As the Parliament of the Autonomous Grand Duchy of Finland within the Russian Empire declared independence on 6 December 1917, Sibelius had his head down working on the third version of his Fifth Symphony, the one so hugely popular today. He tried to ignore the dark clouds of Russian revolutionary interference in an event he'd anticipated for so long, composing no music of public celebration.

Only connect.

A legendary name and the chance to change the face of a cruel condition set the stakes high for what Prince Charles, in his programme preface for this Southbank spectacular, told us was called the Stop MS Jacqueline du Pré Tribute Concert.

Hyperbole be damned. The most iconic English classical recording was made on 19 August 1965 in Kingsway Hall, London. Like Maria Callas singing Tosca, Jacqueline du Pré simply was the Elgar Cello Concerto once the LP hit the shops in time for Christmas. Proud, diffident, exuberant, reserved – all those words the English once used of themselves became freely associated with both performer and work, the two almost indistinguishable from one another in popular imagination.

This adventure began in 2014 when my cello turned 300 years old. As birthdays go, it was a big one, so for me it felt important to do something special to celebrate. Why not imagine a journey back to Rome where it was made?

Guy Johnston: Tecchler’s Cello - From Cambridge to Rome (King’s College Cambridge)

Three “little greats,” as Opera North might put it, proved just the thing to cleanse the palate in a quiet place the afternoon after the LSO/Rattle Stravinsky trilogy.

Mompou: Fêtes Lointaines Steffen Schleiermacher (piano) (MDG)

Anyone who missed the opening Southbank concerts of the Chinike! Orchestra, figurehead of a foundation which aims to give much-needed help to young Black and Minority Ethnic (BME) classical musicians, could and now can (on YouTube) catch snippets of the players in action on the splendid documentary about young cellist Sheku Kanneh-Mason.

Many other top Estonian musicians, performing among other works 30 premieres of music by their compatriots in just over a week, might have been equally deserving candidates for the lead image. But perhaps an even more appropriate image might have been a black rectangle. For the life-changing event of the 38th Estonian Music Days, in my experience, was the nearly two-hour darkness behind a blindfold - the experimental heart of this year's festival theme, "Through the Dimness" ("Dusk" might be a more effective translation).