The Prague Symphony Orchestra are in town, their Cadogan Hall concert the London leg of a UK tour. It’s ambitious, including Mahler’s epic Third Symphony in five different cities, each with a local chorus. The orchestra itself, Prague’s second band, is a spirited and distinctively Central European ensemble.

So much was fresh and exciting about Michael Tilson Thomas's years as the London Symphony Orchestra's Principal Conductor (1988-1995; I don't go as far back as his debut, the 50th anniversary of which is celebrated this season).

The London Philharmonic’s Isle of Noises, a year-long festival dedicated to music of the British Isles, drew towards its close with this programme of Butterworth, Elgar and Walton. Marin Alsop was a good choice to lead, especially for Walton’s Belshazzar’s Feast. Although well-known for her performances of British music, she’s not one to wallow in pastoral whimsy.

Everyone’s doing Weinberg now, or so it seems. The Polish-born composer who became a close friend of Shostakovich was born 100 years ago, and there’s plenty of his music to go round.

Mozart’s piano concertos often overflow with good humour, but you seldom expect to hear a hearty chuckle from the audience in the middle of a performance of one. Yet something close to a guffaw burst out around King’s Place when soloist Tom Poster, deep into the last-movement cadenza of Mozart’s Piano Concerto No. 19 in F major, suddenly quoted Gershwin’s Rhapsody in Blue. Poster had played the Gershwin before the interval of this typically smart, eclectic and thought-provoking programme from the Aurora Orchestra under Nicholas Collon.

To hear Neeme Järvi conduct the Royal Scottish National Orchestra is to witness one of the great musical partnerships, one that has evolved into an enduring friendship.

For the first 20 or so minutes and the second encore of this generous recital, I turned into a Trifonite, in thrall to the 28-year-old Russian pianist's communicative powers. Has Scriabin, in an imperious sweep from early to late, ever made more consistent sense?

Mieczysław Weinberg – where to begin? The composer died in obscurity in 1996, but his music has enjoyed a huge surge in popularity over the last ten years, culminating in this year’s global celebrations for the centenary of his birth. His music is lyrical and deeply expressive, but audiences can be forgiven for not knowing quite what to make of him. He was immensely prolific, and his works are diverse, yet a distinctive voice runs throughout them.

The Apostles is a depressing work, mostly in a good way. Elgar's one good aspirational theme of mystic chordal progressions is easily outnumbered by a phantasmal parade of dying falls, hauntingly shaped and orchestrated. After The Dream of Gerontius, this ostensibly more clear-cut oratorio has less sense of form; it's fragmentary or modern, according to taste.

This recital finds Angela Hewitt nearing the end of her “Bach Odyssey”, a project to perform all of Bach’s keyboard works, in five cities around the world, between 2016 and 2020. That’s an impressive feat, especially as she performs from memory. Here she presented the English Suites Nos. 4-6, plus an early Sonata, BWV 963.