The Castalian String Quartet is half what I remember, but only literally: while viola-player Charlotte Bonneton and cellist  Christopher Graves may have departed, their replacements, Ruth Gibson and Steffan Morris, more than earned their laurels in last night’s stunning programme.

I am proud – if surprised – to continue to be pretty much a lone voice in the wilderness singing the praises of the composer Guillaume Connesson (b.1970), whose substantial new string quartet “Les instants retrouvés” was heard at the Wigmore Hall on Saturday.

The distinctive silvery tones of the viola da gamba were eclipsed in the 18th century as music moved from intimate settings to the brasher acoustic demands of the concert hall. Yet for Liam Byrne, discovering the viola da gamba at Indiana University was a way both of channelling his own musical voice and of connecting to the influential early music movement dating back to figures like Arnold Dolmetsch in the early 20th century.

2023 is surely the year the performing arts reach peak "immersive", a word endangered by its own ubiquity. From Punchdrunk’s Burnt City to Danny Boyle’s The Matrix we are promised a swallowing-up by art. Kings Cross is the location for two visual and aural initiatives: David Hockney’s 3D Bigger & Closer at the Lightroom, and Sound Unwrapped at Kings Place, a year-long series of intimate, immersive events kindled by live performance.

Ryan Wigglesworth is a man of many talents. He has recently been appointed Chief Conductor of the BBC Scottish Symphony, but he is also a versatile opera conductor, and an operatic sensibility is clear in the musical personality he projects.

It was a rare treat to hear Yevgeny Sudbin’s piano artistry quite so close up. World Heart Beat Embassy Gardens is a new venue, in fact just in the process of being born (more about the venue lower down). In the room, with its seated capacity of just 120 on two levels, the sound is so clear and immediate, you could sometimes almost be inside the piano.

Ian Page’s “journey of a lifetime” with his Mozartists, taking the greatest genius year by year, lands us in 1773 with the adolescent Mozart's first durable crowdpleaser, the pretty-brilliant motet for soprano and orchestra Exsultate, jubilate (last night was its 250th anniversary). The boy wonder still needs annual support from his elders, though, and as usual we got more than just a sampler of what else was going on musically in that year.

Haydn and Mozart symphonies from John Eliot Gardiner and his English Baroque Soloists are bound, at the very least, to be high, lucid and bright. Last night the X-factor was there too, and trebled in a surely unsurpassable account of Mozart’s Sinfonia Concertante for violin, viola and orchestra by two of the world’s most communicative soloists, Isabelle Faust and Antoine Tamestit.

Dvořák: Symphonies 1-9, Legends, Slavonic Dances Bournemouth Symphony Orchestra/José Serebrier (Warner Classics)

Nicola Benedetti and Sir Mark Elder are both in the enviable position of being able to take audiences with them into music territory that might scare some away. So it was a gratifyingly near-capacity house that heard Szymanowski’s Second Violin Concerto last night as – on the first occasion they have worked together – they presented it to the Hallé audience.