Compiled by an anonymous panel, the 15th edition of ArtReview magazine’s annual list of the most powerful and influential people in the art world was published on Thursday. And who doesn’t like lists, to poke fun at, to argue with – or perhaps even agree with?

No-one can easily replace Mark Wigglesworth as Music Director of English National Opera: ask any of the musicians working there and you'll find they're all heartbroken. That said, they could not have chosen a nicer man or a better all-round musician than Martyn Brabbins.

We've got a lot to celebrate in 2016: 50 years since the Roundhouse became an arts centre and 10 years of transforming young lives through creativity. In celebration of this momentous year we embarked on a journey of discovery to uncover the stories from train-enthusiast accounts of our humble beginnings to real-life high-wire love stories, from week-long raves in the 1990s to politically-charged spoken word in the 2000s. So many incredible stories have emerged from the walls of this beautiful building.

On 10 October 2016, World Mental Health Day, the team of Belarus Free Theatre came back together to start the final stages of production for Tomorrow I Was Always a Lion, a new theatre show based on Arnhild Lauveng’s autobiographical book. Arnhild Lauveng is a Norwegian writer and practicing psychologist. In the book she tells the story of her own recovery from the incurable condition of schizophrenia.

Agnes Obel’s new album Citizen of Glass is released next week. Conceptually underpinned by a fascination with the German idea of the gläserner menschen or gläserner bürger – the glass citizen – its ten compositions examine privacy, the nature of what is hidden, why it is concealed and question how much self-exposure is needed, whether in day-to-day life or as fuel for an artist. The glass citizen is one for whom everything is apparent.

Dont Look Back is the Ur-rockumentary, the template for hundreds of hand-held rock tour films, a source of inspiration as well as a model to aspire to.

Writing for two pianos is something that – until last year – I had not attempted. I was contacted by Katya Apekisheva and Charles Owen, two pianists who have performed as a duo for many years, asking me to compose a duet for them to perform at the inaugural London Piano Festival. I met Charles back in 2014 when he performed my pieces A Hudson Cycle and Fast Stuff in New York. Time constraints led me to restructure and rewrite an existing piece in my portfolio, Fast Cycles, which I wrote for the late John Scott.

We’re in Gdańsk for the launch of the I, Culture Orchestra (sounds like an Apple product, someone points out). The new outfit has Sir Neville Marriner as guest conductor, at 87, still on sparkling form. The orchestra has brought together young musicians from across Eastern Europe “to encourage better cultural understanding” between Poland, Belarus, Ukraine, Moldova, Georgia, Armenia and Azerbaijan.

Helaine Blumenfeld was living in Paris in the 1960s when she received an invitation from the Russian-born sculptor Ossip Zadkine to attend one of his salons. Zadkine had emigrated to Paris at the beginning of the century, evolving a style influenced first by Cubism and then African art. His most celebrated sculpture The Destroyed City (Rotterdam) had drawn comparisons with Picasso’s Guernica, while his social circle had included Henry Miller, Picasso, Brancusi and Modigliani.

A couple of weeks ago, I held a debate in Parliament in which I called for the government to increase funding for the arts, museums and heritage. The Chancellor’s autumn statement, less than two months away, will be when I will know if my campaign has succeeded.