UPC · Release
Various Artists
Last verified:
The UPC for “111 Years of Deutsche Grammophon: The Collectors’ Edition” by Various Artists is 028947781677. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2009-01-01. Label: Deutsche Grammophon. This release contains 729 tracks, each with its own ISRC. Tracks include DEF058230900, DEF058230901, DEF058230902.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Danse hongroise n° 1 | Wiener Philharmoniker, Claudio Abbado | T-322.186.564-7 | |
| 2 | Hungarian Dances, WoO 1: No. 2 in D minor: Allegro non assai — Vivace | Wiener Philharmoniker, Claudio Abbado | T-915.711.186-9 | |
| 3 | Hungarian Dances, WoO 1: No. 3 in F major: Allegretto | Wiener Philharmoniker, Claudio Abbado | T-322.178.813-8 | |
| 4 | Hungarian Dances, WoO 1: No. 4 in F-sharp minor: Poco sostenuto — Vivace | Wiener Philharmoniker, Claudio Abbado | T-909.573.827-5 | |
| 5 | Hungarian Dances, WoO 1: No. 5 in G minor: Allegro — Vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 6 | Hungarian Dances, WoO 1: No. 6 in D major: Vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 7 | Hungarian Dances, WoO 1: No. 7 in F major: Allegretto — Vivo | Wiener Philharmoniker, Claudio Abbado | T-312.524.872-4 | |
| 8 | Hungarian Dances, WoO 1: No. 8 in A minor: Presto | Wiener Philharmoniker, Claudio Abbado | T-312.524.872-4 | |
| 9 | Hungarian Dances, WoO 1: No. 9 in E minor: Allegro ma non troppo | Wiener Philharmoniker, Claudio Abbado | T-900.021.735-6 | |
| 10 | Hungarian Dances, WoO 1: No. 10 in F major: Presto | Wiener Philharmoniker, Claudio Abbado | T-909.573.827-5 | |
| 11 | Hungarian Dances, WoO 1: No. 11 in D minor: Poco andante | Wiener Philharmoniker, Claudio Abbado | T-900.833.446-1 | |
| 12 | Hungarian Dances, WoO 1: No. 12 in D minor: Presto | Wiener Philharmoniker, Claudio Abbado | — | |
| 13 | Hungarian Dances, WoO 1: No. 13 in D major: Adnantino grazioso — Vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 14 | Hungarian Dances, WoO 1: No. 14 in D minor: Un poco Andante | Wiener Philharmoniker, Claudio Abbado | T-915.711.196-1 | |
| 15 | Hungarian Dances, WoO 1: No. 15 in B-flat major: Allegretto grazioso | Wiener Philharmoniker, Claudio Abbado | — | |
| 16 | Hungarian Dances, WoO 1: No. 16 in F minor: Con moto | Wiener Philharmoniker, Claudio Abbado | — | |
| 17 | Hungarian Dances, WoO 1: No. 17 in F-sharp minor: Andantino vivace | Wiener Philharmoniker, Claudio Abbado | T-909.573.827-5 | |
| 18 | Hungarian Dances, WoO 1: No. 18 in D major: Molto vivace | Wiener Philharmoniker, Claudio Abbado | T-322.183.356-9 | |
| 19 | Hungarian Dances, WoO 1: No. 19 in B minor: Allegretto | Wiener Philharmoniker, Claudio Abbado | T-915.711.980-7 | |
| 20 | Hungarian Dances, WoO 1: No. 20 in E minor: Poco allegretto — Vivace | Wiener Philharmoniker, Claudio Abbado | T-329.391.163-0 | |
| 21 | Hungarian Dances, WoO 1: No. 21 in E minor: Vivace | Wiener Philharmoniker, Claudio Abbado | T-329.391.160-7 | |
| 2-1 | Quartet for 2 Violins Viola, and Cello No. 7 in G major, Op. 59 No. 1: I. Allegro | Amadeus Quartet | — | |
| 2-2 | Quartet for 2 Violins Viola, and Cello No. 7 in G major, Op. 59 No. 1: II. Allegretto scherzando e sempre vivace | Amadeus Quartet | — | |
| 2-3 | Quartet for 2 Violins Viola, and Cello No. 7 in G major, Op. 59 No. 1: III. Adagio molto | Amadeus Quartet | — | |
| 2-4 | Quartet for 2 Violins Viola, and Cello No. 7 in G major, Op. 59 No. 1: IV. Allegro | Amadeus Quartet | — | |
| 2-5 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: I. Adagio, ma non troppo e molto espressivo | Amadeus Quartet | — | |
| 2-6 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: II. Allegro molto vivace | Amadeus Quartet | — | |
| 2-7 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: III. Allegro moderato | Amadeus Quartet | — | |
| 2-8 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: IV. Andante ma non troppo e molto cantabile - Più mosso - Andante moderato e lusinghiero - Adagio - Allegretto - Adagio, ma non troppo e semplice - Allegretto | Amadeus Quartet | — | |
| 2-9 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: V. Presto - Molto poco adagio | Amadeus Quartet | — | |
| 2-10 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: VI. Adagio quasi un poco andante | Amadeus Quartet | — | |
| 2-11 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: VII. Allegro | Amadeus Quartet | — | |
| 3-1 | 24 Préludes, op. 28 no. 1 in C major: Agitato | Martha Argerich | — | |
| 3-2 | 24 Préludes, Op. 28: No. 1 in C Major | Martha Argerich | — | |
| 3-3 | 24 Préludes, op. 28 no. 3 in G major: Vivace | Martha Argerich | — | |
| 3-4 | 24 Préludes, op. 28 no. 4 in E minor: Largo | Martha Argerich | — | |
| 3-5 | 24 Préludes, Op. 28: No. 4 in E Minor | Martha Argerich | T-902.764.002-4 | |
| 3-6 | 24 Préludes, Op. 28: No. 5 in D Major | Martha Argerich | T-912.623.361-2 | |
| 3-7 | 24 Préludes, Op. 28: No. 6 in B Minor: Lento assai | Martha Argerich | T-308.384.655-9 | |
| 3-8 | 24 Préludes, Op. 28: No. 7 in A Major | Martha Argerich | T-915.710.750-1 | |
| 3-9 | 24 Préludes, op. 28 no. 9 in E major: Largo | Martha Argerich | T-909.573.827-5 | |
| 3-10 | 24 Préludes, op. 28 no. 9 in E major: Largo | Martha Argerich | T-906.148.797-6 | |
| 3-11 | 24 Préludes, op. 28 no. 10 in C‐sharp minor: Allegro molto | Martha Argerich | T-918.063.801-1 | |
| 3-12 | 24 Préludes, op. 28 no. 12 in G‐sharp minor: Presto | Martha Argerich | — | |
| 3-13 | 24 Préludes, Op. 28: No. 12. in G‐Sharp Minor | Martha Argerich | T-702.884.109-2 | |
| 3-14 | 24 Préludes, op. 28 no. 14 in E‐flat minor: Allegro | Martha Argerich | T-918.063.801-1 | |
| 3-15 | 24 Préludes, op. 28 no. 15 in D‐flat major: Sostenuto | Martha Argerich | T-306.229.926-3 | |
| 3-16 | 24 Préludes, op. 28 no. 16 in B‐flat minor: Presto con fuoco | Martha Argerich | — | |
| 3-17 | 24 Préludes, op. 28 no. 16 in B‐flat minor: Presto con fuoco | Martha Argerich | — | |
| 3-18 | 24 Préludes, op. 28 no. 17 in A‐flat major: Allegretto | Martha Argerich | T-903.060.250-7 | |
| 3-19 | 24 Préludes, op. 28 no. 19 in E‐flat major: Vivace | Martha Argerich | T-906.148.797-6 | |
| 3-20 | 24 Préludes, op. 28 no. 20 in C minor: Largo | Martha Argerich | T-310.766.142-3 | |
| 3-22 | 24 Préludes, op. 28 no. 22 in G minor: Molto agitato | Martha Argerich | — | |
| 3-23 | 24 Préludes, op. 28 no. 23 in F major: Moderato | Martha Argerich | T-917.141.447-4 | |
| 3-24 | 24 Préludes, op. 28 no. 23 in F major: Moderato | Martha Argerich | — | |
| 3-25 | Prélude in C‐sharp minor, op. 45: Sostenuto | Martha Argerich | — | |
| 3-26 | Prélude in A‐flat major, op. posth.: Presto con leggierezza | Martha Argerich | — | |
| 3-27 | Piano Sonata no. 2 in B‐flat minor, op. 35: Grave – Doppio movimento | Martha Argerich | — | |
| 3-28 | Piano Sonata no. 2 in B‐flat minor, op. 35: Scherzo | Martha Argerich | — | |
| 3-29 | Piano Sonata no. 2 in B‐flat minor, op. 35: Marche funèbre: Lento | Martha Argerich | T-321.421.851-2 | |
| 3-30 | Piano Sonata no. 2 in B‐flat minor, op. 35: Finale: Presto | Martha Argerich | T-309.554.578-7 | |
| 4-1 | Boléro | Orchestre de Paris, Daniel Barenboim | T-003.006.377-4 | |
| 4-2 | Pavane pour une infante défunte | Orchestre de Paris, Daniel Barenboim | T-003.013.767-7 | |
| 4-3 | La Valse | Orchestre de Paris, Daniel Barenboim | — | |
| 4-4 | Daphnis et Chloé: Lever Du Jour | Orchestre de Paris, Daniel Barenboim | T-004.014.574-1 | |
| 4-5 | Daphnis et Chloé: Pantomime | Orchestre de Paris, Daniel Barenboim | T-004.014.574-1 | |
| 4-6 | Daphnis et Chloé: Danse Generale | Orchestre de Paris, Daniel Barenboim | T-004.014.574-1 | |
| 5-1 | Préludes / Book 1, L. 117: I. Danseuses de Delphes | Arturo Benedetti Michelangeli | — | |
| 5-2 | Préludes 1ᵉʳ Livre: II. Voiles. Modéré | Arturo Benedetti Michelangeli | — | |
| 5-3 | Préludes 1ᵉʳ Livre: III. Le vent dans la plaine. Animé | Arturo Benedetti Michelangeli | — | |
| 5-4 | Préludes 1ᵉʳ Livre: IV. Les sons et les parfums tournent dans lʼair du soir. Modéré | Arturo Benedetti Michelangeli | — | |
| 5-5 | Préludes 1ᵉʳ Livre: V. Les collines dʼAnacapri. Très modéré | Arturo Benedetti Michelangeli | — | |
| 5-6 | Préludes 1ᵉʳ Livre: VI. Des pas sur la neige. Triste et lent | Arturo Benedetti Michelangeli | — | |
| 5-7 | Préludes 1ᵉʳ Livre: VII. Ce quʼa vu le vent dʼOuest. Animé et tumultueux | Arturo Benedetti Michelangeli | — | |
| 5-8 | Préludes, Livre I, L. 117: VIII. La fille aux cheveux de lin. Très calme et doucement expressif | Arturo Benedetti Michelangeli | T-336.722.879-9 | |
| 5-9 | Préludes 1ᵉʳ Livre: IX. La sérénade interrompue. Modérément animé | Arturo Benedetti Michelangeli | — | |
| 5-10 | Préludes 1ᵉʳ Livre: X. La cathédrale engloutie. Profondément calme | Arturo Benedetti Michelangeli | — | |
| 5-11 | Préludes 1ᵉʳ Livre: XI. La danse de Puck. Capricieux et léger | Arturo Benedetti Michelangeli | — | |
| 5-12 | Préludes 1ᵉʳ Livre: XII. Minstrels. Modéré | Arturo Benedetti Michelangeli | — | |
| 5-13 | Images 1: I. Reflets dans l'Eau. Andantino molto | Arturo Benedetti Michelangeli | — | |
| 5-14 | Images 1: II. Hommage à Rameau. Lent et grave | Arturo Benedetti Michelangeli | — | |
| 5-15 | Images 1: III. Mouvement. Animé | Arturo Benedetti Michelangeli | — | |
| 5-16 | Images 2: I. Cloches à travers les Feuilles. Lent | Arturo Benedetti Michelangeli | — | |
| 5-17 | Images 2: II. Et la Lune Descend sur le Temple qui Fut. Lent | Arturo Benedetti Michelangeli | — | |
| 5-18 | Images 2: III. Poissons d'Or. Animé | Arturo Benedetti Michelangeli | — | |
| 6-1 | West Side Story: No. 1: Prologue | Leonard Bernstein | T-070.166.807-6 | |
| 6-2 | West Side Story: No. 2: Jet Song | Kurt Ollmann, David Livingston, Peter Thom, Stephen Bogardus | T-070.088.385-7 | |
| 6-3 | West Side Story: No. 3: Something’s Coming | José Carreras | T-070.136.715-8 | |
| 6-4 | West Side Story: No. 4: The Dance at the Gym: Blues | Leonard Bernstein | — | |
| 6-5 | West Side Story: No. 4: The Dance at the Gym: Promenade | Leonard Bernstein | T-902.871.372-6 | |
| 6-6 | West Side Story: No. 4: The Dance at the Gym: Mambo | Leonard Bernstein | T-070.113.892-2 | |
| 6-7 | West Side Story: No. 4: The Dance at the Gym: Cha‐Cha | Leonard Bernstein | T-070.933.007-3 | |
| 6-8 | West Side Story: No. 4: The Dance at the Gym: Meeting Scene | Leonard Bernstein | T-070.933.007-3 | |
| 6-9 | West Side Story: No. 4: The Dance at the Gym: Jump | Leonard Bernstein | T-902.853.673-4 | |
| 6-10 | West Side Story: No. 5: Maria | José Carreras, Leonard Bernstein | T-070.108.440-3 | |
| 6-11 | West Side Story: No. 6: Balcony Scene (Tonight) | Kiri Te Kanawa, José Carreras | T-901.072.962-1 | |
| 6-12 | West Side Story: No. 7: America | Tatiana Troyanos, Louise Edeiken | T-070.001.097-4 | |
| 6-13 | West Side Story: No. 8: Cool | Kurt Ollmann | T-070.025.960-4 | |
| 6-14 | West Side Story: No. 9: One Hand, One Heart | Kiri Te Kanawa, José Carreras | T-070.159.178-7 | |
| 6-15 | West Side Story: No. 10: Tonight (Ensemble) | José Carreras, Richard Harrell, Kurt Ollmann, Kiri Te Kanawa, Tatiana Troyanos, Leonard Bernstein | T-070.125.208-5 | |
| 6-16 | West Side Story: No. 11: The Rumble | Leonard Bernstein | T-070.127.422-7 | |
| 6-17 | West Side Story: No. 12: I Feel Pretty | Kiri Te Kanawa, Louise Edeiken, Stella Zambalis, Angelina Réaux | T-070.902.843-2 | |
| 6-18 | West Side Story: No. 13: Ballet Sequence: Beginning | Kiri Te Kanawa, José Carreras | — | |
| 6-19 | West Side Story: Ballet Sequence: Transition to Scherzo | Leonard Bernstein | — | |
| 6-20 | West Side Story: Ballet Sequence: Scherzo | Leonard Bernstein | T-070.139.164-1 | |
| 6-21 | West Side Story: Ballet Sequence: Somewhere | Marilyn Horne, Leonard Bernstein | T-070.136.739-6 | |
| 6-22 | West Side Story: Ballet Sequence: Procession and Nightmare | Leonard Bernstein | T-070.933.007-3 | |
| 6-23 | West Side Story: No. 14: Gee, Officer Krupke! | David Livingston, Marty Nelson, Peter Thom, Stephen Bogardus, Todd Lester | T-070.063.859-0 | |
| 6-24 | West Side Story: No. 15: A Boy Like That | Tatiana Troyanos, Kiri Te Kanawa | T-070.012.286-6 | |
| 6-25 | West Side Story: I Have a Love | Kiri Te Kanawa, Tatiana Troyanos | T-070.903.050-1 | |
| 6-26 | West Side Story: No. 16: Taunting Scene | Leonard Bernstein | T-070.182.025-8 | |
| 6-27 | West Side Story: No. 17: Finale | Kiri Te Kanawa, José Carreras | T-070.159.178-7 | |
| 7-1 | Requiem in D minor, K. 626: 1. Introitus: Requiem / 2. Kyrie | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Edith Mathis, Wiener Philharmoniker, Karl Böhm | — | |
| 7-2 | Requiem in D minor, K. 626: 3. Sequentia: Dies irae | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Karl Böhm | — | |
| 7-3 | Requiem in D minor, K. 626: 3. Sequentia: Tuba mirum | Julia Hamari, Edith Mathis, Wiesław Ochman, Karl Ridderbusch, Wiener Philharmoniker, Karl Böhm | — | |
| 7-4 | Requiem in D minor, K. 626: 3. Sequentia: Rex tremendae | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Karl Böhm | — | |
| 7-5 | Requiem in D minor, K. 626: 3. Sequentia: Recordare | Julia Hamari, Edith Mathis, Wiesław Ochman, Karl Ridderbusch, Wiener Philharmoniker, Karl Böhm | — | |
| 7-6 | Requiem in D minor, K. 626: 3. Sequentia: Confutatis | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Karl Böhm | — | |
| 7-7 | Requiem in D Minor, K.626: 3. Sequentia: VI. Lacrimosa (from “Amadeus”) | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Hans Haselböck, Wiener Philharmoniker, Karl Böhm | T-000.698.858-4 | |
| 7-8 | Requiem in D minor, K. 626: 4. Offertorium: Domine Jesu | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Julia Hamari, Edith Mathis, Wiesław Ochman, Karl Ridderbusch, Wiener Philharmoniker, Karl Böhm | T-919.097.742-5 | |
| 7-9 | Requiem in D minor, K. 626: 4. Offertorium: Hostias | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Karl Böhm | — | |
| 7-10 | Requiem in D minor, K. 626: 5. Sanctus | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Karl Böhm | T-922.061.546-3 | |
| 7-11 | Requiem in D minor, K. 626: 6. Benedictus | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Julia Hamari, Edith Mathis, Wiesław Ochman, Karl Ridderbusch, Wiener Philharmoniker, Karl Böhm | T-106.642.813-3 | |
| 7-12 | Requiem in D minor, K. 626: 7. Agnus Dei / 8. Lux aeterna | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Edith Mathis, Wiener Philharmoniker, Karl Böhm | T-910.952.061-8 | |
| 8-1 | Pétrouchka: First Tableau | The Cleveland Orchestra, Pierre Boulez | — | |
| 8-2 | Pétrouchka: Second Tableau | The Cleveland Orchestra, Pierre Boulez | — | |
| 8-3 | Pétrouchka: Third Tableau | The Cleveland Orchestra, Pierre Boulez | — | |
| 8-4 | Pétrouchka: Fourth Tableau | The Cleveland Orchestra, Pierre Boulez | — | |
| 8-5 | The Rite of Spring: I. The Adoration of the Earth | The Cleveland Orchestra, Pierre Boulez | T-070.257.887-7 | |
| 8-6 | The Rite of Spring: II. The Sacrifice | The Cleveland Orchestra, Pierre Boulez | T-070.257.887-7 | |
| 9-1 | Concerto for Violin, Strings and Continuo in G minor, RV 331: I. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.004-5 | |
| 9-2 | Concerto for Violin, Strings and Continuo in G minor, RV 331: II. Largo | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 | |
| 9-3 | Concerto for Violin, Strings and Continuo in G minor, RV 331: III. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 9-4 | Concerto for Violin, Strings and Continuo in C major, RV 190: I. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.004-5 | |
| 9-5 | Concerto for Violin, Strings and Continuo in C major, RV 190: II. Largo | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 | |
| 9-6 | Concerto for Violin, Strings and Continuo in C major, RV 190: III. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 9-7 | Concerto for Violin, Strings and Continuo in G minor, RV 325: I. Allegro molto | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 9-8 | Concerto for Violin, Strings and Continuo in G minor, RV 325: II. Largo a piacimento | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 | |
| 9-9 | Concerto for Violin, Strings and Continuo in G minor, RV 325: III. Presto | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 9-10 | Concerto for Violin, Strings and Continuo in D major, RV 217: I. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.004-5 | |
| 9-11 | Concerto for Violin, Strings and Continuo in D major, RV 217: II. Largo | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 | |
| 9-12 | Concerto for Violin, Strings and Continuo in D major, RV 217: III. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 9-13 | Concerto for Violin, Strings and Continuo in G major, RV 303: I. Allegro molto | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 9-14 | Concerto for Violin, Strings and Continuo in G major, RV 303: II. Largo | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 | |
| 9-15 | Concerto for Violin, Strings and Continuo in G major, RV 303: III. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 10-1 | L’elisir d’amore: “Una furtiva lagrima” | Plácido Domingo, Los Angeles Philharmonic Orchestra, Carlo Maria Giulini | T-310.639.190-2 | |
| 10-2 | Lucia di Lammermoor: “Tombe degl’avi miei - Fra poco a me ricovero” | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | — | |
| 10-3 | Ernani: "Merce, diletti amici...Come rugiada al cespite" / "Dell'esilio nel dolore...O tu che l'alma adoro" | Plácido Domingo, The Roger Wagner Chorale, Los Angeles Philharmonic, Carlo Maria Giulini | — | |
| 10-4 | Il Trovatore: “Ah si, ben mio Di quella pira” | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | — | |
| 10-5 | Aida: “Se quel guerrier io fossi!” … “Celeste Aida” | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | T-900.065.376-9 | |
| 10-6 | La Juive: “Rachel, quand du Seigneur” | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | — | |
| 10-7 | L’africaine: “Pays merveilleux Ô paradis” | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | — | |
| 10-8 | Les Pêheurs de perles: “Je crois entendre encore” | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | T-702.424.573-8 | |
| 10-9 | Carmen : Acte II. « La fleur que tu m'avais jetée » | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | T-928.635.311-5 | |
| 11-1 | Symphony no. 5: Part I. 1. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt | Orquesta Sinfónica Simón Bolívar, Gustavo Dudamel | T-926.359.926-4 | |
| 11-2 | Symphony no. 5: Part I. 2. Stürmisch bewegt. Mit größter Vehemenz | Orquesta Sinfónica Simón Bolívar, Gustavo Dudamel | — | |
| 11-3 | Symphony no. 5: Part II. 3. Scherzo. Kräftig, nicht zu schnell | Orquesta Sinfónica Simón Bolívar, Gustavo Dudamel | — | |
| 11-4 | Symphony no. 5: Adagietto (Sehr langsam) | Orquesta Sinfónica Simón Bolívar, Gustavo Dudamel | T-800.652.468-2 | |
| 11-5 | Symphony no. 5: Part III. 5. Rondo-Finale. Allegro - Allegro giocoso. Frisch | Orquesta Sinfónica Simón Bolívar, Gustavo Dudamel | — | |
| 12-1 | The Art of Fugue, BWV 1080: Contrapunctus I | Emerson String Quartet | T-324.161.368-9 | |
| 12-2 | The Art of Fugue, BWV 1080: Contrapunctus II | Emerson String Quartet | — | |
| 12-3 | The Art of Fugue, BWV 1080: Contrapunctus III | Emerson String Quartet | — | |
| 12-4 | The Art of Fugue, BWV 1080: Contrapunctus IV | Emerson String Quartet | — | |
| 12-5 | The Art of Fugue, BWV 1080: Contrapunctus V | Emerson String Quartet | — | |
| 12-6 | The Art of Fugue, BWV 1080: Contrapunctus VI, a 4, in Stylo Francese | Emerson String Quartet | — | |
| 12-7 | The Art of Fugue, BWV 1080: Contrapunctus VII, a 4, per Augmentationem et Diminutionem | Emerson String Quartet | T-926.176.404-9 | |
| 12-8 | The Art of Fugue, BWV 1080: Contrapunctus VIII, a 3 | Emerson String Quartet | — | |
| 12-9 | The Art of Fugue, BWV 1080: Contrapunctus IX, a 4, alla Duodecima | Emerson String Quartet | T-317.556.052-4 | |
| 12-10 | The Art of Fugue, BWV 1080: Contrapunctus X, a 4, alla Decima | Emerson String Quartet | — | |
| 12-11 | The Art of Fugue, BWV 1080: Contrapunctus XI, a 4 | Emerson String Quartet | — | |
| 12-12 | The Art of Fugue, BWV 1080: Canon per Augmentationem in Contrario Motu | Emerson String Quartet | — | |
| 12-13 | The Art of Fugue, BWV 1080: Contrapunctus XII, a 4: Rectus | Emerson String Quartet | — | |
| 12-14 | The Art of Fugue, BWV 1080: Contrapunctus XII, a 4: Inversus | Emerson String Quartet | — | |
| 12-15 | The Art of Fugue, BWV 1080: Canon alla Ottava | Emerson String Quartet | — | |
| 12-16 | The Art of Fugue, BWV 1080: Canon alla Decima in Contrapuncto alla Terza | Emerson String Quartet | — | |
| 12-17 | The Art of Fugue, BWV 1080: Canon alla Duodecima in Contrapuncto alla Quinta | Emerson String Quartet | — | |
| 12-18 | The Art of Fugue, BWV 1080: Contrapunctus XIII, a 3: Rectus | Emerson String Quartet | T-314.634.514-0 | |
| 12-19 | The Art of Fugue, BWV 1080: Contrapunctus XIII, a 3: Inversus | Emerson String Quartet | — | |
| 12-20 | The Art of Fugue, BWV 1080: Canon per Augmentationem in Contrario Motu | Emerson String Quartet | — | |
| 12-21 | The Art of Fugue, BWV 1080: Contrapunctus XIV (Fragment of quadruple fugue) | Emerson String Quartet | T-910.178.928-0 | |
| 12-22 | The Art of Fugue, BWV 1080: Chorale: “Vor deinen Thron tret ich hiermit” (“Wenn wir in höchsten Nöten sein”) BWV 668a | Emerson String Quartet | — | |
| 13-1 | Winterreise, D 911: Gute Nacht | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-2 | Winterreise, D 911: Die Wetterfahne | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-3 | Winterreise, D. 911: 3. "Gefrorne Tränen" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-4 | Winterreise, D. 911: 4. "Erstarrung" | Dietrich Fischer-Dieskau, Gerald Moore | T-312.542.381-2 | |
| 13-5 | Winterreise, D. 911: 5. “Der Lindenbaum” | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-6 | Winterreise, D. 911: 6. "Wasserflut" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-7 | Winterreise, D. 911: 7. "Auf dem Flusse" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-8 | Winterreise, D 911: Rückblick | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-9 | Winterreise, D. 911: 9. "Irrlicht" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-10 | Winterreise, D. 911: 10. "Rast" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-11 | Winterreise, D 911: Frühlingstraum | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-12 | Winterreise, D 911: Einsamkeit | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-13 | Winterreise, D 911: Die Post | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-14 | Winterreise, D 911: Der greise Kopf | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-15 | Winterreise, D. 911: 15. "Die Krähe" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-16 | Winterreise, D. 911: 16. "Letzte Hoffnung" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-17 | Winterreise, D 911: Im Dorfe | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-18 | Winterreise, D. 911: 18. "Der stürmische Morgen" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-19 | Winterreise, D. 911: 19. "Täuschung" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-20 | Winterreise, D 911: Der Wegweiser | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-21 | Winterreise, D. 911: 21. "Das Wirtshaus" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-22 | Winterreise, D. 911: 22. "Mut" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-23 | Winterreise, D. 911: 23. "Die Nebensonnen" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-24 | Winterreise, D 911: Der Leiermann | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 14-1 | Suite for Cello Solo no. 1 in G major, BWV 1007: 1. Prélude | Pierre Fournier | — | |
| 14-2 | Cello Suite no. 1 in G major, BWV 1007: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 14-3 | Cello Suite no. 1 in G major, BWV 1007: III. Courante | Pierre Fournier | — | |
| 14-4 | 무반주 첼로 모음곡 1번 중 "사라방드" [Unaccompanied Cello no. 1, Sarabande] | Pierre Fournier | — | |
| 14-5 | Cello Suite no. 1 in G major, BWV 1007: V. Menuet I/II | Pierre Fournier | — | |
| 14-6 | Cello Suite no. 1 in G major, BWV 1007: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 14-7 | Cello Suite no. 2 in D minor, BWV 1008: I. Prelude | Pierre Fournier | — | |
| 14-8 | Cello Suite no. 2 in D minor, BWV 1008: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 14-9 | Cello Suite no. 2 in D minor, BWV 1008: III. Courante | Pierre Fournier | — | |
| 14-10 | Cello Suite no. 2 in D minor, BWV 1008: IV. Sarabande | Pierre Fournier | — | |
| 14-11 | Cello Suite no. 2 in D minor, BWV 1008: V. Menuet I/II | Pierre Fournier | — | |
| 14-12 | Cello Suite no. 2 in D minor, BWV 1008: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 14-13 | Cello Suite no. 3 in C major, BWV 1009: I. Prelude | Pierre Fournier | — | |
| 14-14 | Cello Suite no. 3 in C major, BWV 1009: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 14-15 | Cello Suite no. 3 in C major, BWV 1009: III. Courante | Pierre Fournier | — | |
| 14-16 | Cello Suite no. 3 in C major, BWV 1009: IV. Sarabande | Pierre Fournier | — | |
| 14-17 | Cello Suite no. 3 in C major, BWV 1009: V. Bourree I/II | Pierre Fournier | — | |
| 14-18 | Cello Suite no. 3 in C major, BWV 1009: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 15-1 | Cello Suite no. 4 in E-flat major, BWV 1010: I. Prelude | Pierre Fournier | — | |
| 15-2 | Cello Suite no. 4 in E-flat major, BWV 1010: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 15-3 | Cello Suite no. 4 in E-flat major, BWV 1010: III. Courante | Pierre Fournier | — | |
| 15-4 | Cello Suite no. 4 in E-flat major, BWV 1010: IV. Sarabande | Pierre Fournier | — | |
| 15-5 | Cello Suite no. 4 in E-flat major, BWV 1010: V. Bourree I/II | Pierre Fournier | — | |
| 15-6 | Cello Suite no. 4 in E-flat major, BWV 1010: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 15-7 | Cello Suite no. 5 in C minor, BWV 1011: I. Prelude | Pierre Fournier | T-925.383.914-4 | |
| 15-8 | Cello Suite no. 5 in C minor, BWV 1011: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 15-9 | Cello Suite no. 5 in C minor, BWV 1011: III. Courante | Pierre Fournier | T-925.383.914-4 | |
| 15-10 | Cello Suite no. 5 in C minor, BWV 1011: IV. Sarabande | Pierre Fournier | — | |
| 15-11 | Cello Suite no. 5 in C minor, BWV 1011: V. Gavotte I/II | Pierre Fournier | — | |
| 15-12 | Cello Suite no. 5 in C minor, BWV 1011: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 15-13 | Cello Suite no. 6 in D major, BWV 1012: I. Prelude | Pierre Fournier | — | |
| 15-14 | Cello Suite no. 6 in D major, BWV 1012: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 15-15 | Cello Suite no. 6 in D major, BWV 1012: III. Courante | Pierre Fournier | — | |
| 15-16 | Cello Suite no. 6 in D major, BWV 1012: IV. Sarabande | Pierre Fournier | — | |
| 15-17 | Cello Suite no. 6 in D major, BWV 1012: V. Gavotte I/II | Pierre Fournier | — | |
| 15-18 | Cello Suite no. 6 in D major, BWV 1012: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 16-1 | Messa da Requiem: Requiem (coro, soli). Andante - Poco più - Attacca subito (come prima) - Animando un poco | Maria Stader, Marianna Radev, Helmut Krebs, Kim Borg, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | T-922.061.546-3 | |
| 16-2 | Messa da Requiem: Dies irae: Dies irae (coro). Allegro agitato | RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-3 | Messa da Requiem: Dies irae: Tuba mirum (coro, basso). Allegro sostenuto - Molto meno mosso | Kim Borg, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-4 | Messa da Requiem: Dies irae: Liber scriptus (mezzo-soprano, coro). Allegro molto sostenuto - Allegro agitato | Marianna Radev, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-5 | Messa da Requiem: Dies irae: Quid sum miser (soprano, mezzo-soprano, tenore). Adagio | Maria Stader, Marianna Radev, Helmut Krebs, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-6 | Messa da Requiem: Dies irae: Rex tremendae (soli, coro). Adagio maestoso | Maria Stader, Marianna Radev, Helmut Krebs, Kim Borg, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-7 | Messa da Requiem: Dies irae: Recordare (soprano, mezzo-soprano). Lo stesso tempo | Maria Stader, Marianna Radev, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-8 | Messa da Requiem: Dies irae: Ingemisco (tenore). Lo stesso tempo - Poco meno mosso | Helmut Krebs, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-9 | Messa da Requiem: Dies irae: Confutatis (basso, coro). Andante - Allegro come prima | Kim Borg, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-10 | Messa da Requiem: Dies irae: Lacrimosa (soli, coro). Largo | Maria Stader, Marianna Radev, Helmut Krebs, Kim Borg, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-11 | Messa da Requiem: Offertorio (soli). Andante mosso - Allegro mosso - Adagio - Come prima | Maria Stader, Marianna Radev, Helmut Krebs, Kim Borg, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-12 | Messa da Requiem: Sanctus (coro). Allegro | Chor der St. Hedwigs-Kathedrale Berlin, RIAS Kammerchor, Deutsches Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-13 | Messa da Requiem: Agnus Dei (soprano, mezzo-soprano, coro) | Maria Stader, Marianna Radev, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-14 | Messa da Requiem: Lux aeterna (mezzo-soprano, tenore, basso). Allegro moderato | Marianna Radev, Helmut Krebs, Kim Borg, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | T-910.952.061-8 | |
| 16-15 | Messa da Requiem: Libera me (soprano, coro). Moderato - Allegro agitato - Andante - Moderato - Allegro risoluto | Maria Stader, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 17-1 | Symphony no. 4 in D minor, op. 120: I. Ziemlich langsam - Lebhaft | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 17-2 | Symphony no. 4 in D minor, op. 120: II. Romanze (Ziemlich langsam) | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 17-3 | Symphony no. 4 in D minor, op. 120: III. Scherzo, Lebhaft | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 17-4 | Symphony no. 4 in D minor, op. 120: IV. Langsam - Lebhaft | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 17-5 | Symphony in G major, Hob. I:88: I. Adagio - Allegro | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 17-6 | Symphony in G major, Hob. I:88: II. Largo | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 17-7 | Symphony in G major, Hob. I:88: III. Menuetto | Berliner Philharmoniker, Wilhelm Furtwängler | T-902.876.200-7 | |
| 17-8 | Symphony No. 88 in G major, Hob I/88: IV. Finale (Allegro con spirito) | Berliner Philharmoniker, Wilhelm Furtwängler | T-318.676.528-2 | |
| 18-1 | Vespro della Beata Vergine, SV 206: I. Domine ad adiuvandum | Monteverdi Choir, Nigel Robson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-2 | Vespro della Beata Vergine, SV 206: II. Dixit dominus | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-3 | Vespro della Beata Vergine, SV 206: III. Nigra sum | Mark Tucker, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-4 | Vespro della Beata Vergine, SV 206: IV. Laudate pueri | Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-5 | Vespro della beata Vergine: Pulchra es A 2 | Ann Monoyios, Marinella Pennicchi, Jakob Lindberg, David Miller, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-6 | Vespro della Beata Vergine, SV 206: VI. Laetatus sum | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-7 | Vespro della beata Vergine: Duo seraphim A 3 | Sandro Naglia, Nigel Robson, Mark Tucker, Jakob Lindberg, David Miller, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-8 | Vespro della beata Vergine: Nisi Dominus A 10 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-9 | Vespro della Beata Vergine, SV 206: IX. Audi coelum | Monteverdi Choir, Nigel Robson, Mark Tucker, Jakob Lindberg, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-10 | Vespro della beata Vergine: Lauda Jerusalem A 7 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 19-1 | Vespro della Beata Vergine, SV 206: XI. Sonata sopra "Sancta Maria" | Patrick Russill, London Oratory Junior Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 19-2 | Vespro della Beata Vergine, SV 206: XII. Ave maris stella | Patrick Russill, Michael Chance, London Oratory Junior Choir, Monteverdi Choir, Nigel Robson, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 19-3 | Vespro della Beata Vergine, SV 206: XIII. Magnificat a 7 voci | Patrick Russill, Michael Chance, London Oratory Junior Choir, Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, Ian Watson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 19-4 | Vespro della Beata Vergine, SV 206a: XII. Magnificat a 6 voci | Patrick Russill, London Oratory Junior Choir, Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, Ian Watson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 20-1 | Piano Sonata no. 21 in C major, op. 53 "Waldstein": I. Allegro con brio | Emil Gilels | — | |
| 20-2 | Piano Sonata no. 21 in C major, op. 53 "Waldstein": II. Introduzione. Adagio molto | Emil Gilels | — | |
| 20-3 | Klaviersonate Nr. 21 C-Dur, op. 53 »Waldstein-Sonate«: III. Rondo. Allegretto moderato – Prestissimo | Emil Gilels | T-312.439.094-5 | |
| 20-4 | Klaviersonate Nr. 21 C-Dur, op. 53 »Waldstein-Sonate«: IV. Prestissimo | Emil Gilels | — | |
| 20-5 | Piano Sonata no. 26 in E-flat major, op. 81a "Les Adieux": I. Das Lebewohl. Adagio - Allegro | Emil Gilels | — | |
| 20-6 | Piano Sonata no. 26 in E-flat major, op. 81a "Les Adieux": II. Die Abwesenheit. Andante espressivo | Emil Gilels | T-800.722.074-9 | |
| 20-7 | Piano Sonata no. 26 in E-flat major, op. 81a "Les Adieux": III. Das Wiedersehn. Vivacissimamente | Emil Gilels | — | |
| 20-8 | Piano Sonata no. 23 in F minor, op. 57 "Appassionata": I. Allegro assai | Emil Gilels | T-306.395.786-4 | |
| 20-9 | Piano Sonata no. 23 in F minor, op. 57 "Appassionata": II. Andante con moto | Emil Gilels | — | |
| 20-10 | Piano Sonata no. 23 in F minor, op. 57 "Appassionata": III. Allegro ma non troppo | Emil Gilels | — | |
| 21-1 | Canon & Gigue in D major, P. 37 | Musica Antiqua Köln, Reinhard Goebel | T-920.151.760-4 | |
| 21-2 | Sonata in G major for 2 Violins and Continuo op. 5 no. 4, HWV 399: 1. Allegro | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-3 | Sonata in G major for 2 Violins and Continuo op. 5 no. 4, HWV 399: 2. A tempo ordinario - Allegro non presto | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-4 | Sonata in G major for 2 Violins and Continuo op. 5 no. 4, HWV 399: 3. Passacaille | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-5 | Sonata in G major for 2 Violins and Continuo op. 5 no. 4, HWV 399: 4. Gigue. Presto | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-6 | Sonata in G major for 2 Violins and Continuo op. 5 no. 4, HWV 399: 5. Menue. Allegro moderato | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-7 | Sonata for 2 Violins and Continuo "La Follia" op. 1 no. 12, RV 63 in D minor | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-8 | Orchestral Suite no. 2 in B minor, BWV 1067: I. Ouverture | Musica Antiqua Köln, Reinhard Goebel | T-009.030.807-8 | |
| 21-9 | Orchestral Suite no. 2 in B minor, BWV 1067: II. Rondeau | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-10 | Orchestral Suite no. 2 in B minor, BWV 1067: III. Sarabande | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-11 | Orchestral Suite no. 2 in B minor, BWV 1067: IV. Bourée I/II | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-12 | Orchestral Suite no. 2 in B minor, BWV 1067: V. Polonaise - Double | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-13 | Orchestral Suite No. 2 in B minor, BWV 1067: VI. Menuet | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-14 | Orchestral Suite No. 2 in B minor, BWV 1067: VII. Badinerie | Musica Antiqua Köln, Reinhard Goebel | T-011.654.484-3 | |
| 22-1 | Fantasia on an Ostinato | Hélène Grimaud | — | |
| 22-2 | Piano Sonata no. 17 in D minor, op. 31 no. 2 "Tempest": I. Largo - Allegro | Hélène Grimaud | T-310.769.687-3 | |
| 22-3 | Piano Sonata no. 17 in D minor, op. 31 no. 2 "Tempest": II. Adagio | Hélène Grimaud | T-310.769.687-3 | |
| 22-4 | Piano Sonata no. 17 in D minor, op. 31 no. 2 "Tempest": III. Allegretto | Hélène Grimaud | T-310.769.687-3 | |
| 22-5 | Fantasia for Piano, Chorus and Orchestra in C minor, op. 80 "Choral Fantasy": I. Adagio | Sveriges Radios Symfoniorkester, Esa-Pekka Salonen, Radiokören, Hélène Grimaud | T-070.160.313-5 | |
| 22-6 | Fantasia for Piano, Chorus and Orchestra in C minor, op. 80 "Choral Fantasy": II. Finale: Allegro. Meno allegro. Allegro molto. Adagio ma non troppo. Marcia, assai vivace | Sveriges Radios Symfoniorkester, Esa-Pekka Salonen, Radiokören, Hélène Grimaud | T-802.445.410-3 | |
| 22-7 | Credo, for Piano, Chorus & Orchestra | Stefan Parkman, Radiokören, Hélène Grimaud, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 23-1 | Concerto for Violin, Strings and Continuo in E major, BWV 1042: I. Allegro | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-011.422.353-8 | |
| 23-2 | Concerto for Violin, Strings and Continuo in E major, BWV 1042: II. Adagio | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-001.439.586-8 | |
| 23-3 | Violin Concerto no. 2 in E, BWV 1042: 3. Allegro assai | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-306.395.786-4 | |
| 23-4 | Concerto for 2 Violins, Strings and Continuo in D minor, BWV 1043: I. Vivace | Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 23-5 | Concerto for Two Violins in D minor, BWV 1043: Largo ma non tanto | Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 23-6 | Concerto for 2 Violins, Strings and Continuo in D minor, BWV 1043: III. Allegro | Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 23-7 | Concerto for Violin, Strings and Continuo in A minor, BWV 1041: I. Allegro moderato | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-902.685.630-4 | |
| 23-8 | Concerto for Violin, Strings and Continuo in A minor, BWV 1041: II. Andante | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 23-9 | Concerto for Violin, Strings and Continuo in A minor, BWV 1041: III. Allegro assai | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-306.395.786-4 | |
| 23-10 | Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060: I. Allegro | Allan Vogel, Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-011.422.353-8 | |
| 23-11 | Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060: II. Adagio | Allan Vogel, Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-071.579.534-8 | |
| 23-12 | Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060: III. Allegro | Allan Vogel, Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 24-1 | Sonata in E major, K 380 (L 23) | Vladimir Horowitz | — | |
| 24-2 | Sonata no. 10 in C major, K. 300h/330: I. Allegro moderato | Vladimir Horowitz | — | |
| 24-3 | Sonata no. 10 in C major, K. 300h/330: I. Allegro moderato | Vladimir Horowitz | — | |
| 24-4 | Sonata no. 10 in C major, K. 300h/330: I. Allegro moderato | Vladimir Horowitz | — | |
| 24-5 | Prelude in G major, op. 32 no. 5: Moderato | Vladimir Horowitz | — | |
| 24-6 | Prelude in G-sharp minor, op. 32 no. 12: Allegro | Vladimir Horowitz | — | |
| 24-7 | Etude in C-sharp minor, op. 2 no. 1: Andante | Vladimir Horowitz | T-915.981.383-9 | |
| 24-8 | Etude in D-sharp minor, op. 8 no. 12: Patetico | Vladimir Horowitz | — | |
| 24-9 | Soirées de Vienne: Valse-Caprice No. 6: Allegro con spirito | Владимир Самойлович Горовиц | — | |
| 24-10 | Années de pèlerinage: Deuxième année "Italie": V. Sonetto 104 del Petrarca: Agitato assai - Adagio | Vladimir Horowitz | — | |
| 24-11 | Mazurka in C-sharp minor, op. 30 no. 4: Allegretto | Vladimir Horowitz | T-918.063.801-1 | |
| 24-12 | Mazurka in F minor, op. 7 no. 3 | Vladimir Horowitz | T-918.063.801-1 | |
| 24-13 | Kinderszenen, op. 15: Träumerei | Vladimir Horowitz | — | |
| 24-14 | Etincelles, Morceau caractéristique, op. 36 no. 6 | Vladimir Horowitz | — | |
| 24-15 | Polka de W.R.: Allegretto | Vladimir Horowitz | — | |
| 25-1 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-2 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-3 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-4 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-5 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-6 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-7 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-8 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-9 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-10 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-11 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-12 | Carmina Burana: II. In taberna: Olim lacus colueram | Chor der Deutschen Oper Berlin, Gerhard Stolze, Orchester der Deutschen Oper Berlin, Eugen Jochum | T-800.639.771-4 | |
| 25-13 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-14 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-15 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-16 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-17 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-18 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-19 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-20 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-21 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-22 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-23 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-24 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-25 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 26-1 | Overture, op. 62 "Coriolan": Allegro con brio | Berliner Philharmoniker, Herbert von Karajan | T-909.574.378-5 | |
| 26-2 | Symphonie No. 9 d-Moll op. 125: 4. Presto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 26-3 | Symphonie No. 9 d-Moll op. 125: 4. Presto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 26-4 | Symphonie No. 9 d-Moll op. 125: 4. Presto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 26-5 | Symphonie No. 9 d-Moll op. 125: 4. Presto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 26-6 | Symphonie No. 9 d-Moll op. 125: 4. Presto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 27-1 | Klavierkonzert Nr. 4 G-Dur, op. 58: I. Allegro moderato | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — | |
| 27-2 | Klavierkonzert Nr. 4 G-Dur, op. 58: I. Allegro moderato | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — | |
| 27-3 | Klavierkonzert Nr. 4 G-Dur, op. 58: I. Allegro moderato | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — | |
| 27-4 | Concerto for Piano and Orchestra no. 5 in E-flat major, op. 73 "Emperor": I. Allegro | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | T-070.242.672-9 | |
| 27-5 | Concerto for Piano and Orchestra no. 5 in E-flat major, op. 73 "Emperor": II. Adagio un poco mosso | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — | |
| 27-6 | Concerto for Piano and Orchestra no. 5 in E-flat major, op. 73 "Emperor": III. Rondo. Allegro | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — | |
| 28-1 | Symphonie Nr. 5 c‐moll, op. 67: 3. Satz: Allegro | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-2 | Symphonie Nr. 5 c‐moll, op. 67: 3. Satz: Allegro | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-3 | Symphonie Nr. 5 c‐moll, op. 67: 3. Satz: Allegro | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-4 | Symphonie Nr. 5 c‐moll, op. 67: 3. Satz: Allegro | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-5 | Symphonie nr. 7 A‐Dur, op. 92: I. Poco sostenuto – Vivace | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-6 | Symphonie nr. 7 A‐Dur, op. 92: I. Poco sostenuto – Vivace | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-7 | Symphonie nr. 7 A‐Dur, op. 92: I. Poco sostenuto – Vivace | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-8 | Symphonie nr. 7 A‐Dur, op. 92: I. Poco sostenuto – Vivace | Wiener Philharmoniker, Carlos Kleiber | — | |
| 29-1 | Alcina, HWV 34: “Ah! mio cor! Schernito sei!” (Alcina) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-2 | Hercules, HWV 60: “Where shall I fly?” (Dejanira) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | T-911.061.076-9 | |
| 29-3 | Agrippina, HWV 6: “Pensieri, voi mi tormentate” (Agrippina) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-4 | Giulio Cesare in Egitto, HWV 17: “Cara speme, questo core tu comincia lusingar” (Sesto) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-5 | Joshua, oratorio, HWV 64: Act III, Scene XIV. Air "Oh Had I Jubal's Lyre" (Achsah) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | T-900.230.391-5 | |
| 29-6 | Ariodante, HWV 33: “Scherza infida in grembo al drudo” (Ariodante) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-7 | Theodora, HWV 68: “O thou bright sun” - “With darkness deep” (Theodora) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-8 | Amdigi di Gaula, HWV 11: “Desterò dall’empia Dite” (Melissa) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-9 | Orlando, HWV 31: “Ah! stigie larve!” - “Già latra Cerbero” - “Vaghe pupille, no, non piangete, no” (Orlando) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-10 | Ariodante, HWV 33: “Dopo notte, atra e funesta” (Ariodante) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-11 | Rinaldo, HWV 7: “Lascia ch’io pianga mia cruda sorte” (Almirena) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 30-1 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 30-2 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 30-3 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 30-4 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 30-5 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 30-6 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 30-7 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 30-8 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 31-1 | Piano Concerto no. 1 in B-flat minor, op. 23: I. Allegro non troppo e molto maestoso – Allegro con spirito | Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim | T-010.194.845-1 | |
| 31-2 | Piano Concerto no. 1 in B-flat minor, op. 23: II. Andantino semplice - Prestissimo - Tempo I | Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 31-3 | Piano Concerto no. 1 in B-flat minor, op. 23: III. Allegro con fuoco | Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 31-4 | Piano Concerto no. 1 in G minor, op. 25: I. Molto allegro con fuoco | Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 31-5 | Concerto for Piano no. 1 in G minor, op. 25: Andante | Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 31-6 | Piano Concerto no. 1 in G minor, op. 25: III. Presto - Molto allegro e vivace | Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 32-1 | Symphony no. 4 in A major, op. 90 "Italian": 1. Allegro vivace | Berliner Philharmoniker, Lorin Maazel | — | |
| 32-2 | Symphony no. 4 in A major, op. 90 "Italian": 2. Andante con moto | Berliner Philharmoniker, Lorin Maazel | T-303.792.628-2 | |
| 32-3 | Symphony no. 4 in A major, op. 90 "Italian": 3. Con moto moderato | Berliner Philharmoniker, Lorin Maazel | — | |
| 32-4 | Symphony no. 4 in A major, op. 90 "Italian": 4. Saltarello. Presto | Berliner Philharmoniker, Lorin Maazel | T-925.645.332-4 | |
| 32-5 | Symphony no. 5 in D major, op. 107 "Reformation": 1. Allegro – Allegro con fuoco | Berliner Philharmoniker, Lorin Maazel | T-931.717.651-5 | |
| 32-6 | Symphony no. 5 in D major, op. 107 "Reformation": 2. Allegro vivace | Berliner Philharmoniker, Lorin Maazel | — | |
| 32-7 | Symphony no. 5 in D major, op. 107 "Reformation": 3. Andante | Berliner Philharmoniker, Lorin Maazel | T-902.876.200-7 | |
| 32-8 | Symphony no. 5 in D major, op. 107 "Reformation": 4. Chorale “Ein feste Burg ist unser Gott”. Andante con moto – Allegro maestoso | Berliner Philharmoniker, Lorin Maazel | — | |
| 33-1 | Le Carnaval des animaux: XIII. Le Cygne | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | T-317.671.333-6 | |
| 33-2 | Élégie, op. 24 | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | — | |
| 33-3 | Adagio con variazioni | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | T-005.002.559-6 | |
| 33-4 | Silent Woods, op. 68 no. 5: Lento e molto cantabile | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | — | |
| 33-5 | Chant du ménestrel, op. 71 | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | — | |
| 33-6 | Nocturne in C-sharp minor, op. 19 no. 4 | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | T-301.624.364-0 | |
| 33-7 | Kol Nidrei, op. 47 | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | — | |
| 33-8 | Romanze für Cello und Orchester in F | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | T-001.397.158-8 | |
| 33-9 | Adagio molto from Violin Concerto in C major, H. VIIa no. 1 | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | — | |
| 34-1 | Symphonie fantastique, op. 14: I. Rêveries – Passions | Orchestre Lamoureux, Igor Markevitch | — | |
| 34-2 | Symphonie fantastique, op. 14: II. Un bal | Orchestre Lamoureux, Igor Markevitch | — | |
| 34-3 | Symphonie fantastique, op. 14: III. Scène aux champs | Orchestre Lamoureux, Igor Markevitch | — | |
| 34-4 | Symphonie fantastique, op. 14: IV. Marche au supplice | Orchestre Lamoureux, Igor Markevitch | — | |
| 34-5 | Symphonie fantastique, op. 14: V. Songe d'une nuit du Sabbat | Orchestre Lamoureux, Igor Markevitch | — | |
| 34-6 | Anacréon: Ouverture | Orchestre Lamoureux, Igor Markevitch | — | |
| 34-7 | La Muette de Portici: Ouverture | Orchestre Lamoureux, Igor Markevitch | — | |
| 35-1 | Christum wir sollen loben schon (harmonized: Lucas Osiander) | Martin Luther | — | |
| 35-2 | Puer natus in Bethlehem (from Polyhymnia caduceatrix et panegyrica & Musae Sioniae V) | Michael Praetorius | — | |
| 35-3 | Polyhymnia caduceatrix et panegyrica: Missa Gantz Teudsch: Kyrie | Gabrieli Consort, Paul McCreesh | T-030.102.419-0 | |
| 35-4 | Polyhymnia caduceatrix et panegyrica: Missa Gantz Teudsch: Gloria | Michael Praetorius | — | |
| 35-5 | Musae Sioniae VIII: Der Herr sei mit euch | Michael Praetorius | — | |
| 35-6 | So schreibt der heilig Propheten Jesajas | [anonymous] | — | |
| 35-7 | Lüneburg, Stadtarchiv, Musikabteilung, Mus. ant. pract. KN 208.2: Praeambulum for organ | [anonymous] | — | |
| 35-8 | Vom Himmel hoch da komm ich her (from Musae Sioniae V & Urania) | Michael Praetorius | — | |
| 35-9 | So schreibt der heilige Lukas | [anonymous] | — | |
| 35-10 | Wir glauben all an einen Gott (harmonized: Samuel Scheidt) | Martin Luther | — | |
| 35-11 | Lüneburg, Stadtarchiv, Musikabteilung, Mus. ant. pract. KN 208.2: Resonet in laudibus | [anonymous] | — | |
| 35-12 | Puericinium: Quem pastores laudavere | Michael Praetorius | T-071.000.879-9 | |
| 35-13 | Banchetto musicale: Sonata: Padouana à 5 | Johann Hermann Schein | — | |
| 35-14 | The Lord’s Prayer: “Vater unser, der du bist im Himmel” / Words of Institution: “Unser Herr Jesus Christus” | [anonymous] | — | |
| 35-15 | Polyhymnia caduceatrix et panegyrica: Jesaja dem Propheten das geschah | Michael Praetorius | — | |
| 35-16 | Görlitzer Tabulatur‐Buch: Wie schön leuchtet der Morgenstern | Samuel Scheidt | — | |
| 35-17 | Wie schön leuchtet der Morgenstern | Tessa Bonner, Simon Grant, Susan Hemington Jones, Julian Podger, Angus Smith, Gabrieli Consort & Players, Paul McCreesh | — | |
| 35-18 | Musae Sioniae VI: Uns ist ein Kindlein heut geborn | Sarah Pendlebury, Hannelore Devaere, Gabrieli Consort, Paul McCreesh | T-071.000.879-9 | |
| 35-19 | Musae Sioniae VIII: Der Herr sei mit euch | Michael Praetorius | T-071.000.879-9 | |
| 35-20 | Missodia Sionia: Der Herr segne dich und behüte dich | Michael Praetorius | — | |
| 35-21 | Musae Sioniae VI: Puer nobis nascitur | Michael Praetorius | T-071.000.879-9 | |
| 35-22 | Musae Sioniae VIII: Nun lob mein Seel | Timothy Roberts | — | |
| 35-23 | Polyhymnia caduceatrix et panegyrica: In dulci jubilo | Susan Hemington Jones, Tessa Bonner, Mark le Brocq, Boy's Choir of Roskilde Cathedral, Gabrieli Consort & Players, Paul McCreesh | — | |
| 36-1 | Zaïs : Ouverture | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-2 | Castor et Pollux : Scène funèbre | Les Musiciens du Louvre, Marc Minkowski | T-900.137.133-1 | |
| 36-3 | Les fêtes d’Hébé : Air tendre | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-4 | Dardanus: Tambourins I & II | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-5 | Le Temple de la Gloire : Air tendre pour les Muses | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-6 | Les Boréades : Contredanse | Les Musiciens du Louvre, Marc Minkowski | T-011.673.237-6 | |
| 36-7 | La naissance d’Osiris : Air gracieux | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-8 | Les Boréades : Gavottes I & II | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-9 | Platée : Orage | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-10 | Les Boréades : Prélude | Les Musiciens du Louvre, Marc Minkowski | T-011.710.961-1 | |
| 36-11 | Concert no. 6 : La Poule | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-12 | Les Fêtes d’Hébé : Musette | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-13 | Hyppolyte & Aricie : Ritournelle | Les Musiciens du Louvre, Marc Minkowski | T-003.074.081-8 | |
| 36-14 | Naïs : Rigaudons I & II | Les Musiciens du Louvre, Marc Minkowski | T-911.931.681-3 | |
| 36-15 | Les Indes galantes : Danse des Sauvages | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-16 | Les Boréades : Entrée de Polymnie | Les Musiciens du Louvre, Marc Minkowski | T-031.862.827-1 | |
| 36-17 | Les Indes galantes : Chaconne | Les Musiciens du Louvre, Marc Minkowski | — | |
| 37-1 | Concerto for Violin and Orchestra in D major, op. 77: I. Allegro non troppo | Anne-Sophie Mutter, Berliner Philharmoniker, Herbert von Karajan | T-902.764.002-4 | |
| 37-2 | Concerto for Violin and Orchestra in D major, op. 77: II. Adagio | Anne-Sophie Mutter, Berliner Philharmoniker, Herbert von Karajan | — | |
| 37-3 | Concerto for Violin and Orchestra in D major, op. 77: III. Allegro giocoso, ma non troppo vivace - Poco più presto | Anne-Sophie Mutter, Berliner Philharmoniker, Herbert von Karajan | T-900.964.675-7 | |
| 37-4 | Concerto for Violin, Violoncello, and Orchestra in A minor, op. 102: 1. Allegro | Anne-Sophie Mutter, Antônio Meneses, Berliner Philharmoniker, Herbert von Karajan | T-011.422.353-8 | |
| 37-5 | Concerto for Violin, Violoncello, and Orchestra in A minor, op. 102: 2. Andante | Anne-Sophie Mutter, Antônio Meneses, Berliner Philharmoniker, Herbert von Karajan | T-071.481.827-5 | |
| 37-6 | Concerto for Violin, Violoncello, and Orchestra in A minor, op. 102: 3. Vivace non troppo | Anne-Sophie Mutter, Antônio Meneses, Berliner Philharmoniker, Herbert von Karajan | — | |
| 38-1 | Idomeneo, rè di Creta, K. 366: Act I, Scene I. Recitativo "Quando avran fine omai" (Ilia) | Anna Netrebko, David Aronson, Wiener Philharmoniker, Gianandrea Noseda | — | |
| 38-2 | Don Giovanni, ossia Il dissoluto punito, K. 527, no. 23: “Crudele? – An no, mio bene!” … “Non mi dir, bell’idol mio” | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | — | |
| 38-3 | Benvenuto Cellini: Les belles fleurs! / Quand j'aurai votre âge | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | — | |
| 38-4 | Manon: Obéissons, quand leur voix apelle | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | T-101.072.203-7 | |
| 38-5 | Lucia di Lammermoor: Ancor non giunse! / Regnava nel silenzio | Elīna Garanča, Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | — | |
| 38-6 | La Sonnambula: Care Compagne / Come per me sereno | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | — | |
| 38-7 | Faust: Les grands Seigneurs / Ah! Je ris de me voir | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | — | |
| 38-8 | Rusalka: Act I. “Mesicku na nebi hlubokém” | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | T-802.413.219-3 | |
| 38-9 | La bohème: Atto I. “Quando me’n vò” (Musette’s Waltz) | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | T-911.137.537-2 | |
| 39-1 | Violin Concerto in D major, op. 35: 1. Allegro moderato | David Oistrakh, Staatskapelle Dresden, Franz Konwitschny | T-902.685.630-4 | |
| 39-2 | Violin Concerto in D major, op. 35: 2. Canzonetta. Andante | David Oistrakh, Staatskapelle Dresden, Franz Konwitschny | — | |
| 39-3 | Violin Concerto in D major, op. 35: 3. Finale. Allegro vivacissimo | David Oistrakh, Staatskapelle Dresden, Franz Konwitschny | — | |
| 39-4 | Études-Caprices op. 18 for 2 Violins: No. 2 in E-flat major | David Oistrakh, Igor Oistrakh | — | |
| 39-5 | Études-Caprices op. 18 for 2 Violins: No. 5 in E major | David Oistrakh, Igor Oistrakh | — | |
| 39-6 | Études-Caprices op. 18 for 2 Violins: No. 4 in A minor | David Oistrakh, Igor Oistrakh | — | |
| 39-7 | Navarra op. 33 for 2 Violins and Orchestra | David Oistrakh, Igor Oistrakh, Gewandhausorchester Leipzig, Franz Konwitschny | — | |
| 40-1 | Con che soavità | Anne Sofie von Otter, Musica Antiqua Köln, Reinhard Goebel | — | |
| 40-2 | Lamento della Regina d'Inghilterra | Anne Sofie von Otter, Franz-Josef Selig, Musica Antiqua Köln, Reinhard Goebel | — | |
| 40-3 | Il Ballo del Gran Duca, op. 16: Corrente Nona | Musica Antiqua Köln, Reinhard Goebel | — | |
| 40-4 | Cantata, RV 684 "Cessate, omai cessate" | Anne Sofie von Otter, Musica Antiqua Köln, Reinhard Goebel | — | |
| 40-5 | Lamento d'Arianna | Anne Sofie von Otter, Jakob Lindberg | T-205.000.091-1 | |
| 40-6 | Incassum, Lesbia, rogas, Z. 383 | Anne Sofie von Otter, Markus Möllenbeck, Christian Rieger | — | |
| 40-7 | Ciaccona | Jakob Lindberg | — | |
| 40-8 | Oh solitude!, Z. 406 | Anne Sofie von Otter, Jakob Lindberg | T-010.765.116-0 | |
| 41-1 | Concerto in E major, op. 8 no. 1, RV 269 "La primavera": I. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-306.395.786-4 | |
| 41-2 | Concerto in E major, op. 8 no. 1, RV 269 "La primavera": II. Largo e pianissimo sempre | Trevor Pinnock, Simon Standage, The English Concert | T-911.640.005-6 | |
| 41-3 | Concerto in E major, op. 8 no. 1, RV 269 "La primavera": III. Danza pastorale. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-902.836.120-8 | |
| 41-4 | Concerto in G minor, op. 8 no. 2, RV 315 "L'estate": I. Allegro non molto | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 41-5 | Concerto in G minor, op. 8 no. 2, RV 315 "L'estate": II. Adagio - Presto | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 41-6 | Concerto in G minor, op. 8 no. 2, RV 315 "L'estate": III. Presto | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 41-7 | Concerto in F major, op. 8 no. 3, RV 293 "L'autunno": I. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-911.640.004-5 | |
| 41-8 | Concerto in F major, op. 8 no. 3, RV 293 "L'autunno": II. Adagio | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 41-9 | Concerto in F major, op. 8 no. 3, RV 293 "L'autunno": III. Allegro | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 41-10 | Concerto in F minor, op. 8 no. 4, RV 297 "L'inverno": I. Allegro non molto | Trevor Pinnock, Simon Standage, The English Concert | T-307.175.172-5 | |
| 41-11 | Concerto in F minor, op. 8 no. 4, RV 297 "L'inverno": II. Largo | Trevor Pinnock, Simon Standage, The English Concert | T-307.175.181-6 | |
| 41-12 | Concerto in F minor, op. 8 no. 4, RV 297 "L'inverno": III. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-902.836.120-8 | |
| 41-13 | Concerto for Oboe, Violin and Strings in B-flat major, RV 548: I. (Allegro) | David Reichenberg, Simon Standage, The English Concert, Trevor Pinnock | T-910.793.958-2 | |
| 41-14 | Concerto for Oboe, Violin and Strings in B-flat major, RV 548: II. Largo | David Reichenberg, Simon Standage, The English Concert, Trevor Pinnock | T-911.640.005-6 | |
| 41-15 | Concerto for Oboe, Violin, Strings and Continuo in B-flat, RV 548: 3. Allegro | David Reichenberg, Simon Standage, The English Concert, Trevor Pinnock | T-902.836.120-8 | |
| 41-16 | Concerto for 2 Violins and Strings in G major, RV 516: I. Allegro molto | Simon Standage, Elizabeth Wilcock, The English Concert, Trevor Pinnock | — | |
| 41-17 | Concerto for 2 Violins, Strings and Continuo in G major, RV 516: 2. Andante (molto) | Simon Standage, Elizabeth Wilcock, The English Concert, Trevor Pinnock | — | |
| 41-18 | Concerto for 2 Violins and Strings in G major, RV 516: III. Allegro | Simon Standage, Elizabeth Wilcock, The English Concert, Trevor Pinnock | T-902.836.120-8 | |
| 42-1 | Nocturne no. 1 in B-flat minor, op. 9 no. 1: Larghetto | Maria João Pires | T-321.286.786-8 | |
| 42-2 | Nocturne no. 2 in E‐flat major, op. 9 no. 2: Andante | Maria João Pires | T-316.578.060-5 | |
| 42-3 | Nocturne No. 3 in B major, Op. 9 No. 3: Allegretto | Maria João Pires | — | |
| 42-4 | Nocturne no. 4 in F major, op. 15 no. 1: Andante cantabile | Maria João Pires | T-306.230.833-8 | |
| 42-5 | Nocturne no. 5 in F-sharp major, op. 15 no. 2: Larghetto | Maria João Pires | T-306.230.833-8 | |
| 42-6 | Nocturne No. 6 in G minor, Op. 15 No. 3: Lento | Maria João Pires | — | |
| 42-7 | Nocturne no. 7 in C-sharp minor, op. 27 no. 1: Larghetto | Maria João Pires | — | |
| 42-8 | Nocturne no. 8 in D-flat major, op. 27 no. 2: Lento sostenuto | Maria João Pires | T-306.230.835-0 | |
| 42-9 | Nocturne No. 9 in B major, Op. 32 No. 1: Andante sostenuto | Maria João Pires | T-900.129.617-9 | |
| 42-10 | Nocturne no. 10 in A-flat major, op. 32 no. 2: Lento | Maria João Pires | — | |
| 43-1 | Nocturne no. 11 in G minor, op. 37 no. 1: Andante sostenuto | Maria João Pires | — | |
| 43-2 | Nocturne No. 12 in G major, Op. 37 No. 2: Andantino | Maria João Pires | T-906.148.797-6 | |
| 43-3 | Nocturne no. 13 in C minor, op. 48 no. 1: Lento | Maria João Pires | — | |
| 43-4 | Nocturne No. 14 in F-sharp minor, Op. 48 No. 2: Andantino | Maria João Pires | T-306.230.833-8 | |
| 43-5 | Nocturne no. 15 in F minor, op. 55 no. 1: Andante | Maria João Pires | T-321.286.787-9 | |
| 43-6 | Nocturne No. 16 in E-flat major, Op. 55 No. 2: Lento sostenuto | Maria João Pires | — | |
| 43-7 | Nocturne No. 17 in B major, Op. 62 No. 1: Andante | Maria João Pires | — | |
| 43-8 | Nocturne no. 18 in E major, op. 62 no. 2: Lento | Maria João Pires | — | |
| 43-9 | Nocturne No. 19 in E minor, Op. post. 72 No. 1: Andante | Maria João Pires | — | |
| 43-10 | Nocturne no. 20 in C-sharp minor, op. post: Lento con gran espressione | Maria João Pires | T-928.543.689-7 | |
| 43-11 | Nocturne No. 21 in C minor, Op. post. | Maria João Pires | — | |
| 44-1 | Sonata in E major, K. 20: Presto | Ivo Pogorelich | — | |
| 44-2 | Sonata in E major, K. 135: Allegro | Ivo Pogorelich | — | |
| 44-3 | Sonata in D minor, K. 9: Allegro moderato | Ivo Pogorelich | — | |
| 44-4 | Sonata in D major, K. 119: Allegro | Ivo Pogorelich | — | |
| 44-5 | Sonata in D minor, K. 1: Allegro | Ivo Pogorelich | — | |
| 44-6 | Sonata in B minor, K. 87: Andante | Ivo Pogorelich | T-070.126.537-3 | |
| 44-7 | Sonata in E minor, K. 98: Allegrissimo | Ivo Pogorelich | — | |
| 44-8 | Sonata in G major, K. 13: Presto | Ivo Pogorelich | — | |
| 44-9 | Sonata in G minor, K. 8: Allegro | Ivo Pogorelich | — | |
| 44-10 | Sonata in C minor, K. 11: Moderato | Ivo Pogorelich | — | |
| 44-11 | Sonata in G minor, K. 450: Allegrissimo | Ivo Pogorelich | — | |
| 44-12 | Sonata in C major, K. 159: Allegro | Ivo Pogorelich | — | |
| 44-13 | Sonata in C major, K. 487: Allegro | Ivo Pogorelich | T-918.063.799-4 | |
| 44-14 | Sonata in B‐flat major, K. 529: Allegro | Ivo Pogorelich | — | |
| 44-15 | Sonata in E major, K. 380: Andante comodo | Ivo Pogorelich | — | |
| 45-1 | Études op. 10: No. 1 in C major: Allegro | Maurizio Pollini | T-329.456.966-3 | |
| 45-2 | Études op. 10: No. 2 in A minor “Chromatique”: Allegro | Maurizio Pollini | T-329.458.384-5 | |
| 45-3 | Études op. 10: No. 3 in E major “Tristesse”: Lento, ma non troppo | Maurizio Pollini | T-329.459.340-7 | |
| 45-4 | Études op. 10: No. 4 in C‐sharp minor: Presto | Maurizio Pollini | T-915.981.383-9 | |
| 45-5 | Études op. 10: No. 5 in G‐flat major “Black Keys”: Vivace | Maurizio Pollini | T-329.453.534-1 | |
| 45-6 | Études op. 10: No. 6 in E‐flat minor: Andante | Maurizio Pollini | T-329.458.108-7 | |
| 45-7 | Études op. 10: No. 7 in C major: Vivace | Maurizio Pollini | T-329.457.242-8 | |
| 45-8 | Études op. 10: No. 8 in F major: Allegro | Maurizio Pollini | T-329.458.487-1 | |
| 45-9 | Études op. 10: No. 9 in F minor: Allegro, molto agitato | Maurizio Pollini | T-329.456.945-8 | |
| 45-10 | Études op. 10: No. 10 in A‐flat major: Vivace assai | Maurizio Pollini | T-329.454.326-9 | |
| 45-11 | Études, op. 10: No. 11 in E‐flat major: Allegretto | Maurizio Pollini | T-329.456.687-9 | |
| 45-12 | Études, op. 10: No. 12 in C minor “Revolutionary”: Allegro con fuoco | Maurizio Pollini | T-915.981.383-9 | |
| 45-13 | 12 Études, Op. 25: No. 1 in A‐Flat Major “Harp Study” | Maurizio Pollini | — | |
| 45-14 | Études, op. 25: No. 2 in F minor: Presto | Maurizio Pollini | T-329.456.945-8 | |
| 45-15 | Études, op. 25: No. 3 in F major: Allegro | Maurizio Pollini | T-329.456.945-8 | |
| 45-16 | Études, op. 25: No. 4 in A minor: Agitato | Maurizio Pollini | T-329.457.500-7 | |
| 45-17 | Études, op. 25: No. 5 in E minor: Vivace | Maurizio Pollini | T-329.458.108-7 | |
| 45-18 | Études, op. 25: No. 6 in G sharp minor: Allegro | Maurizio Pollini | T-915.981.383-9 | |
| 45-19 | Etude no. 19 in C‐sharp minor, op. 25 no. 7 | Maurizio Pollini | T-915.981.383-9 | |
| 45-20 | Études, op. 25: No. 8 in D flat major: Vivace | Maurizio Pollini | — | |
| 45-21 | 12 Études, Op. 25: No. 9 in G‐Flat Major “Butterfly Wings” | Maurizio Pollini | — | |
| 45-22 | 12 Études, Op. 25: No. 10 in B Minor “Octave” | Maurizio Pollini | T-308.384.655-9 | |
| 45-23 | 12 Études, Op. 25: No. 11 in A Minor “Winter Wind” | Maurizio Pollini | T-308.381.369-4 | |
| 45-24 | 12 Études, Op. 25: No. 12 in C Minor “Ocean” | Maurizio Pollini | T-310.766.142-3 | |
| 46-1 | Zar und Zimmermann: “O sancta justitia! Ich möchte rasen” | — | ||
| 46-2 | Zar und Zimmermann: “Den hohen Herrscher würdig zu empfangen” | — | ||
| 46-3 | Zar und Zimmermann: “Sonst spielt ich mit Zepter, mit Krone und Stern” | — | ||
| 46-4 | Der Wildschütz: “Fünftausend Taler! Träum oder wach ich?” | — | ||
| 46-5 | Der Wildschütz: “Laß Er doch hören!” - “Bei diesem schlimmen Fall” | — | ||
| 46-6 | Der Wildschütz: “Wie freundlich strahlt die holde Morgensonne” | — | ||
| 46-7 | Euryanthe: “Wo berg ich mich? ... Schweigt, glühnden Sehnens” | — | ||
| 46-8 | Tannhäuser: “Gar viel und schön ward hier in dieser Halle” | — | ||
| 46-9 | Tannhäuser: „Wie Todesahnung” … „O du mein holder Abendstern” | Thomas Quasthoff, Orchester der Deutschen Oper Berlin, Christian Thielemann | — | |
| 46-10 | Die schweigsame Frau: “Wie schön ist doch die Musik” | — | ||
| 47-1 | Mass in B minor: I. Chor: Kyrie eleison | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-070.093.418-4 | |
| 47-2 | Mass in B minor: II Duett: Christe eleison | Maria Stader, Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 47-3 | Mass in B minor: III. Chor: Kyrie eleison | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-070.093.418-4 | |
| 47-4 | Mass in B minor: IV. Chor: Gloria in excelsis Deo | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-306.483.198-3 | |
| 47-5 | Mass in B minor: V. Chor: Et in terra pax | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 47-6 | Mass in B minor: VI. Arie: Laudamus te | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-070.912.952-1 | |
| 47-7 | Mass in B minor: VII. Chor: Gratias agimus tibi | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-921.408.876-3 | |
| 47-8 | Mass in B minor: VIII. Duett: Domine Deus | Maria Stader, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | T-003.010.019-6 | |
| 47-9 | Mass in B minor: IX. Chor: Qui tollis peccata mundi | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 47-10 | Mass in B minor: X. Arie: Qui sedes ad dextram Patris | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 47-11 | Mass in B minor: XI. Arie: Quoniam tu solus sanctus | Kieth Engen, Münchener Bach-Orchester, Karl Richter | — | |
| 47-12 | Mass in B minor: XII. Chor: Cum Sancto Spiritu | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-1 | Mass in B Minor: XIII. Chor: Credo in unum Deum | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-2 | Mass in B Minor: XIV. Chor: Credo in unum Deum / Patrem omnipotentem | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-3 | Mass in B Minor: XV. Duett / Et in unum Dominum | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-900.147.322-9 | |
| 48-4 | Mass in B Minor: XVI. Chor: Et incarnatus est | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-306.483.194-9 | |
| 48-5 | Mass in B Minor: XVII. Chor: Crucifixus | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-903.357.002-4 | |
| 48-6 | Mass in B Minor: XVIII. Chor: Et resurrexit | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-7 | Mass in B Minor: XIX. Arie: Et in Spiritum sanctum | Dietrich Fischer-Dieskau, Münchener Bach-Orchester, Karl Richter | T-915.866.114-4 | |
| 48-8 | Mass in B Minor: XX. Chor: Confiteor unum baptisma | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-9 | Mass in B Minor: XXI. Chor: Et expecto resurrectionem | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-10 | Mass in B Minor: XXII. Chor: Sanctus | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-922.001.293-1 | |
| 48-11 | Mass in B Minor: XXIII. Chor: Osanna in excelsis | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-12 | Mass in B Minor: XXIV. Arie: Benedictus, qui venit | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | T-050.283.177-7 | |
| 48-13 | Mass in B Minor: XXV. Chor: Osanna in excelsis (2) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-14 | Mass in B Minor: XXVI. Arie: Agnus Dei | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-302.516.155-7 | |
| 48-15 | Mass in B Minor: XXVII. Chor: Dona nobis pacem | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-050.051.776-9 | |
| 49-1 | Piano Concerto no. 2 in C minor, op. 18: I. Moderato | Sviatoslav Richter, Warsaw Philharmonic Orchestra, Stanisław Wisłocki | T-902.685.630-4 | |
| 49-2 | Piano Concerto no. 2 in C minor, op. 18: II. Adagio sostenuto | Sviatoslav Richter, Warsaw Philharmonic Orchestra, Stanisław Wisłocki | — | |
| 49-3 | Piano Concerto no. 2 in C minor, op. 18: III. Allegro scherzando | Sviatoslav Richter, Warsaw Philharmonic Orchestra, Stanisław Wisłocki | T-071.926.821-9 | |
| 49-4 | Prelude in C major, op. 32 no. 1: Allegro vivace | Святослав Теофилович Рихтер | — | |
| 49-5 | Prelude in B-flat minor, op. 32 no. 2: Allegretto | Sviatoslav Richter | — | |
| 49-6 | Prelude in B-flat major, op. 23 no. 2: Maestoso | Sviatoslav Richter | — | |
| 49-7 | Prelude in D major, op. 23 no. 4: Andante cantabile | Sviatoslav Richter | — | |
| 49-8 | Prelude in G minor, op. 23 no. 5: Alla marcia | Sviatoslav Richter | T-919.160.891-0 | |
| 49-9 | Prelude in C minor, op. 23 no. 7: Allegro | Святослав Теофилович Рихтер | — | |
| 50-1 | Concerto for Cello and Orchestra in B minor, op. 104: III. Finale - Allegro moderato | Mstislav Rostropovich, Orquesta Filarmónica de Berlín, Herbert von Karajan | — | |
| 50-2 | Concerto for Cello and Orchestra in B minor, op. 104: III. Finale - Allegro moderato | Mstislav Rostropovich, Orquesta Filarmónica de Berlín, Herbert von Karajan | — | |
| 50-3 | Concerto for Cello and Orchestra in B minor, op. 104: III. Finale - Allegro moderato | Mstislav Rostropovich, Orquesta Filarmónica de Berlín, Herbert von Karajan | — | |
| 50-4 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-5 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-6 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-7 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-8 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-9 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-10 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-11 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-12 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 51-1 | Songs of Travel: I. The Vagabond | — | ||
| 51-2 | Songs of Travel: II. Let Beauty Awake | — | ||
| 51-3 | Songs of Travel: III. The Roadside Fire | — | ||
| 51-4 | Songs of Travel: IV. Youth and Love | — | ||
| 51-5 | Songs of Travel: V. In Dreams | — | ||
| 51-6 | Songs of Travel: VI. The Infinite Shining Heavens | — | ||
| 51-7 | Songs of Travel: VII. Whither Must I Wander? | — | ||
| 51-8 | Songs of Travel: VIII. Bright Is the Ring of Words | — | ||
| 51-9 | Songs of Travel: IX. I Have Trod the Upward and the Downward Slope | — | ||
| 51-10 | Let Us Garlands Bring, op. 18: I. Come Away, Come Away, Death | — | ||
| 51-11 | Let Us Garlands Bring, op. 18: II. Who is Silvia? | — | ||
| 51-12 | Let Us Garlands Bring, op. 18: III. Fear no more the heat o’ the sun | — | ||
| 51-13 | Let Us Garlands Bring, op. 18: IV. O Mistress mine | — | ||
| 51-14 | Let Us Garlands Bring, op. 18: V. It was a lover and his lass | — | ||
| 51-15 | Bredon Hill and Other Songs: I. Bredon Hill | — | ||
| 51-16 | Bredon Hill and Other Songs: II. Oh Fair Enough Are Sky and Plain | — | ||
| 51-17 | Bredon Hill and Other Songs: III. When the Lad for Longing Sighs | — | ||
| 51-18 | Bredon Hill and Other Songs: IV. On the Idle Hill of Summer | — | ||
| 51-19 | Bredon Hill and Other Songs: V. With Rue My Heart Is Laden | — | ||
| 51-20 | Sea Fever: I must go down to the seas again | — | ||
| 51-21 | The Vagabond: Dunno a heap about the what an’ why | — | ||
| 51-22 | The Bells of San Marie: It’s pleasant in Holy Mary by San Marie lagoon | — | ||
| 51-23 | A Shropshire Lad: I. Loveliest of Trees | — | ||
| 51-24 | A Shropshire Lad: II. When I Was One‐and‐Twenty | — | ||
| 51-25 | A Shropshire Lad: III. Look Not in My Eyes | — | ||
| 51-26 | A Shropshire Lad: IV. Think No More, Lad | — | ||
| 51-27 | A Shropshire Lad: V. The Lads in Their Hundreds | — | ||
| 51-28 | A Shropshire Lad: VI. Is My Team Ploughing? | — | ||
| 52-1 | La Gioconda: “Cielo e mar!” | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-2 | Adriana Lecouvreur: "La dolcissima effigie sorridente" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-3 | Il giuramento: "La dea di tutti i cor!" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-4 | Mefistofele: "Dai campi, dai prati" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-5 | Maristella: "Io conosco un giardino" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | T-005.006.854-6 | |
| 52-6 | Fosca: "Intenditi con Dio!" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-7 | Simon Boccanegra: "O inferno! Amelia qui!" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari, Francesco Maria Piave | — | |
| 52-8 | Poliuto: "Veleno a l'aura ch'io respiro!" | Gianluca Alfano, Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-9 | Il giuramento: "Compita e omai" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-10 | Adriana Lecouvreur: "L'anima ho stanca" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-11 | Il figliuol prodigo: "Il padre!...Il padre mio!" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-12 | Mefistofele: “Giunto sul passo estremoi” | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-13 | Luisa Miller: "Oh! fede negar potessi" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-14 | Luisa Miller: "L'ara o l'avello apprestami" | Gianluca Alfano, Coro Sinfonico di Milano Giuseppe Verdi, Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 53-1 | Toccata und Fuge D-moll, BWV 565: II. Fuge | Helmut Walcha | — | |
| 53-2 | Toccata und Fuge D-moll, BWV 565: II. Fuge | Helmut Walcha | — | |
| 53-3 | Triosonate nr.1 Es‐dur, BWV 525: I. Allegro moderato | — | ||
| 53-4 | Triosonate nr.1 Es‐dur, BWV 525: II. Adagio | — | ||
| 53-5 | Triosonate nr.1 Es‐dur, BWV 525: III. Allegro | — | ||
| 53-6 | Choral‐Partita, BWV 768 “Sei gegrüsset, Jesu gütig” | — | ||
| 53-7 | Präludium und Fuge Es‐dur, BWV 552: I. Präludium | — | ||
| 53-8 | Präludium und Fuge Es‐dur, BWV 552: II. Fuge | — | ||
| 53-9 | Sechs Choräle von verschiedener Art, BWV 645: No. 1 "Wachet auf, ruft uns die Stimme" | Helmut Walcha | T-031.722.033-9 | |
| 53-10 | Sechs Choräle von verschiedener Art, BWV 646: no. 2 “Wo soll ich fliehen hin” | — | ||
| 53-11 | Sechs Choräle von verschiedener Art, BWV 647: no. 3 “Wer nur den lieben Gott läßt walten” | — | ||
| 53-12 | Sechs Choräle von verschiedener Art, BWV 648: no. 4 “Meine Seele erhebet den Herrn” | — | ||
| 53-13 | Sechs Choräle von verschiedener Art, BWV 649: no. 5 “Ach bleib’ bei uns, Herr Jesu Christ” | — | ||
| 53-14 | Sechs Choräle von verschiedener Art, BWV 650: no. 6 “Kommst du nun, Jesu, vom Himmel herunter” | — | ||
| 54-1 | Dichterliebe, op. 48: I. Im wunderschönen Monat Mai | Fritz Wunderlich, Hubert Giesen | T-912.151.106-6 | |
| 54-2 | Dichterliebe, op. 48: II. Aus meinen Tränen sprießen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-3 | Dichterliebe, op. 48: III. Die Rose, die Lilie, die Taube, die Sonne | Fritz Wunderlich, Hubert Giesen | — | |
| 54-4 | Dichterliebe, op. 48: IV. Wenn ich in deine Augen seh | Fritz Wunderlich, Hubert Giesen | T-800.213.522-1 | |
| 54-5 | Dichterliebe, op. 48: V. Ich will meine Seele tauchen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-6 | Dichterliebe, op. 48: VI. Im Rhein, im heiligen Strome | Fritz Wunderlich, Hubert Giesen | — | |
| 54-7 | Dichterliebe, op. 48: VII. Ich grolle nicht | Fritz Wunderlich, Hubert Giesen | — | |
| 54-8 | Dichterliebe, op. 48: VIII. Und wüßten's die Blumen, die kleinen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-9 | Dichterliebe, op. 48: IX. Das ist ein Flöten und Geigen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-10 | Dichterliebe, op. 48: X. Hör' ich das Liedchen klingen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-11 | Dichterliebe, op. 48: XI. Ein Jüngling liebt ein Mädchen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-12 | Dichterliebe, op. 48: XII. Am leuchtenden Sommermorgen | Fritz Wunderlich, Hubert Giesen | T-900.139.006-3 | |
| 54-13 | Dichterliebe, op. 48: XIII. Ich hab' im Traum geweinet | Fritz Wunderlich, Hubert Giesen | — | |
| 54-14 | Dichterliebe, op. 48: XIV. Allnächtlich im Traume | Fritz Wunderlich, Hubert Giesen | — | |
| 54-15 | Dichterliebe, op. 48: XV. Aus alten Märchen winkt es | Fritz Wunderlich, Hubert Giesen | — | |
| 54-16 | Dichterliebe, op. 48: XVI. Die alten, bösen Lieder | Fritz Wunderlich, Hubert Giesen | — | |
| 54-17 | Zärtliche Liebe, WoO 123 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-18 | Adelaïde, op. 46 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-19 | Resignation, WoO 149 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-20 | Der Kuß, op. 128 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-21 | An Silvia, D. 891 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-22 | Lied eines Schiffers an die Dioskuren, D. 360 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-23 | Liebhaber in allen Gestalten, D. 558 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-24 | Der Einsame, op. 41, D. 800 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-25 | Im Abendrot, D. 799 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-26 | Schwanengesang, D. 957: IV. Ständchen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-27 | An die Laute, D. 905 | Fritz Wunderlich, Hubert Giesen | T-902.863.695-5 | |
| 54-28 | Der Musensohn, D.764 (op. 92/1) | Fritz Wunderlich, Hubert Giesen | T-902.873.310-0 | |
| 54-29 | An die Musik, op. 88 no. 4, D. 547 | Fritz Wunderlich, Hubert Giesen | T-910.203.464-0 | |
| 55-1 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 1. Allegro maestoso | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 55-2 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 2. Quasi adagio – Allegretto vivace – Allegro animato | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 55-3 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 3. Allegro marziale animato – Presto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 55-4 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 1. Adagio sostenuto assai - Allegro agitato assai - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 55-5 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 2. Allegro moderato - Allegro deciso - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 55-6 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 3. Marziale un poco meno allegro - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 55-7 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 4. Allegro animato - Stretto (molto accelerando) | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 55-8 | Totentanz (Danse macabre) | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Toccata und Fuge D-moll, BWV 565: I. Toccata | Helmut Walcha | T-909.407.007-2 |
| Klavierkonzert Nr. 4 G-Dur, op. 58: II. Andante con moto | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — |
| Klavierkonzert Nr. 4 G-Dur, op. 58: I. Allegro moderato | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — |
| Klavierkonzert Nr. 4 G-Dur, op. 58: III. Rondo. Vivace | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Identifier Graph
028947781677 is a Universal Product Code (UPC) assigned to 111 Years of Deutsche Grammophon: The Collectors’ Edition by Various Artists. 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 729 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
The UPC for “111 Years of Deutsche Grammophon: The Collectors’ Edition” by Various Artists is 028947781677. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2009-01-01. Label: Deutsche Grammophon. This release contains 729 tracks, each with its own ISRC. Tracks include DEF058230900, DEF058230901, DEF058230902.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Danse hongroise n° 1 | Wiener Philharmoniker, Claudio Abbado | T-322.186.564-7 | |
| 2 | Hungarian Dances, WoO 1: No. 2 in D minor: Allegro non assai — Vivace | Wiener Philharmoniker, Claudio Abbado | T-915.711.186-9 | |
| 3 | Hungarian Dances, WoO 1: No. 3 in F major: Allegretto | Wiener Philharmoniker, Claudio Abbado | T-322.178.813-8 | |
| 4 | Hungarian Dances, WoO 1: No. 4 in F-sharp minor: Poco sostenuto — Vivace | Wiener Philharmoniker, Claudio Abbado | T-909.573.827-5 | |
| 5 | Hungarian Dances, WoO 1: No. 5 in G minor: Allegro — Vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 6 | Hungarian Dances, WoO 1: No. 6 in D major: Vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 7 | Hungarian Dances, WoO 1: No. 7 in F major: Allegretto — Vivo | Wiener Philharmoniker, Claudio Abbado | T-312.524.872-4 | |
| 8 | Hungarian Dances, WoO 1: No. 8 in A minor: Presto | Wiener Philharmoniker, Claudio Abbado | T-312.524.872-4 | |
| 9 | Hungarian Dances, WoO 1: No. 9 in E minor: Allegro ma non troppo | Wiener Philharmoniker, Claudio Abbado | T-900.021.735-6 | |
| 10 | Hungarian Dances, WoO 1: No. 10 in F major: Presto | Wiener Philharmoniker, Claudio Abbado | T-909.573.827-5 | |
| 11 | Hungarian Dances, WoO 1: No. 11 in D minor: Poco andante | Wiener Philharmoniker, Claudio Abbado | T-900.833.446-1 | |
| 12 | Hungarian Dances, WoO 1: No. 12 in D minor: Presto | Wiener Philharmoniker, Claudio Abbado | — | |
| 13 | Hungarian Dances, WoO 1: No. 13 in D major: Adnantino grazioso — Vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 14 | Hungarian Dances, WoO 1: No. 14 in D minor: Un poco Andante | Wiener Philharmoniker, Claudio Abbado | T-915.711.196-1 | |
| 15 | Hungarian Dances, WoO 1: No. 15 in B-flat major: Allegretto grazioso | Wiener Philharmoniker, Claudio Abbado | — | |
| 16 | Hungarian Dances, WoO 1: No. 16 in F minor: Con moto | Wiener Philharmoniker, Claudio Abbado | — | |
| 17 | Hungarian Dances, WoO 1: No. 17 in F-sharp minor: Andantino vivace | Wiener Philharmoniker, Claudio Abbado | T-909.573.827-5 | |
| 18 | Hungarian Dances, WoO 1: No. 18 in D major: Molto vivace | Wiener Philharmoniker, Claudio Abbado | T-322.183.356-9 | |
| 19 | Hungarian Dances, WoO 1: No. 19 in B minor: Allegretto | Wiener Philharmoniker, Claudio Abbado | T-915.711.980-7 | |
| 20 | Hungarian Dances, WoO 1: No. 20 in E minor: Poco allegretto — Vivace | Wiener Philharmoniker, Claudio Abbado | T-329.391.163-0 | |
| 21 | Hungarian Dances, WoO 1: No. 21 in E minor: Vivace | Wiener Philharmoniker, Claudio Abbado | T-329.391.160-7 | |
| 2-1 | Quartet for 2 Violins Viola, and Cello No. 7 in G major, Op. 59 No. 1: I. Allegro | Amadeus Quartet | — | |
| 2-2 | Quartet for 2 Violins Viola, and Cello No. 7 in G major, Op. 59 No. 1: II. Allegretto scherzando e sempre vivace | Amadeus Quartet | — | |
| 2-3 | Quartet for 2 Violins Viola, and Cello No. 7 in G major, Op. 59 No. 1: III. Adagio molto | Amadeus Quartet | — | |
| 2-4 | Quartet for 2 Violins Viola, and Cello No. 7 in G major, Op. 59 No. 1: IV. Allegro | Amadeus Quartet | — | |
| 2-5 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: I. Adagio, ma non troppo e molto espressivo | Amadeus Quartet | — | |
| 2-6 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: II. Allegro molto vivace | Amadeus Quartet | — | |
| 2-7 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: III. Allegro moderato | Amadeus Quartet | — | |
| 2-8 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: IV. Andante ma non troppo e molto cantabile - Più mosso - Andante moderato e lusinghiero - Adagio - Allegretto - Adagio, ma non troppo e semplice - Allegretto | Amadeus Quartet | — | |
| 2-9 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: V. Presto - Molto poco adagio | Amadeus Quartet | — | |
| 2-10 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: VI. Adagio quasi un poco andante | Amadeus Quartet | — | |
| 2-11 | Quartet for 2 Violins, Viola, and Cello No. 14 in C-sharp minor, Op. 131: VII. Allegro | Amadeus Quartet | — | |
| 3-1 | 24 Préludes, op. 28 no. 1 in C major: Agitato | Martha Argerich | — | |
| 3-2 | 24 Préludes, Op. 28: No. 1 in C Major | Martha Argerich | — | |
| 3-3 | 24 Préludes, op. 28 no. 3 in G major: Vivace | Martha Argerich | — | |
| 3-4 | 24 Préludes, op. 28 no. 4 in E minor: Largo | Martha Argerich | — | |
| 3-5 | 24 Préludes, Op. 28: No. 4 in E Minor | Martha Argerich | T-902.764.002-4 | |
| 3-6 | 24 Préludes, Op. 28: No. 5 in D Major | Martha Argerich | T-912.623.361-2 | |
| 3-7 | 24 Préludes, Op. 28: No. 6 in B Minor: Lento assai | Martha Argerich | T-308.384.655-9 | |
| 3-8 | 24 Préludes, Op. 28: No. 7 in A Major | Martha Argerich | T-915.710.750-1 | |
| 3-9 | 24 Préludes, op. 28 no. 9 in E major: Largo | Martha Argerich | T-909.573.827-5 | |
| 3-10 | 24 Préludes, op. 28 no. 9 in E major: Largo | Martha Argerich | T-906.148.797-6 | |
| 3-11 | 24 Préludes, op. 28 no. 10 in C‐sharp minor: Allegro molto | Martha Argerich | T-918.063.801-1 | |
| 3-12 | 24 Préludes, op. 28 no. 12 in G‐sharp minor: Presto | Martha Argerich | — | |
| 3-13 | 24 Préludes, Op. 28: No. 12. in G‐Sharp Minor | Martha Argerich | T-702.884.109-2 | |
| 3-14 | 24 Préludes, op. 28 no. 14 in E‐flat minor: Allegro | Martha Argerich | T-918.063.801-1 | |
| 3-15 | 24 Préludes, op. 28 no. 15 in D‐flat major: Sostenuto | Martha Argerich | T-306.229.926-3 | |
| 3-16 | 24 Préludes, op. 28 no. 16 in B‐flat minor: Presto con fuoco | Martha Argerich | — | |
| 3-17 | 24 Préludes, op. 28 no. 16 in B‐flat minor: Presto con fuoco | Martha Argerich | — | |
| 3-18 | 24 Préludes, op. 28 no. 17 in A‐flat major: Allegretto | Martha Argerich | T-903.060.250-7 | |
| 3-19 | 24 Préludes, op. 28 no. 19 in E‐flat major: Vivace | Martha Argerich | T-906.148.797-6 | |
| 3-20 | 24 Préludes, op. 28 no. 20 in C minor: Largo | Martha Argerich | T-310.766.142-3 | |
| 3-22 | 24 Préludes, op. 28 no. 22 in G minor: Molto agitato | Martha Argerich | — | |
| 3-23 | 24 Préludes, op. 28 no. 23 in F major: Moderato | Martha Argerich | T-917.141.447-4 | |
| 3-24 | 24 Préludes, op. 28 no. 23 in F major: Moderato | Martha Argerich | — | |
| 3-25 | Prélude in C‐sharp minor, op. 45: Sostenuto | Martha Argerich | — | |
| 3-26 | Prélude in A‐flat major, op. posth.: Presto con leggierezza | Martha Argerich | — | |
| 3-27 | Piano Sonata no. 2 in B‐flat minor, op. 35: Grave – Doppio movimento | Martha Argerich | — | |
| 3-28 | Piano Sonata no. 2 in B‐flat minor, op. 35: Scherzo | Martha Argerich | — | |
| 3-29 | Piano Sonata no. 2 in B‐flat minor, op. 35: Marche funèbre: Lento | Martha Argerich | T-321.421.851-2 | |
| 3-30 | Piano Sonata no. 2 in B‐flat minor, op. 35: Finale: Presto | Martha Argerich | T-309.554.578-7 | |
| 4-1 | Boléro | Orchestre de Paris, Daniel Barenboim | T-003.006.377-4 | |
| 4-2 | Pavane pour une infante défunte | Orchestre de Paris, Daniel Barenboim | T-003.013.767-7 | |
| 4-3 | La Valse | Orchestre de Paris, Daniel Barenboim | — | |
| 4-4 | Daphnis et Chloé: Lever Du Jour | Orchestre de Paris, Daniel Barenboim | T-004.014.574-1 | |
| 4-5 | Daphnis et Chloé: Pantomime | Orchestre de Paris, Daniel Barenboim | T-004.014.574-1 | |
| 4-6 | Daphnis et Chloé: Danse Generale | Orchestre de Paris, Daniel Barenboim | T-004.014.574-1 | |
| 5-1 | Préludes / Book 1, L. 117: I. Danseuses de Delphes | Arturo Benedetti Michelangeli | — | |
| 5-2 | Préludes 1ᵉʳ Livre: II. Voiles. Modéré | Arturo Benedetti Michelangeli | — | |
| 5-3 | Préludes 1ᵉʳ Livre: III. Le vent dans la plaine. Animé | Arturo Benedetti Michelangeli | — | |
| 5-4 | Préludes 1ᵉʳ Livre: IV. Les sons et les parfums tournent dans lʼair du soir. Modéré | Arturo Benedetti Michelangeli | — | |
| 5-5 | Préludes 1ᵉʳ Livre: V. Les collines dʼAnacapri. Très modéré | Arturo Benedetti Michelangeli | — | |
| 5-6 | Préludes 1ᵉʳ Livre: VI. Des pas sur la neige. Triste et lent | Arturo Benedetti Michelangeli | — | |
| 5-7 | Préludes 1ᵉʳ Livre: VII. Ce quʼa vu le vent dʼOuest. Animé et tumultueux | Arturo Benedetti Michelangeli | — | |
| 5-8 | Préludes, Livre I, L. 117: VIII. La fille aux cheveux de lin. Très calme et doucement expressif | Arturo Benedetti Michelangeli | T-336.722.879-9 | |
| 5-9 | Préludes 1ᵉʳ Livre: IX. La sérénade interrompue. Modérément animé | Arturo Benedetti Michelangeli | — | |
| 5-10 | Préludes 1ᵉʳ Livre: X. La cathédrale engloutie. Profondément calme | Arturo Benedetti Michelangeli | — | |
| 5-11 | Préludes 1ᵉʳ Livre: XI. La danse de Puck. Capricieux et léger | Arturo Benedetti Michelangeli | — | |
| 5-12 | Préludes 1ᵉʳ Livre: XII. Minstrels. Modéré | Arturo Benedetti Michelangeli | — | |
| 5-13 | Images 1: I. Reflets dans l'Eau. Andantino molto | Arturo Benedetti Michelangeli | — | |
| 5-14 | Images 1: II. Hommage à Rameau. Lent et grave | Arturo Benedetti Michelangeli | — | |
| 5-15 | Images 1: III. Mouvement. Animé | Arturo Benedetti Michelangeli | — | |
| 5-16 | Images 2: I. Cloches à travers les Feuilles. Lent | Arturo Benedetti Michelangeli | — | |
| 5-17 | Images 2: II. Et la Lune Descend sur le Temple qui Fut. Lent | Arturo Benedetti Michelangeli | — | |
| 5-18 | Images 2: III. Poissons d'Or. Animé | Arturo Benedetti Michelangeli | — | |
| 6-1 | West Side Story: No. 1: Prologue | Leonard Bernstein | T-070.166.807-6 | |
| 6-2 | West Side Story: No. 2: Jet Song | Kurt Ollmann, David Livingston, Peter Thom, Stephen Bogardus | T-070.088.385-7 | |
| 6-3 | West Side Story: No. 3: Something’s Coming | José Carreras | T-070.136.715-8 | |
| 6-4 | West Side Story: No. 4: The Dance at the Gym: Blues | Leonard Bernstein | — | |
| 6-5 | West Side Story: No. 4: The Dance at the Gym: Promenade | Leonard Bernstein | T-902.871.372-6 | |
| 6-6 | West Side Story: No. 4: The Dance at the Gym: Mambo | Leonard Bernstein | T-070.113.892-2 | |
| 6-7 | West Side Story: No. 4: The Dance at the Gym: Cha‐Cha | Leonard Bernstein | T-070.933.007-3 | |
| 6-8 | West Side Story: No. 4: The Dance at the Gym: Meeting Scene | Leonard Bernstein | T-070.933.007-3 | |
| 6-9 | West Side Story: No. 4: The Dance at the Gym: Jump | Leonard Bernstein | T-902.853.673-4 | |
| 6-10 | West Side Story: No. 5: Maria | José Carreras, Leonard Bernstein | T-070.108.440-3 | |
| 6-11 | West Side Story: No. 6: Balcony Scene (Tonight) | Kiri Te Kanawa, José Carreras | T-901.072.962-1 | |
| 6-12 | West Side Story: No. 7: America | Tatiana Troyanos, Louise Edeiken | T-070.001.097-4 | |
| 6-13 | West Side Story: No. 8: Cool | Kurt Ollmann | T-070.025.960-4 | |
| 6-14 | West Side Story: No. 9: One Hand, One Heart | Kiri Te Kanawa, José Carreras | T-070.159.178-7 | |
| 6-15 | West Side Story: No. 10: Tonight (Ensemble) | José Carreras, Richard Harrell, Kurt Ollmann, Kiri Te Kanawa, Tatiana Troyanos, Leonard Bernstein | T-070.125.208-5 | |
| 6-16 | West Side Story: No. 11: The Rumble | Leonard Bernstein | T-070.127.422-7 | |
| 6-17 | West Side Story: No. 12: I Feel Pretty | Kiri Te Kanawa, Louise Edeiken, Stella Zambalis, Angelina Réaux | T-070.902.843-2 | |
| 6-18 | West Side Story: No. 13: Ballet Sequence: Beginning | Kiri Te Kanawa, José Carreras | — | |
| 6-19 | West Side Story: Ballet Sequence: Transition to Scherzo | Leonard Bernstein | — | |
| 6-20 | West Side Story: Ballet Sequence: Scherzo | Leonard Bernstein | T-070.139.164-1 | |
| 6-21 | West Side Story: Ballet Sequence: Somewhere | Marilyn Horne, Leonard Bernstein | T-070.136.739-6 | |
| 6-22 | West Side Story: Ballet Sequence: Procession and Nightmare | Leonard Bernstein | T-070.933.007-3 | |
| 6-23 | West Side Story: No. 14: Gee, Officer Krupke! | David Livingston, Marty Nelson, Peter Thom, Stephen Bogardus, Todd Lester | T-070.063.859-0 | |
| 6-24 | West Side Story: No. 15: A Boy Like That | Tatiana Troyanos, Kiri Te Kanawa | T-070.012.286-6 | |
| 6-25 | West Side Story: I Have a Love | Kiri Te Kanawa, Tatiana Troyanos | T-070.903.050-1 | |
| 6-26 | West Side Story: No. 16: Taunting Scene | Leonard Bernstein | T-070.182.025-8 | |
| 6-27 | West Side Story: No. 17: Finale | Kiri Te Kanawa, José Carreras | T-070.159.178-7 | |
| 7-1 | Requiem in D minor, K. 626: 1. Introitus: Requiem / 2. Kyrie | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Edith Mathis, Wiener Philharmoniker, Karl Böhm | — | |
| 7-2 | Requiem in D minor, K. 626: 3. Sequentia: Dies irae | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Karl Böhm | — | |
| 7-3 | Requiem in D minor, K. 626: 3. Sequentia: Tuba mirum | Julia Hamari, Edith Mathis, Wiesław Ochman, Karl Ridderbusch, Wiener Philharmoniker, Karl Böhm | — | |
| 7-4 | Requiem in D minor, K. 626: 3. Sequentia: Rex tremendae | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Karl Böhm | — | |
| 7-5 | Requiem in D minor, K. 626: 3. Sequentia: Recordare | Julia Hamari, Edith Mathis, Wiesław Ochman, Karl Ridderbusch, Wiener Philharmoniker, Karl Böhm | — | |
| 7-6 | Requiem in D minor, K. 626: 3. Sequentia: Confutatis | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Karl Böhm | — | |
| 7-7 | Requiem in D Minor, K.626: 3. Sequentia: VI. Lacrimosa (from “Amadeus”) | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Hans Haselböck, Wiener Philharmoniker, Karl Böhm | T-000.698.858-4 | |
| 7-8 | Requiem in D minor, K. 626: 4. Offertorium: Domine Jesu | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Julia Hamari, Edith Mathis, Wiesław Ochman, Karl Ridderbusch, Wiener Philharmoniker, Karl Böhm | T-919.097.742-5 | |
| 7-9 | Requiem in D minor, K. 626: 4. Offertorium: Hostias | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Karl Böhm | — | |
| 7-10 | Requiem in D minor, K. 626: 5. Sanctus | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Karl Böhm | T-922.061.546-3 | |
| 7-11 | Requiem in D minor, K. 626: 6. Benedictus | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Julia Hamari, Edith Mathis, Wiesław Ochman, Karl Ridderbusch, Wiener Philharmoniker, Karl Böhm | T-106.642.813-3 | |
| 7-12 | Requiem in D minor, K. 626: 7. Agnus Dei / 8. Lux aeterna | Norbert Balatsch, Konzertvereinigung Wiener Staatsopernchor, Edith Mathis, Wiener Philharmoniker, Karl Böhm | T-910.952.061-8 | |
| 8-1 | Pétrouchka: First Tableau | The Cleveland Orchestra, Pierre Boulez | — | |
| 8-2 | Pétrouchka: Second Tableau | The Cleveland Orchestra, Pierre Boulez | — | |
| 8-3 | Pétrouchka: Third Tableau | The Cleveland Orchestra, Pierre Boulez | — | |
| 8-4 | Pétrouchka: Fourth Tableau | The Cleveland Orchestra, Pierre Boulez | — | |
| 8-5 | The Rite of Spring: I. The Adoration of the Earth | The Cleveland Orchestra, Pierre Boulez | T-070.257.887-7 | |
| 8-6 | The Rite of Spring: II. The Sacrifice | The Cleveland Orchestra, Pierre Boulez | T-070.257.887-7 | |
| 9-1 | Concerto for Violin, Strings and Continuo in G minor, RV 331: I. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.004-5 | |
| 9-2 | Concerto for Violin, Strings and Continuo in G minor, RV 331: II. Largo | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 | |
| 9-3 | Concerto for Violin, Strings and Continuo in G minor, RV 331: III. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 9-4 | Concerto for Violin, Strings and Continuo in C major, RV 190: I. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.004-5 | |
| 9-5 | Concerto for Violin, Strings and Continuo in C major, RV 190: II. Largo | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 | |
| 9-6 | Concerto for Violin, Strings and Continuo in C major, RV 190: III. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 9-7 | Concerto for Violin, Strings and Continuo in G minor, RV 325: I. Allegro molto | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 9-8 | Concerto for Violin, Strings and Continuo in G minor, RV 325: II. Largo a piacimento | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 | |
| 9-9 | Concerto for Violin, Strings and Continuo in G minor, RV 325: III. Presto | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 9-10 | Concerto for Violin, Strings and Continuo in D major, RV 217: I. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.004-5 | |
| 9-11 | Concerto for Violin, Strings and Continuo in D major, RV 217: II. Largo | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 | |
| 9-12 | Concerto for Violin, Strings and Continuo in D major, RV 217: III. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 9-13 | Concerto for Violin, Strings and Continuo in G major, RV 303: I. Allegro molto | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 9-14 | Concerto for Violin, Strings and Continuo in G major, RV 303: II. Largo | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 | |
| 9-15 | Concerto for Violin, Strings and Continuo in G major, RV 303: III. Allegro | Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon | — | |
| 10-1 | L’elisir d’amore: “Una furtiva lagrima” | Plácido Domingo, Los Angeles Philharmonic Orchestra, Carlo Maria Giulini | T-310.639.190-2 | |
| 10-2 | Lucia di Lammermoor: “Tombe degl’avi miei - Fra poco a me ricovero” | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | — | |
| 10-3 | Ernani: "Merce, diletti amici...Come rugiada al cespite" / "Dell'esilio nel dolore...O tu che l'alma adoro" | Plácido Domingo, The Roger Wagner Chorale, Los Angeles Philharmonic, Carlo Maria Giulini | — | |
| 10-4 | Il Trovatore: “Ah si, ben mio Di quella pira” | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | — | |
| 10-5 | Aida: “Se quel guerrier io fossi!” … “Celeste Aida” | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | T-900.065.376-9 | |
| 10-6 | La Juive: “Rachel, quand du Seigneur” | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | — | |
| 10-7 | L’africaine: “Pays merveilleux Ô paradis” | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | — | |
| 10-8 | Les Pêheurs de perles: “Je crois entendre encore” | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | T-702.424.573-8 | |
| 10-9 | Carmen : Acte II. « La fleur que tu m'avais jetée » | Plácido Domingo, Los Angeles Philharmonic, Carlo Maria Giulini | T-928.635.311-5 | |
| 11-1 | Symphony no. 5: Part I. 1. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt | Orquesta Sinfónica Simón Bolívar, Gustavo Dudamel | T-926.359.926-4 | |
| 11-2 | Symphony no. 5: Part I. 2. Stürmisch bewegt. Mit größter Vehemenz | Orquesta Sinfónica Simón Bolívar, Gustavo Dudamel | — | |
| 11-3 | Symphony no. 5: Part II. 3. Scherzo. Kräftig, nicht zu schnell | Orquesta Sinfónica Simón Bolívar, Gustavo Dudamel | — | |
| 11-4 | Symphony no. 5: Adagietto (Sehr langsam) | Orquesta Sinfónica Simón Bolívar, Gustavo Dudamel | T-800.652.468-2 | |
| 11-5 | Symphony no. 5: Part III. 5. Rondo-Finale. Allegro - Allegro giocoso. Frisch | Orquesta Sinfónica Simón Bolívar, Gustavo Dudamel | — | |
| 12-1 | The Art of Fugue, BWV 1080: Contrapunctus I | Emerson String Quartet | T-324.161.368-9 | |
| 12-2 | The Art of Fugue, BWV 1080: Contrapunctus II | Emerson String Quartet | — | |
| 12-3 | The Art of Fugue, BWV 1080: Contrapunctus III | Emerson String Quartet | — | |
| 12-4 | The Art of Fugue, BWV 1080: Contrapunctus IV | Emerson String Quartet | — | |
| 12-5 | The Art of Fugue, BWV 1080: Contrapunctus V | Emerson String Quartet | — | |
| 12-6 | The Art of Fugue, BWV 1080: Contrapunctus VI, a 4, in Stylo Francese | Emerson String Quartet | — | |
| 12-7 | The Art of Fugue, BWV 1080: Contrapunctus VII, a 4, per Augmentationem et Diminutionem | Emerson String Quartet | T-926.176.404-9 | |
| 12-8 | The Art of Fugue, BWV 1080: Contrapunctus VIII, a 3 | Emerson String Quartet | — | |
| 12-9 | The Art of Fugue, BWV 1080: Contrapunctus IX, a 4, alla Duodecima | Emerson String Quartet | T-317.556.052-4 | |
| 12-10 | The Art of Fugue, BWV 1080: Contrapunctus X, a 4, alla Decima | Emerson String Quartet | — | |
| 12-11 | The Art of Fugue, BWV 1080: Contrapunctus XI, a 4 | Emerson String Quartet | — | |
| 12-12 | The Art of Fugue, BWV 1080: Canon per Augmentationem in Contrario Motu | Emerson String Quartet | — | |
| 12-13 | The Art of Fugue, BWV 1080: Contrapunctus XII, a 4: Rectus | Emerson String Quartet | — | |
| 12-14 | The Art of Fugue, BWV 1080: Contrapunctus XII, a 4: Inversus | Emerson String Quartet | — | |
| 12-15 | The Art of Fugue, BWV 1080: Canon alla Ottava | Emerson String Quartet | — | |
| 12-16 | The Art of Fugue, BWV 1080: Canon alla Decima in Contrapuncto alla Terza | Emerson String Quartet | — | |
| 12-17 | The Art of Fugue, BWV 1080: Canon alla Duodecima in Contrapuncto alla Quinta | Emerson String Quartet | — | |
| 12-18 | The Art of Fugue, BWV 1080: Contrapunctus XIII, a 3: Rectus | Emerson String Quartet | T-314.634.514-0 | |
| 12-19 | The Art of Fugue, BWV 1080: Contrapunctus XIII, a 3: Inversus | Emerson String Quartet | — | |
| 12-20 | The Art of Fugue, BWV 1080: Canon per Augmentationem in Contrario Motu | Emerson String Quartet | — | |
| 12-21 | The Art of Fugue, BWV 1080: Contrapunctus XIV (Fragment of quadruple fugue) | Emerson String Quartet | T-910.178.928-0 | |
| 12-22 | The Art of Fugue, BWV 1080: Chorale: “Vor deinen Thron tret ich hiermit” (“Wenn wir in höchsten Nöten sein”) BWV 668a | Emerson String Quartet | — | |
| 13-1 | Winterreise, D 911: Gute Nacht | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-2 | Winterreise, D 911: Die Wetterfahne | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-3 | Winterreise, D. 911: 3. "Gefrorne Tränen" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-4 | Winterreise, D. 911: 4. "Erstarrung" | Dietrich Fischer-Dieskau, Gerald Moore | T-312.542.381-2 | |
| 13-5 | Winterreise, D. 911: 5. “Der Lindenbaum” | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-6 | Winterreise, D. 911: 6. "Wasserflut" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-7 | Winterreise, D. 911: 7. "Auf dem Flusse" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-8 | Winterreise, D 911: Rückblick | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-9 | Winterreise, D. 911: 9. "Irrlicht" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-10 | Winterreise, D. 911: 10. "Rast" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-11 | Winterreise, D 911: Frühlingstraum | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-12 | Winterreise, D 911: Einsamkeit | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-13 | Winterreise, D 911: Die Post | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-14 | Winterreise, D 911: Der greise Kopf | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-15 | Winterreise, D. 911: 15. "Die Krähe" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-16 | Winterreise, D. 911: 16. "Letzte Hoffnung" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-17 | Winterreise, D 911: Im Dorfe | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-18 | Winterreise, D. 911: 18. "Der stürmische Morgen" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-19 | Winterreise, D. 911: 19. "Täuschung" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-20 | Winterreise, D 911: Der Wegweiser | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-21 | Winterreise, D. 911: 21. "Das Wirtshaus" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-22 | Winterreise, D. 911: 22. "Mut" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-23 | Winterreise, D. 911: 23. "Die Nebensonnen" | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 13-24 | Winterreise, D 911: Der Leiermann | Dietrich Fischer-Dieskau, Gerald Moore | — | |
| 14-1 | Suite for Cello Solo no. 1 in G major, BWV 1007: 1. Prélude | Pierre Fournier | — | |
| 14-2 | Cello Suite no. 1 in G major, BWV 1007: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 14-3 | Cello Suite no. 1 in G major, BWV 1007: III. Courante | Pierre Fournier | — | |
| 14-4 | 무반주 첼로 모음곡 1번 중 "사라방드" [Unaccompanied Cello no. 1, Sarabande] | Pierre Fournier | — | |
| 14-5 | Cello Suite no. 1 in G major, BWV 1007: V. Menuet I/II | Pierre Fournier | — | |
| 14-6 | Cello Suite no. 1 in G major, BWV 1007: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 14-7 | Cello Suite no. 2 in D minor, BWV 1008: I. Prelude | Pierre Fournier | — | |
| 14-8 | Cello Suite no. 2 in D minor, BWV 1008: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 14-9 | Cello Suite no. 2 in D minor, BWV 1008: III. Courante | Pierre Fournier | — | |
| 14-10 | Cello Suite no. 2 in D minor, BWV 1008: IV. Sarabande | Pierre Fournier | — | |
| 14-11 | Cello Suite no. 2 in D minor, BWV 1008: V. Menuet I/II | Pierre Fournier | — | |
| 14-12 | Cello Suite no. 2 in D minor, BWV 1008: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 14-13 | Cello Suite no. 3 in C major, BWV 1009: I. Prelude | Pierre Fournier | — | |
| 14-14 | Cello Suite no. 3 in C major, BWV 1009: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 14-15 | Cello Suite no. 3 in C major, BWV 1009: III. Courante | Pierre Fournier | — | |
| 14-16 | Cello Suite no. 3 in C major, BWV 1009: IV. Sarabande | Pierre Fournier | — | |
| 14-17 | Cello Suite no. 3 in C major, BWV 1009: V. Bourree I/II | Pierre Fournier | — | |
| 14-18 | Cello Suite no. 3 in C major, BWV 1009: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 15-1 | Cello Suite no. 4 in E-flat major, BWV 1010: I. Prelude | Pierre Fournier | — | |
| 15-2 | Cello Suite no. 4 in E-flat major, BWV 1010: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 15-3 | Cello Suite no. 4 in E-flat major, BWV 1010: III. Courante | Pierre Fournier | — | |
| 15-4 | Cello Suite no. 4 in E-flat major, BWV 1010: IV. Sarabande | Pierre Fournier | — | |
| 15-5 | Cello Suite no. 4 in E-flat major, BWV 1010: V. Bourree I/II | Pierre Fournier | — | |
| 15-6 | Cello Suite no. 4 in E-flat major, BWV 1010: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 15-7 | Cello Suite no. 5 in C minor, BWV 1011: I. Prelude | Pierre Fournier | T-925.383.914-4 | |
| 15-8 | Cello Suite no. 5 in C minor, BWV 1011: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 15-9 | Cello Suite no. 5 in C minor, BWV 1011: III. Courante | Pierre Fournier | T-925.383.914-4 | |
| 15-10 | Cello Suite no. 5 in C minor, BWV 1011: IV. Sarabande | Pierre Fournier | — | |
| 15-11 | Cello Suite no. 5 in C minor, BWV 1011: V. Gavotte I/II | Pierre Fournier | — | |
| 15-12 | Cello Suite no. 5 in C minor, BWV 1011: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 15-13 | Cello Suite no. 6 in D major, BWV 1012: I. Prelude | Pierre Fournier | — | |
| 15-14 | Cello Suite no. 6 in D major, BWV 1012: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 15-15 | Cello Suite no. 6 in D major, BWV 1012: III. Courante | Pierre Fournier | — | |
| 15-16 | Cello Suite no. 6 in D major, BWV 1012: IV. Sarabande | Pierre Fournier | — | |
| 15-17 | Cello Suite no. 6 in D major, BWV 1012: V. Gavotte I/II | Pierre Fournier | — | |
| 15-18 | Cello Suite no. 6 in D major, BWV 1012: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 16-1 | Messa da Requiem: Requiem (coro, soli). Andante - Poco più - Attacca subito (come prima) - Animando un poco | Maria Stader, Marianna Radev, Helmut Krebs, Kim Borg, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | T-922.061.546-3 | |
| 16-2 | Messa da Requiem: Dies irae: Dies irae (coro). Allegro agitato | RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-3 | Messa da Requiem: Dies irae: Tuba mirum (coro, basso). Allegro sostenuto - Molto meno mosso | Kim Borg, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-4 | Messa da Requiem: Dies irae: Liber scriptus (mezzo-soprano, coro). Allegro molto sostenuto - Allegro agitato | Marianna Radev, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-5 | Messa da Requiem: Dies irae: Quid sum miser (soprano, mezzo-soprano, tenore). Adagio | Maria Stader, Marianna Radev, Helmut Krebs, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-6 | Messa da Requiem: Dies irae: Rex tremendae (soli, coro). Adagio maestoso | Maria Stader, Marianna Radev, Helmut Krebs, Kim Borg, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-7 | Messa da Requiem: Dies irae: Recordare (soprano, mezzo-soprano). Lo stesso tempo | Maria Stader, Marianna Radev, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-8 | Messa da Requiem: Dies irae: Ingemisco (tenore). Lo stesso tempo - Poco meno mosso | Helmut Krebs, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-9 | Messa da Requiem: Dies irae: Confutatis (basso, coro). Andante - Allegro come prima | Kim Borg, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-10 | Messa da Requiem: Dies irae: Lacrimosa (soli, coro). Largo | Maria Stader, Marianna Radev, Helmut Krebs, Kim Borg, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-11 | Messa da Requiem: Offertorio (soli). Andante mosso - Allegro mosso - Adagio - Come prima | Maria Stader, Marianna Radev, Helmut Krebs, Kim Borg, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-12 | Messa da Requiem: Sanctus (coro). Allegro | Chor der St. Hedwigs-Kathedrale Berlin, RIAS Kammerchor, Deutsches Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-13 | Messa da Requiem: Agnus Dei (soprano, mezzo-soprano, coro) | Maria Stader, Marianna Radev, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 16-14 | Messa da Requiem: Lux aeterna (mezzo-soprano, tenore, basso). Allegro moderato | Marianna Radev, Helmut Krebs, Kim Borg, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | T-910.952.061-8 | |
| 16-15 | Messa da Requiem: Libera me (soprano, coro). Moderato - Allegro agitato - Andante - Moderato - Allegro risoluto | Maria Stader, RIAS-Kammerchor, Chor der St.-Hedwigs-Kathedrale, RIAS-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 17-1 | Symphony no. 4 in D minor, op. 120: I. Ziemlich langsam - Lebhaft | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 17-2 | Symphony no. 4 in D minor, op. 120: II. Romanze (Ziemlich langsam) | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 17-3 | Symphony no. 4 in D minor, op. 120: III. Scherzo, Lebhaft | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 17-4 | Symphony no. 4 in D minor, op. 120: IV. Langsam - Lebhaft | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 17-5 | Symphony in G major, Hob. I:88: I. Adagio - Allegro | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 17-6 | Symphony in G major, Hob. I:88: II. Largo | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 17-7 | Symphony in G major, Hob. I:88: III. Menuetto | Berliner Philharmoniker, Wilhelm Furtwängler | T-902.876.200-7 | |
| 17-8 | Symphony No. 88 in G major, Hob I/88: IV. Finale (Allegro con spirito) | Berliner Philharmoniker, Wilhelm Furtwängler | T-318.676.528-2 | |
| 18-1 | Vespro della Beata Vergine, SV 206: I. Domine ad adiuvandum | Monteverdi Choir, Nigel Robson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-2 | Vespro della Beata Vergine, SV 206: II. Dixit dominus | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-3 | Vespro della Beata Vergine, SV 206: III. Nigra sum | Mark Tucker, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-4 | Vespro della Beata Vergine, SV 206: IV. Laudate pueri | Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-5 | Vespro della beata Vergine: Pulchra es A 2 | Ann Monoyios, Marinella Pennicchi, Jakob Lindberg, David Miller, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-6 | Vespro della Beata Vergine, SV 206: VI. Laetatus sum | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-7 | Vespro della beata Vergine: Duo seraphim A 3 | Sandro Naglia, Nigel Robson, Mark Tucker, Jakob Lindberg, David Miller, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-8 | Vespro della beata Vergine: Nisi Dominus A 10 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-9 | Vespro della Beata Vergine, SV 206: IX. Audi coelum | Monteverdi Choir, Nigel Robson, Mark Tucker, Jakob Lindberg, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 18-10 | Vespro della beata Vergine: Lauda Jerusalem A 7 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 19-1 | Vespro della Beata Vergine, SV 206: XI. Sonata sopra "Sancta Maria" | Patrick Russill, London Oratory Junior Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 19-2 | Vespro della Beata Vergine, SV 206: XII. Ave maris stella | Patrick Russill, Michael Chance, London Oratory Junior Choir, Monteverdi Choir, Nigel Robson, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 19-3 | Vespro della Beata Vergine, SV 206: XIII. Magnificat a 7 voci | Patrick Russill, Michael Chance, London Oratory Junior Choir, Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, Ian Watson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 19-4 | Vespro della Beata Vergine, SV 206a: XII. Magnificat a 6 voci | Patrick Russill, London Oratory Junior Choir, Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, Ian Watson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 20-1 | Piano Sonata no. 21 in C major, op. 53 "Waldstein": I. Allegro con brio | Emil Gilels | — | |
| 20-2 | Piano Sonata no. 21 in C major, op. 53 "Waldstein": II. Introduzione. Adagio molto | Emil Gilels | — | |
| 20-3 | Klaviersonate Nr. 21 C-Dur, op. 53 »Waldstein-Sonate«: III. Rondo. Allegretto moderato – Prestissimo | Emil Gilels | T-312.439.094-5 | |
| 20-4 | Klaviersonate Nr. 21 C-Dur, op. 53 »Waldstein-Sonate«: IV. Prestissimo | Emil Gilels | — | |
| 20-5 | Piano Sonata no. 26 in E-flat major, op. 81a "Les Adieux": I. Das Lebewohl. Adagio - Allegro | Emil Gilels | — | |
| 20-6 | Piano Sonata no. 26 in E-flat major, op. 81a "Les Adieux": II. Die Abwesenheit. Andante espressivo | Emil Gilels | T-800.722.074-9 | |
| 20-7 | Piano Sonata no. 26 in E-flat major, op. 81a "Les Adieux": III. Das Wiedersehn. Vivacissimamente | Emil Gilels | — | |
| 20-8 | Piano Sonata no. 23 in F minor, op. 57 "Appassionata": I. Allegro assai | Emil Gilels | T-306.395.786-4 | |
| 20-9 | Piano Sonata no. 23 in F minor, op. 57 "Appassionata": II. Andante con moto | Emil Gilels | — | |
| 20-10 | Piano Sonata no. 23 in F minor, op. 57 "Appassionata": III. Allegro ma non troppo | Emil Gilels | — | |
| 21-1 | Canon & Gigue in D major, P. 37 | Musica Antiqua Köln, Reinhard Goebel | T-920.151.760-4 | |
| 21-2 | Sonata in G major for 2 Violins and Continuo op. 5 no. 4, HWV 399: 1. Allegro | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-3 | Sonata in G major for 2 Violins and Continuo op. 5 no. 4, HWV 399: 2. A tempo ordinario - Allegro non presto | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-4 | Sonata in G major for 2 Violins and Continuo op. 5 no. 4, HWV 399: 3. Passacaille | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-5 | Sonata in G major for 2 Violins and Continuo op. 5 no. 4, HWV 399: 4. Gigue. Presto | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-6 | Sonata in G major for 2 Violins and Continuo op. 5 no. 4, HWV 399: 5. Menue. Allegro moderato | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-7 | Sonata for 2 Violins and Continuo "La Follia" op. 1 no. 12, RV 63 in D minor | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-8 | Orchestral Suite no. 2 in B minor, BWV 1067: I. Ouverture | Musica Antiqua Köln, Reinhard Goebel | T-009.030.807-8 | |
| 21-9 | Orchestral Suite no. 2 in B minor, BWV 1067: II. Rondeau | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-10 | Orchestral Suite no. 2 in B minor, BWV 1067: III. Sarabande | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-11 | Orchestral Suite no. 2 in B minor, BWV 1067: IV. Bourée I/II | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-12 | Orchestral Suite no. 2 in B minor, BWV 1067: V. Polonaise - Double | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-13 | Orchestral Suite No. 2 in B minor, BWV 1067: VI. Menuet | Musica Antiqua Köln, Reinhard Goebel | — | |
| 21-14 | Orchestral Suite No. 2 in B minor, BWV 1067: VII. Badinerie | Musica Antiqua Köln, Reinhard Goebel | T-011.654.484-3 | |
| 22-1 | Fantasia on an Ostinato | Hélène Grimaud | — | |
| 22-2 | Piano Sonata no. 17 in D minor, op. 31 no. 2 "Tempest": I. Largo - Allegro | Hélène Grimaud | T-310.769.687-3 | |
| 22-3 | Piano Sonata no. 17 in D minor, op. 31 no. 2 "Tempest": II. Adagio | Hélène Grimaud | T-310.769.687-3 | |
| 22-4 | Piano Sonata no. 17 in D minor, op. 31 no. 2 "Tempest": III. Allegretto | Hélène Grimaud | T-310.769.687-3 | |
| 22-5 | Fantasia for Piano, Chorus and Orchestra in C minor, op. 80 "Choral Fantasy": I. Adagio | Sveriges Radios Symfoniorkester, Esa-Pekka Salonen, Radiokören, Hélène Grimaud | T-070.160.313-5 | |
| 22-6 | Fantasia for Piano, Chorus and Orchestra in C minor, op. 80 "Choral Fantasy": II. Finale: Allegro. Meno allegro. Allegro molto. Adagio ma non troppo. Marcia, assai vivace | Sveriges Radios Symfoniorkester, Esa-Pekka Salonen, Radiokören, Hélène Grimaud | T-802.445.410-3 | |
| 22-7 | Credo, for Piano, Chorus & Orchestra | Stefan Parkman, Radiokören, Hélène Grimaud, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 23-1 | Concerto for Violin, Strings and Continuo in E major, BWV 1042: I. Allegro | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-011.422.353-8 | |
| 23-2 | Concerto for Violin, Strings and Continuo in E major, BWV 1042: II. Adagio | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-001.439.586-8 | |
| 23-3 | Violin Concerto no. 2 in E, BWV 1042: 3. Allegro assai | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-306.395.786-4 | |
| 23-4 | Concerto for 2 Violins, Strings and Continuo in D minor, BWV 1043: I. Vivace | Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 23-5 | Concerto for Two Violins in D minor, BWV 1043: Largo ma non tanto | Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 23-6 | Concerto for 2 Violins, Strings and Continuo in D minor, BWV 1043: III. Allegro | Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 23-7 | Concerto for Violin, Strings and Continuo in A minor, BWV 1041: I. Allegro moderato | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-902.685.630-4 | |
| 23-8 | Concerto for Violin, Strings and Continuo in A minor, BWV 1041: II. Andante | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 23-9 | Concerto for Violin, Strings and Continuo in A minor, BWV 1041: III. Allegro assai | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-306.395.786-4 | |
| 23-10 | Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060: I. Allegro | Allan Vogel, Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-011.422.353-8 | |
| 23-11 | Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060: II. Adagio | Allan Vogel, Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-071.579.534-8 | |
| 23-12 | Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060: III. Allegro | Allan Vogel, Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 24-1 | Sonata in E major, K 380 (L 23) | Vladimir Horowitz | — | |
| 24-2 | Sonata no. 10 in C major, K. 300h/330: I. Allegro moderato | Vladimir Horowitz | — | |
| 24-3 | Sonata no. 10 in C major, K. 300h/330: I. Allegro moderato | Vladimir Horowitz | — | |
| 24-4 | Sonata no. 10 in C major, K. 300h/330: I. Allegro moderato | Vladimir Horowitz | — | |
| 24-5 | Prelude in G major, op. 32 no. 5: Moderato | Vladimir Horowitz | — | |
| 24-6 | Prelude in G-sharp minor, op. 32 no. 12: Allegro | Vladimir Horowitz | — | |
| 24-7 | Etude in C-sharp minor, op. 2 no. 1: Andante | Vladimir Horowitz | T-915.981.383-9 | |
| 24-8 | Etude in D-sharp minor, op. 8 no. 12: Patetico | Vladimir Horowitz | — | |
| 24-9 | Soirées de Vienne: Valse-Caprice No. 6: Allegro con spirito | Владимир Самойлович Горовиц | — | |
| 24-10 | Années de pèlerinage: Deuxième année "Italie": V. Sonetto 104 del Petrarca: Agitato assai - Adagio | Vladimir Horowitz | — | |
| 24-11 | Mazurka in C-sharp minor, op. 30 no. 4: Allegretto | Vladimir Horowitz | T-918.063.801-1 | |
| 24-12 | Mazurka in F minor, op. 7 no. 3 | Vladimir Horowitz | T-918.063.801-1 | |
| 24-13 | Kinderszenen, op. 15: Träumerei | Vladimir Horowitz | — | |
| 24-14 | Etincelles, Morceau caractéristique, op. 36 no. 6 | Vladimir Horowitz | — | |
| 24-15 | Polka de W.R.: Allegretto | Vladimir Horowitz | — | |
| 25-1 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-2 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-3 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-4 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-5 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-6 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-7 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-8 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-9 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-10 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-11 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-12 | Carmina Burana: II. In taberna: Olim lacus colueram | Chor der Deutschen Oper Berlin, Gerhard Stolze, Orchester der Deutschen Oper Berlin, Eugen Jochum | T-800.639.771-4 | |
| 25-13 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-14 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-15 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-16 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-17 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-18 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-19 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-20 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-21 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-22 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-23 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-24 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 25-25 | Carmina Burana: Blanziflor et Helena: Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | — | |
| 26-1 | Overture, op. 62 "Coriolan": Allegro con brio | Berliner Philharmoniker, Herbert von Karajan | T-909.574.378-5 | |
| 26-2 | Symphonie No. 9 d-Moll op. 125: 4. Presto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 26-3 | Symphonie No. 9 d-Moll op. 125: 4. Presto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 26-4 | Symphonie No. 9 d-Moll op. 125: 4. Presto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 26-5 | Symphonie No. 9 d-Moll op. 125: 4. Presto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 26-6 | Symphonie No. 9 d-Moll op. 125: 4. Presto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 27-1 | Klavierkonzert Nr. 4 G-Dur, op. 58: I. Allegro moderato | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — | |
| 27-2 | Klavierkonzert Nr. 4 G-Dur, op. 58: I. Allegro moderato | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — | |
| 27-3 | Klavierkonzert Nr. 4 G-Dur, op. 58: I. Allegro moderato | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — | |
| 27-4 | Concerto for Piano and Orchestra no. 5 in E-flat major, op. 73 "Emperor": I. Allegro | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | T-070.242.672-9 | |
| 27-5 | Concerto for Piano and Orchestra no. 5 in E-flat major, op. 73 "Emperor": II. Adagio un poco mosso | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — | |
| 27-6 | Concerto for Piano and Orchestra no. 5 in E-flat major, op. 73 "Emperor": III. Rondo. Allegro | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — | |
| 28-1 | Symphonie Nr. 5 c‐moll, op. 67: 3. Satz: Allegro | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-2 | Symphonie Nr. 5 c‐moll, op. 67: 3. Satz: Allegro | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-3 | Symphonie Nr. 5 c‐moll, op. 67: 3. Satz: Allegro | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-4 | Symphonie Nr. 5 c‐moll, op. 67: 3. Satz: Allegro | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-5 | Symphonie nr. 7 A‐Dur, op. 92: I. Poco sostenuto – Vivace | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-6 | Symphonie nr. 7 A‐Dur, op. 92: I. Poco sostenuto – Vivace | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-7 | Symphonie nr. 7 A‐Dur, op. 92: I. Poco sostenuto – Vivace | Wiener Philharmoniker, Carlos Kleiber | — | |
| 28-8 | Symphonie nr. 7 A‐Dur, op. 92: I. Poco sostenuto – Vivace | Wiener Philharmoniker, Carlos Kleiber | — | |
| 29-1 | Alcina, HWV 34: “Ah! mio cor! Schernito sei!” (Alcina) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-2 | Hercules, HWV 60: “Where shall I fly?” (Dejanira) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | T-911.061.076-9 | |
| 29-3 | Agrippina, HWV 6: “Pensieri, voi mi tormentate” (Agrippina) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-4 | Giulio Cesare in Egitto, HWV 17: “Cara speme, questo core tu comincia lusingar” (Sesto) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-5 | Joshua, oratorio, HWV 64: Act III, Scene XIV. Air "Oh Had I Jubal's Lyre" (Achsah) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | T-900.230.391-5 | |
| 29-6 | Ariodante, HWV 33: “Scherza infida in grembo al drudo” (Ariodante) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-7 | Theodora, HWV 68: “O thou bright sun” - “With darkness deep” (Theodora) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-8 | Amdigi di Gaula, HWV 11: “Desterò dall’empia Dite” (Melissa) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-9 | Orlando, HWV 31: “Ah! stigie larve!” - “Già latra Cerbero” - “Vaghe pupille, no, non piangete, no” (Orlando) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-10 | Ariodante, HWV 33: “Dopo notte, atra e funesta” (Ariodante) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 29-11 | Rinaldo, HWV 7: “Lascia ch’io pianga mia cruda sorte” (Almirena) | Magdalena Kožená, Venice Baroque Orchestra, Andrea Marcon | — | |
| 30-1 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 30-2 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 30-3 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 30-4 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 30-5 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 30-6 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 30-7 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 30-8 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 31-1 | Piano Concerto no. 1 in B-flat minor, op. 23: I. Allegro non troppo e molto maestoso – Allegro con spirito | Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim | T-010.194.845-1 | |
| 31-2 | Piano Concerto no. 1 in B-flat minor, op. 23: II. Andantino semplice - Prestissimo - Tempo I | Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 31-3 | Piano Concerto no. 1 in B-flat minor, op. 23: III. Allegro con fuoco | Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 31-4 | Piano Concerto no. 1 in G minor, op. 25: I. Molto allegro con fuoco | Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 31-5 | Concerto for Piano no. 1 in G minor, op. 25: Andante | Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 31-6 | Piano Concerto no. 1 in G minor, op. 25: III. Presto - Molto allegro e vivace | Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 32-1 | Symphony no. 4 in A major, op. 90 "Italian": 1. Allegro vivace | Berliner Philharmoniker, Lorin Maazel | — | |
| 32-2 | Symphony no. 4 in A major, op. 90 "Italian": 2. Andante con moto | Berliner Philharmoniker, Lorin Maazel | T-303.792.628-2 | |
| 32-3 | Symphony no. 4 in A major, op. 90 "Italian": 3. Con moto moderato | Berliner Philharmoniker, Lorin Maazel | — | |
| 32-4 | Symphony no. 4 in A major, op. 90 "Italian": 4. Saltarello. Presto | Berliner Philharmoniker, Lorin Maazel | T-925.645.332-4 | |
| 32-5 | Symphony no. 5 in D major, op. 107 "Reformation": 1. Allegro – Allegro con fuoco | Berliner Philharmoniker, Lorin Maazel | T-931.717.651-5 | |
| 32-6 | Symphony no. 5 in D major, op. 107 "Reformation": 2. Allegro vivace | Berliner Philharmoniker, Lorin Maazel | — | |
| 32-7 | Symphony no. 5 in D major, op. 107 "Reformation": 3. Andante | Berliner Philharmoniker, Lorin Maazel | T-902.876.200-7 | |
| 32-8 | Symphony no. 5 in D major, op. 107 "Reformation": 4. Chorale “Ein feste Burg ist unser Gott”. Andante con moto – Allegro maestoso | Berliner Philharmoniker, Lorin Maazel | — | |
| 33-1 | Le Carnaval des animaux: XIII. Le Cygne | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | T-317.671.333-6 | |
| 33-2 | Élégie, op. 24 | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | — | |
| 33-3 | Adagio con variazioni | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | T-005.002.559-6 | |
| 33-4 | Silent Woods, op. 68 no. 5: Lento e molto cantabile | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | — | |
| 33-5 | Chant du ménestrel, op. 71 | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | — | |
| 33-6 | Nocturne in C-sharp minor, op. 19 no. 4 | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | T-301.624.364-0 | |
| 33-7 | Kol Nidrei, op. 47 | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | — | |
| 33-8 | Romanze für Cello und Orchester in F | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | T-001.397.158-8 | |
| 33-9 | Adagio molto from Violin Concerto in C major, H. VIIa no. 1 | Mischa Maisky, Orchestre de Paris, Semyon Bychkov | — | |
| 34-1 | Symphonie fantastique, op. 14: I. Rêveries – Passions | Orchestre Lamoureux, Igor Markevitch | — | |
| 34-2 | Symphonie fantastique, op. 14: II. Un bal | Orchestre Lamoureux, Igor Markevitch | — | |
| 34-3 | Symphonie fantastique, op. 14: III. Scène aux champs | Orchestre Lamoureux, Igor Markevitch | — | |
| 34-4 | Symphonie fantastique, op. 14: IV. Marche au supplice | Orchestre Lamoureux, Igor Markevitch | — | |
| 34-5 | Symphonie fantastique, op. 14: V. Songe d'une nuit du Sabbat | Orchestre Lamoureux, Igor Markevitch | — | |
| 34-6 | Anacréon: Ouverture | Orchestre Lamoureux, Igor Markevitch | — | |
| 34-7 | La Muette de Portici: Ouverture | Orchestre Lamoureux, Igor Markevitch | — | |
| 35-1 | Christum wir sollen loben schon (harmonized: Lucas Osiander) | Martin Luther | — | |
| 35-2 | Puer natus in Bethlehem (from Polyhymnia caduceatrix et panegyrica & Musae Sioniae V) | Michael Praetorius | — | |
| 35-3 | Polyhymnia caduceatrix et panegyrica: Missa Gantz Teudsch: Kyrie | Gabrieli Consort, Paul McCreesh | T-030.102.419-0 | |
| 35-4 | Polyhymnia caduceatrix et panegyrica: Missa Gantz Teudsch: Gloria | Michael Praetorius | — | |
| 35-5 | Musae Sioniae VIII: Der Herr sei mit euch | Michael Praetorius | — | |
| 35-6 | So schreibt der heilig Propheten Jesajas | [anonymous] | — | |
| 35-7 | Lüneburg, Stadtarchiv, Musikabteilung, Mus. ant. pract. KN 208.2: Praeambulum for organ | [anonymous] | — | |
| 35-8 | Vom Himmel hoch da komm ich her (from Musae Sioniae V & Urania) | Michael Praetorius | — | |
| 35-9 | So schreibt der heilige Lukas | [anonymous] | — | |
| 35-10 | Wir glauben all an einen Gott (harmonized: Samuel Scheidt) | Martin Luther | — | |
| 35-11 | Lüneburg, Stadtarchiv, Musikabteilung, Mus. ant. pract. KN 208.2: Resonet in laudibus | [anonymous] | — | |
| 35-12 | Puericinium: Quem pastores laudavere | Michael Praetorius | T-071.000.879-9 | |
| 35-13 | Banchetto musicale: Sonata: Padouana à 5 | Johann Hermann Schein | — | |
| 35-14 | The Lord’s Prayer: “Vater unser, der du bist im Himmel” / Words of Institution: “Unser Herr Jesus Christus” | [anonymous] | — | |
| 35-15 | Polyhymnia caduceatrix et panegyrica: Jesaja dem Propheten das geschah | Michael Praetorius | — | |
| 35-16 | Görlitzer Tabulatur‐Buch: Wie schön leuchtet der Morgenstern | Samuel Scheidt | — | |
| 35-17 | Wie schön leuchtet der Morgenstern | Tessa Bonner, Simon Grant, Susan Hemington Jones, Julian Podger, Angus Smith, Gabrieli Consort & Players, Paul McCreesh | — | |
| 35-18 | Musae Sioniae VI: Uns ist ein Kindlein heut geborn | Sarah Pendlebury, Hannelore Devaere, Gabrieli Consort, Paul McCreesh | T-071.000.879-9 | |
| 35-19 | Musae Sioniae VIII: Der Herr sei mit euch | Michael Praetorius | T-071.000.879-9 | |
| 35-20 | Missodia Sionia: Der Herr segne dich und behüte dich | Michael Praetorius | — | |
| 35-21 | Musae Sioniae VI: Puer nobis nascitur | Michael Praetorius | T-071.000.879-9 | |
| 35-22 | Musae Sioniae VIII: Nun lob mein Seel | Timothy Roberts | — | |
| 35-23 | Polyhymnia caduceatrix et panegyrica: In dulci jubilo | Susan Hemington Jones, Tessa Bonner, Mark le Brocq, Boy's Choir of Roskilde Cathedral, Gabrieli Consort & Players, Paul McCreesh | — | |
| 36-1 | Zaïs : Ouverture | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-2 | Castor et Pollux : Scène funèbre | Les Musiciens du Louvre, Marc Minkowski | T-900.137.133-1 | |
| 36-3 | Les fêtes d’Hébé : Air tendre | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-4 | Dardanus: Tambourins I & II | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-5 | Le Temple de la Gloire : Air tendre pour les Muses | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-6 | Les Boréades : Contredanse | Les Musiciens du Louvre, Marc Minkowski | T-011.673.237-6 | |
| 36-7 | La naissance d’Osiris : Air gracieux | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-8 | Les Boréades : Gavottes I & II | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-9 | Platée : Orage | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-10 | Les Boréades : Prélude | Les Musiciens du Louvre, Marc Minkowski | T-011.710.961-1 | |
| 36-11 | Concert no. 6 : La Poule | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-12 | Les Fêtes d’Hébé : Musette | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-13 | Hyppolyte & Aricie : Ritournelle | Les Musiciens du Louvre, Marc Minkowski | T-003.074.081-8 | |
| 36-14 | Naïs : Rigaudons I & II | Les Musiciens du Louvre, Marc Minkowski | T-911.931.681-3 | |
| 36-15 | Les Indes galantes : Danse des Sauvages | Les Musiciens du Louvre, Marc Minkowski | — | |
| 36-16 | Les Boréades : Entrée de Polymnie | Les Musiciens du Louvre, Marc Minkowski | T-031.862.827-1 | |
| 36-17 | Les Indes galantes : Chaconne | Les Musiciens du Louvre, Marc Minkowski | — | |
| 37-1 | Concerto for Violin and Orchestra in D major, op. 77: I. Allegro non troppo | Anne-Sophie Mutter, Berliner Philharmoniker, Herbert von Karajan | T-902.764.002-4 | |
| 37-2 | Concerto for Violin and Orchestra in D major, op. 77: II. Adagio | Anne-Sophie Mutter, Berliner Philharmoniker, Herbert von Karajan | — | |
| 37-3 | Concerto for Violin and Orchestra in D major, op. 77: III. Allegro giocoso, ma non troppo vivace - Poco più presto | Anne-Sophie Mutter, Berliner Philharmoniker, Herbert von Karajan | T-900.964.675-7 | |
| 37-4 | Concerto for Violin, Violoncello, and Orchestra in A minor, op. 102: 1. Allegro | Anne-Sophie Mutter, Antônio Meneses, Berliner Philharmoniker, Herbert von Karajan | T-011.422.353-8 | |
| 37-5 | Concerto for Violin, Violoncello, and Orchestra in A minor, op. 102: 2. Andante | Anne-Sophie Mutter, Antônio Meneses, Berliner Philharmoniker, Herbert von Karajan | T-071.481.827-5 | |
| 37-6 | Concerto for Violin, Violoncello, and Orchestra in A minor, op. 102: 3. Vivace non troppo | Anne-Sophie Mutter, Antônio Meneses, Berliner Philharmoniker, Herbert von Karajan | — | |
| 38-1 | Idomeneo, rè di Creta, K. 366: Act I, Scene I. Recitativo "Quando avran fine omai" (Ilia) | Anna Netrebko, David Aronson, Wiener Philharmoniker, Gianandrea Noseda | — | |
| 38-2 | Don Giovanni, ossia Il dissoluto punito, K. 527, no. 23: “Crudele? – An no, mio bene!” … “Non mi dir, bell’idol mio” | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | — | |
| 38-3 | Benvenuto Cellini: Les belles fleurs! / Quand j'aurai votre âge | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | — | |
| 38-4 | Manon: Obéissons, quand leur voix apelle | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | T-101.072.203-7 | |
| 38-5 | Lucia di Lammermoor: Ancor non giunse! / Regnava nel silenzio | Elīna Garanča, Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | — | |
| 38-6 | La Sonnambula: Care Compagne / Come per me sereno | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | — | |
| 38-7 | Faust: Les grands Seigneurs / Ah! Je ris de me voir | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | — | |
| 38-8 | Rusalka: Act I. “Mesicku na nebi hlubokém” | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | T-802.413.219-3 | |
| 38-9 | La bohème: Atto I. “Quando me’n vò” (Musette’s Waltz) | Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda | T-911.137.537-2 | |
| 39-1 | Violin Concerto in D major, op. 35: 1. Allegro moderato | David Oistrakh, Staatskapelle Dresden, Franz Konwitschny | T-902.685.630-4 | |
| 39-2 | Violin Concerto in D major, op. 35: 2. Canzonetta. Andante | David Oistrakh, Staatskapelle Dresden, Franz Konwitschny | — | |
| 39-3 | Violin Concerto in D major, op. 35: 3. Finale. Allegro vivacissimo | David Oistrakh, Staatskapelle Dresden, Franz Konwitschny | — | |
| 39-4 | Études-Caprices op. 18 for 2 Violins: No. 2 in E-flat major | David Oistrakh, Igor Oistrakh | — | |
| 39-5 | Études-Caprices op. 18 for 2 Violins: No. 5 in E major | David Oistrakh, Igor Oistrakh | — | |
| 39-6 | Études-Caprices op. 18 for 2 Violins: No. 4 in A minor | David Oistrakh, Igor Oistrakh | — | |
| 39-7 | Navarra op. 33 for 2 Violins and Orchestra | David Oistrakh, Igor Oistrakh, Gewandhausorchester Leipzig, Franz Konwitschny | — | |
| 40-1 | Con che soavità | Anne Sofie von Otter, Musica Antiqua Köln, Reinhard Goebel | — | |
| 40-2 | Lamento della Regina d'Inghilterra | Anne Sofie von Otter, Franz-Josef Selig, Musica Antiqua Köln, Reinhard Goebel | — | |
| 40-3 | Il Ballo del Gran Duca, op. 16: Corrente Nona | Musica Antiqua Köln, Reinhard Goebel | — | |
| 40-4 | Cantata, RV 684 "Cessate, omai cessate" | Anne Sofie von Otter, Musica Antiqua Köln, Reinhard Goebel | — | |
| 40-5 | Lamento d'Arianna | Anne Sofie von Otter, Jakob Lindberg | T-205.000.091-1 | |
| 40-6 | Incassum, Lesbia, rogas, Z. 383 | Anne Sofie von Otter, Markus Möllenbeck, Christian Rieger | — | |
| 40-7 | Ciaccona | Jakob Lindberg | — | |
| 40-8 | Oh solitude!, Z. 406 | Anne Sofie von Otter, Jakob Lindberg | T-010.765.116-0 | |
| 41-1 | Concerto in E major, op. 8 no. 1, RV 269 "La primavera": I. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-306.395.786-4 | |
| 41-2 | Concerto in E major, op. 8 no. 1, RV 269 "La primavera": II. Largo e pianissimo sempre | Trevor Pinnock, Simon Standage, The English Concert | T-911.640.005-6 | |
| 41-3 | Concerto in E major, op. 8 no. 1, RV 269 "La primavera": III. Danza pastorale. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-902.836.120-8 | |
| 41-4 | Concerto in G minor, op. 8 no. 2, RV 315 "L'estate": I. Allegro non molto | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 41-5 | Concerto in G minor, op. 8 no. 2, RV 315 "L'estate": II. Adagio - Presto | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 41-6 | Concerto in G minor, op. 8 no. 2, RV 315 "L'estate": III. Presto | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 41-7 | Concerto in F major, op. 8 no. 3, RV 293 "L'autunno": I. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-911.640.004-5 | |
| 41-8 | Concerto in F major, op. 8 no. 3, RV 293 "L'autunno": II. Adagio | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 41-9 | Concerto in F major, op. 8 no. 3, RV 293 "L'autunno": III. Allegro | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 41-10 | Concerto in F minor, op. 8 no. 4, RV 297 "L'inverno": I. Allegro non molto | Trevor Pinnock, Simon Standage, The English Concert | T-307.175.172-5 | |
| 41-11 | Concerto in F minor, op. 8 no. 4, RV 297 "L'inverno": II. Largo | Trevor Pinnock, Simon Standage, The English Concert | T-307.175.181-6 | |
| 41-12 | Concerto in F minor, op. 8 no. 4, RV 297 "L'inverno": III. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-902.836.120-8 | |
| 41-13 | Concerto for Oboe, Violin and Strings in B-flat major, RV 548: I. (Allegro) | David Reichenberg, Simon Standage, The English Concert, Trevor Pinnock | T-910.793.958-2 | |
| 41-14 | Concerto for Oboe, Violin and Strings in B-flat major, RV 548: II. Largo | David Reichenberg, Simon Standage, The English Concert, Trevor Pinnock | T-911.640.005-6 | |
| 41-15 | Concerto for Oboe, Violin, Strings and Continuo in B-flat, RV 548: 3. Allegro | David Reichenberg, Simon Standage, The English Concert, Trevor Pinnock | T-902.836.120-8 | |
| 41-16 | Concerto for 2 Violins and Strings in G major, RV 516: I. Allegro molto | Simon Standage, Elizabeth Wilcock, The English Concert, Trevor Pinnock | — | |
| 41-17 | Concerto for 2 Violins, Strings and Continuo in G major, RV 516: 2. Andante (molto) | Simon Standage, Elizabeth Wilcock, The English Concert, Trevor Pinnock | — | |
| 41-18 | Concerto for 2 Violins and Strings in G major, RV 516: III. Allegro | Simon Standage, Elizabeth Wilcock, The English Concert, Trevor Pinnock | T-902.836.120-8 | |
| 42-1 | Nocturne no. 1 in B-flat minor, op. 9 no. 1: Larghetto | Maria João Pires | T-321.286.786-8 | |
| 42-2 | Nocturne no. 2 in E‐flat major, op. 9 no. 2: Andante | Maria João Pires | T-316.578.060-5 | |
| 42-3 | Nocturne No. 3 in B major, Op. 9 No. 3: Allegretto | Maria João Pires | — | |
| 42-4 | Nocturne no. 4 in F major, op. 15 no. 1: Andante cantabile | Maria João Pires | T-306.230.833-8 | |
| 42-5 | Nocturne no. 5 in F-sharp major, op. 15 no. 2: Larghetto | Maria João Pires | T-306.230.833-8 | |
| 42-6 | Nocturne No. 6 in G minor, Op. 15 No. 3: Lento | Maria João Pires | — | |
| 42-7 | Nocturne no. 7 in C-sharp minor, op. 27 no. 1: Larghetto | Maria João Pires | — | |
| 42-8 | Nocturne no. 8 in D-flat major, op. 27 no. 2: Lento sostenuto | Maria João Pires | T-306.230.835-0 | |
| 42-9 | Nocturne No. 9 in B major, Op. 32 No. 1: Andante sostenuto | Maria João Pires | T-900.129.617-9 | |
| 42-10 | Nocturne no. 10 in A-flat major, op. 32 no. 2: Lento | Maria João Pires | — | |
| 43-1 | Nocturne no. 11 in G minor, op. 37 no. 1: Andante sostenuto | Maria João Pires | — | |
| 43-2 | Nocturne No. 12 in G major, Op. 37 No. 2: Andantino | Maria João Pires | T-906.148.797-6 | |
| 43-3 | Nocturne no. 13 in C minor, op. 48 no. 1: Lento | Maria João Pires | — | |
| 43-4 | Nocturne No. 14 in F-sharp minor, Op. 48 No. 2: Andantino | Maria João Pires | T-306.230.833-8 | |
| 43-5 | Nocturne no. 15 in F minor, op. 55 no. 1: Andante | Maria João Pires | T-321.286.787-9 | |
| 43-6 | Nocturne No. 16 in E-flat major, Op. 55 No. 2: Lento sostenuto | Maria João Pires | — | |
| 43-7 | Nocturne No. 17 in B major, Op. 62 No. 1: Andante | Maria João Pires | — | |
| 43-8 | Nocturne no. 18 in E major, op. 62 no. 2: Lento | Maria João Pires | — | |
| 43-9 | Nocturne No. 19 in E minor, Op. post. 72 No. 1: Andante | Maria João Pires | — | |
| 43-10 | Nocturne no. 20 in C-sharp minor, op. post: Lento con gran espressione | Maria João Pires | T-928.543.689-7 | |
| 43-11 | Nocturne No. 21 in C minor, Op. post. | Maria João Pires | — | |
| 44-1 | Sonata in E major, K. 20: Presto | Ivo Pogorelich | — | |
| 44-2 | Sonata in E major, K. 135: Allegro | Ivo Pogorelich | — | |
| 44-3 | Sonata in D minor, K. 9: Allegro moderato | Ivo Pogorelich | — | |
| 44-4 | Sonata in D major, K. 119: Allegro | Ivo Pogorelich | — | |
| 44-5 | Sonata in D minor, K. 1: Allegro | Ivo Pogorelich | — | |
| 44-6 | Sonata in B minor, K. 87: Andante | Ivo Pogorelich | T-070.126.537-3 | |
| 44-7 | Sonata in E minor, K. 98: Allegrissimo | Ivo Pogorelich | — | |
| 44-8 | Sonata in G major, K. 13: Presto | Ivo Pogorelich | — | |
| 44-9 | Sonata in G minor, K. 8: Allegro | Ivo Pogorelich | — | |
| 44-10 | Sonata in C minor, K. 11: Moderato | Ivo Pogorelich | — | |
| 44-11 | Sonata in G minor, K. 450: Allegrissimo | Ivo Pogorelich | — | |
| 44-12 | Sonata in C major, K. 159: Allegro | Ivo Pogorelich | — | |
| 44-13 | Sonata in C major, K. 487: Allegro | Ivo Pogorelich | T-918.063.799-4 | |
| 44-14 | Sonata in B‐flat major, K. 529: Allegro | Ivo Pogorelich | — | |
| 44-15 | Sonata in E major, K. 380: Andante comodo | Ivo Pogorelich | — | |
| 45-1 | Études op. 10: No. 1 in C major: Allegro | Maurizio Pollini | T-329.456.966-3 | |
| 45-2 | Études op. 10: No. 2 in A minor “Chromatique”: Allegro | Maurizio Pollini | T-329.458.384-5 | |
| 45-3 | Études op. 10: No. 3 in E major “Tristesse”: Lento, ma non troppo | Maurizio Pollini | T-329.459.340-7 | |
| 45-4 | Études op. 10: No. 4 in C‐sharp minor: Presto | Maurizio Pollini | T-915.981.383-9 | |
| 45-5 | Études op. 10: No. 5 in G‐flat major “Black Keys”: Vivace | Maurizio Pollini | T-329.453.534-1 | |
| 45-6 | Études op. 10: No. 6 in E‐flat minor: Andante | Maurizio Pollini | T-329.458.108-7 | |
| 45-7 | Études op. 10: No. 7 in C major: Vivace | Maurizio Pollini | T-329.457.242-8 | |
| 45-8 | Études op. 10: No. 8 in F major: Allegro | Maurizio Pollini | T-329.458.487-1 | |
| 45-9 | Études op. 10: No. 9 in F minor: Allegro, molto agitato | Maurizio Pollini | T-329.456.945-8 | |
| 45-10 | Études op. 10: No. 10 in A‐flat major: Vivace assai | Maurizio Pollini | T-329.454.326-9 | |
| 45-11 | Études, op. 10: No. 11 in E‐flat major: Allegretto | Maurizio Pollini | T-329.456.687-9 | |
| 45-12 | Études, op. 10: No. 12 in C minor “Revolutionary”: Allegro con fuoco | Maurizio Pollini | T-915.981.383-9 | |
| 45-13 | 12 Études, Op. 25: No. 1 in A‐Flat Major “Harp Study” | Maurizio Pollini | — | |
| 45-14 | Études, op. 25: No. 2 in F minor: Presto | Maurizio Pollini | T-329.456.945-8 | |
| 45-15 | Études, op. 25: No. 3 in F major: Allegro | Maurizio Pollini | T-329.456.945-8 | |
| 45-16 | Études, op. 25: No. 4 in A minor: Agitato | Maurizio Pollini | T-329.457.500-7 | |
| 45-17 | Études, op. 25: No. 5 in E minor: Vivace | Maurizio Pollini | T-329.458.108-7 | |
| 45-18 | Études, op. 25: No. 6 in G sharp minor: Allegro | Maurizio Pollini | T-915.981.383-9 | |
| 45-19 | Etude no. 19 in C‐sharp minor, op. 25 no. 7 | Maurizio Pollini | T-915.981.383-9 | |
| 45-20 | Études, op. 25: No. 8 in D flat major: Vivace | Maurizio Pollini | — | |
| 45-21 | 12 Études, Op. 25: No. 9 in G‐Flat Major “Butterfly Wings” | Maurizio Pollini | — | |
| 45-22 | 12 Études, Op. 25: No. 10 in B Minor “Octave” | Maurizio Pollini | T-308.384.655-9 | |
| 45-23 | 12 Études, Op. 25: No. 11 in A Minor “Winter Wind” | Maurizio Pollini | T-308.381.369-4 | |
| 45-24 | 12 Études, Op. 25: No. 12 in C Minor “Ocean” | Maurizio Pollini | T-310.766.142-3 | |
| 46-1 | Zar und Zimmermann: “O sancta justitia! Ich möchte rasen” | — | ||
| 46-2 | Zar und Zimmermann: “Den hohen Herrscher würdig zu empfangen” | — | ||
| 46-3 | Zar und Zimmermann: “Sonst spielt ich mit Zepter, mit Krone und Stern” | — | ||
| 46-4 | Der Wildschütz: “Fünftausend Taler! Träum oder wach ich?” | — | ||
| 46-5 | Der Wildschütz: “Laß Er doch hören!” - “Bei diesem schlimmen Fall” | — | ||
| 46-6 | Der Wildschütz: “Wie freundlich strahlt die holde Morgensonne” | — | ||
| 46-7 | Euryanthe: “Wo berg ich mich? ... Schweigt, glühnden Sehnens” | — | ||
| 46-8 | Tannhäuser: “Gar viel und schön ward hier in dieser Halle” | — | ||
| 46-9 | Tannhäuser: „Wie Todesahnung” … „O du mein holder Abendstern” | Thomas Quasthoff, Orchester der Deutschen Oper Berlin, Christian Thielemann | — | |
| 46-10 | Die schweigsame Frau: “Wie schön ist doch die Musik” | — | ||
| 47-1 | Mass in B minor: I. Chor: Kyrie eleison | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-070.093.418-4 | |
| 47-2 | Mass in B minor: II Duett: Christe eleison | Maria Stader, Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 47-3 | Mass in B minor: III. Chor: Kyrie eleison | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-070.093.418-4 | |
| 47-4 | Mass in B minor: IV. Chor: Gloria in excelsis Deo | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-306.483.198-3 | |
| 47-5 | Mass in B minor: V. Chor: Et in terra pax | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 47-6 | Mass in B minor: VI. Arie: Laudamus te | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-070.912.952-1 | |
| 47-7 | Mass in B minor: VII. Chor: Gratias agimus tibi | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-921.408.876-3 | |
| 47-8 | Mass in B minor: VIII. Duett: Domine Deus | Maria Stader, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | T-003.010.019-6 | |
| 47-9 | Mass in B minor: IX. Chor: Qui tollis peccata mundi | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 47-10 | Mass in B minor: X. Arie: Qui sedes ad dextram Patris | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 47-11 | Mass in B minor: XI. Arie: Quoniam tu solus sanctus | Kieth Engen, Münchener Bach-Orchester, Karl Richter | — | |
| 47-12 | Mass in B minor: XII. Chor: Cum Sancto Spiritu | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-1 | Mass in B Minor: XIII. Chor: Credo in unum Deum | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-2 | Mass in B Minor: XIV. Chor: Credo in unum Deum / Patrem omnipotentem | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-3 | Mass in B Minor: XV. Duett / Et in unum Dominum | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-900.147.322-9 | |
| 48-4 | Mass in B Minor: XVI. Chor: Et incarnatus est | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-306.483.194-9 | |
| 48-5 | Mass in B Minor: XVII. Chor: Crucifixus | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-903.357.002-4 | |
| 48-6 | Mass in B Minor: XVIII. Chor: Et resurrexit | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-7 | Mass in B Minor: XIX. Arie: Et in Spiritum sanctum | Dietrich Fischer-Dieskau, Münchener Bach-Orchester, Karl Richter | T-915.866.114-4 | |
| 48-8 | Mass in B Minor: XX. Chor: Confiteor unum baptisma | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-9 | Mass in B Minor: XXI. Chor: Et expecto resurrectionem | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-10 | Mass in B Minor: XXII. Chor: Sanctus | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-922.001.293-1 | |
| 48-11 | Mass in B Minor: XXIII. Chor: Osanna in excelsis | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-12 | Mass in B Minor: XXIV. Arie: Benedictus, qui venit | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | T-050.283.177-7 | |
| 48-13 | Mass in B Minor: XXV. Chor: Osanna in excelsis (2) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 48-14 | Mass in B Minor: XXVI. Arie: Agnus Dei | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-302.516.155-7 | |
| 48-15 | Mass in B Minor: XXVII. Chor: Dona nobis pacem | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-050.051.776-9 | |
| 49-1 | Piano Concerto no. 2 in C minor, op. 18: I. Moderato | Sviatoslav Richter, Warsaw Philharmonic Orchestra, Stanisław Wisłocki | T-902.685.630-4 | |
| 49-2 | Piano Concerto no. 2 in C minor, op. 18: II. Adagio sostenuto | Sviatoslav Richter, Warsaw Philharmonic Orchestra, Stanisław Wisłocki | — | |
| 49-3 | Piano Concerto no. 2 in C minor, op. 18: III. Allegro scherzando | Sviatoslav Richter, Warsaw Philharmonic Orchestra, Stanisław Wisłocki | T-071.926.821-9 | |
| 49-4 | Prelude in C major, op. 32 no. 1: Allegro vivace | Святослав Теофилович Рихтер | — | |
| 49-5 | Prelude in B-flat minor, op. 32 no. 2: Allegretto | Sviatoslav Richter | — | |
| 49-6 | Prelude in B-flat major, op. 23 no. 2: Maestoso | Sviatoslav Richter | — | |
| 49-7 | Prelude in D major, op. 23 no. 4: Andante cantabile | Sviatoslav Richter | — | |
| 49-8 | Prelude in G minor, op. 23 no. 5: Alla marcia | Sviatoslav Richter | T-919.160.891-0 | |
| 49-9 | Prelude in C minor, op. 23 no. 7: Allegro | Святослав Теофилович Рихтер | — | |
| 50-1 | Concerto for Cello and Orchestra in B minor, op. 104: III. Finale - Allegro moderato | Mstislav Rostropovich, Orquesta Filarmónica de Berlín, Herbert von Karajan | — | |
| 50-2 | Concerto for Cello and Orchestra in B minor, op. 104: III. Finale - Allegro moderato | Mstislav Rostropovich, Orquesta Filarmónica de Berlín, Herbert von Karajan | — | |
| 50-3 | Concerto for Cello and Orchestra in B minor, op. 104: III. Finale - Allegro moderato | Mstislav Rostropovich, Orquesta Filarmónica de Berlín, Herbert von Karajan | — | |
| 50-4 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-5 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-6 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-7 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-8 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-9 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-10 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-11 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 50-12 | Variations on a Rococo Theme for Cello and Orchestra, op. 33: Variation II. Tempo del tema | Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | — | |
| 51-1 | Songs of Travel: I. The Vagabond | — | ||
| 51-2 | Songs of Travel: II. Let Beauty Awake | — | ||
| 51-3 | Songs of Travel: III. The Roadside Fire | — | ||
| 51-4 | Songs of Travel: IV. Youth and Love | — | ||
| 51-5 | Songs of Travel: V. In Dreams | — | ||
| 51-6 | Songs of Travel: VI. The Infinite Shining Heavens | — | ||
| 51-7 | Songs of Travel: VII. Whither Must I Wander? | — | ||
| 51-8 | Songs of Travel: VIII. Bright Is the Ring of Words | — | ||
| 51-9 | Songs of Travel: IX. I Have Trod the Upward and the Downward Slope | — | ||
| 51-10 | Let Us Garlands Bring, op. 18: I. Come Away, Come Away, Death | — | ||
| 51-11 | Let Us Garlands Bring, op. 18: II. Who is Silvia? | — | ||
| 51-12 | Let Us Garlands Bring, op. 18: III. Fear no more the heat o’ the sun | — | ||
| 51-13 | Let Us Garlands Bring, op. 18: IV. O Mistress mine | — | ||
| 51-14 | Let Us Garlands Bring, op. 18: V. It was a lover and his lass | — | ||
| 51-15 | Bredon Hill and Other Songs: I. Bredon Hill | — | ||
| 51-16 | Bredon Hill and Other Songs: II. Oh Fair Enough Are Sky and Plain | — | ||
| 51-17 | Bredon Hill and Other Songs: III. When the Lad for Longing Sighs | — | ||
| 51-18 | Bredon Hill and Other Songs: IV. On the Idle Hill of Summer | — | ||
| 51-19 | Bredon Hill and Other Songs: V. With Rue My Heart Is Laden | — | ||
| 51-20 | Sea Fever: I must go down to the seas again | — | ||
| 51-21 | The Vagabond: Dunno a heap about the what an’ why | — | ||
| 51-22 | The Bells of San Marie: It’s pleasant in Holy Mary by San Marie lagoon | — | ||
| 51-23 | A Shropshire Lad: I. Loveliest of Trees | — | ||
| 51-24 | A Shropshire Lad: II. When I Was One‐and‐Twenty | — | ||
| 51-25 | A Shropshire Lad: III. Look Not in My Eyes | — | ||
| 51-26 | A Shropshire Lad: IV. Think No More, Lad | — | ||
| 51-27 | A Shropshire Lad: V. The Lads in Their Hundreds | — | ||
| 51-28 | A Shropshire Lad: VI. Is My Team Ploughing? | — | ||
| 52-1 | La Gioconda: “Cielo e mar!” | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-2 | Adriana Lecouvreur: "La dolcissima effigie sorridente" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-3 | Il giuramento: "La dea di tutti i cor!" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-4 | Mefistofele: "Dai campi, dai prati" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-5 | Maristella: "Io conosco un giardino" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | T-005.006.854-6 | |
| 52-6 | Fosca: "Intenditi con Dio!" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-7 | Simon Boccanegra: "O inferno! Amelia qui!" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari, Francesco Maria Piave | — | |
| 52-8 | Poliuto: "Veleno a l'aura ch'io respiro!" | Gianluca Alfano, Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-9 | Il giuramento: "Compita e omai" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-10 | Adriana Lecouvreur: "L'anima ho stanca" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-11 | Il figliuol prodigo: "Il padre!...Il padre mio!" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-12 | Mefistofele: “Giunto sul passo estremoi” | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-13 | Luisa Miller: "Oh! fede negar potessi" | Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 52-14 | Luisa Miller: "L'ara o l'avello apprestami" | Gianluca Alfano, Coro Sinfonico di Milano Giuseppe Verdi, Rolando Villazón, Orchestra Sinfonica di Milano Giuseppe Verdi, Daniele Callegari | — | |
| 53-1 | Toccata und Fuge D-moll, BWV 565: II. Fuge | Helmut Walcha | — | |
| 53-2 | Toccata und Fuge D-moll, BWV 565: II. Fuge | Helmut Walcha | — | |
| 53-3 | Triosonate nr.1 Es‐dur, BWV 525: I. Allegro moderato | — | ||
| 53-4 | Triosonate nr.1 Es‐dur, BWV 525: II. Adagio | — | ||
| 53-5 | Triosonate nr.1 Es‐dur, BWV 525: III. Allegro | — | ||
| 53-6 | Choral‐Partita, BWV 768 “Sei gegrüsset, Jesu gütig” | — | ||
| 53-7 | Präludium und Fuge Es‐dur, BWV 552: I. Präludium | — | ||
| 53-8 | Präludium und Fuge Es‐dur, BWV 552: II. Fuge | — | ||
| 53-9 | Sechs Choräle von verschiedener Art, BWV 645: No. 1 "Wachet auf, ruft uns die Stimme" | Helmut Walcha | T-031.722.033-9 | |
| 53-10 | Sechs Choräle von verschiedener Art, BWV 646: no. 2 “Wo soll ich fliehen hin” | — | ||
| 53-11 | Sechs Choräle von verschiedener Art, BWV 647: no. 3 “Wer nur den lieben Gott läßt walten” | — | ||
| 53-12 | Sechs Choräle von verschiedener Art, BWV 648: no. 4 “Meine Seele erhebet den Herrn” | — | ||
| 53-13 | Sechs Choräle von verschiedener Art, BWV 649: no. 5 “Ach bleib’ bei uns, Herr Jesu Christ” | — | ||
| 53-14 | Sechs Choräle von verschiedener Art, BWV 650: no. 6 “Kommst du nun, Jesu, vom Himmel herunter” | — | ||
| 54-1 | Dichterliebe, op. 48: I. Im wunderschönen Monat Mai | Fritz Wunderlich, Hubert Giesen | T-912.151.106-6 | |
| 54-2 | Dichterliebe, op. 48: II. Aus meinen Tränen sprießen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-3 | Dichterliebe, op. 48: III. Die Rose, die Lilie, die Taube, die Sonne | Fritz Wunderlich, Hubert Giesen | — | |
| 54-4 | Dichterliebe, op. 48: IV. Wenn ich in deine Augen seh | Fritz Wunderlich, Hubert Giesen | T-800.213.522-1 | |
| 54-5 | Dichterliebe, op. 48: V. Ich will meine Seele tauchen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-6 | Dichterliebe, op. 48: VI. Im Rhein, im heiligen Strome | Fritz Wunderlich, Hubert Giesen | — | |
| 54-7 | Dichterliebe, op. 48: VII. Ich grolle nicht | Fritz Wunderlich, Hubert Giesen | — | |
| 54-8 | Dichterliebe, op. 48: VIII. Und wüßten's die Blumen, die kleinen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-9 | Dichterliebe, op. 48: IX. Das ist ein Flöten und Geigen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-10 | Dichterliebe, op. 48: X. Hör' ich das Liedchen klingen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-11 | Dichterliebe, op. 48: XI. Ein Jüngling liebt ein Mädchen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-12 | Dichterliebe, op. 48: XII. Am leuchtenden Sommermorgen | Fritz Wunderlich, Hubert Giesen | T-900.139.006-3 | |
| 54-13 | Dichterliebe, op. 48: XIII. Ich hab' im Traum geweinet | Fritz Wunderlich, Hubert Giesen | — | |
| 54-14 | Dichterliebe, op. 48: XIV. Allnächtlich im Traume | Fritz Wunderlich, Hubert Giesen | — | |
| 54-15 | Dichterliebe, op. 48: XV. Aus alten Märchen winkt es | Fritz Wunderlich, Hubert Giesen | — | |
| 54-16 | Dichterliebe, op. 48: XVI. Die alten, bösen Lieder | Fritz Wunderlich, Hubert Giesen | — | |
| 54-17 | Zärtliche Liebe, WoO 123 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-18 | Adelaïde, op. 46 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-19 | Resignation, WoO 149 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-20 | Der Kuß, op. 128 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-21 | An Silvia, D. 891 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-22 | Lied eines Schiffers an die Dioskuren, D. 360 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-23 | Liebhaber in allen Gestalten, D. 558 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-24 | Der Einsame, op. 41, D. 800 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-25 | Im Abendrot, D. 799 | Fritz Wunderlich, Hubert Giesen | — | |
| 54-26 | Schwanengesang, D. 957: IV. Ständchen | Fritz Wunderlich, Hubert Giesen | — | |
| 54-27 | An die Laute, D. 905 | Fritz Wunderlich, Hubert Giesen | T-902.863.695-5 | |
| 54-28 | Der Musensohn, D.764 (op. 92/1) | Fritz Wunderlich, Hubert Giesen | T-902.873.310-0 | |
| 54-29 | An die Musik, op. 88 no. 4, D. 547 | Fritz Wunderlich, Hubert Giesen | T-910.203.464-0 | |
| 55-1 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 1. Allegro maestoso | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 55-2 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 2. Quasi adagio – Allegretto vivace – Allegro animato | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 55-3 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 3. Allegro marziale animato – Presto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 55-4 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 1. Adagio sostenuto assai - Allegro agitato assai - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 55-5 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 2. Allegro moderato - Allegro deciso - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 55-6 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 3. Marziale un poco meno allegro - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 55-7 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 4. Allegro animato - Stretto (molto accelerando) | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 55-8 | Totentanz (Danse macabre) | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Toccata und Fuge D-moll, BWV 565: I. Toccata | Helmut Walcha | T-909.407.007-2 |
| Klavierkonzert Nr. 4 G-Dur, op. 58: II. Andante con moto | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — |
| Klavierkonzert Nr. 4 G-Dur, op. 58: I. Allegro moderato | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — |
| Klavierkonzert Nr. 4 G-Dur, op. 58: III. Rondo. Vivace | Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner | — |
