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Since last July, we’ve been retracing the life of Wolfgang Amadeus Mozart through the chronology of his symphonies, We’ll hear that final symphony this week and then we’ll celebrate with some of the wide variety of music he left us after a short but remarkable life.

Luigi Cherubini’s Requiem was written for the royal funeral of Louis XVI and Marie Antoinette and so popular did it become that it gained a virtual monopoly over memorial services in Europe for many years. We’ll unearth it for this week’s program.

Rubinstein and Horowitz, Rachmaninoff and Schnabel, Hofmann and Horszowski — This week we’ll look at some of the legendary masters of the ivories. And while we’re at it, we’ll hear some of the shorter jewels of the piano repertoire.

The coronation of King Charles is set for May 6, and there will be lots of ceremonial music. We’re going to anticipate some of those ceremonial tunes in a Coronation Special program this week.

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.