When the ravages of Alzheimer’s leave an elderly woman marooned in painful memories of October 1950, her grandchild comes up with a creative strategy.
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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]
New releases from Simone White, Brass Funkeys, and Souad Massi
SUE TURNER is compelled by a history that shows how far a country can turn in on itself to collude with abuses of power
RON JACOBS is persuaded by the parallel drawn between Charles Manson and Donald Trump
In this comparison of Britain pre- and post Thatcher, WILL POMORE applauds the analysis, but distrusts the solutions offered
MARIA DUARTE defends a solid, late-career Spielberg conspiracy flick that calls for empathy in a hostile world
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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