Introduction

Enigmatic Elgar, early Britten, a thrilling new work – and some outstanding young talent. Britten’s Simple Symphony is surely one of his most popular works, its ‘Playful Pizzicato’ even turning up as the soundtrack to commercials. Its four movements are based on pieces Britten wrote as a precocious pre-teen, then reworked in his early twenties. Elgar’s Enigma Variations is also, possibly, his most popular work. Each variation of the theme depicts a friend of the composer’s, such as the famous ‘Nimrod’ movement - a portrait of ‘a long summer evening talk’ with August Jaeger. In between is Simcock’s new Triple Concerto, co-commission by the CBSO and composed for an exceptional trio of musicians, including CBSO Collaborative Artist Jess Gilliam on saxophone. Conductor Stephanie Childress makes her debut with the CBSO.

Programme notes

Simple Symphony

Benjamin Britten (1913-1976)

When Britten composed the Simple Symphony in early 1934 he was in something of a ‘between’ phase. He had left the Royal College of Music the previous year, was not quite 21 years old, and his ‘hanging out with WH Auden and writing film music’ phase was yet to come. He was for the most part living back at home in Lowestoft and attempting to make his way as a professional composer. The Simple Symphony was written partly to tap into the lucrative schools and amateur orchestra market; a relatively ‘simple’ piece would result in strong sales and regular performances. As if to prove the point, Britten premiered the piece with an amateur orchestra in Norwich in March 1934.

While at the family home in Lowestoft, Britten had rummaged through his extensive personal archive of juvenilia to find material for the symphony. He had been a prodigious and prolific child composer, writing several hundred pieces before he turned 18. Each movement of the Simple Symphony is based on two pieces from his early works, all of them written between the ages of 9 and 12. The resulting work is dedicated to Audrey Alston, a local musician who had taught him the viola as a child and who had introduced him to Frank Bridge, his first composition teacher, mentor, and ‘musical father’ (as Britten once put it). The Simple Symphony is, then, highly autobiographical.

The original sources of the movements are given on the published score, and reflect the musical interests Britten had as a child: principally, piano pieces and short songs. The first half of Boisterous Bourée is based on part of a 1925 piano Suite, with an elegant, baroque flavour; while the second half draws on a song with a simple, rolling melody. Playful Pizzicato, plucked throughout, also comes from a piano suite, with the rambunctious theme of the second half (somewhat resembling the theme tune to The Archers) taken from another song. The sophisticated counterpoint and variety in timbre were not, of course, found in the original pieces. The lengthy Sentimental Sarabande in particular is quite a departure: the melody is from Britten’s 1925 Suite No.3 in F# minor but the original marking had been ‘Allegro molto’, far from the richly elegiac quality of this movement. The Frolicsome Finale is exactly what it says on the tin: energetic, rhythmic, and ending with a playful ‘ta-da!’.

Triple Concerto

Gwilym Simcock (b. 1981)

Simcock was commissioned to write something ‘upbeat and energetic’: with this Triple Concerto he has delivered in spades. The opening flourish for full orchestra—an overlapping series of rising fanfares—sets the tone, and its momentum is taken up by the soloists, starting with the cello. The other solo lines are for soprano saxophone and French horn, and the work was first performed—as it is tonight—by three former finalists of Young Musicians of The Year: Jess Gillam, Ben Goldscheider, and Sheku Kanneh-Mason.

Simcock cites the influences of Celtic folk music (most keenly felt in the dancing finale) and the rhythmic discipline of Steve Reich, whose 90th birthday falls later this year. The work has, though, more sombre associations. The folk component was a gift to the composer’s parents, great fans of the genre, and who were to celebrate their golden wedding anniversary in 2026. While composing the second movement of the concerto, Simcock’s father died suddenly, and his mother was taken seriously ill. The concerto is dedicated to Alan Simcock, and the interrupted slow movement has – as the composer put it—‘a different reflective atmosphere to the others’.

There is, though, a similarly reflective quality in the latter stages of the otherwise ebullient opening movement. This atmosphere carries into the second, in which the soloists’ lines intertwine in a considerably more melancholy manner. The harmonic language becomes more angular, even anguished at times. Yet an improvisatory sounding piano solo responds empathetically to the soloists; indeed, there is much in the way of keyboard solos throughout (including a cadenza-like passage at point), surely a nod to Simcock’s formidable talent as a jazz pianist. The vigour and irrepressible spirits of the opening movement return in the finale, with its ‘Celtic’ rhythms, and intricate, overlapping instrumental lines. The soloists have their own ‘cadenza’ in the middle, a gentle passage where they converse and comment on each others’ phrases, sometimes meeting in rhythmic unity. The concerto ends with a shared, perhaps cathartic, flourish for the full ensemble.

Enigma Variations

Edward Elgar (1857-1934)

It is not surprising that this work, composed in 1899 is Elgar’s most famous and best-loved. The form of ‘variations’ is an attractive one in itself: the composer sets themself the task of reframing, interrogating, or dismantling a melody, while the listener gets to take part in the game by picking out traces of the original theme, and working out what the composer has done with it. In the case of Elgar’s ‘Enigma’ set, there is a warmly biographical element, each variation being dedicated to – and representing – a close friend of the composer’s. Furthermore, while composers often deploy themes written by others – Rachmaninoff’s Paganini set, for example, or Britten’s Variations on a Theme of Frank Bridge – Elgar composed his own. His wife Alice (the subject of the first variation) had heard Elgar noodling on the piano one evening, and remarked that she liked the tune he was playing. Elgar was apparently barely aware he was composing anything, but the tune - slightly hesitant, shifting between major and minor – turned out to be a potent one. Some have pointed out that its rhythm and emphasis fits perfectly to the name ‘Edward Elgar’, the composer perhaps unconsciously asserting himself during his keyboard meanderings.

The ‘Enigma’, however, is not this melody but another – and one which is not in fact heard in the piece. Elgar, who very much enjoyed a mystery, wrote ‘The Enigma I will not explain – its ‘dark saying’ must be left unguessed, …through and over the whole set another and larger theme ‘goes’, but is not played’. Another theme, in other words, is apparently implied in counterpoint to the main theme. Many have attempted to uncover this ‘other’ melody (suggestions have included Auld Lang Syne, Liszt’s Les Préludes, and even Twinkle, Twinkle, Little Star) but there appears to be no conclusive answer to this particular riddle.

The personnel of the work includes musician friends as well as a country squire (No.IV), an architect (VII) and the organist of Hereford Cathedral (XI), though that movement is more about the organist’s bulldog (including the unfortunate pet’s tumble into a river at the start). The final variation is a self-portrait, marked ‘E.D.U’, or ‘Edoo,’ Alice’s pet name for Elgar. The variations were written not only with friends in mind, but in the style they might have composed were they, as Elgar put it ‘asses enough to compose’. The lyrical No.I, for example, is about Elgar’s wife Alice, whose life was a ‘delicate and romantic’ inspiration. No.VII is dedicated to Troyte Griffith, an architect and amateur pianist, and has the unusual time signature of I/I – suggesting Griffith’s slightly hazy knowledge of music notation. The famous number IX, ‘Nimrod’, was written for August Jaeger, who worked for Elgar’s publisher; Jaeger was supportive of Elgar’s career, occasionally offering him bracing advice. This noble, sweeping variation was in part inspired by a conversation the two men had about Beethoven. Jaeger encouraged Elgar to write a more substantial final movement, which is a celebratory conclusion to this vivid and affectionate gathering of friends.

Programme notes by Lucy Walker.

Meet the CBSO

Violin I
John Mills
Zoe Coleman
Nathan Bomans*
Jane Wright*#
Mark Robinson#
Bethan Allmand*
Richard Thomas*
Colette Overdijk*#
Victoria Farrell-Reed*
Vera Beumer
Wendy Quirk
Adam Hill
Luke Coomber
Sophie Belinfante

Violin II
Jens Lynen
Moritz Pfister#
Amy Jones#
Gabriel Dyker*#
Bryony Morrison*#
Tam Mott
Yuriko Matsuda*
Gaia Ramsdell
Amy Littlewood
Imogen Brewer
Emily Chaplais
Ricardo Brown Roger

Viola
Chris Yates*#
Michael Jenkinson#
Sarah Malcolm*
Jessica Tickle*#
Amy Thomas*#
Isobel Doncaster*
Helen Roberts
Matt Johnstone
Catherine Howe
Mark Braithwaith

Cello
Aristide du Plessis
Kate Setterfield*#
Catherine Ardagh-Walter*#
Helen Edgar*#
Philippa Schofield
Harry Broom
Katy Whittle
Cameron Smith

Double Bass
Julian Atkinson*#
Jeremy Watt*#
Julian Walters*#
Daniel Vassallo*
Maitiú Gaffney
Ben Havinden-Williams

Flute
Marie-Christine Zupancic*#
Jemma Freestone

Piccolo
Japheth Law

Oboe
Hyun Jung Song*
Emmet Byrne*#

Cor Anglais
Rachael Pankhurst*#

Clarinets
Oliver Janes*#
Joanna Patton*#

Bass Clarinet
Mark O’Brien#

Bassoon
Nikolaj Henriques*#
Tony Liu

Contrabassoon
Margaret Cookhorn*#

Horn
Elspeth Dutch*#
Neil Shewan
Mark Phillips*#
Casey Rippon
Martin Wright#

Trumpet
Tom Watts
Gideon Brooks
Emily Ashby

Trombone
Richard Watkin#
Andy Cole

Bass Trombone
David Vines*#

Tuba
Anders Swane

Timpani
Matthew Hardy*#

Percussion
Andrew Herbert#
Toby Kearney*#

Harp
Katherine Thomas*#

Organ/Celeste
Julian Wilkins

# Recipient of the CBSO Long Service Award / * Supported player

Biographies

Stephanie Childress, Conductor

Franco-British conductor Stephanie Childress is equally at home in opera and on the concert platform. Childress has received much critical acclaim for her interpretations of Mozart’s operas following performances of Don Giovanni and Le Nozze de Figaro at Glyndebourne. She makes her debut at the Opéra de Paris in Spring 2027 conducting a new production of Don Giovanni and at the Deutsche Oper Berlin in December 2026 with a revival of Die Entführung aus dem Serail. Passionate about platforming contemporary composers, this season she premieres Mary Kouyoumdjian’s ‘Keep Your Eyes Open’ with the Tampere Philharmonic, followed by performances with the Milwaukee Symphony, Naples Philharmonic and at the Caramoor Summer Festival. She reunites with genre-defying trio Time For Three for Jennifer Higdon’s Concerto 4-3 and conducts Gwilym Simcock’s new triple concerto for soprano saxophone, horn and cello. Further highlights include returns to the MDR Leipzig, the Konzerthausorchester Berlin, NAC Orchestra Ottawa, and the Cleveland Orchestra, New World and Utah Symphonies. She will also debut with the Royal Stockholm Philharmonic, Antwerp Symphony and Orchestre Métropolitain.

Jess Gillam, Saxophone

Jess Gillam is a celebrated saxophonist and presenter who has been invited to play on the world’s major stages since becoming the youngest ever soloist to perform at the Last Night of the Proms at the Royal Albert Hall, London. Equally at home behind the microphone, Jess’ award-winning weekly show, This Classical Life, on BBC Radio 3 is now in its eighth season. Jess is passionate about broadening the repertoire for the saxophone, especially in the classical sphere. Recent commissions include Glasslands by Anna Clyne and Dani Howard’s Saxophone Concerto. Jess held the position of Associate Artist of the Royal Albert Hall until 2025 and was an Artistic Partner of Manchester Camerata. An exclusive recording artist with Decca Classics, Jess is the first and only saxophonist to be signed to the major label and both her albums have reached No. 1 in the UK Classical Music Charts. In 2016, Jess Gillam made history after becoming the first saxophonist to reach the Finals of BBC Young Musician of the Year. She has been the recipient of a Classic BRIT Award, a The Times Breakthrough Award nominee and was awarded an MBE in the Queen’s Birthday Honours list 2021 for Services to Music.

COLLABORATIVE ARTIST 2026–28

Jess Gillam is a CBSO Collaborative Artist for our 2026-27 and 2027-28 Seasons. With her boundless energy, broadcasting work and education projects, we can’t wait to work with her across every part of our music-making. You can next see Jess perform at CBSO Christmas Party, Thursday 17 December 2026.

Sheku Kanneh-Mason, Cello

Cellist Sheku Kanneh-Mason’s mission is to make music accessible to all, whether that’s performing for children in a school hall, at an underground club, or in the world’s leading concert venues. Sheku continues to work with some of the most exciting orchestras and conductors; highlights of the 26/27 season include the Rotterdam Philharmonic, Danish National Symphony, Royal Concertgebouw Orchestra, Polish National Radio Symphony, Pittsburgh Symphony, Toronto Symphony, and Sinfonia of London. A Decca Classics recording artist, his 2020 album Elgar reached No. 8 in the overall Official UK Album Chart, making him the first ever cellist to reach the UK Top 10. He will release his ninth album on Decca Classics later in 2026. Sheku is a graduate of London’s Royal Academy of Music where he studied with Hannah Roberts. He was appointed as the Academy’s first Menuhin Visiting Professor of Performance Mentoring in May 2022, and as a Member of the Most Excellent Order of the British Empire (MBE) in the 2020 New Year’s Honours List. He plays a Matteo Goffriller cello from 1700 which is on indefinite loan to him.

Ben Goldscheider, Horn

Ben Goldscheider has premiered over 70 new works for horn, spanning concerti, solo, chamber, and cross-genre projects—most recently with artist Anish Kapoor as part of his exhibition at the Hayward Gallery. This season, he premieres Simcock’s Triple Concerto with Sheku Kanneh-Mason, Jess Gillam and BBC Symphony Orchestra at the Proms, followed by performances with the Sofia Philharmonic, City of Birmingham Symphony Orchestra and Antwerp Symphony Orchestra. He returns to BBC Symphony for the world premiere of Byström’s Horn Concerto No. 2 and debuts with BBC Philharmonic and the National Arts Centre Orchestra, Ottawa. Other highlights include performances of Clyne’s Sirens, written for Ben, with Zurich Chamber Orchestra and Arctic Chamber Orchestra. In October 2026, Ben will release his Pentatone debut album, featuring the four Mozart Horn Concerti with the Munich Chamber Orchestra. Ben is Principal Horn of the West-Eastern Divan Orchestra, a Principal Player of Camerata Pacifica and a member of the Boulez Ensemble. He holds a professorship at the Royal Conservatory, Antwerp and is an Honorary Fellow of the Royal Welsh College of Music & Drama.

Gwilym Simcock, Orchestral Piano

Pianist and composer Gwilym Simcock moves effortlessly between jazz and classical creating a sound that is very much his own working with orchestras, choirs, big bands, small ensembles and musicians across the spectrum of music. He was the first Artist in Residence with the NDR Big Band in Hamburg and has worked regularly with the LSO Percussion Ensemble recording “Quartet, Quintet”. His Mercury nominated 2011 solo album ‘Good Days at Schloss Elmau” on ACT was described as “a cause for huge celebration”. In 2019 ACT released a solo album “Near and Now” and recently a duo album ‘Big Visit’ with saxophonist Emma Rawicz. Gwilym co-leads Anglo-American Supergroup ‘The Impossible Gentlemen’ with guitarist Mike Walker recording three highly acclaimed albums on Basho Records. He toured the world for five years with US guitar legend Pat Metheny and recorded with him on “From This Place” on Nonesuch. He still tours with the Lighthouse Trio with saxophonist Tim Garland and percussionist Asaf Sirkis. Gwilym is Professor of Jazz Piano at his alma mater The Royal Academy of Music in London.