In a week when my colleague Jessica Duchen was delighted by the Kaleidoscope Chamber Collective, last night’s concert, also at Wigmore Hall, by Michael Collins and London Winds showed that chamber music with winds need not be the poor relation of that with strings. Rather the concerts make a persuasive case that wind instruments can be as engaging, virtuosic and poetic, and the repertoire – if less voluminous – as varied and versatile.

Nobody could deny that this was a weekend when we needed cheering up. The place for that was the Wigmore Hall, which played host to a recently formed “shape-shifting” ensemble of superb young soloists. The Kaleidoscope Chamber Collective was launched in 2017 by the violinist Elena Urioste and pianist Tom Poster (incidentally, they got married last summer).

In my reviewing for theartsdesk I like as much as possible to ski off-piste, reaching areas of repertoire, performer and venue that mainstream coverage doesn't. There is much great music-making that flies, to mix my metaphors, under the radar, but which is well worthy of being written about.

Nymphs and shepherds – go away? In music, as in art or literature, the pastoral fripperies of the Baroque age can feel utterly alien to modern tastes. Those dalliances, seductions and abductions in the Arcadian landscapes of myth may cease to entice in an era that takes sexual violence seriously, while we scorn play-acting toffs who ape the lifestyle of some idealised peasantry, Marie Antoinette-style.

So much pressure is on for Lise Davidsen to be the next Kirsten Flagstad or Birgit Nilsson, but the question has to be asked: is this just The Voice - a big "just" when a dramatic Wagnerian soprano is at stake - or The Complete Artist?

"New Dawns" as a title smacked a bit of trying to shoehorn a fairly straightforward Aurora programme in to Kings Place's Nature Unwrapped series. Only Dobrinka Tabakova's short and sweet Dawn made the link, and that was old, not new (composed in 2007). Maybe the dawn intended in Mozart's C minor Piano Concerto, K491.

It’s Beethoven with everything for 2020, the composer’s 250th anniversary year. But the London Philharmonic has devised an interesting approach for their Beethoven-themed programming. “2020 Vision” is a series of concerts which couple a work by Beethoven, or occasionally one of his contemporaries, with a piece written 100 years later and another written 200 years later.

Not even the unengaged or terminally weary could have dozed through this. Pianists have often commented how the Wigmore Steinway is too big for the hall, and most adjust accordingly. Not 27-year-old Italian Beatrice Rana, but not in the bad way of interpreters who simply bash (there was a young Ukrainian here recently who did just that).

Three concerts, three fascinating venues, seven world-class young(ish) players, an audience of all ages and a musical storytelling event for 200 schoolchildren: this is how to launch a festival with outwardly modest means.