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In the world of maestros with titanic egos, Pocket Opera’s Donald Pippin is a heartwarming exception. He is self-effacing, even humble. To a fault. Considering his accomplishments, all that modesty seems downright excessive.

“Courageous and psychedelic” wowed one patron. “It wasn’t the Four Last Songs” (of Richard Strauss), belittled another.

The dance begins at sunrise, as French-Canadian conductor Yannick Nézet-Séguin leads the Rotterdam Philharmonic Orchestra into the “Lever du Jour” section of Maurice Ravel’s Daphnis et Chloé – Suite No.

“This collaboration is what I’m in it for,” declared the clearly delighted soprano Ann Moss, with a sweeping gesture that took in her fellow performers and the audience at the Noe Valley Ministry on Sunday afternoon.

Jon Nakamatsu is the epitome of “local boy makes good.” He burst on the international music scene in 1997 when he was named the Gold Medalist at the Tenth Van Cliburn International Piano Competition.

The Left Coast Chamber Ensemble organized its April 5 concert at the War Memorial’s Green Room around the idea of visual inspirations for music. The theme of “Audible Visions” led to a creative program, with all but one piece written in the past 25 years, and many kinds of musical thinking. What really mattered, of course, was what we heard, and that was marvelous.

“It was somewhat excessive,” recalled Lera Auerbach onstage, understating the compulsion she felt in 1999 to keep composing preludes. Not satisfied after creating 24 of them for piano, one for every possible key signature (C major, A minor, and so on), she produced a second set of 24 for piano and violin.