There is a tide in the best-planned festivals that comes in and out almost imperceptibly, bringing with it changes as the days move on. Put it down to the kind of perfect planning that discards any one rigid theme, and to forging long-term links with performers who don't just pop in for one concert.

Kudos, as ever, to Vladimir Jurowski for making epic connections.

A new William Forsythe ballet is quite a coup for English National Ballet; the choreographer hasn't made a piece in Britain in 20 years.

The London Philharmonic, conductor Vasily Petrenko and cellist Andreas Brantelid are just back from a tour of China, so they’ve had plenty of time to get to know each other. That affinity is apparent in the ease with which Petrenko (pictured below by Chris Christodoulou) marshals the orchestral forces, directly transmitting his trademark energy to every section.

"You have to start somewhere," Debussy is reported to have said at the 1910 premiere of The Firebird. Which, at least, is a very good "somewhere" for Stravinsky, shot through with flashes of the personality to come. The Symphony in E flat of two years earlier, however, is little more than a theme park of all the ingredients amassed in Russian music since Glinka forged its identity less than a century earlier.

Oliver Knussen and the Royal Academy of Music Symphony Orchestra here took us on a whistle-stop tour of Stravinsky, early and late. Few composers changed so in style so dramatically over the course of their career, so there was plenty of variety here. And just for good measure, a work by Stravinsky’s teacher Rimsky-Korsakov was included too, his Russian Easter Festival Overture. Both composers were excellent orchestrators, and Knussen’s programme proved ideal for showcasing the players’ talents.

Living-museum recitals on a variety of historic instruments pose logistical problems. Telling The Arts Desk about his award-nominated CD of mostly 19th-century works for horns and pianos, Alec Frank-Gemmill remarked on the near-impossibility of reproducing the experiment in the concert-hall: playing on four period horns would need several intervals, and colleague Alasdair Beatson would hardly be likely to have the four pianos in the same room.

Did Simon Rattle's return to the UK as Principal Conductor of the London Symphony Orchestra live up to the hype? Mostly, and when it did, the music-making was superbly alive. But it's vital to observe that another orchestra and chief conductor have been carrying on equally important and sometimes groundbreaking work in the same hall.

It was excellent, flesh-creepy fun back in 1978, when a young Simon Rattle conducted the Liverpool world premiere with the composer declaiming, but how well has Austrian maverick H(einz) K(arl) "Nali" Gruber's "pandemonium" for chansonnier and orchestra Frankenstein!! stood the test of time? One word: brilliantly. In the hands of the master, who not only conducted its bewitching chamber version but also kazooed, crooned, falsettoed and shouted his way through his absurdist fellow Vienneser H.C.

If you're not going to mention the imaginative genius of Stravinsky, Auden and Kallman within the covers of your programme, and the only article, by the director, is titled "Acting Naturally", then the production had better deliver.