Light in darkness (the title both of the first disc and of Evelyn Glennie's own composition included in the programme) is certain to be in the offing for even an experienced listener who has learned, perhaps the hard way, to be afraid of per- cussion solos. For here the percussion is primarily of the tuned variety: in particular the marimba.
The marimba can make a seductive sound, with the right music, and in the hands of the right players. In the recording actually bearing the Light in darkness title the music is very right, and so are its players: especially so is the principal soloist, Glennie herself, who was clearly born to play the marimba. In incomparable style, and with incomparable skill, she explores a repertoire influenced by the indigenous music of South America, of Japan, of Sicily, of Madagascar; and of our own island where Glennie herself (born in Scotland) is concerned. The enchanting music must be heard: it will be found outside the normal listening experience of many very experienced listeners indeed.
This cannot of course be said of the music of the second record entitled ''Dancin'''. Richard Rodgers's Slaughter on 10th Avenue, a Clog Dance by Herold; Polkas (including, astonishingly, the Blue Danube!) by Strauss; the Swan by Saint-Saens; a Ginger-and-Fred medley: none of these make news, none are disagreeable in themselves, and neither are the other seven numbers. But the soloist's style does not adapt fully; and the arrangements by Gordon Langford are far from shown at their best by an absurd amplification of the string bass in recording. Perhaps an exception is Taps in Tempo, where Glennie plays (faultlessly, of course!) something like a caricature of all those sea-side pier xylophone solos which enchanted earlier generations!
I do not think they would enchant either the old or the young today. But I do think that the first-listed disc, ''Light in darkness'', stands a very good chance of enchanting many of today's classical listeners. And I think, too, it presents quite simply the best, and most sensitive, marimba-playing ever accomplished by human hand.'