All aboard the chrome locomotive for composer-conductor Oliver Knussen’s annual magical mystery tour. You may notice rather few fellow passengers in the Albert Hall; that’s a given with this event (though the Proms could have thrown in and advertised one of Olly’s Top 10 OTT Favourites – I’ve heard him proclaim them - to drum up more trade). You may also find rather too many stops for change of crew. But so long as you sit forward to catch the results of his famously acute hearing, second only to Boulez’s, you’ll get something out of a long, unsexy ride.

One of the weirdest things about the Proms's "weird concerto" theme is that the concertos so far haven't been all that weird. Piano. Violin. Cello and violin. Cello, piano and violin. Pretty familiar stuff. Finally last night we got something bona fide off the wall: a concerto for string quartet from French rebel Pascal Dusapin. Was it weird enough?

The world tour that the Proms offer this year touches down in no more fascinating musical country than Hungary, with three of its great composers, Liszt, Bartók and Kodály brought into the Albert Hall last night by the ever-stimulating Vladimir Jurowski with his hot gypsy band, the London Philharmonic Orchestra.

Well, that's a first. With the final upbeat of the rustic second movement, Sir Roger Norrington Bugs Bunnied the audience. He turned to us with cheek in his eyes, a "That's-all-folks!" smile plastered on his face, brandishing his baton for a carrot, as if he and the Stuttgart Radio Symphony Orchestra had (yet again) just outwitted Elmer Fudd. The thought that Norrington's Mahler Nine would make me laugh had crossed my mind before the concert. But I had no idea that I'd be chuckling in a good way.

You can't say this about many works but Verdi's Requiem really is as snug as a bug in a rug in the Royal Albert Hall. In which other space could the three moon-like bass drums orbiting the back of the orchestra not look ridiculous? Last night's performance seemed to have all the hallmarks of a classic. Great cast. Three of Britain's great amateur choirs. One of the most talented conductors of his generation. All Bychkov needed to do was mix and stir. Right?

If much of the Austro-German repertoire is about hiking to a spiritual peak, the Franco-Spanish is about diving down to the orchestral depths. The music of Ravel, Debussy and Falla has beefy shoulders and powerful legs. But the vast watery expanse of the Royal Albert Hall is hard-going even for these expert paddlers. I've never seen anything by these composers that hasn't drowned in this space. So I came to last night's concert hoping that the BBC Philharmonic's new Spanish conductor, Juanjo Mena (he takes over officially next season), would show us all how to ride out these waters.

It was partly as penance for having missed the previous evening's Czech festival that I arena-prommed for last night's Moravian finale, to be happily strafed by the nine extra trumpets of Janáček's Sinfonietta.

The Father, the Son and the Holy Ghost materialised yesterday. And I'm not talking about the transcendental appearance of the Holy Trinity of News International. I'm talking Proms. Last night's two saw a geriatric performance of the Brahms double, a brand spanking new way through an old Rite and a transfiguringly spectral invocation of Schubert's Quintet.

Never has a French invasion of these shores been quite so welcome. The two-day siege currently being staged in the Royal Albert Hall by Myung-Whun Chung and his Orchestra Philharmonique de Radio France opened last night with patriotic fervour in an all-French programme. Even Beethoven’s Triple Concerto began rolling its “R”s when cajoled into life by the dashing Capuçon brothers. While their strongly accented interpretation may not have been to everyone’s taste, as an exhalation after the meditative intensity of Messiaen and Dusapin it was perfectly judged.

From Middle-earth, middle England and Nibelheim they came, adventurers anxious to acclaim an Unjustly Neglected British Masterpiece. Praise, or curse, their persistence in steering the BBC and the Albert Hall back to Havergal Brian's biggest work after 31 years; hail by all means conductor Martyn Brabbins's flexible command of nine choirs and two orchestras. All I can say is that before I sat through nearly two long hours of continuous music last night, I proclaimed that this was exactly the sort of thing the Proms should be trying.