After meeting on the Genesis Sixteen Young Artist Scheme, this vibrant vocal ensemble has been rapidly gaining momentum since their debut at St John’s Smith Square in 2017. Under the direction of conductor Sarah Latto, the final concert in their UK tour was polished, poised and subtly powerful.

Nominally, this was a programme of three symphonies. The first, though, sounded like music re-cut and pasted from a very British film and the second was a suite, albeit impressively reworked, from an opera.

Two nights after the Scottish Chamber Orchestra had brought the first great E flat major symphony to the Proms – Mozart’s 39th – a serendipitous change of programme on Tuesday gave us the second: Haydn’s “Drumroll”. An equally serendipitous change of conductor saw Ben Gernon get the evening off to a deceptively simple start: no fancy-dan cadenza from the BBC Philharmonic’s timpanist, just enough of a flourish to get everyone’s attention as Haydn probably had in mind.

The Proms are back, even if they don’t yet feel remotely normal. With audiences timid about mass events, and about a third of the arena roped off to protect a TV camera mounted on something vaguely resembling a diplodocus, yesterday’s seemed less of a Prom than – well, a decent concert on a wet Monday night.

In its 40th anniversary year, the Ryedale Festival once again brought live music of the highest quality to the beautiful villages and venues of the Yorkshire Moors. Reinvented for the current climate, the festival featured 40 events to mark its 40 years, with shorter concerts, and multiple performances to enable as many people to attend events with smaller audiences.

Did absence from Albert’s colosseum from early September 2019 until now and a roof-raising finale hoodwink many of us into thinking Dalia Stasevska’s interpretation of Sibelius’s Second Symphony among the greats? Having listened to it again on the BBC Radio 3 iPlayer this morning, I'm convinced not; this was the real deal.

King Arthur, as every schoolgirl knows, never actually existed, so it made perfect sense that the Gabrieli Consort’s Worcester Cathedral performance of Purcell’s semi-opera about the mythical British king and his battles with the Saxon incomers made not the slightest mention of Arthur.

Now that the summer opera-house companies have pulled off staged triumphs under the most difficult of circumstances, it’s time to celebrate semi-al-fresco concerts. Not so many have cropped up as I’d hoped after the success of the Battersea Park Bandstand Chamber Music series last year. The Wigmore Hall made a start in nearby Portman Square and we have a host of impressive August events planned by Bold Tendencies in Peckham Multi-Storey Car Park, building on the successes of 2020.

The heading may be a bit misleading. There were no vocalists at this year’s ingeniously adapted East Neuk Festival – live events held exclusively in the big space of the Bowhouse, St Monans, to a compulsorily limited audience – and the only rain was that which pelted down on the roof of the venue during the most intimate moments of Beethoven’s D major Quartet, Op.18 No.3, with the Castalian Quartet valiantly persisting.

This programme was a bit of a calling card from the Carducci Quartet. They have previously recorded all three works, and the three composers, Haydn, Shostakovich, Beethoven, clearly play to their strengths. Add to that a modest running time, the Shostakovich Seventh and Beethoven op.