Of all the stories Arthur Pita could have chosen to wrangle for his new narrative ballet, he chose one about wind, perhaps the trickiest element of all to represent on a live stage. Tricky because of course you can’t see wind, you can only see its effects. Tricky, too, because – in extremis, as this is – it does mad things to hair-dos, costumes, and the ability of the cast to keep a grip on props and even dance the steps.

Manchester Camerata chose All Hallows’ Eve for a concert of (in some part) "holy" minimalism. Arvo Pärt’s Silouan’s Song began it, and his Cantus in Memoriam Benjamin Britten ended it. They headlined it "Spiritualism and Minimalism", but I think what they really had in mind was spirituality. No "one knock for yes" or anything like that, anyway.

What pianist wouldn't long to lay fingers on keyboards impregnated, as Roman Rabinovich put it in his introduction yesterday afternoon, with the DNAs of Haydn and Chopin?

Romantic concerto, contemporary work, classical symphony: it's a common format at the Proms, but not usually in that order. Both David Sawer's 1997 firework The Greatest Happiness Principle and Haydn's ever-radical Symphony No. 99, sharing a light-filled second half, would normally be reserved as what composer Anders Hillborg once told me is known in America as "parking-lot music", taking the opening slot.

Gorgeous sound, shame about the movement – or lack of it. That seems to be the problem with too many of Simon Rattle's interpretations of late romantic music. It gave us a sclerotic Wagner Tristan und Isolde Prelude last night, Karajanesque and not in a good way, loping along in gilded self-love before putting on a sudden spurt towards the climactic ecstasy.

Brahms: Piano Concertos Sunwook Kim (piano), Hallé/Sir Mark Elder (Hallé)

"Love is in the air," croons or rather bellows presenter Juri Tetzlaff, getting his audience of adults and children to bellow back the wordless refrain, arms swaying above their heads. Mezzo Sophie Rennert, dragged up as noble Lotario, and soprano Marie Lys as widowed princess Adelaide dance tenderly to the strains. They're not singing one of the most ravishing love duets in opera this morning because this is the one-hour family version of Handel's Lotario.

Anyone who missed the opening Southbank concerts of the Chinike! Orchestra, figurehead of a foundation which aims to give much-needed help to young Black and Minority Ethnic (BME) classical musicians, could and now can (on YouTube) catch snippets of the players in action on the splendid documentary about young cellist Sheku Kanneh-Mason.

Two works whose whole significance depends on (unspoken) sacred texts made a stimulating combination for a concert in Manchester Cathedral’s sacred space. Haydn’s The Seven Last Words of our Saviour on the Cross – usually heard in its string quartet version – is an instrumental version of Christ's words from the Gospels’ descriptions of the Passion.

Haydn: Sonatas and Variations Leon McCawley (piano) (Somm)