UPC · Release
Johann Sebastian Bach
Last verified:
028947910435 is the Universal Product Code (UPC barcode) for the release “Masterworks: The Original Jackets Collection” by Johann Sebastian Bach, released 2013-01-01 on Deutsche Grammophon. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 934 tracks, each with its own ISRC. Tracks include DEF056930100, DEF056701091, DEF056701092.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Cantata, BWV 21 "Ich hatte viel Bekümmernis": I. Sinfonia | Münchener Bach-Orchester, Karl Richter | — | |
| 2 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 1: 2. "Ich hatte viel Bekümmernis" | — | ||
| 3 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 1: 3. "Seufzer, Tränen, Kummer, Not" | — | ||
| 4 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 1: 4. "Wie hast du dich, mein Gott" | — | ||
| 5 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 1: 5. "Bäche von gesalznen Zähren" | — | ||
| 6 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 1: 6. "Was betrübst du dich, meine Seele" | — | ||
| 7 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 2: 7. "Ach Jesu, meine Ruh, mein Licht" | — | ||
| 8 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 2: 8. "Komm, mein Jesu, und erquicke" | — | ||
| 9 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 2: 9. "Sei nun wieder zufrieden" | — | ||
| 10 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 2: 10. "Erfreue dich, Seele" | — | ||
| 11 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 2: 11. "Das Lamm, das erwürget ist" | — | ||
| 12 | Ein ungefärbt Gemüte, Cantata BWV 24: 1. "Ein ungefärbt Gemüte" | — | ||
| 13 | Ein ungefärbt Gemüte, Cantata BWV 24: 2. "Die Redlichkeit ist eine von den Gottesgaben" | — | ||
| 14 | Ein ungefärbt Gemüte, Cantata BWV 24: 3. "Alles nun, das ihr wollet" | — | ||
| 15 | Ein ungefärbt Gemüte, Cantata BWV 24: 4. "Die Heuchelei ist eine Brut" | — | ||
| 16 | Ein ungefärbt Gemüte, Cantata BWV 24: 5. "Treu und Wahrheit sei der Grund" | — | ||
| 17 | Ein ungefärbt Gemüte, Cantata BWV 24: 6. "O Gott, du frommer Gott" | — | ||
| 18 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": I. Coro e Concerto "Sie werden aus Saba alle kommen" | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 19 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": II. Chorale "Die Kön'ge aus Saba kamen dar" | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 20 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": III. Recitativo (Basso) "Was dort Jesaias vorhergesehn" | Theo Adam, Münchener Bach-Orchester, Karl Richter | — | |
| 21 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": IV. Aria (Basso) "Gold aus Ophir ist zu schlecht" | Theo Adam, Münchener Bach-Orchester, Karl Richter | — | |
| 22 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": V. Recitativo (Tenore) "Verschmähe nicht, Du, meiner Seele Licht" | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 23 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": VI. Aria (Tenore) "Nimm mich dir zu eigen hin" | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 24 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": VII. Chorale "Ei nun, mein Gott, so fall ich dir" | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 2-1 | Nun komm, der Heiden Heiland, Cantata BWV 61: 1. "Nun komm, der Heiden Heiland" (Choir) | — | ||
| 2-2 | Nun komm, der Heiden Heiland, Cantata BWV 61: 2. "Der Heiland ist gekommen" | — | ||
| 2-3 | Nun komm, der Heiden Heiland, Cantata BWV 61: 3. "Komm, Jesu, komm zu deiner Kirche" | — | ||
| 2-4 | Nun komm, der Heiden Heiland, Cantata BWV 61: 4. "Siehe, ich stehe vor der Tür" | — | ||
| 2-5 | Nun komm, der Heiden Heiland, Cantata BWV 61: 5. "Öffne dich, mein ganzes Herz" | — | ||
| 2-6 | Nun komm, der Heiden Heiland, Cantata BWV 61: 6. "Amen" | — | ||
| 2-7 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 1: 1. "Schwingt freudig euch empor" | — | ||
| 2-8 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 1: 2. "Nun komm, der Heiden Heiland" | — | ||
| 2-9 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 1: 3. "Die Liebe zieht mit sanften Schritten" | — | ||
| 2-10 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 1: 4. "Zwingt die Saiten" | — | ||
| 2-11 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 2: 5. "Willkommen, werter Schatz" | — | ||
| 2-12 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 2: 6. "Der du bist dem Vater gleich" | — | ||
| 2-13 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 2: 7. "Auch mit gedämpften, schwachen Stimmen" | — | ||
| 2-14 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 2: 8. "Lob sei Gott, dem Vater" | — | ||
| 2-15 | Nun komm, der Heiden Heiland II, BWV 62: No. 1 Chorus: »Nun komm, der Heiden Heiland« | The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner | — | |
| 2-16 | "Nun komm, der Heiden Heiland", BWV 62: 2. Aria "Bewundert, o Menschen" (Tenor) | — | ||
| 2-17 | "Nun komm, der Heiden Heiland", BWV 62: 3. Recitative "So geht aus Gottes Herrlichkeit" (Baritone) | — | ||
| 2-18 | "Nun komm, der Heiden Heiland", BWV 62: 4. Aria "Streite, siege, starker Held" (Baritone) | — | ||
| 2-19 | "Nun komm, der Heiden Heiland", BWV 62: 5. Recitative "Wir ehren diese Herrlichkeit" (Soprano, Mezzo-Soprano) | — | ||
| 2-20 | "Nun komm, der Heiden Heiland", BWV 62: 6. Chorale "Lob sei Gott, dem Vater" (Choir) | — | ||
| 3-1 | Ich will den Kreuzstab gerne tragen, Cantata BWV 56: 1. "Ich will den Kreuzstab gerne tragen" | — | ||
| 3-2 | Ich will den Kreuzstab gerne tragen, Cantata BWV 56: 2. "Mein Wandel auf der Welt" | — | ||
| 3-3 | Ich will den Kreuzstab gerne tragen, Cantata BWV 56: 3. "Endlich, endlich wird mein Joch" | — | ||
| 3-4 | Ich will den Kreuzstab gerne tragen, Cantata BWV 56: 4. "Ich stehe fertig und bereit" | — | ||
| 3-5 | Ich will den Kreuzstab gerne tragen, Cantata BWV 56: 5. "Komm, o Tod, du Schlafes Bruder" | — | ||
| 3-6 | Der Friede sei mit dir, Cantata BWV 158: 1. "Der Friede sei mit dir" | — | ||
| 3-7 | Der Friede sei mit dir, Cantata BWV 158: 2. "Welt, ade, ich bin dein müde" | — | ||
| 3-8 | Der Friede sei mit dir, Cantata BWV 158: 3. "Nun, Herr, regiere meinen Sinn" | — | ||
| 3-9 | Der Friede sei mit dir, Cantata BWV 158: 4. "Hier ist das rechte Osterlamm" | — | ||
| 3-10 | Ich habe genug, Cantata BWV 82: 1. "Ich habe genug, ich habe den Heiland" | — | ||
| 3-11 | Ich habe genug, Cantata BWV 82: 2. "Ich habe genug! Mein Trost ist nur allein" | — | ||
| 3-12 | Ich habe genug, Cantata BWV 82: 3. "Schlummert ein, ihr matten Augen" | — | ||
| 3-13 | Ich habe genug, Cantata BWV 82: 4. "Mein Gott! wann kommt das schöne Nun!" | — | ||
| 3-14 | Ich habe genug, Cantata BWV 82: 5. "Ich freue mich auf meinen Tod" | — | ||
| 4-1 | Ein feste Burg ist unser Gott Kantate BWV 80: Ein feste Burg ist unser Gott | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 4-2 | Ein feste Burg ist unser Gott, Cantata BWV 80: 2. "Alles was von Gott geboren" | — | ||
| 4-3 | Ein feste Burg ist unser Gott, Cantata BWV 80: 3. "Erwäge doch, Kind Gottes" | — | ||
| 4-4 | Ein feste Burg ist unser Gott, Cantata BWV 80: 4. "Komm in mein Herzens Haus" | — | ||
| 4-5 | Ein feste Burg ist unser Gott Kantate BWV 80: Ein feste Burg ist unser Gott | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 4-6 | Ein feste Burg ist unser Gott, Cantata BWV 80: 6. "So stehe denn bei Christi blutgefärbter Fahne" | — | ||
| 4-7 | Ein feste Burg ist unser Gott, Cantata BWV 80: 7. "Wie selig sind doch, die Gott im Munde tragen" | — | ||
| 4-8 | Ein feste Burg ist unser Gott Kantate BWV 80: Ein feste Burg ist unser Gott | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 4-9 | Ach wie flüchtig, ach wie nichtig, Cantata BWV 26: 1. "Ach wie flüchtig, ach wie nichtig" | — | ||
| 4-10 | Ach wie flüchtig, ach wie nichtig, Cantata BWV 26: 2. "So schnell ein rauschend Wasser schießt" | — | ||
| 4-11 | Ach wie flüchtig, ach wie nichtig, Cantata BWV 26: 3. "Die Freude wird zu Traurigkeit" | — | ||
| 4-12 | Ach wie flüchtig, ach wie nichtig, Cantata BWV 26: 4. "An irdische Schätze das Herze zu hängen" | — | ||
| 4-13 | Ach wie flüchtig, ach wie nichtig, Cantata BWV 26: 5. "Die höchste Herrlichkeit und Pracht" | — | ||
| 4-14 | Ach wie flüchtig, ach wie nichtig, Cantata BWV 26: 6. "Ach wie flüchtig, ach wie nichtig" | — | ||
| 4-15 | Du Friedefürst, Herr Jesu Christ, Cantata BWV 116: 1. "Du Friedefürst, Herr Jesu Christ" | — | ||
| 4-16 | Du Friedefürst, Herr Jesu Christ, Cantata BWV 116: 2. "Ach, unaussprechlich ist die Not" | — | ||
| 4-17 | Du Friedefürst, Herr Jesu Christ, Cantata BWV 116: 3. "Gedenke doch, o Jesu" | — | ||
| 4-18 | Du Friedefürst, Herr Jesu Christ, Cantata BWV 116: 4. "Ach, wir bekennen unsre Schuld" | — | ||
| 4-19 | Du Friedefürst, Herr Jesu Christ, Cantata BWV 116: 5. "Ach, lass uns durch die scharfen Ruten" | — | ||
| 4-20 | Du Friedefürst, Herr Jesu Christ, Cantata BWV 116: 6. "Erleuchtet auch unser Sinn und Herz" | — | ||
| 5-1 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-2 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-3 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-4 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-5 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-6 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-7 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-8 | 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 | |
| 6-1 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 1. Recit: O holder Tag, erwünschte Zeit | — | ||
| 6-2 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 2. Aria: Spielet, ihr beseelten Lieder | — | ||
| 6-3 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 3. Recit: Doch haltet ein, ihr muntern Saiten | — | ||
| 6-4 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 4. Aria: Ruhet hie, matte Töne | — | ||
| 6-5 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 5. Recit: So glaubt man denn, daß die Musik verführe | — | ||
| 6-6 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 6. Aria: Schweigt, ihr Flöten, schweigt ihr Töne | — | ||
| 6-7 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 7. Recit: Was Luft? was Grab? | — | ||
| 6-8 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 8. Aria: Großer Gönner, dein Vergnügen | — | ||
| 6-9 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 9. Recit: Hochteurer Mann, so fahre ferner fort | — | ||
| 6-10 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 10. Aria: Seid beglückt | — | ||
| 6-11 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 1. Adagio: Weichet nur, betrübte Schatten | — | ||
| 6-12 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 2. Recit: Die Welt wird wieder neu | — | ||
| 6-13 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 3. Aria: Phöbus eilt mit schnellen Pferden | — | ||
| 6-14 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 4. Recit: D'rum sucht auch Amor sein Vergnügen | — | ||
| 6-15 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 5. Aria: Wenn die Frühlingslüfte streichen | — | ||
| 6-16 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 6. Recit: Und dieses ist das Glücke | — | ||
| 6-17 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 7. Aria: Sich üben im Lieben | — | ||
| 6-18 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 8. Recit: So sei das Band der keuschen Liebe | — | ||
| 6-19 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 9. Gavotte: Sehet in Zufriedenheit | — | ||
| 6-20 | Jauchzet Gott in allen Landen, Cantata BWV 51: 1. "Jauchzet Gott in allen Landen" | — | ||
| 6-21 | Jauchzet Gott in allen Landen, Cantata BWV 51: 2. "Wir beten zu dem Tempel an" | — | ||
| 6-22 | Jauchzet Gott in allen Landen, Cantata BWV 51: 3. "Höchster, Höchster mache deine Güte ferner alle Morgen neu" | — | ||
| 6-23 | Jauchzet Gott in allen Landen, Cantata BWV 51: 4. "Sei Lob und Preis mit Ehren" | — | ||
| 6-24 | Jauchzet Gott in allen Landen, Cantata BWV 51: 5. "Alleluja" | — | ||
| 7-1 | "Schweigt stille, plaudert nicht" Cantata, BWV 211 - "Coffee Cantata": 1-3. Schweigt stille, plaudert nicht...Hat man nicht mit seinen Kindern...Du böses Kind | — | ||
| 7-2 | Cantata BWV 211 "Schweigt stille, plaudert nicht": II. Arie: "Ei! wie schmeckt der Coffee süße" | Emma Kirkby, David Thomas, Academy of Ancient Music, Christopher Hogwood | — | |
| 7-3 | "Schweigt stille, plaudert nicht" Cantata, BWV 211 - "Coffee Cantata": 6-7. Mädchen, die von harten Sinnen...Nun folge, was dein Vater spricht | — | ||
| 7-4 | "Schweigt stille, plaudert nicht" Cantata, BWV 211 - "Coffee Cantata": 8-9. Heute noch, lieber Vater...Nun geht und sucht der alte Schlendrian | — | ||
| 7-5 | "Schweigt stille, plaudert nicht" Cantata, BWV 211 - "Coffee Cantata": 10. Chor (Terzett): Die Katze Läßt das Mausen nicht | — | ||
| 7-6 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 1. Ouverture | — | ||
| 7-7 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 2-3. Mehr hahn en neue Oberkeet...Nu, Mieke, gib dein Guschel immer her | — | ||
| 7-8 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 4-5. Ach es schmeckt doch gar zu gut...Der Herr is gut: Allein der Schösser | — | ||
| 7-9 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 6-7. Ach, Herr Schösser...Es bleibt dabei, daß unser Herr beste sei | — | ||
| 7-10 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 8-9. Unser trefflicher, lieber Kammerherr...Er hilft uns allen, alt und jung | — | ||
| 7-11 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 10-11. Das ist galant, es sprich niemand...Und unsre gnädige frau | — | ||
| 7-12 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 12-13. Fünfzig Taler bares Geld...Im Ernst ein Wort | — | ||
| 7-13 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 14-15. Klein-Zsocher müsse so zart und süße...Das ist zu klug vor dich | — | ||
| 7-14 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 16-17. Es nehme zehntausend Dukaten...Das klingt zu liederlich | — | ||
| 7-15 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 18-19. Gib, Schöne, viel Söhne..Du hast wohl recht | — | ||
| 7-16 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 20-21. Dein Wachstum sei feste...Und damit sei es auch genug | — | ||
| 7-17 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 22-23. Und daß ihr's alle wißt...Mein Schatz, erraten! | — | ||
| 7-18 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 24. Chor (Duetto): Wir gehn nun, wo der Dudelsack | — | ||
| 8-1 | Kantate No. 197 "Gott ist unser Zuversicht", BWV 197, No. 8: Vergnügen und Lust, Gedeihen und Heil | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-2 | Kantate No. 58 "Ach Gott, wie manches Herzeleid", BWV 58, No. 3: Ich bin vergnügt in meinem Leiden | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-3 | Kantate No. 204 "Ich bin in mir vergnügt", BWV 204, No. 4: Die Schätzbarkeit der weiten Erden | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-4 | Kanatate No. 97 "In allen meinen Taten", BWV 97, No. 4: Ich traue seiner Gnaden | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-5 | Kantate No. 115 "Mache dich, mein Geist, bereit", BWV 115, No. 4: Bete aber auch dabei | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-6 | Kantate No. 171 "Gott, wie dein Name, so ist auch dein Ruhm", BWV 171, No. 4: Jesus soll mein erstes Wort | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-7 | Messe h-moll, BWV 232 No. 23: Benedictus, Qui Venit In Nomine Domini | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | T-050.283.177-7 | |
| 8-8 | Messe h-moll, BWV 232, No. 5: Laudamus Te | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | T-003.010.019-6 | |
| 8-9 | Cantata No.202 "Weichet Nur, Betrübte Schatten" (Wedding Cantata), BWV 202 5. Aria: Wenn Die Frühlingslüfte Streichen | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-10 | Kantate No. 36 "Schwingt freudig euch empor", BWV 36, No. 7: Auch mit Gedämpften, schwachen Stimmen | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-11 | Kantate No. 187 "Es wartet alles auf dich, dass du ihnen Speise", BWV 187, No. 5: Gott versorget alles Leben | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-12 | Kantate No. 84 "Ich bin vergnügt mit meinem Glücke, das mir der liebe Gott beschert", BWV 84, No. 3: Ich esse mit Freuden mein weniges Brot | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-13 | Kantate No. 105 "Herr, gehe nicht ins Gericht mit deinem Knecht", BWV 105, No. 5: Kann ich nur Jesu mir zum Freunde machen | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 9-1 | Mass in B minor: I. Chor: Kyrie eleison | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-070.093.418-4 | |
| 9-2 | Mass in B minor: II Duett: Christe eleison | Maria Stader, Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 9-3 | Mass in B minor: III. Chor: Kyrie eleison | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-070.093.418-4 | |
| 9-4 | Mass in B minor: IV. Chor: Gloria in excelsis Deo | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-306.483.198-3 | |
| 9-5 | Mass in B minor: V. Chor: Et in terra pax | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-6 | Mass in B minor: VI. Arie: Laudamus te | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-070.912.952-1 | |
| 9-7 | Mass in B minor: VII. Chor: Gratias agimus tibi | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-921.408.876-3 | |
| 9-8 | Mass in B minor: VIII. Duett: Domine Deus | Maria Stader, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | T-003.010.019-6 | |
| 9-9 | Mass in B minor: IX. Chor: Qui tollis peccata mundi | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-10 | Mass in B minor: X. Arie: Qui sedes ad dextram Patris | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 9-11 | Mass in B minor: XI. Arie: Quoniam tu solus sanctus | Kieth Engen, Münchener Bach-Orchester, Karl Richter | — | |
| 9-12 | Mass in B minor: XII. Chor: Cum Sancto Spiritu | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-13 | Mass in B Minor: XIII. Chor: Credo in unum Deum | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-14 | Mass in B Minor: XIV. Chor: Credo in unum Deum / Patrem omnipotentem | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-15 | Mass in B Minor: XV. Duett / Et in unum Dominum | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-900.147.322-9 | |
| 9-16 | Mass in B Minor: XVI. Chor: Et incarnatus est | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-306.483.194-9 | |
| 10-1 | Mass in B Minor: XVII. Chor: Crucifixus | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-903.357.002-4 | |
| 10-2 | Mass in B Minor: XVIII. Chor: Et resurrexit | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-3 | Mass in B Minor: XIX. Arie: Et in Spiritum sanctum | Dietrich Fischer-Dieskau, Münchener Bach-Orchester, Karl Richter | T-915.866.114-4 | |
| 10-4 | Mass in B Minor: XX. Chor: Confiteor unum baptisma | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-5 | Mass in B Minor: XXI. Chor: Et expecto resurrectionem | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-6 | Mass in B Minor: XXII. Chor: Sanctus | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-922.001.293-1 | |
| 10-7 | Mass in B Minor: XXIII. Chor: Osanna in excelsis | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-8 | Mass in B Minor: XXIV. Arie: Benedictus, qui venit | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | T-050.283.177-7 | |
| 10-9 | Mass in B Minor: XXV. Chor: Osanna in excelsis (2) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-10 | Mass in B Minor: XXVI. Arie: Agnus Dei | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-302.516.155-7 | |
| 10-11 | Mass in B Minor: XXVII. Chor: Dona nobis pacem | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-050.051.776-9 | |
| 10-12 | Magnificat in D major, BWV 243: Chorus: "Magnificat" | Münchener Bach-Orchester, Karl Richter, Münchener Bach-Chor | — | |
| 10-13 | Magnificat, BWV 243: II. Arie (Alt) "Et exsultavit spiritus meus" | Münchener Bach-Orchester, Karl Richter | — | |
| 10-14 | Magnificat in D major, BWV 243: Quia respexit...Omnes generationes | — | ||
| 10-15 | Magnificat in D major, BWV 243: Aria: "Quia fecit mihi magna" | — | ||
| 10-16 | Magnificat in D major, BWV 243: Aria (Duet): "Et misericordia" | — | ||
| 10-17 | Magnificat in D major, BWV 243: Chorus: "Fecit potentiam" | — | ||
| 10-18 | Magnificat, BWV 243: VIII. Arie (Tenor) "Deposuit potentes" | Münchener Bach-Orchester, Karl Richter | — | |
| 10-19 | Magnificat in D major, BWV 243: Aria: "Esurientes implevit bonis" | — | ||
| 10-20 | Magnificat in D major, BWV 243: Chorus: Suscepit Israel | — | ||
| 10-21 | Magnificat in D major, BWV 243: Chorus: "Sicut locutus est" | — | ||
| 10-22 | Magnificat, BWV 243: XII. Chor "Gloria Patri" | Münchener Bach-Orchester, Karl Richter | — | |
| 11-1 | Johannes-Passion, BWV 245: Erster Teil: 1. Chor: Herr, Unser Herrscher, Dessen Ruhm | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-2 | Johannes-Passion, BWV 245: Pt. 1: 2. "Jesus ging mit seinen Juengern ...Jesum von Nazareth...Jesus spricht zu ihnen...Jesum von Nazareth...Jesus antwortete" | — | ||
| 11-3 | Johannes-Passion, BWV 245: Erster Teil: 3. Choral: O Große Lieb | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-4 | Johannes-Passion, BWV 245: Pt. 1: 4. "Auf daß das Wort erfüllet würde" | — | ||
| 11-5 | Johannes-Passion, BWV 245: Pt. 1: 5. "Dein Will gescheh, Herr Gott zugleich" | — | ||
| 11-6 | Johannes-Passion, BWV 245: Pt. 1: 6. "Die Schar aber und der Oberhauptmann" | — | ||
| 11-7 | 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 | — | |
| 11-8 | Johannes-Passion, BWV 245: Pt. 1: 8. "Simon Petrus aber folgete Jesu nach" | — | ||
| 11-9 | Johannes-Passion, BWV 245: Pt. 1: 9. "Ich folge dir gleichfalls mit freudigen Schritten" | — | ||
| 11-10 | Johannes-Passion, BWV 245: Pt. 1: 10. "Derselbige Jünger war dem Hohenpriester bekannt" | — | ||
| 11-11 | Johannes-Passion, BWV 245: Erster Teil: 11. Choral: Wer Hat Dich So Geschlagen | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-12 | Johannes-Passion, BWV 245: Pt. 1: 12. "Und Hannas sandte ihn gebunden" | — | ||
| 11-13 | 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 | — | |
| 11-14 | Johannes-Passion, BWV 245: Pt. 1: 14. "Petrus, der nicht denkt zurück" | — | ||
| 11-15 | Johannes-Passion, BWV 245: Zweiter Teil: 15. Choral: Christus, Der Uns Selig Macht | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-16 | Johannes-Passion, BWV 245: Pt. 2: 16. "Da führeten sie Jesum" | — | ||
| 11-17 | Johannes-Passion, BWV 245: Zweiter Teil: 17. Choral: Ach Grosser König, Gross Zu Allen Zeiten | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-18 | Johannes-Passion, BWV 245: Pt. 2: 18. "Da sprach Pilatus zu ihnen" | — | ||
| 11-19 | 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 | |
| 11-20 | 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 | — | |
| 12-1 | Johannes-Passion, BWV 245: Pt. 2: 21. "Und die Kriegsknechte flochten" | — | ||
| 12-2 | Johannes-Passion, BWV 245: Zweiter Teil: 22. Choral: Durch Dein Gefängnis, Gottes Sohn | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 12-3 | Johannes-Passion, BWV 245: Pt. 2: 23. "Die Juden aber schrieen und sprachen" | — | ||
| 12-4 | 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 | |
| 12-5 | Johannes-Passion, BWV 245: Pt. 2: 25. "Allda kreuzigten sie ihn" | — | ||
| 12-6 | Johannes-Passion, BWV 245: Zweiter Teil: 26. Choral: In Meines Herzens Grunde | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 12-7 | Johannes-Passion, BWV 245: Pt. 2: 27. "Die Kriegsknechte aber" | — | ||
| 12-8 | Johannes-Passion, BWV 245: Pt. 2: 28. "Er nahm alles wohl in acht" | — | ||
| 12-9 | Johannes-Passion, BWV 245: Pt. 2: 29. "Und von Stund' an nahm sie der Jünger" | — | ||
| 12-10 | 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 | |
| 12-11 | Johannes-Passion, BWV 245: Pt. 2: 31. "Und neigte das Haupt und verschied" | — | ||
| 12-12 | 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 | — | |
| 12-13 | Johannes-Passion, BWV 245: Pt. 2: 33. "Und siehe da, der Vorhang im Tempel zerriß" | — | ||
| 12-14 | Johannes-Passion, BWV 245: Zweiter Teil: 34. Arioso (Tenor I): Mein Herz, Indem Die Ganze Welt | Neill Archer, English Baroque Soloists, John Eliot Gardiner | — | |
| 12-15 | Johannes-Passion, BWV 245: Zweiter Teil: 35. Arie (Sopran): Zerfliesse, Mein Herze | Nancy Argenta, Lisa Beznosiuk, Richard Earle, English Baroque Soloists, John Eliot Gardiner | — | |
| 12-16 | Johannes-Passion, BWV 245: Pt. 2: 36. "Die Juden aber, dieweil es der Rüsttag war" | — | ||
| 12-17 | Johannes-Passion, BWV 245: Zweiter Teil: 37. Choral: O Hilf, Christe, Gottes Sohn | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 12-18 | Johannes-Passion, BWV 245: Pt. 2: 38. "Darnach bat Pilatum Joseph von Arimathia" | — | ||
| 12-19 | 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 | |
| 12-20 | Johannes-Passion, BWV 245: Zweiter Teil: 40. Choral: Ach Herr, Lass Dein Lieb Engelein | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 13-1 | St. Matthew Passion, BWV 244: Pt. 1: No.1: "Kommt, ihr Töchter, helft mir klagen" | — | ||
| 13-2 | St. Matthew Passion, BWV 244: Pt. 1: No.2: "Da Jesus diese Rede vollendet hatte" | — | ||
| 13-3 | St. Matthew Passion, BWV 244: Pt. 1: No.3: "Herzliebster Jesu, was hast du verbrochen" | — | ||
| 13-4 | St. Matthew Passion, BWV 244: Pt. 1: No.4 Evangelist, Chorus I/II, Jesus: "Da versammelten sich die Hohenpriester" | — | ||
| 13-5 | St. Matthew Passion, BWV 244: Pt. 1: No.5 Recitative: "Du lieber Heiland du" | — | ||
| 13-6 | St. Matthew Passion, BWV 244: Pt. 1: No.6 Aria (Alto): "Buss und Reu" | — | ||
| 13-7 | St. Matthew Passion, BWV 244: Pt. 1: No.7 Evangelist, Judas: "Da ging hin der Zwölfen einer" | — | ||
| 13-8 | St. Matthew Passion, BWV 244: Pt. 1: No.8 Aria (Soprano): "Blute nur, du liebes Herz" | — | ||
| 13-9 | St. Matthew Passion, BWV 244: Pt. 1: No.9 Evangelist, Chorus I, Jesus: "Aber am ersten Tage der süssen Brot" | — | ||
| 13-10 | St. Matthew Passion, BWV 244: Pt. 1: No.10 Choral: "Ich bin's, ich sollte büssen" | — | ||
| 13-11 | St. Matthew Passion, BWV 244: Pt. 1: No.11 Evangelist, Jesus, Judas: "Er antwortete und sprach" | — | ||
| 13-12 | St. Matthew Passion, BWV 244: Pt. 1: No.12 Recitative: "Wiewohl mein Herz in Tränen schwimmt" | — | ||
| 13-13 | St. Matthew Passion, BWV 244: Pt. 1: No.13 Aria (Soprano): "Ich will dir mein Herz schenken" | — | ||
| 13-14 | St. Matthew Passion, BWV 244: Pt. 1: No.14 Evangelist, Jesus: "Und da sie den Lobgesang gesprochen hatten" | — | ||
| 13-15 | St. Matthew Passion, BWV 244: Pt. 1: No.15 Choral: "Erkenne mich, mein Hüter" | — | ||
| 13-16 | St. Matthew Passion, BWV 244: Pt. 1: No.16 Evangelist, Jesus, Petrus: "Petrus aber antwortete" | — | ||
| 13-17 | St. Matthew Passion, BWV 244: Pt. 1: No.17 Choral: "Ich will hier bei dir stehen" | — | ||
| 13-18 | St. Matthew Passion, BWV 244: Pt. 1: No.18 Evangelist, Jesus: "Da kam Jesus mit ihnen zu einem Hofe" | — | ||
| 13-19 | St. Matthew Passion, BWV 244: Pt. 1: No.19 Recitative (Tenor, Chorus II): "O Schmerz! hier zittert das gequälte Herz" | — | ||
| 13-20 | St. Matthew Passion, BWV 244: Pt. 1: No.20 Aria (Tenor, Chorus II): "Ich will bei meinem Jesu wachen" | — | ||
| 13-21 | St. Matthew Passion, BWV 244: Pt. 1: No.21 Evangelist, Jesus: "Und ging hin ein wenig" | — | ||
| 13-22 | St. Matthew Passion, BWV 244: Pt. 1: No.22 Recitative (Bass): "Der Heiland fällt vor seinem Vater nieder" | — | ||
| 13-23 | St. Matthew Passion, BWV 244: Pt. 1: No.23 Aria (Bass): "Gerne will ich mich bequemen" | — | ||
| 13-24 | St. Matthew Passion, BWV 244: Pt. 1: No.24 Evangelist, Jesus: "Und er kam zu seinen Jüngern" | — | ||
| 13-25 | St. Matthew Passion, BWV 244: Pt. 1: No.25 Choral: "Was mein Gott will, das g'scheh allzeit" | — | ||
| 13-26 | St. Matthew Passion, BWV 244: Pt. 1: No.26 Evangelist, Jesus, Judas: "Und er kam und fand sie aber schlafend" | — | ||
| 13-27 | St. Matthew Passion, BWV 244: Pt. 1: No.27 Aria (Soprano, Alto, Chorus II): "So ist mein Jesus nun gefangen" - Chorus I/II: "Sind Blitze, sind Donner" | — | ||
| 13-28 | St. Matthew Passion, BWV 244: Pt. 1: No.28 Evangelist, Jesus: "Und siehe, einer aus denen" | — | ||
| 13-29 | St. Matthew Passion, BWV 244: Pt. 1: No.29 Choral: "O Mensch, bewein dein Sünde groß" | — | ||
| 13-30 | St. Matthew Passion, BWV 244: Pt. 2: No.30 Aria (Alto, Chorus II): "Ach nun ist mein Jesu hin" | — | ||
| 13-31 | St. Matthew Passion, BWV 244: Pt. 2: No.31 Evangelist: "Die aber Jesum gegriffen hatten" | — | ||
| 13-32 | St. Matthew Passion, BWV 244: Pt. 2: No.32 Choral: "Mir hat die Welt trüglich gericht" | — | ||
| 13-33 | St. Matthew Passion, BWV 244: Pt. 2: No.33 Evangelist, Pontifex, Testis I/II: "Und wiewohl viel falsche Zeugen herzutraten" | — | ||
| 13-34 | St. Matthew Passion, BWV 244: Pt. 2: No.34 Recitative (Tenor): "Mein Jesus schweigt zu falschen Lügen stille" | — | ||
| 13-35 | St. Matthew Passion, BWV 244: Pt. 2: No.35 Aria (Tenor): "Geduld! Wenn mich falsche Zungen stechen" | — | ||
| 14-1 | St. Matthew Passion, BWV 244: Pt. 2: No.36 Evangelist, Pontifex, Jesus, Chorus I/II: "Und der Hohepriester antwortete" | — | ||
| 14-2 | St. Matthew Passion, BWV 244: Pt. 2: No.37 Choral: "Wer hat dich so geschlagen" | — | ||
| 14-3 | St. Matthew Passion, BWV 244: Pt. 2: No.38 Evangelist, Ancilla I/II, Petrus, Chorus II: "Petrus aber sass draussen im Palast" | — | ||
| 14-4 | Mattheuspassie: Aria "Erbarme dich" | Magdalena Kožená, Gabrieli Players, Paul McCreesh | T-101.607.667-6 | |
| 14-5 | St. Matthew Passion, BWV 244: Pt. 2: No.40 Choral: "Bin ich gleich von dir gewichen" | — | ||
| 14-6 | St. Matthew Passion, BWV 244: Pt. 2: No.41 Evangelist, Judas, Chorus I/II, Pontifex I/II: "Des Morgens aber hielten alle Hohepriester" | — | ||
| 14-7 | St. Matthew Passion, BWV 244: Pt. 2: No.42 Aria (Bass): "Gebt mir meinen Jesum wieder" | — | ||
| 14-8 | St. Matthew Passion, BWV 244: Pt. 2: No.43 Evangelist, Pilatus, Jesus: "Sie hielten aber einen Rat" | — | ||
| 14-9 | St. Matthew Passion, BWV 244: Pt. 2: No.44 Choral: "Befiehl du deine Wege" | — | ||
| 14-10 | St. Matthew Passion, BWV 244: Pt. 2: No.45 Evangelist, Pilatus, Uxor Pilati, Chorus I/II: "Auf das Fest aber hatte der Landpfleger Gewohnheit" | — | ||
| 14-11 | St. Matthew Passion, BWV 244: Pt. 2: No.46 Choral: "Wie wunderbarlich ist doch diese Strafe" | — | ||
| 14-12 | St. Matthew Passion, BWV 244: Pt. 2: No.47 Evangelist, Pilatus: "Der Landpfleger sagte" | — | ||
| 14-13 | St. Matthew Passion, BWV 244: Pt. 2: No.48 Recitative (Soprano): "Er hat uns allen wohlgetan" | — | ||
| 14-14 | St. Matthew Passion, BWV 244: Teil II, No. 49. Aria (Soprano I) "Aus Liebe will mein Heiland sterben" | Deborah York, Paul McCreesh, Gabrieli Consort & Players | — | |
| 14-15 | St. Matthew Passion, BWV 244: Pt. 2: No.50 Evangelist, Chorus I/II, Pilatus: "Sie schrieen aber noch mehr" | — | ||
| 14-16 | St. Matthew Passion, BWV 244: Pt. 2: No.51 Recitative (Alto): "Erbarm es Gott" | — | ||
| 14-17 | St. Matthew Passion, BWV 244: Pt. 2: No.52 Aria (Alto): "Können Tränen meiner Wangen" | — | ||
| 14-18 | St. Matthew Passion, BWV 244: Pt. 2: No.53 Evangelist, Chorus I/II: "Da nahmen die Kriegsknechte" | — | ||
| 14-19 | St. Matthew Passion, BWV 244: Pt. 2: No.54 Choral: "O Haupt voll Blut und Wunden" | — | ||
| 14-20 | St. Matthew Passion, BWV 244: Pt. 2: No.55 Evangelist: "Und da sie ihn verspottet hatten" | — | ||
| 14-21 | St. Matthew Passion, BWV 244: Pt. 2: "Ja freilich will in uns das Fleisch und Blut" | — | ||
| 14-22 | St. Matthew Passion, BWV 244: Pt. 2: "Komm, süsses Kreuz" | — | ||
| 14-23 | St. Matthew Passion, BWV 244: Pt. 2: No.58 Evangelist, Chorus I/II: "Und da sie an die Stätte kamen" | — | ||
| 14-24 | St. Matthew Passion, BWV 244: Pt. 2: "Ach Golgatha" | — | ||
| 14-25 | St. Matthew Passion, BWV 244: Pt. 2: "Sehet, Jesus hat die Hand" | — | ||
| 14-26 | St. Matthew Passion, BWV 244: Pt. 2: No.61 Evangelist, Jesus, Chorus I/II: "Und von der sechsten Stunde an" | — | ||
| 14-27 | St. Matthew Passion, BWV 244: Pt. 2: "Wenn ich einmal soll scheiden" | — | ||
| 14-28 | St. Matthew Passion, BWV 244: Pt. 2: "Und siehe da, der Vorhang im Tempel zerriss" | — | ||
| 14-29 | St. Matthew Passion, BWV 244: Pt. 2: "Am Abend, da es kühle war" | — | ||
| 14-30 | St. Matthew Passion, BWV 244: Pt. 2: "Mache dich, mein Herze, rein" | — | ||
| 14-31 | St. Matthew Passion, BWV 244: Pt. 2: "Und Joseph nahm den Leib" | — | ||
| 14-32 | St. Matthew Passion, BWV 244: Pt. 2: "Nun ist der Herr zur Ruh gebracht" | — | ||
| 14-33 | St. Matthew Passion, BWV 244: Teil II, No. 68. Chorus "Wir setzen uns mit Tränen nieder" | Susan Bickley, James Gilchrist, Julia Gooding, Peter Harvey, Magdalena Kožená, Stephan Loges, Mark Padmore, Deborah York, Gabrieli Consort & Players, Paul McCreesh | — | |
| 15-1 | Christmas Oratorio, BWV 248: Part I, No. 1 Chorus: »Jauchzet, frohlocket, auf, preiset die Tage« | The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-2 | Christmas Oratorio, BWV 248: no. 2. Evangelista: "Es begab sich aber zu der Zeit" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-3 | Christmas Oratorio, BWV 248: no. 3. Recitativo (Alto): "Nun wird mein liebster Bräutigam" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-4 | Christmas Oratorio, BWV 248: No. 4. Aria (Alto): "Bereite dich, Zion, mit zärtlichen Trieben" | Anne Sofie von Otter, English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-5 | Christmas Oratorio, BWV 248: no. 5. Choral: "Wie soll ich dich empfangen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-6 | Christmas Oratorio, BWV 248: no. 6. Evangelista: "Und sie gebar ihren ersten Sohn" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-7 | Christmas Oratorio, BWV 248: no. 7. Choral (Soprani): "Er ist auf Erden kommen arm" / Recitativo (Basso): "Wer will die Liebe recht erhöhn" | English Baroque Soloists, John Eliot Gardiner | T-802.372.990-1 | |
| 15-8 | Christmas Oratorio, BWV 248: No. 8. Aria (Basso): "Großer Herr, o starker König" | Olaf Bär, English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-9 | Christmas Oratorio, BWV 248: no. 9. Choral: "Ach mein herzliebes Jesulein" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-10 | Christmas Oratorio, BWV 248: no. 10. Sinfonia | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-11 | Christmas Oratorio, BWV 248: no. 11. Evangelista: "Und es waren Hirten in derselben Gegend" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-12 | Christmas Oratorio, BWV 248: no. 12. Choral: "Brich an, o schönes Morgenlicht" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-13 | Christmas Oratorio, BWV 248: no. 13. Evangelista: "Und der Engel sprach zu ihnen" / Angelus: "Fürchtet euch nicht" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-14 | Christmas Oratorio, BWV 248: no. 14. Recitativo (Basso): "Was Gott dem Abraham verheißen" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-15 | Christmas Oratorio, BWV 248: no. 15. Aria (Tenore): "Frohe Hirten, eilt, ach eilet" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-16 | Christmas Oratorio, BWV 248: no. 16. Evangelista: "Und das habt zum Zeichen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-17 | Christmas Oratorio, BWV 248: no. 17. Choral: "Schaut hin, dort liegt im finstern Stall" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-18 | Christmas Oratorio, BWV 248: no. 18. Recitativo (Basso): "So geht denn hin" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-19 | Christmas Oratorio, BWV 248: no. 19. Aria (Alto): "Schlafe, mein Liebster, genieße der Ruh" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-20 | Christmas Oratorio, BWV 248: no. 20. Evangelista: "Und alsobald war da bei dem Engel" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-21 | Christmas Oratorio, BWV 248: no. 21. Coro: "Ehre sei Gott in der Höhe" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-22 | Christmas Oratorio, BWV 248: no. 22. Recitativo (Basso): "So recht, ihr Engel, jauchzt und singet" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-23 | Christmas Oratorio, BWV 248: no. 23. Choral: "Wir singen dir in deinem Heer" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-24 | Christmas Oratorio, BWV 248: Part III, No. 24 Chorus: »Herrscher des Himmels, erhöre das Lallen« | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-25 | Christmas Oratorio, BWV 248: no. 25. Evangelista: "Und da die Engel von ihnen gen Himmel fuhren" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-26 | Lasset uns nun gehen gen Bethlehem | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-27 | Christmas Oratorio, BWV 248: no. 27. Recitativo (Basso): "Er hat sein Volk getröst'" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-28 | Christmas Oratorio, BWV 248: no. 28 Choral: "Dies hat er alles uns getan" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-29 | Christmas Oratorio, BWV 248: no. 29. Duetto (Soprano, Basso): "Herr, dein Mitleid, dein Erbarmen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-30 | Christmas Oratorio, BWV 248: no. 30. Evangelista: "Und sie kamen eilend" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-31 | Christmas Oratorio, BWV 248: no. 31. Aria (Alto): "Schließe, mein Herze, dies selige Wunder" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-32 | Christmas Oratorio, BWV 248: no. 32. Recitativo (Alto): "Ja, ja, mein Herz soll es bewahren" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-33 | Christmas Oratorio, BWV 248: no. 33. Choral: "Ich will dich mit Fleiß bewahren" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-34 | Christmas Oratorio, BWV 248: no. 34. Evangelista: "Und die Hirten kehrten wieder um" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-35 | Christmas Oratorio, BWV 248: no. 35. Choral: "Seid froh dieweil" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-36 | Christmas Oratorio, BWV 248: no. 24. Coro de capo: "Herrscher des Himmels, erhöre das Lallen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-1 | Christmas Oratorio, BWV 248: no. 36. Coro: "Fallt mit Danken, fallt mit Loben" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-2 | Christmas Oratorio, BWV 248: no. 37. Evangelista: "Und da acht Tage um waren" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-3 | Christmas Oratorio, BWV 248: no. 38. Recitativo (Basso): "Immanuel, o süßes Wort" / Arioso (Soprani, Basso): "Jesu, du mein liebstes Leben" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-4 | Christmas Oratorio, BWV 248: no. 39. Aria (Soprano, Echo Soprano): "Flößt, mein Heiland, flößt dein Namen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-5 | Christmas Oratorio, BWV 248: no. 40. Recitativo (Basso): "Wohlan, dein Name soll allein" / Choral (Soprani): "Jesu, meine Freud und Wonne" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-6 | Christmas Oratorio, BWV 248: no. 41. Aria (Tenore): "Ich will nur dir zu Ehren leben" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-7 | Christmas Oratorio, BWV 248: no. 42. Choral: "Jesus richte mein Beginnen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-8 | Christmas Oratorio, BWV 248: Part V, No. 43 Chorus »Ehre sei dir, Gott, gesungen« | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-9 | Christmas Oratorio, BWV 248: no. 44. Evangelista: "Da Jesu geboren war zu Bethlehem" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-10 | Christmas Oratorio, BWV 248: no. 45. Coro: "Wo is der neugeborene König der Jüden" / Recitativo (Alto): "Sucht ihn in meiner Brust" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-11 | Christmas Oratorio, BWV 248: no. 46. Choral: "Dein Glanz all Finsternis verzehrt" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-12 | Christmas Oratorio, BWV 248: no. 47. Aria (Basso): "Erleucht auch meine finstre Sinnen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-13 | Christmas Oratorio, BWV 248: no. 48. Evangelista: "Da das der König Herodes hörte" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-14 | Christmas Oratorio, BWV 248: no. 49. Recitativo (Alto): "Warum wollt ihr erschrecken" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-15 | Christmas Oratorio, BWV 248: no. 50. Evangelista: "Und ließ versammlen alle Hohepriester" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-16 | Christmas Oratorio, BWV 248: no. 51. Terzetto (Soprano, Alto, Tenore): "Ach, wenn wird die Zeit erscheinen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-17 | Christmas Oratorio, BWV 248: no. 52. Recitativo (Alto): "Mein Liebster herrschet schon" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-18 | Christmas Oratorio, BWV 248: no. 53. Choral: "Zwar ist solche Herzensstube" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-19 | Christmas Oratorio, BWV 248: no. 54. Coro: "Herr, wenn die stolzen Feinde schnauben" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-20 | Christmas Oratorio, BWV 248: no. 55. Evangelista: "Da berief Herodes die Weisen heimlish" / Herodes: "Ziehet hin und forschet fleißig" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-21 | Christmas Oratorio, BWV 248: no. 56. Recitativo (Soprano): "Du Falscher, suche nur den Herrn zu fällen" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-22 | Christmas Oratorio, BWV 248: no. 57. Aria (Soprano): "Nur ein Wink von seinen Händen" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-23 | Christmas Oratorio, BWV 248: no. 58. Evangelista: "Als sie nun den König gehöret hatten" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-24 | Christmas Oratorio, BWV 248: no. 59. Choral: "Ich steh an deiner Krippen hier" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-25 | Christmas Oratorio, BWV 248: no. 60. Evangelista: "Und Gott befahl ihnen im Traum" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-26 | Christmas Oratorio, BWV 248: no. 61. Recitativo (Tenore): "So geht! Genug, mein Schatz geht nicht von hier" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-27 | Christmas Oratorio, BWV 248: no. 62. Aria (Tenore): "Nun mögt ihr stolzen Feinde schrecken" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-28 | Christmas Oratorio, BWV 248: no. 63. Recitativo (Soprano, Alto, Tenore, Basso): "Was will der Höllen Schrecken nun" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-29 | Christmas Oratorio, BWV 248: no. 64. Choral: "Nun seid ihr wohl gerochen" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-050.278.855-7 | |
| 17-1 | Singet dem Herrn ein neues Lied Motet, BWV 225 | — | ||
| 17-2 | Der Geist hilft unser Schwachheit auf Motet, BWV 226 | — | ||
| 17-3 | Jesu meine Freude Motet, BWV 227 | — | ||
| 17-4 | Fürchte dich nicht Motet, BWV 228 | — | ||
| 17-5 | Komm, Jesu, komm Motet, BWV 229 | — | ||
| 18-1 | Die goldne Sonne, BWV 451 | — | ||
| 18-2 | O Jesulein süß, BWV 493 | Peter Schreier, Karl Richter | — | |
| 18-3 | Ich steh’ an deiner Krippen hier, BWV 469 | Peter Schreier, Karl Richter | — | |
| 18-4 | Die bittre Leidenszeit beginnet abermal, BWV 450 | — | ||
| 18-5 | Mein Jesu, was für Seelenweh BWV 487 | — | ||
| 18-6 | Jesus, unser Trost und Leben BWV 475 | — | ||
| 18-7 | Gott lebet noch BWV 461 | — | ||
| 18-8 | Kompt Wieder Aus Der Finstern Gruft, BWV 480 | Peter Schreier, Karl Richter | — | |
| 18-9 | Der Tag ist hin, die Sonne gehet nieder, BWV 447 | Peter Schreier, Karl Richter | — | |
| 18-10 | Der lieben Sonne Licht und Pracht BWV 446 | — | ||
| 18-11 | Beschränkt, ihr Weisen dieser Welt BWV 443 | — | ||
| 18-12 | Was bist du doch, o Seele BWV 506 | — | ||
| 18-13 | Eins ist not! Ach Herr, dies Eine, BWV 453 | — | ||
| 18-14 | Brunnquell aller Güter BWV 445 | — | ||
| 18-15 | Ich halte treulich still BWV 466 | — | ||
| 18-16 | Dich bet ich an BWV 449 | — | ||
| 18-17 | Gib dich zufrieden und sei stille BWV 460 | — | ||
| 18-18 | Liebster Herr Jesu, wo bleibst du so lange?, BWV 484 | — | ||
| 18-19 | O wie selig seid ihr doch BWV 495 | — | ||
| 18-20 | Komm, süßer Tod BWV 478 | — | ||
| 19-1 | Sonata No. 1 in E flat major, BWV 525: 1. (Allegro moderato) | — | ||
| 19-2 | Sonata No. 1 in E flat major, BWV 525: 2. Adagio | — | ||
| 19-3 | Sonata No. 1 in E flat major, BWV 525: 3. Allegro | — | ||
| 19-4 | Sonata No.2 in C minor, BWV 526: 1. Vivace | — | ||
| 19-5 | Sonata No.2 in C minor, BWV 526: 2. Largo | — | ||
| 19-6 | Sonata No.2 in C minor, BWV 526: 3. Allegro | — | ||
| 19-7 | Sonata No.3 in D minor, BWV 527: 1. Andante | — | ||
| 19-8 | Sonata No.3 in D minor, BWV 527: 2. Adagio e dolce | — | ||
| 19-9 | Sonata No.3 in D minor, BWV 527: 3. Vivace | — | ||
| 19-10 | Sonata No.4 in E minor, BWV 528: 1. Adagio - Vivace | — | ||
| 19-11 | Sonata No.4 in E minor, BWV 528: 2. Andante | — | ||
| 19-12 | Sonata No.4 in E minor, BWV 528: 3. Un poco allegro | — | ||
| 19-13 | Sonata No.5 in C major, BWV 529: 1. Allegro | — | ||
| 19-14 | Sonata No.5 in C major, BWV 529: 2. Largo | — | ||
| 19-15 | Sonata No.5 in C major, BWV 529: 3. Allegro | — | ||
| 19-16 | Sonata No.6 in G major, BWV 530: 1. Vivace | — | ||
| 19-17 | Sonata No.6 in G major, BWV 530: 2. Lento | — | ||
| 19-18 | Sonata No.6 in G major, BWV 530: 3. Allegro | — | ||
| 20-1 | Toccata & Fugue in D minor, BWV 538 "Dorian": I. Toccata | Karl Richter | T-918.063.729-0 | |
| 20-2 | Toccata & Fugue in D minor, BWV 538 "Dorian": II. Fugue | Karl Richter | — | |
| 20-3 | Choral, BWV 768 "Sei Gegrüßet, Jesu Gütig" | Karl Richter | — | |
| 20-4 | Passacaglia and Fugue in C minor, BWV 582: I. Passacaglia | Karl Richter | T-917.732.203-1 | |
| 20-5 | Passacaglia and Fugue in C minor, BWV 582: II. Fugue | Karl Richter | — | |
| 21-1 | Prelude and Fugue in B minor, BWV 544: I. Prelude | Karl Richter | T-918.063.729-0 | |
| 21-2 | Prelude and Fugue in B minor, BWV 544: II. Fugue | Karl Richter | — | |
| 21-3 | Toccata (Prelude) and Fugue in F, BWV 540: 1. Toccata | — | ||
| 21-4 | Toccata (Prelude) and Fugue in F, BWV 540: 2. Fugue | — | ||
| 21-5 | Prelude and Fugue in A minor, BWV 543: I. Prelude | Karl Richter | — | |
| 21-6 | Prelude and Fugue in A minor, BWV 543: II. Fugue | Karl Richter | T-309.901.323-3 | |
| 21-7 | Schmücke dich, o liebe Seele, BWV 654 | — | ||
| 22-1 | Prelude and Fugue in E minor, BWV 548: 1. Prelude | — | ||
| 22-2 | Prelude and Fugue in E minor, BWV 548: 2. Fugue | — | ||
| 22-3 | Prelude and Fugue in C, BWV 547: 1. Prelude | — | ||
| 22-4 | Prelude and Fugue in C, BWV 547: 2. Fugue | — | ||
| 22-5 | Prelude and Fugue in G, BWV 550: 1. Prelude | — | ||
| 22-6 | Prelude and Fugue in G, BWV 550: 2. Fugue | — | ||
| 22-7 | Prelude and Fugue in C major, BWV 553 | — | ||
| 22-8 | Prelude and Fugue in D minor, BWV 554 | — | ||
| 22-9 | Prelude and Fugue in E minor, BWV 555 | — | ||
| 22-10 | Prelude and Fugue in F major, BWV 556 | — | ||
| 22-11 | Prelude and Fugue in G major, BWV 557 | — | ||
| 22-12 | Prelude and Fugue in G minor, BWV 558 | — | ||
| 22-13 | Prelude and Fugue in A minor, BWV 559 | — | ||
| 22-14 | Prelude and Fugue in B flat major, BWV 560 | — | ||
| 22-15 | Canzona in D minor, BWV 588 | — | ||
| 22-16 | Fantasia con imitazione in B minor, BWV 563 | — | ||
| 22-17 | Fugue in G, BWV 577 | — | ||
| 22-18 | Toccata and Fugue in E, BWV 566: 1. Toccata | — | ||
| 22-19 | Toccata and Fugue in E, BWV 566: 2. Fugue | — | ||
| 23-1 | Toccata and Fugue in D minor, BWV 565 | Simon Preston | T-909.243.105-5 | |
| 23-2 | Toccata & Fugue in D minor, BWV 565: II. Fugue | Simon Preston | T-922.046.111-0 | |
| 23-3 | Fantasia in G major "Pièce d'orgue", BWV 572: I. Très Vitement | Simon Preston | — | |
| 23-4 | Fantasia in G major "Pièce d'orgue", BWV 572: II. Gravement | Simon Preston | T-909.407.007-2 | |
| 23-5 | Fantasia in G major "Pièce d'orgue", BWV 572: III. Lentement | Simon Preston | — | |
| 23-6 | Canonic Variations on the Christmas Hymn "Vom Himmel hoch, da komm' Ich her", BWV 769: Variation 1. Nel Canone All'Ottava | Simon Preston | — | |
| 23-7 | Canonic Variations on the Christmas Hymn "Vom Himmel hoch, da komm' Ich her", BWV 769: Variation 2. Alio Modo, Nel Canone Alla Quinta | Simon Preston | — | |
| 23-8 | Canonic Variations on the Christmas Hymn "Vom Himmel hoch, da komm' Ich her", BWV 769: Variation 3. Canone All Settima | Simon Preston | — | |
| 23-9 | Canonic Variations on the Christmas Hymn "Vom Himmel hoch, da komm' Ich her", BWV 769: Variation 4. Per Augmentationem, Nel Canone All'Ottava | Simon Preston | — | |
| 23-10 | Canonic Variations on the Christmas Hymn "Vom Himmel hoch, da komm' Ich her", BWV 769: Variation 5. L'altra Sorte, del Canone Al Rovescio | Simon Preston | — | |
| 23-11 | Prelude and Fugue in D major, BWV 532: I. Prelude | Simon Preston | T-800.348.254-1 | |
| 23-12 | Prelude and Fugue in D major, BWV 532: II. Fugue | Simon Preston | T-902.286.488-6 | |
| 23-13 | Pastorale in F major "Pastorella", BWV 590: I. In F major | Simon Preston | — | |
| 23-14 | Pastorale in F major "Pastorella", BWV 590: II. In C major | Simon Preston | — | |
| 23-15 | Pastorale in F major "Pastorella", BWV 590: III. In C minor | Simon Preston | T-921.189.587-3 | |
| 23-16 | Pastorale in F major "Pastorella", BWV 590: IV. In F major | Simon Preston | — | |
| 23-17 | Prelude and Fugue in E flat major "St. Anne", BWV 552: I. Praeludium Pro Organo Pleno | Simon Preston | T-922.046.111-0 | |
| 23-18 | Prelude and Fugue in E flat major "St. Anne", BWV 552: II. Fuga a 5 con Pedale Pro Organo Pleno | Simon Preston | T-922.046.111-0 | |
| 24-1 | Sei gegrüsset, Jesu gütig, BWV 768 | — | ||
| 24-2 | Vom Himmel hoch da komm ich her, BWV 769: Variatio 1. Nel canone all'ottava | — | ||
| 24-3 | Vom Himmel hoch da komm ich her, BWV 769: Variatio 2. Alio modo, nel canone alla quinta | — | ||
| 24-4 | Vom Himmel hoch da komm ich her, BWV 769: Variatio 3. Canone alla settima | — | ||
| 24-5 | Vom Himmel hoch da komm ich her, BWV 769: Variatio 4. Per augmentationem. nel canone all'ottava | — | ||
| 24-6 | Vom Himmel hoch da komm ich her, BWV 769: Variatio 5. L'altra sorte del canone al rovescio: 1) alla sesta, 2) alla terza, 3) alla seconda e 4) alla nona | — | ||
| 24-7 | Wachet auf, ruft uns die Stimme, BWV 645 ('Sleepers, Awake') | — | ||
| 24-8 | Wo soll ich fliehen hin, BWV 646 | — | ||
| 24-9 | Wer nur den lieben Gott läßt walten, BWV 647 | — | ||
| 24-10 | Meine Seele erhebet den Herren, BWV 648 | — | ||
| 24-11 | Ach bleib bei uns, Herr Jesu Christ, BWV 649 | — | ||
| 24-12 | Kommst du nun, Jesu, vom Himmel herunter, BWV 650 | — | ||
| 24-13 | Prelude (Fantasy) and Fugue in G minor, BWV 542 - "Great": 1. Fantasy | — | ||
| 24-14 | Prelude (Fantasy) and Fugue in G minor, BWV 542 - "Great": 2. Fugue | — | ||
| 24-15 | Fantasia and Fugue (Fragment) in C minor, BWV 562 | — | ||
| 24-16 | Prelude (Fantasy) and Fugue in C minor, BWV 537: 1. Fantasy | — | ||
| 24-17 | Prelude (Fantasy) and Fugue in C minor, BWV 537: 2. Fugue | — | ||
| 25-1 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 1 in C major, BWV 846: I. Præludium | Maurizio Pollini | T-910.415.372-2 | |
| 25-2 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 1 in C major, BWV 846: II. Fuga | Maurizio Pollini | T-325.603.871-4 | |
| 25-3 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 2 in C minor, BWV 847: I. Præludium | Maurizio Pollini | T-315.964.113-7 | |
| 25-4 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 2 in C minor, BWV 847: II. Fuga | Maurizio Pollini | — | |
| 25-5 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 3 in C-sharp major, BWV 848: I. Præludium | Maurizio Pollini | — | |
| 25-6 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 3 in C-sharp major, BWV 848: II. Fuga | Maurizio Pollini | T-913.821.070-5 | |
| 25-7 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 4 in C-sharp minor, BWV 849: I. Præludium | Maurizio Pollini | — | |
| 25-8 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 4 in C-sharp minor, BWV 849: II. Fuga | Maurizio Pollini | T-011.696.501-5 | |
| 25-9 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 5 in D major, BWV 850: I. Præludium | Maurizio Pollini | — | |
| 25-10 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 5 in D major, BWV 850: II. Fuga | Maurizio Pollini | — | |
| 25-11 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 6 in D minor, BWV 851: I. Præludium | Maurizio Pollini | T-800.673.625-1 | |
| 25-12 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 6 in D minor, BWV 851: II. Fuga | Maurizio Pollini | — | |
| 25-13 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 7 in E-flat major, BWV 852: I. Præludium | Maurizio Pollini | T-922.046.010-6 | |
| 25-14 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 7 in E-flat major, BWV 852: II. Fuga | Maurizio Pollini | T-922.046.111-0 | |
| 25-15 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 8 in E-flat minor, BWV 853: I. Præludium | Maurizio Pollini | T-922.046.010-6 | |
| 25-16 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 8 in E-flat minor, BWV 853: II. Fuga | Maurizio Pollini | T-922.046.010-6 | |
| 25-17 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 9 in E major, BWV 854: I. Præludium | Maurizio Pollini | — | |
| 25-18 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 9 in E major, BWV 854: II. Fuga | Maurizio Pollini | — | |
| 25-19 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 10 in E minor, BWV 855: I. Præludium | Maurizio Pollini | T-922.046.010-6 | |
| 25-20 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 10 in E minor, BWV 855: II. Fuga | Maurizio Pollini | — | |
| 25-21 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 11 in F major, BWV 856: I. Præludium | Maurizio Pollini | — | |
| 25-22 | The Well-Tempered Clavier, Book 1: Prelude no. 11 in F major, BWV 856/1 | Johann Sebastian Bach | — | |
| 25-23 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 12 in F minor, BWV 857: I. Præludium | Maurizio Pollini | — | |
| 25-24 | The Well-Tempered Clavier, Book 1: Prelude no. 12 in F minor, BWV 857/1 | Johann Sebastian Bach | T-320.964.450-4 | |
| 26-1 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 13 in F-sharp major, BWV 858: I. Præludium | Maurizio Pollini | — | |
| 26-2 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 13 in F-sharp major, BWV 858: II. Fuga | Maurizio Pollini | — | |
| 26-3 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 14 in F-sharp minor, BWV 859: I. Præludium | Maurizio Pollini | — | |
| 26-4 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 14 in F-sharp minor, BWV 859: II. Fuga | Maurizio Pollini | T-329.412.466-2 | |
| 26-5 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 15 in G major, BWV 860: I. Præludium | Maurizio Pollini | — | |
| 26-6 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 15 in G major, BWV 860: II. Fuga | Maurizio Pollini | T-329.412.466-2 | |
| 26-7 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 16 in G minor, BWV 861: I. Præludium | Maurizio Pollini | — | |
| 26-8 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 16 in G minor, BWV 861: II. Fuga | Maurizio Pollini | T-329.412.466-2 | |
| 26-9 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 17 in A-flat major, BWV 862: I. Præludium | Maurizio Pollini | — | |
| 26-10 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 17 in A-flat major, BWV 862: II. Fuga | Maurizio Pollini | — | |
| 26-11 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 18 in G-sharp minor, BWV 863: I. Præludium | Maurizio Pollini | T-922.046.010-6 | |
| 26-12 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 18 in G-sharp minor, BWV 863: II. Fuga | Maurizio Pollini | — | |
| 26-13 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 19 in A major, BWV 864: I. Præludium | Maurizio Pollini | — | |
| 26-14 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 19 in A major, BWV 864: II. Fuga | Maurizio Pollini | — | |
| 26-15 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 20 in A minor, BWV 865: I. Præludium | Maurizio Pollini | — | |
| 26-16 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 20 in A minor, BWV 865: II. Fuga | Maurizio Pollini | — | |
| 26-17 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 21 in B-flat major, BWV 866: I. Præludium | Maurizio Pollini | — | |
| 26-18 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 21 in B-flat major, BWV 866: II. Fuga | Maurizio Pollini | — | |
| 26-19 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 22 in B-flat minor, BWV 867: I. Præludium | Maurizio Pollini | — | |
| 26-20 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 22 in B-flat minor, BWV 867: II. Fuga | Maurizio Pollini | — | |
| 26-21 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 23 in B major, BWV 868: I. Præludium | Maurizio Pollini | — | |
| 26-22 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 23 in B major, BWV 868: II. Fuga | Maurizio Pollini | — | |
| 26-23 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 24 in B minor, BWV 869: I. Præludium | Maurizio Pollini | — | |
| 26-24 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 24 in B minor, BWV 869: II. Fuga | Maurizio Pollini | — | |
| 27-1 | Goldberg-Variationen, BWV 988: Aria | Trevor Pinnock | T-902.761.139-8 | |
| 27-2 | Goldberg-Variationen, BWV 988: Variatio I. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-3 | Goldberg-Variationen, BWV 988: Variatio II. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-4 | Goldberg-Variationen, BWV 988: Variatio III. a 1 Clav. Canone all’ Unisuono | Trevor Pinnock | T-902.128.688-4 | |
| 27-5 | Goldberg-Variationen, BWV 988: Variatio IV. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-6 | Goldberg-Variationen, BWV 988: Variatio V. a 1 ô vero 2 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-7 | Goldberg-Variationen, BWV 988: Variatio VI. a 1 Clav. Canone alla Seconda | Trevor Pinnock | T-902.128.688-4 | |
| 27-8 | Goldberg-Variationen, BWV 988: Variatio VII. a 1 ô vero 2 Clav. al tempo di Giga | Trevor Pinnock | T-902.128.688-4 | |
| 27-9 | Goldberg-Variationen, BWV 988: Variatio VIII. a 2 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-10 | Goldberg-Variationen, BWV 988: Variatio IX. Canone alla Terza. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-11 | Goldberg-Variationen, BWV 988: Variatio X. Fughetta a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-12 | Goldberg-Variationen, BWV 988: Variatio XI. a 2 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-13 | Goldberg-Variationen, BWV 988: Variatio XII. Canone alla Quarta. a 1 Clav. | Trevor Pinnock | T-311.760.304-6 | |
| 27-14 | Goldberg-Variationen, BWV 988: Variatio XIII. a 2 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-15 | Goldberg-Variationen, BWV 988: Variatio XIV. a 2 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-16 | Goldberg-Variationen, BWV 988: Variatio XV. Canone alla Quinta. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-17 | Goldberg-Variationen, BWV 988: Variatio XVI. Ouverture. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-18 | Goldberg-Variationen, BWV 988: Variatio XVII. a 2 Clav. | Trevor Pinnock | — | |
| 27-19 | Goldberg-Variationen, BWV 988: Variatio XVIII. Canone alla Sexta. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-20 | Goldberg-Variationen, BWV 988: Variatio XIX. a 1 Clav. | Trevor Pinnock | — | |
| 27-21 | Goldberg-Variationen, BWV 988: Variatio XX. a 2 Clav. | Trevor Pinnock | — | |
| 27-22 | Goldberg-Variationen, BWV 988: Variatio XXI. Canone alla Settima. a 1 Clav. | Trevor Pinnock | — | |
| 27-23 | Goldberg-Variationen, BWV 988: Variatio XXII. a 1 Clav. alla breve | Trevor Pinnock | — | |
| 27-24 | Goldberg-Variationen, BWV 988: Variatio XXIII. a 2 Clav. | Trevor Pinnock | — | |
| 27-25 | Goldberg-Variationen, BWV 988: Variatio XXIV. Canone all'Ottava. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-26 | Goldberg-Variationen, BWV 988: Variatio XXV. a 2 Clav. | Trevor Pinnock | — | |
| 27-27 | Goldberg-Variationen, BWV 988: Variatio XXVI. a 2 Clav. | Trevor Pinnock | — | |
| 27-28 | Goldberg-Variationen, BWV 988: Variatio XXVII. Canone alla Nona. a 2 Clav. | Trevor Pinnock | — | |
| 27-29 | Goldberg-Variationen, BWV 988: Variatio XXVIII. a 2 Clav. | Trevor Pinnock | — | |
| 27-30 | Goldberg-Variationen, BWV 988: Variatio XXIX. a 1 ô vero 2 Clav. | Trevor Pinnock | — | |
| 27-31 | Goldberg-Variationen, BWV 988: Variatio XXX. Quodlibet. a 1 Clav. | Trevor Pinnock | — | |
| 27-32 | Goldberg-Variationen, BWV 988: Aria da Capo | Trevor Pinnock | — | |
| 27-33 | Italienisches Konzert F-dur, BWV 971: Allegro | Trevor Pinnock | T-061.296.484-7 | |
| 27-34 | Italienisches Konzert F-dur, BWV 971: Andante | Trevor Pinnock | T-921.645.531-1 | |
| 27-35 | Italienisches Konzert F-dur, BWV 971: Presto | Trevor Pinnock | — | |
| 28-1 | Partita No.4 in D, BWV 828- I. Ouverture | Trevor Pinnock | T-702.622.103-6 | |
| 28-2 | Partita No.4 in D, BWV 828- II. Allemande | Trevor Pinnock | — | |
| 28-3 | Partita No.4 in D, BWV 828- III. Courante | Trevor Pinnock | — | |
| 28-4 | Partita No.4 in D, BWV 828- IV. Aria | Trevor Pinnock | T-905.380.384-2 | |
| 28-5 | Partita No.4 in D, BWV 828- V. Sarabande | Trevor Pinnock | — | |
| 28-6 | Partita No.4 in D, BWV 828- VI. Menuet | Trevor Pinnock | — | |
| 28-7 | Partita No.4 in D, BWV 828- VII. Gigue | Trevor Pinnock | — | |
| 28-8 | Partita No.5 in G, BWV 829- I. Praeambulum | Trevor Pinnock | — | |
| 28-9 | Partita No.5 in G, BWV 829- II. Allemande | Trevor Pinnock | — | |
| 28-10 | Partita No.5 in G, BWV 829- III. Corrente | Trevor Pinnock | — | |
| 28-11 | Partita No.5 in G, BWV 829- IV. Sarabande | Trevor Pinnock | — | |
| 28-12 | Partita No.5 in G, BWV 829- V. Tempo di Minuetto | Trevor Pinnock | — | |
| 28-13 | Partita No.5 in G, BWV 829- VI. Passepied | Trevor Pinnock | — | |
| 28-14 | Partita No.5 in G, BWV 829- VII. Gigue | Trevor Pinnock | — | |
| 28-15 | Partita No.6 in e, BWV 830- I. Toccata | Trevor Pinnock | — | |
| 28-16 | Partita No.6 in e, BWV 830- II. Allemanda | Trevor Pinnock | — | |
| 28-17 | Partita No.6 in e, BWV 830- III. Corrente | Trevor Pinnock | — | |
| 28-18 | Partita No.6 in e, BWV 830- IV. Air | Trevor Pinnock | — | |
| 28-19 | Partita No.6 in e, BWV 830- V. Sarabande | Trevor Pinnock | — | |
| 28-20 | Partita No.6 in e, BWV 830- VI. Tempo di Gavotta | Trevor Pinnock | — | |
| 28-21 | Partita No.6 in e, BWV 830- VII. Gigue | Trevor Pinnock | — | |
| 29-1 | Partita no. 1 in B‐flat major, BWV 825: I. Praeludium | Maria João Pires | T-800.572.279-3 | |
| 29-2 | Partita no. 1 in B‐flat major, BWV 825: II. Allemande | Maria João Pires | — | |
| 29-3 | Partita no. 1 in B‐flat major, BWV 825: III. Corrente | Maria João Pires | — | |
| 29-4 | Partita no. 1 in B‐flat major, BWV 825: IV. Sarabande | Maria João Pires | — | |
| 29-5 | Partita no. 1 in B‐flat major, BWV 825: V. Menuet I | Maria João Pires | — | |
| 29-6 | Partita no. 1 in B‐flat major, BWV 825: VI. Menuet II | Maria João Pires | — | |
| 29-7 | Partita no. 1 in B‐flat major, BWV 825: Menuet I da capo | Maria João Pires | — | |
| 29-8 | Partita no. 1 in B‐flat major, BWV 825: VIII. Gigue | Maria João Pires | — | |
| 29-9 | English Suite no. 3 in G minor, BWV 808: I. Prelude | Maria João Pires | — | |
| 29-10 | English Suite no. 3 in G minor, BWV 808: II. Allemande | Maria João Pires | — | |
| 29-11 | English Suite no. 3 in G minor, BWV 808: III. Courante | Maria João Pires | — | |
| 29-12 | English Suite no. 3 in G minor, BWV 808: IV. Sarabande | Maria João Pires | — | |
| 29-13 | English Suite no. 3 in G minor, BWV 808: V. Les agrements de la meme Sarabande | Maria João Pires | — | |
| 29-14 | English Suite no. 3 in G minor, BWV 808: VI. Gavotte I alternativement | Maria João Pires | — | |
| 29-15 | English Suite no. 3 in G minor, BWV 808: VII. Gavotte II ou la Musette | Maria João Pires | T-919.842.195-3 | |
| 29-16 | English Suite no. 3 in G minor, BWV 808: VIII. Gavotte I da capo | Maria João Pires | — | |
| 29-17 | English Suite no. 3 in G minor, BWV 808: IX. Gigue | Maria João Pires | — | |
| 29-18 | French Suite no. 2 in C minor, BWV 813: I. Allemande | Maria João Pires | — | |
| 29-19 | French Suite no. 2 in C minor, BWV 813: II. Courante | Maria João Pires | T-900.237.672-9 | |
| 29-20 | French Suite no. 2 in C minor, BWV 813: III. Sarabande | Maria João Pires | — | |
| 29-21 | French Suite no. 2 in C minor, BWV 813: IV. Air | Maria João Pires | — | |
| 29-22 | French Suite no. 2 in C minor, BWV 813: V. Menuet | Maria João Pires | — | |
| 29-23 | French Suite no. 2 in C minor, BWV 813: VI. Gigue | Maria João Pires | — | |
| 30-1 | English Suite No. 2 in A minor, BWV 807: I. Prélude | Ivo Pogorelich | T-070.160.313-5 | |
| 30-2 | English Suite No. 2 in A minor, BWV 807: II. Allemande | Ivo Pogorelich | — | |
| 30-3 | English Suite No. 2 in A minor, BWV 807: III. Courante | Ivo Pogorelich | — | |
| 30-4 | English Suite No. 2 in A minor, BWV 807: IV. Sarabande | Ivo Pogorelich | — | |
| 30-5 | English Suite No. 2 in A minor, BWV 807: V. Bourrée I & II | Ivo Pogorelich | — | |
| 30-6 | English Suite No. 2 in A minor, BWV 807: VI. Gigue | Ivo Pogorelich | — | |
| 30-7 | English Suite No. 3 in G minor, BWV 808: I. Prélude | Ivo Pogorelich | — | |
| 30-8 | English Suite No. 3 in G minor, BWV 808: II. Allemande | Ivo Pogorelich | — | |
| 30-9 | English Suite No. 3 in G minor, BWV 808: III. Courante | Ivo Pogorelich | — | |
| 30-10 | English Suite No. 3 in G minor, BWV 808: IV. Sarabande | Ivo Pogorelich | — | |
| 30-11 | English Suite No. 3 in G minor, BWV 808: V. Gavotte I & II | Ivo Pogorelich | — | |
| 30-12 | English Suite No. 3 in G minor, BWV 808: VI. Gigue | Ivo Pogorelich | — | |
| 31-1 | Chromatic Fantasia and Fugue in D minor, BWV 903: 1. Fantasia | — | ||
| 31-2 | Chromatic Fantasia and Fugue in D minor, BWV 903: 2. Recitativ | — | ||
| 31-3 | Chromatic Fantasia and Fugue in D minor, BWV 903: 3. Fuga | — | ||
| 31-4 | Toccata in D major, BWV 912: 1. (Presto) | — | ||
| 31-5 | Toccata in D major, BWV 912: 2. Allegro | — | ||
| 31-6 | Toccata in D major, BWV 912: 3. Adagio | — | ||
| 31-7 | Toccata in D major, BWV 912: 4. (without tempo indication) | — | ||
| 31-8 | Toccata in D major, BWV 912: 5. Con discrezione | — | ||
| 31-9 | Toccata in D major, BWV 912: 6. (without tempo indication) | — | ||
| 31-10 | Toccata in D minor, BWV 913: 1. - | — | ||
| 31-11 | Toccata in D minor, BWV 913: 2. Thema | — | ||
| 31-12 | Toccata in D minor, BWV 913: 3. - | — | ||
| 31-13 | Toccata in D minor, BWV 913: 4. Allegro | — | ||
| 31-14 | Toccata in E minor, BWV 914: 1. (without tempo indication) | — | ||
| 31-15 | Toccata in E minor, BWV 914: 2. Un poco allegro | — | ||
| 31-16 | Toccata in E minor, BWV 914: 3. Adagio | — | ||
| 31-17 | Toccata in E minor, BWV 914: 4. Fuga. Allegro | — | ||
| 31-18 | Toccata in G, BWV 916: 1. (without tempo indication) | — | ||
| 31-19 | Toccata in G, BWV 916: 2. Adagio | — | ||
| 31-20 | Toccata in G, BWV 916: 3. Allegro e presto | — | ||
| 31-21 | Fantasy in C minor, BWV 906 | — | ||
| 32-1 | Toccata in C minor, BWV 911 | Martha Argerich | — | |
| 32-2 | Partita no. 2 in C minor, BWV 826: I. Sinfonia | Martha Argerich | T-903.514.416-2 | |
| 32-3 | Partita no. 2 in C minor, BWV 826: II. Allemande | Martha Argerich | T-309.901.323-3 | |
| 32-4 | Partita no. 2 in C minor, BWV 826: III. Courante | Martha Argerich | — | |
| 32-5 | Partita no. 2 in C minor, BWV 826: IV. Sarabande | Martha Argerich | — | |
| 32-6 | Partita no. 2 in C minor, BWV 826: V. Rondeau | Martha Argerich | — | |
| 32-7 | Partita no. 2 in C minor, BWV 826: VI. Capriccio | Martha Argerich | T-909.407.008-3 | |
| 32-8 | English Suite no. 2 in A minor, BWV 807: I. Prélude | Martha Argerich | T-070.161.055-0 | |
| 32-9 | English Suite no. 2 in A minor, BWV 807: II. Allemande | Martha Argerich | — | |
| 32-10 | English Suite no. 2 in A minor, BWV 807: III. Courante | Martha Argerich | — | |
| 32-11 | English Suite no. 2 in A minor, BWV 807: IV. Sarabande | Martha Argerich | — | |
| 32-12 | English Suite no. 2 in A minor, BWV 807: V. Bourrée I & II | Martha Argerich | — | |
| 32-13 | English Suite no. 2 in A minor, BWV 807: VI. Gigue | Martha Argerich | — | |
| 33-1 | 15 Two-part Inventions, BWV 772/786: No. 1 in C major, BWV 772 | — | ||
| 33-2 | 15 Two-part Inventions, BWV 772/786: No. 2 in C minor, BWV 773 | — | ||
| 33-3 | 15 Two-part Inventions, BWV 772/786: No. 3 in D, BWV 774 | — | ||
| 33-4 | 15 Two-part Inventions, BWV 772/786: No. 4 in D minor, BWV 775 | — | ||
| 33-5 | 15 Two-part Inventions, BWV 772/786: No. 5 in E-flat, BWV 776 | — | ||
| 33-6 | 15 Two-part Inventions, BWV 772/786: No. 6 in E, BWV 777 | — | ||
| 33-7 | 15 Two-part Inventions, BWV 772/786: No. 7 in E minor, BWV 778 | — | ||
| 33-8 | 15 Two-part Inventions, BWV 772/786: No. 8 in F, BWV 779 | — | ||
| 33-9 | 15 Two-part Inventions, BWV 772/786: No. 9 in F minor, BWV 780 | — | ||
| 33-10 | 15 Two-part Inventions, BWV 772/786: No. 10 in G, BWV 781 | — | ||
| 33-11 | 15 Two-part Inventions, BWV 772/786: No. 11 in G minor, BWV 782 | — | ||
| 33-12 | 15 Two-part Inventions, BWV 772/786: No. 12 in A, BWV 783 | — | ||
| 33-13 | 15 Two-part Inventions, BWV 772/786: No. 13 in A minor, BWV 784 | — | ||
| 33-14 | 15 Two-part Inventions, BWV 772/786: No. 14 in B-flat, BWV 785 | — | ||
| 33-15 | 15 Two-part Inventions, BWV 772/786: No. 15 in B minor, BWV 786 | — | ||
| 33-16 | 15 Three-part Inventions, BWV 787/801: No. 1 in C, BWV 787 | — | ||
| 33-17 | 15 Three-part Inventions, BWV 787/801: No. 2 in C minor, BWV 788 | — | ||
| 33-18 | 15 Three-part Inventions, BWV 787/801: No. 3 in D, BWV 789 | — | ||
| 33-19 | 15 Three-part Inventions, BWV 787/801: No. 4 in D minor, BWV 790 | — | ||
| 33-20 | 15 Three-part Inventions, BWV 787/801: No. 5 in E-flat, BWV 791 | — | ||
| 33-21 | 15 Three-part Inventions, BWV 787/801: No. 6 in E, BWV 792 | — | ||
| 33-22 | 15 Three-part Inventions, BWV 787/801: No. 7 in E minor, BWV 793 | — | ||
| 33-23 | 15 Three-part Inventions, BWV 787/801: No. 8 in F, BWV 794 | — | ||
| 33-24 | 15 Three-part Inventions, BWV 787/801: No. 9 in F minor, BWV 795 | — | ||
| 33-25 | 15 Three-part Inventions, BWV 787/801: No. 10 in G, BWV 796 | — | ||
| 33-26 | 15 Three-part Inventions, BWV 787/801: No. 11 in G minor, BWV 797 | — | ||
| 33-27 | 15 Three-part Inventions, BWV 787/801: No. 12 in A, BWV 798 | — | ||
| 33-28 | 15 Three-part Inventions, BWV 787/801: No. 13 in A minor, BWV 799 | — | ||
| 33-29 | 15 Three-part Inventions, BWV 787/801: No. 14 in B-flat, BWV 800 | — | ||
| 33-30 | 15 Three-part Inventions, BWV 787/801: No. 15 in B minor, BWV 801 | — | ||
| 34-1 | Suite in G minor, BWV 995: Preludio | Göran Söllscher | — | |
| 34-2 | Suite in G minor for Lute, BWV 995: 2. Allemande | — | ||
| 34-3 | Suite in G minor, BWV 995: Preludio | Göran Söllscher | — | |
| 34-4 | Suite in G minor, BWV 995: Preludio | Göran Söllscher | — | |
| 34-5 | Suite in G minor, BWV 995: Preludio | Göran Söllscher | — | |
| 34-6 | Suite in G minor, BWV 995: Preludio | Göran Söllscher | — | |
| 34-7 | Suite in G minor, BWV 996: IV. Sarabande | Göran Söllscher | — | |
| 34-8 | Suite in G minor, BWV 996: IV. Sarabande | Göran Söllscher | — | |
| 34-9 | Suite in G minor, BWV 996: IV. Sarabande | Göran Söllscher | — | |
| 34-10 | Suite in G minor, BWV 996: IV. Sarabande | Göran Söllscher | — | |
| 34-11 | Suite in G minor, BWV 996: IV. Sarabande | Göran Söllscher | — | |
| 34-12 | Suite in G minor, BWV 996: IV. Sarabande | Göran Söllscher | — | |
| 34-13 | Suite in C minor, BWV 997: III. Sarabande | Göran Söllscher | — | |
| 34-14 | Suite in C minor, BWV 997: III. Sarabande | Göran Söllscher | — | |
| 34-15 | Suite in C minor, BWV 997: III. Sarabande | Göran Söllscher | — | |
| 34-16 | Suite in C minor, BWV 997: III. Sarabande | Göran Söllscher | — | |
| 34-17 | Prelude, Fugue and Allegro in E-flat major, BWV 998: Arr. for Guitar and Lute: 1. Praeludium | — | ||
| 34-18 | Prelude, Fugue and Allegro in E-flat major, BWV 998: Arr. for Guitar and Lute: 2. Fugue | — | ||
| 34-19 | Prelude, Fugue and Allegro in E-flat major, BWV 998: Arr. for Guitar and Lute: 3. Allegro | — | ||
| 35-1 | Sonata for Violin Solo No. 1 in G minor, BWV 1001: 1. Adagio | — | ||
| 35-2 | Sonata for Violin Solo No. 1 in G minor, BWV 1001: 2. Fuga (Allegro) | — | ||
| 35-3 | Sonata for Violin Solo No. 1 in G minor, BWV 1001: 3. Siciliana | — | ||
| 35-4 | Sonata for Violin Solo No. 1 in G minor, BWV 1001: 4. Presto | — | ||
| 35-5 | Partita for Violin Solo No. 1 in B minor, BWV 1002: 1a. Allemanda | — | ||
| 35-6 | Partita for Violin Solo No. 1 in B minor, BWV 1002: - Double | — | ||
| 35-7 | Partita for Violin Solo No. 1 in B minor, BWV 1002: 2a. Corrente | — | ||
| 35-8 | Partita for Violin Solo No. 1 in B minor, BWV 1002: - Double | — | ||
| 35-9 | Partita for Violin Solo No. 1 in B minor, BWV 1002: 3a. Sarabande | — | ||
| 35-10 | Partita for Violin Solo No. 1 in B minor, BWV 1002: 6. Double | — | ||
| 35-11 | Partita for Violin Solo No. 1 in B minor, BWV 1002: 4a. Tempo di Borea | — | ||
| 35-12 | Partita for Violin Solo No. 1 in B minor, BWV 1002: 8. Double | — | ||
| 35-13 | Sonata for Violin Solo No. 2 in A minor, BWV 1003: 1. Grave | — | ||
| 35-14 | Sonata for Violin Solo No. 2 in A minor, BWV 1003: 2. Fuga | — | ||
| 35-15 | Sonata for Violin Solo No. 2 in A minor, BWV 1003: 3. Andante | — | ||
| 35-16 | Sonata for Violin Solo No. 2 in A minor, BWV 1003: 4. Allegro | — | ||
| 36-1 | Partita for Violin Solo No. 2 in D minor, BWV 1004: 1. Allemande | — | ||
| 36-2 | Partita for Violin Solo No. 2 in D minor, BWV 1004: 2. Courante | — | ||
| 36-3 | Partita for Violin Solo No. 2 in D minor, BWV 1004: 3. Sarabande | — | ||
| 36-4 | Partita for Violin Solo No. 2 in D minor, BWV 1004: 4. Gigue | — | ||
| 36-5 | Partita for Violin Solo No. 2 in D minor, BWV 1004: 5. Chaconne | — | ||
| 36-6 | Sonata for Violin Solo No. 3 in C major, BWV 1005: 1. Adagio | — | ||
| 36-7 | Sonata for Violin Solo No. 3 in C major, BWV 1005: 2. Fuga | — | ||
| 36-8 | Sonata for Violin Solo No. 3 in C major, BWV 1005: 3. Largo | — | ||
| 36-9 | Sonata for Violin Solo No. 3 in C major, BWV 1005: 4. Allegro assai | — | ||
| 36-10 | Partita no. 3 E-dur, BWV 1006: I. Preludio | Nathan Milstein | T-041.917.934-2 | |
| 36-11 | Partita for Violin Solo No. 3 in E major, BWV 1006: 2. Loure | — | ||
| 36-12 | Partita for Violin Solo No. 3 in E major, BWV 1006: 3. Gavotte en Rondeau | — | ||
| 36-13 | Partita for Violin Solo No. 3 in E major, BWV 1006: 4a. Minuet I | — | ||
| 36-14 | Partita for Violin Solo No. 3 in E major, BWV 1006: 4b. Minuet II | — | ||
| 36-15 | Partita for Violin Solo No. 3 in E major, BWV 1006: 5. Bourrée | — | ||
| 36-16 | Partita for Violin Solo No. 3 in E major, BWV 1006: 6. Gigue | — | ||
| 37-1 | Sonata for Violin and Harpsichord no. 1 in B minor, BWV 1014: I. Adagio | Reinhard Goebel, Robert Hill | — | |
| 37-2 | Sonata for Violin and Harpsichord no. 1 in B minor, BWV 1014: II. Allegro | Reinhard Goebel, Robert Hill | — | |
| 37-3 | Sonata for Violin and Harpsichord no. 1 in B minor, BWV 1014: III. Andante | Reinhard Goebel, Robert Hill | T-801.724.839-5 | |
| 37-4 | Sonata for Violin and Harpsichord no. 1 in B minor, BWV 1014: IV. Allegro | Reinhard Goebel, Robert Hill | T-318.676.528-2 | |
| 37-5 | Sonata for Violin and Harpsichord no. 2 in A major, BWV 1015: I. [without tempo indication] | Reinhard Goebel, Robert Hill | T-800.184.797-9 | |
| 37-6 | Sonata for Violin and Harpsichord no. 2 in A major, BWV 1015: II. Allegro assai | Reinhard Goebel, Robert Hill | — | |
| 37-7 | Sonata for Violin and Harpsichord no. 2 in A major, BWV 1015: III. Andante un poco | Reinhard Goebel, Robert Hill | — | |
| 37-8 | Sonata for Violin and Harpsichord no. 2 in A major, BWV 1015: IV. Presto | Reinhard Goebel, Robert Hill | T-318.676.528-2 | |
| 37-9 | Sonata for Violin and Harpsichord no. 3 in E major, BWV 1016: I. Adagio | Reinhard Goebel, Robert Hill | — | |
| 37-10 | Sonata for Violin and Harpsichord no. 3 in E major, BWV 1016: II. Allegro | Reinhard Goebel, Robert Hill | — | |
| 37-11 | Sonata for Violin and Harpsichord no. 3 in E major, BWV 1016: III. Adagio ma non tanto | Reinhard Goebel, Robert Hill | — | |
| 37-12 | Sonata for Violin and Harpsichord no. 3 in E major, BWV 1016: IV. Allegro | Reinhard Goebel, Robert Hill | T-318.676.528-2 | |
| 37-13 | Sonata for Violin and Harpsichord no. 4 in C minor, BWV 1017: I. Siciliano (Largo) | Reinhard Goebel, Robert Hill | — | |
| 37-14 | Sonata for Violin and Harpsichord no. 4 in C minor, BWV 1017: II. Allegro | Reinhard Goebel, Robert Hill | — | |
| 37-15 | Sonata for Violin and Harpsichord no. 4 in C minor, BWV 1017: III. Adagio ma non tanto | Reinhard Goebel, Robert Hill | — | |
| 37-16 | Sonata for Violin and Harpsichord no. 4 in C minor, BWV 1017: IV. Allegro assai | Reinhard Goebel, Robert Hill | T-318.676.528-2 | |
| 37-17 | Sonata for Violin and Harpsichord no. 5 in F minor, BWV 1018: I. Largo | Reinhard Goebel, Robert Hill | T-070.160.313-5 | |
| 37-18 | Sonata for Violin and Harpsichord no. 5 in F minor, BWV 1018: II. Allegro | Reinhard Goebel, Robert Hill | — | |
| 37-19 | Sonata for Violin and Harpsichord no. 5 in F minor, BWV 1018: III. Adagio | Reinhard Goebel, Robert Hill | — | |
| 37-20 | Sonata for Violin and Harpsichord no. 5 in F minor, BWV 1018: IV. Vivace | Reinhard Goebel, Robert Hill | — | |
| 38-1 | Suite for Cello Solo no. 1 in G major, BWV 1007: 1. Prélude | Pierre Fournier | — | |
| 38-2 | Cello Suite no. 1 in G major, BWV 1007: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 38-3 | Cello Suite no. 1 in G major, BWV 1007: III. Courante | Pierre Fournier | — | |
| 38-4 | 무반주 첼로 모음곡 1번 중 "사라방드" [Unaccompanied Cello no. 1, Sarabande] | Pierre Fournier | — | |
| 38-5 | Cello Suite no. 1 in G major, BWV 1007: V. Menuet I/II | Pierre Fournier | — | |
| 38-6 | Cello Suite no. 1 in G major, BWV 1007: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 38-7 | Cello Suite no. 2 in D minor, BWV 1008: I. Prelude | Pierre Fournier | — | |
| 38-8 | Cello Suite no. 2 in D minor, BWV 1008: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 38-9 | Cello Suite no. 2 in D minor, BWV 1008: III. Courante | Pierre Fournier | — | |
| 38-10 | Cello Suite no. 2 in D minor, BWV 1008: IV. Sarabande | Pierre Fournier | — | |
| 38-11 | Cello Suite no. 2 in D minor, BWV 1008: V. Menuet I/II | Pierre Fournier | — | |
| 38-12 | Cello Suite no. 2 in D minor, BWV 1008: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 38-13 | Cello Suite no. 3 in C major, BWV 1009: I. Prelude | Pierre Fournier | — | |
| 38-14 | Cello Suite no. 3 in C major, BWV 1009: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 38-15 | Cello Suite no. 3 in C major, BWV 1009: III. Courante | Pierre Fournier | — | |
| 38-16 | Cello Suite no. 3 in C major, BWV 1009: IV. Sarabande | Pierre Fournier | — | |
| 38-17 | Cello Suite no. 3 in C major, BWV 1009: V. Bourree I/II | Pierre Fournier | — | |
| 38-18 | Cello Suite no. 3 in C major, BWV 1009: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 39-1 | Cello Suite no. 4 in E-flat major, BWV 1010: I. Prelude | Pierre Fournier | — | |
| 39-2 | Cello Suite no. 4 in E-flat major, BWV 1010: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 39-3 | Cello Suite no. 4 in E-flat major, BWV 1010: III. Courante | Pierre Fournier | — | |
| 39-4 | Cello Suite no. 4 in E-flat major, BWV 1010: IV. Sarabande | Pierre Fournier | — | |
| 39-5 | Cello Suite no. 4 in E-flat major, BWV 1010: V. Bourree I/II | Pierre Fournier | — | |
| 39-6 | Cello Suite no. 4 in E-flat major, BWV 1010: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 39-7 | Cello Suite no. 5 in C minor, BWV 1011: I. Prelude | Pierre Fournier | T-925.383.914-4 | |
| 39-8 | Cello Suite no. 5 in C minor, BWV 1011: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 39-9 | Cello Suite no. 5 in C minor, BWV 1011: III. Courante | Pierre Fournier | T-925.383.914-4 | |
| 39-10 | Cello Suite no. 5 in C minor, BWV 1011: IV. Sarabande | Pierre Fournier | — | |
| 39-11 | Cello Suite no. 5 in C minor, BWV 1011: V. Gavotte I/II | Pierre Fournier | — | |
| 39-12 | Cello Suite no. 5 in C minor, BWV 1011: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 39-13 | Cello Suite no. 6 in D major, BWV 1012: I. Prelude | Pierre Fournier | — | |
| 39-14 | Cello Suite no. 6 in D major, BWV 1012: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 39-15 | Cello Suite no. 6 in D major, BWV 1012: III. Courante | Pierre Fournier | — | |
| 39-16 | Cello Suite no. 6 in D major, BWV 1012: IV. Sarabande | Pierre Fournier | — | |
| 39-17 | Cello Suite no. 6 in D major, BWV 1012: V. Gavotte I/II | Pierre Fournier | — | |
| 39-18 | Cello Suite no. 6 in D major, BWV 1012: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 40-1 | Sonata for Viola da Gamba and Harpsichord no. 1 in G major, BWV 1027: I. Adagio | Martha Argerich, Mischa Maisky | T-001.439.586-8 | |
| 40-2 | Sonata for Viola da Gamba and Harpsichord no. 1 in G major, BWV 1027: II. Allegro ma non tanto | Martha Argerich, Mischa Maisky | — | |
| 40-3 | Sonata for Viola da Gamba and Harpsichord no. 1 in G major, BWV 1027: III. Andante | Martha Argerich, Mischa Maisky | T-902.685.622-4 | |
| 40-4 | Sonata for Viola da Gamba and Harpsichord no. 1 in G major, BWV 1027: IV. Allegro moderato | Martha Argerich, Mischa Maisky | — | |
| 40-5 | Sonata for Viola da Gamba and Harpsichord no. 2 in D major, BWV 1028: I. Adagio | Martha Argerich, Mischa Maisky | T-001.439.586-8 | |
| 40-6 | Sonata for Viola da Gamba and Harpsichord no. 2 in D major, BWV 1028: II. Allegro | Martha Argerich, Mischa Maisky | — | |
| 40-7 | Sonata for Viola da Gamba and Harpsichord no. 2 in D major, BWV 1028: III. Andante | Martha Argerich, Mischa Maisky | T-902.685.622-4 | |
| 40-8 | Sonata for Viola da Gamba and Harpsichord no. 2 in D major, BWV 1028: IV. Allegro | Martha Argerich, Mischa Maisky | — | |
| 40-9 | Sonata for Viola da Gamba and Harpsichord no. 3 in G minor, BWV 1029: I. Vivace | Martha Argerich, Mischa Maisky | — | |
| 40-10 | Sonata for Viola da Gamba and Harpsichord no. 3 in G minor, BWV 1029: II. Adagio | Martha Argerich, Mischa Maisky | T-001.439.586-8 | |
| 40-11 | Sonata for Viola da Gamba and Harpsichord no. 3 in G minor, BWV 1029: III. Allegro | Martha Argerich, Mischa Maisky | T-914.323.864-6 | |
| 40-12 | Sonata for Violin and Harpsichord No. 6 in G major, BWV 1019: 1. Allegro | — | ||
| 40-13 | Sonata for Violin and Harpsichord No. 6 in G major, BWV 1019: 2. Largo | — | ||
| 40-14 | Sonata for Violin and Harpsichord No. 6 in G major, BWV 1019: 3. Allegro | — | ||
| 40-15 | Sonata for Violin and Harpsichord No. 6 in G major, BWV 1019: 4. Adagio | — | ||
| 40-16 | Sonata for Violin and Harpsichord No. 6 in G major, BWV 1019: 5. Allegro | — | ||
| 41-1 | Flute Sonata in B minor, BWV 1030: 3. Presto (Allegro) | Aurèle Nicolet, Karl Richter | — | |
| 41-2 | Flute Sonata in B minor, BWV 1030: 3. Presto (Allegro) | Aurèle Nicolet, Karl Richter | — | |
| 41-3 | Flute Sonata in B minor, BWV 1030: 3. Presto (Allegro) | Aurèle Nicolet, Karl Richter | — | |
| 41-4 | Flute Sonata in E-flat major, BWV 1031: 1. Allegro moderato | Aurèle Nicolet, Karl Richter | — | |
| 41-5 | Flute Sonata in E-flat major, BWV 1031: 1. Allegro moderato | Aurèle Nicolet, Karl Richter | — | |
| 41-6 | Flute Sonata in E-flat major, BWV 1031: 1. Allegro moderato | Aurèle Nicolet, Karl Richter | — | |
| 41-7 | Flute Sonata in A major, BWV 1032: 3. Allegro | Aurèle Nicolet, Karl Richter | — | |
| 41-8 | Flute Sonata in A major, BWV 1032: 3. Allegro | Aurèle Nicolet, Karl Richter | — | |
| 41-9 | Flute Sonata in A major, BWV 1032: 3. Allegro | Aurèle Nicolet, Karl Richter | — | |
| 41-10 | Partita in A minor for Solo Flute, BWV 1013: 1. Allemande | Aurèle Nicolet | — | |
| 41-11 | Partita in A minor for Solo Flute, BWV 1013: 1. Allemande | Aurèle Nicolet | — | |
| 41-12 | Partita in A minor for Solo Flute, BWV 1013: 1. Allemande | Aurèle Nicolet | — | |
| 41-13 | Partita in A minor for Solo Flute, BWV 1013: 1. Allemande | Aurèle Nicolet | — | |
| 41-14 | Flute Sonata in E minor, BWV 1034: 1. Adagio ma non tanto | — | ||
| 41-15 | Flute Sonata in E minor, BWV 1034: 2. Allegro | — | ||
| 41-16 | Flute Sonata in E minor, BWV 1034: 3. Andante | — | ||
| 41-17 | Flute Sonata in E minor, BWV 1034: 4. Allegro | — | ||
| 41-18 | Flute Sonata in E major, BWV 1035: 1. Adagio ma non tanto | — | ||
| 41-19 | Flute Sonata in E major, BWV 1035: 2. Allegro | — | ||
| 41-20 | Flute Sonata in E major, BWV 1035: 3. Siciliano | — | ||
| 41-21 | Flute Sonata in E major, BWV 1035: 4. Allegro assai | — | ||
| 42-1 | Brandenburg Concerto No. 1 in F major, BWV 1046: 1. (Allegro) | — | ||
| 42-2 | Brandenburg Concerto No. 1 in F major, BWV 1046: 2. Adagio | — | ||
| 42-3 | Brandenburg Concerto No. 1 in F major, BWV 1046: 3. Allegro | — | ||
| 42-4 | Brandenburg Concerto No. 1 in F major, BWV 1046: 4. Menuett - Trio - Polonaise - Menuett - Trio | — | ||
| 42-5 | Brandenburg Concerto No. 3 in G major, BWV 1048: 1. (Allegro) | — | ||
| 42-6 | Brandenburg Concerto No. 3 in G major, BWV 1048: 2. Adagio | — | ||
| 42-7 | Brandenburg Concerto No. 3 in G major, BWV 1048: 3. Allegro | — | ||
| 42-8 | Brandenburg Concerto No. 5 in D major, BWV 1050: 1. Allegro | — | ||
| 42-9 | Brandenburg Concerto No. 5 in D major, BWV 1050: 2. Affetuoso | — | ||
| 42-10 | Brandenburg Concerto No. 5 in D major, BWV 1050: 3. Allegro | — | ||
| 43-1 | Brandenburg Concerto No. 6 in B-flat major, BWV 1051: 1. (Allegro) | — | ||
| 43-2 | Brandenburg Concerto No. 6 in B-flat major, BWV 1051: 2. Adagio ma non tanto | — | ||
| 43-3 | Brandenburg Concerto No. 6 in B-flat major, BWV 1051: 3. Allegro | — | ||
| 43-4 | Brandenburg Concerto №4 in G major, BWV 1049: I. Allegro | Giuliano Carmignola, Michala Petri, Nikola Tarasov, Orchestra Mozart, Claudio Abbado | T-914.325.765-2 | |
| 43-5 | Brandenburg Concerto No. 4 in G major, BWV 1049: 2. Andante | — | ||
| 43-6 | Brandenburg Concerto No. 4 in G major, BWV 1049: 3. Presto | — | ||
| 43-7 | Brandenburg Concerto No. 2 in F major, BWV 1047: 1. (Allegro) | — | ||
| 43-8 | Brandenburg Concerto No. 2 in F major, BWV 1047: 2. Andante | — | ||
| 43-9 | Brandenburg Concerto No. 2 in F major, BWV 1047: 3. Allegro assai | — | ||
| 44-1 | Ouverture No. 1, BWV 1066: I. Ouverture | The English Concert, Trevor Pinnock | T-702.622.103-6 | |
| 44-2 | Ouverture No. 1 in C major, BWV 1066: II. Courante | The English Concert, Trevor Pinnock | T-309.901.323-3 | |
| 44-3 | Ouverture No. 1 in C major, BWV 1066: III. Gavotte I/II | The English Concert, Trevor Pinnock | — | |
| 44-4 | Ouverture No. 1 in C major, BWV 1066: IV. Forlane | The English Concert, Trevor Pinnock | — | |
| 44-5 | Ouverture No. 1 in C major, BWV 1066: V. Menuet I/II | The English Concert, Trevor Pinnock | — | |
| 44-6 | Ouverture No. 1 in C major, BWV 1066: VI. Bourree I/II | The English Concert, Trevor Pinnock | — | |
| 44-7 | Ouverture No. 1 in C major, BWV 1066: VII. Passepied I/II | The English Concert, Trevor Pinnock | — | |
| 44-8 | Ouverture No. 2 in B minor, BWV 1067: I. Ouverture | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | T-702.622.103-6 | |
| 44-9 | Ouverture No. 2 in B minor, BWV 1067: II. Rondeau | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | — | |
| 44-10 | Ouverture No. 2 in B minor, BWV 1067: III. Sarabande | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | — | |
| 44-11 | Ouverture No. 2 in B minor, BWV 1067: IV. Bourree I/II | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | — | |
| 44-12 | Ouverture No. 2 in B minor, BWV 1067: V. Polonaise | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | — | |
| 44-13 | Ouverture No. 2 in B minor, BWV 1067: VI. Menuet | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | T-011.654.484-3 | |
| 44-14 | Ouverture no. 2 in B minor, BWV 1067: VII. Badinerie | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | T-011.654.484-3 | |
| 44-15 | Ouverture No. 3 in D major, BWV 1068: I. Ouverture | The English Concert, Trevor Pinnock | T-702.622.103-6 | |
| 44-16 | Suite no. 3 in D, BWV 1068: II. Air | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | T-914.248.874-2 | |
| 44-17 | Ouverture No. 3 in D major, BWV 1068: III. Gavotte I/II | The English Concert, Trevor Pinnock | — | |
| 44-18 | Ouverture No. 3 in D major, BWV 1068: IV. Bourree | The English Concert, Trevor Pinnock | — | |
| 44-19 | Ouverture No. 3 in D major, BWV 1068: V. Gigue | The English Concert, Trevor Pinnock | — | |
| 44-20 | Ouverture No. 4 in D major, BWV 1069: I. Ouverture | The English Concert, Trevor Pinnock | T-702.622.103-6 | |
| 44-21 | Ouverture No. 4, BWV 1069: II. Bourree I/II | The English Concert, Trevor Pinnock | — | |
| 44-22 | Ouverture No. 4 in D major, BWV 1069: III. Gavotte | The English Concert, Trevor Pinnock | — | |
| 44-23 | Ouverture No. 4 in D major, BWV 1069: IV. Menuet I/II | The English Concert, Trevor Pinnock | — | |
| 44-24 | Ouverture No. 4 in D major, BWV 1069: V. Rejouissance | The English Concert, Trevor Pinnock | — | |
| 45-1 | Concerto for Violin, Strings and Continuo in E major, BWV 1042: I. Allegro | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-011.422.353-8 | |
| 45-2 | Concerto for Violin, Strings and Continuo in E major, BWV 1042: II. Adagio | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-001.439.586-8 | |
| 45-3 | Violin Concerto no. 2 in E, BWV 1042: 3. Allegro assai | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-306.395.786-4 | |
| 45-4 | Concerto for 2 Violins, Strings and Continuo in D minor, BWV 1043: I. Vivace | Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 45-5 | Concerto for Two Violins in D minor, BWV 1043: Largo ma non tanto | Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 45-6 | Concerto for 2 Violins, Strings and Continuo in D minor, BWV 1043: III. Allegro | Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 45-7 | Concerto for Violin, Strings and Continuo in A minor, BWV 1041: I. Allegro moderato | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-902.685.630-4 | |
| 45-8 | Concerto for Violin, Strings and Continuo in A minor, BWV 1041: II. Andante | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 45-9 | Concerto for Violin, Strings and Continuo in A minor, BWV 1041: III. Allegro assai | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-306.395.786-4 | |
| 45-10 | Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060: I. Allegro | Allan Vogel, Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-011.422.353-8 | |
| 45-11 | Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060: II. Adagio | Allan Vogel, Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-071.579.534-8 | |
| 45-12 | Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060: III. Allegro | Allan Vogel, Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 46-1 | Concerto for Harpsichord and Strings in D minor, BWV 1052: I. Allegro | The English Concert, Trevor Pinnock | T-070.161.055-0 | |
| 46-2 | Concerto for Harpsichord and Strings in D minor, BWV 1052: II. Adagio | The English Concert, Trevor Pinnock | T-309.901.323-3 | |
| 46-3 | Concerto for Harpsichord and Strings in D minor, BWV 1052: III. Allegro | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 46-4 | Concerto for Harpsichord and Strings in E major, BWV 1053: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-071.086.672-0 | |
| 46-5 | Concerto for Harpsichord and Strings in E major, BWV 1053: II. Siciliano | The English Concert, Trevor Pinnock | T-329.516.968-1 | |
| 46-6 | Concerto for Harpsichord and Strings in E major, BWV 1053: III. Allegro | The English Concert, Trevor Pinnock | — | |
| 46-7 | Concerto for Harpsichord and Strings in D major, BWV 1054: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-070.161.055-0 | |
| 46-8 | Concerto for Harpsichord and Strings in D major, BWV 1054: II. Adagio e piano sempre | The English Concert, Trevor Pinnock | — | |
| 46-9 | Concerto for Harpsichord and Strings in D major, BWV 1054: III. Allegro | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 46-10 | Concerto for Oboe d'amore, Strings and Basso Continuo in A major, BWV 1055R: I. | Trevor Pinnock, David Reichenberg, The English Concert | T-313.539.488-2 | |
| 46-11 | Concerto for Oboe d'amore, Strings and Basso Continuo in A major, BWV 1055R: II. Larghetto | Trevor Pinnock, David Reichenberg, The English Concert | — | |
| 46-12 | Concerto for Oboe d'amore, Strings and Basso Continuo in A major, BWV 1055R: III. Allegro ma non tanto | Trevor Pinnock, David Reichenberg, The English Concert | T-910.415.380-2 | |
| 47-1 | Concerto for Harpsichord and Strings in A major, BWV 1055: I. Allegro | The English Concert, Trevor Pinnock | T-071.086.672-0 | |
| 47-2 | Concerto for Harpsichord and Strings in A major, BWV 1055: II. Larghetto | The English Concert, Trevor Pinnock | T-309.901.323-3 | |
| 47-3 | Concerto for Harpsichord and Strings in A major, BWV 1055: III. Allegro ma non tanto | The English Concert, Trevor Pinnock | — | |
| 47-4 | Concerto for Harpsichord and Strings in F minor, BWV 1056: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-071.086.672-0 | |
| 47-5 | Concerto for Harpsichord and Strings in F minor, BWV 1056: II. Largo | The English Concert, Trevor Pinnock | T-309.901.323-3 | |
| 47-6 | Concerto for Harpsichord and Strings in F minor, BWV 1056: III. Presto | The English Concert, Trevor Pinnock | — | |
| 47-7 | Concerto for Harpsichord, 2 Recorders and Strings in F major, BWV 1057: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-011.422.353-8 | |
| 47-8 | Concerto for Harpsichord, 2 Recorders and Strings in F major, BWV 1057: II. Andante | The English Concert, Trevor Pinnock | — | |
| 47-9 | Concerto for Harpsichord, 2 Recorders and Strings in F major, BWV 1057: III. Allegro assai | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 47-10 | Concerto for Harpsichord and Strings in G minor, BWV 1058: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-070.161.055-0 | |
| 47-11 | Concerto for Harpsichord and Strings in G minor, BWV 1058: II. Andante | The English Concert, Trevor Pinnock | T-309.901.323-3 | |
| 47-12 | Concerto for Harpsichord and Strings in G minor, BWV 1058: III. Allegro assai | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-1 | Concerto for 4 Harpsichords and Strings in A minor, BWV 1065: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-2 | Concerto for 4 Harpsichords and Strings in A minor, BWV 1065: II. Largo | The English Concert, Trevor Pinnock | — | |
| 48-3 | Concerto for 4 Harpsichords and Strings in A minor, BWV 1065: III. Allegro | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-4 | Concerto for 3 Harpsichords and Strings in C major, BWV 1064: I. Allegro | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-5 | Concerto for 3 Harpsichords and Strings in C major, BWV 1064: II. Adagio | The English Concert, Trevor Pinnock | T-802.445.410-3 | |
| 48-6 | Concerto for 3 Harpsichords and Strings in C major, BWV 1064: III. Allegro | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-7 | Concerto for 3 Harpsichords and Strings in D minor, BWV 1063: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-8 | Concerto for 3 Harpsichords and Strings in D minor, BWV 1063: II. Alla Siciliana | The English Concert, Trevor Pinnock | — | |
| 48-9 | Concerto for 3 Harpsichords and Strings in D minor, BWV 1063: III. Allegro | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-10 | Concerto for Oboe, Violin, Strings and Basso Continuo in C minor, BWV 1060R: I. Allegro | David Reichenberg, Trevor Pinnock, Simon Standage, The English Concert | T-306.395.786-4 | |
| 48-11 | Concerto for Oboe, Violin, Strings and Basso Continuo in C minor, BWV 1060R: II. Adagio | David Reichenberg, Trevor Pinnock, Simon Standage, The English Concert | T-802.445.410-3 | |
| 48-12 | Concerto for Oboe, Violin, Strings and Basso Continuo in C minor, BWV 1060R: III. Allegro | David Reichenberg, Trevor Pinnock, Simon Standage, The English Concert | T-306.395.786-4 | |
| 49-1 | Musical Offering, BWV 1079: I. Ricercar a 3 | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-2 | Musical Offering, BWV 1079: II. Canon perpetuus a 2 | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-3 | Musical Offering, BWV 1079: III. Canon a 2 violini in unisono | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-4 | Musical Offering, BWV 1079: IV. Canon a 2 per motum contrarium | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-5 | Musical Offering, BWV 1079: V. Canon a 2 per augmentationem, contrario motu | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-6 | Musical Offering, BWV 1079: VI. Canon a 2 per tonos | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-7 | Musical Offering, BWV 1079: VII. Fuga canonica in epidiapente | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-8 | Musical Offering, BWV 1079: VIII. Canon perpetuus super thema regium | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-9 | Musical Offering, BWV 1079: IX. Canon perpetuus | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-10 | Musical Offering, BWV 1079: Canon a 2 | — | ||
| 49-11 | Musical Offering, BWV 1079: Canon a 4 | — | ||
| 49-12 | Musical Offering, BWV 1079: Sonata a 3 - I Largo | — | ||
| 49-13 | Musical Offering, BWV 1079: Sonata a 3 - II Allegro | — | ||
| 49-14 | Musical Offering, BWV 1079: Sonata a 3 - III Andante | — | ||
| 49-15 | Musical Offering, BWV 1079: Sonata a 3 - IV Allegro | — | ||
| 49-16 | Musical Offering, BWV 1079: Ricercar a 6 | — | ||
| 50-1 | The Art of Fugue, BWV 1080: Contrapunctus 1 | Pierre-Laurent Aimard | T-324.161.368-9 | |
| 50-2 | The Art of Fugue, BWV 1080: Contrapunctus 2 | Pierre-Laurent Aimard | T-309.901.323-3 | |
| 50-3 | The Art of Fugue, BWV 1080: Contrapunctus 3 | Pierre-Laurent Aimard | — | |
| 50-4 | The Art of Fugue, BWV 1080: Contrapunctus 4 | Pierre-Laurent Aimard | — | |
| 50-5 | The Art of Fugue, BWV 1080: Contrapunctus 5 | Pierre-Laurent Aimard | — | |
| 50-6 | The Art of Fugue, BWV 1080: Contrapunctus 6 a 4 in Style Francese | Pierre-Laurent Aimard | T-320.964.712-7 | |
| 50-7 | The Art of Fugue, BWV 1080: Contrapunctus 7 a 4 per Augmentationem et Diminutionem | Pierre-Laurent Aimard | — | |
| 50-8 | The Art of Fugue, BWV 1080: Contrapunctus 8 a 3 | Pierre-Laurent Aimard | — | |
| 50-9 | The Art of Fugue, BWV 1080: Contrapunctus 9 a 4 alla Duodecima | Pierre-Laurent Aimard | — | |
| 50-10 | The Art of Fugue, BWV 1080: Contrapunctus 10 a 4 alla Decima | Pierre-Laurent Aimard | — | |
| 50-11 | The Art of Fugue, BWV 1080: Contrapunctus 11 a 4 | Pierre-Laurent Aimard | — | |
| 50-12 | The Art of Fugue, BWV 1080: Contrapunctus inversus 12.1 a 4 | Pierre-Laurent Aimard | — | |
| 50-13 | The Art of Fugue, BWV 1080: Contrapunctus inversus 12.2 a 4 | Pierre-Laurent Aimard | — | |
| 50-14 | The Art of Fugue, BWV 1080: Contrapunctus inversus 13.1 a 3 | Pierre-Laurent Aimard | — | |
| 50-15 | The Art of Fugue, BWV 1080: Contrapunctus inversus 13.2 a 3 | Pierre-Laurent Aimard | — | |
| 50-16 | The Art of Fugue, BWV 1080: Canon alla Ottava | Pierre-Laurent Aimard | — | |
| 50-17 | The Art of Fugue, BWV 1080: Canon alla Decima in Contrapuncto all Terza | Pierre-Laurent Aimard | — | |
| 50-18 | The Art of Fugue, BWV 1080: Canon alla Duodecima in Contrapuncto alla Quinta | Pierre-Laurent Aimard | — | |
| 50-19 | The Art of Fugue, BWV 1080: Canon per Augmentationem in Contrario Motu | Pierre-Laurent Aimard | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
028947910435 is a Universal Product Code (UPC) assigned to Masterworks: The Original Jackets Collection by Johann Sebastian Bach. 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 934 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
028947910435 is the Universal Product Code (UPC barcode) for the release “Masterworks: The Original Jackets Collection” by Johann Sebastian Bach, released 2013-01-01 on Deutsche Grammophon. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 934 tracks, each with its own ISRC. Tracks include DEF056930100, DEF056701091, DEF056701092.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Cantata, BWV 21 "Ich hatte viel Bekümmernis": I. Sinfonia | Münchener Bach-Orchester, Karl Richter | — | |
| 2 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 1: 2. "Ich hatte viel Bekümmernis" | — | ||
| 3 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 1: 3. "Seufzer, Tränen, Kummer, Not" | — | ||
| 4 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 1: 4. "Wie hast du dich, mein Gott" | — | ||
| 5 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 1: 5. "Bäche von gesalznen Zähren" | — | ||
| 6 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 1: 6. "Was betrübst du dich, meine Seele" | — | ||
| 7 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 2: 7. "Ach Jesu, meine Ruh, mein Licht" | — | ||
| 8 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 2: 8. "Komm, mein Jesu, und erquicke" | — | ||
| 9 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 2: 9. "Sei nun wieder zufrieden" | — | ||
| 10 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 2: 10. "Erfreue dich, Seele" | — | ||
| 11 | Ich hatte viel Bekümmernis, Cantata BWV 21: Pt. 2: 11. "Das Lamm, das erwürget ist" | — | ||
| 12 | Ein ungefärbt Gemüte, Cantata BWV 24: 1. "Ein ungefärbt Gemüte" | — | ||
| 13 | Ein ungefärbt Gemüte, Cantata BWV 24: 2. "Die Redlichkeit ist eine von den Gottesgaben" | — | ||
| 14 | Ein ungefärbt Gemüte, Cantata BWV 24: 3. "Alles nun, das ihr wollet" | — | ||
| 15 | Ein ungefärbt Gemüte, Cantata BWV 24: 4. "Die Heuchelei ist eine Brut" | — | ||
| 16 | Ein ungefärbt Gemüte, Cantata BWV 24: 5. "Treu und Wahrheit sei der Grund" | — | ||
| 17 | Ein ungefärbt Gemüte, Cantata BWV 24: 6. "O Gott, du frommer Gott" | — | ||
| 18 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": I. Coro e Concerto "Sie werden aus Saba alle kommen" | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 19 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": II. Chorale "Die Kön'ge aus Saba kamen dar" | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 20 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": III. Recitativo (Basso) "Was dort Jesaias vorhergesehn" | Theo Adam, Münchener Bach-Orchester, Karl Richter | — | |
| 21 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": IV. Aria (Basso) "Gold aus Ophir ist zu schlecht" | Theo Adam, Münchener Bach-Orchester, Karl Richter | — | |
| 22 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": V. Recitativo (Tenore) "Verschmähe nicht, Du, meiner Seele Licht" | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 23 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": VI. Aria (Tenore) "Nimm mich dir zu eigen hin" | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 24 | Kantate, BWV 65 "Sie werden aus Saba alle kommen": VII. Chorale "Ei nun, mein Gott, so fall ich dir" | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 2-1 | Nun komm, der Heiden Heiland, Cantata BWV 61: 1. "Nun komm, der Heiden Heiland" (Choir) | — | ||
| 2-2 | Nun komm, der Heiden Heiland, Cantata BWV 61: 2. "Der Heiland ist gekommen" | — | ||
| 2-3 | Nun komm, der Heiden Heiland, Cantata BWV 61: 3. "Komm, Jesu, komm zu deiner Kirche" | — | ||
| 2-4 | Nun komm, der Heiden Heiland, Cantata BWV 61: 4. "Siehe, ich stehe vor der Tür" | — | ||
| 2-5 | Nun komm, der Heiden Heiland, Cantata BWV 61: 5. "Öffne dich, mein ganzes Herz" | — | ||
| 2-6 | Nun komm, der Heiden Heiland, Cantata BWV 61: 6. "Amen" | — | ||
| 2-7 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 1: 1. "Schwingt freudig euch empor" | — | ||
| 2-8 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 1: 2. "Nun komm, der Heiden Heiland" | — | ||
| 2-9 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 1: 3. "Die Liebe zieht mit sanften Schritten" | — | ||
| 2-10 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 1: 4. "Zwingt die Saiten" | — | ||
| 2-11 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 2: 5. "Willkommen, werter Schatz" | — | ||
| 2-12 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 2: 6. "Der du bist dem Vater gleich" | — | ||
| 2-13 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 2: 7. "Auch mit gedämpften, schwachen Stimmen" | — | ||
| 2-14 | Schwingt freudig euch empor, Cantata BWV 36: Pt. 2: 8. "Lob sei Gott, dem Vater" | — | ||
| 2-15 | Nun komm, der Heiden Heiland II, BWV 62: No. 1 Chorus: »Nun komm, der Heiden Heiland« | The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner | — | |
| 2-16 | "Nun komm, der Heiden Heiland", BWV 62: 2. Aria "Bewundert, o Menschen" (Tenor) | — | ||
| 2-17 | "Nun komm, der Heiden Heiland", BWV 62: 3. Recitative "So geht aus Gottes Herrlichkeit" (Baritone) | — | ||
| 2-18 | "Nun komm, der Heiden Heiland", BWV 62: 4. Aria "Streite, siege, starker Held" (Baritone) | — | ||
| 2-19 | "Nun komm, der Heiden Heiland", BWV 62: 5. Recitative "Wir ehren diese Herrlichkeit" (Soprano, Mezzo-Soprano) | — | ||
| 2-20 | "Nun komm, der Heiden Heiland", BWV 62: 6. Chorale "Lob sei Gott, dem Vater" (Choir) | — | ||
| 3-1 | Ich will den Kreuzstab gerne tragen, Cantata BWV 56: 1. "Ich will den Kreuzstab gerne tragen" | — | ||
| 3-2 | Ich will den Kreuzstab gerne tragen, Cantata BWV 56: 2. "Mein Wandel auf der Welt" | — | ||
| 3-3 | Ich will den Kreuzstab gerne tragen, Cantata BWV 56: 3. "Endlich, endlich wird mein Joch" | — | ||
| 3-4 | Ich will den Kreuzstab gerne tragen, Cantata BWV 56: 4. "Ich stehe fertig und bereit" | — | ||
| 3-5 | Ich will den Kreuzstab gerne tragen, Cantata BWV 56: 5. "Komm, o Tod, du Schlafes Bruder" | — | ||
| 3-6 | Der Friede sei mit dir, Cantata BWV 158: 1. "Der Friede sei mit dir" | — | ||
| 3-7 | Der Friede sei mit dir, Cantata BWV 158: 2. "Welt, ade, ich bin dein müde" | — | ||
| 3-8 | Der Friede sei mit dir, Cantata BWV 158: 3. "Nun, Herr, regiere meinen Sinn" | — | ||
| 3-9 | Der Friede sei mit dir, Cantata BWV 158: 4. "Hier ist das rechte Osterlamm" | — | ||
| 3-10 | Ich habe genug, Cantata BWV 82: 1. "Ich habe genug, ich habe den Heiland" | — | ||
| 3-11 | Ich habe genug, Cantata BWV 82: 2. "Ich habe genug! Mein Trost ist nur allein" | — | ||
| 3-12 | Ich habe genug, Cantata BWV 82: 3. "Schlummert ein, ihr matten Augen" | — | ||
| 3-13 | Ich habe genug, Cantata BWV 82: 4. "Mein Gott! wann kommt das schöne Nun!" | — | ||
| 3-14 | Ich habe genug, Cantata BWV 82: 5. "Ich freue mich auf meinen Tod" | — | ||
| 4-1 | Ein feste Burg ist unser Gott Kantate BWV 80: Ein feste Burg ist unser Gott | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 4-2 | Ein feste Burg ist unser Gott, Cantata BWV 80: 2. "Alles was von Gott geboren" | — | ||
| 4-3 | Ein feste Burg ist unser Gott, Cantata BWV 80: 3. "Erwäge doch, Kind Gottes" | — | ||
| 4-4 | Ein feste Burg ist unser Gott, Cantata BWV 80: 4. "Komm in mein Herzens Haus" | — | ||
| 4-5 | Ein feste Burg ist unser Gott Kantate BWV 80: Ein feste Burg ist unser Gott | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 4-6 | Ein feste Burg ist unser Gott, Cantata BWV 80: 6. "So stehe denn bei Christi blutgefärbter Fahne" | — | ||
| 4-7 | Ein feste Burg ist unser Gott, Cantata BWV 80: 7. "Wie selig sind doch, die Gott im Munde tragen" | — | ||
| 4-8 | Ein feste Burg ist unser Gott Kantate BWV 80: Ein feste Burg ist unser Gott | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 4-9 | Ach wie flüchtig, ach wie nichtig, Cantata BWV 26: 1. "Ach wie flüchtig, ach wie nichtig" | — | ||
| 4-10 | Ach wie flüchtig, ach wie nichtig, Cantata BWV 26: 2. "So schnell ein rauschend Wasser schießt" | — | ||
| 4-11 | Ach wie flüchtig, ach wie nichtig, Cantata BWV 26: 3. "Die Freude wird zu Traurigkeit" | — | ||
| 4-12 | Ach wie flüchtig, ach wie nichtig, Cantata BWV 26: 4. "An irdische Schätze das Herze zu hängen" | — | ||
| 4-13 | Ach wie flüchtig, ach wie nichtig, Cantata BWV 26: 5. "Die höchste Herrlichkeit und Pracht" | — | ||
| 4-14 | Ach wie flüchtig, ach wie nichtig, Cantata BWV 26: 6. "Ach wie flüchtig, ach wie nichtig" | — | ||
| 4-15 | Du Friedefürst, Herr Jesu Christ, Cantata BWV 116: 1. "Du Friedefürst, Herr Jesu Christ" | — | ||
| 4-16 | Du Friedefürst, Herr Jesu Christ, Cantata BWV 116: 2. "Ach, unaussprechlich ist die Not" | — | ||
| 4-17 | Du Friedefürst, Herr Jesu Christ, Cantata BWV 116: 3. "Gedenke doch, o Jesu" | — | ||
| 4-18 | Du Friedefürst, Herr Jesu Christ, Cantata BWV 116: 4. "Ach, wir bekennen unsre Schuld" | — | ||
| 4-19 | Du Friedefürst, Herr Jesu Christ, Cantata BWV 116: 5. "Ach, lass uns durch die scharfen Ruten" | — | ||
| 4-20 | Du Friedefürst, Herr Jesu Christ, Cantata BWV 116: 6. "Erleuchtet auch unser Sinn und Herz" | — | ||
| 5-1 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-2 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-3 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-4 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-5 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-6 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-7 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-8 | 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 | |
| 6-1 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 1. Recit: O holder Tag, erwünschte Zeit | — | ||
| 6-2 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 2. Aria: Spielet, ihr beseelten Lieder | — | ||
| 6-3 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 3. Recit: Doch haltet ein, ihr muntern Saiten | — | ||
| 6-4 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 4. Aria: Ruhet hie, matte Töne | — | ||
| 6-5 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 5. Recit: So glaubt man denn, daß die Musik verführe | — | ||
| 6-6 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 6. Aria: Schweigt, ihr Flöten, schweigt ihr Töne | — | ||
| 6-7 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 7. Recit: Was Luft? was Grab? | — | ||
| 6-8 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 8. Aria: Großer Gönner, dein Vergnügen | — | ||
| 6-9 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 9. Recit: Hochteurer Mann, so fahre ferner fort | — | ||
| 6-10 | "O holder Tag, erwünschte Zeit" Cantata, BWV 210: 10. Aria: Seid beglückt | — | ||
| 6-11 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 1. Adagio: Weichet nur, betrübte Schatten | — | ||
| 6-12 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 2. Recit: Die Welt wird wieder neu | — | ||
| 6-13 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 3. Aria: Phöbus eilt mit schnellen Pferden | — | ||
| 6-14 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 4. Recit: D'rum sucht auch Amor sein Vergnügen | — | ||
| 6-15 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 5. Aria: Wenn die Frühlingslüfte streichen | — | ||
| 6-16 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 6. Recit: Und dieses ist das Glücke | — | ||
| 6-17 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 7. Aria: Sich üben im Lieben | — | ||
| 6-18 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 8. Recit: So sei das Band der keuschen Liebe | — | ||
| 6-19 | Weichet nur, betrübte Schatten, Cantata BWV 202 - "Wedding Cantata": 9. Gavotte: Sehet in Zufriedenheit | — | ||
| 6-20 | Jauchzet Gott in allen Landen, Cantata BWV 51: 1. "Jauchzet Gott in allen Landen" | — | ||
| 6-21 | Jauchzet Gott in allen Landen, Cantata BWV 51: 2. "Wir beten zu dem Tempel an" | — | ||
| 6-22 | Jauchzet Gott in allen Landen, Cantata BWV 51: 3. "Höchster, Höchster mache deine Güte ferner alle Morgen neu" | — | ||
| 6-23 | Jauchzet Gott in allen Landen, Cantata BWV 51: 4. "Sei Lob und Preis mit Ehren" | — | ||
| 6-24 | Jauchzet Gott in allen Landen, Cantata BWV 51: 5. "Alleluja" | — | ||
| 7-1 | "Schweigt stille, plaudert nicht" Cantata, BWV 211 - "Coffee Cantata": 1-3. Schweigt stille, plaudert nicht...Hat man nicht mit seinen Kindern...Du böses Kind | — | ||
| 7-2 | Cantata BWV 211 "Schweigt stille, plaudert nicht": II. Arie: "Ei! wie schmeckt der Coffee süße" | Emma Kirkby, David Thomas, Academy of Ancient Music, Christopher Hogwood | — | |
| 7-3 | "Schweigt stille, plaudert nicht" Cantata, BWV 211 - "Coffee Cantata": 6-7. Mädchen, die von harten Sinnen...Nun folge, was dein Vater spricht | — | ||
| 7-4 | "Schweigt stille, plaudert nicht" Cantata, BWV 211 - "Coffee Cantata": 8-9. Heute noch, lieber Vater...Nun geht und sucht der alte Schlendrian | — | ||
| 7-5 | "Schweigt stille, plaudert nicht" Cantata, BWV 211 - "Coffee Cantata": 10. Chor (Terzett): Die Katze Läßt das Mausen nicht | — | ||
| 7-6 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 1. Ouverture | — | ||
| 7-7 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 2-3. Mehr hahn en neue Oberkeet...Nu, Mieke, gib dein Guschel immer her | — | ||
| 7-8 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 4-5. Ach es schmeckt doch gar zu gut...Der Herr is gut: Allein der Schösser | — | ||
| 7-9 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 6-7. Ach, Herr Schösser...Es bleibt dabei, daß unser Herr beste sei | — | ||
| 7-10 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 8-9. Unser trefflicher, lieber Kammerherr...Er hilft uns allen, alt und jung | — | ||
| 7-11 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 10-11. Das ist galant, es sprich niemand...Und unsre gnädige frau | — | ||
| 7-12 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 12-13. Fünfzig Taler bares Geld...Im Ernst ein Wort | — | ||
| 7-13 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 14-15. Klein-Zsocher müsse so zart und süße...Das ist zu klug vor dich | — | ||
| 7-14 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 16-17. Es nehme zehntausend Dukaten...Das klingt zu liederlich | — | ||
| 7-15 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 18-19. Gib, Schöne, viel Söhne..Du hast wohl recht | — | ||
| 7-16 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 20-21. Dein Wachstum sei feste...Und damit sei es auch genug | — | ||
| 7-17 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 22-23. Und daß ihr's alle wißt...Mein Schatz, erraten! | — | ||
| 7-18 | "Mer hahn en neue Oberkeet" Cantata, BWV 212 - "Peasant Cantata": 24. Chor (Duetto): Wir gehn nun, wo der Dudelsack | — | ||
| 8-1 | Kantate No. 197 "Gott ist unser Zuversicht", BWV 197, No. 8: Vergnügen und Lust, Gedeihen und Heil | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-2 | Kantate No. 58 "Ach Gott, wie manches Herzeleid", BWV 58, No. 3: Ich bin vergnügt in meinem Leiden | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-3 | Kantate No. 204 "Ich bin in mir vergnügt", BWV 204, No. 4: Die Schätzbarkeit der weiten Erden | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-4 | Kanatate No. 97 "In allen meinen Taten", BWV 97, No. 4: Ich traue seiner Gnaden | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-5 | Kantate No. 115 "Mache dich, mein Geist, bereit", BWV 115, No. 4: Bete aber auch dabei | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-6 | Kantate No. 171 "Gott, wie dein Name, so ist auch dein Ruhm", BWV 171, No. 4: Jesus soll mein erstes Wort | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-7 | Messe h-moll, BWV 232 No. 23: Benedictus, Qui Venit In Nomine Domini | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | T-050.283.177-7 | |
| 8-8 | Messe h-moll, BWV 232, No. 5: Laudamus Te | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | T-003.010.019-6 | |
| 8-9 | Cantata No.202 "Weichet Nur, Betrübte Schatten" (Wedding Cantata), BWV 202 5. Aria: Wenn Die Frühlingslüfte Streichen | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-10 | Kantate No. 36 "Schwingt freudig euch empor", BWV 36, No. 7: Auch mit Gedämpften, schwachen Stimmen | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-11 | Kantate No. 187 "Es wartet alles auf dich, dass du ihnen Speise", BWV 187, No. 5: Gott versorget alles Leben | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-12 | Kantate No. 84 "Ich bin vergnügt mit meinem Glücke, das mir der liebe Gott beschert", BWV 84, No. 3: Ich esse mit Freuden mein weniges Brot | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 8-13 | Kantate No. 105 "Herr, gehe nicht ins Gericht mit deinem Knecht", BWV 105, No. 5: Kann ich nur Jesu mir zum Freunde machen | Kathleen Battle, Itzhak Perlman, Orchestra of St. Luke’s, John Nelson | — | |
| 9-1 | Mass in B minor: I. Chor: Kyrie eleison | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-070.093.418-4 | |
| 9-2 | Mass in B minor: II Duett: Christe eleison | Maria Stader, Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 9-3 | Mass in B minor: III. Chor: Kyrie eleison | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-070.093.418-4 | |
| 9-4 | Mass in B minor: IV. Chor: Gloria in excelsis Deo | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-306.483.198-3 | |
| 9-5 | Mass in B minor: V. Chor: Et in terra pax | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-6 | Mass in B minor: VI. Arie: Laudamus te | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-070.912.952-1 | |
| 9-7 | Mass in B minor: VII. Chor: Gratias agimus tibi | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-921.408.876-3 | |
| 9-8 | Mass in B minor: VIII. Duett: Domine Deus | Maria Stader, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | T-003.010.019-6 | |
| 9-9 | Mass in B minor: IX. Chor: Qui tollis peccata mundi | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-10 | Mass in B minor: X. Arie: Qui sedes ad dextram Patris | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 9-11 | Mass in B minor: XI. Arie: Quoniam tu solus sanctus | Kieth Engen, Münchener Bach-Orchester, Karl Richter | — | |
| 9-12 | Mass in B minor: XII. Chor: Cum Sancto Spiritu | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-13 | Mass in B Minor: XIII. Chor: Credo in unum Deum | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-14 | Mass in B Minor: XIV. Chor: Credo in unum Deum / Patrem omnipotentem | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-15 | Mass in B Minor: XV. Duett / Et in unum Dominum | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-900.147.322-9 | |
| 9-16 | Mass in B Minor: XVI. Chor: Et incarnatus est | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-306.483.194-9 | |
| 10-1 | Mass in B Minor: XVII. Chor: Crucifixus | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-903.357.002-4 | |
| 10-2 | Mass in B Minor: XVIII. Chor: Et resurrexit | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-3 | Mass in B Minor: XIX. Arie: Et in Spiritum sanctum | Dietrich Fischer-Dieskau, Münchener Bach-Orchester, Karl Richter | T-915.866.114-4 | |
| 10-4 | Mass in B Minor: XX. Chor: Confiteor unum baptisma | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-5 | Mass in B Minor: XXI. Chor: Et expecto resurrectionem | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-6 | Mass in B Minor: XXII. Chor: Sanctus | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-922.001.293-1 | |
| 10-7 | Mass in B Minor: XXIII. Chor: Osanna in excelsis | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-8 | Mass in B Minor: XXIV. Arie: Benedictus, qui venit | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | T-050.283.177-7 | |
| 10-9 | Mass in B Minor: XXV. Chor: Osanna in excelsis (2) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-10 | Mass in B Minor: XXVI. Arie: Agnus Dei | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-302.516.155-7 | |
| 10-11 | Mass in B Minor: XXVII. Chor: Dona nobis pacem | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-050.051.776-9 | |
| 10-12 | Magnificat in D major, BWV 243: Chorus: "Magnificat" | Münchener Bach-Orchester, Karl Richter, Münchener Bach-Chor | — | |
| 10-13 | Magnificat, BWV 243: II. Arie (Alt) "Et exsultavit spiritus meus" | Münchener Bach-Orchester, Karl Richter | — | |
| 10-14 | Magnificat in D major, BWV 243: Quia respexit...Omnes generationes | — | ||
| 10-15 | Magnificat in D major, BWV 243: Aria: "Quia fecit mihi magna" | — | ||
| 10-16 | Magnificat in D major, BWV 243: Aria (Duet): "Et misericordia" | — | ||
| 10-17 | Magnificat in D major, BWV 243: Chorus: "Fecit potentiam" | — | ||
| 10-18 | Magnificat, BWV 243: VIII. Arie (Tenor) "Deposuit potentes" | Münchener Bach-Orchester, Karl Richter | — | |
| 10-19 | Magnificat in D major, BWV 243: Aria: "Esurientes implevit bonis" | — | ||
| 10-20 | Magnificat in D major, BWV 243: Chorus: Suscepit Israel | — | ||
| 10-21 | Magnificat in D major, BWV 243: Chorus: "Sicut locutus est" | — | ||
| 10-22 | Magnificat, BWV 243: XII. Chor "Gloria Patri" | Münchener Bach-Orchester, Karl Richter | — | |
| 11-1 | Johannes-Passion, BWV 245: Erster Teil: 1. Chor: Herr, Unser Herrscher, Dessen Ruhm | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-2 | Johannes-Passion, BWV 245: Pt. 1: 2. "Jesus ging mit seinen Juengern ...Jesum von Nazareth...Jesus spricht zu ihnen...Jesum von Nazareth...Jesus antwortete" | — | ||
| 11-3 | Johannes-Passion, BWV 245: Erster Teil: 3. Choral: O Große Lieb | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-4 | Johannes-Passion, BWV 245: Pt. 1: 4. "Auf daß das Wort erfüllet würde" | — | ||
| 11-5 | Johannes-Passion, BWV 245: Pt. 1: 5. "Dein Will gescheh, Herr Gott zugleich" | — | ||
| 11-6 | Johannes-Passion, BWV 245: Pt. 1: 6. "Die Schar aber und der Oberhauptmann" | — | ||
| 11-7 | 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 | — | |
| 11-8 | Johannes-Passion, BWV 245: Pt. 1: 8. "Simon Petrus aber folgete Jesu nach" | — | ||
| 11-9 | Johannes-Passion, BWV 245: Pt. 1: 9. "Ich folge dir gleichfalls mit freudigen Schritten" | — | ||
| 11-10 | Johannes-Passion, BWV 245: Pt. 1: 10. "Derselbige Jünger war dem Hohenpriester bekannt" | — | ||
| 11-11 | Johannes-Passion, BWV 245: Erster Teil: 11. Choral: Wer Hat Dich So Geschlagen | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-12 | Johannes-Passion, BWV 245: Pt. 1: 12. "Und Hannas sandte ihn gebunden" | — | ||
| 11-13 | 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 | — | |
| 11-14 | Johannes-Passion, BWV 245: Pt. 1: 14. "Petrus, der nicht denkt zurück" | — | ||
| 11-15 | Johannes-Passion, BWV 245: Zweiter Teil: 15. Choral: Christus, Der Uns Selig Macht | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-16 | Johannes-Passion, BWV 245: Pt. 2: 16. "Da führeten sie Jesum" | — | ||
| 11-17 | Johannes-Passion, BWV 245: Zweiter Teil: 17. Choral: Ach Grosser König, Gross Zu Allen Zeiten | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 11-18 | Johannes-Passion, BWV 245: Pt. 2: 18. "Da sprach Pilatus zu ihnen" | — | ||
| 11-19 | 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 | |
| 11-20 | 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 | — | |
| 12-1 | Johannes-Passion, BWV 245: Pt. 2: 21. "Und die Kriegsknechte flochten" | — | ||
| 12-2 | Johannes-Passion, BWV 245: Zweiter Teil: 22. Choral: Durch Dein Gefängnis, Gottes Sohn | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 12-3 | Johannes-Passion, BWV 245: Pt. 2: 23. "Die Juden aber schrieen und sprachen" | — | ||
| 12-4 | 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 | |
| 12-5 | Johannes-Passion, BWV 245: Pt. 2: 25. "Allda kreuzigten sie ihn" | — | ||
| 12-6 | Johannes-Passion, BWV 245: Zweiter Teil: 26. Choral: In Meines Herzens Grunde | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 12-7 | Johannes-Passion, BWV 245: Pt. 2: 27. "Die Kriegsknechte aber" | — | ||
| 12-8 | Johannes-Passion, BWV 245: Pt. 2: 28. "Er nahm alles wohl in acht" | — | ||
| 12-9 | Johannes-Passion, BWV 245: Pt. 2: 29. "Und von Stund' an nahm sie der Jünger" | — | ||
| 12-10 | 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 | |
| 12-11 | Johannes-Passion, BWV 245: Pt. 2: 31. "Und neigte das Haupt und verschied" | — | ||
| 12-12 | 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 | — | |
| 12-13 | Johannes-Passion, BWV 245: Pt. 2: 33. "Und siehe da, der Vorhang im Tempel zerriß" | — | ||
| 12-14 | Johannes-Passion, BWV 245: Zweiter Teil: 34. Arioso (Tenor I): Mein Herz, Indem Die Ganze Welt | Neill Archer, English Baroque Soloists, John Eliot Gardiner | — | |
| 12-15 | Johannes-Passion, BWV 245: Zweiter Teil: 35. Arie (Sopran): Zerfliesse, Mein Herze | Nancy Argenta, Lisa Beznosiuk, Richard Earle, English Baroque Soloists, John Eliot Gardiner | — | |
| 12-16 | Johannes-Passion, BWV 245: Pt. 2: 36. "Die Juden aber, dieweil es der Rüsttag war" | — | ||
| 12-17 | Johannes-Passion, BWV 245: Zweiter Teil: 37. Choral: O Hilf, Christe, Gottes Sohn | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 12-18 | Johannes-Passion, BWV 245: Pt. 2: 38. "Darnach bat Pilatum Joseph von Arimathia" | — | ||
| 12-19 | 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 | |
| 12-20 | Johannes-Passion, BWV 245: Zweiter Teil: 40. Choral: Ach Herr, Lass Dein Lieb Engelein | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 13-1 | St. Matthew Passion, BWV 244: Pt. 1: No.1: "Kommt, ihr Töchter, helft mir klagen" | — | ||
| 13-2 | St. Matthew Passion, BWV 244: Pt. 1: No.2: "Da Jesus diese Rede vollendet hatte" | — | ||
| 13-3 | St. Matthew Passion, BWV 244: Pt. 1: No.3: "Herzliebster Jesu, was hast du verbrochen" | — | ||
| 13-4 | St. Matthew Passion, BWV 244: Pt. 1: No.4 Evangelist, Chorus I/II, Jesus: "Da versammelten sich die Hohenpriester" | — | ||
| 13-5 | St. Matthew Passion, BWV 244: Pt. 1: No.5 Recitative: "Du lieber Heiland du" | — | ||
| 13-6 | St. Matthew Passion, BWV 244: Pt. 1: No.6 Aria (Alto): "Buss und Reu" | — | ||
| 13-7 | St. Matthew Passion, BWV 244: Pt. 1: No.7 Evangelist, Judas: "Da ging hin der Zwölfen einer" | — | ||
| 13-8 | St. Matthew Passion, BWV 244: Pt. 1: No.8 Aria (Soprano): "Blute nur, du liebes Herz" | — | ||
| 13-9 | St. Matthew Passion, BWV 244: Pt. 1: No.9 Evangelist, Chorus I, Jesus: "Aber am ersten Tage der süssen Brot" | — | ||
| 13-10 | St. Matthew Passion, BWV 244: Pt. 1: No.10 Choral: "Ich bin's, ich sollte büssen" | — | ||
| 13-11 | St. Matthew Passion, BWV 244: Pt. 1: No.11 Evangelist, Jesus, Judas: "Er antwortete und sprach" | — | ||
| 13-12 | St. Matthew Passion, BWV 244: Pt. 1: No.12 Recitative: "Wiewohl mein Herz in Tränen schwimmt" | — | ||
| 13-13 | St. Matthew Passion, BWV 244: Pt. 1: No.13 Aria (Soprano): "Ich will dir mein Herz schenken" | — | ||
| 13-14 | St. Matthew Passion, BWV 244: Pt. 1: No.14 Evangelist, Jesus: "Und da sie den Lobgesang gesprochen hatten" | — | ||
| 13-15 | St. Matthew Passion, BWV 244: Pt. 1: No.15 Choral: "Erkenne mich, mein Hüter" | — | ||
| 13-16 | St. Matthew Passion, BWV 244: Pt. 1: No.16 Evangelist, Jesus, Petrus: "Petrus aber antwortete" | — | ||
| 13-17 | St. Matthew Passion, BWV 244: Pt. 1: No.17 Choral: "Ich will hier bei dir stehen" | — | ||
| 13-18 | St. Matthew Passion, BWV 244: Pt. 1: No.18 Evangelist, Jesus: "Da kam Jesus mit ihnen zu einem Hofe" | — | ||
| 13-19 | St. Matthew Passion, BWV 244: Pt. 1: No.19 Recitative (Tenor, Chorus II): "O Schmerz! hier zittert das gequälte Herz" | — | ||
| 13-20 | St. Matthew Passion, BWV 244: Pt. 1: No.20 Aria (Tenor, Chorus II): "Ich will bei meinem Jesu wachen" | — | ||
| 13-21 | St. Matthew Passion, BWV 244: Pt. 1: No.21 Evangelist, Jesus: "Und ging hin ein wenig" | — | ||
| 13-22 | St. Matthew Passion, BWV 244: Pt. 1: No.22 Recitative (Bass): "Der Heiland fällt vor seinem Vater nieder" | — | ||
| 13-23 | St. Matthew Passion, BWV 244: Pt. 1: No.23 Aria (Bass): "Gerne will ich mich bequemen" | — | ||
| 13-24 | St. Matthew Passion, BWV 244: Pt. 1: No.24 Evangelist, Jesus: "Und er kam zu seinen Jüngern" | — | ||
| 13-25 | St. Matthew Passion, BWV 244: Pt. 1: No.25 Choral: "Was mein Gott will, das g'scheh allzeit" | — | ||
| 13-26 | St. Matthew Passion, BWV 244: Pt. 1: No.26 Evangelist, Jesus, Judas: "Und er kam und fand sie aber schlafend" | — | ||
| 13-27 | St. Matthew Passion, BWV 244: Pt. 1: No.27 Aria (Soprano, Alto, Chorus II): "So ist mein Jesus nun gefangen" - Chorus I/II: "Sind Blitze, sind Donner" | — | ||
| 13-28 | St. Matthew Passion, BWV 244: Pt. 1: No.28 Evangelist, Jesus: "Und siehe, einer aus denen" | — | ||
| 13-29 | St. Matthew Passion, BWV 244: Pt. 1: No.29 Choral: "O Mensch, bewein dein Sünde groß" | — | ||
| 13-30 | St. Matthew Passion, BWV 244: Pt. 2: No.30 Aria (Alto, Chorus II): "Ach nun ist mein Jesu hin" | — | ||
| 13-31 | St. Matthew Passion, BWV 244: Pt. 2: No.31 Evangelist: "Die aber Jesum gegriffen hatten" | — | ||
| 13-32 | St. Matthew Passion, BWV 244: Pt. 2: No.32 Choral: "Mir hat die Welt trüglich gericht" | — | ||
| 13-33 | St. Matthew Passion, BWV 244: Pt. 2: No.33 Evangelist, Pontifex, Testis I/II: "Und wiewohl viel falsche Zeugen herzutraten" | — | ||
| 13-34 | St. Matthew Passion, BWV 244: Pt. 2: No.34 Recitative (Tenor): "Mein Jesus schweigt zu falschen Lügen stille" | — | ||
| 13-35 | St. Matthew Passion, BWV 244: Pt. 2: No.35 Aria (Tenor): "Geduld! Wenn mich falsche Zungen stechen" | — | ||
| 14-1 | St. Matthew Passion, BWV 244: Pt. 2: No.36 Evangelist, Pontifex, Jesus, Chorus I/II: "Und der Hohepriester antwortete" | — | ||
| 14-2 | St. Matthew Passion, BWV 244: Pt. 2: No.37 Choral: "Wer hat dich so geschlagen" | — | ||
| 14-3 | St. Matthew Passion, BWV 244: Pt. 2: No.38 Evangelist, Ancilla I/II, Petrus, Chorus II: "Petrus aber sass draussen im Palast" | — | ||
| 14-4 | Mattheuspassie: Aria "Erbarme dich" | Magdalena Kožená, Gabrieli Players, Paul McCreesh | T-101.607.667-6 | |
| 14-5 | St. Matthew Passion, BWV 244: Pt. 2: No.40 Choral: "Bin ich gleich von dir gewichen" | — | ||
| 14-6 | St. Matthew Passion, BWV 244: Pt. 2: No.41 Evangelist, Judas, Chorus I/II, Pontifex I/II: "Des Morgens aber hielten alle Hohepriester" | — | ||
| 14-7 | St. Matthew Passion, BWV 244: Pt. 2: No.42 Aria (Bass): "Gebt mir meinen Jesum wieder" | — | ||
| 14-8 | St. Matthew Passion, BWV 244: Pt. 2: No.43 Evangelist, Pilatus, Jesus: "Sie hielten aber einen Rat" | — | ||
| 14-9 | St. Matthew Passion, BWV 244: Pt. 2: No.44 Choral: "Befiehl du deine Wege" | — | ||
| 14-10 | St. Matthew Passion, BWV 244: Pt. 2: No.45 Evangelist, Pilatus, Uxor Pilati, Chorus I/II: "Auf das Fest aber hatte der Landpfleger Gewohnheit" | — | ||
| 14-11 | St. Matthew Passion, BWV 244: Pt. 2: No.46 Choral: "Wie wunderbarlich ist doch diese Strafe" | — | ||
| 14-12 | St. Matthew Passion, BWV 244: Pt. 2: No.47 Evangelist, Pilatus: "Der Landpfleger sagte" | — | ||
| 14-13 | St. Matthew Passion, BWV 244: Pt. 2: No.48 Recitative (Soprano): "Er hat uns allen wohlgetan" | — | ||
| 14-14 | St. Matthew Passion, BWV 244: Teil II, No. 49. Aria (Soprano I) "Aus Liebe will mein Heiland sterben" | Deborah York, Paul McCreesh, Gabrieli Consort & Players | — | |
| 14-15 | St. Matthew Passion, BWV 244: Pt. 2: No.50 Evangelist, Chorus I/II, Pilatus: "Sie schrieen aber noch mehr" | — | ||
| 14-16 | St. Matthew Passion, BWV 244: Pt. 2: No.51 Recitative (Alto): "Erbarm es Gott" | — | ||
| 14-17 | St. Matthew Passion, BWV 244: Pt. 2: No.52 Aria (Alto): "Können Tränen meiner Wangen" | — | ||
| 14-18 | St. Matthew Passion, BWV 244: Pt. 2: No.53 Evangelist, Chorus I/II: "Da nahmen die Kriegsknechte" | — | ||
| 14-19 | St. Matthew Passion, BWV 244: Pt. 2: No.54 Choral: "O Haupt voll Blut und Wunden" | — | ||
| 14-20 | St. Matthew Passion, BWV 244: Pt. 2: No.55 Evangelist: "Und da sie ihn verspottet hatten" | — | ||
| 14-21 | St. Matthew Passion, BWV 244: Pt. 2: "Ja freilich will in uns das Fleisch und Blut" | — | ||
| 14-22 | St. Matthew Passion, BWV 244: Pt. 2: "Komm, süsses Kreuz" | — | ||
| 14-23 | St. Matthew Passion, BWV 244: Pt. 2: No.58 Evangelist, Chorus I/II: "Und da sie an die Stätte kamen" | — | ||
| 14-24 | St. Matthew Passion, BWV 244: Pt. 2: "Ach Golgatha" | — | ||
| 14-25 | St. Matthew Passion, BWV 244: Pt. 2: "Sehet, Jesus hat die Hand" | — | ||
| 14-26 | St. Matthew Passion, BWV 244: Pt. 2: No.61 Evangelist, Jesus, Chorus I/II: "Und von der sechsten Stunde an" | — | ||
| 14-27 | St. Matthew Passion, BWV 244: Pt. 2: "Wenn ich einmal soll scheiden" | — | ||
| 14-28 | St. Matthew Passion, BWV 244: Pt. 2: "Und siehe da, der Vorhang im Tempel zerriss" | — | ||
| 14-29 | St. Matthew Passion, BWV 244: Pt. 2: "Am Abend, da es kühle war" | — | ||
| 14-30 | St. Matthew Passion, BWV 244: Pt. 2: "Mache dich, mein Herze, rein" | — | ||
| 14-31 | St. Matthew Passion, BWV 244: Pt. 2: "Und Joseph nahm den Leib" | — | ||
| 14-32 | St. Matthew Passion, BWV 244: Pt. 2: "Nun ist der Herr zur Ruh gebracht" | — | ||
| 14-33 | St. Matthew Passion, BWV 244: Teil II, No. 68. Chorus "Wir setzen uns mit Tränen nieder" | Susan Bickley, James Gilchrist, Julia Gooding, Peter Harvey, Magdalena Kožená, Stephan Loges, Mark Padmore, Deborah York, Gabrieli Consort & Players, Paul McCreesh | — | |
| 15-1 | Christmas Oratorio, BWV 248: Part I, No. 1 Chorus: »Jauchzet, frohlocket, auf, preiset die Tage« | The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-2 | Christmas Oratorio, BWV 248: no. 2. Evangelista: "Es begab sich aber zu der Zeit" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-3 | Christmas Oratorio, BWV 248: no. 3. Recitativo (Alto): "Nun wird mein liebster Bräutigam" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-4 | Christmas Oratorio, BWV 248: No. 4. Aria (Alto): "Bereite dich, Zion, mit zärtlichen Trieben" | Anne Sofie von Otter, English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-5 | Christmas Oratorio, BWV 248: no. 5. Choral: "Wie soll ich dich empfangen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-6 | Christmas Oratorio, BWV 248: no. 6. Evangelista: "Und sie gebar ihren ersten Sohn" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-7 | Christmas Oratorio, BWV 248: no. 7. Choral (Soprani): "Er ist auf Erden kommen arm" / Recitativo (Basso): "Wer will die Liebe recht erhöhn" | English Baroque Soloists, John Eliot Gardiner | T-802.372.990-1 | |
| 15-8 | Christmas Oratorio, BWV 248: No. 8. Aria (Basso): "Großer Herr, o starker König" | Olaf Bär, English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-9 | Christmas Oratorio, BWV 248: no. 9. Choral: "Ach mein herzliebes Jesulein" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 15-10 | Christmas Oratorio, BWV 248: no. 10. Sinfonia | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-11 | Christmas Oratorio, BWV 248: no. 11. Evangelista: "Und es waren Hirten in derselben Gegend" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-12 | Christmas Oratorio, BWV 248: no. 12. Choral: "Brich an, o schönes Morgenlicht" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-13 | Christmas Oratorio, BWV 248: no. 13. Evangelista: "Und der Engel sprach zu ihnen" / Angelus: "Fürchtet euch nicht" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-14 | Christmas Oratorio, BWV 248: no. 14. Recitativo (Basso): "Was Gott dem Abraham verheißen" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-15 | Christmas Oratorio, BWV 248: no. 15. Aria (Tenore): "Frohe Hirten, eilt, ach eilet" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-16 | Christmas Oratorio, BWV 248: no. 16. Evangelista: "Und das habt zum Zeichen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-17 | Christmas Oratorio, BWV 248: no. 17. Choral: "Schaut hin, dort liegt im finstern Stall" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-18 | Christmas Oratorio, BWV 248: no. 18. Recitativo (Basso): "So geht denn hin" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-19 | Christmas Oratorio, BWV 248: no. 19. Aria (Alto): "Schlafe, mein Liebster, genieße der Ruh" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-20 | Christmas Oratorio, BWV 248: no. 20. Evangelista: "Und alsobald war da bei dem Engel" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-21 | Christmas Oratorio, BWV 248: no. 21. Coro: "Ehre sei Gott in der Höhe" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-22 | Christmas Oratorio, BWV 248: no. 22. Recitativo (Basso): "So recht, ihr Engel, jauchzt und singet" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-23 | Christmas Oratorio, BWV 248: no. 23. Choral: "Wir singen dir in deinem Heer" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-24 | Christmas Oratorio, BWV 248: Part III, No. 24 Chorus: »Herrscher des Himmels, erhöre das Lallen« | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-25 | Christmas Oratorio, BWV 248: no. 25. Evangelista: "Und da die Engel von ihnen gen Himmel fuhren" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-26 | Lasset uns nun gehen gen Bethlehem | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-27 | Christmas Oratorio, BWV 248: no. 27. Recitativo (Basso): "Er hat sein Volk getröst'" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-28 | Christmas Oratorio, BWV 248: no. 28 Choral: "Dies hat er alles uns getan" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-29 | Christmas Oratorio, BWV 248: no. 29. Duetto (Soprano, Basso): "Herr, dein Mitleid, dein Erbarmen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-30 | Christmas Oratorio, BWV 248: no. 30. Evangelista: "Und sie kamen eilend" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-31 | Christmas Oratorio, BWV 248: no. 31. Aria (Alto): "Schließe, mein Herze, dies selige Wunder" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-32 | Christmas Oratorio, BWV 248: no. 32. Recitativo (Alto): "Ja, ja, mein Herz soll es bewahren" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15-33 | Christmas Oratorio, BWV 248: no. 33. Choral: "Ich will dich mit Fleiß bewahren" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-34 | Christmas Oratorio, BWV 248: no. 34. Evangelista: "Und die Hirten kehrten wieder um" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-35 | Christmas Oratorio, BWV 248: no. 35. Choral: "Seid froh dieweil" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 15-36 | Christmas Oratorio, BWV 248: no. 24. Coro de capo: "Herrscher des Himmels, erhöre das Lallen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-1 | Christmas Oratorio, BWV 248: no. 36. Coro: "Fallt mit Danken, fallt mit Loben" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-2 | Christmas Oratorio, BWV 248: no. 37. Evangelista: "Und da acht Tage um waren" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-3 | Christmas Oratorio, BWV 248: no. 38. Recitativo (Basso): "Immanuel, o süßes Wort" / Arioso (Soprani, Basso): "Jesu, du mein liebstes Leben" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-4 | Christmas Oratorio, BWV 248: no. 39. Aria (Soprano, Echo Soprano): "Flößt, mein Heiland, flößt dein Namen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-5 | Christmas Oratorio, BWV 248: no. 40. Recitativo (Basso): "Wohlan, dein Name soll allein" / Choral (Soprani): "Jesu, meine Freud und Wonne" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-6 | Christmas Oratorio, BWV 248: no. 41. Aria (Tenore): "Ich will nur dir zu Ehren leben" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-7 | Christmas Oratorio, BWV 248: no. 42. Choral: "Jesus richte mein Beginnen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-8 | Christmas Oratorio, BWV 248: Part V, No. 43 Chorus »Ehre sei dir, Gott, gesungen« | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-9 | Christmas Oratorio, BWV 248: no. 44. Evangelista: "Da Jesu geboren war zu Bethlehem" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-10 | Christmas Oratorio, BWV 248: no. 45. Coro: "Wo is der neugeborene König der Jüden" / Recitativo (Alto): "Sucht ihn in meiner Brust" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-11 | Christmas Oratorio, BWV 248: no. 46. Choral: "Dein Glanz all Finsternis verzehrt" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-12 | Christmas Oratorio, BWV 248: no. 47. Aria (Basso): "Erleucht auch meine finstre Sinnen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-13 | Christmas Oratorio, BWV 248: no. 48. Evangelista: "Da das der König Herodes hörte" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-14 | Christmas Oratorio, BWV 248: no. 49. Recitativo (Alto): "Warum wollt ihr erschrecken" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-15 | Christmas Oratorio, BWV 248: no. 50. Evangelista: "Und ließ versammlen alle Hohepriester" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-16 | Christmas Oratorio, BWV 248: no. 51. Terzetto (Soprano, Alto, Tenore): "Ach, wenn wird die Zeit erscheinen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-17 | Christmas Oratorio, BWV 248: no. 52. Recitativo (Alto): "Mein Liebster herrschet schon" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-18 | Christmas Oratorio, BWV 248: no. 53. Choral: "Zwar ist solche Herzensstube" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-19 | Christmas Oratorio, BWV 248: no. 54. Coro: "Herr, wenn die stolzen Feinde schnauben" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-20 | Christmas Oratorio, BWV 248: no. 55. Evangelista: "Da berief Herodes die Weisen heimlish" / Herodes: "Ziehet hin und forschet fleißig" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-21 | Christmas Oratorio, BWV 248: no. 56. Recitativo (Soprano): "Du Falscher, suche nur den Herrn zu fällen" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-22 | Christmas Oratorio, BWV 248: no. 57. Aria (Soprano): "Nur ein Wink von seinen Händen" | English Baroque Soloists, John Eliot Gardiner | — | |
| 16-23 | Christmas Oratorio, BWV 248: no. 58. Evangelista: "Als sie nun den König gehöret hatten" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-24 | Christmas Oratorio, BWV 248: no. 59. Choral: "Ich steh an deiner Krippen hier" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-25 | Christmas Oratorio, BWV 248: no. 60. Evangelista: "Und Gott befahl ihnen im Traum" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-26 | Christmas Oratorio, BWV 248: no. 61. Recitativo (Tenore): "So geht! Genug, mein Schatz geht nicht von hier" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-27 | Christmas Oratorio, BWV 248: no. 62. Aria (Tenore): "Nun mögt ihr stolzen Feinde schrecken" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-28 | Christmas Oratorio, BWV 248: no. 63. Recitativo (Soprano, Alto, Tenore, Basso): "Was will der Höllen Schrecken nun" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16-29 | Christmas Oratorio, BWV 248: no. 64. Choral: "Nun seid ihr wohl gerochen" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-050.278.855-7 | |
| 17-1 | Singet dem Herrn ein neues Lied Motet, BWV 225 | — | ||
| 17-2 | Der Geist hilft unser Schwachheit auf Motet, BWV 226 | — | ||
| 17-3 | Jesu meine Freude Motet, BWV 227 | — | ||
| 17-4 | Fürchte dich nicht Motet, BWV 228 | — | ||
| 17-5 | Komm, Jesu, komm Motet, BWV 229 | — | ||
| 18-1 | Die goldne Sonne, BWV 451 | — | ||
| 18-2 | O Jesulein süß, BWV 493 | Peter Schreier, Karl Richter | — | |
| 18-3 | Ich steh’ an deiner Krippen hier, BWV 469 | Peter Schreier, Karl Richter | — | |
| 18-4 | Die bittre Leidenszeit beginnet abermal, BWV 450 | — | ||
| 18-5 | Mein Jesu, was für Seelenweh BWV 487 | — | ||
| 18-6 | Jesus, unser Trost und Leben BWV 475 | — | ||
| 18-7 | Gott lebet noch BWV 461 | — | ||
| 18-8 | Kompt Wieder Aus Der Finstern Gruft, BWV 480 | Peter Schreier, Karl Richter | — | |
| 18-9 | Der Tag ist hin, die Sonne gehet nieder, BWV 447 | Peter Schreier, Karl Richter | — | |
| 18-10 | Der lieben Sonne Licht und Pracht BWV 446 | — | ||
| 18-11 | Beschränkt, ihr Weisen dieser Welt BWV 443 | — | ||
| 18-12 | Was bist du doch, o Seele BWV 506 | — | ||
| 18-13 | Eins ist not! Ach Herr, dies Eine, BWV 453 | — | ||
| 18-14 | Brunnquell aller Güter BWV 445 | — | ||
| 18-15 | Ich halte treulich still BWV 466 | — | ||
| 18-16 | Dich bet ich an BWV 449 | — | ||
| 18-17 | Gib dich zufrieden und sei stille BWV 460 | — | ||
| 18-18 | Liebster Herr Jesu, wo bleibst du so lange?, BWV 484 | — | ||
| 18-19 | O wie selig seid ihr doch BWV 495 | — | ||
| 18-20 | Komm, süßer Tod BWV 478 | — | ||
| 19-1 | Sonata No. 1 in E flat major, BWV 525: 1. (Allegro moderato) | — | ||
| 19-2 | Sonata No. 1 in E flat major, BWV 525: 2. Adagio | — | ||
| 19-3 | Sonata No. 1 in E flat major, BWV 525: 3. Allegro | — | ||
| 19-4 | Sonata No.2 in C minor, BWV 526: 1. Vivace | — | ||
| 19-5 | Sonata No.2 in C minor, BWV 526: 2. Largo | — | ||
| 19-6 | Sonata No.2 in C minor, BWV 526: 3. Allegro | — | ||
| 19-7 | Sonata No.3 in D minor, BWV 527: 1. Andante | — | ||
| 19-8 | Sonata No.3 in D minor, BWV 527: 2. Adagio e dolce | — | ||
| 19-9 | Sonata No.3 in D minor, BWV 527: 3. Vivace | — | ||
| 19-10 | Sonata No.4 in E minor, BWV 528: 1. Adagio - Vivace | — | ||
| 19-11 | Sonata No.4 in E minor, BWV 528: 2. Andante | — | ||
| 19-12 | Sonata No.4 in E minor, BWV 528: 3. Un poco allegro | — | ||
| 19-13 | Sonata No.5 in C major, BWV 529: 1. Allegro | — | ||
| 19-14 | Sonata No.5 in C major, BWV 529: 2. Largo | — | ||
| 19-15 | Sonata No.5 in C major, BWV 529: 3. Allegro | — | ||
| 19-16 | Sonata No.6 in G major, BWV 530: 1. Vivace | — | ||
| 19-17 | Sonata No.6 in G major, BWV 530: 2. Lento | — | ||
| 19-18 | Sonata No.6 in G major, BWV 530: 3. Allegro | — | ||
| 20-1 | Toccata & Fugue in D minor, BWV 538 "Dorian": I. Toccata | Karl Richter | T-918.063.729-0 | |
| 20-2 | Toccata & Fugue in D minor, BWV 538 "Dorian": II. Fugue | Karl Richter | — | |
| 20-3 | Choral, BWV 768 "Sei Gegrüßet, Jesu Gütig" | Karl Richter | — | |
| 20-4 | Passacaglia and Fugue in C minor, BWV 582: I. Passacaglia | Karl Richter | T-917.732.203-1 | |
| 20-5 | Passacaglia and Fugue in C minor, BWV 582: II. Fugue | Karl Richter | — | |
| 21-1 | Prelude and Fugue in B minor, BWV 544: I. Prelude | Karl Richter | T-918.063.729-0 | |
| 21-2 | Prelude and Fugue in B minor, BWV 544: II. Fugue | Karl Richter | — | |
| 21-3 | Toccata (Prelude) and Fugue in F, BWV 540: 1. Toccata | — | ||
| 21-4 | Toccata (Prelude) and Fugue in F, BWV 540: 2. Fugue | — | ||
| 21-5 | Prelude and Fugue in A minor, BWV 543: I. Prelude | Karl Richter | — | |
| 21-6 | Prelude and Fugue in A minor, BWV 543: II. Fugue | Karl Richter | T-309.901.323-3 | |
| 21-7 | Schmücke dich, o liebe Seele, BWV 654 | — | ||
| 22-1 | Prelude and Fugue in E minor, BWV 548: 1. Prelude | — | ||
| 22-2 | Prelude and Fugue in E minor, BWV 548: 2. Fugue | — | ||
| 22-3 | Prelude and Fugue in C, BWV 547: 1. Prelude | — | ||
| 22-4 | Prelude and Fugue in C, BWV 547: 2. Fugue | — | ||
| 22-5 | Prelude and Fugue in G, BWV 550: 1. Prelude | — | ||
| 22-6 | Prelude and Fugue in G, BWV 550: 2. Fugue | — | ||
| 22-7 | Prelude and Fugue in C major, BWV 553 | — | ||
| 22-8 | Prelude and Fugue in D minor, BWV 554 | — | ||
| 22-9 | Prelude and Fugue in E minor, BWV 555 | — | ||
| 22-10 | Prelude and Fugue in F major, BWV 556 | — | ||
| 22-11 | Prelude and Fugue in G major, BWV 557 | — | ||
| 22-12 | Prelude and Fugue in G minor, BWV 558 | — | ||
| 22-13 | Prelude and Fugue in A minor, BWV 559 | — | ||
| 22-14 | Prelude and Fugue in B flat major, BWV 560 | — | ||
| 22-15 | Canzona in D minor, BWV 588 | — | ||
| 22-16 | Fantasia con imitazione in B minor, BWV 563 | — | ||
| 22-17 | Fugue in G, BWV 577 | — | ||
| 22-18 | Toccata and Fugue in E, BWV 566: 1. Toccata | — | ||
| 22-19 | Toccata and Fugue in E, BWV 566: 2. Fugue | — | ||
| 23-1 | Toccata and Fugue in D minor, BWV 565 | Simon Preston | T-909.243.105-5 | |
| 23-2 | Toccata & Fugue in D minor, BWV 565: II. Fugue | Simon Preston | T-922.046.111-0 | |
| 23-3 | Fantasia in G major "Pièce d'orgue", BWV 572: I. Très Vitement | Simon Preston | — | |
| 23-4 | Fantasia in G major "Pièce d'orgue", BWV 572: II. Gravement | Simon Preston | T-909.407.007-2 | |
| 23-5 | Fantasia in G major "Pièce d'orgue", BWV 572: III. Lentement | Simon Preston | — | |
| 23-6 | Canonic Variations on the Christmas Hymn "Vom Himmel hoch, da komm' Ich her", BWV 769: Variation 1. Nel Canone All'Ottava | Simon Preston | — | |
| 23-7 | Canonic Variations on the Christmas Hymn "Vom Himmel hoch, da komm' Ich her", BWV 769: Variation 2. Alio Modo, Nel Canone Alla Quinta | Simon Preston | — | |
| 23-8 | Canonic Variations on the Christmas Hymn "Vom Himmel hoch, da komm' Ich her", BWV 769: Variation 3. Canone All Settima | Simon Preston | — | |
| 23-9 | Canonic Variations on the Christmas Hymn "Vom Himmel hoch, da komm' Ich her", BWV 769: Variation 4. Per Augmentationem, Nel Canone All'Ottava | Simon Preston | — | |
| 23-10 | Canonic Variations on the Christmas Hymn "Vom Himmel hoch, da komm' Ich her", BWV 769: Variation 5. L'altra Sorte, del Canone Al Rovescio | Simon Preston | — | |
| 23-11 | Prelude and Fugue in D major, BWV 532: I. Prelude | Simon Preston | T-800.348.254-1 | |
| 23-12 | Prelude and Fugue in D major, BWV 532: II. Fugue | Simon Preston | T-902.286.488-6 | |
| 23-13 | Pastorale in F major "Pastorella", BWV 590: I. In F major | Simon Preston | — | |
| 23-14 | Pastorale in F major "Pastorella", BWV 590: II. In C major | Simon Preston | — | |
| 23-15 | Pastorale in F major "Pastorella", BWV 590: III. In C minor | Simon Preston | T-921.189.587-3 | |
| 23-16 | Pastorale in F major "Pastorella", BWV 590: IV. In F major | Simon Preston | — | |
| 23-17 | Prelude and Fugue in E flat major "St. Anne", BWV 552: I. Praeludium Pro Organo Pleno | Simon Preston | T-922.046.111-0 | |
| 23-18 | Prelude and Fugue in E flat major "St. Anne", BWV 552: II. Fuga a 5 con Pedale Pro Organo Pleno | Simon Preston | T-922.046.111-0 | |
| 24-1 | Sei gegrüsset, Jesu gütig, BWV 768 | — | ||
| 24-2 | Vom Himmel hoch da komm ich her, BWV 769: Variatio 1. Nel canone all'ottava | — | ||
| 24-3 | Vom Himmel hoch da komm ich her, BWV 769: Variatio 2. Alio modo, nel canone alla quinta | — | ||
| 24-4 | Vom Himmel hoch da komm ich her, BWV 769: Variatio 3. Canone alla settima | — | ||
| 24-5 | Vom Himmel hoch da komm ich her, BWV 769: Variatio 4. Per augmentationem. nel canone all'ottava | — | ||
| 24-6 | Vom Himmel hoch da komm ich her, BWV 769: Variatio 5. L'altra sorte del canone al rovescio: 1) alla sesta, 2) alla terza, 3) alla seconda e 4) alla nona | — | ||
| 24-7 | Wachet auf, ruft uns die Stimme, BWV 645 ('Sleepers, Awake') | — | ||
| 24-8 | Wo soll ich fliehen hin, BWV 646 | — | ||
| 24-9 | Wer nur den lieben Gott läßt walten, BWV 647 | — | ||
| 24-10 | Meine Seele erhebet den Herren, BWV 648 | — | ||
| 24-11 | Ach bleib bei uns, Herr Jesu Christ, BWV 649 | — | ||
| 24-12 | Kommst du nun, Jesu, vom Himmel herunter, BWV 650 | — | ||
| 24-13 | Prelude (Fantasy) and Fugue in G minor, BWV 542 - "Great": 1. Fantasy | — | ||
| 24-14 | Prelude (Fantasy) and Fugue in G minor, BWV 542 - "Great": 2. Fugue | — | ||
| 24-15 | Fantasia and Fugue (Fragment) in C minor, BWV 562 | — | ||
| 24-16 | Prelude (Fantasy) and Fugue in C minor, BWV 537: 1. Fantasy | — | ||
| 24-17 | Prelude (Fantasy) and Fugue in C minor, BWV 537: 2. Fugue | — | ||
| 25-1 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 1 in C major, BWV 846: I. Præludium | Maurizio Pollini | T-910.415.372-2 | |
| 25-2 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 1 in C major, BWV 846: II. Fuga | Maurizio Pollini | T-325.603.871-4 | |
| 25-3 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 2 in C minor, BWV 847: I. Præludium | Maurizio Pollini | T-315.964.113-7 | |
| 25-4 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 2 in C minor, BWV 847: II. Fuga | Maurizio Pollini | — | |
| 25-5 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 3 in C-sharp major, BWV 848: I. Præludium | Maurizio Pollini | — | |
| 25-6 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 3 in C-sharp major, BWV 848: II. Fuga | Maurizio Pollini | T-913.821.070-5 | |
| 25-7 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 4 in C-sharp minor, BWV 849: I. Præludium | Maurizio Pollini | — | |
| 25-8 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 4 in C-sharp minor, BWV 849: II. Fuga | Maurizio Pollini | T-011.696.501-5 | |
| 25-9 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 5 in D major, BWV 850: I. Præludium | Maurizio Pollini | — | |
| 25-10 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 5 in D major, BWV 850: II. Fuga | Maurizio Pollini | — | |
| 25-11 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 6 in D minor, BWV 851: I. Præludium | Maurizio Pollini | T-800.673.625-1 | |
| 25-12 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 6 in D minor, BWV 851: II. Fuga | Maurizio Pollini | — | |
| 25-13 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 7 in E-flat major, BWV 852: I. Præludium | Maurizio Pollini | T-922.046.010-6 | |
| 25-14 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 7 in E-flat major, BWV 852: II. Fuga | Maurizio Pollini | T-922.046.111-0 | |
| 25-15 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 8 in E-flat minor, BWV 853: I. Præludium | Maurizio Pollini | T-922.046.010-6 | |
| 25-16 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 8 in E-flat minor, BWV 853: II. Fuga | Maurizio Pollini | T-922.046.010-6 | |
| 25-17 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 9 in E major, BWV 854: I. Præludium | Maurizio Pollini | — | |
| 25-18 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 9 in E major, BWV 854: II. Fuga | Maurizio Pollini | — | |
| 25-19 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 10 in E minor, BWV 855: I. Præludium | Maurizio Pollini | T-922.046.010-6 | |
| 25-20 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 10 in E minor, BWV 855: II. Fuga | Maurizio Pollini | — | |
| 25-21 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 11 in F major, BWV 856: I. Præludium | Maurizio Pollini | — | |
| 25-22 | The Well-Tempered Clavier, Book 1: Prelude no. 11 in F major, BWV 856/1 | Johann Sebastian Bach | — | |
| 25-23 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 12 in F minor, BWV 857: I. Præludium | Maurizio Pollini | — | |
| 25-24 | The Well-Tempered Clavier, Book 1: Prelude no. 12 in F minor, BWV 857/1 | Johann Sebastian Bach | T-320.964.450-4 | |
| 26-1 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 13 in F-sharp major, BWV 858: I. Præludium | Maurizio Pollini | — | |
| 26-2 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 13 in F-sharp major, BWV 858: II. Fuga | Maurizio Pollini | — | |
| 26-3 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 14 in F-sharp minor, BWV 859: I. Præludium | Maurizio Pollini | — | |
| 26-4 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 14 in F-sharp minor, BWV 859: II. Fuga | Maurizio Pollini | T-329.412.466-2 | |
| 26-5 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 15 in G major, BWV 860: I. Præludium | Maurizio Pollini | — | |
| 26-6 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 15 in G major, BWV 860: II. Fuga | Maurizio Pollini | T-329.412.466-2 | |
| 26-7 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 16 in G minor, BWV 861: I. Præludium | Maurizio Pollini | — | |
| 26-8 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 16 in G minor, BWV 861: II. Fuga | Maurizio Pollini | T-329.412.466-2 | |
| 26-9 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 17 in A-flat major, BWV 862: I. Præludium | Maurizio Pollini | — | |
| 26-10 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 17 in A-flat major, BWV 862: II. Fuga | Maurizio Pollini | — | |
| 26-11 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 18 in G-sharp minor, BWV 863: I. Præludium | Maurizio Pollini | T-922.046.010-6 | |
| 26-12 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 18 in G-sharp minor, BWV 863: II. Fuga | Maurizio Pollini | — | |
| 26-13 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 19 in A major, BWV 864: I. Præludium | Maurizio Pollini | — | |
| 26-14 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 19 in A major, BWV 864: II. Fuga | Maurizio Pollini | — | |
| 26-15 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 20 in A minor, BWV 865: I. Præludium | Maurizio Pollini | — | |
| 26-16 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 20 in A minor, BWV 865: II. Fuga | Maurizio Pollini | — | |
| 26-17 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 21 in B-flat major, BWV 866: I. Præludium | Maurizio Pollini | — | |
| 26-18 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 21 in B-flat major, BWV 866: II. Fuga | Maurizio Pollini | — | |
| 26-19 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 22 in B-flat minor, BWV 867: I. Præludium | Maurizio Pollini | — | |
| 26-20 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 22 in B-flat minor, BWV 867: II. Fuga | Maurizio Pollini | — | |
| 26-21 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 23 in B major, BWV 868: I. Præludium | Maurizio Pollini | — | |
| 26-22 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 23 in B major, BWV 868: II. Fuga | Maurizio Pollini | — | |
| 26-23 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 24 in B minor, BWV 869: I. Præludium | Maurizio Pollini | — | |
| 26-24 | The Well-Tempered Clavier, Book I: Prelude and Fugue No. 24 in B minor, BWV 869: II. Fuga | Maurizio Pollini | — | |
| 27-1 | Goldberg-Variationen, BWV 988: Aria | Trevor Pinnock | T-902.761.139-8 | |
| 27-2 | Goldberg-Variationen, BWV 988: Variatio I. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-3 | Goldberg-Variationen, BWV 988: Variatio II. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-4 | Goldberg-Variationen, BWV 988: Variatio III. a 1 Clav. Canone all’ Unisuono | Trevor Pinnock | T-902.128.688-4 | |
| 27-5 | Goldberg-Variationen, BWV 988: Variatio IV. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-6 | Goldberg-Variationen, BWV 988: Variatio V. a 1 ô vero 2 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-7 | Goldberg-Variationen, BWV 988: Variatio VI. a 1 Clav. Canone alla Seconda | Trevor Pinnock | T-902.128.688-4 | |
| 27-8 | Goldberg-Variationen, BWV 988: Variatio VII. a 1 ô vero 2 Clav. al tempo di Giga | Trevor Pinnock | T-902.128.688-4 | |
| 27-9 | Goldberg-Variationen, BWV 988: Variatio VIII. a 2 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-10 | Goldberg-Variationen, BWV 988: Variatio IX. Canone alla Terza. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-11 | Goldberg-Variationen, BWV 988: Variatio X. Fughetta a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-12 | Goldberg-Variationen, BWV 988: Variatio XI. a 2 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-13 | Goldberg-Variationen, BWV 988: Variatio XII. Canone alla Quarta. a 1 Clav. | Trevor Pinnock | T-311.760.304-6 | |
| 27-14 | Goldberg-Variationen, BWV 988: Variatio XIII. a 2 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-15 | Goldberg-Variationen, BWV 988: Variatio XIV. a 2 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-16 | Goldberg-Variationen, BWV 988: Variatio XV. Canone alla Quinta. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-17 | Goldberg-Variationen, BWV 988: Variatio XVI. Ouverture. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-18 | Goldberg-Variationen, BWV 988: Variatio XVII. a 2 Clav. | Trevor Pinnock | — | |
| 27-19 | Goldberg-Variationen, BWV 988: Variatio XVIII. Canone alla Sexta. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-20 | Goldberg-Variationen, BWV 988: Variatio XIX. a 1 Clav. | Trevor Pinnock | — | |
| 27-21 | Goldberg-Variationen, BWV 988: Variatio XX. a 2 Clav. | Trevor Pinnock | — | |
| 27-22 | Goldberg-Variationen, BWV 988: Variatio XXI. Canone alla Settima. a 1 Clav. | Trevor Pinnock | — | |
| 27-23 | Goldberg-Variationen, BWV 988: Variatio XXII. a 1 Clav. alla breve | Trevor Pinnock | — | |
| 27-24 | Goldberg-Variationen, BWV 988: Variatio XXIII. a 2 Clav. | Trevor Pinnock | — | |
| 27-25 | Goldberg-Variationen, BWV 988: Variatio XXIV. Canone all'Ottava. a 1 Clav. | Trevor Pinnock | T-902.128.688-4 | |
| 27-26 | Goldberg-Variationen, BWV 988: Variatio XXV. a 2 Clav. | Trevor Pinnock | — | |
| 27-27 | Goldberg-Variationen, BWV 988: Variatio XXVI. a 2 Clav. | Trevor Pinnock | — | |
| 27-28 | Goldberg-Variationen, BWV 988: Variatio XXVII. Canone alla Nona. a 2 Clav. | Trevor Pinnock | — | |
| 27-29 | Goldberg-Variationen, BWV 988: Variatio XXVIII. a 2 Clav. | Trevor Pinnock | — | |
| 27-30 | Goldberg-Variationen, BWV 988: Variatio XXIX. a 1 ô vero 2 Clav. | Trevor Pinnock | — | |
| 27-31 | Goldberg-Variationen, BWV 988: Variatio XXX. Quodlibet. a 1 Clav. | Trevor Pinnock | — | |
| 27-32 | Goldberg-Variationen, BWV 988: Aria da Capo | Trevor Pinnock | — | |
| 27-33 | Italienisches Konzert F-dur, BWV 971: Allegro | Trevor Pinnock | T-061.296.484-7 | |
| 27-34 | Italienisches Konzert F-dur, BWV 971: Andante | Trevor Pinnock | T-921.645.531-1 | |
| 27-35 | Italienisches Konzert F-dur, BWV 971: Presto | Trevor Pinnock | — | |
| 28-1 | Partita No.4 in D, BWV 828- I. Ouverture | Trevor Pinnock | T-702.622.103-6 | |
| 28-2 | Partita No.4 in D, BWV 828- II. Allemande | Trevor Pinnock | — | |
| 28-3 | Partita No.4 in D, BWV 828- III. Courante | Trevor Pinnock | — | |
| 28-4 | Partita No.4 in D, BWV 828- IV. Aria | Trevor Pinnock | T-905.380.384-2 | |
| 28-5 | Partita No.4 in D, BWV 828- V. Sarabande | Trevor Pinnock | — | |
| 28-6 | Partita No.4 in D, BWV 828- VI. Menuet | Trevor Pinnock | — | |
| 28-7 | Partita No.4 in D, BWV 828- VII. Gigue | Trevor Pinnock | — | |
| 28-8 | Partita No.5 in G, BWV 829- I. Praeambulum | Trevor Pinnock | — | |
| 28-9 | Partita No.5 in G, BWV 829- II. Allemande | Trevor Pinnock | — | |
| 28-10 | Partita No.5 in G, BWV 829- III. Corrente | Trevor Pinnock | — | |
| 28-11 | Partita No.5 in G, BWV 829- IV. Sarabande | Trevor Pinnock | — | |
| 28-12 | Partita No.5 in G, BWV 829- V. Tempo di Minuetto | Trevor Pinnock | — | |
| 28-13 | Partita No.5 in G, BWV 829- VI. Passepied | Trevor Pinnock | — | |
| 28-14 | Partita No.5 in G, BWV 829- VII. Gigue | Trevor Pinnock | — | |
| 28-15 | Partita No.6 in e, BWV 830- I. Toccata | Trevor Pinnock | — | |
| 28-16 | Partita No.6 in e, BWV 830- II. Allemanda | Trevor Pinnock | — | |
| 28-17 | Partita No.6 in e, BWV 830- III. Corrente | Trevor Pinnock | — | |
| 28-18 | Partita No.6 in e, BWV 830- IV. Air | Trevor Pinnock | — | |
| 28-19 | Partita No.6 in e, BWV 830- V. Sarabande | Trevor Pinnock | — | |
| 28-20 | Partita No.6 in e, BWV 830- VI. Tempo di Gavotta | Trevor Pinnock | — | |
| 28-21 | Partita No.6 in e, BWV 830- VII. Gigue | Trevor Pinnock | — | |
| 29-1 | Partita no. 1 in B‐flat major, BWV 825: I. Praeludium | Maria João Pires | T-800.572.279-3 | |
| 29-2 | Partita no. 1 in B‐flat major, BWV 825: II. Allemande | Maria João Pires | — | |
| 29-3 | Partita no. 1 in B‐flat major, BWV 825: III. Corrente | Maria João Pires | — | |
| 29-4 | Partita no. 1 in B‐flat major, BWV 825: IV. Sarabande | Maria João Pires | — | |
| 29-5 | Partita no. 1 in B‐flat major, BWV 825: V. Menuet I | Maria João Pires | — | |
| 29-6 | Partita no. 1 in B‐flat major, BWV 825: VI. Menuet II | Maria João Pires | — | |
| 29-7 | Partita no. 1 in B‐flat major, BWV 825: Menuet I da capo | Maria João Pires | — | |
| 29-8 | Partita no. 1 in B‐flat major, BWV 825: VIII. Gigue | Maria João Pires | — | |
| 29-9 | English Suite no. 3 in G minor, BWV 808: I. Prelude | Maria João Pires | — | |
| 29-10 | English Suite no. 3 in G minor, BWV 808: II. Allemande | Maria João Pires | — | |
| 29-11 | English Suite no. 3 in G minor, BWV 808: III. Courante | Maria João Pires | — | |
| 29-12 | English Suite no. 3 in G minor, BWV 808: IV. Sarabande | Maria João Pires | — | |
| 29-13 | English Suite no. 3 in G minor, BWV 808: V. Les agrements de la meme Sarabande | Maria João Pires | — | |
| 29-14 | English Suite no. 3 in G minor, BWV 808: VI. Gavotte I alternativement | Maria João Pires | — | |
| 29-15 | English Suite no. 3 in G minor, BWV 808: VII. Gavotte II ou la Musette | Maria João Pires | T-919.842.195-3 | |
| 29-16 | English Suite no. 3 in G minor, BWV 808: VIII. Gavotte I da capo | Maria João Pires | — | |
| 29-17 | English Suite no. 3 in G minor, BWV 808: IX. Gigue | Maria João Pires | — | |
| 29-18 | French Suite no. 2 in C minor, BWV 813: I. Allemande | Maria João Pires | — | |
| 29-19 | French Suite no. 2 in C minor, BWV 813: II. Courante | Maria João Pires | T-900.237.672-9 | |
| 29-20 | French Suite no. 2 in C minor, BWV 813: III. Sarabande | Maria João Pires | — | |
| 29-21 | French Suite no. 2 in C minor, BWV 813: IV. Air | Maria João Pires | — | |
| 29-22 | French Suite no. 2 in C minor, BWV 813: V. Menuet | Maria João Pires | — | |
| 29-23 | French Suite no. 2 in C minor, BWV 813: VI. Gigue | Maria João Pires | — | |
| 30-1 | English Suite No. 2 in A minor, BWV 807: I. Prélude | Ivo Pogorelich | T-070.160.313-5 | |
| 30-2 | English Suite No. 2 in A minor, BWV 807: II. Allemande | Ivo Pogorelich | — | |
| 30-3 | English Suite No. 2 in A minor, BWV 807: III. Courante | Ivo Pogorelich | — | |
| 30-4 | English Suite No. 2 in A minor, BWV 807: IV. Sarabande | Ivo Pogorelich | — | |
| 30-5 | English Suite No. 2 in A minor, BWV 807: V. Bourrée I & II | Ivo Pogorelich | — | |
| 30-6 | English Suite No. 2 in A minor, BWV 807: VI. Gigue | Ivo Pogorelich | — | |
| 30-7 | English Suite No. 3 in G minor, BWV 808: I. Prélude | Ivo Pogorelich | — | |
| 30-8 | English Suite No. 3 in G minor, BWV 808: II. Allemande | Ivo Pogorelich | — | |
| 30-9 | English Suite No. 3 in G minor, BWV 808: III. Courante | Ivo Pogorelich | — | |
| 30-10 | English Suite No. 3 in G minor, BWV 808: IV. Sarabande | Ivo Pogorelich | — | |
| 30-11 | English Suite No. 3 in G minor, BWV 808: V. Gavotte I & II | Ivo Pogorelich | — | |
| 30-12 | English Suite No. 3 in G minor, BWV 808: VI. Gigue | Ivo Pogorelich | — | |
| 31-1 | Chromatic Fantasia and Fugue in D minor, BWV 903: 1. Fantasia | — | ||
| 31-2 | Chromatic Fantasia and Fugue in D minor, BWV 903: 2. Recitativ | — | ||
| 31-3 | Chromatic Fantasia and Fugue in D minor, BWV 903: 3. Fuga | — | ||
| 31-4 | Toccata in D major, BWV 912: 1. (Presto) | — | ||
| 31-5 | Toccata in D major, BWV 912: 2. Allegro | — | ||
| 31-6 | Toccata in D major, BWV 912: 3. Adagio | — | ||
| 31-7 | Toccata in D major, BWV 912: 4. (without tempo indication) | — | ||
| 31-8 | Toccata in D major, BWV 912: 5. Con discrezione | — | ||
| 31-9 | Toccata in D major, BWV 912: 6. (without tempo indication) | — | ||
| 31-10 | Toccata in D minor, BWV 913: 1. - | — | ||
| 31-11 | Toccata in D minor, BWV 913: 2. Thema | — | ||
| 31-12 | Toccata in D minor, BWV 913: 3. - | — | ||
| 31-13 | Toccata in D minor, BWV 913: 4. Allegro | — | ||
| 31-14 | Toccata in E minor, BWV 914: 1. (without tempo indication) | — | ||
| 31-15 | Toccata in E minor, BWV 914: 2. Un poco allegro | — | ||
| 31-16 | Toccata in E minor, BWV 914: 3. Adagio | — | ||
| 31-17 | Toccata in E minor, BWV 914: 4. Fuga. Allegro | — | ||
| 31-18 | Toccata in G, BWV 916: 1. (without tempo indication) | — | ||
| 31-19 | Toccata in G, BWV 916: 2. Adagio | — | ||
| 31-20 | Toccata in G, BWV 916: 3. Allegro e presto | — | ||
| 31-21 | Fantasy in C minor, BWV 906 | — | ||
| 32-1 | Toccata in C minor, BWV 911 | Martha Argerich | — | |
| 32-2 | Partita no. 2 in C minor, BWV 826: I. Sinfonia | Martha Argerich | T-903.514.416-2 | |
| 32-3 | Partita no. 2 in C minor, BWV 826: II. Allemande | Martha Argerich | T-309.901.323-3 | |
| 32-4 | Partita no. 2 in C minor, BWV 826: III. Courante | Martha Argerich | — | |
| 32-5 | Partita no. 2 in C minor, BWV 826: IV. Sarabande | Martha Argerich | — | |
| 32-6 | Partita no. 2 in C minor, BWV 826: V. Rondeau | Martha Argerich | — | |
| 32-7 | Partita no. 2 in C minor, BWV 826: VI. Capriccio | Martha Argerich | T-909.407.008-3 | |
| 32-8 | English Suite no. 2 in A minor, BWV 807: I. Prélude | Martha Argerich | T-070.161.055-0 | |
| 32-9 | English Suite no. 2 in A minor, BWV 807: II. Allemande | Martha Argerich | — | |
| 32-10 | English Suite no. 2 in A minor, BWV 807: III. Courante | Martha Argerich | — | |
| 32-11 | English Suite no. 2 in A minor, BWV 807: IV. Sarabande | Martha Argerich | — | |
| 32-12 | English Suite no. 2 in A minor, BWV 807: V. Bourrée I & II | Martha Argerich | — | |
| 32-13 | English Suite no. 2 in A minor, BWV 807: VI. Gigue | Martha Argerich | — | |
| 33-1 | 15 Two-part Inventions, BWV 772/786: No. 1 in C major, BWV 772 | — | ||
| 33-2 | 15 Two-part Inventions, BWV 772/786: No. 2 in C minor, BWV 773 | — | ||
| 33-3 | 15 Two-part Inventions, BWV 772/786: No. 3 in D, BWV 774 | — | ||
| 33-4 | 15 Two-part Inventions, BWV 772/786: No. 4 in D minor, BWV 775 | — | ||
| 33-5 | 15 Two-part Inventions, BWV 772/786: No. 5 in E-flat, BWV 776 | — | ||
| 33-6 | 15 Two-part Inventions, BWV 772/786: No. 6 in E, BWV 777 | — | ||
| 33-7 | 15 Two-part Inventions, BWV 772/786: No. 7 in E minor, BWV 778 | — | ||
| 33-8 | 15 Two-part Inventions, BWV 772/786: No. 8 in F, BWV 779 | — | ||
| 33-9 | 15 Two-part Inventions, BWV 772/786: No. 9 in F minor, BWV 780 | — | ||
| 33-10 | 15 Two-part Inventions, BWV 772/786: No. 10 in G, BWV 781 | — | ||
| 33-11 | 15 Two-part Inventions, BWV 772/786: No. 11 in G minor, BWV 782 | — | ||
| 33-12 | 15 Two-part Inventions, BWV 772/786: No. 12 in A, BWV 783 | — | ||
| 33-13 | 15 Two-part Inventions, BWV 772/786: No. 13 in A minor, BWV 784 | — | ||
| 33-14 | 15 Two-part Inventions, BWV 772/786: No. 14 in B-flat, BWV 785 | — | ||
| 33-15 | 15 Two-part Inventions, BWV 772/786: No. 15 in B minor, BWV 786 | — | ||
| 33-16 | 15 Three-part Inventions, BWV 787/801: No. 1 in C, BWV 787 | — | ||
| 33-17 | 15 Three-part Inventions, BWV 787/801: No. 2 in C minor, BWV 788 | — | ||
| 33-18 | 15 Three-part Inventions, BWV 787/801: No. 3 in D, BWV 789 | — | ||
| 33-19 | 15 Three-part Inventions, BWV 787/801: No. 4 in D minor, BWV 790 | — | ||
| 33-20 | 15 Three-part Inventions, BWV 787/801: No. 5 in E-flat, BWV 791 | — | ||
| 33-21 | 15 Three-part Inventions, BWV 787/801: No. 6 in E, BWV 792 | — | ||
| 33-22 | 15 Three-part Inventions, BWV 787/801: No. 7 in E minor, BWV 793 | — | ||
| 33-23 | 15 Three-part Inventions, BWV 787/801: No. 8 in F, BWV 794 | — | ||
| 33-24 | 15 Three-part Inventions, BWV 787/801: No. 9 in F minor, BWV 795 | — | ||
| 33-25 | 15 Three-part Inventions, BWV 787/801: No. 10 in G, BWV 796 | — | ||
| 33-26 | 15 Three-part Inventions, BWV 787/801: No. 11 in G minor, BWV 797 | — | ||
| 33-27 | 15 Three-part Inventions, BWV 787/801: No. 12 in A, BWV 798 | — | ||
| 33-28 | 15 Three-part Inventions, BWV 787/801: No. 13 in A minor, BWV 799 | — | ||
| 33-29 | 15 Three-part Inventions, BWV 787/801: No. 14 in B-flat, BWV 800 | — | ||
| 33-30 | 15 Three-part Inventions, BWV 787/801: No. 15 in B minor, BWV 801 | — | ||
| 34-1 | Suite in G minor, BWV 995: Preludio | Göran Söllscher | — | |
| 34-2 | Suite in G minor for Lute, BWV 995: 2. Allemande | — | ||
| 34-3 | Suite in G minor, BWV 995: Preludio | Göran Söllscher | — | |
| 34-4 | Suite in G minor, BWV 995: Preludio | Göran Söllscher | — | |
| 34-5 | Suite in G minor, BWV 995: Preludio | Göran Söllscher | — | |
| 34-6 | Suite in G minor, BWV 995: Preludio | Göran Söllscher | — | |
| 34-7 | Suite in G minor, BWV 996: IV. Sarabande | Göran Söllscher | — | |
| 34-8 | Suite in G minor, BWV 996: IV. Sarabande | Göran Söllscher | — | |
| 34-9 | Suite in G minor, BWV 996: IV. Sarabande | Göran Söllscher | — | |
| 34-10 | Suite in G minor, BWV 996: IV. Sarabande | Göran Söllscher | — | |
| 34-11 | Suite in G minor, BWV 996: IV. Sarabande | Göran Söllscher | — | |
| 34-12 | Suite in G minor, BWV 996: IV. Sarabande | Göran Söllscher | — | |
| 34-13 | Suite in C minor, BWV 997: III. Sarabande | Göran Söllscher | — | |
| 34-14 | Suite in C minor, BWV 997: III. Sarabande | Göran Söllscher | — | |
| 34-15 | Suite in C minor, BWV 997: III. Sarabande | Göran Söllscher | — | |
| 34-16 | Suite in C minor, BWV 997: III. Sarabande | Göran Söllscher | — | |
| 34-17 | Prelude, Fugue and Allegro in E-flat major, BWV 998: Arr. for Guitar and Lute: 1. Praeludium | — | ||
| 34-18 | Prelude, Fugue and Allegro in E-flat major, BWV 998: Arr. for Guitar and Lute: 2. Fugue | — | ||
| 34-19 | Prelude, Fugue and Allegro in E-flat major, BWV 998: Arr. for Guitar and Lute: 3. Allegro | — | ||
| 35-1 | Sonata for Violin Solo No. 1 in G minor, BWV 1001: 1. Adagio | — | ||
| 35-2 | Sonata for Violin Solo No. 1 in G minor, BWV 1001: 2. Fuga (Allegro) | — | ||
| 35-3 | Sonata for Violin Solo No. 1 in G minor, BWV 1001: 3. Siciliana | — | ||
| 35-4 | Sonata for Violin Solo No. 1 in G minor, BWV 1001: 4. Presto | — | ||
| 35-5 | Partita for Violin Solo No. 1 in B minor, BWV 1002: 1a. Allemanda | — | ||
| 35-6 | Partita for Violin Solo No. 1 in B minor, BWV 1002: - Double | — | ||
| 35-7 | Partita for Violin Solo No. 1 in B minor, BWV 1002: 2a. Corrente | — | ||
| 35-8 | Partita for Violin Solo No. 1 in B minor, BWV 1002: - Double | — | ||
| 35-9 | Partita for Violin Solo No. 1 in B minor, BWV 1002: 3a. Sarabande | — | ||
| 35-10 | Partita for Violin Solo No. 1 in B minor, BWV 1002: 6. Double | — | ||
| 35-11 | Partita for Violin Solo No. 1 in B minor, BWV 1002: 4a. Tempo di Borea | — | ||
| 35-12 | Partita for Violin Solo No. 1 in B minor, BWV 1002: 8. Double | — | ||
| 35-13 | Sonata for Violin Solo No. 2 in A minor, BWV 1003: 1. Grave | — | ||
| 35-14 | Sonata for Violin Solo No. 2 in A minor, BWV 1003: 2. Fuga | — | ||
| 35-15 | Sonata for Violin Solo No. 2 in A minor, BWV 1003: 3. Andante | — | ||
| 35-16 | Sonata for Violin Solo No. 2 in A minor, BWV 1003: 4. Allegro | — | ||
| 36-1 | Partita for Violin Solo No. 2 in D minor, BWV 1004: 1. Allemande | — | ||
| 36-2 | Partita for Violin Solo No. 2 in D minor, BWV 1004: 2. Courante | — | ||
| 36-3 | Partita for Violin Solo No. 2 in D minor, BWV 1004: 3. Sarabande | — | ||
| 36-4 | Partita for Violin Solo No. 2 in D minor, BWV 1004: 4. Gigue | — | ||
| 36-5 | Partita for Violin Solo No. 2 in D minor, BWV 1004: 5. Chaconne | — | ||
| 36-6 | Sonata for Violin Solo No. 3 in C major, BWV 1005: 1. Adagio | — | ||
| 36-7 | Sonata for Violin Solo No. 3 in C major, BWV 1005: 2. Fuga | — | ||
| 36-8 | Sonata for Violin Solo No. 3 in C major, BWV 1005: 3. Largo | — | ||
| 36-9 | Sonata for Violin Solo No. 3 in C major, BWV 1005: 4. Allegro assai | — | ||
| 36-10 | Partita no. 3 E-dur, BWV 1006: I. Preludio | Nathan Milstein | T-041.917.934-2 | |
| 36-11 | Partita for Violin Solo No. 3 in E major, BWV 1006: 2. Loure | — | ||
| 36-12 | Partita for Violin Solo No. 3 in E major, BWV 1006: 3. Gavotte en Rondeau | — | ||
| 36-13 | Partita for Violin Solo No. 3 in E major, BWV 1006: 4a. Minuet I | — | ||
| 36-14 | Partita for Violin Solo No. 3 in E major, BWV 1006: 4b. Minuet II | — | ||
| 36-15 | Partita for Violin Solo No. 3 in E major, BWV 1006: 5. Bourrée | — | ||
| 36-16 | Partita for Violin Solo No. 3 in E major, BWV 1006: 6. Gigue | — | ||
| 37-1 | Sonata for Violin and Harpsichord no. 1 in B minor, BWV 1014: I. Adagio | Reinhard Goebel, Robert Hill | — | |
| 37-2 | Sonata for Violin and Harpsichord no. 1 in B minor, BWV 1014: II. Allegro | Reinhard Goebel, Robert Hill | — | |
| 37-3 | Sonata for Violin and Harpsichord no. 1 in B minor, BWV 1014: III. Andante | Reinhard Goebel, Robert Hill | T-801.724.839-5 | |
| 37-4 | Sonata for Violin and Harpsichord no. 1 in B minor, BWV 1014: IV. Allegro | Reinhard Goebel, Robert Hill | T-318.676.528-2 | |
| 37-5 | Sonata for Violin and Harpsichord no. 2 in A major, BWV 1015: I. [without tempo indication] | Reinhard Goebel, Robert Hill | T-800.184.797-9 | |
| 37-6 | Sonata for Violin and Harpsichord no. 2 in A major, BWV 1015: II. Allegro assai | Reinhard Goebel, Robert Hill | — | |
| 37-7 | Sonata for Violin and Harpsichord no. 2 in A major, BWV 1015: III. Andante un poco | Reinhard Goebel, Robert Hill | — | |
| 37-8 | Sonata for Violin and Harpsichord no. 2 in A major, BWV 1015: IV. Presto | Reinhard Goebel, Robert Hill | T-318.676.528-2 | |
| 37-9 | Sonata for Violin and Harpsichord no. 3 in E major, BWV 1016: I. Adagio | Reinhard Goebel, Robert Hill | — | |
| 37-10 | Sonata for Violin and Harpsichord no. 3 in E major, BWV 1016: II. Allegro | Reinhard Goebel, Robert Hill | — | |
| 37-11 | Sonata for Violin and Harpsichord no. 3 in E major, BWV 1016: III. Adagio ma non tanto | Reinhard Goebel, Robert Hill | — | |
| 37-12 | Sonata for Violin and Harpsichord no. 3 in E major, BWV 1016: IV. Allegro | Reinhard Goebel, Robert Hill | T-318.676.528-2 | |
| 37-13 | Sonata for Violin and Harpsichord no. 4 in C minor, BWV 1017: I. Siciliano (Largo) | Reinhard Goebel, Robert Hill | — | |
| 37-14 | Sonata for Violin and Harpsichord no. 4 in C minor, BWV 1017: II. Allegro | Reinhard Goebel, Robert Hill | — | |
| 37-15 | Sonata for Violin and Harpsichord no. 4 in C minor, BWV 1017: III. Adagio ma non tanto | Reinhard Goebel, Robert Hill | — | |
| 37-16 | Sonata for Violin and Harpsichord no. 4 in C minor, BWV 1017: IV. Allegro assai | Reinhard Goebel, Robert Hill | T-318.676.528-2 | |
| 37-17 | Sonata for Violin and Harpsichord no. 5 in F minor, BWV 1018: I. Largo | Reinhard Goebel, Robert Hill | T-070.160.313-5 | |
| 37-18 | Sonata for Violin and Harpsichord no. 5 in F minor, BWV 1018: II. Allegro | Reinhard Goebel, Robert Hill | — | |
| 37-19 | Sonata for Violin and Harpsichord no. 5 in F minor, BWV 1018: III. Adagio | Reinhard Goebel, Robert Hill | — | |
| 37-20 | Sonata for Violin and Harpsichord no. 5 in F minor, BWV 1018: IV. Vivace | Reinhard Goebel, Robert Hill | — | |
| 38-1 | Suite for Cello Solo no. 1 in G major, BWV 1007: 1. Prélude | Pierre Fournier | — | |
| 38-2 | Cello Suite no. 1 in G major, BWV 1007: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 38-3 | Cello Suite no. 1 in G major, BWV 1007: III. Courante | Pierre Fournier | — | |
| 38-4 | 무반주 첼로 모음곡 1번 중 "사라방드" [Unaccompanied Cello no. 1, Sarabande] | Pierre Fournier | — | |
| 38-5 | Cello Suite no. 1 in G major, BWV 1007: V. Menuet I/II | Pierre Fournier | — | |
| 38-6 | Cello Suite no. 1 in G major, BWV 1007: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 38-7 | Cello Suite no. 2 in D minor, BWV 1008: I. Prelude | Pierre Fournier | — | |
| 38-8 | Cello Suite no. 2 in D minor, BWV 1008: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 38-9 | Cello Suite no. 2 in D minor, BWV 1008: III. Courante | Pierre Fournier | — | |
| 38-10 | Cello Suite no. 2 in D minor, BWV 1008: IV. Sarabande | Pierre Fournier | — | |
| 38-11 | Cello Suite no. 2 in D minor, BWV 1008: V. Menuet I/II | Pierre Fournier | — | |
| 38-12 | Cello Suite no. 2 in D minor, BWV 1008: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 38-13 | Cello Suite no. 3 in C major, BWV 1009: I. Prelude | Pierre Fournier | — | |
| 38-14 | Cello Suite no. 3 in C major, BWV 1009: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 38-15 | Cello Suite no. 3 in C major, BWV 1009: III. Courante | Pierre Fournier | — | |
| 38-16 | Cello Suite no. 3 in C major, BWV 1009: IV. Sarabande | Pierre Fournier | — | |
| 38-17 | Cello Suite no. 3 in C major, BWV 1009: V. Bourree I/II | Pierre Fournier | — | |
| 38-18 | Cello Suite no. 3 in C major, BWV 1009: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 39-1 | Cello Suite no. 4 in E-flat major, BWV 1010: I. Prelude | Pierre Fournier | — | |
| 39-2 | Cello Suite no. 4 in E-flat major, BWV 1010: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 39-3 | Cello Suite no. 4 in E-flat major, BWV 1010: III. Courante | Pierre Fournier | — | |
| 39-4 | Cello Suite no. 4 in E-flat major, BWV 1010: IV. Sarabande | Pierre Fournier | — | |
| 39-5 | Cello Suite no. 4 in E-flat major, BWV 1010: V. Bourree I/II | Pierre Fournier | — | |
| 39-6 | Cello Suite no. 4 in E-flat major, BWV 1010: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 39-7 | Cello Suite no. 5 in C minor, BWV 1011: I. Prelude | Pierre Fournier | T-925.383.914-4 | |
| 39-8 | Cello Suite no. 5 in C minor, BWV 1011: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 39-9 | Cello Suite no. 5 in C minor, BWV 1011: III. Courante | Pierre Fournier | T-925.383.914-4 | |
| 39-10 | Cello Suite no. 5 in C minor, BWV 1011: IV. Sarabande | Pierre Fournier | — | |
| 39-11 | Cello Suite no. 5 in C minor, BWV 1011: V. Gavotte I/II | Pierre Fournier | — | |
| 39-12 | Cello Suite no. 5 in C minor, BWV 1011: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 39-13 | Cello Suite no. 6 in D major, BWV 1012: I. Prelude | Pierre Fournier | — | |
| 39-14 | Cello Suite no. 6 in D major, BWV 1012: II. Allemande | Pierre Fournier | T-309.901.323-3 | |
| 39-15 | Cello Suite no. 6 in D major, BWV 1012: III. Courante | Pierre Fournier | — | |
| 39-16 | Cello Suite no. 6 in D major, BWV 1012: IV. Sarabande | Pierre Fournier | — | |
| 39-17 | Cello Suite no. 6 in D major, BWV 1012: V. Gavotte I/II | Pierre Fournier | — | |
| 39-18 | Cello Suite no. 6 in D major, BWV 1012: VI. Gigue | Pierre Fournier | T-909.407.008-3 | |
| 40-1 | Sonata for Viola da Gamba and Harpsichord no. 1 in G major, BWV 1027: I. Adagio | Martha Argerich, Mischa Maisky | T-001.439.586-8 | |
| 40-2 | Sonata for Viola da Gamba and Harpsichord no. 1 in G major, BWV 1027: II. Allegro ma non tanto | Martha Argerich, Mischa Maisky | — | |
| 40-3 | Sonata for Viola da Gamba and Harpsichord no. 1 in G major, BWV 1027: III. Andante | Martha Argerich, Mischa Maisky | T-902.685.622-4 | |
| 40-4 | Sonata for Viola da Gamba and Harpsichord no. 1 in G major, BWV 1027: IV. Allegro moderato | Martha Argerich, Mischa Maisky | — | |
| 40-5 | Sonata for Viola da Gamba and Harpsichord no. 2 in D major, BWV 1028: I. Adagio | Martha Argerich, Mischa Maisky | T-001.439.586-8 | |
| 40-6 | Sonata for Viola da Gamba and Harpsichord no. 2 in D major, BWV 1028: II. Allegro | Martha Argerich, Mischa Maisky | — | |
| 40-7 | Sonata for Viola da Gamba and Harpsichord no. 2 in D major, BWV 1028: III. Andante | Martha Argerich, Mischa Maisky | T-902.685.622-4 | |
| 40-8 | Sonata for Viola da Gamba and Harpsichord no. 2 in D major, BWV 1028: IV. Allegro | Martha Argerich, Mischa Maisky | — | |
| 40-9 | Sonata for Viola da Gamba and Harpsichord no. 3 in G minor, BWV 1029: I. Vivace | Martha Argerich, Mischa Maisky | — | |
| 40-10 | Sonata for Viola da Gamba and Harpsichord no. 3 in G minor, BWV 1029: II. Adagio | Martha Argerich, Mischa Maisky | T-001.439.586-8 | |
| 40-11 | Sonata for Viola da Gamba and Harpsichord no. 3 in G minor, BWV 1029: III. Allegro | Martha Argerich, Mischa Maisky | T-914.323.864-6 | |
| 40-12 | Sonata for Violin and Harpsichord No. 6 in G major, BWV 1019: 1. Allegro | — | ||
| 40-13 | Sonata for Violin and Harpsichord No. 6 in G major, BWV 1019: 2. Largo | — | ||
| 40-14 | Sonata for Violin and Harpsichord No. 6 in G major, BWV 1019: 3. Allegro | — | ||
| 40-15 | Sonata for Violin and Harpsichord No. 6 in G major, BWV 1019: 4. Adagio | — | ||
| 40-16 | Sonata for Violin and Harpsichord No. 6 in G major, BWV 1019: 5. Allegro | — | ||
| 41-1 | Flute Sonata in B minor, BWV 1030: 3. Presto (Allegro) | Aurèle Nicolet, Karl Richter | — | |
| 41-2 | Flute Sonata in B minor, BWV 1030: 3. Presto (Allegro) | Aurèle Nicolet, Karl Richter | — | |
| 41-3 | Flute Sonata in B minor, BWV 1030: 3. Presto (Allegro) | Aurèle Nicolet, Karl Richter | — | |
| 41-4 | Flute Sonata in E-flat major, BWV 1031: 1. Allegro moderato | Aurèle Nicolet, Karl Richter | — | |
| 41-5 | Flute Sonata in E-flat major, BWV 1031: 1. Allegro moderato | Aurèle Nicolet, Karl Richter | — | |
| 41-6 | Flute Sonata in E-flat major, BWV 1031: 1. Allegro moderato | Aurèle Nicolet, Karl Richter | — | |
| 41-7 | Flute Sonata in A major, BWV 1032: 3. Allegro | Aurèle Nicolet, Karl Richter | — | |
| 41-8 | Flute Sonata in A major, BWV 1032: 3. Allegro | Aurèle Nicolet, Karl Richter | — | |
| 41-9 | Flute Sonata in A major, BWV 1032: 3. Allegro | Aurèle Nicolet, Karl Richter | — | |
| 41-10 | Partita in A minor for Solo Flute, BWV 1013: 1. Allemande | Aurèle Nicolet | — | |
| 41-11 | Partita in A minor for Solo Flute, BWV 1013: 1. Allemande | Aurèle Nicolet | — | |
| 41-12 | Partita in A minor for Solo Flute, BWV 1013: 1. Allemande | Aurèle Nicolet | — | |
| 41-13 | Partita in A minor for Solo Flute, BWV 1013: 1. Allemande | Aurèle Nicolet | — | |
| 41-14 | Flute Sonata in E minor, BWV 1034: 1. Adagio ma non tanto | — | ||
| 41-15 | Flute Sonata in E minor, BWV 1034: 2. Allegro | — | ||
| 41-16 | Flute Sonata in E minor, BWV 1034: 3. Andante | — | ||
| 41-17 | Flute Sonata in E minor, BWV 1034: 4. Allegro | — | ||
| 41-18 | Flute Sonata in E major, BWV 1035: 1. Adagio ma non tanto | — | ||
| 41-19 | Flute Sonata in E major, BWV 1035: 2. Allegro | — | ||
| 41-20 | Flute Sonata in E major, BWV 1035: 3. Siciliano | — | ||
| 41-21 | Flute Sonata in E major, BWV 1035: 4. Allegro assai | — | ||
| 42-1 | Brandenburg Concerto No. 1 in F major, BWV 1046: 1. (Allegro) | — | ||
| 42-2 | Brandenburg Concerto No. 1 in F major, BWV 1046: 2. Adagio | — | ||
| 42-3 | Brandenburg Concerto No. 1 in F major, BWV 1046: 3. Allegro | — | ||
| 42-4 | Brandenburg Concerto No. 1 in F major, BWV 1046: 4. Menuett - Trio - Polonaise - Menuett - Trio | — | ||
| 42-5 | Brandenburg Concerto No. 3 in G major, BWV 1048: 1. (Allegro) | — | ||
| 42-6 | Brandenburg Concerto No. 3 in G major, BWV 1048: 2. Adagio | — | ||
| 42-7 | Brandenburg Concerto No. 3 in G major, BWV 1048: 3. Allegro | — | ||
| 42-8 | Brandenburg Concerto No. 5 in D major, BWV 1050: 1. Allegro | — | ||
| 42-9 | Brandenburg Concerto No. 5 in D major, BWV 1050: 2. Affetuoso | — | ||
| 42-10 | Brandenburg Concerto No. 5 in D major, BWV 1050: 3. Allegro | — | ||
| 43-1 | Brandenburg Concerto No. 6 in B-flat major, BWV 1051: 1. (Allegro) | — | ||
| 43-2 | Brandenburg Concerto No. 6 in B-flat major, BWV 1051: 2. Adagio ma non tanto | — | ||
| 43-3 | Brandenburg Concerto No. 6 in B-flat major, BWV 1051: 3. Allegro | — | ||
| 43-4 | Brandenburg Concerto №4 in G major, BWV 1049: I. Allegro | Giuliano Carmignola, Michala Petri, Nikola Tarasov, Orchestra Mozart, Claudio Abbado | T-914.325.765-2 | |
| 43-5 | Brandenburg Concerto No. 4 in G major, BWV 1049: 2. Andante | — | ||
| 43-6 | Brandenburg Concerto No. 4 in G major, BWV 1049: 3. Presto | — | ||
| 43-7 | Brandenburg Concerto No. 2 in F major, BWV 1047: 1. (Allegro) | — | ||
| 43-8 | Brandenburg Concerto No. 2 in F major, BWV 1047: 2. Andante | — | ||
| 43-9 | Brandenburg Concerto No. 2 in F major, BWV 1047: 3. Allegro assai | — | ||
| 44-1 | Ouverture No. 1, BWV 1066: I. Ouverture | The English Concert, Trevor Pinnock | T-702.622.103-6 | |
| 44-2 | Ouverture No. 1 in C major, BWV 1066: II. Courante | The English Concert, Trevor Pinnock | T-309.901.323-3 | |
| 44-3 | Ouverture No. 1 in C major, BWV 1066: III. Gavotte I/II | The English Concert, Trevor Pinnock | — | |
| 44-4 | Ouverture No. 1 in C major, BWV 1066: IV. Forlane | The English Concert, Trevor Pinnock | — | |
| 44-5 | Ouverture No. 1 in C major, BWV 1066: V. Menuet I/II | The English Concert, Trevor Pinnock | — | |
| 44-6 | Ouverture No. 1 in C major, BWV 1066: VI. Bourree I/II | The English Concert, Trevor Pinnock | — | |
| 44-7 | Ouverture No. 1 in C major, BWV 1066: VII. Passepied I/II | The English Concert, Trevor Pinnock | — | |
| 44-8 | Ouverture No. 2 in B minor, BWV 1067: I. Ouverture | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | T-702.622.103-6 | |
| 44-9 | Ouverture No. 2 in B minor, BWV 1067: II. Rondeau | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | — | |
| 44-10 | Ouverture No. 2 in B minor, BWV 1067: III. Sarabande | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | — | |
| 44-11 | Ouverture No. 2 in B minor, BWV 1067: IV. Bourree I/II | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | — | |
| 44-12 | Ouverture No. 2 in B minor, BWV 1067: V. Polonaise | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | — | |
| 44-13 | Ouverture No. 2 in B minor, BWV 1067: VI. Menuet | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | T-011.654.484-3 | |
| 44-14 | Ouverture no. 2 in B minor, BWV 1067: VII. Badinerie | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | T-011.654.484-3 | |
| 44-15 | Ouverture No. 3 in D major, BWV 1068: I. Ouverture | The English Concert, Trevor Pinnock | T-702.622.103-6 | |
| 44-16 | Suite no. 3 in D, BWV 1068: II. Air | Monica Huggett, Trevor Jones, Trevor Pinnock, Anthony Pleeth, Stephen Preston, Simon Standage, Richard Webb, The English Concert | T-914.248.874-2 | |
| 44-17 | Ouverture No. 3 in D major, BWV 1068: III. Gavotte I/II | The English Concert, Trevor Pinnock | — | |
| 44-18 | Ouverture No. 3 in D major, BWV 1068: IV. Bourree | The English Concert, Trevor Pinnock | — | |
| 44-19 | Ouverture No. 3 in D major, BWV 1068: V. Gigue | The English Concert, Trevor Pinnock | — | |
| 44-20 | Ouverture No. 4 in D major, BWV 1069: I. Ouverture | The English Concert, Trevor Pinnock | T-702.622.103-6 | |
| 44-21 | Ouverture No. 4, BWV 1069: II. Bourree I/II | The English Concert, Trevor Pinnock | — | |
| 44-22 | Ouverture No. 4 in D major, BWV 1069: III. Gavotte | The English Concert, Trevor Pinnock | — | |
| 44-23 | Ouverture No. 4 in D major, BWV 1069: IV. Menuet I/II | The English Concert, Trevor Pinnock | — | |
| 44-24 | Ouverture No. 4 in D major, BWV 1069: V. Rejouissance | The English Concert, Trevor Pinnock | — | |
| 45-1 | Concerto for Violin, Strings and Continuo in E major, BWV 1042: I. Allegro | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-011.422.353-8 | |
| 45-2 | Concerto for Violin, Strings and Continuo in E major, BWV 1042: II. Adagio | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-001.439.586-8 | |
| 45-3 | Violin Concerto no. 2 in E, BWV 1042: 3. Allegro assai | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-306.395.786-4 | |
| 45-4 | Concerto for 2 Violins, Strings and Continuo in D minor, BWV 1043: I. Vivace | Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 45-5 | Concerto for Two Violins in D minor, BWV 1043: Largo ma non tanto | Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 45-6 | Concerto for 2 Violins, Strings and Continuo in D minor, BWV 1043: III. Allegro | Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 45-7 | Concerto for Violin, Strings and Continuo in A minor, BWV 1041: I. Allegro moderato | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-902.685.630-4 | |
| 45-8 | Concerto for Violin, Strings and Continuo in A minor, BWV 1041: II. Andante | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 45-9 | Concerto for Violin, Strings and Continuo in A minor, BWV 1041: III. Allegro assai | Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-306.395.786-4 | |
| 45-10 | Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060: I. Allegro | Allan Vogel, Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-011.422.353-8 | |
| 45-11 | Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060: II. Adagio | Allan Vogel, Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | T-071.579.534-8 | |
| 45-12 | Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060: III. Allegro | Allan Vogel, Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane | — | |
| 46-1 | Concerto for Harpsichord and Strings in D minor, BWV 1052: I. Allegro | The English Concert, Trevor Pinnock | T-070.161.055-0 | |
| 46-2 | Concerto for Harpsichord and Strings in D minor, BWV 1052: II. Adagio | The English Concert, Trevor Pinnock | T-309.901.323-3 | |
| 46-3 | Concerto for Harpsichord and Strings in D minor, BWV 1052: III. Allegro | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 46-4 | Concerto for Harpsichord and Strings in E major, BWV 1053: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-071.086.672-0 | |
| 46-5 | Concerto for Harpsichord and Strings in E major, BWV 1053: II. Siciliano | The English Concert, Trevor Pinnock | T-329.516.968-1 | |
| 46-6 | Concerto for Harpsichord and Strings in E major, BWV 1053: III. Allegro | The English Concert, Trevor Pinnock | — | |
| 46-7 | Concerto for Harpsichord and Strings in D major, BWV 1054: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-070.161.055-0 | |
| 46-8 | Concerto for Harpsichord and Strings in D major, BWV 1054: II. Adagio e piano sempre | The English Concert, Trevor Pinnock | — | |
| 46-9 | Concerto for Harpsichord and Strings in D major, BWV 1054: III. Allegro | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 46-10 | Concerto for Oboe d'amore, Strings and Basso Continuo in A major, BWV 1055R: I. | Trevor Pinnock, David Reichenberg, The English Concert | T-313.539.488-2 | |
| 46-11 | Concerto for Oboe d'amore, Strings and Basso Continuo in A major, BWV 1055R: II. Larghetto | Trevor Pinnock, David Reichenberg, The English Concert | — | |
| 46-12 | Concerto for Oboe d'amore, Strings and Basso Continuo in A major, BWV 1055R: III. Allegro ma non tanto | Trevor Pinnock, David Reichenberg, The English Concert | T-910.415.380-2 | |
| 47-1 | Concerto for Harpsichord and Strings in A major, BWV 1055: I. Allegro | The English Concert, Trevor Pinnock | T-071.086.672-0 | |
| 47-2 | Concerto for Harpsichord and Strings in A major, BWV 1055: II. Larghetto | The English Concert, Trevor Pinnock | T-309.901.323-3 | |
| 47-3 | Concerto for Harpsichord and Strings in A major, BWV 1055: III. Allegro ma non tanto | The English Concert, Trevor Pinnock | — | |
| 47-4 | Concerto for Harpsichord and Strings in F minor, BWV 1056: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-071.086.672-0 | |
| 47-5 | Concerto for Harpsichord and Strings in F minor, BWV 1056: II. Largo | The English Concert, Trevor Pinnock | T-309.901.323-3 | |
| 47-6 | Concerto for Harpsichord and Strings in F minor, BWV 1056: III. Presto | The English Concert, Trevor Pinnock | — | |
| 47-7 | Concerto for Harpsichord, 2 Recorders and Strings in F major, BWV 1057: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-011.422.353-8 | |
| 47-8 | Concerto for Harpsichord, 2 Recorders and Strings in F major, BWV 1057: II. Andante | The English Concert, Trevor Pinnock | — | |
| 47-9 | Concerto for Harpsichord, 2 Recorders and Strings in F major, BWV 1057: III. Allegro assai | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 47-10 | Concerto for Harpsichord and Strings in G minor, BWV 1058: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-070.161.055-0 | |
| 47-11 | Concerto for Harpsichord and Strings in G minor, BWV 1058: II. Andante | The English Concert, Trevor Pinnock | T-309.901.323-3 | |
| 47-12 | Concerto for Harpsichord and Strings in G minor, BWV 1058: III. Allegro assai | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-1 | Concerto for 4 Harpsichords and Strings in A minor, BWV 1065: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-2 | Concerto for 4 Harpsichords and Strings in A minor, BWV 1065: II. Largo | The English Concert, Trevor Pinnock | — | |
| 48-3 | Concerto for 4 Harpsichords and Strings in A minor, BWV 1065: III. Allegro | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-4 | Concerto for 3 Harpsichords and Strings in C major, BWV 1064: I. Allegro | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-5 | Concerto for 3 Harpsichords and Strings in C major, BWV 1064: II. Adagio | The English Concert, Trevor Pinnock | T-802.445.410-3 | |
| 48-6 | Concerto for 3 Harpsichords and Strings in C major, BWV 1064: III. Allegro | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-7 | Concerto for 3 Harpsichords and Strings in D minor, BWV 1063: I. (No tempo indication) | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-8 | Concerto for 3 Harpsichords and Strings in D minor, BWV 1063: II. Alla Siciliana | The English Concert, Trevor Pinnock | — | |
| 48-9 | Concerto for 3 Harpsichords and Strings in D minor, BWV 1063: III. Allegro | The English Concert, Trevor Pinnock | T-306.395.786-4 | |
| 48-10 | Concerto for Oboe, Violin, Strings and Basso Continuo in C minor, BWV 1060R: I. Allegro | David Reichenberg, Trevor Pinnock, Simon Standage, The English Concert | T-306.395.786-4 | |
| 48-11 | Concerto for Oboe, Violin, Strings and Basso Continuo in C minor, BWV 1060R: II. Adagio | David Reichenberg, Trevor Pinnock, Simon Standage, The English Concert | T-802.445.410-3 | |
| 48-12 | Concerto for Oboe, Violin, Strings and Basso Continuo in C minor, BWV 1060R: III. Allegro | David Reichenberg, Trevor Pinnock, Simon Standage, The English Concert | T-306.395.786-4 | |
| 49-1 | Musical Offering, BWV 1079: I. Ricercar a 3 | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-2 | Musical Offering, BWV 1079: II. Canon perpetuus a 2 | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-3 | Musical Offering, BWV 1079: III. Canon a 2 violini in unisono | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-4 | Musical Offering, BWV 1079: IV. Canon a 2 per motum contrarium | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-5 | Musical Offering, BWV 1079: V. Canon a 2 per augmentationem, contrario motu | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-6 | Musical Offering, BWV 1079: VI. Canon a 2 per tonos | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-7 | Musical Offering, BWV 1079: VII. Fuga canonica in epidiapente | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-8 | Musical Offering, BWV 1079: VIII. Canon perpetuus super thema regium | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-9 | Musical Offering, BWV 1079: IX. Canon perpetuus | Musica Antiqua Köln, Reinhard Goebel | — | |
| 49-10 | Musical Offering, BWV 1079: Canon a 2 | — | ||
| 49-11 | Musical Offering, BWV 1079: Canon a 4 | — | ||
| 49-12 | Musical Offering, BWV 1079: Sonata a 3 - I Largo | — | ||
| 49-13 | Musical Offering, BWV 1079: Sonata a 3 - II Allegro | — | ||
| 49-14 | Musical Offering, BWV 1079: Sonata a 3 - III Andante | — | ||
| 49-15 | Musical Offering, BWV 1079: Sonata a 3 - IV Allegro | — | ||
| 49-16 | Musical Offering, BWV 1079: Ricercar a 6 | — | ||
| 50-1 | The Art of Fugue, BWV 1080: Contrapunctus 1 | Pierre-Laurent Aimard | T-324.161.368-9 | |
| 50-2 | The Art of Fugue, BWV 1080: Contrapunctus 2 | Pierre-Laurent Aimard | T-309.901.323-3 | |
| 50-3 | The Art of Fugue, BWV 1080: Contrapunctus 3 | Pierre-Laurent Aimard | — | |
| 50-4 | The Art of Fugue, BWV 1080: Contrapunctus 4 | Pierre-Laurent Aimard | — | |
| 50-5 | The Art of Fugue, BWV 1080: Contrapunctus 5 | Pierre-Laurent Aimard | — | |
| 50-6 | The Art of Fugue, BWV 1080: Contrapunctus 6 a 4 in Style Francese | Pierre-Laurent Aimard | T-320.964.712-7 | |
| 50-7 | The Art of Fugue, BWV 1080: Contrapunctus 7 a 4 per Augmentationem et Diminutionem | Pierre-Laurent Aimard | — | |
| 50-8 | The Art of Fugue, BWV 1080: Contrapunctus 8 a 3 | Pierre-Laurent Aimard | — | |
| 50-9 | The Art of Fugue, BWV 1080: Contrapunctus 9 a 4 alla Duodecima | Pierre-Laurent Aimard | — | |
| 50-10 | The Art of Fugue, BWV 1080: Contrapunctus 10 a 4 alla Decima | Pierre-Laurent Aimard | — | |
| 50-11 | The Art of Fugue, BWV 1080: Contrapunctus 11 a 4 | Pierre-Laurent Aimard | — | |
| 50-12 | The Art of Fugue, BWV 1080: Contrapunctus inversus 12.1 a 4 | Pierre-Laurent Aimard | — | |
| 50-13 | The Art of Fugue, BWV 1080: Contrapunctus inversus 12.2 a 4 | Pierre-Laurent Aimard | — | |
| 50-14 | The Art of Fugue, BWV 1080: Contrapunctus inversus 13.1 a 3 | Pierre-Laurent Aimard | — | |
| 50-15 | The Art of Fugue, BWV 1080: Contrapunctus inversus 13.2 a 3 | Pierre-Laurent Aimard | — | |
| 50-16 | The Art of Fugue, BWV 1080: Canon alla Ottava | Pierre-Laurent Aimard | — | |
| 50-17 | The Art of Fugue, BWV 1080: Canon alla Decima in Contrapuncto all Terza | Pierre-Laurent Aimard | — | |
| 50-18 | The Art of Fugue, BWV 1080: Canon alla Duodecima in Contrapuncto alla Quinta | Pierre-Laurent Aimard | — | |
| 50-19 | The Art of Fugue, BWV 1080: Canon per Augmentationem in Contrario Motu | Pierre-Laurent Aimard | — |
