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We’ve been following the progress of young Master Mozart — now going on twelve years old — as he embarks upon the rather busy year of 1768, in which he composes a three-act comic opera at the request of the Emperor: not bad at any age.

Antonio Vivaldi set the Gloria of the Latin Mass to music in an ambitious, and for him unusual, choral work. Twenty years after that, Francis Poulenc took the same idea and wrote a choral Gloria of his own. We’ll hear both this Sunday.

We start in Russia this Sunday and end up in 20th-century America with lots of stops in-between, and of course we check in on our series of Mozart symphonies with Number 14 this week.

Bohemian patriot and composer Bedrich Smetana is well known for his tone poem depicting the traverse of one of eastern Euroope’s great rivers, the Moldau. We’ll hear all six of the tone poems encompassing the land, the history, and the legends of this country that is now mostly part of the Czech Republic this Sunday.

Dmitri Shostakovich’s Seventh Symphony, written largely in Leningrad during the 842-day siege of World War II, is pure defiance. Until a few weeks ago, it was a piece of history. Now, suddenly, it seems timely and appropriate.

Robert and Clara Schumann, Joseph Joachim, and Johannes Brahms may have anticipated the concept of a professional network with mutual encouragement and career assistance in a circle that would come to include Antonin Dvorak.We’ll look at some of the music of this group this Sunday night.

Ludwig van Beethoven’s birthday is probably December 16. We’ll celebrate it this Sunday with an all-Beethoven program to mark the occasion with some of the best-known notes in all of music…… And maybe a couple of oddities as well.

As a pianist and as a composer, Clara Wieck Schumann hobnobbed with some heady company: her husband Robert, of course, johannes Brahms, Joseph Joachim, Antonin Dvorak, and others. She was the peer of many, and the better of more than a few. Sunday we’ll hear her rarely performed Piano Concerto in A minor, her only orchestral work.

In 1913, Arthur Nikisch and the Berlin Philharmonic made the first known recording of a complete symphony (Beethoven’s Fifth, of course). Nikisch was an international star in a time when many conductors relied more on flamboyance than scholarship. Nikisch was different and his musicianship stands out on this old, old recording. See what you think, this Sunday at six.

It’s easy for us to look back to the days of Bach and Handel and close that period off as the end of the Baroque era, and then to focus on the mature Mozart and Haydn — and then Beethoven — as the start of something wholly new. This week we’ll look at some of the music that bridged the ages of these giants: works from the Mannheim School, the Galants, and the other pre-classicists.