UPC · Release
Seiji Ozawa
Last verified:
The UPC for “The Complete Recordings on DG” by Seiji Ozawa is 028948364848. 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 2019-01-01. Label: Deutsche Grammophon. This release contains 546 tracks, each with its own ISRC. Tracks include DEF057201110, DEF057201120, DEF057201121.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Romeo and Juliet Fantasy Overture | San Francisco Symphony, Seiji Ozawa | T-905.031.800-8 | |
| 2 | Romeo und Julia: I. Die Montagues und Capulets (op. 64b) | San Francisco Symphony Orchestra, Seiji Ozawa | — | |
| 3 | Romeo und Julia: IV. Tanz (op. 64b) | San Francisco Symphony Orchestra, Seiji Ozawa | — | |
| 4 | Romeo und Julia: VII. Romeo am Grabe Julias (op. 64b) | San Francisco Symphony Orchestra, Seiji Ozawa | — | |
| 5 | Romeo und Julia: VI. Tanz der Mädchen von den Antillen (op. 64b) | San Francisco Symphony Orchestra, Seiji Ozawa | — | |
| 6 | Romeo und Julia: VII. Tybalts Tod (op. 64a) | San Francisco Symphony Orchestra, Seiji Ozawa | — | |
| 7 | Romeo und Julia: III. Teil: Liebesszene (Ausschnitt) | San Francisco Symphony Orchestra, Seiji Ozawa | — | |
| 2-1 | Three Pieces for Blues Band and Symphony Orchestra, op.50: I. 1st Part | — | ||
| 2-2 | Three Pieces for Blues Band and Symphony Orchestra op. 50: 2nd Part | Stuart Canin, San Francisco Symphony, Seiji Ozawa, Jim Schwall, Corky Siegel, The Siegel-Schwall Band | — | |
| 2-3 | Three Pieces for Blues Band and Symphony Orchestra, op.50: III. 3rd Part | — | ||
| 2-4 | Symphonic Dances from West Side Story: Prologue (Allegro moderato) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-5 | Symphonic Dances from West Side Story: “Somewhere” (Adagio) | San Francisco Symphony, Seiji Ozawa | T-070.136.739-6 | |
| 2-6 | Symphonic Dances from West Side Story: Scherzo (Vivace leggiero) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-7 | Symphonic Dances from West Side Story: Mambo (Presto) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-8 | Symphonic Dances from West Side Story: Cha‐cha (Andante con grazia) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-9 | Symphonic Dances from West Side Story: Meeting Scene | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-10 | Symphonic Dances from West Side Story: “Cool” (Allegretto) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-11 | Symphonic Dances from West Side Story: Rumble (Molto allegro) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-12 | Symphonic Dances from West Side Story: Finale (Adagio) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 3-1 | Symphonie fantastique, op. 14 : I. Rêveries, passions | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 3-2 | Symphonie fantastique, op. 14 : II. Un bal | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 3-3 | Symphonie fantastique, op. 14 : III. Scène aux champs | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 3-4 | Symphonie fantastique, op. 14 : IV. Marche au supplice | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 3-5 | Symphonie fantastique, op. 14 : V. Songe d’une nuit du sabbat | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 4-1 | La Damnation de Faust, op. 24, H 111, Pt. 1: Scène I. "Le vieil hiver a fait place au printemps" | — | ||
| 4-2 | La Damnation de Faust, op. 24, H 111, Pt. 1: Ronde des Paysans. "Les bergers quittent": Scène II. "Mais d'un éclat guerrier" | — | ||
| 4-3 | La Damnation de Faust, op. 24, H 111, Pt. 1: Marche hongroise | — | ||
| 4-4 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène III. "Sans regrets j'ai quitté les riantes campagnes" | — | ||
| 4-5 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chant de la fête de Pâques. "Christ vient de ressusciter!" | — | ||
| 4-6 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène IV. "O pure émotion!" | — | ||
| 4-7 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène V. Choeur de buveurs. "A boire encor!" | — | ||
| 4-8 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Brander. "Certain rat, dans une cuisine" | — | ||
| 4-9 | La Damnation de Faust, op. 24, H 111, Pt. 2: Fugue sur le thème de la chanson. "Amen" | — | ||
| 4-10 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Méphistophélès. "Une puce gentille" | — | ||
| 4-11 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VI. Air de Méphistophélès. "Voici des roses" | — | ||
| 4-12 | La Damnation de Faust, op. 24, H 111, Pt. 2: Songe de Faust. "Dors! heureux Faust" | — | ||
| 4-13 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VII. "Margarita!" | — | ||
| 4-14 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeurs de Soldats et Chanson d'Etudiants. "Villes entourées": "Jam nox stellata velamina pandit" | — | ||
| 5-1 | La Damnation de Faust, op. 24, H 111, Pt. 3: (Prélude: La retraite) | — | ||
| 5-2 | La Damnation de Faust, op. 24, H 111, Pt. 3: "Merci, doux crépuscule!": "Je l'entends!" (Faust / Méphistophélès, Faust) | — | ||
| 5-3 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène X. "Que l'air est étouffant" | — | ||
| 5-4 | La Damnation de Faust, op. 24, H 111, Pt. 3: Le roi de Thulé (Chanson gothique). "Autrefois un roi de Thulé" | — | ||
| 5-5 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1I. Evocation. "Esprits des flammes inconstantes" | — | ||
| 5-6 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1II. "Maintenant chantons à cette belle" | — | ||
| 5-7 | La Damnation de Faust, op. 24, H 111, Pt. 3: Sérénade de Méphistophélès. "Devant la maison" | — | ||
| 5-8 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1III. "Grands dieux!" | — | ||
| 5-9 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1IV. "Allons, il est trop tard!" | — | ||
| 5-10 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1V. Romance. "D'amour l'ardente flamme" | — | ||
| 5-11 | La Damnation de Faust, op. 24, H 111, Pt. 4: "Au son des trompettes" | — | ||
| 5-12 | La Damnation de Faust: Invocation à la Nature | Stuart Burrows, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 5-13 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VII. Récitatif et Chasse. "A la voûte azurée" | — | ||
| 5-14 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VIII. La course à l'abîme. "Dans mon choeur retentit sa voix" | — | ||
| 5-15 | La Damnation de Faust, op. 24, H 111, Pt. 4: "Has! Irimirukarabrao! Has!": "Alors, l'Enfers se tut" (Choeur, Méphistophélès / Une Voix, Choeur) | — | ||
| 5-16 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 2I. Le Ciel. "Laus! Laus!": Apothéose de Marguerite. "Remonte au ciel, âme naïve" | — | ||
| 6-1 | Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": I. Allegro | — | ||
| 6-2 | Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": II. Adagio un poco mosso | — | ||
| 6-3 | Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": III. Rondo (Allegro) | — | ||
| 7-1 | The Miraculous Mandarin, BB 82, op. 19 (Sz.73): Suite | — | ||
| 7-2 | Symphony no. 4: I. Prelude: Maestoso | Boston Symphony Orchestra, Seiji Ozawa | T-070.160.313-5 | |
| 7-3 | Symphony no. 4: II. Allegretto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 7-4 | Symphony no. 4: III. Fugue: Andante moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 7-5 | Symphony no. 4: IV. Very slowly – Largo maestoso | Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 7-6 | Central Park in the Dark | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 8-1 | Boléro | Boston Symphony Orchestra, Seiji Ozawa | T-003.006.377-4 | |
| 8-2 | Miroirs, M.43, Orch. Ravel: III. Une barque sur l'océan | — | ||
| 8-3 | Menuet antique: for Orchestra | — | ||
| 8-4 | Alborada del gracioso | Boston Symphony Orchestra, Seiji Ozawa | T-304.229.137-8 | |
| 8-5 | Pavane pour une infante défunte, version pour orchestre | Charles Kavaloski, Orchestre Symphonique de Boston, Seiji Ozawa | T-003.013.767-7 | |
| 8-6 | La Valse | Boston Symphony Orchestra, Seiji Ozawa | T-305.194.234-4 | |
| 9-1 | Le Tombeau de Couperin, M. 68, Orchestral version: I. Prélude | — | ||
| 9-2 | Le Tombeau de Couperin, M. 68, Orchestral version: II. Forlane | — | ||
| 9-3 | Le Tombeau de Couperin, M. 68, Orchestral version: III. Menuet | — | ||
| 9-4 | Le Tombeau de Couperin, M. 68, Orchestral version: IV. Rigaudon | — | ||
| 9-5 | Ma mère l'Oye, M. 60, Orchestral version: Prélude | — | ||
| 9-6 | Ma mère l'Oye, M. 60, Orchestral version: Danse du rouet et scène: Interlude | — | ||
| 9-7 | Ma mère l'Oye, M. 60, Orchestral version: Pavane de la Belle au bois dormant | — | ||
| 9-8 | Ma mère l'Oye, M. 60, Orchestral version: Les entretiens de la Belle et de la Bête | — | ||
| 9-9 | Ma mère l'Oye, M. 60, Orchestral version: Petit Poucet | — | ||
| 9-10 | Ma mère l'oye: VI. 5e tableau: Laideronnette, impératrice des pagodes | Boston Symphony Orchestra, Seiji Ozawa | T-004.018.862-2 | |
| 9-11 | Ma mère l'oye: Vii. Apothéose: Le jardin féerique | Boston Symphony Orchestra, Seiji Ozawa | T-004.018.862-2 | |
| 9-12 | Rapsodie espagnole: I. Prélude à la nuit. Très modéré | Boston Symphony Orchestra, Seiji Ozawa | T-003.015.127-9 | |
| 9-13 | Rapsodie espagnole: II. Malagueña. Assez vif | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 9-14 | Rapsodie espagnole: III. Habanera. Assez lent et d'un rythme las | Boston Symphony Orchestra, Seiji Ozawa | T-003.015.127-9 | |
| 9-15 | Rapsodie espagnole: IV. Feria. Assez animé | Boston Symphony Orchestra, Seiji Ozawa | T-305.199.487-3 | |
| 10-1 | Daphnis et Chloé, M. 57, Première partie: Introduction: Lent - Trè modéré | — | ||
| 10-2 | Daphnis et Chloé, M. 57, Première partie: Danse religieuse: Modéré | — | ||
| 10-3 | Daphnis et Chloé, M. 57, Première partie: Scène: Un peu plus lent | — | ||
| 10-4 | Daphnis et Chloé, M. 57, Première partie: Scène: Les jeunes filles dansent - Vif | — | ||
| 10-5 | Daphnis et Chloé, M. 57, Première partie: Scène: Les jeunes filles dansent - Vif | — | ||
| 10-6 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse générale | — | ||
| 10-7 | Daphnis et Chloé, M. 57, Première partie: Scène: Vif - Plus modéré - Très modéré - Pesant | — | ||
| 10-8 | Daphnis et Chloé, M. 57, Première partie: Danse légère et gracieuse de Daphnis: Assez lent - Animé - Vif | — | ||
| 10-9 | Daphnis et Chloé, M. 57, Première partie: Scène: Lent - Moins lent - Très libre | — | ||
| 10-10 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse de Lyceion - Scène (Les pirates) | — | ||
| 10-11 | Daphnis et Chloé, M. 57, Première partie: Scène: Modérément animé - Très animé - Lent - Très agité | — | ||
| 10-12 | Daphnis et Chloé, M. 57, Première partie: Scène: Modéré - Plus lent | — | ||
| 10-13 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse lente et mystérieuse | — | ||
| 10-14 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Même mouvement | — | ||
| 10-15 | Daphnis et Chloé, M. 57, Deuxième partie: Danse guerrière | — | ||
| 10-16 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Un peu moins animé | — | ||
| 10-17 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Danse suppliante de Chloé | — | ||
| 10-18 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Assez animé | — | ||
| 10-19 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Lent - Plus animé | — | ||
| 10-20 | Daphnis et Chloé, M. 57, Troisième partie: Lever du jour: Scène | — | ||
| 10-21 | Daphnis et Chloé, M. 57, Troisième partie: Daphnis et Chloé miment l'aventure de Pan et Syrinx | — | ||
| 10-22 | Daphnis et Chloé, M. 57, Troisième partie: Scène: Très lent | — | ||
| 10-23 | Daphnis et Chloé, M. 57, Troisième partie: Scène: Lent - Animé - Lent - Animé | — | ||
| 10-24 | Daphnis et Chloé, M. 57, Troisième partie: Danse générale | — | ||
| 10-25 | Valses nobles et sentimentales: I. Modéré | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-26 | Valses nobles et sentimentales: II. Assez lent | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-27 | Valses nobles et sentimentales: III. Modéré | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-28 | Valses nobles et sentimentales: IV. Assez animé | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-29 | Valses nobles et sentimentales: V. Presque lent | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-30 | Valses nobles et sentimentales: VI. Assez vif | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-31 | Valses nobles et sentimentales: VII. Moins vif | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-32 | Valses Nobles et Sentimentales: VIII. Epilogue: Lent | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 11-1 | Symphony no. 2 in D major, op. 73: I. Allegro non troppo | — | ||
| 11-2 | Symphony no. 2 in D major, op. 73: II. Adagio non troppo: L'istesso tempo, ma grazioso | — | ||
| 11-3 | Symphony no. 2 in D major, op. 73: III. Allegretto grazioso (Quasi andantino): Presto ma non assai | — | ||
| 11-4 | Symphony no. 2 in D major, op. 73: IV. Allegro con spirito | — | ||
| 11-5 | Semiramide: Overture | — | ||
| 11-6 | Moto perpetuo, op. 11 | — | ||
| 12-1 | Roméo et Juliette, op. 17, H.79, Part 1: Introduction | — | ||
| 12-2 | Roméo et Juliette, op. 17, H.79, Part 1: Prologue: "D'anciennes haines endormies" | — | ||
| 12-3 | Roméo et Juliette, op. 17, H.79, Part 1: Strophe 1: "Premiers transports que nul n'oublie" | — | ||
| 12-4 | Roméo et Juliette, op. 17, H.79, Part 1: Récitatif et Scherzetto: "Bientôt de Roméo": "Mab! la messagère" - "Bientôt la mort est souveraine" | — | ||
| 12-5 | Roméo et Juliette, op. 17, H.79, Part 2: Roméo seul: Tristesse - Concert et bal. | — | ||
| 12-6 | Roméo et Juliette, op. 17, H.79, Part 3: "Ohé! Capulets": Scène d'amour | — | ||
| 13-1 | Roméo et Juliette, op. 17, H.79, Part 4: Scherzo. La Reine Mab ou la Fée des songes | — | ||
| 13-2 | Roméo et Juliette, op. 17, H.79, Part 5: Convoi funebre "Jetez des fleurs pour la vierge expirée" | — | ||
| 13-3 | Roméo et Juliette, op. 17, H.79, Part 6: Romeo au tombeau des Capulets | — | ||
| 13-4 | Roméo et Juliette, op. 17, H.79, Part 4: Invocation: Réveil de Juliette | — | ||
| 13-5 | Roméo et Juliette, op. 17, H.79, Part 4: Joie délirante, désespoir "Dernières angoisses et mort" | — | ||
| 13-6 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Quoi! Roméo de retour! Roméo" | — | ||
| 13-7 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Pauvres enfants que je pleure" | — | ||
| 13-8 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Mais notre sang rougit leur glaive" | — | ||
| 13-9 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Jurez donc, par l'auguste symbole" | — | ||
| 14-1 | Street Music, op. 65, "A Blues Concerto": I. | San Francisco Symphony, Seiji Ozawa, Corky Siegel | — | |
| 14-2 | Street Music, op. 65: A Blues Concerto: 2nd Mvt | — | ||
| 14-3 | Street Music, op. 65: A Blues Concerto: 3rd Mvt | — | ||
| 14-4 | Street Music, op. 65: A Blues Concerto: 4th Mvt | — | ||
| 14-5 | An American in Paris | San Francisco Symphony, Seiji Ozawa | T-070.001.144-4 | |
| 15-1 | Chant du ménéstrel, op. 71 | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 15-2 | Cello Concerto no. 2 in G major, op. 126: I. Largo | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | T-005.005.728-7 | |
| 15-3 | Cello Concerto no. 2 in G major, op. 126: II. Allegretto | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 15-4 | Cello Concerto no. 2 in G major, op. 126: III. Allegretto | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | T-902.717.414-7 | |
| 15-5 | El sombrero de tres picos: I. Introducción | Teresa Berganza, Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-6 | El sombrero de tres picos: II. Atardecer | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-7 | El sombrero de tres picos: III. Danza de la molinera (Fandango) | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-8 | El sombrero de tres picos: IV. Las uvas | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-9 | El sombrero de tres picos: V. Danza del los vecinos (Seguidillas) | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-10 | El sombrero de tres picos: VI. Danza del molinero (Farruca) | Teresa Berganza, Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-11 | El sombrero de tres picos: VII. Danza del corregidor | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-12 | El sombrero de tres picos: VIII. Danza final (Jota) | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 16-1 | Scheherazade, op. 35: I. Das Meer und Sindbads Schiff. Largo e maestoso – Lento – Allegro non troppo | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 16-2 | Scheherazade, op. 35: II. Die Geschichte vom Prinzen Kalender. Lento – Andantino – Allegro molto – Vivace scherzando – Moderato assai – Allegro molto ed animato | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 16-3 | Scheherazade, op. 35: III. Der junge Prinz und die junge Prinzessin. Andantino quasi allegretto | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 16-4 | Scheherazade, op. 35: IV. Fest in Bagdad. Das Meer. Das Schiff treibt gegen den Magnetberg und zerschellt. Allegro molto – Lento – Vivo – Allegro non troppo e maestoso – Lento, Tempo I | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 16-5 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): I. Andante tranquillo | — | ||
| 16-6 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): II. Allegro | — | ||
| 16-7 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): III. Adagio | — | ||
| 16-8 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): IV. Allegro molto | — | ||
| 17-1 | Symphony no. 5 in E minor, op. 64, TH.29: I. Andante: Allegro con anima | — | ||
| 17-2 | Symphony no. 5 in E minor, op. 64, TH.29: II. Andante cantabile, con alcuna licenza: Moderato con anima | — | ||
| 17-3 | Symphony no. 5 in E minor, op. 64, TH.29: III. Valse (Allegro moderato) | — | ||
| 17-4 | Symphony no. 5 in E minor, op. 64, TH.29: IV. Finale (Andante maestoso: Allegro vivace) | — | ||
| 18-1 | Clarinet Concerto in A major, K. 622: I. Allegro | — | ||
| 18-2 | Clarinet Concerto in A major, K. 622: II. Adagio | — | ||
| 18-3 | Clarinet Concerto in A major, K. 622: III. Rondo (Allegro) | — | ||
| 18-4 | Bassoon Concerto in B-flat major, K. 191, Cadenza: Walter Guetter: I. Allegro | — | ||
| 18-5 | Bassoon Concerto in B-flat major, K. 191, Cadenza: Walter Guetter: II. Andante ma Adagio | — | ||
| 18-6 | Bassoon Concerto in B-flat major, K. 191, Cadenza: Walter Guetter: III. Rondo. Tempo di Menuetto | — | ||
| 18-7 | Quatrain | Boston Symphony Orchestra, Seiji Ozawa, TASHI | T-901.136.608-8 | |
| 18-8 | A Flock Descends Into the Pentagonal Garden | Boston Symphony Orchestra, Seiji Ozawa, TASHI | T-901.136.700-3 | |
| 19-1 | Symphony no. 1 in C minor, op. 68: I. Un poco sostenuto: Allegro - Meno allegro | — | ||
| 19-2 | Symphony no. 1 in C minor, op. 68: II. Andante sostenuto | — | ||
| 19-3 | Symphony no. 1 in C minor, op. 68: III. Un poco allegretto e grazioso | — | ||
| 19-4 | Symphony no. 1 in C minor, op. 68: IV. Adagio: Piu andante - Allegro non troppo, ma con brio - Piu allegro | — | ||
| 20-1 | Pini di Roma: I. I pini di Villa Borghese | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-2 | Pini di Roma: II. Pini presso una catacomba | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-3 | Pini di Roma: III. I pini del Gianicolo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-4 | Pini di Roma: IV. I pini della Via Appia | Boston Symphony Orchestra, Seiji Ozawa | T-333.047.149-9 | |
| 20-5 | Feste romane: I. Circenses | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-6 | Feste romane: II. Il giubileo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-7 | Feste romane: III. L'ottobrata | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-8 | Feste romane: IV. La befana | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-9 | Fontane di Roma: I. La fontana di Valle Giulia all'alba | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 20-10 | Fontane di Roma: II. La fontana del Tritone al mattino | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 20-11 | Fontane di Roma: III. La fontana di Trevi al meriggio | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 20-12 | Fontane di Roma: IV. La fontana di Villa Medici al tramonto | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 21-1 | Symphonie Nr. 1 D-dur: 4. Stürmisch bewegt | Boston Symphony Orchestra, Seiji Ozawa | T-900.953.062-5 | |
| 21-2 | Symphonie Nr. 1 D-dur: Blumine. Andante allegretto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 22-1 | Violinkonzert "Dem Andenken eines Engels": I. Andante - Allegretto | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | T-070.160.313-5 | |
| 22-2 | Violinkonzert "Dem Andenken eines Engels": II. Allegro - Adagio - (Coda) | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 22-3 | Violin Concerto in D major: I. Toccata | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 22-4 | Violin Concerto in D major: II. Aria I | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 22-5 | Violin Concerto in D major: III. Aria II | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 22-6 | Violin Concerto in D major: IV. Capriccio | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-1 | Antiche danze ed arie, suite I: Simone Molinaro: Balletto "Il Conte Orlando" (1599) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-2 | Antiche danze ed arie, suite I: Vincenzo Galilei: Gagliarda (1598) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-3 | Antiche danze ed arie, suite I: Anonymus: Villanella | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-4 | Antiche danze ed arie, suite I: Anonymus: Passo mezzo a mascherada | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-5 | Antiche danze ed arie, suite II: Fabrizio Caroso: Laura soave (1581) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-6 | Antiche danze ed arie, suite II: Jean-Baptiste Besard: Danza rustica (1617) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-7 | Antiche danze ed arie, suite II: Anonymus: Campanae parisienses | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-8 | Antiche danze ed arie, suite II: Bernardo Gianoncelli: Bergamasca (1650) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-9 | Antiche danze ed arie, suite III: Anonymus: Italiana | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-10 | Antiche danze ed arie, suite III: Jean-Baptiste Besard: Aria di corte (1617) | Boston Symphony Orchestra, Seiji Ozawa | T-312.743.187-8 | |
| 23-11 | Antiche danze ed arie, suite III: Anonymus: Siciliana | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-12 | Antiche danze ed arie, suite III: Lodovico Roncalli: Passacaglia (1692) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-1 | Swan Lake, op. 20: Introduction. Moderato assai | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 24-2 | Swan Lake, op. 20: Act I: no. 1: Scène. Allegro giusto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-3 | Swan Lake, op. 20: Act I: no. 2: Valse. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-4 | Swan Lake, op. 20: Act I: no. 3: Scène. Allegro moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-5 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: I. Intrada. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-6 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: II. Andante sostenuto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-7 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: III. Allegro simplice - Presto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-8 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: IV. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-9 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: V. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-10 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: VI. Coda. Allegro vivace | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-11 | Swan Lake, op. 20: Act I: no. 5: Pas de deux: I. Tempo di valse ma non troppo vivo, quasi moderato - II. Andante - Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-12 | Swan Lake, op. 20: Act I: no. 5: Pas de deux: III. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-13 | Swan Lake, op. 20: Act I: no. 5: Pas de deux: IV. Coda. Allegro molto vivace | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-14 | Swan Lake, op. 20: Act I: no. 6: Pas d'action. Andantino quasi moderato - Allegro / no. 7: Sujet | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-15 | Swan Lake, op. 20: Act I: no. 8: Danse des coupes. Tempo di polacca | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-16 | Swan Lake, op. 20: Act I: no. 9: Finale. Sujet. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-010.437.719-6 | |
| 24-17 | Swan Lake, op. 20: Act II: no. 10: Scène. Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-18 | Swan Lake, op. 20: Act II: no. 11: Scène. Allegro moderato - Moderato - Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-19 | Swan Lake, op. 20: Act II: no. 12: Scène. Allegro - Moderato assai quasi andante | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-20 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: I. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-21 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: II. Moderato assai | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-22 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: III. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-23 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: IV. Allegro moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-1 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: V. Pas d'action. Andante - Andante non troppo - Tempo I - Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-2 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: VI. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-3 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: VII. Coda. Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-4 | Swan Lake, op. 20: Act II: no. 14: Scène. Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-5 | Swan Lake, op. 20: Act III: no. 15: Allegro giusto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-6 | Swan Lake, op. 20: Act III: no. 16: Danses du corps de ballet et des nains. Moderato assai - Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-7 | Swan Lake, op. 20: Act III: no. 17: Scène. Sortie des invités et valse. Allegro - Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-8 | Swan Lake, op. 20: Act III: no. 18: Scène. Allegro - Allegro giusto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-9 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Intrada. Moderato assai | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-10 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Variation I. Allegro - Variation II. Andante con moto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-11 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Variation III. Moderato - Variation IV. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-12 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Variation V. Moderato - Allegro simplice - Coda. Allegro molto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-13 | Swan Lake, op. 20: Act III: no. 20: Danse hongroise. Czardas. Moderato assai - Allegro moderato - Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-900.160.317-4 | |
| 25-14 | Swan Lake, op. 20: Act III: no. 20a: Danse russe. Moderato - Andante simplice - Allegro vivo - Presto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-15 | Swan Lake, op. 20: Act III: no. 21: Danse espagnole. Allegro non troppo (Tempo di bolero) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-16 | Swan Lake, op. 20: Act III: no. 22: Danse napolitaine. Allegro moderato - Andantino quasi moderato - Presto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-17 | Swan Lake, op. 20: Act III: no. 23: Mazurka. Tempo di mazurka | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-18 | Swan Lake, op. 20: Act III: no. 24: Scène. Allegro - Valse - Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-19 | Swan Lake, op. 20: Act IV: no. 25: Entr'acte. Moderato - No. 26: Scène. Allegro non troppo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-20 | Swan Lake, op. 20: Act IV: no. 27: Danses des petits cygnes. Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-21 | Swan Lake, op. 20: Act IV: no. 28: Scène. Allegro agitato - Molto meno mosso - Allegro vivace | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-22 | Swan Lake, op. 20: Act IV: no. 29: Scène finale. Andante - Allegro agitato - Alla breve. Moderato e maestoso - Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 26-1 | Les Contes d'Hoffmann, Act 1: Prélude | — | ||
| 26-2 | Les Contes d'Hoffmann, Act 1: "Glou, glou, glou! Je suis la bière" | — | ||
| 26-3 | Les Contes d'Hoffmann, Act 1: Le conseiller Lindorf, morbleu! | — | ||
| 26-4 | Les Contes d'Hoffmann, Act 1: Dans les rôles d'amoureux langoureux | — | ||
| 26-5 | Les Contes d'Hoffmann, Act 1: "Deux heures devant moi!" | — | ||
| 26-6 | Les Contes d'Hoffmann, Act 1: "Drig, drig, drig, maître Luther" | — | ||
| 26-7 | Les Contes d'Hoffmann, Act 1: "Vive Dieu! mes amis, la belle créature!" | — | ||
| 26-8 | Les Contes d'Hoffmann : Acte I. Chanson "Il était une fois à Ia cour d'Eisenach" (Hoffmann, les étudiants, Nathanaël) | Jacques Jouineau, Chœur de Radio France, Plácido Domingo, Robin Leggate, Orchestre national de France, Seiji Ozawa | — | |
| 26-9 | Les Contes d'Hoffmann, Act 1: "Peuh! cette bière est détestable!" | — | ||
| 26-10 | Les Contes d'Hoffmann, Act 1: Simple échange de politesses! | — | ||
| 26-11 | Les Contes d'Hoffmann, Act 1: Ha! ha! ha! Monsieur aime donc quelquefois? | — | ||
| 26-12 | Les Contes d'Hoffmann, Act 2: Entr'acte | — | ||
| 26-13 | Les Contes d'Hoffmann, Act 2: Là! dors en paix | — | ||
| 26-14 | Les Contes d'Hoffmann, Act 2: "Allons! courage et confiance!" | — | ||
| 26-15 | Les Contes d'Hoffmann, Act 2: Voyez: la sous son éventail | — | ||
| 26-16 | Les Contes d'Hoffmann, Act 2: "C'est moi, Coppélius" | — | ||
| 26-17 | Les Contes d'Hoffmann, Act 2: "Je me nomme Coppélius" | — | ||
| 26-18 | Les Contes d'Hoffmann, Act 2: Hein! Vous? | — | ||
| 26-19 | Les Contes d'Hoffmann, Act 2: "Non, aucun hôte vraiment" | — | ||
| 26-20 | Les Contes d'Hoffmann, Act 2: "Les oiseaux dans la charmille" | — | ||
| 26-21 | Les Contes d'Hoffmann, Act 2: "Ah! mon ami, quel accent!" | — | ||
| 26-22 | Les Contes d'Hoffmann, Act 2: "Ils se sont éloignés, enfin!" | — | ||
| 26-23 | Les Contes d'Hoffmann, Act 2: Ah! Vivre deux | — | ||
| 26-24 | Les Contes d'Hoffmann, Act 2: "Tu me fuis?" | — | ||
| 26-25 | Les Contes d'Hoffmann, Act 2: "Voici les valseurs!" | — | ||
| 27-1 | Les Contes d'Hoffmann, Act 3: "Elle a fui la tourterelle" | — | ||
| 27-2 | Les Contes d'Hoffmann, Act 3: "Malheureuse enfant" | — | ||
| 27-3 | Les Contes d'Hoffmann, Act 3: "Jour et nuit" | — | ||
| 27-4 | Les Contes d'Hoffmann, Act 3: Frantz! ... C'est ici! | — | ||
| 27-5 | Les Contes d'Hoffmann, Act 3: "C'est une chanson d'amour" | — | ||
| 27-6 | Les Contes d'Hoffmann, Act 3: J'ai le bonheur dans l'âme! | — | ||
| 27-7 | Les Contes d'Hoffmann, Act 3: Qu'as-tu donc? | — | ||
| 27-8 | Les Contes d'Hoffmann, Act 3: "Pour conjurer le danger" | — | ||
| 27-9 | Les Contes d'Hoffmann, Act 3: "Ne plus chanter!" | — | ||
| 27-10 | Les Contes d'Hoffmann, Act 3: "Tu ne chanteras plus?" | — | ||
| 27-11 | Les Contes d'Hoffmann, Act 3: "Mon enfant! Ma fille!" | — | ||
| 27-12 | Les Contes d'Hoffmann : Acte IV. Barcarolle "Belle nuit, ô nuit d'amour" (Nicklausse, Giulietta, les invités) | Jacques Jouineau, Chœur de Radio France, Claudia Eder, Edita Gruberová, Orchestre national de France, Seiji Ozawa | T-071.153.499-4 | |
| 27-13 | Les Contes d'Hoffmann, Act 4: "Et moi, ce n'est pas là qui m'enchante" | — | ||
| 27-14 | Les Contes d'Hoffmann, Act 4: "Amis, l'amour tendre et rêveur" | — | ||
| 27-15 | Les Contes d'Hoffmann, Act 4: Je vois qu'on est en fête | — | ||
| 27-16 | Les Contes d'Hoffmann, Act 4: Scintille, diamant | — | ||
| 27-17 | Les Contes d'Hoffmann, Act 4: Cher ange! | — | ||
| 27-18 | Les Contes d'Hoffmann, Act 4: Malheureux, tu ne comprends donc pas | — | ||
| 27-19 | Les Contes d'Hoffmann, Act 4: Schlémil! | — | ||
| 27-20 | Les Contes d'Hoffmann, Act 4: Hélas, mon coeur s'égare encore | — | ||
| 27-21 | Les Contes d'Hoffmann, Epilogue: Voilà quelle fut l'histoire de mes amours | — | ||
| 27-22 | Les Contes d'Hoffmann, Epilogue: Luther est un brave homme | — | ||
| 27-23 | Les Contes d'Hoffmann, Epilogue: Des cendres de ton coeur, réchauffe ton génie | — | ||
| 28-1 | Romeo & Juliet, op. 64: Act I. No. 1 Introduction. Andante assai | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-2 | Romeo & Juliet, op. 64: Act I, Scene I. No. 2 Romeo (reflective). Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-3 | Romeo & Juliet, op. 64: Act I, Scene I. No. 3 The street awakens. Allegretto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-4 | Romeo & Juliet, op. 64: Act I, Scene I. No. 4 Morning dance. Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-5 | Romeo & Juliet, op. 64: Act I, Scene I. No. 5 The quarrel. Allegro brusco | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-6 | Romeo & Juliet, op. 64: Act I, Scene I. No. 6 The fight. Presto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-7 | Romeo & Juliet, op. 64: Act I, Scene I. No. 7 The Prince’s decree. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-8 | Romeo & Juliet, op. 64: Act I. Scene I. No. 8 Interlude. Andante pomposo (L’istesso tempo) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-9 | Romeo & Juliet, op. 64: Act I, Scene II. No. 9 Preparations for the ball (Juliet and the Nurse). Andante assai – Scherzando | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-10 | Romeo & Juliet, op. 64: Act I, Scene II. No. 10 Juliet the young girl. Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-11 | Romeo & Juliet, op. 64: Act I, Scene II. No. 11 Arrival of the guests (Minuet). Assai moderato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-12 | Romeo & Juliet, op. 64: Act I, Scene II. No. 12 Masks (Romeo, Mercutio and Benvolio in masks). Moderato marciale | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-13 | Romeo & Juliet, op. 64: Act I, Scene II. No. 13 The knights’ dance (Juliet and Paris’s dance). Allegro pesante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-14 | Romeo & Juliet, op. 64: Act I, Scene II. No. 14 Juliet’s variation. Moderato (quasi Allegretto) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-15 | Romeo & Juliet, op. 64: Act I, Scene II. No. 15 Mercutio. Allegro giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-16 | Romeo & Juliet, op. 64: Act I, Scene II. No. 16 Madrigal (Romeo and Juliet). Andante tenero | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-17 | Romeo & Juliet, op. 64: Act I, Scene II. No. 17 Tybalt recognizes Romeo. Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-18 | Romeo & Juliet, op. 64: Act I, Scene II. No. 18 Gavotte (Departure of the guests). Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-19 | Romeo & Juliet, op. 64: Act I, Scene II. No. 19 Balcony scene. Larghetto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-20 | Romeo & Juliet, op. 64: Act I, Scene II. No. 20 Romeo’s variation. Allegretto amoroso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-21 | Romeo & Juliet, op. 64: Act I, Scene II. No. 21 Romeo and Juliet’s love dance. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-22 | Romeo & Juliet, op. 64: Act II, Scene III. No. 22 Folk dance. Allegro giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-23 | Romeo & Juliet, op. 64: Act II, Scene III. No. 23 Romeo and Mercutio. Andante teneroso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-24 | Romeo & Juliet, op. 64: Act II, Scene III. No. 24 Dance of the five couples. Vivo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-25 | Romeo & Juliet, op. 64: Act II, Scene III. No. 25 Dance with mandolins. Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-1 | Romeo & Juliet, op. 64: Act II, Scene III. No. 26 The Nurse (looking for Romeo). Adagio scherzoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-2 | Romeo & Juliet, op. 64: Act II, Scene III. No. 27 The Nurse delivers Juliet’s letter to Romeo. Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-3 | Romeo & Juliet, op. 64: Act II, Scene IV. No. 28 Romeo at Friar Laurence’s. Andante espressivo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-4 | Romeo & Juliet, op. 64: Act II, Scene IV. No. 29 Juliet at Friar Laurence’s. Lento | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-5 | Romeo & Juliet, op. 64: Act II, Scene V. No. 30 The people continue to make merry. Vivo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-6 | Romeo & Juliet, op. 64: Act II, Scene V. No. 31 More merrymaking (folk dance repeated). Allegro giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-7 | Romeo & Juliet, op. 64: Act II, Scene V. No. 32 Tybalt meets Mercutio. Moderato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-8 | Romeo & Juliet, op. 64: Act II, Scene V. No. 33 Tybalt and Mercutio fight. Precipitato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-9 | Romeo & Juliet, op. 64: Act II, Scene V. No. 34 Mercutio dies. Moderato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-10 | Romeo & Juliet, op. 64: Act II, Scene V. No. 35 Romeo resolves to avenge Mercutio’s death. Andante. Animato – Presto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-11 | Romeo & Juliet, op. 64: Act II, Scene V. No. 36 Finale of Act II (Cortège with Tybalt’s body). Adagio dramatico | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-12 | Romeo & Juliet, op. 64: Act III. No. 37 Introduction. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-13 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 38 Romeo and Juliet. Lento | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-14 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 39 The last farewell. Andante – Adagio | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-15 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 40 The Nurse (announces Juliet’s parents and Paris). Andante assai – Più mosso con effetto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-16 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 41 Juliet refuses to marry Paris. Vivace – Allegro pesante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-17 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 42 Juliet alone. Adagio | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-18 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 43 Interlude. Adagio (L’istesso tempo) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-19 | Romeo & Juliet, op. 64: Act III, Scene VII. No. 44 At Friar Laurence’s (Friar Laurence gives Juliet a sleeping‐potion). Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-20 | Romeo & Juliet, op. 64: Act III, Scene VII. No. 45 Interlude. L’istesso tempo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-21 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 46 Juliet’s bedroom. Moderato tranquillo – Andante dolente | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-22 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 47 Juliet alone (The sleeping‐potion). Andante – Adagio – Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-23 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 48 Morning serenade (with mandolins). Andante giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-24 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 49 Dance of the young girls with the lilies. Andante con eleganza | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-25 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 50 At Juliet’s bedside (Juliet’s apparent death). Andante – Adagio | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-26 | Romeo & Juliet, op. 64: Act IV, Scene IX. No. 51 Juliet’s funeral (and Romeo’s death). Adagio funebre | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-27 | Romeo & Juliet, op. 64: Act IV, Scene IX. No. 52 Death of Juliet. Adagio (meno mosso del tempo precedente) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 30-1 | Pelléas et Mélisande, op. 80: I. Prélude: Quasi adagio | Boston Symphony Orchestra, Seiji Ozawa | T-004.021.527-7 | |
| 30-2 | Pelléas et Mélisande, op. 80: II. Fileuse: Andantino quasi allegretto | Boston Symphony Orchestra, Seiji Ozawa | T-004.021.527-7 | |
| 30-3 | Pelléas et Mélisande, op. 80: III. Chanson de Mélisande | Lorraine Hunt, Boston Symphony Orchestra, Seiji Ozawa | T-003.018.951-5 | |
| 30-4 | Pelléas et Mélisande, op. 80: IV. Sicilienne: Allegretto molto moderato | Boston Symphony Orchestra, Seiji Ozawa | T-004.021.527-7 | |
| 30-5 | Pelléas et Mélisande, op. 80: V. La Mort de Mélisande: Molto adagio | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-6 | Après un rêve, op. 7 no. 1 | Jules Eskin, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-7 | Pavane, op. 50 | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-909.340.218-7 | |
| 30-8 | Élégie, op. 24 | Jules Eskin, Boston Symphony Orchestra, Seiji Ozawa | T-802.189.927-5 | |
| 30-9 | Dolly Suite, I. Berceuse: Allegretto moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-10 | Dolly Suite, II. Mi-a-ou: Allegro vivo-Più lento-Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-11 | Dolly Suite, III. Le jardin de Dolly: Andantino | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-12 | Dolly Suite, IV. Kitty-Valse: Tempo di Valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-13 | Dolly Suite, V. Tendresse: Andante | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-14 | Dolly Suite, VI. Le Pas Espagnol: Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 31-1 | España: Rhapsody for Orchestra | — | ||
| 31-2 | Faust, Ballet Music: I. Les Nubiennes, valse (Allegretto) | — | ||
| 31-3 | Faust, Ballet Music: II. Adagio | — | ||
| 31-4 | Faust, Ballet Music: III. Danse antique (Allegretto) | — | ||
| 31-5 | Faust, Ballet Music: IV. Variations de Cléopatre (Moderato maestoso) | — | ||
| 31-6 | Faust, Ballet Music: V. Les Troyennes (Moderato con moto) | — | ||
| 31-7 | Faust, Ballet Music: VI. Variations du miroir (Allegretto) | — | ||
| 31-8 | Faust, Ballet Music: VII. Danse de Phryné (Allegro vivo) | — | ||
| 31-9 | Mignon: Overture | — | ||
| 31-10 | Gaîté parisienne: I. Overture | — | ||
| 31-11 | Gaîté parisienne: Polka | — | ||
| 31-12 | Gaîté parisienne: (Allegro) | — | ||
| 31-13 | Gaîté parisienne: IX. Valse lente | — | ||
| 31-14 | Gaîté parisienne: Valse-Allegro vivo-Valse-Allegro misterioso | — | ||
| 31-15 | Gaîté parisienne: Cancan. Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-905.011.414-2 | |
| 31-16 | Gaîté parisienne: Vivo: Barcarolle - Allegro moderato | — | ||
| 32-1 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 1. Allegro maestoso | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-2 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 2. Quasi adagio – Allegretto vivace – Allegro animato | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-3 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 3. Allegro marziale animato – Presto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-4 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 1. Adagio sostenuto assai - Allegro agitato assai - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 32-5 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 2. Allegro moderato - Allegro deciso - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 32-6 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 3. Marziale un poco meno allegro - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 32-7 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 4. Allegro animato - Stretto (molto accelerando) | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 32-8 | Totentanz (Danse macabre) | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 33-1 | Gloria: I. Gloria | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 33-2 | Gloria: II. Laudamus te | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 33-3 | Gloria: III. Domine Deus | John Oliver, Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 33-4 | Gloria: IV. Domine Fili unigenite | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 33-5 | Gloria: V. Domine Deus, Agnus Dei | John Oliver, Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 33-6 | Gloria: VI. Qui sedes ad dexteram Patris | John Oliver, Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 33-7 | Stabat Mater: I. Stabat Mater dolorosa | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-8 | Stabat Mater: II. Cujus animam gementem | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-9 | Stabat Mater: III. O quam tristis | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-10 | Stabat Mater: IV. Quae maerebat | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-11 | Stabat Mater: V. Quis est homo | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-12 | Stabat Mater: VI. Vidit suum | Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-13 | Stabat Mater: VII. Eja mater | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-14 | Stabat Mater: VIII. Fac, Ut Ardeat | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-15 | Stabat Mater: IX. Sancta Mater | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-16 | Stabat Mater: X. Fac ut portem | Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-17 | Stabat Mater: XI. Inflammatus et accensus | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-18 | Stabat Mater: XII. Quando corpus | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 34-1 | Symphony no. 4 in F minor, op. 36, TH.27: I. Andante sostenuto: Moderato con anima - Moderato assai, quasi Andante - Allegro vivo | — | ||
| 34-2 | Symphony no. 4 in F minor, op. 36, TH.27: II. Andantino in modo di canzone | — | ||
| 34-3 | Symphony no. 4 in F minor, op. 36, TH.27: III. Scherzo. Pizzicato ostinato: Allegro | — | ||
| 34-4 | Symphony no. 4 in F minor, op. 36, TH.27: IV. Finale (Allegro con fuoco) | — | ||
| 34-5 | Capriccio Italien, op. 45 | — | ||
| 35-1 | Symphony no. 5 in E minor, op. 64: I. Andante – Allegro con anima | Berliner Philharmoniker, Seiji Ozawa | — | |
| 35-2 | Symphony no. 5 in E minor, op. 64: II. Andante cantabile, con alcuna licenza - Moderato con anima – Andante mosso – Allegro non troppo – Tempo I | Berliner Philharmoniker, Seiji Ozawa | — | |
| 35-3 | Symphony no. 5 in E minor, op. 64: III. Valse. Allegro moderato | Berliner Philharmoniker, Seiji Ozawa | — | |
| 35-4 | Symphony no. 5 in E minor, op. 64: IV. Finale. Andante maestoso - Allegro vivace - Molto vivace - Moderato assai e molto maestoso - Presto | Berliner Philharmoniker, Seiji Ozawa | — | |
| 35-5 | 1812 Overture, op. 49 | Berliner Philharmoniker, Seiji Ozawa | — | |
| 36-1 | Concerto for Viola and Orchestra, op. post.: I. Moderato: Lento parlando | — | ||
| 36-2 | Concerto for Viola and Orchestra, op. post.: II. Adagio religioso: Allegretto | — | ||
| 36-3 | Concerto for Viola and Orchestra, op. post.: III. Allegro vivace | — | ||
| 36-4 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): I. Andante tranquillo | — | ||
| 36-5 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): II. Allegro | — | ||
| 36-6 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): III. Adagio | — | ||
| 36-7 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): IV. Allegro molto | — | ||
| 37-1 | Symphony no. 1 in D major, op. 25 "Classical": I. Allegro | Berliner Philharmoniker, Seiji Ozawa | T-070.160.313-5 | |
| 37-2 | Symphony no. 1 in D major, op. 25 "Classical": II. Larghetto | Berliner Philharmoniker, Seiji Ozawa | T-902.876.200-7 | |
| 37-3 | Symphony no. 1 in D major, op. 25 "Classical": III. Gavotta. Non troppo allegro | Berliner Philharmoniker, Seiji Ozawa | — | |
| 37-4 | Symphony no. 1 in D major, op. 25 "Classical": IV. Finale. Molto vivace | Berliner Philharmoniker, Seiji Ozawa | T-318.676.528-2 | |
| 37-5 | Symphony no. 6 in E-flat minor, op. 111: I. Allegro moderato | Berliner Philharmoniker, Seiji Ozawa | — | |
| 37-6 | Symphony no. 6 in E-flat minor, op. 111: II. Largo | Berliner Philharmoniker, Seiji Ozawa | — | |
| 37-7 | Symphony no. 6 in E-flat minor, op. 111: III. Vivace | Berliner Philharmoniker, Seiji Ozawa | — | |
| 38-1 | Symphony no. 2 in D minor, op. 40: I. Allegro ben articolato | — | ||
| 38-2 | Symphony no. 2 in D minor, op. 40: II. Theme and Variations | — | ||
| 38-3 | Symphony no. 7, op. 131: I. Moderato | — | ||
| 38-4 | Symphony no. 7, op. 131: II. Allegretto | — | ||
| 38-5 | Symphony no. 7, op. 131: III. Andante espressivo | — | ||
| 38-6 | Symphony no. 7, op. 131: IV. Vivace (original version) | — | ||
| 39-1 | Symphony no. 3 in C minor, op. 44: I. Moderato | — | ||
| 39-2 | Symphony no. 3 in C minor, op. 44: II. Andante | — | ||
| 39-3 | Symphony no. 3 in C minor, op. 44: III. Allegro agitato | — | ||
| 39-4 | Symphony no. 3 in C minor, op. 44: IV. Andante mosso | — | ||
| 39-5 | Symphony no. 4 in C, op. 47/112, Revised version: I. Andante: Allegro eroico | — | ||
| 39-6 | Symphony no. 4 in C, op. 47/112, Revised version: II. Andante tranquillo | — | ||
| 39-7 | Symphony no. 4 in C, op. 47/112, Revised version: III. Moderato, quasi allegretto | — | ||
| 39-8 | Symphony no. 4 in C, op. 47/112, Revised version: IV. Allegro risoluto: Andantino - Allegro come prima | — | ||
| 40-1 | Symphony no. 5 in B-Flat major, op. 100: I. Andante | — | ||
| 40-2 | Symphony no. 5 in B-Flat major, op. 100: II. Allegro marcato | — | ||
| 40-3 | Symphony no. 5 in B-Flat major, op. 100: III. Adagio | — | ||
| 40-4 | Symphony no. 5 in B-Flat major, op. 100: IV. Allegro giocoso | — | ||
| 40-5 | Lieutenant Kijé, Symphonic Suite, op. 60: I. Naissance de Kijé | — | ||
| 40-6 | Lieutenant Kijé, Symphonic Suite, op. 60: II. Romance | — | ||
| 40-7 | Lieutenant Kijé, Symphonic Suite, op. 60: III. Noces de Kijé | — | ||
| 40-8 | Lieutenant Kijé, Symphonic Suite, op. 60: IV. Troïka | — | ||
| 40-9 | Lieutenant Kijé, Symphonic Suite, op. 60: V. Enterrement de Kijé | — | ||
| 41-1 | Jeanne d'Arc au bûcher Oratorio dramatique: "Ténèbres! Ténèbres!" (Prologue) | — | ||
| 41-2 | Jeanne d'Arc au bûcher Oratorio dramatique: Il y eut une fille appelée Jeanne! | — | ||
| 41-3 | Jeanne d'Arc au bûcher Oratorio dramatique: (Scéne I: Les Voix Du Ciel) | — | ||
| 41-4 | Jeanne d'Arc au bûcher Oratorio dramatique: "Jeanne! Jeanne! Jeanne!" (SCÉNE II: LE LIVRE) | — | ||
| 41-5 | Jeanne d'Arc au bûcher Oratorio dramatique: "Jeanne! Jeanne!.."(SCÉNE III:LES VOIX DE LA TERRE) | — | ||
| 41-6 | Jeanne d'Arc au bûcher Oratorio dramatique: "La Cour! Faites silence!"(SCÉNE IV:JEANNE LIVRÉE..) | — | ||
| 41-7 | Jeanne d'Arc au bûcher Oratorio dramatique: "Qui sont les assesseurs?" (SCÉNE IV) | — | ||
| 41-8 | Jeanne d'Arc au bûcher Oratorio dramatique: "Quel est ce chien qui hurle dans la nuit?"(SCÉNE V) | — | ||
| 41-9 | Jeanne d'Arc au bûcher Oratorio dramatique: "Le jeu de cartes comprend quatre rois" (SCÉNE VI) | — | ||
| 41-10 | Jeanne d'Arc au bûcher Oratorio dramatique: "Quelles sont ces cloches dans la nuit?"(SCÉNE VII) | — | ||
| 41-11 | Jeanne d'Arc au bûcher Oratorio dramatique: "Voulez-vous manger des cesses?"(SCÉNE VIII:LE ROIS. .) | — | ||
| 41-12 | Jeanne d'Arc au bûcher Oratorio dramatique: "Aspiciens a longe" (SCÉNE VIII) | — | ||
| 41-13 | Jeanne d'Arc au bûcher Oratorio dramatique: "C'est moi qui ai fait cela!" (SCÉNE VIII) | — | ||
| 41-14 | Jeanne d'Arc au bûcher Oratorio dramatique: "Spera! Spira! Spera! Spira!"(SCÉNE IX:L'ÉPÉE DE...) | — | ||
| 41-15 | Jeanne d'Arc au bûcher Oratorio dramatique: "Rouen! Rouen! Rouen!" (SCÉNE IX:L'ÉPÉE DE JEANNE) | — | ||
| 41-16 | Jeanne d'Arc au bûcher Oratorio dramatique: "Un petit brin de vot'farine" (SCÉNE X: TRIMAZG) | — | ||
| 41-17 | Jeanne d'Arc au bûcher Oratorio dramatique: "J'accepte cette flamme pure" (SCÉNE XI) | — | ||
| 41-18 | Jeanne d'Arc au bûcher Oratorio dramatique: "Mère! Mère au-dessus de moi!" (SCÉNE XI) | — | ||
| 42-1 | The Nutcracker, op. 71: Overture | Boston Symphony Orchestra, Seiji Ozawa | T-312.199.363-9 | |
| 42-2 | The Nutcracker, op. 71: Act I, no. 1. The Christmas Tree | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-3 | The Nutcracker, Op. 71: Suite. II. Danses Caractéristiques: a. March | Boston Symphony Orchestra, Seiji Ozawa | T-304.210.691-8 | |
| 42-4 | The Nutcracker, op. 71: Act I, no. 3. Little Galop of the Children and Entry of the Parents | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-5 | The Nutcracker, op. 71: Act I, no. 4. Drosselmeyer's Arrival and Distribution of Presents | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-6 | The Nutcracker, op. 71: Act I, no. 5. Scene and Grandfather Dance | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-7 | The Nutcracker, op. 71: Act I, no. 6. Departure of the guests | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-8 | The Nutcracker, op. 71: Act I, no. 7. The battle | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-9 | The Nutcracker, op. 71: Act I, no. 8. Journey Through the Snow | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-10 | The Nutcracker, op. 71: Act I, no. 9. Waltz of the Snowflakes | James Litton, American Boychoir, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-11 | The Nutcracker, op. 71: Act II, no. 10. Introduction | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-12 | The Nutcracker, op. 71: Act II, no. 11. Arrival of Clara and the Prince | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-13 | The Nutcracker, op. 71: Act II, no. 12. Character dances (Chocolate/Spanish, Coffee/Arabian, Tea/Chinese, Trepak/Russian, Reed-Flutes) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-1 | The Nutcracker Suite, op. 71: III. Flower Waltz | Boston Symphony Orchestra, Seiji Ozawa | T-910.950.463-4 | |
| 43-2 | The Nutcracker, op. 71: Act II, no. 14. Duet (Sugar Plum Fairy and Her Cavalier, Tarantella, Dance of the Sugar Plum Fairy, Coda) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-3 | The Nutcracker, op. 71: Act II, no. 15. Final Waltz and Apotheosis | James Litton, American Boychoir, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-4 | The Sleeping Beauty, Op. 66: Suite. I. Introduction: The Lilac Fairy | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-5 | The Sleeping Beauty, Op. 66: Suite. II. Adagio "Rose Adagio" | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-6 | The Sleeping Beauty, Op. 66: Suite. III. Puss-in-boots and the White Cat | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-7 | The Sleeping Beauty, Op. 66: Suite. IV. Panorama | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-8 | The Sleeping Beauty Suite, op. 66a: V. Waltz | Boston Symphony Orchestra, Seiji Ozawa | T-312.426.938-7 | |
| 44-1 | Violin Concerto no. 2, Sz. 112: I. Allegro non troppo | Anne-Sophie Mutter, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-2 | Violin Concerto no. 2, Sz. 112: II. Andante tranquillo | Anne-Sophie Mutter, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-3 | Violin Concerto no. 2, Sz. 112: III. Allegro molto | Anne-Sophie Mutter, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-4 | En reve: I. Lumière vaporeuse | — | ||
| 44-5 | En reve: II. Dialogue avec l'Étoile | — | ||
| 44-6 | En reve: III. Azur fascinant (Sérénade tessinoise) | — | ||
| 45-1 | Symphony in D minor, FWV 48: I. Lento: Allegro ma non troppo - Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-312.184.211-9 | |
| 45-2 | Symphony in D minor, FWV 48: II. Allegretto | Boston Symphony Orchestra, Seiji Ozawa | T-312.184.211-9 | |
| 45-3 | Symphony in D minor, FWV 48: III. Allegro non troppo | Boston Symphony Orchestra, Seiji Ozawa | T-312.184.211-9 | |
| 45-4 | Concerto in G minor for Organ, Strings and Timpani: I. Andante - Allegro giocoso | Everett Firth, Simon Preston, Boston Symphony Orchestra, Seiji Ozawa | T-070.126.537-3 | |
| 45-5 | Concerto in G minor for Organ, Strings and Timpani: II. Subito andante moderato | Everett Firth, Simon Preston, Boston Symphony Orchestra, Seiji Ozawa | T-003.007.872-8 | |
| 45-6 | Concerto in G minor for Organ, Strings and Timpani: III. Tempo allegro, molto agitato - Très calme, lent - Tempo de l'allegro initial - Tempo introduction: Largo | Everett Firth, Simon Preston, Boston Symphony Orchestra, Seiji Ozawa | T-003.007.872-8 | |
| 46-1 | Concert champêtre, FP 49 : I. Allegro molto - Adagio - Allegro molto | Trevor Pinnock, Boston Symphony Orchestra, Seiji Ozawa | T-912.165.758-7 | |
| 46-2 | Concert champêtre, FP 49 : II. Andante, Mouvement de Sicilienne | Trevor Pinnock, Boston Symphony Orchestra, Seiji Ozawa | T-912.165.758-7 | |
| 46-3 | Concert champêtre, FP 49 : III. Finale, Presto très gai | Trevor Pinnock, Boston Symphony Orchestra, Seiji Ozawa | T-912.165.758-7 | |
| 47-1 | Violin Concerto no. 2 op. 129: I. Moderato | — | ||
| 47-2 | Violin Concerto no. 2 op. 129: II. Adagio | — | ||
| 47-3 | Violin Concerto no. 2 op. 129: III. Adagio: Allegro | — | ||
| 47-4 | Concerto for Violin and Orchestra in A minor: I. Nicht zu schnell (Allegro non troppo) | — | ||
| 47-5 | Concerto for Violin and Orchestra in A minor: II. Langsam (Lento) | — | ||
| 47-6 | Concerto for Violin and Orchestra in A minor: III. Sehr lebhaft (Molto vivace) | — | ||
| 48-1 | Overture "A Midsummer Night's Dream", op. 21, MWV P 3 | — | ||
| 48-2 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 1 Scherzo | — | ||
| 48-3 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. II. L'istesso tempo | — | ||
| 48-4 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: Fairies' March | — | ||
| 48-5 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 3 Song with Chorus: "Bunte Schlangen, zweigezüngt" | — | ||
| 48-6 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 4 The Speels | — | ||
| 48-7 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 5 Intermezzo | — | ||
| 48-8 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 7 Notturno | — | ||
| 48-9 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 8 Melodram | — | ||
| 48-10 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 9 Wedding March | — | ||
| 48-11 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 10 a) Prologue | — | ||
| 48-12 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 10 b) Funeral March | — | ||
| 48-13 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 11 Dance of the Clowns | — | ||
| 48-14 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: 1II. Allegro vivace come 1 | — | ||
| 48-15 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: Finale: "Bei des Feuers mattem Flimmern" | — | ||
| 49-1 | Concerto for Piano and Orchestra no. 1 in F‐sharp minor, op. 1: I. Vivace – Moderato – Vivace | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 49-2 | Concerto for Piano and Orchestra no. 1 in F‐sharp minor, op. 1: II. Andante | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 49-3 | Concerto for Piano and Orchestra no. 1 in F‐sharp minor, op. 1: III. Allegro vivace | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 49-4 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: I. Moderato – Più vivo – Allegro – Maestoso – Alla marcia – Moderato | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 49-5 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: II. Adagio Sostenuto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 49-6 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: III. Allegro scherzando – Moderato – Allegro scherzando – Presto – Moderato – Allegro scherzando – Alla breve – Presto – Maestoso – Risoluto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | T-071.926.821-9 | |
| 50-1 | Piano Concerto no. 2 in G minor, op. 16: I. Andantino | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | — | |
| 50-2 | Piano Concerto no. 2 in G minor, op. 16: II. Scherzo (Vivace) | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | T-911.517.582-1 | |
| 50-3 | Piano Concerto no. 2 in G minor, op. 16: III. Intermezzo (Allegro moderato) | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | — | |
| 50-4 | Piano Concerto no. 2 in G minor, op. 16: IV. Finale (Allegro tempestoso) | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | T-318.676.528-2 | |
| 50-5 | Piano Concerto in G major: I. Allegramente | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | T-305.199.289-9 | |
| 50-6 | Piano Concerto in G major: II. Adagio assai | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | T-003.007.887-5 | |
| 50-7 | Piano Concerto in G major: III. Presto | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | T-305.199.295-7 |
Identifier Graph
028948364848 is a Universal Product Code (UPC) assigned to The Complete Recordings on DG by Seiji Ozawa. 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 546 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.
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The UPC for “The Complete Recordings on DG” by Seiji Ozawa is 028948364848. 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 2019-01-01. Label: Deutsche Grammophon. This release contains 546 tracks, each with its own ISRC. Tracks include DEF057201110, DEF057201120, DEF057201121.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Romeo and Juliet Fantasy Overture | San Francisco Symphony, Seiji Ozawa | T-905.031.800-8 | |
| 2 | Romeo und Julia: I. Die Montagues und Capulets (op. 64b) | San Francisco Symphony Orchestra, Seiji Ozawa | — | |
| 3 | Romeo und Julia: IV. Tanz (op. 64b) | San Francisco Symphony Orchestra, Seiji Ozawa | — | |
| 4 | Romeo und Julia: VII. Romeo am Grabe Julias (op. 64b) | San Francisco Symphony Orchestra, Seiji Ozawa | — | |
| 5 | Romeo und Julia: VI. Tanz der Mädchen von den Antillen (op. 64b) | San Francisco Symphony Orchestra, Seiji Ozawa | — | |
| 6 | Romeo und Julia: VII. Tybalts Tod (op. 64a) | San Francisco Symphony Orchestra, Seiji Ozawa | — | |
| 7 | Romeo und Julia: III. Teil: Liebesszene (Ausschnitt) | San Francisco Symphony Orchestra, Seiji Ozawa | — | |
| 2-1 | Three Pieces for Blues Band and Symphony Orchestra, op.50: I. 1st Part | — | ||
| 2-2 | Three Pieces for Blues Band and Symphony Orchestra op. 50: 2nd Part | Stuart Canin, San Francisco Symphony, Seiji Ozawa, Jim Schwall, Corky Siegel, The Siegel-Schwall Band | — | |
| 2-3 | Three Pieces for Blues Band and Symphony Orchestra, op.50: III. 3rd Part | — | ||
| 2-4 | Symphonic Dances from West Side Story: Prologue (Allegro moderato) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-5 | Symphonic Dances from West Side Story: “Somewhere” (Adagio) | San Francisco Symphony, Seiji Ozawa | T-070.136.739-6 | |
| 2-6 | Symphonic Dances from West Side Story: Scherzo (Vivace leggiero) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-7 | Symphonic Dances from West Side Story: Mambo (Presto) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-8 | Symphonic Dances from West Side Story: Cha‐cha (Andante con grazia) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-9 | Symphonic Dances from West Side Story: Meeting Scene | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-10 | Symphonic Dances from West Side Story: “Cool” (Allegretto) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-11 | Symphonic Dances from West Side Story: Rumble (Molto allegro) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 2-12 | Symphonic Dances from West Side Story: Finale (Adagio) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 3-1 | Symphonie fantastique, op. 14 : I. Rêveries, passions | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 3-2 | Symphonie fantastique, op. 14 : II. Un bal | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 3-3 | Symphonie fantastique, op. 14 : III. Scène aux champs | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 3-4 | Symphonie fantastique, op. 14 : IV. Marche au supplice | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 3-5 | Symphonie fantastique, op. 14 : V. Songe d’une nuit du sabbat | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 4-1 | La Damnation de Faust, op. 24, H 111, Pt. 1: Scène I. "Le vieil hiver a fait place au printemps" | — | ||
| 4-2 | La Damnation de Faust, op. 24, H 111, Pt. 1: Ronde des Paysans. "Les bergers quittent": Scène II. "Mais d'un éclat guerrier" | — | ||
| 4-3 | La Damnation de Faust, op. 24, H 111, Pt. 1: Marche hongroise | — | ||
| 4-4 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène III. "Sans regrets j'ai quitté les riantes campagnes" | — | ||
| 4-5 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chant de la fête de Pâques. "Christ vient de ressusciter!" | — | ||
| 4-6 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène IV. "O pure émotion!" | — | ||
| 4-7 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène V. Choeur de buveurs. "A boire encor!" | — | ||
| 4-8 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Brander. "Certain rat, dans une cuisine" | — | ||
| 4-9 | La Damnation de Faust, op. 24, H 111, Pt. 2: Fugue sur le thème de la chanson. "Amen" | — | ||
| 4-10 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Méphistophélès. "Une puce gentille" | — | ||
| 4-11 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VI. Air de Méphistophélès. "Voici des roses" | — | ||
| 4-12 | La Damnation de Faust, op. 24, H 111, Pt. 2: Songe de Faust. "Dors! heureux Faust" | — | ||
| 4-13 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VII. "Margarita!" | — | ||
| 4-14 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeurs de Soldats et Chanson d'Etudiants. "Villes entourées": "Jam nox stellata velamina pandit" | — | ||
| 5-1 | La Damnation de Faust, op. 24, H 111, Pt. 3: (Prélude: La retraite) | — | ||
| 5-2 | La Damnation de Faust, op. 24, H 111, Pt. 3: "Merci, doux crépuscule!": "Je l'entends!" (Faust / Méphistophélès, Faust) | — | ||
| 5-3 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène X. "Que l'air est étouffant" | — | ||
| 5-4 | La Damnation de Faust, op. 24, H 111, Pt. 3: Le roi de Thulé (Chanson gothique). "Autrefois un roi de Thulé" | — | ||
| 5-5 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1I. Evocation. "Esprits des flammes inconstantes" | — | ||
| 5-6 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1II. "Maintenant chantons à cette belle" | — | ||
| 5-7 | La Damnation de Faust, op. 24, H 111, Pt. 3: Sérénade de Méphistophélès. "Devant la maison" | — | ||
| 5-8 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1III. "Grands dieux!" | — | ||
| 5-9 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1IV. "Allons, il est trop tard!" | — | ||
| 5-10 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1V. Romance. "D'amour l'ardente flamme" | — | ||
| 5-11 | La Damnation de Faust, op. 24, H 111, Pt. 4: "Au son des trompettes" | — | ||
| 5-12 | La Damnation de Faust: Invocation à la Nature | Stuart Burrows, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 5-13 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VII. Récitatif et Chasse. "A la voûte azurée" | — | ||
| 5-14 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VIII. La course à l'abîme. "Dans mon choeur retentit sa voix" | — | ||
| 5-15 | La Damnation de Faust, op. 24, H 111, Pt. 4: "Has! Irimirukarabrao! Has!": "Alors, l'Enfers se tut" (Choeur, Méphistophélès / Une Voix, Choeur) | — | ||
| 5-16 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 2I. Le Ciel. "Laus! Laus!": Apothéose de Marguerite. "Remonte au ciel, âme naïve" | — | ||
| 6-1 | Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": I. Allegro | — | ||
| 6-2 | Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": II. Adagio un poco mosso | — | ||
| 6-3 | Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": III. Rondo (Allegro) | — | ||
| 7-1 | The Miraculous Mandarin, BB 82, op. 19 (Sz.73): Suite | — | ||
| 7-2 | Symphony no. 4: I. Prelude: Maestoso | Boston Symphony Orchestra, Seiji Ozawa | T-070.160.313-5 | |
| 7-3 | Symphony no. 4: II. Allegretto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 7-4 | Symphony no. 4: III. Fugue: Andante moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 7-5 | Symphony no. 4: IV. Very slowly – Largo maestoso | Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 7-6 | Central Park in the Dark | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 8-1 | Boléro | Boston Symphony Orchestra, Seiji Ozawa | T-003.006.377-4 | |
| 8-2 | Miroirs, M.43, Orch. Ravel: III. Une barque sur l'océan | — | ||
| 8-3 | Menuet antique: for Orchestra | — | ||
| 8-4 | Alborada del gracioso | Boston Symphony Orchestra, Seiji Ozawa | T-304.229.137-8 | |
| 8-5 | Pavane pour une infante défunte, version pour orchestre | Charles Kavaloski, Orchestre Symphonique de Boston, Seiji Ozawa | T-003.013.767-7 | |
| 8-6 | La Valse | Boston Symphony Orchestra, Seiji Ozawa | T-305.194.234-4 | |
| 9-1 | Le Tombeau de Couperin, M. 68, Orchestral version: I. Prélude | — | ||
| 9-2 | Le Tombeau de Couperin, M. 68, Orchestral version: II. Forlane | — | ||
| 9-3 | Le Tombeau de Couperin, M. 68, Orchestral version: III. Menuet | — | ||
| 9-4 | Le Tombeau de Couperin, M. 68, Orchestral version: IV. Rigaudon | — | ||
| 9-5 | Ma mère l'Oye, M. 60, Orchestral version: Prélude | — | ||
| 9-6 | Ma mère l'Oye, M. 60, Orchestral version: Danse du rouet et scène: Interlude | — | ||
| 9-7 | Ma mère l'Oye, M. 60, Orchestral version: Pavane de la Belle au bois dormant | — | ||
| 9-8 | Ma mère l'Oye, M. 60, Orchestral version: Les entretiens de la Belle et de la Bête | — | ||
| 9-9 | Ma mère l'Oye, M. 60, Orchestral version: Petit Poucet | — | ||
| 9-10 | Ma mère l'oye: VI. 5e tableau: Laideronnette, impératrice des pagodes | Boston Symphony Orchestra, Seiji Ozawa | T-004.018.862-2 | |
| 9-11 | Ma mère l'oye: Vii. Apothéose: Le jardin féerique | Boston Symphony Orchestra, Seiji Ozawa | T-004.018.862-2 | |
| 9-12 | Rapsodie espagnole: I. Prélude à la nuit. Très modéré | Boston Symphony Orchestra, Seiji Ozawa | T-003.015.127-9 | |
| 9-13 | Rapsodie espagnole: II. Malagueña. Assez vif | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 9-14 | Rapsodie espagnole: III. Habanera. Assez lent et d'un rythme las | Boston Symphony Orchestra, Seiji Ozawa | T-003.015.127-9 | |
| 9-15 | Rapsodie espagnole: IV. Feria. Assez animé | Boston Symphony Orchestra, Seiji Ozawa | T-305.199.487-3 | |
| 10-1 | Daphnis et Chloé, M. 57, Première partie: Introduction: Lent - Trè modéré | — | ||
| 10-2 | Daphnis et Chloé, M. 57, Première partie: Danse religieuse: Modéré | — | ||
| 10-3 | Daphnis et Chloé, M. 57, Première partie: Scène: Un peu plus lent | — | ||
| 10-4 | Daphnis et Chloé, M. 57, Première partie: Scène: Les jeunes filles dansent - Vif | — | ||
| 10-5 | Daphnis et Chloé, M. 57, Première partie: Scène: Les jeunes filles dansent - Vif | — | ||
| 10-6 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse générale | — | ||
| 10-7 | Daphnis et Chloé, M. 57, Première partie: Scène: Vif - Plus modéré - Très modéré - Pesant | — | ||
| 10-8 | Daphnis et Chloé, M. 57, Première partie: Danse légère et gracieuse de Daphnis: Assez lent - Animé - Vif | — | ||
| 10-9 | Daphnis et Chloé, M. 57, Première partie: Scène: Lent - Moins lent - Très libre | — | ||
| 10-10 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse de Lyceion - Scène (Les pirates) | — | ||
| 10-11 | Daphnis et Chloé, M. 57, Première partie: Scène: Modérément animé - Très animé - Lent - Très agité | — | ||
| 10-12 | Daphnis et Chloé, M. 57, Première partie: Scène: Modéré - Plus lent | — | ||
| 10-13 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse lente et mystérieuse | — | ||
| 10-14 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Même mouvement | — | ||
| 10-15 | Daphnis et Chloé, M. 57, Deuxième partie: Danse guerrière | — | ||
| 10-16 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Un peu moins animé | — | ||
| 10-17 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Danse suppliante de Chloé | — | ||
| 10-18 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Assez animé | — | ||
| 10-19 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Lent - Plus animé | — | ||
| 10-20 | Daphnis et Chloé, M. 57, Troisième partie: Lever du jour: Scène | — | ||
| 10-21 | Daphnis et Chloé, M. 57, Troisième partie: Daphnis et Chloé miment l'aventure de Pan et Syrinx | — | ||
| 10-22 | Daphnis et Chloé, M. 57, Troisième partie: Scène: Très lent | — | ||
| 10-23 | Daphnis et Chloé, M. 57, Troisième partie: Scène: Lent - Animé - Lent - Animé | — | ||
| 10-24 | Daphnis et Chloé, M. 57, Troisième partie: Danse générale | — | ||
| 10-25 | Valses nobles et sentimentales: I. Modéré | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-26 | Valses nobles et sentimentales: II. Assez lent | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-27 | Valses nobles et sentimentales: III. Modéré | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-28 | Valses nobles et sentimentales: IV. Assez animé | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-29 | Valses nobles et sentimentales: V. Presque lent | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-30 | Valses nobles et sentimentales: VI. Assez vif | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-31 | Valses nobles et sentimentales: VII. Moins vif | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 10-32 | Valses Nobles et Sentimentales: VIII. Epilogue: Lent | Boston Symphony Orchestra, Seiji Ozawa | T-003.017.935-1 | |
| 11-1 | Symphony no. 2 in D major, op. 73: I. Allegro non troppo | — | ||
| 11-2 | Symphony no. 2 in D major, op. 73: II. Adagio non troppo: L'istesso tempo, ma grazioso | — | ||
| 11-3 | Symphony no. 2 in D major, op. 73: III. Allegretto grazioso (Quasi andantino): Presto ma non assai | — | ||
| 11-4 | Symphony no. 2 in D major, op. 73: IV. Allegro con spirito | — | ||
| 11-5 | Semiramide: Overture | — | ||
| 11-6 | Moto perpetuo, op. 11 | — | ||
| 12-1 | Roméo et Juliette, op. 17, H.79, Part 1: Introduction | — | ||
| 12-2 | Roméo et Juliette, op. 17, H.79, Part 1: Prologue: "D'anciennes haines endormies" | — | ||
| 12-3 | Roméo et Juliette, op. 17, H.79, Part 1: Strophe 1: "Premiers transports que nul n'oublie" | — | ||
| 12-4 | Roméo et Juliette, op. 17, H.79, Part 1: Récitatif et Scherzetto: "Bientôt de Roméo": "Mab! la messagère" - "Bientôt la mort est souveraine" | — | ||
| 12-5 | Roméo et Juliette, op. 17, H.79, Part 2: Roméo seul: Tristesse - Concert et bal. | — | ||
| 12-6 | Roméo et Juliette, op. 17, H.79, Part 3: "Ohé! Capulets": Scène d'amour | — | ||
| 13-1 | Roméo et Juliette, op. 17, H.79, Part 4: Scherzo. La Reine Mab ou la Fée des songes | — | ||
| 13-2 | Roméo et Juliette, op. 17, H.79, Part 5: Convoi funebre "Jetez des fleurs pour la vierge expirée" | — | ||
| 13-3 | Roméo et Juliette, op. 17, H.79, Part 6: Romeo au tombeau des Capulets | — | ||
| 13-4 | Roméo et Juliette, op. 17, H.79, Part 4: Invocation: Réveil de Juliette | — | ||
| 13-5 | Roméo et Juliette, op. 17, H.79, Part 4: Joie délirante, désespoir "Dernières angoisses et mort" | — | ||
| 13-6 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Quoi! Roméo de retour! Roméo" | — | ||
| 13-7 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Pauvres enfants que je pleure" | — | ||
| 13-8 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Mais notre sang rougit leur glaive" | — | ||
| 13-9 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Jurez donc, par l'auguste symbole" | — | ||
| 14-1 | Street Music, op. 65, "A Blues Concerto": I. | San Francisco Symphony, Seiji Ozawa, Corky Siegel | — | |
| 14-2 | Street Music, op. 65: A Blues Concerto: 2nd Mvt | — | ||
| 14-3 | Street Music, op. 65: A Blues Concerto: 3rd Mvt | — | ||
| 14-4 | Street Music, op. 65: A Blues Concerto: 4th Mvt | — | ||
| 14-5 | An American in Paris | San Francisco Symphony, Seiji Ozawa | T-070.001.144-4 | |
| 15-1 | Chant du ménéstrel, op. 71 | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 15-2 | Cello Concerto no. 2 in G major, op. 126: I. Largo | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | T-005.005.728-7 | |
| 15-3 | Cello Concerto no. 2 in G major, op. 126: II. Allegretto | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 15-4 | Cello Concerto no. 2 in G major, op. 126: III. Allegretto | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | T-902.717.414-7 | |
| 15-5 | El sombrero de tres picos: I. Introducción | Teresa Berganza, Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-6 | El sombrero de tres picos: II. Atardecer | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-7 | El sombrero de tres picos: III. Danza de la molinera (Fandango) | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-8 | El sombrero de tres picos: IV. Las uvas | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-9 | El sombrero de tres picos: V. Danza del los vecinos (Seguidillas) | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-10 | El sombrero de tres picos: VI. Danza del molinero (Farruca) | Teresa Berganza, Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-11 | El sombrero de tres picos: VII. Danza del corregidor | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 15-12 | El sombrero de tres picos: VIII. Danza final (Jota) | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 16-1 | Scheherazade, op. 35: I. Das Meer und Sindbads Schiff. Largo e maestoso – Lento – Allegro non troppo | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 16-2 | Scheherazade, op. 35: II. Die Geschichte vom Prinzen Kalender. Lento – Andantino – Allegro molto – Vivace scherzando – Moderato assai – Allegro molto ed animato | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 16-3 | Scheherazade, op. 35: III. Der junge Prinz und die junge Prinzessin. Andantino quasi allegretto | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 16-4 | Scheherazade, op. 35: IV. Fest in Bagdad. Das Meer. Das Schiff treibt gegen den Magnetberg und zerschellt. Allegro molto – Lento – Vivo – Allegro non troppo e maestoso – Lento, Tempo I | Joseph Silverstein, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 16-5 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): I. Andante tranquillo | — | ||
| 16-6 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): II. Allegro | — | ||
| 16-7 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): III. Adagio | — | ||
| 16-8 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): IV. Allegro molto | — | ||
| 17-1 | Symphony no. 5 in E minor, op. 64, TH.29: I. Andante: Allegro con anima | — | ||
| 17-2 | Symphony no. 5 in E minor, op. 64, TH.29: II. Andante cantabile, con alcuna licenza: Moderato con anima | — | ||
| 17-3 | Symphony no. 5 in E minor, op. 64, TH.29: III. Valse (Allegro moderato) | — | ||
| 17-4 | Symphony no. 5 in E minor, op. 64, TH.29: IV. Finale (Andante maestoso: Allegro vivace) | — | ||
| 18-1 | Clarinet Concerto in A major, K. 622: I. Allegro | — | ||
| 18-2 | Clarinet Concerto in A major, K. 622: II. Adagio | — | ||
| 18-3 | Clarinet Concerto in A major, K. 622: III. Rondo (Allegro) | — | ||
| 18-4 | Bassoon Concerto in B-flat major, K. 191, Cadenza: Walter Guetter: I. Allegro | — | ||
| 18-5 | Bassoon Concerto in B-flat major, K. 191, Cadenza: Walter Guetter: II. Andante ma Adagio | — | ||
| 18-6 | Bassoon Concerto in B-flat major, K. 191, Cadenza: Walter Guetter: III. Rondo. Tempo di Menuetto | — | ||
| 18-7 | Quatrain | Boston Symphony Orchestra, Seiji Ozawa, TASHI | T-901.136.608-8 | |
| 18-8 | A Flock Descends Into the Pentagonal Garden | Boston Symphony Orchestra, Seiji Ozawa, TASHI | T-901.136.700-3 | |
| 19-1 | Symphony no. 1 in C minor, op. 68: I. Un poco sostenuto: Allegro - Meno allegro | — | ||
| 19-2 | Symphony no. 1 in C minor, op. 68: II. Andante sostenuto | — | ||
| 19-3 | Symphony no. 1 in C minor, op. 68: III. Un poco allegretto e grazioso | — | ||
| 19-4 | Symphony no. 1 in C minor, op. 68: IV. Adagio: Piu andante - Allegro non troppo, ma con brio - Piu allegro | — | ||
| 20-1 | Pini di Roma: I. I pini di Villa Borghese | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-2 | Pini di Roma: II. Pini presso una catacomba | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-3 | Pini di Roma: III. I pini del Gianicolo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-4 | Pini di Roma: IV. I pini della Via Appia | Boston Symphony Orchestra, Seiji Ozawa | T-333.047.149-9 | |
| 20-5 | Feste romane: I. Circenses | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-6 | Feste romane: II. Il giubileo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-7 | Feste romane: III. L'ottobrata | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-8 | Feste romane: IV. La befana | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 20-9 | Fontane di Roma: I. La fontana di Valle Giulia all'alba | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 20-10 | Fontane di Roma: II. La fontana del Tritone al mattino | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 20-11 | Fontane di Roma: III. La fontana di Trevi al meriggio | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 20-12 | Fontane di Roma: IV. La fontana di Villa Medici al tramonto | Boston Symphony Orchestra, Seiji Ozawa | T-902.294.706-4 | |
| 21-1 | Symphonie Nr. 1 D-dur: 4. Stürmisch bewegt | Boston Symphony Orchestra, Seiji Ozawa | T-900.953.062-5 | |
| 21-2 | Symphonie Nr. 1 D-dur: Blumine. Andante allegretto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 22-1 | Violinkonzert "Dem Andenken eines Engels": I. Andante - Allegretto | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | T-070.160.313-5 | |
| 22-2 | Violinkonzert "Dem Andenken eines Engels": II. Allegro - Adagio - (Coda) | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 22-3 | Violin Concerto in D major: I. Toccata | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 22-4 | Violin Concerto in D major: II. Aria I | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 22-5 | Violin Concerto in D major: III. Aria II | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 22-6 | Violin Concerto in D major: IV. Capriccio | Itzhak Perlman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-1 | Antiche danze ed arie, suite I: Simone Molinaro: Balletto "Il Conte Orlando" (1599) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-2 | Antiche danze ed arie, suite I: Vincenzo Galilei: Gagliarda (1598) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-3 | Antiche danze ed arie, suite I: Anonymus: Villanella | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-4 | Antiche danze ed arie, suite I: Anonymus: Passo mezzo a mascherada | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-5 | Antiche danze ed arie, suite II: Fabrizio Caroso: Laura soave (1581) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-6 | Antiche danze ed arie, suite II: Jean-Baptiste Besard: Danza rustica (1617) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-7 | Antiche danze ed arie, suite II: Anonymus: Campanae parisienses | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-8 | Antiche danze ed arie, suite II: Bernardo Gianoncelli: Bergamasca (1650) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-9 | Antiche danze ed arie, suite III: Anonymus: Italiana | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-10 | Antiche danze ed arie, suite III: Jean-Baptiste Besard: Aria di corte (1617) | Boston Symphony Orchestra, Seiji Ozawa | T-312.743.187-8 | |
| 23-11 | Antiche danze ed arie, suite III: Anonymus: Siciliana | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 23-12 | Antiche danze ed arie, suite III: Lodovico Roncalli: Passacaglia (1692) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-1 | Swan Lake, op. 20: Introduction. Moderato assai | Boston Symphony Orchestra, Seiji Ozawa | T-041.489.062-2 | |
| 24-2 | Swan Lake, op. 20: Act I: no. 1: Scène. Allegro giusto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-3 | Swan Lake, op. 20: Act I: no. 2: Valse. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-4 | Swan Lake, op. 20: Act I: no. 3: Scène. Allegro moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-5 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: I. Intrada. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-6 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: II. Andante sostenuto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-7 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: III. Allegro simplice - Presto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-8 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: IV. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-9 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: V. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-10 | Swan Lake, op. 20: Act I: no. 4: Pas de trois: VI. Coda. Allegro vivace | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-11 | Swan Lake, op. 20: Act I: no. 5: Pas de deux: I. Tempo di valse ma non troppo vivo, quasi moderato - II. Andante - Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-12 | Swan Lake, op. 20: Act I: no. 5: Pas de deux: III. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-13 | Swan Lake, op. 20: Act I: no. 5: Pas de deux: IV. Coda. Allegro molto vivace | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-14 | Swan Lake, op. 20: Act I: no. 6: Pas d'action. Andantino quasi moderato - Allegro / no. 7: Sujet | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-15 | Swan Lake, op. 20: Act I: no. 8: Danse des coupes. Tempo di polacca | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-16 | Swan Lake, op. 20: Act I: no. 9: Finale. Sujet. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-010.437.719-6 | |
| 24-17 | Swan Lake, op. 20: Act II: no. 10: Scène. Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-18 | Swan Lake, op. 20: Act II: no. 11: Scène. Allegro moderato - Moderato - Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-19 | Swan Lake, op. 20: Act II: no. 12: Scène. Allegro - Moderato assai quasi andante | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-20 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: I. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-21 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: II. Moderato assai | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-22 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: III. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 24-23 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: IV. Allegro moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-1 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: V. Pas d'action. Andante - Andante non troppo - Tempo I - Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-2 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: VI. Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-3 | Swan Lake, op. 20: Act II: no. 13: Danses des cygnes: VII. Coda. Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-4 | Swan Lake, op. 20: Act II: no. 14: Scène. Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-5 | Swan Lake, op. 20: Act III: no. 15: Allegro giusto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-6 | Swan Lake, op. 20: Act III: no. 16: Danses du corps de ballet et des nains. Moderato assai - Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-7 | Swan Lake, op. 20: Act III: no. 17: Scène. Sortie des invités et valse. Allegro - Tempo di valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-8 | Swan Lake, op. 20: Act III: no. 18: Scène. Allegro - Allegro giusto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-9 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Intrada. Moderato assai | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-10 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Variation I. Allegro - Variation II. Andante con moto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-11 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Variation III. Moderato - Variation IV. Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-12 | Swan Lake, op. 20: Act III: no. 19: Pas de six: Variation V. Moderato - Allegro simplice - Coda. Allegro molto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-13 | Swan Lake, op. 20: Act III: no. 20: Danse hongroise. Czardas. Moderato assai - Allegro moderato - Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-900.160.317-4 | |
| 25-14 | Swan Lake, op. 20: Act III: no. 20a: Danse russe. Moderato - Andante simplice - Allegro vivo - Presto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-15 | Swan Lake, op. 20: Act III: no. 21: Danse espagnole. Allegro non troppo (Tempo di bolero) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-16 | Swan Lake, op. 20: Act III: no. 22: Danse napolitaine. Allegro moderato - Andantino quasi moderato - Presto | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-17 | Swan Lake, op. 20: Act III: no. 23: Mazurka. Tempo di mazurka | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-18 | Swan Lake, op. 20: Act III: no. 24: Scène. Allegro - Valse - Allegro vivo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-19 | Swan Lake, op. 20: Act IV: no. 25: Entr'acte. Moderato - No. 26: Scène. Allegro non troppo | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-20 | Swan Lake, op. 20: Act IV: no. 27: Danses des petits cygnes. Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-21 | Swan Lake, op. 20: Act IV: no. 28: Scène. Allegro agitato - Molto meno mosso - Allegro vivace | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 25-22 | Swan Lake, op. 20: Act IV: no. 29: Scène finale. Andante - Allegro agitato - Alla breve. Moderato e maestoso - Moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 26-1 | Les Contes d'Hoffmann, Act 1: Prélude | — | ||
| 26-2 | Les Contes d'Hoffmann, Act 1: "Glou, glou, glou! Je suis la bière" | — | ||
| 26-3 | Les Contes d'Hoffmann, Act 1: Le conseiller Lindorf, morbleu! | — | ||
| 26-4 | Les Contes d'Hoffmann, Act 1: Dans les rôles d'amoureux langoureux | — | ||
| 26-5 | Les Contes d'Hoffmann, Act 1: "Deux heures devant moi!" | — | ||
| 26-6 | Les Contes d'Hoffmann, Act 1: "Drig, drig, drig, maître Luther" | — | ||
| 26-7 | Les Contes d'Hoffmann, Act 1: "Vive Dieu! mes amis, la belle créature!" | — | ||
| 26-8 | Les Contes d'Hoffmann : Acte I. Chanson "Il était une fois à Ia cour d'Eisenach" (Hoffmann, les étudiants, Nathanaël) | Jacques Jouineau, Chœur de Radio France, Plácido Domingo, Robin Leggate, Orchestre national de France, Seiji Ozawa | — | |
| 26-9 | Les Contes d'Hoffmann, Act 1: "Peuh! cette bière est détestable!" | — | ||
| 26-10 | Les Contes d'Hoffmann, Act 1: Simple échange de politesses! | — | ||
| 26-11 | Les Contes d'Hoffmann, Act 1: Ha! ha! ha! Monsieur aime donc quelquefois? | — | ||
| 26-12 | Les Contes d'Hoffmann, Act 2: Entr'acte | — | ||
| 26-13 | Les Contes d'Hoffmann, Act 2: Là! dors en paix | — | ||
| 26-14 | Les Contes d'Hoffmann, Act 2: "Allons! courage et confiance!" | — | ||
| 26-15 | Les Contes d'Hoffmann, Act 2: Voyez: la sous son éventail | — | ||
| 26-16 | Les Contes d'Hoffmann, Act 2: "C'est moi, Coppélius" | — | ||
| 26-17 | Les Contes d'Hoffmann, Act 2: "Je me nomme Coppélius" | — | ||
| 26-18 | Les Contes d'Hoffmann, Act 2: Hein! Vous? | — | ||
| 26-19 | Les Contes d'Hoffmann, Act 2: "Non, aucun hôte vraiment" | — | ||
| 26-20 | Les Contes d'Hoffmann, Act 2: "Les oiseaux dans la charmille" | — | ||
| 26-21 | Les Contes d'Hoffmann, Act 2: "Ah! mon ami, quel accent!" | — | ||
| 26-22 | Les Contes d'Hoffmann, Act 2: "Ils se sont éloignés, enfin!" | — | ||
| 26-23 | Les Contes d'Hoffmann, Act 2: Ah! Vivre deux | — | ||
| 26-24 | Les Contes d'Hoffmann, Act 2: "Tu me fuis?" | — | ||
| 26-25 | Les Contes d'Hoffmann, Act 2: "Voici les valseurs!" | — | ||
| 27-1 | Les Contes d'Hoffmann, Act 3: "Elle a fui la tourterelle" | — | ||
| 27-2 | Les Contes d'Hoffmann, Act 3: "Malheureuse enfant" | — | ||
| 27-3 | Les Contes d'Hoffmann, Act 3: "Jour et nuit" | — | ||
| 27-4 | Les Contes d'Hoffmann, Act 3: Frantz! ... C'est ici! | — | ||
| 27-5 | Les Contes d'Hoffmann, Act 3: "C'est une chanson d'amour" | — | ||
| 27-6 | Les Contes d'Hoffmann, Act 3: J'ai le bonheur dans l'âme! | — | ||
| 27-7 | Les Contes d'Hoffmann, Act 3: Qu'as-tu donc? | — | ||
| 27-8 | Les Contes d'Hoffmann, Act 3: "Pour conjurer le danger" | — | ||
| 27-9 | Les Contes d'Hoffmann, Act 3: "Ne plus chanter!" | — | ||
| 27-10 | Les Contes d'Hoffmann, Act 3: "Tu ne chanteras plus?" | — | ||
| 27-11 | Les Contes d'Hoffmann, Act 3: "Mon enfant! Ma fille!" | — | ||
| 27-12 | Les Contes d'Hoffmann : Acte IV. Barcarolle "Belle nuit, ô nuit d'amour" (Nicklausse, Giulietta, les invités) | Jacques Jouineau, Chœur de Radio France, Claudia Eder, Edita Gruberová, Orchestre national de France, Seiji Ozawa | T-071.153.499-4 | |
| 27-13 | Les Contes d'Hoffmann, Act 4: "Et moi, ce n'est pas là qui m'enchante" | — | ||
| 27-14 | Les Contes d'Hoffmann, Act 4: "Amis, l'amour tendre et rêveur" | — | ||
| 27-15 | Les Contes d'Hoffmann, Act 4: Je vois qu'on est en fête | — | ||
| 27-16 | Les Contes d'Hoffmann, Act 4: Scintille, diamant | — | ||
| 27-17 | Les Contes d'Hoffmann, Act 4: Cher ange! | — | ||
| 27-18 | Les Contes d'Hoffmann, Act 4: Malheureux, tu ne comprends donc pas | — | ||
| 27-19 | Les Contes d'Hoffmann, Act 4: Schlémil! | — | ||
| 27-20 | Les Contes d'Hoffmann, Act 4: Hélas, mon coeur s'égare encore | — | ||
| 27-21 | Les Contes d'Hoffmann, Epilogue: Voilà quelle fut l'histoire de mes amours | — | ||
| 27-22 | Les Contes d'Hoffmann, Epilogue: Luther est un brave homme | — | ||
| 27-23 | Les Contes d'Hoffmann, Epilogue: Des cendres de ton coeur, réchauffe ton génie | — | ||
| 28-1 | Romeo & Juliet, op. 64: Act I. No. 1 Introduction. Andante assai | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-2 | Romeo & Juliet, op. 64: Act I, Scene I. No. 2 Romeo (reflective). Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-3 | Romeo & Juliet, op. 64: Act I, Scene I. No. 3 The street awakens. Allegretto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-4 | Romeo & Juliet, op. 64: Act I, Scene I. No. 4 Morning dance. Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-5 | Romeo & Juliet, op. 64: Act I, Scene I. No. 5 The quarrel. Allegro brusco | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-6 | Romeo & Juliet, op. 64: Act I, Scene I. No. 6 The fight. Presto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-7 | Romeo & Juliet, op. 64: Act I, Scene I. No. 7 The Prince’s decree. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-8 | Romeo & Juliet, op. 64: Act I. Scene I. No. 8 Interlude. Andante pomposo (L’istesso tempo) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-9 | Romeo & Juliet, op. 64: Act I, Scene II. No. 9 Preparations for the ball (Juliet and the Nurse). Andante assai – Scherzando | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-10 | Romeo & Juliet, op. 64: Act I, Scene II. No. 10 Juliet the young girl. Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-11 | Romeo & Juliet, op. 64: Act I, Scene II. No. 11 Arrival of the guests (Minuet). Assai moderato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-12 | Romeo & Juliet, op. 64: Act I, Scene II. No. 12 Masks (Romeo, Mercutio and Benvolio in masks). Moderato marciale | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-13 | Romeo & Juliet, op. 64: Act I, Scene II. No. 13 The knights’ dance (Juliet and Paris’s dance). Allegro pesante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-14 | Romeo & Juliet, op. 64: Act I, Scene II. No. 14 Juliet’s variation. Moderato (quasi Allegretto) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-15 | Romeo & Juliet, op. 64: Act I, Scene II. No. 15 Mercutio. Allegro giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-16 | Romeo & Juliet, op. 64: Act I, Scene II. No. 16 Madrigal (Romeo and Juliet). Andante tenero | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-17 | Romeo & Juliet, op. 64: Act I, Scene II. No. 17 Tybalt recognizes Romeo. Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-18 | Romeo & Juliet, op. 64: Act I, Scene II. No. 18 Gavotte (Departure of the guests). Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-19 | Romeo & Juliet, op. 64: Act I, Scene II. No. 19 Balcony scene. Larghetto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-20 | Romeo & Juliet, op. 64: Act I, Scene II. No. 20 Romeo’s variation. Allegretto amoroso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-21 | Romeo & Juliet, op. 64: Act I, Scene II. No. 21 Romeo and Juliet’s love dance. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-22 | Romeo & Juliet, op. 64: Act II, Scene III. No. 22 Folk dance. Allegro giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-23 | Romeo & Juliet, op. 64: Act II, Scene III. No. 23 Romeo and Mercutio. Andante teneroso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-24 | Romeo & Juliet, op. 64: Act II, Scene III. No. 24 Dance of the five couples. Vivo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 28-25 | Romeo & Juliet, op. 64: Act II, Scene III. No. 25 Dance with mandolins. Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-1 | Romeo & Juliet, op. 64: Act II, Scene III. No. 26 The Nurse (looking for Romeo). Adagio scherzoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-2 | Romeo & Juliet, op. 64: Act II, Scene III. No. 27 The Nurse delivers Juliet’s letter to Romeo. Vivace | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-3 | Romeo & Juliet, op. 64: Act II, Scene IV. No. 28 Romeo at Friar Laurence’s. Andante espressivo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-4 | Romeo & Juliet, op. 64: Act II, Scene IV. No. 29 Juliet at Friar Laurence’s. Lento | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-5 | Romeo & Juliet, op. 64: Act II, Scene V. No. 30 The people continue to make merry. Vivo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-6 | Romeo & Juliet, op. 64: Act II, Scene V. No. 31 More merrymaking (folk dance repeated). Allegro giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-7 | Romeo & Juliet, op. 64: Act II, Scene V. No. 32 Tybalt meets Mercutio. Moderato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-8 | Romeo & Juliet, op. 64: Act II, Scene V. No. 33 Tybalt and Mercutio fight. Precipitato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-9 | Romeo & Juliet, op. 64: Act II, Scene V. No. 34 Mercutio dies. Moderato | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-10 | Romeo & Juliet, op. 64: Act II, Scene V. No. 35 Romeo resolves to avenge Mercutio’s death. Andante. Animato – Presto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-11 | Romeo & Juliet, op. 64: Act II, Scene V. No. 36 Finale of Act II (Cortège with Tybalt’s body). Adagio dramatico | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-12 | Romeo & Juliet, op. 64: Act III. No. 37 Introduction. Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-13 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 38 Romeo and Juliet. Lento | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-14 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 39 The last farewell. Andante – Adagio | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-15 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 40 The Nurse (announces Juliet’s parents and Paris). Andante assai – Più mosso con effetto | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-16 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 41 Juliet refuses to marry Paris. Vivace – Allegro pesante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-17 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 42 Juliet alone. Adagio | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-18 | Romeo & Juliet, op. 64: Act III, Scene VI. No. 43 Interlude. Adagio (L’istesso tempo) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-19 | Romeo & Juliet, op. 64: Act III, Scene VII. No. 44 At Friar Laurence’s (Friar Laurence gives Juliet a sleeping‐potion). Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-20 | Romeo & Juliet, op. 64: Act III, Scene VII. No. 45 Interlude. L’istesso tempo | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-21 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 46 Juliet’s bedroom. Moderato tranquillo – Andante dolente | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-22 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 47 Juliet alone (The sleeping‐potion). Andante – Adagio – Andante | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-23 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 48 Morning serenade (with mandolins). Andante giocoso | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-24 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 49 Dance of the young girls with the lilies. Andante con eleganza | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-25 | Romeo & Juliet, op. 64: Act III, Scene VIII. No. 50 At Juliet’s bedside (Juliet’s apparent death). Andante – Adagio | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-26 | Romeo & Juliet, op. 64: Act IV, Scene IX. No. 51 Juliet’s funeral (and Romeo’s death). Adagio funebre | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 29-27 | Romeo & Juliet, op. 64: Act IV, Scene IX. No. 52 Death of Juliet. Adagio (meno mosso del tempo precedente) | Boston Symphony Orchestra, Seiji Ozawa | T-003.506.743-6 | |
| 30-1 | Pelléas et Mélisande, op. 80: I. Prélude: Quasi adagio | Boston Symphony Orchestra, Seiji Ozawa | T-004.021.527-7 | |
| 30-2 | Pelléas et Mélisande, op. 80: II. Fileuse: Andantino quasi allegretto | Boston Symphony Orchestra, Seiji Ozawa | T-004.021.527-7 | |
| 30-3 | Pelléas et Mélisande, op. 80: III. Chanson de Mélisande | Lorraine Hunt, Boston Symphony Orchestra, Seiji Ozawa | T-003.018.951-5 | |
| 30-4 | Pelléas et Mélisande, op. 80: IV. Sicilienne: Allegretto molto moderato | Boston Symphony Orchestra, Seiji Ozawa | T-004.021.527-7 | |
| 30-5 | Pelléas et Mélisande, op. 80: V. La Mort de Mélisande: Molto adagio | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-6 | Après un rêve, op. 7 no. 1 | Jules Eskin, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-7 | Pavane, op. 50 | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-909.340.218-7 | |
| 30-8 | Élégie, op. 24 | Jules Eskin, Boston Symphony Orchestra, Seiji Ozawa | T-802.189.927-5 | |
| 30-9 | Dolly Suite, I. Berceuse: Allegretto moderato | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-10 | Dolly Suite, II. Mi-a-ou: Allegro vivo-Più lento-Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-11 | Dolly Suite, III. Le jardin de Dolly: Andantino | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-12 | Dolly Suite, IV. Kitty-Valse: Tempo di Valse | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-13 | Dolly Suite, V. Tendresse: Andante | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 30-14 | Dolly Suite, VI. Le Pas Espagnol: Allegro | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 31-1 | España: Rhapsody for Orchestra | — | ||
| 31-2 | Faust, Ballet Music: I. Les Nubiennes, valse (Allegretto) | — | ||
| 31-3 | Faust, Ballet Music: II. Adagio | — | ||
| 31-4 | Faust, Ballet Music: III. Danse antique (Allegretto) | — | ||
| 31-5 | Faust, Ballet Music: IV. Variations de Cléopatre (Moderato maestoso) | — | ||
| 31-6 | Faust, Ballet Music: V. Les Troyennes (Moderato con moto) | — | ||
| 31-7 | Faust, Ballet Music: VI. Variations du miroir (Allegretto) | — | ||
| 31-8 | Faust, Ballet Music: VII. Danse de Phryné (Allegro vivo) | — | ||
| 31-9 | Mignon: Overture | — | ||
| 31-10 | Gaîté parisienne: I. Overture | — | ||
| 31-11 | Gaîté parisienne: Polka | — | ||
| 31-12 | Gaîté parisienne: (Allegro) | — | ||
| 31-13 | Gaîté parisienne: IX. Valse lente | — | ||
| 31-14 | Gaîté parisienne: Valse-Allegro vivo-Valse-Allegro misterioso | — | ||
| 31-15 | Gaîté parisienne: Cancan. Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-905.011.414-2 | |
| 31-16 | Gaîté parisienne: Vivo: Barcarolle - Allegro moderato | — | ||
| 32-1 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 1. Allegro maestoso | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-2 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 2. Quasi adagio – Allegretto vivace – Allegro animato | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-3 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 3. Allegro marziale animato – Presto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 32-4 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 1. Adagio sostenuto assai - Allegro agitato assai - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 32-5 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 2. Allegro moderato - Allegro deciso - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 32-6 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 3. Marziale un poco meno allegro - | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 32-7 | Concerto for Piano and Orchestra no. 2 in A major, S. 125: 4. Allegro animato - Stretto (molto accelerando) | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 32-8 | Totentanz (Danse macabre) | Boston Symphony Orchestra, Seiji Ozawa, Krystian Zimerman | — | |
| 33-1 | Gloria: I. Gloria | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 33-2 | Gloria: II. Laudamus te | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 33-3 | Gloria: III. Domine Deus | John Oliver, Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 33-4 | Gloria: IV. Domine Fili unigenite | John Oliver, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 33-5 | Gloria: V. Domine Deus, Agnus Dei | John Oliver, Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 33-6 | Gloria: VI. Qui sedes ad dexteram Patris | John Oliver, Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | T-003.010.019-6 | |
| 33-7 | Stabat Mater: I. Stabat Mater dolorosa | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-8 | Stabat Mater: II. Cujus animam gementem | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-9 | Stabat Mater: III. O quam tristis | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-10 | Stabat Mater: IV. Quae maerebat | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-11 | Stabat Mater: V. Quis est homo | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-12 | Stabat Mater: VI. Vidit suum | Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-13 | Stabat Mater: VII. Eja mater | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-14 | Stabat Mater: VIII. Fac, Ut Ardeat | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-15 | Stabat Mater: IX. Sancta Mater | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-16 | Stabat Mater: X. Fac ut portem | Kathleen Battle, Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-17 | Stabat Mater: XI. Inflammatus et accensus | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 33-18 | Stabat Mater: XII. Quando corpus | Tanglewood Festival Chorus, Boston Symphony Orchestra, 小澤征爾 | T-003.016.535-5 | |
| 34-1 | Symphony no. 4 in F minor, op. 36, TH.27: I. Andante sostenuto: Moderato con anima - Moderato assai, quasi Andante - Allegro vivo | — | ||
| 34-2 | Symphony no. 4 in F minor, op. 36, TH.27: II. Andantino in modo di canzone | — | ||
| 34-3 | Symphony no. 4 in F minor, op. 36, TH.27: III. Scherzo. Pizzicato ostinato: Allegro | — | ||
| 34-4 | Symphony no. 4 in F minor, op. 36, TH.27: IV. Finale (Allegro con fuoco) | — | ||
| 34-5 | Capriccio Italien, op. 45 | — | ||
| 35-1 | Symphony no. 5 in E minor, op. 64: I. Andante – Allegro con anima | Berliner Philharmoniker, Seiji Ozawa | — | |
| 35-2 | Symphony no. 5 in E minor, op. 64: II. Andante cantabile, con alcuna licenza - Moderato con anima – Andante mosso – Allegro non troppo – Tempo I | Berliner Philharmoniker, Seiji Ozawa | — | |
| 35-3 | Symphony no. 5 in E minor, op. 64: III. Valse. Allegro moderato | Berliner Philharmoniker, Seiji Ozawa | — | |
| 35-4 | Symphony no. 5 in E minor, op. 64: IV. Finale. Andante maestoso - Allegro vivace - Molto vivace - Moderato assai e molto maestoso - Presto | Berliner Philharmoniker, Seiji Ozawa | — | |
| 35-5 | 1812 Overture, op. 49 | Berliner Philharmoniker, Seiji Ozawa | — | |
| 36-1 | Concerto for Viola and Orchestra, op. post.: I. Moderato: Lento parlando | — | ||
| 36-2 | Concerto for Viola and Orchestra, op. post.: II. Adagio religioso: Allegretto | — | ||
| 36-3 | Concerto for Viola and Orchestra, op. post.: III. Allegro vivace | — | ||
| 36-4 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): I. Andante tranquillo | — | ||
| 36-5 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): II. Allegro | — | ||
| 36-6 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): III. Adagio | — | ||
| 36-7 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): IV. Allegro molto | — | ||
| 37-1 | Symphony no. 1 in D major, op. 25 "Classical": I. Allegro | Berliner Philharmoniker, Seiji Ozawa | T-070.160.313-5 | |
| 37-2 | Symphony no. 1 in D major, op. 25 "Classical": II. Larghetto | Berliner Philharmoniker, Seiji Ozawa | T-902.876.200-7 | |
| 37-3 | Symphony no. 1 in D major, op. 25 "Classical": III. Gavotta. Non troppo allegro | Berliner Philharmoniker, Seiji Ozawa | — | |
| 37-4 | Symphony no. 1 in D major, op. 25 "Classical": IV. Finale. Molto vivace | Berliner Philharmoniker, Seiji Ozawa | T-318.676.528-2 | |
| 37-5 | Symphony no. 6 in E-flat minor, op. 111: I. Allegro moderato | Berliner Philharmoniker, Seiji Ozawa | — | |
| 37-6 | Symphony no. 6 in E-flat minor, op. 111: II. Largo | Berliner Philharmoniker, Seiji Ozawa | — | |
| 37-7 | Symphony no. 6 in E-flat minor, op. 111: III. Vivace | Berliner Philharmoniker, Seiji Ozawa | — | |
| 38-1 | Symphony no. 2 in D minor, op. 40: I. Allegro ben articolato | — | ||
| 38-2 | Symphony no. 2 in D minor, op. 40: II. Theme and Variations | — | ||
| 38-3 | Symphony no. 7, op. 131: I. Moderato | — | ||
| 38-4 | Symphony no. 7, op. 131: II. Allegretto | — | ||
| 38-5 | Symphony no. 7, op. 131: III. Andante espressivo | — | ||
| 38-6 | Symphony no. 7, op. 131: IV. Vivace (original version) | — | ||
| 39-1 | Symphony no. 3 in C minor, op. 44: I. Moderato | — | ||
| 39-2 | Symphony no. 3 in C minor, op. 44: II. Andante | — | ||
| 39-3 | Symphony no. 3 in C minor, op. 44: III. Allegro agitato | — | ||
| 39-4 | Symphony no. 3 in C minor, op. 44: IV. Andante mosso | — | ||
| 39-5 | Symphony no. 4 in C, op. 47/112, Revised version: I. Andante: Allegro eroico | — | ||
| 39-6 | Symphony no. 4 in C, op. 47/112, Revised version: II. Andante tranquillo | — | ||
| 39-7 | Symphony no. 4 in C, op. 47/112, Revised version: III. Moderato, quasi allegretto | — | ||
| 39-8 | Symphony no. 4 in C, op. 47/112, Revised version: IV. Allegro risoluto: Andantino - Allegro come prima | — | ||
| 40-1 | Symphony no. 5 in B-Flat major, op. 100: I. Andante | — | ||
| 40-2 | Symphony no. 5 in B-Flat major, op. 100: II. Allegro marcato | — | ||
| 40-3 | Symphony no. 5 in B-Flat major, op. 100: III. Adagio | — | ||
| 40-4 | Symphony no. 5 in B-Flat major, op. 100: IV. Allegro giocoso | — | ||
| 40-5 | Lieutenant Kijé, Symphonic Suite, op. 60: I. Naissance de Kijé | — | ||
| 40-6 | Lieutenant Kijé, Symphonic Suite, op. 60: II. Romance | — | ||
| 40-7 | Lieutenant Kijé, Symphonic Suite, op. 60: III. Noces de Kijé | — | ||
| 40-8 | Lieutenant Kijé, Symphonic Suite, op. 60: IV. Troïka | — | ||
| 40-9 | Lieutenant Kijé, Symphonic Suite, op. 60: V. Enterrement de Kijé | — | ||
| 41-1 | Jeanne d'Arc au bûcher Oratorio dramatique: "Ténèbres! Ténèbres!" (Prologue) | — | ||
| 41-2 | Jeanne d'Arc au bûcher Oratorio dramatique: Il y eut une fille appelée Jeanne! | — | ||
| 41-3 | Jeanne d'Arc au bûcher Oratorio dramatique: (Scéne I: Les Voix Du Ciel) | — | ||
| 41-4 | Jeanne d'Arc au bûcher Oratorio dramatique: "Jeanne! Jeanne! Jeanne!" (SCÉNE II: LE LIVRE) | — | ||
| 41-5 | Jeanne d'Arc au bûcher Oratorio dramatique: "Jeanne! Jeanne!.."(SCÉNE III:LES VOIX DE LA TERRE) | — | ||
| 41-6 | Jeanne d'Arc au bûcher Oratorio dramatique: "La Cour! Faites silence!"(SCÉNE IV:JEANNE LIVRÉE..) | — | ||
| 41-7 | Jeanne d'Arc au bûcher Oratorio dramatique: "Qui sont les assesseurs?" (SCÉNE IV) | — | ||
| 41-8 | Jeanne d'Arc au bûcher Oratorio dramatique: "Quel est ce chien qui hurle dans la nuit?"(SCÉNE V) | — | ||
| 41-9 | Jeanne d'Arc au bûcher Oratorio dramatique: "Le jeu de cartes comprend quatre rois" (SCÉNE VI) | — | ||
| 41-10 | Jeanne d'Arc au bûcher Oratorio dramatique: "Quelles sont ces cloches dans la nuit?"(SCÉNE VII) | — | ||
| 41-11 | Jeanne d'Arc au bûcher Oratorio dramatique: "Voulez-vous manger des cesses?"(SCÉNE VIII:LE ROIS. .) | — | ||
| 41-12 | Jeanne d'Arc au bûcher Oratorio dramatique: "Aspiciens a longe" (SCÉNE VIII) | — | ||
| 41-13 | Jeanne d'Arc au bûcher Oratorio dramatique: "C'est moi qui ai fait cela!" (SCÉNE VIII) | — | ||
| 41-14 | Jeanne d'Arc au bûcher Oratorio dramatique: "Spera! Spira! Spera! Spira!"(SCÉNE IX:L'ÉPÉE DE...) | — | ||
| 41-15 | Jeanne d'Arc au bûcher Oratorio dramatique: "Rouen! Rouen! Rouen!" (SCÉNE IX:L'ÉPÉE DE JEANNE) | — | ||
| 41-16 | Jeanne d'Arc au bûcher Oratorio dramatique: "Un petit brin de vot'farine" (SCÉNE X: TRIMAZG) | — | ||
| 41-17 | Jeanne d'Arc au bûcher Oratorio dramatique: "J'accepte cette flamme pure" (SCÉNE XI) | — | ||
| 41-18 | Jeanne d'Arc au bûcher Oratorio dramatique: "Mère! Mère au-dessus de moi!" (SCÉNE XI) | — | ||
| 42-1 | The Nutcracker, op. 71: Overture | Boston Symphony Orchestra, Seiji Ozawa | T-312.199.363-9 | |
| 42-2 | The Nutcracker, op. 71: Act I, no. 1. The Christmas Tree | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-3 | The Nutcracker, Op. 71: Suite. II. Danses Caractéristiques: a. March | Boston Symphony Orchestra, Seiji Ozawa | T-304.210.691-8 | |
| 42-4 | The Nutcracker, op. 71: Act I, no. 3. Little Galop of the Children and Entry of the Parents | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-5 | The Nutcracker, op. 71: Act I, no. 4. Drosselmeyer's Arrival and Distribution of Presents | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-6 | The Nutcracker, op. 71: Act I, no. 5. Scene and Grandfather Dance | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-7 | The Nutcracker, op. 71: Act I, no. 6. Departure of the guests | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-8 | The Nutcracker, op. 71: Act I, no. 7. The battle | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-9 | The Nutcracker, op. 71: Act I, no. 8. Journey Through the Snow | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-10 | The Nutcracker, op. 71: Act I, no. 9. Waltz of the Snowflakes | James Litton, American Boychoir, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-11 | The Nutcracker, op. 71: Act II, no. 10. Introduction | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-12 | The Nutcracker, op. 71: Act II, no. 11. Arrival of Clara and the Prince | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 42-13 | The Nutcracker, op. 71: Act II, no. 12. Character dances (Chocolate/Spanish, Coffee/Arabian, Tea/Chinese, Trepak/Russian, Reed-Flutes) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-1 | The Nutcracker Suite, op. 71: III. Flower Waltz | Boston Symphony Orchestra, Seiji Ozawa | T-910.950.463-4 | |
| 43-2 | The Nutcracker, op. 71: Act II, no. 14. Duet (Sugar Plum Fairy and Her Cavalier, Tarantella, Dance of the Sugar Plum Fairy, Coda) | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-3 | The Nutcracker, op. 71: Act II, no. 15. Final Waltz and Apotheosis | James Litton, American Boychoir, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-4 | The Sleeping Beauty, Op. 66: Suite. I. Introduction: The Lilac Fairy | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-5 | The Sleeping Beauty, Op. 66: Suite. II. Adagio "Rose Adagio" | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-6 | The Sleeping Beauty, Op. 66: Suite. III. Puss-in-boots and the White Cat | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-7 | The Sleeping Beauty, Op. 66: Suite. IV. Panorama | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 43-8 | The Sleeping Beauty Suite, op. 66a: V. Waltz | Boston Symphony Orchestra, Seiji Ozawa | T-312.426.938-7 | |
| 44-1 | Violin Concerto no. 2, Sz. 112: I. Allegro non troppo | Anne-Sophie Mutter, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-2 | Violin Concerto no. 2, Sz. 112: II. Andante tranquillo | Anne-Sophie Mutter, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-3 | Violin Concerto no. 2, Sz. 112: III. Allegro molto | Anne-Sophie Mutter, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 44-4 | En reve: I. Lumière vaporeuse | — | ||
| 44-5 | En reve: II. Dialogue avec l'Étoile | — | ||
| 44-6 | En reve: III. Azur fascinant (Sérénade tessinoise) | — | ||
| 45-1 | Symphony in D minor, FWV 48: I. Lento: Allegro ma non troppo - Allegro | Boston Symphony Orchestra, Seiji Ozawa | T-312.184.211-9 | |
| 45-2 | Symphony in D minor, FWV 48: II. Allegretto | Boston Symphony Orchestra, Seiji Ozawa | T-312.184.211-9 | |
| 45-3 | Symphony in D minor, FWV 48: III. Allegro non troppo | Boston Symphony Orchestra, Seiji Ozawa | T-312.184.211-9 | |
| 45-4 | Concerto in G minor for Organ, Strings and Timpani: I. Andante - Allegro giocoso | Everett Firth, Simon Preston, Boston Symphony Orchestra, Seiji Ozawa | T-070.126.537-3 | |
| 45-5 | Concerto in G minor for Organ, Strings and Timpani: II. Subito andante moderato | Everett Firth, Simon Preston, Boston Symphony Orchestra, Seiji Ozawa | T-003.007.872-8 | |
| 45-6 | Concerto in G minor for Organ, Strings and Timpani: III. Tempo allegro, molto agitato - Très calme, lent - Tempo de l'allegro initial - Tempo introduction: Largo | Everett Firth, Simon Preston, Boston Symphony Orchestra, Seiji Ozawa | T-003.007.872-8 | |
| 46-1 | Concert champêtre, FP 49 : I. Allegro molto - Adagio - Allegro molto | Trevor Pinnock, Boston Symphony Orchestra, Seiji Ozawa | T-912.165.758-7 | |
| 46-2 | Concert champêtre, FP 49 : II. Andante, Mouvement de Sicilienne | Trevor Pinnock, Boston Symphony Orchestra, Seiji Ozawa | T-912.165.758-7 | |
| 46-3 | Concert champêtre, FP 49 : III. Finale, Presto très gai | Trevor Pinnock, Boston Symphony Orchestra, Seiji Ozawa | T-912.165.758-7 | |
| 47-1 | Violin Concerto no. 2 op. 129: I. Moderato | — | ||
| 47-2 | Violin Concerto no. 2 op. 129: II. Adagio | — | ||
| 47-3 | Violin Concerto no. 2 op. 129: III. Adagio: Allegro | — | ||
| 47-4 | Concerto for Violin and Orchestra in A minor: I. Nicht zu schnell (Allegro non troppo) | — | ||
| 47-5 | Concerto for Violin and Orchestra in A minor: II. Langsam (Lento) | — | ||
| 47-6 | Concerto for Violin and Orchestra in A minor: III. Sehr lebhaft (Molto vivace) | — | ||
| 48-1 | Overture "A Midsummer Night's Dream", op. 21, MWV P 3 | — | ||
| 48-2 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 1 Scherzo | — | ||
| 48-3 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. II. L'istesso tempo | — | ||
| 48-4 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: Fairies' March | — | ||
| 48-5 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 3 Song with Chorus: "Bunte Schlangen, zweigezüngt" | — | ||
| 48-6 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 4 The Speels | — | ||
| 48-7 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 5 Intermezzo | — | ||
| 48-8 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 7 Notturno | — | ||
| 48-9 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 8 Melodram | — | ||
| 48-10 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 9 Wedding March | — | ||
| 48-11 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 10 a) Prologue | — | ||
| 48-12 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 10 b) Funeral March | — | ||
| 48-13 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 11 Dance of the Clowns | — | ||
| 48-14 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: 1II. Allegro vivace come 1 | — | ||
| 48-15 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: Finale: "Bei des Feuers mattem Flimmern" | — | ||
| 49-1 | Concerto for Piano and Orchestra no. 1 in F‐sharp minor, op. 1: I. Vivace – Moderato – Vivace | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 49-2 | Concerto for Piano and Orchestra no. 1 in F‐sharp minor, op. 1: II. Andante | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 49-3 | Concerto for Piano and Orchestra no. 1 in F‐sharp minor, op. 1: III. Allegro vivace | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 49-4 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: I. Moderato – Più vivo – Allegro – Maestoso – Alla marcia – Moderato | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 49-5 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: II. Adagio Sostenuto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 49-6 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: III. Allegro scherzando – Moderato – Allegro scherzando – Presto – Moderato – Allegro scherzando – Alla breve – Presto – Maestoso – Risoluto | Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | T-071.926.821-9 | |
| 50-1 | Piano Concerto no. 2 in G minor, op. 16: I. Andantino | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | — | |
| 50-2 | Piano Concerto no. 2 in G minor, op. 16: II. Scherzo (Vivace) | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | T-911.517.582-1 | |
| 50-3 | Piano Concerto no. 2 in G minor, op. 16: III. Intermezzo (Allegro moderato) | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | — | |
| 50-4 | Piano Concerto no. 2 in G minor, op. 16: IV. Finale (Allegro tempestoso) | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | T-318.676.528-2 | |
| 50-5 | Piano Concerto in G major: I. Allegramente | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | T-305.199.289-9 | |
| 50-6 | Piano Concerto in G major: II. Adagio assai | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | T-003.007.887-5 | |
| 50-7 | Piano Concerto in G major: III. Presto | Yundi Li, Berliner Philharmoniker, Seiji Ozawa | T-305.199.295-7 |
