I. THE FRENCH CONNECTION: MUSIC OF GERSHWIN AND RAVEL
The program features the two most nationalistic works of each composer, Ravel's Mother Goose Suite and Gershwin's Rhapsody in Blue, and the two works in which they so obviously influenced one another, Ravel's jazzy Piano Concerto in G and Gershwin's American in Paris. Brief illustrations from each work and short commentary, including the amusing story of the 1928 meeting between Ravel and Gershwin, precede the full performance of each work.

II. RUSSIAN RAPTURE: TCHAIKOVSKY AND SHOSTAKOVICH
The concert offers the romantic Romeo and Juliet Overture and Symphony No. 2 (The Little Russian) of Tchaikovsky, as well as the Piano Concerto for Strings and Solo Trumpet of Shostakovich. Brief illustrations from each featured work are combined with short commentary that addresses such questions as: How does Tchaikovsky musicalize key points in the tragic romance? What catchy folk tunes and rhythms does he use that make the Symphony No. 2 sound so Russian? Why does so much of the Shostakovich Concerto sound bluesy, jazzy, and mockingly humorous? Program culminates in a full-length performance of all three works.

III. BEETHOVEN AS JUDGE AND JURY
Program presents excerpts from all four Overtures Beethoven wrote to his celebrated opera Fidelio, with performances of the Leonore No. 3 and also the final choice, the Fidelio Overture. Repertoire also includes the Second Piano Concerto, for which Beethoven composed two different finales, one that was published and one that, at the last moment, Beethoven cast aside and that, ultimately, was published only after the composer's death. As with the Overtures to the opera, the audience can listen to the alternatives side by side, hear why the final choice was difficult for Beethoven, and determine if the composer made the right choice in the end!

IV. SCHUBERT AND LISZT: AN UNUSUAL PARTNERSHIP
Program features Liszt's transcription for piano and orchestra of Schubert's stupendous Wanderer Fantasy, Schubert's most virtuosic solo piano piece; the Unfinished Symphony; and Liszt's Schubertian, song-filled Les Préludes. Along with short musical examples and brief commentary that precede the performance of each work, the program deals with the question: why didn't Schubert finish the Unfinished Symphony? The audience will learn that Schubert actually wrote music for an additional movement for this work - and will hear the orchestrated sketches! The program also explores the question: how does a composer orchestrate? Mr. Siegel plays a couple examples from Schubert's solo piano work, the Wanderer Fantasy - and then the audience marvels at the ingenious ways Liszt transcribed that composition as a work for piano and orchestra!

V. AMERICA'S GEORGE GERSHWIN
Program contains well-known favorites such as the Piano Concerto in F and the Cuban Overture, as well as some rarely heard works such as the Lullaby for Strings, and Gershwin's own superb orchestral suite Catfish Row from Porgy and Bess.

VI. THE MAGNIFICENCE OF MOZART!
Program includes various works that tie-in with major events in Mozart's life, such as the Symphony No. 26 in E-flat, a little known composition from Mozart's teenage years; Symphony No. 36 (the "Linz Symphony"), written in four days for a "command performance;" and the D Minor Piano Concerto, one of the composer's most personal works, far from the polite entertainment music the Viennese public of his day expected.

VII. THE SPLENDOR OF SERENADES
What is a serenade? — Music of charm and depth. Program includes Mozart's Serenade in C Minor for Eight Woodwinds, Tchaikovsky's sumptuous Serenade for Strings, and concludes with Brahms' Serenade No. 1 for full orchestra.

VIII. MOZART GOES TO THE MOVIES!
Program features celebrated musical works used on movie soundtracks, including three different opera overtures - Marriage of Figaro, Magic Flute, and Don Giovanni; the Symphony No. 25 (from Amadeus); and the Piano Concerto No. 21, K. 467 ("Elvira Madigan"). Brief illustrations from each work with short commentary precede the full performance of each composition. Program offers some illustrations of Mozart's use of humor, for example, Giovanni's scoffing at warnings that he is Hell-bound. In addition, Mr. Siegel poses such questions as: how does Mozart makes this symphony end with a question mark, what is a cadenza and, at "cadenza time," what does a pianist do if the composer did not publish one? Finally, is it more than an ego-trip for a pianist to be conducting from the keyboard?!