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Closer to horoscopes than to Hubble telescopes, Gustav Holst wrote The Planets as a look at the astrological significance of our solar system neighbors.

The charity responds to questions about its overhead costs, such as the $26 million it spent on conventions — including at least one that was held at a luxury resort.

Franz Joseph Haydn wrote a pair of oratorios that were partially inspired by the oratorios of G.F. Handel, and we’ll hear the first of the, The Creation this Sunday in a performance on period instruments.

In 1972, Calvin Hampton transcribed Pictures at an Exhibition for organ, and we’ll hear that this Sunday. Bring your best loudspeakers to the Attic this week.

Music is ever-changing, but seldom in a straight line. We’ll look at three composers from each of the three past centuries with little in common with each other or anybody in between. Music from Mozart to Schoenberg this week — and others along the way.

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.

Mozart’s Fourth: it’s this week’s installment in our cycle of all 41 Mozart symphonies — to be continued.

This week finds us at Number 21 in our chronology of the 41 symphonies of Wolfgang Amadeus Mozart; we’re over the hump in a project begun last July.

We go back as far as the 11th century for a telling of the Christmas Story in music of the Middle Ages in an imaginative collection realized by the Waverly Consort to open this week’s program.

When the Pilgrims left Southampton in 1620, they left behind a thriving European musical scene. Not that the Pilgrims listened to much music; actually they tended to frown on it. But just for fun, we’ll listen to some of the tunes they might have heard if they had been listening — which they weren’t.