UPC · Release
Various Artists
Last verified:
The UPC for “Phase 4 Stereo: Stereo Concert Series” by Various Artists is 028947867692. 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 2014-01-01. Label: Decca. This release contains 475 tracks, each with its own ISRC. Tracks include GBF077110260, GBF077710671, GBF077710672.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | The Stars and Stripes Forever | — | ||
| 2 | El Capitán | — | ||
| 3 | The High School Cadets | — | ||
| 4 | Washington Post | — | ||
| 5 | The Picadore | — | ||
| 6 | The Invincible Eagle | — | ||
| 7 | Semper Fidelis | — | ||
| 8 | Manhattan Beach | — | ||
| 9 | The Liberty Bell | — | ||
| 10 | The Thunderer | — | ||
| 11 | King Cotton | — | ||
| 12 | Hands Across the Sea | — | ||
| 2-1 | Rhapsody in Blue | — | ||
| 2-2 | An American in Paris | — | ||
| 2-3 | "VARIATIONS ON ""I GOT RHYTHM"" FOR PIANO AND ORCHESTRA" | David Parkhouse, London Festival Recording Ensemble, Bernard Herrmann | — | |
| 3-1 | Spartacus, Ballet Suite: I. Variation of Aegina and Bacchanalia | — | ||
| 3-2 | Spartacus, Ballet Suite: II. Adagio of Spartacus and Phrygia | — | ||
| 3-3 | Spartacus, Ballet Suite: III. Dance of the Gaditanae | — | ||
| 3-4 | Masquerade Suite: Waltz | London Symphony Orchestra, Stanley Black | — | |
| 3-5 | Masquerade Suite: Nocturne | John Georgiadis, London Symphony Orchestra, Stanley Black | — | |
| 3-6 | Masquerade Suite: Mazurka | London Symphony Orchestra, Stanley Black | — | |
| 3-7 | Masquerade Suite: Romance | London Symphony Orchestra, Stanley Black | — | |
| 3-8 | Masquerade Suite: Galop | London Symphony Orchestra, Stanley Black | — | |
| 3-9 | Gayaneh, Ballet Suite: I. Sabre Dance | — | ||
| 3-10 | Gayaneh, Ballet Suite: II. Ayesha’s Dance | — | ||
| 3-11 | Gayaneh, Ballet Suite: III. Dance of the Rose Maidens | — | ||
| 3-12 | Gayaneh, Ballet Suite: IV. Lullaby | — | ||
| 3-13 | Gayaneh, Ballet Suite: V. Lezghinka | — | ||
| 4-1 | Slavonic Dances, op. 46: No. 1 in C major | — | ||
| 4-2 | Die Fledermaus: Du und du, waltz, op. 367 | — | ||
| 4-3 | The Red Poppy, op. 70: Dance of Russian Sailors | — | ||
| 4-4 | La Gioconda: Dance of the Hours | — | ||
| 4-5 | Danse macabre in G minor, op. 40 | — | ||
| 4-6 | Hungarian Dances: No. 5 in G minor | — | ||
| 4-7 | El sombrero de tres picos: Miller’s Dance & Final Dance | — | ||
| 4-8 | Slavonic Dances, op. 46: No. 8 in G minor | — | ||
| 4-9 | Sleeping Beauty, op. 66: Waltz | — | ||
| 4-10 | Snow Maiden: Suite: Dance of the Tumblers | — | ||
| 4-11 | Invitation to the Dance | — | ||
| 4-12 | Bartered Bride B 143: Dance of the Comedians | — | ||
| 4-13 | The Comedians: Comedian’s Galop | — | ||
| 5-1 | Boléro | — | ||
| 5-2 | Polovtsian Dances From Prince Igor | — | ||
| 5-3 | Capriccio espagnol, op. 34: I. Alborada | — | ||
| 5-4 | Capriccio espagnol, op. 34: II. Variazioni | — | ||
| 5-5 | Capriccio espagnol, op. 34: III. Alborada | — | ||
| 5-6 | Capriccio espagnol, op. 34: IV. Scena e canto gitano | — | ||
| 5-7 | Capriccio espagnol, op. 34: V. Fandango asturiano | — | ||
| 5-8 | Capriccio italien, op. 45 | — | ||
| 6-1 | Piano Concerto no. 1 in E-flat major, S 124: I. Allegro maestoso | — | ||
| 6-2 | Piano Concerto no. 1 in E-flat major, S 124: II. Quasi adagio – Allegretto vivace – Allegro animato | — | ||
| 6-3 | Piano Concerto no. 1 in E-flat major, S 124: III. Allegro marziale animato | — | ||
| 6-4 | Piano Concerto no. 2 in A major, S 125: Ia. Adagio sostenuto assai – Allegro agitato assai – | — | ||
| 6-5 | Piano Concerto no. 2 in A major, S 125: Ib. Allegro agitato assai | — | ||
| 6-6 | Piano Concerto no. 2 in A major, S 125: II. Allegro moderato – Allegro moderato – poco deciso | — | ||
| 6-7 | Piano Concerto no. 2 in A major, S 125: IIIa. Allegro deciso - | — | ||
| 6-8 | Piano Concerto no. 2 in A major, S 125: IIIb. Marziale un poco meno allegro | — | ||
| 6-9 | Piano Concerto no. 2 in A major, S 125: IIIc. Allegro animato | — | ||
| 6-10 | Piano Concerto no. 2 in C minor, op. 18: I. Moderato | — | ||
| 6-11 | Piano Concerto no. 2 in C minor, op. 18: II. Adagio sostenuto | — | ||
| 6-12 | Piano Concerto no. 2 in C minor, op. 18: III. Allegro scherzando | — | ||
| 7-1 | Symphony no. 9 in E minor, op. 95 “From the New World”: I. Adagio – Allegro molto | — | ||
| 7-2 | Symphony no. 9 in E minor, op. 95 “From the New World”: II. Largo | — | ||
| 7-3 | Symphony no. 9 in E minor, op. 95 ”From the New World”: III. Scherzo. Molto vivace | — | ||
| 7-4 | Symphony no. 9 in E minor, op. 95 “From the New World”: IV. Allegro con fuoco | — | ||
| 7-5 | Háry János, Suite: I. Prelude: The Fairy-Tale begins | — | ||
| 7-6 | Háry János, Suite: II. Viennese Musical Clock | — | ||
| 7-7 | Háry János, Suite: III. Song | — | ||
| 7-8 | Háry János, Suite: IV. The Battle and Defeat of Napoleon | — | ||
| 7-9 | Háry János, Suite: V. Intermezzo | — | ||
| 7-10 | Háry János, Suite: VI. Entrance of the Emperor and His Court | — | ||
| 8-1 | Excalibur: Carmina Burana | Brighton Festival Chorus, Royal Philharmonic Orchestra, Antal Doráti | T-800.639.771-4 | |
| 8-2 | Carmina Burana: Fortuna Imperatrix Mundi: Fortune plango vulnera | — | ||
| 8-3 | Carmina Burana: I. Primo vere: Veris leta facies | — | ||
| 8-4 | Carmina Burana: I. Primo vere: Omnia sol temperat | — | ||
| 8-5 | Carmina Burana: I. Primo vere: Ecce gratum | — | ||
| 8-6 | Carmina Burana: Uf dem Anger: Tanz | — | ||
| 8-7 | Carmina Burana: Uf dem Anger: Floret silva nobilis | — | ||
| 8-8 | Carmina Burana: Uf dem Anger: Chramer, gip die varwe mir | — | ||
| 8-9 | Carmina Burana: Uf dem Anger: Reie | — | ||
| 8-10 | Carmina Burana: Uf dem Anger: Were diu werlt alle min | — | ||
| 8-11 | Carmina Burana: II. In Taberna: Estuans interius | — | ||
| 8-12 | Carmina Burana: II. In Taberna: Olim lacus colueram | — | ||
| 8-13 | Carmina Burana: II. In Taberna: Ego sum abbas | — | ||
| 8-14 | Carmina Burana: II. In Taberna: In taberna quando sumus | — | ||
| 8-15 | Carmina Burana: III. Cour d’amours: Amor volat undique | — | ||
| 8-16 | Carmina Burana: III. Cour d’amours: Dies, nox et omnia | — | ||
| 8-17 | Carmina Burana: III. Cour d’amours: Stetit puella | — | ||
| 8-18 | Carmina Burana: III. Cour d’amours: Circa mea pectora | — | ||
| 8-19 | Carmina Burana: III. Cour d’amours: Si puer cum puellula | — | ||
| 8-20 | Carmina Burana: III. Cour d’amours: Veni, veni, venias | — | ||
| 8-21 | Carmina Burana: III. Cour d’amours: In trutina | — | ||
| 8-22 | Carmina Burana: III. Cour d’amours: Tempus est iocundum | — | ||
| 8-23 | Carmina Burana: III. Cour d’amours: Dulcissime | — | ||
| 8-24 | Carmina Burana: Blanziflor et Helena: Ave formossima | — | ||
| 8-25 | Carmina Burana: Fortuna Imperatrix Mundi: O Fortuna | — | ||
| 9-1 | Peter and the Wolf, op. 67: I. This Is the Story of Peter and the Wolf | — | ||
| 9-2 | Peter and the Wolf, op. 67: II. It Was Early Morning | — | ||
| 9-3 | Peter and the Wolf, op. 67: III. Grandfather Led Him Back to the House | — | ||
| 9-4 | Peter and the Wolf, op. 67: IV. Now This Is How Things Stood | — | ||
| 9-5 | Peter and the Wolf, op. 67: V. And Now, the Victory Parade | — | ||
| 9-6 | Lieutenant Kijé, Symphonic Suite, op. 60: I. The Birth of Kijé | — | ||
| 9-7 | Lieutenant Kijé, Symphonic Suite, op. 60: II. Romance | — | ||
| 9-8 | Lieutenant Kijé, Symphonic Suite, op. 60: III. Kijé’s Wedding | — | ||
| 9-9 | Lieutenant Kijé, Symphonic Suite, op. 60: IV. Troika | — | ||
| 9-10 | Lieutenant Kijé, Symphonic Suite, op. 60: V. The Funeral of Kijé | — | ||
| 9-11 | The Young Person's Guide to the Orchestra, op. 34: I. Introduction | — | ||
| 9-12 | The Young Person's Guide to the Orchestra, op. 34: II. Let’s Hear Each Instrument Play a Variation of Its Own | — | ||
| 9-13 | The Young Person's Guide to the Orchestra, op. 34: III. The Highest Instruments in the String Family Are | — | ||
| 9-14 | The Young Person's Guide to the Orchestra, op. 34: IV. We Now Come to the Brass Family | — | ||
| 9-15 | The Young Person's Guide to the Orchestra, op. 34: V. The Percussion Family | — | ||
| 9-16 | The Young Person's Guide to the Orchestra, op. 34: VI. You Have Heard the Whole Orchestra in Sections | — | ||
| 10-1 | La Boutique fantasque: I. Overture | — | ||
| 10-2 | La Boutique fantasque: II. Tarantella – Mazurka | — | ||
| 10-3 | La Boutique fantasque: III. Cossack Danse | — | ||
| 10-4 | La Boutique fantasque: IV. Valse Brillante | — | ||
| 10-5 | La Boutique fantasque: V. Cancan | — | ||
| 10-6 | La Boutique fantasque: VI. Valse | — | ||
| 10-7 | La Boutique fantasque: VII. Nocturne | — | ||
| 10-8 | La Boutique fantasque: VIII. Galop | — | ||
| 10-9 | La Boutique fantasque: IX Finale | — | ||
| 10-10 | Suite Rossiniana: I. Caprie Taormina (Barcarola e Siciliana) | — | ||
| 10-11 | Suite Rossiniana: II. Lamento | — | ||
| 10-12 | Suite Rossiniana: III. Intermezzo | — | ||
| 10-13 | Suite Rossiniana: IV. Tarantella “Puro sangue” (con passagiodella processione) | — | ||
| 11-1 | Carousel: You’ll Never Walk Alone | — | ||
| 11-2 | Bless This House | — | ||
| 11-3 | I Got Dat Feelin’ | — | ||
| 11-4 | The Sound of Music: Climb Ev’ry Mountain | — | ||
| 11-5 | Nobody Knows the Trouble I’ve Seen | — | ||
| 11-6 | If I Could Tell You | — | ||
| 11-7 | Carousel: If I Loved You | — | ||
| 11-8 | Trees | — | ||
| 11-9 | We Shall Overcome | — | ||
| 11-10 | The Lord’s Prayer | — | ||
| 11-11 | Deep River | — | ||
| 11-12 | Peace of Mind | — | ||
| 12-1 | Finlandia, op. 26 | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-2 | Peer Gynt Suite: I. Morning | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-3 | Peer Gynt Suite: II. The Death of Åse | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-4 | Peer Gynt Suite: III. Anitra’s Dance | Boston Pops Orchestra, Arthur Fiedler | T-928.635.589-3 | |
| 12-5 | Peer Gynt Suite: IV. In the Hall of the Mountain King | Boston Pops Orchestra, Arthur Fiedler | T-011.778.125-5 | |
| 12-6 | Peer Gynt: Solveig’s song | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-7 | Slavonic Dance in C, op. 46 no. 1 | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-8 | Vltava (The Moldau) (Má vlast) | Boston Pops Orchestra, Arthur Fiedler | T-910.005.581-0 | |
| 12-9 | English Folk Song Suite: I. March: Seventeen Come Sunday | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-10 | English Folk Song Suite: II. Intermezzo: My Bonny Boy | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-11 | English Folk Song Suite: III. March: Folk Songs from Somerset | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-12 | Variations on America | Boston Pops Orchestra, Arthur Fiedler | T-329.589.636-1 | |
| 13-1 | Girl Crazy: Suite | — | ||
| 13-2 | Oh, Kay!: Overture | — | ||
| 13-3 | Funny Face: Overture | — | ||
| 13-4 | Let ’em Eat Cake: Overture | — | ||
| 13-5 | Of Thee I Sing: Overture | — | ||
| 13-6 | Of Thee I Sing: Wintergreen for President | — | ||
| 13-7 | 3 Preludes: no. 1 | — | ||
| 13-8 | 3 Preludes: no. 2 | — | ||
| 13-9 | 3 Preludes: no. 3 | — | ||
| 13-10 | Rhapsody no. 2 for Piano & Orchestra | — | ||
| 14-1 | An der schönen, blauen Donau, op. 314 | — | ||
| 14-2 | Geschichten aus dem Wienerwald, op. 325 | — | ||
| 14-3 | Frühlingsstimmen, op. 410 | — | ||
| 14-4 | Künstlerleben, op. 316 | — | ||
| 14-5 | Rosen aus dem Süden, op. 388 | — | ||
| 14-6 | Nutcracker Suite, op. 71a: I. Miniature overture | — | ||
| 14-7 | Nutcracker Suite, op. 71a: II. March | — | ||
| 14-8 | Nutcracker Suite, op. 71a: III. Dance of the Sugar – Plum Fairy | — | ||
| 14-9 | Nutcracker Suite, op. 71a: IV. Trepak | — | ||
| 14-10 | Nutcracker Suite, op. 71a: V. Arab Dance | — | ||
| 14-11 | Nutcracker Suite, op. 71a: VI. Chinese Dance | — | ||
| 14-12 | Nutcracker Suite, op. 71a: VII. Dance of the Reed-Pipes | — | ||
| 14-13 | Nutcracker Suite, op. 71a: VIII. Waltz of the Flowers | — | ||
| 15-1 | Swan Lake, op. 20: Introduction: Moderato assai – Allegro ma non troppo – Tempo I | — | ||
| 15-2 | Swan Lake, op. 20: Act I. no. 1 Scène (Allegro giusto) | — | ||
| 15-3 | Swan Lake, op. 20: Act I. no. 2 Valse (Tempo di valse) | — | ||
| 15-4 | Swan Lake, op. 20: Act I. no. 3 Scène (Allegro moderato) | — | ||
| 15-5 | Swan Lake, op. 20: Act I. no. 4 Pas de trois: a. Intrada (Allegro moderato) | — | ||
| 15-6 | Swan Lake, op. 20: Act I. no. 4 Pas de trois: b. Andante sostenuto | — | ||
| 15-7 | Swan Lake, op. 20: Act I. no. 4 Pas de trois: c. Allegro semplice – Presto | — | ||
| 15-8 | Swan Lake, op. 20: Act I. no. 4 Pas de trois: d. Moderato | — | ||
| 15-9 | Swan Lake, op. 20: Act I. no. 4 Pas de trois: e. Allegro | — | ||
| 15-10 | Swan Lake, op. 20: Act I. no. 4 Pas de trois: f. Coda (Allegro vivace) | — | ||
| 15-11 | Swan Lake, op. 20: Act I. no. 5 Pas de deux: a. Tempo di valse ma non troppo vivo, quasi moderato | — | ||
| 15-12 | Swan Lake, op. 20: Act I. no. 5 Pas de deux: b. Andante – Allegro – Molto più mosso | — | ||
| 15-13 | Swan Lake, op. 20: Act I. no. 5 Pas de deux: c. Tempo di valse | — | ||
| 15-14 | Swan Lake, op. 20: Act I. no. 5 Pas de deux: d. Coda (Allegro molto vivace) | — | ||
| 15-15 | Swan Lake, op. 20: Act I. no. 6 Pas d’action (Andantino quasi moderato – Allegro) | — | ||
| 15-16 | Swan Lake, op. 20: Act I. no. 7 Sujet | — | ||
| 15-17 | Swan Lake, op. 20: Act I. no. 8 Danse des coupes (Tempo di polacca) | — | ||
| 15-18 | Swan Lake, op. 20: Act II. no. 9 Finale (Andante) | — | ||
| 15-19 | Swan Lake, op. 20: Act II. no. 10 Scène (Moderato – più mosso) | — | ||
| 15-20 | Swan Lake, op. 20: Act II. no. 11 Scène (Allegro moderato – più mosso – Allegro vivo) | — | ||
| 15-21 | Swan Lake, op. 20: Act II. no. 12 Scène (Allegro – Moderato assai quasi andante) | — | ||
| 15-22 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: a. Tempo di valse | — | ||
| 15-23 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: b. Moderato assai | — | ||
| 15-24 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: c. Tempo di valse | — | ||
| 15-25 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: d. Allegro moderato | — | ||
| 15-26 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: e. Andante – Andante non troppo – più mosso – Andante – Allegro – Andante – Allegro | — | ||
| 15-27 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: f. Tempo di valse | — | ||
| 15-28 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: g. Coda (Allegro vivace) | — | ||
| 15-29 | Swan Lake, op. 20: Act II. no. 14 Scène (Moderato – più mosso) | — | ||
| 16-1 | Swan Lake, op. 20: Act III. no. 15 Allegro giusto | — | ||
| 16-2 | Swan Lake, op. 20: Act III. no. 16 Danses du corps de ballet et des nains | — | ||
| 16-3 | Swan Lake, op. 20: Act III. no. 17 La Sortie des invites et la valse | — | ||
| 16-4 | Swan Lake, op. 20: Act III. no. 18 Scène (Allegro – Allegro giusto) | — | ||
| 16-5 | Swan Lake, op. 20: Act III. no. 19 Pas de six: a. Intrada (Moderato assai) | — | ||
| 16-6 | Swan Lake, op. 20: Act III. no. 19 Pas de six: b. Variation I (Allegro) | — | ||
| 16-7 | Swan Lake, op. 20: Act III. no. 19 Pas de six: c. Variation II (Andante con moto) | — | ||
| 16-8 | Swan Lake, op. 20: Act III. no. 19 Pas de six: d. Variation III (Moderato) | — | ||
| 16-9 | Swan Lake, op. 20: Act III. no. 19 Pas de six: e. Variation IV (Allegro) | — | ||
| 16-10 | Swan Lake, op. 20: Act III. no. 19 Pas de six: f. Variation V (Moderato – Allegro semplice – più mosso) | — | ||
| 16-11 | Swan Lake, op. 20: Act III. no. 19 Pas de six: g. Coda (Molto Allegro) | — | ||
| 16-12 | Swan Lake, op. 20: Pas de deux: Intrada (Moderato – Andante) – Variation I (Allegro moderato) – Variation II (Allegro) – Coda (Allegro – Molto vivace) | — | ||
| 16-13 | Swan Lake, op. 20: Pas de deux: no. 20 Danse hongroise (Czardas) | — | ||
| 16-14 | Swan Lake, op. 20: Pas de deux: no. 20a Danse russe | — | ||
| 16-15 | Swan Lake, op. 20: Pas de deux: no. 21 Danse espagnole | — | ||
| 16-16 | Swan Lake, op. 20: Pas de deux: no. 22 Danse napolitaine | — | ||
| 16-17 | Swan Lake, op. 20: Pas de deux: no. 23 Mazurka | — | ||
| 16-18 | Swan Lake, op. 20: Pas de deux: no. 24 Scène (Allegro – Valse – Allegro vivo) | — | ||
| 16-19 | Swan Lake, op. 20: Act IV. no. 25 Entr'acte (Moderato) | — | ||
| 16-20 | Swan Lake, op. 20: Act IV. no. 26 Scène (Allegro non troppo) | — | ||
| 16-21 | Swan Lake, op. 20: Act IV. no. 27 Danses des petits cygnes | — | ||
| 16-22 | Swan Lake, op. 20: Act IV. Valse bluette | — | ||
| 16-23 | Swan Lake, op. 20: Act IV. no. 28 Scène (Allegro agitato – Molto meno mosso – Allegro vivace) | — | ||
| 16-24 | Swan Lake, op. 20: Act IV. no. 29 Scène finale (Andante – Alelgro agitato – Moderato e maestoso – Meno mosso - Moderato) | — | ||
| 17-1 | Violin Concerto in D major, op. 35: I. Allegro moderato | Ruggiero Ricci, Netherlands Radio Philharmonic Orchestra, Jean Fournet | — | |
| 17-2 | Violin Concerto in D major, op. 35: II. Canzonetta. Andante attacca | Ruggiero Ricci, Netherlands Radio Philharmonic Orchestra, Jean Fournet | — | |
| 17-3 | Violin Concerto in D major, op. 35: III. Finale. Allegro vivacissimo | Ruggiero Ricci, Netherlands Radio Philharmonic Orchestra, Jean Fournet | — | |
| 17-4 | Violin Concerto in E minor, op. 64: I. Allegro molto appassionato | Ruggiero Ricci, Netherlands Radio Philharmonic Orchestra, Jean Fournet | — | |
| 17-5 | Violin Concerto in E minor, op. 64: II. Andante | Ruggiero Ricci, Netherlands Radio Philharmonic Orchestra, Jean Fournet | — | |
| 17-6 | Violin Concerto in E minor, op. 64: III. Allegro non troppo – Allegro molto vivace | Ruggiero Ricci, Netherlands Radio Philharmonic Orchestra, Jean Fournet | — | |
| 18-1 | Psycho: A Narrative for Orchestra | — | ||
| 18-2 | Marnie | — | ||
| 18-3 | North by Northwest | — | ||
| 18-4 | Vertigo: Prelude – The Nightmare – Scène d’amour | — | ||
| 18-5 | The Trouble with Harry: A Portrait of “Hitch” | — | ||
| 19-1 | Journey to the Centre of the Earth: Mountain Top and Sunrise / Prelude / The Grotto / Salt Slides / Atlantis / The Giant Chameleon and the Fight / The Shaft and Finale | — | ||
| 19-2 | The Seventh Voyage of Sinbad: Overture / The Duel With the Skeleton / Baghdad | — | ||
| 19-3 | The Day the Earth Stood Still: Outer Space / Radar / Gort / The Robot / Space Control / Terror / Farewell and Finale | — | ||
| 19-4 | Fahrenheit 451: Prelude / Fire Engine / The Bedroom / Flowers of Fire / The Road and Finale | — | ||
| 20-1 | Carmen : Prèlude | — | ||
| 20-2 | Carmen : « L’amour est un oiseau rebelle » (Habanera) | — | ||
| 20-3 | Carmen : « Près des remparts de Séville » | — | ||
| 20-4 | Carmen : « Les tringles des sistres tintaient » | — | ||
| 20-5 | Carmen : « Nous avons en tête une affaire ! » | — | ||
| 20-6 | Carmen : « Mêlons ! Coupons ! » | — | ||
| 20-7 | Carmen : « C’est toi ! C’est moi ! » | — | ||
| 20-8 | Symphony no. 6 in B minor, op. 74 “Pathétique”: I. Adagio – Allegro non troppo | — | ||
| 20-9 | Symphony no. 6 in B minor, op. 74 “Pathétique”: II. Allegro con grazia | — | ||
| 20-10 | Symphony no. 6 in B minor, op. 74 “Pathétique”: III. Allegro molto vivace | — | ||
| 20-11 | Symphony no. 6 in B minor, op. 74 “Pathétique”: IV. Finale (Adagio lamentoso – Andante) | — | ||
| 21-1 | Symphony no. 6 in F major, op. 68 “Pastoral”: I. Allegro ma non troppo. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande | — | ||
| 21-2 | Symphony no. 6 in F major, op. 68 “Pastoral”: II. Andante molto mosso. Szene am Bach | — | ||
| 21-3 | Symphony no. 6 in F major, op. 68 “Pastoral”: III. Allegro. Lustiges Zusammensein der Landleute | — | ||
| 21-4 | Symphony no. 6 in F major, op. 68 “Pastoral”: IV. Allegro. Gewitter, Sturm | — | ||
| 21-5 | Symphony no. 6 in F major, op. 68 “Pastoral”: V. Allegretto. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm | — | ||
| 21-6 | Till Eulenspiegels lustige Streiche, op. 28 | — | ||
| 22-1 | Tod und Verklärung, op. 24 | — | ||
| 22-2 | Francesca da Rimini, op. 32 | — | ||
| 22-3 | Piano Concerto no. 3 in C major, op. 26: I. Andante | — | ||
| 22-4 | Piano Concerto no. 3 in C major, op. 26: II. Tema con variazione | — | ||
| 22-5 | Piano Concerto no. 3 in C major, op. 26: III. Allegro ma non troppo | — | ||
| 23-1 | Symphony no. 1 in D major “Titan”: I. Langsam. Schleppend | — | ||
| 23-2 | Symphony no. 1 in D major “Titan”: II. Kräftig bewegt, doch nicht zu schnell | — | ||
| 23-3 | Symphony no. 1 in D major “Titan”: III. Feierlich und gemessen, ohne zu schleppen – Sehr einfach und schlicht wie eine Volksweise | — | ||
| 23-4 | Symphony no. 1 in D major “Titan”: IV. Stürmisch bewegt | — | ||
| 23-5 | Tannhäuser: Overture and Venusberg Music | — | ||
| 24-1 | Battle Hymn of the Republic | — | ||
| 24-2 | America the Beautiful | — | ||
| 24-3 | Hoe Down | — | ||
| 24-4 | Beautiful Dreamer | — | ||
| 24-5 | Oklahoma | — | ||
| 24-6 | Mademoiselle From Armentières – When Johnny Comes Marching Home | — | ||
| 24-7 | Camptown Races | — | ||
| 24-8 | Carry Me Back to the Lone Prairie | — | ||
| 24-9 | Blow the Man Down | — | ||
| 24-10 | The Whiffenpoof Song | — | ||
| 24-11 | Ask Not | — | ||
| 25-1 | Carmen Suite no. 1: VI. Les toréadors | New Philharmonia Orchestra, Charles Munch | T-071.519.108-4 | |
| 25-2 | Carmen Suite no. 1: II. Aragonaise | New Philharmonia Orchestra, Charles Munch | T-071.519.108-4 | |
| 25-3 | Carmen Suite no. 1: III. Intermezzo | New Philharmonia Orchestra, Charles Munch | T-900.138.033-2 | |
| 25-4 | Carmen Suite no. 1: V. Les dragons d'Alcala | New Philharmonia Orchestra, Charles Munch | T-071.519.108-4 | |
| 25-5 | Carmen Suite no. 2: II. Habanera | New Philharmonia Orchestra, Charles Munch | T-011.124.733-6 | |
| 25-6 | Carmen Suite no. 2: V. La garde montante | New Philharmonia Orchestra, Charles Munch | T-902.759.521-7 | |
| 25-7 | Carmen Suite no. 2: VI. Danse bohème | New Philharmonia Orchestra, Charles Munch | T-050.122.082-1 | |
| 25-8 | L'Arlésienne Suite no. 1: I. Prélude, Allegro deciso | New Philharmonia Orchestra, Charles Munch | T-900.143.514-9 | |
| 25-9 | L'Arlésienne Suite no. 1: II. Minuet, Allegro giocoso | New Philharmonia Orchestra, Charles Munch | T-010.194.862-2 | |
| 25-10 | L'Arlésienne Suite no. 1: III. Adagietto | New Philharmonia Orchestra, Charles Munch | T-910.448.362-7 | |
| 25-11 | L'Arlésienne Suite no. 1: IV. Carillon, Allegro moderato | New Philharmonia Orchestra, Charles Munch | — | |
| 25-12 | L'Arlésienne Suite no. 2: IV. Farandole | New Philharmonia Orchestra, Charles Munch | T-010.194.866-6 | |
| 26-1 | Gaîté Parisienne, Ballet: I. Ouverture | — | ||
| 26-2 | Gaîté Parisienne, Ballet: II. Allegro brillante | — | ||
| 26-3 | Gaîté Parisienne, Ballet: III. Polka | — | ||
| 26-4 | Gaîté Parisienne, Ballet: IV. Allegro – Valse | — | ||
| 26-5 | Gaîté Parisienne, Ballet: V. Mazurka | — | ||
| 26-6 | Gaîté Parisienne, Ballet: VI. Valse | — | ||
| 26-7 | Gaîté Parisienne, Ballet: VII. Peruvian dance (Allegro) | — | ||
| 26-8 | Gaîté Parisienne, Ballet: VIII. Polka | — | ||
| 26-9 | Gaîté Parisienne, Ballet: IX. Valse lente | — | ||
| 26-10 | Gaîté Parisienne, Ballet: X. Tempo di Marcia | — | ||
| 26-11 | Gaîté Parisienne, Ballet: XI. Valse | — | ||
| 26-12 | Gaîté Parisienne, Ballet: XII. Vivo – Valse | — | ||
| 26-13 | Gaîté Parisienne, Ballet: XIII. Allegro | — | ||
| 26-14 | Gaîté Parisienne, Ballet: XIV. Valse | — | ||
| 26-15 | Gaîté Parisienne, Ballet: XV. Allegro – Cancan | — | ||
| 26-16 | Gaîté Parisienne, Ballet: XVI. Quadrille – Cancan | — | ||
| 26-17 | Gaîté Parisienne, Ballet: XVII. Allegro moderato | — | ||
| 26-18 | Gaîté Parisienne, Ballet: XVIII. Allegro | — | ||
| 26-19 | Gaîté Parisienne, Ballet: XIX. Leggiero | — | ||
| 26-20 | Gaîté Parisienne, Ballet: XX. Vivo | — | ||
| 26-21 | Gaîté Parisienne, Ballet: XXI. Barcarolle | — | ||
| 26-22 | Pini di Roma: I. I pini di Villa Borghese | — | ||
| 26-23 | Pini di Roma: II. Pini presso una catacomba | — | ||
| 26-24 | Pini di Roma: III. I pini del Gianicolo | — | ||
| 26-25 | Pini di Roma: IV. I pini della Via Appia | — | ||
| 26-26 | Fontane di Roma: I. La fontana di Valle Giulia all’alba | — | ||
| 26-27 | Fontane di Roma: II. La fontana di Tritone al mattino | — | ||
| 26-28 | Fontane di Roma: III. La fontana di Trevi al meriggio | — | ||
| 26-29 | Fontane di Roma: IV. La fontana di Villa Medici al tramonto | — | ||
| 27-1 | Llanto gitano | — | ||
| 27-2 | La piedra escrita | — | ||
| 27-3 | Giralda de Sevilla | — | ||
| 27-4 | De badajoz a Madrid | — | ||
| 27-5 | Agua, viento, nieve y frio | — | ||
| 27-6 | Ay mi Romera | — | ||
| 27-7 | El burdon y la prima | — | ||
| 27-8 | Feria de Sevilla | — | ||
| 27-9 | Fiesta de Triana y Jerez | — | ||
| 28-1 | In a Monastery Garden | — | ||
| 28-2 | Wedgwood Blue | — | ||
| 28-3 | In the Mystic Land of Egypt | — | ||
| 28-4 | Bells across the Meadows | — | ||
| 28-5 | In a Chinese Temple Garden | — | ||
| 28-6 | Sanctuary of the Heart | Royal Philharmonic Orchestra, Eric Rogers | — | |
| 28-7 | ’Appy ’Ampstead | — | ||
| 28-8 | Phantom Melody | — | ||
| 28-9 | In a Persian Market | — | ||
| 28-10 | Hejre Kati, op. 22 | — | ||
| 28-11 | Berceuse de Jocelyn | — | ||
| 28-12 | Valse sentimentale, op. 51 no. 6 | — | ||
| 28-13 | Fêtes tziganes | — | ||
| 28-14 | Meditation (Thaïs) | — | ||
| 28-15 | Im chambre séparée | — | ||
| 28-16 | Intermezzo (Garden Scene, Much Ado about Nothing) | — | ||
| 28-17 | None But the Lonely Heart | — | ||
| 28-18 | Csárdás | — | ||
| 29-1 | Ben Hur: I. Fanfare to Prelude | — | ||
| 29-2 | Ben Hur: II. Star of Bethlehem and Adoration of the Magi | — | ||
| 29-3 | Ben Hur: III. Friendship | — | ||
| 29-4 | Ben Hur: IV. The Burning Desert | — | ||
| 29-5 | Ben Hur: V. Arrius’s Party | — | ||
| 29-6 | Ben Hur: VI. Rowing of the Galley Slaves | — | ||
| 29-7 | Ben Hur: VII. Parade of the Charioteers | — | ||
| 29-8 | Ben Hur: VIII. The Mother’s Love | — | ||
| 29-9 | Ben Hur: IX. Return to Judea | — | ||
| 29-10 | Ben Hur: X. Ring for Freedom | — | ||
| 29-11 | Ben Hur: XI. Lepers’ Search for the Christ | — | ||
| 29-12 | Ben Hur: XII. Procession to Calvary | — | ||
| 29-13 | Ben Hur: XIII. Miracle and Finale | — | ||
| 30-1 | Egmont Overture, op. 84 | — | ||
| 30-2 | Symphony no. 9 in D minor, op. 125: I. Allegro ma non troppo, un poco maestoso | — | ||
| 30-3 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | — | ||
| 30-4 | Symphony no. 9 in D minor, op. 125: III. Adagio molto e cantabile | — | ||
| 30-5 | Symphony no. 9 in D minor, op. 125: IV. Presto: “O Freunde, nicht diese Töne” – Andante maestoso – Allegro energico, sempre ben marcato | — | ||
| 31-1 | Symphonie fantastique, op. 14: I. Rêveries. Passions | — | ||
| 31-2 | Symphonie fantastique, op. 14: II. Un bal | — | ||
| 31-3 | Symphonie fantastique, op. 14: III. Scène aux champs | — | ||
| 31-4 | Symphonie fantastique, op. 14: IV. Marche au supplice | — | ||
| 31-5 | Symphonie fantastique, op. 14: V. Songe d’une nuit du Sabbat | — | ||
| 31-6 | La damnation de Faust, op. 24: Ballet of the Sylphs | — | ||
| 31-7 | Fanfare pour “L’eventail de Jeanne” | — | ||
| 31-8 | Daphnis et Chloé, Suite no. 2: I. Lever du jour | — | ||
| 31-9 | Daphnis et Chloé, Suite no. 2: II. Pantomime | — | ||
| 31-10 | Daphnis et Chloé, Suite no. 2: III. Danse générale | — | ||
| 32-1 | Pictures at an Exhibition: I. Promenade – Gnome | — | ||
| 32-2 | Pictures at an Exhibition: II. Promenade – The Old Castle | — | ||
| 32-3 | Pictures at an Exhibition: III. Bydlo | — | ||
| 32-4 | Pictures at an Exhibition: IV. Promenade – Ballet of the Unhatched Chicks | — | ||
| 32-5 | Pictures at an Exhibition: V. Samuel Goldenberg and Schmuyle | — | ||
| 32-6 | Pictures at an Exhibition: VI. Catacombs | — | ||
| 32-7 | Pictures at an Exhibition: VII. The Hut on Fowl’s Legs | — | ||
| 32-8 | Pictures at an Exhibition: VIII. The Great Gate of Kiev | — | ||
| 32-9 | Boris Godunov | — | ||
| 32-10 | Night on the Bare Mountain | — | ||
| 32-11 | Ouverture solennelle “1812”, op. 49 | — | ||
| 33-1 | Scheherazade, op. 35: I. The Sea and Sinbad’s Ship | — | ||
| 33-2 | Scheherazade, op. 35: II. The Story of the Calender Prince | — | ||
| 33-3 | Scheherazade — The Young Prince and the Young Princess | Erich Gruenberg, London Symphony Orchestra, Leopold Stokowski | — | |
| 33-4 | Scheherazade, op. 35: IV. Festival at Bagdad – The Sea – The Shipwreck – Conclusion | — | ||
| 33-5 | Capriccio espagnol, op. 34: I. Alborada | — | ||
| 33-6 | Capriccio espagnol, op. 34: II. Variazioni | — | ||
| 33-7 | Capriccio espagnol, op. 34: III. Alborada | — | ||
| 33-8 | Capriccio espagnol, op. 34: IV. Scena e canto gitano | — | ||
| 33-9 | Capriccio espagnol, op. 34: V. Fandango asturiano | — | ||
| 33-10 | Polovtsian Dances | — | ||
| 34-1 | Symphony no. 5 in E minor, op. 64: I. Andante – Allegro con anima | — | ||
| 34-2 | Symphony no. 5 in E minor, op. 64: II. Andante cantabile, con alcuna licenza | — | ||
| 34-3 | Symphony no. 5 in E minor, op. 64: III. Valse. Allegro moderato | — | ||
| 34-4 | Symphony no. 5 in E minor, op. 64: IV. Finale. Andante maestoso – Allegro vivace | — | ||
| 34-5 | Violin Concerto in A minor, op. 82: I. Moderato – II. Andante | — | ||
| 34-6 | Violin Concerto in A minor, op. 82: III. Allegro | — | ||
| 35-1 | Swan Lake, op. 20: Introduction. Moderato assai | — | ||
| 35-2 | Swan Lake, op. 20: Act I. No. 2 Valse (Tempo di valse) | — | ||
| 35-3 | Swan Lake, op. 20: Act I. No. 4 Pas de trois. Variation III | — | ||
| 35-4 | Swan Lake, op. 20: Act I. No. 5 Pas de deux | — | ||
| 35-5 | Swan Lake, op. 20: Act II. No. 10 Scène (Moderato) | — | ||
| 35-6 | Swan Lake, op. 20: Act II. No. 11 Scène (Allegro moderato) | — | ||
| 35-7 | Swan Lake, op. 20: Act III. No. 21 Danse espagnole | — | ||
| 35-8 | Swan Lake, op. 20: Act IV. No. 27 Danse des petits cygnes | — | ||
| 35-9 | Swan Lake, op. 20: Act IV. No. 29 Scène finale (Andante) | — | ||
| 35-10 | The Sleeping Beauty, op. 66: Introduction | — | ||
| 35-11 | The Sleeping Beauty, op. 66: Prologue. no. 3 Variation IV Canari qui chante | — | ||
| 35-12 | The Sleeping Beauty, op. 66: Prologue. no. 6 Valse | — | ||
| 35-13 | The Sleeping Beauty, op. 66: Act I. No. 8 Pas d’action | — | ||
| 35-14 | The Sleeping Beauty, op. 66: Act III. No. 22 Polacca | — | ||
| 35-15 | The Sleeping Beauty, op. 66: Act III. No. 23 Pas de quatre Intrada (Allegro non tanto) | — | ||
| 35-16 | The Sleeping Beauty, op. 66: Act III. No. 25 Pas de quatre (Adagio) | — | ||
| 35-17 | The Sleeping Beauty, op. 66: Act III. No. 28 Pas de deux Adagio | — | ||
| 35-18 | The Sleeping Beauty, op. 66: No. 30 Finale. Apothéose | — | ||
| 35-19 | Romeo and Juliet. Fantasy Overture after Shakespeare | — | ||
| 35-20 | Marche slave, op. 31 | — | ||
| 36-1 | Concerto no. 1 for Violin and Strings in E major, RV 269 “La primavera”: I. Allegro | — | ||
| 36-2 | Concerto no. 1 for Violin and Strings in E major, RV 269 “La primavera”: II. Largo | — | ||
| 36-3 | Concerto no. 1 for Violin and Strings in E major, RV 269 “La primavera”: III. Danza pastorale. Allegro | — | ||
| 36-4 | Concerto no. 2 for Violin and Strings in G minor, RV 315 “L’estate”: I. Allegro non molto – Allegro | — | ||
| 36-5 | Concerto no. 2 for Violin and Strings in G minor, RV 315 “L’estate”: II. Adagio – Presto – Adagio | — | ||
| 36-6 | Concerto no. 2 for Violin and Strings in G minor, RV 315 “L’estate”: III. Presto (Tempo impetuoso d’estate) | — | ||
| 36-7 | Concerto no. 3 for Violin and Strings in F major, RV 293 “L’autunno”: I. Ballo, e canto de’ villanelli. Allegro | — | ||
| 36-8 | Concerto no. 3 for Violin and Strings in F major, RV 293 “L’autunno”: II. Ubriachi dormienti. Adagio molto | — | ||
| 36-9 | Concerto no. 3 for Violin and Strings in F major, RV 293 “L’autunno”: III. La caccia. Allegro | — | ||
| 36-10 | Concerto no. 4 for Violin and Strings in F minor, RV 297 “L’inverno”: I. Allegro non molto | — | ||
| 36-11 | Concerto no. 4 for Violin and Strings in F minor, RV 297 “L’inverno”: II. Largo | — | ||
| 36-12 | Concerto no. 4 for Violin and Strings in F minor, RV 297 “L’inverno”: III. Allegro | — | ||
| 37-1 | Die Walküre: The Ride of the Valkyries | — | ||
| 37-2 | Götterdämmerung: Dawn and Siegfried’s Rhine Journey | — | ||
| 37-3 | Götterdämmerung: Siegfried’s Death and Funeral Music | — | ||
| 37-4 | Das Rheingold: Entrance of the Gods into Valhalla | — | ||
| 37-5 | Siegfried: Forest Murmurs | — | ||
| 37-6 | Die Meistersinger von Nürnberg: Prelude to Act 1 | — | ||
| 38-1 | Toccata & Fugue in D minor, BWV 565 | — | ||
| 38-2 | Prelude in E flat minor, BWV 853 | — | ||
| 38-3 | Mein Jesu, was für Seelenweh, BWV 487 | — | ||
| 38-4 | Wir glauben all’ an einen Gott, BWV 680 | — | ||
| 38-5 | Chorale “Jesus Christus, Gottes Sohn”, BWV 4 | — | ||
| 38-6 | Passacaglia and Fugue in C minor, BWV 582 | — | ||
| 38-7 | Pavan “The Earl of Salisbury” and Galliard | — | ||
| 38-8 | Trumpet voluntary | — | ||
| 38-9 | Moments Musical no. 3 in F minor, D780 | — | ||
| 38-10 | Mazurka in A minor, op. 17 no. 4 | — | ||
| 38-11 | Chant sans paroles, op. 40: no. 6 | — | ||
| 38-12 | Extase | London Symphony Orchestra, Leopold Stokowski | — | |
| 38-13 | Prelude in C sharp minor, op. 3: no. 2 | — | ||
| 39-1 | Yellow River Concerto: I. Prelude. The song of the Yellow River Boatmen | — | ||
| 39-2 | Yellow River Concerto: II. Ode to the Yellow River | — | ||
| 39-3 | Yellow River Concerto: III. The Yellow River in Wrath | — | ||
| 39-4 | Yellow River Concerto: IV. Defend the Yellow River | — | ||
| 39-5 | Concerto for Piano no. 21 in C major, K. 467: I. Allegro | Ilana Vered, Royal Philharmonic Orchestra, Lawrence Foster | — | |
| 39-6 | Piano Concerto 21 in C major: 2nd mvt Andante (Elvira Madigan) | Ilana Vered, Royal Philharmonic Orchestra, Lawrence Foster | T-010.194.871-3 | |
| 39-7 | Concerto for Piano no. 21 in C major, K. 467: III. Allegro vivace assai | Ilana Vered, Royal Philharmonic Orchestra, Lawrence Foster | — | |
| 40-1 | Piano Sonata no. 21 in C major, op. 53 “Waldstein”: I. Allegro con brio | — | ||
| 40-2 | Piano Sonata no. 21 in C major, op. 53 “Waldstein”: II. Introduzione. Adagio molto | — | ||
| 40-3 | Piano Sonata no. 21 in C major, op. 53 “Waldstein”: III. Rondo. Allegretto moderato - Prestissimo | — | ||
| 40-4 | Fantasy in C major, “Wanderer” D760: I. Allegro con fuoco ma non troppo | — | ||
| 40-5 | Fantasy in C major, “Wanderer” D760: II. Adagio | — | ||
| 40-6 | Fantasy in C major, “Wanderer” D760: III. Presto | — | ||
| 40-7 | Fantasy in C major, “Wanderer” D760: IV. Allegro | — | ||
| 40-8 | Three Movements from Petrouchka: I. Danse russe. Allegro giusto | — | ||
| 40-9 | Three Movements from Petrouchka: II. Chez Petrouchka | — | ||
| 40-10 | Three Movements from Petrouchka: III. La semaine grasse. Con moto - Allegretto - Tempo giusto - Agitato | — | ||
| 41-1 | American Revolutionary War 1775-1783: March of the British Grenadiers / Yankee Doodle | — | ||
| 41-2 | Napoleonic-Russian War 1812: La Marseillaise / Russian Anthem | — | ||
| 41-3 | American Civil War 1861-1865: Dixie / Battle Hymn of the Republic | — | ||
| 41-4 | Crimean War 1853-1856: Marche slave / Scotland the Brave / Rule Britannia | — | ||
| 41-5 | World War I 1914-1918: Deutschland über alles / Meadowland / Marcia reale / It’s a Long Way to Tipperary / Auprès de ma blonde / National Emblem March | — | ||
| 41-6 | Battle of Britain 1940: Horst Wessel Song / Land of Hope and Glory | — |
Identifier Graph
028947867692 is a Universal Product Code (UPC) assigned to Phase 4 Stereo: Stereo Concert Series 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 475 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
Creative Contributors (ISNI)
The UPC for “Phase 4 Stereo: Stereo Concert Series” by Various Artists is 028947867692. 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 2014-01-01. Label: Decca. This release contains 475 tracks, each with its own ISRC. Tracks include GBF077110260, GBF077710671, GBF077710672.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | The Stars and Stripes Forever | — | ||
| 2 | El Capitán | — | ||
| 3 | The High School Cadets | — | ||
| 4 | Washington Post | — | ||
| 5 | The Picadore | — | ||
| 6 | The Invincible Eagle | — | ||
| 7 | Semper Fidelis | — | ||
| 8 | Manhattan Beach | — | ||
| 9 | The Liberty Bell | — | ||
| 10 | The Thunderer | — | ||
| 11 | King Cotton | — | ||
| 12 | Hands Across the Sea | — | ||
| 2-1 | Rhapsody in Blue | — | ||
| 2-2 | An American in Paris | — | ||
| 2-3 | "VARIATIONS ON ""I GOT RHYTHM"" FOR PIANO AND ORCHESTRA" | David Parkhouse, London Festival Recording Ensemble, Bernard Herrmann | — | |
| 3-1 | Spartacus, Ballet Suite: I. Variation of Aegina and Bacchanalia | — | ||
| 3-2 | Spartacus, Ballet Suite: II. Adagio of Spartacus and Phrygia | — | ||
| 3-3 | Spartacus, Ballet Suite: III. Dance of the Gaditanae | — | ||
| 3-4 | Masquerade Suite: Waltz | London Symphony Orchestra, Stanley Black | — | |
| 3-5 | Masquerade Suite: Nocturne | John Georgiadis, London Symphony Orchestra, Stanley Black | — | |
| 3-6 | Masquerade Suite: Mazurka | London Symphony Orchestra, Stanley Black | — | |
| 3-7 | Masquerade Suite: Romance | London Symphony Orchestra, Stanley Black | — | |
| 3-8 | Masquerade Suite: Galop | London Symphony Orchestra, Stanley Black | — | |
| 3-9 | Gayaneh, Ballet Suite: I. Sabre Dance | — | ||
| 3-10 | Gayaneh, Ballet Suite: II. Ayesha’s Dance | — | ||
| 3-11 | Gayaneh, Ballet Suite: III. Dance of the Rose Maidens | — | ||
| 3-12 | Gayaneh, Ballet Suite: IV. Lullaby | — | ||
| 3-13 | Gayaneh, Ballet Suite: V. Lezghinka | — | ||
| 4-1 | Slavonic Dances, op. 46: No. 1 in C major | — | ||
| 4-2 | Die Fledermaus: Du und du, waltz, op. 367 | — | ||
| 4-3 | The Red Poppy, op. 70: Dance of Russian Sailors | — | ||
| 4-4 | La Gioconda: Dance of the Hours | — | ||
| 4-5 | Danse macabre in G minor, op. 40 | — | ||
| 4-6 | Hungarian Dances: No. 5 in G minor | — | ||
| 4-7 | El sombrero de tres picos: Miller’s Dance & Final Dance | — | ||
| 4-8 | Slavonic Dances, op. 46: No. 8 in G minor | — | ||
| 4-9 | Sleeping Beauty, op. 66: Waltz | — | ||
| 4-10 | Snow Maiden: Suite: Dance of the Tumblers | — | ||
| 4-11 | Invitation to the Dance | — | ||
| 4-12 | Bartered Bride B 143: Dance of the Comedians | — | ||
| 4-13 | The Comedians: Comedian’s Galop | — | ||
| 5-1 | Boléro | — | ||
| 5-2 | Polovtsian Dances From Prince Igor | — | ||
| 5-3 | Capriccio espagnol, op. 34: I. Alborada | — | ||
| 5-4 | Capriccio espagnol, op. 34: II. Variazioni | — | ||
| 5-5 | Capriccio espagnol, op. 34: III. Alborada | — | ||
| 5-6 | Capriccio espagnol, op. 34: IV. Scena e canto gitano | — | ||
| 5-7 | Capriccio espagnol, op. 34: V. Fandango asturiano | — | ||
| 5-8 | Capriccio italien, op. 45 | — | ||
| 6-1 | Piano Concerto no. 1 in E-flat major, S 124: I. Allegro maestoso | — | ||
| 6-2 | Piano Concerto no. 1 in E-flat major, S 124: II. Quasi adagio – Allegretto vivace – Allegro animato | — | ||
| 6-3 | Piano Concerto no. 1 in E-flat major, S 124: III. Allegro marziale animato | — | ||
| 6-4 | Piano Concerto no. 2 in A major, S 125: Ia. Adagio sostenuto assai – Allegro agitato assai – | — | ||
| 6-5 | Piano Concerto no. 2 in A major, S 125: Ib. Allegro agitato assai | — | ||
| 6-6 | Piano Concerto no. 2 in A major, S 125: II. Allegro moderato – Allegro moderato – poco deciso | — | ||
| 6-7 | Piano Concerto no. 2 in A major, S 125: IIIa. Allegro deciso - | — | ||
| 6-8 | Piano Concerto no. 2 in A major, S 125: IIIb. Marziale un poco meno allegro | — | ||
| 6-9 | Piano Concerto no. 2 in A major, S 125: IIIc. Allegro animato | — | ||
| 6-10 | Piano Concerto no. 2 in C minor, op. 18: I. Moderato | — | ||
| 6-11 | Piano Concerto no. 2 in C minor, op. 18: II. Adagio sostenuto | — | ||
| 6-12 | Piano Concerto no. 2 in C minor, op. 18: III. Allegro scherzando | — | ||
| 7-1 | Symphony no. 9 in E minor, op. 95 “From the New World”: I. Adagio – Allegro molto | — | ||
| 7-2 | Symphony no. 9 in E minor, op. 95 “From the New World”: II. Largo | — | ||
| 7-3 | Symphony no. 9 in E minor, op. 95 ”From the New World”: III. Scherzo. Molto vivace | — | ||
| 7-4 | Symphony no. 9 in E minor, op. 95 “From the New World”: IV. Allegro con fuoco | — | ||
| 7-5 | Háry János, Suite: I. Prelude: The Fairy-Tale begins | — | ||
| 7-6 | Háry János, Suite: II. Viennese Musical Clock | — | ||
| 7-7 | Háry János, Suite: III. Song | — | ||
| 7-8 | Háry János, Suite: IV. The Battle and Defeat of Napoleon | — | ||
| 7-9 | Háry János, Suite: V. Intermezzo | — | ||
| 7-10 | Háry János, Suite: VI. Entrance of the Emperor and His Court | — | ||
| 8-1 | Excalibur: Carmina Burana | Brighton Festival Chorus, Royal Philharmonic Orchestra, Antal Doráti | T-800.639.771-4 | |
| 8-2 | Carmina Burana: Fortuna Imperatrix Mundi: Fortune plango vulnera | — | ||
| 8-3 | Carmina Burana: I. Primo vere: Veris leta facies | — | ||
| 8-4 | Carmina Burana: I. Primo vere: Omnia sol temperat | — | ||
| 8-5 | Carmina Burana: I. Primo vere: Ecce gratum | — | ||
| 8-6 | Carmina Burana: Uf dem Anger: Tanz | — | ||
| 8-7 | Carmina Burana: Uf dem Anger: Floret silva nobilis | — | ||
| 8-8 | Carmina Burana: Uf dem Anger: Chramer, gip die varwe mir | — | ||
| 8-9 | Carmina Burana: Uf dem Anger: Reie | — | ||
| 8-10 | Carmina Burana: Uf dem Anger: Were diu werlt alle min | — | ||
| 8-11 | Carmina Burana: II. In Taberna: Estuans interius | — | ||
| 8-12 | Carmina Burana: II. In Taberna: Olim lacus colueram | — | ||
| 8-13 | Carmina Burana: II. In Taberna: Ego sum abbas | — | ||
| 8-14 | Carmina Burana: II. In Taberna: In taberna quando sumus | — | ||
| 8-15 | Carmina Burana: III. Cour d’amours: Amor volat undique | — | ||
| 8-16 | Carmina Burana: III. Cour d’amours: Dies, nox et omnia | — | ||
| 8-17 | Carmina Burana: III. Cour d’amours: Stetit puella | — | ||
| 8-18 | Carmina Burana: III. Cour d’amours: Circa mea pectora | — | ||
| 8-19 | Carmina Burana: III. Cour d’amours: Si puer cum puellula | — | ||
| 8-20 | Carmina Burana: III. Cour d’amours: Veni, veni, venias | — | ||
| 8-21 | Carmina Burana: III. Cour d’amours: In trutina | — | ||
| 8-22 | Carmina Burana: III. Cour d’amours: Tempus est iocundum | — | ||
| 8-23 | Carmina Burana: III. Cour d’amours: Dulcissime | — | ||
| 8-24 | Carmina Burana: Blanziflor et Helena: Ave formossima | — | ||
| 8-25 | Carmina Burana: Fortuna Imperatrix Mundi: O Fortuna | — | ||
| 9-1 | Peter and the Wolf, op. 67: I. This Is the Story of Peter and the Wolf | — | ||
| 9-2 | Peter and the Wolf, op. 67: II. It Was Early Morning | — | ||
| 9-3 | Peter and the Wolf, op. 67: III. Grandfather Led Him Back to the House | — | ||
| 9-4 | Peter and the Wolf, op. 67: IV. Now This Is How Things Stood | — | ||
| 9-5 | Peter and the Wolf, op. 67: V. And Now, the Victory Parade | — | ||
| 9-6 | Lieutenant Kijé, Symphonic Suite, op. 60: I. The Birth of Kijé | — | ||
| 9-7 | Lieutenant Kijé, Symphonic Suite, op. 60: II. Romance | — | ||
| 9-8 | Lieutenant Kijé, Symphonic Suite, op. 60: III. Kijé’s Wedding | — | ||
| 9-9 | Lieutenant Kijé, Symphonic Suite, op. 60: IV. Troika | — | ||
| 9-10 | Lieutenant Kijé, Symphonic Suite, op. 60: V. The Funeral of Kijé | — | ||
| 9-11 | The Young Person's Guide to the Orchestra, op. 34: I. Introduction | — | ||
| 9-12 | The Young Person's Guide to the Orchestra, op. 34: II. Let’s Hear Each Instrument Play a Variation of Its Own | — | ||
| 9-13 | The Young Person's Guide to the Orchestra, op. 34: III. The Highest Instruments in the String Family Are | — | ||
| 9-14 | The Young Person's Guide to the Orchestra, op. 34: IV. We Now Come to the Brass Family | — | ||
| 9-15 | The Young Person's Guide to the Orchestra, op. 34: V. The Percussion Family | — | ||
| 9-16 | The Young Person's Guide to the Orchestra, op. 34: VI. You Have Heard the Whole Orchestra in Sections | — | ||
| 10-1 | La Boutique fantasque: I. Overture | — | ||
| 10-2 | La Boutique fantasque: II. Tarantella – Mazurka | — | ||
| 10-3 | La Boutique fantasque: III. Cossack Danse | — | ||
| 10-4 | La Boutique fantasque: IV. Valse Brillante | — | ||
| 10-5 | La Boutique fantasque: V. Cancan | — | ||
| 10-6 | La Boutique fantasque: VI. Valse | — | ||
| 10-7 | La Boutique fantasque: VII. Nocturne | — | ||
| 10-8 | La Boutique fantasque: VIII. Galop | — | ||
| 10-9 | La Boutique fantasque: IX Finale | — | ||
| 10-10 | Suite Rossiniana: I. Caprie Taormina (Barcarola e Siciliana) | — | ||
| 10-11 | Suite Rossiniana: II. Lamento | — | ||
| 10-12 | Suite Rossiniana: III. Intermezzo | — | ||
| 10-13 | Suite Rossiniana: IV. Tarantella “Puro sangue” (con passagiodella processione) | — | ||
| 11-1 | Carousel: You’ll Never Walk Alone | — | ||
| 11-2 | Bless This House | — | ||
| 11-3 | I Got Dat Feelin’ | — | ||
| 11-4 | The Sound of Music: Climb Ev’ry Mountain | — | ||
| 11-5 | Nobody Knows the Trouble I’ve Seen | — | ||
| 11-6 | If I Could Tell You | — | ||
| 11-7 | Carousel: If I Loved You | — | ||
| 11-8 | Trees | — | ||
| 11-9 | We Shall Overcome | — | ||
| 11-10 | The Lord’s Prayer | — | ||
| 11-11 | Deep River | — | ||
| 11-12 | Peace of Mind | — | ||
| 12-1 | Finlandia, op. 26 | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-2 | Peer Gynt Suite: I. Morning | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-3 | Peer Gynt Suite: II. The Death of Åse | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-4 | Peer Gynt Suite: III. Anitra’s Dance | Boston Pops Orchestra, Arthur Fiedler | T-928.635.589-3 | |
| 12-5 | Peer Gynt Suite: IV. In the Hall of the Mountain King | Boston Pops Orchestra, Arthur Fiedler | T-011.778.125-5 | |
| 12-6 | Peer Gynt: Solveig’s song | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-7 | Slavonic Dance in C, op. 46 no. 1 | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-8 | Vltava (The Moldau) (Má vlast) | Boston Pops Orchestra, Arthur Fiedler | T-910.005.581-0 | |
| 12-9 | English Folk Song Suite: I. March: Seventeen Come Sunday | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-10 | English Folk Song Suite: II. Intermezzo: My Bonny Boy | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-11 | English Folk Song Suite: III. March: Folk Songs from Somerset | Boston Pops Orchestra, Arthur Fiedler | — | |
| 12-12 | Variations on America | Boston Pops Orchestra, Arthur Fiedler | T-329.589.636-1 | |
| 13-1 | Girl Crazy: Suite | — | ||
| 13-2 | Oh, Kay!: Overture | — | ||
| 13-3 | Funny Face: Overture | — | ||
| 13-4 | Let ’em Eat Cake: Overture | — | ||
| 13-5 | Of Thee I Sing: Overture | — | ||
| 13-6 | Of Thee I Sing: Wintergreen for President | — | ||
| 13-7 | 3 Preludes: no. 1 | — | ||
| 13-8 | 3 Preludes: no. 2 | — | ||
| 13-9 | 3 Preludes: no. 3 | — | ||
| 13-10 | Rhapsody no. 2 for Piano & Orchestra | — | ||
| 14-1 | An der schönen, blauen Donau, op. 314 | — | ||
| 14-2 | Geschichten aus dem Wienerwald, op. 325 | — | ||
| 14-3 | Frühlingsstimmen, op. 410 | — | ||
| 14-4 | Künstlerleben, op. 316 | — | ||
| 14-5 | Rosen aus dem Süden, op. 388 | — | ||
| 14-6 | Nutcracker Suite, op. 71a: I. Miniature overture | — | ||
| 14-7 | Nutcracker Suite, op. 71a: II. March | — | ||
| 14-8 | Nutcracker Suite, op. 71a: III. Dance of the Sugar – Plum Fairy | — | ||
| 14-9 | Nutcracker Suite, op. 71a: IV. Trepak | — | ||
| 14-10 | Nutcracker Suite, op. 71a: V. Arab Dance | — | ||
| 14-11 | Nutcracker Suite, op. 71a: VI. Chinese Dance | — | ||
| 14-12 | Nutcracker Suite, op. 71a: VII. Dance of the Reed-Pipes | — | ||
| 14-13 | Nutcracker Suite, op. 71a: VIII. Waltz of the Flowers | — | ||
| 15-1 | Swan Lake, op. 20: Introduction: Moderato assai – Allegro ma non troppo – Tempo I | — | ||
| 15-2 | Swan Lake, op. 20: Act I. no. 1 Scène (Allegro giusto) | — | ||
| 15-3 | Swan Lake, op. 20: Act I. no. 2 Valse (Tempo di valse) | — | ||
| 15-4 | Swan Lake, op. 20: Act I. no. 3 Scène (Allegro moderato) | — | ||
| 15-5 | Swan Lake, op. 20: Act I. no. 4 Pas de trois: a. Intrada (Allegro moderato) | — | ||
| 15-6 | Swan Lake, op. 20: Act I. no. 4 Pas de trois: b. Andante sostenuto | — | ||
| 15-7 | Swan Lake, op. 20: Act I. no. 4 Pas de trois: c. Allegro semplice – Presto | — | ||
| 15-8 | Swan Lake, op. 20: Act I. no. 4 Pas de trois: d. Moderato | — | ||
| 15-9 | Swan Lake, op. 20: Act I. no. 4 Pas de trois: e. Allegro | — | ||
| 15-10 | Swan Lake, op. 20: Act I. no. 4 Pas de trois: f. Coda (Allegro vivace) | — | ||
| 15-11 | Swan Lake, op. 20: Act I. no. 5 Pas de deux: a. Tempo di valse ma non troppo vivo, quasi moderato | — | ||
| 15-12 | Swan Lake, op. 20: Act I. no. 5 Pas de deux: b. Andante – Allegro – Molto più mosso | — | ||
| 15-13 | Swan Lake, op. 20: Act I. no. 5 Pas de deux: c. Tempo di valse | — | ||
| 15-14 | Swan Lake, op. 20: Act I. no. 5 Pas de deux: d. Coda (Allegro molto vivace) | — | ||
| 15-15 | Swan Lake, op. 20: Act I. no. 6 Pas d’action (Andantino quasi moderato – Allegro) | — | ||
| 15-16 | Swan Lake, op. 20: Act I. no. 7 Sujet | — | ||
| 15-17 | Swan Lake, op. 20: Act I. no. 8 Danse des coupes (Tempo di polacca) | — | ||
| 15-18 | Swan Lake, op. 20: Act II. no. 9 Finale (Andante) | — | ||
| 15-19 | Swan Lake, op. 20: Act II. no. 10 Scène (Moderato – più mosso) | — | ||
| 15-20 | Swan Lake, op. 20: Act II. no. 11 Scène (Allegro moderato – più mosso – Allegro vivo) | — | ||
| 15-21 | Swan Lake, op. 20: Act II. no. 12 Scène (Allegro – Moderato assai quasi andante) | — | ||
| 15-22 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: a. Tempo di valse | — | ||
| 15-23 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: b. Moderato assai | — | ||
| 15-24 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: c. Tempo di valse | — | ||
| 15-25 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: d. Allegro moderato | — | ||
| 15-26 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: e. Andante – Andante non troppo – più mosso – Andante – Allegro – Andante – Allegro | — | ||
| 15-27 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: f. Tempo di valse | — | ||
| 15-28 | Swan Lake, op. 20: Act II. no. 13 Danse des cygnes: g. Coda (Allegro vivace) | — | ||
| 15-29 | Swan Lake, op. 20: Act II. no. 14 Scène (Moderato – più mosso) | — | ||
| 16-1 | Swan Lake, op. 20: Act III. no. 15 Allegro giusto | — | ||
| 16-2 | Swan Lake, op. 20: Act III. no. 16 Danses du corps de ballet et des nains | — | ||
| 16-3 | Swan Lake, op. 20: Act III. no. 17 La Sortie des invites et la valse | — | ||
| 16-4 | Swan Lake, op. 20: Act III. no. 18 Scène (Allegro – Allegro giusto) | — | ||
| 16-5 | Swan Lake, op. 20: Act III. no. 19 Pas de six: a. Intrada (Moderato assai) | — | ||
| 16-6 | Swan Lake, op. 20: Act III. no. 19 Pas de six: b. Variation I (Allegro) | — | ||
| 16-7 | Swan Lake, op. 20: Act III. no. 19 Pas de six: c. Variation II (Andante con moto) | — | ||
| 16-8 | Swan Lake, op. 20: Act III. no. 19 Pas de six: d. Variation III (Moderato) | — | ||
| 16-9 | Swan Lake, op. 20: Act III. no. 19 Pas de six: e. Variation IV (Allegro) | — | ||
| 16-10 | Swan Lake, op. 20: Act III. no. 19 Pas de six: f. Variation V (Moderato – Allegro semplice – più mosso) | — | ||
| 16-11 | Swan Lake, op. 20: Act III. no. 19 Pas de six: g. Coda (Molto Allegro) | — | ||
| 16-12 | Swan Lake, op. 20: Pas de deux: Intrada (Moderato – Andante) – Variation I (Allegro moderato) – Variation II (Allegro) – Coda (Allegro – Molto vivace) | — | ||
| 16-13 | Swan Lake, op. 20: Pas de deux: no. 20 Danse hongroise (Czardas) | — | ||
| 16-14 | Swan Lake, op. 20: Pas de deux: no. 20a Danse russe | — | ||
| 16-15 | Swan Lake, op. 20: Pas de deux: no. 21 Danse espagnole | — | ||
| 16-16 | Swan Lake, op. 20: Pas de deux: no. 22 Danse napolitaine | — | ||
| 16-17 | Swan Lake, op. 20: Pas de deux: no. 23 Mazurka | — | ||
| 16-18 | Swan Lake, op. 20: Pas de deux: no. 24 Scène (Allegro – Valse – Allegro vivo) | — | ||
| 16-19 | Swan Lake, op. 20: Act IV. no. 25 Entr'acte (Moderato) | — | ||
| 16-20 | Swan Lake, op. 20: Act IV. no. 26 Scène (Allegro non troppo) | — | ||
| 16-21 | Swan Lake, op. 20: Act IV. no. 27 Danses des petits cygnes | — | ||
| 16-22 | Swan Lake, op. 20: Act IV. Valse bluette | — | ||
| 16-23 | Swan Lake, op. 20: Act IV. no. 28 Scène (Allegro agitato – Molto meno mosso – Allegro vivace) | — | ||
| 16-24 | Swan Lake, op. 20: Act IV. no. 29 Scène finale (Andante – Alelgro agitato – Moderato e maestoso – Meno mosso - Moderato) | — | ||
| 17-1 | Violin Concerto in D major, op. 35: I. Allegro moderato | Ruggiero Ricci, Netherlands Radio Philharmonic Orchestra, Jean Fournet | — | |
| 17-2 | Violin Concerto in D major, op. 35: II. Canzonetta. Andante attacca | Ruggiero Ricci, Netherlands Radio Philharmonic Orchestra, Jean Fournet | — | |
| 17-3 | Violin Concerto in D major, op. 35: III. Finale. Allegro vivacissimo | Ruggiero Ricci, Netherlands Radio Philharmonic Orchestra, Jean Fournet | — | |
| 17-4 | Violin Concerto in E minor, op. 64: I. Allegro molto appassionato | Ruggiero Ricci, Netherlands Radio Philharmonic Orchestra, Jean Fournet | — | |
| 17-5 | Violin Concerto in E minor, op. 64: II. Andante | Ruggiero Ricci, Netherlands Radio Philharmonic Orchestra, Jean Fournet | — | |
| 17-6 | Violin Concerto in E minor, op. 64: III. Allegro non troppo – Allegro molto vivace | Ruggiero Ricci, Netherlands Radio Philharmonic Orchestra, Jean Fournet | — | |
| 18-1 | Psycho: A Narrative for Orchestra | — | ||
| 18-2 | Marnie | — | ||
| 18-3 | North by Northwest | — | ||
| 18-4 | Vertigo: Prelude – The Nightmare – Scène d’amour | — | ||
| 18-5 | The Trouble with Harry: A Portrait of “Hitch” | — | ||
| 19-1 | Journey to the Centre of the Earth: Mountain Top and Sunrise / Prelude / The Grotto / Salt Slides / Atlantis / The Giant Chameleon and the Fight / The Shaft and Finale | — | ||
| 19-2 | The Seventh Voyage of Sinbad: Overture / The Duel With the Skeleton / Baghdad | — | ||
| 19-3 | The Day the Earth Stood Still: Outer Space / Radar / Gort / The Robot / Space Control / Terror / Farewell and Finale | — | ||
| 19-4 | Fahrenheit 451: Prelude / Fire Engine / The Bedroom / Flowers of Fire / The Road and Finale | — | ||
| 20-1 | Carmen : Prèlude | — | ||
| 20-2 | Carmen : « L’amour est un oiseau rebelle » (Habanera) | — | ||
| 20-3 | Carmen : « Près des remparts de Séville » | — | ||
| 20-4 | Carmen : « Les tringles des sistres tintaient » | — | ||
| 20-5 | Carmen : « Nous avons en tête une affaire ! » | — | ||
| 20-6 | Carmen : « Mêlons ! Coupons ! » | — | ||
| 20-7 | Carmen : « C’est toi ! C’est moi ! » | — | ||
| 20-8 | Symphony no. 6 in B minor, op. 74 “Pathétique”: I. Adagio – Allegro non troppo | — | ||
| 20-9 | Symphony no. 6 in B minor, op. 74 “Pathétique”: II. Allegro con grazia | — | ||
| 20-10 | Symphony no. 6 in B minor, op. 74 “Pathétique”: III. Allegro molto vivace | — | ||
| 20-11 | Symphony no. 6 in B minor, op. 74 “Pathétique”: IV. Finale (Adagio lamentoso – Andante) | — | ||
| 21-1 | Symphony no. 6 in F major, op. 68 “Pastoral”: I. Allegro ma non troppo. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande | — | ||
| 21-2 | Symphony no. 6 in F major, op. 68 “Pastoral”: II. Andante molto mosso. Szene am Bach | — | ||
| 21-3 | Symphony no. 6 in F major, op. 68 “Pastoral”: III. Allegro. Lustiges Zusammensein der Landleute | — | ||
| 21-4 | Symphony no. 6 in F major, op. 68 “Pastoral”: IV. Allegro. Gewitter, Sturm | — | ||
| 21-5 | Symphony no. 6 in F major, op. 68 “Pastoral”: V. Allegretto. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm | — | ||
| 21-6 | Till Eulenspiegels lustige Streiche, op. 28 | — | ||
| 22-1 | Tod und Verklärung, op. 24 | — | ||
| 22-2 | Francesca da Rimini, op. 32 | — | ||
| 22-3 | Piano Concerto no. 3 in C major, op. 26: I. Andante | — | ||
| 22-4 | Piano Concerto no. 3 in C major, op. 26: II. Tema con variazione | — | ||
| 22-5 | Piano Concerto no. 3 in C major, op. 26: III. Allegro ma non troppo | — | ||
| 23-1 | Symphony no. 1 in D major “Titan”: I. Langsam. Schleppend | — | ||
| 23-2 | Symphony no. 1 in D major “Titan”: II. Kräftig bewegt, doch nicht zu schnell | — | ||
| 23-3 | Symphony no. 1 in D major “Titan”: III. Feierlich und gemessen, ohne zu schleppen – Sehr einfach und schlicht wie eine Volksweise | — | ||
| 23-4 | Symphony no. 1 in D major “Titan”: IV. Stürmisch bewegt | — | ||
| 23-5 | Tannhäuser: Overture and Venusberg Music | — | ||
| 24-1 | Battle Hymn of the Republic | — | ||
| 24-2 | America the Beautiful | — | ||
| 24-3 | Hoe Down | — | ||
| 24-4 | Beautiful Dreamer | — | ||
| 24-5 | Oklahoma | — | ||
| 24-6 | Mademoiselle From Armentières – When Johnny Comes Marching Home | — | ||
| 24-7 | Camptown Races | — | ||
| 24-8 | Carry Me Back to the Lone Prairie | — | ||
| 24-9 | Blow the Man Down | — | ||
| 24-10 | The Whiffenpoof Song | — | ||
| 24-11 | Ask Not | — | ||
| 25-1 | Carmen Suite no. 1: VI. Les toréadors | New Philharmonia Orchestra, Charles Munch | T-071.519.108-4 | |
| 25-2 | Carmen Suite no. 1: II. Aragonaise | New Philharmonia Orchestra, Charles Munch | T-071.519.108-4 | |
| 25-3 | Carmen Suite no. 1: III. Intermezzo | New Philharmonia Orchestra, Charles Munch | T-900.138.033-2 | |
| 25-4 | Carmen Suite no. 1: V. Les dragons d'Alcala | New Philharmonia Orchestra, Charles Munch | T-071.519.108-4 | |
| 25-5 | Carmen Suite no. 2: II. Habanera | New Philharmonia Orchestra, Charles Munch | T-011.124.733-6 | |
| 25-6 | Carmen Suite no. 2: V. La garde montante | New Philharmonia Orchestra, Charles Munch | T-902.759.521-7 | |
| 25-7 | Carmen Suite no. 2: VI. Danse bohème | New Philharmonia Orchestra, Charles Munch | T-050.122.082-1 | |
| 25-8 | L'Arlésienne Suite no. 1: I. Prélude, Allegro deciso | New Philharmonia Orchestra, Charles Munch | T-900.143.514-9 | |
| 25-9 | L'Arlésienne Suite no. 1: II. Minuet, Allegro giocoso | New Philharmonia Orchestra, Charles Munch | T-010.194.862-2 | |
| 25-10 | L'Arlésienne Suite no. 1: III. Adagietto | New Philharmonia Orchestra, Charles Munch | T-910.448.362-7 | |
| 25-11 | L'Arlésienne Suite no. 1: IV. Carillon, Allegro moderato | New Philharmonia Orchestra, Charles Munch | — | |
| 25-12 | L'Arlésienne Suite no. 2: IV. Farandole | New Philharmonia Orchestra, Charles Munch | T-010.194.866-6 | |
| 26-1 | Gaîté Parisienne, Ballet: I. Ouverture | — | ||
| 26-2 | Gaîté Parisienne, Ballet: II. Allegro brillante | — | ||
| 26-3 | Gaîté Parisienne, Ballet: III. Polka | — | ||
| 26-4 | Gaîté Parisienne, Ballet: IV. Allegro – Valse | — | ||
| 26-5 | Gaîté Parisienne, Ballet: V. Mazurka | — | ||
| 26-6 | Gaîté Parisienne, Ballet: VI. Valse | — | ||
| 26-7 | Gaîté Parisienne, Ballet: VII. Peruvian dance (Allegro) | — | ||
| 26-8 | Gaîté Parisienne, Ballet: VIII. Polka | — | ||
| 26-9 | Gaîté Parisienne, Ballet: IX. Valse lente | — | ||
| 26-10 | Gaîté Parisienne, Ballet: X. Tempo di Marcia | — | ||
| 26-11 | Gaîté Parisienne, Ballet: XI. Valse | — | ||
| 26-12 | Gaîté Parisienne, Ballet: XII. Vivo – Valse | — | ||
| 26-13 | Gaîté Parisienne, Ballet: XIII. Allegro | — | ||
| 26-14 | Gaîté Parisienne, Ballet: XIV. Valse | — | ||
| 26-15 | Gaîté Parisienne, Ballet: XV. Allegro – Cancan | — | ||
| 26-16 | Gaîté Parisienne, Ballet: XVI. Quadrille – Cancan | — | ||
| 26-17 | Gaîté Parisienne, Ballet: XVII. Allegro moderato | — | ||
| 26-18 | Gaîté Parisienne, Ballet: XVIII. Allegro | — | ||
| 26-19 | Gaîté Parisienne, Ballet: XIX. Leggiero | — | ||
| 26-20 | Gaîté Parisienne, Ballet: XX. Vivo | — | ||
| 26-21 | Gaîté Parisienne, Ballet: XXI. Barcarolle | — | ||
| 26-22 | Pini di Roma: I. I pini di Villa Borghese | — | ||
| 26-23 | Pini di Roma: II. Pini presso una catacomba | — | ||
| 26-24 | Pini di Roma: III. I pini del Gianicolo | — | ||
| 26-25 | Pini di Roma: IV. I pini della Via Appia | — | ||
| 26-26 | Fontane di Roma: I. La fontana di Valle Giulia all’alba | — | ||
| 26-27 | Fontane di Roma: II. La fontana di Tritone al mattino | — | ||
| 26-28 | Fontane di Roma: III. La fontana di Trevi al meriggio | — | ||
| 26-29 | Fontane di Roma: IV. La fontana di Villa Medici al tramonto | — | ||
| 27-1 | Llanto gitano | — | ||
| 27-2 | La piedra escrita | — | ||
| 27-3 | Giralda de Sevilla | — | ||
| 27-4 | De badajoz a Madrid | — | ||
| 27-5 | Agua, viento, nieve y frio | — | ||
| 27-6 | Ay mi Romera | — | ||
| 27-7 | El burdon y la prima | — | ||
| 27-8 | Feria de Sevilla | — | ||
| 27-9 | Fiesta de Triana y Jerez | — | ||
| 28-1 | In a Monastery Garden | — | ||
| 28-2 | Wedgwood Blue | — | ||
| 28-3 | In the Mystic Land of Egypt | — | ||
| 28-4 | Bells across the Meadows | — | ||
| 28-5 | In a Chinese Temple Garden | — | ||
| 28-6 | Sanctuary of the Heart | Royal Philharmonic Orchestra, Eric Rogers | — | |
| 28-7 | ’Appy ’Ampstead | — | ||
| 28-8 | Phantom Melody | — | ||
| 28-9 | In a Persian Market | — | ||
| 28-10 | Hejre Kati, op. 22 | — | ||
| 28-11 | Berceuse de Jocelyn | — | ||
| 28-12 | Valse sentimentale, op. 51 no. 6 | — | ||
| 28-13 | Fêtes tziganes | — | ||
| 28-14 | Meditation (Thaïs) | — | ||
| 28-15 | Im chambre séparée | — | ||
| 28-16 | Intermezzo (Garden Scene, Much Ado about Nothing) | — | ||
| 28-17 | None But the Lonely Heart | — | ||
| 28-18 | Csárdás | — | ||
| 29-1 | Ben Hur: I. Fanfare to Prelude | — | ||
| 29-2 | Ben Hur: II. Star of Bethlehem and Adoration of the Magi | — | ||
| 29-3 | Ben Hur: III. Friendship | — | ||
| 29-4 | Ben Hur: IV. The Burning Desert | — | ||
| 29-5 | Ben Hur: V. Arrius’s Party | — | ||
| 29-6 | Ben Hur: VI. Rowing of the Galley Slaves | — | ||
| 29-7 | Ben Hur: VII. Parade of the Charioteers | — | ||
| 29-8 | Ben Hur: VIII. The Mother’s Love | — | ||
| 29-9 | Ben Hur: IX. Return to Judea | — | ||
| 29-10 | Ben Hur: X. Ring for Freedom | — | ||
| 29-11 | Ben Hur: XI. Lepers’ Search for the Christ | — | ||
| 29-12 | Ben Hur: XII. Procession to Calvary | — | ||
| 29-13 | Ben Hur: XIII. Miracle and Finale | — | ||
| 30-1 | Egmont Overture, op. 84 | — | ||
| 30-2 | Symphony no. 9 in D minor, op. 125: I. Allegro ma non troppo, un poco maestoso | — | ||
| 30-3 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | — | ||
| 30-4 | Symphony no. 9 in D minor, op. 125: III. Adagio molto e cantabile | — | ||
| 30-5 | Symphony no. 9 in D minor, op. 125: IV. Presto: “O Freunde, nicht diese Töne” – Andante maestoso – Allegro energico, sempre ben marcato | — | ||
| 31-1 | Symphonie fantastique, op. 14: I. Rêveries. Passions | — | ||
| 31-2 | Symphonie fantastique, op. 14: II. Un bal | — | ||
| 31-3 | Symphonie fantastique, op. 14: III. Scène aux champs | — | ||
| 31-4 | Symphonie fantastique, op. 14: IV. Marche au supplice | — | ||
| 31-5 | Symphonie fantastique, op. 14: V. Songe d’une nuit du Sabbat | — | ||
| 31-6 | La damnation de Faust, op. 24: Ballet of the Sylphs | — | ||
| 31-7 | Fanfare pour “L’eventail de Jeanne” | — | ||
| 31-8 | Daphnis et Chloé, Suite no. 2: I. Lever du jour | — | ||
| 31-9 | Daphnis et Chloé, Suite no. 2: II. Pantomime | — | ||
| 31-10 | Daphnis et Chloé, Suite no. 2: III. Danse générale | — | ||
| 32-1 | Pictures at an Exhibition: I. Promenade – Gnome | — | ||
| 32-2 | Pictures at an Exhibition: II. Promenade – The Old Castle | — | ||
| 32-3 | Pictures at an Exhibition: III. Bydlo | — | ||
| 32-4 | Pictures at an Exhibition: IV. Promenade – Ballet of the Unhatched Chicks | — | ||
| 32-5 | Pictures at an Exhibition: V. Samuel Goldenberg and Schmuyle | — | ||
| 32-6 | Pictures at an Exhibition: VI. Catacombs | — | ||
| 32-7 | Pictures at an Exhibition: VII. The Hut on Fowl’s Legs | — | ||
| 32-8 | Pictures at an Exhibition: VIII. The Great Gate of Kiev | — | ||
| 32-9 | Boris Godunov | — | ||
| 32-10 | Night on the Bare Mountain | — | ||
| 32-11 | Ouverture solennelle “1812”, op. 49 | — | ||
| 33-1 | Scheherazade, op. 35: I. The Sea and Sinbad’s Ship | — | ||
| 33-2 | Scheherazade, op. 35: II. The Story of the Calender Prince | — | ||
| 33-3 | Scheherazade — The Young Prince and the Young Princess | Erich Gruenberg, London Symphony Orchestra, Leopold Stokowski | — | |
| 33-4 | Scheherazade, op. 35: IV. Festival at Bagdad – The Sea – The Shipwreck – Conclusion | — | ||
| 33-5 | Capriccio espagnol, op. 34: I. Alborada | — | ||
| 33-6 | Capriccio espagnol, op. 34: II. Variazioni | — | ||
| 33-7 | Capriccio espagnol, op. 34: III. Alborada | — | ||
| 33-8 | Capriccio espagnol, op. 34: IV. Scena e canto gitano | — | ||
| 33-9 | Capriccio espagnol, op. 34: V. Fandango asturiano | — | ||
| 33-10 | Polovtsian Dances | — | ||
| 34-1 | Symphony no. 5 in E minor, op. 64: I. Andante – Allegro con anima | — | ||
| 34-2 | Symphony no. 5 in E minor, op. 64: II. Andante cantabile, con alcuna licenza | — | ||
| 34-3 | Symphony no. 5 in E minor, op. 64: III. Valse. Allegro moderato | — | ||
| 34-4 | Symphony no. 5 in E minor, op. 64: IV. Finale. Andante maestoso – Allegro vivace | — | ||
| 34-5 | Violin Concerto in A minor, op. 82: I. Moderato – II. Andante | — | ||
| 34-6 | Violin Concerto in A minor, op. 82: III. Allegro | — | ||
| 35-1 | Swan Lake, op. 20: Introduction. Moderato assai | — | ||
| 35-2 | Swan Lake, op. 20: Act I. No. 2 Valse (Tempo di valse) | — | ||
| 35-3 | Swan Lake, op. 20: Act I. No. 4 Pas de trois. Variation III | — | ||
| 35-4 | Swan Lake, op. 20: Act I. No. 5 Pas de deux | — | ||
| 35-5 | Swan Lake, op. 20: Act II. No. 10 Scène (Moderato) | — | ||
| 35-6 | Swan Lake, op. 20: Act II. No. 11 Scène (Allegro moderato) | — | ||
| 35-7 | Swan Lake, op. 20: Act III. No. 21 Danse espagnole | — | ||
| 35-8 | Swan Lake, op. 20: Act IV. No. 27 Danse des petits cygnes | — | ||
| 35-9 | Swan Lake, op. 20: Act IV. No. 29 Scène finale (Andante) | — | ||
| 35-10 | The Sleeping Beauty, op. 66: Introduction | — | ||
| 35-11 | The Sleeping Beauty, op. 66: Prologue. no. 3 Variation IV Canari qui chante | — | ||
| 35-12 | The Sleeping Beauty, op. 66: Prologue. no. 6 Valse | — | ||
| 35-13 | The Sleeping Beauty, op. 66: Act I. No. 8 Pas d’action | — | ||
| 35-14 | The Sleeping Beauty, op. 66: Act III. No. 22 Polacca | — | ||
| 35-15 | The Sleeping Beauty, op. 66: Act III. No. 23 Pas de quatre Intrada (Allegro non tanto) | — | ||
| 35-16 | The Sleeping Beauty, op. 66: Act III. No. 25 Pas de quatre (Adagio) | — | ||
| 35-17 | The Sleeping Beauty, op. 66: Act III. No. 28 Pas de deux Adagio | — | ||
| 35-18 | The Sleeping Beauty, op. 66: No. 30 Finale. Apothéose | — | ||
| 35-19 | Romeo and Juliet. Fantasy Overture after Shakespeare | — | ||
| 35-20 | Marche slave, op. 31 | — | ||
| 36-1 | Concerto no. 1 for Violin and Strings in E major, RV 269 “La primavera”: I. Allegro | — | ||
| 36-2 | Concerto no. 1 for Violin and Strings in E major, RV 269 “La primavera”: II. Largo | — | ||
| 36-3 | Concerto no. 1 for Violin and Strings in E major, RV 269 “La primavera”: III. Danza pastorale. Allegro | — | ||
| 36-4 | Concerto no. 2 for Violin and Strings in G minor, RV 315 “L’estate”: I. Allegro non molto – Allegro | — | ||
| 36-5 | Concerto no. 2 for Violin and Strings in G minor, RV 315 “L’estate”: II. Adagio – Presto – Adagio | — | ||
| 36-6 | Concerto no. 2 for Violin and Strings in G minor, RV 315 “L’estate”: III. Presto (Tempo impetuoso d’estate) | — | ||
| 36-7 | Concerto no. 3 for Violin and Strings in F major, RV 293 “L’autunno”: I. Ballo, e canto de’ villanelli. Allegro | — | ||
| 36-8 | Concerto no. 3 for Violin and Strings in F major, RV 293 “L’autunno”: II. Ubriachi dormienti. Adagio molto | — | ||
| 36-9 | Concerto no. 3 for Violin and Strings in F major, RV 293 “L’autunno”: III. La caccia. Allegro | — | ||
| 36-10 | Concerto no. 4 for Violin and Strings in F minor, RV 297 “L’inverno”: I. Allegro non molto | — | ||
| 36-11 | Concerto no. 4 for Violin and Strings in F minor, RV 297 “L’inverno”: II. Largo | — | ||
| 36-12 | Concerto no. 4 for Violin and Strings in F minor, RV 297 “L’inverno”: III. Allegro | — | ||
| 37-1 | Die Walküre: The Ride of the Valkyries | — | ||
| 37-2 | Götterdämmerung: Dawn and Siegfried’s Rhine Journey | — | ||
| 37-3 | Götterdämmerung: Siegfried’s Death and Funeral Music | — | ||
| 37-4 | Das Rheingold: Entrance of the Gods into Valhalla | — | ||
| 37-5 | Siegfried: Forest Murmurs | — | ||
| 37-6 | Die Meistersinger von Nürnberg: Prelude to Act 1 | — | ||
| 38-1 | Toccata & Fugue in D minor, BWV 565 | — | ||
| 38-2 | Prelude in E flat minor, BWV 853 | — | ||
| 38-3 | Mein Jesu, was für Seelenweh, BWV 487 | — | ||
| 38-4 | Wir glauben all’ an einen Gott, BWV 680 | — | ||
| 38-5 | Chorale “Jesus Christus, Gottes Sohn”, BWV 4 | — | ||
| 38-6 | Passacaglia and Fugue in C minor, BWV 582 | — | ||
| 38-7 | Pavan “The Earl of Salisbury” and Galliard | — | ||
| 38-8 | Trumpet voluntary | — | ||
| 38-9 | Moments Musical no. 3 in F minor, D780 | — | ||
| 38-10 | Mazurka in A minor, op. 17 no. 4 | — | ||
| 38-11 | Chant sans paroles, op. 40: no. 6 | — | ||
| 38-12 | Extase | London Symphony Orchestra, Leopold Stokowski | — | |
| 38-13 | Prelude in C sharp minor, op. 3: no. 2 | — | ||
| 39-1 | Yellow River Concerto: I. Prelude. The song of the Yellow River Boatmen | — | ||
| 39-2 | Yellow River Concerto: II. Ode to the Yellow River | — | ||
| 39-3 | Yellow River Concerto: III. The Yellow River in Wrath | — | ||
| 39-4 | Yellow River Concerto: IV. Defend the Yellow River | — | ||
| 39-5 | Concerto for Piano no. 21 in C major, K. 467: I. Allegro | Ilana Vered, Royal Philharmonic Orchestra, Lawrence Foster | — | |
| 39-6 | Piano Concerto 21 in C major: 2nd mvt Andante (Elvira Madigan) | Ilana Vered, Royal Philharmonic Orchestra, Lawrence Foster | T-010.194.871-3 | |
| 39-7 | Concerto for Piano no. 21 in C major, K. 467: III. Allegro vivace assai | Ilana Vered, Royal Philharmonic Orchestra, Lawrence Foster | — | |
| 40-1 | Piano Sonata no. 21 in C major, op. 53 “Waldstein”: I. Allegro con brio | — | ||
| 40-2 | Piano Sonata no. 21 in C major, op. 53 “Waldstein”: II. Introduzione. Adagio molto | — | ||
| 40-3 | Piano Sonata no. 21 in C major, op. 53 “Waldstein”: III. Rondo. Allegretto moderato - Prestissimo | — | ||
| 40-4 | Fantasy in C major, “Wanderer” D760: I. Allegro con fuoco ma non troppo | — | ||
| 40-5 | Fantasy in C major, “Wanderer” D760: II. Adagio | — | ||
| 40-6 | Fantasy in C major, “Wanderer” D760: III. Presto | — | ||
| 40-7 | Fantasy in C major, “Wanderer” D760: IV. Allegro | — | ||
| 40-8 | Three Movements from Petrouchka: I. Danse russe. Allegro giusto | — | ||
| 40-9 | Three Movements from Petrouchka: II. Chez Petrouchka | — | ||
| 40-10 | Three Movements from Petrouchka: III. La semaine grasse. Con moto - Allegretto - Tempo giusto - Agitato | — | ||
| 41-1 | American Revolutionary War 1775-1783: March of the British Grenadiers / Yankee Doodle | — | ||
| 41-2 | Napoleonic-Russian War 1812: La Marseillaise / Russian Anthem | — | ||
| 41-3 | American Civil War 1861-1865: Dixie / Battle Hymn of the Republic | — | ||
| 41-4 | Crimean War 1853-1856: Marche slave / Scotland the Brave / Rule Britannia | — | ||
| 41-5 | World War I 1914-1918: Deutschland über alles / Meadowland / Marcia reale / It’s a Long Way to Tipperary / Auprès de ma blonde / National Emblem March | — | ||
| 41-6 | Battle of Britain 1940: Horst Wessel Song / Land of Hope and Glory | — |
