Nothing less than 'a meeting point of human imperfection and godly perfection' is how Mahan Esfahani memorably characterizes the Bach Toccatas—among the peaks of the eighteenth-century keyboard repertoire—and it's a judgement which will strike anyone listening to these mesmerizing, charismatic accounts as wholly apt. August's Record of the Month is another testament to this most remarkable of harpsichordists. The Jupiter Project – Mozart in the nineteenth-century drawing room presents a unique take on some favourite orchestral masterpieces. If these chamber versions by Hummel, Cramer and Clementi—how contemporary audiences might first have heard works we now take for granted—raise fascinating questions on the nature of authenticity, the compelling accounts from David Owen Norris and friends go some way to providing an answer.

In A Song of Agincourt & other works by Stanford, Howard Shelley conducts the Ulster Orchestra—with suitably elfin contributions from the young voices of Codetta—through a brilliant pageant of Edwardian pomp and majesty, civic solemnities for the memory of Verdun, and child-like, fairy-tale delight. And Stephen Layton, conducting Trinity College Choir Cambridge, offers a similarly rewarding experience in Choral works by Gerald Finzi, a wonderfully mixed programme including those two perennially popular contributions to the Anglican tradition God is gone up and Lo, the full, final sacrifice. Performances throughout are distinguished by the flawless execution only to be expected from this partnership.

A new boxed-set from Signum brings together The Complete Organ Works of Charles-Marie Widor in the acclaimed recordings by Joseph Nolan which were originally issued separately over the last few years: all ten monumental symphonies plus the composer's other works for solo organ.