Soprano Sabine Devieilhe (pronounced Devielle) and pianist Alexandre Tharaud are both well on their way to becoming "Monuments Nationaux" in France. When their most recent album Chanson d'Amour (Erato/Warner) was launched in September 2020 – the title is a nod to Fauré rather than Manhattan Transfer – the radio station France-Musique more or less cleared its schedule for an entire day, with no fewer than half a dozen separate programmes to mark the release.

This programme was a bit of a calling card from the Carducci Quartet. They have previously recorded all three works, and the three composers, Haydn, Shostakovich, Beethoven, clearly play to their strengths. Add to that a modest running time, the Shostakovich Seventh and Beethoven op.

The Edinburgh-based Dunedin Consort are regular visitors to the Wigmore Hall, and their concert on Saturday night was greeting by a full house.

In the final concert marking the Wigmore Hall’s 120-year anniversary, soprano Gweneth Ann Rand and pianist Simon Lepper gave a programme of songs curated by Rand, titled "An Imperfect Tapestry".

Sometimes the big musical institutions follow off-piste trailblazers. John Gilhooly of the Wigmore Hall has been a hero in lockdown year, keeping musicians paid up and performing to audiences live or via livestream (or both); but it was clarinettist Anthony Friend who pointed another way forward in the new environment late last summer with his series of chamber music concerts in Battersea Park Bandstand.

As András Schiff remarked from the stage early in this fairly remarkable evening, his usual audience knows he’s not about to play Rachmaninov. The idea for this concert last night and his return visit today, is that we turn up not knowing exactly what we will hear, beyond the name of a composer or two. He has a point. Why should pianists have to decide on every detail of their programmes two years in advance, sometimes more? It’s not an orchestra that needs to hire music and book a conductor.

Last time I was in a Wigmore audience for a Sean Shibe recital, his electric-guitar second half had many regulars fleeing the hall (he later said that the amplification had been meddled with – it was too loud, though the work in question, Georges Lentz’s Ingwe, was always going to be a stunner).

Wigmore Hall does not dish up a great deal of contemporary music, preferring a menu of mainstream chamber music. But this programme by the Nash Ensemble offered a different kind of mainstream: within the world of contemporary music this was a middle-of-the-road offering.

What comes to mind when you think of Brian Elias? The violence and humming, background threat of The Judas Tree, his score for Kenneth MacMillan’s brutal final ballet?

The baroque music ensemble Arcangelo have been around since 2010 but I hadn’t heard them before this pair of concerts streamed from Wigmore Hall in the last week. But what I heard has certainly encouraged me to seek out more – and they have quickly built up a large discography ready to be tucked into.