UPC · Release
Michel Corboz
Last verified:
0190296217463 is the Universal Product Code (UPC barcode) for the release “The Complete Erato Recordings: Baroque & Renaissance Eras” by Michel Corboz, released 2022-01-01 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 1000 tracks, each with its own ISRC. Tracks include FRZ202200259, FRZ202200260, FRZ202200261.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Missa a 4 voci da capella, SV 190: I. Kyrie | — | ||
| 2 | Missa a 4 voci da capella, SV 190: II. Gloria | — | ||
| 3 | Missa a 4 voci da capella, SV 190: III. Credo | — | ||
| 4 | Missa a 4 voci da capella, SV 190: IV. Sanctus | — | ||
| 5 | Missa a 4 voci da capella, SV 190: V. Benedictus | — | ||
| 6 | Missa a 4 voci da capella, SV 190: VI. Agnus Dei | — | ||
| 7 | Tenebrae factae sunt, motet | — | ||
| 8 | Three Lamentations of Jeremiah: De Lamentatione Jeremiae | — | ||
| 9 | Three Responses for the Matins of Holy Saturday: Sicut ovis | — | ||
| 10 | Three Lamentations of Jeremiah: Aleph. Quomodo obscuratum est aurum | — | ||
| 11 | Three Responses for the Matins of Holy Saturday: Jerusalem surge | — | ||
| 12 | Three Lamentatione of Jeremiah: Incipit lamentatio Jeremiae | — | ||
| 13 | Three Responses for the Matins of Holy Saturday: Plange quasivirgo | — | ||
| 2-1 | Intellige clamorem meum | — | ||
| 2-2 | Salvum fac populum tuum | — | ||
| 2-3 | Exaltabo te Domine quoniam | — | ||
| 2-4 | Domine vivifica me | — | ||
| 2-5 | Ad te Domine levavi | — | ||
| 2-6 | Exsultate Deo adjutori | — | ||
| 2-7 | Missa ad usum Capellae Pontificiae: I. Kyrie | — | ||
| 2-8 | Missa ad usum Capellae Pontificiae: II. Gloria | — | ||
| 2-9 | Missa ad usum Capellae Pontificiae: III. Credo | — | ||
| 2-10 | Missa ad usum Capellae Pontificiae: IV. Sanctus | — | ||
| 2-11 | Missa ad usum Capellae Pontificiae: V. Benedictus | — | ||
| 2-12 | Missa ad usum Capellae Pontificiae: VI. Agnus Dei | — | ||
| 3-1 | Vespro della Beata Vergine, SV 206: I. Domine ad adjuvandum me (sex vocibus et sex instrumentis) | — | ||
| 3-2 | Vespro della Beata Vergine, SV 206: II. Dixit Dominus (Psalm 109) (sex vocibus et sex instrumentis) | — | ||
| 3-3 | Vespro della Beata Vergine, SV 206: III. Nigra sum (motetto ad una voce) | — | ||
| 3-4 | Vespro della Beata Vergine, SV 206: IV. Laudate pueri Dominum (Psalm 112) (octo vocibus) | — | ||
| 3-5 | Vespro della Beata Vergine, SV 206: V. Pulchra es (a due voci) | — | ||
| 3-6 | Vespro della Beata Vergine, SV 206: VI. Laetatus sum (Psalm 121) (a sei voci) | — | ||
| 3-7 | Vespro della Beata Vergine, SV 206: VII. Duo Seraphim (a tre voci) | — | ||
| 3-8 | Vespro della Beata Vergine, SV 206: VIII. Nisi Dominus (Psalm 126) (a dieci voci) | — | ||
| 3-9 | Vespro della Beata Vergine, SV 206: IX. Audi Coelum (sex vocibus) | — | ||
| 3-10 | Vespro della Beata Vergine, SV 206: X. Lauda, Jerusalem (Psalm 147) (septem vocibus) | — | ||
| 4-1 | Vespro della Beata Vergine, SV 206: XII. Sonata sopra Santa Maria pro nobis (a 8) | — | ||
| 4-2 | Vespro della Beata Vergine, SV 206: XIII. Ave maris stella Hymnis (octo vocibus) | — | ||
| 4-3 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XIV. Magnificat | — | ||
| 4-4 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XV. Anima mea Dominum (a 2 voci) | — | ||
| 4-5 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XVI. Et exultavit (a 3 voci) | — | ||
| 4-6 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XVII. Quia respexit (ad una voce sola) | — | ||
| 4-7 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XVIII. Quia fecit (a 6 voci in dialogo) | — | ||
| 4-8 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XIX. Et misericordia (a 3 voci) | — | ||
| 4-9 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XX. Fecit potentiam (a 3 voci) | — | ||
| 4-10 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XXI. Deposuit, et cantano doi (soprani in echo) | — | ||
| 4-11 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XXII. Esurientes (a 2 voci) | — | ||
| 4-12 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XXIII. Suscepit Israel (a 2 voci) | — | ||
| 4-13 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XXIV. Sicut locutus est (a 5 voci in dialogo) | — | ||
| 4-14 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XXV. Gloria Patri (a 6 voci) | — | ||
| 4-15 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XXVI. Sicut erat in principio | — | ||
| 4-16 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXVII. Magnificat | — | ||
| 4-17 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXVIII. Anima mea Dominum (ad una voce sola) | — | ||
| 4-18 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXIX. Et exultavit (a 3 voci) | — | ||
| 4-19 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXX. Quia respexit (ad una voce et sei instrumenti) | — | ||
| 4-20 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXI. Quia fecit (a 3 voici et doi instrumenti) | — | ||
| 4-21 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXII. Et misericordia (a 6 voci sole in dialogo) | — | ||
| 4-22 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXIII. Fecit potentiam (ad una voce et tre instrumenti) | — | ||
| 4-23 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXIV. Deposuit potentes (ad una voce et tre instrumenti) | — | ||
| 4-24 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXV. Et exultavit (ad una voce et tre instrumenti) | — | ||
| 4-25 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXVI. Esurientes (a 2 voici et quattro instrumenti) | — | ||
| 4-26 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXVII. Suscepit Israel (a 3 voci) | — | ||
| 4-27 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXVIII. Sicut locutus est (ad una voce et sei instrumenti) | — | ||
| 4-28 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXIX. Gloria Patri (a 3 voci due de le quali cantano in echo) | — | ||
| 4-29 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XL. Sicut erat in principio (tutti gli instrumenti et voci) | — | ||
| 5-1 | Laetatus sum, SV 198 (a 5 strumenti e 6 voci) | — | ||
| 5-2 | Nisi Dominus, SV 200 (a 3 voci e due violini, B.C. - alto, baritono, basso) | — | ||
| 5-3 | Laudate pueri Dominum, SV 196 (a 5 voci e B.C.) | — | ||
| 5-4 | Laetaniae della Beata Virgine, SV 204 (a 5 voci e B.C. - soprano, alto) | — | ||
| 5-5 | Currite populi, SV 297 (a voce sola e B.C. - baritono) | — | ||
| 5-6 | O beatae viae, SV 312 (a 2 voci e B.C. - soprano, alto) | — | ||
| 5-7 | Gloria, SV 258 (a 7 voci concertate con strumenti) | — | ||
| 5-8 | Salve Regina, SV 284 (a 2 voci e B.C. - 2 soprani) | — | ||
| 6-1 | Laudate Dominum jomnes gentes, SV 272a (a 5 voci concerto con 2 violini e B.C.) | — | ||
| 6-2 | Confitebor, SV 266 (a 3 voci concerto con 2 violini e B.C. - soprano, tenore, basso) | — | ||
| 6-3 | Magnificat, SV 282 (a 4 voci in genere da capella) | — | ||
| 6-4 | Dixit Dominus, SV 264 (a 8 voci, coro, soli e orchestra) | — | ||
| 6-5 | O ciechi il tanto affaticar, SV 252 (coro e orchestra) | — | ||
| 6-6 | Voi ch'ascoltate, SV 253 (soli e orchestra) | — | ||
| 6-7 | E questa vita un lampo, SV 254 (coro e 5 voci) | — | ||
| 6-8 | Et iterum, SV 261 (2 tenori e baritono) | — | ||
| 6-9 | Deus tuorum militum, SV 280 (3 voci e 2 violini - alto, tenore, basso) | — | ||
| 6-10 | Laudate Dominum omnes gentes, SV 272 (voce sola) | — | ||
| 6-11 | Magnificat, SV 281 (a 8 voci, coro, soili e orchestra) | — | ||
| 7-1 | Fuge, fuge, anima mea, SV 305 (2 voci e violino) | — | ||
| 7-2 | Adoramus, SV 289 (coro a 6 voci) | — | ||
| 7-3 | Ego dormio, SV 300 (tenor e basso) | — | ||
| 7-4 | Venite, venite silientes, SV 335 (soprano e alto) | — | ||
| 7-5 | Confitebor, SV 267 (coro e soprano) | — | ||
| 7-6 | Spontava il di, SV 255 (alto, tenore, baritono) | — | ||
| 7-7 | Chi vol che m'innamori, SV 256 (alto, tenore, baritono e 2 violini) | — | ||
| 7-8 | Sanctorum meritis, SV 277 (voce sola e 2 violini) | — | ||
| 7-9 | Beatus vir, SV 269 (coro a 5 voci) | — | ||
| 7-10 | Laudate pueri Dominum, SV 271 (coro a 5 voci e 2 tenori) | — | ||
| 7-11 | Jubilet tota civitas, SV 286 (soprano) | — | ||
| 7-12 | Memento, SV 276 (coro a 8 voci) | — | ||
| 7-13 | Ab aeterno, SV 262 (basso) | — | ||
| 8-1 | Nisi Dominus, SV 201 (coro a 6) | — | ||
| 8-2 | Confitebor, SV 296 (soprano e orchestra) | — | ||
| 8-3 | Dixit Dominus, SV 192 (doppio coro) | — | ||
| 8-4 | Laudate Dominum, SV 197 (voce sola) | — | ||
| 8-5 | Cantate Domino, SV 292 (a 2 voci) | — | ||
| 8-6 | Christe adoramus te, SV 294 (coro a 5 voci) | — | ||
| 8-7 | Salve Regina, SV 327 (voce sola) | — | ||
| 8-8 | Domine, ne in furore, SV 298 (coro a 6 voci) | — | ||
| 8-9 | Sancta Maria, SV 328 (soprano e alto) | — | ||
| 8-10 | Lauda Jerusalem, SV 203 (coro a 5 voci) | — | ||
| 8-11 | Dixit Dominus, SV 263 (a 8 voci, coro, soli e orchestra) | — | ||
| 8-12 | Salve Regina, SV 285 (alto, tenore e basso) | — | ||
| 9-1 | Iste confessor, SV 279 (a 2 soprani e 2 violini) | — | ||
| 9-2 | Beatus vir, SV 268 (coro e orchestra) | — | ||
| 9-3 | Confitebor, SV 265 (contro-tenore, tenore, basso, coro) | — | ||
| 9-4 | Salve Regina, SV 283 (2 tenori e 2 violini) | — | ||
| 9-5 | Laudate Dominum, SV 273 (a 8 voci, coro e orchestra) | — | ||
| 9-6 | Et resurrexit, SV 260 (2 soprani e 2 violini) | — | ||
| 9-7 | Beatus vir, SV 195 (a 7 voci, coro, soli e orchestra) | — | ||
| 9-8 | Salve Regina, SV 326 (voce sola - soprano) | — | ||
| 9-9 | Confitebor, SV 194 (2 voci e orchestra - soprano, tenor) | — | ||
| 9-10 | Dixit Dominus, SV 191 (a 8 voci, coro e soli) | — | ||
| 10-1 | O bone Jesu, SV 313 (a 2 voci - soprano, alto) | — | ||
| 10-2 | O quam pulchra, SV 317 (voce sola - tenore) | — | ||
| 10-3 | En gratulemur hodie, SV 302 (1 voce e 2 violini - tenore) | — | ||
| 10-4 | Laetatus sum, SV 199 (coro a 5 voci) | — | ||
| 10-5 | Laudate pueri Dominum, SV 270 (a 5 voci, coro, basso solo e orchestra) | — | ||
| 10-6 | Pianto della Madonna sopra il Lamento dell'Ariana, SV 288 (voce sola - alto) | — | ||
| 10-7 | Crucifixus, SV 259 (coro a 4 voci) | — | ||
| 10-8 | Sanctorum meritis, SV 278 (1 voce e 2 violini - tenore) | — | ||
| 10-9 | Laudate Dominum, SV 274 (a 8, coro e soli - 2 soprani) | — | ||
| 10-10 | Cantate Domino, SV 293 (coro a 6 voci) | — | ||
| 10-11 | Lauda Jerusalem, SV 202 (contro-tenore, baritono e basso) | — | ||
| 10-12 | Ecce sacrum paratum, SV 299 (voce sola - tenore) | — | ||
| 10-13 | Ego flos campi, SV 301 (voce sola - alto) | — | ||
| 10-14 | Credidi procter, SV 275 (doppio coro) | — | ||
| 11-1 | Orfeo: Toccata | — | ||
| 11-2 | Orfeo: Prologo: Ritornello (La Musica) | — | ||
| 11-3 | Orfeo: Atto Primo. “In questo lieto e fortunato giorno” | — | ||
| 11-4 | Orfeo: Atto Primo. “Vieni Imeneo” | — | ||
| 11-5 | Orfeo: Atto Primo. “Muse, onor di Parnaso, amor del cielo” (Shepherd 1, Nymph, Chorus of Nymphs and Shepherds) | — | ||
| 11-6 | Orfeo: Atto Primo. “Lasciate i monti” | — | ||
| 11-7 | Orfeo: Atto Primo. “Ma tu, gentil cantor” - “Rosa del ciel, vita del mondo” / “Io non dirò qual sia” (Chorus of Nymphs and Shepherds, Shepherd 3, Orfeo, Euridice) | — | ||
| 11-8 | Orfeo: Atto Primo. “Vieni Imeneo, deh, vieni” (Chorus of Nymphs and Shepherds) | — | ||
| 11-9 | Orfeo: Atto Primo. “Ma s'il nostro gioir…” - Ritornello | — | ||
| 11-10 | Orfeo: Atto Primo. “Alcun non sia…” - Ritornello - “Chè, poichè nembo…” - Ritornello - “E dopo l'aspro…” - “Ecco Orfeo cui…” (Nymph, Shepherds, Chorus of Nymphs and Shepherds) | — | ||
| 11-11 | Orfeo: Atto Secondo. “Ecco pur ch'a voi ritorno” - “Mira ch'a sè n'alletta” | — | ||
| 11-12 | Orfeo: Atto Secondo. “In questo prato adorno” (Orfeo, Shepherd 1, Shepherd 2, Chorus of Nymphs and Shepherds) | — | ||
| 11-13 | Orfeo: Atto Secondo. “Vi ricorda, o bosch' ombrosi” (Orfeo) | — | ||
| 11-14 | Orfeo: Atto Secondo. “Mira, deh mira” - “Ahi caso acerbol ahi fat' empio e crudele!” - “Tu se' morta, mia vita, ed io respiro?” (Messenger, Orfeo, Shepherds) | — | ||
| 11-15 | Orfeo: Atto Secondo. “Ahi caso acerbo, ahi fat'empio e crudele!” | — | ||
| 11-16 | Orfeo: Atto Secondo. “Maio ch'in questa lingua” (Messenger, Chorus of Nymphs and Shepherds) | — | ||
| 11-17 | Orfeo: Atto Secondo. “Chi ne consola, ahi lassi?” - “Ahi caso acerbo…” - “Ma dove, ah, dove or sono” - “Ahi caso acerbo…” - Ritornello (Shepherd 1, Shepherd 2, Chorus of Nymphs and Shepherds) | — | ||
| 12-1 | Orfeo: Sinfonia - “Scorto da te, mio Nume” (Orfeo) | — | ||
| 12-2 | Orfeo: Atto Terzo. “Ecco l'astra palude, ecco il nocchiero” - “Dove, ah, dove te 'n vai” (La Speranza, Orfeo) | — | ||
| 12-3 | Orfeo: Atto Terzo. “O tu ch'innanzi mort' a queste rive” - Sinfonia (Caronte) | — | ||
| 12-4 | Orfeo: Atto Terzo. “Possente spirto e formidabil Nume” (Orfeo) | — | ||
| 12-5 | Orfeo: Atto Terzo. “Sol tu, nobile dio, puoi darmi aita” (Caronte, Orfeo) | — | ||
| 12-6 | Orfeo: Atto Terzo. “Ei dorme, e la mia cetra” (Orfeo) | — | ||
| 12-7 | Orfeo: Atto Terzo. Sinfonia - “Nulla impresa per uom si tenta invano” (Chorus of Infernal Spirits) | — | ||
| 12-8 | Orfeo: Atto Quarto. “Signor, quell'infelice” (Proserpina) | — | ||
| 12-9 | Orfeo: Atto Quarto. “Benchè severo ed” | — | ||
| 12-10 | Orfeo: Atto Quarto. “O degli abitator… Pietade oggi e Amore” (Plutone, Spirits, Proserpina, Chorus of Infernal Spirits) | — | ||
| 12-11 | Orfeo: Atto Quarto. “Qual onor di te fia degno” (Orfeo) | — | ||
| 12-12 | Orfeo: Atto Quarto. “Ahi, vista troppo dolce e troppo amara!” - “Torn'a l'ombre di morte” (Euridice, Spirit 1, Orfeo, Chorus of Infernal Spirits) | — | ||
| 12-13 | Orfeo: Atto Quarto. “E' la virtute un raggio” - Sinfonia (Chorus of Infernal Spirits) | — | ||
| 12-14 | Orfeo: Atto Quinto. Ritornello | — | ||
| 12-15 | Orfeo: Atto Quinto. “Questi i campi di Tracia…” - Sinfonia (Orfeo, Eco) | — | ||
| 12-16 | Orfeo: Atto Quinto. “Perch'a lo sdegno ed al dolor in preda” (Apollo, Orfeo) | — | ||
| 12-17 | Orfeo: Atto Quinto. “Saliam cantand' al cielo” (Apollo, Orfeo) | — | ||
| 12-18 | Orfeo: Atto Quinto. Ritornello - “Vanne, Orfeo, felice appieno” - Moresca (Chorus) | — | ||
| 13-1 | Il estoit une fillette: Chanson à quatre (1540) | — | ||
| 13-2 | Il estoit une fillette: Ronde (1551) | — | ||
| 13-3 | Il estoit une fillette: Chanson accompagnée | — | ||
| 13-4 | Mari je songeois l'aultre jour: Chanson à quatre (1532) | — | ||
| 13-5 | Mari je songeois l'aultre jour: Branle gay (1547) | — | ||
| 13-6 | Mari je songeois l'aultre jour: Branle gay (1564) | — | ||
| 13-7 | Pourquoi donc ne fringuerons-nous: Chanson à quatre (1533) | — | ||
| 13-8 | Pourquoi donc ne fringuerons-nous: Rondo (1551) | — | ||
| 13-9 | C'est grand plaisir: Chanson à trois (1529) | — | ||
| 13-10 | C'est grand plaisir: Chanson transcrite pour clavier (1531) | — | ||
| 13-11 | C'est grand plaisir: Tourdion (1547) | — | ||
| 13-12 | Mille regretz: Chanson à quatre (1520) | — | ||
| 13-13 | Mille regretz: Pavane (1551) | — | ||
| 13-14 | C'est à grand tort: Chanson à quatre (1520) | — | ||
| 13-15 | C'est à grand tort: Chanson transcrite pour clavier (1531) | — | ||
| 13-16 | C'est à grand tort: Chanson transcrite pour deux instruments (1552) | — | ||
| 13-17 | La Volonté: Basse danse (1547) | — | ||
| 13-18 | La Volonté: Chanson à quatre (1543) | — | ||
| 13-19 | Celle qui m'a le nom d'amy donné: Chanson à quatre (1543) | — | ||
| 13-20 | Celle qui m'a le nom d'amy donné: Basse danse (1547) | — | ||
| 13-21 | Ramonez-moi ma cheminée: Chanson à quatre (1539) | — | ||
| 13-22 | Jectez-moi sur l'herbette: Chanson à quatre (1533) | — | ||
| 13-23 | Suite de danseries, tirée du « Second livre » (1547): Pavane 47 | — | ||
| 13-24 | Suite de danseries, tirée du « Second livre » (1547): Gaillarde 49 | — | ||
| 13-25 | Suite de danseries, tirée du « Second livre » (1547): Gaillarde 50 (à cinq, sur La Romanesca) | — | ||
| 13-26 | Suite de danseries, tirée du « Second livre » (1547): Basse danse 19 | — | ||
| 13-27 | Suite de danseries, tirée du « Second livre » (1547): Branle simple 21 | — | ||
| 13-28 | Suite de danseries, tirée du « Second livre » (1547): Branle simple 35 | — | ||
| 13-29 | Suite de danseries, tirée du « Second livre » (1547): Tourdion 9 | — | ||
| 13-30 | Suite de danseries, tirée du « Second livre » (1547): Tourdion 10 | — | ||
| 13-31 | Suite de danseries, tirée du « Second livre » (1547): Branle gay 36 “Que je chatouille ta fossette” | — | ||
| 13-32 | Suite de danseries, tirée du « Second livre » (1547): Branle gay 23 | — | ||
| 13-33 | J'ay le rebours: Chanson à quatre (1562) | — | ||
| 13-34 | J'ay le rebours: Pavane (1571) | — | ||
| 13-35 | J'ay le rebours: Gaillarde (1571) | — | ||
| 13-36 | Dont viens cela: Chanson à quatre (1530) | — | ||
| 13-37 | Dont viens cela: Basse danse (1551) | — | ||
| 13-38 | Auprès de vous: Chanson à quatre (1530) | — | ||
| 13-39 | Auprès de vous: Basse danse (1547) | — | ||
| 13-40 | Auprès de vous: Chanson transcrite pour clavier (1531) | — | ||
| 13-41 | Fricassée: Chanson à quatre, accompagnée (1531) | — | ||
| 14-1 | La Chère Maison | — | ||
| 14-2 | Les Bonnes Dames de Saint‐Gervais | — | ||
| 14-3 | J’ai descendu au verger | — | ||
| 14-4 | Heureux celui qui revoit sa patrie | — | ||
| 14-5 | Oh ! que la vie est douce chose | — | ||
| 14-6 | La Jardinière du roy | — | ||
| 14-7 | La Moisson | — | ||
| 14-8 | Nous n’avons chez nous | — | ||
| 14-9 | Nouthra Dona di Maortsé | — | ||
| 14-10 | Trois jeunes tambours | — | ||
| 14-11 | C’est le joly mois de may | — | ||
| 14-12 | Gentil coqu’licot | — | ||
| 14-13 | Mon père tôt m’a mariée | — | ||
| 14-14 | La Marion | — | ||
| 14-15 | J’ai vu le loup, le renard, le lièvre | — | ||
| 14-16 | Rossignolet du bois | — | ||
| 14-17 | Le Vira do minho | — | ||
| 14-18 | Les Yeux de la Marianita | — | ||
| 14-19 | Berceuse polonaise | — | ||
| 14-20 | Le jour est là | — | ||
| 14-21 | Chanson dans le vent “Pisnicka” | — | ||
| 15-1 | “Or sus tous humains” | — | ||
| 15-2 | “Que Dieu se montre seulement” | — | ||
| 15-3 | “Laisse-moi désormais” | — | ||
| 15-4 | “Mon cœur rempli” | — | ||
| 15-5 | “O Seigneur” | — | ||
| 15-6 | “Du fond de ma pensée” | — | ||
| 15-7 | Mass “La Bien que j'ay”: I. Introit | — | ||
| 15-8 | Mass “La Bien que j'ay”: II. Kyrie | — | ||
| 15-9 | Mass “La Bien que j'ay”: III. Gloria | — | ||
| 15-10 | Mass “La Bien que j'ay”: IV. Alleluia | — | ||
| 15-11 | Mass “La Bien que j'ay”: V. Credo | — | ||
| 15-12 | Mass “La Bien que j'ay”: VI. Offertoire | — | ||
| 15-13 | Mass “La Bien que j'ay”: VII. Sanctus | — | ||
| 15-14 | Mass “La Bien que j'ay”: VIII. Benedictus | — | ||
| 15-15 | Mass “La Bien que j'ay”: IX. Communion | — | ||
| 15-16 | Mass “La Bien que j'ay”: X. Agnus Dei | — | ||
| 16-1 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: I. Symphonie - Récit et chœur: “De profundis clamavi” | — | ||
| 16-2 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: II. Quator: “Fiant aures tuae” | — | ||
| 16-3 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: III. Récit: “Si iniquitates observaveris Domine” | — | ||
| 16-4 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: IV. Trio: “Quia apud te apropriatio est” | — | ||
| 16-5 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: V. Récit: “Sistinuit anima” | — | ||
| 16-6 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: VI. Trio: “Sistinuit anima” - Récit: “A Custodia matutina” | — | ||
| 16-7 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: VII. Due et chœur: “A Custodia matutina” | — | ||
| 16-8 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: VIII. Récit: “Quia apud Dominum misericordia” | — | ||
| 16-9 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: IX. Chœur: “Et ipse redimet Israel” | — | ||
| 16-10 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: X. Chœur: “Requiem aeternam” | — | ||
| 16-11 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: XI. Chœur: “Et lux perpetua” | — | ||
| 16-12 | Regina coeli, pour soli, chœur et orchestre, S. 53: I. Duo et chœur: “Regina coeli laetare” | — | ||
| 16-13 | Regina coeli, pour soli, chœur et orchestre, S. 53: II. Récit: “Quia quem meruisit” - Trio: “Resurrexit” | — | ||
| 16-14 | Regina coeli, pour soli, chœur et orchestre, S. 53: III. Chœur: “Ora pro nobis, Deum, Alleluia” | — | ||
| 17-1 | Ricercare per sonar (in 8 parts: brass instruments) | — | ||
| 17-2 | Risonanza di echo (8 solo voices) | — | ||
| 17-3 | L'Olica, canzon per sonar (in 4 parts: violas) | — | ||
| 17-4 | Non dispregiate i miserelli amanti (3 solo voices and violas da gamba) | — | ||
| 17-5 | Padre del ciel (in 5 parts: organ) | — | ||
| 17-6 | Boscareccia pastorale (12 voices triple chorus) | — | ||
| 17-7 | Hor che nel suo bel seno (8 voices double chorus) | — | ||
| 17-8 | Canone a l'unissono (in 8 parts: brass instruments and organ) | — | ||
| 17-9 | Lieti fieri e felici, e ben nate erbe (in 5 parts: mezzo-soprano and violas) | — | ||
| 17-10 | Sparve e ogni stella in cielo (in 6 parts: 2 trumpets and violas) | — | ||
| 17-11 | Pasce la pecorella (in 5 parts: soprano, tenor, violas and harpsichord) | — | ||
| 17-12 | Canzone prima: “La Spiratata” (in 4 parts: brass instruments, violas and continuo) | — | ||
| 17-13 | Io mi sento morire (in 8 parts: brass instruments) | — | ||
| 18-1 | Canzon fa-sol-la-ré (in 8 parts: double chorus, brass instruments, vioas da gamba and organ) | — | ||
| 18-2 | Niuna sconsolata (soprano and violas da gamba) | — | ||
| 18-3 | Canzon seconda (in 4 parts: organ) | — | ||
| 18-4 | Poi ch'il mio largo pianto (5 solo voices) | — | ||
| 18-5 | Tratto fuora del Mare (in 6 parts: recorder, violas da gamba and harpsichord) | — | ||
| 18-6 | Echo Vinegia bella (12 voices chorus) | — | ||
| 18-7 | Canzon per sonar (in 4 parts: brass instruments) | — | ||
| 18-8 | Battaglia (8 voices, first and second part) | — | ||
| 18-9 | Gravi pene in amor (in 5 parts: brass instruments) | — | ||
| 18-10 | Amor è gratiosa e dolce voglia (5 solo voices) | — | ||
| 18-11 | Canzon per sonar (in 4 parts: violas) | — | ||
| 18-12 | Non rumor di tamburi (7 solo voices) | — | ||
| 18-13 | Canzone (in 5 parts: recorder, violas da gamba and harpsichord) | — | ||
| 18-14 | A le guancie di rose (8 solo voices dialog) | — | ||
| 18-15 | Canzone quarta (in 4 parts: organ) | — | ||
| 19-1 | Plaudite omnis terra | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-2 | Miserere mei, Deus | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-3 | Domine exaudi orationem meam | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-4 | Cantate Domino | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-5 | Sacrae symphoniae, Liber I: No. 31, Canzon noni toni, C. 173 | Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-6 | Diligam te Domine | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-7 | Jubilate Deo | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-8 | Missa: Kyrie | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-9 | Missa: Gloria | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-10 | Missa: Sanctus | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-11 | Sacrae symphoniae, Liber I: No. 28, Canzon per sonar primi toni a 8, C. 170 | Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-12 | Ego rogabo patrem | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-13 | Sacrae symphoniae, Liber I: No. 49, Virtute magna, C. 42 | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-14 | Magnificat | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 20-1 | Sacrae symphoniae, Liber I: No. 55, Magnificat a 12, C. 48 | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-2 | O Domine Jesu Christe | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-3 | Hodie Christus natus est | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-4 | Hoc tegitur | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-5 | Sacrae symphoniae, Liber I: No. 20, Sancta et immaculata virginitas, C. 25 | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-6 | Angelus Domini descendit | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-7 | Nunc dimittis | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-8 | Jam non dicam vos servos | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-9 | Misericordias Domini | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-10 | Jubilate Deo | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-11 | O Jesu mi dulcissime | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-12 | Regina coeli | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-13 | Ego sum qui sum | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 21-1 | Magnificat in D major, BWV 243: I. Magnificat (chorus) | — | ||
| 21-2 | Magnificat in D major, BWV 243: II. Et exultavit spiritus meus (soprano II) | — | ||
| 21-3 | Magnificat in D major, BWV 243: III. Quia respexit humilitatem (soprano I) | — | ||
| 21-4 | Magnificat in D major, BWV 243: IV. Omnes generationes (chorus) | — | ||
| 21-5 | Magnificat in D major, BWV 243: V. Quia fecit mihi magna (bass) | — | ||
| 21-6 | Magnificat in D major, BWV 243: VI. Et misericordia (alto, tenor) | — | ||
| 21-7 | Magnificat in D major, BWV 243: VII. Fecit potentiam (chorus) | — | ||
| 21-8 | Magnificat in D major, BWV 243: VIII. Deposuit potentes (chorus) | — | ||
| 21-9 | Magnificat in D major, BWV 243: IX. Esurientes implevit bonis (alto) | — | ||
| 21-10 | Magnificat in D major, BWV 243: X. Suscepit Israel (soprano I & II, alto) | — | ||
| 21-11 | Magnificat in D major, BWV 243: XI. Sicut locutus est (chorus) | — | ||
| 21-12 | Magnificat in D major, BWV 243: XII. Gloria Patri (chorus) | — | ||
| 21-13 | Cantata “Es wartet alles auf dich”, BWV 187: I. Chorus: “Es wartet alles auf dich” | — | ||
| 21-14 | Cantata “Es wartet alles auf dich”, BWV 187: II. Recitative: “Was Kreaturen häit, das große Rund der Welt” (bass) | — | ||
| 21-15 | Cantata “Es wartet alles auf dich”, BWV 187: III. Aria: “Du, Herr, du krönst allein das Jahr” (alto) | — | ||
| 21-16 | Cantata “Es wartet alles auf dich”, BWV 187: IV. Aria: “Darum sollt ihr nicht sorgen” (bass) | — | ||
| 21-17 | Cantata “Es wartet alles auf dich”, BWV 187: V. Aria: “Gott versorget alles Leben” (soprano) | — | ||
| 21-18 | Cantata “Es wartet alles auf dich”, BWV 187: VI. Recitative: “Halt ich nur fest an ihm” (soprano) | — | ||
| 21-19 | Cantata “Es wartet alles auf dich”, BWV 187: VII. Choral: “Gott hat die Erde zugericht” (chorus) | — | ||
| 22-1 | Mass in B minor, BWV 232: Kyrie. I. Kyrie eleison I (chorus) | Ensemble Vocal de Lausanne, Ensemble Instrumental de Lausanne, Michel Corboz | T-310.777.003-2 | |
| 22-2 | Mass in B minor, BWV 232: Kyrie. II. Christe eleison (soprano, mezzo-soprano) | Bernarda Fink, Sandrine Piau, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 22-3 | Mass in B minor, BWV 232: Kyrie. III. Kyrie eleison II (chorus) | Ensemble Vocal de Lausanne, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 22-4 | Mass in B minor, BWV 232: Gloria. IV. Gloria in excelsis (chorus) | — | ||
| 22-5 | Mass in B minor, BWV 232: Gloria. V. Et in terra pax (chorus) | — | ||
| 22-6 | Mass in B minor, BWV 232: Gloria. VI. Laudamus te (soprano) | — | ||
| 22-7 | Mass in B minor, BWV 232: Gloria. VII. Gratias agimus tibi (chorus) | — | ||
| 22-8 | Mass in B minor, BWV 232: Gloria. VIII. Domine Deus (soprano, tenor) | — | ||
| 22-9 | Mass in B minor, BWV 232: Gloria. IX. Qui tollis peccata mundi (chorus) | — | ||
| 22-10 | Mass in B minor, BWV 232: Gloria. X. Qui sedes ad dexteram Patris (mezzo-soprano) | — | ||
| 22-11 | Mass in B minor, BWV 232: Gloria. XI. Quoniam tu solus sanctus (bass) | — | ||
| 22-12 | Mass in B minor, BWV 232: Gloria. XII. Cum Sancto Spiritu (chorus) | — | ||
| 23-1 | Mass in B minor, BWV 232: Credo. XII. Credo in unum Deum (chorus) | — | ||
| 23-2 | Mass in B minor, BWV 232: Credo. XIII. Patrem omnipotentem (chorus) | — | ||
| 23-3 | Mass in B minor, BWV 232: Credo. XIV. Et in unum Dominum (soprano, mezzo-soprano) | — | ||
| 23-4 | Mass in B minor, BWV 232: Credo. XV. Et incarnatus est (chorus) | — | ||
| 23-5 | Mass in B minor, BWV 232: Credo. XVI. Crucifixus (chorus) | — | ||
| 23-6 | Mass in B minor, BWV 232: Credo. XVII. Et resurrexit (chorus) | — | ||
| 23-7 | Mass in B minor, BWV 232: Credo. XVIII. Et in Spiritum Sanctum Dominum (baritone) | — | ||
| 23-8 | Mass in B minor, BWV 232: Credo. XIX. Confiteor | — | ||
| 23-9 | Mass in B minor, BWV 232: Credo. XX. Et expecto (chorus) | — | ||
| 23-10 | Mass in B minor, BWV 232: Sanctus. XXI. Sanctus (chorus) | — | ||
| 23-11 | Mass in B minor, BWV 232: Sanctus. XXII. Osanna in excelsis (chorus) | — | ||
| 23-12 | Mass in B minor, BWV 232: Sanctus. XXIII. Benedictus (tenor) | — | ||
| 23-13 | Mass in B minor, BWV 232: Sanctus. XXIV. Osanna repetirur (chorus) | — | ||
| 23-14 | Mass in B minor, BWV 232: Sanctus. XXV. Agnus Dei (mezzo-soprano) | — | ||
| 23-15 | Mass in B minor, BWV 232: Sanctus. XXVI. Dona nobis pacem (chorus) | — | ||
| 24-1 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Cum vocasset in proelium” (Historicus, Jephte, chorus) | — | ||
| 24-2 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Et percussit Jephte” (Historicus) | — | ||
| 24-3 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Cum autem victor Jephte” (Historicus, Filia, chorus) | — | ||
| 24-4 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Cantate mecum Domino” (Filia, chorus) | — | ||
| 24-5 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Cum vidisset Jephte” (Historicus, Jephte) | — | ||
| 24-6 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Pater mi, si voviste votum Domino” (Filia, Jephte) | — | ||
| 24-7 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Vade filia mea” (Jephte, Historicus a 4) | — | ||
| 24-8 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Plorate colles” (Filia, Eccho) | — | ||
| 24-9 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Plorate filii Israel” (chorus) | — | ||
| 24-10 | Motet “O qual pulchra es”, for soprano, strings and continuo | — | ||
| 24-11 | Motet “O vulnera dolorim”, for bass and organ | — | ||
| 24-12 | Motet “Salve, salve puellule”, for tenor, strings and continuo | — | ||
| 25-1 | Historia di Ezechias, oratorio for 2 sopranos, 2 tenors, bass, chorus, orchestra and continuo: “Aegrotante Ezechia” (Angeli, Dominus) | — | ||
| 25-2 | Historia di Ezechias, oratorio for 2 sopranos, 2 tenors, bass, chorus, orchestra and continuo: “Ezechia, hoc tibi dicit Dominus” (Isaias, Ezechias, Angeli) | — | ||
| 25-3 | Historia di Ezechias, oratorio for 2 sopranos, 2 tenors, bass, chorus, orchestra and continuo: “Obsecro, Domine” (Ezechias) | — | ||
| 25-4 | Historia di Ezechias, oratorio for 2 sopranos, 2 tenors, bass, chorus, orchestra and continuo: “Misertus est autem Dominus Ezechia et ait” (Angeli, Dominus, Ezechias) | — | ||
| 25-5 | Historia di Ezechias, oratorio for 2 sopranos, 2 tenors, bass, chorus, orchestra and continuo: “Narrabimus omnes opera Domini” (chorus) | — | ||
| 25-6 | Tolle Sponsa for soprano, bass, chorus and continuo | — | ||
| 25-7 | Messa a otto voci, IGC 27: Kyrie | — | ||
| 25-8 | Messa a otto voci, IGC 27: Gloria | — | ||
| 25-9 | Messa a otto voci, IGC 27: Credo | — | ||
| 25-10 | Historia di Abraham et Isaac, oratorio for 2 sopranos, 2 tenors, 2 basses, chorus, orchestra and continuo: “Tentavit Deus Abraham” (Historicus, Deus) | — | ||
| 25-11 | Historia di Abraham et Isaac, oratorio for 2 sopranos, 2 tenors, 2 basses, chorus, orchestra and continuo: “Pater mi, ecce ignis” (Isaac, Historicus, Abraham) | — | ||
| 25-12 | Historia di Abraham et Isaac, oratorio for 2 sopranos, 2 tenors, 2 basses, chorus, orchestra and continuo: “Non extendas manum tuam super Isaac” (Angelus, Abraham, Isaac) | — | ||
| 25-13 | Historia di Abraham et Isaac, oratorio for 2 sopranos, 2 tenors, 2 basses, chorus, orchestra and continuo: “Vocavit et iterum Angelus Domini” (Historicus, Angelus, chorus) | — | ||
| 25-14 | Historia di Abraham et Isaac, oratorio for 2 sopranos, 2 tenors, 2 basses, chorus, orchestra and continuo: “Qui misit Angelum” (Abraham, chorus) | — | ||
| 26-1 | Messe pour les trépassés, H. 2: Symphonie - Kyrie | — | ||
| 26-2 | Messe pour les trépassés, H. 2: Dies irae (H. 12) | — | ||
| 26-3 | Messe pour les trépassés, H. 2: Liber scriptus | — | ||
| 26-4 | Messe pour les trépassés, H. 2: Juste judex | — | ||
| 26-5 | Messe pour les trépassés, H. 2: Oro supplex | — | ||
| 26-6 | Motet pour les trépassés, H. 311: Symphonie - Miseremini mei | — | ||
| 26-7 | Motet pour les trépassés, H. 311: Hei, hei mihi, Domine | — | ||
| 26-8 | Motet pour les trépassés, H. 311: Ritournelle - Ah, ah poenis crucior nimis asperis | — | ||
| 27-1 | Motet pour les trépassés, H. 311: Symphonie - Miseremini mei | — | ||
| 27-2 | Messe pour les trépassés, H. 2: Symphonie - Sanctus | — | ||
| 27-3 | Messe pour les trépassés, H. 2: Pie Jesu | — | ||
| 27-4 | Messe pour les trépassés, H. 2: Benedictus | — | ||
| 27-5 | Messe pour les trépassés, H. 2: Symphonie - Agnus Dei | — | ||
| 27-6 | Miserere des Jésuites, H. 193: Prélude | — | ||
| 27-7 | Miserere des Jésuites, H. 193: Miserere mei Deus (bass, chorus) | — | ||
| 27-8 | Miserere des Jésuites, H. 193: Amplius lava me (soli) | — | ||
| 27-9 | Miserere des Jésuites, H. 193: Ecce enim (soli, chorus) | — | ||
| 27-10 | Miserere des Jésuites, H. 193: Asperges me hysopo (tenor) | — | ||
| 27-11 | Miserere des Jésuites, H. 193: Auditui meo dabis gaudium (soli) | — | ||
| 27-12 | Miserere des Jésuites, H. 193: Averte faciem tuam a peccatis meis (soli, chorus) | — | ||
| 27-13 | Miserere des Jésuites, H. 193: Ne projicias me a facie tua (soprano, alto) | — | ||
| 27-14 | Miserere des Jésuites, H. 193: Docedo iniquos vias tuas (chorus) | — | ||
| 27-15 | Miserere des Jésuites, H. 193: Libera me de sanguinibus Deus (bass, tenor, chorus) | — | ||
| 27-16 | Miserere des Jésuites, H. 193: Sacrificium Deo spiritus contribulatus (soprano) | — | ||
| 27-17 | Miserere des Jésuites, H. 193: Benigne fac Domine (soprani) | — | ||
| 27-18 | Miserere des Jésuites, H. 193: Tunc acceptabilis sacrificium iusititiae oblationes (chorus) | — | ||
| 28-1 | Mass in F major, BWV 233: Kyrie (chorus) | — | ||
| 28-2 | Mass in F major, BWV 233: Gloria (chorus) | — | ||
| 28-3 | Mass in F major, BWV 233: Domine Deus (bass) | — | ||
| 28-4 | Mass in F major, BWV 233: Qui tollis (soprano) | — | ||
| 28-5 | Mass in F major, BWV 233: Quoniam (alto) | — | ||
| 28-6 | Mass in F major, BWV 233: Cum Sancto Spiritu (chorus) | — | ||
| 28-7 | Mass in A major, BWV 234: Kyrie (chorus) | — | ||
| 28-8 | Mass in A major, BWV 234: Gloria (chorus) | — | ||
| 28-9 | Mass in A major, BWV 234: Domine Deus (bass) | — | ||
| 28-10 | Mass in A major, BWV 234: Qui tollis (soprano) | — | ||
| 28-11 | Mass in A major, BWV 234: Quoniam (alto) | — | ||
| 28-12 | Mass in A major, BWV 234: Cum Sancto Spiritu (chorus) | — | ||
| 28-13 | Sanctus in D minor, BWV 239 (chorus) | — | ||
| 28-14 | Sanctus in G major, BWV 240 (chorus) | — | ||
| 28-15 | Sanctus in D major, BWV 241 (double chorus) | — | ||
| 29-1 | Mass in G major, BWV 236: Kyrie (chorus) | — | ||
| 29-2 | Mass in G major, BWV 236: Gloria (chorus) | — | ||
| 29-3 | Mass in G major, BWV 236: Gratias agimus tibi (bass) | — | ||
| 29-4 | Mass in G major, BWV 236: Domine Deus (soprano, alto) | — | ||
| 29-5 | Mass in G major, BWV 236: Quoniam (tenor) | — | ||
| 29-6 | Mass in G major, BWV 236: Cum Sancto Spiritu (chorus) | — | ||
| 29-7 | Mass in G minor, BWV 235: Kyrie (chorus) | — | ||
| 29-8 | Mass in G minor, BWV 235: Gloria (chorus) | — | ||
| 29-9 | Mass in G minor, BWV 235: Gratias agimus tibi (bass) | — | ||
| 29-10 | Mass in G minor, BWV 235: Domine fili (alto) | — | ||
| 29-11 | Mass in G minor, BWV 235: Qui tollis (tenor) | — | ||
| 29-12 | Mass in G minor, BWV 235: Cum Sancto Spiritu (chorus) | — | ||
| 29-13 | Sanctus in D major, BWV 238 (chorus) | — | ||
| 29-14 | Christe eleison, BWV 242 (soprano, alto) | — | ||
| 29-15 | Sanctus in C major, BWV 237 (chorus) | — | ||
| 30-1 | Un gay bergier: Vocal version | — | ||
| 30-2 | Un gay bergier: Instrumental version | — | ||
| 30-3 | Anchor che co'l partire: Lute version | — | ||
| 30-4 | Anchor che co'l partire: Vocal version | — | ||
| 30-5 | Anchor che co'l partire: Instrumental version | — | ||
| 30-6 | Ver'inferno: Vocal version | — | ||
| 30-7 | Ver'inferno: Lute version | — | ||
| 30-8 | Susanne un jour: Vocal version | — | ||
| 30-9 | Susanne un jour: Instrumental version | — | ||
| 30-10 | Frais et gaillart: Vocal version | — | ||
| 30-11 | Frais et gaillart: Instrumental version | — | ||
| 30-12 | Fantasia senza canto, for lute | — | ||
| 30-13 | Tirsi morir volea, vocal version | — | ||
| 31-1 | Salmo quarantesimosecondo “Judica me Deus” (Psalm 42), for bass and string orchestra | — | ||
| 31-2 | Salmo quarto “Cum invocarem exaudivit” (Psalm 4), for alto, soprano, women's chorus and continuo | — | ||
| 31-3 | Salmo vigesimonono “Exaltabo Te Domine” (Psalm 29), for tenor, baritone, chorus and orchestra | — | ||
| 31-4 | Salmo quarantesimosesto “Omnes gentes plaudite manibus” (Psalm 46), for soprano and continuo | — | ||
| 32-1 | Salmo decimo “In Domino confido” (Psalm 10), for soli, chorus, and orchestra | — | ||
| 32-2 | Salmo undecimo “Salvum me fac Domine” (Psalm 11), for two altos, chorus and continuo | — | ||
| 32-3 | Salmo trigesimosesto “Moli aemulari in malignantibus” (Psalm 36), for soli, chorus and continuo | — | ||
| 33-1 | Lamento della ninfa, SV 163 (Book VIII, Canti amorosi) | — | ||
| 33-2 | Ohimè ch'io cado, SV 316 | — | ||
| 33-3 | Si ch'io vorrei morire, SV 89 (Book IV) | — | ||
| 33-4 | Bei pastor, SV 168 (Book IX) | — | ||
| 33-5 | Eccomi pronta ai baci, SV 135 (Book VII) | — | ||
| 33-6 | Ecco mormorar l'onde, SV 51 (Book II) | — | ||
| 33-7 | Hor che'l ciel e la terra, SV 147 (Book VIII, Canti guerrieri) | — | ||
| 33-8 | La mia turca, SV 310 | — | ||
| 33-9 | Perchè fuggi tra salci, SV 128 (Book VII) | — | ||
| 33-10 | Presso un fiume tranquillo, SV 116 (Book VI) | — | ||
| 34-1 | Si dolce è il tormento, SV 332 | — | ||
| 34-2 | Sfogava con le stelle, SV 78 (Book IV) | — | ||
| 34-3 | Di far sempre gioire, SV 89 (Book IV) | — | ||
| 34-4 | Maladetta sia l'aspetto, SV 246 (Scherzi musicali II) | — | ||
| 34-5 | Non è di gentil core, SV 118 (Book VII) | — | ||
| 34-6 | Io mi son giovinetta, SV 86 (Book IV) | — | ||
| 34-7 | Questi vaghi concenti, SV 106 (Book V) | — | ||
| 34-8 | Tirsi e Clori, SV 145 (Book VII) | — | ||
| 34-9 | Ardo e scoprir, SV 158 (Book VIII, Canti amorosi) | — | ||
| 34-10 | Vorei baciarti o Filli, SV 123 (Book VII) | — | ||
| 34-11 | Lasciatemi morire, from Lamento d'Arianna a 5, SV 107 (Book VI) | — | ||
| 35-1 | Keyboard Concerto in D minor, BWV 1052: I. Allegro | — | ||
| 35-2 | Keyboard Concerto in D minor, BWV 1052: II. Adagio | — | ||
| 35-3 | Keyboard Concerto in D minor, BWV 1052: III. Allegro | — | ||
| 35-4 | Keyboard Concerto in A major, BWV 1055: I. Allegro | — | ||
| 35-5 | Keyboard Concerto in A major, BWV 1055: II. Larghetto | — | ||
| 35-6 | Keyboard Concerto in A major, BWV 1055: III. Allegro ma non tanto | — | ||
| 35-7 | Keyboard Concerto in F minor, BWV 1056: I. Allegro | — | ||
| 35-8 | Keyboard Concerto in F minor, BWV 1056: II. Largo | — | ||
| 35-9 | Keyboard Concerto in F minor, BWV 1056: III. Presto | — | ||
| 36-1 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: I. Gloria in excelsis Deo (chorus) | — | ||
| 36-2 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: II. Et in terra pax (chorus) | — | ||
| 36-3 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: III. Laudamus te (2 sopranos) | — | ||
| 36-4 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: IV. Gratias agimus tibi (chorus) | — | ||
| 36-5 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: V. Procter magnam gloriam (chorus) | — | ||
| 36-6 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: VI. Domine Deus (soprano) | — | ||
| 36-7 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: VII. Domine Fili unigenite (chorus) | — | ||
| 36-8 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: VIII. Domine Deus, Agnus Dei (alto, chorus) | — | ||
| 36-9 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: IX. Qui tollis peccata mundi (chorus) | — | ||
| 36-10 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: X. Qui sedes ad dexteram Patris (alto) | — | ||
| 36-11 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: XI. Quoniam tu solus sanctus (chorus) | — | ||
| 36-12 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: XII. Cum Sancto Spiritu (chorus) | — | ||
| 36-13 | Kyrie in G minor, RV 587, for 2 sopranos, 2 altos, double chorus and double string orchestra: I. Kyrie eleison (double chorus) | — | ||
| 36-14 | Kyrie in G minor, RV 587, for 2 sopranos, 2 altos, double chorus and double string orchestra: II. Christe eleison (2 sopranos, 2 altos) | — | ||
| 36-15 | Kyrie in G minor, RV 587, for 2 sopranos, 2 altos, double chorus and double string orchestra: III. Kyrie eleison (double chorus) | — | ||
| 36-16 | Credo in E minor, RV 591, for chorus and string orchestra: I. Credo in unum Deum | — | ||
| 36-17 | Credo in E minor, RV 591, for chorus and string orchestra: II. Et in terra pax (chorus) | — | ||
| 36-18 | Credo in E minor, RV 591, for chorus and string orchestra: III. Laudamus te (2 sopranos) | — | ||
| 36-19 | Credo in E minor, RV 591, for chorus and string orchestra: IV. Gratias agimus tibi (chorus) | — | ||
| 37-1 | Altri canti d'amore, SV 146 (Book VIII, Canti guerrieri) | — | ||
| 37-2 | Io son pur vezzosetta pastorella, SV 121 (Book VII) | — | ||
| 37-3 | Gira il nemico insidioso amore, SV 148 (Book VIII, Canti guerrieri) | — | ||
| 37-4 | Qual si può, SV 1 (Canzonette) | — | ||
| 37-5 | Tempro la cetra, SV 117 (Book VII) | — | ||
| 37-6 | Soave libertate, SV 130 (Book VII) | — | ||
| 37-7 | Su, su, su, pastorelli vezzosi, SV 166 (Book VII, Canti amorosi) | — | ||
| 37-8 | La fiera vista, SV 3 (Canzonette) | — | ||
| 37-9 | O come sei gentile, SV 120 (Book VII) | — | ||
| 37-10 | Ardo avvampo mi struggo, SV 152 (Book VII, Canti guerrieri) | — | ||
| 37-11 | Non giacinti o narcisi, SV 43 (Book II) | — | ||
| 37-12 | Tornate, i cari baci, SV 129 (Book VII) | — | ||
| 37-13 | Zefiro torna, SV 108 (Book VI) | — | ||
| 37-14 | S'andasse amor a caccia, SV 49 (Book II) | — | ||
| 37-15 | Eri già tutta mia, SV 248 (Scherzi musicali II) | — | ||
| 37-16 | Quel sguardo sdegnosetto, SV 247 (Scherzi musicali II) | — | ||
| 38-1 | Sestina: Lagrime d'amante al sepolcro dell amata, SV 111 (Book VI): Incenerite spoglie, avara tomba | — | ||
| 38-2 | Sestina: Lagrime d'amante al sepolcro dell amata, SV 111 (Book VI): Ditelo, o fiume e voi ch'udiste | — | ||
| 38-3 | Sestina: Lagrime d'amante al sepolcro dell amata, SV 111 (Book VI): Darà la notte il sol | — | ||
| 38-4 | Sestina: Lagrime d'amante al sepolcro dell amata, SV 111 (Book VI): Ma te raccoglie, o ninfa | — | ||
| 38-5 | Sestina: Lagrime d'amante al sepolcro dell amata, SV 111 (Book VI): O chiome d'or, neve gentil de seno | — | ||
| 38-6 | Sestina: Lagrime d'amante al sepolcro dell amata, SV 111 (Book VI): Dunque amate reliquie | — | ||
| 38-7 | Ninfa che scalza il piede, SV 160 (Book VIII, Canti amorosi): Ninfa che scalza il piede | — | ||
| 38-8 | Ninfa che scalza il piede, SV 160 (Book VIII, Canti amorosi): Qui deh meco t'arresta | — | ||
| 38-9 | Ninfa che scalza il piede, SV 160 (Book VIII, Canti amorosi): Dell'usate mie corde | — | ||
| 38-10 | Dolcissimo uscignolo, SV 161 (Book VIII, Canti amorosi) | — | ||
| 38-11 | Interrotte sepranze, SV 132 (Book VII) | — | ||
| 38-12 | Non sono in queste rive, SV 45 (Book II) | — | ||
| 38-13 | O viva fiamma, SV 122 (Book VII) | — | ||
| 38-14 | Alcun non mi consigli, SV 169 (Book IX) | — | ||
| 38-15 | Al lume delle stelle, SV 138 (Book VII) | — | ||
| 38-16 | Ohimè dovè il mio ben (Romanesca), SV 140 (Book VII) | — | ||
| 38-17 | S'el vostro cor madonna, SV 131 (Book VII) | — | ||
| 38-18 | Raggi dov'è il mio bene?, SV 4 (Canzonette) | — | ||
| 38-19 | Il mio martir, SV 6 (Canzonette) | — | ||
| 38-20 | Son questi i crespi crini, SV 7 (Canzonette) | — | ||
| 39-1 | Keyboard Concerto in C major, op. 7 no. 1: I. Allegretto | — | ||
| 39-2 | Keyboard Concerto in C major, op. 7 no. 1: II. Menuetto | — | ||
| 39-3 | Keyboard Concerto in F major, op. 7 no. 2: I. (Allegro) | — | ||
| 39-4 | Keyboard Concerto in F major, op. 7 no. 2: II. Tempo di menuetto | — | ||
| 39-5 | Keyboard Concerto in B-flat major, op. 7 no. 4: I. Allegro giusto | — | ||
| 39-6 | Keyboard Concerto in B-flat major, op. 7 no. 4: II. Allegro di molto | — | ||
| 39-7 | Keyboard Concerto in D major, op. 7 no. 3: I. Allegro con spirito | — | ||
| 39-8 | Keyboard Concerto in D major, op. 7 no. 3: II. Rondo: Allegretto | — | ||
| 40-1 | Beatus vir, RV 597, for soli, double chorus and orchestra: I. Beatus vir (chorus) | — | ||
| 40-2 | Beatus vir, RV 597, for soli, double chorus and orchestra: II. Potens in terra (bass) | — | ||
| 40-3 | Beatus vir, RV 597, for soli, double chorus and orchestra: III. Gloria e divitiae (2 sopranos) | — | ||
| 40-4 | Beatus vir, RV 597, for soli, double chorus and orchestra: IV. Exortum est (chorus) | — | ||
| 40-5 | Beatus vir, RV 597, for soli, double chorus and orchestra: V. Jucundus homo (soprano) | — | ||
| 40-6 | Beatus vir, RV 597, for soli, double chorus and orchestra: VI. In memoria aeterna (chorus) | — | ||
| 40-7 | Beatus vir, RV 597, for soli, double chorus and orchestra: VII. Paratum coe ejus (chorus) | — | ||
| 40-8 | Beatus vir, RV 597, for soli, double chorus and orchestra: VIII. Peccator videbit (bass) | — | ||
| 40-9 | Beatus vir, RV 597, for soli, double chorus and orchestra: IX. Gloria Patri (chorus) | — | ||
| 40-10 | Nulla in mundo pax sincera, RV 630, motet for soprano, string orchestra and continuo: I. Nulla in mundo pax sincera | — | ||
| 40-11 | Nulla in mundo pax sincera, RV 630, motet for soprano, string orchestra and continuo: II. Recitativo: Blanco colore oculos mundus decepit | — | ||
| 40-12 | Nulla in mundo pax sincera, RV 630, motet for soprano, string orchestra and continuo: III. Spirat anguis | — | ||
| 40-13 | Nulla in mundo pax sincera, RV 630, motet for soprano, string orchestra and continuo: IV. Alleluia | — | ||
| 40-14 | Lauda Jerusalem, RV 609, for 2 sopranos, double chorus and orchestra | — | ||
| 41-1 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: I. Magnificat (chorus) | — | ||
| 41-2 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: II. Et exultavit (soprano, alto, tenor, chorus) | — | ||
| 41-3 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: III. Et misericordia (chorus) | — | ||
| 41-4 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: IV. Fecit potentiam (chorus) | — | ||
| 41-5 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: V. Deposuit potentes (chorus) | — | ||
| 41-6 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: VI. Esurientes (2 sopranos) | — | ||
| 41-7 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: VII. Suscepit Israel (chorus) | — | ||
| 41-8 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: VIII. Sicut locutus est (chorus) | — | ||
| 41-9 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: IX. Gloria … Qui tollis (chorus) | — | ||
| 41-10 | Canta in prato, RV 623, motet for soprano, string orchestra and continuo: I. Canta in prato | — | ||
| 41-11 | Canta in prato, RV 623, motet for soprano, string orchestra and continuo: II. Recitativo: Saeva fulgescit nobis | — | ||
| 41-12 | Canta in prato, RV 623, motet for soprano, string orchestra and continuo: III. Avenae rusticae | — | ||
| 41-13 | Canta in prato, RV 623, motet for soprano, string orchestra and continuo: IV. Alleluia | — | ||
| 41-14 | In furore iustissimae irae, RV 626, motet for soprano, string orchestra and continuo: I. In furore | — | ||
| 41-15 | In furore iustissimae irae, RV 626, motet for soprano, string orchestra and continuo: II. Recitativo: Miserationum Pater piissime | — | ||
| 41-16 | In furore iustissimae irae, RV 626, motet for soprano, string orchestra and continuo: III. Tunc meus fletus evadet laetus | — | ||
| 41-17 | In furore iustissimae irae, RV 626, motet for soprano, string orchestra and continuo: IV. Alleluia | — | ||
| 41-18 | Beatus vir, RV 598, for 2 sopranos, chorus, string orchestra and continuo | — | ||
| 42-1 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: I. Dixit Dominus (chorus) | — | ||
| 42-2 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: II. Donec ponam inimicos tuos (chorus) | — | ||
| 42-3 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: III. Virgam virtutis tuae (soprano) | — | ||
| 42-4 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: IV. Tecum principium (soprano, alto) | — | ||
| 42-5 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: V. Juravit Dominus (chorus) | — | ||
| 42-6 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: VI. Dominus e dextris tuis (soprano) | — | ||
| 42-7 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: VII. Judicabit (alto, chorus) | — | ||
| 42-8 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: VIII. De torrente (alto) | — | ||
| 42-9 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: IX. Gloria Patri / X. Sicut erat in principio (alto, tenor, bass, chorus) | — | ||
| 42-10 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: XI. Et in saecula saeculorum | — | ||
| 42-11 | O qui coeli terraeque serenitas, RV 631, motet for soprano and string orchestra: I. O qui caeli | — | ||
| 42-12 | O qui coeli terraeque serenitas, RV 631, motet for soprano and string orchestra: II. Recitativo: Fac ut sordescat tellus | — | ||
| 42-13 | O qui coeli terraeque serenitas, RV 631, motet for soprano and string orchestra: III. Rosa quae moritur | — | ||
| 42-14 | O qui coeli terraeque serenitas, RV 631, motet for soprano and string orchestra: IV. Alleluia | — | ||
| 43-1 | Te Deum, H. 146, for soli, chorus, and orchestra: I. Prélude: Rondeau | — | ||
| 43-2 | Te Deum, H. 146, for soli, chorus, and orchestra: II. Te Deum laudamus (bass) | — | ||
| 43-3 | Te Deum, H. 146, for soli, chorus, and orchestra: III. Te aeternum Patrem (soprano I/II, altus, tenor, chorus) | — | ||
| 43-4 | Te Deum, H. 146, for soli, chorus, and orchestra: IV. Te per orbem terrarum (altus, tenor, bass) | — | ||
| 43-5 | Te Deum, H. 146, for soli, chorus, and orchestra: V. Tu devicto mortis aculeo (bass, chorus) | — | ||
| 43-6 | Te Deum, H. 146, for soli, chorus, and orchestra: VI. Te ergo quaesumus (soprano I) | — | ||
| 43-7 | Te Deum, H. 146, for soli, chorus, and orchestra: VII. Aeterna fac cum sanctus tuis (soprano II, altus, tenor, bass, chorus) | — | ||
| 43-8 | Te Deum, H. 146, for soli, chorus, and orchestra: VIII. Dignare, Domine, die isto (soprano I/II, bass) | — | ||
| 43-9 | Te Deum, H. 146, for soli, chorus, and orchestra: IX. Fiat misericordia tua, Domine, super nos (soprano I, bass) | — | ||
| 43-10 | Te Deum, H. 146, for soli, chorus, and orchestra: X. In te, Domine, speravi (altus, tenor, bass, chorus) | — | ||
| 43-11 | Salve Regina, H. 24, for 3 chorus and orchestra | — | ||
| 43-12 | Tenebrae factae sunt, H. 129, for bass and orchestra | — | ||
| 43-13 | In nativitatem Domini canticum, H. 416: III. Nuit (Orchestral interlude) | — | ||
| 43-14 | Seniores populi, H. 117, for altus and orchestra | — | ||
| 44-1 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: I. Dixit Dominus (chorus) | — | ||
| 44-2 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: II. Donec ponam inimicos tuos (chorus) | — | ||
| 44-3 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: III. Virgam virtutis tuae (sopranos) | — | ||
| 44-4 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: IV. Tecum principium (alto) | — | ||
| 44-5 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: V. Juravit Dominus (chorus) | — | ||
| 44-6 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: VI. Dominus a dextris tuis (tenor, bass) | — | ||
| 44-7 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: VII. Judicabit in nationibus (chorus) | — | ||
| 44-8 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: VIII. De torrente (soprano, chorus) | — | ||
| 44-9 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: IX. Gloria Patri (chorus) | — | ||
| 44-10 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: X. Sicut erat in principio (chorus) | — | ||
| 44-11 | Stabat Mater, RV 621, for alto and string orchestra: I. Stabat Mater dolorosa | — | ||
| 44-12 | Stabat Mater, RV 621, for alto and string orchestra: II. Cujus animam gementem | — | ||
| 44-13 | Stabat Mater, RV 621, for alto and string orchestra: III. O quam tristis | — | ||
| 44-14 | Stabat Mater, RV 621, for alto and string orchestra: IV. Quis est homo | — | ||
| 44-15 | Stabat Mater, RV 621, for alto and string orchestra: V. Quis non posset | — | ||
| 44-16 | Stabat Mater, RV 621, for alto and string orchestra: VI. Pro peccatis | — | ||
| 44-17 | Stabat Mater, RV 621, for alto and string orchestra: VII. Eja Mater | — | ||
| 44-18 | Stabat Mater, RV 621, for alto and string orchestra: VIII. Fac ut ardeat | — | ||
| 44-19 | Stabat Mater, RV 621, for alto and string orchestra: IX. Amen | — | ||
| 45-1 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. I. Chorus: “Lass, Fürstin, lass noch einen Strahl” | — | ||
| 45-2 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. II. Recitative (soprano): “Dein Sachsen, dein bestürzes Meissen” | — | ||
| 45-3 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. III. Aria (soprano): “Verstummt, verstummt, ihr holden Saiten!” | — | ||
| 45-4 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. IV. Recitative (alto): “Der Glocken bebendes Getön” | — | ||
| 45-5 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. V. Aria (alto): “Wie starb die Heldin so vergnügt!” | — | ||
| 45-6 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. VI. Recitative (tenor): “Ihr Leben liess die Kunst zu Sterben” | — | ||
| 45-7 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. VII. Chorus: “An Dir, du Fürbild grosser Frauen” | — | ||
| 45-8 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part II. VIII. Aria (tenor): “Der Ewigkeit saphirnes Haus” | — | ||
| 45-9 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part II. IX. Recitative - Arioso - Recitative (bass): “Was Wunder ist's?” | — | ||
| 45-10 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part II. X. Chorus: “Doch, Königin! du stirbest nicht” | — | ||
| 45-11 | “Ach Gott, wie manches Herzeleid”, BWV 58: Choral & Aria (soprano, bass): “Ach Gott, wie manches Herzeleid” | — | ||
| 45-12 | “Ach Gott, wie manches Herzeleid”, BWV 58: Recitative (bass): “Verfolgt dich gleich die arge Welt” | — | ||
| 45-13 | “Ach Gott, wie manches Herzeleid”, BWV 58: Aria (soprano): “Ich bin vergnügt in meinem Leiden” | — | ||
| 45-14 | “Ach Gott, wie manches Herzeleid”, BWV 58: Recitative (soprano): “Kann es die Welt nicht lassen” | — | ||
| 45-15 | “Ach Gott, wie manches Herzeleid”, BWV 58: Aria & Chorale (soprano, bass): “Ich hab' vor mir ein' schwere Reis” | — | ||
| 46-1 | “Jesu, der du meine Seele”, BWV 78: I. Chorus: “Jesu, der du meine Seele” | — | ||
| 46-2 | “Jesu, der du meine Seele”, BWV 78: II. Aria duetto (soprano, alto): “Wir eilen mit schwachen, doch emsigen Schritten” | — | ||
| 46-3 | “Jesu, der du meine Seele”, BWV 78: III. Recitative (tenor): “Ach! Ich bin eine Kind der Sünden” | — | ||
| 46-4 | “Jesu, der du meine Seele”, BWV 78: IV. Aria (tenor): “Das Blut, so meine Schuld durchstreicht” | — | ||
| 46-5 | “Jesu, der du meine Seele”, BWV 78: V. Recitative (bass): “Die Wunden, Nägen, Kron und Grab” | — | ||
| 46-6 | “Jesu, der du meine Seele”, BWV 78: VI. Aria (bass): “Nun du wirst mein Gewissen stillen” | — | ||
| 46-7 | “Jesu, der du meine Seele”, BWV 78: VII. Chorale: “Herr, ich glaube, hilf mir Schwachen” | — | ||
| 46-8 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part I. I. Chorus: “Lobet Gott in seinen Reichen” | — | ||
| 46-9 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part I. II. Recitative (tenor): “Der Herr Jesus hub seine Hände auf” | — | ||
| 46-10 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part I. III. Recitative (bass): “Ach, Jesu, ist dein Abschied schon so nah?” | — | ||
| 46-11 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part I. IV. Aria (alto): “Ach, bleibe doch, Mein liebstes Leben” | — | ||
| 46-12 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part I. V. Recitative (tenor): “Und ward aufgehoben zusehends” | — | ||
| 46-13 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part I. VI. Chorale: “Nun lieget alles unter dir” | — | ||
| 46-14 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part II. VIIa. Recitative (tenor, bass): “Und da sie ihm nachsahen gen Himmel fahren” | — | ||
| 46-15 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part II. VIIb. Recitative (alto): “Ach ja! So komme bald zurück” | — | ||
| 46-16 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part II. VIIc. Recitative (tenor): “Sie aber beteten ihn an” | — | ||
| 46-17 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part II. VIII. Aria (soprano): “Jesu, deine Gnadenblicke” | — | ||
| 46-18 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part II. IX. Chorale: “Wenn soll es doch geschehen” | — | ||
| 47-1 | Johannes-Passion, BWV 245: No. 1. Chorus. “Herr, unser Herrscher” (chorus) | — | ||
| 47-2 | Johannes-Passion, BWV 245: No. 2a. Recitative. “Jesus ging mit seinen Jüngern” (Evangelist, Jesus) | — | ||
| 47-3 | Johannes-Passion, BWV 245: No. 2b. Chorus. “Jesum von Nazareth” (chorus) | — | ||
| 47-4 | Johannes-Passion, BWV 245: No. 2c. Recitative. “Jesus spricht zu ihnen” (Evangelist, Jesus) | — | ||
| 47-5 | Johannes-Passion, BWV 245: No. 2d. Chorus. “Jesus von Nazareth” (chorus) | — | ||
| 47-6 | Johannes-Passion, BWV 245: No. 2e. Recitative. “Jesus antwortete” (Evangelist, Jesus) | — | ||
| 47-7 | Johannes-Passion, BWV 245: No. 3. Chorale. “O große Lieb” (chorus) | — | ||
| 47-8 | Johannes-Passion, BWV 245: No. 4. Recitative. “Auf daß das Wort erfüllet würde” (Evangelist, Jesus) | — | ||
| 47-9 | Johannes-Passion, BWV 245: No. 5. Chorale. “Dein Will' gescheh” (chorus) | — | ||
| 47-10 | Johannes-Passion, BWV 245: No. 6. Recitative. “Die Schar aber und der Oberhauptmann” (Evangelist) | — | ||
| 47-11 | Johannes-Passion, BWV 245: No. 7. Aria. “Von den Stricken” (alto, 2 oboes and continuo) | — | ||
| 47-12 | Johannes-Passion, BWV 245: No. 8. Recitative. “Simon Petrus aber folgete Jesu nach” (Evangelist) | — | ||
| 47-13 | Johannes-Passion, BWV 245: No. 9. Aria. “Ich folge dir gleichfalls” (soprano, flute) | — | ||
| 47-14 | Johannes-Passion, BWV 245: No. 10. Recitative. “Derselbige Jünger war dem Hohenpriester bekannt” (Evangelist, Petrus, Jesus) | — | ||
| 47-15 | Johannes-Passion, BWV 245: No. 11. Chorale. “Wer hat dich so geschlagen” (chorus) | — | ||
| 47-16 | Johannes-Passion, BWV 245: No. 12a. Recitative. “Und Hannas sandte ihn gebunden” (Evangelist) | — | ||
| 47-17 | Johannes-Passion, BWV 245: No. 12b. Chorus. “Bist du nicht seiner Jünger einer” (chorus) | — | ||
| 47-18 | Johannes-Passion, BWV 245: No. 12c. Recitative. “Er leugnete aber und sprach” (Evangelist, Petrus) | — | ||
| 47-19 | Johannes-Passion, BWV 245: No. 13. Aria. “Ach, mein Sinn” (tenor) | — | ||
| 47-20 | Johannes-Passion, BWV 245: No. 14. Chorale. “Petrus, der nicht denkt zurück” (chorus) | — | ||
| 47-21 | Johannes-Passion, BWV 245: No. 15. Chorale. “Christus, der uns selig macht” (chorus) | — | ||
| 47-22 | Johannes-Passion, BWV 245: No. 16a. Recitative. “Da führeten sie Jesum” (Evangelist, Pilatus) | — | ||
| 47-23 | Johannes-Passion, BWV 245: No. 16b. Chorus. “Wäre dieser nicht ein Übeltäter” (chorus) | — | ||
| 47-24 | Johannes-Passion, BWV 245: No. 16c. Recitative. “Da sprach Pilatus zu ihnen” (Evangelist, Pilatus) | — | ||
| 47-25 | Johannes-Passion, BWV 245: No. 16d. Chorus. “Wir dürfen niemand töten” (chorus) | — | ||
| 47-26 | Johannes-Passion, BWV 245: No. 16e. Recitative. “Auf daß erfüllet würde das Wort” (Evangelist, Pilatus, Jesus) | — | ||
| 47-27 | Johannes-Passion, BWV 245: No. 17. Chorale. “Ach großer König” (chorus) | — | ||
| 47-28 | Johannes-Passion, BWV 245: No. 18a. Recitative. “Da sprach Pilatus zu ihm” (Evangelist, Pilatus, Jesus) | — | ||
| 47-29 | Johannes-Passion, BWV 245: No. 18b. Chorus. “Nicht diesen, sondern Barrabam” (chorus) | — | ||
| 47-30 | Johannes-Passion, BWV 245: No. 18c. Recitative. “Barrabas aber war ein Mörder” (Evangelist) | — | ||
| 47-31 | Johannes-Passion, BWV 245: No. 19. Arioso. “Betrachte, meine Seel', mit ängstlichem Vergnügen” (bass, 2 viole d'amore, lute) | — | ||
| 47-32 | Johannes-Passion, BWV 245: No. 20. Aria. “Erwäge, wie sien blutgefärbter Rücken” (tenor, 2 viole d'amore) | — | ||
| 48-1 | Johannes-Passion, BWV 245: No. 21a. Recitative. “Und die Kriegsknechte flochten eine Krone” (Evangelist) | — | ||
| 48-2 | Johannes-Passion, BWV 245: No. 21b. Chorus. “Sei gegrüsset, lieber Judenkönig” (chorus) | — | ||
| 48-3 | Johannes-Passion, BWV 245: No. 21c. Recitative. “Und gaben ihm Backenstreiche” (Evangelist, Pilatus) | — | ||
| 48-4 | Johannes-Passion, BWV 245: No. 21d. Chorus. “Kreuzige, Kreuzige” (chorus) | — | ||
| 48-5 | Johannes-Passion, BWV 245: No. 21e. Recitative. “Pilatus sprach zu ihnen” (Evangelist, Pilatus) | — | ||
| 48-6 | Johannes-Passion, BWV 245: No. 21f. Chorus. “Wir haben ein Gesetz” (chorus) | — | ||
| 48-7 | Johannes-Passion, BWV 245: No. 21g. Recitative: “Da Pilatus das Wort hörete” (Evangelist, Pilatus, Jesus) | — | ||
| 48-8 | Johannes-Passion, BWV 245: No. 22. Chorale. “Durch dein Gefängnis, Gottes Sohn” (chorus) | — | ||
| 48-9 | Johannes-Passion, BWV 245: No. 23a. Recitative. “Die Juden aber schrieen” (Evangelist) | — | ||
| 48-10 | Johannes-Passion, BWV 245: No. 23b. Chorus. “Lässest du diesen los” (chorus) | — | ||
| 48-11 | Johannes-Passion, BWV 245: No. 23c. Recitative. “Da Pilatus das Wort hörete” (Evangelist, Pilatus) | — | ||
| 48-12 | Johannes-Passion, BWV 245: No. 23d. Chorus. “Weg, weg mit dem, Kreuzige ihn!” (chorus) | — | ||
| 48-13 | Johannes-Passion, BWV 245: No. 23e. Recitative. “Spricht Pilatus zu ihnen” (Evangelist, Pilatus) | — | ||
| 48-14 | Johannes-Passion, BWV 245: No. 23f. Chorus. “Wir haben keiner König denn den Kaiser” (chorus) | — | ||
| 48-15 | Johannes-Passion, BWV 245: No. 23g. Recitative. “Da überantworte er ihn” (Evangelist) | — | ||
| 48-16 | Johannes-Passion, BWV 245: No. 24. Aria & Chorus. “Eilt, ihr angefocht'nen Seelen” (bass, chorus) | — | ||
| 48-17 | Johannes-Passion, BWV 245: No. 25a. Recitative. “Allda kreuzigten sie ihn” (Evangelist) | — | ||
| 48-18 | Johannes-Passion, BWV 245: No. 25b. Chorus. “Schreibe nicht” (chorus) | — | ||
| 48-19 | Johannes-Passion, BWV 245: No. 25c. Recitative. “Pilatus antwortet” (Evangelist, Pilatus) | — | ||
| 48-20 | Johannes-Passion, BWV 245: No. 26. Chorale. “In meines Herzens Grune” (chorus) | — | ||
| 48-21 | Johannes-Passion, BWV 245: No. 27a. Recitative. “Die Kriegsknechte aber” (Evangelist) | — | ||
| 48-22 | Johannes-Passion, BWV 245: No. 27b. Chorus. “Lasset uns den nicht zerteilen” (chorus) | — | ||
| 48-23 | Johannes-Passion, BWV 245: No. 27c. Recitative. “Auf daß erfüllet würde die Schrift” (Evangelist, Jesus) | — | ||
| 48-24 | Johannes-Passion, BWV 245: No. 28. Chorale. “Er nahm alles wohl in acht” (chorus) | — | ||
| 48-25 | Johannes-Passion, BWV 245: No. 29. Recitative. “Und von Stund an nahm sie der Jünger” (Evangelist, Jesus) | — | ||
| 48-26 | Johannes-Passion, BWV 245: No. 30. Aria. “Es ist vollbracht” (alto, viola da gamba) | — | ||
| 48-27 | Johannes-Passion, BWV 245: No. 31. Recitative. “Und neigt das Haupt und verschied” (Evangelist) | — | ||
| 48-28 | Johannes-Passion, BWV 245: No. 32. Aria & Chorus. “Mein teurer Heiland” (bass, chorus) | — | ||
| 48-29 | Johannes-Passion, BWV 245: No. 33. Recitative. “Und siehe da, der Vorhang im Tempel zerriß” (Evangelist) | — | ||
| 48-30 | Johannes-Passion, BWV 245: No. 34. Arioso. “Mein Herz, in dem die ganze Welt” (tenor, flute, 2 oboes) | — | ||
| 48-31 | Johannes-Passion, BWV 245: No. 35. Aria. “Zerfließe, mein Herze” (soprano, flute, cor anglais) | — | ||
| 48-32 | Johannes-Passion, BWV 245: No. 36. Recitative. “Die Juden aber dieweil es der Rüsttag war” (Evangelist) | — | ||
| 48-33 | Johannes-Passion, BWV 245: No. 37. Chorale. “O hilf, Christe, Gottes Sohn” (chorus) | — | ||
| 48-34 | Johannes-Passion, BWV 245: No. 38. Recitative. “Darnach bat Pilatum Joseph von Arimathia” (Evangelist) | — | ||
| 48-35 | Johannes-Passion, BWV 245: No. 39. Chorus. “Ruht wohl, ihr heiligen Gebeine” (chorus) | — | ||
| 48-36 | Johannes-Passion, BWV 245: No. 40. Chorale. “Ach Herr, laß dein lieb Engelein” (chorus) | — | ||
| 49-1 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: I. Gloria in excelsis (chorus) | — | ||
| 49-2 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: II. Et in terra pax (chorus) | — | ||
| 49-3 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: III. Laudamus te (2 sopranos) | — | ||
| 49-4 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: IV. Gratias agimus tibi (chorus) | — | ||
| 49-5 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: V. Domine Deus (tenor) | — | ||
| 49-6 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: VI. Domine Fili unigenite (chorus) | — | ||
| 49-7 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: VII. Domine Deus, Agnus Dei (soprano) | — | ||
| 49-8 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: VIII. Qui tollis peccata mundi (chorus) | — | ||
| 49-9 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: IX. Qui sedes ad dexteram Patris (alto) | — | ||
| 49-10 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: X. Quoniam tu solus sanctus (soprano) | — | ||
| 49-11 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: XI. Cum Sancto Spriritu (chorus) | — | ||
| 49-12 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: I. Nisi Dominus | — | ||
| 49-13 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: II. Vanum est vobis | — | ||
| 49-14 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: III. Surgite | — | ||
| 49-15 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: IV. Cum dederit | — | ||
| 49-16 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: V. Sicut saggitae | — | ||
| 49-17 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: VI. Beatus vir | — | ||
| 49-18 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: VII. Gloria Patri | — | ||
| 49-19 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: VIII. Sicut erat in principio | — | ||
| 49-20 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: IX. Amen | — | ||
| 50-1 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: I. Récit de Dieu: “Audit coeli quae loquor” (bass) | — | ||
| 50-2 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: II. Chorus hominum: “O pavor, o tremor, o portentum” (soli, chorus) | — | ||
| 50-3 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: III. Bruit de trompettes | — | ||
| 50-4 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: IV. Duo des Anges: “Adeste omnes gentes” (countertenor, alto) | — | ||
| 50-5 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: V. Bruit de trompettes | — | ||
| 50-6 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: VI. Chorus hominum: “Et factus est subito sonus” (chorus) | — | ||
| 50-7 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: VII. Récit de Dieu (Part I): “Venite benedicti” (bass) | — | ||
| 50-8 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: VIII. Récit de Dieu (Part II): “Et vos maledicti” (bass) | — | ||
| 50-9 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: IX. Chœur des damnés: “O justa punitio” (soli, chorus) | — | ||
| 50-10 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: X. Les Anges: “Vos autem electi” (countertenor, alto) | — | ||
| 50-11 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: XI. Chœur des élus: “Hymnum docamus Domine nostro” (soli, chorus) | — | ||
| 50-12 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: I. instrumental prelude | — | ||
| 50-13 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: II. Beatus vir (bass) | — | ||
| 50-14 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: III. Potens in terra (chorus) | — | ||
| 50-15 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: IV. Exortum est in tenebris (soprano I, countertenor, tenor, bass) | — | ||
| 50-16 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: V. In memoria aeterna (chorus) | — | ||
| 50-17 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: VI. Dispersit, dedit pauperibus (bass) | — | ||
| 50-18 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: VII. Peccator videbit (chorus) | — | ||
| 50-19 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: VIII. Gloria Patri (2 sopranos, chorus) | — | ||
| 51-1 | Combattimento di Tancredi e Clorina, SV 153 (Book VIII, Canti guerrieri): Tancredi, que Clorinda homo stima | — | ||
| 51-2 | Combattimento di Tancredi e Clorina, SV 153 (Book VIII, Canti guerrieri): Notte, che nei profondo oscuro seno | — | ||
| 51-3 | Combattimento di Tancredi e Clorina, SV 153 (Book VIII, Canti guerrieri): Torna l'ira nei cori | — | ||
| 51-4 | Combattimento di Tancredi e Clorina, SV 153 (Book VIII, Canti guerrieri): Amico, hai vinto | — | ||
| 51-5 | Chiome d'oro, bel tesoro, SV 143 (Book VII) | — | ||
| 51-6 | Altri canti di Marte, SV 155 (Book VIII, Canti amorosi): Altri canti di Marte e di sua schiera (Part I) | — | ||
| 51-7 | Altri canti di Marte, SV 155 (Book VIII, Canti amorosi): Due belli occhi (Part II) | — | ||
| 51-8 | Et è pur dunque verò, SV 250 (Scherzi musicali II) | — | ||
| 51-9 | Batto qui pianse Ergasto, SV 115 (Book VI) | — | ||
| 51-10 | Amorosa pupiletta, SV 238 (Scherzi musicali II) | — | ||
| 51-11 | Lamento d'Arianna, SV 22 | — | ||
| 51-12 | Vago augelleto, SV 156 (Book VIII, Canti amorosi) | — | ||
| 51-13 | Ecco di dolci raggi, SV 249 (Scherzi musicali II) | — | ||
| 51-14 | Io che armato sin hor, SV 249a (Scherzi musicali II) | — | ||
| 51-15 | Fugge il verno dei dolori, SV 232 (Scherzi musicali I) | — | ||
| 51-16 | A dio Florida bella, SV 110 (Book VI) | — | ||
| 51-17 | Misero alceo, SV 114 (Book VI) | — | ||
| 52-1 | Il ballo (per l'imperatore Ferdinando), SV 154 (Book VIII, Canti guerrieri) | — | ||
| 52-2 | Miei lettera amorosa (Se i languidi), SV 141 (Book VII) | — | ||
| 52-3 | Lidia spina del mio core, SV 244 (Scherzi musicali I) | — | ||
| 52-4 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Sinfonia | — | ||
| 52-5 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): De l'implacabil Dio | — | ||
| 52-6 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Bella madre d'amor | — | ||
| 52-7 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): S'invan su l'arco tendi | — | ||
| 52-8 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Udite, udite | — | ||
| 52-9 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Ecco ver noi l'adolorate squadre | — | ||
| 52-10 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Entrata - Ballo | — | ||
| 52-11 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Dal tenebroso orror del mio gran regno | — | ||
| 52-12 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Ahi troppo è duro | — | ||
| 52-13 | Partenza amorosa (Se pur destina e vole), SV 142 (Book VII) | — | ||
| 52-14 | Dolci miei sospiri, SV 242 (Scherzi musicali I) | — | ||
| 52-15 | Damigella tutta bella, SV 235 (Scherzi musicali I) | — | ||
| 53-1 | Mass in B minor, BWV 232: Kyrie. I. Kyrie eleison I (chorus) | — | ||
| 53-2 | Mass in B minor, BWV 232: Kyrie. II. Christe eleison (soprano II, mezzo-soprano) | — | ||
| 53-3 | Mass in B minor, BWV 232: Kyrie. III. Kyrie eleison II (chorus) | — | ||
| 53-4 | Mass in B minor, BWV 232: Gloria. IV. Gloria in excelsis / V. Et in terra pax (chorus) | — | ||
| 53-5 | Mass in B minor, BWV 232: Gloria. VI. Laudamus te (soprano I) | — | ||
| 53-6 | Mass in B minor, BWV 232: Gloria. VII. Gratias agimus tibi (chorus) | — | ||
| 53-7 | Mass in B minor, BWV 232: Gloria. VIII. Domine Deus (soprano I, tenor) | — | ||
| 53-8 | Mass in B minor, BWV 232: Gloria. IX. Qui tollis peccata mundi (chorus) | — | ||
| 53-9 | Mass in B minor, BWV 232: Gloria. X. Qui sedes ad dexteram Patris (mezzo-soprano) | — | ||
| 53-10 | Mass in B minor, BWV 232: Gloria. XI. Quoniam tu solus sanctus (bass) | — | ||
| 53-11 | Mass in B minor, BWV 232: Gloria. XII. Cum Sancto Spiritu (chorus) | — | ||
| 53-12 | Mass in B minor, BWV 232: Credo. XII. Credo in unum Deum (chorus) | — | ||
| 53-13 | Mass in B minor, BWV 232: Credo. XIII. Patrem omnipotentem (chorus) | — | ||
| 53-14 | Mass in B minor, BWV 232: Credo. XIV. Et in unum Dominum (soprano I, mezzo-soprano) | — | ||
| 53-15 | Mass in B minor, BWV 232: Credo. XV. Et incarnatus est (chorus) | — | ||
| 53-16 | Mass in B minor, BWV 232: Credo. XVI. Crucifixus (chorus) | — | ||
| 54-1 | Mass in B minor, BWV 232: Credo. XVII. Et resurrexit (chorus) | — | ||
| 54-2 | Mass in B minor, BWV 232: Credo. XVIII. Et in Spiritum Sanctum Dominum (baritone) | — | ||
| 54-3 | Mass in B minor, BWV 232: Credo. XIX. Confiteor (chorus) | — | ||
| 54-4 | Mass in B minor, BWV 232: Credo. XX. Et expecto (chorus) | — | ||
| 54-5 | Mass in B minor, BWV 232: Sanctus. XXI. Sanctus (chorus) | — | ||
| 54-6 | Mass in B minor, BWV 232: Sanctus. XXII. Osanna in excelsis (chorus) | — | ||
| 54-7 | Mass in B minor, BWV 232: Sanctus. XXIII. Benedictus (tenor) | — | ||
| 54-8 | Mass in B minor, BWV 232: Sanctus. XXIV. Osanna repetirur (chorus) | — | ||
| 54-9 | Mass in B minor, BWV 232: Sanctus. XXV. Agnus Dei (mezzo-soprano) | — | ||
| 54-10 | Mass in B minor, BWV 232: Sanctus. XXVI. Dona nobis pacem (chorus) | — | ||
| 54-11 | Magnificat in D major, BWV 243: I. Magnificat (chorus) | — | ||
| 54-12 | Magnificat in D major, BWV 243: II. Et exultavit spiritus meus (soprano II) | — | ||
| 54-13 | Magnificat in D major, BWV 243: III. Quia respexit humilitatem (soprano I) | — | ||
| 54-14 | Magnificat in D major, BWV 243: IV. Omnes generationes (chorus) | — | ||
| 54-15 | Magnificat in D major, BWV 243: V. Quia fecit mihi magna (bass) | — | ||
| 54-16 | Magnificat in D major, BWV 243: VI. Et misericorida (alto, tenor) | — | ||
| 54-17 | Magnificat in D major, BWV 243: VII. Fecit potentiam (chorus) | — | ||
| 54-18 | Magnificat in D major, BWV 243: VIII. Deposuit potentes (tenor) | — | ||
| 54-19 | Magnificat in D major, BWV 243: IX. Esurientes implevit bonis (alto) | — | ||
| 54-20 | Magnificat in D major, BWV 243: X. Aria-Trio "Suscepit Israel" | Jennifer Smith, Rachel Yakar, Birgit Finnilä, Ensemble Vocal de Lausanne, Ensemble Instrumental de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 54-21 | Magnificat in D major, BWV 243: XI. Sicut locutus est (chorus) | — | ||
| 54-22 | Magnificat in D major, BWV 243: XII. Gloria Patri (chorus) | — | ||
| 55-1 | Ercole amante: Prologo. Sinfonia | — | ||
| 55-2 | Ercole amante: Prologo. “Qual concorso indonivo” (Coro di Fiumi) | — | ||
| 55-3 | Ercole amante: Prologo. “Ah ! che mentre la terra” (Il Tevere) | — | ||
| 55-4 | Ercole amante: Prologo. “Ai di lei veri accenti” (Coro di Fiumi) | — | ||
| 55-5 | Ercole amante: Prologo. Sinfonia | — | ||
| 55-6 | Ercole amante: Prologo. “Ed ecco, o Gallia invita” (Cinthia) | — | ||
| 55-7 | Ercole amante: Prologo. “Doppo belliche noie” (Coro di Fiumi) | — | ||
| 55-8 | Ercole amante: Prologo. “E poiche quai doppo guerrieri onori” (Cinthia) | — | ||
| 55-9 | Ercole amante: Prologo. “E veda ogn'un” (Coro di Fiumi) | — | ||
| 55-10 | Ercole amante: Prologo. “O Gallia fortunata” (Coro di Fiumi) | — | ||
| 55-11 | Ercole amante: Atto I. Sinfonia | — | ||
| 55-12 | Ercole amante: Atto I, Scene 1. “Come si beffa amor” (Ercole) | — | ||
| 55-13 | Ercole amante: Atto I, Scene 2. “Se Ninfa ai pianti” (Venere, le tre grazie) | — | ||
| 55-14 | Ercole amante: Atto I, Scene 2. “Ogn'impero ha ribelli” (Venere) | — | ||
| 55-15 | Ercole amante: Atto I, Scene 2. “Fugano a vo” (Ercole, Venere, le tre grazie) | — | ||
| 55-16 | Ercole amante: Atto I, Scene 2. “Infelice e disperato” (Giunone) | — | ||
| 55-17 | Ercole amante: Atto I, Scene 3. “E vuol dunque Ciprigna” (Giunone) | — | ||
| 55-18 | Ercole amante: Atto II. Sinfonia | — | ||
| 55-19 | Ercole amante: Atto II, Scene 1. “Amor ardo piu rari” (Hyllo, Jole) | — | ||
| 55-20 | Ercole amante: Atto II, Scene 1. “Pure alfine il rispetto di figlio” (Hole, Hyllo, Il Paggio) | — | ||
| 55-21 | Ercole amante: Atto II, Scene 2. “D'amore il foco” (Jole, Hyllo) | — | ||
| 55-22 | Ercole amante: Atto II, Scene 3. “E che cos' è quest'Amore” (Il Paggio) | — | ||
| 55-23 | Ercole amante: Atto II, Scene 4. “Buon di, gentil fanciullo” (Licco, il Paggio) | — | ||
| 55-24 | Ercole amante: Atto II, Scene 5. “Misera, ohime ch'ascolto” (Dejanira) | — | ||
| 55-25 | Ercole amante: Atto II, Scene 5. “Ah ! fu sempre in Amor” (Licco, Dejanira) | — | ||
| 55-26 | Ercole amante: Atto II, Scene 5. “Ah, Dejanira ! Dunque tu temi” (Dejanira, Licco) | — | ||
| 55-27 | Ercole amante: Atto II, Scene 6. “Mormorate, fiumicelli” (Pasitea) | — | ||
| 55-28 | Ercole amante: Atto II, Scene 6. Coro | — | ||
| 55-29 | Ercole amante: Atto II, Scene 7. “Sublime Dea” (Pasitea) | — | ||
| 55-30 | Ercole amante: Atto II, Scene 7. “Zelo dell' onor mio a cui” (Giunone, Pasitea) | — | ||
| 55-31 | Ercole amante: Atto II, Scene 7. “Le rugiade piu preziose” (Tutti) | — | ||
| 55-32 | Ercole amante: Atto II, Scene 7. “Vanne e fa breve dimora” (Pasitea, tutti) | — | ||
| 56-1 | Ercole amante: Atto III. Sinfonia | — | ||
| 56-2 | Ercole amante: Atto III, Scene 1. “Sol s'inarca gl'Emisferi per stupor” (Venere) | — | ||
| 56-3 | Ercole amante: Atto III, Scene 1. “E pe mi cangi o Dei” (Ercole, Venere) | — | ||
| 56-4 | Ercole amante: Atto III, Scene 2. “Amor, contar ben puoi” (Ercole) | — | ||
| 56-5 | Ercole amante: Atto III, Scene 2. “Sara com'hai disposo” (Il Paggio, Ercole) | — | ||
| 56-6 | Ercole amante: Atto III, Scene 3. “Bella Jole e quando” (Ercole, Jole) | — | ||
| 56-7 | Ercole amante: Atto III, Scene 3. “Ohime, che ascolto” (Hyllo, Ercole) | — | ||
| 56-8 | Ercole amante: Atto III, Scene 4. “A che pensi Jole” (Ercole, Jole) | — | ||
| 56-9 | Ercole amante: Atto III, Scene 5. “Sonno potente Nume” (Giunone) | — | ||
| 56-10 | Ercole amante: Atto III, Scene 5. “O qual sonno produgioso” (Jole, Giunone) | — | ||
| 56-11 | Ercole amante: Atto III, Scene 6. “D'Eutyro anima grande” (Jole, Hyllo) | — | ||
| 56-12 | Ercole amante: Atto III, Scene 7. “Svegliati, Alcide e mira” (Mercurio, Ercole, Jole) | — | ||
| 56-13 | Ercole amante: Atto III, Scene 8. “Piu di salvarlo tenti” (Ercole, Dejanira, Jole, Licco) | — | ||
| 56-14 | Ercole amante: Atto III, Scene 9. “Figlio, tu prigionero” (Dejanira, Hyllo) | — | ||
| 56-15 | Ercole amante: Atto III, Scene 10. “Addio paggio” (Licco, il Paggio) | — | ||
| 56-16 | Ercole amante: Atto IV. Sinfonia | — | ||
| 56-17 | Ercole amante: Atto IV, Scene 1. “Ahi che pena e gelosia” (Hyllo) | — | ||
| 56-18 | Ercole amante: Atto IV, Scene 2. “Zefri che gite” (Il Paggio) | — | ||
| 56-19 | Ercole amante: Atto IV, Scene 2. “Che novella m'arrechi” (Hyllo, Il Paggio) | — | ||
| 56-20 | Ercole amante: Atto IV, Scene 3. “E chi fia piu vieti” (Hyllo) | — | ||
| 56-21 | Ercole amante: Atto IV, Scene 4. “Salva, nettuno, ah! salva” (Giunone) | — | ||
| 56-22 | Ercole amante: Atto IV, Scene 4. “Eccoti o Dea contenta” (Nettuno, Hyllo, Giunone) | — | ||
| 56-23 | Ercole amante: Atto IV, Scene 5. “Congedo a gl'orridi” (Giunone) | — | ||
| 56-24 | Ercole amante: Atto IV, Scene 6. “Ed a che peggio” (Dejanira, Licco) | — | ||
| 56-25 | Ercole amante: Atto IV, Scene 6. “Ah Dejanira, io non son tanto accorto” (Licco) | — | ||
| 57-1 | Ercole amante: Atto IV, Scene 7. “Gradisci, o Re” (Coro) | — | ||
| 57-2 | Ercole amante: Atto IV, Scene 7. “E se pur negl' estinti” (Jole) | — | ||
| 57-3 | Ercole amante: Atto IV, Scene 7. “Che prieghi ingiurioso” (Ombra d'Eutyro, Jole, Dejanira) | — | ||
| 57-4 | Ercole amante: Atto IV, Scene 7. “Hyllo il mio bene è morto” (Jole) | — | ||
| 57-5 | Ercole amante: Atto IV, Scene 7. “Ferma ti prego” (Liggo, Dejanira, Jole) | — | ||
| 57-6 | Ercole amante: Atto V. Sinfonia | — | ||
| 57-7 | Ercole amante: Atto V, Scene 1. “Come solo ad un grido” (Ombra d'Eutyro) | — | ||
| 57-8 | Ercole amante: Atto V, Scene 1. “Pera, mora il crudel” (Coro, Ombra di Clerica) | — | ||
| 57-9 | Ercole amante: Atto V, Scene 1. “Pera, mora, il perverso” (Laomedonte, Coro) | — | ||
| 57-10 | Ercole amante: Atto V, Scene 1. “Pera, more l'iniquio” (Ombra di Bussiride, Coro) | — | ||
| 57-11 | Ercole amante: Atto V, Scene 1. “Su su dunque” (Ombra d'Eutyro, Coro) | — | ||
| 57-12 | Ercole amante: Atto V, Scene 1. Sinfonia | — | ||
| 57-13 | Ercole amante: Atto V, Scene 2. “Alfine il Ciel d'amor” (Ercole, Licco, Jole) | — | ||
| 57-14 | Ercole amante: Atto V, Scene 2. “Pronuba e casta Dea” (Coro, Ercole, Jole) | — | ||
| 57-15 | Ercole amante: Atto V, Scene 2. “Ma qual pungente arsura” (Ercole) | — | ||
| 57-16 | Ercole amante: Atto V, Scene 2. “Che dici” (Licco, Jole) | — | ||
| 57-17 | Ercole amante: Atto V, Scene 3. “Ah, Nesso mi tradi” (Dejanira, Jole, Licco, Hyllo) | — | ||
| 57-18 | Ercole amante: Atto V, Scene 4. “Su, su allegrezza” (Giunone) | — | ||
| 57-19 | Ercole amante: Atto V, Scene 4. “Oh Dea come n'arrequi” (Jole, Dejanira, Hyllo, Licco, Giunone) | — | ||
| 57-20 | Ercole amante: Atto V, Scene 5. “Quel grande Eroe” (Coro) | — | ||
| 57-21 | Ercole amante: Atto V, Scene 5. “Così un giorno” (Belezza, Ercole) | — | ||
| 57-22 | Ercole amante: Atto V, Scene 5. “Virtu che soffre” (Coro) | — | ||
| 58-1 | Muzio Scevola, opera in three acts, HWV 13: Overture | — | ||
| 58-2 | Rodrigo, opera in three acts, HWV 5: I. Overture | — | ||
| 58-3 | Rodrigo, opera in three acts, HWV 5: II. Gigue | — | ||
| 58-4 | Rodrigo, opera in three acts, HWV 5: III. Sarabande | — | ||
| 58-5 | Rodrigo, opera in three acts, HWV 5: IV. Matelot | — | ||
| 58-6 | Rodrigo, opera in three acts, HWV 5: V. Menuet | — | ||
| 58-7 | Rodrigo, opera in three acts, HWV 5: VI. Bourrée | — | ||
| 58-8 | Rodrigo, opera in three acts, HWV 5: VII. Menuet | — | ||
| 58-9 | Rodrigo, opera in three acts, HWV 5: VIII. Passacaille | — | ||
| 58-10 | Il pastor fido, opera in three acts, HWV 8: I. Overture | — | ||
| 58-11 | Il pastor fido, opera in three acts, HWV 8: II. Largo | — | ||
| 58-12 | Il pastor fido, opera in three acts, HWV 8: III. Allegro | — | ||
| 58-13 | Il pastor fido, opera in three acts, HWV 8: IV. Menuet | — | ||
| 58-14 | Il pastor fido, opera in three acts, HWV 8: V. Adagio | — | ||
| 58-15 | Il pastor fido, opera in three acts, HWV 8: VI. Allegro | — | ||
| 58-16 | Silla, opera in three acts, HWV 10: Overture | — | ||
| 59-1 | David et Jonathas, opera in one prologue and five acts, H. 490: Prologue, Scene 1. “Où suis-je ? Qu'ai-je fait ?” (Saül) | — | ||
| 59-2 | David et Jonathas, opera in one prologue and five acts, H. 490: Prologue, Scene 2. “Dois-je enfin épouver le secours de vos charmes ?” (Saül, La Pythonisse) | — | ||
| 59-3 | David et Jonathas, opera in one prologue and five acts, H. 490: Prologue, Scene 3. “Retirez-vous affreux tonnerre” (La Pythonisse) | — | ||
| 59-4 | David et Jonathas, opera in one prologue and five acts, H. 490: Prologue, Scene 4. “Quelle importune voix vient troubler mon repos ?” (L'ombre de Samuel, Saül) | — | ||
| 59-5 | David et Jonathas, opera in one prologue and five acts, H. 490: Prologue, Scene 5. “Est-ce assez ? Ai-je enfin épuisé ta colère ?” (Saül, La Pythonisse) | — | ||
| 59-6 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 1, Scene 1. “Du plus grand des héros” (Un guerrier, Un du peuple, Bergers, Captifs, Chorus) | — | ||
| 59-7 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 1, Scene 2. “Allez, le ciel vous attend” (David) | — | ||
| 59-8 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 1, Scene 3. “Ciel ! Quel triste combat” (David) | — | ||
| 59-9 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 1, Scene 4. “Le ciel enfin favourable à mes vœux” (Achis, David, Captifs, Chorus) | — | ||
| 59-10 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 2, Scene 1. “Quel inutile soin” (Joabel, David, Chorus) | — | ||
| 59-11 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 2, Scene 2. “Dépit jaloux, haine cruelle” (Joabel, Chorus) | — | ||
| 59-12 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 2, Scene 3. “À vostre bras vanqueur” (Jonathas, David, Un de la suite de Jonathas, Chorus, Bergers) | — | ||
| 60-1 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 3, Scene 1. “Ah ! Je dois assurer et ma vie et l'empire ?” (Saül, Achis) | — | ||
| 60-2 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 3, Scene 2. “Objet d'une implacable haine” (Saül) | — | ||
| 60-3 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 3, Scene 3a. “David puet-il attendre un retour favorable ?” (Jonathas, Saül, David) | — | ||
| 60-4 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 3, Scene 3b. “Achevons, mon bonheur passe mon espérance” (Joabel) | — | ||
| 60-5 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 4, Scene 1. “Souverain juge des mortels” (David) | — | ||
| 60-6 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 4, Scene 2. “Vous me fuyez !” (Jonathas, David) | — | ||
| 60-7 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 4, Scene 3. “A-t-on jamais souffert une plus rude peine ?” (Jonathas, Chorus) | — | ||
| 60-8 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 4, Scene 4. “Venez, Seigneur, venez” (Saül, Achis) | — | ||
| 60-9 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 4, Scene 5. “Enfin vous m'écoutez, Seigneur” (Joabel, Achis, Chorus) | — | ||
| 60-10 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 5, Scene 1. “Courez, Saül attend un secours nécessaire” (Jonathas) | — | ||
| 60-11 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 5, Scene 2. “Que vois-je ? Que je perds et mon fils et l'empire” (Saül, Jonathas, Chorus) | — | ||
| 60-12 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 5, Scene 3. “Victoire ! Victoire !” (Chorus) | — | ||
| 60-13 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 5, Scene 4. “Qu'on sauve Jonathas” (David, Jonathas, Chorus) | — | ||
| 60-14 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 5, Scene 5. “Voi traitre, et reconnoi ta nouvelle victime” (Saül, David) | — | ||
| 60-15 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 5, Scene 6. “Joignez à vos exploits l'honneur du diadème” (Achis, David, Chorus) | — | ||
| 61-1 | Vespro della Beata Vergine, SV 206: I. Domine ad adjuvandum me (sex vocibus et sex instrumentis) | — | ||
| 61-2 | Vespro della Beata Vergine, SV 206: II. Antiphon: Emmissiones tuae paradisus - Dixit Dominus (Psalm 109) (sex vocibus et sex instrumentis) | — | ||
| 61-3 | Vespro della Beata Vergine, SV 206: III. Nigra sum (Motetto ad una voce) | — | ||
| 61-4 | Vespro della Beata Vergine, SV 206: IV. Antiphon: Quae est ista - Laudate pueri Dominum (Psalm 112) (octo vocibus) | — | ||
| 61-5 | Vespro della Beata Vergine, SV 206: V. Pulchra es (a due voci) | — | ||
| 61-6 | Vespro della Beata Vergine, SV 206: VI. Antiphon: Sicut lilium inter spinas - Laetatus sum (Psalm 121) (a sei voci) | — | ||
| 61-7 | Vespro della Beata Vergine, SV 206: VII. Duo Seraphim (a tre voci) | — | ||
| 61-8 | Vespro della Beata Vergine, SV 206: VIII. Antiphon: veniat dilectus meus in hortum suum - Nisi Dominus (Psalm 126) (a dieci voci) | — | ||
| 61-9 | Vespro della Beata Vergine, SV 206: IX. Audi Coelum (sex vocibus) | — | ||
| 62-1 | Vespro della Beata Vergine, SV 206: X. Antiphon: Nigra sum - Lauda, Jerusalem (Psalm 147) (septem vocibus) | — | ||
| 62-2 | Vespro della Beata Vergine, SV 206: XI. Sonata sopra Santa Maria pro nobis (a 8) | — | ||
| 62-3 | Vespro della Beata Vergine, SV 206: XII. Ave maris stella Hymnis (octo vocibus) | — | ||
| 62-4 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XIII. Antiphon: Virgo prudentissima | — | ||
| 62-5 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XIII. Magnificat | — | ||
| 62-6 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XIV. Anima mea Dominum (a 2 voci) | — | ||
| 62-7 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XV. Et exultavit (a 3 voci) | — | ||
| 62-8 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XVI. Quia respexit (ad una voce sola) | — | ||
| 62-9 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XVII. Quia fecit (a 6 voci in dialogo) | — | ||
| 62-10 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XVIII. Et misericordia (a 3 voci) | — | ||
| 62-11 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XIX. Fecit potentiam (a 3 voci) | — | ||
| 62-12 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XX. Deposuit, et cantano doi (tenore in echo) | — | ||
| 62-13 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XXI. Esurientes (a 2 voci) | — | ||
| 62-14 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XXII. Suscepit Israel (a 2 voci) | — | ||
| 62-15 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XXIII. Sicut locutus est (a 5 voci in dialogo) | — | ||
| 62-16 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XXIV. Gloria Patri (a 6 voci) | — | ||
| 62-17 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XXV. Sicut erat in principio | — | ||
| 63-1 | Matthäus-Passion, BWV 244: Part I. No. 1. Chorus. “Kommt, ihr Töchter helft mir klagen” (chorus I, II, soprano in ripieno) | Ensemble Vocal de Lausanne, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-2 | Matthäus-Passion, BWV 244: Part I. No. 2. Recitative. “Da Jesus diese Rede vollendet hatte” (Evangelist, Jesus) | Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-3 | Matthäus-Passion, BWV 244: Part I. No. 3. Chorale. “Herzliebster Jesu, was hast du verbrochen” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-4 | Matthäus-Passion, BWV 244: Part I. No. 4. Recitative & Chorus. “Da versammelten sich die Hohepriester” (Evangelist, Jesus, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Gerhard Faulstich, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-5 | Matthäus-Passion, BWV 244: Part I. No. 5. Recitative. “Du lieber Heiland du” (alto) | Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-6 | Matthäus-Passion, BWV 244: Part I. No. 6. Aria. “Buß und Reu” (alto) | Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-7 | Matthäus-Passion, BWV 244: Part I. No. 7. Recitative. “Da ging hin der Zwölfen einer” (Evangelist, Judas) | Kurt Equiluz, Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-8 | Matthäus-Passion, BWV 244: Part I. No. 8. Aria. “Blute nur, du liebes Herz!” (soprano) | Margareth Marshall, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Matthäus-Passion, BWV 244: Part I. No. 9. Recitative & Chorus. “Aber am ersten Tage der süßen Brot” (Evangelist, Jesus, chorus I) | Ensemble Vocal de Lausanne, Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 10. Chorale. “Ich bin's, ich sollte büßen” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 11. Recitative. “Er antwortete und sprach” (Evangelist, Jesus, Judas) | Kurt Equiluz, Gerhard Faulstich, Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 12. Recitative. “Wiewohl mein Herz in Tränen schwimmt” (soprano) | Margareth Marshall, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 13. Aria. “Ich will dir mein Herz schenken” (soprano) | Margareth Marshall, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 14. Recitative. “Und da sie den Lobgesang gesprochen hatten” (Evangelist, Jesus) | Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 15. Chorale. “Erkenne mich, mein Hüter” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 16. Recitative. “Petrus aber antwortete und sprach zu ihm” (Evangelist, Petrus, Jesus) | Kurt Equiluz, Gerhard Faulstich, Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 17. Chorale. “Ich will hier bei dir stehen” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 18. Recitative. “Da kam Jesus mit ihnen zu einem Hole” (Evangelist, Jesus) | Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 19. Recitative & Chorale. “O Schmerz! Hier zittert das gequälte Herz!” (tenor, chorus II) | Anthony Rolfe Johnson, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 20. Aria & Chorus. “Ich will bei meinem Jesu wachen” (tenor, chorus II) | Anthony Rolfe Johnson, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 21. Recitative. “Und ging hin ein wenig” (Evangelist, Jesus) | Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 22. Recitative. “Der Heiland fällt vor seinem Vater nieder” (bass) | Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 23. Aria. “Gerne will ich mich bequemen” (bass) | Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 24. Recitative. “Und er kam zu seinem Jüngen” (Evangelist, Jesus) | Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 25. Chorale. “Was emin Gott will, das g'scheh allzeit” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 26. Recitative. “Und er kam und fand sie aber schlafen” (Evangelist, Jesus, Judas) | Kurt Equiluz, Gerhard Faulstich, Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 27. Aria (Duet) & Chorus. “So ist mein Jesus nun gefangen” (soprano, alto, chorus I, II) | Ensemble Vocal de Lausanne, Margareth Marshall, Schola des Petits Chanteurs de Notre-Dame de Sion, Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 28. Recitative. “Und siehe, einer aus denen” (Evangelist, Jesus) | Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 29. Chorale. “O Mensch, bewein' dein' Sünde groß” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 30. Aria & Chorus. “Ach, nun ist mein Jesus hin!” (alto, chorus II) | Schola des Petits Chanteurs de Notre-Dame de Sion, Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 31. Recitative. “Die aber Jesum gegriffen hatten” (Evangelist) | Kurt Equiluz, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 32. Chorale. “Mir hat die Welt trüglich gericht” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 33. Recitative. “Und wiewohl viel falsche” (Evangelist, Witnesses, High Priest) | Georges Bolay, Kurt Equiluz, Thomas Koechlin, Claire Martin-Fiaux, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 34. Recitative. “Mein Jesus schweigt zu falschen Lügen stille” (tenor) | Anthony Rolfe Johnson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 35. Aria. “Geduld!” (tenor) | Anthony Rolfe Johnson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 36. Recitative & Chorus. “Und der Hohepriester antwort” (Evangelist, High Priest, Jesus, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Gerhard Faulstich, Thomas Koechlin, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 37. Chorale. “Wer hat dich so geschlagen” (chorus) | Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 38. Recitative & Chorus. “Petrus aber saß draußen im Palast” (Evangelist, Maids I/II, Petrus, chorus II) | Kurt Equiluz, Philippe Huttenlocher, Schola des Petits Chanteurs de Notre-Dame de Sion, Marie-Françoise Schuwey, Agnès de Crousaz, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 39. Aria. “Erbarme dich” (alto) | Carolyn Watkinson, Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 40. Chorale. “Bin ich gleich von dir gewichen” (chorus) | Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 41. Recitative & Chorus. “Des Morgens aber hielten alle Hohepriester” (Evangelist, Judas, High Priest I, II) | Kurt Equiluz, Jean-Daniel Estoppey, Philippe Huttenlocher, Thomas Koechlin, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 42. Aria. “Gebt mir meinen Jesum wieder” (bass) | Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 43. Recitative. “Sie hielten aber einen Rat” (Evangelist, Pilatus, Jesus) | Kurt Equiluz, Gerhard Faulstich, Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 44. Chorale. “Befiehl du deine Wege” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 45. Recitative & Chorus. “Auf das Fest aber hatte der Landpfleger” (Evangelist, Pilatus, Pilatus' wife, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Philippe Huttenlocher, Schola des Petits Chanteurs de Notre-Dame de Sion, Agnès de Crousaz, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 46. Chorale. “Wie wunderbarlich ist doch diese Strafe” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 47. Recitative. “Der Landpfleger sagte” (Evangelist, Pilatus) | Kurt Equiluz, Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 48. Recitative. “Er hat uns allen wohlgetan” (soprano) | Margareth Marshall, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 49. Aria. “Aus Liebe will mein Heiland sterben” (soprano) | Margareth Marshall, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 50. Recitative & Chorus. “Sie schrien aber noch mehr” (Evangelist, Pilatus, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Philippe Huttenlocher, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 51. Recitative. “Erbarm' es Gott” (alto) | Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 52. Aria. “Können Tränen meinen Wangen” (alto) | Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 53. Recitative & Chorus. “Da nahmen die Kriegsknechte” (Evangelist, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 54. Chorale. “O Haupt voll Blut und Wunden” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 55. Recitative. “Und da sie ihn versottet hatten” (Evangelist) | Kurt Equiluz, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 56. Recitative. “Ja freilich will in uns das Fleisch und Blut” (bass) | Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 57. Aria. “Komm, süßes Kreuz, so will ich sagen” (bass) | Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 58. Recitative & Chorus. “Und da sie an die Stätte kamen” (Evangelist, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 59. Recitative. “Ach Golgotha” (alto) | Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 60. Aria & Chorus. “Sehet, Jesus hat die Hand” (alto, chorus II) | Schola des Petits Chanteurs de Notre-Dame de Sion, Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 61. Recitative & Chorus. “Und von der sechsten Stunde an” (Evangelist) | Kurt Equiluz, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 62. Chorale. “Wenn ich einmal soll scheiden” (soprano, flute and continuo) | Margareth Marshall, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 63. Recitative & Chorus. “Und siehe da, der Vorhang im Tempel zerriß” (Evangelist, Jesus, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Gerhard Faulstich, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 64. Recitative. “Am Abend, da es kühle war” (bass) | Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 65. Aria. “Mache dich, mein Herze, rein” (bass) | Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 66. Recitative & Chorus. “Und Joseph nahm den Leib” (Evangelist, Pilatus, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Philippe Huttenlocher, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 67. Recitative & Chorus. “Nun ist der Herr zur Ruh gebracht” (bass, tenor, alto, soprano, chorus II) | Philippe Huttenlocher, Margareth Marshall, Schola des Petits Chanteurs de Notre-Dame de Sion, Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 68. Chorus. “Wir setzen uns mit Tränen nieder” (chorus I, II) | Ensemble Vocal de Lausanne, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Mass in B minor, BWV 232: Gloria. IV. Gloria in excelsis | Ensemble Instrumental de Lausanne, Michel Corboz | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
0190296217463 is a Universal Product Code (UPC) assigned to The Complete Erato Recordings: Baroque & Renaissance Eras by Michel Corboz. 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 1000 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
0190296217463 is the Universal Product Code (UPC barcode) for the release “The Complete Erato Recordings: Baroque & Renaissance Eras” by Michel Corboz, released 2022-01-01 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 1000 tracks, each with its own ISRC. Tracks include FRZ202200259, FRZ202200260, FRZ202200261.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Missa a 4 voci da capella, SV 190: I. Kyrie | — | ||
| 2 | Missa a 4 voci da capella, SV 190: II. Gloria | — | ||
| 3 | Missa a 4 voci da capella, SV 190: III. Credo | — | ||
| 4 | Missa a 4 voci da capella, SV 190: IV. Sanctus | — | ||
| 5 | Missa a 4 voci da capella, SV 190: V. Benedictus | — | ||
| 6 | Missa a 4 voci da capella, SV 190: VI. Agnus Dei | — | ||
| 7 | Tenebrae factae sunt, motet | — | ||
| 8 | Three Lamentations of Jeremiah: De Lamentatione Jeremiae | — | ||
| 9 | Three Responses for the Matins of Holy Saturday: Sicut ovis | — | ||
| 10 | Three Lamentations of Jeremiah: Aleph. Quomodo obscuratum est aurum | — | ||
| 11 | Three Responses for the Matins of Holy Saturday: Jerusalem surge | — | ||
| 12 | Three Lamentatione of Jeremiah: Incipit lamentatio Jeremiae | — | ||
| 13 | Three Responses for the Matins of Holy Saturday: Plange quasivirgo | — | ||
| 2-1 | Intellige clamorem meum | — | ||
| 2-2 | Salvum fac populum tuum | — | ||
| 2-3 | Exaltabo te Domine quoniam | — | ||
| 2-4 | Domine vivifica me | — | ||
| 2-5 | Ad te Domine levavi | — | ||
| 2-6 | Exsultate Deo adjutori | — | ||
| 2-7 | Missa ad usum Capellae Pontificiae: I. Kyrie | — | ||
| 2-8 | Missa ad usum Capellae Pontificiae: II. Gloria | — | ||
| 2-9 | Missa ad usum Capellae Pontificiae: III. Credo | — | ||
| 2-10 | Missa ad usum Capellae Pontificiae: IV. Sanctus | — | ||
| 2-11 | Missa ad usum Capellae Pontificiae: V. Benedictus | — | ||
| 2-12 | Missa ad usum Capellae Pontificiae: VI. Agnus Dei | — | ||
| 3-1 | Vespro della Beata Vergine, SV 206: I. Domine ad adjuvandum me (sex vocibus et sex instrumentis) | — | ||
| 3-2 | Vespro della Beata Vergine, SV 206: II. Dixit Dominus (Psalm 109) (sex vocibus et sex instrumentis) | — | ||
| 3-3 | Vespro della Beata Vergine, SV 206: III. Nigra sum (motetto ad una voce) | — | ||
| 3-4 | Vespro della Beata Vergine, SV 206: IV. Laudate pueri Dominum (Psalm 112) (octo vocibus) | — | ||
| 3-5 | Vespro della Beata Vergine, SV 206: V. Pulchra es (a due voci) | — | ||
| 3-6 | Vespro della Beata Vergine, SV 206: VI. Laetatus sum (Psalm 121) (a sei voci) | — | ||
| 3-7 | Vespro della Beata Vergine, SV 206: VII. Duo Seraphim (a tre voci) | — | ||
| 3-8 | Vespro della Beata Vergine, SV 206: VIII. Nisi Dominus (Psalm 126) (a dieci voci) | — | ||
| 3-9 | Vespro della Beata Vergine, SV 206: IX. Audi Coelum (sex vocibus) | — | ||
| 3-10 | Vespro della Beata Vergine, SV 206: X. Lauda, Jerusalem (Psalm 147) (septem vocibus) | — | ||
| 4-1 | Vespro della Beata Vergine, SV 206: XII. Sonata sopra Santa Maria pro nobis (a 8) | — | ||
| 4-2 | Vespro della Beata Vergine, SV 206: XIII. Ave maris stella Hymnis (octo vocibus) | — | ||
| 4-3 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XIV. Magnificat | — | ||
| 4-4 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XV. Anima mea Dominum (a 2 voci) | — | ||
| 4-5 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XVI. Et exultavit (a 3 voci) | — | ||
| 4-6 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XVII. Quia respexit (ad una voce sola) | — | ||
| 4-7 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XVIII. Quia fecit (a 6 voci in dialogo) | — | ||
| 4-8 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XIX. Et misericordia (a 3 voci) | — | ||
| 4-9 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XX. Fecit potentiam (a 3 voci) | — | ||
| 4-10 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XXI. Deposuit, et cantano doi (soprani in echo) | — | ||
| 4-11 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XXII. Esurientes (a 2 voci) | — | ||
| 4-12 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XXIII. Suscepit Israel (a 2 voci) | — | ||
| 4-13 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XXIV. Sicut locutus est (a 5 voci in dialogo) | — | ||
| 4-14 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XXV. Gloria Patri (a 6 voci) | — | ||
| 4-15 | Vespro della Beata Vergine, SV 206: Magnificat a 6 voci. XXVI. Sicut erat in principio | — | ||
| 4-16 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXVII. Magnificat | — | ||
| 4-17 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXVIII. Anima mea Dominum (ad una voce sola) | — | ||
| 4-18 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXIX. Et exultavit (a 3 voci) | — | ||
| 4-19 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXX. Quia respexit (ad una voce et sei instrumenti) | — | ||
| 4-20 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXI. Quia fecit (a 3 voici et doi instrumenti) | — | ||
| 4-21 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXII. Et misericordia (a 6 voci sole in dialogo) | — | ||
| 4-22 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXIII. Fecit potentiam (ad una voce et tre instrumenti) | — | ||
| 4-23 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXIV. Deposuit potentes (ad una voce et tre instrumenti) | — | ||
| 4-24 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXV. Et exultavit (ad una voce et tre instrumenti) | — | ||
| 4-25 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXVI. Esurientes (a 2 voici et quattro instrumenti) | — | ||
| 4-26 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXVII. Suscepit Israel (a 3 voci) | — | ||
| 4-27 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXVIII. Sicut locutus est (ad una voce et sei instrumenti) | — | ||
| 4-28 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XXXIX. Gloria Patri (a 3 voci due de le quali cantano in echo) | — | ||
| 4-29 | Vespro della Beata Vergine, SV 206: Magnificat septem vocibus et sex instrumentis: XL. Sicut erat in principio (tutti gli instrumenti et voci) | — | ||
| 5-1 | Laetatus sum, SV 198 (a 5 strumenti e 6 voci) | — | ||
| 5-2 | Nisi Dominus, SV 200 (a 3 voci e due violini, B.C. - alto, baritono, basso) | — | ||
| 5-3 | Laudate pueri Dominum, SV 196 (a 5 voci e B.C.) | — | ||
| 5-4 | Laetaniae della Beata Virgine, SV 204 (a 5 voci e B.C. - soprano, alto) | — | ||
| 5-5 | Currite populi, SV 297 (a voce sola e B.C. - baritono) | — | ||
| 5-6 | O beatae viae, SV 312 (a 2 voci e B.C. - soprano, alto) | — | ||
| 5-7 | Gloria, SV 258 (a 7 voci concertate con strumenti) | — | ||
| 5-8 | Salve Regina, SV 284 (a 2 voci e B.C. - 2 soprani) | — | ||
| 6-1 | Laudate Dominum jomnes gentes, SV 272a (a 5 voci concerto con 2 violini e B.C.) | — | ||
| 6-2 | Confitebor, SV 266 (a 3 voci concerto con 2 violini e B.C. - soprano, tenore, basso) | — | ||
| 6-3 | Magnificat, SV 282 (a 4 voci in genere da capella) | — | ||
| 6-4 | Dixit Dominus, SV 264 (a 8 voci, coro, soli e orchestra) | — | ||
| 6-5 | O ciechi il tanto affaticar, SV 252 (coro e orchestra) | — | ||
| 6-6 | Voi ch'ascoltate, SV 253 (soli e orchestra) | — | ||
| 6-7 | E questa vita un lampo, SV 254 (coro e 5 voci) | — | ||
| 6-8 | Et iterum, SV 261 (2 tenori e baritono) | — | ||
| 6-9 | Deus tuorum militum, SV 280 (3 voci e 2 violini - alto, tenore, basso) | — | ||
| 6-10 | Laudate Dominum omnes gentes, SV 272 (voce sola) | — | ||
| 6-11 | Magnificat, SV 281 (a 8 voci, coro, soili e orchestra) | — | ||
| 7-1 | Fuge, fuge, anima mea, SV 305 (2 voci e violino) | — | ||
| 7-2 | Adoramus, SV 289 (coro a 6 voci) | — | ||
| 7-3 | Ego dormio, SV 300 (tenor e basso) | — | ||
| 7-4 | Venite, venite silientes, SV 335 (soprano e alto) | — | ||
| 7-5 | Confitebor, SV 267 (coro e soprano) | — | ||
| 7-6 | Spontava il di, SV 255 (alto, tenore, baritono) | — | ||
| 7-7 | Chi vol che m'innamori, SV 256 (alto, tenore, baritono e 2 violini) | — | ||
| 7-8 | Sanctorum meritis, SV 277 (voce sola e 2 violini) | — | ||
| 7-9 | Beatus vir, SV 269 (coro a 5 voci) | — | ||
| 7-10 | Laudate pueri Dominum, SV 271 (coro a 5 voci e 2 tenori) | — | ||
| 7-11 | Jubilet tota civitas, SV 286 (soprano) | — | ||
| 7-12 | Memento, SV 276 (coro a 8 voci) | — | ||
| 7-13 | Ab aeterno, SV 262 (basso) | — | ||
| 8-1 | Nisi Dominus, SV 201 (coro a 6) | — | ||
| 8-2 | Confitebor, SV 296 (soprano e orchestra) | — | ||
| 8-3 | Dixit Dominus, SV 192 (doppio coro) | — | ||
| 8-4 | Laudate Dominum, SV 197 (voce sola) | — | ||
| 8-5 | Cantate Domino, SV 292 (a 2 voci) | — | ||
| 8-6 | Christe adoramus te, SV 294 (coro a 5 voci) | — | ||
| 8-7 | Salve Regina, SV 327 (voce sola) | — | ||
| 8-8 | Domine, ne in furore, SV 298 (coro a 6 voci) | — | ||
| 8-9 | Sancta Maria, SV 328 (soprano e alto) | — | ||
| 8-10 | Lauda Jerusalem, SV 203 (coro a 5 voci) | — | ||
| 8-11 | Dixit Dominus, SV 263 (a 8 voci, coro, soli e orchestra) | — | ||
| 8-12 | Salve Regina, SV 285 (alto, tenore e basso) | — | ||
| 9-1 | Iste confessor, SV 279 (a 2 soprani e 2 violini) | — | ||
| 9-2 | Beatus vir, SV 268 (coro e orchestra) | — | ||
| 9-3 | Confitebor, SV 265 (contro-tenore, tenore, basso, coro) | — | ||
| 9-4 | Salve Regina, SV 283 (2 tenori e 2 violini) | — | ||
| 9-5 | Laudate Dominum, SV 273 (a 8 voci, coro e orchestra) | — | ||
| 9-6 | Et resurrexit, SV 260 (2 soprani e 2 violini) | — | ||
| 9-7 | Beatus vir, SV 195 (a 7 voci, coro, soli e orchestra) | — | ||
| 9-8 | Salve Regina, SV 326 (voce sola - soprano) | — | ||
| 9-9 | Confitebor, SV 194 (2 voci e orchestra - soprano, tenor) | — | ||
| 9-10 | Dixit Dominus, SV 191 (a 8 voci, coro e soli) | — | ||
| 10-1 | O bone Jesu, SV 313 (a 2 voci - soprano, alto) | — | ||
| 10-2 | O quam pulchra, SV 317 (voce sola - tenore) | — | ||
| 10-3 | En gratulemur hodie, SV 302 (1 voce e 2 violini - tenore) | — | ||
| 10-4 | Laetatus sum, SV 199 (coro a 5 voci) | — | ||
| 10-5 | Laudate pueri Dominum, SV 270 (a 5 voci, coro, basso solo e orchestra) | — | ||
| 10-6 | Pianto della Madonna sopra il Lamento dell'Ariana, SV 288 (voce sola - alto) | — | ||
| 10-7 | Crucifixus, SV 259 (coro a 4 voci) | — | ||
| 10-8 | Sanctorum meritis, SV 278 (1 voce e 2 violini - tenore) | — | ||
| 10-9 | Laudate Dominum, SV 274 (a 8, coro e soli - 2 soprani) | — | ||
| 10-10 | Cantate Domino, SV 293 (coro a 6 voci) | — | ||
| 10-11 | Lauda Jerusalem, SV 202 (contro-tenore, baritono e basso) | — | ||
| 10-12 | Ecce sacrum paratum, SV 299 (voce sola - tenore) | — | ||
| 10-13 | Ego flos campi, SV 301 (voce sola - alto) | — | ||
| 10-14 | Credidi procter, SV 275 (doppio coro) | — | ||
| 11-1 | Orfeo: Toccata | — | ||
| 11-2 | Orfeo: Prologo: Ritornello (La Musica) | — | ||
| 11-3 | Orfeo: Atto Primo. “In questo lieto e fortunato giorno” | — | ||
| 11-4 | Orfeo: Atto Primo. “Vieni Imeneo” | — | ||
| 11-5 | Orfeo: Atto Primo. “Muse, onor di Parnaso, amor del cielo” (Shepherd 1, Nymph, Chorus of Nymphs and Shepherds) | — | ||
| 11-6 | Orfeo: Atto Primo. “Lasciate i monti” | — | ||
| 11-7 | Orfeo: Atto Primo. “Ma tu, gentil cantor” - “Rosa del ciel, vita del mondo” / “Io non dirò qual sia” (Chorus of Nymphs and Shepherds, Shepherd 3, Orfeo, Euridice) | — | ||
| 11-8 | Orfeo: Atto Primo. “Vieni Imeneo, deh, vieni” (Chorus of Nymphs and Shepherds) | — | ||
| 11-9 | Orfeo: Atto Primo. “Ma s'il nostro gioir…” - Ritornello | — | ||
| 11-10 | Orfeo: Atto Primo. “Alcun non sia…” - Ritornello - “Chè, poichè nembo…” - Ritornello - “E dopo l'aspro…” - “Ecco Orfeo cui…” (Nymph, Shepherds, Chorus of Nymphs and Shepherds) | — | ||
| 11-11 | Orfeo: Atto Secondo. “Ecco pur ch'a voi ritorno” - “Mira ch'a sè n'alletta” | — | ||
| 11-12 | Orfeo: Atto Secondo. “In questo prato adorno” (Orfeo, Shepherd 1, Shepherd 2, Chorus of Nymphs and Shepherds) | — | ||
| 11-13 | Orfeo: Atto Secondo. “Vi ricorda, o bosch' ombrosi” (Orfeo) | — | ||
| 11-14 | Orfeo: Atto Secondo. “Mira, deh mira” - “Ahi caso acerbol ahi fat' empio e crudele!” - “Tu se' morta, mia vita, ed io respiro?” (Messenger, Orfeo, Shepherds) | — | ||
| 11-15 | Orfeo: Atto Secondo. “Ahi caso acerbo, ahi fat'empio e crudele!” | — | ||
| 11-16 | Orfeo: Atto Secondo. “Maio ch'in questa lingua” (Messenger, Chorus of Nymphs and Shepherds) | — | ||
| 11-17 | Orfeo: Atto Secondo. “Chi ne consola, ahi lassi?” - “Ahi caso acerbo…” - “Ma dove, ah, dove or sono” - “Ahi caso acerbo…” - Ritornello (Shepherd 1, Shepherd 2, Chorus of Nymphs and Shepherds) | — | ||
| 12-1 | Orfeo: Sinfonia - “Scorto da te, mio Nume” (Orfeo) | — | ||
| 12-2 | Orfeo: Atto Terzo. “Ecco l'astra palude, ecco il nocchiero” - “Dove, ah, dove te 'n vai” (La Speranza, Orfeo) | — | ||
| 12-3 | Orfeo: Atto Terzo. “O tu ch'innanzi mort' a queste rive” - Sinfonia (Caronte) | — | ||
| 12-4 | Orfeo: Atto Terzo. “Possente spirto e formidabil Nume” (Orfeo) | — | ||
| 12-5 | Orfeo: Atto Terzo. “Sol tu, nobile dio, puoi darmi aita” (Caronte, Orfeo) | — | ||
| 12-6 | Orfeo: Atto Terzo. “Ei dorme, e la mia cetra” (Orfeo) | — | ||
| 12-7 | Orfeo: Atto Terzo. Sinfonia - “Nulla impresa per uom si tenta invano” (Chorus of Infernal Spirits) | — | ||
| 12-8 | Orfeo: Atto Quarto. “Signor, quell'infelice” (Proserpina) | — | ||
| 12-9 | Orfeo: Atto Quarto. “Benchè severo ed” | — | ||
| 12-10 | Orfeo: Atto Quarto. “O degli abitator… Pietade oggi e Amore” (Plutone, Spirits, Proserpina, Chorus of Infernal Spirits) | — | ||
| 12-11 | Orfeo: Atto Quarto. “Qual onor di te fia degno” (Orfeo) | — | ||
| 12-12 | Orfeo: Atto Quarto. “Ahi, vista troppo dolce e troppo amara!” - “Torn'a l'ombre di morte” (Euridice, Spirit 1, Orfeo, Chorus of Infernal Spirits) | — | ||
| 12-13 | Orfeo: Atto Quarto. “E' la virtute un raggio” - Sinfonia (Chorus of Infernal Spirits) | — | ||
| 12-14 | Orfeo: Atto Quinto. Ritornello | — | ||
| 12-15 | Orfeo: Atto Quinto. “Questi i campi di Tracia…” - Sinfonia (Orfeo, Eco) | — | ||
| 12-16 | Orfeo: Atto Quinto. “Perch'a lo sdegno ed al dolor in preda” (Apollo, Orfeo) | — | ||
| 12-17 | Orfeo: Atto Quinto. “Saliam cantand' al cielo” (Apollo, Orfeo) | — | ||
| 12-18 | Orfeo: Atto Quinto. Ritornello - “Vanne, Orfeo, felice appieno” - Moresca (Chorus) | — | ||
| 13-1 | Il estoit une fillette: Chanson à quatre (1540) | — | ||
| 13-2 | Il estoit une fillette: Ronde (1551) | — | ||
| 13-3 | Il estoit une fillette: Chanson accompagnée | — | ||
| 13-4 | Mari je songeois l'aultre jour: Chanson à quatre (1532) | — | ||
| 13-5 | Mari je songeois l'aultre jour: Branle gay (1547) | — | ||
| 13-6 | Mari je songeois l'aultre jour: Branle gay (1564) | — | ||
| 13-7 | Pourquoi donc ne fringuerons-nous: Chanson à quatre (1533) | — | ||
| 13-8 | Pourquoi donc ne fringuerons-nous: Rondo (1551) | — | ||
| 13-9 | C'est grand plaisir: Chanson à trois (1529) | — | ||
| 13-10 | C'est grand plaisir: Chanson transcrite pour clavier (1531) | — | ||
| 13-11 | C'est grand plaisir: Tourdion (1547) | — | ||
| 13-12 | Mille regretz: Chanson à quatre (1520) | — | ||
| 13-13 | Mille regretz: Pavane (1551) | — | ||
| 13-14 | C'est à grand tort: Chanson à quatre (1520) | — | ||
| 13-15 | C'est à grand tort: Chanson transcrite pour clavier (1531) | — | ||
| 13-16 | C'est à grand tort: Chanson transcrite pour deux instruments (1552) | — | ||
| 13-17 | La Volonté: Basse danse (1547) | — | ||
| 13-18 | La Volonté: Chanson à quatre (1543) | — | ||
| 13-19 | Celle qui m'a le nom d'amy donné: Chanson à quatre (1543) | — | ||
| 13-20 | Celle qui m'a le nom d'amy donné: Basse danse (1547) | — | ||
| 13-21 | Ramonez-moi ma cheminée: Chanson à quatre (1539) | — | ||
| 13-22 | Jectez-moi sur l'herbette: Chanson à quatre (1533) | — | ||
| 13-23 | Suite de danseries, tirée du « Second livre » (1547): Pavane 47 | — | ||
| 13-24 | Suite de danseries, tirée du « Second livre » (1547): Gaillarde 49 | — | ||
| 13-25 | Suite de danseries, tirée du « Second livre » (1547): Gaillarde 50 (à cinq, sur La Romanesca) | — | ||
| 13-26 | Suite de danseries, tirée du « Second livre » (1547): Basse danse 19 | — | ||
| 13-27 | Suite de danseries, tirée du « Second livre » (1547): Branle simple 21 | — | ||
| 13-28 | Suite de danseries, tirée du « Second livre » (1547): Branle simple 35 | — | ||
| 13-29 | Suite de danseries, tirée du « Second livre » (1547): Tourdion 9 | — | ||
| 13-30 | Suite de danseries, tirée du « Second livre » (1547): Tourdion 10 | — | ||
| 13-31 | Suite de danseries, tirée du « Second livre » (1547): Branle gay 36 “Que je chatouille ta fossette” | — | ||
| 13-32 | Suite de danseries, tirée du « Second livre » (1547): Branle gay 23 | — | ||
| 13-33 | J'ay le rebours: Chanson à quatre (1562) | — | ||
| 13-34 | J'ay le rebours: Pavane (1571) | — | ||
| 13-35 | J'ay le rebours: Gaillarde (1571) | — | ||
| 13-36 | Dont viens cela: Chanson à quatre (1530) | — | ||
| 13-37 | Dont viens cela: Basse danse (1551) | — | ||
| 13-38 | Auprès de vous: Chanson à quatre (1530) | — | ||
| 13-39 | Auprès de vous: Basse danse (1547) | — | ||
| 13-40 | Auprès de vous: Chanson transcrite pour clavier (1531) | — | ||
| 13-41 | Fricassée: Chanson à quatre, accompagnée (1531) | — | ||
| 14-1 | La Chère Maison | — | ||
| 14-2 | Les Bonnes Dames de Saint‐Gervais | — | ||
| 14-3 | J’ai descendu au verger | — | ||
| 14-4 | Heureux celui qui revoit sa patrie | — | ||
| 14-5 | Oh ! que la vie est douce chose | — | ||
| 14-6 | La Jardinière du roy | — | ||
| 14-7 | La Moisson | — | ||
| 14-8 | Nous n’avons chez nous | — | ||
| 14-9 | Nouthra Dona di Maortsé | — | ||
| 14-10 | Trois jeunes tambours | — | ||
| 14-11 | C’est le joly mois de may | — | ||
| 14-12 | Gentil coqu’licot | — | ||
| 14-13 | Mon père tôt m’a mariée | — | ||
| 14-14 | La Marion | — | ||
| 14-15 | J’ai vu le loup, le renard, le lièvre | — | ||
| 14-16 | Rossignolet du bois | — | ||
| 14-17 | Le Vira do minho | — | ||
| 14-18 | Les Yeux de la Marianita | — | ||
| 14-19 | Berceuse polonaise | — | ||
| 14-20 | Le jour est là | — | ||
| 14-21 | Chanson dans le vent “Pisnicka” | — | ||
| 15-1 | “Or sus tous humains” | — | ||
| 15-2 | “Que Dieu se montre seulement” | — | ||
| 15-3 | “Laisse-moi désormais” | — | ||
| 15-4 | “Mon cœur rempli” | — | ||
| 15-5 | “O Seigneur” | — | ||
| 15-6 | “Du fond de ma pensée” | — | ||
| 15-7 | Mass “La Bien que j'ay”: I. Introit | — | ||
| 15-8 | Mass “La Bien que j'ay”: II. Kyrie | — | ||
| 15-9 | Mass “La Bien que j'ay”: III. Gloria | — | ||
| 15-10 | Mass “La Bien que j'ay”: IV. Alleluia | — | ||
| 15-11 | Mass “La Bien que j'ay”: V. Credo | — | ||
| 15-12 | Mass “La Bien que j'ay”: VI. Offertoire | — | ||
| 15-13 | Mass “La Bien que j'ay”: VII. Sanctus | — | ||
| 15-14 | Mass “La Bien que j'ay”: VIII. Benedictus | — | ||
| 15-15 | Mass “La Bien que j'ay”: IX. Communion | — | ||
| 15-16 | Mass “La Bien que j'ay”: X. Agnus Dei | — | ||
| 16-1 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: I. Symphonie - Récit et chœur: “De profundis clamavi” | — | ||
| 16-2 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: II. Quator: “Fiant aures tuae” | — | ||
| 16-3 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: III. Récit: “Si iniquitates observaveris Domine” | — | ||
| 16-4 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: IV. Trio: “Quia apud te apropriatio est” | — | ||
| 16-5 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: V. Récit: “Sistinuit anima” | — | ||
| 16-6 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: VI. Trio: “Sistinuit anima” - Récit: “A Custodia matutina” | — | ||
| 16-7 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: VII. Due et chœur: “A Custodia matutina” | — | ||
| 16-8 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: VIII. Récit: “Quia apud Dominum misericordia” | — | ||
| 16-9 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: IX. Chœur: “Et ipse redimet Israel” | — | ||
| 16-10 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: X. Chœur: “Requiem aeternam” | — | ||
| 16-11 | De profundis (Psalm 129), grand motet pour soli, chœur et orchestre: XI. Chœur: “Et lux perpetua” | — | ||
| 16-12 | Regina coeli, pour soli, chœur et orchestre, S. 53: I. Duo et chœur: “Regina coeli laetare” | — | ||
| 16-13 | Regina coeli, pour soli, chœur et orchestre, S. 53: II. Récit: “Quia quem meruisit” - Trio: “Resurrexit” | — | ||
| 16-14 | Regina coeli, pour soli, chœur et orchestre, S. 53: III. Chœur: “Ora pro nobis, Deum, Alleluia” | — | ||
| 17-1 | Ricercare per sonar (in 8 parts: brass instruments) | — | ||
| 17-2 | Risonanza di echo (8 solo voices) | — | ||
| 17-3 | L'Olica, canzon per sonar (in 4 parts: violas) | — | ||
| 17-4 | Non dispregiate i miserelli amanti (3 solo voices and violas da gamba) | — | ||
| 17-5 | Padre del ciel (in 5 parts: organ) | — | ||
| 17-6 | Boscareccia pastorale (12 voices triple chorus) | — | ||
| 17-7 | Hor che nel suo bel seno (8 voices double chorus) | — | ||
| 17-8 | Canone a l'unissono (in 8 parts: brass instruments and organ) | — | ||
| 17-9 | Lieti fieri e felici, e ben nate erbe (in 5 parts: mezzo-soprano and violas) | — | ||
| 17-10 | Sparve e ogni stella in cielo (in 6 parts: 2 trumpets and violas) | — | ||
| 17-11 | Pasce la pecorella (in 5 parts: soprano, tenor, violas and harpsichord) | — | ||
| 17-12 | Canzone prima: “La Spiratata” (in 4 parts: brass instruments, violas and continuo) | — | ||
| 17-13 | Io mi sento morire (in 8 parts: brass instruments) | — | ||
| 18-1 | Canzon fa-sol-la-ré (in 8 parts: double chorus, brass instruments, vioas da gamba and organ) | — | ||
| 18-2 | Niuna sconsolata (soprano and violas da gamba) | — | ||
| 18-3 | Canzon seconda (in 4 parts: organ) | — | ||
| 18-4 | Poi ch'il mio largo pianto (5 solo voices) | — | ||
| 18-5 | Tratto fuora del Mare (in 6 parts: recorder, violas da gamba and harpsichord) | — | ||
| 18-6 | Echo Vinegia bella (12 voices chorus) | — | ||
| 18-7 | Canzon per sonar (in 4 parts: brass instruments) | — | ||
| 18-8 | Battaglia (8 voices, first and second part) | — | ||
| 18-9 | Gravi pene in amor (in 5 parts: brass instruments) | — | ||
| 18-10 | Amor è gratiosa e dolce voglia (5 solo voices) | — | ||
| 18-11 | Canzon per sonar (in 4 parts: violas) | — | ||
| 18-12 | Non rumor di tamburi (7 solo voices) | — | ||
| 18-13 | Canzone (in 5 parts: recorder, violas da gamba and harpsichord) | — | ||
| 18-14 | A le guancie di rose (8 solo voices dialog) | — | ||
| 18-15 | Canzone quarta (in 4 parts: organ) | — | ||
| 19-1 | Plaudite omnis terra | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-2 | Miserere mei, Deus | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-3 | Domine exaudi orationem meam | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-4 | Cantate Domino | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-5 | Sacrae symphoniae, Liber I: No. 31, Canzon noni toni, C. 173 | Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-6 | Diligam te Domine | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-7 | Jubilate Deo | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-8 | Missa: Kyrie | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-9 | Missa: Gloria | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-10 | Missa: Sanctus | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-11 | Sacrae symphoniae, Liber I: No. 28, Canzon per sonar primi toni a 8, C. 170 | Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-12 | Ego rogabo patrem | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-13 | Sacrae symphoniae, Liber I: No. 49, Virtute magna, C. 42 | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 19-14 | Magnificat | Chœur Symphonique del Fondation Gulbenkian, Orchestre de la Fondation Gulbenkian, Michel Corboz | — | |
| 20-1 | Sacrae symphoniae, Liber I: No. 55, Magnificat a 12, C. 48 | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-2 | O Domine Jesu Christe | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-3 | Hodie Christus natus est | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-4 | Hoc tegitur | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-5 | Sacrae symphoniae, Liber I: No. 20, Sancta et immaculata virginitas, C. 25 | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-6 | Angelus Domini descendit | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-7 | Nunc dimittis | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-8 | Jam non dicam vos servos | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-9 | Misericordias Domini | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-10 | Jubilate Deo | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-11 | O Jesu mi dulcissime | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-12 | Regina coeli | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 20-13 | Ego sum qui sum | Grand Chœur Universitaire, Olivier Dufour, Ensemble Vocal de Lausanne, Philippe Huttenlocher, Claudine Perret, Yvonne Perrin, Daniel Reichel, Denise Schwaar, Magali Schwartz, Wally Staempfli, Claude Traube, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 21-1 | Magnificat in D major, BWV 243: I. Magnificat (chorus) | — | ||
| 21-2 | Magnificat in D major, BWV 243: II. Et exultavit spiritus meus (soprano II) | — | ||
| 21-3 | Magnificat in D major, BWV 243: III. Quia respexit humilitatem (soprano I) | — | ||
| 21-4 | Magnificat in D major, BWV 243: IV. Omnes generationes (chorus) | — | ||
| 21-5 | Magnificat in D major, BWV 243: V. Quia fecit mihi magna (bass) | — | ||
| 21-6 | Magnificat in D major, BWV 243: VI. Et misericordia (alto, tenor) | — | ||
| 21-7 | Magnificat in D major, BWV 243: VII. Fecit potentiam (chorus) | — | ||
| 21-8 | Magnificat in D major, BWV 243: VIII. Deposuit potentes (chorus) | — | ||
| 21-9 | Magnificat in D major, BWV 243: IX. Esurientes implevit bonis (alto) | — | ||
| 21-10 | Magnificat in D major, BWV 243: X. Suscepit Israel (soprano I & II, alto) | — | ||
| 21-11 | Magnificat in D major, BWV 243: XI. Sicut locutus est (chorus) | — | ||
| 21-12 | Magnificat in D major, BWV 243: XII. Gloria Patri (chorus) | — | ||
| 21-13 | Cantata “Es wartet alles auf dich”, BWV 187: I. Chorus: “Es wartet alles auf dich” | — | ||
| 21-14 | Cantata “Es wartet alles auf dich”, BWV 187: II. Recitative: “Was Kreaturen häit, das große Rund der Welt” (bass) | — | ||
| 21-15 | Cantata “Es wartet alles auf dich”, BWV 187: III. Aria: “Du, Herr, du krönst allein das Jahr” (alto) | — | ||
| 21-16 | Cantata “Es wartet alles auf dich”, BWV 187: IV. Aria: “Darum sollt ihr nicht sorgen” (bass) | — | ||
| 21-17 | Cantata “Es wartet alles auf dich”, BWV 187: V. Aria: “Gott versorget alles Leben” (soprano) | — | ||
| 21-18 | Cantata “Es wartet alles auf dich”, BWV 187: VI. Recitative: “Halt ich nur fest an ihm” (soprano) | — | ||
| 21-19 | Cantata “Es wartet alles auf dich”, BWV 187: VII. Choral: “Gott hat die Erde zugericht” (chorus) | — | ||
| 22-1 | Mass in B minor, BWV 232: Kyrie. I. Kyrie eleison I (chorus) | Ensemble Vocal de Lausanne, Ensemble Instrumental de Lausanne, Michel Corboz | T-310.777.003-2 | |
| 22-2 | Mass in B minor, BWV 232: Kyrie. II. Christe eleison (soprano, mezzo-soprano) | Bernarda Fink, Sandrine Piau, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 22-3 | Mass in B minor, BWV 232: Kyrie. III. Kyrie eleison II (chorus) | Ensemble Vocal de Lausanne, Ensemble Instrumental de Lausanne, Michel Corboz | — | |
| 22-4 | Mass in B minor, BWV 232: Gloria. IV. Gloria in excelsis (chorus) | — | ||
| 22-5 | Mass in B minor, BWV 232: Gloria. V. Et in terra pax (chorus) | — | ||
| 22-6 | Mass in B minor, BWV 232: Gloria. VI. Laudamus te (soprano) | — | ||
| 22-7 | Mass in B minor, BWV 232: Gloria. VII. Gratias agimus tibi (chorus) | — | ||
| 22-8 | Mass in B minor, BWV 232: Gloria. VIII. Domine Deus (soprano, tenor) | — | ||
| 22-9 | Mass in B minor, BWV 232: Gloria. IX. Qui tollis peccata mundi (chorus) | — | ||
| 22-10 | Mass in B minor, BWV 232: Gloria. X. Qui sedes ad dexteram Patris (mezzo-soprano) | — | ||
| 22-11 | Mass in B minor, BWV 232: Gloria. XI. Quoniam tu solus sanctus (bass) | — | ||
| 22-12 | Mass in B minor, BWV 232: Gloria. XII. Cum Sancto Spiritu (chorus) | — | ||
| 23-1 | Mass in B minor, BWV 232: Credo. XII. Credo in unum Deum (chorus) | — | ||
| 23-2 | Mass in B minor, BWV 232: Credo. XIII. Patrem omnipotentem (chorus) | — | ||
| 23-3 | Mass in B minor, BWV 232: Credo. XIV. Et in unum Dominum (soprano, mezzo-soprano) | — | ||
| 23-4 | Mass in B minor, BWV 232: Credo. XV. Et incarnatus est (chorus) | — | ||
| 23-5 | Mass in B minor, BWV 232: Credo. XVI. Crucifixus (chorus) | — | ||
| 23-6 | Mass in B minor, BWV 232: Credo. XVII. Et resurrexit (chorus) | — | ||
| 23-7 | Mass in B minor, BWV 232: Credo. XVIII. Et in Spiritum Sanctum Dominum (baritone) | — | ||
| 23-8 | Mass in B minor, BWV 232: Credo. XIX. Confiteor | — | ||
| 23-9 | Mass in B minor, BWV 232: Credo. XX. Et expecto (chorus) | — | ||
| 23-10 | Mass in B minor, BWV 232: Sanctus. XXI. Sanctus (chorus) | — | ||
| 23-11 | Mass in B minor, BWV 232: Sanctus. XXII. Osanna in excelsis (chorus) | — | ||
| 23-12 | Mass in B minor, BWV 232: Sanctus. XXIII. Benedictus (tenor) | — | ||
| 23-13 | Mass in B minor, BWV 232: Sanctus. XXIV. Osanna repetirur (chorus) | — | ||
| 23-14 | Mass in B minor, BWV 232: Sanctus. XXV. Agnus Dei (mezzo-soprano) | — | ||
| 23-15 | Mass in B minor, BWV 232: Sanctus. XXVI. Dona nobis pacem (chorus) | — | ||
| 24-1 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Cum vocasset in proelium” (Historicus, Jephte, chorus) | — | ||
| 24-2 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Et percussit Jephte” (Historicus) | — | ||
| 24-3 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Cum autem victor Jephte” (Historicus, Filia, chorus) | — | ||
| 24-4 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Cantate mecum Domino” (Filia, chorus) | — | ||
| 24-5 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Cum vidisset Jephte” (Historicus, Jephte) | — | ||
| 24-6 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Pater mi, si voviste votum Domino” (Filia, Jephte) | — | ||
| 24-7 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Vade filia mea” (Jephte, Historicus a 4) | — | ||
| 24-8 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Plorate colles” (Filia, Eccho) | — | ||
| 24-9 | Historia di Jephte, oratorio for soli, chorus and orchestra: “Plorate filii Israel” (chorus) | — | ||
| 24-10 | Motet “O qual pulchra es”, for soprano, strings and continuo | — | ||
| 24-11 | Motet “O vulnera dolorim”, for bass and organ | — | ||
| 24-12 | Motet “Salve, salve puellule”, for tenor, strings and continuo | — | ||
| 25-1 | Historia di Ezechias, oratorio for 2 sopranos, 2 tenors, bass, chorus, orchestra and continuo: “Aegrotante Ezechia” (Angeli, Dominus) | — | ||
| 25-2 | Historia di Ezechias, oratorio for 2 sopranos, 2 tenors, bass, chorus, orchestra and continuo: “Ezechia, hoc tibi dicit Dominus” (Isaias, Ezechias, Angeli) | — | ||
| 25-3 | Historia di Ezechias, oratorio for 2 sopranos, 2 tenors, bass, chorus, orchestra and continuo: “Obsecro, Domine” (Ezechias) | — | ||
| 25-4 | Historia di Ezechias, oratorio for 2 sopranos, 2 tenors, bass, chorus, orchestra and continuo: “Misertus est autem Dominus Ezechia et ait” (Angeli, Dominus, Ezechias) | — | ||
| 25-5 | Historia di Ezechias, oratorio for 2 sopranos, 2 tenors, bass, chorus, orchestra and continuo: “Narrabimus omnes opera Domini” (chorus) | — | ||
| 25-6 | Tolle Sponsa for soprano, bass, chorus and continuo | — | ||
| 25-7 | Messa a otto voci, IGC 27: Kyrie | — | ||
| 25-8 | Messa a otto voci, IGC 27: Gloria | — | ||
| 25-9 | Messa a otto voci, IGC 27: Credo | — | ||
| 25-10 | Historia di Abraham et Isaac, oratorio for 2 sopranos, 2 tenors, 2 basses, chorus, orchestra and continuo: “Tentavit Deus Abraham” (Historicus, Deus) | — | ||
| 25-11 | Historia di Abraham et Isaac, oratorio for 2 sopranos, 2 tenors, 2 basses, chorus, orchestra and continuo: “Pater mi, ecce ignis” (Isaac, Historicus, Abraham) | — | ||
| 25-12 | Historia di Abraham et Isaac, oratorio for 2 sopranos, 2 tenors, 2 basses, chorus, orchestra and continuo: “Non extendas manum tuam super Isaac” (Angelus, Abraham, Isaac) | — | ||
| 25-13 | Historia di Abraham et Isaac, oratorio for 2 sopranos, 2 tenors, 2 basses, chorus, orchestra and continuo: “Vocavit et iterum Angelus Domini” (Historicus, Angelus, chorus) | — | ||
| 25-14 | Historia di Abraham et Isaac, oratorio for 2 sopranos, 2 tenors, 2 basses, chorus, orchestra and continuo: “Qui misit Angelum” (Abraham, chorus) | — | ||
| 26-1 | Messe pour les trépassés, H. 2: Symphonie - Kyrie | — | ||
| 26-2 | Messe pour les trépassés, H. 2: Dies irae (H. 12) | — | ||
| 26-3 | Messe pour les trépassés, H. 2: Liber scriptus | — | ||
| 26-4 | Messe pour les trépassés, H. 2: Juste judex | — | ||
| 26-5 | Messe pour les trépassés, H. 2: Oro supplex | — | ||
| 26-6 | Motet pour les trépassés, H. 311: Symphonie - Miseremini mei | — | ||
| 26-7 | Motet pour les trépassés, H. 311: Hei, hei mihi, Domine | — | ||
| 26-8 | Motet pour les trépassés, H. 311: Ritournelle - Ah, ah poenis crucior nimis asperis | — | ||
| 27-1 | Motet pour les trépassés, H. 311: Symphonie - Miseremini mei | — | ||
| 27-2 | Messe pour les trépassés, H. 2: Symphonie - Sanctus | — | ||
| 27-3 | Messe pour les trépassés, H. 2: Pie Jesu | — | ||
| 27-4 | Messe pour les trépassés, H. 2: Benedictus | — | ||
| 27-5 | Messe pour les trépassés, H. 2: Symphonie - Agnus Dei | — | ||
| 27-6 | Miserere des Jésuites, H. 193: Prélude | — | ||
| 27-7 | Miserere des Jésuites, H. 193: Miserere mei Deus (bass, chorus) | — | ||
| 27-8 | Miserere des Jésuites, H. 193: Amplius lava me (soli) | — | ||
| 27-9 | Miserere des Jésuites, H. 193: Ecce enim (soli, chorus) | — | ||
| 27-10 | Miserere des Jésuites, H. 193: Asperges me hysopo (tenor) | — | ||
| 27-11 | Miserere des Jésuites, H. 193: Auditui meo dabis gaudium (soli) | — | ||
| 27-12 | Miserere des Jésuites, H. 193: Averte faciem tuam a peccatis meis (soli, chorus) | — | ||
| 27-13 | Miserere des Jésuites, H. 193: Ne projicias me a facie tua (soprano, alto) | — | ||
| 27-14 | Miserere des Jésuites, H. 193: Docedo iniquos vias tuas (chorus) | — | ||
| 27-15 | Miserere des Jésuites, H. 193: Libera me de sanguinibus Deus (bass, tenor, chorus) | — | ||
| 27-16 | Miserere des Jésuites, H. 193: Sacrificium Deo spiritus contribulatus (soprano) | — | ||
| 27-17 | Miserere des Jésuites, H. 193: Benigne fac Domine (soprani) | — | ||
| 27-18 | Miserere des Jésuites, H. 193: Tunc acceptabilis sacrificium iusititiae oblationes (chorus) | — | ||
| 28-1 | Mass in F major, BWV 233: Kyrie (chorus) | — | ||
| 28-2 | Mass in F major, BWV 233: Gloria (chorus) | — | ||
| 28-3 | Mass in F major, BWV 233: Domine Deus (bass) | — | ||
| 28-4 | Mass in F major, BWV 233: Qui tollis (soprano) | — | ||
| 28-5 | Mass in F major, BWV 233: Quoniam (alto) | — | ||
| 28-6 | Mass in F major, BWV 233: Cum Sancto Spiritu (chorus) | — | ||
| 28-7 | Mass in A major, BWV 234: Kyrie (chorus) | — | ||
| 28-8 | Mass in A major, BWV 234: Gloria (chorus) | — | ||
| 28-9 | Mass in A major, BWV 234: Domine Deus (bass) | — | ||
| 28-10 | Mass in A major, BWV 234: Qui tollis (soprano) | — | ||
| 28-11 | Mass in A major, BWV 234: Quoniam (alto) | — | ||
| 28-12 | Mass in A major, BWV 234: Cum Sancto Spiritu (chorus) | — | ||
| 28-13 | Sanctus in D minor, BWV 239 (chorus) | — | ||
| 28-14 | Sanctus in G major, BWV 240 (chorus) | — | ||
| 28-15 | Sanctus in D major, BWV 241 (double chorus) | — | ||
| 29-1 | Mass in G major, BWV 236: Kyrie (chorus) | — | ||
| 29-2 | Mass in G major, BWV 236: Gloria (chorus) | — | ||
| 29-3 | Mass in G major, BWV 236: Gratias agimus tibi (bass) | — | ||
| 29-4 | Mass in G major, BWV 236: Domine Deus (soprano, alto) | — | ||
| 29-5 | Mass in G major, BWV 236: Quoniam (tenor) | — | ||
| 29-6 | Mass in G major, BWV 236: Cum Sancto Spiritu (chorus) | — | ||
| 29-7 | Mass in G minor, BWV 235: Kyrie (chorus) | — | ||
| 29-8 | Mass in G minor, BWV 235: Gloria (chorus) | — | ||
| 29-9 | Mass in G minor, BWV 235: Gratias agimus tibi (bass) | — | ||
| 29-10 | Mass in G minor, BWV 235: Domine fili (alto) | — | ||
| 29-11 | Mass in G minor, BWV 235: Qui tollis (tenor) | — | ||
| 29-12 | Mass in G minor, BWV 235: Cum Sancto Spiritu (chorus) | — | ||
| 29-13 | Sanctus in D major, BWV 238 (chorus) | — | ||
| 29-14 | Christe eleison, BWV 242 (soprano, alto) | — | ||
| 29-15 | Sanctus in C major, BWV 237 (chorus) | — | ||
| 30-1 | Un gay bergier: Vocal version | — | ||
| 30-2 | Un gay bergier: Instrumental version | — | ||
| 30-3 | Anchor che co'l partire: Lute version | — | ||
| 30-4 | Anchor che co'l partire: Vocal version | — | ||
| 30-5 | Anchor che co'l partire: Instrumental version | — | ||
| 30-6 | Ver'inferno: Vocal version | — | ||
| 30-7 | Ver'inferno: Lute version | — | ||
| 30-8 | Susanne un jour: Vocal version | — | ||
| 30-9 | Susanne un jour: Instrumental version | — | ||
| 30-10 | Frais et gaillart: Vocal version | — | ||
| 30-11 | Frais et gaillart: Instrumental version | — | ||
| 30-12 | Fantasia senza canto, for lute | — | ||
| 30-13 | Tirsi morir volea, vocal version | — | ||
| 31-1 | Salmo quarantesimosecondo “Judica me Deus” (Psalm 42), for bass and string orchestra | — | ||
| 31-2 | Salmo quarto “Cum invocarem exaudivit” (Psalm 4), for alto, soprano, women's chorus and continuo | — | ||
| 31-3 | Salmo vigesimonono “Exaltabo Te Domine” (Psalm 29), for tenor, baritone, chorus and orchestra | — | ||
| 31-4 | Salmo quarantesimosesto “Omnes gentes plaudite manibus” (Psalm 46), for soprano and continuo | — | ||
| 32-1 | Salmo decimo “In Domino confido” (Psalm 10), for soli, chorus, and orchestra | — | ||
| 32-2 | Salmo undecimo “Salvum me fac Domine” (Psalm 11), for two altos, chorus and continuo | — | ||
| 32-3 | Salmo trigesimosesto “Moli aemulari in malignantibus” (Psalm 36), for soli, chorus and continuo | — | ||
| 33-1 | Lamento della ninfa, SV 163 (Book VIII, Canti amorosi) | — | ||
| 33-2 | Ohimè ch'io cado, SV 316 | — | ||
| 33-3 | Si ch'io vorrei morire, SV 89 (Book IV) | — | ||
| 33-4 | Bei pastor, SV 168 (Book IX) | — | ||
| 33-5 | Eccomi pronta ai baci, SV 135 (Book VII) | — | ||
| 33-6 | Ecco mormorar l'onde, SV 51 (Book II) | — | ||
| 33-7 | Hor che'l ciel e la terra, SV 147 (Book VIII, Canti guerrieri) | — | ||
| 33-8 | La mia turca, SV 310 | — | ||
| 33-9 | Perchè fuggi tra salci, SV 128 (Book VII) | — | ||
| 33-10 | Presso un fiume tranquillo, SV 116 (Book VI) | — | ||
| 34-1 | Si dolce è il tormento, SV 332 | — | ||
| 34-2 | Sfogava con le stelle, SV 78 (Book IV) | — | ||
| 34-3 | Di far sempre gioire, SV 89 (Book IV) | — | ||
| 34-4 | Maladetta sia l'aspetto, SV 246 (Scherzi musicali II) | — | ||
| 34-5 | Non è di gentil core, SV 118 (Book VII) | — | ||
| 34-6 | Io mi son giovinetta, SV 86 (Book IV) | — | ||
| 34-7 | Questi vaghi concenti, SV 106 (Book V) | — | ||
| 34-8 | Tirsi e Clori, SV 145 (Book VII) | — | ||
| 34-9 | Ardo e scoprir, SV 158 (Book VIII, Canti amorosi) | — | ||
| 34-10 | Vorei baciarti o Filli, SV 123 (Book VII) | — | ||
| 34-11 | Lasciatemi morire, from Lamento d'Arianna a 5, SV 107 (Book VI) | — | ||
| 35-1 | Keyboard Concerto in D minor, BWV 1052: I. Allegro | — | ||
| 35-2 | Keyboard Concerto in D minor, BWV 1052: II. Adagio | — | ||
| 35-3 | Keyboard Concerto in D minor, BWV 1052: III. Allegro | — | ||
| 35-4 | Keyboard Concerto in A major, BWV 1055: I. Allegro | — | ||
| 35-5 | Keyboard Concerto in A major, BWV 1055: II. Larghetto | — | ||
| 35-6 | Keyboard Concerto in A major, BWV 1055: III. Allegro ma non tanto | — | ||
| 35-7 | Keyboard Concerto in F minor, BWV 1056: I. Allegro | — | ||
| 35-8 | Keyboard Concerto in F minor, BWV 1056: II. Largo | — | ||
| 35-9 | Keyboard Concerto in F minor, BWV 1056: III. Presto | — | ||
| 36-1 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: I. Gloria in excelsis Deo (chorus) | — | ||
| 36-2 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: II. Et in terra pax (chorus) | — | ||
| 36-3 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: III. Laudamus te (2 sopranos) | — | ||
| 36-4 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: IV. Gratias agimus tibi (chorus) | — | ||
| 36-5 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: V. Procter magnam gloriam (chorus) | — | ||
| 36-6 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: VI. Domine Deus (soprano) | — | ||
| 36-7 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: VII. Domine Fili unigenite (chorus) | — | ||
| 36-8 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: VIII. Domine Deus, Agnus Dei (alto, chorus) | — | ||
| 36-9 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: IX. Qui tollis peccata mundi (chorus) | — | ||
| 36-10 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: X. Qui sedes ad dexteram Patris (alto) | — | ||
| 36-11 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: XI. Quoniam tu solus sanctus (chorus) | — | ||
| 36-12 | Gloria in D major, RV 589, for 2 sopranos, alto, chorus and orchestra: XII. Cum Sancto Spiritu (chorus) | — | ||
| 36-13 | Kyrie in G minor, RV 587, for 2 sopranos, 2 altos, double chorus and double string orchestra: I. Kyrie eleison (double chorus) | — | ||
| 36-14 | Kyrie in G minor, RV 587, for 2 sopranos, 2 altos, double chorus and double string orchestra: II. Christe eleison (2 sopranos, 2 altos) | — | ||
| 36-15 | Kyrie in G minor, RV 587, for 2 sopranos, 2 altos, double chorus and double string orchestra: III. Kyrie eleison (double chorus) | — | ||
| 36-16 | Credo in E minor, RV 591, for chorus and string orchestra: I. Credo in unum Deum | — | ||
| 36-17 | Credo in E minor, RV 591, for chorus and string orchestra: II. Et in terra pax (chorus) | — | ||
| 36-18 | Credo in E minor, RV 591, for chorus and string orchestra: III. Laudamus te (2 sopranos) | — | ||
| 36-19 | Credo in E minor, RV 591, for chorus and string orchestra: IV. Gratias agimus tibi (chorus) | — | ||
| 37-1 | Altri canti d'amore, SV 146 (Book VIII, Canti guerrieri) | — | ||
| 37-2 | Io son pur vezzosetta pastorella, SV 121 (Book VII) | — | ||
| 37-3 | Gira il nemico insidioso amore, SV 148 (Book VIII, Canti guerrieri) | — | ||
| 37-4 | Qual si può, SV 1 (Canzonette) | — | ||
| 37-5 | Tempro la cetra, SV 117 (Book VII) | — | ||
| 37-6 | Soave libertate, SV 130 (Book VII) | — | ||
| 37-7 | Su, su, su, pastorelli vezzosi, SV 166 (Book VII, Canti amorosi) | — | ||
| 37-8 | La fiera vista, SV 3 (Canzonette) | — | ||
| 37-9 | O come sei gentile, SV 120 (Book VII) | — | ||
| 37-10 | Ardo avvampo mi struggo, SV 152 (Book VII, Canti guerrieri) | — | ||
| 37-11 | Non giacinti o narcisi, SV 43 (Book II) | — | ||
| 37-12 | Tornate, i cari baci, SV 129 (Book VII) | — | ||
| 37-13 | Zefiro torna, SV 108 (Book VI) | — | ||
| 37-14 | S'andasse amor a caccia, SV 49 (Book II) | — | ||
| 37-15 | Eri già tutta mia, SV 248 (Scherzi musicali II) | — | ||
| 37-16 | Quel sguardo sdegnosetto, SV 247 (Scherzi musicali II) | — | ||
| 38-1 | Sestina: Lagrime d'amante al sepolcro dell amata, SV 111 (Book VI): Incenerite spoglie, avara tomba | — | ||
| 38-2 | Sestina: Lagrime d'amante al sepolcro dell amata, SV 111 (Book VI): Ditelo, o fiume e voi ch'udiste | — | ||
| 38-3 | Sestina: Lagrime d'amante al sepolcro dell amata, SV 111 (Book VI): Darà la notte il sol | — | ||
| 38-4 | Sestina: Lagrime d'amante al sepolcro dell amata, SV 111 (Book VI): Ma te raccoglie, o ninfa | — | ||
| 38-5 | Sestina: Lagrime d'amante al sepolcro dell amata, SV 111 (Book VI): O chiome d'or, neve gentil de seno | — | ||
| 38-6 | Sestina: Lagrime d'amante al sepolcro dell amata, SV 111 (Book VI): Dunque amate reliquie | — | ||
| 38-7 | Ninfa che scalza il piede, SV 160 (Book VIII, Canti amorosi): Ninfa che scalza il piede | — | ||
| 38-8 | Ninfa che scalza il piede, SV 160 (Book VIII, Canti amorosi): Qui deh meco t'arresta | — | ||
| 38-9 | Ninfa che scalza il piede, SV 160 (Book VIII, Canti amorosi): Dell'usate mie corde | — | ||
| 38-10 | Dolcissimo uscignolo, SV 161 (Book VIII, Canti amorosi) | — | ||
| 38-11 | Interrotte sepranze, SV 132 (Book VII) | — | ||
| 38-12 | Non sono in queste rive, SV 45 (Book II) | — | ||
| 38-13 | O viva fiamma, SV 122 (Book VII) | — | ||
| 38-14 | Alcun non mi consigli, SV 169 (Book IX) | — | ||
| 38-15 | Al lume delle stelle, SV 138 (Book VII) | — | ||
| 38-16 | Ohimè dovè il mio ben (Romanesca), SV 140 (Book VII) | — | ||
| 38-17 | S'el vostro cor madonna, SV 131 (Book VII) | — | ||
| 38-18 | Raggi dov'è il mio bene?, SV 4 (Canzonette) | — | ||
| 38-19 | Il mio martir, SV 6 (Canzonette) | — | ||
| 38-20 | Son questi i crespi crini, SV 7 (Canzonette) | — | ||
| 39-1 | Keyboard Concerto in C major, op. 7 no. 1: I. Allegretto | — | ||
| 39-2 | Keyboard Concerto in C major, op. 7 no. 1: II. Menuetto | — | ||
| 39-3 | Keyboard Concerto in F major, op. 7 no. 2: I. (Allegro) | — | ||
| 39-4 | Keyboard Concerto in F major, op. 7 no. 2: II. Tempo di menuetto | — | ||
| 39-5 | Keyboard Concerto in B-flat major, op. 7 no. 4: I. Allegro giusto | — | ||
| 39-6 | Keyboard Concerto in B-flat major, op. 7 no. 4: II. Allegro di molto | — | ||
| 39-7 | Keyboard Concerto in D major, op. 7 no. 3: I. Allegro con spirito | — | ||
| 39-8 | Keyboard Concerto in D major, op. 7 no. 3: II. Rondo: Allegretto | — | ||
| 40-1 | Beatus vir, RV 597, for soli, double chorus and orchestra: I. Beatus vir (chorus) | — | ||
| 40-2 | Beatus vir, RV 597, for soli, double chorus and orchestra: II. Potens in terra (bass) | — | ||
| 40-3 | Beatus vir, RV 597, for soli, double chorus and orchestra: III. Gloria e divitiae (2 sopranos) | — | ||
| 40-4 | Beatus vir, RV 597, for soli, double chorus and orchestra: IV. Exortum est (chorus) | — | ||
| 40-5 | Beatus vir, RV 597, for soli, double chorus and orchestra: V. Jucundus homo (soprano) | — | ||
| 40-6 | Beatus vir, RV 597, for soli, double chorus and orchestra: VI. In memoria aeterna (chorus) | — | ||
| 40-7 | Beatus vir, RV 597, for soli, double chorus and orchestra: VII. Paratum coe ejus (chorus) | — | ||
| 40-8 | Beatus vir, RV 597, for soli, double chorus and orchestra: VIII. Peccator videbit (bass) | — | ||
| 40-9 | Beatus vir, RV 597, for soli, double chorus and orchestra: IX. Gloria Patri (chorus) | — | ||
| 40-10 | Nulla in mundo pax sincera, RV 630, motet for soprano, string orchestra and continuo: I. Nulla in mundo pax sincera | — | ||
| 40-11 | Nulla in mundo pax sincera, RV 630, motet for soprano, string orchestra and continuo: II. Recitativo: Blanco colore oculos mundus decepit | — | ||
| 40-12 | Nulla in mundo pax sincera, RV 630, motet for soprano, string orchestra and continuo: III. Spirat anguis | — | ||
| 40-13 | Nulla in mundo pax sincera, RV 630, motet for soprano, string orchestra and continuo: IV. Alleluia | — | ||
| 40-14 | Lauda Jerusalem, RV 609, for 2 sopranos, double chorus and orchestra | — | ||
| 41-1 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: I. Magnificat (chorus) | — | ||
| 41-2 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: II. Et exultavit (soprano, alto, tenor, chorus) | — | ||
| 41-3 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: III. Et misericordia (chorus) | — | ||
| 41-4 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: IV. Fecit potentiam (chorus) | — | ||
| 41-5 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: V. Deposuit potentes (chorus) | — | ||
| 41-6 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: VI. Esurientes (2 sopranos) | — | ||
| 41-7 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: VII. Suscepit Israel (chorus) | — | ||
| 41-8 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: VIII. Sicut locutus est (chorus) | — | ||
| 41-9 | Magnificat, RV 610, for 2 sopranos, alto, tenor, double chorus, orchestra and continuo: IX. Gloria … Qui tollis (chorus) | — | ||
| 41-10 | Canta in prato, RV 623, motet for soprano, string orchestra and continuo: I. Canta in prato | — | ||
| 41-11 | Canta in prato, RV 623, motet for soprano, string orchestra and continuo: II. Recitativo: Saeva fulgescit nobis | — | ||
| 41-12 | Canta in prato, RV 623, motet for soprano, string orchestra and continuo: III. Avenae rusticae | — | ||
| 41-13 | Canta in prato, RV 623, motet for soprano, string orchestra and continuo: IV. Alleluia | — | ||
| 41-14 | In furore iustissimae irae, RV 626, motet for soprano, string orchestra and continuo: I. In furore | — | ||
| 41-15 | In furore iustissimae irae, RV 626, motet for soprano, string orchestra and continuo: II. Recitativo: Miserationum Pater piissime | — | ||
| 41-16 | In furore iustissimae irae, RV 626, motet for soprano, string orchestra and continuo: III. Tunc meus fletus evadet laetus | — | ||
| 41-17 | In furore iustissimae irae, RV 626, motet for soprano, string orchestra and continuo: IV. Alleluia | — | ||
| 41-18 | Beatus vir, RV 598, for 2 sopranos, chorus, string orchestra and continuo | — | ||
| 42-1 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: I. Dixit Dominus (chorus) | — | ||
| 42-2 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: II. Donec ponam inimicos tuos (chorus) | — | ||
| 42-3 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: III. Virgam virtutis tuae (soprano) | — | ||
| 42-4 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: IV. Tecum principium (soprano, alto) | — | ||
| 42-5 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: V. Juravit Dominus (chorus) | — | ||
| 42-6 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: VI. Dominus e dextris tuis (soprano) | — | ||
| 42-7 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: VII. Judicabit (alto, chorus) | — | ||
| 42-8 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: VIII. De torrente (alto) | — | ||
| 42-9 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: IX. Gloria Patri / X. Sicut erat in principio (alto, tenor, bass, chorus) | — | ||
| 42-10 | Dixit Dominus, RV 595, for soli, chorus, orchestra and continuo: XI. Et in saecula saeculorum | — | ||
| 42-11 | O qui coeli terraeque serenitas, RV 631, motet for soprano and string orchestra: I. O qui caeli | — | ||
| 42-12 | O qui coeli terraeque serenitas, RV 631, motet for soprano and string orchestra: II. Recitativo: Fac ut sordescat tellus | — | ||
| 42-13 | O qui coeli terraeque serenitas, RV 631, motet for soprano and string orchestra: III. Rosa quae moritur | — | ||
| 42-14 | O qui coeli terraeque serenitas, RV 631, motet for soprano and string orchestra: IV. Alleluia | — | ||
| 43-1 | Te Deum, H. 146, for soli, chorus, and orchestra: I. Prélude: Rondeau | — | ||
| 43-2 | Te Deum, H. 146, for soli, chorus, and orchestra: II. Te Deum laudamus (bass) | — | ||
| 43-3 | Te Deum, H. 146, for soli, chorus, and orchestra: III. Te aeternum Patrem (soprano I/II, altus, tenor, chorus) | — | ||
| 43-4 | Te Deum, H. 146, for soli, chorus, and orchestra: IV. Te per orbem terrarum (altus, tenor, bass) | — | ||
| 43-5 | Te Deum, H. 146, for soli, chorus, and orchestra: V. Tu devicto mortis aculeo (bass, chorus) | — | ||
| 43-6 | Te Deum, H. 146, for soli, chorus, and orchestra: VI. Te ergo quaesumus (soprano I) | — | ||
| 43-7 | Te Deum, H. 146, for soli, chorus, and orchestra: VII. Aeterna fac cum sanctus tuis (soprano II, altus, tenor, bass, chorus) | — | ||
| 43-8 | Te Deum, H. 146, for soli, chorus, and orchestra: VIII. Dignare, Domine, die isto (soprano I/II, bass) | — | ||
| 43-9 | Te Deum, H. 146, for soli, chorus, and orchestra: IX. Fiat misericordia tua, Domine, super nos (soprano I, bass) | — | ||
| 43-10 | Te Deum, H. 146, for soli, chorus, and orchestra: X. In te, Domine, speravi (altus, tenor, bass, chorus) | — | ||
| 43-11 | Salve Regina, H. 24, for 3 chorus and orchestra | — | ||
| 43-12 | Tenebrae factae sunt, H. 129, for bass and orchestra | — | ||
| 43-13 | In nativitatem Domini canticum, H. 416: III. Nuit (Orchestral interlude) | — | ||
| 43-14 | Seniores populi, H. 117, for altus and orchestra | — | ||
| 44-1 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: I. Dixit Dominus (chorus) | — | ||
| 44-2 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: II. Donec ponam inimicos tuos (chorus) | — | ||
| 44-3 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: III. Virgam virtutis tuae (sopranos) | — | ||
| 44-4 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: IV. Tecum principium (alto) | — | ||
| 44-5 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: V. Juravit Dominus (chorus) | — | ||
| 44-6 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: VI. Dominus a dextris tuis (tenor, bass) | — | ||
| 44-7 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: VII. Judicabit in nationibus (chorus) | — | ||
| 44-8 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: VIII. De torrente (soprano, chorus) | — | ||
| 44-9 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: IX. Gloria Patri (chorus) | — | ||
| 44-10 | Dixit Dominus (Psalm 109), RV 594, for soli, double chorus and double orchestra: X. Sicut erat in principio (chorus) | — | ||
| 44-11 | Stabat Mater, RV 621, for alto and string orchestra: I. Stabat Mater dolorosa | — | ||
| 44-12 | Stabat Mater, RV 621, for alto and string orchestra: II. Cujus animam gementem | — | ||
| 44-13 | Stabat Mater, RV 621, for alto and string orchestra: III. O quam tristis | — | ||
| 44-14 | Stabat Mater, RV 621, for alto and string orchestra: IV. Quis est homo | — | ||
| 44-15 | Stabat Mater, RV 621, for alto and string orchestra: V. Quis non posset | — | ||
| 44-16 | Stabat Mater, RV 621, for alto and string orchestra: VI. Pro peccatis | — | ||
| 44-17 | Stabat Mater, RV 621, for alto and string orchestra: VII. Eja Mater | — | ||
| 44-18 | Stabat Mater, RV 621, for alto and string orchestra: VIII. Fac ut ardeat | — | ||
| 44-19 | Stabat Mater, RV 621, for alto and string orchestra: IX. Amen | — | ||
| 45-1 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. I. Chorus: “Lass, Fürstin, lass noch einen Strahl” | — | ||
| 45-2 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. II. Recitative (soprano): “Dein Sachsen, dein bestürzes Meissen” | — | ||
| 45-3 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. III. Aria (soprano): “Verstummt, verstummt, ihr holden Saiten!” | — | ||
| 45-4 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. IV. Recitative (alto): “Der Glocken bebendes Getön” | — | ||
| 45-5 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. V. Aria (alto): “Wie starb die Heldin so vergnügt!” | — | ||
| 45-6 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. VI. Recitative (tenor): “Ihr Leben liess die Kunst zu Sterben” | — | ||
| 45-7 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part I. VII. Chorus: “An Dir, du Fürbild grosser Frauen” | — | ||
| 45-8 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part II. VIII. Aria (tenor): “Der Ewigkeit saphirnes Haus” | — | ||
| 45-9 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part II. IX. Recitative - Arioso - Recitative (bass): “Was Wunder ist's?” | — | ||
| 45-10 | “Lass, Fürstin, lass noch einen Strahl” (Trauerode), BWV 198: Part II. X. Chorus: “Doch, Königin! du stirbest nicht” | — | ||
| 45-11 | “Ach Gott, wie manches Herzeleid”, BWV 58: Choral & Aria (soprano, bass): “Ach Gott, wie manches Herzeleid” | — | ||
| 45-12 | “Ach Gott, wie manches Herzeleid”, BWV 58: Recitative (bass): “Verfolgt dich gleich die arge Welt” | — | ||
| 45-13 | “Ach Gott, wie manches Herzeleid”, BWV 58: Aria (soprano): “Ich bin vergnügt in meinem Leiden” | — | ||
| 45-14 | “Ach Gott, wie manches Herzeleid”, BWV 58: Recitative (soprano): “Kann es die Welt nicht lassen” | — | ||
| 45-15 | “Ach Gott, wie manches Herzeleid”, BWV 58: Aria & Chorale (soprano, bass): “Ich hab' vor mir ein' schwere Reis” | — | ||
| 46-1 | “Jesu, der du meine Seele”, BWV 78: I. Chorus: “Jesu, der du meine Seele” | — | ||
| 46-2 | “Jesu, der du meine Seele”, BWV 78: II. Aria duetto (soprano, alto): “Wir eilen mit schwachen, doch emsigen Schritten” | — | ||
| 46-3 | “Jesu, der du meine Seele”, BWV 78: III. Recitative (tenor): “Ach! Ich bin eine Kind der Sünden” | — | ||
| 46-4 | “Jesu, der du meine Seele”, BWV 78: IV. Aria (tenor): “Das Blut, so meine Schuld durchstreicht” | — | ||
| 46-5 | “Jesu, der du meine Seele”, BWV 78: V. Recitative (bass): “Die Wunden, Nägen, Kron und Grab” | — | ||
| 46-6 | “Jesu, der du meine Seele”, BWV 78: VI. Aria (bass): “Nun du wirst mein Gewissen stillen” | — | ||
| 46-7 | “Jesu, der du meine Seele”, BWV 78: VII. Chorale: “Herr, ich glaube, hilf mir Schwachen” | — | ||
| 46-8 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part I. I. Chorus: “Lobet Gott in seinen Reichen” | — | ||
| 46-9 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part I. II. Recitative (tenor): “Der Herr Jesus hub seine Hände auf” | — | ||
| 46-10 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part I. III. Recitative (bass): “Ach, Jesu, ist dein Abschied schon so nah?” | — | ||
| 46-11 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part I. IV. Aria (alto): “Ach, bleibe doch, Mein liebstes Leben” | — | ||
| 46-12 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part I. V. Recitative (tenor): “Und ward aufgehoben zusehends” | — | ||
| 46-13 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part I. VI. Chorale: “Nun lieget alles unter dir” | — | ||
| 46-14 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part II. VIIa. Recitative (tenor, bass): “Und da sie ihm nachsahen gen Himmel fahren” | — | ||
| 46-15 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part II. VIIb. Recitative (alto): “Ach ja! So komme bald zurück” | — | ||
| 46-16 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part II. VIIc. Recitative (tenor): “Sie aber beteten ihn an” | — | ||
| 46-17 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part II. VIII. Aria (soprano): “Jesu, deine Gnadenblicke” | — | ||
| 46-18 | “Lobet Gott in seinen Reichen” (Ascension Oratoria), BWV 11: Part II. IX. Chorale: “Wenn soll es doch geschehen” | — | ||
| 47-1 | Johannes-Passion, BWV 245: No. 1. Chorus. “Herr, unser Herrscher” (chorus) | — | ||
| 47-2 | Johannes-Passion, BWV 245: No. 2a. Recitative. “Jesus ging mit seinen Jüngern” (Evangelist, Jesus) | — | ||
| 47-3 | Johannes-Passion, BWV 245: No. 2b. Chorus. “Jesum von Nazareth” (chorus) | — | ||
| 47-4 | Johannes-Passion, BWV 245: No. 2c. Recitative. “Jesus spricht zu ihnen” (Evangelist, Jesus) | — | ||
| 47-5 | Johannes-Passion, BWV 245: No. 2d. Chorus. “Jesus von Nazareth” (chorus) | — | ||
| 47-6 | Johannes-Passion, BWV 245: No. 2e. Recitative. “Jesus antwortete” (Evangelist, Jesus) | — | ||
| 47-7 | Johannes-Passion, BWV 245: No. 3. Chorale. “O große Lieb” (chorus) | — | ||
| 47-8 | Johannes-Passion, BWV 245: No. 4. Recitative. “Auf daß das Wort erfüllet würde” (Evangelist, Jesus) | — | ||
| 47-9 | Johannes-Passion, BWV 245: No. 5. Chorale. “Dein Will' gescheh” (chorus) | — | ||
| 47-10 | Johannes-Passion, BWV 245: No. 6. Recitative. “Die Schar aber und der Oberhauptmann” (Evangelist) | — | ||
| 47-11 | Johannes-Passion, BWV 245: No. 7. Aria. “Von den Stricken” (alto, 2 oboes and continuo) | — | ||
| 47-12 | Johannes-Passion, BWV 245: No. 8. Recitative. “Simon Petrus aber folgete Jesu nach” (Evangelist) | — | ||
| 47-13 | Johannes-Passion, BWV 245: No. 9. Aria. “Ich folge dir gleichfalls” (soprano, flute) | — | ||
| 47-14 | Johannes-Passion, BWV 245: No. 10. Recitative. “Derselbige Jünger war dem Hohenpriester bekannt” (Evangelist, Petrus, Jesus) | — | ||
| 47-15 | Johannes-Passion, BWV 245: No. 11. Chorale. “Wer hat dich so geschlagen” (chorus) | — | ||
| 47-16 | Johannes-Passion, BWV 245: No. 12a. Recitative. “Und Hannas sandte ihn gebunden” (Evangelist) | — | ||
| 47-17 | Johannes-Passion, BWV 245: No. 12b. Chorus. “Bist du nicht seiner Jünger einer” (chorus) | — | ||
| 47-18 | Johannes-Passion, BWV 245: No. 12c. Recitative. “Er leugnete aber und sprach” (Evangelist, Petrus) | — | ||
| 47-19 | Johannes-Passion, BWV 245: No. 13. Aria. “Ach, mein Sinn” (tenor) | — | ||
| 47-20 | Johannes-Passion, BWV 245: No. 14. Chorale. “Petrus, der nicht denkt zurück” (chorus) | — | ||
| 47-21 | Johannes-Passion, BWV 245: No. 15. Chorale. “Christus, der uns selig macht” (chorus) | — | ||
| 47-22 | Johannes-Passion, BWV 245: No. 16a. Recitative. “Da führeten sie Jesum” (Evangelist, Pilatus) | — | ||
| 47-23 | Johannes-Passion, BWV 245: No. 16b. Chorus. “Wäre dieser nicht ein Übeltäter” (chorus) | — | ||
| 47-24 | Johannes-Passion, BWV 245: No. 16c. Recitative. “Da sprach Pilatus zu ihnen” (Evangelist, Pilatus) | — | ||
| 47-25 | Johannes-Passion, BWV 245: No. 16d. Chorus. “Wir dürfen niemand töten” (chorus) | — | ||
| 47-26 | Johannes-Passion, BWV 245: No. 16e. Recitative. “Auf daß erfüllet würde das Wort” (Evangelist, Pilatus, Jesus) | — | ||
| 47-27 | Johannes-Passion, BWV 245: No. 17. Chorale. “Ach großer König” (chorus) | — | ||
| 47-28 | Johannes-Passion, BWV 245: No. 18a. Recitative. “Da sprach Pilatus zu ihm” (Evangelist, Pilatus, Jesus) | — | ||
| 47-29 | Johannes-Passion, BWV 245: No. 18b. Chorus. “Nicht diesen, sondern Barrabam” (chorus) | — | ||
| 47-30 | Johannes-Passion, BWV 245: No. 18c. Recitative. “Barrabas aber war ein Mörder” (Evangelist) | — | ||
| 47-31 | Johannes-Passion, BWV 245: No. 19. Arioso. “Betrachte, meine Seel', mit ängstlichem Vergnügen” (bass, 2 viole d'amore, lute) | — | ||
| 47-32 | Johannes-Passion, BWV 245: No. 20. Aria. “Erwäge, wie sien blutgefärbter Rücken” (tenor, 2 viole d'amore) | — | ||
| 48-1 | Johannes-Passion, BWV 245: No. 21a. Recitative. “Und die Kriegsknechte flochten eine Krone” (Evangelist) | — | ||
| 48-2 | Johannes-Passion, BWV 245: No. 21b. Chorus. “Sei gegrüsset, lieber Judenkönig” (chorus) | — | ||
| 48-3 | Johannes-Passion, BWV 245: No. 21c. Recitative. “Und gaben ihm Backenstreiche” (Evangelist, Pilatus) | — | ||
| 48-4 | Johannes-Passion, BWV 245: No. 21d. Chorus. “Kreuzige, Kreuzige” (chorus) | — | ||
| 48-5 | Johannes-Passion, BWV 245: No. 21e. Recitative. “Pilatus sprach zu ihnen” (Evangelist, Pilatus) | — | ||
| 48-6 | Johannes-Passion, BWV 245: No. 21f. Chorus. “Wir haben ein Gesetz” (chorus) | — | ||
| 48-7 | Johannes-Passion, BWV 245: No. 21g. Recitative: “Da Pilatus das Wort hörete” (Evangelist, Pilatus, Jesus) | — | ||
| 48-8 | Johannes-Passion, BWV 245: No. 22. Chorale. “Durch dein Gefängnis, Gottes Sohn” (chorus) | — | ||
| 48-9 | Johannes-Passion, BWV 245: No. 23a. Recitative. “Die Juden aber schrieen” (Evangelist) | — | ||
| 48-10 | Johannes-Passion, BWV 245: No. 23b. Chorus. “Lässest du diesen los” (chorus) | — | ||
| 48-11 | Johannes-Passion, BWV 245: No. 23c. Recitative. “Da Pilatus das Wort hörete” (Evangelist, Pilatus) | — | ||
| 48-12 | Johannes-Passion, BWV 245: No. 23d. Chorus. “Weg, weg mit dem, Kreuzige ihn!” (chorus) | — | ||
| 48-13 | Johannes-Passion, BWV 245: No. 23e. Recitative. “Spricht Pilatus zu ihnen” (Evangelist, Pilatus) | — | ||
| 48-14 | Johannes-Passion, BWV 245: No. 23f. Chorus. “Wir haben keiner König denn den Kaiser” (chorus) | — | ||
| 48-15 | Johannes-Passion, BWV 245: No. 23g. Recitative. “Da überantworte er ihn” (Evangelist) | — | ||
| 48-16 | Johannes-Passion, BWV 245: No. 24. Aria & Chorus. “Eilt, ihr angefocht'nen Seelen” (bass, chorus) | — | ||
| 48-17 | Johannes-Passion, BWV 245: No. 25a. Recitative. “Allda kreuzigten sie ihn” (Evangelist) | — | ||
| 48-18 | Johannes-Passion, BWV 245: No. 25b. Chorus. “Schreibe nicht” (chorus) | — | ||
| 48-19 | Johannes-Passion, BWV 245: No. 25c. Recitative. “Pilatus antwortet” (Evangelist, Pilatus) | — | ||
| 48-20 | Johannes-Passion, BWV 245: No. 26. Chorale. “In meines Herzens Grune” (chorus) | — | ||
| 48-21 | Johannes-Passion, BWV 245: No. 27a. Recitative. “Die Kriegsknechte aber” (Evangelist) | — | ||
| 48-22 | Johannes-Passion, BWV 245: No. 27b. Chorus. “Lasset uns den nicht zerteilen” (chorus) | — | ||
| 48-23 | Johannes-Passion, BWV 245: No. 27c. Recitative. “Auf daß erfüllet würde die Schrift” (Evangelist, Jesus) | — | ||
| 48-24 | Johannes-Passion, BWV 245: No. 28. Chorale. “Er nahm alles wohl in acht” (chorus) | — | ||
| 48-25 | Johannes-Passion, BWV 245: No. 29. Recitative. “Und von Stund an nahm sie der Jünger” (Evangelist, Jesus) | — | ||
| 48-26 | Johannes-Passion, BWV 245: No. 30. Aria. “Es ist vollbracht” (alto, viola da gamba) | — | ||
| 48-27 | Johannes-Passion, BWV 245: No. 31. Recitative. “Und neigt das Haupt und verschied” (Evangelist) | — | ||
| 48-28 | Johannes-Passion, BWV 245: No. 32. Aria & Chorus. “Mein teurer Heiland” (bass, chorus) | — | ||
| 48-29 | Johannes-Passion, BWV 245: No. 33. Recitative. “Und siehe da, der Vorhang im Tempel zerriß” (Evangelist) | — | ||
| 48-30 | Johannes-Passion, BWV 245: No. 34. Arioso. “Mein Herz, in dem die ganze Welt” (tenor, flute, 2 oboes) | — | ||
| 48-31 | Johannes-Passion, BWV 245: No. 35. Aria. “Zerfließe, mein Herze” (soprano, flute, cor anglais) | — | ||
| 48-32 | Johannes-Passion, BWV 245: No. 36. Recitative. “Die Juden aber dieweil es der Rüsttag war” (Evangelist) | — | ||
| 48-33 | Johannes-Passion, BWV 245: No. 37. Chorale. “O hilf, Christe, Gottes Sohn” (chorus) | — | ||
| 48-34 | Johannes-Passion, BWV 245: No. 38. Recitative. “Darnach bat Pilatum Joseph von Arimathia” (Evangelist) | — | ||
| 48-35 | Johannes-Passion, BWV 245: No. 39. Chorus. “Ruht wohl, ihr heiligen Gebeine” (chorus) | — | ||
| 48-36 | Johannes-Passion, BWV 245: No. 40. Chorale. “Ach Herr, laß dein lieb Engelein” (chorus) | — | ||
| 49-1 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: I. Gloria in excelsis (chorus) | — | ||
| 49-2 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: II. Et in terra pax (chorus) | — | ||
| 49-3 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: III. Laudamus te (2 sopranos) | — | ||
| 49-4 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: IV. Gratias agimus tibi (chorus) | — | ||
| 49-5 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: V. Domine Deus (tenor) | — | ||
| 49-6 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: VI. Domine Fili unigenite (chorus) | — | ||
| 49-7 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: VII. Domine Deus, Agnus Dei (soprano) | — | ||
| 49-8 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: VIII. Qui tollis peccata mundi (chorus) | — | ||
| 49-9 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: IX. Qui sedes ad dexteram Patris (alto) | — | ||
| 49-10 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: X. Quoniam tu solus sanctus (soprano) | — | ||
| 49-11 | Gloria in D major, RV 588, for 2 sopranos, alto, tenor, chorus and orchestra: XI. Cum Sancto Spriritu (chorus) | — | ||
| 49-12 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: I. Nisi Dominus | — | ||
| 49-13 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: II. Vanum est vobis | — | ||
| 49-14 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: III. Surgite | — | ||
| 49-15 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: IV. Cum dederit | — | ||
| 49-16 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: V. Sicut saggitae | — | ||
| 49-17 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: VI. Beatus vir | — | ||
| 49-18 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: VII. Gloria Patri | — | ||
| 49-19 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: VIII. Sicut erat in principio | — | ||
| 49-20 | Nisi Dominus (Psalm 126 in G minor), RV 608, for alto, string orchestra and continuo: IX. Amen | — | ||
| 50-1 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: I. Récit de Dieu: “Audit coeli quae loquor” (bass) | — | ||
| 50-2 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: II. Chorus hominum: “O pavor, o tremor, o portentum” (soli, chorus) | — | ||
| 50-3 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: III. Bruit de trompettes | — | ||
| 50-4 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: IV. Duo des Anges: “Adeste omnes gentes” (countertenor, alto) | — | ||
| 50-5 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: V. Bruit de trompettes | — | ||
| 50-6 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: VI. Chorus hominum: “Et factus est subito sonus” (chorus) | — | ||
| 50-7 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: VII. Récit de Dieu (Part I): “Venite benedicti” (bass) | — | ||
| 50-8 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: VIII. Récit de Dieu (Part II): “Et vos maledicti” (bass) | — | ||
| 50-9 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: IX. Chœur des damnés: “O justa punitio” (soli, chorus) | — | ||
| 50-10 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: X. Les Anges: “Vos autem electi” (countertenor, alto) | — | ||
| 50-11 | Le jugement dernier (Extremum Dei judicum), oratorio for soli, chorus and orchestra, H. 401: XI. Chœur des élus: “Hymnum docamus Domine nostro” (soli, chorus) | — | ||
| 50-12 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: I. instrumental prelude | — | ||
| 50-13 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: II. Beatus vir (bass) | — | ||
| 50-14 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: III. Potens in terra (chorus) | — | ||
| 50-15 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: IV. Exortum est in tenebris (soprano I, countertenor, tenor, bass) | — | ||
| 50-16 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: V. In memoria aeterna (chorus) | — | ||
| 50-17 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: VI. Dispersit, dedit pauperibus (bass) | — | ||
| 50-18 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: VII. Peccator videbit (chorus) | — | ||
| 50-19 | Beatus vir (Psalm 111), for soli, double chorus and orchestra, H. 224: VIII. Gloria Patri (2 sopranos, chorus) | — | ||
| 51-1 | Combattimento di Tancredi e Clorina, SV 153 (Book VIII, Canti guerrieri): Tancredi, que Clorinda homo stima | — | ||
| 51-2 | Combattimento di Tancredi e Clorina, SV 153 (Book VIII, Canti guerrieri): Notte, che nei profondo oscuro seno | — | ||
| 51-3 | Combattimento di Tancredi e Clorina, SV 153 (Book VIII, Canti guerrieri): Torna l'ira nei cori | — | ||
| 51-4 | Combattimento di Tancredi e Clorina, SV 153 (Book VIII, Canti guerrieri): Amico, hai vinto | — | ||
| 51-5 | Chiome d'oro, bel tesoro, SV 143 (Book VII) | — | ||
| 51-6 | Altri canti di Marte, SV 155 (Book VIII, Canti amorosi): Altri canti di Marte e di sua schiera (Part I) | — | ||
| 51-7 | Altri canti di Marte, SV 155 (Book VIII, Canti amorosi): Due belli occhi (Part II) | — | ||
| 51-8 | Et è pur dunque verò, SV 250 (Scherzi musicali II) | — | ||
| 51-9 | Batto qui pianse Ergasto, SV 115 (Book VI) | — | ||
| 51-10 | Amorosa pupiletta, SV 238 (Scherzi musicali II) | — | ||
| 51-11 | Lamento d'Arianna, SV 22 | — | ||
| 51-12 | Vago augelleto, SV 156 (Book VIII, Canti amorosi) | — | ||
| 51-13 | Ecco di dolci raggi, SV 249 (Scherzi musicali II) | — | ||
| 51-14 | Io che armato sin hor, SV 249a (Scherzi musicali II) | — | ||
| 51-15 | Fugge il verno dei dolori, SV 232 (Scherzi musicali I) | — | ||
| 51-16 | A dio Florida bella, SV 110 (Book VI) | — | ||
| 51-17 | Misero alceo, SV 114 (Book VI) | — | ||
| 52-1 | Il ballo (per l'imperatore Ferdinando), SV 154 (Book VIII, Canti guerrieri) | — | ||
| 52-2 | Miei lettera amorosa (Se i languidi), SV 141 (Book VII) | — | ||
| 52-3 | Lidia spina del mio core, SV 244 (Scherzi musicali I) | — | ||
| 52-4 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Sinfonia | — | ||
| 52-5 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): De l'implacabil Dio | — | ||
| 52-6 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Bella madre d'amor | — | ||
| 52-7 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): S'invan su l'arco tendi | — | ||
| 52-8 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Udite, udite | — | ||
| 52-9 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Ecco ver noi l'adolorate squadre | — | ||
| 52-10 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Entrata - Ballo | — | ||
| 52-11 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Dal tenebroso orror del mio gran regno | — | ||
| 52-12 | Il ballo delle ingrate, SV 167 (Book VIII, Canti amorosi): Ahi troppo è duro | — | ||
| 52-13 | Partenza amorosa (Se pur destina e vole), SV 142 (Book VII) | — | ||
| 52-14 | Dolci miei sospiri, SV 242 (Scherzi musicali I) | — | ||
| 52-15 | Damigella tutta bella, SV 235 (Scherzi musicali I) | — | ||
| 53-1 | Mass in B minor, BWV 232: Kyrie. I. Kyrie eleison I (chorus) | — | ||
| 53-2 | Mass in B minor, BWV 232: Kyrie. II. Christe eleison (soprano II, mezzo-soprano) | — | ||
| 53-3 | Mass in B minor, BWV 232: Kyrie. III. Kyrie eleison II (chorus) | — | ||
| 53-4 | Mass in B minor, BWV 232: Gloria. IV. Gloria in excelsis / V. Et in terra pax (chorus) | — | ||
| 53-5 | Mass in B minor, BWV 232: Gloria. VI. Laudamus te (soprano I) | — | ||
| 53-6 | Mass in B minor, BWV 232: Gloria. VII. Gratias agimus tibi (chorus) | — | ||
| 53-7 | Mass in B minor, BWV 232: Gloria. VIII. Domine Deus (soprano I, tenor) | — | ||
| 53-8 | Mass in B minor, BWV 232: Gloria. IX. Qui tollis peccata mundi (chorus) | — | ||
| 53-9 | Mass in B minor, BWV 232: Gloria. X. Qui sedes ad dexteram Patris (mezzo-soprano) | — | ||
| 53-10 | Mass in B minor, BWV 232: Gloria. XI. Quoniam tu solus sanctus (bass) | — | ||
| 53-11 | Mass in B minor, BWV 232: Gloria. XII. Cum Sancto Spiritu (chorus) | — | ||
| 53-12 | Mass in B minor, BWV 232: Credo. XII. Credo in unum Deum (chorus) | — | ||
| 53-13 | Mass in B minor, BWV 232: Credo. XIII. Patrem omnipotentem (chorus) | — | ||
| 53-14 | Mass in B minor, BWV 232: Credo. XIV. Et in unum Dominum (soprano I, mezzo-soprano) | — | ||
| 53-15 | Mass in B minor, BWV 232: Credo. XV. Et incarnatus est (chorus) | — | ||
| 53-16 | Mass in B minor, BWV 232: Credo. XVI. Crucifixus (chorus) | — | ||
| 54-1 | Mass in B minor, BWV 232: Credo. XVII. Et resurrexit (chorus) | — | ||
| 54-2 | Mass in B minor, BWV 232: Credo. XVIII. Et in Spiritum Sanctum Dominum (baritone) | — | ||
| 54-3 | Mass in B minor, BWV 232: Credo. XIX. Confiteor (chorus) | — | ||
| 54-4 | Mass in B minor, BWV 232: Credo. XX. Et expecto (chorus) | — | ||
| 54-5 | Mass in B minor, BWV 232: Sanctus. XXI. Sanctus (chorus) | — | ||
| 54-6 | Mass in B minor, BWV 232: Sanctus. XXII. Osanna in excelsis (chorus) | — | ||
| 54-7 | Mass in B minor, BWV 232: Sanctus. XXIII. Benedictus (tenor) | — | ||
| 54-8 | Mass in B minor, BWV 232: Sanctus. XXIV. Osanna repetirur (chorus) | — | ||
| 54-9 | Mass in B minor, BWV 232: Sanctus. XXV. Agnus Dei (mezzo-soprano) | — | ||
| 54-10 | Mass in B minor, BWV 232: Sanctus. XXVI. Dona nobis pacem (chorus) | — | ||
| 54-11 | Magnificat in D major, BWV 243: I. Magnificat (chorus) | — | ||
| 54-12 | Magnificat in D major, BWV 243: II. Et exultavit spiritus meus (soprano II) | — | ||
| 54-13 | Magnificat in D major, BWV 243: III. Quia respexit humilitatem (soprano I) | — | ||
| 54-14 | Magnificat in D major, BWV 243: IV. Omnes generationes (chorus) | — | ||
| 54-15 | Magnificat in D major, BWV 243: V. Quia fecit mihi magna (bass) | — | ||
| 54-16 | Magnificat in D major, BWV 243: VI. Et misericorida (alto, tenor) | — | ||
| 54-17 | Magnificat in D major, BWV 243: VII. Fecit potentiam (chorus) | — | ||
| 54-18 | Magnificat in D major, BWV 243: VIII. Deposuit potentes (tenor) | — | ||
| 54-19 | Magnificat in D major, BWV 243: IX. Esurientes implevit bonis (alto) | — | ||
| 54-20 | Magnificat in D major, BWV 243: X. Aria-Trio "Suscepit Israel" | Jennifer Smith, Rachel Yakar, Birgit Finnilä, Ensemble Vocal de Lausanne, Ensemble Instrumental de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 54-21 | Magnificat in D major, BWV 243: XI. Sicut locutus est (chorus) | — | ||
| 54-22 | Magnificat in D major, BWV 243: XII. Gloria Patri (chorus) | — | ||
| 55-1 | Ercole amante: Prologo. Sinfonia | — | ||
| 55-2 | Ercole amante: Prologo. “Qual concorso indonivo” (Coro di Fiumi) | — | ||
| 55-3 | Ercole amante: Prologo. “Ah ! che mentre la terra” (Il Tevere) | — | ||
| 55-4 | Ercole amante: Prologo. “Ai di lei veri accenti” (Coro di Fiumi) | — | ||
| 55-5 | Ercole amante: Prologo. Sinfonia | — | ||
| 55-6 | Ercole amante: Prologo. “Ed ecco, o Gallia invita” (Cinthia) | — | ||
| 55-7 | Ercole amante: Prologo. “Doppo belliche noie” (Coro di Fiumi) | — | ||
| 55-8 | Ercole amante: Prologo. “E poiche quai doppo guerrieri onori” (Cinthia) | — | ||
| 55-9 | Ercole amante: Prologo. “E veda ogn'un” (Coro di Fiumi) | — | ||
| 55-10 | Ercole amante: Prologo. “O Gallia fortunata” (Coro di Fiumi) | — | ||
| 55-11 | Ercole amante: Atto I. Sinfonia | — | ||
| 55-12 | Ercole amante: Atto I, Scene 1. “Come si beffa amor” (Ercole) | — | ||
| 55-13 | Ercole amante: Atto I, Scene 2. “Se Ninfa ai pianti” (Venere, le tre grazie) | — | ||
| 55-14 | Ercole amante: Atto I, Scene 2. “Ogn'impero ha ribelli” (Venere) | — | ||
| 55-15 | Ercole amante: Atto I, Scene 2. “Fugano a vo” (Ercole, Venere, le tre grazie) | — | ||
| 55-16 | Ercole amante: Atto I, Scene 2. “Infelice e disperato” (Giunone) | — | ||
| 55-17 | Ercole amante: Atto I, Scene 3. “E vuol dunque Ciprigna” (Giunone) | — | ||
| 55-18 | Ercole amante: Atto II. Sinfonia | — | ||
| 55-19 | Ercole amante: Atto II, Scene 1. “Amor ardo piu rari” (Hyllo, Jole) | — | ||
| 55-20 | Ercole amante: Atto II, Scene 1. “Pure alfine il rispetto di figlio” (Hole, Hyllo, Il Paggio) | — | ||
| 55-21 | Ercole amante: Atto II, Scene 2. “D'amore il foco” (Jole, Hyllo) | — | ||
| 55-22 | Ercole amante: Atto II, Scene 3. “E che cos' è quest'Amore” (Il Paggio) | — | ||
| 55-23 | Ercole amante: Atto II, Scene 4. “Buon di, gentil fanciullo” (Licco, il Paggio) | — | ||
| 55-24 | Ercole amante: Atto II, Scene 5. “Misera, ohime ch'ascolto” (Dejanira) | — | ||
| 55-25 | Ercole amante: Atto II, Scene 5. “Ah ! fu sempre in Amor” (Licco, Dejanira) | — | ||
| 55-26 | Ercole amante: Atto II, Scene 5. “Ah, Dejanira ! Dunque tu temi” (Dejanira, Licco) | — | ||
| 55-27 | Ercole amante: Atto II, Scene 6. “Mormorate, fiumicelli” (Pasitea) | — | ||
| 55-28 | Ercole amante: Atto II, Scene 6. Coro | — | ||
| 55-29 | Ercole amante: Atto II, Scene 7. “Sublime Dea” (Pasitea) | — | ||
| 55-30 | Ercole amante: Atto II, Scene 7. “Zelo dell' onor mio a cui” (Giunone, Pasitea) | — | ||
| 55-31 | Ercole amante: Atto II, Scene 7. “Le rugiade piu preziose” (Tutti) | — | ||
| 55-32 | Ercole amante: Atto II, Scene 7. “Vanne e fa breve dimora” (Pasitea, tutti) | — | ||
| 56-1 | Ercole amante: Atto III. Sinfonia | — | ||
| 56-2 | Ercole amante: Atto III, Scene 1. “Sol s'inarca gl'Emisferi per stupor” (Venere) | — | ||
| 56-3 | Ercole amante: Atto III, Scene 1. “E pe mi cangi o Dei” (Ercole, Venere) | — | ||
| 56-4 | Ercole amante: Atto III, Scene 2. “Amor, contar ben puoi” (Ercole) | — | ||
| 56-5 | Ercole amante: Atto III, Scene 2. “Sara com'hai disposo” (Il Paggio, Ercole) | — | ||
| 56-6 | Ercole amante: Atto III, Scene 3. “Bella Jole e quando” (Ercole, Jole) | — | ||
| 56-7 | Ercole amante: Atto III, Scene 3. “Ohime, che ascolto” (Hyllo, Ercole) | — | ||
| 56-8 | Ercole amante: Atto III, Scene 4. “A che pensi Jole” (Ercole, Jole) | — | ||
| 56-9 | Ercole amante: Atto III, Scene 5. “Sonno potente Nume” (Giunone) | — | ||
| 56-10 | Ercole amante: Atto III, Scene 5. “O qual sonno produgioso” (Jole, Giunone) | — | ||
| 56-11 | Ercole amante: Atto III, Scene 6. “D'Eutyro anima grande” (Jole, Hyllo) | — | ||
| 56-12 | Ercole amante: Atto III, Scene 7. “Svegliati, Alcide e mira” (Mercurio, Ercole, Jole) | — | ||
| 56-13 | Ercole amante: Atto III, Scene 8. “Piu di salvarlo tenti” (Ercole, Dejanira, Jole, Licco) | — | ||
| 56-14 | Ercole amante: Atto III, Scene 9. “Figlio, tu prigionero” (Dejanira, Hyllo) | — | ||
| 56-15 | Ercole amante: Atto III, Scene 10. “Addio paggio” (Licco, il Paggio) | — | ||
| 56-16 | Ercole amante: Atto IV. Sinfonia | — | ||
| 56-17 | Ercole amante: Atto IV, Scene 1. “Ahi che pena e gelosia” (Hyllo) | — | ||
| 56-18 | Ercole amante: Atto IV, Scene 2. “Zefri che gite” (Il Paggio) | — | ||
| 56-19 | Ercole amante: Atto IV, Scene 2. “Che novella m'arrechi” (Hyllo, Il Paggio) | — | ||
| 56-20 | Ercole amante: Atto IV, Scene 3. “E chi fia piu vieti” (Hyllo) | — | ||
| 56-21 | Ercole amante: Atto IV, Scene 4. “Salva, nettuno, ah! salva” (Giunone) | — | ||
| 56-22 | Ercole amante: Atto IV, Scene 4. “Eccoti o Dea contenta” (Nettuno, Hyllo, Giunone) | — | ||
| 56-23 | Ercole amante: Atto IV, Scene 5. “Congedo a gl'orridi” (Giunone) | — | ||
| 56-24 | Ercole amante: Atto IV, Scene 6. “Ed a che peggio” (Dejanira, Licco) | — | ||
| 56-25 | Ercole amante: Atto IV, Scene 6. “Ah Dejanira, io non son tanto accorto” (Licco) | — | ||
| 57-1 | Ercole amante: Atto IV, Scene 7. “Gradisci, o Re” (Coro) | — | ||
| 57-2 | Ercole amante: Atto IV, Scene 7. “E se pur negl' estinti” (Jole) | — | ||
| 57-3 | Ercole amante: Atto IV, Scene 7. “Che prieghi ingiurioso” (Ombra d'Eutyro, Jole, Dejanira) | — | ||
| 57-4 | Ercole amante: Atto IV, Scene 7. “Hyllo il mio bene è morto” (Jole) | — | ||
| 57-5 | Ercole amante: Atto IV, Scene 7. “Ferma ti prego” (Liggo, Dejanira, Jole) | — | ||
| 57-6 | Ercole amante: Atto V. Sinfonia | — | ||
| 57-7 | Ercole amante: Atto V, Scene 1. “Come solo ad un grido” (Ombra d'Eutyro) | — | ||
| 57-8 | Ercole amante: Atto V, Scene 1. “Pera, mora il crudel” (Coro, Ombra di Clerica) | — | ||
| 57-9 | Ercole amante: Atto V, Scene 1. “Pera, mora, il perverso” (Laomedonte, Coro) | — | ||
| 57-10 | Ercole amante: Atto V, Scene 1. “Pera, more l'iniquio” (Ombra di Bussiride, Coro) | — | ||
| 57-11 | Ercole amante: Atto V, Scene 1. “Su su dunque” (Ombra d'Eutyro, Coro) | — | ||
| 57-12 | Ercole amante: Atto V, Scene 1. Sinfonia | — | ||
| 57-13 | Ercole amante: Atto V, Scene 2. “Alfine il Ciel d'amor” (Ercole, Licco, Jole) | — | ||
| 57-14 | Ercole amante: Atto V, Scene 2. “Pronuba e casta Dea” (Coro, Ercole, Jole) | — | ||
| 57-15 | Ercole amante: Atto V, Scene 2. “Ma qual pungente arsura” (Ercole) | — | ||
| 57-16 | Ercole amante: Atto V, Scene 2. “Che dici” (Licco, Jole) | — | ||
| 57-17 | Ercole amante: Atto V, Scene 3. “Ah, Nesso mi tradi” (Dejanira, Jole, Licco, Hyllo) | — | ||
| 57-18 | Ercole amante: Atto V, Scene 4. “Su, su allegrezza” (Giunone) | — | ||
| 57-19 | Ercole amante: Atto V, Scene 4. “Oh Dea come n'arrequi” (Jole, Dejanira, Hyllo, Licco, Giunone) | — | ||
| 57-20 | Ercole amante: Atto V, Scene 5. “Quel grande Eroe” (Coro) | — | ||
| 57-21 | Ercole amante: Atto V, Scene 5. “Così un giorno” (Belezza, Ercole) | — | ||
| 57-22 | Ercole amante: Atto V, Scene 5. “Virtu che soffre” (Coro) | — | ||
| 58-1 | Muzio Scevola, opera in three acts, HWV 13: Overture | — | ||
| 58-2 | Rodrigo, opera in three acts, HWV 5: I. Overture | — | ||
| 58-3 | Rodrigo, opera in three acts, HWV 5: II. Gigue | — | ||
| 58-4 | Rodrigo, opera in three acts, HWV 5: III. Sarabande | — | ||
| 58-5 | Rodrigo, opera in three acts, HWV 5: IV. Matelot | — | ||
| 58-6 | Rodrigo, opera in three acts, HWV 5: V. Menuet | — | ||
| 58-7 | Rodrigo, opera in three acts, HWV 5: VI. Bourrée | — | ||
| 58-8 | Rodrigo, opera in three acts, HWV 5: VII. Menuet | — | ||
| 58-9 | Rodrigo, opera in three acts, HWV 5: VIII. Passacaille | — | ||
| 58-10 | Il pastor fido, opera in three acts, HWV 8: I. Overture | — | ||
| 58-11 | Il pastor fido, opera in three acts, HWV 8: II. Largo | — | ||
| 58-12 | Il pastor fido, opera in three acts, HWV 8: III. Allegro | — | ||
| 58-13 | Il pastor fido, opera in three acts, HWV 8: IV. Menuet | — | ||
| 58-14 | Il pastor fido, opera in three acts, HWV 8: V. Adagio | — | ||
| 58-15 | Il pastor fido, opera in three acts, HWV 8: VI. Allegro | — | ||
| 58-16 | Silla, opera in three acts, HWV 10: Overture | — | ||
| 59-1 | David et Jonathas, opera in one prologue and five acts, H. 490: Prologue, Scene 1. “Où suis-je ? Qu'ai-je fait ?” (Saül) | — | ||
| 59-2 | David et Jonathas, opera in one prologue and five acts, H. 490: Prologue, Scene 2. “Dois-je enfin épouver le secours de vos charmes ?” (Saül, La Pythonisse) | — | ||
| 59-3 | David et Jonathas, opera in one prologue and five acts, H. 490: Prologue, Scene 3. “Retirez-vous affreux tonnerre” (La Pythonisse) | — | ||
| 59-4 | David et Jonathas, opera in one prologue and five acts, H. 490: Prologue, Scene 4. “Quelle importune voix vient troubler mon repos ?” (L'ombre de Samuel, Saül) | — | ||
| 59-5 | David et Jonathas, opera in one prologue and five acts, H. 490: Prologue, Scene 5. “Est-ce assez ? Ai-je enfin épuisé ta colère ?” (Saül, La Pythonisse) | — | ||
| 59-6 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 1, Scene 1. “Du plus grand des héros” (Un guerrier, Un du peuple, Bergers, Captifs, Chorus) | — | ||
| 59-7 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 1, Scene 2. “Allez, le ciel vous attend” (David) | — | ||
| 59-8 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 1, Scene 3. “Ciel ! Quel triste combat” (David) | — | ||
| 59-9 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 1, Scene 4. “Le ciel enfin favourable à mes vœux” (Achis, David, Captifs, Chorus) | — | ||
| 59-10 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 2, Scene 1. “Quel inutile soin” (Joabel, David, Chorus) | — | ||
| 59-11 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 2, Scene 2. “Dépit jaloux, haine cruelle” (Joabel, Chorus) | — | ||
| 59-12 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 2, Scene 3. “À vostre bras vanqueur” (Jonathas, David, Un de la suite de Jonathas, Chorus, Bergers) | — | ||
| 60-1 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 3, Scene 1. “Ah ! Je dois assurer et ma vie et l'empire ?” (Saül, Achis) | — | ||
| 60-2 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 3, Scene 2. “Objet d'une implacable haine” (Saül) | — | ||
| 60-3 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 3, Scene 3a. “David puet-il attendre un retour favorable ?” (Jonathas, Saül, David) | — | ||
| 60-4 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 3, Scene 3b. “Achevons, mon bonheur passe mon espérance” (Joabel) | — | ||
| 60-5 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 4, Scene 1. “Souverain juge des mortels” (David) | — | ||
| 60-6 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 4, Scene 2. “Vous me fuyez !” (Jonathas, David) | — | ||
| 60-7 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 4, Scene 3. “A-t-on jamais souffert une plus rude peine ?” (Jonathas, Chorus) | — | ||
| 60-8 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 4, Scene 4. “Venez, Seigneur, venez” (Saül, Achis) | — | ||
| 60-9 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 4, Scene 5. “Enfin vous m'écoutez, Seigneur” (Joabel, Achis, Chorus) | — | ||
| 60-10 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 5, Scene 1. “Courez, Saül attend un secours nécessaire” (Jonathas) | — | ||
| 60-11 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 5, Scene 2. “Que vois-je ? Que je perds et mon fils et l'empire” (Saül, Jonathas, Chorus) | — | ||
| 60-12 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 5, Scene 3. “Victoire ! Victoire !” (Chorus) | — | ||
| 60-13 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 5, Scene 4. “Qu'on sauve Jonathas” (David, Jonathas, Chorus) | — | ||
| 60-14 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 5, Scene 5. “Voi traitre, et reconnoi ta nouvelle victime” (Saül, David) | — | ||
| 60-15 | David et Jonathas, opera in one prologue and five acts, H. 490: Acte 5, Scene 6. “Joignez à vos exploits l'honneur du diadème” (Achis, David, Chorus) | — | ||
| 61-1 | Vespro della Beata Vergine, SV 206: I. Domine ad adjuvandum me (sex vocibus et sex instrumentis) | — | ||
| 61-2 | Vespro della Beata Vergine, SV 206: II. Antiphon: Emmissiones tuae paradisus - Dixit Dominus (Psalm 109) (sex vocibus et sex instrumentis) | — | ||
| 61-3 | Vespro della Beata Vergine, SV 206: III. Nigra sum (Motetto ad una voce) | — | ||
| 61-4 | Vespro della Beata Vergine, SV 206: IV. Antiphon: Quae est ista - Laudate pueri Dominum (Psalm 112) (octo vocibus) | — | ||
| 61-5 | Vespro della Beata Vergine, SV 206: V. Pulchra es (a due voci) | — | ||
| 61-6 | Vespro della Beata Vergine, SV 206: VI. Antiphon: Sicut lilium inter spinas - Laetatus sum (Psalm 121) (a sei voci) | — | ||
| 61-7 | Vespro della Beata Vergine, SV 206: VII. Duo Seraphim (a tre voci) | — | ||
| 61-8 | Vespro della Beata Vergine, SV 206: VIII. Antiphon: veniat dilectus meus in hortum suum - Nisi Dominus (Psalm 126) (a dieci voci) | — | ||
| 61-9 | Vespro della Beata Vergine, SV 206: IX. Audi Coelum (sex vocibus) | — | ||
| 62-1 | Vespro della Beata Vergine, SV 206: X. Antiphon: Nigra sum - Lauda, Jerusalem (Psalm 147) (septem vocibus) | — | ||
| 62-2 | Vespro della Beata Vergine, SV 206: XI. Sonata sopra Santa Maria pro nobis (a 8) | — | ||
| 62-3 | Vespro della Beata Vergine, SV 206: XII. Ave maris stella Hymnis (octo vocibus) | — | ||
| 62-4 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XIII. Antiphon: Virgo prudentissima | — | ||
| 62-5 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XIII. Magnificat | — | ||
| 62-6 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XIV. Anima mea Dominum (a 2 voci) | — | ||
| 62-7 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XV. Et exultavit (a 3 voci) | — | ||
| 62-8 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XVI. Quia respexit (ad una voce sola) | — | ||
| 62-9 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XVII. Quia fecit (a 6 voci in dialogo) | — | ||
| 62-10 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XVIII. Et misericordia (a 3 voci) | — | ||
| 62-11 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XIX. Fecit potentiam (a 3 voci) | — | ||
| 62-12 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XX. Deposuit, et cantano doi (tenore in echo) | — | ||
| 62-13 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XXI. Esurientes (a 2 voci) | — | ||
| 62-14 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XXII. Suscepit Israel (a 2 voci) | — | ||
| 62-15 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XXIII. Sicut locutus est (a 5 voci in dialogo) | — | ||
| 62-16 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XXIV. Gloria Patri (a 6 voci) | — | ||
| 62-17 | Vespro della Beata Vergine, SV 206: Magnificat a 7 voci. XXV. Sicut erat in principio | — | ||
| 63-1 | Matthäus-Passion, BWV 244: Part I. No. 1. Chorus. “Kommt, ihr Töchter helft mir klagen” (chorus I, II, soprano in ripieno) | Ensemble Vocal de Lausanne, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-2 | Matthäus-Passion, BWV 244: Part I. No. 2. Recitative. “Da Jesus diese Rede vollendet hatte” (Evangelist, Jesus) | Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-3 | Matthäus-Passion, BWV 244: Part I. No. 3. Chorale. “Herzliebster Jesu, was hast du verbrochen” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-4 | Matthäus-Passion, BWV 244: Part I. No. 4. Recitative & Chorus. “Da versammelten sich die Hohepriester” (Evangelist, Jesus, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Gerhard Faulstich, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-5 | Matthäus-Passion, BWV 244: Part I. No. 5. Recitative. “Du lieber Heiland du” (alto) | Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-6 | Matthäus-Passion, BWV 244: Part I. No. 6. Aria. “Buß und Reu” (alto) | Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-7 | Matthäus-Passion, BWV 244: Part I. No. 7. Recitative. “Da ging hin der Zwölfen einer” (Evangelist, Judas) | Kurt Equiluz, Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — | |
| 63-8 | Matthäus-Passion, BWV 244: Part I. No. 8. Aria. “Blute nur, du liebes Herz!” (soprano) | Margareth Marshall, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Matthäus-Passion, BWV 244: Part I. No. 9. Recitative & Chorus. “Aber am ersten Tage der süßen Brot” (Evangelist, Jesus, chorus I) | Ensemble Vocal de Lausanne, Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 10. Chorale. “Ich bin's, ich sollte büßen” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 11. Recitative. “Er antwortete und sprach” (Evangelist, Jesus, Judas) | Kurt Equiluz, Gerhard Faulstich, Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 12. Recitative. “Wiewohl mein Herz in Tränen schwimmt” (soprano) | Margareth Marshall, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 13. Aria. “Ich will dir mein Herz schenken” (soprano) | Margareth Marshall, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 14. Recitative. “Und da sie den Lobgesang gesprochen hatten” (Evangelist, Jesus) | Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 15. Chorale. “Erkenne mich, mein Hüter” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 16. Recitative. “Petrus aber antwortete und sprach zu ihm” (Evangelist, Petrus, Jesus) | Kurt Equiluz, Gerhard Faulstich, Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 17. Chorale. “Ich will hier bei dir stehen” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 18. Recitative. “Da kam Jesus mit ihnen zu einem Hole” (Evangelist, Jesus) | Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 19. Recitative & Chorale. “O Schmerz! Hier zittert das gequälte Herz!” (tenor, chorus II) | Anthony Rolfe Johnson, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 20. Aria & Chorus. “Ich will bei meinem Jesu wachen” (tenor, chorus II) | Anthony Rolfe Johnson, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 21. Recitative. “Und ging hin ein wenig” (Evangelist, Jesus) | Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 22. Recitative. “Der Heiland fällt vor seinem Vater nieder” (bass) | Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 23. Aria. “Gerne will ich mich bequemen” (bass) | Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 24. Recitative. “Und er kam zu seinem Jüngen” (Evangelist, Jesus) | Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 25. Chorale. “Was emin Gott will, das g'scheh allzeit” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 26. Recitative. “Und er kam und fand sie aber schlafen” (Evangelist, Jesus, Judas) | Kurt Equiluz, Gerhard Faulstich, Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 27. Aria (Duet) & Chorus. “So ist mein Jesus nun gefangen” (soprano, alto, chorus I, II) | Ensemble Vocal de Lausanne, Margareth Marshall, Schola des Petits Chanteurs de Notre-Dame de Sion, Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 28. Recitative. “Und siehe, einer aus denen” (Evangelist, Jesus) | Kurt Equiluz, Gerhard Faulstich, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part I. No. 29. Chorale. “O Mensch, bewein' dein' Sünde groß” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 30. Aria & Chorus. “Ach, nun ist mein Jesus hin!” (alto, chorus II) | Schola des Petits Chanteurs de Notre-Dame de Sion, Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 31. Recitative. “Die aber Jesum gegriffen hatten” (Evangelist) | Kurt Equiluz, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 32. Chorale. “Mir hat die Welt trüglich gericht” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 33. Recitative. “Und wiewohl viel falsche” (Evangelist, Witnesses, High Priest) | Georges Bolay, Kurt Equiluz, Thomas Koechlin, Claire Martin-Fiaux, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 34. Recitative. “Mein Jesus schweigt zu falschen Lügen stille” (tenor) | Anthony Rolfe Johnson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 35. Aria. “Geduld!” (tenor) | Anthony Rolfe Johnson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 36. Recitative & Chorus. “Und der Hohepriester antwort” (Evangelist, High Priest, Jesus, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Gerhard Faulstich, Thomas Koechlin, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 37. Chorale. “Wer hat dich so geschlagen” (chorus) | Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 38. Recitative & Chorus. “Petrus aber saß draußen im Palast” (Evangelist, Maids I/II, Petrus, chorus II) | Kurt Equiluz, Philippe Huttenlocher, Schola des Petits Chanteurs de Notre-Dame de Sion, Marie-Françoise Schuwey, Agnès de Crousaz, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 39. Aria. “Erbarme dich” (alto) | Carolyn Watkinson, Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 40. Chorale. “Bin ich gleich von dir gewichen” (chorus) | Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 41. Recitative & Chorus. “Des Morgens aber hielten alle Hohepriester” (Evangelist, Judas, High Priest I, II) | Kurt Equiluz, Jean-Daniel Estoppey, Philippe Huttenlocher, Thomas Koechlin, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 42. Aria. “Gebt mir meinen Jesum wieder” (bass) | Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 43. Recitative. “Sie hielten aber einen Rat” (Evangelist, Pilatus, Jesus) | Kurt Equiluz, Gerhard Faulstich, Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 44. Chorale. “Befiehl du deine Wege” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 45. Recitative & Chorus. “Auf das Fest aber hatte der Landpfleger” (Evangelist, Pilatus, Pilatus' wife, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Philippe Huttenlocher, Schola des Petits Chanteurs de Notre-Dame de Sion, Agnès de Crousaz, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 46. Chorale. “Wie wunderbarlich ist doch diese Strafe” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 47. Recitative. “Der Landpfleger sagte” (Evangelist, Pilatus) | Kurt Equiluz, Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 48. Recitative. “Er hat uns allen wohlgetan” (soprano) | Margareth Marshall, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 49. Aria. “Aus Liebe will mein Heiland sterben” (soprano) | Margareth Marshall, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 50. Recitative & Chorus. “Sie schrien aber noch mehr” (Evangelist, Pilatus, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Philippe Huttenlocher, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 51. Recitative. “Erbarm' es Gott” (alto) | Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 52. Aria. “Können Tränen meinen Wangen” (alto) | Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 53. Recitative & Chorus. “Da nahmen die Kriegsknechte” (Evangelist, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 54. Chorale. “O Haupt voll Blut und Wunden” (chorus) | Ensemble Vocal de Lausanne, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 55. Recitative. “Und da sie ihn versottet hatten” (Evangelist) | Kurt Equiluz, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 56. Recitative. “Ja freilich will in uns das Fleisch und Blut” (bass) | Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 57. Aria. “Komm, süßes Kreuz, so will ich sagen” (bass) | Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 58. Recitative & Chorus. “Und da sie an die Stätte kamen” (Evangelist, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 59. Recitative. “Ach Golgotha” (alto) | Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 60. Aria & Chorus. “Sehet, Jesus hat die Hand” (alto, chorus II) | Schola des Petits Chanteurs de Notre-Dame de Sion, Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 61. Recitative & Chorus. “Und von der sechsten Stunde an” (Evangelist) | Kurt Equiluz, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 62. Chorale. “Wenn ich einmal soll scheiden” (soprano, flute and continuo) | Margareth Marshall, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 63. Recitative & Chorus. “Und siehe da, der Vorhang im Tempel zerriß” (Evangelist, Jesus, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Gerhard Faulstich, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 64. Recitative. “Am Abend, da es kühle war” (bass) | Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 65. Aria. “Mache dich, mein Herze, rein” (bass) | Philippe Huttenlocher, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 66. Recitative & Chorus. “Und Joseph nahm den Leib” (Evangelist, Pilatus, chorus I, II) | Ensemble Vocal de Lausanne, Kurt Equiluz, Philippe Huttenlocher, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 67. Recitative & Chorus. “Nun ist der Herr zur Ruh gebracht” (bass, tenor, alto, soprano, chorus II) | Philippe Huttenlocher, Margareth Marshall, Schola des Petits Chanteurs de Notre-Dame de Sion, Carolyn Watkinson, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Matthäus-Passion, BWV 244: Part II. No. 68. Chorus. “Wir setzen uns mit Tränen nieder” (chorus I, II) | Ensemble Vocal de Lausanne, Schola des Petits Chanteurs de Notre-Dame de Sion, Orchestre de Chambre de Lausanne, Michel Corboz | — |
| Mass in B minor, BWV 232: Gloria. IV. Gloria in excelsis | Ensemble Instrumental de Lausanne, Michel Corboz | — |
