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.

Edward Cowie draws on the natural world for compositional inspiration, echoing Gyorgy Ligeti in his interest in birdsong. “Bell Bird Motet” here mimics the sounds of Australian frogs and birds in the isolated vocal chirps and croaks of the BBC Singers which coagulate into a climactic whooping, while “The Soft Complaining Flute” relies on flautist Stephen Preston's unique “ecosonic” technique, around which six soprano voices flutter, butterfly-like.

Former stalwart of minor American indie bands like The Ackleys and Bad Banana, Katie Crutchfield now ploughs a solo furrow as Waxahatchee, whose second album, Cerulean Salt, sounds like a throwback to the days when Liz Phair anatomised the emotional ups and downs of slacker-era America. Only not quite so openly: Waxahatchee's raw electric guitar chords mostly support a string of non sequiturs which defy illumination.

Something very exciting happens in Philippe Herreweghe’s recording of Mozart’s last three symphonies.

Francesco Piemontesi brings together two oddities: Schumann's Piano Concerto is a dreamlike dialogue between soloist and orchestra, while Dvorák's rather dull work has slid into obscurity.

"Welcome to the afterli-i-ife" is trilled like a creepy lullaby at the beginning of CocoRosie's fifth album.

The teaming of Mark Lanegan with multi-instrumentalist bluesman Duke Garwood is an alliance of congruent attitudes and approaches, Garwood's layered guitar lines and soft shaker percussion forming an apt backdrop to Lanegan's weathered baritone on the gospel-blues of "Pentecostal", while more saturnine drones and loops colour the darker concerns of "Death Rides a White Horse" and "Thank You".

Junip's second album, although less cloying than singer Jose Gonzalez's solo stuff, still resides in the folktronica zone.

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”.

Rarely performed, Mahler's Das Klagende Lied is a grisly fantasy in which the bones of a victim of regal fratricide are used to make a magic flute which, when played by the murderer, reveals his guilt – a sort of cross between Hamlet and Saw.

Howard Goodall's Story of Music, Sat, BBC2 // Wonders of Life, Sun, BBC2

The queues for the plastic champagne flutes might have rivalled those at Terminal 5 last weekend

This soundtrack to Peter Strickland's Berberian Sound Studio is the last record by Broadcast, purveyors of icy-sharp electronica: singer Trish Keenan died unexpectedly in 2011.

And then there was music … (and Haydn's God proves a very jolly creator)