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Despite the big Spanish beasts like Rodrigo and de Falla, it is a small work by contemporary Mexican composer Gabriela Ortiz that packs the biggest punch in this programme.

Sean Shibe impresses alongside the Royal Philharmonic Orchestra in a programme of nimble works at the Cadogan Hall. 

Thierry Fischer led The Cleveland Orchestra in works of Bizet and Debussy flanking Rodrigo’s Concierto de Aranjuez with Pepe Romero.

Xavier de Maistre gave a stunning performance of the Concierto de Aranjuez in the version for harp and orchestra, plus Ligeti and Tchaikovsky's ultra-Romantic Manfred in Belgrade.

In a relatively traditional programme, the Australian Chamber Orchestra reach the heights thanks to soloist Slava Grigoryan (on guitar), and a scintillating performance of Beethoven's Symphony no. 7.

Tonight's concert featured an international array of artists, but was held together with a heavy dose of Spanish flavour.

The Royal Northern Sinfonia directed by Bradley Creswick and featuring the guitar soloist Craig Ogden offer an enterprising mixture of works and styles.

A joyful concert by the Manchester Camerata conducted by Gábor Takács-Nagy with Craig Ogden in music by Rossini, Chabrier, Rodrigo and Beethoven, with a few surprises along the way.

A fabulous Three-Cornered Hat followed by a ravishing Concierto de Aranjuez is side-tracked by an enigmatic El Amor brujo.

Miloš Karadaglić plays his debut at Colston Hall with Brussels Philharmonic under Michel Tabachnik. 

The Orchestre Symphonique de Montréal’s matinee concert “Amor!” was a welcome excursion, sweeping the audience off through the colourful musical tradition of warm, sunny Spain.

The London Philharmonic give a revelatory account of Tchaikovsky's “Pathétique” Symphony, enhanced by an impromptu lecture from Vladimir Jurowski. 

In an engaging German-Scots accent, RSNO first violinist Ursula Heidecker Allen promised the pre-concert talk audience an evening of sunny Mediterranean moods. Time being a factor in these very worthwhile 25-minute, capacity-crowd events, she addressed only the programme’s two Respighi pieces, mentioning that he was a pupil of another programmed composer, Martucci.

After a series of Pops concerts featuring John Williams’ film scores, the Dallas Symphony Orchestra returned to standard classical fare this weekend with Canadian guest conductor Julian Kuerti. Debussy’s Ibéria never really got off the ground, but Mr Kuerti and the DSO had better luck in music by Joaquín Rodrigo and Prokofiev.

Picture the scene: Dunbar Parish Church nearing the end of major renovation. Looking heavenward, one sees two RSJ-type structures which appear to have facilitated the removal of all impediments to vision and light, the latter refracted through stained glass windows. In one corner of of the resulting square, facing the opposite corner, sit the Scottish Chamber Orchestra.

It seems unfair to label a young conductor a 'discovery', especially since most young conductors labour tirelessly for many years prior to achieving wider recognition. But that's what Daniel Cohen was for me: a discovery, and a very pleasing one at that.