When it comes to sculpture, nowhere in the UK compares to Wakefield. Home to Yorkshire Sculpture Park, The Hepworth Wakefield, and a thriving community of contemporary artists and makers, the district has earned its reputation as the UK's Capital of Sculpture. Yet art is only part of the story.

Mahler's Symphony No. 3 in D minor is a work that dares almost too much. Six movements, the best part of a hundred minutes, and a programme that runs from the awakening of Pan to a final movement of wordless, all-embracing love: it asks a conductor to hold together a vast orchestra, a mezzo-soprano soloist, a boys' choir and a women's chorus without the whole edifice splintering into episodes. I went into this recording expecting admiration. I came out with something closer to reappraisal as Petrenko unlocked Mahler's cosmic Third and the RPO, and Harmonia Mundi's engineers are on inspired form

Andrew Palmer finds a play that trades on nostalgia, then quietly detonates it, as two men's secrets collide on the eve of the Brighton bomb. There is a particular kind of dread that arrives dressed as nostalgia.

Having started to tease the release back in April with the impressive shimmer of Upside Down, it was immediately apparent that Natalie has not lost sight of the slight alternative pop leanings that produced her biggest hits to date, but that she is not afraid either of playing the pure pop game. Subsequent singles, Algorithm and Just Drive, both built on this. Natalie Imbruglia has not lost sight of who she is as an artist, it is clear from these singles that she is simply ready to fully embrace the pop label with all her heart.

There is plenty to admire here. Hazel Eyes is richly produced and, at its best, allows Smith’s extraordinary voice to breathe rather than simply serve as another component in a maximalist pop production. Everlasting Love opens with a gently fingerpicked guitar and sultry minor chords before Smith’s nimble head voice glides over restrained strings and horns. It is sleek and sophisticated, recalling the understated elegance of Sade without feeling like mere pastiche.

Opening this excellently recorded Delphian disc, the sonata is played with a beautiful sensitivity, its lines phrased with real understanding – nowhere more so than in the Romance slow movement, with its rippling piano accompaniment. Every movement is delivered with delectable expression, Burnside's accompaniment judiciously weighed against Foyle's tone, and the emotional core of the piece is never in doubt.