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WHALLEY Range's Open Voice community choir joins a former Liverpool Philharmonic composer in an astonishing aerial theatre performance by the critically acclaimed Ockham's Razor. Following the success of its previous, highly-acclaimed aerial work, Ockham's Razor brings its second full length show to The Lowry. Ockham's Razor was formed in 2004 when Alex Harvey, Charlotte Mooney and Tina Koch met at the Circomedia Academy of Contemporary Circus and Physical Performance in Bristol. Combining circus and visual theatre, Ockham's Razor creates arresting, physical works on specially designed pieces of equipment, telling stories through the vulnerability, trust and reliance that exists between people in the air. At times surrounding the performers in a perspex tower or peering from below at the performers above, it plays with perspective, inviting the audience to explore new ways of seeing and drawing them into its unique, immersive style of story-telling.

Some 25 events took place over nearly three weeks, including performances by Chetham's Symphony Orchestra and Manchester Camerata. The Camerata featured a preperformance of a work created by Year Six students at Upton Westlea Primary School along with Graham Fitkin, the festival's energetic a r tist-in-residence. Graham Fitkin was also in evidence at the festival and the debut performance of his \"Group - a mixed ensemble performing his highly individual style of music, much inspired by jazz - was an earopening entertainment. Also to have secured Elin Manahan Thomas and Finchcock's Baroque for an exploration of Handel's Heroines was a stroke of genius.

It's fascinating to hear the harp, that hefty mix of strings, pedals and interior design, paired with miniaturised electronica in this album by composer Graham Fitkin and harpist Ruth Wall.

Graham Fitkin's Ring Cycle, inspired by Wagner's work, was a world premiere, and featured musicians from across Aberdeen and beyond. Schoolchildren also featured, along with students of Aberdeen College, Aberdeenshire and Aberdeen Music Centres, and a large number of accordionists, saxophonists, and percussionists. The concert was arranged by Woodend Arts Association, near Banchory, and Aberdeen University, as part of their continuing contemporary music event for the north-east, the Sound Festival.

Extremities, at Aberdeen's Music Hall, will feature a number of orchestral pieces before climaxing with the world premiere of Graham Fitkin's Ring Cycle. Ring Cycle, inspired by Wagner's masterpiece, will feature Aberdeen University's string ensemble and symphony orchestra, the Bon Accord Silver Band, and the Granite City Brass Band. Musicians from schools will also play, along with students of Aberdeen College, Aberdeenshire and Aberdeen Music Centres, and a large number of accordionists, saxophonists, and percussionists.

Ben Schofield (\"louder than life hairy guy\"), Stuart Goldsmith (\"burst-ing with charisma\"), Glen Maney (\"Cheeky Cockney\") and Rhod Rhys (\"globe-trotting Welshman\") do the tickling.

Musicians Graham Fitkin, 41, and Ruth Wall, 32, recently moved into a self-built live/work home in Cornwall. 'For years Ruth and I lived in a small, dark cottage, which made rehearsing our music very difficult,' says pianist and composer Graham. 'Trying to work at home was difficult and extremely noisy.' Along with Ruth, who plays a Scottish harp, Ian had been hunting for a larger, more practical home for a long time, but the couple found that property prices in Cornwall outstripped their means. Graham and Ruth continued a punishing work schedule, labouring away on musical compositions in the early morning and late at night, while supervising the construction-work during the day.

  The piece's inspiration comes specifically from Cornwall-born [Graham Fitkin]'s study of the plants at Eden and sounds from the natural world. It will be shaped by the space and its unique acoustics. [Ruth] will use lever, bray and wire-strung harps and Graham will mix and digitally manipulate the sounds live. The performance will be in a promenade form, with visitors encouraged to walk around the biome to enjoy the soundscape.

It's worth taking more time over Late Junction. Welcome it certainly is, for the brilliance of the individual items. But, after a few weeks, its problems sound like signs of a transitional stage in music broadcasting. This week's programmes have regularly dipped into a powerful Nusrat [Fateh Ali Khan] tribute album - BBC Music Magazine's pick of the year back in December 1998, but let that pass (hint: look to Africa for 1999). As one item among many it wasn't prominent enough to be a theme. Overall, the content lacked focus. Look at Monday's sequence. Anonymous 15th-century polyphony led into a meditative marimba solo by Evelyn Glennie, then Graham Fitkin's marimba- rich Hook. \"Guaranteed to get your feet tapping,\" said Sharp, and she was right - you had to, if only to keep the beat through Ensemble Bash's plodding accompaniment. The continuity broke as everything stopped for qawwali, and the next item, apparently a Bjork sound-alike with more vocal technique, turned out to be Bjork herself singing a snappy number she devised with Glennie. Back then to the Hilliard Ensemble's polyphony, and another Fitkin piece, this time short and quiet.

While [Graham Fitkin] is referred to as a minimalist (he was a pupil of Louis Andriessen), this may reflect the slender means at his disposal rather than any ideological policy. A clarinet concerto commissioned for the Vale of Glamorgan Festival two years ago revealed a vivid, almost pastoral orchestral language that was thrillingly compelling. Now, albeit belatedly, we have the opportunity to judge on record Fitkin's writing for a large orchestra. Granite (GFR) presents five pieces for the Royal Liverpool Philharmonic Orchestra, with whom Fitkin worked as a resident composer for two years. Recorded at Liverpool's Philharmonic Hall in 1995 and 1996 under the auspices of Decca, to whom Fitkin was then contracted, the projected album fell victim to cuts in the label's roster, and now Fitkin has licensed the recording and put it out on his own label.