The small size, thin sound and restricted harmonic adaptability of 18th-century harps explains the paucity of serious repertoire for the instrument. Virtually the only work of note Mozart wrote for the harp is the Concerto for Flute, Harp and Orchestra in C major, commissioned by an amateur father/daughter duo, here given a subtle but rousing interpretation by de Maistre, his harp trailing delicate tendrils around Magali Mosnier's lead flute line. Elsewhere, de Maistre has capitalised on advances in harp design to perform re-arranged versions of the popular Sonata Facile and the Concerto for Keyboard and Orchestra No 19 in F major.

The centrepiece of this album by American pianist/composer Timo Andres is Mozart's “Piano Concerto No. 26 in D”, for which he provides the missing left-hand piano parts and cadenzas, an ambitious and confident performance resulting in a compelling blend of ancient and modern. Andres' own “Home Stretch” was itself conceived as a companion piece to another Mozart concerto, but its jagged and disruptive combinations of high, piercing winds and scattered piano figures resolve into an absorbing musical conversation that sounds more about American music, with its bustling drive and echoes of Copland, Ives and Adams.

Prom 10 – Lisiecki, Santa Cecilia, Pappano (****)

Prom 11 – Ex Cathedra, Skidmore (*****)

Viktoria Mullova continues her collaboration with harpsichordist Ottavio Dantone in this elegantly articulated recording with Accademia Bizantina.

One of my favourite albums of recent years has been Teodoro Anzellotti's accordion version of the Goldberg Variations, and elsewhere, Scandinavian and Baltic practitioners seem able to wrest more interesting effects from the instrument.

The haunting Spanish lilt of its first movement betrays the composer's anti-war sympathies in Britten's Violin Concerto Op 15, written in the late 1930s; the looming shadow of a larger war is then discernible in the tuba lurking behind the gay violin and piccolo of the second movement. But it's the way that James Ehnes closes the opening movement that most impresses, essaying a gossamer thread of such subtlety it becomes almost transparent.

Viktoria Mullova and Ottavio Dantone offer a further Bach programme, pairing the well-known violin concertos in E and A minor with two others transcribed by Dantone from harpsichord concertos.

Hannigan dazzles in Berg's Lulu Suite

In 2011, Ivan Fischer and the Budapest Festival Orchestra played two BBC Proms in one night. The first was a meticulously disciplined programme of Liszt and Mahler, the second a jamboree of party pieces and encores, selected by raffle from a list of some 200 works. Encores are the great disinhibitors of classical music and they have served Fischer and his orchestra well. Now 30 years old, the BFO can melt the cognoscenti with musical kitsch, compete with the finest in core symphonic repertoire, and deliver Beethoven with the transparency of period instruments. Whether this should all be attempted in one performance is another matter.

The cadenza in a classical concerto is a curious thing. Originally devised as a way of letting the soloist show off, it became a commentary on the work it adorned, as well as a holiday from it: the soloist could take you on a switchback journey before bringing you safely home. These days, with so many other opportunities for display, its bravura function has faded, so soloists often use it instead as a slot to puff their own wares – as Kennedy does when he injects jazz and Gypsy music into his Brahms.

'She's been to our rehearsals. It doesn’t flummox her that it can get out of hand'

Of the generation of Czech composers who perished in the death camps, Erwin Schulhoff is the most enigmatic.

The Austrian label exil.arte is dedicated to unearthing lost works by forgotten composers deemed “degenerate” by the Nazis – in most cases, simply a synonym for “Jewish”.

Add magnesium to strontium, and prepare yourself for fireworks