For most Bruckner fans, the multiple editions and revisions of his symphonies are a problem. But Simon Rattle sees it differently; for him every edition offers more music to explore. That was the thinking behind this programme, presenting the Fourth Symphony in one and a half versions, a “discarded” scherzo and finale in the first half, and a complete version in the second.

It’s easy to forget that what you see in a competition final isn’t always the full story, the jury members’ votes in this case based on what had gone on in the earlier rounds. The 20th Leeds International Piano Competition began its final stages in the city two weeks ago, the 63 competitors in the first round filmed earlier this year in 17 separate locations across the globe, the films streamed via Vimeo to the UK.

What a way for the Multi-Story Orchestra, conductor Christopher Stark and composer Kate Whitley to celebrate 10 years of pioneering activity in Peckham and beyond.

In some deep imagined past, watching the Last Night of the Proms on telly was one of those national collective experiences, like watching the Morecambe and Wise Christmas special. But that was pre-indyref1, pre-Brexit, and before it became unfashionable to celebrate our imperialist past with patriotic ditties like Rule, Britannia!

Soprano Sabine Devieilhe (pronounced Devielle) and pianist Alexandre Tharaud are both well on their way to becoming "Monuments Nationaux" in France. When their most recent album Chanson d'Amour (Erato/Warner) was launched in September 2020 – the title is a nod to Fauré rather than Manhattan Transfer – the radio station France-Musique more or less cleared its schedule for an entire day, with no fewer than half a dozen separate programmes to mark the release.

No disrespect to Sakari Oramo and his colleagues in tomorrow’s farewell jamboree, but I wonder whether this performance should have featured as the Last Night of the Proms. After all its terror, grief and sorrow, the St Matthew Passion ends with such a gentle and healing leave-taking (“Ruhe sanfte, sanfte ruh”) that it would surely capture our pandemic travails across the past two years.

You don’t expect a great orchestral string section to be born overnight, yet under the circumstances of the Proms Festival Orchestra’s rapid creation and only three rehearsals of three hours each, this was more than good, with detailed articulation demanded and delivered. You also wouldn’t have expected, until it was announced a few weeks back, a big Mahler symphony in a slimmed-down Proms season.

After 14 years as principal conductor, Vasily Petrenko has left the Royal Liverpool Philharmonic Orchestra in top-league shape. The players must be as thrilled as we are that his successor, Venezuelan Armenian Domingo Hindoyan, carries the flame, catches the spark, call it what you will, with a distinct personality of his own, combining clariy and elegance in baton-wielding with a very watchable physical freedom.

Turns out John Wilson was playing the long game from the start. The dynamic British conductor eased his way into Proms schedules in 2007, establishing his John Wilson Orchestra as an annual festival fixture just two years later. Film music from the Golden Age of Hollywood, Broadway musicals, Bernstein and more all arrived gleaming – freshly polished and ready for their close-up. But, over a decade later, it turns out that Wilson was just prepping the musical ground, as this game-changing concert made abundantly clear.

Choral singers have suffered more than most from erratic and irrational Covid prohibitions while riskier mass pursuits have gone ahead. So when one of the world’s great choirs returned to the Proms with the conductor who has guided them for over half a century, the sense of occasion was palpable. Last night the Monteverdi Choir numbered 30 – not huge by Royal Albert Hall standards – but the joyfully exultant music that they made filled the dome with a boundless grandeur.