Even bigger things have happened to Sheku Kanneh-Mason since I last saw him performing alongside his contemporaries in the Fantasia Orchestra – That Royal Wedding, for instance, and a Decca contract. Yet it looks like he will always have the wisdom to hurry slowly.

An early hero of lockdown, livestreaming from his Berlin home in terrible sound at first, Igor Levit is a supreme example of how adaptable musicians can survive in times like these.

It wouldn’t be true to say I’d forgotten what a solo cello in a fine concert hall sounds like; revelation of an admittedly sparse year will undoubtedly remain Sumera’s Cello Concerto played by young Estonian Theodor Sink at the Pärnu Music Festival in July.

Music going back to nature, or rather the managed nature of a London park, can make you think and feel quite differently about great composers’ responses to the world around them.

“It’s SO good to be back,” said Catherine Bott, and it would be impossible to disagree with her. She was presenting the livestream of the first concert to be performed in front of an audience at Wigmore Hall since March.

The Aurora Orchestra’s trademark expertise in playing symphonies from memory arguably reached new heights this week as they tackled Beethoven’s Seventh, first in performances with a live audience and then, yesterday, in an empty Royal Albert Hall for what’s left of the Proms. 

Unlike the other two Proms I’ve reviewed this season, last night’s by the Philharmonia did not have any bells and whistles when it came to the staging, nor did it explore the edges of the repertoire.

I’ve been missing the sound of applause. That realisation dawned on me on the couple of occasions when it broke out spontaneously in last night’s Prom. There was no audience at Hoddinott Hall in Cardiff Bay, so these particular bouts of hand-clapping were coming from the orchestral musicians of the BBC National Orchestra of Wales.

Blessed are the players and musical organisations who adapt and innovate, for they shall inhabit the post-lockdown landscape. And while we appreciate the difficulties any orchestra faces in terms of re-opening logistics and costs, livestreams have their limit.

Let’s start by echoing Simon Rattle’s sense of “how lucky we are”, in our case to be able to share with a 75-piece City of Birmingham Symphony Orchestra its centenary to the very day, and celebrate the programme, the performers, the front man too (that superlative actor Adrian Lester, born in Birmingham to Jamaican immigrants). The overall presentation, alas, not so much.