UPC · Release
Various Artists
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028947923022 is the Universal Product Code (UPC barcode) for the release “The History of Classical Music, Part 3: Early to Late Romantic: From Berlioz to Tchaikovsky” by Various Artists, released 2013-10-14. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 252 tracks, each with its own ISRC. Tracks include DEF056800371, DEF056800372, DEF056800373.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphonie fantastique, op. 14: I. Rêveries – Passions. Largo – Allegro agitato ed appassionato assai | — | ||
| 2 | Symphonie fantastique, op. 14: II. Un bal. Valse: Allegro non troppo | — | ||
| 3 | Symphonie fantastique, op. 14: III. Scène aux champs. Adagio | — | ||
| 4 | Symphonie fantastique, op. 14: IV. Marche au supplice. Allegretto non troppo | — | ||
| 5 | Symphonie fantastique, op. 14: V. Songe d’une nuit du Sabbat. Larghetto – Allegro – Ronde du Sabbat: Poco meno mosso | — | ||
| 6 | Benvenuto Cellini, op. 23: Ouverture | — | ||
| 7 | Le Corsaire, op. 21: Ouverture | — | ||
| 8 | Les Troyens, Act IV no. 29: Chasse royale et orage. Pantomime | — | ||
| 2-1 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: I. Allegro maestoso | Martha Argerich, London Symphony Orchestra, Claudio Abbado | T-308.381.369-4 | |
| 2-2 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: II. Romance. Larghetto | Martha Argerich, London Symphony Orchestra, Claudio Abbado | T-308.381.369-4 | |
| 2-3 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: III. Rondo. Vivace | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 2-4 | 24 Préludes, op. 28 no. 1 in C major: Agitato | Martha Argerich | — | |
| 2-5 | 24 Préludes, op. 28 no. 3 in G major: Vivace | Martha Argerich | — | |
| 2-6 | 24 Préludes, Op. 28: No. 5 in D Major | Martha Argerich | — | |
| 2-7 | 24 Préludes, op. 28 no. 9 in E major: Largo | Martha Argerich | T-906.148.797-6 | |
| 2-8 | 24 Préludes, op. 28 no. 15 in D‐flat major: Sostenuto | Martha Argerich | T-306.229.926-3 | |
| 2-9 | 24 Préludes, op. 28 no. 16 in B‐flat minor: Presto con fuoco | Martha Argerich | — | |
| 2-10 | 24 Préludes, op. 28 no. 16 in B‐flat minor: Presto con fuoco | Martha Argerich | — | |
| 2-11 | 24 Préludes, op. 28 no. 20 in C minor: Largo | Martha Argerich | T-310.766.142-3 | |
| 2-13 | 24 Préludes, op. 28 no. 23 in F major: Moderato | Martha Argerich | — | |
| 2-14 | Barcarolle in F-sharp Major, op. 60 | Martha Argerich | T-303.629.706-6 | |
| 2-15 | Scherzo no. 3 in C-sharp minor, op. 39: Presto con fuoco | Martha Argerich | T-918.063.801-1 | |
| 3-1 | Nocturne no. 1 in B‐flat minor, op. 9 no. 1 | — | ||
| 3-2 | Nocturne no. 2 in E‐flat major, op. 9 no. 2 | — | ||
| 3-3 | Nocturne no. 3 in B major, op. 9 no. 3 | — | ||
| 3-4 | Nocturne no. 4 in F major, op. 15 no. 1 | — | ||
| 3-5 | Nocturne no. 7 in C‐sharp minor, op. 27 no. 1 | — | ||
| 3-6 | Nocturne no. 8 in D‐flat major, op. 27 no. 2 | — | ||
| 3-7 | Nocturne no. 9 in B major, op. 32 no. 1 | — | ||
| 3-8 | Nocturne no. 10 in A‐flat major, op. 32 no. 2 | — | ||
| 3-9 | Nocturne no. 12 in G major, op. 37 no. 2 | — | ||
| 3-10 | Nocturne no. 13 in C minor, op. 48 no. 1 | — | ||
| 3-11 | Nocturne no. 15 in F minor, op. 55 no. 1: Andante | Daniel Barenboim | T-321.286.787-9 | |
| 3-12 | Nocturne no. 18 in E major, op. 62 no. 2: Lento | Daniel Barenboim | T-906.148.797-6 | |
| 3-13 | Nocturne no. 19 in E minor, op. 72 no. 1: Andante | Daniel Barenboim | T-905.040.158-6 | |
| 4-1 | Ballade no. 1 in G minor, op. 23 | Tamás Vásáry | T-917.141.447-4 | |
| 4-2 | Berceuse in D‐flat, op. 57: Andante | — | ||
| 4-3 | Waltz No. 14 in E minor, B. 56 | Tamás Vásáry | T-106.648.493-1 | |
| 4-4 | Waltz no. 3 in A minor, op. 34 no. 2: Lento | — | ||
| 4-5 | Impromptu no. 1 As‐dur, op. 29: Allegro assai, quasi presto | Tamás Vásáry | — | |
| 4-6 | 12 Études, op. 10 no. 1 in C major | — | ||
| 4-7 | 12 Études, op. 10 no. 6 in E‐flat minor | — | ||
| 4-8 | 12 Études, op. 10 no. 5 in G‐flat major “Black Keys” | — | ||
| 4-9 | 12 Études, op. 10 no. 12 in C minor “Revolutionary” | — | ||
| 4-10 | Scherzo no. 4 in E major, op. 54 | — | ||
| 4-11 | Scherzo no. 3 in C‐sharp minor, op. 39 | — | ||
| 4-12 | Mazurka no. 5 in B‐flat major, op. 7 no. 1: Vivace | — | ||
| 4-13 | Mazurka No. 47 in A minor, Op. 68 No. 2 | Tamás Vásáry | T-031.612.538-8 | |
| 4-14 | Mazurka no. 58 in A‐flat major, op. posth.: Poco mosso | — | ||
| 4-15 | Mazurka no. 46 in C major, op. 67 no. 3: Allegretto | — | ||
| 4-16 | Polonaise no. 6 in A‐flat major “Heroic”, op. 53: Maestoso | — | ||
| 5-1 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: I. Allegro maestoso | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 5-2 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: II. Quasi adagio / III. Allegretto vivace - Allegro animato | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 5-3 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: IV. Allegro marziale animato | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 5-4 | Piano Sonata in B minor, S. 178: I. Lento assai - Allegro energico | Martha Argerich | — | |
| 5-5 | Piano Sonata in B minor, S. 178: II. Grandioso | Martha Argerich | — | |
| 5-6 | Piano Sonata in B Minor, S.178: Cantando espressivo | Martha Argerich | — | |
| 5-7 | Piano Sonata in B minor, S. 178: IV. Pesante - Recitativo | Martha Argerich | — | |
| 5-8 | Piano Sonata in B Minor, S.178: Andante sostenuto | Martha Argerich | — | |
| 5-9 | Piano Sonata in B minor, S. 178: VI. Quasi Adagio | Martha Argerich | T-070.125.749-9 | |
| 5-10 | Sonate pour piano en Si mineur, S. 178: Allegro energico | Martha Argerich | — | |
| 5-11 | Piano Sonata in B Minor, S.178: Più mosso | Martha Argerich | — | |
| 5-12 | Piano Sonata in B minor, S. 178: IX. Cantando Espressivo senza slentare | Martha Argerich | — | |
| 5-13 | Piano Sonata in B minor, S. 178: X. Stretta quasi Presto - Presto - Prestissimo | Martha Argerich | — | |
| 5-14 | Piano Sonata in B minor, S. 178: XI. Andante sostenuto - Allegro moderato - Lento assai | Martha Argerich | — | |
| 5-15 | Hungarian Rhapsody in D-flat major, S. 244 no. 6: Tempo giusto - Presto - Andante allegro - Presto | Martha Argerich | — | |
| 5-16 | Années de pèlerinage : Première année : Suisse, S.160, No. 6 : Vallée d'Obermann | Lazar Berman | T-011.801.883-9 | |
| 5-17 | Années de pèlerinage : Troisième année, S.163, No. 4 : Les Jeux d'eaux à la Villa d'Este | Lazar Berman | — | |
| 6-1 | Symphony no. 4 in A major “Italian”, op. 90: I. Allegro vivace | — | ||
| 6-2 | Symphony no. 4 in A major “Italian”, op. 90: II. Andante con moto | — | ||
| 6-3 | Symphony no. 4 in A major “Italian”, op. 90: III. Con moto moderato | — | ||
| 6-4 | Symphony no. 4 in A major “Italian”, op. 90: IV. Saltarello. Presto | — | ||
| 6-5 | The Hebrides (“Fingal’s Cave”), op. 26: Overture. Allegro moderato | — | ||
| 6-6 | Ein Sommernachtstraum. Trauermarsch: Andante comodo | Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | T-900.795.649-2 | |
| 7-1 | Symphony no. 2 in C major, op. 61: I. Sostenuto assai – Un poco più vivace – Allegro ma non troppo – Con fuoco | — | ||
| 7-2 | Symphony no. 2 in C major, op. 61: II. Scherzo. Allegro vivace | — | ||
| 7-3 | Symphony no. 2 in C major, op. 61: III. Adagio espressivo | — | ||
| 7-4 | Symphony no. 2 in C major, op. 61: IV. Allegro molto vivace | — | ||
| 7-5 | Symphony no. 3 in E‐flat major “Rhenish”, op. 97: I. Lebhaft | — | ||
| 7-6 | Symphony no. 3 in E‐flat major “Rhenish”, op. 97: II. Scherzo. Sehr mäßig | — | ||
| 7-7 | Symphony no. 3 in E‐flat major “Rhenish”, op. 97: III. Nicht schnell | — | ||
| 7-8 | Symphony no. 3 in E‐flat major “Rhenish”, op. 97: IV. Feierlich | — | ||
| 7-9 | Symphony no. 3 in E‐flat major “Rhenish”, op. 97: V. Lebhaft | — | ||
| 8-1 | Concierto para piano y orquesta en La menor, Op. 54: I. Allegro affettuoso (Orquesta Sinfónica de la Radio de Baviera feat. conductor: Rafael Kubelik, piano: Wilhelm Kempff) | Wilhelm Kempff, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | T-909.264.262-1 | |
| 8-2 | Concierto para piano y orquesta en La menor, Op. 54: II. Intermezzo. Andantino grazioso - Attacca (Orquesta Sinfónica de la Radio de Baviera feat. conductor: Rafael Kubelik, piano: Wilhelm Kempff) | Wilhelm Kempff, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 8-3 | Concierto para piano y orquesta en La menor, Op. 54: III. Allegro vivace (Orquesta Sinfónica de la Radio de Baviera feat. conductor: Rafael Kubelik, piano: Wilhelm Kempff) | Wilhelm Kempff, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | T-909.264.262-1 | |
| 8-4 | Kinderszenen, op. 15: I. Von fremden Ländern und Menschen | Wilhelm Kempff | T-314.629.927-2 | |
| 8-5 | Kinderszenen, op. 15: II. Kuriose Geschichte | Wilhelm Kempff | T-913.873.556-5 | |
| 8-6 | Kinderszenen, op. 15: III. Hasche-Mann | Wilhelm Kempff | T-913.870.630-6 | |
| 8-7 | Kinderszenen, op. 15: IV. Bittendes Kind | Wilhelm Kempff | T-001.216.772-4 | |
| 8-8 | Kinderszenen, op. 15: V. Glückes genug | Wilhelm Kempff | — | |
| 8-9 | Kinderszenen, op. 15: VI. Wichtige Begebenheit | Wilhelm Kempff | T-330.120.763-2 | |
| 8-10 | Kinderszenen, op. 15: VII. Träumerei | Wilhelm Kempff | — | |
| 8-11 | Kinderszenen, op. 15: VIII. Am Kamin | Wilhelm Kempff | T-330.120.773-4 | |
| 8-12 | Kinderszenen, op. 15: IX. Ritter vom Steckenpferd | Wilhelm Kempff | T-330.117.403-4 | |
| 8-13 | Kinderszenen, op. 15: X. Fast zu ernst | Wilhelm Kempff | — | |
| 8-14 | Kinderszenen, op. 15: XI. Fürchtenmachen | Wilhelm Kempff | T-330.117.411-4 | |
| 8-15 | Kinderszenen, op. 15: XII. Kind im Einschlummern | Wilhelm Kempff | — | |
| 8-16 | Kinderszenen, op. 15: XIII. Der Dichter spricht | Wilhelm Kempff | T-001.098.318-2 | |
| 8-17 | Carnaval, Op. 9: I. Preámbulo. Quasi maestoso - Più moto - Animato - Vivo - Presto (piano: Wilhelm Kempff) | Wilhelm Kempff | — | |
| 8-18 | Carnaval, Op. 9: II. Pierrot. Moderato (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.614-4 | |
| 8-19 | Carnaval, Op. 9: III. Arlequín. Vivo (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.601-9 | |
| 8-20 | Carnaval, Op. 9: IV. Vals noble. Un poco maestoso (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.620-2 | |
| 8-21 | Carnaval, Op. 9: V. Eusebius. Adagio (piano: Wilhelm Kempff) | Wilhelm Kempff | T-902.876.200-7 | |
| 8-22 | Carnaval, Op. 9: VI. Florestán. Passionato (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.608-6 | |
| 8-23 | Carnaval, Op. 9: VII. Coquette. Vivo (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.605-3 | |
| 8-24 | Carnaval, Op. 9: VIII. Réplica. L'istesso tempo (Esfinge) (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.618-8 | |
| 8-25 | Carnaval, Op. 9: IX. Mariposas. Prestissimo (piano: Wilhelm Kempff) | Wilhelm Kempff | — | |
| 8-26 | Carnaval, Op. 9: X. A.S.C.H. S.C.H.A. (Lettres dansantes). Presto (piano: Wilhelm Kempff) | Wilhelm Kempff | — | |
| 8-27 | Carnaval, Op. 9: XI. Chiarina. Passionato (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.603-1 | |
| 8-28 | Carnaval, Op. 9: XII. Chopin. Agitato (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.604-2 | |
| 8-29 | Carnaval, Op. 9: XIII. Estrella. Con afecto (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.606-4 | |
| 8-30 | Carnaval, Op. 9: XIV. Reconocimiento. Animato (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.617-7 | |
| 8-31 | Carnaval, Op. 9: XV. Pantalón y colombina. Presto (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.611-1 | |
| 8-32 | Carnaval, Op. 9: XVI. Vals alemán. Molto vivace (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.619-9 | |
| 8-33 | Carnaval, Op. 9: XVII. Paganini. Intermezzo. Presto (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.609-7 | |
| 8-34 | Carnaval, Op. 9: XVIII. Confesión. Passionato (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.602-0 | |
| 8-35 | Carnaval, Op. 9: XIX. Paseo. Comodo (piano: Wilhelm Kempff) | Wilhelm Kempff | — | |
| 8-36 | Carnaval, Op. 9: XX. Pausa. Vivo (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.613-3 | |
| 8-37 | Carnaval, Op. 9: XXI. Marcha de "Davidsbündler" contra los filisteos (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.610-0 | |
| 9-1 | Dichterliebe, op. 48: 1. Im wunderschönen Monat Mai | Dietrich Fischer-Dieskau, Christoph Eschenbach | T-912.151.106-6 | |
| 9-2 | Dichterliebe, op. 48: 2. Aus meinen Tränen sprießen | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-3 | Dichterliebe, op. 48: 3. Die Rose, die Lilie, die Taube, die Sonne | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-4 | Dichterliebe, op. 48: 4. Wenn ich in deine Augen seh’ | Dietrich Fischer-Dieskau, Christoph Eschenbach | T-800.213.522-1 | |
| 9-5 | Dichterliebe, op. 48: 5. Ich will meine Seele tauchen | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-6 | Dichterliebe, op. 48: 6. Im Rhein, im heiligen Strome | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-7 | Dichterliebe, op. 48: 7. Ich grolle nicht | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-8 | Dichterliebe, op. 48: 8. Und wüßten’s die Blumen, die kleinen | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-9 | Dichterliebe, op. 48: 9. Das ist ein Flöten und Geigen | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-10 | Dichterliebe, op. 48: 10. Hör’ ich das Liedchen klingen | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-11 | Dichterliebe, op. 48: 11. Ein Jüngling liebt ein Mädchen | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-12 | Dichterliebe, op. 48: 12. Am leuchtenden Sommermorgen | Dietrich Fischer-Dieskau, Christoph Eschenbach | T-900.139.006-3 | |
| 9-13 | Dichterliebe, op. 48: 13. Ich hab’ im Traum geweinet | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-14 | Dichterliebe, op. 48: 14. Allnächtlich im Traume seh’ ich dich | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-15 | Dichterliebe, op. 48: 15. Aus alten Märchen winkt es | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-16 | Dichterliebe, op. 48: 16. Die alten, bösen Lieder | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-17 | Zwölf Gedichte, op. 35: Erstes Grün | — | ||
| 9-18 | Abends am Strand, op. 45 no. 3 | — | ||
| 9-19 | Romanzen und Balladen, op. 49: I. Die beiden Grenadiere | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-20 | Romanzen und Balladen, op. 49: II. Die feindlichen Brüder | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-21 | Tragödie, op. 64 no. 3: I. Entflieh mit mir und sei mein Weib | — | ||
| 9-22 | Tragödie, op. 64 no. 3: II. Es flel ein Reif in der Frühlingsnacht | — | ||
| 9-23 | Spanisches Liederspiel, op. 74: X. Der Kontrabandiste | — | ||
| 9-24 | Liederalbum für die Jugend, op. 79: 7. Zigeunerliedchen I »Unter die Soldaten« | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-25 | Liederalbum für die Jugend, op. 79: 8. Zigeunerliedchen II »Jeden Morgen, in der Frühe« | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-26 | Vier Gesänge, op. 142: IV. Mein Wagen rollet langsam | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-27 | Frauenliebe und ‐lieben, op. 42: I. Seit ich ihn gesehen | — | ||
| 9-28 | Frauenliebe und ‐lieben, op. 42: II. Er, der Herrlichste von allen | — | ||
| 9-29 | Frauenliebe und ‐lieben, op. 42: III. Ich kann’s nicht fassen, nicht glauben | — | ||
| 9-30 | Frauenliebe und ‐lieben, op. 42: IV. Du Ring an meinem Finger | — | ||
| 9-31 | Frauenliebe und ‐lieben, op. 42: V. Helft mir, ihr Schwestern | — | ||
| 9-32 | Frauenliebe und ‐lieben, op. 42: VI. Süsser Freund, du blickest mich verwundert an | — | ||
| 9-33 | Frauenliebe und ‐lieben, op. 42: VII. An meinem Herzen, an meiner Brust | — | ||
| 9-34 | Frauenliebe und ‐lieben, op. 42: VIII. Nun hast du mir den ersten Schmerz getan | — | ||
| 10-1 | Carmen, WD 31: Overture (Prelude) | London Symphony Orchestra, Claudio Abbado | T-031.673.380-8 | |
| 10-2 | Carmen : Acte I. “Voici la cloche qui sonne, mon lieutenant ” … “La cloche a sonné” | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 10-3 | Carmen : Acte I. “Mais nous ne voyons pas la Carmencita” | — | ||
| 10-4 | Carmen : Acte I. « L'amour est un oiseau rebelle » | Ambrosian Singers, Teresa Berganza, London Symphony Orchestra, Claudio Abbado | T-305.625.648-1 | |
| 10-5 | Carmen : Acte I. “Monsieur le brigadier ?” … Duo: “Parle‐moi de ma mère !” | — | ||
| 10-6 | Carmen : Acte I, Nº 9. Chanson (Séguedille) et Duo « Près des remparts de Séville » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 10-7 | Carmen : Acte II, Nº 11. Chanson « Les tringles des sistres tintaient » (Carmen, Mercédès, Frasquita) | Teresa Berganza, Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | T-922.166.713-6 | |
| 10-8 | Carmen : Acte II. Couplets “Votre toast, je peux vous le rendre” | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Jean Lainé, Robert Lloyd, Sherrill Milnes, Alicia Nafé, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 10-9 | Carmen : Acte II. Air de la fleur « La Fleur que tu m’avais jetée » (Don José) | Plácido Domingo, London Symphony Orchestra, Claudio Abbado | T-928.635.311-5 | |
| 10-10 | Carmen : Acte III, Nº 21. Air « Je dis que rien ne m’épouvante » (Micaëla) | Ileana Cotrubaș, London Symphony Orchestra, Claudio Abbado | — | |
| 10-11 | Carmen : Acte III. “Je suis Escamillo, toréro de Grenade” | — | ||
| 10-12 | Carmen : Acte III, Nº 25. Chœur et Scène « Les voici, voici le quadrille » (Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 10-13 | Carmen : Acte IV. « Si tu m’aimes, Carmen » (Escamillo, Carmen, Frasquita, Mercédès) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Sherrill Milnes, Alicia Nafé, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 10-14 | Carmen : Acte IV, Nº 26. Duo final « C’est toi ? » / « C’est‐moi ! » (Carmen, Don José, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 11-1 | Symphony no. 1 in C minor, op. 68: I. Un poco sostenuto – Allegro – Meno allegro | — | ||
| 11-2 | Symphony no. 1 in C minor, op. 68: II. Andante sostenuto | — | ||
| 11-3 | Symphony no. 1 in C minor, op. 68: III. Un poco allegretto e grazioso | — | ||
| 11-4 | Symphony no. 1 in C minor, op. 68: IV. Adagio – Più andante – Allegro non troppo, ma con brio – Più allegro | — | ||
| 11-5 | Symphony no. 4 in E minor, op. 98: I. Allegro non troppo | — | ||
| 11-6 | Symphony no. 4 in E minor, op. 98: II. Andante moderato | — | ||
| 11-7 | Symphony no. 4 in E minor, op. 98: III. Allegro giocoso – Poco meno presto – Tempo I | — | ||
| 11-8 | Symphony no. 4 in E minor, op. 98: IV. Allegro energico e passionato – Più allegro | — | ||
| 12-1 | Piano Concerto no. 2 in B‐flat major, op. 83: IV. Allegretto grazioso | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 12-2 | Piano Concerto no. 2 in B‐flat major, op. 83: IV. Allegretto grazioso | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 12-3 | Piano Concerto no. 2 in B‐flat major, op. 83: IV. Allegretto grazioso | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 12-4 | Piano Concerto no. 2 in B‐flat major, op. 83: IV. Allegretto grazioso | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 12-5 | Fantasia no. 1 in D minor, op. 116: Cappricio. Presto energico | Emil Gilels | — | |
| 12-6 | Fantasia no. 2 in A minor, op. 116: Intermezzo. Andante | Emil Gilels | — | |
| 12-7 | Fantasia no. 3 in G minor, op. 116: Capriccio. Allegro passionato | Emil Gilels | — | |
| 12-8 | Fantasia no. 4 in E major, op. 116: Intermezzo. Adagio | Emil Gilels | — | |
| 12-9 | Fantasia no. 5 in E minor, op. 116: Intermezzo. Andante con grazia ed intimissimo sentimento | Emil Gilels | — | |
| 12-10 | Fantasia no. 6 in E major, op. 116: Intermezzo. Andanti teneramente | Emil Gilels | — | |
| 12-11 | Fantasia no. 7 in D minor, op. 116: Capriccio. Allegro agitato | Emil Gilels | — | |
| 13-1 | Violin Concerto in D major, op. 77: I. Allegro non troppo | — | ||
| 13-2 | Violin Concerto in D major, op. 77: II. Adagio | — | ||
| 13-3 | Violin Concerto in D major, op. 77: III. Allegro giocoso, ma non troppo vivace – poco più presto | — | ||
| 13-4 | Sonate für Klavier und Violine G-dur op. 78: I. Vivace ma non troppo | Daniel Barenboim, Pinchas Zukerman | — | |
| 13-5 | Sonate für Klavier und Violine G-dur op. 78: II. Adagio | Daniel Barenboim, Pinchas Zukerman | — | |
| 13-6 | Sonate für Klavier und Violine G-dur op. 78: III. Allegro molto moderato | Daniel Barenboim, Pinchas Zukerman | — | |
| 14-1 | Symphony no. 4 in E‐flat major, WAB 104 “Romantic” (Ed. Haas): I. Bewegt, nicht zu schnell | Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 14-2 | Symphony no. 4 in E‐flat major, WAB 104 “Romantic” (Ed. Haas): II. Andante quasi Allegretto | Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 14-3 | Symphony no. 4 in E‐flat major, WAB 104 “Romantic” (Ed. Haas): III. Scherzo: Bewegt | Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 14-4 | Symphony no. 4 in E‐flat major, WAB 104 “Romantic” (Ed. Haas): IV. Finale: Bewegt, doch nicht zu schnell | Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 14-5 | Psalm 150, for Soprano, Chorus and Orchestra, WAB 38 | Ruth Welting, Chicago Symphony Chorus, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 15-1 | Die Fledermaus: Overture | — | ||
| 15-2 | Frühlingsstimmen, op. 410 | Vienna Philharmonic Orchestra, Lorin Maazel | — | |
| 15-3 | Ägyptischer Marsch, op. 335 | — | ||
| 15-4 | Freikugeln, op. 326: Polka Schnell | — | ||
| 15-5 | Kaiserwalzer, op. 437 | — | ||
| 15-6 | Pizzicato‐Polka | — | ||
| 15-7 | Unter Donner und Blitz, op. 324: Polka | — | ||
| 15-8 | Rosen aus dem Süden, op. 388: Waltz | — | ||
| 15-9 | Overture Indigo und die 40 Räuber: Overture | — | ||
| 15-10 | Eljen a Magyar! op. 332 | Wiener Philharmoniker, Lorin Maazel | T-902.189.169-0 | |
| 15-11 | Der Zigeunerbaron, Act III: Einzugsmarsch | — | ||
| 15-12 | An der schönen, blauen Donau, op. 314 | Wiener Philharmoniker, Lorin Maazel | T-912.656.929-7 | |
| 16-1 | Má vlast: II. Vltava, JB 1:112/2 | Boston Symphony Orchestra, Rafael Kubelík | T-801.557.926-8 | |
| 16-2 | Má vlast: IV. Z českých luhů a hájů, JB 1:112/4 | Boston Symphony Orchestra, Rafael Kubelík | T-801.557.926-8 | |
| 16-3 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 16-4 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 16-5 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 16-6 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 17-1 | Concerto for Violoncello and Orchestra in B minor, op. 104: I. Allegro | Pierre Fournier, Berliner Philharmoniker, George Szell | T-070.160.313-5 | |
| 17-2 | Concerto for Violoncello and Orchestra in B minor, op. 104: II. Adagio ma non troppo | Pierre Fournier, Berliner Philharmoniker, George Szell | — | |
| 17-3 | Concerto for Violoncello and Orchestra in B minor, op. 104: III. Finale. Allegro moderato | Pierre Fournier, Berliner Philharmoniker, George Szell | — | |
| 17-4 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 17-5 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 17-6 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 17-7 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 18-1 | Konzert für Klavier und Orchester a-Moll, op. 16: II. Adagio | Géza Anda, Berliner Philharmoniker, Rafael Kubelík | — | |
| 18-2 | Konzert für Klavier und Orchester a-Moll, op. 16: II. Adagio | Géza Anda, Berliner Philharmoniker, Rafael Kubelík | — | |
| 18-3 | Konzert für Klavier und Orchester a-Moll, op. 16: II. Adagio | Géza Anda, Berliner Philharmoniker, Rafael Kubelík | — | |
| 18-4 | Peer Gynt Suite no. 1, op. 46: I. Morgenstimmung | Berliner Philharmoniker, Herbert von Karajan | — | |
| 18-5 | Peer Gynt Suite no. 1, op. 46: II. Aase's Death | Berliner Philharmoniker, Herbert von Karajan | T-914.527.681-9 | |
| 18-6 | Peer Gynt Suite no. 1, op. 46: III. Anitra's Dance | Berliner Philharmoniker, Herbert von Karajan | T-925.645.322-2 | |
| 18-7 | Peer Gynt Suite no. 1, op. 46: IV. In the Hall of the Mountain King | Berliner Philharmoniker, Herbert von Karajan | — | |
| 18-8 | Peer Gynt Suite no. 2, op. 55: I. The Abduction of the Bride. Ingrid's Lament | Berliner Philharmoniker, Herbert von Karajan | T-071.721.093-9 | |
| 18-9 | Peer Gynt Suite no. 2, op. 55: II. Arabian Dance | Berliner Philharmoniker, Herbert von Karajan | — | |
| 18-10 | Peer Gynt Suite no. 2, op. 55: III. Peer Gynt's Homecoming | Berliner Philharmoniker, Herbert von Karajan | — | |
| 18-11 | Peer Gynt Suite no. 2, op. 55: IV. Solveig’s Song | Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-1 | Symphony No. 6 in B minor “Pathétique”, op. 74: I. Adagio – Allegro non troppo | — | ||
| 19-2 | Symphony No. 6 in B minor “Pathétique”, op. 74: II. Allegro con grazia | — | ||
| 19-3 | Symphony No. 6 in B minor “Pathétique”, op. 74: III. Allegro molto vivace | — | ||
| 19-4 | Symphony No. 6 in B minor “Pathétique”, op. 74: IV. Finale. Adagio lamentoso – andante | — | ||
| 19-5 | The Nutcracker Suite, op. 71a: I. Ouverture Miniature: Allegro giusto | Berliner Philharmoniker, Herbert von Karajan | T-312.199.363-9 | |
| 19-6 | Der Nußknacker, op. 71a: II. Danses caractéristiques: a. Marche, Tempo di marcia viva | Berliner Philharmoniker, Herbert von Karajan | T-304.210.691-8 | |
| 19-7 | The Nutcracker Suite, op. 71a: II. Danse caractéristiques: b. Danse de la Fée Dragée: Andante non troppo | Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-8 | The Nutcracker Suite, op. 71a: II. Danse caractéristiques: c. Danse russe Trépak: Tempo di Trepak, molto vivace | Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-9 | The Nutcracker Suite, op. 71a: II. Danse caractéristiques: d. Danse arabe: Allegretto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-10 | The Nutcracker Suite: II. Danse caractéristiques: e. Danse chinoise: Allegro moderato | Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-11 | Der Nußknacker, op. 71a: II. Danses caractéristiques: f. Danse des mirlitons, Moderato assai | Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-12 | Der Nußknacker, op. 71a: III. Valse des fleurs: Tempo di Valse | Berliner Philharmoniker, Herbert von Karajan | — | |
| 20-1 | Romeo and Juliet: Fantasy Overture. Andante non tanto quasi moderato – Allegro giusto – Moderato assai | — | ||
| 20-2 | Serenade for Strings in C major, op. 48: I. Pezzo in forma di sonatina. Andante non troppo – Allegro moderato | — | ||
| 20-3 | Serenade for Strings in C major, op. 48: II. Waltz. Moderato - Tempo di valse | Orpheus Chamber Orchestra | — | |
| 20-4 | String Serenade in C major, op. 48: III. Elégie: Larghetto elegiaco | Orpheus Chamber Orchestra | — | |
| 20-5 | Serenade for Strings in C major, op. 48: IV. Finale. Tema russo. Andante – Allegro con spirito | — | ||
| 20-6 | Ouverture solennelle 1812, op. 49 | Göteborgs Symfoniker, Neeme Järvi, Gothenburg Symphony Brass Band, Göteborgs Symfoniska Kör, Gothenburg Artillery Division | T-005.005.728-7 |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Symphony no. 8 in G major, op. 88, First Movement: 1. Allegro con brio | Antonín Dvořák | — |
| Symphony no. 8 in G major, op. 88, Second Movement: 2. Adagio | Antonín Dvořák | — |
| Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — |
| Symphony no. 8 in G major, op. 88, Fourth Movement: 4. Allegro, ma non troppo | Antonín Dvořák | T-912.623.296-0 |
| Symphonie Nr. 9 e-Moll op. 95 »Aus der neuen Welt«: 2. Largo | Berliner Philharmoniker, Rafael Kubelík | T-902.286.256-2 |
| Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — |
| Symphony no. 9 in E minor, op. 95 “From the New World”: I. Adagio - Allegro molto | Berliner Philharmoniker, Rafael Kubelík | — |
| Symphony no. 9 in E minor, op. 95 “From the New World”: IV. Allegro con fuoco | Berliner Philharmoniker, Rafael Kubelík | — |
| Piano Concerto no. 2 in B‐flat major, op. 83: III. Andante | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | T-322.449.900-3 |
| Piano Concerto no. 2 in B‐flat major, op. 83: I. Allegro non troppo | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | T-322.446.876-8 |
| Piano Concerto no. 2 in B‐flat major, op. 83: II. Allegro appassionato | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | T-322.185.909-8 |
| Piano Concerto no. 2 in B‐flat major, op. 83: IV. Allegretto grazioso | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
028947923022 is a Universal Product Code (UPC) assigned to The History of Classical Music, Part 3: Early to Late Romantic: From Berlioz to Tchaikovsky 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 252 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
028947923022 is the Universal Product Code (UPC barcode) for the release “The History of Classical Music, Part 3: Early to Late Romantic: From Berlioz to Tchaikovsky” by Various Artists, released 2013-10-14. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 252 tracks, each with its own ISRC. Tracks include DEF056800371, DEF056800372, DEF056800373.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphonie fantastique, op. 14: I. Rêveries – Passions. Largo – Allegro agitato ed appassionato assai | — | ||
| 2 | Symphonie fantastique, op. 14: II. Un bal. Valse: Allegro non troppo | — | ||
| 3 | Symphonie fantastique, op. 14: III. Scène aux champs. Adagio | — | ||
| 4 | Symphonie fantastique, op. 14: IV. Marche au supplice. Allegretto non troppo | — | ||
| 5 | Symphonie fantastique, op. 14: V. Songe d’une nuit du Sabbat. Larghetto – Allegro – Ronde du Sabbat: Poco meno mosso | — | ||
| 6 | Benvenuto Cellini, op. 23: Ouverture | — | ||
| 7 | Le Corsaire, op. 21: Ouverture | — | ||
| 8 | Les Troyens, Act IV no. 29: Chasse royale et orage. Pantomime | — | ||
| 2-1 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: I. Allegro maestoso | Martha Argerich, London Symphony Orchestra, Claudio Abbado | T-308.381.369-4 | |
| 2-2 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: II. Romance. Larghetto | Martha Argerich, London Symphony Orchestra, Claudio Abbado | T-308.381.369-4 | |
| 2-3 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: III. Rondo. Vivace | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 2-4 | 24 Préludes, op. 28 no. 1 in C major: Agitato | Martha Argerich | — | |
| 2-5 | 24 Préludes, op. 28 no. 3 in G major: Vivace | Martha Argerich | — | |
| 2-6 | 24 Préludes, Op. 28: No. 5 in D Major | Martha Argerich | — | |
| 2-7 | 24 Préludes, op. 28 no. 9 in E major: Largo | Martha Argerich | T-906.148.797-6 | |
| 2-8 | 24 Préludes, op. 28 no. 15 in D‐flat major: Sostenuto | Martha Argerich | T-306.229.926-3 | |
| 2-9 | 24 Préludes, op. 28 no. 16 in B‐flat minor: Presto con fuoco | Martha Argerich | — | |
| 2-10 | 24 Préludes, op. 28 no. 16 in B‐flat minor: Presto con fuoco | Martha Argerich | — | |
| 2-11 | 24 Préludes, op. 28 no. 20 in C minor: Largo | Martha Argerich | T-310.766.142-3 | |
| 2-13 | 24 Préludes, op. 28 no. 23 in F major: Moderato | Martha Argerich | — | |
| 2-14 | Barcarolle in F-sharp Major, op. 60 | Martha Argerich | T-303.629.706-6 | |
| 2-15 | Scherzo no. 3 in C-sharp minor, op. 39: Presto con fuoco | Martha Argerich | T-918.063.801-1 | |
| 3-1 | Nocturne no. 1 in B‐flat minor, op. 9 no. 1 | — | ||
| 3-2 | Nocturne no. 2 in E‐flat major, op. 9 no. 2 | — | ||
| 3-3 | Nocturne no. 3 in B major, op. 9 no. 3 | — | ||
| 3-4 | Nocturne no. 4 in F major, op. 15 no. 1 | — | ||
| 3-5 | Nocturne no. 7 in C‐sharp minor, op. 27 no. 1 | — | ||
| 3-6 | Nocturne no. 8 in D‐flat major, op. 27 no. 2 | — | ||
| 3-7 | Nocturne no. 9 in B major, op. 32 no. 1 | — | ||
| 3-8 | Nocturne no. 10 in A‐flat major, op. 32 no. 2 | — | ||
| 3-9 | Nocturne no. 12 in G major, op. 37 no. 2 | — | ||
| 3-10 | Nocturne no. 13 in C minor, op. 48 no. 1 | — | ||
| 3-11 | Nocturne no. 15 in F minor, op. 55 no. 1: Andante | Daniel Barenboim | T-321.286.787-9 | |
| 3-12 | Nocturne no. 18 in E major, op. 62 no. 2: Lento | Daniel Barenboim | T-906.148.797-6 | |
| 3-13 | Nocturne no. 19 in E minor, op. 72 no. 1: Andante | Daniel Barenboim | T-905.040.158-6 | |
| 4-1 | Ballade no. 1 in G minor, op. 23 | Tamás Vásáry | T-917.141.447-4 | |
| 4-2 | Berceuse in D‐flat, op. 57: Andante | — | ||
| 4-3 | Waltz No. 14 in E minor, B. 56 | Tamás Vásáry | T-106.648.493-1 | |
| 4-4 | Waltz no. 3 in A minor, op. 34 no. 2: Lento | — | ||
| 4-5 | Impromptu no. 1 As‐dur, op. 29: Allegro assai, quasi presto | Tamás Vásáry | — | |
| 4-6 | 12 Études, op. 10 no. 1 in C major | — | ||
| 4-7 | 12 Études, op. 10 no. 6 in E‐flat minor | — | ||
| 4-8 | 12 Études, op. 10 no. 5 in G‐flat major “Black Keys” | — | ||
| 4-9 | 12 Études, op. 10 no. 12 in C minor “Revolutionary” | — | ||
| 4-10 | Scherzo no. 4 in E major, op. 54 | — | ||
| 4-11 | Scherzo no. 3 in C‐sharp minor, op. 39 | — | ||
| 4-12 | Mazurka no. 5 in B‐flat major, op. 7 no. 1: Vivace | — | ||
| 4-13 | Mazurka No. 47 in A minor, Op. 68 No. 2 | Tamás Vásáry | T-031.612.538-8 | |
| 4-14 | Mazurka no. 58 in A‐flat major, op. posth.: Poco mosso | — | ||
| 4-15 | Mazurka no. 46 in C major, op. 67 no. 3: Allegretto | — | ||
| 4-16 | Polonaise no. 6 in A‐flat major “Heroic”, op. 53: Maestoso | — | ||
| 5-1 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: I. Allegro maestoso | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 5-2 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: II. Quasi adagio / III. Allegretto vivace - Allegro animato | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 5-3 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: IV. Allegro marziale animato | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 5-4 | Piano Sonata in B minor, S. 178: I. Lento assai - Allegro energico | Martha Argerich | — | |
| 5-5 | Piano Sonata in B minor, S. 178: II. Grandioso | Martha Argerich | — | |
| 5-6 | Piano Sonata in B Minor, S.178: Cantando espressivo | Martha Argerich | — | |
| 5-7 | Piano Sonata in B minor, S. 178: IV. Pesante - Recitativo | Martha Argerich | — | |
| 5-8 | Piano Sonata in B Minor, S.178: Andante sostenuto | Martha Argerich | — | |
| 5-9 | Piano Sonata in B minor, S. 178: VI. Quasi Adagio | Martha Argerich | T-070.125.749-9 | |
| 5-10 | Sonate pour piano en Si mineur, S. 178: Allegro energico | Martha Argerich | — | |
| 5-11 | Piano Sonata in B Minor, S.178: Più mosso | Martha Argerich | — | |
| 5-12 | Piano Sonata in B minor, S. 178: IX. Cantando Espressivo senza slentare | Martha Argerich | — | |
| 5-13 | Piano Sonata in B minor, S. 178: X. Stretta quasi Presto - Presto - Prestissimo | Martha Argerich | — | |
| 5-14 | Piano Sonata in B minor, S. 178: XI. Andante sostenuto - Allegro moderato - Lento assai | Martha Argerich | — | |
| 5-15 | Hungarian Rhapsody in D-flat major, S. 244 no. 6: Tempo giusto - Presto - Andante allegro - Presto | Martha Argerich | — | |
| 5-16 | Années de pèlerinage : Première année : Suisse, S.160, No. 6 : Vallée d'Obermann | Lazar Berman | T-011.801.883-9 | |
| 5-17 | Années de pèlerinage : Troisième année, S.163, No. 4 : Les Jeux d'eaux à la Villa d'Este | Lazar Berman | — | |
| 6-1 | Symphony no. 4 in A major “Italian”, op. 90: I. Allegro vivace | — | ||
| 6-2 | Symphony no. 4 in A major “Italian”, op. 90: II. Andante con moto | — | ||
| 6-3 | Symphony no. 4 in A major “Italian”, op. 90: III. Con moto moderato | — | ||
| 6-4 | Symphony no. 4 in A major “Italian”, op. 90: IV. Saltarello. Presto | — | ||
| 6-5 | The Hebrides (“Fingal’s Cave”), op. 26: Overture. Allegro moderato | — | ||
| 6-6 | Ein Sommernachtstraum. Trauermarsch: Andante comodo | Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | T-900.795.649-2 | |
| 7-1 | Symphony no. 2 in C major, op. 61: I. Sostenuto assai – Un poco più vivace – Allegro ma non troppo – Con fuoco | — | ||
| 7-2 | Symphony no. 2 in C major, op. 61: II. Scherzo. Allegro vivace | — | ||
| 7-3 | Symphony no. 2 in C major, op. 61: III. Adagio espressivo | — | ||
| 7-4 | Symphony no. 2 in C major, op. 61: IV. Allegro molto vivace | — | ||
| 7-5 | Symphony no. 3 in E‐flat major “Rhenish”, op. 97: I. Lebhaft | — | ||
| 7-6 | Symphony no. 3 in E‐flat major “Rhenish”, op. 97: II. Scherzo. Sehr mäßig | — | ||
| 7-7 | Symphony no. 3 in E‐flat major “Rhenish”, op. 97: III. Nicht schnell | — | ||
| 7-8 | Symphony no. 3 in E‐flat major “Rhenish”, op. 97: IV. Feierlich | — | ||
| 7-9 | Symphony no. 3 in E‐flat major “Rhenish”, op. 97: V. Lebhaft | — | ||
| 8-1 | Concierto para piano y orquesta en La menor, Op. 54: I. Allegro affettuoso (Orquesta Sinfónica de la Radio de Baviera feat. conductor: Rafael Kubelik, piano: Wilhelm Kempff) | Wilhelm Kempff, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | T-909.264.262-1 | |
| 8-2 | Concierto para piano y orquesta en La menor, Op. 54: II. Intermezzo. Andantino grazioso - Attacca (Orquesta Sinfónica de la Radio de Baviera feat. conductor: Rafael Kubelik, piano: Wilhelm Kempff) | Wilhelm Kempff, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 8-3 | Concierto para piano y orquesta en La menor, Op. 54: III. Allegro vivace (Orquesta Sinfónica de la Radio de Baviera feat. conductor: Rafael Kubelik, piano: Wilhelm Kempff) | Wilhelm Kempff, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | T-909.264.262-1 | |
| 8-4 | Kinderszenen, op. 15: I. Von fremden Ländern und Menschen | Wilhelm Kempff | T-314.629.927-2 | |
| 8-5 | Kinderszenen, op. 15: II. Kuriose Geschichte | Wilhelm Kempff | T-913.873.556-5 | |
| 8-6 | Kinderszenen, op. 15: III. Hasche-Mann | Wilhelm Kempff | T-913.870.630-6 | |
| 8-7 | Kinderszenen, op. 15: IV. Bittendes Kind | Wilhelm Kempff | T-001.216.772-4 | |
| 8-8 | Kinderszenen, op. 15: V. Glückes genug | Wilhelm Kempff | — | |
| 8-9 | Kinderszenen, op. 15: VI. Wichtige Begebenheit | Wilhelm Kempff | T-330.120.763-2 | |
| 8-10 | Kinderszenen, op. 15: VII. Träumerei | Wilhelm Kempff | — | |
| 8-11 | Kinderszenen, op. 15: VIII. Am Kamin | Wilhelm Kempff | T-330.120.773-4 | |
| 8-12 | Kinderszenen, op. 15: IX. Ritter vom Steckenpferd | Wilhelm Kempff | T-330.117.403-4 | |
| 8-13 | Kinderszenen, op. 15: X. Fast zu ernst | Wilhelm Kempff | — | |
| 8-14 | Kinderszenen, op. 15: XI. Fürchtenmachen | Wilhelm Kempff | T-330.117.411-4 | |
| 8-15 | Kinderszenen, op. 15: XII. Kind im Einschlummern | Wilhelm Kempff | — | |
| 8-16 | Kinderszenen, op. 15: XIII. Der Dichter spricht | Wilhelm Kempff | T-001.098.318-2 | |
| 8-17 | Carnaval, Op. 9: I. Preámbulo. Quasi maestoso - Più moto - Animato - Vivo - Presto (piano: Wilhelm Kempff) | Wilhelm Kempff | — | |
| 8-18 | Carnaval, Op. 9: II. Pierrot. Moderato (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.614-4 | |
| 8-19 | Carnaval, Op. 9: III. Arlequín. Vivo (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.601-9 | |
| 8-20 | Carnaval, Op. 9: IV. Vals noble. Un poco maestoso (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.620-2 | |
| 8-21 | Carnaval, Op. 9: V. Eusebius. Adagio (piano: Wilhelm Kempff) | Wilhelm Kempff | T-902.876.200-7 | |
| 8-22 | Carnaval, Op. 9: VI. Florestán. Passionato (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.608-6 | |
| 8-23 | Carnaval, Op. 9: VII. Coquette. Vivo (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.605-3 | |
| 8-24 | Carnaval, Op. 9: VIII. Réplica. L'istesso tempo (Esfinge) (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.618-8 | |
| 8-25 | Carnaval, Op. 9: IX. Mariposas. Prestissimo (piano: Wilhelm Kempff) | Wilhelm Kempff | — | |
| 8-26 | Carnaval, Op. 9: X. A.S.C.H. S.C.H.A. (Lettres dansantes). Presto (piano: Wilhelm Kempff) | Wilhelm Kempff | — | |
| 8-27 | Carnaval, Op. 9: XI. Chiarina. Passionato (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.603-1 | |
| 8-28 | Carnaval, Op. 9: XII. Chopin. Agitato (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.604-2 | |
| 8-29 | Carnaval, Op. 9: XIII. Estrella. Con afecto (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.606-4 | |
| 8-30 | Carnaval, Op. 9: XIV. Reconocimiento. Animato (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.617-7 | |
| 8-31 | Carnaval, Op. 9: XV. Pantalón y colombina. Presto (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.611-1 | |
| 8-32 | Carnaval, Op. 9: XVI. Vals alemán. Molto vivace (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.619-9 | |
| 8-33 | Carnaval, Op. 9: XVII. Paganini. Intermezzo. Presto (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.609-7 | |
| 8-34 | Carnaval, Op. 9: XVIII. Confesión. Passionato (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.602-0 | |
| 8-35 | Carnaval, Op. 9: XIX. Paseo. Comodo (piano: Wilhelm Kempff) | Wilhelm Kempff | — | |
| 8-36 | Carnaval, Op. 9: XX. Pausa. Vivo (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.613-3 | |
| 8-37 | Carnaval, Op. 9: XXI. Marcha de "Davidsbündler" contra los filisteos (piano: Wilhelm Kempff) | Wilhelm Kempff | T-910.760.610-0 | |
| 9-1 | Dichterliebe, op. 48: 1. Im wunderschönen Monat Mai | Dietrich Fischer-Dieskau, Christoph Eschenbach | T-912.151.106-6 | |
| 9-2 | Dichterliebe, op. 48: 2. Aus meinen Tränen sprießen | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-3 | Dichterliebe, op. 48: 3. Die Rose, die Lilie, die Taube, die Sonne | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-4 | Dichterliebe, op. 48: 4. Wenn ich in deine Augen seh’ | Dietrich Fischer-Dieskau, Christoph Eschenbach | T-800.213.522-1 | |
| 9-5 | Dichterliebe, op. 48: 5. Ich will meine Seele tauchen | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-6 | Dichterliebe, op. 48: 6. Im Rhein, im heiligen Strome | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-7 | Dichterliebe, op. 48: 7. Ich grolle nicht | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-8 | Dichterliebe, op. 48: 8. Und wüßten’s die Blumen, die kleinen | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-9 | Dichterliebe, op. 48: 9. Das ist ein Flöten und Geigen | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-10 | Dichterliebe, op. 48: 10. Hör’ ich das Liedchen klingen | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-11 | Dichterliebe, op. 48: 11. Ein Jüngling liebt ein Mädchen | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-12 | Dichterliebe, op. 48: 12. Am leuchtenden Sommermorgen | Dietrich Fischer-Dieskau, Christoph Eschenbach | T-900.139.006-3 | |
| 9-13 | Dichterliebe, op. 48: 13. Ich hab’ im Traum geweinet | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-14 | Dichterliebe, op. 48: 14. Allnächtlich im Traume seh’ ich dich | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-15 | Dichterliebe, op. 48: 15. Aus alten Märchen winkt es | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-16 | Dichterliebe, op. 48: 16. Die alten, bösen Lieder | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-17 | Zwölf Gedichte, op. 35: Erstes Grün | — | ||
| 9-18 | Abends am Strand, op. 45 no. 3 | — | ||
| 9-19 | Romanzen und Balladen, op. 49: I. Die beiden Grenadiere | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-20 | Romanzen und Balladen, op. 49: II. Die feindlichen Brüder | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-21 | Tragödie, op. 64 no. 3: I. Entflieh mit mir und sei mein Weib | — | ||
| 9-22 | Tragödie, op. 64 no. 3: II. Es flel ein Reif in der Frühlingsnacht | — | ||
| 9-23 | Spanisches Liederspiel, op. 74: X. Der Kontrabandiste | — | ||
| 9-24 | Liederalbum für die Jugend, op. 79: 7. Zigeunerliedchen I »Unter die Soldaten« | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-25 | Liederalbum für die Jugend, op. 79: 8. Zigeunerliedchen II »Jeden Morgen, in der Frühe« | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-26 | Vier Gesänge, op. 142: IV. Mein Wagen rollet langsam | Dietrich Fischer-Dieskau, Christoph Eschenbach | — | |
| 9-27 | Frauenliebe und ‐lieben, op. 42: I. Seit ich ihn gesehen | — | ||
| 9-28 | Frauenliebe und ‐lieben, op. 42: II. Er, der Herrlichste von allen | — | ||
| 9-29 | Frauenliebe und ‐lieben, op. 42: III. Ich kann’s nicht fassen, nicht glauben | — | ||
| 9-30 | Frauenliebe und ‐lieben, op. 42: IV. Du Ring an meinem Finger | — | ||
| 9-31 | Frauenliebe und ‐lieben, op. 42: V. Helft mir, ihr Schwestern | — | ||
| 9-32 | Frauenliebe und ‐lieben, op. 42: VI. Süsser Freund, du blickest mich verwundert an | — | ||
| 9-33 | Frauenliebe und ‐lieben, op. 42: VII. An meinem Herzen, an meiner Brust | — | ||
| 9-34 | Frauenliebe und ‐lieben, op. 42: VIII. Nun hast du mir den ersten Schmerz getan | — | ||
| 10-1 | Carmen, WD 31: Overture (Prelude) | London Symphony Orchestra, Claudio Abbado | T-031.673.380-8 | |
| 10-2 | Carmen : Acte I. “Voici la cloche qui sonne, mon lieutenant ” … “La cloche a sonné” | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 10-3 | Carmen : Acte I. “Mais nous ne voyons pas la Carmencita” | — | ||
| 10-4 | Carmen : Acte I. « L'amour est un oiseau rebelle » | Ambrosian Singers, Teresa Berganza, London Symphony Orchestra, Claudio Abbado | T-305.625.648-1 | |
| 10-5 | Carmen : Acte I. “Monsieur le brigadier ?” … Duo: “Parle‐moi de ma mère !” | — | ||
| 10-6 | Carmen : Acte I, Nº 9. Chanson (Séguedille) et Duo « Près des remparts de Séville » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 10-7 | Carmen : Acte II, Nº 11. Chanson « Les tringles des sistres tintaient » (Carmen, Mercédès, Frasquita) | Teresa Berganza, Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | T-922.166.713-6 | |
| 10-8 | Carmen : Acte II. Couplets “Votre toast, je peux vous le rendre” | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Jean Lainé, Robert Lloyd, Sherrill Milnes, Alicia Nafé, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 10-9 | Carmen : Acte II. Air de la fleur « La Fleur que tu m’avais jetée » (Don José) | Plácido Domingo, London Symphony Orchestra, Claudio Abbado | T-928.635.311-5 | |
| 10-10 | Carmen : Acte III, Nº 21. Air « Je dis que rien ne m’épouvante » (Micaëla) | Ileana Cotrubaș, London Symphony Orchestra, Claudio Abbado | — | |
| 10-11 | Carmen : Acte III. “Je suis Escamillo, toréro de Grenade” | — | ||
| 10-12 | Carmen : Acte III, Nº 25. Chœur et Scène « Les voici, voici le quadrille » (Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 10-13 | Carmen : Acte IV. « Si tu m’aimes, Carmen » (Escamillo, Carmen, Frasquita, Mercédès) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Sherrill Milnes, Alicia Nafé, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 10-14 | Carmen : Acte IV, Nº 26. Duo final « C’est toi ? » / « C’est‐moi ! » (Carmen, Don José, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 11-1 | Symphony no. 1 in C minor, op. 68: I. Un poco sostenuto – Allegro – Meno allegro | — | ||
| 11-2 | Symphony no. 1 in C minor, op. 68: II. Andante sostenuto | — | ||
| 11-3 | Symphony no. 1 in C minor, op. 68: III. Un poco allegretto e grazioso | — | ||
| 11-4 | Symphony no. 1 in C minor, op. 68: IV. Adagio – Più andante – Allegro non troppo, ma con brio – Più allegro | — | ||
| 11-5 | Symphony no. 4 in E minor, op. 98: I. Allegro non troppo | — | ||
| 11-6 | Symphony no. 4 in E minor, op. 98: II. Andante moderato | — | ||
| 11-7 | Symphony no. 4 in E minor, op. 98: III. Allegro giocoso – Poco meno presto – Tempo I | — | ||
| 11-8 | Symphony no. 4 in E minor, op. 98: IV. Allegro energico e passionato – Più allegro | — | ||
| 12-1 | Piano Concerto no. 2 in B‐flat major, op. 83: IV. Allegretto grazioso | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 12-2 | Piano Concerto no. 2 in B‐flat major, op. 83: IV. Allegretto grazioso | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 12-3 | Piano Concerto no. 2 in B‐flat major, op. 83: IV. Allegretto grazioso | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 12-4 | Piano Concerto no. 2 in B‐flat major, op. 83: IV. Allegretto grazioso | Emil Gilels, Berliner Philharmoniker, Eugen Jochum | — | |
| 12-5 | Fantasia no. 1 in D minor, op. 116: Cappricio. Presto energico | Emil Gilels | — | |
| 12-6 | Fantasia no. 2 in A minor, op. 116: Intermezzo. Andante | Emil Gilels | — | |
| 12-7 | Fantasia no. 3 in G minor, op. 116: Capriccio. Allegro passionato | Emil Gilels | — | |
| 12-8 | Fantasia no. 4 in E major, op. 116: Intermezzo. Adagio | Emil Gilels | — | |
| 12-9 | Fantasia no. 5 in E minor, op. 116: Intermezzo. Andante con grazia ed intimissimo sentimento | Emil Gilels | — | |
| 12-10 | Fantasia no. 6 in E major, op. 116: Intermezzo. Andanti teneramente | Emil Gilels | — | |
| 12-11 | Fantasia no. 7 in D minor, op. 116: Capriccio. Allegro agitato | Emil Gilels | — | |
| 13-1 | Violin Concerto in D major, op. 77: I. Allegro non troppo | — | ||
| 13-2 | Violin Concerto in D major, op. 77: II. Adagio | — | ||
| 13-3 | Violin Concerto in D major, op. 77: III. Allegro giocoso, ma non troppo vivace – poco più presto | — | ||
| 13-4 | Sonate für Klavier und Violine G-dur op. 78: I. Vivace ma non troppo | Daniel Barenboim, Pinchas Zukerman | — | |
| 13-5 | Sonate für Klavier und Violine G-dur op. 78: II. Adagio | Daniel Barenboim, Pinchas Zukerman | — | |
| 13-6 | Sonate für Klavier und Violine G-dur op. 78: III. Allegro molto moderato | Daniel Barenboim, Pinchas Zukerman | — | |
| 14-1 | Symphony no. 4 in E‐flat major, WAB 104 “Romantic” (Ed. Haas): I. Bewegt, nicht zu schnell | Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 14-2 | Symphony no. 4 in E‐flat major, WAB 104 “Romantic” (Ed. Haas): II. Andante quasi Allegretto | Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 14-3 | Symphony no. 4 in E‐flat major, WAB 104 “Romantic” (Ed. Haas): III. Scherzo: Bewegt | Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 14-4 | Symphony no. 4 in E‐flat major, WAB 104 “Romantic” (Ed. Haas): IV. Finale: Bewegt, doch nicht zu schnell | Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 14-5 | Psalm 150, for Soprano, Chorus and Orchestra, WAB 38 | Ruth Welting, Chicago Symphony Chorus, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 15-1 | Die Fledermaus: Overture | — | ||
| 15-2 | Frühlingsstimmen, op. 410 | Vienna Philharmonic Orchestra, Lorin Maazel | — | |
| 15-3 | Ägyptischer Marsch, op. 335 | — | ||
| 15-4 | Freikugeln, op. 326: Polka Schnell | — | ||
| 15-5 | Kaiserwalzer, op. 437 | — | ||
| 15-6 | Pizzicato‐Polka | — | ||
| 15-7 | Unter Donner und Blitz, op. 324: Polka | — | ||
| 15-8 | Rosen aus dem Süden, op. 388: Waltz | — | ||
| 15-9 | Overture Indigo und die 40 Räuber: Overture | — | ||
| 15-10 | Eljen a Magyar! op. 332 | Wiener Philharmoniker, Lorin Maazel | T-902.189.169-0 | |
| 15-11 | Der Zigeunerbaron, Act III: Einzugsmarsch | — | ||
| 15-12 | An der schönen, blauen Donau, op. 314 | Wiener Philharmoniker, Lorin Maazel | T-912.656.929-7 | |
| 16-1 | Má vlast: II. Vltava, JB 1:112/2 | Boston Symphony Orchestra, Rafael Kubelík | T-801.557.926-8 | |
| 16-2 | Má vlast: IV. Z českých luhů a hájů, JB 1:112/4 | Boston Symphony Orchestra, Rafael Kubelík | T-801.557.926-8 | |
| 16-3 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 16-4 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 16-5 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 16-6 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | Berliner Philharmoniker, Rafael Kubelík | — | |
| 17-1 | Concerto for Violoncello and Orchestra in B minor, op. 104: I. Allegro | Pierre Fournier, Berliner Philharmoniker, George Szell | T-070.160.313-5 | |
| 17-2 | Concerto for Violoncello and Orchestra in B minor, op. 104: II. Adagio ma non troppo | Pierre Fournier, Berliner Philharmoniker, George Szell | — | |
| 17-3 | Concerto for Violoncello and Orchestra in B minor, op. 104: III. Finale. Allegro moderato | Pierre Fournier, Berliner Philharmoniker, George Szell | — | |
| 17-4 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 17-5 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 17-6 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 17-7 | Symphony no. 8 in G major, op. 88, Third Movement: 3. Allegretto grazioso – Molto vivace | Antonín Dvořák | — | |
| 18-1 | Konzert für Klavier und Orchester a-Moll, op. 16: II. Adagio | Géza Anda, Berliner Philharmoniker, Rafael Kubelík | — | |
| 18-2 | Konzert für Klavier und Orchester a-Moll, op. 16: II. Adagio | Géza Anda, Berliner Philharmoniker, Rafael Kubelík | — | |
| 18-3 | Konzert für Klavier und Orchester a-Moll, op. 16: II. Adagio | Géza Anda, Berliner Philharmoniker, Rafael Kubelík | — | |
| 18-4 | Peer Gynt Suite no. 1, op. 46: I. Morgenstimmung | Berliner Philharmoniker, Herbert von Karajan | — | |
| 18-5 | Peer Gynt Suite no. 1, op. 46: II. Aase's Death | Berliner Philharmoniker, Herbert von Karajan | T-914.527.681-9 | |
| 18-6 | Peer Gynt Suite no. 1, op. 46: III. Anitra's Dance | Berliner Philharmoniker, Herbert von Karajan | T-925.645.322-2 | |
| 18-7 | Peer Gynt Suite no. 1, op. 46: IV. In the Hall of the Mountain King | Berliner Philharmoniker, Herbert von Karajan | — | |
| 18-8 | Peer Gynt Suite no. 2, op. 55: I. The Abduction of the Bride. Ingrid's Lament | Berliner Philharmoniker, Herbert von Karajan | T-071.721.093-9 | |
| 18-9 | Peer Gynt Suite no. 2, op. 55: II. Arabian Dance | Berliner Philharmoniker, Herbert von Karajan | — | |
| 18-10 | Peer Gynt Suite no. 2, op. 55: III. Peer Gynt's Homecoming | Berliner Philharmoniker, Herbert von Karajan | — | |
| 18-11 | Peer Gynt Suite no. 2, op. 55: IV. Solveig’s Song | Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-1 | Symphony No. 6 in B minor “Pathétique”, op. 74: I. Adagio – Allegro non troppo | — | ||
| 19-2 | Symphony No. 6 in B minor “Pathétique”, op. 74: II. Allegro con grazia | — | ||
| 19-3 | Symphony No. 6 in B minor “Pathétique”, op. 74: III. Allegro molto vivace | — | ||
| 19-4 | Symphony No. 6 in B minor “Pathétique”, op. 74: IV. Finale. Adagio lamentoso – andante | — | ||
| 19-5 | The Nutcracker Suite, op. 71a: I. Ouverture Miniature: Allegro giusto | Berliner Philharmoniker, Herbert von Karajan | T-312.199.363-9 | |
| 19-6 | Der Nußknacker, op. 71a: II. Danses caractéristiques: a. Marche, Tempo di marcia viva | Berliner Philharmoniker, Herbert von Karajan | T-304.210.691-8 | |
| 19-7 | The Nutcracker Suite, op. 71a: II. Danse caractéristiques: b. Danse de la Fée Dragée: Andante non troppo | Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-8 | The Nutcracker Suite, op. 71a: II. Danse caractéristiques: c. Danse russe Trépak: Tempo di Trepak, molto vivace | Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-9 | The Nutcracker Suite, op. 71a: II. Danse caractéristiques: d. Danse arabe: Allegretto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-10 | The Nutcracker Suite: II. Danse caractéristiques: e. Danse chinoise: Allegro moderato | Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-11 | Der Nußknacker, op. 71a: II. Danses caractéristiques: f. Danse des mirlitons, Moderato assai | Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-12 | Der Nußknacker, op. 71a: III. Valse des fleurs: Tempo di Valse | Berliner Philharmoniker, Herbert von Karajan | — | |
| 20-1 | Romeo and Juliet: Fantasy Overture. Andante non tanto quasi moderato – Allegro giusto – Moderato assai | — | ||
| 20-2 | Serenade for Strings in C major, op. 48: I. Pezzo in forma di sonatina. Andante non troppo – Allegro moderato | — | ||
| 20-3 | Serenade for Strings in C major, op. 48: II. Waltz. Moderato - Tempo di valse | Orpheus Chamber Orchestra | — | |
| 20-4 | String Serenade in C major, op. 48: III. Elégie: Larghetto elegiaco | Orpheus Chamber Orchestra | — | |
| 20-5 | Serenade for Strings in C major, op. 48: IV. Finale. Tema russo. Andante – Allegro con spirito | — | ||
| 20-6 | Ouverture solennelle 1812, op. 49 | Göteborgs Symfoniker, Neeme Järvi, Gothenburg Symphony Brass Band, Göteborgs Symfoniska Kör, Gothenburg Artillery Division | T-005.005.728-7 |
