Simon Cummings is a composer, writer and researcher based in the Cotswolds. He composes instrumental and electronic music, exploring aspects of algorithmic composition, and has recently completed a Ph.D. in composition at the Birmingham Conservatoire under the supervision of Richard Causton and Howard Skempton. His musical tastes are ludicrously broad but are focused most on contemporary/avant-garde classical and electronic music. When not composing, he writes regularly about new music; Simon is the author of the contemporary music blog 5:4 (5against4.com), and regularly contributes articles for a variety of books, journals and websites. Follow him on Twitter @5against4.
Mirga Gražinytė-Tyla with the CBSO and mezzo Karen Cargill tease out the contrasting inner and outer emotional tension in music by Weinberg and Mahler.
For all its ambition, the première of Jesper Nordin’s Emerging from Currents and Waves at the Baltic Sea Festival consisted of little more than slick surfaces and displays of overload
Alisa Weilerstein delivered an amazingly raw performance of Shostakovich’s Second Cello Concerto, whereas Ilan Volkov and the CBSO’s renditions of Simon Holt and Brahms (reimagined by Schoenberg) proved alienating and overblown.
In anticipation of Dutch National Opera’s production in 2019, we talk to Stockhausen’s muse about the challenges and consequences of the composer’s week-long operatic cycle.
