Brahms: Double Concerto, Piano Trio No. 1 (1854 version) Joshua Bell (violin and director), Steven Isserlis (cello), Jeremy Denk (piano), Academy of St Martin in the Fields (Sony)

His transformational Brahms series with the Scottish Chamber Orchestra may have been truncated by slipped disc troubles - he was much missed at Glyndebourne too - but Robin Ticciati is back with renewed energy and purpose. To judge from the brilliant but focused party they seemed to be having with Mozart's "Jupiter" Symphony last night, the players are as overjoyed as he is.

For a BBC Radio 3 lunchtime's hour of music, cellist Steven Isserlis's latest collaboration with that most individual of pianists Olli Mustonen went astonishingly deep. The surprises were equal in its two halves - the first a through-conceived programme of shortish late Schumann pieces plus a Schumann homage composed by Mustonen the composer for Isserlis and poetically embedded in the sequence; the second an interpretation of Prokofiev's late Sonata for Cello and Piano which scotched with high, focused drama the usual claims that this is a light and simple work.

Berlioz: Symphonie Fantastique, Rameau: Suite de Hippolyte et Aricie Swedish Radio Symphony Orchestra/Daniel Harding (Harmonia Mundi)

The Symphony of Psalms, which ended the Philharmonia’s Stravinsky series last night, is an indelible masterpiece, silencing the tired but persistent accusation that Stravinsky’s music is clever but cold. Abstract it may be, but suffused with an exile’s deep longing, spritual hope rising in harmonies of heart-stopping consolation until that final, revelatory C major chord. This performance (with three Swedish choirs) was of focused beauty and searing sincerity; I have never heard better.

The new season at the Royal Liverpool Philharmonic is focusing on revolutionaries. Bach, Beethoven and Berlioz all feature strongly over the next few months, as will Stravinsky and – where else but Liverpool? – The Beatles.

This year, Valery Gergiev is marking the Prokofiev 125th anniversary with concerts and projects in no fewer than 17 countries. Yet much of last night’s concert, the first of a three-night stint in London, made this whole endeavour feel more like a duty than either an imperative – or a pleasure. 

Stravinsky's music, chameleonic yet always itself, offers so many lines of thought. One struck me immediately with the descending, even harp notes and tender, veiled strings at the start of his 1947 ballet Orpheus last night: the inexorable beat of time is so often pitted against an expressive, human voice. Esa-Pekka Salonen, who started out as a rhythm and textures man, now gets the humanity too.

It’s just a short trip down the A1 from Edinburgh. But East Lothian – with its big skies, wide-open spaces, empty beaches and seemingly inexhaustable supply of quaint, historic villages – feels like a long, long way from the Scottish capital. Especially from the heaving, hectic Edinburgh of the August festivals season – which East Lothian’s Lammermuir Festival follows by just a couple of weeks, managing to maintain the momentum of artistic endeavour, but also providing a far more reflective, considered antidote.

Vladimir Jurowski began his latest season as Principal Conductor of the London Philharmonic with a typically bold and adventurous programme. At its core were the two Szymanowski violin concertos performed by Nicola Benedetti, and these were framed by Debussy’s Prélude à l'après-midi d'un faune and Bartók’s The Miraculous Mandarin Suite. The two concertos are stylistically distinct, the First impressionistic, the Second folk-influenced, so the pairings were apt.