Nearly 10 years ago to the day, an almost unknown 24-year-old Venezuelan conductor came a cropper when valiantly stepping in at short notice to conduct Sibelius’s Fifth Symphony at the Proms. (His name was Gustavo Dudamel. Whatever happened to him?) To pull off successful performances of Sibelius’s seven symphonies you need not just the ability to fire up players but the intellectual grasp to grip their elusive, fluid structures.

Ask opera-lovers to name their favourite one-acter and chances are the choice will be L’enfant et les sortilèges. Colette’s typically off-kilter fable of a destructive kid confronted with the objects and animals he’s damaged is set by Maurice Ravel to music of a depth which must have taken even that unshockable author by surprise. Ravel’s earlier L’heure espagnole, on the other hand, is much less likely to be top of the list.

Dziga Vertov’s narrativeless “city symphony” Man With a Movie Camera celebrates the modernity and energy of the post-Bolshevik Revolution metropolis – a composite of Kharkov, Kiev, Moscow and Odessa filmed over three years. Propaganda for the harnessing of machinery in the building of the Soviet Union’s future, it was much more besides – a masterpiece of avant-garde experimentalism and, fleetingly, an unexpected critique of the continuing class struggle.