UPC · Release
Various Artists
Last verified:
The UPC for “The Decca Sound” by Various Artists is 028947828266. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2011-01-01. Label: Decca. This release contains 737 tracks, each with its own ISRC. Tracks include GBF075610190, GBF075610201, GBF075610202.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | El sombrero de tres picos: I. Introducción | — | ||
| 2 | El sombrero de tres picos: II. La tarde | — | ||
| 3 | El sombrero de tres picos: III. Danza de la molinera | — | ||
| 4 | El sombrero de tres picos: IV. Las uvas | — | ||
| 5 | El sombrero de tres picos: V. Danza de los vecinos | — | ||
| 6 | El sombrero de tres picos: VI. Danza del molinero | — | ||
| 7 | El sombrero de tres picos: VII. Danza del corregidor | — | ||
| 8 | El sombrero de tres picos: VIII. Danza final | — | ||
| 9 | La vida breve: Interludio y danza | — | ||
| 10 | Images pour orchestre: Gigues | — | ||
| 11 | Images pour orchestre: Ibéria. I. Par les rues et par les chemins | — | ||
| 12 | Images pour orchestre: Ibéria. II. Les Parfums de la nuit | — | ||
| 13 | Images pour orchestre: Ibéria. III. Le Matin d’un jour de fête | — | ||
| 14 | Images pour orchestre: Rondes de printemps | — | ||
| 2-1 | España | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-2 | Capriccio espagnol, op. 34: 1. Alborada | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-3 | Capriccio espagnol, op. 34: 2. Variazioni | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-4 | Capriccio espagnol, op. 34: 3. Alborada | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-5 | Capriccio espagnol, op. 34: 4. Scena e canto gitano | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-6 | Capriccio espagnol, op. 34: 5. Fandango asturiano | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-7 | Andaluza (Danza española no. 5 in E minor, op. 37) | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-8 | Spanish Dances, Book 1, op. 12: No. 1 in C major | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-9 | Spanish Dances, Book 1, op. 12: No. 2 in G major | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-10 | Spanish Dances, Book 1, op. 12: No. 3 in A major | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-11 | Spanish Dances, Book 1, op. 12: No. 4 in B‐flat major | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-12 | Spanish Dances, Book 1, op. 12: No. 5 in D major | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-13 | Violin Concerto in D, op. 35: I. Allegro moderato | — | ||
| 2-14 | Violin Concerto in D, op. 35: II. Canzonetta. Andante | — | ||
| 2-15 | Violin Concerto in D, op. 35: III. Allegro vivacissiomo | — | ||
| 3-1 | Piano Concerto no. 3 in D minor, op. 30: I. Allegro ma non tanto | Vladimir Ashkenazy, London Symphony Orchestra, Anatole Fistoulari | — | |
| 3-2 | Piano Concerto no. 3 in D minor, op. 30: II. Intermezzo. Adagio | Vladimir Ashkenazy, London Symphony Orchestra, Anatole Fistoulari | — | |
| 3-3 | Piano Concerto no. 3 in D minor, op. 30: III. Finale. Alla breve | Vladimir Ashkenazy, London Symphony Orchestra, Anatole Fistoulari | — | |
| 3-4 | Piano Sonata no. 2 in B-flat minor, op. 36: I. Allegro agitato | Vladimir Ashkenazy | — | |
| 3-5 | Piano Sonata no. 2 in B-flat minor, op. 36: II. Non allegro - Lento | Vladimir Ashkenazy | — | |
| 3-6 | Piano Sonata no. 2 in B-flat minor, op. 36: III. L'istesso tempo; Allegro molto | Vladimir Ashkenazy | T-911.517.582-1 | |
| 4-1 | Symphony no. 1 in E minor, op. 39: I. Andante, ma non troppo - Allegro energico | Philharmonia Orchestra, Vladimir Ashkenazy | — | |
| 4-2 | Symphony no. 1 in E minor, op. 39: II. Andante (ma non troppo lento) | Philharmonia Orchestra, Vladimir Ashkenazy | — | |
| 4-3 | Symphony no. 1 in E minor, op. 39: III. Scherzo (Allegro) | Philharmonia Orchestra, Vladimir Ashkenazy | — | |
| 4-4 | Symphony no. 1 in E minor, op. 39: IV. Finale (quasi una fantasia) | Philharmonia Orchestra, Vladimir Ashkenazy | — | |
| 4-5 | Pictures at an Exhibition: Promenade. Gnomus | — | ||
| 4-6 | Pictures at an Exhibition: Promenade. Il vecchio castello | — | ||
| 4-7 | Pictures at an Exhibition: Promenade. Tuileries – Bydlo | — | ||
| 4-8 | Pictures at an Exhibition: Promenade. Ballet of the Unhatched Chicks – Samuel Goldenberg and Schmuyle | — | ||
| 4-9 | Pictures at an Exhibition: Promenade. Limoges: le marché – Catacombae: Cum mortuis in lingua mortua | — | ||
| 4-10 | Pictures at an Exhibition: The Hut on Hen’s Legs (Baba Yaga) – The Great Gate of Kiev | — | ||
| 5-1 | Ecco quel fiero istante!, WoO 124 | — | ||
| 5-2 | Che fa il mio bene?, op. 82 no. 3 | — | ||
| 5-3 | Che fa il mio bene?, op. 82 no. 4 | — | ||
| 5-4 | T’intendo, si, mio cor, op. 82 no. 2 | — | ||
| 5-5 | Dimmi, ben mio, op. 82 no.1 | — | ||
| 5-6 | In questa tomba oscura, WoO 133 | — | ||
| 5-7 | Ridente la calma K. 152 | Cecilia Bartoli, András Schiff | — | |
| 5-8 | Vedi, quanto adoro, D. 510 "Didone abbandonata" | Cecilia Bartoli, András Schiff | — | |
| 5-9 | Se dall’Etra, D. 738 | — | ||
| 5-10 | Lo vuo’ cantar di Cadmo, D. 737 | — | ||
| 5-11 | La pastorella al prato II, .D 528 | Cecilia Bartoli, András Schiff | — | |
| 5-12 | Non t’accostar all’urna, D. 688 no. 1 | — | ||
| 5-13 | Guarda, che bianca luna, D. 688 no. 2 | — | ||
| 5-14 | Da quel sembiante appresi, D. 688 no. 3 | — | ||
| 5-15 | Mio ben ricordati, D. 688 no. 4 | — | ||
| 5-16 | Pensa, che questo istante, D. 76 | — | ||
| 5-17 | Mi batte ’l cor!, D. 767 | — | ||
| 5-18 | Arianna a Naxos | — | ||
| 6-1 | Violin Concerto, op. 14: I. Allegro | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | — | |
| 6-2 | Violin Concerto, op. 14: II. Andante | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | — | |
| 6-3 | Violin Concerto, op. 14: III. Presto in moto perpetuo | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | — | |
| 6-4 | Baal Shem: I. Vidui (Contrition) | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | T-070.009.928-0 | |
| 6-5 | Baal Shem: II. Nigun (Improvisation) | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | T-070.009.928-0 | |
| 6-6 | Baal Shem: III. Simchas Torah (Rejoicing) | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | T-070.009.928-0 | |
| 6-7 | Violin Concerto: I. Andante tranquillo | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | — | |
| 6-8 | Violin Concerto: II. Presto capriccioso alla napolitana | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | — | |
| 6-9 | Violin Concerto: III. Vivace | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | — | |
| 7-1 | Don Juan, op. 20 | — | ||
| 7-2 | Eine Alpensinfonie, op. 64: Nacht | — | ||
| 7-3 | Eine Alpensinfonie, op. 64: Sonnenaufgang | — | ||
| 7-4 | Eine Alpensinfonie, op. 64: Der Anstieg | — | ||
| 7-5 | Eine Alpensinfonie, op. 64: Eintritt in den Wald‐Wanderung neben dem Bache | — | ||
| 7-6 | Eine Alpensinfonie, op. 64: Am Wasserfall | — | ||
| 7-7 | Eine Alpensinfonie, op. 64: Erscheinung | — | ||
| 7-8 | Eine Alpensinfonie, op. 64: Auf blumige Wiesen | — | ||
| 7-9 | Eine Alpensinfonie, op. 64: Auf der Alm | — | ||
| 7-10 | Eine Alpensinfonie, op. 64: Durch Dickicht und Gestrüpp auf Irrwegen | — | ||
| 7-11 | Eine Alpensinfonie, op. 64: Auf dem Gletscher | — | ||
| 7-12 | Eine Alpensinfonie, op. 64: Gefahrvolle Augenblicke – Auf dem Gipfel | — | ||
| 7-13 | Eine Alpensinfonie, op. 64: Vision | — | ||
| 7-14 | Eine Alpensinfonie, op. 64: Nebel steigen auf | — | ||
| 7-15 | Eine Alpensinfonie, op. 64: Die Sonne verdüstert sich allmählich | — | ||
| 7-16 | Eine Alpensinfonie, op. 64: Elegie | — | ||
| 7-17 | Eine Alpensinfonie, op. 64: Stille vor dem Sturm | — | ||
| 7-18 | Eine Alpensinfonie, op. 64: Gewitter und Sturm, Abstieg | — | ||
| 7-19 | Eine Alpensinfonie, op. 64: Sonnenuntergang | — | ||
| 7-20 | Eine Alpensinfonie, op. 64: Ausklang | — | ||
| 7-21 | Eine Alpensinfonie, op. 64: Nacht | — | ||
| 8-1 | Symphony no. 4 in E‐flat major “Romantic”: I. Bewegt, nicht zu schell | Wiener Philharmoniker, Karl Böhm | — | |
| 8-2 | Symphony no. 4 in E‐flat major “Romantic”: II. Andante, quasi allegretto | Wiener Philharmoniker, Karl Böhm | — | |
| 8-3 | Symphony no. 4 in E‐flat major “Romantic”: III. Scherzo. Bewegt – Trio. Nicht zu schnell, keinesfalls schleppend | Wiener Philharmoniker, Karl Böhm | — | |
| 8-4 | Symphony no. 4 in E‐flat major “Romantic”: IV. Finale. Bewegt, doch nicht zu schnell | Wiener Philharmoniker, Karl Böhm | T-318.676.528-2 | |
| 9-1 | Loreley-Rhein-Klänge, op. 154 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-2 | Bitte schön! - polka française, after motifs from 'Cagliostro in Wien, op. 372 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-3 | Ohne Bremse - Polka schnell, op. 238 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-4 | Wein, Weib und Gesang, op. 333 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-5 | Die Emancipierte - polka-mazur, op. 282 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-6 | Hereinspaziert, op. 518 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-7 | Die schöne Galathee - operetta in 1 Act (1865): Overture | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-8 | Bei uns z'Haus - waltz, op. 361 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-9 | Moulinet - polka française, op. 57 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-10 | Tik-Tak - Polka schnell, op. 365 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-11 | Pizzicato Polka (1870) | Wiener Philharmoniker, Willi Boskovsky | T-917.157.430-4 | |
| 9-12 | Rudolfsheimer - polka schnell, op. 152 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-13 | Auf der Jagd, op. 373 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-14 | Leichtes Blut, polka schnell, op. 319 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-15 | An der schönen blauen Donau, op. 314 | Wiener Philharmoniker, Willi Boskovsky | T-902.100.912-1 | |
| 9-16 | Radetzky-Marsch, op. 228 | Wiener Philharmoniker, Willi Boskovsky | T-930.586.862-6 | |
| 10-1 | War Requiem, op. 66: I. Requiem aeternam: Requiem aeternam | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Simon Preston, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-2 | War Requiem, op. 66: I. Requiem aeternam: What passing bells for these who die as cattle? | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Peter Pears, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-3 | War Requiem, op. 66: II. Dies irae: Dies irae | Sir David Willcocks, The Bach Choir, London Symphony Chorus, London Symphony Orchestra, Benjamin Britten | — | |
| 10-4 | War Requiem, op. 66: II. Dies irae: Bugles sang, saddening the evening air | Dietrich Fischer-Dieskau, Benjamin Britten, Melos Ensemble | — | |
| 10-5 | War Requiem, op. 66: II. Dies irae: Liber scriptus proferetur | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Галина Павловна Вишневская, London Symphony Orchestra, Benjamin Britten | — | |
| 10-6 | War Requiem, op. 66: II. Dies irae: Out there, we've walked quite friendly up to Death | Dietrich Fischer-Dieskau, Peter Pears, Benjamin Britten, Melos Ensemble | — | |
| 10-7 | War Requiem, op. 66: II. Dies irae: Recordare Jesu pie | Sir David Willcocks, The Bach Choir, London Symphony Chorus, London Symphony Orchestra, Benjamin Britten | — | |
| 10-8 | War Requiem, op. 66: II. Dies irae: Be slowly lifted up | Dietrich Fischer-Dieskau, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-9 | War Requiem, op. 66: II. Dies irae: Confutatis | Sir David Willcocks, The Bach Choir, London Symphony Chorus, London Symphony Orchestra, Benjamin Britten | — | |
| 10-10 | War Requiem, op. 66: II. Dies irae: Lacrimosa dies illa | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Галина Павловна Вишневская, London Symphony Orchestra, Benjamin Britten | — | |
| 10-11 | War Requiem, op. 66: II. Dies irae: Move him into the sun | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Peter Pears, Галина Павловна Вишневская, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-12 | War Requiem, op. 66: III. Offertorium: Domine Jesu Christe | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Simon Preston, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-13 | War Requiem, op. 66: III. Offertorium: So Abram rose, and clave the wood | Sir David Willcocks, The Bach Choir, Dietrich Fischer-Dieskau, London Symphony Chorus, Peter Pears, Simon Preston, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-14 | War Requiem, op. 66: IV. Sanctus: Sanctus, sanctus, sanctus | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Галина Павловна Вишневская, London Symphony Orchestra, Benjamin Britten | — | |
| 10-15 | War Requiem, op. 66: IV. Sanctus: After the blast of lightning from the East | Dietrich Fischer-Dieskau, Benjamin Britten, Melos Ensemble | — | |
| 10-16 | War Requiem, op. 66: V. Agnus Dei: One ever hangs where shelled roads part | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Peter Pears, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-17 | War Requiem, op. 66: VI. Libera me: Libera me, Domine | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Галина Павловна Вишневская, London Symphony Orchestra, Benjamin Britten | — | |
| 10-18 | War Requiem, op. 66: VI. Libera me: It seemed that out of battle I escaped | Dietrich Fischer-Dieskau, Peter Pears, Benjamin Britten, Melos Ensemble | — | |
| 10-19 | War Requiem, op. 66: VI. Libera me: Let us sleep now / In Paradisum | Sir David Willcocks, The Bach Choir, Dietrich Fischer-Dieskau, London Symphony Chorus, Peter Pears, Галина Павловна Вишневская, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 11-1 | Turangalîla‐symphonie: I. Introduction | — | ||
| 11-2 | Turangalîla‐symphonie: II. Chant d’amour 1 | — | ||
| 11-3 | Turangalîla‐symphonie: III. Turangalîla 1 | — | ||
| 11-4 | Turangalîla‐symphonie: IV. Chant d’amour 2 | — | ||
| 11-5 | Turangalîla‐symphonie: V. Joie du sang des étoiles | — | ||
| 11-6 | Turangalîla‐symphonie: VI. Jardin du sommeil d’amour | — | ||
| 11-7 | Turangalîla‐symphonie: VII. Turangalîla 2 | — | ||
| 11-8 | Turangalîla‐symphonie: VIII. Développement de l’amour | — | ||
| 11-9 | Turangalîla‐symphonie: IX. Turangalîla 3 | — | ||
| 11-10 | Turangalîla‐symphonie: X. Final | — | ||
| 12-1 | Violin Concerto in E minor, op. 64: I. Allegro molto appassionato | Kyung Wha Chung, Orchestre symphonique de Montréal, Charles Dutoit | — | |
| 12-2 | Violin Concerto in E minor, op. 64: II. Andante | Kyung Wha Chung, Orchestre symphonique de Montréal, Charles Dutoit | T-070.126.537-3 | |
| 12-3 | Violin Concerto in E minor, op. 64: III. Allegro non troppo - Allegro molto vivace | Kyung Wha-Chung, Orchestre symphonique de Montréal, Charles Dutoit | T-909.876.883-3 | |
| 12-4 | Violin Concerto no. 1 in G minor, op. 26: I. Vorspiel. Allegro moderato | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | T-902.685.630-4 | |
| 12-5 | Violin Concerto no. 1 in G minor, op. 26: II. Adagio | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | T-071.481.827-5 | |
| 12-6 | Violin Concerto no. 1 in G minor, op. 26: III. Finale. Allegro energico | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | T-700.095.171-5 | |
| 12-7 | Scottish Fantasy, op. 46: I. Introduction. Grave - Adagio cantabile | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | — | |
| 12-8 | Scottish Fantasy, op. 46: II. Allegro | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | T-071.481.827-5 | |
| 12-9 | Scottish Fantasy, op. 46: III. Andante sostenuto | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | — | |
| 12-10 | Scottish Fantasy, op. 46: IV. Finale. Allegro guerriero | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | T-003.055.867-8 | |
| 13-1 | Piano Concerto no. 20 in D minor, K. 466: I. Allegro | Sir Clifford Curzon, English Chamber Orchestra, Benjamin Britten | T-001.312.909-3 | |
| 13-2 | Piano Concerto no. 20 in D minor, K. 466: II. Romance | Sir Clifford Curzon, English Chamber Orchestra, Benjamin Britten | — | |
| 13-3 | Piano Concerto no. 20 in D minor, K. 466: III. Rondo: Allegro assai | Sir Clifford Curzon, English Chamber Orchestra, Benjamin Britten | T-306.395.786-4 | |
| 13-4 | Piano Concerto no. 27 in B-flat major, K. 595: I. Allegro | Sir Clifford Curzon, English Chamber Orchestra, Benjamin Britten | T-011.619.733-1 | |
| 13-5 | Piano Concerto no. 27 in B-flat major, K. 595: II. Larghetto | Sir Clifford Curzon, English Chamber Orchestra, Benjamin Britten | T-926.819.124-8 | |
| 13-6 | Piano Concerto no. 27 in B-flat major, K. 595: III. Allegro | Sir Clifford Curzon, English Chamber Orchestra, Benjamin Britten | T-306.395.786-4 | |
| 14-1 | Erwartung: Scene 1, Hier hinein? Man sieht den Weg nicht.. | Anja Silja, Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-2 | Erwartung: Scene 2, Ist das noch der Weg? Hier is es eben | Anja Silja, Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-3 | Erwartung: Scene 3, Da kommt ein Licht! | Anja Silja, Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-4 | Erwartung, op. 17: 4. Szene. Er ist auch nicht da… | — | ||
| 14-5 | Erwartung, op. 17: 4. Szene. Es ist noch da…Herrgott in Himmel… | — | ||
| 14-6 | Erwartung, op. 17: 4. Szene. Aber so seltsam ist dein Auge… | — | ||
| 14-7 | Erwartung, op. 17: 4. Szene. Du siehst wieder dort hin? | — | ||
| 14-8 | Erwartung, op. 17: 4. Szene. Oh! nicht einmal die Gnade, mit dir sterben zu dürfen… | — | ||
| 14-9 | Erwartung, op. 17: 4. Szene. Liebster, Liebster, der Morgen kommt… | — | ||
| 14-10 | Lulu Suite: I. Rondo: Andante - Tempo I - Hymne: Sostenuto | Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-11 | Lulu Suite: II. Ostinato: Allegro | Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-12 | Lulu Suite: III. Lied der Lulu: Comodo | Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-13 | Lulu Suite: IV. Variationen: Moderato - Grandioso - Grazioso - Funèbre - Affettuoso - Thema | Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-14 | Lulu Suite: V. Adagio: Sostenuto - Lento - Grave | Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-15 | Im Sommerwind | — | ||
| 15-1 | L'Oiseau de feu: Introduction | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-2 | L'Oiseau de feu: Le jardin enchante de Kachtchei | Detroit Symphony Orchestra, Antal Doráti | T-700.125.942-5 | |
| 15-3 | L'Oiseau de feu: Apparition de l'Oiseau de feu poursuivi par Ivan Tsarevitch | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-4 | L'Oiseau de feu: Danse de l'Oiseau de feu | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-5 | L'Oiseau de feu: Capture de l'Oiseau de feu par Ivan Tsarevitch | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-6 | L'Oiseau de feu: Supplications de l'Oiseau de feu - apparition des treize princesses enchantees | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-7 | L'Oiseau de feu: Jeu des princesses avec les pommes d'or (Scherzo) | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-8 | L'Oiseau de feu: Brusque apparition d'Ivan Tsarevitch | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-9 | L'Oiseau de feu: Khorovod (ronde) des princesses | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-10 | L'Oiseau de feu: Lever du jour - Ivan Tsarevitch penetre dans lepalais de Kachtchei | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-11 | L'Oiseau de feu: Carillon feerique - apparition des monster-gardiens de Kachtchei - capture d'Ivan.. | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-12 | L'Oiseau de feu: Danse de la suite de Kachtchei enchantee par l'Oiseau de feu | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-13 | L'Oiseau de feu: Danse infernale de tous les sujets de Kachtchei | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-14 | L'Oiseau de feu: Berceuse (l'Oiseau de feu) - reveil de Kachtchei - mort de Kachtchei - profonds... | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-15 | L'Oiseau de feu: Disparition du palais et des sortileges de Kachtchei - animation des chevaliers... | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-16 | Le Sacre du printemps: Première Partie. Introduction | — | ||
| 15-17 | Le Sacre du printemps: Première Partie. Augures printaniers — Danses des adolescentes | — | ||
| 15-18 | Le Sacre du printemps: Première Partie. Jeu du rapt | — | ||
| 15-19 | Le Sacre du printemps: Première Partie. Rondes printanières | — | ||
| 15-20 | Le Sacre du printemps: Première Partie. Jeu des cités rivales | — | ||
| 15-21 | Le Sacre du printemps: Première Partie. Cortège du Sage – Le Sage | — | ||
| 15-22 | Le Sacre du printemps: Première Partie. Danse de la terre | — | ||
| 15-23 | Le Sacre du printemps: Seconde Partie. Introduction | — | ||
| 15-24 | Le Sacre du printemps: Seconde Partie. Cercles mystérieux des adolescentes | — | ||
| 15-25 | Le Sacre du printemps: Seconde Partie. Glorification de l’élue | — | ||
| 15-26 | Le Sacre du printemps: Seconde Partie. Évocation des ancêtres | — | ||
| 15-27 | Le Sacre du printemps: Seconde Partie. Action rituelle des ancêtres | — | ||
| 15-28 | Le Sacre du printemps: Seconde Partie. Danse sacrale: l’élue | — | ||
| 16-1 | Ma Mère l’Oye: Prélude | — | ||
| 16-2 | Ma Mère l’Oye: 1er Tableau. Danse du Rouet et Scène | — | ||
| 16-3 | Ma Mère l’Oye: 2e Tableau. Pavane de la Belle au bois dormant | — | ||
| 16-4 | Ma Mère l’Oye: 3e Tableau. Les entretiens de la Belle et de la Bête | — | ||
| 16-5 | Ma Mère l’Oye: 4e Tableau. Petit Poucet | — | ||
| 16-6 | Ma Mère l’Oye: 5e Tableau. Laideronnette, Impératrice des Pagodes – Apothéose – La jardin féerique | — | ||
| 16-7 | Pavane pour une infante défunte - Orchestral version | John Zirbel | T-003.013.767-7 | |
| 16-8 | Le Tombeau de Couperin: I. Prélude | — | ||
| 16-9 | Le Tombeau de Couperin: II. Forlane | — | ||
| 16-10 | Le Tombeau de Couperin: III. Menuet | — | ||
| 16-11 | Le Tombeau de Couperin: IV. Rigaudon | — | ||
| 16-12 | Valses nobles et sentimentales: I. Modéré / II. Assez lent | — | ||
| 16-13 | Valses nobles et sentimentales: III. Modéré / IV. Assez animé | — | ||
| 16-14 | Valses nobles et sentimentales: V. Presque lent / VI. Assez vif | — | ||
| 16-15 | Valses nobles et sentimentales: VII. Moins vif / VIII. Épilogue | — | ||
| 16-16 | Boléro | Orchestre symphonique de Montréal, Charles Dutoit | T-003.006.377-4 | |
| 17-1 | Le nozze di Figaro: "Porgi amor" | Renée Fleming, London Symphony Orchestra, Sir Georg Solti | T-306.482.540-3 | |
| 17-2 | Le nozze di Figaro: "E Susanna non vien!" - "Dove sono i bei momenti" | Renée Fleming, London Symphony Orchestra, Sir Georg Solti | — | |
| 17-3 | Eugen Onegin: "Nu, zaboitalas ya!" - "Puskai pogilabnu ya, no pryezhde" (Letter scene) | Лариса Ивановна Дядькова, Renée Fleming, London Symphony Orchestra, Sir Georg Solti | — | |
| 17-4 | Rusalka: "Měsičku na nebi hlubokém" (O Silver Moon) | Renée Fleming, London Symphony Orchestra, Sir Georg Solti | T-010.055.280-4 | |
| 17-5 | Otello: "Era più calmo?" - "Piangea cantando" - "Ave Maria" | Лариса Ивановна Дядькова, Renée Fleming, London Symphony Orchestra, Sir Georg Solti | — | |
| 17-6 | Peter Grimes: "Peter seems to have disappeared" - "Embroidery in childhood was a luxury of idleness" (Embroidery aria) | Renée Fleming, Jonathan Summers, London Symphony Orchestra, Sir Georg Solti | — | |
| 17-7 | Daphne: "Ich komme, ich komme" (Transformation scene) | Renée Fleming, London Symphony Orchestra, Sir Georg Solti | — | |
| 18-1 | Piano Concerto no. 1 in D minor, op. 15: I. Maestoso – Poco più moderato | — | ||
| 18-2 | Piano Concerto no. 1 in D minor, op. 15: II. Adagio | — | ||
| 18-3 | Piano Concerto no. 1 in D minor, op. 15: III. Rondo. Allegro non troppo | — | ||
| 18-4 | Carnaval, op. 9: Préambule | — | ||
| 18-5 | Carnaval, op. 9: Pierrot | — | ||
| 18-6 | Carnaval, op. 9: Arlequin | — | ||
| 18-7 | Carnaval, op. 9: Valse noble | — | ||
| 18-8 | Carnaval, op. 9: Eusebius | — | ||
| 18-9 | Carnaval, op. 9: Florestan | — | ||
| 18-10 | Carnaval, op. 9: Coquette | — | ||
| 18-11 | Carnaval, op. 9: Réplique – Sphinxes | — | ||
| 18-12 | Carnaval, op. 9: Papillons | — | ||
| 18-13 | Carnaval, op. 9: A.S.C.H. – S.C.H.A. (Lettres dansantes) | — | ||
| 18-14 | Carnaval, op. 9: Chiarina | — | ||
| 18-15 | Carnaval, op. 9: Chopin | — | ||
| 18-16 | Carnaval, op. 9: Estrella | — | ||
| 18-17 | Carnaval, op. 9: Reconnaissance | — | ||
| 18-18 | Carnaval, op. 9: Pantalon et Colombine | — | ||
| 18-19 | Carnaval, op. 9: Valse allemande – Paganini – Valse allemande | — | ||
| 18-20 | Carnaval, op. 9: Aveu | — | ||
| 18-21 | Carnaval, op. 9: Promenade | — | ||
| 18-22 | Carnaval, op. 9: Pause | — | ||
| 18-23 | Carnaval, op. 9: Marche des Davidsbündler contre les Philistins | — | ||
| 19-1 | Symphony no. 5 in D minor, op. 47: I. Moderato | — | ||
| 19-2 | Symphony no. 5 in D minor, op. 47: II. Allegretto | — | ||
| 19-3 | Symphony no. 5 in D minor, op. 47: III. Largo | — | ||
| 19-4 | Symphony no. 5 in D minor, op. 47: IV. Allegro non troppo | — | ||
| 19-5 | Symphony no. 9 in E‐flat major, op. 70: I. Allegro | — | ||
| 19-6 | Symphony no. 9 in E‐flat major, op. 70: II. Moderato | — | ||
| 19-7 | Symphony no. 9 in E‐flat major, op. 70: III. Presto | — | ||
| 19-8 | Symphony no. 9 in E‐flat major, op. 70: IV. Largo | — | ||
| 19-9 | Symphony no. 9 in E‐flat major, op. 70: V. Allegretto – Allegro | — | ||
| 20-1 | Dido and Aeneas: Overture | — | ||
| 20-2 | Dido and Aeneas: Act I. “Shake the cloud from off your brow” | — | ||
| 20-3 | Dido and Aeneas: Act I. “Ah! Belinda, I am prest with torment” | — | ||
| 20-4 | Dido and Aeneas: Act I. “When monarchs unite” | — | ||
| 20-5 | Dido and Aeneas: Act I. “Whence could so much virtue spring?” | — | ||
| 20-6 | Dido and Aeneas: Act I. “Fear no danger” – Dance [The Baske] | — | ||
| 20-7 | Dido and Aeneas: Act I. “See, your royal guest appears” | — | ||
| 20-8 | Dido and Aeneas: Act I. “Cupid only throws the dart” | — | ||
| 20-9 | Dido and Aeneas: Act I. “If not for mine” | — | ||
| 20-10 | Dido and Aeneas: Act I. “Pursue thy conquest, Love” | — | ||
| 20-11 | Dido and Aeneas: Act I. A Dance Gittars Chacony | — | ||
| 20-12 | Dido and Aeneas: Act I. “To the hills and the vales” | — | ||
| 20-13 | Dido and Aeneas: Act I. The triumphing Dance | — | ||
| 20-14 | Dido and Aeneas: Act II. Prelude for the Witches – “Wayward sisters” | — | ||
| 20-15 | Dido and Aeneas: Act II. “Harm’s our delight” | — | ||
| 20-16 | Dido and Aeneas: Act II. “The Queen of Carthage, whom we hate” | — | ||
| 20-17 | Dido and Aeneas: Act II. “In our deep vaulted cell” | — | ||
| 20-18 | Dido and Aeneas: Act II. Echo Dance of Furies | — | ||
| 20-19 | Dido and Aeneas: Act II. Ritornelle – “Thanks to these lonesome vales” | — | ||
| 20-20 | Dido and Aeneas: Act II. Gitter ground – a dance | — | ||
| 20-21 | Dido and Aeneas: Act II. “Oft she visits” – Ritornelle | — | ||
| 20-22 | Dido and Aeneas: Act II. “Behold, upon my bending spear” | — | ||
| 20-23 | Dido and Aeneas: Act II. “Haste, haste to town” | — | ||
| 20-24 | Dido and Aeneas: Act II. “Stay, Prince” | — | ||
| 20-25 | Dido and Aeneas: Act II. Ritornelle | — | ||
| 20-26 | Dido and Aeneas: Act III. Prelude – “Come away, fellow sailors” | — | ||
| 20-27 | Dido and Aeneas: Act III. The Sailors’ Dance | — | ||
| 20-28 | Dido and Aeneas: Act III. “See the flags and streamers curling” | — | ||
| 20-29 | Dido and Aeneas: Act III. “Destruction’s our delight” | — | ||
| 20-30 | Dido and Aeneas: Act III. The Witches’ Dance | — | ||
| 20-31 | Dido and Aeneas: Act III. “Your counsel all is urg’d in vain” | — | ||
| 20-32 | Dido and Aeneas: Act III. “Great minds against themselves conspire” | — | ||
| 20-33 | Dido and Aeneas: Act III. “Thy hand Belinda” – “When I am laid in earth” | — | ||
| 20-34 | Dido and Aeneas: Act III. “With drooping wings” | — | ||
| 21-1 | Violin Concerto in D major, op. 61: I. Allegro ma non troppo | Deutsche Kammerphilharmonie Bremen, Paavo Järvi, Janine Jansen | — | |
| 21-2 | Violin Concerto in D major, op. 61: II. Larghetto - | Deutsche Kammerphilharmonie Bremen, Paavo Järvi, Janine Jansen | — | |
| 21-3 | Violin Concerto in D major, op. 61: III. Rondo – Allegro | Deutsche Kammerphilharmonie Bremen, Paavo Järvi, Janine Jansen | — | |
| 21-4 | Violin Concerto, op. 15: I. Moderato con moto | Janine Jansen, London Symphony Orchestra, Paavo Järvi | — | |
| 21-5 | Violin Concerto, op. 15: II. Vivace - Cadenza - | Janine Jansen, London Symphony Orchestra, Paavo Järvi | — | |
| 21-6 | Violin Concerto, op. 15: III. Passacaglia – Andante lento | Janine Jansen, London Symphony Orchestra, Paavo Järvi | — | |
| 22-1 | The Planets, op. 32: I. Mars, the Bringer of War | Wiener Philharmoniker, Herbert von Karajan | T-923.663.725-5 | |
| 22-2 | The Planets, op. 32: II. Venus, the Bringer of Peace | Wiener Philharmoniker, Herbert von Karajan | — | |
| 22-3 | The Planets, op. 32: III. Mercury, the Winged Messenger | Wiener Philharmoniker, Herbert von Karajan | — | |
| 22-4 | The Planets, op. 32: IV. Jupiter, the Bringer of Jollity | Wiener Philharmoniker, Herbert von Karajan | T-101.257.909-6 | |
| 22-5 | The Planets, op. 32: V. Saturn, the Bringer of Old Age | Wiener Philharmoniker, Herbert von Karajan | — | |
| 22-6 | The Planets, op. 32: VI. Uranus, the Magician | Wiener Philharmoniker, Herbert von Karajan | — | |
| 22-7 | The Planets, op. 32: VII. Neptune, the Mystic | Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Herbert von Karajan | — | |
| 22-8 | The Perfect Fool, op. 39, H. 150: Introduction: Dance of Spirits of Earth | — | ||
| 22-9 | The Perfect Fool, op. 39, H. 150: Dance of Spirits of Water | — | ||
| 22-10 | The Perfect Fool, op. 39, H. 150: Dance of Spirits of Fire | — | ||
| 22-11 | Egdon Heath, op. 47, H. 172 | — | ||
| 23-1 | Piano Concerto no. 3, BB 127, Sz. 119: I. Allegretto | — | ||
| 23-2 | Piano Concerto no. 3, BB 127, Sz. 119: II. Adagio religioso | — | ||
| 23-3 | Piano Concerto no. 3, BB 127, Sz. 119: III. Allegro vivace | — | ||
| 23-4 | Piano Concerto in G major: I. Allegramente | — | ||
| 23-5 | Piano Concerto in G major: II. Adagio assai | — | ||
| 23-6 | Piano Concerto in G major: III. Presto | — | ||
| 23-7 | Piano Concerto no. 3 in C major, op. 26: I. Andante – Allegro | — | ||
| 23-8 | Piano Concerto no. 3 in C major, op. 26: II. Andantino con variazioni | — | ||
| 23-9 | Piano Concerto no. 3 in C major, op. 26: III. Allegro ma non troppo | — | ||
| 24-1 | Symphony no. 9 in E minor, op. 95 “New World”: I. Adagio – Allegro molto | Wiener Philharmoniker, István Kertész | — | |
| 24-2 | Symphony no. 9 in E minor, op. 95 “New World”: II. Largo | Wiener Philharmoniker, István Kertész | — | |
| 24-3 | Symphony no. 9 in E minor, op. 95 “New World”: III. Scherzo – Molto vivace | Wiener Philharmoniker, István Kertész | T-911.517.582-1 | |
| 24-4 | Symphony no. 9 in E minor, op. 95 “New World”: IV. Allegro con fuoco | Wiener Philharmoniker, István Kertész | — | |
| 24-5 | Symphony no. 8 in G major, op. 88: I. Allegro con brio | London Symphony Orchestra, István Kertész | — | |
| 24-6 | Symphony no. 8 in G major, op. 88: II. Adagio | London Symphony Orchestra, István Kertész | T-071.481.827-5 | |
| 24-7 | Symphony no. 8 in G major, op. 88: III. Allegretto grazioso - Molto vivace | London Symphony Orchestra, István Kertész | — | |
| 24-8 | Symphony no. 8 in G major, op. 88: IV. Allegro ma non troppo | London Symphony Orchestra, István Kertész | T-912.623.296-0 | |
| 25-1 | Missa in angustiis, Hob. XXII:11: Kyrie | Choir of King’s College, Cambridge, Sylvia Stahlman, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-2 | Missa in angustiis, Hob. XXII:11: Gloria: Gloria in Excelsis Deo | Wilfred Brown, Choir of King’s College, Cambridge, Tom Krause, Sylvia Stahlman, Helen Watts, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-3 | Missa in angustiis, Hob. XXII:11: Gloria: Qui tollis peccata mundi | Choir of King’s College, Cambridge, Tom Krause, Sylvia Stahlman, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-4 | Missa in angustiis, Hob. XXII:11: Gloria: Quoniam tu solus Sanctus | Wilfred Brown, Choir of King’s College, Cambridge, Tom Krause, Sylvia Stahlman, Helen Watts, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-5 | Missa in angustiis, Hob. XXII:11: Credo: Credo in unum Deum | Choir of King’s College, Cambridge, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-6 | Missa in angustiis, Hob. XXII:11: Credo: Et incarnatus est | Wilfred Brown, Choir of King’s College, Cambridge, Tom Krause, Sylvia Stahlman, Helen Watts, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-7 | Missa in angustiis, Hob. XXII:11: Credo: Et resurrexit | Choir of King’s College, Cambridge, Sylvia Stahlman, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-8 | Missa in angustiis, Hob. XXII:11: Sanctus | Choir of King’s College, Cambridge, Simon Preston, London Symphony Orchestra, Sir David Willcocks | T-923.240.480-7 | |
| 25-9 | Missa in angustiis, Hob. XXII:11: Benedictus | Wilfred Brown, Choir of King’s College, Cambridge, Tom Krause, Sylvia Stahlman, Helen Watts, Simon Preston, London Symphony Orchestra, Sir David Willcocks | T-050.283.177-7 | |
| 25-10 | Missa in angustiis, Hob. XXII:11: Agnus Dei: Agnus Dei | Wilfred Brown, Choir of King’s College, Cambridge, Tom Krause, Sylvia Stahlman, Helen Watts, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-11 | Missa in angustiis, Hob. XXII:11: Agnus Dei: Dona nobis pacem | Choir of King’s College, Cambridge, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-12 | Missa in tempore belli, H XXII 9: Kyrie | April Cantelo, Choir of St John’s College, Cambridge, Helen Watts, Academy of St Martin in the Fields, George Guest | — | |
| 25-13 | Missa in tempore belli, H XXII 9: Gloria | Choir of St John’s College, Cambridge, Barry McDaniel, Academy of St Martin in the Fields, George Guest | — | |
| 25-14 | Missa in tempore belli, H XXII 9: Credo | April Cantelo, Choir of St John’s College, Cambridge, Barry McDaniel, Robert Tear, Helen Watts, Academy of St Martin in the Fields, George Guest | — | |
| 25-15 | Missa in tempore belli, H XXII 9: Sanctus | Choir of St John’s College, Cambridge, Helen Watts, Academy of St Martin in the Fields, George Guest | — | |
| 25-16 | Missa in tempore belli, H XXII 9: Benedictus | April Cantelo, Choir of St John’s College, Cambridge, Barry McDaniel, Robert Tear, Helen Watts, Academy of St Martin in the Fields, George Guest | — | |
| 25-17 | Missa in tempore belli, H XXII 9: Agnus Dei | Choir of St John’s College, Cambridge, Academy of St Martin in the Fields, George Guest | — | |
| 26-1 | Goyescas: Los majos enamorados, Part I: I. Los requiebros | — | ||
| 26-2 | Goyescas: Los majos enamorados, Part I: II. Coloquio en la reja | — | ||
| 26-3 | Goyescas: Los majos enamorados, Part I: III. El fandango del Candil | — | ||
| 26-4 | Goyescas: Los majos enamorados, Part I: IV. Quejas o La maja y el ruiseñor | — | ||
| 26-5 | Goyescas: Los majos enamorados, Part II: V. El amor y la muerte | — | ||
| 26-6 | Goyescas: Los majos enamorados, Part II: VI. Epílogo, o Serenata del espectro | — | ||
| 26-7 | Goyescas: El pelele | — | ||
| 26-8 | Noches en los jardines de España: I. En el Generalife | — | ||
| 26-9 | Noches en los jardines de España: II. Danza lejena | — | ||
| 26-10 | Noches en los jardines de España: III. En los jardines de la Sierra de Córdoba | — | ||
| 27-1 | Alles Schwindel | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-2 | Sex‐Appeal | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-914.787.735-8 | |
| 27-3 | Peter, Peter, komm zu mir zurück! | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-801.327.097-9 | |
| 27-4 | Das Gesellschaftslied | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-5 | Wenn die beste Freundin | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-801.904.560-5 | |
| 27-6 | Ich bin ein Vamp! | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-7 | L’Heure bleue | Ute Lemper, Matrix Ensemble | T-900.010.486-9 | |
| 27-8 | Zieh dich aus, Petronella! | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-9 | Raus mit den Männern! | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-10 | Der Verflossene | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-11 | Gesetzt den Fall | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-801.619.418-7 | |
| 27-12 | Ich weiß nicht, zu wem ich gehöre | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-802.551.559-8 | |
| 27-13 | Das lila Lied | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-800.222.134-4 | |
| 27-14 | Maskulinum - Femininum | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-15 | Mir ist heut so nach Tamerlan! | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-801.293.869-2 | |
| 27-16 | Eine kleine Sehnsucht | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-801.618.238-1 | |
| 27-17 | Wir wollen alle wieder Kinder sein! | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-800.789.768-0 | |
| 27-18 | Münchhausen | Ute Lemper, Matrix Ensemble | — | |
| 28-1 | Sonata for Piano no. 14 in C-sharp minor, op. 27 no. 2 "Moonlight": I. Adagio sostenuto | Radu Lupu | — | |
| 28-2 | Sonata for Piano no. 14 in C-sharp minor, op. 27 no. 2 "Moonlight": II. Allegretto | Radu Lupu | — | |
| 28-3 | Sonata for Piano no. 14 in C-sharp minor, op. 27 no. 2 "Moonlight": III. Presto agitato | Radu Lupu | — | |
| 28-4 | Sonata for Piano no. 8 in C minor, op. 13 "Pathétique": I. Grave - Allegro di molto e con brio | Radu Lupu | — | |
| 28-5 | Sonata for Piano no. 8 in C minor, op. 13 "Pathétique": II. Adagio cantabile | Radu Lupu | T-001.397.158-8 | |
| 28-6 | Sonata for Piano no. 8 in C minor, op. 13 "Pathétique": III. Rondo. Allegro | Radu Lupu | — | |
| 28-7 | Sonata for Piano no. 21 in C major, op. 53 "Waldstein": I. Allegro con brio | Radu Lupu | — | |
| 28-8 | Sonata for Piano no. 21 in C major, op. 53 "Waldstein": II. Introduzione. Adagio molto | Radu Lupu | — | |
| 28-9 | Sonata for Piano no. 21 in C major, op. 53 "Waldstein": III. Rondo. Allegretto moderato - Prestissimo | Radu Lupu | T-312.439.094-5 | |
| 28-10 | 32 Variations for Piano in C minor on an Original Theme, WoO 80 | Radu Lupu | — | |
| 29-1 | Symphony no. 3 in A minor, op. 56 "Scottish": I. Andante con moto / Allegro un poco agitato - Assai animato - Andante come prima | London Symphony Orchestra, Peter Maag | — | |
| 29-2 | Symphony no. 3 in A minor, op. 56 "Scottish": II. Vivace non troppo | London Symphony Orchestra, Peter Maag | — | |
| 29-3 | Symphony no. 3 in A minor, op. 56 "Scottish": III. Adagio | London Symphony Orchestra, Peter Maag | T-902.876.200-7 | |
| 29-4 | Symphony no. 3 in A minor, op. 56 "Scottish": IV. Allegro vivacissimo - Allegro maestoso assai | London Symphony Orchestra, Peter Maag | T-931.717.257-9 | |
| 29-5 | A Midsummer Night's Dream, op. 21: Overture | London Symphony Orchestra, Peter Maag | — | |
| 29-6 | A Midsummer Night's Dream, op. 61: No. 1. Scherzo | London Symphony Orchestra, Peter Maag | T-308.384.655-9 | |
| 29-7 | A Midsummer Night's Dream, op. 61: No. 3. "You Spotted Snakes" | Jennifer Vyvyan, Marion Lowe, Female Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Peter Maag | — | |
| 29-8 | A Midsummer Night's Dream, op. 61: No. 5. Intermezzo | London Symphony Orchestra, Peter Maag | — | |
| 29-9 | A Midsummer Night's Dream, op. 61: No. 7. Nocturne | London Symphony Orchestra, Peter Maag | — | |
| 29-10 | A Midsummer Night's Dream, op. 61: No. 9. Wedding March | London Symphony Orchestra, Peter Maag | T-928.635.469-6 | |
| 29-11 | A Midsummer Night's Dream, op. 61: No. 11. Dance of the Clowns | London Symphony Orchestra, Peter Maag | T-928.635.466-3 | |
| 29-12 | A Midsummer Night's Dream, op. 61: No. 12. Finale | Jennifer Vyvyan, Female Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Peter Maag | — | |
| 30-1 | Feste romane: I. Circenses | The Cleveland Orchestra, Lorin Maazel | T-309.480.518-8 | |
| 30-2 | Feste romane: II. Il giubileo | The Cleveland Orchestra, Lorin Maazel | T-309.480.518-8 | |
| 30-3 | Feste romane: III. L'ottobrata | The Cleveland Orchestra, Lorin Maazel | T-309.480.518-8 | |
| 30-4 | Feste romane: IV. La Befana | The Cleveland Orchestra, Lorin Maazel | T-309.480.518-8 | |
| 30-5 | Pini di Roma: I. I pini di Villa Borghese | The Cleveland Orchestra, Lorin Maazel | — | |
| 30-6 | Pini di Roma: II. Pini presso una catacomba | The Cleveland Orchestra, Lorin Maazel | T-902.597.184-0 | |
| 30-7 | Pini di Roma: III. I pini del Gianicolo | The Cleveland Orchestra, Lorin Maazel | T-902.597.184-0 | |
| 30-8 | Pini di Roma: IV. I pini della Via Appia | The Cleveland Orchestra, Lorin Maazel | T-333.047.149-9 | |
| 30-9 | Suite From "Le Coq D'or": I. King Dodon n His Palace | The Cleveland Orchestra, Lorin Maazel | T-802.124.289-8 | |
| 30-10 | Suite From "Le Coq D'or": II. King Dodon on the Battlefield | The Cleveland Orchestra, Lorin Maazel | T-802.124.289-8 | |
| 30-11 | Suite From "Le Coq D'or": III. King Dodon With the Queen of Shemakha | The Cleveland Orchestra, Lorin Maazel | T-802.124.289-8 | |
| 30-12 | Suite From "Le Coq D'or": IV. The Marriage Feast and Lamentable End of King Dodon | The Cleveland Orchestra, Lorin Maazel | — | |
| 31-1 | Sinfonietta for Orchestra: I. Allegretto - Allegro - Maestoso | Vienna Philharmonic, Charles Mackerras | T-900.952.974-2 | |
| 31-2 | Sinfonietta for Orchestra: II. Andante - Allegretto - Maestoso - Tempo I - Allegretto | Vienna Philharmonic, Charles Mackerras | T-900.952.974-2 | |
| 31-3 | Sinfonietta for Orchestra: III. Moderato - Con Moto - Prestissimo - Tempo I - Moderato | Vienna Philharmonic, Charles Mackerras | T-900.952.974-2 | |
| 31-4 | Sinfonietta for Orchestra: IV. Allegretto - Adagio - Presto - Andante - Presto - Prestissimo | Vienna Philharmonic, Charles Mackerras | T-003.055.867-8 | |
| 31-5 | Sinfonietta for Orchestra: V. Andante con moto - Maestoso - Tempo I - Allegretto - Allegro - Maestoso - Adagio | Vienna Philharmonic, Charles Mackerras | T-900.952.974-2 | |
| 31-6 | Taras Bulba - Rhapsody for Orchestra: I. The Death of Andri | Vienna Philharmonic, Charles Mackerras | — | |
| 31-7 | Taras Bulba - Rhapsody for Orchestra: II. The Death of Ostap | Vienna Philharmonic, Charles Mackerras | — | |
| 31-8 | Taras Bulba - Rhapsody for Orchestra: III. The Prophecy and the Death of Taras Bulba | Vienna Philharmonic, Charles Mackerras | — | |
| 31-9 | The Cunning Little Vixen Suite: I. Andante | Wiener Philharmoniker, Sir Charles Mackerras | T-801.135.532-2 | |
| 31-10 | The Cunning Little Vixen Suite: II. Andante | Wiener Philharmoniker, Sir Charles Mackerras | — | |
| 32-1 | Serenade for Strings in C, op. 48: I. Pezzo in forma di sonatina: Andante non troppo - Allegro moderato | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-2 | Serenade for Strings in C, op. 48: II. Walzer: Moderato (Tempo di valse) | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-3 | Serenade for Strings in C, op. 48: III. Elégie: Larghetto elegiaco | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-4 | Serenade for Strings in C, op. 48: IV. Finale (Tema russo): Andante - Allegro con spirito | Academy of St Martin in the Fields, Sir Neville Marriner | T-318.676.528-2 | |
| 32-5 | Souvenir de Florence, op. 70: I. Allegro con spirito | — | ||
| 32-6 | Sextet in D minor, op. 70 "Souvenir de Florence": II. Adagio cantabile e con moto | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-7 | Souvenir de Florence, op. 70: III. Allegro moderato | — | ||
| 32-8 | Souvenir de Florence, op. 70: IV. Allegro vivace | — | ||
| 32-9 | Holberg Suite, op. 40: I. Praeludium: Allegro vivace | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-10 | Holberg Suite, op. 40: II. Sarabande | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-11 | Holberg Suite, op. 40: III. Gavotte: Allegretto - Musette: Poco più mosso - Gavotte | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-12 | Holberg Suite, op. 40: IV. Air: Andante religioso | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-13 | Holberg Suite, op. 40: V. Rigaudon: Allegro con brio | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 33-1 | Divertissement: I. Introduction | — | ||
| 33-2 | Divertissement: II. Cortège | — | ||
| 33-3 | Divertissement: III. Nocturne | — | ||
| 33-4 | Divertissement: IV. Valse | — | ||
| 33-5 | Divertissement: V. Parade | — | ||
| 33-6 | Divertissement: VI. Finale. Allegro vivace | — | ||
| 33-7 | Danse macabre, op. 40 | — | ||
| 33-8 | Jeux d’enfants, op. 22: I. Marche. Trompette et tambour | — | ||
| 33-9 | Jeux d’enfants, op. 22: II. Berceuse. La Poupée | — | ||
| 33-10 | Jeux d’enfants, op. 22: III. Impromptu. La toupie | — | ||
| 33-11 | Jeux d’enfants, op. 22: IV. Duo. Petit mari, petite femme | — | ||
| 33-12 | Jeux d’enfants, op. 22: V. Galop. Le bal | — | ||
| 33-13 | Le Rouet d’Omphale, op. 31 | — | ||
| 33-14 | Symphony no. 2 in B minor: I. Allegro | — | ||
| 33-15 | Symphony no. 2 in B minor: II. Scherzo. Prestissimo – Allegretto | — | ||
| 33-16 | Symphony no. 2 in B minor: III. Andante | — | ||
| 33-17 | Symphony no. 2 in B minor: IV. Finale. Allegro | — | ||
| 34-1 | Arcana | — | ||
| 34-2 | Intégrales | — | ||
| 34-3 | Ionisation | — | ||
| 34-4 | Symphony no. 2: I. Andante moderato | — | ||
| 34-5 | Symphony no. 2: II. Allegro | — | ||
| 34-6 | Symphony no. 2: III. Adagio cantabile | — | ||
| 34-7 | Symphony no. 2: IV. Lento maestoso | — | ||
| 34-8 | Symphony no. 2: V. Allegro molto vivace | — | ||
| 35-1 | Daphnis et Chloé, Part I: Introduction et Danse religieuse | Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Pierre Monteux | T-004.014.574-1 | |
| 35-2 | Daphnis et Chloé, Part I: Danse générale | London Symphony Orchestra, Pierre Monteux | T-305.194.628-8 | |
| 35-3 | Daphnis et Chloé, Part I: Danse grotesque de Dorcon | London Symphony Orchestra, Pierre Monteux | T-305.194.628-8 | |
| 35-4 | Daphnis et Chloé, Part I: Danse légère et gracieuse de Daphnis | Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-5 | Daphnis et Chloé, Part I: Danse de Lycéion | London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-6 | Daphnis et Chloé, Part I: Danse lente et mystérieuse des Nymphes | London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-7 | Daphnis et Chloé, Part II: Introduction | Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-8 | Daphnis et Chloé, Part II: Danse guerrière | Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-9 | Daphnis et Chloé, Part II: Danse suppliante de Chloé | London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-10 | Daphnis et Chloé, Part III: Lever du jour | Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Pierre Monteux | — | |
| 35-11 | Daphnis et Chloé, Part III: Pantomime | London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-12 | Daphnis et Chloé, Part III: Danse générale | Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-13 | Enigma Variations: Theme (Andante) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-14 | Enigma Variations: C.A.E. (Andante) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-15 | Enigma Variations: H.D.S.‐P (Allegro) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-16 | Enigma Variations: R.B.T. (Allegretto) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-17 | Enigma Variations: W.M.B. (Allegro di Molto) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-18 | Enigma Variations: R.P.A. (Moderato) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-19 | Enigma Variations: Ysobel (Andantino) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-20 | Enigma Variations: Troyte (Presto) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-21 | Enigma Variations: W.N. (Allegretto) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-22 | Enigma Variations: Nimrod (Adagio) | London Symphony Orchestra, Pierre Monteux | T-010.115.427-1 | |
| 35-23 | Enigma Variations: Dorabella: Intermezzo (Allegretto) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-24 | Enigma Variations: G.R.S. (Allegro di Molto) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-25 | Enigma Variations: B.G.N. (Andante) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-26 | Enigma Variations: *** Romanza (Moderato) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-27 | Enigma Variations: E.D.U. Finale (Allegro) | London Symphony Orchestra, Pierre Monteux | — | |
| 36-1 | Magnificat in D major, BWV 243: I. Coro. Magnificat | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-2 | Magnificat in D major, BWV 243: II. Aria. Et exsultavit spiritus meus | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-3 | Magnificat in D major, BWV 243: III. Aria. Quia respexit humilitatem - IV. Coro. Omnes generationes | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-4 | Magnificat in D major, BWV 243: V. Aria. Quia fecit mihi magna | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-5 | Magnificat in D major, BWV 243: VI. Aria (Duetto): Et misericordia | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-6 | Magnificat in D major, BWV 243: VII. Coro. Fecit potentiam | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-7 | Magnificat in D major, BWV 243: VIII. Aria. Deposuit potentes | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-8 | Magnificat in D major, BWV 243: IX. Aria. Esurientes implevit bonis | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-9 | Magnificat in D major, BWV 243: X. Aria (Terzetto): Suscepit Israel | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-10 | Magnificat in D major, BWV 243: XI. Coro. Sicut locutus est | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-11 | Magnificat in D major, BWV 243: XII. Coro. Gloria Patri | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-12 | Cantata, BWV 10 Meine Seel erhebt den Herren: I. Coro. Meine Seel erhebt den Herren | — | ||
| 36-13 | Cantata, BWV 10 Meine Seel erhebt den Herren: II. Aria. Herr, der du stark und mächtig bist | — | ||
| 36-14 | Cantata, BWV 10 Meine Seel erhebt den Herren: III. Recitativo. Des Höchsten Güt und Treu | — | ||
| 36-15 | Cantata, BWV 10 Meine Seel erhebt den Herren: IV. Aria. Gewaltige stößt Gott vom Stuhl | — | ||
| 36-16 | Cantata, BWV 10 Meine Seel erhebt den Herren: V. Duetto. Er denket der Barmherzigkeit | — | ||
| 36-17 | Cantata, BWV 10 Meine Seel erhebt den Herren: VI. Recitativo. Was Gott den Vätern alter Zeiten | — | ||
| 36-18 | Cantata, BWV 10 Meine Seel erhebt den Herren: VII. Choral. Lob und Preis sei Gott dem Vater | — | ||
| 36-19 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: I. Choral “Wachet auf, ruft uns die Stimme” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-20 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: II. Rezitativ (Tenor) “Er kommt, er kommt, der Bräut’gam kommt!” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-21 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: III. Duett (Soprano, Bass) “Wann kommst du, mein Heil?” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-22 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: IV. Choral “Zion hört die Wächter singen” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-23 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: V. Rezitativ (Bass) “So geh’ herein vor mir” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-24 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: VI. Duett (Soprano, Bass) “Mein Freund is mein!” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-25 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: VII. Choral “Gloria sei dir gesungen” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 37-1 | Das Rheingold: Schwüles Gedünst ... Zur Burg führt die Brücke | Waldemar Kmentt, Eberhard Wächter, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-2 | Das Rheingold: Abendlich strahlt der Sonne Auge | Kirsten Flagstad, George London, Hetty Plümacher, Set Svanholm, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-3 | Das Rheingold: Rheingold! Rheingold! Reines Gold! Wie lauter und hell | Oda Balsborg, Paul Kuën, Ira Malaniuk, Gustav Neidlinger, Hetty Plümacher, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-4 | Die Walküre: Dritter Aufzug. Vorspiel - "Hojotoho! Heiaha!" (Orchester, Die Walküren) | Vera Schlosser, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-5 | Die Walküre: Dritter Aufzug. "Loge, hör! Lausche hieher!" - Feuerzauber (Wotan, Orchester) | Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-6 | Siegfried: Erster Aufzug. "Notung! Notung! Neidliches Schwert!" (Siegfried, Mime) | Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-7 | Siegfried: Erster Aufzug. "Hoho! Hoho! Hohei! Schmiede, mein Hammer, ein hartes Schwert!" (Siegfried, Mime) | Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-8 | Siegfried: “Aber wie sah meine Mutter sohl aus?” (Waldweben) | — | ||
| 37-9 | Götterdämmerung: Vorspiel. Siegfrieds Rheinfahrt | Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-10 | Götterdämmerung: Trauermarsch | — | ||
| 37-11 | Götterdämmerung: Dritter Aufzug. "Schweigt eures Jammers jauchzenden Schwall" (Brünnhilde, Gutrune) | Wiener Staatsopernchor, Birgit Nilsson, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-12 | Götterdämmerung: Dritter Aufzug. "Starke Scheite schichtet mir dort" (Brünnhilde) | Wiener Staatsopernchor, Birgit Nilsson, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-13 | Götterdämmerung: Dritter Aufzug. "Mein Erbe nun nehm' ich zu eigen" (Brünnhilde) | Wiener Staatsopernchor, Birgit Nilsson, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-14 | Götterdämmerung: Dritter Aufzug. "Fliegt heim, ihr Raben!" - "Zurück vom Ring!" (Brünnhilde, Hagen) | Wiener Staatsopernchor, Birgit Nilsson, Wiener Philharmoniker, Sir Georg Solti | — | |
| 38-1 | Il lamento di Federico (È la solita storia) | José Carreras | — | |
| 38-2 | Stalker: Train | Edward Artemiev | — | |
| 38-3 | Recondita armonia | Luciano Pavarotti | — | |
| 38-4 | Dein ist mein ganzes Herz | Plácido Domingo, Orchestra del Maggio Musicale Fiorentino, Orchestra del Teatro dell’Opera di Roma, Zubin Mehta | T-802.402.359-5 | |
| 38-5 | Solaris: Listen to Bach (The Earth) | Edward Artemiev | — | |
| 38-6 | Core ’ngrato | José Carreras | T-910.760.781-8 | |
| 38-7 | Stalker: They Go Long | Edward Artemiev | — | |
| 38-8 | Granada | José Carreras | T-041.981.858-8 | |
| 38-9 | Stalker: Meditation | Edward Artemiev | — | |
| 38-10 | Solaris: Ocean | Edward Artemiev | — | |
| 38-11 | Tosca: “È lucevan le stelle” | Plácido Domingo, Orchestra del Maggio Musicale Fiorentino, Orchestra del Teatro dell’Opera di Roma, Zubin Mehta | T-071.526.288-6 | |
| 38-12 | Turandot: “Nessun dorma” | Luciano Pavarotti, Orchestra del Maggio Musicale Fiorentino, Orchestra del Teatro dell’Opera di Roma, Zubin Mehta | T-005.000.838-2 | |
| 38-13 | Medley: Maria / Tonight / ’O paese d’ ’o sole / Cielito lindo | Carreras, Domingo, Pavarotti | T-035.013.183-7 | |
| 38-14 | Medley: Memory / Ochi tchorniye / Caminito / La Vie en rose | Carreras, Domingo, Pavarotti | T-003.018.090-5 | |
| 38-15 | Medley: Mattinata / Wien, Wien, nur du allein / Amapola / ’O sole mio | Carreras, Domingo, Pavarotti | T-001.002.250-0 | |
| 38-16 | Encore: ’O sole mio | Carreras, Domingo, Pavarotti | T-800.024.699-2 | |
| 38-17 | Turandot: Nessun dorma | The Three Tenors, Orchestra del Maggio Musicale Fiorentino, Orchestra del Teatro dell’Opera di Roma, Zubin Mehta | T-005.000.838-2 | |
| 39-1 | Turandot: Atto I. “Popolo di Pekino!” … “Indietro, cani!” | Sabin Markov, Montserrat Caballé, Nicolaï Ghiaurov, The John Alldis Choir, Luciano Pavarotti, London Philharmonic Orchestra, Zubin Mehta | — | |
| 39-2 | Turandot: Atto I. “Gira la cote!” | The John Alldis Choir, Wandsworth School Boys’ Choir, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-3 | Turandot: Atto I. “Signore, ascolta!” | Montserrat Caballé, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-4 | Turandot: Atto I. “Non piangere, Liù!” | Montserrat Caballé, Nicolaï Ghiaurov, The John Alldis Choir, Tom Krause, Piero de Palma, Luciano Pavarotti, Pier Francesco Poli, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-5 | Turandot: Atto I. “Ah! Per l’ultima volta” | Montserrat Caballé, Nicolaï Ghiaurov, The John Alldis Choir, Tom Krause, Piero de Palma, Luciano Pavarotti, Pier Francesco Poli, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-6 | Turandot: Atto II. “Olà, Pang! Olà, Pong!” | Tom Krause, Piero de Palma, Pier Francesco Poli, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-7 | Turandot: Atto II. “Ho una casa nell’Honan” | Tom Krause, Piero de Palma, Pier Francesco Poli, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-8 | Turandot: Atto II, scena 2. “In questa reggia” | The John Alldis Choir, Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-9 | Turandot: Atto II. “Gelo che ti da foco” | The John Alldis Choir, Luciano Pavarotti, Peter Pears, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-10 | Turandot: Atto II, scena 2. “Figlio del Cielo!” | The John Alldis Choir, Luciano Pavarotti, Peter Pears, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-11 | Turandot: “Nessun dorma” | Luciano Pavarotti, The John Alldis Choir, Wandsworth School Boys Choir, London Philharmonic Orchestra, Zubin Mehta | — | |
| 39-12 | Turandot: Atto III, scena 1. “Quel nome!” | Montserrat Caballé, Nicolaï Ghiaurov, The John Alldis Choir, Tom Krause, Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-13 | Turandot: Atto III, scena 1. “L’amore?” … “Tanto amore, segreto e inconfessato” | Montserrat Caballé, The John Alldis Choir, Tom Krause, Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-14 | Turandot: Atto III, scena 1. “Tu, che di gel sei cinta” | Montserrat Caballé, Nicolaï Ghiaurov, The John Alldis Choir, Tom Krause, Piero de Palma, Luciano Pavarotti, Pier Francesco Poli, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-15 | Turandot: Atto III. “Principessa di morte!” | Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-16 | Turandot: Atto III. “Che è mai di me?” | The John Alldis Choir, Luciano Pavarotti, Joan Sutherland, Wandsworth School Boys’ Choir, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-17 | Turandot: Atto III, scena 1. “Del primo pianto…” | Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-18 | Turandot: Atto III. “So il tuo nome!” | Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-19 | Turandot: Atto III, scena 2. “Diecimila anni al nostro Imperatore!” | The John Alldis Choir, Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 40-1 | Fanfare (after “La Morisque”, arr. Pickett) | — | ||
| 40-2 | Passe e medio / Reprise “Le Pingue” | — | ||
| 40-3 | Bergerette “Sans Roch” / Reprise | — | ||
| 40-4 | Den I Ronde “Pour Quoy” | — | ||
| 40-5 | Den VII Ronde “Il estoit une filette” | — | ||
| 40-6 | Den III Ronde | — | ||
| 40-7 | Den IV Ronde | — | ||
| 40-8 | Den V Ronde (Wo bistu) | — | ||
| 40-9 | Den VI Ronde / Saltarelle | — | ||
| 40-10 | Den XI Ronde / Aliud | — | ||
| 40-11 | Bergerette “Dont vien cela” / Reprise | — | ||
| 40-12 | Danse de Hercules oft maticine / De Madrigale | — | ||
| 40-13 | De Post | — | ||
| 40-14 | Les quatre Branles | — | ||
| 40-15 | Fagot | — | ||
| 40-16 | Den Hoboeckendans | — | ||
| 40-17 | Basse Danse “Mon Desir” / Reprise “Le cueur est bon” | — | ||
| 40-18 | Den I Allemaigne / Recoupe | — | ||
| 40-19 | Den II Allemaigne | — | ||
| 40-20 | Den III Allemaigne | — | ||
| 40-21 | Den V Allemaigne | — | ||
| 40-22 | Den VI Allemaigne | — | ||
| 40-23 | Den VII Allemaigne | — | ||
| 40-24 | Den VIII Allemaigne / Recoupe / Recoupe Aliud den Tenor voe | — | ||
| 40-25 | Bergerette (“La Brosse”) | — | ||
| 40-26 | Pavane “La Battaille” | — | ||
| 40-27 | Pavane “Mille Regretz” | — | ||
| 40-28 | Den II Gaillarde | — | ||
| 40-29 | Den XI Galliarde | — | ||
| 40-30 | Den IX Galliarde | — | ||
| 40-31 | Den IV Galliarde | — | ||
| 40-32 | Den VII Galliarde | — | ||
| 40-33 | Den X Galliarde “Mille Ducas” | — | ||
| 40-34 | Den III Galliarde | — | ||
| 40-35 | Den XV Galliarde “Le Tout” | — | ||
| 40-36 | Danse du Roy / Reprise | — | ||
| 40-37 | Entre du Fol | — | ||
| 40-38 | La Morisque | — | ||
| 41-1 | Piano Concerto no. 2 in G minor, op. 22: I. Andante sostenuto | Pascal Rogé, Royal Philharmonic Orchestra, Charles Dutoit | T-011.189.063-1 | |
| 41-2 | Piano Concerto no. 2 in G minor, op. 22: II. Allegro scherzando | Pascal Rogé, Royal Philharmonic Orchestra, Charles Dutoit | — | |
| 41-3 | Piano Concerto no. 2 in G minor, op. 22: III. Presto | Pascal Rogé, Royal Philharmonic Orchestra, Charles Dutoit | — | |
| 41-4 | Piano Concerto no. 4 in C minor, op. 44: I. Allegro moderato – Andante | — | ||
| 41-5 | Piano Concerto no. 4 in C minor, op. 44: II. Allegro vivace – Andante – Allegro | — | ||
| 41-6 | Piano Concerto no. 5 in F, op. 103, “Egyptian”: I. Allegro animato | — | ||
| 41-7 | Piano Concerto no. 5 in F, op. 103, “Egyptian”: II. Andante | — | ||
| 41-8 | Piano Concerto no. 5 in F, op. 103, “Egyptian”: III. Molto allegro | — | ||
| 42-1 | Stabat Mater: I. Duet “Stabat Mater dolorosa” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-2 | Stabat Mater: II. Aria (soprano) “Cujus animam gementem” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-925.590.388-9 | |
| 42-3 | Stabat Mater: III. Duet “O quam tristis et afflicta” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-925.590.391-4 | |
| 42-4 | Stabat Mater: IV. Aria (countertenor) “Quae moerebat et dolebat” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-5 | Stabat Mater: V. Duet “Quis est homo qui non fleret” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-6 | Stabat Mater: VI. Aria (soprano) “Vidit suum dulcem Natum” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-7 | Stabat Mater: VII. Aria (countertenor) “Eja Mater, fons amoris” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-905.680.072-7 | |
| 42-8 | Stabat Mater: VIII. Duet “Fac ut ardeat cor meum” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-9 | Stabat Mater: IX. Duet “Sancta Mater, istud agas” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-922.368.050-0 | |
| 42-10 | Stabat Mater: X. Aria (countertenor) “Fac ut portem Christi mortem” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-925.590.390-3 | |
| 42-11 | Stabat Mater: XI. Duet “Inflammatus et accensus” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-905.680.072-7 | |
| 42-12 | Stabat Mater: XII. Duet “Quando corpus morietur” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-13 | Salve Regina in F minor: I. Salve Regina | Andreas Scholl, Christophe Rousset, Les Talens Lyriques | — | |
| 42-14 | Salve Regina in F minor: II. Ad te clamamus | Andreas Scholl, Christophe Rousset, Les Talens Lyriques | — | |
| 42-15 | Salve Regina in F minor: III. Eja ergo, advocata nostra | Andreas Scholl, Christophe Rousset, Les Talens Lyriques | — | |
| 42-16 | Salve Regina in F minor: IV. Et Jesum | Andreas Scholl, Christophe Rousset, Les Talens Lyriques | — | |
| 42-17 | Salve Regina in F minor: V. O clemens | Andreas Scholl, Christophe Rousset, Les Talens Lyriques | — | |
| 42-18 | Salve Regina in A minor: I. Salve Regina | Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-19 | Salve Regina in A minor: II. Ad te clamamus | Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-20 | Salve Regina in A minor: III. Eja ergo, advocata nostra | Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-21 | Salve Regina in A minor: IV. O clemens | Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 43-1 | Goldberg Variations in G major, BWV 988: I. Aria | András Schiff | T-305.723.872-5 | |
| 43-2 | Goldberg Variations in G major, BWV 988: II. Variatio 1 a 1 Clav. | — | ||
| 43-3 | Goldberg Variations in G major, BWV 988: III. Variatio 2 a 1 Clav. | András Schiff | T-902.128.688-4 | |
| 43-4 | Goldberg Variations in G major, BWV 988: IV. Variatio 3 a 1 Clav. Canone all’Unisuono | — | ||
| 43-5 | Goldberg Variations in G major, BWV 988: V. Variatio 4 a 1 Clav. | — | ||
| 43-6 | Goldberg Variations in G major, BWV 988: VI. Variatio 5 a 1 ovvero 2 Clav. | — | ||
| 43-7 | Goldberg Variations in G major, BWV 988: VII. Variatio 6 a 1 Clav. Canone alla Seconda | András Schiff | T-902.128.688-4 | |
| 43-8 | Goldberg Variations in G major, BWV 988: VIII. Variatio 7 a 1 ovvero 2 Clav. | — | ||
| 43-9 | Goldberg Variations in G major, BWV 988: IX. Variatio 8 a 2 Clav. | — | ||
| 43-10 | Goldberg Variations in G major, BWV 988: X. Variatio 9 a 1 Clav. Canone alla Terza | András Schiff | T-902.128.688-4 | |
| 43-11 | Goldberg Variations in G major, BWV 988: XI. Variatio 10 a 1 Clav. Fughetta | — | ||
| 43-12 | Goldberg Variations in G major, BWV 988: XII. Variatio 11 a 2 Clav. | — | ||
| 43-13 | Goldberg Variations in G major, BWV 988: XIII. Variatio 12 a 1 Clav. Canone alla Quarta | — | ||
| 43-14 | Goldberg Variations in G major, BWV 988: XIV. Variatio 13 a 2 Clav. | — | ||
| 43-15 | Goldberg Variations in G major, BWV 988: XV. Variatio 14 a 2 Clav. | — | ||
| 43-16 | Goldberg Variations in G major, BWV 988: XVI. Variatio 15 a 1 Clav. Canone alla Quinta | — | ||
| 43-17 | Goldberg Variations in G major, BWV 988: XVII. Variatio 16 a 1 Clav. Ouverture | — | ||
| 43-18 | Goldberg Variations in G major, BWV 988: XVIII. Variatio 17 a 2 Clav. | — | ||
| 43-19 | Goldberg Variations in G major, BWV 988: XIX. Variatio 18 a 1 Clav. Canone alla Sexta | — | ||
| 43-20 | Goldberg Variations in G major, BWV 988: XX. Variatio 19 a 1 Clav. | András Schiff | T-902.128.688-4 | |
| 43-21 | Goldberg Variations in G major, BWV 988: XXI. Variatio 20 a 2 Clav. | — | ||
| 43-22 | Goldberg Variations in G major, BWV 988: XXII. Variatio 21 a 2 Clav. Canone alla Settima | — | ||
| 43-23 | Goldberg Variations in G major, BWV 988: XXIII. Variatio 22 a 1 Clav. | — | ||
| 43-24 | Goldberg Variations in G major, BWV 988: XXIV. Variatio 23 a 2 Clav. Alla breve | — | ||
| 43-25 | Goldberg Variations in G major, BWV 988: XXV. Variatio 24 a 1 Clav. Canone all’Ottava | — | ||
| 43-26 | Goldberg Variations in G major, BWV 988: XXVI. Variatio 25 a 2 Clav. | — | ||
| 43-27 | Goldberg Variations in G major, BWV 988: XXVII. Variatio 26 a 2 Clav. | — | ||
| 43-28 | Goldberg Variations in G major, BWV 988: XXVIII. Variatio 27 a 2 Clav. Canone alla Nona | — | ||
| 43-29 | Goldberg Variations in G major, BWV 988: XXIX. Variatio 28 a 2 Clav. | — | ||
| 43-30 | Goldberg Variations in G major, BWV 988: XXX. Variatio 29 a 1 ovvero 2 Clav. | — | ||
| 43-31 | Goldberg Variations in G major, BWV 988: XXXI. Variatio 30 a 1 Clav. Quodlibet | — | ||
| 43-32 | Goldberg Variations in G major, BWV 988: XXXII. Aria | András Schiff | T-801.806.984-7 | |
| 44-1 | Ruslan and Lyudmila: Overture | London Symphony Orchestra, Sir Georg Solti | T-909.762.448-1 | |
| 44-2 | Khovanshchina: Prelude | London Symphony Orchestra, Sir Georg Solti | — | |
| 44-3 | Night on the Bare Mountain | London Symphony Orchestra, Sir Georg Solti | — | |
| 44-4 | Prince Igor: Overture | London Symphony Orchestra, Sir Georg Solti | — | |
| 44-5 | Prince Igor: Polovtsian Dances and Chorus | London Symphony Orchestra Chorus, London Symphony Orchestra, Sir Georg Solti | — | |
| 44-6 | Light Cavalry: Overture | Wiener Philharmoniker, Sir Georg Solti | T-909.345.747-7 | |
| 44-7 | Poet and Peasant: Overture | Wiener Philharmoniker, Sir Georg Solti | T-909.264.126-4 | |
| 44-8 | Morning, Noon and Night in Vienna: Overture | Wiener Philharmoniker, Sir Georg Solti | — | |
| 44-9 | Pique Dame: Overture | Wiener Philharmoniker, Sir Georg Solti | T-915.715.285-7 | |
| 45-1 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: a. Veni creator spiritus | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-2 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: b. Imple superna gratia | Heather Harper, Lucia Popp, Yvonne Minton, Helen Watts, René Kollo, John Shirley-Quirk, Martti Talvela, Wiener Singverein, Wiener Staatsopernchor, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-3 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: c. Infirma nostri corporis | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-4 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: d. Accende lumen sensibus | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-5 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: e. Veni, creator… da gaudiorum praemia | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-6 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: f. Gloria sit patri domino” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-7 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": Poco Adagio: “Waldung, sie schwankt heran” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-8 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": "Ewiger Wonnebrand” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-9 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Wie Felsenabgrund mir zu Füßen” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-10 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Gerettet ist das edle Glied” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-11 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Uns bleibt ein Erdenrest” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-12 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Höchste Herrscherin der Welt” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-13 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Bei der Liebe, die den Fussen” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-14 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Neige, neige, du Ohnegleiche” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-15 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Blicket auf zum Retterblick” | Sir Georg Solti, Chicago Symphony Orchestra | — | |
| 45-16 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Alles Vergängliche” | Sir Georg Solti, Chicago Symphony Orchestra | — | |
| 46-1 | Ernani: “Solingo, errante e misero” | — | ||
| 46-2 | Norma: “Adalgisa! … Oh! rimembranza!” | — | ||
| 46-3 | Norma: Finale. “Ma di’ … O, non tremare” | — | ||
| 46-4 | La Gioconda: “Ecco la barca … addio” | — | ||
| 46-5 | La Gioconda: “Deh! non turbare” | — | ||
| 46-6 | Otello: Già nella notte densa" | — | ||
| 46-7 | Il trovatore: “Madre, non dormi?” | — | ||
| 46-8 | Encore. Beatrice di Tenda: “Angiol di pace” | — | ||
| 47-1 | String Quartet in F minor, op. 95: I. Allegro con brio | — | ||
| 47-2 | String Quartet in F minor, op. 95: II. Allegretto ma non troppo | — | ||
| 47-3 | String Quartet in F minor, op. 95: III. Allegro assai vivace ma serioso | — | ||
| 47-4 | String Quartet in F minor, op. 95: IV. Larghetto espressivo – Allegretto agitato – Allegro | — | ||
| 47-5 | String Quartet in B‐flat major, op. 130: I. Allegro ma non troppo – Allegro | — | ||
| 47-6 | String Quartet in B‐flat major, op. 130: II. Presto | — | ||
| 47-7 | String Quartet in B‐flat major, op. 130: III. Andante con moto, ma non troppo | — | ||
| 47-8 | String Quartet in B‐flat major, op. 130: IV. Alla danza tedesca. Allegro assai | — | ||
| 47-9 | String Quartet in B‐flat major, op. 130: V. Cavatina. Adagio molto espressivo | — | ||
| 47-10 | Große Fuge, op. 133: Overtura. Allegro – Meno mosso e moderato – Allegro – Fuga: Allegro – Meno mosso e moderato – Allegro molto con brio – Allegro | — | ||
| 47-11 | String Quartet in B‐flat major, op. 130: VI. Finale. Allegro | — | ||
| 48-1 | La fanciulla del West: Atto primo. “Che faranno i vecchi miei” | — | ||
| 48-2 | La fanciulla del West: Atto primo. “Jim, perchè piangi?” | — | ||
| 48-3 | La fanciulla del West: Atto primo. “Minnie, dalla mia casa son partito” | — | ||
| 48-4 | La fanciulla del West: Atto I. “Laggiù nel Soledad” | Mario Del Monaco, Cornell MacNeil, Renata Tebaldi, Orchestra dell’Accademia Nazionale di Santa Cecilia, Franco Capuana | T-200.897.900-5 | |
| 48-5 | La fanciulla del West: Atto primo. “Mister Johnson, siete rimasto indietro” | — | ||
| 48-6 | La fanciulla del West: Atto primo. “Io non son che una povera fanciulla” | — | ||
| 48-7 | La fanciulla del West: Atto primo. “Quello che tacete” | — | ||
| 48-8 | La fanciulla del West: Atto primo. “Come voi leggermi in cor non so” | — | ||
| 48-9 | La fanciulla del West: Atto primo. “Ah, non temete, nessuno ardirà” | — | ||
| 48-10 | La fanciulla del West: Atto II. “Non mi difenderò” | Mario Del Monaco, Renata Tebaldi, Orchestra dell’Accademia Nazionale di Santa Cecilia, Franco Capuana | — | |
| 48-11 | La fanciulla del West: Atto secondo. “L’han ferito … Che importa” | — | ||
| 48-12 | La fanciulla del West: Atto secondo. “Che c’è di nuovo, Jack?” | — | ||
| 48-13 | La fanciulla del West: Atto terzo. “Ch’ella mi creda libero e lontano” | — | ||
| 48-14 | La fanciulla del West: Atto terzo. “Ah‐Ah‐Ah!” | — | ||
| 48-15 | La fanciulla del West: Atto terzo. “Non vi fu mai” | — | ||
| 48-16 | La fanciulla del West: Atto terzo. “E anche tu lo vorrai” | — | ||
| 48-17 | La fanciulla del West: Atto terzo. “Le tue parole sono di Dio” | — | ||
| 49-1 | Octet in E‐flat major, op. 20: I. Allegro moderato, ma con fuoco | — | ||
| 49-2 | Octet in E‐flat major, op. 20: II. Andante | — | ||
| 49-3 | Octet in E‐flat major, op. 20: III. Scherzo. Allegro leggierissimo | — | ||
| 49-4 | Octet in E‐flat major, op. 20: IV. Presto | — | ||
| 49-5 | Septet in E‐flat, op. 20: I. Adagio – Allegro con brio | — | ||
| 49-6 | Septet in E‐flat, op. 20: II. Adagio cantabile | — | ||
| 49-7 | Septet in E‐flat, op. 20: III. Tempo di menuetto | — | ||
| 49-8 | Septet in E‐flat, op. 20: IV. Tema con variazioni. Andante | — | ||
| 49-9 | Septet in E‐flat, op. 20: V. Scherzo. Allegro molto e vivace | — | ||
| 49-10 | Septet in E‐flat, op. 20: VI. Andante con moto alla marcia – Presto | — | ||
| 50-1 | Belshazzar’s Feast: I. “Thus spake Isaiah” | — | ||
| 50-2 | Belshazzar’s Feast: II. “If I forget thee” | — | ||
| 50-3 | Belshazzar’s Feast: III. “Babylon was a great city” | — | ||
| 50-4 | Belshazzar’s Feast: IV. “In Babylon Belshazzar the King” | — | ||
| 50-5 | Belshazzar’s Feast: V. “Praise ye, the God of gold” | — | ||
| 50-6 | Belshazzar’s Feast: VI. “Thus in Babylon the mighty city” | — | ||
| 50-7 | Belshazzar’s Feast: VII. “And in that same hour” | — | ||
| 50-8 | Belshazzar’s Feast: VIII. “Then sing aloud to God our strength” | — | ||
| 50-9 | Belshazzar’s Feast: IX. “The trumpeters and pipers” | — | ||
| 50-10 | Belshazzar’s Feast: X. “Then sing aloud to God our strength” | — | ||
| 50-11 | Coronation Te Deum | — | ||
| 50-12 | I was glad, anthem for the Coronation of King Edward VII (1902) | — | ||
| 50-13 | Blest Pair of Sirens | — | ||
| 50-14 | Jerusalem | — |
Identifier Graph
028947828266 is a Universal Product Code (UPC) assigned to The Decca Sound 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 737 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Das Rheingold: Schwüles Gedünst ... Zur Burg führt die Brücke | Waldemar Kmentt, Eberhard Wächter, Wiener Philharmoniker, Sir Georg Solti | — |
| ABENDLICH STRAHLT DER SONNE AUGE | Kirsten Flagstad, George London, Hetty Plümacher, Set Svanholm, Wiener Philharmoniker, Sir Georg Solti | T-306.776.944-8 |
| Das Rheingold: Rheingold! Rheingold! Reines Gold! Wie lauter und hell | Oda Balsborg, Paul Kuën, Ira Malaniuk, Gustav Neidlinger, Hetty Plümacher, Wiener Philharmoniker, Sir Georg Solti | — |
| Das Rheingold: Rheingold! Rheingold! Reines Gold! Wie lauter und hell | Oda Balsborg, Paul Kuën, Ira Malaniuk, Gustav Neidlinger, Hetty Plümacher, Wiener Philharmoniker, Sir Georg Solti | — |
| Das Rheingold: Schwüles Gedünst ... Zur Burg führt die Brücke | Waldemar Kmentt, Eberhard Wächter, Wiener Philharmoniker, Sir Georg Solti | — |
| Das Rheingold: Abendlich strahlt der Sonne Auge | Kirsten Flagstad, George London, Hetty Plümacher, Set Svanholm, Wiener Philharmoniker, Sir Georg Solti | T-306.776.944-8 |
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
The UPC for “The Decca Sound” by Various Artists is 028947828266. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2011-01-01. Label: Decca. This release contains 737 tracks, each with its own ISRC. Tracks include GBF075610190, GBF075610201, GBF075610202.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | El sombrero de tres picos: I. Introducción | — | ||
| 2 | El sombrero de tres picos: II. La tarde | — | ||
| 3 | El sombrero de tres picos: III. Danza de la molinera | — | ||
| 4 | El sombrero de tres picos: IV. Las uvas | — | ||
| 5 | El sombrero de tres picos: V. Danza de los vecinos | — | ||
| 6 | El sombrero de tres picos: VI. Danza del molinero | — | ||
| 7 | El sombrero de tres picos: VII. Danza del corregidor | — | ||
| 8 | El sombrero de tres picos: VIII. Danza final | — | ||
| 9 | La vida breve: Interludio y danza | — | ||
| 10 | Images pour orchestre: Gigues | — | ||
| 11 | Images pour orchestre: Ibéria. I. Par les rues et par les chemins | — | ||
| 12 | Images pour orchestre: Ibéria. II. Les Parfums de la nuit | — | ||
| 13 | Images pour orchestre: Ibéria. III. Le Matin d’un jour de fête | — | ||
| 14 | Images pour orchestre: Rondes de printemps | — | ||
| 2-1 | España | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-2 | Capriccio espagnol, op. 34: 1. Alborada | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-3 | Capriccio espagnol, op. 34: 2. Variazioni | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-4 | Capriccio espagnol, op. 34: 3. Alborada | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-5 | Capriccio espagnol, op. 34: 4. Scena e canto gitano | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-6 | Capriccio espagnol, op. 34: 5. Fandango asturiano | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-7 | Andaluza (Danza española no. 5 in E minor, op. 37) | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-8 | Spanish Dances, Book 1, op. 12: No. 1 in C major | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-9 | Spanish Dances, Book 1, op. 12: No. 2 in G major | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-10 | Spanish Dances, Book 1, op. 12: No. 3 in A major | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-11 | Spanish Dances, Book 1, op. 12: No. 4 in B‐flat major | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-12 | Spanish Dances, Book 1, op. 12: No. 5 in D major | London Symphony Orchestra, Ataúlfo Argenta | — | |
| 2-13 | Violin Concerto in D, op. 35: I. Allegro moderato | — | ||
| 2-14 | Violin Concerto in D, op. 35: II. Canzonetta. Andante | — | ||
| 2-15 | Violin Concerto in D, op. 35: III. Allegro vivacissiomo | — | ||
| 3-1 | Piano Concerto no. 3 in D minor, op. 30: I. Allegro ma non tanto | Vladimir Ashkenazy, London Symphony Orchestra, Anatole Fistoulari | — | |
| 3-2 | Piano Concerto no. 3 in D minor, op. 30: II. Intermezzo. Adagio | Vladimir Ashkenazy, London Symphony Orchestra, Anatole Fistoulari | — | |
| 3-3 | Piano Concerto no. 3 in D minor, op. 30: III. Finale. Alla breve | Vladimir Ashkenazy, London Symphony Orchestra, Anatole Fistoulari | — | |
| 3-4 | Piano Sonata no. 2 in B-flat minor, op. 36: I. Allegro agitato | Vladimir Ashkenazy | — | |
| 3-5 | Piano Sonata no. 2 in B-flat minor, op. 36: II. Non allegro - Lento | Vladimir Ashkenazy | — | |
| 3-6 | Piano Sonata no. 2 in B-flat minor, op. 36: III. L'istesso tempo; Allegro molto | Vladimir Ashkenazy | T-911.517.582-1 | |
| 4-1 | Symphony no. 1 in E minor, op. 39: I. Andante, ma non troppo - Allegro energico | Philharmonia Orchestra, Vladimir Ashkenazy | — | |
| 4-2 | Symphony no. 1 in E minor, op. 39: II. Andante (ma non troppo lento) | Philharmonia Orchestra, Vladimir Ashkenazy | — | |
| 4-3 | Symphony no. 1 in E minor, op. 39: III. Scherzo (Allegro) | Philharmonia Orchestra, Vladimir Ashkenazy | — | |
| 4-4 | Symphony no. 1 in E minor, op. 39: IV. Finale (quasi una fantasia) | Philharmonia Orchestra, Vladimir Ashkenazy | — | |
| 4-5 | Pictures at an Exhibition: Promenade. Gnomus | — | ||
| 4-6 | Pictures at an Exhibition: Promenade. Il vecchio castello | — | ||
| 4-7 | Pictures at an Exhibition: Promenade. Tuileries – Bydlo | — | ||
| 4-8 | Pictures at an Exhibition: Promenade. Ballet of the Unhatched Chicks – Samuel Goldenberg and Schmuyle | — | ||
| 4-9 | Pictures at an Exhibition: Promenade. Limoges: le marché – Catacombae: Cum mortuis in lingua mortua | — | ||
| 4-10 | Pictures at an Exhibition: The Hut on Hen’s Legs (Baba Yaga) – The Great Gate of Kiev | — | ||
| 5-1 | Ecco quel fiero istante!, WoO 124 | — | ||
| 5-2 | Che fa il mio bene?, op. 82 no. 3 | — | ||
| 5-3 | Che fa il mio bene?, op. 82 no. 4 | — | ||
| 5-4 | T’intendo, si, mio cor, op. 82 no. 2 | — | ||
| 5-5 | Dimmi, ben mio, op. 82 no.1 | — | ||
| 5-6 | In questa tomba oscura, WoO 133 | — | ||
| 5-7 | Ridente la calma K. 152 | Cecilia Bartoli, András Schiff | — | |
| 5-8 | Vedi, quanto adoro, D. 510 "Didone abbandonata" | Cecilia Bartoli, András Schiff | — | |
| 5-9 | Se dall’Etra, D. 738 | — | ||
| 5-10 | Lo vuo’ cantar di Cadmo, D. 737 | — | ||
| 5-11 | La pastorella al prato II, .D 528 | Cecilia Bartoli, András Schiff | — | |
| 5-12 | Non t’accostar all’urna, D. 688 no. 1 | — | ||
| 5-13 | Guarda, che bianca luna, D. 688 no. 2 | — | ||
| 5-14 | Da quel sembiante appresi, D. 688 no. 3 | — | ||
| 5-15 | Mio ben ricordati, D. 688 no. 4 | — | ||
| 5-16 | Pensa, che questo istante, D. 76 | — | ||
| 5-17 | Mi batte ’l cor!, D. 767 | — | ||
| 5-18 | Arianna a Naxos | — | ||
| 6-1 | Violin Concerto, op. 14: I. Allegro | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | — | |
| 6-2 | Violin Concerto, op. 14: II. Andante | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | — | |
| 6-3 | Violin Concerto, op. 14: III. Presto in moto perpetuo | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | — | |
| 6-4 | Baal Shem: I. Vidui (Contrition) | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | T-070.009.928-0 | |
| 6-5 | Baal Shem: II. Nigun (Improvisation) | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | T-070.009.928-0 | |
| 6-6 | Baal Shem: III. Simchas Torah (Rejoicing) | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | T-070.009.928-0 | |
| 6-7 | Violin Concerto: I. Andante tranquillo | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | — | |
| 6-8 | Violin Concerto: II. Presto capriccioso alla napolitana | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | — | |
| 6-9 | Violin Concerto: III. Vivace | Joshua Bell, Baltimore Symphony Orchestra, David Zinman | — | |
| 7-1 | Don Juan, op. 20 | — | ||
| 7-2 | Eine Alpensinfonie, op. 64: Nacht | — | ||
| 7-3 | Eine Alpensinfonie, op. 64: Sonnenaufgang | — | ||
| 7-4 | Eine Alpensinfonie, op. 64: Der Anstieg | — | ||
| 7-5 | Eine Alpensinfonie, op. 64: Eintritt in den Wald‐Wanderung neben dem Bache | — | ||
| 7-6 | Eine Alpensinfonie, op. 64: Am Wasserfall | — | ||
| 7-7 | Eine Alpensinfonie, op. 64: Erscheinung | — | ||
| 7-8 | Eine Alpensinfonie, op. 64: Auf blumige Wiesen | — | ||
| 7-9 | Eine Alpensinfonie, op. 64: Auf der Alm | — | ||
| 7-10 | Eine Alpensinfonie, op. 64: Durch Dickicht und Gestrüpp auf Irrwegen | — | ||
| 7-11 | Eine Alpensinfonie, op. 64: Auf dem Gletscher | — | ||
| 7-12 | Eine Alpensinfonie, op. 64: Gefahrvolle Augenblicke – Auf dem Gipfel | — | ||
| 7-13 | Eine Alpensinfonie, op. 64: Vision | — | ||
| 7-14 | Eine Alpensinfonie, op. 64: Nebel steigen auf | — | ||
| 7-15 | Eine Alpensinfonie, op. 64: Die Sonne verdüstert sich allmählich | — | ||
| 7-16 | Eine Alpensinfonie, op. 64: Elegie | — | ||
| 7-17 | Eine Alpensinfonie, op. 64: Stille vor dem Sturm | — | ||
| 7-18 | Eine Alpensinfonie, op. 64: Gewitter und Sturm, Abstieg | — | ||
| 7-19 | Eine Alpensinfonie, op. 64: Sonnenuntergang | — | ||
| 7-20 | Eine Alpensinfonie, op. 64: Ausklang | — | ||
| 7-21 | Eine Alpensinfonie, op. 64: Nacht | — | ||
| 8-1 | Symphony no. 4 in E‐flat major “Romantic”: I. Bewegt, nicht zu schell | Wiener Philharmoniker, Karl Böhm | — | |
| 8-2 | Symphony no. 4 in E‐flat major “Romantic”: II. Andante, quasi allegretto | Wiener Philharmoniker, Karl Böhm | — | |
| 8-3 | Symphony no. 4 in E‐flat major “Romantic”: III. Scherzo. Bewegt – Trio. Nicht zu schnell, keinesfalls schleppend | Wiener Philharmoniker, Karl Böhm | — | |
| 8-4 | Symphony no. 4 in E‐flat major “Romantic”: IV. Finale. Bewegt, doch nicht zu schnell | Wiener Philharmoniker, Karl Böhm | T-318.676.528-2 | |
| 9-1 | Loreley-Rhein-Klänge, op. 154 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-2 | Bitte schön! - polka française, after motifs from 'Cagliostro in Wien, op. 372 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-3 | Ohne Bremse - Polka schnell, op. 238 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-4 | Wein, Weib und Gesang, op. 333 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-5 | Die Emancipierte - polka-mazur, op. 282 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-6 | Hereinspaziert, op. 518 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-7 | Die schöne Galathee - operetta in 1 Act (1865): Overture | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-8 | Bei uns z'Haus - waltz, op. 361 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-9 | Moulinet - polka française, op. 57 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-10 | Tik-Tak - Polka schnell, op. 365 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-11 | Pizzicato Polka (1870) | Wiener Philharmoniker, Willi Boskovsky | T-917.157.430-4 | |
| 9-12 | Rudolfsheimer - polka schnell, op. 152 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-13 | Auf der Jagd, op. 373 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-14 | Leichtes Blut, polka schnell, op. 319 | Wiener Philharmoniker, Willi Boskovsky | — | |
| 9-15 | An der schönen blauen Donau, op. 314 | Wiener Philharmoniker, Willi Boskovsky | T-902.100.912-1 | |
| 9-16 | Radetzky-Marsch, op. 228 | Wiener Philharmoniker, Willi Boskovsky | T-930.586.862-6 | |
| 10-1 | War Requiem, op. 66: I. Requiem aeternam: Requiem aeternam | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Simon Preston, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-2 | War Requiem, op. 66: I. Requiem aeternam: What passing bells for these who die as cattle? | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Peter Pears, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-3 | War Requiem, op. 66: II. Dies irae: Dies irae | Sir David Willcocks, The Bach Choir, London Symphony Chorus, London Symphony Orchestra, Benjamin Britten | — | |
| 10-4 | War Requiem, op. 66: II. Dies irae: Bugles sang, saddening the evening air | Dietrich Fischer-Dieskau, Benjamin Britten, Melos Ensemble | — | |
| 10-5 | War Requiem, op. 66: II. Dies irae: Liber scriptus proferetur | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Галина Павловна Вишневская, London Symphony Orchestra, Benjamin Britten | — | |
| 10-6 | War Requiem, op. 66: II. Dies irae: Out there, we've walked quite friendly up to Death | Dietrich Fischer-Dieskau, Peter Pears, Benjamin Britten, Melos Ensemble | — | |
| 10-7 | War Requiem, op. 66: II. Dies irae: Recordare Jesu pie | Sir David Willcocks, The Bach Choir, London Symphony Chorus, London Symphony Orchestra, Benjamin Britten | — | |
| 10-8 | War Requiem, op. 66: II. Dies irae: Be slowly lifted up | Dietrich Fischer-Dieskau, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-9 | War Requiem, op. 66: II. Dies irae: Confutatis | Sir David Willcocks, The Bach Choir, London Symphony Chorus, London Symphony Orchestra, Benjamin Britten | — | |
| 10-10 | War Requiem, op. 66: II. Dies irae: Lacrimosa dies illa | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Галина Павловна Вишневская, London Symphony Orchestra, Benjamin Britten | — | |
| 10-11 | War Requiem, op. 66: II. Dies irae: Move him into the sun | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Peter Pears, Галина Павловна Вишневская, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-12 | War Requiem, op. 66: III. Offertorium: Domine Jesu Christe | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Simon Preston, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-13 | War Requiem, op. 66: III. Offertorium: So Abram rose, and clave the wood | Sir David Willcocks, The Bach Choir, Dietrich Fischer-Dieskau, London Symphony Chorus, Peter Pears, Simon Preston, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-14 | War Requiem, op. 66: IV. Sanctus: Sanctus, sanctus, sanctus | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Галина Павловна Вишневская, London Symphony Orchestra, Benjamin Britten | — | |
| 10-15 | War Requiem, op. 66: IV. Sanctus: After the blast of lightning from the East | Dietrich Fischer-Dieskau, Benjamin Britten, Melos Ensemble | — | |
| 10-16 | War Requiem, op. 66: V. Agnus Dei: One ever hangs where shelled roads part | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Peter Pears, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 10-17 | War Requiem, op. 66: VI. Libera me: Libera me, Domine | Sir David Willcocks, The Bach Choir, London Symphony Chorus, Галина Павловна Вишневская, London Symphony Orchestra, Benjamin Britten | — | |
| 10-18 | War Requiem, op. 66: VI. Libera me: It seemed that out of battle I escaped | Dietrich Fischer-Dieskau, Peter Pears, Benjamin Britten, Melos Ensemble | — | |
| 10-19 | War Requiem, op. 66: VI. Libera me: Let us sleep now / In Paradisum | Sir David Willcocks, The Bach Choir, Dietrich Fischer-Dieskau, London Symphony Chorus, Peter Pears, Галина Павловна Вишневская, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 11-1 | Turangalîla‐symphonie: I. Introduction | — | ||
| 11-2 | Turangalîla‐symphonie: II. Chant d’amour 1 | — | ||
| 11-3 | Turangalîla‐symphonie: III. Turangalîla 1 | — | ||
| 11-4 | Turangalîla‐symphonie: IV. Chant d’amour 2 | — | ||
| 11-5 | Turangalîla‐symphonie: V. Joie du sang des étoiles | — | ||
| 11-6 | Turangalîla‐symphonie: VI. Jardin du sommeil d’amour | — | ||
| 11-7 | Turangalîla‐symphonie: VII. Turangalîla 2 | — | ||
| 11-8 | Turangalîla‐symphonie: VIII. Développement de l’amour | — | ||
| 11-9 | Turangalîla‐symphonie: IX. Turangalîla 3 | — | ||
| 11-10 | Turangalîla‐symphonie: X. Final | — | ||
| 12-1 | Violin Concerto in E minor, op. 64: I. Allegro molto appassionato | Kyung Wha Chung, Orchestre symphonique de Montréal, Charles Dutoit | — | |
| 12-2 | Violin Concerto in E minor, op. 64: II. Andante | Kyung Wha Chung, Orchestre symphonique de Montréal, Charles Dutoit | T-070.126.537-3 | |
| 12-3 | Violin Concerto in E minor, op. 64: III. Allegro non troppo - Allegro molto vivace | Kyung Wha-Chung, Orchestre symphonique de Montréal, Charles Dutoit | T-909.876.883-3 | |
| 12-4 | Violin Concerto no. 1 in G minor, op. 26: I. Vorspiel. Allegro moderato | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | T-902.685.630-4 | |
| 12-5 | Violin Concerto no. 1 in G minor, op. 26: II. Adagio | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | T-071.481.827-5 | |
| 12-6 | Violin Concerto no. 1 in G minor, op. 26: III. Finale. Allegro energico | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | T-700.095.171-5 | |
| 12-7 | Scottish Fantasy, op. 46: I. Introduction. Grave - Adagio cantabile | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | — | |
| 12-8 | Scottish Fantasy, op. 46: II. Allegro | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | T-071.481.827-5 | |
| 12-9 | Scottish Fantasy, op. 46: III. Andante sostenuto | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | — | |
| 12-10 | Scottish Fantasy, op. 46: IV. Finale. Allegro guerriero | Kyung Wha-Chung, Royal Philharmonic Orchestra, Rudolf Kempe | T-003.055.867-8 | |
| 13-1 | Piano Concerto no. 20 in D minor, K. 466: I. Allegro | Sir Clifford Curzon, English Chamber Orchestra, Benjamin Britten | T-001.312.909-3 | |
| 13-2 | Piano Concerto no. 20 in D minor, K. 466: II. Romance | Sir Clifford Curzon, English Chamber Orchestra, Benjamin Britten | — | |
| 13-3 | Piano Concerto no. 20 in D minor, K. 466: III. Rondo: Allegro assai | Sir Clifford Curzon, English Chamber Orchestra, Benjamin Britten | T-306.395.786-4 | |
| 13-4 | Piano Concerto no. 27 in B-flat major, K. 595: I. Allegro | Sir Clifford Curzon, English Chamber Orchestra, Benjamin Britten | T-011.619.733-1 | |
| 13-5 | Piano Concerto no. 27 in B-flat major, K. 595: II. Larghetto | Sir Clifford Curzon, English Chamber Orchestra, Benjamin Britten | T-926.819.124-8 | |
| 13-6 | Piano Concerto no. 27 in B-flat major, K. 595: III. Allegro | Sir Clifford Curzon, English Chamber Orchestra, Benjamin Britten | T-306.395.786-4 | |
| 14-1 | Erwartung: Scene 1, Hier hinein? Man sieht den Weg nicht.. | Anja Silja, Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-2 | Erwartung: Scene 2, Ist das noch der Weg? Hier is es eben | Anja Silja, Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-3 | Erwartung: Scene 3, Da kommt ein Licht! | Anja Silja, Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-4 | Erwartung, op. 17: 4. Szene. Er ist auch nicht da… | — | ||
| 14-5 | Erwartung, op. 17: 4. Szene. Es ist noch da…Herrgott in Himmel… | — | ||
| 14-6 | Erwartung, op. 17: 4. Szene. Aber so seltsam ist dein Auge… | — | ||
| 14-7 | Erwartung, op. 17: 4. Szene. Du siehst wieder dort hin? | — | ||
| 14-8 | Erwartung, op. 17: 4. Szene. Oh! nicht einmal die Gnade, mit dir sterben zu dürfen… | — | ||
| 14-9 | Erwartung, op. 17: 4. Szene. Liebster, Liebster, der Morgen kommt… | — | ||
| 14-10 | Lulu Suite: I. Rondo: Andante - Tempo I - Hymne: Sostenuto | Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-11 | Lulu Suite: II. Ostinato: Allegro | Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-12 | Lulu Suite: III. Lied der Lulu: Comodo | Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-13 | Lulu Suite: IV. Variationen: Moderato - Grandioso - Grazioso - Funèbre - Affettuoso - Thema | Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-14 | Lulu Suite: V. Adagio: Sostenuto - Lento - Grave | Wiener Philharmoniker, Christoph von Dohnányi | — | |
| 14-15 | Im Sommerwind | — | ||
| 15-1 | L'Oiseau de feu: Introduction | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-2 | L'Oiseau de feu: Le jardin enchante de Kachtchei | Detroit Symphony Orchestra, Antal Doráti | T-700.125.942-5 | |
| 15-3 | L'Oiseau de feu: Apparition de l'Oiseau de feu poursuivi par Ivan Tsarevitch | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-4 | L'Oiseau de feu: Danse de l'Oiseau de feu | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-5 | L'Oiseau de feu: Capture de l'Oiseau de feu par Ivan Tsarevitch | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-6 | L'Oiseau de feu: Supplications de l'Oiseau de feu - apparition des treize princesses enchantees | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-7 | L'Oiseau de feu: Jeu des princesses avec les pommes d'or (Scherzo) | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-8 | L'Oiseau de feu: Brusque apparition d'Ivan Tsarevitch | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-9 | L'Oiseau de feu: Khorovod (ronde) des princesses | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-10 | L'Oiseau de feu: Lever du jour - Ivan Tsarevitch penetre dans lepalais de Kachtchei | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-11 | L'Oiseau de feu: Carillon feerique - apparition des monster-gardiens de Kachtchei - capture d'Ivan.. | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-12 | L'Oiseau de feu: Danse de la suite de Kachtchei enchantee par l'Oiseau de feu | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-13 | L'Oiseau de feu: Danse infernale de tous les sujets de Kachtchei | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-14 | L'Oiseau de feu: Berceuse (l'Oiseau de feu) - reveil de Kachtchei - mort de Kachtchei - profonds... | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-15 | L'Oiseau de feu: Disparition du palais et des sortileges de Kachtchei - animation des chevaliers... | Detroit Symphony Orchestra, Antal Doráti | — | |
| 15-16 | Le Sacre du printemps: Première Partie. Introduction | — | ||
| 15-17 | Le Sacre du printemps: Première Partie. Augures printaniers — Danses des adolescentes | — | ||
| 15-18 | Le Sacre du printemps: Première Partie. Jeu du rapt | — | ||
| 15-19 | Le Sacre du printemps: Première Partie. Rondes printanières | — | ||
| 15-20 | Le Sacre du printemps: Première Partie. Jeu des cités rivales | — | ||
| 15-21 | Le Sacre du printemps: Première Partie. Cortège du Sage – Le Sage | — | ||
| 15-22 | Le Sacre du printemps: Première Partie. Danse de la terre | — | ||
| 15-23 | Le Sacre du printemps: Seconde Partie. Introduction | — | ||
| 15-24 | Le Sacre du printemps: Seconde Partie. Cercles mystérieux des adolescentes | — | ||
| 15-25 | Le Sacre du printemps: Seconde Partie. Glorification de l’élue | — | ||
| 15-26 | Le Sacre du printemps: Seconde Partie. Évocation des ancêtres | — | ||
| 15-27 | Le Sacre du printemps: Seconde Partie. Action rituelle des ancêtres | — | ||
| 15-28 | Le Sacre du printemps: Seconde Partie. Danse sacrale: l’élue | — | ||
| 16-1 | Ma Mère l’Oye: Prélude | — | ||
| 16-2 | Ma Mère l’Oye: 1er Tableau. Danse du Rouet et Scène | — | ||
| 16-3 | Ma Mère l’Oye: 2e Tableau. Pavane de la Belle au bois dormant | — | ||
| 16-4 | Ma Mère l’Oye: 3e Tableau. Les entretiens de la Belle et de la Bête | — | ||
| 16-5 | Ma Mère l’Oye: 4e Tableau. Petit Poucet | — | ||
| 16-6 | Ma Mère l’Oye: 5e Tableau. Laideronnette, Impératrice des Pagodes – Apothéose – La jardin féerique | — | ||
| 16-7 | Pavane pour une infante défunte - Orchestral version | John Zirbel | T-003.013.767-7 | |
| 16-8 | Le Tombeau de Couperin: I. Prélude | — | ||
| 16-9 | Le Tombeau de Couperin: II. Forlane | — | ||
| 16-10 | Le Tombeau de Couperin: III. Menuet | — | ||
| 16-11 | Le Tombeau de Couperin: IV. Rigaudon | — | ||
| 16-12 | Valses nobles et sentimentales: I. Modéré / II. Assez lent | — | ||
| 16-13 | Valses nobles et sentimentales: III. Modéré / IV. Assez animé | — | ||
| 16-14 | Valses nobles et sentimentales: V. Presque lent / VI. Assez vif | — | ||
| 16-15 | Valses nobles et sentimentales: VII. Moins vif / VIII. Épilogue | — | ||
| 16-16 | Boléro | Orchestre symphonique de Montréal, Charles Dutoit | T-003.006.377-4 | |
| 17-1 | Le nozze di Figaro: "Porgi amor" | Renée Fleming, London Symphony Orchestra, Sir Georg Solti | T-306.482.540-3 | |
| 17-2 | Le nozze di Figaro: "E Susanna non vien!" - "Dove sono i bei momenti" | Renée Fleming, London Symphony Orchestra, Sir Georg Solti | — | |
| 17-3 | Eugen Onegin: "Nu, zaboitalas ya!" - "Puskai pogilabnu ya, no pryezhde" (Letter scene) | Лариса Ивановна Дядькова, Renée Fleming, London Symphony Orchestra, Sir Georg Solti | — | |
| 17-4 | Rusalka: "Měsičku na nebi hlubokém" (O Silver Moon) | Renée Fleming, London Symphony Orchestra, Sir Georg Solti | T-010.055.280-4 | |
| 17-5 | Otello: "Era più calmo?" - "Piangea cantando" - "Ave Maria" | Лариса Ивановна Дядькова, Renée Fleming, London Symphony Orchestra, Sir Georg Solti | — | |
| 17-6 | Peter Grimes: "Peter seems to have disappeared" - "Embroidery in childhood was a luxury of idleness" (Embroidery aria) | Renée Fleming, Jonathan Summers, London Symphony Orchestra, Sir Georg Solti | — | |
| 17-7 | Daphne: "Ich komme, ich komme" (Transformation scene) | Renée Fleming, London Symphony Orchestra, Sir Georg Solti | — | |
| 18-1 | Piano Concerto no. 1 in D minor, op. 15: I. Maestoso – Poco più moderato | — | ||
| 18-2 | Piano Concerto no. 1 in D minor, op. 15: II. Adagio | — | ||
| 18-3 | Piano Concerto no. 1 in D minor, op. 15: III. Rondo. Allegro non troppo | — | ||
| 18-4 | Carnaval, op. 9: Préambule | — | ||
| 18-5 | Carnaval, op. 9: Pierrot | — | ||
| 18-6 | Carnaval, op. 9: Arlequin | — | ||
| 18-7 | Carnaval, op. 9: Valse noble | — | ||
| 18-8 | Carnaval, op. 9: Eusebius | — | ||
| 18-9 | Carnaval, op. 9: Florestan | — | ||
| 18-10 | Carnaval, op. 9: Coquette | — | ||
| 18-11 | Carnaval, op. 9: Réplique – Sphinxes | — | ||
| 18-12 | Carnaval, op. 9: Papillons | — | ||
| 18-13 | Carnaval, op. 9: A.S.C.H. – S.C.H.A. (Lettres dansantes) | — | ||
| 18-14 | Carnaval, op. 9: Chiarina | — | ||
| 18-15 | Carnaval, op. 9: Chopin | — | ||
| 18-16 | Carnaval, op. 9: Estrella | — | ||
| 18-17 | Carnaval, op. 9: Reconnaissance | — | ||
| 18-18 | Carnaval, op. 9: Pantalon et Colombine | — | ||
| 18-19 | Carnaval, op. 9: Valse allemande – Paganini – Valse allemande | — | ||
| 18-20 | Carnaval, op. 9: Aveu | — | ||
| 18-21 | Carnaval, op. 9: Promenade | — | ||
| 18-22 | Carnaval, op. 9: Pause | — | ||
| 18-23 | Carnaval, op. 9: Marche des Davidsbündler contre les Philistins | — | ||
| 19-1 | Symphony no. 5 in D minor, op. 47: I. Moderato | — | ||
| 19-2 | Symphony no. 5 in D minor, op. 47: II. Allegretto | — | ||
| 19-3 | Symphony no. 5 in D minor, op. 47: III. Largo | — | ||
| 19-4 | Symphony no. 5 in D minor, op. 47: IV. Allegro non troppo | — | ||
| 19-5 | Symphony no. 9 in E‐flat major, op. 70: I. Allegro | — | ||
| 19-6 | Symphony no. 9 in E‐flat major, op. 70: II. Moderato | — | ||
| 19-7 | Symphony no. 9 in E‐flat major, op. 70: III. Presto | — | ||
| 19-8 | Symphony no. 9 in E‐flat major, op. 70: IV. Largo | — | ||
| 19-9 | Symphony no. 9 in E‐flat major, op. 70: V. Allegretto – Allegro | — | ||
| 20-1 | Dido and Aeneas: Overture | — | ||
| 20-2 | Dido and Aeneas: Act I. “Shake the cloud from off your brow” | — | ||
| 20-3 | Dido and Aeneas: Act I. “Ah! Belinda, I am prest with torment” | — | ||
| 20-4 | Dido and Aeneas: Act I. “When monarchs unite” | — | ||
| 20-5 | Dido and Aeneas: Act I. “Whence could so much virtue spring?” | — | ||
| 20-6 | Dido and Aeneas: Act I. “Fear no danger” – Dance [The Baske] | — | ||
| 20-7 | Dido and Aeneas: Act I. “See, your royal guest appears” | — | ||
| 20-8 | Dido and Aeneas: Act I. “Cupid only throws the dart” | — | ||
| 20-9 | Dido and Aeneas: Act I. “If not for mine” | — | ||
| 20-10 | Dido and Aeneas: Act I. “Pursue thy conquest, Love” | — | ||
| 20-11 | Dido and Aeneas: Act I. A Dance Gittars Chacony | — | ||
| 20-12 | Dido and Aeneas: Act I. “To the hills and the vales” | — | ||
| 20-13 | Dido and Aeneas: Act I. The triumphing Dance | — | ||
| 20-14 | Dido and Aeneas: Act II. Prelude for the Witches – “Wayward sisters” | — | ||
| 20-15 | Dido and Aeneas: Act II. “Harm’s our delight” | — | ||
| 20-16 | Dido and Aeneas: Act II. “The Queen of Carthage, whom we hate” | — | ||
| 20-17 | Dido and Aeneas: Act II. “In our deep vaulted cell” | — | ||
| 20-18 | Dido and Aeneas: Act II. Echo Dance of Furies | — | ||
| 20-19 | Dido and Aeneas: Act II. Ritornelle – “Thanks to these lonesome vales” | — | ||
| 20-20 | Dido and Aeneas: Act II. Gitter ground – a dance | — | ||
| 20-21 | Dido and Aeneas: Act II. “Oft she visits” – Ritornelle | — | ||
| 20-22 | Dido and Aeneas: Act II. “Behold, upon my bending spear” | — | ||
| 20-23 | Dido and Aeneas: Act II. “Haste, haste to town” | — | ||
| 20-24 | Dido and Aeneas: Act II. “Stay, Prince” | — | ||
| 20-25 | Dido and Aeneas: Act II. Ritornelle | — | ||
| 20-26 | Dido and Aeneas: Act III. Prelude – “Come away, fellow sailors” | — | ||
| 20-27 | Dido and Aeneas: Act III. The Sailors’ Dance | — | ||
| 20-28 | Dido and Aeneas: Act III. “See the flags and streamers curling” | — | ||
| 20-29 | Dido and Aeneas: Act III. “Destruction’s our delight” | — | ||
| 20-30 | Dido and Aeneas: Act III. The Witches’ Dance | — | ||
| 20-31 | Dido and Aeneas: Act III. “Your counsel all is urg’d in vain” | — | ||
| 20-32 | Dido and Aeneas: Act III. “Great minds against themselves conspire” | — | ||
| 20-33 | Dido and Aeneas: Act III. “Thy hand Belinda” – “When I am laid in earth” | — | ||
| 20-34 | Dido and Aeneas: Act III. “With drooping wings” | — | ||
| 21-1 | Violin Concerto in D major, op. 61: I. Allegro ma non troppo | Deutsche Kammerphilharmonie Bremen, Paavo Järvi, Janine Jansen | — | |
| 21-2 | Violin Concerto in D major, op. 61: II. Larghetto - | Deutsche Kammerphilharmonie Bremen, Paavo Järvi, Janine Jansen | — | |
| 21-3 | Violin Concerto in D major, op. 61: III. Rondo – Allegro | Deutsche Kammerphilharmonie Bremen, Paavo Järvi, Janine Jansen | — | |
| 21-4 | Violin Concerto, op. 15: I. Moderato con moto | Janine Jansen, London Symphony Orchestra, Paavo Järvi | — | |
| 21-5 | Violin Concerto, op. 15: II. Vivace - Cadenza - | Janine Jansen, London Symphony Orchestra, Paavo Järvi | — | |
| 21-6 | Violin Concerto, op. 15: III. Passacaglia – Andante lento | Janine Jansen, London Symphony Orchestra, Paavo Järvi | — | |
| 22-1 | The Planets, op. 32: I. Mars, the Bringer of War | Wiener Philharmoniker, Herbert von Karajan | T-923.663.725-5 | |
| 22-2 | The Planets, op. 32: II. Venus, the Bringer of Peace | Wiener Philharmoniker, Herbert von Karajan | — | |
| 22-3 | The Planets, op. 32: III. Mercury, the Winged Messenger | Wiener Philharmoniker, Herbert von Karajan | — | |
| 22-4 | The Planets, op. 32: IV. Jupiter, the Bringer of Jollity | Wiener Philharmoniker, Herbert von Karajan | T-101.257.909-6 | |
| 22-5 | The Planets, op. 32: V. Saturn, the Bringer of Old Age | Wiener Philharmoniker, Herbert von Karajan | — | |
| 22-6 | The Planets, op. 32: VI. Uranus, the Magician | Wiener Philharmoniker, Herbert von Karajan | — | |
| 22-7 | The Planets, op. 32: VII. Neptune, the Mystic | Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Herbert von Karajan | — | |
| 22-8 | The Perfect Fool, op. 39, H. 150: Introduction: Dance of Spirits of Earth | — | ||
| 22-9 | The Perfect Fool, op. 39, H. 150: Dance of Spirits of Water | — | ||
| 22-10 | The Perfect Fool, op. 39, H. 150: Dance of Spirits of Fire | — | ||
| 22-11 | Egdon Heath, op. 47, H. 172 | — | ||
| 23-1 | Piano Concerto no. 3, BB 127, Sz. 119: I. Allegretto | — | ||
| 23-2 | Piano Concerto no. 3, BB 127, Sz. 119: II. Adagio religioso | — | ||
| 23-3 | Piano Concerto no. 3, BB 127, Sz. 119: III. Allegro vivace | — | ||
| 23-4 | Piano Concerto in G major: I. Allegramente | — | ||
| 23-5 | Piano Concerto in G major: II. Adagio assai | — | ||
| 23-6 | Piano Concerto in G major: III. Presto | — | ||
| 23-7 | Piano Concerto no. 3 in C major, op. 26: I. Andante – Allegro | — | ||
| 23-8 | Piano Concerto no. 3 in C major, op. 26: II. Andantino con variazioni | — | ||
| 23-9 | Piano Concerto no. 3 in C major, op. 26: III. Allegro ma non troppo | — | ||
| 24-1 | Symphony no. 9 in E minor, op. 95 “New World”: I. Adagio – Allegro molto | Wiener Philharmoniker, István Kertész | — | |
| 24-2 | Symphony no. 9 in E minor, op. 95 “New World”: II. Largo | Wiener Philharmoniker, István Kertész | — | |
| 24-3 | Symphony no. 9 in E minor, op. 95 “New World”: III. Scherzo – Molto vivace | Wiener Philharmoniker, István Kertész | T-911.517.582-1 | |
| 24-4 | Symphony no. 9 in E minor, op. 95 “New World”: IV. Allegro con fuoco | Wiener Philharmoniker, István Kertész | — | |
| 24-5 | Symphony no. 8 in G major, op. 88: I. Allegro con brio | London Symphony Orchestra, István Kertész | — | |
| 24-6 | Symphony no. 8 in G major, op. 88: II. Adagio | London Symphony Orchestra, István Kertész | T-071.481.827-5 | |
| 24-7 | Symphony no. 8 in G major, op. 88: III. Allegretto grazioso - Molto vivace | London Symphony Orchestra, István Kertész | — | |
| 24-8 | Symphony no. 8 in G major, op. 88: IV. Allegro ma non troppo | London Symphony Orchestra, István Kertész | T-912.623.296-0 | |
| 25-1 | Missa in angustiis, Hob. XXII:11: Kyrie | Choir of King’s College, Cambridge, Sylvia Stahlman, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-2 | Missa in angustiis, Hob. XXII:11: Gloria: Gloria in Excelsis Deo | Wilfred Brown, Choir of King’s College, Cambridge, Tom Krause, Sylvia Stahlman, Helen Watts, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-3 | Missa in angustiis, Hob. XXII:11: Gloria: Qui tollis peccata mundi | Choir of King’s College, Cambridge, Tom Krause, Sylvia Stahlman, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-4 | Missa in angustiis, Hob. XXII:11: Gloria: Quoniam tu solus Sanctus | Wilfred Brown, Choir of King’s College, Cambridge, Tom Krause, Sylvia Stahlman, Helen Watts, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-5 | Missa in angustiis, Hob. XXII:11: Credo: Credo in unum Deum | Choir of King’s College, Cambridge, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-6 | Missa in angustiis, Hob. XXII:11: Credo: Et incarnatus est | Wilfred Brown, Choir of King’s College, Cambridge, Tom Krause, Sylvia Stahlman, Helen Watts, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-7 | Missa in angustiis, Hob. XXII:11: Credo: Et resurrexit | Choir of King’s College, Cambridge, Sylvia Stahlman, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-8 | Missa in angustiis, Hob. XXII:11: Sanctus | Choir of King’s College, Cambridge, Simon Preston, London Symphony Orchestra, Sir David Willcocks | T-923.240.480-7 | |
| 25-9 | Missa in angustiis, Hob. XXII:11: Benedictus | Wilfred Brown, Choir of King’s College, Cambridge, Tom Krause, Sylvia Stahlman, Helen Watts, Simon Preston, London Symphony Orchestra, Sir David Willcocks | T-050.283.177-7 | |
| 25-10 | Missa in angustiis, Hob. XXII:11: Agnus Dei: Agnus Dei | Wilfred Brown, Choir of King’s College, Cambridge, Tom Krause, Sylvia Stahlman, Helen Watts, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-11 | Missa in angustiis, Hob. XXII:11: Agnus Dei: Dona nobis pacem | Choir of King’s College, Cambridge, Simon Preston, London Symphony Orchestra, Sir David Willcocks | — | |
| 25-12 | Missa in tempore belli, H XXII 9: Kyrie | April Cantelo, Choir of St John’s College, Cambridge, Helen Watts, Academy of St Martin in the Fields, George Guest | — | |
| 25-13 | Missa in tempore belli, H XXII 9: Gloria | Choir of St John’s College, Cambridge, Barry McDaniel, Academy of St Martin in the Fields, George Guest | — | |
| 25-14 | Missa in tempore belli, H XXII 9: Credo | April Cantelo, Choir of St John’s College, Cambridge, Barry McDaniel, Robert Tear, Helen Watts, Academy of St Martin in the Fields, George Guest | — | |
| 25-15 | Missa in tempore belli, H XXII 9: Sanctus | Choir of St John’s College, Cambridge, Helen Watts, Academy of St Martin in the Fields, George Guest | — | |
| 25-16 | Missa in tempore belli, H XXII 9: Benedictus | April Cantelo, Choir of St John’s College, Cambridge, Barry McDaniel, Robert Tear, Helen Watts, Academy of St Martin in the Fields, George Guest | — | |
| 25-17 | Missa in tempore belli, H XXII 9: Agnus Dei | Choir of St John’s College, Cambridge, Academy of St Martin in the Fields, George Guest | — | |
| 26-1 | Goyescas: Los majos enamorados, Part I: I. Los requiebros | — | ||
| 26-2 | Goyescas: Los majos enamorados, Part I: II. Coloquio en la reja | — | ||
| 26-3 | Goyescas: Los majos enamorados, Part I: III. El fandango del Candil | — | ||
| 26-4 | Goyescas: Los majos enamorados, Part I: IV. Quejas o La maja y el ruiseñor | — | ||
| 26-5 | Goyescas: Los majos enamorados, Part II: V. El amor y la muerte | — | ||
| 26-6 | Goyescas: Los majos enamorados, Part II: VI. Epílogo, o Serenata del espectro | — | ||
| 26-7 | Goyescas: El pelele | — | ||
| 26-8 | Noches en los jardines de España: I. En el Generalife | — | ||
| 26-9 | Noches en los jardines de España: II. Danza lejena | — | ||
| 26-10 | Noches en los jardines de España: III. En los jardines de la Sierra de Córdoba | — | ||
| 27-1 | Alles Schwindel | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-2 | Sex‐Appeal | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-914.787.735-8 | |
| 27-3 | Peter, Peter, komm zu mir zurück! | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-801.327.097-9 | |
| 27-4 | Das Gesellschaftslied | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-5 | Wenn die beste Freundin | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-801.904.560-5 | |
| 27-6 | Ich bin ein Vamp! | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-7 | L’Heure bleue | Ute Lemper, Matrix Ensemble | T-900.010.486-9 | |
| 27-8 | Zieh dich aus, Petronella! | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-9 | Raus mit den Männern! | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-10 | Der Verflossene | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-11 | Gesetzt den Fall | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-801.619.418-7 | |
| 27-12 | Ich weiß nicht, zu wem ich gehöre | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-802.551.559-8 | |
| 27-13 | Das lila Lied | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-800.222.134-4 | |
| 27-14 | Maskulinum - Femininum | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | — | |
| 27-15 | Mir ist heut so nach Tamerlan! | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-801.293.869-2 | |
| 27-16 | Eine kleine Sehnsucht | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-801.618.238-1 | |
| 27-17 | Wir wollen alle wieder Kinder sein! | Ute Lemper, Jeff Cohen, Matrix Ensemble, Robert Ziegler | T-800.789.768-0 | |
| 27-18 | Münchhausen | Ute Lemper, Matrix Ensemble | — | |
| 28-1 | Sonata for Piano no. 14 in C-sharp minor, op. 27 no. 2 "Moonlight": I. Adagio sostenuto | Radu Lupu | — | |
| 28-2 | Sonata for Piano no. 14 in C-sharp minor, op. 27 no. 2 "Moonlight": II. Allegretto | Radu Lupu | — | |
| 28-3 | Sonata for Piano no. 14 in C-sharp minor, op. 27 no. 2 "Moonlight": III. Presto agitato | Radu Lupu | — | |
| 28-4 | Sonata for Piano no. 8 in C minor, op. 13 "Pathétique": I. Grave - Allegro di molto e con brio | Radu Lupu | — | |
| 28-5 | Sonata for Piano no. 8 in C minor, op. 13 "Pathétique": II. Adagio cantabile | Radu Lupu | T-001.397.158-8 | |
| 28-6 | Sonata for Piano no. 8 in C minor, op. 13 "Pathétique": III. Rondo. Allegro | Radu Lupu | — | |
| 28-7 | Sonata for Piano no. 21 in C major, op. 53 "Waldstein": I. Allegro con brio | Radu Lupu | — | |
| 28-8 | Sonata for Piano no. 21 in C major, op. 53 "Waldstein": II. Introduzione. Adagio molto | Radu Lupu | — | |
| 28-9 | Sonata for Piano no. 21 in C major, op. 53 "Waldstein": III. Rondo. Allegretto moderato - Prestissimo | Radu Lupu | T-312.439.094-5 | |
| 28-10 | 32 Variations for Piano in C minor on an Original Theme, WoO 80 | Radu Lupu | — | |
| 29-1 | Symphony no. 3 in A minor, op. 56 "Scottish": I. Andante con moto / Allegro un poco agitato - Assai animato - Andante come prima | London Symphony Orchestra, Peter Maag | — | |
| 29-2 | Symphony no. 3 in A minor, op. 56 "Scottish": II. Vivace non troppo | London Symphony Orchestra, Peter Maag | — | |
| 29-3 | Symphony no. 3 in A minor, op. 56 "Scottish": III. Adagio | London Symphony Orchestra, Peter Maag | T-902.876.200-7 | |
| 29-4 | Symphony no. 3 in A minor, op. 56 "Scottish": IV. Allegro vivacissimo - Allegro maestoso assai | London Symphony Orchestra, Peter Maag | T-931.717.257-9 | |
| 29-5 | A Midsummer Night's Dream, op. 21: Overture | London Symphony Orchestra, Peter Maag | — | |
| 29-6 | A Midsummer Night's Dream, op. 61: No. 1. Scherzo | London Symphony Orchestra, Peter Maag | T-308.384.655-9 | |
| 29-7 | A Midsummer Night's Dream, op. 61: No. 3. "You Spotted Snakes" | Jennifer Vyvyan, Marion Lowe, Female Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Peter Maag | — | |
| 29-8 | A Midsummer Night's Dream, op. 61: No. 5. Intermezzo | London Symphony Orchestra, Peter Maag | — | |
| 29-9 | A Midsummer Night's Dream, op. 61: No. 7. Nocturne | London Symphony Orchestra, Peter Maag | — | |
| 29-10 | A Midsummer Night's Dream, op. 61: No. 9. Wedding March | London Symphony Orchestra, Peter Maag | T-928.635.469-6 | |
| 29-11 | A Midsummer Night's Dream, op. 61: No. 11. Dance of the Clowns | London Symphony Orchestra, Peter Maag | T-928.635.466-3 | |
| 29-12 | A Midsummer Night's Dream, op. 61: No. 12. Finale | Jennifer Vyvyan, Female Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Peter Maag | — | |
| 30-1 | Feste romane: I. Circenses | The Cleveland Orchestra, Lorin Maazel | T-309.480.518-8 | |
| 30-2 | Feste romane: II. Il giubileo | The Cleveland Orchestra, Lorin Maazel | T-309.480.518-8 | |
| 30-3 | Feste romane: III. L'ottobrata | The Cleveland Orchestra, Lorin Maazel | T-309.480.518-8 | |
| 30-4 | Feste romane: IV. La Befana | The Cleveland Orchestra, Lorin Maazel | T-309.480.518-8 | |
| 30-5 | Pini di Roma: I. I pini di Villa Borghese | The Cleveland Orchestra, Lorin Maazel | — | |
| 30-6 | Pini di Roma: II. Pini presso una catacomba | The Cleveland Orchestra, Lorin Maazel | T-902.597.184-0 | |
| 30-7 | Pini di Roma: III. I pini del Gianicolo | The Cleveland Orchestra, Lorin Maazel | T-902.597.184-0 | |
| 30-8 | Pini di Roma: IV. I pini della Via Appia | The Cleveland Orchestra, Lorin Maazel | T-333.047.149-9 | |
| 30-9 | Suite From "Le Coq D'or": I. King Dodon n His Palace | The Cleveland Orchestra, Lorin Maazel | T-802.124.289-8 | |
| 30-10 | Suite From "Le Coq D'or": II. King Dodon on the Battlefield | The Cleveland Orchestra, Lorin Maazel | T-802.124.289-8 | |
| 30-11 | Suite From "Le Coq D'or": III. King Dodon With the Queen of Shemakha | The Cleveland Orchestra, Lorin Maazel | T-802.124.289-8 | |
| 30-12 | Suite From "Le Coq D'or": IV. The Marriage Feast and Lamentable End of King Dodon | The Cleveland Orchestra, Lorin Maazel | — | |
| 31-1 | Sinfonietta for Orchestra: I. Allegretto - Allegro - Maestoso | Vienna Philharmonic, Charles Mackerras | T-900.952.974-2 | |
| 31-2 | Sinfonietta for Orchestra: II. Andante - Allegretto - Maestoso - Tempo I - Allegretto | Vienna Philharmonic, Charles Mackerras | T-900.952.974-2 | |
| 31-3 | Sinfonietta for Orchestra: III. Moderato - Con Moto - Prestissimo - Tempo I - Moderato | Vienna Philharmonic, Charles Mackerras | T-900.952.974-2 | |
| 31-4 | Sinfonietta for Orchestra: IV. Allegretto - Adagio - Presto - Andante - Presto - Prestissimo | Vienna Philharmonic, Charles Mackerras | T-003.055.867-8 | |
| 31-5 | Sinfonietta for Orchestra: V. Andante con moto - Maestoso - Tempo I - Allegretto - Allegro - Maestoso - Adagio | Vienna Philharmonic, Charles Mackerras | T-900.952.974-2 | |
| 31-6 | Taras Bulba - Rhapsody for Orchestra: I. The Death of Andri | Vienna Philharmonic, Charles Mackerras | — | |
| 31-7 | Taras Bulba - Rhapsody for Orchestra: II. The Death of Ostap | Vienna Philharmonic, Charles Mackerras | — | |
| 31-8 | Taras Bulba - Rhapsody for Orchestra: III. The Prophecy and the Death of Taras Bulba | Vienna Philharmonic, Charles Mackerras | — | |
| 31-9 | The Cunning Little Vixen Suite: I. Andante | Wiener Philharmoniker, Sir Charles Mackerras | T-801.135.532-2 | |
| 31-10 | The Cunning Little Vixen Suite: II. Andante | Wiener Philharmoniker, Sir Charles Mackerras | — | |
| 32-1 | Serenade for Strings in C, op. 48: I. Pezzo in forma di sonatina: Andante non troppo - Allegro moderato | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-2 | Serenade for Strings in C, op. 48: II. Walzer: Moderato (Tempo di valse) | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-3 | Serenade for Strings in C, op. 48: III. Elégie: Larghetto elegiaco | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-4 | Serenade for Strings in C, op. 48: IV. Finale (Tema russo): Andante - Allegro con spirito | Academy of St Martin in the Fields, Sir Neville Marriner | T-318.676.528-2 | |
| 32-5 | Souvenir de Florence, op. 70: I. Allegro con spirito | — | ||
| 32-6 | Sextet in D minor, op. 70 "Souvenir de Florence": II. Adagio cantabile e con moto | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-7 | Souvenir de Florence, op. 70: III. Allegro moderato | — | ||
| 32-8 | Souvenir de Florence, op. 70: IV. Allegro vivace | — | ||
| 32-9 | Holberg Suite, op. 40: I. Praeludium: Allegro vivace | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-10 | Holberg Suite, op. 40: II. Sarabande | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-11 | Holberg Suite, op. 40: III. Gavotte: Allegretto - Musette: Poco più mosso - Gavotte | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-12 | Holberg Suite, op. 40: IV. Air: Andante religioso | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 32-13 | Holberg Suite, op. 40: V. Rigaudon: Allegro con brio | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 33-1 | Divertissement: I. Introduction | — | ||
| 33-2 | Divertissement: II. Cortège | — | ||
| 33-3 | Divertissement: III. Nocturne | — | ||
| 33-4 | Divertissement: IV. Valse | — | ||
| 33-5 | Divertissement: V. Parade | — | ||
| 33-6 | Divertissement: VI. Finale. Allegro vivace | — | ||
| 33-7 | Danse macabre, op. 40 | — | ||
| 33-8 | Jeux d’enfants, op. 22: I. Marche. Trompette et tambour | — | ||
| 33-9 | Jeux d’enfants, op. 22: II. Berceuse. La Poupée | — | ||
| 33-10 | Jeux d’enfants, op. 22: III. Impromptu. La toupie | — | ||
| 33-11 | Jeux d’enfants, op. 22: IV. Duo. Petit mari, petite femme | — | ||
| 33-12 | Jeux d’enfants, op. 22: V. Galop. Le bal | — | ||
| 33-13 | Le Rouet d’Omphale, op. 31 | — | ||
| 33-14 | Symphony no. 2 in B minor: I. Allegro | — | ||
| 33-15 | Symphony no. 2 in B minor: II. Scherzo. Prestissimo – Allegretto | — | ||
| 33-16 | Symphony no. 2 in B minor: III. Andante | — | ||
| 33-17 | Symphony no. 2 in B minor: IV. Finale. Allegro | — | ||
| 34-1 | Arcana | — | ||
| 34-2 | Intégrales | — | ||
| 34-3 | Ionisation | — | ||
| 34-4 | Symphony no. 2: I. Andante moderato | — | ||
| 34-5 | Symphony no. 2: II. Allegro | — | ||
| 34-6 | Symphony no. 2: III. Adagio cantabile | — | ||
| 34-7 | Symphony no. 2: IV. Lento maestoso | — | ||
| 34-8 | Symphony no. 2: V. Allegro molto vivace | — | ||
| 35-1 | Daphnis et Chloé, Part I: Introduction et Danse religieuse | Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Pierre Monteux | T-004.014.574-1 | |
| 35-2 | Daphnis et Chloé, Part I: Danse générale | London Symphony Orchestra, Pierre Monteux | T-305.194.628-8 | |
| 35-3 | Daphnis et Chloé, Part I: Danse grotesque de Dorcon | London Symphony Orchestra, Pierre Monteux | T-305.194.628-8 | |
| 35-4 | Daphnis et Chloé, Part I: Danse légère et gracieuse de Daphnis | Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-5 | Daphnis et Chloé, Part I: Danse de Lycéion | London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-6 | Daphnis et Chloé, Part I: Danse lente et mystérieuse des Nymphes | London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-7 | Daphnis et Chloé, Part II: Introduction | Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-8 | Daphnis et Chloé, Part II: Danse guerrière | Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-9 | Daphnis et Chloé, Part II: Danse suppliante de Chloé | London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-10 | Daphnis et Chloé, Part III: Lever du jour | Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Pierre Monteux | — | |
| 35-11 | Daphnis et Chloé, Part III: Pantomime | London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-12 | Daphnis et Chloé, Part III: Danse générale | Chorus of the Royal Opera House, Covent Garden, London Symphony Orchestra, Pierre Monteux | T-003.008.231-5 | |
| 35-13 | Enigma Variations: Theme (Andante) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-14 | Enigma Variations: C.A.E. (Andante) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-15 | Enigma Variations: H.D.S.‐P (Allegro) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-16 | Enigma Variations: R.B.T. (Allegretto) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-17 | Enigma Variations: W.M.B. (Allegro di Molto) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-18 | Enigma Variations: R.P.A. (Moderato) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-19 | Enigma Variations: Ysobel (Andantino) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-20 | Enigma Variations: Troyte (Presto) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-21 | Enigma Variations: W.N. (Allegretto) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-22 | Enigma Variations: Nimrod (Adagio) | London Symphony Orchestra, Pierre Monteux | T-010.115.427-1 | |
| 35-23 | Enigma Variations: Dorabella: Intermezzo (Allegretto) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-24 | Enigma Variations: G.R.S. (Allegro di Molto) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-25 | Enigma Variations: B.G.N. (Andante) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-26 | Enigma Variations: *** Romanza (Moderato) | London Symphony Orchestra, Pierre Monteux | — | |
| 35-27 | Enigma Variations: E.D.U. Finale (Allegro) | London Symphony Orchestra, Pierre Monteux | — | |
| 36-1 | Magnificat in D major, BWV 243: I. Coro. Magnificat | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-2 | Magnificat in D major, BWV 243: II. Aria. Et exsultavit spiritus meus | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-3 | Magnificat in D major, BWV 243: III. Aria. Quia respexit humilitatem - IV. Coro. Omnes generationes | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-4 | Magnificat in D major, BWV 243: V. Aria. Quia fecit mihi magna | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-5 | Magnificat in D major, BWV 243: VI. Aria (Duetto): Et misericordia | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-6 | Magnificat in D major, BWV 243: VII. Coro. Fecit potentiam | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-7 | Magnificat in D major, BWV 243: VIII. Aria. Deposuit potentes | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-8 | Magnificat in D major, BWV 243: IX. Aria. Esurientes implevit bonis | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-9 | Magnificat in D major, BWV 243: X. Aria (Terzetto): Suscepit Israel | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-10 | Magnificat in D major, BWV 243: XI. Coro. Sicut locutus est | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-11 | Magnificat in D major, BWV 243: XII. Coro. Gloria Patri | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-12 | Cantata, BWV 10 Meine Seel erhebt den Herren: I. Coro. Meine Seel erhebt den Herren | — | ||
| 36-13 | Cantata, BWV 10 Meine Seel erhebt den Herren: II. Aria. Herr, der du stark und mächtig bist | — | ||
| 36-14 | Cantata, BWV 10 Meine Seel erhebt den Herren: III. Recitativo. Des Höchsten Güt und Treu | — | ||
| 36-15 | Cantata, BWV 10 Meine Seel erhebt den Herren: IV. Aria. Gewaltige stößt Gott vom Stuhl | — | ||
| 36-16 | Cantata, BWV 10 Meine Seel erhebt den Herren: V. Duetto. Er denket der Barmherzigkeit | — | ||
| 36-17 | Cantata, BWV 10 Meine Seel erhebt den Herren: VI. Recitativo. Was Gott den Vätern alter Zeiten | — | ||
| 36-18 | Cantata, BWV 10 Meine Seel erhebt den Herren: VII. Choral. Lob und Preis sei Gott dem Vater | — | ||
| 36-19 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: I. Choral “Wachet auf, ruft uns die Stimme” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-20 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: II. Rezitativ (Tenor) “Er kommt, er kommt, der Bräut’gam kommt!” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-21 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: III. Duett (Soprano, Bass) “Wann kommst du, mein Heil?” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-22 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: IV. Choral “Zion hört die Wächter singen” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-23 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: V. Rezitativ (Bass) “So geh’ herein vor mir” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-24 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: VI. Duett (Soprano, Bass) “Mein Freund is mein!” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 36-25 | Cantata, BWV 140 “Wachet auf, ruft uns die Stimme”: VII. Choral “Gloria sei dir gesungen” | Stuttgarter Kammerorchester, Karl Münchinger | — | |
| 37-1 | Das Rheingold: Schwüles Gedünst ... Zur Burg führt die Brücke | Waldemar Kmentt, Eberhard Wächter, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-2 | Das Rheingold: Abendlich strahlt der Sonne Auge | Kirsten Flagstad, George London, Hetty Plümacher, Set Svanholm, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-3 | Das Rheingold: Rheingold! Rheingold! Reines Gold! Wie lauter und hell | Oda Balsborg, Paul Kuën, Ira Malaniuk, Gustav Neidlinger, Hetty Plümacher, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-4 | Die Walküre: Dritter Aufzug. Vorspiel - "Hojotoho! Heiaha!" (Orchester, Die Walküren) | Vera Schlosser, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-5 | Die Walküre: Dritter Aufzug. "Loge, hör! Lausche hieher!" - Feuerzauber (Wotan, Orchester) | Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-6 | Siegfried: Erster Aufzug. "Notung! Notung! Neidliches Schwert!" (Siegfried, Mime) | Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-7 | Siegfried: Erster Aufzug. "Hoho! Hoho! Hohei! Schmiede, mein Hammer, ein hartes Schwert!" (Siegfried, Mime) | Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-8 | Siegfried: “Aber wie sah meine Mutter sohl aus?” (Waldweben) | — | ||
| 37-9 | Götterdämmerung: Vorspiel. Siegfrieds Rheinfahrt | Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-10 | Götterdämmerung: Trauermarsch | — | ||
| 37-11 | Götterdämmerung: Dritter Aufzug. "Schweigt eures Jammers jauchzenden Schwall" (Brünnhilde, Gutrune) | Wiener Staatsopernchor, Birgit Nilsson, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-12 | Götterdämmerung: Dritter Aufzug. "Starke Scheite schichtet mir dort" (Brünnhilde) | Wiener Staatsopernchor, Birgit Nilsson, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-13 | Götterdämmerung: Dritter Aufzug. "Mein Erbe nun nehm' ich zu eigen" (Brünnhilde) | Wiener Staatsopernchor, Birgit Nilsson, Wiener Philharmoniker, Sir Georg Solti | — | |
| 37-14 | Götterdämmerung: Dritter Aufzug. "Fliegt heim, ihr Raben!" - "Zurück vom Ring!" (Brünnhilde, Hagen) | Wiener Staatsopernchor, Birgit Nilsson, Wiener Philharmoniker, Sir Georg Solti | — | |
| 38-1 | Il lamento di Federico (È la solita storia) | José Carreras | — | |
| 38-2 | Stalker: Train | Edward Artemiev | — | |
| 38-3 | Recondita armonia | Luciano Pavarotti | — | |
| 38-4 | Dein ist mein ganzes Herz | Plácido Domingo, Orchestra del Maggio Musicale Fiorentino, Orchestra del Teatro dell’Opera di Roma, Zubin Mehta | T-802.402.359-5 | |
| 38-5 | Solaris: Listen to Bach (The Earth) | Edward Artemiev | — | |
| 38-6 | Core ’ngrato | José Carreras | T-910.760.781-8 | |
| 38-7 | Stalker: They Go Long | Edward Artemiev | — | |
| 38-8 | Granada | José Carreras | T-041.981.858-8 | |
| 38-9 | Stalker: Meditation | Edward Artemiev | — | |
| 38-10 | Solaris: Ocean | Edward Artemiev | — | |
| 38-11 | Tosca: “È lucevan le stelle” | Plácido Domingo, Orchestra del Maggio Musicale Fiorentino, Orchestra del Teatro dell’Opera di Roma, Zubin Mehta | T-071.526.288-6 | |
| 38-12 | Turandot: “Nessun dorma” | Luciano Pavarotti, Orchestra del Maggio Musicale Fiorentino, Orchestra del Teatro dell’Opera di Roma, Zubin Mehta | T-005.000.838-2 | |
| 38-13 | Medley: Maria / Tonight / ’O paese d’ ’o sole / Cielito lindo | Carreras, Domingo, Pavarotti | T-035.013.183-7 | |
| 38-14 | Medley: Memory / Ochi tchorniye / Caminito / La Vie en rose | Carreras, Domingo, Pavarotti | T-003.018.090-5 | |
| 38-15 | Medley: Mattinata / Wien, Wien, nur du allein / Amapola / ’O sole mio | Carreras, Domingo, Pavarotti | T-001.002.250-0 | |
| 38-16 | Encore: ’O sole mio | Carreras, Domingo, Pavarotti | T-800.024.699-2 | |
| 38-17 | Turandot: Nessun dorma | The Three Tenors, Orchestra del Maggio Musicale Fiorentino, Orchestra del Teatro dell’Opera di Roma, Zubin Mehta | T-005.000.838-2 | |
| 39-1 | Turandot: Atto I. “Popolo di Pekino!” … “Indietro, cani!” | Sabin Markov, Montserrat Caballé, Nicolaï Ghiaurov, The John Alldis Choir, Luciano Pavarotti, London Philharmonic Orchestra, Zubin Mehta | — | |
| 39-2 | Turandot: Atto I. “Gira la cote!” | The John Alldis Choir, Wandsworth School Boys’ Choir, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-3 | Turandot: Atto I. “Signore, ascolta!” | Montserrat Caballé, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-4 | Turandot: Atto I. “Non piangere, Liù!” | Montserrat Caballé, Nicolaï Ghiaurov, The John Alldis Choir, Tom Krause, Piero de Palma, Luciano Pavarotti, Pier Francesco Poli, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-5 | Turandot: Atto I. “Ah! Per l’ultima volta” | Montserrat Caballé, Nicolaï Ghiaurov, The John Alldis Choir, Tom Krause, Piero de Palma, Luciano Pavarotti, Pier Francesco Poli, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-6 | Turandot: Atto II. “Olà, Pang! Olà, Pong!” | Tom Krause, Piero de Palma, Pier Francesco Poli, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-7 | Turandot: Atto II. “Ho una casa nell’Honan” | Tom Krause, Piero de Palma, Pier Francesco Poli, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-8 | Turandot: Atto II, scena 2. “In questa reggia” | The John Alldis Choir, Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-9 | Turandot: Atto II. “Gelo che ti da foco” | The John Alldis Choir, Luciano Pavarotti, Peter Pears, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-10 | Turandot: Atto II, scena 2. “Figlio del Cielo!” | The John Alldis Choir, Luciano Pavarotti, Peter Pears, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-11 | Turandot: “Nessun dorma” | Luciano Pavarotti, The John Alldis Choir, Wandsworth School Boys Choir, London Philharmonic Orchestra, Zubin Mehta | — | |
| 39-12 | Turandot: Atto III, scena 1. “Quel nome!” | Montserrat Caballé, Nicolaï Ghiaurov, The John Alldis Choir, Tom Krause, Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-13 | Turandot: Atto III, scena 1. “L’amore?” … “Tanto amore, segreto e inconfessato” | Montserrat Caballé, The John Alldis Choir, Tom Krause, Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-14 | Turandot: Atto III, scena 1. “Tu, che di gel sei cinta” | Montserrat Caballé, Nicolaï Ghiaurov, The John Alldis Choir, Tom Krause, Piero de Palma, Luciano Pavarotti, Pier Francesco Poli, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-15 | Turandot: Atto III. “Principessa di morte!” | Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-16 | Turandot: Atto III. “Che è mai di me?” | The John Alldis Choir, Luciano Pavarotti, Joan Sutherland, Wandsworth School Boys’ Choir, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-17 | Turandot: Atto III, scena 1. “Del primo pianto…” | Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-18 | Turandot: Atto III. “So il tuo nome!” | Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 39-19 | Turandot: Atto III, scena 2. “Diecimila anni al nostro Imperatore!” | The John Alldis Choir, Luciano Pavarotti, Joan Sutherland, London Philharmonic Orchestra, Zubin Mehta | T-005.000.838-2 | |
| 40-1 | Fanfare (after “La Morisque”, arr. Pickett) | — | ||
| 40-2 | Passe e medio / Reprise “Le Pingue” | — | ||
| 40-3 | Bergerette “Sans Roch” / Reprise | — | ||
| 40-4 | Den I Ronde “Pour Quoy” | — | ||
| 40-5 | Den VII Ronde “Il estoit une filette” | — | ||
| 40-6 | Den III Ronde | — | ||
| 40-7 | Den IV Ronde | — | ||
| 40-8 | Den V Ronde (Wo bistu) | — | ||
| 40-9 | Den VI Ronde / Saltarelle | — | ||
| 40-10 | Den XI Ronde / Aliud | — | ||
| 40-11 | Bergerette “Dont vien cela” / Reprise | — | ||
| 40-12 | Danse de Hercules oft maticine / De Madrigale | — | ||
| 40-13 | De Post | — | ||
| 40-14 | Les quatre Branles | — | ||
| 40-15 | Fagot | — | ||
| 40-16 | Den Hoboeckendans | — | ||
| 40-17 | Basse Danse “Mon Desir” / Reprise “Le cueur est bon” | — | ||
| 40-18 | Den I Allemaigne / Recoupe | — | ||
| 40-19 | Den II Allemaigne | — | ||
| 40-20 | Den III Allemaigne | — | ||
| 40-21 | Den V Allemaigne | — | ||
| 40-22 | Den VI Allemaigne | — | ||
| 40-23 | Den VII Allemaigne | — | ||
| 40-24 | Den VIII Allemaigne / Recoupe / Recoupe Aliud den Tenor voe | — | ||
| 40-25 | Bergerette (“La Brosse”) | — | ||
| 40-26 | Pavane “La Battaille” | — | ||
| 40-27 | Pavane “Mille Regretz” | — | ||
| 40-28 | Den II Gaillarde | — | ||
| 40-29 | Den XI Galliarde | — | ||
| 40-30 | Den IX Galliarde | — | ||
| 40-31 | Den IV Galliarde | — | ||
| 40-32 | Den VII Galliarde | — | ||
| 40-33 | Den X Galliarde “Mille Ducas” | — | ||
| 40-34 | Den III Galliarde | — | ||
| 40-35 | Den XV Galliarde “Le Tout” | — | ||
| 40-36 | Danse du Roy / Reprise | — | ||
| 40-37 | Entre du Fol | — | ||
| 40-38 | La Morisque | — | ||
| 41-1 | Piano Concerto no. 2 in G minor, op. 22: I. Andante sostenuto | Pascal Rogé, Royal Philharmonic Orchestra, Charles Dutoit | T-011.189.063-1 | |
| 41-2 | Piano Concerto no. 2 in G minor, op. 22: II. Allegro scherzando | Pascal Rogé, Royal Philharmonic Orchestra, Charles Dutoit | — | |
| 41-3 | Piano Concerto no. 2 in G minor, op. 22: III. Presto | Pascal Rogé, Royal Philharmonic Orchestra, Charles Dutoit | — | |
| 41-4 | Piano Concerto no. 4 in C minor, op. 44: I. Allegro moderato – Andante | — | ||
| 41-5 | Piano Concerto no. 4 in C minor, op. 44: II. Allegro vivace – Andante – Allegro | — | ||
| 41-6 | Piano Concerto no. 5 in F, op. 103, “Egyptian”: I. Allegro animato | — | ||
| 41-7 | Piano Concerto no. 5 in F, op. 103, “Egyptian”: II. Andante | — | ||
| 41-8 | Piano Concerto no. 5 in F, op. 103, “Egyptian”: III. Molto allegro | — | ||
| 42-1 | Stabat Mater: I. Duet “Stabat Mater dolorosa” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-2 | Stabat Mater: II. Aria (soprano) “Cujus animam gementem” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-925.590.388-9 | |
| 42-3 | Stabat Mater: III. Duet “O quam tristis et afflicta” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-925.590.391-4 | |
| 42-4 | Stabat Mater: IV. Aria (countertenor) “Quae moerebat et dolebat” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-5 | Stabat Mater: V. Duet “Quis est homo qui non fleret” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-6 | Stabat Mater: VI. Aria (soprano) “Vidit suum dulcem Natum” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-7 | Stabat Mater: VII. Aria (countertenor) “Eja Mater, fons amoris” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-905.680.072-7 | |
| 42-8 | Stabat Mater: VIII. Duet “Fac ut ardeat cor meum” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-9 | Stabat Mater: IX. Duet “Sancta Mater, istud agas” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-922.368.050-0 | |
| 42-10 | Stabat Mater: X. Aria (countertenor) “Fac ut portem Christi mortem” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-925.590.390-3 | |
| 42-11 | Stabat Mater: XI. Duet “Inflammatus et accensus” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-905.680.072-7 | |
| 42-12 | Stabat Mater: XII. Duet “Quando corpus morietur” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-13 | Salve Regina in F minor: I. Salve Regina | Andreas Scholl, Christophe Rousset, Les Talens Lyriques | — | |
| 42-14 | Salve Regina in F minor: II. Ad te clamamus | Andreas Scholl, Christophe Rousset, Les Talens Lyriques | — | |
| 42-15 | Salve Regina in F minor: III. Eja ergo, advocata nostra | Andreas Scholl, Christophe Rousset, Les Talens Lyriques | — | |
| 42-16 | Salve Regina in F minor: IV. Et Jesum | Andreas Scholl, Christophe Rousset, Les Talens Lyriques | — | |
| 42-17 | Salve Regina in F minor: V. O clemens | Andreas Scholl, Christophe Rousset, Les Talens Lyriques | — | |
| 42-18 | Salve Regina in A minor: I. Salve Regina | Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-19 | Salve Regina in A minor: II. Ad te clamamus | Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-20 | Salve Regina in A minor: III. Eja ergo, advocata nostra | Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 42-21 | Salve Regina in A minor: IV. O clemens | Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 43-1 | Goldberg Variations in G major, BWV 988: I. Aria | András Schiff | T-305.723.872-5 | |
| 43-2 | Goldberg Variations in G major, BWV 988: II. Variatio 1 a 1 Clav. | — | ||
| 43-3 | Goldberg Variations in G major, BWV 988: III. Variatio 2 a 1 Clav. | András Schiff | T-902.128.688-4 | |
| 43-4 | Goldberg Variations in G major, BWV 988: IV. Variatio 3 a 1 Clav. Canone all’Unisuono | — | ||
| 43-5 | Goldberg Variations in G major, BWV 988: V. Variatio 4 a 1 Clav. | — | ||
| 43-6 | Goldberg Variations in G major, BWV 988: VI. Variatio 5 a 1 ovvero 2 Clav. | — | ||
| 43-7 | Goldberg Variations in G major, BWV 988: VII. Variatio 6 a 1 Clav. Canone alla Seconda | András Schiff | T-902.128.688-4 | |
| 43-8 | Goldberg Variations in G major, BWV 988: VIII. Variatio 7 a 1 ovvero 2 Clav. | — | ||
| 43-9 | Goldberg Variations in G major, BWV 988: IX. Variatio 8 a 2 Clav. | — | ||
| 43-10 | Goldberg Variations in G major, BWV 988: X. Variatio 9 a 1 Clav. Canone alla Terza | András Schiff | T-902.128.688-4 | |
| 43-11 | Goldberg Variations in G major, BWV 988: XI. Variatio 10 a 1 Clav. Fughetta | — | ||
| 43-12 | Goldberg Variations in G major, BWV 988: XII. Variatio 11 a 2 Clav. | — | ||
| 43-13 | Goldberg Variations in G major, BWV 988: XIII. Variatio 12 a 1 Clav. Canone alla Quarta | — | ||
| 43-14 | Goldberg Variations in G major, BWV 988: XIV. Variatio 13 a 2 Clav. | — | ||
| 43-15 | Goldberg Variations in G major, BWV 988: XV. Variatio 14 a 2 Clav. | — | ||
| 43-16 | Goldberg Variations in G major, BWV 988: XVI. Variatio 15 a 1 Clav. Canone alla Quinta | — | ||
| 43-17 | Goldberg Variations in G major, BWV 988: XVII. Variatio 16 a 1 Clav. Ouverture | — | ||
| 43-18 | Goldberg Variations in G major, BWV 988: XVIII. Variatio 17 a 2 Clav. | — | ||
| 43-19 | Goldberg Variations in G major, BWV 988: XIX. Variatio 18 a 1 Clav. Canone alla Sexta | — | ||
| 43-20 | Goldberg Variations in G major, BWV 988: XX. Variatio 19 a 1 Clav. | András Schiff | T-902.128.688-4 | |
| 43-21 | Goldberg Variations in G major, BWV 988: XXI. Variatio 20 a 2 Clav. | — | ||
| 43-22 | Goldberg Variations in G major, BWV 988: XXII. Variatio 21 a 2 Clav. Canone alla Settima | — | ||
| 43-23 | Goldberg Variations in G major, BWV 988: XXIII. Variatio 22 a 1 Clav. | — | ||
| 43-24 | Goldberg Variations in G major, BWV 988: XXIV. Variatio 23 a 2 Clav. Alla breve | — | ||
| 43-25 | Goldberg Variations in G major, BWV 988: XXV. Variatio 24 a 1 Clav. Canone all’Ottava | — | ||
| 43-26 | Goldberg Variations in G major, BWV 988: XXVI. Variatio 25 a 2 Clav. | — | ||
| 43-27 | Goldberg Variations in G major, BWV 988: XXVII. Variatio 26 a 2 Clav. | — | ||
| 43-28 | Goldberg Variations in G major, BWV 988: XXVIII. Variatio 27 a 2 Clav. Canone alla Nona | — | ||
| 43-29 | Goldberg Variations in G major, BWV 988: XXIX. Variatio 28 a 2 Clav. | — | ||
| 43-30 | Goldberg Variations in G major, BWV 988: XXX. Variatio 29 a 1 ovvero 2 Clav. | — | ||
| 43-31 | Goldberg Variations in G major, BWV 988: XXXI. Variatio 30 a 1 Clav. Quodlibet | — | ||
| 43-32 | Goldberg Variations in G major, BWV 988: XXXII. Aria | András Schiff | T-801.806.984-7 | |
| 44-1 | Ruslan and Lyudmila: Overture | London Symphony Orchestra, Sir Georg Solti | T-909.762.448-1 | |
| 44-2 | Khovanshchina: Prelude | London Symphony Orchestra, Sir Georg Solti | — | |
| 44-3 | Night on the Bare Mountain | London Symphony Orchestra, Sir Georg Solti | — | |
| 44-4 | Prince Igor: Overture | London Symphony Orchestra, Sir Georg Solti | — | |
| 44-5 | Prince Igor: Polovtsian Dances and Chorus | London Symphony Orchestra Chorus, London Symphony Orchestra, Sir Georg Solti | — | |
| 44-6 | Light Cavalry: Overture | Wiener Philharmoniker, Sir Georg Solti | T-909.345.747-7 | |
| 44-7 | Poet and Peasant: Overture | Wiener Philharmoniker, Sir Georg Solti | T-909.264.126-4 | |
| 44-8 | Morning, Noon and Night in Vienna: Overture | Wiener Philharmoniker, Sir Georg Solti | — | |
| 44-9 | Pique Dame: Overture | Wiener Philharmoniker, Sir Georg Solti | T-915.715.285-7 | |
| 45-1 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: a. Veni creator spiritus | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-2 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: b. Imple superna gratia | Heather Harper, Lucia Popp, Yvonne Minton, Helen Watts, René Kollo, John Shirley-Quirk, Martti Talvela, Wiener Singverein, Wiener Staatsopernchor, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-3 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: c. Infirma nostri corporis | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-4 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: d. Accende lumen sensibus | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-5 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: e. Veni, creator… da gaudiorum praemia | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-6 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: f. Gloria sit patri domino” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-7 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": Poco Adagio: “Waldung, sie schwankt heran” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-8 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": "Ewiger Wonnebrand” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-9 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Wie Felsenabgrund mir zu Füßen” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-10 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Gerettet ist das edle Glied” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-11 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Uns bleibt ein Erdenrest” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-12 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Höchste Herrscherin der Welt” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-13 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Bei der Liebe, die den Fussen” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-14 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Neige, neige, du Ohnegleiche” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 45-15 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Blicket auf zum Retterblick” | Sir Georg Solti, Chicago Symphony Orchestra | — | |
| 45-16 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Alles Vergängliche” | Sir Georg Solti, Chicago Symphony Orchestra | — | |
| 46-1 | Ernani: “Solingo, errante e misero” | — | ||
| 46-2 | Norma: “Adalgisa! … Oh! rimembranza!” | — | ||
| 46-3 | Norma: Finale. “Ma di’ … O, non tremare” | — | ||
| 46-4 | La Gioconda: “Ecco la barca … addio” | — | ||
| 46-5 | La Gioconda: “Deh! non turbare” | — | ||
| 46-6 | Otello: Già nella notte densa" | — | ||
| 46-7 | Il trovatore: “Madre, non dormi?” | — | ||
| 46-8 | Encore. Beatrice di Tenda: “Angiol di pace” | — | ||
| 47-1 | String Quartet in F minor, op. 95: I. Allegro con brio | — | ||
| 47-2 | String Quartet in F minor, op. 95: II. Allegretto ma non troppo | — | ||
| 47-3 | String Quartet in F minor, op. 95: III. Allegro assai vivace ma serioso | — | ||
| 47-4 | String Quartet in F minor, op. 95: IV. Larghetto espressivo – Allegretto agitato – Allegro | — | ||
| 47-5 | String Quartet in B‐flat major, op. 130: I. Allegro ma non troppo – Allegro | — | ||
| 47-6 | String Quartet in B‐flat major, op. 130: II. Presto | — | ||
| 47-7 | String Quartet in B‐flat major, op. 130: III. Andante con moto, ma non troppo | — | ||
| 47-8 | String Quartet in B‐flat major, op. 130: IV. Alla danza tedesca. Allegro assai | — | ||
| 47-9 | String Quartet in B‐flat major, op. 130: V. Cavatina. Adagio molto espressivo | — | ||
| 47-10 | Große Fuge, op. 133: Overtura. Allegro – Meno mosso e moderato – Allegro – Fuga: Allegro – Meno mosso e moderato – Allegro molto con brio – Allegro | — | ||
| 47-11 | String Quartet in B‐flat major, op. 130: VI. Finale. Allegro | — | ||
| 48-1 | La fanciulla del West: Atto primo. “Che faranno i vecchi miei” | — | ||
| 48-2 | La fanciulla del West: Atto primo. “Jim, perchè piangi?” | — | ||
| 48-3 | La fanciulla del West: Atto primo. “Minnie, dalla mia casa son partito” | — | ||
| 48-4 | La fanciulla del West: Atto I. “Laggiù nel Soledad” | Mario Del Monaco, Cornell MacNeil, Renata Tebaldi, Orchestra dell’Accademia Nazionale di Santa Cecilia, Franco Capuana | T-200.897.900-5 | |
| 48-5 | La fanciulla del West: Atto primo. “Mister Johnson, siete rimasto indietro” | — | ||
| 48-6 | La fanciulla del West: Atto primo. “Io non son che una povera fanciulla” | — | ||
| 48-7 | La fanciulla del West: Atto primo. “Quello che tacete” | — | ||
| 48-8 | La fanciulla del West: Atto primo. “Come voi leggermi in cor non so” | — | ||
| 48-9 | La fanciulla del West: Atto primo. “Ah, non temete, nessuno ardirà” | — | ||
| 48-10 | La fanciulla del West: Atto II. “Non mi difenderò” | Mario Del Monaco, Renata Tebaldi, Orchestra dell’Accademia Nazionale di Santa Cecilia, Franco Capuana | — | |
| 48-11 | La fanciulla del West: Atto secondo. “L’han ferito … Che importa” | — | ||
| 48-12 | La fanciulla del West: Atto secondo. “Che c’è di nuovo, Jack?” | — | ||
| 48-13 | La fanciulla del West: Atto terzo. “Ch’ella mi creda libero e lontano” | — | ||
| 48-14 | La fanciulla del West: Atto terzo. “Ah‐Ah‐Ah!” | — | ||
| 48-15 | La fanciulla del West: Atto terzo. “Non vi fu mai” | — | ||
| 48-16 | La fanciulla del West: Atto terzo. “E anche tu lo vorrai” | — | ||
| 48-17 | La fanciulla del West: Atto terzo. “Le tue parole sono di Dio” | — | ||
| 49-1 | Octet in E‐flat major, op. 20: I. Allegro moderato, ma con fuoco | — | ||
| 49-2 | Octet in E‐flat major, op. 20: II. Andante | — | ||
| 49-3 | Octet in E‐flat major, op. 20: III. Scherzo. Allegro leggierissimo | — | ||
| 49-4 | Octet in E‐flat major, op. 20: IV. Presto | — | ||
| 49-5 | Septet in E‐flat, op. 20: I. Adagio – Allegro con brio | — | ||
| 49-6 | Septet in E‐flat, op. 20: II. Adagio cantabile | — | ||
| 49-7 | Septet in E‐flat, op. 20: III. Tempo di menuetto | — | ||
| 49-8 | Septet in E‐flat, op. 20: IV. Tema con variazioni. Andante | — | ||
| 49-9 | Septet in E‐flat, op. 20: V. Scherzo. Allegro molto e vivace | — | ||
| 49-10 | Septet in E‐flat, op. 20: VI. Andante con moto alla marcia – Presto | — | ||
| 50-1 | Belshazzar’s Feast: I. “Thus spake Isaiah” | — | ||
| 50-2 | Belshazzar’s Feast: II. “If I forget thee” | — | ||
| 50-3 | Belshazzar’s Feast: III. “Babylon was a great city” | — | ||
| 50-4 | Belshazzar’s Feast: IV. “In Babylon Belshazzar the King” | — | ||
| 50-5 | Belshazzar’s Feast: V. “Praise ye, the God of gold” | — | ||
| 50-6 | Belshazzar’s Feast: VI. “Thus in Babylon the mighty city” | — | ||
| 50-7 | Belshazzar’s Feast: VII. “And in that same hour” | — | ||
| 50-8 | Belshazzar’s Feast: VIII. “Then sing aloud to God our strength” | — | ||
| 50-9 | Belshazzar’s Feast: IX. “The trumpeters and pipers” | — | ||
| 50-10 | Belshazzar’s Feast: X. “Then sing aloud to God our strength” | — | ||
| 50-11 | Coronation Te Deum | — | ||
| 50-12 | I was glad, anthem for the Coronation of King Edward VII (1902) | — | ||
| 50-13 | Blest Pair of Sirens | — | ||
| 50-14 | Jerusalem | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Das Rheingold: Schwüles Gedünst ... Zur Burg führt die Brücke | Waldemar Kmentt, Eberhard Wächter, Wiener Philharmoniker, Sir Georg Solti | — |
| ABENDLICH STRAHLT DER SONNE AUGE | Kirsten Flagstad, George London, Hetty Plümacher, Set Svanholm, Wiener Philharmoniker, Sir Georg Solti | T-306.776.944-8 |
| Das Rheingold: Rheingold! Rheingold! Reines Gold! Wie lauter und hell | Oda Balsborg, Paul Kuën, Ira Malaniuk, Gustav Neidlinger, Hetty Plümacher, Wiener Philharmoniker, Sir Georg Solti | — |
| Das Rheingold: Rheingold! Rheingold! Reines Gold! Wie lauter und hell | Oda Balsborg, Paul Kuën, Ira Malaniuk, Gustav Neidlinger, Hetty Plümacher, Wiener Philharmoniker, Sir Georg Solti | — |
| Das Rheingold: Schwüles Gedünst ... Zur Burg führt die Brücke | Waldemar Kmentt, Eberhard Wächter, Wiener Philharmoniker, Sir Georg Solti | — |
| Das Rheingold: Abendlich strahlt der Sonne Auge | Kirsten Flagstad, George London, Hetty Plümacher, Set Svanholm, Wiener Philharmoniker, Sir Georg Solti | T-306.776.944-8 |
