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We’ll look at Peter Tchaikovsky’s last major work this Sunday. Then we’ll skip over to Italy to see what Giuseppe Verdi was doing at around the same time.

We’re going to spend some time in the Italian Renaissance this week, with music from Venice, Bologna, Milan, and Mantua. Then we’ll move up a few years for some music by some composers who applied for a job with the court orchestra of Dresden.

We’ll hear some concert music with roots in the peoples’ tunes of the United Kingdom as adapted by Ralph Vaughan Williams, Gustav Holst, Benjamin Britten, and Percy Grainger this Sunday — and just to keep them honest, we’ll hear some of the Real McCoy too.

American composer William Bolcom devoted 25 years to setting William Blake’s Songs of Innocence and Experience as a song cycle, which required the musical resources of the University of Michigan to perform, and will require nearly an entire program of Mozart’s Attic to present.

American music didn’t get much respect in the Old World in the19th century. This would all change later on with the coming of the Jazz Age, but in the meantime there were a few composers who didn’t fit the traditional mold. We’ll look at two of them on this Sunday’s program.

We have no long ballet tradition in this country: the first professional companies didn’t set up shop until well into the 20th century. American composers soon proved themselves up to the task of writing music for the dance. We’ll look at the work of three of them and the music they created.

This Sunday’s program will be the 500th Mozart’s Attic, an opportunity to look back at some of the music that you listeners have said you liked over the nearly-ten-years of this endeavor. Some of the choices might be as expected, but there have been a couple of surprises too.

As a protégé of Brahms, Antonin Dvorak had a noteworthy resume in Europe when he was tapped to run a philanthropic conservatory in New York in 1892. What Dvorak heard in the New World represented a wholly new direction for American composers, and gave us a couple of timeless masterpieces to boot.

We’re going to look at some Scottish, or at least Scottish-inspired, music this week. We’ll start with the fruits of Felix Mendelssohn’s famous hike to the Hebrides, and then we’ll hear some music with genuine Caledonian roots.

We’re going to hear everybody’s favorite battle piece, the 1812 Overture, this Sunday, but then we’re going to follow it with another musical account of battle: Sergei Prokofiev’s movie score for Sergei Eisenstein’s epic film, Alexander Nevsky.