The Observer from London, Greater London, England on November 29, 1959 · 14
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The Observer from London, Greater London, England · 14

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Sunday, November 29, 1959
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14 THE OBSERVER, SUNDAY, NOVEMBER 29, 1959 ROYAL FESTIVAL HALL General M.inascr T. V. Bean. C B L. Ticket and lull lnionnaiion Roal Fcvmal Hall ripen I Ki p m Sundays). London TO-DAY, al 3. GEORGE MALCOLM Goldberg Variations .... Bach HARPSICHORD Harpsichord hy Thnmas Goff - 12 6. in -. - 6. -. 1 ft Hall IWA1 'I'll) Manasemcn I DBS A 1 ILLE7T LTD TODW 7.30 D.nl. 29 .NOV. S A GORLINSK V presents HANS SVVAROWSKY LONDON SYMPHONY ORCHF.SIRV JAKOB GIMPEL CKrnnrc The Hebrides Mendelssohn Tiani. C'onLCrto .No. 5 in H flat (hmpcror) neclhoscn Swnphonv No 1 in C minor Urahms lukeis is .. i; h II)-. 7 h PMII HRKlNIA COSrr R I SOtltlY Lid rtistic Director WALTER LI OGI BKETHOVEN FESTIVAL Dr. OTTO KLEMPERER PHILHARMONIA ORCHESTRA TO-MORROW, al 8 Sjmphonj No. I Sjmphom No. 9. Choral JOAN SUTHERLAND URSULA BOESE JON VICKERS OTTO EDE1-M ANN PHILHARMONIA CHORUS (Chorus Master Wilhelm Pit) Tickets 42 - I Ml others soldi BBC SYMPHONY ORCHESTRA WEDNESDAY 8.0 p.m. 9 DEC. 'Prelude Tristan and Isolde Wagner Piano Concerto No. 2i (K.488) Morarl Syraphons No i , . . Mahler CLIFFORD CURZON RUDOLF SCHWARZ I i-V.cs : 10 -. 7 f. - ROYAL ALBERT HALL ChristS' Honner KeDSingtOll, S.W.7. JCTOR HOCHHALSE'r presents TONIGHT. SIR THOMAS BEECHAM ROYAL PHILHARMONIC ORCHESTRA (1 10 musicians) Haydn : Symphony No. 104 in D Mozart : Symphony No. 39 in E flat Tchaikovsky : Symphony No. 4 in F minor 7 6. 106. 126. is.. 21- KEN 8212. Open to-dav from 10 am. VICTOR HOCHHAL'SER presents SUNDAY EVENING NEXT, DEC. . at 7.30. Overture Russian and Ludmilla . . Glinka " Unfinished " Symphony Schubert Piano Concerto No. 2 . . . . Rachmaninoff " New World " Symphony Dvorak MOISEIWITSCH LONDON SYMPHONY ORCHESTRA GEORGE WELDON 3'6. 5.'-. 76. 106. KEN. 8212 and Agents. NICHOLAS CHOVEAUX 2R Bury Walk. S W 3 FLAxman 7010. announces ANTHONY STRANGE Australian Tenor WIGMORE HALL, Wednesday next. 7.30. Urahms, Liszt. Handel. Dohnansi Accompanist CLIFTON IIELLI WELL. JOAN HOLLEY American Pianist WIGMORE HALL. Saturday next. ,at 3. Bach. Brahms, Schumann (Carnayal). Dohnanyi (4 Rhapsodies), Ac 10 -. 7-. 4-. Hall (Wei 2141). agents. UNIVERSITY OF LONDON MUSICAL SOC. CHRISTMAS MUSIC ST. PAUL'S CATHEDRAL THURSDAY NEXT at 6 p m. ' Conductor JOHN RUSSELL. No Ms Lets required RB Lunch Time Concert Wednesday Dec 2 M RGARET GIBBS (Piano) at f': Suflotk St llaymarket 1 unch available from 12 15 WORTH OF LP & EP RECORDS NOW FOR ONLY 5- A WEEK (PtiMibte Monthh) Build up your record collection now, make a regular p.imcnt ever month and take delivery NOW ol' records up to TEN TIMES that amount 20 worth lor 2 a month . 30 worth for 3 a month. c:c POST & PACKING FREE in the U k. and you can RE-ORDER again after onl lour weeks without increasing vour r.tment It M V , DT-CCA and all the famous makes. i 1 POST NOW for full details and a I I FREE MONTHLY BULLETIN I SQUIRES OF LONDON (Mail Dept. 0.3) 48, BR00HW00D ROAD, LONDON, S.W.I I. j Name Address U 1 The Building: nan Olympia ILT Monday, Wednesday, Saturday 10-6 Tuesday, Thursday, Friday 10-8 Bus Routes 9, 28, 73, 91 or Underground Kensington (Olympia) The Pleasures of Acquisition 2. ORDERING Possibly the simplest of all known legal methods of obtaining Punch simpler even than bookstall buying is to ring up your newsagent and ask him to deliver it every Wednesday until further orders. There is ho need to give further orders; indeed, we advise against it. There is no need even to pay, until the newsagent sends in his bill; and when he does the ten shillings a quarter that Punch will cost you is not exactly ruinous. Tor the price .of a couple of ounces of tobacco every three months you can have brought to vour door every Wednesday along with your Times, your Telegraph, your Express, your Guardian, youn Mirror, your Daily Worker, or whatever the hest in humour, satire, social comment and criticism that can be contrived for you by a paper with nearly a hundred and twenty years' experience of what to do, and what not to do, in these fields. It is a proposition worth considering. Punch has not, in the past, made any great efforts to "build up" the names of those who write and draw for the paper. The policy has been to let the reader discover their quality for himself. But of course you have to be a reader to make that discovery. Why not, as they used to say in military circles, do that small thing? Edited by Bernard Hollowood costs nincpence Bnx Office (WATcrloo 3191 Box Office S f I. and usual agent. WED.NESDAY AT 5.55. 2 DEC. SERENADE CONCERT .MOZRT Sercnata Nollurna in D. K.239 WOLF Italian Serenade WNRl.OCK . Capriol Suite HAYDN Svmphony No. 45 (Farewell) PHILOMUSICA OF LONDON Director : GRANVILLE JONES Iickets 4- including programme. THE ROYAL PHILHARMONIC SOCIETY WFDNFSDW 8.0 p.m. 2 DEC. Overture. Prometheus Beeihoven Three Orchestral Pietes. Op. 6 Beta Cello Concerto . .. Dvorak Symphony No. 3 (Facets) Blomdahl (First puhhc perrormancc In Gt. Britain) Dance of the Seven Veils Strauss PAUL TORTELIER ROYAL PHILHARMONIC ORCHESTRA NORMAN DEL MAR Tickets: 21-. 15-. 126, 10-. 76. 5-. At Hall (WAT. 3191). Chappeirj (MAY. 7600) FRIDAY 8.0 p.m. 4 DEC. ANDOR FOLDES Solotit and Condnclor with the ROYAL PHILHARMONIC ORCHESTRA Overture. " Ohcron " WEBER Piano Concerto No 1 in C . . BEETHOVEN Symphony No 35. " HalTner " MOZART Schero ; Nocturno : Overture from " Midsummer Night s Dream " MENDELSSOHN 15-. 126. 10-. 7'6. 5-. Hall. Agents & IRAS A T1LLETT Ltd.. 124 Wiamorc St.. W.I. MONDAY 8.0 p.m. 7 DEC. LONDON SYMPHONY ORCHESTRA EGMONT OVERTURE BEETHOVEN PIANO CONCERTO I TCHAIKOVSKY NEW WORLD SYMPHONY DVORAK JOSEPH COOPER ROYALTON KISCH Tickets - 15-. 126. 10-. Hall. Agents inns A. TILLETT Ltd.. 124 Wigmore St . W.I. 7.30 C.H. LONDON PIANO SERIES PETER KATIN WIGMORE HAI L TO-DAY at 3 MOZART PROGRAMME 10-. 7 ,-. 41: at Hall (WEL 2141) Management : 1BBS Sl TILLETT LTD EDNA ILES PIANOFORTE RECITAL WIGMORE HALL. FRIDAY NEXT. 7.30. 10-. 7-. 4- at Hall (WEL 2141), Agents and IBBS AV. TILLETT LTD.. 124, Wigmore St. W.l PLEETH-GOOD DUO WILLIAM PLEETH MARGARET GOOD CCcllo) (Pianoforte) 21st ANNIVERSARY RECITAL WIGMORE HALL. SAT.. NEXT, at 7.30 I2 -. 9-. 6-. !- Hall (WEL 2141). Agents & IBBS A TILLETT LTD.. 124. Wigmore St W 1 SAGA RECORDS present ODA SLOBODSKAYA Distinguished Russian Soprano With IVOR NEWTON. Pianoforte TOMORROW, at. 7 30. WIGMORE HALL, in a programme of Russian Songs. 5 -. 10'-. 126 Hall and agents. EXHIBITIONS THE LONDON PLANETARIUM, Maryle-bone Road, N.W.I. Presentations Weekdays and Sundays at 3.0, 4.15, 5 30, 6.30 and 8 pm. Additional presentations weekdays only 11am. and 12.15 p.m. For further information telephone HUNter 1121. THE BUILDING CENTRE. Permanent, but changing, exhibition for all interested in buildings and their equipment. Admission free 9.30 to 5 (Sat. I p.m.) Store Sl . W.C.I. VISUAL ARTS CLUB, 12 Soho Sq., Jean Strakcr s " Photo-Nudes." 1-9 p m. 5-. CRAFTS FOR CHRISTMAS at the Crafts Centre of Great Britain. 1617 Hay Hill. London. Wl. from 16th November. Motrin. 10-5. Sat. 10-12.30. Admission free. A CALL AT the Great Galleries of Prides of London Ltd . 179180. Sloane Street, S.W.I, ssill be of interest to all lovcts of 18th century English and French furniture. BUILD A FINE RECORD LIBRARY AND SAVE 161 TO 184 ON EVERY HI-FI 12' LP. YOU BUY Ynu can build a line record library of classical 'and liffht classical) music, and sa o pounds yearly ihxoujrh membership of YV.R..C.- Britain fl oldest-established record club. There Is no cn-trttnee fre and you are obliged to take ONLY ONE record per year: Handel's "Messiah ' with Jon Victors is amongst those records now available' Send today for full details. WORLD RECORD CLUB BD4 Box II Lion House, Red Lion Street, Richmond, Surrey. Exhibition London November 18 - December 2 ACTION THIS DAY. Ring up Newsagent and ask him to deliver Punch weekly until further orders. Not Sunday I S Under the eye of a TV camera, RARITIES SIR THOMAS BEECHAM has only to walk to the podium and bow for the Festival Hall to be full, and rightly so. for who has ever done it with such splendiferous aplomb? No doubt the assurance of a full house encourages enter prise in programme planning, but how admirable it is that Sir Thomas, at a time of life when most conductors have pared their repertoire down to the narrowest of limits, rarely allows a concert to go by without offering a rarity. ' Sometimes this entails indifferent music, but then there is no one like Sir Thomas for casting a deceptive veil of magic over the second-rate or the tawdry. In his concert last Sunday he certainly taxed this gift to capacity. The idea of a Concerto Militaire for 'cello and orchestra by Offenbach is captivating: the title alone conjures up an image of an elegant and slightly raffish watering-place in the fifties of the last century. The harsh truth is that it proved a quite startlingly feeble piece of music, in which even the ordering of cliches is utterly haphazard. This was one of the blankest half-hours I have ever spent in a concert hall, for even Sir Thomas; cannot make bricks wholly without straw. BY far the most memorable rarity in Beecham's recent concerts was an outstandingly fine performance of Sibelius's Sixth Symphony. This curiously enigmatic work lacks both the romantic ardour of the Second and the intellectual force and concision of the Fourth, so that in unsympathetic hands its substance has an odd way of simply dissolving into an inconclusive meander. But there was never a moment's doubt on Sunday. In keeping with the deceptively casual manner in which Sibelius develops his material, Sir Thomas gave the music a certain latitude, yet his wonderfully deft handling of the score never allowed the pulse to flag. The cool, chiselled orchestration emerged with splendid clarity, rhythms had an unobtrusive liveliness and, above all, the phrasing was utterly idiomatic. In all this the R.P.O. co-operated magnificently. Sibelius is perhaps rather under a cloud these days. No doubt it will be some time before he recovers from premature canonisation in Constant Lambert's egregious " Music Ho! " For my part,! must admit that it often requires an effort of will to listen to the music of this rather mannered master. As a schoolboy I was led to believe that he was the greatest symphonic composer since Beethoven, and one does not quickly recover from such, wor-' ship of false gods. But it would be a pity if, on a natural and healthy rebound from the exaggerated status accorded him a generation ago, interest were lost in this intensely personal music. For beneath harmonic conventionality there is real and powerful originality both in symphonic construction and orchestral colour. Certainly it is many years since I enjoyed his music as I the Chilean pianist Claudio Arrau by the B.B.C. to-night. MUSIC AND MUSICIANS FOR THE By PETER HEYWORTH enjoyed this performance of die Sixth Symphony. In the year since her debut in London Miss Helen McKinnon has clearly made a lot of technical progress. At her Wigmore Hall recital on Wednesday her exceptionally lovely mezzo-soprano voice was absolutely even throughout its register and far more completely under control than it was twelve months ago. Her singing-was distinguished by almost unfailing beauty of tone and smoothness of line. Oddly enough, these real achievements had the unfair effect of underlining a certain artistic immaturity. A year ago Miss McKinnon's singing had an intensity that she had difficulty in containing. Partially because her . technique is now much more secure, this intensity was less evident on Wednesday. Or rather, it seemed lacking in differentiation. Her voice has a notable range of natural colour, but she does not yet deploy G. MacDomnlc John Pritchard, who conducts the revival of " Carmen " at Covent Garden. this with much imagination or variety. Miss McKinnon is far from stolid, but she sometimes shows a characteristically Anglo-Saxon concern with the fact at the expense of thei emotion around it. For instance, in " Kennst Du das Land," she completely missed the breathless incredulity of " Kennst Du es wohl? " Mignon is not conducting a cross-examination. The subtle emotional world of Hugo Wolf is still largely beyond her range. " Auoh kfleine Dingo " was tender, but she missed its quality of joy ; and at the opening of " Heb' auf dein blondes Haupt," where BALLET Right from the Start SALUS et Felicitas is the motto of the Royal Academy of Dancing. The performers in the gala organised in its benefit last Thursday looked healthy enough and the audience was certainly happy. To begin with, there was Margot Fonteyn, with Michael Somes, in the kind of drifting Ashton pas de deux whose fragile bones she can clothe with such a breathing body of interpretation. The most interesting choreography was undoubtedly Jean Babilee's " Balance a trois," a cheerful version of the eternal triangle in a gymnasium, with Babilee dancing a&well and strangely as ever. What with a bunch of R.AD. mini-stars, a Polish duo, Lucette Aldous, John Gilpin and Belinda Wright, with "Cyrano de Bergerac," " West . Side Story " and the indefatigable Georgians lending massed male support this was a gala if not absolutely galactic affair. It may he that there were one or two in the distinguished audience who were not entirely clear what the gala was in aid of. Briefly, the R.A.D. is the largest-nrthough not the only institution in this country concerned with " promoting and extending correct teaching in ballet 'dancing." It organises an ever-spreading network of examinations, both here and abroad, fo the award of certificates of proficiency and has a generous allocation of scholarship's. Difficulties arise at once. What is ballet dancing? Should it include Spanish? Modern? Greek? Rock n' Roll? And what is correct? The c a n tvi in nri.it, carina to its founders, Adeline Uenee and Eduardo Espinosa, basically French, though it has absorbed other in-' fiuences since. A slightly different tradition flourishes elsewhere, that laid down by. the great teacher Cecchetti. This training is preserved by another body, the Cecchetti Society, which is attached to a flourishing organisation whose main revenues derive from ballroom dancing. Similar certificates are also issued by the large British Ballet Organisa- ERICS AUERBACB records a recital to be presented CROWD Wolfs repeated notes surely suggest an attempt to disguise an intolerable intensity of feeling in matter-of-factness she was too overtly emotional. Vet Miss McKinnon has the material of a fine Lieder singer, and time and study will no doubt make good her deficiencies. Mr. Geoffrey Parsons't accompaniment was outstandingly fine. In the concluding passage of "An eine Aeolsharf e " he exactly caught the disembodied rapture that eluded Miss McKinnon here. GLORIA LANE'S Carmen is as good as a rather unmagnetic though well-produced voice allows it to be, for she sings and plays With dramatic point and musical intelligence. But the revival of Bizet's masterpiece at Covent Garden might well be called " The Tragedy of Don JoseV' for in place of the usual silly corporal, going absent for a bit of skirt, Jon Vickers portrays a young man of real substance held in the grip of an obsessive passion. . Mr. Vickers's strong, ringing voice has always been a joy to hear, but over the past two years he has matured most impressively as an artist. The top of his voice is much more secure than formerly, and if his mezzo voce is not yet caressing, he has learned to use it most expressively as he showed in the Flower Song. With this goes an increased dramatic assurance and subtlety. But, above all, his phrasing has gained real musical style: it is finely, shaped and each note is so precisely in place that his singing has an unflustered ease that few artists ever achjeve. He built up a fine musico-dramatic portrayal that culminated, in a magnificent fourth act. I cannot think of another tenor in Europe who could begin to rival this performance. Mr. John Pritchard's conducting was distinguished by fresh and imma culate detail (the woodwind playing was particularly good) and fine dramatic verve. Yet somehow the performance as a whole failed to live up to this level. The producuon existed, but the chorus was inert and incurably Anglo-Saxon, so that Lillas Pastia's resembled an exotic party off the King s Road. And apart from David Kelly's well-sung Zuniga none of the remainder of the cast rose much above the level of mediocrity. O.N Monday " Your Opera Nights," Youth and Music's admirable scheme for presenting opera to young people, got off to a flying start at Sadler's Wells with Rossini's "Cinderella." This lively and stylish production, which is now even better played and sung than on the opening night, is in all respects enchanting. tion, founded by Espinosa after a breakway from the R.A.D. There is also the much smaller Russian School, founded by Nicolai Legat, which claims to bear the torch of the true Russian style. The Royal Ballet has no theoretical connection with any of these institutions, and has David' Sim Margot Fonteyn in the new Ashton pas de'deux. . . . . . .. . . teachers trained in various methods, Good teaching produces good dancers Uook at South Africa). The funds raised by last week's gala go to a vital cause. If, as has been mooted, it is to become an annual event one hopes a way will be found to spread the benefit over the widest possible field of teaching. Kindly readers have written to correct a recent error whereby I credited John Brown with having "marched through Georgia." My apologies to General Sherman, the actual marcher. . . Alexander Bland Catharsis on the By THE Mecca of the electronic theatre which is one of the most mobile Meccas in the metaphor business is shifting to Birmingham, where the B.B.C.'s. Midland Studio brought off yet another coup, a positively stunning one, with The Case of Private, Ham p. Peter Dews's production of the late James Landale Hodson's 1914-18 war documentary tragedy about ithooting a poor little Lancashire deserter was the most powerful play we have been shown this autumn. It must have touched off cath arses over several million sitting-room carpets. " Hamp," adapted by Hodson from part of his deeply felt pacifist novel, " Return to the Wood," had been a success on sound radio, but that was no guarantee. It has some obviously advantageous telly features, such a the shape which a court-martial, any trial, imparts. It also has its traps. The Western Front atmosphere, period now but eternally charged with emotion, is not all that easy to catch. As the pathetic, near-Imbecile Hamp, so sub that he doesn't, fully realise what is happening to him and can't begin to help his own defence, Terry Scully gave a magnificent performance. His acting of the first part of the role up to the. announcement of sentence, which I daresay is the most difficult, was beautifully modu lated. His whimpering when tney told him he was to be shot next rrornin and his little sudden alter nations of fright with practicality were almost unbearable. Noel jotmson as Harereaves. the peacetime solicitor who defends him and then helps to help him die, was admirable. Tha Droductiofi went boldly all out for visual agony, from sudden close-up of the critical injection cf ' morphia, when Hamp was cracking up. to detailed shooting sequences with the firing squad in early morning rain like curtain rods and .Hamp carried on drugged to the wide, strapped to an old school-study-type armchair witb bis Head . in a wnite sugar bag lolling on his chest Not only did all these dodgy effects come off, but the agony did not seem gratuitously piled on. It was part of the true tragic inevitability, and went with the variously compassionate attitudes of most of the officers and men around Hamp, all save the doctor. The result was oddly uplifting, and should have put a little heart- into all enemies of death. IF The Velvet Alley had been on pay-as-you-view the B.B.C would have been besieged by indignant customers demanding! their money back. This was billed as showing you all the frightful things that go . on behind the scenes of American television. It did nothing of the sort We saw no Payola, noi sponsors plotting to debauch the mind of the Admass, nothing but a lot of crusted corny movieland cliches about the dreadful effect of success on a playwright who broke his honest agent's heart, nauseated his plucky little wife, and his independent old Pop back in the New York tenement Sam Wana-maker did everything he could with mis zombie; once I thought I saw Midland Bank TELEVISION AND RADIO MAURICE RICHARDSON him spilling pep pills into his swimming pool. The significant slip is the reward of eternal vigilance. There was a beauty in the discussion on birching with which Robin Day made his rather mousy debut for the B.B.C in Panorama. It was perpetrated by Cyril Osborne, M.P,. the ardent propagandist for flogging, who remarked that criminals wanted to punish ordinary people. This unconscious equation of punishment with crime is most curious and significant The discussion' otherwise was rather lame. ; I suppose a Continental critic would see in it all a recrudescence of the vice' anglais, the penchant for flagellation with which we were charged as a nation in the nineteenth century. Only the rod-mad English; he would say, would dare to present as a family farce at peak Viewing hour, a weekly programme in which the subject is the flogging, monotonously repeated, of schoolboys by a dipsomaniacal criminal dressed up as a schoolmaster, abetted by an epicene nincompoop; and to call it " Whack-O! "an abbreviation of " Whackhouse," meaning an establishment for the spectacular presentation of sadistic exhibitions ... SERIOUSLY, though, it is odd how sometimes the broadest farces don't seem able to stop themselves going . psych opathological on you. A case was the second of the new Charlie Drake series, a marked im-provcmenftm that ghastly " Igig." It set out to be a take-off of American drug addict films, with Drake changing from a benevolent non-smoker into a mad, malign cigarette addict through being forced, as tobacco security, officer in an oil refinery, to smoke so as to get the confidence of cryptc-smokers. It was funny and ingenious, especially the . haunting FALLING By PAUL THE Third Programme is the place for experiment, but how often in the past year or twp has there been a play that really does sound as if a man has sat down with typewriter, pad of paper and uncontaminated imagination? ' What we get is slender, surrealistic drama, as per James Saunders's Barnstable. Here they are, another family out of Charles Addams, absently dictating speech to some invisible stenographer, unable or unwilling to communicate with one another,' while' the house falls to pieces (literally). What they say has a certain mad piquancy, but when you've heard it once you've heard it alL Deryck Guyler's Dr. Carboy, very funny to start with, becomes flat and ordinary after half an hour. Among relevant questions: Is it that these people won't or can't communicate? If Mrs. Dale's Diary is admitted to be a parody of suburban life, and this play is a parody of Mrs. Dale society, docs this get us nearer life or farther away from it? Why doesn't someone try parodying the working- instead of the middle-class? Scared? NEW Thinking ...but wondering, no doubt, what youife going to use for money. A Personal Loan from the Midland Bank may help.you, as it has helped many thousands of other people. This is one of the services pioneered by the Midland Bank. A descriptiye leaflet is available at all our branches. THE GO-AHEAD BANK FOR GO-AHEAD PEOPLE LIKE YOU I MIDLAND ,ANJ llMIT,D ' HEA0 Carpet visitor from Nicotinics Anonymous. But Drake, with his baby face that looks at moments surprisingly like poor Dylan Thomas, was so perfectly cast as the victim of an oral addiction that you almost felt you ought to be taking him seriously. All three of Granada's British Association-sponsored lectures on "Communications" have now been published in a booklet called Dora and Crooners (Granada, 3s. 6d.. This is the title of Che third lecture by Sir Eric Ashby, which was finally delivered last week. It dealt with the greatest problem of all: how to popularise science with the broadest and least educated section of the population in such a way that they won't immediately switch off. (One essential step, I should have thought, would toe to make sure that on popularisation night there were no crooners on other channels for them to switch to.) Sir Eric naturally eschewed "any attempts at sensationalLim; he tackled it manfully from the angle of how to draw the mass public into tbp mental climate of a scientific age. The most promising approach seemed to him through their sympathy for craftsmanship ; and he gave instancss from the history of science, and in particular of the development of the microscope and cytology, of the decisive part which craftsmanship had played. With Jacques Lipchitz, the sculptor. Monitor added another splendid specimen to its bag of rare sages. A gnomish, spry sexagenarian' of singular charm , and vitality, he was particularly impressive while describing his spiritual adventures when on the regressive track from organic forms to inorganic He told us how he felt " the soul going away from me " and had to change direction quickly or go mad. His insistence on art as man's great ally in the struggle against death was what one likes to hear. - TO BITS FERRIS Ghana Since Independence had some remarkable politicians, sounding no doubt as politicians would sound at Westminster if they came as fresh to the business as Ghanaians. No inhibitions anywhere: "Emancipation of the toiling masses . . . eco; nomic salvation ... no idle boast" etc The point is, pf course, that they didn't sound as if they altogether realised that politics is a game with rules. A clear sign that they were learning was the very English sound of "Hear, hears!" incongruous behind the dark tones of an orator. In People To-day, a hill farmer talked about sheep, family, weather ' and various kinds of luck in one of those flat voices that o for long stretches without ever making it- a lecture. It was full of tangible things : a description of porridge, a line of a bawdy song, the frightening feel of isolation in deep snow. Once or twice as he talked to his interviewer, a baby gave a small cry, and its mother said "Sh-h-h! " This was good atmosphere stuff: the happy man, managing to put it over without sounding too self-conscious about his contentment in the hills. To-day's programmes : Page 16 about a KITCHEN ? Loans Omctt POULTRY, LONDON, I.C.

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