Leonard Bernstein - The Harvard Lectures

Leonard Bernstein



  • 1Vol. I - Musical Phonology: First of All
  • 2Vol. I - Musical Phonology: Perhaps the Principal Thing
  • 3Vol. I - Musical Phonology: Let Me Start
  • 4Vol. I - Musical Phonology: This is Not Just a Sentimental Anecdote
  • 5Vol. I - Musical Phonology: From this Time
  • 6Vol. I - Musical Phonology: But How do we Investigate
  • 7Vol. I - Musical Phonology: Now You Can See
  • 8Vol. I - Musical Phonology: Universality is a Big Word
  • 9Vol. I - Musical Phonology: Other Linguists
  • 10Vol. I - Musical Phonology: I Began by Imagining Myself
  • 11Vol. I - Musical Phonology: Well, Then I Thought
  • 12Vol. I - Musical Phonology: Let's Make a Simple Analogy
  • 13Vol. I - Musical Phonology: Maybe Even a Divine One
  • 14Vol. I - Musical Phonology: But Where do these Notes Come from?
  • 15Vol. I - Musical Phonology: This Acoustical Phenomenon
  • 16Vol. I - Musical Phonology: All These Upper Notes
  • 17Vol. I - Musical Phonology: The First Overtone
  • 18Vol. I - Musical Phonology: But More of that Later
  • 19Vol. I - Musical Phonology: But Let's Not Make the Mistake
  • 20Vol. I - Musical Phonology: And that's how the Tempered Clavichord
  • 21Vol. I - Musical Phonology: Now this is a Substantive Universal
  • 1Vol. I - Musical Phonology: But Let's be Careful
  • 2Vol. I - Musical Phonology: And there is Always that Blue Note
  • 3Vol. I - Musical Phonology: But Even these Twelve Tones
  • 4Vol. I - Musical Phonology: I Trust You Realize
  • 5Vol. I - Musical Phonology: And Again Comes a Great Leap
  • 6Vol. I - Musical Phonology: Now this Means
  • 7Vol. I - Musical Phonology: This Is Not to Say that There Were No Drastic Changes
  • 8Vol. I - Musical Phonology: But Meanwhile we are Still in the Golden Age
  • 9Vol. I - Musical Phonology: So, we're in the Midst of a Chromatic Adventure
  • 10Vol. I - Musical Phonology: And All by Those Progressions
  • 11Vol. I - Musical Phonology: Now, I Must Point Out
  • 12Vol. I - Musical Phonology: Do you Realize
  • 13Symphony No. 40 in G Minor, K. 550: I. Allegro molto
  • 14Symphony No. 40 in G Minor, K. 550: II. Andante
  • 15Symphony No. 40 in G Minor, K. 550: III. Menuetto, Allegretto
  • 16Symphony No. 40 in G Minor, K. 550: IV. Finale. Allegro assai
  • 1Vol. II - Musical Syntax: Every Once in a While
  • 2Vol. II - Musical Syntax: Last Week
  • 3Vol. II - Musical Syntax: Amen, says Noam Chomsky
  • 4Vol. II - Musical Syntax: I Suppose What Chomsky is Really After
  • 5Vol. II - Musical Syntax: So, Let's Pull Up Our Socks
  • 6Vol. II - Musical Syntax: All Right, Let's Try Another One
  • 7Vol. II - Musical Syntax: Why Am I Taking Your Time
  • 8Vol. II - Musical Syntax: Well Then
  • 9Vol. II - Musical Syntax: I Think it Follows
  • 10Vol. II - Musical Syntax: But First, What are These Principles
  • 11Vol. II - Musical Syntax: Tranformational Grammar
  • 12Vol. II - Musical Syntax: But Now Just Think of that Sentence
  • 13Vol. II - Musical Syntax: Since this is not a Linguistics Class
  • 14Vol. II - Musical Syntax: Take the Passive Transformation
  • 15Vol. II - Musical Syntax: Well, it hasn't Brought us There
  • 16Vol. II - Musical Syntax: Good - Now Just as Three Notes are Linked Together
  • 17Vol. II - Musical Syntax: Now let's Go Back
  • 18Vol. II - Musical Syntax: Now We Are Ready
  • 19Vol. II - Musical Syntax: Now I Wanna Take You
  • 20Vol. II - Musical Syntax: Well, Transformation, Deletion, Embedding, Pronominalization
  • 21Vol. II - Musical Syntax: I Am Sure I Don't Have to Trouble
  • 22Vol. II - Musical Syntax: Here I Go
  • 23Vol. II - Musical Syntax: I Have Asked Myself
  • 24Vol. II - Musical Syntax: I Became so Fascinated
  • 1Vol. II - Musical Syntax: Let's Take one Such Utterance
  • 2Vol. II - Musical Syntax: Now Imagine
  • 3Vol. II - Musical Syntax: Now Let's See
  • 4Vol. II - Musical Syntax: Mozart's G Minor Symphony
  • 5Vol. II - Musical Syntax: Now Our Job is
  • 6Vol. II - Musical Syntax: That Introductory Accompaniment
  • 7Vol. II - Musical Syntax: What Does this Three-Note Design Mean
  • 8Vol. II - Musical Syntax: The Reason I Pick Symmetry
  • 9Vol. II - Musical Syntax: Now From Here On
  • 10Vol. II - Musical Syntax: And Once Again, We Are Back
  • 11Vol. II - Musical Syntax: By Far the Chief Transformational Principle
  • 12Vol. II - Musical Syntax: You See, One of the Great Failings
  • 13Vol. II - Musical Syntax: Most People Hearing Mozart's Opening
  • 14Vol. II - Musical Syntax: So What Your Ask
  • 15Vol. II - Musical Syntax: And if You are Still not Convinced
  • 16Vol. II - Musical Syntax: These Ambiguities
  • 17Vol. II - Musical Syntax: For Instance, in this Same First Movement
  • 18Vol. II - Musical Syntax: So All these Syntactic Transformations of the Same Material
  • 19Vol. II - Musical Syntax: He Talks About this Sonnet
  • 20Vol. II - Musical Syntax: Because Now it's Time
  • 21Vol. II - Musical Syntax: But Now Let's Listen to
  • 22Vol. II - Musical Syntax: Listen to the Whole Exposition
  • 23Vol. II - Musical Syntax: Development Coming Up
  • 24Vol. II - Musical Syntax: The Circle of Fifths Again
  • 25Vol. II - Musical Syntax: And That Was all One Single Sentence
  • 1Vol. III - Musical Semantics: The Other Day
  • 2Vol. III - Musical Semantics: The First Would Show Us One Meaning
  • 3Vol. III - Musical Semantics: Think of this Famous Passage
  • 4Vol. III - Musical Semantics: A Linguist Would Say
  • 5Vol. III - Musical Semantics: Well, I Replied, Chomsky Would Say
  • 6Vol. III - Musical Semantics: Of Course, That Last Metaphorical Leap
  • 7Vol. III - Musical Semantics: Terrific, Said My Blonde Inquisitor
  • 8Vol. III - Musical Semantics: In Fact, When You Think of the Number
  • 9Vol. III - Musical Semantics: All Right, First Let's Look Briefly
  • 10Vol. III - Musical Semantics: Playing, That's the Word
  • 11Vol. III - Musical Semantics: But Does This Stravinskian Game Concept
  • 12Vol. III - Musical Semantics: There Are Three Specific Ways
  • 13Vol. III - Musical Semantics: Now, Having Defined My Usages of Metaphor
  • 14Vol. III - Musical Semantics: And Here We Are in Trouble
  • 15Vol. III - Musical Semantics: Are We Feeling What Beethoven Supposedly Felt
  • 16Vol. III - Musical Semantics: We Will Never Know
  • 17Vol. III - Musical Semantics: Now, If We Accept This General Idea
  • 18Vol. III - Musical Semantics: In Our Last Lecture
  • 19Vol. III - Musical Semantics: We All Recognize Antithesis
  • 20Vol. III - Musical Semantics: It Can and It Does
  • 21Vol. III - Musical Semantics: And Again, as in the Poem
  • 22Vol. III - Musical Semantics: In Fact, it Has Been Authoritatively Suggested
  • 23Vol. III - Musical Semantics: We Can Expand the Idea
  • 24Vol. III - Musical Semantics: What Do You Suppose
  • 25Vol. III - Musical Semantics: What' Seriously Striking
  • 26Vol. III - Musical Semantics: So Why the Pastorale on this Lecture
  • 27Vol. III - Musical Semantics: Let's Begin at the Beginning
  • 28Vol. III - Musical Semantics: But What of the More Obvious Melodic Material
  • 29Vol. III - Musical Semantics: But to Develop How
  • 30Vol. III - Musical Semantics: Now We Have an Insight
  • 31Vol. III - Musical Semantics: But Wait
  • 32Vol. III - Musical Semantics: But Why Were Just Those Two Notes Added
  • 1Vol. III - Musical Semantics: The Metaphor Arises
  • 2Vol. III - Musical Semantics: But in the Ensuing Four Bars
  • 3Vol. III - Musical Semantics: But That's Not the Main Event
  • 4Vol. III - Musical Semantics: Well, That's the Beginning
  • 5Vol. III - Musical Semantics: That's One of the Questions
  • 6Vol. III - Musical Semantics: This Interference of the Two Frequencies
  • 7Vol. III - Musical Semantics: But What Are We to Say
  • 8Vol. III - Musical Semantics: It Is To Be Found
  • 9Vol. III - Musical Semantics: Now That's One Way of Looking
  • 10Vol. III - Musical Semantics: At This Point
  • 11Vol. III - Musical Semantics: Even if You Can Succeed
  • 12Symphony No. 6 in F Major, Op. 68 "Pastoral": I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo
  • 13Symphony No. 6 in F Major, Op. 68 "Pastoral": II. Scene am Bach. Andante molto moto
  • 14Symphony No. 6 in F Major, Op. 68 "Pastoral": III. Lustiges Zusammensein der Landleute. Allegro
  • 15Symphony No. 6 in F Major, Op. 68 "Pastoral": IV. Gewitter. Sturm. Allegro
  • 16Symphony No. 6 in F Major, Op. 68 "Pastoral": V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto
  • 1Vol. IV - The Delights and Dangers of Ambiguity: When I First Wrote Down the Title
  • 2Vol. IV - The Delights and Dangers of Ambiguity: Part of the Danger
  • 3Vol. IV - The Delights and Dangers of Ambiguity: The Idea of Ambiguity
  • 4Vol. IV - The Delights and Dangers of Ambiguity: Similarly, in Our Second Lecture
  • 5Vol. IV - The Delights and Dangers of Ambiguity: Then What's the Magic Secret
  • 6Vol. IV - The Delights and Dangers of Ambiguity: Enough of Ambiguity
  • 7Vol. IV - The Delights and Dangers of Ambiguity: The Irony of All This
  • 8Vol. IV - The Delights and Dangers of Ambiguity: But, Mind You
  • 9Vol. IV - The Delights and Dangers of Ambiguity: Where Music Was Concerned
  • 10Vol. IV - The Delights and Dangers of Ambiguity: Only Think Of
  • 11Vol. IV - The Delights and Dangers of Ambiguity: And Chopin Well We Can't Ignore Chopin
  • 12Vol. IV - The Delights and Dangers of Ambiguity: And Then, in the Same Little Mazurka
  • 13Vol. IV - The Delights and Dangers of Ambiguity: Foolish Questions
  • 14Vol. IV - The Delights and Dangers of Ambiguity: Let Me Try to Read You
  • 15Vol. IV - The Delights and Dangers of Ambiguity: Listen To This
  • 16Vol. IV - The Delights and Dangers of Ambiguity: They Began to Intermingle
  • 17Vol. IV - The Delights and Dangers of Ambiguity: The Pivotal Point
  • 18Vol. IV - The Delights and Dangers of Ambiguity: So There Is a Dramatic Change
  • 19Vol. IV - The Delights and Dangers of Ambiguity: So it is After All Not So Surprising
  • 20Vol. IV - The Delights and Dangers of Ambiguity: Now If You Noticed
  • 21Vol. IV - The Delights and Dangers of Ambiguity: You See, The Music Is Trying Hard
  • 22Vol. IV - The Delights and Dangers of Ambiguity: So That Instant in Musical Time
  • 23Vol. IV - The Delights and Dangers of Ambiguity: Now Romeo Is All Stirred Up
  • 24Roméo and Juliet, A Dramatic Symphony, Op. 17: 1. Roméo Seul: Tristesse - Bruits de Concerts et de Bal - Grand Fête chez Capulet: Andante malinconico e sostenuto
  • 25Roméo and Juliet, A Dramatic Symphony, Op. 17: Allegro - Larghetto espressivo - (Instrumental)
  • 26Roméo and Juliet, A Dramatic Symphony, Op. 17: Allegro - (Instrumental)
  • 27Roméo and Juliet, A Dramatic Symphony, Op. 17: Réunion des duex Themes, du Larghetto et de l'Allegro (Instrumental)
  • 28Vol. IV - The Delights and Dangers of Ambiguity: What a Piece
  • 29Vol. IV - The Delights and Dangers of Ambiguity: Quite Unconsciously Borrowed
  • 30Vol. IV - The Delights and Dangers of Ambiguity: My Purpose In All This
  • 31Vol. IV - The Delights and Dangers of Ambiguity: Is It, Says Wagner
  • 1Vol. IV - The Delights and Dangers of Ambiguity: Every Diminished Seventh Chord
  • 2Vol. IV - The Delights and Dangers of Ambiguity: Now the Remarkable Thing Is
  • 3Vol. IV - The Delights and Dangers of Ambiguity: And This Is What Gives Tristan
  • 4Vol. IV - The Delights and Dangers of Ambiguity: Prelude and Love-Death (From "Tristan and Isolde")
  • 5Vol. IV - The Delights and Dangers of Ambiguity: That May be the Slowest Performance
  • 6Vol. IV - The Delights and Dangers of Ambiguity: But Ultimately
  • 7Vol. IV - The Delights and Dangers of Ambiguity: Poetry Has Begun to Show
  • 8Vol. IV - The Delights and Dangers of Ambiguity: And When Debussy
  • 9Vol. IV - The Delights and Dangers of Ambiguity: It's Lovely, This Dreaming
  • 10Vol. IV - The Delights and Dangers of Ambiguity: For Example, Do You Remember
  • 11Vol. IV - The Delights and Dangers of Ambiguity: In Fact, The Ending of this Piece
  • 12Vol. IV - The Delights and Dangers of Ambiguity: Let Me Show You Briefly
  • 13Vol. IV - The Delights and Dangers of Ambiguity: This New Episode that Proceeds
  • 14Vol. IV - The Delights and Dangers of Ambiguity: For Instance, Hardly Have We Had Time
  • 15Vol. IV - The Delights and Dangers of Ambiguity: Because the Scale
  • 16Vol. IV - The Delights and Dangers of Ambiguity: It's Almost Exactly What Happens
  • 17Vol. IV - The Delights and Dangers of Ambiguity: Literally Translated
  • 18Vol. IV - The Delights and Dangers of Ambiguity: But Notice, Too, that the Example
  • 19Vol. IV - The Delights and Dangers of Ambiguity: Both Works Have Definitive Beginnings
  • 20Vol. IV - The Delights and Dangers of Ambiguity: Listen As I Play
  • 21Prélude à l'après-midi d'un faune, L. 86
  • 22Vol. IV - The Delights and Dangers of Ambiguity: Some Crazy Modern Music
  • 1Vol. V - The Twentieth Century Crisis: Our Lecture Tonight
  • 2Vol. V - The Twentieth Century Crisis: Rhapsodie espagnole, M. 54: IV. Feria
  • 3Vol. V - The Twentieth Century Crisis: What a Way to Enter the Twentieth Century
  • 4Vol. V - The Twentieth Century Crisis: But 1908, if the Truth to be Told
  • 5Vol. V - The Twentieth Century Crisis: These Troubling Presentiments
  • 6Vol. V - The Twentieth Century Crisis: So, now in 1908
  • 7Vol. V - The Twentieth Century Crisis: This Is Atonality
  • 8Vol. V - The Twentieth Century Crisis: A Charming Idea
  • 9Vol. V - The Twentieth Century Crisis: The Unanswered Question
  • 10Vol. V - The Twentieth Century Crisis: I that Luminous Final Triad
  • 11Vol. V - The Twentieth Century Crisis: I Have Recently Been Reading
  • 12Vol. V - The Twentieth Century Crisis: We Have Already Referred to Some of Those
  • 13Vol. V - The Twentieth Century Crisis: In Any Case
  • 14Vol. V - The Twentieth Century Crisis: But For All These Reasons
  • 15Vol. V - The Twentieth Century Crisis: Son of Tristan
  • 16Vol. V - The Twentieth Century Crisis: Now You Look at Those First Two Bars
  • 17Vol. V - The Twentieth Century Crisis: Of Course, There Are Lots
  • 18Vol. V - The Twentieth Century Crisis: It's as Though a New Covenant
  • 19Vol. V - The Twentieth Century Crisis: Trouble is, That the New Musical Rules
  • 20Vol. V - The Twentieth Century Crisis: The Kind of Tonal Feeling
  • 21Vol. V - The Twentieth Century Crisis: Of Course, There Are Those Who Say
  • 22Vol. V - The Twentieth Century Crisis: It Seems Somehow Inevitable
  • 23Vol. V - The Twentieth Century Crisis: Is There Possibly the Beginning
  • 24Vol. V - The Twentieth Century Crisis: And What About Beethoven's Nineth
  • 25Vol. V - The Twentieth Century Crisis: These Are Some of the Problems
  • 1Vol. V - The Twentieth Century Crisis: Now Let's Jump Ahead
  • 2Vol. V - The Twentieth Century Crisis: Let's Put it Another Way
  • 3Vol. V - The Twentieth Century Crisis: First of All, Berg Chose a Tone Row
  • 4Vol. V - The Twentieth Century Crisis: So, All in All
  • 5Vol. V - The Twentieth Century Crisis: Berg: Violin Concerto (Excerpt)
  • 6Vol. V - The Twentieth Century Crisis: Fantastic
  • 7Vol. V - The Twentieth Century Crisis: It Comes at a Point
  • 8Vol. V - The Twentieth Century Crisis: Berg: Violin Concerto: II. Allegro, ma sempre rubato -
  • 9Vol. V - The Twentieth Century Crisis: If This Particularly Demanding Lecture
  • 10Vol. V - The Twentieth Century Crisis: If You Really Have Been Thinking
  • 11Vol. V - The Twentieth Century Crisis: But While Restudying this Work
  • 12Vol. V - The Twentieth Century Crisis: The Twentieth Century
  • 13Vol. V - The Twentieth Century Crisis: What Do You Do If You Know All This
  • 14Vol. V - The Twentieth Century Crisis: It's Very Strange, How the Pieces
  • 15Vol. V - The Twentieth Century Crisis: What Exactly Was This News
  • 16Vol. V - The Twentieth Century Crisis: We Emerge From a Cinema
  • 17Vol. V - The Twentieth Century Crisis: As You Listen to This Finale
  • 18Vol. V - The Twentieth Century Crisis: This is Mahler
  • 19Symphony No. 9 in D Major: IV. Adagio. Sehr langsam und noch zurückhaltend
  • 1Vol. VI - The Poetry of Earth: I Know What Your Are Thinking
  • 2Vol. VI - The Poetry of Earth: What About This
  • 3Vol. VI - The Poetry of Earth: I Am Plaguing You With this Question
  • 4Vol. VI - The Poetry of Earth: Of Course What he is Really Talking About
  • 5Vol. VI - The Poetry of Earth: But It Was Precisely
  • 6Vol. VI - The Poetry of Earth: Now I Have Just Used Two Words
  • 7Vol. VI - The Poetry of Earth: In Fact, It Was Satie, Picasso, And Cocteau
  • 8Vol. VI - The Poetry of Earth: But Our Scene
  • 9Vol. VI - The Poetry of Earth: Even in the Most
  • 10Vol. VI - The Poetry of Earth: For Our Purposes
  • 11Vol. VI - The Poetry of Earth: Musicologists Are Always Pointing
  • 12Vol. VI - The Poetry of Earth: But Bitonality Does Not Only Serve
  • 13Vol. VI - The Poetry of Earth: Of Course, Polytonality Can and Does
  • 14Vol. VI - The Poetry of Earth: Now What's Going On
  • 15Vol. VI - The Poetry of Earth: And While You Are in That Record Shop
  • 16Vol. VI - The Poetry of Earth: Of Course, These Asymmetries
  • 17Vol. VI - The Poetry of Earth: Brutal It May Be
  • 18Vol. VI - The Poetry of Earth: Now, Remember
  • 19Vol. VI - The Poetry of Earth: These Are Two Sets
  • 20Vol. VI - The Poetry of Earth: Just Cast an Eye
  • 21Vol. VI - The Poetry of Earth: Now That Page of Music
  • 22Vol. VI - The Poetry of Earth: But the Most Striking Semantic Effect
  • 23Vol. VI - The Poetry of Earth: This New Aesthetic Relaxation
  • 24Vol. VI - The Poetry of Earth: Even Some Germans
  • 25Vol. VI - The Poetry of Earth: You Can See How the Transformation
  • 26Vol. VI - The Poetry of Earth: Chomsky Himself Gives a Classic Example
  • 27Vol. VI - The Poetry of Earth: Very Important, The Ironic Element
  • 28Vol. VI - The Poetry of Earth: So, It Would Seem
  • 29Vol. VI - The Poetry of Earth: But This Neoclassic Approach
  • 30Vol. VI - The Poetry of Earth: I Think This Is Again a Moment
  • 31Vol. VI - The Poetry of Earth: It's the Essence
  • 32Vol. VI - The Poetry of Earth: If This Poem Were Rewritten
  • 1Vol. VI - The Poetry of Earth: Why Have I Digressed
  • 2Vol. VI - The Poetry of Earth: Now Can You Understand
  • 3Vol. VI - The Poetry of Earth: Untermeyer Called This
  • 4Vol. VI - The Poetry of Earth: Of Course, With the Waste Land
  • 5Vol. VI - The Poetry of Earth: But the Thing of It All Is
  • 6Vol. VI - The Poetry of Earth: We Are Going to Hear
  • 7Vol. VI - The Poetry of Earth: One Has Only Learnt to Get
  • 8Vol. VI - The Poetry of Earth: Now I propose Only Because
  • 9Vol. VI - The Poetry of Earth: This Union Is Possible Only Because
  • 10Vol. VI - The Poetry of Earth: But What Has All This to Do With Stravinsky
  • 11Vol. VI - The Poetry of Earth: And This Is the Essence
  • 12Vol. VI - The Poetry of Earth: Look: Here Is a Joke
  • 13Vol. VI - The Poetry of Earth: Chilling, Shattering, Neoclassic
  • 14Vol. VI - The Poetry of Earth: Stravinsky's Own Aesthetic Pronouncements
  • 15Vol. VI - The Poetry of Earth: But of Course He Was Forced
  • 16Vol. VI - The Poetry of Earth: And Now We Are Finally Ready
  • 17Vol. VI - The Poetry of Earth: And Then Mozart Appears
  • 18Vol. VI - The Poetry of Earth: But This Eclecticism Knows No Bounds
  • 19Vol. VI - The Poetry of Earth: Now All This I Had Planned to Tell You
  • 20Vol. VI - The Poetry of Earth: You Think That's Funny
  • 21Vol. VI - The Poetry of Earth: How About That
  • 22Vol. VI - The Poetry of Earth: Then Came the Answer
  • 23Vol. VI - The Poetry of Earth: But Why This Particular Misalliance
  • 24Vol. VI - The Poetry of Earth: My Words Are Poor
  • 1Stravinsky: Oedipus Rex: Prologue: "Your Are About to Hear a Latin Version of Oedipus the King
  • 2Stravinsky: Oedipus Rex: Act I: "Caedit nos pestis"
  • 3Stravinsky: Oedipus Rex: Act I: "Liberi vos liberabo"
  • 4Stravinsky: Oedipus Rex: Act I: "This is Creon, Brother-In-Law of Oedipus
  • 5Stravinsky: Oedipus Rex: Act I: "Respondit Deus"
  • 6Stravinsky: Oedipus Rex: Act I:" Oedipus Questions the Fountain of Truth
  • 7Stravinsky: Oedipus Rex: Act I: "Dicere non possum"
  • 8Stravinsky: Oedipus Rex: Act I: "Gloria!"
  • 9Stravinsky: Oedipus Rex: Act II: The Dispute of the Princess Attracts the Attention of Jocasta
  • 10Stravinsky: Oedipus Rex: Act II: "Nonn'erubescite, reges"
  • 11Stravinsky: Oedipus Rex: Act II: "Ne Probentur Oracula"
  • 12Stravinsky: Oedipus Rex: Act II: "Ego senem cecici"
  • 13Stravinsky: Oedipus Rex: Act II: The Witness to the Murder Comes Out of the Shadow
  • 14Stravinsky: Oedipus Rex: Act II "Adest omniscius pastor"
  • 15Stravinsky: Oedipus Rex: Act II: "Nonne monstru rescituri"
  • 16Stravinsky: Oedipus Rex: Act II: And Now You Are Going to Hear That Famous Monolog
  • 17Stravinsky: Oedipus Rex: Act II: "Divum locastae caput mortuum!"
  • 18Stravinsky: Oedipus Rex: Act II: "Ecce! Regem Oedipoda"
  • 19Stravinsky: Oedipus Rex: Va-le-di-co
  • 20Stravinsky: Oedipus Rex: During that Decade
  • 21Stravinsky: Oedipus Rex: It Was At This Point That I Wrote
  • 22Stravinsky: Oedipus Rex: What Interests Me About It
  • 23Stravinsky: Oedipus Rex: Is it Possible
  • 24Stravinsky: Oedipus Rex: It's As Tough in the Period
  • 25Stravinsky: Oedipus Rex: And I Believe
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