UPC · Release
Various Artists
Last verified:
The UPC for “Archiv Produktion 1947-2013” by Various Artists is 028947910459. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2013-01-01. Label: Archiv Produktion. This release contains 1000 tracks, each with its own ISRC. Tracks include DEF054702021, DEF054702022, DEF054702023.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Trio Sonata no. 1 in E-flat major, BWV 525: 1. [without tempo indication] | Helmut Walcha | T-801.411.105-9 | |
| 2 | Trio Sonata no. 1 in E-flat major, BWV 525: 2. Adagio | Helmut Walcha | T-001.439.586-8 | |
| 3 | Trio Sonata no. 1 in E-flat major, BWV 525: 3. Allegro | Helmut Walcha | — | |
| 4 | Six Chorales of Diverse Kinds, "Schübler Chorales": Wachet auf, ruft uns die Stimme, BWV 645 | Helmut Walcha | T-031.722.033-9 | |
| 5 | Six Chorales of Diverse Kinds, "Schübler Chorales": Wo soll ich fliehen hin, oder: Auf meinen lieben Gott, BWV 646 | Helmut Walcha | — | |
| 6 | Six Chorales of Diverse Kinds, "Schübler Chorales": Wer nur den lieben Gott lässt walten, BWV 647 | Helmut Walcha | — | |
| 7 | Six Chorales of Diverse Kinds, "Schübler Chorales": Meine Seele erhebet den Herrn, BWV 648 | Helmut Walcha | — | |
| 8 | Six Chorales of Diverse Kinds, "Schübler Chorales": Ach bleib bei uns, Herr Jesu Christ, BWV 649 | Helmut Walcha | — | |
| 9 | Six Chorales of Diverse Kinds, "Schübler Chorales": Kommst du nun, Jesu, vom Himmel herunter, BWV 650 | Helmut Walcha | — | |
| 10 | Partite diverse sopra: Sei gegrüßet, Jesu gütig, BWV 768 | Helmut Walcha | — | |
| 11 | Sonate Nr. 6 für 2 Manuale und Pedal G-Dur, BWV 530: I. Vivace | Helmut Walcha | — | |
| 12 | Sonate Nr. 6 für 2 Manuale und Pedal G-Dur, BWV 530: II. Lento | Helmut Walcha | T-010.888.057-4 | |
| 13 | Sonate Nr. 6 für 2 Manuale und Pedal G-Dur, BWV 530: III. Allegro | Helmut Walcha | T-010.888.057-4 | |
| 14 | Toccata und Fuge d-Moll, BWV 565 | Helmut Walcha | T-909.243.105-5 | |
| 15 | Fugue in E-flat major, BWV 552 | Helmut Walcha | T-922.046.111-0 | |
| 2-1 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": I. Aria (Basso) "Ich will den Kreuzstab gerne tragen" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-2 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": II. Recitativo (Basso) "Mein Wandel auf der Welt" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-3 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": III. Aria (Basso) "Endlich, endlich wird mein Joch" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-4 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": IV. Recitativo e Arioso (Basso) "Ich stehe fertig und bereit" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-5 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": V. Chorale "Komm, o Tod, du Schlafes Bruder" | Dietrich Fischer-Dieskau, Berlin Motet Choir, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-6 | Kantate, BWV 82 "Ich habe genug": I. Aria (Basso) "Ich habe genug" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, RIAS Kammerorchester, Karl Ristenpart | — | |
| 2-7 | Kantate, BWV 82 "Ich habe genug": II. Recitativo (Basso) "Ich habe genug. Mein Trost ist nur allein" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-8 | Kantate, BWV 82 "Ich habe genug": III. Aria (Basso) "Schlummert ein, ihr matten Augen" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-9 | Kantate, BWV 82 "Ich habe genug": IV. Recitativo (Basso) "Mein Gott! wann kommt das schöne: Nun!" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-10 | Kantate, BWV 82 "Ich habe genug": V. Aria (Basso) "Ich freue mich auf meinen Tod" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-11 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Sinfonia | Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | T-919.327.166-8 | |
| 2-12 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Versus 1 (Chorus): Christ iag in Todesbanden | Chor der Staatlichen Hochschule fur Musik Frankfurt am Main, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 2-13 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Versus 2 (Chorus: Soprano/Contralto): Den Tod niemand zwingen kunnt | Chor der Staatlichen Hochschule fur Musik Frankfurt am Main, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 2-14 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Versus 3 (Chorus: Tenor): Jesus Christus, Gottes Sohn | Chor der Staatlichen Hochschule fur Musik Frankfurt am Main, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 2-15 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Versus 4 (Chorus): Es war ein wunderlicher Krieg | Chor der Staatlichen Hochschule fur Musik Frankfurt am Main, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 2-16 | Cantata "Christ lag in Todesbanden", BWV 4: VI. Versus 5: "Hier ist das rechte Osterlamm" | Dietrich Fischer-Dieskau, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 2-17 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Versus 6 (Chorus: Soprano/Tenor): So feiern wir das hohe Fest | Chor der Staatlichen Hochschule fur Musik Frankfurt am Main, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 2-18 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Versus 7 (Chorale): Wir essen und wir leben wohl | Chor der Staatlichen Hochschule fur Musik Frankfurt am Main, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 3-1 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 1. Sinfonia | Karl Steins, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-2 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 2. Chorus: Ich hatte viel Bekümmernis | Berliner Motettenchor, Karl Steins, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-3 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 3. Aria (Soprano): Seufzer, Tränen | Gunthild Weber, Karl Steins, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-4 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 4. Recitative: Wie hast du dich | Helmut Krebs, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-5 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 5. Aria (Tenor): Bäche von gesalznen Zähren | Helmut Krebs, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-6 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 6. Chorus: Was betrübst du dich | Berliner Motettenchor, Karl Steins, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-7 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 7. Recitative: Ach Jesu, meine Ruh | Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-8 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 8. Duet (Soprano and Bass): Komm, mein Jesu | Hermann Schey, Gunthild Weber, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-9 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 9. Chorus: Sei nun wieder zufrieden | Berliner Motettenchor, Karl Steins, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-10 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 10. Aria (Tenor): Erfreue dich, Seele | Helmut Krebs, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-11 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 11. Chorus: Das Lamm | Berliner Motettenchor, Karl Steins, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-12 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 1. Chorus: Es erhub sich ein Streit | Berliner Motettenchor, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-13 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 2. Recitative: Gottlob! der Drache liegt | Hermann Schey, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-14 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 3. Aria (Soprano): Gott schickt uns | Gunthild Weber, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-15 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 4. Recitative: Lasst uns das Angesicht | Helmut Krebs, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-16 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 5. Aria (Tenor): Bleibt ihr Engel | Helmut Krebs, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-17 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 6. Recitative: Lasst uns das Angesicht | Gunthild Weber, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-18 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 7. Chorus: Lass dein Engel mit mir fahren | Berliner Motettenchor, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-19 | Cantata for the Feast of the Reformation, BWV 79 "Gott, der Herr, ist Sonn' und Schild": Part I - Chorus: Gott der Herr ist Sonn' und Schild | Berliner Motettenchor, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-20 | Cantata for the Feast of the Reformation, BWV 79 "Gott, der Herr, ist Sonn' und Schild": Part I - Aria (Contralto): Gott ist unsere Sonn' | Lore Fischer, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-21 | Cantata for the Feast of the Reformation, BWV 79 "Gott, der Herr, ist Sonn' und Schild": Part I - Chorale: Nun danket alle Gott | Berliner Motettenchor, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-22 | Cantata for the Feast of the Reformation, BWV 79 "Gott, der Herr, ist Sonn' und Schild": Part II - Recitative: Gott Lob, wir wissen | Hermann Schey, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-23 | Cantata for the Feast of the Reformation, BWV 79 "Gott, der Herr, ist Sonn' und Schild": Part II - Duet (Soprano and Bass): Gott, ach Gott, verlass die Deinen nimmermehr | Hermann Schey, Gunthild Weber, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-24 | Cantata for the Feast of the Reformation, BWV 79 "Gott, der Herr, ist Sonn' und Schild": Part II - Chorale: Erhalt uns in der Wahrheit | Berliner Motettenchor, Berliner Philharmoniker, Fritz Lehmann | — | |
| 4-1 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Deus in adiutorum | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-2 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Antiphona 1: Rex pacificus - Psalm 109: Dixit Dominus | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-3 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Antiphona 2: Magnificatus es Rex pacificus - Psalm 110: Confitebor tib | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-4 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Antiphona 3: Scitote - Psalm 111: Beatus vir | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-5 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Antiphona 4: Levate capita - Psalm 112: Laudate, pueri | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-6 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Capitulum: Apparuit benignitas | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-7 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Responsorium breve: Hodie scietis | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-8 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Hymnus: Christe Redemptor omnium | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-9 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Crastina die | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-10 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Antiphona: Cum ortus fuerit - Magnificat | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-11 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Kyrie eleison - Pater noster | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-12 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Dominus vobiscum - Oratio: Oremus: concede | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-13 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Dominus vobiscum - Benedicamus Domino | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-14 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Dominus vobiscum - Antiphona BMV: Alma Redemptoris Virginis | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-15 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Post partum - Oremus: Deus qui salutis - V. Divinum auxilium | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-16 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Introitus: Requiem aeternam | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-17 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Kyrie | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-18 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Oratio: Fidelium Deus omnium | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-19 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Epistola (1 Corinthians 15, 51-57) | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-20 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Graduale: Requiem aeternam | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-21 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Tractus: Absolve, Domine | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-22 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Sequentia: Dies irae | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-23 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Evangelium (John 5, 25-30) | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-24 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Offertorium: Domine Jesu Christe | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-25 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Praefatio Defunctorum | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-26 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Sanctus | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-27 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Pater noster | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-28 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Agnus | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-29 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Communio: Lux aeterna | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-30 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Postcommunio: Animabus quaesumus | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-31 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Requiescant in pace | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 5-1 | Le Jeu de Robin et de Marion | Pro Musica Antiqua, Safford Cape | — | |
| 5-2 | 13 Rondeaux: Li dous regars de me dame | Pro Musica Antiqua, Safford Cape | — | |
| 5-3 | 13 Rondeaux: Je muir, je muir d'amourete | Pro Musica Antiqua, Safford Cape | — | |
| 5-4 | 13 Rondeaux: A jointes mains | Pro Musica Antiqua, Safford Cape | — | |
| 5-5 | 13 Rondeaux: Ballade: Dieus soit en cheste maison | Pro Musica Antiqua, Safford Cape | — | |
| 5-6 | 13 Rondeaux: Hé, Diex! Quant verai | Pro Musica Antiqua, Safford Cape | — | |
| 5-7 | 13 Rondeaux: Or est baiars en la pasture | Pro Musica Antiqua, Safford Cape | — | |
| 5-8 | 13 Rondeaux: Motet: A Dieu comant amouretes | Pro Musica Antiqua, Safford Cape | — | |
| 5-9 | 13 Rondeaux: Bonne amourete | Pro Musica Antiqua, Safford Cape | — | |
| 5-10 | 13 Rondeaux: Dame or suis trais | Pro Musica Antiqua, Safford Cape | — | |
| 5-11 | 13 Rondeaux: Fi maris | Pro Musica Antiqua, Safford Cape | — | |
| 5-12 | 13 Rondeaux: Trop désir a veoir | Pro Musica Antiqua, Safford Cape | — | |
| 5-13 | 13 Rondeaux: Diex comment porroie | Pro Musica Antiqua, Safford Cape | — | |
| 5-14 | 13 Rondeaux: Virelai: Fines amouretes | Pro Musica Antiqua, Safford Cape | — | |
| 5-15 | Dances of the 13th & 14th Centuries: La Septime Estampie réale | Pro Musica Antiqua, Safford Cape | — | |
| 5-16 | Dances of the 13th & 14th Centuries: Stantipes I | Pro Musica Antiqua, Safford Cape | — | |
| 5-17 | Dances of the 13th & 14th Centuries: Ronde: C'ést lá-gieus | Pro Musica Antiqua, Safford Cape | — | |
| 5-18 | Dances of the 13th & 14th Centuries: C'ést desoz l'olive | Pro Musica Antiqua, Safford Cape | — | |
| 5-19 | Dances of the 13th & 14th Centuries: Nota | Pro Musica Antiqua, Safford Cape | — | |
| 5-20 | Dances of the 13th & 14th Centuries: La Quarte Estampie réale | Pro Musica Antiqua, Safford Cape | — | |
| 5-21 | Dances of the 13th & 14th Centuries: Estampida: Kalenda maya | Pro Musica Antiqua, Safford Cape | — | |
| 5-22 | Dances of the 13th & 14th Centuries: Stantipes II | Pro Musica Antiqua, Safford Cape | — | |
| 5-23 | Dances of the 13th & 14th Centuries: Danse | Pro Musica Antiqua, Safford Cape | — | |
| 5-24 | Dances of the 13th & 14th Centuries: Rondeau: Prendés-y garde | Pro Musica Antiqua, Safford Cape | — | |
| 5-25 | Dances of the 13th & 14th Centuries: Saltarello | Pro Musica Antiqua, Safford Cape | — | |
| 5-26 | Dances of the 13th & 14th Centuries: Lamento di Tristano | Pro Musica Antiqua, Safford Cape | — | |
| 5-27 | Dances of the 13th & 14th Centuries: La Ballette de la Reine d'Avril: A l'entrade del temps clar | Pro Musica Antiqua, Safford Cape | — | |
| 5-28 | Dances of the 13th & 14th Centuries: Trotto | Pro Musica Antiqua, Safford Cape | — | |
| 5-29 | Dances of the 13th & 14th Centuries: Ronde: Ainsi doit entrer en ville | Pro Musica Antiqua, Safford Cape | — | |
| 5-30 | Dances of the 13th & 14th Centuries: Ronde: Main se levoit Aëlis | Pro Musica Antiqua, Safford Cape | — | |
| 5-31 | Dances of the 13th & 14th Centuries: La Rotta | Pro Musica Antiqua, Safford Cape | — | |
| 6-1 | Brandenburg Concerto no. 1 in F major, BWV 1046: 1. [without tempo indication] | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-2 | Brandenburg Concerto no. 1 in F major, BWV 1046: 2. Adagio | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-3 | Brandenburg Concerto no. 1 in F major, BWV 1046: 3. Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-4 | Brandenburg Concerto no. 1 in F major, BWV 1046: 4. Menuetto - Trio I - Polacca - Trio II | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-5 | Brandenburg Concerto no. 4 in G major, BWV 1049: 1. Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-6 | Brandenburg Concerto no. 4 in G major, BWV 1049: 2. Andante | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-7 | Brandenburg Concerto no. 4 in G major, BWV 1049: 3. Presto | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-8 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: 1. [without tempo indication] | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-9 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: 2. Adagio ma non tanto | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-10 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: 3. Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-11 | Sonata for Viola da gamba and Harpsichord no. 1 in G major, BWV 1027: 1. Adagio | Fritz Neumeyer, August Wenzinger | T-801.135.532-2 | |
| 6-12 | Sonata for Viola da gamba and Harpsichord no. 1 in G major, BWV 1027: 2. Allegro ma non tanto | Fritz Neumeyer, August Wenzinger | — | |
| 6-13 | Sonata for Viola da gamba and Harpsichord no. 1 in G major, BWV 1027: 3. Andante | Fritz Neumeyer, August Wenzinger | — | |
| 6-14 | Sonata for Viola da gamba and Harpsichord no. 1 in G major, BWV 1027: 4. Allegro moderato | Fritz Neumeyer, August Wenzinger | — | |
| 7-1 | Brandenburg Concerto no. 2 in F major, BWV 1047: 1. [without tempo indication] | Schola Cantorum Basiliensis, August Wenzinger | T-801.411.105-9 | |
| 7-2 | Brandenburg Concerto no. 2 in F major, BWV 1047: 2. Andante | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 7-3 | Brandenburg Concerto no. 2 in F major, BWV 1047: 3. Allegro assai | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 7-4 | Brandenburg Concerto no. 3 in G major, BWV 1048: 1. [without tempo indication] | Schola Cantorum Basiliensis, August Wenzinger | T-801.411.105-9 | |
| 7-5 | Brandenburg Concerto no. 3 in G major, BWV 1048: 2. Adagio | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 7-6 | Brandenburg Concerto no. 3 in G major, BWV 1048: 3. Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 7-7 | Brandenburg Concerto no. 5 in D major, BWV 1050: 1. [without tempo indication] | Schola Cantorum Basiliensis, August Wenzinger | T-914.323.771-2 | |
| 7-8 | Brandenburg Concerto no. 5 in D major, BWV 1050: 2. Adagio | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 7-9 | Brandenburg Concerto no. 5 in D major, BWV 1050: 3. Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 7-10 | Sonata for Viola da gamba and Harpsichord no. 2 in D major, BWV 1028: 1. Adagio | Fritz Neumeyer, August Wenzinger | T-070.160.313-5 | |
| 7-11 | Sonata for Viola da gamba and Harpsichord no. 2 in D major, BWV 1028: 2. Allegro | Fritz Neumeyer, August Wenzinger | — | |
| 7-12 | Sonata for Viola da gamba and Harpsichord no. 2 in D major, BWV 1028: 3. Andante | Fritz Neumeyer, August Wenzinger | — | |
| 7-13 | Sonata for Viola da gamba and Harpsichord no. 2 in D major, BWV 1028: 4. Allegro | Fritz Neumeyer, August Wenzinger | T-003.055.867-8 | |
| 7-14 | Sonata for Viola da gamba and Harpsichord no. 3 in G minor, BWV 1029: 1. Vivace | Fritz Neumeyer, August Wenzinger | — | |
| 7-15 | Sonata for Viola da gamba and Harpsichord no. 3 in G minor, BWV 1029: 2. Adagio | Fritz Neumeyer, August Wenzinger | — | |
| 7-16 | Sonata for Viola da gamba and Harpsichord no. 3 in G minor, BWV 1029: 3. Allegro | Fritz Neumeyer, August Wenzinger | — | |
| 8-1 | Anthem a 5: O Lord, I lift my heart to Thee | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-2 | Hymn a 4: Thus angels sung | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-3 | Fantasia I a 3 | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | T-307.114.266-6 | |
| 8-4 | Anthem a 4: Almighty and everlasting God | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | T-071.000.879-9 | |
| 8-5 | Hymn a 4: O my love, how comely now | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-6 | Fantasia "In nomine" a 5 | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-7 | Anthem a 4: O Lord, increase my faith | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-8 | Anthem a 5; treble viol, alto viol, tenor viol (2), bass viol: This is the record of John | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | T-900.138.373-9 | |
| 8-9 | Madrigal a 5; treble viol, alto viol, tenor viol (2), bass viol: What is our life? | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-10 | Fantasia II a 3 | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-11 | Madrigal a 5: The silver swan | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-12 | Fantasia a 4 | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-13 | Consort song a 5 "The Cries of London": God give you good morrow | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-14 | Consort song a 5 "The Cries of London": A good Sausage, a good | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-15 | Canzonet a 6: Good love, then fly thou to her | Ambrosian Singers, Denis Stevens | — | |
| 8-16 | Canzonet a 3: Farewell, disdainful | Ambrosian Singers, Denis Stevens | — | |
| 8-17 | Madrigal a 4: Hark, jolly shepherds, hark | Ambrosian Singers, Denis Stevens | — | |
| 8-18 | Madrigal a 4: Now is the gentle season / The fields abroad | Ambrosian Singers, Denis Stevens | — | |
| 8-19 | Ballett a 5: My lovely wanton jewel | Ambrosian Singers, Denis Stevens | — | |
| 8-20 | Canzonet a 2: Sweet nymph, come to thy lover | Ambrosian Singers, Denis Stevens | — | |
| 8-21 | Canzonet a 6: Stay, heart, run not so fast | Ambrosian Singers, Denis Stevens | — | |
| 8-22 | Canzonet a 5: O grief, even on the bud | Ambrosian Singers, Denis Stevens | — | |
| 9-1 | Matthäus-Passion, BWV 244: Teil I. Choral "Kommt, ihr Töchter, helft mir klagen" (Chor) | Fritz Rothschuh, Munich Bach Choir, Münchener Chorknaben, Hedwig Bilgram, Munich Bach Orchestra, Karl Richter | T-901.463.893-8 | |
| 9-2 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Da Jesus diese Rede vollendet hatte" (Evangelist, Jesus) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 9-3 | Matthäus-Passion, BWV 244: Teil I. Choral "Herzliebster Jesu, was hast du verbrochen" (Chor) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-4 | Matthäus-Passion, BWV 244: Teil I: Da versammleten sich die Hohenpriester | Ernst Haefliger, Karl Richter | — | |
| 9-5 | Matthäus-Passion, BWV 244: Teil I: Ja nicht auf das Fest | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 9-6 | Matthäus-Passion, BWV 244: Teil I: Da nun Jesus war zu Bethanien | Ernst Haefliger, Karl Richter | — | |
| 9-7 | Matthäus-Passion, BWV 244: Teil I: Wozu dienet dieser Unrat | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 9-8 | Matthäus-Passion, BWV 244: Teil I: Da das Jesus merkte | Kieth Engen, Ernst Haefliger, Karl Richter | — | |
| 9-9 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Du lieber Heiland du" (Alt) | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 9-10 | Matthäus-Passion, BWV 244: Teil I. Arie "Buß und Reu" (Alt) | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 9-11 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Da ging hin der Zwölfen einer" (Evangelist, Judas) | Ernst Haefliger, Karl Richter | — | |
| 9-12 | Matthäus-Passion, BWV 244: Teil I. Arie "Blute nur, du liebes Herz" (Sopran) | Irmgard Seefried, Münchener Bach-Orchester, Karl Richter | — | |
| 9-13 | Matthäus-Passion, BWV 244: Teil I: Aber am ersten Tagen der süßen Brot | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 9-14 | Matthäus-Passion, BWV 244: Teil I: Wo willst du, daß wir dir bereiten | Münchener Bach-Chor, Karl Richter | — | |
| 9-15 | Matthäus-Passion, BWV 244: Teil I: Er sprach: Gehet hin in die Stadt | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 9-16 | Matthäus-Passion, BWV 244: Teil I. Choral "Ich bin's, ich sollte büßen" (Chor) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-17 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Er antwortete und sprach" (Evangelist, Jesus, Judas) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 9-18 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Wiewohl mein Herz in Tränen schwimmt" (Sopran) | Irmgard Seefried, Münchener Bach-Orchester, Karl Richter | T-031.837.441-2 | |
| 9-19 | Matthäus-Passion, BWV 244: Teil I. Arie "Ich will dir mein Herze schenken" (Sopran) | Irmgard Seefried, Münchener Bach-Orchester, Karl Richter | — | |
| 9-20 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Und da sie den Lobgesang gesprochen hatten" (Evangelist, Jesus) | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 9-21 | Matthäus-Passion, BWV 244: Teil I. Choral "Erkenne mich, mein Hüter" (Chor) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-22 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Petrus aber antwortete" (Evangelist, Jesus, Petrus) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 9-23 | Matthäus-Passion, BWV 244: Teil I. Choral "Ich will hier bei dir stehen" (Chor) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-24 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Da kam Jesus mit ihnen zu einem Hofe" (Evangelist, Jesus) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 9-25 | Matthäus-Passion, BWV 244: Teil I. Rezitativ - Choral "O Schmerz! Hier zittert das gequalte Herz" (Tenor, Chor) | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-26 | Matthäus-Passion, BWV 244: Teil I. Arie - Chor "Ich will bei meinem Jesu wachen" (Tenor, Chor) | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-27 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Und ging hin ein wenig" (Evangelist, Jesus) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 9-28 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Der Heiland fällt vor seinem Vater nieder" (Baß) | Dietrich Fischer-Dieskau, Münchener Bach-Orchester, Karl Richter | — | |
| 9-29 | Matthäus-Passion, BWV 244: Teil I. Arie "Gerne will ich mich bequemen" (Baß) | Dietrich Fischer-Dieskau, Münchener Bach-Orchester, Karl Richter | — | |
| 10-1 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Und er kam zu seinen Jüngern" (Evangelist, Jesus) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 10-2 | Matthäus-Passion, BWV 244: Teil I. Choral "Was mein Gott will, das g'scheh' allzeit" (Chor) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-3 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Und er kam und fand sie aber schlafend" (Evangelist, Jesus, Judas) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 10-4 | Matthäus-Passion, BWV 244: Teil I: So ist mein Jesus nun gefangen / Laßt ihn, haltet, bindet nicht / Sind Blitze, sind Donner in Wolken verschwunden? | Münchener Bach-Chor, Irmgard Seefried, Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 10-5 | Matthäus-Passion, BWV 244: Teil I: Und siehe, einer aus denen, die mit Jesu waren | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 10-6 | Matthäus-Passion, BWV 244: Teil I: O Mensch, bewein dein Sünde groß | Münchener Bach-Chor, Münchener Chorknaben, Münchener Bach-Orchester, Karl Richter | — | |
| 10-7 | Matthäus-Passion, BWV 244: Teil II: Ach, nun ist mein Jesus hin / Wo ist denn dein Freund hingegangen | Münchener Bach-Chor, Hertha Töpper, Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 10-8 | Matthäus-Passion, BWV 244: Teil II. Rezitativ "Die aber Jesum gegriffen hatten" (Evangelist) | Ernst Haefliger, Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 10-9 | Matthäus-Passion, BWV 244: Teil II: Mir hat die Welt trüglich gericht' | Fritz Rothschuh, Münchener Bach-Chor, Münchener Chorknaben, Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 10-10 | Matthäus-Passion, BWV 244: Teil II: Und wiewohl viel falsche Zeugen herzutraten | Ernst Haefliger, Max Proebstl, Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 10-11 | Matthäus-Passion, BWV 244: Teil II: Mein Jesus schweigt zu falschen Lügen stille | Ernst Haefliger, Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 10-12 | Matthäus-Passion, BWV 244: Teil II: Geduld, wenn mich falsche Zungen stechen! | Ernst Haefliger, Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 10-13 | Matthäus-Passion, BWV 244: Teil II: Und der Hohepriester antwortete | Kieth Engen, Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 10-14 | Matthäus-Passion, BWV 244: Teil II: Da speieten sie aus | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 10-15 | Matthäus-Passion, BWV 244: Teil II: Wer hat dich so geschlagen | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-16 | Matthäus-Passion, BWV 244: Teil II: Petrus aber saß draußen | Ernst Haefliger, Karl Richter | — | |
| 10-17 | Matthäus-Passion, BWV 244: Teil II: Wahrlich, du bist auch einer von denen / Da hub er an, sich zu verfluchen | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 10-18 | Matthäus-Passion, BWV 244: Teil II: Erbarme dich, mein Gott | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-927.216.066-4 | |
| 10-19 | Matthäus-Passion, BWV 244: Teil II: Bin ich gleich von dir gewichen | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-20 | Matthäus-Passion, BWV 244: Teil II: Des Morgens aber hielten alle Hohenpriester | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 10-21 | Matthäus-Passion, BWV 244: Teil II: Und er warf die Solberlinge in den Tempel | Ernst Haefliger, Karl Richter | — | |
| 10-22 | Matthäus-Passion, BWV 244: Teil II: Gebt mir meinen Jesum wieder | Dietrich Fischer-Dieskau, Münchener Bach-Orchester, Karl Richter | — | |
| 10-23 | Matthäus-Passion, BWV 244: Teil II: Sie hielten aber einen Rat | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 10-24 | Matthäus-Passion, BWV 244: Teil II: Befiehl du deine Wege | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-205.082.497-7 | |
| 10-25 | Matthäus-Passion, BWV 244: Teil II: Auf das Fest aber hatte der Landpfleger Gewohnheit | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-26 | Matthäus-Passion, BWV 244: Teil II: Wie wunderbarlich ist doch diese Strafe! | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-27 | Matthäus-Passion, BWV 244: Teil II: Der Landpfleger sagte | Ernst Haefliger, Karl Richter | — | |
| 10-28 | Matthäus-Passion, BWV 244: Teil II: Er hat uns allen wohlgetan | Irmgard Seefried, Münchener Bach-Orchester, Karl Richter | — | |
| 11-1 | Matthäus-Passion, BWV 244: Teil II: Aus Liebe will mein Heiland sterben | Irmgard Seefried, Münchener Bach-Orchester, Karl Richter | — | |
| 11-2 | Matthäus-Passion, BWV 244: Teil II: Sie schreien aber noch mehr | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 11-3 | Matthäus-Passion, BWV 244: Teil II: Erbarm es Gott! | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 11-4 | Matthäus-Passion, BWV 244: Teil II: Können Tränen meiner Wangen | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 11-5 | Matthäus-Passion, BWV 244: Teil II: Da nahmen die Kriegesknechte | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 11-6 | Matthäus-Passion, BWV 244: Teil II: O Haupt voll Blut und Wunden | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 11-7 | Matthäus-Passion, BWV 244: Teil II: Und da sie ihn verspottet hatten | Ernst Haefliger, Karl Richter | — | |
| 11-8 | Matthäus-Passion, BWV 244: Teil II: Ja freilich will in uns das Fleisch und Blut | Dietrich Fischer-Dieskau, Karl Richter | — | |
| 11-9 | Matthäus-Passion, BWV 244: Teil II: Komm, süßes Kreuz | Dietrich Fischer-Dieskau, Karl Richter | — | |
| 11-10 | Matthäus-Passion, BWV 244: Teil II: Und da sie an die Stätte kamen | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 11-11 | Matthäus-Passion, BWV 244: Teil II: Desgleichen schmähteten ihn auch die Mörder | Ernst Haefliger, Karl Richter | — | |
| 11-12 | Matthäus-Passion, BWV 244: Teil II: Ach, Golgatha | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 11-13 | Matthäus-Passion, BWV 244: Teil II: Sehet, Jesus hat die Hand / Wohin? | Münchener Bach-Chor, Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 11-14 | Matthäus-Passion, BWV 244: Teil II: Und von der sechsten Stunde an | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 11-15 | Matthäus-Passion, BWV 244: Teil II: Wenn ich einmal soll scheiden | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-301.182.705-3 | |
| 11-16 | Matthäus-Passion, BWV 244: Teil II: Und siehe da, der Vorhang im Tempel zerriß | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 11-17 | Matthäus-Passion, BWV 244: Teil II: Und es waren viel Weiber da | Ernst Haefliger, Karl Richter | — | |
| 11-18 | Matthäus-Passion, BWV 244: Teil II: Am Abend, da es kühle war | Dietrich Fischer-Dieskau, Münchener Bach-Orchester, Karl Richter | — | |
| 11-19 | Matthäus-Passion, BWV 244: Teil II: Mache dich, mein Herze, rein | Dietrich Fischer-Dieskau, Hedwig Bilgram, Otto Büchner, Wolfgang Haag, Kurt Hausmann, Karl Kolbinger, Franz Ortner, Edgar Shann, Walther Theurer, Ekkehard Tietze, Oswald Uhl, Münchener Bach-Orchester, Karl Richter | T-802.372.990-1 | |
| 11-20 | Matthäus-Passion, BWV 244: Teil II: Und Joseph nahm den Leib | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 11-21 | Matthäus-Passion, BWV 244: Teil II: Nun ist der Herr zur Ruh gebracht / Mein Jesu, gute Nacht | Dietrich Fischer-Dieskau, Ernst Haefliger, Münchener Bach-Chor, Irmgard Seefried, Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 11-22 | Matthäus-Passion, BWV 244: Teil II: Wir setzen uns mit Tränen nieder | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 12-1 | Kantate, BWV 8 “Liebster Gott, wann werd’ ich sterben?”: I. (Chor:): »Liebster Gott, wann werd’ ich sterben?« | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 12-2 | Kantate, BWV 8 “Liebster Gott, wann werd’ ich sterben?”: II. Arie (Tenor): »Was willst du dich, mein Geist, entsetzen« | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 12-3 | Kantate, BWV 8 “Liebster Gott, wann werd’ ich sterben?”: III. Rezitativ (Alt): »Zwar fühlt mein schwaches Herz« | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 12-4 | Kantate, BWV 8 “Liebster Gott, wann werd’ ich sterben?”: IV. Arie (Baß): »Doch weichet, ihr tollen, vergeblichen Sorgen!« | Kieth Engen, Münchener Bach-Orchester, Karl Richter | — | |
| 12-5 | Kantate, BWV 8 “Liebster Gott, wann werd’ ich sterben?”: V. Rezitativ (Sopran): »Behalte nur, o Welt, das Meine!« | Ursula Buckel, Münchener Bach-Orchester, Karl Richter | — | |
| 12-6 | Kantate, BWV 8 “Liebster Gott, wann werd’ ich sterben?”: VI. Choral: »Herrscher über Tot und Leben« | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 12-7 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Erster Teil: I. Chor: »Es ist dir gesagt, Mensch, was gut ist« | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 12-8 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Erster Teil: II. Rezitativ (Tenor): »Der Höchste läßt mich seinen Willen wissen« | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 12-9 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Erster Teil: III. Arie (Tenor): »Weiß ich Gottes Rechte« | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 12-10 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Zweiter Teil: IV. Arioso (Baß): »Es werden Viele zu mir sagen« | Kieth Engen, Münchener Bach-Orchester, Karl Richter | — | |
| 12-11 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Zweiter Teil: V. Arie (Alt): »Wer Gott bekennt aus wahrem Herzensgrund« | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 12-12 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Zweiter Teil: VI. Rezitativ (Alt): »So wird denn Herz und Mund selbst von mir Richter sein« | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 12-13 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Zweiter Teil: VII. Choral: »Gib, daß ich tu’ mit Fleiß« | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 12-14 | Kantate, BWV 78 “Jesu, der du meine Seele”: I. Chor: »Jesu, der du meine Seele« | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 12-15 | Kantate, BWV 78 “Jesu, der du meine Seele”: II. Duett (Sopran, Alt): »Wir eilen mit schwachen, doch emsigen Schritten« | Ursula Buckel, Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 12-16 | Kantate, BWV 78 “Jesu, der du meine Seele”: III. Rezitativ (Tenor): »Ach! ich bin ein Kind der Sünden« | John van Kesteren, Münchener Bach-Orchester, Karl Richter | — | |
| 12-17 | Kantate, BWV 78 “Jesu, der du meine Seele”: IV. Arie (Tenor): »Das Blut, so meine Schuld durchstreicht« | John van Kesteren, Münchener Bach-Orchester, Karl Richter | — | |
| 12-18 | Kantate, BWV 78 “Jesu, der du meine Seele”: V. Rezitativ (Baß) »Die Wunden, Nägel, Kron und Grab« | Kieth Engen, Münchener Bach-Orchester, Karl Richter | — | |
| 12-19 | Kantate, BWV 78 “Jesu, der du meine Seele”: VI. Arie (Baß): »Nun du wirst mein Gewissen stillen« | Kieth Engen, Münchener Bach-Orchester, Karl Richter | — | |
| 12-20 | Kantate, BWV 78 “Jesu, der du meine Seele”: VII. Choral: »Herr, ich glaube, hilf mir Schwachen« | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 13-1 | Terpsichore, No. 183: Entrée / No. 117: Courante | Fritz Neumeyer, Collegium Terpsichore | — | |
| 13-2 | Terpsichore, No. 1 (excerpt): Gavotte No. 1 / Gavotte No. 2 / Gavotte No. 3 / Gavotte No. 6 / Gavotte No. 1 / Gavotte No. 2 / Gavotte No. 3 | Fritz Neumeyer, Collegium Terpsichore | — | |
| 13-3 | Terpsichore, No. 27: Spagnoletta à 4 | Fritz Neumeyer, Collegium Terpsichore | — | |
| 13-4 | Terpsichore, No. 32: La Bourrée à 4 | Fritz Neumeyer, Collegium Terpsichore | — | |
| 13-5 | Terpsichore, No. 268: Ballet à 4 | Fritz Neumeyer, Collegium Terpsichore | — | |
| 13-6 | Terpsichore, No. 201: Volte à 5 | Fritz Neumeyer, Collegium Terpsichore | — | |
| 13-7 | Musikalischer Tugendspiegel, No. 3: Magdalena | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-8 | Musikalischer Tugendspiegel, No. 3: Magdalena | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-9 | Musikalischer Tugendspiegel, No. 3: Magdalena | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-10 | Musikalischer Tugendspiegel, No. 3: Magdalena | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-11 | Musikalischer Tugendspiegel, No. 3: Magdalena | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-12 | Banchetto musicale: Suite No. 4 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-13 | Banchetto musicale: Suite No. 4 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-14 | Banchetto musicale: Suite No. 4 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-15 | Banchetto musicale: Suite No. 4 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-16 | Banchetto musicale: Suite No. 5 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-17 | Banchetto musicale: Suite No. 5 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-18 | Banchetto musicale: Suite No. 5 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-19 | Banchetto musicale: Suite No. 5 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-20 | Banchetto musicale: Suite No. 3 in E minor: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-21 | Banchetto musicale: Suite No. 3 in E minor: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-22 | Banchetto musicale: Suite No. 3 in E minor: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-23 | Banchetto musicale: Suite No. 3 in E minor: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 14-1 | Simphonies pour les soupers du Roy - Quatrième Suitte: 1. Simphonie du Te Deum | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-2 | Simphonies pour les soupers du Roy - Quatrième Suitte: 2. 2e Air du « Concert de trompettes pour les festes sur le Canal de Versailles » | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-3 | Simphonies pour les soupers du Roy - Quatrième Suitte: 3. 1er Air du Concert de trompettes / 3e Air pour les mêmes | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-4 | Simphonies pour les soupers du Roy - Quatrième Suitte: 4. 1er Menuet pour les trompettes | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-5 | Simphonies pour les soupers du Roy - Quatrième Suitte: 5. 2e Menuet | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-6 | Simphonies pour les soupers du Roy - Quatrième Suitte: 6. Fanfare 0 Aur en écho | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-7 | Simphonies pour les soupers du Roy - Quatrième Suitte: 7. Air grave de « L'Amour fléchy par la Constance » (1697) | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-8 | Simphonies pour les soupers du Roy - Quatrième Suitte: 8. Sarabande | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-9 | Simphonies pour les soupers du Roy - Quatrième Suitte: 9. Légèrement | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-10 | Simphonies pour les soupers du Roy - Quatrième Suitte: 10. « Chantons ce héros ». Gayement | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-11 | Simphonies pour les soupers du Roy - Quatrième Suitte: 11. Sarabande de « Cardenio » (1720) / Doucement. « Quitte icy tes ailes » (Soprano) | Édith Selig, Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-12 | Simphonies pour les soupers du Roy - Quatrième Suitte: 12. Gay. Air du « Ballet de Mélicerte » à Fontainebleau au Mariage de M. de Lorraine (1698) | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-13 | Simphonies pour les soupers du Roy - Quatrième Suitte: 13. Musette du « Ballet de L'Inconnue » (1720) | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-14 | Simphonies pour les soupers du Roy - Quatrième Suitte: 14. Air. Gay | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-15 | Simphonies pour les soupers du Roy - Quatrième Suitte: 15. Rondeau du « Ballet des Cléments » (1721) | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-16 | Simphonies pour les soupers du Roy - Quatrième Suitte: 16. Rondeau du « Ballet de Cardenio » | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-17 | Simphonies pour les soupers du Roy - Quatrième Suitte: 17. Doucement et pesamment | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-18 | Simphonies pour les soupers du Roy - Quatrième Suitte: 18. « La Pagode ». Doucement et pesamment | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-19 | Simphonies pour les soupers du Roy - Quatrième Suitte: 19. 7e Air du « Ballet de la Paix » (1713) | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-20 | Simphonies pour les soupers du Roy - Quatrième Suitte: 20. Chaconne en écho avec les trompettes | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-21 | Fanfares: Première Suitte: 1. [without tempo indication] | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | T-070.161.055-0 | |
| 14-22 | Fanfares: Première Suitte: 2. Gracieusement, sans lenteur | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-23 | Fanfares: Première Suitte: 3. Allegro | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-24 | Fanfares: Première Suitte: 4. Gay | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-25 | Simphonies: Seconde Suitte: 1. Air ou Prélude | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-26 | Simphonies: Seconde Suitte: 2. Allegro | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-27 | Simphonies: Seconde Suitte: 3. Gracieusement | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-28 | Simphonies: Seconde Suitte: 4. Première Gavotte I - Deuxième Gavotte | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-29 | Simphonies: Seconde Suitte: 5. Fanfare - Air | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-30 | Simphonies: Seconde Suitte: 6. Premier Menuet - Second Menuet | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-31 | Simphonies: Seconde Suitte: 7. Allegro | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 15-1 | Suite No. 8 in E major "Indissolubilis amicitia": I. Ouverture | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-2 | Suite No. 8 in E major "Indissolubilis amicitia": II. Les Courtisans | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-3 | Suite No. 8 in E major "Indissolubilis amicitia": III. Rondeau | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-4 | Suite No. 8 in E major "Indissolubilis amicitia": IV. Les Gendarmes | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-5 | Suite No. 8 in E major "Indissolubilis amicitia": V. Les Bossus | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-6 | Suite No. 8 in E major "Indissolubilis amicitia": VI. Gavotte | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-7 | Suite No. 8 in E major "Indissolubilis amicitia": VII. Sarabande pour le Génie de l'Amitié | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-8 | Suite No. 8 in E major "Indissolubilis amicitia": VIII. Gigue | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-9 | Suite No. 8 in E major "Indissolubilis amicitia": IX. Menuet | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-10 | Concerto No. 1 in D minor "Bona nova": I. Sonata. Grave - Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-11 | Concerto No. 1 in D minor "Bona nova": II. Ballo. Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-12 | Concerto No. 1 in D minor "Bona nova": III. Grave | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-13 | Concerto No. 1 in D minor "Bona nova": IV. Aria | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-14 | Concerto No. 1 in D minor "Bona nova": V. Giga | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-15 | Sonata a 6 in B flat major "called Peasants' Church-going": I. Sonata. Adagio - Presto | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-16 | Sonata a 6 in B flat major "called Peasants' Church-going": II. Die Pauern Kirchfahrt. Adagio | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-17 | Sonata a 6 in B flat major "called Peasants' Church-going": III. Aria | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-18 | Sonata a 2 violini, trombone, violone in D minor: I. Allegro non troppo | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-19 | Sonata a 2 violini, trombone, violone in D minor: II. Poco allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-20 | Sonata a 2 violini, trombone, violone in D minor: III. Adagio | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-21 | Sonata a 2 violini, trombone, violone in D minor: IV. Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-22 | Sonata a 2 violini, trombone, violone in D minor: V. Adagio | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-23 | Sonata a 2 violini, trombone, violone in D minor: VI. Poco allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-24 | Sonata a 2 violini, trombone, violone in D minor: VII. Adagio | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-25 | Sonata a 2 violini, trombone, violone in D minor: VIII. Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-26 | Sonata a 2 violini, trombone, violone in D minor: IX. Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-27 | Sonata No. 8 in B flat major: I. Allegro non troppo | Concentus Musicus Wien, Nikolaus Harnoncourt | T-070.161.055-0 | |
| 15-28 | Sonata No. 8 in B flat major: II. Poco allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-29 | Sonata No. 8 in B flat major: III. Adagio | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-30 | Battalia a 10 in D major: 1. Sonata. Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | T-912.577.742-6 | |
| 15-31 | Battalia a 10 in D major: II. Allegro: Die liderliche Gesellschaft von allerley Humor | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-32 | Battalia a 10 in D major: III. Presto | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-33 | Battalia a 10 in D major: IV. Der Mars | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-34 | Battalia a 10 in D major: V. Presto | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-35 | Battalia a 10 in D major: VI. Aria | Concentus Musicus Wien, Nikolaus Harnoncourt | T-921.591.928-1 | |
| 15-36 | Battalia a 10 in D major: VII. Die Schlacht | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-37 | Battalia a 10 in D major: VIII. Adagio: Lamento der verwundeten Musquetierer | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 16-1 | Musique de table - Tafelmusik, Production I, Quartet in G major for Flute, Oboe, Violin and Basso continuo, TWV 43:G2: 1. Largo - Allegro - Largo | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-2 | Musique de table - Tafelmusik, Production I, Quartet in G major for Flute, Oboe, Violin and Basso continuo, TWV 43:G2: 2. Vivace - Moderato - Vivaceğ | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-3 | Musique de table - Tafelmusik, Production I, Quartet in G major for Flute, Oboe, Violin and Basso continuo, TWV 43:G2: 3. Grave | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-4 | Musique de table - Tafelmusik, Production I, Quartet in G major for Flute, Oboe, Violin and Basso continuo, TWV 43:G2: 4. Vivace | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-5 | Concerto in A: I. Largo | Thomas Brandis, Hans-Martin Linde, Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-6 | Concerto in A: II. Allegro | Thomas Brandis, Hans-Martin Linde, Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-7 | Concerto in A: III. Gratioso | Thomas Brandis, Hans-Martin Linde, Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-8 | Concerto in A: IV. Allegro | Thomas Brandis, Hans-Martin Linde, Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-9 | Musique de table - Tafelmusik, Production II, Ouverture - Suite in D major for Oboe, Trumpet, Strings and Basso continuo, TWV 55:D1: 1. Ouverture. Lentement - Vite - Lentement | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-10 | Musique de table - Tafelmusik, Production II, Ouverture - Suite in D major for Oboe, Trumpet, Strings and Basso continuo, TWV 55:D1: 2. Air. Tempo giusto | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-11 | Musique de table - Tafelmusik, Production II, Ouverture - Suite in D major for Oboe, Trumpet, Strings and Basso continuo, TWV 55:D1: 3. Air. Vivace | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-12 | Musique de table - Tafelmusik, Production II, Ouverture - Suite in D major for Oboe, Trumpet, Strings and Basso continuo, TWV 55:D1: 4. Air. Presto | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-13 | Musique de table - Tafelmusik, Production II, Ouverture - Suite in D major for Oboe, Trumpet, Strings and Basso continuo, TWV 55:D1: 5. Air. Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-14 | Musique de table - Tafelmusik, Production II, Conclusion in D major for Oboe, Trumpet, Strings and Basso continuo, TWV 50:9: Allegro - Adagio - Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 17-1 | Sinfonia in D major, Wq. 183 no. 1: 1. Allegro di molto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-329.454.787-4 | |
| 17-2 | Sinfonia in D major, Wq. 183 no. 1: 2. Largo | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 17-3 | Sinfonia in D major, Wq. 183 no. 1: 3. Presto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-902.717.414-7 | |
| 17-4 | Sinfonia in E-flat major, Wq 183 No. 2: I. Allegro di molto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-329.454.787-4 | |
| 17-5 | Sinfonia in E-flat major, Wq 183 No. 2: II. Larghetto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 17-6 | Sinfonia in E-flat major, Wq 183 No. 2: III. Allegretto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 17-7 | Sinfonia in F major, Wq 183 No. 3: I. Allegro di molto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-329.454.787-4 | |
| 17-8 | Sinfonia in F major, Wq 183 No. 3: II. Larghetto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 17-9 | Sinfonia in F major, Wq 183 No. 3: III. Presto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-902.717.414-7 | |
| 17-10 | Sinfonia in G major, Wq 183 No. 4: I. Allegro assai | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-306.395.786-4 | |
| 17-11 | Sinfonia in G major, Wq 183 No. 4: II. Poco andante | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 17-12 | Sinfonia in G major, Wq 183 No. 4: III. Presto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-902.717.414-7 | |
| 17-13 | Concerto for Flute, Violin, Harpsichord and Strings in A minor, BWV 1044: 1. Allegro | Gerhart Hetzel, Aurèle Nicolet, Karl Richter, Münchener Bach-Orchester | T-011.422.353-8 | |
| 17-14 | Concerto for Concerto for Flute, Violin, Harpsichord and Strings in A minor, BWV 1044: 2. Adagio, ma non tanto, e dolce | Gerhart Hetzel, Aurèle Nicolet, Karl Richter, Münchener Bach-Orchester | — | |
| 17-15 | Concerto for Flute, Violin, Harpsichord and Strings in A minor, BWV 1044: 3. Allabreve | Gerhart Hetzel, Aurèle Nicolet, Karl Richter, Münchener Bach-Orchester | — | |
| 17-16 | Concerto for Harpsichord, Strings, and Continuo no. 4 in A major, BWV 1055: I. (Allegro moderato) | Manfred Clement, Karl Richter, Münchener Bach-Orchester | T-801.411.105-9 | |
| 17-17 | Concerto for Harpsichord, Strings, and Continuo no. 4 in A major, BWV 1055: II. Larghetto | Karl Richter, Manfred Clement, Münchener Bach-Orchester | — | |
| 17-18 | Concerto for Harpsichord, Strings, and Continuo no. 4 in A major, BWV 1055: III. Allegro ma non tanto | Manfred Clement, Karl Richter, Münchener Bach-Orchester | T-910.415.380-2 | |
| 18-1 | Israel in Egypt, HWV 54: Overture [taken from Solomon] | English Chamber Orchestra, Charles Mackerras | — | |
| 18-2 | Israel in Egypt, HWV 54, Part I - Exodus: 1. Recitative (Tenor): Now there arose a new king over Egypt | Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 18-3 | Israel in Egypt, HWV 54, Part I - Exodus: 2. Solo (Countertenor) and Chorus: And the children of Israel sigh'd | Paul Esswood, English Chamber Orchestra, Charles Mackerras | — | |
| 18-4 | Israel in Egypt, HWV 54, Part I - Exodus: 3. Recitative (Tenor): Then sent He Moses | Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 18-5 | Israel in Egypt, HWV 54, Part I - Exodus: 4. Chorus: They loathed to drink of the river | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-6 | Israel in Egypt, HWV 54, Part I - Exodus: 5. Air (Countertenor): Their land brought forth frogs | Paul Esswood, English Chamber Orchestra, Charles Mackerras | — | |
| 18-7 | Israel in Egypt, HWV 54, Part I - Exodus: 6. Chorus: He spake the word | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-8 | Israel in Egypt, HWV 54, Part I - Exodus: 7. Chorus: He gave them hailstones for rain | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-9 | Israel in Egypt, HWV 54, Part I - Exodus: 8. Chorus: He sent a thick darkness | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-10 | Israel in Egypt, HWV 54, Part I - Exodus: 9. Chorus: He smote all the first-born of Egypt | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-11 | Israel in Egypt, HWV 54, Part I - Exodus: 10. Chorus: But as for His people | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-12 | Israel in Egypt, HWV 54, Part I - Exodus: 11. Chorus: Egypt was glad when they departed | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-13 | Israel in Egypt, HWV 54, Part I - Exodus: 12. Chorus: He rebuked the Red Sea | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-14 | Israel in Egypt, HWV 54, Part I - Exodus: 13. Chorus: And Israel saw the great work | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-15 | Israel in Egypt, HWV 54, Part II - Moses' Song: 14. Introitus (Chorus): Moses and the children of Israel | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-16 | Israel in Egypt, HWV 54, Part II - Moses' Song: 15. Duet (Soprano I & II): The Lord is my strength and my song | Patricia Clark, Heather Harper, English Chamber Orchestra, Charles Mackerras | — | |
| 18-17 | Israel in Egypt, HWV 54, Part II - Moses' Song: 16. Chorus: He is my God | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-18 | Israel in Egypt, HWV 54, Part II - Moses' Song: 17. Duet (Bass I & II): The Lord is a man of war | Christopher Keyte, Michael Rippon, English Chamber Orchestra, Charles Mackerras | — | |
| 18-19 | Israel in Egypt, HWV 54, Part II - Moses' Song: 18. Chorus: The depths have covered them | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-20 | Israel in Egypt, HWV 54, Part II - Moses' Song: 19. Chorus: Thy right hand, O Lord | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-21 | Israel in Egypt, HWV 54, Part II - Moses' Song: 20. Chorus: And with the blast of Thy nostrils | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-22 | Israel in Egypt, HWV 54, Part II - Moses' Song: 21. Air (Tenor): The enemy said: "I will pursue" | Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 18-23 | Israel in Egypt, HWV 54, Part II - Moses' Song: 22. Air (Soprano): Thou didst blow with the wind | Heather Harper, English Chamber Orchestra, Charles Mackerras | — | |
| 18-24 | Israel in Egypt, HWV 54, Part II - Moses' Song: 23. Chorus: Who is like unto Thee | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 19-1 | Israel in Egypt, HWV 54, Part II - Moses' Song: 24. Duet (Countertenor & Tenor): Thou in Thy mercy | Paul Esswood, Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 19-2 | Israel in Egypt, HWV 54, Part II - Moses' Song: 25. Chorus: The people shall hear | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 19-3 | Israel in Egypt, HWV 54, Part II - Moses' Song: 26. Air (Countertenor): Thou shalt bring them in | Paul Esswood, English Chamber Orchestra, Charles Mackerras | — | |
| 19-4 | Israel in Egypt, HWV 54, Part II - Moses' Song: 27a. Chorus: The Lord shall reign | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 19-5 | Israel in Egypt, HWV 54, Part II - Moses' Song: 28. Recitative (Tenor): For the horse of Pharaoh | Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 19-6 | Israel in Egypt, HWV 54, Part II - Moses' Song: 27b. Chorus: The Lord shall reign | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 19-7 | Israel in Egypt, HWV 54, Part II - Moses' Song: 29. Recitative (Tenor): And Miriam, the prophetess | Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 19-8 | Israel in Egypt, HWV 54, Part II - Moses' Song: 30. Soprano Solo and Chorus: Sing ye to the Lord | Donald Hunt, Heather Harper, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 19-9 | Ode for St Cecilia's Day (1692), Z. 328: Overture - Canzona | English Chamber Orchestra, Charles Mackerras | T-902.876.200-7 | |
| 19-10 | Ode for St Cecilia's Day (1692), Z. 328: Hail, bright Cecilia! (Bass I) | Michael Rippon, English Chamber Orchestra, Charles Mackerras | — | |
| 19-11 | Ode for St Cecilia's Day (1692), Z. 328: Hail, bright Cecilia! (Chorus with solos) | Ambrosian Singers, Tiffin Boys’ Choir, English Chamber Orchestra, Charles Mackerras | — | |
| 19-12 | Ode for St Cecilia's Day (1692), Z. 328: Hark, hark, each tree its silence breaks (Treble, Bass II) | John Shirley-Quirk, Simon Woolf, Charles Mackerras | — | |
| 19-13 | Ode for St Cecilia's Day (1692), Z. 328: 'Tis Nature's voice (Countertenor I) | Paul Esswood, English Chamber Orchestra, Charles Mackerras | — | |
| 19-14 | Ode for St Cecilia's Day (1692), Z. 328: Soul of the world (Chorus) | The Ambrosian Singers, Tiffin Boys’ Choir, English Chamber Orchestra, Charles Mackerras | T-909.611.691-5 | |
| 19-15 | Ode for St Cecilia's Day (1692), Z. 328: Thou tun'st this world below, the spheres above (Treble, Chorus) | The Ambrosian Singers, Tiffin Boys’ Choir, Simon Woolf, English Chamber Orchestra, Charles Mackerras | — | |
| 19-16 | Ode for St Cecilia's Day (1692), Z. 328: With that sublime celestial lay (Countertenor I & II, Bass) | Paul Esswood, Michael Rippon, Roland Tatnell, English Chamber Orchestra, Charles Mackerras | — | |
| 19-17 | Ode for St Cecilia's Day (1692), Z. 328: Woundrous machine! (Bass II) | John Shirley-Quirk, English Chamber Orchestra, Charles Mackerras | T-926.896.078-7 | |
| 19-18 | Ode for St Cecilia's Day (1692), Z. 328: The airy violin (Countertenor I) | Paul Esswood, English Chamber Orchestra, Charles Mackerras | T-900.148.980-1 | |
| 19-19 | Ode for St Cecilia's Day (1692), Z. 328: In vain the am'rous flute and soft guitar (Countertenor I, Tenor) | Paul Esswood, Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 19-20 | Ode for St Cecilia's Day (1692), Z. 328: The fife and all the harmony of war (Countertenor I) | Paul Esswood, English Chamber Orchestra, Charles Mackerras | — | |
| 19-21 | Ode for St Cecilia's Day (1692), Z. 328: Let these amongst themselves contest (Bass I & II) | Michael Rippon, John Shirley-Quirk, English Chamber Orchestra, Charles Mackerras | — | |
| 19-22 | Ode for St Cecilia's Day (1692), Z. 328: Hail, bright Cecilia, hail to thee! (Chorus) | The Ambrosian Singers, Tiffin Boys’ Choir, English Chamber Orchestra, Charles Mackerras | — | |
| 19-23 | Ode for St Cecilia's Day (1692), Z. 328: With rapture of delight (Countertenor I & II, Tenor, Bass I) | Paul Esswood, Michael Rippon, Roland Tatnell, Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 19-24 | Ode for St Cecilia's Day (1692), Z. 328: Hail, bright Cecilia, hail to thee! (Chorus) | The Ambrosian Singers, Tiffin Boys’ Choir, English Chamber Orchestra, Charles Mackerras | — | |
| 20-1 | Harpsichord Sonata K.347, G minor: Moderato e cantabile | Ralph Kirkpatrick | — | |
| 20-2 | Harpsichord Sonata K.348, G major - Prestissimo | Ralph Kirkpatrick | — | |
| 20-3 | Harpsichord Sonata K.213, D minor - Andante | Ralph Kirkpatrick | — | |
| 20-4 | Harpsichord Sonata K.214, D minor - Allegro vivo | Ralph Kirkpatrick | — | |
| 20-5 | Harpsichord Sonata K.318, F-sharp major - Andante | Ralph Kirkpatrick | — | |
| 20-6 | Harpsichord Sonata K.319, F-sharp major - Allegro | Ralph Kirkpatrick | — | |
| 20-7 | Harpsichord Sonata K.380, E major - Andante comodo | Ralph Kirkpatrick | — | |
| 20-8 | Harpsichord Sonata K.381, E major - Allegro | Ralph Kirkpatrick | — | |
| 20-9 | Harpsichord Sonata K.356, C major - Con spirito andante | Ralph Kirkpatrick | — | |
| 20-10 | Harpsichord Sonata K.357, C major - Allegro | Ralph Kirkpatrick | — | |
| 20-11 | Harpsichord Sonata K.526, C minor - Allegro comodo | Ralph Kirkpatrick | — | |
| 20-12 | Harpsichord Sonata K.527, C major - Allegro assai | Ralph Kirkpatrick | — | |
| 20-13 | Harpsichord Sonata K.478, D major - Andante e cantabile | Ralph Kirkpatrick | — | |
| 20-14 | Harpsichord Sonata K.479, D major - Allegrissimo | Ralph Kirkpatrick | — | |
| 20-15 | Harpsichord Sonata K.524, F major - Allegro | Ralph Kirkpatrick | — | |
| 20-16 | Harpsichord Sonata K.525, F major - Allegro | Ralph Kirkpatrick | — | |
| 20-17 | Harpsichord Sonata K.454, G major - Andante spiritoso | Ralph Kirkpatrick | — | |
| 20-18 | Harpsichord Sonata K.455, G major - Allegro | Ralph Kirkpatrick | — | |
| 20-19 | Harpsichord Sonata K.248, B-flat major - Allegro | Ralph Kirkpatrick | — | |
| 20-20 | Harpsichord Sonata K.249, B-flat major - Allegro | Ralph Kirkpatrick | — | |
| 20-21 | Harpsichord Sonata K.436, D major - Allegro | Ralph Kirkpatrick | — | |
| 21-1 | Se vittorie sì belle | — | ||
| 21-2 | Non voglio amare | Christopher Keyte, Ian Partridge, Nigel Rogers, Colin Tilney, Jürgen Jürgens | — | |
| 21-3 | Vaga su spina ascosa | Christopher Keyte, Ian Partridge, Nigel Rogers, Colin Tilney, Jürgen Jürgens | — | |
| 21-4 | O mio bene, o mia vita | Christopher Keyte, Ian Partridge, Nigel Rogers, Colin Tilney | — | |
| 21-5 | Zefire torna e di soavi accenti (Ciaccona) | Christopher Keyte, Ian Partridge, Nigel Rogers, Colin Tilney | — | |
| 21-6 | Mentre vaga Angioletta | Christopher Keyte, Ian Partridge, Nigel Rogers, Colin Tilney | — | |
| 21-7 | Perfidissimo volto | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-8 | Belle rose porporine | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-9 | Cruda amarilli | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-10 | Intenerite voi, lagrime mie, quel duro core | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-11 | lo moro, ecco ch'io moro | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-12 | Deh, come invan chiedete | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-13 | Quest'amore, quest'arsura | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-14 | O durezza di ferro e di diamante | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-15 | Tra le donne onde s'onora | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-16 | Udite, udite amanti | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-17 | Amarilli mia bella | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-18 | Valli profonde, al sol nemiche rupi | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-19 | Giovinetta vezzosetta | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-20 | Da te parto, cor mio | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-21 | Bellissima regina | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-22 | Indarno Febo il suo bell'oro eterno | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-23 | Occhi belli e sia ver che in lungo pianto | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-24 | Damigella tutta bella | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | T-923.401.096-9 | |
| 22-1 | Missa pro defunctis: 1. Introitus | Pro Cantione Antiqua, Hamburger Bläserkreis für Alte Musik Instrumental-Ensemble, Bruno Turner | — | |
| 22-2 | Missa pro defunctis: 2. Kyrie | Pro Cantione Antiqua, Hamburger Bläserkreis für Alte Musik Instrumental-Ensemble, Bruno Turner | — | |
| 22-3 | Missa pro defunctis: 3. Graduale | Pro Cantione Antiqua, Hamburger Bläserkreis für Alte Musik Instrumental-Ensemble, Bruno Turner | — | |
| 22-4 | Missa pro defunctis: 4. Tractus | Pro Cantione Antiqua, Hamburger Bläserkreis für Alte Musik Instrumental-Ensemble, Bruno Turner | — | |
| 22-5 | Missa pro defunctis: 5. Offertorium | Pro Cantione Antiqua, Hamburger Bläserkreis für Alte Musik Instrumental-Ensemble, Bruno Turner | — | |
| 22-6 | Nymphes des bois (La Déploration de Johannes Ockeghem) | Pro Cantione Antiqua, Hamburger Bläserkreis für Alte Musik Instrumental-Ensemble, Bruno Turner | — | |
| 22-7 | Huc me sydereo / Plangent eum | Pro Cantione Antiqua, Bruno Turner | — | |
| 22-8 | Motet: Salve, regina | Pro Cantione Antiqua, Bruno Turner | — | |
| 22-9 | Motet: Beata es, Maria | Pro Cantione Antiqua, Bruno Turner | — | |
| 22-10 | Motet: Salve crux, arbor vitae | Pro Cantione Antiqua, Bruno Turner | — | |
| 23-1 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 1 in D major: I. Grave: Allegro | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-2 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 1 in D major: II. Allegro | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-3 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 1 in D major: III. Allegro | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-4 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 1 in D major: IV. Adagio | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-5 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 1 in D major: V. Allegro | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-6 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 2 in B-flat major: I. Grave: Allegro | Huguette Dreyfus, Eduard Melkus, Karl Scheit | — | |
| 23-7 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 2 in B-flat major: II. Vivace | Huguette Dreyfus, Eduard Melkus, Karl Scheit | — | |
| 23-8 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 2 in B-flat major: III. Adagio | Huguette Dreyfus, Eduard Melkus, Karl Scheit | — | |
| 23-9 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 2 in B-flat major: IV. Vivace | Huguette Dreyfus, Eduard Melkus, Karl Scheit | — | |
| 23-10 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 2 in B-flat major: V. Vivace | Huguette Dreyfus, Eduard Melkus, Karl Scheit | — | |
| 23-11 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 3 in C major: I. Adagio | Huguette Dreyfus, Eduard Melkus | — | |
| 23-12 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 3 in C major: II. Allegro | Huguette Dreyfus, Eduard Melkus | — | |
| 23-13 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 3 in C major: III. Adagio | Huguette Dreyfus, Eduard Melkus | — | |
| 23-14 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 3 in C major: IV. Allegro | Huguette Dreyfus, Eduard Melkus | — | |
| 23-15 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 3 in C major: V. Giga (allegro) | Huguette Dreyfus, Eduard Melkus | — | |
| 23-16 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 7 in D minor: I. Preludio (vivace) | Garo Atmacayan, Eduard Melkus, Capella Academica Wien | — | |
| 23-17 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 7 in D minor: II. Corrente (allegro) | Garo Atmacayan, Eduard Melkus, Capella Academica Wien | — | |
| 23-18 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 7 in D minor: III. Sarabande (largo) | Garo Atmacayan, Eduard Melkus, Capella Academica Wien | — | |
| 23-19 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 7 in D minor: IV. Giga (allegro) | Garo Atmacayan, Eduard Melkus, Capella Academica Wien | — | |
| 23-20 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 8 in E minor: I. Preludio (largo) | Garo Atmacayan, Eduard Melkus, Karl Scheit | — | |
| 23-21 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 8 in E minor: II. Allemanda (allegro) | Garo Atmacayan, Eduard Melkus, Karl Scheit | — | |
| 23-22 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 8 in E minor: III. Sarabande (largo) | Garo Atmacayan, Eduard Melkus, Karl Scheit | — | |
| 23-23 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 8 in E minor: IV. Giga (allegro) | Garo Atmacayan, Eduard Melkus, Karl Scheit | — | |
| 23-24 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 9 in A major: I. Preludio (largo) | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-25 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 9 in A major: II. Giga (allegro) | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-26 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 9 in A major: III. Adagio: Tempo di Gavotte (allegro) | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-27 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 9 in A major: IV. Tempo di Gavotta. Allegro | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-28 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 11 in E major: I. Preludio (adagio) | Huguette Dreyfus, Eduard Melkus | — | |
| 23-29 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 11 in E major: II. Allegro | Huguette Dreyfus, Eduard Melkus | — | |
| 23-30 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 11 in E major: III. Adagio: Vivace | Huguette Dreyfus, Eduard Melkus | — | |
| 23-31 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 11 in E major: IV. Gavotta (allegro) | Huguette Dreyfus, Eduard Melkus | — | |
| 23-32 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 11 in E major: V. Gavotta. Allegro | Huguette Dreyfus, Eduard Melkus | — | |
| 23-33 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 12 in d minor: I. Adagio: Allegro - Adagio - Vivace - Allegro - Andante - Allegro - Adagio - Allegro | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 24-1 | Viderunt omnes fines terre | Early Music Consort of London, David Munrow | — | |
| 24-2 | Notre Dame Period (c.1160-c.1250), Organa: Viderunt omnes | — | ||
| 24-3 | Alle psallite cum luya | Early Music Consort of London, David Munrow | — | |
| 24-4 | Amor potest | Early Music Consort of London, David Munrow | — | |
| 24-5 | S’on me regarde | Early Music Consort of London, David Munrow | — | |
| 24-6 | In mari miserie | Early Music Consort of London, David Munrow | — | |
| 24-7 | O Mitissima | Early Music Consort of London, David Munrow | T-309.229.425-8 | |
| 24-8 | Aucun ont trouve | Early Music Consort of London, David Munrow | — | |
| 24-9 | De me dame vient | Early Music Consort of London, David Munrow | — | |
| 24-10 | J’os bien a m’amie parler | David Munrow, Early Music Consort of London | — | |
| 24-11 | Le mesnie fauveline | Early Music Consort of London, David Munrow | — | |
| 24-12 | Impudentur circumivi | Early Music Consort of London, David Munrow | — | |
| 24-13 | Cum statua nabucodonasor | Early Music Consort of London, David Munrow | — | |
| 24-14 | Clap, clap, par un matin | Early Music Consort of London, David Munrow | — | |
| 24-15 | Febus mundo oriens | Early Music Consort of London, David Munrow | — | |
| 24-16 | Qui es promesses de fortune | James Bowman, Charles Brett, David Munrow, Early Music Consort of London | — | |
| 24-17 | Lasse! comment oublieray | Early Music Consort of London, David Munrow | — | |
| 24-18 | Inter densas deserti meditans | Early Music Consort of London, David Munrow | — | |
| 24-19 | Hoquetus David | Early Music Consort of London, David Munrow | — | |
| 25-1 | Pièces de Clavecin (1724): Le Rappel des oiseaux | Kenneth Gilbert | — | |
| 25-2 | Pièces de Clavecin (1724): La Villageoise (Rondeau) | — | ||
| 25-3 | Pièces de Clavecin (1724): Les Tendres Plaintes (Rondeau) | Kenneth Gilbert | — | |
| 25-4 | Pièces de Clavecin (1724): Les Niais de Sologne - Doubles des Niais (I & II) | Kenneth Gilbert | — | |
| 25-5 | Pièces de Clavecin (1724): La Follette (Rondeau) | Kenneth Gilbert | — | |
| 25-6 | Pièces de Clavecin (1724): L'Entretien des Muses | Kenneth Gilbert | — | |
| 25-7 | Pièces de Clavecin (1724): Les Tourbillons (Rondeau) | Kenneth Gilbert | — | |
| 25-8 | Pièces de Clavecin (1724): Les Cyclopes (Rondeau) | Kenneth Gilbert | — | |
| 25-9 | Nouvelles Suites de Pièces de Clavecin (1728): Sarabande | Kenneth Gilbert | — | |
| 25-10 | Nouvelles Suites de Pièces de Clavecin (1728): Les Trois Mains | Kenneth Gilbert | — | |
| 25-11 | Nouvelles Suites de Pièces de Clavecin (1728): Fanfarinette | Kenneth Gilbert | — | |
| 25-12 | Nouvelles Suites de Pièces de Clavecin (1728): Gavotte - Doubles de la Gavotte (I-VII) | Kenneth Gilbert | — | |
| 25-13 | Nouvelles Suites de Pièces de Clavecin (1728): La Poule | Kenneth Gilbert | — | |
| 25-14 | Nouvelles Suites de Pièces de Clavecin (1728): Les Sauvages | Kenneth Gilbert | T-011.710.961-1 | |
| 25-15 | Nouvelles Suites de Pièces de Clavecin (1728): L'Enharmonique | Kenneth Gilbert | — | |
| 25-16 | Nouvelles Suites de Pièces de Clavecin (1728): L'Égyptienne | Kenneth Gilbert | — | |
| 26-1 | Sinfonia a 8 concertanti in A minor: 1. [Allegro] | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Alexander Van Wijnkoop, Camerata Bern | T-801.135.532-2 | |
| 26-2 | Sinfonia a 8 concertanti in A minor: 2. Andante | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Alexander Van Wijnkoop, Camerata Bern | — | |
| 26-3 | Sinfonia a 8 concertanti in A minor: 3. Capriccio. Tempo di Gavotta | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Alexander Van Wijnkoop, Camerata Bern | — | |
| 26-4 | Sinfonia a 8 concertanti in A minor: 4. Aria da Capriccio. Andante - Allegro - Andante - Allegro | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Alexander Van Wijnkoop, Camerata Bern | — | |
| 26-5 | Sinfonia a 8 concertanti in A minor: 5. Minuetto I - II - I | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Alexander Van Wijnkoop, Camerata Bern | — | |
| 26-6 | Hipocondrie a 7 concertanti in A minor: 1. [Adagio] - Allegro - Lentement | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Camerata Bern, Alexander Van Wijnkoop | — | |
| 26-7 | Ouverture a 7 concertanti in F major: 1. [Grave - Allegro - Grave] | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Camerata Bern, Alexander Van Wijnkoop | — | |
| 26-8 | Ouverture a 7 concertanti in F major: 2. Aria | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Camerata Bern, Alexander Van Wijnkoop | — | |
| 26-9 | Ouverture a 7 concertanti in F major: 3. Minuetto I - II - I | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Camerata Bern, Alexander Van Wijnkoop | — | |
| 26-10 | Ouverture a 7 concertanti in F major: 4. Sicilliano | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Camerata Bern, Alexander Van Wijnkoop | — | |
| 26-11 | Ouverture a 7 concertanti in F major: 5. Folia | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Camerata Bern, Alexander Van Wijnkoop | — | |
| 26-12 | Trio Sonata no. 4 in G minor: 1. Andante | Maurice Bourgue, Heinz Holliger, Christiane Jaccottet, Lucio Buccarella, Klaus Thunemann | T-801.135.532-2 | |
| 26-13 | Trio Sonata no. 4 in G minor: 2. Allegro | Maurice Bourgue, Heinz Holliger, Christiane Jaccottet, Lucio Buccarella, Klaus Thunemann | — | |
| 26-14 | Trio Sonata no. 4 in G minor: 3. Adagio | Maurice Bourgue, Heinz Holliger, Christiane Jaccottet, Lucio Buccarella, Klaus Thunemann | — | |
| 26-15 | Trio Sonata no. 4 in G minor: 4. Adagio | Maurice Bourgue, Heinz Holliger, Christiane Jaccottet, Lucio Buccarella, Klaus Thunemann | — | |
| 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 | T-902.128.688-4 | |
| 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 | — | |
| 28-1 | Concerto in E major, op. 8 no. 1, RV 269 "La primavera": I. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-306.395.786-4 | |
| 28-2 | Concerto in E major, op. 8 no. 1, RV 269 "La primavera": II. Largo e pianissimo sempre | Trevor Pinnock, Simon Standage, The English Concert | T-911.640.005-6 | |
| 28-3 | Concerto in E major, op. 8 no. 1, RV 269 "La primavera": III. Danza pastorale. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-902.836.120-8 | |
| 28-4 | Concerto in G minor, op. 8 no. 2, RV 315 "L'estate": I. Allegro non molto | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 28-5 | Concerto in G minor, op. 8 no. 2, RV 315 "L'estate": II. Adagio - Presto | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 28-6 | Concerto in G minor, op. 8 no. 2, RV 315 "L'estate": III. Presto | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 28-7 | Concerto in F major, op. 8 no. 3, RV 293 "L'autunno": I. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-911.640.004-5 | |
| 28-8 | Concerto in F major, op. 8 no. 3, RV 293 "L'autunno": II. Adagio | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 28-9 | Concerto in F major, op. 8 no. 3, RV 293 "L'autunno": III. Allegro | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 28-10 | Concerto in F minor, op. 8 no. 4, RV 297 "L'inverno": I. Allegro non molto | Trevor Pinnock, Simon Standage, The English Concert | T-307.175.172-5 | |
| 28-11 | Concerto in F minor, op. 8 no. 4, RV 297 "L'inverno": II. Largo | Trevor Pinnock, Simon Standage, The English Concert | T-307.175.181-6 | |
| 28-12 | Concerto in F minor, op. 8 no. 4, RV 297 "L'inverno": III. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-902.836.120-8 | |
| 28-13 | Concerti grossi op. 6, Concerto no. 10 in D minor, HWV 328: I. Ouverture - Allegro | The English Concert, Trevor Pinnock | T-009.030.807-8 | |
| 28-14 | Concerti grossi op. 6, Concerto no. 10 in D minor, HWV 328: II. Air. Lentement | The English Concert, Trevor Pinnock | — | |
| 28-15 | Concerti grossi op. 6, Concerto no. 10 in D minor, HWV 328: III. Allegro | The English Concert, Trevor Pinnock | — | |
| 28-16 | Concerti grossi op. 6, Concerto no. 10 in D minor, HWV 328: IV. Allegro | The English Concert, Trevor Pinnock | T-318.676.528-2 | |
| 28-17 | Concerti grossi op. 6, Concerto no. 10 in D minor, HWV 328: V. Allegro moderato | The English Concert, Trevor Pinnock | T-800.704.795-3 | |
| 28-18 | Concerti grossi op. 6, Concerto no. 11 in A major, HWV 329: I. Andante larghetto e staccato | The English Concert, Trevor Pinnock | — | |
| 28-19 | Concerti grossi op. 6, Concerto no. 11 in A major, HWV 329: II. Allegro | The English Concert, Trevor Pinnock | — | |
| 28-20 | Concerti grossi op. 6, Concerto no. 11 in A major, HWV 329: III. Largo e staccato | The English Concert, Trevor Pinnock | — | |
| 28-21 | Concerti grossi op. 6, Concerto no. 11 in A major, HWV 329: IV. Andante | The English Concert, Trevor Pinnock | T-070.126.537-3 | |
| 28-22 | Concerti grossi op. 6, Concerto no. 11 in A major, HWV 329: V. Allegro | The English Concert, Trevor Pinnock | T-800.704.795-3 | |
| 28-23 | Concerti grossi op. 6, Concerto no. 12 in B minor, HWV 330: I. Largo | The English Concert, Trevor Pinnock | — | |
| 28-24 | Concerti grossi op. 6, Concerto no. 12 in B minor, HWV 330: II. Allegro | The English Concert, Trevor Pinnock | — | |
| 28-25 | Concerti grossi op. 6, Concerto no. 12 in B minor, HWV 330: III. Aria. Larghetto e piano | The English Concert, Trevor Pinnock | — | |
| 28-26 | Concerti grossi op. 6, Concerto no. 12 in B minor, HWV 330: IV. Largo | The English Concert, Trevor Pinnock | — | |
| 28-27 | Concerti grossi op. 6, Concerto no. 12 in B minor, HWV 330: V. Allegro | The English Concert, Trevor Pinnock | — | |
| 29-1 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 1. Ouverture | Musica Antiqua Köln, Reinhard Goebel | T-801.958.969-7 | |
| 29-2 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 2. Sarabande. Die schlafende Thetis | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-3 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 3. Bourrée. Die erwachende Thetis | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-4 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 4. Loure. Der verliebte Neptunus | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-5 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 5. Gavotte. Die spielenden Najaden | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-6 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 6. Harlequinade. Der scherzende Tritonus | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-7 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 7. Der stürmende Aeolus | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-8 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 8. Menuet. Der angenehme Zephir | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-9 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 9. Gigue. Ebbe und Flut | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-10 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 10. Canarie. Die lustigen Bootsleute | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-11 | Concerto in B-flat major for 2 Recorders, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 54:B2: 1. Andante | Musica Antiqua Köln, Reinhard Goebel | T-011.422.353-8 | |
| 29-12 | Concerto in B-flat major for 2 Recorders, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 54:B2: 2. Presto | Musica Antiqua Köln, Reinhard Goebel | T-802.445.410-3 | |
| 29-13 | Concerto in B-flat major for 2 Recorders, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 54:B2: 3. Cantabile | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-14 | Concerto in B-flat major for 2 Recorders, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 54:B2: 4. Allegro | Musica Antiqua Köln, Reinhard Goebel | T-318.676.528-2 | |
| 29-15 | Concerto à 7 in F major for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:41: 1. Grave | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-16 | Concerto à 7 in F major for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:41: 2. Vivace - attacca: | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-17 | Concerto à 7 in F major for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:41: 3. Adagio | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-18 | Concerto à 7 in F major for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:41: 4. Allegro | Musica Antiqua Köln, Reinhard Goebel | T-318.676.528-2 | |
| 29-19 | Concerto in A minor for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:42: 1. Adagio | Musica Antiqua Köln, Reinhard Goebel | T-011.422.353-8 | |
| 29-20 | Concerto in A minor for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:42: 2. Allegro | Musica Antiqua Köln, Reinhard Goebel | T-802.445.410-3 | |
| 29-21 | Concerto in A minor for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:42: 3. Affettuoso | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-22 | Concerto in A minor for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:42: 4. Allegro | Musica Antiqua Köln, Reinhard Goebel | T-318.676.528-2 | |
| 29-23 | Concerto in B-flat major for 3 Oboes, 3 Violins and Basso continuo, TWV 44:43: 1. Allegro | Piet Dhont, Michael Niesemann, Peter Westermann, Musica Antiqua Köln, Reinhard Goebel | T-911.640.004-5 | |
| 29-24 | Concerto in B-flat major for 3 Oboes, 3 Violins and Basso continuo, TWV 44:43: 2. Largo | Piet Dhont, Michael Niesemann, Peter Westermann, Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-25 | Concerto in B-flat major for 3 Oboes, 3 Violins and Basso continuo, TWV 44:43: 3. Allegro | Piet Dhont, Michael Niesemann, Peter Westermann, Musica Antiqua Köln, Reinhard Goebel | T-801.958.969-7 | |
| 29-26 | Konzert für 2 Chalumeaux,Streicher und Basso continuo d-moll: 1. Largo | Eric Hoeprich, Lisa Klewitt, Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-27 | Konzert für 2 Chalumeaux,Streicher und Basso continuo d-moll: 2. Allegro | Eric Hoeprich, Lisa Klewitt, Musica Antiqua Köln, Reinhard Goebel | T-802.445.410-3 | |
| 29-28 | Konzert für 2 Chalumeaux,Streicher und Basso continuo d-moll: 3. Adagio | Eric Hoeprich, Lisa Klewitt, Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-29 | Konzert für 2 Chalumeaux,Streicher und Basso continuo d-moll: 4. (Vivace) | Eric Hoeprich, Lisa Klewitt, Musica Antiqua Köln, Reinhard Goebel | T-318.676.528-2 | |
| 30-1 | Mass in B minor BWV 232: I. Kyrie: Kyrie eleison | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-070.093.418-4 | |
| 30-2 | Mass in B minor BWV 232: II. Kyrie: Christe eleison | Lynne Dawson, Carol Hall, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-3 | Mass in B minor BWV 232: III. Kyrie: Kyrie eleison | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-4 | Mass in B minor BWV 232: IV. Gloria: Gloria in excelsis (attacca) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-010.963.456-1 | |
| 30-5 | Mass in B minor BWV 232: V. Gloria: Et in terra pax | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-6 | Mass in B minor BWV 232: VI. Gloria: Laudamus te | Nancy Argenta, Elizabeth Wilcock, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-7 | Mass in B minor BWV 232: VII. Gloria: Gratias agimus tibi | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-921.408.876-3 | |
| 30-8 | Mass in B minor BWV 232: VIII. Gloria: Domine Deus (attacca) | Nancy Argenta, Howard Milner, Lisa Beznosiuk, English Baroque Soloists, Sir John Eliot Gardiner | T-926.494.374-0 | |
| 30-9 | Mass in B minor BWV 232: IX. Gloria: Qui tollis peccata mundi | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-10 | Mass in B Minor, BWV 232: Aria 'Qui sedes ad dextram Patris' | Michael Chance, Sophia McKenna, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-11 | Mass in B minor BWV 232: XI. Gloria: Quoniam tu solus sanctus (attacca) | Stephen Varcoe, Michael Thompson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-12 | Mass in B minor BWV 232: XII. Gloria: Cum Sancto Spiritu | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 31-1 | Mass in B minor BWV 232: XIII. Credo: Credo in unum Deum | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.322-9 | |
| 31-2 | Mass in B minor BWV 232: XIV. Credo: Credo in unum Deum / Patrem omnipotentem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 31-3 | Mass in B minor BWV 232: XV. Credo: Et in unum Dominum | Patrizia Kwella, Mary Nichols, English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.322-9 | |
| 31-4 | Mass in B minor BWV 232: XVI. Credo: Et incarnatus est | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-306.483.194-9 | |
| 31-5 | Mass in B minor BWV 232: XVII. Credo: Crucifixus | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-917.413.519-4 | |
| 31-6 | Mass in B minor BWV 232: XVIII. Credo: Et resurrexit | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 31-7 | Mass in B minor BWV 232: XIX. Credo: Et in Spiritum Sanctum | Richard Lloyd-Morgan, Valerie Darke, Sophia McKenna, English Baroque Soloists, Sir John Eliot Gardiner | T-915.866.114-4 | |
| 31-8 | Mass in B minor BWV 232: XX. Credo: Confiteor (attacca) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 31-9 | Mass in B minor BWV 232: XXI: Credo: Et exspecto resurrectionem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 31-10 | Mass in B minor, BWV 232: No. 22 Chorus: »Sanctus« | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | T-312.692.424-7 | |
| 31-11 | Mass in B minor, BWV 232: No. 23 Chorus I/II: »Osanna in excelsis« | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 31-12 | Mass in B minor BWV 232: XXIV. Sanctus: Benedictus, qui venit | Wynford Evans, Lisa Beznosiuk, English Baroque Soloists, Sir John Eliot Gardiner | T-050.283.177-7 | |
| 31-13 | Mass in B minor BWV 232: XXV. Sanctus: Osanna (da capo) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 31-14 | Mass in B Minor, BWV 232: Aria 'Agnus Dei' | Michael Chance, English Baroque Soloists, Sir John Eliot Gardiner | T-914.368.452-0 | |
| 31-15 | Mass in B minor BWV 232: XXVII. Agnus Dei: Dona nobis pacem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-050.051.776-9 | |
| 32-1 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 32-2 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 32-3 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 32-4 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 32-5 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 32-6 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 32-7 | Tu es Petrus | Choir of Westminster Abbey, Simon Preston | — | |
| 32-8 | Miserere | Choir of Westminster Abbey, Simon Preston | T-900.079.512-0 | |
| 32-9 | Venite ad me omnes | Choir of Westminster Abbey, Simon Preston | — | |
| 32-10 | Haec dies | Choir of Westminster Abbey, Simon Preston | — | |
| 32-11 | Jubilate Deo | Choir of Westminster Abbey, Simon Preston | T-902.877.719-7 | |
| 33-1 | Concerto for Piano and Orchestra no. 18 in B-flat major, K. 456: I. Allegro vivace | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 33-2 | Concerto for Piano and Orchestra no. 18 in B-flat major, K. 456: II. Andante un poco sostenuto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 33-3 | Concerto for Piano and Orchestra no. 18 in B-flat major, K. 456: III. Allegro vivace | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 33-4 | Concerto for Piano and Orchestra no. 19 in F major, K. 459: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 | |
| 33-5 | Concerto for Piano and Orchestra no. 19 in F major, K. 459: II. Allegretto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-802.445.410-3 | |
| 33-6 | Concerto for Piano and Orchestra no. 19 in F major, K. 459: III. Allegro assai | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | T-306.395.786-4 | |
| 34-1 | Vespro della Beata Vergine, SV 206: I. Domine ad adiuvandum | Monteverdi Choir, Nigel Robson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-2 | Vespro della Beata Vergine, SV 206: II. Dixit dominus | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-3 | Vespro della Beata Vergine, SV 206: III. Nigra sum | Mark Tucker, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-4 | Vespro della Beata Vergine, SV 206: IV. Laudate pueri | Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-5 | Vespro della beata Vergine: Pulchra es A 2 | Ann Monoyios, Marinella Pennicchi, Jakob Lindberg, David Miller, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-6 | Vespro della Beata Vergine, SV 206: VI. Laetatus sum | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-7 | Vespro della beata Vergine: Duo seraphim A 3 | Sandro Naglia, Nigel Robson, Mark Tucker, Jakob Lindberg, David Miller, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-8 | Vespro della beata Vergine: Nisi Dominus A 10 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-9 | Vespro della Beata Vergine, SV 206: IX. Audi coelum | Monteverdi Choir, Nigel Robson, Mark Tucker, Jakob Lindberg, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-10 | Vespro della beata Vergine: Lauda Jerusalem A 7 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 35-1 | Vespro della Beata Vergine, SV 206: XI. Sonata sopra "Sancta Maria" | Patrick Russill, London Oratory Junior Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 35-2 | Vespro della Beata Vergine, SV 206: XII. Ave maris stella | Patrick Russill, Michael Chance, London Oratory Junior Choir, Monteverdi Choir, Nigel Robson, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 35-3 | Vespro della Beata Vergine, SV 206: XIII. Magnificat a 7 voci | Patrick Russill, Michael Chance, London Oratory Junior Choir, Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, Ian Watson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 35-4 | Vespro della Beata Vergine, SV 206a: XII. Magnificat a 6 voci | Patrick Russill, London Oratory Junior Choir, Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, Ian Watson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 36-1 | Symphony no. 39 in G minor, Hob. I:39: 1. Allegro assai | Trevor Pinnock, The English Concert | T-306.395.786-4 | |
| 36-2 | Symphony no. 39 in G minor, Hob. I:39: 2. Andante | Trevor Pinnock, The English Concert | — | |
| 36-3 | Symphony no. 39 in G minor, Hob. I:39: 3. Menuetto | Trevor Pinnock, The English Concert | — | |
| 36-4 | Symphony no. 39 in G minor, Hob. I:39: 4. Finale. Allegro molto | Trevor Pinnock, The English Concert | T-318.676.528-2 | |
| 36-5 | Symphony No. 41 in C major: I - Allegro con spirito | The English Concert, Trevor Pinnock | — | |
| 36-6 | Symphony No. 41 in C major: II. Un poco andante | The English Concert, Trevor Pinnock | — | |
| 36-7 | Symphony No. 41 in C major: III. Menuet | The English Concert, Trevor Pinnock | — | |
| 36-8 | Symphony No. 41 in C major: IV. Finale (Presto) | The English Concert, Trevor Pinnock | T-318.676.528-2 | |
| 36-9 | Symphony no. 48 in C major "Maria Theresia", Hob. I:48: 1. Allegro | Trevor Pinnock, The English Concert | T-011.422.353-8 | |
| 36-10 | Symphony no. 48 in C major "Maria Theresia", Hob. I:48: 2. Adagio | Trevor Pinnock, The English Concert | — | |
| 36-11 | Symphony no. 48 in C major "Maria Theresia", Hob. I:48: 3. Menuetto | Trevor Pinnock, The English Concert | — | |
| 36-12 | Symphony no. 48 in C major "Maria Theresia", Hob. I:48: 4. Finale. Allegro | Trevor Pinnock, The English Concert | T-318.676.528-2 | |
| 36-13 | Symphony no. 65 in A major, Hob. I:65: I. Vivace e con spirito | The English Concert, Trevor Pinnock | — | |
| 36-14 | Symphony no. 65 in A major, Hob. I:65: II. Andante | The English Concert, Trevor Pinnock | — | |
| 36-15 | Symphony no. 65 in A major, Hob. I:65: III. Menuetto | The English Concert, Trevor Pinnock | — | |
| 36-16 | Symphony no. 65 in A major, Hob. I:65: IV. Finale (Presto) | The English Concert, Trevor Pinnock | T-318.676.528-2 | |
| 37-1 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-2 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-3 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-4 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-5 | Symphony no. 6 in F major, op. 68 “Pastoral”: I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande: Allegro ma non troppo | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-6 | Symphony no. 6 in F major, op. 68 “Pastoral”: II. Szene am Bach: Andante molto mosso | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-7 | Symphony no. 6 in F major, op. 68 “Pastoral”: III. Lustiges Zusammensein der Landleute: Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-8 | Symphony no. 6 in F major, op. 68 “Pastoral”: IV. Gewitter, Sturm: Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-9 | Symphony no. 6 in F major, op. 68 “Pastoral”: V. Hirtengesang: Frohe und dankbare Gefühle nach dem Sturm: Allegretto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 38-1 | Les Élémens, Suite for Orchestra: 1. Le cahos | Musica Antiqua Köln, Reinhard Goebel | — | |
| 38-2 | Les Élémens, Suite for Orchestra: 2. Air pour les violons (La terre et l’eau | Musica Antiqua Köln, Reinhard Goebel | — | |
| 38-3 | Les Élémens, Suite for Orchestra: 3. Chaconne (Le feu) | Musica Antiqua Köln, Reinhard Goebel | T-003.111.351-5 | |
| 38-4 | Les Élémens, Suite for Orchestra: 4. Air. Ramage | Musica Antiqua Köln, Reinhard Goebel | — | |
| 38-5 | Les Élémens, Suite for Orchestra: 5. Rossignols | Musica Antiqua Köln, Reinhard Goebel | — | |
| 38-6 | Les Élémens, Suite for Orchestra: 9. Rondeau: Air pour l’Amour | Musica Antiqua Köln, Reinhard Goebel | — | |
| 38-7 | Les Élémens, Suite for Orchestra: 6. Loure | Musica Antiqua Köln | — | |
| 38-8 | Les Élémens, Suite for Orchestra: 8. Sicilienne | Musica Antiqua Köln | — | |
| 38-9 | Les Élémens, Suite for Orchestra: 10. Caprice | Musica Antiqua Köln, Reinhard Goebel | T-900.904.564-1 | |
| 38-10 | Les Élémens, Suite for Orchestra: 7. Tambourins I & II | Musica Antiqua Köln, Reinhard Goebel | — | |
| 38-11 | Sonata in E minor: 1. Gravement | Musica Antiqua Köln | — | |
| 38-12 | Sonata in E minor: 2. Allabreve | Musica Antiqua Köln | — | |
| 38-13 | Sonata in E minor: 3. Air | Musica Antiqua Köln | — | |
| 38-14 | Sonata (Septet) in E minor: 4. Tendrement | Musica Antiqua Köln | — | |
| 38-15 | Sonata in E minor: 5. Gay | Musica Antiqua Köln | — | |
| 38-16 | Alessandro. (Les amours d’Alexandre et de Roxane): Ballo. Sinfonia | Musica Antiqua Köln | — | |
| 38-17 | Alessandro. (Les amours d’Alexandre et de Roxane): 1. Marche | Musica Antiqua Köln | — | |
| 38-18 | Alessandro. (Les amours d’Alexandre et de Roxane): 2. Andantino | Musica Antiqua Köln | — | |
| 38-19 | Alessandro. (Les amours d’Alexandre et de Roxane): 3. Allegretto | Musica Antiqua Köln | — | |
| 38-20 | Alessandro. (Les amours d’Alexandre et de Roxane): 4. Moderato | Musica Antiqua Köln | — | |
| 38-21 | Alessandro. (Les amours d’Alexandre et de Roxane): 5. Menuetto – (Trio) – Menuetto | Musica Antiqua Köln | — | |
| 38-22 | Alessandro. (Les amours d’Alexandre et de Roxane): 6. Antipoisino | Musica Antiqua Köln | — | |
| 38-23 | Alessandro. (Les amours d’Alexandre et de Roxane): 7. Chaconne | Musica Antiqua Köln | — | |
| 39-1 | La Resurrezione, HWV 47: Part I. Sonata | Les Musiciens du Louvre, Marc Minkowski | T-071.000.879-9 | |
| 39-2 | La Resurrezione, HWV 47: Part I. Aria: Disserratevi, o porte d'Averno (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-3 | La Resurrezione, HWV 47: Part I. Recitative: Qual'insolita luce (Lucifero) | Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-4 | La Resurrezione, HWV 47: Part I. Aria: Caddi, è ver, ma nel cadere (Lucifero) | Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-5 | La Resurrezione, HWV 47: Part I. Recitative: Ma, che veggio? (Lucifero, Angelo) | Annick Massis, Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-6 | La Resurrezione, HWV 47: Part I. Recitative: Che sei? Chi è questo rè (Lucifero, Angelo) | Annick Massis, Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-7 | La Resurrezione, HWV 47: Part I. Aria: D'amor fu consiglio (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-8 | La Resurrezione, HWV 47: Part I. Recitative: E ben, questo tuo Nume (Lucifero, Angelo) | Annick Massis, Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-9 | La Resurrezione, HWV 47: Part I. Aria: O voi, dell'Erebo (Lucifero) | Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | T-071.000.879-9 | |
| 39-10 | La Resurrezione, HWV 47: Part I. Recitative: Notte, notte funesta (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-11 | La Resurrezione, HWV 47: Part I. Aria: Ferma l'ali, e sui miei lumi (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-12 | La Resurrezione, HWV 47: Part I. Recitative: Concedi, o Maddalena (Cleofe, Maddalena) | Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-13 | La Resurrezione, HWV 47: Part I. Aria: Piangete, si, piangete (Cleofe) | Linda Maguire, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-14 | La Resurrezione, HWV 47: Part I. Recitative: Ahi, dolce mio Signore (Maddalena, Cleofe) | Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-15 | La Resurrezione, HWV 47: Part I. Aria: Dolci chiodi, amate spine (Maddalena, Cleofe) | Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-16 | La Resurrezione, HWV 47: Part I. Recitative: O Cleofe, o Maddalena (San Giovanni, Maddalena) | John Mark Ainsley, Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | T-071.000.879-9 | |
| 39-17 | La Resurrezione, HWV 47: Part I. Aria: Quando è parto dell'affetto (San Giovanni) | John Mark Ainsley, Les Musiciens du Louvre, Marc Minkowski | T-071.000.879-9 | |
| 39-18 | La Resurrezione, HWV 47: Part I. Recitative: Ma dinne, e sarà vero (Cleofe, San Giovanni, Maddalena) | John Mark Ainsley, Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-19 | La Resurrezione, HWV 47: Part I. Aria: Naufragando va per l'onde (Cleofe) | Linda Maguire, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-20 | La Resurrezione, HWV 47: Part I. Recitative: Itene pure, o fide (San Giovanni, Maddalena) | John Mark Ainsley, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-21 | La Resurrezione, HWV 47: Part I. Aria: Così la tortorella (San Giovanni) | John Mark Ainsley, Les Musiciens du Louvre, Marc Minkowski | T-071.000.879-9 | |
| 39-22 | La Resurrezione, HWV 47: Part I. Recitative: Se Maria dunque spera (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-23 | La Resurrezione, HWV 47: Part I. Aria: Ho un non so che nel cor (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-24 | La Resurrezione, HWV 47: Part I. Recitative: Uscite pur, uscite (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-25 | La Resurrezione, HWV 47: Part I. Coro: Il Nume vuncitor (Angelo, Coro di Angeli) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-1 | La Resurrezione, HWV 47: Part II. Introduction - Einleitung | Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-2 | La Resurrezione, HWV 47: Part II. Recitative: Di quai nuovi portenti (San Giovanni) | John Mark Ainsley, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-3 | La Resurrezione, HWV 47: Part II. Aria: Ecco il sol, ch'esce dal mar (San Giovanni) | John Mark Ainsley, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-4 | La Resurrezione, HWV 47: Part II. Recitative: Ma ove Maria dimora (San Giovanni) | John Mark Ainsley, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-5 | La Resurrezione, HWV 47: Part II. Aria: Risorga il mondo (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-6 | La Resurrezione, HWV 47: Part II. Recitative: Di rabbia indarno freme (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-7 | La Resurrezione, HWV 47: Part II. Recitative: Misero! ho pure udito? (Lucifero, Angelo) | Annick Massis, Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-8 | La Resurrezione, HWV 47: Part II. Aria: Per celare il nuovo scorno (Lucifero) | Annick Massis, Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-9 | La Resurrezione, HWV 47: Part II. Recitative: O come cieco il tuo furor delira! (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-10 | La Resurrezione, HWV 47: Part II. Aria: Impedirlo io saprò (Lucifero, Angelo) | Annick Massis, Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-11 | La Resurrezione, HWV 47: Part II. Recitative: Amica, troppo tardo (Maddalena, Cleofe) | Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-12 | La Resurrezione, HWV 47: Part II. Aria: Per me già di morire (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-13 | La Resurrezione, HWV 47: Part II. Recitative: Ahi, abborrito nome (Lucifero) | Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-14 | La Resurrezione, HWV 47: Part II. Aria: Vedo il Ciel che più sereno (Cleofe) | Linda Maguire, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-15 | La Resurrezione, HWV 47: Part II. Recitative: Cleofe, siam giunte al luogo (Maddalena, Cleofe, Angelo) | Linda Maguire, Annick Massis, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-16 | La Resurrezione, HWV 47: Part II. Aria: Se per colpa di donna infelice (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-17 | La Resurrezione, HWV 47: Part II. Recitative: Mio Gesù, mio Signore (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-18 | La Resurrezione, HWV 47: Part II. Aria: Del ciglio dolente (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-19 | La Resurrezione, HWV 47: Part II. Recitative: Sì, sì, cerchiamo pure (Cleofe) | Linda Maguire, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-20 | La Resurrezione, HWV 47: Part II. Aria: Augelletti, ruscelletti (Cleofe) | Linda Maguire, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-21 | La Resurrezione, HWV 47: Part II. Recitative: Dove sì frettolosi (San Giovanni, Cleofe) | John Mark Ainsley, Linda Maguire, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-22 | La Resurrezione, HWV 47: Part II. Aria: Caro Figlio! (San Giovanni) | John Mark Ainsley, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-23 | La Resurrezione, HWV 47: Part II. Recitative: Cleofe, Giovanni, udite (Maddalena, San Giovanni, Cleofe) | John Mark Ainsley, Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-24 | La Resurrezione, HWV 47: Part II. Aria: Se impassibile, immortale (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-25 | La Resurrezione, HWV 47: Part II. Recitative: Sì, sì, col Redentore (San Giovanni, Cleofe, Maddalena) | John Mark Ainsley, Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-26 | La Resurrezione, HWV 47: Part II. Coro: Diasi lode in Cielo, in terra | Les Musiciens du Louvre, Marc Minkowski | — | |
| 41-1 | Toccata à 4, C 237 | Timothy Roberts | — | |
| 41-2 | Symphonia Sacrae Liber Secundus: In ecclesiis à 14, C 78 | Gabrieli Consort & Players, Paul McCreesh, Timothy Wilson, Charles Pott, Julian Podger, Donald Greig | — | |
| 41-3 | Canzoni et Sonate: Canzon XIX à 15, C 212 | Gabrieli Consort & Players, Paul McCreesh | — | |
| 41-4 | Symphonia Sacrae Liber Secundus: Suscipe clementissime à 12, C 70 | Gabrieli Consort & Players, Paul McCreesh, Robert Horn, Julian Podger, Charles Pott, Donald Greig, Simon Grant, Savage | — | |
| 41-5 | Canzoni et Sonate: Canzon XIV à 10, C 207 | Gabrieli Consort & Players, Paul McCreesh | — | |
| 41-6 | Symphonia Sacrae Liber Secundus: Buccinate in neomenia tuba à 19, C 84 | Gabrieli Consort & Players, Paul McCreesh, Julian Clarkson, Robin Blaze, Henry Wickham | — | |
| 41-7 | Intonationi d’organo: Intonatione del nono tono, C 247 | Gabrieli Consort & Players, Paul McCreesh, Timothy Roberts | — | |
| 41-8 | Domine Deus meus à 6, C 127 | Gabrieli Consort & Players, Paul McCreesh, Robert Harre-Jones, Robert Horn, Steven Harrold, Donald Greig, Charles Pott, Simon Grant, Timothy Roberts | — | |
| 41-9 | Ghirlanda sacra, libro primo: Audi, dulcis amica mea | Gabrieli Consort & Players, David Hurley | — | |
| 41-10 | Sonata No. 21 con tre violini, C 224 | Gabrieli Consort & Players, Paul McCreesh | — | |
| 41-11 | Il primo libro de mottetti: Ardens est cor meum | Gabrieli Consort & Players, Paul McCreesh, David Hurley | — | |
| 41-12 | Timor et tremor à 6 (printed 1615 version), C 142 | Gabrieli Consort & Players, Paul McCreesh, Robert Harre-Jones, Robert Horn, Charles Pott, Donald Greig, Henry Wickham, Simon Grant, Timothy Roberts | T-905.271.618-4 | |
| 41-13 | Intonationi d’organo: Intonatione del duodecimo tono, C 250 | Gabrieli Consort & Players, Paul McCreesh, Timothy Roberts | — | |
| 41-14 | Symphonia Sacrae Liber Secundus: Jubilate Deo omnis terra à 10, C 65 | Gabrieli Consort & Players, Paul McCreesh, Timothy Wilson, Donald Greig | T-322.396.180-2 | |
| 41-15 | Canzoni et Sonate: Canzon XVIII à 14, C 211 | Gabrieli Consort & Players, Paul McCreesh | — | |
| 41-16 | Symphonia Sacrae Liber Secundus: Misericordia tua Domine à 12, C 69 | Gabrieli Consort & Players, Paul McCreesh, Robert Harre-Jones, Robert Horn, Charles Pott | — | |
| 41-17 | Canzoni et Sonate: Canzon XX à 22, C 213 | Gabrieli Consort & Players, Paul McCreesh | — | |
| 41-18 | Magnificat a 33 | Gabrieli Consort & Players, Paul McCreesh, Julian Clarkson, Robert Horn, David Hurley, Henry Wickham, Steven Harrold | — | |
| 42-1 | Messiah, HWV 56: Part I, Scene I. Sinfony | Gabrieli Players, Paul McCreesh | — | |
| 42-2 | Messiah, HWV 56: Part I, Scene I. Recitative "Comfort ye, comfort ye my People" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 42-3 | Messiah, HWV 56: Part I, Scene I. Song "Ev'ry Valley shall be exalted" | Charles Daniels, Gabrieli Players, Paul McCreesh | T-906.831.104-6 | |
| 42-4 | Messiah, HWV 56: Part I, Scene I. Chorus "And the Glory of the Lord shall be revealed" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-5 | Messiah, HWV 56: Part I, Scene II. Recitative "Thus saith the Lord of Hosts" | Neal Davies, Gabrieli Players, Paul McCreesh | T-312.613.379-3 | |
| 42-6 | Messiah, HWV 56: Part I, Scene II. Song "But who may abide the Day of his Coming?" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 42-7 | Messiah, HWV 56: Part I, Scene II. Chorus "And He shall purify the Sons of Levi" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-8 | Messiah, HWV 56: Part I, Scene III. Recitative "Behold, a Virgin shall conceive" | Bernarda Fink, Gabrieli Players, Paul McCreesh | — | |
| 42-9 | Messiah, HWV 56: Part I, Scene III. Song & Chorus "O thou that tellest good Tidings to Zion" | Bernarda Fink, Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-10 | Messiah, HWV 56: Part I, Scene III. Recitative "For behold, Darkness shall cover the Earth" | Neal Davies, Gabrieli Players, Paul McCreesh | — | |
| 42-11 | Messiah, HWV 56: Part I, Scene III. Song "The People that walked in Darkness" | Neal Davies, Gabrieli Players, Paul McCreesh | — | |
| 42-12 | Messiah, HWV 56: Part I, Scene III. Chorus "For unto us a Child is born" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-13 | Messiah, HWV 56: Part I, Scene IV. Pifa | Gabrieli Players, Paul McCreesh | T-315.691.885-9 | |
| 42-14 | Messiah, HWV 56: Part I, Scene IV. Recitative "There were Shepherds abiding in the Field" | Dorothea Röschmann, Gabrieli Players, Paul McCreesh | — | |
| 42-15 | Messiah, HWV 56: Part I, Scene IV. Chorus "Glory to God in the Highest" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-16 | Messiah, HWV 56: Part I, Scene V. Song "Rejoice greatly, O Daughter of Sion" | Dorothea Röschmann, Gabrieli Players, Paul McCreesh | — | |
| 42-17 | Messiah, HWV 56: Part I, Scene V. Recitative "Then shall the Eyes of the Blind be open'd" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 42-18 | Messiah, HWV 56: Part I, Scene V. Song "He shall feed his Flock" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 42-19 | Messiah, HWV 56: Part I, Scene V. Chorus "His Yoke is easy, his Burthen is light" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-20 | Messiah, HWV 56: Part II, Scene I. Chorus "Behold the Lamb of God" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-21 | Messiah, HWV 56: Part II, Scene I. Song "He was despised" | Bernarda Fink, Gabrieli Players, Paul McCreesh | — | |
| 42-22 | Messiah, HWV 56: Part II, Scene I. Chorus "Surely he hath borne our Griefs" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-23 | Messiah, HWV 56: Part II, Scene I. Chorus "And with His Stripes we are healed" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-24 | Messiah, HWV 56: Part II, Scene I. Chorus "All we, like Sheep, have gone astray" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-25 | Messiah, HWV 56: Part II, Scene I. Recitative "All they that see him laugh him to scorn" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 42-26 | Messiah, HWV 56: Part II, Scene I. Chorus "He trusted in God" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-27 | Messiah, HWV 56: Part II, Scene I. Recitative "Thy Rebuke hath broken his Heart" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 42-28 | Messiah, HWV 56: Part II, Scene I. Song "Behold, and see, if there be any Sorrow" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 42-29 | Messiah, HWV 56: Part II, Scene II. Recitative "He was cut off out of the Land" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 42-30 | Messiah, HWV 56: Part II, Scene II. Song "But Thou didst not leave his Soul in Hell" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 43-1 | Messiah, HWV 56: Part II, Scene III. Chorus "Lift up your heads, o ye gates" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-2 | Messiah, HWV 56: Part II, Scene IV. Recitative "Unto which of the angels said He at any time" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 43-3 | Messiah, HWV 56: Part II, Scene IV. Chorus "Let all the angels of God worship Him" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-4 | Messiah, HWV 56: Part II, Scene V. Song "Thou art gone up on high" | Dorothea Röschmann, Gabrieli Players, Paul McCreesh | — | |
| 43-5 | Messiah, HWV 56: Part II, Scene V. Chorus "The Lord gave the word" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | T-700.077.972-8 | |
| 43-6 | Messiah, HWV 56: Part II, Scene V. Song "How beautiful are the feet" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 43-7 | Messiah, HWV 56: Part II, Scene V. Chorus "Their sound is gone out into all lands" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-8 | Messiah, HWV 56: Part II, Scene VI. Song "Why do the nations so furiously rage together" | Neal Davies, Gabrieli Players, Paul McCreesh | — | |
| 43-9 | Messiah, HWV 56: Part II, Scene VI. Chorus "Let us break their bonds asunder" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-10 | Messiah, HWV 56: Part II, Scene VII. Recitative "He that dwelleth in Heaven" / Song "Thou shalt break them with a rod of iron" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 43-11 | Messiah, HWV 56: Part II, Scene VII. Chorus "Hallelujah!" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-12 | Messiah, HWV 56: Part III, Scene I. Song "I know that my redeemer liveth" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 43-13 | Messiah, HWV 56: Part III, Scene I. Chorus "Since by man came death" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-14 | Messiah, HWV 56: Part III, Scene II. Recitative "Behold, I tell you a mystery" | Neal Davies, Gabrieli Players, Paul McCreesh | — | |
| 43-15 | Messiah, HWV 56: Part III, Scene II. Song "The trumpet shall sound" | Neal Davies, Gabrieli Players, Paul McCreesh | — | |
| 43-16 | Messiah, HWV 56: Part III, Scene III. Recitative "Then shall be brought to pass" | Bernarda Fink, Gabrieli Players, Paul McCreesh | — | |
| 43-17 | Messiah, HWV 56: Part III, Scene III. Duet "O death, where is thy sting?" | Charles Daniels, Bernarda Fink, Gabrieli Players, Paul McCreesh | — | |
| 43-18 | Messiah, HWV 56: Part III, Scene III. Chorus "But thanks be to God" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-19 | Messiah, HWV 56: Part III, Scene III. Song "If God is for us" | Dorothea Röschmann, Gabrieli Players, Paul McCreesh | — | |
| 43-20 | Messiah, HWV 56: Part III, Scene IV. Chorus "Worthy is the lamb that was slain - amen" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 44-1 | Con che soavità | Anne Sofie von Otter, Musica Antiqua Köln, Reinhard Goebel | — | |
| 44-2 | Lamento della Regina d'Inghilterra | Anne Sofie von Otter, Franz-Josef Selig, Musica Antiqua Köln, Reinhard Goebel | — | |
| 44-3 | Il Ballo del Gran Duca, op. 16: Corrente Nona | Musica Antiqua Köln, Reinhard Goebel | — | |
| 44-4 | Cantata, RV 684 "Cessate, omai cessate" | Anne Sofie von Otter, Musica Antiqua Köln, Reinhard Goebel | — | |
| 44-5 | Lamento d'Arianna | Anne Sofie von Otter, Jakob Lindberg | T-205.000.091-1 | |
| 44-6 | Incassum, Lesbia, rogas, Z. 383 | Anne Sofie von Otter, Markus Möllenbeck, Christian Rieger | — | |
| 44-7 | Ciaccona | Jakob Lindberg | — | |
| 44-8 | Oh solitude!, Z. 406 | Anne Sofie von Otter, Jakob Lindberg | T-010.765.116-0 | |
| 45-1 | T'andernaken / Laet ons mit hartzen / Hoboekentanz / Laet ons mit hartzen / Ihesus is een kyndekyn cleyn / Laet ons mit hartzen | Piffaro, The Renaissance Band | — | |
| 45-2 | Ave regina caelorum | Piffaro, The Renaissance Band | — | |
| 45-3 | Pourquoy non | Piffaro, The Renaissance Band | — | |
| 45-4 | Het derde musyck boexken "Danseyre": Pass et medio / Reprise "Le pingne" | Piffaro, The Renaissance Band | — | |
| 45-5 | Het derde musyck boexken "Danseyre": Gaillarde XII / Gaillarde XIII / Gaillarde XIV | Piffaro, The Renaissance Band | T-926.159.768-6 | |
| 45-6 | Het derde musyck boexken "Danseyre": La mourisque | Piffaro, The Renaissance Band | T-902.271.290-9 | |
| 45-7 | J'ay pris amours | Piffaro, The Renaissance Band | — | |
| 45-8 | J'ay pris amours (arr. Grant Herreid) | Piffaro, The Renaissance Band | — | |
| 45-9 | Crions Noel | Piffaro, The Renaissance Band | — | |
| 45-10 | Tandernaken | Piffaro, The Renaissance Band | — | |
| 45-11 | Laet u ghenoughen, liever Johan | Piffaro, The Renaissance Band | — | |
| 45-12 | Het derde musyck boexken "Danseyre": Entre du fol | Piffaro, The Renaissance Band | — | |
| 45-13 | Het derde musyck boexken "Danseyre": Mon desir | Piffaro, The Renaissance Band | — | |
| 45-14 | Je loe amours | Piffaro, The Renaissance Band | — | |
| 45-15 | Tandernaken | Piffaro, The Renaissance Band | — | |
| 45-16 | Untitled Duo | Piffaro, The Renaissance Band | — | |
| 45-17 | De tous biens playne | Piffaro, The Renaissance Band | — | |
| 45-18 | Het derde musyck boexken "Danseyre": Pavane II "La dona" / Gaillarde VIII "La dona" | Piffaro, The Renaissance Band | — | |
| 45-19 | Wij sheyt edel vrouwe (arr. Grant Herreid) | Piffaro, The Renaissance Band | — | |
| 45-20 | Het derde musyck boexken "Danseyre": Allemaingne VII | Piffaro, The Renaissance Band | — | |
| 45-21 | Het derde musyck boexken "Danseyre": Quatre bransles | Piffaro, The Renaissance Band | — | |
| 45-22 | Het derde musyck boexken "Danseyre": Bergeret sans roch | Piffaro, The Renaissance Band | — | |
| 45-23 | Liber secundus cantionum sacrarum: O Crux benedicta | Piffaro, The Renaissance Band | — | |
| 45-24 | Ave mundi spes Maria | Piffaro, The Renaissance Band | — | |
| 45-25 | T'andernaken al op den Rijn | Piffaro, The Renaissance Band | — | |
| 45-26 | Les larmes | Piffaro, The Renaissance Band | — | |
| 45-27 | Fortis cum quevis actio | Piffaro, The Renaissance Band | — | |
| 45-28 | Die winter is verganghen | Piffaro, The Renaissance Band | — | |
| 46-1 | Inviolata, integra, et casta es Maria (à 5) | Orlando Consort | — | |
| 46-2 | Ut Phoebi radiis (à 4) | Orlando Consort | — | |
| 46-3 | De profundis clamavi (à 5) | Orlando Consort | — | |
| 46-4 | Christe Fili Dei – J’ay pris amours (à 4) | Orlando Consort | — | |
| 46-5 | O Virgo virginum (à 6) | Orlando Consort | — | |
| 46-6 | Vultum tuum deprecabuntur (à 4): Vultum tuum deprecabuntur | Orlando Consort | — | |
| 46-7 | Vultum tuum deprecabuntur (à 4): Ave Maria, gratia plena | Orlando Consort | — | |
| 46-8 | Vultum tuum deprecabuntur (à 4): Sancta Dei genitrix | Orlando Consort | — | |
| 46-9 | Vultum tuum deprecabuntur (à 4): O intemerata Virgo | Orlando Consort | — | |
| 46-10 | Vultum tuum deprecabuntur (à 4): O Maria, nullam tam gravem | Orlando Consort | — | |
| 46-11 | Vultum tuum deprecabuntur (à 4): Mente tota tibi supplicamus | Orlando Consort | — | |
| 46-12 | Vultum tuum deprecabuntur (à 4): Ora pro nobis | Orlando Consort | — | |
| 46-13 | La déploration de Johannes Ockeghem: Nymphes des boys (à 5) | Orlando Consort | — | |
| 46-14 | O Bone et dulcis Domine Jesus – Pater noster – Ave Maria (à 4) | Orlando Consort | — | |
| 46-15 | Huc me sydereo (à 5) / Plangent eum (à 5) | Orlando Consort | — | |
| 46-16 | O Virgo prudentissima (à 6) / Beata Mater (à 6) | Orlando Consort | — | |
| 47-1 | Delirio amoroso, HWV 99: I. Introduzione | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-2 | Delirio amoroso, HWV 99: II. Recitativo "Da quel giorno fatale" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-3 | Delirio amoroso, HWV 99: III. Aria "Un pensiero voli in ciel" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-4 | Delirio amoroso, HWV 99: IV. Recitativo "Ma fermati pensier" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-5 | Delirio amoroso, HWV 99: V. Aria "Per te lasciai la luce" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-6 | Delirio amoroso, HWV 99: VI. Recitativo "Non ti bastava, ingrato" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-7 | Delirio amoroso, HWV 99: VII. Aria "Lascia omai le brune vele" - Recitativo: "Ma siamo giunti in Lete" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-8 | Delirio amoroso, HWV 99: VIII. Entrée | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-9 | Delirio amoroso, HWV 99: IX. Arietta e Recitativo "In queste amene piagge serene" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-10 | La Lucrezia, HWV 145: I. Recitativo "O Numi eterni!" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-11 | La Lucrezia, HWV 145: II. Aria "Già superbo del mio affanno" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-12 | La Lucrezia, HWV 145: III. Recitativo "Ma voi forse nel cielo" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-13 | La Lucrezia, HWV 145: IV. Aria "Il suol che preme" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-14 | La Lucrezia, HWV 145: V. Recitativo "Ah! che ancor nell'abisso" - Furioso "Questi la disperata anima mia" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-15 | La Lucrezia, HWV 145: VI. Aria "Alla salma infedel porga la pena" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-16 | La Lucrezia, HWV 145: VII. Recitativo "A voi, a voi, padre, consorte" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-17 | La Lucrezia, HWV 145: VIII. Arioso "Già nel seno comincia a compir" - Furioso "Ma se qui non m'è dato" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-18 | Tra le fiamme, HWV 170: I. Aria "Tra le fiamme tu scherzi" - Recitativo "Dedalo già le fortunate penne" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-19 | Tra le fiamme, HWV 170: II. Aria "Pien di nuovo e bel diletto" - Recitativo "Sì, sì, pur troppo è vero" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-20 | Tra le fiamme, HWV 170: III. Aria "Voli per l'aria chi può volare" - "L'uomo, che nacque per salire al cielo" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-21 | Tra le fiamme, HWV 170: IV. Da capo "Tra le fiamme tu scherzi" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-1 | Zaïs : Ouverture | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-2 | Castor et Pollux : Scène funèbre | Les Musiciens du Louvre, Marc Minkowski | T-900.137.133-1 | |
| 48-3 | Les fêtes d’Hébé : Air tendre | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-4 | Dardanus: Tambourins I & II | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-5 | Le Temple de la Gloire : Air tendre pour les Muses | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-6 | Les Boréades : Contredanse | Les Musiciens du Louvre, Marc Minkowski | T-011.673.237-6 | |
| 48-7 | La naissance d’Osiris : Air gracieux | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-8 | Les Boréades : Gavottes I & II | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-9 | Platée : Orage | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-10 | Les Boréades : Prélude | Les Musiciens du Louvre, Marc Minkowski | T-011.710.961-1 | |
| 48-11 | Concert no. 6 : La Poule | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-12 | Les Fêtes d’Hébé : Musette | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-13 | Hyppolyte & Aricie : Ritournelle | Les Musiciens du Louvre, Marc Minkowski | T-003.074.081-8 | |
| 48-14 | Naïs : Rigaudons I & II | Les Musiciens du Louvre, Marc Minkowski | T-911.931.681-3 | |
| 48-15 | Les Indes galantes : Danse des Sauvages | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-16 | Les Boréades : Entrée de Polymnie | Les Musiciens du Louvre, Marc Minkowski | T-031.862.827-1 | |
| 48-17 | Les Indes galantes : Chaconne | Les Musiciens du Louvre, Marc Minkowski | — | |
| 49-1 | Overture in A major: I. Allegro con brio | Concerto Köln | — | |
| 49-2 | Overture in A major: II. Andante | Concerto Köln | — | |
| 49-3 | Overture in A major: III. Allegro | Concerto Köln | — | |
| 49-4 | Sinfonia in F major: I. Allegro assai | Concerto Köln | T-306.395.786-4 | |
| 49-5 | Sinfonia in F major: II. Andante | Concerto Köln | — | |
| 49-6 | Sinfonia in F major: III. Tempo di minuetto | Concerto Köln | — | |
| 49-7 | Sinfonia in C major: I. Allegro assai | Concerto Köln | T-306.395.786-4 | |
| 49-8 | Sinfonia in F major: II. Allegretto | Concerto Köln | — | |
| 49-9 | Sinfonia in F major: III. Prestissimo | Concerto Köln | — | |
| 49-10 | Sinfonia in G major: I. Allegro | Concerto Köln | — | |
| 49-14 | Sinfonia in E-flat major: II. Andantino | Concerto Köln | — | |
| 49-15 | Sinfonia in E-flat major: III. Presto | Concerto Köln | — | |
| 49-16 | Sinfonia in C major: I. Larghetto | Concerto Köln | — | |
| 49-17 | Sinfonia in C major: II. Allegro | Concerto Köln | — | |
| 49-18 | Sinfonia in C major: III. Presto | Concerto Köln | — | |
| 49-19 | Concertino in E-flat major: I. Allegro | Concerto Köln | — | |
| 49-20 | Concertino in E-flat major: II. Largo | Concerto Köln | — | |
| 49-21 | Concertino in E-flat major: III. Presto assai | Concerto Köln | — |
Identifier Graph
028947910459 is a Universal Product Code (UPC) assigned to Archiv Produktion 1947-2013 by Various Artists. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.
This release contains 1000 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Sinfonia in G major: II. Allegretto | Concerto Köln | — |
| Sinfonia in G major: III. Prestissimo | Concerto Köln | — |
| Sinfonia in E-flat major: I. Spiritoso | Concerto Köln | — |
| Concerto for Two Violins in G major, RV 516: I. Allegro molto | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-329.454.787-4 |
| Concerto for Two Violins in G major, RV 516: II. Andante | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in G major, RV 516: III. Allegro | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in D major, RV 511: I. Allegro molto | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-329.454.787-4 |
| Concerto for Two Violins in D major, RV 511: II. Largo | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 |
| Concerto for Two Violins in D major, RV 511: III. Allegro | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in D minor, RV 514: I. Allegro non molto | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-329.454.787-4 |
| Concerto for Two Violins in D minor, RV 514: II. Adagio | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in D minor, RV 514: III. Allegro molto | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-329.454.787-4 |
| Concerto for Two Violins in B-flat major, RV 524: I. Allegro | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-329.454.787-4 |
| Concerto for Two Violins in B-flat major, RV 524: II. Andante | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in B-flat major, RV 524: III. Allegro | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in C minor, RV 509: I. Allegro ma poco e cantabile | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in C minor, RV 509: II. Andante molto | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in C minor, RV 509: III. Allegro | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in A minor, RV 523: I. Allegro molto | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-329.454.787-4 |
| Concerto in a Minor for 2 Violins, Strings, and Continuo, R.523 2. Largo | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 |
| Concerto for Two Violins in A minor, RV 523: III. Allegro | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Alcina, HWV 34: 1. Ouverture | Il Complesso Barocco, Alan Curtis | — |
| Alcina, HWV 34: 2. Musette | Il Complesso Barocco, Alan Curtis | — |
| Alcina, HWV 34: 3. Menuet | Il Complesso Barocco, Alan Curtis | T-061.791.496-1 |
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Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
The UPC for “Archiv Produktion 1947-2013” by Various Artists is 028947910459. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2013-01-01. Label: Archiv Produktion. This release contains 1000 tracks, each with its own ISRC. Tracks include DEF054702021, DEF054702022, DEF054702023.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Trio Sonata no. 1 in E-flat major, BWV 525: 1. [without tempo indication] | Helmut Walcha | T-801.411.105-9 | |
| 2 | Trio Sonata no. 1 in E-flat major, BWV 525: 2. Adagio | Helmut Walcha | T-001.439.586-8 | |
| 3 | Trio Sonata no. 1 in E-flat major, BWV 525: 3. Allegro | Helmut Walcha | — | |
| 4 | Six Chorales of Diverse Kinds, "Schübler Chorales": Wachet auf, ruft uns die Stimme, BWV 645 | Helmut Walcha | T-031.722.033-9 | |
| 5 | Six Chorales of Diverse Kinds, "Schübler Chorales": Wo soll ich fliehen hin, oder: Auf meinen lieben Gott, BWV 646 | Helmut Walcha | — | |
| 6 | Six Chorales of Diverse Kinds, "Schübler Chorales": Wer nur den lieben Gott lässt walten, BWV 647 | Helmut Walcha | — | |
| 7 | Six Chorales of Diverse Kinds, "Schübler Chorales": Meine Seele erhebet den Herrn, BWV 648 | Helmut Walcha | — | |
| 8 | Six Chorales of Diverse Kinds, "Schübler Chorales": Ach bleib bei uns, Herr Jesu Christ, BWV 649 | Helmut Walcha | — | |
| 9 | Six Chorales of Diverse Kinds, "Schübler Chorales": Kommst du nun, Jesu, vom Himmel herunter, BWV 650 | Helmut Walcha | — | |
| 10 | Partite diverse sopra: Sei gegrüßet, Jesu gütig, BWV 768 | Helmut Walcha | — | |
| 11 | Sonate Nr. 6 für 2 Manuale und Pedal G-Dur, BWV 530: I. Vivace | Helmut Walcha | — | |
| 12 | Sonate Nr. 6 für 2 Manuale und Pedal G-Dur, BWV 530: II. Lento | Helmut Walcha | T-010.888.057-4 | |
| 13 | Sonate Nr. 6 für 2 Manuale und Pedal G-Dur, BWV 530: III. Allegro | Helmut Walcha | T-010.888.057-4 | |
| 14 | Toccata und Fuge d-Moll, BWV 565 | Helmut Walcha | T-909.243.105-5 | |
| 15 | Fugue in E-flat major, BWV 552 | Helmut Walcha | T-922.046.111-0 | |
| 2-1 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": I. Aria (Basso) "Ich will den Kreuzstab gerne tragen" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-2 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": II. Recitativo (Basso) "Mein Wandel auf der Welt" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-3 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": III. Aria (Basso) "Endlich, endlich wird mein Joch" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-4 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": IV. Recitativo e Arioso (Basso) "Ich stehe fertig und bereit" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-5 | Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": V. Chorale "Komm, o Tod, du Schlafes Bruder" | Dietrich Fischer-Dieskau, Berlin Motet Choir, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-6 | Kantate, BWV 82 "Ich habe genug": I. Aria (Basso) "Ich habe genug" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, RIAS Kammerorchester, Karl Ristenpart | — | |
| 2-7 | Kantate, BWV 82 "Ich habe genug": II. Recitativo (Basso) "Ich habe genug. Mein Trost ist nur allein" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-8 | Kantate, BWV 82 "Ich habe genug": III. Aria (Basso) "Schlummert ein, ihr matten Augen" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-9 | Kantate, BWV 82 "Ich habe genug": IV. Recitativo (Basso) "Mein Gott! wann kommt das schöne: Nun!" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-10 | Kantate, BWV 82 "Ich habe genug": V. Aria (Basso) "Ich freue mich auf meinen Tod" | Dietrich Fischer-Dieskau, Hermann Töttcher, Kammerorchester Karl Ristenpart, Karl Ristenpart | — | |
| 2-11 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Sinfonia | Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | T-919.327.166-8 | |
| 2-12 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Versus 1 (Chorus): Christ iag in Todesbanden | Chor der Staatlichen Hochschule fur Musik Frankfurt am Main, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 2-13 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Versus 2 (Chorus: Soprano/Contralto): Den Tod niemand zwingen kunnt | Chor der Staatlichen Hochschule fur Musik Frankfurt am Main, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 2-14 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Versus 3 (Chorus: Tenor): Jesus Christus, Gottes Sohn | Chor der Staatlichen Hochschule fur Musik Frankfurt am Main, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 2-15 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Versus 4 (Chorus): Es war ein wunderlicher Krieg | Chor der Staatlichen Hochschule fur Musik Frankfurt am Main, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 2-16 | Cantata "Christ lag in Todesbanden", BWV 4: VI. Versus 5: "Hier ist das rechte Osterlamm" | Dietrich Fischer-Dieskau, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 2-17 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Versus 6 (Chorus: Soprano/Tenor): So feiern wir das hohe Fest | Chor der Staatlichen Hochschule fur Musik Frankfurt am Main, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 2-18 | Cantata for the first day of Easter, BWV 4 "Christ lag in Todesbanden": Versus 7 (Chorale): Wir essen und wir leben wohl | Chor der Staatlichen Hochschule fur Musik Frankfurt am Main, Maria Jung, Bach Festival Orchestra 1950, Fritz Lehmann | — | |
| 3-1 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 1. Sinfonia | Karl Steins, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-2 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 2. Chorus: Ich hatte viel Bekümmernis | Berliner Motettenchor, Karl Steins, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-3 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 3. Aria (Soprano): Seufzer, Tränen | Gunthild Weber, Karl Steins, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-4 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 4. Recitative: Wie hast du dich | Helmut Krebs, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-5 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 5. Aria (Tenor): Bäche von gesalznen Zähren | Helmut Krebs, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-6 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 6. Chorus: Was betrübst du dich | Berliner Motettenchor, Karl Steins, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-7 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 7. Recitative: Ach Jesu, meine Ruh | Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-8 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 8. Duet (Soprano and Bass): Komm, mein Jesu | Hermann Schey, Gunthild Weber, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-9 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 9. Chorus: Sei nun wieder zufrieden | Berliner Motettenchor, Karl Steins, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-10 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 10. Aria (Tenor): Erfreue dich, Seele | Helmut Krebs, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-11 | Cantata for the 3rd Sunday after Trinity, BWV 21 "Ich hatte viel Bekümmernis": 11. Chorus: Das Lamm | Berliner Motettenchor, Karl Steins, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-12 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 1. Chorus: Es erhub sich ein Streit | Berliner Motettenchor, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-13 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 2. Recitative: Gottlob! der Drache liegt | Hermann Schey, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-14 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 3. Aria (Soprano): Gott schickt uns | Gunthild Weber, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-15 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 4. Recitative: Lasst uns das Angesicht | Helmut Krebs, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-16 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 5. Aria (Tenor): Bleibt ihr Engel | Helmut Krebs, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-17 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 6. Recitative: Lasst uns das Angesicht | Gunthild Weber, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-18 | Cantata for the Feast of St Michael, BWV 19 "Es erhub sich ein Streit": 7. Chorus: Lass dein Engel mit mir fahren | Berliner Motettenchor, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-19 | Cantata for the Feast of the Reformation, BWV 79 "Gott, der Herr, ist Sonn' und Schild": Part I - Chorus: Gott der Herr ist Sonn' und Schild | Berliner Motettenchor, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-20 | Cantata for the Feast of the Reformation, BWV 79 "Gott, der Herr, ist Sonn' und Schild": Part I - Aria (Contralto): Gott ist unsere Sonn' | Lore Fischer, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-21 | Cantata for the Feast of the Reformation, BWV 79 "Gott, der Herr, ist Sonn' und Schild": Part I - Chorale: Nun danket alle Gott | Berliner Motettenchor, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-22 | Cantata for the Feast of the Reformation, BWV 79 "Gott, der Herr, ist Sonn' und Schild": Part II - Recitative: Gott Lob, wir wissen | Hermann Schey, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-23 | Cantata for the Feast of the Reformation, BWV 79 "Gott, der Herr, ist Sonn' und Schild": Part II - Duet (Soprano and Bass): Gott, ach Gott, verlass die Deinen nimmermehr | Hermann Schey, Gunthild Weber, Berliner Philharmoniker, Fritz Lehmann | — | |
| 3-24 | Cantata for the Feast of the Reformation, BWV 79 "Gott, der Herr, ist Sonn' und Schild": Part II - Chorale: Erhalt uns in der Wahrheit | Berliner Motettenchor, Berliner Philharmoniker, Fritz Lehmann | — | |
| 4-1 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Deus in adiutorum | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-2 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Antiphona 1: Rex pacificus - Psalm 109: Dixit Dominus | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-3 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Antiphona 2: Magnificatus es Rex pacificus - Psalm 110: Confitebor tib | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-4 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Antiphona 3: Scitote - Psalm 111: Beatus vir | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-5 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Antiphona 4: Levate capita - Psalm 112: Laudate, pueri | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-6 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Capitulum: Apparuit benignitas | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-7 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Responsorium breve: Hodie scietis | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-8 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Hymnus: Christe Redemptor omnium | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-9 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Crastina die | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-10 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": Antiphona: Cum ortus fuerit - Magnificat | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-11 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Kyrie eleison - Pater noster | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-12 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Dominus vobiscum - Oratio: Oremus: concede | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-13 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Dominus vobiscum - Benedicamus Domino | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-14 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Dominus vobiscum - Antiphona BMV: Alma Redemptoris Virginis | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-15 | First Christmas Vespers, "Primae vesperae in nativitate Domini nostri Jesu Christi": V. Post partum - Oremus: Deus qui salutis - V. Divinum auxilium | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-16 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Introitus: Requiem aeternam | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-17 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Kyrie | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-18 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Oratio: Fidelium Deus omnium | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-19 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Epistola (1 Corinthians 15, 51-57) | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-20 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Graduale: Requiem aeternam | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-21 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Tractus: Absolve, Domine | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-22 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Sequentia: Dies irae | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-23 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Evangelium (John 5, 25-30) | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-24 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Offertorium: Domine Jesu Christe | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-25 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Praefatio Defunctorum | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-26 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Sanctus | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-27 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Pater noster | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-28 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Agnus | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-29 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Communio: Lux aeterna | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-30 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Postcommunio: Animabus quaesumus | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 4-31 | Requiem Mass, "Prima missa in commemoratione omnium fidelium defunctorum": Requiescant in pace | Pater Maurus Pfaff, Chor der Mönche der Benediktiner-Erzabtei St. Martin, Beuron | — | |
| 5-1 | Le Jeu de Robin et de Marion | Pro Musica Antiqua, Safford Cape | — | |
| 5-2 | 13 Rondeaux: Li dous regars de me dame | Pro Musica Antiqua, Safford Cape | — | |
| 5-3 | 13 Rondeaux: Je muir, je muir d'amourete | Pro Musica Antiqua, Safford Cape | — | |
| 5-4 | 13 Rondeaux: A jointes mains | Pro Musica Antiqua, Safford Cape | — | |
| 5-5 | 13 Rondeaux: Ballade: Dieus soit en cheste maison | Pro Musica Antiqua, Safford Cape | — | |
| 5-6 | 13 Rondeaux: Hé, Diex! Quant verai | Pro Musica Antiqua, Safford Cape | — | |
| 5-7 | 13 Rondeaux: Or est baiars en la pasture | Pro Musica Antiqua, Safford Cape | — | |
| 5-8 | 13 Rondeaux: Motet: A Dieu comant amouretes | Pro Musica Antiqua, Safford Cape | — | |
| 5-9 | 13 Rondeaux: Bonne amourete | Pro Musica Antiqua, Safford Cape | — | |
| 5-10 | 13 Rondeaux: Dame or suis trais | Pro Musica Antiqua, Safford Cape | — | |
| 5-11 | 13 Rondeaux: Fi maris | Pro Musica Antiqua, Safford Cape | — | |
| 5-12 | 13 Rondeaux: Trop désir a veoir | Pro Musica Antiqua, Safford Cape | — | |
| 5-13 | 13 Rondeaux: Diex comment porroie | Pro Musica Antiqua, Safford Cape | — | |
| 5-14 | 13 Rondeaux: Virelai: Fines amouretes | Pro Musica Antiqua, Safford Cape | — | |
| 5-15 | Dances of the 13th & 14th Centuries: La Septime Estampie réale | Pro Musica Antiqua, Safford Cape | — | |
| 5-16 | Dances of the 13th & 14th Centuries: Stantipes I | Pro Musica Antiqua, Safford Cape | — | |
| 5-17 | Dances of the 13th & 14th Centuries: Ronde: C'ést lá-gieus | Pro Musica Antiqua, Safford Cape | — | |
| 5-18 | Dances of the 13th & 14th Centuries: C'ést desoz l'olive | Pro Musica Antiqua, Safford Cape | — | |
| 5-19 | Dances of the 13th & 14th Centuries: Nota | Pro Musica Antiqua, Safford Cape | — | |
| 5-20 | Dances of the 13th & 14th Centuries: La Quarte Estampie réale | Pro Musica Antiqua, Safford Cape | — | |
| 5-21 | Dances of the 13th & 14th Centuries: Estampida: Kalenda maya | Pro Musica Antiqua, Safford Cape | — | |
| 5-22 | Dances of the 13th & 14th Centuries: Stantipes II | Pro Musica Antiqua, Safford Cape | — | |
| 5-23 | Dances of the 13th & 14th Centuries: Danse | Pro Musica Antiqua, Safford Cape | — | |
| 5-24 | Dances of the 13th & 14th Centuries: Rondeau: Prendés-y garde | Pro Musica Antiqua, Safford Cape | — | |
| 5-25 | Dances of the 13th & 14th Centuries: Saltarello | Pro Musica Antiqua, Safford Cape | — | |
| 5-26 | Dances of the 13th & 14th Centuries: Lamento di Tristano | Pro Musica Antiqua, Safford Cape | — | |
| 5-27 | Dances of the 13th & 14th Centuries: La Ballette de la Reine d'Avril: A l'entrade del temps clar | Pro Musica Antiqua, Safford Cape | — | |
| 5-28 | Dances of the 13th & 14th Centuries: Trotto | Pro Musica Antiqua, Safford Cape | — | |
| 5-29 | Dances of the 13th & 14th Centuries: Ronde: Ainsi doit entrer en ville | Pro Musica Antiqua, Safford Cape | — | |
| 5-30 | Dances of the 13th & 14th Centuries: Ronde: Main se levoit Aëlis | Pro Musica Antiqua, Safford Cape | — | |
| 5-31 | Dances of the 13th & 14th Centuries: La Rotta | Pro Musica Antiqua, Safford Cape | — | |
| 6-1 | Brandenburg Concerto no. 1 in F major, BWV 1046: 1. [without tempo indication] | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-2 | Brandenburg Concerto no. 1 in F major, BWV 1046: 2. Adagio | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-3 | Brandenburg Concerto no. 1 in F major, BWV 1046: 3. Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-4 | Brandenburg Concerto no. 1 in F major, BWV 1046: 4. Menuetto - Trio I - Polacca - Trio II | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-5 | Brandenburg Concerto no. 4 in G major, BWV 1049: 1. Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-6 | Brandenburg Concerto no. 4 in G major, BWV 1049: 2. Andante | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-7 | Brandenburg Concerto no. 4 in G major, BWV 1049: 3. Presto | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-8 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: 1. [without tempo indication] | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-9 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: 2. Adagio ma non tanto | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-10 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: 3. Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 6-11 | Sonata for Viola da gamba and Harpsichord no. 1 in G major, BWV 1027: 1. Adagio | Fritz Neumeyer, August Wenzinger | T-801.135.532-2 | |
| 6-12 | Sonata for Viola da gamba and Harpsichord no. 1 in G major, BWV 1027: 2. Allegro ma non tanto | Fritz Neumeyer, August Wenzinger | — | |
| 6-13 | Sonata for Viola da gamba and Harpsichord no. 1 in G major, BWV 1027: 3. Andante | Fritz Neumeyer, August Wenzinger | — | |
| 6-14 | Sonata for Viola da gamba and Harpsichord no. 1 in G major, BWV 1027: 4. Allegro moderato | Fritz Neumeyer, August Wenzinger | — | |
| 7-1 | Brandenburg Concerto no. 2 in F major, BWV 1047: 1. [without tempo indication] | Schola Cantorum Basiliensis, August Wenzinger | T-801.411.105-9 | |
| 7-2 | Brandenburg Concerto no. 2 in F major, BWV 1047: 2. Andante | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 7-3 | Brandenburg Concerto no. 2 in F major, BWV 1047: 3. Allegro assai | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 7-4 | Brandenburg Concerto no. 3 in G major, BWV 1048: 1. [without tempo indication] | Schola Cantorum Basiliensis, August Wenzinger | T-801.411.105-9 | |
| 7-5 | Brandenburg Concerto no. 3 in G major, BWV 1048: 2. Adagio | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 7-6 | Brandenburg Concerto no. 3 in G major, BWV 1048: 3. Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 7-7 | Brandenburg Concerto no. 5 in D major, BWV 1050: 1. [without tempo indication] | Schola Cantorum Basiliensis, August Wenzinger | T-914.323.771-2 | |
| 7-8 | Brandenburg Concerto no. 5 in D major, BWV 1050: 2. Adagio | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 7-9 | Brandenburg Concerto no. 5 in D major, BWV 1050: 3. Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 7-10 | Sonata for Viola da gamba and Harpsichord no. 2 in D major, BWV 1028: 1. Adagio | Fritz Neumeyer, August Wenzinger | T-070.160.313-5 | |
| 7-11 | Sonata for Viola da gamba and Harpsichord no. 2 in D major, BWV 1028: 2. Allegro | Fritz Neumeyer, August Wenzinger | — | |
| 7-12 | Sonata for Viola da gamba and Harpsichord no. 2 in D major, BWV 1028: 3. Andante | Fritz Neumeyer, August Wenzinger | — | |
| 7-13 | Sonata for Viola da gamba and Harpsichord no. 2 in D major, BWV 1028: 4. Allegro | Fritz Neumeyer, August Wenzinger | T-003.055.867-8 | |
| 7-14 | Sonata for Viola da gamba and Harpsichord no. 3 in G minor, BWV 1029: 1. Vivace | Fritz Neumeyer, August Wenzinger | — | |
| 7-15 | Sonata for Viola da gamba and Harpsichord no. 3 in G minor, BWV 1029: 2. Adagio | Fritz Neumeyer, August Wenzinger | — | |
| 7-16 | Sonata for Viola da gamba and Harpsichord no. 3 in G minor, BWV 1029: 3. Allegro | Fritz Neumeyer, August Wenzinger | — | |
| 8-1 | Anthem a 5: O Lord, I lift my heart to Thee | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-2 | Hymn a 4: Thus angels sung | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-3 | Fantasia I a 3 | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | T-307.114.266-6 | |
| 8-4 | Anthem a 4: Almighty and everlasting God | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | T-071.000.879-9 | |
| 8-5 | Hymn a 4: O my love, how comely now | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-6 | Fantasia "In nomine" a 5 | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-7 | Anthem a 4: O Lord, increase my faith | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-8 | Anthem a 5; treble viol, alto viol, tenor viol (2), bass viol: This is the record of John | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | T-900.138.373-9 | |
| 8-9 | Madrigal a 5; treble viol, alto viol, tenor viol (2), bass viol: What is our life? | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-10 | Fantasia II a 3 | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-11 | Madrigal a 5: The silver swan | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-12 | Fantasia a 4 | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-13 | Consort song a 5 "The Cries of London": God give you good morrow | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-14 | Consort song a 5 "The Cries of London": A good Sausage, a good | Alfred Deller, Deller Consort, Wenzinger Consort Of Viols, August Wenzinger | — | |
| 8-15 | Canzonet a 6: Good love, then fly thou to her | Ambrosian Singers, Denis Stevens | — | |
| 8-16 | Canzonet a 3: Farewell, disdainful | Ambrosian Singers, Denis Stevens | — | |
| 8-17 | Madrigal a 4: Hark, jolly shepherds, hark | Ambrosian Singers, Denis Stevens | — | |
| 8-18 | Madrigal a 4: Now is the gentle season / The fields abroad | Ambrosian Singers, Denis Stevens | — | |
| 8-19 | Ballett a 5: My lovely wanton jewel | Ambrosian Singers, Denis Stevens | — | |
| 8-20 | Canzonet a 2: Sweet nymph, come to thy lover | Ambrosian Singers, Denis Stevens | — | |
| 8-21 | Canzonet a 6: Stay, heart, run not so fast | Ambrosian Singers, Denis Stevens | — | |
| 8-22 | Canzonet a 5: O grief, even on the bud | Ambrosian Singers, Denis Stevens | — | |
| 9-1 | Matthäus-Passion, BWV 244: Teil I. Choral "Kommt, ihr Töchter, helft mir klagen" (Chor) | Fritz Rothschuh, Munich Bach Choir, Münchener Chorknaben, Hedwig Bilgram, Munich Bach Orchestra, Karl Richter | T-901.463.893-8 | |
| 9-2 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Da Jesus diese Rede vollendet hatte" (Evangelist, Jesus) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 9-3 | Matthäus-Passion, BWV 244: Teil I. Choral "Herzliebster Jesu, was hast du verbrochen" (Chor) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-4 | Matthäus-Passion, BWV 244: Teil I: Da versammleten sich die Hohenpriester | Ernst Haefliger, Karl Richter | — | |
| 9-5 | Matthäus-Passion, BWV 244: Teil I: Ja nicht auf das Fest | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 9-6 | Matthäus-Passion, BWV 244: Teil I: Da nun Jesus war zu Bethanien | Ernst Haefliger, Karl Richter | — | |
| 9-7 | Matthäus-Passion, BWV 244: Teil I: Wozu dienet dieser Unrat | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 9-8 | Matthäus-Passion, BWV 244: Teil I: Da das Jesus merkte | Kieth Engen, Ernst Haefliger, Karl Richter | — | |
| 9-9 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Du lieber Heiland du" (Alt) | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 9-10 | Matthäus-Passion, BWV 244: Teil I. Arie "Buß und Reu" (Alt) | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 9-11 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Da ging hin der Zwölfen einer" (Evangelist, Judas) | Ernst Haefliger, Karl Richter | — | |
| 9-12 | Matthäus-Passion, BWV 244: Teil I. Arie "Blute nur, du liebes Herz" (Sopran) | Irmgard Seefried, Münchener Bach-Orchester, Karl Richter | — | |
| 9-13 | Matthäus-Passion, BWV 244: Teil I: Aber am ersten Tagen der süßen Brot | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 9-14 | Matthäus-Passion, BWV 244: Teil I: Wo willst du, daß wir dir bereiten | Münchener Bach-Chor, Karl Richter | — | |
| 9-15 | Matthäus-Passion, BWV 244: Teil I: Er sprach: Gehet hin in die Stadt | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 9-16 | Matthäus-Passion, BWV 244: Teil I. Choral "Ich bin's, ich sollte büßen" (Chor) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-17 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Er antwortete und sprach" (Evangelist, Jesus, Judas) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 9-18 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Wiewohl mein Herz in Tränen schwimmt" (Sopran) | Irmgard Seefried, Münchener Bach-Orchester, Karl Richter | T-031.837.441-2 | |
| 9-19 | Matthäus-Passion, BWV 244: Teil I. Arie "Ich will dir mein Herze schenken" (Sopran) | Irmgard Seefried, Münchener Bach-Orchester, Karl Richter | — | |
| 9-20 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Und da sie den Lobgesang gesprochen hatten" (Evangelist, Jesus) | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 9-21 | Matthäus-Passion, BWV 244: Teil I. Choral "Erkenne mich, mein Hüter" (Chor) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-22 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Petrus aber antwortete" (Evangelist, Jesus, Petrus) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 9-23 | Matthäus-Passion, BWV 244: Teil I. Choral "Ich will hier bei dir stehen" (Chor) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-24 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Da kam Jesus mit ihnen zu einem Hofe" (Evangelist, Jesus) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 9-25 | Matthäus-Passion, BWV 244: Teil I. Rezitativ - Choral "O Schmerz! Hier zittert das gequalte Herz" (Tenor, Chor) | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-26 | Matthäus-Passion, BWV 244: Teil I. Arie - Chor "Ich will bei meinem Jesu wachen" (Tenor, Chor) | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 9-27 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Und ging hin ein wenig" (Evangelist, Jesus) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 9-28 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Der Heiland fällt vor seinem Vater nieder" (Baß) | Dietrich Fischer-Dieskau, Münchener Bach-Orchester, Karl Richter | — | |
| 9-29 | Matthäus-Passion, BWV 244: Teil I. Arie "Gerne will ich mich bequemen" (Baß) | Dietrich Fischer-Dieskau, Münchener Bach-Orchester, Karl Richter | — | |
| 10-1 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Und er kam zu seinen Jüngern" (Evangelist, Jesus) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 10-2 | Matthäus-Passion, BWV 244: Teil I. Choral "Was mein Gott will, das g'scheh' allzeit" (Chor) | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-3 | Matthäus-Passion, BWV 244: Teil I. Rezitativ "Und er kam und fand sie aber schlafend" (Evangelist, Jesus, Judas) | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 10-4 | Matthäus-Passion, BWV 244: Teil I: So ist mein Jesus nun gefangen / Laßt ihn, haltet, bindet nicht / Sind Blitze, sind Donner in Wolken verschwunden? | Münchener Bach-Chor, Irmgard Seefried, Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 10-5 | Matthäus-Passion, BWV 244: Teil I: Und siehe, einer aus denen, die mit Jesu waren | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 10-6 | Matthäus-Passion, BWV 244: Teil I: O Mensch, bewein dein Sünde groß | Münchener Bach-Chor, Münchener Chorknaben, Münchener Bach-Orchester, Karl Richter | — | |
| 10-7 | Matthäus-Passion, BWV 244: Teil II: Ach, nun ist mein Jesus hin / Wo ist denn dein Freund hingegangen | Münchener Bach-Chor, Hertha Töpper, Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 10-8 | Matthäus-Passion, BWV 244: Teil II. Rezitativ "Die aber Jesum gegriffen hatten" (Evangelist) | Ernst Haefliger, Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 10-9 | Matthäus-Passion, BWV 244: Teil II: Mir hat die Welt trüglich gericht' | Fritz Rothschuh, Münchener Bach-Chor, Münchener Chorknaben, Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 10-10 | Matthäus-Passion, BWV 244: Teil II: Und wiewohl viel falsche Zeugen herzutraten | Ernst Haefliger, Max Proebstl, Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 10-11 | Matthäus-Passion, BWV 244: Teil II: Mein Jesus schweigt zu falschen Lügen stille | Ernst Haefliger, Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 10-12 | Matthäus-Passion, BWV 244: Teil II: Geduld, wenn mich falsche Zungen stechen! | Ernst Haefliger, Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 10-13 | Matthäus-Passion, BWV 244: Teil II: Und der Hohepriester antwortete | Kieth Engen, Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 10-14 | Matthäus-Passion, BWV 244: Teil II: Da speieten sie aus | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 10-15 | Matthäus-Passion, BWV 244: Teil II: Wer hat dich so geschlagen | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-16 | Matthäus-Passion, BWV 244: Teil II: Petrus aber saß draußen | Ernst Haefliger, Karl Richter | — | |
| 10-17 | Matthäus-Passion, BWV 244: Teil II: Wahrlich, du bist auch einer von denen / Da hub er an, sich zu verfluchen | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 10-18 | Matthäus-Passion, BWV 244: Teil II: Erbarme dich, mein Gott | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | T-927.216.066-4 | |
| 10-19 | Matthäus-Passion, BWV 244: Teil II: Bin ich gleich von dir gewichen | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-20 | Matthäus-Passion, BWV 244: Teil II: Des Morgens aber hielten alle Hohenpriester | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 10-21 | Matthäus-Passion, BWV 244: Teil II: Und er warf die Solberlinge in den Tempel | Ernst Haefliger, Karl Richter | — | |
| 10-22 | Matthäus-Passion, BWV 244: Teil II: Gebt mir meinen Jesum wieder | Dietrich Fischer-Dieskau, Münchener Bach-Orchester, Karl Richter | — | |
| 10-23 | Matthäus-Passion, BWV 244: Teil II: Sie hielten aber einen Rat | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 10-24 | Matthäus-Passion, BWV 244: Teil II: Befiehl du deine Wege | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-205.082.497-7 | |
| 10-25 | Matthäus-Passion, BWV 244: Teil II: Auf das Fest aber hatte der Landpfleger Gewohnheit | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-26 | Matthäus-Passion, BWV 244: Teil II: Wie wunderbarlich ist doch diese Strafe! | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 10-27 | Matthäus-Passion, BWV 244: Teil II: Der Landpfleger sagte | Ernst Haefliger, Karl Richter | — | |
| 10-28 | Matthäus-Passion, BWV 244: Teil II: Er hat uns allen wohlgetan | Irmgard Seefried, Münchener Bach-Orchester, Karl Richter | — | |
| 11-1 | Matthäus-Passion, BWV 244: Teil II: Aus Liebe will mein Heiland sterben | Irmgard Seefried, Münchener Bach-Orchester, Karl Richter | — | |
| 11-2 | Matthäus-Passion, BWV 244: Teil II: Sie schreien aber noch mehr | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 11-3 | Matthäus-Passion, BWV 244: Teil II: Erbarm es Gott! | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 11-4 | Matthäus-Passion, BWV 244: Teil II: Können Tränen meiner Wangen | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 11-5 | Matthäus-Passion, BWV 244: Teil II: Da nahmen die Kriegesknechte | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 11-6 | Matthäus-Passion, BWV 244: Teil II: O Haupt voll Blut und Wunden | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 11-7 | Matthäus-Passion, BWV 244: Teil II: Und da sie ihn verspottet hatten | Ernst Haefliger, Karl Richter | — | |
| 11-8 | Matthäus-Passion, BWV 244: Teil II: Ja freilich will in uns das Fleisch und Blut | Dietrich Fischer-Dieskau, Karl Richter | — | |
| 11-9 | Matthäus-Passion, BWV 244: Teil II: Komm, süßes Kreuz | Dietrich Fischer-Dieskau, Karl Richter | — | |
| 11-10 | Matthäus-Passion, BWV 244: Teil II: Und da sie an die Stätte kamen | Ernst Haefliger, Münchener Bach-Chor, Karl Richter | — | |
| 11-11 | Matthäus-Passion, BWV 244: Teil II: Desgleichen schmähteten ihn auch die Mörder | Ernst Haefliger, Karl Richter | — | |
| 11-12 | Matthäus-Passion, BWV 244: Teil II: Ach, Golgatha | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 11-13 | Matthäus-Passion, BWV 244: Teil II: Sehet, Jesus hat die Hand / Wohin? | Münchener Bach-Chor, Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 11-14 | Matthäus-Passion, BWV 244: Teil II: Und von der sechsten Stunde an | Kieth Engen, Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 11-15 | Matthäus-Passion, BWV 244: Teil II: Wenn ich einmal soll scheiden | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | T-301.182.705-3 | |
| 11-16 | Matthäus-Passion, BWV 244: Teil II: Und siehe da, der Vorhang im Tempel zerriß | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 11-17 | Matthäus-Passion, BWV 244: Teil II: Und es waren viel Weiber da | Ernst Haefliger, Karl Richter | — | |
| 11-18 | Matthäus-Passion, BWV 244: Teil II: Am Abend, da es kühle war | Dietrich Fischer-Dieskau, Münchener Bach-Orchester, Karl Richter | — | |
| 11-19 | Matthäus-Passion, BWV 244: Teil II: Mache dich, mein Herze, rein | Dietrich Fischer-Dieskau, Hedwig Bilgram, Otto Büchner, Wolfgang Haag, Kurt Hausmann, Karl Kolbinger, Franz Ortner, Edgar Shann, Walther Theurer, Ekkehard Tietze, Oswald Uhl, Münchener Bach-Orchester, Karl Richter | T-802.372.990-1 | |
| 11-20 | Matthäus-Passion, BWV 244: Teil II: Und Joseph nahm den Leib | Ernst Haefliger, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 11-21 | Matthäus-Passion, BWV 244: Teil II: Nun ist der Herr zur Ruh gebracht / Mein Jesu, gute Nacht | Dietrich Fischer-Dieskau, Ernst Haefliger, Münchener Bach-Chor, Irmgard Seefried, Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 11-22 | Matthäus-Passion, BWV 244: Teil II: Wir setzen uns mit Tränen nieder | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 12-1 | Kantate, BWV 8 “Liebster Gott, wann werd’ ich sterben?”: I. (Chor:): »Liebster Gott, wann werd’ ich sterben?« | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 12-2 | Kantate, BWV 8 “Liebster Gott, wann werd’ ich sterben?”: II. Arie (Tenor): »Was willst du dich, mein Geist, entsetzen« | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 12-3 | Kantate, BWV 8 “Liebster Gott, wann werd’ ich sterben?”: III. Rezitativ (Alt): »Zwar fühlt mein schwaches Herz« | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 12-4 | Kantate, BWV 8 “Liebster Gott, wann werd’ ich sterben?”: IV. Arie (Baß): »Doch weichet, ihr tollen, vergeblichen Sorgen!« | Kieth Engen, Münchener Bach-Orchester, Karl Richter | — | |
| 12-5 | Kantate, BWV 8 “Liebster Gott, wann werd’ ich sterben?”: V. Rezitativ (Sopran): »Behalte nur, o Welt, das Meine!« | Ursula Buckel, Münchener Bach-Orchester, Karl Richter | — | |
| 12-6 | Kantate, BWV 8 “Liebster Gott, wann werd’ ich sterben?”: VI. Choral: »Herrscher über Tot und Leben« | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 12-7 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Erster Teil: I. Chor: »Es ist dir gesagt, Mensch, was gut ist« | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 12-8 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Erster Teil: II. Rezitativ (Tenor): »Der Höchste läßt mich seinen Willen wissen« | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 12-9 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Erster Teil: III. Arie (Tenor): »Weiß ich Gottes Rechte« | Ernst Haefliger, Münchener Bach-Orchester, Karl Richter | — | |
| 12-10 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Zweiter Teil: IV. Arioso (Baß): »Es werden Viele zu mir sagen« | Kieth Engen, Münchener Bach-Orchester, Karl Richter | — | |
| 12-11 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Zweiter Teil: V. Arie (Alt): »Wer Gott bekennt aus wahrem Herzensgrund« | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 12-12 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Zweiter Teil: VI. Rezitativ (Alt): »So wird denn Herz und Mund selbst von mir Richter sein« | Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 12-13 | Kantate, BWV 45 “Es ist dir gesagt, Mensch, was gut ist”: Zweiter Teil: VII. Choral: »Gib, daß ich tu’ mit Fleiß« | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 12-14 | Kantate, BWV 78 “Jesu, der du meine Seele”: I. Chor: »Jesu, der du meine Seele« | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 12-15 | Kantate, BWV 78 “Jesu, der du meine Seele”: II. Duett (Sopran, Alt): »Wir eilen mit schwachen, doch emsigen Schritten« | Ursula Buckel, Hertha Töpper, Münchener Bach-Orchester, Karl Richter | — | |
| 12-16 | Kantate, BWV 78 “Jesu, der du meine Seele”: III. Rezitativ (Tenor): »Ach! ich bin ein Kind der Sünden« | John van Kesteren, Münchener Bach-Orchester, Karl Richter | — | |
| 12-17 | Kantate, BWV 78 “Jesu, der du meine Seele”: IV. Arie (Tenor): »Das Blut, so meine Schuld durchstreicht« | John van Kesteren, Münchener Bach-Orchester, Karl Richter | — | |
| 12-18 | Kantate, BWV 78 “Jesu, der du meine Seele”: V. Rezitativ (Baß) »Die Wunden, Nägel, Kron und Grab« | Kieth Engen, Münchener Bach-Orchester, Karl Richter | — | |
| 12-19 | Kantate, BWV 78 “Jesu, der du meine Seele”: VI. Arie (Baß): »Nun du wirst mein Gewissen stillen« | Kieth Engen, Münchener Bach-Orchester, Karl Richter | — | |
| 12-20 | Kantate, BWV 78 “Jesu, der du meine Seele”: VII. Choral: »Herr, ich glaube, hilf mir Schwachen« | Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter | — | |
| 13-1 | Terpsichore, No. 183: Entrée / No. 117: Courante | Fritz Neumeyer, Collegium Terpsichore | — | |
| 13-2 | Terpsichore, No. 1 (excerpt): Gavotte No. 1 / Gavotte No. 2 / Gavotte No. 3 / Gavotte No. 6 / Gavotte No. 1 / Gavotte No. 2 / Gavotte No. 3 | Fritz Neumeyer, Collegium Terpsichore | — | |
| 13-3 | Terpsichore, No. 27: Spagnoletta à 4 | Fritz Neumeyer, Collegium Terpsichore | — | |
| 13-4 | Terpsichore, No. 32: La Bourrée à 4 | Fritz Neumeyer, Collegium Terpsichore | — | |
| 13-5 | Terpsichore, No. 268: Ballet à 4 | Fritz Neumeyer, Collegium Terpsichore | — | |
| 13-6 | Terpsichore, No. 201: Volte à 5 | Fritz Neumeyer, Collegium Terpsichore | — | |
| 13-7 | Musikalischer Tugendspiegel, No. 3: Magdalena | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-8 | Musikalischer Tugendspiegel, No. 3: Magdalena | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-9 | Musikalischer Tugendspiegel, No. 3: Magdalena | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-10 | Musikalischer Tugendspiegel, No. 3: Magdalena | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-11 | Musikalischer Tugendspiegel, No. 3: Magdalena | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-12 | Banchetto musicale: Suite No. 4 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-13 | Banchetto musicale: Suite No. 4 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-14 | Banchetto musicale: Suite No. 4 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-15 | Banchetto musicale: Suite No. 4 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-16 | Banchetto musicale: Suite No. 5 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-17 | Banchetto musicale: Suite No. 5 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-18 | Banchetto musicale: Suite No. 5 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-19 | Banchetto musicale: Suite No. 5 in G major: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-20 | Banchetto musicale: Suite No. 3 in E minor: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-21 | Banchetto musicale: Suite No. 3 in E minor: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-22 | Banchetto musicale: Suite No. 3 in E minor: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 13-23 | Banchetto musicale: Suite No. 3 in E minor: I. Pavane | Collegium Terpsichore, Fritz Neumeyer | — | |
| 14-1 | Simphonies pour les soupers du Roy - Quatrième Suitte: 1. Simphonie du Te Deum | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-2 | Simphonies pour les soupers du Roy - Quatrième Suitte: 2. 2e Air du « Concert de trompettes pour les festes sur le Canal de Versailles » | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-3 | Simphonies pour les soupers du Roy - Quatrième Suitte: 3. 1er Air du Concert de trompettes / 3e Air pour les mêmes | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-4 | Simphonies pour les soupers du Roy - Quatrième Suitte: 4. 1er Menuet pour les trompettes | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-5 | Simphonies pour les soupers du Roy - Quatrième Suitte: 5. 2e Menuet | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-6 | Simphonies pour les soupers du Roy - Quatrième Suitte: 6. Fanfare 0 Aur en écho | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-7 | Simphonies pour les soupers du Roy - Quatrième Suitte: 7. Air grave de « L'Amour fléchy par la Constance » (1697) | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-8 | Simphonies pour les soupers du Roy - Quatrième Suitte: 8. Sarabande | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-9 | Simphonies pour les soupers du Roy - Quatrième Suitte: 9. Légèrement | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-10 | Simphonies pour les soupers du Roy - Quatrième Suitte: 10. « Chantons ce héros ». Gayement | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-11 | Simphonies pour les soupers du Roy - Quatrième Suitte: 11. Sarabande de « Cardenio » (1720) / Doucement. « Quitte icy tes ailes » (Soprano) | Édith Selig, Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-12 | Simphonies pour les soupers du Roy - Quatrième Suitte: 12. Gay. Air du « Ballet de Mélicerte » à Fontainebleau au Mariage de M. de Lorraine (1698) | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-13 | Simphonies pour les soupers du Roy - Quatrième Suitte: 13. Musette du « Ballet de L'Inconnue » (1720) | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-14 | Simphonies pour les soupers du Roy - Quatrième Suitte: 14. Air. Gay | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-15 | Simphonies pour les soupers du Roy - Quatrième Suitte: 15. Rondeau du « Ballet des Cléments » (1721) | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-16 | Simphonies pour les soupers du Roy - Quatrième Suitte: 16. Rondeau du « Ballet de Cardenio » | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-17 | Simphonies pour les soupers du Roy - Quatrième Suitte: 17. Doucement et pesamment | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-18 | Simphonies pour les soupers du Roy - Quatrième Suitte: 18. « La Pagode ». Doucement et pesamment | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-19 | Simphonies pour les soupers du Roy - Quatrième Suitte: 19. 7e Air du « Ballet de la Paix » (1713) | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-20 | Simphonies pour les soupers du Roy - Quatrième Suitte: 20. Chaconne en écho avec les trompettes | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-21 | Fanfares: Première Suitte: 1. [without tempo indication] | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | T-070.161.055-0 | |
| 14-22 | Fanfares: Première Suitte: 2. Gracieusement, sans lenteur | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-23 | Fanfares: Première Suitte: 3. Allegro | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-24 | Fanfares: Première Suitte: 4. Gay | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-25 | Simphonies: Seconde Suitte: 1. Air ou Prélude | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-26 | Simphonies: Seconde Suitte: 2. Allegro | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-27 | Simphonies: Seconde Suitte: 3. Gracieusement | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-28 | Simphonies: Seconde Suitte: 4. Première Gavotte I - Deuxième Gavotte | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-29 | Simphonies: Seconde Suitte: 5. Fanfare - Air | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-30 | Simphonies: Seconde Suitte: 6. Premier Menuet - Second Menuet | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 14-31 | Simphonies: Seconde Suitte: 7. Allegro | Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz | — | |
| 15-1 | Suite No. 8 in E major "Indissolubilis amicitia": I. Ouverture | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-2 | Suite No. 8 in E major "Indissolubilis amicitia": II. Les Courtisans | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-3 | Suite No. 8 in E major "Indissolubilis amicitia": III. Rondeau | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-4 | Suite No. 8 in E major "Indissolubilis amicitia": IV. Les Gendarmes | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-5 | Suite No. 8 in E major "Indissolubilis amicitia": V. Les Bossus | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-6 | Suite No. 8 in E major "Indissolubilis amicitia": VI. Gavotte | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-7 | Suite No. 8 in E major "Indissolubilis amicitia": VII. Sarabande pour le Génie de l'Amitié | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-8 | Suite No. 8 in E major "Indissolubilis amicitia": VIII. Gigue | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-9 | Suite No. 8 in E major "Indissolubilis amicitia": IX. Menuet | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-10 | Concerto No. 1 in D minor "Bona nova": I. Sonata. Grave - Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-11 | Concerto No. 1 in D minor "Bona nova": II. Ballo. Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-12 | Concerto No. 1 in D minor "Bona nova": III. Grave | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-13 | Concerto No. 1 in D minor "Bona nova": IV. Aria | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-14 | Concerto No. 1 in D minor "Bona nova": V. Giga | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-15 | Sonata a 6 in B flat major "called Peasants' Church-going": I. Sonata. Adagio - Presto | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-16 | Sonata a 6 in B flat major "called Peasants' Church-going": II. Die Pauern Kirchfahrt. Adagio | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-17 | Sonata a 6 in B flat major "called Peasants' Church-going": III. Aria | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-18 | Sonata a 2 violini, trombone, violone in D minor: I. Allegro non troppo | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-19 | Sonata a 2 violini, trombone, violone in D minor: II. Poco allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-20 | Sonata a 2 violini, trombone, violone in D minor: III. Adagio | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-21 | Sonata a 2 violini, trombone, violone in D minor: IV. Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-22 | Sonata a 2 violini, trombone, violone in D minor: V. Adagio | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-23 | Sonata a 2 violini, trombone, violone in D minor: VI. Poco allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-24 | Sonata a 2 violini, trombone, violone in D minor: VII. Adagio | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-25 | Sonata a 2 violini, trombone, violone in D minor: VIII. Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-26 | Sonata a 2 violini, trombone, violone in D minor: IX. Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-27 | Sonata No. 8 in B flat major: I. Allegro non troppo | Concentus Musicus Wien, Nikolaus Harnoncourt | T-070.161.055-0 | |
| 15-28 | Sonata No. 8 in B flat major: II. Poco allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-29 | Sonata No. 8 in B flat major: III. Adagio | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-30 | Battalia a 10 in D major: 1. Sonata. Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | T-912.577.742-6 | |
| 15-31 | Battalia a 10 in D major: II. Allegro: Die liderliche Gesellschaft von allerley Humor | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-32 | Battalia a 10 in D major: III. Presto | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-33 | Battalia a 10 in D major: IV. Der Mars | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-34 | Battalia a 10 in D major: V. Presto | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-35 | Battalia a 10 in D major: VI. Aria | Concentus Musicus Wien, Nikolaus Harnoncourt | T-921.591.928-1 | |
| 15-36 | Battalia a 10 in D major: VII. Die Schlacht | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 15-37 | Battalia a 10 in D major: VIII. Adagio: Lamento der verwundeten Musquetierer | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 16-1 | Musique de table - Tafelmusik, Production I, Quartet in G major for Flute, Oboe, Violin and Basso continuo, TWV 43:G2: 1. Largo - Allegro - Largo | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-2 | Musique de table - Tafelmusik, Production I, Quartet in G major for Flute, Oboe, Violin and Basso continuo, TWV 43:G2: 2. Vivace - Moderato - Vivaceğ | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-3 | Musique de table - Tafelmusik, Production I, Quartet in G major for Flute, Oboe, Violin and Basso continuo, TWV 43:G2: 3. Grave | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-4 | Musique de table - Tafelmusik, Production I, Quartet in G major for Flute, Oboe, Violin and Basso continuo, TWV 43:G2: 4. Vivace | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-5 | Concerto in A: I. Largo | Thomas Brandis, Hans-Martin Linde, Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-6 | Concerto in A: II. Allegro | Thomas Brandis, Hans-Martin Linde, Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-7 | Concerto in A: III. Gratioso | Thomas Brandis, Hans-Martin Linde, Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-8 | Concerto in A: IV. Allegro | Thomas Brandis, Hans-Martin Linde, Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-9 | Musique de table - Tafelmusik, Production II, Ouverture - Suite in D major for Oboe, Trumpet, Strings and Basso continuo, TWV 55:D1: 1. Ouverture. Lentement - Vite - Lentement | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-10 | Musique de table - Tafelmusik, Production II, Ouverture - Suite in D major for Oboe, Trumpet, Strings and Basso continuo, TWV 55:D1: 2. Air. Tempo giusto | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-11 | Musique de table - Tafelmusik, Production II, Ouverture - Suite in D major for Oboe, Trumpet, Strings and Basso continuo, TWV 55:D1: 3. Air. Vivace | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-12 | Musique de table - Tafelmusik, Production II, Ouverture - Suite in D major for Oboe, Trumpet, Strings and Basso continuo, TWV 55:D1: 4. Air. Presto | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-13 | Musique de table - Tafelmusik, Production II, Ouverture - Suite in D major for Oboe, Trumpet, Strings and Basso continuo, TWV 55:D1: 5. Air. Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 16-14 | Musique de table - Tafelmusik, Production II, Conclusion in D major for Oboe, Trumpet, Strings and Basso continuo, TWV 50:9: Allegro - Adagio - Allegro | Schola Cantorum Basiliensis, August Wenzinger | — | |
| 17-1 | Sinfonia in D major, Wq. 183 no. 1: 1. Allegro di molto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-329.454.787-4 | |
| 17-2 | Sinfonia in D major, Wq. 183 no. 1: 2. Largo | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 17-3 | Sinfonia in D major, Wq. 183 no. 1: 3. Presto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-902.717.414-7 | |
| 17-4 | Sinfonia in E-flat major, Wq 183 No. 2: I. Allegro di molto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-329.454.787-4 | |
| 17-5 | Sinfonia in E-flat major, Wq 183 No. 2: II. Larghetto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 17-6 | Sinfonia in E-flat major, Wq 183 No. 2: III. Allegretto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 17-7 | Sinfonia in F major, Wq 183 No. 3: I. Allegro di molto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-329.454.787-4 | |
| 17-8 | Sinfonia in F major, Wq 183 No. 3: II. Larghetto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 17-9 | Sinfonia in F major, Wq 183 No. 3: III. Presto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-902.717.414-7 | |
| 17-10 | Sinfonia in G major, Wq 183 No. 4: I. Allegro assai | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-306.395.786-4 | |
| 17-11 | Sinfonia in G major, Wq 183 No. 4: II. Poco andante | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | — | |
| 17-12 | Sinfonia in G major, Wq 183 No. 4: III. Presto | Hedwig Bilgram, Münchener Bach-Orchester, Karl Richter | T-902.717.414-7 | |
| 17-13 | Concerto for Flute, Violin, Harpsichord and Strings in A minor, BWV 1044: 1. Allegro | Gerhart Hetzel, Aurèle Nicolet, Karl Richter, Münchener Bach-Orchester | T-011.422.353-8 | |
| 17-14 | Concerto for Concerto for Flute, Violin, Harpsichord and Strings in A minor, BWV 1044: 2. Adagio, ma non tanto, e dolce | Gerhart Hetzel, Aurèle Nicolet, Karl Richter, Münchener Bach-Orchester | — | |
| 17-15 | Concerto for Flute, Violin, Harpsichord and Strings in A minor, BWV 1044: 3. Allabreve | Gerhart Hetzel, Aurèle Nicolet, Karl Richter, Münchener Bach-Orchester | — | |
| 17-16 | Concerto for Harpsichord, Strings, and Continuo no. 4 in A major, BWV 1055: I. (Allegro moderato) | Manfred Clement, Karl Richter, Münchener Bach-Orchester | T-801.411.105-9 | |
| 17-17 | Concerto for Harpsichord, Strings, and Continuo no. 4 in A major, BWV 1055: II. Larghetto | Karl Richter, Manfred Clement, Münchener Bach-Orchester | — | |
| 17-18 | Concerto for Harpsichord, Strings, and Continuo no. 4 in A major, BWV 1055: III. Allegro ma non tanto | Manfred Clement, Karl Richter, Münchener Bach-Orchester | T-910.415.380-2 | |
| 18-1 | Israel in Egypt, HWV 54: Overture [taken from Solomon] | English Chamber Orchestra, Charles Mackerras | — | |
| 18-2 | Israel in Egypt, HWV 54, Part I - Exodus: 1. Recitative (Tenor): Now there arose a new king over Egypt | Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 18-3 | Israel in Egypt, HWV 54, Part I - Exodus: 2. Solo (Countertenor) and Chorus: And the children of Israel sigh'd | Paul Esswood, English Chamber Orchestra, Charles Mackerras | — | |
| 18-4 | Israel in Egypt, HWV 54, Part I - Exodus: 3. Recitative (Tenor): Then sent He Moses | Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 18-5 | Israel in Egypt, HWV 54, Part I - Exodus: 4. Chorus: They loathed to drink of the river | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-6 | Israel in Egypt, HWV 54, Part I - Exodus: 5. Air (Countertenor): Their land brought forth frogs | Paul Esswood, English Chamber Orchestra, Charles Mackerras | — | |
| 18-7 | Israel in Egypt, HWV 54, Part I - Exodus: 6. Chorus: He spake the word | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-8 | Israel in Egypt, HWV 54, Part I - Exodus: 7. Chorus: He gave them hailstones for rain | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-9 | Israel in Egypt, HWV 54, Part I - Exodus: 8. Chorus: He sent a thick darkness | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-10 | Israel in Egypt, HWV 54, Part I - Exodus: 9. Chorus: He smote all the first-born of Egypt | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-11 | Israel in Egypt, HWV 54, Part I - Exodus: 10. Chorus: But as for His people | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-12 | Israel in Egypt, HWV 54, Part I - Exodus: 11. Chorus: Egypt was glad when they departed | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-13 | Israel in Egypt, HWV 54, Part I - Exodus: 12. Chorus: He rebuked the Red Sea | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-14 | Israel in Egypt, HWV 54, Part I - Exodus: 13. Chorus: And Israel saw the great work | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-15 | Israel in Egypt, HWV 54, Part II - Moses' Song: 14. Introitus (Chorus): Moses and the children of Israel | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-16 | Israel in Egypt, HWV 54, Part II - Moses' Song: 15. Duet (Soprano I & II): The Lord is my strength and my song | Patricia Clark, Heather Harper, English Chamber Orchestra, Charles Mackerras | — | |
| 18-17 | Israel in Egypt, HWV 54, Part II - Moses' Song: 16. Chorus: He is my God | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-18 | Israel in Egypt, HWV 54, Part II - Moses' Song: 17. Duet (Bass I & II): The Lord is a man of war | Christopher Keyte, Michael Rippon, English Chamber Orchestra, Charles Mackerras | — | |
| 18-19 | Israel in Egypt, HWV 54, Part II - Moses' Song: 18. Chorus: The depths have covered them | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-20 | Israel in Egypt, HWV 54, Part II - Moses' Song: 19. Chorus: Thy right hand, O Lord | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-21 | Israel in Egypt, HWV 54, Part II - Moses' Song: 20. Chorus: And with the blast of Thy nostrils | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 18-22 | Israel in Egypt, HWV 54, Part II - Moses' Song: 21. Air (Tenor): The enemy said: "I will pursue" | Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 18-23 | Israel in Egypt, HWV 54, Part II - Moses' Song: 22. Air (Soprano): Thou didst blow with the wind | Heather Harper, English Chamber Orchestra, Charles Mackerras | — | |
| 18-24 | Israel in Egypt, HWV 54, Part II - Moses' Song: 23. Chorus: Who is like unto Thee | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 19-1 | Israel in Egypt, HWV 54, Part II - Moses' Song: 24. Duet (Countertenor & Tenor): Thou in Thy mercy | Paul Esswood, Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 19-2 | Israel in Egypt, HWV 54, Part II - Moses' Song: 25. Chorus: The people shall hear | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 19-3 | Israel in Egypt, HWV 54, Part II - Moses' Song: 26. Air (Countertenor): Thou shalt bring them in | Paul Esswood, English Chamber Orchestra, Charles Mackerras | — | |
| 19-4 | Israel in Egypt, HWV 54, Part II - Moses' Song: 27a. Chorus: The Lord shall reign | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 19-5 | Israel in Egypt, HWV 54, Part II - Moses' Song: 28. Recitative (Tenor): For the horse of Pharaoh | Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 19-6 | Israel in Egypt, HWV 54, Part II - Moses' Song: 27b. Chorus: The Lord shall reign | Donald Hunt, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 19-7 | Israel in Egypt, HWV 54, Part II - Moses' Song: 29. Recitative (Tenor): And Miriam, the prophetess | Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 19-8 | Israel in Egypt, HWV 54, Part II - Moses' Song: 30. Soprano Solo and Chorus: Sing ye to the Lord | Donald Hunt, Heather Harper, Leeds Festival Chorus, English Chamber Orchestra, Charles Mackerras | — | |
| 19-9 | Ode for St Cecilia's Day (1692), Z. 328: Overture - Canzona | English Chamber Orchestra, Charles Mackerras | T-902.876.200-7 | |
| 19-10 | Ode for St Cecilia's Day (1692), Z. 328: Hail, bright Cecilia! (Bass I) | Michael Rippon, English Chamber Orchestra, Charles Mackerras | — | |
| 19-11 | Ode for St Cecilia's Day (1692), Z. 328: Hail, bright Cecilia! (Chorus with solos) | Ambrosian Singers, Tiffin Boys’ Choir, English Chamber Orchestra, Charles Mackerras | — | |
| 19-12 | Ode for St Cecilia's Day (1692), Z. 328: Hark, hark, each tree its silence breaks (Treble, Bass II) | John Shirley-Quirk, Simon Woolf, Charles Mackerras | — | |
| 19-13 | Ode for St Cecilia's Day (1692), Z. 328: 'Tis Nature's voice (Countertenor I) | Paul Esswood, English Chamber Orchestra, Charles Mackerras | — | |
| 19-14 | Ode for St Cecilia's Day (1692), Z. 328: Soul of the world (Chorus) | The Ambrosian Singers, Tiffin Boys’ Choir, English Chamber Orchestra, Charles Mackerras | T-909.611.691-5 | |
| 19-15 | Ode for St Cecilia's Day (1692), Z. 328: Thou tun'st this world below, the spheres above (Treble, Chorus) | The Ambrosian Singers, Tiffin Boys’ Choir, Simon Woolf, English Chamber Orchestra, Charles Mackerras | — | |
| 19-16 | Ode for St Cecilia's Day (1692), Z. 328: With that sublime celestial lay (Countertenor I & II, Bass) | Paul Esswood, Michael Rippon, Roland Tatnell, English Chamber Orchestra, Charles Mackerras | — | |
| 19-17 | Ode for St Cecilia's Day (1692), Z. 328: Woundrous machine! (Bass II) | John Shirley-Quirk, English Chamber Orchestra, Charles Mackerras | T-926.896.078-7 | |
| 19-18 | Ode for St Cecilia's Day (1692), Z. 328: The airy violin (Countertenor I) | Paul Esswood, English Chamber Orchestra, Charles Mackerras | T-900.148.980-1 | |
| 19-19 | Ode for St Cecilia's Day (1692), Z. 328: In vain the am'rous flute and soft guitar (Countertenor I, Tenor) | Paul Esswood, Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 19-20 | Ode for St Cecilia's Day (1692), Z. 328: The fife and all the harmony of war (Countertenor I) | Paul Esswood, English Chamber Orchestra, Charles Mackerras | — | |
| 19-21 | Ode for St Cecilia's Day (1692), Z. 328: Let these amongst themselves contest (Bass I & II) | Michael Rippon, John Shirley-Quirk, English Chamber Orchestra, Charles Mackerras | — | |
| 19-22 | Ode for St Cecilia's Day (1692), Z. 328: Hail, bright Cecilia, hail to thee! (Chorus) | The Ambrosian Singers, Tiffin Boys’ Choir, English Chamber Orchestra, Charles Mackerras | — | |
| 19-23 | Ode for St Cecilia's Day (1692), Z. 328: With rapture of delight (Countertenor I & II, Tenor, Bass I) | Paul Esswood, Michael Rippon, Roland Tatnell, Alexander Young, English Chamber Orchestra, Charles Mackerras | — | |
| 19-24 | Ode for St Cecilia's Day (1692), Z. 328: Hail, bright Cecilia, hail to thee! (Chorus) | The Ambrosian Singers, Tiffin Boys’ Choir, English Chamber Orchestra, Charles Mackerras | — | |
| 20-1 | Harpsichord Sonata K.347, G minor: Moderato e cantabile | Ralph Kirkpatrick | — | |
| 20-2 | Harpsichord Sonata K.348, G major - Prestissimo | Ralph Kirkpatrick | — | |
| 20-3 | Harpsichord Sonata K.213, D minor - Andante | Ralph Kirkpatrick | — | |
| 20-4 | Harpsichord Sonata K.214, D minor - Allegro vivo | Ralph Kirkpatrick | — | |
| 20-5 | Harpsichord Sonata K.318, F-sharp major - Andante | Ralph Kirkpatrick | — | |
| 20-6 | Harpsichord Sonata K.319, F-sharp major - Allegro | Ralph Kirkpatrick | — | |
| 20-7 | Harpsichord Sonata K.380, E major - Andante comodo | Ralph Kirkpatrick | — | |
| 20-8 | Harpsichord Sonata K.381, E major - Allegro | Ralph Kirkpatrick | — | |
| 20-9 | Harpsichord Sonata K.356, C major - Con spirito andante | Ralph Kirkpatrick | — | |
| 20-10 | Harpsichord Sonata K.357, C major - Allegro | Ralph Kirkpatrick | — | |
| 20-11 | Harpsichord Sonata K.526, C minor - Allegro comodo | Ralph Kirkpatrick | — | |
| 20-12 | Harpsichord Sonata K.527, C major - Allegro assai | Ralph Kirkpatrick | — | |
| 20-13 | Harpsichord Sonata K.478, D major - Andante e cantabile | Ralph Kirkpatrick | — | |
| 20-14 | Harpsichord Sonata K.479, D major - Allegrissimo | Ralph Kirkpatrick | — | |
| 20-15 | Harpsichord Sonata K.524, F major - Allegro | Ralph Kirkpatrick | — | |
| 20-16 | Harpsichord Sonata K.525, F major - Allegro | Ralph Kirkpatrick | — | |
| 20-17 | Harpsichord Sonata K.454, G major - Andante spiritoso | Ralph Kirkpatrick | — | |
| 20-18 | Harpsichord Sonata K.455, G major - Allegro | Ralph Kirkpatrick | — | |
| 20-19 | Harpsichord Sonata K.248, B-flat major - Allegro | Ralph Kirkpatrick | — | |
| 20-20 | Harpsichord Sonata K.249, B-flat major - Allegro | Ralph Kirkpatrick | — | |
| 20-21 | Harpsichord Sonata K.436, D major - Allegro | Ralph Kirkpatrick | — | |
| 21-1 | Se vittorie sì belle | — | ||
| 21-2 | Non voglio amare | Christopher Keyte, Ian Partridge, Nigel Rogers, Colin Tilney, Jürgen Jürgens | — | |
| 21-3 | Vaga su spina ascosa | Christopher Keyte, Ian Partridge, Nigel Rogers, Colin Tilney, Jürgen Jürgens | — | |
| 21-4 | O mio bene, o mia vita | Christopher Keyte, Ian Partridge, Nigel Rogers, Colin Tilney | — | |
| 21-5 | Zefire torna e di soavi accenti (Ciaccona) | Christopher Keyte, Ian Partridge, Nigel Rogers, Colin Tilney | — | |
| 21-6 | Mentre vaga Angioletta | Christopher Keyte, Ian Partridge, Nigel Rogers, Colin Tilney | — | |
| 21-7 | Perfidissimo volto | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-8 | Belle rose porporine | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-9 | Cruda amarilli | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-10 | Intenerite voi, lagrime mie, quel duro core | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-11 | lo moro, ecco ch'io moro | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-12 | Deh, come invan chiedete | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-13 | Quest'amore, quest'arsura | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-14 | O durezza di ferro e di diamante | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-15 | Tra le donne onde s'onora | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-16 | Udite, udite amanti | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-17 | Amarilli mia bella | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-18 | Valli profonde, al sol nemiche rupi | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-19 | Giovinetta vezzosetta | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-20 | Da te parto, cor mio | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-21 | Bellissima regina | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-22 | Indarno Febo il suo bell'oro eterno | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-23 | Occhi belli e sia ver che in lungo pianto | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | — | |
| 21-24 | Damigella tutta bella | Nigel Rogers, Anthony Bailes, Pere Ros, Jordi Savall, Colin Tilney | T-923.401.096-9 | |
| 22-1 | Missa pro defunctis: 1. Introitus | Pro Cantione Antiqua, Hamburger Bläserkreis für Alte Musik Instrumental-Ensemble, Bruno Turner | — | |
| 22-2 | Missa pro defunctis: 2. Kyrie | Pro Cantione Antiqua, Hamburger Bläserkreis für Alte Musik Instrumental-Ensemble, Bruno Turner | — | |
| 22-3 | Missa pro defunctis: 3. Graduale | Pro Cantione Antiqua, Hamburger Bläserkreis für Alte Musik Instrumental-Ensemble, Bruno Turner | — | |
| 22-4 | Missa pro defunctis: 4. Tractus | Pro Cantione Antiqua, Hamburger Bläserkreis für Alte Musik Instrumental-Ensemble, Bruno Turner | — | |
| 22-5 | Missa pro defunctis: 5. Offertorium | Pro Cantione Antiqua, Hamburger Bläserkreis für Alte Musik Instrumental-Ensemble, Bruno Turner | — | |
| 22-6 | Nymphes des bois (La Déploration de Johannes Ockeghem) | Pro Cantione Antiqua, Hamburger Bläserkreis für Alte Musik Instrumental-Ensemble, Bruno Turner | — | |
| 22-7 | Huc me sydereo / Plangent eum | Pro Cantione Antiqua, Bruno Turner | — | |
| 22-8 | Motet: Salve, regina | Pro Cantione Antiqua, Bruno Turner | — | |
| 22-9 | Motet: Beata es, Maria | Pro Cantione Antiqua, Bruno Turner | — | |
| 22-10 | Motet: Salve crux, arbor vitae | Pro Cantione Antiqua, Bruno Turner | — | |
| 23-1 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 1 in D major: I. Grave: Allegro | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-2 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 1 in D major: II. Allegro | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-3 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 1 in D major: III. Allegro | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-4 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 1 in D major: IV. Adagio | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-5 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 1 in D major: V. Allegro | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-6 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 2 in B-flat major: I. Grave: Allegro | Huguette Dreyfus, Eduard Melkus, Karl Scheit | — | |
| 23-7 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 2 in B-flat major: II. Vivace | Huguette Dreyfus, Eduard Melkus, Karl Scheit | — | |
| 23-8 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 2 in B-flat major: III. Adagio | Huguette Dreyfus, Eduard Melkus, Karl Scheit | — | |
| 23-9 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 2 in B-flat major: IV. Vivace | Huguette Dreyfus, Eduard Melkus, Karl Scheit | — | |
| 23-10 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 2 in B-flat major: V. Vivace | Huguette Dreyfus, Eduard Melkus, Karl Scheit | — | |
| 23-11 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 3 in C major: I. Adagio | Huguette Dreyfus, Eduard Melkus | — | |
| 23-12 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 3 in C major: II. Allegro | Huguette Dreyfus, Eduard Melkus | — | |
| 23-13 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 3 in C major: III. Adagio | Huguette Dreyfus, Eduard Melkus | — | |
| 23-14 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 3 in C major: IV. Allegro | Huguette Dreyfus, Eduard Melkus | — | |
| 23-15 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 3 in C major: V. Giga (allegro) | Huguette Dreyfus, Eduard Melkus | — | |
| 23-16 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 7 in D minor: I. Preludio (vivace) | Garo Atmacayan, Eduard Melkus, Capella Academica Wien | — | |
| 23-17 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 7 in D minor: II. Corrente (allegro) | Garo Atmacayan, Eduard Melkus, Capella Academica Wien | — | |
| 23-18 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 7 in D minor: III. Sarabande (largo) | Garo Atmacayan, Eduard Melkus, Capella Academica Wien | — | |
| 23-19 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 7 in D minor: IV. Giga (allegro) | Garo Atmacayan, Eduard Melkus, Capella Academica Wien | — | |
| 23-20 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 8 in E minor: I. Preludio (largo) | Garo Atmacayan, Eduard Melkus, Karl Scheit | — | |
| 23-21 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 8 in E minor: II. Allemanda (allegro) | Garo Atmacayan, Eduard Melkus, Karl Scheit | — | |
| 23-22 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 8 in E minor: III. Sarabande (largo) | Garo Atmacayan, Eduard Melkus, Karl Scheit | — | |
| 23-23 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 8 in E minor: IV. Giga (allegro) | Garo Atmacayan, Eduard Melkus, Karl Scheit | — | |
| 23-24 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 9 in A major: I. Preludio (largo) | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-25 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 9 in A major: II. Giga (allegro) | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-26 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 9 in A major: III. Adagio: Tempo di Gavotte (allegro) | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-27 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 9 in A major: IV. Tempo di Gavotta. Allegro | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 23-28 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 11 in E major: I. Preludio (adagio) | Huguette Dreyfus, Eduard Melkus | — | |
| 23-29 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 11 in E major: II. Allegro | Huguette Dreyfus, Eduard Melkus | — | |
| 23-30 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 11 in E major: III. Adagio: Vivace | Huguette Dreyfus, Eduard Melkus | — | |
| 23-31 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 11 in E major: IV. Gavotta (allegro) | Huguette Dreyfus, Eduard Melkus | — | |
| 23-32 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 11 in E major: V. Gavotta. Allegro | Huguette Dreyfus, Eduard Melkus | — | |
| 23-33 | 12 Sonate a Violino e Cembalo, op. 5: Sonata no. 12 in d minor: I. Adagio: Allegro - Adagio - Vivace - Allegro - Andante - Allegro - Adagio - Allegro | Garo Atmacayan, Huguette Dreyfus, Eduard Melkus | — | |
| 24-1 | Viderunt omnes fines terre | Early Music Consort of London, David Munrow | — | |
| 24-2 | Notre Dame Period (c.1160-c.1250), Organa: Viderunt omnes | — | ||
| 24-3 | Alle psallite cum luya | Early Music Consort of London, David Munrow | — | |
| 24-4 | Amor potest | Early Music Consort of London, David Munrow | — | |
| 24-5 | S’on me regarde | Early Music Consort of London, David Munrow | — | |
| 24-6 | In mari miserie | Early Music Consort of London, David Munrow | — | |
| 24-7 | O Mitissima | Early Music Consort of London, David Munrow | T-309.229.425-8 | |
| 24-8 | Aucun ont trouve | Early Music Consort of London, David Munrow | — | |
| 24-9 | De me dame vient | Early Music Consort of London, David Munrow | — | |
| 24-10 | J’os bien a m’amie parler | David Munrow, Early Music Consort of London | — | |
| 24-11 | Le mesnie fauveline | Early Music Consort of London, David Munrow | — | |
| 24-12 | Impudentur circumivi | Early Music Consort of London, David Munrow | — | |
| 24-13 | Cum statua nabucodonasor | Early Music Consort of London, David Munrow | — | |
| 24-14 | Clap, clap, par un matin | Early Music Consort of London, David Munrow | — | |
| 24-15 | Febus mundo oriens | Early Music Consort of London, David Munrow | — | |
| 24-16 | Qui es promesses de fortune | James Bowman, Charles Brett, David Munrow, Early Music Consort of London | — | |
| 24-17 | Lasse! comment oublieray | Early Music Consort of London, David Munrow | — | |
| 24-18 | Inter densas deserti meditans | Early Music Consort of London, David Munrow | — | |
| 24-19 | Hoquetus David | Early Music Consort of London, David Munrow | — | |
| 25-1 | Pièces de Clavecin (1724): Le Rappel des oiseaux | Kenneth Gilbert | — | |
| 25-2 | Pièces de Clavecin (1724): La Villageoise (Rondeau) | — | ||
| 25-3 | Pièces de Clavecin (1724): Les Tendres Plaintes (Rondeau) | Kenneth Gilbert | — | |
| 25-4 | Pièces de Clavecin (1724): Les Niais de Sologne - Doubles des Niais (I & II) | Kenneth Gilbert | — | |
| 25-5 | Pièces de Clavecin (1724): La Follette (Rondeau) | Kenneth Gilbert | — | |
| 25-6 | Pièces de Clavecin (1724): L'Entretien des Muses | Kenneth Gilbert | — | |
| 25-7 | Pièces de Clavecin (1724): Les Tourbillons (Rondeau) | Kenneth Gilbert | — | |
| 25-8 | Pièces de Clavecin (1724): Les Cyclopes (Rondeau) | Kenneth Gilbert | — | |
| 25-9 | Nouvelles Suites de Pièces de Clavecin (1728): Sarabande | Kenneth Gilbert | — | |
| 25-10 | Nouvelles Suites de Pièces de Clavecin (1728): Les Trois Mains | Kenneth Gilbert | — | |
| 25-11 | Nouvelles Suites de Pièces de Clavecin (1728): Fanfarinette | Kenneth Gilbert | — | |
| 25-12 | Nouvelles Suites de Pièces de Clavecin (1728): Gavotte - Doubles de la Gavotte (I-VII) | Kenneth Gilbert | — | |
| 25-13 | Nouvelles Suites de Pièces de Clavecin (1728): La Poule | Kenneth Gilbert | — | |
| 25-14 | Nouvelles Suites de Pièces de Clavecin (1728): Les Sauvages | Kenneth Gilbert | T-011.710.961-1 | |
| 25-15 | Nouvelles Suites de Pièces de Clavecin (1728): L'Enharmonique | Kenneth Gilbert | — | |
| 25-16 | Nouvelles Suites de Pièces de Clavecin (1728): L'Égyptienne | Kenneth Gilbert | — | |
| 26-1 | Sinfonia a 8 concertanti in A minor: 1. [Allegro] | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Alexander Van Wijnkoop, Camerata Bern | T-801.135.532-2 | |
| 26-2 | Sinfonia a 8 concertanti in A minor: 2. Andante | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Alexander Van Wijnkoop, Camerata Bern | — | |
| 26-3 | Sinfonia a 8 concertanti in A minor: 3. Capriccio. Tempo di Gavotta | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Alexander Van Wijnkoop, Camerata Bern | — | |
| 26-4 | Sinfonia a 8 concertanti in A minor: 4. Aria da Capriccio. Andante - Allegro - Andante - Allegro | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Alexander Van Wijnkoop, Camerata Bern | — | |
| 26-5 | Sinfonia a 8 concertanti in A minor: 5. Minuetto I - II - I | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Alexander Van Wijnkoop, Camerata Bern | — | |
| 26-6 | Hipocondrie a 7 concertanti in A minor: 1. [Adagio] - Allegro - Lentement | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Camerata Bern, Alexander Van Wijnkoop | — | |
| 26-7 | Ouverture a 7 concertanti in F major: 1. [Grave - Allegro - Grave] | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Camerata Bern, Alexander Van Wijnkoop | — | |
| 26-8 | Ouverture a 7 concertanti in F major: 2. Aria | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Camerata Bern, Alexander Van Wijnkoop | — | |
| 26-9 | Ouverture a 7 concertanti in F major: 3. Minuetto I - II - I | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Camerata Bern, Alexander Van Wijnkoop | — | |
| 26-10 | Ouverture a 7 concertanti in F major: 4. Sicilliano | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Camerata Bern, Alexander Van Wijnkoop | — | |
| 26-11 | Ouverture a 7 concertanti in F major: 5. Folia | Hans Elhorst, Heinz Holliger, Christiane Jaccottet, Dieter Leicht, Manfred Sax, Camerata Bern, Alexander Van Wijnkoop | — | |
| 26-12 | Trio Sonata no. 4 in G minor: 1. Andante | Maurice Bourgue, Heinz Holliger, Christiane Jaccottet, Lucio Buccarella, Klaus Thunemann | T-801.135.532-2 | |
| 26-13 | Trio Sonata no. 4 in G minor: 2. Allegro | Maurice Bourgue, Heinz Holliger, Christiane Jaccottet, Lucio Buccarella, Klaus Thunemann | — | |
| 26-14 | Trio Sonata no. 4 in G minor: 3. Adagio | Maurice Bourgue, Heinz Holliger, Christiane Jaccottet, Lucio Buccarella, Klaus Thunemann | — | |
| 26-15 | Trio Sonata no. 4 in G minor: 4. Adagio | Maurice Bourgue, Heinz Holliger, Christiane Jaccottet, Lucio Buccarella, Klaus Thunemann | — | |
| 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 | T-902.128.688-4 | |
| 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 | — | |
| 28-1 | Concerto in E major, op. 8 no. 1, RV 269 "La primavera": I. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-306.395.786-4 | |
| 28-2 | Concerto in E major, op. 8 no. 1, RV 269 "La primavera": II. Largo e pianissimo sempre | Trevor Pinnock, Simon Standage, The English Concert | T-911.640.005-6 | |
| 28-3 | Concerto in E major, op. 8 no. 1, RV 269 "La primavera": III. Danza pastorale. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-902.836.120-8 | |
| 28-4 | Concerto in G minor, op. 8 no. 2, RV 315 "L'estate": I. Allegro non molto | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 28-5 | Concerto in G minor, op. 8 no. 2, RV 315 "L'estate": II. Adagio - Presto | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 28-6 | Concerto in G minor, op. 8 no. 2, RV 315 "L'estate": III. Presto | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 28-7 | Concerto in F major, op. 8 no. 3, RV 293 "L'autunno": I. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-911.640.004-5 | |
| 28-8 | Concerto in F major, op. 8 no. 3, RV 293 "L'autunno": II. Adagio | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 28-9 | Concerto in F major, op. 8 no. 3, RV 293 "L'autunno": III. Allegro | Trevor Pinnock, Simon Standage, The English Concert | — | |
| 28-10 | Concerto in F minor, op. 8 no. 4, RV 297 "L'inverno": I. Allegro non molto | Trevor Pinnock, Simon Standage, The English Concert | T-307.175.172-5 | |
| 28-11 | Concerto in F minor, op. 8 no. 4, RV 297 "L'inverno": II. Largo | Trevor Pinnock, Simon Standage, The English Concert | T-307.175.181-6 | |
| 28-12 | Concerto in F minor, op. 8 no. 4, RV 297 "L'inverno": III. Allegro | Trevor Pinnock, Simon Standage, The English Concert | T-902.836.120-8 | |
| 28-13 | Concerti grossi op. 6, Concerto no. 10 in D minor, HWV 328: I. Ouverture - Allegro | The English Concert, Trevor Pinnock | T-009.030.807-8 | |
| 28-14 | Concerti grossi op. 6, Concerto no. 10 in D minor, HWV 328: II. Air. Lentement | The English Concert, Trevor Pinnock | — | |
| 28-15 | Concerti grossi op. 6, Concerto no. 10 in D minor, HWV 328: III. Allegro | The English Concert, Trevor Pinnock | — | |
| 28-16 | Concerti grossi op. 6, Concerto no. 10 in D minor, HWV 328: IV. Allegro | The English Concert, Trevor Pinnock | T-318.676.528-2 | |
| 28-17 | Concerti grossi op. 6, Concerto no. 10 in D minor, HWV 328: V. Allegro moderato | The English Concert, Trevor Pinnock | T-800.704.795-3 | |
| 28-18 | Concerti grossi op. 6, Concerto no. 11 in A major, HWV 329: I. Andante larghetto e staccato | The English Concert, Trevor Pinnock | — | |
| 28-19 | Concerti grossi op. 6, Concerto no. 11 in A major, HWV 329: II. Allegro | The English Concert, Trevor Pinnock | — | |
| 28-20 | Concerti grossi op. 6, Concerto no. 11 in A major, HWV 329: III. Largo e staccato | The English Concert, Trevor Pinnock | — | |
| 28-21 | Concerti grossi op. 6, Concerto no. 11 in A major, HWV 329: IV. Andante | The English Concert, Trevor Pinnock | T-070.126.537-3 | |
| 28-22 | Concerti grossi op. 6, Concerto no. 11 in A major, HWV 329: V. Allegro | The English Concert, Trevor Pinnock | T-800.704.795-3 | |
| 28-23 | Concerti grossi op. 6, Concerto no. 12 in B minor, HWV 330: I. Largo | The English Concert, Trevor Pinnock | — | |
| 28-24 | Concerti grossi op. 6, Concerto no. 12 in B minor, HWV 330: II. Allegro | The English Concert, Trevor Pinnock | — | |
| 28-25 | Concerti grossi op. 6, Concerto no. 12 in B minor, HWV 330: III. Aria. Larghetto e piano | The English Concert, Trevor Pinnock | — | |
| 28-26 | Concerti grossi op. 6, Concerto no. 12 in B minor, HWV 330: IV. Largo | The English Concert, Trevor Pinnock | — | |
| 28-27 | Concerti grossi op. 6, Concerto no. 12 in B minor, HWV 330: V. Allegro | The English Concert, Trevor Pinnock | — | |
| 29-1 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 1. Ouverture | Musica Antiqua Köln, Reinhard Goebel | T-801.958.969-7 | |
| 29-2 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 2. Sarabande. Die schlafende Thetis | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-3 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 3. Bourrée. Die erwachende Thetis | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-4 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 4. Loure. Der verliebte Neptunus | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-5 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 5. Gavotte. Die spielenden Najaden | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-6 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 6. Harlequinade. Der scherzende Tritonus | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-7 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 7. Der stürmende Aeolus | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-8 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 8. Menuet. Der angenehme Zephir | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-9 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 9. Gigue. Ebbe und Flut | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-10 | Ouvertüre in C major for 2 Recorders, 2 Flutes, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 55:C3 »Hamburger Ebb' und Flut« (Wassermusik): 10. Canarie. Die lustigen Bootsleute | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-11 | Concerto in B-flat major for 2 Recorders, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 54:B2: 1. Andante | Musica Antiqua Köln, Reinhard Goebel | T-011.422.353-8 | |
| 29-12 | Concerto in B-flat major for 2 Recorders, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 54:B2: 2. Presto | Musica Antiqua Köln, Reinhard Goebel | T-802.445.410-3 | |
| 29-13 | Concerto in B-flat major for 2 Recorders, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 54:B2: 3. Cantabile | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-14 | Concerto in B-flat major for 2 Recorders, 2 Oboes, Bassoon, Strings and Basso continuo, TWV 54:B2: 4. Allegro | Musica Antiqua Köln, Reinhard Goebel | T-318.676.528-2 | |
| 29-15 | Concerto à 7 in F major for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:41: 1. Grave | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-16 | Concerto à 7 in F major for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:41: 2. Vivace - attacca: | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-17 | Concerto à 7 in F major for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:41: 3. Adagio | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-18 | Concerto à 7 in F major for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:41: 4. Allegro | Musica Antiqua Köln, Reinhard Goebel | T-318.676.528-2 | |
| 29-19 | Concerto in A minor for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:42: 1. Adagio | Musica Antiqua Köln, Reinhard Goebel | T-011.422.353-8 | |
| 29-20 | Concerto in A minor for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:42: 2. Allegro | Musica Antiqua Köln, Reinhard Goebel | T-802.445.410-3 | |
| 29-21 | Concerto in A minor for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:42: 3. Affettuoso | Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-22 | Concerto in A minor for 2 Flutes, 2 Oboes, 2 Violins and Basso continuo, TWV 44:42: 4. Allegro | Musica Antiqua Köln, Reinhard Goebel | T-318.676.528-2 | |
| 29-23 | Concerto in B-flat major for 3 Oboes, 3 Violins and Basso continuo, TWV 44:43: 1. Allegro | Piet Dhont, Michael Niesemann, Peter Westermann, Musica Antiqua Köln, Reinhard Goebel | T-911.640.004-5 | |
| 29-24 | Concerto in B-flat major for 3 Oboes, 3 Violins and Basso continuo, TWV 44:43: 2. Largo | Piet Dhont, Michael Niesemann, Peter Westermann, Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-25 | Concerto in B-flat major for 3 Oboes, 3 Violins and Basso continuo, TWV 44:43: 3. Allegro | Piet Dhont, Michael Niesemann, Peter Westermann, Musica Antiqua Köln, Reinhard Goebel | T-801.958.969-7 | |
| 29-26 | Konzert für 2 Chalumeaux,Streicher und Basso continuo d-moll: 1. Largo | Eric Hoeprich, Lisa Klewitt, Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-27 | Konzert für 2 Chalumeaux,Streicher und Basso continuo d-moll: 2. Allegro | Eric Hoeprich, Lisa Klewitt, Musica Antiqua Köln, Reinhard Goebel | T-802.445.410-3 | |
| 29-28 | Konzert für 2 Chalumeaux,Streicher und Basso continuo d-moll: 3. Adagio | Eric Hoeprich, Lisa Klewitt, Musica Antiqua Köln, Reinhard Goebel | — | |
| 29-29 | Konzert für 2 Chalumeaux,Streicher und Basso continuo d-moll: 4. (Vivace) | Eric Hoeprich, Lisa Klewitt, Musica Antiqua Köln, Reinhard Goebel | T-318.676.528-2 | |
| 30-1 | Mass in B minor BWV 232: I. Kyrie: Kyrie eleison | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-070.093.418-4 | |
| 30-2 | Mass in B minor BWV 232: II. Kyrie: Christe eleison | Lynne Dawson, Carol Hall, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-3 | Mass in B minor BWV 232: III. Kyrie: Kyrie eleison | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-4 | Mass in B minor BWV 232: IV. Gloria: Gloria in excelsis (attacca) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-010.963.456-1 | |
| 30-5 | Mass in B minor BWV 232: V. Gloria: Et in terra pax | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-6 | Mass in B minor BWV 232: VI. Gloria: Laudamus te | Nancy Argenta, Elizabeth Wilcock, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-7 | Mass in B minor BWV 232: VII. Gloria: Gratias agimus tibi | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-921.408.876-3 | |
| 30-8 | Mass in B minor BWV 232: VIII. Gloria: Domine Deus (attacca) | Nancy Argenta, Howard Milner, Lisa Beznosiuk, English Baroque Soloists, Sir John Eliot Gardiner | T-926.494.374-0 | |
| 30-9 | Mass in B minor BWV 232: IX. Gloria: Qui tollis peccata mundi | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-10 | Mass in B Minor, BWV 232: Aria 'Qui sedes ad dextram Patris' | Michael Chance, Sophia McKenna, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-11 | Mass in B minor BWV 232: XI. Gloria: Quoniam tu solus sanctus (attacca) | Stephen Varcoe, Michael Thompson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 30-12 | Mass in B minor BWV 232: XII. Gloria: Cum Sancto Spiritu | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 31-1 | Mass in B minor BWV 232: XIII. Credo: Credo in unum Deum | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.322-9 | |
| 31-2 | Mass in B minor BWV 232: XIV. Credo: Credo in unum Deum / Patrem omnipotentem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 31-3 | Mass in B minor BWV 232: XV. Credo: Et in unum Dominum | Patrizia Kwella, Mary Nichols, English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.322-9 | |
| 31-4 | Mass in B minor BWV 232: XVI. Credo: Et incarnatus est | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-306.483.194-9 | |
| 31-5 | Mass in B minor BWV 232: XVII. Credo: Crucifixus | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-917.413.519-4 | |
| 31-6 | Mass in B minor BWV 232: XVIII. Credo: Et resurrexit | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 31-7 | Mass in B minor BWV 232: XIX. Credo: Et in Spiritum Sanctum | Richard Lloyd-Morgan, Valerie Darke, Sophia McKenna, English Baroque Soloists, Sir John Eliot Gardiner | T-915.866.114-4 | |
| 31-8 | Mass in B minor BWV 232: XX. Credo: Confiteor (attacca) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 31-9 | Mass in B minor BWV 232: XXI: Credo: Et exspecto resurrectionem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 31-10 | Mass in B minor, BWV 232: No. 22 Chorus: »Sanctus« | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | T-312.692.424-7 | |
| 31-11 | Mass in B minor, BWV 232: No. 23 Chorus I/II: »Osanna in excelsis« | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 31-12 | Mass in B minor BWV 232: XXIV. Sanctus: Benedictus, qui venit | Wynford Evans, Lisa Beznosiuk, English Baroque Soloists, Sir John Eliot Gardiner | T-050.283.177-7 | |
| 31-13 | Mass in B minor BWV 232: XXV. Sanctus: Osanna (da capo) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 31-14 | Mass in B Minor, BWV 232: Aria 'Agnus Dei' | Michael Chance, English Baroque Soloists, Sir John Eliot Gardiner | T-914.368.452-0 | |
| 31-15 | Mass in B minor BWV 232: XXVII. Agnus Dei: Dona nobis pacem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-050.051.776-9 | |
| 32-1 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 32-2 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 32-3 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 32-4 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 32-5 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 32-6 | Missa Papae Marcelli: Agnus Dei I/II | Choir of Westminster Abbey, Simon Preston | — | |
| 32-7 | Tu es Petrus | Choir of Westminster Abbey, Simon Preston | — | |
| 32-8 | Miserere | Choir of Westminster Abbey, Simon Preston | T-900.079.512-0 | |
| 32-9 | Venite ad me omnes | Choir of Westminster Abbey, Simon Preston | — | |
| 32-10 | Haec dies | Choir of Westminster Abbey, Simon Preston | — | |
| 32-11 | Jubilate Deo | Choir of Westminster Abbey, Simon Preston | T-902.877.719-7 | |
| 33-1 | Concerto for Piano and Orchestra no. 18 in B-flat major, K. 456: I. Allegro vivace | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 33-2 | Concerto for Piano and Orchestra no. 18 in B-flat major, K. 456: II. Andante un poco sostenuto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 33-3 | Concerto for Piano and Orchestra no. 18 in B-flat major, K. 456: III. Allegro vivace | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 33-4 | Concerto for Piano and Orchestra no. 19 in F major, K. 459: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 | |
| 33-5 | Concerto for Piano and Orchestra no. 19 in F major, K. 459: II. Allegretto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-802.445.410-3 | |
| 33-6 | Concerto for Piano and Orchestra no. 19 in F major, K. 459: III. Allegro assai | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | T-306.395.786-4 | |
| 34-1 | Vespro della Beata Vergine, SV 206: I. Domine ad adiuvandum | Monteverdi Choir, Nigel Robson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-2 | Vespro della Beata Vergine, SV 206: II. Dixit dominus | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-3 | Vespro della Beata Vergine, SV 206: III. Nigra sum | Mark Tucker, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-4 | Vespro della Beata Vergine, SV 206: IV. Laudate pueri | Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-5 | Vespro della beata Vergine: Pulchra es A 2 | Ann Monoyios, Marinella Pennicchi, Jakob Lindberg, David Miller, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-6 | Vespro della Beata Vergine, SV 206: VI. Laetatus sum | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-7 | Vespro della beata Vergine: Duo seraphim A 3 | Sandro Naglia, Nigel Robson, Mark Tucker, Jakob Lindberg, David Miller, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-8 | Vespro della beata Vergine: Nisi Dominus A 10 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-9 | Vespro della Beata Vergine, SV 206: IX. Audi coelum | Monteverdi Choir, Nigel Robson, Mark Tucker, Jakob Lindberg, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 34-10 | Vespro della beata Vergine: Lauda Jerusalem A 7 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 35-1 | Vespro della Beata Vergine, SV 206: XI. Sonata sopra "Sancta Maria" | Patrick Russill, London Oratory Junior Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 35-2 | Vespro della Beata Vergine, SV 206: XII. Ave maris stella | Patrick Russill, Michael Chance, London Oratory Junior Choir, Monteverdi Choir, Nigel Robson, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 35-3 | Vespro della Beata Vergine, SV 206: XIII. Magnificat a 7 voci | Patrick Russill, Michael Chance, London Oratory Junior Choir, Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, Ian Watson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 35-4 | Vespro della Beata Vergine, SV 206a: XII. Magnificat a 6 voci | Patrick Russill, London Oratory Junior Choir, Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, Ian Watson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 36-1 | Symphony no. 39 in G minor, Hob. I:39: 1. Allegro assai | Trevor Pinnock, The English Concert | T-306.395.786-4 | |
| 36-2 | Symphony no. 39 in G minor, Hob. I:39: 2. Andante | Trevor Pinnock, The English Concert | — | |
| 36-3 | Symphony no. 39 in G minor, Hob. I:39: 3. Menuetto | Trevor Pinnock, The English Concert | — | |
| 36-4 | Symphony no. 39 in G minor, Hob. I:39: 4. Finale. Allegro molto | Trevor Pinnock, The English Concert | T-318.676.528-2 | |
| 36-5 | Symphony No. 41 in C major: I - Allegro con spirito | The English Concert, Trevor Pinnock | — | |
| 36-6 | Symphony No. 41 in C major: II. Un poco andante | The English Concert, Trevor Pinnock | — | |
| 36-7 | Symphony No. 41 in C major: III. Menuet | The English Concert, Trevor Pinnock | — | |
| 36-8 | Symphony No. 41 in C major: IV. Finale (Presto) | The English Concert, Trevor Pinnock | T-318.676.528-2 | |
| 36-9 | Symphony no. 48 in C major "Maria Theresia", Hob. I:48: 1. Allegro | Trevor Pinnock, The English Concert | T-011.422.353-8 | |
| 36-10 | Symphony no. 48 in C major "Maria Theresia", Hob. I:48: 2. Adagio | Trevor Pinnock, The English Concert | — | |
| 36-11 | Symphony no. 48 in C major "Maria Theresia", Hob. I:48: 3. Menuetto | Trevor Pinnock, The English Concert | — | |
| 36-12 | Symphony no. 48 in C major "Maria Theresia", Hob. I:48: 4. Finale. Allegro | Trevor Pinnock, The English Concert | T-318.676.528-2 | |
| 36-13 | Symphony no. 65 in A major, Hob. I:65: I. Vivace e con spirito | The English Concert, Trevor Pinnock | — | |
| 36-14 | Symphony no. 65 in A major, Hob. I:65: II. Andante | The English Concert, Trevor Pinnock | — | |
| 36-15 | Symphony no. 65 in A major, Hob. I:65: III. Menuetto | The English Concert, Trevor Pinnock | — | |
| 36-16 | Symphony no. 65 in A major, Hob. I:65: IV. Finale (Presto) | The English Concert, Trevor Pinnock | T-318.676.528-2 | |
| 37-1 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-2 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-3 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-4 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-5 | Symphony no. 6 in F major, op. 68 “Pastoral”: I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande: Allegro ma non troppo | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-6 | Symphony no. 6 in F major, op. 68 “Pastoral”: II. Szene am Bach: Andante molto mosso | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-7 | Symphony no. 6 in F major, op. 68 “Pastoral”: III. Lustiges Zusammensein der Landleute: Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-8 | Symphony no. 6 in F major, op. 68 “Pastoral”: IV. Gewitter, Sturm: Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 37-9 | Symphony no. 6 in F major, op. 68 “Pastoral”: V. Hirtengesang: Frohe und dankbare Gefühle nach dem Sturm: Allegretto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 38-1 | Les Élémens, Suite for Orchestra: 1. Le cahos | Musica Antiqua Köln, Reinhard Goebel | — | |
| 38-2 | Les Élémens, Suite for Orchestra: 2. Air pour les violons (La terre et l’eau | Musica Antiqua Köln, Reinhard Goebel | — | |
| 38-3 | Les Élémens, Suite for Orchestra: 3. Chaconne (Le feu) | Musica Antiqua Köln, Reinhard Goebel | T-003.111.351-5 | |
| 38-4 | Les Élémens, Suite for Orchestra: 4. Air. Ramage | Musica Antiqua Köln, Reinhard Goebel | — | |
| 38-5 | Les Élémens, Suite for Orchestra: 5. Rossignols | Musica Antiqua Köln, Reinhard Goebel | — | |
| 38-6 | Les Élémens, Suite for Orchestra: 9. Rondeau: Air pour l’Amour | Musica Antiqua Köln, Reinhard Goebel | — | |
| 38-7 | Les Élémens, Suite for Orchestra: 6. Loure | Musica Antiqua Köln | — | |
| 38-8 | Les Élémens, Suite for Orchestra: 8. Sicilienne | Musica Antiqua Köln | — | |
| 38-9 | Les Élémens, Suite for Orchestra: 10. Caprice | Musica Antiqua Köln, Reinhard Goebel | T-900.904.564-1 | |
| 38-10 | Les Élémens, Suite for Orchestra: 7. Tambourins I & II | Musica Antiqua Köln, Reinhard Goebel | — | |
| 38-11 | Sonata in E minor: 1. Gravement | Musica Antiqua Köln | — | |
| 38-12 | Sonata in E minor: 2. Allabreve | Musica Antiqua Köln | — | |
| 38-13 | Sonata in E minor: 3. Air | Musica Antiqua Köln | — | |
| 38-14 | Sonata (Septet) in E minor: 4. Tendrement | Musica Antiqua Köln | — | |
| 38-15 | Sonata in E minor: 5. Gay | Musica Antiqua Köln | — | |
| 38-16 | Alessandro. (Les amours d’Alexandre et de Roxane): Ballo. Sinfonia | Musica Antiqua Köln | — | |
| 38-17 | Alessandro. (Les amours d’Alexandre et de Roxane): 1. Marche | Musica Antiqua Köln | — | |
| 38-18 | Alessandro. (Les amours d’Alexandre et de Roxane): 2. Andantino | Musica Antiqua Köln | — | |
| 38-19 | Alessandro. (Les amours d’Alexandre et de Roxane): 3. Allegretto | Musica Antiqua Köln | — | |
| 38-20 | Alessandro. (Les amours d’Alexandre et de Roxane): 4. Moderato | Musica Antiqua Köln | — | |
| 38-21 | Alessandro. (Les amours d’Alexandre et de Roxane): 5. Menuetto – (Trio) – Menuetto | Musica Antiqua Köln | — | |
| 38-22 | Alessandro. (Les amours d’Alexandre et de Roxane): 6. Antipoisino | Musica Antiqua Köln | — | |
| 38-23 | Alessandro. (Les amours d’Alexandre et de Roxane): 7. Chaconne | Musica Antiqua Köln | — | |
| 39-1 | La Resurrezione, HWV 47: Part I. Sonata | Les Musiciens du Louvre, Marc Minkowski | T-071.000.879-9 | |
| 39-2 | La Resurrezione, HWV 47: Part I. Aria: Disserratevi, o porte d'Averno (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-3 | La Resurrezione, HWV 47: Part I. Recitative: Qual'insolita luce (Lucifero) | Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-4 | La Resurrezione, HWV 47: Part I. Aria: Caddi, è ver, ma nel cadere (Lucifero) | Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-5 | La Resurrezione, HWV 47: Part I. Recitative: Ma, che veggio? (Lucifero, Angelo) | Annick Massis, Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-6 | La Resurrezione, HWV 47: Part I. Recitative: Che sei? Chi è questo rè (Lucifero, Angelo) | Annick Massis, Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-7 | La Resurrezione, HWV 47: Part I. Aria: D'amor fu consiglio (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-8 | La Resurrezione, HWV 47: Part I. Recitative: E ben, questo tuo Nume (Lucifero, Angelo) | Annick Massis, Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-9 | La Resurrezione, HWV 47: Part I. Aria: O voi, dell'Erebo (Lucifero) | Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | T-071.000.879-9 | |
| 39-10 | La Resurrezione, HWV 47: Part I. Recitative: Notte, notte funesta (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-11 | La Resurrezione, HWV 47: Part I. Aria: Ferma l'ali, e sui miei lumi (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-12 | La Resurrezione, HWV 47: Part I. Recitative: Concedi, o Maddalena (Cleofe, Maddalena) | Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-13 | La Resurrezione, HWV 47: Part I. Aria: Piangete, si, piangete (Cleofe) | Linda Maguire, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-14 | La Resurrezione, HWV 47: Part I. Recitative: Ahi, dolce mio Signore (Maddalena, Cleofe) | Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-15 | La Resurrezione, HWV 47: Part I. Aria: Dolci chiodi, amate spine (Maddalena, Cleofe) | Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-16 | La Resurrezione, HWV 47: Part I. Recitative: O Cleofe, o Maddalena (San Giovanni, Maddalena) | John Mark Ainsley, Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | T-071.000.879-9 | |
| 39-17 | La Resurrezione, HWV 47: Part I. Aria: Quando è parto dell'affetto (San Giovanni) | John Mark Ainsley, Les Musiciens du Louvre, Marc Minkowski | T-071.000.879-9 | |
| 39-18 | La Resurrezione, HWV 47: Part I. Recitative: Ma dinne, e sarà vero (Cleofe, San Giovanni, Maddalena) | John Mark Ainsley, Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-19 | La Resurrezione, HWV 47: Part I. Aria: Naufragando va per l'onde (Cleofe) | Linda Maguire, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-20 | La Resurrezione, HWV 47: Part I. Recitative: Itene pure, o fide (San Giovanni, Maddalena) | John Mark Ainsley, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-21 | La Resurrezione, HWV 47: Part I. Aria: Così la tortorella (San Giovanni) | John Mark Ainsley, Les Musiciens du Louvre, Marc Minkowski | T-071.000.879-9 | |
| 39-22 | La Resurrezione, HWV 47: Part I. Recitative: Se Maria dunque spera (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-23 | La Resurrezione, HWV 47: Part I. Aria: Ho un non so che nel cor (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-24 | La Resurrezione, HWV 47: Part I. Recitative: Uscite pur, uscite (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 39-25 | La Resurrezione, HWV 47: Part I. Coro: Il Nume vuncitor (Angelo, Coro di Angeli) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-1 | La Resurrezione, HWV 47: Part II. Introduction - Einleitung | Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-2 | La Resurrezione, HWV 47: Part II. Recitative: Di quai nuovi portenti (San Giovanni) | John Mark Ainsley, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-3 | La Resurrezione, HWV 47: Part II. Aria: Ecco il sol, ch'esce dal mar (San Giovanni) | John Mark Ainsley, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-4 | La Resurrezione, HWV 47: Part II. Recitative: Ma ove Maria dimora (San Giovanni) | John Mark Ainsley, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-5 | La Resurrezione, HWV 47: Part II. Aria: Risorga il mondo (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-6 | La Resurrezione, HWV 47: Part II. Recitative: Di rabbia indarno freme (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-7 | La Resurrezione, HWV 47: Part II. Recitative: Misero! ho pure udito? (Lucifero, Angelo) | Annick Massis, Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-8 | La Resurrezione, HWV 47: Part II. Aria: Per celare il nuovo scorno (Lucifero) | Annick Massis, Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-9 | La Resurrezione, HWV 47: Part II. Recitative: O come cieco il tuo furor delira! (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-10 | La Resurrezione, HWV 47: Part II. Aria: Impedirlo io saprò (Lucifero, Angelo) | Annick Massis, Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-11 | La Resurrezione, HWV 47: Part II. Recitative: Amica, troppo tardo (Maddalena, Cleofe) | Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-12 | La Resurrezione, HWV 47: Part II. Aria: Per me già di morire (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-13 | La Resurrezione, HWV 47: Part II. Recitative: Ahi, abborrito nome (Lucifero) | Laurent Naouri, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-14 | La Resurrezione, HWV 47: Part II. Aria: Vedo il Ciel che più sereno (Cleofe) | Linda Maguire, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-15 | La Resurrezione, HWV 47: Part II. Recitative: Cleofe, siam giunte al luogo (Maddalena, Cleofe, Angelo) | Linda Maguire, Annick Massis, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-16 | La Resurrezione, HWV 47: Part II. Aria: Se per colpa di donna infelice (Angelo) | Annick Massis, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-17 | La Resurrezione, HWV 47: Part II. Recitative: Mio Gesù, mio Signore (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-18 | La Resurrezione, HWV 47: Part II. Aria: Del ciglio dolente (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-19 | La Resurrezione, HWV 47: Part II. Recitative: Sì, sì, cerchiamo pure (Cleofe) | Linda Maguire, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-20 | La Resurrezione, HWV 47: Part II. Aria: Augelletti, ruscelletti (Cleofe) | Linda Maguire, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-21 | La Resurrezione, HWV 47: Part II. Recitative: Dove sì frettolosi (San Giovanni, Cleofe) | John Mark Ainsley, Linda Maguire, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-22 | La Resurrezione, HWV 47: Part II. Aria: Caro Figlio! (San Giovanni) | John Mark Ainsley, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-23 | La Resurrezione, HWV 47: Part II. Recitative: Cleofe, Giovanni, udite (Maddalena, San Giovanni, Cleofe) | John Mark Ainsley, Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-24 | La Resurrezione, HWV 47: Part II. Aria: Se impassibile, immortale (Maddalena) | Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-25 | La Resurrezione, HWV 47: Part II. Recitative: Sì, sì, col Redentore (San Giovanni, Cleofe, Maddalena) | John Mark Ainsley, Linda Maguire, Jennifer Smith, Les Musiciens du Louvre, Marc Minkowski | — | |
| 40-26 | La Resurrezione, HWV 47: Part II. Coro: Diasi lode in Cielo, in terra | Les Musiciens du Louvre, Marc Minkowski | — | |
| 41-1 | Toccata à 4, C 237 | Timothy Roberts | — | |
| 41-2 | Symphonia Sacrae Liber Secundus: In ecclesiis à 14, C 78 | Gabrieli Consort & Players, Paul McCreesh, Timothy Wilson, Charles Pott, Julian Podger, Donald Greig | — | |
| 41-3 | Canzoni et Sonate: Canzon XIX à 15, C 212 | Gabrieli Consort & Players, Paul McCreesh | — | |
| 41-4 | Symphonia Sacrae Liber Secundus: Suscipe clementissime à 12, C 70 | Gabrieli Consort & Players, Paul McCreesh, Robert Horn, Julian Podger, Charles Pott, Donald Greig, Simon Grant, Savage | — | |
| 41-5 | Canzoni et Sonate: Canzon XIV à 10, C 207 | Gabrieli Consort & Players, Paul McCreesh | — | |
| 41-6 | Symphonia Sacrae Liber Secundus: Buccinate in neomenia tuba à 19, C 84 | Gabrieli Consort & Players, Paul McCreesh, Julian Clarkson, Robin Blaze, Henry Wickham | — | |
| 41-7 | Intonationi d’organo: Intonatione del nono tono, C 247 | Gabrieli Consort & Players, Paul McCreesh, Timothy Roberts | — | |
| 41-8 | Domine Deus meus à 6, C 127 | Gabrieli Consort & Players, Paul McCreesh, Robert Harre-Jones, Robert Horn, Steven Harrold, Donald Greig, Charles Pott, Simon Grant, Timothy Roberts | — | |
| 41-9 | Ghirlanda sacra, libro primo: Audi, dulcis amica mea | Gabrieli Consort & Players, David Hurley | — | |
| 41-10 | Sonata No. 21 con tre violini, C 224 | Gabrieli Consort & Players, Paul McCreesh | — | |
| 41-11 | Il primo libro de mottetti: Ardens est cor meum | Gabrieli Consort & Players, Paul McCreesh, David Hurley | — | |
| 41-12 | Timor et tremor à 6 (printed 1615 version), C 142 | Gabrieli Consort & Players, Paul McCreesh, Robert Harre-Jones, Robert Horn, Charles Pott, Donald Greig, Henry Wickham, Simon Grant, Timothy Roberts | T-905.271.618-4 | |
| 41-13 | Intonationi d’organo: Intonatione del duodecimo tono, C 250 | Gabrieli Consort & Players, Paul McCreesh, Timothy Roberts | — | |
| 41-14 | Symphonia Sacrae Liber Secundus: Jubilate Deo omnis terra à 10, C 65 | Gabrieli Consort & Players, Paul McCreesh, Timothy Wilson, Donald Greig | T-322.396.180-2 | |
| 41-15 | Canzoni et Sonate: Canzon XVIII à 14, C 211 | Gabrieli Consort & Players, Paul McCreesh | — | |
| 41-16 | Symphonia Sacrae Liber Secundus: Misericordia tua Domine à 12, C 69 | Gabrieli Consort & Players, Paul McCreesh, Robert Harre-Jones, Robert Horn, Charles Pott | — | |
| 41-17 | Canzoni et Sonate: Canzon XX à 22, C 213 | Gabrieli Consort & Players, Paul McCreesh | — | |
| 41-18 | Magnificat a 33 | Gabrieli Consort & Players, Paul McCreesh, Julian Clarkson, Robert Horn, David Hurley, Henry Wickham, Steven Harrold | — | |
| 42-1 | Messiah, HWV 56: Part I, Scene I. Sinfony | Gabrieli Players, Paul McCreesh | — | |
| 42-2 | Messiah, HWV 56: Part I, Scene I. Recitative "Comfort ye, comfort ye my People" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 42-3 | Messiah, HWV 56: Part I, Scene I. Song "Ev'ry Valley shall be exalted" | Charles Daniels, Gabrieli Players, Paul McCreesh | T-906.831.104-6 | |
| 42-4 | Messiah, HWV 56: Part I, Scene I. Chorus "And the Glory of the Lord shall be revealed" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-5 | Messiah, HWV 56: Part I, Scene II. Recitative "Thus saith the Lord of Hosts" | Neal Davies, Gabrieli Players, Paul McCreesh | T-312.613.379-3 | |
| 42-6 | Messiah, HWV 56: Part I, Scene II. Song "But who may abide the Day of his Coming?" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 42-7 | Messiah, HWV 56: Part I, Scene II. Chorus "And He shall purify the Sons of Levi" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-8 | Messiah, HWV 56: Part I, Scene III. Recitative "Behold, a Virgin shall conceive" | Bernarda Fink, Gabrieli Players, Paul McCreesh | — | |
| 42-9 | Messiah, HWV 56: Part I, Scene III. Song & Chorus "O thou that tellest good Tidings to Zion" | Bernarda Fink, Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-10 | Messiah, HWV 56: Part I, Scene III. Recitative "For behold, Darkness shall cover the Earth" | Neal Davies, Gabrieli Players, Paul McCreesh | — | |
| 42-11 | Messiah, HWV 56: Part I, Scene III. Song "The People that walked in Darkness" | Neal Davies, Gabrieli Players, Paul McCreesh | — | |
| 42-12 | Messiah, HWV 56: Part I, Scene III. Chorus "For unto us a Child is born" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-13 | Messiah, HWV 56: Part I, Scene IV. Pifa | Gabrieli Players, Paul McCreesh | T-315.691.885-9 | |
| 42-14 | Messiah, HWV 56: Part I, Scene IV. Recitative "There were Shepherds abiding in the Field" | Dorothea Röschmann, Gabrieli Players, Paul McCreesh | — | |
| 42-15 | Messiah, HWV 56: Part I, Scene IV. Chorus "Glory to God in the Highest" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-16 | Messiah, HWV 56: Part I, Scene V. Song "Rejoice greatly, O Daughter of Sion" | Dorothea Röschmann, Gabrieli Players, Paul McCreesh | — | |
| 42-17 | Messiah, HWV 56: Part I, Scene V. Recitative "Then shall the Eyes of the Blind be open'd" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 42-18 | Messiah, HWV 56: Part I, Scene V. Song "He shall feed his Flock" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 42-19 | Messiah, HWV 56: Part I, Scene V. Chorus "His Yoke is easy, his Burthen is light" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-20 | Messiah, HWV 56: Part II, Scene I. Chorus "Behold the Lamb of God" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-21 | Messiah, HWV 56: Part II, Scene I. Song "He was despised" | Bernarda Fink, Gabrieli Players, Paul McCreesh | — | |
| 42-22 | Messiah, HWV 56: Part II, Scene I. Chorus "Surely he hath borne our Griefs" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-23 | Messiah, HWV 56: Part II, Scene I. Chorus "And with His Stripes we are healed" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-24 | Messiah, HWV 56: Part II, Scene I. Chorus "All we, like Sheep, have gone astray" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-25 | Messiah, HWV 56: Part II, Scene I. Recitative "All they that see him laugh him to scorn" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 42-26 | Messiah, HWV 56: Part II, Scene I. Chorus "He trusted in God" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 42-27 | Messiah, HWV 56: Part II, Scene I. Recitative "Thy Rebuke hath broken his Heart" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 42-28 | Messiah, HWV 56: Part II, Scene I. Song "Behold, and see, if there be any Sorrow" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 42-29 | Messiah, HWV 56: Part II, Scene II. Recitative "He was cut off out of the Land" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 42-30 | Messiah, HWV 56: Part II, Scene II. Song "But Thou didst not leave his Soul in Hell" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 43-1 | Messiah, HWV 56: Part II, Scene III. Chorus "Lift up your heads, o ye gates" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-2 | Messiah, HWV 56: Part II, Scene IV. Recitative "Unto which of the angels said He at any time" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 43-3 | Messiah, HWV 56: Part II, Scene IV. Chorus "Let all the angels of God worship Him" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-4 | Messiah, HWV 56: Part II, Scene V. Song "Thou art gone up on high" | Dorothea Röschmann, Gabrieli Players, Paul McCreesh | — | |
| 43-5 | Messiah, HWV 56: Part II, Scene V. Chorus "The Lord gave the word" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | T-700.077.972-8 | |
| 43-6 | Messiah, HWV 56: Part II, Scene V. Song "How beautiful are the feet" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 43-7 | Messiah, HWV 56: Part II, Scene V. Chorus "Their sound is gone out into all lands" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-8 | Messiah, HWV 56: Part II, Scene VI. Song "Why do the nations so furiously rage together" | Neal Davies, Gabrieli Players, Paul McCreesh | — | |
| 43-9 | Messiah, HWV 56: Part II, Scene VI. Chorus "Let us break their bonds asunder" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-10 | Messiah, HWV 56: Part II, Scene VII. Recitative "He that dwelleth in Heaven" / Song "Thou shalt break them with a rod of iron" | Charles Daniels, Gabrieli Players, Paul McCreesh | — | |
| 43-11 | Messiah, HWV 56: Part II, Scene VII. Chorus "Hallelujah!" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-12 | Messiah, HWV 56: Part III, Scene I. Song "I know that my redeemer liveth" | Susan Gritton, Gabrieli Players, Paul McCreesh | — | |
| 43-13 | Messiah, HWV 56: Part III, Scene I. Chorus "Since by man came death" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-14 | Messiah, HWV 56: Part III, Scene II. Recitative "Behold, I tell you a mystery" | Neal Davies, Gabrieli Players, Paul McCreesh | — | |
| 43-15 | Messiah, HWV 56: Part III, Scene II. Song "The trumpet shall sound" | Neal Davies, Gabrieli Players, Paul McCreesh | — | |
| 43-16 | Messiah, HWV 56: Part III, Scene III. Recitative "Then shall be brought to pass" | Bernarda Fink, Gabrieli Players, Paul McCreesh | — | |
| 43-17 | Messiah, HWV 56: Part III, Scene III. Duet "O death, where is thy sting?" | Charles Daniels, Bernarda Fink, Gabrieli Players, Paul McCreesh | — | |
| 43-18 | Messiah, HWV 56: Part III, Scene III. Chorus "But thanks be to God" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 43-19 | Messiah, HWV 56: Part III, Scene III. Song "If God is for us" | Dorothea Röschmann, Gabrieli Players, Paul McCreesh | — | |
| 43-20 | Messiah, HWV 56: Part III, Scene IV. Chorus "Worthy is the lamb that was slain - amen" | Gabrieli Consort, Gabrieli Players, Paul McCreesh | — | |
| 44-1 | Con che soavità | Anne Sofie von Otter, Musica Antiqua Köln, Reinhard Goebel | — | |
| 44-2 | Lamento della Regina d'Inghilterra | Anne Sofie von Otter, Franz-Josef Selig, Musica Antiqua Köln, Reinhard Goebel | — | |
| 44-3 | Il Ballo del Gran Duca, op. 16: Corrente Nona | Musica Antiqua Köln, Reinhard Goebel | — | |
| 44-4 | Cantata, RV 684 "Cessate, omai cessate" | Anne Sofie von Otter, Musica Antiqua Köln, Reinhard Goebel | — | |
| 44-5 | Lamento d'Arianna | Anne Sofie von Otter, Jakob Lindberg | T-205.000.091-1 | |
| 44-6 | Incassum, Lesbia, rogas, Z. 383 | Anne Sofie von Otter, Markus Möllenbeck, Christian Rieger | — | |
| 44-7 | Ciaccona | Jakob Lindberg | — | |
| 44-8 | Oh solitude!, Z. 406 | Anne Sofie von Otter, Jakob Lindberg | T-010.765.116-0 | |
| 45-1 | T'andernaken / Laet ons mit hartzen / Hoboekentanz / Laet ons mit hartzen / Ihesus is een kyndekyn cleyn / Laet ons mit hartzen | Piffaro, The Renaissance Band | — | |
| 45-2 | Ave regina caelorum | Piffaro, The Renaissance Band | — | |
| 45-3 | Pourquoy non | Piffaro, The Renaissance Band | — | |
| 45-4 | Het derde musyck boexken "Danseyre": Pass et medio / Reprise "Le pingne" | Piffaro, The Renaissance Band | — | |
| 45-5 | Het derde musyck boexken "Danseyre": Gaillarde XII / Gaillarde XIII / Gaillarde XIV | Piffaro, The Renaissance Band | T-926.159.768-6 | |
| 45-6 | Het derde musyck boexken "Danseyre": La mourisque | Piffaro, The Renaissance Band | T-902.271.290-9 | |
| 45-7 | J'ay pris amours | Piffaro, The Renaissance Band | — | |
| 45-8 | J'ay pris amours (arr. Grant Herreid) | Piffaro, The Renaissance Band | — | |
| 45-9 | Crions Noel | Piffaro, The Renaissance Band | — | |
| 45-10 | Tandernaken | Piffaro, The Renaissance Band | — | |
| 45-11 | Laet u ghenoughen, liever Johan | Piffaro, The Renaissance Band | — | |
| 45-12 | Het derde musyck boexken "Danseyre": Entre du fol | Piffaro, The Renaissance Band | — | |
| 45-13 | Het derde musyck boexken "Danseyre": Mon desir | Piffaro, The Renaissance Band | — | |
| 45-14 | Je loe amours | Piffaro, The Renaissance Band | — | |
| 45-15 | Tandernaken | Piffaro, The Renaissance Band | — | |
| 45-16 | Untitled Duo | Piffaro, The Renaissance Band | — | |
| 45-17 | De tous biens playne | Piffaro, The Renaissance Band | — | |
| 45-18 | Het derde musyck boexken "Danseyre": Pavane II "La dona" / Gaillarde VIII "La dona" | Piffaro, The Renaissance Band | — | |
| 45-19 | Wij sheyt edel vrouwe (arr. Grant Herreid) | Piffaro, The Renaissance Band | — | |
| 45-20 | Het derde musyck boexken "Danseyre": Allemaingne VII | Piffaro, The Renaissance Band | — | |
| 45-21 | Het derde musyck boexken "Danseyre": Quatre bransles | Piffaro, The Renaissance Band | — | |
| 45-22 | Het derde musyck boexken "Danseyre": Bergeret sans roch | Piffaro, The Renaissance Band | — | |
| 45-23 | Liber secundus cantionum sacrarum: O Crux benedicta | Piffaro, The Renaissance Band | — | |
| 45-24 | Ave mundi spes Maria | Piffaro, The Renaissance Band | — | |
| 45-25 | T'andernaken al op den Rijn | Piffaro, The Renaissance Band | — | |
| 45-26 | Les larmes | Piffaro, The Renaissance Band | — | |
| 45-27 | Fortis cum quevis actio | Piffaro, The Renaissance Band | — | |
| 45-28 | Die winter is verganghen | Piffaro, The Renaissance Band | — | |
| 46-1 | Inviolata, integra, et casta es Maria (à 5) | Orlando Consort | — | |
| 46-2 | Ut Phoebi radiis (à 4) | Orlando Consort | — | |
| 46-3 | De profundis clamavi (à 5) | Orlando Consort | — | |
| 46-4 | Christe Fili Dei – J’ay pris amours (à 4) | Orlando Consort | — | |
| 46-5 | O Virgo virginum (à 6) | Orlando Consort | — | |
| 46-6 | Vultum tuum deprecabuntur (à 4): Vultum tuum deprecabuntur | Orlando Consort | — | |
| 46-7 | Vultum tuum deprecabuntur (à 4): Ave Maria, gratia plena | Orlando Consort | — | |
| 46-8 | Vultum tuum deprecabuntur (à 4): Sancta Dei genitrix | Orlando Consort | — | |
| 46-9 | Vultum tuum deprecabuntur (à 4): O intemerata Virgo | Orlando Consort | — | |
| 46-10 | Vultum tuum deprecabuntur (à 4): O Maria, nullam tam gravem | Orlando Consort | — | |
| 46-11 | Vultum tuum deprecabuntur (à 4): Mente tota tibi supplicamus | Orlando Consort | — | |
| 46-12 | Vultum tuum deprecabuntur (à 4): Ora pro nobis | Orlando Consort | — | |
| 46-13 | La déploration de Johannes Ockeghem: Nymphes des boys (à 5) | Orlando Consort | — | |
| 46-14 | O Bone et dulcis Domine Jesus – Pater noster – Ave Maria (à 4) | Orlando Consort | — | |
| 46-15 | Huc me sydereo (à 5) / Plangent eum (à 5) | Orlando Consort | — | |
| 46-16 | O Virgo prudentissima (à 6) / Beata Mater (à 6) | Orlando Consort | — | |
| 47-1 | Delirio amoroso, HWV 99: I. Introduzione | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-2 | Delirio amoroso, HWV 99: II. Recitativo "Da quel giorno fatale" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-3 | Delirio amoroso, HWV 99: III. Aria "Un pensiero voli in ciel" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-4 | Delirio amoroso, HWV 99: IV. Recitativo "Ma fermati pensier" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-5 | Delirio amoroso, HWV 99: V. Aria "Per te lasciai la luce" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-6 | Delirio amoroso, HWV 99: VI. Recitativo "Non ti bastava, ingrato" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-7 | Delirio amoroso, HWV 99: VII. Aria "Lascia omai le brune vele" - Recitativo: "Ma siamo giunti in Lete" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-8 | Delirio amoroso, HWV 99: VIII. Entrée | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-9 | Delirio amoroso, HWV 99: IX. Arietta e Recitativo "In queste amene piagge serene" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-10 | La Lucrezia, HWV 145: I. Recitativo "O Numi eterni!" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-11 | La Lucrezia, HWV 145: II. Aria "Già superbo del mio affanno" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-12 | La Lucrezia, HWV 145: III. Recitativo "Ma voi forse nel cielo" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-13 | La Lucrezia, HWV 145: IV. Aria "Il suol che preme" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-14 | La Lucrezia, HWV 145: V. Recitativo "Ah! che ancor nell'abisso" - Furioso "Questi la disperata anima mia" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-15 | La Lucrezia, HWV 145: VI. Aria "Alla salma infedel porga la pena" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-16 | La Lucrezia, HWV 145: VII. Recitativo "A voi, a voi, padre, consorte" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-17 | La Lucrezia, HWV 145: VIII. Arioso "Già nel seno comincia a compir" - Furioso "Ma se qui non m'è dato" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-18 | Tra le fiamme, HWV 170: I. Aria "Tra le fiamme tu scherzi" - Recitativo "Dedalo già le fortunate penne" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-19 | Tra le fiamme, HWV 170: II. Aria "Pien di nuovo e bel diletto" - Recitativo "Sì, sì, pur troppo è vero" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-20 | Tra le fiamme, HWV 170: III. Aria "Voli per l'aria chi può volare" - "L'uomo, che nacque per salire al cielo" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 47-21 | Tra le fiamme, HWV 170: IV. Da capo "Tra le fiamme tu scherzi" | Magdalena Kožená, Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-1 | Zaïs : Ouverture | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-2 | Castor et Pollux : Scène funèbre | Les Musiciens du Louvre, Marc Minkowski | T-900.137.133-1 | |
| 48-3 | Les fêtes d’Hébé : Air tendre | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-4 | Dardanus: Tambourins I & II | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-5 | Le Temple de la Gloire : Air tendre pour les Muses | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-6 | Les Boréades : Contredanse | Les Musiciens du Louvre, Marc Minkowski | T-011.673.237-6 | |
| 48-7 | La naissance d’Osiris : Air gracieux | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-8 | Les Boréades : Gavottes I & II | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-9 | Platée : Orage | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-10 | Les Boréades : Prélude | Les Musiciens du Louvre, Marc Minkowski | T-011.710.961-1 | |
| 48-11 | Concert no. 6 : La Poule | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-12 | Les Fêtes d’Hébé : Musette | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-13 | Hyppolyte & Aricie : Ritournelle | Les Musiciens du Louvre, Marc Minkowski | T-003.074.081-8 | |
| 48-14 | Naïs : Rigaudons I & II | Les Musiciens du Louvre, Marc Minkowski | T-911.931.681-3 | |
| 48-15 | Les Indes galantes : Danse des Sauvages | Les Musiciens du Louvre, Marc Minkowski | — | |
| 48-16 | Les Boréades : Entrée de Polymnie | Les Musiciens du Louvre, Marc Minkowski | T-031.862.827-1 | |
| 48-17 | Les Indes galantes : Chaconne | Les Musiciens du Louvre, Marc Minkowski | — | |
| 49-1 | Overture in A major: I. Allegro con brio | Concerto Köln | — | |
| 49-2 | Overture in A major: II. Andante | Concerto Köln | — | |
| 49-3 | Overture in A major: III. Allegro | Concerto Köln | — | |
| 49-4 | Sinfonia in F major: I. Allegro assai | Concerto Köln | T-306.395.786-4 | |
| 49-5 | Sinfonia in F major: II. Andante | Concerto Köln | — | |
| 49-6 | Sinfonia in F major: III. Tempo di minuetto | Concerto Köln | — | |
| 49-7 | Sinfonia in C major: I. Allegro assai | Concerto Köln | T-306.395.786-4 | |
| 49-8 | Sinfonia in F major: II. Allegretto | Concerto Köln | — | |
| 49-9 | Sinfonia in F major: III. Prestissimo | Concerto Köln | — | |
| 49-10 | Sinfonia in G major: I. Allegro | Concerto Köln | — | |
| 49-14 | Sinfonia in E-flat major: II. Andantino | Concerto Köln | — | |
| 49-15 | Sinfonia in E-flat major: III. Presto | Concerto Köln | — | |
| 49-16 | Sinfonia in C major: I. Larghetto | Concerto Köln | — | |
| 49-17 | Sinfonia in C major: II. Allegro | Concerto Köln | — | |
| 49-18 | Sinfonia in C major: III. Presto | Concerto Köln | — | |
| 49-19 | Concertino in E-flat major: I. Allegro | Concerto Köln | — | |
| 49-20 | Concertino in E-flat major: II. Largo | Concerto Köln | — | |
| 49-21 | Concertino in E-flat major: III. Presto assai | Concerto Köln | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Sinfonia in G major: II. Allegretto | Concerto Köln | — |
| Sinfonia in G major: III. Prestissimo | Concerto Köln | — |
| Sinfonia in E-flat major: I. Spiritoso | Concerto Köln | — |
| Concerto for Two Violins in G major, RV 516: I. Allegro molto | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-329.454.787-4 |
| Concerto for Two Violins in G major, RV 516: II. Andante | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in G major, RV 516: III. Allegro | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in D major, RV 511: I. Allegro molto | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-329.454.787-4 |
| Concerto for Two Violins in D major, RV 511: II. Largo | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 |
| Concerto for Two Violins in D major, RV 511: III. Allegro | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in D minor, RV 514: I. Allegro non molto | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-329.454.787-4 |
| Concerto for Two Violins in D minor, RV 514: II. Adagio | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in D minor, RV 514: III. Allegro molto | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-329.454.787-4 |
| Concerto for Two Violins in B-flat major, RV 524: I. Allegro | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-329.454.787-4 |
| Concerto for Two Violins in B-flat major, RV 524: II. Andante | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in B-flat major, RV 524: III. Allegro | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in C minor, RV 509: I. Allegro ma poco e cantabile | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in C minor, RV 509: II. Andante molto | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in C minor, RV 509: III. Allegro | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Concerto for Two Violins in A minor, RV 523: I. Allegro molto | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-329.454.787-4 |
| Concerto in a Minor for 2 Violins, Strings, and Continuo, R.523 2. Largo | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | T-911.640.005-6 |
| Concerto for Two Violins in A minor, RV 523: III. Allegro | Giuliano Carmignola, Viktoria Mullova, Venice Baroque Orchestra, Andrea Marcon | — |
| Alcina, HWV 34: 1. Ouverture | Il Complesso Barocco, Alan Curtis | — |
| Alcina, HWV 34: 2. Musette | Il Complesso Barocco, Alan Curtis | — |
| Alcina, HWV 34: 3. Menuet | Il Complesso Barocco, Alan Curtis | T-061.791.496-1 |
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