UPC · Release
Various Artists
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028947923039 is the Universal Product Code (UPC barcode) for the release “The History of Classical Music, Part 4: Late Romantic to Modern: From Tchaikovsky to Rachmaninov” 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 232 tracks, each with its own ISRC. Tracks include DEF057000830, DEF057000830, DEF057000830.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Concerto for Piano and Orchestra no. 1 in B‐flat minor, op. 23: II. Andantino semplice | Martha Argerich, Royal Philharmonic Orchestra, Charles Dutoit | — | |
| 2 | Concerto for Piano and Orchestra no. 1 in B‐flat minor, op. 23: II. Andantino semplice | Martha Argerich, Royal Philharmonic Orchestra, Charles Dutoit | — | |
| 3 | Concerto for Piano and Orchestra no. 1 in B‐flat minor, op. 23: II. Andantino semplice | Martha Argerich, Royal Philharmonic Orchestra, Charles Dutoit | — | |
| 4 | Concerto for Violin and Orchestra no. 1 in D major, op. 35: II. Canzonetta. Andante | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — | |
| 5 | Concerto for Violin and Orchestra no. 1 in D major, op. 35: II. Canzonetta. Andante | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — | |
| 6 | Concerto for Violin and Orchestra no. 1 in D major, op. 35: II. Canzonetta. Andante | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — | |
| 2-1 | Der fliegende Holländer: Overtüre | Chor der Bayreuther Festspiele, Orchester der Bayreuther Festspiele, Karl Böhm | T-003.143.988-9 | |
| 2-2 | Lohengrin: Prelude to Act I | — | ||
| 2-3 | Die Meistersinger von Nürnberg: Prelude to Act I | — | ||
| 2-4 | Parsifal: Vorspiel | Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum | T-050.071.427-1 | |
| 2-5 | Parsifal, Act III: Karfreitagszauber | — | ||
| 2-6 | Tannhäuser: Overture | — | ||
| 3-1 | Der Ring des Nibelungen: Das Rheingold, Erste Szene: “Lugt, Schwestern! Die Weckerin lacht in den Grund” | — | ||
| 3-2 | Der Ring des Nibelungen: Das Rheingold, Vierte Szene: Zur Burg führt die Brücke | — | ||
| 3-3 | Der Ring des Nibelungen: Die Walküre, Erster Aufzug: Der Männer Sippe saß hier im Saal” | — | ||
| 3-4 | (Die Walküre) Walkürenritt (Ride of the Valkyries) | Berliner Philharmoniker, Herbert von Karajan | T-101.592.556-9 | |
| 3-5 | Der Ring des Nibelungen: Die Walküre, Dritter Aufzug: Der Augen leuchtendes Paar | — | ||
| 3-6 | Der Ring des Nibelungen: Siegfried, Zweiter Aufzug: “Aber wie sah meine Mutter wohl aus?” (Waldweben) | — | ||
| 3-7 | Der Ring des Nibelungen: Siegfried, Zweiter Aufzug: Nun sing, ich lausche dem Gesang | — | ||
| 3-8 | Der Ring des Nibelungen: Siegfried, Dritter Aufzug: “Heil dir, Sonne!” (Brünnhildes Erwachen) | — | ||
| 3-9 | Der Ring des Nibelungen: Götterdämmerung, Dritter Aufzug: Trauermarsch | — | ||
| 3-10 | Der Ring des Nibelungen: Götterdämmerung, Dritter Aufzug: “Fliegt heim, ihr Raben!”, “Zurück vom Ring!” | — | ||
| 4-1 | Tristan und Isolde: Prelude. Langsam und schmachtend | — | ||
| 4-2 | Tristan und Isolde, Act I: “Frisch weht der Wind der Heimat zu” | — | ||
| 4-3 | Tristan und Isolde, Act I: “Weh, ach wehe! Dies zu dulden” | — | ||
| 4-4 | Tristan und Isolde, Act II: “O sink hernieder, Nacht der Liebe” | — | ||
| 4-5 | Tristan und Isolde, Act II: “Einsam wachend in der Nacht” | — | ||
| 4-6 | Tristan und Isolde, Act II: “Lausch, Geliebter!” | — | ||
| 4-7 | Tristan und Isolde, Act II: “Doch unsre Liebe, heißt sie nicht Tristan und — Isolde?” | — | ||
| 4-8 | Tristan und Isolde, Act II: “So starben wir, um ungetrennt” — “Rette dich, Tristan!” | — | ||
| 4-9 | Tristan und Isolde, Act III: Prelude — Hirtenreigen | — | ||
| 4-10 | Tristan und Isolde, Act III: “O Wonne! Freude!” | — | ||
| 4-11 | Tristan und Isolde: Act III, Scene 3 “Mild und leise wie er lächelt” | Birgit Nilsson, Orchester der Bayreuther Festspiele, Karl Böhm | — | |
| 5-1 | Aida: Preludio | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 5-2 | Aida: Atto I. Romanza: “Se quel guerrier io fossi! … Celeste Aida” (Radamès) | Plácido Domingo, Orchestra of La Scala, Milan, Claudio Abbado | T-900.065.376-9 | |
| 5-3 | Aida, Act I: Alta cagion v'aduna - Su! Del Nilo al sacro lido | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — | |
| 5-4 | Aida: Atto I. Scena: “Ritorna vincitor!” (Aida) | Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 5-5 | Aida: Atto I, scena 2. Finale I “Nume, custode e vindice” (Ramfis, Radamès, Sacerdoti, Sacerdotesse, Sacerdotessa) | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 5-6 | Aida: “Gloria all’Egitto” | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-310.527.191-4 | |
| 5-7 | Aida: Triumphal Scene | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 5-8 | Aida: Ballett | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-010.287.722-4 | |
| 5-9 | Aida: Atto II. “Quest’assisa ch’io vesto vi dica” | — | ||
| 5-10 | Aida: Atto terzo. Romanza: “Qui Radamès verrà! … O patria mia” (Aida) | Katia Ricciarelli, Claudio Abbado, Orchestra del Teatro alla Scala di Milano | T-900.065.376-9 | |
| 5-11 | Aida: Atto III. Duetto: “Ciel, mio padre!” … “Rivedrai le foreste imbalsamate” (Aida, Amonasro) | Romano Gandolfi, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 5-12 | Aida: Atto IV. Scena e duetto: “La fatal pietra sovra me si chiuse” (Radamès, Aida) | Plácido Domingo, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 5-13 | Aida: Atto IV. Finale ultimo: “Immenso Fthà” … “O terra, addio” (coro, Aida, Radamès, Amneris) | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Plácido Domingo, Elena Obraztsova, Katia Ricciarelli, Lucia Valentini Terrani, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 6-1 | Rigoletto: Preludio | Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-2 | Rigoletto: Atto I. Ballata: "Questa o quella" | Plácido Domingo, Orchester der Wiener Staatsoper, Vienna Philharmonic Orchestra, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-3 | Rigoletto: Atto I. Scena “Pari siamo!… io la lingua”Rigoletto: Atto I, scena 2. N°4 Aria “Pari siamo!” (Rigoletto) | Piero Cappuccilli, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-4 | Rigoletto: Atto I. Duetto “Figlia!” – “Mio padre!” | Piero Cappuccilli, Ileana Cotrubaș, Wiener Staatsopernchor, Wiener Philharmoniker, Carlo Maria Giulini | — | |
| 6-5 | Rigoletto: Atto I. N°6 Aria "Gualtier Maldè ... Caro nome che il mio cor" | Chor der Wiener Staatsoper, Luigi De Corato, Ileana Cotrubaș, Walter Gullino, Dirk Sagemüller, Wiener Philharmoniker, Carlo Maria Giulini | T-913.242.186-4 | |
| 6-6 | Rigoletto: Atto II. N°8 Scena ed aria "Ella mi fu rapita!" (Duca) | Plácido Domingo, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-7 | Rigoletto: Atto II. N°8 Scena ed aria "Parmi veder le lagrime" (Duca) | Plácido Domingo, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-8 | Rigoletto: Atto II. N°9 Scena ed aria "Povero Rigoletto!" (Marullo, Rigoletto, Borsa, Ceprano, Paggio, Coro) | Dirk Sagemüller, Piero Cappuccilli, Wiener Staatsopernchor, Luigi De Corato, Walter Gullino, Audrey Michael, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-9 | Rigoletto: Atto II. N°9 Scena ed aria "Cortigiani, vil razza dannata" (Rigoletto) | Piero Cappuccilli, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-10 | Rigoletto: Atto II. Duetto “Tutte le feste al tempio” | Piero Cappuccilli, Ileana Cotrubaș, Wiener Staatsopernchor, Wiener Philharmoniker, Carlo Maria Giulini | — | |
| 6-11 | Rigoletto: Atto II. Duetto “Sì, vendetta, tremenda vendetta” | Piero Cappuccilli, Ileana Cotrubaș, Wiener Staatsopernchor, Wiener Philharmoniker, Carlo Maria Giulini | — | |
| 6-12 | Rigoletto: Atto III, scena 1. Canzone: La donna è mobile | Plácido Domingo, Piero Cappuccilli, Nicolaï Ghiaurov, Wiener Philharmoniker, Carlo Maria Giulini | — | |
| 6-13 | Rigoletto: Atto III. N°12 Quartetto "Un dì, se ben rammentomi" (Duca, Gilda, Maddalena, Rigoletto) | Piero Cappuccilli, Ileana Cotrubaș, Plácido Domingo, Elena Obraztsova, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-14 | Rigoletto: Atto III. N°12 Quartetto "Bella figlia dell'amore" (Duca, Maddalena, Gilda, Rigoletto) | Piero Cappuccilli, Ileana Cotrubaș, Plácido Domingo, Elena Obraztsova, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-15 | Rigoletto: Atto III. N°14 Scena e duetto finale "V'ho ingannato...colpevole fui" (Gilda, Rigoletto) | Nicolaï Ghiaurov, Piero Cappuccilli, Ileana Cotrubaș, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 7-1 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-2 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-3 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-4 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-5 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-6 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-7 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-8 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-9 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-10 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-11 | La traviata: Atto II. “Ah, vive sol quel core” | — | ||
| 7-12 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-13 | La traviata: Atto II. “Avrem lieta di maschere la notte” (Flora, Marqués, Doctor) | Giovanni Foiani, Alfredo Giacomotti, Stefania Malagú, Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-14 | La traviata: Atto II. “Noi siamo zingarelle” (Coro, Flora, Marqués) | Wolfgang Baumgart, Chor der Bayerischen Staatsoper, Giovanni Foiani, Alfredo Giacomotti, Stefania Malagú, Bayerisches Staatsorchester, Carlos Kleiber | T-005.003.222-8 | |
| 7-15 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-16 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-17 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-18 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-19 | La traviata: Atto III. “Signora.Che t’accadde?” | — | ||
| 7-20 | La traviata: Atto III. “Parigi, o cara, noi lasceremo” | — | ||
| 7-21 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-22 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-23 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 8-1 | Symphony no. 3 in C minor, op. 78 “Organ Symphony”: 1. Adagio – Allegro moderato – Poco adagio | Gaston Litaize, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 8-2 | Symphony no. 3 in C minor, op. 78 “Organ Symphony”: 1. Adagio – Allegro moderato – Poco adagio | Gaston Litaize, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 8-3 | Symphony no. 3 in C minor, op. 78 “Organ Symphony”: 1. Adagio – Allegro moderato – Poco adagio | Gaston Litaize, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 8-4 | Symphony in D minor: I. Lento – Allegro ma non troppo – Allegro | — | ||
| 8-5 | Symphony in D minor: II. Allegretto | — | ||
| 8-6 | Symphony in D minor: III. Allegro non troppo | — | ||
| 9-1 | Ruslan and Lyudmila, Act I: Overture | — | ||
| 9-2 | Islamey: Presto con fuoco | — | ||
| 9-3 | Prince Igor, Act II: Dance of the Polovtsian Maidens | — | ||
| 9-4 | Prince Igor: Polovtsian Dances | — | ||
| 9-5 | Bilder einer Ausstellung: Promenade | Chicago Symphony Orchestra, Carlo Maria Giulini | T-011.301.790-5 | |
| 9-6 | Bilder einer Ausstellung: 1. Gnomus | Chicago Symphony Orchestra, Carlo Maria Giulini | T-001.438.118-0 | |
| 9-8 | Bilder einer Ausstellung: 2. Il Vecchio Castello | Chicago Symphony Orchestra, Carlo Maria Giulini | T-011.600.131-0 | |
| 9-10 | Bilder einer Ausstellung: 3. Tuileries | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-11 | Bilder einer Ausstellung: 4. Bydlo | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-13 | Bilder einer Ausstellung: 5. Ballet des poussins dans leurs coques | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-14 | Bilder einer Ausstellung: 6. Samuel Goldenberg und Schmuyle | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-15 | Pictures at an Exhibition: XI. Limoges: Le Marché. Allegretto vivo, sempre scherzando | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-16 | Bilder einer Ausstellung: 8. Catacombae. Sepulchrum romanum - | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-17 | Bilder einer Ausstellung: Cum mortuis in lingua mortua | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-18 | Bilder einer Ausstellung: 9. La cabane sur des pattes de poule | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-19 | Pictures at an Exhibition: La Grande Porte de Kiev | Chicago Symphony Orchestra, Carlo Maria Giulini | T-061.792.492-1 | |
| 10-1 | Scheherazade, op. 35: I. Das Meer und Sindbads Schiff. Largo e maestoso – Lento – Allegro non troppo | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 10-2 | Scheherazade, op. 35: II. Die Geschichte vom Prinzen Kalender. Lento – Andantino – Allegro molto – Vivace scherzando – Moderato assai – Allegro molto ed animato | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 10-3 | Scheherazade, op. 35: III. Der junge Prinz und die junge Prinzessin. Andantino quasi allegretto | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 10-4 | Scheherazade, op. 35: IV. Fest in Bagdad. Das Meer. Das Schiff treibt gegen den Magnetberg und zerschellt. Allegro molto – Lento – Vivo – Allegro non troppo e maestoso – Lento, Tempo I | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 10-5 | Capriccio Espagnol, op. 34: I. Alborada | Göteborgs Symfoniker, Neeme Järvi | — | |
| 10-6 | Capriccio Espagnol, op. 34: II. Variazioni | Göteborgs Symfoniker, Neeme Järvi | — | |
| 10-7 | Capriccio Espagnol, op. 34: III. Alborada | Göteborgs Symfoniker, Neeme Järvi | — | |
| 10-8 | Capriccio Espagnol, op. 34: IV. Scena e canto gitano | Göteborgs Symfoniker, Neeme Järvi | — | |
| 10-9 | Capriccio Espagnol, op. 34: V. Fandango asturiano | Göteborgs Symfoniker, Neeme Järvi | — | |
| 11-1 | Symphonie no. 1 D-dur: IV. Stürmisch bewegt | Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | T-900.953.062-5 | |
| 11-5 | Lieder eines fahrenden Gesellen: 1. Wenn mein Schatz Hochzeit macht | Dietrich Fischer-Dieskau, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 11-6 | Lieder eines fahrenden Gesellen: 2. Ging heut Morgen übers Feld | Dietrich Fischer-Dieskau, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 11-7 | Lieder eines fahrenden Gesellen: 3. Ich hab ein glühend Messer | Dietrich Fischer-Dieskau, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 11-8 | Lieder eines fahrenden Gesellen: 4. Die zwei blauen Augen | Dietrich Fischer-Dieskau, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 12-1 | Symphonie Nr. 5 cis-Moll: I. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt | Berliner Philharmoniker, Herbert von Karajan | T-926.359.926-4 | |
| 12-2 | Symphonie Nr. 5 cis-Moll: II. Stürmisch bewegt, mit größter Vehemenz | Berliner Philharmoniker, Herbert von Karajan | — | |
| 12-3 | Symphonie Nr. 5 cis-Moll: III. Scherzo. Kräftig, nicht zu schnell | Berliner Philharmoniker, Herbert von Karajan | — | |
| 12-4 | Symphony no. 5 in C-sharp minor: IV. Adagietto, Sehr langsam | Berliner Philharmoniker, Herbert von Karajan | T-800.652.468-2 | |
| 12-5 | Symphonie Nr. 5 cis‐Moll: V. Rondo-Finale. Allegro – Allegro giocoso. Frisch | Berliner Philharmoniker, Herbert von Karajan | — | |
| 13-1 | Nocturnes - Triptyque symphonique pour orchestre et chœur: I. Nuages: Modéré - Un peu animé | Orchestre de Paris, Daniel Barenboim | — | |
| 13-2 | Nocturnes - Triptyque symphonique pour orchestre et chœur: II. Fêtes: Animé et très rythmé - Modéré mais toujours très rythmé - De plus en plus sonore en serrant le mouvement | Orchestre de Paris, Daniel Barenboim | T-924.579.128-0 | |
| 13-3 | Nocturnes - Triptyque symphonique pour orchestre et chœur: III. Sirènes: Modérément animé (avec chœur de femmes) | Arthur Oldham, Choeur de femmes de orchestre de paris, Chœur de l'Orchestre de Paris, Orchestre de Paris, Daniel Barenboim | T-924.579.128-0 | |
| 13-4 | Prélude à l'après-midi d'un faune: Trés modéré | Michel Debost, Orchestre de Paris, Daniel Barenboim | — | |
| 13-5 | La Mer - Trois esquisses symphoniques: I. De l'aube à midi sur la mer. Trés lent | Orchestre de Paris, Daniel Barenboim | — | |
| 13-6 | La Mer - Trois esquisses symphoniques: II. Jeus de vagues. Allegro - Animé | Orchestre de Paris, Daniel Barenboim | — | |
| 13-7 | La Mer - Trois esquisses symphoniques: III. Dialogue du vent et de la mer. Animé et tumultueux | Orchestre de Paris, Daniel Barenboim | — | |
| 14-1 | Préludes – Book 1, L.117: 3. Le vent dans la plaine | Dino Ciani | — | |
| 14-2 | Préludes – Book 1, L.117: 4. Les sons et les parfums tournent dans l’air du soir | Dino Ciani | — | |
| 14-3 | Préludes – Book 1, L.117: 5. Les collines d’Anacapri | Dino Ciani | — | |
| 14-4 | Préludes, 1er Livre: VII. Ce qu’a vu le vent d’ouest: Animé et tumultueux | Dino Ciani | — | |
| 14-5 | Préludes, 1er Livre: VIII. La fille aux cheveux de lin: Très calme et doucement expressif | Dino Ciani | — | |
| 14-6 | Préludes, 1er Livre: X. La cathédrale engloutie: Profondément calme | Dino Ciani | — | |
| 14-7 | Préludes, 1er Livre: XII. Minstrels: Modéré | Dino Ciani | — | |
| 14-8 | Préludes, 2e Livre: II. Feuilles mortes: Lent et mélancolique | Dino Ciani | — | |
| 14-9 | Préludes, 2e Livre: III. La puerta del vino: Mouvement de Habanera | Dino Ciani | — | |
| 14-10 | Préludes, 2e Livre: VI. «General Lavine» - excentric: Dans le style et le Mouvement d’un Cake-Walk | Dino Ciani | T-902.761.163-8 | |
| 14-11 | Préludes, 2e Livre: VII. La terrasse des audiences du clair de lune: Lent | Dino Ciani | — | |
| 14-12 | Préludes, 2e Livre: XII. Feux d’artifice: Modérément animé | Dino Ciani | — | |
| 14-13 | Suite bergamasque, L.75: 1. Prélude | Tamás Vásáry | — | |
| 14-14 | Suite bergamasque, L.75: 2. Menuet | Tamás Vásáry | — | |
| 14-15 | Suite bergamesque, Clair de lune | Tamás Vásáry | — | |
| 14-16 | Suite bergamasque, L. 75: 4. Passepied | Tamás Vásáry | — | |
| 15-1 | Also sprach Zarathustra, Op. 30: Anfang | Berliner Philharmoniker, Karl Böhm | T-900.798.614-3 | |
| 15-2 | Also sprach Zarathustra: Von den Hinterweltlern | Berliner Philharmoniker, Karl Böhm | — | |
| 15-3 | Also sprach Zarathustra: Von der großen Sehnsucht | Berliner Philharmoniker, Karl Böhm | — | |
| 15-4 | Also sprach Zarathustra: Von den Freuden und Leidenschaften | Berliner Philharmoniker, Karl Böhm | — | |
| 15-5 | Also sprach Zarathustra: Das Grablied | Michel Schwalbé, Berliner Philharmoniker, Karl Böhm | — | |
| 15-6 | Also sprach Zarathustra: Von der Wissenschaft | Berliner Philharmoniker, Karl Böhm | — | |
| 15-7 | Also sprach Zarathustra: Der Genesende | Berliner Philharmoniker, Karl Böhm | — | |
| 15-8 | Also sprach Zarathustra: Das Tanzlied | Michel Schwalbé, Berliner Philharmoniker, Karl Böhm | — | |
| 15-9 | Also sprach Zarathustra, Op. 30: IX. Nachtwandlerlied | Berliner Philharmoniker, Karl Böhm | — | |
| 15-10 | Don Juan, op. 20 | Thomas Brandis, Berliner Philharmoniker, Karl Böhm | T-801.916.776-2 | |
| 15-11 | Till Eulenspiegels lustige Streiche, op. 28 | Thomas Brandis, Berliner Philharmoniker, Karl Böhm | — | |
| 16-1 | Tod und Verklärung, op. 24 | — | ||
| 16-2 | Capriccio, op. 85: Andante con moto (Mondscheinmusik) | Gundula Janowitz, Symphonieorchester des Bayerischen Rundfunks, Karl Böhm | — | |
| 16-3 | Capriccio: Letzte Szene “Wo ist mein Bruder?” | Gundula Janowitz, Karl Christian Kohn, Hedwig Bilgram, Rudolf Koeckert, Walter Nothas, Symphonieorchester des Bayerischen Rundfunks, Karl Böhm | — | |
| 16-4 | Capriccio: Letzte Szene “Kein andres, das mir so im Herzen loht” | Gundula Janowitz, Wladimir Haag, Symphonieorchester des Bayerischen Rundfunks, Karl Böhm | — | |
| 16-5 | Capriccio: Letzte Szene “Ihre Liebe schlägt mir entgegen” | Gundula Janowitz, Symphonieorchester des Bayerischen Rundfunks, Karl Böhm | — | |
| 16-6 | Capriccio: Letzte Szene “Du Spiegelbild der verliebten Madeleine” | Gundula Janowitz, Karl Christian Kohn, Hedwig Bilgram, Rudolf Koeckert, Walter Nothas, Symphonieorchester des Bayerischen Rundfunks, Karl Böhm | — | |
| 16-7 | Vier letzte Lieder, AV 150: I. Frühling | Gundula Janowitz, Berliner Philharmoniker, Herbert von Karajan | — | |
| 16-8 | Vier letzte Lieder No. 2: September | Gundula Janowitz, Berliner Philharmoniker, Herbert von Karajan | T-800.001.493-8 | |
| 16-9 | Vier letzte Lieder No. 3: Beim Schlafengehen | Gundula Janowitz, Berliner Philharmoniker, Herbert von Karajan | — | |
| 16-10 | Vier letzte Lieder, AV 150: IV. Im Abendrot | Gundula Janowitz, Berliner Philharmoniker, Herbert von Karajan | — | |
| 17-1 | La bohème: Act I. “Questo Mar Rosso mi ammollisce e assidera” – “Pensier profondo” | — | ||
| 17-2 | La bohème: Act I. “Io resto” | — | ||
| 17-3 | La bohème: Act I. “Non sono in vena!” | — | ||
| 17-4 | La bohème: Act I. “Si sente meglio?” | — | ||
| 17-5 | La Bohème: Atto I. “Che gelida manina!” (Rodolfo) | Jerry Hadley, Orchestra dell’Accademia Nazionale di Santa Cecilia, Leonard Bernstein | — | |
| 17-6 | La bohème: Act I. “Sì. Mi chiamano Mimì” | — | ||
| 17-7 | La bohème: Act I. “Ehi! Rodolfo!” | — | ||
| 17-8 | La bohème: Act I. “O soave fanciulla” | — | ||
| 17-9 | La bohème: Act II. “Arranci, datteri!” | — | ||
| 17-10 | La bohème: Act II. “La commedia è stupenda!” | — | ||
| 17-11 | La bohème: Act II. “Quando men vo” | — | ||
| 17-12 | La bohème: Act II. “Il conto?!” | — | ||
| 17-13 | La bohème: Act III. “Mimì è una civetta” | — | ||
| 17-14 | La bohème: Act III. “Mimì è tanto malata!” | — | ||
| 17-15 | La bohème: Act III. “Mimì di serra è fiore” | — | ||
| 17-16 | La bohème: Act III. “Donde lieta uscì” | — | ||
| 17-17 | La bohème: Act III. “Dunque è propio finita!” | — | ||
| 17-18 | La bohème: Act IV. “Sono andati? Fingevo di dormire” | — | ||
| 17-19 | La bohème: Act IV. “Oh Dio! Mimì!” | — | ||
| 17-20 | La bohème: Act IV. “Che ha detto il medico?” | — | ||
| 18-1 | Tosca: Atto I. “Ah! Finalmente!” | — | ||
| 18-2 | Tosca: Atto I. “Recondita armonia” | — | ||
| 18-3 | Tosca: Atto I. “Mario! Mario! Mario!” | — | ||
| 18-4 | Tosca: Atto I. “Ah, quegli occhi.” — “Qual occhio al mondo può star di paro” | — | ||
| 18-5 | Tosca: Atto I. “Tre sbirri. Una carozza. Presto” — Te Deum | — | ||
| 18-6 | Tosca: Atto II. “Ed or fra noi parliam da buoni amici” | — | ||
| 18-7 | Tosca: Atto II. “Orsù, Tosca, parlate” | — | ||
| 18-8 | Tosca: Atto II. “Nel pozzo, nel giardino!” | — | ||
| 18-9 | Tosca: Atto II. “Vissi d’arte, vissi d’amore” | — | ||
| 18-10 | Tosca: Atto II. “E qual via scegliete?” | — | ||
| 18-11 | Tosca: Atto III. “Mario Cavaradossi?” – “A voi” | — | ||
| 18-12 | Tosca: Atto III. "E lucevan le stelle" | José Carreras, Berliner Philharmoniker, Herbert von Karajan | T-910.067.947-8 | |
| 18-13 | Tosca: Atto III. “O dolci mani” | — | ||
| 18-14 | Tosca: Atto III. “E non giungono” | — | ||
| 18-15 | Tosca: Atto III. “Come è lunga l’attesta!” | — | ||
| 18-16 | Tosca: Atto III. “Presto, su! Mario!” | — | ||
| 18-17 | Eine Alpensinfonie, op. 64: XX. Sonnenuntergang | David Bell, Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-1 | Variations on an Original Theme, op. 36 “Enigma”: Theme (Andante) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-2 | Variations on an Original Theme, op. 36 “Enigma”: I. C.A.E. (L’istesso tempo) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-3 | Variations on an Original Theme, op. 36 “Enigma”: II. H.D.S.-P. (Allegro) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-4 | Variations on an Original Theme, op. 36 “Enigma”: III. R.B.T. (Allegretto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-5 | Variations on an Original Theme, op. 36 “Enigma”: IV. W.M.B. (Allegro di molto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-6 | Variations on an Original Theme, op. 36 “Enigma”: V. R.P.A. (Moderato) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-7 | Variations on an Original Theme, op. 36 “Enigma”: VI. Ysobel (Andantino) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-8 | Variations on an Original Theme, op. 36 “Enigma”: VII. Troyte (Presto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-9 | Variations on an Original Theme, op. 36 “Enigma”: VIII. W.N. (Allegretto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-10 | Variations on an Original Theme, op. 36 “Enigma”: IX. Nimrod (Adagio) | London Symphony Orchestra, Eugen Jochum | T-010.115.427-1 | |
| 19-11 | Variations on an Original Theme, op. 36 “Enigma”: X. Intermezzo: Dorabella (Allegretto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-12 | Variations on an Original Theme, op. 36 “Enigma”: XI. G.R.S. (Allegro di molto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-13 | Variations on an Original Theme, op. 36 “Enigma”: XII. B.G.N. (Andante) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-14 | Variations on an Original Theme, op. 36 “Enigma”: XIII. Romanza *** (Moderato) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-15 | Variations on an Original Theme, op. 36 “Enigma”: XIV. Finale: E.D.U. (Allegro – Presto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-16 | The Planets, op. 32: 1. Mars, the Bringer of War | Boston Symphony Orchestra, William Steinberg | T-923.663.725-5 | |
| 19-17 | The Planets, op. 32: 2. Venus, the Bringer of Peace | Boston Symphony Orchestra, William Steinberg | — | |
| 19-18 | The Planets, op. 32: 3. Mercury, the Winged Messenger | Boston Symphony Orchestra, William Steinberg | — | |
| 19-19 | The Planets, op. 32: 4. Jupiter, the Bringer of Jollity | Boston Symphony Orchestra, William Steinberg | T-101.257.909-6 | |
| 19-20 | The Planets, op. 32: 5. Saturn, the Bringer of Old Age | Boston Symphony Orchestra, William Steinberg | — | |
| 19-21 | The Planets, op. 32: 6. Uranus, the Magician | Boston Symphony Orchestra, William Steinberg | — | |
| 19-22 | The Planets, op. 32: 7. Neptune, the Mystic | Lorna Cooke deVaron, New England Conservatory Chorus, Boston Symphony Orchestra, William Steinberg | — | |
| 20-1 | Piano Concerto no. 3 in D minor, op. 30: I. Allegro ma non tanto | Tamás Vásáry, London Symphony Orchestra, Yuri Ahronovitch | — | |
| 20-2 | Piano Concerto no. 3 in D minor, op. 30: II. Intermezzo: Adagio | Tamás Vásáry, London Symphony Orchestra, Yuri Ahronovitch | — | |
| 20-3 | Piano Concerto no. 3 in D minor, op. 30: III. Finale: Alla breve | Tamás Vásáry, London Symphony Orchestra, Yuri Ahronovitch | — | |
| 20-4 | Symphony no. 4, op. 54: “Le poeme de l’extase” | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Bilder einer Ausstellung: Promenade | Chicago Symphony Orchestra, Carlo Maria Giulini | T-011.301.790-5 |
| Bilder einer Ausstellung: Promenade | Chicago Symphony Orchestra, Carlo Maria Giulini | T-011.301.790-5 |
| Bilder einer Ausstellung: Promenade | Chicago Symphony Orchestra, Carlo Maria Giulini | T-011.301.790-5 |
| Symphonie no. 1 D-dur: II. Kräftig bewegt, doch nicht zu schnell - Trio. Recht gemächlich | Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | T-928.635.616-9 |
| Symphonie no. 1 D-dur: I. Langsam. Schleppend. Wie ein Naturlaut - Im Anfang sehr gemächlich | Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — |
| Symphonie no. 1 D-dur: III. Feierlich und gemessen, ohne zu schleppen | Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — |
| Concerto for Piano and Orchestra no. 1 in B‐flat minor, op. 23: I. Allegro non troppo e molto maestoso – Allegro con spirito | Martha Argerich, Royal Philharmonic Orchestra, Charles Dutoit | T-010.194.845-1 |
| Piano Concerto no. 1 In B Flat Minor, op. 23, TH.55: 2. Andantino semplice - Prestissimo - Tempo I | Martha Argerich, Royal Philharmonic Orchestra, Charles Dutoit | T-072.736.150-3 |
| Concerto for Piano and Orchestra no. 1 in B‐flat minor, op. 23: III. Allegro con fuoco | Martha Argerich, Royal Philharmonic Orchestra, Charles Dutoit | — |
| Concerto for Violin and Orchestra no. 1 in D major, op. 35: I. Allegro moderato | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — |
| Concerto for Violin and Orchestra no. 1 in D major, op. 35: II. Canzonetta. Andante | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — |
| Concerto for Violin and Orchestra no. 1 in D major, op. 35: III. Finale. Allegro vivacissimo | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — |
| Symphony no. 3 in C minor, op. 78 “Organ Symphony”: 1. Adagio – Allegro moderato – Poco adagio | Gaston Litaize, Chicago Symphony Orchestra, Daniel Barenboim | — |
| Symphony no. 3 in C minor, op. 78 “Organ Symphony”: 2. Allegro moderato – Presto – Maestoso – Allegro | Gaston Litaize, Chicago Symphony Orchestra, Daniel Barenboim | — |
| Symphony no. 3 in C minor, op. 78 “Organ Symphony”: III. Maestoso - Allegro | Gaston Litaize, Chicago Symphony Orchestra, Daniel Barenboim | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
028947923039 is a Universal Product Code (UPC) assigned to The History of Classical Music, Part 4: Late Romantic to Modern: From Tchaikovsky to Rachmaninov 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 232 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
028947923039 is the Universal Product Code (UPC barcode) for the release “The History of Classical Music, Part 4: Late Romantic to Modern: From Tchaikovsky to Rachmaninov” 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 232 tracks, each with its own ISRC. Tracks include DEF057000830, DEF057000830, DEF057000830.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Concerto for Piano and Orchestra no. 1 in B‐flat minor, op. 23: II. Andantino semplice | Martha Argerich, Royal Philharmonic Orchestra, Charles Dutoit | — | |
| 2 | Concerto for Piano and Orchestra no. 1 in B‐flat minor, op. 23: II. Andantino semplice | Martha Argerich, Royal Philharmonic Orchestra, Charles Dutoit | — | |
| 3 | Concerto for Piano and Orchestra no. 1 in B‐flat minor, op. 23: II. Andantino semplice | Martha Argerich, Royal Philharmonic Orchestra, Charles Dutoit | — | |
| 4 | Concerto for Violin and Orchestra no. 1 in D major, op. 35: II. Canzonetta. Andante | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — | |
| 5 | Concerto for Violin and Orchestra no. 1 in D major, op. 35: II. Canzonetta. Andante | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — | |
| 6 | Concerto for Violin and Orchestra no. 1 in D major, op. 35: II. Canzonetta. Andante | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — | |
| 2-1 | Der fliegende Holländer: Overtüre | Chor der Bayreuther Festspiele, Orchester der Bayreuther Festspiele, Karl Böhm | T-003.143.988-9 | |
| 2-2 | Lohengrin: Prelude to Act I | — | ||
| 2-3 | Die Meistersinger von Nürnberg: Prelude to Act I | — | ||
| 2-4 | Parsifal: Vorspiel | Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum | T-050.071.427-1 | |
| 2-5 | Parsifal, Act III: Karfreitagszauber | — | ||
| 2-6 | Tannhäuser: Overture | — | ||
| 3-1 | Der Ring des Nibelungen: Das Rheingold, Erste Szene: “Lugt, Schwestern! Die Weckerin lacht in den Grund” | — | ||
| 3-2 | Der Ring des Nibelungen: Das Rheingold, Vierte Szene: Zur Burg führt die Brücke | — | ||
| 3-3 | Der Ring des Nibelungen: Die Walküre, Erster Aufzug: Der Männer Sippe saß hier im Saal” | — | ||
| 3-4 | (Die Walküre) Walkürenritt (Ride of the Valkyries) | Berliner Philharmoniker, Herbert von Karajan | T-101.592.556-9 | |
| 3-5 | Der Ring des Nibelungen: Die Walküre, Dritter Aufzug: Der Augen leuchtendes Paar | — | ||
| 3-6 | Der Ring des Nibelungen: Siegfried, Zweiter Aufzug: “Aber wie sah meine Mutter wohl aus?” (Waldweben) | — | ||
| 3-7 | Der Ring des Nibelungen: Siegfried, Zweiter Aufzug: Nun sing, ich lausche dem Gesang | — | ||
| 3-8 | Der Ring des Nibelungen: Siegfried, Dritter Aufzug: “Heil dir, Sonne!” (Brünnhildes Erwachen) | — | ||
| 3-9 | Der Ring des Nibelungen: Götterdämmerung, Dritter Aufzug: Trauermarsch | — | ||
| 3-10 | Der Ring des Nibelungen: Götterdämmerung, Dritter Aufzug: “Fliegt heim, ihr Raben!”, “Zurück vom Ring!” | — | ||
| 4-1 | Tristan und Isolde: Prelude. Langsam und schmachtend | — | ||
| 4-2 | Tristan und Isolde, Act I: “Frisch weht der Wind der Heimat zu” | — | ||
| 4-3 | Tristan und Isolde, Act I: “Weh, ach wehe! Dies zu dulden” | — | ||
| 4-4 | Tristan und Isolde, Act II: “O sink hernieder, Nacht der Liebe” | — | ||
| 4-5 | Tristan und Isolde, Act II: “Einsam wachend in der Nacht” | — | ||
| 4-6 | Tristan und Isolde, Act II: “Lausch, Geliebter!” | — | ||
| 4-7 | Tristan und Isolde, Act II: “Doch unsre Liebe, heißt sie nicht Tristan und — Isolde?” | — | ||
| 4-8 | Tristan und Isolde, Act II: “So starben wir, um ungetrennt” — “Rette dich, Tristan!” | — | ||
| 4-9 | Tristan und Isolde, Act III: Prelude — Hirtenreigen | — | ||
| 4-10 | Tristan und Isolde, Act III: “O Wonne! Freude!” | — | ||
| 4-11 | Tristan und Isolde: Act III, Scene 3 “Mild und leise wie er lächelt” | Birgit Nilsson, Orchester der Bayreuther Festspiele, Karl Böhm | — | |
| 5-1 | Aida: Preludio | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 5-2 | Aida: Atto I. Romanza: “Se quel guerrier io fossi! … Celeste Aida” (Radamès) | Plácido Domingo, Orchestra of La Scala, Milan, Claudio Abbado | T-900.065.376-9 | |
| 5-3 | Aida, Act I: Alta cagion v'aduna - Su! Del Nilo al sacro lido | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — | |
| 5-4 | Aida: Atto I. Scena: “Ritorna vincitor!” (Aida) | Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 5-5 | Aida: Atto I, scena 2. Finale I “Nume, custode e vindice” (Ramfis, Radamès, Sacerdoti, Sacerdotesse, Sacerdotessa) | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 5-6 | Aida: “Gloria all’Egitto” | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-310.527.191-4 | |
| 5-7 | Aida: Triumphal Scene | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 5-8 | Aida: Ballett | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-010.287.722-4 | |
| 5-9 | Aida: Atto II. “Quest’assisa ch’io vesto vi dica” | — | ||
| 5-10 | Aida: Atto terzo. Romanza: “Qui Radamès verrà! … O patria mia” (Aida) | Katia Ricciarelli, Claudio Abbado, Orchestra del Teatro alla Scala di Milano | T-900.065.376-9 | |
| 5-11 | Aida: Atto III. Duetto: “Ciel, mio padre!” … “Rivedrai le foreste imbalsamate” (Aida, Amonasro) | Romano Gandolfi, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 5-12 | Aida: Atto IV. Scena e duetto: “La fatal pietra sovra me si chiuse” (Radamès, Aida) | Plácido Domingo, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 5-13 | Aida: Atto IV. Finale ultimo: “Immenso Fthà” … “O terra, addio” (coro, Aida, Radamès, Amneris) | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Plácido Domingo, Elena Obraztsova, Katia Ricciarelli, Lucia Valentini Terrani, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 | |
| 6-1 | Rigoletto: Preludio | Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-2 | Rigoletto: Atto I. Ballata: "Questa o quella" | Plácido Domingo, Orchester der Wiener Staatsoper, Vienna Philharmonic Orchestra, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-3 | Rigoletto: Atto I. Scena “Pari siamo!… io la lingua”Rigoletto: Atto I, scena 2. N°4 Aria “Pari siamo!” (Rigoletto) | Piero Cappuccilli, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-4 | Rigoletto: Atto I. Duetto “Figlia!” – “Mio padre!” | Piero Cappuccilli, Ileana Cotrubaș, Wiener Staatsopernchor, Wiener Philharmoniker, Carlo Maria Giulini | — | |
| 6-5 | Rigoletto: Atto I. N°6 Aria "Gualtier Maldè ... Caro nome che il mio cor" | Chor der Wiener Staatsoper, Luigi De Corato, Ileana Cotrubaș, Walter Gullino, Dirk Sagemüller, Wiener Philharmoniker, Carlo Maria Giulini | T-913.242.186-4 | |
| 6-6 | Rigoletto: Atto II. N°8 Scena ed aria "Ella mi fu rapita!" (Duca) | Plácido Domingo, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-7 | Rigoletto: Atto II. N°8 Scena ed aria "Parmi veder le lagrime" (Duca) | Plácido Domingo, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-8 | Rigoletto: Atto II. N°9 Scena ed aria "Povero Rigoletto!" (Marullo, Rigoletto, Borsa, Ceprano, Paggio, Coro) | Dirk Sagemüller, Piero Cappuccilli, Wiener Staatsopernchor, Luigi De Corato, Walter Gullino, Audrey Michael, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-9 | Rigoletto: Atto II. N°9 Scena ed aria "Cortigiani, vil razza dannata" (Rigoletto) | Piero Cappuccilli, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-10 | Rigoletto: Atto II. Duetto “Tutte le feste al tempio” | Piero Cappuccilli, Ileana Cotrubaș, Wiener Staatsopernchor, Wiener Philharmoniker, Carlo Maria Giulini | — | |
| 6-11 | Rigoletto: Atto II. Duetto “Sì, vendetta, tremenda vendetta” | Piero Cappuccilli, Ileana Cotrubaș, Wiener Staatsopernchor, Wiener Philharmoniker, Carlo Maria Giulini | — | |
| 6-12 | Rigoletto: Atto III, scena 1. Canzone: La donna è mobile | Plácido Domingo, Piero Cappuccilli, Nicolaï Ghiaurov, Wiener Philharmoniker, Carlo Maria Giulini | — | |
| 6-13 | Rigoletto: Atto III. N°12 Quartetto "Un dì, se ben rammentomi" (Duca, Gilda, Maddalena, Rigoletto) | Piero Cappuccilli, Ileana Cotrubaș, Plácido Domingo, Elena Obraztsova, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-14 | Rigoletto: Atto III. N°12 Quartetto "Bella figlia dell'amore" (Duca, Maddalena, Gilda, Rigoletto) | Piero Cappuccilli, Ileana Cotrubaș, Plácido Domingo, Elena Obraztsova, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 6-15 | Rigoletto: Atto III. N°14 Scena e duetto finale "V'ho ingannato...colpevole fui" (Gilda, Rigoletto) | Nicolaï Ghiaurov, Piero Cappuccilli, Ileana Cotrubaș, Wiener Philharmoniker, Carlo Maria Giulini | T-001.455.377-5 | |
| 7-1 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-2 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-3 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-4 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-5 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-6 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-7 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-8 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-9 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-10 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-11 | La traviata: Atto II. “Ah, vive sol quel core” | — | ||
| 7-12 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-13 | La traviata: Atto II. “Avrem lieta di maschere la notte” (Flora, Marqués, Doctor) | Giovanni Foiani, Alfredo Giacomotti, Stefania Malagú, Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-14 | La traviata: Atto II. “Noi siamo zingarelle” (Coro, Flora, Marqués) | Wolfgang Baumgart, Chor der Bayerischen Staatsoper, Giovanni Foiani, Alfredo Giacomotti, Stefania Malagú, Bayerisches Staatsorchester, Carlos Kleiber | T-005.003.222-8 | |
| 7-15 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-16 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-17 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-18 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-19 | La traviata: Atto III. “Signora.Che t’accadde?” | — | ||
| 7-20 | La traviata: Atto III. “Parigi, o cara, noi lasceremo” | — | ||
| 7-21 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-22 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 7-23 | La traviata: Preludio | Bayerisches Staatsorchester, Carlos Kleiber | — | |
| 8-1 | Symphony no. 3 in C minor, op. 78 “Organ Symphony”: 1. Adagio – Allegro moderato – Poco adagio | Gaston Litaize, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 8-2 | Symphony no. 3 in C minor, op. 78 “Organ Symphony”: 1. Adagio – Allegro moderato – Poco adagio | Gaston Litaize, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 8-3 | Symphony no. 3 in C minor, op. 78 “Organ Symphony”: 1. Adagio – Allegro moderato – Poco adagio | Gaston Litaize, Chicago Symphony Orchestra, Daniel Barenboim | — | |
| 8-4 | Symphony in D minor: I. Lento – Allegro ma non troppo – Allegro | — | ||
| 8-5 | Symphony in D minor: II. Allegretto | — | ||
| 8-6 | Symphony in D minor: III. Allegro non troppo | — | ||
| 9-1 | Ruslan and Lyudmila, Act I: Overture | — | ||
| 9-2 | Islamey: Presto con fuoco | — | ||
| 9-3 | Prince Igor, Act II: Dance of the Polovtsian Maidens | — | ||
| 9-4 | Prince Igor: Polovtsian Dances | — | ||
| 9-5 | Bilder einer Ausstellung: Promenade | Chicago Symphony Orchestra, Carlo Maria Giulini | T-011.301.790-5 | |
| 9-6 | Bilder einer Ausstellung: 1. Gnomus | Chicago Symphony Orchestra, Carlo Maria Giulini | T-001.438.118-0 | |
| 9-8 | Bilder einer Ausstellung: 2. Il Vecchio Castello | Chicago Symphony Orchestra, Carlo Maria Giulini | T-011.600.131-0 | |
| 9-10 | Bilder einer Ausstellung: 3. Tuileries | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-11 | Bilder einer Ausstellung: 4. Bydlo | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-13 | Bilder einer Ausstellung: 5. Ballet des poussins dans leurs coques | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-14 | Bilder einer Ausstellung: 6. Samuel Goldenberg und Schmuyle | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-15 | Pictures at an Exhibition: XI. Limoges: Le Marché. Allegretto vivo, sempre scherzando | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-16 | Bilder einer Ausstellung: 8. Catacombae. Sepulchrum romanum - | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-17 | Bilder einer Ausstellung: Cum mortuis in lingua mortua | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-18 | Bilder einer Ausstellung: 9. La cabane sur des pattes de poule | Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 9-19 | Pictures at an Exhibition: La Grande Porte de Kiev | Chicago Symphony Orchestra, Carlo Maria Giulini | T-061.792.492-1 | |
| 10-1 | Scheherazade, op. 35: I. Das Meer und Sindbads Schiff. Largo e maestoso – Lento – Allegro non troppo | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 10-2 | Scheherazade, op. 35: II. Die Geschichte vom Prinzen Kalender. Lento – Andantino – Allegro molto – Vivace scherzando – Moderato assai – Allegro molto ed animato | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 10-3 | Scheherazade, op. 35: III. Der junge Prinz und die junge Prinzessin. Andantino quasi allegretto | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 10-4 | Scheherazade, op. 35: IV. Fest in Bagdad. Das Meer. Das Schiff treibt gegen den Magnetberg und zerschellt. Allegro molto – Lento – Vivo – Allegro non troppo e maestoso – Lento, Tempo I | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 10-5 | Capriccio Espagnol, op. 34: I. Alborada | Göteborgs Symfoniker, Neeme Järvi | — | |
| 10-6 | Capriccio Espagnol, op. 34: II. Variazioni | Göteborgs Symfoniker, Neeme Järvi | — | |
| 10-7 | Capriccio Espagnol, op. 34: III. Alborada | Göteborgs Symfoniker, Neeme Järvi | — | |
| 10-8 | Capriccio Espagnol, op. 34: IV. Scena e canto gitano | Göteborgs Symfoniker, Neeme Järvi | — | |
| 10-9 | Capriccio Espagnol, op. 34: V. Fandango asturiano | Göteborgs Symfoniker, Neeme Järvi | — | |
| 11-1 | Symphonie no. 1 D-dur: IV. Stürmisch bewegt | Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | T-900.953.062-5 | |
| 11-5 | Lieder eines fahrenden Gesellen: 1. Wenn mein Schatz Hochzeit macht | Dietrich Fischer-Dieskau, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 11-6 | Lieder eines fahrenden Gesellen: 2. Ging heut Morgen übers Feld | Dietrich Fischer-Dieskau, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 11-7 | Lieder eines fahrenden Gesellen: 3. Ich hab ein glühend Messer | Dietrich Fischer-Dieskau, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 11-8 | Lieder eines fahrenden Gesellen: 4. Die zwei blauen Augen | Dietrich Fischer-Dieskau, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 12-1 | Symphonie Nr. 5 cis-Moll: I. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt | Berliner Philharmoniker, Herbert von Karajan | T-926.359.926-4 | |
| 12-2 | Symphonie Nr. 5 cis-Moll: II. Stürmisch bewegt, mit größter Vehemenz | Berliner Philharmoniker, Herbert von Karajan | — | |
| 12-3 | Symphonie Nr. 5 cis-Moll: III. Scherzo. Kräftig, nicht zu schnell | Berliner Philharmoniker, Herbert von Karajan | — | |
| 12-4 | Symphony no. 5 in C-sharp minor: IV. Adagietto, Sehr langsam | Berliner Philharmoniker, Herbert von Karajan | T-800.652.468-2 | |
| 12-5 | Symphonie Nr. 5 cis‐Moll: V. Rondo-Finale. Allegro – Allegro giocoso. Frisch | Berliner Philharmoniker, Herbert von Karajan | — | |
| 13-1 | Nocturnes - Triptyque symphonique pour orchestre et chœur: I. Nuages: Modéré - Un peu animé | Orchestre de Paris, Daniel Barenboim | — | |
| 13-2 | Nocturnes - Triptyque symphonique pour orchestre et chœur: II. Fêtes: Animé et très rythmé - Modéré mais toujours très rythmé - De plus en plus sonore en serrant le mouvement | Orchestre de Paris, Daniel Barenboim | T-924.579.128-0 | |
| 13-3 | Nocturnes - Triptyque symphonique pour orchestre et chœur: III. Sirènes: Modérément animé (avec chœur de femmes) | Arthur Oldham, Choeur de femmes de orchestre de paris, Chœur de l'Orchestre de Paris, Orchestre de Paris, Daniel Barenboim | T-924.579.128-0 | |
| 13-4 | Prélude à l'après-midi d'un faune: Trés modéré | Michel Debost, Orchestre de Paris, Daniel Barenboim | — | |
| 13-5 | La Mer - Trois esquisses symphoniques: I. De l'aube à midi sur la mer. Trés lent | Orchestre de Paris, Daniel Barenboim | — | |
| 13-6 | La Mer - Trois esquisses symphoniques: II. Jeus de vagues. Allegro - Animé | Orchestre de Paris, Daniel Barenboim | — | |
| 13-7 | La Mer - Trois esquisses symphoniques: III. Dialogue du vent et de la mer. Animé et tumultueux | Orchestre de Paris, Daniel Barenboim | — | |
| 14-1 | Préludes – Book 1, L.117: 3. Le vent dans la plaine | Dino Ciani | — | |
| 14-2 | Préludes – Book 1, L.117: 4. Les sons et les parfums tournent dans l’air du soir | Dino Ciani | — | |
| 14-3 | Préludes – Book 1, L.117: 5. Les collines d’Anacapri | Dino Ciani | — | |
| 14-4 | Préludes, 1er Livre: VII. Ce qu’a vu le vent d’ouest: Animé et tumultueux | Dino Ciani | — | |
| 14-5 | Préludes, 1er Livre: VIII. La fille aux cheveux de lin: Très calme et doucement expressif | Dino Ciani | — | |
| 14-6 | Préludes, 1er Livre: X. La cathédrale engloutie: Profondément calme | Dino Ciani | — | |
| 14-7 | Préludes, 1er Livre: XII. Minstrels: Modéré | Dino Ciani | — | |
| 14-8 | Préludes, 2e Livre: II. Feuilles mortes: Lent et mélancolique | Dino Ciani | — | |
| 14-9 | Préludes, 2e Livre: III. La puerta del vino: Mouvement de Habanera | Dino Ciani | — | |
| 14-10 | Préludes, 2e Livre: VI. «General Lavine» - excentric: Dans le style et le Mouvement d’un Cake-Walk | Dino Ciani | T-902.761.163-8 | |
| 14-11 | Préludes, 2e Livre: VII. La terrasse des audiences du clair de lune: Lent | Dino Ciani | — | |
| 14-12 | Préludes, 2e Livre: XII. Feux d’artifice: Modérément animé | Dino Ciani | — | |
| 14-13 | Suite bergamasque, L.75: 1. Prélude | Tamás Vásáry | — | |
| 14-14 | Suite bergamasque, L.75: 2. Menuet | Tamás Vásáry | — | |
| 14-15 | Suite bergamesque, Clair de lune | Tamás Vásáry | — | |
| 14-16 | Suite bergamasque, L. 75: 4. Passepied | Tamás Vásáry | — | |
| 15-1 | Also sprach Zarathustra, Op. 30: Anfang | Berliner Philharmoniker, Karl Böhm | T-900.798.614-3 | |
| 15-2 | Also sprach Zarathustra: Von den Hinterweltlern | Berliner Philharmoniker, Karl Böhm | — | |
| 15-3 | Also sprach Zarathustra: Von der großen Sehnsucht | Berliner Philharmoniker, Karl Böhm | — | |
| 15-4 | Also sprach Zarathustra: Von den Freuden und Leidenschaften | Berliner Philharmoniker, Karl Böhm | — | |
| 15-5 | Also sprach Zarathustra: Das Grablied | Michel Schwalbé, Berliner Philharmoniker, Karl Böhm | — | |
| 15-6 | Also sprach Zarathustra: Von der Wissenschaft | Berliner Philharmoniker, Karl Böhm | — | |
| 15-7 | Also sprach Zarathustra: Der Genesende | Berliner Philharmoniker, Karl Böhm | — | |
| 15-8 | Also sprach Zarathustra: Das Tanzlied | Michel Schwalbé, Berliner Philharmoniker, Karl Böhm | — | |
| 15-9 | Also sprach Zarathustra, Op. 30: IX. Nachtwandlerlied | Berliner Philharmoniker, Karl Böhm | — | |
| 15-10 | Don Juan, op. 20 | Thomas Brandis, Berliner Philharmoniker, Karl Böhm | T-801.916.776-2 | |
| 15-11 | Till Eulenspiegels lustige Streiche, op. 28 | Thomas Brandis, Berliner Philharmoniker, Karl Böhm | — | |
| 16-1 | Tod und Verklärung, op. 24 | — | ||
| 16-2 | Capriccio, op. 85: Andante con moto (Mondscheinmusik) | Gundula Janowitz, Symphonieorchester des Bayerischen Rundfunks, Karl Böhm | — | |
| 16-3 | Capriccio: Letzte Szene “Wo ist mein Bruder?” | Gundula Janowitz, Karl Christian Kohn, Hedwig Bilgram, Rudolf Koeckert, Walter Nothas, Symphonieorchester des Bayerischen Rundfunks, Karl Böhm | — | |
| 16-4 | Capriccio: Letzte Szene “Kein andres, das mir so im Herzen loht” | Gundula Janowitz, Wladimir Haag, Symphonieorchester des Bayerischen Rundfunks, Karl Böhm | — | |
| 16-5 | Capriccio: Letzte Szene “Ihre Liebe schlägt mir entgegen” | Gundula Janowitz, Symphonieorchester des Bayerischen Rundfunks, Karl Böhm | — | |
| 16-6 | Capriccio: Letzte Szene “Du Spiegelbild der verliebten Madeleine” | Gundula Janowitz, Karl Christian Kohn, Hedwig Bilgram, Rudolf Koeckert, Walter Nothas, Symphonieorchester des Bayerischen Rundfunks, Karl Böhm | — | |
| 16-7 | Vier letzte Lieder, AV 150: I. Frühling | Gundula Janowitz, Berliner Philharmoniker, Herbert von Karajan | — | |
| 16-8 | Vier letzte Lieder No. 2: September | Gundula Janowitz, Berliner Philharmoniker, Herbert von Karajan | T-800.001.493-8 | |
| 16-9 | Vier letzte Lieder No. 3: Beim Schlafengehen | Gundula Janowitz, Berliner Philharmoniker, Herbert von Karajan | — | |
| 16-10 | Vier letzte Lieder, AV 150: IV. Im Abendrot | Gundula Janowitz, Berliner Philharmoniker, Herbert von Karajan | — | |
| 17-1 | La bohème: Act I. “Questo Mar Rosso mi ammollisce e assidera” – “Pensier profondo” | — | ||
| 17-2 | La bohème: Act I. “Io resto” | — | ||
| 17-3 | La bohème: Act I. “Non sono in vena!” | — | ||
| 17-4 | La bohème: Act I. “Si sente meglio?” | — | ||
| 17-5 | La Bohème: Atto I. “Che gelida manina!” (Rodolfo) | Jerry Hadley, Orchestra dell’Accademia Nazionale di Santa Cecilia, Leonard Bernstein | — | |
| 17-6 | La bohème: Act I. “Sì. Mi chiamano Mimì” | — | ||
| 17-7 | La bohème: Act I. “Ehi! Rodolfo!” | — | ||
| 17-8 | La bohème: Act I. “O soave fanciulla” | — | ||
| 17-9 | La bohème: Act II. “Arranci, datteri!” | — | ||
| 17-10 | La bohème: Act II. “La commedia è stupenda!” | — | ||
| 17-11 | La bohème: Act II. “Quando men vo” | — | ||
| 17-12 | La bohème: Act II. “Il conto?!” | — | ||
| 17-13 | La bohème: Act III. “Mimì è una civetta” | — | ||
| 17-14 | La bohème: Act III. “Mimì è tanto malata!” | — | ||
| 17-15 | La bohème: Act III. “Mimì di serra è fiore” | — | ||
| 17-16 | La bohème: Act III. “Donde lieta uscì” | — | ||
| 17-17 | La bohème: Act III. “Dunque è propio finita!” | — | ||
| 17-18 | La bohème: Act IV. “Sono andati? Fingevo di dormire” | — | ||
| 17-19 | La bohème: Act IV. “Oh Dio! Mimì!” | — | ||
| 17-20 | La bohème: Act IV. “Che ha detto il medico?” | — | ||
| 18-1 | Tosca: Atto I. “Ah! Finalmente!” | — | ||
| 18-2 | Tosca: Atto I. “Recondita armonia” | — | ||
| 18-3 | Tosca: Atto I. “Mario! Mario! Mario!” | — | ||
| 18-4 | Tosca: Atto I. “Ah, quegli occhi.” — “Qual occhio al mondo può star di paro” | — | ||
| 18-5 | Tosca: Atto I. “Tre sbirri. Una carozza. Presto” — Te Deum | — | ||
| 18-6 | Tosca: Atto II. “Ed or fra noi parliam da buoni amici” | — | ||
| 18-7 | Tosca: Atto II. “Orsù, Tosca, parlate” | — | ||
| 18-8 | Tosca: Atto II. “Nel pozzo, nel giardino!” | — | ||
| 18-9 | Tosca: Atto II. “Vissi d’arte, vissi d’amore” | — | ||
| 18-10 | Tosca: Atto II. “E qual via scegliete?” | — | ||
| 18-11 | Tosca: Atto III. “Mario Cavaradossi?” – “A voi” | — | ||
| 18-12 | Tosca: Atto III. "E lucevan le stelle" | José Carreras, Berliner Philharmoniker, Herbert von Karajan | T-910.067.947-8 | |
| 18-13 | Tosca: Atto III. “O dolci mani” | — | ||
| 18-14 | Tosca: Atto III. “E non giungono” | — | ||
| 18-15 | Tosca: Atto III. “Come è lunga l’attesta!” | — | ||
| 18-16 | Tosca: Atto III. “Presto, su! Mario!” | — | ||
| 18-17 | Eine Alpensinfonie, op. 64: XX. Sonnenuntergang | David Bell, Berliner Philharmoniker, Herbert von Karajan | — | |
| 19-1 | Variations on an Original Theme, op. 36 “Enigma”: Theme (Andante) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-2 | Variations on an Original Theme, op. 36 “Enigma”: I. C.A.E. (L’istesso tempo) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-3 | Variations on an Original Theme, op. 36 “Enigma”: II. H.D.S.-P. (Allegro) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-4 | Variations on an Original Theme, op. 36 “Enigma”: III. R.B.T. (Allegretto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-5 | Variations on an Original Theme, op. 36 “Enigma”: IV. W.M.B. (Allegro di molto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-6 | Variations on an Original Theme, op. 36 “Enigma”: V. R.P.A. (Moderato) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-7 | Variations on an Original Theme, op. 36 “Enigma”: VI. Ysobel (Andantino) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-8 | Variations on an Original Theme, op. 36 “Enigma”: VII. Troyte (Presto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-9 | Variations on an Original Theme, op. 36 “Enigma”: VIII. W.N. (Allegretto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-10 | Variations on an Original Theme, op. 36 “Enigma”: IX. Nimrod (Adagio) | London Symphony Orchestra, Eugen Jochum | T-010.115.427-1 | |
| 19-11 | Variations on an Original Theme, op. 36 “Enigma”: X. Intermezzo: Dorabella (Allegretto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-12 | Variations on an Original Theme, op. 36 “Enigma”: XI. G.R.S. (Allegro di molto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-13 | Variations on an Original Theme, op. 36 “Enigma”: XII. B.G.N. (Andante) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-14 | Variations on an Original Theme, op. 36 “Enigma”: XIII. Romanza *** (Moderato) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-15 | Variations on an Original Theme, op. 36 “Enigma”: XIV. Finale: E.D.U. (Allegro – Presto) | London Symphony Orchestra, Eugen Jochum | — | |
| 19-16 | The Planets, op. 32: 1. Mars, the Bringer of War | Boston Symphony Orchestra, William Steinberg | T-923.663.725-5 | |
| 19-17 | The Planets, op. 32: 2. Venus, the Bringer of Peace | Boston Symphony Orchestra, William Steinberg | — | |
| 19-18 | The Planets, op. 32: 3. Mercury, the Winged Messenger | Boston Symphony Orchestra, William Steinberg | — | |
| 19-19 | The Planets, op. 32: 4. Jupiter, the Bringer of Jollity | Boston Symphony Orchestra, William Steinberg | T-101.257.909-6 | |
| 19-20 | The Planets, op. 32: 5. Saturn, the Bringer of Old Age | Boston Symphony Orchestra, William Steinberg | — | |
| 19-21 | The Planets, op. 32: 6. Uranus, the Magician | Boston Symphony Orchestra, William Steinberg | — | |
| 19-22 | The Planets, op. 32: 7. Neptune, the Mystic | Lorna Cooke deVaron, New England Conservatory Chorus, Boston Symphony Orchestra, William Steinberg | — | |
| 20-1 | Piano Concerto no. 3 in D minor, op. 30: I. Allegro ma non tanto | Tamás Vásáry, London Symphony Orchestra, Yuri Ahronovitch | — | |
| 20-2 | Piano Concerto no. 3 in D minor, op. 30: II. Intermezzo: Adagio | Tamás Vásáry, London Symphony Orchestra, Yuri Ahronovitch | — | |
| 20-3 | Piano Concerto no. 3 in D minor, op. 30: III. Finale: Alla breve | Tamás Vásáry, London Symphony Orchestra, Yuri Ahronovitch | — | |
| 20-4 | Symphony no. 4, op. 54: “Le poeme de l’extase” | — |
