It’s always nice to run into festival artists, if only to say how much you enjoyed what they did or avoid saying how much you disliked it. This week I’ve run into chamber music newcomer Pavel Kolesnikov, who is an amazing pianist, only 24 and looks 16. Misha Amory of the Brentano Quartet and Alisa Weilerstein, who probably gets more attention than she wants, were at Tuesday’s orchestra concert. Conductor Aik Khai Pung, who is leading the chamber series, was running on Rutledge Avenue at a brisk pace, younger orchestra members eating his dust. Ran into Le Villi/Mese lead Jennifer Rowley at Starbucks (the place we go to keep going) and she actually remembered me.

Talked to Geoff Nuttall at the Halsey Institute, where he was reading a story about himself in the New York Times which he said didn’t say enough about the music and too much about the shtick. Nuttall has been having some fun with his wife the violinist Livia Sohn’s height — or lack therof. When she and Tony Manzo played a duo for bass and violin, Nuttall said it was the first time the work has been played by a violist who could fit inside the bass. Then Wednesday the two had a battle over the height of the music stand — he eventually got down on his knees. By the way, she’s not that short.

I also ran into artist Mary Walker, whose work I’ve admired for years. She introduced me to her friends Jennifer Strelkauskas, founder of Anonymity Dance, and Clarence Brooks Jr., who spent four years in Charleston dancing with Anonymity, Charleston Ballet Theatre, and other groups. Every spring for the last decade Brooks has returned to Charleston to take in the festivals, visit friends and sometimes perform.

Unlike me, Brooks loved A Midsummer Night’s Dream, especially Bottom’s bottom, although it took him a moment or two to figure out he was viewing not just a man transformed into an ass but the actor’s actual ass. Walker shared my view — messy and misuse of puppets.

They also pointed out to me that the Piccolo festival this year is completely without dance.