If Omer Meir Wellber is making a bid for Andris Nelsons’s old music directorship in Birmingham, he could hardly have signalled his intentions more audaciously. This concert began with Wagner’s Lohengrin Prelude and ended with Brahms’s First Symphony – basically a surgical strike into the heartlands of Nelsons’s repertoire. And as soloist, he had the Latvian violinist Baiba Skride – an artist who was introduced to Birmingham by Nelsons and who appeared with the CBSO on disc and in concert throughout Nelsons’s tenure.

Nelson Goerner has settled rather gloriously into being a musicians’ musician. An artist of this calibre should be selling out the Wigmore Hall – but it wasn’t his fault that yesterday was Monday, and the pianophiles who turned out to hear him were rewarded with a rich and satisfying programme.

If you were one of the world’s most famous pianists, you’d surely want to explore the masterpieces among Lieder with the great singers. Having chosen less than wisely for Schubert, as some of us thought, Mitsuko Uchida has now found a powerful voice for Schumann, that of German soprano Dorothea Röschmann: opulent, many-hued, maybe a size too big for the fickle Wigmore Hall acoustics but always impressive.

A journey into dreams through songs from Dowland to The Kinks; a Swiss director who, Covent Garden’s Director of Opera Kasper Holten assures us, is “one of the most important European theatre artists”; a Norwegian chanteuse who, I assure you, is a performer of real originality. All that should add up to something just a little bit extraordinary, shouldn’t it? Sadly not. What I saw last night was the kind of thing I’d shrug off having chosen at random from offerings at the Edinburgh Fringe.

Who knew that the wisdom of crowds could be quite so fickle or so fallible? This superb recital by the American violinist Leila Josefowicz and pianist John Novacek was played in front of a Wigmore Hall only about a quarter-full. Josefowicz, returning to the Wigmore after five years, wasn't ruffled in the slightest. After all, a bigger date awaits her in just one week's time: next Thursday she is to give the world premiere of a new work by John Adams with the New York Philharmonic, for which Avery Fisher Hall is already close to sell-out.

The brothers Erik, Ken, and Mark Schumann founded the Schumann Quartet in 2007 and it might well have been an all-family affair had the cellist’s twin sister chosen to switch from violin to viola and join them. The Schumann brothers are of German-Japanese heritage – an interesting mix of temperaments – and perhaps because of their sister they were drawn to a female becoming the fourth among equals.

Sir Simon Rattle wants you to hear Das Paradies und die Peri. He is convinced that Schumann’s oratorio is one of the great undiscovered masterpieces of the Romantic era. To that end, he has led performances with the Berlin Philharmonic and an all-star cast, and has now brought that cast to London to convert the Brits.

This year’s Palme d’Or winner at Cannes, Turkish master Nuri Bilge Ceylan’s Winter Sleep (Kiş Uykusu), is a monumental film. Not merely in its scale – though at 196 minutes, it certainly clocks in on that front – but in its emotional heft. It’s like one of the great Russian novels, and in his seventh feature Ceylan shows the influence of that country’s culture more strongly than ever (remember the direct references to Andrei Tarkovsky in the wintry Istanbul of Uzak, his first prize-winner at Cannes back in 2003?).

The Melbourne Symphony Orchestra’s Edinburgh Festival debut was the most telling example yet of the 2014 festival’s disregard for conventional concert programming. A programme that began with Strauss’ Don Juan and Four Last Songs could easily have settled into a comfortable evening of large scale late romantics, but instead turned on its heel to dip into Schumann’s Cello Concerto before concluding with Percy Grainger’s riotous The Warriors.