The term “snow day” may have been coined with the most recent spate of cold winters in mind, encapsulating the modern-day, not to mention British, consequences of winter weather, but Hendrick Avercamp’s Seventeenth-century “snow day”, painted in around 1615, is a hearty reminder that nothing changes. And just as today we tend to fall into two camps, those determined to enjoy the weather and those irritated by the disruption, Avercamp’s scene on a frozen Dutch river depicts all types, ages and temperaments.

For seasonal fare that’s also profound, few pre-Christmas weekends in London can ever have been richer than this one. Hearts battered by John Adams’ nativity oratorio El Niño last night, one hoped for more soothing medicine this afternoon in the naïve and sentimental music of Berlioz’s sacred trilogy, first performed some 145 years earlier.

John Adams’ millennial conflagration of musical poems about childbirth, destruction and the divine made manifest not only served as a seasonal farewell and a transcendent epilogue to the Southbank’s year of 20^th-century music The Rest is Noise; it also stood pure and proud as a masterpiece.

There's something about the partnership of Vince Clarke and Andy Bell that seems to automatically generate sweetness. This collection of half originals and half Christmas classics is really quite dark, quite a bitter look at winter and the Christmas spirit – but somehow, Clarke's fizzing synth work and Bell's ever-distinctive voice give it all a sugar frosting, just like pretty much all of their work.

Few were surprised this week, when Susan Boyle revealed she had been diagnosed with Asperger’s. Some used this knowledge as an opportunity to have another go at Simon Cowell's and his role in putting her in the spotlight. But the brittleness so apparent in Boyle’s inter-personal interactions also reflects the problems many perceive in her style of music. For instance why, instead of making you feel fuzzy and warm, Home for Christmas simply leaves you feeling a little uncomfortable.

Nebraskan singer-songwriter Conor Oberst – AKA Bright Eyes - was a famously contrary soul when he first broke through. This greatly benefited his music, if not his commercial potential. Rather than become your typical indie-acoustic whiner, he embraced a multiplicity of styles, an obtuse, upset, punk-electronic filtering of American roots music.

This year, even legendary punk rockers Bad Religion released a Christmas-themed album - as if to underline that, for just about any recording artist, it’s not a matter of "if" but of "when". Christmas Songs only shares one track with Kelly Clarkson’s Wrapped in Red - two if you’re counting the bonus tracks - but I can imagine them nestled comfortably together in some completist’s iTunes folder, alongside every other version of “White Christmas” committed to tape.

There's an impressive guest list on Joshua Bell's Christmas disc. Vocalists include Renée Fleming, Plácido Domingo, Gloria Estefan and Alison Krauss. Cellist Steven Isserlis pops up, along with Chick Corea. Sony would have us believe that this is meant to sound like a spontaneous seasonal shindig held in Bell's Manhattan apartment, though the range of recording venues suggest that many of the performances must have been phoned in.

Pantomime is one of the great festive traditions and the version of Dick Whittington envisaged by John Bishop in this one-off comedy drama checked off every single one of the clichés. Taking a writer’s credit alongside Jonathan Harvey of Gimme Gimme Gimme fame, the Liverpool comic drew on his experiences on regional stages near the beginning of his showbiz career in pulling together the script.

Over the past 29 years, annual screenings of the TV adaptation of Raymond Briggs's 1978 picture book The Snowman have become an integral part of Christmas. Now, on the 30th anniversary of its first broadcast, the original has friendly competition from The Snowman and the Snowdog, a new animation featuring the be-hatted, smiling fellow.