This was a rare outing by the World Orchestra for Peace, which has performed fewer than 20 concerts since the death of its founder Sir Georg Solti in 1997. UNESCO had designated this BBC Prom as "The 2014 Concert for Peace", the definite article implying a uniqueness which - according to rumour - is because concerts planned for Munich and Aix failed to get beyond the planning stage. It drew a respectable house to the Royal Albert Hall, which looked about three-quarters full.

No man is a prophet in his own land – except possibly the Macedonian pianist Simon Trpčeski. In the UK he shot to fame upon winning the London International Piano Competition in 2001 and at home he has become a national hero, his efforts rebooting the country’s classical music scene and inspiring the building of a new full-scale concert hall in Skopje – even though he is still a mere 35. He is also celebrated there as a popular songwriter. That, though, is a strand he left outside the Wigmore Hall, offering a programme that contained as much dark introspection as it did extroversion.

“And suddenly there came from heaven a sound as of the rushing of a mighty wind, and it filled all the house where they were sitting.” To fill the Albert Hall – where a sizeable number of participants are standing, of course, in the best place – as handsomely as this, and as clearly, takes some work. Sir Andrew Davis and the BBC Symphony Orchestra know how to manipulate the space to best effect, and Elgar’s oratorios, of which The Kingdom is the third and last, are among the few works which mostly benefit from the warm halo it places around the sound.

Temple Music's enterprising song series, directed by pianist Julius Drake, brought a welcome rarity to Middle Temple Hall last night. Schumann's Myrthen, the garland of twenty-six songs dedicated to his intended bride Clara Wieck, are seldom heard in a complete performance. Even with an interval in the middle, they serve as a reminder of the power and sheer emotional range of Schumann's music. These songs were almost certainly the catalyst which set in motion the composer's miraculous 'Liederjahr' of 1840, in which he wrote virtually 140 solo songs and duets with piano.

The latest in a series of "Pinnock’s Passions" concerts at the Sam Wanamaker Playhouse saw the doyen of period instrument performance lead a delightful exploration of Handel the musical borrower, entitled "Handel’s Garden". As Trevor Pinnock writes in the programme notes, "throughout his life as a composer he had the habit of taking cuttings, transplanting and grafting from works old and new".

Jordi Savall has spent half a century combining instrumental performance on the viola da gamba with being the leader of ensembles of pioneering scholarship. Now in his early 70s, he has certainly had the recognition he deserves: a Grammy (he has made over a hundred albums), an honorary professorship (he has taught since 1974), and the Légion d'Honneur. These days he is also a prominent public figure supporting the “Catalunya should have the right to vote” campaign. His solo recital at the Sam Wanamaker Playhouse last night showed what a lifetime of patient endeavour can achieve.

“I feel so alone I could cry”. As the keynote of Adam Smallbone’s Passion in the breathtaking third series of Rev, that unspoken sentiment provided a passacaglia bass line to the failure of St Saviour’s. Made explicit In the mouths of possibly 600 Londoners just around the corner from that noble edifice, in reality the relatively thriving St Leonard’s Shoreditch, it felt paradoxically uplifting and – I feel myself sucked in to use the word now that I'm signed up to Spitalfields hip – empowering.