Serbia coach Sinisa Mihajlovic has banished Adem Ljajic from the international set-up after the forward failed to sing the national anthem before Saturday's defeat to Spain.

There's been increasing traffic between the folk and classical fields of late, though it's rare for a contemporary songwriter to be the focus, as in this "Elizabethan Tribute to Nick Drake".

With his wild hair and stubble, James Rhodes is the Russell Brand of the piano, though he could cut back on the swearing in his laddish but informative introductions highlighting Beethoven's “interiority”, Chopin's adolescent crushes etc.

It’s a welcome new trend that pianists should begin their recitals with a Haydn sonata. Still regarded in some quarters as the humble forerunner to Mozart, Haydn not only created the sonata form, but carried out experiments in it which still sound daring today.

One bar into this timely celebration of his work and the composer's identity could not be in doubt.

On first listen, there is nothing radical about the Schubert's performance here.

Philip Glass's gargantuan minimalist classic Einstein on the Beach – though he hates the term 'minimalist' – premiered in Avignon, and has taken 36 years to reach the London stage.

Sweet Billy Pilgrim's follow-up to 2009's Mercury-nominated Twice Born Men finds songwriter Tim Elsenburg making great strides forward with an ambitious cycle of songs about identity and history.

Given that Ann Widdecombe spent her prime promoting Victorian attitudes to abortion and homosexuality, you could argue she has some atoning to do, and her self-reinvention certainly makes a start.

The furtive opening bars of Mozart’s C minor Piano Concerto No. 24 were shrouded in a mellowness of tone that made them welcoming rather than darkly unsettling and as the well upholstered sound of the venerable Staatskapelle Berlin took hold we were cast back into an era of sound and style that was altogether “other”. And then - final confirmation - the piano entered.

This latest release from the Elias String Quartet pairs the last of Haydn's six String Quartets with the first of Schumann's, written as a deliberate shift of his priorities from piano to strings.

‘Some people say Vivaldi wrote the same concerto five hundred times,’ said Steven Devine before starting his harpsichord recital in the Purcell Room. ‘And if that’s the case, you’re in for a pretty boring morning.’