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An excellent performance of Sir Harrison Birtwistle’s The Last Supper receiving its Scottish première, with Roderick Williams and Susan Bickley heading a luxury cast.

After the epic grandeur, sweep and immersive quality of Gesang der Jünglinge at this summer’s Proms, this performance as part of Southbank Centre’s The Rest is Noise festival had a lot to live up to. In many ways, however, this far less ostentatious outing overseen by Sound Intermedia got even closer to the work’s disturbing essence.

Anyone who worries for the health of contemporary composition obviously wasn’t at the Southbank Centre this Sunday, where the London Sinfonietta presented a whole afternoon and evening’s worth of new music in and around the Queen Elizabeth Hall.

Kings Place is my new favourite London arts venue. It is the venue of choice for several prominent ensembles, and it is easy to see why. Acoustically fantastic concert halls provide opportunities for all sorts of music in a formal concert setting, whilst the large open spaces allow for more relaxed performances, where the audience can buy drinks, sit down and listen (or not).

To judge by the continued chatter, no-one noticed 100 metronomes on stage being set in motion, signalling the beginning of György Ligeti’s Poème symphonique (1962). Even when the lights were dimmed it only dawned on people slowly that the concert had actually already begun.

During the first half of this London Sinfonietta concert, I scribbled the phrase 'Lightly anarchic streak' in my notes, referring to the formal daring and the conspicuous rock music influence evident in various pieces.

Do you remember when Steve Reich, “America’s greatest living composer”, came to your school concert and you performed his seminal work Clapping Music with the great man? No? Well, Joshua Kellie does. Joshua was one of the talented (and fortunate) St Paul’s School pupils chosen to perform in a concert in honour of the minimalist composer on his 75th birthday.