The Melbourne Symphony Orchestra’s Edinburgh Festival debut was the most telling example yet of the 2014 festival’s disregard for conventional concert programming. A programme that began with Strauss’ Don Juan and Four Last Songs could easily have settled into a comfortable evening of large scale late romantics, but instead turned on its heel to dip into Schumann’s Cello Concerto before concluding with Percy Grainger’s riotous The Warriors.

Temple Music's enterprising song series, directed by pianist Julius Drake, brought a welcome rarity to Middle Temple Hall last night. Schumann's Myrthen, the garland of twenty-six songs dedicated to his intended bride Clara Wieck, are seldom heard in a complete performance. Even with an interval in the middle, they serve as a reminder of the power and sheer emotional range of Schumann's music. These songs were almost certainly the catalyst which set in motion the composer's miraculous 'Liederjahr' of 1840, in which he wrote virtually 140 solo songs and duets with piano.

In the year of his 85th birthday, and his 60th season as a conductor, Bernard Haitink is hardly taking it easy, with concerts with various orchestras around Europe and the US including an appearance at the Proms. In this visit to London with the Chamber Orchestra of Europe he may not have been bounding up the steps to the stage, but his powers with the baton remain undimmed.

"Finally,” said Sir Simon Rattle, “I get a chance to say thank you. We have had forty years working together without an argument." The Royal Philharmonic Society was awarding an Honorary Membership to Martin Campbell-White, Rattle's agent. Campbell-White, who has been a guiding influence on the conductor's career since the 1970's made a rare appearance on stage, as he became the first artist manager ever to win this award in the RPS's 201-year history. 

With tickets only a couple of pounds more than screenings in the Ciné Lumière, back-to-back – sometimes overlapping - concerts by world-class pianists of all ages, and a lively roster of weekend events around the recitals, what more could you ask from the French Institute’s two-and-a-half day festival? Well, perhaps a better and bigger Steinway. The one that can now transform the cinema into a concert hall, and instigated the first It's All About Piano! weekend last year needed bags of restoration, and given the obstinately dull middle register you have to ask, was it worth it?

Now this is what I call an orchestra showing off: you unleash four of your horns on the most insanely difficult yet joyous of sinfoniettas for accompanied horn quartet, Schumann’s Konzertstück, and later let the other four light the brightest of candles on the enormous, rainbow-dyed cake of Beethoven’s Eroica Symphony. How they battled it out between them for who did what I can't imagine, but both groups covered themselves with glory.

This was the first of the ten concerts in the Temple Music Society's autumn/winter season. The Society uses two venues right in the heart of London, Temple Church and, as last night, Middle Temple Hall, most famous as the site of the first performance of Twelfth Night in 1602.

So we glide between seasons from one communicative diva giving her all in a vast space to another casting spells in intimate surroundings. While Joyce DiDonato, not perhaps one of the world’s great voices but certainly a great performer, was captivating the Proms multitudes on Saturday night, the Wigmore Hall’s concert year sidled in with Bryn Terfel and Simon Keenlyside, no low-key singers.