The 1953 American Decca Recordings
AlbumTracklist 379:12
CD 1
| 1 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": I. Allegro con brio Ludwig van Beethoven | 14:38 | |
| 2 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": II. Marcia funebre. Adagio assai Ludwig van Beethoven | 17:47 | |
| 3 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": III. Scherzo. Allegro vivace Ludwig van Beethoven | 5:38 | |
| 4 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": IV. Finale. Allegro molto Ludwig van Beethoven | 12:21 | |
| 5 | Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "Simplicity itself..." (1st movement) [dialogue] | 13:24 | |
| 6 | Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "I always feel this gigantism..." (2nd movement) [dialogue] | 6:07 | |
| 7 | Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "We have just been examining..." (3rd movement) [dialogue] | 5:25 |
CD 2
| 1 | Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "All that we have said..." (4th movement) [dialogue] | 9:12 | |
| 2 | Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "The study of Eroica is a lifetime work..." [dialogue] | 1:11 | |
| 3 | Symphony No. 9 in E minor, Op. 95 "From the New World": I. Adagio – Allegro molto Antonín Dvořák | 8:51 | |
| 4 | Symphony No. 9 in E minor, Op. 95 "From the New World": II. Largo Antonín Dvořák | 13:32 | |
| 5 | Symphony No. 9 in E minor, Op. 95 "From the New World": III. Scherzo. Molto vivace Antonín Dvořák | 7:16 | |
| 6 | Symphony No. 9 in E minor, Op. 95 "From the New World": IV. Allegro con fuoco Antonín Dvořák | 11:33 | |
| 7 | Musical Analysis (Bernstein on Dvorák's Symphony No.9): "Does this music sound like the New World to you?" (3rd movement, Trio II; 1st movement) [dialogue] | 9:51 | |
| 8 | Musical Analysis (Bernstein on Dvorák's Symphony No.9): "We come now to the second movement, which has a charming melody, ..." (2nd movement) [dialogue] | 3:22 | |
| 9 | Musical Analysis (Bernstein on Dvorák's Symphony No.9): "The third movement is a marvel of ingenuity and deftness" (3rd movement) [dialogue] | 1:40 | |
| 10 | Musical Analysis (Bernstein on Dvorák's Symphony No.9): "And now the last movement. In general I should say that this is the most Slavic of all" (4th movement) [dialogue] | 5:00 | |
| 11 | Musical Analysis (Bernstein on Dvorák's Symphony No.9): "The final claim of those who argue for the New World Symphony as American music, ..." (4th movement, continued) [dialogue] | 1:01 |
CD 3
| 1 | Symphony No. 2 in C major, Op. 61: I. Sostenuto assai - Un poco più vivace - Allegro ma non troppo - Con fuoco Robert Schumann | 12:27 | |
| 2 | Symphony No. 2 in C major, Op. 61: II. Scherzo: Allegro vivace Robert Schumann | 6:58 | |
| 3 | Symphony No. 2 in C major, Op. 61: III. Adagio espressivo Robert Schumann | 11:53 | |
| 4 | Symphony No. 2 in C major, Op. 61: IV. Allegro molto vivace Robert Schumann | 8:14 | |
| 5 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Robert Schumann has been dead..." (3rd movement, opening theme) [dialogue] | 4:22 | |
| 6 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "To my mind, Schumann follows in this tradition..." [dialogue] | 1:48 | |
| 7 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Now let's look at the Symphony itself..." (1st movement) [dialogue] | 8:39 | |
| 8 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "And so we have arrived at the allegro section..." (1st movement, continued) [dialogue] | 6:51 | |
| 9 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "In the marvelous Scherzo that follows..." (2nd movement) [dialogue] | 4:49 | |
| 10 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "But perhaps the greatest beauty...." (3rd movement) [dialogue] | 7:31 | |
| 11 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Even in the final movement...." (4th movement) [dialogue] | 5:15 |
CD 4
| 1 | Symphony No. 4 in E minor, Op. 98: I. Allegro non troppo Johannes Brahms | 11:50 | |
| 2 | Symphony No. 4 in E minor, Op. 98: II. Andante moderato Johannes Brahms | 11:53 | |
| 3 | Symphony No. 4 in E minor, Op. 98: III. Allegro giocoso - Poco meno presto - Tempo I Johannes Brahms | 6:07 | |
| 4 | Symphony No. 4 in E minor, Op. 98: IV. Allegro energico e passionato - Più allegro Johannes Brahms | 11:01 | |
| 5 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Brahms' Fourth Symphony in E minor is today ..." (4th movement., opening theme) [dialogue] | 4:44 | |
| 6 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Our journey begins without introduction..." (1st movement) [dialogue] | 5:15 | |
| 7 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Do you see now what a symphonic theme is?" (1st movement) [dialogue] | 3:23 | |
| 8 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Now, think of it - we have so far only had 44 bars of music" (1st movement) [dialogue] | 5:47 | |
| 9 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Here is that second theme" (1st movement) [dialogue] | 2:41 | |
| 10 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "This brings us to the development section proper" (1st movement) [dialogue] | 9:34 | |
| 11 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): And here we are back home, ready for the rehearing of the exposition,..." (1st movement) [dialogue] | 2:16 | |
| 12 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "So we arrive at the coda" (1st movement) [dialogue] | 3:18 | |
| 13 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Well, we have had a microscopic look at symphonic method" (1st movement) [dialogue] | 2:11 |
CD 5
| 1 | Symphony No. 6 in B minor, Op. 74 "Pathétique": I. Adagio – Allegro non troppo Пётр Ильич Чайковский | 18:43 | |
| 2 | Symphony No. 6 in B minor, Op. 74 "Pathétique": II. Allegro con grazia Пётр Ильич Чайковский | 8:14 | |
| 3 | Symphony No. 6 in B minor, Op. 74 "Pathétique": III. Allegro molto vivace Пётр Ильич Чайковский | 9:08 | |
| 4 | Symphony No. 6 in B minor, Op. 74 "Pathétique": IV. Finale. Adagio lamentoso – Andante Пётр Ильич Чайковский | 11:26 | |
| 5 | Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now there is a melody, a pure orchestral song..." (1st movement) [dialogue] | 9:18 | |
| 6 | Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now the development section erupts..." (1st movement continued) [dialogue] | 1:58 | |
| 7 | Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now one would think that Tchaikovsky had really exploited the device of scales" (2nd movement) [dialogue] | 1:56 | |
| 8 | Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Jumping now to the famous third movement, the great March..." (3rd movement) [dialogue] | 1:50 | |
| 9 | Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Perhaps the most admirable example of this is to be found in the wonderful last movement, ..." (4th movement) [dialogue] | 3:40 | |
| 10 | Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now I don't want to give you the impression that scales are the only unifying force in this work" [dialogue] | 6:01 |