UPC · Release
Ralph Vaughan Williams
Last verified:
The UPC for “The New Collector’s Edition” by Ralph Vaughan Williams is 0190296245374. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2022-01-01. Label: Warner Classics. This release contains 490 tracks, each with its own ISRC. Tracks include GBAYD8800371, GBAYD8800372, GBAYD8800373.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony no. 1, "A Sea Symphony": Ia. A Song for All Seas, All Ships: Behold, the sea itself | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 2 | Symphony no. 1, "A Sea Symphony": Ib. A Song for All Seas, All Ships: Today a rude brief recitative | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 3 | Symphony no. 1, "A Sea Symphony": Ic. A Song for All Seas, All Ships: Flaunt out, O sea, your separate flags of nations! | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 4 | Symphony no. 1, "A Sea Symphony": Id. A Song for All Seas, All Ships: Token of all brave captains | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 5 | Symphony no. 1, "A Sea Symphony": Ie. A Song for All Seas, All Ships: A pennant universal | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 6 | Symphony no. 1, "A Sea Symphony": IIa. On the Beach at Night, Alone: On the beach at night, alone | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 7 | Symphony no. 1, "A Sea Symphony": IIb. On the Beach at Night, Alone: A vast similitude interlocks all | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 8 | Symphony no. 1, "A Sea Symphony": III. Scherzo. The Waves | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 9 | Symphony No. 1, "A Sea Symphony": IVa. The Explorers: O vast Rondure, swimming in space | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 10 | Symphony No. 1, "A Sea Symphony": IVb. The Explorers: Down from the gardens of Asia descending | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 11 | Symphony No. 1, "A Sea Symphony": IVc. The Explorers: O we can wait no longer | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 12 | Symphony No. 1, "A Sea Symphony": IVd. The Explorers: O thou transcendent | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 13 | Symphony No. 1, "A Sea Symphony": IVe. The Explorers: Greater than stars or suns | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 14 | Symphony No. 1, "A Sea Symphony": IVf. The Explorers: Sail forth | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 15 | Symphony No. 1, "A Sea Symphony": IVg. The Explorers: O my brave Soul! | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 2-1 | Symphony no. 2 “A London Symphony”: I. Lento - Allegro risoluto (molto pesante) | — | ||
| 2-2 | Symphony no. 2 “A London Symphony”: II. Lento | — | ||
| 2-3 | Symphony no. 2 “A London Symphony”: III. Scherzo (Nocturne): Allegro vivace | — | ||
| 2-4 | Symphony no. 2 “A London Symphony”: IV. Andante con moto - Maestoso alla marcia (quasi lento) - Allegro - Maestoso alla marcia (alla I) - Epilogue (Andante sostenuto) | — | ||
| 2-5 | Symphony no. 8 in D minor: I. Fantasia: Variazioni senza tema | — | ||
| 2-6 | Symphony no. 8 in D minor: II. Scherzo alla marcia (per stromenti a fiato): Allegro alla marcia | — | ||
| 2-7 | Symphony no. 8 in D minor: III. Cavatina (per stromenti ad arco): Lento espressivo | — | ||
| 2-8 | Symphony no. 8 in D minor: IV. Toccata: Moderato maestoso | — | ||
| 3-1 | Symphony no. 3 “A Pastoral Symphony”: I. Molto moderato | — | ||
| 3-2 | Symphony no. 3 “A Pastoral Symphony”: II. Lento moderato | — | ||
| 3-3 | Symphony no. 3 “A Pastoral Symphony”: III. Moderato pesante | — | ||
| 3-4 | Symphony no. 3 “A Pastoral Symphony”: IV. Lento | — | ||
| 3-5 | Symphony no. 4 in F minor: I. Allegro | — | ||
| 3-6 | Symphony no. 4 in F minor: II. Andante | — | ||
| 3-7 | Symphony no. 4 in F minor: III. Scherzo: Allegro molto | — | ||
| 3-8 | Symphony no. 4 in F minor: IV. Finale (Allegro molto) con epilogo fugato (Con anima) | — | ||
| 4-1 | Oboe Concerto in A minor: I. Rondo pastorale: Allegro moderato | — | ||
| 4-2 | Oboe Concerto in A minor: II. Minuet and Musette: Allegro moderato | — | ||
| 4-3 | Oboe Concerto in A minor: III. Finale (Scherzo): Presto - Lento - Presto | — | ||
| 4-4 | Symphony no. 5 in D major: I. Preludio: Moderato - Allegro - Tempo I | — | ||
| 4-5 | Symphony no. 5 in D major: II. Scherzo: Presto misterioso | — | ||
| 4-6 | Symphony no. 5 in D major: III. Romanza: Lento | — | ||
| 4-7 | Symphony no. 5 in D major: IV. Passacaglia: Moderato - Allegro - Tempo primo - Tempo del Preludio | — | ||
| 5-1 | Symphony no. 6 in E minor: I. Allegro - | — | ||
| 5-2 | Symphony no. 6 in E minor: II. Moderato - | — | ||
| 5-3 | Symphony no. 6 in E minor: III. Scherzo: Allegro vivace - | — | ||
| 5-4 | Symphony no. 6 in E minor: IV. Epilogue: Moderato | — | ||
| 5-5 | Symphony no. 9 in E minor: I. Moderato maestoso | — | ||
| 5-6 | Symphony no. 9 in E minor: II. Andante sostenuto | — | ||
| 5-7 | Symphony no. 9 in E minor: III. Scherzo: Allegro pesante | — | ||
| 5-8 | Symphony no. 9 in E minor: IV. Andante tranquillo | — | ||
| 6-2 | Partita for double string orchestra: I. Prelude: Andante tranquillo | — | ||
| 6-3 | Partita for double string orchestra: II. Scherzo ostinato: Presto | — | ||
| 6-4 | Partita for double string orchestra: III. Intermezzo (Homage to Henry Hall): Andante con moto | — | ||
| 6-5 | Partita for double string orchestra: IV. Fantasia: Allegro | — | ||
| 6-6 | Symphony no. 7 “Sinfonia antartica”: I. Prelude: Andante maestoso | — | ||
| 6-7 | Symphony no. 7 “Sinfonia antartica”: II. Scherzo: Moderato | — | ||
| 6-8 | Symphony no. 7 “Sinfonia antartica”: III. Landscape: Lento | — | ||
| 6-9 | Symphony no. 7 “Sinfonia antartica”: IV. Intermezzo: Andante sostenuto | — | ||
| 6-10 | Symphony no. 7 “Sinfonia antartica”: V. Epilogue: Alla marcia moderato, non troppo allegro | — | ||
| 7-1 | The Wasps - Aristophanic Suite: I. Overture | — | ||
| 7-2 | The Wasps - Aristophanic Suite: II. Entr'acte | — | ||
| 7-3 | The Wasps - Aristophanic Suite: III. March Past of the Kitchen Utensils | — | ||
| 7-4 | The Wasps - Aristophanic Suite: IV. Entr'acte | — | ||
| 7-5 | The Wasps - Aristophanic Suite: V. Ballet and Final Tableau | — | ||
| 7-6 | Prelude and Fugue in C minor: Prelude | — | ||
| 7-7 | Prelude and Fugue in C minor: Fugue | — | ||
| 7-8 | Piano Concerto in C major: I. Toccata: Allegro moderato - | — | ||
| 7-9 | Piano Concerto in C major: II. Romanza: Lento - | — | ||
| 7-10 | Piano Concerto in C major: III. Fuga cromatica (Allegro) | — | ||
| 7-11 | Piano Concerto in C major: III. con finale alla tedesca | — | ||
| 8-1 | Concerto in C for Two Pianos and Orchestra: I. Toccata (Allegro moderato) | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-2 | Concerto in C for Two Pianos and Orchestra: II. Romanza (Lento) | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-3 | Concerto in C for Two Pianos and Orchestra: IIIa. Fuga chromatica (Allegro) - | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-4 | Concerto in C for Two Pianos and Orchestra: IIIb. Finale alla tedesca | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-5 | Job: A Masque for Dancing: Scene I: Introduction | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-6 | Job: A Masque for Dancing: Scene I: Saraband of the Sons of God | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-7 | Job: A Masque for Dancing: Scene II: Satan's Dance of Triumph | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-8 | Job: A Masque for Dancing: Scene III: Minuet of the Sons of Job and their Wives | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-9 | Job: A Masque for Dancing: Scene IV: Jobs' Dream | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-10 | Job: A Masque for Dancing: Scene V: Dance of the Three Messengers | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-11 | Job: A Masque for Dancing: Scene VI: Dance of Job's Comforters | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-12 | Job: A Masque for Dancing: Scene VII: Eihu's Dance of Youth and Beauty | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-13 | Job: A Masque for Dancing: Scene VII: Pavane of the Sons of the Morning | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-14 | Job: A Masque for Dancing: Scene VIII: Galliard of the Sons of the Morning | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-15 | Job: A Masque for Dancing: Scene VIII: Altar Dance | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-16 | Job: A Masque for Dancing: Scene IX: Epilogue | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-1 | Serenade to Music | — | ||
| 9-2 | English Folk Song Suite: I. March (Seventeen Come Sunday) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-3 | English Folk Song Suite: II. Intermezzo (My Bonny Boy) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-4 | English Folk Song Suite: III. March (Folk Songs from Somerset) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-5 | Norfolk Rhapsody no. 1 | — | ||
| 9-6 | Fantasia on ‘Greensleeves’ | — | ||
| 9-7 | In the Fen Country | — | ||
| 9-8 | The Lark Ascending | Hugh Bean, Philharmonia Orchestra, Sir Adrian Boult | T-902.843.856-4 | |
| 10-1 | Fantasia on a Theme by Thomas Tallis | — | ||
| 10-2 | Sea Songs - March | — | ||
| 10-3 | English Folk Songs - Suite: I. March (Seventeen Come Sunday) | — | ||
| 10-4 | English Folk Songs - Suite: II. Intermezzo (My Bonny Boy) | — | ||
| 10-5 | English Folk Songs - Suite: III. March (Folk Songs from Somerset) | — | ||
| 10-6 | Dawn Patrol (from the film Coastal Command) | — | ||
| 10-7 | Concerto grosso: I. Intrada: Largo | — | ||
| 10-8 | Concerto grosso: II. Burlesca ostinato: Allegro moderato | — | ||
| 10-9 | Concerto grosso: III. Sarabande: Lento | — | ||
| 10-10 | Concerto grosso: IV. Scherzo: Allegro, tempo di valse | — | ||
| 10-11 | Concerto grosso: V. March (A la marcia) and Reprise | — | ||
| 10-12 | Romance in D-flat major for harmonica with strings and piano | — | ||
| 10-13 | Tuba Concerto in F minor: I. Prelude: Allegro moderato | Philip B. Catelinet, London Symphony Orchestra, Sir John Barbirolli | — | |
| 10-14 | Tuba Concerto in F minor: II. Romanza: Andante sostenuto | Philip B. Catelinet, London Symphony Orchestra, Sir John Barbirolli | — | |
| 10-15 | Tuba Concerto in F minor: III. Finale: Rondo alla tedesca (Allegro) | Philip B. Catelinet, London Symphony Orchestra, Sir John Barbirolli | — | |
| 11-2 | The Poisoned Kiss - Overture | — | ||
| 11-3 | Old King Cole - A Ballet for Orchestra: (Allegro moderato) | — | ||
| 11-4 | Old King Cole - A Ballet for Orchestra: Pipe Dance | — | ||
| 11-5 | Old King Cole - A Ballet for Orchestra: Bowl Dance | — | ||
| 11-6 | Old King Cole - A Ballet for Orchestra: Morris Jig: ‘Go and ’list for a sailor’ | — | ||
| 11-7 | Old King Cole - A Ballet for Orchestra: Folk Song: ‘A Bold Young Farmer’ | — | ||
| 11-8 | Old King Cole - A Ballet for Orchestra: Folk Tune: ‘The Jolly Thresherman’ | — | ||
| 11-9 | Old King Cole - A Ballet for Orchestra: Solo Jig | — | ||
| 11-10 | Five Mystical Songs: I. Easter | — | ||
| 11-11 | Five Mystical Songs: II. I got me flowers | — | ||
| 11-12 | Five Mystical Songs: III. Love bade me welcome | — | ||
| 11-13 | Five Mystical Songs: IV. The Call | — | ||
| 11-14 | Five Mystical Songs: V. Antiphon | — | ||
| 11-15 | Prelude on an Old Carol Tune | — | ||
| 11-16 | The Running Set | — | ||
| 11-17 | Prelude: 49th Parallel | — | ||
| 12-1 | Variations for Orchestra: Theme: Andante maestoso | — | ||
| 12-2 | Variations for Orchestra: Var. I: Poco tranquillo | — | ||
| 12-3 | Variations for Orchestra: Var. II: Tranquillo cantabile | — | ||
| 12-4 | Variations for Orchestra: Var. III: Allegro | — | ||
| 12-5 | Variations for Orchestra: Var. IV: Canon (Allegro) | — | ||
| 12-6 | Variations for Orchestra: Var. V: Moderato sostenuto | — | ||
| 12-7 | Variations for Orchestra: Var. VI: Tempo di valse | — | ||
| 12-8 | Variations for Orchestra: Var. VII: Arabesque (Andante sostenuto) | — | ||
| 12-9 | Variations for Orchestra: Var. VIII: Alla polacca | — | ||
| 12-10 | Variations for Orchestra: Var. IX: Adagio | — | ||
| 12-11 | Variations for Orchestra: Var. X: Fugato (Allegro moderato e risoluto) | — | ||
| 12-12 | Variations for Orchestra: Var. XI: Chorale | — | ||
| 12-13 | Two Hymn-Tune Preludes: Eventide | — | ||
| 12-14 | Two Hymn-Tune Preludes: Dominus regit me | — | ||
| 12-15 | Concerto accademico (Concerto for violin and strings in D minor): I. Allegro pesante | — | ||
| 12-16 | Concerto accademico (Concerto for violin and strings in D minor): II. Adagio | — | ||
| 12-17 | Concerto accademico (Concerto for violin and strings in D minor): III. Presto | — | ||
| 12-18 | Three Preludes Founded on Welsh Hymn Tunes: II. Rhosymedre | — | ||
| 12-19 | Three Preludes Founded on Welsh Hymn Tunes: III. Hyfrydol | — | ||
| 12-20 | String Quartet no. 1 in G minor: I. Allegro moderato | — | ||
| 12-21 | String Quartet no. 1 in G minor: II. Minuet and Trio: Tempo di minuetto | — | ||
| 12-22 | String Quartet no. 1 in G minor: III. Romance: Andante sostenuto | — | ||
| 12-23 | String Quartet no. 1 in G minor: IV. Finale: Rondo capriccioso (Allegro molto - Pochettino più mosso1) | — | ||
| 13-1 | Violin Sonata in A minor: I. Fantasia: Allegro giusto | — | ||
| 13-2 | Violin Sonata in A minor: II. Scherzo: Allegro furioso, ma non troppo | — | ||
| 13-3 | Violin Sonata in A minor: III. Tema con variazioni | — | ||
| 13-4 | Phantasy Quintet for two violins, two violas and cello: I. Prelude: Lento ma non troppo | — | ||
| 13-5 | Phantasy Quintet for two violins, two violas and cello: II. Scherzo: Prestissimo | — | ||
| 13-6 | Phantasy Quintet for two violins, two violas and cello: III. Alla sarabanda: Lento | — | ||
| 13-7 | Phantasy Quintet for two violins, two violas and cello: IV. Burlesca: Allegro moderato | — | ||
| 13-8 | Six Studies in English Folk Song for cello and piano: I. Adagio (Lovely on the Water) | — | ||
| 13-9 | Six Studies in English Folk Song for cello and piano: II. Andante sostenuto (Spurn Point) | — | ||
| 13-10 | Six Studies in English Folk Song for cello and piano: III. Larghetto (Van Diemen's Land) | — | ||
| 13-11 | Six Studies in English Folk Song for cello and piano: IV. Lento (She borrowed some of her mother's gold) | — | ||
| 13-12 | Six Studies in English Folk Song for cello and piano: V. Andante tranquillo (The Lady and the Dragon) | — | ||
| 13-13 | Six Studies in English Folk Song for cello and piano: VI. Allegro vivace (As I walked over London Bridge) | — | ||
| 13-14 | String Quartet no. 2 in A minor (For Jean on her Birthday): I. Prelude: Allegro appassionato | — | ||
| 13-15 | String Quartet no. 2 in A minor (For Jean on her Birthday): II. Romance: Largo | — | ||
| 13-16 | String Quartet no. 2 in A minor (For Jean on her Birthday): III. Scherzo: Allegro | — | ||
| 13-17 | String Quartet no. 2 in A minor (For Jean on her Birthday): IV. Epilogue: Greetings from Joan to Jean (Andante sostenuto) | — | ||
| 13-18 | Fantasia on Greensleeves | — | ||
| 13-19 | Suite for Viola and Small Orchestra: III. Galop | — | ||
| 14-1 | Toward the Unknown Region | — | ||
| 14-2 | Dona nobis pacem: I. ‘Agnus Dei’ (Lento) - | — | ||
| 14-3 | Dona nobis pacem: II. ‘Beat! beat! drums!’ (Allegro moderato) - | — | ||
| 14-4 | Dona nobis pacem: III. Reconciliation (Andantino) - | — | ||
| 14-5 | Dona nobis pacem: IV. Dirge for Two Veterans (Moderato alla marcia) | — | ||
| 14-6 | Dona nobis pacem: V. ‘The Angel of Death has been abroad’ (L'istesso tempo) - | — | ||
| 14-7 | Dona nobis pacem: VI. ‘O Man greatly beloved’ | — | ||
| 14-8 | Fantasia (quasi variazione) on the Old 104th Psalm Tune | — | ||
| 14-9 | Magnificat | — | ||
| 15-1 | An Oxford Elegy: (Lento) | — | ||
| 15-2 | An Oxford Elegy: “Go, for they call you, Shepherd” | — | ||
| 15-3 | An Oxford Elegy: “Here will I sit and wait” | — | ||
| 15-4 | An Oxford Elegy: “Screen'd is this nook” | — | ||
| 15-5 | An Oxford Elegy: “That sweet city” | — | ||
| 15-6 | An Oxford Elegy: “Come, let me read” | — | ||
| 15-7 | An Oxford Elegy: “Or in my boat I lie” | — | ||
| 15-8 | An Oxford Elegy: “And once, in winter” | — | ||
| 15-9 | An Oxford Elegy: “But what - I dream!” | — | ||
| 15-10 | An Oxford Elegy: “No, no, thou hast not felt” | — | ||
| 15-11 | An Oxford Elegy: “Runs it not here” | — | ||
| 15-12 | An Oxford Elegy: “Needs must I, with heavy heart” | — | ||
| 15-13 | An Oxford Elegy: “Soon will the high Midsummer pomps” | — | ||
| 15-14 | An Oxford Elegy: “He hearkens not!” | — | ||
| 15-15 | An Oxford Elegy: “Never more | — | ||
| 15-16 | An Oxford Elegy: “Yes, thou art gone!” | — | ||
| 15-17 | An Oxford Elegy: “Despair I will not” | — | ||
| 15-18 | An Oxford Elegy: “Why faintest thou?” | — | ||
| 15-19 | Whitsunday Hymn (Three Choral Hymns) | — | ||
| 15-20 | Flos campi Suite: 1. Sicut Lilium inter spinas (Lento) | — | ||
| 15-21 | Flos campi Suite: 2. Jam enim hiems transiit (Andante con moto) | — | ||
| 15-22 | Flos campi Suite: 3. Quaesivi quem diligit anima mea (Lento - Allegro moderato) | — | ||
| 15-23 | Flos campi Suite: 4. En lectulum Salomonis (Moderato alla marcia) | — | ||
| 15-24 | Flos campi Suite: 5. Revertere, revertere Sulamitis! (Andante quasi lento) | — | ||
| 15-25 | Flos campi Suite: 6. Pone me et signaculum (Moderato tranquillo) | — | ||
| 15-26 | Sancta Civitas (The Holy City): I was in the spirit (Lento) | — | ||
| 15-27 | Sancta Civitas (The Holy City): And I saw Heaven opened (Allegro) | — | ||
| 15-28 | Sancta Civitas (The Holy City): And I saw an angel standing in the sun (Meno mosso) | — | ||
| 15-29 | Sancta Civitas (The Holy City): Babylon the great is fallen (Lento) | — | ||
| 15-30 | Sancta Civitas (The Holy City): Rejoice over her O Heavens (Allegro moderato) | — | ||
| 15-31 | Sancta Civitas (The Holy City): And I saw a new heaven (Adagio) | — | ||
| 15-32 | Sancta Civitas (The Holy City): Therefore are they before the throne of God (Poco meno largo) | — | ||
| 15-33 | Sancta Civitas (The Holy City): And I saw a pure river | — | ||
| 15-34 | Sancta Civitas (The Holy City): Holy, Holy, Holy (Andante sostenuto) | — | ||
| 15-35 | Sancta Civitas (The Holy City): Heaven and earth are full of Thy glory (Poco animato) | — | ||
| 16-1 | Five Tudor Portraits: I. Ballad: The Tunning of Elinor Rumming | — | ||
| 16-2 | Five Tudor Portraits: II. Intermezzo: My Pretty Bess | — | ||
| 16-3 | Five Tudor Portraits: III. Burlesca: Epitaph on John Jayberd of Diss | — | ||
| 16-4 | Five Tudor Portraits: IV. Romanza: Jane Scroop (Her Lament for Philip Sparrow) | — | ||
| 16-5 | Five Tudor Portraits: V. Scherzo: Jolly Rutterkin | — | ||
| 16-6 | Benedicite | — | ||
| 16-7 | Five Variants of "Dives and Lazarus" | Jacques Orchestra, Sir David Willcocks | — | |
| 16-9 | Wither's Rocking Hymn | — | ||
| 17-1 | Fantasia on Christmas Carols: “This is the truth sent from above” - | — | ||
| 17-2 | Fantasia on Christmas Carols: “Come all you worthy gentlemen” - | — | ||
| 17-3 | Fantasia on Christmas Carols: “On Christmas night all Christians sing” - | — | ||
| 17-4 | Fantasia on Christmas Carols: “God bless the ruler of this house” | — | ||
| 17-5 | Hodie - A Christmas Cantata: I. Prologue: “Nowell! Nowell!” (Vespers for Christmas Day) | — | ||
| 17-6 | Hodie - A Christmas Cantata: II. Narration: “Now the birth of Jesus Christ” (Matthew & Luke) | — | ||
| 17-7 | Hodie - A Christmas Cantata: III. Song: “It was the winter wild” (John Milton) | — | ||
| 17-8 | Hodie - A Christmas Cantata: IV. Narration: “And it came to pass in those days” (Luke) | — | ||
| 17-9 | Hodie - A Christmas Cantata: V. Choral: “The blessed Son of God” (Coverdale) | — | ||
| 17-10 | Hodie - A Christmas Cantata: VI. Narration: “And there were in the same country” (Luke & Book of Common Prayer) | — | ||
| 17-11 | Hodie - A Christmas Cantata: VII. Song: The Oxen (“Christmas Eve and twelve of the clock”) (Thomas Hardy) | — | ||
| 17-12 | Hodie - A Christmas Cantata: VIII. Narration: “And the shepherds returned” (Luke) | — | ||
| 17-13 | Hodie - A Christmas Cantata: IX. Pastoral: “The shepherds sing” (Herbert) | — | ||
| 17-14 | Hodie - A Christmas Cantata: X. Narration: “But Mary kept all these things” (Luke) | — | ||
| 17-15 | Hodie - A Christmas Cantata: XI. Lullaby: “Sweet was the song the Virgin sang” (16th Cent.) | — | ||
| 17-16 | Hodie - A Christmas Cantata: XII. Hymn: “Bright portals of the sky” (William Drummond) | — | ||
| 17-17 | Hodie - A Christmas Cantata: XIII. Narration: “Now when Jesus was born” (Matthew) | — | ||
| 17-18 | Hodie - A Christmas Cantata: XIV. The March of the Three Kings: “From kingdoms of wisdom” (Ursula Vaughan Williams) | — | ||
| 17-19 | Hodie - A Christmas Cantata: XV. Choral: “No sad thought his soul affright” (anon. & Ursula Vaughan Williams) | — | ||
| 17-20 | Hodie - A Christmas Cantata: XVI. Epilogue: “In the beginning was the Word” (John & Matthew, Milton) | — | ||
| 18-1 | Fantasia on Christmas Carols: “This is the truth sent from above” - | — | ||
| 18-2 | Fantasia on Christmas Carols: “Come all you worthy gentlemen” - | — | ||
| 18-3 | Fantasia on Christmas Carols: “On Christmas night all Christians sing” - | — | ||
| 18-4 | Fantasia on Christmas Carols: “God bless the ruler of this house” | — | ||
| 18-5 | Yorkshire Wassail Song (“We;ve been awhile a-wandering”) | — | ||
| 18-6 | In Windsor Forest: I. The Conspiracy | — | ||
| 18-7 | In Windsor Forest: II. Drinking Song | — | ||
| 18-8 | In Windsor Forest: III. Falstaff and the Fairies | — | ||
| 18-9 | In Windsor Forest: IV. Wedding Chorus | — | ||
| 18-10 | In Windsor Forest: V. Epilogue | — | ||
| 18-11 | Songs of Travel: I. The Vagabond | — | ||
| 18-12 | Songs of Travel: II. Let beauty awake | — | ||
| 18-13 | Songs of Travel: III. The Roadside Fire | — | ||
| 18-14 | Songs of Travel: IV. Youth and Love | — | ||
| 18-15 | Songs of Travel: V. In Dreams | — | ||
| 18-16 | Songs of Travel: VI. The infinite shining heavens | — | ||
| 18-17 | Songs of Travel: VII. Whither must I wander | — | ||
| 18-18 | Songs of Travel: VIII. Bright is the ring of words | — | ||
| 18-19 | Songs of Travel: IX. I have trod the upward and the downward slope | — | ||
| 18-20 | On Wenlock Edge: I. “On Wenlock Edge” | — | ||
| 18-21 | On Wenlock Edge: II. “From far, from even and morning” | — | ||
| 18-22 | On Wenlock Edge: III. “Is my team ploughing” | — | ||
| 18-23 | On Wenlock Edge: IV. “Oh, when I was in love with you” | — | ||
| 18-24 | On Wenlock Edge: V. Bredon Hill | — | ||
| 18-25 | On Wenlock Edge: VI. Clun | — | ||
| 19-1 | O clap your hands (from Psalm 47) | — | ||
| 19-2 | Mass in G minor: I. Kyrie | David van Asch, Choir of King’s College, Cambridge, Robin Doveton, John Eaton, Nigel Perrin, David Willcocks | — | |
| 19-3 | Mass in G minor: Gloria | — | ||
| 19-4 | Mass in G minor: Credo | — | ||
| 19-5 | Mass in G minor: Sanctus - Osanna I - Benedictus - Osanna II | — | ||
| 19-6 | Mass in G minor: Agnus Dei | — | ||
| 19-7 | All people that on earth do dwell (The Old Hundredth) | — | ||
| 19-8 | O taste and see (Psalm 34 v.8) | — | ||
| 19-9 | Te Deum in G major | — | ||
| 19-10 | For all the saints (Sine nomine) | — | ||
| 19-11 | Three Preludes Founded on Welsh Hymn Tunes: I. Bryn Calfaria | — | ||
| 19-12 | Three Preludes Founded on Welsh Hymn Tunes: II. Rhosymedre | — | ||
| 19-13 | Three Preludes Founded on Welsh Hymn Tunes: III. Hyfrydol | — | ||
| 19-14 | The Truth from Above | Choir of King’s College, Cambridge, Sir David Willcocks | T-010.424.965-1 | |
| 19-15 | O Little Town of Bethlehem | Choir of King’s College, Cambridge, Thomas Armstrong, Francis Grier, Sir Philip Ledger | T-308.192.515-3 | |
| 19-16 | Joseph and Mary | Choir of King’s College, Cambridge, Charles Daniels, Thomas Trotter, Philip Ledger | — | |
| 19-17 | And All in the Morning | Choir of King’s College, Cambridge, Sir David Willcocks | T-011.570.543-5 | |
| 19-18 | Alleluya, sing to Jesus (Hyfrydol) | — | ||
| 19-19 | Come Down, O Love Divine | Choir of King’s College, Cambridge, Thomas Williamson, Stephen Cleobury | — | |
| 19-20 | All People That on Earth Do Dwell | Choir of King’s College, Cambridge, Benjamin Bayl, Stephen Cleobury | — | |
| 20-1 | Four Hymns: I. Lord! come away! | — | ||
| 20-2 | Four Hymns: II. Who is this fair one? | — | ||
| 20-3 | Four Hymns: III. Come Love, come Lord | — | ||
| 20-4 | Four Hymns: IV. Evening Hymn | — | ||
| 20-5 | Merciless Beauty: Your eyën two | — | ||
| 20-6 | Merciless Beauty: So hath your beauty | — | ||
| 20-7 | Merciless Beauty: Since I from Love | — | ||
| 20-8 | The Water Mill | — | ||
| 20-9 | The New Ghost | — | ||
| 20-10 | Ten Blake Songs: I. Infant Joy | — | ||
| 20-11 | Ten Blake Songs: II. A Poison Tree | — | ||
| 20-12 | Ten Blake Songs: III. The Piper | — | ||
| 20-13 | Ten Blake Songs: IV. London | — | ||
| 20-14 | Ten Blake Songs: V. The Lamb | — | ||
| 20-15 | Ten Blake Songs: VI. The Shepherd | — | ||
| 20-16 | Ten Blake Songs: VII. Ah, Sun-flower! | Ian Partridge, Janet Craxton | — | |
| 20-17 | Ten Blake Songs: VIII. Cruelty has a human heart | — | ||
| 20-18 | Ten Blake Songs: IX. The Divine Image | — | ||
| 20-19 | Ten Blake Songs: X. Eternity | — | ||
| 20-20 | On Wenlock Edge: I. “On Wenlock Edge” | — | ||
| 20-21 | On Wenlock Edge: II. “From far, from even and morning” | — | ||
| 20-22 | On Wenlock Edge: III. “Is my team ploughing” | — | ||
| 20-23 | On Wenlock Edge: IV. “Oh, when I was in love with you” | — | ||
| 20-24 | On Wenlock Edge: V. Bredon Hill | — | ||
| 20-25 | On Wenlock Edge: VI. Clun | — | ||
| 21-1 | The House of Life: I. Love-Sight | — | ||
| 21-2 | The House of Life: II. Silent Noon | — | ||
| 21-3 | The House of Life: III. Love's Minstrels | — | ||
| 21-4 | The House of Life: IV. Heart's Haven | — | ||
| 21-5 | The House of Life: V. Death in Love | — | ||
| 21-6 | The House of Life: VI. Love's Last Gift | — | ||
| 21-7 | Songs of Travel: I. The Vagabond | — | ||
| 21-8 | Songs of Travel: II. Let beauty awake | — | ||
| 21-9 | Songs of Travel: III. The Roadside Fire | — | ||
| 21-10 | Songs of Travel: IV. Youth and Love | — | ||
| 21-11 | Songs of Travel: V. In Dreams | — | ||
| 21-12 | Songs of Travel: VI. The infinite shining heavens | — | ||
| 21-13 | Songs of Travel: VII. Whither must I wander | — | ||
| 21-14 | Songs of Travel: VIII. Bright is the ring of words | — | ||
| 21-15 | Songs of Travel: IX. I have trod the upward and the downward slope | — | ||
| 22-1 | Linden Lea | — | ||
| 22-2 | Orpheus and his lute (first setting) | — | ||
| 22-3 | Hands, eyes and heart | — | ||
| 22-4 | Rest | — | ||
| 22-5 | Five Mystical Songs: The Call | — | ||
| 22-6 | Linden Lea | — | ||
| 22-7 | Five English Folk Songs: I. The Dark-Eyed Sailor | — | ||
| 22-8 | Five English Folk Songs: II. The Spring Time of the Year | — | ||
| 22-9 | Five English Folk Songs: III. Just as the Tide was Flowing | — | ||
| 22-10 | Five English Folk Songs: IV. The Lover's Ghost (Well met, my own true love) | — | ||
| 22-11 | Five English Folk Songs: V. Wassail Song | — | ||
| 22-12 | Bushes and Briars | — | ||
| 22-13 | Loch Lomond | — | ||
| 22-14 | John Dory | — | ||
| 22-15 | Greensleeves | — | ||
| 22-16 | Ward, the Pirate | — | ||
| 22-17 | Ca' the Yowes | — | ||
| 22-18 | The Unquiet Grave | — | ||
| 22-19 | The Seeds of Love | — | ||
| 22-20 | Early in the Spring | — | ||
| 22-21 | The Turtle Dove | — | ||
| 22-22 | An Acre of Land | — | ||
| 22-23 | Bushes and Briars (men's voices) | — | ||
| 22-24 | Five English Folk Songs: Wassail Song | — | ||
| 22-26 | Linden Lea | — | ||
| 23-1 | East Anglia: The Captain's Apprentice | — | ||
| 23-2 | East Anglia: As I walked out | — | ||
| 23-3 | East Anglia: Bushes and Briars | — | ||
| 23-4 | East Anglia: Geordie | — | ||
| 23-5 | East Anglia: On Board a Ninety-Eight | — | ||
| 23-6 | Wessex: The Ploughman | — | ||
| 23-7 | Wessex: The Brewer | — | ||
| 23-8 | Wessex: Rolling in the Dew | — | ||
| 23-9 | Carols: The Truth Sent from Above | — | ||
| 23-10 | Carols: Joseph and Mary | — | ||
| 23-11 | Carols: The Saviour's Love | — | ||
| 23-12 | France: Réveillez-vous, Piccars | — | ||
| 23-13 | France: Chanson de quête | — | ||
| 23-14 | France: Ballade de Jésus Christ | — | ||
| 23-15 | Newfoundland: She's like the swallow | — | ||
| 23-16 | Newfoundland: The Morning Dew | — | ||
| 23-17 | Newfoundland: The Maiden's Lament | — | ||
| 23-18 | Newfoundland: The Cuckoo | — | ||
| 23-19 | Voice & violin (violin & piano): The Lawyer | — | ||
| 23-20 | Voice & violin (violin & piano): Searching for Lambs | — | ||
| 23-21 | Voice & violin (violin & piano): How cold the wind doth blow (or The Unquiet Grave) | — | ||
| 23-22 | A Song of Thanksgiving | — | ||
| 24-1 | Epithalamion: I. Prologue (chorus) | — | ||
| 24-2 | Epithalamion: II. Wake now (baritone, chorus) | — | ||
| 24-3 | Epithalamion: III. The Calling of the Bride (chorus) | — | ||
| 24-4 | Epithalamion: IV. The Minstrels (chorus) | — | ||
| 24-5 | Epithalamion: V. Procession of the Bridge (chorus) | — | ||
| 24-6 | Epithalamion: VI. The Temple Gates (chorus) | — | ||
| 24-7 | Epithalamion: VII. The Bell Ringers (chorus) | — | ||
| 24-8 | Epithalamion: VIII. The Lover's Song (baritone, chorus) | — | ||
| 24-9 | Epithalamion: IX. The Minstrel's Song (baritone, chorus) | — | ||
| 24-10 | Epithalamion: X. Song of the Winged Loves (chorus) | — | ||
| 24-11 | Epithalamion: XI. Prayer to Juno (baritone, chorus) | — | ||
| 24-12 | Riders to the Sea: “Where is she?” (Nora, Cathleen, Maurya) | — | ||
| 24-13 | Riders to the Sea: “Where is the bit of new rope” (Bartley, Cathleen, Nora, Maurya) | — | ||
| 24-14 | Riders to the Sea: “Wait, Nora” (Cathleen, Nora, Maurya) | — | ||
| 24-15 | Riders to the Sea: “You didn't give him his bit of bread?” (Cathleen, Maurya, Nora) | — | ||
| 24-16 | Riders to the Sea: “Bartley will be lost now” (Maurya, Women, Nora, Cathleen, A Woman) | — | ||
| 24-17 | Riders to the Sea: “They are all gone now” (Maurya, Women, Nora, Cathleen) | — | ||
| 25-1 | Hugh the Drover or Love in the Stocks: Act I. (Allegro vivacissimo) - “Buy, buy, buy” (Cheap-Jack) | — | ||
| 25-2 | Hugh the Drover or Love in the Stocks: Act I. “Cold blows the wind on Cotsall” (Showman) | — | ||
| 25-3 | Hugh the Drover or Love in the Stocks: Act I. “As I was a walking” (Ballad Seller) | — | ||
| 25-4 | Hugh the Drover or Love in the Stocks: Act I. “Show me a richer man” (John) | — | ||
| 25-5 | Hugh the Drover or Love in the Stocks: Act I. “Here come the Morris Men” (Chorus) | — | ||
| 25-6 | Hugh the Drover or Love in the Stocks: Act I. “Life must be full of care” (Aunt Jane) | — | ||
| 25-7 | Hugh the Drover or Love in the Stocks: Act I. “Sweet little linnet that longs to be free” (Hugh) | — | ||
| 25-8 | Hugh the Drover or Love in the Stocks: Act I. “Horse-hoofs, horse-hoofs, thunder down the valleys” (Hugh) | — | ||
| 25-9 | Hugh the Drover or Love in the Stocks: Act I. “In the night-time I have seen you riding” (Mary) | — | ||
| 25-10 | Hugh the Drover or Love in the Stocks: Act I. “Mary! Mary!” (Constable) | — | ||
| 25-11 | Hugh the Drover or Love in the Stocks: Act I. “Oh! The devil and Bonyparty” (Showman) | — | ||
| 25-12 | Hugh the Drover or Love in the Stocks: Act I. “Yes, I!” (Hugh) | — | ||
| 25-13 | Hugh the Drover or Love in the Stocks: Act I. “Are you ready? Go!” (Showman) | — | ||
| 25-14 | Hugh the Drover or Love in the Stocks: Act I. “The drover's won!” (Showman) | — | ||
| 25-15 | Hugh the Drover or Love in the Stocks: Act I. “I tell you there's a price on this man's head” (Constable) | — | ||
| 26-1 | Hugh the Drover or Love in the Stocks: Act II. (Lento moderato) - “Past four o'clock” (Ballad Seller) | — | ||
| 26-2 | Hugh the Drover or Love in the Stocks: Act II. “Gaily I go to die” (Hugh) | — | ||
| 26-3 | Hugh the Drover or Love in the Stocks: Act II. “Hugh!” … “Mary!” (Mary, Hugh) | — | ||
| 26-4 | Hugh the Drover or Love in the Stocks: Act II. “Sweet little home” (Mary) | — | ||
| 26-5 | Hugh the Drover or Love in the Stocks: Act II. “Where's she gone to?” (Constable) | — | ||
| 26-6 | Hugh the Drover or Love in the Stocks: Act II. “Here, queen uncrowned” (Mary) | — | ||
| 26-7 | Hugh the Drover or Love in the Stocks: Act II. “A trollop from the stocks” (John) | — | ||
| 26-8 | Hugh the Drover or Love in the Stocks: Act II. “Dropped from the ranks on a winter's night” (Sergeant) | — | ||
| 26-9 | Hugh the Drover or Love in the Stocks: Act II. “March away, John!” (Chorus) | — | ||
| 26-10 | Hugh the Drover or Love in the Stocks: Act II. “O foolish girl, O radiant soul!” (Hugh) | — | ||
| 26-11 | Hugh the Drover or Love in the Stocks: Act II. “Oh! the sky shall be our roof” (Hugh, Mary) | — | ||
| 27-1 | Sir John in Love: Act I. (Allegro vivace) - “What-hoa!” (Shallow, Evans, Slender, Page) | — | ||
| 27-2 | Sir John in Love: Act I. “How now, Master Shallow” (Falstaff, Shallow, Slender, Bardolph, Pistol, Page, Nym) | — | ||
| 27-3 | Sir John in Love: Act I. “O heavens, this is Mistress Anne Page” (Slender, Page, Falstaff, Shallow, Evans, Simple, Anne) | — | ||
| 27-4 | Sir John in Love: Act I. “Ahem…I had rather than forty shillings” (Anne, Slender) | — | ||
| 27-5 | Sir John in Love: Act I. “Weep eyes, break heart” (Anne) | — | ||
| 27-6 | Sir John in Love: Act I. “Do but look on her eyes now” (Fenton, Anne) | — | ||
| 27-7 | Sir John in Love: Act I. “I see I cannot get thy father's love” (Fenton, Anne Page) | — | ||
| 27-8 | Sir John in Love: Act I. “Vere is dat knave Rugby?” (Caius, Rugby, Simple, Mrs Quickly) | — | ||
| 27-9 | Sir John in Love: Act I. “I will myself marry Anne Page” (Caius, Mrs Quickly, Rugby, Fenton) | — | ||
| 27-10 | Sir John in Love: Act I. “Master Fenton, I'll be sworn she loves you” (Mrs Quickly, Fenton, Bardolph, Nym, Pistol, Host) | — | ||
| 27-11 | Sir John in Love: Act I. “Back and side go bare” (Bardolph, Nym, Pistol, Host, Falstaff) | — | ||
| 27-12 | Sir John in Love: Act I. “I spy entertainment in her” (Falstaff, Pistol, Nym, Bardolph, Host) | — | ||
| 27-13 | Sir John in Love: Act I. “Wilt thou revenge?” (Pistol, Nym, Ford) | — | ||
| 27-14 | Sir John in Love: Act I. “Love my wide? I will be patient” (Ford) | — | ||
| 27-15 | Sir John in Love: Act I. “When daisies pied and violets blue” (Mrs Ford, Mrs Page, Ford) | — | ||
| 27-16 | Sir John in Love: Act II, Scene 1. (Allegro moderato e maestoso) | — | ||
| 27-17 | Sir John in Love: Act II, Scene 1. “Thine own true knight” (Mrs Page, Mrs Ford) | — | ||
| 27-18 | Sir John in Love: Act II, Scene 1. “Ask me no reason why I love you” (Mrs Page, Mrs Ford, Mrs Quickly) | — | ||
| 27-19 | Sir John in Love: Act II, Scene 1. “Sigh no more ladies” (Mrs Quickly, Mrs Page, Mrs Ford) | — | ||
| 27-20 | Sir John in Love: Act II, Scene 1. (Maestoso) | — | ||
| 27-21 | Sir John in Love: Act II, Scene 2. “Bardolph, Bardolph, I say!” (Falstaff, Bardolph) | — | ||
| 27-22 | Sir John in Love: Act II, Scene 2. “Give you worship good morrow” (Mrs Quickly, Falstaff) | — | ||
| 27-23 | Sir John in Love: Act II, Scene 2. “O that joy so soon should waste!” (Falstaff) | — | ||
| 27-24 | Sir John in Love: Act II, Scene 2. “There's one Master Brook below” (Bardolph, Falstaff, Ford) | — | ||
| 27-25 | Sir John in Love: Act II, Scene 2. “I have long loved her” (Ford, Falstaff) | — | ||
| 27-26 | Sir John in Love: Act II, Scene 2. “The dew that lies on roses” (Falstaff, Ford) | — | ||
| 27-27 | Sir John in Love: Act II, Scene 2. “Vere is mine host of de Garter?” (Caius, Host, Slender, Shallow, Page, Ford) | — | ||
| 27-28 | Sir John in Love: Act II, Scene 2. (Maestoso) | — | ||
| 28-1 | Sir John in Love: Act III, Scene 1: Interlude. (Andante moderato) | — | ||
| 28-2 | Sir John in Love: Act III, Scene 1: Interlude. “Yet hear me speak” (Fenton, Host, Chorus, Anne) | — | ||
| 28-3 | Sir John in Love: Act III, Scene 1: Interlude. “Beauty clear and fair” (Fenton, Chorus, Anne) | — | ||
| 28-4 | Sir John in Love: Act III, Scene 1: Interlude. “Fair and fair and twice so fair” (Chorus, Fenton, Anne, Host) | — | ||
| 28-5 | Sir John in Love: Act III, Scene 1: Interlude. “But listen, good mine host” (Anne, Chorus, Host, Fenton) | — | ||
| 28-6 | Sir John in Love: Act III, Scene 1: Interlude. “I mun be married a Sunday” (Host, Chorus, Anne, Fenton) | — | ||
| 28-7 | Sir John in Love: Act III, Scene 2. (Lento) - “When as we sat in Papylon” (Evans, Simple) | — | ||
| 28-8 | Sir John in Love: Act III, Scene 2. “How now, Master Parson” - | — | ||
| 28-9 | Sir John in Love: Act III, Scene 2. “Peace, I say!” (Shallow, Page, Slender, Evans, Host, Caius, Simple, Rugby, Ford) | — | ||
| 28-10 | Sir John in Love: Act III, Scene 2. “When I was a bachelor” (Host, Omnes except Slender and Ford) | — | ||
| 28-11 | Sir John in Love: Act III, Scene 2. (Allegro) | — | ||
| 28-12 | Sir John in Love: Act III, Scene 3. “What, John! What, Robert!” (Mrs Ford, Mrs Page, John & Robert, Mrs Quickly) | — | ||
| 28-13 | Sir John in Love: Act III, Scene 3. “Alas my love, you do me wrong” (Mrs Ford, Falstaff) | — | ||
| 28-14 | Sir John in Love: Act III, Scene 3. “Have I caught my heavenly jewel” (Falstaff, Mrs Ford) | — | ||
| 28-15 | Sir John in Love: Act III, Scene 3. “Mistress Ford! Mistress Ford!” (Mrs Quickly, Falstaff, Mrs Ford, Mrs Page) | — | ||
| 28-16 | Sir John in Love: Act III, Scene 3. “When I was a bachelor” (Chorus of Men, Mrs Ford, Ford, Robert, Page) | — | ||
| 28-17 | Sir John in Love: Act III, Scene 3. “Nay, follow him, gentlemen” (Page, Mrs Page, Mrs Ford, Ford, Evans, Caius, Slender, Shallow, Host, Pistol, Bardolph, Nym) | — | ||
| 28-18 | Sir John in Love: Act III, Scene 3. “Mistress Page!… Mistress Page!” (Ford, Page, Mrs Page, Host, Caius, Chorus) | — | ||
| 28-19 | Sir John in Love: Act IV, Scene 1. (Andante piacevole) | — | ||
| 28-20 | Sir John in Love: Act IV, Scene 1. “Pardon me, wife” (Ford, Mrs Ford, Page, Mrs Page, Evans) | — | ||
| 28-21 | Sir John in Love: Act IV, Scene 1. “There is an old tale goes” (Mrs Page, Page, Mrs Ford, Ford) | — | ||
| 28-22 | Sir John in Love: Act IV, Scene 1. “Trib, fairies, trib… Round about in a fair ring-a” (Evans, Chorus of Fairies, Mrs Page, Page, Caius, Slender, Evans, Mrs Ford) | — | ||
| 28-23 | Sir John in Love: Act IV, Scene 1. (Lento moderato [Greensleeves]) | — | ||
| 28-24 | Sir John in Love: Act IV, Scene 2. (Vivace) | — | ||
| 28-25 | Sir John in Love: Act IV, Scene 2. “The Windsor, bell hath struck twelve” (Falstaff, Mrs Ford, Mrs Page, Chorus of Fairies) | — | ||
| 28-26 | Sir John in Love: Act IV, Scene 2. “Oo! Oo! … Fairies black, grey, green and white” (Chorus, Anne, Falstaff, Mrs Quickly) | — | ||
| 28-27 | Sir John in Love: Act IV, Scene 2. Dance of the Fairies (Allegro pesante) - “But stay! I smell a man of middle earth” (Evans, Falstaff, Host, Pistol, Chorus, Bardolph, Nym, Mrs Quickly) | — | ||
| 28-28 | Sir John in Love: Act IV, Scene 2. “Pinch him, pinch him black and blue” (Chorus, Falstaff) | — | ||
| 28-29 | Sir John in Love: Act IV, Scene 2. (Moderato) - “Nay, do not fly” (Page, Mrs Page, Ford, Mrs Ford, Host, Nym, Bardolph, Pistol, Mrs Quickly, Evans, Falstaff, Shallow, Slender, Simple, Caius) | — | ||
| 28-30 | Sir John in Love: Act IV, Scene 2. “See the chariot at hand” (Chorus, Fenton, Page, Anne, Falstaff, Ford, Mrs Page, Mrs Ford) | — | ||
| 28-31 | Sir John in Love: Act IV, Scene 2. “Whether men do laugh or weep” (Falstaff, Omnes) | — | ||
| 28-32 | Sir John in Love: Act IV, Scene 2. Dance (Presto) | — | ||
| 29-1 | The Pilgrim's Progress: Prologue: Bunyan in Prison (Bunyan, Pilgrim) | — | ||
| 29-2 | The Pilgrim's Progress: Act I, Scene 1: The Pilgrim meets Evangelist (Pilgrim, Evangelist, Pliable, Timorous, Obstinate, Mistrust) | — | ||
| 29-3 | The Pilgrim's Progress: Act I, Scene 2: The House Beautiful (Pilgrim, Shining Ones, Interpreter, Chorus) | — | ||
| 29-4 | The Pilgrim's Progress: Act I. Nocturne (Intermezzo) (Watchful) | — | ||
| 29-5 | The Pilgrim's Progress: Act II, Scene 1: The Arming of the Pilgrim (Herald, Pilgrim, Chorus) | — | ||
| 29-6 | The Pilgrim's Progress: Act II, Scene 2: The Pilgrim meets Apollyon (Apollyon, Doleful Creatures, Pilgrim, Branch Bearer, Cup Bearer, Evangelist) | — | ||
| 29-7 | The Pilgrim's Progress: Act III, Scene 1: Vanity Fair. “Buy! What will ye buy?” (Lord Lechery, Pilgrim, Demas, Judas Iscariot, Simon Magus, Worldly Glory, Madam Bubble, Madam Wanton, Chorus) | — | ||
| 29-8 | The Pilgrim's Progress: Act III, Scene 1: Vanity Fair. “I buy the truth!” (Pilgrim, Pontius Pilate, Usher, Lord Hate-Good, Envy, Superstition, Pickthank, Malice, Lord Lechery, Chorus) | — | ||
| 30-1 | The Pilgrim's Progress: Act III, Scene 2: The Pilgrim in Prison (Pilgrim) | — | ||
| 30-2 | The Pilgrim's Progress: Act IV, Scene 1: The Pilgrim meets Mister By-Ends (Boy, Pilgrim, Mister By-Ends, Madam By-Ends) | — | ||
| 30-3 | The Pilgrim's Progress: Act IV. Entr'acte | — | ||
| 30-4 | The Pilgrim's Progress: Act IV, Scene 2: The Delectable Mountains. “Who so dwelleth” (Shepherds, Pilgrim) | — | ||
| 30-5 | The Pilgrim's Progress: Act IV, Scene 2: The Delectable Mountains. “The Lord is my Shepherd” (Voice of a Bird, Pilgrim, Shepherds, Messenger) | — | ||
| 30-6 | The Pilgrim's Progress: Act IV, Scene 3: The Pilgrim reaches the end of his journey (Voices from Heaven, Pilgrim) | — | ||
| 30-7 | The Pilgrim's Progress: Act IV. Epilogue (Bunyan) | — | ||
| 30-8 | The Pilgrim's Progress (Sir Adrian in rehearsal): Act III, Scene 1 (Vanity Fair) | — | ||
| 30-9 | The Pilgrim's Progress (Sir Adrian in rehearsal): Act I. Nocturne | — | ||
| 30-10 | The Pilgrim's Progress (Sir Adrian in rehearsal): Act IV, Scene 1 (Mister By-Ends) | — | ||
| 30-11 | The Pilgrim's Progress (Sir Adrian in rehearsal): Act IV, Scene 2 (The Shepherds) | — | ||
| 30-12 | The Pilgrim's Progress (Sir Adrian in rehearsal): Act II, Scene 1 (The Arming of the Pilgrim) | — |
Identifier Graph
0190296245374 is a Universal Product Code (UPC) assigned to The New Collector’s Edition by Ralph Vaughan Williams. 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 490 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
| Track Title | Artist(s) | ISWC |
|---|---|---|
| O little town of Bethlehem (feat. descant Armstrong) | Choir of King’s College, Cambridge | T-072.366.054-5 |
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
The UPC for “The New Collector’s Edition” by Ralph Vaughan Williams is 0190296245374. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2022-01-01. Label: Warner Classics. This release contains 490 tracks, each with its own ISRC. Tracks include GBAYD8800371, GBAYD8800372, GBAYD8800373.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony no. 1, "A Sea Symphony": Ia. A Song for All Seas, All Ships: Behold, the sea itself | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 2 | Symphony no. 1, "A Sea Symphony": Ib. A Song for All Seas, All Ships: Today a rude brief recitative | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 3 | Symphony no. 1, "A Sea Symphony": Ic. A Song for All Seas, All Ships: Flaunt out, O sea, your separate flags of nations! | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 4 | Symphony no. 1, "A Sea Symphony": Id. A Song for All Seas, All Ships: Token of all brave captains | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 5 | Symphony no. 1, "A Sea Symphony": Ie. A Song for All Seas, All Ships: A pennant universal | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 6 | Symphony no. 1, "A Sea Symphony": IIa. On the Beach at Night, Alone: On the beach at night, alone | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 7 | Symphony no. 1, "A Sea Symphony": IIb. On the Beach at Night, Alone: A vast similitude interlocks all | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 8 | Symphony no. 1, "A Sea Symphony": III. Scherzo. The Waves | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 9 | Symphony No. 1, "A Sea Symphony": IVa. The Explorers: O vast Rondure, swimming in space | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 10 | Symphony No. 1, "A Sea Symphony": IVb. The Explorers: Down from the gardens of Asia descending | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 11 | Symphony No. 1, "A Sea Symphony": IVc. The Explorers: O we can wait no longer | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 12 | Symphony No. 1, "A Sea Symphony": IVd. The Explorers: O thou transcendent | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 13 | Symphony No. 1, "A Sea Symphony": IVe. The Explorers: Greater than stars or suns | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 14 | Symphony No. 1, "A Sea Symphony": IVf. The Explorers: Sail forth | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 15 | Symphony No. 1, "A Sea Symphony": IVg. The Explorers: O my brave Soul! | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 2-1 | Symphony no. 2 “A London Symphony”: I. Lento - Allegro risoluto (molto pesante) | — | ||
| 2-2 | Symphony no. 2 “A London Symphony”: II. Lento | — | ||
| 2-3 | Symphony no. 2 “A London Symphony”: III. Scherzo (Nocturne): Allegro vivace | — | ||
| 2-4 | Symphony no. 2 “A London Symphony”: IV. Andante con moto - Maestoso alla marcia (quasi lento) - Allegro - Maestoso alla marcia (alla I) - Epilogue (Andante sostenuto) | — | ||
| 2-5 | Symphony no. 8 in D minor: I. Fantasia: Variazioni senza tema | — | ||
| 2-6 | Symphony no. 8 in D minor: II. Scherzo alla marcia (per stromenti a fiato): Allegro alla marcia | — | ||
| 2-7 | Symphony no. 8 in D minor: III. Cavatina (per stromenti ad arco): Lento espressivo | — | ||
| 2-8 | Symphony no. 8 in D minor: IV. Toccata: Moderato maestoso | — | ||
| 3-1 | Symphony no. 3 “A Pastoral Symphony”: I. Molto moderato | — | ||
| 3-2 | Symphony no. 3 “A Pastoral Symphony”: II. Lento moderato | — | ||
| 3-3 | Symphony no. 3 “A Pastoral Symphony”: III. Moderato pesante | — | ||
| 3-4 | Symphony no. 3 “A Pastoral Symphony”: IV. Lento | — | ||
| 3-5 | Symphony no. 4 in F minor: I. Allegro | — | ||
| 3-6 | Symphony no. 4 in F minor: II. Andante | — | ||
| 3-7 | Symphony no. 4 in F minor: III. Scherzo: Allegro molto | — | ||
| 3-8 | Symphony no. 4 in F minor: IV. Finale (Allegro molto) con epilogo fugato (Con anima) | — | ||
| 4-1 | Oboe Concerto in A minor: I. Rondo pastorale: Allegro moderato | — | ||
| 4-2 | Oboe Concerto in A minor: II. Minuet and Musette: Allegro moderato | — | ||
| 4-3 | Oboe Concerto in A minor: III. Finale (Scherzo): Presto - Lento - Presto | — | ||
| 4-4 | Symphony no. 5 in D major: I. Preludio: Moderato - Allegro - Tempo I | — | ||
| 4-5 | Symphony no. 5 in D major: II. Scherzo: Presto misterioso | — | ||
| 4-6 | Symphony no. 5 in D major: III. Romanza: Lento | — | ||
| 4-7 | Symphony no. 5 in D major: IV. Passacaglia: Moderato - Allegro - Tempo primo - Tempo del Preludio | — | ||
| 5-1 | Symphony no. 6 in E minor: I. Allegro - | — | ||
| 5-2 | Symphony no. 6 in E minor: II. Moderato - | — | ||
| 5-3 | Symphony no. 6 in E minor: III. Scherzo: Allegro vivace - | — | ||
| 5-4 | Symphony no. 6 in E minor: IV. Epilogue: Moderato | — | ||
| 5-5 | Symphony no. 9 in E minor: I. Moderato maestoso | — | ||
| 5-6 | Symphony no. 9 in E minor: II. Andante sostenuto | — | ||
| 5-7 | Symphony no. 9 in E minor: III. Scherzo: Allegro pesante | — | ||
| 5-8 | Symphony no. 9 in E minor: IV. Andante tranquillo | — | ||
| 6-2 | Partita for double string orchestra: I. Prelude: Andante tranquillo | — | ||
| 6-3 | Partita for double string orchestra: II. Scherzo ostinato: Presto | — | ||
| 6-4 | Partita for double string orchestra: III. Intermezzo (Homage to Henry Hall): Andante con moto | — | ||
| 6-5 | Partita for double string orchestra: IV. Fantasia: Allegro | — | ||
| 6-6 | Symphony no. 7 “Sinfonia antartica”: I. Prelude: Andante maestoso | — | ||
| 6-7 | Symphony no. 7 “Sinfonia antartica”: II. Scherzo: Moderato | — | ||
| 6-8 | Symphony no. 7 “Sinfonia antartica”: III. Landscape: Lento | — | ||
| 6-9 | Symphony no. 7 “Sinfonia antartica”: IV. Intermezzo: Andante sostenuto | — | ||
| 6-10 | Symphony no. 7 “Sinfonia antartica”: V. Epilogue: Alla marcia moderato, non troppo allegro | — | ||
| 7-1 | The Wasps - Aristophanic Suite: I. Overture | — | ||
| 7-2 | The Wasps - Aristophanic Suite: II. Entr'acte | — | ||
| 7-3 | The Wasps - Aristophanic Suite: III. March Past of the Kitchen Utensils | — | ||
| 7-4 | The Wasps - Aristophanic Suite: IV. Entr'acte | — | ||
| 7-5 | The Wasps - Aristophanic Suite: V. Ballet and Final Tableau | — | ||
| 7-6 | Prelude and Fugue in C minor: Prelude | — | ||
| 7-7 | Prelude and Fugue in C minor: Fugue | — | ||
| 7-8 | Piano Concerto in C major: I. Toccata: Allegro moderato - | — | ||
| 7-9 | Piano Concerto in C major: II. Romanza: Lento - | — | ||
| 7-10 | Piano Concerto in C major: III. Fuga cromatica (Allegro) | — | ||
| 7-11 | Piano Concerto in C major: III. con finale alla tedesca | — | ||
| 8-1 | Concerto in C for Two Pianos and Orchestra: I. Toccata (Allegro moderato) | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-2 | Concerto in C for Two Pianos and Orchestra: II. Romanza (Lento) | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-3 | Concerto in C for Two Pianos and Orchestra: IIIa. Fuga chromatica (Allegro) - | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-4 | Concerto in C for Two Pianos and Orchestra: IIIb. Finale alla tedesca | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-5 | Job: A Masque for Dancing: Scene I: Introduction | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-6 | Job: A Masque for Dancing: Scene I: Saraband of the Sons of God | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-7 | Job: A Masque for Dancing: Scene II: Satan's Dance of Triumph | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-8 | Job: A Masque for Dancing: Scene III: Minuet of the Sons of Job and their Wives | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-9 | Job: A Masque for Dancing: Scene IV: Jobs' Dream | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-10 | Job: A Masque for Dancing: Scene V: Dance of the Three Messengers | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-11 | Job: A Masque for Dancing: Scene VI: Dance of Job's Comforters | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-12 | Job: A Masque for Dancing: Scene VII: Eihu's Dance of Youth and Beauty | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-13 | Job: A Masque for Dancing: Scene VII: Pavane of the Sons of the Morning | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-14 | Job: A Masque for Dancing: Scene VIII: Galliard of the Sons of the Morning | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-15 | Job: A Masque for Dancing: Scene VIII: Altar Dance | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-16 | Job: A Masque for Dancing: Scene IX: Epilogue | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-1 | Serenade to Music | — | ||
| 9-2 | English Folk Song Suite: I. March (Seventeen Come Sunday) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-3 | English Folk Song Suite: II. Intermezzo (My Bonny Boy) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-4 | English Folk Song Suite: III. March (Folk Songs from Somerset) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-5 | Norfolk Rhapsody no. 1 | — | ||
| 9-6 | Fantasia on ‘Greensleeves’ | — | ||
| 9-7 | In the Fen Country | — | ||
| 9-8 | The Lark Ascending | Hugh Bean, Philharmonia Orchestra, Sir Adrian Boult | T-902.843.856-4 | |
| 10-1 | Fantasia on a Theme by Thomas Tallis | — | ||
| 10-2 | Sea Songs - March | — | ||
| 10-3 | English Folk Songs - Suite: I. March (Seventeen Come Sunday) | — | ||
| 10-4 | English Folk Songs - Suite: II. Intermezzo (My Bonny Boy) | — | ||
| 10-5 | English Folk Songs - Suite: III. March (Folk Songs from Somerset) | — | ||
| 10-6 | Dawn Patrol (from the film Coastal Command) | — | ||
| 10-7 | Concerto grosso: I. Intrada: Largo | — | ||
| 10-8 | Concerto grosso: II. Burlesca ostinato: Allegro moderato | — | ||
| 10-9 | Concerto grosso: III. Sarabande: Lento | — | ||
| 10-10 | Concerto grosso: IV. Scherzo: Allegro, tempo di valse | — | ||
| 10-11 | Concerto grosso: V. March (A la marcia) and Reprise | — | ||
| 10-12 | Romance in D-flat major for harmonica with strings and piano | — | ||
| 10-13 | Tuba Concerto in F minor: I. Prelude: Allegro moderato | Philip B. Catelinet, London Symphony Orchestra, Sir John Barbirolli | — | |
| 10-14 | Tuba Concerto in F minor: II. Romanza: Andante sostenuto | Philip B. Catelinet, London Symphony Orchestra, Sir John Barbirolli | — | |
| 10-15 | Tuba Concerto in F minor: III. Finale: Rondo alla tedesca (Allegro) | Philip B. Catelinet, London Symphony Orchestra, Sir John Barbirolli | — | |
| 11-2 | The Poisoned Kiss - Overture | — | ||
| 11-3 | Old King Cole - A Ballet for Orchestra: (Allegro moderato) | — | ||
| 11-4 | Old King Cole - A Ballet for Orchestra: Pipe Dance | — | ||
| 11-5 | Old King Cole - A Ballet for Orchestra: Bowl Dance | — | ||
| 11-6 | Old King Cole - A Ballet for Orchestra: Morris Jig: ‘Go and ’list for a sailor’ | — | ||
| 11-7 | Old King Cole - A Ballet for Orchestra: Folk Song: ‘A Bold Young Farmer’ | — | ||
| 11-8 | Old King Cole - A Ballet for Orchestra: Folk Tune: ‘The Jolly Thresherman’ | — | ||
| 11-9 | Old King Cole - A Ballet for Orchestra: Solo Jig | — | ||
| 11-10 | Five Mystical Songs: I. Easter | — | ||
| 11-11 | Five Mystical Songs: II. I got me flowers | — | ||
| 11-12 | Five Mystical Songs: III. Love bade me welcome | — | ||
| 11-13 | Five Mystical Songs: IV. The Call | — | ||
| 11-14 | Five Mystical Songs: V. Antiphon | — | ||
| 11-15 | Prelude on an Old Carol Tune | — | ||
| 11-16 | The Running Set | — | ||
| 11-17 | Prelude: 49th Parallel | — | ||
| 12-1 | Variations for Orchestra: Theme: Andante maestoso | — | ||
| 12-2 | Variations for Orchestra: Var. I: Poco tranquillo | — | ||
| 12-3 | Variations for Orchestra: Var. II: Tranquillo cantabile | — | ||
| 12-4 | Variations for Orchestra: Var. III: Allegro | — | ||
| 12-5 | Variations for Orchestra: Var. IV: Canon (Allegro) | — | ||
| 12-6 | Variations for Orchestra: Var. V: Moderato sostenuto | — | ||
| 12-7 | Variations for Orchestra: Var. VI: Tempo di valse | — | ||
| 12-8 | Variations for Orchestra: Var. VII: Arabesque (Andante sostenuto) | — | ||
| 12-9 | Variations for Orchestra: Var. VIII: Alla polacca | — | ||
| 12-10 | Variations for Orchestra: Var. IX: Adagio | — | ||
| 12-11 | Variations for Orchestra: Var. X: Fugato (Allegro moderato e risoluto) | — | ||
| 12-12 | Variations for Orchestra: Var. XI: Chorale | — | ||
| 12-13 | Two Hymn-Tune Preludes: Eventide | — | ||
| 12-14 | Two Hymn-Tune Preludes: Dominus regit me | — | ||
| 12-15 | Concerto accademico (Concerto for violin and strings in D minor): I. Allegro pesante | — | ||
| 12-16 | Concerto accademico (Concerto for violin and strings in D minor): II. Adagio | — | ||
| 12-17 | Concerto accademico (Concerto for violin and strings in D minor): III. Presto | — | ||
| 12-18 | Three Preludes Founded on Welsh Hymn Tunes: II. Rhosymedre | — | ||
| 12-19 | Three Preludes Founded on Welsh Hymn Tunes: III. Hyfrydol | — | ||
| 12-20 | String Quartet no. 1 in G minor: I. Allegro moderato | — | ||
| 12-21 | String Quartet no. 1 in G minor: II. Minuet and Trio: Tempo di minuetto | — | ||
| 12-22 | String Quartet no. 1 in G minor: III. Romance: Andante sostenuto | — | ||
| 12-23 | String Quartet no. 1 in G minor: IV. Finale: Rondo capriccioso (Allegro molto - Pochettino più mosso1) | — | ||
| 13-1 | Violin Sonata in A minor: I. Fantasia: Allegro giusto | — | ||
| 13-2 | Violin Sonata in A minor: II. Scherzo: Allegro furioso, ma non troppo | — | ||
| 13-3 | Violin Sonata in A minor: III. Tema con variazioni | — | ||
| 13-4 | Phantasy Quintet for two violins, two violas and cello: I. Prelude: Lento ma non troppo | — | ||
| 13-5 | Phantasy Quintet for two violins, two violas and cello: II. Scherzo: Prestissimo | — | ||
| 13-6 | Phantasy Quintet for two violins, two violas and cello: III. Alla sarabanda: Lento | — | ||
| 13-7 | Phantasy Quintet for two violins, two violas and cello: IV. Burlesca: Allegro moderato | — | ||
| 13-8 | Six Studies in English Folk Song for cello and piano: I. Adagio (Lovely on the Water) | — | ||
| 13-9 | Six Studies in English Folk Song for cello and piano: II. Andante sostenuto (Spurn Point) | — | ||
| 13-10 | Six Studies in English Folk Song for cello and piano: III. Larghetto (Van Diemen's Land) | — | ||
| 13-11 | Six Studies in English Folk Song for cello and piano: IV. Lento (She borrowed some of her mother's gold) | — | ||
| 13-12 | Six Studies in English Folk Song for cello and piano: V. Andante tranquillo (The Lady and the Dragon) | — | ||
| 13-13 | Six Studies in English Folk Song for cello and piano: VI. Allegro vivace (As I walked over London Bridge) | — | ||
| 13-14 | String Quartet no. 2 in A minor (For Jean on her Birthday): I. Prelude: Allegro appassionato | — | ||
| 13-15 | String Quartet no. 2 in A minor (For Jean on her Birthday): II. Romance: Largo | — | ||
| 13-16 | String Quartet no. 2 in A minor (For Jean on her Birthday): III. Scherzo: Allegro | — | ||
| 13-17 | String Quartet no. 2 in A minor (For Jean on her Birthday): IV. Epilogue: Greetings from Joan to Jean (Andante sostenuto) | — | ||
| 13-18 | Fantasia on Greensleeves | — | ||
| 13-19 | Suite for Viola and Small Orchestra: III. Galop | — | ||
| 14-1 | Toward the Unknown Region | — | ||
| 14-2 | Dona nobis pacem: I. ‘Agnus Dei’ (Lento) - | — | ||
| 14-3 | Dona nobis pacem: II. ‘Beat! beat! drums!’ (Allegro moderato) - | — | ||
| 14-4 | Dona nobis pacem: III. Reconciliation (Andantino) - | — | ||
| 14-5 | Dona nobis pacem: IV. Dirge for Two Veterans (Moderato alla marcia) | — | ||
| 14-6 | Dona nobis pacem: V. ‘The Angel of Death has been abroad’ (L'istesso tempo) - | — | ||
| 14-7 | Dona nobis pacem: VI. ‘O Man greatly beloved’ | — | ||
| 14-8 | Fantasia (quasi variazione) on the Old 104th Psalm Tune | — | ||
| 14-9 | Magnificat | — | ||
| 15-1 | An Oxford Elegy: (Lento) | — | ||
| 15-2 | An Oxford Elegy: “Go, for they call you, Shepherd” | — | ||
| 15-3 | An Oxford Elegy: “Here will I sit and wait” | — | ||
| 15-4 | An Oxford Elegy: “Screen'd is this nook” | — | ||
| 15-5 | An Oxford Elegy: “That sweet city” | — | ||
| 15-6 | An Oxford Elegy: “Come, let me read” | — | ||
| 15-7 | An Oxford Elegy: “Or in my boat I lie” | — | ||
| 15-8 | An Oxford Elegy: “And once, in winter” | — | ||
| 15-9 | An Oxford Elegy: “But what - I dream!” | — | ||
| 15-10 | An Oxford Elegy: “No, no, thou hast not felt” | — | ||
| 15-11 | An Oxford Elegy: “Runs it not here” | — | ||
| 15-12 | An Oxford Elegy: “Needs must I, with heavy heart” | — | ||
| 15-13 | An Oxford Elegy: “Soon will the high Midsummer pomps” | — | ||
| 15-14 | An Oxford Elegy: “He hearkens not!” | — | ||
| 15-15 | An Oxford Elegy: “Never more | — | ||
| 15-16 | An Oxford Elegy: “Yes, thou art gone!” | — | ||
| 15-17 | An Oxford Elegy: “Despair I will not” | — | ||
| 15-18 | An Oxford Elegy: “Why faintest thou?” | — | ||
| 15-19 | Whitsunday Hymn (Three Choral Hymns) | — | ||
| 15-20 | Flos campi Suite: 1. Sicut Lilium inter spinas (Lento) | — | ||
| 15-21 | Flos campi Suite: 2. Jam enim hiems transiit (Andante con moto) | — | ||
| 15-22 | Flos campi Suite: 3. Quaesivi quem diligit anima mea (Lento - Allegro moderato) | — | ||
| 15-23 | Flos campi Suite: 4. En lectulum Salomonis (Moderato alla marcia) | — | ||
| 15-24 | Flos campi Suite: 5. Revertere, revertere Sulamitis! (Andante quasi lento) | — | ||
| 15-25 | Flos campi Suite: 6. Pone me et signaculum (Moderato tranquillo) | — | ||
| 15-26 | Sancta Civitas (The Holy City): I was in the spirit (Lento) | — | ||
| 15-27 | Sancta Civitas (The Holy City): And I saw Heaven opened (Allegro) | — | ||
| 15-28 | Sancta Civitas (The Holy City): And I saw an angel standing in the sun (Meno mosso) | — | ||
| 15-29 | Sancta Civitas (The Holy City): Babylon the great is fallen (Lento) | — | ||
| 15-30 | Sancta Civitas (The Holy City): Rejoice over her O Heavens (Allegro moderato) | — | ||
| 15-31 | Sancta Civitas (The Holy City): And I saw a new heaven (Adagio) | — | ||
| 15-32 | Sancta Civitas (The Holy City): Therefore are they before the throne of God (Poco meno largo) | — | ||
| 15-33 | Sancta Civitas (The Holy City): And I saw a pure river | — | ||
| 15-34 | Sancta Civitas (The Holy City): Holy, Holy, Holy (Andante sostenuto) | — | ||
| 15-35 | Sancta Civitas (The Holy City): Heaven and earth are full of Thy glory (Poco animato) | — | ||
| 16-1 | Five Tudor Portraits: I. Ballad: The Tunning of Elinor Rumming | — | ||
| 16-2 | Five Tudor Portraits: II. Intermezzo: My Pretty Bess | — | ||
| 16-3 | Five Tudor Portraits: III. Burlesca: Epitaph on John Jayberd of Diss | — | ||
| 16-4 | Five Tudor Portraits: IV. Romanza: Jane Scroop (Her Lament for Philip Sparrow) | — | ||
| 16-5 | Five Tudor Portraits: V. Scherzo: Jolly Rutterkin | — | ||
| 16-6 | Benedicite | — | ||
| 16-7 | Five Variants of "Dives and Lazarus" | Jacques Orchestra, Sir David Willcocks | — | |
| 16-9 | Wither's Rocking Hymn | — | ||
| 17-1 | Fantasia on Christmas Carols: “This is the truth sent from above” - | — | ||
| 17-2 | Fantasia on Christmas Carols: “Come all you worthy gentlemen” - | — | ||
| 17-3 | Fantasia on Christmas Carols: “On Christmas night all Christians sing” - | — | ||
| 17-4 | Fantasia on Christmas Carols: “God bless the ruler of this house” | — | ||
| 17-5 | Hodie - A Christmas Cantata: I. Prologue: “Nowell! Nowell!” (Vespers for Christmas Day) | — | ||
| 17-6 | Hodie - A Christmas Cantata: II. Narration: “Now the birth of Jesus Christ” (Matthew & Luke) | — | ||
| 17-7 | Hodie - A Christmas Cantata: III. Song: “It was the winter wild” (John Milton) | — | ||
| 17-8 | Hodie - A Christmas Cantata: IV. Narration: “And it came to pass in those days” (Luke) | — | ||
| 17-9 | Hodie - A Christmas Cantata: V. Choral: “The blessed Son of God” (Coverdale) | — | ||
| 17-10 | Hodie - A Christmas Cantata: VI. Narration: “And there were in the same country” (Luke & Book of Common Prayer) | — | ||
| 17-11 | Hodie - A Christmas Cantata: VII. Song: The Oxen (“Christmas Eve and twelve of the clock”) (Thomas Hardy) | — | ||
| 17-12 | Hodie - A Christmas Cantata: VIII. Narration: “And the shepherds returned” (Luke) | — | ||
| 17-13 | Hodie - A Christmas Cantata: IX. Pastoral: “The shepherds sing” (Herbert) | — | ||
| 17-14 | Hodie - A Christmas Cantata: X. Narration: “But Mary kept all these things” (Luke) | — | ||
| 17-15 | Hodie - A Christmas Cantata: XI. Lullaby: “Sweet was the song the Virgin sang” (16th Cent.) | — | ||
| 17-16 | Hodie - A Christmas Cantata: XII. Hymn: “Bright portals of the sky” (William Drummond) | — | ||
| 17-17 | Hodie - A Christmas Cantata: XIII. Narration: “Now when Jesus was born” (Matthew) | — | ||
| 17-18 | Hodie - A Christmas Cantata: XIV. The March of the Three Kings: “From kingdoms of wisdom” (Ursula Vaughan Williams) | — | ||
| 17-19 | Hodie - A Christmas Cantata: XV. Choral: “No sad thought his soul affright” (anon. & Ursula Vaughan Williams) | — | ||
| 17-20 | Hodie - A Christmas Cantata: XVI. Epilogue: “In the beginning was the Word” (John & Matthew, Milton) | — | ||
| 18-1 | Fantasia on Christmas Carols: “This is the truth sent from above” - | — | ||
| 18-2 | Fantasia on Christmas Carols: “Come all you worthy gentlemen” - | — | ||
| 18-3 | Fantasia on Christmas Carols: “On Christmas night all Christians sing” - | — | ||
| 18-4 | Fantasia on Christmas Carols: “God bless the ruler of this house” | — | ||
| 18-5 | Yorkshire Wassail Song (“We;ve been awhile a-wandering”) | — | ||
| 18-6 | In Windsor Forest: I. The Conspiracy | — | ||
| 18-7 | In Windsor Forest: II. Drinking Song | — | ||
| 18-8 | In Windsor Forest: III. Falstaff and the Fairies | — | ||
| 18-9 | In Windsor Forest: IV. Wedding Chorus | — | ||
| 18-10 | In Windsor Forest: V. Epilogue | — | ||
| 18-11 | Songs of Travel: I. The Vagabond | — | ||
| 18-12 | Songs of Travel: II. Let beauty awake | — | ||
| 18-13 | Songs of Travel: III. The Roadside Fire | — | ||
| 18-14 | Songs of Travel: IV. Youth and Love | — | ||
| 18-15 | Songs of Travel: V. In Dreams | — | ||
| 18-16 | Songs of Travel: VI. The infinite shining heavens | — | ||
| 18-17 | Songs of Travel: VII. Whither must I wander | — | ||
| 18-18 | Songs of Travel: VIII. Bright is the ring of words | — | ||
| 18-19 | Songs of Travel: IX. I have trod the upward and the downward slope | — | ||
| 18-20 | On Wenlock Edge: I. “On Wenlock Edge” | — | ||
| 18-21 | On Wenlock Edge: II. “From far, from even and morning” | — | ||
| 18-22 | On Wenlock Edge: III. “Is my team ploughing” | — | ||
| 18-23 | On Wenlock Edge: IV. “Oh, when I was in love with you” | — | ||
| 18-24 | On Wenlock Edge: V. Bredon Hill | — | ||
| 18-25 | On Wenlock Edge: VI. Clun | — | ||
| 19-1 | O clap your hands (from Psalm 47) | — | ||
| 19-2 | Mass in G minor: I. Kyrie | David van Asch, Choir of King’s College, Cambridge, Robin Doveton, John Eaton, Nigel Perrin, David Willcocks | — | |
| 19-3 | Mass in G minor: Gloria | — | ||
| 19-4 | Mass in G minor: Credo | — | ||
| 19-5 | Mass in G minor: Sanctus - Osanna I - Benedictus - Osanna II | — | ||
| 19-6 | Mass in G minor: Agnus Dei | — | ||
| 19-7 | All people that on earth do dwell (The Old Hundredth) | — | ||
| 19-8 | O taste and see (Psalm 34 v.8) | — | ||
| 19-9 | Te Deum in G major | — | ||
| 19-10 | For all the saints (Sine nomine) | — | ||
| 19-11 | Three Preludes Founded on Welsh Hymn Tunes: I. Bryn Calfaria | — | ||
| 19-12 | Three Preludes Founded on Welsh Hymn Tunes: II. Rhosymedre | — | ||
| 19-13 | Three Preludes Founded on Welsh Hymn Tunes: III. Hyfrydol | — | ||
| 19-14 | The Truth from Above | Choir of King’s College, Cambridge, Sir David Willcocks | T-010.424.965-1 | |
| 19-15 | O Little Town of Bethlehem | Choir of King’s College, Cambridge, Thomas Armstrong, Francis Grier, Sir Philip Ledger | T-308.192.515-3 | |
| 19-16 | Joseph and Mary | Choir of King’s College, Cambridge, Charles Daniels, Thomas Trotter, Philip Ledger | — | |
| 19-17 | And All in the Morning | Choir of King’s College, Cambridge, Sir David Willcocks | T-011.570.543-5 | |
| 19-18 | Alleluya, sing to Jesus (Hyfrydol) | — | ||
| 19-19 | Come Down, O Love Divine | Choir of King’s College, Cambridge, Thomas Williamson, Stephen Cleobury | — | |
| 19-20 | All People That on Earth Do Dwell | Choir of King’s College, Cambridge, Benjamin Bayl, Stephen Cleobury | — | |
| 20-1 | Four Hymns: I. Lord! come away! | — | ||
| 20-2 | Four Hymns: II. Who is this fair one? | — | ||
| 20-3 | Four Hymns: III. Come Love, come Lord | — | ||
| 20-4 | Four Hymns: IV. Evening Hymn | — | ||
| 20-5 | Merciless Beauty: Your eyën two | — | ||
| 20-6 | Merciless Beauty: So hath your beauty | — | ||
| 20-7 | Merciless Beauty: Since I from Love | — | ||
| 20-8 | The Water Mill | — | ||
| 20-9 | The New Ghost | — | ||
| 20-10 | Ten Blake Songs: I. Infant Joy | — | ||
| 20-11 | Ten Blake Songs: II. A Poison Tree | — | ||
| 20-12 | Ten Blake Songs: III. The Piper | — | ||
| 20-13 | Ten Blake Songs: IV. London | — | ||
| 20-14 | Ten Blake Songs: V. The Lamb | — | ||
| 20-15 | Ten Blake Songs: VI. The Shepherd | — | ||
| 20-16 | Ten Blake Songs: VII. Ah, Sun-flower! | Ian Partridge, Janet Craxton | — | |
| 20-17 | Ten Blake Songs: VIII. Cruelty has a human heart | — | ||
| 20-18 | Ten Blake Songs: IX. The Divine Image | — | ||
| 20-19 | Ten Blake Songs: X. Eternity | — | ||
| 20-20 | On Wenlock Edge: I. “On Wenlock Edge” | — | ||
| 20-21 | On Wenlock Edge: II. “From far, from even and morning” | — | ||
| 20-22 | On Wenlock Edge: III. “Is my team ploughing” | — | ||
| 20-23 | On Wenlock Edge: IV. “Oh, when I was in love with you” | — | ||
| 20-24 | On Wenlock Edge: V. Bredon Hill | — | ||
| 20-25 | On Wenlock Edge: VI. Clun | — | ||
| 21-1 | The House of Life: I. Love-Sight | — | ||
| 21-2 | The House of Life: II. Silent Noon | — | ||
| 21-3 | The House of Life: III. Love's Minstrels | — | ||
| 21-4 | The House of Life: IV. Heart's Haven | — | ||
| 21-5 | The House of Life: V. Death in Love | — | ||
| 21-6 | The House of Life: VI. Love's Last Gift | — | ||
| 21-7 | Songs of Travel: I. The Vagabond | — | ||
| 21-8 | Songs of Travel: II. Let beauty awake | — | ||
| 21-9 | Songs of Travel: III. The Roadside Fire | — | ||
| 21-10 | Songs of Travel: IV. Youth and Love | — | ||
| 21-11 | Songs of Travel: V. In Dreams | — | ||
| 21-12 | Songs of Travel: VI. The infinite shining heavens | — | ||
| 21-13 | Songs of Travel: VII. Whither must I wander | — | ||
| 21-14 | Songs of Travel: VIII. Bright is the ring of words | — | ||
| 21-15 | Songs of Travel: IX. I have trod the upward and the downward slope | — | ||
| 22-1 | Linden Lea | — | ||
| 22-2 | Orpheus and his lute (first setting) | — | ||
| 22-3 | Hands, eyes and heart | — | ||
| 22-4 | Rest | — | ||
| 22-5 | Five Mystical Songs: The Call | — | ||
| 22-6 | Linden Lea | — | ||
| 22-7 | Five English Folk Songs: I. The Dark-Eyed Sailor | — | ||
| 22-8 | Five English Folk Songs: II. The Spring Time of the Year | — | ||
| 22-9 | Five English Folk Songs: III. Just as the Tide was Flowing | — | ||
| 22-10 | Five English Folk Songs: IV. The Lover's Ghost (Well met, my own true love) | — | ||
| 22-11 | Five English Folk Songs: V. Wassail Song | — | ||
| 22-12 | Bushes and Briars | — | ||
| 22-13 | Loch Lomond | — | ||
| 22-14 | John Dory | — | ||
| 22-15 | Greensleeves | — | ||
| 22-16 | Ward, the Pirate | — | ||
| 22-17 | Ca' the Yowes | — | ||
| 22-18 | The Unquiet Grave | — | ||
| 22-19 | The Seeds of Love | — | ||
| 22-20 | Early in the Spring | — | ||
| 22-21 | The Turtle Dove | — | ||
| 22-22 | An Acre of Land | — | ||
| 22-23 | Bushes and Briars (men's voices) | — | ||
| 22-24 | Five English Folk Songs: Wassail Song | — | ||
| 22-26 | Linden Lea | — | ||
| 23-1 | East Anglia: The Captain's Apprentice | — | ||
| 23-2 | East Anglia: As I walked out | — | ||
| 23-3 | East Anglia: Bushes and Briars | — | ||
| 23-4 | East Anglia: Geordie | — | ||
| 23-5 | East Anglia: On Board a Ninety-Eight | — | ||
| 23-6 | Wessex: The Ploughman | — | ||
| 23-7 | Wessex: The Brewer | — | ||
| 23-8 | Wessex: Rolling in the Dew | — | ||
| 23-9 | Carols: The Truth Sent from Above | — | ||
| 23-10 | Carols: Joseph and Mary | — | ||
| 23-11 | Carols: The Saviour's Love | — | ||
| 23-12 | France: Réveillez-vous, Piccars | — | ||
| 23-13 | France: Chanson de quête | — | ||
| 23-14 | France: Ballade de Jésus Christ | — | ||
| 23-15 | Newfoundland: She's like the swallow | — | ||
| 23-16 | Newfoundland: The Morning Dew | — | ||
| 23-17 | Newfoundland: The Maiden's Lament | — | ||
| 23-18 | Newfoundland: The Cuckoo | — | ||
| 23-19 | Voice & violin (violin & piano): The Lawyer | — | ||
| 23-20 | Voice & violin (violin & piano): Searching for Lambs | — | ||
| 23-21 | Voice & violin (violin & piano): How cold the wind doth blow (or The Unquiet Grave) | — | ||
| 23-22 | A Song of Thanksgiving | — | ||
| 24-1 | Epithalamion: I. Prologue (chorus) | — | ||
| 24-2 | Epithalamion: II. Wake now (baritone, chorus) | — | ||
| 24-3 | Epithalamion: III. The Calling of the Bride (chorus) | — | ||
| 24-4 | Epithalamion: IV. The Minstrels (chorus) | — | ||
| 24-5 | Epithalamion: V. Procession of the Bridge (chorus) | — | ||
| 24-6 | Epithalamion: VI. The Temple Gates (chorus) | — | ||
| 24-7 | Epithalamion: VII. The Bell Ringers (chorus) | — | ||
| 24-8 | Epithalamion: VIII. The Lover's Song (baritone, chorus) | — | ||
| 24-9 | Epithalamion: IX. The Minstrel's Song (baritone, chorus) | — | ||
| 24-10 | Epithalamion: X. Song of the Winged Loves (chorus) | — | ||
| 24-11 | Epithalamion: XI. Prayer to Juno (baritone, chorus) | — | ||
| 24-12 | Riders to the Sea: “Where is she?” (Nora, Cathleen, Maurya) | — | ||
| 24-13 | Riders to the Sea: “Where is the bit of new rope” (Bartley, Cathleen, Nora, Maurya) | — | ||
| 24-14 | Riders to the Sea: “Wait, Nora” (Cathleen, Nora, Maurya) | — | ||
| 24-15 | Riders to the Sea: “You didn't give him his bit of bread?” (Cathleen, Maurya, Nora) | — | ||
| 24-16 | Riders to the Sea: “Bartley will be lost now” (Maurya, Women, Nora, Cathleen, A Woman) | — | ||
| 24-17 | Riders to the Sea: “They are all gone now” (Maurya, Women, Nora, Cathleen) | — | ||
| 25-1 | Hugh the Drover or Love in the Stocks: Act I. (Allegro vivacissimo) - “Buy, buy, buy” (Cheap-Jack) | — | ||
| 25-2 | Hugh the Drover or Love in the Stocks: Act I. “Cold blows the wind on Cotsall” (Showman) | — | ||
| 25-3 | Hugh the Drover or Love in the Stocks: Act I. “As I was a walking” (Ballad Seller) | — | ||
| 25-4 | Hugh the Drover or Love in the Stocks: Act I. “Show me a richer man” (John) | — | ||
| 25-5 | Hugh the Drover or Love in the Stocks: Act I. “Here come the Morris Men” (Chorus) | — | ||
| 25-6 | Hugh the Drover or Love in the Stocks: Act I. “Life must be full of care” (Aunt Jane) | — | ||
| 25-7 | Hugh the Drover or Love in the Stocks: Act I. “Sweet little linnet that longs to be free” (Hugh) | — | ||
| 25-8 | Hugh the Drover or Love in the Stocks: Act I. “Horse-hoofs, horse-hoofs, thunder down the valleys” (Hugh) | — | ||
| 25-9 | Hugh the Drover or Love in the Stocks: Act I. “In the night-time I have seen you riding” (Mary) | — | ||
| 25-10 | Hugh the Drover or Love in the Stocks: Act I. “Mary! Mary!” (Constable) | — | ||
| 25-11 | Hugh the Drover or Love in the Stocks: Act I. “Oh! The devil and Bonyparty” (Showman) | — | ||
| 25-12 | Hugh the Drover or Love in the Stocks: Act I. “Yes, I!” (Hugh) | — | ||
| 25-13 | Hugh the Drover or Love in the Stocks: Act I. “Are you ready? Go!” (Showman) | — | ||
| 25-14 | Hugh the Drover or Love in the Stocks: Act I. “The drover's won!” (Showman) | — | ||
| 25-15 | Hugh the Drover or Love in the Stocks: Act I. “I tell you there's a price on this man's head” (Constable) | — | ||
| 26-1 | Hugh the Drover or Love in the Stocks: Act II. (Lento moderato) - “Past four o'clock” (Ballad Seller) | — | ||
| 26-2 | Hugh the Drover or Love in the Stocks: Act II. “Gaily I go to die” (Hugh) | — | ||
| 26-3 | Hugh the Drover or Love in the Stocks: Act II. “Hugh!” … “Mary!” (Mary, Hugh) | — | ||
| 26-4 | Hugh the Drover or Love in the Stocks: Act II. “Sweet little home” (Mary) | — | ||
| 26-5 | Hugh the Drover or Love in the Stocks: Act II. “Where's she gone to?” (Constable) | — | ||
| 26-6 | Hugh the Drover or Love in the Stocks: Act II. “Here, queen uncrowned” (Mary) | — | ||
| 26-7 | Hugh the Drover or Love in the Stocks: Act II. “A trollop from the stocks” (John) | — | ||
| 26-8 | Hugh the Drover or Love in the Stocks: Act II. “Dropped from the ranks on a winter's night” (Sergeant) | — | ||
| 26-9 | Hugh the Drover or Love in the Stocks: Act II. “March away, John!” (Chorus) | — | ||
| 26-10 | Hugh the Drover or Love in the Stocks: Act II. “O foolish girl, O radiant soul!” (Hugh) | — | ||
| 26-11 | Hugh the Drover or Love in the Stocks: Act II. “Oh! the sky shall be our roof” (Hugh, Mary) | — | ||
| 27-1 | Sir John in Love: Act I. (Allegro vivace) - “What-hoa!” (Shallow, Evans, Slender, Page) | — | ||
| 27-2 | Sir John in Love: Act I. “How now, Master Shallow” (Falstaff, Shallow, Slender, Bardolph, Pistol, Page, Nym) | — | ||
| 27-3 | Sir John in Love: Act I. “O heavens, this is Mistress Anne Page” (Slender, Page, Falstaff, Shallow, Evans, Simple, Anne) | — | ||
| 27-4 | Sir John in Love: Act I. “Ahem…I had rather than forty shillings” (Anne, Slender) | — | ||
| 27-5 | Sir John in Love: Act I. “Weep eyes, break heart” (Anne) | — | ||
| 27-6 | Sir John in Love: Act I. “Do but look on her eyes now” (Fenton, Anne) | — | ||
| 27-7 | Sir John in Love: Act I. “I see I cannot get thy father's love” (Fenton, Anne Page) | — | ||
| 27-8 | Sir John in Love: Act I. “Vere is dat knave Rugby?” (Caius, Rugby, Simple, Mrs Quickly) | — | ||
| 27-9 | Sir John in Love: Act I. “I will myself marry Anne Page” (Caius, Mrs Quickly, Rugby, Fenton) | — | ||
| 27-10 | Sir John in Love: Act I. “Master Fenton, I'll be sworn she loves you” (Mrs Quickly, Fenton, Bardolph, Nym, Pistol, Host) | — | ||
| 27-11 | Sir John in Love: Act I. “Back and side go bare” (Bardolph, Nym, Pistol, Host, Falstaff) | — | ||
| 27-12 | Sir John in Love: Act I. “I spy entertainment in her” (Falstaff, Pistol, Nym, Bardolph, Host) | — | ||
| 27-13 | Sir John in Love: Act I. “Wilt thou revenge?” (Pistol, Nym, Ford) | — | ||
| 27-14 | Sir John in Love: Act I. “Love my wide? I will be patient” (Ford) | — | ||
| 27-15 | Sir John in Love: Act I. “When daisies pied and violets blue” (Mrs Ford, Mrs Page, Ford) | — | ||
| 27-16 | Sir John in Love: Act II, Scene 1. (Allegro moderato e maestoso) | — | ||
| 27-17 | Sir John in Love: Act II, Scene 1. “Thine own true knight” (Mrs Page, Mrs Ford) | — | ||
| 27-18 | Sir John in Love: Act II, Scene 1. “Ask me no reason why I love you” (Mrs Page, Mrs Ford, Mrs Quickly) | — | ||
| 27-19 | Sir John in Love: Act II, Scene 1. “Sigh no more ladies” (Mrs Quickly, Mrs Page, Mrs Ford) | — | ||
| 27-20 | Sir John in Love: Act II, Scene 1. (Maestoso) | — | ||
| 27-21 | Sir John in Love: Act II, Scene 2. “Bardolph, Bardolph, I say!” (Falstaff, Bardolph) | — | ||
| 27-22 | Sir John in Love: Act II, Scene 2. “Give you worship good morrow” (Mrs Quickly, Falstaff) | — | ||
| 27-23 | Sir John in Love: Act II, Scene 2. “O that joy so soon should waste!” (Falstaff) | — | ||
| 27-24 | Sir John in Love: Act II, Scene 2. “There's one Master Brook below” (Bardolph, Falstaff, Ford) | — | ||
| 27-25 | Sir John in Love: Act II, Scene 2. “I have long loved her” (Ford, Falstaff) | — | ||
| 27-26 | Sir John in Love: Act II, Scene 2. “The dew that lies on roses” (Falstaff, Ford) | — | ||
| 27-27 | Sir John in Love: Act II, Scene 2. “Vere is mine host of de Garter?” (Caius, Host, Slender, Shallow, Page, Ford) | — | ||
| 27-28 | Sir John in Love: Act II, Scene 2. (Maestoso) | — | ||
| 28-1 | Sir John in Love: Act III, Scene 1: Interlude. (Andante moderato) | — | ||
| 28-2 | Sir John in Love: Act III, Scene 1: Interlude. “Yet hear me speak” (Fenton, Host, Chorus, Anne) | — | ||
| 28-3 | Sir John in Love: Act III, Scene 1: Interlude. “Beauty clear and fair” (Fenton, Chorus, Anne) | — | ||
| 28-4 | Sir John in Love: Act III, Scene 1: Interlude. “Fair and fair and twice so fair” (Chorus, Fenton, Anne, Host) | — | ||
| 28-5 | Sir John in Love: Act III, Scene 1: Interlude. “But listen, good mine host” (Anne, Chorus, Host, Fenton) | — | ||
| 28-6 | Sir John in Love: Act III, Scene 1: Interlude. “I mun be married a Sunday” (Host, Chorus, Anne, Fenton) | — | ||
| 28-7 | Sir John in Love: Act III, Scene 2. (Lento) - “When as we sat in Papylon” (Evans, Simple) | — | ||
| 28-8 | Sir John in Love: Act III, Scene 2. “How now, Master Parson” - | — | ||
| 28-9 | Sir John in Love: Act III, Scene 2. “Peace, I say!” (Shallow, Page, Slender, Evans, Host, Caius, Simple, Rugby, Ford) | — | ||
| 28-10 | Sir John in Love: Act III, Scene 2. “When I was a bachelor” (Host, Omnes except Slender and Ford) | — | ||
| 28-11 | Sir John in Love: Act III, Scene 2. (Allegro) | — | ||
| 28-12 | Sir John in Love: Act III, Scene 3. “What, John! What, Robert!” (Mrs Ford, Mrs Page, John & Robert, Mrs Quickly) | — | ||
| 28-13 | Sir John in Love: Act III, Scene 3. “Alas my love, you do me wrong” (Mrs Ford, Falstaff) | — | ||
| 28-14 | Sir John in Love: Act III, Scene 3. “Have I caught my heavenly jewel” (Falstaff, Mrs Ford) | — | ||
| 28-15 | Sir John in Love: Act III, Scene 3. “Mistress Ford! Mistress Ford!” (Mrs Quickly, Falstaff, Mrs Ford, Mrs Page) | — | ||
| 28-16 | Sir John in Love: Act III, Scene 3. “When I was a bachelor” (Chorus of Men, Mrs Ford, Ford, Robert, Page) | — | ||
| 28-17 | Sir John in Love: Act III, Scene 3. “Nay, follow him, gentlemen” (Page, Mrs Page, Mrs Ford, Ford, Evans, Caius, Slender, Shallow, Host, Pistol, Bardolph, Nym) | — | ||
| 28-18 | Sir John in Love: Act III, Scene 3. “Mistress Page!… Mistress Page!” (Ford, Page, Mrs Page, Host, Caius, Chorus) | — | ||
| 28-19 | Sir John in Love: Act IV, Scene 1. (Andante piacevole) | — | ||
| 28-20 | Sir John in Love: Act IV, Scene 1. “Pardon me, wife” (Ford, Mrs Ford, Page, Mrs Page, Evans) | — | ||
| 28-21 | Sir John in Love: Act IV, Scene 1. “There is an old tale goes” (Mrs Page, Page, Mrs Ford, Ford) | — | ||
| 28-22 | Sir John in Love: Act IV, Scene 1. “Trib, fairies, trib… Round about in a fair ring-a” (Evans, Chorus of Fairies, Mrs Page, Page, Caius, Slender, Evans, Mrs Ford) | — | ||
| 28-23 | Sir John in Love: Act IV, Scene 1. (Lento moderato [Greensleeves]) | — | ||
| 28-24 | Sir John in Love: Act IV, Scene 2. (Vivace) | — | ||
| 28-25 | Sir John in Love: Act IV, Scene 2. “The Windsor, bell hath struck twelve” (Falstaff, Mrs Ford, Mrs Page, Chorus of Fairies) | — | ||
| 28-26 | Sir John in Love: Act IV, Scene 2. “Oo! Oo! … Fairies black, grey, green and white” (Chorus, Anne, Falstaff, Mrs Quickly) | — | ||
| 28-27 | Sir John in Love: Act IV, Scene 2. Dance of the Fairies (Allegro pesante) - “But stay! I smell a man of middle earth” (Evans, Falstaff, Host, Pistol, Chorus, Bardolph, Nym, Mrs Quickly) | — | ||
| 28-28 | Sir John in Love: Act IV, Scene 2. “Pinch him, pinch him black and blue” (Chorus, Falstaff) | — | ||
| 28-29 | Sir John in Love: Act IV, Scene 2. (Moderato) - “Nay, do not fly” (Page, Mrs Page, Ford, Mrs Ford, Host, Nym, Bardolph, Pistol, Mrs Quickly, Evans, Falstaff, Shallow, Slender, Simple, Caius) | — | ||
| 28-30 | Sir John in Love: Act IV, Scene 2. “See the chariot at hand” (Chorus, Fenton, Page, Anne, Falstaff, Ford, Mrs Page, Mrs Ford) | — | ||
| 28-31 | Sir John in Love: Act IV, Scene 2. “Whether men do laugh or weep” (Falstaff, Omnes) | — | ||
| 28-32 | Sir John in Love: Act IV, Scene 2. Dance (Presto) | — | ||
| 29-1 | The Pilgrim's Progress: Prologue: Bunyan in Prison (Bunyan, Pilgrim) | — | ||
| 29-2 | The Pilgrim's Progress: Act I, Scene 1: The Pilgrim meets Evangelist (Pilgrim, Evangelist, Pliable, Timorous, Obstinate, Mistrust) | — | ||
| 29-3 | The Pilgrim's Progress: Act I, Scene 2: The House Beautiful (Pilgrim, Shining Ones, Interpreter, Chorus) | — | ||
| 29-4 | The Pilgrim's Progress: Act I. Nocturne (Intermezzo) (Watchful) | — | ||
| 29-5 | The Pilgrim's Progress: Act II, Scene 1: The Arming of the Pilgrim (Herald, Pilgrim, Chorus) | — | ||
| 29-6 | The Pilgrim's Progress: Act II, Scene 2: The Pilgrim meets Apollyon (Apollyon, Doleful Creatures, Pilgrim, Branch Bearer, Cup Bearer, Evangelist) | — | ||
| 29-7 | The Pilgrim's Progress: Act III, Scene 1: Vanity Fair. “Buy! What will ye buy?” (Lord Lechery, Pilgrim, Demas, Judas Iscariot, Simon Magus, Worldly Glory, Madam Bubble, Madam Wanton, Chorus) | — | ||
| 29-8 | The Pilgrim's Progress: Act III, Scene 1: Vanity Fair. “I buy the truth!” (Pilgrim, Pontius Pilate, Usher, Lord Hate-Good, Envy, Superstition, Pickthank, Malice, Lord Lechery, Chorus) | — | ||
| 30-1 | The Pilgrim's Progress: Act III, Scene 2: The Pilgrim in Prison (Pilgrim) | — | ||
| 30-2 | The Pilgrim's Progress: Act IV, Scene 1: The Pilgrim meets Mister By-Ends (Boy, Pilgrim, Mister By-Ends, Madam By-Ends) | — | ||
| 30-3 | The Pilgrim's Progress: Act IV. Entr'acte | — | ||
| 30-4 | The Pilgrim's Progress: Act IV, Scene 2: The Delectable Mountains. “Who so dwelleth” (Shepherds, Pilgrim) | — | ||
| 30-5 | The Pilgrim's Progress: Act IV, Scene 2: The Delectable Mountains. “The Lord is my Shepherd” (Voice of a Bird, Pilgrim, Shepherds, Messenger) | — | ||
| 30-6 | The Pilgrim's Progress: Act IV, Scene 3: The Pilgrim reaches the end of his journey (Voices from Heaven, Pilgrim) | — | ||
| 30-7 | The Pilgrim's Progress: Act IV. Epilogue (Bunyan) | — | ||
| 30-8 | The Pilgrim's Progress (Sir Adrian in rehearsal): Act III, Scene 1 (Vanity Fair) | — | ||
| 30-9 | The Pilgrim's Progress (Sir Adrian in rehearsal): Act I. Nocturne | — | ||
| 30-10 | The Pilgrim's Progress (Sir Adrian in rehearsal): Act IV, Scene 1 (Mister By-Ends) | — | ||
| 30-11 | The Pilgrim's Progress (Sir Adrian in rehearsal): Act IV, Scene 2 (The Shepherds) | — | ||
| 30-12 | The Pilgrim's Progress (Sir Adrian in rehearsal): Act II, Scene 1 (The Arming of the Pilgrim) | — |
