Bartók & Folk:Complete works for male choir, interspersed with folk music Saint Ephraim Male Choir/Tamás Bubnó, Balázs Szokolay Dongó (flute, bagpipe, tárogató), Márk Bubnó (gardon) (BMC)

Last and most imposing of Bruckner’s completed symphonies, the Eighth invites and frequently receives architectural comparisons. Such talk of pillars and cathedrals could only be wide of the mark in the wake of this unconventional, beautifully prepared and deeply humane performance by the London Symphony Orchestra and their principal conductor designate, Sir Simon Rattle.

“The rests, the silences in Bach are never for nothing,” I once heard the Dutch cellist and baroque specialist Anner Bylsma telling a student in a masterclass. “You jump up from them, you reach higher.” Hearing the Bach Collegium Japan on Sunday night kept bringing those phrases to mind, because the listener in the acoustic of Saffron Hall really does get to hear this music, so delicately played, emerging again and again from silence. 

This second concert in the Barbican residency of Masaaki Suzuki and the Bach Collegium Japan transported us across the water from the concert hall to St Giles Cripplegate, and from the greatest of masses to organ masterpieces and, among motets, a work of which Mozart allegedly said, "at last, something to learn from". All that cascading counterpoint in Singet dem Herrn in a bright church acoustic ideally suited to this music told us why.

“Bon soir, good evening! Nice to see you! To see you...” Four years after bidding an emotional farewell to the Usher Hall, the Gallic charmer is back, maybe slightly stouter, with a tinge of grey in a new beard, the great mop of curly red hair as unruly as ever. And that accent! As the anecdotes flow, stout middle-aged Edinburgers swoon as they imagine themselves drinking pastis on the Boulevard St Germain in the spring sunshine.

On the panel to judge a competition between 14 Dutch school orchestras in Amsterdam's Concertgebouw last month, I couldn't resist using my speech to compare their state-school provenance with our own divisive musical education. I was thinking of two figures I'd been given – that when the National Youth Orchestra of Great Britain started, only five per cent of its young musicians were from private and public schools, whereas now it was 85 per cent.

Masaaki Suzuki’s reputation precedes him. His recordings of Bach’s choral works with Bach Collegium Japan, the group he founded in 1990, have been arguably the finest of recent decades. But visits to the West, and especially to London, are rare, so this evening’s concert offered a valuable opportunity to find out what the dynamics are within the ensemble, and how they achieve such impressive results on disc.

Elgar & Walton Cello Concertos Steven Isserlis (cello), Philharmonia Orchestra/Paavo Järvi (Hyperion)

Who wouldn't wish to have been a fly on the wall during those pre-recording days when composers and their friends played piano-duet arrangements of the great orchestral works? Any notion that we don't need such reductions anymore was swept aside by Antoine Françoise and Robin Green in the fourth concert of an untrumpeted but brilliantly conceived piano-duo series matching transcriptions of 20th-century Viennese masterworks with Mozart and/or Schubert and five world premieres.

The B Minor Mass comes in many shapes and sizes. Martin Feinstein opts for a bright and bijou approach, with period instruments, one to a part, and a choir of ten. The small ensemble sometimes lacks finesse, but makes up for it in dynamism, passion, and sheer joy. There was nothing chamber-scaled about this reading: it was all big gestures and direct emotions.