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Sito web. Created by. Some people use mobile phone tracker Can a person spy on cell phone. N'gola's eyes flickered. He thrust the weapon under the native's nose. N'gola recoiled and the light of a great fear leapt into his eyes. The next moment, numerous things happened to N'gola.
They happened quickly, and within less than five seconds the Ijaw witch - doctor found himself reposing in the dust outside the hut, without being quite clear how he had got there. In the hut doorway the Captain studied the toe of his boot thoughtfully, and N'gola scrambled to his feet and departed in haste.
The witch -doctor's face was not a pleasant sight. Met N'Gola of the Ijaw just now. The scoundrel looked as if he'd been conducting an argument with a traction -engine! I turfed him out-on his ear I" Dane grinned. Then his rather boyish face grew grave. Hope he won't make trouble over this. The Captain looked the letters over idly. Marriage is a great -Hullo!
The pup's got into the Fifteen and I'm going to hear him sing! And it's Christmas Eve to-day-if you take me " " I get the main facts, but I still don't understand the statement which went : I'm going to hear him sing '," said his superior. I shall listen to the relay through the jolly old short-wave receiver, N'temply, my lad!
At that moment, however, there came the pad of bare feet in the dust outside, and a tall native entered. The man's build, his intelligent, fearless countenance, proclaimed him no member of the womanly Ijaw people or their immediate neighbours, the Nupe, but a runner from the Haufa tribe further up -stream. The runner raised his spear in salute. Templeton took the missive the Haufa held out to him, and read it. Dane rose and taking his Sam Browne belt from the wall, buckled it on over his khaki shirt with savage movements of his fingers.
Suddenly, however, his face cleared. I'll be able to listen to -night, after all! You can listen here, old lad. A few moments later he was rattling across country which would have tried a tank, seated astride a motor -bike whose open exhaust and many rattles made its approach audible from incredible distances. It was dark. Had been dark for hours. Templeton fiddled clumsily with the short-wave receiver-he'd never been able to manage the thing like Dane could-and muttered, and even cursed to himself as he did so.
One got into that habit in the bush. Must be getting soft Uncommon proud of the kid. Probably be het up myself if I had a youngster singing over the radio-which, thank goodness, I haven't. Only fools mar-" Something hard and round descended on the back of the Captain's head and his vocal musings ceased abruptly, When Templeton came round he discovered that he was lying on his bed, bound hand and foot. The hut seemed to be full of black figures, foremost among which was a native about whose Continued on page i6.
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Then suddenly and without warning both these programmes were interrupted. In their place came the even, serious voice of the Chief Announcer, saying : " We have broken into the programme to give a message of grave importance to all inhabitants of London. Listeners who live in Greater London are earnestly requested to accept without question the seriousness of the warning I am about to give. It concerns the safety of every one of you. Here is the message : Enormous numbers of rats are over -running those parts of Central London lying near the River Thames. It cannot he- stressed too strongly that these rats are.
But you are seriously warned that the streets of London within five miles of the Thames are likely to remain danger zones for many hours. Please stay 'indoors, until you are notified by us that the danger has abated. The authorities are doing everything in their power to exterminate the vermin, and hope to check and 4perse them in the course of the evening. This message will be repeated every quarter of an hour, and any further information will be given as soon as it comes to hand. And then imagine the even greater horror of the thousands who were given no such warning, but suddenly found themselves in' a nightmare.
Probably no occurrence has so shocked the even tenor of London life as the great rat invasion. It was so unexpected, so inconceivably fantastic, and so tragic. Christmas, , promised to be the brightest and gayest and most care -free festive season frit- many a year. After the ominous tension and war -preparations of , the summer -of had at last seen EurOpe come to its senses. The gieat conference at The Hague-a real con ference at last-had brought about the most extraordinary and wonderful reconciliation which international politics had ever seen. Stalin had patted Hitler on the back, Mussolini had joked with Winston Churchill, and Laval had trotted about amongst the great men, scattering cigarette ash dowit his black coat and smiling like a friendly imp.
As Winston Churchill broadcast to the expectaht nation immediately. At last the fresh, clean wind of man's common sense has swept them away. There was more money, more optimism, more genuine happiness everywhere. The millions of Greater London invaded the West End, and the brilliantly lighted streets and glittering shops were filled with an eddying, cheerfully impatient throng of last-minute shoppers on that never - to -be -forgotten Christmas Eve, Possibly some of those care -free shoppers had read stories of the lemmings, the strange Northern rodents which suddenly and unaccountably draw together in regiments and battalions-thousands-millions of them-and move irresistibly and like a tidal wave across the countryside.
Now they were to experience a similar tidal wave, but a far more dangerous one. For the rats of London were on the move. Up from the drains and the sewers and the docks of London they came-an army of 20,, rats sallying" forth from the shadows of their underworld towards the spaciousness of Central London. Possibly the first victim of the rat invasion was a police -patrol.
As Big Ben struck five a police launch was steering down the river. On the Embankment the headlights of passing cars shone like a stream of swift glow-worms ; but all was quiet on the river. Suddenly the bows of the launch bumped into an obstruction and came cto a sudden, lurching stop. One of the three officers immediately switched on the tiny searchlight mounted in the bows and, to employ the words of P. Albert Jelks, which were to become history amongst his immediate circle of friends, " the blinking river was alive with rats.
The three horrified officers saw only a heaving multitude of sleek backs. It was as if the familiar grey -brown surface of the river.
The quick-wittedness of Sergeant Dawes saved the three police officers. At the first appalling glimpse of the rats he sent the launch into reverse. Then he put her straight for the steps by Cleopatra's Needle at full speed. But it was only because they ha,d struck the vanguard,; and not the solid mass of the rats that the three men got to the Embankment before the invaders and, abandoning their launch, ran up the slippery steps to give warning. But they were too late. As they reached the Embankment pavement the first rats were mounting the steps behind them,.
London from all -parts of the river between Vauxhall Bridge and Blackfriars. One moment the Embankment was a busy scene of swift -moving traffic. The next, chaos and tragedy took possession of it. John Griggs, a passenger on the top deck of a 33 tram which liact just stopped at the stage before the Aldwych tunnel, is an eye -witness-. Griggs, " reading my. I looked out-and I shall never forget what I saw. The Embankment was crawling with rats. They were coming up from the river like waves. Before you could say -Jack Robinson the roadway was hidden under their running bodies. I saw a big Daimler coming at a good lick of speed from Charing Cross.
Suddenly it seemed to skid and went right across the pavement and crashed into the iron railing of the Embankment Gardens. Below me four or five people, two women among them, were trying to get on to the tram. But the rats got them. One minute they were there, shrieking and kicking, the next they were on the ground, and the rats were all over them. I saw a policeman running towards the tram, kicking out now and then as if to shake off something that worried him.
Something was worrying him all right-the rats. They got him about fifteen yards from the tram. We were in a pretty sound position there. The rats could not get up the slippery sides ; they could only come at us up the stepsfront and rear. But even then we had all we could do to save ourselves. I must have killed hundreds. They came in solid masses up the stairs, and we took it in turns to stand and kick them down again until we could hardly stand for weariness.
Some of them kept on getting past us and behind us, and they were out for blood. You wouldn't believe how fierce they were-absolutely fearless. Well, that'went on for an hour or two-but it seemed like ages. Continued on page Less rats came up the stairs at us and finally we were left alone. But it wasn't until a bus with a guard of soldiers came along about nine o'clock that we dared leave the tram. Griggs's version. The same sort of thing happened all over London. The brunt of the invasion was, of course, borne by Central London. The great battalions of the rats penetrated as far as Oxford Street.
But companies and patrols of them got much farther than these places, invading the streets of Hampstead, Peckham, Brixton, Bloomsbury, and Bayswater. Practically all the casualties came with the first sudden overwhelming rush of rats. The slow and the infirm-those who could not get to safety behind doors and windows quickly enough The police were wonderful, and their casualties were heavy. They did all they could to get people to safety, and lost their own lives in doing so. Perhaps the most heroic story of all concerns the defence of the plinth of Nelson's Column by four policemen, two taxi-drivers, and thirty-four shoppers of both sexes.
Drivers and passengers in closed cars were in most cases safe. The rats could not get at them ; but Mr. Griggs's story of the siege of the tram was repeated in just as dramatic a form in the case of hundreds of trams and buses. For two hours the rats ruled Central London. In all the big shops frenzied crowds were held at bay, while the streets held no living human being except those besieged and fighting for their lives in bus, or car, or tram.
Every building became a citadel, each with its epic story of desperate-and in all but a few cases successfuldefence. But then the resources of London began to bear down on the invaders. Organisation took the place of panic. The police, the fire brigade, and the garrisons from the Tower and the various barracks began the counter-attack. Fleets of armoured cars arrived from Aldershot and rushed to danger zones.
Who will ever forget the sight of armoured cars roaring up and down Regent Street, crushing like steamrollers the fearless but ineffective hordes of the invading rodents? Tear -gas was used with tremendou's effect by the police and military, who also advanced to the attack with leather - padded clothes and heavy leather gloves, swinging clubs or iron bars until their arms ached. Even an army of 20,, begins to feel its casualties when every minute brings a massacre. From being invaders the rats became fugitives. The people of London themselves began to emerge from their fortresses, and grasping anything that might serve as a weapon, rushed in to complete the rout.
For it became a rout. Cohorts of rats dwindled to regiments of rats. Regiments became companies. And companies were reduced to individual rats turning fiercely at bay in whatever corner they were hunted down. Central London was clear ; the sorry remnants of the invaders had scuttled back to the underworld of the river whence they came. A shocked but victorious London began to look to its wounds and reason out the why and wherefore of the appalling episode.
Naturalists are still divided in their theories of the phenomenon which gathered together the millions of ThameS rats and flung them like a fearful wave at the Metropolis. But there seems to be no doubt that it was a similar instinctive and irresistible urge as that demonstrated periodically by the strange lemming migrations. Continued in col. His head ached as though a hammer wagged within it but his Senses functioned perfectly. He had summed up the situation in a glance. N'gola slapped his shrivelled thighs and cackled womanishly. Templeton's eyes flickered, and the corners of his mouth went white.
N'gola repeated the blow and those behind him wriggled their ash -smeared bodies and laughed in great delight. The witch -doctor looked taken aback.
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Then he recovered and, raising his spear, shook it again. I shall be above all men! Bending down, he pulled away the shirt from the prostrate man's neck, and taking a little circular metal disc from the rags about his waist, he laid it on Templeton's exposed chest. Then he beckoned to,one of his men, who stepped forward bearing a small brazier from which trailed a thin sliver of smoke. He repeated the operation until there was a little pile of burning embers on the plate.
Already the glowing fragments were beginning to heat the metal plate on his chest. Presently the heat grew intense. N'gola watched his victim like a hawk. One of the men behind him began to shout, and soon the others were shouting, too. Templeton's face grew deadly pale. The metal plate on his chest was like a ball of fire. The urge came upon him to scream, to shout, to beg for mercy. But his lips remained shut. A look of disappointment crossed the witch - doctor's face. Agony swept over the doomed man in an all -enveloping cloud.
His lungs, his chest, his whole body was on fire! Suddenly he opened his mouth to scream-the urge could no longer be checked. But the scream never came. A shot rang out, and N'gola crashed forward on his face. Two more shots followed, and pandemonium broke loose within the hut. The natives rushed for the dobr, jostling and fighting like mad to get through. In an instant they were gone. A moment later, Dane rushed in. Taking a leap over the witch -doctor's prostrate form, the stocky Lieutenant hit the metal tray from Templeton's chest with the barrel of his revolver.
Dane's good-natured face was white and frozen as he stared at the mark. Bending down, he turned the witch - doctor over. N'gola opened his eyes. A bullet along the side of the head-a mere graze-had momentarily stunned him. Dane seized the man and dragged him from the hut. A stream of curses issued from the Englishman's lips, but he did not, know he spoke. Presently he returned, empty-handed. Cutting Templeton's,bonds, he proceeded to do what he could for the burn on his friend's flesh.
After a time the Captain opened his eyes. He moved-he flinched- " I did what I could to take the sting out of it," said Dane gently.
"No, Gentlemen : the risks are great. enough already ; but if I am to. be televised-!"
Where's N'gola? I promised I'd hang him! He, felt better now. I can stand a lot more than that. Templeton shook his head. Templeton watched his friend's rapt face as the Lieutenant listened to his son's voice. Suddenly Templeton smiled. England-Carols -Christmas-Outpost of the Empire Columbus discovered America practically by accident. I've just done exactly the same thing. But whereas Columbus took something like to weeks to make his discovery, I made mine in about t o seconds!
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Provision for Gramophone Pick-up and remote speaker. Beautiful nio walnut cabinet. Please send me details of the Bush S. Nam Address Post in id. Kiernan, tired one night, had an interview in a dream with Plato, and remembered enough next morning to communicate this to the readers of WORLD -RADIO IF broadcasting is permitted to enter the homes of citizens, said Plato, it must be regulated so that the content of the broadcasts is good. The Egyptians, recognising this general truth, though not themselves concerned with broadcasting, standardised the best specimens of music and painting and all other arts, and consecrated them in their temples ; so that in io, years the same technique was followed.
Now, change for the sake of change, is senseless ; change from less good to good is indeed desirable ; change to bad is deplorable. The canonisation of art forms means what we call laying down canons of art. The craving for novelty can be permitted to satisfy itself with change and experiment so long as the entire body of citizens is educated to appreciate the canonised forms of art.
The first aim of the broadcasting organisation, then, I take it, he said, is to detect the right forms and types of music and other aural arts to offer to listeners ; and, after that, to systematise the broadcasts so that the listeners may feel pleasure in the national programmes constructed on this plan, and pain with the less wise, less healthy programmes transmitted from foreign countries.
Broadcasting is primarily entertainment and that programme receives the palm which gives most pleasure and enjoyment to listeners. But the tiny children enjoy certain programmes, the bigger boys others ; the cultivated women and youths others ; and old ones, like ourselves, have our quieter, finer tastes. Which of all these groups is the Director of Broadcasting to set himself to please?
That -may I take it?
It would obviously be impossible to please all listeners all the time. Clearly, you will agree, chuckled Plato, that is an illogical compromise for which your nation has little aptitude. The best music, the best talks and drama and variety are, let us say, such as please the best men, men of goodness and wisdom. Pseudonymous Letters But wisdom and goodness are not enough, unless fortified by courage ; else, the wise good man is intimidated in his judgment by popular clamour, letters received at the Broadcasting Station from " Pro Bono Publico," " Distressed Listener," " los.
Wasted ; " and he is in grave danger of learning from such anonymous listeners when, in truth, provided his standards 'have been chosen with care and he is a good and wise and courageous man, his duty is to repel performers who seek to give pleasure to listeners in improper ways.
The choice is between leaving the judgment to the listeners -and we have already shown how varied are their tastes - and, on the other hand, training them by good and varied programmes to take pleasure in what is good and pain in what is bad. Music is sweet concord, and songs are spells for souls ; but they must be based, in their composition and interpretation, on noble conceptions.
We speak of good music and bad music when we should speak of right and wrong music. In order to judge a composition or a production of it, the judges must know the purpose of the production, the image or reflection it is intended to portray to the imagination of the listener. If a painter makes a likeness of a human being, the'observer must know, if he is to judge it properly, first that it does represent a human being -not always, in much of your modern art, an easy accomplishment ; then having satisfied himself that the artist intended to represent a human being, and not a dying sunset or the genesis of the human race, he must be qualified to judge the correctness of the representation ; and finally, how well it has been portrayed.
It is so with the compositions of musicians. The judge must know what is being reproduced, how correctly, and how well, in melody, language, and rhythm. The broadcaster, then, must possess, or have about him colleagues who possess, these qualifications. It is perhaps best, added Plato, that Directors of Broadcasting should not themselves possess any such specialised qualifications, but should be helped in the different programme sections by expert judges of music, drama, variety, literature, news, and sport.
So will a commonwealth of wise, good, and courageous men be fitted to undertake, to the benefit of the citizens, the duties of broadcasting. This may be popular, but is in the worst taste ; and those citizens who enjoy it are not good through any ideal of goodness, but only because of fear and hypocrisy, and may be trusted to fall to evil practices when unwatched. Importance of a Good Cellar The function of broadcasting is to charm listeners into virtuous ways of living and thinking. Now, you will agree that the older citizens, especially those so old that the fire which leads to sin is dead in them, are the most virtuous.
But diffidence as well as virtue increases with old age. It is difficult to persuade elders to sing. For these, Dionysus grants the stimulus of the wine -cup, as a pleasure for advancing years, to ward off the dryness of old age and to give forgetfulness. The Broadcasting Directors should, then, keep always a well -filled cellar of the oldest and most mellow wines, and engage choruses of old and virtuous citizens to render songs, reminding them, through the Announcer, that their audience is only in reality one listener ; because all of the listeners can be reduced by an easy process of argument to one.
Have then a Drinking Chorus of elders attached to your Athlone, Dublin, and Cork Stations ; and as the songs grow noisy, when the drinking goes to greater bounds, what then should you do? Why, insist on young Announcers and forbid them the use of wine, since you think too highly of their fiery, passionate temperaments to feed their bodies or souls with an artificial current of fire, unneeded by any Announcer who is.
Schielderup, Norman Chidgey, Spaull, E. Martin Browne Close. Taylor, F. S Film : " Morocco. Pickwick Marconi -EMI process , both in the theatre and cinema, his limitations and facilities, and, irrespective of personal methods no single producer works quite like another , to appreciate certain conditions which always obtain in both cases. Before a play or musical piece is staged the preliminary work, apart from anything on the stage itself, entails careful planning under the separate categories of casting, design, dressing, lighting, detailed work on script such matters as action tempo, possible inflexions, timing, etc.
The time taken up for this varies with individual producers, but usually is not more than two weeks. Work in the theatre with the cast begins when these projects are decided, and, simultaneously with first rehearsals, start coming into being. The time allowed for the rehearsal of a modern play with cast is usually about three weeks. That is to say, for a play whose running time is three hours, production time is one hour per week or five minutes per day, assuming a five-day week and twelve-hour day. A play is not necessarily produced in five-minute " lumps," but for purposes of establishing a ratio of work done to time, we will assume it is.
For the production of a film-say, a subject of medium scope from the point of view of the resources required-the preliminary work is very much more complicated and detailed, and, actors to wear on certain days , property lists, and a " breakdown " sheet-a document which breaks down the continuity of the script into a form whereby it can be seen which widely dispersed groups of scenes take place in the same set and have, therefore, to be shot out of continuity. This work is handled by the assistant director, working in close cooperation with the director, and takes anything between three and eighteen days to complete according to the size of the production.
Shooting for a film of normal " feature " length running one hour and fifteen minutes approximately is usually scheduled for five or six weeks, according to the number of exterior location scenes. Assuming the script contains four hundred scenes, the thirty-six days allowed means that eleven scenes are shot each day, or approximately two minutes' screen time. But the screen time shot per day varies enormously with the type of work being undertaken, and the speed at which particular directors work.
Ten scenes or set-ups per day, however, is considered a good 19 average ; on the other hand, there are directors who are not happy unless they have done twenty scenes usually, but not always, they are bad directors , and others who consider they, have worn themselves out if they have succeeded in doing three. Intimate and emotional scenes take much longer than scenes of a broader and less intimate kind. Large crowd scenes, in the hands of a capable director, often take less time than' a series of quite short, close shots of the star actor or actress.
In television practical working conditions for the actor are, on the whole, nearer to the stage ; on the other hand, for the producer they are much nearer to the studio. Like sound broadcasting, television at present is a kind of journalism. Individual productions are really " leading articles," viewed from the aspect of a programme -builder who, in effect, is an editor in the broad sense.
A daily programme is prepared much as an issue of a newspaper is prepared. In sound -broadcasting the problems are all entirely aural, and with no precedent. But in television the wide panorama of work entailed in the visual half of the stage and screen production comes into operation. Now, it is axiomatic in theatre and cinema that what the spectator's eye sees is much more important than that which his ear hears.
Let me hasten to add that by this I do not mean to excuse inaudibility of actors or any lack of proper attention to dialogue, music, or singing, but merely to make quite clear that the primary value is the visual ; without it there is no theatre and no cinema. This being so, by -far the greater part of the producer's time is occupied with visual matters, and the work itself is more crowded with the mechanics of production than anything purely aural.
Composition, grouping, gesture in relation to dialogue, lighting, are more mechanically complicated in the film studio than they are on the stage. The frame in which the action takes place is smaller ; actors must come to positions very accurately ; camera manipulation to suit action, and action to suit camera manipulation is a compromise which is inevitable in nearly every scene. Lighting, although monochromatic, needs a greater subtlety in adjustment and diffusion. These same conditions apply in television, but with this singular and exclusive difference ; in television there is no repeating a scene if it is wrong technically, histrionically, or for any other reason ; rehearsals take place as they do on the stage, and once the show is in transmission it must run just as any " live," in distinction from mechanical, entertainment does in the theatre.
It is in this that one finds the closest synthesis in television between theatre and cinema from a producer's point of view. A tracking shot-that is to say, a shot which moves forward from a long view to a closer view or vice versa-always takes much longer to do on account of the mechanics being more complicated. Elaborate tracking shots, known in studio. Appreciating these facts, it will be understood that in television, where the camera technique must approach that of the film in operative technical efficiency, the production of a twohour daily programme is very much more of an undertaking than might be superficially supposed.
Rehearsal time is necessarily reduced to times far below anything comparable to achieve the same result in the theatre or the cinema. It is true that in these early days of the BBC service transmissions only a few original productions are taking place, the material consisting almost entirely of vaudeville entertainment, novelties, illustrated talks, existing ballets, and so on ; in fact, re -production describes the producer's business more accurately when applied to this kind of programme material.
Yet, where production mechanics pure and simple are concerned there is little between WORLD -RADIO, re -production of a vaudeville act, and the production of a simple play or unambitious musical work. All original work in the theatre or cinema naturally requires more rehearsal than merely the transference of existing material in one medium into [another, but the longer time needed, provided the work has been properly thought out on paper, is devoted to histrionics, the producer's most important and fundamental business. This can he, and usually is, done in a rehearsal room away from the stage or studio.
There is no substantial difference between produced and re -produced programme material in the television studio where mechanics are concerned ; for efficient work both 'need highly specialised attention of much the same sort. An example may be cited in the case of the television presentation of the BBC Dance Orchestra and the recent presentation of excerpts from the new opera Mr. Prime' facie the opera would seem to need more rehearsal time than the dance orchestra, but the rehearsal times were the same in the studio in each case.
The opera had, of course, been in musical and preliminary action rehearsal in premises away from the studio, but the mechanics, when planned, needed no more time than those necessary for the dance orchestra doing a normal dance -tune programme. The chances are that a producer will DECEMBER 18, need to devote more time in achieving an efficiently -done piece of camera manipulation than the actual direction of the action which causes the manipulation to take place. Holding proper centre, keeping correct head room, and such -like details take some years of training in camera operation for film production.
Considerable credit is due to the camera operators in the television service for the high degree of efficiency already attained ; they work under the disadvantage of being asked by producers to do shots of such a kind in the short rehearsal time available as would make the most experienced film camera operators white with fury. This is not a matter of over -ambitiousness on the part of producers, but necessity in order to achieve the best effect and use the new medium to its best possible advantage. In conclusion, a brief word concerning the actor-more popularly misnamed the artist, that word covering all categories of performer.
In the film studio he has no audience ; he plays to one individual, his director. And that individual can completely alter a performance in the editing of the film, and the good actor is very well aware of this fact. In the theatre there is the psychological " contact " between actor and audience, the give-and-take across the footlights. Something of this, which is an element in the quintessence of great acting, returns in television.
Television Topics Television O. Very soon, of course, it came to be realised that the boot was on the other leg-that television would permit many to see the few, that it would permit the eyes of the world to be focused on a given. In , the Baird Company made a praiseworthy attempt to televise the Derby, and although the low -definition system then in use gave a very crude image with a picture frequency of only per second, it was possible to distinguish the blurred image of the winning horse as it passed the post.
Recently the German television authorities had considerable success in transmitting scenes at the Olympic Games, using the intermediate film system on a mobile van. But it has been left to the BBC to make the first serious attempt at direct television of scenes in the open air. Since regular transmissions from the Alexandra Palace began in October, viewers have seen car parades, a tcur of the North London Exhibition, golfing lessons, pony riding and jumping, sheep -dog trials, and enough other outdoor events to give a foretaste of the good things to come.
All these " 0. As time goes on, however, use will be made of coaxial, or high -frequency, cable, enabling great distances to be covered ; it is also likely that use will ultimately be made of micro -waves to form a wireless link between the cameras and the nearest coaxial cable point. A fine belt of trees just below the terrace makes a splendid setting for games and " countryside " pictures, while, if the cameras are swung round, the Palace building gives a good solid background for pictures of a more intimate kind.
With only an hour at their disposal, and that comparatively early in the evening, the Television Production staff are not attempting a very ambitious New Year's Eve programme. There will, however, be a special celebration of the occasion during the last ten minutes of television in from 9. The first television " O.
Under by no means favourable weather conditions, two Emitron cameras, helped by some 24 kw of studio lights, taken out of doors for the occasion, gave a vivid picture of searchlight and gun crews at work before and during a mimic air-raid and gas attack. Women's interests are not being forgotten in the compilation of forthcoming programmes. Nasce al bosco Ezio , Dove sei? Rodelinda , Furibondo, spira il vento! Six Songs from "La bonne Chanson," Op. Frauenliebe und - Leben: Seit ich ihn gesehen, Er, der Herrlichste con allen, Ich kann's nicht fassen, Du Ring an meinem Finger, Helft min, ihr Schwestern, Susser Freund, du blickest, An meinem Herzen, Nun hast du mir den ersten Schmerz getan - Schumann; Tel jour, telle nuit: Bonne journee, Une ruine coquille vide, Le frount commen un drapeau perdu, Une roulotte, couverte en tuiles, A toutes brides, Une herbe pauvre, Je n'ai envie que de t'aimer, Figure de force brulante et farouche, Nous avons fait la nuit - Poulenc.
Quel sguardo sdegnosetto - C. Monteverdi; Recit. Monteverdi; Lieder eines fahrenden Fessellen: 1. Wenn mein Schatz Hochzeit macht, 2. Ging heut' Morgen uber's Feld, 3. Ich hab' ein gluhend' Messer, 4. Die zwei blauen Augen - G. Tchaikowsky; La Maja Dolorosa F. Periquet : Ay! Majo de mi vida, O Muerte cruel! Barber; Night Songe P. McGinley - S. Fletcher; Recuredo D. Vincent Millay - M. Castelnuovo - Tedesco. Sonata in D Major, K. Klavierstucke, Op.
Phantasy Op. Sonata in G Major, Op. Mozart; Three Chorale Preludes, Op. O Welt, ich muss dich lassen, 5. Schmucke dich, o liebe Seele, 8. Toccata in G Minor ca. Mozart; Minuet K. Bach; Solosonata, Op. Duo for Violin and Violoncello, Op. Sonata Op. Trio in E-flat Major, Op. Sonata in C Major, K. Suite, Op. Haydn - Marcel Grandjany; Etude No. Sonata in C Minor, Op. Kunst des Kussens - A. Hammerschmidt; Bist du bei mir - J. Bach; Neue Liebe, neues Leben - L. Schubert; Ihr Bild - F. Schubert; Ungeduld - F.
Schubert; Phidyle - H. Duparc; Chanson triste - H. Duparc; Fleur jetee - G. Faure; Aug eine Christblume I - H. Wolf; Nimmersatte Liebe - H. Wolf; Auf einer Wanderung - H. Sonata in B Flat Major, K. Sonata No. Concerto in Bb, K. Mozart; Concerto in C, K. Sonata in d minor, Opus 31, No. Fantasy and Fugue in C, K. Mozart; Sonata in F, K. Mozart; Toccata in C Minor - J. Choralis in Cantu, 2. Choralis in Tenore, 3.
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Choralis in Cantu, 4. Chroalis in Cantu, 5. Choralis in Basso, 6. The Etudes of Frederic Chopin: Op. Trio in C Major, Op. Dichterliebe, Op. Ives; Religion James T. Bixby - Charles E. Trio No. Extremement rapide - encore plus vif, II. Lent, III. Modere, presque vif, IV. The Piano Sonatas of Beethoven: Op.
Against this Forgias will I go! Non mi dir "Don Giovanni" - W. Mozart; C;est l'Extase langoureuse P. Verlaine - C. Debussy; Il pleure dans mon coeur P. Debussy; Mandoline P. Scenes from Childhood, Op.
childless a novel Manual
Marchenbilder, Op. Partita No. Fantasy in C Minor, K. Sonata in B flat Minor, Op. V - Giuseppe Tartini. Impromptu in F minor, Opus , No. Waltz, II. Schottische, III. Pas de deux, IV. Two-Step, V. Hesitation-Tango, VI. La Toupie, Impromptu Spin the Top , 3. La Poupee, Berceuse The Doll , 4. Le Volant, Fantasie Badminton , 6. Trompette et Tambour, Marche Bugler and Drummer , 7. Les quatre coins, Esquisse Puss in the Corner , 9. Colin-Maillard, Nocturne Blindman's Bluff , Saute-Mouton, Caprice Leapfrog , Theme, II. Scherzo, III. Allegro - William Sydeman; Sonatine: I. Andantino, II.
Quasi candenza-Allegro, III. Piano Quartet in G Minor, Op. Harold in the Mountains, Scenes of melancholy, happiness, and joy - Hector Berlioz, transcribed for piano and viola by Franz Liszt. Ausserst bewegt, 2. Sehr innig und nicht zu rasch: Intermezzo I, 5. Sehr lebhaft, 6. Sehr langsam, 7. Sehr rasch, 8. Bach; Sonata in F, K. Mozart; Sonata No. Four Etudes, Op. Bach; Gigue in E Minor - J. Villa-Lobos; Etude No. Villa-Lobos; Prelude No. Villa-Lobos; Moonlight Sonata - L. Beethoven; Aria "La Frescobalda" - G. Frescobaldi; Recuerdas de la Alahambra - Tarrega.
Vergnugte Ruh', beliebte Seelenlust - J. Bach; Songs and Dances of Death A. Kutusov : 1. Trepak, 2. Lullaby, 3. Serenade, 4. Commander-in-Chief - M. Mussorgsky; Clair de lune P. Verlaine - G. Faure; Les papillons T. Gautier - E. Chausson; Le temps de lilas M. Bouchor - E. Chausson; Canson gothique - H. Berlioz; Romance - H. Berlioz; La Maja Dolorosa F. Periquet - E. Sommie Dei Radamisto - Georg F. Handel; Tornami a vagheggiar from Alcina - Georg F. Handel; Seven Spanish Folk-Songs: 1. El Pano Moruno, 2. Seguidilla Murciana, 3. Asturiana, 4. Jota, 5. Nana, 6.
Cancion, 7. Polo - Manuel de Falla; Cantata: 1. Prelude, 2. The Open Prairie, II. In a Frontier Town: a. Cowboys with Lassos, b. Billy and His Sweetheart, IV. Celebration After Billy's Capture, V. Billy's Demise, VI. Ballade in F minor, Op. Wee cannot bid the fruits, II. Walden Variations - William Duckworth; Home! Sweet Home. Haydn - variations by A. Albert Snow. Grunenwald; Five Pieces: Intermezzo: Op. La Marcia The Banjo.
Four Pieces, Op. Allegro-Tempo di Marcia, II. Cavatine, III. Ballabile, IV. Allegro, Andante. Vivace, Andante moderato. Allegretto scherzando, Allegro, Lento maestoso. Vivace - Anton Dvorak. Ishikawa; Mazurka Op. Quintet in C Major, K. Sonata in B-flat Major, Op. Sonata in E-flat Major, Op. Sonata in C Minor, K. Sonata in D Minor, Opus 31, No. Fantasia in C Major, Op. Durchaus energisch, Langsam getragen. Two Rhapsodies, Op. Allegro ben ritmato e deciso, II.
Andante con moto e poco rubato, III. Allegro ben ritmato e deciso - George Gershwin; Encore. Trio : I. Allegretto tranquillo, II. Allegro, III. Andantino, IV. Presto - Brun; Goethelieder - Dallapiccola. Lawrence, director; Iva Martirano, costumes. Alternating Block Patterns, II. Low Scherzo, III. Ostinato Concertante, IV. High Scherzo, V.