Well, they're nearly all done.

Over the past 10 days or so I covered the closing concerts by the BBC SSO, SCO and Scottish Ensemble, as well as the Warsaw Phil's stonking concert in Edinburgh, the last in the Usher Hall's own-promoted series. Really, there remains only the RSNO's series, coming up the back straight with its penultimate concert tonight which will feature Brahms Two, the sunniest of his symphonies, and Berlioz's Roman Carnival Overture, a lifetime favourite. And then, next Saturday, the RSNO wraps it up with The Dream Of Gerontius.

But it struck me forcefully last weekend that there has been very little sense of valediction in the atmosphere around the music scene as the closing concerts have been unfolding. Quite the opposite in fact; and little wonder. Even this week, with Haydn's Creation now cooling down, back on the library shelf, the SCO is preparing to go straight back out on the road with the first leg of a little summer tour that will see the band in Castle Douglas on Thursday, Paisley Abbey a week tonight and Kilmarnock Grand Hall a week tomorrow. That strand of SCO touring will then extend into June when the orchestra heads for Stirling, Brechin and Findhorn, where it will be trying out a new conductor, a Frenchman, Alexandre Bloch, before, with yet another conductor and programmes, taking up residence in Orkney for the St Magnus Festival.

Elsewhere, there's hardly a pause for breath before July, when the three National Youth Orchestras of Scotland roll out their latest wares. And before that, of course, in a fortnight, the increasingly popular and significant Cottier Chamber Project will erupt all over the west end of Glasgow for three weeks with a plethora of concerts, dance and film events.

To complicate life even further, there has been a very recent rush in what we might call autumn previews. The national orchestras, of course, with their need for long-range planning and an eye on subscription sales, put their offerings for autumn and winter on display some months ago, and I imagine, following a few alarming attendances last season, there will be a degree of alertness and possible sensitivity as the summer runs its course.

Meanwhile Glasgow, by which I mean Glasgow Life, or Glasgow Concert Halls, has launched previews of its own forthcoming strands, with the final leg in September of its three-year Beethoven project with pianist Llyr Williams and the Elias String Quartet, and also a highlights taster reaching as far ahead as November and a weekend festival of The Piano, which will feature some of the biggest names in the business, including John Lill, no less, as well as American Richard Goode and others. So where, in the past, there was often a sense of big block structures of concerts, with gaps in between for seasonal breaks, there's almost a feeling now of promoters wanting to ensure that you don't shut the door and forget about them for three months.

And, at the previously mentioned Warsaw Philharmonic Orchestra concert in Edinburgh, the Usher Hall made very sure there would be no seasonal hiatus in awareness of its own promotions by having next season's concerts packaged and ready to roll even before Michael Bawtree's superb Edinburgh Royal Choral Union had sung the opening notes of Beethoven's Ode To Joy with the Polish orchestra.

With its new Sunday afternoon series, renamed Sunday Classics (less cumbersome than Symphonies For Sundays) the Usher Hall has launched a mouth-watering package which suggests a leap forward in self-confidence with its own promotions. They'll open with the Dresden Philharmonic playing Beethoven's Eroica and the amazing Sol Gabetta wrapping herself around Elgar's Cello Concerto, then follow that with a real coup that will bring to the capital Vladimir Ashkenazy and the Philharmonia Orchestra - now there is a legendary relationship - with an awesome programme of Sibelius and Rachmaninov.

From there, possibly still with a keen eye on the box office, they'll have guitarist Milos, who seems to have dropped his surname (Karadaglic), before bringing in Joshua Bell and his Academy of St Martin in the Fields with guest soloist, cellist Steven Isserlis (what a team), who will join Bell in Brahms's Double Concerto. There's also a quantum leap in Usher Hall programming with the Dallas Symphony Orchestra coupling Beethoven's Fifth Symphony with Act One of Wagner's second Ring opera, The Valkyrie (with Michelle de Young and Clifton Forbis), and the Bruckner Orchestra, Linz, playing Philip Glass's Ninth Symphony.

This is just a flavour; but I will be crucified if I don't point out that the Moscow State Symphony Orchestra will also be in the Usher Hall's series with that man John Lill playing Rachmaninov's Second Piano Concerto. Last season is now done. Here comes summer.