Mozart’s early violin concertos are precociously well-tailored and full of fun ideas, but are they “teenage masterpieces”, as Julia Fischer asserts? That special honour goes to the likes of Mendelssohn’s Octet and the most famous of Schubert’s 1815 songs.

It is taken for granted today that Paganini is almost a God-like figure for violinists. After all, he epitomises the ultimate virtuoso figure, both as someone whose technique outshone (so we are told!) every other player of his time, and who oozed charisma.

Handel: Six Concerti Grossi Van Diemen’s Band/Martin Gester (BIS)

At last! The eagerly awaited first opportunity in the new 2021-22 Belfast concert season to catch up with the Ulster Orchestra’s Chief Conductor, Daniele Rustioni has arrived.

Two men trade licks: one of them delves into the heart of the blues, a potent dose of the boogie, the medicinal music of the Mississipi Delta. The other with a mournful voice and violin draws on the equally stripped-down and drone-inflected roots of Southern Italian tradition.

The duo partnership between violinist Esther Yoo and pianist Yekwon Sunwoo is still at a very early stage.

There should eventually be a plaque on the outside of the Fidelio Orchestra Café in Farringdon, to the effect that London’s musical life after lockdown re-ignited here. And how, in early July, with Steven Isserlis exuberantly stepping up to play Bach before a rapt small audience.

The Fidelio Orchestra Café is where you go for electric-shock and deep immersion therapy from the greatest of musicians.

So Ida has left us – a legend has departed. What a violinist! What a woman! Magnificent, unique, incorrigible – she was a law unto herself.

Three deep-veined masterpieces by two of the 20th century's greatest composers who just happened to be British, all fading at the end to nothing: beyond interpretations of such stunning focus as those offered by violinist Vilde Frang, conductor Antonio Pappano and the London Symphony Orchestra, these works could ask for nothing more than intense silence from the third point of what Britten called the magic triangle with composer and performers - the audience.