PAUL DONOVAN applauds an intriguing multi-layered depiction, dominated by a stunning impersonation of Marilyn herself
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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]
LEO BOIX applauds an audacious, self-questioning film about grief, friendship and film-making
MARY CONWAY admires a brave and topical study of Armageddon that is, unfortunately, unable to come to a conclusion
ANDY HEDGECOCK, JAMES WALSH and JAMIE BRITTON review Hanging by a Wire, I Want Your Sex, The Pout-Pout Fish, and Rise of the Foot Soldier: Retribution
Chris Searle speaks to US pianist RAN BLAKE
The Bard hands out medals for his Edinburgh campaign and urges us to support The Men They Couldn’t Hang
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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