The knockabout fun of The complete William Bolcom rags promises a Record of the Month for June like no other. Marc-André Hamelin channels his inner Eubie Blake in these exuberant accounts of Bolcom's oeuvre, and the inclusion of booklet notes by the composer himself adds to the interest and authority of an exceptional set. And allow plenty of time when listening: encores are impossible to resist. Piano repertoire of a very different complexion is on offer in Poèmes & Valses by Reynaldo Hahn. These are appealingly allusive works of considerable delicacy and charm; exquisite evocations of the salons of fin de siècle Paris. The composer clearly means a great deal to no less a pianist than Pavel Kolesnikov, a true 'poet of the piano' (Bachtrack), who lavishes all his customary attentiveness on these twenty-five jewels.

With Schubert's Die schöne Müllerin, Gerald Finley and Julius Drake complete their survey of the great Schubert song cycles. Theirs is a partnership which regularly delivers very special results indeed (no fewer than three of their previous Hyperion recordings have won Gramophone Awards), and this release is a major addition to the discography of Schubert's sublime narrative of love and loss.

The ongoing series dedicated to choice selections of our all-time favourite recordings—ones you might possibly have missed? This time: William Wallace's Creation Symphony & other orchestral works from the BBC Scottish Symphony Orchestra and Martyn Brabbins (‘another Hyperion winner’—Gramophone), Morten Lauridsen's Nocturnes & other choral works from Polyphony and Stephen Layton (‘a spectacular cycle, graced by some sensational singing’—International Record Review), and The Complete Music for Piano Trio by Beethoven from The Florestan Trio (‘a most welcome completion of a superb cycle’—International Record Review). If you don’t know them already, a track from each is included on our monthly sampler which is free to download.

LSO Live this month celebrates the rich crossover seam between classical and jazz. Nazareno is the title work, the Labèque Sisters' pianos flanked by brass, percussion and cellos in a vibrant re-working of Osvaldo Golijov's audacious Pasión según San Marcos of 2000. Sir Simon Rattle fills out the programme with era-defining works by Stravinsky and Bernstein, the London Symphony Orchestra clearly appreciating the invitation to plunder the furthest reaches of an extensive percussion cupboard.

Fretwork has made a new recording for Signum, their eleventh collaboration. Thomas Lupo – Fantasia comprises twenty of this prolific composer's most intricate confections for three-, five- and six-part viol consort. These are works originally written for the entertainment of the English royal court, a role fulfilled by the family since Henry VIII invited them from Venice in 1540.

Originating as a self-made divertissement at an aristocratic soirée, Die schöne Müllerin of course became immortalized by its most famous musical setting. Recalling this vernacular origin, and the theatricality inherent to the work, tenor Nicky Spence, pianist Christopher Glynn and translator Jeremy Sams have created Schubert's Fair maid of the mill for Signum Classics. And in what a performance: as truly engaging as any as our young miller careers headlong to his fate.

Bringing to fruition an acclaimed cycle—as well as marking the 150th anniversary of the composer's birth—the Hallé label this month proudly presents Vaughan Williams's Sinfonia antartica & Symphony No 9. The former work, RVW's 'No 7', received its premiere from the Hallé Orchestra (under Sir John Barbirolli) in 1953; No 9 was the composer's last major work, first performed just four months before his death in 1958. The Hallé's current long-standing maestro Sir Mark Elder conducts. Also available this month from the same forces is an attractively priced set comprising The Complete Vaughan Williams Symphonies, bringing together the recordings made over the last ten or so years.

Handel's Caio Fabbricio is one of those unusual works where most of the 'good bits' are not actually the work of the named composer. The genre of the 'pasticcio opera' allowed Handel—and his superstar cast of divas—to stitch together tried-and-tested arias with newly composed linking passages, and proved surprisingly popular. It's a milieu thoroughly enjoyed by London Early Opera and director Bridget Cunningham in a new recording for Signum Classics, the work's first.