DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Marxist Notes on Music with BEN LUNN: May 28, 2024
The centenary of his birth is a chance to assess the remarkable combination of Marxism, activism and modernism in the works of Luigi Nono
KINDRED SPIRITS: Luigi Nono and Karlheinz Stockhausen in Darmstadt, summer 1957
[Seppo Heikinheimo/CC]
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
LUIGI NONO is one of the most significant composers of the last century and one of the major voices who epitomises both modernism and Marxism in music.
SOCIALIST APPEAL: Maria Krzyszkowska and Witold Gruca, in Luigi Nono's ballet The Red Cloak, 1962 - Pic: Piotr Baracz, scanned from monthly Poland, January 1963, Interpress Publishers, Warsaw, Poland/CC
Born January 29 1924, Nono was deeply involved in political struggle. Having been active within the Italian resistance against Mussolini and joining the Communist Party of Italy (PCI) in 1952 (becoming a member of the central committee in 1975), Nono searched to tie his political convictions with his musical aspirations.
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