Voices John Tavener at Bridgewater Hall as part of Manchester International Festival

More establishment than experimental, classifying the late composer is no easy task

My Week: Rodrigo Guerrero

London has gone crazy for Venezuela's Simón Bolívar Youth Orchestra – and its development officer has been at the centre of the action

The Sixteen / Harry Christophers, Queen Elizabeth Hall, London

Harry Christophers has put together a programme of Purcell and James Macmillan for the 30th anniversary Choral Pilgrimage around Britain of his justly celebrated chamber choir The Sixteen. And although the dryish Queen Elizabeth Hall is hardly flattering to choral textures, such was the focus and intensity of their approach that the music suffered surprisingly little. Whether the programme worked as a whole was another matter.

Album: Moondog, More Moondog (Honest Jons)

The blind street-musician Moondog was a gentle soul whose strange musical creations were admired by artists as diverse as Stravinsky, Steve Reich and Charlie Parker.

Blacher/LPO/Jurowski, Royal Festival Hall, London

This was thrill-ing: a daring, yet meaningful juxtaposition of four highly contrasted 20th-century showpieces, vividly directed by one of the most inspirational young conductors, and delivered by a London Philharmonic Orchestra at the top of its form to an audience that hung on its every note.

Anthony Marwood/Thomas Ades, Kings Place, London

After the Russian Revolution in 1917 cut him off from homeland and income, Igor Stravinsky went on the road as conductor and pianist to support his family. But from this came a partnership with the violinist Samuel Dushkin for whom Stravinsky composed his Duo Concertante (1932) and made a programme of violin and piano transcriptions from his stage and orchestral scores.

LPO/Jurowski, Royal Festival Hall, London

Tchaikovsky the melodist has consistently upstaged Tchaikovsky the craftsman; immensely popular he may be, but immensely misunderstood and underrated, too.

Prom 68: LPO / Jurowski, Royal Albert Hall, London

Something wicked this way comes - twice. "Old rattlebones" Kashchey - Russian folklore's favourite baddie - got two shots at immortality in Vladimir Jurowski's London Philharmonic Prom.

Prom 57: New York Philharmonic/Maazel, Royal Albert Hall, London

The Rite of Spring came later, but the New York Philharmonic bowed in with something beginning a little like the rite of summer. Steven Stucky's Rhapsodies for Orchestra began with an "awakening" not unlike the Stravinsky. Rhapsodising woodwind (solo flute, not bassoon, leading this time) proliferated; brass and strings followed suit. The principle was essentially that of a dawn chorus, growing in energy and intensity and ecstasy, as if the song of one player were inspiring the next and then the next until the whole community really did have something to sing about.

Preview: Prom 48: Gürzenich Orchestra/Stenz, Royal Albert Hall, London

When history repeats past musical glory

The Proms: Top ten concerts

Kristjan Järvi: Noises Off

Classical performers need to stop being stuffy and get in the groove

Stravinsky: The Real Deal, Hippodrome, Birmingham

Birmingham Royal Ballet's Stravinsky programmes – from last year's sensational Balanchine evening to a triumphant Firebird – have been something to celebrate.

The Rake's Progress, Royal Opera House, London

When the curtain rises on The Rake's Progress at Covent Garden today, there will be no whiff of 18th-century London low-life as seen in the Hogarth engravings on which this musical morality-tale is based. This Rake traverses the American Midwest in the Fifties, with oil-derricks pumping in the background, and he progresses towards his madhouse finale via raunchy scenes in a LA cabaret, and high jinks round a swimming pool.

Water music: The Lucerne Festival

The Lucerne Festival is the perfect showcase for the world's greatest musicians, conductors and soloists, as David Lister explains
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The slickness of Israel's spokesmen is rooted in directions set down by pollster Frank Luntz
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