Robert Simpson's eleventh and final symphony, like his second and seventh symphonies, was composed for a classically sized orchestra. It comprises only two movements, thus bearing a certain resemblance to his String Quartet No. 12 from 1987. Despite its relatively short duration, the work is by no means a "divertimento," but rather demonstrates new expressive possibilities and unconventional directions within modern symphonic music.
Characteristic of the symphony is, above all, its chamber music-like character, which pervades the Andante as well as large sections of the final movement. Simpson aimed to imbue the orchestra with a brilliance reminiscent of Sibelius's Sixth Symphony. In the eleventh symphony, he achieved this with remarkable economy of means.
The first movement, an Andante, captivates with its polyphonic structure and radiates a gentle, serene tranquility. The music unfolds slowly, often with restrained accompaniment, culminating in a majestic unison C, marking the high point before the ethereal coda brings it to a close. The ensuing Allegro vivace is among the longest fast final movements since Mahler's Fifth Symphony. Here, Mendelssohn's influences meet Beethoven's energy. The movement builds to a combative climax and then dissolves into scattered fragments and an energetic final coda.
Before the premiere, Simpson gave a humorous introduction, pointing out the connection to the Seventh Symphony. The Variations on a Theme by Nielsen take Nielsen's original as their starting point and offer an entertaining harmonic interplay, even for those lacking prior theoretical knowledge. The variations develop in a multifaceted and powerful way, until the work finally concludes in C major.