The Mancunian tribute to Ralph Vaughan Williams – a symphonic cycle shared by the BBC Philharmonic and Hallé – reached its conclusion with the Eighth Symphony last night. But, unlike most concerts in the RVW150 sequence, in this one (the final performance in the Hallé Thursday concerts series of 2021-22), Sir Mark Elder added an eclectic mix of other composers’ work to the evening.

The baton passed, metaphorically, to the Hallé last night in the Vaughan Williams symphony cycle shared between them and the BBC Philharmonic to mark the composer’s 150^th anniversary. Literally, that baton was in the same hand as on the last date, for it was John Wilson who conducted the Ninth Symphony, as he had the second and seventh 12 days ago. This time VW was paired with Holst, as the second part of the concert consisted of The Planets.

A story of forbidden love, Great Freedom takes place almost entirely in a prison. The film's background is encapsulated in the word “175er/ hundertfünfundsiebziger”, still to be found in German dictionaries and collective memories as a pejorative word for a gay man.

“Don’t judge a book by its cover,” the John Ford scholar Tag Gallagher quietly observes in the penetrating – and deeply moving – video essay he contributes to Masters of Cinema’s Blu-ray disc of Ford’s 1953 masterpiece The Sun Shines Bright.

The Barbican’s Postwar Modern covers the period after World War Two when artists were struggling to respond to the horrors that had engulfed Europe and find ways of recovering from the collective trauma.

In 1957, popular music was given a jolt when the first electronic pop record was recorded. “Song of the Second Moon” was created and composed by the Dutch musician Dick Raaijmakers who was working at NatLab, the research laboratory of the electronics company Philips.

What’s now been titled The 1959 Sessions represents an unreleased studio album completed by the Stan Tracey Trio on 5 and 8 June 1959 at Decca’s London studio at Broadhurst Gardens. If issued then, it would have been the swift follow-up to the trio’s debut album Little Klunk, recorded at the same studio on 22 and 26 May 1959.

Three films, each restored to glorious 4K, make up Second Run’s Hungarian Masters set. Billed as “essential works by three of Hungarian cinema’s most renowned filmmakers”, each film earns that praise in its own way.

Watching this restored print of Nicholas Ray’s delirious Western reminded me of the discovery that those pristine white statues of the Ancient World had once been painted in gaudy colours. When I first saw Johnny Guitar, it was one of those movies that played the repertory and art house cinemas in a battered, faded 16mm print.

British opera’s attempted answer to The Magic Flute, and its presentation as the opening gambit of Edward Gardner’s eminent position as principal conductor of the London Philharmonic Orchestra, leave me queasily ambivalent.