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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.

Early in the 20th century, Bela Bartok headed for the villages around Hungary, lugging along an Edison wax cylinder recorder, to capture the folk melodies of the countryside before they were gone forever.

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.

Before leaving his hometown of Salzburg, Mozart wrote the first of his three great masses, the only one he actually finished, the Coronation Mass in C major. We’ll hear it this Sunday.

We go back to Colonial and Federal America this week with music from the Revolutionary era, and what they were listening to in England at around the same time, and then in the third hour, we’ll see what all this eventually led to: American music of the modern era.

Continuing with our series of the complete Mozart Symphonies, we come to No. 3, innocently catalogued as such, but now considered spurious. But, hey, we have the manuscript written in Mozart’s eight-year-old handwriting. How can that be?

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.

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.

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.