UPC · Release
Various Artists
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028947791423 is the Universal Product Code (UPC barcode) for the release “111 Years of Deutsche Grammophon: The Collectors’ Edition 2” by Various Artists, released 2010-01-01 on Deutsche Grammophon. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 616 tracks, each with its own ISRC. Tracks include DEF057730101, DEF057730125, DEF057730126.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Carmen, WD 31: Overture (Prelude) | London Symphony Orchestra, Claudio Abbado | T-031.673.380-8 | |
| 2 | Carmen : Acte I, Nº 1. Introduction « Sur la place chacun passe » (Les Soldats, Moralès) | Patrick Criswell, John McCarthy, Ambrosian Singers, Stuart Harling, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 3 | Carmen : Acte I. « Regardez donc cette petite » (Moralès, Les Soldats, Micaëla) | Patrick Criswell, John McCarthy, Ambrosian Singers, Ileana Cotrubaș, Stuart Harling, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 4 | Carmen : Acte I, Nº 2. Marche et Chœur des Gamins « Avec la garde montante » (Chœur des Gamins) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 5 | Carmen : Acte I. « Repos ! » (Zuniga, Moralès, Don José) | Plácido Domingo, Stuart Harling, Robert Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 6 | Carmen : Acte I. « Allons ! Allons ! » (Zuniga, Chœur des Gamins) | Patrick Criswell, John McCarthy, Ambrosian Singers, Robert Lloyd, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 7 | CARMEN, ACT I: DIALOGUE. DITES-MOI, BRIGADIER | CLAUDIO ABBADO LONDON SYMPHONY ORCHESTRA ROBERT LLOYD PLÁCIDO DOMINGO, GEORGES BIZET,ROBERT LLOYD,PLÁCIDO DOMINGO,LONDON SYMPHONY ORCHESTRA,CLAUDIO ABBADO | — | |
| 8 | Carmen : Acte I. “Voici la cloche qui sonne, mon lieutenant ” … “La cloche a sonné” | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 9 | Carmen : Acte I. « Mais nous ne voyons pas la Carmencita. » (Les Soldats, Les Jeunes Gens) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 10 | Carmen : Acte I. « Quand je vous aimerai ? » / Nº 4: Havanaise « L’amour est un oiseau rebelle » (Carmen, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 11 | Carmen : Acte I, Nº 5. Scène « Carmen, sur tes pas, nous nous pressons tous » (Les Jeunes Gens, Les Cigarières, Don José) | Patrick Criswell, John McCarthy, Ambrosian Singers, Plácido Domingo, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 12 | Carmen : Acte I. « Monsieur le brigadier ? » (Micaëla, Don José) / Nº 6: Duo « Parle‐moi de ma mère ! » (Don José, Micaëla) | Ileana Cotrubaș, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 13 | Carmen : Acte I. « Votre mère avec moi sortait de la chapelle » (Micaëla, Don José) | Ileana Cotrubaș, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 14 | Carmen : Acte I. « Ma mère, je la vois… » (Don José, Micaëla) | Ileana Cotrubaș, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 15 | Carmen : Acte I. « Que son fils l’aime et la venère » (Don José, Micaëla) / « Eh bien, eh bien ! » (Zuniga) | Ileana Cotrubaș, Plácido Domingo, Robert Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 16 | Carmen : Acte I, Nº 7. Chœur « Au secours ! » (Les Cigarières, Zuniga, Les Soldats) | Patrick Criswell, John McCarthy, Ambrosian Singers, Robert Lloyd, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 17 | Carmen : Acte I. « Voyons, brigadier… » (Zuniga, Don José, Carmen) / Nº 8. Chanson et Mélodrame « Tra la la la… » (Carmen, Zuniga, Les Cigarières, Un Soldat, Don José) | Patrick Criswell, John McCarthy, Ambrosian Singers, Richard Amner, Teresa Berganza, Plácido Domingo, Robert Lloyd, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 18 | Carmen : Acte I, Nº 9. Chanson (Séguedille) et Duo « Près des remparts de Séville » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 19 | Carmen : Acte I, Nº 10. Finale « Le lieutenant !… Prenez garde. » (Don José, Zuniga, Carmen) | Teresa Berganza, Plácido Domingo, Robert Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 20 | Carmen : Acte I. Entr’acte | London Symphony Orchestra, Claudio Abbado | — | |
| 21 | Carmen : Acte II, Nº 11. Chanson « Les tringles des sistres tintaient » (Carmen, Mercédès, Frasquita) | Teresa Berganza, Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | T-922.166.713-6 | |
| 22 | Carmen : Acte II. « Vous avez quelque chose à nous dire » (Zuniga, Pastia, Frasquita, Andrès, Mercédès, Carmen) | Teresa Berganza, Yvonne Kenny, Jean Lainé, Robert Lloyd, George Main, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | — | |
| 23 | Carmen : Acte II. « Tout est bien alors » (Carmen, Zuniga) / Nº 12. Chœur et Ensemble « Vivat ! vivat le toréro ! » (Chœur, Zuniga, Mercédès, Frasquita, Escamillo, Carmen, Andrès, Pastia) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Jean Lainé, Robert Lloyd, George Main, Alicia Nafé, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 24 | Carmen : Acte II, Nº 13. Couplet (Air du Toréador) « Votre toast… je peux vous le rendre » (Escamillo, tout le monde, Pastia, Zuniga, Carmen) / Nº 13 bis. Chœur « Toréador, en garde » (Chœur, Frasquita, Pastia, Dancaïre, Remendado) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Robert Lloyd, George Main, Sherrill Milnes, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 25 | Carmen : Acte II. Quintette « Nous avons en tête une affaire » | Teresa Berganza, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, London Symphony Orchestra, Claudio Abbado | — | |
| 26 | Carmen : Acte II, Nº 15. Chanson « Amoureuse…ce n’est pas une raison » (Dancaïre, Remendado, Frasquita, Mercédès, Carmen) / « Halte‐là ! Qui va là ? » (Don José, Mercédès, Frasquita, Dancaïre, Carmen) | Teresa Berganza, Plácido Domingo, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, London Symphony Orchestra, Claudio Abbado | — | |
| 2-1 | Carmen : Acte II, Nº 16. Duo « Je vais danser en votre honneur » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 2-2 | Carmen : Acte II. Air de la fleur « La Fleur que tu m’avais jetée » (Don José) | Plácido Domingo, London Symphony Orchestra, Claudio Abbado | T-928.635.311-5 | |
| 2-3 | Carmen : Acte II. « Non ! Tu ne m’aimes pas ! » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 2-4 | Carmen : Acte II, Nº 17. Finale « Holà ! Carmen ! Holà ! » (Zuniga, Don José, Carmen, Dancaïre, Remendado, Les Bohémiens) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, Robert Lloyd, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-5 | Carmen : Acte II. « Suis‐nous à travers la campagne » (Frasquita, Mercédès, Dancaïre, Remendado, Les Bohémiens, Les Bohémiennes) | Patrick Criswell, John McCarthy, Ambrosian Singers, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-6 | Carmen : Acte II. Entr’acte (entre Acte II & III) | London Symphony Orchestra, Claudio Abbado | — | |
| 2-7 | Carmen : Acte III, Nº 18. Introduction « Ecoute, compagnon, écoute » (Les Contrebandiers, Frasquita, Mercédès, Carmen, Don José, Dancaïre, Remendado) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-8 | Carmen : Acte III. « Halte ! Nous allons nous arrêter ici… » (Dancaïre, Remendado, Don José, Carmen) | Teresa Berganza, Plácido Domingo, Geoffrey Pogson, Gordon Sandison, London Symphony Orchestra, Claudio Abbado | — | |
| 2-9 | Carmen : Acte III, Nº 19. Trio « Mêlons ! » « Mêlons ! » « Coupons ! » (Frasquita, Mercédès) | Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | — | |
| 2-10 | Carmen : Acte III. Air des cartes « Carreau, pique … la mort ! » (Carmen) | Teresa Berganza, London Symphony Orchestra, Claudio Abbado | T-324.536.672-3 | |
| 2-11 | Carmen : Acte III. « Parlez encore, parlez, mes belles » (Frasquita, Mercédès, Carmen) | Teresa Berganza, Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | — | |
| 2-12 | Carmen : Acte III. « Eh bien, j’avais raison. » (Dancaïre, Carmen, Remendado, Frasquita, Mercédès, Don José) | Teresa Berganza, Plácido Domingo, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison | — | |
| 2-13 | Carmen : Acte III, Nº 20. Morceau d’ensemble « Quant au douanier, c’est notre affaire » (Carmen, Mercédès, Frasquita, Les Bohémiennes, Les Bohémiens, Dancaïre, Remendado) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Alicia Nafé, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-14 | Carmen : Acte III. « Nous y sommes » (Le Guide, Micaëla) | Ileana Cotrubaș, Jean Lainé | — | |
| 2-15 | Carmen : Acte III, Nº 21. Air « Je dis que rien ne m’épouvante » (Micaëla) | Ileana Cotrubaș, London Symphony Orchestra, Claudio Abbado | — | |
| 2-16 | Carmen : Acte III. « Mais… je ne me trompe pas… » (Micaëla, Escamillo, Don José) / Nº 22. Duo « Je suis Escamillo, toréro de Grenade. » (Escamillo, Don José) | Ileana Cotrubaș, Plácido Domingo, Sherrill Milnes, London Symphony Orchestra, Claudio Abbado | — | |
| 2-17 | Carmen : Acte III, Nº 23. Finale « Holà, José ! » (Carmen, Escamillo, Dancaïre, Don José, Les Contrebandiers, Les Contrebandières) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, Sherrill Milnes, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-18 | Carmen : Acte III. « Halte ! Quelqu’un est là qui cherche à se cacher. » (Remendado, Carmen, Dancaïre, Don José, Micaëla, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Ileana Cotrubaș, Plácido Domingo, Sherrill Milnes, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-19 | Carmen : Acte III. Entr’acte | London Symphony Orchestra, Claudio Abbado | T-010.248.557-3 | |
| 2-20 | Carmen : Acte III, Nº 24. Chœur « À deux cuartos » (Des Marchandes, Des Marchands, Un Soldat, Andrès, Un Bohémien) | Patrick Criswell, John McCarthy, Ambrosian Singers, Richard Amner, Leslie Fyson, Jean Lainé, Shirley Minty, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-21 | Carmen : Acte III, Nº 25. Chœur et Scène « Les voici, voici le quadrille » (Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-22 | Carmen : Acte IV. « Si tu m’aimes, Carmen » (Escamillo, Carmen, Frasquita, Mercédès) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Sherrill Milnes, Alicia Nafé, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-23 | Carmen : Acte IV, Nº 26. Duo final « C’est toi ? » / « C’est‐moi ! » (Carmen, Don José, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 3-1 | Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 3-2 | Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 3-3 | Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 3-4 | Concerto for Piano and Orchestra in G major, M. 83: 3. Presto | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 3-5 | Concerto for Piano and Orchestra in G major, M. 83: 3. Presto | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 3-6 | Concerto for Piano and Orchestra in G major, M. 83: 3. Presto | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 3-7 | Gaspard de la nuit, Poèmes d'après Aloysius Bertrand: I. Ondine | Martha Argerich | T-902.777.490-9 | |
| 3-8 | Gaspard de la nuit, M.55: II. Le Gibet. Très Lent | Martha Argerich | T-305.194.353-0 | |
| 3-9 | Gaspard de la nuit, Poèmes d'après Aloysius Bertrand: III. Scarbo | Martha Argerich | T-902.777.490-9 | |
| 4-1 | Klaviersonate Nr. 14 cis-Moll, Op. 27 Nr. 2 "Mondschein": I. Adagio sostenuto | Daniel Barenboim | — | |
| 4-2 | Klaviersonate Nr. 14 cis-Moll, Op. 27 Nr. 2 "Mondschein": I. Adagio sostenuto | Daniel Barenboim | — | |
| 4-3 | Klaviersonate Nr. 14 cis-Moll, Op. 27 Nr. 2 "Mondschein": I. Adagio sostenuto | Daniel Barenboim | — | |
| 4-4 | Piano Sonata no. 8 in C minor, op. 13 "Pathétique": II. Adagio cantabile | Daniel Barenboim | — | |
| 4-5 | Piano Sonata no. 8 in C minor, op. 13 "Pathétique": II. Adagio cantabile | Daniel Barenboim | — | |
| 4-6 | Piano Sonata no. 8 in C minor, op. 13 "Pathétique": II. Adagio cantabile | Daniel Barenboim | — | |
| 4-7 | Piano Sonata no. 23 in F minor, op. 57 "Appassionata": III. Allegro, ma non troppo - Presto | Daniel Barenboim | — | |
| 4-8 | Piano Sonata no. 23 in F minor, op. 57 "Appassionata": III. Allegro, ma non troppo - Presto | Daniel Barenboim | — | |
| 4-9 | Piano Sonata no. 23 in F minor, op. 57 "Appassionata": III. Allegro, ma non troppo - Presto | Daniel Barenboim | — | |
| 5-1 | Kantate No. 197 "Gott ist unser Zuversicht", BWV 197, No. 8: Vergnügen und Lust, Gedeihen und Heil | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-2 | Kantate No. 58 "Ach Gott, wie manches Herzeleid", BWV 58, No. 3: Ich bin vergnügt in meinem Leiden | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-3 | Kantate No. 204 "Ich bin in mir vergnügt", BWV 204, No. 4: Die Schätzbarkeit der weiten Erden | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-4 | Kanatate No. 97 "In allen meinen Taten", BWV 97, No. 4: Ich traue seiner Gnaden | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-5 | Kantate No. 115 "Mache dich, mein Geist, bereit", BWV 115, No. 4: Bete aber auch dabei | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-6 | Kantate No. 171 "Gott, wie dein Name, so ist auch dein Ruhm", BWV 171, No. 4: Jesus soll mein erstes Wort | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-7 | Messe h-moll, BWV 232 No. 23: Benedictus, Qui Venit In Nomine Domini | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | T-050.283.177-7 | |
| 5-8 | Messe h-moll, BWV 232, No. 5: Laudamus Te | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | T-003.010.019-6 | |
| 5-9 | Cantata No.202 "Weichet Nur, Betrübte Schatten" (Wedding Cantata), BWV 202 5. Aria: Wenn Die Frühlingslüfte Streichen | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-10 | Kantate No. 36 "Schwingt freudig euch empor", BWV 36, No. 7: Auch mit Gedämpften, schwachen Stimmen | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-11 | Kantate No. 187 "Es wartet alles auf dich, dass du ihnen Speise", BWV 187, No. 5: Gott versorget alles Leben | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-12 | Kantate No. 84 "Ich bin vergnügt mit meinem Glücke, das mir der liebe Gott beschert", BWV 84, No. 3: Ich esse mit Freuden mein weniges Brot | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-13 | Kantate No. 105 "Herr, gehe nicht ins Gericht mit deinem Knecht", BWV 105, No. 5: Kann ich nur Jesu mir zum Freunde machen | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 6-1 | Symphony no. 1 in D major, "Titan": IV. Stürmisch bewegt | Concertgebouworkest Amsterdam, Leonard Bernstein | T-900.953.062-5 | |
| 7-1 | Concerto for Piano and Orchestra No. 1 in E minor, Op. 11: I. Allegro maestoso | Rafał Blechacz, Koninklijk Concertgebouworkest, Jerzy Semkow | — | |
| 7-2 | Concerto for Piano and Orchestra No. 1 in E minor, Op. 11: II. Romance. Larghetto | Rafał Blechacz, Koninklijk Concertgebouworkest, Jerzy Semkow | T-308.381.369-4 | |
| 7-3 | Concerto for Piano and Orchestra No. 1 in E minor, Op. 11: III. Rondo. Vivace | Rafał Blechacz, Koninklijk Concertgebouworkest, Jerzy Semkow | — | |
| 7-4 | Concerto for Piano and Orchestra No. 2 in F minor, Op. 21: I. Maestoso | Rafał Blechacz, Koninklijk Concertgebouworkest, Jerzy Semkow | — | |
| 7-5 | Concerto for Piano and Orchestra No. 2 in F minor, Op. 21: II. Larghetto | Rafał Blechacz, Koninklijk Concertgebouworkest, Jerzy Semkow | — | |
| 7-6 | Concerto for Piano and Orchestra No. 2 in F minor, Op. 21: III. Allegro vivace | Rafał Blechacz, Koninklijk Concertgebouworkest, Jerzy Semkow | T-902.804.388-1 | |
| 8-1 | Konzert für Klarinette und Orchester A-dur, KV 622: I. Allegro | Alfred Prinz, Wiener Philharmoniker, Karl Böhm | — | |
| 8-2 | Konzert für Klarinette und Orchester A-dur, KV 622: II. Adagio | Alfred Prinz, Wiener Philharmoniker, Karl Böhm | — | |
| 8-3 | Konzert für Klarinette und Orchester A-dur, KV 622: I. Allegro | Alfred Prinz, Wiener Philharmoniker, Karl Böhm | — | |
| 8-4 | Concerto for Flute and Orchestra No.1 in G, K.313/285c: 1. Allegro maestoso | Werner Tripp, Wiener Philharmoniker, Karl Böhm | — | |
| 8-5 | Concerto for Flute and Orchestra No.1 in G, K.313/285c: 2. Adagio ma non troppo | Werner Tripp, Wiener Philharmoniker, Karl Böhm | — | |
| 8-6 | Concerto for Flute and Orchestra No.1 in G, K.313/285c: 3. Rondo: Tempo di menuetto | Werner Tripp, Wiener Philharmoniker, Karl Böhm | — | |
| 8-7 | Concerto for Bassoon and Orchestra in B-flat major, K.191/186e: 2. Andante ma adagio (cadenza: Dietmar Zeman) | Dietmar Zeman, Wiener Philharmoniker, Karl Böhm | — | |
| 8-8 | Concerto for Bassoon and Orchestra in B-flat major, K.191/186e: 2. Andante ma adagio (cadenza: Dietmar Zeman) | Dietmar Zeman, Wiener Philharmoniker, Karl Böhm | — | |
| 8-9 | Concerto for Bassoon and Orchestra in B-flat major, K.191/186e: 2. Andante ma adagio (cadenza: Dietmar Zeman) | Dietmar Zeman, Wiener Philharmoniker, Karl Böhm | — | |
| 9-4 | Première Rhapsodie | Franklin Cohen, The Cleveland Orchestra, Pierre Boulez | — | |
| 9-5 | Jeux : Poème dansé | The Cleveland Orchestra, Pierre Boulez | T-003.011.148-8 | |
| 9-6 | La Mer : I. De l’aube à midi sur la mer. Très lent | The Cleveland Orchestra, Pierre Boulez | T-003.012.171-1 | |
| 9-7 | La Mer : II. Jeux de vagues. Allegro (dans un rythme très souple) | The Cleveland Orchestra, Pierre Boulez | T-003.011.148-8 | |
| 9-8 | La Mer : III. Dialogue du vent et de la mer. Animé et tumultueux | The Cleveland Orchestra, Pierre Boulez | — | |
| 10-1 | Symphony no. 4 in E minor, op. 98: I. Allegro non troppo | — | ||
| 10-2 | Symphony no. 4 in E minor, op. 98: II. Andante moderato | — | ||
| 10-3 | Symphony No. 4 in E minor, Op. 98: III. Allegro giocoso (Poco meno presto) - Tempo I | Berliner Philharmoniker, Victor de Sabata | — | |
| 10-4 | Symphony no. 4 in E minor, op. 98: IV. Allegro energico e passionato - più allegro | — | ||
| 10-5 | Tod und Verklärung, op. 24 | — | ||
| 11-1 | Falsa moneda | — | ||
| 11-2 | Cruz de mayo | — | ||
| 11-3 | La bien pagá | — | ||
| 11-4 | Porque te quiero | — | ||
| 11-5 | El día que nací yo | — | ||
| 11-6 | ¡Ay, Maricruz! | — | ||
| 11-7 | Me embrujaste | — | ||
| 11-8 | Cariño verdá | — | ||
| 11-9 | Te lo juro yo | Plácido Domingo, José María Gallardo del Rey, Orquesta de la Comunidad de Madrid, Miguel Roa | T-041.001.112-9 | |
| 11-10 | No me quieras tanto | — | ||
| 11-11 | Antonio Vargas Heredia | — | ||
| 11-12 | Ojos verdes | — | ||
| 11-13 | Suspiros de España | — | ||
| 12-1 | Sensemayá | — | ||
| 12-2 | Margariteña | — | ||
| 12-3 | Mediodía en el llano | — | ||
| 12-4 | Danzón no. 2 | — | ||
| 12-6 | Estancia: Danzas del ballet: I. Los trabajadores agrícolas | — | ||
| 12-7 | Danzas del ballet “Estancia”, op. 8a: II. Danza del trigo | Simón Bolívar Youth Orchesta of Venezuela, Gustavo Dudamel | — | |
| 12-8 | Estancia: Danzas del ballet: III. Los peones de hacienda | — | ||
| 12-9 | Estancia: Danzas del ballet: IV. Danza final (malambo) | — | ||
| 12-10 | Santa Cruz de Pacairigua (suite sinfónica) | — | ||
| 12-11 | “West Side Story” Symphonic Dances: IV. Mambo | Simón Bolívar Youth Orchesta of Venezuela, Gustavo Dudamel | T-070.113.892-2 | |
| 13-1 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": I. Aria (Basso) "Ich will den Kreuzstab gerne tragen" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-2 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": II. Recitativo (Basso) "Mein Wandel auf der Welt" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-3 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": III. Aria (Basso) "Endlich, endlich wird mein Joch" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-4 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": IV. Recitativo e Arioso (Basso) "Ich stehe fertig und bereit" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-5 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": V. Chorale "Komm, o Tod, du Schlafes Bruder" | Dietrich Fischer-Dieskau, Berlin Motet Choir, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-6 | Kantate, BWV 82 "Ich habe genug": I. Aria (Basso) "Ich habe genug" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, RIAS Kammerorchester, Karl Ristenpart | — | |
| 13-7 | Kantate, BWV 82 "Ich habe genug": II. Recitativo (Basso) "Ich habe genug. Mein Trost ist nur allein" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-8 | Kantate, BWV 82 "Ich habe genug": III. Aria (Basso) "Schlummert ein, ihr matten Augen" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-9 | Kantate, BWV 82 "Ich habe genug": IV. Recitativo (Basso) "Mein Gott! wann kommt das schöne: Nun!" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-10 | Kantate, BWV 82 "Ich habe genug": V. Aria (Basso) "Ich freue mich auf meinen Tod" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 14-1 | Die Fledermaus: Overture | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | T-306.482.271-1 | |
| 14-2 | Annen-Polka, op. 117 (arr. Richard Atzler) | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 14-3 | Kaiserwalzer, op. 437 | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 14-4 | Tritsch-Tratsch-Polka, op. 214 (arr. Fr. Schimak) | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | T-901.154.623-9 | |
| 14-5 | Radetzky-Marsch, op. 228 (arr. Ertl) | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 14-6 | An der schönen blauen Donau, op. 314 | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | T-902.100.912-1 | |
| 14-7 | Eljen a Magyar, op. 332 | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | T-902.189.169-0 | |
| 14-8 | Geschichten aus dem Wienerwald, op. 325 | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 15-1 | Rosamunde-Ouvertüre, D 644 "Die Zauberharfe" | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 15-2 | Symphony no. 9 in C major, D. 944 "Great": II. Andante con moto | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 15-3 | Symphony no. 9 in C major, D. 944 "Great": II. Andante con moto | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 15-4 | Symphony no. 9 in C major, D. 944 "Great": II. Andante con moto | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 15-5 | Symphony no. 9 in C major, D. 944 "Great": II. Andante con moto | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 16-1 | Las Hijas del Zebedeo: Carceleras | — | ||
| 16-2 | Werther: Act III: “Werther! Werther…qui m’aurait dit la place” | — | ||
| 16-3 | Les Contes d’Hoffmann (edition: Michael Kaye and Jean‐Christophe Keck): Act III: Romance “C’est l’amour vainqueur” | — | ||
| 16-4 | La Cenerentola: Act II: Nacqui all’affanno | — | ||
| 16-5 | Bachianas brasileiras no. 5: No. 1. Aria (Cantilena): “Tarde, uma nuvem rósea lenta e transparente” | Elīna Garanča, Staatskapelle Dresden, Fabio Luisi | T-905.380.384-2 | |
| 16-6 | La Grande‐Duchesse de Gérolstein (edition by Jean‐Christophe Keck): Act I: Rondeau. “Ah, que j’aime les militaires” | — | ||
| 16-7 | L’italiana in Algeri: Act II: Cavatina: Concedi, amor pietoso | — | ||
| 16-8 | Madrigal on a catalan popular theme | — | ||
| 16-9 | Der Rosenkavalier, op. 59: Act III: “Marie Theres’!” - “Hab mir’s gelobt, Ihn lieb zu haben” | — | ||
| 16-10 | Der Rosenkavalier, op. 59: Act III: “Ist ein Traum, kann nicht wirklich sein” | — | ||
| 17-1 | Konzert für Klavier und Orchester Nr. 1 D-moll, Op. 15: II. Adagio | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 17-2 | Konzert für Klavier und Orchester Nr. 1 D-moll, Op. 15: II. Adagio | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 17-3 | Konzert für Klavier und Orchester Nr. 1 D-moll, Op. 15: II. Adagio | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 18-1 | Requiem, op. 48: I. Introït et Kyrie “Requiem aeternam dona eis, Domine” – “Kyrie eleison” | Kathleen Battle, Andreas Schmidt, Philharmonia Chorus, Orchestra, Carlo Maria Giulini | T-900.175.670-3 | |
| 18-2 | Requiem, op. 48: II. Offertoire “O Domine Jesu Christe, Rex gloriae” | Kathleen Battle, Andreas Schmidt, Philharmonia Chorus, Orchestra, Carlo Maria Giulini | — | |
| 18-3 | Requiem, op. 48: III. Sanctus “Sanctus, Sanctus, Sanctus Dominus, Deus Sabaoth” | Kathleen Battle, Andreas Schmidt, Philharmonia Chorus, Orchestra, Carlo Maria Giulini | T-003.012.217-8 | |
| 18-4 | Requiem, op. 48: IV. Pie Jesu “Pie Jesu Domine” | Horst Neumann, Andreas Schmidt, Kathleen Battle, Philharmonia Chorus, Timothy Farrell, Philharmonia Orchestra, Carlo Maria Giulini | T-010.065.879-4 | |
| 18-5 | Requiem, op. 48: V. Agnus Dei “Agnus Dei, qui tollis peccata mundi” | Horst Neumann, Kathleen Battle, Andreas Schmidt, Philharmonia Chorus, Timothy Farrell, Philharmonia Orchestra, Carlo Maria Giulini | T-926.356.677-4 | |
| 18-6 | Requiem, op. 48: VI. Libera me “Libera me, Domine, de morte aeterna” | Kathleen Battle, Andreas Schmidt, Philharmonia Chorus, Orchestra, Carlo Maria Giulini | — | |
| 18-7 | Requiem, op. 48: VII. In Paradisum “In Paradisum deducant angeli” | Kathleen Battle, Andreas Schmidt, Philharmonia Chorus, Orchestra, Carlo Maria Giulini | T-924.489.944-3 | |
| 18-8 | Pavane pour une infante défunte, M. 19 | Philharmonia Orchestra, Carlo Maria Giulini | T-003.013.767-7 | |
| 19-1 | Ayre for voice and chamber ensemble, no. 1: Mañanita de San Juan (Morning of St. John’s Day) | — | ||
| 19-2 | Ayre: II. Una madre comió asado (A Mother Roasted her Child) | Dawn Upshaw, The Andalucian Dogs | T-072.330.959-8 | |
| 19-3 | Ayre for voice and chamber ensemble, no. 3: Tancas Serradas a Muru (Walls are Encircling the Land) | — | ||
| 19-4 | Ayre for voice and chamber ensemble, no. 4: Luna | — | ||
| 19-5 | Ayre: Nanni | Dawn Upshaw, The Andalucian Dogs | T-072.330.938-3 | |
| 19-6 | Ayre for voice and chamber ensemble, no. 6: Wa Habibi (My Love) | — | ||
| 19-7 | Ayre for voice and chamber ensemble, no. 7: Aiini Taqttiru (My Eyes Weep) | — | ||
| 19-8 | Ayre for voice and chamber ensemble, no. 8: Kun Li‐Guitari Wataran Ayyuha Al‐Maa’ (Be a String, Water, to my Guitar) | — | ||
| 19-9 | Ayre for voice and chamber ensemble, no. 9: Suéltate las cintas (Untie your Ribbons) | — | ||
| 19-10 | Ayre for voice and chamber ensemble, no. 10: Yah, Anna Emtzacha (Oh, Where Shall I find You?) | — | ||
| 19-11 | Ayre for voice and chamber ensemble, no. 11: Ariadna en su laberinto (Ariadne in Her Labyrinth) | — | ||
| 19-12 | Folk songs for voice and 7 instruments, no. 1: Black is the colour (USA) | — | ||
| 19-13 | Folk songs for voice and 7 instruments, no. 2: I wonder as I wander (USA) | — | ||
| 19-14 | Folk songs for voice and 7 instruments, no. 3: Loosin yelav (Armenia) | — | ||
| 19-15 | Folk songs for voice and 7 instruments, no. 4: Rosssignolet du bois (France) | — | ||
| 19-16 | Folk songs for voice and 7 instruments, no. 5: A la femminisca (Sicily) | — | ||
| 19-17 | Folk songs for voice and 7 instruments, no. 6: La donna ideale (Italy) | — | ||
| 19-18 | Folk songs for voice and 7 instruments, no. 7: Ballo (Italy) | — | ||
| 19-19 | Folk songs for voice and 7 instruments, no. 8: Motettu de Tristura (Sardinia) | — | ||
| 19-20 | Folk songs for voice and 7 instruments, no. 9: Malorous qu’o uno fenno (Auvergne - France) | — | ||
| 19-21 | Folk songs for voice and 7 instruments, no. 10: Lo fiolaire (Auvergne - France) | — | ||
| 19-22 | Folk songs for voice and 7 instruments, no. 11: Azerbaijan love song (Azerbaijan) | — | ||
| 20-1 | Piano Concerto in A minor, op. 54: I. Allegro affettuoso | Hélène Grimaud, Sächsische Staatskapelle Dresden, Esa-Pekka Salonen | T-909.264.262-1 | |
| 20-2 | Piano Concerto in A minor, op. 54: II. Intermezzo: Andantino grazioso | Hélène Grimaud, Sächsische Staatskapelle Dresden, Esa-Pekka Salonen | T-909.264.262-1 | |
| 20-3 | Piano Concerto in A minor, op. 54: III. Allegro vivace | Hélène Grimaud, Sächsische Staatskapelle Dresden, Esa-Pekka Salonen | T-909.264.262-1 | |
| 20-4 | 3 Lieder, op. 12: I. Er ist gekommen in Sturm und Regen | Anne Sofie von Otter, Hélène Grimaud | — | |
| 20-5 | 3 Lieder, op. 12: III. Warum willst du and're fragen? | Anne Sofie von Otter, Hélène Grimaud | — | |
| 20-6 | Am Strande | Anne Sofie von Otter, Hélène Grimaud | — | |
| 20-7 | Sonata for Cello and Piano no. 1 in E minor, op. 38: I. Allegro non troppo | Truls Mørk, Hélène Grimaud | — | |
| 20-8 | Sonata for Cello and Piano no. 1 in E minor, op. 38: II. Allegretto quasi minuetto | Truls Mørk, Hélène Grimaud | — | |
| 20-9 | Sonata for Cello and Piano no. 1 in E minor, op. 38: III. Allegro – più presto | Truls Mørk, Hélène Grimaud | — | |
| 20-10 | 2 Rhapsodies, op. 79: No. 1 in B minor | Hélène Grimaud | T-326.439.411-4 | |
| 20-11 | 2 Rhapsodies, op. 79: No. 2 in G minor | Hélène Grimaud | T-920.065.990-1 | |
| 21-1 | String Quartet in F major, op. 135: I. Allegretto | — | ||
| 21-2 | String Quartet in F major, op. 135: II. Vivace | — | ||
| 21-3 | String Quartet in F major, op. 135: III. Lento assai, cantante e tranquillo | — | ||
| 21-4 | String Quartet in F major, op. 135: IV. “Der schwer gefaßte Entschluß.” Grave, ma non troppo tratto (Muss es sein?) — Allegro (Es muss sein!) — Grave, ma non troppo tratto — Allegro | — | ||
| 21-5 | String Quartet no. 14 in D minor, D. 810 “Death and the Maiden”: I. Allegro | — | ||
| 21-6 | 2. ANDANTE CON MOTO | Hagen Quartett | — | |
| 21-7 | String Quartet no. 14 in D minor, D. 810 "Death and the Maiden": III. Scherzo. Allegro molto | Hagen Quartett | T-329.454.787-4 | |
| 21-8 | String Quartet no. 14 in D minor, D. 810 “Death and the Maiden”: IV. Presto | — | ||
| 22-1 | Concerto for violin and orchestra, op. 36: I. Poco allegro | Hilary Hahn, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 22-2 | Concerto for violin and orchestra, op. 36: II. Andante grazioso | Hilary Hahn, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 22-3 | Concerto for violin and orchestra, op. 36: III. Finale. Allegro | Hilary Hahn, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 22-4 | Concerto for violin and orchestra in D minor, op. 47: I. Allegro moderato | Hilary Hahn, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 22-5 | Concerto for violin and orchestra in D minor, op. 47: II. Adagio di molto | Hilary Hahn, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 22-6 | Concerto for violin and orchestra in D minor, op. 47: III. Allegro, ma non tanto | Hilary Hahn, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 23-1 | Chaconne in G major | — | ||
| 23-2 | Keyboard Suite in D minor, HWV 437: IV. Sarabande | — | ||
| 23-3 | Ricercata segunda | — | ||
| 23-4 | La suave melodia | — | ||
| 23-5 | Passacalio in G minor | — | ||
| 23-6 | Diverse bizzarrie sopra la Vecchia Sarabanda o pur Ciacconna | — | ||
| 23-7 | Canon and Gigue in D major: I. Canon | — | ||
| 23-8 | Canon and Gigue in D major: II. Gigue | — | ||
| 23-9 | Concerto for violin concertato, strings and basso continuo in A minor, TWV 51:A1: I. Adagio | — | ||
| 23-10 | Concerto for violin concertato, strings and basso continuo in A minor, TWV 51:A1: II. Allegro | — | ||
| 23-11 | Concerto for violin concertato, strings and basso continuo in A minor, TWV 51:A1: III. Presto | — | ||
| 23-12 | Sonata for Violin and Continuo III: Imitazione della campane | — | ||
| 23-13 | Ayrs for the Violin, Book 4, Suite in F major: Ground after the Scotch Humour | — | ||
| 23-14 | Concerto grosso no. 5 in G minor from Corelli: Sonata op. 5 no. 5: I. Adagio | — | ||
| 23-15 | Concerto grosso no. 5 in G minor from Corelli: Sonata op. 5 no. 5: II. Vivace | — | ||
| 23-16 | Concerto grosso no. 5 in G minor from Corelli: Sonata op. 5 no. 5: III. Adagio | — | ||
| 23-17 | Concerto grosso no. 5 in G minor from Corelli: Sonata op. 5 no. 5: IV. Allegro | — | ||
| 23-18 | Gagliarde napolitane | — | ||
| 23-19 | Passacaglia in G minor | — | ||
| 23-20 | Tambourin | Daniel Hope | T-306.437.018-5 | |
| 23-21 | Greensleeves to a Ground | — | ||
| 23-22 | Sonata in A major, “La guerra”: La guerra cosí nominata di sua maestà | — | ||
| 23-23 | Sonata for Violin and Continuo II “Consacrate al Grand’ Apolline di questi tempi”: Imitazione del Liuto. Presto | — | ||
| 23-24 | Suite no. 3 in D major, BWV 1068: II. Air | — | ||
| 24-1 | Piano Sonata in B-flat major, K. 281: I. Allegro | Vladimir Horowitz | T-011.422.353-8 | |
| 24-2 | Piano Sonata in B-flat major, K. 281: II. Andante amoroso | Vladimir Horowitz | T-322.449.900-3 | |
| 24-3 | Piano Sonata in B-flat major, K. 281: III. Rondeau: Allegro | Vladimir Horowitz | — | |
| 24-4 | Adagio in B minor, K. 540 | Vladimir Horowitz | T-002.561.175-9 | |
| 24-5 | Rondo in D major, K. 485 | Vladimir Horowitz | — | |
| 24-6 | Moment Musical in F minor, Op. 94 No. 3 | Vladimir Horowitz | — | |
| 24-7 | Schwanengesang, S. 560 no. 7 "Ständchen" | Vladimir Horowitz | — | |
| 24-8 | Soirées de Vienne, valses caprices d'après Schubert, S. 427 No. 7 | Владимир Самойлович Горовиц | — | |
| 24-9 | Soirées de Vienne: Valse-Caprice no. 6, S. 427 (after Schubert) | Vladimir Horowitz | — | |
| 25-1 | Symphony no. 4 in E-flat major "Romantic": 2. Andante quasi Allegretto | Berliner Philharmoniker, Eugen Jochum | — | |
| 25-2 | Symphony no. 4 in E-flat major "Romantic": 2. Andante quasi Allegretto | Berliner Philharmoniker, Eugen Jochum | — | |
| 25-3 | Symphony no. 4 in E-flat major "Romantic": 2. Andante quasi Allegretto | Berliner Philharmoniker, Eugen Jochum | — | |
| 25-4 | Symphony no. 4 in E-flat major "Romantic": 2. Andante quasi Allegretto | Berliner Philharmoniker, Eugen Jochum | — | |
| 26-1 | Ein deutsches Requiem: I. Selig sind, die da Leid tragen | Berliner Philharmoniker, Wiener Singverein, Herbert von Karajan | — | |
| 26-2 | Ein deutsches Requiem: II. Denn alles Fleisch, es ist wie Gras | Berliner Philharmoniker, Wiener Singverein, Herbert von Karajan | — | |
| 26-3 | Ein deutsches Requiem: III. Herr, lehre doch mich | Berliner Philharmoniker, Wiener Singverein, Herbert von Karajan | — | |
| 26-4 | Ein deutsches Requiem: IV. Wie lieblich sind deine Wohnungen | Berliner Philharmoniker, Wiener Singverein, Herbert von Karajan | — | |
| 26-5 | Ein deutsches Requiem: V. Ihr habt nun Traurigkeit | Gundula Janowitz, Wiener Singverein, Berliner Philharmoniker, Herbert von Karajan | — | |
| 26-6 | Ein deutsches Requiem: VI. Denn wir haben hie keine bleibende Statt | Berliner Philharmoniker, Wiener Singverein, Herbert von Karajan | — | |
| 26-7 | Ein deutsches Requiem: VII. Selig sind die Toten | Berliner Philharmoniker, Wiener Singverein, Herbert von Karajan | — | |
| 27-1 | Fantasie in C major, op. 17: I. Durchaus phantastisch und leidenschaftlich vorzutragen; im Legenden‐Ton. | — | ||
| 27-2 | Fantasie in C major, op. 17: II. Mäßig. Durchaus energisch. | — | ||
| 27-3 | Fantasie in C major, op. 17: III. Langsam getragen. Durchweg leise zu halten. | — | ||
| 27-4 | Variations and Fugue on a Theme by Handel, op. 24 | — | ||
| 28-1 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-2 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-3 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-4 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-5 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-6 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-7 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-8 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-9 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-10 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-11 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-12 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-13 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-14 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-15 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-16 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-17 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-18 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-19 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-20 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-21 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-22 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-1 | La traviata: Atto II. “Avrem lieta di maschere la notte” (Flora, Marqués, Doctor) | Giovanni Foiani, Alfredo Giacomotti, Stefania Malagú, Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-2 | La traviata: Atto II. “Noi siamo zingarelle” (Coro, Flora, Marqués) | Wolfgang Baumgart, Chor der Bayerischen Staatsoper, Giovanni Foiani, Alfredo Giacomotti, Stefania Malagú, Bayerisches Staatsorchester, Carlos Kleiber | T-005.003.222-8 | |
| 29-3 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-4 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-5 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-6 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-7 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-8 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-9 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-10 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-11 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-12 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-13 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-14 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-15 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-16 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 30-1 | Le nozze di Figaro, K. 492: Act IV, Scene X. No. 28 Finale "Giunse alfin il momento" (Cherubino, La Contessa, Il Conte, Susanna, Figaro) | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-2 | Le nozze di Figaro, K. 492: Act II, Scene II. No. 12 Arietta "Voi che sapete che cosa è amor" (Cherubino) | Magdalena Kožená, Jos van Immerseel, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-3 | Recitative and Aria for Soprano, Piano & Orchestra in E-flat major, K. 505: "Ch'io mi scordi di te… Non temer, amato bene" | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-4 | Così fan tutte, K. 588: Act I, Scene IX. No. 12 Aria "In uomini, in soldati sperare" (Despina) | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-5 | Così fan tutte, KV 588: Ei parte... Senti!... Ah, no! - Per pietà, ben mio, perdona | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-6 | Così fan tutte, K. 588: Act II, Scene X. No. 28 Aria "È amore un ladroncello" (Dorabella) | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | T-919.170.448-0 | |
| 30-7 | La clemenza di Tito, K. 621: Act II, Scene XV. No. 23 Aria. Rondo "Non più di fiori" (Vitellia) | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-8 | Idomeneo, re di Creta, K. 366: Act I, Scene I. Recitativo "Quando avran fine omai" (Ilia) | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-9 | Aria for Soprano & Orchestra in E-flat major, K. 583: "Vado, ma dove?" | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-10 | Le nozze di Figaro, K. 492: Act I, Scene V. No. 6 Aria "Non so più cosa son, cosa faccio" (Cherubino) | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | T-915.310.099-3 | |
| 30-11 | Aria for Soprano & Orchestra in B-flat major, K. 578: "Alma grande e nobil core" | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-12 | Le nozze di Figaro, KV 492: Giunse alfin il momento - Al desio di chi t'adora | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 31-1 | Concerto for Violin and Orchestra: I. ♩ = 104 – ♩ = 120 | Gidon Kremer, Wiener Philharmoniker, Christoph von Dohnányi | T-922.975.221-0 | |
| 31-2 | Concerto for Violin and Orchestra: II. ♩ = ca. 108 | Gidon Kremer, Wiener Philharmoniker, Christoph von Dohnányi | T-922.975.221-0 | |
| 31-3 | Concerto for Violin and Orchestra: III. ♩ = ca. 150 – Coda: Poco meno ♩ = 104 | Gidon Kremer, Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 31-4 | Concerto Grosso no. 5: I. Allegretto | — | ||
| 31-5 | Concerto Grosso no. 5: II. | — | ||
| 31-6 | Concerto Grosso no. 5: III. Allegro vivace | — | ||
| 31-7 | Concerto Grosso no. 5: IV. Lento | — | ||
| 32-1 | Piano Sonata no. 10 in C major, K. 330: I. Allegro moderato | Lang Lang | — | |
| 32-2 | Piano Sonata no. 10 in C major, K. 300h/330: II. Andante cantabile | Lang Lang | — | |
| 32-3 | Piano Sonata No. 10 in C major, K. 330: III. Allegretto | Lang Lang | — | |
| 32-4 | Piano Sonata No. 3 in B minor, Op. 58: I. Allegro maestoso | Lang Lang | T-309.554.584-5 | |
| 32-5 | Piano Sonata No. 3 in B minor, Op. 58: II. Scherzo. Molto vivace | Lang Lang | T-911.517.582-1 | |
| 32-6 | Piano Sonata no. 3 in B minor, op. 58: III. Largo | Lang Lang | T-921.564.632-5 | |
| 32-7 | Piano Sonata No. 3 in B minor, Op. 58: IV. Finale (Presto non tanto) | Lang Lang | T-309.554.578-7 | |
| 32-8 | Scenes from Childhood, Op. 15: I. About Foreign Lands and Peoples | Lang Lang | T-314.629.927-2 | |
| 32-9 | Scenes from Childhood, Op. 15: II. Curious Story | Lang Lang | T-913.873.556-5 | |
| 32-10 | Scenes from Childhood, Op. 15: III. Catch Me If You Can | Lang Lang | T-330.120.782-5 | |
| 32-11 | Scenes from Childhood, Op. 15: IV. Pleading Child | Lang Lang | T-001.216.772-4 | |
| 32-12 | Scenes from Childhood, Op. 15: V. Happiness | Lang Lang | — | |
| 32-13 | Scenes from Childhood, Op. 15: VI. Important Event | Lang Lang | T-330.120.763-2 | |
| 32-14 | Kinderszenen op. 15 - 7. Träumerei | Lang Lang | — | |
| 32-15 | Scenes from Childhood, Op. 15: VIII. At the Fireside | Lang Lang | T-913.871.548-7 | |
| 32-16 | Scenes from Childhood, Op. 15: IX. Knight of the Hobby Horse | Lang Lang | T-330.117.403-4 | |
| 32-17 | Scenes from Childhood, Op. 15: X. Almost Too Serious | Lang Lang | T-913.870.570-1 | |
| 32-18 | Scenes from Childhood, Op. 15: XI. Frightening | Lang Lang | — | |
| 32-19 | Kinderszenen, op. 15: XII. Kind im Einschlummern | Lang Lang | — | |
| 32-20 | Scenes from Childhood, Op. 15: XIII. The Poet Speaks | Lang Lang | — | |
| 33-2 | Cuban Overture | Chicago Symphony Orchestra, James Levine | T-010.086.407-0 | |
| 33-3 | Catfish Row | Chicago Symphony Orchestra, James Levine | T-921.150.836-0 | |
| 33-4 | “Porgy and Bess”: Porgy Sings: Oh, I Got Plenty O’Nuttin’ | — | ||
| 33-5 | “Porgy and Bess”: Porgy Sings: Bess, You Is My Woman Now | — | ||
| 33-6 | "Porgy and Bess" Suite (Catfish Row): III. Fugue | Chicago Symphony Orchestra, James Levine | T-303.467.790-8 | |
| 33-7 | "Porgy and Bess" Suite (Catfish Row): IV. Hurricane | Chicago Symphony Orchestra, James Levine | — | |
| 33-8 | "Porgy and Bess" Suite (Catfish Row): V. Good Morning, Brother | Chicago Symphony Orchestra, James Levine | T-900.229.842-2 | |
| 33-9 | An American in Paris | Chicago Symphony Orchestra, James Levine | T-070.001.144-4 | |
| 34-1 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: I. “Kyrie” | — | ||
| 34-2 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIa. Gloria: “Gloria in excelsis” | — | ||
| 34-3 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIb. Gloria: “Laudamus te” | — | ||
| 34-4 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIc. Gloria: “Gratias agimus tibi” | — | ||
| 34-5 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IId. Gloria: “Domine Deus” | — | ||
| 34-6 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIe. Gloria: “Qui tollis” | — | ||
| 34-7 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIf. Gloria: “Quoniam tu solus” | — | ||
| 34-8 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIg. Gloria: “Jesu Christe” | — | ||
| 34-9 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIh. Gloria: “Cum Sancto Spiritu” | — | ||
| 34-10 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIIa. Credo: "Credo in unum Deum" | Gabrieli Consort & Players, Paul McCreesh | T-030.223.287-6 | |
| 34-11 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIIb. Credo: "Et incarnatus est" | Camilla Tilling, Gabrieli Consort & Players, Paul McCreesh | T-900.009.712-1 | |
| 34-12 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IV. Sanctus | Gabrieli Consort & Players, Paul McCreesh | — | |
| 34-13 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": V. Benedictus | Gabrieli Consort & Players, Paul McCreesh | T-106.642.813-3 | |
| 34-14 | Scena di Berenice, dramatic scena, Hob XXIVa:10: “Berenice, che fai?” | — | ||
| 34-15 | “Ah! perfido”, op. 65 | — | ||
| 35-1 | Symphony no. 6 in B minor, op. 74 “Pathétique”: I. Adagio - Allegro non troppo | — | ||
| 35-2 | Symphony no. 6 in B minor, op. 74 “Pathétique”: II. Allegro con grazia | — | ||
| 35-3 | Symphony no. 6 in B minor, op. 74 “Pathétique”: III. Allegro molto vivace | — | ||
| 35-4 | Symphony no. 6 in B minor, op. 74 “Pathétique”: IV. Adagio lamentoso | — | ||
| 36-1 | Viderunt omnes fines terre | — | ||
| 36-2 | Viderunt omnes | — | ||
| 36-3 | Alle psallite cum luya | — | ||
| 36-4 | Amor potest | — | ||
| 36-5 | S’on me regarde | — | ||
| 36-6 | In mari miserie | — | ||
| 36-7 | O Mitissima | — | ||
| 36-8 | Aucun ont trouve | — | ||
| 36-9 | De me dame vient | — | ||
| 36-10 | J’os bien a m’amie parler | David Munrow, Early Music Consort of London | — | |
| 36-11 | Le mesnie fauveline | — | ||
| 36-12 | Impudentur circumivi | Early Music Consort of London, David Munrow | — | |
| 36-13 | Cum statua nabucodonasor | Early Music Consort of London, David Munrow | — | |
| 36-14 | Clap, clap, par un matin | — | ||
| 36-15 | Febus mundo oriens | — | ||
| 36-16 | Qui es promesses de fortune | — | ||
| 36-17 | Lasse! comment oublieray | — | ||
| 36-18 | Inter densas deserti meditans | — | ||
| 36-19 | Hoquetus David | — | ||
| 37-1 | Zigeunerweisen, op. 20 | Anne-Sophie Mutter, Wiener Philharmoniker, James Levine | — | |
| 37-2 | Légende en sol mineur, op. 17 | Anne-Sophie Mutter, Wiener Philharmoniker, James Levine | — | |
| 37-3 | Sonata for violin & continuo in G minor, op. 1/6 B. g5 “Il trillo del diavolo” | — | ||
| 37-4 | Tzigane, rhapsodie de concert for violin & piano (or orchestra) | — | ||
| 37-5 | Méditation | Anne-Sophie Mutter, Wiener Philharmoniker, James Levine | T-324.744.784-9 | |
| 37-6 | Concert Fantasy on themes from Bizet’s “Carmen,” for violin & orchestra (or piano), op. 25: Introduction. Allegro moderato | — | ||
| 37-7 | Concert Fantasy on themes from Bizet’s “Carmen,” for violin & orchestra (or piano), op. 25: I. Moderato | — | ||
| 37-8 | Concert Fantasy on themes from Bizet’s “Carmen,” for violin & orchestra (or piano), op. 25: II. Lento assai | — | ||
| 37-9 | Concert Fantasy on themes from Bizet’s “Carmen,” for violin & orchestra (or piano), op. 25: III.. Allegro moderato | — | ||
| 37-10 | Concert Fantasy on themes from Bizet’s “Carmen,” for violin & orchestra (or piano), op. 25: IV. Moderato | — | ||
| 37-11 | Berceuse for Violin and Orchestra in D major, op. 16 | Anne-Sophie Mutter, Wiener Philharmoniker, James Levine | — | |
| 38-1 | La bohème: Atto I. Duettino "O soave fanciulla" (Mimi, Rodolfo) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | T-913.732.535-0 | |
| 38-2 | Lucia di Lammermoor, Part I: No. 4. Scene and Duet "Lucia perdona...Sulla tomba" (Lucia, Edgardo) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | — | |
| 38-3 | Rigoletto: Act I: No. 5. Scene and Duet "Giovanna, ho dei rimorsi...E il sol dell'anima" (Gilda, Duca) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | — | |
| 38-4 | Les Pêcheurs de perles: Act II: No. 8. Chanson "De mon amie, fleur endormie" - No. 9 Duett "Léila! Léila! Dieu puissant" (Leïla, Nadir) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | — | |
| 38-5 | Les Pêcheurs de perles: Act II: No. 8. Chanson "De mon amie, fleur endormie" - No. 9 Duett "Léila! Léila! Dieu puissant" (Leïla, Nadir) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | — | |
| 38-6 | Manon: Act III, Scene 2: Duet "Toi! Vous!... Ah! Viens, Manon, je t'aime!" (Manon, des Grieux) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | — | |
| 38-7 | Luisa Fernanda: Act III: No. 13 Duet "¡Cállate, corazón! iDuèrmete y calla!" (Luisa Fernanda, Javier) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | — | |
| 38-8 | Luisa Fernanda: Act III: No. 13 Duet "¡Cállate, corazón! iDuèrmete y calla!" (Luisa Fernanda, Javier) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | T-041.489.090-6 | |
| 39-1 | 12 études d'exécution transcendante: I. Preludio | Alice Sara Ott | T-312.527.003-9 | |
| 39-2 | 12 études d'exécution transcendante: II. Molto vivace | Alice Sara Ott | T-911.517.582-1 | |
| 39-3 | 12 études d'exécution transcendante: III. Paysage | Alice Sara Ott | — | |
| 39-4 | 12 études d'exécution transcendante: IV. Mazeppa | Alice Sara Ott | — | |
| 39-5 | 12 études d'exécution transcendante: V. Feux follets | Alice Sara Ott | T-924.490.462-9 | |
| 39-6 | 12 études d'exécution transcendante: VI. Vision | Alice Sara Ott | — | |
| 39-7 | 12 études d'exécution transcendante: VII. Eroica | Alice Sara Ott | — | |
| 39-8 | 12 études d'exécution transcendante: VIII. Wilde Jagd | Alice Sara Ott | — | |
| 39-9 | 12 études d'exécution transcendante: IX. Ricordanza | Alice Sara Ott | — | |
| 39-10 | 12 études d'exécution transcendante: X. Allegro agitato molto | Alice Sara Ott | — | |
| 39-11 | 12 études d'exécution transcendante: XI. Harmonies du soir | Alice Sara Ott | — | |
| 39-12 | 12 études d'exécution transcendante: XII. Chasse-neige | Alice Sara Ott | — | |
| 40-1 | Die sieben Todsünden: Prolog: “Meine Schwester und ich stammen aus Louisiana” | — | ||
| 40-2 | Die sieben Todsünden: I. Faulheit: “Hoffentlich nimmt sich unsre Anna auch zusammen” | — | ||
| 40-3 | Die sieben Todsünden: II. Stolz: “Als wir aber ausgestattet waren” | — | ||
| 40-4 | Die sieben Todsünden: III. Zorn: “Das geht nicht vorwärts” | — | ||
| 40-5 | Die sieben Todsünden: IV: Völlerei “Da ist ein Brief aus Philadelphia” | — | ||
| 40-6 | Die sieben Todsünden: V. Unzucht: “Und wir fanden einen Mann in Boston” | — | ||
| 40-7 | Die sieben Todsünden: VI. Habsucht: “Wie hier in der Zeitung steht, ist Anna” | — | ||
| 40-8 | Die sieben Todsünden: VII. Neid: “Und die letzte Stadt der Reise war San Francisco” | — | ||
| 40-9 | Die sieben Todsünden: Epilog: “Darauf kehrten wir zurück nach Louisiana” | — | ||
| 40-10 | Lady in the Dark: My Ship | — | ||
| 40-11 | Lady in the Dark: One Life to Live | — | ||
| 40-12 | Buddy on the Nightshift | — | ||
| 40-13 | Nannas Lied | — | ||
| 40-14 | Happy End: Bilbao‐Song | — | ||
| 40-15 | Happy End: Surabaya‐Johnny | — | ||
| 40-16 | Happy End: Das Lied von der harten Nuss | — | ||
| 40-17 | Je ne t’aime pas | — | ||
| 40-18 | Schickelgruber | Anne Sofie von Otter, Bengt Forsberg | — | |
| 40-19 | Der Abschiedsbrief | — | ||
| 40-20 | One Touch of Venus: Foolish Heart | — | ||
| 40-21 | One Touch of Venus: Speak Low | — | ||
| 40-22 | One Touch of Venus: I’m a Stranger Here Myself | — | ||
| 41-1 | Concerto No. 1 in F major, BWV 1046: IV. Menuetto - Trio I - Polacca - Trio II | The English Concert, Trevor Pinnock | — | |
| 41-2 | Concerto No. 1 in F major, BWV 1046: IV. Menuetto - Trio I - Polacca - Trio II | The English Concert, Trevor Pinnock | — | |
| 41-3 | Concerto No. 1 in F major, BWV 1046: IV. Menuetto - Trio I - Polacca - Trio II | The English Concert, Trevor Pinnock | — | |
| 41-4 | Concerto No. 1 in F major, BWV 1046: IV. Menuetto - Trio I - Polacca - Trio II | The English Concert, Trevor Pinnock | — | |
| 41-5 | Concerto No. 2 in F major, BWV 1047: II. Andante | The English Concert, Trevor Pinnock | — | |
| 41-6 | Concerto No. 2 in F major, BWV 1047: II. Andante | The English Concert, Trevor Pinnock | — | |
| 41-7 | Concerto No. 2 in F major, BWV 1047: II. Andante | The English Concert, Trevor Pinnock | — | |
| 41-8 | Brandenburgisches Konzert Nr. 3: III. Allegro | The English Concert, Trevor Pinnock | — | |
| 41-9 | Brandenburgisches Konzert Nr. 3: III. Allegro | The English Concert, Trevor Pinnock | — | |
| 41-10 | Brandenburgisches Konzert Nr. 3: III. Allegro | The English Concert, Trevor Pinnock | — | |
| 42-1 | Concerto no. 14 in E-flat major for Piano, K. 449: I. Allegro vivace | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — | |
| 42-2 | Concerto no. 14 in E-flat major for Piano, K. 449: II. Andantino | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — | |
| 42-3 | Concerto no. 14 in E-flat major for Piano, K. 449: III. Allegro ma non troppo | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — | |
| 42-4 | Concerto for Piano No. 26 in D major, K. 537: I. Allegro | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | T-070.160.313-5 | |
| 42-5 | Piano Concerto no. 26 in D major, K 537 "Coronation": II. Larghetto | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | T-926.819.124-8 | |
| 42-6 | Concerto for Piano No. 26 in D major, K. 537: III. Allegretto | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — | |
| 43-1 | Petrouchka: Russian Dance | Maurizio Pollini | — | |
| 43-2 | Petrouchka: Petrouchka's Room | Maurizio Pollini | — | |
| 43-3 | Three Movements ’Petruschka’: La semaine grasse. Con Moto - Allegretto - Tempo giusto - Agitato | Maurizio Pollini | — | |
| 43-4 | Piano Sonata no. 7 in B-flat major, op. 83: I. Allegro inquieto - Andantino | Maurizio Pollini | — | |
| 43-5 | Piano Sonata no. 7 in B-flat major, op. 83: II. Andante caloroso | Maurizio Pollini | — | |
| 43-6 | Piano Sonata no. 7 in B-flat major, op. 83: III. Precipitato | Maurizio Pollini | — | |
| 43-7 | Piano Variations, op. 27: Sehr mässig | Maurizio Pollini | — | |
| 43-8 | Piano Variations, op. 27: Sehr schnell | Maurizio Pollini | — | |
| 43-9 | Piano Variations, op. 27: Ruhig, fliessend | Maurizio Pollini | T-329.454.645-1 | |
| 43-10 | Second sonata for Piano: I. Extrêmement rapide | Maurizio Pollini | — | |
| 43-11 | Second sonata for Piano: II. Lent | Maurizio Pollini | — | |
| 43-12 | Second sonata for Piano: III. Modéré, presque vif | Maurizio Pollini | — | |
| 43-13 | Second sonata for Piano: IV. Vif | Maurizio Pollini | — | |
| 44-1 | Die Schöne Müllerin, D. 795: I. Das Wandern | Thomas Quasthoff, Justus Zeyen | — | |
| 44-2 | Die Schöne Müllerin, D. 795: II. Wohin? | Thomas Quasthoff, Justus Zeyen | — | |
| 44-3 | Die Schöne Müllerin, D. 795: III. Halt! | Thomas Quasthoff, Justus Zeyen | — | |
| 44-4 | Die Schöne Müllerin, D. 795: IV. Danksagung an den Bach | Thomas Quasthoff, Justus Zeyen | — | |
| 44-5 | Die Schöne Müllerin, D. 795: V. Am Feierabend | Thomas Quasthoff, Justus Zeyen | — | |
| 44-6 | Die Schöne Müllerin, D. 795: VI. Der Neugierige | Thomas Quasthoff, Justus Zeyen | — | |
| 44-7 | Die Schöne Müllerin, D. 795: VII. Ungeduld | Thomas Quasthoff, Justus Zeyen | T-009.018.674-5 | |
| 44-8 | Die Schöne Müllerin, D. 795: VIII. Morgengruß | Thomas Quasthoff, Justus Zeyen | — | |
| 44-9 | Die Schöne Müllerin, D. 795: IX. Der Müllers Blumen | Thomas Quasthoff, Justus Zeyen | — | |
| 44-10 | Die Schöne Müllerin, D. 795: X. Tränenregen | Thomas Quasthoff, Justus Zeyen | — | |
| 44-11 | Die Schöne Müllerin, D. 795: XI. Mein! | Thomas Quasthoff, Justus Zeyen | — | |
| 44-12 | Die Schöne Müllerin, D. 795: XII. Pause | Thomas Quasthoff, Justus Zeyen | — | |
| 44-13 | Die Schöne Müllerin, D. 795: XIII. Mit dem grünen Lautenbande | Thomas Quasthoff, Justus Zeyen | — | |
| 44-14 | Die Schöne Müllerin, D. 795: XIV. Der Jäger | Thomas Quasthoff, Justus Zeyen | — | |
| 44-15 | Die Schöne Müllerin, D. 795: XV. Eifersucht und Stolz | Thomas Quasthoff, Justus Zeyen | — | |
| 44-16 | Die Schöne Müllerin, D. 795: XVI. Die liebe Farbe | Thomas Quasthoff, Justus Zeyen | — | |
| 44-17 | Die Schöne Müllerin, D. 795: XVII. Die böse Farbe | Thomas Quasthoff, Justus Zeyen | — | |
| 44-18 | Die Schöne Müllerin, D. 795: XVIII. Trockne Blumen | Thomas Quasthoff, Justus Zeyen | — | |
| 44-19 | Die Schöne Müllerin, D. 795: XIX. Der Müller und der Bach | Thomas Quasthoff, Justus Zeyen | — | |
| 44-20 | Die Schöne Müllerin, D. 795: XX. Des Baches Wiegenlied | Thomas Quasthoff, Justus Zeyen | — | |
| 45-1 | Drumming, Part I | Steve Reich | — | |
| 45-2 | Drumming, Part II | Steve Reich | — | |
| 45-3 | Drumming, Part III | — | ||
| 46-1 | Drumming, Part IV | Steve Reich | — | |
| 46-2 | Six Pianos | — | ||
| 46-3 | Music for Mallet Instruments, Voices and Organ | — | ||
| 47-1 | Sinfonia in D major, Wq. 183 no. 1: 1. Allegro di molto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-329.454.787-4 | |
| 47-2 | Sinfonia in D major, Wq. 183 no. 1: 2. Largo | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 47-3 | Sinfonia in D major, Wq. 183 no. 1: 3. Presto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-902.717.414-7 | |
| 47-4 | Sinfonia in E-flat major, Wq 183 No. 2: I. Allegro di molto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-329.454.787-4 | |
| 47-5 | Sinfonia in E-flat major, Wq 183 No. 2: II. Larghetto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 47-6 | Sinfonia in E-flat major, Wq 183 No. 2: III. Allegretto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 47-7 | Sinfonia in F major, Wq 183 No. 3: I. Allegro di molto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-329.454.787-4 | |
| 47-8 | Sinfonia in F major, Wq 183 No. 3: II. Larghetto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 47-9 | Sinfonia in F major, Wq 183 No. 3: III. Presto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-902.717.414-7 | |
| 47-10 | Sinfonia in G major, Wq 183 No. 4: I. Allegro assai | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-306.395.786-4 | |
| 47-11 | Sinfonia in G major, Wq 183 No. 4: II. Poco andante | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 47-12 | Sinfonia in G major, Wq 183 No. 4: III. Presto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-902.717.414-7 | |
| 48-1 | Marsch no. 2 in G minor from 4 Marches, op. 76 | Sviatoslav Richter | — | |
| 48-2 | Waldszenen, op. 82: I. Eintritt. Nicht zu schnell | Sviatoslav Richter | — | |
| 48-3 | Waldszenen, op. 82: II. Jäger auf der Lauer. Höchst lebhaft | Sviatoslav Richter | — | |
| 48-4 | Waldszenen, op. 82: III. Einsame Blumen. Einfach | Sviatoslav Richter | — | |
| 48-5 | Waldszenen, op. 82: IV. Verrufene Stelle. Ziemlich langsam | Sviatoslav Richter | — | |
| 48-6 | Waldszenen, op. 82: V. Freundliche Landschaft. Schnell | Sviatoslav Richter | — | |
| 48-7 | Waldszenen, op. 82: VI. Herberge. Mäßig | Sviatoslav Richter | — | |
| 48-8 | Waldszenen, op. 82: VII. Vogel als Prophet. Langsam, sehr zart | Sviatoslav Richter | — | |
| 48-9 | Waldszenen, op. 82: VIII. Jagdlied. Rasch, kräftig | Sviatoslav Richter | — | |
| 48-10 | Waldszenen, op. 82: IX. Abschied. Nicht zu schnell | Sviatoslav Richter | T-802.161.843-0 | |
| 48-11 | 8 Fantasiestücke, op. 12: I. Des Abends | Sviatoslav Richter | — | |
| 48-12 | 8 Fantasiestücke, op. 12: II. Aufschwung | Sviatoslav Richter | — | |
| 48-13 | 8 Fantasiestücke, op. 12: III. Warum? | Sviatoslav Richter | T-800.901.736-2 | |
| 48-14 | 8 Fantasiestücke, op. 12: V. In der Nacht | Sviatoslav Richter | — | |
| 48-15 | 8 Fantasiestücke, op. 12: VII. Traumes-Wirren | Sviatoslav Richter | — | |
| 48-16 | 8 Fantasiestücke, op. 12: VIII. Ende vom Lied | Sviatoslav Richter | — | |
| 49-1 | Der Schwanensee (Suite aus dem Ballett Op. 20): II. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-2 | Der Schwanensee (Suite aus dem Ballett Op. 20): II. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-3 | Der Schwanensee (Suite aus dem Ballett Op. 20): II. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-4 | Der Schwanensee (Suite aus dem Ballett Op. 20): II. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-5 | Der Schwanensee (Suite aus dem Ballett Op. 20): II. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-6 | Der Schwanensee (Suite aus dem Ballett Op. 20): II. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-7 | Dornröschen, Op. 66a (Suite aus dem Ballett Op. 66): V. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-8 | Dornröschen, Op. 66a (Suite aus dem Ballett Op. 66): V. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-9 | Dornröschen, Op. 66a (Suite aus dem Ballett Op. 66): V. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-10 | Dornröschen, Op. 66a (Suite aus dem Ballett Op. 66): V. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-11 | Dornröschen, Op. 66a (Suite aus dem Ballett Op. 66): V. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-12 | Der Nussknacker, Op. 71a (Suite aus dem Ballett Op. 71): II. Danses caractéristiques: a. Marche | Berliner Philharmoniker, Mstislav Rostropovich | T-304.210.691-8 | |
| 49-18 | Der Nussknacker, Op. 71a (Suite aus dem Ballett Op. 71): II. Danses caractéristiques: f. Danse des mirlitons | Berliner Philharmoniker, Mstislav Rostropovich | T-900.140.239-7 | |
| 50-1 | Sonata concertata per chitarra e violino in A major, M.S. 2: II. Adagio, assai espressivo | Gil Shaham, Göran Söllscher | — | |
| 50-2 | Sonata concertata per chitarra e violino in A major, M.S. 2: II. Adagio, assai espressivo | Gil Shaham, Göran Söllscher | — | |
| 50-3 | Sonata concertata per chitarra e violino in A major, M.S. 2: II. Adagio, assai espressivo | Gil Shaham, Göran Söllscher | — | |
| 50-4 | Sei sonate per violino e chitarra, M.S. 27 Op. 3, No. 1: I. Larghetto | Gil Shaham, Göran Söllscher | — | |
| 50-5 | Sei sonate per violino e chitarra, M.S. 27 Op. 3, No. 1: I. Larghetto | Gil Shaham, Göran Söllscher | — | |
| 50-6 | Sei sonate per violino e chitarra, M.S. 27 Op. 3, No. 4: II. Allegretto | Gil Shaham, Göran Söllscher | — | |
| 50-7 | Sei sonate per violino e chitarra, M.S. 27 Op. 3, No. 4: II. Allegretto | Gil Shaham, Göran Söllscher | — | |
| 50-8 | Sei sonate per violino e chitarra, M.S. 27 Op. 3, No. 6 in E minor: I. Andante | Gil Shaham, Göran Söllscher | — | |
| 50-9 | Sei sonate per violino e chitarra, M.S. 27 Op. 3, No. 6 in E minor: I. Andante | Gil Shaham, Göran Söllscher | — | |
| 50-10 | Grand sonata per chitarra e violino in A major, M.S. 109: Romance - Più tosto Largo, Amorosamente [excerpt] | Gil Shaham, Göran Söllscher | — | |
| 50-11 | Centone di sonate per violino e chitarra , M.S. 112 Lettera A, Sonata No. 2 in D major: II. Rondoncino. Andantino, Tempo di polacca - minore | Gil Shaham, Göran Söllscher | — | |
| 50-12 | Centone di sonate per violino e chitarra , M.S. 112 Lettera A, Sonata No. 2 in D major: II. Rondoncino. Andantino, Tempo di polacca - minore | Gil Shaham, Göran Söllscher | — | |
| 50-13 | Centone di sonate per violino e chitarra , M.S. 112 Lettera A, Sonata No. 4 in A major: II. Rondo. Andantino. Allegretto - minore - maggiore | Gil Shaham, Göran Söllscher | — | |
| 50-14 | Centone di sonate per violino e chitarra , M.S. 112 Lettera A, Sonata No. 4 in A major: II. Rondo. Andantino. Allegretto - minore - maggiore | Gil Shaham, Göran Söllscher | — | |
| 50-15 | Cantabile per violino e chitarra (pianoforte) in D major, M.S. 109 | Gil Shaham, Göran Söllscher | — | |
| 51-1 | Die Zauberflöte: O Isis und Osiris, welche Wonne! | — | ||
| 51-2 | Fidelio: O welche Lust, in freier Luft den Atem leicht zu heben! | — | ||
| 51-3 | Der Freischütz: Was gleicht wohl auf Erden | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | — | |
| 51-4 | Der Freischütz: Victoria! Der Meister soll leben | — | ||
| 51-5 | Tannhäuser: Freudig begrüßen wir die edle Halle | — | ||
| 51-6 | Nabucco: “Va pensiero sull’ali dorate“ | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | — | |
| 51-7 | I Lombardi: Coro: “O signore, dal tetto natio” | — | ||
| 51-8 | Macbeth: Coro di Profughi Scozzesi: “Patria oppressa” | — | ||
| 51-9 | Il trovatore: Atto II, scena 1. “Vedi! Le fosche notturne spoglie” (Anvil Chorus) | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | — | |
| 51-10 | Aida: Coro e marcia trionfale “Gloria all’Egitto” | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | T-310.527.191-4 | |
| 51-11 | Aida: Vieni, o guerriero vindice | — | ||
| 52-1 | Idomeneo, re di Creta, K. 366: Act III: “Zeffiretti lusinghieri” | — | ||
| 52-2 | Die Zauberflöte, K. 620: Akt II. “Der Hölle Rache kocht in meinem Herze” | Rita Streich, RIAS-Sinfonie-Orchester Berlin, Ferenc Fricsay | T-918.245.117-8 | |
| 52-3 | Semiramide: Act I. “Bel raggio lusinghier” | — | ||
| 52-4 | Don Pasquale: Act I. Quel guardo di cavaliere ... So anch’io la virtù magica | — | ||
| 52-5 | Der Freischütz: Act II. “Kommt ein schlanker Bursch gegangen” | — | ||
| 52-6 | Rigoletto: Act I. Gualtier Maldè…Caro nome | — | ||
| 52-7 | Un ballo in maschera: Act I. “Volta la terrea” | — | ||
| 52-8 | Un ballo in maschera: Act III. “Saper vorreste” | — | ||
| 52-9 | I vespri siciliani: Act V. “Mercè, dilette amiche” | — | ||
| 52-10 | Les Huguenots: Act I. “Nobles seigneurs, salut” | — | ||
| 52-11 | Mignon: Act II. “Oui, pour ce soir je suis reine des fées” | — | ||
| 52-12 | La Bohème: Atto II. “Quando m’en vo” | Rita Streich, Deutsches Symphonie-Orchester Berlin, Ernst Märzendorfer | — | |
| 53-1 | Le nozze di Figaro, K. 492, no. 9: “Non più andrai, farfallone amoroso” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | T-009.157.866-3 | |
| 53-2 | Don Giovanni: “Deh vieni alla finestra” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | T-306.483.075-3 | |
| 53-3 | Don Giovanni: “Madamina, il catalogo e questo” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | T-929.621.870-7 | |
| 53-4 | Così fan tutte: “Rivolgete a lui lo sguardo” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-5 | Die Zauberflöte: “Der Vogelfänger bin ich ja” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-6 | Tannhäuser: “Wie Todesahnung Dämmrung deckt die Lande… O du mein holder Abendstern” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-7 | Der fliegende Holländer: “Die Frist ist um” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-8 | Les Contes d’Hoffmann: “Allez!…Pour te livrer combat… Scintille, diamant” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-9 | Faust: “Vous qui faites l’endormie” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-10 | Prince Igor: “Ni sna ni otdycha izmučenoj duše” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-11 | Don Pasquale: “Bella siccome un angelo” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-12 | La Cenerentola: “Miei rampolli femminini” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | T-304.872.410-9 | |
| 53-13 | Macbeth: “Perfidi! All’anglo contra me v’unite!” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-14 | Falstaff: “Ehi! paggio!… L’onore!” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 54-1 | Piano Sonata no. 2 in B‐flat minor, op. 35: I. Grave - doppio movimento | — | ||
| 54-2 | Piano Sonata no. 2 in B‐flat minor, op. 35: II. Scherzo - più lento - tempo I | — | ||
| 54-3 | Piano Sonata no. 2 in B‐flat minor, op. 35: II. Marche funèbre. Lento | — | ||
| 54-4 | Piano Sonata no. 2 in B‐flat minor, op. 35: IV Finale presto | Yuja Wang | T-309.554.578-7 | |
| 54-5 | 6 etudes pour piano, premier livre: Etude n. 4 “Fanfares” | — | ||
| 54-6 | Piano Sonata no. 2, in G‐sharp minor, op. 19 “Sonata Fantasy”: I. Andante | — | ||
| 54-7 | Piano Sonata no. 2, in G‐sharp minor, op. 19 “Sonata Fantasy”: II. Presto | — | ||
| 54-8 | Etude no. 10 “Der Zauberlehring” | — | ||
| 54-9 | Piano Sonata in B minor, S. 178: Lento assai - allegro energico - grandioso - recitativo | — | ||
| 54-10 | Piano Sonata in B minor, S. 178: Andante sostenuto | — | ||
| 54-11 | Piano Sonata in B minor, S. 178: Allegro energico - andante sostenuto - lento assai | — | ||
| 55-1 | Concierto de Aranjuez: I. Allegro con spirito | Narciso Yepes, Philharmonia Orchestra, Luis Antonio García Navarro | T-041.489.061-1 | |
| 55-2 | Concierto de Aranjuez: II. Adagio | Narciso Yepes, Philharmonia Orchestra, Luis Antonio García Navarro | T-041.489.061-1 | |
| 55-3 | Concierto de Aranjuez: III. Allegro gentile | Narciso Yepes, Philharmonia Orchestra, Luis Antonio García Navarro | T-041.489.061-1 | |
| 55-4 | Fantasía para un gentilhombre: I. Villano y ricercare. Adagietto–Andante moderato | Narciso Yepes, English Chamber Orchestra, Luis Antonio García Navarro | T-041.489.061-1 | |
| 55-5 | Fantasía para un gentilhombre: II. Españoleta y fanfare de la caballería de Nápoles. Adagio–Allegretto | Narciso Yepes, English Chamber Orchestra, Luis Antonio García Navarro | T-041.489.061-1 | |
| 55-6 | Fantasía para un gentilhombre: III. Danza de las hachas. Allegro con brio | Narciso Yepes, English Chamber Orchestra, Luis Antonio García Navarro | T-041.489.067-7 | |
| 55-7 | Fantasía para un gentilhombre: IV. Canario. Allegro ma non troppo | Narciso Yepes, English Chamber Orchestra, Luis Antonio García Navarro | T-041.489.061-1 | |
| 56-1 | Ballade no. 1 in G minor, op. 23 | Krystian Zimerman | T-917.141.447-4 | |
| 56-2 | Ballade no. 2 in F major, op. 38 | Krystian Zimerman | — | |
| 56-3 | Ballade no. 3 in A‐flat major, op. 47 | Krystian Zimerman | T-913.821.070-5 | |
| 56-4 | Ballade no. 4 in F minor, op. 52 | Krystian Zimerman | — | |
| 56-5 | Barcarolle in F‐sharp major, op. 60 | Krystian Zimerman | T-905.382.146-8 | |
| 56-6 | Fantaisie in F minor, op. 49 | Krystian Zimerman | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Nocturnes : I. Nuages. Modéré — Un peu animé | The Cleveland Orchestra, Pierre Boulez | — |
| Nocturnes : II. Fêtes. Animé et très rythmé — Modéré mais toujours très rythmé | The Cleveland Orchestra, Pierre Boulez | T-924.579.128-0 |
| Nocturnes : III. Sirènes. Modérément animé | Ladies of the Cleveland Orchestra Chorus, The Cleveland Orchestra, Pierre Boulez | T-924.579.128-0 |
| Rhapsody in Blue | Chicago Symphony Orchestra, James Levine | T-070.126.537-3 |
| Moses Variations | Gil Shaham, Göran Söllscher | — |
| Allegro vivace a movimento perpetuo per violino e chitarra in C major, M.S. 72 Op. 11 (Lars Hannibal revised guitar part version) | Gil Shaham, Göran Söllscher | — |
| Symphony no. 9 in C major, D. 944 "Great": I. Andante. Allegro ma non troppo | Berliner Philharmoniker, Wilhelm Furtwängler | — |
| Symphony no. 9 in C major, D. 944 "Great": II. Andante con moto | Berliner Philharmoniker, Wilhelm Furtwängler | — |
| Symphony no. 9 in C major, D. 944 "Great": III. Scherzo. Allegro vivace - Trio | Berliner Philharmoniker, Wilhelm Furtwängler | — |
| Symphony no. 9 in C major, D. 944 "Great": IV. Finale. Allegro vivace | Berliner Philharmoniker, Wilhelm Furtwängler | — |
| Symphony no. 4 in E-flat major "Romantic": 1. Bewegt, nicht zu schnell | Berliner Philharmoniker, Eugen Jochum | T-911.362.261-0 |
| Symphony no. 4 in E-flat major "Romantic": 2. Andante quasi Allegretto | Berliner Philharmoniker, Eugen Jochum | — |
| Symphony no. 4 in E-flat major "Romantic": 3. Scherzo. Bewegt - Trio. Nicht zu schnell. Keinesfalls scheppend | Berliner Philharmoniker, Eugen Jochum | — |
| Symphony no. 4 in E-flat major "Romantic": 4. Finale. Bewegt, doch nicht zu schnell | Berliner Philharmoniker, Eugen Jochum | T-318.676.528-2 |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: II. Andantino | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: III. Allegro ma non troppo | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Piano Concerto in G Major, M. 83: 2. Adagio assai | Maurice Ravel, Martha Argerich, Berliner Philharmoniker, Claudio Abbado | T-003.007.887-5 |
| Concerto for Piano and Orchestra in G major, M. 83: 1. Allegramente | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | T-305.199.174-9 |
| Concerto for Piano and Orchestra in G major, M. 83: 3. Presto | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | T-305.199.295-7 |
| Konzert für Klarinette und Orchester A-dur, KV 622: I. Allegro | Alfred Prinz, Wiener Philharmoniker, Karl Böhm | — |
| Konzert für Klarinette und Orchester A-dur, KV 622: III. Rondo. Allegro | Alfred Prinz, Wiener Philharmoniker, Karl Böhm | T-700.095.171-5 |
| Konzert für Klavier und Orchester Nr. 1 D-moll, Op. 15: I. Maestoso | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — |
| Konzert für Klavier und Orchester Nr. 1 D-moll, Op. 15: II. Adagio | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — |
| Konzert für Klavier und Orchester Nr. 1 D-moll, Op. 15: III. Allegro non troppo | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — |
| Concerto for Bassoon and Orchestra in B-flat major, K.191/186e: 2. Andante ma adagio (cadenza: Dietmar Zeman) | Dietmar Zeman, Wiener Philharmoniker, Karl Böhm | — |
| Concerto for Bassoon and Orchestra in B-flat major, K.191/186e: 3. Rondo: Tempo di menuetto) - Dietmar Zeman, Wiener Philharmoniker, Karl Böhm | Dietmar Zeman, Wiener Philharmoniker, Karl Böhm | — |
| Concerto for Bassoon and Orchestra in B-flat major, K.191/186e: 1. Allegro | Dietmar Zeman, Wiener Philharmoniker, Karl Böhm | T-007.303.107-8 |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
028947791423 is a Universal Product Code (UPC) assigned to 111 Years of Deutsche Grammophon: The Collectors’ Edition 2 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 616 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
028947791423 is the Universal Product Code (UPC barcode) for the release “111 Years of Deutsche Grammophon: The Collectors’ Edition 2” by Various Artists, released 2010-01-01 on Deutsche Grammophon. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 616 tracks, each with its own ISRC. Tracks include DEF057730101, DEF057730125, DEF057730126.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Carmen, WD 31: Overture (Prelude) | London Symphony Orchestra, Claudio Abbado | T-031.673.380-8 | |
| 2 | Carmen : Acte I, Nº 1. Introduction « Sur la place chacun passe » (Les Soldats, Moralès) | Patrick Criswell, John McCarthy, Ambrosian Singers, Stuart Harling, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 3 | Carmen : Acte I. « Regardez donc cette petite » (Moralès, Les Soldats, Micaëla) | Patrick Criswell, John McCarthy, Ambrosian Singers, Ileana Cotrubaș, Stuart Harling, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 4 | Carmen : Acte I, Nº 2. Marche et Chœur des Gamins « Avec la garde montante » (Chœur des Gamins) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 5 | Carmen : Acte I. « Repos ! » (Zuniga, Moralès, Don José) | Plácido Domingo, Stuart Harling, Robert Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 6 | Carmen : Acte I. « Allons ! Allons ! » (Zuniga, Chœur des Gamins) | Patrick Criswell, John McCarthy, Ambrosian Singers, Robert Lloyd, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 7 | CARMEN, ACT I: DIALOGUE. DITES-MOI, BRIGADIER | CLAUDIO ABBADO LONDON SYMPHONY ORCHESTRA ROBERT LLOYD PLÁCIDO DOMINGO, GEORGES BIZET,ROBERT LLOYD,PLÁCIDO DOMINGO,LONDON SYMPHONY ORCHESTRA,CLAUDIO ABBADO | — | |
| 8 | Carmen : Acte I. “Voici la cloche qui sonne, mon lieutenant ” … “La cloche a sonné” | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 9 | Carmen : Acte I. « Mais nous ne voyons pas la Carmencita. » (Les Soldats, Les Jeunes Gens) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 10 | Carmen : Acte I. « Quand je vous aimerai ? » / Nº 4: Havanaise « L’amour est un oiseau rebelle » (Carmen, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 11 | Carmen : Acte I, Nº 5. Scène « Carmen, sur tes pas, nous nous pressons tous » (Les Jeunes Gens, Les Cigarières, Don José) | Patrick Criswell, John McCarthy, Ambrosian Singers, Plácido Domingo, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 12 | Carmen : Acte I. « Monsieur le brigadier ? » (Micaëla, Don José) / Nº 6: Duo « Parle‐moi de ma mère ! » (Don José, Micaëla) | Ileana Cotrubaș, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 13 | Carmen : Acte I. « Votre mère avec moi sortait de la chapelle » (Micaëla, Don José) | Ileana Cotrubaș, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 14 | Carmen : Acte I. « Ma mère, je la vois… » (Don José, Micaëla) | Ileana Cotrubaș, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 15 | Carmen : Acte I. « Que son fils l’aime et la venère » (Don José, Micaëla) / « Eh bien, eh bien ! » (Zuniga) | Ileana Cotrubaș, Plácido Domingo, Robert Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 16 | Carmen : Acte I, Nº 7. Chœur « Au secours ! » (Les Cigarières, Zuniga, Les Soldats) | Patrick Criswell, John McCarthy, Ambrosian Singers, Robert Lloyd, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 17 | Carmen : Acte I. « Voyons, brigadier… » (Zuniga, Don José, Carmen) / Nº 8. Chanson et Mélodrame « Tra la la la… » (Carmen, Zuniga, Les Cigarières, Un Soldat, Don José) | Patrick Criswell, John McCarthy, Ambrosian Singers, Richard Amner, Teresa Berganza, Plácido Domingo, Robert Lloyd, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 18 | Carmen : Acte I, Nº 9. Chanson (Séguedille) et Duo « Près des remparts de Séville » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 19 | Carmen : Acte I, Nº 10. Finale « Le lieutenant !… Prenez garde. » (Don José, Zuniga, Carmen) | Teresa Berganza, Plácido Domingo, Robert Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 20 | Carmen : Acte I. Entr’acte | London Symphony Orchestra, Claudio Abbado | — | |
| 21 | Carmen : Acte II, Nº 11. Chanson « Les tringles des sistres tintaient » (Carmen, Mercédès, Frasquita) | Teresa Berganza, Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | T-922.166.713-6 | |
| 22 | Carmen : Acte II. « Vous avez quelque chose à nous dire » (Zuniga, Pastia, Frasquita, Andrès, Mercédès, Carmen) | Teresa Berganza, Yvonne Kenny, Jean Lainé, Robert Lloyd, George Main, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | — | |
| 23 | Carmen : Acte II. « Tout est bien alors » (Carmen, Zuniga) / Nº 12. Chœur et Ensemble « Vivat ! vivat le toréro ! » (Chœur, Zuniga, Mercédès, Frasquita, Escamillo, Carmen, Andrès, Pastia) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Jean Lainé, Robert Lloyd, George Main, Alicia Nafé, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 24 | Carmen : Acte II, Nº 13. Couplet (Air du Toréador) « Votre toast… je peux vous le rendre » (Escamillo, tout le monde, Pastia, Zuniga, Carmen) / Nº 13 bis. Chœur « Toréador, en garde » (Chœur, Frasquita, Pastia, Dancaïre, Remendado) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Robert Lloyd, George Main, Sherrill Milnes, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 25 | Carmen : Acte II. Quintette « Nous avons en tête une affaire » | Teresa Berganza, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, London Symphony Orchestra, Claudio Abbado | — | |
| 26 | Carmen : Acte II, Nº 15. Chanson « Amoureuse…ce n’est pas une raison » (Dancaïre, Remendado, Frasquita, Mercédès, Carmen) / « Halte‐là ! Qui va là ? » (Don José, Mercédès, Frasquita, Dancaïre, Carmen) | Teresa Berganza, Plácido Domingo, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, London Symphony Orchestra, Claudio Abbado | — | |
| 2-1 | Carmen : Acte II, Nº 16. Duo « Je vais danser en votre honneur » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 2-2 | Carmen : Acte II. Air de la fleur « La Fleur que tu m’avais jetée » (Don José) | Plácido Domingo, London Symphony Orchestra, Claudio Abbado | T-928.635.311-5 | |
| 2-3 | Carmen : Acte II. « Non ! Tu ne m’aimes pas ! » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 2-4 | Carmen : Acte II, Nº 17. Finale « Holà ! Carmen ! Holà ! » (Zuniga, Don José, Carmen, Dancaïre, Remendado, Les Bohémiens) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, Robert Lloyd, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-5 | Carmen : Acte II. « Suis‐nous à travers la campagne » (Frasquita, Mercédès, Dancaïre, Remendado, Les Bohémiens, Les Bohémiennes) | Patrick Criswell, John McCarthy, Ambrosian Singers, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-6 | Carmen : Acte II. Entr’acte (entre Acte II & III) | London Symphony Orchestra, Claudio Abbado | — | |
| 2-7 | Carmen : Acte III, Nº 18. Introduction « Ecoute, compagnon, écoute » (Les Contrebandiers, Frasquita, Mercédès, Carmen, Don José, Dancaïre, Remendado) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-8 | Carmen : Acte III. « Halte ! Nous allons nous arrêter ici… » (Dancaïre, Remendado, Don José, Carmen) | Teresa Berganza, Plácido Domingo, Geoffrey Pogson, Gordon Sandison, London Symphony Orchestra, Claudio Abbado | — | |
| 2-9 | Carmen : Acte III, Nº 19. Trio « Mêlons ! » « Mêlons ! » « Coupons ! » (Frasquita, Mercédès) | Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | — | |
| 2-10 | Carmen : Acte III. Air des cartes « Carreau, pique … la mort ! » (Carmen) | Teresa Berganza, London Symphony Orchestra, Claudio Abbado | T-324.536.672-3 | |
| 2-11 | Carmen : Acte III. « Parlez encore, parlez, mes belles » (Frasquita, Mercédès, Carmen) | Teresa Berganza, Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | — | |
| 2-12 | Carmen : Acte III. « Eh bien, j’avais raison. » (Dancaïre, Carmen, Remendado, Frasquita, Mercédès, Don José) | Teresa Berganza, Plácido Domingo, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison | — | |
| 2-13 | Carmen : Acte III, Nº 20. Morceau d’ensemble « Quant au douanier, c’est notre affaire » (Carmen, Mercédès, Frasquita, Les Bohémiennes, Les Bohémiens, Dancaïre, Remendado) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Alicia Nafé, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-14 | Carmen : Acte III. « Nous y sommes » (Le Guide, Micaëla) | Ileana Cotrubaș, Jean Lainé | — | |
| 2-15 | Carmen : Acte III, Nº 21. Air « Je dis que rien ne m’épouvante » (Micaëla) | Ileana Cotrubaș, London Symphony Orchestra, Claudio Abbado | — | |
| 2-16 | Carmen : Acte III. « Mais… je ne me trompe pas… » (Micaëla, Escamillo, Don José) / Nº 22. Duo « Je suis Escamillo, toréro de Grenade. » (Escamillo, Don José) | Ileana Cotrubaș, Plácido Domingo, Sherrill Milnes, London Symphony Orchestra, Claudio Abbado | — | |
| 2-17 | Carmen : Acte III, Nº 23. Finale « Holà, José ! » (Carmen, Escamillo, Dancaïre, Don José, Les Contrebandiers, Les Contrebandières) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, Sherrill Milnes, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-18 | Carmen : Acte III. « Halte ! Quelqu’un est là qui cherche à se cacher. » (Remendado, Carmen, Dancaïre, Don José, Micaëla, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Ileana Cotrubaș, Plácido Domingo, Sherrill Milnes, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-19 | Carmen : Acte III. Entr’acte | London Symphony Orchestra, Claudio Abbado | T-010.248.557-3 | |
| 2-20 | Carmen : Acte III, Nº 24. Chœur « À deux cuartos » (Des Marchandes, Des Marchands, Un Soldat, Andrès, Un Bohémien) | Patrick Criswell, John McCarthy, Ambrosian Singers, Richard Amner, Leslie Fyson, Jean Lainé, Shirley Minty, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-21 | Carmen : Acte III, Nº 25. Chœur et Scène « Les voici, voici le quadrille » (Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-22 | Carmen : Acte IV. « Si tu m’aimes, Carmen » (Escamillo, Carmen, Frasquita, Mercédès) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Sherrill Milnes, Alicia Nafé, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 2-23 | Carmen : Acte IV, Nº 26. Duo final « C’est toi ? » / « C’est‐moi ! » (Carmen, Don José, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 3-1 | Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 3-2 | Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 3-3 | Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 3-4 | Concerto for Piano and Orchestra in G major, M. 83: 3. Presto | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 3-5 | Concerto for Piano and Orchestra in G major, M. 83: 3. Presto | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 3-6 | Concerto for Piano and Orchestra in G major, M. 83: 3. Presto | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 3-7 | Gaspard de la nuit, Poèmes d'après Aloysius Bertrand: I. Ondine | Martha Argerich | T-902.777.490-9 | |
| 3-8 | Gaspard de la nuit, M.55: II. Le Gibet. Très Lent | Martha Argerich | T-305.194.353-0 | |
| 3-9 | Gaspard de la nuit, Poèmes d'après Aloysius Bertrand: III. Scarbo | Martha Argerich | T-902.777.490-9 | |
| 4-1 | Klaviersonate Nr. 14 cis-Moll, Op. 27 Nr. 2 "Mondschein": I. Adagio sostenuto | Daniel Barenboim | — | |
| 4-2 | Klaviersonate Nr. 14 cis-Moll, Op. 27 Nr. 2 "Mondschein": I. Adagio sostenuto | Daniel Barenboim | — | |
| 4-3 | Klaviersonate Nr. 14 cis-Moll, Op. 27 Nr. 2 "Mondschein": I. Adagio sostenuto | Daniel Barenboim | — | |
| 4-4 | Piano Sonata no. 8 in C minor, op. 13 "Pathétique": II. Adagio cantabile | Daniel Barenboim | — | |
| 4-5 | Piano Sonata no. 8 in C minor, op. 13 "Pathétique": II. Adagio cantabile | Daniel Barenboim | — | |
| 4-6 | Piano Sonata no. 8 in C minor, op. 13 "Pathétique": II. Adagio cantabile | Daniel Barenboim | — | |
| 4-7 | Piano Sonata no. 23 in F minor, op. 57 "Appassionata": III. Allegro, ma non troppo - Presto | Daniel Barenboim | — | |
| 4-8 | Piano Sonata no. 23 in F minor, op. 57 "Appassionata": III. Allegro, ma non troppo - Presto | Daniel Barenboim | — | |
| 4-9 | Piano Sonata no. 23 in F minor, op. 57 "Appassionata": III. Allegro, ma non troppo - Presto | Daniel Barenboim | — | |
| 5-1 | Kantate No. 197 "Gott ist unser Zuversicht", BWV 197, No. 8: Vergnügen und Lust, Gedeihen und Heil | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-2 | Kantate No. 58 "Ach Gott, wie manches Herzeleid", BWV 58, No. 3: Ich bin vergnügt in meinem Leiden | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-3 | Kantate No. 204 "Ich bin in mir vergnügt", BWV 204, No. 4: Die Schätzbarkeit der weiten Erden | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-4 | Kanatate No. 97 "In allen meinen Taten", BWV 97, No. 4: Ich traue seiner Gnaden | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-5 | Kantate No. 115 "Mache dich, mein Geist, bereit", BWV 115, No. 4: Bete aber auch dabei | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-6 | Kantate No. 171 "Gott, wie dein Name, so ist auch dein Ruhm", BWV 171, No. 4: Jesus soll mein erstes Wort | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-7 | Messe h-moll, BWV 232 No. 23: Benedictus, Qui Venit In Nomine Domini | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | T-050.283.177-7 | |
| 5-8 | Messe h-moll, BWV 232, No. 5: Laudamus Te | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | T-003.010.019-6 | |
| 5-9 | Cantata No.202 "Weichet Nur, Betrübte Schatten" (Wedding Cantata), BWV 202 5. Aria: Wenn Die Frühlingslüfte Streichen | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-10 | Kantate No. 36 "Schwingt freudig euch empor", BWV 36, No. 7: Auch mit Gedämpften, schwachen Stimmen | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-11 | Kantate No. 187 "Es wartet alles auf dich, dass du ihnen Speise", BWV 187, No. 5: Gott versorget alles Leben | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-12 | Kantate No. 84 "Ich bin vergnügt mit meinem Glücke, das mir der liebe Gott beschert", BWV 84, No. 3: Ich esse mit Freuden mein weniges Brot | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 5-13 | Kantate No. 105 "Herr, gehe nicht ins Gericht mit deinem Knecht", BWV 105, No. 5: Kann ich nur Jesu mir zum Freunde machen | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 6-1 | Symphony no. 1 in D major, "Titan": IV. Stürmisch bewegt | Concertgebouworkest Amsterdam, Leonard Bernstein | T-900.953.062-5 | |
| 7-1 | Concerto for Piano and Orchestra No. 1 in E minor, Op. 11: I. Allegro maestoso | Rafał Blechacz, Koninklijk Concertgebouworkest, Jerzy Semkow | — | |
| 7-2 | Concerto for Piano and Orchestra No. 1 in E minor, Op. 11: II. Romance. Larghetto | Rafał Blechacz, Koninklijk Concertgebouworkest, Jerzy Semkow | T-308.381.369-4 | |
| 7-3 | Concerto for Piano and Orchestra No. 1 in E minor, Op. 11: III. Rondo. Vivace | Rafał Blechacz, Koninklijk Concertgebouworkest, Jerzy Semkow | — | |
| 7-4 | Concerto for Piano and Orchestra No. 2 in F minor, Op. 21: I. Maestoso | Rafał Blechacz, Koninklijk Concertgebouworkest, Jerzy Semkow | — | |
| 7-5 | Concerto for Piano and Orchestra No. 2 in F minor, Op. 21: II. Larghetto | Rafał Blechacz, Koninklijk Concertgebouworkest, Jerzy Semkow | — | |
| 7-6 | Concerto for Piano and Orchestra No. 2 in F minor, Op. 21: III. Allegro vivace | Rafał Blechacz, Koninklijk Concertgebouworkest, Jerzy Semkow | T-902.804.388-1 | |
| 8-1 | Konzert für Klarinette und Orchester A-dur, KV 622: I. Allegro | Alfred Prinz, Wiener Philharmoniker, Karl Böhm | — | |
| 8-2 | Konzert für Klarinette und Orchester A-dur, KV 622: II. Adagio | Alfred Prinz, Wiener Philharmoniker, Karl Böhm | — | |
| 8-3 | Konzert für Klarinette und Orchester A-dur, KV 622: I. Allegro | Alfred Prinz, Wiener Philharmoniker, Karl Böhm | — | |
| 8-4 | Concerto for Flute and Orchestra No.1 in G, K.313/285c: 1. Allegro maestoso | Werner Tripp, Wiener Philharmoniker, Karl Böhm | — | |
| 8-5 | Concerto for Flute and Orchestra No.1 in G, K.313/285c: 2. Adagio ma non troppo | Werner Tripp, Wiener Philharmoniker, Karl Böhm | — | |
| 8-6 | Concerto for Flute and Orchestra No.1 in G, K.313/285c: 3. Rondo: Tempo di menuetto | Werner Tripp, Wiener Philharmoniker, Karl Böhm | — | |
| 8-7 | Concerto for Bassoon and Orchestra in B-flat major, K.191/186e: 2. Andante ma adagio (cadenza: Dietmar Zeman) | Dietmar Zeman, Wiener Philharmoniker, Karl Böhm | — | |
| 8-8 | Concerto for Bassoon and Orchestra in B-flat major, K.191/186e: 2. Andante ma adagio (cadenza: Dietmar Zeman) | Dietmar Zeman, Wiener Philharmoniker, Karl Böhm | — | |
| 8-9 | Concerto for Bassoon and Orchestra in B-flat major, K.191/186e: 2. Andante ma adagio (cadenza: Dietmar Zeman) | Dietmar Zeman, Wiener Philharmoniker, Karl Böhm | — | |
| 9-4 | Première Rhapsodie | Franklin Cohen, The Cleveland Orchestra, Pierre Boulez | — | |
| 9-5 | Jeux : Poème dansé | The Cleveland Orchestra, Pierre Boulez | T-003.011.148-8 | |
| 9-6 | La Mer : I. De l’aube à midi sur la mer. Très lent | The Cleveland Orchestra, Pierre Boulez | T-003.012.171-1 | |
| 9-7 | La Mer : II. Jeux de vagues. Allegro (dans un rythme très souple) | The Cleveland Orchestra, Pierre Boulez | T-003.011.148-8 | |
| 9-8 | La Mer : III. Dialogue du vent et de la mer. Animé et tumultueux | The Cleveland Orchestra, Pierre Boulez | — | |
| 10-1 | Symphony no. 4 in E minor, op. 98: I. Allegro non troppo | — | ||
| 10-2 | Symphony no. 4 in E minor, op. 98: II. Andante moderato | — | ||
| 10-3 | Symphony No. 4 in E minor, Op. 98: III. Allegro giocoso (Poco meno presto) - Tempo I | Berliner Philharmoniker, Victor de Sabata | — | |
| 10-4 | Symphony no. 4 in E minor, op. 98: IV. Allegro energico e passionato - più allegro | — | ||
| 10-5 | Tod und Verklärung, op. 24 | — | ||
| 11-1 | Falsa moneda | — | ||
| 11-2 | Cruz de mayo | — | ||
| 11-3 | La bien pagá | — | ||
| 11-4 | Porque te quiero | — | ||
| 11-5 | El día que nací yo | — | ||
| 11-6 | ¡Ay, Maricruz! | — | ||
| 11-7 | Me embrujaste | — | ||
| 11-8 | Cariño verdá | — | ||
| 11-9 | Te lo juro yo | Plácido Domingo, José María Gallardo del Rey, Orquesta de la Comunidad de Madrid, Miguel Roa | T-041.001.112-9 | |
| 11-10 | No me quieras tanto | — | ||
| 11-11 | Antonio Vargas Heredia | — | ||
| 11-12 | Ojos verdes | — | ||
| 11-13 | Suspiros de España | — | ||
| 12-1 | Sensemayá | — | ||
| 12-2 | Margariteña | — | ||
| 12-3 | Mediodía en el llano | — | ||
| 12-4 | Danzón no. 2 | — | ||
| 12-6 | Estancia: Danzas del ballet: I. Los trabajadores agrícolas | — | ||
| 12-7 | Danzas del ballet “Estancia”, op. 8a: II. Danza del trigo | Simón Bolívar Youth Orchesta of Venezuela, Gustavo Dudamel | — | |
| 12-8 | Estancia: Danzas del ballet: III. Los peones de hacienda | — | ||
| 12-9 | Estancia: Danzas del ballet: IV. Danza final (malambo) | — | ||
| 12-10 | Santa Cruz de Pacairigua (suite sinfónica) | — | ||
| 12-11 | “West Side Story” Symphonic Dances: IV. Mambo | Simón Bolívar Youth Orchesta of Venezuela, Gustavo Dudamel | T-070.113.892-2 | |
| 13-1 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": I. Aria (Basso) "Ich will den Kreuzstab gerne tragen" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-2 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": II. Recitativo (Basso) "Mein Wandel auf der Welt" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-3 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": III. Aria (Basso) "Endlich, endlich wird mein Joch" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-4 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": IV. Recitativo e Arioso (Basso) "Ich stehe fertig und bereit" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-5 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": V. Chorale "Komm, o Tod, du Schlafes Bruder" | Dietrich Fischer-Dieskau, Berlin Motet Choir, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-6 | Kantate, BWV 82 "Ich habe genug": I. Aria (Basso) "Ich habe genug" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, RIAS Kammerorchester, Karl Ristenpart | — | |
| 13-7 | Kantate, BWV 82 "Ich habe genug": II. Recitativo (Basso) "Ich habe genug. Mein Trost ist nur allein" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-8 | Kantate, BWV 82 "Ich habe genug": III. Aria (Basso) "Schlummert ein, ihr matten Augen" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-9 | Kantate, BWV 82 "Ich habe genug": IV. Recitativo (Basso) "Mein Gott! wann kommt das schöne: Nun!" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 13-10 | Kantate, BWV 82 "Ich habe genug": V. Aria (Basso) "Ich freue mich auf meinen Tod" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 14-1 | Die Fledermaus: Overture | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | T-306.482.271-1 | |
| 14-2 | Annen-Polka, op. 117 (arr. Richard Atzler) | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 14-3 | Kaiserwalzer, op. 437 | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 14-4 | Tritsch-Tratsch-Polka, op. 214 (arr. Fr. Schimak) | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | T-901.154.623-9 | |
| 14-5 | Radetzky-Marsch, op. 228 (arr. Ertl) | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 14-6 | An der schönen blauen Donau, op. 314 | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | T-902.100.912-1 | |
| 14-7 | Eljen a Magyar, op. 332 | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | T-902.189.169-0 | |
| 14-8 | Geschichten aus dem Wienerwald, op. 325 | Radio-Symphonie-Orchester Berlin, Ferenc Fricsay | — | |
| 15-1 | Rosamunde-Ouvertüre, D 644 "Die Zauberharfe" | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 15-2 | Symphony no. 9 in C major, D. 944 "Great": II. Andante con moto | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 15-3 | Symphony no. 9 in C major, D. 944 "Great": II. Andante con moto | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 15-4 | Symphony no. 9 in C major, D. 944 "Great": II. Andante con moto | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 15-5 | Symphony no. 9 in C major, D. 944 "Great": II. Andante con moto | Berliner Philharmoniker, Wilhelm Furtwängler | — | |
| 16-1 | Las Hijas del Zebedeo: Carceleras | — | ||
| 16-2 | Werther: Act III: “Werther! Werther…qui m’aurait dit la place” | — | ||
| 16-3 | Les Contes d’Hoffmann (edition: Michael Kaye and Jean‐Christophe Keck): Act III: Romance “C’est l’amour vainqueur” | — | ||
| 16-4 | La Cenerentola: Act II: Nacqui all’affanno | — | ||
| 16-5 | Bachianas brasileiras no. 5: No. 1. Aria (Cantilena): “Tarde, uma nuvem rósea lenta e transparente” | Elīna Garanča, Staatskapelle Dresden, Fabio Luisi | T-905.380.384-2 | |
| 16-6 | La Grande‐Duchesse de Gérolstein (edition by Jean‐Christophe Keck): Act I: Rondeau. “Ah, que j’aime les militaires” | — | ||
| 16-7 | L’italiana in Algeri: Act II: Cavatina: Concedi, amor pietoso | — | ||
| 16-8 | Madrigal on a catalan popular theme | — | ||
| 16-9 | Der Rosenkavalier, op. 59: Act III: “Marie Theres’!” - “Hab mir’s gelobt, Ihn lieb zu haben” | — | ||
| 16-10 | Der Rosenkavalier, op. 59: Act III: “Ist ein Traum, kann nicht wirklich sein” | — | ||
| 17-1 | Konzert für Klavier und Orchester Nr. 1 D-moll, Op. 15: II. Adagio | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 17-2 | Konzert für Klavier und Orchester Nr. 1 D-moll, Op. 15: II. Adagio | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 17-3 | Konzert für Klavier und Orchester Nr. 1 D-moll, Op. 15: II. Adagio | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 18-1 | Requiem, op. 48: I. Introït et Kyrie “Requiem aeternam dona eis, Domine” – “Kyrie eleison” | Kathleen Battle, Andreas Schmidt, Philharmonia Chorus, Orchestra, Carlo Maria Giulini | T-900.175.670-3 | |
| 18-2 | Requiem, op. 48: II. Offertoire “O Domine Jesu Christe, Rex gloriae” | Kathleen Battle, Andreas Schmidt, Philharmonia Chorus, Orchestra, Carlo Maria Giulini | — | |
| 18-3 | Requiem, op. 48: III. Sanctus “Sanctus, Sanctus, Sanctus Dominus, Deus Sabaoth” | Kathleen Battle, Andreas Schmidt, Philharmonia Chorus, Orchestra, Carlo Maria Giulini | T-003.012.217-8 | |
| 18-4 | Requiem, op. 48: IV. Pie Jesu “Pie Jesu Domine” | Horst Neumann, Andreas Schmidt, Kathleen Battle, Philharmonia Chorus, Timothy Farrell, Philharmonia Orchestra, Carlo Maria Giulini | T-010.065.879-4 | |
| 18-5 | Requiem, op. 48: V. Agnus Dei “Agnus Dei, qui tollis peccata mundi” | Horst Neumann, Kathleen Battle, Andreas Schmidt, Philharmonia Chorus, Timothy Farrell, Philharmonia Orchestra, Carlo Maria Giulini | T-926.356.677-4 | |
| 18-6 | Requiem, op. 48: VI. Libera me “Libera me, Domine, de morte aeterna” | Kathleen Battle, Andreas Schmidt, Philharmonia Chorus, Orchestra, Carlo Maria Giulini | — | |
| 18-7 | Requiem, op. 48: VII. In Paradisum “In Paradisum deducant angeli” | Kathleen Battle, Andreas Schmidt, Philharmonia Chorus, Orchestra, Carlo Maria Giulini | T-924.489.944-3 | |
| 18-8 | Pavane pour une infante défunte, M. 19 | Philharmonia Orchestra, Carlo Maria Giulini | T-003.013.767-7 | |
| 19-1 | Ayre for voice and chamber ensemble, no. 1: Mañanita de San Juan (Morning of St. John’s Day) | — | ||
| 19-2 | Ayre: II. Una madre comió asado (A Mother Roasted her Child) | Dawn Upshaw, The Andalucian Dogs | T-072.330.959-8 | |
| 19-3 | Ayre for voice and chamber ensemble, no. 3: Tancas Serradas a Muru (Walls are Encircling the Land) | — | ||
| 19-4 | Ayre for voice and chamber ensemble, no. 4: Luna | — | ||
| 19-5 | Ayre: Nanni | Dawn Upshaw, The Andalucian Dogs | T-072.330.938-3 | |
| 19-6 | Ayre for voice and chamber ensemble, no. 6: Wa Habibi (My Love) | — | ||
| 19-7 | Ayre for voice and chamber ensemble, no. 7: Aiini Taqttiru (My Eyes Weep) | — | ||
| 19-8 | Ayre for voice and chamber ensemble, no. 8: Kun Li‐Guitari Wataran Ayyuha Al‐Maa’ (Be a String, Water, to my Guitar) | — | ||
| 19-9 | Ayre for voice and chamber ensemble, no. 9: Suéltate las cintas (Untie your Ribbons) | — | ||
| 19-10 | Ayre for voice and chamber ensemble, no. 10: Yah, Anna Emtzacha (Oh, Where Shall I find You?) | — | ||
| 19-11 | Ayre for voice and chamber ensemble, no. 11: Ariadna en su laberinto (Ariadne in Her Labyrinth) | — | ||
| 19-12 | Folk songs for voice and 7 instruments, no. 1: Black is the colour (USA) | — | ||
| 19-13 | Folk songs for voice and 7 instruments, no. 2: I wonder as I wander (USA) | — | ||
| 19-14 | Folk songs for voice and 7 instruments, no. 3: Loosin yelav (Armenia) | — | ||
| 19-15 | Folk songs for voice and 7 instruments, no. 4: Rosssignolet du bois (France) | — | ||
| 19-16 | Folk songs for voice and 7 instruments, no. 5: A la femminisca (Sicily) | — | ||
| 19-17 | Folk songs for voice and 7 instruments, no. 6: La donna ideale (Italy) | — | ||
| 19-18 | Folk songs for voice and 7 instruments, no. 7: Ballo (Italy) | — | ||
| 19-19 | Folk songs for voice and 7 instruments, no. 8: Motettu de Tristura (Sardinia) | — | ||
| 19-20 | Folk songs for voice and 7 instruments, no. 9: Malorous qu’o uno fenno (Auvergne - France) | — | ||
| 19-21 | Folk songs for voice and 7 instruments, no. 10: Lo fiolaire (Auvergne - France) | — | ||
| 19-22 | Folk songs for voice and 7 instruments, no. 11: Azerbaijan love song (Azerbaijan) | — | ||
| 20-1 | Piano Concerto in A minor, op. 54: I. Allegro affettuoso | Hélène Grimaud, Sächsische Staatskapelle Dresden, Esa-Pekka Salonen | T-909.264.262-1 | |
| 20-2 | Piano Concerto in A minor, op. 54: II. Intermezzo: Andantino grazioso | Hélène Grimaud, Sächsische Staatskapelle Dresden, Esa-Pekka Salonen | T-909.264.262-1 | |
| 20-3 | Piano Concerto in A minor, op. 54: III. Allegro vivace | Hélène Grimaud, Sächsische Staatskapelle Dresden, Esa-Pekka Salonen | T-909.264.262-1 | |
| 20-4 | 3 Lieder, op. 12: I. Er ist gekommen in Sturm und Regen | Anne Sofie von Otter, Hélène Grimaud | — | |
| 20-5 | 3 Lieder, op. 12: III. Warum willst du and're fragen? | Anne Sofie von Otter, Hélène Grimaud | — | |
| 20-6 | Am Strande | Anne Sofie von Otter, Hélène Grimaud | — | |
| 20-7 | Sonata for Cello and Piano no. 1 in E minor, op. 38: I. Allegro non troppo | Truls Mørk, Hélène Grimaud | — | |
| 20-8 | Sonata for Cello and Piano no. 1 in E minor, op. 38: II. Allegretto quasi minuetto | Truls Mørk, Hélène Grimaud | — | |
| 20-9 | Sonata for Cello and Piano no. 1 in E minor, op. 38: III. Allegro – più presto | Truls Mørk, Hélène Grimaud | — | |
| 20-10 | 2 Rhapsodies, op. 79: No. 1 in B minor | Hélène Grimaud | T-326.439.411-4 | |
| 20-11 | 2 Rhapsodies, op. 79: No. 2 in G minor | Hélène Grimaud | T-920.065.990-1 | |
| 21-1 | String Quartet in F major, op. 135: I. Allegretto | — | ||
| 21-2 | String Quartet in F major, op. 135: II. Vivace | — | ||
| 21-3 | String Quartet in F major, op. 135: III. Lento assai, cantante e tranquillo | — | ||
| 21-4 | String Quartet in F major, op. 135: IV. “Der schwer gefaßte Entschluß.” Grave, ma non troppo tratto (Muss es sein?) — Allegro (Es muss sein!) — Grave, ma non troppo tratto — Allegro | — | ||
| 21-5 | String Quartet no. 14 in D minor, D. 810 “Death and the Maiden”: I. Allegro | — | ||
| 21-6 | 2. ANDANTE CON MOTO | Hagen Quartett | — | |
| 21-7 | String Quartet no. 14 in D minor, D. 810 "Death and the Maiden": III. Scherzo. Allegro molto | Hagen Quartett | T-329.454.787-4 | |
| 21-8 | String Quartet no. 14 in D minor, D. 810 “Death and the Maiden”: IV. Presto | — | ||
| 22-1 | Concerto for violin and orchestra, op. 36: I. Poco allegro | Hilary Hahn, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 22-2 | Concerto for violin and orchestra, op. 36: II. Andante grazioso | Hilary Hahn, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 22-3 | Concerto for violin and orchestra, op. 36: III. Finale. Allegro | Hilary Hahn, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 22-4 | Concerto for violin and orchestra in D minor, op. 47: I. Allegro moderato | Hilary Hahn, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 22-5 | Concerto for violin and orchestra in D minor, op. 47: II. Adagio di molto | Hilary Hahn, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 22-6 | Concerto for violin and orchestra in D minor, op. 47: III. Allegro, ma non tanto | Hilary Hahn, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 23-1 | Chaconne in G major | — | ||
| 23-2 | Keyboard Suite in D minor, HWV 437: IV. Sarabande | — | ||
| 23-3 | Ricercata segunda | — | ||
| 23-4 | La suave melodia | — | ||
| 23-5 | Passacalio in G minor | — | ||
| 23-6 | Diverse bizzarrie sopra la Vecchia Sarabanda o pur Ciacconna | — | ||
| 23-7 | Canon and Gigue in D major: I. Canon | — | ||
| 23-8 | Canon and Gigue in D major: II. Gigue | — | ||
| 23-9 | Concerto for violin concertato, strings and basso continuo in A minor, TWV 51:A1: I. Adagio | — | ||
| 23-10 | Concerto for violin concertato, strings and basso continuo in A minor, TWV 51:A1: II. Allegro | — | ||
| 23-11 | Concerto for violin concertato, strings and basso continuo in A minor, TWV 51:A1: III. Presto | — | ||
| 23-12 | Sonata for Violin and Continuo III: Imitazione della campane | — | ||
| 23-13 | Ayrs for the Violin, Book 4, Suite in F major: Ground after the Scotch Humour | — | ||
| 23-14 | Concerto grosso no. 5 in G minor from Corelli: Sonata op. 5 no. 5: I. Adagio | — | ||
| 23-15 | Concerto grosso no. 5 in G minor from Corelli: Sonata op. 5 no. 5: II. Vivace | — | ||
| 23-16 | Concerto grosso no. 5 in G minor from Corelli: Sonata op. 5 no. 5: III. Adagio | — | ||
| 23-17 | Concerto grosso no. 5 in G minor from Corelli: Sonata op. 5 no. 5: IV. Allegro | — | ||
| 23-18 | Gagliarde napolitane | — | ||
| 23-19 | Passacaglia in G minor | — | ||
| 23-20 | Tambourin | Daniel Hope | T-306.437.018-5 | |
| 23-21 | Greensleeves to a Ground | — | ||
| 23-22 | Sonata in A major, “La guerra”: La guerra cosí nominata di sua maestà | — | ||
| 23-23 | Sonata for Violin and Continuo II “Consacrate al Grand’ Apolline di questi tempi”: Imitazione del Liuto. Presto | — | ||
| 23-24 | Suite no. 3 in D major, BWV 1068: II. Air | — | ||
| 24-1 | Piano Sonata in B-flat major, K. 281: I. Allegro | Vladimir Horowitz | T-011.422.353-8 | |
| 24-2 | Piano Sonata in B-flat major, K. 281: II. Andante amoroso | Vladimir Horowitz | T-322.449.900-3 | |
| 24-3 | Piano Sonata in B-flat major, K. 281: III. Rondeau: Allegro | Vladimir Horowitz | — | |
| 24-4 | Adagio in B minor, K. 540 | Vladimir Horowitz | T-002.561.175-9 | |
| 24-5 | Rondo in D major, K. 485 | Vladimir Horowitz | — | |
| 24-6 | Moment Musical in F minor, Op. 94 No. 3 | Vladimir Horowitz | — | |
| 24-7 | Schwanengesang, S. 560 no. 7 "Ständchen" | Vladimir Horowitz | — | |
| 24-8 | Soirées de Vienne, valses caprices d'après Schubert, S. 427 No. 7 | Владимир Самойлович Горовиц | — | |
| 24-9 | Soirées de Vienne: Valse-Caprice no. 6, S. 427 (after Schubert) | Vladimir Horowitz | — | |
| 25-1 | Symphony no. 4 in E-flat major "Romantic": 2. Andante quasi Allegretto | Berliner Philharmoniker, Eugen Jochum | — | |
| 25-2 | Symphony no. 4 in E-flat major "Romantic": 2. Andante quasi Allegretto | Berliner Philharmoniker, Eugen Jochum | — | |
| 25-3 | Symphony no. 4 in E-flat major "Romantic": 2. Andante quasi Allegretto | Berliner Philharmoniker, Eugen Jochum | — | |
| 25-4 | Symphony no. 4 in E-flat major "Romantic": 2. Andante quasi Allegretto | Berliner Philharmoniker, Eugen Jochum | — | |
| 26-1 | Ein deutsches Requiem: I. Selig sind, die da Leid tragen | Berliner Philharmoniker, Wiener Singverein, Herbert von Karajan | — | |
| 26-2 | Ein deutsches Requiem: II. Denn alles Fleisch, es ist wie Gras | Berliner Philharmoniker, Wiener Singverein, Herbert von Karajan | — | |
| 26-3 | Ein deutsches Requiem: III. Herr, lehre doch mich | Berliner Philharmoniker, Wiener Singverein, Herbert von Karajan | — | |
| 26-4 | Ein deutsches Requiem: IV. Wie lieblich sind deine Wohnungen | Berliner Philharmoniker, Wiener Singverein, Herbert von Karajan | — | |
| 26-5 | Ein deutsches Requiem: V. Ihr habt nun Traurigkeit | Gundula Janowitz, Wiener Singverein, Berliner Philharmoniker, Herbert von Karajan | — | |
| 26-6 | Ein deutsches Requiem: VI. Denn wir haben hie keine bleibende Statt | Berliner Philharmoniker, Wiener Singverein, Herbert von Karajan | — | |
| 26-7 | Ein deutsches Requiem: VII. Selig sind die Toten | Berliner Philharmoniker, Wiener Singverein, Herbert von Karajan | — | |
| 27-1 | Fantasie in C major, op. 17: I. Durchaus phantastisch und leidenschaftlich vorzutragen; im Legenden‐Ton. | — | ||
| 27-2 | Fantasie in C major, op. 17: II. Mäßig. Durchaus energisch. | — | ||
| 27-3 | Fantasie in C major, op. 17: III. Langsam getragen. Durchweg leise zu halten. | — | ||
| 27-4 | Variations and Fugue on a Theme by Handel, op. 24 | — | ||
| 28-1 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-2 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-3 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-4 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-5 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-6 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-7 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-8 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-9 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-10 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-11 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-12 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-13 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-14 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-15 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-16 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-17 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-18 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-19 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-20 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-21 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 28-22 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-1 | La traviata: Atto II. “Avrem lieta di maschere la notte” (Flora, Marqués, Doctor) | Giovanni Foiani, Alfredo Giacomotti, Stefania Malagú, Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-2 | La traviata: Atto II. “Noi siamo zingarelle” (Coro, Flora, Marqués) | Wolfgang Baumgart, Chor der Bayerischen Staatsoper, Giovanni Foiani, Alfredo Giacomotti, Stefania Malagú, Bayerisches Staatsorchester, Carlos Kleiber | T-005.003.222-8 | |
| 29-3 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-4 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-5 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-6 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-7 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-8 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-9 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-10 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-11 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-12 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-13 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-14 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-15 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 29-16 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 30-1 | Le nozze di Figaro, K. 492: Act IV, Scene X. No. 28 Finale "Giunse alfin il momento" (Cherubino, La Contessa, Il Conte, Susanna, Figaro) | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-2 | Le nozze di Figaro, K. 492: Act II, Scene II. No. 12 Arietta "Voi che sapete che cosa è amor" (Cherubino) | Magdalena Kožená, Jos van Immerseel, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-3 | Recitative and Aria for Soprano, Piano & Orchestra in E-flat major, K. 505: "Ch'io mi scordi di te… Non temer, amato bene" | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-4 | Così fan tutte, K. 588: Act I, Scene IX. No. 12 Aria "In uomini, in soldati sperare" (Despina) | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-5 | Così fan tutte, KV 588: Ei parte... Senti!... Ah, no! - Per pietà, ben mio, perdona | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-6 | Così fan tutte, K. 588: Act II, Scene X. No. 28 Aria "È amore un ladroncello" (Dorabella) | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | T-919.170.448-0 | |
| 30-7 | La clemenza di Tito, K. 621: Act II, Scene XV. No. 23 Aria. Rondo "Non più di fiori" (Vitellia) | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-8 | Idomeneo, re di Creta, K. 366: Act I, Scene I. Recitativo "Quando avran fine omai" (Ilia) | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-9 | Aria for Soprano & Orchestra in E-flat major, K. 583: "Vado, ma dove?" | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-10 | Le nozze di Figaro, K. 492: Act I, Scene V. No. 6 Aria "Non so più cosa son, cosa faccio" (Cherubino) | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | T-915.310.099-3 | |
| 30-11 | Aria for Soprano & Orchestra in B-flat major, K. 578: "Alma grande e nobil core" | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 30-12 | Le nozze di Figaro, KV 492: Giunse alfin il momento - Al desio di chi t'adora | Magdalena Kožená, Orchestra of the Age of Enlightenment, Simon Rattle | — | |
| 31-1 | Concerto for Violin and Orchestra: I. ♩ = 104 – ♩ = 120 | Gidon Kremer, Wiener Philharmoniker, Christoph von Dohnányi | T-922.975.221-0 | |
| 31-2 | Concerto for Violin and Orchestra: II. ♩ = ca. 108 | Gidon Kremer, Wiener Philharmoniker, Christoph von Dohnányi | T-922.975.221-0 | |
| 31-3 | Concerto for Violin and Orchestra: III. ♩ = ca. 150 – Coda: Poco meno ♩ = 104 | Gidon Kremer, Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 31-4 | Concerto Grosso no. 5: I. Allegretto | — | ||
| 31-5 | Concerto Grosso no. 5: II. | — | ||
| 31-6 | Concerto Grosso no. 5: III. Allegro vivace | — | ||
| 31-7 | Concerto Grosso no. 5: IV. Lento | — | ||
| 32-1 | Piano Sonata no. 10 in C major, K. 330: I. Allegro moderato | Lang Lang | — | |
| 32-2 | Piano Sonata no. 10 in C major, K. 300h/330: II. Andante cantabile | Lang Lang | — | |
| 32-3 | Piano Sonata No. 10 in C major, K. 330: III. Allegretto | Lang Lang | — | |
| 32-4 | Piano Sonata No. 3 in B minor, Op. 58: I. Allegro maestoso | Lang Lang | T-309.554.584-5 | |
| 32-5 | Piano Sonata No. 3 in B minor, Op. 58: II. Scherzo. Molto vivace | Lang Lang | T-911.517.582-1 | |
| 32-6 | Piano Sonata no. 3 in B minor, op. 58: III. Largo | Lang Lang | T-921.564.632-5 | |
| 32-7 | Piano Sonata No. 3 in B minor, Op. 58: IV. Finale (Presto non tanto) | Lang Lang | T-309.554.578-7 | |
| 32-8 | Scenes from Childhood, Op. 15: I. About Foreign Lands and Peoples | Lang Lang | T-314.629.927-2 | |
| 32-9 | Scenes from Childhood, Op. 15: II. Curious Story | Lang Lang | T-913.873.556-5 | |
| 32-10 | Scenes from Childhood, Op. 15: III. Catch Me If You Can | Lang Lang | T-330.120.782-5 | |
| 32-11 | Scenes from Childhood, Op. 15: IV. Pleading Child | Lang Lang | T-001.216.772-4 | |
| 32-12 | Scenes from Childhood, Op. 15: V. Happiness | Lang Lang | — | |
| 32-13 | Scenes from Childhood, Op. 15: VI. Important Event | Lang Lang | T-330.120.763-2 | |
| 32-14 | Kinderszenen op. 15 - 7. Träumerei | Lang Lang | — | |
| 32-15 | Scenes from Childhood, Op. 15: VIII. At the Fireside | Lang Lang | T-913.871.548-7 | |
| 32-16 | Scenes from Childhood, Op. 15: IX. Knight of the Hobby Horse | Lang Lang | T-330.117.403-4 | |
| 32-17 | Scenes from Childhood, Op. 15: X. Almost Too Serious | Lang Lang | T-913.870.570-1 | |
| 32-18 | Scenes from Childhood, Op. 15: XI. Frightening | Lang Lang | — | |
| 32-19 | Kinderszenen, op. 15: XII. Kind im Einschlummern | Lang Lang | — | |
| 32-20 | Scenes from Childhood, Op. 15: XIII. The Poet Speaks | Lang Lang | — | |
| 33-2 | Cuban Overture | Chicago Symphony Orchestra, James Levine | T-010.086.407-0 | |
| 33-3 | Catfish Row | Chicago Symphony Orchestra, James Levine | T-921.150.836-0 | |
| 33-4 | “Porgy and Bess”: Porgy Sings: Oh, I Got Plenty O’Nuttin’ | — | ||
| 33-5 | “Porgy and Bess”: Porgy Sings: Bess, You Is My Woman Now | — | ||
| 33-6 | "Porgy and Bess" Suite (Catfish Row): III. Fugue | Chicago Symphony Orchestra, James Levine | T-303.467.790-8 | |
| 33-7 | "Porgy and Bess" Suite (Catfish Row): IV. Hurricane | Chicago Symphony Orchestra, James Levine | — | |
| 33-8 | "Porgy and Bess" Suite (Catfish Row): V. Good Morning, Brother | Chicago Symphony Orchestra, James Levine | T-900.229.842-2 | |
| 33-9 | An American in Paris | Chicago Symphony Orchestra, James Levine | T-070.001.144-4 | |
| 34-1 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: I. “Kyrie” | — | ||
| 34-2 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIa. Gloria: “Gloria in excelsis” | — | ||
| 34-3 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIb. Gloria: “Laudamus te” | — | ||
| 34-4 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIc. Gloria: “Gratias agimus tibi” | — | ||
| 34-5 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IId. Gloria: “Domine Deus” | — | ||
| 34-6 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIe. Gloria: “Qui tollis” | — | ||
| 34-7 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIf. Gloria: “Quoniam tu solus” | — | ||
| 34-8 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIg. Gloria: “Jesu Christe” | — | ||
| 34-9 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) “Great”: IIh. Gloria: “Cum Sancto Spiritu” | — | ||
| 34-10 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIIa. Credo: "Credo in unum Deum" | Gabrieli Consort & Players, Paul McCreesh | T-030.223.287-6 | |
| 34-11 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIIb. Credo: "Et incarnatus est" | Camilla Tilling, Gabrieli Consort & Players, Paul McCreesh | T-900.009.712-1 | |
| 34-12 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IV. Sanctus | Gabrieli Consort & Players, Paul McCreesh | — | |
| 34-13 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": V. Benedictus | Gabrieli Consort & Players, Paul McCreesh | T-106.642.813-3 | |
| 34-14 | Scena di Berenice, dramatic scena, Hob XXIVa:10: “Berenice, che fai?” | — | ||
| 34-15 | “Ah! perfido”, op. 65 | — | ||
| 35-1 | Symphony no. 6 in B minor, op. 74 “Pathétique”: I. Adagio - Allegro non troppo | — | ||
| 35-2 | Symphony no. 6 in B minor, op. 74 “Pathétique”: II. Allegro con grazia | — | ||
| 35-3 | Symphony no. 6 in B minor, op. 74 “Pathétique”: III. Allegro molto vivace | — | ||
| 35-4 | Symphony no. 6 in B minor, op. 74 “Pathétique”: IV. Adagio lamentoso | — | ||
| 36-1 | Viderunt omnes fines terre | — | ||
| 36-2 | Viderunt omnes | — | ||
| 36-3 | Alle psallite cum luya | — | ||
| 36-4 | Amor potest | — | ||
| 36-5 | S’on me regarde | — | ||
| 36-6 | In mari miserie | — | ||
| 36-7 | O Mitissima | — | ||
| 36-8 | Aucun ont trouve | — | ||
| 36-9 | De me dame vient | — | ||
| 36-10 | J’os bien a m’amie parler | David Munrow, Early Music Consort of London | — | |
| 36-11 | Le mesnie fauveline | — | ||
| 36-12 | Impudentur circumivi | Early Music Consort of London, David Munrow | — | |
| 36-13 | Cum statua nabucodonasor | Early Music Consort of London, David Munrow | — | |
| 36-14 | Clap, clap, par un matin | — | ||
| 36-15 | Febus mundo oriens | — | ||
| 36-16 | Qui es promesses de fortune | — | ||
| 36-17 | Lasse! comment oublieray | — | ||
| 36-18 | Inter densas deserti meditans | — | ||
| 36-19 | Hoquetus David | — | ||
| 37-1 | Zigeunerweisen, op. 20 | Anne-Sophie Mutter, Wiener Philharmoniker, James Levine | — | |
| 37-2 | Légende en sol mineur, op. 17 | Anne-Sophie Mutter, Wiener Philharmoniker, James Levine | — | |
| 37-3 | Sonata for violin & continuo in G minor, op. 1/6 B. g5 “Il trillo del diavolo” | — | ||
| 37-4 | Tzigane, rhapsodie de concert for violin & piano (or orchestra) | — | ||
| 37-5 | Méditation | Anne-Sophie Mutter, Wiener Philharmoniker, James Levine | T-324.744.784-9 | |
| 37-6 | Concert Fantasy on themes from Bizet’s “Carmen,” for violin & orchestra (or piano), op. 25: Introduction. Allegro moderato | — | ||
| 37-7 | Concert Fantasy on themes from Bizet’s “Carmen,” for violin & orchestra (or piano), op. 25: I. Moderato | — | ||
| 37-8 | Concert Fantasy on themes from Bizet’s “Carmen,” for violin & orchestra (or piano), op. 25: II. Lento assai | — | ||
| 37-9 | Concert Fantasy on themes from Bizet’s “Carmen,” for violin & orchestra (or piano), op. 25: III.. Allegro moderato | — | ||
| 37-10 | Concert Fantasy on themes from Bizet’s “Carmen,” for violin & orchestra (or piano), op. 25: IV. Moderato | — | ||
| 37-11 | Berceuse for Violin and Orchestra in D major, op. 16 | Anne-Sophie Mutter, Wiener Philharmoniker, James Levine | — | |
| 38-1 | La bohème: Atto I. Duettino "O soave fanciulla" (Mimi, Rodolfo) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | T-913.732.535-0 | |
| 38-2 | Lucia di Lammermoor, Part I: No. 4. Scene and Duet "Lucia perdona...Sulla tomba" (Lucia, Edgardo) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | — | |
| 38-3 | Rigoletto: Act I: No. 5. Scene and Duet "Giovanna, ho dei rimorsi...E il sol dell'anima" (Gilda, Duca) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | — | |
| 38-4 | Les Pêcheurs de perles: Act II: No. 8. Chanson "De mon amie, fleur endormie" - No. 9 Duett "Léila! Léila! Dieu puissant" (Leïla, Nadir) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | — | |
| 38-5 | Les Pêcheurs de perles: Act II: No. 8. Chanson "De mon amie, fleur endormie" - No. 9 Duett "Léila! Léila! Dieu puissant" (Leïla, Nadir) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | — | |
| 38-6 | Manon: Act III, Scene 2: Duet "Toi! Vous!... Ah! Viens, Manon, je t'aime!" (Manon, des Grieux) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | — | |
| 38-7 | Luisa Fernanda: Act III: No. 13 Duet "¡Cállate, corazón! iDuèrmete y calla!" (Luisa Fernanda, Javier) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | — | |
| 38-8 | Luisa Fernanda: Act III: No. 13 Duet "¡Cállate, corazón! iDuèrmete y calla!" (Luisa Fernanda, Javier) | Anna Netrebko, Rolando Villazón, Staatskapelle Dresden, Nicola Luisotti | T-041.489.090-6 | |
| 39-1 | 12 études d'exécution transcendante: I. Preludio | Alice Sara Ott | T-312.527.003-9 | |
| 39-2 | 12 études d'exécution transcendante: II. Molto vivace | Alice Sara Ott | T-911.517.582-1 | |
| 39-3 | 12 études d'exécution transcendante: III. Paysage | Alice Sara Ott | — | |
| 39-4 | 12 études d'exécution transcendante: IV. Mazeppa | Alice Sara Ott | — | |
| 39-5 | 12 études d'exécution transcendante: V. Feux follets | Alice Sara Ott | T-924.490.462-9 | |
| 39-6 | 12 études d'exécution transcendante: VI. Vision | Alice Sara Ott | — | |
| 39-7 | 12 études d'exécution transcendante: VII. Eroica | Alice Sara Ott | — | |
| 39-8 | 12 études d'exécution transcendante: VIII. Wilde Jagd | Alice Sara Ott | — | |
| 39-9 | 12 études d'exécution transcendante: IX. Ricordanza | Alice Sara Ott | — | |
| 39-10 | 12 études d'exécution transcendante: X. Allegro agitato molto | Alice Sara Ott | — | |
| 39-11 | 12 études d'exécution transcendante: XI. Harmonies du soir | Alice Sara Ott | — | |
| 39-12 | 12 études d'exécution transcendante: XII. Chasse-neige | Alice Sara Ott | — | |
| 40-1 | Die sieben Todsünden: Prolog: “Meine Schwester und ich stammen aus Louisiana” | — | ||
| 40-2 | Die sieben Todsünden: I. Faulheit: “Hoffentlich nimmt sich unsre Anna auch zusammen” | — | ||
| 40-3 | Die sieben Todsünden: II. Stolz: “Als wir aber ausgestattet waren” | — | ||
| 40-4 | Die sieben Todsünden: III. Zorn: “Das geht nicht vorwärts” | — | ||
| 40-5 | Die sieben Todsünden: IV: Völlerei “Da ist ein Brief aus Philadelphia” | — | ||
| 40-6 | Die sieben Todsünden: V. Unzucht: “Und wir fanden einen Mann in Boston” | — | ||
| 40-7 | Die sieben Todsünden: VI. Habsucht: “Wie hier in der Zeitung steht, ist Anna” | — | ||
| 40-8 | Die sieben Todsünden: VII. Neid: “Und die letzte Stadt der Reise war San Francisco” | — | ||
| 40-9 | Die sieben Todsünden: Epilog: “Darauf kehrten wir zurück nach Louisiana” | — | ||
| 40-10 | Lady in the Dark: My Ship | — | ||
| 40-11 | Lady in the Dark: One Life to Live | — | ||
| 40-12 | Buddy on the Nightshift | — | ||
| 40-13 | Nannas Lied | — | ||
| 40-14 | Happy End: Bilbao‐Song | — | ||
| 40-15 | Happy End: Surabaya‐Johnny | — | ||
| 40-16 | Happy End: Das Lied von der harten Nuss | — | ||
| 40-17 | Je ne t’aime pas | — | ||
| 40-18 | Schickelgruber | Anne Sofie von Otter, Bengt Forsberg | — | |
| 40-19 | Der Abschiedsbrief | — | ||
| 40-20 | One Touch of Venus: Foolish Heart | — | ||
| 40-21 | One Touch of Venus: Speak Low | — | ||
| 40-22 | One Touch of Venus: I’m a Stranger Here Myself | — | ||
| 41-1 | Concerto No. 1 in F major, BWV 1046: IV. Menuetto - Trio I - Polacca - Trio II | The English Concert, Trevor Pinnock | — | |
| 41-2 | Concerto No. 1 in F major, BWV 1046: IV. Menuetto - Trio I - Polacca - Trio II | The English Concert, Trevor Pinnock | — | |
| 41-3 | Concerto No. 1 in F major, BWV 1046: IV. Menuetto - Trio I - Polacca - Trio II | The English Concert, Trevor Pinnock | — | |
| 41-4 | Concerto No. 1 in F major, BWV 1046: IV. Menuetto - Trio I - Polacca - Trio II | The English Concert, Trevor Pinnock | — | |
| 41-5 | Concerto No. 2 in F major, BWV 1047: II. Andante | The English Concert, Trevor Pinnock | — | |
| 41-6 | Concerto No. 2 in F major, BWV 1047: II. Andante | The English Concert, Trevor Pinnock | — | |
| 41-7 | Concerto No. 2 in F major, BWV 1047: II. Andante | The English Concert, Trevor Pinnock | — | |
| 41-8 | Brandenburgisches Konzert Nr. 3: III. Allegro | The English Concert, Trevor Pinnock | — | |
| 41-9 | Brandenburgisches Konzert Nr. 3: III. Allegro | The English Concert, Trevor Pinnock | — | |
| 41-10 | Brandenburgisches Konzert Nr. 3: III. Allegro | The English Concert, Trevor Pinnock | — | |
| 42-1 | Concerto no. 14 in E-flat major for Piano, K. 449: I. Allegro vivace | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — | |
| 42-2 | Concerto no. 14 in E-flat major for Piano, K. 449: II. Andantino | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — | |
| 42-3 | Concerto no. 14 in E-flat major for Piano, K. 449: III. Allegro ma non troppo | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — | |
| 42-4 | Concerto for Piano No. 26 in D major, K. 537: I. Allegro | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | T-070.160.313-5 | |
| 42-5 | Piano Concerto no. 26 in D major, K 537 "Coronation": II. Larghetto | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | T-926.819.124-8 | |
| 42-6 | Concerto for Piano No. 26 in D major, K. 537: III. Allegretto | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — | |
| 43-1 | Petrouchka: Russian Dance | Maurizio Pollini | — | |
| 43-2 | Petrouchka: Petrouchka's Room | Maurizio Pollini | — | |
| 43-3 | Three Movements ’Petruschka’: La semaine grasse. Con Moto - Allegretto - Tempo giusto - Agitato | Maurizio Pollini | — | |
| 43-4 | Piano Sonata no. 7 in B-flat major, op. 83: I. Allegro inquieto - Andantino | Maurizio Pollini | — | |
| 43-5 | Piano Sonata no. 7 in B-flat major, op. 83: II. Andante caloroso | Maurizio Pollini | — | |
| 43-6 | Piano Sonata no. 7 in B-flat major, op. 83: III. Precipitato | Maurizio Pollini | — | |
| 43-7 | Piano Variations, op. 27: Sehr mässig | Maurizio Pollini | — | |
| 43-8 | Piano Variations, op. 27: Sehr schnell | Maurizio Pollini | — | |
| 43-9 | Piano Variations, op. 27: Ruhig, fliessend | Maurizio Pollini | T-329.454.645-1 | |
| 43-10 | Second sonata for Piano: I. Extrêmement rapide | Maurizio Pollini | — | |
| 43-11 | Second sonata for Piano: II. Lent | Maurizio Pollini | — | |
| 43-12 | Second sonata for Piano: III. Modéré, presque vif | Maurizio Pollini | — | |
| 43-13 | Second sonata for Piano: IV. Vif | Maurizio Pollini | — | |
| 44-1 | Die Schöne Müllerin, D. 795: I. Das Wandern | Thomas Quasthoff, Justus Zeyen | — | |
| 44-2 | Die Schöne Müllerin, D. 795: II. Wohin? | Thomas Quasthoff, Justus Zeyen | — | |
| 44-3 | Die Schöne Müllerin, D. 795: III. Halt! | Thomas Quasthoff, Justus Zeyen | — | |
| 44-4 | Die Schöne Müllerin, D. 795: IV. Danksagung an den Bach | Thomas Quasthoff, Justus Zeyen | — | |
| 44-5 | Die Schöne Müllerin, D. 795: V. Am Feierabend | Thomas Quasthoff, Justus Zeyen | — | |
| 44-6 | Die Schöne Müllerin, D. 795: VI. Der Neugierige | Thomas Quasthoff, Justus Zeyen | — | |
| 44-7 | Die Schöne Müllerin, D. 795: VII. Ungeduld | Thomas Quasthoff, Justus Zeyen | T-009.018.674-5 | |
| 44-8 | Die Schöne Müllerin, D. 795: VIII. Morgengruß | Thomas Quasthoff, Justus Zeyen | — | |
| 44-9 | Die Schöne Müllerin, D. 795: IX. Der Müllers Blumen | Thomas Quasthoff, Justus Zeyen | — | |
| 44-10 | Die Schöne Müllerin, D. 795: X. Tränenregen | Thomas Quasthoff, Justus Zeyen | — | |
| 44-11 | Die Schöne Müllerin, D. 795: XI. Mein! | Thomas Quasthoff, Justus Zeyen | — | |
| 44-12 | Die Schöne Müllerin, D. 795: XII. Pause | Thomas Quasthoff, Justus Zeyen | — | |
| 44-13 | Die Schöne Müllerin, D. 795: XIII. Mit dem grünen Lautenbande | Thomas Quasthoff, Justus Zeyen | — | |
| 44-14 | Die Schöne Müllerin, D. 795: XIV. Der Jäger | Thomas Quasthoff, Justus Zeyen | — | |
| 44-15 | Die Schöne Müllerin, D. 795: XV. Eifersucht und Stolz | Thomas Quasthoff, Justus Zeyen | — | |
| 44-16 | Die Schöne Müllerin, D. 795: XVI. Die liebe Farbe | Thomas Quasthoff, Justus Zeyen | — | |
| 44-17 | Die Schöne Müllerin, D. 795: XVII. Die böse Farbe | Thomas Quasthoff, Justus Zeyen | — | |
| 44-18 | Die Schöne Müllerin, D. 795: XVIII. Trockne Blumen | Thomas Quasthoff, Justus Zeyen | — | |
| 44-19 | Die Schöne Müllerin, D. 795: XIX. Der Müller und der Bach | Thomas Quasthoff, Justus Zeyen | — | |
| 44-20 | Die Schöne Müllerin, D. 795: XX. Des Baches Wiegenlied | Thomas Quasthoff, Justus Zeyen | — | |
| 45-1 | Drumming, Part I | Steve Reich | — | |
| 45-2 | Drumming, Part II | Steve Reich | — | |
| 45-3 | Drumming, Part III | — | ||
| 46-1 | Drumming, Part IV | Steve Reich | — | |
| 46-2 | Six Pianos | — | ||
| 46-3 | Music for Mallet Instruments, Voices and Organ | — | ||
| 47-1 | Sinfonia in D major, Wq. 183 no. 1: 1. Allegro di molto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-329.454.787-4 | |
| 47-2 | Sinfonia in D major, Wq. 183 no. 1: 2. Largo | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 47-3 | Sinfonia in D major, Wq. 183 no. 1: 3. Presto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-902.717.414-7 | |
| 47-4 | Sinfonia in E-flat major, Wq 183 No. 2: I. Allegro di molto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-329.454.787-4 | |
| 47-5 | Sinfonia in E-flat major, Wq 183 No. 2: II. Larghetto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 47-6 | Sinfonia in E-flat major, Wq 183 No. 2: III. Allegretto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 47-7 | Sinfonia in F major, Wq 183 No. 3: I. Allegro di molto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-329.454.787-4 | |
| 47-8 | Sinfonia in F major, Wq 183 No. 3: II. Larghetto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 47-9 | Sinfonia in F major, Wq 183 No. 3: III. Presto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-902.717.414-7 | |
| 47-10 | Sinfonia in G major, Wq 183 No. 4: I. Allegro assai | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-306.395.786-4 | |
| 47-11 | Sinfonia in G major, Wq 183 No. 4: II. Poco andante | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 47-12 | Sinfonia in G major, Wq 183 No. 4: III. Presto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-902.717.414-7 | |
| 48-1 | Marsch no. 2 in G minor from 4 Marches, op. 76 | Sviatoslav Richter | — | |
| 48-2 | Waldszenen, op. 82: I. Eintritt. Nicht zu schnell | Sviatoslav Richter | — | |
| 48-3 | Waldszenen, op. 82: II. Jäger auf der Lauer. Höchst lebhaft | Sviatoslav Richter | — | |
| 48-4 | Waldszenen, op. 82: III. Einsame Blumen. Einfach | Sviatoslav Richter | — | |
| 48-5 | Waldszenen, op. 82: IV. Verrufene Stelle. Ziemlich langsam | Sviatoslav Richter | — | |
| 48-6 | Waldszenen, op. 82: V. Freundliche Landschaft. Schnell | Sviatoslav Richter | — | |
| 48-7 | Waldszenen, op. 82: VI. Herberge. Mäßig | Sviatoslav Richter | — | |
| 48-8 | Waldszenen, op. 82: VII. Vogel als Prophet. Langsam, sehr zart | Sviatoslav Richter | — | |
| 48-9 | Waldszenen, op. 82: VIII. Jagdlied. Rasch, kräftig | Sviatoslav Richter | — | |
| 48-10 | Waldszenen, op. 82: IX. Abschied. Nicht zu schnell | Sviatoslav Richter | T-802.161.843-0 | |
| 48-11 | 8 Fantasiestücke, op. 12: I. Des Abends | Sviatoslav Richter | — | |
| 48-12 | 8 Fantasiestücke, op. 12: II. Aufschwung | Sviatoslav Richter | — | |
| 48-13 | 8 Fantasiestücke, op. 12: III. Warum? | Sviatoslav Richter | T-800.901.736-2 | |
| 48-14 | 8 Fantasiestücke, op. 12: V. In der Nacht | Sviatoslav Richter | — | |
| 48-15 | 8 Fantasiestücke, op. 12: VII. Traumes-Wirren | Sviatoslav Richter | — | |
| 48-16 | 8 Fantasiestücke, op. 12: VIII. Ende vom Lied | Sviatoslav Richter | — | |
| 49-1 | Der Schwanensee (Suite aus dem Ballett Op. 20): II. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-2 | Der Schwanensee (Suite aus dem Ballett Op. 20): II. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-3 | Der Schwanensee (Suite aus dem Ballett Op. 20): II. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-4 | Der Schwanensee (Suite aus dem Ballett Op. 20): II. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-5 | Der Schwanensee (Suite aus dem Ballett Op. 20): II. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-6 | Der Schwanensee (Suite aus dem Ballett Op. 20): II. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-7 | Dornröschen, Op. 66a (Suite aus dem Ballett Op. 66): V. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-8 | Dornröschen, Op. 66a (Suite aus dem Ballett Op. 66): V. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-9 | Dornröschen, Op. 66a (Suite aus dem Ballett Op. 66): V. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-10 | Dornröschen, Op. 66a (Suite aus dem Ballett Op. 66): V. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-11 | Dornröschen, Op. 66a (Suite aus dem Ballett Op. 66): V. Valse | Berliner Philharmoniker, Mstislav Rostropovich | — | |
| 49-12 | Der Nussknacker, Op. 71a (Suite aus dem Ballett Op. 71): II. Danses caractéristiques: a. Marche | Berliner Philharmoniker, Mstislav Rostropovich | T-304.210.691-8 | |
| 49-18 | Der Nussknacker, Op. 71a (Suite aus dem Ballett Op. 71): II. Danses caractéristiques: f. Danse des mirlitons | Berliner Philharmoniker, Mstislav Rostropovich | T-900.140.239-7 | |
| 50-1 | Sonata concertata per chitarra e violino in A major, M.S. 2: II. Adagio, assai espressivo | Gil Shaham, Göran Söllscher | — | |
| 50-2 | Sonata concertata per chitarra e violino in A major, M.S. 2: II. Adagio, assai espressivo | Gil Shaham, Göran Söllscher | — | |
| 50-3 | Sonata concertata per chitarra e violino in A major, M.S. 2: II. Adagio, assai espressivo | Gil Shaham, Göran Söllscher | — | |
| 50-4 | Sei sonate per violino e chitarra, M.S. 27 Op. 3, No. 1: I. Larghetto | Gil Shaham, Göran Söllscher | — | |
| 50-5 | Sei sonate per violino e chitarra, M.S. 27 Op. 3, No. 1: I. Larghetto | Gil Shaham, Göran Söllscher | — | |
| 50-6 | Sei sonate per violino e chitarra, M.S. 27 Op. 3, No. 4: II. Allegretto | Gil Shaham, Göran Söllscher | — | |
| 50-7 | Sei sonate per violino e chitarra, M.S. 27 Op. 3, No. 4: II. Allegretto | Gil Shaham, Göran Söllscher | — | |
| 50-8 | Sei sonate per violino e chitarra, M.S. 27 Op. 3, No. 6 in E minor: I. Andante | Gil Shaham, Göran Söllscher | — | |
| 50-9 | Sei sonate per violino e chitarra, M.S. 27 Op. 3, No. 6 in E minor: I. Andante | Gil Shaham, Göran Söllscher | — | |
| 50-10 | Grand sonata per chitarra e violino in A major, M.S. 109: Romance - Più tosto Largo, Amorosamente [excerpt] | Gil Shaham, Göran Söllscher | — | |
| 50-11 | Centone di sonate per violino e chitarra , M.S. 112 Lettera A, Sonata No. 2 in D major: II. Rondoncino. Andantino, Tempo di polacca - minore | Gil Shaham, Göran Söllscher | — | |
| 50-12 | Centone di sonate per violino e chitarra , M.S. 112 Lettera A, Sonata No. 2 in D major: II. Rondoncino. Andantino, Tempo di polacca - minore | Gil Shaham, Göran Söllscher | — | |
| 50-13 | Centone di sonate per violino e chitarra , M.S. 112 Lettera A, Sonata No. 4 in A major: II. Rondo. Andantino. Allegretto - minore - maggiore | Gil Shaham, Göran Söllscher | — | |
| 50-14 | Centone di sonate per violino e chitarra , M.S. 112 Lettera A, Sonata No. 4 in A major: II. Rondo. Andantino. Allegretto - minore - maggiore | Gil Shaham, Göran Söllscher | — | |
| 50-15 | Cantabile per violino e chitarra (pianoforte) in D major, M.S. 109 | Gil Shaham, Göran Söllscher | — | |
| 51-1 | Die Zauberflöte: O Isis und Osiris, welche Wonne! | — | ||
| 51-2 | Fidelio: O welche Lust, in freier Luft den Atem leicht zu heben! | — | ||
| 51-3 | Der Freischütz: Was gleicht wohl auf Erden | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | — | |
| 51-4 | Der Freischütz: Victoria! Der Meister soll leben | — | ||
| 51-5 | Tannhäuser: Freudig begrüßen wir die edle Halle | — | ||
| 51-6 | Nabucco: “Va pensiero sull’ali dorate“ | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | — | |
| 51-7 | I Lombardi: Coro: “O signore, dal tetto natio” | — | ||
| 51-8 | Macbeth: Coro di Profughi Scozzesi: “Patria oppressa” | — | ||
| 51-9 | Il trovatore: Atto II, scena 1. “Vedi! Le fosche notturne spoglie” (Anvil Chorus) | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | — | |
| 51-10 | Aida: Coro e marcia trionfale “Gloria all’Egitto” | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | T-310.527.191-4 | |
| 51-11 | Aida: Vieni, o guerriero vindice | — | ||
| 52-1 | Idomeneo, re di Creta, K. 366: Act III: “Zeffiretti lusinghieri” | — | ||
| 52-2 | Die Zauberflöte, K. 620: Akt II. “Der Hölle Rache kocht in meinem Herze” | Rita Streich, RIAS-Sinfonie-Orchester Berlin, Ferenc Fricsay | T-918.245.117-8 | |
| 52-3 | Semiramide: Act I. “Bel raggio lusinghier” | — | ||
| 52-4 | Don Pasquale: Act I. Quel guardo di cavaliere ... So anch’io la virtù magica | — | ||
| 52-5 | Der Freischütz: Act II. “Kommt ein schlanker Bursch gegangen” | — | ||
| 52-6 | Rigoletto: Act I. Gualtier Maldè…Caro nome | — | ||
| 52-7 | Un ballo in maschera: Act I. “Volta la terrea” | — | ||
| 52-8 | Un ballo in maschera: Act III. “Saper vorreste” | — | ||
| 52-9 | I vespri siciliani: Act V. “Mercè, dilette amiche” | — | ||
| 52-10 | Les Huguenots: Act I. “Nobles seigneurs, salut” | — | ||
| 52-11 | Mignon: Act II. “Oui, pour ce soir je suis reine des fées” | — | ||
| 52-12 | La Bohème: Atto II. “Quando m’en vo” | Rita Streich, Deutsches Symphonie-Orchester Berlin, Ernst Märzendorfer | — | |
| 53-1 | Le nozze di Figaro, K. 492, no. 9: “Non più andrai, farfallone amoroso” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | T-009.157.866-3 | |
| 53-2 | Don Giovanni: “Deh vieni alla finestra” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | T-306.483.075-3 | |
| 53-3 | Don Giovanni: “Madamina, il catalogo e questo” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | T-929.621.870-7 | |
| 53-4 | Così fan tutte: “Rivolgete a lui lo sguardo” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-5 | Die Zauberflöte: “Der Vogelfänger bin ich ja” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-6 | Tannhäuser: “Wie Todesahnung Dämmrung deckt die Lande… O du mein holder Abendstern” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-7 | Der fliegende Holländer: “Die Frist ist um” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-8 | Les Contes d’Hoffmann: “Allez!…Pour te livrer combat… Scintille, diamant” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-9 | Faust: “Vous qui faites l’endormie” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-10 | Prince Igor: “Ni sna ni otdycha izmučenoj duše” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-11 | Don Pasquale: “Bella siccome un angelo” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-12 | La Cenerentola: “Miei rampolli femminini” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | T-304.872.410-9 | |
| 53-13 | Macbeth: “Perfidi! All’anglo contra me v’unite!” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 53-14 | Falstaff: “Ehi! paggio!… L’onore!” | Bryn Terfel, Metropolitan Opera Orchestra, James Levine | — | |
| 54-1 | Piano Sonata no. 2 in B‐flat minor, op. 35: I. Grave - doppio movimento | — | ||
| 54-2 | Piano Sonata no. 2 in B‐flat minor, op. 35: II. Scherzo - più lento - tempo I | — | ||
| 54-3 | Piano Sonata no. 2 in B‐flat minor, op. 35: II. Marche funèbre. Lento | — | ||
| 54-4 | Piano Sonata no. 2 in B‐flat minor, op. 35: IV Finale presto | Yuja Wang | T-309.554.578-7 | |
| 54-5 | 6 etudes pour piano, premier livre: Etude n. 4 “Fanfares” | — | ||
| 54-6 | Piano Sonata no. 2, in G‐sharp minor, op. 19 “Sonata Fantasy”: I. Andante | — | ||
| 54-7 | Piano Sonata no. 2, in G‐sharp minor, op. 19 “Sonata Fantasy”: II. Presto | — | ||
| 54-8 | Etude no. 10 “Der Zauberlehring” | — | ||
| 54-9 | Piano Sonata in B minor, S. 178: Lento assai - allegro energico - grandioso - recitativo | — | ||
| 54-10 | Piano Sonata in B minor, S. 178: Andante sostenuto | — | ||
| 54-11 | Piano Sonata in B minor, S. 178: Allegro energico - andante sostenuto - lento assai | — | ||
| 55-1 | Concierto de Aranjuez: I. Allegro con spirito | Narciso Yepes, Philharmonia Orchestra, Luis Antonio García Navarro | T-041.489.061-1 | |
| 55-2 | Concierto de Aranjuez: II. Adagio | Narciso Yepes, Philharmonia Orchestra, Luis Antonio García Navarro | T-041.489.061-1 | |
| 55-3 | Concierto de Aranjuez: III. Allegro gentile | Narciso Yepes, Philharmonia Orchestra, Luis Antonio García Navarro | T-041.489.061-1 | |
| 55-4 | Fantasía para un gentilhombre: I. Villano y ricercare. Adagietto–Andante moderato | Narciso Yepes, English Chamber Orchestra, Luis Antonio García Navarro | T-041.489.061-1 | |
| 55-5 | Fantasía para un gentilhombre: II. Españoleta y fanfare de la caballería de Nápoles. Adagio–Allegretto | Narciso Yepes, English Chamber Orchestra, Luis Antonio García Navarro | T-041.489.061-1 | |
| 55-6 | Fantasía para un gentilhombre: III. Danza de las hachas. Allegro con brio | Narciso Yepes, English Chamber Orchestra, Luis Antonio García Navarro | T-041.489.067-7 | |
| 55-7 | Fantasía para un gentilhombre: IV. Canario. Allegro ma non troppo | Narciso Yepes, English Chamber Orchestra, Luis Antonio García Navarro | T-041.489.061-1 | |
| 56-1 | Ballade no. 1 in G minor, op. 23 | Krystian Zimerman | T-917.141.447-4 | |
| 56-2 | Ballade no. 2 in F major, op. 38 | Krystian Zimerman | — | |
| 56-3 | Ballade no. 3 in A‐flat major, op. 47 | Krystian Zimerman | T-913.821.070-5 | |
| 56-4 | Ballade no. 4 in F minor, op. 52 | Krystian Zimerman | — | |
| 56-5 | Barcarolle in F‐sharp major, op. 60 | Krystian Zimerman | T-905.382.146-8 | |
| 56-6 | Fantaisie in F minor, op. 49 | Krystian Zimerman | — |
