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A powerful piano and a tendency towards fortissimo dynamics disappoints at this recital of baroque piano transcriptions.

It is a sign of the times that a celebrated Bach interpreter like Angela Hewitt should have begun her recital with a series of arrangements of Johann Sebastian’s music.

The Vienna Philharmonic under Lorin Maazel brought a superb performance of Bruckner’s mighty Eighth Symphony to the penultimate night of the Proms, after a selection of Bach organ works from Klaus Sonnleitner.Clichés abound in writing about Bruckner symphonies. One which cannot be escaped, however, is the necessity for an absolutely solid grasp of long structure.

If Benjamin Grosvenor were a wine, his tasting notes might read something like: “an outstanding early vintage, this is already a fine, well-balanced red, with subtlety of flavour. Can be quaffed now though should mature exceedingly well.

The more you read about music, the more you notice the word “authenticity” cropping up annoyingly frequently. The great raging musical arguments of the late 20th century still burn; performers, listeners, even composers find themselves having to take up quasi-moralistic stances on gut strings, vibrato, and whether trills should begin on the upper or lower note.