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Fifth Avenue Art Gallery invites you to their Fortieth Anniversary Celebration on Friday, February 6. The festivities begin at 5:30 p.m. with a champagne…

The classical music world has been celebrating the 250th birthday of Ludwig van Beethoven this year. We’ll observe it this Sunday night on Mozart’s Attic with an all-Beethoven program, culminating in a performance of the ninth symphony by the Berlin Philharmonic directed by Herbert von Karajan.

Antonio Vivaldi liked the springtime and autumn of the year; summer and winter, not so much. Regardless of whether he was reveling in the new greenery or kvetching about the sleet, he was one who could turn observations of the weather into an art.

It was in 1896 that Richard Strauss tried to express Friedrich Nietzsche’s philosophies through music. We’ll go light on the Nietzsche as we see what Zarathustra has to say this Sunday.

We conclude two series this week with the final of Bach’s six cello suites, recorded by Pablo Casals in 1936, and another of Aaron Copland’s American West pieces. And then we’ll hear a most unfamiliar version of a most iconic piece of American music.

Most composers who wrote Requiems, went for the dramatic. Gabriel Faure took a different approach, which many feel to be more appropriate. See what you think as we look at the Faure Requiem this Sunday.

We’re going way back in time this Sunday with music that is Medieval or that has Medieval roots, beginning with the Monks of Santo Domingo de Silos and their sleeper best-seller CD of Gregorian chants released nack in 1994.

We lighten it up a bit this week, going back to the 1878 London comedy stage with a complete performance of Gilbert & Sullivan’s HMS Pinafore, in which love conquers all (or mostly all) on board the most preposterous ship in the Royal Navy.

In 1928, Bertolt Brecht and Kurt Weill teamed up to produce The Threepenny Opera. This week we’ll have some of the original cast members performing their roles in historic period recordings of nearly a hundred years ago.

Dmitri Shostakovich’s Seventh Symphony, written largely in Leningrad during the 842-day siege of World War II, is pure defiance. Until a few weeks ago, it was a piece of history. Now, suddenly, it seems timely and appropriate.