This much-anticipated London concert took place in the recently reopened Queen Elizabeth Hall, coincidently the venue for its first ever live performance of ‘Tubular Bells’ by Mike Oldfield.

Opening with Hannah Peel's set, with its array of keyboards and synthesizers, her works were quite hypnotic at times, redolent with fascinating mixes of sounds.

Melding

Dressed in a futuristic silver and black outfit, Hannah was then joined by the ensemble; their sound gradually melding with the electronic tones.

In the absence of a printed programme, it would have been helpful to have a few more details of what the sections were depicting; some were announced, but not all, although there were some stunningly inventive visual images. 

After several impressive climaxes things faded to a close with sustained chords accompanying a 1928 recording of Hannah's grandfather singing 'Kirie Eleison'. The impact of the music is hard to put into words as you become immersed in a deeply personal experience.

Spirit

'Tubular Bells' was preceded by an explanation by Sandy Smith of the work's genesis and the background to the brass version, reworked from Mike Oldfield's CD revision and aimed at capturing the spirit of the original.

Both brass and percussion worked particularly hard in a score with precious few chances for a breather, whilst all sections had their moment in the limelight.

From the opening cornet ostinato and through the ensuing moods, everyone seemed at ease, with special plaudits to Rob Westacott and Kevin Crockford who mastered the demanding soprano cornet parts.

From the opening cornet ostinato and through the ensuing moods, everyone seemed at ease, with special plaudits to Rob Westacott and Kevin Crockford who mastered the demanding soprano cornet parts.

Hannah stepped up as narrator to acknowledge the various participants as the music developed, from a quotation of 'Joshua fit de battle of Jericho' to a lyrical 6/8 section and a Scotch snap passage oddly reminiscent of Malcolm Arnold. 

Just as things seemed to be rising to a climax there was a sudden lull as the flugel and horns took over, with Hannah returning to the stage to provide an improvised solo over the brass. The set ended with a version of the 'Sailor's Hornpipe' that just got faster and faster.

The near-capacity audience was very responsive, not least for the encore performance of David Bowie's 'Life on Mars'.

Peter Bale