Standing ovations on the less-than-passionate South Bank can have a dutiful, grudging quality. However, I’ve seldom heard more heartfelt ardour at the Royal Festival Hall than the acclaim for Iván Fischer and the Budapest Festival Orchestra last night. Rightly so? Beyond all doubt.

Shortly before his death, Rachmaninov proposed recording the two-piano version of his swansong Symphonic Dances with Vladimir Horowitz. A curse on that RCA executive who turned the offer down. What amazes is how much pianistic magic can make up for the orchestral wizardry of the more familiar incarnation. The Kolesnikov-Tsoy duo is the one to redisover it now, and they did the same for Mikhail Pletnev’s recreative genius in music from Prokofiev’s Cinderella.

Brett Dean’s opera Hamlet will play at the Bavarian State Opera in Munich in June: the next stage of an acclaimed progress that began at Glyndebourne in 2017. Now on the last stretch of his three-year stint as composer-in-residence with the London Philharmonic Orchestra, the prolific and versatile Australian – formerly a violist with the Berlin Phil – evidently still has warring royal families on his mind.

What a manifesto against those in power who seem determined to knock the UK off its hard-won classical music pedestal: hundreds of young choristers and instrumentalists of two fabulous orchestras in a week-long celebration of innovative programming and presentation. Any politician attending – I’d like to think there were a few, but I doubt it - would have been fired up to devote every effort in support of British youth and music

Anna Clyne’s engaging First Person here led me to two of her works in a Philharmonia rainbow. She curated a woodwind-based gem of a 6pm programme of works by four women composers, herself included, and her Clarinet Concerto could only gain from two other live wires, soloist Martin Fröst and conductor Pekka Kuusisto, the first time I've encountered the violinist in that role. Ultimately it was his way with two masterpieces by Tchaikovsky and Bernstein that stole the show.

Collaboration fuels a lot of my music – I love the interaction that takes me outside of my natural tendencies – it’s a source of inspiration and an opportunity to see my own music and creative process through a different lens.

This longest, wackiest and most riskily diverse of Third Symphonies became Esa-Pekka Salonen’s personal property during his years as the Philharmonia's Principal Conductor. His successor, Santtu-Matias Rouvali, has (in)famously said he’s not interested in Mahler. Two of the orchestra’s most distinguished visitors, Jakub Hrůša and Paavo Järvi, certainly are, so after Hrůša’s blazing Second, hopes were high for Järvi’s Third.

It’s almost 40 years, but I still vividly remember the excitement of hearing Suzanne Vega for the first time. Singer-songwriters had always mattered to me, even though I grew up in the vacuous era of glamrock and insipid teen idols such as David and Donny. Nor did much of what followed speak to me. Suddenly, a new voice was getting airplay. I still have all the old vinyl.

I was really looking forward to hearing music from Thomas Adès’s ballet The Dante Project again, after being so excited by it at the Royal Ballet last year. By contrast, I was seriously disappointed by his opera of The Tempest in 2003, and hoped to like it better in a new symphonic version.

It all ended in great style, the 20th edition of The Transatlantic Sessions which closed out its tour at London’s Southbank Centre on Saturday. The line-up of musicians is, of course, an embarras de richesse: a house band led by Aly Bain, master fiddler and Scottish icon, and Jerry Douglas, dobro and steel guitar maestro, a Nashville legend whose mantelpiece bears the weight of 14 Grammys.