Asked to choose five or ten minutes of favourite Berlioz on the 150th anniversary of his death (yesterday), surely few would select anything from his giant Requiem (Grande Messe des Morts). This is a work to shock and awe, not to be loved - music for a state funeral given a metaphysical dimension by the composer's hallmark extremes in original scoring.

Pianists most often cite Radu Lupu alongside Martha Argerich and Grigory Sokolov as the greatest. So it was hardly surprising to see so many top musicians in a packed audience, buzzing with expectation for the 73-year-old Romanian's most recent UK appearance with a conductor he respects, Paavo Järvi. Lupu appeared at Steven Isserlis's 60th birthday event at the Wigmore towards the end of last year, but before that hasn't been seen here since 2014.

With eyes swivelled towards who'll take over from Esa-Pekka Salonen as the Philharmonia's Principal Conductor in 2021, two of the strongest possibilities are to be found within the orchestra's masthead of associates.

Space is big – that seems to be the message of Unsuk Chin’s new oratorio Le Chant des Enfants des Étoiles. The work sets texts, ranging from the Baroque to the present day, concerned with space and scale. The work’s cosmic aspirations are reflected in its performing forces, a huge orchestra with augmented percussion, chorus, children's choir, and, for good measure, a suitably Gothic organ part.

You can't have too much Dvořák in a single evening, at least not when the works in question operate at the highest level of volatility and melodic abundance like last night's overture, concerto and symphony.

After Sakari Oramo's dazzling Sibelius rattlebag with the BBC Symphony Orchestra on the centenary day of Finnish independence, things weren't looking so good for Esa-Pekka Salonen and the Philharmonia at half time last Thursday (★★★). Then along came the Four Lemminkäinen Legends, an early Sibelius masterpiece teeming with invention and strangeness, long a Salonen speciality.

London orchestras do communicate with each other, sometimes at least, when it comes to programming.

The title of John Adams’s Naive and Sentimental Music is a bit of a tease. Read literally it promises – or threatens – unsophisticated mawkishness, though that is the last thing it delivers. But maybe it was this title, alongside relatively unfamiliar 20^th century repertoire, that kept the audience away. For whatever reason this was the worst attended main Prom I have been to for a long time – and what a shame, as it was also one of the very best.

It's a rare concert when nothing need be questioned about the orchestral playing. The usual nagging doubts – about whether any of the London orchestras has a recognisable sound-identity, or whether Rattle's swipe agains the two main London concert halls as merely "adequate" means players can't make a proper mark here – simply vanished.

A new work by Igor Stravinsky is always going to be a major event, so Sunday evening’s UK premiere of his rediscovered Funeral Song was hotly anticipated. The score disappeared after its first performance and was thought lost in the Russian Revolution, but the orchestral parts were rediscovered at the St Petersburg Conservatory in 2015, and, after a modern premiere at the Mariinsky in December last year, the work is now being performed around the world.