Kudos, first, to Edward Gardner for mastering a rainbow programme of 21st century works in his first season as the London Philharmonic Orchestra’s Principal Conductor. Three Americans and a Berlin-based Brit, two women composers and two men, one of them a Pulitzer Prize-winning Afro-American who wrote the work in question in his nineties, all had the benefit of committed, clearly well-prepared performances, enthusiastically received by an ideally mixed audience.

This recital of love songs by Robert Schumann and Johannes Brahms, devised by the pianist Helmut Deutsch and sung by the megastar duo of soprano Diana Damrau and tenor Jonas Kaufmann, looked on paper like the Lieder event of the year. In practice, it left a good deal to unpick.

The history of Estonia has been described as “a story set to song”. The Estonian activist Heinz Valk called singing “our nation’s most glorious form of self-expression.” There are, of course, other nations where singing is seen as an expression of national identity, but probably none more so than the Baltic country.

This concert started with a heartfelt and moving speech from the Festival Hall podium by Vasily Petrenko, half-Ukrainian, brought up in St Petersburg. “What could I have done? What could we all have done? I have no answers.” The only answer he provided was music-making of driven intensity, ferocity alternating with anguished lyricism in Shostakovich's First Cello Concerto, testimony from a composer well acquainted with Russian oppression.

JS Bach’s Passions as music theatre? Well, why not? Whatever the aura of untouchability around these works, they were always conceived as part of a bigger picture: a communal sacred ritual in which the divide between performer and audience wasn’t so much blurred as nonexistent.

Continuing the joint BBC Philharmonic/Hallé celebration of Vaughan Williams, Sir Andrew Davis took on the job of presenting three substantial works on Saturday.

The four years of Angela Hewitt’s globe-trotting “Bach Odyssey” confirmed time and again that she brings a nonpareil artistry and authority to the most demanding, and rewarding, of all keyboard repertoires. Yet the Canadian pianist, as we already knew, carries plenty of other arrows in her musical quiver.

After the turbulence of masterpieces over the previous three evenings – Janáček, Britten, and the greats featured in this duo’s Fidelio Café fundraiser for Ukraine – it was balm to feel the air and leisure of the first three miniatures in this beautifully-planned programme.

Returning to his Bournemouth Symphony Orchestra for the first time since the crisis began in his home country, Kirill Karabits’ arrival on stage was greeted by the entire Lighthouse audience rising to their feet with loud applause and cheers of support.

One of the world’s top five orchestras – sorry, but I locate them all in continental Europe – played on the second night of its London visit to a half-empty Barbican Hall. Half-full, rather, attentive and ecstatic. As for the much-criticised venue, which I’ve always been able to live with, playing as fine as this shows that you don’t need a state-of-the-art auditorium to make the most beautiful sounds.