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When we left nine-year-old Mozart last week, he was in London with his family and with four symphonies to his credit. Even though only two of those were authentically his, still that’s not bad for a kid that age.

Benjamin Britten wrote his War Requiem for the consecration of new cathedral in Coventry, England, to stand next to the ruins of the 14th-century church that had been destroyed in a World War II bombing raid. We’ll hear a performance of Britten’s anti-war paean, timely once again, on this Sunday’s program.

Contemporary English composer John Rutter is celebrated for the pageantry of his anthems, and his music received some prominent use during the recent jubilee celebrations for Queen Elizabeth II.. We’ll look at his 1985 Requiem as our featured work this Sunday.

We begin thiis Sunday with music of Shostakovich, Prokofiev, and Stravinsky. Then we look at works by Mozart contemporaries Franz Danzi and Carl Stamitz, as we also check in on Mozart himself, continuing along with our cycle of his complete symphonies — a project we began last July.

This Sunday we’ll hear the second in our series of the three ballets scored by Igor Stravinsky for Diaghilev’s Ballets Russes in the years before World War I — compositions that estabished him as one of the major composers of that new century.

In 1717, the exceedingly unpopular King George I of England enlisted court composer George Frederic Handel to write some music for a floating concert on the Thames. King George remained unpopular, but folks by the thousands lined the river banks to hear Handel’s Water Music, our featured work this Sunday.

It’s a December tradition on Mozart’s Attic, and we’ll have our annual performance of George Frederic Handel’s Messiah, complete, this Sunday. Justin Doyle conducts the Berlin Academy for Old Music with soloists and chorus in a newly-released CD of everyone’s favorite oratorio.

This week we’re going to devote the entire program to music performed by the Kronos Quartet. There’s nobody else anything like them and there never has been. We’ll scratch the surface this Sunday.

Wilhelm Furtwangler was music director of the Berlin Philharmonic during World War II, and his political legacy is complicated — and not necessarily what you might expect. He was also widely regarded as one of the greatest Beethoven interpreters of the last century, and we’ll have a rare live recording of him conducting the Eroica Symphony this Sunday.

This week we highlight French music for the stage in the mid-19th century with a couple of overtures from the comic operas and a complete performance of Adolphe Adam’s balletGiselle, a tale of seduction, betrayal, and revenge from a cadre of ghosts.