Elgar’s Enigma Variations, CBSO, Symphony Hall | 30 September 2026. ⭐⭐⭐⭐ Review by Paul Gray & David Gray

Elgar’s Enigma Variations

CBSO, Symphony Hall | 30 September 2026.

⭐⭐⭐⭐ Review by Paul Gray & David Gray

“A well-played, varied and satisfyingly diverse programme of British music.”

Britten – Simple Symphony

Gwilym Simcock – Triple Concerto

Elgar – Enigma Variations

It is always good to hear a programme of music by British composers. For ‘Das Land ohne Musik,’ as German Critic Oscar Schmitz once dubbed us, we do not do so badly as it turns out.

Benjamin Britten famously said that he wanted his music to be ‘useful.’ His youthful Simple Symphony surely counts as such. This is a versatile piece that can be performed by full string orchestra or quartet. It is economical in its use of themes Britten composed during his childhood. It is also very approachable in its…well…simplicity.

Conductor, Stephanie Childress, and the CBSO strings delivered a fresh and vigorous performance, characterised by strong use of dynamics and diligence to detail. Britten suggests the mood he wants in the titles of each movement, and Childress used these are starting points rather than prescriptions.

Childress’s Bourree was rollicking rather than boisterous. And better for it! The pizzicato in the second movement was pleasingly precise and satisfyingly playful. A stately and heartfelt Saraband delivered genuine emotion rather than sentimentality. Attention to phrasing and to detail resulted in a boldly coloured Finale.

Problems of balance afflicted what was otherwise a bold and imaginative triple concerto from Welsh composer Gwilym Simcock. This was a work that successfully fuses diverse stylistic elements – contemporary jazz, Celtic folk, minimalism – that you do not often hear in combination. In the event it all works together very well indeed. However, the weight of orchestra colour too often overwhelms the soloists, particularly the ‘cello and horn. A shame.

Childress’ interpretation of Elgar’s Enigma Variations benefited from a surety of architecture that can sometimes be missing from readings of sets of variations. She caught the distinctive character of each movement, while never losing sight of the overarching shape of the piece. As a result, Nimrod landed perfectly and the orchestra played with exquisite control. While the final Allegro Presto arrived with a feel of release and catharsis.

The orchestra clearly enjoyed the ride, with lashings of character and colour from the woodwind. A vibrant and exciting programme curated to deliver variety while feeling satisfyingly complete.

Stephanie Childress – Conductor

Jess Gillam MBE – Saxophone

Sheku Kanneh-Mason MBE – Cello

Ben Goldscheider – Horn

Gwilym Simcock – Orchestra Piano