Ninfea Cruttwell-Reade

Session Two from Nico Muhly's A Scream and an Outrage weekend at the Barbican saw Muhly joined by the Bang on a Can All-Stars, Trio Mediaeval, and tenor Allan Clayton. The music, by Muhly, Julia Woolfe and Terry Riley, formed a comfortable programme suggesting a sense of community.

The first in a double-bill of concerts ending LSO Futures Week, François-Xavier Roth conducted London Symphony Orchestra players in several 20th- and 21st-century chamber works, ranging ifrom Stravinsky to Jason Yarde.

Part of a series of concerts at the beautiful Charlton House in Greenwich, this concert presented pieces by all of the composers known collectively as Les Six, who were active in France in the 1920s.

The Rest is Noise continued this weekend, with Barbara Hannigan again turning in an impressive performance in early 20th-century repertoire – this time with the London Sinfonietta, for works by Stravinsky and Erik Satie. Also featuring a script from Timberlake Wertenbaker.

Four string quartets from the Royal College of Music presented this installment in the Philharmonia Orchestra's Woven Words series celebrating the centenary of Witold Lutosławski's birth. The Park Quartet's performance of Lutosławski's quartet was a highlight.

Billed as "The soundtrack of the 20th century", The Rest is Noise season has mostly focused on the Second Viennese School and its infamous break with western tonality. However, Thursday's concert at the Queen Elizabeth Hall offered a refreshing take on the narrative we are apparently so well acquainted with. 

Gérard Grisey's Quatre chants pour franchir le seuil and Gustav Mahler's Fifth Symphony were brought together by the on-form London Philharmonic Orchestra and chief conductor Vladimir Jurowski. This was a world-class performance full of imagination and experimentation.

A selection of works for violin and piano written by Oliver Knussen, who is celebrating his 60th year, were presented at the Guildhall School of Music and Drama this Sunday by violinist Alexandra Wood and pianists Ryan Wigglesworth and Huw Watkins. These sophisticated works proved bright and colourful.

Part of the Smith Square Autumn Festival, this performance of Elgar's oratorio The Dream of Gerontius was performed by a mixture of invited professionals, music college students, and an all-inclusive "Come and Sing" Choir, all conducted by Adrian Partington. It suffered from a few common ailments but made for a compelling rendition.

The effervescent ensemble notes inégales, directed by Peter Wiegold, presented a programme of improvisational works that responded to computer-generated scores on a large screen. This was a highly challenging and thought-provoking concert programme that at times succeeded in liberating musical forms from their conventional strictures.