"Where our reason ends, there Paganini begins" (Giacomo Meyerbeer). This episode of the program sheds light on the mystery of the power of Paganini's art, to characterize which Goethe used the term “demonism” for the first time.

This is how Beethoven's Concerto No. 5 for Piano and Orchestra is named because of its monumentality, grandeur and victorious pathos. This episode of the program begins with a historical excursion, then presents an analysis of the structure and content of the concerto.

The episode presents the apologists of "authentic performance," who, playing ancient instruments in the ancient style, manner and other traditions, try to reproduce the music of the past as it sounded in its time.

The first part of the episode presents the article “Thoughts on the Performance of Ancient Music” by German conductor Wilhelm Furtwängler, who expresses and substantiates his distrust toward the authentic, real and “documented” reproduction of the music of the past.

This episode sheds light on six Bach fugues arranged by Mozart for string quartet and complemented with Adagios.

The episode is dedicated to the great singer Lusine Zakaryan. It presents the singer's image outlined in the memories of Daniel Yerazhisht.

Star Quartet: This episode analyzes the form and content of Beethoven's Quartet No. 8 and explains nature's reflection in the mirror of music.

The Star-Light Sky is Above: This episode explains issues of harmony between nature and art.

This episode is dedicated to the art of violinist Eduard Tadevosyan, Head of Komitas National Quartet, RA People's Artist, laureate of international competitions.

The third program dedicated to Komitas presents the final period of the composer's life.

The second part of this episode is dedicated to Komitas's mission. In the most crucial period of Armenian existence, he made his life goal to save and polyphonize the Armenian folk songs and to establish the Armenian national school of composers.

"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.