My final visit to the Proms for this year was a Sunday double-header of the RPO playing Respighi, Milhaud and Vaughan Williams at 11am and an evening concert of the BBC Symphony Orchestra and massed choirs in Gipps, Grieg and Bliss.

Forthright and upright, powerful and lucid, the frank and bold pianism of Leif Ove Andsnes took his Wigmore Hall audience from Norway to Poland (or rather, Paris and Majorca) with a final stop in France. A recital that began with two large-scale Norwegian sonatas – one a remarkable discovery – culminated in the ostensibly remote sound-world of Chopin’s 24 Preludes, part-written on the Balearic island.

After a too-much-too-soon debut disc, Lisa Davidsen has just rolled out the gold on CD with her great fellow Norwegian Leif Ove Andsnes in songs by their compatriot Grieg.

Could there be more tender, tactful or soul-nourishing signs of a new musical normal than these two 45-minute gems? We're nowhere near emulating the kind of live distance concerts members of the Bergen, Oslo and Czech Philharmonics have been offering for some weeks now, but it's vital to hope that we can at some point in the not too distant future.

Grieg: To the Spring – Violin Sonatas 1-3 Elena Urioste (violin), Tom Poster (piano) (Orchid Classics)

The Oslo Philharmonic finished its centenary tour of Europe at the Barbican last night with ample proof that it consistently delivers one of the continent’s most well-rounded, and richly satisfying, orchestral sounds. The Norwegians’ modern history may date to 1919, but their stellar reputation only emerged in the 1980s. Then Mariss Jansons, just like Simon Rattle over in Birmingham, shaped a supposedly “provincial” outfit into a regiment of world-beaters.

With Peter Gynt, the National Theatre’s “reboot” of Ibsen’s Peer Gynt, topping the drama bill at the Edinburgh Festival hotfoot from London, it was almost obligatory to find a space somewhere in the music programme for Grieg’s famous incidental music from 1876. But what would you put in the rest of the programme?

You should not die or be born on Svalbard, 1,985 kilometres above Norway's northernmost coast, and at 18 you work or leave for the mainland. Hunting is over, mining nearly so. Tourism, carefully managed, and Arctic research are the future; the Global Seed Vault is also here, and Syria has been the first country to take from it. Excursions outside the biggest settlement, Longyearbyen, are advisable only with an armed guard; dangerous polar bears outnumber inhabitants and occasionally crash into town.

British concert audiences now know and love one great Lithuanian, among the most communicative and individual conductors in the world today (note I don't even need to prefix "conductors" with "women"). On Saturday night, Lithuania's Independence Day passing untrumpeted save for a flag-wave or two, Mirga Gražinytė-Tyla introduced lucky Birmingham listeners to an ambitious orchestral tone-poem by another, Mikalojus Konstantinas Čiurlionis (1875-1911), the country's national hero among composers.

Music-lovers who normally balk at the sight of national colours in a concert hall would surely have forgiven the little Estonian flags – in stripes of blue, black and white – that waved happily at the conclusion of this Prom.