James Crabb is a musical magician, taking the ever-unfashionable accordion into new and unlikely places, through bespoke arrangements of a spectrum of pieces which brim with wit and inventiveness. This lunchtime concert with violinist Anthony Marwood was a sheer joy, as they together traversed a range of style and tone, richly entertaining a very decent Bank Holiday crowd in the Wigmore Hall.

It was a daring idea to mark Ravel’s 150th birthday year with a single concert packing in all his works for solo piano. Jean-Efflam Bavouzet knows them by heart, has bags of charisma and energy, so why not? I could give more than one reason, but the main problem was that while Bavouzet perfectly embodied Scarbo, the monster-Puck of Gaspard de la nuit, and other nocturnal flitters, he seemed careless with Undine and her watery companions, of which there were many.

There was a wonderful festal spirit at the Wigmore Hall last night, as the vocal ensemble Stile Antico ran through a Greatest Hits selection in celebration of their 20^th anniversary, in front of a packed and enthusiastic audience. The 12-strong group still boasts four founder members, but this was swelled to 10 for the final item, as a swarm of alumni joined in a beautiful rendition of Gibbons’ The Silver Swan.

When Giuseppe Torelli made the journey from his birthplace of Verona to Bologna in the late 17th century, the trumpet was still seen as something of a brash outsider, suitable for military displays but not for sophisticated music ensembles. Within decades, it would seem perfectly natural for both Vivaldi and Bach to write major works featuring the trumpet.

I came to Isata and Sheku Kanneh-Mason’s Wigmore Hall recital on Saturday armed with a certain degree of scepticism. Not about the siblings’ stupendous talent and technique – their manifold achievements speak for themselves – but about the popular idea that family connections make for closer, more cohesive music-making. 

Víkingur Ólafsson had something to prove at the Wigmore Hall. And prove it he did, even if, this time, his Goldberg Variations left a few features of Bach’s inexhaustible keyboard panorama at the edge of his pianistic picture. The much-loved Icelandic chart-topper had promised Beethoven’s final three sonatas for this concert. His last-minute reversion to the familiar Goldbergs – which he played on 88 occasions around the world last season after a supremely successful DG recording – had disappointed a portion of his vast fan-base.

Igor Levit is a master of the unorthodox marathon, one he was happy to share last night with 24-year-old Austrian Lukas Sternath, his student in Hanover. Not only did Sternath get the obvious stunner of two Prokofiev sonatas in the first half; he also had all the best tunes and phrases as the right-hand man, so to speak, in Shostakovich’s piano arrangement of his towering Tenth Symphony. The best, as in absolutely no holds barred, came at the very end.

To watch Mahan Esfahani play the harpsichord is to watch a philosopher at work. While there’s often playfulness and shimmering levity you can feel the thought behind each note. The Iranian-American’s passion for the harpsichord began when he was nine – the moment he heard it on a cassette his uncle gave to him when he was visiting Iran, he knew he wanted to spend his life devoted to the instrument. In a Guardian interview he once described it as the “posh, pretty boy in prison.

Last night was the first time I had heard the 12 Ensemble, a string group currently Artist-in-Residence at the Wigmore Hall, and I was very impressed, both by the standard of the playing and the enterprising programming. This gave regular audience-members a little of what they’re used to (a chunk of Brahms) and a decent portion of what they’re not.

After a week of illness, heading out into the Sunday afternoon cold and rain was not something I was overjoyed to undertake. But in the event this short Wigmore Hall recital by three young singers and their fellow student pianists was thoroughly cheering, sending me back into the mizzle with a spring in my step. Both in their repertoire choices and their delivery of those choices there was so much to like and I am glad to have been there.