Trumpeters were the star musicians of the Baroque era, their shiny, golden tones vital to evoking the glory of victory and the majesty of kings.

Performed by Morton Feldman's original ensemble at a posthumous celebration of his work held at the 2000 season of June in Buffalo – the annual new-music festival he established in 1975 – this version of his classic "Crippled Symmetry" perfectly captures the poise at the heart of his music.

On his second Decca set, piano wunderkind Benjamin Grosvenor programmes Gershwin alongside roughly contemporary pieces by Ravel and Saint-Saëns, but it's the connection between Rhapsody in Blue and Ravel's Piano Concerto in G major that gives the album its point.

Classical music has never enjoyed a more successful a marketing campaign than that promoting Gustavo Dudamel, the Simon Bolivar Symphony Orchestra, and the proliferation of Jose Antonio Abreu’s visionary Sistema.

Its tertiary title is 1965-76 The Atlantic Years, and that completes the primary information you need.

Bernie Krause, in his engrossing recent book The Great Animal Orchestra, called attention to the biophony of the natural world, notably the birdsong that fascinated Olivier Messiaen.

English National Opera does a good hatchet job on an updated bully, but it is the bliss of new generation music-making that resonates

After the Scratch My Back and New Blood albums of orchestrated re-imaginings of his and others' songs, and last year's New Blood Live in London DVD, another two-hour, two-CD live set based on the same material may be a case of Peter Gabriel returning to this well once too often.

The furtive opening bars of Mozart’s C minor Piano Concerto No. 24 were shrouded in a mellowness of tone that made them welcoming rather than darkly unsettling and as the well upholstered sound of the venerable Staatskapelle Berlin took hold we were cast back into an era of sound and style that was altogether “other”. And then - final confirmation - the piano entered.

Named after a piece by the Uzbek composer Dmitri Yanov-Yanovsky, Night Music: Voice in the Leaves explores music from the former Soviet Asian republics, played with dexterity and sensitivity by performers including the theremin virtuoso Lydia Kavina, who excels on Iraida Yusupova's "Kitezh-19", in which her eerily plaintive keening is allied to a tape of varispeeded chimes and plucked strings.

In a week replete with intriguing cross-pollinations of style and sound, this may be both the most deliberate, yet the loosest-sounding.

The unorthodox pairing of Berg's anguished memorial to Manon Gropius and Beethoven's earthy, ecstatic concerto casts a curious spell in this thoughtful performance from Isabelle Faust and Orchestra Mozart under Claudio Abbado.

With German Christmas markets springing up like mushrooms in British cities, it was appropriate that the Armonico Consort should present a seventeenth-century musical complement.