UPC · Release
Camille Saint‐Saëns
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0190296746048 is the Universal Product Code (UPC barcode) for the release “Camille Saint-Saëns Edition” by Camille Saint‐Saëns, released 2021-01-01 on Warner Classics. 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 457 tracks, each with its own ISRC. Tracks include FRZ117407688, FRZ117407689, FRZ117407690.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony in A major, R 159: I. Poco adagio - Allegro vivace | Orchestre National de l'ORTF, Jean Martinon | — | |
| 2 | Symphony in A major, R 159: II. Andantino | Orchestre National de l'ORTF, Jean Martinon | — | |
| 3 | Symphony in A major, R 159: III. Scherzo: Vivace | Orchestre National de l'ORTF, Jean Martinon | — | |
| 4 | Symphony in A major, R 159: IV. Allegro molto - Presto | Orchestre National de l'ORTF, Jean Martinon | — | |
| 5 | Symphony no. 1 in E-flat major, op. 2: I. Adagio - Allegro | Orchestre National de l'ORTF, Jean Martinon | — | |
| 6 | Symphony no. 1 in E-flat major, op. 2: II. Marche - Scherzo: Allegretto scherzando | Orchestre National de l'ORTF, Jean Martinon | — | |
| 7 | Symphony no. 1 in E-flat major, op. 2: III. Adagio | Orchestre National de l'ORTF, Jean Martinon | — | |
| 8 | Symphony no. 1 in E-flat major, op. 2: IV. Finale. Allegro maestoso | Orchestre National de l'ORTF, Jean Martinon | — | |
| 9 | Symphony no. 2 in A minor, op. 55: I. Allegro marcato | Orchestre National de l'ORTF, Jean Martinon | — | |
| 10 | Symphony no. 2 in A minor, op. 55: II. Adagio | Orchestre National de l'ORTF, Jean Martinon | — | |
| 11 | Symphony no. 2 in A minor, op. 55: III. Scherzo - Presto | Orchestre National de l'ORTF, Jean Martinon | — | |
| 12 | Symphony no. 2 in A minor, op. 55: IV. Prestissimo | Orchestre National de l'ORTF, Jean Martinon | — | |
| 2-1 | Symphony in F major “Urbs Roma”, R 163: I. Largo - Allegro | Orchestre National de l'ORTF, Jean Martinon | — | |
| 2-2 | Symphony in F major “Urbs Roma”, R 163: II. Molto vivace | Orchestre National de l'ORTF, Jean Martinon | — | |
| 2-3 | Symphony in F major “Urbs Roma”, R 163: III. Moderato assai serioso | Orchestre National de l'ORTF, Jean Martinon | — | |
| 2-4 | Symphony in F major “Urbs Roma”, R 163: IV. Poco allegretto - Andante con moto | Orchestre National de l'ORTF, Jean Martinon | — | |
| 2-5 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: I. (a) Adagio - Allegro moderato - | — | ||
| 2-6 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: I. (b) Poco moderato | — | ||
| 2-7 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: II. (a) Allegro moderato - Presto - Allegro moderato - | — | ||
| 2-8 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: II. (b) Maestoso - Più allegro - Molto allegro | — | ||
| 3-1 | Danse Macabre, Symphonic Poem, op. 40 | Orchestre de Paris, Pierre Dervaux | T-703.135.794-7 | |
| 3-2 | La Jeunesse d'Hercule, Symphonic Poem, op. 50 | — | ||
| 3-3 | Phaeton, Symphonic Poem, op. 39 | Orchestre de Paris, Pierre Dervaux | — | |
| 3-4 | Le Rouet d'Omphale, Symphonic Poem, op. 31 | Orchestre de Paris, Pierre Dervaux | — | |
| 3-5 | La Foi, Three Symphonic Pictures, op. 130: I. Poco allegro | — | ||
| 3-6 | La Foi, Three Symphonic Pictures, op. 130: II. Andantino | — | ||
| 3-7 | La Foi, Three Symphonic Pictures, op. 130: III. Allegro moderato e maestoso | — | ||
| 4-1 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: I. Introduction et Marche royale du lion (Introduction and Royal March of the Lion) | — | ||
| 4-2 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: II. Poules et coqs (Hens and Roosters) | — | ||
| 4-3 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: III. Hémiones (ou Animaux véloces) (Wild Asses) | — | ||
| 4-4 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: IV. Tortues (Tortoises) | — | ||
| 4-5 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: V. L'Éléphant (The Elephant) | — | ||
| 4-6 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VI. Kangourous (Kangaroos) | — | ||
| 4-7 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VII. Aquarium | — | ||
| 4-8 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VIII. Personnages à longues oreilles (Persons with Long Ears) | — | ||
| 4-9 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: IX. Le Coucou au fond des bois (Cuckoo in the Depths of the Wood) | — | ||
| 4-10 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: X. Volière (The Aviary) | — | ||
| 4-11 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XI. Pianistes (Pianists) | — | ||
| 4-12 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XII. Fossiles (Fossils) | — | ||
| 4-13 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XIII. Le Cygne (The Swan) | — | ||
| 4-14 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XIV. Finale | — | ||
| 4-15 | Suite for orchestra, op. 49: I. Prélude | — | ||
| 4-16 | Suite for orchestra, op. 49: II. Sarabande | — | ||
| 4-17 | Suite for orchestra, op. 49: III. Gavotte | — | ||
| 4-18 | Suite for orchestra, op. 49: IV. Romance | — | ||
| 4-19 | Suite for orchestra, op. 49: V. Finale | — | ||
| 4-20 | Une nuit à Lisbonne, barcarolle, op. 63 | — | ||
| 4-21 | Spartacus, Overture, R 166, after the tragedy by Alphonse Pagès | — | ||
| 5-1 | Piano Concerto no. 1 in D major, op. 17: I. Andante - Allegro assai | — | ||
| 5-2 | Piano Concerto no. 1 in D major, op. 17: II. Andante sostenuto quasi adagio | — | ||
| 5-3 | Piano Concerto no. 1 in D major, op. 17: III. Allegro con fuoco | — | ||
| 5-4 | Piano Concerto no. 2 in G minor, op. 22: I. Andante sostenuto | — | ||
| 5-5 | Piano Concerto no. 2 in G minor, op. 22: II. Allegro scherzando | — | ||
| 5-6 | Piano Concerto no. 2 in G minor, op. 22: III. Presto | — | ||
| 5-7 | Piano Concerto no. 4 in C minor, op. 44: I. Allegro moderato - Andante | — | ||
| 5-8 | Piano Concerto no. 4 in C minor, op. 44: II. Allegro vivace - Andante - Allegro | — | ||
| 6-1 | Piano Concerto no. 3 in E-flat major, op. 29: I. Moderato assai - Più mosso (Allegro maestoso) | — | ||
| 6-2 | Piano Concerto no. 3 in E-flat major, op. 29: II. Andante | — | ||
| 6-3 | Piano Concerto no. 3 in E-flat major, op. 29: III. Allegro non troppo | — | ||
| 6-4 | Piano Concerto no. 5 in F major, “L'Égyptien”, op. 103: I. Allegro animato | — | ||
| 6-5 | Piano Concerto no. 5 in F major, “L'Égyptien”, op. 103: II. Andante - Allegretto tranquillo quasi andantino | — | ||
| 6-6 | Piano Concerto no. 5 in F major, “L'Égyptien”, op. 103: III. Molto allegro | — | ||
| 6-7 | Wedding Cake, Caprice-valse, for piano and orchestra, op. 76 | — | ||
| 6-8 | Africa, Fantasy, for piano and orchestra, op. 89 | — | ||
| 7-1 | Violin Concerto no. 1 in A major, op. 20: I. Allegro | — | ||
| 7-2 | Violin Concerto no. 1 in A major, op. 20: II. Andante espressivo | — | ||
| 7-3 | Violin Concerto no. 1 in A major, op. 20: III. Tempo primo | — | ||
| 7-4 | Violin Concerto no. 2 in C major, op. 58: I. Allegro moderato e maestoso | — | ||
| 7-5 | Violin Concerto no. 2 in C major, op. 58: II. Andante espressivo | — | ||
| 7-6 | Violin Concerto no. 2 in C major, op. 58: III. Allegro scherzando quasi allegretto | — | ||
| 7-7 | Romance in C major, for violin and orchestra, op. 48 | — | ||
| 7-8 | Romance en Ré bémol majeur, op. 37 | Ulf Hoelscher, New Philharmonia Orchestra, Pierre Dervaux | — | |
| 7-9 | Morceau de concert in G major, for violin and orchestra, op. 62 | — | ||
| 7-10 | Caprice andalou iin G major, for violin and orchestra, op. 122 | — | ||
| 7-11 | Prélude pour “Le Déluge” in D major, for violin and orchestra, op. 45 | — | ||
| 8-1 | Violin Concerto no. 3 in B minor, op. 61: I. Allegro non troppo | — | ||
| 8-2 | Violin Concerto no. 3 in B minor, op. 61: II. Andantino quasi allegretto | — | ||
| 8-3 | Violin Concerto no. 3 in B minor, op. 61: III. Molto moderato e maestoso - Allegro non troppo | — | ||
| 8-4 | La Muse et le poète, for violin, cello and orchestra, op. 132 | — | ||
| 8-5 | Introduction et Rondo capriccioso in A minor, for violin and orchestra, op. 28 | — | ||
| 8-6 | Havanaise in E major, for violin and orchestra, op. 83 | — | ||
| 8-7 | Valse-caprice, for violin and orchestra, after Étude en forme de valse, op. 52 no. 6 | — | ||
| 9-1 | Odelette in D major, for flute and orchestra, op. 162 | — | ||
| 9-2 | Tarentelle in A minor, for flute, clarinet and orchestra, op. 6 | — | ||
| 9-3 | Romance in D-flat major, for flute and orchestra, op. 37 | — | ||
| 9-4 | Romance in F major, for horn and orchestra, op. 36 | — | ||
| 9-5 | Morceau de concert in G major, for harp and orchestra, op. 154 | — | ||
| 9-6 | Morceau de concert in F minor, for horn and orchestra, op. 94 | — | ||
| 9-7 | Cyprès et lauriers, for organ and orchestra, op. 156: I. Cyprès: Poco adagio (solo organ) | — | ||
| 9-8 | Cyprès et lauriers, for organ and orchestra, op. 156: II. Lauriers: Allegro non troppo | — | ||
| 9-9 | Rhapsodie d'Auvergne in C major, for piano and orchestra, op. 73 | — | ||
| 9-10 | Allegro appassionato in C-sharp major, for piano and orchestra, op. 70 | — | ||
| 10-1 | Cello Concerto No. 1 in A minor, Op. 33: Allegro non troppo - | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — | |
| 10-2 | Cello Concerto No. 1 in A minor, Op. 33: Allegretto con moto - | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — | |
| 10-3 | Cello Concerto No. 1 in A minor, Op. 33: Un peu moins vite | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — | |
| 10-4 | Allegro appassionato in B minor, for cello and orchestra, op. 43 | — | ||
| 10-5 | Violin Sonata no. 1 in D minor, op. 75: I (a). Allegro agitato - | — | ||
| 10-6 | Violin Sonata no. 1 in D minor, op. 75: I (b). Adagio | — | ||
| 10-7 | Violin Sonata no. 1 in D minor, op. 75: II (a). Allegro moderato - | — | ||
| 10-8 | Violin Sonata no. 1 in D minor, op. 75: II (b). Allegro molto | — | ||
| 10-9 | Violin Sonata no. 2 in E-flat major, op. 102: I. Poco allegro più tosto moderato | — | ||
| 10-10 | Violin Sonata no. 2 in E-flat major, op. 102: II. Scherzo: Vivace | — | ||
| 10-11 | Violin Sonata no. 2 in E-flat major, op. 102: III. Andante | — | ||
| 10-12 | Violin Sonata no. 2 in E-flat major, op. 102: IV. Allegro grazioso, non presto | — | ||
| 11-1 | Berceuse in B-flat major, for violin and piano, op. 38 | — | ||
| 11-2 | Élégie no. 1, for violin and piano, op. 143 | — | ||
| 11-3 | Élégie no. 2, for violin and piano, op. 160 | — | ||
| 11-4 | Romance in D-flat major, for violin and piano (original for flute or violin & orchestra), op. 37 | — | ||
| 11-5 | Fantaisie pour violon & harpe, op. 124 | Renaud Capuçon, Marie-Pierre Langlamet | — | |
| 11-6 | Cello Sonata no. 1 in C minor, op. 32: I. Allegro | — | ||
| 11-7 | Cello Sonata no. 1 in C minor, op. 32: II. Andante tranquillo | — | ||
| 11-8 | Cello Sonata no. 1 in C minor, op. 32: III. Allegro moderato | — | ||
| 11-9 | Romance in F major, for cello and piano, op. 36 | — | ||
| 11-10 | Allegro appassionato in B minor, for cello and piano, op. 43 | — | ||
| 11-11 | Romance in D major, for cello and piano, op. 51 | — | ||
| 11-12 | Prière pour violoncelle & piano, op. 158 | Frank Braley, Gautier Capuçon | — | |
| 12-1 | Cello Sonata no. 2 in F major, op. 123: I. Maestoso | — | ||
| 12-2 | Cello Sonata no. 2 in F major, op. 123: II. Scherzo con variazioni | — | ||
| 12-3 | Cello Sonata no. 2 in F major, op. 123: III. Romanza | — | ||
| 12-4 | Cello Sonata no. 2 in F major, op. 123: IV. Allegro non troppo | — | ||
| 12-5 | Sérénade, no. 2, Suite, op. 16, for cello and piano: Andantino | — | ||
| 12-6 | Clarinet Sonata in E-flat major, op. 167: I. Allegretto | — | ||
| 12-7 | Clarinet Sonata in E-flat major, op. 167: II. Allegro animato | — | ||
| 12-8 | Clarinet Sonata in E-flat major, op. 167: III. Lento | — | ||
| 12-9 | Clarinet Sonata in E-flat major, op. 167: IV. Molto allegro | — | ||
| 12-10 | Oboe Sonata in D major, op. 166: I. Andantino | — | ||
| 12-11 | Oboe Sonata in D major, op. 166: II. (without tempo indication) | — | ||
| 12-12 | Oboe Sonata in D major, op. 166: III. Molto allegro | — | ||
| 12-13 | Bassoon Sonata in G major, op. 168: I. Allegro moderato | — | ||
| 12-14 | Bassoon Sonata in G major, op. 168: II. Allegro scherzando | — | ||
| 12-15 | Bassoon Sonata in G major, op. 168: III. Molto adagio | — | ||
| 12-16 | Bassoon Sonata in G major, op. 168: IV. Allegro moderato | — | ||
| 13-1 | Cavatine, for trombone and piano, op. 144 | — | ||
| 13-2 | Piano Trio no. 1 in F major, op. 18: I. Allegro vivace | — | ||
| 13-3 | Piano Trio no. 1 in F major, op. 18: II. Andante | — | ||
| 13-4 | Piano Trio no. 1 in F major, op. 18: III. Scherzo: Presto | — | ||
| 13-5 | Piano Trio no. 1 in F major, op. 18: IV. Allegro | — | ||
| 13-6 | Trio for Violin, Cello and Piano no. 2 in E minor, op. 92: I. Allegro non troppo | Renaud Capuçon, Edgar Moreau, Bertrand Chamayou | — | |
| 13-7 | Trio for Violin, Cello and Piano no. 2 in E minor, op. 92: II. Allegretto | Renaud Capuçon, Edgar Moreau, Bertrand Chamayou | — | |
| 13-8 | Trio for Violin, Cello and Piano no. 2 in E minor, op. 92: III. Andante con moto | Renaud Capuçon, Edgar Moreau, Bertrand Chamayou | — | |
| 13-9 | Trio for Violin, Cello and Piano no. 2 in E minor, op. 92: IV. Grazioso, poco allegro | Renaud Capuçon, Edgar Moreau, Bertrand Chamayou | — | |
| 13-10 | Trio for Violin, Cello and Piano no. 2 in E minor, op. 92: V. Allegro | Renaud Capuçon, Edgar Moreau, Bertrand Chamayou | — | |
| 13-11 | Caprice sur des airs danois et russes, for flute, clarinet, oboe and piano, op. 79 | — | ||
| 14-1 | String Quartet no. 1 in E minor, op. 112: I. Allegro | — | ||
| 14-2 | String Quartet no. 1 in E minor, op. 112: II. Molto allegro quasi presto | — | ||
| 14-3 | String Quartet no. 1 in E minor, op. 112: III. Molto adagio | — | ||
| 14-4 | String Quartet no. 1 in E minor, op. 112: IV. Allegro non troppo | — | ||
| 14-5 | String Quartet no. 2 in G major, op. 153: I. Allegro animato | — | ||
| 14-6 | String Quartet no. 2 in G major, op. 153: II. Molto adagio | — | ||
| 14-7 | String Quartet no. 2 in G major, op. 153: III. Andantino - Finale: Allegro | — | ||
| 15-1 | Piano Quartet in B-flat major, op. 41: I. Allegretto | — | ||
| 15-2 | Piano Quartet in B-flat major, op. 41: II. Andante maestoso ma con moto | — | ||
| 15-3 | Piano Quartet in B-flat major, op. 41: III. Poco allegro più tosto moderato | — | ||
| 15-4 | Piano Quartet in B-flat major, op. 41: IV. Allegro | — | ||
| 15-5 | Piano Quintet in A minor, op. 14: I. Allegro moderato e maestoso | — | ||
| 15-6 | Piano Quintet in A minor, op. 14: II. Andante sostenuto - | — | ||
| 15-7 | Piano Quintet in A minor, op. 14: III. Presto | — | ||
| 15-8 | Piano Quintet in A minor, op. 14: IV. Allegro assai, ma tranquillo | — | ||
| 16-1 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: I. Introduction et Marche royale du lion (Introduction and Royal March of the Lion) | — | ||
| 16-2 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: II. Poules et coqs (Hens and Roosters) | — | ||
| 16-3 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: III. Hémiones (ou Animaux véloces) (Wild Asses) | — | ||
| 16-4 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: IV. Tortues (Tortoises) | — | ||
| 16-5 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: V. L'Éléphant (The Elephant) | — | ||
| 16-6 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VI. Kangourous (Kangaroos) | — | ||
| 16-7 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VII. Aquarium | — | ||
| 16-8 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VIII. Personnages à longues oreilles (Persons with Long Ears) | — | ||
| 16-9 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: IX. Le Coucou au fond des bois (Cuckoo in the Depths of the Wood) | — | ||
| 16-10 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: X. Volière (The Aviary) | — | ||
| 16-11 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XI. Pianistes (Pianists) | — | ||
| 16-12 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XII. Fossiles (Fossils) | — | ||
| 16-13 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XIII. Le Cygne (The Swan) | — | ||
| 16-14 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XIV. Finale | — | ||
| 16-15 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: I. Préambule: Allegro moderato | — | ||
| 16-16 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: II. Menuet: Tempo di minuetto moderato | — | ||
| 16-17 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: III. Intermède: Andante | — | ||
| 16-18 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: Gavotte et finale: Allegro non troppo Più allegro | — | ||
| 16-19 | Fantaisie for harp, op. 95 | — | ||
| 16-20 | Allegro appassionato in C-sharp minor, version for solo piano, op. 70 | Bertrand Chamayou | — | |
| 16-21 | Valse nonchalante in D-flat major, for piano, op. 110 | Bertrand Chamayou | — | |
| 17-1 | Six Études, for piano, op. 52: I. Prélude (Con bravura) | — | ||
| 17-2 | Six Études, for piano, op. 52: II. Pour l'indépendance des doigts (Andantino malinconico) | — | ||
| 17-3 | Six Études, for piano, op. 52: III. Prélude et fugue en fa mineur (Allegro animato) | — | ||
| 17-4 | Six Études, for piano, op. 52: IV. Étude de rythme (Andantino) | — | ||
| 17-5 | Six Études, for piano, op. 52: V. Prélude et fugue en la majeur (Allegro moderato - Moderato) | — | ||
| 17-6 | Six Études, for piano, op. 52: VI. Étude en forme de valse (Mouvement de valse) | — | ||
| 17-7 | Six Études, for piano, op. 111: I. Tierces majeures et mineures (Allegretto) | — | ||
| 17-8 | Six Études, for piano, op. 111: II. Traits chromatiques (Allegretto) | — | ||
| 17-9 | Six Études, for piano, op. 111: III. Prélude et fugue en mi bémol mineur (Moderato agitato - Moderato espressivo) | — | ||
| 17-10 | Six Études, for piano, op. 111: IV. Les Cloches de Las Palmas (Andantino) | — | ||
| 17-11 | Six Études, for piano, op. 111: V. Tierces majeures chromatiques (Vivace) | — | ||
| 17-12 | Six Études, for piano, op. 111: VI. Toccata (Molto allegro) | — | ||
| 17-13 | Mazurka no. 3 (Un poco agitato), for piano, op. 66 | — | ||
| 17-14 | Valse mignonne in E-flat major, for piano, op. 104 | — | ||
| 17-15 | Valse gaie, for piano, op. 139 | — | ||
| 17-16 | Six Études pour la main gauche seule, for piano, op. 135: I. Prélude | — | ||
| 17-17 | Six Études pour la main gauche seule, for piano, op. 135: II. Alla fuga | — | ||
| 17-18 | Six Études pour la main gauche seule, for piano, op. 135: III. Moto perpetuo | — | ||
| 17-19 | Six Études pour la main gauche seule, for piano, op. 135: IV. Bourrée | — | ||
| 17-20 | Six Études pour la main gauche seule, for piano, op. 135: V. Élégie | — | ||
| 17-21 | Six Études pour la main gauche seule, for piano, op. 135: VI. Gigue | — | ||
| 18-1 | Scherzo, for two pianos, op. 87 | — | ||
| 18-2 | Introduction et Rondo capriccioso, op. 28 (transcription for two pianos by Claude Debussy) | — | ||
| 18-3 | Caprice pour piano sur les airs de ballet d'Alceste de Glück (transcription for two pianos by Claude Debussy) | — | ||
| 18-4 | Symphony no. 2 in A minor, op. 55 (transcription for two pianos by Claude Debussy): I. Allegro marcato - Allegro appassionato | — | ||
| 18-5 | Symphony no. 2 in A minor, op. 55 (transcription for two pianos by Claude Debussy): II. Adagio | — | ||
| 18-6 | Symphony no. 2 in A minor, op. 55 (transcription for two pianos by Claude Debussy): III. Scherzo: Presto | — | ||
| 18-7 | Symphony no. 2 in A minor, op. 55 (transcription for two pianos by Claude Debussy): IV. Prestissimo | — | ||
| 18-8 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Introduction | — | ||
| 18-9 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Entrée des écoliers | — | ||
| 18-10 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Musette guerrière | — | ||
| 18-11 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Pavane | — | ||
| 18-12 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Valse | — | ||
| 18-13 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Entrée des Bohémiens | — | ||
| 18-14 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Final | — | ||
| 19-1 | Marche religieuse in F major, op. 107 | — | ||
| 19-2 | Trois Rhapsodies, op. 7, sur des cantique bretons: No. 1 in E major | — | ||
| 19-3 | Trois Rhapsodies, op. 7, sur des cantique bretons: No. 2 in D major | — | ||
| 19-4 | Trois Rhapsodies, op. 7, sur des cantique bretons: No. 3 in F major | — | ||
| 19-5 | Fantaisie in E-flat major, R 78 | — | ||
| 19-6 | Fantaisie in D-flat major, op. 101 | — | ||
| 19-7 | Fantaisie in C major, op. 157 | — | ||
| 19-8 | Trois Préludes et fugues, op. 99 (Book I): No. 1 in E major: Prelude | — | ||
| 19-9 | Trois Préludes et fugues, op. 99 (Book I): No. 1 in E major: Fugue | — | ||
| 19-10 | Trois Préludes et fugues, op. 99 (Book I): No. 2 in B major: Prelude | — | ||
| 19-11 | Trois Préludes et fugues, op. 99 (Book I): No. 2 in B major: Fugue | — | ||
| 19-12 | Trois Préludes et fugues, op. 99 (Book I): No. 3 in E-flat major: Prelude | — | ||
| 19-13 | Trois Préludes et fugues, op. 99 (Book I): No. 3 in E-flat major: Fugue | — | ||
| 20-1 | Trois Préludes et fugues, op. 109 (Book II): No. 1 in D minor: Prelude | — | ||
| 20-2 | Trois Préludes et fugues, op. 109 (Book II): No. 1 in D minor: Fugue | — | ||
| 20-3 | Trois Préludes et fugues, op. 109 (Book II): No. 2 in G major: Prelude | — | ||
| 20-4 | Trois Préludes et fugues, op. 109 (Book II): No. 2 in G major: Fugue | — | ||
| 20-5 | Trois Préludes et fugues, op. 109 (Book II): No. 3 in C major: Prelude | — | ||
| 20-6 | Trois Préludes et fugues, op. 109 (Book II): No. 3 in C major: Fugue | — | ||
| 20-7 | Bénédiction nuptiale in F major, op. 9 | — | ||
| 20-8 | Sept Improvisations, op. 150: No. 1 in E major | — | ||
| 20-9 | Sept Improvisations, op. 150: No. 2 in B minor “Feria Pentecostes” | — | ||
| 20-10 | Sept Improvisations, op. 150: No. 3 in E-flat major | — | ||
| 20-11 | Sept Improvisations, op. 150: No. 4 in A major | — | ||
| 20-12 | Sept Improvisations, op. 150: No. 5 in G minor “Pro Martyribus” | — | ||
| 20-13 | Sept Improvisations, op. 150: No. 6 in B minor “Pro Defunctis” | — | ||
| 20-14 | Sept Improvisations, op. 150: No. 7 in A minor | — | ||
| 20-15 | Cyprès et lauriers, for organ and orchestra, op. 156: I. Cyprès: Poco adagio (solo organ) | — | ||
| 20-16 | Élévation or Communion in E major, op. 13 | — | ||
| 21-1 | La Cloche | — | ||
| 21-2 | Clair de lune | — | ||
| 21-3 | L'Attente | — | ||
| 21-4 | Le Pas d'armes du roi Jean | — | ||
| 21-5 | Pastorale | — | ||
| 21-6 | Violons dans le soir | — | ||
| 21-7 | Mélodies persanes op. 26 Nr. 6: Tournoiement « Songe d’Opium » | Philippe Jaroussky, Jérôme Ducros | — | |
| 21-8 | La Vent dans la plaine (« C'est l'extase langoureuse ») | — | ||
| 21-9 | Danse macabre in G minor, op. 40 | José van Dam, Jean-Philippe Collard | T-003.008.160-7 | |
| 21-10 | Sonnet | — | ||
| 21-11 | Les Cloches de la mer | — | ||
| 21-12 | Extase | — | ||
| 21-13 | Rêverie | — | ||
| 21-14 | Si vois n'avez rien à me dire | — | ||
| 21-15 | Le Lever de la lune | — | ||
| 21-16 | Une flûte invisible | — | ||
| 21-17 | Le Rossignol et la rose (extrait de ''Parysatis'') | Natalie Dessay, Berliner Sinfonie-Orchester, Michael Schønwandt | — | |
| 21-18 | Pastorale | — | ||
| 21-19 | El Desdichado | — | ||
| 21-20 | Two choruses, for mixed chorus a capella, op. 68: No. 1 Calme des nuits | — | ||
| 21-21 | Two choruses, for mixed chorus a capella, op. 68: No. 2 Les Fleurs et les arbres | — | ||
| 21-22 | Saltarelle, for four voices men's chorus a capella, op. 74 | — | ||
| 22-1 | Messa à quatre voix, op. 4: I. Kyrie | — | ||
| 22-2 | Messa à quatre voix, op. 4: II. Gloria | — | ||
| 22-3 | Messa à quatre voix, op. 4: III. Credo | — | ||
| 22-4 | Messa à quatre voix, op. 4: IV. Sanctus | — | ||
| 22-5 | Messa à quatre voix, op. 4: V. O salutaris | — | ||
| 22-6 | Messa à quatre voix, op. 4: VI. Agnus Dei | — | ||
| 22-7 | Samson et Dalila : Acte I. « Printemps qui commence » | Maria Callas, Orchestre national de la Radiodiffusion Française, Georges Prêtre | — | |
| 22-8 | Samson et Dalila : Acte II. « Samson, recherchant ma présence » … Amour, viens aider ma faiblesse ! » | Maria Callas, Orchestre National de la Radiodiffusion Française, Georges Prêtre | — | |
| 22-9 | Samson et Dalila : « Mon cœur s’ouvre à ta voix » | Maria Callas, Orchestre national de la Radiodiffusion française, Georges Prêtre | — | |
| 22-10 | Henry VIII, opera in 4 acts, R 291: Act IV. Air de Catherine d'Aragon: « Ô cruel souvenir ! » | — | ||
| 23-1 | Samson et Dalila, opera in 3 acts, op. 47: Act I. Introduction | — | ||
| 23-2 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Dieu ! Dieu d'Israël ! écoute la prière de tes enfants » (Les Hébreux) | — | ||
| 23-3 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Quoi ! veux-tu donc qui'à jamais on efface » (Les Hébreux) | — | ||
| 23-4 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Arrêtez, ô mes frères ! » (Samson, les Hébreux) | — | ||
| 23-5 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Implorons à genoux le Seigneur qui nous aime ! » (Samson, les Hébreux) | — | ||
| 23-6 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Qui donc élève ici la voix ? » (Abimélech) | — | ||
| 23-7 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « C'est toi que sa bouche invective » (Samson, les Hébreux, Abimélech) | — | ||
| 23-8 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Israël ! romps ta chaine ! » (Samson, les Hébreux) | — | ||
| 23-9 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Que vois-je ! Abimélech ! frappé par des esclaves ! » (Le Grand Prêtre, Premier Philistin, Deuxième Philistin) | — | ||
| 23-10 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Seigneur ! la troupe furieuse … Maudite à jamais soit la race » (Un messager, les deux Philistin, le Grand Prêtre) | — | ||
| 23-11 | Samson et Dalila, opera in 3 acts, op. 47: Act I. Lever du jour | — | ||
| 23-12 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Hymne de joie, hymne de délivrance » (Les vieillards hébreux, un vieillard hébreu) | — | ||
| 23-13 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Voici le printemps nous portant des fleurs » (Les Philistins) | — | ||
| 23-14 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Je viens célébrer la victoire … Ô mon bien-aimé, suis mes pas vers Sorek » (Dalila, Samson, un vieillard hébreu) | — | ||
| 23-15 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Danse des prêtresses de Dagon » | — | ||
| 23-16 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Printemps qui commence, portant l'espérance » (Dalila) | — | ||
| 23-17 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « L'esprit du mal a conduit cette femme » (Un vieillard hébreu, Dalila) | — | ||
| 24-1 | Samson et Dalila, opera in 3 acts, op. 47: Act II. Prélude | — | ||
| 24-2 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Samson, recherchant ma présence … Amour ! viens aider ma faiblesse ! » (Dalila) | — | ||
| 24-3 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « J'ai gravi la montagne » (La Grand Prêtre, Dalila) | — | ||
| 24-4 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « À tes genoux sa force un jour l'abandonna » (La Grand Prêtre, Dalila) | — | ||
| 24-5 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Mais sur son coœur déjà n'aurais-tu pas en vain » (La Grand Prêtre, Dalila) | — | ||
| 24-6 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Il faut, pour assouvir ma haine » (Dalila, le Grand Prêtre) | — | ||
| 24-7 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Samson, me disais-tu, dans ces lieux doit se rendre ? … Se pourrait-il que sur son coœur » (Le Grand Prêtre, Dalila) | — | ||
| 24-8 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « En ces lieux, malgré moi, m'ont ramené mes pas » (Samson) | — | ||
| 24-9 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « C'est toi ! c'est toi, mon bien-aimé ! » (Dalila, Samson) | — | ||
| 24-10 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « D'Israël renaîtr l'espérance » (Samson, Dalila) | — | ||
| 24-11 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Un dieu plus puissant que le tien » (Dalila, Samson) | — | ||
| 24-12 | Samson et Dalila : « Mon cœur s’ouvre à ta voix… » | Rita Gorr, Jon Vickers, Orchestre du Théâtre National de l’Opéra de Paris, Georges Prêtre | — | |
| 24-13 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Mais ! … non ! que dis-je ? hélas, la triste Dalila ! » (Dalila, Samson) | — | ||
| 24-14 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « À moi ! Philistins ! - Trahison ! » (Dalila, Samson) | — | ||
| 24-15 | Samson et Dalila, opera in 3 acts, op. 47: Act III Premier tableau. Introduction | — | ||
| 24-16 | Samson et Dalila, opera in 3 acts, op. 47: Act III Premier tableau. « Vois ma misère, hélas ! vois ma détresse ! » (Samson, les Hébreux) | — | ||
| 24-17 | Samson et Dalila, opera in 3 acts, op. 47: Act III Premier tableau. « Hélas ! Israël dans les fers » (Samson, les Hébreux) | — | ||
| 24-18 | Samson et Dalila, opera in 3 acts, op. 47: Act III Premier tableau. « Frères ! votre chant douloureux » (Samson, les Hébreux) | — | ||
| 24-19 | Samson et Dalila, opera in 3 acts, op. 47: Act III Premier tableau. Interlude | — | ||
| 24-20 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « L'aube qui blanchit déjà les coteaux » (Les Philistins) | — | ||
| 24-21 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. Bacchanale | — | ||
| 24-22 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Salut ! Salut au juge d'Israël » (Le Grand Prêtre, les Philistins) | — | ||
| 24-23 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « L'âme triste jusqu'à la mort » (Samson, Dalila) | — | ||
| 24-24 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Allons, Samson, divertis-nous » (Le Grand Prêtre, Samson, les Philistins) | — | ||
| 24-25 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Viens, Dalila, rendre grâce à nos dieux … Gloire à Dagon vainqueur ! » (Le Grane Prêtre, Dalila, les Philistins) | — | ||
| 24-26 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Dagon se révèle ! » (Le Grand Prêtre, Dalila, les Philistins) | — | ||
| 24-27 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Pour que le sort soit favorable » (Le Grand Prêtre, Samson) | — | ||
| 24-28 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Dagon se révèle ! » (Chorus, Dalila, le Grand Prêtre) | — | ||
| 24-29 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Souviens-toi de ton serviteur » (Samson, Dalila, le Grand Prêtre, les Philistins) | — | ||
| 25-1 | Partita for Solo Violin no. 1 in B minor, BWV 1002: VII. Tempo di bourrée | — | ||
| 25-2 | Le Carnaval des animaux: Le Cygne | — | ||
| 25-3 | Partita for Solo Violin no. 1 in B minor, BWV 1002: VII. Tempo di bourrée | — | ||
| 25-4 | Danse macabre, Symphonic Poem, op. 40 | — | ||
| 25-5 | Introduction et Rondo capriccioso in A minor, op. 28: Andante malinconico - | — | ||
| 25-6 | Introduction et Rondo capriccioso in A minor, op. 28: Allegro ma non troppo | — | ||
| 25-7 | Havanaise in E major, op. 83 | — | ||
| 25-8 | Le Carnaval des animaux: XIII. Le Cygne | Itzhak Perlman, Samuel Sanders | T-317.671.333-6 | |
| 25-9 | "Mon coeur s'ouvre à ta voix" (Samson et Dalila) | Frank Braley, Gautier Capuçon | — | |
| 25-10 | Le Carnaval des animaux: Le Cygne | — | ||
| 25-11 | Samson et Dalila: Danse des prêtresses de Dagon | — | ||
| 25-12 | Étienne Marcel: Pavane | — | ||
| 25-13 | Les Cloches du soir, op. 85 | — | ||
| 25-14 | Violin Concerto no. 3 in B minor, op. 61: Andantino quasi allegretto | — | ||
| 25-15 | The Carnival of the Animals: The Swan | Jacqueline du Pré, Osian Ellis | — | |
| 26-1 | Le Carnaval des animaux: Le Cygne | — | ||
| 26-2 | Introduction et Rondo capriccioso in A minor, op. 28 | — | ||
| 26-3 | Cello Concerto no. 1 in A minor, op. 33: I. Allegro non troppo | — | ||
| 26-4 | Cello Concerto no. 1 in A minor, op. 33: II. Allegretto con moto | — | ||
| 26-5 | Cello Concerto no. 1 in A minor, op. 33: III. Allegro non troppo | — | ||
| 26-6 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: I. Introduction | — | ||
| 26-7 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: II. The Lion - Elder Statesmen (Marche royale du lion) | — | ||
| 26-8 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: III. Chickens & Roosters - Sensationmongers (Poules et coqs) | — | ||
| 26-9 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: IV. Wild Asses - The Jetset (Hémiones ou Animaux véloces) | — | ||
| 26-10 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: V. The Tortoise - Aspiring Hot Gossip Girl (Tortues) | — | ||
| 26-11 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VI. Elephants - The Labour Force (L'Éléphant) | — | ||
| 26-12 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VII. Kangaroos - Idealists (Kangourous) | — | ||
| 26-13 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VIII. Aquarium - Drug Pellars | — | ||
| 26-14 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: IX. Animals with Long Ears - Sycophants and Junior Ministers (Personnages à longues oreilles) | — | ||
| 26-15 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: X. The Cuckoo - The Artist (Le Coucou au fond des bois) | — | ||
| 26-16 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XI. Aviary of Birds - Modern Woman (Volière) | — | ||
| 26-17 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XII. Pianists - Disciplinarians (Pianistes) | — | ||
| 26-18 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XIII. Fossils - The Last Tribes (Fossiles) | — | ||
| 26-19 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XIV. The Swan - The Spurned Husband (Le Cygne) | — | ||
| 26-20 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XV. Finale | — | ||
| 27-1 | Samson & Dalila, op. 47: Improvisation | — | ||
| 27-2 | Impromptu in F-sharp major, op. 36 | — | ||
| 27-3 | Valse mignonne, op. 104 | — | ||
| 27-4 | Mazurka no. 1 in G minor, op. 21 | — | ||
| 27-5 | Valse nonchalante in D-flat major, op. 110 | — | ||
| 27-6 | Mazurka no. 3 in B minor, op. 66 | — | ||
| 27-7 | Rhapsodie d'Auvergne, op. 73 | — | ||
| 27-8 | Africa, op. 89: Improvised Cadenza | — | ||
| 27-9 | Valse mignonne, op. 104 | — | ||
| 27-10 | Valse nonchalante in D-flat major, op. 110 | — | ||
| 27-11 | Piano Concerto no. 2 in G minor, op. 22 (excerpt) | — | ||
| 27-12 | Rhapsodie d'Auvergne, op. 73 | — | ||
| 27-13 | Prélude pour “Le Déluge”, op. 45 | — | ||
| 27-14 | Élégie, op. 143 | — | ||
| 27-15 | Suite algérienne, op. 60: III. Rêverie du soir. À Blidah | — | ||
| 27-16 | Suite algérienne, op. 60: IV. Marche militaire française | — | ||
| 27-17 | Mazurka no. 1 in G minor, op. 21 | — | ||
| 27-18 | Valse mignonne, op. 104 | — | ||
| 27-19 | Havanaise, op. 83 | — | ||
| 28-1 | Oratorio de Noël, op. 12: Trio: Tecum principium | — | ||
| 28-2 | Le Rouet d'Omphale, Symphonic Poem, op. 31 | — | ||
| 28-3 | La Princesse jaune, opéra-comique, op. 30: Overture | — | ||
| 28-4 | Havanaise in E major, op. 83 | — | ||
| 28-5 | Prélude pour “Le Déluge” in D major, op. 45 | — | ||
| 28-6 | Six Études for piano, op. 111: VI. Toccata | — | ||
| 28-7 | Six Études for piano, op. 52: VI. Étude en forme de valse | — | ||
| 28-8 | Violin Concerto no. 3 in B minor, op. 61: I. Allegro non troppo | — | ||
| 28-9 | Violin Concerto no. 3 in B minor, op. 61: II. Andantino quasi allegretto | — | ||
| 28-10 | Violin Concerto no. 3 in B minor, op. 61: III. Molto moderato e maestoso - Allegro non troppo | — | ||
| 29-1 | Piano Concerto no. 4 in C minor, op. 44: I. Allegro moderato - Andante | — | ||
| 29-2 | Piano Concerto no. 4 in C minor, op. 44: II. Allegro vivace - Andante - Allegro | — | ||
| 29-3 | Cello Concerto no. 1 in A minor, op. 33: I. Allegro non troppo | — | ||
| 29-4 | Cello Concerto no. 1 in A minor, op. 33: II. Allegretto con moto | — | ||
| 29-5 | Cello Concerto no. 1 in A minor, op. 33: III. Allegro non troppo | — | ||
| 29-6 | Introduction and Rondo capriccioso in A minor, op. 28 | Jascha Heifetz, London Philharmonic Orchestra, Sir John Barbirolli | — | |
| 29-7 | Havanaise in E major, for violin and orchestra, op. 83 | — | ||
| 30-1 | Piano Concerto no. 1 in D major, op. 17: I. Andante - Allegro assai | — | ||
| 30-2 | Piano Concerto no. 1 in D major, op. 17: II. Andante sostenuto quasi adagio | — | ||
| 30-3 | Piano Concerto no. 1 in D major, op. 17: III. Allegro con fuoco | — | ||
| 30-4 | Piano Concerto no. 2 in G minor, op. 22: I. Andante sostenuto | — | ||
| 30-5 | Piano Concerto no. 2 in G minor, op. 22: II. Allegro scherzando | — | ||
| 30-6 | Piano Concerto no. 2 in G minor, op. 22: III. Presto | — | ||
| 30-7 | Piano Concerto no. 3 in E-flat major, op. 29: I. Moderato assai - Più mosso (Allegro maestoso) | — | ||
| 30-8 | Piano Concerto no. 3 in E-flat major, op. 29: II. Andante | — | ||
| 30-9 | Piano Concerto no. 3 in E-flat major, op. 29: III. Allegro non troppo | — | ||
| 31-1 | Piano Concerto no. 4 in C minor, op. 44: I. Allegro moderato - Andante | — | ||
| 31-2 | Piano Concerto no. 4 in C minor, op. 44: II. Allegro vivace - Andante - Allegro | — | ||
| 31-3 | Piano Concerto no. 5 in F major “L'Égyptien”, op. 103: I. Allegro animato | — | ||
| 31-4 | Piano Concerto no. 5 in F major “L'Égyptien”, op. 103: II. Andante - Allegretto tranquillo quasi andantino | — | ||
| 31-5 | Piano Concerto no. 5 in F major “L'Égyptien”, op. 103: III. Molto allegro | — | ||
| 31-6 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: I. Préambule: Allegro moderato | — | ||
| 31-7 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: II. Menuet: Tempo di minuetto moderato | — | ||
| 31-8 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: III. Intermède: Andante | — | ||
| 31-9 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: IV. Gavotte et final: Allegro non troppo - Più allegro | — | ||
| 32-1 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: I. (a) Adagio - Allegro moderato - | — | ||
| 32-2 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: I. (b) Poco moderato | — | ||
| 32-3 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: II. (a) Allegro moderato - Presto - Allegro moderato - | — | ||
| 32-4 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: II. (b) Maestoso - Più allegro - Molto allegro | — | ||
| 32-5 | Suite algérienne in C major, op. 60: I. Prélude: En vue d'Alger | — | ||
| 32-6 | Suite algérienne in C major, op. 60: II. Rhapsodie mauresque | — | ||
| 32-7 | Suite algérienne in C major, op. 60: III. Rêverie du soir. À Blidah | — | ||
| 32-8 | Suite algérienne in C major, op. 60: IV. Marche militaire française | — | ||
| 32-9 | Danse macabre, Symphonic Poem, op. 40 | — | ||
| 32-10 | Phaéton, Symphonic Poem, op. 39 | — | ||
| 33-1 | Samson et Dalila, op. 47: Acte III. Vois ma misère, hélas | Giulio Seni, Enrico Caruso, Metropolitan Opera Chorus, Metropolitan Opera Orchestra | — | |
| 33-2 | Samson et Dalila: Act 3. « Vois ma misère, hélas ! vois ma détresse ! » | — | ||
| 33-3 | Samson et Dalila: Act 1. « L'es-tu donc oublié, celui dont la puissance » | — | ||
| 33-4 | Marquise, vois-en souvenez-vous?, for voice and piano | — | ||
| 33-5 | Le Timbre d'argent, for soprano, violin and piano, R 289: La bonheur est chose légère | — | ||
| 33-6 | Parysatis, for voice and orchestra: Le Rossignol et la rose | — | ||
| 33-7 | Samson et Dalila, opera in 3 acts, op. 47: Act I. Introduction - « Dieu ! Dieu d'Israël ! écoute la prière de tes enfants » (Les Hébreux) | — | ||
| 33-8 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Un jour, de nous, tu détournas la face » (Les Hébreux) | — | ||
| 33-9 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Arrêtez, ô mes frères ! » (Samson, les Hébreux) | — | ||
| 33-10 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « L'as-tu donc oublié, celui dont la puissance » (Samson, les Hébreux) | — | ||
| 33-11 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Qui donc élève ici la voix ? » (Abimélech) | — | ||
| 33-12 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « C'est toi que sa bouche invective » (Samson, les Hébreux, Abimélech) | — | ||
| 33-13 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Que vois-je ! Abimélech ! frappé par des esclaves ! » (Le Grand Prêtre, Premier Philistin, Deuxième Philistin) | — | ||
| 33-14 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Seigneur ! la troupe furieuse … Maudite à jamais soit la race » (Un messager, les deux Philistins, le Grand Prêtre) | — | ||
| 33-15 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Hymne de joie, hymne de délivrance » (Les vieillards hébreux, un vieillard hébreu) | — | ||
| 33-16 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Voici le printemps nous portant des fleurs » (Les Philistins) | — | ||
| 33-17 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Je viens célébrer la victoire … Ô mon bien-aimé, suis mes pas vers Sorek » (Dalila, Samson, un vieillard hébreu) | — | ||
| 33-18 | Samson et Dalila, opera in 3 acts, op. 47: Act I. Danse des prêtresses de Dagon | — | ||
| 33-19 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Printemps qui commence, portant l'espérance » (Dalila, un vieillard hébreu) | — | ||
| 34-1 | Samson et Dalila, opera in 3 acts, op. 47: Act II. Prélude | — | ||
| 34-2 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Samson, recherchant ma présence … Amour ! viens aider ma faiblesse » (Dalila) | — | ||
| 34-3 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « J'ai gravi la montagne » (Le Grand Prêtre, Dalila) | — | ||
| 34-4 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Qu'importe à Dalila ton or ? » (Dalila, le Grand Prêtre) | — | ||
| 34-5 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Il faut, pour assouvir ma haine » (Dalila, le Grand Prêtre) | — | ||
| 34-6 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Samson, me disais-tu, dans ces lieux doit se rendre ? » (Le Grand Prêtre, Dalila) | — | ||
| 34-7 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « En ces lieux, malgré moi, m'ont ramené mes pas » (Samson) | — | ||
| 34-8 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Qu'importe à mon coœur désolé » (Dalila, Samson) | — | ||
| 34-9 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Mon coœur s'ouvre à ta voix » (Dalila, Samson) | — | ||
| 34-10 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Mais ! … non ! que dis-je ? hélas, la triste Dalila ! » (Dalila, Samson) | — | ||
| 34-11 | Samson et Dalila, opera in 3 acts, op. 47: Act III. Introduction - « Vois ma misère, hélas ! vois ma détresse ! » (Samson, les Hébreux) | — | ||
| 34-12 | Samson et Dalila, opera in 3 acts, op. 47: Act III. « L'aube qui blanchit déjà les coteaux » (Les Philistins) | — | ||
| 34-13 | Samson et Dalila, opera in 3 acts, op. 47: Act III. Bacchanale | — | ||
| 34-14 | Samson et Dalila, opera in 3 acts, op. 47: Act III. « Salut ! Salut au juge d'Israël » (Le Grand Prêtre, les Philistins) | — | ||
| 34-15 | Samson et Dalila, opera in 3 acts, op. 47: Act III. « Laisse-moi prendre ta main » (Dalila, les Philistins) | — | ||
| 34-16 | Samson et Dalila, opera in 3 acts, op. 47: Act III. « Allons, Samson, divertis-nous » (Le Grand Prêtre, Samson, les Philistins) | — | ||
| 34-17 | Samson et Dalila, opera in 3 acts, op. 47: Act III. « Viens, Dalila, rendre grâce à nos dieux … Gloire à Dagon vainqueur ! » (Le Grand Prêtre, Dalila, les Philistins) | — | ||
| 34-18 | Samson et Dalila, opera in 3 acts, op. 47: Act III. « Guidez ses pas vers le milieu du temple » (Le Grand Prêtre, Samson, les Philistins, Dalila) | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Cello Concerto No. 1 in A minor, Op. 33: Allegro non troppo - | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — |
| The Carnival of the Animals: The Swan | Jacqueline du Pré, Osian Ellis | T-317.671.333-6 |
| Cello Concerto No. 1 in A minor, Op. 33: Allegro non troppo - | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — |
| Cello Concerto No. 1 in A minor, Op. 33: Allegretto con moto - | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — |
| Cello Concerto No. 1 in A minor, Op. 33: Un peu moins vite | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — |
| The Carnival of the Animals: The Swan | Jacqueline du Pré, Osian Ellis | — |
| The Carnival of the Animals: The Swan | Jacqueline du Pré, Osian Ellis | T-004.976.716-9 |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
0190296746048 is a Universal Product Code (UPC) assigned to Camille Saint-Saëns Edition by Camille Saint‐Saëns. 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 457 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
0190296746048 is the Universal Product Code (UPC barcode) for the release “Camille Saint-Saëns Edition” by Camille Saint‐Saëns, released 2021-01-01 on Warner Classics. 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 457 tracks, each with its own ISRC. Tracks include FRZ117407688, FRZ117407689, FRZ117407690.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony in A major, R 159: I. Poco adagio - Allegro vivace | Orchestre National de l'ORTF, Jean Martinon | — | |
| 2 | Symphony in A major, R 159: II. Andantino | Orchestre National de l'ORTF, Jean Martinon | — | |
| 3 | Symphony in A major, R 159: III. Scherzo: Vivace | Orchestre National de l'ORTF, Jean Martinon | — | |
| 4 | Symphony in A major, R 159: IV. Allegro molto - Presto | Orchestre National de l'ORTF, Jean Martinon | — | |
| 5 | Symphony no. 1 in E-flat major, op. 2: I. Adagio - Allegro | Orchestre National de l'ORTF, Jean Martinon | — | |
| 6 | Symphony no. 1 in E-flat major, op. 2: II. Marche - Scherzo: Allegretto scherzando | Orchestre National de l'ORTF, Jean Martinon | — | |
| 7 | Symphony no. 1 in E-flat major, op. 2: III. Adagio | Orchestre National de l'ORTF, Jean Martinon | — | |
| 8 | Symphony no. 1 in E-flat major, op. 2: IV. Finale. Allegro maestoso | Orchestre National de l'ORTF, Jean Martinon | — | |
| 9 | Symphony no. 2 in A minor, op. 55: I. Allegro marcato | Orchestre National de l'ORTF, Jean Martinon | — | |
| 10 | Symphony no. 2 in A minor, op. 55: II. Adagio | Orchestre National de l'ORTF, Jean Martinon | — | |
| 11 | Symphony no. 2 in A minor, op. 55: III. Scherzo - Presto | Orchestre National de l'ORTF, Jean Martinon | — | |
| 12 | Symphony no. 2 in A minor, op. 55: IV. Prestissimo | Orchestre National de l'ORTF, Jean Martinon | — | |
| 2-1 | Symphony in F major “Urbs Roma”, R 163: I. Largo - Allegro | Orchestre National de l'ORTF, Jean Martinon | — | |
| 2-2 | Symphony in F major “Urbs Roma”, R 163: II. Molto vivace | Orchestre National de l'ORTF, Jean Martinon | — | |
| 2-3 | Symphony in F major “Urbs Roma”, R 163: III. Moderato assai serioso | Orchestre National de l'ORTF, Jean Martinon | — | |
| 2-4 | Symphony in F major “Urbs Roma”, R 163: IV. Poco allegretto - Andante con moto | Orchestre National de l'ORTF, Jean Martinon | — | |
| 2-5 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: I. (a) Adagio - Allegro moderato - | — | ||
| 2-6 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: I. (b) Poco moderato | — | ||
| 2-7 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: II. (a) Allegro moderato - Presto - Allegro moderato - | — | ||
| 2-8 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: II. (b) Maestoso - Più allegro - Molto allegro | — | ||
| 3-1 | Danse Macabre, Symphonic Poem, op. 40 | Orchestre de Paris, Pierre Dervaux | T-703.135.794-7 | |
| 3-2 | La Jeunesse d'Hercule, Symphonic Poem, op. 50 | — | ||
| 3-3 | Phaeton, Symphonic Poem, op. 39 | Orchestre de Paris, Pierre Dervaux | — | |
| 3-4 | Le Rouet d'Omphale, Symphonic Poem, op. 31 | Orchestre de Paris, Pierre Dervaux | — | |
| 3-5 | La Foi, Three Symphonic Pictures, op. 130: I. Poco allegro | — | ||
| 3-6 | La Foi, Three Symphonic Pictures, op. 130: II. Andantino | — | ||
| 3-7 | La Foi, Three Symphonic Pictures, op. 130: III. Allegro moderato e maestoso | — | ||
| 4-1 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: I. Introduction et Marche royale du lion (Introduction and Royal March of the Lion) | — | ||
| 4-2 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: II. Poules et coqs (Hens and Roosters) | — | ||
| 4-3 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: III. Hémiones (ou Animaux véloces) (Wild Asses) | — | ||
| 4-4 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: IV. Tortues (Tortoises) | — | ||
| 4-5 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: V. L'Éléphant (The Elephant) | — | ||
| 4-6 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VI. Kangourous (Kangaroos) | — | ||
| 4-7 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VII. Aquarium | — | ||
| 4-8 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VIII. Personnages à longues oreilles (Persons with Long Ears) | — | ||
| 4-9 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: IX. Le Coucou au fond des bois (Cuckoo in the Depths of the Wood) | — | ||
| 4-10 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: X. Volière (The Aviary) | — | ||
| 4-11 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XI. Pianistes (Pianists) | — | ||
| 4-12 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XII. Fossiles (Fossils) | — | ||
| 4-13 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XIII. Le Cygne (The Swan) | — | ||
| 4-14 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XIV. Finale | — | ||
| 4-15 | Suite for orchestra, op. 49: I. Prélude | — | ||
| 4-16 | Suite for orchestra, op. 49: II. Sarabande | — | ||
| 4-17 | Suite for orchestra, op. 49: III. Gavotte | — | ||
| 4-18 | Suite for orchestra, op. 49: IV. Romance | — | ||
| 4-19 | Suite for orchestra, op. 49: V. Finale | — | ||
| 4-20 | Une nuit à Lisbonne, barcarolle, op. 63 | — | ||
| 4-21 | Spartacus, Overture, R 166, after the tragedy by Alphonse Pagès | — | ||
| 5-1 | Piano Concerto no. 1 in D major, op. 17: I. Andante - Allegro assai | — | ||
| 5-2 | Piano Concerto no. 1 in D major, op. 17: II. Andante sostenuto quasi adagio | — | ||
| 5-3 | Piano Concerto no. 1 in D major, op. 17: III. Allegro con fuoco | — | ||
| 5-4 | Piano Concerto no. 2 in G minor, op. 22: I. Andante sostenuto | — | ||
| 5-5 | Piano Concerto no. 2 in G minor, op. 22: II. Allegro scherzando | — | ||
| 5-6 | Piano Concerto no. 2 in G minor, op. 22: III. Presto | — | ||
| 5-7 | Piano Concerto no. 4 in C minor, op. 44: I. Allegro moderato - Andante | — | ||
| 5-8 | Piano Concerto no. 4 in C minor, op. 44: II. Allegro vivace - Andante - Allegro | — | ||
| 6-1 | Piano Concerto no. 3 in E-flat major, op. 29: I. Moderato assai - Più mosso (Allegro maestoso) | — | ||
| 6-2 | Piano Concerto no. 3 in E-flat major, op. 29: II. Andante | — | ||
| 6-3 | Piano Concerto no. 3 in E-flat major, op. 29: III. Allegro non troppo | — | ||
| 6-4 | Piano Concerto no. 5 in F major, “L'Égyptien”, op. 103: I. Allegro animato | — | ||
| 6-5 | Piano Concerto no. 5 in F major, “L'Égyptien”, op. 103: II. Andante - Allegretto tranquillo quasi andantino | — | ||
| 6-6 | Piano Concerto no. 5 in F major, “L'Égyptien”, op. 103: III. Molto allegro | — | ||
| 6-7 | Wedding Cake, Caprice-valse, for piano and orchestra, op. 76 | — | ||
| 6-8 | Africa, Fantasy, for piano and orchestra, op. 89 | — | ||
| 7-1 | Violin Concerto no. 1 in A major, op. 20: I. Allegro | — | ||
| 7-2 | Violin Concerto no. 1 in A major, op. 20: II. Andante espressivo | — | ||
| 7-3 | Violin Concerto no. 1 in A major, op. 20: III. Tempo primo | — | ||
| 7-4 | Violin Concerto no. 2 in C major, op. 58: I. Allegro moderato e maestoso | — | ||
| 7-5 | Violin Concerto no. 2 in C major, op. 58: II. Andante espressivo | — | ||
| 7-6 | Violin Concerto no. 2 in C major, op. 58: III. Allegro scherzando quasi allegretto | — | ||
| 7-7 | Romance in C major, for violin and orchestra, op. 48 | — | ||
| 7-8 | Romance en Ré bémol majeur, op. 37 | Ulf Hoelscher, New Philharmonia Orchestra, Pierre Dervaux | — | |
| 7-9 | Morceau de concert in G major, for violin and orchestra, op. 62 | — | ||
| 7-10 | Caprice andalou iin G major, for violin and orchestra, op. 122 | — | ||
| 7-11 | Prélude pour “Le Déluge” in D major, for violin and orchestra, op. 45 | — | ||
| 8-1 | Violin Concerto no. 3 in B minor, op. 61: I. Allegro non troppo | — | ||
| 8-2 | Violin Concerto no. 3 in B minor, op. 61: II. Andantino quasi allegretto | — | ||
| 8-3 | Violin Concerto no. 3 in B minor, op. 61: III. Molto moderato e maestoso - Allegro non troppo | — | ||
| 8-4 | La Muse et le poète, for violin, cello and orchestra, op. 132 | — | ||
| 8-5 | Introduction et Rondo capriccioso in A minor, for violin and orchestra, op. 28 | — | ||
| 8-6 | Havanaise in E major, for violin and orchestra, op. 83 | — | ||
| 8-7 | Valse-caprice, for violin and orchestra, after Étude en forme de valse, op. 52 no. 6 | — | ||
| 9-1 | Odelette in D major, for flute and orchestra, op. 162 | — | ||
| 9-2 | Tarentelle in A minor, for flute, clarinet and orchestra, op. 6 | — | ||
| 9-3 | Romance in D-flat major, for flute and orchestra, op. 37 | — | ||
| 9-4 | Romance in F major, for horn and orchestra, op. 36 | — | ||
| 9-5 | Morceau de concert in G major, for harp and orchestra, op. 154 | — | ||
| 9-6 | Morceau de concert in F minor, for horn and orchestra, op. 94 | — | ||
| 9-7 | Cyprès et lauriers, for organ and orchestra, op. 156: I. Cyprès: Poco adagio (solo organ) | — | ||
| 9-8 | Cyprès et lauriers, for organ and orchestra, op. 156: II. Lauriers: Allegro non troppo | — | ||
| 9-9 | Rhapsodie d'Auvergne in C major, for piano and orchestra, op. 73 | — | ||
| 9-10 | Allegro appassionato in C-sharp major, for piano and orchestra, op. 70 | — | ||
| 10-1 | Cello Concerto No. 1 in A minor, Op. 33: Allegro non troppo - | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — | |
| 10-2 | Cello Concerto No. 1 in A minor, Op. 33: Allegretto con moto - | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — | |
| 10-3 | Cello Concerto No. 1 in A minor, Op. 33: Un peu moins vite | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — | |
| 10-4 | Allegro appassionato in B minor, for cello and orchestra, op. 43 | — | ||
| 10-5 | Violin Sonata no. 1 in D minor, op. 75: I (a). Allegro agitato - | — | ||
| 10-6 | Violin Sonata no. 1 in D minor, op. 75: I (b). Adagio | — | ||
| 10-7 | Violin Sonata no. 1 in D minor, op. 75: II (a). Allegro moderato - | — | ||
| 10-8 | Violin Sonata no. 1 in D minor, op. 75: II (b). Allegro molto | — | ||
| 10-9 | Violin Sonata no. 2 in E-flat major, op. 102: I. Poco allegro più tosto moderato | — | ||
| 10-10 | Violin Sonata no. 2 in E-flat major, op. 102: II. Scherzo: Vivace | — | ||
| 10-11 | Violin Sonata no. 2 in E-flat major, op. 102: III. Andante | — | ||
| 10-12 | Violin Sonata no. 2 in E-flat major, op. 102: IV. Allegro grazioso, non presto | — | ||
| 11-1 | Berceuse in B-flat major, for violin and piano, op. 38 | — | ||
| 11-2 | Élégie no. 1, for violin and piano, op. 143 | — | ||
| 11-3 | Élégie no. 2, for violin and piano, op. 160 | — | ||
| 11-4 | Romance in D-flat major, for violin and piano (original for flute or violin & orchestra), op. 37 | — | ||
| 11-5 | Fantaisie pour violon & harpe, op. 124 | Renaud Capuçon, Marie-Pierre Langlamet | — | |
| 11-6 | Cello Sonata no. 1 in C minor, op. 32: I. Allegro | — | ||
| 11-7 | Cello Sonata no. 1 in C minor, op. 32: II. Andante tranquillo | — | ||
| 11-8 | Cello Sonata no. 1 in C minor, op. 32: III. Allegro moderato | — | ||
| 11-9 | Romance in F major, for cello and piano, op. 36 | — | ||
| 11-10 | Allegro appassionato in B minor, for cello and piano, op. 43 | — | ||
| 11-11 | Romance in D major, for cello and piano, op. 51 | — | ||
| 11-12 | Prière pour violoncelle & piano, op. 158 | Frank Braley, Gautier Capuçon | — | |
| 12-1 | Cello Sonata no. 2 in F major, op. 123: I. Maestoso | — | ||
| 12-2 | Cello Sonata no. 2 in F major, op. 123: II. Scherzo con variazioni | — | ||
| 12-3 | Cello Sonata no. 2 in F major, op. 123: III. Romanza | — | ||
| 12-4 | Cello Sonata no. 2 in F major, op. 123: IV. Allegro non troppo | — | ||
| 12-5 | Sérénade, no. 2, Suite, op. 16, for cello and piano: Andantino | — | ||
| 12-6 | Clarinet Sonata in E-flat major, op. 167: I. Allegretto | — | ||
| 12-7 | Clarinet Sonata in E-flat major, op. 167: II. Allegro animato | — | ||
| 12-8 | Clarinet Sonata in E-flat major, op. 167: III. Lento | — | ||
| 12-9 | Clarinet Sonata in E-flat major, op. 167: IV. Molto allegro | — | ||
| 12-10 | Oboe Sonata in D major, op. 166: I. Andantino | — | ||
| 12-11 | Oboe Sonata in D major, op. 166: II. (without tempo indication) | — | ||
| 12-12 | Oboe Sonata in D major, op. 166: III. Molto allegro | — | ||
| 12-13 | Bassoon Sonata in G major, op. 168: I. Allegro moderato | — | ||
| 12-14 | Bassoon Sonata in G major, op. 168: II. Allegro scherzando | — | ||
| 12-15 | Bassoon Sonata in G major, op. 168: III. Molto adagio | — | ||
| 12-16 | Bassoon Sonata in G major, op. 168: IV. Allegro moderato | — | ||
| 13-1 | Cavatine, for trombone and piano, op. 144 | — | ||
| 13-2 | Piano Trio no. 1 in F major, op. 18: I. Allegro vivace | — | ||
| 13-3 | Piano Trio no. 1 in F major, op. 18: II. Andante | — | ||
| 13-4 | Piano Trio no. 1 in F major, op. 18: III. Scherzo: Presto | — | ||
| 13-5 | Piano Trio no. 1 in F major, op. 18: IV. Allegro | — | ||
| 13-6 | Trio for Violin, Cello and Piano no. 2 in E minor, op. 92: I. Allegro non troppo | Renaud Capuçon, Edgar Moreau, Bertrand Chamayou | — | |
| 13-7 | Trio for Violin, Cello and Piano no. 2 in E minor, op. 92: II. Allegretto | Renaud Capuçon, Edgar Moreau, Bertrand Chamayou | — | |
| 13-8 | Trio for Violin, Cello and Piano no. 2 in E minor, op. 92: III. Andante con moto | Renaud Capuçon, Edgar Moreau, Bertrand Chamayou | — | |
| 13-9 | Trio for Violin, Cello and Piano no. 2 in E minor, op. 92: IV. Grazioso, poco allegro | Renaud Capuçon, Edgar Moreau, Bertrand Chamayou | — | |
| 13-10 | Trio for Violin, Cello and Piano no. 2 in E minor, op. 92: V. Allegro | Renaud Capuçon, Edgar Moreau, Bertrand Chamayou | — | |
| 13-11 | Caprice sur des airs danois et russes, for flute, clarinet, oboe and piano, op. 79 | — | ||
| 14-1 | String Quartet no. 1 in E minor, op. 112: I. Allegro | — | ||
| 14-2 | String Quartet no. 1 in E minor, op. 112: II. Molto allegro quasi presto | — | ||
| 14-3 | String Quartet no. 1 in E minor, op. 112: III. Molto adagio | — | ||
| 14-4 | String Quartet no. 1 in E minor, op. 112: IV. Allegro non troppo | — | ||
| 14-5 | String Quartet no. 2 in G major, op. 153: I. Allegro animato | — | ||
| 14-6 | String Quartet no. 2 in G major, op. 153: II. Molto adagio | — | ||
| 14-7 | String Quartet no. 2 in G major, op. 153: III. Andantino - Finale: Allegro | — | ||
| 15-1 | Piano Quartet in B-flat major, op. 41: I. Allegretto | — | ||
| 15-2 | Piano Quartet in B-flat major, op. 41: II. Andante maestoso ma con moto | — | ||
| 15-3 | Piano Quartet in B-flat major, op. 41: III. Poco allegro più tosto moderato | — | ||
| 15-4 | Piano Quartet in B-flat major, op. 41: IV. Allegro | — | ||
| 15-5 | Piano Quintet in A minor, op. 14: I. Allegro moderato e maestoso | — | ||
| 15-6 | Piano Quintet in A minor, op. 14: II. Andante sostenuto - | — | ||
| 15-7 | Piano Quintet in A minor, op. 14: III. Presto | — | ||
| 15-8 | Piano Quintet in A minor, op. 14: IV. Allegro assai, ma tranquillo | — | ||
| 16-1 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: I. Introduction et Marche royale du lion (Introduction and Royal March of the Lion) | — | ||
| 16-2 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: II. Poules et coqs (Hens and Roosters) | — | ||
| 16-3 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: III. Hémiones (ou Animaux véloces) (Wild Asses) | — | ||
| 16-4 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: IV. Tortues (Tortoises) | — | ||
| 16-5 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: V. L'Éléphant (The Elephant) | — | ||
| 16-6 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VI. Kangourous (Kangaroos) | — | ||
| 16-7 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VII. Aquarium | — | ||
| 16-8 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VIII. Personnages à longues oreilles (Persons with Long Ears) | — | ||
| 16-9 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: IX. Le Coucou au fond des bois (Cuckoo in the Depths of the Wood) | — | ||
| 16-10 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: X. Volière (The Aviary) | — | ||
| 16-11 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XI. Pianistes (Pianists) | — | ||
| 16-12 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XII. Fossiles (Fossils) | — | ||
| 16-13 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XIII. Le Cygne (The Swan) | — | ||
| 16-14 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XIV. Finale | — | ||
| 16-15 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: I. Préambule: Allegro moderato | — | ||
| 16-16 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: II. Menuet: Tempo di minuetto moderato | — | ||
| 16-17 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: III. Intermède: Andante | — | ||
| 16-18 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: Gavotte et finale: Allegro non troppo Più allegro | — | ||
| 16-19 | Fantaisie for harp, op. 95 | — | ||
| 16-20 | Allegro appassionato in C-sharp minor, version for solo piano, op. 70 | Bertrand Chamayou | — | |
| 16-21 | Valse nonchalante in D-flat major, for piano, op. 110 | Bertrand Chamayou | — | |
| 17-1 | Six Études, for piano, op. 52: I. Prélude (Con bravura) | — | ||
| 17-2 | Six Études, for piano, op. 52: II. Pour l'indépendance des doigts (Andantino malinconico) | — | ||
| 17-3 | Six Études, for piano, op. 52: III. Prélude et fugue en fa mineur (Allegro animato) | — | ||
| 17-4 | Six Études, for piano, op. 52: IV. Étude de rythme (Andantino) | — | ||
| 17-5 | Six Études, for piano, op. 52: V. Prélude et fugue en la majeur (Allegro moderato - Moderato) | — | ||
| 17-6 | Six Études, for piano, op. 52: VI. Étude en forme de valse (Mouvement de valse) | — | ||
| 17-7 | Six Études, for piano, op. 111: I. Tierces majeures et mineures (Allegretto) | — | ||
| 17-8 | Six Études, for piano, op. 111: II. Traits chromatiques (Allegretto) | — | ||
| 17-9 | Six Études, for piano, op. 111: III. Prélude et fugue en mi bémol mineur (Moderato agitato - Moderato espressivo) | — | ||
| 17-10 | Six Études, for piano, op. 111: IV. Les Cloches de Las Palmas (Andantino) | — | ||
| 17-11 | Six Études, for piano, op. 111: V. Tierces majeures chromatiques (Vivace) | — | ||
| 17-12 | Six Études, for piano, op. 111: VI. Toccata (Molto allegro) | — | ||
| 17-13 | Mazurka no. 3 (Un poco agitato), for piano, op. 66 | — | ||
| 17-14 | Valse mignonne in E-flat major, for piano, op. 104 | — | ||
| 17-15 | Valse gaie, for piano, op. 139 | — | ||
| 17-16 | Six Études pour la main gauche seule, for piano, op. 135: I. Prélude | — | ||
| 17-17 | Six Études pour la main gauche seule, for piano, op. 135: II. Alla fuga | — | ||
| 17-18 | Six Études pour la main gauche seule, for piano, op. 135: III. Moto perpetuo | — | ||
| 17-19 | Six Études pour la main gauche seule, for piano, op. 135: IV. Bourrée | — | ||
| 17-20 | Six Études pour la main gauche seule, for piano, op. 135: V. Élégie | — | ||
| 17-21 | Six Études pour la main gauche seule, for piano, op. 135: VI. Gigue | — | ||
| 18-1 | Scherzo, for two pianos, op. 87 | — | ||
| 18-2 | Introduction et Rondo capriccioso, op. 28 (transcription for two pianos by Claude Debussy) | — | ||
| 18-3 | Caprice pour piano sur les airs de ballet d'Alceste de Glück (transcription for two pianos by Claude Debussy) | — | ||
| 18-4 | Symphony no. 2 in A minor, op. 55 (transcription for two pianos by Claude Debussy): I. Allegro marcato - Allegro appassionato | — | ||
| 18-5 | Symphony no. 2 in A minor, op. 55 (transcription for two pianos by Claude Debussy): II. Adagio | — | ||
| 18-6 | Symphony no. 2 in A minor, op. 55 (transcription for two pianos by Claude Debussy): III. Scherzo: Presto | — | ||
| 18-7 | Symphony no. 2 in A minor, op. 55 (transcription for two pianos by Claude Debussy): IV. Prestissimo | — | ||
| 18-8 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Introduction | — | ||
| 18-9 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Entrée des écoliers | — | ||
| 18-10 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Musette guerrière | — | ||
| 18-11 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Pavane | — | ||
| 18-12 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Valse | — | ||
| 18-13 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Entrée des Bohémiens | — | ||
| 18-14 | Étienne Marcel, airs de ballet, R 290 (transcription for two pianos by Claude Debussy): Final | — | ||
| 19-1 | Marche religieuse in F major, op. 107 | — | ||
| 19-2 | Trois Rhapsodies, op. 7, sur des cantique bretons: No. 1 in E major | — | ||
| 19-3 | Trois Rhapsodies, op. 7, sur des cantique bretons: No. 2 in D major | — | ||
| 19-4 | Trois Rhapsodies, op. 7, sur des cantique bretons: No. 3 in F major | — | ||
| 19-5 | Fantaisie in E-flat major, R 78 | — | ||
| 19-6 | Fantaisie in D-flat major, op. 101 | — | ||
| 19-7 | Fantaisie in C major, op. 157 | — | ||
| 19-8 | Trois Préludes et fugues, op. 99 (Book I): No. 1 in E major: Prelude | — | ||
| 19-9 | Trois Préludes et fugues, op. 99 (Book I): No. 1 in E major: Fugue | — | ||
| 19-10 | Trois Préludes et fugues, op. 99 (Book I): No. 2 in B major: Prelude | — | ||
| 19-11 | Trois Préludes et fugues, op. 99 (Book I): No. 2 in B major: Fugue | — | ||
| 19-12 | Trois Préludes et fugues, op. 99 (Book I): No. 3 in E-flat major: Prelude | — | ||
| 19-13 | Trois Préludes et fugues, op. 99 (Book I): No. 3 in E-flat major: Fugue | — | ||
| 20-1 | Trois Préludes et fugues, op. 109 (Book II): No. 1 in D minor: Prelude | — | ||
| 20-2 | Trois Préludes et fugues, op. 109 (Book II): No. 1 in D minor: Fugue | — | ||
| 20-3 | Trois Préludes et fugues, op. 109 (Book II): No. 2 in G major: Prelude | — | ||
| 20-4 | Trois Préludes et fugues, op. 109 (Book II): No. 2 in G major: Fugue | — | ||
| 20-5 | Trois Préludes et fugues, op. 109 (Book II): No. 3 in C major: Prelude | — | ||
| 20-6 | Trois Préludes et fugues, op. 109 (Book II): No. 3 in C major: Fugue | — | ||
| 20-7 | Bénédiction nuptiale in F major, op. 9 | — | ||
| 20-8 | Sept Improvisations, op. 150: No. 1 in E major | — | ||
| 20-9 | Sept Improvisations, op. 150: No. 2 in B minor “Feria Pentecostes” | — | ||
| 20-10 | Sept Improvisations, op. 150: No. 3 in E-flat major | — | ||
| 20-11 | Sept Improvisations, op. 150: No. 4 in A major | — | ||
| 20-12 | Sept Improvisations, op. 150: No. 5 in G minor “Pro Martyribus” | — | ||
| 20-13 | Sept Improvisations, op. 150: No. 6 in B minor “Pro Defunctis” | — | ||
| 20-14 | Sept Improvisations, op. 150: No. 7 in A minor | — | ||
| 20-15 | Cyprès et lauriers, for organ and orchestra, op. 156: I. Cyprès: Poco adagio (solo organ) | — | ||
| 20-16 | Élévation or Communion in E major, op. 13 | — | ||
| 21-1 | La Cloche | — | ||
| 21-2 | Clair de lune | — | ||
| 21-3 | L'Attente | — | ||
| 21-4 | Le Pas d'armes du roi Jean | — | ||
| 21-5 | Pastorale | — | ||
| 21-6 | Violons dans le soir | — | ||
| 21-7 | Mélodies persanes op. 26 Nr. 6: Tournoiement « Songe d’Opium » | Philippe Jaroussky, Jérôme Ducros | — | |
| 21-8 | La Vent dans la plaine (« C'est l'extase langoureuse ») | — | ||
| 21-9 | Danse macabre in G minor, op. 40 | José van Dam, Jean-Philippe Collard | T-003.008.160-7 | |
| 21-10 | Sonnet | — | ||
| 21-11 | Les Cloches de la mer | — | ||
| 21-12 | Extase | — | ||
| 21-13 | Rêverie | — | ||
| 21-14 | Si vois n'avez rien à me dire | — | ||
| 21-15 | Le Lever de la lune | — | ||
| 21-16 | Une flûte invisible | — | ||
| 21-17 | Le Rossignol et la rose (extrait de ''Parysatis'') | Natalie Dessay, Berliner Sinfonie-Orchester, Michael Schønwandt | — | |
| 21-18 | Pastorale | — | ||
| 21-19 | El Desdichado | — | ||
| 21-20 | Two choruses, for mixed chorus a capella, op. 68: No. 1 Calme des nuits | — | ||
| 21-21 | Two choruses, for mixed chorus a capella, op. 68: No. 2 Les Fleurs et les arbres | — | ||
| 21-22 | Saltarelle, for four voices men's chorus a capella, op. 74 | — | ||
| 22-1 | Messa à quatre voix, op. 4: I. Kyrie | — | ||
| 22-2 | Messa à quatre voix, op. 4: II. Gloria | — | ||
| 22-3 | Messa à quatre voix, op. 4: III. Credo | — | ||
| 22-4 | Messa à quatre voix, op. 4: IV. Sanctus | — | ||
| 22-5 | Messa à quatre voix, op. 4: V. O salutaris | — | ||
| 22-6 | Messa à quatre voix, op. 4: VI. Agnus Dei | — | ||
| 22-7 | Samson et Dalila : Acte I. « Printemps qui commence » | Maria Callas, Orchestre national de la Radiodiffusion Française, Georges Prêtre | — | |
| 22-8 | Samson et Dalila : Acte II. « Samson, recherchant ma présence » … Amour, viens aider ma faiblesse ! » | Maria Callas, Orchestre National de la Radiodiffusion Française, Georges Prêtre | — | |
| 22-9 | Samson et Dalila : « Mon cœur s’ouvre à ta voix » | Maria Callas, Orchestre national de la Radiodiffusion française, Georges Prêtre | — | |
| 22-10 | Henry VIII, opera in 4 acts, R 291: Act IV. Air de Catherine d'Aragon: « Ô cruel souvenir ! » | — | ||
| 23-1 | Samson et Dalila, opera in 3 acts, op. 47: Act I. Introduction | — | ||
| 23-2 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Dieu ! Dieu d'Israël ! écoute la prière de tes enfants » (Les Hébreux) | — | ||
| 23-3 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Quoi ! veux-tu donc qui'à jamais on efface » (Les Hébreux) | — | ||
| 23-4 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Arrêtez, ô mes frères ! » (Samson, les Hébreux) | — | ||
| 23-5 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Implorons à genoux le Seigneur qui nous aime ! » (Samson, les Hébreux) | — | ||
| 23-6 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Qui donc élève ici la voix ? » (Abimélech) | — | ||
| 23-7 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « C'est toi que sa bouche invective » (Samson, les Hébreux, Abimélech) | — | ||
| 23-8 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Israël ! romps ta chaine ! » (Samson, les Hébreux) | — | ||
| 23-9 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Que vois-je ! Abimélech ! frappé par des esclaves ! » (Le Grand Prêtre, Premier Philistin, Deuxième Philistin) | — | ||
| 23-10 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Seigneur ! la troupe furieuse … Maudite à jamais soit la race » (Un messager, les deux Philistin, le Grand Prêtre) | — | ||
| 23-11 | Samson et Dalila, opera in 3 acts, op. 47: Act I. Lever du jour | — | ||
| 23-12 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Hymne de joie, hymne de délivrance » (Les vieillards hébreux, un vieillard hébreu) | — | ||
| 23-13 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Voici le printemps nous portant des fleurs » (Les Philistins) | — | ||
| 23-14 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Je viens célébrer la victoire … Ô mon bien-aimé, suis mes pas vers Sorek » (Dalila, Samson, un vieillard hébreu) | — | ||
| 23-15 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Danse des prêtresses de Dagon » | — | ||
| 23-16 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Printemps qui commence, portant l'espérance » (Dalila) | — | ||
| 23-17 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « L'esprit du mal a conduit cette femme » (Un vieillard hébreu, Dalila) | — | ||
| 24-1 | Samson et Dalila, opera in 3 acts, op. 47: Act II. Prélude | — | ||
| 24-2 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Samson, recherchant ma présence … Amour ! viens aider ma faiblesse ! » (Dalila) | — | ||
| 24-3 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « J'ai gravi la montagne » (La Grand Prêtre, Dalila) | — | ||
| 24-4 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « À tes genoux sa force un jour l'abandonna » (La Grand Prêtre, Dalila) | — | ||
| 24-5 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Mais sur son coœur déjà n'aurais-tu pas en vain » (La Grand Prêtre, Dalila) | — | ||
| 24-6 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Il faut, pour assouvir ma haine » (Dalila, le Grand Prêtre) | — | ||
| 24-7 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Samson, me disais-tu, dans ces lieux doit se rendre ? … Se pourrait-il que sur son coœur » (Le Grand Prêtre, Dalila) | — | ||
| 24-8 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « En ces lieux, malgré moi, m'ont ramené mes pas » (Samson) | — | ||
| 24-9 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « C'est toi ! c'est toi, mon bien-aimé ! » (Dalila, Samson) | — | ||
| 24-10 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « D'Israël renaîtr l'espérance » (Samson, Dalila) | — | ||
| 24-11 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Un dieu plus puissant que le tien » (Dalila, Samson) | — | ||
| 24-12 | Samson et Dalila : « Mon cœur s’ouvre à ta voix… » | Rita Gorr, Jon Vickers, Orchestre du Théâtre National de l’Opéra de Paris, Georges Prêtre | — | |
| 24-13 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Mais ! … non ! que dis-je ? hélas, la triste Dalila ! » (Dalila, Samson) | — | ||
| 24-14 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « À moi ! Philistins ! - Trahison ! » (Dalila, Samson) | — | ||
| 24-15 | Samson et Dalila, opera in 3 acts, op. 47: Act III Premier tableau. Introduction | — | ||
| 24-16 | Samson et Dalila, opera in 3 acts, op. 47: Act III Premier tableau. « Vois ma misère, hélas ! vois ma détresse ! » (Samson, les Hébreux) | — | ||
| 24-17 | Samson et Dalila, opera in 3 acts, op. 47: Act III Premier tableau. « Hélas ! Israël dans les fers » (Samson, les Hébreux) | — | ||
| 24-18 | Samson et Dalila, opera in 3 acts, op. 47: Act III Premier tableau. « Frères ! votre chant douloureux » (Samson, les Hébreux) | — | ||
| 24-19 | Samson et Dalila, opera in 3 acts, op. 47: Act III Premier tableau. Interlude | — | ||
| 24-20 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « L'aube qui blanchit déjà les coteaux » (Les Philistins) | — | ||
| 24-21 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. Bacchanale | — | ||
| 24-22 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Salut ! Salut au juge d'Israël » (Le Grand Prêtre, les Philistins) | — | ||
| 24-23 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « L'âme triste jusqu'à la mort » (Samson, Dalila) | — | ||
| 24-24 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Allons, Samson, divertis-nous » (Le Grand Prêtre, Samson, les Philistins) | — | ||
| 24-25 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Viens, Dalila, rendre grâce à nos dieux … Gloire à Dagon vainqueur ! » (Le Grane Prêtre, Dalila, les Philistins) | — | ||
| 24-26 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Dagon se révèle ! » (Le Grand Prêtre, Dalila, les Philistins) | — | ||
| 24-27 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Pour que le sort soit favorable » (Le Grand Prêtre, Samson) | — | ||
| 24-28 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Dagon se révèle ! » (Chorus, Dalila, le Grand Prêtre) | — | ||
| 24-29 | Samson et Dalila, opera in 3 acts, op. 47: Act III Deuxième tableau. « Souviens-toi de ton serviteur » (Samson, Dalila, le Grand Prêtre, les Philistins) | — | ||
| 25-1 | Partita for Solo Violin no. 1 in B minor, BWV 1002: VII. Tempo di bourrée | — | ||
| 25-2 | Le Carnaval des animaux: Le Cygne | — | ||
| 25-3 | Partita for Solo Violin no. 1 in B minor, BWV 1002: VII. Tempo di bourrée | — | ||
| 25-4 | Danse macabre, Symphonic Poem, op. 40 | — | ||
| 25-5 | Introduction et Rondo capriccioso in A minor, op. 28: Andante malinconico - | — | ||
| 25-6 | Introduction et Rondo capriccioso in A minor, op. 28: Allegro ma non troppo | — | ||
| 25-7 | Havanaise in E major, op. 83 | — | ||
| 25-8 | Le Carnaval des animaux: XIII. Le Cygne | Itzhak Perlman, Samuel Sanders | T-317.671.333-6 | |
| 25-9 | "Mon coeur s'ouvre à ta voix" (Samson et Dalila) | Frank Braley, Gautier Capuçon | — | |
| 25-10 | Le Carnaval des animaux: Le Cygne | — | ||
| 25-11 | Samson et Dalila: Danse des prêtresses de Dagon | — | ||
| 25-12 | Étienne Marcel: Pavane | — | ||
| 25-13 | Les Cloches du soir, op. 85 | — | ||
| 25-14 | Violin Concerto no. 3 in B minor, op. 61: Andantino quasi allegretto | — | ||
| 25-15 | The Carnival of the Animals: The Swan | Jacqueline du Pré, Osian Ellis | — | |
| 26-1 | Le Carnaval des animaux: Le Cygne | — | ||
| 26-2 | Introduction et Rondo capriccioso in A minor, op. 28 | — | ||
| 26-3 | Cello Concerto no. 1 in A minor, op. 33: I. Allegro non troppo | — | ||
| 26-4 | Cello Concerto no. 1 in A minor, op. 33: II. Allegretto con moto | — | ||
| 26-5 | Cello Concerto no. 1 in A minor, op. 33: III. Allegro non troppo | — | ||
| 26-6 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: I. Introduction | — | ||
| 26-7 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: II. The Lion - Elder Statesmen (Marche royale du lion) | — | ||
| 26-8 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: III. Chickens & Roosters - Sensationmongers (Poules et coqs) | — | ||
| 26-9 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: IV. Wild Asses - The Jetset (Hémiones ou Animaux véloces) | — | ||
| 26-10 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: V. The Tortoise - Aspiring Hot Gossip Girl (Tortues) | — | ||
| 26-11 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VI. Elephants - The Labour Force (L'Éléphant) | — | ||
| 26-12 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VII. Kangaroos - Idealists (Kangourous) | — | ||
| 26-13 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: VIII. Aquarium - Drug Pellars | — | ||
| 26-14 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: IX. Animals with Long Ears - Sycophants and Junior Ministers (Personnages à longues oreilles) | — | ||
| 26-15 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: X. The Cuckoo - The Artist (Le Coucou au fond des bois) | — | ||
| 26-16 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XI. Aviary of Birds - Modern Woman (Volière) | — | ||
| 26-17 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XII. Pianists - Disciplinarians (Pianistes) | — | ||
| 26-18 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XIII. Fossils - The Last Tribes (Fossiles) | — | ||
| 26-19 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XIV. The Swan - The Spurned Husband (Le Cygne) | — | ||
| 26-20 | Le Carnaval des Animaux, grande fantaisie zoologique, R 125: XV. Finale | — | ||
| 27-1 | Samson & Dalila, op. 47: Improvisation | — | ||
| 27-2 | Impromptu in F-sharp major, op. 36 | — | ||
| 27-3 | Valse mignonne, op. 104 | — | ||
| 27-4 | Mazurka no. 1 in G minor, op. 21 | — | ||
| 27-5 | Valse nonchalante in D-flat major, op. 110 | — | ||
| 27-6 | Mazurka no. 3 in B minor, op. 66 | — | ||
| 27-7 | Rhapsodie d'Auvergne, op. 73 | — | ||
| 27-8 | Africa, op. 89: Improvised Cadenza | — | ||
| 27-9 | Valse mignonne, op. 104 | — | ||
| 27-10 | Valse nonchalante in D-flat major, op. 110 | — | ||
| 27-11 | Piano Concerto no. 2 in G minor, op. 22 (excerpt) | — | ||
| 27-12 | Rhapsodie d'Auvergne, op. 73 | — | ||
| 27-13 | Prélude pour “Le Déluge”, op. 45 | — | ||
| 27-14 | Élégie, op. 143 | — | ||
| 27-15 | Suite algérienne, op. 60: III. Rêverie du soir. À Blidah | — | ||
| 27-16 | Suite algérienne, op. 60: IV. Marche militaire française | — | ||
| 27-17 | Mazurka no. 1 in G minor, op. 21 | — | ||
| 27-18 | Valse mignonne, op. 104 | — | ||
| 27-19 | Havanaise, op. 83 | — | ||
| 28-1 | Oratorio de Noël, op. 12: Trio: Tecum principium | — | ||
| 28-2 | Le Rouet d'Omphale, Symphonic Poem, op. 31 | — | ||
| 28-3 | La Princesse jaune, opéra-comique, op. 30: Overture | — | ||
| 28-4 | Havanaise in E major, op. 83 | — | ||
| 28-5 | Prélude pour “Le Déluge” in D major, op. 45 | — | ||
| 28-6 | Six Études for piano, op. 111: VI. Toccata | — | ||
| 28-7 | Six Études for piano, op. 52: VI. Étude en forme de valse | — | ||
| 28-8 | Violin Concerto no. 3 in B minor, op. 61: I. Allegro non troppo | — | ||
| 28-9 | Violin Concerto no. 3 in B minor, op. 61: II. Andantino quasi allegretto | — | ||
| 28-10 | Violin Concerto no. 3 in B minor, op. 61: III. Molto moderato e maestoso - Allegro non troppo | — | ||
| 29-1 | Piano Concerto no. 4 in C minor, op. 44: I. Allegro moderato - Andante | — | ||
| 29-2 | Piano Concerto no. 4 in C minor, op. 44: II. Allegro vivace - Andante - Allegro | — | ||
| 29-3 | Cello Concerto no. 1 in A minor, op. 33: I. Allegro non troppo | — | ||
| 29-4 | Cello Concerto no. 1 in A minor, op. 33: II. Allegretto con moto | — | ||
| 29-5 | Cello Concerto no. 1 in A minor, op. 33: III. Allegro non troppo | — | ||
| 29-6 | Introduction and Rondo capriccioso in A minor, op. 28 | Jascha Heifetz, London Philharmonic Orchestra, Sir John Barbirolli | — | |
| 29-7 | Havanaise in E major, for violin and orchestra, op. 83 | — | ||
| 30-1 | Piano Concerto no. 1 in D major, op. 17: I. Andante - Allegro assai | — | ||
| 30-2 | Piano Concerto no. 1 in D major, op. 17: II. Andante sostenuto quasi adagio | — | ||
| 30-3 | Piano Concerto no. 1 in D major, op. 17: III. Allegro con fuoco | — | ||
| 30-4 | Piano Concerto no. 2 in G minor, op. 22: I. Andante sostenuto | — | ||
| 30-5 | Piano Concerto no. 2 in G minor, op. 22: II. Allegro scherzando | — | ||
| 30-6 | Piano Concerto no. 2 in G minor, op. 22: III. Presto | — | ||
| 30-7 | Piano Concerto no. 3 in E-flat major, op. 29: I. Moderato assai - Più mosso (Allegro maestoso) | — | ||
| 30-8 | Piano Concerto no. 3 in E-flat major, op. 29: II. Andante | — | ||
| 30-9 | Piano Concerto no. 3 in E-flat major, op. 29: III. Allegro non troppo | — | ||
| 31-1 | Piano Concerto no. 4 in C minor, op. 44: I. Allegro moderato - Andante | — | ||
| 31-2 | Piano Concerto no. 4 in C minor, op. 44: II. Allegro vivace - Andante - Allegro | — | ||
| 31-3 | Piano Concerto no. 5 in F major “L'Égyptien”, op. 103: I. Allegro animato | — | ||
| 31-4 | Piano Concerto no. 5 in F major “L'Égyptien”, op. 103: II. Andante - Allegretto tranquillo quasi andantino | — | ||
| 31-5 | Piano Concerto no. 5 in F major “L'Égyptien”, op. 103: III. Molto allegro | — | ||
| 31-6 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: I. Préambule: Allegro moderato | — | ||
| 31-7 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: II. Menuet: Tempo di minuetto moderato | — | ||
| 31-8 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: III. Intermède: Andante | — | ||
| 31-9 | Septet in E-flat major, for trumpet, 2 violins, viola, cello, double bass and piano, op. 65: IV. Gavotte et final: Allegro non troppo - Più allegro | — | ||
| 32-1 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: I. (a) Adagio - Allegro moderato - | — | ||
| 32-2 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: I. (b) Poco moderato | — | ||
| 32-3 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: II. (a) Allegro moderato - Presto - Allegro moderato - | — | ||
| 32-4 | Symphony no. 3 in C minor “Organ Symphony”, op. 78: II. (b) Maestoso - Più allegro - Molto allegro | — | ||
| 32-5 | Suite algérienne in C major, op. 60: I. Prélude: En vue d'Alger | — | ||
| 32-6 | Suite algérienne in C major, op. 60: II. Rhapsodie mauresque | — | ||
| 32-7 | Suite algérienne in C major, op. 60: III. Rêverie du soir. À Blidah | — | ||
| 32-8 | Suite algérienne in C major, op. 60: IV. Marche militaire française | — | ||
| 32-9 | Danse macabre, Symphonic Poem, op. 40 | — | ||
| 32-10 | Phaéton, Symphonic Poem, op. 39 | — | ||
| 33-1 | Samson et Dalila, op. 47: Acte III. Vois ma misère, hélas | Giulio Seni, Enrico Caruso, Metropolitan Opera Chorus, Metropolitan Opera Orchestra | — | |
| 33-2 | Samson et Dalila: Act 3. « Vois ma misère, hélas ! vois ma détresse ! » | — | ||
| 33-3 | Samson et Dalila: Act 1. « L'es-tu donc oublié, celui dont la puissance » | — | ||
| 33-4 | Marquise, vois-en souvenez-vous?, for voice and piano | — | ||
| 33-5 | Le Timbre d'argent, for soprano, violin and piano, R 289: La bonheur est chose légère | — | ||
| 33-6 | Parysatis, for voice and orchestra: Le Rossignol et la rose | — | ||
| 33-7 | Samson et Dalila, opera in 3 acts, op. 47: Act I. Introduction - « Dieu ! Dieu d'Israël ! écoute la prière de tes enfants » (Les Hébreux) | — | ||
| 33-8 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Un jour, de nous, tu détournas la face » (Les Hébreux) | — | ||
| 33-9 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Arrêtez, ô mes frères ! » (Samson, les Hébreux) | — | ||
| 33-10 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « L'as-tu donc oublié, celui dont la puissance » (Samson, les Hébreux) | — | ||
| 33-11 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Qui donc élève ici la voix ? » (Abimélech) | — | ||
| 33-12 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « C'est toi que sa bouche invective » (Samson, les Hébreux, Abimélech) | — | ||
| 33-13 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Que vois-je ! Abimélech ! frappé par des esclaves ! » (Le Grand Prêtre, Premier Philistin, Deuxième Philistin) | — | ||
| 33-14 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Seigneur ! la troupe furieuse … Maudite à jamais soit la race » (Un messager, les deux Philistins, le Grand Prêtre) | — | ||
| 33-15 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Hymne de joie, hymne de délivrance » (Les vieillards hébreux, un vieillard hébreu) | — | ||
| 33-16 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Voici le printemps nous portant des fleurs » (Les Philistins) | — | ||
| 33-17 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Je viens célébrer la victoire … Ô mon bien-aimé, suis mes pas vers Sorek » (Dalila, Samson, un vieillard hébreu) | — | ||
| 33-18 | Samson et Dalila, opera in 3 acts, op. 47: Act I. Danse des prêtresses de Dagon | — | ||
| 33-19 | Samson et Dalila, opera in 3 acts, op. 47: Act I. « Printemps qui commence, portant l'espérance » (Dalila, un vieillard hébreu) | — | ||
| 34-1 | Samson et Dalila, opera in 3 acts, op. 47: Act II. Prélude | — | ||
| 34-2 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Samson, recherchant ma présence … Amour ! viens aider ma faiblesse » (Dalila) | — | ||
| 34-3 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « J'ai gravi la montagne » (Le Grand Prêtre, Dalila) | — | ||
| 34-4 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Qu'importe à Dalila ton or ? » (Dalila, le Grand Prêtre) | — | ||
| 34-5 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Il faut, pour assouvir ma haine » (Dalila, le Grand Prêtre) | — | ||
| 34-6 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Samson, me disais-tu, dans ces lieux doit se rendre ? » (Le Grand Prêtre, Dalila) | — | ||
| 34-7 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « En ces lieux, malgré moi, m'ont ramené mes pas » (Samson) | — | ||
| 34-8 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Qu'importe à mon coœur désolé » (Dalila, Samson) | — | ||
| 34-9 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Mon coœur s'ouvre à ta voix » (Dalila, Samson) | — | ||
| 34-10 | Samson et Dalila, opera in 3 acts, op. 47: Act II. « Mais ! … non ! que dis-je ? hélas, la triste Dalila ! » (Dalila, Samson) | — | ||
| 34-11 | Samson et Dalila, opera in 3 acts, op. 47: Act III. Introduction - « Vois ma misère, hélas ! vois ma détresse ! » (Samson, les Hébreux) | — | ||
| 34-12 | Samson et Dalila, opera in 3 acts, op. 47: Act III. « L'aube qui blanchit déjà les coteaux » (Les Philistins) | — | ||
| 34-13 | Samson et Dalila, opera in 3 acts, op. 47: Act III. Bacchanale | — | ||
| 34-14 | Samson et Dalila, opera in 3 acts, op. 47: Act III. « Salut ! Salut au juge d'Israël » (Le Grand Prêtre, les Philistins) | — | ||
| 34-15 | Samson et Dalila, opera in 3 acts, op. 47: Act III. « Laisse-moi prendre ta main » (Dalila, les Philistins) | — | ||
| 34-16 | Samson et Dalila, opera in 3 acts, op. 47: Act III. « Allons, Samson, divertis-nous » (Le Grand Prêtre, Samson, les Philistins) | — | ||
| 34-17 | Samson et Dalila, opera in 3 acts, op. 47: Act III. « Viens, Dalila, rendre grâce à nos dieux … Gloire à Dagon vainqueur ! » (Le Grand Prêtre, Dalila, les Philistins) | — | ||
| 34-18 | Samson et Dalila, opera in 3 acts, op. 47: Act III. « Guidez ses pas vers le milieu du temple » (Le Grand Prêtre, Samson, les Philistins, Dalila) | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Cello Concerto No. 1 in A minor, Op. 33: Allegro non troppo - | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — |
| The Carnival of the Animals: The Swan | Jacqueline du Pré, Osian Ellis | T-317.671.333-6 |
| Cello Concerto No. 1 in A minor, Op. 33: Allegro non troppo - | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — |
| Cello Concerto No. 1 in A minor, Op. 33: Allegretto con moto - | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — |
| Cello Concerto No. 1 in A minor, Op. 33: Un peu moins vite | Mstislav Rostropovich, London Philharmonic Orchestra, Carlo Maria Giulini | — |
| The Carnival of the Animals: The Swan | Jacqueline du Pré, Osian Ellis | — |
| The Carnival of the Animals: The Swan | Jacqueline du Pré, Osian Ellis | T-004.976.716-9 |
