"The salvation of the Armenian people is in their spiritual development" (Kostan Zaryan).
The episode illustrates the impact of music on the human soul and society. The host presents Komitas's activity at the conferences of the International Music Society, where he scientifically and practically confirmed that the Armenians do have their own music.

This episode presents the structure of Haydn's "The Seven Last Words of Our Savior on the Cross" and draws parallels between the works of the same name by composers of different times.

The episode presents the birth, development, and application of the genre of the hymn “Ave Maria” in the art of different composers.

The episode is dedicated to two works based on Arnold Böcklin’s painting "Isle of the Dead" — Rachmaninoff’s Symphonic Poem and a poetic series by Kostan Zaryan.

The episode elucidates the form and content of the innovative concert, and draws parallels with other works of the author.

The episode is dedicated to the genealogy of the genre of concerto. Beethoven's Piano Concerto No. 3 is presented as a perfect example of this genre.

The episode draws a parallel between the art, worldview, and ideals of Gregory of Narek and Johann Sebastian Bach, and attempts to find though distant, but common ground and principles.

The episode is dedicated to the concert series “Four Seasons” by Antonio Vivaldi. The author presents the “dialogue” between humans and nature and its reflection in music.

This episode presents the history of the creation of Igor Stravinsky's Violin Concerto, its premiere, characteristics given by Stravinsky, and the plastic nature of its music.

The episode presents the comic Coffee Cantata of Johann Sebastian Bach. In an example of one family, this cantata reflects the different opinions raised around this drink imported to Europe.

The episode presents the biography and work of Aram Khachaturian in the period between the two world wars of the 20th century.

The episode is dedicated to the life and work of Makar Ekmalyan, and to his contribution to sacred music.

This episode is dedicated to the life and works of Heinrich Schütz who is regarded as the founder of the German school of composition.

The broadcast is dedicated to the life and works of one of the pioneers of the German Enlightenment, a composer who had the credo of making the art of music popular and more accessible.

The broadcast is dedicated to the life and works of the brilliant German composer J.S.Bach.

Heinrich Schütz and Felice Anerio

This episode is dedicated to the life and creative path of the great English singer Kathleen Ferrier (contralto). It presents her entrance into the international area, the stages of her achievements and ascent, starting from the performance of English folk songs, participation in Handel's Oratorio "Messiah," roles in the operas "The Rape of Lucretia" by Britten and "Orpheus and Eurydice" by Gluck, to songs by Bach, Schubert, Brahms, Mahler and, finally, her last recording with the Vienna Philharmonic Orchestra.

This episode is dedicated to Armenian lullabies, both folk ones created in different regions and those authored by Armenian composers. Twenty-one samples including the ethereal songs from Akn, the tragic ones from Van, those from Sasun and Taron, and patriotic and other lullabies by Armenian composers. The recorded lullabies are presented by singer Anahit Papayan.

This part is dedicated to the concert in celebration of Lubimov's 70th birth anniversary at the Aram Khachaturyan Music Hall, Yerevan, in 2014. The Armenian Philharmonic Orchestra also participated in the concert (conductor Stefan Willich). One of the works performed that evening was Mozart's Concert No. 27. It was Mozart's last concert, which the author performed in the last spring of his life, in 1791, in Vienna. Lubimov played this work with great enthusiasm, conveying Mozart's longing for life and as if returning his "lost Paradise."

The third part of the episode presents the second part of Alexei Lubimov's solo concert in Cafesjian Center, Yerevan, in 2013. He played Debussy's Préludes from Book II. If in the first part of the concert the pianist resembled a sculptor, in the second he was like an impressionist painter with a rich watercolor palette.