favorite work of the recital "to judge from the applause and laughter" wrote one reviewer, "which greeted the sections bearing such titles as 'All Art Is Useless' and 'Alexander, Alexander, You Are a Salamander'." He composed his Concerto for String Quartet and Wind Orchestra in 1930, which provides, in one critic's estimation, "a fascinating inversion of the traditional concerto grosso style, with winds providing the framework of the piece as a whole, within which the string quartet appears as contrast and solo." In the 1930s, Schulhoff faced mounting personal and professional difficulties. Because of his Jewish descent and his radical politics, he and his works were labelled degenerate and blacklisted by the Nazi regime. He could no longer give recitals in Germany, nor could his works be performed publicly. His communist sympathies, which became increasingly evident in his works, also brought him trouble in Czechoslovakia. In 1932 he composed a musical version of The Communist Manifesto (Op. 82). Taking refuge in Prague, Schulhoff found employment as a radio pianist, but earned barely enough to cover the cost of everyday essentials. When the Nazis invaded Czechoslovakia in 1939, he had to perform under a pseudonym. In 1941, the Soviet Union approved his petition for citizenship, but he was arrested and imprisoned before he could leave Czechoslovakia. In June 1941, Schulhoff was deported to the Wülzburg prison near Weißenburg, Bavaria. He died there on 18 August 1942 from tuberculosis. Musical style Schulhoff went through a number of distinct stylistic periods, ranging, in Anne Midgette's words, "from the endearing self-consciousness of talented youth in the Suite for Chamber Orchestra to the fierce somber aggression of the Fifth Symphony." She found that even as his style changed there was a certain commonality, so that even the "angular, forceful, even raw style" of the late Fifth Symphony reflected "the late Romantic tradition of orchestral color". His early works exhibit the influence of composers from the preceding generation, including Debussy, Scriabin, and Richard Strauss. Later, during his Dadaist phase, Schulhoff composed a number of pieces with absurdist elements. Anticipating John Cage's 4′33″ by more than thirty years, Schulhoff's In futurum (part of Fünf Pittoresken for piano, written in 1919) is a silent piece composed entirely of rests, with the interpretative instruction "tutto il canzone con espressione e sentimento ad libitum, sempre, sin al fine" ("the whole piece with free expression and feeling, always, until the end").