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We have a special live performance recording of the Verdi Requiem this week. Vedri, of course, was first and foremost an opera composer. One would expect his Requiem to be dramatic, and Verdi does not disappoint.

Maurice Ravel penned a piano duet drawn from Mother Goose tales for the amusement of a friend’s children in 1910.

It’s a December tradition on Mozart’s Attic: A complete performance of Handel’s Messiah as interpreted by a different recording each year.

With 164 deaths reported Thursday, Florida passed another disturbing milestone: More than 15,000 residents have died of COVID-19.

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

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.