One miracle of musical performance is that a work you’ve loved for years can be revealed as never before in an outstanding interpretation. That happened to me last week at the New Ross Piano Festival when 22-year-old pianist Magdalene Cho turned us upside down in Bach’s Sixth Partita. It happened again last night when Peter Whelan and his Irish Baroque Orchestra hit 1788 with one of the three symphonic masterpieces Mozart composed in a single summer, the 39th.

Even in the 21st century, it may not take that long for an outlandish literary experiment to jump genres and become an established musical classic. In 2008, I enthusiastically reviewed a strange, poetic, almost Beckett-like novella by the writer and music critic Paul Griffiths.

His let me tell you reconfigures the 483 words that the hapless Ophelia speaks in Hamlet into a haunting, melancholy first-person testament of love, sorrow and (in Griffiths’s version, if not Shakespeare’s) dogged survival. 

Schubert’s Fifth Symphony is one of those pieces whose existence in the modern world hangs on the most tenuous of threads. After its posthumous premiere the score was lost for half a century before a set of parts resurfaced, and the work was saved for posterity. I’d hate to imagine a world without Schubert’s Fifth in it, and will never turn down a chance to hear it live, hence a trip to Milton Court to hear the Britten Sinfonia give it a cheerfully loving reading, as the finale of a programme that also featured Schubert’s inspiration, Mozart, and two contemporary pieces.

Kahchun Wong’s second Bridgewater Hall concert of the new season was partly an introduction to the Hallé’s artist-in-residence for 2025-26, Anna Lapwood. The star organist brought a new piece by Max Richter for organ, choir and orchestra and a recent one by Olivia Belli for organ solo – both on the theme of space travel.

High on the hill of fascinating New Ross in County Wexford sits its greatest treasure, the ruined 13th century Gothic beauty of St Mary’s. Unless you come at it from the east, its glories are concealed behind the working church which completes it and takes the place of the old nave, built in 1813 and “improved” twice later that century.

Last night’s concert at Kings Place was a programme of contemporary pieces – including several premieres – by horn superstar Ben Goldscheider and string quartet Brother Tree Sound, “curated”, as the current lingo has it, by young composer Ben Nobuto, whose high-spirited and invigorating music finished things on a high.

Rachel Helleur-Simcock’s first appearance with the Hallé after appointment as leader of its cello section was auspicious – she became the soloist in their performance of Elgar’s Cello Concerto in the season’s opening concert at the Bridgewater Hall (Truls Mørk having had to withdraw).

The Royal Northern College of Music was in celebratory mood last night for the opening of its new season, in a joint promotion with Manchester Camerata that marked the 50^th anniversary of the start of the RNCM’s Junior Fellowship programme.

Antonio Pappano and the London Symphony Orchestra last seared us in Britten’s amazing Violin Concerto, with Vilde Frang as soloist, on the very eve of lockdown in 2020. The work’s dying fall then was echoed by the spectral drift ending Vaughan Williams’ Sixth Symphony. This time Frang’s equal as the greatest of violinists, Janine Jansen, faced the daunting solo role fearlessly, and the riproaring end of  Shostakovich’s Tenth Symphony proved that this team is here to stay. 

Between bouts of that far from shabby, still shocking masterpiece Tosca, Royal Opera music director Jakub Hrůša went for fleshcreep: too little of Bartók's The Miraculous Mandarin – given a chorus, he could have done the half-hour ballet, not just the suite – and too much of a spooky thing in a big Dvořák cantata.