Once confined to the concert hall, it’s a rare oratorio these days that doesn’t duck under the fence and sneak into the opera house. Bach’s Passions and most of Handel’s religious works have already made the transition, but this season it’s the turn of Haydn’s Creation. Rejecting the classic staged route, Garsington Opera have invited Mark Baldwin to choreograph it for his Rambert dancers. Add a trio of superb solo singers, Garsington’s own chorus and orchestra and artist Pablo Bronstein as designer, and you have an extraordinary hybrid conception.

Elgar orch. Donald Fraser: Piano Quintet, Sea Pictures English Symphony Orchestra, English Chamber Orchestra, Rodolfus Choir/Kenneth Woods (Avie)

Mozart: Serenade in B flat major, 'Gran Partita', Royal Academy of Music Soloists Ensemble/Trevor Pinnock (Linn)

“Choleric humour, pathos and kindliness are mingled in conflict," wrote Robert Simpson of Nielsen’s 1928 Clarinet Concerto. The work was written for a player with a complex character, full of contradictions. Last night’s soloist, Mark van de Wiel, the Philharmonia's principal clarinettist, gave a fluent performance of the work convincing on its own terms, portraying the protagonist as an introvert and anti-hero.

With Andris Nelsons now moved to pastures new, the City of Birmingham Symphony Orchestra is without a chief conductor, so for this performance in Saffron Walden (repeating a programme given in Birmingham) it worked with a guest at the podium, the young Israeli Lahav Shani. At only 27, he’s something of a prodigy, winner of the prestigious Bamberg competition and now making his debut appearances with the world’s great orchestras.

Unlike Schubert, Mendelssohn and Shostakovich, Mozart composed nothing astoundingly individual before the age of 20. That leaves any odyssey through his oeuvre, year by year – this one will finish in 2041, by which time I’ll be nearly 80 if I live that long – with a problem effectively solved by Ian Page and his Classical Opera in placing works by contemporaries of various ages alongside young Amadeus’s efforts.

We don’t often hear Semyon Bychkov in the core Austro-German repertoire. That’s a great shame, because the qualities that make his Russian music performances so special are just as valuable here: the dynamism and immediacy, the supple but propulsive phrasing, and, above all, the firm, guiding hand, exerting control without imposing restraint.

Great Estonian Neeme Järvi’s two conducting sons have had varying success in London this week. Kristjan did what he could with a dog’s dinner of a Britten Sinfonia programme on Wednesday night, while older brother Paavo presumably chose the three surefire masterpieces in his Philharmonia concert yesterday evening. The climax was Nielsen’s Fifth Symphony, one of the greatest of the 20th century; certainly there’s none to cap its sheer physicality.

Christian Gerhaher is a classy recitalist. His stage manner is debonair, his tailoring immaculate (although his hair can be unruly). His artistry focuses on key vocal virtues: directness of expression and beauty of tone. In this evening’s recital, an adventurous programme that switched between the Classical era and the Modern, that proved as valuable a combination in Schoenberg as it did in Beethoven.

It was rather like a trip home to see long-lost relatives. Ton Koopman took to the stage at the Liverpool Philharmonic with a broad smile. That smile both greeted the audience and, from what the audience could see, told the orchestra that they were on form. Or, on the other hand, it might have been encouraging them to try harder.