The bard pays homage to his two muses: his wife and his football club
Marxist Notes on Music: January 6, 2021
Arnold Schoenberg’s music is much like whisky, the first try is rarely fun, however the richness is eventually enjoyed when you stick with it
(L to R) Arnold Schoenberg, 1927, photographed by Man Ray and drawn by Egon Schiele, 1917
MARY CONWAY is disappointed by an incoherent show that fails to question stereotypical assumptions about the Soviet Union
JOHN McINALLY welcomes a rigorous class analysis of the history and exploitation of sectarianism by the Scottish ruling elite
WILL STONE, JAMES WALSH and MARIA DUARTE review Souleymane’s Story, Sunlight, Good Fortune, and After The Hunt
ALEX HALL recommends an exhaustive investigation of the means by which the Starmer faction assassinated the left
DAVID MORGAN recommends a refreshingly inspiring novel that features encounters with some tremendous women
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.
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