Water surged through this Prom from first spray to last drop. But there was nothing damp or diluted about Edward Gardner’s helmsmanship as he steered the London Philharmonic Orchestra through a succession of liquid rhapsodies: three from the early 20th century; one from 1993.

Performers and public alike always treasure a beautiful and, in this case, remote setting for a music festival. But people matter as much as sense of place. When the players work together in various combinations for the duration, and tell you this is the highlight of their musical year, you know the achievement is utopian. And that was certainly the case with eight dynamic Bulgarian instrumentalists and three visitors new to the magic of Kovachevitsa.

Fresh from their triumph at the Proms, the Budapest Festival Orchestra arrived at the Edinburgh International Festival with a programme that centred on dance, and culminated in as fine a performance of Bartók’s Miraculous Mandarin (the complete score, not the suite) as you’d hope to hear. This is music that the Budapest players have in their blood, and you could tell that in the way they conjured up sound that managed to be grimy and nasty but lush at the same time. 

Say what you like about this year’s slimmer-than-usual Edinburgh International Festival, but when it has hit the spot, it has done so triumphantly. Nowhere has that so far been truer than in the piano playing, as this pair of concerts demonstrated. 

“Some are born to sweet delight, some are born to endless night,” quoth Blake. Beethoven and Bartók knew both extremes, but Iván Fischer and the Budapest Festival Orchestra led us from the most dancing of Seventh Symphonies to the endless night of Duke Bluebeard’s Castle, from explosive A major to quietest C sharp minor. If not everything along the way was perfect, or even in one major case present, the outlines were bold and engaging.

NYO2 is a group of dazzlingly talented (and terrifyingly young-looking) 14-17 year olds from the USA, one of Carnegie Hall’s three national youth ensembles, and with a focus on supporting young musicians from communities that are under-represented in the arts. This Edinburgh International Festival concert marked their European debut, and they’re doing a miniature residency in Edinburgh that, in another concert, involves them playing alongside some talented young Scots. 

“Powerful, Timeless, Inspiring” it says on the front cover of the programme-book for this year’s supposedly 297th Three Choirs Festival at Hereford. So please leave your frivolity at the cathedral door with your gun and your mobile phone.

Arvo Pärt was into his 40s before he made had his Big Musical Idea: simplicity. He has spent the subsequent half-century pursuing this ideal, largely through the religious choral music that has been dubbed Holy Minimalism. And in this year of his 90^th birthday, the Proms gave the Estonian Philharmonic Chamber Choir a late-night concert to celebrate this music – and the people turned out, in what was the best-attended late-nighter I can remember.

According to the programme, Lutosławski’s Concerto for Orchestra is heard somewhere around the world every other week. In which case I’ve been unlucky in never having heard it live before, despite being a fan for nearly 30 years. So I was relieved that last night’s Prom’s outing – in Tadaaki Otaka’s farewell with the BBC National Orchestra of Wales, after a 40 year collaboration – didn’t disappoint.

Life-changing? That's how the Pärnu Music Festival felt on my first visit in 2015, alongside the discovery of Estonia as a pillar of the European Union ideal. It’s also how Palestinian Lamar Elias, a student on the annual conducting course, described Paavo Järvi’s Beethoven Seven this year with his Estonian Festival Orchestra: a typical high repeated the next night with Arvo Pärt’s Credo to follow.