Nearly two weeks into the latest lockdown, and already I feel nostalgic about the last day of freedom. You should too, just watching the film released last night of the CLS’s most recent happening in Southwark Cathedral.

My latest recording with The Mozartists is the first in a seven-volume series [reviewed by Graham Rickson in his Classical CDs Weekly column] exploring the so-called “Sturm und Drang” (literally translated, “storm and stress”) movement that swept through music and other art forms between the early 1760s and the early 1780s.

Berlioz: Symphonie Fantastique, Rêverie et caprice, La mort d'Ophélie, Sara la baigneuse Utah Symphony/Thierry Fischer, with Philippe Quint (violin) (Hyperion)

Bach: The Well-Tempered Clavier George Lepauw (piano) (Orchid Classics)

The great Chilean pianist Claudio Arrau noted of 1920s Berlin that "itimes of trouble, people seek a better life in culture". But what if that culture can no longer be accessed live?

Switch off for a phrase or two and it’s easy to miss the point in a Haydn symphony that makes each one of them odd and unique. In No. 74, played last night with understated class by the English Chamber Orchestra, that point occurs in the first movement, at the end of the second theme. All has gone just as you’d expect.

As a string quartet, it’s not easy to distinguish yourselves from others. There are so many string quartets playing the great repertoire, and the level of quartets has never been as high as it is now. Everybody is trying to be unique.

Haydn: Opus 20 String Quartets, Nos 2, 3 & 5 Dudok Quartet Amsterdam (Resonus)

Haydn, arr. Stegmann: Symphonies 44, 75 and 92 Ivan Ilić (Chandos)

Hello sun, hello great whales, hello choral counterpoint. If there is a more life-enhancing work than Joseph Haydn’s oratorio The Creation, I’ve yet to hear one. Its sheer joie-de-vivre was a felicitous arrival at the Proms, where it really ought to be a regular fixture.