UPC · Release
John Adams
Last verified:
The UPC for “Collected Works” by John Adams is 0075597909142. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 347 tracks, each with its own ISRC. Tracks include USNO18511501, USNO18714401, USNO18714402.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Harmonielehre: Part I | San Francisco Symphony, Edo de Waart | — | |
| 2 | Harmonielehre: Part II. The Anfortas Wound | — | ||
| 3 | Harmonielehre: Part III. Meister Eckhardt and Quackie | — | ||
| 2-1 | The Chairman Dances (Foxtrot for Orchestra) | San Francisco Symphony, Edo de Waart | — | |
| 2-2 | Christian Zeal and Activity | San Francisco Symphony, Edo de Waart | — | |
| 2-3 | Two Fanfares for Orchestra: Tromba Lontana | Glenn Fischthal, Laurie McGaw, San Francisco Symphony, Edo de Waart | — | |
| 2-4 | Two Fanfares for Orchestra: Short Ride in a Fast Machine | Glenn Fischthal, Laurie McGaw, San Francisco Symphony, Edo de Waart | — | |
| 2-5 | Common Tones in Simple Time | San Francisco Symphony, Edo de Waart | — | |
| 3-1 | Nixon in China: Act I, Scene I. Beginning | — | ||
| 3-2 | Nixon in China: Act I, Scene I. "Soldiers of heaven hold the sky" | — | ||
| 3-3 | Nixon in China: Act I, Scene I. "The people are the heroes now" | — | ||
| 3-4 | Nixon in China: Act I, Scene I. "Landing of the Spirit of '76" | — | ||
| 3-5 | Nixon in China: Act I, Scene I. "Your flight was smooth, I hope?" | — | ||
| 3-6 | Nixon in China: Act I, Scene I. "News has a kind of mystery" | — | ||
| 3-7 | Nixon in China: Act I, Scene II. Beginning | — | ||
| 3-8 | Nixon in China: Act I, Scene II. "You know we'll meet with your confrere the Democratic candidate if he should win" | — | ||
| 3-9 | Nixon in China: Act I, Scene II. "You've said that there's a certain well-known tree" | — | ||
| 3-10 | Nixon in China: Act I, Scene II. "Founders come first, then profiteers" | — | ||
| 3-11 | Nixon in China: Act I, Scene II. "We no longer need confucius" | — | ||
| 3-12 | Nixon in China: Act I, Scene II. "Like the Ming Tombs" | — | ||
| 3-13 | Nixon in China: Act I, Scene III. Beginning | — | ||
| 3-14 | Nixon in China, Act I, Scene 3: "Ladies and Gentleman" | Sanford Sylvan, Orchestra of St. Luke’s, Edo de Waart | — | |
| 3-15 | Nixon in China: Act I, Scene III. "Mr. Premier, distinguished guests" | James Maddalena, Orchestra of St. Luke’s, Edo de Waart | — | |
| 3-16 | Nixon in China: Act I, Scene III. Cheers | Orchestra of St. Luke’s, Edo de Waart | — | |
| 4-1 | Nixon in China: Act II, Scene I. Beginning | — | ||
| 4-2 | Nixon in China: Act II, Scene I. "Look down at the earth" | — | ||
| 4-3 | Nixon in China: Act II, Scene I. "This is prophetic!" | — | ||
| 4-4 | Nixon in China: Act II, Scene I. "At last the weather's warming up" | — | ||
| 4-5 | Nixon in China: Act II, Scene II. Beginning | — | ||
| 4-6 | Nixon in China: Act II, Scene II. "Oh what a day I thought I'd die!" | — | ||
| 4-7 | Nixon in China: Act II, Scene II. "Whip her to death!" | — | ||
| 4-8 | Nixon in China: Act II, Scene II. Tropical storm | — | ||
| 4-9 | Nixon in China: Act II, Scene II. "Flesh rebels" | — | ||
| 4-10 | Nixon in China: Act II, Scene II. "I have my brief" | — | ||
| 4-11 | Nixon in China: Act II, Scene II. "It seems so strange" | — | ||
| 4-12 | Nixon in China: Act II, Scene II. "I am the wife of Mao Tse-tung" | — | ||
| 5-1 | Nixon in China: Act III. Beginning | — | ||
| 5-2 | Nixon in China: Act III. "Some men you cannot satisfy" | — | ||
| 5-3 | Nixon in China: Act III. "I am no one" | — | ||
| 5-4 | Nixon in China: Act III. The Maos dance | — | ||
| 5-5 | Nixon in China: Act III. "Sitting around the radio" | — | ||
| 5-6 | Nixon in China: Act III. "Let us examine what you did" | — | ||
| 5-7 | Nixon in China: Act III. "When I woke up, I dimly realized the Jap Bombers had given us a miss" | — | ||
| 5-8 | Nixon in China: Act III. "I have no offspring" | — | ||
| 5-9 | Nixon in China: Act III. "I can keep still" | — | ||
| 5-10 | Nixon in China: Act III. "After that the sweat had soaked my uniform" | — | ||
| 5-11 | Nixon in China: Act III. "Peking watches the stars" | — | ||
| 5-12 | Nixon in China: Act III. "You won at poker" | — | ||
| 5-13 | Nixon in China: Act III. "I am old and I cannot sleep" | — | ||
| 6-1 | The Wound-Dresser | — | ||
| 6-2 | Fearful Symmetries | — | ||
| 7-1 | The Unanswered Question | — | ||
| 7-2 | Five Songs: Thoreau | — | ||
| 7-3 | Five Songs: Down East | — | ||
| 7-4 | Five Songs: Cradle Song | — | ||
| 7-5 | Five Songs: At the River | — | ||
| 7-6 | Five Songs: Serenity | — | ||
| 7-7 | Fog Tropes | — | ||
| 7-8 | Madame Press Died Last Week at Ninety | — | ||
| 7-9 | Eros Piano | — | ||
| 7-10 | Elegy in Memory of Maurice Ravel | — | ||
| 8-1 | Prologue: Chorus of Exiled Palestinians | Antonio Sánchez | — | |
| 8-2 | The Death of Klinghoffer: Prologue: Chorus Of Exiled Jews | — | ||
| 8-3 | The Death of Klinghoffer: Act I, Scene I : It Was Just After One Fifteen (The Captain) | — | ||
| 8-4 | The Death of Klinghoffer: Act I, Scene I: My Grandson Didi, Who Was Two (Swiss Grandmother) | — | ||
| 8-5 | The Death of Klinghoffer: Act I, Scene I : Give These Orders (Molqi) | — | ||
| 8-6 | The Death of Klinghoffer: Act I, Scene I : So I Said To My Grandson (Swiss Grandmother) | — | ||
| 8-7 | The Death of Klinghoffer: Act I, Scene I : We Are Sorry For You (Mamoud) | — | ||
| 8-8 | The Death of Klinghoffer: Act I, Scene I : Ocean Chorus | — | ||
| 8-9 | The Death of Klinghoffer: Act I, Scene II : Now It Is Night (Mamoud) | — | ||
| 8-10 | The Death of Klinghoffer: Act I, Scene II : I Think If You Could Talk Like This (The Captain) | — | ||
| 8-11 | The Death of Klinghoffer: Act I, Scene II : I Have Often Reflected That This Is No Ship (The Captain) | — | ||
| 8-12 | The Death of Klinghoffer: Act I, Scene II : I Kept My Distance (Austrian Woman) | — | ||
| 8-13 | The Death of Klinghoffer: Act I, Scene II : Those Birds Flying Above Us (Mamoud) | — | ||
| 8-14 | The Death of Klinghoffer: Act I, Scene II : Night Chorus | — | ||
| 9-1 | The Death of Klinghoffer, Act II: Hagar Chorus | — | ||
| 9-2 | The Death of Klinghoffer, Act II, Scene 1: Come Here. Look. (Molqi) | — | ||
| 9-3 | The Death of Klinghoffer, Act II, Scene 1: I've Never Been A Violent Man (Leon Klinghoffer) | — | ||
| 9-4 | The Death of Klinghoffer, Act II, Scene 1: You Are Always Complaining Of Your Suffering (Rambo) | — | ||
| 9-5 | The Death of Klinghoffer, Act II, Scene 1: I Must Have Been Hysterical British Dancing Girl) | — | ||
| 9-6 | The Death of Klinghoffer, Act II, Scene 1: It Is As If Our Earthly Life Were Spent Miserably (Omar) | — | ||
| 9-7 | The Death of Klinghoffer, Act II, Scene 1: Desert Chorus | — | ||
| 9-8 | The Death of Klinghoffer, Act II, Scene 2: My One Consolation (Marilyn Klinghoffer) | — | ||
| 9-9 | The Death of Klinghoffer, Act II, Scene 2: Klinghoffer'S Death | — | ||
| 9-10 | The Death of Klinghoffer, Act II, Scene 2: Every Fifteen Minutes, One More Will Be Shot (Mamoud) | — | ||
| 9-11 | The Death of Klinghoffer, Act II, Scene 2: Aria Of The Falling Body | — | ||
| 9-12 | The Death of Klinghoffer, Act II, Scene 2: Day Chorus | — | ||
| 9-13 | The Death of Klinghoffer, Act II, Scene 3: Mrs. Klinghoffer, Please Sit Down (The Captain) | — | ||
| 9-14 | The Death of Klinghoffer, Act II, Scene 3: You Embraced Them! (Marily Klinghoffer) | — | ||
| 10-1 | Coast | — | ||
| 10-2 | Disappointment Lake | — | ||
| 10-3 | Tourist Song | — | ||
| 10-4 | Tundra | — | ||
| 10-5 | Bump | — | ||
| 10-6 | Cerulean | — | ||
| 10-7 | Hoodoo Zephyr | John Adams | — | |
| 11-1 | Chamber Symphony: I. Mongrel Airs | London Sinfonietta, John Adams | — | |
| 11-2 | Chamber Symphony: Aria with Walking Bass | — | ||
| 11-3 | Chamber Symphony: Roadrunner | — | ||
| 11-4 | Grand Pianola Music: Part IA | — | ||
| 11-5 | Grand Pianola Music: Part IB | — | ||
| 11-6 | Grand Pianola Music: On the Dominant Divide | — | ||
| 12-1 | Violin Concerto: I. Quarter Note = 78 | — | ||
| 12-2 | Violin Concerto: II. Chaconne: Body through which the dream flows | — | ||
| 12-3 | Violin Concerto: III. Toccare | Gidon Kremer, London Symphony Orchestra, Kent Nagano | — | |
| 12-4 | Shaker Loops: I. Shaking and Trembling | Orchestra of St. Luke’s, John Adams | — | |
| 12-5 | Shaker Loops: II. Hymning Slews | — | ||
| 12-6 | Shaker Loops: III. Loops and Verses | — | ||
| 12-7 | Shaker Loops: IV. A Final Shaking | — | ||
| 13-1 | El Dorado: A Dream of Gold | — | ||
| 13-2 | El Dorado: Soledades | — | ||
| 13-3 | Berceuse élégiaque | — | ||
| 13-4 | The Black Gondola | — | ||
| 14-1 | John's Book of Alleged Dances: Judah to Ocean (reprise) | Kronos Quartet | — | |
| 14-2 | John's Book of Alleged Dances: Toot Nipple | Kronos Quartet | — | |
| 14-3 | John's Book of Alleged Dances: Dogjam | Kronos Quartet | — | |
| 14-4 | John's Book of Alleged Dances: Pavane: She's So Fine | Kronos Quartet | — | |
| 14-5 | John's Book of Alleged Dances: Rag the Bone | Kronos Quartet | — | |
| 14-6 | John's Book of Alleged Dances: Habanera | Kronos Quartet | — | |
| 14-7 | John's Book of Alleged Dances: Stubble Crochet | Kronos Quartet | — | |
| 14-8 | John's Book of Alleged Dances: Hammer & Chisel | Kronos Quartet | — | |
| 14-9 | John's Book of Alleged Dances: Alligator Escalator | Kronos Quartet | — | |
| 14-10 | John's Book of Alleged Dances: Standchen: The Little Serenade | Kronos Quartet | — | |
| 14-11 | John's Book of Alleged Dances: Judah to Ocean (reprise) | Kronos Quartet | — | |
| 14-12 | Gnarly Buttons: I. The Perilous Shore | Michael Collins, London Sinfonietta, John Adams | — | |
| 14-13 | Gnarly Buttons: II. Hoe-Down (Mad Cow) | Michael Collins, London Sinfonietta, John Adams | — | |
| 14-14 | Gnarly Buttons: III. Put Your Loving Arms Around Me | Michael Collins, London Sinfonietta, John Adams | — | |
| 15-1 | I Was Looking at the Ceiling and Then I Saw the Sky | — | ||
| 15-2 | I Was Looking at the Ceiling and Then I Saw the Sky: A Sermon on Romance | — | ||
| 15-3 | I Was Looking at the Ceiling and Then I Saw the Sky: Consuelo's Dream | — | ||
| 15-4 | I Was Looking at the Ceiling and Then I Saw the Sky: Mike's Song About Arresting a Particular Individual | — | ||
| 15-5 | I Was Looking at the Ceiling and Then I Saw the Sky: Tiffany's Solo | — | ||
| 15-6 | I Was Looking at the Ceiling and Then I Saw the Sky: Song About the On-Site Altercation | — | ||
| 15-7 | I Was Looking at the Ceiling and Then I Saw the Sky: Song About the Bad Boys and the News | — | ||
| 15-8 | I Was Looking at the Ceiling and Then I Saw the Sky: Your Honor My Client He's a Young Black Man | — | ||
| 15-9 | I Was Looking at the Ceiling and Then I Saw the Sky: Leila's Song, Alone (Again or At Last) | — | ||
| 15-10 | I Was Looking at the Ceiling and Then I Saw the Sky: Three Weeks and Still I'm Outta My Mind | — | ||
| 15-11 | I Was Looking at the Ceiling and Then I Saw the Sky: Crushed by the Rock I Been Standing On | — | ||
| 15-12 | I Was Looking at the Ceiling and Then I Saw the Sky: Dewain's Song of Liberation and Surprise | — | ||
| 15-13 | ¡Este país!/This Country | Audra McDonald, Michael McElroy | — | |
| 15-14 | I Was Looking at the Ceiling and Then I Saw the Sky: One Last Look at the Angel in Your Eyes | — | ||
| 15-15 | I Was Looking at the Ceiling and Then I Saw the Sky: Finale | — | ||
| 16-1 | Harmonium: I. Negative Love | — | ||
| 16-2 | Harmonium: II. Because I Could Not Stop for Death | — | ||
| 16-3 | Harmonium: III. Wild Nights | Vance George, San Francisco Symphony Chorus, San Francisco Symphony, John Adams | — | |
| 16-4 | Prologue: Chorus of Exiled Palestinians | Antonio Sánchez | — | |
| 16-5 | The Death of Klinghoffer: Chorus of Exiled Jews | Orchestre de l'Opéra de Lyon, Kent Nagano | — | |
| 16-6 | The Death of Klinghoffer: Ocean Chorus | — | ||
| 16-7 | The Death of Klinghoffer: Night Chorus | — | ||
| 16-8 | The Death of Klinghoffer: Chorus of Hagar and the Angel | — | ||
| 16-9 | The Death of Klinghoffer: Desert Chorus | — | ||
| 16-10 | The Death of Klinghoffer: Day Chorus | — | ||
| 17-1 | Century Rolls: I. First Movement | — | ||
| 17-2 | Century Rolls: II. Manny's Gym | — | ||
| 17-3 | Century Rolls: III. Hail Bop | — | ||
| 17-4 | Lollapalooza | — | ||
| 17-5 | Slonimsky's Earbox | — | ||
| 18-1 | El Niño: I Sing of a Maiden | — | ||
| 18-2 | El Niño: Hail, Mary, Gracious! | — | ||
| 18-3 | El Niño: La Anunciación | — | ||
| 18-4 | El Niño: For with God No Thing Shall Be Impossible | — | ||
| 18-5 | El Niño: Part One. The Babe Leaped in Her Womb | Deutsches Symphonie-Orchester Berlin, Kent Nagano | — | |
| 18-6 | El Niño: Part One. Magnificat | Deutsches Symphonie-Orchester Berlin, Kent Nagano | — | |
| 18-7 | El Niño: Now She Was Sixteen Years Old | — | ||
| 18-8 | El Niño: Joseph's Dream | — | ||
| 18-9 | El Niño: Shake the Heavens | — | ||
| 18-10 | El Niño: Se Habla de Gabriel | — | ||
| 18-11 | El Niño: The Christmas Star | — | ||
| 19-1 | El Niño: Pues mi Dios ha nacido a penar | — | ||
| 19-2 | El Niño: When Herod Heard | — | ||
| 19-3 | El Niño: Woe Unto Them That Call Evil Good | — | ||
| 19-4 | El Niño: And the Star Went Before Them | — | ||
| 19-5 | El Niño: The Three Kings | — | ||
| 19-6 | El Niño: And When They Were Departed | — | ||
| 19-7 | El Niño: Dawn Air | — | ||
| 19-8 | El Niño: And He Slew All the Children | — | ||
| 19-9 | El Niño: Memorial de Tlatelolco | — | ||
| 19-10 | El Niño: In the Day of the Great Slaughter | — | ||
| 19-11 | El Niño: Pues está tiritando | — | ||
| 19-12 | El Niño: Jesus and the Dragons | — | ||
| 19-13 | El Niño: A Palm Tree | — | ||
| 20-1 | Naive and Sentimental Music: I. Naive and Sentimental Music | — | ||
| 20-2 | Naive and Sentimental Music: II. Mother of the Man | — | ||
| 20-3 | Naive and Sentimental Music: III. Chain to the Rhythm | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-1 | Road Movies: I. Relaxed Groove | — | ||
| 21-2 | Road Movies: II. Meditative | — | ||
| 21-3 | Road Movies: III. 40% Swing | — | ||
| 21-4 | Hallelujah Junction: Movement I | — | ||
| 21-5 | Hallelujah Junction: Movement II | — | ||
| 21-6 | Hallelujah Junction: Movement III | — | ||
| 21-7 | China Gates | — | ||
| 21-8 | American Berserk | — | ||
| 21-9 | Phrygian Gates: Part 1 | — | ||
| 21-10 | Phrygian Gates: Part 2 (A System of Weights and Measures) | — | ||
| 21-11 | Phrygian Gates: Part 3 | — | ||
| 22-1 | On the Transmigration of Souls | — | ||
| 23-1 | The Dharma at Big Sur, Part I: A New Day | Tracy Silverman, BBC Symphony Orchestra, John Adams | — | |
| 23-2 | The Dharma at Big Sur: II. Sri Moonshine | — | ||
| 24-1 | My Father Knew Charles Ives: I. Concord | — | ||
| 24-2 | My Father Knew Charles Ives: II. The Lake | — | ||
| 24-3 | My Father Knew Charles Ives: III. The Mountain | — | ||
| 25-1 | A Flowering Tree, Act I, Scene 1 | — | ||
| 25-2 | A Flowering Tree, Act 1: One morning … | — | ||
| 25-3 | A Flowering Tree, Act 1: Kumudha’s Prayer | — | ||
| 25-4 | A Flowering Tree, Act 1: Scene 2: Flores Chorus | — | ||
| 25-5 | A Flowering Tree, Act 1: Kumudha and her sister … | — | ||
| 25-6 | A Flowering Tree, Act 1: Scene 3: Audience with the King | — | ||
| 25-7 | A Flowering Tree, Act 1: Mamá Mamá, ¿Por qué nos pegas? | — | ||
| 25-8 | A Flowering Tree, Act 1: Scene 4: The Wedding | — | ||
| 25-9 | A Flowering Tree, Act 1: They brought her to me | — | ||
| 25-10 | A Flowering Tree, Act 1: Bride and Groom | — | ||
| 25-11 | A Flowering Tree, Act 1: The bride sunk her face | — | ||
| 26-1 | A Flowering Tree, Act II: Scene 1 | — | ||
| 26-2 | A Flowering Tree, Act II: “You are cruel.” | — | ||
| 26-3 | A Flowering Tree, Act II: “Kumudha once more …” | — | ||
| 26-4 | A Flowering Tree, Act II: “Days passed …” | — | ||
| 26-5 | A Flowering Tree, Act II: Scene 3: Before I laughed with him nightly | — | ||
| 26-6 | A Flowering Tree, Act II: Scene 4: Kumudha and the Beggar Minstrels | — | ||
| 26-7 | A Flowering Tree, Act II: We had all but forgotten you, Prince | — | ||
| 26-8 | A Flowering Tree, Act II: The Prince recognizes Kumudha | — | ||
| 26-9 | A Flowering Tree, Act II: Kumudha’s Final Transformation | — | ||
| 27-1 | Doctor Atomic Symphony: I. The Laboratory | — | ||
| 27-2 | Doctor Atomic Symphony: II. Panic | — | ||
| 27-3 | Doctor Atomic Symphony: III. Trinity | — | ||
| 27-4 | Guide to Strange Places | — | ||
| 28-1 | Son of Chamber Symphony: I. | — | ||
| 28-2 | Son of Chamber Symphony: II. | — | ||
| 28-3 | Son of Chamber Symphony: III. | — | ||
| 28-4 | String Quartet: I. | — | ||
| 28-5 | String Quartet: II. | — | ||
| 29-1 | The Gospel According to the Other Mary: Act I, Scene 1: The Next Day in the City Jail | — | ||
| 29-2 | The Gospel According to the Other Mary: Act I, Scene 1: Now A Certain Woman Named Martha | — | ||
| 29-3 | The Gospel According to the Other Mary: Act I, Scene 2: And She Had A Sister Named Mary | — | ||
| 29-4 | The Gospel According to the Other Mary: Act I, Scene 2: I Am Surprised That I Am Beginning To Pray Daily | — | ||
| 29-5 | The Gospel According to the Other Mary: Act I, Scene 2: En un día de amor yo bajé hasta la tierra | — | ||
| 29-6 | The Gospel According to the Other Mary: Act I, Scene 3: Now A Certain Man Was Sick | — | ||
| 29-7 | The Gospel According to the Other Mary: Act I, Scene 3: Lazarus Dies While The Sisters Await Jesus | — | ||
| 29-8 | The Gospel According to the Other Mary: Act I, Scene 3: Why Standest Thou Afar Off, O Lord? | — | ||
| 29-9 | The Gospel According to the Other Mary: Act I, Scene 3: In My Own Quietly Explosive Here | — | ||
| 29-10 | The Gospel According to the Other Mary: Act I, Scene 3: Don’t Touch My Left Arm | — | ||
| 29-11 | The Gospel According to the Other Mary: Act I, Scene 3: When Mary Was Come Where Jesus Was | — | ||
| 29-12 | The Gospel According to the Other Mary: Act I, Scene 3: Jesus Said, Take Ye Away The Stone | — | ||
| 29-13 | The Gospel According to the Other Mary: Act I, Scene 3: And When He Thus Had Spoken | — | ||
| 29-14 | The Gospel According to the Other Mary: Act I, Scene 3: Drop Down, Ye Heavens, From Above | — | ||
| 29-15 | The Gospel According to the Other Mary: Act I, Scene 4: Then Jesus Six Days Before The Passover | — | ||
| 29-16 | The Gospel According to the Other Mary: Act I, Scene 4: For The Grave Cannot Praise Thee | — | ||
| 29-17 | The Gospel According to the Other Mary: Act I, Scene 4: Then Took Mary A Pound Of Ointment | — | ||
| 29-18 | The Gospel According to the Other Mary: Act I, Scene 5: And There Were Some That Had Indignation | — | ||
| 29-19 | The Gospel According to the Other Mary: Act I, Scene 5: We Know There Will Be No Utopias | — | ||
| 29-20 | The Gospel According to the Other Mary: Act I, Scene 5: Tell Me: How Is This Night Different | — | ||
| 30-1 | The Gospel According to the Other Mary: Act II, Who Rips His Own Flesh Down The Seams | — | ||
| 30-2 | The Gospel According to the Other Mary: Act II, Scene 1: Martha And Mary, Not Knowing | — | ||
| 30-3 | The Gospel According to the Other Mary: Act II, Scene 2: Instrumental Introduction | — | ||
| 30-4 | The Gospel According to the Other Mary: Act II, Scene 2: Up At Two A.M., Picketed All Day | — | ||
| 30-5 | The Gospel According to the Other Mary: Act II, Scene 2: The Said Defendants | — | ||
| 30-6 | The Gospel According to the Other Mary: Act II, Scene 2: Jesús, incomparable perdonador de injurias | — | ||
| 30-7 | The Gospel According to the Other Mary: Act II, Scene 3: And They Were Come Unto A Place Called Golgotha | — | ||
| 30-8 | The Gospel According to the Other Mary: Act II, Scene 3: Daughters Of Jerusalem, Weep Not For Me | — | ||
| 30-9 | The Gospel According to the Other Mary: Act II, Scene 3: Now There Stood By The Cross Of Jesus | — | ||
| 30-10 | The Gospel According to the Other Mary: Act II, Scene 3: When Jesus Saw His Mother | — | ||
| 30-11 | The Gospel According to the Other Mary: Act II, Scene 4: When The Rain Began To Fall | — | ||
| 30-12 | The Gospel According to the Other Mary: Act II, Scene 4: His Son Cried Out To Him | — | ||
| 30-13 | The Gospel According to the Other Mary: Act II, Scene 5: Now In The Place Where He Was Crucified | — | ||
| 30-14 | The Gospel According to the Other Mary: Act II, Scene 5: Mary Awakens On The Third Morning | — | ||
| 30-15 | The Gospel According to the Other Mary: Act II, Scene 5: It Is Spring | — | ||
| 30-16 | The Gospel According to the Other Mary: Act II, Scene 6: And, Behold, There Was A Great Earthquake | — | ||
| 30-17 | The Gospel According to the Other Mary: Act II, Scene 6: Why Seek Ye The Living Among The Dead? | — | ||
| 31-1 | City Noir: I. The City and its Double | Saint Louis Symphony, David Robertson | — | |
| 31-2 | City Noir: II. The Song is for You | Saint Louis Symphony, David Robertson | — | |
| 31-3 | City Noir: III. Boulevard Night | Saint Louis Symphony, David Robertson | — | |
| 31-4 | Saxophone Concerto: I. Animato | Timothy McAllister, Saint Louis Symphony, David Robertson | — | |
| 31-5 | Saxophone Concerto: I. (cont’d.) Moderato - | Timothy McAllister, Saint Louis Symphony, David Robertson | — | |
| 31-6 | Saxophone Concerto: II. Molto vivo (a hard driving pulse) | Timothy McAllister, Saint Louis Symphony, David Robertson | — | |
| 32-1 | Scheherazade.2: I. Tale of the Wise Young Woman; Pursuit by the True Believers | Leila Josefowicz, Saint Louis Symphony Orchestra, David Robertson | — | |
| 32-2 | Scheherazade.2: II. A Long Desire (Love Scene) | Leila Josefowicz, Saint Louis Symphony Orchestra, David Robertson | — | |
| 32-3 | Scheherazade.2: III. Scheherazade and the Men with Beards | Leila Josefowicz, Saint Louis Symphony Orchestra, David Robertson | — | |
| 32-4 | Scheherazade.2: IV. Escape, Flight, Sanctuary | Leila Josefowicz, Saint Louis Symphony Orchestra, David Robertson | — | |
| 33-1 | Violin Concerto: I. Quarter-note = 78 | — | ||
| 33-2 | Violin Concerto: II. Chaconne: Body Through Which the Dream Flows | — | ||
| 33-3 | Violin Concerto: III. Toccare | — | ||
| 34-1 | Doctor Atomic: Overture | — | ||
| 34-2 | Doctor Atomic: Act I, Scene 1: "The end of June 1945" | — | ||
| 34-3 | Doctor Atomic: Act I, Scene 1: "First of all, let me say" | — | ||
| 34-4 | Doctor Atomic: Act I, Scene 1: "We surround the plutonium core" | — | ||
| 34-5 | Doctor Atomic: Act I, Scene 1: "We are bedeviled by faulty detonators" | — | ||
| 34-6 | Doctor Atomic: Act I, Scene 1: "Many of us are inclined to say" | — | ||
| 34-7 | Doctor Atomic: Act I, Scene 1: "The nation's fate..." | — | ||
| 34-8 | Doctor Atomic: Act I, Scene 1: "This is a petition" | — | ||
| 34-9 | Doctor Atomic: Act I, Scene 1: "What if it's a dud?" | — | ||
| 34-10 | Doctor Atomic: Act I, Scene 1: "The test must go on as scheduled" | — | ||
| 34-11 | Doctor Atomic: Act I, Scene 1: "No, before the bomb is used" | — | ||
| 34-12 | Doctor Atomic: Act I, Scene 2: "Am I in your light?" | — | ||
| 34-13 | Doctor Atomic: Act I, Scene 2: "Long let me inhale, deeply..." | — | ||
| 34-14 | Doctor Atomic: Act I, Scene 2: "The motive of it all was loneliness" | — | ||
| 34-15 | Doctor Atomic: Act I, Scene 3: Electrical storm | — | ||
| 34-16 | Doctor Atomic: Act I, Scene 3: "What the hell is wrong with the weather?" | — | ||
| 34-17 | Doctor Atomic: Act I, Scene 3: "Five hundred U.S. Superfortresses are raining bombs" | — | ||
| 34-18 | Doctor Atomic: Act I, Scene 3: "I'll sign the report, sir" | — | ||
| 34-19 | Doctor Atomic: Act I, Scene 3: "With respect, sir, anyone with two good eyes" | — | ||
| 34-20 | Doctor Atomic: Act I, Scene 3: "I have been preoccupied with many matters" | — | ||
| 34-21 | Doctor Atomic: Act I, Scene 3: "Get them out of here. From now on, I'm making my own weather predictions" | — | ||
| 34-22 | Doctor Atomic: Act I, Scene 3: "General, you are bearing up with remarkable fortitude" | — | ||
| 34-23 | Doctor Atomic: Act I, Scene 3: "Batter my heart" | — | ||
| 35-1 | Doctor Atomic: Act II, Scene 1: "Easter Eve, 1945" | — | ||
| 35-2 | Doctor Atomic: Act II, Scene 1: Interlude | — | ||
| 35-3 | Doctor Atomic: Act II, Scene 1: "In the north the cloud-flower blossoms" | — | ||
| 35-4 | Doctor Atomic: Act II, Scene 2: "It's midnight, Jack" | — | ||
| 35-5 | Doctor Atomic: Act II, Scene 2: "I've dreamed the same dream" | — | ||
| 35-6 | Doctor Atomic: Act II, Scene 2: "To the farthest west, the sea and the striped country" | — | ||
| 35-7 | Doctor Atomic: Act II, Scene 2: "A delay in the Potsdam Ultimatum" | — | ||
| 35-8 | Doctor Atomic: Act II, Scene 2: "Fermi is taking wagers" | — | ||
| 35-9 | Doctor Atomic: Act II, Scene 2: "I've spent a great deal of time indulging in controlled fantasies" | — | ||
| 35-10 | Doctor Atomic: Act II, Scene 2: "Edward, the test will be delayed an hour" | — | ||
| 35-11 | Doctor Atomic: Act II, Scene 3: Panic | — | ||
| 35-12 | Doctor Atomic: Act II, Scene 3: "This program has been plagued from the start" | — | ||
| 35-13 | Doctor Atomic: Act II, Scene 3: "To keep the weakness secret" | — | ||
| 35-14 | Doctor Atomic: Act II, Scene 3: "I just finished reading The Magic Mountain" | — | ||
| 35-15 | Doctor Atomic: Act II, Scene 3: "The winter dawned, but the dead did not come back" | — | ||
| 35-16 | Doctor Atomic: Act II, Scene 3: "And love, which contains all human spirit" | — | ||
| 35-17 | Doctor Atomic: Act II, Scene 3: "The only saviors are the ham sandwiches" | — | ||
| 35-18 | Doctor Atomic: Act II, Scene 3: Chorus | — | ||
| 35-19 | Doctor Atomic: Act II, Scene 4: "Lieutenant Bush, keep a weather eye on Oppenheimer" | — | ||
| 35-20 | Doctor Atomic: Act II, Scene 4: "To what benevolent demon do I owe the joy of being thus surrounded" | — | ||
| 35-21 | Doctor Atomic: Act II, Scene 4: "That's their signal!" | — | ||
| 35-22 | Doctor Atomic: Act II, Scene 4: "The sky is clear to the east" | — | ||
| 35-23 | Doctor Atomic: Act II, Scene 4: "In the midnight, in the flame-brilliant midnight" | — | ||
| 35-24 | Doctor Atomic: Act II, Scene 4: "Zero minus two minutes" | — | ||
| 35-25 | Doctor Atomic: Act II, Scene 4: Countdown | — | ||
| 36-1 | Roll Over Beethoven (Transc. Antonsen for 2 Pianos): I. Allegro molto | — | ||
| 36-2 | Roll Over Beethoven (Transc. Antonsen for 2 Pianos): II. Andantino | — | ||
| 36-3 | I Still Play | Jeremy Denk | T-011.286.902-9 | |
| 36-4 | Scratchband | — | ||
| 37-1 | Must the Devil Have All the Good Tunes? I. Gritty, Funky, But in strict Tempo; Twitchy, Bot-Like | — | ||
| 37-2 | Must the Devil Have All the Good Tunes? II. Much Slower; Gently, Relaxed Time | — | ||
| 37-3 | Must the Devil Have All the Good Tunes? III. Piú mosso: Obsession / Swing | — | ||
| 38-1 | Absolute Jest: 1. Beginning | Christopher Costanza, Geoff Nuttall, Lesley Robertson, Scott St. John, St. Lawrence String Quartet, San Francisco Symphony, Michael Tilson Thomas | — | |
| 38-2 | Absolute Jest: 2. Presto | Christopher Costanza, Geoff Nuttall, Lesley Robertson, Scott St. John, St. Lawrence String Quartet, San Francisco Symphony, Michael Tilson Thomas | — | |
| 38-3 | Absolute Jest: 3. Lo stesso tempo | Christopher Costanza, Geoff Nuttall, Lesley Robertson, Scott St. John, St. Lawrence String Quartet, San Francisco Symphony, Michael Tilson Thomas | — | |
| 38-4 | Absolute Jest: 4. Meno mosso | Christopher Costanza, Geoff Nuttall, Lesley Robertson, Scott St. John, St. Lawrence String Quartet, San Francisco Symphony, Michael Tilson Thomas | — | |
| 38-5 | Absolute Jest: 5. Vivacissimo | Christopher Costanza, Geoff Nuttall, Lesley Robertson, Scott St. John, St. Lawrence String Quartet, San Francisco Symphony, Michael Tilson Thomas | — | |
| 38-6 | Absolute Jest: 6. Prestissimo | Christopher Costanza, Geoff Nuttall, Lesley Robertson, Scott St. John, St. Lawrence String Quartet, San Francisco Symphony, Michael Tilson Thomas | — | |
| 38-7 | Grand Pianola Music: 1. Part 1 | Synergy Vocals, Marc-André Hamelin, Orli Shaham, San Francisco Symphony, John Adams | — | |
| 38-8 | Grand Pianola Music: 2. Part 1 - Slow | Synergy Vocals, Marc-André Hamelin, Orli Shaham, San Francisco Symphony, John Adams | — | |
| 38-9 | Grand Pianola Music: 3. Part 2, On the Dominant Divide | Synergy Vocals, Marc-André Hamelin, Orli Shaham, San Francisco Symphony, John Adams | — | |
| 39-1 | Harmonielehre: Part I. | Berliner Philharmoniker, John Adams | — | |
| 39-2 | Harmonielehre: Part II. The Anfortas Wound | Berliner Philharmoniker, John Adams | — | |
| 39-3 | Harmonielehre: Part III. Meister Eckhardt and Quackie | Berliner Philharmoniker, John Adams | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
0075597909142 is a Universal Product Code (UPC) assigned to Collected Works by John Adams. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.
This release contains 347 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
The UPC for “Collected Works” by John Adams is 0075597909142. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 347 tracks, each with its own ISRC. Tracks include USNO18511501, USNO18714401, USNO18714402.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Harmonielehre: Part I | San Francisco Symphony, Edo de Waart | — | |
| 2 | Harmonielehre: Part II. The Anfortas Wound | — | ||
| 3 | Harmonielehre: Part III. Meister Eckhardt and Quackie | — | ||
| 2-1 | The Chairman Dances (Foxtrot for Orchestra) | San Francisco Symphony, Edo de Waart | — | |
| 2-2 | Christian Zeal and Activity | San Francisco Symphony, Edo de Waart | — | |
| 2-3 | Two Fanfares for Orchestra: Tromba Lontana | Glenn Fischthal, Laurie McGaw, San Francisco Symphony, Edo de Waart | — | |
| 2-4 | Two Fanfares for Orchestra: Short Ride in a Fast Machine | Glenn Fischthal, Laurie McGaw, San Francisco Symphony, Edo de Waart | — | |
| 2-5 | Common Tones in Simple Time | San Francisco Symphony, Edo de Waart | — | |
| 3-1 | Nixon in China: Act I, Scene I. Beginning | — | ||
| 3-2 | Nixon in China: Act I, Scene I. "Soldiers of heaven hold the sky" | — | ||
| 3-3 | Nixon in China: Act I, Scene I. "The people are the heroes now" | — | ||
| 3-4 | Nixon in China: Act I, Scene I. "Landing of the Spirit of '76" | — | ||
| 3-5 | Nixon in China: Act I, Scene I. "Your flight was smooth, I hope?" | — | ||
| 3-6 | Nixon in China: Act I, Scene I. "News has a kind of mystery" | — | ||
| 3-7 | Nixon in China: Act I, Scene II. Beginning | — | ||
| 3-8 | Nixon in China: Act I, Scene II. "You know we'll meet with your confrere the Democratic candidate if he should win" | — | ||
| 3-9 | Nixon in China: Act I, Scene II. "You've said that there's a certain well-known tree" | — | ||
| 3-10 | Nixon in China: Act I, Scene II. "Founders come first, then profiteers" | — | ||
| 3-11 | Nixon in China: Act I, Scene II. "We no longer need confucius" | — | ||
| 3-12 | Nixon in China: Act I, Scene II. "Like the Ming Tombs" | — | ||
| 3-13 | Nixon in China: Act I, Scene III. Beginning | — | ||
| 3-14 | Nixon in China, Act I, Scene 3: "Ladies and Gentleman" | Sanford Sylvan, Orchestra of St. Luke’s, Edo de Waart | — | |
| 3-15 | Nixon in China: Act I, Scene III. "Mr. Premier, distinguished guests" | James Maddalena, Orchestra of St. Luke’s, Edo de Waart | — | |
| 3-16 | Nixon in China: Act I, Scene III. Cheers | Orchestra of St. Luke’s, Edo de Waart | — | |
| 4-1 | Nixon in China: Act II, Scene I. Beginning | — | ||
| 4-2 | Nixon in China: Act II, Scene I. "Look down at the earth" | — | ||
| 4-3 | Nixon in China: Act II, Scene I. "This is prophetic!" | — | ||
| 4-4 | Nixon in China: Act II, Scene I. "At last the weather's warming up" | — | ||
| 4-5 | Nixon in China: Act II, Scene II. Beginning | — | ||
| 4-6 | Nixon in China: Act II, Scene II. "Oh what a day I thought I'd die!" | — | ||
| 4-7 | Nixon in China: Act II, Scene II. "Whip her to death!" | — | ||
| 4-8 | Nixon in China: Act II, Scene II. Tropical storm | — | ||
| 4-9 | Nixon in China: Act II, Scene II. "Flesh rebels" | — | ||
| 4-10 | Nixon in China: Act II, Scene II. "I have my brief" | — | ||
| 4-11 | Nixon in China: Act II, Scene II. "It seems so strange" | — | ||
| 4-12 | Nixon in China: Act II, Scene II. "I am the wife of Mao Tse-tung" | — | ||
| 5-1 | Nixon in China: Act III. Beginning | — | ||
| 5-2 | Nixon in China: Act III. "Some men you cannot satisfy" | — | ||
| 5-3 | Nixon in China: Act III. "I am no one" | — | ||
| 5-4 | Nixon in China: Act III. The Maos dance | — | ||
| 5-5 | Nixon in China: Act III. "Sitting around the radio" | — | ||
| 5-6 | Nixon in China: Act III. "Let us examine what you did" | — | ||
| 5-7 | Nixon in China: Act III. "When I woke up, I dimly realized the Jap Bombers had given us a miss" | — | ||
| 5-8 | Nixon in China: Act III. "I have no offspring" | — | ||
| 5-9 | Nixon in China: Act III. "I can keep still" | — | ||
| 5-10 | Nixon in China: Act III. "After that the sweat had soaked my uniform" | — | ||
| 5-11 | Nixon in China: Act III. "Peking watches the stars" | — | ||
| 5-12 | Nixon in China: Act III. "You won at poker" | — | ||
| 5-13 | Nixon in China: Act III. "I am old and I cannot sleep" | — | ||
| 6-1 | The Wound-Dresser | — | ||
| 6-2 | Fearful Symmetries | — | ||
| 7-1 | The Unanswered Question | — | ||
| 7-2 | Five Songs: Thoreau | — | ||
| 7-3 | Five Songs: Down East | — | ||
| 7-4 | Five Songs: Cradle Song | — | ||
| 7-5 | Five Songs: At the River | — | ||
| 7-6 | Five Songs: Serenity | — | ||
| 7-7 | Fog Tropes | — | ||
| 7-8 | Madame Press Died Last Week at Ninety | — | ||
| 7-9 | Eros Piano | — | ||
| 7-10 | Elegy in Memory of Maurice Ravel | — | ||
| 8-1 | Prologue: Chorus of Exiled Palestinians | Antonio Sánchez | — | |
| 8-2 | The Death of Klinghoffer: Prologue: Chorus Of Exiled Jews | — | ||
| 8-3 | The Death of Klinghoffer: Act I, Scene I : It Was Just After One Fifteen (The Captain) | — | ||
| 8-4 | The Death of Klinghoffer: Act I, Scene I: My Grandson Didi, Who Was Two (Swiss Grandmother) | — | ||
| 8-5 | The Death of Klinghoffer: Act I, Scene I : Give These Orders (Molqi) | — | ||
| 8-6 | The Death of Klinghoffer: Act I, Scene I : So I Said To My Grandson (Swiss Grandmother) | — | ||
| 8-7 | The Death of Klinghoffer: Act I, Scene I : We Are Sorry For You (Mamoud) | — | ||
| 8-8 | The Death of Klinghoffer: Act I, Scene I : Ocean Chorus | — | ||
| 8-9 | The Death of Klinghoffer: Act I, Scene II : Now It Is Night (Mamoud) | — | ||
| 8-10 | The Death of Klinghoffer: Act I, Scene II : I Think If You Could Talk Like This (The Captain) | — | ||
| 8-11 | The Death of Klinghoffer: Act I, Scene II : I Have Often Reflected That This Is No Ship (The Captain) | — | ||
| 8-12 | The Death of Klinghoffer: Act I, Scene II : I Kept My Distance (Austrian Woman) | — | ||
| 8-13 | The Death of Klinghoffer: Act I, Scene II : Those Birds Flying Above Us (Mamoud) | — | ||
| 8-14 | The Death of Klinghoffer: Act I, Scene II : Night Chorus | — | ||
| 9-1 | The Death of Klinghoffer, Act II: Hagar Chorus | — | ||
| 9-2 | The Death of Klinghoffer, Act II, Scene 1: Come Here. Look. (Molqi) | — | ||
| 9-3 | The Death of Klinghoffer, Act II, Scene 1: I've Never Been A Violent Man (Leon Klinghoffer) | — | ||
| 9-4 | The Death of Klinghoffer, Act II, Scene 1: You Are Always Complaining Of Your Suffering (Rambo) | — | ||
| 9-5 | The Death of Klinghoffer, Act II, Scene 1: I Must Have Been Hysterical British Dancing Girl) | — | ||
| 9-6 | The Death of Klinghoffer, Act II, Scene 1: It Is As If Our Earthly Life Were Spent Miserably (Omar) | — | ||
| 9-7 | The Death of Klinghoffer, Act II, Scene 1: Desert Chorus | — | ||
| 9-8 | The Death of Klinghoffer, Act II, Scene 2: My One Consolation (Marilyn Klinghoffer) | — | ||
| 9-9 | The Death of Klinghoffer, Act II, Scene 2: Klinghoffer'S Death | — | ||
| 9-10 | The Death of Klinghoffer, Act II, Scene 2: Every Fifteen Minutes, One More Will Be Shot (Mamoud) | — | ||
| 9-11 | The Death of Klinghoffer, Act II, Scene 2: Aria Of The Falling Body | — | ||
| 9-12 | The Death of Klinghoffer, Act II, Scene 2: Day Chorus | — | ||
| 9-13 | The Death of Klinghoffer, Act II, Scene 3: Mrs. Klinghoffer, Please Sit Down (The Captain) | — | ||
| 9-14 | The Death of Klinghoffer, Act II, Scene 3: You Embraced Them! (Marily Klinghoffer) | — | ||
| 10-1 | Coast | — | ||
| 10-2 | Disappointment Lake | — | ||
| 10-3 | Tourist Song | — | ||
| 10-4 | Tundra | — | ||
| 10-5 | Bump | — | ||
| 10-6 | Cerulean | — | ||
| 10-7 | Hoodoo Zephyr | John Adams | — | |
| 11-1 | Chamber Symphony: I. Mongrel Airs | London Sinfonietta, John Adams | — | |
| 11-2 | Chamber Symphony: Aria with Walking Bass | — | ||
| 11-3 | Chamber Symphony: Roadrunner | — | ||
| 11-4 | Grand Pianola Music: Part IA | — | ||
| 11-5 | Grand Pianola Music: Part IB | — | ||
| 11-6 | Grand Pianola Music: On the Dominant Divide | — | ||
| 12-1 | Violin Concerto: I. Quarter Note = 78 | — | ||
| 12-2 | Violin Concerto: II. Chaconne: Body through which the dream flows | — | ||
| 12-3 | Violin Concerto: III. Toccare | Gidon Kremer, London Symphony Orchestra, Kent Nagano | — | |
| 12-4 | Shaker Loops: I. Shaking and Trembling | Orchestra of St. Luke’s, John Adams | — | |
| 12-5 | Shaker Loops: II. Hymning Slews | — | ||
| 12-6 | Shaker Loops: III. Loops and Verses | — | ||
| 12-7 | Shaker Loops: IV. A Final Shaking | — | ||
| 13-1 | El Dorado: A Dream of Gold | — | ||
| 13-2 | El Dorado: Soledades | — | ||
| 13-3 | Berceuse élégiaque | — | ||
| 13-4 | The Black Gondola | — | ||
| 14-1 | John's Book of Alleged Dances: Judah to Ocean (reprise) | Kronos Quartet | — | |
| 14-2 | John's Book of Alleged Dances: Toot Nipple | Kronos Quartet | — | |
| 14-3 | John's Book of Alleged Dances: Dogjam | Kronos Quartet | — | |
| 14-4 | John's Book of Alleged Dances: Pavane: She's So Fine | Kronos Quartet | — | |
| 14-5 | John's Book of Alleged Dances: Rag the Bone | Kronos Quartet | — | |
| 14-6 | John's Book of Alleged Dances: Habanera | Kronos Quartet | — | |
| 14-7 | John's Book of Alleged Dances: Stubble Crochet | Kronos Quartet | — | |
| 14-8 | John's Book of Alleged Dances: Hammer & Chisel | Kronos Quartet | — | |
| 14-9 | John's Book of Alleged Dances: Alligator Escalator | Kronos Quartet | — | |
| 14-10 | John's Book of Alleged Dances: Standchen: The Little Serenade | Kronos Quartet | — | |
| 14-11 | John's Book of Alleged Dances: Judah to Ocean (reprise) | Kronos Quartet | — | |
| 14-12 | Gnarly Buttons: I. The Perilous Shore | Michael Collins, London Sinfonietta, John Adams | — | |
| 14-13 | Gnarly Buttons: II. Hoe-Down (Mad Cow) | Michael Collins, London Sinfonietta, John Adams | — | |
| 14-14 | Gnarly Buttons: III. Put Your Loving Arms Around Me | Michael Collins, London Sinfonietta, John Adams | — | |
| 15-1 | I Was Looking at the Ceiling and Then I Saw the Sky | — | ||
| 15-2 | I Was Looking at the Ceiling and Then I Saw the Sky: A Sermon on Romance | — | ||
| 15-3 | I Was Looking at the Ceiling and Then I Saw the Sky: Consuelo's Dream | — | ||
| 15-4 | I Was Looking at the Ceiling and Then I Saw the Sky: Mike's Song About Arresting a Particular Individual | — | ||
| 15-5 | I Was Looking at the Ceiling and Then I Saw the Sky: Tiffany's Solo | — | ||
| 15-6 | I Was Looking at the Ceiling and Then I Saw the Sky: Song About the On-Site Altercation | — | ||
| 15-7 | I Was Looking at the Ceiling and Then I Saw the Sky: Song About the Bad Boys and the News | — | ||
| 15-8 | I Was Looking at the Ceiling and Then I Saw the Sky: Your Honor My Client He's a Young Black Man | — | ||
| 15-9 | I Was Looking at the Ceiling and Then I Saw the Sky: Leila's Song, Alone (Again or At Last) | — | ||
| 15-10 | I Was Looking at the Ceiling and Then I Saw the Sky: Three Weeks and Still I'm Outta My Mind | — | ||
| 15-11 | I Was Looking at the Ceiling and Then I Saw the Sky: Crushed by the Rock I Been Standing On | — | ||
| 15-12 | I Was Looking at the Ceiling and Then I Saw the Sky: Dewain's Song of Liberation and Surprise | — | ||
| 15-13 | ¡Este país!/This Country | Audra McDonald, Michael McElroy | — | |
| 15-14 | I Was Looking at the Ceiling and Then I Saw the Sky: One Last Look at the Angel in Your Eyes | — | ||
| 15-15 | I Was Looking at the Ceiling and Then I Saw the Sky: Finale | — | ||
| 16-1 | Harmonium: I. Negative Love | — | ||
| 16-2 | Harmonium: II. Because I Could Not Stop for Death | — | ||
| 16-3 | Harmonium: III. Wild Nights | Vance George, San Francisco Symphony Chorus, San Francisco Symphony, John Adams | — | |
| 16-4 | Prologue: Chorus of Exiled Palestinians | Antonio Sánchez | — | |
| 16-5 | The Death of Klinghoffer: Chorus of Exiled Jews | Orchestre de l'Opéra de Lyon, Kent Nagano | — | |
| 16-6 | The Death of Klinghoffer: Ocean Chorus | — | ||
| 16-7 | The Death of Klinghoffer: Night Chorus | — | ||
| 16-8 | The Death of Klinghoffer: Chorus of Hagar and the Angel | — | ||
| 16-9 | The Death of Klinghoffer: Desert Chorus | — | ||
| 16-10 | The Death of Klinghoffer: Day Chorus | — | ||
| 17-1 | Century Rolls: I. First Movement | — | ||
| 17-2 | Century Rolls: II. Manny's Gym | — | ||
| 17-3 | Century Rolls: III. Hail Bop | — | ||
| 17-4 | Lollapalooza | — | ||
| 17-5 | Slonimsky's Earbox | — | ||
| 18-1 | El Niño: I Sing of a Maiden | — | ||
| 18-2 | El Niño: Hail, Mary, Gracious! | — | ||
| 18-3 | El Niño: La Anunciación | — | ||
| 18-4 | El Niño: For with God No Thing Shall Be Impossible | — | ||
| 18-5 | El Niño: Part One. The Babe Leaped in Her Womb | Deutsches Symphonie-Orchester Berlin, Kent Nagano | — | |
| 18-6 | El Niño: Part One. Magnificat | Deutsches Symphonie-Orchester Berlin, Kent Nagano | — | |
| 18-7 | El Niño: Now She Was Sixteen Years Old | — | ||
| 18-8 | El Niño: Joseph's Dream | — | ||
| 18-9 | El Niño: Shake the Heavens | — | ||
| 18-10 | El Niño: Se Habla de Gabriel | — | ||
| 18-11 | El Niño: The Christmas Star | — | ||
| 19-1 | El Niño: Pues mi Dios ha nacido a penar | — | ||
| 19-2 | El Niño: When Herod Heard | — | ||
| 19-3 | El Niño: Woe Unto Them That Call Evil Good | — | ||
| 19-4 | El Niño: And the Star Went Before Them | — | ||
| 19-5 | El Niño: The Three Kings | — | ||
| 19-6 | El Niño: And When They Were Departed | — | ||
| 19-7 | El Niño: Dawn Air | — | ||
| 19-8 | El Niño: And He Slew All the Children | — | ||
| 19-9 | El Niño: Memorial de Tlatelolco | — | ||
| 19-10 | El Niño: In the Day of the Great Slaughter | — | ||
| 19-11 | El Niño: Pues está tiritando | — | ||
| 19-12 | El Niño: Jesus and the Dragons | — | ||
| 19-13 | El Niño: A Palm Tree | — | ||
| 20-1 | Naive and Sentimental Music: I. Naive and Sentimental Music | — | ||
| 20-2 | Naive and Sentimental Music: II. Mother of the Man | — | ||
| 20-3 | Naive and Sentimental Music: III. Chain to the Rhythm | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-1 | Road Movies: I. Relaxed Groove | — | ||
| 21-2 | Road Movies: II. Meditative | — | ||
| 21-3 | Road Movies: III. 40% Swing | — | ||
| 21-4 | Hallelujah Junction: Movement I | — | ||
| 21-5 | Hallelujah Junction: Movement II | — | ||
| 21-6 | Hallelujah Junction: Movement III | — | ||
| 21-7 | China Gates | — | ||
| 21-8 | American Berserk | — | ||
| 21-9 | Phrygian Gates: Part 1 | — | ||
| 21-10 | Phrygian Gates: Part 2 (A System of Weights and Measures) | — | ||
| 21-11 | Phrygian Gates: Part 3 | — | ||
| 22-1 | On the Transmigration of Souls | — | ||
| 23-1 | The Dharma at Big Sur, Part I: A New Day | Tracy Silverman, BBC Symphony Orchestra, John Adams | — | |
| 23-2 | The Dharma at Big Sur: II. Sri Moonshine | — | ||
| 24-1 | My Father Knew Charles Ives: I. Concord | — | ||
| 24-2 | My Father Knew Charles Ives: II. The Lake | — | ||
| 24-3 | My Father Knew Charles Ives: III. The Mountain | — | ||
| 25-1 | A Flowering Tree, Act I, Scene 1 | — | ||
| 25-2 | A Flowering Tree, Act 1: One morning … | — | ||
| 25-3 | A Flowering Tree, Act 1: Kumudha’s Prayer | — | ||
| 25-4 | A Flowering Tree, Act 1: Scene 2: Flores Chorus | — | ||
| 25-5 | A Flowering Tree, Act 1: Kumudha and her sister … | — | ||
| 25-6 | A Flowering Tree, Act 1: Scene 3: Audience with the King | — | ||
| 25-7 | A Flowering Tree, Act 1: Mamá Mamá, ¿Por qué nos pegas? | — | ||
| 25-8 | A Flowering Tree, Act 1: Scene 4: The Wedding | — | ||
| 25-9 | A Flowering Tree, Act 1: They brought her to me | — | ||
| 25-10 | A Flowering Tree, Act 1: Bride and Groom | — | ||
| 25-11 | A Flowering Tree, Act 1: The bride sunk her face | — | ||
| 26-1 | A Flowering Tree, Act II: Scene 1 | — | ||
| 26-2 | A Flowering Tree, Act II: “You are cruel.” | — | ||
| 26-3 | A Flowering Tree, Act II: “Kumudha once more …” | — | ||
| 26-4 | A Flowering Tree, Act II: “Days passed …” | — | ||
| 26-5 | A Flowering Tree, Act II: Scene 3: Before I laughed with him nightly | — | ||
| 26-6 | A Flowering Tree, Act II: Scene 4: Kumudha and the Beggar Minstrels | — | ||
| 26-7 | A Flowering Tree, Act II: We had all but forgotten you, Prince | — | ||
| 26-8 | A Flowering Tree, Act II: The Prince recognizes Kumudha | — | ||
| 26-9 | A Flowering Tree, Act II: Kumudha’s Final Transformation | — | ||
| 27-1 | Doctor Atomic Symphony: I. The Laboratory | — | ||
| 27-2 | Doctor Atomic Symphony: II. Panic | — | ||
| 27-3 | Doctor Atomic Symphony: III. Trinity | — | ||
| 27-4 | Guide to Strange Places | — | ||
| 28-1 | Son of Chamber Symphony: I. | — | ||
| 28-2 | Son of Chamber Symphony: II. | — | ||
| 28-3 | Son of Chamber Symphony: III. | — | ||
| 28-4 | String Quartet: I. | — | ||
| 28-5 | String Quartet: II. | — | ||
| 29-1 | The Gospel According to the Other Mary: Act I, Scene 1: The Next Day in the City Jail | — | ||
| 29-2 | The Gospel According to the Other Mary: Act I, Scene 1: Now A Certain Woman Named Martha | — | ||
| 29-3 | The Gospel According to the Other Mary: Act I, Scene 2: And She Had A Sister Named Mary | — | ||
| 29-4 | The Gospel According to the Other Mary: Act I, Scene 2: I Am Surprised That I Am Beginning To Pray Daily | — | ||
| 29-5 | The Gospel According to the Other Mary: Act I, Scene 2: En un día de amor yo bajé hasta la tierra | — | ||
| 29-6 | The Gospel According to the Other Mary: Act I, Scene 3: Now A Certain Man Was Sick | — | ||
| 29-7 | The Gospel According to the Other Mary: Act I, Scene 3: Lazarus Dies While The Sisters Await Jesus | — | ||
| 29-8 | The Gospel According to the Other Mary: Act I, Scene 3: Why Standest Thou Afar Off, O Lord? | — | ||
| 29-9 | The Gospel According to the Other Mary: Act I, Scene 3: In My Own Quietly Explosive Here | — | ||
| 29-10 | The Gospel According to the Other Mary: Act I, Scene 3: Don’t Touch My Left Arm | — | ||
| 29-11 | The Gospel According to the Other Mary: Act I, Scene 3: When Mary Was Come Where Jesus Was | — | ||
| 29-12 | The Gospel According to the Other Mary: Act I, Scene 3: Jesus Said, Take Ye Away The Stone | — | ||
| 29-13 | The Gospel According to the Other Mary: Act I, Scene 3: And When He Thus Had Spoken | — | ||
| 29-14 | The Gospel According to the Other Mary: Act I, Scene 3: Drop Down, Ye Heavens, From Above | — | ||
| 29-15 | The Gospel According to the Other Mary: Act I, Scene 4: Then Jesus Six Days Before The Passover | — | ||
| 29-16 | The Gospel According to the Other Mary: Act I, Scene 4: For The Grave Cannot Praise Thee | — | ||
| 29-17 | The Gospel According to the Other Mary: Act I, Scene 4: Then Took Mary A Pound Of Ointment | — | ||
| 29-18 | The Gospel According to the Other Mary: Act I, Scene 5: And There Were Some That Had Indignation | — | ||
| 29-19 | The Gospel According to the Other Mary: Act I, Scene 5: We Know There Will Be No Utopias | — | ||
| 29-20 | The Gospel According to the Other Mary: Act I, Scene 5: Tell Me: How Is This Night Different | — | ||
| 30-1 | The Gospel According to the Other Mary: Act II, Who Rips His Own Flesh Down The Seams | — | ||
| 30-2 | The Gospel According to the Other Mary: Act II, Scene 1: Martha And Mary, Not Knowing | — | ||
| 30-3 | The Gospel According to the Other Mary: Act II, Scene 2: Instrumental Introduction | — | ||
| 30-4 | The Gospel According to the Other Mary: Act II, Scene 2: Up At Two A.M., Picketed All Day | — | ||
| 30-5 | The Gospel According to the Other Mary: Act II, Scene 2: The Said Defendants | — | ||
| 30-6 | The Gospel According to the Other Mary: Act II, Scene 2: Jesús, incomparable perdonador de injurias | — | ||
| 30-7 | The Gospel According to the Other Mary: Act II, Scene 3: And They Were Come Unto A Place Called Golgotha | — | ||
| 30-8 | The Gospel According to the Other Mary: Act II, Scene 3: Daughters Of Jerusalem, Weep Not For Me | — | ||
| 30-9 | The Gospel According to the Other Mary: Act II, Scene 3: Now There Stood By The Cross Of Jesus | — | ||
| 30-10 | The Gospel According to the Other Mary: Act II, Scene 3: When Jesus Saw His Mother | — | ||
| 30-11 | The Gospel According to the Other Mary: Act II, Scene 4: When The Rain Began To Fall | — | ||
| 30-12 | The Gospel According to the Other Mary: Act II, Scene 4: His Son Cried Out To Him | — | ||
| 30-13 | The Gospel According to the Other Mary: Act II, Scene 5: Now In The Place Where He Was Crucified | — | ||
| 30-14 | The Gospel According to the Other Mary: Act II, Scene 5: Mary Awakens On The Third Morning | — | ||
| 30-15 | The Gospel According to the Other Mary: Act II, Scene 5: It Is Spring | — | ||
| 30-16 | The Gospel According to the Other Mary: Act II, Scene 6: And, Behold, There Was A Great Earthquake | — | ||
| 30-17 | The Gospel According to the Other Mary: Act II, Scene 6: Why Seek Ye The Living Among The Dead? | — | ||
| 31-1 | City Noir: I. The City and its Double | Saint Louis Symphony, David Robertson | — | |
| 31-2 | City Noir: II. The Song is for You | Saint Louis Symphony, David Robertson | — | |
| 31-3 | City Noir: III. Boulevard Night | Saint Louis Symphony, David Robertson | — | |
| 31-4 | Saxophone Concerto: I. Animato | Timothy McAllister, Saint Louis Symphony, David Robertson | — | |
| 31-5 | Saxophone Concerto: I. (cont’d.) Moderato - | Timothy McAllister, Saint Louis Symphony, David Robertson | — | |
| 31-6 | Saxophone Concerto: II. Molto vivo (a hard driving pulse) | Timothy McAllister, Saint Louis Symphony, David Robertson | — | |
| 32-1 | Scheherazade.2: I. Tale of the Wise Young Woman; Pursuit by the True Believers | Leila Josefowicz, Saint Louis Symphony Orchestra, David Robertson | — | |
| 32-2 | Scheherazade.2: II. A Long Desire (Love Scene) | Leila Josefowicz, Saint Louis Symphony Orchestra, David Robertson | — | |
| 32-3 | Scheherazade.2: III. Scheherazade and the Men with Beards | Leila Josefowicz, Saint Louis Symphony Orchestra, David Robertson | — | |
| 32-4 | Scheherazade.2: IV. Escape, Flight, Sanctuary | Leila Josefowicz, Saint Louis Symphony Orchestra, David Robertson | — | |
| 33-1 | Violin Concerto: I. Quarter-note = 78 | — | ||
| 33-2 | Violin Concerto: II. Chaconne: Body Through Which the Dream Flows | — | ||
| 33-3 | Violin Concerto: III. Toccare | — | ||
| 34-1 | Doctor Atomic: Overture | — | ||
| 34-2 | Doctor Atomic: Act I, Scene 1: "The end of June 1945" | — | ||
| 34-3 | Doctor Atomic: Act I, Scene 1: "First of all, let me say" | — | ||
| 34-4 | Doctor Atomic: Act I, Scene 1: "We surround the plutonium core" | — | ||
| 34-5 | Doctor Atomic: Act I, Scene 1: "We are bedeviled by faulty detonators" | — | ||
| 34-6 | Doctor Atomic: Act I, Scene 1: "Many of us are inclined to say" | — | ||
| 34-7 | Doctor Atomic: Act I, Scene 1: "The nation's fate..." | — | ||
| 34-8 | Doctor Atomic: Act I, Scene 1: "This is a petition" | — | ||
| 34-9 | Doctor Atomic: Act I, Scene 1: "What if it's a dud?" | — | ||
| 34-10 | Doctor Atomic: Act I, Scene 1: "The test must go on as scheduled" | — | ||
| 34-11 | Doctor Atomic: Act I, Scene 1: "No, before the bomb is used" | — | ||
| 34-12 | Doctor Atomic: Act I, Scene 2: "Am I in your light?" | — | ||
| 34-13 | Doctor Atomic: Act I, Scene 2: "Long let me inhale, deeply..." | — | ||
| 34-14 | Doctor Atomic: Act I, Scene 2: "The motive of it all was loneliness" | — | ||
| 34-15 | Doctor Atomic: Act I, Scene 3: Electrical storm | — | ||
| 34-16 | Doctor Atomic: Act I, Scene 3: "What the hell is wrong with the weather?" | — | ||
| 34-17 | Doctor Atomic: Act I, Scene 3: "Five hundred U.S. Superfortresses are raining bombs" | — | ||
| 34-18 | Doctor Atomic: Act I, Scene 3: "I'll sign the report, sir" | — | ||
| 34-19 | Doctor Atomic: Act I, Scene 3: "With respect, sir, anyone with two good eyes" | — | ||
| 34-20 | Doctor Atomic: Act I, Scene 3: "I have been preoccupied with many matters" | — | ||
| 34-21 | Doctor Atomic: Act I, Scene 3: "Get them out of here. From now on, I'm making my own weather predictions" | — | ||
| 34-22 | Doctor Atomic: Act I, Scene 3: "General, you are bearing up with remarkable fortitude" | — | ||
| 34-23 | Doctor Atomic: Act I, Scene 3: "Batter my heart" | — | ||
| 35-1 | Doctor Atomic: Act II, Scene 1: "Easter Eve, 1945" | — | ||
| 35-2 | Doctor Atomic: Act II, Scene 1: Interlude | — | ||
| 35-3 | Doctor Atomic: Act II, Scene 1: "In the north the cloud-flower blossoms" | — | ||
| 35-4 | Doctor Atomic: Act II, Scene 2: "It's midnight, Jack" | — | ||
| 35-5 | Doctor Atomic: Act II, Scene 2: "I've dreamed the same dream" | — | ||
| 35-6 | Doctor Atomic: Act II, Scene 2: "To the farthest west, the sea and the striped country" | — | ||
| 35-7 | Doctor Atomic: Act II, Scene 2: "A delay in the Potsdam Ultimatum" | — | ||
| 35-8 | Doctor Atomic: Act II, Scene 2: "Fermi is taking wagers" | — | ||
| 35-9 | Doctor Atomic: Act II, Scene 2: "I've spent a great deal of time indulging in controlled fantasies" | — | ||
| 35-10 | Doctor Atomic: Act II, Scene 2: "Edward, the test will be delayed an hour" | — | ||
| 35-11 | Doctor Atomic: Act II, Scene 3: Panic | — | ||
| 35-12 | Doctor Atomic: Act II, Scene 3: "This program has been plagued from the start" | — | ||
| 35-13 | Doctor Atomic: Act II, Scene 3: "To keep the weakness secret" | — | ||
| 35-14 | Doctor Atomic: Act II, Scene 3: "I just finished reading The Magic Mountain" | — | ||
| 35-15 | Doctor Atomic: Act II, Scene 3: "The winter dawned, but the dead did not come back" | — | ||
| 35-16 | Doctor Atomic: Act II, Scene 3: "And love, which contains all human spirit" | — | ||
| 35-17 | Doctor Atomic: Act II, Scene 3: "The only saviors are the ham sandwiches" | — | ||
| 35-18 | Doctor Atomic: Act II, Scene 3: Chorus | — | ||
| 35-19 | Doctor Atomic: Act II, Scene 4: "Lieutenant Bush, keep a weather eye on Oppenheimer" | — | ||
| 35-20 | Doctor Atomic: Act II, Scene 4: "To what benevolent demon do I owe the joy of being thus surrounded" | — | ||
| 35-21 | Doctor Atomic: Act II, Scene 4: "That's their signal!" | — | ||
| 35-22 | Doctor Atomic: Act II, Scene 4: "The sky is clear to the east" | — | ||
| 35-23 | Doctor Atomic: Act II, Scene 4: "In the midnight, in the flame-brilliant midnight" | — | ||
| 35-24 | Doctor Atomic: Act II, Scene 4: "Zero minus two minutes" | — | ||
| 35-25 | Doctor Atomic: Act II, Scene 4: Countdown | — | ||
| 36-1 | Roll Over Beethoven (Transc. Antonsen for 2 Pianos): I. Allegro molto | — | ||
| 36-2 | Roll Over Beethoven (Transc. Antonsen for 2 Pianos): II. Andantino | — | ||
| 36-3 | I Still Play | Jeremy Denk | T-011.286.902-9 | |
| 36-4 | Scratchband | — | ||
| 37-1 | Must the Devil Have All the Good Tunes? I. Gritty, Funky, But in strict Tempo; Twitchy, Bot-Like | — | ||
| 37-2 | Must the Devil Have All the Good Tunes? II. Much Slower; Gently, Relaxed Time | — | ||
| 37-3 | Must the Devil Have All the Good Tunes? III. Piú mosso: Obsession / Swing | — | ||
| 38-1 | Absolute Jest: 1. Beginning | Christopher Costanza, Geoff Nuttall, Lesley Robertson, Scott St. John, St. Lawrence String Quartet, San Francisco Symphony, Michael Tilson Thomas | — | |
| 38-2 | Absolute Jest: 2. Presto | Christopher Costanza, Geoff Nuttall, Lesley Robertson, Scott St. John, St. Lawrence String Quartet, San Francisco Symphony, Michael Tilson Thomas | — | |
| 38-3 | Absolute Jest: 3. Lo stesso tempo | Christopher Costanza, Geoff Nuttall, Lesley Robertson, Scott St. John, St. Lawrence String Quartet, San Francisco Symphony, Michael Tilson Thomas | — | |
| 38-4 | Absolute Jest: 4. Meno mosso | Christopher Costanza, Geoff Nuttall, Lesley Robertson, Scott St. John, St. Lawrence String Quartet, San Francisco Symphony, Michael Tilson Thomas | — | |
| 38-5 | Absolute Jest: 5. Vivacissimo | Christopher Costanza, Geoff Nuttall, Lesley Robertson, Scott St. John, St. Lawrence String Quartet, San Francisco Symphony, Michael Tilson Thomas | — | |
| 38-6 | Absolute Jest: 6. Prestissimo | Christopher Costanza, Geoff Nuttall, Lesley Robertson, Scott St. John, St. Lawrence String Quartet, San Francisco Symphony, Michael Tilson Thomas | — | |
| 38-7 | Grand Pianola Music: 1. Part 1 | Synergy Vocals, Marc-André Hamelin, Orli Shaham, San Francisco Symphony, John Adams | — | |
| 38-8 | Grand Pianola Music: 2. Part 1 - Slow | Synergy Vocals, Marc-André Hamelin, Orli Shaham, San Francisco Symphony, John Adams | — | |
| 38-9 | Grand Pianola Music: 3. Part 2, On the Dominant Divide | Synergy Vocals, Marc-André Hamelin, Orli Shaham, San Francisco Symphony, John Adams | — | |
| 39-1 | Harmonielehre: Part I. | Berliner Philharmoniker, John Adams | — | |
| 39-2 | Harmonielehre: Part II. The Anfortas Wound | Berliner Philharmoniker, John Adams | — | |
| 39-3 | Harmonielehre: Part III. Meister Eckhardt and Quackie | Berliner Philharmoniker, John Adams | — |
