Several years ago I got chatting to a young tenor who was training at the Royal Northern College of Music. He was enjoying his studies, but complained that, as a British tenor, he got offered a lot of Britten and Handel but not an awful lot else.

1743 was the year in which Handel presented both the Messiah and Samson to Londoners – and for most audience members the merits of one clearly eclipsed the other. Fascinatingly it was Samson that was seen to be the more successful – after breaking box office records, with eight performances between its opening on 18 February and the end of March, it remained highly in demand for nine subsequent seasons.

Every time I have heard Ravel’s Piano Concerto for the Left Hand, some wiseacre in the bar afterwards trots out the predictable joke that it’s a cheap concert as the pianist gets only half the fee. For all that this is obviously nonsense, most pianists go on to play a two-handed encore to set the record straight. Yuja Wang, in her Edinburgh Festival concert with the Oslo Philharmonic Orchestra, chose to play a whole other piano concerto, in this case the same composer's G major.

Have Proms audiences heard it all before? Not by the longest of chalks. Remarkably, last night saw the festival’s first outing for a major work by Robert Schumann.

A performance of Olivier Messiaen’s kaleidoscopic Turangalîla-Symphonie is always going to be a bit of an event. The Edinburgh International Festival set this one up nicely by making it not only the impressive culmination of a four-concert residency by the London Symphony Orchestra, but also the centrepiece of a group of Messiaen-themed performances.

This concert, the Edinburgh International Festival debut of the Castalian Quartet, almost didn’t happen due to the illness of their second violin, Daniel Roberts. Then, a couple of days ago, in stepped Yume Fujise, leader of the Kleio Quartet, to save the day, which is no mean feat considering that this programme featured both a world premiere and the knottiest of Beethoven’s late quartets.

The Edinburgh International Festival’s focus on Korea moves to the Queen’s Hall in the festival’s middle week, with performances from two Korean soloists playing alone.

Chopin’s piano concertos and Strauss “symphonic fantasia” Aus Italien are young men’s music, bursting with inspired ideas, but baggy at times, hard to steer. Elgar’s In the South is up there with the mature Strauss tone poems – even if it couldn’t have taken the shape it did without them – but here the steering itself was the problem: missing the exuberance, the Philharmonia’s Principal Conductor Santtu-Matias Rouvali stretched it on the rack.

The National Youth Choir of Scotland have the most easily pronounceable acronym in Scottish music: everyone up here knows who you’re talking about when you mention NYCOS.

The Budapest Festival Orchestra never stops proving what a great ensemble it is. In last night’s concert, the third Prom of its weekend residency, the miraculous ways in which the absurd humour of Ligeti, the deep soulfulness of Bartók and the implacable genius of Beethoven were brought to the surface were not just joyful and completely fulfilling, but also unfailingly drew in the attention of the whole audience in a completely full Royal Albert Hall.