Sometimes you can leave a concert feeling slightly shortchanged: a perceived weakness in the programming; an unprepared, lacklustre conductor; a phoned-in performance. No danger of any of the above at the marathon session three of Reverberations, a weekend of concerts at LSO St Luke's and the Barbican devoted to the music and influence of the contemporary US composer Steve Reich. Actually, by the end of the evening, some people may have been ruing just how many artists have fallen under Reich's influence. We filed into the Barbican at 6pm on Saturday.

Its advertised centre of gravity, a concerto specially commissioned from affable whiz-kid Nico Muhly, turned out weightless, and not in a good way. Yet the programming of the Aurora Orchestra's latest adventure showed us why the Arts Council were right to fund this young and dynamic constellation. OK, so I'd have been happiest with a whole evening of Hindemith Kammermusik rather than one movement. But for the new generation of pick-and-mix onliners, the seven eclectic works on the bill couldn't have been more enticing, thanks to the iron fist of velvet-glove live stream presenter-conductor Nicholas Collon.

This week we’ve offbeat violin and viola duets played by a renowned husband-and-wife duo, Scarlatti keyboard sonatas played on piano, and a very Italian take on Shakespeare from one of the 20th century’s fieriest conductors.

In a London Philharmonic season playing safer than before, principal conductor Vladimir Jurowski has earned the right to a few meat-and-two-veg programmes. Even in a concert containing more than a handful of your hundred best tunes, Wagnerian carrots and Straussian greens were presented pleasingly al dente, with a prelude to this crack team's longest ever impending Glyndebourne journey and the most secure of all living dramatic sopranos soaring assuredly. And Jurowski always serves up prime cuts of Tchaikovsky freshly, without rich sauce. After a discombobulating Pathétique Symphony a couple of seasons back, duly recorded, this was a Fifth veering more to the Classical than the Romantic, felt in the gut rather than the heart.

It’s string-quartet Saturday – a young German group tackle Soviet classics and a rejuvenated Russian quartet smile with Haydn. There’s music from a contemporary Polish master and exquisitely uncomfortable fin-de-siècle music from Vienna.

With regional youth orchestras dropping from a thousand short-sighted, wholesale cuts - flagship Leicestershire the latest under threat - it should be enough just to celebrate 60 seasons of the LSSO, safe for now under the City of London's munificent wing. But last night was more than just another fun concert. No one ought to miss any appearance of the, ahem, enormously charismatic Leif Segerstam, composer of 244 symphonies to date and master orchestral trainer, who always goes for depth of sound rather than surface glitter.

How important is it to hear “the composer’s intentions” at a concert? Maybe only the interpreter’s intentions are possible. The young Russian pianist Alexander Melnikov challenges the golden rule of faithfulness to source with the resources of today’s piano - not the ropey old Soviet thing Shostakovich would have had, or the limited piano Schubert would have known, and last night at the Wigmore Hall delivered an ear-opener of a recital all about modern pianism at its most fascinating and provocative.

Were the great Diaghilev alive today, surely he’d be working in the imaginative possibilities of electronic technology - this was the opinion given me by the arts panjandrum, the late Sir John Drummond. And given the developments of 3D, who knows? Would it be this manipulation of our perceptions that fascinated him? 3D is certainly everywhere in dance now, though the challenge is to leap the judgment of it as merely a gimmick. I reckon while Wim Wenders’ film Pina 3D achieved that, the version of Stravinsky’s Rite of Spring by Klaus Obermaier doesn’t.