I would call them burglars: musicians from the experimental rock, electronica and sound-art traditions who cross the genre divide, sneak into the world of classical music, pillage its more easily pillaged valuables, thieve its respectability, filch its original ideas, and sprint back breathlessly to their wide-eyed fans to show off this brilliantly clever "new" classical music (much of which is made up of techniques that George Benjamin would have grown out of by the age of six) in double quick time lest someone from classical music pins them down for long enough to inform them how rubbish

No, not some crazy remake of an Eighties soap featuring various members of the Bach family (though I wouldn’t put it past certain channel programmers to come up with the idea), but the Academy of Ancient Music’s (AAM) new series of concerts, which in a nutshell gives them the chance to perform lots of Johann Sebastian, with two bookend concerts covering the befores and the afters, as it were. Bound to get the crowds in and looks nice on the posters.

Do paws get any mightier than Llŷr Williams's? When not crashing down onto the Wigmore Hall Steinway like a ton of singing bricks, they were digging deep, like strong, nifty moles, foraging for the contrapuntal melodies that lay beneath the topsoil. Williams was made to tackle the beefy German classics on this programme.

Nobody can remember seeing a film about a piano tuner before. Happily, Pianomania isn’t merely unique; it’s a riveting documentary into the bargain. It takes as its subject the micro-detailed and nit-pickingly demanding routine of Stefan Knüpfer, Master Tuner for that Rolls-Royce of the piano industry, Steinway & Sons. Among Knüpfer’s celebrated clients are such titans of the keyboard as Lang Lang, Alfred Brendel, Till Fellner and Julius Drake, all of whom appear in the film’s 93-minute span. The main driver of the narrative is the ongoing account of how Knüpfer helps Pierre-Laurent Aimard to record Bach’s Art of Fugue.

It becomes increasingly hard for a music festival to stick out from the crowd these days. But high culture, high summer and high altitude create a rousing major chord each July in Verbier, which can genuinely claim to be the only festival you reach by cable car. When you get up there you are greeted by an alpine symphony of glaciers slithering off peaks and pastures clanging with cowbells. Streams descant and trill along gutters between chalets. No wonder stellar musicians drop their fee to return, both to play and listen. Egos are left at the bottom of the mountain.