DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
FEW figures throughout history have managed to have the musical impact of Arnold Schoenberg. Unlike older giants, like Beethoven, Schoenberg, despite having a huge admiration, still suffers the ire of conservative ears and being the “sole” reason for disliking modern music (ignoring that Schoenberg has not been modern for decades).
Born in Vienna in 1874, Schoenberg’s music grew and developed amid the cultural growth and energy of turn of the century Vienna and he was mostly self-taught.
His early works show the influence of Gustav Mahler and Richard Strauss, a rich romanticism and tempestuous music full of energy and drama.
New releases from Old Spot, Chris Marksberry, and Clementine Lovell
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
SUSAN DARLINGTON swoons in the presence of a magnetic frontman
WILL STONE witnesses an experimental piano concerto inspired by the work of a young Jewish victim of the Nazis


