This concert was inspired by the huge scale of the Albert Hall. The three works all evoke spacious vistas, through their expansive textures, echo effects and horn calls.

Not to be outdone by the Proms, the 2018 Three Choirs Festival in Hereford burst into action on Saturday with a major choral work, the Mass in D, by music’s most famous suffragette, the majestic figure of Dame Ethel Smyth. Dame Ethel embodies almost everything that makes caring Britain tick this year.

Children’s concerts are a tricky business, but the BBC has hit on a good formula with its Ten Pieces project, now in its fifth year. Ten works are chosen for their diversity and accessibility, and these become the basis for education projects throughout the year, culminating in the Proms concerts.

Two of the major themes in this year’s Proms season are the hundredth anniversaries of the death of Hubert Parry and the end of the First World War. This programme brought those two ideas together, with two works by Parry himself, along with pieces influenced by the war and written in its aftermath by Parry’s pupils Holst and Vaughan Williams.

Beguiling echoes, patterns and symmetries accompanied the Hallé on this Proms journey through the enchanted forests of orchestral sound.

There’s a particular quality to light seen from shadow. Think of the surface of the water glimpsed, hazy and haloed, as you swim upwards after a deep dive, or the smudged edges of city lights seen from a night flight. This concert by Ben Gernon and the BBC Philharmonic was an exercise in adjusted perspective.

Shostakovich’s First Cello Concerto combines the composer’s usual angst and nerviness with a sardonic humour, right from the opening bars, where the cello and orchestra seem to be playing in contradictory keys. At last night’s Prom, cellist Alisa Weilerstein played the opening motto not as a challenge, but as the continuation of a conversation already in progress. It was also very fast, which issued a different kind of challenge to the orchestra.

Once the Proms season is under way, you soon regret dissing the prospectus.

What a fabulous score Pelléas et Mélisande is, and what a joy to be able to hear it in a concert performance without the distraction of some over-sophisticated director’s self-communings. Well, if only.

The fourth Prom of this season featured only two contrasting pieces, pitching the unabashed joyfulness and good humour of Lindberg’s Clarinet Concerto against the angst and defiance of Shostakovich’s “Leningrad” Symphony. It was the former that left the greater impression.