The Turkish military is seeking two "physically perfect" women under the age of 25, both of whom must be "firm", "robust" and "flawless" in every respect, according to the Turkish daily newspaper Vatan.

Appearing late at night and least where you’d expect it, the Night Shift division of the Orchestra of the Age of Enlightenment has been making waves ever since its creation six years ago.

This serious, simple production of Handel's opera is strong on storytelling and character, but suffers from musical hiccups

Mikhail Simonyan was born in Russia, of Russian/Armenian extraction, but has lived in America for several years – hence the Two Souls reflected in these performances of violin concertos by Khachaturian and Barber. Recorded with the LSO under Kristjan Järvi, Simonyan's intention was to bring out the qualities that embody the cultural roots of each composer: thus, he commissioned a new cadenza for Khachaturian's concerto by Artur Avanesov, to emphasise the Armenian flavour, and treated the dashing final movement of Barber's concerto in a looser manner than usual, suggestive of rustic American fiddling. The first movement of the Khachaturian is especially impressive.

Emerging musicians get a welcome platform, but please change the record

Lanterns on the Lake's first album, released earlier this year, was called Gracious Tide, Take Me Home.

It was almost as if the London Symphony Orchestra had enjoyed advance notice of Antonio Pappano’s well-deserved Knighthood in the New Year’s Honours list.

In 2004 Susan Tomes published a memoir entitled ‘Beyond the Notes’.

A composition – ‘putting together’ – can be paint on paper, or notes in a piece of music.

In a small town "somewhere between Brussels and Bruges" a trapeze artist disguised as a laundry worker has been murdered. So opens Hattie Naylor's new musical, The French Detective and the Blue Dog, at Theatre Royal Bath's children's theatre, the egg. But this is a production that could have done with a bit longer in the incubator.

Ever since his elaboration of a tramp’s rendition of ‘Jesus’ Blood Never Failed Me Yet’, Gavin Bryars has been a master of the re-use of what one might call ‘musiques trouvees’, sometimes ranging as far as Japanese gagaku.

The most memorable albums of the year, plus the top DVD releases

Music whose shock-value is an integral part of its power should not be heard too often, and when it’s plundered and parodied like Beethoven’s Ninth, this holds particularly true: three times a year is enough.

Another intriguing selection from Milan's Music Festivals, this programme pairs a solo violin work by György Kurtág with a dramatic song-cycle by Salvatore Sciarrino.