Heather Harper (soprano)
Drolc String Quartet
Eduard Drolc , Heinz Bottger , Sieg. bert Ueberschaer, Heinz Majowski
PART 1

by C. F. Whitley
Lecturer in Hebrew in University College, North Wales
Dr. Whitley believes that the statement in Genesis I ' And God created man in his own image' is the first credo of scientific humanism.

PART 2
Recorded from a concert given during the Edinburgh Festival on August 25, 1961, at the Freemasons' Hall.
Last of four programmes

First part of a selection made and introduced by Jean Cocteau who reads poems by Tristan l'Hermite, Moliere, Mallarmé. and Rimbaud
Cecile Chevreau reads passages from Corneille and Racine and translations by G. W. Ireland. Oliver Bernard , and Norman Cameron
Presented by Rayner Heppenstall

Ranken Bushby (baritone)
BBC Chorus
BBC Symphony Orchestra Leader, Paul Beard
Conducted by Sir Adrian Boult
Part 1

by Norman Marsh
Mr. Marsh is Director of the British Institute of International and Comparative Law, which has recently been examining the changes that entry into the Common Market would bring into our legal system. In this talk Mr. Marsh considers how far-reaching and how important these changes would be.

PART 2

Learning to Study Subjective Responses by Henry K. Beecher
Dorr Professor of Research In Anaesthesia at Harvard University ' I want to discuss placebos-a pinch of table salt, a dash of baking soda; inert substances, in fact-as a tool for studying in a quantitative way certain fascinating influences of suggestion on our minds and bodies.' Dr. Beecher had a long-standing interest in the effects of drugs on sleep but was led into a study of problems of pain, not least by his wartime experiences at Anzio.
: second broadcast

Trio-Sonata No. 5, in C major
(S.529)
Concerto No. 2, in A minor after
Vivaldi (S.593) played on a pedal harpsichord by Stanislav Heller
In the seventeenth and eighteenth centuries. German organists used to practise at home on clavichords and harpsichords fitted with pedal-boards: in our mechanised age we can easily forget that to practise on the organ in those days man-power was needed at the bellows. The pedal-harpsichord was built as a separate instrument with its own strings, the ordinary harpsichord standing over or upon it. Bach had several pcdalharpsichords although it is unlikely that he ever wrote any music specifically for them. However, such things as the organ trio-sonatas surely belong to the kind of non-liturgical repertoire that would have been used for pnvate performance at home.