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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.

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.

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.

It was 1783 and Mozart was living in Vienna. He planned a visit with his new wife, back home to Salzburg, where it must have seemed that everyone was mad at him.