During his Tango Marathon at the Almeida Festival last June, the formidable American pianist Yvar Mikhashoff threw in an extra, unheralded example by Stefan Wolpe dating from 1927, which had been passed on to him by Wolpe's pupil, cataloguer, and biographer Austin Clarkson only a couple of weeks before. Not unexpectedly—coming from a socially conscious 25-year old working in Weimar Republic Berlin—the piece opened in a mode of Neue Sachlichkeit stylization similar to Weill, but was soon subjecting its material to a most un Weill-like cross-cutting and discontinuity. Evidently that radical sense of a musical language being freshly created before one's very ears, which at once lends Wolpe's later music such immediacy from moment to moment and makes it so demanding to grasp in the large, was latent from the start.