We start at the beginning, with the Divertimento from Mozart’s First Symphony, penned at just eight years of age. The legacy of this brilliant early work lives on, from the little plaque outside the house in Westminster where it was written, to musical echoes in Mozart’s later works.

Australian composer Dr Corinna Bonshek offers us a reflective palette cleanser in Dreams of the Earth. The headiness of summer cicada song and the beauty of birds in flight are juxtaposed with unease in the face of a changing climate, stirring up – in the composer’s words – ‘hope, suffering and love’.

We return to Mozart grown; a creative master labouring over an anonymous commission, left unfinished when he died at just 35 years of age. Like Tchaikovsky’s Sixth, this final work remains shrouded in mystery.

Requiem itself is rich in meaning and mystery. Born of the Catholic liturgy, it was shaped over centuries into a sophisticated, large-scale art form, capable of holding both deep sorrow and bright, eternal hope.