The composer drew on experiences in the First World War

The history of ENO’s production of Vaughan Williams’s ‘The Pilgrim’s Progress’ reflects a multiple triumph. This is the first full professional British staging since its premiere was overseen by the 79-year-old composer at the Festival of Britain in 1951 - and 79 is the age of this production’s Japanese director Yoshi Oida.

It’s good when chamber musicians break the mould and dare to do something different, and Philip Venables’s ‘Romanticism’ deserved a hearing, particularly as it was a Wigmore commission.

If Prom 22 seemed flung together at random - nothing related to anything else - Prom 23 was, if anything, too much all of a piece.

Jim Moray's filtering of traditional folk music through a mesh of modern sensibilities continues on Skulk, where eight adaptations of old ballads are punctuated by impassioned versions of Anais Mitchell's fretful "If It's True" and Fleetwood Mac's "Big Love".

Families

John Wilson is probably best known for his light-entertainment orchestral work, especially his restorations of classic film scores – a background which, it turns out, equips him well for this anthology of British musical landscapes.

It’s testimony to the extraordinary interest which counter-tenor Iestyn Davies now arouses that his weekday lunchtime recital was packed.

After 20 years of knocking about with the best in the business, the tenor Mark Padmore has some distinguished people to call on for a concert billed as "Mark Padmore and Friends".

You may not have seen any posters, but an impromptu festival of British music has just begun. It will close on Saturday 10 September at the Last Night of the Proms with pieces by the Master of the Queen's Music, Sir Peter Maxwell Davies, the elder statesman of British music, Benjamin Britten, and the sing-a-long-a-lollipops Land of Hope and Glory, Rule Britannia and Jerusalem.

If you don't like England, you're probably sitting next to Martin Amis on a plane right now, seeking some civilisation more worthy or cerebral than our own. Well, I don't know about that, but I've just spent a week in New York and I can't tell you what joy it is to come back to British radio. Granted, this week has been a little more introspective than usual. Vaughan Williams came in both second and third in Classic FM's Britain's best loved piece of classical music, The Archers and Gardeners' Question Time, those bastions of Middle England, engaged in radio incest, and everyone braced themselves for tomorrow's big one. But as a place to look out at the world, British radio takes some beating.