This episode presents the Sibelius's work depicting the feast of Belshazzar, the last king of besieged Babylon. The king was glorifying idols with his concubines, drinking from the golden vessels brought by his father Nebuchadnezzar from the Temple of Jerusalem, when that same night the Persian troops broke in, destroyed Babylon, and killed the sacrilegious king.

The third part of this episode is dedicated to the last, Armenian, period of Ohan Durian’s life and activity — to the concerts of the National Opera Theater Orchestra under his direction, of Ohan Durian Symphony Orchestra (reformed) of the National Radio, and of Moscow Symphony Orchestra under patronage of Stas Namin.

The second part of this episode is dedicated to the second period of Ohan Durian’s life and activity — to his concerts in different countries.

The first part of this episode is dedicated to the first period of the life and work of the great conduc-tor Ohan Duryan (in 1960s) — to the concerts held in Armenia and abroad and culminating in the Opera "Anush" presented by him at Moscow Bolshoi Theater, Beethoven's Symphony No. 9, which he performed with the Leipzig Gewandhaus Orchestra, operas "Aida," "Lohengrin," and others.

This episode presents the difficult days of Richard Wagner's life, when desperate from poverty, he was looking for a way out, writing letters and asking for financial assistance from Countess Edith von Rahden in order to support his family and finish his works.

This episode touches upon the content of the Opera "Il Trovatore" and draws parallels with the historical events of the time.

This episode is dedicated to the untimely departed talented French violinist Ginette Neveu, who during the 30 years of her life managed to conquer the heights of art, to win the “crown” of the Wieniawski international competition, to capture the hearts of thousands of music lovers, and finally, to defeat death.

This episode briefly outlines the stages of the historical path of Italian musical art and presents its pre-determining influence on classical music.

This episode is dedicated to the prolific activity of the pianist, composer, pedagogue, Honored Figure of Arts, Professor Georgi Saradjev.

The author of the program outlines the creative image of the composer, analyzes his mindset, creative method, and means of expression, and explains his mission.

The episode comprehensively and thoroughly analyzes the form and content of this work. It also considers it from the aspect of number symbolism and the rule of "Golden ratio."    

The episode is dedicated to the art of the famous Hungarian violinist József Szigeti. "I remember the awesome impression I got from Szigeti's playing," said Aram Khachaturian.

This episode presents “Hebrides” as a strong response to the composer's impressions from his trip to Scotland, and as a masterpiece for which the great Brahms was ready to give all his creative legacy.

Based on Chopin's Piano Prelude No. 15, this episode touches upon a wide range of issues related to the content of program music and the interpretation of associative links.

This episode presents the 1st Concerto by Brahms as a “hidden Symphony” (according to Schumann), where one can hear the distant echoes of Beethoven's Symphony No. 9.

"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.