UPC · Release
Leonard Bernstein
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028947984184 is the Universal Product Code (UPC barcode) for the release “Complete Recordings on Deutsche Grammophon & Decca” by Leonard Bernstein, released 2018-01-01 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 987 tracks, each with its own ISRC. Tracks include DEF057803270, DEF057803270, DEF057803270.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2 | Symphony no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3 | Symphony no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 4 | Symphony no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 5 | Symphony no. 3 in E-flat major, op. 55 "Eroica": I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 6 | Symphony no. 3 in E-flat major, op. 55 "Eroica": I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 7 | Symphony no. 3 in E-flat major, op. 55 "Eroica": I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 8 | Symphony no. 3 in E-flat major, op. 55 "Eroica": I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-1 | Symphony no. 2 in D major, op. 36: II. Larghetto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-2 | Symphony no. 2 in D major, op. 36: II. Larghetto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-3 | Symphony no. 2 in D major, op. 36: II. Larghetto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-4 | Symphony no. 2 in D major, op. 36: II. Larghetto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-5 | Symphony no. 4 in B-flat major, op. 60: III. Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-6 | Symphony no. 4 in B-flat major, op. 60: III. Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-7 | Symphony no. 4 in B-flat major, op. 60: III. Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-8 | Symphony no. 4 in B-flat major, op. 60: III. Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-1 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-2 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-3 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-4 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-5 | Symphony No. 6 in F major, Op. 68 "Pastorale": II. Scene by the Brook: Andante molto mosso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-6 | Symphony No. 6 in F major, Op. 68 "Pastorale": II. Scene by the Brook: Andante molto mosso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-7 | Symphony No. 6 in F major, Op. 68 "Pastorale": II. Scene by the Brook: Andante molto mosso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-8 | Symphony No. 6 in F major, Op. 68 "Pastorale": II. Scene by the Brook: Andante molto mosso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-9 | Symphony No. 6 in F major, Op. 68 "Pastorale": II. Scene by the Brook: Andante molto mosso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 4-1 | Symphony no. 7 in A major, op. 92: II. Allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 4-2 | Symphony no. 7 in A major, op. 92: II. Allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 4-3 | Symphony no. 7 in A major, op. 92: II. Allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 4-4 | Symphony no. 7 in A major, op. 92: II. Allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 4-5 | Symphony no. 8 in F major, op. 93: IV. Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | T-001.444.317-4 | |
| 5-1 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 5-2 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 5-3 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 5-4 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 5-5 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 6-1 | Egmont, Op. 84: Ouvertüre. Sostenuto, ma non troppo | Wiener Philharmoniker, Leonard Bernstein | T-909.574.378-5 | |
| 6-2 | Ouvertüre zu "Coriolan", Op. 62 | Wiener Philharmoniker, Leonard Bernstein | — | |
| 6-3 | Ouvertüre zu "König Stephan", Op. 117 | Wiener Philharmoniker, Leonard Bernstein | T-909.574.378-5 | |
| 6-4 | Fidelio, op. 72: Overture | Wiener Philharmoniker, Leonard Bernstein | T-801.974.499-2 | |
| 6-5 | Ouvertüre "Leonore III", Op. 72a | Wiener Philharmoniker, Leonard Bernstein | — | |
| 6-6 | Ouvertüre zu "Die Geschöpfe des Prometheus" c-Moll, Op. 43 | Wiener Philharmoniker, Leonard Bernstein | T-909.574.378-5 | |
| 6-7 | Die Geschöpfe des Prometheus, Op. 43: No. 14, Solo della Casentini. Andante – Adagio - Live | Wiener Philharmoniker, Leonard Bernstein | — | |
| 6-8 | Die Geschöpfe des Prometheus, Op. 43: No. 5, Adagio – Andante quasi allegretto - Live | Wiener Philharmoniker, Leonard Bernstein | — | |
| 6-9 | Die Geschöpfe des Prometheus, Op. 43: No. 16. Finale. Allegretto – Allegro molto - Live | Wiener Philharmoniker, Leonard Bernstein | — | |
| 7-1 | Piano Concerto no. 3 in C minor, op. 37: I. Allegro con brio | Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein | — | |
| 7-2 | Piano Concerto no. 3 in C minor, op. 37: II. Largo | Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein | — | |
| 7-3 | Piano Concerto no. 3 in C minor, op. 37: III. Rondo. Allegro | Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein | T-800.132.125-2 | |
| 7-4 | Piano Concerto no. 4 in G major, op. 58: I. Allegro moderato | Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein | — | |
| 7-5 | Piano Concerto no. 4 in G major, op. 58: II. Andante con moto | Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein | — | |
| 7-6 | Piano Concerto no. 4 in G major, op. 58: III. Rondo. Vivace | Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein | T-909.876.873-1 | |
| 8-1 | Piano Concerto no. 5 in E‐flat major, op. 73 “Emperor”: I. Allegro | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-007.303.107-8 | |
| 8-2 | Piano Concerto no. 5 in E‐flat major, op. 73 “Emperor”: II. Adagio un poco moto – attacca | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-928.635.608-9 | |
| 8-3 | Piano Concerto no. 5 in E‐flat major, op. 73 “Emperor”: III. Rondo. Allegro | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-031.682.208-8 | |
| 9-1 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): I. Adagio, ma non troppo E Molto Espressivo | — | ||
| 9-2 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): II. Allegretto | — | ||
| 9-3 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): III. Allegro Moderato | — | ||
| 9-4 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): IV. Andante, ma non troppo e molto cantabile – Andante moderato e lusinghiero – Adagio – Allegretto – Adagio, ma non troppo e semplice – Allegretto | — | ||
| 9-5 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): V. Presto | — | ||
| 9-6 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): VI. Adagio quasi un poco andante | — | ||
| 9-7 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): VII. Allegro | — | ||
| 9-8 | String Quartet no. 16 in F major op. 135 (for string orchestra): I. Allegretto | — | ||
| 9-9 | String Quartet no. 16 in F major op. 135 (for string orchestra): II. Vivace | — | ||
| 9-10 | Quartet for Strings no. 16 in F major, op. 135: III. Lento assai e cantante tranquillo | Wiener Philharmoniker, Leonard Bernstein | — | |
| 9-11 | String Quartet no. 16 in F major op. 135 (for string orchestra): IV. Der schwer gefaßte Entschluß: Grave. Muss es sein? – Allegro. Es muss sein! – Grave ma non troppo tratto – Allegro | — | ||
| 10-1 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Ia. Kyrie. Kyrie eleison | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-2 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Ib. Kyrie. Christe eleison | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-3 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Ic. Kyrie. Kyrie eleison | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-4 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIa. Gloria. Gloria in excelsis Deo | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-5 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIc. Gloria. Qui tollis peccata mundi | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-6 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IId. Gloria. Quoniam tu solus Sanctus | Netherlands Broadcasting Foundation Chorus, Hilverstein, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-7 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIe. Gloria. In gloria Dei Patris | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-8 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIf. Gloria. Amen, in gloria dei Patris | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-9 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIIa. Credo. Credo in unum Deum | Netherlands Broadcasting Foundation Chorus, Hilverstein, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-10 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIIb. Credo. Et incarnatus est | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | T-915.866.113-3 | |
| 10-11 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIIc. Credo. Et resurrexit - Et ascendit in coelum | Netherlands Broadcasting Foundation Chorus, Hilverstein, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-12 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIId. Credo. Et vitam venturi sauculi | Netherlands Broadcasting Foundation Chorus, Hilverstein, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-13 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIIe. Credo. Amen, et vitam venturi sauculi. Amen | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-14 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IVa. Sanctus. Sanctus, Sanctus, Sanctus Dominus, Desu Sabaoth | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-15 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IVb. Sanctus. Pleni sunt coeli et terra - Osanna in excelsis | Netherlands Broadcasting Foundation Chorus, Hilverstein, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-16 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IVc. Sanctus. Praeludium | Netherlands Broadcasting Foundation Chorus, Hilverstein, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-17 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IVd. Sanctus. Benedictus qui venit in nomine Domini | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Herman Krebbers, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-18 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Va. Agnus Dei. Agnus Dei, qui tollis peccata mundi | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-19 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Vb. Agnus Dei. Dona nobis pacem | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-20 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Vc. Agnus Dei. Agnus Dei, qui tollis peccata mundi | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-21 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Vd. Agnus Dei. Agnus Dei - Dona nobis pacem | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 11-1 | Fidelio, op. 72: Overture | Wiener Philharmoniker, Leonard Bernstein | T-801.974.499-2 | |
| 11-2 | Fidelio, op. 72: Act I, Scene I, no. 1. Duet “Jetzt, Schätzchen, jetzt sind wir allein” (Jaquino, Marzelline) | Adolf Dallapozza, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-3 | Fidelio, op. 72: Act I, Scene I. “Armer Jaquino, ich war ihm sonst recht gut” (Marzelline) | Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-4 | Fidelio, op. 72: Act I, Scene I, no. 2. Aria “O wär’ ich schon mit dir vereint” (Marzelline) | Lucia Popp, Gundula Janowitz, Manfred Jungwirth, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-5 | Fidelio, op. 72: Act I, Scene I. “Jaquino!” – “Ja, Meister Rocco?” (Rocco, Jaquino, Marzelline, Leonore) | Adolf Dallapozza, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-6 | Fidelio, op. 72: Act I, Scene I, no. 3. Quartet “Mir ist so wunderbar” (Marzelline, Leonore, Rocco, Jaquino) | Adolf Dallapozza, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-7 | Fidelio, op. 72: Act I, Scene I. “Höre, Fidelio!” (Rocco, Marzelline) | Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-8 | Fidelio, op. 72: Act I, Scene I, no. 4. Aria “Hat man nicht auch Gold beineben” (Rocco) | Manfred Jungwirth, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-9 | Fidelio, op. 72: Act I, Scene I. “Ihr habt recht, Vater Rocco” (Leonore, Rocco, Marzelline) | Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-10 | Fidelio, op. 72: Act I, Scene I, no. 5. Trio “Gut, Söhnchen, gut” (Rocco, Leonore, Marzelline) | Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-11 | Fidelio, op. 72: Act I, Scene II, no. 6. March | Wiener Philharmoniker, Leonard Bernstein | T-001.200.274-2 | |
| 11-12 | Fidelio, op. 72: Act I, Scene II. “Drei Mann Schildwachen auf den Wall” (Pizarro, Rocco) | Manfred Jungwirth, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-13 | Fidelio, op. 72: Act I, Scene II, no. 7. Aria “Ha! Welch ein Augenblick!” (Pizarro, Chorus) | Chor der Wiener Staatsoper, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-14 | Fidelio, op. 72: Act I, Scene II. “Hauptmann! Besteigen Sie mit einem Trompeter sogleich den Turm” (Pizarro, Rocco) | Manfred Jungwirth, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-15 | Fidelio, op. 72: Act I, Scene II, no. 8. Duet “Jetzt, Alter, hat es Eile!” (Pizarro, Rocco) | Manfred Jungwirth, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-16 | Fidelio, op. 72: Act I, Scene II, no. 9. Recitative “Abscheulicher!” - Aria “Komm, Hoffnung” (Leonore) | Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-17 | Fidelio, op. 72: Act I, Scene II. “Marzelline!” – “Nein, ich will nicht …” (Jaquino, Marzelline, Rocco, Leonore) | Adolf Dallapozza, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-18 | Fidelio, op. 72: Act I, Scene II, no. 10a. Prisoner’s Chorus “O welche Lust” | Chor der Wiener Staatsoper, Karl Terkal, Alfred Šramek, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-19 | Fidelio, op. 72: Act I, Scene II, no. 10b. Recitative “Nun sprecht, wie ging’s?” (Leonore, Rocco) / no. 10c. Duet “Noch heute! Noch heute!” (Leonore, Rocco) / no. 10d. Duet “Wir müssen gleich zu Werke schreiten” (Rocco, Leonore) / no. 10e. / no. 10f. | Adolf Dallapozza, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-20 | Fidelio, op. 72: Act I, Scene II, no. 10g. “Leb wohl, du warmes Sonnenlicht” (Soloists & Chorus) | Chor der Wiener Staatsoper, Adolf Dallapozza, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-1 | Fidelio, op. 72: Act II, Scene I, no. 11. Introduction “Gott! Welch Dunkel hier!” - Aria “In des Lebens Frühlingstagen” | René Kollo, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-2 | Fidelio, op. 72: Act II, Scene I, no. 12. Melodrama “Wie kalt ist es in diesem unterirdischen Gewölbe!” – Duet “Nur hurtig fort, nur frisch gegraben” | Gundula Janowitz, Manfred Jungwirth, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-3 | Fidelio, op. 72: Act II, Scene I. “Er erwacht” | Gundula Janowitz, Manfred Jungwirth, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-4 | Fidelio, op. 72: Act II, Scene I, no. 13. Trio “Euch werde Lohn in bessem Welten” | Gundula Janowitz, Manfred Jungwirth, René Kollo, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-5 | Fidelio, op. 72: Act II, Scene I. “Alles ist bereit” | Gundula Janowitz, Manfred Jungwirth, René Kollo, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-6 | Fidelio, op. 72: Act II, Scene I, no. 14. Quartet “Er sterbe! Doch er soll erst wissen” - “Vater Rocco! Der Herr Minister ist angekommen” - “Es schlägt der Rache Stunder” | Adolf Dallapozza, Gundula Janowitz, Manfred Jungwirth, René Kollo, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-7 | Fidelio, op. 72: Act II, Scene I, no. 15. Duet “O namenlose Freude!” | Gundula Janowitz, René Kollo, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-8 | Ouvertüre "Leonore III", Op. 72a | Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-9 | Fidelio, op. 72: Act II, Scene II, no. 16. Finale “Heil sei dem Tag” – “Bestrafet sei der Bösewicht” – “O Gott! Welch ein Augenblick!” – “Wer ein holdes Weib errungen” | Chor der Wiener Staatsoper, Adolf Dallapozza, Dietrich Fischer-Dieskau, Gundula Janowitz, Manfred Jungwirth, René Kollo, Lucia Popp, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 13-1 | Ouvertüre "Leonore III" op. 72a: Adagio – Allegro | — | ||
| 13-2 | Piano Concerto no. 4 in G major, op. 58: 1. Allegro moderato | Claudio Arrau, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 13-3 | Piano Concerto no. 4 in G major, op. 58: 2. Andante con moto | Claudio Arrau, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 13-4 | Piano Concerto no. 4 in G major, op. 58: 3. Rondo (Vivace) | Claudio Arrau, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 14-1 | Symphony no. 5 in C minor op. 67: I. Allegro con brio | — | ||
| 14-2 | Symphony no. 5 in C minor op. 67: II. Andante con moto | — | ||
| 14-3 | Symphony no. 5 in C minor op. 67: III. Allegro – attacca | — | ||
| 14-4 | Symphony no. 5 in C minor op. 67: IV. Allegro | — | ||
| 15-1 | Symphony no. 9 in D minor, op. 125: I. Allegro ma non troppo, un poco maestoso | Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 15-2 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | T-909.876.841-3 | |
| 15-3 | Symphony no. 9 in D minor, op. 125: III. Adagio molto e cantabile | Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | T-912.747.871-1 | |
| 15-4 | Symphony no. 9 in D minor, op. 125: IV. Presto - Allegro assai | Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | T-306.395.786-4 | |
| 16-1 | 4 Sea Interludes: I. Dawn. Lento e tranquillo | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 16-2 | 4 Sea Interludes: II. Sunday Morning. Allegro spiritoso | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 16-3 | 4 Sea Interludes: III. Moonlight. Andante comodo e rubato | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 16-4 | 4 Sea Interludes: IV. Storm. Presto con fuoco | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 16-5 | Symphony no. 7 in A major op. 92: I. Poco sostenuto – Vivace | — | ||
| 16-6 | Symphony no. 7 in A major op. 92: II. Allegretto | — | ||
| 16-7 | Symphony no. 7 in A major op. 92: III. Presto | — | ||
| 16-8 | Symphony no. 7 in A major op. 92: IV. Allegro con brio | — | ||
| 17-1 | Symphony no. 1 "Jeremiah": I. Prophecy. Largamente | Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 17-2 | Symphony no. 1 "Jeremiah": II. Profanation. Vivace con brio | Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 17-3 | Symphony no. 1 "Jeremiah": III. Lamentation. Lento | Christa Ludwig, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 17-4 | Chichester Psalms: Psalm 108 (verse 2); Psalm 100 (complete) - Maestoso ma energico - Allegro molto | Günther Theuring, Michael Wager, Wiener Jeunesse-Chor, Solist der Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | T-070.027.200-9 | |
| 17-5 | Chichester Psalms: Psalm 23 (complete); Psalm 2 (verses 1-4) | Günther Theuring, Michael Wager, Wiener Jeunesse-Chor, Solist der Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | T-070.027.200-9 | |
| 17-6 | Chichester Psalms: Psalm 131 (complete); Psalm 133 (verse 1) | Günther Theuring, Wiener Jeunesse-Chor, Solist der Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | T-070.027.200-9 | |
| 17-7 | The Song of Songs: I. Awake, O North Wind. Allegro ma non troppo | — | ||
| 17-8 | The Song of Songs: II. Aria. Come My Beloved. Allegretto Con Moto | — | ||
| 17-9 | The Song of Songs: III. By Night on my Bed. Grave | — | ||
| 17-10 | The Song of Songs: IV. Set Me as a Seal Upon Thine Heart. Lento | — | ||
| 18-1 | Symphony no. 2 "The Age of Anxiety": Part I. The Prologue. Lento moderato | Lukas Foss, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-2 | Symphony no. 2 "The Age of Anxiety": Part I. The Seven Ages. Var. 1-7 | Lukas Foss, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-3 | Symphony no. 2 "The Age of Anxiety": Part I. The Seven Ages. Var 8-14 | Lukas Foss, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-4 | Symphony no. 2 "The Age of Anxiety": Part II. The Dirge. Largo | Lukas Foss, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-5 | Symphony no. 2 "The Age of Anxiety": Part II. The Masque. Extremly fast | Lukas Foss, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-6 | Symphony no. 2 "The Age of Anxiety": Part II. The Epilogue. L'istesso tempo - Adagio - Andante - Con moto | Lukas Foss, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-7 | Symphony no. 3 "Kaddish": Invocation | Michael Wager, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-8 | Symphony no. 3 "Kaddish": Kaddish I | Michael Wager, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-9 | Symphony no. 3 "Kaddish": Din-Torah | Michael Wager, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-10 | Symphony no. 3 "Kaddish": Kaddish II | Montserrat Caballé, Michael Wager, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-11 | Symphony no. 3 "Kaddish": Scherzo (Kaddish III) | Michael Wager, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-12 | Symphony no. 3 "Kaddish": Finale (Kaddish III) | Michael Wager, Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-13 | Symphony no. 3 "Kaddish": Allegro, con gioia (Kaddish III) | Michael Wager, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 19-1 | Serenade after Plato’s “Symposium”: I. Phaedrus – Pausanias: Lento – Allegro marcato | Gidon Kremer, Israel Philharmonic Orchestra, Leonard Bernstein | T-071.000.879-9 | |
| 19-2 | Serenade after Plato’s “Symposium”: II. Aristophanes: Allegretto | Gidon Kremer, Israel Philharmonic Orchestra, Leonard Bernstein | T-071.000.879-9 | |
| 19-3 | Serenade after Plato’s “Symposium”: III. Eryximachus: Presto | Gidon Kremer, Israel Philharmonic Orchestra, Leonard Bernstein | T-071.000.879-9 | |
| 19-4 | Serenade after Plato’s “Symposium”: IV. Agathon: Adagio | Gidon Kremer, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 19-5 | Serenade after Plato’s “Symposium”: V. Socrates – Alcibiades: Molto tenuto – Allegro molto vivace | Gidon Kremer, Israel Philharmonic Orchestra, Leonard Bernstein | T-071.000.879-9 | |
| 19-6 | Fancy Free: Big Stuff (Blues, beg.) | — | ||
| 19-7 | Fancy Free: I. Opening Dance. Enter Three Sailors | — | ||
| 19-8 | Fancy Free: II. Scene at the Bar | — | ||
| 19-9 | Fancy Free: III. Enter Two Girls | — | ||
| 19-10 | Fancy Free: IV. Pas de deux | — | ||
| 19-11 | Fancy Free: V. Competition Scene | — | ||
| 19-12 | Fancy Free: VI. Variation I: Galop | — | ||
| 19-13 | Fancy Free: VI. Variation II: Waltz | — | ||
| 19-14 | Fancy Free: VI. Variation III: Danzón | — | ||
| 19-15 | Fancy Free: VII. Finale | — | ||
| 19-16 | Fancy Free: Big Stuff (Blues) | — | ||
| 20-1 | Dybbuk – Suite no. 1: I. Invocation and Trance | — | ||
| 20-2 | Dybbuk – Suite no. 1: II. The Pledge | — | ||
| 20-3 | Dybbuk – Suite no. 1: III. Kabbalah | — | ||
| 20-4 | Dybbuk – Suite no. 1: IV. Possession | — | ||
| 20-5 | Dybbuk – Suite no. 1: V. Pas de deux | — | ||
| 20-6 | Dybbuk – Suite no. 1: VI. Exorcism | — | ||
| 20-7 | Dybbuk – Suite no. 2: I. The Messengers | — | ||
| 20-8 | Dybbuk – Suite no. 2: II. Leah | — | ||
| 20-9 | Dybbuk – Suite no. 2: III. 5 Kabbalah Variations | — | ||
| 20-10 | Dybbuk – Suite no. 2: IV. Dream | — | ||
| 21-1 | Songfest: I. Opening Hymn: To the Poem | — | ||
| 21-2 | Songfest: II. 3 Solos: The Pennycandystore Beyond the El | — | ||
| 21-3 | Songfest: II. 3 Solos: A Julia de Burgos | — | ||
| 21-4 | Songfest: II. 3 Solos: To What You Said ... | — | ||
| 21-5 | Songfest: III. 3 Ensembles: Duet: I, Too, Sing America / Okay "Negroes" | — | ||
| 21-6 | Songfest: III. 3 Ensembles: Trio: To My Dear and Loving Husband | — | ||
| 21-7 | Songfest: III. 3 Ensembles: Duet: Storyette H.M. | — | ||
| 21-8 | Songfest: IV. Sextet: "if you can't eat you got to" | — | ||
| 21-9 | Songfest: V. 3 Solos: Music I Heard With You | — | ||
| 21-10 | Songfest: V. 3 Solos: Zizi's Lament | — | ||
| 21-11 | Songfest: V. 3 Solos: What Lips My Lips Have Kissed ... | — | ||
| 21-12 | Songfest: VI. Closing Hymn: Israfel | — | ||
| 22-1 | Divertimento for Orchestra: I. Sennets and Tuckets. Allegro non troppo, ma con brio | — | ||
| 22-2 | Divertimento for Orchestra: II. Waltz. Allegretto, con grazia | — | ||
| 22-3 | Divertimento for Orchestra: III. Mazurka. Mesto (molto moderato) | — | ||
| 22-4 | Divertimento for Orchestra: IV. Samba. Allegro giusto | — | ||
| 22-5 | Divertimento for Orchestra: V. Turkey Trot. Allegretto, ben misurato | — | ||
| 22-6 | Divertimento for Orchestra: VI. Sphinxes. Adagio lugubre | — | ||
| 22-7 | Divertimento for Orchestra: VII. Blues. Slow Blues Tempo | — | ||
| 22-8 | Divertimento for Orchestra: VIII. March. The BSO Forever / Andante (In memoriam) – Doppio movimento (alla Marcia) | — | ||
| 22-9 | A Musical Toast. Allegro con brio | — | ||
| 22-10 | Slava! A Political Overture. Fast and Flamboyant | — | ||
| 22-11 | On the Town: Three Dance Episodes: I. "The Great Lover". Allegro pesante | Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 22-12 | On the Town: Three Dance Episodes: II. "Lonely Town". Pas de deux - Andante - Sostenuto | Israel Philharmonic Orchestra, Leonard Bernstein | T-070.096.762-9 | |
| 22-13 | On the Town: Three Dance Episodes: III. "Times Square: 1944". Allegro | Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 22-14 | Facsimile. Molto adagio – Più andante – Moderate Waltz Tempo – Sostenuto assai – Allegretto – Subito allegro – Andante – Adagio | — | ||
| 24-1 | Rhapsody in Blue | Los Angeles Philharmonic, Leonard Bernstein | T-010.244.926-2 | |
| 24-2 | Prelude for Piano no. 2 | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-3 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-4 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-5 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-6 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-7 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-8 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-9 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-10 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-11 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 25-1 | Tattoo: Moderato Maestoso – Più Mosso, Piacevole – Con Brio – Meno Mosso | — | ||
| 25-2 | Tattoo: Omaggio A Nicolò Paganini. Meno Mosso, Flessibile – Allegro – Meno Mosso, Amoroso – Vivace – Doppio Mov. (Tempo Primo) | — | ||
| 25-3 | Violin Concerto: I. Twilight: Free and Spacious – attacca: | Gidon Kremer, New York Philharmonic, Leonard Bernstein | — | |
| 25-4 | Violin Concerto: II. Toccata-Chaconne: Very Fast | Gidon Kremer, New York Philharmonic, Leonard Bernstein | — | |
| 25-5 | Violin Concerto: III. Romance without Words: Hardly Moving | Gidon Kremer, New York Philharmonic, Leonard Bernstein | — | |
| 25-6 | Violin Concerto: IV. Midnight: Slow | Gidon Kremer, New York Philharmonic, Leonard Bernstein | — | |
| 25-7 | Violin Concerto: V. Toccata-Rondo: Very Fast | Gidon Kremer, New York Philharmonic, Leonard Bernstein | — | |
| 25-8 | Violin Concerto: VI. Dawn: Wistful | Gidon Kremer, New York Philharmonic, Leonard Bernstein | — | |
| 25-9 | Concerto for Orchestra "Jubilee Games": I. Free-Style Events: Allegro Con Brio, Giocoso | — | ||
| 25-10 | Concerto for Orchestra "Jubilee Games": II. Mixed Doubles. Theme and 7 Variations | — | ||
| 25-11 | Concerto for Orchestra "Jubilee Games": III. Diaspora Dances. Vivace | — | ||
| 25-12 | Concerto for Orchestra "Jubilee Games": IV. Benediction. Moderato, Invocando | — | ||
| 26-1 | Candide: Overture | London Symphony Orchestra, Leonard Bernstein | T-903.288.559-9 | |
| 26-2 | Candide: Act I, No. 1a. Westphalia Chorale | London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | — | |
| 26-3 | Candide: Act I, No. 2. Life Is Happiness Indeed | June Anderson, Jerry Hadley, Della Jones, Kurt Ollmann, London Symphony Orchestra, Leonard Bernstein | T-070.912.512-1 | |
| 26-4 | Candide: Act I, No. 3. The Best of All Possible Worlds | June Anderson, Adolph Green, Jerry Hadley, Della Jones, Kurt Ollmann, London Symphony Orchestra, Leonard Bernstein | T-070.011.011-7 | |
| 26-5 | Candide: Act I, No. 3a. Universal Good | June Anderson, Jerry Hadley, Della Jones, Kurt Ollmann, London Symphony Orchestra, Leonard Bernstein | — | |
| 26-6 | Candide: Act I, No. 4. Oh, Happy We | June Anderson, Jerry Hadley, London Symphony Orchestra, Leonard Bernstein | T-070.158.261-7 | |
| 26-7 | Candide: Act I, No. 5. It Must Be So (Candide’s Meditation) | Jerry Hadley, London Symphony Orchestra, Leonard Bernstein | T-070.907.136-2 | |
| 26-8 | Candide: Act I, No. 6. Westphalia | London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | T-070.902.346-0 | |
| 26-9 | Candide: Act I, No. 6a. Battle Music | London Symphony Orchestra, Leonard Bernstein | — | |
| 26-10 | Candide: Act I, No. 7. Candide’s Lament | Jerry Hadley, London Symphony Orchestra, Leonard Bernstein | — | |
| 26-11 | Candide: Act I, No. 8. Dear Boy | Adolph Green, London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | — | |
| 26-12 | Candide: Act I, No. 9. Auto‐da‐fé | Clive Bayley, Lindsay Benson, Adolph Green, Jerry Hadley, Neil Jenkins, London Symphony Chorus, Richard Suart, John Treleaven, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 26-13 | Candide: Act I, No. 10. Candide Begins His Travels / Act I, No. 10a. It Must Be Me | Jerry Hadley, London Symphony Orchestra, Leonard Bernstein | — | |
| 26-14 | Candide: Act I, No. 11. The Paris Waltz | London Symphony Orchestra, Leonard Bernstein | T-070.921.186-8 | |
| 26-15 | Candide: Act I, No. 12. Glitter and Be Gay | June Anderson, London Symphony Orchestra, Leonard Bernstein | T-070.064.357-7 | |
| 26-16 | Candide: Act I, No. 13. You Were Dead, You Know | June Anderson, Jerry Hadley, London Symphony Orchestra, Leonard Bernstein | T-070.211.089-1 | |
| 26-17 | Candide: Act I, No. 14. I Am Easily Assimilated (Old Lady’s Tango) | June Anderson, London Symphony Chorus, Christa Ludwig, London Symphony Orchestra, Leonard Bernstein | T-070.902.346-0 | |
| 26-18 | Candide: Act I, No. 15. Quartet Finale | June Anderson, Jerry Hadley, London Symphony Chorus, Christa Ludwig, Kurt Ollmann, London Symphony Orchestra, Leonard Bernstein | — | |
| 27-1 | Candide: Act II, No. 16. Universal Good | London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-2 | Candide: Act II, No. 17. My Love (Governor’s Serenade) | June Anderson, Nicolai Gedda, London Symphony Orchestra, Leonard Bernstein | T-070.111.127-4 | |
| 27-3 | Candide: Act II, No. 18. We Are Women (Polka) | June Anderson, Christa Ludwig, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-4 | Candide: Act II, No. 19. The Pilgrims’ Procession – Alleluia | Jerry Hadley, Della Jones, London Symphony Chorus, Kurt Ollmann, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-5 | Candide: Act II, No. 20. Quiet | June Anderson, Nicolai Gedda, Christa Ludwig, London Symphony Orchestra, Leonard Bernstein | T-070.125.004-5 | |
| 27-6 | Candide: Act II, No. 21. Introduction to Eldorado | London Symphony Orchestra, Leonard Bernstein | — | |
| 27-7 | Candide: Act II, No. 22. The Ballad of Eldorado | Jerry Hadley, London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-8 | Candide: Act II, No. 23. Words, Words, Words (Martin’s Laughing Song) | Adolph Green, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-9 | Candide: Act II, No. 24. Bon Voyage | Nicolai Gedda, London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | T-070.012.061-1 | |
| 27-10 | Candide: Act II, No. 25. The Kings’ Barcarolle | Clive Bayley, Lindsay Benson, Adolph Green, Jerry Hadley, Neil Jenkins, Richard Suart, John Treleaven, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-11 | Candide: Act II, No. 26. Money, Money, Money (Venice Gambling Scene) | London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | T-001.597.695-0 | |
| 27-12 | Candide: Act II, No. 27. What’s the Use | Nicolai Gedda, London Symphony Chorus, Christa Ludwig, Kurt Ollmann, John Treleaven, London Symphony Orchestra, Leonard Bernstein | T-070.198.639-1 | |
| 27-13 | Candide: Act II, No. 28. The Venice Gavotte | June Anderson, Adolph Green, Jerry Hadley, Christa Ludwig, London Symphony Orchestra, Leonard Bernstein | T-071.596.385-1 | |
| 27-14 | Candide: Act II, No. 29. Nothing More Than This | Jerry Hadley, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-15 | Candide: Act II, No. 30. Universal Good (Life Is Neither) | London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-16 | Candide: Act II, No. 31. Make Our Garden Grow (Finale) | June Anderson, Nicolai Gedda, Adolph Green, Jerry Hadley, Della Jones, London Symphony Chorus, Christa Ludwig, Kurt Ollmann, London Symphony Orchestra, Leonard Bernstein | T-070.107.908-4 | |
| 28-1 | West Side Story: No. 1: Prologue | Leonard Bernstein | T-070.166.807-6 | |
| 28-2 | West Side Story: No. 2: Jet Song | Kurt Ollmann, David Livingston, Peter Thom, Stephen Bogardus | T-070.088.385-7 | |
| 28-3 | West Side Story: No. 3: Something’s Coming | José Carreras | T-070.136.715-8 | |
| 28-4 | West Side Story: No. 4: The Dance at the Gym: Blues | Leonard Bernstein | — | |
| 28-5 | West Side Story: No. 4: The Dance at the Gym: Promenade | Leonard Bernstein | T-902.871.372-6 | |
| 28-6 | West Side Story: No. 4: The Dance at the Gym: Mambo | Leonard Bernstein | T-070.113.892-2 | |
| 28-7 | West Side Story: No. 4: The Dance at the Gym: Cha‐Cha | Leonard Bernstein | T-070.933.007-3 | |
| 28-8 | West Side Story: No. 4: The Dance at the Gym: Meeting Scene | Leonard Bernstein | T-070.933.007-3 | |
| 28-9 | West Side Story: No. 4: The Dance at the Gym: Jump | Leonard Bernstein | T-902.853.673-4 | |
| 28-10 | West Side Story: No. 5: Maria | José Carreras, Leonard Bernstein | T-070.108.440-3 | |
| 28-11 | West Side Story: No. 6: Balcony Scene (Tonight) | Kiri Te Kanawa, José Carreras | T-901.072.962-1 | |
| 28-12 | West Side Story: No. 7: America | Tatiana Troyanos, Louise Edeiken | T-070.001.097-4 | |
| 28-13 | West Side Story: No. 8: Cool | Kurt Ollmann | T-070.025.960-4 | |
| 28-14 | West Side Story: No. 9: One Hand, One Heart | Kiri Te Kanawa, José Carreras | T-070.159.178-7 | |
| 28-15 | West Side Story: No. 10: Tonight (Ensemble) | José Carreras, Richard Harrell, Kurt Ollmann, Kiri Te Kanawa, Tatiana Troyanos, Leonard Bernstein | T-070.125.208-5 | |
| 28-16 | West Side Story: No. 11: The Rumble | Leonard Bernstein | T-070.127.422-7 | |
| 28-17 | West Side Story: No. 12: I Feel Pretty | Kiri Te Kanawa, Louise Edeiken, Stella Zambalis, Angelina Réaux | T-070.902.843-2 | |
| 28-18 | West Side Story: No. 13: Ballet Sequence: Beginning | Kiri Te Kanawa, José Carreras | — | |
| 28-19 | West Side Story: Ballet Sequence: Transition to Scherzo | Leonard Bernstein | — | |
| 28-20 | West Side Story: Ballet Sequence: Scherzo | Leonard Bernstein | T-070.139.164-1 | |
| 28-21 | West Side Story: Ballet Sequence: Somewhere | Marilyn Horne, Leonard Bernstein | T-070.136.739-6 | |
| 28-22 | West Side Story: Ballet Sequence: Procession and Nightmare | Leonard Bernstein | T-070.933.007-3 | |
| 28-23 | West Side Story: No. 14: Gee, Officer Krupke! | David Livingston, Marty Nelson, Peter Thom, Stephen Bogardus, Todd Lester | T-070.063.859-0 | |
| 28-24 | West Side Story: No. 15: A Boy Like That | Tatiana Troyanos, Kiri Te Kanawa | T-070.012.286-6 | |
| 28-25 | West Side Story: I Have a Love | Kiri Te Kanawa, Tatiana Troyanos | T-070.903.050-1 | |
| 28-26 | West Side Story: No. 16: Taunting Scene | Leonard Bernstein | T-070.182.025-8 | |
| 28-27 | West Side Story: No. 17: Finale | Kiri Te Kanawa, José Carreras | T-070.159.178-7 | |
| 29-1 | A Quiet Place: Act I: Prologue. Chorale: The path of truth is plain and safe (chorus, voices in the darkness) | — | ||
| 29-2 | A Quiet Place: Act I: Scene. Dialogues: I'm sorry, Bill (Funeral Director, Bill, Susie, Analyst, Doc, chorus, Mrs. Doc, Dede, François) | — | ||
| 29-3 | A Quiet Place: Act I: Scene. Readings: "Who can find a virtuous woman?" (Doc, Mrs. Doc, Dede, Chorus, Bill, Susie, François, Junior, Funeral Director, Analyst) / Chorale: God Has His Ways (Chorus) | — | ||
| 29-4 | A Quiet Place: Act 1: Aria "You're Late" | ORF-Symphonieorchester, Leonard Bernstein | — | |
| 29-5 | A Quiet Place: Act I: Scene. Trio: Dear Daddy (Junior, Dede, François) | — | ||
| 29-6 | A Quiet Place: Act I: Scene. Finale: Merry Christmas to you too (Junior, Sam, Dede, François) | — | ||
| 29-7 | A Quiet Place: Act I: Postlude | — | ||
| 29-8 | A Quiet Place: Act II: Scene 1. I Wish I could sleep (Sam) | — | ||
| 29-9 | A Quiet Place: Act II: Scene 2: Trouble in Tahiiti (I). Doa – Daa – Day – Day – (Trio) | — | ||
| 29-10 | A Quiet Place: Act II: Scene 2: Trouble in Tahiiti (I). How could you say (Young Sam, Dinah) | — | ||
| 29-11 | A Quiet Place: Act II: Scene 2: Trouble in Tahiiti (I). Yes? Oh, Mr. Partridge! (Young Sam, Trio) | — | ||
| 29-12 | A Quiet Place: Act II: Scene 2: Trouble in Tahiiti (I). I was standing in a garden (Dinah, Young Sam) | — | ||
| 29-13 | A Quiet Place: Act II: Scene 2: Trouble in Tahiiti (I). Well, of all people (Young Sam, Dinah) | — | ||
| 30-1 | A Quiet Place: Act II: Scene 3. "June Twelfth" (Sam, Dede, François, Junior, Chorus) | — | ||
| 30-2 | A Quiet Place: Act II: Scene 3. But First I'd Like to Sing You a Little Song (Junior, François, Dede, Chorus, Sam) | — | ||
| 30-3 | A Quiet Place: Act II: Scene 3. Quartet: My God, Dinah (Sam, Dede, François, Junior) | — | ||
| 30-4 | A Quiet Place: Act II: Scene 3. Love Scene: There Is So Much. Too Much (François, Dede) / Chorale: The Path of Truth Is Plain and Safe (Chorus) | — | ||
| 30-5 | A Quiet Place: Act II: Scene 4: Trouble in Tahiti (II). Skid A Lit Day (Trio) | — | ||
| 30-6 | A Quiet Place: Act II: Scene 4: Trouble in Tahiti (II). There's A Law (Young Sam) | — | ||
| 30-7 | A Quiet Place: Act II: Scene 4: Trouble in Tahiti (II). What A Movie! (Dinah, Trio) | — | ||
| 30-8 | A Quiet Place: Act II: Scene 4: Trouble in Tahiti (II). There's A Law (Young Sam, Trio, Dinah, Chorus) | — | ||
| 30-9 | A Quiet Place: Act III: Prelude | — | ||
| 30-10 | A Quiet Place: Act III: Scene. Morning! Good Morning! (Dede) | — | ||
| 30-11 | A Quiet Place: Act III: Scene. "The One and Only Cereal" (Junior, Dede, Chorus) | — | ||
| 30-12 | A Quiet Place: Act III: Scene. Tag 1: You're ... It! (Junior, Dede, François) / Trio: ... Around. Happy Twenty-first Birthday (Junior, Dede, François, Chorus) / Tag 2: Come On, Dede, It's Your Turn! (Junior, Sam, Dede, François, Chorus) | — | ||
| 30-13 | A Quiet Place: Act III: Scene. Hmm. Bye Bye (Voice [Dinah], Sam, Junior, Dede, François, Chorus) | — | ||
| 30-14 | A Quiet Place: Act III: Scene. "My Heart Shall Be ... Thy ... Garden" (Dede, Junior, Sam, Chorus, François) | — | ||
| 31-1 | Carmen : Prelude | — | ||
| 31-2 | Carmen : Acte I. No. 1. Introduction: « Sur la place, chacun passe » (Chorus, Moralès, Micaëla) | — | ||
| 31-3 | Carmen : Acte I. No. 2. March and Chorus of Urchins « Allez, dépêchez‐vous ! » … « Avec la garde montante » (Moralès, Chorus of Urchins, Zuniga, Don José) | — | ||
| 31-4 | Carmen : Acte I. « Dites‐moi, brigadier ? » (Zuniga, Don José) | — | ||
| 31-5 | Carmen : Acte I. No. 3. Chorus and Scene « Voici la cloche qui sonne » … « La cloche a sonné » (Don José, Chorus) | — | ||
| 31-6 | Carmen : Acte I. « Mais nous ne voyons pas la Carmencita » (Chorus, Carmen) | — | ||
| 31-7 | Carmen : Acte I. No. 4. Habanera « L’amour est un oiseau rebelle » (Carmen, Chorus) | — | ||
| 31-8 | Carmen : Acte I. No. 5. Scene « Carmen, sur tes pas » (Chorus) | — | ||
| 31-9 | Carmen : Acte I. « Monsieur le brigadier ? » (Micaëla, Don José) / No. 6. Duet « Parle‐moi de ma mère ! » (Don José, Micaëla) | — | ||
| 31-10 | Carmen : Acte I. « Attends un peu maintenant » (Don José, Micaëla) | — | ||
| 31-11 | Carmen : Acte I. No. 7. Chorus « Eh bien ! Qu’est‐ce‐qui arrive ? » … « Au secours ! » (Chorus, Zuniga) | — | ||
| 31-12 | Carmen : Acte I. « Eh bien, brigadier ? » (Zuniga, Don José) / No. 8. Chanson and Melodrama « Tra la la la … » (Carmen, Zuniga, Chorus, Don José) | — | ||
| 31-13 | Carmen : Acte I. No. 9. Chanson and Duet « Près des remparts de Séville » (Carmen, Don José) | — | ||
| 31-14 | Carmen : Acte I. No. 10. Finale: « Le lieutenant ! Prenez garde ! » … « L’amour est enfant de bohème » (Don José, Zuniga, Carmen) | — | ||
| 31-15 | Carmen : Acte I. Entr’acte | — | ||
| 31-16 | Carmen : Acte II. No. 11. Chanson « Les tringles des sistres tintaient » (Carmen, Frasquita, Mercédès) | — | ||
| 31-17 | Carmen : Acte II. « Mon Dieu, messieurs, il commence à se faire tard » (Pastia, Zuniga, Mercédès, Carmen) | — | ||
| 31-18 | Carmen : Acte II. No. 12. Chorus and Ensemble « Vivat le toréro ! » (Chorus, Zuniga, Mercédès, Frasquita, Pastia) | — | ||
| 31-19 | Carmen : Acte II. No. 13. Couplets « Votre toast » (Escamillo, Chorus, Frasquita, Mercédès, Carmen) | — | ||
| 31-20 | Carmen : Acte II. « Dis‐moi ton nom » (Escamillo, Carmen, Pastia, Zuniga) | — | ||
| 31-21 | Carmen : Acte II. No. 13bis. Chorus « Toréador, en garde » | — | ||
| 31-22 | Carmen : Acte II. « Eh bien, vite, quelles nouvelles ? » (Frasquita, Dancaïre, Remendado, Mercédès) | — | ||
| 31-23 | Carmen : Acte II. No. 14. Quintet « Nous avons en tête une affaire ! » (Dancaïre, Frasquita, Mercédès, Carmen, Remendado) | — | ||
| 31-24 | Carmen : Acte II. « Amoureuse … ce n’est pas une raison, cela » (Dancaïre, Remendado, Frasquita, Mercédès, Carmen) / No. 15. Chanson: “Halte‐là! Qui va là?” (Don José) / “Écoutez, le voilà” (Carmen, Mercédès, Remendado, Dancaïre) | — | ||
| 32-1 | Carmen : Acte II. No. 16. Duet « Je vais danser en votre honneur » (Carmen, Don José) | — | ||
| 32-2 | Carmen : Acte II. « La fleur que tu m’avais jetée » (Don José) | — | ||
| 32-3 | Carmen : Acte II. « Non, tu ne m’aimes pas ! » (Carmen, Don José) | — | ||
| 32-4 | Carmen : Acte II. No. 17. Finale « Holà ! Carmen ! » (Zuniga, Don José, Carmen, Dancaïre, Remendado, Chorus) | — | ||
| 32-5 | Carmen : Acte II. Entr’acte | — | ||
| 32-6 | Carmen : Acte III. No. 18. Introduction « Écoute, compagnon … Notre métier est bon » (Chorus, Frasquita, Mercédès, Carmen, Don José, Dancaïre, Remendado) | — | ||
| 32-7 | Carmen : Acte III. « Voyons, Carmen … faisons la paix » (Don José, Carmen) | — | ||
| 32-8 | Carmen : Acte III. No. 19. Trio « Mêlons ! Coupons ! » (Frasquita, Mercédès, Carmen) | — | ||
| 32-9 | Carmen : Acte III. « Carreau, pique … la mort ! » … « En vain pour éviter les réponses amères » (Carmen) | — | ||
| 32-10 | Carmen : Acte III. « Parlez encore, parlez, mes belles » (Frasquita, Mercédès, Carmen) | — | ||
| 32-11 | Carmen : Acte III. « Holà, les belles ! » (Dancaïre, Carmen, Remendado, Frasquita, Mercédès, Don José) | — | ||
| 32-12 | Carmen : Acte III. No. 20. Ensemble « Quant au douanier » (Frasquita, Mercédès, Carmen, Chorus) | — | ||
| 32-13 | Carmen : Acte III. No. 21. Aria « Je dis que rien ne m’épouvante » (Micaëla) | — | ||
| 32-14 | Carmen : Acte III. « Qui va là ? » (Don José) / No. 22. Duet « Je suis Escamillo » (Escamillo, Don José) | — | ||
| 32-15 | Carmen : Acte III. No. 23. Finale « Holà ! Holà ! José! » (Carmen, Escamillo, Dancaïre, Don José, Chorus, Micaëla) | — | ||
| 32-16 | Carmen : Acte III. « Moi ? Je viens te chercher » (Micaëla, Carmen, Don José, Chorus, Escamillo | — | ||
| 32-17 | Carmen : Acte III. Entr’acte | — | ||
| 32-18 | Carmen : Acte IV. No. 24. Chorus « À deux cuartos ! » | — | ||
| 32-19 | Carmen : Acte IV. No. 25. Chorus and Scene « Les voici ! Voici la quadrille » (Chorus) | — | ||
| 32-20 | Carmen : Acte IV. « Si tu m’aimes, Carmen » (Escamillo, Carmen, Chorus) | — | ||
| 32-21 | Carmen : Acte IV. « Carmen, un bon conseil » (Frasquita, Carmen, Mercédès) | — | ||
| 32-22 | Carmen : Acte IV. No. 26. Final Duet « C’est toi ! » – « C’est moi ! » (Carmen, Don José, Chorus) | — | ||
| 33-1 | Symphony no. 1 in C minor op. 68: I. Un Poco Sostenuto – Allegro | — | ||
| 33-2 | Symphony no. 1 in C minor op. 68: II. Andante Sostenuto | — | ||
| 33-3 | Symphony no. 1 in C minor, op. 68: III. Un poco allegretto e grazioso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 33-4 | Symphony no. 1 in C minor op. 68: IV. Adagio – Allegro non troppo, ma Con Brio | — | ||
| 34-1 | Symphony no. 2 in D major op. 73: I. Allegro non troppo | — | ||
| 34-2 | Symphony no. 2 in D major op. 73: II. Adagio non troppo – L'istesso tempo, ma grazione | — | ||
| 34-3 | Symphony no. 2 in D major op. 73: III. Allegretto grazioso | — | ||
| 34-4 | Symphony no. 2 in D major op. 73: IV. Allegro con spirito | — | ||
| 34-5 | Academic Festival Overture op. 80. Allegro – L'istesso tempo, Un poco maestoso – Animato – Maestoso) | — | ||
| 35-1 | Symphony no. 3 in F major op. 90: I. Allegro con brio | — | ||
| 35-2 | Symphony no. 3 in F major op. 90: II. Andante | — | ||
| 35-3 | Symphony no. 3 in F major op. 90: III. Poco allegretto | — | ||
| 35-4 | Symphony no. 3 in F major op. 90: IV. Allegro | — | ||
| 35-5 | Variations in B flat major on a Theme by Joseph Haydn op. 56a | — | ||
| 36-1 | Symphony no. 4 in E minor op. 98: I. Allegro non troppo | — | ||
| 36-2 | Symphony no. 4 in E minor op. 98: II. Andante moderato | — | ||
| 36-3 | Symphony no. 4 in E minor op. 98: III. Allegro giocoso – Poco meno presto – Tempo I | — | ||
| 36-4 | Symphony no. 4 in E minor op. 98: IV. Allegro energico e passionato – Più allegro | — | ||
| 36-5 | Tragic Overture op. 81. Allegro non troppo – Molto più moderato – Tempo primo | — | ||
| 37-1 | Concerto for Piano and Orchestra no. 1 in D minor op. 15: I. Maestoso – Poco più moderato | — | ||
| 37-2 | Concerto for Piano and Orchestra no. 1 in D minor op. 15: II. Adagio | — | ||
| 37-3 | Concerto for Piano and Orchestra no. 1 in D minor op. 15: III. Rondo. Allegro non troppo | — | ||
| 38-1 | Piano Concerto no. 2 in B-flat major, op. 83: I. Allegro non troppo | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-322.446.876-8 | |
| 38-2 | Piano Concerto no. 2 in B-flat major, op. 83: II. Allegro appassionato | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-322.185.909-8 | |
| 38-3 | Piano Concerto no. 2 in B-flat major, op. 83: III. Andante | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-322.449.900-3 | |
| 38-4 | Piano Concerto no. 2 in B-flat major, op. 83: IV. Allegretto grazioso | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-322.446.992-1 | |
| 39-1 | Concerto for Violin and Orchestra in D major op. 77: I. Allegro non troppo | — | ||
| 39-2 | Concerto for Violin and Orchestra in D major op. 77: II. Adagio | — | ||
| 39-3 | Concerto for Violin and Orchestra in D major op. 77: III. Allegro Giocoso, ma non troppo Vivaceo – Poco Più Presto | — | ||
| 39-4 | Concerto for Violin, Violoncello and Orchestra in A minor op. 102 "Double": I. Allegro | — | ||
| 39-5 | Concerto for Violin, Violoncello and Orchestra in A minor op. 102 "Double": II. Andante | — | ||
| 39-6 | Concerto for Violin, Violoncello and Orchestra in A minor op. 102 "Double": III. Vivace non troppo | — | ||
| 40-1 | Symphony no. 9 in D minor: I. Feierlich. Misterioso | — | ||
| 40-2 | Symphony no. 9 in D minor: II. Scherz. Bewegt, Lebhaft – Trio. Schnell | — | ||
| 40-3 | Symphony no. 9 in D minor: III. Adagio. Langsam, Feierlich | — | ||
| 41-1 | Appalachian Spring | Los Angeles Philharmonic, Leonard Bernstein | T-070.001.612-1 | |
| 41-2 | American Festival Overture: Allegro con spirito | — | ||
| 41-3 | Adagio for Strings, op. 11/2 | Los Angeles Philharmonic Orchestra, Leonard Bernstein | T-070.000.199-5 | |
| 41-4 | Candide: Overture | Israel Philharmonic Orchestra, Leonard Bernstein | T-903.288.559-9 | |
| 42-1 | Symphony no. 3: IV. Molto deliberato (Fanfare) -- Allegro risoluto | New York Philharmonic, Leonard Bernstein | — | |
| 42-2 | Symphony no. 3: IV. Molto deliberato (Fanfare) -- Allegro risoluto | New York Philharmonic, Leonard Bernstein | — | |
| 42-3 | Symphony no. 3: IV. Molto deliberato (Fanfare) -- Allegro risoluto | New York Philharmonic, Leonard Bernstein | — | |
| 42-4 | Symphony no. 3: IV. Molto deliberato (Fanfare) -- Allegro risoluto | New York Philharmonic, Leonard Bernstein | — | |
| 42-5 | Quiet City for Cor Anglais, Trumpet and Strings | Philip Smith, Thomas Stacy, New York Philharmonic, Leonard Bernstein | T-070.125.007-8 | |
| 43-1 | El Salón México (Allegro vivace – Moderato – Allegro vivace – Moderato molto) | — | ||
| 43-2 | Concerto for Clarinet and String Orchestra with Harp and Piano: I. Slowly and Expressively | — | ||
| 43-3 | Concerto for Clarinet and String Orchestra with Harp and Piano: II. Rather Fast | — | ||
| 43-4 | Music for Theatre: I. Prologue: Molto moderato | — | ||
| 43-5 | Music for Theatre: II. Dance: Allegro molto | — | ||
| 43-6 | Music for Theatre: III. Interlude: Lento moderato | — | ||
| 43-7 | Music for Theatre: IV. Burlesque: Allegro vivo | — | ||
| 43-8 | Music for Theatre: V. Epilogue: Moderato – Molto moderato – Lento Molto | — | ||
| 43-9 | Connotations for Orchestra: Intenso, drammatico – Subito allegro – Moderato, liberamente (con incanto) – Moderato lirico e cantabile – Subito allegro – Subito a tempo come primo) | — | ||
| 44-1 | Images pour orchestre: I. Gigues | — | ||
| 44-2 | Images pour orchestre: III. Rondes de printemps | — | ||
| 44-3 | Images pour orchestre: II. Ibéria: a. Par les rues et par les chemins | — | ||
| 44-4 | Images pour orchestre: II. Ibéria: b. Les parfums de la nuit | — | ||
| 44-5 | Images pour orchestre: II. Ibéria: c. Le matin d'un jour de fête | — | ||
| 44-6 | Prélude à l'après-midi d'un faune | — | ||
| 44-7 | La Mer: I. De l'aube à midi sur la mer | — | ||
| 44-8 | La Mer: II. Jeux de vagues | — | ||
| 44-9 | La Mer: III. Dialogue du vent et de la mer | — | ||
| 45-1 | Symphony no. 9 in E minor "From the New World," op. 95: I. Adagio – Allegro molto | — | ||
| 45-2 | Symphony no. 9 in E minor "From the New World," op. 95: II. Largo | — | ||
| 45-3 | Symphonie nr. 9 e‐Moll, op. 95 »Aus der Neuen Welt«: III. Scherzo. Molto vivace | Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 45-4 | Symphony no. 9 in E minor "From the New World," op. 95: IV. Allegro con fuoco | — | ||
| 45-5 | Slavonic Dances, op. 46: no. 1 in C major. Presto | — | ||
| 45-6 | Slavonic Dances, op. 46: no. 3 in A flat major. Poco allegro | — | ||
| 45-7 | Slavonic Dances, op. 46: no. 8 in G minor. Presto | — | ||
| 46-1 | Concerto for Violoncello and Orchestra in B minor, op. 104: I. Allegro | Mischa Maisky, Israel Philharmonic Orchestra, Leonard Bernstein | T-007.303.107-8 | |
| 46-2 | Concerto for Violoncello and Orchestra in B minor, op. 104: II. Adagio, ma no troppo | Mischa Maisky, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 46-3 | Concerto for Violoncello and Orchestra in B minor, op. 104: III. Finale. Allegro moderato | Mischa Maisky, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 46-4 | Schelomo, Hebraic Rhapsody for Violoncello & Orchestra: Lento moderato – Andante moderato – Allegro moderato – Allegro – Andante moderato | — | ||
| 47-1 | Variations on an Original Theme "Enigma", op. 36: IX. (Nimrod) Adagio | BBC Symphony Orchestra, Leonard Bernstein | T-010.115.427-1 | |
| 47-9 | Enigma Variations, op. 36: Var. 8. Allegretto “W.N.” | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-11 | Enigma Variations, op. 36: Var. 10. Intermezzo. Allegretto “Dorabella” | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-12 | Variations on an Original Theme "Enigma", op. 36: XI. (G.R.S.) Allegro di molto | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-13 | Variations on an Original Theme "Enigma", op. 36: XII. (B.G.N.) Andante | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-14 | Variations on an Original Theme "Enigma", op. 36: XIII. Romanza (***) Moderato | BBC Symphony Orchestra, Leonard Bernstein | T-042.146.383-3 | |
| 47-15 | Variations on an Original Theme "Enigma", op. 36: XIV. Finale (E.D.U.) Allegro - Presto | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-16 | Pomp and Circumstance, op. 39: No. 1 in D major | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-17 | Pomp and Circumstance, op. 39: No. 2 in A minor | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-18 | The Crown of India, op. 66: March of the Mogul Emperors | BBC Symphony Orchestra, Leonard Bernstein | T-912.663.686-0 | |
| 48-1 | Symphonie en ré mineur: I. Lento - Allegro non troppo | Orchestre National de France, Leonard Bernstein | T-900.967.586-9 | |
| 48-2 | Symphonie en ré mineur: II. Allegretto - | Orchestre National de France, Leonard Bernstein | T-312.184.211-9 | |
| 48-3 | Symphonie en ré mineur: III. Allegro non troppo | Orchestre National de France, Leonard Bernstein | T-900.967.586-9 | |
| 48-4 | Le Rouet d'Omphale (poème symphonique), op. 31: Andantino – Allegro – Tranquillo e scherzando | — | ||
| 48-5 | Symphonie no. 3 en sol mineur, op. 42: I. Allegro vivo | Orchestre National de France, Leonard Bernstein | — | |
| 48-6 | Symphonie no. 3 en sol mineur, op. 42: II. Adagio | Orchestre National de France, Leonard Bernstein | — | |
| 48-7 | Symphonie no. 3 en sol mineur, op. 42: III. Vivace | Orchestre National de France, Leonard Bernstein | — | |
| 48-8 | Symphonie no. 3 en sol mineur, op. 42: IV. Allegro con spirito | Orchestre National de France, Leonard Bernstein | — | |
| 49-1 | Symphony no. 3 (in one movement) | — | ||
| 49-2 | Symphony no. 3, Part I: Passacaglia | New York Philharmonic, Leonard Bernstein | T-070.165.071-6 | |
| 49-3 | Symphony no. 3, Part I: Fugue | New York Philharmonic, Leonard Bernstein | — | |
| 49-4 | Symphony no. 3, Part II: Chorale | New York Philharmonic, Leonard Bernstein | — | |
| 49-5 | Symphony no. 3, Part II: Toccata | New York Philharmonic, Leonard Bernstein | — | |
| 50-1 | Symphony no. 88 in G major, Hob. I:88: I. Adagio - Allegro | Wiener Philharmoniker, Leonard Bernstein | — | |
| 50-2 | Symphony no. 88 in G major, Hob. I:88: II. Largo | Wiener Philharmoniker, Leonard Bernstein | T-902.876.200-7 | |
| 50-3 | Symphony no. 88 in G major, Hob. I:88: III. Menuetto: Allegretto | Wiener Philharmoniker, Leonard Bernstein | T-902.876.200-7 | |
| 50-4 | Symphony no. 88 in G major, Hob. I:88: IV. Finale: Allegretto con spirito | Wiener Philharmoniker, Leonard Bernstein | T-318.676.528-2 | |
| 50-5 | Symphony no. 92 in G major "Oxford," Hob. I:92: I. Adagio – Allegro spiritoso | — | ||
| 50-6 | Symphony no. 92 in G major "Oxford," Hob. I:92: II. Adagio | — | ||
| 50-7 | Symphony no. 92 in G major "Oxford," Hob. I:92: III. Menuet – Trio | — | ||
| 50-8 | Symphony no. 92 in G major "Oxford," Hob. I:92: IV. Finale: Presto | — | ||
| 51-1 | Symphony no. 94 in G major, Hob. I:94 "Surprise" I. Adagio. Vivace assai | Wiener Philharmoniker, Leonard Bernstein | — | |
| 51-2 | Symphony no. 94 in G major, Hob. I:94 "Surprise" II. Andante | Wiener Philharmoniker, Leonard Bernstein | — | |
| 51-3 | Symphony no. 94 in G major "Surprise": Menuet (Allegro molto - Trio - Menuet) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 51-4 | Symphony no. 94 in G major, Hob. I:94 "Surprise" IV. Finale. Allegro di molto | Wiener Philharmoniker, Leonard Bernstein | T-318.676.528-2 | |
| 51-5 | Sinfonia concertante in B flat major Hob. I: 105 - I. Allegro | — | ||
| 51-6 | Sinfonia concertante in B flat major Hob. I: 105 - II. Andante | — | ||
| 51-7 | Sinfonia concertante in B flat major Hob. I: 105 - III. Allegro Con Spirito | — | ||
| 52-1 | Die Schöpfung, Part I, The First Day: 1. The Representation of Chaos | — | ||
| 52-2 | Die Schöpfung, Part I, The First Day: 2. Recitative (Raphael, Uriel) & Chorus: „Im Anfange schuf Gott Himmel und Erde“ – „Und der Geist Gottes“ | — | ||
| 52-3 | Die Schöpfung, Part I, The First Day: 3. Aria (Uriel) & Chorus: „Nun schwanden vor dem heiligen Strahle“ – „Verzweiflung, Wut und Schrecken“ | — | ||
| 52-4 | Die Schöpfung, Part I, The Second Day: 4. Accompanied Recitative (Raphael): „Und Gott machte das Firmament“ | — | ||
| 52-5 | Die Schöpfung, Part I, The Second Day: 5. Solo (Gabriel) with Chorus: „Mit Staunen sieht das Wunderwerk“ – „Und laut ertönt aus ihren Kehlen“ | — | ||
| 52-6 | Die Schöpfung, Part I, The Third Day: 6. Recitative (Raphael): „Und Gott sprach: ‚Es sammle sich das Wasser‘“ | — | ||
| 52-7 | Die Schöpfung, Part I, The Third Day: 7. Aria (Raphael): „Rollend in schäumenden Wellen“ | — | ||
| 52-8 | Die Schöpfung, Part I, The Third Day: 8. Recitative (Gabriel): „Und Gott sprach: ‚Es bringe die Erde Gras hervor‘“ | — | ||
| 52-9 | Die Schöpfung, Part I, The Third Day: 9. Aria (Gabriel): „Nun beut die Flur“ | — | ||
| 52-10 | Die Schöpfung, Part I, The Third Day: 10. Recitative (Uriel): „Und die himmlischen Heerscharen verkündigten“ | — | ||
| 52-11 | Die Schöpfung, Part I, The Third Day: 11. Chorus: „Stimmt an die Saiten“ | — | ||
| 52-12 | Die Schöpfung, Part I, The Fourth Day: 12. Recitative (Uriel): „Und Gott sprach: ‚Es sei'n Lichter an der Feste des Himmels‘“ | — | ||
| 52-13 | Die Schöpfung, Part I, The Fourth Day: 13. Accompanied Recitative (Uriel): „In vollem Glanze steiget jetzt“ | — | ||
| 52-14 | Die Schöpfung, Part I, The Fourth Day: 14. Chorus & Trio (Gabriel, Uriel, Raphael): „Die Himmel erzählen die Ehre Gottes“ / „Dem kommenden Tage sagt es der Tag“ | — | ||
| 52-15 | Die Schöpfung, Part II, The Fifth Day: 15. Recitative (Gabriel): „Und Gott sprach: ‚Es bringe das Wasser in der Fülle hervor‘“ | — | ||
| 52-16 | Die Schöpfung, Part II, The Fifth Day: 16. Aria (Gabriel): „Auf starkem Fittiche schwinget sich der Adler stolz“ | — | ||
| 52-17 | Die Schöpfung, Part II, The Fifth Day: 17. Accompanied Recitative (Raphael): „Und Gott schuf große Walfische“ | — | ||
| 52-18 | Die Schöpfung, Part II, The Fifth Day: 18. Recitative (Raphael): „Und die Engel rührten ihr' unsterblichen Harfen“ | — | ||
| 52-19 | Die Schöpfung, Part II, The Fifth Day: 19. Trio (Gabriel, Uriel, Raphael) & Chorus: „In holder Anmut stehn“ / „Der Herr ist groß in seiner Macht“ | — | ||
| 53-1 | Die Schöpfung, Part III, The Sixth Day: Recitative (Gabriel): „Und Gott Sprach: Es Bringe Die Erde Hervor“ | — | ||
| 53-2 | Die Schöpfung, Part III, The Sixth Day: Accompanied Recitative (Uriel): „Gleich Öffnet Sich Der Erde Schoß“ | — | ||
| 53-3 | Die Schöpfung, Part III, The Sixth Day: Aria (Raphael): „Nun Scheint in Vollem Glanze Der Himmel“ | — | ||
| 53-4 | Die Schöpfung, Part III, The Sixth Day: Recitative (Uriel): „Und Gott Schuf Den Menschen“ | — | ||
| 53-5 | Die Schöpfung, Part III, The Sixth Day: Aria (Uriel): „Mit Würd' Und Hoheit Angetan“ | — | ||
| 53-6 | Die Schöpfung, Part III, The Sixth Day: Recitative (Raphael): „Und Gott Sah Jedes Ding“ | — | ||
| 53-7 | Die Schöpfung, Part III, The Sixth Day: Chorus and Trio (Gabriel, Uriel, Raphael): „Vollendet Ist Das Große Werk“ / "Zu Dir, O Herr, Blickt Alles Auf" | — | ||
| 53-8 | Die Schöpfung, Part III, The Sixth Day: Accompanied Recitative (Uriel): „Aus Rosenwolken Bricht“ | — | ||
| 53-9 | Die Schöpfung, Part III, The Sixth Day: Duet (Eva, Adam) With Chorus: „Von Deiner Güt', O Herr Und Gott“ / "Gesegnet Sei Des Herren Macht" | — | ||
| 53-10 | Die Schöpfung, Part III, The Sixth Day: Recitative (Adam): „Nun Ist Die Erste Pflicht Erfüllt“ | — | ||
| 53-11 | Die Schöpfung, Part III, The Sixth Day: Duet (Eva, Adam): „Holde Gattin, Dir Zur Seite“ | — | ||
| 53-12 | Die Schöpfung, Part III, The Sixth Day: Recitative (Uriel): „O Glücklich Paar, Und Glücklich Immerfort“ | — | ||
| 53-13 | Die Schöpfung, Part III, The Sixth Day: Chorus: „Singt Dem Herren Alle Stimmen“ | — | ||
| 54-1 | Symphony no. 102 in B flat major Hob. I:102: I. Largo – Vivace | — | ||
| 54-2 | Symphony no. 102 in B flat major Hob. I:102: II. Adagio | — | ||
| 54-3 | Symphony no. 102 in B flat major Hob. I:102: III. Menuet. Allegro – Trio | — | ||
| 54-4 | Symphony no. 102 in B flat major Hob. I:102: IV. Finale: Presto | — | ||
| 54-5 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Kyrie. Largo – Allegro Moderato | — | ||
| 54-6 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Gloria: Gloria in Excelsis Deo. Vivace | — | ||
| 54-7 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Gloria: Qui Tollis Pecca Mundi. Adagio | — | ||
| 54-8 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Gloria: Quoniam tu solus sanctis. Allegro / Gloria: Cum Sancto Spiritu. Più stretto | — | ||
| 54-9 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Credo: Credo in unum Deum. Allegro | — | ||
| 54-10 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Credo: Et incarnatus est. Adagio | — | ||
| 54-11 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Credo: Et resurrexit tertia die. Allegro | — | ||
| 54-12 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Credo: Et vitam venturi saeculi. Vivace | — | ||
| 54-13 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Sanctus: Sanctus Dominus. Adagio / Sanctus: Pleni Sunt Coeli – Osanna in Excelsis. Allegro Con Spirito | — | ||
| 54-14 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Benedictus: Benedictus qui venit in nomine Domini – Osanna in excelsis. Andante | — | ||
| 54-15 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Agnus Dei: Agnus Dei, qui tollis peccata mundi. Adagio / Agnus Dei: Dona nobis pacem. Allegro con spirito | — | ||
| 55-1 | Symphony "Mathis Der Maler": I. Engelkonzert. Ruhig Bewegt | — | ||
| 55-2 | Symphony "Mathis Der Maler": II. Grabelgung. Sehr Langsam | — | ||
| 55-3 | Symphony "Mathis Der Maler": III. Versuchung Des Heiligen Antonius. Sehr Langsam, Frei Im Zeitmaß – Sehr Lebhaft | — | ||
| 55-4 | Concert Music for String Orchestra and Brass, op 50: Part I. | Mäßig Schnell, Mit Kraft | — | ||
| 55-5 | Concert Music for String Orchestra and Brass, op 50: Sehr Breit, Aber Stets Fließend | — | ||
| 55-6 | Concert Music for String Orchestra and Brass, op 50: Part II. | Lebhaft | — | ||
| 55-7 | Concert Music for String Orchestra and Brass, op 50: Langsam | — | ||
| 55-8 | Concert Music for String Orchestra and Brass, op 50: Im Ersten Zeitmaß – Lebhaft | — | ||
| 55-9 | Symphonic Metamorphoses On Themes By Carl Maria von Weber: I. Allegro | — | ||
| 55-10 | Symphonic Metamorphoses On Themes By Carl Maria von Weber: II. "Turandot, Scherzo". Moderato – Lebhaft | — | ||
| 55-11 | Symphonic Metamorphoses On Themes By Carl Maria von Weber: III. Andantino | — | ||
| 55-12 | Symphonic Metamorphoses On Themes By Carl Maria von Weber: IV. Marsch | — | ||
| 56-1 | Symphony no. 2: 1. Andante moderato | New York Philharmonic, Leonard Bernstein | — | |
| 56-2 | Symphony no. 2: 2. Allegro | New York Philharmonic, Leonard Bernstein | — | |
| 56-3 | Symphony no. 2: 3. Adagio cantabile | New York Philharmonic, Leonard Bernstein | T-001.397.158-8 | |
| 56-4 | Symphony no. 2: 4. Lento maestoso | New York Philharmonic, Leonard Bernstein | — | |
| 56-5 | Symphony no. 2: 5. Allegro molto vivace | New York Philharmonic, Leonard Bernstein | — | |
| 56-6 | The Gong On the Hook and Ladder Or Firemen's Parade On Main Street (Allegro) | — | ||
| 56-7 | Tone Roads no. 1 (Allegro) | — | ||
| 56-8 | Hymn. Largo Cantabile From A Set of 3 Short Pieces | — | ||
| 56-9 | Hallowe'en From 3 Outdoor Scenes (Allegretto to Presto) | — | ||
| 56-10 | Central Park in the Dark (Molto Adagio) | — | ||
| 56-11 | The Unanswered Question (Largo Molto Sempre) | — | ||
| 57-1 | Eine Faust-Symphonie: I. Faust | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 57-2 | Eine Faust-Symphonie: II. Gretchen | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 57-3 | Eine Faust-Symphonie: III. Mephistopheles / Schlußchor "Alles Vergängliche ist nur ein Gleichnis" | Boston Symphony Orchestra, Tanglewood Festival Chorus, Leonard Bernstein, Kenneth Riegel | — | |
| 58-1 | Mefistofele: Prologo in cielo: I. Tempo. Preludio e coro | Norbert Balatsch, Elisabeth Ziegler, Chor der Wiener Staatsoper, Nicolaï Ghiaurov, Gumpoldskirchner Spatzen, Wiener Philharmoniker, Leonard Bernstein | — | |
| 58-2 | Mefistofele: Prologo in cielo: II. Tempo. Scherzo strumentale “Ave, Signor” | Norbert Balatsch, Elisabeth Ziegler, Chor der Wiener Staatsoper, Nicolaï Ghiaurov, Gumpoldskirchner Spatzen, Wiener Philharmoniker, Leonard Bernstein | — | |
| 58-3 | Mefistofele: Prologo in cielo: Intermezzo dramatico “T’è noto Faust?” | Norbert Balatsch, Elisabeth Ziegler, Chor der Wiener Staatsoper, Nicolaï Ghiaurov, Gumpoldskirchner Spatzen, Wiener Philharmoniker, Leonard Bernstein | — | |
| 58-4 | Mefistofele: Prologo in cielo: III. Tempo. Scherzo vocale ”Siam nimbi – volanti – dai limbi” | Norbert Balatsch, Elisabeth Ziegler, Chor der Wiener Staatsoper, Nicolaï Ghiaurov, Gumpoldskirchner Spatzen, Wiener Philharmoniker, Leonard Bernstein | — | |
| 58-5 | Mefistofele: Prologo in cielo: IV. Salmodia finale “Salve Regina! S’innalzi un’eco” | Norbert Balatsch, Elisabeth Ziegler, Chor der Wiener Staatsoper, Nicolaï Ghiaurov, Gumpoldskirchner Spatzen, Wiener Philharmoniker, Leonard Bernstein | — | |
| 59-1 | Symphony no. 1 in D major, "Titan": IV. Stürmisch bewegt | Concertgebouworkest Amsterdam, Leonard Bernstein | T-900.953.062-5 | |
| 59-4 | Symphony no. 1 "Titan": IV. Stürmisch Bewegt – Energisch – Sehr Gesangvoll – Wieder Wie Zu Anfang. Stürmisch Bewegt – Sehr Langsam – Höchste Kraft. Wieder Vorwärts Drängend – Triumphal (Nicht Eilen) | — | ||
| 60-1 | Symphonie No. 2 c-moll: Ia. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck | New York Philharmonic, Leonard Bernstein | — | |
| 60-2 | Symphonie No. 2 c-moll: Ib. Sehr mäßig und zurückhaltend | New York Philharmonic, Leonard Bernstein | — | |
| 60-3 | Symphonie No. 2 c-moll: Ic. Schnell | New York Philharmonic, Leonard Bernstein | T-911.362.261-0 | |
| 60-4 | Symphonie No. 2 c-moll: Id. Tempo I | New York Philharmonic, Leonard Bernstein | — | |
| 60-5 | Symphonie No. 2 c-moll: Ie. Tempo sostenuto | New York Philharmonic, Leonard Bernstein | — | |
| 60-6 | Symphonie No. 2 c-moll: IIa. Andante moderato. Sehr gemächlich | New York Philharmonic, Leonard Bernstein | — | |
| 60-7 | Symphonie No. 2 c-moll: IIb. Nicht eilen. Sehr gemächlich | New York Philharmonic, Leonard Bernstein | — | |
| 60-8 | Symphonie No. 2 c-moll: IIc. In Tempo I zurückkehren | New York Philharmonic, Leonard Bernstein | — | |
| 60-9 | Symphonie No. 2 c-moll: IId. Energisch bewegt | New York Philharmonic, Leonard Bernstein | — | |
| 60-10 | Symphonie No. 2 c-moll: IIe: Wieder ins Tempo zurückgehen. Tempo I | New York Philharmonic, Leonard Bernstein | — | |
| 61-1 | Symphonie No. 2 c-moll: IIIa. In ruhig fließender Bewegung | New York Philharmonic, Leonard Bernstein | — | |
| 61-2 | Symphonie No. 2 c-moll: IIIb. Sehr getragen und gesangvoll | New York Philharmonic, Leonard Bernstein | — | |
| 61-3 | Symphonie No. 2 c-moll: IIIc. Zum Tempo I zurückkehren | New York Philharmonic, Leonard Bernstein | — | |
| 61-4 | Symphonie No. 2 c-moll: IV. "Urlicht" Sehr leicht, aber schlicht "O Röschen rot" | New York Philharmonic, Leonard Bernstein | — | |
| 61-5 | Symphonie No. 2 c-moll: Va. Im Tempo des Scherzos. Wild herausfahrend | New York Philharmonic, Leonard Bernstein | — | |
| 61-6 | Symphonie No. 2 c-moll: Vb: Langsam | New York Philharmonic, Leonard Bernstein | — | |
| 61-7 | Symphonie No. 2 c-moll: Vc. Im Anfang sehr zuückhaltend | New York Philharmonic, Leonard Bernstein | — | |
| 61-8 | Symphonie No. 2 c-moll: Vd. Wieder sher breit | New York Philharmonic, Leonard Bernstein | — | |
| 61-9 | Symphonie No. 2 c-moll: Ve. Molto ritenuto. Maestoso | New York Philharmonic, Leonard Bernstein | — | |
| 61-10 | Symphonie No. 2 c-moll: Vf. Wieder zurückhaltend | New York Philharmonic, Leonard Bernstein | — | |
| 61-11 | Symphonie No. 2 c-moll: Vg. Sehr langsam und gedehnt | New York Philharmonic, Leonard Bernstein | — | |
| 61-12 | Symphonie No. 2 c-moll: Vh. Langsam. Misterioso "Auferstehn, ja auferstehn wirst du" | New York Philharmonic, Leonard Bernstein | — | |
| 61-13 | Symphonie No. 2 c-moll: Vi. Langsam ppp. Nicht schleppen "Wieder aufzublühn wirst du gesät" | New York Philharmonic, Leonard Bernstein | — | |
| 61-14 | Symphonie No. 2 c-moll: Vj. Etwas bewegter "O glaube, mein Herz o glaube" | New York Philharmonic, Leonard Bernstein | — | |
| 61-15 | Symphonie No. 2 c-moll: Vk. Mit Aufschwung, aber nicht eilen "O Schmerz, du Alldurchdringer" | New York Philharmonic, Leonard Bernstein | — | |
| 62-1 | Symphony no. 3: Part I. Kräftig. Entscheiden | — | ||
| 62-2 | Symphony no. 3: Part I. Immer Das Gleiche Tempo | — | ||
| 62-3 | Symphony no. 3: Part I. Tempo I. | — | ||
| 62-4 | Symphony no. 3: Part I. Zeit Lassen | — | ||
| 62-5 | Symphony no. 3: Part I. Zeit Lassen | — | ||
| 62-6 | Symphony no. 3: Part I. Immer Dasselbe Tempo. (Marsch.) Nicht Eilen | — | ||
| 62-7 | Symphony no. 3: Part I. Im Alten Marschtempo (Allegro Moderato) | — | ||
| 62-8 | Symphony no. 3: Part I. Tempo I | — | ||
| 62-9 | Symphony no. 3: Part II. Tempo Di Menuetto. Sehr Mäßig. Grazioso. Ja Nicht Eilen! | — | ||
| 62-10 | Symphony no. 3: Part II. L'istesso Tempo | — | ||
| 62-11 | Symphony no. 3: Part II. A Tempo. (Wie Im Anfang) | — | ||
| 62-12 | Symphony no. 3: Part II. Ganz Plõtzlich Gemächlich. Tempo Di Menuetto | — | ||
| 62-13 | Symphonie no. 3 d-moll: IIIa. Comodo. Scherzando. Ohne Hast | New York Philharmonic, Leonard Bernstein | T-902.748.588-7 | |
| 62-14 | Symphonie no. 3 d-moll: IIIb. Wieder sehr gemächlich, wir zu Anfang | New York Philharmonic, Leonard Bernstein | — | |
| 62-15 | Symphonie no. 3 d-moll: IIIc. Etwas zurückhaltend | New York Philharmonic, Leonard Bernstein | — | |
| 62-16 | Symphonie no. 3 d-moll: IIId. Schnell und schmetternd wie eine Fanfare - Tempo I. Mit geheimnisvoller Hast | New York Philharmonic, Leonard Bernstein | — | |
| 62-17 | Symphonie no. 3 d-moll: IIIe. Wieder sehr gemächlich, beinahe langsam | New York Philharmonic, Leonard Bernstein | — | |
| 63-1 | Symphony no. 3: IV. Sehr Langsam. Misterioso ppp "O Mensch! Gib Acht" (Alto Solo) | — | ||
| 63-2 | Symphony no. 3: IV. Più Mosso Subito | — | ||
| 63-3 | Symphony no. 3 in D minor: V. Lustig im Tempo und Ausdruck | New York Philharmonic, Leonard Bernstein | — | |
| 63-4 | Symphony no. 3: VI. Langsam. Ruhevoll. Empfunden | — | ||
| 63-5 | Symphony no. 3: VI. Nicht Mehr So Breit | — | ||
| 63-6 | Symphony no. 3: VI. Tempo I. Ruhevoll | — | ||
| 63-7 | Symphony no. 3: VI. Nicht Mehr So Breit | — | ||
| 63-8 | Symphony no. 3: VI. Tempo I. | — | ||
| 63-9 | Symphony no. 3: VI. Langsam. Tempo I. | — | ||
| 64-1 | Symphony no. 4 in G major: I. Bedächtig, nicht eilen | Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 64-2 | Symphony no. 4 in G major: II. In gemächlicher Bewegung, ohne Hast | Koninklijk Concertgebouworkest, Leonard Bernstein, Jaap van Zweden | — | |
| 64-3 | Symphony no. 4 in G major: III. Ruhevoll | Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 64-4 | Symphony no. 4 in G major: IV. Sehr behaglich | Koninklijk Concertgebouworkest, Leonard Bernstein, Helmut Wittek | — | |
| 65-1 | Symphony no. 5 in C‐sharp minor: IV. Adagietto. Sehr langsam | Wiener Philharmoniker, Leonard Bernstein | — | |
| 65-2 | Symphony no. 5 in C‐sharp minor: IV. Adagietto. Sehr langsam | Wiener Philharmoniker, Leonard Bernstein | — | |
| 65-3 | Symphony no. 5 in C‐sharp minor: IV. Adagietto. Sehr langsam | Wiener Philharmoniker, Leonard Bernstein | — | |
| 65-4 | Symphony no. 5 in C‐sharp minor: IV. Adagietto. Sehr langsam | Wiener Philharmoniker, Leonard Bernstein | — | |
| 65-5 | Symphony no. 5 in C‐sharp minor: IV. Adagietto. Sehr langsam | Wiener Philharmoniker, Leonard Bernstein | — | |
| 66-1 | Symphony No. 6 A-moll: II. Scherzo. Wuchtig | Wiener Philharmoniker, Leonard Bernstein | — | |
| 66-2 | Symphony No. 6 A-moll: II. Scherzo. Wuchtig | Wiener Philharmoniker, Leonard Bernstein | — | |
| 66-3 | Symphony No. 6 A-moll: II. Scherzo. Wuchtig | Wiener Philharmoniker, Leonard Bernstein | — | |
| 67-1 | Symphony No. 6 A-moll: IV. Finale: Allegro moderato - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | T-318.676.528-2 | |
| 68-1 | Symphony no. 7, I: Langsam (Adagio) | — | ||
| 68-2 | Symphony no. 7, I: Nicht Schleppen | — | ||
| 68-3 | Symphony no. 7, I: Allegro Risoluto, ma non troppo | — | ||
| 68-4 | Symphony no. 7, I: A Tempo (Sempre L'istesso) | — | ||
| 68-5 | Symphony no. 7, I: Moderato | — | ||
| 68-6 | Symphony no. 7, I: [...] | — | ||
| 68-7 | Symphony no. 7, I: Adagio (Tempo Der Einleitung) | — | ||
| 68-8 | Symphony no. 7, I: Allegro Come Prima | — | ||
| 68-9 | Symphony no. 7, I: Poco Ritenuto – A Tempo | — | ||
| 68-10 | Symphony no. 7, I: Nicht Eilen! | — | ||
| 68-11 | Symphony no. 7, II: Nachtmusik I. Allegro Moderato | — | ||
| 68-12 | Symphony no. 7, II: Sempre L'istesso Tempo | — | ||
| 68-13 | Symphony no. 7, II: Poco Meno Mosso | — | ||
| 68-14 | Symphony no. 7, II: Tempo | — | ||
| 68-15 | Symphony no. 7, II: [...] | — | ||
| 68-16 | Symphony no. 7, II: Sehr Gemessen | — | ||
| 69-1 | Symphony no. 7, III: Scherzo. Schattenhaft | — | ||
| 69-2 | Symphony no. 7, III: Trio | — | ||
| 69-3 | Symphony no. 7, III: Wieder Wie Zu Anfang | — | ||
| 69-4 | Symphony no. 7, IV: Nachtmusik II. Andante Amoroso | — | ||
| 69-5 | Symphony no. 7, IV: Nachtmusik II. [...] | — | ||
| 69-6 | Symphony no. 7, IV: Nachtmusik II. Tempo I. Poco Rit. | — | ||
| 69-7 | Symphony no. 7, V: Rondo-Finale. Tempo I. (Allegro Ordinario) | — | ||
| 69-8 | Symphony no. 7, V: Rondo-Finale. Sempre L'istesso Tempo | — | ||
| 69-9 | Symphony no. 7, V: Rondo-Finale. Tempo II. (Allegro Moderato ma Energico) | — | ||
| 69-10 | Symphony no. 7, V: Rondo-Finale. Tempo I. | — | ||
| 69-11 | Symphony no. 7, V: Rondo-Finale. [...] | — | ||
| 69-12 | Symphony no. 7, V: Rondo-Finale. Tempo I. Subito | — | ||
| 69-13 | Symphony no. 7, V: Rondo-Finale. Meno Mosso (Tempo II) | — | ||
| 69-14 | Symphony no. 7, V: Rondo-Finale. Accelerando | — | ||
| 70-1 | Symphony no. 10 (Unfinished): Adagio: Andante – Adagio | — | ||
| 70-2 | Symphony no. 10 (Unfinished): Adagio: Andante come prima [bar 40] | — | ||
| 70-3 | Symphony no. 10 (Unfinished): Adagio: [bar 105] | — | ||
| 70-4 | Symphony no. 10 (Unfinished): Adagio: [bar 178] | — | ||
| 70-5 | Symphony no. 10 (Unfinished): Adagio: A Tempo [bar 217] | — | ||
| 70-6 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: Allegro impetuoso “Veni, creator spiritus” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-7 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: A tempo. Etwas (aber unmerklich) gemäßigter; immer sehr fließend “Imple superna gratia” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-8 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: Tempo I. (Allegro impetuoso) “Infirma nostri corporis” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-9 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: Tempo I. (Allegro, etwas hastig) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-10 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: Sehr fließend — Noch einmal so langsam als vorher. Nicht schleppend “Infirma nostri corporis” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-11 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: Plötzlich sehr breit und leidenschaftlichen Ausdrucks — Mit plötzcheim Aufschwung “Accende lumen sensibus” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-12 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: “Veni, creator spiritus” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-13 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: a tempo “Gloria sit Patri Domino” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-1 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIa. Poco adagio | Wiener Philharmoniker, Leonard Bernstein | T-801.364.648-6 | |
| 71-2 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIb. Più mosso. (Allegro moderato) | Wiener Philharmoniker, Leonard Bernstein | T-800.828.586-8 | |
| 71-3 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIc. Wieder langsam. Chor und Echo: "Waldung, sie schwankt heran" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-4 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IId. Moderato. "Ewiger Wonnebrand" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-5 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIe. Allegro - (Allegro appassionato) "Wie Felsenabgrund mir zu Füßen" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-6 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIf. Allegro deciso. (Im Anfang noch nicht eilen) - "Gerettet ist das edle Glied" - "Hände verschlinget euch" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-7 | Symphony No. 8, Part II. Final Scene from Goetheʼs “Faust”: Molto leggiero, Chor der jüngeren Engel: “Jene Rosen aus den Händen” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-8 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIh. Schon etwas langsamer und immer noch mäßiger "Uns bleibt ein Erdenrest" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-9 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIi. Im Anfang (die ersten vier Takte) noch etwas gehalten: "Ich spür' soeben, nebelnd um Felsenhöh'" "Freudig empfangen wir" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-10 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIj. Sempre l'istesso tempo. "Höchste Herrscherin der Welt" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-11 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIk. Äußerst langsam. Adagissimo. "Dir, der Unberührbaren" "Du schwebst zu Höhen er ewigen Reiche" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-12 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIl. Fließend "Bei der Liebe, die den Füßen" "Bei dem Bronn, zu dem schon weiland" " Bei dem hochgeweihten Orte" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-13 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIm. Una poenitentium: "Neige, du Ohnegleichte" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-14 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIn. Unmerklich frischer: "Er überwächst uns schon" "Vom edlen Geisterchor umgebren" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-15 | Symphony no. 8 "Symphony of A Thousand": "Vom Edlen Geisterchor Umgeben" – "Komm! Hebe Dich Du Zu Höhern Spahären! "– Hymnenartig – "Blicket Auf Dem Retterblick" | — | ||
| 71-16 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIp. Sehr langsam beginnend "Alles Vergängliche ist nur ein Gleichnis" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 72-1 | Symphony no. 9: I. Andante Comodo | — | ||
| 72-2 | Symphony no. 9: [Entry of the Horns] – Schattenhaft – Etwas Fließender | — | ||
| 72-3 | Symphony no. 9: Bewegter | — | ||
| 72-4 | Symphony no. 9: [...] | — | ||
| 72-5 | Symphony no. 9: Wie Von Anfang | — | ||
| 72-6 | Symphony no. 9: Plötzlich Bedeutend Langsamer (Lento) Und Leise | — | ||
| 72-7 | Symphony no. 9: II. Im Tempo Eines Gemächlichen Ländlers. Etwas Täppisch Und Sehr Derb | — | ||
| 72-8 | Symphony no. 9: Poco Più Mosso Subito (Tempo II) | — | ||
| 72-9 | Symphony no. 9: Tempo III. | — | ||
| 72-10 | Symphony no. 9: A Tempo II. | — | ||
| 72-11 | Symphony no. 9: Tempo I. | — | ||
| 72-12 | Symphony no. 9: Tempo II. | — | ||
| 72-13 | Symphony no. 9: Tempo I. Subito | — | ||
| 73-1 | Symphony no. 9: III. Rondo-Burleske. Allegro Assai. Sehr Trotzig | — | ||
| 73-2 | Symphony no. 9: L'istesso Tempo | — | ||
| 73-3 | Symphony no. 9: Sempre L'istesso Tempo | — | ||
| 73-4 | Symphony no. 9: L'istesso Tempo | — | ||
| 73-5 | Symphony no. 9: [...] | — | ||
| 73-6 | Symphony no. 9: [Entry of the Clarinets] | — | ||
| 73-7 | Symphony no. 9: Tempo I. Subito | — | ||
| 73-8 | Symphony no. 9: Più Stretto | — | ||
| 73-9 | Symphony no. 9: IV. Adagio. Sehr Langsam Und noch Zurückhaltend | — | ||
| 73-10 | Symphony no. 9: Plötzlich Wieder Sehr Langsam (Wie Zu Anfang) Und Etwas Zögernd | — | ||
| 73-11 | Symphony no. 9: Molto Adagio Subito | — | ||
| 73-12 | Symphony no. 9: A Tempo (Molto Adagio) | — | ||
| 73-13 | Symphony no. 9: Stets Sehr Gehalten | — | ||
| 73-14 | Symphony no. 9: Fließender, Doch Durchaus Nicht Eilend | — | ||
| 73-15 | Symphony no. 9: Tempo I. Molto Adagio | — | ||
| 73-16 | Symphony no. 9: Adagissimo | — | ||
| 74-1 | Symphony no. 9: Symphony no. 9: I. Andante comodo | — | ||
| 74-2 | Symphony no. 9: Symphony no. 9: II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb | — | ||
| 74-3 | Symphony no. 9: Symphony no. 9: III. Rondo-Burleske. Allegro assai. Sehr trotzig | — | ||
| 74-4 | Symphony no. 9: Symphony no. 9: IV. Adagio. Sehr langsam und noch zurückhaltend | — | ||
| 75-1 | Das Lied von der Erde: 1. Das Trinklied vom Jammer der Erde | James King, Wiener Philharmoniker, Leonard Bernstein | — | |
| 75-2 | Das Lied von der Erde: 2. Der Einsame im Herbst | Dietrich Fischer-Dieskau, Wiener Philharmoniker, Leonard Bernstein | — | |
| 75-3 | Das Lied von der Erde: 3. Von der Jugend | James King, Wiener Philharmoniker, Leonard Bernstein | — | |
| 75-4 | Das Lied von der Erde: 4. Von der Schönheit | Dietrich Fischer-Dieskau, Wiener Philharmoniker, Leonard Bernstein | — | |
| 75-5 | Das Lied von der Erde: 5. Der Trunkene um Frühling | James King, Wiener Philharmoniker, Leonard Bernstein | — | |
| 75-6 | Das Lied von der Erde: 6. Der Abschied | Dietrich Fischer-Dieskau, Wiener Philharmoniker, Leonard Bernstein | — | |
| 76-1 | Des Knaben Wunderhorn: 1. Der Schildwache Nachtlied | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-2 | Des Knaben Wunderhorn: 2. Wer hat dies Liedlein erdacht? | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | T-904.908.073-1 | |
| 76-3 | Des Knaben Wunderhorn: 3. Der Tamboursg’sell | Andreas Schmidt, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-4 | Des Knaben Wunderhorn: 4. Das irdische Leben | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-5 | Des Knaben Wunderhorn: 5. Verlorne Müh’ | Lucia Popp, Andreas Schmidt, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-6 | Des Knaben Wunderhorn: 6. Des Antonius von Padua Fischpredigt | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-7 | Des Knaben Wunderhorn: 7. Revelge | Andreas Schmidt, Koninklijk Concertgebouworkest, Leonard Bernstein | T-303.204.042-5 | |
| 76-8 | Des Knaben Wunderhorn: 8. Rheinlegendchen | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | T-904.908.073-1 | |
| 76-9 | Des Knaben Wunderhorn: 9. Lob des hohen Verstandes | Andreas Schmidt, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-10 | Des Knaben Wunderhorn: 10. Wo die schönen Trompeten blasen | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | T-917.182.185-5 | |
| 76-11 | Des Knaben Wunderhorn: 11. Lied des Verfolgten im Turm | Lucia Popp, Andreas Schmidt, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-12 | Des Knaben Wunderhorn: 12. Trost im Unglück | Lucia Popp, Andreas Schmidt, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-13 | Des Knaben Wunderhorn: 13. Urlicht | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | T-904.908.073-1 | |
| 77-1 | Lieder eines fahrenden Gesellen: 1. Wenn mein Schatz Hochzeit macht | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | — | |
| 77-2 | Lieder eines fahrenden Gesellen: 2. Ging heutʼ morgen übers Feld | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | — | |
| 77-3 | Lieder eines fahrenden Gesellen: 3. Ich habʼ ein glühend Messer | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | — | |
| 77-4 | Lieder eines fahrenden Gesellen: 4. Die zwei blauen Augen | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | — | |
| 77-5 | Symphony No. 6 A-moll: IV. Finale: Allegro moderato - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | — | |
| 77-6 | Symphony No. 6 A-moll: IV. Finale: Allegro moderato - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | — | |
| 77-7 | Symphony No. 6 A-moll: IV. Finale: Allegro moderato - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | — | |
| 77-8 | Symphony No. 6 A-moll: IV. Finale: Allegro moderato - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | — | |
| 77-9 | Symphony No. 6 A-moll: IV. Finale: Allegro moderato - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | — | |
| 77-10 | 5 Lieder: 1. Liebst du um Schönheit | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | — | |
| 77-11 | 5 Lieder: 2. Blicke mir nicht in die Lieder | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | T-301.280.615-0 | |
| 77-12 | 5 Lieder: 3. Ich atmetʼ einen linden Duft | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | T-301.280.963-7 | |
| 77-13 | 5 Lieder: 5. Um Mitternacht | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | T-004.158.264-2 | |
| 77-14 | 5 Lieder: 6. Ich bin der Welt abhanden gekommen | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | T-926.945.156-1 | |
| 78-1 | Overture "The Hebrides", op. 26 ("Fingal's Cave"). Allegro moderato – Animato in tempo | — | ||
| 78-2 | Symphony no. 3 in A minor "Scottish", op. 56: I. Andante con moto – Allegro un poco agitato | — | ||
| 78-3 | Symphony no. 3 in A minor "Scottish", op. 56: II. Vivace non troppo | — | ||
| 78-4 | Symphony no. 3 in A minor "Scottish", op. 56: III. Adagio | — | ||
| 78-5 | Symphony no. 3 in A minor "Scottish", op. 56: IV. Allegro vivacissimo – Allegro maestoso assai | — | ||
| 79-1 | Symphony no. 4 in A major "Italian", op. 90: I. Allegro vivace | — | ||
| 79-2 | Symphony no. 4 in A major "Italian", op. 90: II. Andante con moto | — | ||
| 79-3 | Symphony no. 4 in A major "Italian", op. 90: III. Con moto moderato | — | ||
| 79-4 | Symphony no. 4 in A major "Italian", op. 90: IV. Saltarello. Presto | — | ||
| 79-5 | Symphony no. 5 in D major "Reformation", op. 107: I. Andante – Allegro con fuoco | — | ||
| 79-6 | Symphony no. 5 in D major "Reformation", op. 107: II. Allegro vivace | — | ||
| 79-7 | Symphony no. 5 in D major "Reformation", op. 107: III. Andante – attacca | — | ||
| 79-8 | Symphony no. 5 in D major "Reformation", op. 107: IV. Chorale „Ein' feste Burg ist unser Gott“. Andante con moto – Allegro vivace – Allegro maestoso | — | ||
| 80-1 | Symphony no. 25 in G minor K 183 (173dB): I. Allegro con brio | — | ||
| 80-2 | Symphony no. 25 in G minor K 183 (173dB): II. Andante | — | ||
| 80-3 | Symphony no. 25 in G minor K 183 (173dB): III. Menuetto – Trio | — | ||
| 80-4 | Symphony no. 25 in G minor K 183 (173dB): IV. Allegro | — | ||
| 80-5 | Symphony no. 29 in A major K 201 (186a): I. Allegro moderato | — | ||
| 80-6 | Symphony no. 29 in A major K 201 (186a): II. Andante | — | ||
| 80-7 | Symphony no. 29 in A major K 201 (186a): III. Menuetto – Trio | — | ||
| 80-8 | Symphony no. 29 in A major K 201 (186a): IV. Allegro con spirito | — | ||
| 80-9 | Concerto for Clarinet and Orchestra in A major K 622: I. Allegro | — | ||
| 80-10 | Concerto for Clarinet in A major, K. 622: II. Adagio | Peter Schmidl, Wiener Philharmoniker, Leonard Bernstein | — | |
| 80-11 | Concerto for Clarinet and Orchestra in A major K 622: III. Rondo. Allegro | — | ||
| 81-1 | Symphony no. 35 in D major "Haffner" K 385: I. Allegro con spirito | — | ||
| 81-2 | Symphony no. 35 in D major "Haffner" K 385: II. Andante | — | ||
| 81-3 | Symphony no. 35 in D major "Haffner" K 385: III. Menuetto – Trio | — | ||
| 81-4 | Symphony no. 35 for Orchestra in D major, K. 385 "Haffner": IV. Presto | Wiener Philharmoniker, Leonard Bernstein | T-318.676.528-2 | |
| 81-5 | Symphony no. 41 in C major "Jupiter", K. 551: 1. Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 81-6 | Symphony no. 41 in C major "Jupiter", K. 551: 2. Andante cantabile | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 81-7 | Symphony no. 41 in C major "Jupiter", K. 551: 3. Menuetto. Allegretto | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 81-8 | Symphony No. 41 in C major, K. 551 “Jupiter”: IV. Allegro molto | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 82-1 | Symphony no. 36 in C major "Linz" K 425: I. Adagio – Allegro spiritoso | — | ||
| 82-2 | Symphony no. 36 in C major "Linz" K 425: II. Andante | — | ||
| 82-3 | Symphony no. 36 in C major "Linz" K 425: III. Menuetto – Trio | — | ||
| 82-4 | Symphony no. 36 in C major "Linz" K 425: IV. Presto | — | ||
| 82-5 | Symphony no. 38 in D major "Prague" K 504: I. Adagio – Allegro | — | ||
| 82-6 | Symphony no. 38 in D major "Prague" K 504: II. Andante | — | ||
| 82-7 | Symphony no. 38 in D major "Prague" K 504: III. Presto | — | ||
| 83-1 | Symphony no. 39 in E flat major K 543: I. Adagio – Allegro | — | ||
| 83-2 | Symphony no. 39 in E flat major K 543: II. Andante con moto | — | ||
| 83-3 | Symphony no. 39 in E flat major K 543: III. Menuetto. Allegretto – Trio | — | ||
| 83-4 | Symphony no. 39 in E flat major K 543: IV. Finale. Allegro | — | ||
| 83-5 | Symphonie Nr. 40 in g‐moll, KV 550: I. Molto allegro | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 83-6 | Symphonie Nr. 40 in g‐moll, KV 550: II. Andante | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 83-7 | Symphonie Nr. 40 in g‐moll, KV 550: III. Menuetto. Allegretto | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 83-8 | Symphonie Nr. 40 in g‐moll, KV 550: IV. Allegro assai | Wiener Philharmoniker, Leonard Bernstein | T-306.395.786-4 | |
| 84-1 | Concerto for Piano and Orchestra no. 15 in B-flat major, K. 450: I. Allegro | Wiener Philharmoniker, Leonard Bernstein | — | |
| 84-2 | Concerto for Piano and Orchestra no. 15 in B-flat major, K. 450: II. [Andante] | Wiener Philharmoniker, Leonard Bernstein | — | |
| 84-3 | Concerto for Piano and Orchestra no. 15 in B-flat major, K. 450: III. Allegro | Wiener Philharmoniker, Leonard Bernstein | — | |
| 84-4 | Symphony no. 36 “Linz”: I. Adagio -Allegro spiritoso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 84-5 | Symphony no. 36 “Linz”: II. Andante | Wiener Philharmoniker, Leonard Bernstein | — | |
| 84-6 | Symphony no. 36 “Linz”: III. Menuetto | Wiener Philharmoniker, Leonard Bernstein | T-902.876.200-7 | |
| 84-7 | Symphony no. 36 “Linz”: IV. Presto | Wiener Philharmoniker, Leonard Bernstein | T-003.055.867-8 | |
| 85-1 | Concerto for Piano & Orchestra no. 17 in G major K 453: I. Allegro | — | ||
| 85-2 | Concerto for Piano & Orchestra no. 17 in G major K 453: II. Andante | — | ||
| 85-3 | Concerto for Piano & Orchestra no. 17 in G major K 453: III. Allegretto – Finale. Presto | — | ||
| 85-4 | Concerto for Piano & Orchestra in G major - I. Allegramente – Andante – Tempo I | — | ||
| 85-5 | Concerto for Piano & Orchestra in G major - II. Adagio assai | — | ||
| 85-6 | Concerto for Piano & Orchestra in G major - III. Presto | — | ||
| 86-1 | Motet for Chorus, Strings & Organ in D major, K. 618: "Ave verum corpus", KV618 | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | T-323.252.117-0 | |
| 86-2 | Exsultate, jubilate K165 (158a) | — | ||
| 86-3 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 "Great": I. "Kyrie" | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | T-919.081.368-4 | |
| 86-4 | Great Mass in C minor: II. Gloria: Gloria in excelsis Deo (chorus) | — | ||
| 86-5 | Great Mass in C minor: II. Gloria: Laudamus te (soprano) | — | ||
| 86-6 | Great Mass in C minor: II. Gloria: Gratias agimus tibi (soloists / chorus) | — | ||
| 86-7 | Great Mass in C minor: II. Gloria: Domine Deus (soprano, mezzo-soprano) | — | ||
| 86-8 | Great Mass in C minor: II. Gloria: Qui tollis peccata mundi (chorus) | — | ||
| 86-9 | Great Mass in C minor: II. Gloria: Quoniam tu solus sanctus (soprano, mezzo-soprano, tenor) | — | ||
| 86-10 | Great Mass in C minor: II. Gloria: Jesu Christe (soloists / chorus) | — | ||
| 86-11 | Great Mass in C minor: II. Gloria: Cum Sancto Spiritu (soloists / chorus) | — | ||
| 86-12 | Great Mass in C minor: III. Credo: Credo in unum Deum (chorus) | — | ||
| 86-13 | Great Mass in C minor: III. Credo: Et incarnatus est (soprano) | — | ||
| 86-14 | Great Mass in C minor: IV. Sanctus: Sanctus, sanctus, sanctus (chorus) | — | ||
| 86-15 | Great Mass in C minor: V. Benedictus: Benedictus qui venit in nomine Domini (soloists / chorus) | — | ||
| 87-1 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-2 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-3 | Requiem in D minor, K. 626: IIIa. Dies irae (Sequenz) | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Wolfgang Seeliger, Leonard Bernstein | — | |
| 87-4 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-5 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-6 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-7 | Requiem in D minor, K. 626: IIIe. Confutatis (Sequenz) | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Wolfgang Seeliger, Leonard Bernstein | — | |
| 87-8 | Requiem in D minor, K. 626: IIIf. Lacrimosa (Sequenz) | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Wolfgang Seeliger, Leonard Bernstein | — | |
| 87-9 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-10 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-11 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-12 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-13 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-14 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 88-1 | La bohème: Atto I. “Questo Mar Rosso mi ammollisce e assidera” (Marcello, Rodolfo, Colline) | — | ||
| 88-2 | La bohème: Atto I. “Pensier profondo!” (Colline, Marcello, Rodolfo) | — | ||
| 88-3 | La bohème: Atto I. “Abbasso, abbasso l’autor!” (Marcello, Colline, Rodolfo, Schaunard) | — | ||
| 88-4 | La bohème: Atto I. “Si può?” (Benoit, Marcello, Schaunard, Colline, Rodolfo) | — | ||
| 88-5 | La bohème: Atto I. “Io resto” (Rodolfo, Marcello, Colline, Schaunard) | — | ||
| 88-6 | La bohème: Atto I. “Non sono in vena” (Rodolfo, Mimì) | — | ||
| 88-7 | La bohème: Atto I. “Si sente meglio?” (Rodolfo, Mimì) | — | ||
| 88-8 | La Bohème: Atto I. “Che gelida manina!” (Rodolfo) | Jerry Hadley, Orchestra dell’Accademia Nazionale di Santa Cecilia, Leonard Bernstein | — | |
| 88-9 | La bohème: Atto I. “Sì. Mi chiamano Mimì” (Mimì, Rodolfo) | — | ||
| 88-10 | La bohème, act I: “Ehi! Rodolfo!” (Schaunard, Colline, Marcello, Rodolfo, Mimì) | — | ||
| 88-11 | La bohème, act I: “O soave fanciulla” (Rodolfo, Marcello, Mimì) | — | ||
| 88-12 | La bohème: Atto II. “Aranci, datteri! Caldi i marroni!” (Coro, Schaunard, Colline, Rodolfo, Mimì, Marcello) | — | ||
| 88-13 | La bohème: Atto II. “Chi guardi?” (Rodolfo, Colline, Mimì, Schaunard, Marcello, Parpignol) | — | ||
| 88-14 | La bohème: Atto II. “Questa è mimì” (Rodolfo, Marcello, Schaunard, Colline, Parpignol, coro, Mimì) | — | ||
| 88-15 | La bohème: Atto II. “Viva parpignol!” (Coro, Marcello, Mimì, Schaunard, Colline, Rodolfo) | — | ||
| 88-16 | La bohème: Atto II. “Allegri, e un toast!” (Schaunard, Colline, Marcello, Mimì, Rodolfo, coro, Alcindoro, Musetta) | — | ||
| 88-17 | La bohème: Atto II. “Quando men vo” (Musetta, Marcello, Alcindoro, Mimì, Rodolfo, Schaunard, Colline) | — | ||
| 88-18 | La bohème: Atto II. “Il conto?!” (Rodolfo, Schaunard, Colline, coro, Musetta, Marcello, Mimì) | — | ||
| 89-1 | La bohème: Atto III. “Ohè là, le guardie!” (Coro, Doganiere, Musetta) | — | ||
| 89-2 | La bohème: Atto III. “Sa dirmi, scusi, qual’è l’osteria” (Mimì, Sergente, Doganiere) | — | ||
| 89-3 | La bohème: Atto III. “Mimì!” – “Speravo di trovarvi qui” (Marcello, Mimì) | — | ||
| 89-4 | La bohème: Atto III. “Marcello. Finalmente!” (Rodolfo, Marcello, Mimì) | — | ||
| 89-5 | La bohème: Atto III. “Mimì è una civetta” (Rodolfo, Marcello) | — | ||
| 89-6 | La bohème: Atto III. “Mimì è tanto malata!” (Rodolfo, Marcello, Mimì) | — | ||
| 89-7 | La bohème: Atto III. “Mimì di serra è fiore” (Rodolfo, Mimì, Marcello) | — | ||
| 89-8 | La bohème: Atto III. “D’onde lieta uscì” (Mimì) | — | ||
| 89-9 | La bohème: Atto III. “Dunque è proprio finita!” (Rodolfo, Mimì, Marcello, Musetta) | — | ||
| 89-10 | La bohème: Atto IV. “In un coupè?” – “Con pariglia e livree” (Marcello, Rodolfo) | — | ||
| 89-11 | La bohème: Atto IV. “O Mimì, tu più non torni” (Rodolfo, Marcello) | — | ||
| 89-12 | La bohème: Atto IV. “Che ora sia?” (Rodolfo, Marcello, Schaunard, Colline) | — | ||
| 89-13 | La bohème: Atto IV. “Gavotta!” – “Minuetto!” (Colline, Marcello, Rodolfo, Schaunard) | — | ||
| 89-14 | La bohème: Atto IV. “C’è Mimì” (Musetta, Rodolfo, Schaunard, Mimì, Marcello, Colline) | — | ||
| 89-15 | La bohème: Atto IV. “Vecchia zimarra, senti” (Colline, Schaunard) | — | ||
| 89-16 | La bohème: Atto IV. “Sono andati? Fingevo di dormire” (Mimì, Rodolfo) | — | ||
| 89-17 | La bohème: Atto IV. “Oh dio! Mimì!” (Rodolfo, Schaunard, Mimì, Musetta, Marcello) | — | ||
| 89-18 | La bohème: Atto IV. “Che ha detto il medico?” (Rodolfo, Marcello, Musetta, Schaunard, Colline) | — | ||
| 90-1 | Symphony no. 8 in B minor "Unfinished" D 759: I. Allegro moderato | — | ||
| 90-2 | Symphony no. 8 in B minor "Unfinished" D 759: II. Andante con moto | — | ||
| 90-3 | Symphony no. 5 in B flat major D 485: I. Allegro | — | ||
| 90-4 | Symphony no. 5 in B flat major D 485: II. Andante con moto | — | ||
| 90-5 | Symphony no. 5 in B flat major D 485: III. Menuetto. Allegro molto – Trio | — | ||
| 90-6 | Symphony no. 5 in B flat major D 485: IV. Allegro vivace | — | ||
| 91-1 | Symphony no. 9 in C major "The Great" D 944: I. Andante – Allegro ma non troppo | — | ||
| 91-2 | Symphony no. 9 in C major "The Great" D 944: II. Andante con moto | — | ||
| 91-3 | Symphony no. 9 in C major "The Great" D 944: III. Scherzo. Allegro vivace – Trio | — | ||
| 91-4 | Symphony no. 9 in C major "The Great" D 944: IV. Allegro vivace | — | ||
| 92-1 | Symphony no. 1 in B-flat major, op. 38 "Spring": I. Andante un poco maestoso - Allegro molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-2 | Symphony no. 1 in B-flat major, op. 38 "Spring": II. Larghetto - attacca: | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-3 | Symphony no. 1 in B‐flat major, op. 38 "Spring": III. Scherzo: Molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-4 | Symphony no. 1 in B-flat major, op. 38 "Spring": IV. Allegro animato e grazioso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-5 | Symphony no. 4 in D minor, op. 120: I. Ziemlich langsam - Lebhaft - (attacca:) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-6 | Symphony no. 4 in D minor, op. 120: II. Romanze: Ziemlich langsam - (attacca:) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-7 | Symphony no. 4 in D minor, op. 120: III. Scherzo: Lebhaft - Trio - (attacca:) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-8 | Symphony no. 4 in D minor, op. 120: IV. Langsam - Lebhaft | Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-1 | Symphony no. 2 in C major, op. 61: I. Sostenuto assai - Allegro, ma non troppo | Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-2 | Symphony no. 2 in C major, op. 61: II. Scherzo: Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-3 | Symphony no. 2 in C major, op. 61: III. Adagio espressivo | Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-4 | Symphony no. 2 in C major, op. 61: IV. Allegro molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-5 | Konzert für Violoncello und Orchester a-Moll, op. 129: III. Sehr lebhaft | Mischa Maisky, Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-6 | Konzert für Violoncello und Orchester a-Moll, op. 129: III. Sehr lebhaft | Mischa Maisky, Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-7 | Konzert für Violoncello und Orchester a-Moll, op. 129: III. Sehr lebhaft | Mischa Maisky, Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-1 | Symphony no. 3 in E-flat major, op. 97 "Rhenish": I. Lebhaft | Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-2 | Symphony no. 3 in E-flat major, op. 97 "Rhenish": II. Scherzo: Sehr mäßig | Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-3 | Symphony no. 3 in E-flat major, op. 97 "Rhenish": III. Nicht schnell | Wiener Philharmoniker, Leonard Bernstein | T-312.439.214-5 | |
| 94-4 | Symphony no. 3 in E-flat major, op. 97 "Rhenish": IV. Feierlich - (quasi attacca:) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-5 | Symphony no. 3 in E-flat major, op. 97 "Rhenish": V. Lebhaft | Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-6 | Konzert für Klavier und Orchester a-Moll, op. 54: I. Allegro affettuoso | Justus Frantz, Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-7 | Konzert für Klavier und Orchester a-Moll, op. 54: I. Allegro affettuoso | Justus Frantz, Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-8 | Konzert für Klavier und Orchester a-Moll, op. 54: I. Allegro affettuoso | Justus Frantz, Wiener Philharmoniker, Leonard Bernstein | — | |
| 95-1 | Symphony no. 1 in F minor, op. 10: 1. Allegretto - Allegro non troppo | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 95-2 | Symphony no. 1 in F minor, op. 10: 2. Allegro | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 95-3 | Symphony no. 1 in F minor, op. 10: 3. Lento - Largo | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 95-4 | Symphony no. 1 in F minor, op. 10: 4. Allegro molto - Lento - Allegro molto - Adagio - Largo - Presto | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 95-5 | Symphony no. 7 in C major "Leningrad", op. 60: 1. Allegretto | Chicago Symphony Orchestra, Leonard Bernstein | T-315.020.230-1 | |
| 96-1 | Symphony no. 7 in C major "Leningrad", op. 60: 2. Moderato (poco allegretto) | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 96-2 | Symphony no. 7 in C major "Leningrad", op. 60: 3. Adagio | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 96-3 | Symphony no. 7 in C major "Leningrad", op. 60: 4. Allegro non troppo | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 97-1 | Symphony no. 6 op. 54: I. Largo | Wiener Philharmoniker, Leonard Bernstein | T-005.005.728-7 | |
| 97-2 | Symphony no. 6 op. 54: II. Allegro | Wiener Philharmoniker, Leonard Bernstein | — | |
| 97-3 | Symphony no. 6 op. 54: III. Presto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 97-4 | Symphony no. 9 op. 70: I. Allegro | Wiener Philharmoniker, Leonard Bernstein | — | |
| 97-5 | Symphony no. 9 op. 70: I. II. Moderato | Wiener Philharmoniker, Leonard Bernstein | — | |
| 97-6 | Symphony no. 9 op. 70: I. III. Presto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 97-7 | Symphony no. 9 op. 70: I. IV. Largo | Wiener Philharmoniker, Leonard Bernstein | — | |
| 97-8 | Symphony no. 9 op. 70: I. V. Allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 98-1 | Symphony no. 1 in E minor, op. 39: I. Andante, ma non troppo - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | — | |
| 98-2 | Symphony no. 1 in E minor, op. 39: II. Andante (ma non troppo lento) | Wiener Philharmoniker, Leonard Bernstein | T-071.481.827-5 | |
| 98-3 | Symphony no. 1 in E minor, op. 39: III. Scherzo (Allegro) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 98-4 | Symphony no. 1 in E minor, op. 39: IV. Finale (Quasi una fantasia) | Wiener Philharmoniker, Leonard Bernstein | T-318.676.528-2 | |
| 99-1 | Symphony no. 2 in D major, op. 43: I. Allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 99-2 | Symphony no. 2 in D major, op. 43: II. Tempo andante, ma rubato | Wiener Philharmoniker, Leonard Bernstein | — | |
| 99-3 | Symphony no. 2 in D major, op. 43: III. Vivacissimo (attacca) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 99-4 | Symphony no. 2 in D major, op. 43: IV. Finale. Allegro moderato | Wiener Philharmoniker, Leonard Bernstein | T-318.676.528-2 | |
| 100-1 | Symphony no. 5 in E-flat major, op. 82: Ia. Tempo molto moderato - Largamente - | Wiener Philharmoniker, Leonard Bernstein | — | |
| 100-2 | Symphony no. 5 in E-flat major, op. 82: Ib. Allegro moderato - Presto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 100-3 | Symphony no. 5 in E-flat major, op. 82: II. Andante mosso, quasi allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 100-4 | Symphony no. 5 in E-flat major, op. 82: III. Allegro molto - Misterioso - Un pochettino largamente - Largamente assai | Wiener Philharmoniker, Leonard Bernstein | — | |
| 100-5 | Symphony no. 7 in C major, op. 105: Un pochettino meno adagio – Poco a poco affrettando il tempo al Vivacissimo | — | ||
| 100-6 | Symphony no. 7 in C major, op. 105: [5 bars before] Poco rallentando all'Adagio – Poco a poco meno lento all' | — | ||
| 100-7 | Symphony no. 7 in C major, op. 105: Allegro molto moderato – Poco a poco meno moderato- | — | ||
| 100-8 | Symphony no. 7 in C major, op. 105: [2 bars before] Vivace – Presto – Poco a poco rallentando all'Adagio – Largamente molto – Affettuoso – Tempo I | — | ||
| 100-9 | Symphony no. 7 in C major, op. 105: [2 bars before] Vivace – Presto – Poco a poco rallentando all'Adagio – Largamente molto – Affettuoso – Tempo I | — | ||
| 101-1 | Salome, op. 54 (selections): Final scene: „Es ist kein Laut zu vernehmen“ | — | ||
| 101-2 | Salome, op. 54 (selections): Scene 4: Tanz der sieben Schleier | — | ||
| 101-3 | 5 Lieder mit Orchesterbegleitung, op. 27 no. 2, TrV 170: Cäcilie | Montserrat Caballé, Orchestre national de France, Leonard Bernstein | — | |
| 101-4 | 5 Lieder mit Orchesterbegleitung, op. 41 no. 1, TrV 195: Wiegenlied | Montserrat Caballé, Orchestre national de France, Leonard Bernstein | — | |
| 101-5 | 5 Lieder mit Orchesterbegleitung, op. 37 no. 2, TrV 187: Ich liebe dich | Montserrat Caballé, Orchestre national de France, Leonard Bernstein | — | |
| 101-6 | 5 Songs for Voice & Orchestra: Morgen! op. 27/4 „Und morgen wird die Sonne wieder scheinen“ | — | ||
| 101-7 | 5 Songs for Voice & Orchestra: Zueignung, op. 10/1 „Ja, du weißt es, teure Seele“ | — | ||
| 102-1 | L'oiseau de feu: Introduction | — | ||
| 102-2 | L'oiseau de feu: Danse de l'oiseau de feu et sa danse | — | ||
| 102-3 | L'oiseau de feu: Variation de l'oiseau de feu | — | ||
| 102-4 | L'oiseau de feu: Ronde des princesses | — | ||
| 102-5 | L'oiseau de feu: Danse infernale de Kachtcheï | — | ||
| 102-6 | L'oiseau de feu: Berceuse | — | ||
| 102-7 | L'Oiseau de feu Suite (1919 version): Finale | Israel Philharmonic Orchestra, Leonard Bernstein | T-924.857.395-7 | |
| 102-8 | Pulcinella: I. Sinfonia (Ouverture). Allegro moderato | — | ||
| 102-9 | Pulcinella: II. Serenata. Larghetto | — | ||
| 102-10 | Pulcinella: III. a. Scherzino – b. Allegro – c. Andantino | — | ||
| 102-11 | Pulcinella: IV. Tarantella. 𝅗𝅥 = 88 | — | ||
| 102-12 | Pulcinella: V. Toccata. Allegro | — | ||
| 102-13 | Pulcinella: VI. Gavotta con due variazioni. Allegro moderato. Var. I. Allegretto – Var. II. Allegro più tosto moderato | — | ||
| 102-14 | Pulcinella: VII. Vivo | — | ||
| 102-15 | Pulcinella: VIII. a. Minuetto. Molto moderato – b. Finale. Allegro assai | — | ||
| 103-1 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-2 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-3 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-4 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-5 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-6 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-7 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-8 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-9 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-10 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-11 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-12 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-13 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-14 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-15 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-16 | Scènes de ballet: Introduction. Andante | — | ||
| 103-17 | Scènes de ballet: Danses (Corps de ballet). Moderato | — | ||
| 103-18 | Scènes de ballet: Variation (Ballerine). Con moto | — | ||
| 103-19 | Scènes de ballet: Pantomime. Lento | — | ||
| 103-20 | Scènes de ballet: Pas de deux. Adagio | — | ||
| 103-21 | Scènes de ballet: Pantomime. Agitato ma tempo giusto | — | ||
| 103-22 | Scènes de ballet: Variation (Danseur). Risoluto | — | ||
| 103-23 | Scènes de ballet: Variation (Ballerine). Andantino | — | ||
| 103-24 | Scènes de ballet: Pantomime. Andantino | — | ||
| 103-25 | Scènes de ballet: Danses (Corps de ballet). Con moto | — | ||
| 103-26 | Scènes de ballet: Apothéose. Poco meno mosso | — | ||
| 104-1 | Le Sacre du printemps: Partie I. Danse de la Terre | Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 104-2 | Le Sacre du printemps: Partie I. Danse de la Terre | Israel Philharmonic Orchestra, Leonard Bernstein | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Symphony No. 3 in E-flat major, Op. 55 "Eroica": I. Allegro con brio | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 3 in E-flat major, Op. 55 "Eroica": II. Marcia funebre. Adagio assai | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 3 in E-flat major, Op. 55 "Eroica": III. Scherzo. Allegro vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 3 in E-flat major, Op. 55 "Eroica": IV. Finale. Allegro molto | New York Stadium Symphony Orchestra, Leonard Bernstein | T-318.676.528-2 |
| Symphony No. 2 in C major, Op. 61: I. Sostenuto assai - Un poco più vivace - Allegro ma non troppo - Con fuoco | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 2 in C major, Op. 61: II. Scherzo: Allegro vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 2 in C major, Op. 61: III. Adagio espressivo | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 2 in C major, Op. 61: IV. Allegro molto vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 4 in E minor, Op. 98: I. Allegro non troppo | New York Stadium Symphony Orchestra, Leonard Bernstein | T-902.764.002-4 |
| Symphony No. 4 in E minor, Op. 98: II. Andante moderato | New York Stadium Symphony Orchestra, Leonard Bernstein | T-902.764.002-4 |
| Symphony No. 4 in E minor, Op. 98: III. Allegro giocoso - Poco meno presto - Tempo I | New York Stadium Symphony Orchestra, Leonard Bernstein | T-902.764.002-4 |
| Symphony No. 4 in E minor, Op. 98: IV. Allegro energico e passionato - Più allegro | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 6 in B minor, Op. 74 "Pathétique": I. Adagio – Allegro non troppo | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 6 in B minor, Op. 74 "Pathétique": II. Allegro con grazia | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 6 in B minor, Op. 74 "Pathétique": III. Allegro molto vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 6 in B minor, Op. 74 "Pathétique": IV. Finale. Adagio lamentoso – Andante | New York Stadium Symphony Orchestra, Leonard Bernstein | T-003.055.867-8 |
| Symphony No. 9 in E minor, Op. 95 "From the New World": I. Adagio – Allegro molto | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 9 in E minor, Op. 95 "From the New World": II. Largo | New York Stadium Symphony Orchestra, Leonard Bernstein | T-902.286.256-2 |
| Symphony No. 9 in E minor, Op. 95 "From the New World": III. Scherzo. Molto vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 9 in E minor, Op. 95 "From the New World": IV. Allegro con fuoco | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "Simplicity itself..." (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "I always feel this gigantism..." (2nd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "We have just been examining..." (3rd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "All that we have said..." (4th movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "The study of Eroica is a lifetime work..." | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Robert Schumann has been dead..." (3rd movement, opening theme) | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "To my mind, Schumann follows in this tradition..." | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Now let's look at the Symphony itself..." (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "And so we have arrived at the allegro section..." (1st movement, continued) | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "In the marvelous Scherzo that follows..." (2nd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "But perhaps the greatest beauty...." (3rd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Even in the final movement...." (4th movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Brahms' Fourth Symphony in E minor is today ..." (4th movement., opening theme) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Our journey begins without introduction..." (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Do you see now what a symphonic theme is?" (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Now, think of it - we have so far only had 44 bars of music" (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Here is that second theme" (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "This brings us to the development section proper" (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): And here we are back home, ready for the rehearing of the exposition,..." (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "So we arrive at the coda" (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Well, we have had a microscopic look at symphonic method" (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now there is a melody, a pure orchestral song..." (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now the development section erupts..." (1st movement continued) | [dialogue] | — |
| Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now one would think that Tchaikovsky had really exploited the device of scales" (2nd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Jumping now to the famous third movement, the great March..." (3rd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Perhaps the most admirable example of this is to be found in the wonderful last movement, ..." (4th movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now I don't want to give you the impression that scales are the only unifying force in this work" | [dialogue] | — |
| Musical Analysis (Bernstein on Dvorák's Symphony No.9): "Does this music sound like the New World to you?" (3rd movement, Trio II; 1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Dvorák's Symphony No.9): "We come now to the second movement, which has a charming melody, ..." (2nd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Dvorák's Symphony No.9): "The third movement is a marvel of ingenuity and deftness" (3rd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Dvorák's Symphony No.9): "And now the last movement. In general I should say that this is the most Slavic of all" (4th movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Dvorák's Symphony No.9): "The final claim of those who argue for the New World Symphony as American music, ..." (4th movement, continued) | [dialogue] | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
028947984184 is a Universal Product Code (UPC) assigned to Complete Recordings on Deutsche Grammophon & Decca by Leonard Bernstein. 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 987 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
028947984184 is the Universal Product Code (UPC barcode) for the release “Complete Recordings on Deutsche Grammophon & Decca” by Leonard Bernstein, released 2018-01-01 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 987 tracks, each with its own ISRC. Tracks include DEF057803270, DEF057803270, DEF057803270.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2 | Symphony no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3 | Symphony no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 4 | Symphony no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 5 | Symphony no. 3 in E-flat major, op. 55 "Eroica": I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 6 | Symphony no. 3 in E-flat major, op. 55 "Eroica": I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 7 | Symphony no. 3 in E-flat major, op. 55 "Eroica": I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 8 | Symphony no. 3 in E-flat major, op. 55 "Eroica": I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-1 | Symphony no. 2 in D major, op. 36: II. Larghetto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-2 | Symphony no. 2 in D major, op. 36: II. Larghetto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-3 | Symphony no. 2 in D major, op. 36: II. Larghetto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-4 | Symphony no. 2 in D major, op. 36: II. Larghetto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-5 | Symphony no. 4 in B-flat major, op. 60: III. Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-6 | Symphony no. 4 in B-flat major, op. 60: III. Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-7 | Symphony no. 4 in B-flat major, op. 60: III. Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 2-8 | Symphony no. 4 in B-flat major, op. 60: III. Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-1 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-2 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-3 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-4 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-5 | Symphony No. 6 in F major, Op. 68 "Pastorale": II. Scene by the Brook: Andante molto mosso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-6 | Symphony No. 6 in F major, Op. 68 "Pastorale": II. Scene by the Brook: Andante molto mosso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-7 | Symphony No. 6 in F major, Op. 68 "Pastorale": II. Scene by the Brook: Andante molto mosso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-8 | Symphony No. 6 in F major, Op. 68 "Pastorale": II. Scene by the Brook: Andante molto mosso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 3-9 | Symphony No. 6 in F major, Op. 68 "Pastorale": II. Scene by the Brook: Andante molto mosso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 4-1 | Symphony no. 7 in A major, op. 92: II. Allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 4-2 | Symphony no. 7 in A major, op. 92: II. Allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 4-3 | Symphony no. 7 in A major, op. 92: II. Allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 4-4 | Symphony no. 7 in A major, op. 92: II. Allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 4-5 | Symphony no. 8 in F major, op. 93: IV. Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | T-001.444.317-4 | |
| 5-1 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 5-2 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 5-3 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 5-4 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 5-5 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 6-1 | Egmont, Op. 84: Ouvertüre. Sostenuto, ma non troppo | Wiener Philharmoniker, Leonard Bernstein | T-909.574.378-5 | |
| 6-2 | Ouvertüre zu "Coriolan", Op. 62 | Wiener Philharmoniker, Leonard Bernstein | — | |
| 6-3 | Ouvertüre zu "König Stephan", Op. 117 | Wiener Philharmoniker, Leonard Bernstein | T-909.574.378-5 | |
| 6-4 | Fidelio, op. 72: Overture | Wiener Philharmoniker, Leonard Bernstein | T-801.974.499-2 | |
| 6-5 | Ouvertüre "Leonore III", Op. 72a | Wiener Philharmoniker, Leonard Bernstein | — | |
| 6-6 | Ouvertüre zu "Die Geschöpfe des Prometheus" c-Moll, Op. 43 | Wiener Philharmoniker, Leonard Bernstein | T-909.574.378-5 | |
| 6-7 | Die Geschöpfe des Prometheus, Op. 43: No. 14, Solo della Casentini. Andante – Adagio - Live | Wiener Philharmoniker, Leonard Bernstein | — | |
| 6-8 | Die Geschöpfe des Prometheus, Op. 43: No. 5, Adagio – Andante quasi allegretto - Live | Wiener Philharmoniker, Leonard Bernstein | — | |
| 6-9 | Die Geschöpfe des Prometheus, Op. 43: No. 16. Finale. Allegretto – Allegro molto - Live | Wiener Philharmoniker, Leonard Bernstein | — | |
| 7-1 | Piano Concerto no. 3 in C minor, op. 37: I. Allegro con brio | Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein | — | |
| 7-2 | Piano Concerto no. 3 in C minor, op. 37: II. Largo | Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein | — | |
| 7-3 | Piano Concerto no. 3 in C minor, op. 37: III. Rondo. Allegro | Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein | T-800.132.125-2 | |
| 7-4 | Piano Concerto no. 4 in G major, op. 58: I. Allegro moderato | Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein | — | |
| 7-5 | Piano Concerto no. 4 in G major, op. 58: II. Andante con moto | Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein | — | |
| 7-6 | Piano Concerto no. 4 in G major, op. 58: III. Rondo. Vivace | Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein | T-909.876.873-1 | |
| 8-1 | Piano Concerto no. 5 in E‐flat major, op. 73 “Emperor”: I. Allegro | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-007.303.107-8 | |
| 8-2 | Piano Concerto no. 5 in E‐flat major, op. 73 “Emperor”: II. Adagio un poco moto – attacca | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-928.635.608-9 | |
| 8-3 | Piano Concerto no. 5 in E‐flat major, op. 73 “Emperor”: III. Rondo. Allegro | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-031.682.208-8 | |
| 9-1 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): I. Adagio, ma non troppo E Molto Espressivo | — | ||
| 9-2 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): II. Allegretto | — | ||
| 9-3 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): III. Allegro Moderato | — | ||
| 9-4 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): IV. Andante, ma non troppo e molto cantabile – Andante moderato e lusinghiero – Adagio – Allegretto – Adagio, ma non troppo e semplice – Allegretto | — | ||
| 9-5 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): V. Presto | — | ||
| 9-6 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): VI. Adagio quasi un poco andante | — | ||
| 9-7 | String Quartet no. 14 in C sharp minor op. 131 (for string orchestra): VII. Allegro | — | ||
| 9-8 | String Quartet no. 16 in F major op. 135 (for string orchestra): I. Allegretto | — | ||
| 9-9 | String Quartet no. 16 in F major op. 135 (for string orchestra): II. Vivace | — | ||
| 9-10 | Quartet for Strings no. 16 in F major, op. 135: III. Lento assai e cantante tranquillo | Wiener Philharmoniker, Leonard Bernstein | — | |
| 9-11 | String Quartet no. 16 in F major op. 135 (for string orchestra): IV. Der schwer gefaßte Entschluß: Grave. Muss es sein? – Allegro. Es muss sein! – Grave ma non troppo tratto – Allegro | — | ||
| 10-1 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Ia. Kyrie. Kyrie eleison | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-2 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Ib. Kyrie. Christe eleison | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-3 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Ic. Kyrie. Kyrie eleison | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-4 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIa. Gloria. Gloria in excelsis Deo | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-5 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIc. Gloria. Qui tollis peccata mundi | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-6 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IId. Gloria. Quoniam tu solus Sanctus | Netherlands Broadcasting Foundation Chorus, Hilverstein, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-7 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIe. Gloria. In gloria Dei Patris | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-8 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIf. Gloria. Amen, in gloria dei Patris | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-9 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIIa. Credo. Credo in unum Deum | Netherlands Broadcasting Foundation Chorus, Hilverstein, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-10 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIIb. Credo. Et incarnatus est | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | T-915.866.113-3 | |
| 10-11 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIIc. Credo. Et resurrexit - Et ascendit in coelum | Netherlands Broadcasting Foundation Chorus, Hilverstein, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-12 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIId. Credo. Et vitam venturi sauculi | Netherlands Broadcasting Foundation Chorus, Hilverstein, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-13 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IIIe. Credo. Amen, et vitam venturi sauculi. Amen | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-14 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IVa. Sanctus. Sanctus, Sanctus, Sanctus Dominus, Desu Sabaoth | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-15 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IVb. Sanctus. Pleni sunt coeli et terra - Osanna in excelsis | Netherlands Broadcasting Foundation Chorus, Hilverstein, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-16 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IVc. Sanctus. Praeludium | Netherlands Broadcasting Foundation Chorus, Hilverstein, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-17 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IVd. Sanctus. Benedictus qui venit in nomine Domini | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Herman Krebbers, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-18 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Va. Agnus Dei. Agnus Dei, qui tollis peccata mundi | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-19 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Vb. Agnus Dei. Dona nobis pacem | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-20 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Vc. Agnus Dei. Agnus Dei, qui tollis peccata mundi | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 10-21 | Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: Vd. Agnus Dei. Agnus Dei - Dona nobis pacem | Netherlands Broadcasting Foundation Chorus, Hilverstein, René Kollo, Kurt Moll, Edda Moser, Hanna Schwarz, Bernard Bartelink, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 11-1 | Fidelio, op. 72: Overture | Wiener Philharmoniker, Leonard Bernstein | T-801.974.499-2 | |
| 11-2 | Fidelio, op. 72: Act I, Scene I, no. 1. Duet “Jetzt, Schätzchen, jetzt sind wir allein” (Jaquino, Marzelline) | Adolf Dallapozza, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-3 | Fidelio, op. 72: Act I, Scene I. “Armer Jaquino, ich war ihm sonst recht gut” (Marzelline) | Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-4 | Fidelio, op. 72: Act I, Scene I, no. 2. Aria “O wär’ ich schon mit dir vereint” (Marzelline) | Lucia Popp, Gundula Janowitz, Manfred Jungwirth, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-5 | Fidelio, op. 72: Act I, Scene I. “Jaquino!” – “Ja, Meister Rocco?” (Rocco, Jaquino, Marzelline, Leonore) | Adolf Dallapozza, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-6 | Fidelio, op. 72: Act I, Scene I, no. 3. Quartet “Mir ist so wunderbar” (Marzelline, Leonore, Rocco, Jaquino) | Adolf Dallapozza, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-7 | Fidelio, op. 72: Act I, Scene I. “Höre, Fidelio!” (Rocco, Marzelline) | Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-8 | Fidelio, op. 72: Act I, Scene I, no. 4. Aria “Hat man nicht auch Gold beineben” (Rocco) | Manfred Jungwirth, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-9 | Fidelio, op. 72: Act I, Scene I. “Ihr habt recht, Vater Rocco” (Leonore, Rocco, Marzelline) | Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-10 | Fidelio, op. 72: Act I, Scene I, no. 5. Trio “Gut, Söhnchen, gut” (Rocco, Leonore, Marzelline) | Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-11 | Fidelio, op. 72: Act I, Scene II, no. 6. March | Wiener Philharmoniker, Leonard Bernstein | T-001.200.274-2 | |
| 11-12 | Fidelio, op. 72: Act I, Scene II. “Drei Mann Schildwachen auf den Wall” (Pizarro, Rocco) | Manfred Jungwirth, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-13 | Fidelio, op. 72: Act I, Scene II, no. 7. Aria “Ha! Welch ein Augenblick!” (Pizarro, Chorus) | Chor der Wiener Staatsoper, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-14 | Fidelio, op. 72: Act I, Scene II. “Hauptmann! Besteigen Sie mit einem Trompeter sogleich den Turm” (Pizarro, Rocco) | Manfred Jungwirth, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-15 | Fidelio, op. 72: Act I, Scene II, no. 8. Duet “Jetzt, Alter, hat es Eile!” (Pizarro, Rocco) | Manfred Jungwirth, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-16 | Fidelio, op. 72: Act I, Scene II, no. 9. Recitative “Abscheulicher!” - Aria “Komm, Hoffnung” (Leonore) | Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-17 | Fidelio, op. 72: Act I, Scene II. “Marzelline!” – “Nein, ich will nicht …” (Jaquino, Marzelline, Rocco, Leonore) | Adolf Dallapozza, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-18 | Fidelio, op. 72: Act I, Scene II, no. 10a. Prisoner’s Chorus “O welche Lust” | Chor der Wiener Staatsoper, Karl Terkal, Alfred Šramek, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-19 | Fidelio, op. 72: Act I, Scene II, no. 10b. Recitative “Nun sprecht, wie ging’s?” (Leonore, Rocco) / no. 10c. Duet “Noch heute! Noch heute!” (Leonore, Rocco) / no. 10d. Duet “Wir müssen gleich zu Werke schreiten” (Rocco, Leonore) / no. 10e. / no. 10f. | Adolf Dallapozza, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 11-20 | Fidelio, op. 72: Act I, Scene II, no. 10g. “Leb wohl, du warmes Sonnenlicht” (Soloists & Chorus) | Chor der Wiener Staatsoper, Adolf Dallapozza, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-1 | Fidelio, op. 72: Act II, Scene I, no. 11. Introduction “Gott! Welch Dunkel hier!” - Aria “In des Lebens Frühlingstagen” | René Kollo, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-2 | Fidelio, op. 72: Act II, Scene I, no. 12. Melodrama “Wie kalt ist es in diesem unterirdischen Gewölbe!” – Duet “Nur hurtig fort, nur frisch gegraben” | Gundula Janowitz, Manfred Jungwirth, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-3 | Fidelio, op. 72: Act II, Scene I. “Er erwacht” | Gundula Janowitz, Manfred Jungwirth, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-4 | Fidelio, op. 72: Act II, Scene I, no. 13. Trio “Euch werde Lohn in bessem Welten” | Gundula Janowitz, Manfred Jungwirth, René Kollo, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-5 | Fidelio, op. 72: Act II, Scene I. “Alles ist bereit” | Gundula Janowitz, Manfred Jungwirth, René Kollo, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-6 | Fidelio, op. 72: Act II, Scene I, no. 14. Quartet “Er sterbe! Doch er soll erst wissen” - “Vater Rocco! Der Herr Minister ist angekommen” - “Es schlägt der Rache Stunder” | Adolf Dallapozza, Gundula Janowitz, Manfred Jungwirth, René Kollo, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-7 | Fidelio, op. 72: Act II, Scene I, no. 15. Duet “O namenlose Freude!” | Gundula Janowitz, René Kollo, Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-8 | Ouvertüre "Leonore III", Op. 72a | Wiener Philharmoniker, Leonard Bernstein | — | |
| 12-9 | Fidelio, op. 72: Act II, Scene II, no. 16. Finale “Heil sei dem Tag” – “Bestrafet sei der Bösewicht” – “O Gott! Welch ein Augenblick!” – “Wer ein holdes Weib errungen” | Chor der Wiener Staatsoper, Adolf Dallapozza, Dietrich Fischer-Dieskau, Gundula Janowitz, Manfred Jungwirth, René Kollo, Lucia Popp, Hans Sotin, Wiener Philharmoniker, Leonard Bernstein | — | |
| 13-1 | Ouvertüre "Leonore III" op. 72a: Adagio – Allegro | — | ||
| 13-2 | Piano Concerto no. 4 in G major, op. 58: 1. Allegro moderato | Claudio Arrau, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 13-3 | Piano Concerto no. 4 in G major, op. 58: 2. Andante con moto | Claudio Arrau, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 13-4 | Piano Concerto no. 4 in G major, op. 58: 3. Rondo (Vivace) | Claudio Arrau, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 14-1 | Symphony no. 5 in C minor op. 67: I. Allegro con brio | — | ||
| 14-2 | Symphony no. 5 in C minor op. 67: II. Andante con moto | — | ||
| 14-3 | Symphony no. 5 in C minor op. 67: III. Allegro – attacca | — | ||
| 14-4 | Symphony no. 5 in C minor op. 67: IV. Allegro | — | ||
| 15-1 | Symphony no. 9 in D minor, op. 125: I. Allegro ma non troppo, un poco maestoso | Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 15-2 | Symphony no. 9 in D minor, op. 125: II. Molto vivace | Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | T-909.876.841-3 | |
| 15-3 | Symphony no. 9 in D minor, op. 125: III. Adagio molto e cantabile | Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | T-912.747.871-1 | |
| 15-4 | Symphony no. 9 in D minor, op. 125: IV. Presto - Allegro assai | Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | T-306.395.786-4 | |
| 16-1 | 4 Sea Interludes: I. Dawn. Lento e tranquillo | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 16-2 | 4 Sea Interludes: II. Sunday Morning. Allegro spiritoso | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 16-3 | 4 Sea Interludes: III. Moonlight. Andante comodo e rubato | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 16-4 | 4 Sea Interludes: IV. Storm. Presto con fuoco | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 16-5 | Symphony no. 7 in A major op. 92: I. Poco sostenuto – Vivace | — | ||
| 16-6 | Symphony no. 7 in A major op. 92: II. Allegretto | — | ||
| 16-7 | Symphony no. 7 in A major op. 92: III. Presto | — | ||
| 16-8 | Symphony no. 7 in A major op. 92: IV. Allegro con brio | — | ||
| 17-1 | Symphony no. 1 "Jeremiah": I. Prophecy. Largamente | Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 17-2 | Symphony no. 1 "Jeremiah": II. Profanation. Vivace con brio | Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 17-3 | Symphony no. 1 "Jeremiah": III. Lamentation. Lento | Christa Ludwig, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 17-4 | Chichester Psalms: Psalm 108 (verse 2); Psalm 100 (complete) - Maestoso ma energico - Allegro molto | Günther Theuring, Michael Wager, Wiener Jeunesse-Chor, Solist der Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | T-070.027.200-9 | |
| 17-5 | Chichester Psalms: Psalm 23 (complete); Psalm 2 (verses 1-4) | Günther Theuring, Michael Wager, Wiener Jeunesse-Chor, Solist der Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | T-070.027.200-9 | |
| 17-6 | Chichester Psalms: Psalm 131 (complete); Psalm 133 (verse 1) | Günther Theuring, Wiener Jeunesse-Chor, Solist der Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | T-070.027.200-9 | |
| 17-7 | The Song of Songs: I. Awake, O North Wind. Allegro ma non troppo | — | ||
| 17-8 | The Song of Songs: II. Aria. Come My Beloved. Allegretto Con Moto | — | ||
| 17-9 | The Song of Songs: III. By Night on my Bed. Grave | — | ||
| 17-10 | The Song of Songs: IV. Set Me as a Seal Upon Thine Heart. Lento | — | ||
| 18-1 | Symphony no. 2 "The Age of Anxiety": Part I. The Prologue. Lento moderato | Lukas Foss, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-2 | Symphony no. 2 "The Age of Anxiety": Part I. The Seven Ages. Var. 1-7 | Lukas Foss, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-3 | Symphony no. 2 "The Age of Anxiety": Part I. The Seven Ages. Var 8-14 | Lukas Foss, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-4 | Symphony no. 2 "The Age of Anxiety": Part II. The Dirge. Largo | Lukas Foss, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-5 | Symphony no. 2 "The Age of Anxiety": Part II. The Masque. Extremly fast | Lukas Foss, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-6 | Symphony no. 2 "The Age of Anxiety": Part II. The Epilogue. L'istesso tempo - Adagio - Andante - Con moto | Lukas Foss, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-7 | Symphony no. 3 "Kaddish": Invocation | Michael Wager, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-8 | Symphony no. 3 "Kaddish": Kaddish I | Michael Wager, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-9 | Symphony no. 3 "Kaddish": Din-Torah | Michael Wager, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-10 | Symphony no. 3 "Kaddish": Kaddish II | Montserrat Caballé, Michael Wager, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-11 | Symphony no. 3 "Kaddish": Scherzo (Kaddish III) | Michael Wager, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-12 | Symphony no. 3 "Kaddish": Finale (Kaddish III) | Michael Wager, Wiener Sängerknaben, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 18-13 | Symphony no. 3 "Kaddish": Allegro, con gioia (Kaddish III) | Michael Wager, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 19-1 | Serenade after Plato’s “Symposium”: I. Phaedrus – Pausanias: Lento – Allegro marcato | Gidon Kremer, Israel Philharmonic Orchestra, Leonard Bernstein | T-071.000.879-9 | |
| 19-2 | Serenade after Plato’s “Symposium”: II. Aristophanes: Allegretto | Gidon Kremer, Israel Philharmonic Orchestra, Leonard Bernstein | T-071.000.879-9 | |
| 19-3 | Serenade after Plato’s “Symposium”: III. Eryximachus: Presto | Gidon Kremer, Israel Philharmonic Orchestra, Leonard Bernstein | T-071.000.879-9 | |
| 19-4 | Serenade after Plato’s “Symposium”: IV. Agathon: Adagio | Gidon Kremer, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 19-5 | Serenade after Plato’s “Symposium”: V. Socrates – Alcibiades: Molto tenuto – Allegro molto vivace | Gidon Kremer, Israel Philharmonic Orchestra, Leonard Bernstein | T-071.000.879-9 | |
| 19-6 | Fancy Free: Big Stuff (Blues, beg.) | — | ||
| 19-7 | Fancy Free: I. Opening Dance. Enter Three Sailors | — | ||
| 19-8 | Fancy Free: II. Scene at the Bar | — | ||
| 19-9 | Fancy Free: III. Enter Two Girls | — | ||
| 19-10 | Fancy Free: IV. Pas de deux | — | ||
| 19-11 | Fancy Free: V. Competition Scene | — | ||
| 19-12 | Fancy Free: VI. Variation I: Galop | — | ||
| 19-13 | Fancy Free: VI. Variation II: Waltz | — | ||
| 19-14 | Fancy Free: VI. Variation III: Danzón | — | ||
| 19-15 | Fancy Free: VII. Finale | — | ||
| 19-16 | Fancy Free: Big Stuff (Blues) | — | ||
| 20-1 | Dybbuk – Suite no. 1: I. Invocation and Trance | — | ||
| 20-2 | Dybbuk – Suite no. 1: II. The Pledge | — | ||
| 20-3 | Dybbuk – Suite no. 1: III. Kabbalah | — | ||
| 20-4 | Dybbuk – Suite no. 1: IV. Possession | — | ||
| 20-5 | Dybbuk – Suite no. 1: V. Pas de deux | — | ||
| 20-6 | Dybbuk – Suite no. 1: VI. Exorcism | — | ||
| 20-7 | Dybbuk – Suite no. 2: I. The Messengers | — | ||
| 20-8 | Dybbuk – Suite no. 2: II. Leah | — | ||
| 20-9 | Dybbuk – Suite no. 2: III. 5 Kabbalah Variations | — | ||
| 20-10 | Dybbuk – Suite no. 2: IV. Dream | — | ||
| 21-1 | Songfest: I. Opening Hymn: To the Poem | — | ||
| 21-2 | Songfest: II. 3 Solos: The Pennycandystore Beyond the El | — | ||
| 21-3 | Songfest: II. 3 Solos: A Julia de Burgos | — | ||
| 21-4 | Songfest: II. 3 Solos: To What You Said ... | — | ||
| 21-5 | Songfest: III. 3 Ensembles: Duet: I, Too, Sing America / Okay "Negroes" | — | ||
| 21-6 | Songfest: III. 3 Ensembles: Trio: To My Dear and Loving Husband | — | ||
| 21-7 | Songfest: III. 3 Ensembles: Duet: Storyette H.M. | — | ||
| 21-8 | Songfest: IV. Sextet: "if you can't eat you got to" | — | ||
| 21-9 | Songfest: V. 3 Solos: Music I Heard With You | — | ||
| 21-10 | Songfest: V. 3 Solos: Zizi's Lament | — | ||
| 21-11 | Songfest: V. 3 Solos: What Lips My Lips Have Kissed ... | — | ||
| 21-12 | Songfest: VI. Closing Hymn: Israfel | — | ||
| 22-1 | Divertimento for Orchestra: I. Sennets and Tuckets. Allegro non troppo, ma con brio | — | ||
| 22-2 | Divertimento for Orchestra: II. Waltz. Allegretto, con grazia | — | ||
| 22-3 | Divertimento for Orchestra: III. Mazurka. Mesto (molto moderato) | — | ||
| 22-4 | Divertimento for Orchestra: IV. Samba. Allegro giusto | — | ||
| 22-5 | Divertimento for Orchestra: V. Turkey Trot. Allegretto, ben misurato | — | ||
| 22-6 | Divertimento for Orchestra: VI. Sphinxes. Adagio lugubre | — | ||
| 22-7 | Divertimento for Orchestra: VII. Blues. Slow Blues Tempo | — | ||
| 22-8 | Divertimento for Orchestra: VIII. March. The BSO Forever / Andante (In memoriam) – Doppio movimento (alla Marcia) | — | ||
| 22-9 | A Musical Toast. Allegro con brio | — | ||
| 22-10 | Slava! A Political Overture. Fast and Flamboyant | — | ||
| 22-11 | On the Town: Three Dance Episodes: I. "The Great Lover". Allegro pesante | Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 22-12 | On the Town: Three Dance Episodes: II. "Lonely Town". Pas de deux - Andante - Sostenuto | Israel Philharmonic Orchestra, Leonard Bernstein | T-070.096.762-9 | |
| 22-13 | On the Town: Three Dance Episodes: III. "Times Square: 1944". Allegro | Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 22-14 | Facsimile. Molto adagio – Più andante – Moderate Waltz Tempo – Sostenuto assai – Allegretto – Subito allegro – Andante – Adagio | — | ||
| 24-1 | Rhapsody in Blue | Los Angeles Philharmonic, Leonard Bernstein | T-010.244.926-2 | |
| 24-2 | Prelude for Piano no. 2 | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-3 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-4 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-5 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-6 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-7 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-8 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-9 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-10 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 24-11 | Symphonic Dances from “West Side Story”: Scherzo (Vivace leggiero) | Los Angeles Philharmonic, Leonard Bernstein | — | |
| 25-1 | Tattoo: Moderato Maestoso – Più Mosso, Piacevole – Con Brio – Meno Mosso | — | ||
| 25-2 | Tattoo: Omaggio A Nicolò Paganini. Meno Mosso, Flessibile – Allegro – Meno Mosso, Amoroso – Vivace – Doppio Mov. (Tempo Primo) | — | ||
| 25-3 | Violin Concerto: I. Twilight: Free and Spacious – attacca: | Gidon Kremer, New York Philharmonic, Leonard Bernstein | — | |
| 25-4 | Violin Concerto: II. Toccata-Chaconne: Very Fast | Gidon Kremer, New York Philharmonic, Leonard Bernstein | — | |
| 25-5 | Violin Concerto: III. Romance without Words: Hardly Moving | Gidon Kremer, New York Philharmonic, Leonard Bernstein | — | |
| 25-6 | Violin Concerto: IV. Midnight: Slow | Gidon Kremer, New York Philharmonic, Leonard Bernstein | — | |
| 25-7 | Violin Concerto: V. Toccata-Rondo: Very Fast | Gidon Kremer, New York Philharmonic, Leonard Bernstein | — | |
| 25-8 | Violin Concerto: VI. Dawn: Wistful | Gidon Kremer, New York Philharmonic, Leonard Bernstein | — | |
| 25-9 | Concerto for Orchestra "Jubilee Games": I. Free-Style Events: Allegro Con Brio, Giocoso | — | ||
| 25-10 | Concerto for Orchestra "Jubilee Games": II. Mixed Doubles. Theme and 7 Variations | — | ||
| 25-11 | Concerto for Orchestra "Jubilee Games": III. Diaspora Dances. Vivace | — | ||
| 25-12 | Concerto for Orchestra "Jubilee Games": IV. Benediction. Moderato, Invocando | — | ||
| 26-1 | Candide: Overture | London Symphony Orchestra, Leonard Bernstein | T-903.288.559-9 | |
| 26-2 | Candide: Act I, No. 1a. Westphalia Chorale | London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | — | |
| 26-3 | Candide: Act I, No. 2. Life Is Happiness Indeed | June Anderson, Jerry Hadley, Della Jones, Kurt Ollmann, London Symphony Orchestra, Leonard Bernstein | T-070.912.512-1 | |
| 26-4 | Candide: Act I, No. 3. The Best of All Possible Worlds | June Anderson, Adolph Green, Jerry Hadley, Della Jones, Kurt Ollmann, London Symphony Orchestra, Leonard Bernstein | T-070.011.011-7 | |
| 26-5 | Candide: Act I, No. 3a. Universal Good | June Anderson, Jerry Hadley, Della Jones, Kurt Ollmann, London Symphony Orchestra, Leonard Bernstein | — | |
| 26-6 | Candide: Act I, No. 4. Oh, Happy We | June Anderson, Jerry Hadley, London Symphony Orchestra, Leonard Bernstein | T-070.158.261-7 | |
| 26-7 | Candide: Act I, No. 5. It Must Be So (Candide’s Meditation) | Jerry Hadley, London Symphony Orchestra, Leonard Bernstein | T-070.907.136-2 | |
| 26-8 | Candide: Act I, No. 6. Westphalia | London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | T-070.902.346-0 | |
| 26-9 | Candide: Act I, No. 6a. Battle Music | London Symphony Orchestra, Leonard Bernstein | — | |
| 26-10 | Candide: Act I, No. 7. Candide’s Lament | Jerry Hadley, London Symphony Orchestra, Leonard Bernstein | — | |
| 26-11 | Candide: Act I, No. 8. Dear Boy | Adolph Green, London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | — | |
| 26-12 | Candide: Act I, No. 9. Auto‐da‐fé | Clive Bayley, Lindsay Benson, Adolph Green, Jerry Hadley, Neil Jenkins, London Symphony Chorus, Richard Suart, John Treleaven, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 26-13 | Candide: Act I, No. 10. Candide Begins His Travels / Act I, No. 10a. It Must Be Me | Jerry Hadley, London Symphony Orchestra, Leonard Bernstein | — | |
| 26-14 | Candide: Act I, No. 11. The Paris Waltz | London Symphony Orchestra, Leonard Bernstein | T-070.921.186-8 | |
| 26-15 | Candide: Act I, No. 12. Glitter and Be Gay | June Anderson, London Symphony Orchestra, Leonard Bernstein | T-070.064.357-7 | |
| 26-16 | Candide: Act I, No. 13. You Were Dead, You Know | June Anderson, Jerry Hadley, London Symphony Orchestra, Leonard Bernstein | T-070.211.089-1 | |
| 26-17 | Candide: Act I, No. 14. I Am Easily Assimilated (Old Lady’s Tango) | June Anderson, London Symphony Chorus, Christa Ludwig, London Symphony Orchestra, Leonard Bernstein | T-070.902.346-0 | |
| 26-18 | Candide: Act I, No. 15. Quartet Finale | June Anderson, Jerry Hadley, London Symphony Chorus, Christa Ludwig, Kurt Ollmann, London Symphony Orchestra, Leonard Bernstein | — | |
| 27-1 | Candide: Act II, No. 16. Universal Good | London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-2 | Candide: Act II, No. 17. My Love (Governor’s Serenade) | June Anderson, Nicolai Gedda, London Symphony Orchestra, Leonard Bernstein | T-070.111.127-4 | |
| 27-3 | Candide: Act II, No. 18. We Are Women (Polka) | June Anderson, Christa Ludwig, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-4 | Candide: Act II, No. 19. The Pilgrims’ Procession – Alleluia | Jerry Hadley, Della Jones, London Symphony Chorus, Kurt Ollmann, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-5 | Candide: Act II, No. 20. Quiet | June Anderson, Nicolai Gedda, Christa Ludwig, London Symphony Orchestra, Leonard Bernstein | T-070.125.004-5 | |
| 27-6 | Candide: Act II, No. 21. Introduction to Eldorado | London Symphony Orchestra, Leonard Bernstein | — | |
| 27-7 | Candide: Act II, No. 22. The Ballad of Eldorado | Jerry Hadley, London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-8 | Candide: Act II, No. 23. Words, Words, Words (Martin’s Laughing Song) | Adolph Green, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-9 | Candide: Act II, No. 24. Bon Voyage | Nicolai Gedda, London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | T-070.012.061-1 | |
| 27-10 | Candide: Act II, No. 25. The Kings’ Barcarolle | Clive Bayley, Lindsay Benson, Adolph Green, Jerry Hadley, Neil Jenkins, Richard Suart, John Treleaven, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-11 | Candide: Act II, No. 26. Money, Money, Money (Venice Gambling Scene) | London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | T-001.597.695-0 | |
| 27-12 | Candide: Act II, No. 27. What’s the Use | Nicolai Gedda, London Symphony Chorus, Christa Ludwig, Kurt Ollmann, John Treleaven, London Symphony Orchestra, Leonard Bernstein | T-070.198.639-1 | |
| 27-13 | Candide: Act II, No. 28. The Venice Gavotte | June Anderson, Adolph Green, Jerry Hadley, Christa Ludwig, London Symphony Orchestra, Leonard Bernstein | T-071.596.385-1 | |
| 27-14 | Candide: Act II, No. 29. Nothing More Than This | Jerry Hadley, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-15 | Candide: Act II, No. 30. Universal Good (Life Is Neither) | London Symphony Chorus, London Symphony Orchestra, Leonard Bernstein | T-902.893.356-4 | |
| 27-16 | Candide: Act II, No. 31. Make Our Garden Grow (Finale) | June Anderson, Nicolai Gedda, Adolph Green, Jerry Hadley, Della Jones, London Symphony Chorus, Christa Ludwig, Kurt Ollmann, London Symphony Orchestra, Leonard Bernstein | T-070.107.908-4 | |
| 28-1 | West Side Story: No. 1: Prologue | Leonard Bernstein | T-070.166.807-6 | |
| 28-2 | West Side Story: No. 2: Jet Song | Kurt Ollmann, David Livingston, Peter Thom, Stephen Bogardus | T-070.088.385-7 | |
| 28-3 | West Side Story: No. 3: Something’s Coming | José Carreras | T-070.136.715-8 | |
| 28-4 | West Side Story: No. 4: The Dance at the Gym: Blues | Leonard Bernstein | — | |
| 28-5 | West Side Story: No. 4: The Dance at the Gym: Promenade | Leonard Bernstein | T-902.871.372-6 | |
| 28-6 | West Side Story: No. 4: The Dance at the Gym: Mambo | Leonard Bernstein | T-070.113.892-2 | |
| 28-7 | West Side Story: No. 4: The Dance at the Gym: Cha‐Cha | Leonard Bernstein | T-070.933.007-3 | |
| 28-8 | West Side Story: No. 4: The Dance at the Gym: Meeting Scene | Leonard Bernstein | T-070.933.007-3 | |
| 28-9 | West Side Story: No. 4: The Dance at the Gym: Jump | Leonard Bernstein | T-902.853.673-4 | |
| 28-10 | West Side Story: No. 5: Maria | José Carreras, Leonard Bernstein | T-070.108.440-3 | |
| 28-11 | West Side Story: No. 6: Balcony Scene (Tonight) | Kiri Te Kanawa, José Carreras | T-901.072.962-1 | |
| 28-12 | West Side Story: No. 7: America | Tatiana Troyanos, Louise Edeiken | T-070.001.097-4 | |
| 28-13 | West Side Story: No. 8: Cool | Kurt Ollmann | T-070.025.960-4 | |
| 28-14 | West Side Story: No. 9: One Hand, One Heart | Kiri Te Kanawa, José Carreras | T-070.159.178-7 | |
| 28-15 | West Side Story: No. 10: Tonight (Ensemble) | José Carreras, Richard Harrell, Kurt Ollmann, Kiri Te Kanawa, Tatiana Troyanos, Leonard Bernstein | T-070.125.208-5 | |
| 28-16 | West Side Story: No. 11: The Rumble | Leonard Bernstein | T-070.127.422-7 | |
| 28-17 | West Side Story: No. 12: I Feel Pretty | Kiri Te Kanawa, Louise Edeiken, Stella Zambalis, Angelina Réaux | T-070.902.843-2 | |
| 28-18 | West Side Story: No. 13: Ballet Sequence: Beginning | Kiri Te Kanawa, José Carreras | — | |
| 28-19 | West Side Story: Ballet Sequence: Transition to Scherzo | Leonard Bernstein | — | |
| 28-20 | West Side Story: Ballet Sequence: Scherzo | Leonard Bernstein | T-070.139.164-1 | |
| 28-21 | West Side Story: Ballet Sequence: Somewhere | Marilyn Horne, Leonard Bernstein | T-070.136.739-6 | |
| 28-22 | West Side Story: Ballet Sequence: Procession and Nightmare | Leonard Bernstein | T-070.933.007-3 | |
| 28-23 | West Side Story: No. 14: Gee, Officer Krupke! | David Livingston, Marty Nelson, Peter Thom, Stephen Bogardus, Todd Lester | T-070.063.859-0 | |
| 28-24 | West Side Story: No. 15: A Boy Like That | Tatiana Troyanos, Kiri Te Kanawa | T-070.012.286-6 | |
| 28-25 | West Side Story: I Have a Love | Kiri Te Kanawa, Tatiana Troyanos | T-070.903.050-1 | |
| 28-26 | West Side Story: No. 16: Taunting Scene | Leonard Bernstein | T-070.182.025-8 | |
| 28-27 | West Side Story: No. 17: Finale | Kiri Te Kanawa, José Carreras | T-070.159.178-7 | |
| 29-1 | A Quiet Place: Act I: Prologue. Chorale: The path of truth is plain and safe (chorus, voices in the darkness) | — | ||
| 29-2 | A Quiet Place: Act I: Scene. Dialogues: I'm sorry, Bill (Funeral Director, Bill, Susie, Analyst, Doc, chorus, Mrs. Doc, Dede, François) | — | ||
| 29-3 | A Quiet Place: Act I: Scene. Readings: "Who can find a virtuous woman?" (Doc, Mrs. Doc, Dede, Chorus, Bill, Susie, François, Junior, Funeral Director, Analyst) / Chorale: God Has His Ways (Chorus) | — | ||
| 29-4 | A Quiet Place: Act 1: Aria "You're Late" | ORF-Symphonieorchester, Leonard Bernstein | — | |
| 29-5 | A Quiet Place: Act I: Scene. Trio: Dear Daddy (Junior, Dede, François) | — | ||
| 29-6 | A Quiet Place: Act I: Scene. Finale: Merry Christmas to you too (Junior, Sam, Dede, François) | — | ||
| 29-7 | A Quiet Place: Act I: Postlude | — | ||
| 29-8 | A Quiet Place: Act II: Scene 1. I Wish I could sleep (Sam) | — | ||
| 29-9 | A Quiet Place: Act II: Scene 2: Trouble in Tahiiti (I). Doa – Daa – Day – Day – (Trio) | — | ||
| 29-10 | A Quiet Place: Act II: Scene 2: Trouble in Tahiiti (I). How could you say (Young Sam, Dinah) | — | ||
| 29-11 | A Quiet Place: Act II: Scene 2: Trouble in Tahiiti (I). Yes? Oh, Mr. Partridge! (Young Sam, Trio) | — | ||
| 29-12 | A Quiet Place: Act II: Scene 2: Trouble in Tahiiti (I). I was standing in a garden (Dinah, Young Sam) | — | ||
| 29-13 | A Quiet Place: Act II: Scene 2: Trouble in Tahiiti (I). Well, of all people (Young Sam, Dinah) | — | ||
| 30-1 | A Quiet Place: Act II: Scene 3. "June Twelfth" (Sam, Dede, François, Junior, Chorus) | — | ||
| 30-2 | A Quiet Place: Act II: Scene 3. But First I'd Like to Sing You a Little Song (Junior, François, Dede, Chorus, Sam) | — | ||
| 30-3 | A Quiet Place: Act II: Scene 3. Quartet: My God, Dinah (Sam, Dede, François, Junior) | — | ||
| 30-4 | A Quiet Place: Act II: Scene 3. Love Scene: There Is So Much. Too Much (François, Dede) / Chorale: The Path of Truth Is Plain and Safe (Chorus) | — | ||
| 30-5 | A Quiet Place: Act II: Scene 4: Trouble in Tahiti (II). Skid A Lit Day (Trio) | — | ||
| 30-6 | A Quiet Place: Act II: Scene 4: Trouble in Tahiti (II). There's A Law (Young Sam) | — | ||
| 30-7 | A Quiet Place: Act II: Scene 4: Trouble in Tahiti (II). What A Movie! (Dinah, Trio) | — | ||
| 30-8 | A Quiet Place: Act II: Scene 4: Trouble in Tahiti (II). There's A Law (Young Sam, Trio, Dinah, Chorus) | — | ||
| 30-9 | A Quiet Place: Act III: Prelude | — | ||
| 30-10 | A Quiet Place: Act III: Scene. Morning! Good Morning! (Dede) | — | ||
| 30-11 | A Quiet Place: Act III: Scene. "The One and Only Cereal" (Junior, Dede, Chorus) | — | ||
| 30-12 | A Quiet Place: Act III: Scene. Tag 1: You're ... It! (Junior, Dede, François) / Trio: ... Around. Happy Twenty-first Birthday (Junior, Dede, François, Chorus) / Tag 2: Come On, Dede, It's Your Turn! (Junior, Sam, Dede, François, Chorus) | — | ||
| 30-13 | A Quiet Place: Act III: Scene. Hmm. Bye Bye (Voice [Dinah], Sam, Junior, Dede, François, Chorus) | — | ||
| 30-14 | A Quiet Place: Act III: Scene. "My Heart Shall Be ... Thy ... Garden" (Dede, Junior, Sam, Chorus, François) | — | ||
| 31-1 | Carmen : Prelude | — | ||
| 31-2 | Carmen : Acte I. No. 1. Introduction: « Sur la place, chacun passe » (Chorus, Moralès, Micaëla) | — | ||
| 31-3 | Carmen : Acte I. No. 2. March and Chorus of Urchins « Allez, dépêchez‐vous ! » … « Avec la garde montante » (Moralès, Chorus of Urchins, Zuniga, Don José) | — | ||
| 31-4 | Carmen : Acte I. « Dites‐moi, brigadier ? » (Zuniga, Don José) | — | ||
| 31-5 | Carmen : Acte I. No. 3. Chorus and Scene « Voici la cloche qui sonne » … « La cloche a sonné » (Don José, Chorus) | — | ||
| 31-6 | Carmen : Acte I. « Mais nous ne voyons pas la Carmencita » (Chorus, Carmen) | — | ||
| 31-7 | Carmen : Acte I. No. 4. Habanera « L’amour est un oiseau rebelle » (Carmen, Chorus) | — | ||
| 31-8 | Carmen : Acte I. No. 5. Scene « Carmen, sur tes pas » (Chorus) | — | ||
| 31-9 | Carmen : Acte I. « Monsieur le brigadier ? » (Micaëla, Don José) / No. 6. Duet « Parle‐moi de ma mère ! » (Don José, Micaëla) | — | ||
| 31-10 | Carmen : Acte I. « Attends un peu maintenant » (Don José, Micaëla) | — | ||
| 31-11 | Carmen : Acte I. No. 7. Chorus « Eh bien ! Qu’est‐ce‐qui arrive ? » … « Au secours ! » (Chorus, Zuniga) | — | ||
| 31-12 | Carmen : Acte I. « Eh bien, brigadier ? » (Zuniga, Don José) / No. 8. Chanson and Melodrama « Tra la la la … » (Carmen, Zuniga, Chorus, Don José) | — | ||
| 31-13 | Carmen : Acte I. No. 9. Chanson and Duet « Près des remparts de Séville » (Carmen, Don José) | — | ||
| 31-14 | Carmen : Acte I. No. 10. Finale: « Le lieutenant ! Prenez garde ! » … « L’amour est enfant de bohème » (Don José, Zuniga, Carmen) | — | ||
| 31-15 | Carmen : Acte I. Entr’acte | — | ||
| 31-16 | Carmen : Acte II. No. 11. Chanson « Les tringles des sistres tintaient » (Carmen, Frasquita, Mercédès) | — | ||
| 31-17 | Carmen : Acte II. « Mon Dieu, messieurs, il commence à se faire tard » (Pastia, Zuniga, Mercédès, Carmen) | — | ||
| 31-18 | Carmen : Acte II. No. 12. Chorus and Ensemble « Vivat le toréro ! » (Chorus, Zuniga, Mercédès, Frasquita, Pastia) | — | ||
| 31-19 | Carmen : Acte II. No. 13. Couplets « Votre toast » (Escamillo, Chorus, Frasquita, Mercédès, Carmen) | — | ||
| 31-20 | Carmen : Acte II. « Dis‐moi ton nom » (Escamillo, Carmen, Pastia, Zuniga) | — | ||
| 31-21 | Carmen : Acte II. No. 13bis. Chorus « Toréador, en garde » | — | ||
| 31-22 | Carmen : Acte II. « Eh bien, vite, quelles nouvelles ? » (Frasquita, Dancaïre, Remendado, Mercédès) | — | ||
| 31-23 | Carmen : Acte II. No. 14. Quintet « Nous avons en tête une affaire ! » (Dancaïre, Frasquita, Mercédès, Carmen, Remendado) | — | ||
| 31-24 | Carmen : Acte II. « Amoureuse … ce n’est pas une raison, cela » (Dancaïre, Remendado, Frasquita, Mercédès, Carmen) / No. 15. Chanson: “Halte‐là! Qui va là?” (Don José) / “Écoutez, le voilà” (Carmen, Mercédès, Remendado, Dancaïre) | — | ||
| 32-1 | Carmen : Acte II. No. 16. Duet « Je vais danser en votre honneur » (Carmen, Don José) | — | ||
| 32-2 | Carmen : Acte II. « La fleur que tu m’avais jetée » (Don José) | — | ||
| 32-3 | Carmen : Acte II. « Non, tu ne m’aimes pas ! » (Carmen, Don José) | — | ||
| 32-4 | Carmen : Acte II. No. 17. Finale « Holà ! Carmen ! » (Zuniga, Don José, Carmen, Dancaïre, Remendado, Chorus) | — | ||
| 32-5 | Carmen : Acte II. Entr’acte | — | ||
| 32-6 | Carmen : Acte III. No. 18. Introduction « Écoute, compagnon … Notre métier est bon » (Chorus, Frasquita, Mercédès, Carmen, Don José, Dancaïre, Remendado) | — | ||
| 32-7 | Carmen : Acte III. « Voyons, Carmen … faisons la paix » (Don José, Carmen) | — | ||
| 32-8 | Carmen : Acte III. No. 19. Trio « Mêlons ! Coupons ! » (Frasquita, Mercédès, Carmen) | — | ||
| 32-9 | Carmen : Acte III. « Carreau, pique … la mort ! » … « En vain pour éviter les réponses amères » (Carmen) | — | ||
| 32-10 | Carmen : Acte III. « Parlez encore, parlez, mes belles » (Frasquita, Mercédès, Carmen) | — | ||
| 32-11 | Carmen : Acte III. « Holà, les belles ! » (Dancaïre, Carmen, Remendado, Frasquita, Mercédès, Don José) | — | ||
| 32-12 | Carmen : Acte III. No. 20. Ensemble « Quant au douanier » (Frasquita, Mercédès, Carmen, Chorus) | — | ||
| 32-13 | Carmen : Acte III. No. 21. Aria « Je dis que rien ne m’épouvante » (Micaëla) | — | ||
| 32-14 | Carmen : Acte III. « Qui va là ? » (Don José) / No. 22. Duet « Je suis Escamillo » (Escamillo, Don José) | — | ||
| 32-15 | Carmen : Acte III. No. 23. Finale « Holà ! Holà ! José! » (Carmen, Escamillo, Dancaïre, Don José, Chorus, Micaëla) | — | ||
| 32-16 | Carmen : Acte III. « Moi ? Je viens te chercher » (Micaëla, Carmen, Don José, Chorus, Escamillo | — | ||
| 32-17 | Carmen : Acte III. Entr’acte | — | ||
| 32-18 | Carmen : Acte IV. No. 24. Chorus « À deux cuartos ! » | — | ||
| 32-19 | Carmen : Acte IV. No. 25. Chorus and Scene « Les voici ! Voici la quadrille » (Chorus) | — | ||
| 32-20 | Carmen : Acte IV. « Si tu m’aimes, Carmen » (Escamillo, Carmen, Chorus) | — | ||
| 32-21 | Carmen : Acte IV. « Carmen, un bon conseil » (Frasquita, Carmen, Mercédès) | — | ||
| 32-22 | Carmen : Acte IV. No. 26. Final Duet « C’est toi ! » – « C’est moi ! » (Carmen, Don José, Chorus) | — | ||
| 33-1 | Symphony no. 1 in C minor op. 68: I. Un Poco Sostenuto – Allegro | — | ||
| 33-2 | Symphony no. 1 in C minor op. 68: II. Andante Sostenuto | — | ||
| 33-3 | Symphony no. 1 in C minor, op. 68: III. Un poco allegretto e grazioso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 33-4 | Symphony no. 1 in C minor op. 68: IV. Adagio – Allegro non troppo, ma Con Brio | — | ||
| 34-1 | Symphony no. 2 in D major op. 73: I. Allegro non troppo | — | ||
| 34-2 | Symphony no. 2 in D major op. 73: II. Adagio non troppo – L'istesso tempo, ma grazione | — | ||
| 34-3 | Symphony no. 2 in D major op. 73: III. Allegretto grazioso | — | ||
| 34-4 | Symphony no. 2 in D major op. 73: IV. Allegro con spirito | — | ||
| 34-5 | Academic Festival Overture op. 80. Allegro – L'istesso tempo, Un poco maestoso – Animato – Maestoso) | — | ||
| 35-1 | Symphony no. 3 in F major op. 90: I. Allegro con brio | — | ||
| 35-2 | Symphony no. 3 in F major op. 90: II. Andante | — | ||
| 35-3 | Symphony no. 3 in F major op. 90: III. Poco allegretto | — | ||
| 35-4 | Symphony no. 3 in F major op. 90: IV. Allegro | — | ||
| 35-5 | Variations in B flat major on a Theme by Joseph Haydn op. 56a | — | ||
| 36-1 | Symphony no. 4 in E minor op. 98: I. Allegro non troppo | — | ||
| 36-2 | Symphony no. 4 in E minor op. 98: II. Andante moderato | — | ||
| 36-3 | Symphony no. 4 in E minor op. 98: III. Allegro giocoso – Poco meno presto – Tempo I | — | ||
| 36-4 | Symphony no. 4 in E minor op. 98: IV. Allegro energico e passionato – Più allegro | — | ||
| 36-5 | Tragic Overture op. 81. Allegro non troppo – Molto più moderato – Tempo primo | — | ||
| 37-1 | Concerto for Piano and Orchestra no. 1 in D minor op. 15: I. Maestoso – Poco più moderato | — | ||
| 37-2 | Concerto for Piano and Orchestra no. 1 in D minor op. 15: II. Adagio | — | ||
| 37-3 | Concerto for Piano and Orchestra no. 1 in D minor op. 15: III. Rondo. Allegro non troppo | — | ||
| 38-1 | Piano Concerto no. 2 in B-flat major, op. 83: I. Allegro non troppo | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-322.446.876-8 | |
| 38-2 | Piano Concerto no. 2 in B-flat major, op. 83: II. Allegro appassionato | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-322.185.909-8 | |
| 38-3 | Piano Concerto no. 2 in B-flat major, op. 83: III. Andante | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-322.449.900-3 | |
| 38-4 | Piano Concerto no. 2 in B-flat major, op. 83: IV. Allegretto grazioso | Wiener Philharmoniker, Leonard Bernstein, Krystian Zimerman | T-322.446.992-1 | |
| 39-1 | Concerto for Violin and Orchestra in D major op. 77: I. Allegro non troppo | — | ||
| 39-2 | Concerto for Violin and Orchestra in D major op. 77: II. Adagio | — | ||
| 39-3 | Concerto for Violin and Orchestra in D major op. 77: III. Allegro Giocoso, ma non troppo Vivaceo – Poco Più Presto | — | ||
| 39-4 | Concerto for Violin, Violoncello and Orchestra in A minor op. 102 "Double": I. Allegro | — | ||
| 39-5 | Concerto for Violin, Violoncello and Orchestra in A minor op. 102 "Double": II. Andante | — | ||
| 39-6 | Concerto for Violin, Violoncello and Orchestra in A minor op. 102 "Double": III. Vivace non troppo | — | ||
| 40-1 | Symphony no. 9 in D minor: I. Feierlich. Misterioso | — | ||
| 40-2 | Symphony no. 9 in D minor: II. Scherz. Bewegt, Lebhaft – Trio. Schnell | — | ||
| 40-3 | Symphony no. 9 in D minor: III. Adagio. Langsam, Feierlich | — | ||
| 41-1 | Appalachian Spring | Los Angeles Philharmonic, Leonard Bernstein | T-070.001.612-1 | |
| 41-2 | American Festival Overture: Allegro con spirito | — | ||
| 41-3 | Adagio for Strings, op. 11/2 | Los Angeles Philharmonic Orchestra, Leonard Bernstein | T-070.000.199-5 | |
| 41-4 | Candide: Overture | Israel Philharmonic Orchestra, Leonard Bernstein | T-903.288.559-9 | |
| 42-1 | Symphony no. 3: IV. Molto deliberato (Fanfare) -- Allegro risoluto | New York Philharmonic, Leonard Bernstein | — | |
| 42-2 | Symphony no. 3: IV. Molto deliberato (Fanfare) -- Allegro risoluto | New York Philharmonic, Leonard Bernstein | — | |
| 42-3 | Symphony no. 3: IV. Molto deliberato (Fanfare) -- Allegro risoluto | New York Philharmonic, Leonard Bernstein | — | |
| 42-4 | Symphony no. 3: IV. Molto deliberato (Fanfare) -- Allegro risoluto | New York Philharmonic, Leonard Bernstein | — | |
| 42-5 | Quiet City for Cor Anglais, Trumpet and Strings | Philip Smith, Thomas Stacy, New York Philharmonic, Leonard Bernstein | T-070.125.007-8 | |
| 43-1 | El Salón México (Allegro vivace – Moderato – Allegro vivace – Moderato molto) | — | ||
| 43-2 | Concerto for Clarinet and String Orchestra with Harp and Piano: I. Slowly and Expressively | — | ||
| 43-3 | Concerto for Clarinet and String Orchestra with Harp and Piano: II. Rather Fast | — | ||
| 43-4 | Music for Theatre: I. Prologue: Molto moderato | — | ||
| 43-5 | Music for Theatre: II. Dance: Allegro molto | — | ||
| 43-6 | Music for Theatre: III. Interlude: Lento moderato | — | ||
| 43-7 | Music for Theatre: IV. Burlesque: Allegro vivo | — | ||
| 43-8 | Music for Theatre: V. Epilogue: Moderato – Molto moderato – Lento Molto | — | ||
| 43-9 | Connotations for Orchestra: Intenso, drammatico – Subito allegro – Moderato, liberamente (con incanto) – Moderato lirico e cantabile – Subito allegro – Subito a tempo come primo) | — | ||
| 44-1 | Images pour orchestre: I. Gigues | — | ||
| 44-2 | Images pour orchestre: III. Rondes de printemps | — | ||
| 44-3 | Images pour orchestre: II. Ibéria: a. Par les rues et par les chemins | — | ||
| 44-4 | Images pour orchestre: II. Ibéria: b. Les parfums de la nuit | — | ||
| 44-5 | Images pour orchestre: II. Ibéria: c. Le matin d'un jour de fête | — | ||
| 44-6 | Prélude à l'après-midi d'un faune | — | ||
| 44-7 | La Mer: I. De l'aube à midi sur la mer | — | ||
| 44-8 | La Mer: II. Jeux de vagues | — | ||
| 44-9 | La Mer: III. Dialogue du vent et de la mer | — | ||
| 45-1 | Symphony no. 9 in E minor "From the New World," op. 95: I. Adagio – Allegro molto | — | ||
| 45-2 | Symphony no. 9 in E minor "From the New World," op. 95: II. Largo | — | ||
| 45-3 | Symphonie nr. 9 e‐Moll, op. 95 »Aus der Neuen Welt«: III. Scherzo. Molto vivace | Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 45-4 | Symphony no. 9 in E minor "From the New World," op. 95: IV. Allegro con fuoco | — | ||
| 45-5 | Slavonic Dances, op. 46: no. 1 in C major. Presto | — | ||
| 45-6 | Slavonic Dances, op. 46: no. 3 in A flat major. Poco allegro | — | ||
| 45-7 | Slavonic Dances, op. 46: no. 8 in G minor. Presto | — | ||
| 46-1 | Concerto for Violoncello and Orchestra in B minor, op. 104: I. Allegro | Mischa Maisky, Israel Philharmonic Orchestra, Leonard Bernstein | T-007.303.107-8 | |
| 46-2 | Concerto for Violoncello and Orchestra in B minor, op. 104: II. Adagio, ma no troppo | Mischa Maisky, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 46-3 | Concerto for Violoncello and Orchestra in B minor, op. 104: III. Finale. Allegro moderato | Mischa Maisky, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 46-4 | Schelomo, Hebraic Rhapsody for Violoncello & Orchestra: Lento moderato – Andante moderato – Allegro moderato – Allegro – Andante moderato | — | ||
| 47-1 | Variations on an Original Theme "Enigma", op. 36: IX. (Nimrod) Adagio | BBC Symphony Orchestra, Leonard Bernstein | T-010.115.427-1 | |
| 47-9 | Enigma Variations, op. 36: Var. 8. Allegretto “W.N.” | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-11 | Enigma Variations, op. 36: Var. 10. Intermezzo. Allegretto “Dorabella” | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-12 | Variations on an Original Theme "Enigma", op. 36: XI. (G.R.S.) Allegro di molto | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-13 | Variations on an Original Theme "Enigma", op. 36: XII. (B.G.N.) Andante | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-14 | Variations on an Original Theme "Enigma", op. 36: XIII. Romanza (***) Moderato | BBC Symphony Orchestra, Leonard Bernstein | T-042.146.383-3 | |
| 47-15 | Variations on an Original Theme "Enigma", op. 36: XIV. Finale (E.D.U.) Allegro - Presto | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-16 | Pomp and Circumstance, op. 39: No. 1 in D major | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-17 | Pomp and Circumstance, op. 39: No. 2 in A minor | BBC Symphony Orchestra, Leonard Bernstein | — | |
| 47-18 | The Crown of India, op. 66: March of the Mogul Emperors | BBC Symphony Orchestra, Leonard Bernstein | T-912.663.686-0 | |
| 48-1 | Symphonie en ré mineur: I. Lento - Allegro non troppo | Orchestre National de France, Leonard Bernstein | T-900.967.586-9 | |
| 48-2 | Symphonie en ré mineur: II. Allegretto - | Orchestre National de France, Leonard Bernstein | T-312.184.211-9 | |
| 48-3 | Symphonie en ré mineur: III. Allegro non troppo | Orchestre National de France, Leonard Bernstein | T-900.967.586-9 | |
| 48-4 | Le Rouet d'Omphale (poème symphonique), op. 31: Andantino – Allegro – Tranquillo e scherzando | — | ||
| 48-5 | Symphonie no. 3 en sol mineur, op. 42: I. Allegro vivo | Orchestre National de France, Leonard Bernstein | — | |
| 48-6 | Symphonie no. 3 en sol mineur, op. 42: II. Adagio | Orchestre National de France, Leonard Bernstein | — | |
| 48-7 | Symphonie no. 3 en sol mineur, op. 42: III. Vivace | Orchestre National de France, Leonard Bernstein | — | |
| 48-8 | Symphonie no. 3 en sol mineur, op. 42: IV. Allegro con spirito | Orchestre National de France, Leonard Bernstein | — | |
| 49-1 | Symphony no. 3 (in one movement) | — | ||
| 49-2 | Symphony no. 3, Part I: Passacaglia | New York Philharmonic, Leonard Bernstein | T-070.165.071-6 | |
| 49-3 | Symphony no. 3, Part I: Fugue | New York Philharmonic, Leonard Bernstein | — | |
| 49-4 | Symphony no. 3, Part II: Chorale | New York Philharmonic, Leonard Bernstein | — | |
| 49-5 | Symphony no. 3, Part II: Toccata | New York Philharmonic, Leonard Bernstein | — | |
| 50-1 | Symphony no. 88 in G major, Hob. I:88: I. Adagio - Allegro | Wiener Philharmoniker, Leonard Bernstein | — | |
| 50-2 | Symphony no. 88 in G major, Hob. I:88: II. Largo | Wiener Philharmoniker, Leonard Bernstein | T-902.876.200-7 | |
| 50-3 | Symphony no. 88 in G major, Hob. I:88: III. Menuetto: Allegretto | Wiener Philharmoniker, Leonard Bernstein | T-902.876.200-7 | |
| 50-4 | Symphony no. 88 in G major, Hob. I:88: IV. Finale: Allegretto con spirito | Wiener Philharmoniker, Leonard Bernstein | T-318.676.528-2 | |
| 50-5 | Symphony no. 92 in G major "Oxford," Hob. I:92: I. Adagio – Allegro spiritoso | — | ||
| 50-6 | Symphony no. 92 in G major "Oxford," Hob. I:92: II. Adagio | — | ||
| 50-7 | Symphony no. 92 in G major "Oxford," Hob. I:92: III. Menuet – Trio | — | ||
| 50-8 | Symphony no. 92 in G major "Oxford," Hob. I:92: IV. Finale: Presto | — | ||
| 51-1 | Symphony no. 94 in G major, Hob. I:94 "Surprise" I. Adagio. Vivace assai | Wiener Philharmoniker, Leonard Bernstein | — | |
| 51-2 | Symphony no. 94 in G major, Hob. I:94 "Surprise" II. Andante | Wiener Philharmoniker, Leonard Bernstein | — | |
| 51-3 | Symphony no. 94 in G major "Surprise": Menuet (Allegro molto - Trio - Menuet) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 51-4 | Symphony no. 94 in G major, Hob. I:94 "Surprise" IV. Finale. Allegro di molto | Wiener Philharmoniker, Leonard Bernstein | T-318.676.528-2 | |
| 51-5 | Sinfonia concertante in B flat major Hob. I: 105 - I. Allegro | — | ||
| 51-6 | Sinfonia concertante in B flat major Hob. I: 105 - II. Andante | — | ||
| 51-7 | Sinfonia concertante in B flat major Hob. I: 105 - III. Allegro Con Spirito | — | ||
| 52-1 | Die Schöpfung, Part I, The First Day: 1. The Representation of Chaos | — | ||
| 52-2 | Die Schöpfung, Part I, The First Day: 2. Recitative (Raphael, Uriel) & Chorus: „Im Anfange schuf Gott Himmel und Erde“ – „Und der Geist Gottes“ | — | ||
| 52-3 | Die Schöpfung, Part I, The First Day: 3. Aria (Uriel) & Chorus: „Nun schwanden vor dem heiligen Strahle“ – „Verzweiflung, Wut und Schrecken“ | — | ||
| 52-4 | Die Schöpfung, Part I, The Second Day: 4. Accompanied Recitative (Raphael): „Und Gott machte das Firmament“ | — | ||
| 52-5 | Die Schöpfung, Part I, The Second Day: 5. Solo (Gabriel) with Chorus: „Mit Staunen sieht das Wunderwerk“ – „Und laut ertönt aus ihren Kehlen“ | — | ||
| 52-6 | Die Schöpfung, Part I, The Third Day: 6. Recitative (Raphael): „Und Gott sprach: ‚Es sammle sich das Wasser‘“ | — | ||
| 52-7 | Die Schöpfung, Part I, The Third Day: 7. Aria (Raphael): „Rollend in schäumenden Wellen“ | — | ||
| 52-8 | Die Schöpfung, Part I, The Third Day: 8. Recitative (Gabriel): „Und Gott sprach: ‚Es bringe die Erde Gras hervor‘“ | — | ||
| 52-9 | Die Schöpfung, Part I, The Third Day: 9. Aria (Gabriel): „Nun beut die Flur“ | — | ||
| 52-10 | Die Schöpfung, Part I, The Third Day: 10. Recitative (Uriel): „Und die himmlischen Heerscharen verkündigten“ | — | ||
| 52-11 | Die Schöpfung, Part I, The Third Day: 11. Chorus: „Stimmt an die Saiten“ | — | ||
| 52-12 | Die Schöpfung, Part I, The Fourth Day: 12. Recitative (Uriel): „Und Gott sprach: ‚Es sei'n Lichter an der Feste des Himmels‘“ | — | ||
| 52-13 | Die Schöpfung, Part I, The Fourth Day: 13. Accompanied Recitative (Uriel): „In vollem Glanze steiget jetzt“ | — | ||
| 52-14 | Die Schöpfung, Part I, The Fourth Day: 14. Chorus & Trio (Gabriel, Uriel, Raphael): „Die Himmel erzählen die Ehre Gottes“ / „Dem kommenden Tage sagt es der Tag“ | — | ||
| 52-15 | Die Schöpfung, Part II, The Fifth Day: 15. Recitative (Gabriel): „Und Gott sprach: ‚Es bringe das Wasser in der Fülle hervor‘“ | — | ||
| 52-16 | Die Schöpfung, Part II, The Fifth Day: 16. Aria (Gabriel): „Auf starkem Fittiche schwinget sich der Adler stolz“ | — | ||
| 52-17 | Die Schöpfung, Part II, The Fifth Day: 17. Accompanied Recitative (Raphael): „Und Gott schuf große Walfische“ | — | ||
| 52-18 | Die Schöpfung, Part II, The Fifth Day: 18. Recitative (Raphael): „Und die Engel rührten ihr' unsterblichen Harfen“ | — | ||
| 52-19 | Die Schöpfung, Part II, The Fifth Day: 19. Trio (Gabriel, Uriel, Raphael) & Chorus: „In holder Anmut stehn“ / „Der Herr ist groß in seiner Macht“ | — | ||
| 53-1 | Die Schöpfung, Part III, The Sixth Day: Recitative (Gabriel): „Und Gott Sprach: Es Bringe Die Erde Hervor“ | — | ||
| 53-2 | Die Schöpfung, Part III, The Sixth Day: Accompanied Recitative (Uriel): „Gleich Öffnet Sich Der Erde Schoß“ | — | ||
| 53-3 | Die Schöpfung, Part III, The Sixth Day: Aria (Raphael): „Nun Scheint in Vollem Glanze Der Himmel“ | — | ||
| 53-4 | Die Schöpfung, Part III, The Sixth Day: Recitative (Uriel): „Und Gott Schuf Den Menschen“ | — | ||
| 53-5 | Die Schöpfung, Part III, The Sixth Day: Aria (Uriel): „Mit Würd' Und Hoheit Angetan“ | — | ||
| 53-6 | Die Schöpfung, Part III, The Sixth Day: Recitative (Raphael): „Und Gott Sah Jedes Ding“ | — | ||
| 53-7 | Die Schöpfung, Part III, The Sixth Day: Chorus and Trio (Gabriel, Uriel, Raphael): „Vollendet Ist Das Große Werk“ / "Zu Dir, O Herr, Blickt Alles Auf" | — | ||
| 53-8 | Die Schöpfung, Part III, The Sixth Day: Accompanied Recitative (Uriel): „Aus Rosenwolken Bricht“ | — | ||
| 53-9 | Die Schöpfung, Part III, The Sixth Day: Duet (Eva, Adam) With Chorus: „Von Deiner Güt', O Herr Und Gott“ / "Gesegnet Sei Des Herren Macht" | — | ||
| 53-10 | Die Schöpfung, Part III, The Sixth Day: Recitative (Adam): „Nun Ist Die Erste Pflicht Erfüllt“ | — | ||
| 53-11 | Die Schöpfung, Part III, The Sixth Day: Duet (Eva, Adam): „Holde Gattin, Dir Zur Seite“ | — | ||
| 53-12 | Die Schöpfung, Part III, The Sixth Day: Recitative (Uriel): „O Glücklich Paar, Und Glücklich Immerfort“ | — | ||
| 53-13 | Die Schöpfung, Part III, The Sixth Day: Chorus: „Singt Dem Herren Alle Stimmen“ | — | ||
| 54-1 | Symphony no. 102 in B flat major Hob. I:102: I. Largo – Vivace | — | ||
| 54-2 | Symphony no. 102 in B flat major Hob. I:102: II. Adagio | — | ||
| 54-3 | Symphony no. 102 in B flat major Hob. I:102: III. Menuet. Allegro – Trio | — | ||
| 54-4 | Symphony no. 102 in B flat major Hob. I:102: IV. Finale: Presto | — | ||
| 54-5 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Kyrie. Largo – Allegro Moderato | — | ||
| 54-6 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Gloria: Gloria in Excelsis Deo. Vivace | — | ||
| 54-7 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Gloria: Qui Tollis Pecca Mundi. Adagio | — | ||
| 54-8 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Gloria: Quoniam tu solus sanctis. Allegro / Gloria: Cum Sancto Spiritu. Più stretto | — | ||
| 54-9 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Credo: Credo in unum Deum. Allegro | — | ||
| 54-10 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Credo: Et incarnatus est. Adagio | — | ||
| 54-11 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Credo: Et resurrexit tertia die. Allegro | — | ||
| 54-12 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Credo: Et vitam venturi saeculi. Vivace | — | ||
| 54-13 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Sanctus: Sanctus Dominus. Adagio / Sanctus: Pleni Sunt Coeli – Osanna in Excelsis. Allegro Con Spirito | — | ||
| 54-14 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Benedictus: Benedictus qui venit in nomine Domini – Osanna in excelsis. Andante | — | ||
| 54-15 | Missa in Tempore Belli „Paukenmesse“ Hob. XXII:9: Agnus Dei: Agnus Dei, qui tollis peccata mundi. Adagio / Agnus Dei: Dona nobis pacem. Allegro con spirito | — | ||
| 55-1 | Symphony "Mathis Der Maler": I. Engelkonzert. Ruhig Bewegt | — | ||
| 55-2 | Symphony "Mathis Der Maler": II. Grabelgung. Sehr Langsam | — | ||
| 55-3 | Symphony "Mathis Der Maler": III. Versuchung Des Heiligen Antonius. Sehr Langsam, Frei Im Zeitmaß – Sehr Lebhaft | — | ||
| 55-4 | Concert Music for String Orchestra and Brass, op 50: Part I. | Mäßig Schnell, Mit Kraft | — | ||
| 55-5 | Concert Music for String Orchestra and Brass, op 50: Sehr Breit, Aber Stets Fließend | — | ||
| 55-6 | Concert Music for String Orchestra and Brass, op 50: Part II. | Lebhaft | — | ||
| 55-7 | Concert Music for String Orchestra and Brass, op 50: Langsam | — | ||
| 55-8 | Concert Music for String Orchestra and Brass, op 50: Im Ersten Zeitmaß – Lebhaft | — | ||
| 55-9 | Symphonic Metamorphoses On Themes By Carl Maria von Weber: I. Allegro | — | ||
| 55-10 | Symphonic Metamorphoses On Themes By Carl Maria von Weber: II. "Turandot, Scherzo". Moderato – Lebhaft | — | ||
| 55-11 | Symphonic Metamorphoses On Themes By Carl Maria von Weber: III. Andantino | — | ||
| 55-12 | Symphonic Metamorphoses On Themes By Carl Maria von Weber: IV. Marsch | — | ||
| 56-1 | Symphony no. 2: 1. Andante moderato | New York Philharmonic, Leonard Bernstein | — | |
| 56-2 | Symphony no. 2: 2. Allegro | New York Philharmonic, Leonard Bernstein | — | |
| 56-3 | Symphony no. 2: 3. Adagio cantabile | New York Philharmonic, Leonard Bernstein | T-001.397.158-8 | |
| 56-4 | Symphony no. 2: 4. Lento maestoso | New York Philharmonic, Leonard Bernstein | — | |
| 56-5 | Symphony no. 2: 5. Allegro molto vivace | New York Philharmonic, Leonard Bernstein | — | |
| 56-6 | The Gong On the Hook and Ladder Or Firemen's Parade On Main Street (Allegro) | — | ||
| 56-7 | Tone Roads no. 1 (Allegro) | — | ||
| 56-8 | Hymn. Largo Cantabile From A Set of 3 Short Pieces | — | ||
| 56-9 | Hallowe'en From 3 Outdoor Scenes (Allegretto to Presto) | — | ||
| 56-10 | Central Park in the Dark (Molto Adagio) | — | ||
| 56-11 | The Unanswered Question (Largo Molto Sempre) | — | ||
| 57-1 | Eine Faust-Symphonie: I. Faust | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 57-2 | Eine Faust-Symphonie: II. Gretchen | Boston Symphony Orchestra, Leonard Bernstein | — | |
| 57-3 | Eine Faust-Symphonie: III. Mephistopheles / Schlußchor "Alles Vergängliche ist nur ein Gleichnis" | Boston Symphony Orchestra, Tanglewood Festival Chorus, Leonard Bernstein, Kenneth Riegel | — | |
| 58-1 | Mefistofele: Prologo in cielo: I. Tempo. Preludio e coro | Norbert Balatsch, Elisabeth Ziegler, Chor der Wiener Staatsoper, Nicolaï Ghiaurov, Gumpoldskirchner Spatzen, Wiener Philharmoniker, Leonard Bernstein | — | |
| 58-2 | Mefistofele: Prologo in cielo: II. Tempo. Scherzo strumentale “Ave, Signor” | Norbert Balatsch, Elisabeth Ziegler, Chor der Wiener Staatsoper, Nicolaï Ghiaurov, Gumpoldskirchner Spatzen, Wiener Philharmoniker, Leonard Bernstein | — | |
| 58-3 | Mefistofele: Prologo in cielo: Intermezzo dramatico “T’è noto Faust?” | Norbert Balatsch, Elisabeth Ziegler, Chor der Wiener Staatsoper, Nicolaï Ghiaurov, Gumpoldskirchner Spatzen, Wiener Philharmoniker, Leonard Bernstein | — | |
| 58-4 | Mefistofele: Prologo in cielo: III. Tempo. Scherzo vocale ”Siam nimbi – volanti – dai limbi” | Norbert Balatsch, Elisabeth Ziegler, Chor der Wiener Staatsoper, Nicolaï Ghiaurov, Gumpoldskirchner Spatzen, Wiener Philharmoniker, Leonard Bernstein | — | |
| 58-5 | Mefistofele: Prologo in cielo: IV. Salmodia finale “Salve Regina! S’innalzi un’eco” | Norbert Balatsch, Elisabeth Ziegler, Chor der Wiener Staatsoper, Nicolaï Ghiaurov, Gumpoldskirchner Spatzen, Wiener Philharmoniker, Leonard Bernstein | — | |
| 59-1 | Symphony no. 1 in D major, "Titan": IV. Stürmisch bewegt | Concertgebouworkest Amsterdam, Leonard Bernstein | T-900.953.062-5 | |
| 59-4 | Symphony no. 1 "Titan": IV. Stürmisch Bewegt – Energisch – Sehr Gesangvoll – Wieder Wie Zu Anfang. Stürmisch Bewegt – Sehr Langsam – Höchste Kraft. Wieder Vorwärts Drängend – Triumphal (Nicht Eilen) | — | ||
| 60-1 | Symphonie No. 2 c-moll: Ia. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck | New York Philharmonic, Leonard Bernstein | — | |
| 60-2 | Symphonie No. 2 c-moll: Ib. Sehr mäßig und zurückhaltend | New York Philharmonic, Leonard Bernstein | — | |
| 60-3 | Symphonie No. 2 c-moll: Ic. Schnell | New York Philharmonic, Leonard Bernstein | T-911.362.261-0 | |
| 60-4 | Symphonie No. 2 c-moll: Id. Tempo I | New York Philharmonic, Leonard Bernstein | — | |
| 60-5 | Symphonie No. 2 c-moll: Ie. Tempo sostenuto | New York Philharmonic, Leonard Bernstein | — | |
| 60-6 | Symphonie No. 2 c-moll: IIa. Andante moderato. Sehr gemächlich | New York Philharmonic, Leonard Bernstein | — | |
| 60-7 | Symphonie No. 2 c-moll: IIb. Nicht eilen. Sehr gemächlich | New York Philharmonic, Leonard Bernstein | — | |
| 60-8 | Symphonie No. 2 c-moll: IIc. In Tempo I zurückkehren | New York Philharmonic, Leonard Bernstein | — | |
| 60-9 | Symphonie No. 2 c-moll: IId. Energisch bewegt | New York Philharmonic, Leonard Bernstein | — | |
| 60-10 | Symphonie No. 2 c-moll: IIe: Wieder ins Tempo zurückgehen. Tempo I | New York Philharmonic, Leonard Bernstein | — | |
| 61-1 | Symphonie No. 2 c-moll: IIIa. In ruhig fließender Bewegung | New York Philharmonic, Leonard Bernstein | — | |
| 61-2 | Symphonie No. 2 c-moll: IIIb. Sehr getragen und gesangvoll | New York Philharmonic, Leonard Bernstein | — | |
| 61-3 | Symphonie No. 2 c-moll: IIIc. Zum Tempo I zurückkehren | New York Philharmonic, Leonard Bernstein | — | |
| 61-4 | Symphonie No. 2 c-moll: IV. "Urlicht" Sehr leicht, aber schlicht "O Röschen rot" | New York Philharmonic, Leonard Bernstein | — | |
| 61-5 | Symphonie No. 2 c-moll: Va. Im Tempo des Scherzos. Wild herausfahrend | New York Philharmonic, Leonard Bernstein | — | |
| 61-6 | Symphonie No. 2 c-moll: Vb: Langsam | New York Philharmonic, Leonard Bernstein | — | |
| 61-7 | Symphonie No. 2 c-moll: Vc. Im Anfang sehr zuückhaltend | New York Philharmonic, Leonard Bernstein | — | |
| 61-8 | Symphonie No. 2 c-moll: Vd. Wieder sher breit | New York Philharmonic, Leonard Bernstein | — | |
| 61-9 | Symphonie No. 2 c-moll: Ve. Molto ritenuto. Maestoso | New York Philharmonic, Leonard Bernstein | — | |
| 61-10 | Symphonie No. 2 c-moll: Vf. Wieder zurückhaltend | New York Philharmonic, Leonard Bernstein | — | |
| 61-11 | Symphonie No. 2 c-moll: Vg. Sehr langsam und gedehnt | New York Philharmonic, Leonard Bernstein | — | |
| 61-12 | Symphonie No. 2 c-moll: Vh. Langsam. Misterioso "Auferstehn, ja auferstehn wirst du" | New York Philharmonic, Leonard Bernstein | — | |
| 61-13 | Symphonie No. 2 c-moll: Vi. Langsam ppp. Nicht schleppen "Wieder aufzublühn wirst du gesät" | New York Philharmonic, Leonard Bernstein | — | |
| 61-14 | Symphonie No. 2 c-moll: Vj. Etwas bewegter "O glaube, mein Herz o glaube" | New York Philharmonic, Leonard Bernstein | — | |
| 61-15 | Symphonie No. 2 c-moll: Vk. Mit Aufschwung, aber nicht eilen "O Schmerz, du Alldurchdringer" | New York Philharmonic, Leonard Bernstein | — | |
| 62-1 | Symphony no. 3: Part I. Kräftig. Entscheiden | — | ||
| 62-2 | Symphony no. 3: Part I. Immer Das Gleiche Tempo | — | ||
| 62-3 | Symphony no. 3: Part I. Tempo I. | — | ||
| 62-4 | Symphony no. 3: Part I. Zeit Lassen | — | ||
| 62-5 | Symphony no. 3: Part I. Zeit Lassen | — | ||
| 62-6 | Symphony no. 3: Part I. Immer Dasselbe Tempo. (Marsch.) Nicht Eilen | — | ||
| 62-7 | Symphony no. 3: Part I. Im Alten Marschtempo (Allegro Moderato) | — | ||
| 62-8 | Symphony no. 3: Part I. Tempo I | — | ||
| 62-9 | Symphony no. 3: Part II. Tempo Di Menuetto. Sehr Mäßig. Grazioso. Ja Nicht Eilen! | — | ||
| 62-10 | Symphony no. 3: Part II. L'istesso Tempo | — | ||
| 62-11 | Symphony no. 3: Part II. A Tempo. (Wie Im Anfang) | — | ||
| 62-12 | Symphony no. 3: Part II. Ganz Plõtzlich Gemächlich. Tempo Di Menuetto | — | ||
| 62-13 | Symphonie no. 3 d-moll: IIIa. Comodo. Scherzando. Ohne Hast | New York Philharmonic, Leonard Bernstein | T-902.748.588-7 | |
| 62-14 | Symphonie no. 3 d-moll: IIIb. Wieder sehr gemächlich, wir zu Anfang | New York Philharmonic, Leonard Bernstein | — | |
| 62-15 | Symphonie no. 3 d-moll: IIIc. Etwas zurückhaltend | New York Philharmonic, Leonard Bernstein | — | |
| 62-16 | Symphonie no. 3 d-moll: IIId. Schnell und schmetternd wie eine Fanfare - Tempo I. Mit geheimnisvoller Hast | New York Philharmonic, Leonard Bernstein | — | |
| 62-17 | Symphonie no. 3 d-moll: IIIe. Wieder sehr gemächlich, beinahe langsam | New York Philharmonic, Leonard Bernstein | — | |
| 63-1 | Symphony no. 3: IV. Sehr Langsam. Misterioso ppp "O Mensch! Gib Acht" (Alto Solo) | — | ||
| 63-2 | Symphony no. 3: IV. Più Mosso Subito | — | ||
| 63-3 | Symphony no. 3 in D minor: V. Lustig im Tempo und Ausdruck | New York Philharmonic, Leonard Bernstein | — | |
| 63-4 | Symphony no. 3: VI. Langsam. Ruhevoll. Empfunden | — | ||
| 63-5 | Symphony no. 3: VI. Nicht Mehr So Breit | — | ||
| 63-6 | Symphony no. 3: VI. Tempo I. Ruhevoll | — | ||
| 63-7 | Symphony no. 3: VI. Nicht Mehr So Breit | — | ||
| 63-8 | Symphony no. 3: VI. Tempo I. | — | ||
| 63-9 | Symphony no. 3: VI. Langsam. Tempo I. | — | ||
| 64-1 | Symphony no. 4 in G major: I. Bedächtig, nicht eilen | Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 64-2 | Symphony no. 4 in G major: II. In gemächlicher Bewegung, ohne Hast | Koninklijk Concertgebouworkest, Leonard Bernstein, Jaap van Zweden | — | |
| 64-3 | Symphony no. 4 in G major: III. Ruhevoll | Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 64-4 | Symphony no. 4 in G major: IV. Sehr behaglich | Koninklijk Concertgebouworkest, Leonard Bernstein, Helmut Wittek | — | |
| 65-1 | Symphony no. 5 in C‐sharp minor: IV. Adagietto. Sehr langsam | Wiener Philharmoniker, Leonard Bernstein | — | |
| 65-2 | Symphony no. 5 in C‐sharp minor: IV. Adagietto. Sehr langsam | Wiener Philharmoniker, Leonard Bernstein | — | |
| 65-3 | Symphony no. 5 in C‐sharp minor: IV. Adagietto. Sehr langsam | Wiener Philharmoniker, Leonard Bernstein | — | |
| 65-4 | Symphony no. 5 in C‐sharp minor: IV. Adagietto. Sehr langsam | Wiener Philharmoniker, Leonard Bernstein | — | |
| 65-5 | Symphony no. 5 in C‐sharp minor: IV. Adagietto. Sehr langsam | Wiener Philharmoniker, Leonard Bernstein | — | |
| 66-1 | Symphony No. 6 A-moll: II. Scherzo. Wuchtig | Wiener Philharmoniker, Leonard Bernstein | — | |
| 66-2 | Symphony No. 6 A-moll: II. Scherzo. Wuchtig | Wiener Philharmoniker, Leonard Bernstein | — | |
| 66-3 | Symphony No. 6 A-moll: II. Scherzo. Wuchtig | Wiener Philharmoniker, Leonard Bernstein | — | |
| 67-1 | Symphony No. 6 A-moll: IV. Finale: Allegro moderato - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | T-318.676.528-2 | |
| 68-1 | Symphony no. 7, I: Langsam (Adagio) | — | ||
| 68-2 | Symphony no. 7, I: Nicht Schleppen | — | ||
| 68-3 | Symphony no. 7, I: Allegro Risoluto, ma non troppo | — | ||
| 68-4 | Symphony no. 7, I: A Tempo (Sempre L'istesso) | — | ||
| 68-5 | Symphony no. 7, I: Moderato | — | ||
| 68-6 | Symphony no. 7, I: [...] | — | ||
| 68-7 | Symphony no. 7, I: Adagio (Tempo Der Einleitung) | — | ||
| 68-8 | Symphony no. 7, I: Allegro Come Prima | — | ||
| 68-9 | Symphony no. 7, I: Poco Ritenuto – A Tempo | — | ||
| 68-10 | Symphony no. 7, I: Nicht Eilen! | — | ||
| 68-11 | Symphony no. 7, II: Nachtmusik I. Allegro Moderato | — | ||
| 68-12 | Symphony no. 7, II: Sempre L'istesso Tempo | — | ||
| 68-13 | Symphony no. 7, II: Poco Meno Mosso | — | ||
| 68-14 | Symphony no. 7, II: Tempo | — | ||
| 68-15 | Symphony no. 7, II: [...] | — | ||
| 68-16 | Symphony no. 7, II: Sehr Gemessen | — | ||
| 69-1 | Symphony no. 7, III: Scherzo. Schattenhaft | — | ||
| 69-2 | Symphony no. 7, III: Trio | — | ||
| 69-3 | Symphony no. 7, III: Wieder Wie Zu Anfang | — | ||
| 69-4 | Symphony no. 7, IV: Nachtmusik II. Andante Amoroso | — | ||
| 69-5 | Symphony no. 7, IV: Nachtmusik II. [...] | — | ||
| 69-6 | Symphony no. 7, IV: Nachtmusik II. Tempo I. Poco Rit. | — | ||
| 69-7 | Symphony no. 7, V: Rondo-Finale. Tempo I. (Allegro Ordinario) | — | ||
| 69-8 | Symphony no. 7, V: Rondo-Finale. Sempre L'istesso Tempo | — | ||
| 69-9 | Symphony no. 7, V: Rondo-Finale. Tempo II. (Allegro Moderato ma Energico) | — | ||
| 69-10 | Symphony no. 7, V: Rondo-Finale. Tempo I. | — | ||
| 69-11 | Symphony no. 7, V: Rondo-Finale. [...] | — | ||
| 69-12 | Symphony no. 7, V: Rondo-Finale. Tempo I. Subito | — | ||
| 69-13 | Symphony no. 7, V: Rondo-Finale. Meno Mosso (Tempo II) | — | ||
| 69-14 | Symphony no. 7, V: Rondo-Finale. Accelerando | — | ||
| 70-1 | Symphony no. 10 (Unfinished): Adagio: Andante – Adagio | — | ||
| 70-2 | Symphony no. 10 (Unfinished): Adagio: Andante come prima [bar 40] | — | ||
| 70-3 | Symphony no. 10 (Unfinished): Adagio: [bar 105] | — | ||
| 70-4 | Symphony no. 10 (Unfinished): Adagio: [bar 178] | — | ||
| 70-5 | Symphony no. 10 (Unfinished): Adagio: A Tempo [bar 217] | — | ||
| 70-6 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: Allegro impetuoso “Veni, creator spiritus” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-7 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: A tempo. Etwas (aber unmerklich) gemäßigter; immer sehr fließend “Imple superna gratia” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-8 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: Tempo I. (Allegro impetuoso) “Infirma nostri corporis” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-9 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: Tempo I. (Allegro, etwas hastig) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-10 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: Sehr fließend — Noch einmal so langsam als vorher. Nicht schleppend “Infirma nostri corporis” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-11 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: Plötzlich sehr breit und leidenschaftlichen Ausdrucks — Mit plötzcheim Aufschwung “Accende lumen sensibus” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-12 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: “Veni, creator spiritus” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 70-13 | Symphony no. 8, Part I. Hymus “Veni, creator spiritus”: a tempo “Gloria sit Patri Domino” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-1 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIa. Poco adagio | Wiener Philharmoniker, Leonard Bernstein | T-801.364.648-6 | |
| 71-2 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIb. Più mosso. (Allegro moderato) | Wiener Philharmoniker, Leonard Bernstein | T-800.828.586-8 | |
| 71-3 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIc. Wieder langsam. Chor und Echo: "Waldung, sie schwankt heran" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-4 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IId. Moderato. "Ewiger Wonnebrand" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-5 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIe. Allegro - (Allegro appassionato) "Wie Felsenabgrund mir zu Füßen" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-6 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIf. Allegro deciso. (Im Anfang noch nicht eilen) - "Gerettet ist das edle Glied" - "Hände verschlinget euch" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-7 | Symphony No. 8, Part II. Final Scene from Goetheʼs “Faust”: Molto leggiero, Chor der jüngeren Engel: “Jene Rosen aus den Händen” | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-8 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIh. Schon etwas langsamer und immer noch mäßiger "Uns bleibt ein Erdenrest" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-9 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIi. Im Anfang (die ersten vier Takte) noch etwas gehalten: "Ich spür' soeben, nebelnd um Felsenhöh'" "Freudig empfangen wir" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-10 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIj. Sempre l'istesso tempo. "Höchste Herrscherin der Welt" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-11 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIk. Äußerst langsam. Adagissimo. "Dir, der Unberührbaren" "Du schwebst zu Höhen er ewigen Reiche" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-12 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIl. Fließend "Bei der Liebe, die den Füßen" "Bei dem Bronn, zu dem schon weiland" " Bei dem hochgeweihten Orte" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-13 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIm. Una poenitentium: "Neige, du Ohnegleichte" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-14 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIn. Unmerklich frischer: "Er überwächst uns schon" "Vom edlen Geisterchor umgebren" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 71-15 | Symphony no. 8 "Symphony of A Thousand": "Vom Edlen Geisterchor Umgeben" – "Komm! Hebe Dich Du Zu Höhern Spahären! "– Hymnenartig – "Blicket Auf Dem Retterblick" | — | ||
| 71-16 | Symphonie No. 8 eis-moll: Zweiter teil: Schlußszene aus Goethes "Faust II": IIp. Sehr langsam beginnend "Alles Vergängliche ist nur ein Gleichnis" | Wiener Philharmoniker, Leonard Bernstein | — | |
| 72-1 | Symphony no. 9: I. Andante Comodo | — | ||
| 72-2 | Symphony no. 9: [Entry of the Horns] – Schattenhaft – Etwas Fließender | — | ||
| 72-3 | Symphony no. 9: Bewegter | — | ||
| 72-4 | Symphony no. 9: [...] | — | ||
| 72-5 | Symphony no. 9: Wie Von Anfang | — | ||
| 72-6 | Symphony no. 9: Plötzlich Bedeutend Langsamer (Lento) Und Leise | — | ||
| 72-7 | Symphony no. 9: II. Im Tempo Eines Gemächlichen Ländlers. Etwas Täppisch Und Sehr Derb | — | ||
| 72-8 | Symphony no. 9: Poco Più Mosso Subito (Tempo II) | — | ||
| 72-9 | Symphony no. 9: Tempo III. | — | ||
| 72-10 | Symphony no. 9: A Tempo II. | — | ||
| 72-11 | Symphony no. 9: Tempo I. | — | ||
| 72-12 | Symphony no. 9: Tempo II. | — | ||
| 72-13 | Symphony no. 9: Tempo I. Subito | — | ||
| 73-1 | Symphony no. 9: III. Rondo-Burleske. Allegro Assai. Sehr Trotzig | — | ||
| 73-2 | Symphony no. 9: L'istesso Tempo | — | ||
| 73-3 | Symphony no. 9: Sempre L'istesso Tempo | — | ||
| 73-4 | Symphony no. 9: L'istesso Tempo | — | ||
| 73-5 | Symphony no. 9: [...] | — | ||
| 73-6 | Symphony no. 9: [Entry of the Clarinets] | — | ||
| 73-7 | Symphony no. 9: Tempo I. Subito | — | ||
| 73-8 | Symphony no. 9: Più Stretto | — | ||
| 73-9 | Symphony no. 9: IV. Adagio. Sehr Langsam Und noch Zurückhaltend | — | ||
| 73-10 | Symphony no. 9: Plötzlich Wieder Sehr Langsam (Wie Zu Anfang) Und Etwas Zögernd | — | ||
| 73-11 | Symphony no. 9: Molto Adagio Subito | — | ||
| 73-12 | Symphony no. 9: A Tempo (Molto Adagio) | — | ||
| 73-13 | Symphony no. 9: Stets Sehr Gehalten | — | ||
| 73-14 | Symphony no. 9: Fließender, Doch Durchaus Nicht Eilend | — | ||
| 73-15 | Symphony no. 9: Tempo I. Molto Adagio | — | ||
| 73-16 | Symphony no. 9: Adagissimo | — | ||
| 74-1 | Symphony no. 9: Symphony no. 9: I. Andante comodo | — | ||
| 74-2 | Symphony no. 9: Symphony no. 9: II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb | — | ||
| 74-3 | Symphony no. 9: Symphony no. 9: III. Rondo-Burleske. Allegro assai. Sehr trotzig | — | ||
| 74-4 | Symphony no. 9: Symphony no. 9: IV. Adagio. Sehr langsam und noch zurückhaltend | — | ||
| 75-1 | Das Lied von der Erde: 1. Das Trinklied vom Jammer der Erde | James King, Wiener Philharmoniker, Leonard Bernstein | — | |
| 75-2 | Das Lied von der Erde: 2. Der Einsame im Herbst | Dietrich Fischer-Dieskau, Wiener Philharmoniker, Leonard Bernstein | — | |
| 75-3 | Das Lied von der Erde: 3. Von der Jugend | James King, Wiener Philharmoniker, Leonard Bernstein | — | |
| 75-4 | Das Lied von der Erde: 4. Von der Schönheit | Dietrich Fischer-Dieskau, Wiener Philharmoniker, Leonard Bernstein | — | |
| 75-5 | Das Lied von der Erde: 5. Der Trunkene um Frühling | James King, Wiener Philharmoniker, Leonard Bernstein | — | |
| 75-6 | Das Lied von der Erde: 6. Der Abschied | Dietrich Fischer-Dieskau, Wiener Philharmoniker, Leonard Bernstein | — | |
| 76-1 | Des Knaben Wunderhorn: 1. Der Schildwache Nachtlied | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-2 | Des Knaben Wunderhorn: 2. Wer hat dies Liedlein erdacht? | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | T-904.908.073-1 | |
| 76-3 | Des Knaben Wunderhorn: 3. Der Tamboursg’sell | Andreas Schmidt, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-4 | Des Knaben Wunderhorn: 4. Das irdische Leben | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-5 | Des Knaben Wunderhorn: 5. Verlorne Müh’ | Lucia Popp, Andreas Schmidt, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-6 | Des Knaben Wunderhorn: 6. Des Antonius von Padua Fischpredigt | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-7 | Des Knaben Wunderhorn: 7. Revelge | Andreas Schmidt, Koninklijk Concertgebouworkest, Leonard Bernstein | T-303.204.042-5 | |
| 76-8 | Des Knaben Wunderhorn: 8. Rheinlegendchen | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | T-904.908.073-1 | |
| 76-9 | Des Knaben Wunderhorn: 9. Lob des hohen Verstandes | Andreas Schmidt, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-10 | Des Knaben Wunderhorn: 10. Wo die schönen Trompeten blasen | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | T-917.182.185-5 | |
| 76-11 | Des Knaben Wunderhorn: 11. Lied des Verfolgten im Turm | Lucia Popp, Andreas Schmidt, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-12 | Des Knaben Wunderhorn: 12. Trost im Unglück | Lucia Popp, Andreas Schmidt, Koninklijk Concertgebouworkest, Leonard Bernstein | — | |
| 76-13 | Des Knaben Wunderhorn: 13. Urlicht | Lucia Popp, Koninklijk Concertgebouworkest, Leonard Bernstein | T-904.908.073-1 | |
| 77-1 | Lieder eines fahrenden Gesellen: 1. Wenn mein Schatz Hochzeit macht | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | — | |
| 77-2 | Lieder eines fahrenden Gesellen: 2. Ging heutʼ morgen übers Feld | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | — | |
| 77-3 | Lieder eines fahrenden Gesellen: 3. Ich habʼ ein glühend Messer | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | — | |
| 77-4 | Lieder eines fahrenden Gesellen: 4. Die zwei blauen Augen | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | — | |
| 77-5 | Symphony No. 6 A-moll: IV. Finale: Allegro moderato - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | — | |
| 77-6 | Symphony No. 6 A-moll: IV. Finale: Allegro moderato - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | — | |
| 77-7 | Symphony No. 6 A-moll: IV. Finale: Allegro moderato - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | — | |
| 77-8 | Symphony No. 6 A-moll: IV. Finale: Allegro moderato - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | — | |
| 77-9 | Symphony No. 6 A-moll: IV. Finale: Allegro moderato - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | — | |
| 77-10 | 5 Lieder: 1. Liebst du um Schönheit | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | — | |
| 77-11 | 5 Lieder: 2. Blicke mir nicht in die Lieder | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | T-301.280.615-0 | |
| 77-12 | 5 Lieder: 3. Ich atmetʼ einen linden Duft | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | T-301.280.963-7 | |
| 77-13 | 5 Lieder: 5. Um Mitternacht | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | T-004.158.264-2 | |
| 77-14 | 5 Lieder: 6. Ich bin der Welt abhanden gekommen | Wiener Philharmoniker, Leonard Bernstein, Thomas Hampson | T-926.945.156-1 | |
| 78-1 | Overture "The Hebrides", op. 26 ("Fingal's Cave"). Allegro moderato – Animato in tempo | — | ||
| 78-2 | Symphony no. 3 in A minor "Scottish", op. 56: I. Andante con moto – Allegro un poco agitato | — | ||
| 78-3 | Symphony no. 3 in A minor "Scottish", op. 56: II. Vivace non troppo | — | ||
| 78-4 | Symphony no. 3 in A minor "Scottish", op. 56: III. Adagio | — | ||
| 78-5 | Symphony no. 3 in A minor "Scottish", op. 56: IV. Allegro vivacissimo – Allegro maestoso assai | — | ||
| 79-1 | Symphony no. 4 in A major "Italian", op. 90: I. Allegro vivace | — | ||
| 79-2 | Symphony no. 4 in A major "Italian", op. 90: II. Andante con moto | — | ||
| 79-3 | Symphony no. 4 in A major "Italian", op. 90: III. Con moto moderato | — | ||
| 79-4 | Symphony no. 4 in A major "Italian", op. 90: IV. Saltarello. Presto | — | ||
| 79-5 | Symphony no. 5 in D major "Reformation", op. 107: I. Andante – Allegro con fuoco | — | ||
| 79-6 | Symphony no. 5 in D major "Reformation", op. 107: II. Allegro vivace | — | ||
| 79-7 | Symphony no. 5 in D major "Reformation", op. 107: III. Andante – attacca | — | ||
| 79-8 | Symphony no. 5 in D major "Reformation", op. 107: IV. Chorale „Ein' feste Burg ist unser Gott“. Andante con moto – Allegro vivace – Allegro maestoso | — | ||
| 80-1 | Symphony no. 25 in G minor K 183 (173dB): I. Allegro con brio | — | ||
| 80-2 | Symphony no. 25 in G minor K 183 (173dB): II. Andante | — | ||
| 80-3 | Symphony no. 25 in G minor K 183 (173dB): III. Menuetto – Trio | — | ||
| 80-4 | Symphony no. 25 in G minor K 183 (173dB): IV. Allegro | — | ||
| 80-5 | Symphony no. 29 in A major K 201 (186a): I. Allegro moderato | — | ||
| 80-6 | Symphony no. 29 in A major K 201 (186a): II. Andante | — | ||
| 80-7 | Symphony no. 29 in A major K 201 (186a): III. Menuetto – Trio | — | ||
| 80-8 | Symphony no. 29 in A major K 201 (186a): IV. Allegro con spirito | — | ||
| 80-9 | Concerto for Clarinet and Orchestra in A major K 622: I. Allegro | — | ||
| 80-10 | Concerto for Clarinet in A major, K. 622: II. Adagio | Peter Schmidl, Wiener Philharmoniker, Leonard Bernstein | — | |
| 80-11 | Concerto for Clarinet and Orchestra in A major K 622: III. Rondo. Allegro | — | ||
| 81-1 | Symphony no. 35 in D major "Haffner" K 385: I. Allegro con spirito | — | ||
| 81-2 | Symphony no. 35 in D major "Haffner" K 385: II. Andante | — | ||
| 81-3 | Symphony no. 35 in D major "Haffner" K 385: III. Menuetto – Trio | — | ||
| 81-4 | Symphony no. 35 for Orchestra in D major, K. 385 "Haffner": IV. Presto | Wiener Philharmoniker, Leonard Bernstein | T-318.676.528-2 | |
| 81-5 | Symphony no. 41 in C major "Jupiter", K. 551: 1. Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 81-6 | Symphony no. 41 in C major "Jupiter", K. 551: 2. Andante cantabile | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 81-7 | Symphony no. 41 in C major "Jupiter", K. 551: 3. Menuetto. Allegretto | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 81-8 | Symphony No. 41 in C major, K. 551 “Jupiter”: IV. Allegro molto | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 82-1 | Symphony no. 36 in C major "Linz" K 425: I. Adagio – Allegro spiritoso | — | ||
| 82-2 | Symphony no. 36 in C major "Linz" K 425: II. Andante | — | ||
| 82-3 | Symphony no. 36 in C major "Linz" K 425: III. Menuetto – Trio | — | ||
| 82-4 | Symphony no. 36 in C major "Linz" K 425: IV. Presto | — | ||
| 82-5 | Symphony no. 38 in D major "Prague" K 504: I. Adagio – Allegro | — | ||
| 82-6 | Symphony no. 38 in D major "Prague" K 504: II. Andante | — | ||
| 82-7 | Symphony no. 38 in D major "Prague" K 504: III. Presto | — | ||
| 83-1 | Symphony no. 39 in E flat major K 543: I. Adagio – Allegro | — | ||
| 83-2 | Symphony no. 39 in E flat major K 543: II. Andante con moto | — | ||
| 83-3 | Symphony no. 39 in E flat major K 543: III. Menuetto. Allegretto – Trio | — | ||
| 83-4 | Symphony no. 39 in E flat major K 543: IV. Finale. Allegro | — | ||
| 83-5 | Symphonie Nr. 40 in g‐moll, KV 550: I. Molto allegro | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 83-6 | Symphonie Nr. 40 in g‐moll, KV 550: II. Andante | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 83-7 | Symphonie Nr. 40 in g‐moll, KV 550: III. Menuetto. Allegretto | Wiener Philharmoniker, Leonard Bernstein | T-312.542.381-2 | |
| 83-8 | Symphonie Nr. 40 in g‐moll, KV 550: IV. Allegro assai | Wiener Philharmoniker, Leonard Bernstein | T-306.395.786-4 | |
| 84-1 | Concerto for Piano and Orchestra no. 15 in B-flat major, K. 450: I. Allegro | Wiener Philharmoniker, Leonard Bernstein | — | |
| 84-2 | Concerto for Piano and Orchestra no. 15 in B-flat major, K. 450: II. [Andante] | Wiener Philharmoniker, Leonard Bernstein | — | |
| 84-3 | Concerto for Piano and Orchestra no. 15 in B-flat major, K. 450: III. Allegro | Wiener Philharmoniker, Leonard Bernstein | — | |
| 84-4 | Symphony no. 36 “Linz”: I. Adagio -Allegro spiritoso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 84-5 | Symphony no. 36 “Linz”: II. Andante | Wiener Philharmoniker, Leonard Bernstein | — | |
| 84-6 | Symphony no. 36 “Linz”: III. Menuetto | Wiener Philharmoniker, Leonard Bernstein | T-902.876.200-7 | |
| 84-7 | Symphony no. 36 “Linz”: IV. Presto | Wiener Philharmoniker, Leonard Bernstein | T-003.055.867-8 | |
| 85-1 | Concerto for Piano & Orchestra no. 17 in G major K 453: I. Allegro | — | ||
| 85-2 | Concerto for Piano & Orchestra no. 17 in G major K 453: II. Andante | — | ||
| 85-3 | Concerto for Piano & Orchestra no. 17 in G major K 453: III. Allegretto – Finale. Presto | — | ||
| 85-4 | Concerto for Piano & Orchestra in G major - I. Allegramente – Andante – Tempo I | — | ||
| 85-5 | Concerto for Piano & Orchestra in G major - II. Adagio assai | — | ||
| 85-6 | Concerto for Piano & Orchestra in G major - III. Presto | — | ||
| 86-1 | Motet for Chorus, Strings & Organ in D major, K. 618: "Ave verum corpus", KV618 | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | T-323.252.117-0 | |
| 86-2 | Exsultate, jubilate K165 (158a) | — | ||
| 86-3 | Mass no. 17 for Soloists, Chorus & Orchestra in C minor, K. 417a/427 "Great": I. "Kyrie" | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | T-919.081.368-4 | |
| 86-4 | Great Mass in C minor: II. Gloria: Gloria in excelsis Deo (chorus) | — | ||
| 86-5 | Great Mass in C minor: II. Gloria: Laudamus te (soprano) | — | ||
| 86-6 | Great Mass in C minor: II. Gloria: Gratias agimus tibi (soloists / chorus) | — | ||
| 86-7 | Great Mass in C minor: II. Gloria: Domine Deus (soprano, mezzo-soprano) | — | ||
| 86-8 | Great Mass in C minor: II. Gloria: Qui tollis peccata mundi (chorus) | — | ||
| 86-9 | Great Mass in C minor: II. Gloria: Quoniam tu solus sanctus (soprano, mezzo-soprano, tenor) | — | ||
| 86-10 | Great Mass in C minor: II. Gloria: Jesu Christe (soloists / chorus) | — | ||
| 86-11 | Great Mass in C minor: II. Gloria: Cum Sancto Spiritu (soloists / chorus) | — | ||
| 86-12 | Great Mass in C minor: III. Credo: Credo in unum Deum (chorus) | — | ||
| 86-13 | Great Mass in C minor: III. Credo: Et incarnatus est (soprano) | — | ||
| 86-14 | Great Mass in C minor: IV. Sanctus: Sanctus, sanctus, sanctus (chorus) | — | ||
| 86-15 | Great Mass in C minor: V. Benedictus: Benedictus qui venit in nomine Domini (soloists / chorus) | — | ||
| 87-1 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-2 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-3 | Requiem in D minor, K. 626: IIIa. Dies irae (Sequenz) | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Wolfgang Seeliger, Leonard Bernstein | — | |
| 87-4 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-5 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-6 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-7 | Requiem in D minor, K. 626: IIIe. Confutatis (Sequenz) | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Wolfgang Seeliger, Leonard Bernstein | — | |
| 87-8 | Requiem in D minor, K. 626: IIIf. Lacrimosa (Sequenz) | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Wolfgang Seeliger, Leonard Bernstein | — | |
| 87-9 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-10 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-11 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-12 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-13 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 87-14 | Requiem in D minor, K. 626: IIId. Recordare (Sequenz) | Maria Ewing, Marie McLaughlin, Jerry Hadley, Cornelius Hauptmann, Symphonieorchester des Bayerischen Rundfunks, Leonard Bernstein | — | |
| 88-1 | La bohème: Atto I. “Questo Mar Rosso mi ammollisce e assidera” (Marcello, Rodolfo, Colline) | — | ||
| 88-2 | La bohème: Atto I. “Pensier profondo!” (Colline, Marcello, Rodolfo) | — | ||
| 88-3 | La bohème: Atto I. “Abbasso, abbasso l’autor!” (Marcello, Colline, Rodolfo, Schaunard) | — | ||
| 88-4 | La bohème: Atto I. “Si può?” (Benoit, Marcello, Schaunard, Colline, Rodolfo) | — | ||
| 88-5 | La bohème: Atto I. “Io resto” (Rodolfo, Marcello, Colline, Schaunard) | — | ||
| 88-6 | La bohème: Atto I. “Non sono in vena” (Rodolfo, Mimì) | — | ||
| 88-7 | La bohème: Atto I. “Si sente meglio?” (Rodolfo, Mimì) | — | ||
| 88-8 | La Bohème: Atto I. “Che gelida manina!” (Rodolfo) | Jerry Hadley, Orchestra dell’Accademia Nazionale di Santa Cecilia, Leonard Bernstein | — | |
| 88-9 | La bohème: Atto I. “Sì. Mi chiamano Mimì” (Mimì, Rodolfo) | — | ||
| 88-10 | La bohème, act I: “Ehi! Rodolfo!” (Schaunard, Colline, Marcello, Rodolfo, Mimì) | — | ||
| 88-11 | La bohème, act I: “O soave fanciulla” (Rodolfo, Marcello, Mimì) | — | ||
| 88-12 | La bohème: Atto II. “Aranci, datteri! Caldi i marroni!” (Coro, Schaunard, Colline, Rodolfo, Mimì, Marcello) | — | ||
| 88-13 | La bohème: Atto II. “Chi guardi?” (Rodolfo, Colline, Mimì, Schaunard, Marcello, Parpignol) | — | ||
| 88-14 | La bohème: Atto II. “Questa è mimì” (Rodolfo, Marcello, Schaunard, Colline, Parpignol, coro, Mimì) | — | ||
| 88-15 | La bohème: Atto II. “Viva parpignol!” (Coro, Marcello, Mimì, Schaunard, Colline, Rodolfo) | — | ||
| 88-16 | La bohème: Atto II. “Allegri, e un toast!” (Schaunard, Colline, Marcello, Mimì, Rodolfo, coro, Alcindoro, Musetta) | — | ||
| 88-17 | La bohème: Atto II. “Quando men vo” (Musetta, Marcello, Alcindoro, Mimì, Rodolfo, Schaunard, Colline) | — | ||
| 88-18 | La bohème: Atto II. “Il conto?!” (Rodolfo, Schaunard, Colline, coro, Musetta, Marcello, Mimì) | — | ||
| 89-1 | La bohème: Atto III. “Ohè là, le guardie!” (Coro, Doganiere, Musetta) | — | ||
| 89-2 | La bohème: Atto III. “Sa dirmi, scusi, qual’è l’osteria” (Mimì, Sergente, Doganiere) | — | ||
| 89-3 | La bohème: Atto III. “Mimì!” – “Speravo di trovarvi qui” (Marcello, Mimì) | — | ||
| 89-4 | La bohème: Atto III. “Marcello. Finalmente!” (Rodolfo, Marcello, Mimì) | — | ||
| 89-5 | La bohème: Atto III. “Mimì è una civetta” (Rodolfo, Marcello) | — | ||
| 89-6 | La bohème: Atto III. “Mimì è tanto malata!” (Rodolfo, Marcello, Mimì) | — | ||
| 89-7 | La bohème: Atto III. “Mimì di serra è fiore” (Rodolfo, Mimì, Marcello) | — | ||
| 89-8 | La bohème: Atto III. “D’onde lieta uscì” (Mimì) | — | ||
| 89-9 | La bohème: Atto III. “Dunque è proprio finita!” (Rodolfo, Mimì, Marcello, Musetta) | — | ||
| 89-10 | La bohème: Atto IV. “In un coupè?” – “Con pariglia e livree” (Marcello, Rodolfo) | — | ||
| 89-11 | La bohème: Atto IV. “O Mimì, tu più non torni” (Rodolfo, Marcello) | — | ||
| 89-12 | La bohème: Atto IV. “Che ora sia?” (Rodolfo, Marcello, Schaunard, Colline) | — | ||
| 89-13 | La bohème: Atto IV. “Gavotta!” – “Minuetto!” (Colline, Marcello, Rodolfo, Schaunard) | — | ||
| 89-14 | La bohème: Atto IV. “C’è Mimì” (Musetta, Rodolfo, Schaunard, Mimì, Marcello, Colline) | — | ||
| 89-15 | La bohème: Atto IV. “Vecchia zimarra, senti” (Colline, Schaunard) | — | ||
| 89-16 | La bohème: Atto IV. “Sono andati? Fingevo di dormire” (Mimì, Rodolfo) | — | ||
| 89-17 | La bohème: Atto IV. “Oh dio! Mimì!” (Rodolfo, Schaunard, Mimì, Musetta, Marcello) | — | ||
| 89-18 | La bohème: Atto IV. “Che ha detto il medico?” (Rodolfo, Marcello, Musetta, Schaunard, Colline) | — | ||
| 90-1 | Symphony no. 8 in B minor "Unfinished" D 759: I. Allegro moderato | — | ||
| 90-2 | Symphony no. 8 in B minor "Unfinished" D 759: II. Andante con moto | — | ||
| 90-3 | Symphony no. 5 in B flat major D 485: I. Allegro | — | ||
| 90-4 | Symphony no. 5 in B flat major D 485: II. Andante con moto | — | ||
| 90-5 | Symphony no. 5 in B flat major D 485: III. Menuetto. Allegro molto – Trio | — | ||
| 90-6 | Symphony no. 5 in B flat major D 485: IV. Allegro vivace | — | ||
| 91-1 | Symphony no. 9 in C major "The Great" D 944: I. Andante – Allegro ma non troppo | — | ||
| 91-2 | Symphony no. 9 in C major "The Great" D 944: II. Andante con moto | — | ||
| 91-3 | Symphony no. 9 in C major "The Great" D 944: III. Scherzo. Allegro vivace – Trio | — | ||
| 91-4 | Symphony no. 9 in C major "The Great" D 944: IV. Allegro vivace | — | ||
| 92-1 | Symphony no. 1 in B-flat major, op. 38 "Spring": I. Andante un poco maestoso - Allegro molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-2 | Symphony no. 1 in B-flat major, op. 38 "Spring": II. Larghetto - attacca: | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-3 | Symphony no. 1 in B‐flat major, op. 38 "Spring": III. Scherzo: Molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-4 | Symphony no. 1 in B-flat major, op. 38 "Spring": IV. Allegro animato e grazioso | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-5 | Symphony no. 4 in D minor, op. 120: I. Ziemlich langsam - Lebhaft - (attacca:) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-6 | Symphony no. 4 in D minor, op. 120: II. Romanze: Ziemlich langsam - (attacca:) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-7 | Symphony no. 4 in D minor, op. 120: III. Scherzo: Lebhaft - Trio - (attacca:) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 92-8 | Symphony no. 4 in D minor, op. 120: IV. Langsam - Lebhaft | Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-1 | Symphony no. 2 in C major, op. 61: I. Sostenuto assai - Allegro, ma non troppo | Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-2 | Symphony no. 2 in C major, op. 61: II. Scherzo: Allegro vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-3 | Symphony no. 2 in C major, op. 61: III. Adagio espressivo | Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-4 | Symphony no. 2 in C major, op. 61: IV. Allegro molto vivace | Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-5 | Konzert für Violoncello und Orchester a-Moll, op. 129: III. Sehr lebhaft | Mischa Maisky, Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-6 | Konzert für Violoncello und Orchester a-Moll, op. 129: III. Sehr lebhaft | Mischa Maisky, Wiener Philharmoniker, Leonard Bernstein | — | |
| 93-7 | Konzert für Violoncello und Orchester a-Moll, op. 129: III. Sehr lebhaft | Mischa Maisky, Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-1 | Symphony no. 3 in E-flat major, op. 97 "Rhenish": I. Lebhaft | Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-2 | Symphony no. 3 in E-flat major, op. 97 "Rhenish": II. Scherzo: Sehr mäßig | Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-3 | Symphony no. 3 in E-flat major, op. 97 "Rhenish": III. Nicht schnell | Wiener Philharmoniker, Leonard Bernstein | T-312.439.214-5 | |
| 94-4 | Symphony no. 3 in E-flat major, op. 97 "Rhenish": IV. Feierlich - (quasi attacca:) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-5 | Symphony no. 3 in E-flat major, op. 97 "Rhenish": V. Lebhaft | Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-6 | Konzert für Klavier und Orchester a-Moll, op. 54: I. Allegro affettuoso | Justus Frantz, Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-7 | Konzert für Klavier und Orchester a-Moll, op. 54: I. Allegro affettuoso | Justus Frantz, Wiener Philharmoniker, Leonard Bernstein | — | |
| 94-8 | Konzert für Klavier und Orchester a-Moll, op. 54: I. Allegro affettuoso | Justus Frantz, Wiener Philharmoniker, Leonard Bernstein | — | |
| 95-1 | Symphony no. 1 in F minor, op. 10: 1. Allegretto - Allegro non troppo | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 95-2 | Symphony no. 1 in F minor, op. 10: 2. Allegro | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 95-3 | Symphony no. 1 in F minor, op. 10: 3. Lento - Largo | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 95-4 | Symphony no. 1 in F minor, op. 10: 4. Allegro molto - Lento - Allegro molto - Adagio - Largo - Presto | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 95-5 | Symphony no. 7 in C major "Leningrad", op. 60: 1. Allegretto | Chicago Symphony Orchestra, Leonard Bernstein | T-315.020.230-1 | |
| 96-1 | Symphony no. 7 in C major "Leningrad", op. 60: 2. Moderato (poco allegretto) | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 96-2 | Symphony no. 7 in C major "Leningrad", op. 60: 3. Adagio | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 96-3 | Symphony no. 7 in C major "Leningrad", op. 60: 4. Allegro non troppo | Chicago Symphony Orchestra, Leonard Bernstein | — | |
| 97-1 | Symphony no. 6 op. 54: I. Largo | Wiener Philharmoniker, Leonard Bernstein | T-005.005.728-7 | |
| 97-2 | Symphony no. 6 op. 54: II. Allegro | Wiener Philharmoniker, Leonard Bernstein | — | |
| 97-3 | Symphony no. 6 op. 54: III. Presto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 97-4 | Symphony no. 9 op. 70: I. Allegro | Wiener Philharmoniker, Leonard Bernstein | — | |
| 97-5 | Symphony no. 9 op. 70: I. II. Moderato | Wiener Philharmoniker, Leonard Bernstein | — | |
| 97-6 | Symphony no. 9 op. 70: I. III. Presto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 97-7 | Symphony no. 9 op. 70: I. IV. Largo | Wiener Philharmoniker, Leonard Bernstein | — | |
| 97-8 | Symphony no. 9 op. 70: I. V. Allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 98-1 | Symphony no. 1 in E minor, op. 39: I. Andante, ma non troppo - Allegro energico | Wiener Philharmoniker, Leonard Bernstein | — | |
| 98-2 | Symphony no. 1 in E minor, op. 39: II. Andante (ma non troppo lento) | Wiener Philharmoniker, Leonard Bernstein | T-071.481.827-5 | |
| 98-3 | Symphony no. 1 in E minor, op. 39: III. Scherzo (Allegro) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 98-4 | Symphony no. 1 in E minor, op. 39: IV. Finale (Quasi una fantasia) | Wiener Philharmoniker, Leonard Bernstein | T-318.676.528-2 | |
| 99-1 | Symphony no. 2 in D major, op. 43: I. Allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 99-2 | Symphony no. 2 in D major, op. 43: II. Tempo andante, ma rubato | Wiener Philharmoniker, Leonard Bernstein | — | |
| 99-3 | Symphony no. 2 in D major, op. 43: III. Vivacissimo (attacca) | Wiener Philharmoniker, Leonard Bernstein | — | |
| 99-4 | Symphony no. 2 in D major, op. 43: IV. Finale. Allegro moderato | Wiener Philharmoniker, Leonard Bernstein | T-318.676.528-2 | |
| 100-1 | Symphony no. 5 in E-flat major, op. 82: Ia. Tempo molto moderato - Largamente - | Wiener Philharmoniker, Leonard Bernstein | — | |
| 100-2 | Symphony no. 5 in E-flat major, op. 82: Ib. Allegro moderato - Presto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 100-3 | Symphony no. 5 in E-flat major, op. 82: II. Andante mosso, quasi allegretto | Wiener Philharmoniker, Leonard Bernstein | — | |
| 100-4 | Symphony no. 5 in E-flat major, op. 82: III. Allegro molto - Misterioso - Un pochettino largamente - Largamente assai | Wiener Philharmoniker, Leonard Bernstein | — | |
| 100-5 | Symphony no. 7 in C major, op. 105: Un pochettino meno adagio – Poco a poco affrettando il tempo al Vivacissimo | — | ||
| 100-6 | Symphony no. 7 in C major, op. 105: [5 bars before] Poco rallentando all'Adagio – Poco a poco meno lento all' | — | ||
| 100-7 | Symphony no. 7 in C major, op. 105: Allegro molto moderato – Poco a poco meno moderato- | — | ||
| 100-8 | Symphony no. 7 in C major, op. 105: [2 bars before] Vivace – Presto – Poco a poco rallentando all'Adagio – Largamente molto – Affettuoso – Tempo I | — | ||
| 100-9 | Symphony no. 7 in C major, op. 105: [2 bars before] Vivace – Presto – Poco a poco rallentando all'Adagio – Largamente molto – Affettuoso – Tempo I | — | ||
| 101-1 | Salome, op. 54 (selections): Final scene: „Es ist kein Laut zu vernehmen“ | — | ||
| 101-2 | Salome, op. 54 (selections): Scene 4: Tanz der sieben Schleier | — | ||
| 101-3 | 5 Lieder mit Orchesterbegleitung, op. 27 no. 2, TrV 170: Cäcilie | Montserrat Caballé, Orchestre national de France, Leonard Bernstein | — | |
| 101-4 | 5 Lieder mit Orchesterbegleitung, op. 41 no. 1, TrV 195: Wiegenlied | Montserrat Caballé, Orchestre national de France, Leonard Bernstein | — | |
| 101-5 | 5 Lieder mit Orchesterbegleitung, op. 37 no. 2, TrV 187: Ich liebe dich | Montserrat Caballé, Orchestre national de France, Leonard Bernstein | — | |
| 101-6 | 5 Songs for Voice & Orchestra: Morgen! op. 27/4 „Und morgen wird die Sonne wieder scheinen“ | — | ||
| 101-7 | 5 Songs for Voice & Orchestra: Zueignung, op. 10/1 „Ja, du weißt es, teure Seele“ | — | ||
| 102-1 | L'oiseau de feu: Introduction | — | ||
| 102-2 | L'oiseau de feu: Danse de l'oiseau de feu et sa danse | — | ||
| 102-3 | L'oiseau de feu: Variation de l'oiseau de feu | — | ||
| 102-4 | L'oiseau de feu: Ronde des princesses | — | ||
| 102-5 | L'oiseau de feu: Danse infernale de Kachtcheï | — | ||
| 102-6 | L'oiseau de feu: Berceuse | — | ||
| 102-7 | L'Oiseau de feu Suite (1919 version): Finale | Israel Philharmonic Orchestra, Leonard Bernstein | T-924.857.395-7 | |
| 102-8 | Pulcinella: I. Sinfonia (Ouverture). Allegro moderato | — | ||
| 102-9 | Pulcinella: II. Serenata. Larghetto | — | ||
| 102-10 | Pulcinella: III. a. Scherzino – b. Allegro – c. Andantino | — | ||
| 102-11 | Pulcinella: IV. Tarantella. 𝅗𝅥 = 88 | — | ||
| 102-12 | Pulcinella: V. Toccata. Allegro | — | ||
| 102-13 | Pulcinella: VI. Gavotta con due variazioni. Allegro moderato. Var. I. Allegretto – Var. II. Allegro più tosto moderato | — | ||
| 102-14 | Pulcinella: VII. Vivo | — | ||
| 102-15 | Pulcinella: VIII. a. Minuetto. Molto moderato – b. Finale. Allegro assai | — | ||
| 103-1 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-2 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-3 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-4 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-5 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-6 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-7 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-8 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-9 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-10 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-11 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-12 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-13 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-14 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-15 | Pétrouchka: Tableau IV. Fête populaire de la semaine grasse (vers le soir) | Boris Berman, Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 103-16 | Scènes de ballet: Introduction. Andante | — | ||
| 103-17 | Scènes de ballet: Danses (Corps de ballet). Moderato | — | ||
| 103-18 | Scènes de ballet: Variation (Ballerine). Con moto | — | ||
| 103-19 | Scènes de ballet: Pantomime. Lento | — | ||
| 103-20 | Scènes de ballet: Pas de deux. Adagio | — | ||
| 103-21 | Scènes de ballet: Pantomime. Agitato ma tempo giusto | — | ||
| 103-22 | Scènes de ballet: Variation (Danseur). Risoluto | — | ||
| 103-23 | Scènes de ballet: Variation (Ballerine). Andantino | — | ||
| 103-24 | Scènes de ballet: Pantomime. Andantino | — | ||
| 103-25 | Scènes de ballet: Danses (Corps de ballet). Con moto | — | ||
| 103-26 | Scènes de ballet: Apothéose. Poco meno mosso | — | ||
| 104-1 | Le Sacre du printemps: Partie I. Danse de la Terre | Israel Philharmonic Orchestra, Leonard Bernstein | — | |
| 104-2 | Le Sacre du printemps: Partie I. Danse de la Terre | Israel Philharmonic Orchestra, Leonard Bernstein | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Symphony No. 3 in E-flat major, Op. 55 "Eroica": I. Allegro con brio | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 3 in E-flat major, Op. 55 "Eroica": II. Marcia funebre. Adagio assai | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 3 in E-flat major, Op. 55 "Eroica": III. Scherzo. Allegro vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 3 in E-flat major, Op. 55 "Eroica": IV. Finale. Allegro molto | New York Stadium Symphony Orchestra, Leonard Bernstein | T-318.676.528-2 |
| Symphony No. 2 in C major, Op. 61: I. Sostenuto assai - Un poco più vivace - Allegro ma non troppo - Con fuoco | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 2 in C major, Op. 61: II. Scherzo: Allegro vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 2 in C major, Op. 61: III. Adagio espressivo | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 2 in C major, Op. 61: IV. Allegro molto vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 4 in E minor, Op. 98: I. Allegro non troppo | New York Stadium Symphony Orchestra, Leonard Bernstein | T-902.764.002-4 |
| Symphony No. 4 in E minor, Op. 98: II. Andante moderato | New York Stadium Symphony Orchestra, Leonard Bernstein | T-902.764.002-4 |
| Symphony No. 4 in E minor, Op. 98: III. Allegro giocoso - Poco meno presto - Tempo I | New York Stadium Symphony Orchestra, Leonard Bernstein | T-902.764.002-4 |
| Symphony No. 4 in E minor, Op. 98: IV. Allegro energico e passionato - Più allegro | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 6 in B minor, Op. 74 "Pathétique": I. Adagio – Allegro non troppo | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 6 in B minor, Op. 74 "Pathétique": II. Allegro con grazia | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 6 in B minor, Op. 74 "Pathétique": III. Allegro molto vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 6 in B minor, Op. 74 "Pathétique": IV. Finale. Adagio lamentoso – Andante | New York Stadium Symphony Orchestra, Leonard Bernstein | T-003.055.867-8 |
| Symphony No. 9 in E minor, Op. 95 "From the New World": I. Adagio – Allegro molto | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 9 in E minor, Op. 95 "From the New World": II. Largo | New York Stadium Symphony Orchestra, Leonard Bernstein | T-902.286.256-2 |
| Symphony No. 9 in E minor, Op. 95 "From the New World": III. Scherzo. Molto vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Symphony No. 9 in E minor, Op. 95 "From the New World": IV. Allegro con fuoco | New York Stadium Symphony Orchestra, Leonard Bernstein | — |
| Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "Simplicity itself..." (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "I always feel this gigantism..." (2nd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "We have just been examining..." (3rd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "All that we have said..." (4th movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "The study of Eroica is a lifetime work..." | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Robert Schumann has been dead..." (3rd movement, opening theme) | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "To my mind, Schumann follows in this tradition..." | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Now let's look at the Symphony itself..." (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "And so we have arrived at the allegro section..." (1st movement, continued) | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "In the marvelous Scherzo that follows..." (2nd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "But perhaps the greatest beauty...." (3rd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Even in the final movement...." (4th movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Brahms' Fourth Symphony in E minor is today ..." (4th movement., opening theme) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Our journey begins without introduction..." (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Do you see now what a symphonic theme is?" (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Now, think of it - we have so far only had 44 bars of music" (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Here is that second theme" (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "This brings us to the development section proper" (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): And here we are back home, ready for the rehearing of the exposition,..." (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "So we arrive at the coda" (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Well, we have had a microscopic look at symphonic method" (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now there is a melody, a pure orchestral song..." (1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now the development section erupts..." (1st movement continued) | [dialogue] | — |
| Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now one would think that Tchaikovsky had really exploited the device of scales" (2nd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Jumping now to the famous third movement, the great March..." (3rd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Perhaps the most admirable example of this is to be found in the wonderful last movement, ..." (4th movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now I don't want to give you the impression that scales are the only unifying force in this work" | [dialogue] | — |
| Musical Analysis (Bernstein on Dvorák's Symphony No.9): "Does this music sound like the New World to you?" (3rd movement, Trio II; 1st movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Dvorák's Symphony No.9): "We come now to the second movement, which has a charming melody, ..." (2nd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Dvorák's Symphony No.9): "The third movement is a marvel of ingenuity and deftness" (3rd movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Dvorák's Symphony No.9): "And now the last movement. In general I should say that this is the most Slavic of all" (4th movement) | [dialogue] | — |
| Musical Analysis (Bernstein on Dvorák's Symphony No.9): "The final claim of those who argue for the New World Symphony as American music, ..." (4th movement, continued) | [dialogue] | — |
