Friday must have been one of the headiest days in Stephen Roberts' life.
Early in the morning he was interviewed on the Today programme, and at the end of the evening the BBC interviewed him again, this time on the World Service.
And between the two he gave the world premiere of the reason for all this interest in him, his reconstruction of sketches of Mozart's fragmentary Horn Concerto no.0 in E-flat to make a valid performing edition - and one which works with triumphant success.
Assembling pieces like a jigsaw, and contributing just a very few bars of informed conjecture, Roberts has given the horn-playing world an important addition to its restricted concerto repertoire. If there are any weak moments in the piece, they are probably Mozart's own, those which conceivably led the composer to discard the work.
Similarly, the less convincing moments in Anthony Payne's miraculous elaboration of Elgar's Symphony no.3 are surely some of those penned by the composer himself.
Roberts' performance, himself directing the inspired English Symphony Orchestra (and with leader Michael Bochmann directing in extended solo horn passages), was confident and agile, his round, noble tone complemented by this cavernous Cathedral acoustic which is the death of strings. Quite a triumph for both Roberts and the re-invigorated ESO.
Another rarity came on Saturday, with Prokofiev's Alexander Nevsky cantata as the climax of a CBSO programme on military themes.
Thanks to its genesis in Eisenstein's film, this is a wonderfully illustrative score (something looks forward to Walton's Henry V music), and the CBSO, Jakob Hrusa conducting, responded vividly to the great surging washes of orchestral sound (though even Prokofiev, like Stravinsky, found it difficult to escape the clutches of the earlier but hugely influential Rimsky-Korsakov).
Simon Halsey's CBS Chorus was in characteristically splendid form, projecting with arresting sonority and with fearless Russian diction. Elena Manistina was the darkly sorrowing, rich-throated mezzo soloist.
It was also an exciting rarity to hear the CBSC contributing Russian national hymns at the beginning and end of Tchaikovsky's 1812 Overture, elevating this maligned piece far above mere bombast and putting it equal to such propagandist works as Shostakovich's Second Symphony. Decades ago the CBSO used to trundle this piece down to the Albert Hall for tub-thumping concerts. This performance made us take it more seriously.
And between these two came Haydn's delightful Military Symphony, nifty, though tinged with a romantic sheen.