ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
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The mesmerising Xenakis
On the centenary of the incomparable Greek composer’s birth ANGUS REID recalls and recommends a new recording of his Pleiades and Persephassa
(L to R) Expo 1958 Philips Pavilion and Iannis Xenakis in his Paris studio
[(L to R) Wouter Hagens/CC and portrait: The Friends of Xenakis/CC]
KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
MICHAL BONCZA recommends a minimalist installation that prompts intriguing connotations
FIONA O’CONNOR questions the achievement of this year’s Orwell prize winner for political fiction
LEO BOIX reviews two powerful Latin American novels in which myth and crime fiction expose the deadly consequences of patriarchy, clandestine abortion and state violence
New releases from Laura Veirs, The Waterboys, and Yard Act
Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
Pleiades and Persephassa
Percussions de Strasbourg
Philips — Prospective 21e Siecle
THERE are two great composers-in-exile whose music defines their national culture. One is Chopin who lived in France in the 19th century and wrote for his then-extinguished country, Poland.
The other is Xenakis who also lived in France as an illegal immigrant in the 20th century, having been made the target of British-led anti-communist assassination by the Greek far right in 1947.
A qualified engineer, he became a lead architect for Le Corbusier, who had no qualms about employing immigrants because he could take the credit and pay low wages.
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