DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Meditations on captivity and liberation
BEN LUNN remembers the Italian composer Luigi Dallapiccola, whose embrace of serialism and the 12-tone scale coincided with his rejection with fascism
HANDLING HORROR: (L to R) Boethius, Luigi Dallapiccola, Mary Stuart and Girolamo Savonarola
[Raphael (School of Athens c1510) - Public domain - Public domain - Moretto da Brescia c 1524/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
2024 is a year of many significant anniversaries and milestones.
The third of February marked the 120th anniversary of the Italian composer Luigi Dallapiccola who was no stranger to political turmoil and deserves serious reflection in terms of how artists can respond to national and international events.
Born in Pisino d’Istra, Dallapiccola grew up in political uncertainty. His father, who was a headmaster of the local school, had been deemed politically suspect and his whole family had been imprisoned at Graz in Styria for about two years. After this turmoil, Dallapiccola went onto study composition and was notably influenced by the musical discoveries of Schoenberg.
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STEVE JOHNSON speaks to London singer/songwriter MADDY CARTY
April 9 1928 – July 26 2025