Category Archives: News

News – The CBSO Announces New 2026-27 Season

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adapted from the press release:

The City of Birmingham Symphony Orchestra (CBSO) has announced its 2026–27 Season: a year of artistic ambition, civic pride and musical breadth under Music Director Kazuki Yamada. The season brings together major symphonic journeys – including Beethoven and Mahler cycles – with new commissions, international touring and landmark moments such as the CBSO Chorus’s 1000th performance. Looking both forwards and back, the orchestra returns to Coventry Cathedral for Britten’s War Requiem, while a wide‑ranging programme that embraces film, popular music and cross‑genre collaborations reflects the CBSO’s commitment to sharing exceptional music with the widest possible audiences.

Shaped by extensive listening to the people of Birmingham, the 2026-27 Season responds to a city where music plays a vital role in daily life, with 96% of residents saying it is important to them. Research also revealed a strong desire for live music and shared cultural experiences, with more than half of respondents valuing a ‘great night out’ with family and friends, alongside a growing appetite for diverse and cross‑genre programming. Embracing scale, risk and joy in equal measure, the new season opens on 17 September 2026.

Looking ahead to the new season, Emma Stenning, CEO at the CBSO comments: “Over the past two years we have listened closely to the people of Birmingham – through research, audience feedback and the work of our Community Board – and that dialogue has shaped a season designed to offer something for everyone. We continue our Mahler journey and present a complete Beethoven symphony cycle with our Music Director Kazuki Yamada, while welcoming Ilan Volkov as our new Principal Guest Conductor and Collaborative Artists Jess Gillam, Alice Sara Ott and Rushil Ranjan, each bringing fresh energy and ideas to the CBSO. Our return to Coventry Cathedral for Britten’s War Requiem will be a defining moment of the season, sharing a powerful message of peace that feels especially resonant today. Alongside this, film and pop concerts, cross‑cultural collaborations and our family programming allow us to broaden our audiences, reflect the diversity of our city and invest in the next generation of music‑lovers. We hope you’ll join us for a truly special year of music‑making.”

Full details can be found at the CBSO website

CBSO 2026-27 Season at a glance: 10 highlights

  1. War Requiem returns to Coventry Cathedral

For Remembrance Day, Kazuki Yamada brings Britten’s humanitarian masterpiece home to Coventry Cathedral, with a plea for peace as resonant now as the day it was written. A timeless, intensely moving meditation on man’s inhumanity to man, the CBSO gave the world premiere of the piece at Coventry Cathedral in 1962 and the Orchestra’s return in 2026 also marks 50-years since Benjamin Britten’s death. This performance will be followed by an international tour.

  • Mahler symphonies to open and close the season

KazukiYamada and the CBSO continue their Mahler cycle: a signature artistic journey that explores music grappling with life, death and renewal. The 2026-27 Season opens with Mahler’s ‘Resurrection’ Symphony, in a concert which also celebrates the 1000th performance of the CBSO Chorus. The season will close in June 2027 with Mahler’s 3rd Symphony.

  • Three Collaborative Artists redefining what an orchestra can do

This season sees the CBSO welcome Alice Sara Ott, Jess Gillam and Rushil Ranjan as Collaborative Artists, who each offer fresh perspectives and exciting programming across genres, venues and formats. Pianist Alice Sara Ott brings major concerto and chamber performances at home and on tour, saxophonist Jess Gillam appears as a soloist, presenter and creative collaborator across concerts and education projects, and composer‑producer Rushil Ranjan expands the orchestra’s sound world through his genre‑defying Orchestral Qawwali Project.

  • Beethoven’s full symphony cycle

Marking 200 years since Beethoven’s death, Kazuki Yamada and the CBSO will perform all nine symphonies in 2027, celebrating one of the most famous and enduring symphonic cycles of all time alongside performances of the Violin Concerto and a wide‑ranging programme of chamber music.

  • A major commitment to new music

In addition to exciting projects with CBSO’s Collaborative Artists – Alice Sara Ott, Jess Gillam and Rushil Ranjan – the CBSO’s first Composer in Residence, GRAMMY-nominated composer Anna Clyne, is central to the season; including the world premiere of her new viola concerto ‘Resonant Forms’ with Lawrence Power, a performance of PALETTE by the CBSO Orchestral Residency scheme, and a Decca recording of Glasslands with Jess Gillam and Alpesh Chauhan.

  • Ilan Volkov debut season

The CBSO will welcome Ilan Volkov for his first season as Principal Guest Conductor and repertoire will feature Bruckner’s 7th Symphony, Messiaen’s Turangalila and a Shakespeare inspired programme.

  • Film and pop music concerts

From Classic FM Hall of Fame and Jules Buckley’s Quincy Jones celebration to Guitar Heroes, ABBA and Home Alone – the CBSO season is packed with popular family-orientated concerts that celebrate milestones in popular culture. There will also be concerts that celebrate special anniversaries; such as  50 years of Star Wars: A New Hope and the 20th anniversary of Casino Royale in partnership with esk live and B:Music; and 25 years of the legendary film, The Lord of the Rings: The Fellowship of the Ring presented by The Flying Music Company at BP Pulse Live.

  • Kazuki Yamada’s generous and joyful programming

The CBSO’s Music Director,Kazuki Yamada also champions programmes that invite audiences in through joy and familiarity this season, treating much‑loved repertoire with the same care, imagination and musical rigour as the symphonic canon. From a festive ‘double Nutcracker’ that sets Tchaikovsky alongside Duke Ellington’s sparkling reinvention, to a Night at the Opera with an all-star cast, celebrating the enduring power of great melody and drama.

  • Concerts for young children and families

From toddlers to teenagers, the CBSO’s family and Notelets concerts are presented by CBSO musicians and designed to remove barriers and spark a lifelong connection with music. Created especially for under‑6s, Notelets are joyful, interactive performances where children can sing, dance and discover orchestral instruments for the very first time, supported by free creative activities and opportunities to meet the musicians. Across the season, BSL‑interpreted family concerts further widen access, ensuring orchestral music is welcoming and inclusive for audiences of all ages.

  1. A season that embraces scale, risk and joy in equal measure

From vast, ambitious works such as Messiaen’s Turangalila Symphony and Weinberg’s rarely performed operatic epic The Passenger, to symphonic film, jazz‑inflected reimaginings and large‑scale popular orchestral projects, the season demonstrates a willingness to programme at full stretch – artistically, logistically and imaginatively. Rather than separating the serious from the celebratory, the CBSO places demanding contemporary and 20th‑century masterpieces alongside exuberant, high‑craft crossover, asserting that ambition, curiosity and pleasure can and should coexist on the same stage.

Kazuki Yamada, Music Director, CBSO, comments: “It brings me so much happiness to be looking forward to another season with this wonderful orchestra and our fantastic audiences. And what a year of music making it’s going to be: 18 concerts at home and another 21 across the UK and around the world. Wherever we perform, I am always proud to share the CBSO’s incredible energy, openness and spirit with our audiences.” The CBSO would also like to thank the many guest musicians, soloists and ensembles that will join them for the 2026–27 season.

Published post no.2,886 – Wednesday 13 May 2026

New Music – Netherworld: The Hermit (Glacial Movements)

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adapted from the press release by Ben Hogwood

Glacial Movements, the ambient and electronic music label founded in Rome in 2006 by Alessandro Tedeschi (Netherworld), celebrates its 20th anniversary with the release of The Hermit, a collection of restored archival recordings from the early 2000s. These recordings, originally stored on deteriorated CD-r and Minidisc formats, were recovered and restored to reveal early experimental sounds full of mystery and emotional depth. These earliest sound experiments emerged while the Netherworld project was still evolving, years before Glacial Movements came into existence.

“I have been going through one of the most difficult periods of my life”, says Tedeschi. “The last two years have had a profound impact on my existence, with a succession of dark thoughts, moments of high tension, and anxiety. At times, I couldn’t see the light at the end of the tunnel. Inevitably, this has had a significant impact on my professional life, on the management of Glacial Movements, and on the Netherworld project. One rainy day a few months ago, I was home alone with my three-year-old daughter Dafne. The sky was gray with clouds heavy with rain and strong storms. I was in my studio working when, at one point, Dafne started pulling my entire collection of CDs, accumulated over the years, off the shelves. They were all scattered on the floor, total chaos reigned.

As I was tidying everything up, I noticed that there were some old CD-Rs and minidiscs with “2002” and “Netherworld” written on them. I had completely forgotten about these sounds… they were my first experiments, unreleased, never published and never heard by anyone, composed with very basic, low-quality equipment, but full of mystery. I used a microphone to record sounds captured from metal surfaces, broken toys, breaths, voices, and a Tibetan gong. The only synth used was the Novation A-Station rack. I realized that the physical media had deteriorated over time.

Together with my friend and sound engineer Matteo Spinazzè, we carried out a lengthy process of recovering and restoring the audio files. Unfortunately, some of them were completely corrupted and therefore lost forever. However, seven of these files were made available again. Listening to them was a succession of strong emotions. Although they were made many years ago, they resonate with my current state of mind. Anguish, loneliness, darkness… I felt like a hermit, alone in the glacial vastness of my essence. The photos accompanying the artwork are very old, dating back to the first scientific explorations of the 1900s in the Arctic and Antarctic regions of the planet. They were chosen and selected from the archives of museums and libraries in Sweden, Australia, and Wales.”

Glacial Movements has steadily gained international recognition in the ambient and electronic music scenes. The label has collaborated with a wide array of notable artists such as Rapoon, Lull, Aidan Baker, Machinefabriek, Scanner, Murcof, Oophoi, bvdub, Loscil, Paul Schutze and many others, as well as supporting lesser-known talents. Their collective work reflects themes related to the pristine nature of the Great North and addresses urgent issues like climate change affecting the planet. The label expresses gratitude to its artists, audience, and the specialized press for their ongoing support and engagement with Glacial Movements’ activities.

The Hermit will be released on 29 June 2026

Published post no.2,882 – Saturday 9 May 2026

New Music – Lawrence English: The Rest Is My Ghost (Room40)

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adapted from the press release by Ben Hogwood. Photo (c) F. English

Lawrence English announces a new album The Rest Is My Ghost, which is, to some extent, the conclusion of a trilogy including Wilderness of Mirrors (2014) and Cruel Optimism (2016). The album arrives on Room40 on 7th August and is preceded by the single Sodium Vapour Halo, which you can watch below:

The Rest Is My Ghost is an expression of iteration told through a kind of sedimentary layering and then erosion, a methodology which Lawrence describes as “almost geological”.

“Over the months and years, the pieces would go through massive moments of expansion and compression.” Lawrence comments. “Sometimes they’d crack wide open and something else would erupt through. I’m not always in control, and that’s what keeps me seeking in these sound worlds.”

He continues, “The players on this record are absolutely critical. In some moments, their performances were a catalyst for how a piece might evolve. In other moments, their contributions opened more subtle qualities and suggested new ways the pieces might breath. I am in awe of how people like Chris Abrahams, Madeleine Cocolas or Norman Westberg can add so much to this record through their given instruments.”

Taking in the record as a whole, the music evolves like a storm cloud – at times, it’s heavy like a downpour; sometimes lightning strikes, and sometimes there is a beam of sunlight when the storm passes. The album provides an environment in which to be consumed, one which invites us to find our own path or narrative through it.

A note from Lawrence English:

Nostalgia is not an ideology, though in this moment, we could be mistaken for thinking it might be just that. Over the past years, the idea of nostalgia has been filtered through various political and technological lenses and has become a tool used for forgetting, rather than remembering. Instead of embracing histories’ complexities and inconsistencies, this version of nostalgia seeks only singular recollection. This contemporary phenomenon of nostalgia has become a methodology at best, and a weapon at worst, used to erode the past and project forward a collapsed and unimaginably sanitised version of things, places, and ways of being from former times. It’s this projection that sees it playing a mounting role in a social pathology associated with reducing the imagined possibilities of future.

The Rest Is My Ghost is a record that interrogates the manifestations of this reductive futuring and celebrates those that have tried (and failed), and those who continue to push back against decayed and revisionist positions. It’s a record that considers the weaponisation of nostalgia for the purposes of cloaking possible futures.

In recent times, I’ve proposed a term for this weaponised use of nostalgia, something I have called Acid Nostalgia. I offer it as a shorthand to describe the de-contouring of the future through a corrosive fixation on a flatten rendering of the preceding times. It is, in part, a certain type of lazy cultural scripting where tropes of the past are presented in the absolute, as empty pictorials; photocopies without any original from which to draw actual meaning, or useful detail. Acid Nostalgia describes an increasingly common political projection of nostalgia that exists without any subjective connection to the memory surrounding and contained within it. Like acid poured onto a surface, this use of nostalgia seeks to erodes and smooth out the complexity and texture of lived connection and longing, which has until recently guided contemplations of nostalgia.

Acid Nostalgia instead erases the texture of histories and de-contours the past, and in doing so dematerialises the horizon of possibility, which by its very nature marks the beginning point for any (and all) imaginable futures. Acid Nostalgia is a dreamless screen, where uncertainty, restlessness and aspiration are subjected to corrosion, breaking down and neutralising the wellspring of futures which are birthed from within the ambiguously charged, complex and at times chaotic atmospheres of the present.

The Rest Is My Ghost is not however some universal reading of these things and happenings. Rather it draws its breath from a very personal pathway carved through my own fraught experiences of nostalgia and framed through a disparate collage of chance encounters, situations, places and provocations. It takes oblique notes from civic and architectural references such as Japan’s Metabolist movement, Hong Kong’s ‘one line sky’ and Los Angeles’s vanished Sodium Vapour lights. It interpolates texts – factual and fictional – by authors such as Franco Berardi, Kate Crawford, JG Ballard, Katsuhiro Otomo, Mark Fisher and Alexei Yurchak who have each so wonderfully sought to rupture the familiarity of now, and push us towards other ways of imaging ourselves, our surroundings and our very ways of being in this world.

I also owe a debt of thanks to Adam Curtis in helping launch what has become this edition. It was his provocation, in a conversation we shared about an overwhelming and profound sense of uncertainty around being able to predict the immediate future and how to respond to that, which sparked the earliest inklings of this edition.

The Rest Is My Ghost is ultimately a record about the promise of constructions and connections to come, material, social and political. It’s a record that accepts the fragility of failure as a source of ultimate potential, and a position from which the deepest freedom of imagination might be sought and summoned forth to conjure even the most unimaginable, (but) possible futures.

Published post no.2,880 – Thursday 7 May 2026

News – the 25th Oxford International Song Festival ‘Love Songs’, 9-24 October 2026

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from the press release. Picture of Benjamin Appl (c) David Murano

The Oxford International Song Festival marks its 25th anniversary with a thrilling and wide-ranging programme centred on the theme of love. Spanning 59 events, the Festival explores love in its myriad forms – its joys, complexities, and heartbreaks expressed in music and poetry, and its creative force in the lives of composers and poets. Alongside headline recitals by world-leading artists, audiences can enjoy lunchtime, rush-hour and late-night concerts, as well as study events. The programme is further enriched by choral music, dance, chamber works and discussions.

The Festival opens on 9 October with a recital by Dame Sarah Connolly, also marking the Festival’s first event at the newly opened Schwarzman Centre. Baritone Matthias Goerne makes his Festival debut on 10 October with a performance of Schubert’s Winterreise at the Olivier Hall. Other featured singers include Carolyn Sampson, Benjamin Appl, Katie Bray, Roderick Williams, Alice Coote, Katharina Ruckgaber, Johannes Kammler, Camilla Tilling, Sarah Maria Sun, Anna Prohaska and Christoph Prégardien. They are joined by pianists including Joseph Middleton, Tamara Stefanovich, James Baillieu and Pauliina Tukiainen, among many others, including the Festival’s Artistic Director, Sholto Kynoch.

The programme includes several world premieres: Nardus Williams performs Marriage of…?, a new work by Associate Composer Emily Hazrati and librettist Nazli Tabatabai-Khatambahksh; Katy Thomson and Rustam Khanmurzin premiere a new work by John Webb, exploring the corrupting nature of power; and Anna Dennis and John Reid present The Silent Songs of Josefine, a bold new Kafka-inspired work by Can Bilir.

The Festival’s central weekend (17–18 October) is devoted to the music of Franz Schubert, with Graham Johnson continuing his landmark exploration of the composer’s final years, 200 years on. Other highlights of the weekend include Camilla Tilling returning to perform Schubert’s Rückert settings and Helen Charlston (below) performing Die Schöne Müllerin, both with Sholto Kynoch; and Sarah Maria Sun performing Der Hirt auf dem Felsen with pianist Jan Philip Schulze and clarinettist Julian Bliss.

On Wednesday 21 October, the New Generation Day showcases three concerts in partnership with the BBC Radio 3 New Generation Artists scheme, all recorded for future broadcast. Performers include baritone Andrew Hamilton and pianist Michael Pandya; soprano Erika Baikoff with Sholto Kynoch; and Konstantin Krimmel with Ammiel Bushakevitz, presenting a programme that includes Vaughan Williams’ Songs of Travel.

Louise Alder and Joseph Middleton explore the passing of the year in a programme featuring Helen Grime’s Seasons, written for them in 2025. Alice Coote and Julius Drake present an imaginative recital blending repertoire from David Bowie to Mozart. Renowned pianist Dame Imogen Cooper performs Hugo Wolf’s Italienisches Liederbuch as part of her final concert season before retirement. Juliane Banse returns with pianist Alexander Krichel, dancer István Simon and choreographer Andreas Heise for a danced performance of Mozart songs and piano music.

Instrumental highlights include appearances by the Carducci String Quartet, performing the Mozart Quintet with Julian Bliss and Alec Roth’s Seven Elements with James Gilchrist, guitarists Bryan Brenner and Václav Fuksa, and accordionist Murray Grainger. Eight Oxford Song Young Artist duos each give short showcase slots at the start of headline evening recitals in the first week of the Festival. In the second week, they immerse themselves in the residential Mastercourse, led by Jan Philip Schulze, with daily public masterclasses.

With thousands of tickets priced under £20, discounts for multiple bookings, and £10 tickets available for under-35s, the Festival remains accessible to the widest possible audience.

Each autumn, audiences from around the world are drawn to Oxford for the Festival’s outstanding artistic quality and the city’s unique atmosphere. Performances take place in a range of venues, including the historic Holywell Music Room – Europe’s oldest purpose-built concert hall – as well as the Levine Building, the Olivier Hall, Garsington Studios at the Wormsley Estate and, for the first time, spaces within the Schwarzman Centre.

Public booking opens on Wednesday 20 May. Tickets can be booked online at oxfordsong.org or via the Box Office on 01865 591276 (Monday to Friday, 11am–1pm).

Published post no.2,878 – Tuesday 5 May 2026

New Music – Boards of Canada – Inferno (Warp Records)

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by Ben Hogwood

The rumours are true – after a protracted absence, celebrated electronic Scottish duo Boards of Canada are returning to the long player game with Inferno, to be released by Warp Records on 29 May 2026. Their first album since Tomorrow’s Harvest in 2013, Inferno has 18 tracks and lasts 70 minutes

The album announcement was prefaced by new music from the duo, Tape 05 appearing online last week – and set to take its place in the album as the fifth track, entitled Father and Son. If you haven’t heard it yet, you can listen here:

The album release is typically shrouded in mystery and creativity, though Tape 05 is an extremely promising teaser ahead of D-day.

Published post no.2,867 – Thursday 23 April 2026