Sir Mark Elder and the Hallé are back in the Bridgewater Hall for the first programme in the second tranche of the orchestra’s digital Winter Season – filming that had to be postponed from its original planned date but is triumphantly achieved now. As before, the full orchestra is accommodated with a monster extension of the platform to allow for adequate distancing.

Some pianists would take the chance of a birthday celebration to pioneer a solitary epic. Not the ever-collegial, unshowy, some would even say visionary Steven Osborne.

The reputation of Nikolai Myaskovsky has long been cast into shadow by the more exportable extroversion of his contemporaries Prokofiev and Shostakovich.

It seems right that (arguably) the greatest orchestra in the world has (unarguably) the best livestreaming and archive service.

Sergey Prokofiev died on 5 March 1953, on the same day as Stalin. Perhaps that uncomfortable coincidence makes March the perfect time for a festival of Russian music. Pushkin House, the Russian cultural centre based in a Georgian villa in Bloomsbury, is holding one right now.

In amongst the heavy-hearted duty of supporting orchestras by watching their concert streamings – not something I’d do by choice – there are two real joys here. One is the discovery of Austrian composer Franz Schreker’s Chamber Symphony of 1916.

Manchester Camerata’s performance with Jess Gillam at Chetham’s School of Music was filmed in private on 9 January (and the sound was broadcast on BBC Radio 3 on the 19^th), but to see it in its full visual glory we had to wait until a one-off streaming on Friday.

The clever programming of the “Unwrapped” series has been transformational for the reputation of Kings Place. Ever since the Bach series in 2013 these year-long sequences of concerts and other events have succeeded in silencing the crustier commentators, and in putting the London arts venue properly on the map.

Returning to the Wigmore Hall for another socially distanced concert, Edinburgh-born guitarist Sean Shibe brought a programme of moving, often melancholy music, apt for these still locked-down times. He opened with a trio of works by John Dowland written originally for lute.

There’s an atmosphere of tender restraint through most of the programme created by Ruby Hughes and Manchester Collective for Lakeside Arts at the University of Nottingham. It was streamed live yesterday afternoon, and, as is the way with most performances just now, was in an empty hall, with its slightly strange "empty" acoustic affecting the spoken word as the artists introduced their music.