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The world premiere of Gabriel Jackson’s ambitious but inert The World Imagined and a complacent Enigma Variations are outclassed by Samuel Coleridge-Taylor’s gorgeous Solemn Prelude at Worcester Cathedral.

The Sixteen's 40th anniversary choral pilgrimage mixes Tudor music from the treasure trove of the Eton Choirbook with music that hadn't been written when the group were founded, including a striking new work by James MacMillan.

A concert built on the work of composers from Britain, Finland and Latvia formed a rewarding programme of choral, vocal and orchestral music with several gems. 

Love and Passion provide a vibrant theme for an enterprising choral concert given by the Choir of Royal Holloway. 

The most exciting of the works presented by Quatuor Tana was the première of Yann Robin's Second Quartet, Crescent Scratches. As explained by Robin, the quartet is founded on the idea of pulsating glissandi and 'scratching' as used on a DJ turntable.

A world première of Gabriel Jackson's The Passion of our Lord Jesus Christ proved an exciting event for those one hundred or so people who made the effort last Friday evening to attend the opening concert of the fifth Merton College Passiontide Festival.

The Orlando Consort demonstrate with intelligence, wit and style, why they think Guillaume du Machaut and Guillaume Dufay rank among the greatest composers in western music.

On Saturday at St James’s Church, the Nonsuch Singers presented a captivating programme titled “To the Field of Stars”. It was a compelling mix of recent and old music, predominantly works by living composers and composers from the 16th century. It culminated in the première of Gabriel Jackson’s newly commissioned work To the Field of Stars.

It could be argued that the success of contemporary music at the Presteigne Festival is due to its promotion of composers who draw on traditional forms and tonal harmony. Perhaps, but the world of contemporary music has moved on from what some nostalgically describe as the heroic avant-garde of the 1960s and 70s.

Benjamin Britten was very precise about what constituted the official canon of his works, but, in addition to his stipulated 95 opus numbers, he composed a huge amount of occasional music.

To those who grew up with Michael Tippett’s music and lived through the later premières, the neglect into which he has fallen and the ill-disguised contempt of many is both puzzling and distressing. The same fate befell both Sibelius and Vaughan Williams in the years following their deaths and now, fifteen years on, there is perhaps just a faint glimmer of a Tippett reappraisal on the horizon.

The first piece at this afternoon concert, in the beautifully restored Clothworkers Centenary Concert Hall in the School of Music at Leeds University, dated from 2004: the song-cycle In Praise of Dreams, four poems by the Nobel prize-winning Wisława Szymborska translated from the Polish by Stanislaw Baranczak and Clare Cavanagh, composed by Birmingham-based Joe Cutler.