You can see the temptation.

“Hieronymus!” bellowed David Wilson Johnson from the Barbican Hall’s circle on Saturday evening. “Hieronymus Bosch!” Commissioned by Dutch radio for a big piece to mark 500 years since the passing of the Dutch painter in 1516, the German composer Detlev Glanert wrote a Requiem.

This family concert – “Total Immersion: Lift Off!” – was basically a small-scale rerun of this year’s CBeebies Prom, that one entitled “Off to the Moon”. The Prom had a space theme, to mark the 50th anniversary of the Apollo 11 moon landing, and this Barbican concert just came in under the wire, still in the anniversary year, even if the commemorative events from the date itself, back in July, now seem distant.

Boris Pahor is the oldest known survivor of the Nazi concentration camps. In this program, the 106-year-old recounts his experiences as a political refugee and prisoner to the Nazis during their rule in his native Slovenia. As a study of one individual, The Man Who Saw Too Much is a graceful attempt to itemise the totality of the Holocaust by viewing it through an especially enlightening lens.

Once again the whodunit becomes the whoforgedit in the newest installment of the Britain’s Lost Masterpieces series. Host and art historian Bendor Grosvenor introduces us to what is one of the most beautiful he’s ever seen: a Madonna and Child believed to have been done by Sandro Botticelli, one of the members of “painting’s Premier League”.

John Simpson remains the BBC’s longest serving foreign correspondent. Here, he returns to the biggest moment of his career. This personalised retelling of the collapse of the Berlin wall encompasses fond remembrance, factual detail and the confidence of retrospective analysis. And, the big BUT question is addressed: where are we now?

Half a billion dollars is what the top five most lucrative estates of deceased musicians earned last year. The figure represents the cunning work of a few people to turn “legacy” into its own immortal industry. To watch a program on this theme is to peek through the keyhole of a locked cabinet. How does the “RIP business” work? How much – so goes another question – are we really allowed to see?

The BBC put social and ethnic diversity at the heart of this Last Night programme. The concert opened with a new work, by Daniel Kidane, called Woke, and the first half was dominated by the music of black and female composers.

Let's be clear: this was a Prom of world-class works by English composers, not a conservative concert of English music. Politically speaking, Elgar was one of the few on the right, but how different inwardly, speaking through the poet Arthur O’Shaughnessy and singing with his own reminiscences in The Music Makers of timeless art that outlives the fall of empires and individual fates.

Time was, not long ago, when the very word “premiere” was enough to ensure a sizeable smattering of red plush holes in the Royal Albert Hall audience. It seemed people did not want to risk attending new works for fear they would sound ghastly. Any artform depends for its lifeblood on strong new creations and an audience for them; so it is excellent that this concert was the second in a matter of days in which the place was packed out for a Prom including brand-new pieces.