UPC · Release
Solti, Chicago
Last verified:
The UPC for “The Complete Recordings” by Solti, Chicago is 028948313754. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2017-01-01. Label: Decca. This release contains 998 tracks, each with its own ISRC. Tracks include GBF077000081, GBF077000082, GBF077000083.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony no. 5: I. Trauermarsch | Chicago Symphony Orchestra, Sir Georg Solti | T-926.359.926-4 | |
| 2 | Symphony no. 5: II. Stürmisch bewegt, mit größter Vehemenz | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 3 | Symphony no. 5: III. Scherzo. Kräftig, nicht zu schnell | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 4 | Symphony no. 5: IV. Adagietto: Sehr langsam | Chicago Symphony Orchestra, Sir Georg Solti | T-800.652.468-2 | |
| 5 | Symphony No. 5: V. Rondo-Finale: Allegro | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 6 | Songs From "Des Knaben Wunderhorn": Das irdische Leben | — | ||
| 7 | Songs From "Des Knaben Wunderhorn": Verlor'ne Müh | — | ||
| 8 | Songs From "Des Knaben Wunderhorn": Wo die schönen Trompeten blasen | — | ||
| 9 | Songs From "Des Knaben Wunderhorn": Rheinlegendchen | — | ||
| 2-1 | Symphony no. 6 in A minor: I. Allegro energico, ma non troppo | Chicago Symphony Orchestra, Georg Solti | — | |
| 2-2 | Symphony no. 6 in A minor: II. Scherzo. Wuchtig | Chicago Symphony Orchestra, Georg Solti | T-926.362.354-7 | |
| 2-3 | Symphony no. 6 in A minor: III. Andante | Chicago Symphony Orchestra, Georg Solti | T-926.362.354-7 | |
| 2-4 | Symphony no. 6 in A minor: IV. Finale. Allegro moderato | Chicago Symphony Orchestra, Georg Solti | T-318.676.528-2 | |
| 3-1 | Lieder eines fahrenden Gesellen: Wenn mein Schatz Hochzeit macht | — | ||
| 3-2 | Lieder eines fahrenden Gesellen: Ging heut' morgen übers Feld | — | ||
| 3-3 | Lieder eines fahrenden Gesellen: Ich hab' ein glühend Messer | — | ||
| 3-4 | Lieder eines fahrenden Gesellen: Die zwei blauen Augen von meinem Schatz | — | ||
| 4-1 | Symphony No. 7: I. Langsam — Allegro | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 4-2 | Symphony No. 7: II. Nachtmusik I: Allegro moderato | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 4-3 | Symphony No. 7: III. Scherzo | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 4-4 | Symphony No. 7: IV. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 4-5 | Symphony No. 7: V. Rondo-Finale | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-1 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: a. Veni creator spiritus | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-2 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: b. Imple superna gratia | Heather Harper, Lucia Popp, Yvonne Minton, Helen Watts, René Kollo, John Shirley-Quirk, Martti Talvela, Wiener Singverein, Wiener Staatsopernchor, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-3 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: c. Infirma nostri corporis | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-4 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: d. Accende lumen sensibus | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-5 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: e. Veni, creator… da gaudiorum praemia | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-6 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: f. Gloria sit patri domino” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-7 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": Poco Adagio: “Waldung, sie schwankt heran” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-8 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": "Ewiger Wonnebrand” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-9 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Wie Felsenabgrund mir zu Füßen” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-10 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Gerettet ist das edle Glied” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-11 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Uns bleibt ein Erdenrest” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-12 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Höchste Herrscherin der Welt” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-13 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Bei der Liebe, die den Fussen” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-14 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Neige, neige, du Ohnegleiche” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-15 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Blicket auf zum Retterblick” | Sir Georg Solti, Chicago Symphony Orchestra | — | |
| 5-16 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Alles Vergängliche” | Sir Georg Solti, Chicago Symphony Orchestra | — | |
| 6-1 | Piano Concerto no. 1 in C major, op. 15: I. Allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti, Vladimir Ashkenazy | — | |
| 6-2 | Piano Concerto no. 1 in C major, op. 15: II. Largo | Chicago Symphony Orchestra, Sir Georg Solti, Vladimir Ashkenazy | — | |
| 6-3 | Piano Concerto no. 1 in C major, op. 15: III. Rondo: Allegro scherzando | Chicago Symphony Orchestra, Sir Georg Solti, Vladimir Ashkenazy | — | |
| 6-4 | Piano Concerto no. 2 in B-flat major, op. 19: I. Allegro con brio | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 6-5 | Piano Concerto no. 2 in B-flat major, op. 19: II. Adagio | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 6-6 | Piano Concerto no. 2 in B-flat major, op. 19: III. Rondo: Molto allegro | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 7-1 | Piano Concerto no. 3 in C minor, op. 37: I. Allegro con brio | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 7-2 | Piano Concerto no. 3 in C minor, op. 37: II. Largo | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 7-3 | Piano Concerto no. 3 in C minor, op. 37: III. Rondo (Allegro) | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | T-800.132.125-2 | |
| 7-4 | Piano Concerto no. 4 in G major, op. 58: I. Allegro moderato | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 7-5 | Piano Concerto no. 4 in G major, op. 58: II. Andante con moto | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 7-6 | Piano Concerto no. 4 in G major, op. 58: III. Rondo (Vivace) | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | T-911.517.582-1 | |
| 8-1 | Piano Concerto no. 5 in E-Flat major, op. 73 "Emperor": I. Allegro | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | T-070.160.313-5 | |
| 8-2 | Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": II. Adagio un poco mosso | — | ||
| 8-3 | Piano Concerto no. 5 in E-Flat major, op. 73 "Emperor": III. Rondo (Allegro) | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | T-800.132.125-2 | |
| 9-1 | Symphony no. 1 in C major, op. 21: I. Adagio molto - allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti | T-915.714.772-3 | |
| 9-2 | Symphony no. 1 in C major, op. 21: II. Andante cantabile con moto | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 9-3 | Symphony no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 9-4 | Symphony no. 1 in C major, op. 21: IV. Adagio - allegro molto e vivace | Chicago Symphony Orchestra, Sir Georg Solti | T-318.676.528-2 | |
| 9-5 | Symphony No. 2 in D major, Op. 36: I. Adagio molto - Allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti | T-915.714.772-3 | |
| 9-6 | Symphony No. 2 in D major, Op. 36: II. Larghetto | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 9-7 | Symphony No. 2 in D major, Op. 36: III. Scherzo. Allegro | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 9-8 | Symphony No. 2 in D major, Op. 36: IV. Allegro molto | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 10-1 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": I. Allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 10-2 | Symphony no. 3 in E-flat major, op. 55 "Eroica": II. Marcia funebre. Adagio assai | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 10-3 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": III. Scherzo. Allegro vivace | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 10-4 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": IV. Finale. Allegro molto | Chicago Symphony Orchestra, Sir Georg Solti | T-318.676.528-2 | |
| 10-5 | Egmont, Op. 84: Overture. Sostenuto, ma non troppo | Chicago Symphony Orchestra, Sir Georg Solti | T-917.141.511-5 | |
| 10-6 | Coriolan, Op. 62: Overture. Allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 11-1 | Symphony No. 4 in B-flat major, Op. 60: I. Adagio - Allegro vivace | Chicago Symphony Orchestra, Sir Georg Solti | T-001.444.317-4 | |
| 11-2 | Symphony no. 4 in B-flat major, op. 60: II. Adagio | Chicago Symphony Orchestra, Sir Georg Solti | T-001.397.158-8 | |
| 11-3 | Symphony No. 4 in B-flat major, Op. 60: III. Allegro vivace | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 11-4 | Symphony no. 4 in B-Flat major, op. 60: IV. Allegro ma non troppo | — | ||
| 11-5 | Symphony No. 5 in C minor, Op. 67: I. Allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti | T-902.876.200-7 | |
| 11-6 | Symphony No. 5 in C minor, Op. 67: II. Andante con moto | Chicago Symphony Orchestra, Sir Georg Solti | T-902.876.200-7 | |
| 11-7 | Symphony No. 5 in C minor, Op. 67: III. Scherzo. Allegro | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 11-8 | Symphony No. 5 in C minor, Op. 67: IV. Allegro | Chicago Symphony Orchestra, Sir Georg Solti | T-902.876.200-7 | |
| 12-1 | Symphony No. 6 in F major, Op. 68 "Pastorale": I. Allegro ma non troppo "Awakening of cheerful feelings upon arrival in the country" | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 12-2 | Symphony No. 6 in F major, Op. 68 "Pastorale": II. Andante molto mosso "Scene at the brook" | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 12-3 | Symphony No. 6 in F major, Op. 68 "Pastorale": III. Allegro "Happy gathering of country folk" | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 12-4 | Symphony No. 6 in F major, Op. 68 "Pastorale": IV. Allegro "Thunderstorm" | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 12-5 | Symphony no. 6 in F major, op. 68 "Pastorale": V. Allegretto "Shepherds' song: Cheerful and thankful feelings after the storm" | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 12-6 | Leonore Overture no. 3 in C major, op. 72c | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 13-1 | Symphony No. 7 in A major, Op. 92: I. Poco sostenuto – Vivace | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 13-2 | Symphony no. 7 in A major, op. 92: II. Allegretto | Chicago Symphony Orchestra, Sir Georg Solti | T-071.481.827-5 | |
| 13-3 | Symphony No. 7 in A major, Op. 92: III. Presto | Chicago Symphony Orchestra, Sir Georg Solti | T-931.717.518-1 | |
| 13-4 | Symphony No. 7 in A major, Op. 92: IV. Allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 13-5 | Symphony No. 8 in F major, Op. 93: I. Allegro vivace e con brio | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 13-6 | Symphony no. 8 in F major, op. 93: II. Allegretto scherzando | Chicago Symphony Orchestra, Sir Georg Solti | T-909.821.799-3 | |
| 13-7 | Symphony No. 8 in F major, Op. 93: III. Tempo di menuetto | Chicago Symphony Orchestra, Sir Georg Solti | T-909.821.799-3 | |
| 13-8 | Symphony No. 8 in F major, Op. 93: IV. Allegro vivace | Chicago Symphony Orchestra, Sir Georg Solti | T-909.821.799-3 | |
| 14-1 | Symphony No. 9 in D minor, Op. 125: I. Allegro ma non troppo, un poco maestoso | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 14-2 | Symphony No. 9 in D minor, Op. 125: II. Molto vivace | Chicago Symphony Orchestra, Sir Georg Solti | T-909.876.841-3 | |
| 14-3 | Symphony No. 9 in D minor, Op. 125: III. Adagio molto e cantabile | Chicago Symphony Orchestra, Sir Georg Solti | T-912.747.871-1 | |
| 14-4 | Symphony no. 9 in D minor, op. 125 "Choral": IV. Presto: Allegro assai | — | ||
| 15-1 | Sir Georg Solti in Conversation with William Mann: "How long had you been conducting Beethoven symphonies?" | — | ||
| 15-2 | Sir Georg Solti in Conversation with William Mann: "Which of the great Beethoven conductors of your youth..." | — | ||
| 15-3 | Sir Georg Solti in Conversation with William Mann: "Did you have to teach the Chicago Symphony..." | — | ||
| 15-4 | Sir Georg Solti in Conversation with William Mann: "Now the Eroica" | — | ||
| 15-5 | Sir Georg Solti in Conversation with William Mann: "I wanted to ask you a question..." | — | ||
| 15-6 | Sir Georg Solti in Conversation with William Mann: "The Seventh symphony...are there special problems..." | — | ||
| 15-7 | Sir Georg Solti in Conversation with William Mann: "Now the Eighth..." | — | ||
| 15-8 | Sir Georg Solti in Conversation with William Mann: "The Ninth is obviously..." | — | ||
| 16-1 | Symphonie fantastique, op. 14, H 48: I. Rêveries. Passions (Largo: Allegro agitato ed appassionato assai) | — | ||
| 16-2 | Symphonie fantastique, op. 14, H 48: II. Un bal (Valse: Allegro non troppo) | — | ||
| 16-3 | Symphonie fantastique, op. 14, H 48: III. Scène aux champs (Adagio) | — | ||
| 16-4 | Symphonie fantastique, op. 14, H 48: IV. Marche au supplice (Allegretto non troppo) | — | ||
| 16-5 | Symphonie fantastique, op. 14, H 48: V. Songe d'une nuit du Sabbat (Larghetto: Allegro - Ronde du Sabbat: Poco meno mosso) | — | ||
| 16-6 | Overture "Les francs-juges", op. 3 | — | ||
| 16-7 | Il barbiere di Siviglia: Overture (Sinfonia) | — | ||
| 16-8 | Orchestral Suite no. 3 in D major, BWV 1068: II. Air | — | ||
| 16-9 | The Stars and Stripes Forever | — | ||
| 16-10 | The Star-Spangled Banner | — | ||
| 16-11 | Bear Down Chicago Bears | — | ||
| 17-1 | Das Lied von der Erde: Das Trinklied vom Jammer der Erde | — | ||
| 17-2 | Das Lied von der Erde: Der Einsame im Herbst | — | ||
| 17-3 | Das Lied von der Erde: Von der Jugend | — | ||
| 17-4 | Das Lied von der Erde: Von der Schönheit | — | ||
| 17-5 | Das Lied von der Erde: Der Trunkene im Frühling | — | ||
| 17-6 | Das Lied von der Erde: Der Abschied | — | ||
| 18-1 | Variations on an Original Theme, op. 36 "Enigma": Theme (Andante) | — | ||
| 18-2 | Variations on an Original Theme, op. 36 "Enigma": Variation I. C.A.E. (L'istesso tempo) | — | ||
| 18-3 | Variations on an Original Theme, op. 36 "Enigma": Variation II. H.D.S-P. (Allegro) | — | ||
| 18-4 | Variations on an Original Theme, op. 36 "Enigma": Variation III. R.B.T. (Allegretto) | — | ||
| 18-5 | Variations on an Original Theme, op. 36 "Enigma": Variation IV. W.M.B. (Allegro di molto) | — | ||
| 18-6 | Variations on an Original Theme, op. 36 "Enigma": Variation V. R.P.A. (Moderato) | — | ||
| 18-7 | Variations on an Original Theme, op. 36 "Enigma": Variation VI. Ysobel (Andantino) | — | ||
| 18-8 | Variations on an Original Theme, op. 36 "Enigma": Variation VII. Troyte (Presto) | — | ||
| 18-9 | Variations on an Original Theme, op. 36 "Enigma": Variation VIII. W.N. (Allegretto) | — | ||
| 18-10 | Variations on an Original Theme, op. 36 "Enigma": Variation IX. Nimrod (Adagio) | — | ||
| 18-11 | Variations on an Original Theme, op. 36 "Enigma": Variation X. Intermezzo: Dorabella (Allegretto) | — | ||
| 18-12 | Variations on an Original Theme, op. 36 "Enigma": Variation XI. G.R.S. (Allegro di molto) | — | ||
| 18-13 | Variations on an Original Theme, op. 36 "Enigma": Variation XII. B.G.N. (Andante) | — | ||
| 18-14 | Variations on an Original Theme, op. 36 "Enigma": Variation XIII. Romanza *** (Moderato) | — | ||
| 18-15 | Variations on an Original Theme, op. 36 "Enigma": Variation XIV. Finale: E.D.U. (Allegro: Presto) | — | ||
| 18-16 | Overture Cockaigne, op. 40 | — | ||
| 19-1 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: I. Introduction | — | ||
| 19-2 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: II. Les augures printaniers: Danses des adolescentes | — | ||
| 19-3 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: III. Jeu du rapt | — | ||
| 19-4 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: IV. Rondes printanières | — | ||
| 19-5 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: V. Jeux des cités | — | ||
| 19-6 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: 6a. Cortège du sage | — | ||
| 19-7 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: 6b. Le sage | — | ||
| 19-8 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: VII. Danse de la terre | — | ||
| 19-9 | Le Sacre du Printemps, Pt 2: Le Sacrifice: I. Introduction | — | ||
| 19-10 | Le Sacre du Printemps, Pt 2: Le Sacrifice: II. Cercles mysteriéux des adolescentes | — | ||
| 19-11 | Le Sacre du Printemps, Pt 2: Le Sacrifice: III. Glorification d'élue | — | ||
| 19-12 | Le Sacre du Printemps, Pt 2: Le Sacrifice: IV. Évocation des ancêtres | — | ||
| 19-13 | Le Sacre du Printemps, Pt 2: Le Sacrifice: V. Action rituelle des ancêtres | — | ||
| 19-14 | Le Sacre du Printemps, Pt 2: Le Sacrifice: VI. Danse sacrale: l'élue | — | ||
| 20-1 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Theme: "Chorale St. Antoni" | — | ||
| 20-2 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation I: Poco più animato | — | ||
| 20-3 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation II: Più vivace | — | ||
| 20-4 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation III: Con moto | — | ||
| 20-5 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation IV: Andante con moto | — | ||
| 20-6 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation V: Vivace | — | ||
| 20-7 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation VI: Vivace | — | ||
| 20-8 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation VII: Grazioso | — | ||
| 20-9 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation VIII: Presto non troppo | — | ||
| 20-10 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Finale: Andante | — | ||
| 20-11 | Variations, op. 31: Introduktion. Mäßig, ruhig | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-12 | Variations, op. 31: Thema. Molto moderato | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-13 | Variations, op. 31: Variation I. Moderato | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-14 | Variations, op. 31: Variation II. Langsam | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-15 | Variations, op. 31: Variation III. Mäßig | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-16 | Variations, op. 31: Variation IV. Walzertempo | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-17 | Variations, op. 31: Variation V. Bewegt | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-18 | Variations, op. 31: Variation VI. Andante | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-19 | Variations, op. 31: Variation VII. Langsam | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-20 | Variations, op. 31: Variation VIII. Sehr rasch | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-21 | Variations, op. 31: Variation IX. L'istesso tempo; aber etwas langsamer | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-22 | Variations, op. 31: Finale. Mäßig schnell | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 21-1 | Also sprach Zarathustra, op. 30: Einleitung | Samuel Magad, Chicago Symphony Orchestra, Sir Georg Solti | T-070.160.313-5 | |
| 21-2 | Also sprach Zarathustra, op. 30: Von den Hinterweltlern | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-3 | Also sprach Zarathustra, op. 30: Von der großen Sehnsucht | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-4 | Also sprach Zarathustra, op. 30: Von den Freuden und Leidenschaften | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-5 | Also sprach Zarathustra, op. 30: Das Grablied | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-6 | Also sprach Zarathustra, op. 30: Von der Wissenschaft | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-7 | Also sprach Zarathustra, op. 30: Der Genesende | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-8 | Also sprach Zarathustra, op. 30: Das Tanzlied | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-9 | Also sprach Zarathustra, op. 30: Nachtwandlerlied | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-10 | Till Eulenspiegels lustige Streiche, Op. 28 | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 21-11 | Don Juan, op. 20, TrV 156 | — | ||
| 22-1 | Symphony no. 5 in E minor, op. 64, TH.29: I. Andante: Allegro con anima | — | ||
| 22-2 | Symphony no. 5 in E minor, op. 64, TH.29: II. Andante cantabile, con alcuna licenza: Moderato con anima | — | ||
| 22-3 | Symphony no. 5 in E minor, op. 64, TH.29: III. Valse (Allegro moderato) | — | ||
| 22-4 | Symphony no. 5 in E minor, op. 64, TH.29: IV. Finale (Andante maestoso: Allegro vivace) | — | ||
| 22-5 | Oberon, J. 306: Overture | — | ||
| 23-1 | Prélude à l'après-midi d'un faune, L. 86 | — | ||
| 23-2 | La mer, L. 109: I. De l'aube à midi sur la mer | — | ||
| 23-3 | La mer, L. 109: II. Jeux de vagues | — | ||
| 23-4 | La mer, L. 109: III. Dialogue du vent et de la mer | — | ||
| 23-5 | Boléro, M. 81: Original Version, M. 81 | — | ||
| 24-1 | Symphony no. 6 in B minor, op. 74, TH 30: "Pathétique": I. Adagio - Allegro non troppo | — | ||
| 24-2 | Symphony no. 6 in B minor, op. 74, TH 30: "Pathétique": II. Allegro con grazia | — | ||
| 24-3 | Symphony no. 6 in B minor, op. 74, TH 30: "Pathétique": III. Allegro molto vivace | — | ||
| 24-4 | Symphony no. 6 in B minor, op. 74, TH 30: "Pathétique": IV. Finale (Adagio lamentoso - Andante) | — | ||
| 25-1 | Der fliegende Holländer, WWV 63: Overture | — | ||
| 25-2 | Der fliegende Holländer, WWV 63, Act 1: Hojoje! Hallojo! Ho! ... Kein Zweifel! Sieben Meilen | — | ||
| 25-3 | Der fliegende Holländer, WWV 63, Act 1: "Mit Gewitter und Sturm aus fernem Meer" | — | ||
| 25-4 | Der fliegende Holländer, WWV 63, Act 1: Die Frist ist um...Wie oft in Meeres...Dich frage ich | — | ||
| 25-5 | Der fliegende Holländer, WWV 63, Act 1: III. Szene, Duett und Chor. "He! Holla! Steuermann" | — | ||
| 25-6 | Der fliegende Holländer, WWV 63, Act 1: "Durch Sturm und bösen Wind verschlagen" | — | ||
| 25-7 | Der fliegende Holländer, WWV 63, Act 1: Wie? Hört' ich recht?...Südwind! Südwind! | — | ||
| 25-8 | Der fliegende Holländer, WWV 63, Act 1: "Mit Gewitter und Sturm aus fernem Meer" | — | ||
| 25-9 | Der fliegende Holländer, WWV 63, Act 2: IV. Szene, Lied und Ballade. "Summ und brumm, du gutes Rädchen" | — | ||
| 25-10 | Der fliegende Holländer, WWV 63, Act 2: "Du böses Kind, wenn du nicht spinnst" | — | ||
| 25-11 | Der fliegende Holländer, WWV 63, Act 2: "Johohoe! Traft ihr das Schiff im Meere an" | — | ||
| 26-1 | Der fliegende Holländer, WWV 63, Act 2: "Ach, wo weilt sie" | — | ||
| 26-2 | Der fliegende Holländer, WWV 63, Act 2: "Senta! Willst du mich verderben?" | — | ||
| 26-3 | Der fliegende Holländer, WWV 63, Act 2: Bleib, Senta! ... Auf hohem Felsen | — | ||
| 26-4 | Der fliegende Holländer, WWV 63, Act 2: VI. Finale. "Mein Kind, du siehst mich auf der Schwelle" | — | ||
| 26-5 | Der fliegende Holländer, WWV 63, Act 2: "Mögst du, mein Kind, den fremden Mann willkommen heißen" | — | ||
| 26-6 | Der fliegende Holländer, WWV 63, Act 2: Wie aus der Ferne...Wirst du des Vaters...Ein heil'ger | — | ||
| 26-7 | Der fliegende Holländer, WWV 63, Act 2: "Verzeiht! Mein Volk hält draußen sich nicht mehr" | — | ||
| 26-8 | Der fliegende Holländer, WWV 63, Act 3: Entr'acte | — | ||
| 26-9 | Der fliegende Holländer, WWV 63, Act 3: VII. Szene und Chor. "Steuermann, laß die Wacht!" | — | ||
| 26-10 | Der fliegende Holländer, WWV 63, Act 3: "Johohoe! Johohoe! Hoe! Hoe!" | — | ||
| 26-11 | Der fliegende Holländer, WWV 63, Act 3: VIII. Finale. "Was mußt ich hören" | — | ||
| 26-12 | Der fliegende Holländer, WWV 63, Act 3: "Willst jenen Tag du nicht dich mehr entsinnen" (Kavatine) | — | ||
| 26-13 | Der fliegende Holländer, WWV 63, Act 3: Verloren! Ach, verloren! | — | ||
| 26-14 | Der fliegende Holländer, WWV 63, Act 3: "Erfahre das Geschick": "Du kennst mich nicht, du ahnst nicht wer ich bin!" | — | ||
| 26-15 | Der fliegende Holländer, WWV 63, Act 3: Du kennst mich nicht, du ahnest nicht | — | ||
| 27-1 | Mass in D major, op. 123: "Missa Solemnis": Kyrie | — | ||
| 27-2 | Mass in D major, op. 123: "Missa Solemnis": Gloria: Gloria in excelsis Deo | — | ||
| 27-3 | Mass in D major, op. 123: "Missa Solemnis": Gloria: Qui tollis peccata mundi | — | ||
| 27-4 | Mass in D major, op. 123: "Missa Solemnis": Gloria: Quoniam tu solus sanctus | — | ||
| 27-5 | Mass in D major, op. 123: "Missa Solemnis": Credo: Credo in unum Deum | — | ||
| 27-6 | Mass in D major, op. 123: "Missa Solemnis": Credo: Et incarnatus est | — | ||
| 27-7 | Mass in D major, op. 123: "Missa Solemnis": Credo: Et resurrexit | — | ||
| 27-8 | Mass in D major, op. 123: "Missa Solemnis": Sanctus | — | ||
| 27-9 | Mass in D major, op. 123: "Missa Solemnis": Sanctus: Benedictus | — | ||
| 27-10 | Mass in D major, op. 123: "Missa Solemnis": Agnus Dei: Agnus Dei | — | ||
| 27-11 | Mass in D major, op. 123: "Missa Solemnis": Agnus Dei: Dona nobis pacem | — | ||
| 28-1 | Der fliegende Holländer, WWV 63: Overture | — | ||
| 28-2 | Tannhäuser, WWV 70: Overture | — | ||
| 28-3 | Die Meistersinger von Nürnberg, WWV 96: Prelude | — | ||
| 28-4 | Tristan und Isolde, WWV 90: Prelude to Act I. Langsam und schmachtend | — | ||
| 28-5 | Tristan und Isolde, WWV 90, Concert version, Act 3: Liebestod | — | ||
| 29-1 | Symphony no. 3 in F major, op. 90: I. Allegro con brio: Un poco sostenuto - Tempo I | — | ||
| 29-2 | Symphony no. 3 in F major, op. 90: II. Andante | — | ||
| 29-3 | Symphony no. 3 in F major, op. 90: III. Poco allegretto | — | ||
| 29-4 | Symphony no. 3 in F major, op. 90: IV. Allegro | — | ||
| 29-5 | Academic Festival Overture, op. 80 | Chicago Symphony Orchestra, Sir Georg Solti | T-905.049.604-3 | |
| 30-1 | Symphony no. 4 in E minor, op. 98: I. Allegro non troppo | — | ||
| 30-2 | Symphony no. 4 in E minor, op. 98: II. Andante moderato | — | ||
| 30-3 | Symphony no. 4 in E minor, op. 98: III. Allegro giocoso: Poco meno presto - Tempo I | — | ||
| 30-4 | Symphony no. 4 in E minor, op. 98: IV. Allegro energico e passionato: Più allegro | — | ||
| 31-1 | Ein deutsches Requiem, op. 45: I. "Selig sind, die da Leid tragen" | — | ||
| 31-2 | Ein deutsches Requiem, op. 45: II. "Denn alles Fleisch, es ist wie Gras" | — | ||
| 31-3 | Ein deutsches Requiem, op. 45: III. "Herr, lehre doch mich" | — | ||
| 31-4 | Ein deutsches Requiem, op. 45: IV. "Wie lieblich sind deine Wohnungen, Herr Zebaoth!" | — | ||
| 31-5 | Ein deutsches Requiem, op. 45: V. "Ihr habt nun Traurigkeit" | — | ||
| 31-6 | Ein deutsches Requiem, op. 45: VI. "Denn wir haben hie keine bleibende Statt" | — | ||
| 31-7 | Ein deutsches Requiem, op. 45: VII. "Selig sind die Toten, die in dem Herrn sterben" | — | ||
| 32-1 | Quattro pezzi sacri: I. Ave Maria | Chicago Symphony Chorus, Sir Georg Solti | — | |
| 32-2 | Quattro pezzi sacri: II. Stabat mater | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 32-3 | Quattro pezzi sacri: III. Laudi alla vergine Maria | Chicago Symphony Chorus, Sir Georg Solti | — | |
| 32-4 | Quattro pezzi sacri: IV. Te Deum | Chicago Symphony Chorus, Jo-Ann Pickens, Chicago Symphony Orchestra, Sir Georg Solti | T-902.305.790-1 | |
| 33-1 | Fidelio, op. 72: Overture | — | ||
| 33-2 | Fidelio, op. 72, Act 1: "Jetzt, Schätzchen, jetzt sind wir allein" | — | ||
| 33-3 | Fidelio, op. 72, Act 1: "O wär ich schon mit dir vereint" | — | ||
| 33-4 | Fidelio, op. 72, Act 1: "Mir ist so wunderbar" | — | ||
| 33-5 | Fidelio, op. 72, Act 1: "Hat man nicht auch Gold beineben" | — | ||
| 33-6 | Fidelio, op. 72, Act 1: "Gut Söhnchen, gut" | — | ||
| 33-7 | Fidelio, op. 72, Act 1: Marsch | — | ||
| 33-8 | Fidelio, op. 72, Act 1: "Ha! Welch ein Augenblick!" | — | ||
| 33-9 | Fidelio, op. 72, Act 1: "Jetzt, Alter, jetzt hat es Eile!" | — | ||
| 33-10 | Fidelio, op. 72, Act 1: "Abscheulicher! Wo eilst du hin?" | — | ||
| 33-11 | Fidelio, op. 72, Act 1: Komm, Hoffnung, lass den letzten Stern | — | ||
| 34-1 | Fidelio, op. 72, Act 1: "O welche Lust, in freier Luft den Atem leicht zu heben! | — | ||
| 34-2 | Fidelio, op. 72, Act 1: "Nun sprecht, wie ging's?" | — | ||
| 34-3 | Fidelio, op. 72, Act 1: Ach! Vater, Vater, eilt! | — | ||
| 34-4 | Fidelio, op. 72, Act 1: "Leb wohl, du warmes Sonnenlicht" | — | ||
| 34-5 | Fidelio, op. 72, Act 2: Gott! Welch' Dunkel hier! | — | ||
| 34-6 | Fidelio, op. 72, Act 2: In des Lebens Frühlingstagen | — | ||
| 34-7 | Fidelio, op. 72, Act 2: "Wie kalt ist es in diesem unterirdischen Gewölbe": "Nur hurtig fort, nur frisch gegraben" | — | ||
| 34-8 | Fidelio, op. 72, Act 2: Nur hurtig fort, nur frisch gegraben | — | ||
| 34-9 | Fidelio, op. 72, Act 2: "Euch werde Lohn in bessern Welten" | — | ||
| 34-10 | Fidelio, op. 72, Act 2: "Er sterbe! Doch er soll erst wissen": "Vater Rocco! Der Herr Minister ist angekommen" - "Es schlägt der Rache Stunde" | — | ||
| 34-11 | Fidelio, op. 72, Act 2: "O namenlose Freude" | — | ||
| 34-12 | Fidelio, op. 72, Act 2: "Heil sei dem Tag" | — | ||
| 34-13 | Fidelio, op. 72, Act 2: "Des besten Königs Wink und Wille" | — | ||
| 34-14 | Fidelio, op. 72, Act 2: "Wer ein holdes Weib errungen" | — | ||
| 35-1 | Symphony no. 1 in C minor, op. 68: I. Un poco sostenuto: Allegro - Meno allegro | — | ||
| 35-2 | Symphony no. 1 in C minor, op. 68: II. Andante sostenuto | — | ||
| 35-3 | Symphony no. 1 in C minor, op. 68: III. Un poco allegretto e grazioso | — | ||
| 35-4 | Symphony no. 1 in C minor, op. 68: IV. Adagio: Piu andante - Allegro non troppo, ma con brio - Piu allegro | — | ||
| 36-1 | Symphony no. 2 in D major, op. 73: I. Allegro non troppo | — | ||
| 36-2 | Symphony no. 2 in D major, op. 73: II. Adagio non troppo: L'istesso tempo, ma grazioso | — | ||
| 36-3 | Symphony no. 2 in D major, op. 73: III. Allegretto grazioso (Quasi andantino): Presto ma non assai | — | ||
| 36-4 | Symphony no. 2 in D major, op. 73: IV. Allegro con spirito | — | ||
| 36-5 | Tragic Overture, op. 81 | — | ||
| 37-1 | Symphony no. 6 in A major, WAB 106: I. Maestoso | — | ||
| 37-2 | Symphony no. 6 in A major, WAB 106: II. Adagio. Sehr feierlich | — | ||
| 37-3 | Symphony no. 6 in A major, WAB 106: III. Scherzo. Nicht schnell: Trio. Langsam | — | ||
| 37-4 | Symphony no. 6 in A major, WAB 106: IV. Finale. Bewegt, doch nicht zu schnell | — | ||
| 38-1 | Symphony no. 5 in B-Flat major, WAB 105: I. Introduction (Adagio): Allegro (Mäßig) | — | ||
| 38-2 | Symphony no. 5 in B-Flat major, WAB 105: II. Adagio (Sehr langsam) | — | ||
| 38-3 | Symphony no. 5 in B-Flat major, WAB 105: III. Scherzo (Molto vivace, schnell): Trio. Im gleichenTempo | — | ||
| 38-4 | Symphony no. 5 in B-Flat major, WAB 105: IV. Finale (Adagio: Allegro moderato) | — | ||
| 39-1 | Symphony no. 2 in C minor "Resurrection": I. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck | — | ||
| 39-2 | Symphony no. 2 in C minor "Resurrection": II. Andante moderato. Sehr gemächlich | — | ||
| 39-3 | Symphony no. 2 in C minor "Resurrection": III. Scherzo: in ruhig fliessender Bewegung | — | ||
| 39-4 | Symphony no. 2 in C minor "Resurrection", 4: "Urlicht": IV. "O Röschen rot! Der Mensch liegt in grösster Not!" (Sehr feierlich aber schlicht)- "Urlicht" | — | ||
| 39-5 | Symphony no. 2 in C minor "Resurrection": V. Im Tempo des Scherzo: Langsam misterioso | — | ||
| 40-1 | Pictures at an Exhibition, (Orch. Ravel): I. Gnomus | — | ||
| 40-2 | Pictures at an Exhibition, (Orch. Ravel): II. The Old Castle | — | ||
| 40-3 | Pictures at an Exhibition, (Orch. Ravel): III. The Tuileries Gardens | — | ||
| 40-4 | Pictures at an Exhibition, (Orch. Ravel): IV. Bydlo | — | ||
| 40-5 | Pictures at an Exhibition, (Orch. Ravel): V. Ballet of the Chickens in Their Shells | — | ||
| 40-6 | Pictures at an Exhibition, (Orch. Ravel): VI. Samuel Goldenberg and Schmuyle | — | ||
| 40-7 | Pictures at an Exhibition, (Orch. Ravel): VII. The Market-place at Limoges | — | ||
| 40-8 | Pictures at an Exhibition, (Orch. Ravel): VIII. The Catacombs (Sepulchrum romanum) | — | ||
| 40-9 | Pictures at an Exhibition, (Orch. Ravel): X. The Hut on Fowl's Legs (Baba-Yaga) | — | ||
| 40-10 | Pictures at an Exhibition, (Orch. Ravel): 1I. The Great Gate of Kiev | — | ||
| 40-11 | Le Tombeau de Couperin, M. 68, Orchestral version: I. Prélude | — | ||
| 40-12 | Le Tombeau de Couperin, M. 68, Orchestral version: II. Forlane | — | ||
| 40-13 | Le Tombeau de Couperin, M. 68, Orchestral version: III. Menuet | — | ||
| 40-14 | Le Tombeau de Couperin, M. 68, Orchestral version: IV. Rigaudon | — | ||
| 41-1 | Final Alice: I. "The King & Queen of Hearts were seated on their throne" | — | ||
| 41-2 | Final Alice: II. "Consider Your Verdict" | — | ||
| 41-3 | Final Alice: III. "They told me you had been to her" | — | ||
| 41-4 | Final Alice: IV. "She's all my fancy painted him" | — | ||
| 41-5 | Final Alice: V. "She's all my fancy painted her" | — | ||
| 41-6 | Final Alice: VI. Fuga | — | ||
| 41-7 | Final Alice: VII. "She's all my fancy painted her" | — | ||
| 41-8 | Final Alice: VIII. "A boat 'neath a sunny sky" | — | ||
| 42-1 | Concerto For Orchestra, BB 123, Sz.116: I. Introduzione (Andante non troppo: Allegro vivace) | — | ||
| 42-2 | Concerto For Orchestra, BB 123, Sz.116: II. Giuoco della coppie (Allegretto scherzando) | — | ||
| 42-3 | Concerto For Orchestra, BB 123, Sz.116: III. Elegia (Andante, non troppo) | — | ||
| 42-4 | Concerto For Orchestra, BB 123, Sz.116: IV. Intermezzo interrotto (Allegretto) | — | ||
| 42-5 | Concerto For Orchestra, BB 123, Sz.116: V. Finale (Pesante: Presto) | — | ||
| 42-6 | Dance Suite, BB 86 (Sz. 77): I. Moderato | — | ||
| 42-7 | Dance Suite, BB 86 (Sz. 77): II. Allegro molto | — | ||
| 42-8 | Dance Suite, BB 86 (Sz. 77): III. Allegro vivace | — | ||
| 42-9 | Dance Suite, BB 86 (Sz. 77): IV. Molto tranquillo | — | ||
| 42-10 | Dance Suite, BB 86 (Sz. 77): V. Comodo | — | ||
| 42-11 | Dance Suite, BB 86 (Sz. 77): VI. Finale (Allegro) | — | ||
| 43-1 | La Damnation de Faust, op. 24, H 111, Pt. 1: Scène I. "Le vieil hiver a fait place au printemps" | — | ||
| 43-2 | La Damnation de Faust, op. 24, H 111, Pt. 1: Ronde des Paysans. "Les bergers quittent leurs troupeaux" | — | ||
| 43-3 | La Damnation de Faust, op. 24, H 111, Pt. 1: Scène II. "Mais d'un éclat guerrier" | — | ||
| 43-4 | La Damnation de Faust, op. 24, H 111, Pt. 1: Marche hongroise | — | ||
| 43-5 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène III. "Sans regrets j'ai quitté les riantes campagnes" | — | ||
| 43-6 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chant de la fête de Pâques. "Christ vient de ressusciter!" | — | ||
| 43-7 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène IV. "O pure émotion!" | — | ||
| 43-8 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène V. Choeur de buveurs. "A boire encor!" | — | ||
| 43-9 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeur de buveurs: Oh! qu'il fait bon | — | ||
| 43-10 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Brander. "Certain rat, dans une cuisine" | — | ||
| 43-11 | La Damnation de Faust, op. 24, H 111, Pt. 2: Fugue sur le thème de la chanson. "Amen" | — | ||
| 43-12 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Méphistophélès. "Une puce gentille" | — | ||
| 43-13 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VI. Air de Méphistophélès. "Voici des roses" | — | ||
| 43-14 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeur de gnomes et de sylphes "Dors! Dors! heureux | — | ||
| 43-15 | La Damnation de Faust, op. 24, H 111, Pt. 2: Ballet des Sylphes | — | ||
| 43-16 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeur de soldats: "Villes entourées de murs et de remparts" | — | ||
| 43-17 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson d'étudiants:"Jam nox stellata velamina pandit" | — | ||
| 43-18 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeurs de Soldats et Chanson d'Etudiants. "Villes entourées": "Jam nox stellata velamina pandit" | — | ||
| 44-1 | La Damnation de Faust, op. 24, H 111, Pt. 3: (Prélude: La retraite) | — | ||
| 44-2 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène VIII. Air de Faust. "Merci, doux crépuscule!" | — | ||
| 44-3 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène IX. "Je l'entends" | — | ||
| 44-4 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène X. "Que l'air est étouffant" | — | ||
| 44-5 | La Damnation de Faust, op. 24, H 111, Pt. 3: Le roi de Thulé (Chanson gothique). "Autrefois un roi de Thulé" | — | ||
| 44-6 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1I. Evocation. "Esprits des flammes inconstantes" | — | ||
| 44-7 | La Damnation de Faust, op. 24, H 111, Pt. 3: Menuet des Follets | — | ||
| 44-8 | La Damnation de Faust, op. 24, H 111, Pt. 3: Sérénade de Méphistophélès. "Devant la maison" | — | ||
| 44-9 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1III. "Grands dieux!" | — | ||
| 44-10 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1IV. "Allons, il est trop tard!": "Je connais donc enfin" | — | ||
| 44-11 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1V. Romance. "D'amour l'ardente flamme" | — | ||
| 44-12 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VI. Invocation à la Nature. "Nature immense" | — | ||
| 44-13 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VII. Récitatif et Chasse. "A la voûte azurée" | — | ||
| 44-14 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VIII. La course à l'abîme. "Dans mon choeur retentit sa voix" | — | ||
| 44-15 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1IX. Pandaemonium. "Has! Irimiru Karabrao!" | — | ||
| 44-16 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 20. Epilogue sur la terre. "Alors, l'enfer se tut" | — | ||
| 44-17 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 2I. Le Ciel. "Laus! Laus!": Apothéose de Marguerite. "Remonte au ciel, âme naïve" | — | ||
| 45-1 | Symphony no. 4 in E-Flat major: "Romantic", WAB 104: I. Bewegt, nicht zu schnell | — | ||
| 45-2 | Symphony no. 4 in E-Flat major: "Romantic", WAB 104: II. Andante quasi allegretto | — | ||
| 45-3 | Symphony no. 4 in E-Flat major: "Romantic", WAB 104: III. Scherzo (Bewegt) - Trio (Nicht zu schnell. Keinesfalls schleppend) | — | ||
| 45-4 | Symphony no. 4 in E-Flat major: "Romantic", WAB 104: IV. Finale (Bewegt, doch nicht zu schnell) | — | ||
| 46-1 | Die Schöpfung, Hob.XXI:2: Overture-The Representation of Chaos | — | ||
| 46-2 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Im Anfange schuf Gott Himmel und Erde | — | ||
| 46-3 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Nun schwanden vor dem heiligen Strahle | — | ||
| 46-4 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Und Gott machte das Firmament...Mit Staunen sieht das W | — | ||
| 46-5 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Und Gott sprach...Rollend in schäumenden Wellen | — | ||
| 46-6 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Und Gott sprach...Nun beut die Flur | — | ||
| 46-7 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Und die himmlischen Heerscharen...Stimmt an die Saiten | — | ||
| 46-8 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Und Gott sprach...In vollem Glanze | — | ||
| 46-9 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Die Himmel erzählen die Ehre Gottes | — | ||
| 47-1 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Und Gott sprach...Auf starkem Fittiche | — | ||
| 47-2 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Und Gott schuf grosse Walfische | — | ||
| 47-3 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Und die Engel rührten....In holder Anmut stehn | — | ||
| 47-4 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Und Gott sprach...Gleich öffnet sich der Erde Schoss | — | ||
| 47-5 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Nun scheint in vollem Glanze der Himmel | — | ||
| 47-6 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Und Gott schuf dem Menschen...Mit Wurd' und Hoheit ange | — | ||
| 47-7 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Und Gott sah jedes Ding...Vollendet ist das grosse Wer | — | ||
| 47-8 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 3: Aus Rosenwolken bricht | — | ||
| 47-9 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 3: Von deiner Güt', o Herr und Gott | — | ||
| 47-10 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 3: Nun ist die erste Pflicht erfüllt | — | ||
| 47-11 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 3: Holde Gattin ! | — | ||
| 47-12 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 3: O glücklich Paar...Singt dem Herren alle Stimmen | — | ||
| 48-1 | Symphony no. 3 in D minor, Pt. 1: I. Kräftig. Entscheiden | — | ||
| 48-2 | I. Kräftig. Entscheiden | — | ||
| 48-3 | Symphony no. 3 in D minor, Pt. 2: III. Comodo. Scherzando. Ohne Hast | — | ||
| 49-1 | Symphony no. 3 in D minor, Pt. 2: IV. Sehr langsam. Misterioso: "O Mensch! Gib acht!" 'O Mensch! Gib acht' | — | ||
| 49-2 | Symphony no. 3 in D minor, Pt. 2: V. Lustig im Tempo und keck im Ausdruck: "Bimm Bamm. Es sungen drei Engel" | — | ||
| 49-3 | Symphony no. 3 in D minor, Pt. 2: VI. Langsam. Ruhevoll. Empfunden | — | ||
| 50-1 | Symphony no. 9 in D major: 1a. Andante comodo | — | ||
| 50-2 | Symphony no. 9 in D major: II. Im Tempo eines gemächlichen Ländler. Etwas täppisch und sehr derb: Poco più mosso subito - Ländler, ganz langsam | — | ||
| 50-3 | Symphony no. 9 in D major: III. Rondo. Burleske (Allegro assai. Sehr trotzig: Presto) | — | ||
| 50-4 | Symphony no. 9 in D major: IV. Adagio (Sehr langsam) | — | ||
| 51-1 | Symphony no. 38 in D major, K. 504 "Prague": I. Adagio: Allegro | — | ||
| 51-2 | Symphony no. 38 in D major, K. 504 "Prague": II. Andante | — | ||
| 51-3 | Symphony no. 38 in D major, K. 504 "Prague": III. Finale (Presto) | — | ||
| 51-4 | Symphony no. 39 in E-Flat major, K. 543: I. Adagio: Allegro | — | ||
| 51-5 | Symphony no. 39 in E‐flat major, KV 543: II. Andante con moto | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 51-6 | Symphony no. 39 in E-Flat major, K. 543: III. Menuetto (Allegretto) | — | ||
| 51-7 | Symphony no. 39 in E-Flat major, K. 543: IV. Finale (Allegro) | — | ||
| 52-1 | Romeo and Juliet, op. 64: I. Introduction | — | ||
| 52-2 | Romeo and Juliet, op. 64, Act 1: II. Romeo | — | ||
| 52-3 | Romeo and Juliet, op. 64, Act 1: III. The street wakens | — | ||
| 52-4 | Romeo and Juliet, op. 64, Act 1: IV. Morning dance | — | ||
| 52-5 | Romeo and Juliet, op. 64, Act 1: X. The young Juliet | — | ||
| 52-6 | Romeo and Juliet, op. 64, Act 1: 1III. Dance of the Knights 13a. Juliet's Dance | — | ||
| 52-7 | Romeo and Juliet, op. 64, Act 1: 1IV. Juliet's variation | — | ||
| 52-8 | Romeo and Juliet, op. 64, Act 1: 19/2I. Balcony scene: Romeo's variation - Love Dance | — | ||
| 52-9 | Romeo and Juliet, op. 64, Act 2: 3III. The Duel 3IV. Death of Mercutio | — | ||
| 52-10 | Romeo and Juliet, op. 64, Act 2: 35/3VI. Romeo decides to avenge Mercutio: Finale | — | ||
| 52-11 | Romeo and Juliet, op. 64, Act 3: 3VII. Introduction | — | ||
| 52-12 | Romeo and Juliet, op. 64, Act 3: 3VIII. Romeo and Juliet | — | ||
| 52-13 | Romeo and Juliet, op. 64, Act 4: 5II. Juliet's death | — | ||
| 52-14 | Symphony no. 1 in D major, op. 25 "Classical Symphony": I. Allegro | — | ||
| 52-15 | Symphony no. 1 in D major, op. 25 "Classical Symphony": II. Larghetto | — | ||
| 52-16 | Symphony no. 1 in D major, op. 25 "Classical Symphony": III. Gavotta (Non troppo allegro) | — | ||
| 52-17 | Symphony no. 1 in D major, op. 25 "Classical Symphony": IV. Finale (Vivace) | — | ||
| 53-1 | Violin Concerto "To the Memory of an Angel": 1a. Andante - | — | ||
| 53-2 | Violin Concerto "To the Memory of an Angel": 1b. Allegretto | — | ||
| 53-3 | Violin Concerto "To the Memory of an Angel": 2a. Allegro - | — | ||
| 53-4 | Violin Concerto "To the Memory of an Angel": 2b. Adagio | — | ||
| 53-5 | Violin Concerto no. 1, BB 48a (op. posth), Sz36: I. Andante sostenuto | — | ||
| 53-6 | Violin Concerto no. 1, BB 48a (op. posth), Sz36: II. Allegro giocoso | — | ||
| 54-1 | Symphony no. 9 in E minor, op. 95, B. 178, "From the New World": I. Adagio: Allegro molto | — | ||
| 54-2 | Symphony no. 9 in E minor, op. 95, B. 178, "From the New World": II. Largo | — | ||
| 54-3 | Symphony no. 9 in E minor, op. 95, B. 178, "From the New World": III. Scherzo (Molto vivace) | — | ||
| 54-4 | Symphony no. 9 in E minor, op. 95, B. 178, "From the New World": IV. Allegro con fuoco | — | ||
| 55-1 | Symphony no. 1 in D major: I. Langsam. Schleppend | — | ||
| 55-2 | Symphony no. 1 in D major: II. Kräftig bewegt | — | ||
| 55-3 | Symphony no. 1 in D major: III. Feierlich und gemessen, ohne zu schleppen | — | ||
| 55-4 | Symphony no. 1 in D major: IV. Stürmisch bewegt | — | ||
| 56-1 | Symphony no. 4 in G major: I. Bedächtig. Nicht eilen: Recht gemächlich | — | ||
| 56-2 | Symphony no. 4 in G major: II. in gemächlicher Bewegung. Ohne Hast | — | ||
| 56-3 | Symphony no. 4 in G major: III. Ruhevoll (Poco adagio) | — | ||
| 56-4 | Symphony no. 4 in G major: IV. Sehr behaglich: "Wir genießen die himmlischen Freuden" | — | ||
| 57-1 | Messiah, HWV 56, John Tobin edition, Pt. 1: Symphony | — | ||
| 57-2 | Messiah, HWV 56, John Tobin edition, Pt. 1: "Comfort ye, My people" | — | ||
| 57-3 | Messiah, HWV 56, John Tobin edition, Pt. 1: "Ev'ry Valley shall be exalted" | — | ||
| 57-4 | Messiah, HWV 56, John Tobin edition, Pt. 1: III. Chorus: And the glory of the Lord | — | ||
| 57-5 | Messiah, HWV 56, John Tobin edition, Pt. 1: "Thus Saith the Lord" | — | ||
| 57-6 | Messiah, HWV 56, John Tobin edition, Pt. 1: "But who may abide the day of His coming" | — | ||
| 57-7 | Messiah, HWV 56, John Tobin edition, Pt. 1: VI. Chorus: And He shall purify the sons of Levi | — | ||
| 57-8 | Messiah, HWV 56, John Tobin edition, Pt. 1: "Behold, a virgin shall conceive" | — | ||
| 57-9 | Messiah, HWV 56, John Tobin edition, Pt. 1: "O thou that tellest good tidings to Zion" | — | ||
| 57-10 | Messiah, HWV 56, John Tobin edition, Pt. 1: "For behold, darkness shall cover the earth" | — | ||
| 57-11 | Messiah, HWV 56, John Tobin edition, Pt. 1: "The people that walked in darkness" | — | ||
| 57-12 | Messiah, HWV 56, John Tobin edition, Pt. 1: 1II. Chorus: "For unto us a Child is born" | — | ||
| 57-13 | Messiah, HWV 56, John Tobin edition, Pt. 1: 1III. Pifa (Pastoral Symphony) | — | ||
| 57-14 | Messiah, HWV 56, John Tobin edition, Pt. 1: "And there were shepherds abiding in the fields" | — | ||
| 57-15 | Messiah, HWV 56, John Tobin edition, Pt. 1: "And lo, the angel of the Lord" | — | ||
| 57-16 | Messiah, HWV 56, John Tobin edition, Pt. 1: "And the angel said unto them" | — | ||
| 57-17 | Messiah, HWV 56, John Tobin edition, Pt. 1: "And suddenly there was with the angel" | — | ||
| 57-18 | Messiah, HWV 56, John Tobin edition, Pt. 1: "Glory to God in the highest" | — | ||
| 57-19 | Messiah, HWV 56, John Tobin edition, Pt. 1: 1VI. Air: Rejoice greatly, o daughter of Zion | — | ||
| 57-20 | Messiah, HWV 56, John Tobin edition, Pt. 1: "Then shall the eyes of the blind be opened" | — | ||
| 57-21 | Messiah, HWV 56, John Tobin edition, Pt. 1: "He shall feed his flock" | — | ||
| 57-22 | Messiah, HWV 56, John Tobin edition, Pt. 1: 1IX. Chorus: His yoke is easy | — | ||
| 58-1 | Messiah, HWV 56, John Tobin edition, Pt. 2: 20. Chorus: Behold the Lamb of God | — | ||
| 58-2 | Messiah, HWV 56, John Tobin edition, Pt. 2: "He was despised" | — | ||
| 58-3 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Surely He hath borne our griefs" | — | ||
| 58-4 | Messiah, HWV 56, John Tobin edition, Pt. 2: "And with his stripes we are healed" | — | ||
| 58-5 | Messiah, HWV 56, John Tobin edition, Pt. 2: "All we like sheep have gone astray" | — | ||
| 58-6 | Messiah, HWV 56, John Tobin edition, Pt. 2: "All they that see Him laugh Him to scorn" | — | ||
| 58-7 | Messiah, HWV 56, John Tobin edition, Pt. 2: "He trusted in God" | — | ||
| 58-8 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Thy rebuke has broken His heart" | — | ||
| 58-9 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Behold and see if there be any sorrow" | — | ||
| 58-10 | Messiah, HWV 56, John Tobin edition, Pt. 2: "He was cut off out of the land" | — | ||
| 58-11 | Messiah, HWV 56, John Tobin edition, Pt. 2: "But Thou didst not leave His soul in hell" | — | ||
| 58-12 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Lift up your heads, o ye gates" | — | ||
| 58-13 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Unto which of the angels said he at any time" | — | ||
| 58-14 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Let all the angels of God worship Him" | — | ||
| 58-15 | Messiah, HWV 56, John Tobin edition, Pt. 2: 34a. Air: "Thou art gone up on high" | — | ||
| 58-16 | Messiah, HWV 56, John Tobin edition, Pt. 2: 3V. Chorus: The Lord gave the word | — | ||
| 58-17 | Messiah, HWV 56, John Tobin edition, Pt. 2: "How beautiful are the feet" | — | ||
| 58-18 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Their sound is gone out" | — | ||
| 58-19 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Why do the nations so furiously rage together?" | — | ||
| 58-20 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Let us break their bonds asunder" | — | ||
| 58-21 | Messiah, HWV 56, John Tobin edition, Pt. 2: "He that dwelleth in heaven" | — | ||
| 58-22 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Thou shalt break them" | — | ||
| 58-23 | Messiah, HWV 56, John Tobin edition, Pt. 2: 4II. Chorus: "Hallelujah" | — | ||
| 58-24 | Messiah: “I know that my Redeemer liveth” | Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 58-25 | Messiah, HWV 56, John Tobin edition, Pt. 3: 4IV. Chorus: Since by man came death | — | ||
| 58-26 | Messiah, HWV 56, John Tobin edition, Pt. 3: "Behold, I tell you a mystery" | — | ||
| 58-27 | Messiah, HWV 56, John Tobin edition, Pt. 3: "The trumpet shall sound" | — | ||
| 58-28 | Messiah, HWV 56, John Tobin edition, Pt. 3: "Then shall be brought to pass" | — | ||
| 58-29 | Messiah, HWV 56, John Tobin edition, Pt. 3: "O death, where is thy sting?" | — | ||
| 58-30 | Messiah, HWV 56, John Tobin edition, Pt. 3: "But thanks be to God" | — | ||
| 58-31 | Messiah, HWV 56, John Tobin edition, Pt. 3: 50. Air: If God be for us | — | ||
| 58-32 | Messiah, HWV 56, John Tobin edition, Pt. 3: "Worthy is the lamb that was slain" | — | ||
| 58-33 | Messiah, HWV 56, John Tobin Edition, Pt. 3: "Amen" | — | ||
| 59-1 | Moses und Aron, Act 1: "Einziger, ewiger, allgegenwärtiger" | — | ||
| 59-2 | Moses und Aron, Act 1: "Du Sohn meiner Väter" | — | ||
| 59-3 | Moses und Aron, Act 1: "Ich hab'ihn gesehn...Ein lieblicher Gott!" | — | ||
| 59-4 | Moses und Aron, Act 1: Moses? Der den Fronvogt erschlug? | — | ||
| 59-5 | Moses und Aron, Act 1: Ein lieblicher Gott! | — | ||
| 59-6 | Moses und Aron, Act 1: "Bringt ihr Erhörung...In der Wüste wird euch die Reinheit!" | — | ||
| 59-7 | Moses und Aron, Act 1: "Der Einzige, Ewige, Allmächtige" | — | ||
| 59-8 | Moses und Aron, Act 1: "Der Gerechte sieht ihn" | — | ||
| 59-9 | Moses und Aron, Act 1: "Dieser Stab führt euch" | — | ||
| 59-10 | Moses und Aron, Act 1: "Ein Wunder erfüllt uns mit Schrecken" | — | ||
| 59-11 | Moses und Aron, Act 1: "Dein Stab zwingt uns" | — | ||
| 59-12 | Moses und Aron, Act 1: "Alles für die Freiheit!" | — | ||
| 59-13 | Moses und Aron, Act 1: "In der Wüste wird euch die Reinheit" | — | ||
| 60-1 | Moses und Aron, Act 1: Zwischenspiel | — | ||
| 60-2 | Moses und Aron, Act 2: "Vierzig Tage!" | — | ||
| 60-3 | Moses und Aron, Act 2: "Wo ist Moses?...Volk Israels!" | — | ||
| 60-4 | Moses und Aron, Act 2: "Volk Israels!" | — | ||
| 60-5 | Moses und Aron, Act 2: "Dieses Bild bezeugt" | — | ||
| 60-6 | Moses und Aron, Act 2: -Vorbereitungen zum Fest- | — | ||
| 60-7 | Moses und Aron, Act 2: -Tanz der Schlächter- | — | ||
| 60-8 | Moses und Aron, Act 2: "O Götterbild" | — | ||
| 60-9 | Moses und Aron, Act 2: "Hier, o Götter, nehmt die letzten Lumpen" | — | ||
| 60-10 | Moses und Aron, Act 2: "Frei unter eigenen Herren" | — | ||
| 60-11 | Moses und Aron, Act 2: "Du goldener Gott" | — | ||
| 60-12 | Moses und Aron, Act 2: -Verwüstung und Selbstmord- | — | ||
| 60-13 | Moses und Aron, Act 2: "Götter, die ihr Seele schenket" | — | ||
| 60-14 | Moses und Aron, Act 2: "Moses steigt vom Berg herab!" | — | ||
| 60-15 | Moses und Aron, Act 2: "Aron, was hast du getan?...Unvorstellbarer Gott!" | — | ||
| 60-16 | Moses und Aron, Act 2: "Unvorstellbarer Gott!" | — | ||
| 61-1 | Symphony no. 4 in F minor, op. 36, TH.27: I. Andante sostenuto: Moderato con anima - Moderato assai, quasi Andante - Allegro vivo | — | ||
| 61-2 | Symphony no. 4 in F minor, op. 36, TH.27: II. Andantino in modo di canzone | — | ||
| 61-3 | Symphony no. 4 in F minor, op. 36, TH.27: III. Scherzo. Pizzicato ostinato: Allegro | — | ||
| 61-4 | Symphony no. 4 in F minor, op. 36, TH.27: IV. Finale (Allegro con fuoco) | — | ||
| 62-1 | Symphony no. 9 in D minor, WAB 109: I. Feierlich. Misterioso | — | ||
| 62-2 | Symphony no. 9 in D minor, WAB 109: II. Scherzo (Bewegt lebhaft): Trio (Schnell) - Scherzo da capo | — | ||
| 62-3 | Symphony no. 9 in D minor, WAB 109: III. Adagio (Langsam, feierlich) | — | ||
| 63-1 | Piano Concerto no. 1 in B-Flat minor, op. 23, TH 55: I. Allegro non troppo e molto maestoso: Allegro con spirito | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-2 | Piano Concerto no. 1 in B-Flat minor, op. 23, TH 55: II. Andantino semplice: Prestissimo - Tempo I | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-3 | Piano Concerto no. 1 in B-Flat minor, op. 23, TH 55: III. Allegro con fuoco | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-4 | Variations on a Nursery Song, op. 25: Introduzione (Maestoso) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-5 | Variations on a Nursery Song, op. 25: Tema (Allegro) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-6 | Variations on a Nursery Song, op. 25: Var.1: Poco più mosso | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-7 | Variations on a Nursery Song, op. 25: Var.2: Risoluto | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-8 | Variations on a Nursery Song, op. 25: Var.3 | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-9 | Variations on a Nursery Song, op. 25: Var.4: Molto meno mosso (Allegretto moderato) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-10 | Variations on a Nursery Song, op. 25: Var.5: Più mosso | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-11 | Variations on a Nursery Song, op. 25: Var.6: Ancora più mosso (Allegro) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-12 | Variations on a Nursery Song, op. 25: Var.7: Walzer (Tempo giusto) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-13 | Variations on a Nursery Song, op. 25: Var.8: Alla marcia (Allegro moderato) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-14 | Variations on a Nursery Song, op. 25: Var.9: Presto: Andante rubato | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-15 | Variations on a Nursery Song, op. 25: Var.10: Passacaglia (Adagio non troppo) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-16 | Variations on a Nursery Song, op. 25: Var.11: Choral (Maestoso) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-17 | Variations on a Nursery Song, op. 25: Finale Fugato (Allegro vivace: Tempo del tema -Molto allegro) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 64-1 | Symphony no. 3 in A minor, op. 56, MWV N 18, "Scottish": 1a. Introduction | — | ||
| 64-2 | Symphony no. 3 in A minor, op. 56, MWV N 18, "Scottish": 1b. Allegro un poco agitato | — | ||
| 64-3 | Symphony no. 3 in A minor, op. 56, MWV N 18, "Scottish": II. Vivace non troppo | — | ||
| 64-4 | Symphony no. 3 in A minor, op. 56, MWV N 18, "Scottish": III. Adagio | — | ||
| 64-5 | Symphony no. 3 in A minor, op. 56, MWV N 18, "Scottish": 4a. Allegro vivacissimo | — | ||
| 64-6 | Symphony no. 3 in A minor, op. 56, MWV N 18, "Scottish": 4b. Finale: Allegro maestoso assai | — | ||
| 64-7 | Symphony no. 4 in A major, op. 90, MWV N 16, "Italian": I. Allegro vivace | — | ||
| 64-8 | Symphony no. 4 in A major, op. 90, MWV N 16, "Italian": II. Andante con moto | — | ||
| 64-9 | Symphony no. 4 in A major, op. 90, MWV N 16, "Italian": III. Con moto moderato | — | ||
| 64-10 | Symphony no. 4 in A major, op. 90, MWV N 16, "Italian": IV. Saltarello (Presto) | — | ||
| 65-1 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | — | ||
| 65-2 | Symphony no. 5 in C minor, op. 67: II. Andante con moto | — | ||
| 65-3 | Symphony no. 5 in C minor, op. 67: III. Allegro | — | ||
| 65-4 | Symphony no. 5 in C minor, op. 67: IV. Allegro | — | ||
| 65-5 | Symphony no. 4 in B-Flat major, op. 60: I. Adagio: Allegro vivace | — | ||
| 65-6 | Symphony no. 4 in B-Flat major, op. 60: II. Adagio | — | ||
| 65-7 | Symphony no. 4 in B-Flat major, op. 60: III. Allegro vivace | — | ||
| 65-8 | Symphony no. 4 in B-Flat major, op. 60: IV. Allegro ma non troppo | — | ||
| 66-1 | Symphony no. 9 in D minor, op. 125 "Choral": I. Allegro ma non troppo, un poco maestoso | — | ||
| 66-2 | Symphony no. 9 in D minor, op. 125 "Choral": II. Molto vivace | — | ||
| 66-3 | Symphony no. 9 in D minor, op. 125 "Choral": III. Adagio molto e cantabile | — | ||
| 66-4 | Symphony no. 9 in D minor, op. 125 "Choral": IV. Presto: Allegro assai | — | ||
| 67-1 | Symphony no. 7 in E major, WAB 107: I. Allegro moderato | — | ||
| 67-2 | Symphony no. 7 in E major, WAB 107: II. Adagio (Sehr feierlich und sehr langsam) | — | ||
| 67-3 | Symphony no. 7 in E major, WAB 107: III. Scherzo (Sehr schnell) | — | ||
| 67-4 | Symphony no. 7 in E major, WAB 107: IV. Finale (Bewegt, doch nicht schnell) | — | ||
| 68-1 | A Faust Symphony, S. 108: I. Faust | — | ||
| 68-2 | A Faust Symphony, S. 108: II. Gretchen | — | ||
| 68-3 | A Faust Symphony, S. 108: III. Mephistopheles And Final Chorus | — | ||
| 69-1 | 1812 Festival Overture in E-flat major, Op. 49 | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 69-2 | Romeo and Juliet - Fantasy Overture | Chicago Symphony Orchestra, Sir Georg Solti | T-003.506.743-6 | |
| 69-3 | The Nutcracker - Suite: Miniature Overture | Chicago Symphony Orchestra, Sir Georg Solti | T-312.199.363-9 | |
| 69-4 | The Nutcracker - Suite: March | Chicago Symphony Orchestra, Sir Georg Solti | T-304.210.691-8 | |
| 69-5 | The Nutcracker - Suite: Dance of the Sugar-Plum Fairy | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 69-6 | The Nutcracker - Suite: Russian Dance (Trepak) | Chicago Symphony Orchestra, Sir Georg Solti | T-312.199.363-9 | |
| 69-7 | The Nutcracker - Suite: Arabian Dance (Coffee) | Chicago Symphony Orchestra, Sir Georg Solti | T-312.199.363-9 | |
| 69-8 | The Nutcracker - Suite: Chinese Dance (Tea) | Chicago Symphony Orchestra, Sir Georg Solti | T-312.199.363-9 | |
| 69-9 | The Nutcracker - Suite: Dance of the Reed-Pipes | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 69-10 | The Nutcracker - Suite: Waltz of the Flowers | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-1 | 1. KOMMT, IHR TÖCHTER, HELFT MIR KLAGEN | Chicago Symphony Chorus, Glen Ellyn Children’s Chorus, Chicago Symphony Orchestra, Sir Georg Solti | T-010.437.719-6 | |
| 70-2 | St. Matthew Passion, BWV 244: Da Jesus diese Rede vollendet hatte / Herzliebster Jesu, was hast du verbrochen | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-3 | St. Matthew Passion, BWV 244: Da versammleten sich dei Hohenpriester / Ja nicht auf das Fest | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-4 | St. Matthew Passion, BWV 244: Da nun Jesus war zu Bethanien / Wozu dienet dieser Unrat | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-5 | St. Matthew Passion, BWV 244: Da das Jesus merkete | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-6 | Matthäus Passion, BWV244: Du leiber Heiland du | Anne Sofie von Otter | — | |
| 70-7 | St. Matthew Passion, BWV 244: Buß und Reu / Da ging hin der Zwölfen einer | Hans Peter Blochwitz, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-8 | St. Matthew Passion, BWV 244: Blute nur, du liebes Herz | Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-9 | St. Matthew Passion, BWV 244: Aber am ersten Tage der süßen Brot' / Wo willst du, daß wir dir bereiten - Er sprach: Gehet hin in die Stadt - Und sie wurden s | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-10 | St. Matthew Passion, BWV 244: Er antwortete und sprach | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-11 | St. Matthew Passion, BWV 244: Wiewohl mein Herz in Tränen schwimmt | Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-12 | St. Matthew Passion, BWV 244: Ich will dir mein Herze schenken, | Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-13 | St. Matthew Passion, BWV 244: Und da sie den Lobgesang gesprochen hatten - Erkenne mich, mein Hüter | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-14 | St. Matthew Passion, BWV 244: Petrus aber antwortete / Ich will hier bei dir stehen | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-15 | St. Matthew Passion, BWV 244: Da kam Jesus mit ihnen zu einem Hofe | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-16 | St. Matthew Passion, BWV 244: O Schmerz! hier zittert das gequälte Herz | Chicago Symphony Chorus, Anthony Rolfe Johnson, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-17 | St. Matthew Passion, BWV 244: Ich will bei meinem Jesu wachen / Und ging hin ein wenig | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Anthony Rolfe Johnson, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-18 | "J.S. BACH: ST. MATTHEW PASSION, BWV 244 - PART ONE - NO.22 RECITATIVE (BASS): ""DER HEILAND FÄLLT VOR SEINEM VATER NIEDER""" | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | T-802.372.990-1 | |
| 70-19 | "J.S. BACH: ST. MATTHEW PASSION, BWV 244 - PART ONE - NO.23 ARIA (BASS): ""GERNE WILL ICH MICH BEQUEMEN""" | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | T-802.372.990-1 | |
| 70-20 | St. Matthew Passion, BWV 244: Und er kam zu seinen Jüngern / Was mein Gott will, das g'scheh allzeit | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-1 | St. Matthew Passion, BWV 244: Und er kam und fand sie aber schlafend | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-2 | St. Matthew Passion, BWV 244: So ist mein Jesus nun gefangen / Sind Blitze, sind Donner | Chicago Symphony Chorus, Anne Sofie von Otter, Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-3 | St. Matthew Passion, BWV 244: Und siehe, einer aus denen | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-4 | """O MENSCH, BEWEIN DEIN SÜNDE GROß""" | Chicago Symphony Chorus, Glen Ellyn Children’s Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-5 | Matthäus Passion, BWV244: Ach, nun ist mein Jesus hin! | Anne Sofie von Otter | — | |
| 71-6 | St. Matthew Passion, BWV 244: Die aber Jesum gegriffen hatten / Mir hat die Welt trüglich gericht' | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-7 | St. Matthew Passion, BWV 244: Und wiewohl viel falsche Zeugen herzutraten | Hans Peter Blochwitz, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-8 | St. Matthew Passion, BWV 244: Mein Jesus schweigt zu falschen Lügen stille | Anthony Rolfe Johnson, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-9 | St. Matthew Passion, BWV 244: Geduld, Geduld! / Und der Hohepriester antwortete - Er ist des Todes schuldig! - Da speieten sie aus in sein Angesicht - Weissas Christe, Wer hat dish so geschlagen | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Anthony Rolfe Johnson, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-10 | St. Matthew Passion, BWV 244: Petrus aber saß draußen im Palast | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-11 | St. Matthew Passion, BWV 244: Warhlich, du bist auch einer von denen / Da hub er an, sich zu verfluchen | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-12 | St. Matthew Passion, BWV 244: Erbarme dich, mein Gott | Anne Sofie von Otter, Chicago Symphony Orchestra, Sir Georg Solti | T-312.438.860-5 | |
| 71-13 | """BIN ICH GLEICH VON DIR GEWICHEN""" | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | T-900.078.780-4 | |
| 71-14 | St. Matthew Passion, BWV 244: Des Morgens aber hielten alle Hohenpriester - Was gehet uns das an - Und er warf die Silberlinge in den Tempel | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-15 | St. Matthew Passion, BWV 244: Gebt mir meinen Jesum wieder! | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-16 | St. Matthew Passion, BWV 244: Sie hielten aber einen Rat | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-17 | """ST. MATTHEW PASSION, BWV 244 - PART TWO: NO.44 CHORAL: """"BEFIEL DU DEINE WEGE""""" | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | T-205.082.497-7 | |
| 72-1 | St. Matthew Passion, BWV 244: Auf das Fest aber hatte der Landpfleger Gewohnheit - Laß ihn kreuzigen! - Wie wunderbarlich ist doch diese Strafe! | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-2 | St. Matthew Passion, BWV 244: Der Landpfleger sagte / Er hat uns allen wohlgetan | Hans Peter Blochwitz, Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-3 | St. Matthew Passion, BWV 244: Aus Liebe will mein Heiland sterben | Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-4 | St. Matthew Passion, BWV 244: Sie schrieen aber noch mehr / Laß ihn kreuzigen! - Da aber Pilatus sahe - Sein Blut komme über uns - Da gab er ihnen Barrabam l | Hans Peter Blochwitz, Tom Krause, Chicago Symphony Chorus, Glen Ellyn Children’s Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-5 | Matthäus Passion, BWV244: Erbarm es Gott! | Anne Sofie von Otter | — | |
| 72-6 | Matthäus Passion, BWV244: Können Tränen meiner Wangen | Anne Sofie von Otter | — | |
| 72-7 | St. Matthew Passion, BWV 244: Da nahmen die Kriegsknechte / Gegrüßet seist du, Judenkonig! - Und speieten ihn an - O Haupt voll Blut und Wunden - Und da sie verspottet hatten | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-8 | St. Matthew Passion, BWV 244: Ja freilich will in uns das Fleisch und Blut | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-9 | "J.S. BACH: ST. MATTHEW PASSION, BWV 244 - PART TWO - NO.57 ARIA (BASS): ""KOMM, SÜSSES KREUZ""" | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | T-802.372.990-1 | |
| 72-10 | St. Matthew Passion, BWV 244: Und da sie an die Stätte kamen / Der du den Tempel Gottes zerbrichst - Desgleichen auch die Hohenpriester - Andern hat er gehol, Desgleichen schmaheten ihn auch die Morder | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-11 | Matthäus Passion, BWV244: Ach Golgotha, unsel’ges Golgotha! | Anne Sofie von Otter | — | |
| 72-12 | Matthäus Passion, BWV244: Sehet, Jesus hat die Hand | Anne Sofie von Otter | — | |
| 72-13 | St. Matthew Passion, BWV 244: Und von der sechsten Stunde an / Der rufet den Elias - Und bald lief einer unter ihnen - Halt! laß sehen - Aber Jesus schriee arnal | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-14 | """WENN ICH EINMAL SOLL SCHEIDEN""" | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | T-301.182.705-3 | |
| 72-15 | St. Matthew Passion, BWV 244: Und siehe da, der Vorhang im Tempel zerriss - Wahrlich, dieser ist Gottes Sohn gewesen - Und es waren viel Weiber da | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-16 | St. Matthew Passion, BWV 244: Am Abend, da es kühle war | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-17 | "J.S. BACH: ST. MATTHEW PASSION, BWV 244 - PART TWO - NO.65 ARIA (BASS): ""MACHE DICH, MEIN HERZE, REIN""" | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | T-802.372.990-1 | |
| 72-18 | St. Matthew Passion, BWV 244: Und Joseph nahm den Leib / Herr, wir haben gedacht - Pilatussprach zu ihnen | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-19 | St. Matthew Passion, BWV 244: Nun ist der Herr zur Ruh gebracht | Chicago Symphony Chorus, Tom Krause, Anne Sofie von Otter, Anthony Rolfe Johnson, Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-20 | St. Matthew Passion, BWV 244: Wir setzen uns mit Tränen nieder | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 73-1 | Symphony no. 6 in F major, op. 68 "Pastoral": I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Allegro ma non troppo) | — | ||
| 73-2 | Symphony no. 6 in F major, op. 68 "Pastoral": II. Szene am Bach (Andante molto mosso) | — | ||
| 73-3 | Symphony no. 6 in F major, op. 68 "Pastoral": III. Lustiges Zusammensein der Landleute (Allegro) | — | ||
| 73-4 | Symphony no. 6 in F major, op. 68 "Pastoral": IV. Gewitter, Sturm (Allegro) | — | ||
| 73-5 | Symphony no. 6 in F major, op. 68 "Pastoral": III. Lustiges Zusammensein der Landleute (Allegro): IV. Gewitter. Sturm (Allegro) - V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Allegretto) | — | ||
| 73-6 | Overture "Leonore no. 3", op. 72b | — | ||
| 74-1 | Symphony no. 7 in A major, op. 92: I. Poco sostenuto: Vivace | — | ||
| 74-2 | Symphony no. 7 in A major, op. 92: II. Allegretto | — | ||
| 74-3 | Symphony no. 7 in A major, op. 92: III. Presto: Assai meno presto | — | ||
| 74-4 | Symphony no. 7 in A major, op. 92: IV. Allegro con brio | — | ||
| 74-5 | Symphony no. 8 in F major, op. 93: I. Allegro vivace e con brio | — | ||
| 74-6 | Symphony no. 8 in F major, op. 93: II. Allegretto scherzando | — | ||
| 74-7 | Symphony no. 8 in F major, op. 93: III. Tempo di menuetto | — | ||
| 74-8 | Symphony no. 8 in F major, op. 93: IV. Allegro vivace | — | ||
| 75-1 | Symphony no. 5 in E minor, op. 64, TH.29: I. Andante: Allegro con anima | — | ||
| 75-2 | Symphony no. 5 in E minor, op. 64, TH.29: II. Andante cantabile, con alcuna licenza: Moderato con anima | — | ||
| 75-3 | Symphony no. 5 in E minor, op. 64, TH.29: III. Valse (Allegro moderato) | — | ||
| 75-4 | Symphony no. 5 in E minor, op. 64, TH.29: IV. Finale (Andante maestoso: Allegro vivace) | — | ||
| 75-5 | Swan Lake (Suite), op. 20a, TH 219: I. Scene: Swan Theme | — | ||
| 75-6 | Swan Lake (Suite), op. 20a, TH 219: II. Valse in A | — | ||
| 75-7 | Swan Lake (Suite), op. 20a, TH 219: III. Danse des petits cygnes | — | ||
| 75-8 | Swan Lake (Suite), op. 20a, TH 219: IV. Scene | — | ||
| 75-9 | Swan Lake (Suite), op. 20a, TH 219: 5a. Danse Hongroise | — | ||
| 75-10 | Swan Lake (Suite), op. 20a, TH 219: 5b. Danse Espagnole | — | ||
| 75-11 | Swan Lake (Suite), op. 20a, TH 219: 5c. Danse Napolitaire | — | ||
| 76-1 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): I. Andante tranquillo | — | ||
| 76-2 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): II. Allegro | — | ||
| 76-3 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): III. Adagio | — | ||
| 76-4 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): IV. Allegro molto | — | ||
| 76-5 | Divertimento for Strings, BB 118 (Sz.113): I. Allegro non troppo | — | ||
| 76-6 | Divertimento for Strings, BB 118 (Sz.113): II. Molto adagio | — | ||
| 76-7 | Divertimento for Strings, BB 118 (Sz.113): III. Allegro assai | — | ||
| 76-8 | The Miraculous Mandarin, BB 82, op. 19 (Sz.73): Suite | — | ||
| 77-1 | Symphony no. 1 in C major, op. 21: I. Adagio molto: Allegro con brio | — | ||
| 77-2 | Symphony no. 1 in C major, op. 21: II. Andante cantabile con moto | — | ||
| 77-3 | Symphony no. 1 in C major, op. 21: III. Menuetto (Allegro molto e vivace) | — | ||
| 77-4 | Symphony no. 1 in C major, op. 21: IV. Finale (Adagio: Allegro molto e vivace) | — | ||
| 77-5 | Symphony no. 2 in D major, op. 36: I. Adagio molto: Allegro con brio | — | ||
| 77-6 | Symphony no. 2 in D major, op. 36: II. Larghetto | — | ||
| 77-7 | Symphony no. 2 in D major, op. 36: III. Scherzo (Allegro) | — | ||
| 77-8 | Symphony no. 2 in D major, op. 36: IV. Allegro molto | — | ||
| 78-1 | Symphony no. 3 in E-Flat major, op. 55 "Eroica": I. Allegro con brio | — | ||
| 78-2 | Symphony no. 3 in E-Flat major, op. 55 "Eroica": II. Marcia funèbre (Adagio assai) | — | ||
| 78-3 | Symphony no. 3 in E-Flat major, op. 55 "Eroica": III. Scherzo (Allegro vivace) | — | ||
| 78-4 | Symphony no. 3 in E-Flat major, op. 55 "Eroica": IV. Finale (Allegro molto) | — | ||
| 78-5 | Egmont Overture op. 84 | — | ||
| 79-1 | Symphony no. 8 in C minor, op. 65: I. Adagio | — | ||
| 79-2 | Symphony no. 8 in C minor, op. 65: II. Allegretto | — | ||
| 79-3 | Symphony no. 8 in C minor, op. 65: III. Allegro non troppo | — | ||
| 79-4 | Symphony no. 8 in C minor, op. 65: IV. Largo | — | ||
| 79-5 | Symphony no. 8 in C minor, op. 65: V. Allegretto | — | ||
| 80-1 | Nabucco, Act 1: "Gli arredi festivi" | — | ||
| 80-2 | Nabucco, Act 3: "Va, pensiero, sull'ali dorate" | — | ||
| 80-3 | I Lombardi alla prima crociata, Act 3: Processione: "Gerusalem" | — | ||
| 80-4 | I Lombardi alla prima crociata, Act 4: Coro: "O signore, dal tetto natio" | — | ||
| 80-5 | Macbeth, Act 3: Coro d'Introduzione: Incantesimo: "Tre volte miagola la gatta in fregola" | — | ||
| 80-6 | Macbeth, Act 4: Coro di Profughi Scozzesi: "Patria oppressa" | — | ||
| 80-7 | I Masnadieri, Act 3: Coro: "Le rube, gli stupri" | — | ||
| 80-8 | Rigoletto, Act 1: "Zitti, zitti" | — | ||
| 80-9 | Il Trovatore, Act 2: "Vedi! le fosche notturne spoglie" (Anvil Chorus) | — | ||
| 80-10 | Il Trovatore, Act 3: "Squilli, echeggi la tromba" | — | ||
| 80-11 | La traviata, Act 2: "Noi siamo zingarelle: Di Madride noi siam mattadori" | — | ||
| 80-12 | Un ballo in maschera, Act 1: "Posa in pace" | — | ||
| 80-13 | Don Carlo, Act 3: "Spuntato ecco il di d'esultanza" | — | ||
| 80-14 | Aida, Act 2: "Gloria all'Egitto" | — | ||
| 80-15 | Otello, Act 1: "Fuoco di gioia!" | — | ||
| 80-16 | Messa da Requiem: IV. Sanctus | — | ||
| 81-1 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Kyrie: I. Kyrie Eleison I | — | ||
| 81-2 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Kyrie: II. Christe eleison | — | ||
| 81-3 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Kyrie: III. Kyrie eleison II | — | ||
| 81-4 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: IV. Gloria in excelsis Deo | — | ||
| 81-5 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: V. Et in terra pax | — | ||
| 81-6 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: VI. Laudamus te | — | ||
| 81-7 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: VII. Gratias agimus tibi | — | ||
| 81-8 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: VIII. Domine Deus | — | ||
| 81-9 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: IX. Qui tollis peccata mundi | — | ||
| 81-10 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: X. Qui sedes ad dexteram Patris | — | ||
| 81-11 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: 1I. Quoniam tu solus sanctus | — | ||
| 81-12 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: 1II. Cum Sancto Spiritu | — | ||
| 82-1 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1III. Credo in unum Deum | — | ||
| 82-2 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1IV. Patrem omnipotentem | — | ||
| 82-3 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1V. Et in unum Dominum | — | ||
| 82-4 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1VI. Et incarnatus est | — | ||
| 82-5 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1VII. Crucifixus | — | ||
| 82-6 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1VIII. Et resurrexit | — | ||
| 82-7 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1IX. Et in Spiritum Sanctum | — | ||
| 82-8 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 20. Confiteor unum baptisma | — | ||
| 82-9 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 2I. Et expecto resurrectionem | — | ||
| 82-10 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Sanctus: 2II. Sanctus | — | ||
| 82-11 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Sanctus: 2III. Osanna in excelsis | — | ||
| 82-12 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Sanctus: 2IV. Benedictus | — | ||
| 82-13 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Sanctus: 2V. Osanna in excelsis | — | ||
| 82-14 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Agnus Dei: 2VI. Agnus Dei | — | ||
| 82-15 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Agnus Dei: 2VII. Dona nobis pacem | — | ||
| 83-1 | Symphony no. 8 in C minor, WAB 108, Ed. Leopold Nowak (1904-1991): I. Allegro moderato | — | ||
| 83-2 | Symphony no. 8 in C minor, WAB 108, Ed. Leopold Nowak (1904-1991): II. Scherzo: Allegro moderato: Trio: Langsam | — | ||
| 83-3 | Symphony no. 8 in C minor, WAB 108, Ed. Leopold Nowak (1904-1991): III. Adagio: Feierlich langsam | — | ||
| 83-4 | Symphony no. 8 in C minor, WAB 108, Ed. Leopold Nowak (1904-1991): IV. Finale: Feierlich, nicht schnell | — | ||
| 84-1 | Symphony no. 5 in C-Sharp minor, Pt. 1: I. Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt: Plötzlich schneller. Leidenschaftlich. Wild - Tempo I) | — | ||
| 84-2 | Symphony no. 5 in C-Sharp minor, Pt. 1: II. Stürmisch bewegt (Mit größter Vehemenz: Bedeutend langsamer - Tempo I subito) | — | ||
| 84-3 | Symphony no. 5 in C-Sharp minor, Pt. 2: III. Scherzo (Kräftig, nicht zu schnell) | — | ||
| 84-4 | Symphony no. 5 in C-Sharp minor, Pt. 3: IV. Adagietto (Sehr langsam) | — | ||
| 84-5 | Symphony no. 5 in C-Sharp minor, Pt. 3: V. Rondo-Finale (Allegro) | — | ||
| 85-1 | Symphony no. 10 in E minor, op. 93: I. Moderato | — | ||
| 85-2 | Symphony no. 10 in E minor, op. 93: II. Allegro | — | ||
| 85-3 | Symphony no. 10 in E minor, op. 93: III. Allegretto | — | ||
| 85-4 | Symphony no. 10 in E minor, op. 93: IV. Andante: Allegro | — | ||
| 86-1 | Symphony no. 2 in C minor, WAB 102, Ed. Leopold Nowak: I. Moderato | — | ||
| 86-2 | Symphony no. 2 in C minor, WAB 102, Ed. Leopold Nowak: II. Andante: Feierlich, etwas bewegt | — | ||
| 86-3 | Symphony no. 2 in C minor, WAB 102, Ed. Leopold Nowak: III. Scherzo: Mässig schnell | — | ||
| 86-4 | Symphony no. 2 in C minor, WAB 102, Ed. Leopold Nowak: IV. Finale: Mehr schnell | — | ||
| 87-1 | Nocturnes : I. Nuages | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 87-2 | Nocturnes : II. Fêtes | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 87-3 | Nocturnes : III. Sirènes | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 87-4 | La Mer : I. De l'aube à midi sur la mer | Chicago Symphony Orchestra, Sir Georg Solti | T-070.160.313-5 | |
| 87-5 | La Mer : II. Jeux de vagues | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 87-6 | La Mer : III. Dialogue du vent et de la mer | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 87-7 | Prélude à l'après-midi d'un faune | Donald Peck, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 88-1 | Otello, Act 1: Una vela! Una vela! | — | ||
| 88-2 | Otello, Act 1: Esultate! | — | ||
| 88-3 | Otello, Act 1: Roderigo, ebben che pensi? | — | ||
| 88-4 | Otello, Act 1: Fuoco di gioia! | — | ||
| 88-5 | Otello, Act 1: Roderigo, beviam! | — | ||
| 88-6 | Otello, Act 1: Inaffia l'ugola! Trinca, tracanna (Brindisi) | — | ||
| 88-7 | Otello, Act 1: Capitano, v'attende la fazione ai baluardi | — | ||
| 88-8 | Otello, Act 1: Abbasso le spade! | — | ||
| 88-9 | Otello, Act 1: Già nella notte densa...Venga la morte | — | ||
| 88-10 | Otello, Act 2: Non ti crucciar | — | ||
| 88-11 | Otello, Act 2: Vanne! la tua meta già vedo | — | ||
| 88-12 | Otello, Act 2: Credo in un Dio crudel | — | ||
| 88-13 | Otello, Act 2: Ciò m'accora | — | ||
| 88-14 | Otello, Act 2: Dove guardi splendono | — | ||
| 88-15 | Otello, Act 2: D'un uom che geme sotto il tuo disdegno | — | ||
| 88-16 | Otello, Act 2: Se inconscia, contro te, sposo, ho peccato | — | ||
| 88-17 | Otello, Act 2: Desdemona rea! | — | ||
| 88-18 | Otello, Act 2: Tu?! Indietro! fuggi! | — | ||
| 88-19 | Otello, Act 2: Ora e per sempre addio | — | ||
| 88-20 | Otello, Act 2: Pace, signor | — | ||
| 88-21 | Otello, Act 2: Era la notte, Cassio dormia | — | ||
| 88-22 | Otello, Act 2: Oh! mostruosa colpa!...Ah! mille vite | — | ||
| 88-23 | Otello, Act 2: Si, pel ciel marmoreo giuro! | — | ||
| 89-1 | Otello, Act 3: La vedetta del porto | — | ||
| 89-2 | Otello, Act 3: Continua | — | ||
| 89-3 | Otello, Act 3: Dio ti giocondi, o sposo | — | ||
| 89-4 | Otello, Act 3: Esterrefatta fisso | — | ||
| 89-5 | Otello, Act 3: Dio! mi potevi scagliar | — | ||
| 89-6 | Otello, Act 3: Cassio è là! | — | ||
| 89-7 | Otello, Act 3: Vieni; l'aula è deserta | — | ||
| 89-8 | Otello, Act 3: ...e intanto, giacchè non si stanca mai | — | ||
| 89-9 | Otello, Act 3: Quest'è il segnale | — | ||
| 89-10 | Otello, Act 3: Il Doge ed il Senato salutano | — | ||
| 89-11 | Otello, Act 3: Messeri! Il Doge | — | ||
| 89-12 | Otello, Act 3: A terra!...si...nel livido fango | — | ||
| 89-13 | Otello, Act 3: Quell' innocente un fremito | — | ||
| 89-14 | Otello, Act 3: Fuggite! | — | ||
| 89-15 | Otello, Act 4: Era più calmo? | — | ||
| 89-16 | Otello, Act 4: Mia madre aveva una povera ancella | — | ||
| 89-17 | Otello, Act 4: "Piangea cantando nell'erma landa..." | — | ||
| 89-18 | Otello, Act 4: Ave Maria, piena di grazia | — | ||
| 89-19 | Otello, Act 4: Chi e là? | — | ||
| 89-20 | Otello, Act 4: Diceste questa sera le vostre preci? | — | ||
| 89-21 | Otello, Act 4: Aprite! Aprite! | — | ||
| 89-22 | Otello, Act 4: Niun mi tema | — | ||
| 90-1 | Symphonie fantastique, op. 14, H 48: I. Rêveries. Passions (Largo: Allegro agitato ed appassionato assai) | — | ||
| 90-2 | Symphonie fantastique, op. 14, H 48: II. Un bal (Valse: Allegro non troppo) | — | ||
| 90-3 | Symphonie fantastique, op. 14, H 48: III. Scène aux champs (Adagio) | — | ||
| 90-4 | Symphonie fantastique, op. 14, H 48: IV. Marche au supplice (Allegretto non troppo) | — | ||
| 90-5 | Symphonie fantastique, op. 14, H 48: V. Songe d'une nuit du Sabbat (Larghetto: Allegro - Ronde du Sabbat: Poco meno mosso) | — | ||
| 90-6 | Les Préludes, S. 97: "Symphonic Poem no. 3" | — | ||
| 91-1 | Symphony no. 3 in D minor, WAB 103, Edition Leopold Nowak: I. Gemäßigt, mehr bewegt, misterioso | — | ||
| 91-2 | Symphony no. 3 in D minor, WAB 103, Edition Leopold Nowak: II. Andante: Bewegt, feierlich, quasi Adagio | — | ||
| 91-3 | Symphony no. 3 in D minor, WAB 103, Edition Leopold Nowak: III. Scherzo: Ziemlich schnell | — | ||
| 91-4 | Symphony no. 3 in D minor, WAB 103, Edition Leopold Nowak: IV. Finale: Allegro | — | ||
| 92-1 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: no. 1 Einleitung/Rez.: "Seht wie der strenge Winter..." | — | ||
| 92-2 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: no. 2 Chor: "Komm, holder Lenz!" | — | ||
| 92-3 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: Nos.3&4 "Vom Widder strahlet jetzt"-"Schon eilet froh" | — | ||
| 92-4 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: Nos.5&6 "Der Landmann"-"Sei nun gnädig, milder Himmel" | — | ||
| 92-5 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: no. 7 Rez.: "Erhört ist unser Flehn" | — | ||
| 92-6 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: no. 8 "O wie lieblich ist der Anblick" | — | ||
| 92-7 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: no. 9 "Ewiger, mächtiger, gütiger Gott" | — | ||
| 92-8 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 10 Einleitung/Rez.: "In grauen Schleier" | — | ||
| 92-9 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 11 Arie/Rez.: "Der munt're Hirt" | — | ||
| 92-10 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 12 Rez: "Die Morgentöte" - Terzett und Chor | — | ||
| 92-11 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 13&14 Rez.: "Nun regt und bewegt" - Rez.: "Die Mittagsonne" | — | ||
| 92-12 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 15 Kavatine: "Dem Druck erlieget" | — | ||
| 92-13 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 16 Rez.: "Willkommen jetzt" | — | ||
| 92-14 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 17 Arie: "Welche Labung" | — | ||
| 92-15 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 18 Rez.: "O seht!" | — | ||
| 92-16 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 19 Chor: "Ach, das Ungewitter" | — | ||
| 92-17 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 20 Terzett und chor: "Die düstren Wolken" | — | ||
| 93-1 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 19 Einleitung/Rez.: "Was durch..." - Rez.: "Den reichen Vorrat" | — | ||
| 93-2 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 20 Terzett mit Chor: "So lohnet die Natur" | — | ||
| 93-3 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 21 Rez.: "Seht, wie zum Haselbusche" | — | ||
| 93-4 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 22 Duett: "Ihr schönen aus der Stadt" | — | ||
| 93-5 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 23 Rez: "Nun zeiget" - No.24 Aria "Seht auf" | — | ||
| 93-6 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 25 Rez.: "Hier treibt..." - No.26 Chor: "Hört, hört" | — | ||
| 93-7 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 27 Rez.: "Am Rebenstocke" | — | ||
| 93-8 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 28 Chor: "Juchhe! Juchhe!" | — | ||
| 93-9 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 29a Einleitung | — | ||
| 93-10 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 29b Rez.: "Nun senket sich" | — | ||
| 93-11 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 30 Kavatine: "Licht und Leben sind geschwächet" | — | ||
| 93-12 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 31 Rez: "Gefesselt steht" No.32 "Hier steht" | — | ||
| 93-13 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 33 Rez.: "So wie er naht" | — | ||
| 93-14 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 34 Lied mit Chor: "Knurre, schnurre, knurre" | — | ||
| 93-15 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 35 "Abgesponnen ist" - No.36 "Ein Mädchen, das auf" | — | ||
| 93-16 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 37 "Vom dürren Osten" No.38 "Erblicke hier"...Recit "Sie bleibt allein und leitet uns " | — | ||
| 93-17 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 39 Terzett und Doppelchor: "Dann bricht der grosse Morgen an" | — | ||
| 94-1 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown: Die Vorstellung des Chaos | — | ||
| 94-2 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Im Anfange schuf Gott Himmel und Erde | — | ||
| 94-3 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Nun schwanden vor dem heiligen Strahle | — | ||
| 94-4 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Und Gott machte das Firmament...Mit Staunen sieht das W | — | ||
| 94-5 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Mit Staunen sieht das Wunderwerk | — | ||
| 94-6 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Und Gott sprach: "Es sammle sich das Wasser" | — | ||
| 94-7 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Rollend in schäumenden Wellen | — | ||
| 94-8 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Und Gott sprach: "Es bringe die Erde Gras hervor" | — | ||
| 94-9 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Nun beut die Flur das frische Grün | — | ||
| 94-10 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Und die himmlischen Heerscharen verkündigten | — | ||
| 94-11 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Stimmt an die Saiten, ergreift die Leier! | — | ||
| 94-12 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Und Gott sprach: "Es sei'n Lichter..." | — | ||
| 94-13 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: In vollem Glanze steiget jetzt die Sonne | — | ||
| 94-14 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Die Himmel erzählen die Ehre Gottes | — | ||
| 95-1 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Und Gott sprach: "Es bringe das Wasser in der Fülle her | — | ||
| 95-2 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Auf starken Fittiche | — | ||
| 95-3 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Und Gott schuf grosse Walfische | — | ||
| 95-4 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Und die Engel rührten ihr' unsterblichen Harfen | — | ||
| 95-5 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: In holder Anmut stehn: Der Herr ist groß...macht" | — | ||
| 95-6 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Und Gott sprach: "Es bringe die Erde hervor" | — | ||
| 95-7 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Gleich öffnet sich der Erde Schoß | — | ||
| 95-8 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Nun scheint in vollem Glanze der Himmel | — | ||
| 95-9 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Und Gott schuf den Menschen | — | ||
| 95-10 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Mit Würd und Hoheit angetan | — | ||
| 95-11 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Und Gott sah jedes Ding | — | ||
| 95-12 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Vollendet ist das große Werk | — | ||
| 95-13 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 3: Aus Rosenwolken bricht | — | ||
| 95-14 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 3: Von deiner Güt', o Herr und Gott | — | ||
| 95-15 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 3: Nun ist die erste Pflicht erfüllt | — | ||
| 95-16 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 3: Holde Gattin ! | — | ||
| 95-17 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 3: O glücklich Paar | — | ||
| 95-18 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 3: Singt dem Herren, alle Stimmen | — | ||
| 96-1 | Scenes from Lenau's "Faust", S. 110: II. The Dance in the Village Inn (1st Mephisto Waltz) | — | ||
| 96-3 | Hungarian Sketches, Sz. 97: I. An Evening in the Village | — | ||
| 96-4 | Hungarian Sketches, Sz. 97: II. Bear Melody | — | ||
| 96-5 | Hungarian Sketches, Sz. 97: III. Melody | — | ||
| 96-6 | Hungarian Sketches, Sz. 97: IV. Slightly Tipsy | — | ||
| 96-7 | Hungarian Sketches, Sz. 97: V. Swineherd's Dance | — | ||
| 96-8 | Prinz Csongor und die Kobolde (Introduction & Scherzo), op. 10 | — | ||
| 96-9 | Roumanian Folk Dances, BB 76 (Sz. 68): I. Stick Dance (from Mezöszabad) | — | ||
| 96-10 | Roumanian Folk Dances, BB 76 (Sz. 68): II. Sash Dance (from Egres) | — | ||
| 96-11 | Roumanian Folk Dances, BB 76 (Sz. 68): III. in One Spot (from Egres) | — | ||
| 96-12 | Roumanian Folk Dances, BB 76 (Sz. 68): IV. Horn Dance (from Bisztra) | — | ||
| 96-13 | Roumanian Folk Dances, BB 76 (Sz. 68): V. Roumanian Polka (from Belényes) | — | ||
| 96-14 | Roumanian Folk Dances, BB 76 (Sz. 68): VI. Fast Dance (from Belényes) | — | ||
| 96-15 | Roumanian Folk Dances, BB 76 (Sz. 68): VII. Fast Dance (from Nyágra) | — | ||
| 96-16 | Háry János Suite: I. Prelude. The Fairy Tale begins | — | ||
| 96-17 | Háry János Suite: II. Viennese musical clock | — | ||
| 96-18 | Háry János Suite: III. Song | — | ||
| 96-19 | Háry János Suite: IV. The Battle and Defeat of Napoleon | — | ||
| 96-20 | Háry János Suite: V. Intermezzo | — | ||
| 96-21 | Háry János Suite: VI. Entrance of the Emperor and his Court | — | ||
| 97-1 | Petrouchka, Version 1911: Tableau I: The Shrovetide Fair | — | ||
| 97-2 | Petrouchka, Version 1911: Tableau II: Petrushka's Room | — | ||
| 97-3 | Petrouchka, Version 1911: Tableau III: The Blackamoor & The Ballerina | — | ||
| 97-5 | Jeu de cartes: Première donne | — | ||
| 97-6 | Jeu de cartes: Deuxième donne | — | ||
| 97-7 | Jeu de cartes: Troisième donne | — | ||
| 98-1 | Symphony no. 0 in D minor, WAB 100, 1869 version, ed. Leopold Nowak: I. Allegro | — | ||
| 98-2 | Symphony no. 0 in D minor, WAB 100, 1869 version, ed. Leopold Nowak: II. Andante | — | ||
| 98-3 | Symphony no. 0 in D minor, WAB 100, 1869 version, ed. Leopold Nowak: III. Scherzo: Presto | — | ||
| 98-4 | Symphony no. 0 in D minor, WAB 100, 1869 version, ed. Leopold Nowak: IV. Finale: Moderato | — | ||
| 99-1 | Symphony no. 1 in C minor, WAB 101, "Linz Version" 1866: I. Allegro molto moderato | — | ||
| 99-2 | Symphony no. 1 in C minor, WAB 101, "Linz Version" 1866: II. Adagio | — | ||
| 99-3 | Symphony no. 1 in C minor, WAB 101, "Linz Version" 1866: III. Scherzo. Lebhaft | — | ||
| 99-4 | Symphony no. 1 in C minor, WAB 101, "Linz Version" 1866: IV. Finale. Bewegt und feurig | — | ||
| 100-1 | Babi Yar | — | ||
| 100-2 | Symphony no. 13, op. 113"Babi Yar": I. Adagio: "Babi Yar" | — | ||
| 100-3 | Humour | — | ||
| 100-4 | Symphony no. 13, op. 113"Babi Yar": II. Allegretto: "Humour" | — | ||
| 100-5 | In The Store | — | ||
| 100-6 | Fears | — | ||
| 100-7 | A Career | — | ||
| 100-8 | Symphony no. 13, op. 113"Babi Yar": III. Adagio: "In the Store" | — | ||
| 100-9 | Symphony no. 13, op. 113"Babi Yar": IV. Largo: "Fears" | — | ||
| 100-10 | Symphony no. 13, op. 113"Babi Yar": V. Allegretto: "A Career" | — | ||
| 101-1 | Die Meistersinger von Nürnberg, WWV 96: Prelude | — | ||
| 101-2 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Da zu dir der Heiland kam" | — | ||
| 101-3 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Verweilt!: Ein Wort" | — | ||
| 101-4 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Da wär der Ritter ja am rechten Ort | — | ||
| 101-5 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "David! Was stehst?" | — | ||
| 101-6 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Mein Herr! Der Singer Meisterschlag" | — | ||
| 101-7 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Der Meister Tön und Weisen" | — | ||
| 101-8 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Aller End' ist doch David der Allergescheit'st | — | ||
| 101-9 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Seid meiner Treue wohl versehen" | — | ||
| 101-10 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Gott grüss' euch, Meister! | — | ||
| 101-11 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Beliebt's, wir schreiten zum Merkerwahl | — | ||
| 101-12 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Das heisst ein Wort, ein Wort ein Mann! | — | ||
| 101-13 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Verzeiht, vielleicht schon ginget ihr zu weit" | — | ||
| 101-14 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Wohl Meister! Zur Tagesordnung kehrt | — | ||
| 101-15 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Am stillen Herd" | — | ||
| 101-16 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Nun, Meister! Wenn's gefällt" | — | ||
| 101-17 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Was Euch zum Liede Richt und Schnur" | — | ||
| 102-1 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Fanget an!- So rief der Lenz in den Wald | — | ||
| 102-2 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Seid ihr nun fertig? | — | ||
| 102-3 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Halt Meister! Nicht so geeilt!" | — | ||
| 102-4 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Doch wird's wohl jetzt mir kund | — | ||
| 102-5 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Johannistag! Johannistag!" | — | ||
| 102-6 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Was giebt's? Treff' dich wieder am Schlag? | — | ||
| 102-7 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Nicht doch, 's ist mild und labend | — | ||
| 102-8 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Was duftet doch der Flieder" | — | ||
| 102-9 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Gut'n Abend, Meister!" | — | ||
| 102-10 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Könnt's ein Witwer nicht gelingen? | — | ||
| 102-11 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Das dacht ich wohl" | — | ||
| 102-12 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Da ist er!" | — | ||
| 102-13 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Hört, ihr Leut, und laßt euch sagen | — | ||
| 102-14 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Jerum! Jerum!" | — | ||
| 102-15 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Mich schmerzt das Lied, ich weiß nicht wie | — | ||
| 102-16 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Was das eu'r Lied? | — | ||
| 102-17 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Den Tag seh' ich erscheinen" | — | ||
| 102-18 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Zum Teufel mit dir, verdammter Kerl! | — | ||
| 103-1 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Prelude | — | ||
| 103-2 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Gleich, Meister! Hier!" | — | ||
| 103-3 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Blumen und Bänder seh ich dort? | — | ||
| 103-4 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Wahn! Wahn! Überall Wahn!" | — | ||
| 103-5 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Grüß Gott, mein Junker" | — | ||
| 103-6 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Mein Freund, in holder Jugendzeit | — | ||
| 103-7 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Morgenlich leuchtend" | — | ||
| 103-8 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Das nenn' ich mir ein Abgesang! | — | ||
| 103-9 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Ein Werbelied! Von Sachs!" | — | ||
| 103-10 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Sie da, Herr Schreiber: auch am Morgen | — | ||
| 103-11 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Das Gedicht? Hier ließ ich's" | — | ||
| 103-12 | Die Meistersinger von Nürnberg, WWV 96, Act 3: So ganz boshaft doch keinen ich fand | — | ||
| 103-13 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Immer schustern, das ist nun mein Los | — | ||
| 103-14 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Hat man mit dem Schuhwerk" | — | ||
| 103-15 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Mein Kind, von Tristan und Isolde" | — | ||
| 104-1 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Die "selige Morgentraum-Deutweise"" | — | ||
| 104-2 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Sankt Krispin, lobet ihn!" | — | ||
| 104-3 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Als Nürnberg belagert war | — | ||
| 104-4 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Hungersnot! Hungersnot! | — | ||
| 104-5 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Ihr tanzt" | — | ||
| 104-6 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Die Meistersinger! Die Meistersinger! | — | ||
| 104-7 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Wacht auf! Es nahet gen den Tag" | — | ||
| 104-8 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Euch macht ihr's leicht" | — | ||
| 104-9 | Die Meistersinger von Nürnberg, WWV 96, Act 3: O Sachs, mein Freund | — | ||
| 104-10 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Morgen ich leuchte" | — | ||
| 104-11 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Heimlich mir graut | — | ||
| 104-12 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Morgenlich leuchtend" | — |
Identifier Graph
028948313754 is a Universal Product Code (UPC) assigned to The Complete Recordings by Solti, Chicago. 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 998 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: e. Veni, creator… da gaudiorum praemia | Chicago Symphony Orchestra, Sir Georg Solti | — |
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
The UPC for “The Complete Recordings” by Solti, Chicago is 028948313754. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2017-01-01. Label: Decca. This release contains 998 tracks, each with its own ISRC. Tracks include GBF077000081, GBF077000082, GBF077000083.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony no. 5: I. Trauermarsch | Chicago Symphony Orchestra, Sir Georg Solti | T-926.359.926-4 | |
| 2 | Symphony no. 5: II. Stürmisch bewegt, mit größter Vehemenz | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 3 | Symphony no. 5: III. Scherzo. Kräftig, nicht zu schnell | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 4 | Symphony no. 5: IV. Adagietto: Sehr langsam | Chicago Symphony Orchestra, Sir Georg Solti | T-800.652.468-2 | |
| 5 | Symphony No. 5: V. Rondo-Finale: Allegro | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 6 | Songs From "Des Knaben Wunderhorn": Das irdische Leben | — | ||
| 7 | Songs From "Des Knaben Wunderhorn": Verlor'ne Müh | — | ||
| 8 | Songs From "Des Knaben Wunderhorn": Wo die schönen Trompeten blasen | — | ||
| 9 | Songs From "Des Knaben Wunderhorn": Rheinlegendchen | — | ||
| 2-1 | Symphony no. 6 in A minor: I. Allegro energico, ma non troppo | Chicago Symphony Orchestra, Georg Solti | — | |
| 2-2 | Symphony no. 6 in A minor: II. Scherzo. Wuchtig | Chicago Symphony Orchestra, Georg Solti | T-926.362.354-7 | |
| 2-3 | Symphony no. 6 in A minor: III. Andante | Chicago Symphony Orchestra, Georg Solti | T-926.362.354-7 | |
| 2-4 | Symphony no. 6 in A minor: IV. Finale. Allegro moderato | Chicago Symphony Orchestra, Georg Solti | T-318.676.528-2 | |
| 3-1 | Lieder eines fahrenden Gesellen: Wenn mein Schatz Hochzeit macht | — | ||
| 3-2 | Lieder eines fahrenden Gesellen: Ging heut' morgen übers Feld | — | ||
| 3-3 | Lieder eines fahrenden Gesellen: Ich hab' ein glühend Messer | — | ||
| 3-4 | Lieder eines fahrenden Gesellen: Die zwei blauen Augen von meinem Schatz | — | ||
| 4-1 | Symphony No. 7: I. Langsam — Allegro | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 4-2 | Symphony No. 7: II. Nachtmusik I: Allegro moderato | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 4-3 | Symphony No. 7: III. Scherzo | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 4-4 | Symphony No. 7: IV. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 4-5 | Symphony No. 7: V. Rondo-Finale | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-1 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: a. Veni creator spiritus | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-2 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: b. Imple superna gratia | Heather Harper, Lucia Popp, Yvonne Minton, Helen Watts, René Kollo, John Shirley-Quirk, Martti Talvela, Wiener Singverein, Wiener Staatsopernchor, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-3 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: c. Infirma nostri corporis | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-4 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: d. Accende lumen sensibus | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-5 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: e. Veni, creator… da gaudiorum praemia | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-6 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: f. Gloria sit patri domino” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-7 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": Poco Adagio: “Waldung, sie schwankt heran” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-8 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": "Ewiger Wonnebrand” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-9 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Wie Felsenabgrund mir zu Füßen” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-10 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Gerettet ist das edle Glied” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-11 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Uns bleibt ein Erdenrest” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-12 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Höchste Herrscherin der Welt” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-13 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Bei der Liebe, die den Fussen” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-14 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Neige, neige, du Ohnegleiche” | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 5-15 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Blicket auf zum Retterblick” | Sir Georg Solti, Chicago Symphony Orchestra | — | |
| 5-16 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Alles Vergängliche” | Sir Georg Solti, Chicago Symphony Orchestra | — | |
| 6-1 | Piano Concerto no. 1 in C major, op. 15: I. Allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti, Vladimir Ashkenazy | — | |
| 6-2 | Piano Concerto no. 1 in C major, op. 15: II. Largo | Chicago Symphony Orchestra, Sir Georg Solti, Vladimir Ashkenazy | — | |
| 6-3 | Piano Concerto no. 1 in C major, op. 15: III. Rondo: Allegro scherzando | Chicago Symphony Orchestra, Sir Georg Solti, Vladimir Ashkenazy | — | |
| 6-4 | Piano Concerto no. 2 in B-flat major, op. 19: I. Allegro con brio | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 6-5 | Piano Concerto no. 2 in B-flat major, op. 19: II. Adagio | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 6-6 | Piano Concerto no. 2 in B-flat major, op. 19: III. Rondo: Molto allegro | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 7-1 | Piano Concerto no. 3 in C minor, op. 37: I. Allegro con brio | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 7-2 | Piano Concerto no. 3 in C minor, op. 37: II. Largo | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 7-3 | Piano Concerto no. 3 in C minor, op. 37: III. Rondo (Allegro) | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | T-800.132.125-2 | |
| 7-4 | Piano Concerto no. 4 in G major, op. 58: I. Allegro moderato | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 7-5 | Piano Concerto no. 4 in G major, op. 58: II. Andante con moto | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 7-6 | Piano Concerto no. 4 in G major, op. 58: III. Rondo (Vivace) | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | T-911.517.582-1 | |
| 8-1 | Piano Concerto no. 5 in E-Flat major, op. 73 "Emperor": I. Allegro | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | T-070.160.313-5 | |
| 8-2 | Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": II. Adagio un poco mosso | — | ||
| 8-3 | Piano Concerto no. 5 in E-Flat major, op. 73 "Emperor": III. Rondo (Allegro) | Vladimir Ashkenazy, Chicago Symphony Orchestra, Sir Georg Solti | T-800.132.125-2 | |
| 9-1 | Symphony no. 1 in C major, op. 21: I. Adagio molto - allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti | T-915.714.772-3 | |
| 9-2 | Symphony no. 1 in C major, op. 21: II. Andante cantabile con moto | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 9-3 | Symphony no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 9-4 | Symphony no. 1 in C major, op. 21: IV. Adagio - allegro molto e vivace | Chicago Symphony Orchestra, Sir Georg Solti | T-318.676.528-2 | |
| 9-5 | Symphony No. 2 in D major, Op. 36: I. Adagio molto - Allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti | T-915.714.772-3 | |
| 9-6 | Symphony No. 2 in D major, Op. 36: II. Larghetto | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 9-7 | Symphony No. 2 in D major, Op. 36: III. Scherzo. Allegro | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 9-8 | Symphony No. 2 in D major, Op. 36: IV. Allegro molto | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 10-1 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": I. Allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 10-2 | Symphony no. 3 in E-flat major, op. 55 "Eroica": II. Marcia funebre. Adagio assai | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 10-3 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": III. Scherzo. Allegro vivace | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 10-4 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": IV. Finale. Allegro molto | Chicago Symphony Orchestra, Sir Georg Solti | T-318.676.528-2 | |
| 10-5 | Egmont, Op. 84: Overture. Sostenuto, ma non troppo | Chicago Symphony Orchestra, Sir Georg Solti | T-917.141.511-5 | |
| 10-6 | Coriolan, Op. 62: Overture. Allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 11-1 | Symphony No. 4 in B-flat major, Op. 60: I. Adagio - Allegro vivace | Chicago Symphony Orchestra, Sir Georg Solti | T-001.444.317-4 | |
| 11-2 | Symphony no. 4 in B-flat major, op. 60: II. Adagio | Chicago Symphony Orchestra, Sir Georg Solti | T-001.397.158-8 | |
| 11-3 | Symphony No. 4 in B-flat major, Op. 60: III. Allegro vivace | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 11-4 | Symphony no. 4 in B-Flat major, op. 60: IV. Allegro ma non troppo | — | ||
| 11-5 | Symphony No. 5 in C minor, Op. 67: I. Allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti | T-902.876.200-7 | |
| 11-6 | Symphony No. 5 in C minor, Op. 67: II. Andante con moto | Chicago Symphony Orchestra, Sir Georg Solti | T-902.876.200-7 | |
| 11-7 | Symphony No. 5 in C minor, Op. 67: III. Scherzo. Allegro | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 11-8 | Symphony No. 5 in C minor, Op. 67: IV. Allegro | Chicago Symphony Orchestra, Sir Georg Solti | T-902.876.200-7 | |
| 12-1 | Symphony No. 6 in F major, Op. 68 "Pastorale": I. Allegro ma non troppo "Awakening of cheerful feelings upon arrival in the country" | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 12-2 | Symphony No. 6 in F major, Op. 68 "Pastorale": II. Andante molto mosso "Scene at the brook" | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 12-3 | Symphony No. 6 in F major, Op. 68 "Pastorale": III. Allegro "Happy gathering of country folk" | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 12-4 | Symphony No. 6 in F major, Op. 68 "Pastorale": IV. Allegro "Thunderstorm" | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 12-5 | Symphony no. 6 in F major, op. 68 "Pastorale": V. Allegretto "Shepherds' song: Cheerful and thankful feelings after the storm" | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 12-6 | Leonore Overture no. 3 in C major, op. 72c | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 13-1 | Symphony No. 7 in A major, Op. 92: I. Poco sostenuto – Vivace | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 13-2 | Symphony no. 7 in A major, op. 92: II. Allegretto | Chicago Symphony Orchestra, Sir Georg Solti | T-071.481.827-5 | |
| 13-3 | Symphony No. 7 in A major, Op. 92: III. Presto | Chicago Symphony Orchestra, Sir Georg Solti | T-931.717.518-1 | |
| 13-4 | Symphony No. 7 in A major, Op. 92: IV. Allegro con brio | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 13-5 | Symphony No. 8 in F major, Op. 93: I. Allegro vivace e con brio | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 13-6 | Symphony no. 8 in F major, op. 93: II. Allegretto scherzando | Chicago Symphony Orchestra, Sir Georg Solti | T-909.821.799-3 | |
| 13-7 | Symphony No. 8 in F major, Op. 93: III. Tempo di menuetto | Chicago Symphony Orchestra, Sir Georg Solti | T-909.821.799-3 | |
| 13-8 | Symphony No. 8 in F major, Op. 93: IV. Allegro vivace | Chicago Symphony Orchestra, Sir Georg Solti | T-909.821.799-3 | |
| 14-1 | Symphony No. 9 in D minor, Op. 125: I. Allegro ma non troppo, un poco maestoso | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 14-2 | Symphony No. 9 in D minor, Op. 125: II. Molto vivace | Chicago Symphony Orchestra, Sir Georg Solti | T-909.876.841-3 | |
| 14-3 | Symphony No. 9 in D minor, Op. 125: III. Adagio molto e cantabile | Chicago Symphony Orchestra, Sir Georg Solti | T-912.747.871-1 | |
| 14-4 | Symphony no. 9 in D minor, op. 125 "Choral": IV. Presto: Allegro assai | — | ||
| 15-1 | Sir Georg Solti in Conversation with William Mann: "How long had you been conducting Beethoven symphonies?" | — | ||
| 15-2 | Sir Georg Solti in Conversation with William Mann: "Which of the great Beethoven conductors of your youth..." | — | ||
| 15-3 | Sir Georg Solti in Conversation with William Mann: "Did you have to teach the Chicago Symphony..." | — | ||
| 15-4 | Sir Georg Solti in Conversation with William Mann: "Now the Eroica" | — | ||
| 15-5 | Sir Georg Solti in Conversation with William Mann: "I wanted to ask you a question..." | — | ||
| 15-6 | Sir Georg Solti in Conversation with William Mann: "The Seventh symphony...are there special problems..." | — | ||
| 15-7 | Sir Georg Solti in Conversation with William Mann: "Now the Eighth..." | — | ||
| 15-8 | Sir Georg Solti in Conversation with William Mann: "The Ninth is obviously..." | — | ||
| 16-1 | Symphonie fantastique, op. 14, H 48: I. Rêveries. Passions (Largo: Allegro agitato ed appassionato assai) | — | ||
| 16-2 | Symphonie fantastique, op. 14, H 48: II. Un bal (Valse: Allegro non troppo) | — | ||
| 16-3 | Symphonie fantastique, op. 14, H 48: III. Scène aux champs (Adagio) | — | ||
| 16-4 | Symphonie fantastique, op. 14, H 48: IV. Marche au supplice (Allegretto non troppo) | — | ||
| 16-5 | Symphonie fantastique, op. 14, H 48: V. Songe d'une nuit du Sabbat (Larghetto: Allegro - Ronde du Sabbat: Poco meno mosso) | — | ||
| 16-6 | Overture "Les francs-juges", op. 3 | — | ||
| 16-7 | Il barbiere di Siviglia: Overture (Sinfonia) | — | ||
| 16-8 | Orchestral Suite no. 3 in D major, BWV 1068: II. Air | — | ||
| 16-9 | The Stars and Stripes Forever | — | ||
| 16-10 | The Star-Spangled Banner | — | ||
| 16-11 | Bear Down Chicago Bears | — | ||
| 17-1 | Das Lied von der Erde: Das Trinklied vom Jammer der Erde | — | ||
| 17-2 | Das Lied von der Erde: Der Einsame im Herbst | — | ||
| 17-3 | Das Lied von der Erde: Von der Jugend | — | ||
| 17-4 | Das Lied von der Erde: Von der Schönheit | — | ||
| 17-5 | Das Lied von der Erde: Der Trunkene im Frühling | — | ||
| 17-6 | Das Lied von der Erde: Der Abschied | — | ||
| 18-1 | Variations on an Original Theme, op. 36 "Enigma": Theme (Andante) | — | ||
| 18-2 | Variations on an Original Theme, op. 36 "Enigma": Variation I. C.A.E. (L'istesso tempo) | — | ||
| 18-3 | Variations on an Original Theme, op. 36 "Enigma": Variation II. H.D.S-P. (Allegro) | — | ||
| 18-4 | Variations on an Original Theme, op. 36 "Enigma": Variation III. R.B.T. (Allegretto) | — | ||
| 18-5 | Variations on an Original Theme, op. 36 "Enigma": Variation IV. W.M.B. (Allegro di molto) | — | ||
| 18-6 | Variations on an Original Theme, op. 36 "Enigma": Variation V. R.P.A. (Moderato) | — | ||
| 18-7 | Variations on an Original Theme, op. 36 "Enigma": Variation VI. Ysobel (Andantino) | — | ||
| 18-8 | Variations on an Original Theme, op. 36 "Enigma": Variation VII. Troyte (Presto) | — | ||
| 18-9 | Variations on an Original Theme, op. 36 "Enigma": Variation VIII. W.N. (Allegretto) | — | ||
| 18-10 | Variations on an Original Theme, op. 36 "Enigma": Variation IX. Nimrod (Adagio) | — | ||
| 18-11 | Variations on an Original Theme, op. 36 "Enigma": Variation X. Intermezzo: Dorabella (Allegretto) | — | ||
| 18-12 | Variations on an Original Theme, op. 36 "Enigma": Variation XI. G.R.S. (Allegro di molto) | — | ||
| 18-13 | Variations on an Original Theme, op. 36 "Enigma": Variation XII. B.G.N. (Andante) | — | ||
| 18-14 | Variations on an Original Theme, op. 36 "Enigma": Variation XIII. Romanza *** (Moderato) | — | ||
| 18-15 | Variations on an Original Theme, op. 36 "Enigma": Variation XIV. Finale: E.D.U. (Allegro: Presto) | — | ||
| 18-16 | Overture Cockaigne, op. 40 | — | ||
| 19-1 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: I. Introduction | — | ||
| 19-2 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: II. Les augures printaniers: Danses des adolescentes | — | ||
| 19-3 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: III. Jeu du rapt | — | ||
| 19-4 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: IV. Rondes printanières | — | ||
| 19-5 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: V. Jeux des cités | — | ||
| 19-6 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: 6a. Cortège du sage | — | ||
| 19-7 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: 6b. Le sage | — | ||
| 19-8 | Le Sacre du Printemps, Pt 1: L'Adoration de la Terre: VII. Danse de la terre | — | ||
| 19-9 | Le Sacre du Printemps, Pt 2: Le Sacrifice: I. Introduction | — | ||
| 19-10 | Le Sacre du Printemps, Pt 2: Le Sacrifice: II. Cercles mysteriéux des adolescentes | — | ||
| 19-11 | Le Sacre du Printemps, Pt 2: Le Sacrifice: III. Glorification d'élue | — | ||
| 19-12 | Le Sacre du Printemps, Pt 2: Le Sacrifice: IV. Évocation des ancêtres | — | ||
| 19-13 | Le Sacre du Printemps, Pt 2: Le Sacrifice: V. Action rituelle des ancêtres | — | ||
| 19-14 | Le Sacre du Printemps, Pt 2: Le Sacrifice: VI. Danse sacrale: l'élue | — | ||
| 20-1 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Theme: "Chorale St. Antoni" | — | ||
| 20-2 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation I: Poco più animato | — | ||
| 20-3 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation II: Più vivace | — | ||
| 20-4 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation III: Con moto | — | ||
| 20-5 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation IV: Andante con moto | — | ||
| 20-6 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation V: Vivace | — | ||
| 20-7 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation VI: Vivace | — | ||
| 20-8 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation VII: Grazioso | — | ||
| 20-9 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Variation VIII: Presto non troppo | — | ||
| 20-10 | Variations on a Theme by Haydn, op. 56a, Original Version for Orchestra: Finale: Andante | — | ||
| 20-11 | Variations, op. 31: Introduktion. Mäßig, ruhig | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-12 | Variations, op. 31: Thema. Molto moderato | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-13 | Variations, op. 31: Variation I. Moderato | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-14 | Variations, op. 31: Variation II. Langsam | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-15 | Variations, op. 31: Variation III. Mäßig | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-16 | Variations, op. 31: Variation IV. Walzertempo | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-17 | Variations, op. 31: Variation V. Bewegt | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-18 | Variations, op. 31: Variation VI. Andante | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-19 | Variations, op. 31: Variation VII. Langsam | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-20 | Variations, op. 31: Variation VIII. Sehr rasch | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-21 | Variations, op. 31: Variation IX. L'istesso tempo; aber etwas langsamer | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-22 | Variations, op. 31: Finale. Mäßig schnell | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 21-1 | Also sprach Zarathustra, op. 30: Einleitung | Samuel Magad, Chicago Symphony Orchestra, Sir Georg Solti | T-070.160.313-5 | |
| 21-2 | Also sprach Zarathustra, op. 30: Von den Hinterweltlern | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-3 | Also sprach Zarathustra, op. 30: Von der großen Sehnsucht | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-4 | Also sprach Zarathustra, op. 30: Von den Freuden und Leidenschaften | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-5 | Also sprach Zarathustra, op. 30: Das Grablied | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-6 | Also sprach Zarathustra, op. 30: Von der Wissenschaft | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-7 | Also sprach Zarathustra, op. 30: Der Genesende | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-8 | Also sprach Zarathustra, op. 30: Das Tanzlied | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-9 | Also sprach Zarathustra, op. 30: Nachtwandlerlied | Chicago Symphony Orchestra, Sir Georg Solti, Samuel Magad | — | |
| 21-10 | Till Eulenspiegels lustige Streiche, Op. 28 | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 21-11 | Don Juan, op. 20, TrV 156 | — | ||
| 22-1 | Symphony no. 5 in E minor, op. 64, TH.29: I. Andante: Allegro con anima | — | ||
| 22-2 | Symphony no. 5 in E minor, op. 64, TH.29: II. Andante cantabile, con alcuna licenza: Moderato con anima | — | ||
| 22-3 | Symphony no. 5 in E minor, op. 64, TH.29: III. Valse (Allegro moderato) | — | ||
| 22-4 | Symphony no. 5 in E minor, op. 64, TH.29: IV. Finale (Andante maestoso: Allegro vivace) | — | ||
| 22-5 | Oberon, J. 306: Overture | — | ||
| 23-1 | Prélude à l'après-midi d'un faune, L. 86 | — | ||
| 23-2 | La mer, L. 109: I. De l'aube à midi sur la mer | — | ||
| 23-3 | La mer, L. 109: II. Jeux de vagues | — | ||
| 23-4 | La mer, L. 109: III. Dialogue du vent et de la mer | — | ||
| 23-5 | Boléro, M. 81: Original Version, M. 81 | — | ||
| 24-1 | Symphony no. 6 in B minor, op. 74, TH 30: "Pathétique": I. Adagio - Allegro non troppo | — | ||
| 24-2 | Symphony no. 6 in B minor, op. 74, TH 30: "Pathétique": II. Allegro con grazia | — | ||
| 24-3 | Symphony no. 6 in B minor, op. 74, TH 30: "Pathétique": III. Allegro molto vivace | — | ||
| 24-4 | Symphony no. 6 in B minor, op. 74, TH 30: "Pathétique": IV. Finale (Adagio lamentoso - Andante) | — | ||
| 25-1 | Der fliegende Holländer, WWV 63: Overture | — | ||
| 25-2 | Der fliegende Holländer, WWV 63, Act 1: Hojoje! Hallojo! Ho! ... Kein Zweifel! Sieben Meilen | — | ||
| 25-3 | Der fliegende Holländer, WWV 63, Act 1: "Mit Gewitter und Sturm aus fernem Meer" | — | ||
| 25-4 | Der fliegende Holländer, WWV 63, Act 1: Die Frist ist um...Wie oft in Meeres...Dich frage ich | — | ||
| 25-5 | Der fliegende Holländer, WWV 63, Act 1: III. Szene, Duett und Chor. "He! Holla! Steuermann" | — | ||
| 25-6 | Der fliegende Holländer, WWV 63, Act 1: "Durch Sturm und bösen Wind verschlagen" | — | ||
| 25-7 | Der fliegende Holländer, WWV 63, Act 1: Wie? Hört' ich recht?...Südwind! Südwind! | — | ||
| 25-8 | Der fliegende Holländer, WWV 63, Act 1: "Mit Gewitter und Sturm aus fernem Meer" | — | ||
| 25-9 | Der fliegende Holländer, WWV 63, Act 2: IV. Szene, Lied und Ballade. "Summ und brumm, du gutes Rädchen" | — | ||
| 25-10 | Der fliegende Holländer, WWV 63, Act 2: "Du böses Kind, wenn du nicht spinnst" | — | ||
| 25-11 | Der fliegende Holländer, WWV 63, Act 2: "Johohoe! Traft ihr das Schiff im Meere an" | — | ||
| 26-1 | Der fliegende Holländer, WWV 63, Act 2: "Ach, wo weilt sie" | — | ||
| 26-2 | Der fliegende Holländer, WWV 63, Act 2: "Senta! Willst du mich verderben?" | — | ||
| 26-3 | Der fliegende Holländer, WWV 63, Act 2: Bleib, Senta! ... Auf hohem Felsen | — | ||
| 26-4 | Der fliegende Holländer, WWV 63, Act 2: VI. Finale. "Mein Kind, du siehst mich auf der Schwelle" | — | ||
| 26-5 | Der fliegende Holländer, WWV 63, Act 2: "Mögst du, mein Kind, den fremden Mann willkommen heißen" | — | ||
| 26-6 | Der fliegende Holländer, WWV 63, Act 2: Wie aus der Ferne...Wirst du des Vaters...Ein heil'ger | — | ||
| 26-7 | Der fliegende Holländer, WWV 63, Act 2: "Verzeiht! Mein Volk hält draußen sich nicht mehr" | — | ||
| 26-8 | Der fliegende Holländer, WWV 63, Act 3: Entr'acte | — | ||
| 26-9 | Der fliegende Holländer, WWV 63, Act 3: VII. Szene und Chor. "Steuermann, laß die Wacht!" | — | ||
| 26-10 | Der fliegende Holländer, WWV 63, Act 3: "Johohoe! Johohoe! Hoe! Hoe!" | — | ||
| 26-11 | Der fliegende Holländer, WWV 63, Act 3: VIII. Finale. "Was mußt ich hören" | — | ||
| 26-12 | Der fliegende Holländer, WWV 63, Act 3: "Willst jenen Tag du nicht dich mehr entsinnen" (Kavatine) | — | ||
| 26-13 | Der fliegende Holländer, WWV 63, Act 3: Verloren! Ach, verloren! | — | ||
| 26-14 | Der fliegende Holländer, WWV 63, Act 3: "Erfahre das Geschick": "Du kennst mich nicht, du ahnst nicht wer ich bin!" | — | ||
| 26-15 | Der fliegende Holländer, WWV 63, Act 3: Du kennst mich nicht, du ahnest nicht | — | ||
| 27-1 | Mass in D major, op. 123: "Missa Solemnis": Kyrie | — | ||
| 27-2 | Mass in D major, op. 123: "Missa Solemnis": Gloria: Gloria in excelsis Deo | — | ||
| 27-3 | Mass in D major, op. 123: "Missa Solemnis": Gloria: Qui tollis peccata mundi | — | ||
| 27-4 | Mass in D major, op. 123: "Missa Solemnis": Gloria: Quoniam tu solus sanctus | — | ||
| 27-5 | Mass in D major, op. 123: "Missa Solemnis": Credo: Credo in unum Deum | — | ||
| 27-6 | Mass in D major, op. 123: "Missa Solemnis": Credo: Et incarnatus est | — | ||
| 27-7 | Mass in D major, op. 123: "Missa Solemnis": Credo: Et resurrexit | — | ||
| 27-8 | Mass in D major, op. 123: "Missa Solemnis": Sanctus | — | ||
| 27-9 | Mass in D major, op. 123: "Missa Solemnis": Sanctus: Benedictus | — | ||
| 27-10 | Mass in D major, op. 123: "Missa Solemnis": Agnus Dei: Agnus Dei | — | ||
| 27-11 | Mass in D major, op. 123: "Missa Solemnis": Agnus Dei: Dona nobis pacem | — | ||
| 28-1 | Der fliegende Holländer, WWV 63: Overture | — | ||
| 28-2 | Tannhäuser, WWV 70: Overture | — | ||
| 28-3 | Die Meistersinger von Nürnberg, WWV 96: Prelude | — | ||
| 28-4 | Tristan und Isolde, WWV 90: Prelude to Act I. Langsam und schmachtend | — | ||
| 28-5 | Tristan und Isolde, WWV 90, Concert version, Act 3: Liebestod | — | ||
| 29-1 | Symphony no. 3 in F major, op. 90: I. Allegro con brio: Un poco sostenuto - Tempo I | — | ||
| 29-2 | Symphony no. 3 in F major, op. 90: II. Andante | — | ||
| 29-3 | Symphony no. 3 in F major, op. 90: III. Poco allegretto | — | ||
| 29-4 | Symphony no. 3 in F major, op. 90: IV. Allegro | — | ||
| 29-5 | Academic Festival Overture, op. 80 | Chicago Symphony Orchestra, Sir Georg Solti | T-905.049.604-3 | |
| 30-1 | Symphony no. 4 in E minor, op. 98: I. Allegro non troppo | — | ||
| 30-2 | Symphony no. 4 in E minor, op. 98: II. Andante moderato | — | ||
| 30-3 | Symphony no. 4 in E minor, op. 98: III. Allegro giocoso: Poco meno presto - Tempo I | — | ||
| 30-4 | Symphony no. 4 in E minor, op. 98: IV. Allegro energico e passionato: Più allegro | — | ||
| 31-1 | Ein deutsches Requiem, op. 45: I. "Selig sind, die da Leid tragen" | — | ||
| 31-2 | Ein deutsches Requiem, op. 45: II. "Denn alles Fleisch, es ist wie Gras" | — | ||
| 31-3 | Ein deutsches Requiem, op. 45: III. "Herr, lehre doch mich" | — | ||
| 31-4 | Ein deutsches Requiem, op. 45: IV. "Wie lieblich sind deine Wohnungen, Herr Zebaoth!" | — | ||
| 31-5 | Ein deutsches Requiem, op. 45: V. "Ihr habt nun Traurigkeit" | — | ||
| 31-6 | Ein deutsches Requiem, op. 45: VI. "Denn wir haben hie keine bleibende Statt" | — | ||
| 31-7 | Ein deutsches Requiem, op. 45: VII. "Selig sind die Toten, die in dem Herrn sterben" | — | ||
| 32-1 | Quattro pezzi sacri: I. Ave Maria | Chicago Symphony Chorus, Sir Georg Solti | — | |
| 32-2 | Quattro pezzi sacri: II. Stabat mater | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 32-3 | Quattro pezzi sacri: III. Laudi alla vergine Maria | Chicago Symphony Chorus, Sir Georg Solti | — | |
| 32-4 | Quattro pezzi sacri: IV. Te Deum | Chicago Symphony Chorus, Jo-Ann Pickens, Chicago Symphony Orchestra, Sir Georg Solti | T-902.305.790-1 | |
| 33-1 | Fidelio, op. 72: Overture | — | ||
| 33-2 | Fidelio, op. 72, Act 1: "Jetzt, Schätzchen, jetzt sind wir allein" | — | ||
| 33-3 | Fidelio, op. 72, Act 1: "O wär ich schon mit dir vereint" | — | ||
| 33-4 | Fidelio, op. 72, Act 1: "Mir ist so wunderbar" | — | ||
| 33-5 | Fidelio, op. 72, Act 1: "Hat man nicht auch Gold beineben" | — | ||
| 33-6 | Fidelio, op. 72, Act 1: "Gut Söhnchen, gut" | — | ||
| 33-7 | Fidelio, op. 72, Act 1: Marsch | — | ||
| 33-8 | Fidelio, op. 72, Act 1: "Ha! Welch ein Augenblick!" | — | ||
| 33-9 | Fidelio, op. 72, Act 1: "Jetzt, Alter, jetzt hat es Eile!" | — | ||
| 33-10 | Fidelio, op. 72, Act 1: "Abscheulicher! Wo eilst du hin?" | — | ||
| 33-11 | Fidelio, op. 72, Act 1: Komm, Hoffnung, lass den letzten Stern | — | ||
| 34-1 | Fidelio, op. 72, Act 1: "O welche Lust, in freier Luft den Atem leicht zu heben! | — | ||
| 34-2 | Fidelio, op. 72, Act 1: "Nun sprecht, wie ging's?" | — | ||
| 34-3 | Fidelio, op. 72, Act 1: Ach! Vater, Vater, eilt! | — | ||
| 34-4 | Fidelio, op. 72, Act 1: "Leb wohl, du warmes Sonnenlicht" | — | ||
| 34-5 | Fidelio, op. 72, Act 2: Gott! Welch' Dunkel hier! | — | ||
| 34-6 | Fidelio, op. 72, Act 2: In des Lebens Frühlingstagen | — | ||
| 34-7 | Fidelio, op. 72, Act 2: "Wie kalt ist es in diesem unterirdischen Gewölbe": "Nur hurtig fort, nur frisch gegraben" | — | ||
| 34-8 | Fidelio, op. 72, Act 2: Nur hurtig fort, nur frisch gegraben | — | ||
| 34-9 | Fidelio, op. 72, Act 2: "Euch werde Lohn in bessern Welten" | — | ||
| 34-10 | Fidelio, op. 72, Act 2: "Er sterbe! Doch er soll erst wissen": "Vater Rocco! Der Herr Minister ist angekommen" - "Es schlägt der Rache Stunde" | — | ||
| 34-11 | Fidelio, op. 72, Act 2: "O namenlose Freude" | — | ||
| 34-12 | Fidelio, op. 72, Act 2: "Heil sei dem Tag" | — | ||
| 34-13 | Fidelio, op. 72, Act 2: "Des besten Königs Wink und Wille" | — | ||
| 34-14 | Fidelio, op. 72, Act 2: "Wer ein holdes Weib errungen" | — | ||
| 35-1 | Symphony no. 1 in C minor, op. 68: I. Un poco sostenuto: Allegro - Meno allegro | — | ||
| 35-2 | Symphony no. 1 in C minor, op. 68: II. Andante sostenuto | — | ||
| 35-3 | Symphony no. 1 in C minor, op. 68: III. Un poco allegretto e grazioso | — | ||
| 35-4 | Symphony no. 1 in C minor, op. 68: IV. Adagio: Piu andante - Allegro non troppo, ma con brio - Piu allegro | — | ||
| 36-1 | Symphony no. 2 in D major, op. 73: I. Allegro non troppo | — | ||
| 36-2 | Symphony no. 2 in D major, op. 73: II. Adagio non troppo: L'istesso tempo, ma grazioso | — | ||
| 36-3 | Symphony no. 2 in D major, op. 73: III. Allegretto grazioso (Quasi andantino): Presto ma non assai | — | ||
| 36-4 | Symphony no. 2 in D major, op. 73: IV. Allegro con spirito | — | ||
| 36-5 | Tragic Overture, op. 81 | — | ||
| 37-1 | Symphony no. 6 in A major, WAB 106: I. Maestoso | — | ||
| 37-2 | Symphony no. 6 in A major, WAB 106: II. Adagio. Sehr feierlich | — | ||
| 37-3 | Symphony no. 6 in A major, WAB 106: III. Scherzo. Nicht schnell: Trio. Langsam | — | ||
| 37-4 | Symphony no. 6 in A major, WAB 106: IV. Finale. Bewegt, doch nicht zu schnell | — | ||
| 38-1 | Symphony no. 5 in B-Flat major, WAB 105: I. Introduction (Adagio): Allegro (Mäßig) | — | ||
| 38-2 | Symphony no. 5 in B-Flat major, WAB 105: II. Adagio (Sehr langsam) | — | ||
| 38-3 | Symphony no. 5 in B-Flat major, WAB 105: III. Scherzo (Molto vivace, schnell): Trio. Im gleichenTempo | — | ||
| 38-4 | Symphony no. 5 in B-Flat major, WAB 105: IV. Finale (Adagio: Allegro moderato) | — | ||
| 39-1 | Symphony no. 2 in C minor "Resurrection": I. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck | — | ||
| 39-2 | Symphony no. 2 in C minor "Resurrection": II. Andante moderato. Sehr gemächlich | — | ||
| 39-3 | Symphony no. 2 in C minor "Resurrection": III. Scherzo: in ruhig fliessender Bewegung | — | ||
| 39-4 | Symphony no. 2 in C minor "Resurrection", 4: "Urlicht": IV. "O Röschen rot! Der Mensch liegt in grösster Not!" (Sehr feierlich aber schlicht)- "Urlicht" | — | ||
| 39-5 | Symphony no. 2 in C minor "Resurrection": V. Im Tempo des Scherzo: Langsam misterioso | — | ||
| 40-1 | Pictures at an Exhibition, (Orch. Ravel): I. Gnomus | — | ||
| 40-2 | Pictures at an Exhibition, (Orch. Ravel): II. The Old Castle | — | ||
| 40-3 | Pictures at an Exhibition, (Orch. Ravel): III. The Tuileries Gardens | — | ||
| 40-4 | Pictures at an Exhibition, (Orch. Ravel): IV. Bydlo | — | ||
| 40-5 | Pictures at an Exhibition, (Orch. Ravel): V. Ballet of the Chickens in Their Shells | — | ||
| 40-6 | Pictures at an Exhibition, (Orch. Ravel): VI. Samuel Goldenberg and Schmuyle | — | ||
| 40-7 | Pictures at an Exhibition, (Orch. Ravel): VII. The Market-place at Limoges | — | ||
| 40-8 | Pictures at an Exhibition, (Orch. Ravel): VIII. The Catacombs (Sepulchrum romanum) | — | ||
| 40-9 | Pictures at an Exhibition, (Orch. Ravel): X. The Hut on Fowl's Legs (Baba-Yaga) | — | ||
| 40-10 | Pictures at an Exhibition, (Orch. Ravel): 1I. The Great Gate of Kiev | — | ||
| 40-11 | Le Tombeau de Couperin, M. 68, Orchestral version: I. Prélude | — | ||
| 40-12 | Le Tombeau de Couperin, M. 68, Orchestral version: II. Forlane | — | ||
| 40-13 | Le Tombeau de Couperin, M. 68, Orchestral version: III. Menuet | — | ||
| 40-14 | Le Tombeau de Couperin, M. 68, Orchestral version: IV. Rigaudon | — | ||
| 41-1 | Final Alice: I. "The King & Queen of Hearts were seated on their throne" | — | ||
| 41-2 | Final Alice: II. "Consider Your Verdict" | — | ||
| 41-3 | Final Alice: III. "They told me you had been to her" | — | ||
| 41-4 | Final Alice: IV. "She's all my fancy painted him" | — | ||
| 41-5 | Final Alice: V. "She's all my fancy painted her" | — | ||
| 41-6 | Final Alice: VI. Fuga | — | ||
| 41-7 | Final Alice: VII. "She's all my fancy painted her" | — | ||
| 41-8 | Final Alice: VIII. "A boat 'neath a sunny sky" | — | ||
| 42-1 | Concerto For Orchestra, BB 123, Sz.116: I. Introduzione (Andante non troppo: Allegro vivace) | — | ||
| 42-2 | Concerto For Orchestra, BB 123, Sz.116: II. Giuoco della coppie (Allegretto scherzando) | — | ||
| 42-3 | Concerto For Orchestra, BB 123, Sz.116: III. Elegia (Andante, non troppo) | — | ||
| 42-4 | Concerto For Orchestra, BB 123, Sz.116: IV. Intermezzo interrotto (Allegretto) | — | ||
| 42-5 | Concerto For Orchestra, BB 123, Sz.116: V. Finale (Pesante: Presto) | — | ||
| 42-6 | Dance Suite, BB 86 (Sz. 77): I. Moderato | — | ||
| 42-7 | Dance Suite, BB 86 (Sz. 77): II. Allegro molto | — | ||
| 42-8 | Dance Suite, BB 86 (Sz. 77): III. Allegro vivace | — | ||
| 42-9 | Dance Suite, BB 86 (Sz. 77): IV. Molto tranquillo | — | ||
| 42-10 | Dance Suite, BB 86 (Sz. 77): V. Comodo | — | ||
| 42-11 | Dance Suite, BB 86 (Sz. 77): VI. Finale (Allegro) | — | ||
| 43-1 | La Damnation de Faust, op. 24, H 111, Pt. 1: Scène I. "Le vieil hiver a fait place au printemps" | — | ||
| 43-2 | La Damnation de Faust, op. 24, H 111, Pt. 1: Ronde des Paysans. "Les bergers quittent leurs troupeaux" | — | ||
| 43-3 | La Damnation de Faust, op. 24, H 111, Pt. 1: Scène II. "Mais d'un éclat guerrier" | — | ||
| 43-4 | La Damnation de Faust, op. 24, H 111, Pt. 1: Marche hongroise | — | ||
| 43-5 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène III. "Sans regrets j'ai quitté les riantes campagnes" | — | ||
| 43-6 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chant de la fête de Pâques. "Christ vient de ressusciter!" | — | ||
| 43-7 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène IV. "O pure émotion!" | — | ||
| 43-8 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène V. Choeur de buveurs. "A boire encor!" | — | ||
| 43-9 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeur de buveurs: Oh! qu'il fait bon | — | ||
| 43-10 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Brander. "Certain rat, dans une cuisine" | — | ||
| 43-11 | La Damnation de Faust, op. 24, H 111, Pt. 2: Fugue sur le thème de la chanson. "Amen" | — | ||
| 43-12 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Méphistophélès. "Une puce gentille" | — | ||
| 43-13 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VI. Air de Méphistophélès. "Voici des roses" | — | ||
| 43-14 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeur de gnomes et de sylphes "Dors! Dors! heureux | — | ||
| 43-15 | La Damnation de Faust, op. 24, H 111, Pt. 2: Ballet des Sylphes | — | ||
| 43-16 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeur de soldats: "Villes entourées de murs et de remparts" | — | ||
| 43-17 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson d'étudiants:"Jam nox stellata velamina pandit" | — | ||
| 43-18 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeurs de Soldats et Chanson d'Etudiants. "Villes entourées": "Jam nox stellata velamina pandit" | — | ||
| 44-1 | La Damnation de Faust, op. 24, H 111, Pt. 3: (Prélude: La retraite) | — | ||
| 44-2 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène VIII. Air de Faust. "Merci, doux crépuscule!" | — | ||
| 44-3 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène IX. "Je l'entends" | — | ||
| 44-4 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène X. "Que l'air est étouffant" | — | ||
| 44-5 | La Damnation de Faust, op. 24, H 111, Pt. 3: Le roi de Thulé (Chanson gothique). "Autrefois un roi de Thulé" | — | ||
| 44-6 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1I. Evocation. "Esprits des flammes inconstantes" | — | ||
| 44-7 | La Damnation de Faust, op. 24, H 111, Pt. 3: Menuet des Follets | — | ||
| 44-8 | La Damnation de Faust, op. 24, H 111, Pt. 3: Sérénade de Méphistophélès. "Devant la maison" | — | ||
| 44-9 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1III. "Grands dieux!" | — | ||
| 44-10 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1IV. "Allons, il est trop tard!": "Je connais donc enfin" | — | ||
| 44-11 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1V. Romance. "D'amour l'ardente flamme" | — | ||
| 44-12 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VI. Invocation à la Nature. "Nature immense" | — | ||
| 44-13 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VII. Récitatif et Chasse. "A la voûte azurée" | — | ||
| 44-14 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VIII. La course à l'abîme. "Dans mon choeur retentit sa voix" | — | ||
| 44-15 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1IX. Pandaemonium. "Has! Irimiru Karabrao!" | — | ||
| 44-16 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 20. Epilogue sur la terre. "Alors, l'enfer se tut" | — | ||
| 44-17 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 2I. Le Ciel. "Laus! Laus!": Apothéose de Marguerite. "Remonte au ciel, âme naïve" | — | ||
| 45-1 | Symphony no. 4 in E-Flat major: "Romantic", WAB 104: I. Bewegt, nicht zu schnell | — | ||
| 45-2 | Symphony no. 4 in E-Flat major: "Romantic", WAB 104: II. Andante quasi allegretto | — | ||
| 45-3 | Symphony no. 4 in E-Flat major: "Romantic", WAB 104: III. Scherzo (Bewegt) - Trio (Nicht zu schnell. Keinesfalls schleppend) | — | ||
| 45-4 | Symphony no. 4 in E-Flat major: "Romantic", WAB 104: IV. Finale (Bewegt, doch nicht zu schnell) | — | ||
| 46-1 | Die Schöpfung, Hob.XXI:2: Overture-The Representation of Chaos | — | ||
| 46-2 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Im Anfange schuf Gott Himmel und Erde | — | ||
| 46-3 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Nun schwanden vor dem heiligen Strahle | — | ||
| 46-4 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Und Gott machte das Firmament...Mit Staunen sieht das W | — | ||
| 46-5 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Und Gott sprach...Rollend in schäumenden Wellen | — | ||
| 46-6 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Und Gott sprach...Nun beut die Flur | — | ||
| 46-7 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Und die himmlischen Heerscharen...Stimmt an die Saiten | — | ||
| 46-8 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Und Gott sprach...In vollem Glanze | — | ||
| 46-9 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 1: Die Himmel erzählen die Ehre Gottes | — | ||
| 47-1 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Und Gott sprach...Auf starkem Fittiche | — | ||
| 47-2 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Und Gott schuf grosse Walfische | — | ||
| 47-3 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Und die Engel rührten....In holder Anmut stehn | — | ||
| 47-4 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Und Gott sprach...Gleich öffnet sich der Erde Schoss | — | ||
| 47-5 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Nun scheint in vollem Glanze der Himmel | — | ||
| 47-6 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Und Gott schuf dem Menschen...Mit Wurd' und Hoheit ange | — | ||
| 47-7 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 2: Und Gott sah jedes Ding...Vollendet ist das grosse Wer | — | ||
| 47-8 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 3: Aus Rosenwolken bricht | — | ||
| 47-9 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 3: Von deiner Güt', o Herr und Gott | — | ||
| 47-10 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 3: Nun ist die erste Pflicht erfüllt | — | ||
| 47-11 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 3: Holde Gattin ! | — | ||
| 47-12 | Die Schöpfung, Hob.XXI:2, Sung in German, Part 3: O glücklich Paar...Singt dem Herren alle Stimmen | — | ||
| 48-1 | Symphony no. 3 in D minor, Pt. 1: I. Kräftig. Entscheiden | — | ||
| 48-2 | I. Kräftig. Entscheiden | — | ||
| 48-3 | Symphony no. 3 in D minor, Pt. 2: III. Comodo. Scherzando. Ohne Hast | — | ||
| 49-1 | Symphony no. 3 in D minor, Pt. 2: IV. Sehr langsam. Misterioso: "O Mensch! Gib acht!" 'O Mensch! Gib acht' | — | ||
| 49-2 | Symphony no. 3 in D minor, Pt. 2: V. Lustig im Tempo und keck im Ausdruck: "Bimm Bamm. Es sungen drei Engel" | — | ||
| 49-3 | Symphony no. 3 in D minor, Pt. 2: VI. Langsam. Ruhevoll. Empfunden | — | ||
| 50-1 | Symphony no. 9 in D major: 1a. Andante comodo | — | ||
| 50-2 | Symphony no. 9 in D major: II. Im Tempo eines gemächlichen Ländler. Etwas täppisch und sehr derb: Poco più mosso subito - Ländler, ganz langsam | — | ||
| 50-3 | Symphony no. 9 in D major: III. Rondo. Burleske (Allegro assai. Sehr trotzig: Presto) | — | ||
| 50-4 | Symphony no. 9 in D major: IV. Adagio (Sehr langsam) | — | ||
| 51-1 | Symphony no. 38 in D major, K. 504 "Prague": I. Adagio: Allegro | — | ||
| 51-2 | Symphony no. 38 in D major, K. 504 "Prague": II. Andante | — | ||
| 51-3 | Symphony no. 38 in D major, K. 504 "Prague": III. Finale (Presto) | — | ||
| 51-4 | Symphony no. 39 in E-Flat major, K. 543: I. Adagio: Allegro | — | ||
| 51-5 | Symphony no. 39 in E‐flat major, KV 543: II. Andante con moto | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 51-6 | Symphony no. 39 in E-Flat major, K. 543: III. Menuetto (Allegretto) | — | ||
| 51-7 | Symphony no. 39 in E-Flat major, K. 543: IV. Finale (Allegro) | — | ||
| 52-1 | Romeo and Juliet, op. 64: I. Introduction | — | ||
| 52-2 | Romeo and Juliet, op. 64, Act 1: II. Romeo | — | ||
| 52-3 | Romeo and Juliet, op. 64, Act 1: III. The street wakens | — | ||
| 52-4 | Romeo and Juliet, op. 64, Act 1: IV. Morning dance | — | ||
| 52-5 | Romeo and Juliet, op. 64, Act 1: X. The young Juliet | — | ||
| 52-6 | Romeo and Juliet, op. 64, Act 1: 1III. Dance of the Knights 13a. Juliet's Dance | — | ||
| 52-7 | Romeo and Juliet, op. 64, Act 1: 1IV. Juliet's variation | — | ||
| 52-8 | Romeo and Juliet, op. 64, Act 1: 19/2I. Balcony scene: Romeo's variation - Love Dance | — | ||
| 52-9 | Romeo and Juliet, op. 64, Act 2: 3III. The Duel 3IV. Death of Mercutio | — | ||
| 52-10 | Romeo and Juliet, op. 64, Act 2: 35/3VI. Romeo decides to avenge Mercutio: Finale | — | ||
| 52-11 | Romeo and Juliet, op. 64, Act 3: 3VII. Introduction | — | ||
| 52-12 | Romeo and Juliet, op. 64, Act 3: 3VIII. Romeo and Juliet | — | ||
| 52-13 | Romeo and Juliet, op. 64, Act 4: 5II. Juliet's death | — | ||
| 52-14 | Symphony no. 1 in D major, op. 25 "Classical Symphony": I. Allegro | — | ||
| 52-15 | Symphony no. 1 in D major, op. 25 "Classical Symphony": II. Larghetto | — | ||
| 52-16 | Symphony no. 1 in D major, op. 25 "Classical Symphony": III. Gavotta (Non troppo allegro) | — | ||
| 52-17 | Symphony no. 1 in D major, op. 25 "Classical Symphony": IV. Finale (Vivace) | — | ||
| 53-1 | Violin Concerto "To the Memory of an Angel": 1a. Andante - | — | ||
| 53-2 | Violin Concerto "To the Memory of an Angel": 1b. Allegretto | — | ||
| 53-3 | Violin Concerto "To the Memory of an Angel": 2a. Allegro - | — | ||
| 53-4 | Violin Concerto "To the Memory of an Angel": 2b. Adagio | — | ||
| 53-5 | Violin Concerto no. 1, BB 48a (op. posth), Sz36: I. Andante sostenuto | — | ||
| 53-6 | Violin Concerto no. 1, BB 48a (op. posth), Sz36: II. Allegro giocoso | — | ||
| 54-1 | Symphony no. 9 in E minor, op. 95, B. 178, "From the New World": I. Adagio: Allegro molto | — | ||
| 54-2 | Symphony no. 9 in E minor, op. 95, B. 178, "From the New World": II. Largo | — | ||
| 54-3 | Symphony no. 9 in E minor, op. 95, B. 178, "From the New World": III. Scherzo (Molto vivace) | — | ||
| 54-4 | Symphony no. 9 in E minor, op. 95, B. 178, "From the New World": IV. Allegro con fuoco | — | ||
| 55-1 | Symphony no. 1 in D major: I. Langsam. Schleppend | — | ||
| 55-2 | Symphony no. 1 in D major: II. Kräftig bewegt | — | ||
| 55-3 | Symphony no. 1 in D major: III. Feierlich und gemessen, ohne zu schleppen | — | ||
| 55-4 | Symphony no. 1 in D major: IV. Stürmisch bewegt | — | ||
| 56-1 | Symphony no. 4 in G major: I. Bedächtig. Nicht eilen: Recht gemächlich | — | ||
| 56-2 | Symphony no. 4 in G major: II. in gemächlicher Bewegung. Ohne Hast | — | ||
| 56-3 | Symphony no. 4 in G major: III. Ruhevoll (Poco adagio) | — | ||
| 56-4 | Symphony no. 4 in G major: IV. Sehr behaglich: "Wir genießen die himmlischen Freuden" | — | ||
| 57-1 | Messiah, HWV 56, John Tobin edition, Pt. 1: Symphony | — | ||
| 57-2 | Messiah, HWV 56, John Tobin edition, Pt. 1: "Comfort ye, My people" | — | ||
| 57-3 | Messiah, HWV 56, John Tobin edition, Pt. 1: "Ev'ry Valley shall be exalted" | — | ||
| 57-4 | Messiah, HWV 56, John Tobin edition, Pt. 1: III. Chorus: And the glory of the Lord | — | ||
| 57-5 | Messiah, HWV 56, John Tobin edition, Pt. 1: "Thus Saith the Lord" | — | ||
| 57-6 | Messiah, HWV 56, John Tobin edition, Pt. 1: "But who may abide the day of His coming" | — | ||
| 57-7 | Messiah, HWV 56, John Tobin edition, Pt. 1: VI. Chorus: And He shall purify the sons of Levi | — | ||
| 57-8 | Messiah, HWV 56, John Tobin edition, Pt. 1: "Behold, a virgin shall conceive" | — | ||
| 57-9 | Messiah, HWV 56, John Tobin edition, Pt. 1: "O thou that tellest good tidings to Zion" | — | ||
| 57-10 | Messiah, HWV 56, John Tobin edition, Pt. 1: "For behold, darkness shall cover the earth" | — | ||
| 57-11 | Messiah, HWV 56, John Tobin edition, Pt. 1: "The people that walked in darkness" | — | ||
| 57-12 | Messiah, HWV 56, John Tobin edition, Pt. 1: 1II. Chorus: "For unto us a Child is born" | — | ||
| 57-13 | Messiah, HWV 56, John Tobin edition, Pt. 1: 1III. Pifa (Pastoral Symphony) | — | ||
| 57-14 | Messiah, HWV 56, John Tobin edition, Pt. 1: "And there were shepherds abiding in the fields" | — | ||
| 57-15 | Messiah, HWV 56, John Tobin edition, Pt. 1: "And lo, the angel of the Lord" | — | ||
| 57-16 | Messiah, HWV 56, John Tobin edition, Pt. 1: "And the angel said unto them" | — | ||
| 57-17 | Messiah, HWV 56, John Tobin edition, Pt. 1: "And suddenly there was with the angel" | — | ||
| 57-18 | Messiah, HWV 56, John Tobin edition, Pt. 1: "Glory to God in the highest" | — | ||
| 57-19 | Messiah, HWV 56, John Tobin edition, Pt. 1: 1VI. Air: Rejoice greatly, o daughter of Zion | — | ||
| 57-20 | Messiah, HWV 56, John Tobin edition, Pt. 1: "Then shall the eyes of the blind be opened" | — | ||
| 57-21 | Messiah, HWV 56, John Tobin edition, Pt. 1: "He shall feed his flock" | — | ||
| 57-22 | Messiah, HWV 56, John Tobin edition, Pt. 1: 1IX. Chorus: His yoke is easy | — | ||
| 58-1 | Messiah, HWV 56, John Tobin edition, Pt. 2: 20. Chorus: Behold the Lamb of God | — | ||
| 58-2 | Messiah, HWV 56, John Tobin edition, Pt. 2: "He was despised" | — | ||
| 58-3 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Surely He hath borne our griefs" | — | ||
| 58-4 | Messiah, HWV 56, John Tobin edition, Pt. 2: "And with his stripes we are healed" | — | ||
| 58-5 | Messiah, HWV 56, John Tobin edition, Pt. 2: "All we like sheep have gone astray" | — | ||
| 58-6 | Messiah, HWV 56, John Tobin edition, Pt. 2: "All they that see Him laugh Him to scorn" | — | ||
| 58-7 | Messiah, HWV 56, John Tobin edition, Pt. 2: "He trusted in God" | — | ||
| 58-8 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Thy rebuke has broken His heart" | — | ||
| 58-9 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Behold and see if there be any sorrow" | — | ||
| 58-10 | Messiah, HWV 56, John Tobin edition, Pt. 2: "He was cut off out of the land" | — | ||
| 58-11 | Messiah, HWV 56, John Tobin edition, Pt. 2: "But Thou didst not leave His soul in hell" | — | ||
| 58-12 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Lift up your heads, o ye gates" | — | ||
| 58-13 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Unto which of the angels said he at any time" | — | ||
| 58-14 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Let all the angels of God worship Him" | — | ||
| 58-15 | Messiah, HWV 56, John Tobin edition, Pt. 2: 34a. Air: "Thou art gone up on high" | — | ||
| 58-16 | Messiah, HWV 56, John Tobin edition, Pt. 2: 3V. Chorus: The Lord gave the word | — | ||
| 58-17 | Messiah, HWV 56, John Tobin edition, Pt. 2: "How beautiful are the feet" | — | ||
| 58-18 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Their sound is gone out" | — | ||
| 58-19 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Why do the nations so furiously rage together?" | — | ||
| 58-20 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Let us break their bonds asunder" | — | ||
| 58-21 | Messiah, HWV 56, John Tobin edition, Pt. 2: "He that dwelleth in heaven" | — | ||
| 58-22 | Messiah, HWV 56, John Tobin edition, Pt. 2: "Thou shalt break them" | — | ||
| 58-23 | Messiah, HWV 56, John Tobin edition, Pt. 2: 4II. Chorus: "Hallelujah" | — | ||
| 58-24 | Messiah: “I know that my Redeemer liveth” | Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 58-25 | Messiah, HWV 56, John Tobin edition, Pt. 3: 4IV. Chorus: Since by man came death | — | ||
| 58-26 | Messiah, HWV 56, John Tobin edition, Pt. 3: "Behold, I tell you a mystery" | — | ||
| 58-27 | Messiah, HWV 56, John Tobin edition, Pt. 3: "The trumpet shall sound" | — | ||
| 58-28 | Messiah, HWV 56, John Tobin edition, Pt. 3: "Then shall be brought to pass" | — | ||
| 58-29 | Messiah, HWV 56, John Tobin edition, Pt. 3: "O death, where is thy sting?" | — | ||
| 58-30 | Messiah, HWV 56, John Tobin edition, Pt. 3: "But thanks be to God" | — | ||
| 58-31 | Messiah, HWV 56, John Tobin edition, Pt. 3: 50. Air: If God be for us | — | ||
| 58-32 | Messiah, HWV 56, John Tobin edition, Pt. 3: "Worthy is the lamb that was slain" | — | ||
| 58-33 | Messiah, HWV 56, John Tobin Edition, Pt. 3: "Amen" | — | ||
| 59-1 | Moses und Aron, Act 1: "Einziger, ewiger, allgegenwärtiger" | — | ||
| 59-2 | Moses und Aron, Act 1: "Du Sohn meiner Väter" | — | ||
| 59-3 | Moses und Aron, Act 1: "Ich hab'ihn gesehn...Ein lieblicher Gott!" | — | ||
| 59-4 | Moses und Aron, Act 1: Moses? Der den Fronvogt erschlug? | — | ||
| 59-5 | Moses und Aron, Act 1: Ein lieblicher Gott! | — | ||
| 59-6 | Moses und Aron, Act 1: "Bringt ihr Erhörung...In der Wüste wird euch die Reinheit!" | — | ||
| 59-7 | Moses und Aron, Act 1: "Der Einzige, Ewige, Allmächtige" | — | ||
| 59-8 | Moses und Aron, Act 1: "Der Gerechte sieht ihn" | — | ||
| 59-9 | Moses und Aron, Act 1: "Dieser Stab führt euch" | — | ||
| 59-10 | Moses und Aron, Act 1: "Ein Wunder erfüllt uns mit Schrecken" | — | ||
| 59-11 | Moses und Aron, Act 1: "Dein Stab zwingt uns" | — | ||
| 59-12 | Moses und Aron, Act 1: "Alles für die Freiheit!" | — | ||
| 59-13 | Moses und Aron, Act 1: "In der Wüste wird euch die Reinheit" | — | ||
| 60-1 | Moses und Aron, Act 1: Zwischenspiel | — | ||
| 60-2 | Moses und Aron, Act 2: "Vierzig Tage!" | — | ||
| 60-3 | Moses und Aron, Act 2: "Wo ist Moses?...Volk Israels!" | — | ||
| 60-4 | Moses und Aron, Act 2: "Volk Israels!" | — | ||
| 60-5 | Moses und Aron, Act 2: "Dieses Bild bezeugt" | — | ||
| 60-6 | Moses und Aron, Act 2: -Vorbereitungen zum Fest- | — | ||
| 60-7 | Moses und Aron, Act 2: -Tanz der Schlächter- | — | ||
| 60-8 | Moses und Aron, Act 2: "O Götterbild" | — | ||
| 60-9 | Moses und Aron, Act 2: "Hier, o Götter, nehmt die letzten Lumpen" | — | ||
| 60-10 | Moses und Aron, Act 2: "Frei unter eigenen Herren" | — | ||
| 60-11 | Moses und Aron, Act 2: "Du goldener Gott" | — | ||
| 60-12 | Moses und Aron, Act 2: -Verwüstung und Selbstmord- | — | ||
| 60-13 | Moses und Aron, Act 2: "Götter, die ihr Seele schenket" | — | ||
| 60-14 | Moses und Aron, Act 2: "Moses steigt vom Berg herab!" | — | ||
| 60-15 | Moses und Aron, Act 2: "Aron, was hast du getan?...Unvorstellbarer Gott!" | — | ||
| 60-16 | Moses und Aron, Act 2: "Unvorstellbarer Gott!" | — | ||
| 61-1 | Symphony no. 4 in F minor, op. 36, TH.27: I. Andante sostenuto: Moderato con anima - Moderato assai, quasi Andante - Allegro vivo | — | ||
| 61-2 | Symphony no. 4 in F minor, op. 36, TH.27: II. Andantino in modo di canzone | — | ||
| 61-3 | Symphony no. 4 in F minor, op. 36, TH.27: III. Scherzo. Pizzicato ostinato: Allegro | — | ||
| 61-4 | Symphony no. 4 in F minor, op. 36, TH.27: IV. Finale (Allegro con fuoco) | — | ||
| 62-1 | Symphony no. 9 in D minor, WAB 109: I. Feierlich. Misterioso | — | ||
| 62-2 | Symphony no. 9 in D minor, WAB 109: II. Scherzo (Bewegt lebhaft): Trio (Schnell) - Scherzo da capo | — | ||
| 62-3 | Symphony no. 9 in D minor, WAB 109: III. Adagio (Langsam, feierlich) | — | ||
| 63-1 | Piano Concerto no. 1 in B-Flat minor, op. 23, TH 55: I. Allegro non troppo e molto maestoso: Allegro con spirito | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-2 | Piano Concerto no. 1 in B-Flat minor, op. 23, TH 55: II. Andantino semplice: Prestissimo - Tempo I | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-3 | Piano Concerto no. 1 in B-Flat minor, op. 23, TH 55: III. Allegro con fuoco | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-4 | Variations on a Nursery Song, op. 25: Introduzione (Maestoso) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-5 | Variations on a Nursery Song, op. 25: Tema (Allegro) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-6 | Variations on a Nursery Song, op. 25: Var.1: Poco più mosso | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-7 | Variations on a Nursery Song, op. 25: Var.2: Risoluto | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-8 | Variations on a Nursery Song, op. 25: Var.3 | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-9 | Variations on a Nursery Song, op. 25: Var.4: Molto meno mosso (Allegretto moderato) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-10 | Variations on a Nursery Song, op. 25: Var.5: Più mosso | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-11 | Variations on a Nursery Song, op. 25: Var.6: Ancora più mosso (Allegro) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-12 | Variations on a Nursery Song, op. 25: Var.7: Walzer (Tempo giusto) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-13 | Variations on a Nursery Song, op. 25: Var.8: Alla marcia (Allegro moderato) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-14 | Variations on a Nursery Song, op. 25: Var.9: Presto: Andante rubato | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-15 | Variations on a Nursery Song, op. 25: Var.10: Passacaglia (Adagio non troppo) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-16 | Variations on a Nursery Song, op. 25: Var.11: Choral (Maestoso) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 63-17 | Variations on a Nursery Song, op. 25: Finale Fugato (Allegro vivace: Tempo del tema -Molto allegro) | András Schiff, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 64-1 | Symphony no. 3 in A minor, op. 56, MWV N 18, "Scottish": 1a. Introduction | — | ||
| 64-2 | Symphony no. 3 in A minor, op. 56, MWV N 18, "Scottish": 1b. Allegro un poco agitato | — | ||
| 64-3 | Symphony no. 3 in A minor, op. 56, MWV N 18, "Scottish": II. Vivace non troppo | — | ||
| 64-4 | Symphony no. 3 in A minor, op. 56, MWV N 18, "Scottish": III. Adagio | — | ||
| 64-5 | Symphony no. 3 in A minor, op. 56, MWV N 18, "Scottish": 4a. Allegro vivacissimo | — | ||
| 64-6 | Symphony no. 3 in A minor, op. 56, MWV N 18, "Scottish": 4b. Finale: Allegro maestoso assai | — | ||
| 64-7 | Symphony no. 4 in A major, op. 90, MWV N 16, "Italian": I. Allegro vivace | — | ||
| 64-8 | Symphony no. 4 in A major, op. 90, MWV N 16, "Italian": II. Andante con moto | — | ||
| 64-9 | Symphony no. 4 in A major, op. 90, MWV N 16, "Italian": III. Con moto moderato | — | ||
| 64-10 | Symphony no. 4 in A major, op. 90, MWV N 16, "Italian": IV. Saltarello (Presto) | — | ||
| 65-1 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | — | ||
| 65-2 | Symphony no. 5 in C minor, op. 67: II. Andante con moto | — | ||
| 65-3 | Symphony no. 5 in C minor, op. 67: III. Allegro | — | ||
| 65-4 | Symphony no. 5 in C minor, op. 67: IV. Allegro | — | ||
| 65-5 | Symphony no. 4 in B-Flat major, op. 60: I. Adagio: Allegro vivace | — | ||
| 65-6 | Symphony no. 4 in B-Flat major, op. 60: II. Adagio | — | ||
| 65-7 | Symphony no. 4 in B-Flat major, op. 60: III. Allegro vivace | — | ||
| 65-8 | Symphony no. 4 in B-Flat major, op. 60: IV. Allegro ma non troppo | — | ||
| 66-1 | Symphony no. 9 in D minor, op. 125 "Choral": I. Allegro ma non troppo, un poco maestoso | — | ||
| 66-2 | Symphony no. 9 in D minor, op. 125 "Choral": II. Molto vivace | — | ||
| 66-3 | Symphony no. 9 in D minor, op. 125 "Choral": III. Adagio molto e cantabile | — | ||
| 66-4 | Symphony no. 9 in D minor, op. 125 "Choral": IV. Presto: Allegro assai | — | ||
| 67-1 | Symphony no. 7 in E major, WAB 107: I. Allegro moderato | — | ||
| 67-2 | Symphony no. 7 in E major, WAB 107: II. Adagio (Sehr feierlich und sehr langsam) | — | ||
| 67-3 | Symphony no. 7 in E major, WAB 107: III. Scherzo (Sehr schnell) | — | ||
| 67-4 | Symphony no. 7 in E major, WAB 107: IV. Finale (Bewegt, doch nicht schnell) | — | ||
| 68-1 | A Faust Symphony, S. 108: I. Faust | — | ||
| 68-2 | A Faust Symphony, S. 108: II. Gretchen | — | ||
| 68-3 | A Faust Symphony, S. 108: III. Mephistopheles And Final Chorus | — | ||
| 69-1 | 1812 Festival Overture in E-flat major, Op. 49 | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 69-2 | Romeo and Juliet - Fantasy Overture | Chicago Symphony Orchestra, Sir Georg Solti | T-003.506.743-6 | |
| 69-3 | The Nutcracker - Suite: Miniature Overture | Chicago Symphony Orchestra, Sir Georg Solti | T-312.199.363-9 | |
| 69-4 | The Nutcracker - Suite: March | Chicago Symphony Orchestra, Sir Georg Solti | T-304.210.691-8 | |
| 69-5 | The Nutcracker - Suite: Dance of the Sugar-Plum Fairy | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 69-6 | The Nutcracker - Suite: Russian Dance (Trepak) | Chicago Symphony Orchestra, Sir Georg Solti | T-312.199.363-9 | |
| 69-7 | The Nutcracker - Suite: Arabian Dance (Coffee) | Chicago Symphony Orchestra, Sir Georg Solti | T-312.199.363-9 | |
| 69-8 | The Nutcracker - Suite: Chinese Dance (Tea) | Chicago Symphony Orchestra, Sir Georg Solti | T-312.199.363-9 | |
| 69-9 | The Nutcracker - Suite: Dance of the Reed-Pipes | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 69-10 | The Nutcracker - Suite: Waltz of the Flowers | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-1 | 1. KOMMT, IHR TÖCHTER, HELFT MIR KLAGEN | Chicago Symphony Chorus, Glen Ellyn Children’s Chorus, Chicago Symphony Orchestra, Sir Georg Solti | T-010.437.719-6 | |
| 70-2 | St. Matthew Passion, BWV 244: Da Jesus diese Rede vollendet hatte / Herzliebster Jesu, was hast du verbrochen | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-3 | St. Matthew Passion, BWV 244: Da versammleten sich dei Hohenpriester / Ja nicht auf das Fest | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-4 | St. Matthew Passion, BWV 244: Da nun Jesus war zu Bethanien / Wozu dienet dieser Unrat | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-5 | St. Matthew Passion, BWV 244: Da das Jesus merkete | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-6 | Matthäus Passion, BWV244: Du leiber Heiland du | Anne Sofie von Otter | — | |
| 70-7 | St. Matthew Passion, BWV 244: Buß und Reu / Da ging hin der Zwölfen einer | Hans Peter Blochwitz, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-8 | St. Matthew Passion, BWV 244: Blute nur, du liebes Herz | Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-9 | St. Matthew Passion, BWV 244: Aber am ersten Tage der süßen Brot' / Wo willst du, daß wir dir bereiten - Er sprach: Gehet hin in die Stadt - Und sie wurden s | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-10 | St. Matthew Passion, BWV 244: Er antwortete und sprach | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-11 | St. Matthew Passion, BWV 244: Wiewohl mein Herz in Tränen schwimmt | Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-12 | St. Matthew Passion, BWV 244: Ich will dir mein Herze schenken, | Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-13 | St. Matthew Passion, BWV 244: Und da sie den Lobgesang gesprochen hatten - Erkenne mich, mein Hüter | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-14 | St. Matthew Passion, BWV 244: Petrus aber antwortete / Ich will hier bei dir stehen | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-15 | St. Matthew Passion, BWV 244: Da kam Jesus mit ihnen zu einem Hofe | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-16 | St. Matthew Passion, BWV 244: O Schmerz! hier zittert das gequälte Herz | Chicago Symphony Chorus, Anthony Rolfe Johnson, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-17 | St. Matthew Passion, BWV 244: Ich will bei meinem Jesu wachen / Und ging hin ein wenig | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Anthony Rolfe Johnson, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 70-18 | "J.S. BACH: ST. MATTHEW PASSION, BWV 244 - PART ONE - NO.22 RECITATIVE (BASS): ""DER HEILAND FÄLLT VOR SEINEM VATER NIEDER""" | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | T-802.372.990-1 | |
| 70-19 | "J.S. BACH: ST. MATTHEW PASSION, BWV 244 - PART ONE - NO.23 ARIA (BASS): ""GERNE WILL ICH MICH BEQUEMEN""" | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | T-802.372.990-1 | |
| 70-20 | St. Matthew Passion, BWV 244: Und er kam zu seinen Jüngern / Was mein Gott will, das g'scheh allzeit | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-1 | St. Matthew Passion, BWV 244: Und er kam und fand sie aber schlafend | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-2 | St. Matthew Passion, BWV 244: So ist mein Jesus nun gefangen / Sind Blitze, sind Donner | Chicago Symphony Chorus, Anne Sofie von Otter, Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-3 | St. Matthew Passion, BWV 244: Und siehe, einer aus denen | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-4 | """O MENSCH, BEWEIN DEIN SÜNDE GROß""" | Chicago Symphony Chorus, Glen Ellyn Children’s Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-5 | Matthäus Passion, BWV244: Ach, nun ist mein Jesus hin! | Anne Sofie von Otter | — | |
| 71-6 | St. Matthew Passion, BWV 244: Die aber Jesum gegriffen hatten / Mir hat die Welt trüglich gericht' | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-7 | St. Matthew Passion, BWV 244: Und wiewohl viel falsche Zeugen herzutraten | Hans Peter Blochwitz, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-8 | St. Matthew Passion, BWV 244: Mein Jesus schweigt zu falschen Lügen stille | Anthony Rolfe Johnson, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-9 | St. Matthew Passion, BWV 244: Geduld, Geduld! / Und der Hohepriester antwortete - Er ist des Todes schuldig! - Da speieten sie aus in sein Angesicht - Weissas Christe, Wer hat dish so geschlagen | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Anthony Rolfe Johnson, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-10 | St. Matthew Passion, BWV 244: Petrus aber saß draußen im Palast | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-11 | St. Matthew Passion, BWV 244: Warhlich, du bist auch einer von denen / Da hub er an, sich zu verfluchen | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-12 | St. Matthew Passion, BWV 244: Erbarme dich, mein Gott | Anne Sofie von Otter, Chicago Symphony Orchestra, Sir Georg Solti | T-312.438.860-5 | |
| 71-13 | """BIN ICH GLEICH VON DIR GEWICHEN""" | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | T-900.078.780-4 | |
| 71-14 | St. Matthew Passion, BWV 244: Des Morgens aber hielten alle Hohenpriester - Was gehet uns das an - Und er warf die Silberlinge in den Tempel | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-15 | St. Matthew Passion, BWV 244: Gebt mir meinen Jesum wieder! | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-16 | St. Matthew Passion, BWV 244: Sie hielten aber einen Rat | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 71-17 | """ST. MATTHEW PASSION, BWV 244 - PART TWO: NO.44 CHORAL: """"BEFIEL DU DEINE WEGE""""" | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | T-205.082.497-7 | |
| 72-1 | St. Matthew Passion, BWV 244: Auf das Fest aber hatte der Landpfleger Gewohnheit - Laß ihn kreuzigen! - Wie wunderbarlich ist doch diese Strafe! | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-2 | St. Matthew Passion, BWV 244: Der Landpfleger sagte / Er hat uns allen wohlgetan | Hans Peter Blochwitz, Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-3 | St. Matthew Passion, BWV 244: Aus Liebe will mein Heiland sterben | Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-4 | St. Matthew Passion, BWV 244: Sie schrieen aber noch mehr / Laß ihn kreuzigen! - Da aber Pilatus sahe - Sein Blut komme über uns - Da gab er ihnen Barrabam l | Hans Peter Blochwitz, Tom Krause, Chicago Symphony Chorus, Glen Ellyn Children’s Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-5 | Matthäus Passion, BWV244: Erbarm es Gott! | Anne Sofie von Otter | — | |
| 72-6 | Matthäus Passion, BWV244: Können Tränen meiner Wangen | Anne Sofie von Otter | — | |
| 72-7 | St. Matthew Passion, BWV 244: Da nahmen die Kriegsknechte / Gegrüßet seist du, Judenkonig! - Und speieten ihn an - O Haupt voll Blut und Wunden - Und da sie verspottet hatten | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-8 | St. Matthew Passion, BWV 244: Ja freilich will in uns das Fleisch und Blut | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-9 | "J.S. BACH: ST. MATTHEW PASSION, BWV 244 - PART TWO - NO.57 ARIA (BASS): ""KOMM, SÜSSES KREUZ""" | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | T-802.372.990-1 | |
| 72-10 | St. Matthew Passion, BWV 244: Und da sie an die Stätte kamen / Der du den Tempel Gottes zerbrichst - Desgleichen auch die Hohenpriester - Andern hat er gehol, Desgleichen schmaheten ihn auch die Morder | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-11 | Matthäus Passion, BWV244: Ach Golgotha, unsel’ges Golgotha! | Anne Sofie von Otter | — | |
| 72-12 | Matthäus Passion, BWV244: Sehet, Jesus hat die Hand | Anne Sofie von Otter | — | |
| 72-13 | St. Matthew Passion, BWV 244: Und von der sechsten Stunde an / Der rufet den Elias - Und bald lief einer unter ihnen - Halt! laß sehen - Aber Jesus schriee arnal | Hans Peter Blochwitz, Olaf Bär, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-14 | """WENN ICH EINMAL SOLL SCHEIDEN""" | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | T-301.182.705-3 | |
| 72-15 | St. Matthew Passion, BWV 244: Und siehe da, der Vorhang im Tempel zerriss - Wahrlich, dieser ist Gottes Sohn gewesen - Und es waren viel Weiber da | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-16 | St. Matthew Passion, BWV 244: Am Abend, da es kühle war | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-17 | "J.S. BACH: ST. MATTHEW PASSION, BWV 244 - PART TWO - NO.65 ARIA (BASS): ""MACHE DICH, MEIN HERZE, REIN""" | Tom Krause, Chicago Symphony Orchestra, Sir Georg Solti | T-802.372.990-1 | |
| 72-18 | St. Matthew Passion, BWV 244: Und Joseph nahm den Leib / Herr, wir haben gedacht - Pilatussprach zu ihnen | Hans Peter Blochwitz, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-19 | St. Matthew Passion, BWV 244: Nun ist der Herr zur Ruh gebracht | Chicago Symphony Chorus, Tom Krause, Anne Sofie von Otter, Anthony Rolfe Johnson, Kiri Te Kanawa, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 72-20 | St. Matthew Passion, BWV 244: Wir setzen uns mit Tränen nieder | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 73-1 | Symphony no. 6 in F major, op. 68 "Pastoral": I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Allegro ma non troppo) | — | ||
| 73-2 | Symphony no. 6 in F major, op. 68 "Pastoral": II. Szene am Bach (Andante molto mosso) | — | ||
| 73-3 | Symphony no. 6 in F major, op. 68 "Pastoral": III. Lustiges Zusammensein der Landleute (Allegro) | — | ||
| 73-4 | Symphony no. 6 in F major, op. 68 "Pastoral": IV. Gewitter, Sturm (Allegro) | — | ||
| 73-5 | Symphony no. 6 in F major, op. 68 "Pastoral": III. Lustiges Zusammensein der Landleute (Allegro): IV. Gewitter. Sturm (Allegro) - V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Allegretto) | — | ||
| 73-6 | Overture "Leonore no. 3", op. 72b | — | ||
| 74-1 | Symphony no. 7 in A major, op. 92: I. Poco sostenuto: Vivace | — | ||
| 74-2 | Symphony no. 7 in A major, op. 92: II. Allegretto | — | ||
| 74-3 | Symphony no. 7 in A major, op. 92: III. Presto: Assai meno presto | — | ||
| 74-4 | Symphony no. 7 in A major, op. 92: IV. Allegro con brio | — | ||
| 74-5 | Symphony no. 8 in F major, op. 93: I. Allegro vivace e con brio | — | ||
| 74-6 | Symphony no. 8 in F major, op. 93: II. Allegretto scherzando | — | ||
| 74-7 | Symphony no. 8 in F major, op. 93: III. Tempo di menuetto | — | ||
| 74-8 | Symphony no. 8 in F major, op. 93: IV. Allegro vivace | — | ||
| 75-1 | Symphony no. 5 in E minor, op. 64, TH.29: I. Andante: Allegro con anima | — | ||
| 75-2 | Symphony no. 5 in E minor, op. 64, TH.29: II. Andante cantabile, con alcuna licenza: Moderato con anima | — | ||
| 75-3 | Symphony no. 5 in E minor, op. 64, TH.29: III. Valse (Allegro moderato) | — | ||
| 75-4 | Symphony no. 5 in E minor, op. 64, TH.29: IV. Finale (Andante maestoso: Allegro vivace) | — | ||
| 75-5 | Swan Lake (Suite), op. 20a, TH 219: I. Scene: Swan Theme | — | ||
| 75-6 | Swan Lake (Suite), op. 20a, TH 219: II. Valse in A | — | ||
| 75-7 | Swan Lake (Suite), op. 20a, TH 219: III. Danse des petits cygnes | — | ||
| 75-8 | Swan Lake (Suite), op. 20a, TH 219: IV. Scene | — | ||
| 75-9 | Swan Lake (Suite), op. 20a, TH 219: 5a. Danse Hongroise | — | ||
| 75-10 | Swan Lake (Suite), op. 20a, TH 219: 5b. Danse Espagnole | — | ||
| 75-11 | Swan Lake (Suite), op. 20a, TH 219: 5c. Danse Napolitaire | — | ||
| 76-1 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): I. Andante tranquillo | — | ||
| 76-2 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): II. Allegro | — | ||
| 76-3 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): III. Adagio | — | ||
| 76-4 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): IV. Allegro molto | — | ||
| 76-5 | Divertimento for Strings, BB 118 (Sz.113): I. Allegro non troppo | — | ||
| 76-6 | Divertimento for Strings, BB 118 (Sz.113): II. Molto adagio | — | ||
| 76-7 | Divertimento for Strings, BB 118 (Sz.113): III. Allegro assai | — | ||
| 76-8 | The Miraculous Mandarin, BB 82, op. 19 (Sz.73): Suite | — | ||
| 77-1 | Symphony no. 1 in C major, op. 21: I. Adagio molto: Allegro con brio | — | ||
| 77-2 | Symphony no. 1 in C major, op. 21: II. Andante cantabile con moto | — | ||
| 77-3 | Symphony no. 1 in C major, op. 21: III. Menuetto (Allegro molto e vivace) | — | ||
| 77-4 | Symphony no. 1 in C major, op. 21: IV. Finale (Adagio: Allegro molto e vivace) | — | ||
| 77-5 | Symphony no. 2 in D major, op. 36: I. Adagio molto: Allegro con brio | — | ||
| 77-6 | Symphony no. 2 in D major, op. 36: II. Larghetto | — | ||
| 77-7 | Symphony no. 2 in D major, op. 36: III. Scherzo (Allegro) | — | ||
| 77-8 | Symphony no. 2 in D major, op. 36: IV. Allegro molto | — | ||
| 78-1 | Symphony no. 3 in E-Flat major, op. 55 "Eroica": I. Allegro con brio | — | ||
| 78-2 | Symphony no. 3 in E-Flat major, op. 55 "Eroica": II. Marcia funèbre (Adagio assai) | — | ||
| 78-3 | Symphony no. 3 in E-Flat major, op. 55 "Eroica": III. Scherzo (Allegro vivace) | — | ||
| 78-4 | Symphony no. 3 in E-Flat major, op. 55 "Eroica": IV. Finale (Allegro molto) | — | ||
| 78-5 | Egmont Overture op. 84 | — | ||
| 79-1 | Symphony no. 8 in C minor, op. 65: I. Adagio | — | ||
| 79-2 | Symphony no. 8 in C minor, op. 65: II. Allegretto | — | ||
| 79-3 | Symphony no. 8 in C minor, op. 65: III. Allegro non troppo | — | ||
| 79-4 | Symphony no. 8 in C minor, op. 65: IV. Largo | — | ||
| 79-5 | Symphony no. 8 in C minor, op. 65: V. Allegretto | — | ||
| 80-1 | Nabucco, Act 1: "Gli arredi festivi" | — | ||
| 80-2 | Nabucco, Act 3: "Va, pensiero, sull'ali dorate" | — | ||
| 80-3 | I Lombardi alla prima crociata, Act 3: Processione: "Gerusalem" | — | ||
| 80-4 | I Lombardi alla prima crociata, Act 4: Coro: "O signore, dal tetto natio" | — | ||
| 80-5 | Macbeth, Act 3: Coro d'Introduzione: Incantesimo: "Tre volte miagola la gatta in fregola" | — | ||
| 80-6 | Macbeth, Act 4: Coro di Profughi Scozzesi: "Patria oppressa" | — | ||
| 80-7 | I Masnadieri, Act 3: Coro: "Le rube, gli stupri" | — | ||
| 80-8 | Rigoletto, Act 1: "Zitti, zitti" | — | ||
| 80-9 | Il Trovatore, Act 2: "Vedi! le fosche notturne spoglie" (Anvil Chorus) | — | ||
| 80-10 | Il Trovatore, Act 3: "Squilli, echeggi la tromba" | — | ||
| 80-11 | La traviata, Act 2: "Noi siamo zingarelle: Di Madride noi siam mattadori" | — | ||
| 80-12 | Un ballo in maschera, Act 1: "Posa in pace" | — | ||
| 80-13 | Don Carlo, Act 3: "Spuntato ecco il di d'esultanza" | — | ||
| 80-14 | Aida, Act 2: "Gloria all'Egitto" | — | ||
| 80-15 | Otello, Act 1: "Fuoco di gioia!" | — | ||
| 80-16 | Messa da Requiem: IV. Sanctus | — | ||
| 81-1 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Kyrie: I. Kyrie Eleison I | — | ||
| 81-2 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Kyrie: II. Christe eleison | — | ||
| 81-3 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Kyrie: III. Kyrie eleison II | — | ||
| 81-4 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: IV. Gloria in excelsis Deo | — | ||
| 81-5 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: V. Et in terra pax | — | ||
| 81-6 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: VI. Laudamus te | — | ||
| 81-7 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: VII. Gratias agimus tibi | — | ||
| 81-8 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: VIII. Domine Deus | — | ||
| 81-9 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: IX. Qui tollis peccata mundi | — | ||
| 81-10 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: X. Qui sedes ad dexteram Patris | — | ||
| 81-11 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: 1I. Quoniam tu solus sanctus | — | ||
| 81-12 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: 1II. Cum Sancto Spiritu | — | ||
| 82-1 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1III. Credo in unum Deum | — | ||
| 82-2 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1IV. Patrem omnipotentem | — | ||
| 82-3 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1V. Et in unum Dominum | — | ||
| 82-4 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1VI. Et incarnatus est | — | ||
| 82-5 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1VII. Crucifixus | — | ||
| 82-6 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1VIII. Et resurrexit | — | ||
| 82-7 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 1IX. Et in Spiritum Sanctum | — | ||
| 82-8 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 20. Confiteor unum baptisma | — | ||
| 82-9 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Credo: 2I. Et expecto resurrectionem | — | ||
| 82-10 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Sanctus: 2II. Sanctus | — | ||
| 82-11 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Sanctus: 2III. Osanna in excelsis | — | ||
| 82-12 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Sanctus: 2IV. Benedictus | — | ||
| 82-13 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Sanctus: 2V. Osanna in excelsis | — | ||
| 82-14 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Agnus Dei: 2VI. Agnus Dei | — | ||
| 82-15 | Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Agnus Dei: 2VII. Dona nobis pacem | — | ||
| 83-1 | Symphony no. 8 in C minor, WAB 108, Ed. Leopold Nowak (1904-1991): I. Allegro moderato | — | ||
| 83-2 | Symphony no. 8 in C minor, WAB 108, Ed. Leopold Nowak (1904-1991): II. Scherzo: Allegro moderato: Trio: Langsam | — | ||
| 83-3 | Symphony no. 8 in C minor, WAB 108, Ed. Leopold Nowak (1904-1991): III. Adagio: Feierlich langsam | — | ||
| 83-4 | Symphony no. 8 in C minor, WAB 108, Ed. Leopold Nowak (1904-1991): IV. Finale: Feierlich, nicht schnell | — | ||
| 84-1 | Symphony no. 5 in C-Sharp minor, Pt. 1: I. Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt: Plötzlich schneller. Leidenschaftlich. Wild - Tempo I) | — | ||
| 84-2 | Symphony no. 5 in C-Sharp minor, Pt. 1: II. Stürmisch bewegt (Mit größter Vehemenz: Bedeutend langsamer - Tempo I subito) | — | ||
| 84-3 | Symphony no. 5 in C-Sharp minor, Pt. 2: III. Scherzo (Kräftig, nicht zu schnell) | — | ||
| 84-4 | Symphony no. 5 in C-Sharp minor, Pt. 3: IV. Adagietto (Sehr langsam) | — | ||
| 84-5 | Symphony no. 5 in C-Sharp minor, Pt. 3: V. Rondo-Finale (Allegro) | — | ||
| 85-1 | Symphony no. 10 in E minor, op. 93: I. Moderato | — | ||
| 85-2 | Symphony no. 10 in E minor, op. 93: II. Allegro | — | ||
| 85-3 | Symphony no. 10 in E minor, op. 93: III. Allegretto | — | ||
| 85-4 | Symphony no. 10 in E minor, op. 93: IV. Andante: Allegro | — | ||
| 86-1 | Symphony no. 2 in C minor, WAB 102, Ed. Leopold Nowak: I. Moderato | — | ||
| 86-2 | Symphony no. 2 in C minor, WAB 102, Ed. Leopold Nowak: II. Andante: Feierlich, etwas bewegt | — | ||
| 86-3 | Symphony no. 2 in C minor, WAB 102, Ed. Leopold Nowak: III. Scherzo: Mässig schnell | — | ||
| 86-4 | Symphony no. 2 in C minor, WAB 102, Ed. Leopold Nowak: IV. Finale: Mehr schnell | — | ||
| 87-1 | Nocturnes : I. Nuages | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 87-2 | Nocturnes : II. Fêtes | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 87-3 | Nocturnes : III. Sirènes | Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 87-4 | La Mer : I. De l'aube à midi sur la mer | Chicago Symphony Orchestra, Sir Georg Solti | T-070.160.313-5 | |
| 87-5 | La Mer : II. Jeux de vagues | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 87-6 | La Mer : III. Dialogue du vent et de la mer | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 87-7 | Prélude à l'après-midi d'un faune | Donald Peck, Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 88-1 | Otello, Act 1: Una vela! Una vela! | — | ||
| 88-2 | Otello, Act 1: Esultate! | — | ||
| 88-3 | Otello, Act 1: Roderigo, ebben che pensi? | — | ||
| 88-4 | Otello, Act 1: Fuoco di gioia! | — | ||
| 88-5 | Otello, Act 1: Roderigo, beviam! | — | ||
| 88-6 | Otello, Act 1: Inaffia l'ugola! Trinca, tracanna (Brindisi) | — | ||
| 88-7 | Otello, Act 1: Capitano, v'attende la fazione ai baluardi | — | ||
| 88-8 | Otello, Act 1: Abbasso le spade! | — | ||
| 88-9 | Otello, Act 1: Già nella notte densa...Venga la morte | — | ||
| 88-10 | Otello, Act 2: Non ti crucciar | — | ||
| 88-11 | Otello, Act 2: Vanne! la tua meta già vedo | — | ||
| 88-12 | Otello, Act 2: Credo in un Dio crudel | — | ||
| 88-13 | Otello, Act 2: Ciò m'accora | — | ||
| 88-14 | Otello, Act 2: Dove guardi splendono | — | ||
| 88-15 | Otello, Act 2: D'un uom che geme sotto il tuo disdegno | — | ||
| 88-16 | Otello, Act 2: Se inconscia, contro te, sposo, ho peccato | — | ||
| 88-17 | Otello, Act 2: Desdemona rea! | — | ||
| 88-18 | Otello, Act 2: Tu?! Indietro! fuggi! | — | ||
| 88-19 | Otello, Act 2: Ora e per sempre addio | — | ||
| 88-20 | Otello, Act 2: Pace, signor | — | ||
| 88-21 | Otello, Act 2: Era la notte, Cassio dormia | — | ||
| 88-22 | Otello, Act 2: Oh! mostruosa colpa!...Ah! mille vite | — | ||
| 88-23 | Otello, Act 2: Si, pel ciel marmoreo giuro! | — | ||
| 89-1 | Otello, Act 3: La vedetta del porto | — | ||
| 89-2 | Otello, Act 3: Continua | — | ||
| 89-3 | Otello, Act 3: Dio ti giocondi, o sposo | — | ||
| 89-4 | Otello, Act 3: Esterrefatta fisso | — | ||
| 89-5 | Otello, Act 3: Dio! mi potevi scagliar | — | ||
| 89-6 | Otello, Act 3: Cassio è là! | — | ||
| 89-7 | Otello, Act 3: Vieni; l'aula è deserta | — | ||
| 89-8 | Otello, Act 3: ...e intanto, giacchè non si stanca mai | — | ||
| 89-9 | Otello, Act 3: Quest'è il segnale | — | ||
| 89-10 | Otello, Act 3: Il Doge ed il Senato salutano | — | ||
| 89-11 | Otello, Act 3: Messeri! Il Doge | — | ||
| 89-12 | Otello, Act 3: A terra!...si...nel livido fango | — | ||
| 89-13 | Otello, Act 3: Quell' innocente un fremito | — | ||
| 89-14 | Otello, Act 3: Fuggite! | — | ||
| 89-15 | Otello, Act 4: Era più calmo? | — | ||
| 89-16 | Otello, Act 4: Mia madre aveva una povera ancella | — | ||
| 89-17 | Otello, Act 4: "Piangea cantando nell'erma landa..." | — | ||
| 89-18 | Otello, Act 4: Ave Maria, piena di grazia | — | ||
| 89-19 | Otello, Act 4: Chi e là? | — | ||
| 89-20 | Otello, Act 4: Diceste questa sera le vostre preci? | — | ||
| 89-21 | Otello, Act 4: Aprite! Aprite! | — | ||
| 89-22 | Otello, Act 4: Niun mi tema | — | ||
| 90-1 | Symphonie fantastique, op. 14, H 48: I. Rêveries. Passions (Largo: Allegro agitato ed appassionato assai) | — | ||
| 90-2 | Symphonie fantastique, op. 14, H 48: II. Un bal (Valse: Allegro non troppo) | — | ||
| 90-3 | Symphonie fantastique, op. 14, H 48: III. Scène aux champs (Adagio) | — | ||
| 90-4 | Symphonie fantastique, op. 14, H 48: IV. Marche au supplice (Allegretto non troppo) | — | ||
| 90-5 | Symphonie fantastique, op. 14, H 48: V. Songe d'une nuit du Sabbat (Larghetto: Allegro - Ronde du Sabbat: Poco meno mosso) | — | ||
| 90-6 | Les Préludes, S. 97: "Symphonic Poem no. 3" | — | ||
| 91-1 | Symphony no. 3 in D minor, WAB 103, Edition Leopold Nowak: I. Gemäßigt, mehr bewegt, misterioso | — | ||
| 91-2 | Symphony no. 3 in D minor, WAB 103, Edition Leopold Nowak: II. Andante: Bewegt, feierlich, quasi Adagio | — | ||
| 91-3 | Symphony no. 3 in D minor, WAB 103, Edition Leopold Nowak: III. Scherzo: Ziemlich schnell | — | ||
| 91-4 | Symphony no. 3 in D minor, WAB 103, Edition Leopold Nowak: IV. Finale: Allegro | — | ||
| 92-1 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: no. 1 Einleitung/Rez.: "Seht wie der strenge Winter..." | — | ||
| 92-2 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: no. 2 Chor: "Komm, holder Lenz!" | — | ||
| 92-3 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: Nos.3&4 "Vom Widder strahlet jetzt"-"Schon eilet froh" | — | ||
| 92-4 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: Nos.5&6 "Der Landmann"-"Sei nun gnädig, milder Himmel" | — | ||
| 92-5 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: no. 7 Rez.: "Erhört ist unser Flehn" | — | ||
| 92-6 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: no. 8 "O wie lieblich ist der Anblick" | — | ||
| 92-7 | Die Jahreszeiten: Hob. XXI:3, Der Frühling: no. 9 "Ewiger, mächtiger, gütiger Gott" | — | ||
| 92-8 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 10 Einleitung/Rez.: "In grauen Schleier" | — | ||
| 92-9 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 11 Arie/Rez.: "Der munt're Hirt" | — | ||
| 92-10 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 12 Rez: "Die Morgentöte" - Terzett und Chor | — | ||
| 92-11 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 13&14 Rez.: "Nun regt und bewegt" - Rez.: "Die Mittagsonne" | — | ||
| 92-12 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 15 Kavatine: "Dem Druck erlieget" | — | ||
| 92-13 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 16 Rez.: "Willkommen jetzt" | — | ||
| 92-14 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 17 Arie: "Welche Labung" | — | ||
| 92-15 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 18 Rez.: "O seht!" | — | ||
| 92-16 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 19 Chor: "Ach, das Ungewitter" | — | ||
| 92-17 | Die Jahreszeiten: Hob. XXI:3, Der Sommer: no. 20 Terzett und chor: "Die düstren Wolken" | — | ||
| 93-1 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 19 Einleitung/Rez.: "Was durch..." - Rez.: "Den reichen Vorrat" | — | ||
| 93-2 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 20 Terzett mit Chor: "So lohnet die Natur" | — | ||
| 93-3 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 21 Rez.: "Seht, wie zum Haselbusche" | — | ||
| 93-4 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 22 Duett: "Ihr schönen aus der Stadt" | — | ||
| 93-5 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 23 Rez: "Nun zeiget" - No.24 Aria "Seht auf" | — | ||
| 93-6 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 25 Rez.: "Hier treibt..." - No.26 Chor: "Hört, hört" | — | ||
| 93-7 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 27 Rez.: "Am Rebenstocke" | — | ||
| 93-8 | Die Jahreszeiten: Hob. XXI:3, Der Herbst: no. 28 Chor: "Juchhe! Juchhe!" | — | ||
| 93-9 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 29a Einleitung | — | ||
| 93-10 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 29b Rez.: "Nun senket sich" | — | ||
| 93-11 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 30 Kavatine: "Licht und Leben sind geschwächet" | — | ||
| 93-12 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 31 Rez: "Gefesselt steht" No.32 "Hier steht" | — | ||
| 93-13 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 33 Rez.: "So wie er naht" | — | ||
| 93-14 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 34 Lied mit Chor: "Knurre, schnurre, knurre" | — | ||
| 93-15 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 35 "Abgesponnen ist" - No.36 "Ein Mädchen, das auf" | — | ||
| 93-16 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 37 "Vom dürren Osten" No.38 "Erblicke hier"...Recit "Sie bleibt allein und leitet uns " | — | ||
| 93-17 | Die Jahreszeiten: Hob. XXI:3, Der Winter: no. 39 Terzett und Doppelchor: "Dann bricht der grosse Morgen an" | — | ||
| 94-1 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown: Die Vorstellung des Chaos | — | ||
| 94-2 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Im Anfange schuf Gott Himmel und Erde | — | ||
| 94-3 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Nun schwanden vor dem heiligen Strahle | — | ||
| 94-4 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Und Gott machte das Firmament...Mit Staunen sieht das W | — | ||
| 94-5 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Mit Staunen sieht das Wunderwerk | — | ||
| 94-6 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Und Gott sprach: "Es sammle sich das Wasser" | — | ||
| 94-7 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Rollend in schäumenden Wellen | — | ||
| 94-8 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Und Gott sprach: "Es bringe die Erde Gras hervor" | — | ||
| 94-9 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Nun beut die Flur das frische Grün | — | ||
| 94-10 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Und die himmlischen Heerscharen verkündigten | — | ||
| 94-11 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Stimmt an die Saiten, ergreift die Leier! | — | ||
| 94-12 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Und Gott sprach: "Es sei'n Lichter..." | — | ||
| 94-13 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: In vollem Glanze steiget jetzt die Sonne | — | ||
| 94-14 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 1: Die Himmel erzählen die Ehre Gottes | — | ||
| 95-1 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Und Gott sprach: "Es bringe das Wasser in der Fülle her | — | ||
| 95-2 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Auf starken Fittiche | — | ||
| 95-3 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Und Gott schuf grosse Walfische | — | ||
| 95-4 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Und die Engel rührten ihr' unsterblichen Harfen | — | ||
| 95-5 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: In holder Anmut stehn: Der Herr ist groß...macht" | — | ||
| 95-6 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Und Gott sprach: "Es bringe die Erde hervor" | — | ||
| 95-7 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Gleich öffnet sich der Erde Schoß | — | ||
| 95-8 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Nun scheint in vollem Glanze der Himmel | — | ||
| 95-9 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Und Gott schuf den Menschen | — | ||
| 95-10 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Mit Würd und Hoheit angetan | — | ||
| 95-11 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Und Gott sah jedes Ding | — | ||
| 95-12 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 2: Vollendet ist das große Werk | — | ||
| 95-13 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 3: Aus Rosenwolken bricht | — | ||
| 95-14 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 3: Von deiner Güt', o Herr und Gott | — | ||
| 95-15 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 3: Nun ist die erste Pflicht erfüllt | — | ||
| 95-16 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 3: Holde Gattin ! | — | ||
| 95-17 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 3: O glücklich Paar | — | ||
| 95-18 | Die Schöpfung, Hob.XXI:2, Ed. A Peter Brown, Pt. 3: Singt dem Herren, alle Stimmen | — | ||
| 96-1 | Scenes from Lenau's "Faust", S. 110: II. The Dance in the Village Inn (1st Mephisto Waltz) | — | ||
| 96-3 | Hungarian Sketches, Sz. 97: I. An Evening in the Village | — | ||
| 96-4 | Hungarian Sketches, Sz. 97: II. Bear Melody | — | ||
| 96-5 | Hungarian Sketches, Sz. 97: III. Melody | — | ||
| 96-6 | Hungarian Sketches, Sz. 97: IV. Slightly Tipsy | — | ||
| 96-7 | Hungarian Sketches, Sz. 97: V. Swineherd's Dance | — | ||
| 96-8 | Prinz Csongor und die Kobolde (Introduction & Scherzo), op. 10 | — | ||
| 96-9 | Roumanian Folk Dances, BB 76 (Sz. 68): I. Stick Dance (from Mezöszabad) | — | ||
| 96-10 | Roumanian Folk Dances, BB 76 (Sz. 68): II. Sash Dance (from Egres) | — | ||
| 96-11 | Roumanian Folk Dances, BB 76 (Sz. 68): III. in One Spot (from Egres) | — | ||
| 96-12 | Roumanian Folk Dances, BB 76 (Sz. 68): IV. Horn Dance (from Bisztra) | — | ||
| 96-13 | Roumanian Folk Dances, BB 76 (Sz. 68): V. Roumanian Polka (from Belényes) | — | ||
| 96-14 | Roumanian Folk Dances, BB 76 (Sz. 68): VI. Fast Dance (from Belényes) | — | ||
| 96-15 | Roumanian Folk Dances, BB 76 (Sz. 68): VII. Fast Dance (from Nyágra) | — | ||
| 96-16 | Háry János Suite: I. Prelude. The Fairy Tale begins | — | ||
| 96-17 | Háry János Suite: II. Viennese musical clock | — | ||
| 96-18 | Háry János Suite: III. Song | — | ||
| 96-19 | Háry János Suite: IV. The Battle and Defeat of Napoleon | — | ||
| 96-20 | Háry János Suite: V. Intermezzo | — | ||
| 96-21 | Háry János Suite: VI. Entrance of the Emperor and his Court | — | ||
| 97-1 | Petrouchka, Version 1911: Tableau I: The Shrovetide Fair | — | ||
| 97-2 | Petrouchka, Version 1911: Tableau II: Petrushka's Room | — | ||
| 97-3 | Petrouchka, Version 1911: Tableau III: The Blackamoor & The Ballerina | — | ||
| 97-5 | Jeu de cartes: Première donne | — | ||
| 97-6 | Jeu de cartes: Deuxième donne | — | ||
| 97-7 | Jeu de cartes: Troisième donne | — | ||
| 98-1 | Symphony no. 0 in D minor, WAB 100, 1869 version, ed. Leopold Nowak: I. Allegro | — | ||
| 98-2 | Symphony no. 0 in D minor, WAB 100, 1869 version, ed. Leopold Nowak: II. Andante | — | ||
| 98-3 | Symphony no. 0 in D minor, WAB 100, 1869 version, ed. Leopold Nowak: III. Scherzo: Presto | — | ||
| 98-4 | Symphony no. 0 in D minor, WAB 100, 1869 version, ed. Leopold Nowak: IV. Finale: Moderato | — | ||
| 99-1 | Symphony no. 1 in C minor, WAB 101, "Linz Version" 1866: I. Allegro molto moderato | — | ||
| 99-2 | Symphony no. 1 in C minor, WAB 101, "Linz Version" 1866: II. Adagio | — | ||
| 99-3 | Symphony no. 1 in C minor, WAB 101, "Linz Version" 1866: III. Scherzo. Lebhaft | — | ||
| 99-4 | Symphony no. 1 in C minor, WAB 101, "Linz Version" 1866: IV. Finale. Bewegt und feurig | — | ||
| 100-1 | Babi Yar | — | ||
| 100-2 | Symphony no. 13, op. 113"Babi Yar": I. Adagio: "Babi Yar" | — | ||
| 100-3 | Humour | — | ||
| 100-4 | Symphony no. 13, op. 113"Babi Yar": II. Allegretto: "Humour" | — | ||
| 100-5 | In The Store | — | ||
| 100-6 | Fears | — | ||
| 100-7 | A Career | — | ||
| 100-8 | Symphony no. 13, op. 113"Babi Yar": III. Adagio: "In the Store" | — | ||
| 100-9 | Symphony no. 13, op. 113"Babi Yar": IV. Largo: "Fears" | — | ||
| 100-10 | Symphony no. 13, op. 113"Babi Yar": V. Allegretto: "A Career" | — | ||
| 101-1 | Die Meistersinger von Nürnberg, WWV 96: Prelude | — | ||
| 101-2 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Da zu dir der Heiland kam" | — | ||
| 101-3 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Verweilt!: Ein Wort" | — | ||
| 101-4 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Da wär der Ritter ja am rechten Ort | — | ||
| 101-5 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "David! Was stehst?" | — | ||
| 101-6 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Mein Herr! Der Singer Meisterschlag" | — | ||
| 101-7 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Der Meister Tön und Weisen" | — | ||
| 101-8 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Aller End' ist doch David der Allergescheit'st | — | ||
| 101-9 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Seid meiner Treue wohl versehen" | — | ||
| 101-10 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Gott grüss' euch, Meister! | — | ||
| 101-11 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Beliebt's, wir schreiten zum Merkerwahl | — | ||
| 101-12 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Das heisst ein Wort, ein Wort ein Mann! | — | ||
| 101-13 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Verzeiht, vielleicht schon ginget ihr zu weit" | — | ||
| 101-14 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Wohl Meister! Zur Tagesordnung kehrt | — | ||
| 101-15 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Am stillen Herd" | — | ||
| 101-16 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Nun, Meister! Wenn's gefällt" | — | ||
| 101-17 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Was Euch zum Liede Richt und Schnur" | — | ||
| 102-1 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Fanget an!- So rief der Lenz in den Wald | — | ||
| 102-2 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Seid ihr nun fertig? | — | ||
| 102-3 | Die Meistersinger von Nürnberg, WWV 96, Act 1: "Halt Meister! Nicht so geeilt!" | — | ||
| 102-4 | Die Meistersinger von Nürnberg, WWV 96, Act 1: Doch wird's wohl jetzt mir kund | — | ||
| 102-5 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Johannistag! Johannistag!" | — | ||
| 102-6 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Was giebt's? Treff' dich wieder am Schlag? | — | ||
| 102-7 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Nicht doch, 's ist mild und labend | — | ||
| 102-8 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Was duftet doch der Flieder" | — | ||
| 102-9 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Gut'n Abend, Meister!" | — | ||
| 102-10 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Könnt's ein Witwer nicht gelingen? | — | ||
| 102-11 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Das dacht ich wohl" | — | ||
| 102-12 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Da ist er!" | — | ||
| 102-13 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Hört, ihr Leut, und laßt euch sagen | — | ||
| 102-14 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Jerum! Jerum!" | — | ||
| 102-15 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Mich schmerzt das Lied, ich weiß nicht wie | — | ||
| 102-16 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Was das eu'r Lied? | — | ||
| 102-17 | Die Meistersinger von Nürnberg, WWV 96, Act 2: "Den Tag seh' ich erscheinen" | — | ||
| 102-18 | Die Meistersinger von Nürnberg, WWV 96, Act 2: Zum Teufel mit dir, verdammter Kerl! | — | ||
| 103-1 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Prelude | — | ||
| 103-2 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Gleich, Meister! Hier!" | — | ||
| 103-3 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Blumen und Bänder seh ich dort? | — | ||
| 103-4 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Wahn! Wahn! Überall Wahn!" | — | ||
| 103-5 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Grüß Gott, mein Junker" | — | ||
| 103-6 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Mein Freund, in holder Jugendzeit | — | ||
| 103-7 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Morgenlich leuchtend" | — | ||
| 103-8 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Das nenn' ich mir ein Abgesang! | — | ||
| 103-9 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Ein Werbelied! Von Sachs!" | — | ||
| 103-10 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Sie da, Herr Schreiber: auch am Morgen | — | ||
| 103-11 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Das Gedicht? Hier ließ ich's" | — | ||
| 103-12 | Die Meistersinger von Nürnberg, WWV 96, Act 3: So ganz boshaft doch keinen ich fand | — | ||
| 103-13 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Immer schustern, das ist nun mein Los | — | ||
| 103-14 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Hat man mit dem Schuhwerk" | — | ||
| 103-15 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Mein Kind, von Tristan und Isolde" | — | ||
| 104-1 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Die "selige Morgentraum-Deutweise"" | — | ||
| 104-2 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Sankt Krispin, lobet ihn!" | — | ||
| 104-3 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Als Nürnberg belagert war | — | ||
| 104-4 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Hungersnot! Hungersnot! | — | ||
| 104-5 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Ihr tanzt" | — | ||
| 104-6 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Die Meistersinger! Die Meistersinger! | — | ||
| 104-7 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Wacht auf! Es nahet gen den Tag" | — | ||
| 104-8 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Euch macht ihr's leicht" | — | ||
| 104-9 | Die Meistersinger von Nürnberg, WWV 96, Act 3: O Sachs, mein Freund | — | ||
| 104-10 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Morgen ich leuchte" | — | ||
| 104-11 | Die Meistersinger von Nürnberg, WWV 96, Act 3: Heimlich mir graut | — | ||
| 104-12 | Die Meistersinger von Nürnberg, WWV 96, Act 3: "Morgenlich leuchtend" | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: e. Veni, creator… da gaudiorum praemia | Chicago Symphony Orchestra, Sir Georg Solti | — |
