It is an explosive new element on the international music scene to have, as a soloist, an artist like Evelyn Glennie who has, in orchestral terms, brought to percussion what artists like Galway, Tuckwell, Menuhin and Rostropovich brought to woodwind and strings.

She has ventured, like Marco Polo, into unexplored terrain and has focused a totally unexpected emphasis on percussion as a solo voice on the world concert platform. In this she is revolutionary and she has been inspirational in encouraging young composers to write for her specialist skills.

Groves describes the marimba as `a curious instrument in use in southern parts of Mexico'. This definition gives no indication of the power of the marimba in the hands of Miss Glennie. In Concerto for Marimba by James Basta and in the brilliant Concertino for Marimba by Paul Creston we were made fully aware of the tremendous range of dynamics and the exacting technique which can make the instrument as powerful in concert as many of its more traditional counterparts.

Not only is Miss Glennie an exciting performer but she has a warm and communicative personality and her introductions and comments before and after her selections were helpful and at times very amusing. As a Scot, she has a droll sense of humour! Although she emphasised that she was unable to bring her entire range of instruments, she did manage to play a wide selection ranging from the snare drum to four flower pots in To the Earth by Frederic Rzeuski. In the latter she recited the pseuo-Homeric hymn To the Earth Mother of All, her voice well modulated and effective.

Miss Glennie's accompanist Philip Smith provided a splendid support system.

The piano's percussive qualities lend themselves well to the medium and at times both musicians changed places -- Miss Glennie is also an accomplished pianist.

If I have any adverse criticism of the evening it is one which cannot be avoided and that is the dominance of twentieth century music. Many concert goers are attuned to an expectation of contrasting styles, Baroque, Classical and Romantic. Since most of Miss Glennie's works are newly commissioned we were destined for an evening of brilliant rhythmic virtuosity and elusive melodic interest.

Why some late 20th century composers think it beneath their dignity to write a recognisable tune is quite beyond me. It was with considerable relief that the programme ended with The Flight of the Bumble Bee. More such adaptations would have been welcome. Nevertheless, this was an evening of superb musicianship and outstanding virtuosity much enjoyed by the capacity audience.

MARJORIE PETTIT EVELYN GLENNIE -- The first percussionist to give a solo recital at the BBC Proms.