Cellini is inspired by the life of the legendary Florentine goldsmith and Renaissance figure. Its first performances in Paris during 1838-39 were disastrous as it proved too great a challenge for the musicians of the day. Yet even by Berlioz's high standards it contains music of exceptional inventiveness and beauty.

Roberto Prosseda closes the Mozart sonatas series with not equal tuning. Is there really any need for yet another recording of Mozart’s sonatas? Is it still possible to say something new when playing these compositions while maintaining respect for the score and for the composer’s indications? If Mozart were alive today, would he prefer to perform his sonatas on a fortepiano of the time or on a modern piano?

There are instruments and then there are instruments … On the one hand a violin, trumpet or lead guitar so firmly planted in the spotlight that everyone else on stage is reduced to a supporting role. On the other a bassoon, double bass, drum set or Hammond organ, providing the harmonic and rhythmic backdrop against which the soloist can shine. But what if the background instruments rebel? What if they strike back?

This recital could almost have been entitled Around Fauré in Sixty Minutes, as the programme devised by Nicolas Stavy spans the entire career of the composer. In April 1863, when Gabriel Fauré noted down the Sonata recorded here for the first time, his 18th birthday was still a month away – the masterly Nocturne in B minor Op. 119, on the other hand, is Fauré’s final work for the piano, composed only two years before his death in 1924. Between them, and the other works included on the disc, a fascinating trajectory takes shape.

Described in Gramophone as ‘one of the most needed and important recording projects in progress today’, this series has up until now featured the clavichord (on 27 discs), the tangent piano (7 discs) and the fortepiano (2 discs). It is therefore something of an occasion when Miklós Spányi for his Volume 37 chooses to perform on a harpsichord. In doing so he reminds us of C.P.E. Bach’s own advice to keyboard players to have both a clavichord and a harpsichord in order to play ‘all sorts of things alternating’ (‘allerley Sachen abwechselnd’).

The life of Nicolas Chédeville (1705-1782) covers exactly the golden age of the hurdy-gurdy and the musette, the French baroque bagpipe. His time witnessed an ‘art of living’ that revelled playfully in the idealization of nature as a mirror of ancient Arcady, and his works contributed to the soundscape of his time, one that portrayed this idyllic milieu in operatic dramas whose heroes were constantly questing for the past … In 1739 he published Les Saisons amusantes, concertos by Antonio Vivaldi arranged for bagpipes and hurdy-gurdies.

The rising Milwaukee-based troubadour’s third studio album Primetime Illusion. Produced by Wilco multi-instrumentalist Pat Sansome, the album also features a co-write with Bob Dylan on the track On, Wisconsin.