Held annually every Holy Week, Kraków’s Misteria Paschalia is one of the continent’s most vibrant early music festivals. With an increasing focus on international collaborations, the 2018 edition welcomed Edinburgh’s Dunedin Consort as artists in residence, and their director, Professor John Butt, as Resident Artistic Director.

Launched into an already crowded choral scene in 2016, the professional choir Sonoro has marked its second birthday with the release of a debut CD. Last night was the launch concert, featuring items selected from the disc. On the evidence of both CD and concert Sonoro is a very welcome new addition to the roster of excellent London choirs, with its own distinct sound and ethos.

This was an evening of silence and shadow, a chill, moonlit meditation, where each sound demanded forensic attention. Enter the world of Luigi Nono and his admirers.

Make Arvo Pärt the bulwark of any concert and you can surprise as well as delight the full house he’s likely to win you with the rest of your chosen programme. This was a beautifully planned showcase for the Estonian Philharmonic Chamber Choir under its Latvian conductor Kaspars Putniņš, poised between the introspective and the extrovert both within the all-Pärt first half and what followed after the interval, where Estonian composers no less precious than Pärt to their compatriots framed the late Jonathan Harvey’s mesmerising seraphics.

Faced with yet another new work premiered by the Borodin Quartet, Shostakovich asked a daunting question: "but have you played all of Haydn's quartets yet?". Of course they hadn't, and felt justly rebuked.

This time of year lots of choirs give lots of Christmas concerts that are more or less the same: traditional repertoire perhaps sprinkled with a few novelties. But Tenebrae’s concert on Saturday at Kings Place broke the mould with some imaginative programming, giving us just enough Christmas but no more, and some quite stunning choral singing.

Peter Phillips and the Tallis Scholars have nothing to prove when it comes to Renaissance choral music – few ensembles can match them for clarity, balance and purity of tone. They are perfect guides, then, for this tour of the late Italian Renaissance, an era, as they demonstrate, of surprising musical variety and fast-changing tastes.

Reformation Day, Luther 500 - in Proms terms it can only mean Bach, the alpha and omega of music, flourishing roughly two centuries after the Wittenberg Nightingale nailed his 95 theses to the church door.

From sunset to sunrise, across aeons of time, usually flashes by in Schoenberg's polystylistic epic. Not last night at the Proms: Simon Rattle is too much in love with the sounds he can get from the London Symphony Orchestra - here verging on a Berlin beauty - to think of moving forward the doomed love of Danish King Waldemar and the beautiful Tovelille.

So it was Rachmaninov night at the Proms, but with a difference: a trinity of works sacred and profane, the first two introduced by the Latvian choir due to perform the third singing harmonised Russian Orthodox chants of the kind on which the composer based so many of his supposedly late-romantic inspirations. That was bound to enliven a bog-standard programme of the Third Piano Concerto and the Second Symphony.