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\"I am still waiting on advice from that and I guess it would be up to business owners to explore legal options with regards to damages or other legal action that they may wish to take,\" Cr [Basil Cameron] said. Protesters at Mullumbimby Woolworths' site. The Woolworths' site in Mullumbimby is surrounded by fencing and controversy. Source: ABC North Coast

\"The MP for Page talked a lot about fighting for rail services prior to the federal election and we do need to see more from her and we need to see more from the Federal Government,\" he said.

Mr [Basil Cameron] says there are many ideas about how to keep rail services operating on the Casino to Murwillumbah line.

\"The line in place is still in good nick so we would only need to purchase a few trams. We're probably looking at two or three older trams to use as a shuttle and hopefully get people away from using their cars.\" \"On one day in 2004 there were 21,000 movements recorded across the tracks in town.\" [BYRON] Deputy Mayor Tom Tabart said the move had merit and the trams could even be made into a tourist attraction linking popular tourist villages such as Bangalow and Billinudgel.

THE Foxton Beach sea wall project has been rejected by environmental commissioners, angering the community. Foxton Community Board chairman Basil Vertongen was furious when he learned of the decision yesterday, accusing Horizons Regional Council of not listening to the people. Picture: JONATHAN CAMERON BASIL Vertongen with the Foxton Beach sea wall.

I found the orchestral works disappointing, the concerto suffering from a want of warmth and the variations from a want of wit.

The outcome was that, just before her thirteenth birthday, she played Mendelssohn's G minor concerto in Harrogate with [Basil Cameron] conducting. He advised her to glamorise her name. She converted [Mary Johnstone] into [Moura Lympany] and her mother's maiden name of Limpenny was adapted as Lympany to rhyme with timpani. She continued her piano studies in Vienna with Paul Weingarten while working as an au pair. After winning another scholarship to the RAM, she was taught by Mathilde Verne, who had been a pupil of Clara Schumann, and by Tobias Matthay. Moura Lympany claimed that she had learned some elements of Clara Schumann's style -- ``to play straight, nothing chichi, no what I call powdered rubato. And never to bang the keys like so many players do today.'' Thenceforward she enjoyed an Indian summer. The critics were no longer so sniffy, even if her musical friendships with Edward Heath and Jeremy Thorpe were retailed in the gossip columns. She played Cyril Scott's concerto in 1969 at his 90th birthday concert. He was an unfashionable composer, and few of Moura Lympany's contemporaries would have had the work at their fingertips. In 1979 she celebrated the 50th anniversary of her debut with a Festival Hall recital attended by the Prince of Wales. Invited to be a castaway on Desert Island Discs, she surpassed Elisabeth Schwarzkopf by choosing eight of her own recordings. In 1991 she wrote her autobiography.

She divided her time between London, Monaco and her Pyrenean home at Rasigueres in Languedoc. She went to Rasigueres in 1973 when, after losing her voice through tiredness, she was advised to go somewhere hot and dry to rest. She bought the sheepfold and converted it into a tiny home. She also owned a vineyard that produced up to 15,000 bottles a year. The outcome was that, just before her 13th birthday, she played Mendelssohn's G minor concerto in Harrogate with [Basil Cameron] conducting. He advised her to glamorize her name. She converted [Mary Johnstone] into [Moura Lympany] and her mother's maiden name of Limpenny was adapted as Lympany to rhyme with timpani. She continued her piano studies in Vienna with Paul Weingarten while working as an au pair. After winning another scholarship to the RAM, she was taught by Mathilde Verne, who had been a pupil of Clara Schumann, and by Tobias Matthay. Moura Lympany claimed that she had learned some elements of Clara Schumann's style - \"to play straight, nothing chichi, not what I call powdered rubato. And never to bang the keys like so many players do today.\"

The Liszt (rec. 1939) is the most remarkable of these three performances and has the finest orchestral collaboration, followed by an excellent, high-spirited playing of the SaintSaens (not serious competition to Rubinstein's recordings of this work) and a good, but unexceptional Grieg (rec. 1941).