Barbican, LondonThe British composer’s ‘i have discovered the secret of death’ was beguiling and compelling, the centrepiece of a programme that saw Pappano and the London Symphony Orchestra firing on all cylindersStage resets between musical works are a standard feature of orchestral concerts: pianos are moved around, additional players file on or off. But I’ve never before seen a tea kettle brought on and placed ceremoniously at the front of the stage, as occurred ahead of the world premiere of Hannah Kendall’s LSO commission I have discovered the secret of death. But then Kendall’s music is vibrantly unconventional, often incorporating noise-makers from beyond classical music’s usual lineup.Her latest work was exceptionally engaging, the beguiling textures of its opening – scratches and whistles, jingles and nervous twitches of piano tremolo – periodically interrupted by violent slam-dunks of timpani, double bass pizzicato, low brass. Later there were music boxes (a hallmark of Kendall’s scoring) and the narrow whine of woodwind reeds detached from instruments. Continue reading...