UPC · Release
Anne Queffélec
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0190295542788 is the Universal Product Code (UPC barcode) for the release “The Complete Erato Recordings” by Anne Queffélec, released 2019-01-01 on Erato. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 312 tracks, each with its own ISRC. Tracks include FRZ200610001, FRZ201805160, FRZ201805161.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Keyboard Sonata in D Major, Kk. 96 | — | ||
| 2 | Keyboard Sonata in B Minor, Kk. 27 | — | ||
| 3 | Keyboard Sonata in D Major, Kk. 492 | — | ||
| 4 | Keyboard Sonata in E Major, Kk. 531 | — | ||
| 5 | Keyboard Sonata in C‐Sharp Minor, Kk. 247 | — | ||
| 6 | Keyboard Sonata in D Minor, Kk. 9 "Pastorale" | — | ||
| 7 | Keyboard Sonata in C Major, Kk. 159 "La Caccia" | — | ||
| 8 | Keyboard Sonata in F Minor, Kk. 69 | — | ||
| 9 | Keyboard Sonata in D Major, Kk. 33 | — | ||
| 10 | Keyboard Sonata in B Minor, Kk. 87 | — | ||
| 11 | Keyboard Sonata in G Major, Kk. 427 | — | ||
| 12 | Keyboard Sonata in E‐Flat Major, Kk. 193 | — | ||
| 13 | Keyboard Sonata in G Minor, Kk. 30 "The Cat's Fugue" | — | ||
| 2-1 | 4 Impromptus, Op. 90, D. 899: No. 1 in C Minor | — | ||
| 2-2 | 4 Impromptus, Op. 90, D. 899: No. 2 in E-Flat Major | — | ||
| 2-3 | 4 Impromptus, Op. 90, D. 899: No. 3 in G-Flat Major | — | ||
| 2-4 | 4 Impromptus, Op. 90, D. 899: No. 4 in A-Flat Major | — | ||
| 2-5 | 6 Moments musicaux, Op. 94, D. 780: No. 1 in C Major | — | ||
| 2-6 | 6 Moments musicaux, Op. 94, D. 780: No. 2 in A-Flat Major | — | ||
| 2-7 | 6 Moments musicaux, Op. 94, D. 780: No. 3 in F Minor | — | ||
| 2-8 | 6 Moments musicaux, Op. 94, D. 780: No. 4 in C-Sharp Minor | — | ||
| 2-9 | 6 Moments musicaux, Op. 94, D. 780: No. 5 in F Minor | — | ||
| 2-10 | 6 Moments musicaux, Op. 94, D. 780: No. 6 in A-Flat Major | — | ||
| 3-1 | Scherzo No. 1 in B Minor, Op. 20 | — | ||
| 3-2 | Scherzo No. 2 in B-Flat Minor, Op. 31 | — | ||
| 3-3 | Scherzo No. 3 in C-Sharp Minor, Op. 39 | — | ||
| 3-4 | Scherzo No. 4 in E Major, Op. 54 | — | ||
| 3-5 | Impromptu No. 1 in A-Flat Major, Op. 29 | — | ||
| 3-6 | Impromptu No. 2 in F-Sharp Major, Op. 36 | — | ||
| 3-7 | Impromptu No. 3 in G-Flat Major, Op. 51 | — | ||
| 3-8 | Fantaisie-impromptu in C-Sharp Minor, Op. 66 | — | ||
| 4-1 | Mephisto Waltz No. 1, S. 514 | — | ||
| 4-2 | Liebestraume No. 3 in A-Flat Major, S. 541 | — | ||
| 4-3 | Études d'exécution transcendante d'après Paganini, S. 140: IV. Arpeggio | — | ||
| 4-4 | Années de pèlerinage III, S. 163: IV. Les jeux d'eau à la Villa d'Este | — | ||
| 4-5 | 2 Légendes, S. 175: II. Saint François de Paule marchant sur les flots | — | ||
| 4-6 | Études d'exécution transcendante, S. 139: V. Feux follets (Allegretto) | — | ||
| 4-7 | Années de pèlerinage I, S. 160: VI. La Vallée d'Oberman | — | ||
| 5-1 | Chromatic Fantasia & Fugue in D Minor, BWV 903 | — | ||
| 5-2 | Partita No. 2 in C Minor, BWV 826: I. Sinfonia | — | ||
| 5-3 | Partita No. 2 in C Minor, BWV 826: II. Allemande | — | ||
| 5-4 | Partita No. 2 in C Minor, BWV 826: III. Courante | — | ||
| 5-5 | Partita No. 2 in C Minor, BWV 826: IV. Sarabande | — | ||
| 5-6 | Partita No. 2 in C Minor, BWV 826: V. Rondeaux | — | ||
| 5-7 | Partita No. 2 in C Minor, BWV 826: VI. Capriccio | — | ||
| 5-8 | Partita No. 5 in G Major, BWV 829: I. Praeambulum | — | ||
| 5-9 | Partita No. 5 in G Major, BWV 829: II. Allemande | — | ||
| 5-10 | Partita No. 5 in G Major, BWV 829: III. Corrente | — | ||
| 5-11 | Partita No. 5 in G Major, BWV 829: IV. Sarabande | — | ||
| 5-12 | Partita No. 5 in G Major, BWV 829: V. Tempo di Minuetto | — | ||
| 5-13 | Partita No. 5 in G Major, BWV 829: VI. Passepied | — | ||
| 5-14 | Partita No. 5 in G Major, BWV 829: VII. Gigue | — | ||
| 6-1 | Piano Concerto In D Major, M. 82 "For The Left Hand" | — | ||
| 6-2 | Piano Concerto In G Major, M. 83: Allegramente | — | ||
| 6-3 | Concerto for Piano in G major: II. Adagio assai | Anne Queffélec, Orchestre philharmonique de Strasbourg, Alain Lombard | T-305.194.465-7 | |
| 6-4 | Piano Concerto In G Major, M. 83: Presto | — | ||
| 6-5 | Fantaisie for Piano and Orchestra, L. 72a, L. 73: I. Andante, ma non troppo - Allegro giusto | — | ||
| 6-6 | Fantaisie for Piano and Orchestra, L. 72a, L. 73: II. Lento e molto espressivo | — | ||
| 6-7 | Fantaisie for Piano and Orchestra, L. 72a, L. 73: III. Allegro molto | — | ||
| 7-1 | Piano Trio No. 1 in D Minor, Op. 49: I. Molto allegro ed agitato | — | ||
| 7-2 | Piano Trio No. 1 in D Minor, Op. 49: II. Andante con moto tranquillo | — | ||
| 7-3 | Piano Trio No. 1 in D Minor, Op. 49: III. Scherzo - Leggierro e vivace | — | ||
| 7-4 | Piano Trio No. 1 in D Minor, Op. 49: IV. Finale - Allegro assai appassionato | — | ||
| 7-5 | Piano Trio No. 2 in C Minor, Op. 66: I Allegro energico e con fuoco | — | ||
| 7-6 | Piano Trio No. 2 in C Minor, Op. 66: II. Andante espressivo | — | ||
| 7-7 | Piano Trio No. 2 in C Minor, Op. 66: III. Scherzo - Molto allegro quasi presto | — | ||
| 7-8 | Piano Trio No. 2 in C Minor, Op. 66: IV. Finale - Allegro appassionato | — | ||
| 8-1 | Ravel Miroirs, M. 43 I. Noctuelles | — | ||
| 8-2 | Ravel Miroirs, M. 43 II. Oiseaux tristes | — | ||
| 8-3 | Ravel Miroirs, M. 43 III. Une barque sur l'océan | — | ||
| 8-4 | Ravel Miroirs, M. 43 IV. Alborada del gracioso | — | ||
| 8-5 | Ravel Miroirs, M. 43 V. La vallée des cloches | — | ||
| 8-6 | Ravel Le Tombeau de Couperin, M. 68 I. Prélude | — | ||
| 8-7 | Ravel Le Tombeau de Couperin, M. 68 II. Fugue | — | ||
| 8-8 | Ravel Le Tombeau de Couperin, M. 68 III. Forlane | — | ||
| 8-9 | Ravel Le Tombeau de Couperin, M. 68 IV. Rigaudon | — | ||
| 8-10 | Ravel Le Tombeau de Couperin, M. 68 V. Menuet | — | ||
| 8-11 | Ravel Le Tombeau de Couperin, M. 68 VI. Toccata | — | ||
| 9-1 | Triple Concerto in C Major, Op. 56: I. Allegro | — | ||
| 9-2 | Triple Concerto in C Major, Op. 56: II. Largo | — | ||
| 9-3 | Triple Concerto in C Major, Op. 56: III. Rondo alla Polacca | — | ||
| 10-1 | Violin Sonata No. 1 in A Major, Op. 13: I. Allegro molto | — | ||
| 10-2 | Violin Sonata No. 1 in A Major, Op. 13: II. Andante | — | ||
| 10-3 | Violin Sonata No. 1 in A Major, Op. 13: III. Allegro vivo | — | ||
| 10-4 | Violin Sonata No. 1 in A Major, Op. 13: IV. Allegro quasi presto | — | ||
| 10-5 | Violin Sonata No. 2 in E Minor, Op. 108: I. Andante non troppo | — | ||
| 10-6 | Violin Sonata No. 2 in E Minor, Op. 108: II. Andante | — | ||
| 10-7 | Violin Sonata No. 2 in E Minor, Op. 108: III. Allegro non troppo | — | ||
| 11-1 | Fantasie in F minor, D. 940: Allegro molto moderato | — | ||
| 11-2 | Fantasie in F minor, D. 940: Largo | — | ||
| 11-3 | Fantasie in F minor, D. 940: Allegro vivace | — | ||
| 11-4 | Duo in A minor, D. 947 "Lebensstürme" | — | ||
| 11-5 | 6 Polonaises, D. 824: No. 1 in D minor | — | ||
| 11-6 | 6 Polonaises, D. 824: No. 2 in F major | — | ||
| 11-7 | 6 Polonaises, D. 824: No. 3 in B-flat major | — | ||
| 11-8 | 6 Polonaises, D. 824: No. 4 in D major | — | ||
| 11-9 | 6 Polonaises, D. 824: No. 5 in A major | — | ||
| 11-10 | 6 Polonaises, D. 824: No. 6 in E major | — | ||
| 11-11 | Variations on an Original Theme, D. 813: Thema | — | ||
| 11-12 | Variations on an Original Theme, D. 813: Variation I | — | ||
| 11-13 | Variations on an Original Theme, D. 813: Variation II | — | ||
| 11-14 | Variations on an Original Theme, D. 813: Variation III | — | ||
| 11-15 | Variations on an Original Theme, D. 813: Variation IV | — | ||
| 11-16 | Variations on an Original Theme, D. 813: Variation V | — | ||
| 11-17 | Variations on an Original Theme, D. 813: Variation VI | — | ||
| 11-18 | Variations on an Original Theme, D. 813: Variation VII | — | ||
| 11-19 | Variations on an Original Theme, D. 813: Variation VIII | — | ||
| 12-1 | Sonata for Piano Four-Hands in C Major, Op. Posth. 140, D. 812 "Grand Duo": I. Allegro moderato | — | ||
| 12-2 | Sonata for Piano Four-Hands in C Major, Op. Posth. 140, D. 812 "Grand Duo": II. Andante | — | ||
| 12-3 | Sonata for Piano Four-Hands in C Major, Op. Posth. 140, D. 812 "Grand Duo": III. Scherzo | — | ||
| 12-4 | Sonata for Piano Four-Hands in C Major, Op. Posth. 140, D. 812 "Grand Duo": IV. Final | — | ||
| 12-5 | Rondo in A Major for Piano Four-Hands, Op. 107, D. 951 "Grand Rondeau" | — | ||
| 12-6 | 3 marches militaires, D. 733: No. 1 in D minor | — | ||
| 12-7 | 3 marches militaires, D. 733: No. 2 in G major | — | ||
| 12-8 | 3 marches militaires, D. 733: No. 3 in E-flat major | — | ||
| 12-9 | Andantino varié, D. 823/2: Andantino | — | ||
| 12-10 | Andantino varié, D. 823/2: Variation I | — | ||
| 12-11 | Andantino varié, D. 823/2: Variation II | — | ||
| 12-12 | Andantino varié, D. 823/2: Variation III | — | ||
| 12-13 | Andantino varié, D. 823/2: Variation IV | — | ||
| 13-1 | 12 Études, L. 143a, L. 136, Book 1: I. Pour les "cinq doigts" | Anne Queffélec | — | |
| 13-2 | 12 Études, L. 143a, L. 136, Book 1: II. Pour les Tierces | Anne Queffélec | — | |
| 13-3 | 12 Études, L. 143a, L. 136, Book 1: III. Pour les Quartes | Anne Queffélec | — | |
| 13-4 | 12 Études, L. 143a, L. 136, Book 1: IV. Pour les Sixtes | Anne Queffélec | — | |
| 13-5 | 12 Études, L. 143a, L. 136, Book 1: V. Pour les Octaves | Anne Queffélec | — | |
| 13-6 | 12 Études, L. 143a, L. 136, Book 1: VI. Pour les huit doigts | Anne Queffélec | — | |
| 13-7 | 12 Études, L. 143b, L. 136, Book 2: VII. Pour les degrés chromatiques | Anne Queffélec | — | |
| 13-8 | 12 Études, L. 143b, L. 136, Book 2: VIII. Pour les agréments | Anne Queffélec | — | |
| 13-9 | 12 Études, L. 143b, L. 136, Book 2: IX. Pour les notes répétées | Anne Queffélec | — | |
| 13-10 | 12 Études, L. 143b, L. 136, Book 2: X. Pour les sonorités opposées | Anne Queffélec | — | |
| 13-11 | 12 Études, L. 143b, L. 136, Book 2: XI. Pour les arpèges composés | Anne Queffélec | — | |
| 13-12 | 12 Études, L. 143b, L. 136, Book 2: XII. Pour les accords | Anne Queffélec | — | |
| 14-1 | Concerto for Four Pianos BWV 1065 in A minor (Allegro) | — | ||
| 14-2 | Concerto for Four Pianos BWV 1065 in A minor: Largo | — | ||
| 14-3 | Concerto for Four Pianos BWV 1065 in A minor: Allegro | — | ||
| 14-4 | Concerto for Three Pianos BWV 1063 in D minor (Allegro) | — | ||
| 14-5 | Concerto for Three Pianos BWV 1063 in D minor: Alla Siciliana | — | ||
| 14-6 | Concerto for Three Pianos BWV 1063 in D minor: Allegro | — | ||
| 14-7 | Concerto for Three Pianos BWV 1064 in C major: Allegro | — | ||
| 14-8 | Concerto for Three Pianos BWV 1064 in C major: Adagio | — | ||
| 14-9 | Concerto for Three Pianos BWV 1064 in C major: Allegro | — | ||
| 14-10 | Concerto for Two Pianos in D Minor, FP 61: I. Allegro ma non troppo | — | ||
| 14-11 | Concerto for Two Pianos in D Minor, FP 61: II. Larghetto | — | ||
| 14-12 | Concerto for Two Pianos in D Minor, FP 61: III. Finale. Allegro molto | — | ||
| 15-1 | Keyboard Concerto in D Major, Hob. XVIII:11: I. Vivace (Cadenza by Badura-Skoda) | — | ||
| 15-2 | Keyboard Concerto in D Major, Hob. XVIII:11: II. Un poco adagio (Cadenza by Badura-Skoda) | — | ||
| 15-3 | Keyboard Concerto in D Major, Hob. XVIII:11: III. Rondo all'Ungarese - Allegro assai | — | ||
| 15-4 | Keyboard Concerto in G Major, Hob. XVIII:4: I. Allegro moderato | — | ||
| 15-5 | Keyboard Concerto in G Major, Hob. XVIII:4: II. Adagio | — | ||
| 15-6 | Keyboard Concerto in G Major, Hob. XVIII:4: III. Presto (Cadenza by Veyron-Lacroix) | — | ||
| 15-7 | Gesellschafts-Rondo for Piano and Orchestra, Op. 117: I. Adagio con grand' espressione | — | ||
| 15-8 | Gesellschafts-Rondo for Piano and Orchestra, Op. 117: II. Rondo. Molto vivace | — | ||
| 16-1 | Bagatelle No. 25 In A Minor "Für Elise" | — | ||
| 16-2 | Berceuse, Op. 57 | — | ||
| 16-3 | Spinnerlied, Op. 67 No. 4 (Songs Without Words) | — | ||
| 16-4 | Hungarian Melody, D.817 | — | ||
| 16-5 | Clair De Lune (Suite Bergamasque) | — | ||
| 16-6 | Sonata In B Minor, Kk27 | — | ||
| 16-7 | Choral "Jesus Bleidet Meine Freude" (Cantata BWV 147) | — | ||
| 16-8 | Fantaisie-Impromptu In C-Sharp Minor, Op. 66 (Op. Posth.) | — | ||
| 16-9 | Prelude No. 1 In C Major, BWV 846 (Well-Tempered Clavier, Book 1) | — | ||
| 16-10 | Le Coucou | — | ||
| 16-11 | Gnossienne No. 1 | — | ||
| 16-12 | Menuet In G Minor | — | ||
| 16-13 | Waltz In A-Flat Major, Op. 39 No. 15 | — | ||
| 16-14 | Reflets Dans L'Eau, L105 (Images Book 1) | — | ||
| 16-15 | Étude In C Minor, Op. 10 No. 12 | — | ||
| 16-16 | Prelude In C-Sharp Minor, Op. 3 No. 2 | — | ||
| 16-17 | Fire Ritual Dance (The Sorcerer's Love) | — | ||
| 17-1 | Six Gnossiennes : No. 1. Lent | — | ||
| 17-2 | Six Gnossiennes : No. 2. Avec étonnement | — | ||
| 17-3 | Gnossiennes: III. (Lent) | Anne Queffélec | T-004.016.586-3 | |
| 17-4 | Six Gnossiennes : No. 4. Lent | — | ||
| 17-5 | Six Gnossiennes : No. 5. Modéré | — | ||
| 17-6 | Six Gnossiennes : No. 6. Avec conviction et avec une tristesse rigoureuse | — | ||
| 17-7 | Préludes flasques (pour un chien) : I. Voix d'intérieur | — | ||
| 17-8 | Préludes flasques (pour un chien) : II. Idylle cynique | — | ||
| 17-9 | Préludes flasques (pour un chien) : III. Chanson canine | — | ||
| 17-10 | Vieux Sequins et vieilles cuirasses : I. Chez le marchand d'or (Venise XIIIe siecle) | — | ||
| 17-11 | Vieux Sequins et vieilles cuirasses : II. Danse cuirassée (période grecque) | — | ||
| 17-12 | Vieux Sequins et vieilles cuirasses : III. La défaite des Cimbres (cauchemar) | — | ||
| 17-13 | Chapitres tournés en tous sens : I. Celle qui parle trop | — | ||
| 17-14 | Chapitres tournés en tous sens : II. Le Porteur de grosses pierres | — | ||
| 17-15 | Chapitres tournés en tous sens : III. Regrets des enfermés | — | ||
| 17-16 | Trois Gymnopédies: I. Lent et douloureux | Anne Queffélec, London Symphony Orchestra | T-321.302.283-0 | |
| 17-17 | Deuxième Gymnopédie: Lent et triste | — | ||
| 17-18 | Troisième Gymnopédie: Lent et grave | — | ||
| 17-19 | Embryons desséchés : I. d'Holothurie | — | ||
| 17-20 | Embryons desséchés : II. d'Edriopthalma | — | ||
| 17-21 | Embryons desséchés : III. de Podophthalma | — | ||
| 17-22 | Je te veux | — | ||
| 17-23 | Sonatine bureaucratique : I. Allegro | — | ||
| 17-24 | Sonatine bureaucratique : II. Andante | — | ||
| 17-25 | Sonatine bureaucratique : III. Vivache | — | ||
| 17-26 | Heures séculaires et instantanées : No. 1. Obstacles venimeux | — | ||
| 17-27 | Heures séculaires et instantanées : No. 2. Crépuscule matinal (de midi) | — | ||
| 17-28 | Heures séculaires et instantanées : No. 3. Affolements grantiques | — | ||
| 17-29 | Le Piccadilly : Marche | — | ||
| 17-30 | Avant-dernières pensées : I. Idylle (à Debussy) | — | ||
| 17-31 | Avant-dernières pensées : II. Aubade (à Paul Dukas) | — | ||
| 17-32 | Avant-dernières pensées : III. Méditation (à Albert Roussel) | — | ||
| 17-33 | Sports et divertissements : I. Choral inappétissant | — | ||
| 17-34 | Sports et divertissements : II. La Balançoire | — | ||
| 17-35 | Sports et divertissements : III. La Chasse | — | ||
| 17-36 | Sports et divertissements : IV. La Comédie italienne | — | ||
| 17-37 | Sports et divertissements : V. Le Réveil de la mariée | — | ||
| 17-38 | Sports et divertissements : VI. Colin-maillard | — | ||
| 17-39 | Sports et divertissements : VII. La Pêche | — | ||
| 17-40 | Sports et divertissements : VIII. Le Yachting | — | ||
| 17-41 | Sports et divertissements : IX. Le Bain de mer | — | ||
| 17-42 | Sports et divertissements : X. Le Carnaval | — | ||
| 17-43 | Sports et divertissements : XI. Le Golf | — | ||
| 17-44 | Sports et divertissements : XII. La Pieuvre | — | ||
| 17-45 | Sports et divertissements : XIII. Les Courses | — | ||
| 17-46 | Sports et divertissements : XIV. Les Quatre-coins | — | ||
| 17-47 | Sports et divertissements : XV. Le Pique-nique | — | ||
| 17-48 | Sports et divertissements : XVI. Le Water-Chute | — | ||
| 17-49 | Sports et divertissements : XVII. Le Tango | — | ||
| 17-50 | Sports et divertissements : XVIII. Le Traîneau | — | ||
| 17-51 | Sports et divertissements : XIX. Le Flirt | — | ||
| 17-52 | Sports et divertissements : XX. Le Feu d'artifice | — | ||
| 17-53 | Sports et divertissements : XXI. Le Tennis | — | ||
| 18-1 | Croquis et agaceries d'un gros bonhomme en bois : I. Tyrolienne turque | — | ||
| 18-2 | Croquis et agaceries d'un gros bonhomme en bois : II. Danse maigre | — | ||
| 18-3 | Croquis et agaceries d'un gros bonhomme en bois : III. Españaña | — | ||
| 18-4 | Descriptions automatiques : I. Sur un vaisseau | — | ||
| 18-5 | Descriptions automatiques : II. Sur une lanterne | — | ||
| 18-6 | Descriptions automatiques : III. Sur un casque | — | ||
| 18-7 | Les Trois Valses distinguées du précieux dégoûté : I. Sa taille | — | ||
| 18-8 | Les Trois Valses distinguées du précieux dégoûté : II. Son binocle | — | ||
| 18-9 | Les Trois Valses distinguées du précieux dégoûté : III. Ses jambes | — | ||
| 18-10 | Petite ouverture à danser | — | ||
| 18-11 | Valse-ballet | — | ||
| 18-12 | Fantaisie-valse | — | ||
| 18-13 | Les Patins dansent | — | ||
| 18-14 | Caresse | — | ||
| 18-15 | Danse de travers | — | ||
| 18-16 | Pièces froides, Airs à faire fuir : I. D'une manière particulière | — | ||
| 18-17 | Pièces froides, Airs à faire fuir : II. Modestement | — | ||
| 18-18 | Pièces froides, Airs à faire fuir : III. S'inviter | — | ||
| 18-19 | Pièces froides, Trois Danses de travers : I. En y regardant à deux fois | — | ||
| 18-20 | Pièces froides, Trois Danses de travers : II. Passer | — | ||
| 18-21 | Pièces froides, Trois Danses de travers : III. Encore | — | ||
| 18-22 | Première pensée Rose + Croix | — | ||
| 18-23 | Prélude de "La porte héroïque du ciel" | — | ||
| 18-24 | Passacaille | — | ||
| 18-25 | Prélude en tapisserie | — | ||
| 18-26 | Poudre d'or | — | ||
| 18-27 | 3 morceaux en forme de poire: I. Manière de commencement (Assez modérément – Un peu plus vif) | Anne Queffélec, Catherine Collard | — | |
| 18-28 | Trois Morceaux en forme de poire : Prolongation du même | — | ||
| 18-29 | Trois Morceaux en forme de poire : I. Lentement | — | ||
| 18-30 | Trois Morceaux en forme de poire : II. Enlevé | — | ||
| 18-31 | Trois Morceaux en forme de poire : III. Brutal | — | ||
| 18-32 | Trois Morceaux en forme de poire : En plus | — | ||
| 18-33 | Trois Morceaux en forme de poire : Redite | — | ||
| 18-34 | La Belle excentrique : I. Grande Ritournelle | Anne Queffélec, Catherine Collard | — | |
| 18-35 | La Belle excentrique : II. Marche franco-lunaire | Anne Queffélec, Catherine Collard | — | |
| 18-36 | La Belle excentrique : III. Valse du "Mystérieux Baiser dans l'œil" | Anne Queffélec, Catherine Collard | — | |
| 18-37 | La Belle excentrique : IV. Can-can grand-mondain | Anne Queffélec, Catherine Collard | — | |
| 19-1 | Le Tombeau de Couperin: Prélude | — | ||
| 19-2 | Le Tombeau de Couperin: Fugue | — | ||
| 19-3 | Le Tombeau de Couperin: Forlane | — | ||
| 19-4 | Le Tombeau de Couperin: Rigaudon | — | ||
| 19-5 | Le Tombeau de Couperin: Menuet | — | ||
| 19-6 | Le Tombeau de Couperin: Toccata | — | ||
| 19-7 | Pavane pour une infante défunte, M. 19 | Anne Queffélec | T-003.013.767-7 | |
| 19-8 | Menuet antique | — | ||
| 19-9 | Miroirs: Noctuelles | — | ||
| 19-10 | Miroirs: Oiseaux tristes | — | ||
| 19-11 | Miroirs: Une barque sur l'océan | — | ||
| 19-12 | Miroirs: Alborada del gracioso | — | ||
| 19-13 | Miroirs: La Vallée des cloches | — | ||
| 20-1 | Jeux d'eau | — | ||
| 20-2 | Sonatine: I Modéré | — | ||
| 20-3 | Sonatine: II. Mouvement de menuet | — | ||
| 20-4 | Sonatine: III Animé | — | ||
| 20-5 | Prélude | — | ||
| 20-6 | Sérénade grotesque | — | ||
| 20-7 | Valses nobles et sentimentales: Modéré | — | ||
| 20-8 | Valses nobles et sentimentales: Assez lent | — | ||
| 20-9 | Valses nobles et sentimentales: Modéré | — | ||
| 20-10 | Valses nobles et sentimentales: Assez animé | — | ||
| 20-11 | Valses nobles et sentimentales: Presque lent | — | ||
| 20-12 | Valses nobles et sentimentales: Vif | — | ||
| 20-13 | Valses nobles et sentimentales: Moins vif | — | ||
| 20-14 | Valses nobles et sentimentales: Epilogue. Lent | — | ||
| 20-15 | Menuet sur le nom de Haydn | — | ||
| 20-16 | A la manière de Chabrier | — | ||
| 20-17 | A la manière de Borodine | — | ||
| 20-18 | Gaspard de la nuit: Ondine | Anne Queffélec | T-902.777.490-9 | |
| 20-19 | Gaspard de la nuit: Le Gibet | — | ||
| 20-20 | Gaspard de la nuit: Scarbo | — | ||
| 21-1 | Sonate pour piano: Allegro con moto | — | ||
| 21-2 | Sonate pour piano: Lent | — | ||
| 21-3 | Sonate pour piano: Choral et variations | — | ||
| 21-4 | Préludes pour piano: D'ombre et de silence | — | ||
| 21-5 | Préludes pour piano: Sur un même accord | — | ||
| 21-6 | Préludes pour piano: Le jeu des contraires | — | ||
| 21-7 | Tous les chemins... mènent à Rome | — | ||
| 21-8 | Bergerie | — | ||
| 21-9 | Blackbird | — | ||
| 21-10 | Résonances | — | ||
| 21-11 | Figures de résonances: No. 1 | — | ||
| 21-12 | Figures de résonances: No. 2 | — | ||
| 21-13 | Figures de résonances: No. 3 | — | ||
| 21-14 | Figures de résonances: No. 4 | — | ||
| 21-15 | Au gré des ondes: Prélude et berceuse | — | ||
| 21-16 | Au gré des ondes: Claquettes | — | ||
| 21-17 | Au gré des ondes: Improvisation | — | ||
| 21-18 | Au gré des ondes: Mouvement perpetuel | — | ||
| 21-19 | Au gré des ondes: Hommage à Bach | — | ||
| 21-20 | Au gré des ondes: Étude | Anne Queffélec | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Gnossiennes: I. (Lent) | Anne Queffélec | T-003.010.023-2 |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Identifier Graph
0190295542788 is a Universal Product Code (UPC) assigned to The Complete Erato Recordings by Anne Queffélec. 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 312 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
0190295542788 is the Universal Product Code (UPC barcode) for the release “The Complete Erato Recordings” by Anne Queffélec, released 2019-01-01 on Erato. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 312 tracks, each with its own ISRC. Tracks include FRZ200610001, FRZ201805160, FRZ201805161.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Keyboard Sonata in D Major, Kk. 96 | — | ||
| 2 | Keyboard Sonata in B Minor, Kk. 27 | — | ||
| 3 | Keyboard Sonata in D Major, Kk. 492 | — | ||
| 4 | Keyboard Sonata in E Major, Kk. 531 | — | ||
| 5 | Keyboard Sonata in C‐Sharp Minor, Kk. 247 | — | ||
| 6 | Keyboard Sonata in D Minor, Kk. 9 "Pastorale" | — | ||
| 7 | Keyboard Sonata in C Major, Kk. 159 "La Caccia" | — | ||
| 8 | Keyboard Sonata in F Minor, Kk. 69 | — | ||
| 9 | Keyboard Sonata in D Major, Kk. 33 | — | ||
| 10 | Keyboard Sonata in B Minor, Kk. 87 | — | ||
| 11 | Keyboard Sonata in G Major, Kk. 427 | — | ||
| 12 | Keyboard Sonata in E‐Flat Major, Kk. 193 | — | ||
| 13 | Keyboard Sonata in G Minor, Kk. 30 "The Cat's Fugue" | — | ||
| 2-1 | 4 Impromptus, Op. 90, D. 899: No. 1 in C Minor | — | ||
| 2-2 | 4 Impromptus, Op. 90, D. 899: No. 2 in E-Flat Major | — | ||
| 2-3 | 4 Impromptus, Op. 90, D. 899: No. 3 in G-Flat Major | — | ||
| 2-4 | 4 Impromptus, Op. 90, D. 899: No. 4 in A-Flat Major | — | ||
| 2-5 | 6 Moments musicaux, Op. 94, D. 780: No. 1 in C Major | — | ||
| 2-6 | 6 Moments musicaux, Op. 94, D. 780: No. 2 in A-Flat Major | — | ||
| 2-7 | 6 Moments musicaux, Op. 94, D. 780: No. 3 in F Minor | — | ||
| 2-8 | 6 Moments musicaux, Op. 94, D. 780: No. 4 in C-Sharp Minor | — | ||
| 2-9 | 6 Moments musicaux, Op. 94, D. 780: No. 5 in F Minor | — | ||
| 2-10 | 6 Moments musicaux, Op. 94, D. 780: No. 6 in A-Flat Major | — | ||
| 3-1 | Scherzo No. 1 in B Minor, Op. 20 | — | ||
| 3-2 | Scherzo No. 2 in B-Flat Minor, Op. 31 | — | ||
| 3-3 | Scherzo No. 3 in C-Sharp Minor, Op. 39 | — | ||
| 3-4 | Scherzo No. 4 in E Major, Op. 54 | — | ||
| 3-5 | Impromptu No. 1 in A-Flat Major, Op. 29 | — | ||
| 3-6 | Impromptu No. 2 in F-Sharp Major, Op. 36 | — | ||
| 3-7 | Impromptu No. 3 in G-Flat Major, Op. 51 | — | ||
| 3-8 | Fantaisie-impromptu in C-Sharp Minor, Op. 66 | — | ||
| 4-1 | Mephisto Waltz No. 1, S. 514 | — | ||
| 4-2 | Liebestraume No. 3 in A-Flat Major, S. 541 | — | ||
| 4-3 | Études d'exécution transcendante d'après Paganini, S. 140: IV. Arpeggio | — | ||
| 4-4 | Années de pèlerinage III, S. 163: IV. Les jeux d'eau à la Villa d'Este | — | ||
| 4-5 | 2 Légendes, S. 175: II. Saint François de Paule marchant sur les flots | — | ||
| 4-6 | Études d'exécution transcendante, S. 139: V. Feux follets (Allegretto) | — | ||
| 4-7 | Années de pèlerinage I, S. 160: VI. La Vallée d'Oberman | — | ||
| 5-1 | Chromatic Fantasia & Fugue in D Minor, BWV 903 | — | ||
| 5-2 | Partita No. 2 in C Minor, BWV 826: I. Sinfonia | — | ||
| 5-3 | Partita No. 2 in C Minor, BWV 826: II. Allemande | — | ||
| 5-4 | Partita No. 2 in C Minor, BWV 826: III. Courante | — | ||
| 5-5 | Partita No. 2 in C Minor, BWV 826: IV. Sarabande | — | ||
| 5-6 | Partita No. 2 in C Minor, BWV 826: V. Rondeaux | — | ||
| 5-7 | Partita No. 2 in C Minor, BWV 826: VI. Capriccio | — | ||
| 5-8 | Partita No. 5 in G Major, BWV 829: I. Praeambulum | — | ||
| 5-9 | Partita No. 5 in G Major, BWV 829: II. Allemande | — | ||
| 5-10 | Partita No. 5 in G Major, BWV 829: III. Corrente | — | ||
| 5-11 | Partita No. 5 in G Major, BWV 829: IV. Sarabande | — | ||
| 5-12 | Partita No. 5 in G Major, BWV 829: V. Tempo di Minuetto | — | ||
| 5-13 | Partita No. 5 in G Major, BWV 829: VI. Passepied | — | ||
| 5-14 | Partita No. 5 in G Major, BWV 829: VII. Gigue | — | ||
| 6-1 | Piano Concerto In D Major, M. 82 "For The Left Hand" | — | ||
| 6-2 | Piano Concerto In G Major, M. 83: Allegramente | — | ||
| 6-3 | Concerto for Piano in G major: II. Adagio assai | Anne Queffélec, Orchestre philharmonique de Strasbourg, Alain Lombard | T-305.194.465-7 | |
| 6-4 | Piano Concerto In G Major, M. 83: Presto | — | ||
| 6-5 | Fantaisie for Piano and Orchestra, L. 72a, L. 73: I. Andante, ma non troppo - Allegro giusto | — | ||
| 6-6 | Fantaisie for Piano and Orchestra, L. 72a, L. 73: II. Lento e molto espressivo | — | ||
| 6-7 | Fantaisie for Piano and Orchestra, L. 72a, L. 73: III. Allegro molto | — | ||
| 7-1 | Piano Trio No. 1 in D Minor, Op. 49: I. Molto allegro ed agitato | — | ||
| 7-2 | Piano Trio No. 1 in D Minor, Op. 49: II. Andante con moto tranquillo | — | ||
| 7-3 | Piano Trio No. 1 in D Minor, Op. 49: III. Scherzo - Leggierro e vivace | — | ||
| 7-4 | Piano Trio No. 1 in D Minor, Op. 49: IV. Finale - Allegro assai appassionato | — | ||
| 7-5 | Piano Trio No. 2 in C Minor, Op. 66: I Allegro energico e con fuoco | — | ||
| 7-6 | Piano Trio No. 2 in C Minor, Op. 66: II. Andante espressivo | — | ||
| 7-7 | Piano Trio No. 2 in C Minor, Op. 66: III. Scherzo - Molto allegro quasi presto | — | ||
| 7-8 | Piano Trio No. 2 in C Minor, Op. 66: IV. Finale - Allegro appassionato | — | ||
| 8-1 | Ravel Miroirs, M. 43 I. Noctuelles | — | ||
| 8-2 | Ravel Miroirs, M. 43 II. Oiseaux tristes | — | ||
| 8-3 | Ravel Miroirs, M. 43 III. Une barque sur l'océan | — | ||
| 8-4 | Ravel Miroirs, M. 43 IV. Alborada del gracioso | — | ||
| 8-5 | Ravel Miroirs, M. 43 V. La vallée des cloches | — | ||
| 8-6 | Ravel Le Tombeau de Couperin, M. 68 I. Prélude | — | ||
| 8-7 | Ravel Le Tombeau de Couperin, M. 68 II. Fugue | — | ||
| 8-8 | Ravel Le Tombeau de Couperin, M. 68 III. Forlane | — | ||
| 8-9 | Ravel Le Tombeau de Couperin, M. 68 IV. Rigaudon | — | ||
| 8-10 | Ravel Le Tombeau de Couperin, M. 68 V. Menuet | — | ||
| 8-11 | Ravel Le Tombeau de Couperin, M. 68 VI. Toccata | — | ||
| 9-1 | Triple Concerto in C Major, Op. 56: I. Allegro | — | ||
| 9-2 | Triple Concerto in C Major, Op. 56: II. Largo | — | ||
| 9-3 | Triple Concerto in C Major, Op. 56: III. Rondo alla Polacca | — | ||
| 10-1 | Violin Sonata No. 1 in A Major, Op. 13: I. Allegro molto | — | ||
| 10-2 | Violin Sonata No. 1 in A Major, Op. 13: II. Andante | — | ||
| 10-3 | Violin Sonata No. 1 in A Major, Op. 13: III. Allegro vivo | — | ||
| 10-4 | Violin Sonata No. 1 in A Major, Op. 13: IV. Allegro quasi presto | — | ||
| 10-5 | Violin Sonata No. 2 in E Minor, Op. 108: I. Andante non troppo | — | ||
| 10-6 | Violin Sonata No. 2 in E Minor, Op. 108: II. Andante | — | ||
| 10-7 | Violin Sonata No. 2 in E Minor, Op. 108: III. Allegro non troppo | — | ||
| 11-1 | Fantasie in F minor, D. 940: Allegro molto moderato | — | ||
| 11-2 | Fantasie in F minor, D. 940: Largo | — | ||
| 11-3 | Fantasie in F minor, D. 940: Allegro vivace | — | ||
| 11-4 | Duo in A minor, D. 947 "Lebensstürme" | — | ||
| 11-5 | 6 Polonaises, D. 824: No. 1 in D minor | — | ||
| 11-6 | 6 Polonaises, D. 824: No. 2 in F major | — | ||
| 11-7 | 6 Polonaises, D. 824: No. 3 in B-flat major | — | ||
| 11-8 | 6 Polonaises, D. 824: No. 4 in D major | — | ||
| 11-9 | 6 Polonaises, D. 824: No. 5 in A major | — | ||
| 11-10 | 6 Polonaises, D. 824: No. 6 in E major | — | ||
| 11-11 | Variations on an Original Theme, D. 813: Thema | — | ||
| 11-12 | Variations on an Original Theme, D. 813: Variation I | — | ||
| 11-13 | Variations on an Original Theme, D. 813: Variation II | — | ||
| 11-14 | Variations on an Original Theme, D. 813: Variation III | — | ||
| 11-15 | Variations on an Original Theme, D. 813: Variation IV | — | ||
| 11-16 | Variations on an Original Theme, D. 813: Variation V | — | ||
| 11-17 | Variations on an Original Theme, D. 813: Variation VI | — | ||
| 11-18 | Variations on an Original Theme, D. 813: Variation VII | — | ||
| 11-19 | Variations on an Original Theme, D. 813: Variation VIII | — | ||
| 12-1 | Sonata for Piano Four-Hands in C Major, Op. Posth. 140, D. 812 "Grand Duo": I. Allegro moderato | — | ||
| 12-2 | Sonata for Piano Four-Hands in C Major, Op. Posth. 140, D. 812 "Grand Duo": II. Andante | — | ||
| 12-3 | Sonata for Piano Four-Hands in C Major, Op. Posth. 140, D. 812 "Grand Duo": III. Scherzo | — | ||
| 12-4 | Sonata for Piano Four-Hands in C Major, Op. Posth. 140, D. 812 "Grand Duo": IV. Final | — | ||
| 12-5 | Rondo in A Major for Piano Four-Hands, Op. 107, D. 951 "Grand Rondeau" | — | ||
| 12-6 | 3 marches militaires, D. 733: No. 1 in D minor | — | ||
| 12-7 | 3 marches militaires, D. 733: No. 2 in G major | — | ||
| 12-8 | 3 marches militaires, D. 733: No. 3 in E-flat major | — | ||
| 12-9 | Andantino varié, D. 823/2: Andantino | — | ||
| 12-10 | Andantino varié, D. 823/2: Variation I | — | ||
| 12-11 | Andantino varié, D. 823/2: Variation II | — | ||
| 12-12 | Andantino varié, D. 823/2: Variation III | — | ||
| 12-13 | Andantino varié, D. 823/2: Variation IV | — | ||
| 13-1 | 12 Études, L. 143a, L. 136, Book 1: I. Pour les "cinq doigts" | Anne Queffélec | — | |
| 13-2 | 12 Études, L. 143a, L. 136, Book 1: II. Pour les Tierces | Anne Queffélec | — | |
| 13-3 | 12 Études, L. 143a, L. 136, Book 1: III. Pour les Quartes | Anne Queffélec | — | |
| 13-4 | 12 Études, L. 143a, L. 136, Book 1: IV. Pour les Sixtes | Anne Queffélec | — | |
| 13-5 | 12 Études, L. 143a, L. 136, Book 1: V. Pour les Octaves | Anne Queffélec | — | |
| 13-6 | 12 Études, L. 143a, L. 136, Book 1: VI. Pour les huit doigts | Anne Queffélec | — | |
| 13-7 | 12 Études, L. 143b, L. 136, Book 2: VII. Pour les degrés chromatiques | Anne Queffélec | — | |
| 13-8 | 12 Études, L. 143b, L. 136, Book 2: VIII. Pour les agréments | Anne Queffélec | — | |
| 13-9 | 12 Études, L. 143b, L. 136, Book 2: IX. Pour les notes répétées | Anne Queffélec | — | |
| 13-10 | 12 Études, L. 143b, L. 136, Book 2: X. Pour les sonorités opposées | Anne Queffélec | — | |
| 13-11 | 12 Études, L. 143b, L. 136, Book 2: XI. Pour les arpèges composés | Anne Queffélec | — | |
| 13-12 | 12 Études, L. 143b, L. 136, Book 2: XII. Pour les accords | Anne Queffélec | — | |
| 14-1 | Concerto for Four Pianos BWV 1065 in A minor (Allegro) | — | ||
| 14-2 | Concerto for Four Pianos BWV 1065 in A minor: Largo | — | ||
| 14-3 | Concerto for Four Pianos BWV 1065 in A minor: Allegro | — | ||
| 14-4 | Concerto for Three Pianos BWV 1063 in D minor (Allegro) | — | ||
| 14-5 | Concerto for Three Pianos BWV 1063 in D minor: Alla Siciliana | — | ||
| 14-6 | Concerto for Three Pianos BWV 1063 in D minor: Allegro | — | ||
| 14-7 | Concerto for Three Pianos BWV 1064 in C major: Allegro | — | ||
| 14-8 | Concerto for Three Pianos BWV 1064 in C major: Adagio | — | ||
| 14-9 | Concerto for Three Pianos BWV 1064 in C major: Allegro | — | ||
| 14-10 | Concerto for Two Pianos in D Minor, FP 61: I. Allegro ma non troppo | — | ||
| 14-11 | Concerto for Two Pianos in D Minor, FP 61: II. Larghetto | — | ||
| 14-12 | Concerto for Two Pianos in D Minor, FP 61: III. Finale. Allegro molto | — | ||
| 15-1 | Keyboard Concerto in D Major, Hob. XVIII:11: I. Vivace (Cadenza by Badura-Skoda) | — | ||
| 15-2 | Keyboard Concerto in D Major, Hob. XVIII:11: II. Un poco adagio (Cadenza by Badura-Skoda) | — | ||
| 15-3 | Keyboard Concerto in D Major, Hob. XVIII:11: III. Rondo all'Ungarese - Allegro assai | — | ||
| 15-4 | Keyboard Concerto in G Major, Hob. XVIII:4: I. Allegro moderato | — | ||
| 15-5 | Keyboard Concerto in G Major, Hob. XVIII:4: II. Adagio | — | ||
| 15-6 | Keyboard Concerto in G Major, Hob. XVIII:4: III. Presto (Cadenza by Veyron-Lacroix) | — | ||
| 15-7 | Gesellschafts-Rondo for Piano and Orchestra, Op. 117: I. Adagio con grand' espressione | — | ||
| 15-8 | Gesellschafts-Rondo for Piano and Orchestra, Op. 117: II. Rondo. Molto vivace | — | ||
| 16-1 | Bagatelle No. 25 In A Minor "Für Elise" | — | ||
| 16-2 | Berceuse, Op. 57 | — | ||
| 16-3 | Spinnerlied, Op. 67 No. 4 (Songs Without Words) | — | ||
| 16-4 | Hungarian Melody, D.817 | — | ||
| 16-5 | Clair De Lune (Suite Bergamasque) | — | ||
| 16-6 | Sonata In B Minor, Kk27 | — | ||
| 16-7 | Choral "Jesus Bleidet Meine Freude" (Cantata BWV 147) | — | ||
| 16-8 | Fantaisie-Impromptu In C-Sharp Minor, Op. 66 (Op. Posth.) | — | ||
| 16-9 | Prelude No. 1 In C Major, BWV 846 (Well-Tempered Clavier, Book 1) | — | ||
| 16-10 | Le Coucou | — | ||
| 16-11 | Gnossienne No. 1 | — | ||
| 16-12 | Menuet In G Minor | — | ||
| 16-13 | Waltz In A-Flat Major, Op. 39 No. 15 | — | ||
| 16-14 | Reflets Dans L'Eau, L105 (Images Book 1) | — | ||
| 16-15 | Étude In C Minor, Op. 10 No. 12 | — | ||
| 16-16 | Prelude In C-Sharp Minor, Op. 3 No. 2 | — | ||
| 16-17 | Fire Ritual Dance (The Sorcerer's Love) | — | ||
| 17-1 | Six Gnossiennes : No. 1. Lent | — | ||
| 17-2 | Six Gnossiennes : No. 2. Avec étonnement | — | ||
| 17-3 | Gnossiennes: III. (Lent) | Anne Queffélec | T-004.016.586-3 | |
| 17-4 | Six Gnossiennes : No. 4. Lent | — | ||
| 17-5 | Six Gnossiennes : No. 5. Modéré | — | ||
| 17-6 | Six Gnossiennes : No. 6. Avec conviction et avec une tristesse rigoureuse | — | ||
| 17-7 | Préludes flasques (pour un chien) : I. Voix d'intérieur | — | ||
| 17-8 | Préludes flasques (pour un chien) : II. Idylle cynique | — | ||
| 17-9 | Préludes flasques (pour un chien) : III. Chanson canine | — | ||
| 17-10 | Vieux Sequins et vieilles cuirasses : I. Chez le marchand d'or (Venise XIIIe siecle) | — | ||
| 17-11 | Vieux Sequins et vieilles cuirasses : II. Danse cuirassée (période grecque) | — | ||
| 17-12 | Vieux Sequins et vieilles cuirasses : III. La défaite des Cimbres (cauchemar) | — | ||
| 17-13 | Chapitres tournés en tous sens : I. Celle qui parle trop | — | ||
| 17-14 | Chapitres tournés en tous sens : II. Le Porteur de grosses pierres | — | ||
| 17-15 | Chapitres tournés en tous sens : III. Regrets des enfermés | — | ||
| 17-16 | Trois Gymnopédies: I. Lent et douloureux | Anne Queffélec, London Symphony Orchestra | T-321.302.283-0 | |
| 17-17 | Deuxième Gymnopédie: Lent et triste | — | ||
| 17-18 | Troisième Gymnopédie: Lent et grave | — | ||
| 17-19 | Embryons desséchés : I. d'Holothurie | — | ||
| 17-20 | Embryons desséchés : II. d'Edriopthalma | — | ||
| 17-21 | Embryons desséchés : III. de Podophthalma | — | ||
| 17-22 | Je te veux | — | ||
| 17-23 | Sonatine bureaucratique : I. Allegro | — | ||
| 17-24 | Sonatine bureaucratique : II. Andante | — | ||
| 17-25 | Sonatine bureaucratique : III. Vivache | — | ||
| 17-26 | Heures séculaires et instantanées : No. 1. Obstacles venimeux | — | ||
| 17-27 | Heures séculaires et instantanées : No. 2. Crépuscule matinal (de midi) | — | ||
| 17-28 | Heures séculaires et instantanées : No. 3. Affolements grantiques | — | ||
| 17-29 | Le Piccadilly : Marche | — | ||
| 17-30 | Avant-dernières pensées : I. Idylle (à Debussy) | — | ||
| 17-31 | Avant-dernières pensées : II. Aubade (à Paul Dukas) | — | ||
| 17-32 | Avant-dernières pensées : III. Méditation (à Albert Roussel) | — | ||
| 17-33 | Sports et divertissements : I. Choral inappétissant | — | ||
| 17-34 | Sports et divertissements : II. La Balançoire | — | ||
| 17-35 | Sports et divertissements : III. La Chasse | — | ||
| 17-36 | Sports et divertissements : IV. La Comédie italienne | — | ||
| 17-37 | Sports et divertissements : V. Le Réveil de la mariée | — | ||
| 17-38 | Sports et divertissements : VI. Colin-maillard | — | ||
| 17-39 | Sports et divertissements : VII. La Pêche | — | ||
| 17-40 | Sports et divertissements : VIII. Le Yachting | — | ||
| 17-41 | Sports et divertissements : IX. Le Bain de mer | — | ||
| 17-42 | Sports et divertissements : X. Le Carnaval | — | ||
| 17-43 | Sports et divertissements : XI. Le Golf | — | ||
| 17-44 | Sports et divertissements : XII. La Pieuvre | — | ||
| 17-45 | Sports et divertissements : XIII. Les Courses | — | ||
| 17-46 | Sports et divertissements : XIV. Les Quatre-coins | — | ||
| 17-47 | Sports et divertissements : XV. Le Pique-nique | — | ||
| 17-48 | Sports et divertissements : XVI. Le Water-Chute | — | ||
| 17-49 | Sports et divertissements : XVII. Le Tango | — | ||
| 17-50 | Sports et divertissements : XVIII. Le Traîneau | — | ||
| 17-51 | Sports et divertissements : XIX. Le Flirt | — | ||
| 17-52 | Sports et divertissements : XX. Le Feu d'artifice | — | ||
| 17-53 | Sports et divertissements : XXI. Le Tennis | — | ||
| 18-1 | Croquis et agaceries d'un gros bonhomme en bois : I. Tyrolienne turque | — | ||
| 18-2 | Croquis et agaceries d'un gros bonhomme en bois : II. Danse maigre | — | ||
| 18-3 | Croquis et agaceries d'un gros bonhomme en bois : III. Españaña | — | ||
| 18-4 | Descriptions automatiques : I. Sur un vaisseau | — | ||
| 18-5 | Descriptions automatiques : II. Sur une lanterne | — | ||
| 18-6 | Descriptions automatiques : III. Sur un casque | — | ||
| 18-7 | Les Trois Valses distinguées du précieux dégoûté : I. Sa taille | — | ||
| 18-8 | Les Trois Valses distinguées du précieux dégoûté : II. Son binocle | — | ||
| 18-9 | Les Trois Valses distinguées du précieux dégoûté : III. Ses jambes | — | ||
| 18-10 | Petite ouverture à danser | — | ||
| 18-11 | Valse-ballet | — | ||
| 18-12 | Fantaisie-valse | — | ||
| 18-13 | Les Patins dansent | — | ||
| 18-14 | Caresse | — | ||
| 18-15 | Danse de travers | — | ||
| 18-16 | Pièces froides, Airs à faire fuir : I. D'une manière particulière | — | ||
| 18-17 | Pièces froides, Airs à faire fuir : II. Modestement | — | ||
| 18-18 | Pièces froides, Airs à faire fuir : III. S'inviter | — | ||
| 18-19 | Pièces froides, Trois Danses de travers : I. En y regardant à deux fois | — | ||
| 18-20 | Pièces froides, Trois Danses de travers : II. Passer | — | ||
| 18-21 | Pièces froides, Trois Danses de travers : III. Encore | — | ||
| 18-22 | Première pensée Rose + Croix | — | ||
| 18-23 | Prélude de "La porte héroïque du ciel" | — | ||
| 18-24 | Passacaille | — | ||
| 18-25 | Prélude en tapisserie | — | ||
| 18-26 | Poudre d'or | — | ||
| 18-27 | 3 morceaux en forme de poire: I. Manière de commencement (Assez modérément – Un peu plus vif) | Anne Queffélec, Catherine Collard | — | |
| 18-28 | Trois Morceaux en forme de poire : Prolongation du même | — | ||
| 18-29 | Trois Morceaux en forme de poire : I. Lentement | — | ||
| 18-30 | Trois Morceaux en forme de poire : II. Enlevé | — | ||
| 18-31 | Trois Morceaux en forme de poire : III. Brutal | — | ||
| 18-32 | Trois Morceaux en forme de poire : En plus | — | ||
| 18-33 | Trois Morceaux en forme de poire : Redite | — | ||
| 18-34 | La Belle excentrique : I. Grande Ritournelle | Anne Queffélec, Catherine Collard | — | |
| 18-35 | La Belle excentrique : II. Marche franco-lunaire | Anne Queffélec, Catherine Collard | — | |
| 18-36 | La Belle excentrique : III. Valse du "Mystérieux Baiser dans l'œil" | Anne Queffélec, Catherine Collard | — | |
| 18-37 | La Belle excentrique : IV. Can-can grand-mondain | Anne Queffélec, Catherine Collard | — | |
| 19-1 | Le Tombeau de Couperin: Prélude | — | ||
| 19-2 | Le Tombeau de Couperin: Fugue | — | ||
| 19-3 | Le Tombeau de Couperin: Forlane | — | ||
| 19-4 | Le Tombeau de Couperin: Rigaudon | — | ||
| 19-5 | Le Tombeau de Couperin: Menuet | — | ||
| 19-6 | Le Tombeau de Couperin: Toccata | — | ||
| 19-7 | Pavane pour une infante défunte, M. 19 | Anne Queffélec | T-003.013.767-7 | |
| 19-8 | Menuet antique | — | ||
| 19-9 | Miroirs: Noctuelles | — | ||
| 19-10 | Miroirs: Oiseaux tristes | — | ||
| 19-11 | Miroirs: Une barque sur l'océan | — | ||
| 19-12 | Miroirs: Alborada del gracioso | — | ||
| 19-13 | Miroirs: La Vallée des cloches | — | ||
| 20-1 | Jeux d'eau | — | ||
| 20-2 | Sonatine: I Modéré | — | ||
| 20-3 | Sonatine: II. Mouvement de menuet | — | ||
| 20-4 | Sonatine: III Animé | — | ||
| 20-5 | Prélude | — | ||
| 20-6 | Sérénade grotesque | — | ||
| 20-7 | Valses nobles et sentimentales: Modéré | — | ||
| 20-8 | Valses nobles et sentimentales: Assez lent | — | ||
| 20-9 | Valses nobles et sentimentales: Modéré | — | ||
| 20-10 | Valses nobles et sentimentales: Assez animé | — | ||
| 20-11 | Valses nobles et sentimentales: Presque lent | — | ||
| 20-12 | Valses nobles et sentimentales: Vif | — | ||
| 20-13 | Valses nobles et sentimentales: Moins vif | — | ||
| 20-14 | Valses nobles et sentimentales: Epilogue. Lent | — | ||
| 20-15 | Menuet sur le nom de Haydn | — | ||
| 20-16 | A la manière de Chabrier | — | ||
| 20-17 | A la manière de Borodine | — | ||
| 20-18 | Gaspard de la nuit: Ondine | Anne Queffélec | T-902.777.490-9 | |
| 20-19 | Gaspard de la nuit: Le Gibet | — | ||
| 20-20 | Gaspard de la nuit: Scarbo | — | ||
| 21-1 | Sonate pour piano: Allegro con moto | — | ||
| 21-2 | Sonate pour piano: Lent | — | ||
| 21-3 | Sonate pour piano: Choral et variations | — | ||
| 21-4 | Préludes pour piano: D'ombre et de silence | — | ||
| 21-5 | Préludes pour piano: Sur un même accord | — | ||
| 21-6 | Préludes pour piano: Le jeu des contraires | — | ||
| 21-7 | Tous les chemins... mènent à Rome | — | ||
| 21-8 | Bergerie | — | ||
| 21-9 | Blackbird | — | ||
| 21-10 | Résonances | — | ||
| 21-11 | Figures de résonances: No. 1 | — | ||
| 21-12 | Figures de résonances: No. 2 | — | ||
| 21-13 | Figures de résonances: No. 3 | — | ||
| 21-14 | Figures de résonances: No. 4 | — | ||
| 21-15 | Au gré des ondes: Prélude et berceuse | — | ||
| 21-16 | Au gré des ondes: Claquettes | — | ||
| 21-17 | Au gré des ondes: Improvisation | — | ||
| 21-18 | Au gré des ondes: Mouvement perpetuel | — | ||
| 21-19 | Au gré des ondes: Hommage à Bach | — | ||
| 21-20 | Au gré des ondes: Étude | Anne Queffélec | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Gnossiennes: I. (Lent) | Anne Queffélec | T-003.010.023-2 |
