These are extraordinary times, so it's heartening to hear from so many how they find lyric fm a solace in this crisis. It's proof of the extraordinary power of music.
Reflecting on this, a number of memories from the summer of 2006 have come to mind.
That was when Germany hosted football's World Cup. There, classical music is never far from the surface.
In the Frankfurt taxi on the way to England's first game in the tournament, Beethoven was playing.
"It's the easiest way to make sure it's calm in the car," the driver explained. "If there's any likelihood of tension, beautiful music will keep a lid on it."
So, symphonies from one great classical master provided the soundtrack to that Saturday.
The following morning, it was the mathematical precision of the most celebrated composer of the Baroque.
We were taking the train to our second assignment, the meeting of the Dutch and the team representing Serbia and Montenegro.
In part, that journey followed the footsteps of Johann Sebastian Bach.
We stopped in Eisenach with its medieval castle, where Martin Luther translated the New Testament into German, and where Bach was born on this very date in 1685.
Our destination was the city of Leipzig, where Bach was the municipal director of church music for over a quarter of a century.
The breadth of his output is astonishing. Of course, with a weekly obligation to produce new material for Sunday services, there is a wealth of choral music, the Masses, the Passions.
But there is so much more besides. Think of the piano pieces, written for the harpsichord, the keyboard instrument of the time, the collections of preludes and fugues known as the Well-Tempered Clavier.
There are the Goldberg variations, named after the virtuoso for whom it's reckoned they were written. These set the standard for that form of composition where a theme is stated, and then developed, with alterations to the rhythm, to the melody, to the harmony, and so on.
The Bach-Werke-Verzeichnis, the Directory of Bach's Works which denotes a "BWV" number to each of them, runs to well over a thousand entries.
There are compositions for solo strings - think cello suites - and there's chamber music, not to mention what he wrote for full orchestra.
Among the most famous and enduringly popular of those are the six Brandenburg Concertos. The perfect aural pick-me-up is the final movement of the third of these which has the BWV number 1048.
It's elegant and full of energy and positivity. Three sets of three strings - violins, violas, and cellos - interweave their contrasting melodies over the harpsichord and bass lines in the most dynamic counterpoint.
These concertos were written a couple of years before Bach got the job in Leipzig. At the time he was working as a court musician and was casting about for better opportunities.
In Berlin to source a new harpsichord, he bumped into a prospective employer, Christian Ludwig, the Margrave of Brandenburg, a prince of the royal house whose brother had been the King of Prussia.
Bach took the opportunity of a bit of self-promotion and sent him off a personally signed set of scores, effectively what we would know as a demo disc or a showreel.
Nothing came of it, and Bach went on to make his mark in Leipzig.
There's no evidence that the pieces were ever played. It's been suggested there were too many instruments involved for the prince's house band.
After his death, they passed down through the family, and lay undiscovered for over a hundred years.
They turned up in the course of some research and were eventually published in 1750, the 100th anniversary of Bach's death.
For want of a name, and given where they'd come from, they got the title The Brandenburg Concertos.
George Hamilton presents 'The Hamilton Scores' on RTÉ lyric fm from 10am each Saturday and Sunday