The russian revolution

The Avant-Gardists tells the story of the small group of brilliant, punky outsider artists who, after the Bolshevik coup in 1917, to everyone’s amazement suddenly found themselves holding important posts in government (as if Sid Vicious were made minister of education). They were soon demoted, and by the end of the 1920s persecuted or driven abroad. Yet news of their breathtaking originality spread internationally, playing an important role in transforming not only our understanding of art, but the aesthetics of modern life, from buildings to household objects, textiles to the printed word. Sjeng Scheijen has written an exhilarating history of the movement, illuminated by new research and insights, and with

Once the working classes were allowed to vote it was inevitable that sooner or later they would elect a government which reflected their interests. That moment came with the appointment, in January 1924, of the first Labour government.    The circumstances could hardly have been less auspicious. There had been three general elections in as many years. No party had an overall majority. Labour, with 191 seats, was not even the largest, with the result that, throughout its short life, the government was entirely dependent on the goodwill of the Liberals, which soon ran out. With a couple of junior exceptions during the wartime coalition, no Labour MP had any

Ask a roomful of concert pianists to pick their graveyard moment in Rachmaninoff’s Piano Concerto No. 3 (1909) and they’ll almost certainly point to five or so pages halfway through the last movement where an ant nest of piano notes infests a sparse orchestral threnody. When an elderly Vladimir Horowitz performed this passage – lank, dyed pageboy hair framing his Bela Lugosi face, hands darting over and under each other like butterflies – he looked more like a weaver at his loom than a virtuoso at his instrument. There are flickers of concentration, but the overall impression is one of extreme insouciance. ‘I am a Russian composer, and the land

‘One morning in late October 1988,’ begins The Long Song of Tchaikovsky Street, ‘this dapper-looking guy from Leiden asked me if I might be able to deliver 7,000-odd Bibles to the Soviet Union.’ It’s the kind of line you might hear in a bar when you accidentally catch the eye of the resident storyteller — a tale so implausible it could just be true. Where on the scale between fact and fiction Pieter Waterdrinker’s memoir lies is impossible to tell, and beside the point: his engrossing 400-page account of post-Soviet disorder grips you and doesn’t let go. We meet the author — who may be the successful Dutch novelist himself,