Love him or loathe him, Philip Glass’s impact is non-negotiable, permeating our modern soundscape at every turn. The BBC honoured his 80th birthday by devoting the entirety of Radio 3’s overnight on Saturday output to his music, and with a Total Immersion Day at the Barbican, culminating in the UK premiere of his 2014 Double Concerto for Two Pianos and Orchestra, played by Katia and Marielle Labèque (for whom it was written) with BBC Symphony Orchestra.

Early Glass, with its addictively mesmeric repetitions and enticing harmonic shifts, nailed a sure-fire formula for success: music at once in constant flux and in stasis. As time has gone on, his use of an increasingly conventional and romantic musical vocabulary leaves a sense of very flabby progress towards a would-be meaningful end-point. For this concerto, old tropes were trotted out (initially attractive rocking figures which build to a break) and the contribution from an enlarged percussion section seemed strangely limited to a kind of oompah.