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A memorable evening of superb music-making at the Royal Festival Hall, illuminating two well-known Vaughan Williams scores and shining a light on a seldom performed rarity.

It was especially effective to hear the line “One ever hangs where shelled roads part” with the vast hanging crucifix with its portrait of Christ dominating the scene behind.

Not a seat to be had for the BBCSO’s thrilling Proms performance of Mahler's Resurrection Symphony. 

Positioned at the heart of St Paul’s Cathedral, Rutter took to the stage to perform a sold out concert dedicated to his life as a composer. 

Orient meets Occident in three performances of English works conducted by the Japanese maestro Tadaaki Otaka.

This celebration of Tavener's music showed the extraordinary depth and breadth of his compositions. 

On the night of 29 December, 1940, after a brief respite over Christmas, German bombers roared back over Britain. They dropped numerous incendiary bombs on the City of London, causing massive destruction, loss of life, and uncontrollable fires that raged for days. Miraculously, St Paul’s Cathedral survived the onslaught intact, even as much of the surrounding neighbourhood was reduced to rubble.

November continues to be a month of poppy art, despite Philip Larkin’s derisory account of “Wreath-rubbish in Whitehall”. As the only flower to survive the ravished soils of the trenches following the First World War, the poppy is replicated in the form of a paper badge to be worn yearly in commemoration of 11 November, the Armistice Day of 1918.

A work scheduled to last nearly two hours could be excused for starting with a long slow build up, but Havergal Brian’s massive Gothic Symphony (the longest symphony ever composed) bursts onto the scene with a brisk and bustling march-like flourish, contrasted briefly with a delicate violin solo that reminds us that this is very much an English composition.

Dimanche 7 juin 2015, le Royal Philharmonic Orchestra et le Bach Choir donnaient l'oratorio Elias de Mendelssohn au Royal Festival Hall, sous la direction de David Hill. Une grosse déception : pas d’émotion et pas de sens du sacré.