Arthur Bliss: Works for Brass Band Black Dyke Band,/John Wilson (Chandos)

For 50 years Clonter Opera, the song-on-the-farm project in rural Cheshire, has been encouraging would-be opera stars by giving them a chance to perform in undemanding conditions under the guidance of experienced professional.

It all began with audiences sitting on straw bales in a barn, and only after a purpose-built theatre came into being was there a small pit enabling something more than piano accompaniment for major productions.

For tonight’s performance at Milton Court, the nuanced and delicate tones of strings, voices, harmonium and chamber organ will merge and mingle together to tell tales of a rain-speckled landscape, luck and misfortune, forgotten valour, daily creative rituals and memories slowly vanishing into flames.

LICHT: 800 Years of German Lieder Anna Lucia Richter (mezzo-soprano), Ammiel Bushakevitz (hurdy gurdy, harpsichord, clavichord, fortepiano, piano) (SWR2/Challenge Classics)

The movies haven’t been kind to Pyotr Ilyich Tchaikovsky. The Nutcracker Suite was a highlight of Walt Disney’s Fantasia (1940) perhaps, but the 1969 Soviet biopic directed by Igor Talankin was tedious and Ken Russell’s The Music Lovers, released two years later, worse than that.

In 1917, in the face of the Bolshevik revolution closing in on his country estate, Rachmaninoff fled Russia, never to return. He was 44, at his peak as composer, pianist and conductor, but spent the rest of his life in exile in the US and Switzerland, amassing a fortune and worldwide reputation as the biggest draw in classical music – but never reconciling himself to being separated from his homeland. As he lay dying, he insisted on a Russian nurse, his wife reading Pushkin to him.

This frothy bio-fantasy about the 18th century composer Joseph Bologne, Chevalier de Saint-Georges and top tunesmith to Marie Antoinette at the French court, could have been a powerful and revealing shout-out to a woefully under-appreciated composer.

Directed by Stephen Williams with a screenplay by Stefani Robinson, it’s more like Bridgerton Goes to the French Revolution, an absurd bouillabaisse of melodrama and characters who may be elegantly dressed but are uniformly paper-thin.

Is Artificial Intelligence pointing the way to musical composition in the future? The BBC Philharmonic, conductor Vimbayi Kaziboni and colleagues at the Royal Northern College of Music made a case for it in this concert.

When I applied to the London Philharmonic Orchestra’s Young Composers programme and found out that I had been accepted, I was expecting to be working on a new orchestral work as in previous years. However, this year, we were invited to explore the concerto form instead.