In his 1812 overture, Tchaikovsky tells the story of Napoleon's advance to, and retreat from Moscow, and the final victory of the Russians. He uses hymns, national anthems and folk songs to represent the main events. Mark asks whether it is the story that makes this music so compelling or the development of the musical materials themselves.

This podcast was recorded for a music appreciation class for non musicians at Humber college. In line with the Etobicoke Philharmonic Orchestra's upcoming "discovery" concert, it locates the baroque period in the broad history of western art music and focuses on Bach's "Erbarme Dich" from the St. Matthew Passion to illustrate the tension between the bass and soprano lines in baroque music.

Some thoughts on the driving rhythm and interweaving motives of Bach's 4th Brandenburg Concerto.

In a departure from the western art music genre, Mark contemplates the depth (or not) of Paul McCartney's "Wonderful Christmas Time" and Otis Redding's "White Christmas."

Mark Listens to Edward Elgar's Enigma Variations, tracing its connection to Hans Zimmer's soundtrack to Dunkirk

Mark listens with Matthew to Stravinsky's Firebird suite and discovers how Stravinsky creates a musical image of the story presented in dance

Mark listens with violist Lea Kerstein, member of the folk-pop duo, Citizen Jane, to the first movement of Brahms' wonderful Bb major sextet op. 18, played here by the Stuttgart Soloists.

Mark and Mark discuss the nature of irresolvable desire and the famous "Tristan Chord" in Wagner's Prelude with the assistance of Wilhlem Fürtwangler and the Philharmonia's 1955 recording.

Mark listens together with the Canadian soprano, Betty Waynne Allison, to Bernstein's 1960 performance of the final movement of Mahler's fourth symphony (soprano Reri Grist) and reflects on the way Mahler paints a pastoral, yet disturbing, picture of a "child's view of heaven."

Mark and Matthew listen to The Philharmonia's 1957 recording of the first movement of Mahler's 4th symphony, conducted by Paul Kletzki, discovering the tension between the grace, beauty and simplicity of its dancelike themes and the metronomic insistence of its accompanying motives.