Barokksolistene violinist Bjarte Eike. Photo: Theresa Pewal

IT’S the time of year when classical venues start their new seasons, usually in a great rush. And the rush is on this weekend at the Southbank Centre which seems to be making an effort to remind us all that it is actually a classical venue – even though from recent schedules you could be forgiven for not noticing.

September 24 has the London Philharmonic Orchestra making a grand season-starting statement with Schoenberg’s Gurrelieder: a sprawling cantata based on spooky Nordic legends (think Game of Thrones with better music), for which the Festival Hall has brought together massed voices with the capacious mezzo Karen Cargill, veteran baritone James Cresswell, and actor Alex Jennings (to make sure you get the story) under the baton of Edward Gardner. If you think you don’t like Schoenberg, think again: this piece was written before he became the composer you run away from. It’s indulgently Wagnerian and… well, just indulgent. southbankcentre.co.uk

September 25 continues in much the same direction with Mahler’s sizeable 1st Symphony, also at the Festival Hall but with the Philharmonia Orchestra under their chief conductor Santtu-Matias Rouvali. But two smaller projects over the weekend also claim attention. One is a concert at the Queen Elizabeth Hall (the many things in London that bear our late Queen’s name ensure she’ll never be out of our thoughts) on Sept 23, 6pm. It’s called Two Pianos, Eight Hands – which is a conundrum, given that it features three pianists: Graham Fitkin, Claire Hammond and Kathryn Stott (whose hands amount to six by my arith­metic). But as there’s a harpist involved as well, I guess she supplies the other two. Expect thunderous multi-keyboard works by Fitkin, Steve Reich and John Adams.

At the QEH later the same night is a double-bill – 9pm & 10.30pm – from the barn­storming Barokksolistene: an ensemble who specialise in the musical crossover between serious and rough that you’d have found in a 17th-century tavern. Their concerts here take you back to Cromwellian times, when theatres closed but alehouses became centres of sonic culture (as well as places to get riotously drunk). It sounds like good clean fun, and that it comes with the soprano soloist Mary Bevan guarantees a touch of class.

All details: southbankcentre.co.uk

• By coincidence there’s another kind of alehouse music running Sept 27 at the Fiddler’s Elbow, Malden Road, Chalk Farm. Yes, it’s a pub. But the Orchestra of the Age of Enlightenment are playing one of their informal Night Shift concerts there, featuring Bach, Buxtehude and Telemann, no doubt lubricated by a drink or three. Details: oae.co.uk

• Drinks at the Royal Opera House come more expensive, but you won’t want to miss the new Aida opening there Sept 28 and running to Oct 12. Directed by the always stylish Robert Carsen, conducted by Antonio Pappano and with Elena Stikhina (who made an impactful ROH debut as last December’s Tosca) in the title role, it’s a big deal. roh.org.uk

• Not so big a deal as the BBC Proms, the Islington Proms are nonetheless pleased to say that, unlike their grander counterparts who pulled the plug on the Last Night, Islington will be completing their season as advertised – with the semi-pro Haydn Chamber Orchestra playing Sibelius 3 and the Grieg Piano Concerto on Sept 24 at St James’ Church, Prebend Street, N1. Definitely one-up on the Beeb. islingtonproms.com