Lento is Howard Skempton’s most successful work, a study in consonance and restrained orchestration. Although it could be uncharitably described as Vaughan Williams without the quavers, it does have a warmth which makes it loveable. Not to the person sitting in front of me, who was disgusted by what she seemed to regard as Skempton’s weakness in writing a piece which has become so successful. ‘I guess he did it for the royalties, and good luck to him’ is definitely unfair, let alone uncharitable, as it is difficult to imagine a less cynical composer. Lento does what most Skempton pieces do, and had the good fortune to hit box-office gold. No sour grapes required.

I do like it when the highlight is saved until last, as it was here. John Tilbury was the soloist in Morton Feldman’s Piano and Orchestra. As always with Feldman, very little happens, and it happens slowly. But what does happen has enough to maintain the listener’s interest, unpredictable and yet reassuringly right, monumental yet humble, and engrossing from moment to moment in a way the Cardew just wasn’t. John Tilbury’s sound was radiant and in subtle balance with the orchestra and, however late the hour, for a few minutes time slowed down, and everyone in the hall slowed down with it.

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