UPC · Release
Various Artists
Last verified:
The UPC for “Magnificat (500 Ans De Musique Sacre) = Magnificat (Grosse Chorwerke Aus 5 Jahrhunderten) = Magnificat (500 Years Of Choral Masterworks)” by Various Artists is 028947836407. 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 2012-01-01. Label: Decca. This release contains 863 tracks, each with its own ISRC. Tracks include GBEKZ0400121, GBEKZ0400136, GBEKZ0400133.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Miserere | The Sixteen, Harry Christophers | — | |
| 2 | Crucifixus | The Sixteen, Harry Christophers | T-900.148.794-1 | |
| 3 | Timor et tremor | — | ||
| 4 | Ave Maria | The Sixteen, Harry Christophers | — | |
| 5 | Stabat Mater | — | ||
| 6 | Salve Regina | — | ||
| 7 | Ave verum corpus | — | ||
| 8 | Lamentations of Jeremiah I | — | ||
| 9 | Lamentations of Jeremiah II | — | ||
| 10 | Spem in alium | — | ||
| 2-1 | Requiem: Introitus | — | ||
| 2-2 | Requiem: Kyrie | — | ||
| 2-3 | Requiem: Graduale | — | ||
| 2-4 | Requiem: Tractus | — | ||
| 2-5 | Requiem: Offertorium | — | ||
| 2-6 | O domine Jesu Christe | — | ||
| 2-7 | Ave verum corpus | — | ||
| 2-8 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 2-9 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 2-10 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 2-11 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 2-12 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 2-13 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 3-1 | Fantasia in D minor | — | ||
| 3-2 | Mass for 4 voices: Kyrie | — | ||
| 3-3 | Mass for 4 voices: Gloria | — | ||
| 3-4 | Mass for 4 voices: Credo | — | ||
| 3-5 | Mass for 4 voices: Sanctus | — | ||
| 3-6 | Mass for 4 voices: Agnus Dei | — | ||
| 3-7 | Voluntary for My Lady Nevell | — | ||
| 3-8 | Mass for 3 voices: Kyrie | — | ||
| 3-9 | Mass for 3 voices: Gloria | — | ||
| 3-10 | Mass for 3 voices: Credo | — | ||
| 3-11 | Mass for 3 voices: Sanctus | — | ||
| 3-12 | Mass for 3 voices: Agnus Dei | — | ||
| 3-13 | My Ladye Nevells Booke: A Fancie on C | — | ||
| 3-14 | Mass for 5 voices: Kyrie | — | ||
| 3-15 | Mass for 5 voices: Gloria | — | ||
| 3-16 | Mass for 5 voices: Credo | — | ||
| 3-17 | Mass for 5 voices: Sanctus | — | ||
| 3-18 | Mass for 5 voices: Agnus Dei | — | ||
| 4-1 | Lectio II ad Matutinum: Taedet animam meam | — | ||
| 4-2 | Missa pro defunctis: Introitus: Requiem aeternam | — | ||
| 4-3 | Missa pro defunctis: Kyrie | — | ||
| 4-4 | Missa pro defunctis: Oratorio | — | ||
| 4-5 | Missa pro defunctis: Epistola | — | ||
| 4-6 | Missa pro defunctis: Graduale: Requiem aeternam | — | ||
| 4-7 | Missa pro defunctis: Tractus: Absolve, Dominine | — | ||
| 4-8 | Missa pro defunctis: Sequentia: Dies irae | — | ||
| 4-9 | Missa pro defunctis: Evangelium | — | ||
| 4-10 | Missa pro defunctis: Offerorium: Domine Iesu Christe | — | ||
| 4-11 | Missa pro defunctis: Prefatio | — | ||
| 4-12 | Missa pro defunctis: Sanctus | — | ||
| 4-13 | Missa pro defunctis: Benedictus | — | ||
| 4-14 | Missa pro defunctis: Pater noster | — | ||
| 4-15 | Missa pro defunctis: Agnus Dei | — | ||
| 4-16 | Missa pro defunctis: Communio: Lux aeterna | — | ||
| 4-17 | Missa pro defunctis: Postcommunio | — | ||
| 4-18 | Motectum: Versa est in luctum | — | ||
| 4-19 | Absolutio: Libera me, Domine | — | ||
| 5-1 | Vespro della Beata Vergine, SV 206: I. Domine ad adiuvandum | Monteverdi Choir, Nigel Robson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-2 | Vespro della Beata Vergine, SV 206: II. Dixit dominus | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-3 | Vespro della Beata Vergine, SV 206: III. Nigra sum | Mark Tucker, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-4 | Vespro della Beata Vergine, SV 206: IV. Laudate pueri | Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-5 | Vespro della beata Vergine: Pulchra es A 2 | Ann Monoyios, Marinella Pennicchi, Jakob Lindberg, David Miller, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-6 | Vespro della Beata Vergine, SV 206: VI. Laetatus sum | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-7 | Vespro della beata Vergine: Duo seraphim A 3 | Sandro Naglia, Nigel Robson, Mark Tucker, Jakob Lindberg, David Miller, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-8 | Vespro della beata Vergine: Nisi Dominus A 10 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-9 | Vespro della Beata Vergine, SV 206: IX. Audi coelum | Monteverdi Choir, Nigel Robson, Mark Tucker, Jakob Lindberg, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-10 | Vespro della beata Vergine: Lauda Jerusalem A 7 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-11 | Vespro della Beata Vergine, SV 206: XI. Sonata sopra "Sancta Maria" | Patrick Russill, London Oratory Junior Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-12 | Vespro della Beata Vergine, SV 206: XII. Ave maris stella | Patrick Russill, Michael Chance, London Oratory Junior Choir, Monteverdi Choir, Nigel Robson, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 6-1 | XIIIa-Magnificat a 7 I | — | ||
| 6-2 | XIIIa-Magnificat a 7 II | — | ||
| 6-3 | XIIIa-Magnificat a 7 III | — | ||
| 6-4 | XIIIa-Magnificat a 7 IV | — | ||
| 6-5 | XIIIa-Magnificat a 7 V | — | ||
| 6-6 | XIIIa-Magnificat a 7 VI | — | ||
| 6-7 | XIIIa-Magnificat a 7 VII | — | ||
| 6-8 | XIIIa-Magnificat a 7 VIII | — | ||
| 6-9 | XIIIa-Magnificat a 7 IX | — | ||
| 6-10 | XIIIa-Magnificat a 7 X | — | ||
| 6-11 | XIIIa-Magnificat a 7 XI | — | ||
| 6-12 | XIIIa-Magnificat a 7 XII | — | ||
| 6-13 | XIIIa-Magnificat a 7 XIII | — | ||
| 6-14 | XIIIb-Magnificat a 6 I | — | ||
| 6-15 | XIIIb-Magnificat a 6 II | — | ||
| 6-16 | XIIIb-Magnificat a 6 III | — | ||
| 6-17 | XIIIb-Magnificat a 6 IV | — | ||
| 6-18 | XIIIb-Magnificat a 6 V | — | ||
| 6-19 | XIIIb-Magnificat a 6 VI | — | ||
| 6-20 | XIIIb-Magnificat a 6 VII | — | ||
| 6-21 | XIIIb-Magnificat a 6 VIII | — | ||
| 6-22 | XIIIb-Magnificat a 6 IX | — | ||
| 6-23 | XIIIb-Magnificat a 6 X | — | ||
| 6-24 | XIIIb-Magnificat a 6 XI | — | ||
| 6-25 | XIIIb-Magnificat a 6 XII | — | ||
| 6-26 | XIIIb-Magnificat a 6 XIII | — | ||
| 6-27 | Stabat Mater: I. Duet “Stabat Mater dolorosa” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 6-28 | Stabat Mater: II. Aria (soprano) “Cujus animam gementem” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-925.590.388-9 | |
| 6-29 | Stabat Mater: III. Duet “O quam tristis et afflicta” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-925.590.391-4 | |
| 6-30 | Stabat Mater: IV. Aria (countertenor) “Quae moerebat et dolebat” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 6-31 | Stabat Mater: V. Duet “Quis est homo qui non fleret” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 6-32 | Stabat Mater: VI. Aria (soprano) “Vidit suum dulcem Natum” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 6-33 | Stabat Mater: VII. Aria (countertenor) “Eja Mater, fons amoris” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-905.680.072-7 | |
| 6-34 | Stabat Mater: VIII. Duet “Fac ut ardeat cor meum” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 6-35 | Stabat Mater: IX. Duet “Sancta Mater, istud agas” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-922.368.050-0 | |
| 6-36 | Stabat Mater: X. Aria (countertenor) “Fac ut portem Christi mortem” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-925.590.390-3 | |
| 6-37 | Stabat Mater: XI. Duet “Inflammatus et accensus” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-905.680.072-7 | |
| 6-38 | Stabat Mater: XII. Duet “Quando corpus morietur” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 7-1 | La piva, Vatican MS Q IV 28 | — | ||
| 7-2 | Deus in adjutorium | — | ||
| 7-3 | Psalmen Davids, Op. 2 No. 2: Warum toben die Heiden | — | ||
| 7-4 | Christum wir sollen loben schon | — | ||
| 7-5 | Historia der Geburt Jesu Christi, SWV 435: Die Geburt unsres Herren Jesu Christi | — | ||
| 7-6 | Historia der Geburt Jesu Christi, SWV 435: Es begab sich aber zu derselbigen Zeit | — | ||
| 7-7 | Historia der Geburt Jesu Christi, SWV 435: Fürchtet euch nicht | — | ||
| 7-8 | Historia der Geburt Jesu Christi, SWV 435: Und alsbald war da bei dem Engel | — | ||
| 7-9 | Historia der Geburt Jesu Christi, SWV 435: Ehre sei Gott in der Höhe | — | ||
| 7-10 | Historia der Geburt Jesu Christi, SWV 435: Und da die Engel | — | ||
| 7-11 | Historia der Geburt Jesu Christi, SWV 435: Lasset uns nun gehen gen Bethlehem | — | ||
| 7-12 | Historia der Geburt Jesu Christi, SWV 435: Und sie kamen eilend | — | ||
| 7-13 | Historia der Geburt Jesu Christi, SWV 435: Wo ist der neugeborne König | — | ||
| 7-14 | Historia der Geburt Jesu Christi, SWV 435: Da das der König Herodes hörete | — | ||
| 7-15 | Historia der Geburt Jesu Christi, SWV 435: Zu Bethlehem im jüdischen Lande | — | ||
| 7-16 | Historia der Geburt Jesu Christi, SWV 435: Da berief Herodes die Weisen heimlich | — | ||
| 7-17 | Historia der Geburt Jesu Christi, SWV 435: Ziehet hin, und forschet fleißig | — | ||
| 7-18 | Historia der Geburt Jesu Christi, SWV 435: Als sie nun den König gehöret hatten | — | ||
| 7-19 | Historia der Geburt Jesu Christi, SWV 435: Stehe auf, Joseph | — | ||
| 7-20 | Historia der Geburt Jesu Christi, SWV 435: Und er stund auf und nahm das Kindlein | — | ||
| 7-21 | Historia der Geburt Jesu Christi, SWV 435: Stehe auf, Joseph | — | ||
| 7-22 | Historia der Geburt Jesu Christi, SWV 435: Und er stund auf und nahm das Kindlein | — | ||
| 7-23 | Historia der Geburt Jesu Christi, SWV 435 (1664): 6. Danksagen wir alle Gott... | Giovanni Gabrieli, Paul McCreesh, Boy's Choir of Roskilde Cathedral, Kristian Olesen, Finn Evald | — | |
| 7-24 | Magnificat, SWV 468: Magnificat anima mea – Et exsultavit – Quia respexit | — | ||
| 7-25 | Wir Christenleut habn itzund Freud | — | ||
| 7-26 | Magnificat, SWV 468: Quia fecit mihi magna – Et misericordia – Fecit potentiam – Deposuit potentes | — | ||
| 7-27 | Lobt Gott, ihr Christen all zugleich | — | ||
| 7-28 | Magnificat, SWV 468: Esurientes implevit bonis – Suscepit Israel – Sicut locutus est | — | ||
| 7-29 | In dulci jubilo | — | ||
| 7-30 | Magnificat, SWV 468: Gloria Patri, et Filio – Sicut erat in principio | — | ||
| 7-31 | O bone Jesu, fili Mariae, SWV 471 | — | ||
| 7-32 | Gelobet seist du, Jesu Christ | — | ||
| 7-33 | Collect and Blessing | — | ||
| 7-34 | Tabulatura nova III: Benedicamus Domino à 6, SSWV 158 | — | ||
| 8-1 | Te Deum : Prélude. Rondeau | Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-2 | Te Deum, H. 146: Te Deum laudamus | Russel Smythe, Les Musiciens du Louvre, Marc Minkowski | T-031.661.210-8 | |
| 8-3 | Te Deum, H. 146: Te aeternum Patrem | Patrick Henckens, Éric Huchet, Annick Massis, Magdalena Kožená, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-4 | Te Deum, H. 146: Te per orbem terrarum | Patrick Henckens, Éric Huchet, Jean-Louis Bindi, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-5 | Te Deum, H. 146: Tu devicto mortis aculeo | Russel Smythe, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-6 | Te Deum, H. 146: Te ergo quaesumus | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-7 | Te Deum, H. 146: Aeterna fac cum Sanctis tuis | Patrick Henckens, Éric Huchet, Jean-Louis Bindi, Russel Smythe, Magdalena Kožená, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-8 | Te Deum, H. 146: Dignare, Domine, die isto | Russel Smythe, Jean-Louis Bindi, Annick Massis, Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-9 | Te Deum, H. 146: Fiat misericordia tua, Domine, super nos | Russel Smythe, Annick Massis, Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-10 | Te Deum, H. 146: In te, Domine, speravi | Patrick Henckens, Éric Huchet, Jean-Louis Bindi, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-11 | In nativitatem Domini canticum, H. 416: Nuit | Les Musiciens du Louvre, Marc Minkowski | T-003.057.405-0 | |
| 8-12 | Messe de minuit, H. 9: Kyrie | Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | — | |
| 8-13 | Messe de minuit, H. 9: Christe | Patrick Henckens, Éric Huchet, Russel Smythe, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | T-070.024.961-1 | |
| 8-14 | Messe de minuit, H. 9: Gloria | Patrick Henckens, Éric Huchet, Jean-Louis Bindi, Annick Massis, Magdalena Kožená, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | — | |
| 8-15 | Messe de minuit, H. 9: Credo | Patrick Henckens, Éric Huchet, Jean-Louis Bindi, Russel Smythe, Annick Massis, Magdalena Kožená, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | — | |
| 8-16 | Noël sur les instruments, H. 531b: "Laissez paitre vos bestes" | Les Musiciens du Louvre, Marc Minkowski | — | |
| 8-17 | Messe de minuit, H. 9: Sanctus - Benedictus | Patrick Henckens, Éric Huchet, Russel Smythe, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | — | |
| 8-18 | Messe de minuit, H. 9: Agnus Dei | Patrick Henckens, Éric Huchet, Jean-Louis Bindi, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | T-000.007.034-7 | |
| 9-1 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": Symphony Introduction. Canzona - Adagio - Canzona - Adagio - Allegro - Grave - Allegro | Gabrieli Players, Paul McCreesh | — | |
| 9-2 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Hail, bright Cecilia!" | Mark le Brocq, Gabrieli Consort, Peter Harvey, Susan Hemington Jones, Timothy Wilson, Gabrieli Players, Paul McCreesh | — | |
| 9-3 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Hark, hark, each tree its silence breaks" | Charles Pott, Timothy Wilson, Gabrieli Players, Paul McCreesh | — | |
| 9-4 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "'Tis Nature's voice" | Gabrieli Players, Paul McCreesh | — | |
| 9-5 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Soul of the world" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | T-909.611.691-5 | |
| 9-6 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Thou tun'st this world below, the spheres above" | Gabrieli Consort, Susan Hemington Jones, Gabrieli Players, Paul McCreesh | — | |
| 9-7 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "With that sublime celestial lay" | Mark le Brocq, Christopher Purves, Timothy Wilson, Gabrieli Players, Paul McCreesh | — | |
| 9-8 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Wondrous machine!" | Gabrieli Players, Paul McCreesh | T-926.896.078-7 | |
| 9-9 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "The airy violin" | Julian Podger, Gabrieli Players, Paul McCreesh | T-900.148.980-1 | |
| 9-10 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "In vain the am'rous flute and soft guitar" | Mark le Brocq, Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 9-11 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "The fife, and all the harmony of war" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 9-12 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Let these amongst themselves contest" | Peter Harvey, Julian Podger, Christopher Purves, Gabrieli Players, Paul McCreesh | — | |
| 9-13 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Hail, bright Cecilia, hail to thee!" | Charles Daniels, Gabrieli Consort, Timothy Wilson, Gabrieli Players, Paul McCreesh | — | |
| 9-14 | Remember not, Lord, our offenses, Z50* | — | ||
| 9-15 | O God, Thou art my God,Z35* | — | ||
| 9-16 | Music for the Funeral of Queen Mary, Z. 860: The Queen's Funeral March (procession) | Baroque Brass of London, David Hill | T-010.095.334-1 | |
| 9-17 | Music for the funeral of Queen Mary II | — | ||
| 9-18 | Music for the funeral of Queen Mary III | — | ||
| 9-19 | Music for the funeral of Queen Mary IV | — | ||
| 9-20 | Music for the funeral of Queen Mary V | — | ||
| 9-21 | Music for the funeral of Queen Mary VI | — | ||
| 9-22 | Music for the funeral of Queen Mary VII | — | ||
| 10-1 | Gloria in D major, RV 589: I. Gloria in excelsis Deo | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-2 | Gloria in D major, RV 589: II. Et in terra pax | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | T-915.994.849-9 | |
| 10-3 | Gloria in D major, RV 589: III. Laudamus te | Judith Nelson, Emma Kirkby, Academy of Ancient Music, Simon Preston | — | |
| 10-4 | Gloria in D major, RV 589: IV. Gratias agimus tibi | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-5 | Gloria in D major, RV 589: V. Propter magnam gloriam | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-6 | Gloria in D major, RV 589: VI. Domine Deus | Judith Nelson, Academy of Ancient Music, Simon Preston | — | |
| 10-7 | Gloria in D major, RV 589: VII. Domine Fili unigenite | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-8 | Gloria in D major, RV 589: VIII. Domine Deus, Agnus Dei | Carolyn Watkinson, Academy of Ancient Music, Simon Preston | — | |
| 10-9 | Gloria in D major, RV 589: IX. Qui tollis peccata mundi | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-10 | Gloria in D major, RV 589: X. Qui sedes | Carolyn Watkinson, Academy of Ancient Music, Simon Preston | — | |
| 10-11 | Gloria in D major, RV 589: XI. Quoniam tu solus Sanctus | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-12 | Gloria in D major, RV 589: XII. Cum Sancto Spiritu | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-13 | Nulla in mundo pax sincera, RV 630: I. Nulla in mundo pax sincera | Emma Kirkby, Academy of Ancient Music, Christopher Hogwood | T-060.275.065-1 | |
| 10-14 | Nulla in mundo pax sincera, RV 630: II. Blando colore ... Spirat anguis | Emma Kirkby, Academy of Ancient Music, Christopher Hogwood | — | |
| 10-15 | Nulla in mundo pax sincera, RV 630: III. Alleluia | Emma Kirkby, Academy of Ancient Music, Christopher Hogwood | — | |
| 10-16 | Magnificat in D Major, BWV 243: Chorus: “Magnificat” | RIAS Kammerchor, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | T-922.042.217-3 | |
| 10-17 | Magnificat in D Major, BWV 243: Aria: “Et exsultavit spiritus meus” | Birgit Remmert, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-18 | Magnificat in D Major, BWV 243: Aria: “Quia respexit humilitatem” | Barbara Bonney, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-19 | Magnificat in D Major, BWV 243: Chorus: “Omnes generationes” | RIAS Kammerchor, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-20 | Magnificat in D Major, BWV 243: Aria: “Quia fecit mihi magna” | Olaf Bär, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-21 | Magnificat in D Major, BWV 243: Aria (Duet): “Et misericordia” | Birgit Remmert, Rainer Trost, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-22 | Magnificat in D Major, BWV 243: Chorus: “Fecit potentiam” | RIAS Kammerchor, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-23 | Magnificat in D Major, BWV 243: Aria: “Deposuit potentes” | Rainer Trost, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-24 | Magnificat in D Major, BWV 243: Aria: “Esurientes implevit bonis” | Birgit Remmert, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-25 | Magnificat in D Major, BWV 243: Aria (Terzetto): “Suscepit Israel” | RIAS Kammerchor, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-26 | Magnificat in D Major, BWV 243: Chorus: “Sicut locutus est” | RIAS Kammerchor, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-27 | Magnificat in D Major, BWV 243: Chorus: “Gloria Patri” | RIAS Kammerchor, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 11-1 | Gottes Zeit ist die allerbeste Zeit, BWV 106: Sonatina, Molto adagio | English Baroque Soloists, John Eliot Gardiner | T-007.186.645-9 | |
| 11-2 | Actus tragicus, BWV 106: No. 2a Chorus & Solos: »Gottes Zeit ist die allerbeste Zeit« / No. 2b Arioso (Tenor): »Ach, Herr, lehre uns bedenken« / No. 2c Aria (Bass): »Bestelle dein Haus« / No. 2d Chorus & Arioso (Soprano): »Es ist der alte Bund« | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-3 | Gottes Zeit ist die allerbeste Zeit, BWV 106: Ariosi & Choral: In deine Hände befehl ich meinen Geist | Michael Chance, Monteverdi Choir, Stephen Varcoe, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-4 | Gottes Zeit ist die allerbeste Zeit, BWV 106: Chorus "Glorie, Lob, Ehr und Herrlichkeit" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-5 | O Jesu Christ, meins Lebens Licht BWV 118/231 | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-6 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-7 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-8 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-9 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-10 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-11 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-12 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-13 | Cantate « Herz und Mund und Tat und Leben », BWV 147: Choral « Jesus bleibet meine Freude » | The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner | T-905.387.081-8 | |
| 12-1 | Matthäus-Passion, BWV 244: No. 1. Chorus: Kommt, ihr Töchter, helft mir klagen (Erster Teil) | — | ||
| 12-2 | Matthäus-Passion, BWV 244: No. 2. Evangelist: Da Jesus diese Rede vollendet hatte | — | ||
| 12-3 | Matthäus-Passion, BWV 244: No. 3. Chorale: Herzliebster Jesu, was hast du verbrochen | — | ||
| 12-4 | Matthäus-Passion, BWV 244: No. 4. Evangelist: Da versammelten sich die Hohenpriester | — | ||
| 12-5 | Matthäus-Passion, BWV 244: No. 5. Recitative (Alto): Du lieber Heiland du | — | ||
| 12-6 | Matthäus-Passion, BWV 244: No. 6. Aria (Alto): Buß und Reu | — | ||
| 12-7 | Matthäus-Passion, BWV 244: No. 7. Evangelist: Da ging hin der Zwölfen einer | — | ||
| 12-8 | Matthäus-Passion, BWV 244: No. 8. Aria (Soprano): Blute nur, du liebes Herz | — | ||
| 12-9 | Matthäus-Passion, BWV 244: No. 9. Evangelist: Aber am ersten Tage der süßen Brot | — | ||
| 12-10 | Matthäus-Passion, BWV 244: No. 10. Chorale: Ich bin's, ich sollte büßen | — | ||
| 12-11 | Matthäus-Passion, BWV 244: No. 11. Evangelist: Er antwortete und sprach | — | ||
| 12-12 | Matthäus-Passion, BWV 244: No. 12. Recitative (Soprano): Wiewohl mein Herz in Tränen schwimmt | — | ||
| 12-13 | Matthäus-Passion, BWV 244: No. 13. Aria (Soprano): Ich will dir mein Herze schenken | — | ||
| 12-14 | Matthäus-Passion, BWV 244: No. 14. Evangelist: Und da sie den Lobgesang gesprochen hatten | — | ||
| 12-15 | Matthäus-Passion, BWV 244: No. 15. Chorale: Erkenne mich, mein Hüter | — | ||
| 12-16 | Matthäus-Passion, BWV 244: No. 16. Evangelist: Petrus aber antwortete und sprach zu ihm | — | ||
| 12-17 | Matthäus-Passion, BWV 244: No. 17. Chorale: Ich will hier bei dir stehen | — | ||
| 12-18 | Matthäus-Passion, BWV 244: No. 18. Evangelist: Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane | — | ||
| 12-19 | Matthäus-Passion, BWV 244: No. 19. Recitative (Tenor): O Schmerz! Hier zittert das gequälte Herz | — | ||
| 12-20 | Matthäus-Passion, BWV 244: No. 20. Aria (Tenor): Ich will bei meinem Jesu wachen | — | ||
| 12-21 | Matthäus-Passion, BWV 244: No. 21. Evangelist: Und ging hin ein wenig | — | ||
| 12-22 | Matthäus-Passion, BWV 244: No. 22. Recitative (Bass): Der Heiland fällt vor seinem Vater nieder | — | ||
| 12-23 | Matthäus-Passion, BWV 244: No. 23. Aria (Bass): Gerne will ich mich bequemen | — | ||
| 12-24 | Matthäus-Passion, BWV 244: No. 24. Evangelist: Und er kam zu seinen Jüngern | — | ||
| 12-25 | Matthäus-Passion, BWV 244: No. 25. Chorale: Was mein Gott will, das g'scheh allzeit | — | ||
| 12-26 | Matthäus-Passion, BWV 244: No. 26. Evangelist: Und er kam und fand sie aber schlafend | — | ||
| 12-27 | Matthäus-Passion, BWV 244: No. 27. Aria (Soprano, Alto): So ist mein Jesus nun gefangen | — | ||
| 12-28 | Matthäus-Passion, BWV 244: No. 28. Evangelist: Und siehe, einer aus denen | — | ||
| 12-29 | Matthäus-Passion, BWV 244: No. 29. Chorale: O Mensch, bewein dein Sünde groß | — | ||
| 12-30 | Matthäus-Passion, BWV 244: No. 30. Aria (Alto): Ach, nun ist mein Jesus hin! (Zweiter Teil) | — | ||
| 12-31 | Matthäus-Passion, BWV 244: No. 31. Evangelist: Die aber Jesum gegriffen hatten | — | ||
| 12-32 | Matthäus-Passion, BWV 244: No. 32. Chorale: Mir hat die Welt trüglich gericht' | — | ||
| 12-33 | Matthäus-Passion, BWV 244: No. 33. Evangelist: Und wiewohl viel falsche Zeugen herzutraten | — | ||
| 12-34 | Matthäus-Passion, BWV 244: No. 34. Recitative (Tenor): Mein Jesus schweigt zu falschen Lügen stille | — | ||
| 12-35 | Matthäus-Passion, BWV 244: No. 35. Aria (Tenor): Geduld! Wenn mich falsche Zungen stechen | — | ||
| 12-36 | Matthäus-Passion, BWV 244: No. 36. Evangelist: Und der Hohepriester antwortete | — | ||
| 12-37 | Matthäus-Passion, BWV 244: No. 37. Chorale: Wer hat dich so geschlagen | — | ||
| 13-1 | Matthäus-Passion, BWV 244: No. 38. Evangelist: Petrus aber saß draußen im Palast | — | ||
| 13-2 | Matthäus-Passion, BWV 244: No. 39. Aria (Alto): Embarme dich, mein Gott | — | ||
| 13-3 | Matthäus-Passion, BWV 244: No. 40. Chorale: Bin ich gleich von dir gewichen | — | ||
| 13-4 | Matthäus-Passion, BWV 244: No. 41. Evangelist: Des Morgens aber hielten alle Hohepriester | — | ||
| 13-5 | Matthäus-Passion, BWV 244: No. 42. Aria (Bass): Gebt mir meinen Jesum wieder! | — | ||
| 13-6 | Matthäus-Passion, BWV 244: No. 43. Evangelist: Sie hielten aber einen Rat | — | ||
| 13-7 | Matthäus-Passion, BWV 244: No. 44. Chorale: Befiehl du deine Wege | — | ||
| 13-8 | Matthäus-Passion, BWV 244: No. 45. Evangelist: Auf das Fest aber hatte der Landpfleger Gewohnheit | — | ||
| 13-9 | Matthäus-Passion, BWV 244: No. 46. Chorale: Wie wunderbarlich ist doch diese Strafe! | — | ||
| 13-10 | Matthäus-Passion, BWV 244: No. 47. Evangelist: Der Landpfleger sagte | — | ||
| 13-11 | Matthäus-Passion, BWV 244: No. 48. Recitative (Soprano): Er hat uns allen wohlgetan | — | ||
| 13-12 | Matthäus-Passion, BWV 244: No. 49. Aria (Soprano): Aus Liebe will mein Heiland sterben | — | ||
| 13-13 | Matthäus-Passion, BWV 244: No. 50. Evangelist: Sie schrieen aber noch mehr | — | ||
| 13-14 | Matthäus-Passion, BWV 244: No. 51. Recitative (Alto): Erbarm es Gott! | — | ||
| 13-15 | Matthäus-Passion, BWV 244: No. 52. Aria (Alto): Können Tränen meiner Wangen | Gewandhausorchester Leipzig, Riccardo Chailly | — | |
| 13-16 | Matthäus-Passion, BWV 244: No. 53. Evangelist: Da nahmen die Kriegsknechte | — | ||
| 13-17 | Matthäus-Passion, BWV 244: No. 54. Chorale: O Haupt voll Blut und Wunden | — | ||
| 13-18 | Matthäus-Passion, BWV 244: No. 55. Evangelist: Und da sie ihn verspottet hatten | — | ||
| 13-19 | Matthäus-Passion, BWV 244: No. 56. Recitative (Bass): Ja freilich will in uns das Fleisch und Blut | — | ||
| 13-20 | Matthäus-Passion, BWV 244: No. 57. Aria (Bass): Komm, süßes Kreuz, so will ich sagen | — | ||
| 13-21 | Matthäus-Passion, BWV 244: No. 58. Evangelist: Und da sie an die Stätte kamen | — | ||
| 13-22 | Matthäus-Passion, BWV 244: No. 59. Recitative (Alto): Ach Golgatha | — | ||
| 13-23 | Matthäus-Passion, BWV 244: No. 60. Aria (Alto): Sehet, Jesus hat die Hand | — | ||
| 13-24 | Matthäus-Passion, BWV 244: No. 61. Evangelist: Und von der sechsten Stunde an | — | ||
| 13-25 | Matthäus-Passion, BWV 244: No. 62. Chorale: Wenn ich einmal soll scheiden | — | ||
| 13-26 | Matthäus-Passion, BWV 244: No. 63. Evangelist: Und siehe da, der Vorhang im Tempel zerriß | — | ||
| 13-27 | Matthäus-Passion, BWV 244: No. 64. Recitative (Bass): Am Abend, da es kühle war | — | ||
| 13-28 | Matthäus-Passion, BWV 244: No. 65. Aria (Bass): Mache dich, mein Herze, rein | — | ||
| 13-29 | Matthäus-Passion, BWV 244: No. 66. Evangelist: Und Joseph nahm den Leib | — | ||
| 13-30 | Matthäus-Passion, BWV 244: No. 67. Recitative (Soprano, Alto, Tenor, Bass): Nun ist er Herr zur Ruh gebracht | — | ||
| 13-31 | Matthäus-Passion, BWV 244: No. 68. Chorus: Wir setzen uns mit Tränen nieder | Gewandhausorchester Leipzig, Riccardo Chailly | — | |
| 14-1 | Johannes-Passion, BWV 245: Erster Teil: 1. Chor: Herr, Unser Herrscher, Dessen Ruhm | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-2 | Johannes-Passion, BWV 245: Teil I. Verrat und Gefangennahme: "Jesus ging mit seinen Jüngern über den Bach Kidron" (Evangelista, Jesus) - Chor "Jesum von Nazareth!" - "Jesus spricht zu ihnen" (Evangelista, Jesus) - Chor "Jesum von Nazareth!" - "Jesus antwortete" (Evangelista, Jesus) | — | ||
| 14-3 | Johannes-Passion, BWV 245: Erster Teil: 3. Choral: O Große Lieb | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-4 | Johannes-Passion, BWV 245: Teil I. Verrat und Gefangennahme: "Auf daß das Wort erfüllet würde" (Evangelista, Jesus) | — | ||
| 14-5 | Johannes-Passion, BWV 245: Teil I. Verrat und Gefangennahme: Choral "Dein Will gescheh, Herr Gott, zugleich" | — | ||
| 14-6 | Johannes-Passion, BWV 245: Teil I. Verrat und Gefangennahme: "Die Schar aber und der Oberhauptmann und die Diener der Jüden nahmen Jesum" (Evangelista) | — | ||
| 14-7 | Johannes-Passion, BWV 245: Erster Teil: 7. Arie (Altus): Von Den Stricken Meiner Sünden | Michael Chance, Valerie Darke, Anthony Robson, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-8 | Johannes-Passion, BWV 245: Teil I. Verleugnung: "Simon Petrus aber folgete Jesu nach" (Evangelista) | — | ||
| 14-9 | Johannes-Passion, BWV 245: Teil I. Verleugnung: Arie (Sopran) "Ich folge dir gleichfalls mit freudigen Schritten" | — | ||
| 14-10 | Johannes-Passion, BWV 245: Teil I. Verleugnung: "Derselbige Jünger war dem Hohepriester bekannt" (Evangelista, Ancilla, Petrus, Jesus, Servus) | — | ||
| 14-11 | Johannes-Passion, BWV 245: Erster Teil: 11. Choral: Wer Hat Dich So Geschlagen | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-12 | Johannes-Passion, BWV 245: Teil I. Verleugnung: "Und Hannas sandte ihn gebunden zu dem Hohepriester Kaiphas" (Evangelista) - Chor "Bist du nicht seiner Jünger einer?" - "Er leugnete aber und sprach" (Evangelista, Petrus, Servus) | — | ||
| 14-13 | Johannes-Passion, BWV 245: Erster Teil: 13. Arie (Tenor): Ach, Mein Sinn, Wo Willt Du Endlich Hin | Neill Archer, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-14 | Johannes-Passion, BWV 245: Teil I. Verleugnung: Choral "Petrus, der nicht denkt zurück" | — | ||
| 14-15 | Johannes-Passion, BWV 245: Zweiter Teil: 15. Choral: Christus, Der Uns Selig Macht | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-16 | Johannes-Passion, BWV 245: Teil II. Verhör und Geißelung: "Da führeten sie Jesum von Kaiphas vor das Richthaus" (Evangelista, Pilatus) - Chor "Wäre dieser nicht ein Übeltäter" - "Da sprach Pilatus zu ihnen" (Evangelista, Pilatus) - Chor "Wir dürfen niemanden töten" - "Auf daß erfüllet würde das Wort Jesu" (Evangelista, Pilatus, Jesus) | — | ||
| 14-17 | Johannes-Passion, BWV 245: Zweiter Teil: 17. Choral: Ach Grosser König, Gross Zu Allen Zeiten | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-18 | Johannes-Passion, BWV 245: Teil II. Verhör und Geißelung: "Da sprach Pilatus zu ihm" (Evangelista, Pilatus, Jesus) - Chor "Nicht diesen, sondern Barrabam!" - "Barrabas aber war ein Mörder" (Evangelista) | — | ||
| 14-19 | Johannes-Passion, BWV 245: Zweiter Teil: 19. Arioso (Bass): Betrachte, Mein Seel | Cornelius Hauptmann, Pavlo Beznosiuk, Roy Goodman, Jakob Lindberg, English Baroque Soloists, John Eliot Gardiner | T-050.327.214-7 | |
| 14-20 | Johannes-Passion, BWV 245: Zweiter Teil: 20. Arie (Tenor): Erwäge, Wie Sein Blutgefärbter Rücken | Rufus Müller, Pavlo Beznosiuk, Richard Campbell, Roy Goodman, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-1 | Johannes-Passion, BWV 245: Teil II. Verteilung und Kreuzigung: "Und die Kriegsknechte flochten eine Krone von Dornen" (Evangelista) - Chor "Sei gegrüßt lieber Jüdenkönig!" - "Und gaben ihm Backenstreiche" (Evangelista, Pilatus) - Chor "Kreuzige, kreuzige!" - "Pilatus sprach zu ihnen" (Evangelista, Pilatus) - Chor "Wir haben ein Gesetz" - "Da Pilatus das Wort hörete" (Evangelista, Pilatus, Jesus) | — | ||
| 15-2 | Johannes-Passion, BWV 245: Zweiter Teil: 22. Choral: Durch Dein Gefängnis, Gottes Sohn | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-3 | Johannes-Passion, BWV 245: Teil II. Verurteilung und Kreuzigung: "Die Jüden aber schrieen und sprachen" (Evangelista) - Chor "Lässest du diesen los" - "Da Pilatus das Wort hörete" (Evangelista, Pilatus) - Chor "Weg, weg mit dem" - "Spricht Pilatus zu ihnen" (Evangelista) - Chor "Wir haben keinen König denn den Kaiser" - "Da überantwortete er ihn, daß er gekreuziget würde" (Evangelista) | — | ||
| 15-4 | Johannes-Passion, BWV 245: Zweiter Teil: 24. Arie (Bass) - Chor: Eilt Ihr Angefochtnen Seelen / Wohin? | Cornelius Hauptmann, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-050.327.214-7 | |
| 15-5 | Johannes-Passion, BWV 245: Teil II. Verurteilung und Kreuzigung: "Allda kreuzigten sie ihn" - Chor "Schreibe nicht: der Jüden König sondern" - "Pilatus antwortet" (Evangelista, Pilatus) | — | ||
| 15-6 | Johannes-Passion, BWV 245: Zweiter Teil: 26. Choral: In Meines Herzens Grunde | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-7 | Johannes-Passion, BWV 245: Teil II. Tod Jesu: "Die Kriegsknechte aber, da sie Jesum gekreuziget hatten" (Evangelista) - Chor "Lasset uns den nicht zerteilen" - "Auf daß erfüllet würde die Schrift" (Evangelista, Jesus) | — | ||
| 15-8 | Johannes-Passion, BWV 245: Teil II. Tod Jesu: Choral "Er nahm alles wohl in acht" | — | ||
| 15-9 | Johannes-Passion, BWV 245: Teil II. Tod Jesu: "Und von Stund an nahm sie der Jünger zu sich" (Evangelista, Jesus) | — | ||
| 15-10 | Johannes-Passion, BWV 245: Zweiter Teil: 30. Arie (Altus): Es Ist Vollbracht | Michael Chance, Cornelius Hauptmann, Richard Campbell, English Baroque Soloists, John Eliot Gardiner | T-915.681.108-4 | |
| 15-11 | Johannes-Passion, BWV 245: Teil II. Tod Jesu: "Und neiget das Haupt und verschied" (Evangelista) | — | ||
| 15-12 | Johannes-Passion, BWV 245: Zweiter Teil: 32. Arie (Bass): Mein Teurer Heiland / Mit Choral: Jesu, Der Du Warest Tot | Cornelius Hauptmann, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-13 | Johannes-Passion, BWV 245: Teil II. Grablegung: "Und siehe da, der Vorhang im Tempel zerriß" (Evangelista) | — | ||
| 15-14 | Johannes-Passion, BWV 245: Zweiter Teil: 34. Arioso (Tenor I): Mein Herz, Indem Die Ganze Welt | Neill Archer, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-15 | Johannes-Passion, BWV 245: Zweiter Teil: 35. Arie (Sopran): Zerfliesse, Mein Herze | Nancy Argenta, Lisa Beznosiuk, Richard Earle, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-16 | Johannes-Passion, BWV 245: Teil II. Grablegung: "Die Jüden aber, dieweil es der Rüsttag war" (Evangelista) | — | ||
| 15-17 | Johannes-Passion, BWV 245: Zweiter Teil: 37. Choral: O Hilf, Christe, Gottes Sohn | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-18 | Johannes-Passion, BWV 245: Teil II. Grablegung: "Darnach bat Pilatum Joseph von Arimathia" (Evangelista) | — | ||
| 15-19 | Johannes-Passion, BWV 245: Zweiter Teil: 39. Chor: Ruht Wohl, Ihr Heiligen Gebeine | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-915.682.948-0 | |
| 15-20 | Johannes-Passion, BWV 245: Zweiter Teil: 40. Choral: Ach Herr, Lass Dein Lieb Engelein | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 16-1 | Mass in B minor BWV 232: I. Kyrie: Kyrie eleison | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-070.093.418-4 | |
| 16-2 | Mass in B minor BWV 232: II. Kyrie: Christe eleison | Lynne Dawson, Carol Hall, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-3 | Mass in B minor BWV 232: III. Kyrie: Kyrie eleison | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-4 | Mass in B minor BWV 232: IV. Gloria: Gloria in excelsis (attacca) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-010.963.456-1 | |
| 16-5 | Mass in B minor BWV 232: V. Gloria: Et in terra pax | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-6 | Mass in B minor BWV 232: VI. Gloria: Laudamus te | Nancy Argenta, Elizabeth Wilcock, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-7 | Mass in B minor BWV 232: VII. Gloria: Gratias agimus tibi | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-921.408.876-3 | |
| 16-8 | Mass in B minor BWV 232: VIII. Gloria: Domine Deus (attacca) | Nancy Argenta, Howard Milner, Lisa Beznosiuk, English Baroque Soloists, Sir John Eliot Gardiner | T-926.494.374-0 | |
| 16-9 | Mass in B minor BWV 232: IX. Gloria: Qui tollis peccata mundi | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-10 | Mass in B Minor, BWV 232: Aria 'Qui sedes ad dextram Patris' | Michael Chance, Sophia McKenna, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-11 | Mass in B minor BWV 232: XI. Gloria: Quoniam tu solus sanctus (attacca) | Stephen Varcoe, Michael Thompson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-12 | Mass in B minor BWV 232: XII. Gloria: Cum Sancto Spiritu | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-1 | Mass in B minor BWV 232: XIII. Credo: Credo in unum Deum | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.322-9 | |
| 17-2 | Mass in B minor BWV 232: XIV. Credo: Credo in unum Deum / Patrem omnipotentem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-3 | Mass in B minor BWV 232: XV. Credo: Et in unum Dominum | Patrizia Kwella, Mary Nichols, English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.322-9 | |
| 17-4 | Mass in B minor BWV 232: XVI. Credo: Et incarnatus est | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-306.483.194-9 | |
| 17-5 | Mass in B minor BWV 232: XVII. Credo: Crucifixus | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-917.413.519-4 | |
| 17-6 | Mass in B minor BWV 232: XVIII. Credo: Et resurrexit | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-7 | Mass in B minor BWV 232: XIX. Credo: Et in Spiritum Sanctum | Richard Lloyd-Morgan, Valerie Darke, Sophia McKenna, English Baroque Soloists, Sir John Eliot Gardiner | T-915.866.114-4 | |
| 17-8 | Mass in B minor BWV 232: XX. Credo: Confiteor (attacca) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-9 | Mass in B minor BWV 232: XXI: Credo: Et exspecto resurrectionem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-10 | Mass in B minor, BWV 232: No. 22 Chorus: »Sanctus« | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | T-312.692.424-7 | |
| 17-11 | Mass in B minor, BWV 232: No. 23 Chorus I/II: »Osanna in excelsis« | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 17-12 | Mass in B minor BWV 232: XXIV. Sanctus: Benedictus, qui venit | Wynford Evans, Lisa Beznosiuk, English Baroque Soloists, Sir John Eliot Gardiner | T-050.283.177-7 | |
| 17-13 | Mass in B minor BWV 232: XXV. Sanctus: Osanna (da capo) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-14 | Mass in B Minor, BWV 232: Aria 'Agnus Dei' | Michael Chance, English Baroque Soloists, Sir John Eliot Gardiner | T-914.368.452-0 | |
| 17-15 | Mass in B minor BWV 232: XXVII. Agnus Dei: Dona nobis pacem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-050.051.776-9 | |
| 18-1 | Israel in Egypt: Overture | — | ||
| 18-2 | Israel in Egypt: No. 1 Recitative (Tenor) - Now there arose a new king; No. 2 Chorus - And the children of Israel sighed | — | ||
| 18-3 | Israel in Egypt: No. 3 Recitative (Tenor) - Then sent He Moses; No. 4 Chorus - They loathed to drink of the river | — | ||
| 18-4 | Israel in Egypt: No. 5 Air (Alto) - Their land brought forth frogs | — | ||
| 18-5 | Israel in Egypt: No. 6 Chorus - He spake the word | — | ||
| 18-6 | Israel in Egypt: No. 7 Chorus - He gave them hailstones for rain | — | ||
| 18-7 | Israel in Egypt: No. 8 Chorus - He sent a thick darkness | — | ||
| 18-8 | Israel in Egypt: No. 9 Chorus - He smote all the first-born of Egypt | — | ||
| 18-9 | Israel in Egypt: No. 10 Chorus - But as for his people | — | ||
| 18-10 | Israel in Egypt: No. 11 Chorus - Egypt was glad when they departed | — | ||
| 18-11 | Israel in Egypt: No. 12 Chorus - He rebuked the Red Sea | — | ||
| 18-12 | Israel in Egypt: No. 13 Chorus - And Israel saw that great work | — | ||
| 19-1 | Israel in Egypt: No. 14 Introitus (Chorus) - Moses and the children on Israel | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-2 | Israel in Egypt: No. 15 Duet (Sopranos I and II) - The Lord is my strength | — | ||
| 19-3 | Israel in Egypt: No. 16 Chorus - He is my God | — | ||
| 19-4 | Israel in Egypt: No. 17 Duet (Bass I and II) - The Lord is a man of war | — | ||
| 19-5 | Israel in Egypt: No. 18 Chorus - The depths have covered them | — | ||
| 19-6 | Israel in Egypt: No. 19 Chorus - Thy right hand, o Lord | — | ||
| 19-7 | Israel in Egypt: No. 20 Chorus - And with the blast of thy nostrils | — | ||
| 19-8 | Israel in Egypt: No. 21 Air (Tenor) - The enemy said: I will pursue | — | ||
| 19-9 | Israel in Egypt: No. 22 Air (Soprano) - Thou didst blow with the wind | — | ||
| 19-10 | Israel in Egypt: No. 23 Chorus - Who is like unto thee | — | ||
| 19-11 | Israel in Egypt: No. 24 Duet (Alto and Tenor) - Thou in thy mercy | — | ||
| 19-12 | Israel in Egypt: No. 25 Chorus - The people shall hear | — | ||
| 19-13 | Israel in Egypt: No. 26 Air (Alto) - Thou shalt bring them in | — | ||
| 19-14 | Israel in Egypt: No.27a Chorus, No.28 Recitative, No.27b Chorus, No.29 Recitative, No.30 Chorus | — | ||
| 19-15 | HANDEL: ZADOK THE PRIEST (CORONATION ANTHEM NO.1, HWV 258) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-900.962.637-3 | |
| 19-16 | Two Coronation Anthems: The King Shall Rejoice | — | ||
| 20-1 | Messiah, HWV 56: Part I. Sinfony | Academy of Ancient Music, Christopher Hogwood | — | |
| 20-2 | Messiah, HWV 56: Part I. “Comfort ye my people – Every valley shall be exalted” | Paul Elliott, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-3 | Messiah, HWV 56: Part I. “And the glory of the Lord” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-4 | Messiah, HWV 56: Part I. “Thus saith the Lord – But who may abide the day of his coming” | Emma Kirkby, David Thomas, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-5 | Messiah, HWV 56: Part I. “And he shall purify” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-6 | Messiah, HWV 56: Part I. “Behold, a virgin shall conceive – O thou that tellest good tidings to Zion” | Simon Preston, Christ Church Cathedral Choir, Oxford, Carolyn Watkinson, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-7 | Messiah, HWV 56: Part I. “For behold, darkness shall cover the earth – The people that walked in the darkness” | David Thomas, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-8 | Messiah, HWV 56: Part I. “For unto us a child is born” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-9 | Messiah, HWV 56: Part I. Pifa | Academy of Ancient Music, Christopher Hogwood | — | |
| 20-10 | Messiah, HWV 56: Part I. “There were shepherds, abiding in the field – Glory to God” | Simon Preston, Christ Church Cathedral Choir, Oxford, Judith Nelson, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-11 | Messiah, HWV 56: Part I. “Rejoice greatly, O Daughter Of Zion” | Judith Nelson, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-12 | Messiah, HWV 56: Part I. “Then shall the eyes of the blind – He shall feed his flock” | Judith Nelson, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-13 | Messiah, HWV 56: Part I. “His yoke is easy, and his burden is light” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-14 | Messiah, HWV 56: Part II. “Behold the Lamb of God” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-15 | Messiah, HWV 56: Part II. “He was despised” | Carolyn Watkinson, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-1 | Messiah, HWV 56: Part II. “Surely he hath borne our griefs – And with His stripes we are healed” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-2 | Messiah, HWV 56: Part II. “All we like sheep have gone astray” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-3 | Messiah, HWV 56: Part II. “All they that see him laugh him to scorn – He trusted in God” | Simon Preston, Christ Church Cathedral Choir, Oxford, Paul Elliott, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-4 | Messiah, HWV 56: Part II. “Thy rebuke hath broken his heart – He was cut off out of the land of the living” | Paul Elliott, Judith Nelson, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-5 | Messiah, HWV 56: Part II. “But thou didst not leave his soul in hell” | Judith Nelson, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-6 | Messiah, HWV 56: Part II. “Lift up your heads, O ye gates” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-7 | Messiah, HWV 56: Part II. “Unto which of the angels said he at any time – Let all the angels of God worship him” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-8 | Messiah, HWV 56: Part II. “Thou art gone up on high” | Emma Kirkby, David Thomas, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-9 | Messiah, HWV 56: Part II. “The Lord gave the word” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-10 | Messiah, HWV 56: Part II. “How beautiful are the feet” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-11 | Messiah, HWV 56: Part II. “Their sound is gone out” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-12 | Messiah, HWV 56: Part II. “Why do the nations so furiously rage together? – Let us break their bonds asunder” | Simon Preston, Christ Church Cathedral Choir, Oxford, David Thomas, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-13 | Messiah, HWV 56: Part II. “He that dwelleth in heaven – Thou shalt break them” | Paul Elliott, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-14 | Messias: Halleluja Chor (VI. H, S. 244) | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-15 | Messiah, HWV 56: Part III. “I know that my Redeemer liveth” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-16 | Messiah, HWV 56: Part III. “Since by man came death” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-17 | Messiah, HWV 56: Part III. “Behold, I tell you a mystery – The trumpet shall sound” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | T-315.691.885-9 | |
| 21-18 | Messiah, HWV 56: Part III. “Then shall be brought to pass – O Death, where is thy sting?” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-19 | Messiah, HWV 56: Part III. “But thanks be to God” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-20 | Messiah, HWV 56: Part III. “If God be for us” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-21 | Messiah, HWV 56: Part III. “Worthy is the lamb that was slain” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-22 | Messiah, HWV 56: Part III. “Amen” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 22-1 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": I. "Kyrie" | Arleen Augér, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | T-923.240.177-3 | |
| 22-2 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIa. Gloria: "Gloria in excelsis" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | T-315.781.153-1 | |
| 22-3 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIb. Gloria: "Laudamus te" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-4 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIc. Gloria: "Gratias agimus tibi" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-5 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IId. Gloria: "Domine Deus" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-6 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIe. Gloria: "Qui tollis" | David Hill, Julian Smith, John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-7 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIf. Gloria: "Quoniam tu solus" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-8 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIg. Gloria: "Jesu Christe-Cum Sancto Spiritu" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-9 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIIa. Credo: "Credo in unum Deum" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | T-915.866.112-2 | |
| 22-10 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIIb. Credo: "Et incarnatus est" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | T-915.866.113-3 | |
| 22-11 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IVa. Sanctus: "Sanctus" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-12 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": V. Benedictus | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-13 | Mass No. 15 for Soloists, Chorus & Orchestra in C major, K. 317 “Coronation Mass”: I. “Kyrie” | Emma Kirkby, John Mark Ainsley, Winchester College Quiristers, Choir Of Winchester Cathedral, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-14 | Mass No. 15 for Soloists, Chorus & Orchestra in C major, K. 317 “Coronation Mass”: II. “Gloria” | Emma Kirkby, Catherine Robbin, John Mark Ainsley, Michael George, Winchester College Quiristers, Choir Of Winchester Cathedral, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-15 | Mass No. 15 for Soloists, Chorus & Orchestra in C major, K. 317 “Coronation Mass”: III. “Credo” | Emma Kirkby, Catherine Robbin, John Mark Ainsley, Michael George, Winchester College Quiristers, Choir Of Winchester Cathedral, Academy of Ancient Music, Christopher Hogwood | T-030.223.287-6 | |
| 22-16 | Mass No. 15 for Soloists, Chorus & Orchestra in C major, K. 317 “Coronation Mass”: IV. “Sanctus” | Winchester College Quiristers, Choir Of Winchester Cathedral, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-17 | Mass No. 15 for Soloists, Chorus & Orchestra in C major, K. 317 “Coronation Mass”: V. “Benedictus” | Emma Kirkby, Catherine Robbin, John Mark Ainsley, Michael George, Winchester College Quiristers, Choir Of Winchester Cathedral, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-18 | Mass in C major, K317 “Coronation”: VI. Agnus Dei | Emma Kirkby, Catherine Robbin, John Mark Ainsley, Michael George, Winchester College Quiristers, Choir Of Winchester Cathedral, Academy of Ancient Music, Christopher Hogwood | — | |
| 23-1 | Requiem in D minor, K 626 | Academy of St Martin in the Fields | T-905.386.342-6 | |
| 23-2 | Requiem in D minor, K. 626: 2. Kyrie | — | ||
| 23-3 | Requiem in D minor, K. 626: 3. Sequentia: Dies irae | Academy of St. Martin in the Fields Chorus, Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 23-4 | Requiem in D minor, K. 626: 3. Sequentia: Tuba mirum | Sylvia McNair, Carolyn Watkinson, Francisco Araiza, Robert Lloyd, Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 23-5 | Requiem in D minor, K. 626 (Beyer edition): IIIc. Sequenz: "Rex tremendae" | Academy of St. Martin in the Fields Chorus, Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 23-6 | Requiem in D minor, K. 626: 3. Sequentia: Recordare | — | ||
| 23-7 | Requiem in D minor, K. 626: 3. Sequentia: Confutatis | Academy of St. Martin in the Fields Chorus, Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 23-8 | Requiem in D minor, K. 626: 3. Sequentia: Lacrimosa | László Heltay, Francisco Araiza, Robert Lloyd, Sylvia McNair, Carolyn Watkinson, Academy of St. Martin in the Fields Chorus, Academy of St Martin in the Fields, Sir Neville Marriner | T-928.328.221-3 | |
| 23-9 | Requiem in D minor, K. 626: 4. Offertorium: Domine Jesu | — | ||
| 23-10 | Requiem in D minor, K. 626: 4. Offertorium: Hostias | — | ||
| 23-11 | Requiem in D minor, K. 626: 5. Sanctus | — | ||
| 23-12 | Requiem in D minor, K. 626: 6. Benedictus | — | ||
| 23-13 | Requiem in D minor, K. 626: 7. Agnus Dei | — | ||
| 23-14 | Requiem in D minor, K. 626: 8. Communio: Lux aeterna | — | ||
| 23-15 | Ave verum corpus, K. 618 | Leipzig Radio Chorus, Staatskapelle Dresden, Peter Schreier | T-323.252.117-0 | |
| 24-1 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": I. Kyrie | — | ||
| 24-2 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IIa. Gloria: "Gloria in excelsis Deo" | — | ||
| 24-3 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IIb. Gloria: "Qui tollis peccata mundi, miserere nobis" | — | ||
| 24-4 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IIc. Gloria: "Quoniam to solus Sanctus" | — | ||
| 24-5 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IIIa. Credo: "Credo in unum Deum" | — | ||
| 24-6 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IIIb. Credo: "Et incarnatus est" | — | ||
| 24-7 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IIIc. Credo: "Et resurrexit" | — | ||
| 24-8 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IV. Sanctus | — | ||
| 24-9 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": V. Benedictus | — | ||
| 24-10 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": VIa. Agnus Dei: "Agnus Dei, qui tollis peccata mundi" | — | ||
| 24-11 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": VIb. Agnus Dei: "Dona nobis pacem" | — | ||
| 24-12 | Te Deum in C major Hob. XXIIIc:2: I. Allegro "Te Deum laudamus" | — | ||
| 24-13 | Te Deum in C major Hob. XXIIIc:2: II. Adagio "Te ergo quaesumus" | — | ||
| 24-14 | Te Deum in C major Hob. XXIIIc:2: III. Allegro moderato "Aeterna fac cum sanctis tuis" | — | ||
| 25-1 | The Creation: Part One. The First Day: Introduction. The Representation of Chaos | — | ||
| 25-2 | The Creation: Part One. The First Day: Recitative "In the beginning God created the heaven and the earth" (Raphael, Uriel) - Chorus "And the spirit of God" | — | ||
| 25-3 | The Creation: Part One. The First Day: Aria "Now vanish before the holy beams" (Uriel) - Chorus "Despairing, cursing rage" | — | ||
| 25-4 | The Creation: Part One. The Second Day: Accompanied recitative "And God made the firmament" (Raphael) | — | ||
| 25-5 | The Creation: Part One. The Second Day: Solo with Chorus "The glorious heav'nly hierarchy" (Gabriel) | — | ||
| 25-6 | The Creation: Part One. The Third Day: Recitative "And God said: Let the waters under the heaven be gathered together" (Raphael) | — | ||
| 25-7 | The Creation: Part One. The Third Day: Aria "Rolling in Foaming Billows" (Raphael) | — | ||
| 25-8 | The Creation: Part One. The Third Day: Recitative "And God said: Let the earth bring forth grass" (Gabriel) | — | ||
| 25-9 | The Creation: Part One. The Third Day: Aria "With verdure clad the fields appear" (Gabriel) | — | ||
| 25-10 | The Creation: Part One. The Third Day: Recitative "And the heavenly host the third day proclaimed" (Uriel) | — | ||
| 25-11 | The Creation: Part One. The Third Day: Chorus "Awake the harp, the lyre awake" | — | ||
| 25-12 | The Creation: Part One. The Fourth Day: Recitative "And God said: Let there be lights in the firmament of heaven" (Uriel) | — | ||
| 25-13 | The Creation: Part One. The Fourth Day: Accompanied recitative "In brightest splendour rises now the sun" (Uriel) | — | ||
| 25-14 | The Creation: Part One. The Fourth Day: Trio and Chorus "The heavens are telling the glory of God" (Gabriel, Uriel, Raphael) | — | ||
| 25-15 | The Creation: Part Two. The Fifth Day: Recitative "And God said: Let the waters bring forth abundantly" (Gabriel) | — | ||
| 25-16 | The Creation: Part Two. The Fifth Day: Aria "On mighty pens uplifted soars the eagle" (Gabriel) | — | ||
| 25-17 | The Creation: Part Two. The Fifth Day: Accompanied recitative "And God created great whales" (Raphael) | — | ||
| 25-18 | The Creation: Part Two. The Fifth Day: Recitative "And the angels struck their immortal harps" (Raphael) | — | ||
| 25-19 | The Creation: Part Two. The Fifth Day: Trio "Most beautiful appear, with verdure young adorn'd" (Gabriel, Uriel, Raphael) - Chorus "The Lord is great" | — | ||
| 25-20 | The Creation: Part Two. The Sixth Day: Recitative "And God said: Let the earth bring forth the living creature" (Raphael) | — | ||
| 25-21 | The Creation: Part Two. The Sixth Day: Accompanied recitative "Straight opening her fertile womb" (Raphael) | — | ||
| 25-22 | The Creation: Part Two. The Sixth Day: Aria "Now heaven in fullest glory shines" (Raphael) | — | ||
| 25-23 | The Creation: Part Two. The Sixth Day: Recitative "And God created man" (Uriel) | — | ||
| 25-24 | The Creation: Part Two. The Sixth Day: Aria "In native worth and honour clad" (Uriel) | — | ||
| 25-25 | The Creation: Part Two. The Sixth Day: Recitative "And God saw everything that he had made" (Raphael) | — | ||
| 25-26 | The Creation: Part Two. The Sixth Day: Chorus and Trio "Achieved is the glorious work" (Gabriel, Uriel, Raphael) | — | ||
| 26-1 | The Creation: Part Three. Accompanied recitative "In rosy mantle now appears" (Uriel) | — | ||
| 26-2 | The Creation: Part Three. Duet with Chorus "By thee with bliss, o bounteous Lord" (Eve, Adam) | — | ||
| 26-3 | The Creation: Part Three. Recitative "Our duty have we now perform'd" (Adam, Eve) | — | ||
| 26-4 | The Creation: Part Three. Duet "Graceful consort!" (Adam, Eve) | — | ||
| 26-5 | The Creation: Part Three. Recitative "O happy pair" (Uriel) | — | ||
| 26-6 | The Creation: Part Three. Chorus "Praise the Lord, uplift your voices" | — | ||
| 27-1 | Missa Solemnis in D major, op. 123: 1. Kyrie - Assai sostenuto | — | ||
| 27-2 | Missa Solemnis in D major, op. 123: 2. Gloria - Allegro vivace | — | ||
| 27-3 | Missa Solemnis in D major, op. 123: 3. Credo - Allegro ma non troppo | — | ||
| 27-4 | Missa Solemnis in D major, op. 123: 4. Sanctus - Adagio | — | ||
| 27-5 | Missa Solemnis in D major, op. 123: 5. Agnus Dei - Adagio | — | ||
| 28-1 | Stabat Mater: I. Introduzione: Andantino moderato “Stabat mater dolorosa” | — | ||
| 28-2 | Stabat Mater: II. Aria: Allegretto maestoso “Cujus animam gementem” | — | ||
| 28-3 | Stabat Mater: III. Duetto: Largo “Quis est homo” | — | ||
| 28-4 | Stabat Mater: IV. Aria: Allegretto maestoso “Pro peccatis suae gentis” | — | ||
| 28-5 | Stabat Mater: V. Coro e Recitativo: Andante mosso “Eja, mater, fons amoris” | — | ||
| 28-6 | Stabat Mater: VI. Quartetto: Allegretto moderato “Sancta mater, istud agas” | — | ||
| 28-7 | Stabat Mater: VII. Cavatina: Andante grazioso “Fac, ut portem Christi mortem” | — | ||
| 28-8 | Inflammatus et accensus from "Stabat Mater" | Heinz Mende, Philharmonia Chorus, Katia Ricciarelli, Philharmonia Orchestra, Carlo Maria Giulini | — | |
| 28-9 | Stabat Mater: IX. Quartetto: Andante “Quando corpus morietur” | — | ||
| 28-10 | Stabat Mater: X. Finale: Allegro – Andantino moderato “Amen. In sempiterna saecula” | — | ||
| 29-1 | Elijah, op. 70: Part I. Introduction "As God the Lord of Israel liveth" (Elijah) | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-2 | Elijah, op. 70: Part I. Overture | Orchestra of the Age of Enlightenment, Paul Daniel | T-010.466.330-0 | |
| 29-3 | Elijah, op. 70: Part I, no. 1 Chorus "Help, Lord! Wilt Thou quite destroy us" (the people) | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-4 | Elijah, op. 70: Part I, no. 2 Duet with chorus "Lord, bow Thine ear to our prayer" (the people, two women) | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-5 | Elijah, op. 70: Part I, no. 3 Recitative "Ye people, rend your hearts and not your garments" (Obadiah) | John Mark Ainsley, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-6 | Elijah, op. 70: Part I, no. 4 Aria "If with all your hearts ye truly seek Me..." (Obadiah) | John Mark Ainsley, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-7 | Elijah, op. 70: Part I, no. 5 Chorus "Yet doth the Lord see it not" (the people) | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-8 | Elijah, op. 70: Part I, no. 6 Recitative "Elijah! Get thee hence, Elijah!" (an Angel) | Patricia Bardon, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-9 | Elijah, op. 70: Part I, no. 7 Double quartet "For He shall give His Angels charge over thee" (Angels) | Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-10 | Elijah, op. 70: Part I, no. 8 Aria - Duet "What have I to do with thee, o man of God?" (the widow, Elijah) | Bryn Terfel, Renée Fleming, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-11 | Elijah, op. 70: Part I, no. 9 Chorus "Blessed are the men who fear Him" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-12 | Elijah, op. 70: Part I, no. 10 Recitative - Chorus "As God the Lord of Sabaoth liveth (Elijah, Ahab, the people) | — | ||
| 29-13 | Elijah, op. 70: Part I, no. 11 Chorus "Baal, we cry to thee (prophets of Baal) | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-14 | Elijah, op. 70: Part I, no. 12 Recitative - Chorus "Call him louder, for he is a god!" (Elijah, prophets of Baal) | Bryn Terfel, Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-15 | Elijah, op. 70: Part I, no. 13 Recitative - Chorus "Call him louder! He heareth not" (Elijah, prophets of Baal) | Bryn Terfel, Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-16 | Elijah, op. 70: Part I, no. 14 Aria "Lord God of Abraham, Isaac and Israel" (Elijah) | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-17 | Elijah, op. 70: Part I, no. 15 Quartet "Cast thy burden upon the Lord" (Angels) | Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-18 | Elijah, op. 70: Part I, no. 16 Recitative - Chorus "O Thou, who makest Thine angels spirits" (Elijah, the people) | Bryn Terfel, Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-19 | Elijah, op. 70: Part I, no. 17 Aria "Is not His word like a fire" (Elijah) | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-20 | Elijah, op. 70: Part I, no. 18 Arioso "Woe, woe unto them who forsake Him!" (contralto I) | Patricia Bardon, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-21 | Elijah, op. 70: Part I, no. 19 Recitative and Chorus "O man of God, help thy people!" (Obadiah, Elijah, the boy, the people) | Bryn Terfel, John Mark Ainsley, Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-22 | Elijah, op. 70: Part I, no. 20 Chorus "Thanks be to God! He laveth the thirsty land" (the people) | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-1 | Elijah, op. 70: Part II, no. 21 Aria "Hear ye, Israel" (soprano I) | Renée Fleming, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-2 | Elijah, op. 70: Part II, no. 22 Chorus "'Be Not afraid', saith God the Lord" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-3 | Elijah, op. 70: Part II, no. 23 Recitative - Chorus "The Lord hath exalted thee from among the people" (Elijah, The Queen, the people) | Bryn Terfel, Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-4 | Elijah, op. 70: Part II, no. 24 Chorus "Woe to him! He shall perish" (the people) | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-5 | Elijah, op. 70: Part II, no. 25 Recitative "Man of God, now let my words be precious in thy sight" | Bryn Terfel, John Mark Ainsley, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-6 | Elijah, op. 70: Part II, no. 26 Aria "It is enough! O Lord, now take away my life" (Elijah) | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-7 | Elijah, op. 70: Part II, no. 27 Recitative "See, now he sleepeth beneath a juniper tree" (tenor I) | John Mark Ainsley, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-8 | Elijah, op. 70: Part II, no. 28 Trio "Lift thine eyes to the mountains" (Angels) | Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-9 | Elijah, op. 70: Part II, no. 29 Chorus "He, watching over Israel" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-10 | Elijah, op. 70: Part II, no. 30 Recitative "Arise, Elijah, for thou hast a long journey before thee" | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-11 | Elijah, op. 70: Part II, no. 31 Aria "Oh rest in the Lord" (an Angel) | Patricia Bardon, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-12 | Elijah, op. 70: Part II, no. 32 Chorus "He that shall endure to the end, shall be saved" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-13 | Elijah, op. 70: Part II, no. 33 Recitative "Night falleth round me, o Lord!" (Elijah, an Angel) | Bryn Terfel, Patricia Bardon, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-14 | Elijah, op. 70: Part II, no. 34 Chorus "Behold, God the Lord passed by!" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-15 | Elijah, op. 70: Part II, no. 35 Recitative - Chorus "Above Him stood the Seraphim...Holy is God the Lord Sabaoth" (contralto I, Seraphim) | Patricia Bardon, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-16 | Elijah, op. 70: Part II, no. 36 Chorus - Recitative "Go, return upon thy way!" (Elijah) | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-17 | Elijah, op. 70: Part II, no. 37 Arioso "For the mountains shall depart" (Elijah) | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-18 | Elijah, op. 70: Part II, no. 38 Chorus "Then did Elijah the prophet break forth like a fire" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-19 | Elijah, op. 70: Part II, no. 39 Aria "Then shall the righteous shine forth" (tenor I) | John Mark Ainsley, Orchestra of the Age of Enlightenment, Paul Daniel | T-306.381.608-6 | |
| 30-20 | Elijah, op. 70: Part II, no. 40 Recitative "Behold, God hath sent Elijah the prophet" (soprano I) | Renée Fleming, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-21 | Elijah, op. 70: Part II, no. 41 Chorus - Quartet "But the Lord from the north hath raised one...Oh come everyone that thirsteth" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-22 | Elijah, op. 70: Part II, no. 42 Chorus "And then shall your light break forth" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 31-1 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Dans la crèche, en ce temps, Jésus venait de naître | — | ||
| 31-2 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Scène 1: Marche nocturne | — | ||
| 31-3 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Scène 2: Air d'Herode: Toujours ce rêve - O misère des rois! | — | ||
| 31-4 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Scène 3: Seigneur! | — | ||
| 31-5 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Scène 4: Les sages de Judée | — | ||
| 31-6 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: (Evolutions cabalistiques) | — | ||
| 31-7 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: La voix dit vrai, Seigneur | — | ||
| 31-8 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Scène 5: Duo: O mon cher fils, donne cette herbre tendre | — | ||
| 31-9 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Scène 6: Joseph! Marie! Ecoutez-nous | — | ||
| 31-10 | L'Enfance du Christ, op. 25, Partie 2: La fuite en Egypte: Ouverture | — | ||
| 31-11 | L'Enfance du Christ, op. 25, Partie 2: La fuite en Egypte: Il s'en va loin de la terre | — | ||
| 31-12 | L'Enfance du Christ, op. 25, Partie 2: La fuite en Egypte: Le repos de la Sainte Famille - Les pèlerins étant venus | — | ||
| 32-1 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: Depuis trois jours, malgré l'ardeur du vent | — | ||
| 32-2 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: Scène 1: Dans cette ville immense | — | ||
| 32-3 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: Scène 2: Entrez, entrez, pauvres Hébreux - Grand dieux! Quelle détresse! | — | ||
| 32-4 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: Trio pour deux flûtes et harpe | — | ||
| 32-5 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: Vous pleurez, jeune mère | — | ||
| 32-6 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: Epilogue: Lento (orchestral) - Ce fut ainsi que par un infidèle | — | ||
| 32-7 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: O mon âme, pour toi que reste-t-il à faire | — | ||
| 32-8 | Sara la Baigneuse, op. 11 (Ballade H.69C) | — | ||
| 32-9 | Hélène, op. 2, no. 2 | — | ||
| 32-10 | La belle voyageuse, op. 2, no. 4 ('Ballade Irlande', H.42A) | — | ||
| 32-11 | Quartetto e coro dei maggi | — | ||
| 32-12 | Chant sacré, op. 2, no .6 | — | ||
| 33-1 | Mass in G major, D167 I | — | ||
| 33-2 | Mass in G major, D167 II | — | ||
| 33-3 | Mass in G major, D167 III | — | ||
| 33-4 | Mass in G major, D167 IV | — | ||
| 33-5 | Mass in G major, D167 V | — | ||
| 33-6 | Mass in G major, D167 VI | — | ||
| 33-7 | Der 23, Psalm, D706 | — | ||
| 33-8 | Te Deum, WAB 45: I. Te Deum. Allegro | Maria Stader, Sieglinde Wagner, Ernst Haefliger, Peter Lagger, Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Eugen Jochum | — | |
| 33-9 | Te Deum, WAB 45: II. Te ergo quaesumus. Moderato | Maria Stader, Sieglinde Wagner, Ernst Haefliger, Peter Lagger, Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Eugen Jochum | — | |
| 33-10 | Te Deum, WAB 45: III. Aeterna fac. Allegro moderato. Feierlich mit Kraft | Maria Stader, Sieglinde Wagner, Ernst Haefliger, Peter Lagger, Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Eugen Jochum | — | |
| 33-11 | Te Deum, WAB 45: IV. Salvum fac populum tuum. Moderato - Allegro moderato | Maria Stader, Sieglinde Wagner, Ernst Haefliger, Peter Lagger, Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Eugen Jochum | — | |
| 33-12 | Te Deum, WAB 45: V. In te, Domine, speravi. Mäßig bewegt - Allegro moderato - Alla breve | Maria Stader, Sieglinde Wagner, Ernst Haefliger, Peter Lagger, Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Eugen Jochum | — | |
| 33-13 | Locus iste, WAB 23 | Chor des Bayerischen Rundfunks, Eugen Jochum | — | |
| 33-14 | Ave Maria, WAB 6 | Wolfgang Schubert, Chor des Bayerischen Rundfunks, Eugen Jochum | — | |
| 33-15 | Virga Jesse, WAB 52 | Chor des Bayerischen Rundfunks, Eugen Jochum | — | |
| 33-16 | Ecce sacerdos magnus, WAB 13 | Josef Hahn, Alfons Hartenstein, Ludwig Laberer, Hedwig Bilgram, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum | — | |
| 33-17 | Os justi | Wolfgang Schubert, Chor des Bayerischen Rundfunks, Eugen Jochum | — | |
| 33-18 | Christus factus est pro nobis, WAB 10 | Chor des Bayerischen Rundfunks, Eugen Jochum | — | |
| 34-1 | Ein deutsches Requiem, op. 45: I. Selig sind, die da Leid tragen | — | ||
| 34-2 | Ein deutsches Requiem, op. 45: II. Denn alles Fleisch, es ist wie Gras | — | ||
| 34-3 | Ein deutsches Requiem, op. 45: III. Herr, lehre doch mich | — | ||
| 34-4 | Ein deutsches Requiem, op. 45: IV. Wie lieblich sind Deine Wohnungen | — | ||
| 34-5 | Ein deutsches Requiem, op. 45: V. Ihr habt nun Traurigkeit | — | ||
| 34-6 | Ein deutsches Requiem, op. 45: VI. Denn wir haben hie keine bleibende Statt | — | ||
| 34-7 | Ein deutsches Requiem, op. 45: VII. Selig sind die Toten, die in dem Herrn sterben | — | ||
| 35-1 | Messa da requiem: Requiem aeternam & Kyrie | Chor der Wiener Staatsoper, Marilyn Horne, Luciano Pavarotti, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-2 | Messa da requiem: Dies Irae: Dies Irae | Chor der Wiener Staatsoper, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | T-910.932.757-3 | |
| 35-3 | Messa da requiem: Dies Irae: Tuba mirum | Chor der Wiener Staatsoper, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-4 | Messa da requiem: Dies Irae: Liber scriptus | Chor der Wiener Staatsoper, Marilyn Horne, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-5 | Messa da requiem: Dies Irae: Quid sum miser | Marilyn Horne, Luciano Pavarotti, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-6 | Messa da requiem: Dies Irae: Rex tremendae | Chor der Wiener Staatsoper, Marilyn Horne, Luciano Pavarotti, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-7 | Messa da requiem: Dies Irae: Recordare | Marilyn Horne, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-8 | Messa da requiem: IIh. Dies irae: Ingemisco | Luciano Pavarotti, Wiener Philharmoniker, Sir Georg Solti | T-900.146.503-8 | |
| 35-9 | Messa da requiem: Dies Irae: Confutatis | Chor der Wiener Staatsoper, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-10 | Messa da requiem: Dies Irae: Lacrimosa | Chor der Wiener Staatsoper, Marilyn Horne, Luciano Pavarotti, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 36-1 | Messa da requiem: Offertorium: Domine, Jesu Christe | Marilyn Horne, Luciano Pavarotti, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 36-2 | Messa da requiem: Offertorium: Hostias | Chor der Wiener Staatsoper, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 36-3 | Messa da requiem: Sanctus | Martti Talvela, Chor der Wiener Staatsoper, Wiener Philharmoniker, Sir Georg Solti | — | |
| 36-4 | Messa da requiem: Agnus Dei | Chor der Wiener Staatsoper, Marilyn Horne, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 36-5 | Messa da requiem: Lux aeterna | Marilyn Horne, Luciano Pavarotti, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | T-910.952.061-8 | |
| 36-6 | Messa da requiem: Libera Me: Libera me | Chor der Wiener Staatsoper, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | T-329.460.025-8 | |
| 36-7 | Messa da requiem: Libera Me: Dies irae | Chor der Wiener Staatsoper, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | T-317.797.099-5 | |
| 36-8 | Messa da requiem: Libera Me: Requiem aeternam | Chor der Wiener Staatsoper, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | T-317.797.099-5 | |
| 36-10 | Quattro pezzi sacri: I. Ave Maria | Chicago Symphony Chorus, Sir Georg Solti | — | |
| 36-11 | Quattro pezzi sacri: II. Stabat mater | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 36-12 | Quattro pezzi sacri: III. Laudi alla vergine Maria | Chicago Symphony Chorus, Sir Georg Solti | — | |
| 36-13 | Quattro pezzi sacri: IV. Te Deum | Chicago Symphony Chorus, Jo-Ann Pickens, Chicago Symphony Orchestra, Sir Georg Solti | T-902.305.790-1 | |
| 37-1 | Requiem, op. 48: I. Introït et Kyrie | — | ||
| 37-2 | Requiem, op. 48: II. Offertoire | — | ||
| 37-3 | Requiem, op. 48: III. Sanctus | — | ||
| 37-4 | Requiem, op. 48: IV. Pie Jesu | Roberto Gabbiani, Cecilia Bartoli, Coro dell’Accademia Nazionale di Santa Cecilia, Daniele Rossi, Orchestra dell’Accademia Nazionale di Santa Cecilia, Myung-Whun Chung | — | |
| 37-5 | Requiem, op. 48: V. Agnus Dei | — | ||
| 37-6 | Requiem, op. 48: VI. Libera me | — | ||
| 37-7 | Requiem, op. 48: VII. In Paradisum | — | ||
| 37-8 | Requiem, op. 9: I. Introït | — | ||
| 37-9 | Requiem, op. 9: II. Kyrie | — | ||
| 37-10 | Requiem, op. 9: III. Domine Jesu Christe | — | ||
| 37-11 | Requiem, op. 9: IV. Sanctus | — | ||
| 37-12 | Requiem, op. 9: V. Pie Jesu | Cecilia Bartoli, Luigi Piovano, Daniele Rossi, Orchestra dell’Accademia Nazionale di Santa Cecilia, Myung-Whun Chung | — | |
| 37-13 | Requiem, op. 9: VI. Agnus Dei | — | ||
| 37-14 | Requiem, op. 9: VII. Lux aeterna | — | ||
| 37-15 | Requiem, op. 9: VIII. Libera me | — | ||
| 37-16 | Requiem, op. 9: IX. In Paradisum | — | ||
| 38-1 | The Crucifixion: And they came to a place named Gethsemane | — | ||
| 38-2 | The Crucifixion: Fling wide the gates | — | ||
| 38-3 | The Crucifixion: And when they had come to the place called Calvary | — | ||
| 38-4 | The Crucifixion: Cross of Jesus, Cross of Sorrow | — | ||
| 38-5 | The Crucifixion: He made Himself of no reputation | — | ||
| 38-6 | The Crucifixion: King ever glorious! | — | ||
| 38-7 | The Crucifixion: And as Moses lifted up the serpent | — | ||
| 38-8 | The Crucifixion: God so loved the world | — | ||
| 38-9 | The Crucifixion: Holy Jesu, by Thy passion | — | ||
| 38-10 | The Crucifixion: Jesus said: Father, forgive them | — | ||
| 38-11 | The Crucifixion: Jesus is dying, in agony sore | — | ||
| 38-12 | The Crucifixion: And one of the malefactors which were hanged | — | ||
| 38-13 | The Crucifixion: I adore Thee, I adore Thee! | — | ||
| 38-14 | The Crucifixion: When Jesus therefore saw His Mother | — | ||
| 38-15 | The Crucifixion: Is it nothing to you | — | ||
| 38-16 | The Crucifixion: From the Throne of his Cross | — | ||
| 38-17 | The Crucifixion: After this, Jesus knowing that all things were now.. | — | ||
| 38-18 | The Crucifixion: All for Jesus: all for Jesus | — | ||
| 38-19 | Take him, earth, for cherishing | — | ||
| 39-1 | Belshazzar's Feast I | — | ||
| 39-2 | Belshazzar's Feast II | — | ||
| 39-3 | Belshazzar's Feast III | — | ||
| 39-4 | Belshazzar's Feast IV | — | ||
| 39-5 | Belshazzar's Feast V | — | ||
| 39-6 | Belshazzar's Feast VI | — | ||
| 39-7 | Belshazzar's Feast VII | — | ||
| 39-8 | Belshazzar's Feast VIII | — | ||
| 39-9 | Belshazzar's Feast IX | — | ||
| 39-10 | Belshazzar's Feast X | — | ||
| 39-11 | The Dream of Gerontius: Prelude | London Symphony Orchestra, Benjamin Britten | T-924.891.810-7 | |
| 39-12 | The Dream of Gerontius: Jesu, Maria, I am near to death... | Choir of King’s College, Cambridge, London Symphony Chorus, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 39-13 | The Dream of Gerontius: Rouse thee, my fainting soul... | Choir of King’s College, Cambridge, London Symphony Chorus, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 39-14 | The Dream of Gerontius: Sanctis fortis, Sanctus Deus.... | Choir of King’s College, Cambridge, London Symphony Chorus, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 39-15 | The Dream of Gerontius: Profiscere, anima Christiana... | Choir of King’s College, Cambridge, London Symphony Chorus, John Shirley-Quirk, London Symphony Orchestra, Benjamin Britten | — | |
| 40-1 | The Dream of Gerontius: I went to sleep.... | Yvonne Minton, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 40-2 | The Dream of Gerontius: It is a member of that family.... | Yvonne Minton, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 40-3 | The Dream of Gerontius: But hark! Upon my sense comes a fierce hubbub... | Peter Pears, Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, London Symphony Orchestra, Benjamin Britten | — | |
| 40-4 | The Dream of Gerontius: I see not those false spirits... | Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 40-5 | The Dream of Gerontius: But hark! A grand mysterious harmony | Peter Pears, Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, London Symphony Orchestra, Benjamin Britten | — | |
| 40-6 | The Dream of Gerontius: Thy judgement now is near.... | Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, Peter Pears, John Shirley-Quirk, London Symphony Orchestra, Benjamin Britten | — | |
| 40-7 | The Dream of Gerontius: I go before my Judge... | Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 40-8 | The Dream of Gerontius: Softly and gently.... | Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, London Symphony Orchestra, Benjamin Britten | — | |
| 40-9 | I was glad | — | ||
| 40-10 | Jerusalem | — | ||
| 41-1 | 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 | — | |
| 41-2 | 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 | — | |
| 41-3 | 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 | — | |
| 41-4 | 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 | — | |
| 41-5 | 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 | — | |
| 41-6 | 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 | — | |
| 41-7 | 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 | — | |
| 41-8 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": "Ewiger Wonnebrand” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 41-9 | 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 | — | |
| 41-10 | 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 | — | |
| 41-11 | 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 | — | |
| 41-12 | 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 | — | |
| 41-13 | 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 | — | |
| 41-14 | 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 | — | |
| 41-15 | 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 | — | |
| 41-16 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Alles Vergängliche” | Sir Georg Solti, Chicago Symphony Orchestra | — | |
| 42-1 | Glagolitic Mass: I. Úvod | Royal Philharmonic Orchestra, Rudolf Kempe | T-315.011.947-0 | |
| 42-2 | Glagolitic Mass: II. Gospodi pomiluj | Teresa Kubiak, Anne Collins, Brighton Festival Chorus, Royal Philharmonic Orchestra, Rudolf Kempe | T-321.187.219-0 | |
| 42-3 | Glagolitic Mass: III. Slava | Teresa Kubiak, Anne Collins, Robert Tear, Brighton Festival Chorus, Royal Philharmonic Orchestra, Rudolf Kempe | T-314.918.753-7 | |
| 42-4 | Glagolitic Mass: IV. Vĕruju | Robert Tear, Wolfgang Schöne, John Birch, Brighton Festival Chorus, Royal Philharmonic Orchestra, Rudolf Kempe | T-312.542.697-9 | |
| 42-5 | Glagolitic Mass: V. Svet | Teresa Kubiak, Robert Tear, Wolfgang Schöne, Brighton Festival Chorus, Royal Philharmonic Orchestra, Rudolf Kempe | T-312.692.424-7 | |
| 42-6 | Glagolitic Mass: VI. Agneče Božij | Teresa Kubiak, Anne Collins, Robert Tear, Wolfgang Schöne, Brighton Festival Chorus, Royal Philharmonic Orchestra, Rudolf Kempe | T-312.642.049-9 | |
| 42-7 | Glagolitic Mass: VII. Allegro | John Birch | T-312.545.130-7 | |
| 42-8 | Glagolitic Mass: VIII. Intrada | Royal Philharmonic Orchestra, Rudolf Kempe | — | |
| 42-9 | Missa Brevis I | — | ||
| 42-10 | Missa Brevis II | — | ||
| 42-11 | Missa Brevis III | — | ||
| 42-12 | Missa Brevis IV | — | ||
| 42-13 | Missa Brevis V | — | ||
| 42-14 | Missa Brevis VI | — | ||
| 42-15 | Missa Brevis VII | — | ||
| 42-16 | Missa Brevis VIII | — | ||
| 43-1 | Vespers, op. 37: No. 1. Priidite, poklonimsya | St. Petersburg Chamber Choir, Nikolai Korniev | T-318.549.354-9 | |
| 43-2 | Vespers, op. 37: No. 2. Blagoslovi, dushe moya | Ольга Бородина, St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-3 | Vespers, op. 37: No. 3. Blazhen muzh | St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-4 | Vespers, Op. 37 : Rachmaninoff: Vespers, Op. 37 - IV. "Svete tikhyi" | St.Petersburg Chamber Choir | — | |
| 43-5 | Vespers, op. 37: No. 5. Nyne otpushchayeshi | Vladimir Mostovoy, St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-6 | Vespers, Op. 37 : Rachmaninoff: Vespers, Op. 37 - VI. "Bogoroditse Devo" | St.Petersburg Chamber Choir | — | |
| 43-7 | Vespers, op. 37: No. 7. Slava v vyshnikh Bogu | St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-8 | Vespers, Op. 37 : Rachmaninoff: Vespers, Op. 37 - VIII. "Kvalite imya Gospodne" | St.Petersburg Chamber Choir | — | |
| 43-9 | Vespers, op. 37: No. 9. Blagosloven esi, Gospodi | St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-10 | Vespers, Op. 37 : Rachmaninoff: Vespers, Op. 37 - X. "Voskreseniye Khristovo videvshe" | St.Petersburg Chamber Choir | — | |
| 43-11 | Vespers, op. 37: No. 11. Velichit dusha moya Gospoda | St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-12 | Vespers, Op. 37 : Rachmaninoff: Vespers, Op. 37 - XII. "Slava v vyshnikh Bogu" | St.Petersburg Chamber Choir | — | |
| 43-13 | Vespers, op. 37: No. 13. Dnes spaseniye | St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-14 | Vespers, Op. 37 : Rachmaninoff: Vespers, Op. 37 - XIV. "Voskrez iz groba" | St.Petersburg Chamber Choir | — | |
| 43-15 | Vespers, op. 37: No. 15. Vzbrannoy voevode | St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 44-1 | Symphony of Psalms: I. Exaudi orationem meam, Domine | Sigurd Brauns, Rundfunkchor Berlin, Berliner Philharmoniker, Pierre Boulez | — | |
| 44-2 | Symphony of Psalms: II. Expectans expectavi Dominum | Sigurd Brauns, Rundfunkchor Berlin, Berliner Philharmoniker, Pierre Boulez | — | |
| 44-3 | Symphony of Psalms: III. Alleluia, laudate Dominum | Sigurd Brauns, Rundfunkchor Berlin, Berliner Philharmoniker, Pierre Boulez | — | |
| 44-4 | Mass I | — | ||
| 44-5 | Mass II | — | ||
| 44-6 | Mass III | — | ||
| 44-7 | Mass IV | — | ||
| 44-8 | Mass V | — | ||
| 44-9 | Chichester Psalms: Psalm 108 (verse 2); Psalm 100 (complete) - Maestoso ma energico - Allegro molto | Günther Theuring, Michael Wager, Wiener Jeunesse-Chor, Solist der Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | T-070.027.200-9 | |
| 44-10 | Chichester Psalms: Psalm 23 (complete); Psalm 2 (verses 1-4) | Günther Theuring, Michael Wager, Wiener Jeunesse-Chor, Solist der Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | T-070.027.200-9 | |
| 44-11 | Chichester Psalms: Psalm 131 (complete); Psalm 133 (verse 1) | Günther Theuring, Wiener Jeunesse-Chor, Solist der Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | T-070.027.200-9 | |
| 45-1 | Carmina Burana: Fortuna Imperatrix Mundi: 1. O Fortuna | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-2 | Carmina Burana: Fortuna Imperatrix Mundi: 2. Fortune plango vulnera | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-3 | Carmina Burana: I. Primo vere: 3. Veris leta facies | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-5 | Carmina Burana: I. Primo vere: 5.Ecce gratum | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-6 | Carmina Burana: Uf dem anger: 7. Floret silva nobilis | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-306.378.550-8 | |
| 45-7 | """FLORET SILVA NOBILIS""" | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | — | |
| 45-8 | Carmina Burana: Uf dem anger: 8. Chramer, gip die varwe mir | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-9 | Carmina Burana: Uf dem anger: 9. Reie / Swaz hie gat umbe / Chume, chum, geselle min! / Swaz hie gat umbe | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-10 | Carmina Burana: Uf dem anger: 10. Were diu werlt alle min | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-11 | Carmina Burana: II. In taberna: 11. Estuans interius | Simon Keenlyside, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-12 | Carmina Burana: II. In taberna: 12. Olim lacus colueram | Chor der Deutschen Oper Berlin, David Kuebler, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-13 | Carmina Burana: II. In taberna: 13. Ego sum abbas | Chor der Deutschen Oper Berlin, Simon Keenlyside, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-14 | Carmina Burana: II. In taberna: 14. In taberna quando sumus | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-15 | Carmina Burana: III. Cour d’amours: 15. Amor volat undique | Berliner Knabenchor, Christiane Oelze, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-16 | Carmina Burana: III. Cour d’amours: 16. Dies, nox et omnia | Simon Keenlyside, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-17 | Carmina Burana: III. Cour d’amours: 17. Stetit puella | Christiane Oelze, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-18 | Carmina Burana: III. Cour d’amours: 18. Circa mea pectora | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-19 | Carmina Burana: III. Cour d’amours: 19. Si puer cum puellula | Chor der Deutschen Oper Berlin, Simon Keenlyside, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-20 | Carmina Burana: III. Cour d’amours: 20. Veni, veni, venias | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-21 | Carmina Burana: III. Cour d’amours: 22. Tempus est iocundum | Berliner Knabenchor, Chor der Deutschen Oper Berlin, Simon Keenlyside, Christiane Oelze, Orchester der Deutschen Oper Berlin, Christian Thielemann | — | |
| 45-22 | Carmina Burana: III. Cour d’amours: 22. Tempus est iocundum | Berliner Knabenchor, Chor der Deutschen Oper Berlin, Simon Keenlyside, Christiane Oelze, Orchester der Deutschen Oper Berlin, Christian Thielemann | — | |
| 45-23 | Carmina Burana: III. Cour d’amours: 23. Dulcissime | Christiane Oelze, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-24 | Carmina Burana: Blanziflor et Helena: 24. Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-25 | Carmina Burana: Fortuna Imperatrix Mundi: 25. O Fortuna | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 46-1 | Gloria: Gloria | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.010.019-6 | |
| 46-2 | Gloria: Laudamus te | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.010.019-6 | |
| 46-3 | Gloria: Domine deus | François Polgar, Chœur de Radio France, Françoise Pollet, Orchestre national de France, Charles Dutoit | T-003.010.019-6 | |
| 46-4 | Gloria: Domine Fili unigenite | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.010.019-6 | |
| 46-5 | Gloria: Domine Deus, Agnus Dei | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.010.019-6 | |
| 46-6 | Gloria: Qui sedes ad dexteram Patris | François Polgar, Chœur de Radio France, Françoise Pollet, Orchestre national de France, Charles Dutoit | T-003.010.019-6 | |
| 46-7 | Litanies a la Vierge Noire | Denis Dupays, Maîtrise de Radio France, Orchestre national de France, Charles Dutoit | T-004.018.456-2 | |
| 46-8 | Stabat Mater: Stabat Mater | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-9 | Stabat Mater: Cujus animam gementem | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-10 | Stabat Mater: O quam tristis | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-11 | Stabat Mater: Quae moerebat | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-12 | Stabat Mater: Quis est homo | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-13 | Stabat Mater: Vidit suum dulcem Natum | François Polgar, Chœur de Radio France, Françoise Pollet, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-14 | Stabat Mater: Eja mater | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-15 | Stabat Mater: Fac ut ardeat | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-16 | Stabat Mater: Sancta mater | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-17 | Stabat Mater: Fac ut portem | François Polgar, Chœur de Radio France, Françoise Pollet, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-18 | Stabat Mater: Inflammatus et accensus | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-19 | Stabat Mater: Quando corpus morietur | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 47-1 | 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 | — | |
| 47-2 | 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 | — | |
| 47-3 | War Requiem, op. 66: II. Dies irae: Dies irae | Sir David Willcocks, The Bach Choir, London Symphony Chorus, London Symphony Orchestra, Benjamin Britten | — | |
| 47-4 | War Requiem, op. 66: II. Dies irae: Bugles sang, saddening the evening air | Dietrich Fischer-Dieskau, Benjamin Britten, Melos Ensemble | — | |
| 47-5 | 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 | — | |
| 47-6 | 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 | — | |
| 47-7 | War Requiem, op. 66: II. Dies irae: Recordare Jesu pie | Sir David Willcocks, The Bach Choir, London Symphony Chorus, London Symphony Orchestra, Benjamin Britten | — | |
| 47-8 | War Requiem, op. 66: II. Dies irae: Be slowly lifted up | Dietrich Fischer-Dieskau, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 47-9 | War Requiem, op. 66: II. Dies irae: Confutatis | Sir David Willcocks, The Bach Choir, London Symphony Chorus, London Symphony Orchestra, Benjamin Britten | — | |
| 47-10 | 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 | — | |
| 47-11 | 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 | — | |
| 47-12 | 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 | — | |
| 47-13 | 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 | — | |
| 47-14 | 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 | — | |
| 47-15 | War Requiem, op. 66: IV. Sanctus: After the blast of lightning from the East | Dietrich Fischer-Dieskau, Benjamin Britten, Melos Ensemble | — | |
| 47-16 | 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 | — | |
| 47-17 | War Requiem, Op. 66: VI. Libera me: Libera Me, Domine | — | ||
| 47-18 | War Requiem, op. 66: VI. Libera me: It seemed that out of battle I escaped | Dietrich Fischer-Dieskau, Peter Pears, Benjamin Britten, Melos Ensemble | — | |
| 47-19 | 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 | — | |
| 48-1 | The world turns on its dark side | — | ||
| 48-2 | Man has measured the heavens | — | ||
| 48-3 | Is evil then good? | — | ||
| 48-4 | Now in each nation; When Shall The Userers' City Cease | — | ||
| 48-5 | I have no money for my bread | — | ||
| 48-6 | How Can I Cherish My Man In Such Days? Spiritual: 'Steal Away' | — | ||
| 48-7 | A star rises in mid-winter | — | ||
| 48-8 | And A Time Came; Away With Them! - Where? How? Why? Where They Could; We Cannot Have Them In Our Empire; And The Boy's Mother | — | ||
| 48-9 | O my son! | — | ||
| 48-10 | Spiritual: Nobody knows the trouble I see | — | ||
| 48-11 | The boy becomes desperate in his agony | — | ||
| 48-12 | They took a terrible vengeance | — | ||
| 48-13 | A spiritual of anger: Go down, Moses | — | ||
| 48-14 | My dreams are all shattered | — | ||
| 48-15 | What have I done to you, my son? The Dark Forces Rise Like A Flood; Spiritual: 'O, By And By' | — | ||
| 48-16 | The cold deepens | — | ||
| 48-17 | The soul of man | — | ||
| 48-18 | The words of wisdom are these | — | ||
| 48-19 | Preludium To The General Ensemble; General Ensemble: I would know my shadow and my light | — | ||
| 48-20 | Deep river | — | ||
| 49-1 | Lux Aurumque (Light and Gold) | — | ||
| 49-2 | Five Hebrew Love Songs: Temuna (A Picture) | — | ||
| 49-3 | Five Hebrew Love Songs: Kala Kalla (Light Bride) | — | ||
| 49-4 | Five Hebrew Love Songs: Larov (Mostly) | — | ||
| 49-5 | Five Hebrew Love Songs: Eyze Sheleg! (What Snow!) | — | ||
| 49-6 | Five Hebrew Love Songs: Rakut (Tenderness) | — | ||
| 49-7 | The Seal Lullaby | — | ||
| 49-8 | A Boy and a Girl | Eric Whitacre Singers, Laudibus, Eric Whitacre | T-070.232.930-3 | |
| 49-9 | Leonardo Dreams of His Flying Machine | — | ||
| 49-10 | Three Songs of Faith: i will wade out | — | ||
| 49-11 | Three Songs of Faith: hope, faith, life, love | — | ||
| 49-12 | Three Songs of Faith: i thank You God for most this amazing day | — | ||
| 49-13 | The Stolen Child | — | ||
| 49-14 | Water Night | Eric Whitacre Singers, Laudibus, Eric Whitacre | T-302.070.311-7 | |
| 49-15 | Nox Aurumque (Night and Gold) | — | ||
| 49-16 | Sleep | Eric Whitacre Singers, Laudibus, Eric Whitacre | T-071.713.054-5 | |
| 50-1 | De profundis | — | ||
| 50-2 | The Woman with the Alabaster Box | — | ||
| 50-3 | Totus tuus, op. 60 | — | ||
| 50-4 | Lux aeterna | Chor des Norddeutschen Rundfunks, Helmut Franz | T-801.249.643-5 | |
| 50-5 | O sacrum convivium | Coro dell’Accademia Nazionale di Santa Cecilia, 정명훈 | T-004.020.935-5 | |
| 50-6 | Quatre motets, op. 10: Ubi caritas et amor | — | ||
| 50-7 | Quatre motets, op. 10: Tota pulchra es | — | ||
| 50-8 | Quatre motets, op. 10: Tu es petrus | — | ||
| 50-9 | Quatre motets, op. 10: Tantum ergo sacramentum | — | ||
| 50-10 | The Lamb | The Choir of Temple Church, Stephen Layton | T-070.910.983-0 | |
| 50-11 | Song for Athene | — | ||
| 50-12 | God's Grandeur | — | ||
| 50-13 | Heaven-Haven | — | ||
| 50-14 | Agnus Dei | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Messa da requiem: Libera Me: Libera me | Chor der Wiener Staatsoper, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | T-329.460.025-8 |
| Missa Papae Marcelli: Kyrie | Choir of Westminster Abbey, Simon Preston | T-011.724.735-4 |
| Missa Papae Marcelli: Gloria | Choir of Westminster Abbey, Simon Preston | T-905.452.181-2 |
| Missa Papae Marcelli: Credo | Choir of Westminster Abbey, Simon Preston | T-011.560.128-9 |
| Missa Papae Marcelli: Sanctus | Choir of Westminster Abbey, Simon Preston | T-001.449.997-8 |
| Missa Papae Marcelli: Benedictus | Choir of Westminster Abbey, Simon Preston | T-905.452.181-2 |
| Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — |
| Wachet auf, ruft uns die Stimme BWV 140: Chorale (tenors) "Zion hört die Wächter singen" | Monteverdi Choir, Anthony Rolfe Johnson, Shlomo Mintz, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Wachet auf, ruft uns die Stimme BWV 140: Recitative (tenor) "Er kommt, er kommt, der Bräut'gam kommt" | Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Wachet auf, ruft uns die Stimme BWV 140: Aria / Duet (soprano, bass) "Wann kömmst du, mein Heil?" | Ruth Holton, Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Wachet auf, ruft uns die Stimme BWV 140: Aria / Duet (soprano, bass) "Mein Freund ist mein! Und ich bin dein!" | Ruth Holton, Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Wachet auf, ruft uns die Stimme BWV 140: Chorale "Gloria sei dirgesungen" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Kantate, BWV 140 "Wachet auf, ruft uns die Stimme": I. Coro "Wachet auf, ruft uns die Stimme" | Anthony Robson, Richard Earle, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — |
| Herz und Mund und Tat und Leben BWV 147: Chorus "Herz und Mund und Tat und Leben" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-915.683.038-5 |
| Herz und Mund und Tat und Leben BWV 147: Recitative (tenor) "Gebenedeiter Mund!" | Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Herz und Mund und Tat und Leben, BWV 147: Aria 'Schäme dich, o Seele, nicht' | Michael Chance, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Herz und Mund und Tat und Leben BWV 147: Recitative (bass) "Verstockung kann Gewaltige verblenden" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Identifier Graph
028947836407 is a Universal Product Code (UPC) assigned to Magnificat (500 Ans De Musique Sacre) = Magnificat (Grosse Chorwerke Aus 5 Jahrhunderten) = Magnificat (500 Years Of Choral Masterworks) 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 863 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
The UPC for “Magnificat (500 Ans De Musique Sacre) = Magnificat (Grosse Chorwerke Aus 5 Jahrhunderten) = Magnificat (500 Years Of Choral Masterworks)” by Various Artists is 028947836407. 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 2012-01-01. Label: Decca. This release contains 863 tracks, each with its own ISRC. Tracks include GBEKZ0400121, GBEKZ0400136, GBEKZ0400133.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Miserere | The Sixteen, Harry Christophers | — | |
| 2 | Crucifixus | The Sixteen, Harry Christophers | T-900.148.794-1 | |
| 3 | Timor et tremor | — | ||
| 4 | Ave Maria | The Sixteen, Harry Christophers | — | |
| 5 | Stabat Mater | — | ||
| 6 | Salve Regina | — | ||
| 7 | Ave verum corpus | — | ||
| 8 | Lamentations of Jeremiah I | — | ||
| 9 | Lamentations of Jeremiah II | — | ||
| 10 | Spem in alium | — | ||
| 2-1 | Requiem: Introitus | — | ||
| 2-2 | Requiem: Kyrie | — | ||
| 2-3 | Requiem: Graduale | — | ||
| 2-4 | Requiem: Tractus | — | ||
| 2-5 | Requiem: Offertorium | — | ||
| 2-6 | O domine Jesu Christe | — | ||
| 2-7 | Ave verum corpus | — | ||
| 2-8 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 2-9 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 2-10 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 2-11 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 2-12 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 2-13 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 3-1 | Fantasia in D minor | — | ||
| 3-2 | Mass for 4 voices: Kyrie | — | ||
| 3-3 | Mass for 4 voices: Gloria | — | ||
| 3-4 | Mass for 4 voices: Credo | — | ||
| 3-5 | Mass for 4 voices: Sanctus | — | ||
| 3-6 | Mass for 4 voices: Agnus Dei | — | ||
| 3-7 | Voluntary for My Lady Nevell | — | ||
| 3-8 | Mass for 3 voices: Kyrie | — | ||
| 3-9 | Mass for 3 voices: Gloria | — | ||
| 3-10 | Mass for 3 voices: Credo | — | ||
| 3-11 | Mass for 3 voices: Sanctus | — | ||
| 3-12 | Mass for 3 voices: Agnus Dei | — | ||
| 3-13 | My Ladye Nevells Booke: A Fancie on C | — | ||
| 3-14 | Mass for 5 voices: Kyrie | — | ||
| 3-15 | Mass for 5 voices: Gloria | — | ||
| 3-16 | Mass for 5 voices: Credo | — | ||
| 3-17 | Mass for 5 voices: Sanctus | — | ||
| 3-18 | Mass for 5 voices: Agnus Dei | — | ||
| 4-1 | Lectio II ad Matutinum: Taedet animam meam | — | ||
| 4-2 | Missa pro defunctis: Introitus: Requiem aeternam | — | ||
| 4-3 | Missa pro defunctis: Kyrie | — | ||
| 4-4 | Missa pro defunctis: Oratorio | — | ||
| 4-5 | Missa pro defunctis: Epistola | — | ||
| 4-6 | Missa pro defunctis: Graduale: Requiem aeternam | — | ||
| 4-7 | Missa pro defunctis: Tractus: Absolve, Dominine | — | ||
| 4-8 | Missa pro defunctis: Sequentia: Dies irae | — | ||
| 4-9 | Missa pro defunctis: Evangelium | — | ||
| 4-10 | Missa pro defunctis: Offerorium: Domine Iesu Christe | — | ||
| 4-11 | Missa pro defunctis: Prefatio | — | ||
| 4-12 | Missa pro defunctis: Sanctus | — | ||
| 4-13 | Missa pro defunctis: Benedictus | — | ||
| 4-14 | Missa pro defunctis: Pater noster | — | ||
| 4-15 | Missa pro defunctis: Agnus Dei | — | ||
| 4-16 | Missa pro defunctis: Communio: Lux aeterna | — | ||
| 4-17 | Missa pro defunctis: Postcommunio | — | ||
| 4-18 | Motectum: Versa est in luctum | — | ||
| 4-19 | Absolutio: Libera me, Domine | — | ||
| 5-1 | Vespro della Beata Vergine, SV 206: I. Domine ad adiuvandum | Monteverdi Choir, Nigel Robson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-2 | Vespro della Beata Vergine, SV 206: II. Dixit dominus | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-3 | Vespro della Beata Vergine, SV 206: III. Nigra sum | Mark Tucker, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-4 | Vespro della Beata Vergine, SV 206: IV. Laudate pueri | Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-5 | Vespro della beata Vergine: Pulchra es A 2 | Ann Monoyios, Marinella Pennicchi, Jakob Lindberg, David Miller, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-6 | Vespro della Beata Vergine, SV 206: VI. Laetatus sum | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-7 | Vespro della beata Vergine: Duo seraphim A 3 | Sandro Naglia, Nigel Robson, Mark Tucker, Jakob Lindberg, David Miller, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-8 | Vespro della beata Vergine: Nisi Dominus A 10 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-9 | Vespro della Beata Vergine, SV 206: IX. Audi coelum | Monteverdi Choir, Nigel Robson, Mark Tucker, Jakob Lindberg, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-10 | Vespro della beata Vergine: Lauda Jerusalem A 7 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-11 | Vespro della Beata Vergine, SV 206: XI. Sonata sopra "Sancta Maria" | Patrick Russill, London Oratory Junior Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 5-12 | Vespro della Beata Vergine, SV 206: XII. Ave maris stella | Patrick Russill, Michael Chance, London Oratory Junior Choir, Monteverdi Choir, Nigel Robson, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 6-1 | XIIIa-Magnificat a 7 I | — | ||
| 6-2 | XIIIa-Magnificat a 7 II | — | ||
| 6-3 | XIIIa-Magnificat a 7 III | — | ||
| 6-4 | XIIIa-Magnificat a 7 IV | — | ||
| 6-5 | XIIIa-Magnificat a 7 V | — | ||
| 6-6 | XIIIa-Magnificat a 7 VI | — | ||
| 6-7 | XIIIa-Magnificat a 7 VII | — | ||
| 6-8 | XIIIa-Magnificat a 7 VIII | — | ||
| 6-9 | XIIIa-Magnificat a 7 IX | — | ||
| 6-10 | XIIIa-Magnificat a 7 X | — | ||
| 6-11 | XIIIa-Magnificat a 7 XI | — | ||
| 6-12 | XIIIa-Magnificat a 7 XII | — | ||
| 6-13 | XIIIa-Magnificat a 7 XIII | — | ||
| 6-14 | XIIIb-Magnificat a 6 I | — | ||
| 6-15 | XIIIb-Magnificat a 6 II | — | ||
| 6-16 | XIIIb-Magnificat a 6 III | — | ||
| 6-17 | XIIIb-Magnificat a 6 IV | — | ||
| 6-18 | XIIIb-Magnificat a 6 V | — | ||
| 6-19 | XIIIb-Magnificat a 6 VI | — | ||
| 6-20 | XIIIb-Magnificat a 6 VII | — | ||
| 6-21 | XIIIb-Magnificat a 6 VIII | — | ||
| 6-22 | XIIIb-Magnificat a 6 IX | — | ||
| 6-23 | XIIIb-Magnificat a 6 X | — | ||
| 6-24 | XIIIb-Magnificat a 6 XI | — | ||
| 6-25 | XIIIb-Magnificat a 6 XII | — | ||
| 6-26 | XIIIb-Magnificat a 6 XIII | — | ||
| 6-27 | Stabat Mater: I. Duet “Stabat Mater dolorosa” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 6-28 | Stabat Mater: II. Aria (soprano) “Cujus animam gementem” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-925.590.388-9 | |
| 6-29 | Stabat Mater: III. Duet “O quam tristis et afflicta” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-925.590.391-4 | |
| 6-30 | Stabat Mater: IV. Aria (countertenor) “Quae moerebat et dolebat” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 6-31 | Stabat Mater: V. Duet “Quis est homo qui non fleret” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 6-32 | Stabat Mater: VI. Aria (soprano) “Vidit suum dulcem Natum” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 6-33 | Stabat Mater: VII. Aria (countertenor) “Eja Mater, fons amoris” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-905.680.072-7 | |
| 6-34 | Stabat Mater: VIII. Duet “Fac ut ardeat cor meum” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 6-35 | Stabat Mater: IX. Duet “Sancta Mater, istud agas” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-922.368.050-0 | |
| 6-36 | Stabat Mater: X. Aria (countertenor) “Fac ut portem Christi mortem” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-925.590.390-3 | |
| 6-37 | Stabat Mater: XI. Duet “Inflammatus et accensus” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | T-905.680.072-7 | |
| 6-38 | Stabat Mater: XII. Duet “Quando corpus morietur” | Andreas Scholl, Barbara Bonney, Christophe Rousset, Les Talens Lyriques | — | |
| 7-1 | La piva, Vatican MS Q IV 28 | — | ||
| 7-2 | Deus in adjutorium | — | ||
| 7-3 | Psalmen Davids, Op. 2 No. 2: Warum toben die Heiden | — | ||
| 7-4 | Christum wir sollen loben schon | — | ||
| 7-5 | Historia der Geburt Jesu Christi, SWV 435: Die Geburt unsres Herren Jesu Christi | — | ||
| 7-6 | Historia der Geburt Jesu Christi, SWV 435: Es begab sich aber zu derselbigen Zeit | — | ||
| 7-7 | Historia der Geburt Jesu Christi, SWV 435: Fürchtet euch nicht | — | ||
| 7-8 | Historia der Geburt Jesu Christi, SWV 435: Und alsbald war da bei dem Engel | — | ||
| 7-9 | Historia der Geburt Jesu Christi, SWV 435: Ehre sei Gott in der Höhe | — | ||
| 7-10 | Historia der Geburt Jesu Christi, SWV 435: Und da die Engel | — | ||
| 7-11 | Historia der Geburt Jesu Christi, SWV 435: Lasset uns nun gehen gen Bethlehem | — | ||
| 7-12 | Historia der Geburt Jesu Christi, SWV 435: Und sie kamen eilend | — | ||
| 7-13 | Historia der Geburt Jesu Christi, SWV 435: Wo ist der neugeborne König | — | ||
| 7-14 | Historia der Geburt Jesu Christi, SWV 435: Da das der König Herodes hörete | — | ||
| 7-15 | Historia der Geburt Jesu Christi, SWV 435: Zu Bethlehem im jüdischen Lande | — | ||
| 7-16 | Historia der Geburt Jesu Christi, SWV 435: Da berief Herodes die Weisen heimlich | — | ||
| 7-17 | Historia der Geburt Jesu Christi, SWV 435: Ziehet hin, und forschet fleißig | — | ||
| 7-18 | Historia der Geburt Jesu Christi, SWV 435: Als sie nun den König gehöret hatten | — | ||
| 7-19 | Historia der Geburt Jesu Christi, SWV 435: Stehe auf, Joseph | — | ||
| 7-20 | Historia der Geburt Jesu Christi, SWV 435: Und er stund auf und nahm das Kindlein | — | ||
| 7-21 | Historia der Geburt Jesu Christi, SWV 435: Stehe auf, Joseph | — | ||
| 7-22 | Historia der Geburt Jesu Christi, SWV 435: Und er stund auf und nahm das Kindlein | — | ||
| 7-23 | Historia der Geburt Jesu Christi, SWV 435 (1664): 6. Danksagen wir alle Gott... | Giovanni Gabrieli, Paul McCreesh, Boy's Choir of Roskilde Cathedral, Kristian Olesen, Finn Evald | — | |
| 7-24 | Magnificat, SWV 468: Magnificat anima mea – Et exsultavit – Quia respexit | — | ||
| 7-25 | Wir Christenleut habn itzund Freud | — | ||
| 7-26 | Magnificat, SWV 468: Quia fecit mihi magna – Et misericordia – Fecit potentiam – Deposuit potentes | — | ||
| 7-27 | Lobt Gott, ihr Christen all zugleich | — | ||
| 7-28 | Magnificat, SWV 468: Esurientes implevit bonis – Suscepit Israel – Sicut locutus est | — | ||
| 7-29 | In dulci jubilo | — | ||
| 7-30 | Magnificat, SWV 468: Gloria Patri, et Filio – Sicut erat in principio | — | ||
| 7-31 | O bone Jesu, fili Mariae, SWV 471 | — | ||
| 7-32 | Gelobet seist du, Jesu Christ | — | ||
| 7-33 | Collect and Blessing | — | ||
| 7-34 | Tabulatura nova III: Benedicamus Domino à 6, SSWV 158 | — | ||
| 8-1 | Te Deum : Prélude. Rondeau | Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-2 | Te Deum, H. 146: Te Deum laudamus | Russel Smythe, Les Musiciens du Louvre, Marc Minkowski | T-031.661.210-8 | |
| 8-3 | Te Deum, H. 146: Te aeternum Patrem | Patrick Henckens, Éric Huchet, Annick Massis, Magdalena Kožená, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-4 | Te Deum, H. 146: Te per orbem terrarum | Patrick Henckens, Éric Huchet, Jean-Louis Bindi, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-5 | Te Deum, H. 146: Tu devicto mortis aculeo | Russel Smythe, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-6 | Te Deum, H. 146: Te ergo quaesumus | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-7 | Te Deum, H. 146: Aeterna fac cum Sanctis tuis | Patrick Henckens, Éric Huchet, Jean-Louis Bindi, Russel Smythe, Magdalena Kožená, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-8 | Te Deum, H. 146: Dignare, Domine, die isto | Russel Smythe, Jean-Louis Bindi, Annick Massis, Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-9 | Te Deum, H. 146: Fiat misericordia tua, Domine, super nos | Russel Smythe, Annick Massis, Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-10 | Te Deum, H. 146: In te, Domine, speravi | Patrick Henckens, Éric Huchet, Jean-Louis Bindi, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | T-902.305.790-1 | |
| 8-11 | In nativitatem Domini canticum, H. 416: Nuit | Les Musiciens du Louvre, Marc Minkowski | T-003.057.405-0 | |
| 8-12 | Messe de minuit, H. 9: Kyrie | Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | — | |
| 8-13 | Messe de minuit, H. 9: Christe | Patrick Henckens, Éric Huchet, Russel Smythe, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | T-070.024.961-1 | |
| 8-14 | Messe de minuit, H. 9: Gloria | Patrick Henckens, Éric Huchet, Jean-Louis Bindi, Annick Massis, Magdalena Kožená, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | — | |
| 8-15 | Messe de minuit, H. 9: Credo | Patrick Henckens, Éric Huchet, Jean-Louis Bindi, Russel Smythe, Annick Massis, Magdalena Kožená, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | — | |
| 8-16 | Noël sur les instruments, H. 531b: "Laissez paitre vos bestes" | Les Musiciens du Louvre, Marc Minkowski | — | |
| 8-17 | Messe de minuit, H. 9: Sanctus - Benedictus | Patrick Henckens, Éric Huchet, Russel Smythe, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | — | |
| 8-18 | Messe de minuit, H. 9: Agnus Dei | Patrick Henckens, Éric Huchet, Jean-Louis Bindi, Chœur des Musiciens du Louvre, Les Musiciens du Louvre, Marc Minkowski | T-000.007.034-7 | |
| 9-1 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": Symphony Introduction. Canzona - Adagio - Canzona - Adagio - Allegro - Grave - Allegro | Gabrieli Players, Paul McCreesh | — | |
| 9-2 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Hail, bright Cecilia!" | Mark le Brocq, Gabrieli Consort, Peter Harvey, Susan Hemington Jones, Timothy Wilson, Gabrieli Players, Paul McCreesh | — | |
| 9-3 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Hark, hark, each tree its silence breaks" | Charles Pott, Timothy Wilson, Gabrieli Players, Paul McCreesh | — | |
| 9-4 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "'Tis Nature's voice" | Gabrieli Players, Paul McCreesh | — | |
| 9-5 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Soul of the world" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | T-909.611.691-5 | |
| 9-6 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Thou tun'st this world below, the spheres above" | Gabrieli Consort, Susan Hemington Jones, Gabrieli Players, Paul McCreesh | — | |
| 9-7 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "With that sublime celestial lay" | Mark le Brocq, Christopher Purves, Timothy Wilson, Gabrieli Players, Paul McCreesh | — | |
| 9-8 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Wondrous machine!" | Gabrieli Players, Paul McCreesh | T-926.896.078-7 | |
| 9-9 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "The airy violin" | Julian Podger, Gabrieli Players, Paul McCreesh | T-900.148.980-1 | |
| 9-10 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "In vain the am'rous flute and soft guitar" | Mark le Brocq, Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 9-11 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "The fife, and all the harmony of war" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 9-12 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Let these amongst themselves contest" | Peter Harvey, Julian Podger, Christopher Purves, Gabrieli Players, Paul McCreesh | — | |
| 9-13 | "Hail, bright Cecilia!", Z. 328 "Ode for St. Cecilia's Day": "Hail, bright Cecilia, hail to thee!" | Charles Daniels, Gabrieli Consort, Timothy Wilson, Gabrieli Players, Paul McCreesh | — | |
| 9-14 | Remember not, Lord, our offenses, Z50* | — | ||
| 9-15 | O God, Thou art my God,Z35* | — | ||
| 9-16 | Music for the Funeral of Queen Mary, Z. 860: The Queen's Funeral March (procession) | Baroque Brass of London, David Hill | T-010.095.334-1 | |
| 9-17 | Music for the funeral of Queen Mary II | — | ||
| 9-18 | Music for the funeral of Queen Mary III | — | ||
| 9-19 | Music for the funeral of Queen Mary IV | — | ||
| 9-20 | Music for the funeral of Queen Mary V | — | ||
| 9-21 | Music for the funeral of Queen Mary VI | — | ||
| 9-22 | Music for the funeral of Queen Mary VII | — | ||
| 10-1 | Gloria in D major, RV 589: I. Gloria in excelsis Deo | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-2 | Gloria in D major, RV 589: II. Et in terra pax | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | T-915.994.849-9 | |
| 10-3 | Gloria in D major, RV 589: III. Laudamus te | Judith Nelson, Emma Kirkby, Academy of Ancient Music, Simon Preston | — | |
| 10-4 | Gloria in D major, RV 589: IV. Gratias agimus tibi | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-5 | Gloria in D major, RV 589: V. Propter magnam gloriam | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-6 | Gloria in D major, RV 589: VI. Domine Deus | Judith Nelson, Academy of Ancient Music, Simon Preston | — | |
| 10-7 | Gloria in D major, RV 589: VII. Domine Fili unigenite | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-8 | Gloria in D major, RV 589: VIII. Domine Deus, Agnus Dei | Carolyn Watkinson, Academy of Ancient Music, Simon Preston | — | |
| 10-9 | Gloria in D major, RV 589: IX. Qui tollis peccata mundi | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-10 | Gloria in D major, RV 589: X. Qui sedes | Carolyn Watkinson, Academy of Ancient Music, Simon Preston | — | |
| 10-11 | Gloria in D major, RV 589: XI. Quoniam tu solus Sanctus | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-12 | Gloria in D major, RV 589: XII. Cum Sancto Spiritu | Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Simon Preston | — | |
| 10-13 | Nulla in mundo pax sincera, RV 630: I. Nulla in mundo pax sincera | Emma Kirkby, Academy of Ancient Music, Christopher Hogwood | T-060.275.065-1 | |
| 10-14 | Nulla in mundo pax sincera, RV 630: II. Blando colore ... Spirat anguis | Emma Kirkby, Academy of Ancient Music, Christopher Hogwood | — | |
| 10-15 | Nulla in mundo pax sincera, RV 630: III. Alleluia | Emma Kirkby, Academy of Ancient Music, Christopher Hogwood | — | |
| 10-16 | Magnificat in D Major, BWV 243: Chorus: “Magnificat” | RIAS Kammerchor, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | T-922.042.217-3 | |
| 10-17 | Magnificat in D Major, BWV 243: Aria: “Et exsultavit spiritus meus” | Birgit Remmert, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-18 | Magnificat in D Major, BWV 243: Aria: “Quia respexit humilitatem” | Barbara Bonney, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-19 | Magnificat in D Major, BWV 243: Chorus: “Omnes generationes” | RIAS Kammerchor, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-20 | Magnificat in D Major, BWV 243: Aria: “Quia fecit mihi magna” | Olaf Bär, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-21 | Magnificat in D Major, BWV 243: Aria (Duet): “Et misericordia” | Birgit Remmert, Rainer Trost, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-22 | Magnificat in D Major, BWV 243: Chorus: “Fecit potentiam” | RIAS Kammerchor, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-23 | Magnificat in D Major, BWV 243: Aria: “Deposuit potentes” | Rainer Trost, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-24 | Magnificat in D Major, BWV 243: Aria: “Esurientes implevit bonis” | Birgit Remmert, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-25 | Magnificat in D Major, BWV 243: Aria (Terzetto): “Suscepit Israel” | RIAS Kammerchor, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-26 | Magnificat in D Major, BWV 243: Chorus: “Sicut locutus est” | RIAS Kammerchor, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 10-27 | Magnificat in D Major, BWV 243: Chorus: “Gloria Patri” | RIAS Kammerchor, Kammerorchester Carl Philipp Emanuel Bach, Peter Schreier | — | |
| 11-1 | Gottes Zeit ist die allerbeste Zeit, BWV 106: Sonatina, Molto adagio | English Baroque Soloists, John Eliot Gardiner | T-007.186.645-9 | |
| 11-2 | Actus tragicus, BWV 106: No. 2a Chorus & Solos: »Gottes Zeit ist die allerbeste Zeit« / No. 2b Arioso (Tenor): »Ach, Herr, lehre uns bedenken« / No. 2c Aria (Bass): »Bestelle dein Haus« / No. 2d Chorus & Arioso (Soprano): »Es ist der alte Bund« | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-3 | Gottes Zeit ist die allerbeste Zeit, BWV 106: Ariosi & Choral: In deine Hände befehl ich meinen Geist | Michael Chance, Monteverdi Choir, Stephen Varcoe, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-4 | Gottes Zeit ist die allerbeste Zeit, BWV 106: Chorus "Glorie, Lob, Ehr und Herrlichkeit" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-5 | O Jesu Christ, meins Lebens Licht BWV 118/231 | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-6 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-7 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-8 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-9 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-10 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-11 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-12 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-13 | Cantate « Herz und Mund und Tat und Leben », BWV 147: Choral « Jesus bleibet meine Freude » | The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner | T-905.387.081-8 | |
| 12-1 | Matthäus-Passion, BWV 244: No. 1. Chorus: Kommt, ihr Töchter, helft mir klagen (Erster Teil) | — | ||
| 12-2 | Matthäus-Passion, BWV 244: No. 2. Evangelist: Da Jesus diese Rede vollendet hatte | — | ||
| 12-3 | Matthäus-Passion, BWV 244: No. 3. Chorale: Herzliebster Jesu, was hast du verbrochen | — | ||
| 12-4 | Matthäus-Passion, BWV 244: No. 4. Evangelist: Da versammelten sich die Hohenpriester | — | ||
| 12-5 | Matthäus-Passion, BWV 244: No. 5. Recitative (Alto): Du lieber Heiland du | — | ||
| 12-6 | Matthäus-Passion, BWV 244: No. 6. Aria (Alto): Buß und Reu | — | ||
| 12-7 | Matthäus-Passion, BWV 244: No. 7. Evangelist: Da ging hin der Zwölfen einer | — | ||
| 12-8 | Matthäus-Passion, BWV 244: No. 8. Aria (Soprano): Blute nur, du liebes Herz | — | ||
| 12-9 | Matthäus-Passion, BWV 244: No. 9. Evangelist: Aber am ersten Tage der süßen Brot | — | ||
| 12-10 | Matthäus-Passion, BWV 244: No. 10. Chorale: Ich bin's, ich sollte büßen | — | ||
| 12-11 | Matthäus-Passion, BWV 244: No. 11. Evangelist: Er antwortete und sprach | — | ||
| 12-12 | Matthäus-Passion, BWV 244: No. 12. Recitative (Soprano): Wiewohl mein Herz in Tränen schwimmt | — | ||
| 12-13 | Matthäus-Passion, BWV 244: No. 13. Aria (Soprano): Ich will dir mein Herze schenken | — | ||
| 12-14 | Matthäus-Passion, BWV 244: No. 14. Evangelist: Und da sie den Lobgesang gesprochen hatten | — | ||
| 12-15 | Matthäus-Passion, BWV 244: No. 15. Chorale: Erkenne mich, mein Hüter | — | ||
| 12-16 | Matthäus-Passion, BWV 244: No. 16. Evangelist: Petrus aber antwortete und sprach zu ihm | — | ||
| 12-17 | Matthäus-Passion, BWV 244: No. 17. Chorale: Ich will hier bei dir stehen | — | ||
| 12-18 | Matthäus-Passion, BWV 244: No. 18. Evangelist: Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane | — | ||
| 12-19 | Matthäus-Passion, BWV 244: No. 19. Recitative (Tenor): O Schmerz! Hier zittert das gequälte Herz | — | ||
| 12-20 | Matthäus-Passion, BWV 244: No. 20. Aria (Tenor): Ich will bei meinem Jesu wachen | — | ||
| 12-21 | Matthäus-Passion, BWV 244: No. 21. Evangelist: Und ging hin ein wenig | — | ||
| 12-22 | Matthäus-Passion, BWV 244: No. 22. Recitative (Bass): Der Heiland fällt vor seinem Vater nieder | — | ||
| 12-23 | Matthäus-Passion, BWV 244: No. 23. Aria (Bass): Gerne will ich mich bequemen | — | ||
| 12-24 | Matthäus-Passion, BWV 244: No. 24. Evangelist: Und er kam zu seinen Jüngern | — | ||
| 12-25 | Matthäus-Passion, BWV 244: No. 25. Chorale: Was mein Gott will, das g'scheh allzeit | — | ||
| 12-26 | Matthäus-Passion, BWV 244: No. 26. Evangelist: Und er kam und fand sie aber schlafend | — | ||
| 12-27 | Matthäus-Passion, BWV 244: No. 27. Aria (Soprano, Alto): So ist mein Jesus nun gefangen | — | ||
| 12-28 | Matthäus-Passion, BWV 244: No. 28. Evangelist: Und siehe, einer aus denen | — | ||
| 12-29 | Matthäus-Passion, BWV 244: No. 29. Chorale: O Mensch, bewein dein Sünde groß | — | ||
| 12-30 | Matthäus-Passion, BWV 244: No. 30. Aria (Alto): Ach, nun ist mein Jesus hin! (Zweiter Teil) | — | ||
| 12-31 | Matthäus-Passion, BWV 244: No. 31. Evangelist: Die aber Jesum gegriffen hatten | — | ||
| 12-32 | Matthäus-Passion, BWV 244: No. 32. Chorale: Mir hat die Welt trüglich gericht' | — | ||
| 12-33 | Matthäus-Passion, BWV 244: No. 33. Evangelist: Und wiewohl viel falsche Zeugen herzutraten | — | ||
| 12-34 | Matthäus-Passion, BWV 244: No. 34. Recitative (Tenor): Mein Jesus schweigt zu falschen Lügen stille | — | ||
| 12-35 | Matthäus-Passion, BWV 244: No. 35. Aria (Tenor): Geduld! Wenn mich falsche Zungen stechen | — | ||
| 12-36 | Matthäus-Passion, BWV 244: No. 36. Evangelist: Und der Hohepriester antwortete | — | ||
| 12-37 | Matthäus-Passion, BWV 244: No. 37. Chorale: Wer hat dich so geschlagen | — | ||
| 13-1 | Matthäus-Passion, BWV 244: No. 38. Evangelist: Petrus aber saß draußen im Palast | — | ||
| 13-2 | Matthäus-Passion, BWV 244: No. 39. Aria (Alto): Embarme dich, mein Gott | — | ||
| 13-3 | Matthäus-Passion, BWV 244: No. 40. Chorale: Bin ich gleich von dir gewichen | — | ||
| 13-4 | Matthäus-Passion, BWV 244: No. 41. Evangelist: Des Morgens aber hielten alle Hohepriester | — | ||
| 13-5 | Matthäus-Passion, BWV 244: No. 42. Aria (Bass): Gebt mir meinen Jesum wieder! | — | ||
| 13-6 | Matthäus-Passion, BWV 244: No. 43. Evangelist: Sie hielten aber einen Rat | — | ||
| 13-7 | Matthäus-Passion, BWV 244: No. 44. Chorale: Befiehl du deine Wege | — | ||
| 13-8 | Matthäus-Passion, BWV 244: No. 45. Evangelist: Auf das Fest aber hatte der Landpfleger Gewohnheit | — | ||
| 13-9 | Matthäus-Passion, BWV 244: No. 46. Chorale: Wie wunderbarlich ist doch diese Strafe! | — | ||
| 13-10 | Matthäus-Passion, BWV 244: No. 47. Evangelist: Der Landpfleger sagte | — | ||
| 13-11 | Matthäus-Passion, BWV 244: No. 48. Recitative (Soprano): Er hat uns allen wohlgetan | — | ||
| 13-12 | Matthäus-Passion, BWV 244: No. 49. Aria (Soprano): Aus Liebe will mein Heiland sterben | — | ||
| 13-13 | Matthäus-Passion, BWV 244: No. 50. Evangelist: Sie schrieen aber noch mehr | — | ||
| 13-14 | Matthäus-Passion, BWV 244: No. 51. Recitative (Alto): Erbarm es Gott! | — | ||
| 13-15 | Matthäus-Passion, BWV 244: No. 52. Aria (Alto): Können Tränen meiner Wangen | Gewandhausorchester Leipzig, Riccardo Chailly | — | |
| 13-16 | Matthäus-Passion, BWV 244: No. 53. Evangelist: Da nahmen die Kriegsknechte | — | ||
| 13-17 | Matthäus-Passion, BWV 244: No. 54. Chorale: O Haupt voll Blut und Wunden | — | ||
| 13-18 | Matthäus-Passion, BWV 244: No. 55. Evangelist: Und da sie ihn verspottet hatten | — | ||
| 13-19 | Matthäus-Passion, BWV 244: No. 56. Recitative (Bass): Ja freilich will in uns das Fleisch und Blut | — | ||
| 13-20 | Matthäus-Passion, BWV 244: No. 57. Aria (Bass): Komm, süßes Kreuz, so will ich sagen | — | ||
| 13-21 | Matthäus-Passion, BWV 244: No. 58. Evangelist: Und da sie an die Stätte kamen | — | ||
| 13-22 | Matthäus-Passion, BWV 244: No. 59. Recitative (Alto): Ach Golgatha | — | ||
| 13-23 | Matthäus-Passion, BWV 244: No. 60. Aria (Alto): Sehet, Jesus hat die Hand | — | ||
| 13-24 | Matthäus-Passion, BWV 244: No. 61. Evangelist: Und von der sechsten Stunde an | — | ||
| 13-25 | Matthäus-Passion, BWV 244: No. 62. Chorale: Wenn ich einmal soll scheiden | — | ||
| 13-26 | Matthäus-Passion, BWV 244: No. 63. Evangelist: Und siehe da, der Vorhang im Tempel zerriß | — | ||
| 13-27 | Matthäus-Passion, BWV 244: No. 64. Recitative (Bass): Am Abend, da es kühle war | — | ||
| 13-28 | Matthäus-Passion, BWV 244: No. 65. Aria (Bass): Mache dich, mein Herze, rein | — | ||
| 13-29 | Matthäus-Passion, BWV 244: No. 66. Evangelist: Und Joseph nahm den Leib | — | ||
| 13-30 | Matthäus-Passion, BWV 244: No. 67. Recitative (Soprano, Alto, Tenor, Bass): Nun ist er Herr zur Ruh gebracht | — | ||
| 13-31 | Matthäus-Passion, BWV 244: No. 68. Chorus: Wir setzen uns mit Tränen nieder | Gewandhausorchester Leipzig, Riccardo Chailly | — | |
| 14-1 | Johannes-Passion, BWV 245: Erster Teil: 1. Chor: Herr, Unser Herrscher, Dessen Ruhm | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-2 | Johannes-Passion, BWV 245: Teil I. Verrat und Gefangennahme: "Jesus ging mit seinen Jüngern über den Bach Kidron" (Evangelista, Jesus) - Chor "Jesum von Nazareth!" - "Jesus spricht zu ihnen" (Evangelista, Jesus) - Chor "Jesum von Nazareth!" - "Jesus antwortete" (Evangelista, Jesus) | — | ||
| 14-3 | Johannes-Passion, BWV 245: Erster Teil: 3. Choral: O Große Lieb | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-4 | Johannes-Passion, BWV 245: Teil I. Verrat und Gefangennahme: "Auf daß das Wort erfüllet würde" (Evangelista, Jesus) | — | ||
| 14-5 | Johannes-Passion, BWV 245: Teil I. Verrat und Gefangennahme: Choral "Dein Will gescheh, Herr Gott, zugleich" | — | ||
| 14-6 | Johannes-Passion, BWV 245: Teil I. Verrat und Gefangennahme: "Die Schar aber und der Oberhauptmann und die Diener der Jüden nahmen Jesum" (Evangelista) | — | ||
| 14-7 | Johannes-Passion, BWV 245: Erster Teil: 7. Arie (Altus): Von Den Stricken Meiner Sünden | Michael Chance, Valerie Darke, Anthony Robson, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-8 | Johannes-Passion, BWV 245: Teil I. Verleugnung: "Simon Petrus aber folgete Jesu nach" (Evangelista) | — | ||
| 14-9 | Johannes-Passion, BWV 245: Teil I. Verleugnung: Arie (Sopran) "Ich folge dir gleichfalls mit freudigen Schritten" | — | ||
| 14-10 | Johannes-Passion, BWV 245: Teil I. Verleugnung: "Derselbige Jünger war dem Hohepriester bekannt" (Evangelista, Ancilla, Petrus, Jesus, Servus) | — | ||
| 14-11 | Johannes-Passion, BWV 245: Erster Teil: 11. Choral: Wer Hat Dich So Geschlagen | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-12 | Johannes-Passion, BWV 245: Teil I. Verleugnung: "Und Hannas sandte ihn gebunden zu dem Hohepriester Kaiphas" (Evangelista) - Chor "Bist du nicht seiner Jünger einer?" - "Er leugnete aber und sprach" (Evangelista, Petrus, Servus) | — | ||
| 14-13 | Johannes-Passion, BWV 245: Erster Teil: 13. Arie (Tenor): Ach, Mein Sinn, Wo Willt Du Endlich Hin | Neill Archer, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-14 | Johannes-Passion, BWV 245: Teil I. Verleugnung: Choral "Petrus, der nicht denkt zurück" | — | ||
| 14-15 | Johannes-Passion, BWV 245: Zweiter Teil: 15. Choral: Christus, Der Uns Selig Macht | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-16 | Johannes-Passion, BWV 245: Teil II. Verhör und Geißelung: "Da führeten sie Jesum von Kaiphas vor das Richthaus" (Evangelista, Pilatus) - Chor "Wäre dieser nicht ein Übeltäter" - "Da sprach Pilatus zu ihnen" (Evangelista, Pilatus) - Chor "Wir dürfen niemanden töten" - "Auf daß erfüllet würde das Wort Jesu" (Evangelista, Pilatus, Jesus) | — | ||
| 14-17 | Johannes-Passion, BWV 245: Zweiter Teil: 17. Choral: Ach Grosser König, Gross Zu Allen Zeiten | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 14-18 | Johannes-Passion, BWV 245: Teil II. Verhör und Geißelung: "Da sprach Pilatus zu ihm" (Evangelista, Pilatus, Jesus) - Chor "Nicht diesen, sondern Barrabam!" - "Barrabas aber war ein Mörder" (Evangelista) | — | ||
| 14-19 | Johannes-Passion, BWV 245: Zweiter Teil: 19. Arioso (Bass): Betrachte, Mein Seel | Cornelius Hauptmann, Pavlo Beznosiuk, Roy Goodman, Jakob Lindberg, English Baroque Soloists, John Eliot Gardiner | T-050.327.214-7 | |
| 14-20 | Johannes-Passion, BWV 245: Zweiter Teil: 20. Arie (Tenor): Erwäge, Wie Sein Blutgefärbter Rücken | Rufus Müller, Pavlo Beznosiuk, Richard Campbell, Roy Goodman, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-1 | Johannes-Passion, BWV 245: Teil II. Verteilung und Kreuzigung: "Und die Kriegsknechte flochten eine Krone von Dornen" (Evangelista) - Chor "Sei gegrüßt lieber Jüdenkönig!" - "Und gaben ihm Backenstreiche" (Evangelista, Pilatus) - Chor "Kreuzige, kreuzige!" - "Pilatus sprach zu ihnen" (Evangelista, Pilatus) - Chor "Wir haben ein Gesetz" - "Da Pilatus das Wort hörete" (Evangelista, Pilatus, Jesus) | — | ||
| 15-2 | Johannes-Passion, BWV 245: Zweiter Teil: 22. Choral: Durch Dein Gefängnis, Gottes Sohn | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-3 | Johannes-Passion, BWV 245: Teil II. Verurteilung und Kreuzigung: "Die Jüden aber schrieen und sprachen" (Evangelista) - Chor "Lässest du diesen los" - "Da Pilatus das Wort hörete" (Evangelista, Pilatus) - Chor "Weg, weg mit dem" - "Spricht Pilatus zu ihnen" (Evangelista) - Chor "Wir haben keinen König denn den Kaiser" - "Da überantwortete er ihn, daß er gekreuziget würde" (Evangelista) | — | ||
| 15-4 | Johannes-Passion, BWV 245: Zweiter Teil: 24. Arie (Bass) - Chor: Eilt Ihr Angefochtnen Seelen / Wohin? | Cornelius Hauptmann, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-050.327.214-7 | |
| 15-5 | Johannes-Passion, BWV 245: Teil II. Verurteilung und Kreuzigung: "Allda kreuzigten sie ihn" - Chor "Schreibe nicht: der Jüden König sondern" - "Pilatus antwortet" (Evangelista, Pilatus) | — | ||
| 15-6 | Johannes-Passion, BWV 245: Zweiter Teil: 26. Choral: In Meines Herzens Grunde | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-7 | Johannes-Passion, BWV 245: Teil II. Tod Jesu: "Die Kriegsknechte aber, da sie Jesum gekreuziget hatten" (Evangelista) - Chor "Lasset uns den nicht zerteilen" - "Auf daß erfüllet würde die Schrift" (Evangelista, Jesus) | — | ||
| 15-8 | Johannes-Passion, BWV 245: Teil II. Tod Jesu: Choral "Er nahm alles wohl in acht" | — | ||
| 15-9 | Johannes-Passion, BWV 245: Teil II. Tod Jesu: "Und von Stund an nahm sie der Jünger zu sich" (Evangelista, Jesus) | — | ||
| 15-10 | Johannes-Passion, BWV 245: Zweiter Teil: 30. Arie (Altus): Es Ist Vollbracht | Michael Chance, Cornelius Hauptmann, Richard Campbell, English Baroque Soloists, John Eliot Gardiner | T-915.681.108-4 | |
| 15-11 | Johannes-Passion, BWV 245: Teil II. Tod Jesu: "Und neiget das Haupt und verschied" (Evangelista) | — | ||
| 15-12 | Johannes-Passion, BWV 245: Zweiter Teil: 32. Arie (Bass): Mein Teurer Heiland / Mit Choral: Jesu, Der Du Warest Tot | Cornelius Hauptmann, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-13 | Johannes-Passion, BWV 245: Teil II. Grablegung: "Und siehe da, der Vorhang im Tempel zerriß" (Evangelista) | — | ||
| 15-14 | Johannes-Passion, BWV 245: Zweiter Teil: 34. Arioso (Tenor I): Mein Herz, Indem Die Ganze Welt | Neill Archer, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-15 | Johannes-Passion, BWV 245: Zweiter Teil: 35. Arie (Sopran): Zerfliesse, Mein Herze | Nancy Argenta, Lisa Beznosiuk, Richard Earle, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-16 | Johannes-Passion, BWV 245: Teil II. Grablegung: "Die Jüden aber, dieweil es der Rüsttag war" (Evangelista) | — | ||
| 15-17 | Johannes-Passion, BWV 245: Zweiter Teil: 37. Choral: O Hilf, Christe, Gottes Sohn | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-18 | Johannes-Passion, BWV 245: Teil II. Grablegung: "Darnach bat Pilatum Joseph von Arimathia" (Evangelista) | — | ||
| 15-19 | Johannes-Passion, BWV 245: Zweiter Teil: 39. Chor: Ruht Wohl, Ihr Heiligen Gebeine | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-915.682.948-0 | |
| 15-20 | Johannes-Passion, BWV 245: Zweiter Teil: 40. Choral: Ach Herr, Lass Dein Lieb Engelein | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 16-1 | Mass in B minor BWV 232: I. Kyrie: Kyrie eleison | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-070.093.418-4 | |
| 16-2 | Mass in B minor BWV 232: II. Kyrie: Christe eleison | Lynne Dawson, Carol Hall, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-3 | Mass in B minor BWV 232: III. Kyrie: Kyrie eleison | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-4 | Mass in B minor BWV 232: IV. Gloria: Gloria in excelsis (attacca) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-010.963.456-1 | |
| 16-5 | Mass in B minor BWV 232: V. Gloria: Et in terra pax | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-6 | Mass in B minor BWV 232: VI. Gloria: Laudamus te | Nancy Argenta, Elizabeth Wilcock, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-7 | Mass in B minor BWV 232: VII. Gloria: Gratias agimus tibi | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-921.408.876-3 | |
| 16-8 | Mass in B minor BWV 232: VIII. Gloria: Domine Deus (attacca) | Nancy Argenta, Howard Milner, Lisa Beznosiuk, English Baroque Soloists, Sir John Eliot Gardiner | T-926.494.374-0 | |
| 16-9 | Mass in B minor BWV 232: IX. Gloria: Qui tollis peccata mundi | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-10 | Mass in B Minor, BWV 232: Aria 'Qui sedes ad dextram Patris' | Michael Chance, Sophia McKenna, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-11 | Mass in B minor BWV 232: XI. Gloria: Quoniam tu solus sanctus (attacca) | Stephen Varcoe, Michael Thompson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-12 | Mass in B minor BWV 232: XII. Gloria: Cum Sancto Spiritu | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-1 | Mass in B minor BWV 232: XIII. Credo: Credo in unum Deum | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.322-9 | |
| 17-2 | Mass in B minor BWV 232: XIV. Credo: Credo in unum Deum / Patrem omnipotentem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-3 | Mass in B minor BWV 232: XV. Credo: Et in unum Dominum | Patrizia Kwella, Mary Nichols, English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.322-9 | |
| 17-4 | Mass in B minor BWV 232: XVI. Credo: Et incarnatus est | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-306.483.194-9 | |
| 17-5 | Mass in B minor BWV 232: XVII. Credo: Crucifixus | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-917.413.519-4 | |
| 17-6 | Mass in B minor BWV 232: XVIII. Credo: Et resurrexit | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-7 | Mass in B minor BWV 232: XIX. Credo: Et in Spiritum Sanctum | Richard Lloyd-Morgan, Valerie Darke, Sophia McKenna, English Baroque Soloists, Sir John Eliot Gardiner | T-915.866.114-4 | |
| 17-8 | Mass in B minor BWV 232: XX. Credo: Confiteor (attacca) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-9 | Mass in B minor BWV 232: XXI: Credo: Et exspecto resurrectionem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-10 | Mass in B minor, BWV 232: No. 22 Chorus: »Sanctus« | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | T-312.692.424-7 | |
| 17-11 | Mass in B minor, BWV 232: No. 23 Chorus I/II: »Osanna in excelsis« | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 17-12 | Mass in B minor BWV 232: XXIV. Sanctus: Benedictus, qui venit | Wynford Evans, Lisa Beznosiuk, English Baroque Soloists, Sir John Eliot Gardiner | T-050.283.177-7 | |
| 17-13 | Mass in B minor BWV 232: XXV. Sanctus: Osanna (da capo) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-14 | Mass in B Minor, BWV 232: Aria 'Agnus Dei' | Michael Chance, English Baroque Soloists, Sir John Eliot Gardiner | T-914.368.452-0 | |
| 17-15 | Mass in B minor BWV 232: XXVII. Agnus Dei: Dona nobis pacem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-050.051.776-9 | |
| 18-1 | Israel in Egypt: Overture | — | ||
| 18-2 | Israel in Egypt: No. 1 Recitative (Tenor) - Now there arose a new king; No. 2 Chorus - And the children of Israel sighed | — | ||
| 18-3 | Israel in Egypt: No. 3 Recitative (Tenor) - Then sent He Moses; No. 4 Chorus - They loathed to drink of the river | — | ||
| 18-4 | Israel in Egypt: No. 5 Air (Alto) - Their land brought forth frogs | — | ||
| 18-5 | Israel in Egypt: No. 6 Chorus - He spake the word | — | ||
| 18-6 | Israel in Egypt: No. 7 Chorus - He gave them hailstones for rain | — | ||
| 18-7 | Israel in Egypt: No. 8 Chorus - He sent a thick darkness | — | ||
| 18-8 | Israel in Egypt: No. 9 Chorus - He smote all the first-born of Egypt | — | ||
| 18-9 | Israel in Egypt: No. 10 Chorus - But as for his people | — | ||
| 18-10 | Israel in Egypt: No. 11 Chorus - Egypt was glad when they departed | — | ||
| 18-11 | Israel in Egypt: No. 12 Chorus - He rebuked the Red Sea | — | ||
| 18-12 | Israel in Egypt: No. 13 Chorus - And Israel saw that great work | — | ||
| 19-1 | Israel in Egypt: No. 14 Introitus (Chorus) - Moses and the children on Israel | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-2 | Israel in Egypt: No. 15 Duet (Sopranos I and II) - The Lord is my strength | — | ||
| 19-3 | Israel in Egypt: No. 16 Chorus - He is my God | — | ||
| 19-4 | Israel in Egypt: No. 17 Duet (Bass I and II) - The Lord is a man of war | — | ||
| 19-5 | Israel in Egypt: No. 18 Chorus - The depths have covered them | — | ||
| 19-6 | Israel in Egypt: No. 19 Chorus - Thy right hand, o Lord | — | ||
| 19-7 | Israel in Egypt: No. 20 Chorus - And with the blast of thy nostrils | — | ||
| 19-8 | Israel in Egypt: No. 21 Air (Tenor) - The enemy said: I will pursue | — | ||
| 19-9 | Israel in Egypt: No. 22 Air (Soprano) - Thou didst blow with the wind | — | ||
| 19-10 | Israel in Egypt: No. 23 Chorus - Who is like unto thee | — | ||
| 19-11 | Israel in Egypt: No. 24 Duet (Alto and Tenor) - Thou in thy mercy | — | ||
| 19-12 | Israel in Egypt: No. 25 Chorus - The people shall hear | — | ||
| 19-13 | Israel in Egypt: No. 26 Air (Alto) - Thou shalt bring them in | — | ||
| 19-14 | Israel in Egypt: No.27a Chorus, No.28 Recitative, No.27b Chorus, No.29 Recitative, No.30 Chorus | — | ||
| 19-15 | HANDEL: ZADOK THE PRIEST (CORONATION ANTHEM NO.1, HWV 258) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-900.962.637-3 | |
| 19-16 | Two Coronation Anthems: The King Shall Rejoice | — | ||
| 20-1 | Messiah, HWV 56: Part I. Sinfony | Academy of Ancient Music, Christopher Hogwood | — | |
| 20-2 | Messiah, HWV 56: Part I. “Comfort ye my people – Every valley shall be exalted” | Paul Elliott, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-3 | Messiah, HWV 56: Part I. “And the glory of the Lord” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-4 | Messiah, HWV 56: Part I. “Thus saith the Lord – But who may abide the day of his coming” | Emma Kirkby, David Thomas, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-5 | Messiah, HWV 56: Part I. “And he shall purify” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-6 | Messiah, HWV 56: Part I. “Behold, a virgin shall conceive – O thou that tellest good tidings to Zion” | Simon Preston, Christ Church Cathedral Choir, Oxford, Carolyn Watkinson, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-7 | Messiah, HWV 56: Part I. “For behold, darkness shall cover the earth – The people that walked in the darkness” | David Thomas, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-8 | Messiah, HWV 56: Part I. “For unto us a child is born” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-9 | Messiah, HWV 56: Part I. Pifa | Academy of Ancient Music, Christopher Hogwood | — | |
| 20-10 | Messiah, HWV 56: Part I. “There were shepherds, abiding in the field – Glory to God” | Simon Preston, Christ Church Cathedral Choir, Oxford, Judith Nelson, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-11 | Messiah, HWV 56: Part I. “Rejoice greatly, O Daughter Of Zion” | Judith Nelson, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-12 | Messiah, HWV 56: Part I. “Then shall the eyes of the blind – He shall feed his flock” | Judith Nelson, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-13 | Messiah, HWV 56: Part I. “His yoke is easy, and his burden is light” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-14 | Messiah, HWV 56: Part II. “Behold the Lamb of God” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 20-15 | Messiah, HWV 56: Part II. “He was despised” | Carolyn Watkinson, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-1 | Messiah, HWV 56: Part II. “Surely he hath borne our griefs – And with His stripes we are healed” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-2 | Messiah, HWV 56: Part II. “All we like sheep have gone astray” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-3 | Messiah, HWV 56: Part II. “All they that see him laugh him to scorn – He trusted in God” | Simon Preston, Christ Church Cathedral Choir, Oxford, Paul Elliott, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-4 | Messiah, HWV 56: Part II. “Thy rebuke hath broken his heart – He was cut off out of the land of the living” | Paul Elliott, Judith Nelson, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-5 | Messiah, HWV 56: Part II. “But thou didst not leave his soul in hell” | Judith Nelson, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-6 | Messiah, HWV 56: Part II. “Lift up your heads, O ye gates” | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-7 | Messiah, HWV 56: Part II. “Unto which of the angels said he at any time – Let all the angels of God worship him” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-8 | Messiah, HWV 56: Part II. “Thou art gone up on high” | Emma Kirkby, David Thomas, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-9 | Messiah, HWV 56: Part II. “The Lord gave the word” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-10 | Messiah, HWV 56: Part II. “How beautiful are the feet” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-11 | Messiah, HWV 56: Part II. “Their sound is gone out” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-12 | Messiah, HWV 56: Part II. “Why do the nations so furiously rage together? – Let us break their bonds asunder” | Simon Preston, Christ Church Cathedral Choir, Oxford, David Thomas, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-13 | Messiah, HWV 56: Part II. “He that dwelleth in heaven – Thou shalt break them” | Paul Elliott, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-14 | Messias: Halleluja Chor (VI. H, S. 244) | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 21-15 | Messiah, HWV 56: Part III. “I know that my Redeemer liveth” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-16 | Messiah, HWV 56: Part III. “Since by man came death” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-17 | Messiah, HWV 56: Part III. “Behold, I tell you a mystery – The trumpet shall sound” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | T-315.691.885-9 | |
| 21-18 | Messiah, HWV 56: Part III. “Then shall be brought to pass – O Death, where is thy sting?” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-19 | Messiah, HWV 56: Part III. “But thanks be to God” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-20 | Messiah, HWV 56: Part III. “If God be for us” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-21 | Messiah, HWV 56: Part III. “Worthy is the lamb that was slain” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 21-22 | Messiah, HWV 56: Part III. “Amen” | Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford | — | |
| 22-1 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": I. "Kyrie" | Arleen Augér, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | T-923.240.177-3 | |
| 22-2 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIa. Gloria: "Gloria in excelsis" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | T-315.781.153-1 | |
| 22-3 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIb. Gloria: "Laudamus te" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-4 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIc. Gloria: "Gratias agimus tibi" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-5 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IId. Gloria: "Domine Deus" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-6 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIe. Gloria: "Qui tollis" | David Hill, Julian Smith, John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-7 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIf. Gloria: "Quoniam tu solus" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-8 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIg. Gloria: "Jesu Christe-Cum Sancto Spiritu" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-9 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIIa. Credo: "Credo in unum Deum" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | T-915.866.112-2 | |
| 22-10 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IIIb. Credo: "Et incarnatus est" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | T-915.866.113-3 | |
| 22-11 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": IVa. Sanctus: "Sanctus" | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-12 | Mass No. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 (fragment) "Great": V. Benedictus | John Mark Ainsley, Arleen Augér, Lynne Dawson, David Thomas, Winchester Cathedral Choir, Winchester College Quiristers, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-13 | Mass No. 15 for Soloists, Chorus & Orchestra in C major, K. 317 “Coronation Mass”: I. “Kyrie” | Emma Kirkby, John Mark Ainsley, Winchester College Quiristers, Choir Of Winchester Cathedral, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-14 | Mass No. 15 for Soloists, Chorus & Orchestra in C major, K. 317 “Coronation Mass”: II. “Gloria” | Emma Kirkby, Catherine Robbin, John Mark Ainsley, Michael George, Winchester College Quiristers, Choir Of Winchester Cathedral, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-15 | Mass No. 15 for Soloists, Chorus & Orchestra in C major, K. 317 “Coronation Mass”: III. “Credo” | Emma Kirkby, Catherine Robbin, John Mark Ainsley, Michael George, Winchester College Quiristers, Choir Of Winchester Cathedral, Academy of Ancient Music, Christopher Hogwood | T-030.223.287-6 | |
| 22-16 | Mass No. 15 for Soloists, Chorus & Orchestra in C major, K. 317 “Coronation Mass”: IV. “Sanctus” | Winchester College Quiristers, Choir Of Winchester Cathedral, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-17 | Mass No. 15 for Soloists, Chorus & Orchestra in C major, K. 317 “Coronation Mass”: V. “Benedictus” | Emma Kirkby, Catherine Robbin, John Mark Ainsley, Michael George, Winchester College Quiristers, Choir Of Winchester Cathedral, Academy of Ancient Music, Christopher Hogwood | — | |
| 22-18 | Mass in C major, K317 “Coronation”: VI. Agnus Dei | Emma Kirkby, Catherine Robbin, John Mark Ainsley, Michael George, Winchester College Quiristers, Choir Of Winchester Cathedral, Academy of Ancient Music, Christopher Hogwood | — | |
| 23-1 | Requiem in D minor, K 626 | Academy of St Martin in the Fields | T-905.386.342-6 | |
| 23-2 | Requiem in D minor, K. 626: 2. Kyrie | — | ||
| 23-3 | Requiem in D minor, K. 626: 3. Sequentia: Dies irae | Academy of St. Martin in the Fields Chorus, Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 23-4 | Requiem in D minor, K. 626: 3. Sequentia: Tuba mirum | Sylvia McNair, Carolyn Watkinson, Francisco Araiza, Robert Lloyd, Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 23-5 | Requiem in D minor, K. 626 (Beyer edition): IIIc. Sequenz: "Rex tremendae" | Academy of St. Martin in the Fields Chorus, Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 23-6 | Requiem in D minor, K. 626: 3. Sequentia: Recordare | — | ||
| 23-7 | Requiem in D minor, K. 626: 3. Sequentia: Confutatis | Academy of St. Martin in the Fields Chorus, Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 23-8 | Requiem in D minor, K. 626: 3. Sequentia: Lacrimosa | László Heltay, Francisco Araiza, Robert Lloyd, Sylvia McNair, Carolyn Watkinson, Academy of St. Martin in the Fields Chorus, Academy of St Martin in the Fields, Sir Neville Marriner | T-928.328.221-3 | |
| 23-9 | Requiem in D minor, K. 626: 4. Offertorium: Domine Jesu | — | ||
| 23-10 | Requiem in D minor, K. 626: 4. Offertorium: Hostias | — | ||
| 23-11 | Requiem in D minor, K. 626: 5. Sanctus | — | ||
| 23-12 | Requiem in D minor, K. 626: 6. Benedictus | — | ||
| 23-13 | Requiem in D minor, K. 626: 7. Agnus Dei | — | ||
| 23-14 | Requiem in D minor, K. 626: 8. Communio: Lux aeterna | — | ||
| 23-15 | Ave verum corpus, K. 618 | Leipzig Radio Chorus, Staatskapelle Dresden, Peter Schreier | T-323.252.117-0 | |
| 24-1 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": I. Kyrie | — | ||
| 24-2 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IIa. Gloria: "Gloria in excelsis Deo" | — | ||
| 24-3 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IIb. Gloria: "Qui tollis peccata mundi, miserere nobis" | — | ||
| 24-4 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IIc. Gloria: "Quoniam to solus Sanctus" | — | ||
| 24-5 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IIIa. Credo: "Credo in unum Deum" | — | ||
| 24-6 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IIIb. Credo: "Et incarnatus est" | — | ||
| 24-7 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IIIc. Credo: "Et resurrexit" | — | ||
| 24-8 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": IV. Sanctus | — | ||
| 24-9 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": V. Benedictus | — | ||
| 24-10 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": VIa. Agnus Dei: "Agnus Dei, qui tollis peccata mundi" | — | ||
| 24-11 | Missa in Angustiis Hob. XXII:11 "Nelson Mass": VIb. Agnus Dei: "Dona nobis pacem" | — | ||
| 24-12 | Te Deum in C major Hob. XXIIIc:2: I. Allegro "Te Deum laudamus" | — | ||
| 24-13 | Te Deum in C major Hob. XXIIIc:2: II. Adagio "Te ergo quaesumus" | — | ||
| 24-14 | Te Deum in C major Hob. XXIIIc:2: III. Allegro moderato "Aeterna fac cum sanctis tuis" | — | ||
| 25-1 | The Creation: Part One. The First Day: Introduction. The Representation of Chaos | — | ||
| 25-2 | The Creation: Part One. The First Day: Recitative "In the beginning God created the heaven and the earth" (Raphael, Uriel) - Chorus "And the spirit of God" | — | ||
| 25-3 | The Creation: Part One. The First Day: Aria "Now vanish before the holy beams" (Uriel) - Chorus "Despairing, cursing rage" | — | ||
| 25-4 | The Creation: Part One. The Second Day: Accompanied recitative "And God made the firmament" (Raphael) | — | ||
| 25-5 | The Creation: Part One. The Second Day: Solo with Chorus "The glorious heav'nly hierarchy" (Gabriel) | — | ||
| 25-6 | The Creation: Part One. The Third Day: Recitative "And God said: Let the waters under the heaven be gathered together" (Raphael) | — | ||
| 25-7 | The Creation: Part One. The Third Day: Aria "Rolling in Foaming Billows" (Raphael) | — | ||
| 25-8 | The Creation: Part One. The Third Day: Recitative "And God said: Let the earth bring forth grass" (Gabriel) | — | ||
| 25-9 | The Creation: Part One. The Third Day: Aria "With verdure clad the fields appear" (Gabriel) | — | ||
| 25-10 | The Creation: Part One. The Third Day: Recitative "And the heavenly host the third day proclaimed" (Uriel) | — | ||
| 25-11 | The Creation: Part One. The Third Day: Chorus "Awake the harp, the lyre awake" | — | ||
| 25-12 | The Creation: Part One. The Fourth Day: Recitative "And God said: Let there be lights in the firmament of heaven" (Uriel) | — | ||
| 25-13 | The Creation: Part One. The Fourth Day: Accompanied recitative "In brightest splendour rises now the sun" (Uriel) | — | ||
| 25-14 | The Creation: Part One. The Fourth Day: Trio and Chorus "The heavens are telling the glory of God" (Gabriel, Uriel, Raphael) | — | ||
| 25-15 | The Creation: Part Two. The Fifth Day: Recitative "And God said: Let the waters bring forth abundantly" (Gabriel) | — | ||
| 25-16 | The Creation: Part Two. The Fifth Day: Aria "On mighty pens uplifted soars the eagle" (Gabriel) | — | ||
| 25-17 | The Creation: Part Two. The Fifth Day: Accompanied recitative "And God created great whales" (Raphael) | — | ||
| 25-18 | The Creation: Part Two. The Fifth Day: Recitative "And the angels struck their immortal harps" (Raphael) | — | ||
| 25-19 | The Creation: Part Two. The Fifth Day: Trio "Most beautiful appear, with verdure young adorn'd" (Gabriel, Uriel, Raphael) - Chorus "The Lord is great" | — | ||
| 25-20 | The Creation: Part Two. The Sixth Day: Recitative "And God said: Let the earth bring forth the living creature" (Raphael) | — | ||
| 25-21 | The Creation: Part Two. The Sixth Day: Accompanied recitative "Straight opening her fertile womb" (Raphael) | — | ||
| 25-22 | The Creation: Part Two. The Sixth Day: Aria "Now heaven in fullest glory shines" (Raphael) | — | ||
| 25-23 | The Creation: Part Two. The Sixth Day: Recitative "And God created man" (Uriel) | — | ||
| 25-24 | The Creation: Part Two. The Sixth Day: Aria "In native worth and honour clad" (Uriel) | — | ||
| 25-25 | The Creation: Part Two. The Sixth Day: Recitative "And God saw everything that he had made" (Raphael) | — | ||
| 25-26 | The Creation: Part Two. The Sixth Day: Chorus and Trio "Achieved is the glorious work" (Gabriel, Uriel, Raphael) | — | ||
| 26-1 | The Creation: Part Three. Accompanied recitative "In rosy mantle now appears" (Uriel) | — | ||
| 26-2 | The Creation: Part Three. Duet with Chorus "By thee with bliss, o bounteous Lord" (Eve, Adam) | — | ||
| 26-3 | The Creation: Part Three. Recitative "Our duty have we now perform'd" (Adam, Eve) | — | ||
| 26-4 | The Creation: Part Three. Duet "Graceful consort!" (Adam, Eve) | — | ||
| 26-5 | The Creation: Part Three. Recitative "O happy pair" (Uriel) | — | ||
| 26-6 | The Creation: Part Three. Chorus "Praise the Lord, uplift your voices" | — | ||
| 27-1 | Missa Solemnis in D major, op. 123: 1. Kyrie - Assai sostenuto | — | ||
| 27-2 | Missa Solemnis in D major, op. 123: 2. Gloria - Allegro vivace | — | ||
| 27-3 | Missa Solemnis in D major, op. 123: 3. Credo - Allegro ma non troppo | — | ||
| 27-4 | Missa Solemnis in D major, op. 123: 4. Sanctus - Adagio | — | ||
| 27-5 | Missa Solemnis in D major, op. 123: 5. Agnus Dei - Adagio | — | ||
| 28-1 | Stabat Mater: I. Introduzione: Andantino moderato “Stabat mater dolorosa” | — | ||
| 28-2 | Stabat Mater: II. Aria: Allegretto maestoso “Cujus animam gementem” | — | ||
| 28-3 | Stabat Mater: III. Duetto: Largo “Quis est homo” | — | ||
| 28-4 | Stabat Mater: IV. Aria: Allegretto maestoso “Pro peccatis suae gentis” | — | ||
| 28-5 | Stabat Mater: V. Coro e Recitativo: Andante mosso “Eja, mater, fons amoris” | — | ||
| 28-6 | Stabat Mater: VI. Quartetto: Allegretto moderato “Sancta mater, istud agas” | — | ||
| 28-7 | Stabat Mater: VII. Cavatina: Andante grazioso “Fac, ut portem Christi mortem” | — | ||
| 28-8 | Inflammatus et accensus from "Stabat Mater" | Heinz Mende, Philharmonia Chorus, Katia Ricciarelli, Philharmonia Orchestra, Carlo Maria Giulini | — | |
| 28-9 | Stabat Mater: IX. Quartetto: Andante “Quando corpus morietur” | — | ||
| 28-10 | Stabat Mater: X. Finale: Allegro – Andantino moderato “Amen. In sempiterna saecula” | — | ||
| 29-1 | Elijah, op. 70: Part I. Introduction "As God the Lord of Israel liveth" (Elijah) | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-2 | Elijah, op. 70: Part I. Overture | Orchestra of the Age of Enlightenment, Paul Daniel | T-010.466.330-0 | |
| 29-3 | Elijah, op. 70: Part I, no. 1 Chorus "Help, Lord! Wilt Thou quite destroy us" (the people) | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-4 | Elijah, op. 70: Part I, no. 2 Duet with chorus "Lord, bow Thine ear to our prayer" (the people, two women) | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-5 | Elijah, op. 70: Part I, no. 3 Recitative "Ye people, rend your hearts and not your garments" (Obadiah) | John Mark Ainsley, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-6 | Elijah, op. 70: Part I, no. 4 Aria "If with all your hearts ye truly seek Me..." (Obadiah) | John Mark Ainsley, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-7 | Elijah, op. 70: Part I, no. 5 Chorus "Yet doth the Lord see it not" (the people) | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-8 | Elijah, op. 70: Part I, no. 6 Recitative "Elijah! Get thee hence, Elijah!" (an Angel) | Patricia Bardon, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-9 | Elijah, op. 70: Part I, no. 7 Double quartet "For He shall give His Angels charge over thee" (Angels) | Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-10 | Elijah, op. 70: Part I, no. 8 Aria - Duet "What have I to do with thee, o man of God?" (the widow, Elijah) | Bryn Terfel, Renée Fleming, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-11 | Elijah, op. 70: Part I, no. 9 Chorus "Blessed are the men who fear Him" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-12 | Elijah, op. 70: Part I, no. 10 Recitative - Chorus "As God the Lord of Sabaoth liveth (Elijah, Ahab, the people) | — | ||
| 29-13 | Elijah, op. 70: Part I, no. 11 Chorus "Baal, we cry to thee (prophets of Baal) | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-14 | Elijah, op. 70: Part I, no. 12 Recitative - Chorus "Call him louder, for he is a god!" (Elijah, prophets of Baal) | Bryn Terfel, Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-15 | Elijah, op. 70: Part I, no. 13 Recitative - Chorus "Call him louder! He heareth not" (Elijah, prophets of Baal) | Bryn Terfel, Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-16 | Elijah, op. 70: Part I, no. 14 Aria "Lord God of Abraham, Isaac and Israel" (Elijah) | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-17 | Elijah, op. 70: Part I, no. 15 Quartet "Cast thy burden upon the Lord" (Angels) | Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-18 | Elijah, op. 70: Part I, no. 16 Recitative - Chorus "O Thou, who makest Thine angels spirits" (Elijah, the people) | Bryn Terfel, Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-19 | Elijah, op. 70: Part I, no. 17 Aria "Is not His word like a fire" (Elijah) | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-20 | Elijah, op. 70: Part I, no. 18 Arioso "Woe, woe unto them who forsake Him!" (contralto I) | Patricia Bardon, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-21 | Elijah, op. 70: Part I, no. 19 Recitative and Chorus "O man of God, help thy people!" (Obadiah, Elijah, the boy, the people) | Bryn Terfel, John Mark Ainsley, Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 29-22 | Elijah, op. 70: Part I, no. 20 Chorus "Thanks be to God! He laveth the thirsty land" (the people) | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-1 | Elijah, op. 70: Part II, no. 21 Aria "Hear ye, Israel" (soprano I) | Renée Fleming, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-2 | Elijah, op. 70: Part II, no. 22 Chorus "'Be Not afraid', saith God the Lord" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-3 | Elijah, op. 70: Part II, no. 23 Recitative - Chorus "The Lord hath exalted thee from among the people" (Elijah, The Queen, the people) | Bryn Terfel, Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-4 | Elijah, op. 70: Part II, no. 24 Chorus "Woe to him! He shall perish" (the people) | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-5 | Elijah, op. 70: Part II, no. 25 Recitative "Man of God, now let my words be precious in thy sight" | Bryn Terfel, John Mark Ainsley, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-6 | Elijah, op. 70: Part II, no. 26 Aria "It is enough! O Lord, now take away my life" (Elijah) | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-7 | Elijah, op. 70: Part II, no. 27 Recitative "See, now he sleepeth beneath a juniper tree" (tenor I) | John Mark Ainsley, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-8 | Elijah, op. 70: Part II, no. 28 Trio "Lift thine eyes to the mountains" (Angels) | Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-9 | Elijah, op. 70: Part II, no. 29 Chorus "He, watching over Israel" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-10 | Elijah, op. 70: Part II, no. 30 Recitative "Arise, Elijah, for thou hast a long journey before thee" | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-11 | Elijah, op. 70: Part II, no. 31 Aria "Oh rest in the Lord" (an Angel) | Patricia Bardon, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-12 | Elijah, op. 70: Part II, no. 32 Chorus "He that shall endure to the end, shall be saved" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-13 | Elijah, op. 70: Part II, no. 33 Recitative "Night falleth round me, o Lord!" (Elijah, an Angel) | Bryn Terfel, Patricia Bardon, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-14 | Elijah, op. 70: Part II, no. 34 Chorus "Behold, God the Lord passed by!" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-15 | Elijah, op. 70: Part II, no. 35 Recitative - Chorus "Above Him stood the Seraphim...Holy is God the Lord Sabaoth" (contralto I, Seraphim) | Patricia Bardon, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-16 | Elijah, op. 70: Part II, no. 36 Chorus - Recitative "Go, return upon thy way!" (Elijah) | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-17 | Elijah, op. 70: Part II, no. 37 Arioso "For the mountains shall depart" (Elijah) | Bryn Terfel, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-18 | Elijah, op. 70: Part II, no. 38 Chorus "Then did Elijah the prophet break forth like a fire" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-19 | Elijah, op. 70: Part II, no. 39 Aria "Then shall the righteous shine forth" (tenor I) | John Mark Ainsley, Orchestra of the Age of Enlightenment, Paul Daniel | T-306.381.608-6 | |
| 30-20 | Elijah, op. 70: Part II, no. 40 Recitative "Behold, God hath sent Elijah the prophet" (soprano I) | Renée Fleming, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-21 | Elijah, op. 70: Part II, no. 41 Chorus - Quartet "But the Lord from the north hath raised one...Oh come everyone that thirsteth" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 30-22 | Elijah, op. 70: Part II, no. 42 Chorus "And then shall your light break forth" | Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel | — | |
| 31-1 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Dans la crèche, en ce temps, Jésus venait de naître | — | ||
| 31-2 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Scène 1: Marche nocturne | — | ||
| 31-3 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Scène 2: Air d'Herode: Toujours ce rêve - O misère des rois! | — | ||
| 31-4 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Scène 3: Seigneur! | — | ||
| 31-5 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Scène 4: Les sages de Judée | — | ||
| 31-6 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: (Evolutions cabalistiques) | — | ||
| 31-7 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: La voix dit vrai, Seigneur | — | ||
| 31-8 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Scène 5: Duo: O mon cher fils, donne cette herbre tendre | — | ||
| 31-9 | L'Enfance du Christ, op. 25, Partie 1: Le songe d'Hérode: Scène 6: Joseph! Marie! Ecoutez-nous | — | ||
| 31-10 | L'Enfance du Christ, op. 25, Partie 2: La fuite en Egypte: Ouverture | — | ||
| 31-11 | L'Enfance du Christ, op. 25, Partie 2: La fuite en Egypte: Il s'en va loin de la terre | — | ||
| 31-12 | L'Enfance du Christ, op. 25, Partie 2: La fuite en Egypte: Le repos de la Sainte Famille - Les pèlerins étant venus | — | ||
| 32-1 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: Depuis trois jours, malgré l'ardeur du vent | — | ||
| 32-2 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: Scène 1: Dans cette ville immense | — | ||
| 32-3 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: Scène 2: Entrez, entrez, pauvres Hébreux - Grand dieux! Quelle détresse! | — | ||
| 32-4 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: Trio pour deux flûtes et harpe | — | ||
| 32-5 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: Vous pleurez, jeune mère | — | ||
| 32-6 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: Epilogue: Lento (orchestral) - Ce fut ainsi que par un infidèle | — | ||
| 32-7 | L'Enfance du Christ, op. 25, Partie 3: L'arrivée à Sais: O mon âme, pour toi que reste-t-il à faire | — | ||
| 32-8 | Sara la Baigneuse, op. 11 (Ballade H.69C) | — | ||
| 32-9 | Hélène, op. 2, no. 2 | — | ||
| 32-10 | La belle voyageuse, op. 2, no. 4 ('Ballade Irlande', H.42A) | — | ||
| 32-11 | Quartetto e coro dei maggi | — | ||
| 32-12 | Chant sacré, op. 2, no .6 | — | ||
| 33-1 | Mass in G major, D167 I | — | ||
| 33-2 | Mass in G major, D167 II | — | ||
| 33-3 | Mass in G major, D167 III | — | ||
| 33-4 | Mass in G major, D167 IV | — | ||
| 33-5 | Mass in G major, D167 V | — | ||
| 33-6 | Mass in G major, D167 VI | — | ||
| 33-7 | Der 23, Psalm, D706 | — | ||
| 33-8 | Te Deum, WAB 45: I. Te Deum. Allegro | Maria Stader, Sieglinde Wagner, Ernst Haefliger, Peter Lagger, Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Eugen Jochum | — | |
| 33-9 | Te Deum, WAB 45: II. Te ergo quaesumus. Moderato | Maria Stader, Sieglinde Wagner, Ernst Haefliger, Peter Lagger, Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Eugen Jochum | — | |
| 33-10 | Te Deum, WAB 45: III. Aeterna fac. Allegro moderato. Feierlich mit Kraft | Maria Stader, Sieglinde Wagner, Ernst Haefliger, Peter Lagger, Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Eugen Jochum | — | |
| 33-11 | Te Deum, WAB 45: IV. Salvum fac populum tuum. Moderato - Allegro moderato | Maria Stader, Sieglinde Wagner, Ernst Haefliger, Peter Lagger, Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Eugen Jochum | — | |
| 33-12 | Te Deum, WAB 45: V. In te, Domine, speravi. Mäßig bewegt - Allegro moderato - Alla breve | Maria Stader, Sieglinde Wagner, Ernst Haefliger, Peter Lagger, Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Eugen Jochum | — | |
| 33-13 | Locus iste, WAB 23 | Chor des Bayerischen Rundfunks, Eugen Jochum | — | |
| 33-14 | Ave Maria, WAB 6 | Wolfgang Schubert, Chor des Bayerischen Rundfunks, Eugen Jochum | — | |
| 33-15 | Virga Jesse, WAB 52 | Chor des Bayerischen Rundfunks, Eugen Jochum | — | |
| 33-16 | Ecce sacerdos magnus, WAB 13 | Josef Hahn, Alfons Hartenstein, Ludwig Laberer, Hedwig Bilgram, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum | — | |
| 33-17 | Os justi | Wolfgang Schubert, Chor des Bayerischen Rundfunks, Eugen Jochum | — | |
| 33-18 | Christus factus est pro nobis, WAB 10 | Chor des Bayerischen Rundfunks, Eugen Jochum | — | |
| 34-1 | Ein deutsches Requiem, op. 45: I. Selig sind, die da Leid tragen | — | ||
| 34-2 | Ein deutsches Requiem, op. 45: II. Denn alles Fleisch, es ist wie Gras | — | ||
| 34-3 | Ein deutsches Requiem, op. 45: III. Herr, lehre doch mich | — | ||
| 34-4 | Ein deutsches Requiem, op. 45: IV. Wie lieblich sind Deine Wohnungen | — | ||
| 34-5 | Ein deutsches Requiem, op. 45: V. Ihr habt nun Traurigkeit | — | ||
| 34-6 | Ein deutsches Requiem, op. 45: VI. Denn wir haben hie keine bleibende Statt | — | ||
| 34-7 | Ein deutsches Requiem, op. 45: VII. Selig sind die Toten, die in dem Herrn sterben | — | ||
| 35-1 | Messa da requiem: Requiem aeternam & Kyrie | Chor der Wiener Staatsoper, Marilyn Horne, Luciano Pavarotti, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-2 | Messa da requiem: Dies Irae: Dies Irae | Chor der Wiener Staatsoper, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | T-910.932.757-3 | |
| 35-3 | Messa da requiem: Dies Irae: Tuba mirum | Chor der Wiener Staatsoper, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-4 | Messa da requiem: Dies Irae: Liber scriptus | Chor der Wiener Staatsoper, Marilyn Horne, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-5 | Messa da requiem: Dies Irae: Quid sum miser | Marilyn Horne, Luciano Pavarotti, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-6 | Messa da requiem: Dies Irae: Rex tremendae | Chor der Wiener Staatsoper, Marilyn Horne, Luciano Pavarotti, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-7 | Messa da requiem: Dies Irae: Recordare | Marilyn Horne, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-8 | Messa da requiem: IIh. Dies irae: Ingemisco | Luciano Pavarotti, Wiener Philharmoniker, Sir Georg Solti | T-900.146.503-8 | |
| 35-9 | Messa da requiem: Dies Irae: Confutatis | Chor der Wiener Staatsoper, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 35-10 | Messa da requiem: Dies Irae: Lacrimosa | Chor der Wiener Staatsoper, Marilyn Horne, Luciano Pavarotti, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 36-1 | Messa da requiem: Offertorium: Domine, Jesu Christe | Marilyn Horne, Luciano Pavarotti, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 36-2 | Messa da requiem: Offertorium: Hostias | Chor der Wiener Staatsoper, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 36-3 | Messa da requiem: Sanctus | Martti Talvela, Chor der Wiener Staatsoper, Wiener Philharmoniker, Sir Georg Solti | — | |
| 36-4 | Messa da requiem: Agnus Dei | Chor der Wiener Staatsoper, Marilyn Horne, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | — | |
| 36-5 | Messa da requiem: Lux aeterna | Marilyn Horne, Luciano Pavarotti, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | T-910.952.061-8 | |
| 36-6 | Messa da requiem: Libera Me: Libera me | Chor der Wiener Staatsoper, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | T-329.460.025-8 | |
| 36-7 | Messa da requiem: Libera Me: Dies irae | Chor der Wiener Staatsoper, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | T-317.797.099-5 | |
| 36-8 | Messa da requiem: Libera Me: Requiem aeternam | Chor der Wiener Staatsoper, Joan Sutherland, Martti Talvela, Wiener Philharmoniker, Sir Georg Solti | T-317.797.099-5 | |
| 36-10 | Quattro pezzi sacri: I. Ave Maria | Chicago Symphony Chorus, Sir Georg Solti | — | |
| 36-11 | Quattro pezzi sacri: II. Stabat mater | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 36-12 | Quattro pezzi sacri: III. Laudi alla vergine Maria | Chicago Symphony Chorus, Sir Georg Solti | — | |
| 36-13 | Quattro pezzi sacri: IV. Te Deum | Chicago Symphony Chorus, Jo-Ann Pickens, Chicago Symphony Orchestra, Sir Georg Solti | T-902.305.790-1 | |
| 37-1 | Requiem, op. 48: I. Introït et Kyrie | — | ||
| 37-2 | Requiem, op. 48: II. Offertoire | — | ||
| 37-3 | Requiem, op. 48: III. Sanctus | — | ||
| 37-4 | Requiem, op. 48: IV. Pie Jesu | Roberto Gabbiani, Cecilia Bartoli, Coro dell’Accademia Nazionale di Santa Cecilia, Daniele Rossi, Orchestra dell’Accademia Nazionale di Santa Cecilia, Myung-Whun Chung | — | |
| 37-5 | Requiem, op. 48: V. Agnus Dei | — | ||
| 37-6 | Requiem, op. 48: VI. Libera me | — | ||
| 37-7 | Requiem, op. 48: VII. In Paradisum | — | ||
| 37-8 | Requiem, op. 9: I. Introït | — | ||
| 37-9 | Requiem, op. 9: II. Kyrie | — | ||
| 37-10 | Requiem, op. 9: III. Domine Jesu Christe | — | ||
| 37-11 | Requiem, op. 9: IV. Sanctus | — | ||
| 37-12 | Requiem, op. 9: V. Pie Jesu | Cecilia Bartoli, Luigi Piovano, Daniele Rossi, Orchestra dell’Accademia Nazionale di Santa Cecilia, Myung-Whun Chung | — | |
| 37-13 | Requiem, op. 9: VI. Agnus Dei | — | ||
| 37-14 | Requiem, op. 9: VII. Lux aeterna | — | ||
| 37-15 | Requiem, op. 9: VIII. Libera me | — | ||
| 37-16 | Requiem, op. 9: IX. In Paradisum | — | ||
| 38-1 | The Crucifixion: And they came to a place named Gethsemane | — | ||
| 38-2 | The Crucifixion: Fling wide the gates | — | ||
| 38-3 | The Crucifixion: And when they had come to the place called Calvary | — | ||
| 38-4 | The Crucifixion: Cross of Jesus, Cross of Sorrow | — | ||
| 38-5 | The Crucifixion: He made Himself of no reputation | — | ||
| 38-6 | The Crucifixion: King ever glorious! | — | ||
| 38-7 | The Crucifixion: And as Moses lifted up the serpent | — | ||
| 38-8 | The Crucifixion: God so loved the world | — | ||
| 38-9 | The Crucifixion: Holy Jesu, by Thy passion | — | ||
| 38-10 | The Crucifixion: Jesus said: Father, forgive them | — | ||
| 38-11 | The Crucifixion: Jesus is dying, in agony sore | — | ||
| 38-12 | The Crucifixion: And one of the malefactors which were hanged | — | ||
| 38-13 | The Crucifixion: I adore Thee, I adore Thee! | — | ||
| 38-14 | The Crucifixion: When Jesus therefore saw His Mother | — | ||
| 38-15 | The Crucifixion: Is it nothing to you | — | ||
| 38-16 | The Crucifixion: From the Throne of his Cross | — | ||
| 38-17 | The Crucifixion: After this, Jesus knowing that all things were now.. | — | ||
| 38-18 | The Crucifixion: All for Jesus: all for Jesus | — | ||
| 38-19 | Take him, earth, for cherishing | — | ||
| 39-1 | Belshazzar's Feast I | — | ||
| 39-2 | Belshazzar's Feast II | — | ||
| 39-3 | Belshazzar's Feast III | — | ||
| 39-4 | Belshazzar's Feast IV | — | ||
| 39-5 | Belshazzar's Feast V | — | ||
| 39-6 | Belshazzar's Feast VI | — | ||
| 39-7 | Belshazzar's Feast VII | — | ||
| 39-8 | Belshazzar's Feast VIII | — | ||
| 39-9 | Belshazzar's Feast IX | — | ||
| 39-10 | Belshazzar's Feast X | — | ||
| 39-11 | The Dream of Gerontius: Prelude | London Symphony Orchestra, Benjamin Britten | T-924.891.810-7 | |
| 39-12 | The Dream of Gerontius: Jesu, Maria, I am near to death... | Choir of King’s College, Cambridge, London Symphony Chorus, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 39-13 | The Dream of Gerontius: Rouse thee, my fainting soul... | Choir of King’s College, Cambridge, London Symphony Chorus, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 39-14 | The Dream of Gerontius: Sanctis fortis, Sanctus Deus.... | Choir of King’s College, Cambridge, London Symphony Chorus, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 39-15 | The Dream of Gerontius: Profiscere, anima Christiana... | Choir of King’s College, Cambridge, London Symphony Chorus, John Shirley-Quirk, London Symphony Orchestra, Benjamin Britten | — | |
| 40-1 | The Dream of Gerontius: I went to sleep.... | Yvonne Minton, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 40-2 | The Dream of Gerontius: It is a member of that family.... | Yvonne Minton, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 40-3 | The Dream of Gerontius: But hark! Upon my sense comes a fierce hubbub... | Peter Pears, Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, London Symphony Orchestra, Benjamin Britten | — | |
| 40-4 | The Dream of Gerontius: I see not those false spirits... | Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 40-5 | The Dream of Gerontius: But hark! A grand mysterious harmony | Peter Pears, Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, London Symphony Orchestra, Benjamin Britten | — | |
| 40-6 | The Dream of Gerontius: Thy judgement now is near.... | Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, Peter Pears, John Shirley-Quirk, London Symphony Orchestra, Benjamin Britten | — | |
| 40-7 | The Dream of Gerontius: I go before my Judge... | Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, Peter Pears, London Symphony Orchestra, Benjamin Britten | — | |
| 40-8 | The Dream of Gerontius: Softly and gently.... | Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, London Symphony Orchestra, Benjamin Britten | — | |
| 40-9 | I was glad | — | ||
| 40-10 | Jerusalem | — | ||
| 41-1 | 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 | — | |
| 41-2 | 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 | — | |
| 41-3 | 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 | — | |
| 41-4 | 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 | — | |
| 41-5 | 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 | — | |
| 41-6 | 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 | — | |
| 41-7 | 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 | — | |
| 41-8 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": "Ewiger Wonnebrand” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 41-9 | 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 | — | |
| 41-10 | 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 | — | |
| 41-11 | 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 | — | |
| 41-12 | 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 | — | |
| 41-13 | 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 | — | |
| 41-14 | 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 | — | |
| 41-15 | 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 | — | |
| 41-16 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Alles Vergängliche” | Sir Georg Solti, Chicago Symphony Orchestra | — | |
| 42-1 | Glagolitic Mass: I. Úvod | Royal Philharmonic Orchestra, Rudolf Kempe | T-315.011.947-0 | |
| 42-2 | Glagolitic Mass: II. Gospodi pomiluj | Teresa Kubiak, Anne Collins, Brighton Festival Chorus, Royal Philharmonic Orchestra, Rudolf Kempe | T-321.187.219-0 | |
| 42-3 | Glagolitic Mass: III. Slava | Teresa Kubiak, Anne Collins, Robert Tear, Brighton Festival Chorus, Royal Philharmonic Orchestra, Rudolf Kempe | T-314.918.753-7 | |
| 42-4 | Glagolitic Mass: IV. Vĕruju | Robert Tear, Wolfgang Schöne, John Birch, Brighton Festival Chorus, Royal Philharmonic Orchestra, Rudolf Kempe | T-312.542.697-9 | |
| 42-5 | Glagolitic Mass: V. Svet | Teresa Kubiak, Robert Tear, Wolfgang Schöne, Brighton Festival Chorus, Royal Philharmonic Orchestra, Rudolf Kempe | T-312.692.424-7 | |
| 42-6 | Glagolitic Mass: VI. Agneče Božij | Teresa Kubiak, Anne Collins, Robert Tear, Wolfgang Schöne, Brighton Festival Chorus, Royal Philharmonic Orchestra, Rudolf Kempe | T-312.642.049-9 | |
| 42-7 | Glagolitic Mass: VII. Allegro | John Birch | T-312.545.130-7 | |
| 42-8 | Glagolitic Mass: VIII. Intrada | Royal Philharmonic Orchestra, Rudolf Kempe | — | |
| 42-9 | Missa Brevis I | — | ||
| 42-10 | Missa Brevis II | — | ||
| 42-11 | Missa Brevis III | — | ||
| 42-12 | Missa Brevis IV | — | ||
| 42-13 | Missa Brevis V | — | ||
| 42-14 | Missa Brevis VI | — | ||
| 42-15 | Missa Brevis VII | — | ||
| 42-16 | Missa Brevis VIII | — | ||
| 43-1 | Vespers, op. 37: No. 1. Priidite, poklonimsya | St. Petersburg Chamber Choir, Nikolai Korniev | T-318.549.354-9 | |
| 43-2 | Vespers, op. 37: No. 2. Blagoslovi, dushe moya | Ольга Бородина, St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-3 | Vespers, op. 37: No. 3. Blazhen muzh | St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-4 | Vespers, Op. 37 : Rachmaninoff: Vespers, Op. 37 - IV. "Svete tikhyi" | St.Petersburg Chamber Choir | — | |
| 43-5 | Vespers, op. 37: No. 5. Nyne otpushchayeshi | Vladimir Mostovoy, St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-6 | Vespers, Op. 37 : Rachmaninoff: Vespers, Op. 37 - VI. "Bogoroditse Devo" | St.Petersburg Chamber Choir | — | |
| 43-7 | Vespers, op. 37: No. 7. Slava v vyshnikh Bogu | St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-8 | Vespers, Op. 37 : Rachmaninoff: Vespers, Op. 37 - VIII. "Kvalite imya Gospodne" | St.Petersburg Chamber Choir | — | |
| 43-9 | Vespers, op. 37: No. 9. Blagosloven esi, Gospodi | St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-10 | Vespers, Op. 37 : Rachmaninoff: Vespers, Op. 37 - X. "Voskreseniye Khristovo videvshe" | St.Petersburg Chamber Choir | — | |
| 43-11 | Vespers, op. 37: No. 11. Velichit dusha moya Gospoda | St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-12 | Vespers, Op. 37 : Rachmaninoff: Vespers, Op. 37 - XII. "Slava v vyshnikh Bogu" | St.Petersburg Chamber Choir | — | |
| 43-13 | Vespers, op. 37: No. 13. Dnes spaseniye | St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 43-14 | Vespers, Op. 37 : Rachmaninoff: Vespers, Op. 37 - XIV. "Voskrez iz groba" | St.Petersburg Chamber Choir | — | |
| 43-15 | Vespers, op. 37: No. 15. Vzbrannoy voevode | St. Petersburg Chamber Choir, Nikolai Korniev | — | |
| 44-1 | Symphony of Psalms: I. Exaudi orationem meam, Domine | Sigurd Brauns, Rundfunkchor Berlin, Berliner Philharmoniker, Pierre Boulez | — | |
| 44-2 | Symphony of Psalms: II. Expectans expectavi Dominum | Sigurd Brauns, Rundfunkchor Berlin, Berliner Philharmoniker, Pierre Boulez | — | |
| 44-3 | Symphony of Psalms: III. Alleluia, laudate Dominum | Sigurd Brauns, Rundfunkchor Berlin, Berliner Philharmoniker, Pierre Boulez | — | |
| 44-4 | Mass I | — | ||
| 44-5 | Mass II | — | ||
| 44-6 | Mass III | — | ||
| 44-7 | Mass IV | — | ||
| 44-8 | Mass V | — | ||
| 44-9 | Chichester Psalms: Psalm 108 (verse 2); Psalm 100 (complete) - Maestoso ma energico - Allegro molto | Günther Theuring, Michael Wager, Wiener Jeunesse-Chor, Solist der Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | T-070.027.200-9 | |
| 44-10 | Chichester Psalms: Psalm 23 (complete); Psalm 2 (verses 1-4) | Günther Theuring, Michael Wager, Wiener Jeunesse-Chor, Solist der Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | T-070.027.200-9 | |
| 44-11 | Chichester Psalms: Psalm 131 (complete); Psalm 133 (verse 1) | Günther Theuring, Wiener Jeunesse-Chor, Solist der Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | T-070.027.200-9 | |
| 45-1 | Carmina Burana: Fortuna Imperatrix Mundi: 1. O Fortuna | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-2 | Carmina Burana: Fortuna Imperatrix Mundi: 2. Fortune plango vulnera | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-3 | Carmina Burana: I. Primo vere: 3. Veris leta facies | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-5 | Carmina Burana: I. Primo vere: 5.Ecce gratum | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-6 | Carmina Burana: Uf dem anger: 7. Floret silva nobilis | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-306.378.550-8 | |
| 45-7 | """FLORET SILVA NOBILIS""" | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | — | |
| 45-8 | Carmina Burana: Uf dem anger: 8. Chramer, gip die varwe mir | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-9 | Carmina Burana: Uf dem anger: 9. Reie / Swaz hie gat umbe / Chume, chum, geselle min! / Swaz hie gat umbe | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-10 | Carmina Burana: Uf dem anger: 10. Were diu werlt alle min | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-11 | Carmina Burana: II. In taberna: 11. Estuans interius | Simon Keenlyside, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-12 | Carmina Burana: II. In taberna: 12. Olim lacus colueram | Chor der Deutschen Oper Berlin, David Kuebler, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-13 | Carmina Burana: II. In taberna: 13. Ego sum abbas | Chor der Deutschen Oper Berlin, Simon Keenlyside, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-14 | Carmina Burana: II. In taberna: 14. In taberna quando sumus | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-15 | Carmina Burana: III. Cour d’amours: 15. Amor volat undique | Berliner Knabenchor, Christiane Oelze, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-16 | Carmina Burana: III. Cour d’amours: 16. Dies, nox et omnia | Simon Keenlyside, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-17 | Carmina Burana: III. Cour d’amours: 17. Stetit puella | Christiane Oelze, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-18 | Carmina Burana: III. Cour d’amours: 18. Circa mea pectora | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-19 | Carmina Burana: III. Cour d’amours: 19. Si puer cum puellula | Chor der Deutschen Oper Berlin, Simon Keenlyside, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-20 | Carmina Burana: III. Cour d’amours: 20. Veni, veni, venias | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-21 | Carmina Burana: III. Cour d’amours: 22. Tempus est iocundum | Berliner Knabenchor, Chor der Deutschen Oper Berlin, Simon Keenlyside, Christiane Oelze, Orchester der Deutschen Oper Berlin, Christian Thielemann | — | |
| 45-22 | Carmina Burana: III. Cour d’amours: 22. Tempus est iocundum | Berliner Knabenchor, Chor der Deutschen Oper Berlin, Simon Keenlyside, Christiane Oelze, Orchester der Deutschen Oper Berlin, Christian Thielemann | — | |
| 45-23 | Carmina Burana: III. Cour d’amours: 23. Dulcissime | Christiane Oelze, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-24 | Carmina Burana: Blanziflor et Helena: 24. Ave, formosissima | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 45-25 | Carmina Burana: Fortuna Imperatrix Mundi: 25. O Fortuna | Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Christian Thielemann | T-800.639.771-4 | |
| 46-1 | Gloria: Gloria | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.010.019-6 | |
| 46-2 | Gloria: Laudamus te | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.010.019-6 | |
| 46-3 | Gloria: Domine deus | François Polgar, Chœur de Radio France, Françoise Pollet, Orchestre national de France, Charles Dutoit | T-003.010.019-6 | |
| 46-4 | Gloria: Domine Fili unigenite | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.010.019-6 | |
| 46-5 | Gloria: Domine Deus, Agnus Dei | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.010.019-6 | |
| 46-6 | Gloria: Qui sedes ad dexteram Patris | François Polgar, Chœur de Radio France, Françoise Pollet, Orchestre national de France, Charles Dutoit | T-003.010.019-6 | |
| 46-7 | Litanies a la Vierge Noire | Denis Dupays, Maîtrise de Radio France, Orchestre national de France, Charles Dutoit | T-004.018.456-2 | |
| 46-8 | Stabat Mater: Stabat Mater | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-9 | Stabat Mater: Cujus animam gementem | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-10 | Stabat Mater: O quam tristis | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-11 | Stabat Mater: Quae moerebat | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-12 | Stabat Mater: Quis est homo | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-13 | Stabat Mater: Vidit suum dulcem Natum | François Polgar, Chœur de Radio France, Françoise Pollet, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-14 | Stabat Mater: Eja mater | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-15 | Stabat Mater: Fac ut ardeat | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-16 | Stabat Mater: Sancta mater | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-17 | Stabat Mater: Fac ut portem | François Polgar, Chœur de Radio France, Françoise Pollet, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-18 | Stabat Mater: Inflammatus et accensus | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 46-19 | Stabat Mater: Quando corpus morietur | François Polgar, Chœur de Radio France, Orchestre national de France, Charles Dutoit | T-003.016.535-5 | |
| 47-1 | 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 | — | |
| 47-2 | 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 | — | |
| 47-3 | War Requiem, op. 66: II. Dies irae: Dies irae | Sir David Willcocks, The Bach Choir, London Symphony Chorus, London Symphony Orchestra, Benjamin Britten | — | |
| 47-4 | War Requiem, op. 66: II. Dies irae: Bugles sang, saddening the evening air | Dietrich Fischer-Dieskau, Benjamin Britten, Melos Ensemble | — | |
| 47-5 | 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 | — | |
| 47-6 | 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 | — | |
| 47-7 | War Requiem, op. 66: II. Dies irae: Recordare Jesu pie | Sir David Willcocks, The Bach Choir, London Symphony Chorus, London Symphony Orchestra, Benjamin Britten | — | |
| 47-8 | War Requiem, op. 66: II. Dies irae: Be slowly lifted up | Dietrich Fischer-Dieskau, London Symphony Orchestra, Benjamin Britten, Melos Ensemble | — | |
| 47-9 | War Requiem, op. 66: II. Dies irae: Confutatis | Sir David Willcocks, The Bach Choir, London Symphony Chorus, London Symphony Orchestra, Benjamin Britten | — | |
| 47-10 | 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 | — | |
| 47-11 | 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 | — | |
| 47-12 | 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 | — | |
| 47-13 | 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 | — | |
| 47-14 | 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 | — | |
| 47-15 | War Requiem, op. 66: IV. Sanctus: After the blast of lightning from the East | Dietrich Fischer-Dieskau, Benjamin Britten, Melos Ensemble | — | |
| 47-16 | 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 | — | |
| 47-17 | War Requiem, Op. 66: VI. Libera me: Libera Me, Domine | — | ||
| 47-18 | War Requiem, op. 66: VI. Libera me: It seemed that out of battle I escaped | Dietrich Fischer-Dieskau, Peter Pears, Benjamin Britten, Melos Ensemble | — | |
| 47-19 | 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 | — | |
| 48-1 | The world turns on its dark side | — | ||
| 48-2 | Man has measured the heavens | — | ||
| 48-3 | Is evil then good? | — | ||
| 48-4 | Now in each nation; When Shall The Userers' City Cease | — | ||
| 48-5 | I have no money for my bread | — | ||
| 48-6 | How Can I Cherish My Man In Such Days? Spiritual: 'Steal Away' | — | ||
| 48-7 | A star rises in mid-winter | — | ||
| 48-8 | And A Time Came; Away With Them! - Where? How? Why? Where They Could; We Cannot Have Them In Our Empire; And The Boy's Mother | — | ||
| 48-9 | O my son! | — | ||
| 48-10 | Spiritual: Nobody knows the trouble I see | — | ||
| 48-11 | The boy becomes desperate in his agony | — | ||
| 48-12 | They took a terrible vengeance | — | ||
| 48-13 | A spiritual of anger: Go down, Moses | — | ||
| 48-14 | My dreams are all shattered | — | ||
| 48-15 | What have I done to you, my son? The Dark Forces Rise Like A Flood; Spiritual: 'O, By And By' | — | ||
| 48-16 | The cold deepens | — | ||
| 48-17 | The soul of man | — | ||
| 48-18 | The words of wisdom are these | — | ||
| 48-19 | Preludium To The General Ensemble; General Ensemble: I would know my shadow and my light | — | ||
| 48-20 | Deep river | — | ||
| 49-1 | Lux Aurumque (Light and Gold) | — | ||
| 49-2 | Five Hebrew Love Songs: Temuna (A Picture) | — | ||
| 49-3 | Five Hebrew Love Songs: Kala Kalla (Light Bride) | — | ||
| 49-4 | Five Hebrew Love Songs: Larov (Mostly) | — | ||
| 49-5 | Five Hebrew Love Songs: Eyze Sheleg! (What Snow!) | — | ||
| 49-6 | Five Hebrew Love Songs: Rakut (Tenderness) | — | ||
| 49-7 | The Seal Lullaby | — | ||
| 49-8 | A Boy and a Girl | Eric Whitacre Singers, Laudibus, Eric Whitacre | T-070.232.930-3 | |
| 49-9 | Leonardo Dreams of His Flying Machine | — | ||
| 49-10 | Three Songs of Faith: i will wade out | — | ||
| 49-11 | Three Songs of Faith: hope, faith, life, love | — | ||
| 49-12 | Three Songs of Faith: i thank You God for most this amazing day | — | ||
| 49-13 | The Stolen Child | — | ||
| 49-14 | Water Night | Eric Whitacre Singers, Laudibus, Eric Whitacre | T-302.070.311-7 | |
| 49-15 | Nox Aurumque (Night and Gold) | — | ||
| 49-16 | Sleep | Eric Whitacre Singers, Laudibus, Eric Whitacre | T-071.713.054-5 | |
| 50-1 | De profundis | — | ||
| 50-2 | The Woman with the Alabaster Box | — | ||
| 50-3 | Totus tuus, op. 60 | — | ||
| 50-4 | Lux aeterna | Chor des Norddeutschen Rundfunks, Helmut Franz | T-801.249.643-5 | |
| 50-5 | O sacrum convivium | Coro dell’Accademia Nazionale di Santa Cecilia, 정명훈 | T-004.020.935-5 | |
| 50-6 | Quatre motets, op. 10: Ubi caritas et amor | — | ||
| 50-7 | Quatre motets, op. 10: Tota pulchra es | — | ||
| 50-8 | Quatre motets, op. 10: Tu es petrus | — | ||
| 50-9 | Quatre motets, op. 10: Tantum ergo sacramentum | — | ||
| 50-10 | The Lamb | The Choir of Temple Church, Stephen Layton | T-070.910.983-0 | |
| 50-11 | Song for Athene | — | ||
| 50-12 | God's Grandeur | — | ||
| 50-13 | Heaven-Haven | — | ||
| 50-14 | Agnus Dei | — |
