David Daniels's latest disc features three of Vivaldi's sacred works for solo voice: Stabat mater (1712), Nisi Dominus (1717) and the motet Longe mala, umbrae, terrores (1725). The first two are among the composer's loveliest and most-lauded pieces. HC Robbins Landon, for example, has written of the Stabat's 'extraordinary sense of spirituality and profound sadness', and described 'Gloria Patri' (from Nisi Dominus), where the voice is shadowed by viola d'amore, as 'like some marvellous dream, a trance of beauty'. Longe mala, if less well known, is hardly less exquisite.

Ivan Moravec is a great artist, a penetrating, infinitely sophisticated musician and a warm-hearted, communicative performer, yet he remains a connoisseur's pianist. In some ways, he's a rather old-fashioned player. His Mozart here (1963-82) is full of delicacy, extraordinarily imaginative 'scoring', and a wonderful wholeness of vision, but in its truly symphonic scope and lavish sound-world (quite unlike the exemplary Uchida's on Philips), the very thought of the fortepiano, with its lean, crystalline, sometimes even astringent properties, never arises.

Harnoncourt has an impressive track record as a Dvorák interpreter, with some landmark performances on disc of the composer’s later symphonies and symphonic poems. This new recording of the two sets of Slavonic Dances sets the seal on a well-deserved reputation. Along with the best interpreters of these works, notably Karel Šejna, Harnoncourt interacts with the rhythms of the dances rather than hammering them out with overly forced accentuation.

Boccherini has never had it so good, with discs of his chamber music tumbling off the presses almost every month. None, though, is likely to give more pleasure than this collection of string quintets with two cellos, the medium he made his own. First on the agenda is the E major Quintet with the world's most famous minuet, the very epitome of perfumed rococo elegance.