia Orchestra
(Leader. Manoug Parikian )
Conducted by Robert Irving
Overture: Le Jeune Sage eit le Vieux
Fou
Duo: Le bon sens est votre partage
(Le Jeune Sage et le Vieux Fou)
Air: Ombres de mes aleux (Uthal) Hymne au Sommeil (Uthal)
Romance: Ainsd d'un prejuge bar-bare (Mélidore et Phrosane)
Scene from Act 3 (Melidore et Phrosdne)
March (Valentine de Milan)
This is the last of three programmes of French operatic music (devised by Robert Collet ), and shows Mlhul's fondness for experiments in orchestration and unusual effects. The orchestra accompanying the Hymn from Uthal consists of two flutes, two horns, strings without violins, and harp; and the Scene from Act 3 of Milidore et Phrosine contains an early example of melodrama (spoken dialogue with orchestral background). D.C.

by Ernest Gellner
Lecturer in Sociology.
London School of Economics
The speaker discusses some of the implications, in various fields, of the apparently trivial truth that we are liable to make mistakes.

First of four programmes played by Helmut Walcha (organ)

Praludium; Kyrie, Gott Vaiter in Ewigkeit; Christe aller Welt Trost: Kyrie, Gott heiliger Geist; Allein Gott in der Hoh' sei Ehr': Dies sind die heil'gen zehn Gebot'; Wir glauben all" an einen Gott on gramophone records

Bach made two settings of each of the chorale preludes in the Clavierubung, one for manuals and pedals and one for manuals only. In one case (Allein Gott in der Hoh' sei Ehr') he made three settings (symbolical of the Trinity), one for manuals and pedals and two for manuals only. This evening's programme consists of settings for manuals and pedals.

(Next programme, settings for manuals: Wednesday at 8.45)

Short story by Enid Williams
Read by Susan Richards

The Wigmore Ensemble