Mark listens with Professor Brady Polka to Brahms' third symphony and learns about Brahms' ability to evoke both a sense of completeness and continual development.

Mark listens to Rudolf Serkin's performance of Schumann's piano concerto in A minor, together with the renowned Canadian concert pianist, Arthur Ozolins.

Mark listens to Klemperer's recording of the first movement of Brahms' 3rd Symphony together with Matthew Jones, conductor of the Etobicoke Philharmonic, focussing on the composer's use of rhythmic displacement and resolution

Mark and Mark listen to the opening of Mozart's D minor piano concerto recorded by Jan Lisiecki, Christian Zacharias and the Symphonieorchester des Bayerischen Rundfunks

Mark and Matthew discuss Prokofiev's music, written to illustrate the strange tale of the fictional Lieutenant in Tzar Paul 1st's court – one of the first movie soundtracks.

Mark and Mark listen closely to a recording of the first movement of Vivaldi's concerto, Winter, from "The Four Seasons" with Alan Loveday (violin) and The Academy of St. Martin in the Fields, conducted by Neville Marriner. They compare it, briefly, to a recording by a British ensemble, Red Priest.

EPO concertmaster Mark Whale, listens with fellow Humber Professor, Mark Reczkiewicz, to part of the first movement of the Finnish composer, Jean Sibelius's violin concerto in D minor.

Mark listens together with the EPO's new conductor, Matthew Jones, to a recording by the Baltimore Symphony orchestra and Marin Alsop.

Was Beethoven a revolutionary? Mark Whale and Matthew Jones, the Etobicoke Philharmonic Orchestra's conductor, listen closely to Beethoven's Eroica symphony to try to discover what the composer's revolution was.

Mark and Mark talk about Paul Hindemith's incidental music to the Christmas fairy tale, nutcracker-like, Tuttifantchen.