UPC · Release
Boston Symphony Orchestra
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028947977186 is the Universal Product Code (UPC barcode) for the release “Boston Symphony Orchestra: Complete Recordings on Deutsche Grammophon” by Boston Symphony Orchestra, released 2017-01-01 on Deutsche Grammophon. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 610 tracks, each with its own ISRC. Tracks include DEF057001100, DEF057001101, DEF057001102.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Nocturnes, L 91: 1. Nuages. Modéré - Un peu animé | Boston Symphony Orchestra, Claudio Abbado | — | |
| 2 | Nocturnes, L 91: 2. Fêtes. Animé et très rythmé - Modéré mais toujours très rythmé - De plus en plus sonore et en serrant le mouvement | Boston Symphony Orchestra, Claudio Abbado | — | |
| 3 | Nocturnes, L 91: 3. Sirènes. Modérément animé | New England Conservatory Chorus, Boston Symphony Orchestra, Claudio Abbado | — | |
| 4 | Daphnis et Chloé , M. 57b, Fragments symphoniques (2ᵉ série) : 1. Lever du jour. Lent / 2. Pantomime. Lent - Très lent - Vif - Très lent / 3. Danse générale. Lent - Animé | Lorna Cooke deVaron, New England Conservatory Chorus, Boston Symphony Orchestra, Claudio Abbado | — | |
| 5 | Pavane pour une Infante Défunte | Boston Symphony Orchestra, Claudio Abbado | T-003.013.767-7 | |
| 6 | Le Poème de L'extase, op. 54 | Boston Symphony Orchestra, Claudio Abbado | — | |
| 2-1 | Symphony no. 1 in G minor, op. 13, TH.24: "Winter Reveries": I. Allegro tranquillo | — | ||
| 2-2 | Symphony no. 1 in G minor, op. 13, TH.24: "Winter Reveries": II. Adagio cantabile ma non tanto | — | ||
| 2-3 | Symphony no. 1 in G minor, op. 13, TH.24: "Winter Reveries": III. Scherzo (Allegro scherzando giocoso) | — | ||
| 2-4 | Symphony no. 1 in G minor, op. 13, TH.24: "Winter Reveries": IV. Finale (Andante lugubre - Allegro maestoso) | — | ||
| 3-1 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-2 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-3 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-4 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-5 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-6 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-7 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-8 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-9 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-10 | The Planets, op. 32: 1. Mars, the Bringer of War | Boston Symphony Orchestra, William Steinberg | T-923.663.725-5 | |
| 3-11 | The Planets, op. 32: 2. Venus, the Bringer of Peace | Boston Symphony Orchestra, William Steinberg | — | |
| 3-12 | The Planets, op. 32: 3. Mercury, the Winged Messenger | Boston Symphony Orchestra, William Steinberg | — | |
| 3-13 | The Planets, op. 32: 4. Jupiter, the Bringer of Jollity | Boston Symphony Orchestra, William Steinberg | T-101.257.909-6 | |
| 3-14 | The Planets, op. 32: 5. Saturn, the Bringer of Old Age | Boston Symphony Orchestra, William Steinberg | — | |
| 3-15 | The Planets, op. 32: 6. Uranus, the Magician | Boston Symphony Orchestra, William Steinberg | — | |
| 3-16 | The Planets, op. 32: 7. Neptune, the Mystic | Lorna Cooke deVaron, New England Conservatory Chorus, Boston Symphony Orchestra, William Steinberg | — | |
| 4-1 | Sun-treader: 1.Quarter note= 69 Poco accelerando (bar/Takt/mesure 1) | — | ||
| 4-2 | Sun-treader: II. Tempo eighth note = 126 (bar 51a) | — | ||
| 4-3 | Sun-treader: III. Lento (bar 119) | — | ||
| 4-4 | Sun-treader: IV. A tempo (bar 138a) | — | ||
| 4-5 | Sun-treader: V. Quarter note = 69 Poco accelerando (bar 169) | — | ||
| 4-6 | Sun-treader: VI. Serene, but with great expression (bar 191) | — | ||
| 4-7 | Concerto For Violin And Orchestra: I. Allegro risoluto: Cadenza | — | ||
| 4-8 | Concerto For Violin And Orchestra: II. Introduzione. Adagio: Allegretto | — | ||
| 4-9 | Symphony no. 2: I. Moderato | — | ||
| 4-10 | Symphony no. 2: II. Adagio | — | ||
| 4-11 | Symphony no. 2: III. Allegro | — | ||
| 5-1 | Images pour orchestre: I. Gigues | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 5-2 | Images pour orchestre: IIc. Ibéria - Le matin d’un jour de fête | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 5-3 | Images pour orchestre: IIc. Ibéria - Le matin d’un jour de fête | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 5-4 | Images pour orchestre: IIc. Ibéria - Le matin d’un jour de fête | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 5-5 | Images pour orchestre: III. Rondes de printemps | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 5-6 | Prélude à l'après-midi d'un faune | Doriot Anthony Dwyer, Orchestre Symphonique de Boston, Michael Tilson Thomas | — | |
| 5-7 | Romeo and Juliet, TH 42: Andante non tanto quasi Moderato: Allegro giusto - Moderato assai | — | ||
| 6-1 | Má vlast: I. Vyšehrad | Boston Symphony Orchestra, Rafael Kubelík | T-902.852.943-3 | |
| 6-2 | Má vlast: II. Vltava, JB 1:112/2 | Boston Symphony Orchestra, Rafael Kubelík | T-801.557.926-8 | |
| 6-3 | Má vlast: III. Šárka | Boston Symphony Orchestra, Rafael Kubelík | T-313.215.864-2 | |
| 6-4 | Má vlast: IV. Z českých luhů a hájů, JB 1:112/4 | Boston Symphony Orchestra, Rafael Kubelík | T-801.557.926-8 | |
| 6-5 | Má vlast: V. Tábor | Boston Symphony Orchestra, Rafael Kubelík | T-902.852.943-3 | |
| 6-6 | Má vlast: VI. Blaník | Boston Symphony Orchestra, Rafael Kubelík | T-801.557.926-8 | |
| 7-1 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: I. Introduction | — | ||
| 7-2 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: II. Les augures printaniers: Danses des adolescentes | — | ||
| 7-3 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: III. Jeu du rapt | — | ||
| 7-4 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: IV. Rondes printanières | — | ||
| 7-5 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: V. Jeux des cités | — | ||
| 7-6 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: VI. Cortège du sage: Le sage | — | ||
| 7-7 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: 7b. Dance of the Earth | — | ||
| 7-8 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: VII. Danse de la terre | — | ||
| 7-9 | Le Sacre du Printemps, Pt 2: Le Sacrifice: I. Introduction | — | ||
| 7-10 | Le Sacre du Printemps, Pt 2: Le Sacrifice: II. Cercles mysteriéux des adolescentes | — | ||
| 7-11 | Le Sacre du Printemps, Pt 2: Le Sacrifice: III. Glorification d'élue | — | ||
| 7-12 | Le Sacre du Printemps, Pt 2: Le Sacrifice: IV. Évocation des ancêtres | — | ||
| 7-13 | Le Sacre du Printemps, Pt 2: Le Sacrifice: V. Action rituelle des ancêtres | — | ||
| 7-14 | Le Sacre du Printemps, Pt 2: Le Sacrifice: VI. Danse sacrale: l'élue | — | ||
| 7-15 | Le Roi des étoiles: Molto sostenuto-Maestoso e tranquillo-Tempo primo | — | ||
| 7-16 | Symphonie "Mathis der Maler": I. Engelkonzert | — | ||
| 7-17 | Symphonie "Mathis der Maler": II. Grablegung | — | ||
| 7-18 | Symphonie "Mathis der Maler": III. Versuchung des heiligen Antonius | — | ||
| 7-19 | Konzertmusik Für Streichorchester Und Blechbläser, op. 50: Part 1 | — | ||
| 7-20 | Konzertmusik Für Streichorchester Und Blechbläser, op. 50: Part 2 | — | ||
| 8-1 | Symphony no. 41 in C major, K. 551: "Jupiter": I. Allegro vivace | — | ||
| 8-2 | Symphony no. 41 in C major, K. 551: "Jupiter": II. Andante cantabile | — | ||
| 8-3 | Symphony no. 41 in C major, K. 551: "Jupiter": III. Menuetto (Allegretto) | — | ||
| 8-4 | Symphony no. 41 in C major, K. 551: "Jupiter": IV. Molto allegro | — | ||
| 8-5 | Symphonie Nr. 8 h-moll, D 759 "Unvollendete": 2. Andante con moto | Boston Symphony Orchestra, Eugen Jochum | — | |
| 8-6 | Symphonie Nr. 8 h-moll, D 759 "Unvollendete": 2. Andante con moto | Boston Symphony Orchestra, Eugen Jochum | — | |
| 9-1 | Symphonie fantastique, op. 14 : I. Rêveries, passions | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 9-2 | Symphonie fantastique, op. 14 : II. Un bal | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 9-3 | Symphonie fantastique, op. 14 : III. Scène aux champs | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 9-4 | Symphonie fantastique, op. 14 : IV. Marche au supplice | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 9-5 | Symphonie fantastique, op. 14 : V. Songe d’une nuit du sabbat | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 10-1 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Boston Symphony Orchestra, Rafael Kubelík | — | |
| 10-2 | Symphony no. 5 in C minor, op. 67: II. Andante con moto | Boston Symphony Orchestra, Rafael Kubelík | — | |
| 10-3 | Symphony no. 5 in C minor, op. 67: III. Allegro | Boston Symphony Orchestra, Rafael Kubelík | — | |
| 10-4 | Symphony no. 5 in C minor, op. 67: IV. Allegro | Boston Symphony Orchestra, Rafael Kubelík | T-914.876.369-3 | |
| 10-5 | Piano Concerto no. 5 in E-Flat major, op. 73 "Emperor": I. Allegro | — | ||
| 10-6 | Piano Concerto no. 5 in E-Flat major, op. 73 "Emperor": II. Adagio un poco mosso | — | ||
| 10-7 | Piano Concerto no. 5 in E-Flat major, op. 73 "Emperor": III. Rondo (Allegro) | — | ||
| 11-1 | La Damnation de Faust, op. 24, H 111, Pt. 1: Scène I. "Le vieil hiver a fait place au printemps" | — | ||
| 11-2 | La Damnation de Faust, op. 24, H 111, Pt. 1: Ronde des Paysans. "Les bergers quittent": Scène II. "Mais d'un éclat guerrier" | — | ||
| 11-3 | La Damnation de Faust, op. 24, H 111, Pt. 1: Marche hongroise | — | ||
| 11-4 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène III. "Sans regrets j'ai quitté les riantes campagnes" | — | ||
| 11-5 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chant de la fête de Pâques. "Christ vient de ressusciter!" | — | ||
| 11-6 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène IV. "O pure émotion!" | — | ||
| 11-7 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène V. Choeur de buveurs. "A boire encor!" | — | ||
| 11-8 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Brander. "Certain rat, dans une cuisine" | — | ||
| 11-9 | La Damnation de Faust, op. 24, H 111, Pt. 2: Fugue sur le thème de la chanson. "Amen" | — | ||
| 11-10 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Méphistophélès. "Une puce gentille" | — | ||
| 11-11 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VI. Air de Méphistophélès. "Voici des roses" | — | ||
| 11-12 | La Damnation de Faust, op. 24, H 111, Pt. 2: Songe de Faust. "Dors! heureux Faust" | — | ||
| 11-13 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VII. "Margarita!" | — | ||
| 11-14 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeurs de Soldats et Chanson d'Etudiants. "Villes entourées": "Jam nox stellata velamina pandit" | — | ||
| 12-1 | La Damnation de Faust, op. 24, H 111, Pt. 3: (Prélude: La retraite) | — | ||
| 12-2 | La Damnation de Faust, op. 24, H 111, Pt. 3: "Merci, doux crépuscule!": "Je l'entends!" (Faust / Méphistophélès, Faust) | — | ||
| 12-3 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène X. "Que l'air est étouffant" | — | ||
| 12-4 | La Damnation de Faust, op. 24, H 111, Pt. 3: Le roi de Thulé (Chanson gothique). "Autrefois un roi de Thulé" | — | ||
| 12-5 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1I. Evocation. "Esprits des flammes inconstantes" | — | ||
| 12-6 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1II. "Maintenant chantons à cette belle" | — | ||
| 12-7 | La Damnation de Faust, op. 24, H 111, Pt. 3: Sérénade de Méphistophélès. "Devant la maison" | — | ||
| 12-8 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1III. "Grands dieux!" | — | ||
| 12-9 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1IV. "Allons, il est trop tard!" | — | ||
| 12-10 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1V. Romance. "D'amour l'ardente flamme" | — | ||
| 12-11 | La Damnation de Faust, op. 24, H 111, Pt. 4: "Au son des trompettes" | — | ||
| 12-12 | La Damnation de Faust: Invocation à la Nature | Stuart Burrows, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 12-13 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VII. Récitatif et Chasse. "A la voûte azurée" | — | ||
| 12-14 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VIII. La course à l'abîme. "Dans mon choeur retentit sa voix" | — | ||
| 12-15 | La Damnation de Faust, op. 24, H 111, Pt. 4: "Has! Irimirukarabrao! Has!": "Alors, l'Enfers se tut" (Choeur, Méphistophélès / Une Voix, Choeur) | — | ||
| 12-16 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 2I. Le Ciel. "Laus! Laus!": Apothéose de Marguerite. "Remonte au ciel, âme naïve" | — | ||
| 13-1 | Boléro | Boston Symphony Orchestra, Seiji Ozawa | T-003.006.377-4 | |
| 13-2 | Miroirs, M.43, Orch. Ravel: III. Une barque sur l'océan | — | ||
| 13-3 | Menuet antique: for Orchestra | — | ||
| 13-4 | Alborada del gracioso | Boston Symphony Orchestra, Seiji Ozawa | T-304.229.137-8 | |
| 13-5 | Pavane pour une infante défunte, version pour orchestre | Charles Kavaloski, Orchestre Symphonique de Boston, Seiji Ozawa | T-003.013.767-7 | |
| 13-6 | La Valse | Boston Symphony Orchestra, Seiji Ozawa | T-305.194.234-4 | |
| 14-1 | Le Tombeau de Couperin, M. 68, Orchestral version: I. Prélude | — | ||
| 14-2 | Le Tombeau de Couperin, M. 68, Orchestral version: II. Forlane | — | ||
| 14-3 | Le Tombeau de Couperin, M. 68, Orchestral version: III. Menuet | — | ||
| 14-4 | Le Tombeau de Couperin, M. 68, Orchestral version: IV. Rigaudon | — | ||
| 14-5 | Ma mère l'Oye, M. 60, Orchestral version: Prélude | — | ||
| 14-6 | Ma mère l'Oye, M. 60, Orchestral version: Danse du rouet et scène: Interlude | — | ||
| 14-7 | Ma mère l'Oye, M. 60, Orchestral version: Pavane de la Belle au bois dormant | — | ||
| 14-8 | Ma mère l'Oye, M. 60, Orchestral version: Les entretiens de la Belle et de la Bête | — | ||
| 14-9 | Ma mère l'Oye, M. 60, Orchestral version: Petit Poucet | — | ||
| 14-10 | Ma mère l'oye: VI. 5e tableau: Laideronnette, impératrice des pagodes | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 14-11 | Ma mère l'oye: Vii. Apothéose: Le jardin féerique | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 14-12 | Rapsodie espagnole: I. Prélude à la nuit. Très modéré | Boston Symphony Orchestra, Seiji Ozawa | T-003.015.127-9 | |
| 14-13 | Rapsodie espagnole: II. Malagueña. Assez vif | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 14-14 | Rapsodie espagnole: III. Habanera. Assez lent et d'un rythme las | Boston Symphony Orchestra, Seiji Ozawa | T-003.015.127-9 | |
| 14-15 | Rapsodie espagnole: IV. Feria. Assez animé | Boston Symphony Orchestra, Seiji Ozawa | T-305.199.487-3 | |
| 15-1 | Daphnis et Chloé, M. 57, Première partie: Introduction: Lent - Trè modéré | — | ||
| 15-2 | Daphnis et Chloé, M. 57, Première partie: Danse religieuse: Modéré | — | ||
| 15-3 | Daphnis et Chloé, M. 57, Première partie: Scène: Un peu plus lent | — | ||
| 15-4 | Daphnis et Chloé, M. 57, Première partie: Scène: Les jeunes filles dansent - Vif | — | ||
| 15-5 | Daphnis et Chloé, M. 57, Première partie: Scène: Les jeunes filles dansent - Vif | — | ||
| 15-6 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse générale | — | ||
| 15-7 | Daphnis et Chloé, M. 57, Première partie: Scène: Vif - Plus modéré - Très modéré - Pesant | — | ||
| 15-8 | Daphnis et Chloé, M. 57, Première partie: Danse légère et gracieuse de Daphnis: Assez lent - Animé - Vif | — | ||
| 15-9 | Daphnis et Chloé, M. 57, Première partie: Scène: Lent - Moins lent - Très libre | — | ||
| 15-10 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse de Lyceion - Scène (Les pirates) | — | ||
| 15-11 | Daphnis et Chloé, M. 57, Première partie: Scène: Modérément animé - Très animé - Lent - Très agité | — | ||
| 15-12 | Daphnis et Chloé, M. 57, Première partie: Scène: Modéré - Plus lent | — | ||
| 15-13 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse lente et mystérieuse | — | ||
| 15-14 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Même mouvement | — | ||
| 15-15 | Daphnis et Chloé, M. 57, Deuxième partie: Danse guerrière | — | ||
| 15-16 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Un peu moins animé | — | ||
| 15-17 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Danse suppliante de Chloé | — | ||
| 15-18 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Assez animé | — | ||
| 15-19 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Lent - Plus animé | — | ||
| 15-20 | Daphnis et Chloé, M. 57, Troisième partie: Lever du jour: Scène | — | ||
| 15-21 | Daphnis et Chloé, M. 57, Troisième partie: Daphnis et Chloé miment l'aventure de Pan et Syrinx | — | ||
| 15-22 | Daphnis et Chloé, M. 57, Troisième partie: Scène: Très lent | — | ||
| 15-23 | Daphnis et Chloé, M. 57, Troisième partie: Scène: Lent - Animé - Lent - Animé | — | ||
| 15-24 | Daphnis et Chloé, M. 57, Troisième partie: Danse générale | — | ||
| 15-25 | Valses nobles et sentimentales: I. Modéré | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-26 | Valses nobles et sentimentales: II. Assez lent | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-27 | Valses nobles et sentimentales: III. Modéré | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-28 | Valses nobles et sentimentales: IV. Assez animé | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-29 | Valses nobles et sentimentales: V. Presque lent | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-30 | Valses nobles et sentimentales: VI. Assez vif | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-31 | Valses nobles et sentimentales: VII. Moins vif | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-32 | Valses Nobles et Sentimentales: VIII. Epilogue: Lent | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 16-1 | The Miraculous Mandarin, BB 82, op. 19 (Sz.73): Suite | — | ||
| 16-2 | Concerto For Orchestra, BB 123, Sz.116: I. Introduzione (Andante non troppo: Allegro vivace) | — | ||
| 16-3 | Concerto For Orchestra, BB 123, Sz.116: II. Giuoco della coppie (Allegretto scherzando) | — | ||
| 16-4 | Concerto For Orchestra, BB 123, Sz.116: III. Elegia (Andante, non troppo) | — | ||
| 16-5 | Concerto For Orchestra, BB 123, Sz.116: IV. Intermezzo interrotto (Allegretto) | — | ||
| 16-6 | Concerto For Orchestra, BB 123, Sz.116: V. Finale (Pesante: Presto) | — | ||
| 17-1 | Chant du ménéstrel, op. 71 | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 17-2 | Cello Concerto no. 2 in G major, op. 126: I. Largo | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | T-005.005.728-7 | |
| 17-3 | Cello Concerto no. 2 in G major, op. 126: II. Allegretto | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 17-4 | Cello Concerto no. 2 in G major, op. 126: III. Allegretto | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | T-902.717.414-7 | |
| 17-5 | El sombrero de tres picos: I. Introducción | Teresa Berganza, Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-6 | El sombrero de tres picos: II. Atardecer | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-7 | El sombrero de tres picos: III. Danza de la molinera (Fandango) | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-8 | El sombrero de tres picos: IV. Las uvas | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-9 | El sombrero de tres picos: V. Danza del los vecinos (Seguidillas) | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-10 | El sombrero de tres picos: VI. Danza del molinero (Farruca) | Teresa Berganza, Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-11 | El sombrero de tres picos: VII. Danza del corregidor | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-12 | El sombrero de tres picos: VIII. Danza final (Jota) | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 18-1 | Roméo et Juliette, op. 17, H.79, Part 1: Introduction | — | ||
| 18-2 | Roméo et Juliette, op. 17, H.79, Part 1: Prologue: "D'anciennes haines endormies" | — | ||
| 18-3 | Roméo et Juliette, op. 17, H.79, Part 1: Strophe 1: "Premiers transports que nul n'oublie" | — | ||
| 18-4 | Roméo et Juliette, op. 17, H.79, Part 1: Récitatif et Scherzetto: "Bientôt de Roméo": "Mab! la messagère" - "Bientôt la mort est souveraine" | — | ||
| 18-5 | Roméo et Juliette, op. 17, H.79, Part 2: Roméo seul: Tristesse - Concert et bal. | — | ||
| 18-6 | Roméo et Juliette, op. 17, H.79, Part 3: "Ohé! Capulets": Scène d'amour | — | ||
| 19-1 | Roméo et Juliette, op. 17, H.79, Part 4: Scherzo. La Reine Mab ou la Fée des songes | — | ||
| 19-2 | Roméo et Juliette, op. 17, H.79, Part 5: Convoi funebre "Jetez des fleurs pour la vierge expirée" | — | ||
| 19-3 | Roméo et Juliette, op. 17, H.79, Part 6: Romeo au tombeau des Capulets | — | ||
| 19-4 | Roméo et Juliette, op. 17, H.79, Part 4: Invocation: Réveil de Juliette | — | ||
| 19-5 | Roméo et Juliette, op. 17, H.79, Part 4: Joie délirante, désespoir "Dernières angoisses et mort" | — | ||
| 19-6 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Quoi! Roméo de retour! Roméo" | — | ||
| 19-7 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Pauvres enfants que je pleure" | — | ||
| 19-8 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Mais notre sang rougit leur glaive" | — | ||
| 19-9 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Jurez donc, par l'auguste symbole" | — | ||
| 20-1 | Three Places in New England: I. The "St. Gaudens" in Boston Common (Col. Shaw and his Colored Regiment) | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 20-2 | Three Places in New England: II. Putnam’s Camp, Redding, Connecticut | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 20-3 | Three Places in New England: III. The Housatonic at Stockbridge | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 20-4 | Symphony no. 4: I. Prelude: Maestoso | Boston Symphony Orchestra, Seiji Ozawa | T-070.160.313-5 | |
| 20-5 | Symphony no. 4: II. Allegretto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-6 | Symphony no. 4: III. Fugue: Andante moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-7 | Symphony no. 4: IV. Very slowly – Largo maestoso | Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-8 | Central Park in the Dark | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 21-1 | Symphony no. 5 in E minor, op. 64, TH.29: I. Andante: Allegro con anima | — | ||
| 21-2 | Symphony no. 5 in E minor, op. 64, TH.29: II. Andante cantabile, con alcuna licenza: Moderato con anima | — | ||
| 21-3 | Symphony no. 5 in E minor, op. 64, TH.29: III. Valse (Allegro moderato) | — | ||
| 21-4 | Symphony no. 5 in E minor, op. 64, TH.29: IV. Finale (Andante maestoso: Allegro vivace) | — | ||
| 22-1 | Symphony no. 1 in C minor, op. 68: I. Un poco sostenuto: Allegro - Meno allegro | — | ||
| 22-2 | Symphony no. 1 in C minor, op. 68: II. Andante sostenuto | — | ||
| 22-3 | Symphony no. 1 in C minor, op. 68: III. Un poco allegretto e grazioso | — | ||
| 22-4 | Symphony no. 1 in C minor, op. 68: IV. Adagio: Piu andante - Allegro non troppo, ma con brio - Piu allegro | — | ||
| 23-1 | Pini di Roma: I. I pini di Villa Borghese | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-2 | Pini di Roma: II. Pini presso una catacomba | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-3 | Pini di Roma: III. I pini del Gianicolo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-4 | Pini di Roma: IV. I pini della Via Appia | Boston Symphony Orchestra, Seiji Ozawa | T-333.047.149-9 | |
| 23-5 | Feste romane: I. Circenses | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-6 | Feste romane: II. Il giubileo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-7 | Feste romane: III. L'ottobrata | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-8 | Feste romane: IV. La befana | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-9 | Fontane di Roma: I. La fontana di Valle Giulia all'alba | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 23-10 | Fontane di Roma: II. La fontana del Tritone al mattino | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 23-11 | Fontane di Roma: III. La fontana di Trevi al meriggio | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 23-12 | Fontane di Roma: IV. La fontana di Villa Medici al tramonto | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 24-1 | Antiche danze ed arie, suite I: Simone Molinaro: Balletto "Il Conte Orlando" (1599) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-2 | Antiche danze ed arie, suite I: Vincenzo Galilei: Gagliarda (1598) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-3 | Antiche danze ed arie, suite I: Anonymus: Villanella | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-4 | Antiche danze ed arie, suite I: Anonymus: Passo mezzo a mascherada | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-5 | Antiche danze ed arie, suite II: Fabrizio Caroso: Laura soave (1581) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-6 | Antiche danze ed arie, suite II: Jean-Baptiste Besard: Danza rustica (1617) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-7 | Antiche danze ed arie, suite II: Anonymus: Campanae parisienses | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-8 | Antiche danze ed arie, suite II: Bernardo Gianoncelli: Bergamasca (1650) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-9 | Antiche danze ed arie, suite III: Anonymus: Italiana | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-10 | Antiche danze ed arie, suite III: Jean-Baptiste Besard: Aria di corte (1617) | Boston Symphony Orchestra, Seiji Ozawa | T-312.743.187-8 | |
| 24-11 | Antiche danze ed arie, suite III: Anonymus: Siciliana | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-12 | Antiche danze ed arie, suite III: Lodovico Roncalli: Passacaglia (1692) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-1 | Eine Faust-Symphonie: I. Faust | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 25-2 | Eine Faust-Symphonie: II. Gretchen | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 25-3 | Eine Faust-Symphonie: III. Mephistopheles / Schlußchor "Alles Vergängliche ist nur ein Gleichnis" | Boston Symphony Orchestra, Tanglewood Festival Chorus, Leonard Bernstein, Kenneth Riegel | — | |
| 26-1 | Scheherazade, op. 35: I. Das Meer und Sindbads Schiff. Largo e maestoso – Lento – Allegro non troppo | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 26-2 | 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 | — | |
| 26-3 | Scheherazade, op. 35: III. Der junge Prinz und die junge Prinzessin. Andantino quasi allegretto | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 26-4 | 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 | — | |
| 26-5 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): I. Andante tranquillo | — | ||
| 26-6 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): II. Allegro | — | ||
| 26-7 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): III. Adagio | — | ||
| 26-8 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): IV. Allegro molto | — | ||
| 27-1 | Symphonie Nr. 1 D-dur: 4. Stürmisch bewegt | Boston Symphony Orchestra, Seiji Ozawa | T-900.953.062-5 | |
| 27-2 | Symphonie Nr. 1 D-dur: Blumine. Andante allegretto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 28-1 | Violinkonzert "Dem Andenken eines Engels": I. Andante - Allegretto | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | T-070.160.313-5 | |
| 28-2 | Violinkonzert "Dem Andenken eines Engels": II. Allegro - Adagio - (Coda) | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 28-3 | Violin Concerto in D major: I. Toccata | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 28-4 | Violin Concerto in D major: II. Aria I | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 28-5 | Violin Concerto in D major: III. Aria II | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 28-6 | Violin Concerto in D major: IV. Capriccio | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-1 | Swan Lake, op. 20: Introduction. Moderato assai | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 29-2 | Swan Lake, op. 20: Act I: no. 1: Scène. Allegro giusto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-3 | Swan Lake, op. 20: Act I: no. 2: Valse. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-4 | Swan Lake, op. 20: Act I: no. 3: Scène. Allegro moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-5 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: I. Intrada. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-6 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: II. Andante sostenuto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-7 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: III. Allegro simplice - Presto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-8 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: IV. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-9 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: V. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-10 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: VI. Coda. Allegro vivace | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-11 | Swan Lake, op. 20: Act I: no. 5: Pas de deux: I. Tempo di valse ma non troppo vivo, quasi moderato - II. Andante - Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-12 | Swan Lake, op. 20: Act I: no. 5: Pas de deux: III. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-13 | Swan Lake, op. 20: Act I: no. 5: Pas de deux: IV. Coda. Allegro molto vivace | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-14 | Swan Lake, op. 20: Act I: no. 6: Pas d'action. Andantino quasi moderato - Allegro / no. 7: Sujet | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-15 | Swan Lake, op. 20: Act I: no. 8: Danse des coupes. Tempo di polacca | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-16 | Swan Lake, op. 20: Act I: no. 9: Finale. Sujet. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-010.437.719-6 | |
| 29-17 | Swan Lake, op. 20: Act II: no. 10: Scène. Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-18 | Swan Lake, op. 20: Act II: no. 11: Scène. Allegro moderato - Moderato - Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-19 | Swan Lake, op. 20: Act II: no. 12: Scène. Allegro - Moderato assai quasi andante | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-20 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: I. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-21 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: II. Moderato assai | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-22 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: III. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-23 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: IV. Allegro moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-1 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: V. Pas d'action. Andante - Andante non troppo - Tempo I - Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-2 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: VI. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-3 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: VII. Coda. Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-4 | Swan Lake, op. 20: Act II: no. 14: Scène. Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-5 | Swan Lake, op. 20: Act III: no. 15: Allegro giusto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-6 | Swan Lake, op. 20: Act III: no. 16: Danses du corps de ballet et des nains. Moderato assai - Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-7 | Swan Lake, op. 20: Act III: no. 17: Scène. Sortie des invités et valse. Allegro - Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-8 | Swan Lake, op. 20: Act III: no. 18: Scène. Allegro - Allegro giusto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-9 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Intrada. Moderato assai | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-10 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Variation I. Allegro - Variation II. Andante con moto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-11 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Variation III. Moderato - Variation IV. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-12 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Variation V. Moderato - Allegro simplice - Coda. Allegro molto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-13 | Swan Lake, op. 20: Act III: no. 20: Danse hongroise. Czardas. Moderato assai - Allegro moderato - Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-900.160.317-4 | |
| 30-14 | Swan Lake, op. 20: Act III: no. 20a: Danse russe. Moderato - Andante simplice - Allegro vivo - Presto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-15 | Swan Lake, op. 20: Act III: no. 21: Danse espagnole. Allegro non troppo (Tempo di bolero) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-16 | Swan Lake, op. 20: Act III: no. 22: Danse napolitaine. Allegro moderato - Andantino quasi moderato - Presto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-17 | Swan Lake, op. 20: Act III: no. 23: Mazurka. Tempo di mazurka | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-18 | Swan Lake, op. 20: Act III: no. 24: Scène. Allegro - Valse - Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-19 | Swan Lake, op. 20: Act IV: no. 25: Entr'acte. Moderato - No. 26: Scène. Allegro non troppo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-20 | Swan Lake, op. 20: Act IV: no. 27: Danses des petits cygnes. Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-21 | Swan Lake, op. 20: Act IV: no. 28: Scène. Allegro agitato - Molto meno mosso - Allegro vivace | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-22 | Swan Lake, op. 20: Act IV: no. 29: Scène finale. Andante - Allegro agitato - Alla breve. Moderato e maestoso - Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 31-1 | Clarinet Concerto in A major, K. 622: I. Allegro | — | ||
| 31-2 | Clarinet Concerto in A major, K. 622: II. Adagio | — | ||
| 31-3 | Clarinet Concerto in A major, K. 622: III. Rondo (Allegro) | — | ||
| 31-4 | Bassoon Concerto in B-Flat major, K. 191, Cadenza: Walter Guetter: I. Allegro | — | ||
| 31-5 | Bassoon Concerto in B-Flat major, K. 191, Cadenza: Walter Guetter: II. Andante ma Adagio | — | ||
| 31-6 | Bassoon Concerto in B-Flat major, K. 191, Cadenza: Walter Guetter: III. Rondo. Tempo di Menuetto | — | ||
| 31-7 | Quatrain | Boston Symphony Orchestra, Seiji Ozawa, TASHI | — | |
| 31-8 | A Flock Descends Into the Pentagonal Garden | Boston Symphony Orchestra, Seiji Ozawa, TASHI | T-901.136.700-3 | |
| 32-1 | Pelléas et Mélisande, op. 80: I. Prélude: Quasi adagio | Boston Symphony Orchestra, Seiji Ozawa | T-004.021.527-7 | |
| 32-2 | Pelléas et Mélisande, op. 80: II. Fileuse: Andantino quasi allegretto | Boston Symphony Orchestra, Seiji Ozawa | T-004.021.527-7 | |
| 32-3 | Pelléas et Mélisande, op. 80: III. Chanson de Mélisande | Lorraine Hunt, Boston Symphony Orchestra, Seiji Ozawa | T-003.018.951-5 | |
| 32-4 | Pelléas et Mélisande, op. 80: IV. Sicilienne: Allegretto molto moderato | Boston Symphony Orchestra, Seiji Ozawa | T-004.021.527-7 | |
| 32-5 | Pelléas et Mélisande, op. 80: V. La Mort de Mélisande: Molto adagio | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-6 | Après un rêve, op. 7 no. 1 | Jules Eskin, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-7 | Pavane, op. 50 | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-909.340.218-7 | |
| 32-8 | Élégie, op. 24 | Jules Eskin, Boston Symphony Orchestra, Seiji Ozawa | T-802.189.927-5 | |
| 32-9 | Dolly Suite, I. Berceuse: Allegretto moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-10 | Dolly Suite, II. Mi-a-ou: Allegro vivo-Più lento-Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-11 | Dolly Suite, III. Le jardin de Dolly: Andantino | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-12 | Dolly Suite, IV. Kitty-Valse: Tempo di Valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-13 | Dolly Suite, V. Tendresse: Andante | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-14 | Dolly Suite, VI. Le Pas Espagnol: Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 33-1 | Romeo & Juliet, op. 64: Act I. No. 1 Introduction. Andante assai | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-2 | Romeo & Juliet, op. 64: Act I, Scene I. No. 2 Romeo (reflective). Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-3 | Romeo & Juliet, op. 64: Act I, Scene I. No. 3 The street awakens. Allegretto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-4 | Romeo & Juliet, op. 64: Act I, Scene I. No. 4 Morning dance. Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-5 | Romeo & Juliet, op. 64: Act I, Scene I. No. 5 The quarrel. Allegro brusco | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-6 | Romeo & Juliet, op. 64: Act I, Scene I. No. 6 The fight. Presto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-7 | Romeo & Juliet, op. 64: Act I, Scene I. No. 7 The Prince’s decree. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-8 | Romeo & Juliet, op. 64: Act I. Scene I. No. 8 Interlude. Andante pomposo (L’istesso tempo) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-9 | Romeo & Juliet, op. 64: Act I, Scene II. No. 9 Preparations for the ball (Juliet and the Nurse). Andante assai – Scherzando | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-10 | Romeo & Juliet, op. 64: Act I, Scene II. No. 10 Juliet the young girl. Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-11 | Romeo & Juliet, op. 64: Act I, Scene II. No. 11 Arrival of the guests (Minuet). Assai moderato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-12 | Romeo & Juliet, op. 64: Act I, Scene II. No. 12 Masks (Romeo, Mercutio and Benvolio in masks). Moderato marciale | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-13 | Romeo & Juliet, op. 64: Act I, Scene II. No. 13 The knights’ dance (Juliet and Paris’s dance). Allegro pesante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-14 | Romeo & Juliet, op. 64: Act I, Scene II. No. 14 Juliet’s variation. Moderato (quasi Allegretto) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-15 | Romeo & Juliet, op. 64: Act I, Scene II. No. 15 Mercutio. Allegro giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-16 | Romeo & Juliet, op. 64: Act I, Scene II. No. 16 Madrigal (Romeo and Juliet). Andante tenero | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-17 | Romeo & Juliet, op. 64: Act I, Scene II. No. 17 Tybalt recognizes Romeo. Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-18 | Romeo & Juliet, op. 64: Act I, Scene II. No. 18 Gavotte (Departure of the guests). Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-19 | Romeo & Juliet, op. 64: Act I, Scene II. No. 19 Balcony scene. Larghetto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-20 | Romeo & Juliet, op. 64: Act I, Scene II. No. 20 Romeo’s variation. Allegretto amoroso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-21 | Romeo & Juliet, op. 64: Act I, Scene II. No. 21 Romeo and Juliet’s love dance. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-22 | Romeo & Juliet, op. 64: Act II, Scene III. No. 22 Folk dance. Allegro giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-23 | Romeo & Juliet, op. 64: Act II, Scene III. No. 23 Romeo and Mercutio. Andante teneroso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-24 | Romeo & Juliet, op. 64: Act II, Scene III. No. 24 Dance of the five couples. Vivo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-25 | Romeo & Juliet, op. 64: Act II, Scene III. No. 25 Dance with mandolins. Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-1 | Romeo & Juliet, op. 64: Act II, Scene III. No. 26 The Nurse (looking for Romeo). Adagio scherzoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-2 | Romeo & Juliet, op. 64: Act II, Scene III. No. 27 The Nurse delivers Juliet’s letter to Romeo. Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-3 | Romeo & Juliet, op. 64: Act II, Scene IV. No. 28 Romeo at Friar Laurence’s. Andante espressivo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-4 | Romeo & Juliet, op. 64: Act II, Scene IV. No. 29 Juliet at Friar Laurence’s. Lento | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-5 | Romeo & Juliet, op. 64: Act II, Scene V. No. 30 The people continue to make merry. Vivo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-6 | Romeo & Juliet, op. 64: Act II, Scene V. No. 31 More merrymaking (folk dance repeated). Allegro giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-7 | Romeo & Juliet, op. 64: Act II, Scene V. No. 32 Tybalt meets Mercutio. Moderato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-8 | Romeo & Juliet, op. 64: Act II, Scene V. No. 33 Tybalt and Mercutio fight. Precipitato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-9 | Romeo & Juliet, op. 64: Act II, Scene V. No. 34 Mercutio dies. Moderato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-10 | Romeo & Juliet, op. 64: Act II, Scene V. No. 35 Romeo resolves to avenge Mercutio’s death. Andante. Animato – Presto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-11 | Romeo & Juliet, op. 64: Act II, Scene V. No. 36 Finale of Act II (Cortège with Tybalt’s body). Adagio dramatico | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-12 | Romeo & Juliet, op. 64: Act III. No. 37 Introduction. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-13 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 38 Romeo and Juliet. Lento | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-14 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 39 The last farewell. Andante – Adagio | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-15 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 40 The Nurse (announces Juliet’s parents and Paris). Andante assai – Più mosso con effetto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-16 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 41 Juliet refuses to marry Paris. Vivace – Allegro pesante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-17 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 42 Juliet alone. Adagio | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-18 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 43 Interlude. Adagio (L’istesso tempo) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-19 | Romeo & Juliet, op. 64: Act III, Scene VII. No. 44 At Friar Laurence’s (Friar Laurence gives Juliet a sleeping‐potion). Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-20 | Romeo & Juliet, op. 64: Act III, Scene VII. No. 45 Interlude. L’istesso tempo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-21 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 46 Juliet’s bedroom. Moderato tranquillo – Andante dolente | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-22 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 47 Juliet alone (The sleeping‐potion). Andante – Adagio – Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-23 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 48 Morning serenade (with mandolins). Andante giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-24 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 49 Dance of the young girls with the lilies. Andante con eleganza | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-25 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 50 At Juliet’s bedside (Juliet’s apparent death). Andante – Adagio | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-26 | Romeo & Juliet, op. 64: Act IV, Scene IX. No. 51 Juliet’s funeral (and Romeo’s death). Adagio funebre | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-27 | Romeo & Juliet, op. 64: Act IV, Scene IX. No. 52 Death of Juliet. Adagio (meno mosso del tempo precedente) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 35-1 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 1. Allegro maestoso | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 35-2 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 2. Quasi adagio – Allegretto vivace – Allegro animato | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 35-3 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 3. Allegro marziale animato – Presto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 35-4 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 1. Adagio sostenuto assai - Allegro agitato assai - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 35-5 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 2. Allegro moderato - Allegro deciso - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 35-6 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 3. Marziale un poco meno allegro - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 35-7 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 4. Allegro animato - Stretto (molto accelerando) | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 35-8 | Totentanz (Danse macabre) | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 36-1 | España: Rhapsody for Orchestra | — | ||
| 36-2 | Faust, Ballet Music: I. Les Nubiennes, valse (Allegretto) | — | ||
| 36-3 | Faust, Ballet Music: II. Adagio | — | ||
| 36-4 | Faust, Ballet Music: III. Danse antique (Allegretto) | — | ||
| 36-5 | Faust, Ballet Music: IV. Variations de Cléopatre (Moderato maestoso) | — | ||
| 36-6 | Faust, Ballet Music: V. Les Troyennes (Moderato con moto) | — | ||
| 36-7 | Faust, Ballet Music: VI. Variations du miroir (Allegretto) | — | ||
| 36-8 | Faust, Ballet Music: VII. Danse de Phryné (Allegro vivo) | — | ||
| 36-9 | Mignon: Overture | — | ||
| 36-10 | Gaîté parisienne, Arranged by M. Rosenthal: I. Overture | — | ||
| 36-11 | Gaîté parisienne, Arranged by M. Rosenthal: Polka | — | ||
| 36-12 | Gaîté parisienne, Arranged by M. Rosenthal: (Allegro) | — | ||
| 36-13 | Gaîté parisienne, Arranged by M. Rosenthal: IX. Valse lente | — | ||
| 36-14 | Gaîté parisienne, Arranged by M. Rosenthal: Valse-Allegro vivo-Valse-Allegro misterioso | — | ||
| 36-15 | Gaîté parisienne: Cancan. Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-905.011.414-2 | |
| 36-16 | Gaîté parisienne, Arranged by M. Rosenthal: Vivo: Barcarolle - Allegro moderato | — | ||
| 37-1 | Gloria: I. Gloria | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 37-2 | Gloria: II. Laudamus te | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 37-3 | Gloria: III. Domine Deus | John Oliver, Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 37-4 | Gloria: IV. Domine Fili unigenite | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 37-5 | Gloria: V. Domine Deus, Agnus Dei | John Oliver, Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 37-6 | Gloria: VI. Qui sedes ad dexteram Patris | John Oliver, Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 37-7 | Stabat Mater: I. Stabat Mater dolorosa | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-8 | Stabat Mater: II. Cujus animam gementem | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-9 | Stabat Mater: III. O quam tristis | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-10 | Stabat Mater: IV. Quae maerebat | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-11 | Stabat Mater: V. Quis est homo | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-12 | Stabat Mater: VI. Vidit suum | Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-13 | Stabat Mater: VII. Eja mater | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-14 | Stabat Mater: VIII. Fac, Ut Ardeat | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-15 | Stabat Mater: IX. Sancta Mater | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-16 | Stabat Mater: X. Fac ut portem | Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-17 | Stabat Mater: XI. Inflammatus et accensus | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-18 | Stabat Mater: XII. Quando corpus | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 38-1 | Violin Concerto no. 2, Sz. 112: I. Allegro non troppo | Anne-Sophie Mutter, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 38-2 | Violin Concerto no. 2, Sz. 112: II. Andante tranquillo | Anne-Sophie Mutter, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 38-3 | Violin Concerto no. 2, Sz. 112: III. Allegro molto | Anne-Sophie Mutter, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 38-4 | En reve: I. Lumière vaporeuse | — | ||
| 38-5 | En reve: II. Dialogue avec l'Étoile | — | ||
| 38-6 | En reve: III. Azur fascinant (Sérénade tessinoise) | — | ||
| 39-1 | 4 Sea Interludes: I. Dawn. Lento e tranquillo | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 39-2 | 4 Sea Interludes: II. Sunday Morning. Allegro spiritoso | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 39-3 | 4 Sea Interludes: III. Moonlight. Andante comodo e rubato | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 39-4 | 4 Sea Interludes: IV. Storm. Presto con fuoco | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 39-5 | Symphony no. 7 in A major, op. 92: I. Poco sostenuto: Vivace | — | ||
| 39-6 | Symphony no. 7 in A major, op. 92: II. Allegretto | — | ||
| 39-7 | Symphony no. 7 in A major, op. 92: III. Presto: Assai meno presto | — | ||
| 39-8 | Symphony no. 7 in A major, op. 92: IV. Allegro con brio | — | ||
| 40-1 | Concerto in G minor for Organ, Strings and Timpani: I. Andante - Allegro giocoso | Everett Firth, Simon Preston, Boston Symphony Orchestra, Seiji Ozawa | T-070.126.537-3 | |
| 40-2 | Concerto in G minor for Organ, Strings and Timpani: II. Subito andante moderato | Everett Firth, Simon Preston, Boston Symphony Orchestra, Seiji Ozawa | T-003.007.872-8 | |
| 40-3 | Concerto in G minor for Organ, Strings and Timpani: III. Tempo allegro, molto agitato - Très calme, lent - Tempo de l'allegro initial - Tempo introduction: Largo | Everett Firth, Simon Preston, Boston Symphony Orchestra, Seiji Ozawa | T-003.007.872-8 | |
| 40-4 | Concert champêtre, FP 49 : I. Allegro molto - Adagio - Allegro molto | Trevor Pinnock, Boston Symphony Orchestra, Seiji Ozawa | T-912.165.758-7 | |
| 40-5 | Concert champêtre, FP 49 : II. Andante, Mouvement de Sicilienne | Trevor Pinnock, Boston Symphony Orchestra, Seiji Ozawa | T-912.165.758-7 | |
| 40-6 | Concert champêtre, FP 49 : III. Finale, Presto très gai | Trevor Pinnock, Boston Symphony Orchestra, Seiji Ozawa | T-912.165.758-7 | |
| 40-7 | Offertorium (1980): Concerto For Violin And Orchestra | — | ||
| 41-1 | Overture "A Midsummer Night's Dream", op. 21, MWV P 3 | — | ||
| 41-2 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 1 Scherzo | — | ||
| 41-3 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. II. L'istesso tempo | — | ||
| 41-4 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: Fairies' March | — | ||
| 41-5 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 3 Song with Chorus: "Bunte Schlangen, zweigezüngt" | — | ||
| 41-6 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 4 The Speels | — | ||
| 41-7 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 5 Intermezzo | — | ||
| 41-8 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 7 Notturno | — | ||
| 41-9 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 8 Melodram | — | ||
| 41-10 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 9 Wedding March | — | ||
| 41-11 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 10 a) Prologue | — | ||
| 41-12 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 10 b) Funeral March | — | ||
| 41-13 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 11 Dance of the Clowns | — | ||
| 41-14 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: 1II. Allegro vivace come 1 | — | ||
| 41-15 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: Finale: "Bei des Feuers mattem Flimmern" | — | ||
| 42-1 | The Nutcracker, op. 71: Overture | Boston Symphony Orchestra, Seiji Ozawa | T-312.199.363-9 | |
| 42-2 | The Nutcracker, op. 71: Act I, no. 1. The Christmas Tree | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-3 | The Nutcracker, Op. 71: Suite. II. Danses Caractéristiques: a. March | Boston Symphony Orchestra, Seiji Ozawa | T-304.210.691-8 | |
| 42-4 | The Nutcracker, op. 71: Act I, no. 3. Little Galop of the Children and Entry of the Parents | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-5 | The Nutcracker, op. 71: Act I, no. 4. Drosselmeyer's Arrival and Distribution of Presents | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-6 | The Nutcracker, op. 71: Act I, no. 5. Scene and Grandfather Dance | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-7 | The Nutcracker, op. 71: Act I, no. 6. Departure of the guests | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-8 | The Nutcracker, op. 71: Act I, no. 7. The battle | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-9 | The Nutcracker, op. 71: Act I, no. 8. Journey Through the Snow | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-10 | The Nutcracker, op. 71: Act I, no. 9. Waltz of the Snowflakes | James Litton, American Boychoir, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-11 | The Nutcracker, op. 71: Act II, no. 10. Introduction | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-12 | The Nutcracker, op. 71: Act II, no. 11. Arrival of Clara and the Prince | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-13 | The Nutcracker, op. 71: Act II, no. 12. Character dances (Chocolate/Spanish, Coffee/Arabian, Tea/Chinese, Trepak/Russian, Reed-Flutes) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-1 | The Nutcracker Suite, op. 71: III. Flower Waltz | Boston Symphony Orchestra, Seiji Ozawa | T-910.950.463-4 | |
| 43-2 | The Nutcracker, op. 71: Act II, no. 14. Duet (Sugar Plum Fairy and Her Cavalier, Tarantella, Dance of the Sugar Plum Fairy, Coda) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-3 | The Nutcracker, op. 71: Act II, no. 15. Final Waltz and Apotheosis | James Litton, American Boychoir, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-4 | The Sleeping Beauty, Op. 66: Suite. I. Introduction: The Lilac Fairy | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-5 | The Sleeping Beauty, Op. 66: Suite. II. Adagio "Rose Adagio" | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-6 | The Sleeping Beauty, Op. 66: Suite. III. Puss-in-boots and the White Cat | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-7 | The Sleeping Beauty, Op. 66: Suite. IV. Panorama | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-8 | The Sleeping Beauty Suite, op. 66a: V. Waltz | Boston Symphony Orchestra, Seiji Ozawa | T-312.426.938-7 | |
| 44-1 | Concerto for Piano and Orchestra no. 1 in F‐sharp minor, op. 1: I. Vivace – Moderato – Vivace | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-2 | Concerto for Piano and Orchestra no. 1 in F‐sharp minor, op. 1: II. Andante | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-3 | Concerto for Piano and Orchestra no. 1 in F‐sharp minor, op. 1: III. Allegro vivace | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-4 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: I. Moderato – Più vivo – Allegro – Maestoso – Alla marcia – Moderato | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-5 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: II. Adagio Sostenuto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-6 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: III. Allegro scherzando – Moderato – Allegro scherzando – Presto – Moderato – Allegro scherzando – Alla breve – Presto – Maestoso – Risoluto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | T-071.926.821-9 | |
| 45-1 | TreeSong: Dreamly. "Doctor Hu and the Metasequoia" | Gil Shaham, Boston Symphony Orchestra, John Williams | — | |
| 45-2 | TreeSong: Twice as fast - Deciso. "Trunks, Branches and Leaves" | Gil Shaham, Boston Symphony Orchestra, John Williams | — | |
| 45-3 | TreeSong: Tempo primo. "The Tree Sings" | Gil Shaham, Boston Symphony Orchestra, John Williams | — | |
| 45-4 | Concerto for Violin and Orchestra: Moderato | Gil Shaham, Boston Symphony Orchestra, John Williams | — | |
| 45-5 | Concerto for Violin and Orchestra: Slowly (in peaceful contemplation) | Gil Shaham, Boston Symphony Orchestra, John Williams | — | |
| 45-6 | Concerto for Violin and Orchestra: Broadly (Maestoso) - Quickly | Gil Shaham, Boston Symphony Orchestra, John Williams | — | |
| 45-7 | Three Pieces from Schindler's List: Theme. Lente | Gil Shaham, Boston Symphony Orchestra, John Williams | T-700.121.101-6 | |
| 45-8 | Three Pieces from Schindler's List: Jewish Town (Kraków Ghetto - Winter '41). Andante | Gil Shaham, Boston Symphony Orchestra, John Williams | T-904.475.811-4 | |
| 45-9 | Three Pieces from Schindler's List: Remembrances. Andante | Gil Shaham, Boston Symphony Orchestra, John Williams | T-904.475.811-4 | |
| 46-1 | Violin Concerto "Anne-Sophie": I. Moderato | — | ||
| 46-2 | Violin Concerto "Anne-Sophie": II. Cadenza: Slowly | — | ||
| 46-3 | Violin Concerto "Anne-Sophie": III. Andante | — | ||
| 46-4 | Double Concerto For Violin, Contrabass And Orchestra: I. Allegro | — | ||
| 46-5 | Double Concerto For Violin, Contrabass And Orchestra: Interlude | — | ||
| 46-6 | Double Concerto For Violin, Contrabass And Orchestra: II. Slowly | — | ||
| 46-7 | Double Concerto For Violin, Contrabass And Orchestra: III. Allegro | — | ||
| 47-1 | Lady Macbeth of the Mtsensk District, op. 29: Passacaglia | Boston Symphony Orchestra, Andris Nelsons | T-316.839.803-2 | |
| 47-2 | Symphony no. 10 in E minor, op. 93: 1. Moderato | Boston Symphony Orchestra, Andris Nelsons | — | |
| 47-3 | Symphony no. 10 in E minor, op. 93: 2. Allegro | Boston Symphony Orchestra, Andris Nelsons | — | |
| 47-4 | Symphony no. 10 in E minor, op. 93: 3. Allegretto | Boston Symphony Orchestra, Andris Nelsons | T-902.717.414-7 | |
| 47-5 | Symphony no. 10 in E minor, op. 93: 4. Andante – Allegro | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-1 | Symphony no. 9 in E-flat major, op. 70: 1. Allegro | Boston Symphony Orchestra, Andris Nelsons | T-070.160.313-5 | |
| 48-2 | Symphony no. 9 in E-flat major, op. 70: 2. Moderato | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-3 | Symphony no. 9 in E-flat major, op. 70: 3. Presto – | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-4 | Symphony no. 9 in E-flat major, op. 70: 4. Largo – | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-5 | Symphony no. 9 in E-flat major, op. 70: 5. Allegretto | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-6 | Symphony no. 5 in D minor, op. 47: 1. Moderato – Allegro non troppo – Poco sostenuto – Largamente – Più mosso – Moderato | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-7 | Symphony no. 5 in D minor, op. 47: 2. Allegretto – Largamente – Poco più mosso | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-8 | Symphony no. 5 in D minor, op. 47: 3. Largo | Boston Symphony Orchestra, Andris Nelsons | T-005.005.728-7 | |
| 48-9 | Symphony no. 5 in D minor, op. 47: 4. Allegro non troppo - Allegro - Più mosso | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-1 | Suite From the Incidental Music to “Hamlet”, op. 32a: 1. Introduction and Night Patrol. Allegro non troppo – Moderato. Poco allegretto | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-2 | Suite From the Incidental Music to “Hamlet”, op. 32a: 2. Funeral March. Adagio | Boston Symphony Orchestra, Andris Nelsons | T-321.421.851-2 | |
| 49-3 | Suite From the Incidental Music to “Hamlet”, op. 32a: 3. Flourish and Dance Music. Allegro – Allegretto | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-4 | Suite From the Incidental Music to “Hamlet”, op. 32a: 4. The Hunt. Allegro | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-5 | Suite From the Incidental Music to “Hamlet”, op. 32a: 9. Ophelia's Song. Allegro – Meno mosso – Presto | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-6 | Suite From the Incidental Music to “Hamlet”, op. 32a: 10. Cradle Song. Andantino | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-7 | Suite From the Incidental Music to “Hamlet”, op. 32a: 11. Requiem. Adagio | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-8 | Symphony no. 8 in C minor, op. 65: 1. Adagio – Poco più mosso – Adagio – Allegro non troppo – Adagio – Poco più mosso – Adagio | Boston Symphony Orchestra, Andris Nelsons | T-070.160.313-5 | |
| 49-9 | Symphony no. 8 in C minor, op. 65: 2. Allegretto – L’istesso tempo | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-10 | Symphony no. 8 in C minor, op. 65: 3. Allegro non troppo – | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-11 | Symphony no. 8 in C minor, op. 65: 4. Largo – | Boston Symphony Orchestra, Andris Nelsons | T-005.005.728-7 | |
| 49-12 | Symphony no. 8 in C minor, op. 65: 5. Allegretto – Allegro – Più mosso – Adagio – Allegretto – Andante | Boston Symphony Orchestra, Andris Nelsons | — | |
| 50-1 | Symphony no. 6 in B minor, op. 54: 1. Largo | Boston Symphony Orchestra, Andris Nelsons | T-005.005.728-7 | |
| 50-2 | Symphony no. 6 in B minor, op. 54: 2. Allegro | Boston Symphony Orchestra, Andris Nelsons | — | |
| 50-3 | Symphony no. 6 in B minor, op. 54: 3. Presto | Boston Symphony Orchestra, Andris Nelsons | — | |
| 51-1 | Prélude à l'après-midi d'un faune, L. 86 (Arranged by Benno Sachs) | — | ||
| 51-2 | Sonata for Violin and Piano in G minor, L. 140: I. Allegro vivo | — | ||
| 51-3 | Sonata for Violin and Piano in G minor, L. 140: II. Intermède. Fantasque et léger | — | ||
| 51-4 | Sonata for Violin and Piano in G minor, L. 140: III. Finale. Très animé | — | ||
| 51-5 | Sonata in D minor For Cello & Piano, L.135: I. Prologue (lent) | — | ||
| 51-6 | Sonata in D minor For Cello & Piano, L.135: II. Sérénade (Modérément animé) | — | ||
| 51-7 | Sonata for Flute, Viola and Harp, L. 137: I. Pastorale | — | ||
| 51-8 | Sonata for Flute, Viola and Harp, L. 137: II. Interlude | — | ||
| 51-9 | Sonata for Flute, Viola and Harp, L. 137: III. Finale | — | ||
| 51-10 | Syrinx, L. 129 | — | ||
| 52-1 | Sonata For Flute, Oboe, Violoncello And Harpsichord: I. Risoluto | — | ||
| 52-2 | Sonata For Flute, Oboe, Violoncello And Harpsichord: II. Lento | — | ||
| 52-3 | Sonata For Flute, Oboe, Violoncello And Harpsichord: III. Allegro | — | ||
| 52-4 | Largo For Violin, Clarinet & Piano | — | ||
| 52-5 | Quintet For Oboe And String Quartet: I. Andante: Allegro - Tempo di Andante | — | ||
| 52-6 | Quintet For Oboe And String Quartet: II. Adagio, molto espressivo | — | ||
| 52-7 | Quintet For Oboe And String Quartet: III. Lento: Allegro moderato - Allegretto - Lento | — | ||
| 52-8 | Quintet For Oboe And String Quartet: IV. Adagio | — | ||
| 52-9 | String Quintet no. 2 in G major, op. 77, B.49: I. Allegro con fuoco | — | ||
| 52-10 | String Quintet no. 2 in G major, op. 77, B.49: II. Intermezzo. Andante religioso. Molto Adagio | — | ||
| 52-11 | String Quintet no. 2 in G major, op. 77, B.49: III. Scherzo. Allegro vivace: Trio. L'Istesso tempo, quasi Allegretto | — | ||
| 52-12 | String Quintet no. 2 in G major, op. 77, B.49: IV. Poco Andante | — | ||
| 52-13 | String Quintet no. 2 in G major, op. 77, B.49: V. Finale. Allegro assai | — | ||
| 53-1 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: I. The Soldier's March | — | ||
| 53-2 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: II. Narrator: "Phew, this isn't a bad sort of spot" | — | ||
| 53-3 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: III. Music for Scene 1: Airs by a Stream | — | ||
| 53-4 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: IV. Narrator: "Enter the Devil" | — | ||
| 53-5 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: V. The Soldier's March | — | ||
| 53-6 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: VI. Narrator: "Hurray, here we are! We're home at last" | — | ||
| 53-7 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: VII. Music for Scene 2: pastorale | — | ||
| 53-8 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: VIII. Narrator: "The Devil was standing therre" | — | ||
| 53-10 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: X. Narrator: "He took the book" | — | ||
| 53-11 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XI. Music for the end of Scene 2: Airs by a Stream | — | ||
| 53-12 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XII. Narrator: "They have nothing: and yet they have it all" | — | ||
| 53-13 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XIII. Music for Scene 3: Airs by a Stream | — | ||
| 53-14 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XIV. The Soldier's March | — | ||
| 53-15 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XV. Narrator: "Now he comes to another land" | — | ||
| 53-16 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XVI. The Royal March | — | ||
| 53-17 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XVII. Narrator: "They have the word for the band to play | — | ||
| 53-18 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XVIII. The Little Concert | — | ||
| 53-19 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XIX. Tango | — | ||
| 53-20 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XX. Valse | — | ||
| 53-21 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXI. Ragtime | — | ||
| 53-22 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXII. The Devil's Dance | — | ||
| 53-23 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXIII. Little Chorale | — | ||
| 53-24 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXIV. The Devil's Song | — | ||
| 53-25 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXV. Great Chorale | — | ||
| 53-26 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXVI. Narrator: "I have everything, he thinks" | — | ||
| 53-27 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXVII. Triumphal March of the Devil | — | ||
| 53-28 | Septet: I. I | — | ||
| 53-29 | Septet: II. Passacaglia | — | ||
| 53-30 | Septet: III. Gigue | — | ||
| 54-1 | Kaiserwalzer, op. 437: Transcription Arnold Schönberg | — | ||
| 54-2 | Rosen aus dem Süden, op. 388: Transcription Arnold Schönberg | — | ||
| 54-3 | Wein, Weib und Gesang, op. 333: Transcription Alban Berg | — | ||
| 54-4 | Schatzwalzer, op. 418: Arr. Webern | — | ||
| 54-6 | Octet for Wind Instruments, rev. version 1952: II. Tema con variazioni | — | ||
| 54-7 | Octet for Wind Instruments, rev. version 1952: III. Finale | — | ||
| 54-8 | Pastorale: arr. for Violin an 4 Wind Instruments 1934 (Collab. S. Dushkin) | — | ||
| 54-9 | Ragtime | — | ||
| 54-10 | Concertino: arr. (1952) of original work for string quartet (1920) | — | ||
| 55-1 | Chamber Symphony no. 1, op. 9, Arr. Anton Webern: Langsam | — | ||
| 55-2 | Chamber Symphony no. 1, op. 9, Arr. Anton Webern: sehr rasch (38) | — | ||
| 55-3 | Chamber Symphony no. 1, op. 9, Arr. Anton Webern: viel langsamer, aber doch fließend (60) | — | ||
| 55-4 | Chamber Symphony no. 1, op. 9, Arr. Anton Webern: viel langsamer (77) | — | ||
| 55-5 | Chamber Symphony no. 1, op. 9, Arr. Anton Webern: Etwas bewegter (T.415/Ziff. 86) | — | ||
| 55-6 | Chamber Concerto: II. Adagio | — | ||
| 56-1 | Suite, op. 29: I. Ouvertüre: Allegretto | — | ||
| 56-2 | Suite, op. 29: II. Tanzschritte: Moderato | — | ||
| 56-3 | Suite, op. 29: III. Theme and variations | — | ||
| 56-4 | Suite, op. 29: IV. Gigue | — | ||
| 56-5 | Phantasy For Violin And Piano, op. 47 | — | ||
| 57-1 | Symphony no. 2 in D major, op. 73: I. Allegro non troppo | — | ||
| 57-2 | Symphony no. 2 in D major, op. 73: II. Adagio non troppo: L'istesso tempo, ma grazioso | — | ||
| 57-3 | Symphony no. 2 in D major, op. 73: III. Allegretto grazioso (Quasi andantino): Presto ma non assai | — | ||
| 57-4 | Symphony no. 2 in D major, op. 73: IV. Allegro con spirito | — | ||
| 57-5 | Semiramide: Overture | — | ||
| 57-6 | Moto perpetuo, op. 11 | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Also sprach Zarathustra: 1. Einleitung | Boston Symphony Orchestra, William Steinberg | T-007.163.471-3 |
| Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Boston Symphony Orchestra, Rafael Kubelík | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
028947977186 is a Universal Product Code (UPC) assigned to Boston Symphony Orchestra: Complete Recordings on Deutsche Grammophon by Boston Symphony Orchestra. 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 610 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
028947977186 is the Universal Product Code (UPC barcode) for the release “Boston Symphony Orchestra: Complete Recordings on Deutsche Grammophon” by Boston Symphony Orchestra, released 2017-01-01 on Deutsche Grammophon. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 610 tracks, each with its own ISRC. Tracks include DEF057001100, DEF057001101, DEF057001102.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Nocturnes, L 91: 1. Nuages. Modéré - Un peu animé | Boston Symphony Orchestra, Claudio Abbado | — | |
| 2 | Nocturnes, L 91: 2. Fêtes. Animé et très rythmé - Modéré mais toujours très rythmé - De plus en plus sonore et en serrant le mouvement | Boston Symphony Orchestra, Claudio Abbado | — | |
| 3 | Nocturnes, L 91: 3. Sirènes. Modérément animé | New England Conservatory Chorus, Boston Symphony Orchestra, Claudio Abbado | — | |
| 4 | Daphnis et Chloé , M. 57b, Fragments symphoniques (2ᵉ série) : 1. Lever du jour. Lent / 2. Pantomime. Lent - Très lent - Vif - Très lent / 3. Danse générale. Lent - Animé | Lorna Cooke deVaron, New England Conservatory Chorus, Boston Symphony Orchestra, Claudio Abbado | — | |
| 5 | Pavane pour une Infante Défunte | Boston Symphony Orchestra, Claudio Abbado | T-003.013.767-7 | |
| 6 | Le Poème de L'extase, op. 54 | Boston Symphony Orchestra, Claudio Abbado | — | |
| 2-1 | Symphony no. 1 in G minor, op. 13, TH.24: "Winter Reveries": I. Allegro tranquillo | — | ||
| 2-2 | Symphony no. 1 in G minor, op. 13, TH.24: "Winter Reveries": II. Adagio cantabile ma non tanto | — | ||
| 2-3 | Symphony no. 1 in G minor, op. 13, TH.24: "Winter Reveries": III. Scherzo (Allegro scherzando giocoso) | — | ||
| 2-4 | Symphony no. 1 in G minor, op. 13, TH.24: "Winter Reveries": IV. Finale (Andante lugubre - Allegro maestoso) | — | ||
| 3-1 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-2 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-3 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-4 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-5 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-6 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-7 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-8 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-9 | Also sprach Zarathustra: 3. Von der großen Sehnsucht | Boston Symphony Orchestra, William Steinberg | — | |
| 3-10 | The Planets, op. 32: 1. Mars, the Bringer of War | Boston Symphony Orchestra, William Steinberg | T-923.663.725-5 | |
| 3-11 | The Planets, op. 32: 2. Venus, the Bringer of Peace | Boston Symphony Orchestra, William Steinberg | — | |
| 3-12 | The Planets, op. 32: 3. Mercury, the Winged Messenger | Boston Symphony Orchestra, William Steinberg | — | |
| 3-13 | The Planets, op. 32: 4. Jupiter, the Bringer of Jollity | Boston Symphony Orchestra, William Steinberg | T-101.257.909-6 | |
| 3-14 | The Planets, op. 32: 5. Saturn, the Bringer of Old Age | Boston Symphony Orchestra, William Steinberg | — | |
| 3-15 | The Planets, op. 32: 6. Uranus, the Magician | Boston Symphony Orchestra, William Steinberg | — | |
| 3-16 | The Planets, op. 32: 7. Neptune, the Mystic | Lorna Cooke deVaron, New England Conservatory Chorus, Boston Symphony Orchestra, William Steinberg | — | |
| 4-1 | Sun-treader: 1.Quarter note= 69 Poco accelerando (bar/Takt/mesure 1) | — | ||
| 4-2 | Sun-treader: II. Tempo eighth note = 126 (bar 51a) | — | ||
| 4-3 | Sun-treader: III. Lento (bar 119) | — | ||
| 4-4 | Sun-treader: IV. A tempo (bar 138a) | — | ||
| 4-5 | Sun-treader: V. Quarter note = 69 Poco accelerando (bar 169) | — | ||
| 4-6 | Sun-treader: VI. Serene, but with great expression (bar 191) | — | ||
| 4-7 | Concerto For Violin And Orchestra: I. Allegro risoluto: Cadenza | — | ||
| 4-8 | Concerto For Violin And Orchestra: II. Introduzione. Adagio: Allegretto | — | ||
| 4-9 | Symphony no. 2: I. Moderato | — | ||
| 4-10 | Symphony no. 2: II. Adagio | — | ||
| 4-11 | Symphony no. 2: III. Allegro | — | ||
| 5-1 | Images pour orchestre: I. Gigues | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 5-2 | Images pour orchestre: IIc. Ibéria - Le matin d’un jour de fête | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 5-3 | Images pour orchestre: IIc. Ibéria - Le matin d’un jour de fête | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 5-4 | Images pour orchestre: IIc. Ibéria - Le matin d’un jour de fête | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 5-5 | Images pour orchestre: III. Rondes de printemps | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 5-6 | Prélude à l'après-midi d'un faune | Doriot Anthony Dwyer, Orchestre Symphonique de Boston, Michael Tilson Thomas | — | |
| 5-7 | Romeo and Juliet, TH 42: Andante non tanto quasi Moderato: Allegro giusto - Moderato assai | — | ||
| 6-1 | Má vlast: I. Vyšehrad | Boston Symphony Orchestra, Rafael Kubelík | T-902.852.943-3 | |
| 6-2 | Má vlast: II. Vltava, JB 1:112/2 | Boston Symphony Orchestra, Rafael Kubelík | T-801.557.926-8 | |
| 6-3 | Má vlast: III. Šárka | Boston Symphony Orchestra, Rafael Kubelík | T-313.215.864-2 | |
| 6-4 | Má vlast: IV. Z českých luhů a hájů, JB 1:112/4 | Boston Symphony Orchestra, Rafael Kubelík | T-801.557.926-8 | |
| 6-5 | Má vlast: V. Tábor | Boston Symphony Orchestra, Rafael Kubelík | T-902.852.943-3 | |
| 6-6 | Má vlast: VI. Blaník | Boston Symphony Orchestra, Rafael Kubelík | T-801.557.926-8 | |
| 7-1 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: I. Introduction | — | ||
| 7-2 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: II. Les augures printaniers: Danses des adolescentes | — | ||
| 7-3 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: III. Jeu du rapt | — | ||
| 7-4 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: IV. Rondes printanières | — | ||
| 7-5 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: V. Jeux des cités | — | ||
| 7-6 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: VI. Cortège du sage: Le sage | — | ||
| 7-7 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: 7b. Dance of the Earth | — | ||
| 7-8 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: VII. Danse de la terre | — | ||
| 7-9 | Le Sacre du Printemps, Pt 2: Le Sacrifice: I. Introduction | — | ||
| 7-10 | Le Sacre du Printemps, Pt 2: Le Sacrifice: II. Cercles mysteriéux des adolescentes | — | ||
| 7-11 | Le Sacre du Printemps, Pt 2: Le Sacrifice: III. Glorification d'élue | — | ||
| 7-12 | Le Sacre du Printemps, Pt 2: Le Sacrifice: IV. Évocation des ancêtres | — | ||
| 7-13 | Le Sacre du Printemps, Pt 2: Le Sacrifice: V. Action rituelle des ancêtres | — | ||
| 7-14 | Le Sacre du Printemps, Pt 2: Le Sacrifice: VI. Danse sacrale: l'élue | — | ||
| 7-15 | Le Roi des étoiles: Molto sostenuto-Maestoso e tranquillo-Tempo primo | — | ||
| 7-16 | Symphonie "Mathis der Maler": I. Engelkonzert | — | ||
| 7-17 | Symphonie "Mathis der Maler": II. Grablegung | — | ||
| 7-18 | Symphonie "Mathis der Maler": III. Versuchung des heiligen Antonius | — | ||
| 7-19 | Konzertmusik Für Streichorchester Und Blechbläser, op. 50: Part 1 | — | ||
| 7-20 | Konzertmusik Für Streichorchester Und Blechbläser, op. 50: Part 2 | — | ||
| 8-1 | Symphony no. 41 in C major, K. 551: "Jupiter": I. Allegro vivace | — | ||
| 8-2 | Symphony no. 41 in C major, K. 551: "Jupiter": II. Andante cantabile | — | ||
| 8-3 | Symphony no. 41 in C major, K. 551: "Jupiter": III. Menuetto (Allegretto) | — | ||
| 8-4 | Symphony no. 41 in C major, K. 551: "Jupiter": IV. Molto allegro | — | ||
| 8-5 | Symphonie Nr. 8 h-moll, D 759 "Unvollendete": 2. Andante con moto | Boston Symphony Orchestra, Eugen Jochum | — | |
| 8-6 | Symphonie Nr. 8 h-moll, D 759 "Unvollendete": 2. Andante con moto | Boston Symphony Orchestra, Eugen Jochum | — | |
| 9-1 | Symphonie fantastique, op. 14 : I. Rêveries, passions | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 9-2 | Symphonie fantastique, op. 14 : II. Un bal | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 9-3 | Symphonie fantastique, op. 14 : III. Scène aux champs | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 9-4 | Symphonie fantastique, op. 14 : IV. Marche au supplice | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 9-5 | Symphonie fantastique, op. 14 : V. Songe d’une nuit du sabbat | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 10-1 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Boston Symphony Orchestra, Rafael Kubelík | — | |
| 10-2 | Symphony no. 5 in C minor, op. 67: II. Andante con moto | Boston Symphony Orchestra, Rafael Kubelík | — | |
| 10-3 | Symphony no. 5 in C minor, op. 67: III. Allegro | Boston Symphony Orchestra, Rafael Kubelík | — | |
| 10-4 | Symphony no. 5 in C minor, op. 67: IV. Allegro | Boston Symphony Orchestra, Rafael Kubelík | T-914.876.369-3 | |
| 10-5 | Piano Concerto no. 5 in E-Flat major, op. 73 "Emperor": I. Allegro | — | ||
| 10-6 | Piano Concerto no. 5 in E-Flat major, op. 73 "Emperor": II. Adagio un poco mosso | — | ||
| 10-7 | Piano Concerto no. 5 in E-Flat major, op. 73 "Emperor": III. Rondo (Allegro) | — | ||
| 11-1 | La Damnation de Faust, op. 24, H 111, Pt. 1: Scène I. "Le vieil hiver a fait place au printemps" | — | ||
| 11-2 | La Damnation de Faust, op. 24, H 111, Pt. 1: Ronde des Paysans. "Les bergers quittent": Scène II. "Mais d'un éclat guerrier" | — | ||
| 11-3 | La Damnation de Faust, op. 24, H 111, Pt. 1: Marche hongroise | — | ||
| 11-4 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène III. "Sans regrets j'ai quitté les riantes campagnes" | — | ||
| 11-5 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chant de la fête de Pâques. "Christ vient de ressusciter!" | — | ||
| 11-6 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène IV. "O pure émotion!" | — | ||
| 11-7 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène V. Choeur de buveurs. "A boire encor!" | — | ||
| 11-8 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Brander. "Certain rat, dans une cuisine" | — | ||
| 11-9 | La Damnation de Faust, op. 24, H 111, Pt. 2: Fugue sur le thème de la chanson. "Amen" | — | ||
| 11-10 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Méphistophélès. "Une puce gentille" | — | ||
| 11-11 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VI. Air de Méphistophélès. "Voici des roses" | — | ||
| 11-12 | La Damnation de Faust, op. 24, H 111, Pt. 2: Songe de Faust. "Dors! heureux Faust" | — | ||
| 11-13 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VII. "Margarita!" | — | ||
| 11-14 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeurs de Soldats et Chanson d'Etudiants. "Villes entourées": "Jam nox stellata velamina pandit" | — | ||
| 12-1 | La Damnation de Faust, op. 24, H 111, Pt. 3: (Prélude: La retraite) | — | ||
| 12-2 | La Damnation de Faust, op. 24, H 111, Pt. 3: "Merci, doux crépuscule!": "Je l'entends!" (Faust / Méphistophélès, Faust) | — | ||
| 12-3 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène X. "Que l'air est étouffant" | — | ||
| 12-4 | La Damnation de Faust, op. 24, H 111, Pt. 3: Le roi de Thulé (Chanson gothique). "Autrefois un roi de Thulé" | — | ||
| 12-5 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1I. Evocation. "Esprits des flammes inconstantes" | — | ||
| 12-6 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1II. "Maintenant chantons à cette belle" | — | ||
| 12-7 | La Damnation de Faust, op. 24, H 111, Pt. 3: Sérénade de Méphistophélès. "Devant la maison" | — | ||
| 12-8 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1III. "Grands dieux!" | — | ||
| 12-9 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1IV. "Allons, il est trop tard!" | — | ||
| 12-10 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1V. Romance. "D'amour l'ardente flamme" | — | ||
| 12-11 | La Damnation de Faust, op. 24, H 111, Pt. 4: "Au son des trompettes" | — | ||
| 12-12 | La Damnation de Faust: Invocation à la Nature | Stuart Burrows, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 12-13 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VII. Récitatif et Chasse. "A la voûte azurée" | — | ||
| 12-14 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VIII. La course à l'abîme. "Dans mon choeur retentit sa voix" | — | ||
| 12-15 | La Damnation de Faust, op. 24, H 111, Pt. 4: "Has! Irimirukarabrao! Has!": "Alors, l'Enfers se tut" (Choeur, Méphistophélès / Une Voix, Choeur) | — | ||
| 12-16 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 2I. Le Ciel. "Laus! Laus!": Apothéose de Marguerite. "Remonte au ciel, âme naïve" | — | ||
| 13-1 | Boléro | Boston Symphony Orchestra, Seiji Ozawa | T-003.006.377-4 | |
| 13-2 | Miroirs, M.43, Orch. Ravel: III. Une barque sur l'océan | — | ||
| 13-3 | Menuet antique: for Orchestra | — | ||
| 13-4 | Alborada del gracioso | Boston Symphony Orchestra, Seiji Ozawa | T-304.229.137-8 | |
| 13-5 | Pavane pour une infante défunte, version pour orchestre | Charles Kavaloski, Orchestre Symphonique de Boston, Seiji Ozawa | T-003.013.767-7 | |
| 13-6 | La Valse | Boston Symphony Orchestra, Seiji Ozawa | T-305.194.234-4 | |
| 14-1 | Le Tombeau de Couperin, M. 68, Orchestral version: I. Prélude | — | ||
| 14-2 | Le Tombeau de Couperin, M. 68, Orchestral version: II. Forlane | — | ||
| 14-3 | Le Tombeau de Couperin, M. 68, Orchestral version: III. Menuet | — | ||
| 14-4 | Le Tombeau de Couperin, M. 68, Orchestral version: IV. Rigaudon | — | ||
| 14-5 | Ma mère l'Oye, M. 60, Orchestral version: Prélude | — | ||
| 14-6 | Ma mère l'Oye, M. 60, Orchestral version: Danse du rouet et scène: Interlude | — | ||
| 14-7 | Ma mère l'Oye, M. 60, Orchestral version: Pavane de la Belle au bois dormant | — | ||
| 14-8 | Ma mère l'Oye, M. 60, Orchestral version: Les entretiens de la Belle et de la Bête | — | ||
| 14-9 | Ma mère l'Oye, M. 60, Orchestral version: Petit Poucet | — | ||
| 14-10 | Ma mère l'oye: VI. 5e tableau: Laideronnette, impératrice des pagodes | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 14-11 | Ma mère l'oye: Vii. Apothéose: Le jardin féerique | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 14-12 | Rapsodie espagnole: I. Prélude à la nuit. Très modéré | Boston Symphony Orchestra, Seiji Ozawa | T-003.015.127-9 | |
| 14-13 | Rapsodie espagnole: II. Malagueña. Assez vif | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 14-14 | Rapsodie espagnole: III. Habanera. Assez lent et d'un rythme las | Boston Symphony Orchestra, Seiji Ozawa | T-003.015.127-9 | |
| 14-15 | Rapsodie espagnole: IV. Feria. Assez animé | Boston Symphony Orchestra, Seiji Ozawa | T-305.199.487-3 | |
| 15-1 | Daphnis et Chloé, M. 57, Première partie: Introduction: Lent - Trè modéré | — | ||
| 15-2 | Daphnis et Chloé, M. 57, Première partie: Danse religieuse: Modéré | — | ||
| 15-3 | Daphnis et Chloé, M. 57, Première partie: Scène: Un peu plus lent | — | ||
| 15-4 | Daphnis et Chloé, M. 57, Première partie: Scène: Les jeunes filles dansent - Vif | — | ||
| 15-5 | Daphnis et Chloé, M. 57, Première partie: Scène: Les jeunes filles dansent - Vif | — | ||
| 15-6 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse générale | — | ||
| 15-7 | Daphnis et Chloé, M. 57, Première partie: Scène: Vif - Plus modéré - Très modéré - Pesant | — | ||
| 15-8 | Daphnis et Chloé, M. 57, Première partie: Danse légère et gracieuse de Daphnis: Assez lent - Animé - Vif | — | ||
| 15-9 | Daphnis et Chloé, M. 57, Première partie: Scène: Lent - Moins lent - Très libre | — | ||
| 15-10 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse de Lyceion - Scène (Les pirates) | — | ||
| 15-11 | Daphnis et Chloé, M. 57, Première partie: Scène: Modérément animé - Très animé - Lent - Très agité | — | ||
| 15-12 | Daphnis et Chloé, M. 57, Première partie: Scène: Modéré - Plus lent | — | ||
| 15-13 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse lente et mystérieuse | — | ||
| 15-14 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Même mouvement | — | ||
| 15-15 | Daphnis et Chloé, M. 57, Deuxième partie: Danse guerrière | — | ||
| 15-16 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Un peu moins animé | — | ||
| 15-17 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Danse suppliante de Chloé | — | ||
| 15-18 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Assez animé | — | ||
| 15-19 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Lent - Plus animé | — | ||
| 15-20 | Daphnis et Chloé, M. 57, Troisième partie: Lever du jour: Scène | — | ||
| 15-21 | Daphnis et Chloé, M. 57, Troisième partie: Daphnis et Chloé miment l'aventure de Pan et Syrinx | — | ||
| 15-22 | Daphnis et Chloé, M. 57, Troisième partie: Scène: Très lent | — | ||
| 15-23 | Daphnis et Chloé, M. 57, Troisième partie: Scène: Lent - Animé - Lent - Animé | — | ||
| 15-24 | Daphnis et Chloé, M. 57, Troisième partie: Danse générale | — | ||
| 15-25 | Valses nobles et sentimentales: I. Modéré | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-26 | Valses nobles et sentimentales: II. Assez lent | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-27 | Valses nobles et sentimentales: III. Modéré | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-28 | Valses nobles et sentimentales: IV. Assez animé | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-29 | Valses nobles et sentimentales: V. Presque lent | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-30 | Valses nobles et sentimentales: VI. Assez vif | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-31 | Valses nobles et sentimentales: VII. Moins vif | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 15-32 | Valses Nobles et Sentimentales: VIII. Epilogue: Lent | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 16-1 | The Miraculous Mandarin, BB 82, op. 19 (Sz.73): Suite | — | ||
| 16-2 | Concerto For Orchestra, BB 123, Sz.116: I. Introduzione (Andante non troppo: Allegro vivace) | — | ||
| 16-3 | Concerto For Orchestra, BB 123, Sz.116: II. Giuoco della coppie (Allegretto scherzando) | — | ||
| 16-4 | Concerto For Orchestra, BB 123, Sz.116: III. Elegia (Andante, non troppo) | — | ||
| 16-5 | Concerto For Orchestra, BB 123, Sz.116: IV. Intermezzo interrotto (Allegretto) | — | ||
| 16-6 | Concerto For Orchestra, BB 123, Sz.116: V. Finale (Pesante: Presto) | — | ||
| 17-1 | Chant du ménéstrel, op. 71 | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 17-2 | Cello Concerto no. 2 in G major, op. 126: I. Largo | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | T-005.005.728-7 | |
| 17-3 | Cello Concerto no. 2 in G major, op. 126: II. Allegretto | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 17-4 | Cello Concerto no. 2 in G major, op. 126: III. Allegretto | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | T-902.717.414-7 | |
| 17-5 | El sombrero de tres picos: I. Introducción | Teresa Berganza, Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-6 | El sombrero de tres picos: II. Atardecer | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-7 | El sombrero de tres picos: III. Danza de la molinera (Fandango) | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-8 | El sombrero de tres picos: IV. Las uvas | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-9 | El sombrero de tres picos: V. Danza del los vecinos (Seguidillas) | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-10 | El sombrero de tres picos: VI. Danza del molinero (Farruca) | Teresa Berganza, Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-11 | El sombrero de tres picos: VII. Danza del corregidor | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 17-12 | El sombrero de tres picos: VIII. Danza final (Jota) | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 18-1 | Roméo et Juliette, op. 17, H.79, Part 1: Introduction | — | ||
| 18-2 | Roméo et Juliette, op. 17, H.79, Part 1: Prologue: "D'anciennes haines endormies" | — | ||
| 18-3 | Roméo et Juliette, op. 17, H.79, Part 1: Strophe 1: "Premiers transports que nul n'oublie" | — | ||
| 18-4 | Roméo et Juliette, op. 17, H.79, Part 1: Récitatif et Scherzetto: "Bientôt de Roméo": "Mab! la messagère" - "Bientôt la mort est souveraine" | — | ||
| 18-5 | Roméo et Juliette, op. 17, H.79, Part 2: Roméo seul: Tristesse - Concert et bal. | — | ||
| 18-6 | Roméo et Juliette, op. 17, H.79, Part 3: "Ohé! Capulets": Scène d'amour | — | ||
| 19-1 | Roméo et Juliette, op. 17, H.79, Part 4: Scherzo. La Reine Mab ou la Fée des songes | — | ||
| 19-2 | Roméo et Juliette, op. 17, H.79, Part 5: Convoi funebre "Jetez des fleurs pour la vierge expirée" | — | ||
| 19-3 | Roméo et Juliette, op. 17, H.79, Part 6: Romeo au tombeau des Capulets | — | ||
| 19-4 | Roméo et Juliette, op. 17, H.79, Part 4: Invocation: Réveil de Juliette | — | ||
| 19-5 | Roméo et Juliette, op. 17, H.79, Part 4: Joie délirante, désespoir "Dernières angoisses et mort" | — | ||
| 19-6 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Quoi! Roméo de retour! Roméo" | — | ||
| 19-7 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Pauvres enfants que je pleure" | — | ||
| 19-8 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Mais notre sang rougit leur glaive" | — | ||
| 19-9 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Jurez donc, par l'auguste symbole" | — | ||
| 20-1 | Three Places in New England: I. The "St. Gaudens" in Boston Common (Col. Shaw and his Colored Regiment) | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 20-2 | Three Places in New England: II. Putnam’s Camp, Redding, Connecticut | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 20-3 | Three Places in New England: III. The Housatonic at Stockbridge | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 20-4 | Symphony no. 4: I. Prelude: Maestoso | Boston Symphony Orchestra, Seiji Ozawa | T-070.160.313-5 | |
| 20-5 | Symphony no. 4: II. Allegretto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-6 | Symphony no. 4: III. Fugue: Andante moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-7 | Symphony no. 4: IV. Very slowly – Largo maestoso | Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-8 | Central Park in the Dark | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 21-1 | Symphony no. 5 in E minor, op. 64, TH.29: I. Andante: Allegro con anima | — | ||
| 21-2 | Symphony no. 5 in E minor, op. 64, TH.29: II. Andante cantabile, con alcuna licenza: Moderato con anima | — | ||
| 21-3 | Symphony no. 5 in E minor, op. 64, TH.29: III. Valse (Allegro moderato) | — | ||
| 21-4 | Symphony no. 5 in E minor, op. 64, TH.29: IV. Finale (Andante maestoso: Allegro vivace) | — | ||
| 22-1 | Symphony no. 1 in C minor, op. 68: I. Un poco sostenuto: Allegro - Meno allegro | — | ||
| 22-2 | Symphony no. 1 in C minor, op. 68: II. Andante sostenuto | — | ||
| 22-3 | Symphony no. 1 in C minor, op. 68: III. Un poco allegretto e grazioso | — | ||
| 22-4 | Symphony no. 1 in C minor, op. 68: IV. Adagio: Piu andante - Allegro non troppo, ma con brio - Piu allegro | — | ||
| 23-1 | Pini di Roma: I. I pini di Villa Borghese | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-2 | Pini di Roma: II. Pini presso una catacomba | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-3 | Pini di Roma: III. I pini del Gianicolo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-4 | Pini di Roma: IV. I pini della Via Appia | Boston Symphony Orchestra, Seiji Ozawa | T-333.047.149-9 | |
| 23-5 | Feste romane: I. Circenses | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-6 | Feste romane: II. Il giubileo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-7 | Feste romane: III. L'ottobrata | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-8 | Feste romane: IV. La befana | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-9 | Fontane di Roma: I. La fontana di Valle Giulia all'alba | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 23-10 | Fontane di Roma: II. La fontana del Tritone al mattino | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 23-11 | Fontane di Roma: III. La fontana di Trevi al meriggio | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 23-12 | Fontane di Roma: IV. La fontana di Villa Medici al tramonto | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 24-1 | Antiche danze ed arie, suite I: Simone Molinaro: Balletto "Il Conte Orlando" (1599) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-2 | Antiche danze ed arie, suite I: Vincenzo Galilei: Gagliarda (1598) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-3 | Antiche danze ed arie, suite I: Anonymus: Villanella | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-4 | Antiche danze ed arie, suite I: Anonymus: Passo mezzo a mascherada | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-5 | Antiche danze ed arie, suite II: Fabrizio Caroso: Laura soave (1581) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-6 | Antiche danze ed arie, suite II: Jean-Baptiste Besard: Danza rustica (1617) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-7 | Antiche danze ed arie, suite II: Anonymus: Campanae parisienses | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-8 | Antiche danze ed arie, suite II: Bernardo Gianoncelli: Bergamasca (1650) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-9 | Antiche danze ed arie, suite III: Anonymus: Italiana | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-10 | Antiche danze ed arie, suite III: Jean-Baptiste Besard: Aria di corte (1617) | Boston Symphony Orchestra, Seiji Ozawa | T-312.743.187-8 | |
| 24-11 | Antiche danze ed arie, suite III: Anonymus: Siciliana | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-12 | Antiche danze ed arie, suite III: Lodovico Roncalli: Passacaglia (1692) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-1 | Eine Faust-Symphonie: I. Faust | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 25-2 | Eine Faust-Symphonie: II. Gretchen | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 25-3 | Eine Faust-Symphonie: III. Mephistopheles / Schlußchor "Alles Vergängliche ist nur ein Gleichnis" | Boston Symphony Orchestra, Tanglewood Festival Chorus, Leonard Bernstein, Kenneth Riegel | — | |
| 26-1 | Scheherazade, op. 35: I. Das Meer und Sindbads Schiff. Largo e maestoso – Lento – Allegro non troppo | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 26-2 | 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 | — | |
| 26-3 | Scheherazade, op. 35: III. Der junge Prinz und die junge Prinzessin. Andantino quasi allegretto | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 26-4 | 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 | — | |
| 26-5 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): I. Andante tranquillo | — | ||
| 26-6 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): II. Allegro | — | ||
| 26-7 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): III. Adagio | — | ||
| 26-8 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): IV. Allegro molto | — | ||
| 27-1 | Symphonie Nr. 1 D-dur: 4. Stürmisch bewegt | Boston Symphony Orchestra, Seiji Ozawa | T-900.953.062-5 | |
| 27-2 | Symphonie Nr. 1 D-dur: Blumine. Andante allegretto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 28-1 | Violinkonzert "Dem Andenken eines Engels": I. Andante - Allegretto | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | T-070.160.313-5 | |
| 28-2 | Violinkonzert "Dem Andenken eines Engels": II. Allegro - Adagio - (Coda) | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 28-3 | Violin Concerto in D major: I. Toccata | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 28-4 | Violin Concerto in D major: II. Aria I | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 28-5 | Violin Concerto in D major: III. Aria II | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 28-6 | Violin Concerto in D major: IV. Capriccio | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-1 | Swan Lake, op. 20: Introduction. Moderato assai | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 29-2 | Swan Lake, op. 20: Act I: no. 1: Scène. Allegro giusto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-3 | Swan Lake, op. 20: Act I: no. 2: Valse. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-4 | Swan Lake, op. 20: Act I: no. 3: Scène. Allegro moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-5 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: I. Intrada. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-6 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: II. Andante sostenuto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-7 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: III. Allegro simplice - Presto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-8 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: IV. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-9 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: V. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-10 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: VI. Coda. Allegro vivace | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-11 | Swan Lake, op. 20: Act I: no. 5: Pas de deux: I. Tempo di valse ma non troppo vivo, quasi moderato - II. Andante - Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-12 | Swan Lake, op. 20: Act I: no. 5: Pas de deux: III. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-13 | Swan Lake, op. 20: Act I: no. 5: Pas de deux: IV. Coda. Allegro molto vivace | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-14 | Swan Lake, op. 20: Act I: no. 6: Pas d'action. Andantino quasi moderato - Allegro / no. 7: Sujet | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-15 | Swan Lake, op. 20: Act I: no. 8: Danse des coupes. Tempo di polacca | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-16 | Swan Lake, op. 20: Act I: no. 9: Finale. Sujet. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-010.437.719-6 | |
| 29-17 | Swan Lake, op. 20: Act II: no. 10: Scène. Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-18 | Swan Lake, op. 20: Act II: no. 11: Scène. Allegro moderato - Moderato - Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-19 | Swan Lake, op. 20: Act II: no. 12: Scène. Allegro - Moderato assai quasi andante | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-20 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: I. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-21 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: II. Moderato assai | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-22 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: III. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 29-23 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: IV. Allegro moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-1 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: V. Pas d'action. Andante - Andante non troppo - Tempo I - Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-2 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: VI. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-3 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: VII. Coda. Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-4 | Swan Lake, op. 20: Act II: no. 14: Scène. Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-5 | Swan Lake, op. 20: Act III: no. 15: Allegro giusto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-6 | Swan Lake, op. 20: Act III: no. 16: Danses du corps de ballet et des nains. Moderato assai - Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-7 | Swan Lake, op. 20: Act III: no. 17: Scène. Sortie des invités et valse. Allegro - Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-8 | Swan Lake, op. 20: Act III: no. 18: Scène. Allegro - Allegro giusto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-9 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Intrada. Moderato assai | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-10 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Variation I. Allegro - Variation II. Andante con moto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-11 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Variation III. Moderato - Variation IV. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-12 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Variation V. Moderato - Allegro simplice - Coda. Allegro molto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-13 | Swan Lake, op. 20: Act III: no. 20: Danse hongroise. Czardas. Moderato assai - Allegro moderato - Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-900.160.317-4 | |
| 30-14 | Swan Lake, op. 20: Act III: no. 20a: Danse russe. Moderato - Andante simplice - Allegro vivo - Presto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-15 | Swan Lake, op. 20: Act III: no. 21: Danse espagnole. Allegro non troppo (Tempo di bolero) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-16 | Swan Lake, op. 20: Act III: no. 22: Danse napolitaine. Allegro moderato - Andantino quasi moderato - Presto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-17 | Swan Lake, op. 20: Act III: no. 23: Mazurka. Tempo di mazurka | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-18 | Swan Lake, op. 20: Act III: no. 24: Scène. Allegro - Valse - Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-19 | Swan Lake, op. 20: Act IV: no. 25: Entr'acte. Moderato - No. 26: Scène. Allegro non troppo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-20 | Swan Lake, op. 20: Act IV: no. 27: Danses des petits cygnes. Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-21 | Swan Lake, op. 20: Act IV: no. 28: Scène. Allegro agitato - Molto meno mosso - Allegro vivace | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-22 | Swan Lake, op. 20: Act IV: no. 29: Scène finale. Andante - Allegro agitato - Alla breve. Moderato e maestoso - Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 31-1 | Clarinet Concerto in A major, K. 622: I. Allegro | — | ||
| 31-2 | Clarinet Concerto in A major, K. 622: II. Adagio | — | ||
| 31-3 | Clarinet Concerto in A major, K. 622: III. Rondo (Allegro) | — | ||
| 31-4 | Bassoon Concerto in B-Flat major, K. 191, Cadenza: Walter Guetter: I. Allegro | — | ||
| 31-5 | Bassoon Concerto in B-Flat major, K. 191, Cadenza: Walter Guetter: II. Andante ma Adagio | — | ||
| 31-6 | Bassoon Concerto in B-Flat major, K. 191, Cadenza: Walter Guetter: III. Rondo. Tempo di Menuetto | — | ||
| 31-7 | Quatrain | Boston Symphony Orchestra, Seiji Ozawa, TASHI | — | |
| 31-8 | A Flock Descends Into the Pentagonal Garden | Boston Symphony Orchestra, Seiji Ozawa, TASHI | T-901.136.700-3 | |
| 32-1 | Pelléas et Mélisande, op. 80: I. Prélude: Quasi adagio | Boston Symphony Orchestra, Seiji Ozawa | T-004.021.527-7 | |
| 32-2 | Pelléas et Mélisande, op. 80: II. Fileuse: Andantino quasi allegretto | Boston Symphony Orchestra, Seiji Ozawa | T-004.021.527-7 | |
| 32-3 | Pelléas et Mélisande, op. 80: III. Chanson de Mélisande | Lorraine Hunt, Boston Symphony Orchestra, Seiji Ozawa | T-003.018.951-5 | |
| 32-4 | Pelléas et Mélisande, op. 80: IV. Sicilienne: Allegretto molto moderato | Boston Symphony Orchestra, Seiji Ozawa | T-004.021.527-7 | |
| 32-5 | Pelléas et Mélisande, op. 80: V. La Mort de Mélisande: Molto adagio | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-6 | Après un rêve, op. 7 no. 1 | Jules Eskin, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-7 | Pavane, op. 50 | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-909.340.218-7 | |
| 32-8 | Élégie, op. 24 | Jules Eskin, Boston Symphony Orchestra, Seiji Ozawa | T-802.189.927-5 | |
| 32-9 | Dolly Suite, I. Berceuse: Allegretto moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-10 | Dolly Suite, II. Mi-a-ou: Allegro vivo-Più lento-Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-11 | Dolly Suite, III. Le jardin de Dolly: Andantino | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-12 | Dolly Suite, IV. Kitty-Valse: Tempo di Valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-13 | Dolly Suite, V. Tendresse: Andante | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-14 | Dolly Suite, VI. Le Pas Espagnol: Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 33-1 | Romeo & Juliet, op. 64: Act I. No. 1 Introduction. Andante assai | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-2 | Romeo & Juliet, op. 64: Act I, Scene I. No. 2 Romeo (reflective). Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-3 | Romeo & Juliet, op. 64: Act I, Scene I. No. 3 The street awakens. Allegretto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-4 | Romeo & Juliet, op. 64: Act I, Scene I. No. 4 Morning dance. Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-5 | Romeo & Juliet, op. 64: Act I, Scene I. No. 5 The quarrel. Allegro brusco | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-6 | Romeo & Juliet, op. 64: Act I, Scene I. No. 6 The fight. Presto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-7 | Romeo & Juliet, op. 64: Act I, Scene I. No. 7 The Prince’s decree. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-8 | Romeo & Juliet, op. 64: Act I. Scene I. No. 8 Interlude. Andante pomposo (L’istesso tempo) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-9 | Romeo & Juliet, op. 64: Act I, Scene II. No. 9 Preparations for the ball (Juliet and the Nurse). Andante assai – Scherzando | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-10 | Romeo & Juliet, op. 64: Act I, Scene II. No. 10 Juliet the young girl. Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-11 | Romeo & Juliet, op. 64: Act I, Scene II. No. 11 Arrival of the guests (Minuet). Assai moderato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-12 | Romeo & Juliet, op. 64: Act I, Scene II. No. 12 Masks (Romeo, Mercutio and Benvolio in masks). Moderato marciale | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-13 | Romeo & Juliet, op. 64: Act I, Scene II. No. 13 The knights’ dance (Juliet and Paris’s dance). Allegro pesante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-14 | Romeo & Juliet, op. 64: Act I, Scene II. No. 14 Juliet’s variation. Moderato (quasi Allegretto) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-15 | Romeo & Juliet, op. 64: Act I, Scene II. No. 15 Mercutio. Allegro giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-16 | Romeo & Juliet, op. 64: Act I, Scene II. No. 16 Madrigal (Romeo and Juliet). Andante tenero | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-17 | Romeo & Juliet, op. 64: Act I, Scene II. No. 17 Tybalt recognizes Romeo. Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-18 | Romeo & Juliet, op. 64: Act I, Scene II. No. 18 Gavotte (Departure of the guests). Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-19 | Romeo & Juliet, op. 64: Act I, Scene II. No. 19 Balcony scene. Larghetto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-20 | Romeo & Juliet, op. 64: Act I, Scene II. No. 20 Romeo’s variation. Allegretto amoroso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-21 | Romeo & Juliet, op. 64: Act I, Scene II. No. 21 Romeo and Juliet’s love dance. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-22 | Romeo & Juliet, op. 64: Act II, Scene III. No. 22 Folk dance. Allegro giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-23 | Romeo & Juliet, op. 64: Act II, Scene III. No. 23 Romeo and Mercutio. Andante teneroso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-24 | Romeo & Juliet, op. 64: Act II, Scene III. No. 24 Dance of the five couples. Vivo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 33-25 | Romeo & Juliet, op. 64: Act II, Scene III. No. 25 Dance with mandolins. Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-1 | Romeo & Juliet, op. 64: Act II, Scene III. No. 26 The Nurse (looking for Romeo). Adagio scherzoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-2 | Romeo & Juliet, op. 64: Act II, Scene III. No. 27 The Nurse delivers Juliet’s letter to Romeo. Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-3 | Romeo & Juliet, op. 64: Act II, Scene IV. No. 28 Romeo at Friar Laurence’s. Andante espressivo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-4 | Romeo & Juliet, op. 64: Act II, Scene IV. No. 29 Juliet at Friar Laurence’s. Lento | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-5 | Romeo & Juliet, op. 64: Act II, Scene V. No. 30 The people continue to make merry. Vivo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-6 | Romeo & Juliet, op. 64: Act II, Scene V. No. 31 More merrymaking (folk dance repeated). Allegro giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-7 | Romeo & Juliet, op. 64: Act II, Scene V. No. 32 Tybalt meets Mercutio. Moderato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-8 | Romeo & Juliet, op. 64: Act II, Scene V. No. 33 Tybalt and Mercutio fight. Precipitato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-9 | Romeo & Juliet, op. 64: Act II, Scene V. No. 34 Mercutio dies. Moderato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-10 | Romeo & Juliet, op. 64: Act II, Scene V. No. 35 Romeo resolves to avenge Mercutio’s death. Andante. Animato – Presto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-11 | Romeo & Juliet, op. 64: Act II, Scene V. No. 36 Finale of Act II (Cortège with Tybalt’s body). Adagio dramatico | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-12 | Romeo & Juliet, op. 64: Act III. No. 37 Introduction. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-13 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 38 Romeo and Juliet. Lento | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-14 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 39 The last farewell. Andante – Adagio | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-15 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 40 The Nurse (announces Juliet’s parents and Paris). Andante assai – Più mosso con effetto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-16 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 41 Juliet refuses to marry Paris. Vivace – Allegro pesante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-17 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 42 Juliet alone. Adagio | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-18 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 43 Interlude. Adagio (L’istesso tempo) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-19 | Romeo & Juliet, op. 64: Act III, Scene VII. No. 44 At Friar Laurence’s (Friar Laurence gives Juliet a sleeping‐potion). Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-20 | Romeo & Juliet, op. 64: Act III, Scene VII. No. 45 Interlude. L’istesso tempo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-21 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 46 Juliet’s bedroom. Moderato tranquillo – Andante dolente | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-22 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 47 Juliet alone (The sleeping‐potion). Andante – Adagio – Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-23 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 48 Morning serenade (with mandolins). Andante giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-24 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 49 Dance of the young girls with the lilies. Andante con eleganza | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-25 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 50 At Juliet’s bedside (Juliet’s apparent death). Andante – Adagio | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-26 | Romeo & Juliet, op. 64: Act IV, Scene IX. No. 51 Juliet’s funeral (and Romeo’s death). Adagio funebre | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 34-27 | Romeo & Juliet, op. 64: Act IV, Scene IX. No. 52 Death of Juliet. Adagio (meno mosso del tempo precedente) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 35-1 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 1. Allegro maestoso | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 35-2 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 2. Quasi adagio – Allegretto vivace – Allegro animato | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 35-3 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 3. Allegro marziale animato – Presto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 35-4 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 1. Adagio sostenuto assai - Allegro agitato assai - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 35-5 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 2. Allegro moderato - Allegro deciso - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 35-6 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 3. Marziale un poco meno allegro - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 35-7 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 4. Allegro animato - Stretto (molto accelerando) | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 35-8 | Totentanz (Danse macabre) | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 36-1 | España: Rhapsody for Orchestra | — | ||
| 36-2 | Faust, Ballet Music: I. Les Nubiennes, valse (Allegretto) | — | ||
| 36-3 | Faust, Ballet Music: II. Adagio | — | ||
| 36-4 | Faust, Ballet Music: III. Danse antique (Allegretto) | — | ||
| 36-5 | Faust, Ballet Music: IV. Variations de Cléopatre (Moderato maestoso) | — | ||
| 36-6 | Faust, Ballet Music: V. Les Troyennes (Moderato con moto) | — | ||
| 36-7 | Faust, Ballet Music: VI. Variations du miroir (Allegretto) | — | ||
| 36-8 | Faust, Ballet Music: VII. Danse de Phryné (Allegro vivo) | — | ||
| 36-9 | Mignon: Overture | — | ||
| 36-10 | Gaîté parisienne, Arranged by M. Rosenthal: I. Overture | — | ||
| 36-11 | Gaîté parisienne, Arranged by M. Rosenthal: Polka | — | ||
| 36-12 | Gaîté parisienne, Arranged by M. Rosenthal: (Allegro) | — | ||
| 36-13 | Gaîté parisienne, Arranged by M. Rosenthal: IX. Valse lente | — | ||
| 36-14 | Gaîté parisienne, Arranged by M. Rosenthal: Valse-Allegro vivo-Valse-Allegro misterioso | — | ||
| 36-15 | Gaîté parisienne: Cancan. Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-905.011.414-2 | |
| 36-16 | Gaîté parisienne, Arranged by M. Rosenthal: Vivo: Barcarolle - Allegro moderato | — | ||
| 37-1 | Gloria: I. Gloria | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 37-2 | Gloria: II. Laudamus te | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 37-3 | Gloria: III. Domine Deus | John Oliver, Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 37-4 | Gloria: IV. Domine Fili unigenite | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 37-5 | Gloria: V. Domine Deus, Agnus Dei | John Oliver, Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 37-6 | Gloria: VI. Qui sedes ad dexteram Patris | John Oliver, Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 37-7 | Stabat Mater: I. Stabat Mater dolorosa | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-8 | Stabat Mater: II. Cujus animam gementem | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-9 | Stabat Mater: III. O quam tristis | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-10 | Stabat Mater: IV. Quae maerebat | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-11 | Stabat Mater: V. Quis est homo | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-12 | Stabat Mater: VI. Vidit suum | Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-13 | Stabat Mater: VII. Eja mater | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-14 | Stabat Mater: VIII. Fac, Ut Ardeat | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-15 | Stabat Mater: IX. Sancta Mater | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-16 | Stabat Mater: X. Fac ut portem | Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-17 | Stabat Mater: XI. Inflammatus et accensus | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 37-18 | Stabat Mater: XII. Quando corpus | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 38-1 | Violin Concerto no. 2, Sz. 112: I. Allegro non troppo | Anne-Sophie Mutter, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 38-2 | Violin Concerto no. 2, Sz. 112: II. Andante tranquillo | Anne-Sophie Mutter, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 38-3 | Violin Concerto no. 2, Sz. 112: III. Allegro molto | Anne-Sophie Mutter, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 38-4 | En reve: I. Lumière vaporeuse | — | ||
| 38-5 | En reve: II. Dialogue avec l'Étoile | — | ||
| 38-6 | En reve: III. Azur fascinant (Sérénade tessinoise) | — | ||
| 39-1 | 4 Sea Interludes: I. Dawn. Lento e tranquillo | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 39-2 | 4 Sea Interludes: II. Sunday Morning. Allegro spiritoso | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 39-3 | 4 Sea Interludes: III. Moonlight. Andante comodo e rubato | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 39-4 | 4 Sea Interludes: IV. Storm. Presto con fuoco | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 39-5 | Symphony no. 7 in A major, op. 92: I. Poco sostenuto: Vivace | — | ||
| 39-6 | Symphony no. 7 in A major, op. 92: II. Allegretto | — | ||
| 39-7 | Symphony no. 7 in A major, op. 92: III. Presto: Assai meno presto | — | ||
| 39-8 | Symphony no. 7 in A major, op. 92: IV. Allegro con brio | — | ||
| 40-1 | Concerto in G minor for Organ, Strings and Timpani: I. Andante - Allegro giocoso | Everett Firth, Simon Preston, Boston Symphony Orchestra, Seiji Ozawa | T-070.126.537-3 | |
| 40-2 | Concerto in G minor for Organ, Strings and Timpani: II. Subito andante moderato | Everett Firth, Simon Preston, Boston Symphony Orchestra, Seiji Ozawa | T-003.007.872-8 | |
| 40-3 | Concerto in G minor for Organ, Strings and Timpani: III. Tempo allegro, molto agitato - Très calme, lent - Tempo de l'allegro initial - Tempo introduction: Largo | Everett Firth, Simon Preston, Boston Symphony Orchestra, Seiji Ozawa | T-003.007.872-8 | |
| 40-4 | Concert champêtre, FP 49 : I. Allegro molto - Adagio - Allegro molto | Trevor Pinnock, Boston Symphony Orchestra, Seiji Ozawa | T-912.165.758-7 | |
| 40-5 | Concert champêtre, FP 49 : II. Andante, Mouvement de Sicilienne | Trevor Pinnock, Boston Symphony Orchestra, Seiji Ozawa | T-912.165.758-7 | |
| 40-6 | Concert champêtre, FP 49 : III. Finale, Presto très gai | Trevor Pinnock, Boston Symphony Orchestra, Seiji Ozawa | T-912.165.758-7 | |
| 40-7 | Offertorium (1980): Concerto For Violin And Orchestra | — | ||
| 41-1 | Overture "A Midsummer Night's Dream", op. 21, MWV P 3 | — | ||
| 41-2 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 1 Scherzo | — | ||
| 41-3 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. II. L'istesso tempo | — | ||
| 41-4 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: Fairies' March | — | ||
| 41-5 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 3 Song with Chorus: "Bunte Schlangen, zweigezüngt" | — | ||
| 41-6 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 4 The Speels | — | ||
| 41-7 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 5 Intermezzo | — | ||
| 41-8 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 7 Notturno | — | ||
| 41-9 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 8 Melodram | — | ||
| 41-10 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 9 Wedding March | — | ||
| 41-11 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 10 a) Prologue | — | ||
| 41-12 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 10 b) Funeral March | — | ||
| 41-13 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 11 Dance of the Clowns | — | ||
| 41-14 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: 1II. Allegro vivace come 1 | — | ||
| 41-15 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: Finale: "Bei des Feuers mattem Flimmern" | — | ||
| 42-1 | The Nutcracker, op. 71: Overture | Boston Symphony Orchestra, Seiji Ozawa | T-312.199.363-9 | |
| 42-2 | The Nutcracker, op. 71: Act I, no. 1. The Christmas Tree | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-3 | The Nutcracker, Op. 71: Suite. II. Danses Caractéristiques: a. March | Boston Symphony Orchestra, Seiji Ozawa | T-304.210.691-8 | |
| 42-4 | The Nutcracker, op. 71: Act I, no. 3. Little Galop of the Children and Entry of the Parents | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-5 | The Nutcracker, op. 71: Act I, no. 4. Drosselmeyer's Arrival and Distribution of Presents | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-6 | The Nutcracker, op. 71: Act I, no. 5. Scene and Grandfather Dance | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-7 | The Nutcracker, op. 71: Act I, no. 6. Departure of the guests | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-8 | The Nutcracker, op. 71: Act I, no. 7. The battle | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-9 | The Nutcracker, op. 71: Act I, no. 8. Journey Through the Snow | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-10 | The Nutcracker, op. 71: Act I, no. 9. Waltz of the Snowflakes | James Litton, American Boychoir, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-11 | The Nutcracker, op. 71: Act II, no. 10. Introduction | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-12 | The Nutcracker, op. 71: Act II, no. 11. Arrival of Clara and the Prince | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-13 | The Nutcracker, op. 71: Act II, no. 12. Character dances (Chocolate/Spanish, Coffee/Arabian, Tea/Chinese, Trepak/Russian, Reed-Flutes) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-1 | The Nutcracker Suite, op. 71: III. Flower Waltz | Boston Symphony Orchestra, Seiji Ozawa | T-910.950.463-4 | |
| 43-2 | The Nutcracker, op. 71: Act II, no. 14. Duet (Sugar Plum Fairy and Her Cavalier, Tarantella, Dance of the Sugar Plum Fairy, Coda) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-3 | The Nutcracker, op. 71: Act II, no. 15. Final Waltz and Apotheosis | James Litton, American Boychoir, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-4 | The Sleeping Beauty, Op. 66: Suite. I. Introduction: The Lilac Fairy | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-5 | The Sleeping Beauty, Op. 66: Suite. II. Adagio "Rose Adagio" | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-6 | The Sleeping Beauty, Op. 66: Suite. III. Puss-in-boots and the White Cat | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-7 | The Sleeping Beauty, Op. 66: Suite. IV. Panorama | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-8 | The Sleeping Beauty Suite, op. 66a: V. Waltz | Boston Symphony Orchestra, Seiji Ozawa | T-312.426.938-7 | |
| 44-1 | Concerto for Piano and Orchestra no. 1 in F‐sharp minor, op. 1: I. Vivace – Moderato – Vivace | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-2 | Concerto for Piano and Orchestra no. 1 in F‐sharp minor, op. 1: II. Andante | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-3 | Concerto for Piano and Orchestra no. 1 in F‐sharp minor, op. 1: III. Allegro vivace | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-4 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: I. Moderato – Più vivo – Allegro – Maestoso – Alla marcia – Moderato | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-5 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: II. Adagio Sostenuto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-6 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: III. Allegro scherzando – Moderato – Allegro scherzando – Presto – Moderato – Allegro scherzando – Alla breve – Presto – Maestoso – Risoluto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | T-071.926.821-9 | |
| 45-1 | TreeSong: Dreamly. "Doctor Hu and the Metasequoia" | Gil Shaham, Boston Symphony Orchestra, John Williams | — | |
| 45-2 | TreeSong: Twice as fast - Deciso. "Trunks, Branches and Leaves" | Gil Shaham, Boston Symphony Orchestra, John Williams | — | |
| 45-3 | TreeSong: Tempo primo. "The Tree Sings" | Gil Shaham, Boston Symphony Orchestra, John Williams | — | |
| 45-4 | Concerto for Violin and Orchestra: Moderato | Gil Shaham, Boston Symphony Orchestra, John Williams | — | |
| 45-5 | Concerto for Violin and Orchestra: Slowly (in peaceful contemplation) | Gil Shaham, Boston Symphony Orchestra, John Williams | — | |
| 45-6 | Concerto for Violin and Orchestra: Broadly (Maestoso) - Quickly | Gil Shaham, Boston Symphony Orchestra, John Williams | — | |
| 45-7 | Three Pieces from Schindler's List: Theme. Lente | Gil Shaham, Boston Symphony Orchestra, John Williams | T-700.121.101-6 | |
| 45-8 | Three Pieces from Schindler's List: Jewish Town (Kraków Ghetto - Winter '41). Andante | Gil Shaham, Boston Symphony Orchestra, John Williams | T-904.475.811-4 | |
| 45-9 | Three Pieces from Schindler's List: Remembrances. Andante | Gil Shaham, Boston Symphony Orchestra, John Williams | T-904.475.811-4 | |
| 46-1 | Violin Concerto "Anne-Sophie": I. Moderato | — | ||
| 46-2 | Violin Concerto "Anne-Sophie": II. Cadenza: Slowly | — | ||
| 46-3 | Violin Concerto "Anne-Sophie": III. Andante | — | ||
| 46-4 | Double Concerto For Violin, Contrabass And Orchestra: I. Allegro | — | ||
| 46-5 | Double Concerto For Violin, Contrabass And Orchestra: Interlude | — | ||
| 46-6 | Double Concerto For Violin, Contrabass And Orchestra: II. Slowly | — | ||
| 46-7 | Double Concerto For Violin, Contrabass And Orchestra: III. Allegro | — | ||
| 47-1 | Lady Macbeth of the Mtsensk District, op. 29: Passacaglia | Boston Symphony Orchestra, Andris Nelsons | T-316.839.803-2 | |
| 47-2 | Symphony no. 10 in E minor, op. 93: 1. Moderato | Boston Symphony Orchestra, Andris Nelsons | — | |
| 47-3 | Symphony no. 10 in E minor, op. 93: 2. Allegro | Boston Symphony Orchestra, Andris Nelsons | — | |
| 47-4 | Symphony no. 10 in E minor, op. 93: 3. Allegretto | Boston Symphony Orchestra, Andris Nelsons | T-902.717.414-7 | |
| 47-5 | Symphony no. 10 in E minor, op. 93: 4. Andante – Allegro | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-1 | Symphony no. 9 in E-flat major, op. 70: 1. Allegro | Boston Symphony Orchestra, Andris Nelsons | T-070.160.313-5 | |
| 48-2 | Symphony no. 9 in E-flat major, op. 70: 2. Moderato | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-3 | Symphony no. 9 in E-flat major, op. 70: 3. Presto – | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-4 | Symphony no. 9 in E-flat major, op. 70: 4. Largo – | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-5 | Symphony no. 9 in E-flat major, op. 70: 5. Allegretto | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-6 | Symphony no. 5 in D minor, op. 47: 1. Moderato – Allegro non troppo – Poco sostenuto – Largamente – Più mosso – Moderato | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-7 | Symphony no. 5 in D minor, op. 47: 2. Allegretto – Largamente – Poco più mosso | Boston Symphony Orchestra, Andris Nelsons | — | |
| 48-8 | Symphony no. 5 in D minor, op. 47: 3. Largo | Boston Symphony Orchestra, Andris Nelsons | T-005.005.728-7 | |
| 48-9 | Symphony no. 5 in D minor, op. 47: 4. Allegro non troppo - Allegro - Più mosso | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-1 | Suite From the Incidental Music to “Hamlet”, op. 32a: 1. Introduction and Night Patrol. Allegro non troppo – Moderato. Poco allegretto | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-2 | Suite From the Incidental Music to “Hamlet”, op. 32a: 2. Funeral March. Adagio | Boston Symphony Orchestra, Andris Nelsons | T-321.421.851-2 | |
| 49-3 | Suite From the Incidental Music to “Hamlet”, op. 32a: 3. Flourish and Dance Music. Allegro – Allegretto | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-4 | Suite From the Incidental Music to “Hamlet”, op. 32a: 4. The Hunt. Allegro | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-5 | Suite From the Incidental Music to “Hamlet”, op. 32a: 9. Ophelia's Song. Allegro – Meno mosso – Presto | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-6 | Suite From the Incidental Music to “Hamlet”, op. 32a: 10. Cradle Song. Andantino | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-7 | Suite From the Incidental Music to “Hamlet”, op. 32a: 11. Requiem. Adagio | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-8 | Symphony no. 8 in C minor, op. 65: 1. Adagio – Poco più mosso – Adagio – Allegro non troppo – Adagio – Poco più mosso – Adagio | Boston Symphony Orchestra, Andris Nelsons | T-070.160.313-5 | |
| 49-9 | Symphony no. 8 in C minor, op. 65: 2. Allegretto – L’istesso tempo | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-10 | Symphony no. 8 in C minor, op. 65: 3. Allegro non troppo – | Boston Symphony Orchestra, Andris Nelsons | — | |
| 49-11 | Symphony no. 8 in C minor, op. 65: 4. Largo – | Boston Symphony Orchestra, Andris Nelsons | T-005.005.728-7 | |
| 49-12 | Symphony no. 8 in C minor, op. 65: 5. Allegretto – Allegro – Più mosso – Adagio – Allegretto – Andante | Boston Symphony Orchestra, Andris Nelsons | — | |
| 50-1 | Symphony no. 6 in B minor, op. 54: 1. Largo | Boston Symphony Orchestra, Andris Nelsons | T-005.005.728-7 | |
| 50-2 | Symphony no. 6 in B minor, op. 54: 2. Allegro | Boston Symphony Orchestra, Andris Nelsons | — | |
| 50-3 | Symphony no. 6 in B minor, op. 54: 3. Presto | Boston Symphony Orchestra, Andris Nelsons | — | |
| 51-1 | Prélude à l'après-midi d'un faune, L. 86 (Arranged by Benno Sachs) | — | ||
| 51-2 | Sonata for Violin and Piano in G minor, L. 140: I. Allegro vivo | — | ||
| 51-3 | Sonata for Violin and Piano in G minor, L. 140: II. Intermède. Fantasque et léger | — | ||
| 51-4 | Sonata for Violin and Piano in G minor, L. 140: III. Finale. Très animé | — | ||
| 51-5 | Sonata in D minor For Cello & Piano, L.135: I. Prologue (lent) | — | ||
| 51-6 | Sonata in D minor For Cello & Piano, L.135: II. Sérénade (Modérément animé) | — | ||
| 51-7 | Sonata for Flute, Viola and Harp, L. 137: I. Pastorale | — | ||
| 51-8 | Sonata for Flute, Viola and Harp, L. 137: II. Interlude | — | ||
| 51-9 | Sonata for Flute, Viola and Harp, L. 137: III. Finale | — | ||
| 51-10 | Syrinx, L. 129 | — | ||
| 52-1 | Sonata For Flute, Oboe, Violoncello And Harpsichord: I. Risoluto | — | ||
| 52-2 | Sonata For Flute, Oboe, Violoncello And Harpsichord: II. Lento | — | ||
| 52-3 | Sonata For Flute, Oboe, Violoncello And Harpsichord: III. Allegro | — | ||
| 52-4 | Largo For Violin, Clarinet & Piano | — | ||
| 52-5 | Quintet For Oboe And String Quartet: I. Andante: Allegro - Tempo di Andante | — | ||
| 52-6 | Quintet For Oboe And String Quartet: II. Adagio, molto espressivo | — | ||
| 52-7 | Quintet For Oboe And String Quartet: III. Lento: Allegro moderato - Allegretto - Lento | — | ||
| 52-8 | Quintet For Oboe And String Quartet: IV. Adagio | — | ||
| 52-9 | String Quintet no. 2 in G major, op. 77, B.49: I. Allegro con fuoco | — | ||
| 52-10 | String Quintet no. 2 in G major, op. 77, B.49: II. Intermezzo. Andante religioso. Molto Adagio | — | ||
| 52-11 | String Quintet no. 2 in G major, op. 77, B.49: III. Scherzo. Allegro vivace: Trio. L'Istesso tempo, quasi Allegretto | — | ||
| 52-12 | String Quintet no. 2 in G major, op. 77, B.49: IV. Poco Andante | — | ||
| 52-13 | String Quintet no. 2 in G major, op. 77, B.49: V. Finale. Allegro assai | — | ||
| 53-1 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: I. The Soldier's March | — | ||
| 53-2 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: II. Narrator: "Phew, this isn't a bad sort of spot" | — | ||
| 53-3 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: III. Music for Scene 1: Airs by a Stream | — | ||
| 53-4 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: IV. Narrator: "Enter the Devil" | — | ||
| 53-5 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: V. The Soldier's March | — | ||
| 53-6 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: VI. Narrator: "Hurray, here we are! We're home at last" | — | ||
| 53-7 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: VII. Music for Scene 2: pastorale | — | ||
| 53-8 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: VIII. Narrator: "The Devil was standing therre" | — | ||
| 53-10 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: X. Narrator: "He took the book" | — | ||
| 53-11 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XI. Music for the end of Scene 2: Airs by a Stream | — | ||
| 53-12 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XII. Narrator: "They have nothing: and yet they have it all" | — | ||
| 53-13 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XIII. Music for Scene 3: Airs by a Stream | — | ||
| 53-14 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XIV. The Soldier's March | — | ||
| 53-15 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XV. Narrator: "Now he comes to another land" | — | ||
| 53-16 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XVI. The Royal March | — | ||
| 53-17 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XVII. Narrator: "They have the word for the band to play | — | ||
| 53-18 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XVIII. The Little Concert | — | ||
| 53-19 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XIX. Tango | — | ||
| 53-20 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XX. Valse | — | ||
| 53-21 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXI. Ragtime | — | ||
| 53-22 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXII. The Devil's Dance | — | ||
| 53-23 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXIII. Little Chorale | — | ||
| 53-24 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXIV. The Devil's Song | — | ||
| 53-25 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXV. Great Chorale | — | ||
| 53-26 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXVI. Narrator: "I have everything, he thinks" | — | ||
| 53-27 | L'Histoire du soldat, English Version by Michael Flanders & Kitty Black: XXVII. Triumphal March of the Devil | — | ||
| 53-28 | Septet: I. I | — | ||
| 53-29 | Septet: II. Passacaglia | — | ||
| 53-30 | Septet: III. Gigue | — | ||
| 54-1 | Kaiserwalzer, op. 437: Transcription Arnold Schönberg | — | ||
| 54-2 | Rosen aus dem Süden, op. 388: Transcription Arnold Schönberg | — | ||
| 54-3 | Wein, Weib und Gesang, op. 333: Transcription Alban Berg | — | ||
| 54-4 | Schatzwalzer, op. 418: Arr. Webern | — | ||
| 54-6 | Octet for Wind Instruments, rev. version 1952: II. Tema con variazioni | — | ||
| 54-7 | Octet for Wind Instruments, rev. version 1952: III. Finale | — | ||
| 54-8 | Pastorale: arr. for Violin an 4 Wind Instruments 1934 (Collab. S. Dushkin) | — | ||
| 54-9 | Ragtime | — | ||
| 54-10 | Concertino: arr. (1952) of original work for string quartet (1920) | — | ||
| 55-1 | Chamber Symphony no. 1, op. 9, Arr. Anton Webern: Langsam | — | ||
| 55-2 | Chamber Symphony no. 1, op. 9, Arr. Anton Webern: sehr rasch (38) | — | ||
| 55-3 | Chamber Symphony no. 1, op. 9, Arr. Anton Webern: viel langsamer, aber doch fließend (60) | — | ||
| 55-4 | Chamber Symphony no. 1, op. 9, Arr. Anton Webern: viel langsamer (77) | — | ||
| 55-5 | Chamber Symphony no. 1, op. 9, Arr. Anton Webern: Etwas bewegter (T.415/Ziff. 86) | — | ||
| 55-6 | Chamber Concerto: II. Adagio | — | ||
| 56-1 | Suite, op. 29: I. Ouvertüre: Allegretto | — | ||
| 56-2 | Suite, op. 29: II. Tanzschritte: Moderato | — | ||
| 56-3 | Suite, op. 29: III. Theme and variations | — | ||
| 56-4 | Suite, op. 29: IV. Gigue | — | ||
| 56-5 | Phantasy For Violin And Piano, op. 47 | — | ||
| 57-1 | Symphony no. 2 in D major, op. 73: I. Allegro non troppo | — | ||
| 57-2 | Symphony no. 2 in D major, op. 73: II. Adagio non troppo: L'istesso tempo, ma grazioso | — | ||
| 57-3 | Symphony no. 2 in D major, op. 73: III. Allegretto grazioso (Quasi andantino): Presto ma non assai | — | ||
| 57-4 | Symphony no. 2 in D major, op. 73: IV. Allegro con spirito | — | ||
| 57-5 | Semiramide: Overture | — | ||
| 57-6 | Moto perpetuo, op. 11 | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Also sprach Zarathustra: 1. Einleitung | Boston Symphony Orchestra, William Steinberg | T-007.163.471-3 |
| Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Boston Symphony Orchestra, Rafael Kubelík | — |
