by John Mortimer

Adrienne Cole (soprano)
Pamela Bowden (contralto)
Wigmore Ensemble: Geoffrey Gilbert (flute)
Terence MacDonagh (oboe)
Jack Brymer (clarinet)
Gwydion Brooke (bassoon)
Alan Civil (horn)
Granville Jones (violin) Frederick Riddle (viola)
Anthony Pini (cello)
Eugene Cruft (double-bass)
Wilfrid Parry (piano)
Maria Korchinska (harp) with Michael Dobson (cor anglais)
Edward Wilson (bassoon)
Philip Jones (trumpet)
Roy Copestake (trumpet) Evan Wat kin (trombone) Harry Spain (tro/nbone) Freddie Phillips (guitar)
Pribaoutki, for soprano and eight instruments
L'oncle Armand: Le four; Le colonel; Le vieux et le lievre
Pastorale, for soprano and wind quartet
Septet (1953), for clarinet, horn. bassoon, piano, violin, viola, and cello
Four Songs, for soprano, flute, harp, and guitar
The drake; A Russian spiritual; Geese and swans; Tilim-bom
Three Shakespeare Songs, for contralto. flute, clarinet, and viola
Musicke to heare, why hear'st thou musicke sadly?; Full fathom five; When daisies pied
Octet for wind instruments
Fourth of six programmes to mark the occasion of Stravinsky's seventy-fifth birthday.

or How to Start a Movement by Malcolm Bradbury
The years immediately preceding the first world war were marked by decisive developments in all the arts. In literature the ' little magazines '-The English Review, The Egoist, Rhythm, and Blast -were among the main instruments of revolution. With the aid of quotations from Ezra Pound, Wyndham Lewis , Ford Madox Hueffer, T. E. Hulme , and others, Malcolm Bradbury traces the part played by the little magazine.
Walter Allen reads passages by Wyndham Lewis

(piano) on a gramophone record