Dresden is filled with music at this time of year. The Dresden Music Festival runs through May and early June, with concerts at all the famous venues – the Frauenkirche, the Semperoper – but also recitals in smaller halls and unlikely settings.

For most Bruckner fans, the multiple editions and revisions of his symphonies are a problem. But Simon Rattle sees it differently; for him every edition offers more music to explore. That was the thinking behind this programme, presenting the Fourth Symphony in one and a half versions, a “discarded” scherzo and finale in the first half, and a complete version in the second.

Before his retirement last summer at the age of 90, Bernard Haitink worked magic on the podium, no one is in any doubt about that. Lining up one friend and musician after another to admit they don’t know how he does it hardly seems the most promising basis for a feature-length documentary. Yet John Bridcut’s film also works, rather like one of Haitink’s performances, by placing trust in his material and moulding its form with a nudge here, a pause there. The result, no less than his much admired portrait of Janet Baker, is worthy of its subject, and praise doesn’t come higher than that.

Bruckner: Symphony No. 7 Berliner Philharmoniker/Bernard Haitink (Berliner Philharmoniker Recordings)

Bruckner: Symphony No. 8 Australian World Orchestra/Sir Simon Rattle (ABC Classics)

Bruckner: Symphony No. 9 Pittsburgh Symphony Orchestra/Manfred Honeck (Reference Recordings)

No orchestra wants its conductor to cancel in the week of a concert.

Beethoven: Piano Sonatas 1-32 Igor Levit (Sony)

His movements are minimal (perhaps they always were). A more intense flick of the baton, a sudden wider sweep of the expressive left hand, can help quicken a tempo, draw extra firepower from the players, but Bernard Haitink's conducting is still the most unforced and, well, musicianly, in the world.

The Barbican Hall hardly boasts the numinous acoustic of Gloucester Cathedral for which Vaughan Williams composed his Fantasia on a Theme of Thomas Tallis, but Sir Simon Rattle has long known how to build space into the architecture of what he conducts.