Composer George Benjamin has dazzling talent, but he is difficult to showcase. He is not a naturally extrovert type, and most of his projects take years to formulate, and only come about through collaboration with close and trusted performers.

Violinist Patricia Kopatchinskaja has a joyous hunger for communication through music. She sometimes seems to dance through it. This was at its most vivid when she lunged towards BBC Scottish Symphony Orchestra leader Laura Samuel to invite her to start the encore at the end of the first half of Saturday’s Bartók Roots Prom, “Baladă și Joc” (ballad and dance), a duo for two violins by György Ligeti.

Minds in Flux is the largest of this season’s Proms commissions, and last night it afforded a rare chance for UK audiences to hear work of George Lewis outside the often insular new-music and avant-garde improvisation circuits.

Now that you've found her, never let her go. I hope that’s the mantra among players of the Chineke! Orchestra and their Artistic and Executive Director Chi-chi Nwanoku – leading the double basses last night – after this Prom with Panamanian-American conductor Kalena Bovell. With her dancing spirit and focused stick technique regularly at the helm, this team could develop the real musical character that has eluded them under less dynamic and personable figures.

Simon Rattle and the LSO marked the 50th anniversary of Stravinsky’s death with a concert of three “symphonies”. In fact, the programme had little to say about Stravinsky’s relationship with symphonic form: his early E flat Symphony was omitted, and the Symphonies of Wind Instruments, the opening work, is not a symphony in any accepted sense. The programme was rather an opportunity to hear some of Stravinsky’s more obscure orchestral works.

A gem in Edinburgh International Festival’s classical music programming has always been the Queen’s Hall series. Hosting some of the finest chamber musicians on the international stage, that venue has seen countless incredible, more intimate performances over the years.

The Edinburgh International Festival has returned this year, with a programme of socially distanced events held almost completely outdoors.

I was looking forward to this Prom by the Manchester Collective, an exciting young group founded in 2016, which has quickly established a reputation for innovative presentation of contemporary repertoire.

There is much to love about the latest Voces8 Live from London online festival. It goes beyond having a purely choral line-up, embracing instrumental music for the first time, while maintaining its focus on vocal performances of the highest standard.

What does it mean to be Classical? It’s the question award-winning Icelandic pianist Víkingur Ólafsson has consistently asked in a career that has collided music from Bach to Debussy, presenting them as part of a single conversation and continuum. Here, in a striking BBC Proms debut, he continued to probe and challenge, with a little help from the Philharmonia Orchestra and Paavo Järvi.