BBCSO Oramo Gillam Kanneh-Mason Goldscheider Review: Simcock Triple 2026

The Simcock triple concerto, performed by the BBC Symphony Orchestra under Oramo with soloists Gillam, Kanneh-Mason, and Goldscheider, bursts with musical interest, blending jazz and classical idioms in a vibrant showcase. This review explores the highlights and challenges of this ambitious new work.

Overview of the Concert and Commission

The BBC Young Musician competition has launched many stellar careers, and the 2016 finalists—cellist Sheku Kanneh-Mason, saxophonist Jess Gillam, and horn player Ben Goldscheider—have all achieved significant success. To mark the 10th anniversary of that remarkable year, the BBC commissioned a triple concerto for these three soloists from composer Gwilym Simcock, an eclectic artist known for bridging jazz and classical worlds.

The result was a work stretched to bursting with musical ideas, though not without its challenges. At its best, the concerto was a riot of primary colors, with vibraphone, harp, and orchestral piano—played by Simcock himself—adding spice to the mix. The outer movements grooved, the first with a minimalist nod to Steve Reich, the finale channeling a Scottish reel.

Musical Highlights and Soloist Performances

The serene central movement, marked “Mesto” (meaning mournful or melancholy), served as a keening lament for Simcock’s father, who passed away during the work’s composition. This emotional core anchored the piece, providing a poignant contrast to the energetic outer sections.

All three soloists delivered exemplary performances. Gillam’s sassy licks on soprano saxophone, Kanneh-Mason’s mellow cello ruminations, and Goldscheider’s warm horn playing each brought distinct character to the concerto. However, the busy, heavily scored orchestrations often overwhelmed both cello and horn, leaving Gillam to ride the swells—which she did with aplomb, though at times it seemed the work was written primarily for her.

Critical Analysis and Reception

While the concerto showcased Simcock’s eclectic creativity, the orchestration balance proved problematic. The dense textures occasionally masked the soloists, diminishing the intended dialogue between solo and ensemble. Nevertheless, the audience responded warmly, appreciating the work’s ambition and the soloists’ virtuosity.

Comparing this premiere to other recent triple concertos, Simcock’s stands out for its stylistic fusion and emotional depth, but it may benefit from revised orchestration in future performances.

Key Takeaways

• The Simcock triple concerto is a bold fusion of jazz and classical elements, premiered by three BBC Young Musician finalists.
• Sheku Kanneh-Mason, Jess Gillam, and Ben Goldscheider each brought technical brilliance and expressive depth to their roles.
• The central “Mesto” movement is a touching tribute to the composer’s late father, adding personal resonance.
• Heavy orchestration sometimes overshadowed the cello and horn, but Gillam’s saxophone soared above the ensemble.
• The work signals Simcock’s growing prominence as a composer capable of bridging genres.

Comparison of Soloist Roles in the Concerto

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