Nocturnes:
F. Op. 15 No.
C minor. Op. 48 No. 1 played by Arthur Rubinstein (piano) on gramophone records

A lecture by Lionel Trilling
Surveying the English novel from Jane Austen ,to D. H. Lawrence , Mr. Trilling traces tine change that has taken place in the kind of personalities thought proper and intere&ting for representation in fiction. Using rhe work of D. H. Lawrence as a base he then explores the modern hterary scene.

An opera in three acts and fifteen scenes, based on the play by Georg Biichner
English translation by Vida Harford and Eric Blackall
Music by Alban Berg
(Continued tn next column) soldiers and apprentices servants. girls, and children Covent Garden Opera Chorus
(Chorus-Master, Douglas Robinson )
Covent Garden Opera Orchestra
(Leader. Charles Taylor )
CONDUCTED BY ERICH KLEIBER
Produced by Sumner Austin
From the Royal Opera House, Covent Garden
(by arrangement with the Covent Garden Opera Trust)
Act 1
No place or date is specified for the action of the opera
Sc. 1: The Captain's room — early morning.
(Wozzeck and the Captain)
Sc. 2: An open field, the town in the distance — late afternoon. (Wozzeck and Andres)
Sc. 3: Marie's room — evening. (Marie and her child, Margret, Wozzeck)
Sc 4: The Doctor's consulting-room-a sunny afternoon. (The Doctor and Wozzeck)
Sc. 5: The street outside Marie's front door-twilight. (Marie and the Drum Major)

by Owen Holloway
Owen Holloway speaks about the colour prints of the eighteenth-century Japanese artist Utamaro and suggests why his work it now able to speak to us so directly.

Act 2
Sc. 1: Marie's room — mid-morning. (Maria and Wozzeck)
Sc. 2: In the street — daytime. (The Captain, the Doctor, Wozzeck)
Sc. 3: The street outside Marie's room— a gloomy day. (Marie and Wozzeck)
Sc. 4: A tavern garden-late evening.
(Soldiers, young men and girls dancing; apprentices, Marie, Wozzeck, the Drum Major, Andres, the idiot)
Sc. S: Guard room in rhe barracks-night.
(Wozzeck, Andres, the Drum Major, sleeping soldiers)

by Norman Baynes
Emeritus Professor of Byzantine History in the University of London
First of a group of three talks

Act 3
Sc. 1: Marie's room — night, candlelight.
(Marie and her child)
Sc. 2: A woodland path by a pond. (Maria and Wozzeck)
Sc. 3: A low tavern dimly lighted. (Wozzeck, Margret, young men and girls)
Sc. 4: A woodland paah by a pond — moonlight. (Wozzeck, the Captain, the Doctor)
Sc. 5: Outside Marie's front door. (Marie's child and other children)

Four illustrated talks by George Rylands
1—Purple and Plain
Taking the Ohoric Song from Tennyson's ' The Lotos-Eaters ' as an example of ' poetical ' verse and D. H. Lawrence 's ' Snake ' as an example of colloquial verse, George Rylands begins his second series of talks on the art of speaking poetry to an audience.
Michael Hordem reads the Choric Song and Herbert's The Collar '; Tony White reads ' Snake.'

Suite No. 5, in C minor for unaccompanied cello
Prelude; Allemande; Courante: Saraband; Gavotte 1 and 2: Jig played by Andre Navarra :

Talk by Geoffrey Barraclough
* The conception of European hietory which underlies all standard accounts in our own language,' says the speaker, * goea back to the great German historian Leopold von Ranke. ' Today Ranke's assumptions are no longer valid, and because contemporary thought about politics is bound up wi<th an outworn conception of hiatorioal development there is need for a radical revision of current views on European history. Geoffrey Barraclough , Professor of Medieval History at Liverpool University, suggests a basis on which such a necessary revision should rest.
(The recorded broadcast of Feb. 19)

Frederick Grinke (violin)
David Martin (violin)
Neville Marriner (violin) James Whitehead (cello)
Arnold Goldsbrough (harpsichord)
Sonatas of three parts:
No. 10. in A: No. 11. in F minor; No. 12. in D
Sonata on a ground, for three violins and continuo
(The recorded broadcast of Nov. 28)