Leonard Bernstein at Harvard / The Norton Lectures 1973: "The Unanswered Question"
AlbumTracklist 762:27
CD 1
| 1 | Vol. 1: Musical Phonology: "First of all..." | 2:01 | |
| 2 | Vol. 1: Musical Phonology: "Perhaps the principal thing..." | 1:40 | |
| 3 | Vol. 1: Musical Phonology: "Let me start..." | 0:53 | |
| 4 | Vol. 1: Musical Phonology: "This is not just a sentimental anecdote..." | 1:52 | |
| 5 | Vol. 1: Musical Phonology: "From this time..." | 2:29 | |
| 6 | Vol. 1: Musical Phonology: "But how do we investigate..." | 2:52 | |
| 7 | Vol. 1: Musical Phonology: "Now you can see..." | 1:29 | |
| 8 | Vol. 1: Musical Phonology: "Universality is a big word..." | 2:31 | |
| 9 | Vol. 1: Musical Phonology: "Other linguists..." | 2:46 | |
| 10 | Vol. 1: Musical Phonology: "I began by imagining myself..." | 2:12 | |
| 11 | Vol. 1: Musical Phonology: "Well, then I thought..." | 2:06 | |
| 12 | Vol. 1: Musical Phonology: "Let's make a simple analogy..." | 2:03 | |
| 13 | Vol. 1: Musical Phonology: "Maybe even a divine one..." | 1:33 | |
| 14 | Vol. 1: Musical Phonology: "But where do these notes come from?" | 2:22 | |
| 15 | Vol. 1: Musical Phonology: "This acoustical phenomenon..." | 2:08 | |
| 16 | Vol. 1: Musical Phonology: "All these upper notes..." | 1:52 | |
| 17 | Vol. 1: Musical Phonology: "The first overtone..." | 2:33 | |
| 18 | Vol. 1: Musical Phonology: "But more of that later..." | 1:56 | |
| 19 | Vol. 1: Musical Phonology: "But let's not make the mistake..." | 2:21 | |
| 20 | Vol. 1: Musical Phonology: "And that's how the tempered clavichord..." | 2:12 | |
| 21 | Vol. 1: Musical Phonology: "Now this is a substantive universal..." | 2:01 |
CD 2
| 1 | Vol. 1: Musical Phonology: "But let's be careful..." | 1:43 | |
| 2 | Vol. 1: Musical Phonology: "And there is always that blue note..." | 1:37 | |
| 3 | Vol. 1: Musical Phonology: "But even these twelve tones..." | 1:51 | |
| 4 | Vol. 1: Musical Phonology: "I trust you realize..." | 2:16 | |
| 5 | Vol. 1: Musical Phonology: "And again comes a great leap..." | 2:32 | |
| 6 | Vol. 1: Musical Phonology: "Now this means..." | 1:38 | |
| 7 | Vol. 1: Musical Phonology: "This is not to say that there were no drastic changes..." | 2:28 | |
| 8 | Vol. 1: Musical Phonology: "But meanwhile we are still in the Golden Age..." | 2:55 | |
| 9 | Vol. 1: Musical Phonology: "So, we're in the midst of a chromatic adventure..." | 1:27 | |
| 10 | Vol. 1: Musical Phonology: "And all by those progressions..." | 1:34 | |
| 11 | Vol. 1: Musical Phonology: "Now, I must point out..." | 1:57 | |
| 12 | Vol. 1: Musical Phonology: "Do you realize..." | 1:32 | |
| 13 | Symphony no. 40 in G minor: I. Molto allegro Wolfgang Amadeus Mozart | 8:19 | |
| 14 | Symphony no. 40 in G minor: II. Andante Wolfgang Amadeus Mozart | 8:31 | |
| 15 | Symphony no. 40 in G minor: III. Menuetto. Allegretto - Trio Wolfgang Amadeus Mozart | 4:38 | |
| 16 | Symphony no. 40 in G minor: IV. Finale. Allegro assai Wolfgang Amadeus Mozart | 6:10 |
CD 3
| 1 | Vol. 2: Musical Syntax: "Every once in a while..." | 1:44 | |
| 2 | Vol. 2: Musical Syntax: "Last week..." | 2:24 | |
| 3 | Vol. 2: Musical Syntax: "Amen, says Noam Chomsky..." | 2:09 | |
| 4 | Vol. 2: Musical Syntax: "I suppose what Chomsky is really after..." | 2:49 | |
| 5 | Vol. 2: Musical Syntax: "So, let's pull up our socks..." | 1:36 | |
| 6 | Vol. 2: Musical Syntax: "All right, let's try another one..." | 2:08 | |
| 7 | Vol. 2: Musical Syntax: "Why am I taking your time..." | 2:12 | |
| 8 | Vol. 2: Musical Syntax: "Well then..." | 1:48 | |
| 9 | Vol. 2: Musical Syntax: "I think it follows..." | 1:53 | |
| 10 | Vol. 2: Musical Syntax: "But first, what are these principles..." | 1:49 | |
| 11 | Vol. 2: Musical Syntax: "Transformational grammar..." | 1:36 | |
| 12 | Vol. 2: Musical Syntax: "But now just think of that sentence..." | 1:01 | |
| 13 | Vol. 2: Musical Syntax: "Since this is not a linguistics class..." | 1:49 | |
| 14 | Vol. 2: Musical Syntax: "Take the passive transformation..." | 1:50 | |
| 15 | Vol. 2: Musical Syntax: "Well, it hasn't brought us there..." | 1:51 | |
| 16 | Vol. 2: Musical Syntax: "Good - now just as three notes are linked together..." | 1:43 | |
| 17 | Vol. 2: Musical Syntax: "Now let's go back..." | 1:49 | |
| 18 | Vol. 2: Musical Syntax: "Now we are ready..." | 2:27 | |
| 19 | Vol. 2: Musical Syntax: "Now I want to take you..." | 2:05 | |
| 20 | Vol. 2: Musical Syntax: "Well, transformation, deletion, embedding, pronominalization..." | 1:48 | |
| 21 | Vol. 2: Musical Syntax: "I am sure I don't have to trouble..." | 2:16 | |
| 22 | Vol. 2: Musical Syntax: "Here I go..." | 1:31 | |
| 23 | Vol. 2: Musical Syntax: "I have asked myself..." | 1:55 | |
| 24 | Vol. 2: Musical Syntax: "I became so fascinated..." | 1:43 |
CD 4
| 1 | Vol. 2: Musical Syntax: "Let's take one such utterance..." | 2:01 | |
| 2 | Vol. 2: Musical Syntax: "Now imagine..." | 1:29 | |
| 3 | Vol. 2: Musical Syntax: "Now let's see..." | 2:33 | |
| 4 | Vol. 2: Musical Syntax: "Mozart's G minor Symphony..." | 1:21 | |
| 5 | Vol. 2: Musical Syntax: "Now our job is..." | 2:27 | |
| 6 | Vol. 2: Musical Syntax: "That introductory accompaniment..." | 1:26 | |
| 7 | Vol. 2: Musical Syntax: "What does this three-note design mean..." | 1:55 | |
| 8 | Vol. 2: Musical Syntax: "The reason I pick symmetry..." | 2:13 | |
| 9 | Vol. 2: Musical Syntax: "Now from here on..." | 2:05 | |
| 10 | Vol. 2: Musical Syntax: "And once again, we are back..." | 1:10 | |
| 11 | Vol. 2: Musical Syntax: "By far the chief transformational principle..." | 1:42 | |
| 12 | Vol. 2: Musical Syntax: "You see, one of the great failings..." | 1:57 | |
| 13 | Vol. 2: Musical Syntax: "Most people hearing Mozart's opening..." | 1:45 | |
| 14 | Vol. 2: Musical Syntax: "So what, you ask..." | 1:59 | |
| 15 | Vol. 2: Musical Syntax: "And if you are still not convinced..." | 2:32 | |
| 16 | Vol. 2: Musical Syntax: "These ambiguities..." | 1:20 | |
| 17 | Vol. 2: Musical Syntax: "For instance, in this same first movement..." | 1:59 | |
| 18 | Vol. 2: Musical Syntax: "So all these syntactic transformations of the same material..." | 1:14 | |
| 19 | Vol. 2: Musical Syntax: "He talks about this sonnet..." | 1:55 | |
| 20 | Vol. 2: Musical Syntax: "Because now it's time..." | 1:35 | |
| 21 | Vol. 2: Musical Syntax: "But now let's listen to..." | 2:09 | |
| 22 | Vol. 2: Musical Syntax: "Listen to the whole exposition..." | 2:02 | |
| 23 | Vol. 2: Musical Syntax: "Development coming up..." | 2:08 | |
| 24 | Vol. 2: Musical Syntax: "The circle of fifths again..." | 2:03 | |
| 25 | Vol. 2: Musical Syntax: "And that was all one single sentence..." | 1:17 |
CD 5
| 1 | Vol. 3: Musical Semantics: "The other day..." | 2:37 | |
| 2 | Vol. 3: Musical Semantics: "The first would show us one meaning..." | 1:13 | |
| 3 | Vol. 3: Musical Semantics: "Think of this famous passage..." | 2:23 | |
| 4 | Vol. 3: Musical Semantics: "A linguist would say..." | 1:53 | |
| 5 | Vol. 3: Musical Semantics: "Well, I replied, Chomsky would say..." | 2:06 | |
| 6 | Vol. 3: Musical Semantics: "Of course, that last metaphorical leap..." | 1:50 | |
| 7 | Vol. 3: Musical Semantics: "Terrific, said my blonde inquisitor..." | 1:44 | |
| 8 | Vol. 3: Musical Semantics: "In fact, when you think of the number..." | 2:16 | |
| 9 | Vol. 3: Musical Semantics: "All right, first let's look briefly..." | 2:42 | |
| 10 | Vol. 3: Musical Semantics: "Playing, that's the word..." | 1:48 | |
| 11 | Vol. 3: Musical Semantics: "But does this Stravinskian game concept..." | 2:31 | |
| 12 | Vol. 3: Musical Semantics: "There are three specific ways..." | 2:03 | |
| 13 | Vol. 3: Musical Semantics: "Now, having defined my usages of metaphor..." | 1:58 | |
| 14 | Vol. 3: Musical Semantics: "And here we are in trouble..." | 1:06 | |
| 15 | Vol. 3: Musical Semantics: "Are we feeling what Beethoven supposedly felt..." | 1:44 | |
| 16 | Vol. 3: Musical Semantics: "We will never know..." | 2:23 | |
| 17 | Vol. 3: Musical Semantics: "Now, if we accept this general idea..." | 1:40 | |
| 18 | Vol. 3: Musical Semantics: "In our last lecture..." | 1:47 | |
| 19 | Vol. 3: Musical Semantics: "We all recognize antithesis..." | 1:47 | |
| 20 | Vol. 3: Musical Semantics: "It can and it does..." | 1:24 | |
| 21 | Vol. 3: Musical Semantics: "And again, as in the poem..." | 2:14 | |
| 22 | Vol. 3: Musical Semantics: "In fact, it has been authoritatively suggested..." | 2:46 | |
| 23 | Vol. 3: Musical Semantics: "We can expand the idea..." | 2:51 | |
| 24 | Vol. 3: Musical Semantics: "What do you suppose..." | 2:51 | |
| 25 | Vol. 3: Musical Semantics: "What's seriously striking..." | 2:16 | |
| 26 | Vol. 3: Musical Semantics: "So why the Pastorale in this lecture..." | 2:42 | |
| 27 | Vol. 3: Musical Semantics: "Let's begin at the beginning..." | 1:41 | |
| 28 | Vol. 3: Musical Semantics: "But what of the more obvious melodic material..." | 1:47 | |
| 29 | Vol. 3: Musical Semantics: "But to develop how..." | 2:38 | |
| 30 | Vol. 3: Musical Semantics: "Now we have an insight..." | 2:13 | |
| 31 | Vol. 3: Musical Semantics: "But wait..." | 1:53 | |
| 32 | Vol. 3: Musical Semantics: "But why were just those two notes added..." | 2:05 |
CD 6
| 1 | Vol. 3: Musical Semantics: "The metaphor arises..." | 2:48 | |
| 2 | Vol. 3: Musical Semantics: "But in the ensuing four bars..." | 2:11 | |
| 3 | Vol. 3: Musical Semantics: "But that's not the main event..." | 2:05 | |
| 4 | Vol. 3: Musical Semantics: "Well, that's the beginning..." | 1:58 | |
| 5 | Vol. 3: Musical Semantics: "That's one of the questions..." | 2:00 | |
| 6 | Vol. 3: Musical Semantics: "This interference of the two frequencies..." | 2:04 | |
| 7 | Vol. 3: Musical Semantics: "But what are we to say..." | 1:40 | |
| 8 | Vol. 3: Musical Semantics: "It is to be found..." | 1:39 | |
| 9 | Vol. 3: Musical Semantics: "Now that's one way of looking..." | 2:03 | |
| 10 | Vol. 3: Musical Semantics: "At this point..." | 1:36 | |
| 11 | Vol. 3: Musical Semantics: "Even if you can succeed..." | 2:42 | |
| 12 | Symphony no. 6 in F major "Pastoral" op. 68: I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo Ludwig van Beethoven | 11:07 | |
| 13 | Symphony no. 6 in F major "Pastoral" op. 68: II. Szene am Bach. Andante molto moto Ludwig van Beethoven | 13:42 | |
| 14 | Symphony no. 6 in F major "Pastoral" op. 68: III. Lustiges Zusammensein der Landleute. Allegro Ludwig van Beethoven | 5:28 | |
| 15 | Symphony no. 6 in F major "Pastoral" op. 68: IV. Gewitter, Sturm. Allegro Ludwig van Beethoven | 3:43 | |
| 16 | Symphony no. 6 in F major "Pastoral" op. 68: V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto Ludwig van Beethoven | 10:15 |
CD 7
| 1 | Vol. 4: The Delights and Dangers of Ambiguity: "When I first wrote down the title..." | 1:41 | |
| 2 | Vol. 4: The Delights and Dangers of Ambiguity: "Part of the danger..." | 2:02 | |
| 3 | Vol. 4: The Delights and Dangers of Ambiguity: "The idea of ambiguity..." | 1:32 | |
| 4 | Vol. 4: The Delights and Dangers of Ambiguity: "Similarly, in our second lecture..." | 2:06 | |
| 5 | Vol. 4: The Delights and Dangers of Ambiguity: "Then what's the magic secret..." | 2:53 | |
| 6 | Vol. 4: The Delights and Dangers of Ambiguity: "Enough of ambiguity..." | 1:52 | |
| 7 | Vol. 4: The Delights and Dangers of Ambiguity: "The irony of all this..." | 2:07 | |
| 8 | Vol. 4: The Delights and Dangers of Ambiguity: "But, mind you..." | 1:53 | |
| 9 | Vol. 4: The Delights and Dangers of Ambiguity: "Where music was concerned..." | 1:29 | |
| 10 | Vol. 4: The Delights and Dangers of Ambiguity: "Only think of..." | 1:58 | |
| 11 | Vol. 4: The Delights and Dangers of Ambiguity: "And Chopin: well, we can't ignore Chopin..." | 2:53 | |
| 12 | Vol. 4: The Delights and Dangers of Ambiguity: "And then, in the same little mazurka..." | 1:56 | |
| 13 | Vol. 4: The Delights and Dangers of Ambiguity: "Foolish questions..." | 1:34 | |
| 14 | Vol. 4: The Delights and Dangers of Ambiguity: "Let me try to read you..." | 1:56 | |
| 15 | Vol. 4: The Delights and Dangers of Ambiguity: "Listen to this..." | 1:45 | |
| 16 | Vol. 4: The Delights and Dangers of Ambiguity: "They began to intermingle..." | 1:30 | |
| 17 | Vol. 4: The Delights and Dangers of Ambiguity: "The pivotal point..." | 1:39 | |
| 18 | Vol. 4: The Delights and Dangers of Ambiguity: "So there is a dramatic change..." | 1:50 | |
| 19 | Vol. 4: The Delights and Dangers of Ambiguity: "So it is after all not so surprising..." | 2:31 | |
| 20 | Vol. 4: The Delights and Dangers of Ambiguity: "Now if you noticed..." | 1:40 | |
| 21 | Vol. 4: The Delights and Dangers of Ambiguity: "You see, the music is trying hard..." | 1:44 | |
| 22 | Vol. 4: The Delights and Dangers of Ambiguity: "So that instant in musical time..." | 1:33 | |
| 23 | Vol. 4: The Delights and Dangers of Ambiguity: "Now Romeo is all stirred up..." | 3:01 | |
| 24 | Romeo and Juliet, op. 17: I. Roméo seul: Tristesse - Bruits de concerts et de Bal - Grand fête chez Capulet: Andante malinconico e sostenuto - Hector Berlioz | 4:29 | |
| 25 | Romeo and Juliet, op. 17: Allegro - Larghetto espressivo - Hector Berlioz | 1:57 | |
| 26 | Romeo and Juliet, op. 17: Allegro - Hector Berlioz | 2:22 | |
| 27 | Romeo and Juliet, op. 17: Réunion des duex themes, du Larghetto et de l'Allegro Hector Berlioz | 3:46 | |
| 28 | Vol. 4: The Delights and Dangers of Ambiguity: "What a piece..." | 2:30 | |
| 29 | Vol. 4: The Delights and Dangers of Ambiguity: "Quite unconsciously borrowed..." | 1:50 | |
| 30 | Vol. 4: The Delights and Dangers of Ambiguity: "My purpose in all this..." | 2:26 | |
| 31 | Vol. 4: The Delights and Dangers of Ambiguity: "Is it, says Wagner..." | 2:15 |
CD 8
| 1 | Vol. 4: The Delights and Dangers of Ambiguity: "Every diminished seventh chord..." | 1:23 | |
| 2 | Vol. 4: The Delights and Dangers of Ambiguity: "Now the remarkable thing is..." | 2:54 | |
| 3 | Vol. 4: The Delights and Dangers of Ambiguity: "And this is what gives Tristan..." | 2:54 | |
| 4 | Tristan and Isolde: Prelude and Liebestod Richard Wagner | 19:05 | |
| 5 | Vol. 4: The Delights and Dangers of Ambiguity: "That may be the slowest performance..." | 2:25 | |
| 6 | Vol. 4: The Delights and Dangers of Ambiguity: "But ultimately..." | 1:38 | |
| 7 | Vol. 4: The Delights and Dangers of Ambiguity: "Poetry has begun to show..." | 1:41 | |
| 8 | Vol. 4: The Delights and Dangers of Ambiguity: "And when Debussy..." | 1:37 | |
| 9 | Vol. 4: The Delights and Dangers of Ambiguity: "It's lovely, this dreaming..." | 2:35 | |
| 10 | Vol. 4: The Delights and Dangers of Ambiguity: "For example, do you remember..." | 1:45 | |
| 11 | Vol. 4: The Delights and Dangers of Ambiguity: "In fact, the ending of this piece..." | 1:17 | |
| 12 | Vol. 4: The Delights and Dangers of Ambiguity: "Let me show you briefly..." | 2:07 | |
| 13 | Vol. 4: The Delights and Dangers of Ambiguity: "This new episode that proceeds..." | 1:24 | |
| 14 | Vol. 4: The Delights and Dangers of Ambiguity: "For instance, hardly have we had time..." | 2:29 | |
| 15 | Vol. 4: The Delights and Dangers of Ambiguity: "Because the scale..." | 1:53 | |
| 16 | Vol. 4: The Delights and Dangers of Ambiguity: "It's almost exactly what happens..." | 1:51 | |
| 17 | Vol. 4: The Delights and Dangers of Ambiguity: "Literally translated..." | 1:35 | |
| 18 | Vol. 4: The Delights and Dangers of Ambiguity: "But notice, too, that the example..." | 1:34 | |
| 19 | Vol. 4: The Delights and Dangers of Ambiguity: "Both works have definitive beginnings..." | 1:32 | |
| 20 | Vol. 4: The Delights and Dangers of Ambiguity: "Listen as I play..." | 1:51 | |
| 21 | Prélude à l'après-midi d'un faune, l.86 Claude Debussy | 10:25 | |
| 22 | Vol. 4: The Delights and Dangers of Ambiguity: "Some crazy modern music..." | 1:04 |
CD 9
| 1 | Vol. 5: The Twentieth Century Crisis: "Our lecture tonight..." | 0:18 | |
| 2 | Rapsodie espagnole, m. 54: IV. Feria Maurice Ravel | 6:33 | |
| 3 | Vol. 5: The Twentieth Century Crisis: "What a way to enter the twentieth century..." | 1:38 | |
| 4 | Vol. 5: The Twentieth Century Crisis: "But 1908, if the truth to be told..." | 1:28 | |
| 5 | Vol. 5: The Twentieth Century Crisis: "These troubling presentiments..." | 2:19 | |
| 6 | Vol. 5: The Twentieth Century Crisis: "So, now in 1908..." | 2:11 | |
| 7 | Vol. 5: The Twentieth Century Crisis: "This is atonality..." | 2:30 | |
| 8 | Vol. 5: The Twentieth Century Crisis: "A charming idea..." | 0:28 | |
| 9 | The Unanswered Question Charles Ives | 5:23 | |
| 10 | Vol. 5: The Twentieth Century Crisis: "Is that luminous final triad..." | 2:16 | |
| 11 | Vol. 5: The Twentieth Century Crisis: "I have recently been reading..." | 1:59 | |
| 12 | Vol. 5: The Twentieth Century Crisis: "We have already referred to some of those..." | 3:02 | |
| 13 | Vol. 5: The Twentieth Century Crisis: "In any case..." | 1:57 | |
| 14 | Vol. 5: The Twentieth Century Crisis: "But for all these reasons..." | 2:46 | |
| 15 | Vol. 5: The Twentieth Century Crisis: "Son of Tristan..." | 2:31 | |
| 16 | Vol. 5: The Twentieth Century Crisis: "Now you look at those first two bars..." | 2:20 | |
| 17 | Vol. 5: The Twentieth Century Crisis: "Of course, there are lots..." | 1:56 | |
| 18 | Vol. 5: The Twentieth Century Crisis: "It's as though a new covenant..." | 1:40 | |
| 19 | Vol. 5: The Twentieth Century Crisis: "Trouble is, that the new musical rules..." | 2:22 | |
| 20 | Vol. 5: The Twentieth Century Crisis: "The kind of tonal feeling..." | 2:53 | |
| 21 | Vol. 5: The Twentieth Century Crisis: "Of course, there are those who say..." | 1:40 | |
| 22 | Vol. 5: The Twentieth Century Crisis: "It seems somehow inevitable..." | 2:17 | |
| 23 | Vol. 5: The Twentieth Century Crisis: "Is there possibly the beginning..." | 2:47 | |
| 24 | Vol. 5: The Twentieth Century Crisis: "And what about Beethoven's Ninth..." | 2:44 | |
| 25 | Vol. 5: The Twentieth Century Crisis: "These are some of the problems..." | 2:40 |
CD 10
| 1 | Vol. 5: The Twentieth Century Crisis: "Now let's jump ahead..." | 2:23 | |
| 2 | Vol. 5: The Twentieth Century Crisis: "Let's put it another way..." | 2:10 | |
| 3 | Vol. 5: The Twentieth Century Crisis: "First of all, Berg chose a tone row..." | 1:54 | |
| 4 | Vol. 5: The Twentieth Century Crisis: "So, all in all..." | 0:52 | |
| 5 | Violin concerto (excerpt) Alban Berg | 2:23 | |
| 6 | Vol. 5: The Twentieth Century Crisis: "Fantastic..." | 2:50 | |
| 7 | Vol. 5: The Twentieth Century Crisis: "It comes at a point..." | 2:47 | |
| 8 | Violin concerto: II. Allegro, ma sempre rubato (excerpt) Alban Berg | 2:53 | |
| 9 | Vol. 5: The Twentieth Century Crisis: "If this particularly demanding lecture..." | 1:21 | |
| 10 | Vol. 5: The Twentieth Century Crisis: "If you really have been thinking..." | 2:13 | |
| 11 | Vol. 5: The Twentieth Century Crisis: "But while restudying this work..." | 2:21 | |
| 12 | Vol. 5: The Twentieth Century Crisis: "The twentieth century..." | 1:39 | |
| 13 | Vol. 5: The Twentieth Century Crisis: "What do you do if you know all this..." | 2:35 | |
| 14 | Vol. 5: The Twentieth Century Crisis: "It's very strange, how the pieces..." | 2:11 | |
| 15 | Vol. 5: The Twentieth Century Crisis: "What exactly was this news..." | 1:59 | |
| 16 | Vol. 5: The Twentieth Century Crisis: "We emerge from a cinema..." | 1:55 | |
| 17 | Vol. 5: The Twentieth Century Crisis: "As you listen to this finale..." | 2:35 | |
| 18 | Vol. 5: The Twentieth Century Crisis: "This is Mahler..." | 2:41 | |
| 19 | Symphony no. 9 in D major: IV. Adagio. Sehr langsam und noch zurückhaltend Gustav Mahler | 23:00 |
CD 11
| 1 | Vol. 6: The Poetry of Earth: "I know what you are thinking..." | 1:53 | |
| 2 | Vol. 6: The Poetry of Earth: "What about this..." | 1:27 | |
| 3 | Vol. 6: The Poetry of Earth: "I am plaguing you with this question..." | 1:45 | |
| 4 | Vol. 6: The Poetry of Earth: "Of course what he is really talking about..." | 2:05 | |
| 5 | Vol. 6: The Poetry of Earth: "But it was precisely..." | 1:58 | |
| 6 | Vol. 6: The Poetry of Earth: "Now I have just used two words..." | 1:55 | |
| 7 | Vol. 6: The Poetry of Earth: "In fact, it was Satie, Picasso, and Cocteau..." | 2:20 | |
| 8 | Vol. 6: The Poetry of Earth: "But our scene..." | 1:53 | |
| 9 | Vol. 6: The Poetry of Earth: "Even in the most..." | 2:03 | |
| 10 | Vol. 6: The Poetry of Earth: "For our purposes..." | 2:11 | |
| 11 | Vol. 6: The Poetry of Earth: "Musicologists are always pointing..." | 1:56 | |
| 12 | Vol. 6: The Poetry of Earth: "But bitonality does not only serve..." | 2:20 | |
| 13 | Vol. 6: The Poetry of Earth: "Of course, polytonality can and does..." | 2:09 | |
| 14 | Vol. 6: The Poetry of Earth: "Now what's going on..." | 2:21 | |
| 15 | Vol. 6: The Poetry of Earth: "And while you are in that record shop..." | 2:15 | |
| 16 | Vol. 6: The Poetry of Earth: "Of course, these asymmetries..." | 1:53 | |
| 17 | Vol. 6: The Poetry of Earth: "Brutal it may be..." | 1:32 | |
| 18 | Vol. 6: The Poetry of Earth: "Now, remember..." | 1:59 | |
| 19 | Vol. 6: The Poetry of Earth: "These are two sets..." | 1:59 | |
| 20 | Vol. 6: The Poetry of Earth: "Just cast an eye..." | 2:44 | |
| 21 | Vol. 6: The Poetry of Earth: "Now that page of music..." | 2:59 | |
| 22 | Vol. 6: The Poetry of Earth: "But the most striking semantic effect..." | 1:39 | |
| 23 | Vol. 6: The Poetry of Earth: "This new aesthetic relaxation..." | 2:11 | |
| 24 | Vol. 6: The Poetry of Earth: "Even some Germans..." | 2:06 | |
| 25 | Vol. 6: The Poetry of Earth: "You can see how the transformation..." | 1:55 | |
| 26 | Vol. 6: The Poetry of Earth: "Chomsky himself gives a classic example..." | 2:08 | |
| 27 | Vol. 6: The Poetry of Earth: "Very important, the ironic element..." | 2:39 | |
| 28 | Vol. 6: The Poetry of Earth: "So, it would seem..." | 2:17 | |
| 29 | Vol. 6: The Poetry of Earth: "But this neoclassic approach..." | 1:11 | |
| 30 | Vol. 6: The Poetry of Earth: "I think this is again a moment..." | 2:06 | |
| 31 | Vol. 6: The Poetry of Earth: "It's the essence..." | 2:34 | |
| 32 | Vol. 6: The Poetry of Earth: "If this poem were rewritten..." | 1:20 |
CD 12
| 1 | Vol. 6: The Poetry of Earth: "Why have I digressed..." | 1:46 | |
| 2 | Vol. 6: The Poetry of Earth: "Now can you understand..." | 1:37 | |
| 3 | Vol. 6: The Poetry of Earth: "Untermeyer called this..." | 1:42 | |
| 4 | Vol. 6: The Poetry of Earth: "Of course, with The Waste Land..." | 1:17 | |
| 5 | Vol. 6: The Poetry of Earth: "But the thing of it all is..." | 1:31 | |
| 6 | Vol. 6: The Poetry of Earth: "We are going to hear..." | 1:35 | |
| 7 | Vol. 6: The Poetry of Earth: "One has only learnt to get..." | 2:45 | |
| 8 | Vol. 6: The Poetry of Earth: "Now i propose only because..." | 2:23 | |
| 9 | Vol. 6: The Poetry of Earth: "This union is possible only because..." | 2:57 | |
| 10 | Vol. 6: The Poetry of Earth: "But what has all this to do with Stravinsky..." | 2:21 | |
| 11 | Vol. 6: The Poetry of Earth: "And this is the essence..." | 2:14 | |
| 12 | Vol. 6: The Poetry of Earth: "Look: here is a joke..." | 2:02 | |
| 13 | Vol. 6: The Poetry of Earth: "Chilling, shattering, neoclassic..." | 1:46 | |
| 14 | Vol. 6: The Poetry of Earth: "Stravinsky's own aesthetic pronouncements..." | 2:03 | |
| 15 | Vol. 6: The Poetry of Earth: "But of course he was forced..." | 1:31 | |
| 16 | Vol. 6: The Poetry of Earth: "And now we are finally ready..." | 2:36 | |
| 17 | Vol. 6: The Poetry of Earth: "And then Mozart appears..." | 2:35 | |
| 18 | Vol. 6: The Poetry of Earth: "But this eclecticism knows no bounds..." | 1:45 | |
| 19 | Vol. 6: The Poetry of Earth: "Now all this I had planned to tell you..." | 1:33 | |
| 20 | Vol. 6: The Poetry of Earth: "You think that's funny..." | 2:43 | |
| 21 | Vol. 6: The Poetry of Earth: "How about that..." | 2:56 | |
| 22 | Vol. 6: The Poetry of Earth: "Then came the answer..." | 2:41 | |
| 23 | Vol. 6: The Poetry of Earth: "But why this particular misalliance..." | 1:22 | |
| 24 | Vol. 6: The Poetry of Earth: "My words are poor..." | 1:58 |
CD 13
| 1 | Oedipus Rex: Prologue: "You are about to hear a Latin version of Oedipus the King" Igor Stravinsky | 0:58 | |
| 2 | Oedipus Rex: Act I: "Caedit nos pestis" Igor Stravinsky | 4:05 | |
| 3 | Oedipus Rex: Act I: "Liberi, vos liberabo" Igor Stravinsky | 3:29 | |
| 4 | Oedipus Rex: Act I: "This is Creon, brother-in-law of Oedipus" Igor Stravinsky | 0:26 | |
| 5 | Oedipus Rex: Act I: "Respondit deus" Igor Stravinsky | 6:38 | |
| 6 | Oedipus Rex: Act I:" Oedipus questions the Fountain of Truth" Igor Stravinsky | 2:44 | |
| 7 | Oedipus Rex: Act I: "Dicere non possum" Igor Stravinsky | 5:22 | |
| 8 | Oedipus Rex: Act I: "Gloria!" Igor Stravinsky | 1:11 | |
| 9 | Oedipus Rex: Act II: "The dispute of the princes attracts the attention of Jocasta" Igor Stravinsky | 2:10 | |
| 10 | Oedipus Rex: Act II: "Nonn' erubescite, reges" Igor Stravinsky | 4:25 | |
| 11 | Oedipus Rex: Act II: "Ne probentur oracula" Igor Stravinsky | 3:20 | |
| 12 | Oedipus Rex: Act II: "Ego senem cecici" Igor Stravinsky | 2:07 | |
| 13 | Oedipus Rex: Act II: "The witness to the murder comes out of the shadow" Igor Stravinsky | 0:44 | |
| 14 | Oedipus Rex: Act II: "Adest omniscius pastor" Igor Stravinsky | 4:32 | |
| 15 | Oedipus Rex: Act II: "Nonne monstrum rescituri" Igor Stravinsky | 3:24 | |
| 16 | Oedipus Rex: Act II: "And now you are going to hear that famous monolog..." Igor Stravinsky | 1:38 | |
| 17 | Oedipus Rex: Act II: "Divum Jocastae caput mortuum!" Igor Stravinsky | 3:09 | |
| 18 | Oedipus Rex: Act II: "Ecce! Regem Oedipoda" Igor Stravinsky | 2:46 | |
| 19 | Vol. 6: The Poetry of Earth: "Va-le-di-co..." | 2:06 | |
| 20 | Vol. 6: The Poetry of Earth: "During that decade..." | 1:46 | |
| 21 | Vol. 6: The Poetry of Earth: "It was at this point that I wrote..." | 1:43 | |
| 22 | Vol. 6: The Poetry of Earth: "What interests me about it..." | 2:15 | |
| 23 | Vol. 6: The Poetry of Earth: "Is it possible..." | 1:51 | |
| 24 | Vol. 6: The Poetry of Earth: "It's as tough in the period..." | 2:52 | |
| 25 | Vol. 6: The Poetry of Earth: "And I believe..." | 2:40 |