Digital Revolution begins with an archive section taking you back to the 1970s when Ralph Baer developed a video game allowing punters to play ping pong on TV (below right: poster for the original Pong arcade game) and Steve Jobs worked on Break Out, in which a virtual ball bounces off a bank of horizontal lines.

If, like Wynton Marsalis, you’re a gatekeeper of the jazz tradition, there’s little you’ll defend more staunchly than the Blue Note back catalogue. With the Jazz at Lincoln Center Orchestra, in London on a short tour, he presented a glossy and intriguing selection of Blue Note repertoire before an ecstatic audience in last night’s Barbican concert. Technically, this was a tour de force. Where the components of some big bands lose definition and melt into a raucous fudge, JALC boasted talon-sharp brass bite, regal articulation, and a deeply golden lustre. 

Admired by Brazilian musical royalty like Milton Nascimento and Caetano Veloso, Maria Gadú, at the age of 27, already has four platinum albums to her credit, not to mention a couple of Latin Grammys. Her music blends the urban chaotic modernity of her hometown São Paulo with the grassroots sounds of the North East and Rio. Born Mayra Correa Aygadoux in 1986 Gadú was something of a child prodigy, and began writing songs and recording them onto cassette at the age of 10.

The practical considerations and limitations of choosing a work for a student showcase can lead to some wonderfully original programming. It doesn’t get much more original than a pairing of Thomas Arne’s ballad opera The Cooper with Stradella’s oratorio San Giovanni Battista, currently being staged by the Guildhall School of Music and Drama.

In the year of his 85th birthday, and his 60th season as a conductor, Bernard Haitink is hardly taking it easy, with concerts with various orchestras around Europe and the US including an appearance at the Proms. In this visit to London with the Chamber Orchestra of Europe he may not have been bounding up the steps to the stage, but his powers with the baton remain undimmed.

"Finally,” said Sir Simon Rattle, “I get a chance to say thank you. We have had forty years working together without an argument." The Royal Philharmonic Society was awarding an Honorary Membership to Martin Campbell-White, Rattle's agent. Campbell-White, who has been a guiding influence on the conductor's career since the 1970's made a rare appearance on stage, as he became the first artist manager ever to win this award in the RPS's 201-year history. 

It’s safe to assume that mischievous Monsieur Poulenc would have been delighted by the juxtaposition of his joyous slice of Surrealism with Fauré’s serene masterpiece the Requiem. What his elder compatriot might have had to say is harder to imagine. Since Les Mamelles de Tirésias was conceived for the opera house and the Requiem for a place of worship they don’t even belong in the same building – and neither of them by rights in a concert hall – so to call them an odd match would be an understatement.

“We want to be the most creative and the most loved ballet company in this country,” Tamara Rojo told the audience in the Barbican Pit last night. “We want you to love us.” The director of English National Ballet knows a thing or two about gaining the love of audiences, something she has excelled at in her own dancing career, but it has been nothing short of jaw-dropping, over the 18 months she has been at ENB, to watch how skilfully she can work the same magic on a far larger stage.

Jazz pianist Chick Corea put a bomb under his reverential “rare solo concert” billing at the Barbican last night, with an outrageously showmanlike variety performance that seemed to take in everyone from Keith Jarrett to Gareth Malone. Corea’s two ECM albums, Piano Improvisations (1971 and 1972), blazed a trail for similar work, music that was cerebral, even austere, from Paul Bley and the arguably even more distinguished Jarrett.

Part of the Birtwistle at 80 series at the Barbican, this not-quite-semi-staged Gawain ended up being held back a little by its shoestring production, where a straight concert performance might have transcended its limitations.