Mozart, understandably, figures prominently among this year’s contributions, both from the perspective of early music, and modern-instrument performance, and as an inspiration to later composers. The Orchestra of the Age of Enlightenment frames the season, giving a semi-staged performance of Così fan tutti with Glyndebourne Opera under Ivan Fischer on 18 July, and returning on the penultimate night under Sir Charles Mackerras with the “Haffner” Symphony and the UK première of Robert Levin’s completion of the C-minor Mass.

Between those come two performances putting Mozart in a context. On 1 August the English Concert perform his re-working of Alexander’s Feast, which weaves new instruments and textures into Handel’s score, giving a fascinating insight into the way musical tastes changed. On 7 August, the King’s Consort put Mozart’s “Coronation” Mass and “Paris” Symphony beside the Requiem of his Salzburg friend and colleague Michael Haydn, the 200th anniversary of whose death occurs this year.

One of the high-profile visitors to the Proms is the Collegium Vocale Ghent with the Orchestre des Champs Élysées under Philippe Herreweghe, who bring Mozart’s Requiem, with Philippe Autexier’s reconstruction of the Meistermusik for men’s chorus and orchestra (the original version of the Masonic Funeral Music) and Symphony No.39.

Mozart is more diluted in the Academy of Ancient Music’s proms matinee on 5 August, where the Adagio and Fugue in C minor and Divertimento, K136 sit besides Bach’s fourth and fifth Brandenburg Concertos.

Moving back to the dawn of the baroque, Sir John Eliot Gardiner directs the English Baroque Soloists, Monteverdi Choir and His Majesty’s Sagbutts and Cornetts in a programme of music associated with the Basilica of St Mark in Venice between 1570 and 1670, featuring polychoral motets, canzonas, solo motets, concertato psalm settings, and Monteverdi’s Missa a 4 voci da capella.

More welcome visitors arrive on 21 August, when La Symphonie du Marais bring a concert of chamber music by Marais, Philidor, La Barre and Lully, performed by the beautifully rich combination of two flutes, two treble viols, bass viol and theorbo. MARK ARGENT