William Christie chose a suitably light and breezy programme for this warm summer evening’s concert at St. John’s Smith Square. The concert was titled “Bach goes to Paris”, with works chosen to highlight the connections between the German master and his French contemporaries. But, more significantly, they showcased Christie’s deep affinity with French Baroque music, and the vibrancy and passion he brings to this repertoire.

The Paris-based Ensemble InterContemporain brought a wide-ranging programme to the Wigmore Hall.

Tears were likely to flow freely on this most beautiful and terrible of June evenings, especially given a programme – dedicated by Vladimir Ashkenazy to the victims of the Grenfell Tower fire – already prone to the elegiac. It could hardly be otherwise with the music of Elgar and Sibelius, two Europeans with a penchant for introspection whose works Ashkenazy knows well.

Thomas Adès and the Britten Sinfonia here reached the most revolutionary works in their twin portrait season of Gerald Barry and Beethoven: Barry’s Chevaux-de-frise and Beethoven’s "Eroica". Adès, ever-keen to play the iconoclast, emphasised all the radical features and brought a visceral intensity to both scores.

It may not have had the symbolism of the Ariana Grande concert just down the road, but in its own way the joint Hallé/BBC Philharmonic performance of Schoenberg’s Gurrelieder said as much about Manchester as the rock jamboree did.

"Generally speaking," writes Evgeny Kissin in one of the many generous tributes to those whose artistry he most admires, "the mastery of [Carlo Maria] Giulini is exactly what is dearest of all to me in art: simplicity, depth and spirituality". The same is true of the personality revealed in this slim but by no means undernourishing volume from one of our time's most fascinating pianists.

The CBSO is justifiably proud of its association with Benjamin Britten. There’s rather less proof that he reciprocated, dismissing the orchestra as "second-rate" after it premiered his War Requiem in 1962.

How to change the way we hear Chopin and Beethoven: play Bach first. Richard Goode opened his Royal Festival Hall recital with the Partita No.6 in E minor, perhaps the most enigmatic and challenging of its siblings.

Thomas Adès and the Britten Sinfonia are embarking on a three-year project, coupling the symphonies of Beethoven with works by contemporary Irish composer Gerald Barry. Adès is keen to highlight the radical vision of the two composers, so expect stark juxtapositions and uncompromising readings. The project began on a more modest scale, however, with this recital of chamber works, given excellent performances and full of intriguing surprises.

Bernard Haitink is one of the great Bruckner conductors of our time. His interpretations are expansive yet vivid and always go straight to the heart of the music. But he is also an old man, and physical frailty is increasingly inhibiting his work, reducing the spontaneity of his communication with the orchestra. The results are both frustrating and inspiring, with details lost and clarity of texture often compromised.