S tage 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.…