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 part presents Khachaturian's masterpiece, the Concert for Violin and Orchestra, and analyzes its form and content, where the image of the soul of the Armenian people shines — its epic power and love for life.

The episode presents the victory of Aram Khachaturian's art over the creativity-shackling Soviet ideology and, in general, the world evil.

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 episode characterizes the creative image of Brahms, and the features of his art.

The 2nd part of the episode presents Komitas's years of study in Berlin, and his participation in the works and concert tours of the International Music Society.

In the first part of this episode, we present Komitas as a singer, conductor, ethnographer, and founder of the Armenian national school of composers.

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.