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A discussion between Jean-Jacques Servan-Schreiber and J. G. Weightman
How far should one carry obedience to the dictates of conscience and political belief when these conflict with one's duties as a citizen? A number of desertions from the French Army and recent arrests of Frenchmen for helping the Algerian rebel organisation in France have posed this problem for young Frenchmen who may sympathise with Algerian aspirations to independence. Jean-Jacques Servan-Schreiber, editor of Express, who was himself called up a few years ago to fight as a lieutenant in Algeria, talks about his own experience of the clash between conscience and duty with J.G. Weightman, Lecturer in French at King's College, London.

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An Arabian fantasy by Günter Eich
Translated by Martina Mayne
Omar the Caliph (Hugh Burden); Omar the Stevedore (John Slater ); Vizier
(Geoffrey Wincott ); Slave (Brian Wilde );
Samsa, the Stevedore's wife (
Betty Linton ); The Stevedore's children (Ann Totten ,Angela Shade , Nigel Jenkins ,
Jonathan Margetts , Serena Wilson ); Captain
Wurman Wynne); Sailor (Gabriel Woolf);
Emirs (Edgar Norfolk, Norman Wynne,
Gabriel Woolf); Jaafar (a Stevedore), and Merchant (Douglas Blachwell); Custodian
(Dera Cooper)
Music composed and played by Na'im al-Basri
With Lionel Solomon (bass flute) Production by Christopher Holme
followed by an interlude at 8.20

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by Richard M. Titmusa
Professor Titmuss attacks the increasing concentration of economic power which, he suggests, gives institutions such as the big insurance companies and pension funds an arbitrary and a critical role in the shaping of social policy. He further maintains that in this age of affluence there exists a small minority still living in a continuing state of poverty who fail to benefit from the increasing wealth of the community.

Lyrics by Herrick, Shirley, Carew and anon., set by Henry Lawes , William Lawes and Nicholas Lanier
Compiled and produced by Douglas Cleverdon sung by Ann Dowdall , Marjorie Westbury
Maurice Bevan , James Atkins Charles Spinks (harpsichord)
Desmond Dupré (viola da gamba)
In these pastoral dialogues (composed during the reign of Charles I) the theme, whether dramatic or frivolous, was usually love; the characters were mythological or pastoral. The form was essentially dramatic and in its use of recitative foreshadowed the evolution of opera.

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