UPC · Release
Sir John Eliot Gardiner
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The UPC for “Complete Recordings on Archiv Produktion and Deutsche Grammophon” by Sir John Eliot Gardiner is 028948399635. 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 2021-01-01. Label: Deutsche Grammophon. This release contains 985 tracks, each with its own ISRC. Tracks include DEF058730101, DEF058730126, DEF058730127.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Christmas Oratorio, BWV 248: Part I, No. 1 Chorus: »Jauchzet, frohlocket, auf, preiset die Tage« | The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2 | Christmas Oratorio, BWV 248: no. 2. Evangelista: "Es begab sich aber zu der Zeit" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 3 | Christmas Oratorio, BWV 248: no. 3. Recitativo (Alto): "Nun wird mein liebster Bräutigam" | English Baroque Soloists, John Eliot Gardiner | — | |
| 4 | Christmas Oratorio, BWV 248: No. 4. Aria (Alto): "Bereite dich, Zion, mit zärtlichen Trieben" | Anne Sofie von Otter, English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 5 | Christmas Oratorio, BWV 248: no. 5. Choral: "Wie soll ich dich empfangen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 6 | Christmas Oratorio, BWV 248: no. 6. Evangelista: "Und sie gebar ihren ersten Sohn" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 7 | Christmas Oratorio, BWV 248: no. 7. Choral (Soprani): "Er ist auf Erden kommen arm" / Recitativo (Basso): "Wer will die Liebe recht erhöhn" | English Baroque Soloists, John Eliot Gardiner | T-802.372.990-1 | |
| 8 | Christmas Oratorio, BWV 248: No. 8. Aria (Basso): "Großer Herr, o starker König" | Olaf Bär, English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 9 | Christmas Oratorio, BWV 248: no. 9. Choral: "Ach mein herzliebes Jesulein" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 10 | Christmas Oratorio, BWV 248: no. 10. Sinfonia | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 11 | Christmas Oratorio, BWV 248: no. 11. Evangelista: "Und es waren Hirten in derselben Gegend" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 12 | Christmas Oratorio, BWV 248: no. 12. Choral: "Brich an, o schönes Morgenlicht" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 13 | Christmas Oratorio, BWV 248: no. 13. Evangelista: "Und der Engel sprach zu ihnen" / Angelus: "Fürchtet euch nicht" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 14 | Christmas Oratorio, BWV 248: no. 14. Recitativo (Basso): "Was Gott dem Abraham verheißen" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15 | Christmas Oratorio, BWV 248: no. 15. Aria (Tenore): "Frohe Hirten, eilt, ach eilet" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16 | Christmas Oratorio, BWV 248: no. 16. Evangelista: "Und das habt zum Zeichen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 17 | Christmas Oratorio, BWV 248: no. 17. Choral: "Schaut hin, dort liegt im finstern Stall" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 18 | Christmas Oratorio, BWV 248: no. 18. Recitativo (Basso): "So geht denn hin" | English Baroque Soloists, John Eliot Gardiner | — | |
| 19 | Christmas Oratorio, BWV 248: no. 19. Aria (Alto): "Schlafe, mein Liebster, genieße der Ruh" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 20 | Christmas Oratorio, BWV 248: no. 20. Evangelista: "Und alsobald war da bei dem Engel" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 21 | Christmas Oratorio, BWV 248: no. 21. Coro: "Ehre sei Gott in der Höhe" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 22 | Christmas Oratorio, BWV 248: no. 22. Recitativo (Basso): "So recht, ihr Engel, jauchzt und singet" | English Baroque Soloists, John Eliot Gardiner | — | |
| 23 | Christmas Oratorio, BWV 248: no. 23. Choral: "Wir singen dir in deinem Heer" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 24 | Christmas Oratorio, BWV 248: Part III, No. 24 Chorus: »Herrscher des Himmels, erhöre das Lallen« | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 25 | Christmas Oratorio, BWV 248: no. 25. Evangelista: "Und da die Engel von ihnen gen Himmel fuhren" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 26 | Lasset uns nun gehen gen Bethlehem | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 27 | Christmas Oratorio, BWV 248: no. 27. Recitativo (Basso): "Er hat sein Volk getröst'" | English Baroque Soloists, John Eliot Gardiner | — | |
| 28 | Christmas Oratorio, BWV 248: no. 28 Choral: "Dies hat er alles uns getan" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 29 | Christmas Oratorio, BWV 248: no. 29. Duetto (Soprano, Basso): "Herr, dein Mitleid, dein Erbarmen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 30 | Christmas Oratorio, BWV 248: no. 30. Evangelista: "Und sie kamen eilend" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 31 | Christmas Oratorio, BWV 248: no. 31. Aria (Alto): "Schließe, mein Herze, dies selige Wunder" | English Baroque Soloists, John Eliot Gardiner | — | |
| 32 | Christmas Oratorio, BWV 248: no. 32. Recitativo (Alto): "Ja, ja, mein Herz soll es bewahren" | English Baroque Soloists, John Eliot Gardiner | — | |
| 33 | Christmas Oratorio, BWV 248: no. 33. Choral: "Ich will dich mit Fleiß bewahren" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 34 | Christmas Oratorio, BWV 248: no. 34. Evangelista: "Und die Hirten kehrten wieder um" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 35 | Christmas Oratorio, BWV 248: no. 35. Choral: "Seid froh dieweil" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 36 | Christmas Oratorio, BWV 248: no. 24. Coro de capo: "Herrscher des Himmels, erhöre das Lallen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-1 | Christmas Oratorio, BWV 248: no. 36. Coro: "Fallt mit Danken, fallt mit Loben" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-2 | Christmas Oratorio, BWV 248: no. 37. Evangelista: "Und da acht Tage um waren" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-3 | Christmas Oratorio, BWV 248: no. 38. Recitativo (Basso): "Immanuel, o süßes Wort" / Arioso (Soprani, Basso): "Jesu, du mein liebstes Leben" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-4 | Christmas Oratorio, BWV 248: no. 39. Aria (Soprano, Echo Soprano): "Flößt, mein Heiland, flößt dein Namen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-5 | Christmas Oratorio, BWV 248: no. 40. Recitativo (Basso): "Wohlan, dein Name soll allein" / Choral (Soprani): "Jesu, meine Freud und Wonne" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-6 | Christmas Oratorio, BWV 248: no. 41. Aria (Tenore): "Ich will nur dir zu Ehren leben" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-7 | Christmas Oratorio, BWV 248: no. 42. Choral: "Jesus richte mein Beginnen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-8 | Christmas Oratorio, BWV 248: Part V, No. 43 Chorus »Ehre sei dir, Gott, gesungen« | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-9 | Christmas Oratorio, BWV 248: no. 44. Evangelista: "Da Jesu geboren war zu Bethlehem" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-10 | Christmas Oratorio, BWV 248: no. 45. Coro: "Wo is der neugeborene König der Jüden" / Recitativo (Alto): "Sucht ihn in meiner Brust" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-11 | Christmas Oratorio, BWV 248: no. 46. Choral: "Dein Glanz all Finsternis verzehrt" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-12 | Christmas Oratorio, BWV 248: no. 47. Aria (Basso): "Erleucht auch meine finstre Sinnen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-13 | Christmas Oratorio, BWV 248: no. 48. Evangelista: "Da das der König Herodes hörte" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-14 | Christmas Oratorio, BWV 248: no. 49. Recitativo (Alto): "Warum wollt ihr erschrecken" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-15 | Christmas Oratorio, BWV 248: no. 50. Evangelista: "Und ließ versammlen alle Hohepriester" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-16 | Christmas Oratorio, BWV 248: no. 51. Terzetto (Soprano, Alto, Tenore): "Ach, wenn wird die Zeit erscheinen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-17 | Christmas Oratorio, BWV 248: no. 52. Recitativo (Alto): "Mein Liebster herrschet schon" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-18 | Christmas Oratorio, BWV 248: no. 53. Choral: "Zwar ist solche Herzensstube" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-19 | Christmas Oratorio, BWV 248: no. 54. Coro: "Herr, wenn die stolzen Feinde schnauben" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-20 | Christmas Oratorio, BWV 248: no. 55. Evangelista: "Da berief Herodes die Weisen heimlish" / Herodes: "Ziehet hin und forschet fleißig" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-21 | Christmas Oratorio, BWV 248: no. 56. Recitativo (Soprano): "Du Falscher, suche nur den Herrn zu fällen" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-22 | Christmas Oratorio, BWV 248: no. 57. Aria (Soprano): "Nur ein Wink von seinen Händen" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-23 | Christmas Oratorio, BWV 248: no. 58. Evangelista: "Als sie nun den König gehöret hatten" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-24 | Christmas Oratorio, BWV 248: no. 59. Choral: "Ich steh an deiner Krippen hier" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-25 | Christmas Oratorio, BWV 248: no. 60. Evangelista: "Und Gott befahl ihnen im Traum" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-26 | Christmas Oratorio, BWV 248: no. 61. Recitativo (Tenore): "So geht! Genug, mein Schatz geht nicht von hier" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-27 | Christmas Oratorio, BWV 248: no. 62. Aria (Tenore): "Nun mögt ihr stolzen Feinde schrecken" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-28 | Christmas Oratorio, BWV 248: no. 63. Recitativo (Soprano, Alto, Tenore, Basso): "Was will der Höllen Schrecken nun" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-29 | Christmas Oratorio, BWV 248: no. 64. Choral: "Nun seid ihr wohl gerochen" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-050.278.855-7 | |
| 3-1 | St. Matthew Passion, BWV 244, No. 1 Chorus: »Kommt, ihr Töchter, helft mir klagen« / Chorale »O Lamm Gottes, unschuldig« | English Baroque Soloists, John Eliot Gardiner | T-010.437.719-6 | |
| 3-2 | St. Matthew Passion, BWV 244: Part One. Annointing in Bethany: 2. Recitative (Evangelist): "Da Jesus diese Rede vollendet hatte" | — | ||
| 3-3 | St. Matthew Passion, BWV 244: Teil I. Choral "Herzliebster Jesu, was hast du verbrochen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-4 | St. Matthew Passion, BWV 244: Part One. Annointing in Bethany: 4a. Recitative (Evangelist): "Da versammelten sich die Hohenpriester" / 4b. Chorus: "Ja nicht auf das Fest" / 4c. Recitative (Evangelist): "Da nun Jesus war zu Bethanien" / 4d. Chorus: "Wozu dienet dieser Unrat?" / 4e. Recitative (Evangelist, Jesus) "Da das Jesus merkete" | — | ||
| 3-5 | St. Matthew Passion, BWV 244: Part One. Annointing in Bethany: 5. Recitative (alto): "Du lieber Heiland du" | — | ||
| 3-6 | St. Matthew Passion, BWV 244: Teil I. Aria (Alt) "Buss und Reu" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-7 | St. Matthew Passion, BWV 244: Part One. Judas's Betrayal: 7. Recitative (Evangelist, Judas): "Da ging hin der Zwölfen einer" | — | ||
| 3-8 | St. Matthew Passion, BWV 244: Teil I. Aria (Sopran) "Blute nur, du liebes Herz" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-9 | St. Matthew Passion, BWV 244: Part One. The Last Supper: 9a. Recitative (Evangelist): "Aber am ersten Tage der süßen Brot" / 9b. Chorus: "Wo willst du, dass wir dir bereiten" / 9c. Recitative (Evangelist, Jesus): "Er sprach: Gehet hin in die Stadt" / 9d. Recitative (Evangelist): "Und sie wurden sehr betrübt" / 9e. Chorus: "Herr, ich bin's" | — | ||
| 3-10 | St. Matthew Passion, BWV 244: Part One. The Last Supper: 10. Chorale: "Ich bin's, ich sollte büßen" | — | ||
| 3-11 | St. Matthew Passion, BWV 244: Part One. The Last Supper: 11. Recitative (Evangelist, Jesus, Judas): "Er antwortete und sprach" | — | ||
| 3-12 | St. Matthew Passion, BWV 244: Part One. The Last Supper: 12. Recitative (soprano): "Wiewohl mein Herz in Tränen schwimmt" | — | ||
| 3-13 | St. Matthew Passion, BWV 244: Part One. The Last Supper: 13. Aria (soprano): "Ich will dir mein Herze schenken" | — | ||
| 3-14 | St. Matthew Passion, BWV 244: Part One. Jesus's Despair on the Mount of Olives: 14. Recitative (Evangelist, Jesus): "Und da sie den Lobgesang gesprochen hatten" | — | ||
| 3-15 | St. Matthew Passion, BWV 244: Part One. Jesus's Despair on the Mount of Olives: 15. Chorale: "Erkenne mich, mein Hüter" | — | ||
| 3-16 | St. Matthew Passion, BWV 244: Part One. Jesus's Despair on the Mount of Olives: 16. Recitative (Evangelist, Peter, Jesus): "Petrus aber antwortete und sprach zu ihm" | — | ||
| 3-17 | St. Matthew Passion, BWV 244: Teil I. "Ich will hier bei dir stehen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-18 | St. Matthew Passion, BWV 244: Part One. Jesus's Despair on the Mount of Olives: 18. Recitative (Evangelist, Jesus): "Da kam Jesus mit ihnen zu einen Hofe" | — | ||
| 3-19 | St. Matthew Passion, BWV 244: Part One. Jesus's Despair on the Mount of Olives: 19. Recitative (tenor): "O Schmerz! Hier zittert das gequälte Herz" / Chorale: “Was ist die Ursach' aller solcher Plagen” | — | ||
| 3-20 | St. Matthew Passion, BWV 244: Teil I. Aria (Tenor) "Ich will bei meinen Jesu wachen" - Chorus "So schlafen unsre Sünden ein" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-21 | St. Matthew Passion, BWV 244: Part One. Prayer on the Mount of Olives: 21. Recitative (Evangelist, Jesus): "Und ging hin ein wenig" | — | ||
| 3-22 | St. Matthew Passion, BWV 244: Teil I. Recitativo (Bass) "Der Heiland fällt vor seinem Vater nieder" | English Baroque Soloists, Sir John Eliot Gardiner | T-802.372.990-1 | |
| 3-23 | St. Matthew Passion, BWV 244: Teil I. Aria (Bass) "Gerne will ich mich bequemen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-24 | St. Matthew Passion, BWV 244: Part One. Prayer on the Mount of Olives: 24. Recitative (Evangelist, Jesus): "Und er kam zu seinen Jüngern" | — | ||
| 3-25 | St. Matthew Passion, BWV 244: Teil I. Choral "Was mein Gott will, das g'scheh allzeit" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-26 | St. Matthew Passion, BWV 244: Part One. Prayer on the Mount of Olives: 26. Recitative (Evangelist, Jesus): "Und er kam und fand sie aber schlafend" / Recitative (Evangelist, Judas, Jesus): “Und als er noch redete” | — | ||
| 3-27 | St. Matthew Passion, BWV 244: Part One. Arrest of Jesus. 27a. Aria (Duet: soprano, alto): "So ist mein Jesus nun gefangen" - Chorus: “Lasst ihn, haltet, bindet nicht” / 27b. Chorus: "Sind Blitze, sind Donner in Wolken verschwunden?" | — | ||
| 3-28 | St. Matthew Passion, BWV 244: Part One. Arrest of Jesus: 28. Recitative (Evangelist, Jesus): "Und siehe, einer aus denen, die mit Jesu waren" | — | ||
| 3-29 | St. Matthew Passion, BWV 244: Part One. Arrest of Jesus: 29. Chorale: "O Mensch, bewein dein Sünde groß" | — | ||
| 3-30 | St. Matthew Passion, BWV 244: Part Two. 30. Aria (alto): "Ach, nun ist mein Jesus hin!" / Chorus: “Wo ist denn dein Freund hingegangen” | — | ||
| 3-31 | St. Matthew Passion, BWV 244: Part Two. Jesus's Interrogation by the High Priests: 31. Recitative (Evangelist): "Die aber Jesum gegriffen hatten" | — | ||
| 3-32 | St. Matthew Passion, BWV 244: Part Two. Jesus's Interrogation by the High Priests: 32. Chorale: "Mir hat die Welt trüglich gericht'" | — | ||
| 3-33 | St. Matthew Passion, BWV 244: Part Two. Jesus's Interrogation by the High Priests: 33. Recitative (Evangelist, Witnesses I/II, High Priest): "Und wiewohl viel falsche Zeugen herzutraten" | — | ||
| 3-34 | St. Matthew Passion, BWV 244: Part Two. Jesus's Interrogation by the High Priests: 34. Recitative (tenor): "Mein Jesus schweigt zu falschen Lügen stille" | — | ||
| 3-35 | St. Matthew Passion, BWV 244: Part Two. Jesus's Interrogation by the High Priests: 35. Aria (tenor): "Geduld! Wenn mich falsche Zungen stechen!" | — | ||
| 4-1 | St. Matthew Passion, BWV 244: Part II. Peter's Denial: 36a. Recitative (Evangelist, High Priest, Jesus): "Und der Hohepriester antwortete" / 36b. Chorus: "Er ist des Todes schuldig" / 36c. Recitative (Evangelist): "Da speieten sie aus" / 36d. Chorus: "Weissage uns, Christe" | — | ||
| 4-2 | St. Matthew Passion, BWV 244: Part II. Peter's Denial: 37. Chorale: "Wer hat dich so geschlagen" | — | ||
| 4-3 | St. Matthew Passion, BWV 244: Part II. Peter's Denial: 38a. Recitative (Evangelist, Maids I/II, Peter): "Petrus aber saß draußen" / 38b. Chorus: "Wahrlich, du bist auch einer von denen" / 38c. Recitative (Evangelist, Peter) "Da hub er an, sich zu verfluchen" | — | ||
| 4-4 | St. Matthew Passion, BWV 244: Aria 'Erbarme dich, mein Gott' | English Baroque Soloists, Sir John Eliot Gardiner | T-101.607.667-6 | |
| 4-5 | St. Matthew Passion, BWV 244: Part II. Peter's Denial: 40. Chorale: "Bin ich gleich von dir gewichen" | — | ||
| 4-6 | St. Matthew Passion, BWV 244: Part II. Judas in the Temple: 41a. Recitative (Evangelist, Judas): "Des Morgens aber hielten alle Hohepriester" / 41b. Chorus: "Was gehet uns das an?" / 41c. Recitative (Evangelist, High Priest I): "Und er warf die Silberlinge in den Tempel" | — | ||
| 4-7 | Matthäus-Passion, BWV 244: Teil II, XLII. Aria (Basso) "Gebt mir meinen Jesum wieder" | English Baroque Soloists, Sir John Eliot Gardiner | T-802.372.990-1 | |
| 4-8 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 43. Recitative (Evangelist, Pilate, Jesus): "Sie hielten aber einen Rat" | — | ||
| 4-9 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 44. Chorale: "Befiehl du deine Wege" | — | ||
| 4-10 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 45a. Recitative (Evangelist, Pilate, Pilate's Wife, chorus): "Auf das Fest aber hatte der Landpfleger Gewohnheit" / 45b. Chorus: "Lass ihn kreuzigen" | — | ||
| 4-11 | St. Matthew Passion, BWV 244: Teil II. Choral "Wie wunderbarlich ist doch diese Strafe" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 4-12 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 47. Recitative (Evangelist, Pilate): "Der Landpfleger sagte" | — | ||
| 4-13 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 48. Recitative (soprano): "Er hat uns allen wohlgetan" | — | ||
| 4-14 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 49. Aria (soprano): "Aus Liebe will mein Heiland sterben" | — | ||
| 4-15 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 50a. Recitative (Evangelista): "Sie schrieen aber noch mehr" / 50b. Chorus: "Lass ihn kreuzigen" / 50c. Recitative (Evangelist, Pilate): "Da aber Pilatus sahe" / 50d. Chorus: "Sein Blut komme über uns" / 50e. Recitative "Da gab er ihnen Barrabam los" | — | ||
| 4-16 | St. Matthew Passion, BWV 244: Part II. Scourging of Jesus: 51. Recitative (alto): "Erbarm es Gott!" | — | ||
| 4-17 | St. Matthew Passion, BWV 244: Teil II. Aria (Alt) "Können Tränen meiner Wangen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 4-18 | St. Matthew Passion, BWV 244: Part II. Scourging of Jesus: 53a. Recitative (Evangelist): "Da nahmen die Kriegsknechte" / 53b. Chorus: "Gegrüßet seist du, Jüdenkönig" / 53c. Recitative (Evangelist): "Und speieten ihn an" | — | ||
| 4-19 | St. Matthew Passion, BWV 244: Part II. Scourging of Jesus: 54. Chorale: "O Haupt voll Blut und Wunden" | — | ||
| 4-20 | St. Matthew Passion, BWV 244: Part II. Simon of Cyrene: 55. Recitative (Evangelist): "Und da sie ihn verspottet hatten" | — | ||
| 4-21 | St. Matthew Passion, BWV 244: Part II. Simon of Cyrene: 56. Recitative (bass): "Ja freilich will in uns das Fleisch und Blut" | — | ||
| 4-22 | St. Matthew Passion, BWV 244: Part II. Simon of Cyrene: 57. Aria (bass): "Komm, süßes Kreuz, so will ich sagen" | — | ||
| 4-23 | St. Matthew Passion, BWV 244: Part II. Crucifixion: 58a. Recitative (Evangelist): "Und da sie an die Stätte kamen" / 58b. Chorus: "Der du den Tempel Gottes zerbrichst" / 58c. Recitative (Evangelist): "Desgleichen auch die Hohenpriester" / 58d. Chorus: "Andern hat er geholfen" - | — | ||
| 4-24 | St. Matthew Passion, BWV 244: Part II. Crucifixion: 59. Recitative (alto): "Ach Golgatha" | — | ||
| 4-25 | St. Matthew Passion, BWV 244: Part II. Crucifixion: 60. Aria (alto): "Sehet, Jesus hat die Hand" / Chorus: “Wohin?” | — | ||
| 4-26 | St. Matthew Passion, BWV 244: Part II. Crucifixion: 61a. Recitative (Evangelist, Jesus): "Und von der sechsten Stunde an" / 61b. Chorus: "Der rufet dem Elias" / 61c. Chorus: "Und bald lief einer unter ihnen" / 61d. Chorus: "Halt, lass sehen" / 61e. Recitative (Evangelist): "Aber Jesus schriee abermal laut" | — | ||
| 4-27 | St. Matthew Passion, BWV 244: Part II. Crucifixion: 62. Chorale: "Wenn ich einmal soll scheiden" | — | ||
| 4-28 | St. Matthew Passion, BWV 244: Part II. Crucifixion: 63a. Recitative (Evangelist): "Und siehe da, der Vorhang im Tempel zerriss" / 63b. Chorus: "Wahrlich, dieser ist Gottes Sohn gewesen" / Descent from the Cross: 63c. Recitative: "Und es waren viel Weiber da" | — | ||
| 4-29 | St. Matthew Passion, BWV 244: Part II. Descent from the Cross: 64. Recitative (Evangelist): "Am Abend, da es kühle war" | — | ||
| 4-30 | St. Matthew Passion, BWV 244: Teil II. Aria (Bass) "Mache dich, mein Herze, rein" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 4-31 | St. Matthew Passion, BWV 244: Part II. Burial: 66a. Recitative (Evangelist): "Und Joseph nahm den Leib" / 66b. Chorus: "Herr, wir haben gedacht" / 66c. Recitative (Evangelist, Pilate): "Pilatus sprach zu ihnen" | — | ||
| 4-32 | Matthäus-Passion, BWV 244: Teil II, LXVII. Recitativo (Soprano, Alto, Tenore, Basso) "Nun ist der Herr zur Ruh gebracht" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 4-33 | Matthäus-Passion, BWV 244: Teil II, LXVIII. Coro "Wir setzen uns mit Tränen nieder" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-1 | Johannes-Passion, BWV 245: Erster Teil: 1. Chor: Herr, Unser Herrscher, Dessen Ruhm | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-2 | St. John Passion, BWV 245: Part One. Betrayal and Arrest: 2a. Recitative (Evangelist, Jesus) "Jesus ging mit seinen Jüngern über den Bach Kidron" / 2b. Chorus: "Jesum von Nazareth!" / 2c. Recitative (Evangelist, Jesus): "Jesus spricht zu ihnen" / 2d. Chorus: "Jesum von Nazareth!" / 2e. Recitative (Evangelist, Jesus): "Jesus antwortete" | — | ||
| 5-3 | Johannes-Passion, BWV 245: Erster Teil: 3. Choral: O Große Lieb | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-4 | St. John Passion, BWV 245: Part One. Betrayal and Arrest: 4. Recitative (Evangelist, Jesus): "Auf dass das Wort erfüllet würde" | — | ||
| 5-5 | St. John Passion, BWV 245: Part One. Betrayal and Arrest: 5. Chorale: "Dein Will gescheh, Herr Gott, zugleich" | — | ||
| 5-6 | St. John Passion, BWV 245: Part One. Betrayal and Arrest: 6. Recitative (Evangelist) "Die Schar aber und der Oberhauptmann und die Diener der Jüden nahmen Jesum" | — | ||
| 5-7 | Johannes-Passion, BWV 245: Erster Teil: 7. Arie (Altus): Von Den Stricken Meiner Sünden | Michael Chance, Valerie Darke, Anthony Robson, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-8 | St. John Passion, BWV 245: Part One. Denial: 8. Recitative (Evangelist): "Simon Petrus aber folgete Jesu nach" | — | ||
| 5-9 | St. John Passion, BWV 245: Part One. Denial: 9. Aria (soprano): "Ich folge dir gleichfalls mit freudigen Schritten" | — | ||
| 5-10 | St. John Passion, BWV 245: Part One. Denial: 10. Recitative (Evangelist, Maid, Peter, Jesus, Servant): "Derselbige Jünger war dem Hohepriester bekannt" | — | ||
| 5-11 | Johannes-Passion, BWV 245: Erster Teil: 11. Choral: Wer Hat Dich So Geschlagen | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-12 | St. John Passion, BWV 245: Part One. Denial: 12a. Recitative (Evangelist): "Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas" / 12b. Chorus: "Bist du nicht seiner Jünger einer?" / 12c. Recitative (Evangelist, Peter, Servant): "Er leugnete aber und sprach" | — | ||
| 5-13 | Johannes-Passion, BWV 245: Erster Teil: 13. Arie (Tenor): Ach, Mein Sinn, Wo Willt Du Endlich Hin | Neill Archer, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-14 | St. John Passion, BWV 245: Part One. Denial: 14. Chorale: "Petrus, der nicht denkt zurück" | — | ||
| 5-15 | Johannes-Passion, BWV 245: Zweiter Teil: 15. Choral: Christus, Der Uns Selig Macht | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-16 | St. John Passion, BWV 245: Part Two. Interrogation and Scourging: 16a. Recitative (Evangelist, Pilate): "Da führeten sie Jesum von Kaiphas vor das Richthaus" / 16b. Chorus: "Wäre dieser nicht ein Übeltäter" / 16c. Recitative (Evangelist, Pilate): "Da sprach Pilatus zu ihnen" / 16d. Chorus: "Wir dürfen niemand töten" / 16e. Recitative (Evangelist, Pilate, Jesus): "Auf dass erfüllet würde das Wort Jesu" | — | ||
| 5-17 | Johannes-Passion, BWV 245: Zweiter Teil: 17. Choral: Ach Grosser König, Gross Zu Allen Zeiten | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-18 | St. John Passion, BWV 245: Part Two. Interrogation and Scourging: 18a. Recitative (Evangelist, Pilate, Jesus): "Da sprach Pilatus zu ihm" / 18b. Chorus: "Nicht diesen, sondern Barrabam!" / 18c. Recitative (Evangelist): "Barrabas aber war ein Mörder!" | — | ||
| 5-19 | Johannes-Passion, BWV 245: Zweiter Teil: 19. Arioso (Bass): Betrachte, Mein Seel | Cornelius Hauptmann, Pavlo Beznosiuk, Roy Goodman, Jakob Lindberg, English Baroque Soloists, John Eliot Gardiner | T-050.327.214-7 | |
| 5-20 | Johannes-Passion, BWV 245: Zweiter Teil: 20. Arie (Tenor): Erwäge, Wie Sein Blutgefärbter Rücken | Rufus Müller, Pavlo Beznosiuk, Richard Campbell, Roy Goodman, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-1 | St. John Passion, BWV 245: Part Two. Verurteilung und Kreuzigung: 21a. Recitative (Evangelist): "Und die Kriegsknechte flochten eine Krone von Dornen" / 21b. Chorus: "Sei gegrüßet, lieber Jüdenkönig" / 21c. Recitative (Evangelist, Pilate) "Und gaben ihm Backenstreiche" / 21d. Chorus: "Kreuzige, kreuzige!" / 21e. Recitative (Evangelist, Pilate): "Pilatus sprach zu ihnen" / 21f. Chorus: "Wir haben ein Gesetz" / 21g. Recitative (Evangelist, Pilate, Jesus): "Da Pilatus das Wort hörete" | — | ||
| 6-2 | Johannes-Passion, BWV 245: Zweiter Teil: 22. Choral: Durch Dein Gefängnis, Gottes Sohn | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-3 | St. John Passion, BWV 245: Part Two. Verurteilung und Kreuzigung: 23a. Recitative (Evangelist): "Die Jüden aber schrieen und sprachen" / 23b. Chorus: "Lässest du diesen los" / 23c. Recitative (Evangelist, Pilate): "Da Pilatus das Wort hörete" / 23d. Chorus: "Weg, weg mit dem" / 23e. Recitative (Evangelist): "Spricht Pilatus zu ihnen" / 23f. Chorus: "Wir haben keinen König denn den Kaiser" / 23g. Recitative (Evangelist): "Da überantwortete er ihn, dass er gekreuziget würde" | — | ||
| 6-4 | Johannes-Passion, BWV 245: Zweiter Teil: 24. Arie (Bass) - Chor: Eilt Ihr Angefochtnen Seelen / Wohin? | Cornelius Hauptmann, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-050.327.214-7 | |
| 6-5 | St. John Passion, BWV 245: Part Two. Verurteilung und Kreuzigung: 25a. Recitative (Evangelist): "Allda kreuzigten sie ihn" / 25b. Chorus: "Schreibe nicht: der Jüden König" / 25c. Recitative (Evangelist, Pilate): "Pilatus antwortet" | — | ||
| 6-6 | Johannes-Passion, BWV 245: Zweiter Teil: 26. Choral: In Meines Herzens Grunde | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-7 | St. John Passion, BWV 245: Part Two. The Death of Jesus: 27a. Recitative (Evangelist): "Die Kriegsknechte aber, da sie Jesum gekreuziget hatten" / 27b. Chorus: "Lasset uns den nicht zerteilen" / 27c. Recitative (Evangelist, Jesus) "Auf dass erfüllet würde die Schrift" | — | ||
| 6-8 | St. John Passion, BWV 245: Part Two. The Death of Jesus: 28. Chorale: "Er nahm alles wohl in acht" | — | ||
| 6-9 | St. John Passion, BWV 245: Part Two. The Death of Jesus: 29. Recitative (Evangelist, Jesus): "Und von Stund an nahm sie der Jünger zu sich" | — | ||
| 6-10 | Johannes-Passion, BWV 245: Zweiter Teil: 30. Arie (Altus): Es Ist Vollbracht | Michael Chance, Cornelius Hauptmann, Richard Campbell, English Baroque Soloists, John Eliot Gardiner | T-915.681.108-4 | |
| 6-11 | St. John Passion, BWV 245: Part Two. The Death of Jesus: 31. Recitative (Evangelist): "Und neigte das Haupt und verschied" | — | ||
| 6-12 | Johannes-Passion, BWV 245: Zweiter Teil: 32. Arie (Bass): Mein Teurer Heiland / Mit Choral: Jesu, Der Du Warest Tot | Cornelius Hauptmann, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-13 | St. John Passion, BWV 245: Part Two. Burial: 33. Recitative (Evangelist): "Und siehe da, der Vorhang im Tempel zerriss" | — | ||
| 6-14 | Johannes-Passion, BWV 245: Zweiter Teil: 34. Arioso (Tenor I): Mein Herz, Indem Die Ganze Welt | Neill Archer, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-15 | Johannes-Passion, BWV 245: Zweiter Teil: 35. Arie (Sopran): Zerfliesse, Mein Herze | Nancy Argenta, Lisa Beznosiuk, Richard Earle, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-16 | St. John Passion, BWV 245: Part Two. Burial: 36. Recitative (Evangelist) "Die Jüden aber, dieweil es der Rüsttag war" | — | ||
| 6-17 | Johannes-Passion, BWV 245: Zweiter Teil: 37. Choral: O Hilf, Christe, Gottes Sohn | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-18 | St. John Passion, BWV 245: Part Two. Burial: 38. Recitative (Evangelist): "Darnach bat Pilatum Joseph von Arimathia" | — | ||
| 6-19 | Johannes-Passion, BWV 245: Zweiter Teil: 39. Chor: Ruht Wohl, Ihr Heiligen Gebeine | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-915.682.948-0 | |
| 6-20 | Johannes-Passion, BWV 245: Zweiter Teil: 40. Choral: Ach Herr, Lass Dein Lieb Engelein | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 7-1 | Mass in B minor BWV 232: I. Kyrie: Kyrie eleison | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-070.093.418-4 | |
| 7-2 | Mass in B minor BWV 232: II. Kyrie: Christe eleison | Lynne Dawson, Carol Hall, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-3 | Mass in B minor BWV 232: III. Kyrie: Kyrie eleison | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-4 | Mass in B minor BWV 232: IV. Gloria: Gloria in excelsis (attacca) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-010.963.456-1 | |
| 7-5 | Mass in B minor BWV 232: V. Gloria: Et in terra pax | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-6 | Mass in B minor BWV 232: VI. Gloria: Laudamus te | Nancy Argenta, Elizabeth Wilcock, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-7 | Mass in B minor BWV 232: VII. Gloria: Gratias agimus tibi | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-921.408.876-3 | |
| 7-8 | Mass in B minor BWV 232: VIII. Gloria: Domine Deus (attacca) | Nancy Argenta, Howard Milner, Lisa Beznosiuk, English Baroque Soloists, Sir John Eliot Gardiner | T-926.494.374-0 | |
| 7-9 | Mass in B minor BWV 232: IX. Gloria: Qui tollis peccata mundi | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-10 | Mass in B Minor, BWV 232: Aria 'Qui sedes ad dextram Patris' | Michael Chance, Sophia McKenna, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-11 | Mass in B minor BWV 232: XI. Gloria: Quoniam tu solus sanctus (attacca) | Stephen Varcoe, Michael Thompson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-12 | Mass in B minor BWV 232: XII. Gloria: Cum Sancto Spiritu | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 8-1 | Mass in B minor BWV 232: XIII. Credo: Credo in unum Deum | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.322-9 | |
| 8-2 | Mass in B minor BWV 232: XIV. Credo: Credo in unum Deum / Patrem omnipotentem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 8-3 | Mass in B minor BWV 232: XV. Credo: Et in unum Dominum | Patrizia Kwella, Mary Nichols, English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.322-9 | |
| 8-4 | Mass in B minor BWV 232: XVI. Credo: Et incarnatus est | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-306.483.194-9 | |
| 8-5 | Mass in B minor BWV 232: XVII. Credo: Crucifixus | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-917.413.519-4 | |
| 8-6 | Mass in B minor BWV 232: XVIII. Credo: Et resurrexit | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 8-7 | Mass in B minor BWV 232: XIX. Credo: Et in Spiritum Sanctum | Richard Lloyd-Morgan, Valerie Darke, Sophia McKenna, English Baroque Soloists, Sir John Eliot Gardiner | T-915.866.114-4 | |
| 8-8 | Mass in B minor BWV 232: XX. Credo: Confiteor (attacca) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 8-9 | Mass in B minor BWV 232: XXI: Credo: Et exspecto resurrectionem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 8-10 | Mass in B minor, BWV 232: No. 22 Chorus: »Sanctus« | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | T-312.692.424-7 | |
| 8-11 | Mass in B minor, BWV 232: No. 23 Chorus I/II: »Osanna in excelsis« | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 8-12 | Mass in B minor BWV 232: XXIV. Sanctus: Benedictus, qui venit | Wynford Evans, Lisa Beznosiuk, English Baroque Soloists, Sir John Eliot Gardiner | T-050.283.177-7 | |
| 8-13 | Mass in B minor BWV 232: XXV. Sanctus: Osanna (da capo) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 8-14 | Mass in B Minor, BWV 232: Aria 'Agnus Dei' | Michael Chance, English Baroque Soloists, Sir John Eliot Gardiner | T-914.368.452-0 | |
| 8-15 | Mass in B minor BWV 232: XXVII. Agnus Dei: Dona nobis pacem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-050.051.776-9 | |
| 9-1 | Magnificat, BWV 243: I. Coro "Magnificat anima mea" | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-2 | Magnificat, BWV 243: II. Aria (soprano II) "Et exsultavit spiritus meus" | Patrizia Kwella, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-3 | Magnificat, BWV 243: III. Aria (soprano I) "Quia respexit humilitatem" | Nancy Argenta, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-4 | Magnificat in D major, BWV 243: IV. Coro "Omnes generationes" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 9-5 | Magnificat, BWV 243: V. Aria (bass) "Quia fecit mihi magna" | David Thomas, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-6 | Magnificat, BWV 243: VI. Aria (Duetto) (alto, tenor) "Et misericordia" | Anthony Rolfe Johnson, Sir John Eliot Gardiner, English Baroque Soloists, Charles Brett | — | |
| 9-7 | Magnificat, BWV 243: VII. Coro "Fecit potentiam" | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-8 | Magnificat, BWV 243: VIII. Aria (tenor) "Deposuit potentes" | Anthony Rolfe Johnson, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-9 | Magnificat, BWV 243: IX. Aria (alto) "Esurientes implevit bonis" | Charles Brett, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-10 | Magnificat, BWV 243: X. Aria (Terzetto) (sopranos I & II, alto) "Suscepit Israel" | Nancy Argenta, Sir John Eliot Gardiner, English Baroque Soloists, Patrizia Kwella, Charles Brett | — | |
| 9-11 | Magnificat, BWV 243: XI. Coro "Sicut locutus est" | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-12 | Magnificat, BWV 243: XII. Coro "Gloria Patri" | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-13 | Kantate, BWV 51 "Jauchzet Gott in allen Landen": I. Aria "Jauchzet Gott" | Emma Kirkby, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-14 | Kantate, BWV 51 "Jauchzet Gott in allen Landen": II. Recitativo "Wir beten zu dem Tempel an" | Emma Kirkby, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-15 | Kantate, BWV 51 "Jauchzet Gott in allen Landen": III. Aria "Höchster, mache deine Güte" | Emma Kirkby, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-16 | Kantate, BWV 51 "Jauchzet Gott in allen Landen": IV. Chorale "Sei Lob und Preis mit Ehren" | Emma Kirkby, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-17 | Kantate, BWV 51 "Jauchzet Gott in allen Landen": V. Aria "Alleluja" | Emma Kirkby, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 10-1 | “Nun komm, der Heiden Heiland”, BWV 61: 1. Ouverture (chorus): “Nun komm, her Heiden Heiland” | — | ||
| 10-2 | “Nun komm, der Heiden Heiland”, BWV 61: 2. Recitative (tenor): “Der Heiland ist gekommen” | — | ||
| 10-3 | “Nun komm, der Heiden Heiland”, BWV 61: 3. Aria (tenor): “Komm, Jesu, komm zu deiner Kirche” | — | ||
| 10-4 | “Nun komm, der Heiden Heiland”, BWV 61: 4. Recitative (baritone): “Siehe, ich stehe vor der Tür” | — | ||
| 10-5 | “Nun komm, der Heiden Heiland”, BWV 61: 5. Aria (soprano): “Öffne dich, mein ganzes Herze” | — | ||
| 10-6 | “Nun komm, der Heiden Heiland”, BWV 61: 6. Chorale: “Amen” | — | ||
| 10-7 | “Schwingt freudig euch empor”, BWV 36: First Part. 1. Chorus: “Schwingt freudig euch empor” | — | ||
| 10-8 | “Schwingt freudig euch empor”, BWV 36: First Part. 2. Chorale (soprano, mezzo-soprano): “Nun komm, her Heiden Heiland” | — | ||
| 10-9 | “Schwingt freudig euch empor”, BWV 36: First Part. 3. Aria (tenor): “Die Liebe zieht mit sanften Schritten” | — | ||
| 10-10 | “Schwingt freudig euch empor”, BWV 36: First Part. 4. Chorale: “Zwingt die Saiten in Cy” | — | ||
| 10-11 | “Schwingt freudig euch empor”, BWV 36: Second Part. 5. Aria (baritone): “Willkommen, werter Schatz!” | — | ||
| 10-12 | “Schwingt freudig euch empor”, BWV 36: Second Part. 6. Chorale (tenors): “Der du bist dem Vater gleich” | — | ||
| 10-13 | “Schwingt freudig euch empor”, BWV 36: Second Part. 7. Aria (soprano): “Auch mit gedämpften, schwachen Stimmen” | — | ||
| 10-14 | “Schwingt freudig euch empor”, BWV 36: Second Part. 8. Chorale: “Lob sei Gott, dem Vater, ton” | — | ||
| 10-15 | Nun komm, der Heiden Heiland II, BWV 62: No. 1 Chorus: »Nun komm, der Heiden Heiland« | The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner | — | |
| 10-16 | “Nun komm, der Heiden Heiland”, BWV 62: 2. Aria (tenor): “Bewundert, o Menschen, dies große Geheimnis” | — | ||
| 10-17 | “Nun komm, der Heiden Heiland”, BWV 62: 3. Recitative (baritone): “So geht aus Gottes Herrlichkeit und Thron” | — | ||
| 10-18 | “Nun komm, der Heiden Heiland”, BWV 62: 4. Aria (baritone): “Streite, siege, starker Held!” | — | ||
| 10-19 | “Nun komm, der Heiden Heiland”, BWV 62: 5. Recitative (soprano, mezzo-soprano): “Wir ehren diese Herrlichkeit” | — | ||
| 10-20 | “Nun komm, der Heiden Heiland”, BWV 62: 6. Chorale: “Lob sei Gott, dem Vater, ton” | — | ||
| 11-1 | Christen, aetzet diesen Tag, BWV 63: I. Chorus "Christen, aetzet diesen Tag" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-2 | Christen, aetzet diesen Tag, BWV 63: II. Recitative (contralto) "O selger Tag! o ungemeines Heute" | Sara Mingardo, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-3 | Christen, aetzet diesen Tag, BWV 63: III. Duet (soprano, bass) "Gott, du hast es wohl gefüget" | Stephan Loges, Ann Monoyios, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-4 | Christen, aetzet diesen Tag, BWV 63: IV. Recitative (tenor) "So kehret sich num heut das bange Leid" | Rufus Müller, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-5 | Christen, aetzet diesen Tag, BWV 63: V. Duet (contralto, tenor) "Ruft und fleht den Himmel an" | Sara Mingardo, Rufus Müller, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-6 | Christen, aetzet diesen Tag, BWV 63: VI. Recitative (bass) "Verdoppelt euch demnach, ihr heißen Andachtsflammen" | Stephan Loges, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-7 | Christen, aetzet diesen Tag, BWV 63: VII. Chorus "Höchster, schau in Gnaden an" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-8 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: I. Chorus "Sehet, welch eine Liebe hat uns der Vater erzeiget" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-9 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: II. Chorale "Das hat er alles uns getan" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-10 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: III. Recitative (contralto) "Geh, Welt! behalte nur das Deine" | Sara Mingardo, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-11 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: IV. Chorale "Was frag ich nach der Welt" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-12 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: V. Aria (soprano) "Was die Welt in sich hãlt" | Ann Monoyios, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-13 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: VI. Recitative (bass) "Der Himmel bleibet mir gewiss" | Stephan Loges, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-14 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: VII. Aria (contralto) "Von der Welt verlang ich nichts" | Sara Mingardo, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-15 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: VIII. Chorale "Gute Nacht, o Wesen" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-16 | Christum wir sollen loben schon, BWV 121: I. Chorus "Christum wir sollen loben schon" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-900.166.671-3 | |
| 11-17 | Christum wir sollen loben schon, BWV 121: II. Aria (tenor) "O du von Gott erhörte Kreature" | Rufus Müller, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-18 | Christum wir sollen loben schon, BWV 121: III. Recitative (contralto) "Der Gnade unermesslichs Wesen" | Sara Mingardo, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-19 | Christum wir sollen loben schon, BWV 121: IV. Aria (bass) "Johannis freudenvolles Springen" | Stephan Loges, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-20 | Christum wir sollen loben schon, BWV 121: V. Recitative (soprano) "Doch wie erblickt es dich in deiner Krippe?" | Ann Monoyios, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-21 | Christum wir sollen loben schon, BWV 121: VI. Chorale "Lob, Ehr und Dank sei dir gesagt" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-22 | Ich freue mich in dir, BWV 133: I. Chorale "Ich freue mich in dir" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-23 | Ich freue mich in dir, BWV 133: II. Aria (countertenor) "Getrost! es fasst ein heilger Leib" | Derek Lee Ragin, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-24 | Ich freue mich in dir, BWV 133: III. Recitative (tenor) "Ein Adam mag sich voller Schrecken" | Julian Podger, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-25 | Ich freue mich in dir, BWV 133: IV. Aria (soprano) "Wie lieblich klingt es in den Ohren" | Katherine Fuge, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-26 | Ich freue mich in dir, BWV 133: V. Recitative (bass) "Wohlan, des Todes Furcht und Schmerz" | Gotthold Schwarz, English Baroque Soloists, Sir John Eliot Gardiner | T-802.372.990-1 | |
| 11-27 | Ich freue mich in dir, BWV 133: VI. Chorale "Wohlan, so will ich mich" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 12-1 | “Was Gott tut, das ist wohlgetan”, BWV 98: 1. Chorus: “Was Gott tut, das ist wohlgetan” | — | ||
| 12-2 | “Was Gott tut, das ist wohlgetan”, BWV 98: 2. Recitative (tenor): “Ach Gott! wenn wirst du mich einmal” | — | ||
| 12-3 | “Was Gott tut, das ist wohlgetan”, BWV 98: 3. Aria (soprano): “Hört, ihr Augen, auf zu weinen” | — | ||
| 12-4 | “Was Gott tut, das ist wohlgetan”, BWV 98: 4. Recitative (alto): “Gott hat ein Herz, das des Erbarmens Überfluss” | — | ||
| 12-5 | “Was Gott tut, das ist wohlgetan”, BWV 98: 5. Aria (bass): “Meinen Jesum lass ich nicht” | — | ||
| 12-6 | “Wohl dem, der sich auf seinen Gott”, BWV 139: 1. Chorus: “Wohl dem, der sich auf seinen Gott” | — | ||
| 12-7 | “Wohl dem, der sich auf seinen Gott”, BWV 139: 2. Aria (tenor): “Gott ist mein Freund; was hilft das Toben” | — | ||
| 12-8 | “Wohl dem, der sich auf seinen Gott”, BWV 139: 3. Recitative (alto): “Der Heiland sendet ja die Seinen” | — | ||
| 12-9 | “Wohl dem, der sich auf seinen Gott”, BWV 139: 4. Aria (bass): “Das Unglück schlägt auf allen Seiten” | — | ||
| 12-10 | “Wohl dem, der sich auf seinen Gott”, BWV 139: 5. Recitative (soprano): “Ja, trag ich gleich den größten Feind in mir” | — | ||
| 12-11 | “Wohl dem, der sich auf seinen Gott”, BWV 139: 6. Chorale: “Dahero Trotz der Höllen Heer” | — | ||
| 12-12 | “Herr Gott, dich loben wir”, BWV 16: 1. Chorus: “Herr Gott, dich loben wir” | — | ||
| 12-13 | “Herr Gott, dich loben wir”, BWV 16: 2. Recitative (bass): “So stimmen wir bei dieser frohen Zeit” | — | ||
| 12-14 | “Herr Gott, dich loben wir”, BWV 16: 3. Aria (chorus, bass): “Lasst uns jauchzen, lasst uns freuen” / “Krönt und segnet seine Hand” | — | ||
| 12-15 | “Herr Gott, dich loben wir”, BWV 16: 4. Recitative (alto): “Ach, treuer Hort, beschütz auch fernerhin dein wertes Wort” | — | ||
| 12-16 | “Herr Gott, dich loben wir”, BWV 16: 5. Aria (tenor): “Geliebter Jesu, nur du allein” | — | ||
| 12-17 | “Herr Gott, dich loben wir”, BWV 16: 6. Chorale: “All solch dein Güt wir preisen” | — | ||
| 13-1 | Alles nur nach Gottes Willen, BWV 72: Chorus "Alles nur nach Gottes Willen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-2 | Alles nur nach Gottes Willen, BWV 72: Recitative, Arioso & Aria (contralto) "O selger Christ, der allzeit seinen Willen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-3 | Alles nur nach Gottes Willen, BWV 72: Recitative (bass) "So glaube nun!" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-4 | Alles nur nach Gottes Willen, BWV 72: Aria (soprano) "Mein Jesus will es tun" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-5 | Alles nur nach Gottes Willen, BWV 72: Chorale "Was mein Gott will, das g'scheh allzeit" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-6 | Herr, wie du willt, so schicks mit mir, BWV 73: Chorus & Recitative (soprano, tenor, bass) "Herr, wie du willt, so schicks mit mir" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-7 | Herr, wie du willt, so schicks mit mir, BWV 73: Aria (tenor) "Ach, senke doch den Geist der Freuden" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-8 | Herr, wie du willt, so schicks mit mir, BWV 73: Recitative (bass) "Ach, unser Wille bleibt verkehrt" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-9 | Herr, wie du willt, so schicks mit mir, BWV 73: Aria (bass) "Herr, so du willt" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-10 | Herr, wie du willt, so schicks mit mir, BWV 73: Chorale "Das ist des Vaters Wille" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-11 | Was mein Gott will, das g'scheh allzeit, BWV 111: Chorus "Was mein Gott will, das g'scheh allzeit" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-12 | Was mein Gott will, das g'scheh allzeit, BWV 111: Aria (bass) "Entsetze dich, mein Herze, nicht" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-13 | Was mein Gott will, das g'scheh allzeit, BWV 111: Recitative (contralto) "O Törichter! der sich von Gott entzieht" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-14 | Was mein Gott will, das g'scheh allzeit, BWV 111: Duet (contralto, tenor) "So geh ich mit beherzten Schritten" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-15 | Was mein Gott will, das g'scheh allzeit, BWV 111: Recitative (soprano) "Drum wenn der Tod zuletzt den Geist" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-16 | Was mein Gott will, das g'scheh allzeit, BWV 111: Chorale "Noch eins, Herr, will ich bitten dich" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-17 | Ich steh mit einem Fuß im Grabe, BWV 156: Sinfonia | English Baroque Soloists, Sir John Eliot Gardiner | T-011.354.204-3 | |
| 13-18 | Ich steh mit einem Fuß im Grabe, BWV 156: Aria (tenor) & Chorale (sopranos) "Ich steh mit einem Fuß im Grabe" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-19 | Ich steh mit einem Fuß im Grabe, BWV 156: Recitative (bass) "Mein Angst und Not" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-20 | Ich steh mit einem Fuß im Grabe, BWV 156: Aria (contralto) "Herr, was du willt, soll mir gefallen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-21 | Ich steh mit einem Fuß im Grabe, BWV 156: Recitative (bass) "Und willst du, dass ich nicht soll kranken" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-22 | Ich steh mit einem Fuß im Grabe, BWV 156: Chorale "Herr, wie du willt, so schicks mit mir" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-1 | Cantata, BWV 83 "Erfreute Zeit im neuen Bunde": I. Aria (Countertenor) "Erfreute Zeit in neuem Bunde" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-2 | Cantata, BWV 83 "Erfreute Zeit im neuen Bunde": II. Intonation (Basso) "Herr, nun lässest du deinen Diener" - Recitative (Basso) "Was uns als Menschen schreckligen scheint" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-3 | Cantata, BWV 83 "Erfreute Zeit im neuen Bunde": III. Aria (Tenor) "Eile, Herz, voll Freudigkeit" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-4 | Cantata, BWV 83 "Erfreute Zeit im neuen Bunde": IV. Recitative (Countertenor) "Ja, merkt dein Glaube noch viel Finsternis" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-5 | Cantata, BWV 83 "Erfreute Zeit im neuen Bunde": V. Chorale "Er ist das Heil und selig Licht" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-6 | Cantata, BWV 82 "Ich habe genug": I. Aria (Basso) "Ich habe genug" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-7 | Cantata, BWV 82 "Ich habe genug": II. Recitative (Basso) "Ich habe genug" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-8 | Cantata, BWV 82 "Ich habe genug": III. Aria (Basso) "Schlummert ein, ihr matten Augen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-9 | Cantata, BWV 82 "Ich habe genug": IV. Recitative (Basso) "Mein Gott! wann kommt das schoene: Nun!" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-10 | Cantata, BWV 82 "Ich habe genug": V. Aria (Basso) "Ich freue mich auf meinen Tod" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-11 | Cantata, BWV 125 "Mit Fried und Freud ich fahr dahin": I. Chorale "Mit Fried und Freud ich fahr dahin" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-12 | Cantata, BWV 125 "Mit Fried und Freud ich fahr dahin": II. Aria (Countertenor) "Ich will auch mit gebrochnen Augen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-13 | Cantata, BWV 125 "Mit Fried und Freud ich fahr dahin": III. Recitative (Basso) "O Wunder, das ein Herz" - Chorale (Basso) "Das macht Christus, wahr' Gottes Sohn" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-14 | Cantata, BWV 125 "Mit Fried und Freud ich fahr dahin": IV. Aria (Tenor, Basso) "Ein unbegreiflich Licht erfüllt den ganzen Kreis der Erden" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-15 | Cantata, BWV 125 "Mit Fried und Freud ich fahr dahin": V. Recitative (Countertenor) "O Unerschöpfter Schatz der Güte" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-16 | Cantata, BWV 125 "Mit Fried und Freud ich fahr dahin": VI. Chorale "Er ist das Heil und sel'ge Licht" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-17 | Cantata, BWV 200 "Bekennen will ich seinen Namen": Aria (Countertenor) "Bekennen will ich seinen Namen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 15-1 | “Bleib bei uns, denn es will Abend werden”, BWV 6: 1. Chorus: “Bleib bei uns, denn es will Abend werden” | — | ||
| 15-2 | “Bleib bei uns, denn es will Abend werden”, BWV 6: 2. Aria (alto): “Hochgelobter Gottessohn” | — | ||
| 15-3 | “Bleib bei uns, denn es will Abend werden”, BWV 6: 3. Chorale (sopranos): “Ach bleib bei uns, Herr Jesu Christ” | — | ||
| 15-4 | “Bleib bei uns, denn es will Abend werden”, BWV 6: 4. Recitative (bass): “Es hat die Dunkelheit an vielen Orten” | — | ||
| 15-5 | “Bleib bei uns, denn es will Abend werden”, BWV 6: 5. Aria (tenor): “Jesu, lass uns auf duch sehen” | — | ||
| 15-6 | “Bleib bei uns, denn es will Abend werden”, BWV 6: 6. Chorale: “Beweis dein Macht, Herr Jesu Christ” | — | ||
| 15-7 | “Erfreut euch, ihr Herzen”, BWV 66: 1. Chorus: “Erfreut euch, ihr Herzen” | — | ||
| 15-8 | “Erfreut euch, ihr Herzen”, BWV 66: 2. Recitative (bass): “Es bricht das Grab und damit unsre Not” | — | ||
| 15-9 | “Erfreut euch, ihr Herzen”, BWV 66: 3. Aria (bass): “Lasset dem Höchsten ein Danklied erschallen” | — | ||
| 15-10 | “Erfreut euch, ihr Herzen”, BWV 66: 4. Recitative (dialogue) & Arioso (alto, tenor): “Bei Jesu Leben freudig sein” | — | ||
| 15-11 | “Erfreut euch, ihr Herzen”, BWV 66: 5. Duet (alto, tenor): “Ich fürchte zwar/nicht des Grabes Finsternissen” | — | ||
| 15-12 | “Erfreut euch, ihr Herzen”, BWV 66: 6. Chorale: “Halleluja! Des solln wir alle froh sein” | — | ||
| 16-1 | Gott fähret auf mit Jauchzen, BWV 43: Chorus "Gott fähret auf mit Jauchzen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-2 | Gott fähret auf mit Jauchzen, BWV 43: Recitative (tenor) "Es will der Höchste sich ein Siegsgeprãng bereiten" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-3 | Gott fähret auf mit Jauchzen, BWV 43: Aria (tenor) "Ja tausend mal tausend begleiten den Wagen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-4 | Gott fähret auf mit Jauchzen, BWV 43: Recitative (soprano) "Und der Herr, nachdem er mit ihnen geredet hatte" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-5 | Gott fähret auf mit Jauchzen, BWV 43: Aria (Soprano) "Mein Jesus hat nunmehr das Heilandwerk vollendet" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-6 | Gott fähret auf mit Jauchzen, BWV 43: Recitative (bass) "Es kommt der Helden Held" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-7 | Gott fähret auf mit Jauchzen, BWV 43: Aria (bass) "Er ists, der ganz allein die Kelter hat getreten" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-8 | Gott fähret auf mit Jauchzen, BWV 43: Recitative (countertenor) "Der Vater hat ihm ja ein ewig Reich bestimmet" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-9 | Gott fähret auf mit Jauchzen, BWV 43: Aria (countertenor) "Ich sehe schon im Geist" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-10 | Gott fähret auf mit Jauchzen, BWV 43: Recitative (soprano) "Er will mir neben sich die Wohnung zubereiten" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-11 | Gott fähret auf mit Jauchzen, BWV 43: Chorale "Du Levensfürst, Herr Hesu Christe" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-12 | Auf Christi Himmelfart allein, BWV 128: Chorus "Auf Christi Himmelfart allein" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-13 | Auf Christi Himmelfart allein, BWV 128: Recitative (tenor) "Ich bin bereit, komm hole mich!" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-14 | Auf Christi Himmelfart allein, BWV 128: Aria & Recitative (bass) "Auf, auf, mit hellem Schall" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-15 | Auf Christi Himmelfart allein, BWV 128: Aria (coutertenor, tenor) "Sein Allmacht zu ergründen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-16 | Auf Christi Himmelfart allein, BWV 128: Chorale "Alsdann so wirst du mich zu deiner Rechten stellen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-17 | Wer da gläubet und getauft wird, BWV 37: Chorus "Wer da gläubet und getauft wird" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-18 | Wer da gläubet und getauft wird, BWV 37: Aria (tenor) "Der Glaube ist das Pfand der Liebe" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-19 | Wer da gläubet und getauft wird, BWV 37: Chorale (soprano, countertenor) "Herr Gott Vater, main starker Held!" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-20 | Wer da gläubet und getauft wird, BWV 37: Recitative (bass) "Ihr Sterblichen, verlanget ihr" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-21 | Wer da gläubet und getauft wird, BWV 37: Aria (bass) "Der Glaube schafft der Seele Flügel" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-22 | Wer da gläubet und getauft wird, BWV 37: Chorale "Den Glauben mir verleihe an dein' Sohn Jesum Christ" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-23 | Lobet Gott in seinen Reichen, BWV 11: Chorus "Lobet Gott in seinen Reichen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-24 | Lobet Gott in seinen Reichen, BWV 11: Recitative (tenor [Evangelist]) "Der Herr Jesus hub seine Hände auf" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-25 | Lobet Gott in seinen Reichen, BWV 11: Recitative (bass) "Ach, Jesu. ist dein Abschied schon so nah?" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-26 | Lobet Gott in seinen Reichen, BWV 11: Aria (coutertenor) "Ach, bleibe doch, mein liebstes Leben" | English Baroque Soloists, Sir John Eliot Gardiner | T-919.170.489-9 | |
| 16-27 | Lobet Gott in seinen Reichen, BWV 11: Recitative (tenor [Evangelist]) "Und ward aufgehoben zusehends" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-28 | Lobet Gott in seinen Reichen, BWV 11: Chorale "Nun liegt alles unter dir" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-29 | Lobet Gott in seinen Reichen, BWV 11: Recitative (tenor [Evangelist], bass) "Und da sie ihm nachsahen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-30 | Lobet Gott in seinen Reichen, BWV 11: Recitative (countertenor) "Ach ja! so komme bald zurück" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-31 | Lobet Gott in seinen Reichen, BWV 11: Recitative (tenor [Evangelist]) "Sie aber beteten ihn an" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-32 | Lobet Gott in seinen Reichen, BWV 11: Aria (soprano) "Jesu, deine Gnadenblicke" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-33 | Lobet Gott in seinen Reichen, BWV 11: Chorale "Wenn soll es doch geschehen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-1 | “Erschallet, ihr Lieder”, BWV 172: 1. Chorus: “Erschallet, ihr Lieder, erklinget, ihr Saiten!” | — | ||
| 17-2 | “Erschallet, ihr Lieder”, BWV 172: 2. Recitative (bass): “Wer mich liebet, der wird mein Wort halten” | — | ||
| 17-3 | “Erschallet, ihr Lieder”, BWV 172: 3. Aria (bass): “Heiligste Dreieinigkeit” | — | ||
| 17-4 | “Erschallet, ihr Lieder”, BWV 172: 4. Aria (tenor): “O Seelenparadies” | — | ||
| 17-5 | “Erschallet, ihr Lieder”, BWV 172: 5. Aria (Duet: soprano, alto): “Komm, lass mich nicht länger warten” | — | ||
| 17-6 | “Erschallet, ihr Lieder”, BWV 172: 6. Chorale: “Von Gott kömmt mir ein Freudenschein” | — | ||
| 17-7 | “Wer mich liebet, der wird mein Wort halten”, BWV 59: 1. Duet (soprano, bass): “Wer mich liebet, der wird mein Wort halten” | — | ||
| 17-8 | “Wer mich liebet, der wird mein Wort halten”, BWV 59: 2. Recitative (soprano): “O was sind das vor Ehren” | — | ||
| 17-9 | “Wer mich liebet, der wird mein Wort halten”, BWV 59: 3. Chorale: “Komm, Heiliger Geist, Herre Gott” | — | ||
| 17-10 | “Wer mich liebet, der wird mein Wort halten”, BWV 59: 4. Aria (bass): “Die Welt mit allen Königreichen” | — | ||
| 17-11 | “Wer mich liebet, der wird mein Wort halten”, BWV 59: 5. Chorale: “Du heilige Brunst, süßer Trost” | — | ||
| 17-12 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 1. Chorus: “Wer mich liebet, der wird mein Wort halten” | — | ||
| 17-13 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 2. Aria (soprano): “Komm, komm, mein Herze steht dir offen” | — | ||
| 17-14 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 3. Recitative (alto): “Die Wohnung ist bereit” | — | ||
| 17-15 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 4. Aria (bass): “Ich gehe hin und komme wieder zu euch” | — | ||
| 17-16 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 5. Aria (tenor): “Kommt, eilet, stimmet Sait und Lieder” | — | ||
| 17-17 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 6. Recitative (bass): “Es ist nichts Verdammliches an denen” | — | ||
| 17-18 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 7. Aria (alto): “Nichts kann mich erretten” | — | ||
| 17-19 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 8. Chorale: “Kein Menschenkind hier auf der Erd” | — | ||
| 17-20 | “O ewiges Feuer, o Ursprung der Liebe” BWV 34: 1. Chorus: “O ewiges Feuer, o Ursprung der Liebe” | — | ||
| 17-21 | “O ewiges Feuer, o Ursprung der Liebe” BWV 34: 2. Recitative (tenor): “Herr! unsre Herzen halten dir” | — | ||
| 17-22 | “O ewiges Feuer, o Ursprung der Liebe” BWV 34: 3. Aria (alto): “Wohl euch, ihr auserwählten Seelen” | — | ||
| 17-23 | “O ewiges Feuer, o Ursprung der Liebe” BWV 34: 4. Recitative (bass): “Erwählt sich Gott die Heilgen Hütten” | — | ||
| 17-24 | “O ewiges Feuer, o Ursprung der Liebe” BWV 34: 5. Chorus: “Friede über Israel!” | — | ||
| 18-1 | Was frag' ich nach der Welt, BWV 94: I. Chorus: Was frag' ich nach der Welt | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-2 | Was frag' ich nach der Welt, BWV 94: II. Aria (Basso): Die Welt ist wie ein Rauch und Schatten | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-3 | Was frag' ich nach der Welt, BWV 94: III. Chorale & Recitative (Tenor): Die Welt sucht Ehr' und Ruhm - Ein Stolzer baut die prächtigste | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-4 | Was frag' ich nach der Welt, BWV 94: IV. Aria (Alt): Betörte Welt, betörte Welt | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-5 | Was frag' ich nach der Welt, BWV 94: V. Chorale & Recitative (Bass): Die Welt bekümmert sich - Was muss wohl doch der Kummer sein | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-6 | Was frag' ich nach der Welt, BWV 94: VI. Aria (Tenor): Die Welt kann ihre Lust und Freud | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-7 | Was frag' ich nach der Welt, BWV 94: VII. Aria (Sopran): Es halt es mit der blinden Welt | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-8 | Was frag' ich nach der Welt, BWV 94: VIII. Chorale: Was frag ich nach der Welt | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-9 | Tue Rechnung! Donnerwort, BWV 168: I. Aria (Bass): Tue Rechnung! Donnerwort | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-10 | Tue Rechnung! Donnerwort, BWV 168: II. Recitative (Tenor): Es ist nur fremdes Gut | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-11 | Tue Rechnung! Donnerwort, BWV 168: III. Aria (Tenor): Kapital und Interessen | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-12 | Tue Rechnung! Donnerwort, BWV 168: IV. Recitative (Bass): Jedoch, erschocknes Herz, leb und verzage | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-13 | Tue Rechnung! Donnerwort, BWV 168: V. Aria (Duett Sopran & Alt): Herz, zerreiß des Mammons Kette | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-14 | Tue Rechnung! Donnerwort, BWV 168: VI. Chorale: Stärk mich mit Deinem Freudengeist | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-15 | Herr, gehe nicht ins Gericht mit Deinem Knecht, BWV 105: I. Chorus: Herr, gehe nicht ins Gericht | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-16 | Herr, gehe nicht ins Gericht mit Deinem Knecht, BWV 105: II. Recitative (Alt): Mein Gott, verwirf mich nicht | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-17 | Herr, gehe nicht ins Gericht mit Deinem Knecht, BWV 105: III. Aria (Soprano): Wie zittern und wanken | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-18 | Herr, gehe nicht ins Gericht mit Deinem Knecht, BWV 105: IV. Recitative (Bass): Wohl aber dem, der seinen Bürgen weiß | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-19 | Herr, gehe nicht ins Gericht mit Deinem Knecht, BWV 105: V. Aria (Tenor): Kann ich nur Jesum mir zum Freunde machen | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-20 | Herr, gehe nicht ins Gericht mit Deinem Knecht, BWV 105: VI. Chorale: Nun, ich weiß, Du wirst mir stillen | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-1 | Cantata, BWV 179 "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei": I. Chorus "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-2 | Cantata, BWV 179 "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei": II. Recitative "Das heutge Christentum ist leider schlecht bestellt" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-3 | Cantata, BWV 179 "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei": III. Aria "Falscher Heuchler Ebenbild" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-4 | Cantata, BWV 179 "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei": IV. Recitative "Wer so von innen wie von aussen ist" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-5 | Cantata, BWV 179 "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei": V. Aria "Liebster Gott, erbarme dich" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-6 | Cantata, BWV 179 "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei": VI. Chorale "Ich armer Mensch, Ich armer Sünder" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-7 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": I. Recitative "Mein Herze schwimmt im Blut" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-8 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": II. Aria "Stumme Seufzer, stille Klagen" / Recitative "Mein Herz ist itzt ein Tränenbrunne" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-9 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": III. Recitative "Doch Gott muß mir genädig sein" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-10 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": IV. Aria "Tief gebückt und voller Reue" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-11 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": V. Recitative "Auf diese Schmerzensreu" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-12 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": VI. Chorale "Ich, Dein betrübtes Kind" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-13 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": VII. Recitative "Ich lege mich in diese Wunden" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-14 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": VIII. Aria "Wie freudig ist mein Herz" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-15 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": I. Chorale "Herr Jesu Christ, du höchstes Gut" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-16 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": II. Chorale "Erbarm dich mein in solcher Last" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-17 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": III. Aria "Fürwahr, wenn mir das kommet ein" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-18 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": IV. Chorale "Jedoch dein heilsam Wort, das macht" / Recitative "daß meine Brust" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-19 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": V. Aria "Jesus nimmt die Sünder an" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-20 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": VI. Recitative "Der Heiland nimmt die Sünder an" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-21 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": VII. Aria "Ach Herr, mein Gott, vergib mir doch" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-22 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": VIII. Chorale "Stärk mich mit deinem Freudengeist" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-1 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-2 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-3 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-4 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-5 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-6 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-7 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-8 | Cantate « Herz und Mund und Tat und Leben », BWV 147: Choral « Jesus bleibet meine Freude » | The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner | T-905.387.081-8 | |
| 21-1 | Gottes Zeit ist die allerbeste Zeit, BWV 106: Sonatina, Molto adagio | English Baroque Soloists, John Eliot Gardiner | T-007.186.645-9 | |
| 21-2 | “Gottes Zeit ist die allerbeste Zeit”, “Actus Tragicus” BWV 106: 2a. Chorus: “Gottes Zeit ist die allerbeste Zeit” / 2b. Arioso (tenor): “Ach, Herr, Lehre uns bedenken” / 2c. Aria (bass): “Bestelle dein Haus” / 2d. Chorus & Arioso (soprano): “Es ist der alte Bund” / “Ja, komm, Herr Jesu” | — | ||
| 21-3 | Gottes Zeit ist die allerbeste Zeit, BWV 106: Ariosi & Choral: In deine Hände befehl ich meinen Geist | Michael Chance, Monteverdi Choir, Stephen Varcoe, English Baroque Soloists, John Eliot Gardiner | — | |
| 21-4 | Gottes Zeit ist die allerbeste Zeit, BWV 106: Chorus "Glorie, Lob, Ehr und Herrlichkeit" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 21-5 | O Jesu Christ, meins Lebens Licht BWV 118/231 | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 21-6 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 1. Chorus: “Lass, Fürstin, lass noch einen Strahl” | — | ||
| 21-7 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 2. Recitative (soprano): “Dein Sachsen, dein bestürztes Meißen” | — | ||
| 21-8 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 3. Aria (soprano): “Verstummt, verstummt, ihr holden Saiten!” | — | ||
| 21-9 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 4. Recitative (alto): “Der Glocken bebendes Getön” | — | ||
| 21-10 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 5. Aria (alto): “Wie starb die Heldin so vergnügt!” | — | ||
| 21-11 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 6. Recitative (tenor): “Ihr Leben ließ die Kunst zu sterben” | — | ||
| 21-12 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 7. Chorus: “An dir, du Fürbild großer Frauen” | — | ||
| 21-13 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: Second Part. 8. Aria (tenor): “Der Ewigkeit saphirnes Haus” | — | ||
| 21-14 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: Second Part. 9. Recitative - Arioso - Recitative (bass): “Was Wunder ist's?” | — | ||
| 21-15 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: Second Part. 10. Chorus: “Doch, Königin! du stirbest nicht” | — | ||
| 22-1 | Symphony no. 1 in C major, op. 21: I. Adagio molto - Allegro con brio | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-915.714.772-3 | |
| 22-2 | Symphony no. 1 in C major, op. 21: II. Andante cantabile con moto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 22-3 | Symphony no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 22-4 | Symphony no. 1 in C major, op. 21: IV. Adagio - Allegro molto e vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-318.676.528-2 | |
| 22-5 | Symphony no. 2 in D major, op. 36: I. Adagio molto - Allegro con brio | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-915.714.772-3 | |
| 22-6 | Symphony no. 2 in D major, op. 36: II. Larghetto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 22-7 | Symphony no. 2 in D major, op. 36: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 22-8 | Symphony no. 2 in D major, op. 36: IV. Allegro molto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 23-1 | Symphony no. 3 in E‐flat major, op. 55 “Eroica”: IV. Finale. Allegro molto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 23-2 | Symphony no. 3 in E‐flat major, op. 55 “Eroica”: IV. Finale. Allegro molto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 23-3 | Symphony no. 3 in E‐flat major, op. 55 “Eroica”: IV. Finale. Allegro molto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 23-4 | Symphony no. 3 in E‐flat major, op. 55 “Eroica”: IV. Finale. Allegro molto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 23-5 | Symphony no. 4 in B‐flat major, op. 60: I. Adagio - Allegro vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-001.444.317-4 | |
| 23-6 | Symphony no. 4 in B‐flat major, op. 60: II. Adagio | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-001.444.317-4 | |
| 23-7 | Symphony no. 4 in B‐flat major, op. 60: III. Allegro vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-001.444.317-4 | |
| 23-8 | Symphony no. 4 in B‐flat major, op. 60: IV. Allegro ma non troppo | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-001.444.317-4 | |
| 24-1 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-2 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-3 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-4 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-5 | Symphony no. 6 in F major, op. 68 “Pastoral”: I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande: Allegro ma non troppo | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-6 | Symphony no. 6 in F major, op. 68 “Pastoral”: II. Szene am Bach: Andante molto mosso | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-7 | Symphony no. 6 in F major, op. 68 “Pastoral”: III. Lustiges Zusammensein der Landleute: Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-8 | Symphony no. 6 in F major, op. 68 “Pastoral”: IV. Gewitter, Sturm: Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-9 | Symphony no. 6 in F major, op. 68 “Pastoral”: V. Hirtengesang: Frohe und dankbare Gefühle nach dem Sturm: Allegretto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 25-1 | Symphony no. 7 in A major, op. 92: I. Poco sostenuto - Vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 25-2 | Symphony no. 7 in A major, op. 92: II. Allegretto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-314.638.300-4 | |
| 25-3 | Symphony no. 7 in A major, op. 92: III. Presto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-931.717.518-1 | |
| 25-4 | Symphony no. 7 in A major, op. 92: IV. Allegro con brio | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 25-5 | Symphony no. 8 in F major, op. 93: I. Allegro vivace e con brio | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 25-6 | Symphony no. 8 in F major, op. 93: II. Allegretto scherzando | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-909.821.799-3 | |
| 25-7 | Symphony no. 8 in F major, op. 93: III. Tempo di Menuetto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-909.821.799-3 | |
| 25-8 | Symphony no. 8 in F major, op. 93: IV. Allegro vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-909.821.799-3 | |
| 26-1 | Symphony no. 9 in D minor, op. 125: Allegro ma non troppo, un poco maestoso | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 26-2 | Symphony no. 9 in D minor, op. 125: Molto vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-909.876.841-3 | |
| 26-3 | Symphony no. 9 in D minor, op. 125: Adagio molto e cantabile | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-912.747.871-1 | |
| 26-4 | Symphony no. 9 in D minor, op. 125: Presto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 26-5 | Symphony no. 9 in D minor, op. 125: Presto: “O Freunde, nicht diese Töne!” Allegro assai | Gilles Cachemaille, Monteverdi Choir, Ľuba Orgonášová, Anne Sofie von Otter, Anthony Rolfe Johnson, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 27-1 | Piano Concerto no. 2 in B-flat major, op. 19: 1. Allegro con brio | — | ||
| 27-2 | Piano Concerto no. 2 in B-flat major, op. 19: 2. Adagio | — | ||
| 27-3 | Piano Concerto no. 2 in B-flat major, op. 19: 3. Rondo. Allegro molto | — | ||
| 27-4 | Rondo for Piano and Orchestra in B-flat major, WoO 6: Allegro - Andante - (Tempo I) | — | ||
| 27-5 | Piano Concerto no. 1 in C major, op. 15: 1. Allegro con brio | — | ||
| 27-6 | Piano Concerto no. 1 in C major, op. 15: 2. Largo | — | ||
| 27-7 | Piano Concerto no. 1 in C major, op. 15: 3. Rondo. Allegro | — | ||
| 28-1 | Piano Concerto no. 3 in C minor, op. 37: 1. Allegro con brio | — | ||
| 28-2 | Concerto for Piano and Orchestra no. 3 in C minor, op. 37: II. Largo | Robert Levin, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 28-3 | Piano Concerto no. 3 in C minor, op. 37: 3. Rondo. Allegro | — | ||
| 28-4 | Piano Concerto no. 4 in G major, op. 58: 1. Allegro moderato | — | ||
| 28-5 | Piano Concerto no. 4 in G major, op. 58: 2. Andante con moto - attacca | — | ||
| 28-6 | Piano Concerto no. 4 in G major, op. 58: 3. Rondo. Vivace | — | ||
| 29-1 | Piano Concerto no. 5 in E-flat major “Emperor”, op. 73: 1. Allegro | — | ||
| 29-2 | Piano Concerto no. 5 in E-flat major “Emperor”, op. 73: 2. Adagio un poco moto - attacca | — | ||
| 29-3 | Piano Concerto no. 5 in E-flat major “Emperor”, op. 73: 3. Rondo. Allegro ma non troppo | — | ||
| 29-4 | Fantasy for Piano, Chorus and Orchestra in C minor “Choral Fantasy”, op. 80: Adagio - | — | ||
| 29-5 | Fantasy for Piano, Chorus and Orchestra in C minor “Choral Fantasy”, op. 80: Finale. Allegro - Meno allegro (Allegretto) - Allegro molto - Adagio ma non troppo - Marcia assai vivace - Allegro - Allegretto ma non troppo quasi andante con moto - Presto | — | ||
| 29-6 | Fantasy for Piano, Chorus and Orchestra in C minor “Choral Fantasy”, op. 80 (2 alternative improvised introductions): No. 1 | — | ||
| 29-7 | Fantasy for Piano, Chorus and Orchestra in C minor “Choral Fantasy”, op. 80 (2 alternative improvised introductions): No. 2 | — | ||
| 30-1 | Piano Concerto no. 4 in G major, op. 58: 1. Allegro moderato | — | ||
| 30-2 | Piano Concerto no. 4 in G major, op. 58: 2. Andante con moto - attacca | — | ||
| 30-3 | Piano Concerto no. 4 in G major, op. 58: 3. Rondo. Vivace | — | ||
| 30-4 | Symphony no. 2 in D major, op. 36: 1. Adagio - Allegro con brio | — | ||
| 30-5 | Symphony no. 2 in D major, op. 36: 2. Larghetto quasi andante | — | ||
| 30-6 | Symphony no. 2 in D major, op. 36: 3. Scherzo. Allegro - Trio | — | ||
| 30-7 | Symphony no. 2 in D major, op. 36: 4. Allegro molto | — | ||
| 31-1 | Violin Concerto in D major, op. 61: 1. Allegro ma non troppo | — | ||
| 31-2 | Violin Concerto in D major, op. 61: 2. Larghetto - attacca | — | ||
| 31-3 | Violin Concerto in D major, op. 61: 3. Rondo. Allegro | — | ||
| 32-1 | Missa solemnis, op. 123: 1. Kyrie. Assai sostenuto (Mit Andacht) | — | ||
| 32-2 | Missa solemnis, op. 123: 2. Gloria. Allegro vivace | — | ||
| 32-3 | Missa solemnis, op. 123: 3. Creedo. Allegro ma non troppo | — | ||
| 32-4 | Missa solemnis, op. 123: 4. Sanctus. Adagio (Mit Andacht) - Benedictus. Andante molto cantabile e non troppo mosso | — | ||
| 32-5 | Missa solemnis, op. 123: 5. Agnus Dei. Adagio | — | ||
| 33-1 | “Ah! Perfido” - “Per pietà”, op. 65: Scena ed aria per soprano ed orchestra | — | ||
| 33-2 | Meeres Stille und Glückliche Fahrt, op. 112 | — | ||
| 33-3 | Mass in C major, op. 86: 1. Kyrie | — | ||
| 33-4 | Mass in C major, op. 86: 2. Gloria | — | ||
| 33-5 | Mass in C major, op. 86: 3. Credo | — | ||
| 33-6 | Mass in C major, op. 86: 4. Sanctus - Benedictus | — | ||
| 33-7 | Mass in C major, op. 86: 5. Agnus Dei | — | ||
| 34-1 | Leonore oder Der Triumph der ehelichen Liebe: Ouverture »Leonore II« | — | ||
| 34-2 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. »Es war in Wahrheit« | — | ||
| 34-3 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. Nr. 1 Arie: »O wär' ich schon mit dir vereint« (Marzelline) | — | ||
| 34-4 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. »Beharrlich bleibt auf dem Liebespfad« | — | ||
| 34-5 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. Nr. 2 Duett: »Jetzt, Schätzchen, jetzt sind wir allein« (Jaquino, Marzelline) | — | ||
| 34-6 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. »Der Kerkermeister, Rocco, der Vater« | — | ||
| 34-7 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. Nr. 3 Terzett: »Ein Mann ist bald genommen« (Rocco, Marzelline, Jaquino) | — | ||
| 34-8 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. »Fidelio kam - und niemand weiß woher« | — | ||
| 34-9 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. Nr. 4 Quartett: »Mir ist so wunderbar« (Marzelline, Leonore, Rocco, Jaquino) | — | ||
| 34-10 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. »Gefühl ist gut, doch Geld ist besser« | — | ||
| 34-11 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. Nr. 5 Arie: »Hat man nicht auch Gold beineben« (Rocco) | — | ||
| 34-12 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. »Unantastbar klar birgt Leonores Brust« | — | ||
| 34-13 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. Nr. 6 Terzett: »Gut, Söhnchen, gut« (Rocco, Leonore, Marzelline) | — | ||
| 34-14 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. Nr. 7 Einleitung | — | ||
| 34-15 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. »Der Gouverneur ist da« | — | ||
| 34-16 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. Nr. 8 Arie mit Chor: »Ha! Welch ein Augenblick!« (Pizarro, Chor) | — | ||
| 34-17 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. »Postiert eine Trompete auf dem Wachturm!« | — | ||
| 34-18 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. Nr. 9 Duett: »Jetzt, Alter, hat es Eile!« (Pizarro, Rocco) | — | ||
| 34-19 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. »Und Leonore begegnet Marzelline« | — | ||
| 34-20 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. Nr. 10 Duett: »Um in der Ehe froh zu leben« (Marzelline, Leonore) | — | ||
| 34-21 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. »Die ernsten Steine des dumpfen Gemäuers« | — | ||
| 34-22 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. Nr. 11 Rezitativ und Arie: »Ach, brich noch nicht du mattes Herz!« - »Komm, Hoffnung, lass den letzten Stern« (Leonore) | — | ||
| 35-1 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. Nr. 12 Finale: »O welche Lust, in freier Luft« (Gefangenenchor, 1. und 2. Gefangener) | — | ||
| 35-2 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. (Rezitativ:) »Entfernt euch jetzt! Nun, könnt ihr eilen?« (Rocco) / »Nun, sprecht, wie ging's?« (Leonore, Rocco) / (Duett:) »Noch heute, noch heute?« (Leonore, Rocco) | — | ||
| 35-3 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. (Duett:) »Wir müssen gleich zu Werke schreiten« (Rocco, Leonore) / (Quartett:) »Ach Vater, eilt!« (Marzelline, Rocco, Leonore, Pizarro) | — | ||
| 35-4 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. (Arie:) »Auf euch nur will ich bauen« (Pizarro, Chor) | — | ||
| 35-5 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Florestans Not im Dunkel tauber Einsamkeit« | — | ||
| 35-6 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. Nr. 13 Rezitativ und Arie: »Gott! Welch Dunkel hier!« - »In des lebens Frühlingstagen« (Florestan) | — | ||
| 35-7 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. Nr. 14 Melodram und Duett: »Wie kalt ist es in diesem unterirdischen Gewölbe!« (Leonore, Rocco) | — | ||
| 35-8 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. (Duett:) »Nur hurtig fort, nur frisch gegraben« (Rocco, Leonore) | — | ||
| 35-9 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Dort, in der Tiefe« | — | ||
| 35-10 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. Nr. 15 Terzett: »Euch werde Lohn in bessern Welten« (Florestan, Rocco, Leonore) | — | ||
| 35-11 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Und Rocco eilt« | — | ||
| 35-12 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. Nr. 16 Quartett: »Er sterbe! Doch er soll erst wissen« (Pizarro, Florestan, Leonore, Rocco) | — | ||
| 35-13 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Oh Leonore! Alles was dein Mut gewagt - verloren!« | — | ||
| 35-14 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. Nr. 17 Rezitativ und Duett: »Ich kann mich noch nicht fassen« - »O namelose Freude!« (Florestan, Leonore) | — | ||
| 35-15 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. Nr. 18 Finale: »Zur Rache! Zur Rache!« (Chor, Leonore, Florestan, Rocco Fernando, Jaquino, Marzelline) | — | ||
| 35-16 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »O Gott! O welch ein Augenblick!« (Leonore, Marzelline, Florestan, Jaquino, Fernando, Rocco, Chor) | — | ||
| 35-17 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »So müssen endlich Aufgeklärte« | — | ||
| 35-18 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Doch höre erst, du Bösewicht« (Fernando, Chor, Leonore, Florestan) | — | ||
| 35-19 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Dann herrscht allgemeine Freiheit und Gleichheit der Geister« | — | ||
| 35-20 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Nein, nein, nein! Er ist noch zu gering bestraft!« (Chor) | — | ||
| 35-21 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Ein höherer Geist, vom Himmel gesandt« | — | ||
| 35-22 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. (Rezitativ:) »Der König wird dein Richter sein!« (Fernando, Chor) | — | ||
| 35-23 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Wer ein holdes Weib errungen« (Marzelline, Jaquino, Rocco, Fernando, Chor, Florestan, Leonore) | — | ||
| 36-1 | Historical influences on Beethoven | — | ||
| 36-2 | The technical demands made of instrumentalists | — | ||
| 36-3 | Using period instruments | — | ||
| 36-4 | Beethoven's tempo markings | — | ||
| 36-5 | The political dimension in Beethoven's music | — | ||
| 36-6 | Summing up | — | ||
| 36-7 | Historischer Einfluss auf Beethoven | — | ||
| 36-8 | Technische Anforderungen an Instrumentalisten | — | ||
| 36-9 | Über den Einsatz historischer Instrumente | — | ||
| 36-10 | Beethovens Tempobezeichnungen | — | ||
| 36-11 | Politische Dimension in der Musik Beethovens | — | ||
| 36-12 | Zum Schluss | — | ||
| 36-13 | Influence historique sur Beethoven | — | ||
| 36-14 | Conditions pour les instrumentistes | — | ||
| 36-15 | Utilisation d'instruments historiques | — | ||
| 36-16 | Les marques de tempo de Beethoven | — | ||
| 36-17 | Dimension politique dans la musique de Beethoven | — | ||
| 36-18 | Les symphonies de Beethoven | — | ||
| 37-1 | War Requiem, op. 66: I. Requiem aeternam. Requiem aeternam (chorus) - Te decet hymnus, Deus in Sion (boys' choir) | — | ||
| 37-2 | War Requiem, op. 66: I. Requiem aeternam. “What passing bells for these who die as cattle?” (tenor) - Kyrie eleison (chorus) | — | ||
| 37-3 | War Requiem, op. 66: II. Dies irae. Dies irae, dies illa (chorus) | — | ||
| 37-4 | War Requiem, op. 66: II. Dies irae. “Bugles sang, saddening the evening air” (baritone) | — | ||
| 37-5 | War Requiem, op. 66: II. Dies irae. Liber scriptus proferetur (soprano, chorus) | — | ||
| 37-6 | War Requiem, op. 66: II. Dies irae. “Out there, we've walked quite friendly up to death” (tenor, baritone) | — | ||
| 37-7 | War Requiem, op. 66: II. Dies irae. Recordare Jesu pie (chorus) | — | ||
| 37-8 | War Requiem, op. 66: II. Dies irae. “Be slowly lifted up, thou long black arm” (baritone) | — | ||
| 37-9 | War Requiem, op. 66: II. Dies irae. Dies irae, dies illa (chorus) | — | ||
| 37-10 | War Requiem, op. 66: II. Dies irae. Lacrimosa dies illa (soprano, chorus) | — | ||
| 37-11 | War Requiem, op. 66: II. Dies irae. “Move him into the sun” / Lacrimosa (tenor/soprano, chorus) | — | ||
| 37-12 | War Requiem, op. 66: III. Offertorium. Domine Jesu Christe (boys' choir) / Sed signifer Sanctus Michael … Quam olim Abrahae promisisti (chorus) | — | ||
| 37-13 | War Requiem, op. 66: III. Offertorium. “So Abram rose, and clave the wood” / Hostias (baritone, tenor/boys' choir) - Quam olim Abrahae promisisti (chorus) | — | ||
| 37-14 | War Requiem, op. 66: IV. Sanctus. Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth (soprano, chorus) | — | ||
| 37-15 | War Requiem, op. 66: IV. Sanctus. “After the blast of lightning from the East” (baritone) | — | ||
| 37-16 | War Requiem, op. 66: V. Agnus Dei. “One ever hangs where shelled roads part” / Agnus Dei (tenor/chorus) | — | ||
| 37-17 | War Requiem, op. 66: VI. Libera me. Libera me, Domine (chorus, soprano) | — | ||
| 37-18 | War Requiem, op. 66: VI. Libera me. “It seemed that our of battle I escaped” (tenor, baritone) | — | ||
| 37-19 | War Requiem, op. 66: VI. Libera me. “Let us sleep now” / In Paradisum (baritone, tenor/boys' choir, chorus, soprano) | — | ||
| 38-1 | Spring Symphony, op. 44: Part I. Introduction: “Shine out fair sun” (chorus) | — | ||
| 38-2 | Spring Symphony, op. 44: Part I. The Merry Cuckoo (tenor) | — | ||
| 38-3 | Spring Symphony, op. 44: Part I. Spring, the Sweet Spring (soprano, alto, tenor, chorus) | — | ||
| 38-4 | Spring Symphony, op. 44: Part I. The Driving Boy (children's chorus) | — | ||
| 38-5 | Spring Symphony, op. 44: Part I. The Morning Star (chorus) | — | ||
| 38-6 | Spring Symphony, op. 44: Part II. Welcome, Maids of Honour (alto) | — | ||
| 38-7 | Spring Symphony, op. 44: Part II. Waters above (tenor) | — | ||
| 38-8 | Spring Symphony, op. 44: Part II. Out on the lawn I lie in bed (alto, chorus) | — | ||
| 38-9 | Spring Symphony, op. 44: Part III. When will my May come (tenor) | — | ||
| 38-10 | Spring Symphony, op. 44: Part III. Fair and fair (soprano, tenor) | — | ||
| 38-11 | Spring Symphony, op. 44: Part III. Sound the flute (chorus, children's chorus) | — | ||
| 38-12 | Spring Symphony, op. 44: Part IV. Finale: “London, to thee I do present” (tenor, alto, soprano, chorus, children's chorus) | — | ||
| 38-13 | Hymn to St. Cecilia, op. 27: “In a garden shady” | — | ||
| 38-14 | Hymn to St. Cecilia, op. 27: “I cannot grow” | — | ||
| 38-15 | Hymn to St. Cecilia, op. 27: “O ear whose creatures” | — | ||
| 38-16 | Five Flower Songs, op. 47: 1. To Daffodils | — | ||
| 38-17 | Five Flower Songs, op. 47: 2. The Succession of the Four Sweet Months | — | ||
| 38-18 | Five Flower Songs, op. 47: 3. Marsh Flowers | — | ||
| 38-19 | Five Flower Songs, op. 47: 4. The Evening Primrose | — | ||
| 38-20 | Five Flower Songs, op. 47: 5. Ballad of Green Broom | — | ||
| 39-1 | Mass no. 1 in D minor: 1. Kyrie | — | ||
| 39-2 | Mass no. 1 in D minor: 2. Gloria | — | ||
| 39-3 | Mass no. 1 in D minor: 3. Credo | — | ||
| 39-4 | Mass no. 1 in D minor: 4. Sanctus | — | ||
| 39-5 | Mass no. 1 in D minor: 5. Benedictus | — | ||
| 39-6 | Mass no. 1 in D minor: 6. Agnus Dei | — | ||
| 39-7 | Ave Maria | — | ||
| 39-8 | Tota pulchra es, Maria | — | ||
| 39-9 | Locus iste | — | ||
| 39-10 | Os justi | — | ||
| 39-11 | Christus factus est | — | ||
| 40-1 | O bone Jesu, fili Mariae, SWV 471: Sinfonia / Solo (soprano I): “O bone Jesu, fili Mariae virginis” / Tutti: “Jesu, soile serenior” / Solo (alto): “Amabilis Jesu, transfige medullas animae meae” / Tutti: “Jesu, summa benignitas” / Solo (tenor I): “Da mihi, Domine” / Tutti: “Jesu, decus angelicum” / Solo (bass): “Oleum effusum nomen tuum” / Soli (soprano I, alto, tenor I, bass) & chorus: “Adjuva ergo nos et salva nos” / Soli (soprano I/II, alto, tenor I/II, bass): “Caeli cives, occurrite” / Tutti: “Caeli cives, occurrite” | — | ||
| 40-2 | Membra Jesu Nostri, BuxWV 73: I. Ad pedes: Sonata / Concerto (coprano I/II, alto, tenor, bass): “Ecce super montes” / Aria (soprano I): “Salve mundi salutare” / Aria (soprano II): “Clavos pedum, plagas duras” / Aria (bass): “Dulcis Jesu, pie Deus” / Concerto (chorus): “Ecce super montes” (da capo) / Concerto (tenor, chorus): “Salve mundi salutare” (da capo) | — | ||
| 40-3 | Membra Jesu Nostri, BuxWV 73: II. Ad genua: Sonata / Concerto (chorus): “Ad ubera portabimini” / Aria (tenor): “Salve Jesu, rex sanctorum” / Aria (alto): “Quid sum tibi responsurus” / Aria (soprano I/II, bass): “Ut te quaeram mente pura” / Concerto: “Ad ubera portabimini” (da capo) | — | ||
| 40-4 | Membra Jesu Nostri, BuxWV 73: III. Ad manus: Sonata / Concerto (soprano I/II, alto, tenor, bass, chorus): “Quid sunt plagae istae” / Aria (soprano I): “Salve Jesu, pastor bone” / Aria (soprano III): “Manus sanctae, vos amplector” / Aria (alto, tenor, bass): “In cruore tuo lotum” / Concerto (chorus): “Quid sunt plagae istae” (da capo) | — | ||
| 40-5 | Membra Jesu Nostri, BuxWV 73: IV. Ad latus: Sonata / Concerto (soprano I/II, alto, tenor, bass, chorus): “Surge, amica mea” / Aria (soprano III): “Salve latus salvatoris” / Aria (chorus - altos, tenors, basses): “Ecce tibi appropinquo” / Aria (soprano II): “Hora mortis meus flatus intret” / Concerto: “Surge, amica mea” (da capo) | — | ||
| 40-6 | Membra Jesu Nostri, BuxWV 73: V. Ad pectus: Sonata / Concerto (alto, tenor, bass): “Sicut modo geniti infantes” / Aria (alto): “Salve, salus mea, Deus” / Aria (tenor): “Pectus mihi confer mundum” / Aria (chorus - basses): “Ave, verum templum Dei” / Concerto (chorus): “Sicut modo geniti infantes” (da capo) | — | ||
| 40-7 | Membra Jesu Nostri, BuxWV 73: VI. Ad cor: Sonata / Concerto (soprano I/II, bass): “Vulnerasti cor meum” / Aria (soprano III): “Summi regis cor” / Aria (soprano IV): “Per medullam cordis mei” / Aria (bass): “Viva cordis voce clamo” / Concerto (chorus): “Vulnerasti cor meum” (da capo) | — | ||
| 40-8 | Membra Jesu Nostri, BuxWV 73: VII. Ad faciem: Sonata / Concerto (soprano I/II, alto, tenor, bass, chorus): “Illustra faciem tuam” / Aria (alto, tenor, bass): “Salve, caput cruentatum” / Aria (alto): “Dum me mori est necesse” / Concerto (chorus): “Cum me jubes emigrare” / “Amen” | — | ||
| 41-1 | Suite pastorale: 1. Idylle | — | ||
| 41-2 | Suite pastorale: 2. Danse villageoise | — | ||
| 41-3 | Suite pastorale: 3. Sous Bois | — | ||
| 41-4 | Suite pastorale: 4. Scherzo-Valse | — | ||
| 41-5 | Habanera | — | ||
| 41-6 | España | — | ||
| 41-7 | Larghetto for Horn and Orchestra | — | ||
| 41-8 | Overture to Gwendoline | — | ||
| 41-9 | Prélude pastoral | — | ||
| 41-10 | Marche française (Joyeuse Marche) | — | ||
| 41-11 | Fête polonaise | — | ||
| 42-1 | Symphonic Variations on an Original Theme, op. 78 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-2 | Czech Suite, op. 39: I. Preludium. Pastorale | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-3 | Czech Suite, op. 39: I. Preludium. Pastorale | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-4 | Czech Suite, op. 39: I. Preludium. Pastorale | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-5 | Czech Suite, op. 39: I. Preludium. Pastorale | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-6 | Czech Suite, op. 39: I. Preludium. Pastorale | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-7 | Hungarian Dance no. 1 | NDR Sinfonieorchester, Sir John Eliot Gardiner | T-329.367.585-7 | |
| 42-8 | Hungarian Dance no. 3 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-9 | Hungarian Dance no. 5 | NDR Elbphilharmonie Orchester, Sir John Eliot Gardiner | T-329.366.800-1 | |
| 42-10 | Hungarian Dance no. 10 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-11 | Hungarian Dance no. 16 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-12 | Hungarian Dance no. 18 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-13 | Hungarian Dance no. 19 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-14 | Hungarian Dance no. 20 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-15 | Hungarian Dance no. 21 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 43-1 | In the South (Alassio): Concert Overture, op. 50 | Wiener Philharmoniker, Sir John Eliot Gardiner | T-900.057.982-8 | |
| 43-2 | Introduction and Allegro for Strings, op. 47 | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-3 | Sospiri: Adagio for Strings, Harp and Organ, op. 70 | Wiener Philharmoniker, Sir John Eliot Gardiner | T-011.613.873-8 | |
| 43-4 | Variations on an Original Theme, op. 36 "Enigma": Theme (Andante) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-5 | Variations on an Original Theme, op. 36 "Enigma": I. C.A.E. (L'istesso tempo) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-6 | Variations on an Original Theme, op. 36 "Enigma": II. H.D.S.-P. (Allegro) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-7 | Variations on an Original Theme, op. 36 "Enigma": III. R.B.T. (Allegretto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-8 | Variations on an Original Theme, op. 36 "Enigma": IV. W.M.B. (Allegro di molto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-9 | Variations on an Original Theme, op. 36 "Enigma": V. R.P.A. (Moderato) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-10 | Variations on an Original Theme, op. 36 "Enigma": VI. Ysobel (Andantino) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-11 | Variations on an Original Theme, op. 36 "Enigma": VII. Troyte (Presto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-12 | Variations on an Original Theme, op. 36 "Enigma": VIII. W.N. (Allegretto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-13 | Variations on an Original Theme, op. 36 "Enigma": IX. Nimrod (Adagio) | Wiener Philharmoniker, Sir John Eliot Gardiner | T-010.115.427-1 | |
| 43-14 | Variations on an Original Theme, op. 36 "Enigma": X. Intermezzo: Dorabella (Allegretto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-15 | Variations on an Original Theme, op. 36 "Enigma": XI. G.R.S. (Allegro di molto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-16 | Variations on an Original Theme, op. 36 "Enigma": XII. B.G.N. (Andante) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-17 | Variations on an Original Theme, op. 36 "Enigma": XIII. Romanza *** (Moderato) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-18 | Variations on an Original Theme, op. 36 "Enigma": XIV. Finale: E.D.U. (Allegro - Presto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 44-1 | Acis and Galatea, HWV 49a: Act One. 1. Sinfonia | — | ||
| 44-2 | Acis and Galatea, HWV 49a: Act One. 2. Chorus: “Oh, the pleasure of the plains!” | — | ||
| 44-3 | Acis and Galatea, HWV 49a: Act One. 3. Accompagnato: “Ye verdant plains and woody mountains” (Galatea) | — | ||
| 44-4 | Acis and Galatea, HWV 49a: Act One. 4. Air: “Hush, ye pretty warling quire!” (Galatea) | — | ||
| 44-5 | Acis and Galatea, HWV 49a: Act One. 5. Air: “Where shall I seek the charming fair?” (Acis) | — | ||
| 44-6 | Acis and Galatea, HWV 49a: Act One. 5. Recitative: “Stay, shepherd, stay!” (Damon) | — | ||
| 44-7 | Acis and Galatea, HWV 49a: Act One. 6. Air: “Shepherd, what are thou pursuing?” (Damon) | — | ||
| 44-8 | Acis and Galatea, HWV 49a: Act One. 6. Recitative: “Lo! Here my love!” (Acis) | — | ||
| 44-9 | Acis and Galatea, HWV 49a: Act One. 7. Air: “Love in her eyes sits playing” (Acis) | — | ||
| 44-10 | Acis and Galatea, HWV 49a: Act One. 7. Recitative: “Oh! didst thou know of the pains of absent love” (Galatea) | — | ||
| 44-11 | Acis and Galatea, HWV 49a: Act One. 8. Air: “As when the dove” (Galatea) | — | ||
| 44-12 | Acis and Galatea, HWV 49a: Act One. 9. Duet: “Happy we” (Galatea, Acis) | — | ||
| 45-1 | Acis and Galatea, HWV 49a: Act Two. 10. Chorus: “Wretched lovers! Fate has past” | — | ||
| 45-2 | Acis and Galatea, HWV 49a: Act Two. 11. Accompagnato: “I rage - I melt - I burn” (Polyphemus) | — | ||
| 45-3 | Acis and Galatea, HWV 49a: Act Two. 12. Air: “O ruddier than the cherry” (Polyphemus) | — | ||
| 45-4 | Acis and Galatea, HWV 49a: Act Two. 12. Recitative: “Whither, fairest, art thou running” (Polyphemus, Galatea) | — | ||
| 45-5 | Acis and Galatea, HWV 49a: Act Two. 13. Air: “Cease to beauty to be suing” (Polyphemus) | — | ||
| 45-6 | Acis and Galatea, HWV 49a: Act Two. 14. Air: “Would you gain the tender creature” (Damon) | — | ||
| 45-7 | Acis and Galatea, HWV 49a: Act Two. 14. Recitative: “His hideous love provokes my rage” (Acis) | — | ||
| 45-8 | Acis and Galatea, HWV 49a: Act Two. 15. Air: “Love sounds th'alarm” (Acis) | — | ||
| 45-9 | Acis and Galatea, HWV 49a: Act Two. 16. Air: “Consider, fond shepherd” (Damon) | — | ||
| 45-10 | Acis and Galatea, HWV 49a: Act Two. 16. Recitative: “Cease, O cease, thou gentle youth” (Galatea) | — | ||
| 45-11 | Acis and Galatea, HWV 49a: Act Two. 17. Trio: “The flocks shall leave the mountains” (Galatea, Acis, Polyphemus) | — | ||
| 45-12 | Acis and Galatea, HWV 49a: Act Two. 18. Accompagnato: “Help, Galatea! help, ye parent gods!” (Acis) | — | ||
| 45-13 | Acis and Galatea, HWV 49a: Act Two. 19. Chorus: “Mourn, all ye muses! weep, all ye swains” | — | ||
| 45-14 | Acis and Galatea, HWV 49a: Act Two. 20. Air with Chorus: “Must I my Acis still bemoan” (Galatea) | — | ||
| 45-15 | Acis and Galatea, HWV 49a: Act Two. 20. Recitative: “'Tis done: Thus I exert my pow'r divine” (Galatea) | — | ||
| 45-16 | Acis and Galatea, HWV 49a: Act Two. 21. Air: “Heart, the seat of soft delight” (Galatea) | — | ||
| 45-17 | Acis and Galatea, HWV 49a: Act Two. 22. Chorus: “Galatea, dry thy tears” | — | ||
| 46-1 | Hercules, HWV 60: Act One. 1. Overtura | — | ||
| 46-2 | Hercules, HWV 60: Act One. 2. Recitativo accompagnato: “See with what sad dejection” (Lichas) | — | ||
| 46-3 | Hercules, HWV 60: Act One. 3. Aria: “No longer, Fate, relentless frown” (Lichas) | — | ||
| 46-4 | Hercules, HWV 60: Act One. 4. Recitativo accompagnato: “O Hercules! why art thou absent from me?” (Dejanira) / 5. Aria: “The world, when day's career is run” (Dejanira) | — | ||
| 46-5 | Hercules, HWV 60: Act One. 6. Recitativo: “Princess! be comforted, and hope the best” (Lichas, Dejanira, Hyllus) | — | ||
| 46-6 | Hercules, HWV 60: Act One. 7. Aria: “I feel, I feel the god” (Hyllus) | — | ||
| 46-7 | Hercules, HWV 60: Act One. 8. Recitativo: “Then I am lost! O dreadful oracle!” (Dejanira) / 9. Aria: “There in myrtle shades reclined” (Dejanira) | — | ||
| 46-8 | Hercules, HWV 60: Act One. 10. Recitativo: “Despair not! but let rising hope suspend” (Hyllus) / 11. Aria: “Where congealed the northern streams” (Hyllus) | — | ||
| 46-9 | Hercules, HWV 60: Act One. 12. Chorus: “O filial piety! O generous love!” | — | ||
| 46-10 | Hercules, HWV 60: Act One. 13. Recitativo: “Banish your fears! The noble Hercules” (Lichas, Dejanira) / 14. Aria: “Begone, my fears, fly hence, away” (Dejanira) | — | ||
| 46-11 | Hercules, HWV 60: Act One. 15. Recitativo: “A train of captives, red with honest wounds” (Lichas, Hyllus, Dejanira) | — | ||
| 46-12 | Hercules, HWV 60: Act One. 16. March | — | ||
| 46-13 | Hercules, HWV 60: Act One. 17. Recitativo: “Thanks to the powers above” (Hercules, Iole) | — | ||
| 46-14 | Hercules, HWV 60: Act One. 18. Aria: “My father! Ah! methinks I see” (Iole) | — | ||
| 46-15 | Hercules, HWV 60: Act One. 19. Recitativo: “Now farewell, arms! From hence the tide of time” (Hercules) / 20. Aria: “The god of battle quits the bloody field” (Hercules) | — | ||
| 46-16 | Hercules, HWV 60: Act One. 21. Chorus: “Crown with festal pomp the day” | — | ||
| 46-17 | Hercules, HWV 60: Act Two. 22. Aria: “How blest the maid ordained to dwell” (Iole) | — | ||
| 46-18 | Hercules, HWV 60: Act Two. 23. Recitativo: “It must be so! Fame speaks aloud my wrongs” (Dejanira, Iole) / 24. Aria “When beauty sorrow's livery wears” (Dejanira) | — | ||
| 46-19 | Hercules, HWV 60: Act Two. 25. Recitativo: “Whence this unjust suspicion?” (Iole, Dejanira) | — | ||
| 46-20 | Hercules, HWV 60: Act Two. 26. Aria: “Ah! think what ills the healous prove” (Iole) | — | ||
| 46-21 | Hercules, HWV 60: Act Two. 27. Recitativo: “It is too sure that Hercules is false” (Dejanira, Lichas) | — | ||
| 46-22 | Hercules, HWV 60: Act Two. 28. Chorus: “Jealousy! Infernal pest” | — | ||
| 47-1 | Hercules, HWV 60: Act Two. 29. Recitativo: “She knows my passion, and has heard me breathe” (Hyllus, Iole) | — | ||
| 47-2 | Hercules, HWV 60: Act Two. 30. Aria: “From celestial seats descending” (Hyllus) | — | ||
| 47-3 | Hercules, HWV 60: Act Two. 31. Chorus: “Wanton god of amorous fires” | — | ||
| 47-4 | Hercules, HWV 60: Act Two. 32. Recitativo: “Yes, I congratulate your titles, swelled” (Dejanira, Hercules) / 33. Aria: “Alcides' name in latest story” (Dejanira) | — | ||
| 47-5 | Hercules, HWV 60: Act Two. 34. Recitativo: “O glorious pattern of heroic deeds!” (Dejanira) / 35. Aria: “Resign thy club and lion's spoils” (Dejanira) | — | ||
| 47-6 | Hercules, HWV 60: Act Two. 36. Recitativo: “You are deceived! Some villain has belied” (Hercules, Dejanira) | — | ||
| 47-7 | Hercules, HWV 60: Act Two. 37. Aria: “Cease, ruler of the day, to rise” (Dejanira) | — | ||
| 47-8 | Hercules, HWV 60: Act Two. 38. Recitativo: “Some kinder power inspire me to regain” (Dejanira, Lichas, Iole) | — | ||
| 47-9 | Hercules, HWV 60: Act Two. 39. Duet: “Joys of freedom, joys of power” (Dejanira, Iole) | — | ||
| 47-10 | Hercules, HWV 60: Act Two. 40. Recitativo: “Father of Hercules, great Jove, O help” (Dejanira) / 41. Chorus: “Love and Hymen, hand in hand” | — | ||
| 47-11 | Hercules, HWV 60: Act Three. 42. Sinfonia | — | ||
| 47-12 | Hercules, HWV 60: Act Three. 43. Recitativo: “Ye sons of Trachin, mourn you valiant chief” (Lichas) | — | ||
| 47-13 | Hercules, HWV 60: Act Three. 44. Aria: “O scene of unexampled woe” (Lichas) | — | ||
| 47-14 | Hercules, HWV 60: Act Three. 45. Chorus: “Tyrants now no more shall dread” | — | ||
| 47-15 | Hercules, HWV 60: Act Three. 46. Recitativo accompagnato: “O Jove! what land is this, what clime accurst” (Hercules) | — | ||
| 47-16 | Hercules, HWV 60: Act Three. 47. Recitativo: “Great Jove! relieve his pains!” (Hyllus, Hercules) | — | ||
| 47-17 | Hercules, HWV 60: Act Three. 48. Aria: “Let not fame the tidings spread” (Hyllus) | — | ||
| 47-18 | Hercules, HWV 60: Act Three. 49. Recitativo accompagnato: “Where shall I fly? Where hide this guilty head?” (Dejanira) | — | ||
| 47-19 | Hercules, HWV 60: Act Three. 50. Recitativo: “Lo! the fair fatal cause of this ruin!” (Dejanira, Iole) | — | ||
| 47-20 | Hercules, HWV 60: Act Three. 51. Aria: “My breast with tender pity swells” (Iole) | — | ||
| 47-21 | Hercules, HWV 60: Act Three. 52. Recitativo: “Princess, rejoice! whose heaven-directed hand” (Priest of Jupiter, Dejanira) | — | ||
| 47-22 | Hercules, HWV 60: Act Three. 53. Recitativo: “Words are too faint to speak the warring passions” (Dejanira, Priest, Hyllus, Iole) | — | ||
| 47-23 | Hercules, HWV 60: Act Three. 54. Duet: “O prince, whose virtues all admire” / “O princess, whose exalted charms” (Iole, Hyllus) | — | ||
| 47-24 | Hercules, HWV 60: Act Three. 55. Recitativo: “Ye sons of freedom, now, in every clime” (Priest) / 56. Chorus: “To him your grateful notes of praise belong” | — | ||
| 48-1 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der erste Tag. 1. Largo. Die Vorstellung des Chaos | — | ||
| 48-2 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der erste Tag. 2. Rezitativ mit Chor: »Im Anfang schuf Gott Himmel und Erde« - »Und der Geist Gottes schwebte auf der Fläche der Wasser« (Raphael, Uriel) | — | ||
| 48-3 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der erste Tag. 3. Arie mit Chor: »Nun schwanden vor dem heiligen Strahle« - »Verzweiflung, Wut und Schrecken« (Uriel) | — | ||
| 48-4 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der zweite Tag. 4. Rezitativ: »Und Gott machte das Firmament« (Raphael) | — | ||
| 48-5 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der zweite Tag. 5. Chor mit Sopransolo: »Mit Staunen sieht das Wunderwerk« - »Und laut ertönt aus ihren Kehlen« (Gabriel) | — | ||
| 48-6 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. 6. Rezitativ: »Und Gott sprach: Es sammle sich das Wasser« (Raphael) | — | ||
| 48-7 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. 7. Arie: »Rollend in schäumenen Wellen« (Raphael) | — | ||
| 48-8 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. 8. Rezitativ: »Und Gott sprach: Es bringe die Erde Gras hervor« (Gabriel) | — | ||
| 48-9 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. 9. Arie: »Nun beut die Flur das frische Grün« (Gabriel) | — | ||
| 48-10 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. 10. Rezitativ: »Und die himmlischen Herrscharen verkündigten« (Uriel) | — | ||
| 48-11 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. 11. Chor: »Stimmt an die Saiten« | — | ||
| 48-12 | Die Schöpfung, Hob. XXI:2: Erster TeilDer vierte Tag. 12. Rezitativ: »Und Gott sprach: Es sei'n Lichter an der Feste des Himmels« (Uriel) | — | ||
| 48-13 | Die Schöpfung, Hob. XXI:2: Erster TeilDer vierte Tag. 13. Rezitativ: »In vollem Glanze steiget jetzt die Sonne« (Uriel) | — | ||
| 48-14 | Die Schöpfung, Hob. XXI:2: Erster TeilDer vierte Tag. 14. Chor mit Soli: »Die Himmel erzählen die Ehre Gottes« - »Dem Kommende Tage sagt es der Tag« (Gabriel, Uriel, Raphael) | — | ||
| 48-15 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. 15. Rezitativ: »Und Gott sprach: Es bringe das Wasser in der Fülle hervor« (Gabriel) | — | ||
| 48-16 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. 16. Arie: »Auf starkem Fittiche schwinget sich der Adler stolz« (Gabriel) | — | ||
| 48-17 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. 17. Rezitativ: »Und Gott schuf große Walfische« (Raphael) | — | ||
| 48-18 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. 18. Rezitativ: »Und die Engel rührten ihr' unsterblichen Harfen« (Raphael) | — | ||
| 48-19 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. 19. Terzett mit Chor: »In holder Anmut stehn« - »Der Herr ist groß in seiner Macht« (Gabriel, Uriel, Raphael) | — | ||
| 49-1 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 20. Rezitativ: »Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe« (Raphael) | — | ||
| 49-2 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 21. Rezitativ: »Gleich öffnet sich der Erde Schoß« (Raphael) | — | ||
| 49-3 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 22. Arie: »Nun scheint in vollem Glanze der Himmel« (Raphael) | — | ||
| 49-4 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 23. Rezitativ: »Und Gott schuf den Menschen« (Uriel) | — | ||
| 49-5 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 24. Arie: »Mit Würd' und Hoheit angetan« (Uriel) | — | ||
| 49-6 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 25. Rezitativ: »Und Gott sah jedes Ding« (Raphael) | — | ||
| 49-7 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 26. Chor und Terzett: »Vollendet ist das große Werk« - »Zu dir, o Herr, blickt alles auf« (Gabriel, Uriel, Raphael) | — | ||
| 49-8 | Die Schöpfung, Hob. XXI:2: Dritter Teil. 27. Orchestereinleitung und Rezitativ: »Aus Rosenwolken bricht« (Uriel) | — | ||
| 49-9 | Die Schöpfung, Hob. XXI:2: Dritter Teil. 28. Duett mit Chor: »Von deiner Güt' o Herr und Gott« - »Gesegnet sei des Herren Macht« (Eva, Adam) | — | ||
| 49-10 | Die Schöpfung, Hob. XXI:2: Dritter Teil. 29. Rezitativ: »Nun ist die erste Pflicht erfüllt« (Adam, Eva) | — | ||
| 49-11 | Die Schöpfung, Hob. XXI:2: Dritter Teil. 30. Duett: »Holde Gattin, dir zur Seite« (Adam, Eva) | — | ||
| 49-12 | Die Schöpfung, Hob. XXI:2: Dritter Teil. 31. Rezitativ: »O glücklich Paar, und glücklich immerfort« (Uriel) | — | ||
| 49-13 | Die Schöpfung, Hob. XXI:2: Dritter Teil. 32. Schlusschor mit Soli: »Singt dem Herrn, alle Stimmen« | — | ||
| 50-1 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 1. Einleitung. Largo - Vivace / Rezitativ: »Seht, wie der strenge Winter flieht« (Simon, Lukas Hanne) | — | ||
| 50-2 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 2. Chor: »Komm, holder Lenz!« | — | ||
| 50-3 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 3. Rezitativ: »Vom Widder straglet jetzt« (Simon) | — | ||
| 50-4 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 4. Arie: »Schon eilet froh der Ackermann« (Simon) | — | ||
| 50-5 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 5. Rezitativ: »Der Landmann hat sein Werk vollbracht« (Lukas) | — | ||
| 50-6 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 6. Terzett und Chor - Bittgesang: »Sei nun gnädig, milder Himmel!« (Lukas, Chor, Simon, Hanne) | — | ||
| 50-7 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 7. Rezitativ: »Erhört ist unser Fiehn« (Hanne) | — | ||
| 50-8 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 8. Freudenlied: »I wie lieblich ist der Anblick« (Hanne, Lukas, Chor, Simon) | — | ||
| 50-9 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 9. Einleitung. Adagio / Rezitativ: »In grauem Schleier rückt heran« (Lukas, Simon) | — | ||
| 50-10 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 10. Arie: »Der munt're Hirt versammelt nun« (Simon) / Rezitativ: »Die Morgenröte bricht hervor« (Hanne) | — | ||
| 50-11 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 11. Terzett und Chor: »Sie steigt herauf, die Sonne« - »Heil! O Sonne Heil!« (Hanne, Lukas, Simon, Chor) | — | ||
| 50-12 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 12. Rezitativ: »Nun regt und bewegt sich alles umher« (Simon) / Rezitativ: »Die Mittagssonne brennet jetzt« (Lukas) | — | ||
| 50-13 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 13. Kavatine: »Sem Druck erlieget die Natur« (Lukas) | — | ||
| 50-14 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 14. Rezitativ: »Willkommen jetzt, o dunkler Hain« (Hanne) | — | ||
| 50-15 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 15. Arie: »Welche Labung für die Sinne!« (Hanne) | — | ||
| 50-16 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 16. Rezitativ: »O seht! Es steiget in der schwülen Luft« (Simon, Lukas, Hanne) | — | ||
| 50-17 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 17. Chor: »Ach, das Ungewitter naht!« | — | ||
| 50-18 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 18. Terzett und Chor: »Die düstren Wolken trennen sich« (Lukas, Hanne, Simon, Chor) | — | ||
| 51-1 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 19. Einleitung. Allegretto / Rezitativ: »Was durch seine Blüte« (Hanne) / Rezitativ: »Den reichen Vorrat fährt er nun« (Lukas, Simon) | — | ||
| 51-2 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 20. Terzett mit Chor: »So lohnet die Natur den Fleiß« (Simon, Hanne, Lukas, Chor) | — | ||
| 51-3 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 21. Rezitativ: »Seht, wie zum Haselbusche dort« (Hanne, Simon, Lukas) | — | ||
| 51-4 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 22. Duett: »Ihr Schönen aus der Stadt, kommt her!« (Lukas, Hanne) | — | ||
| 51-5 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 23. Rezitativ: »Nun zeiget das entblößte Feld« (Simon) | — | ||
| 51-6 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 24. Arie: »Seht auf die breiten Wiesen hin!« (Simon) | — | ||
| 51-7 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 25. Rezitativ: »Hier treibt ein dichter Kreis« (Lukas) | — | ||
| 51-8 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 26. Chor des Landvolks und der Jäger: »Hört, hört das laute Getön« | — | ||
| 51-9 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 27. Rezitativ: »Am Rebenstocke blinket jetzt« (Hanne, Simon, Lukas) | — | ||
| 51-10 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 28. Chor: »Juchhe! Juchhe! Der Wein ist da« | — | ||
| 51-11 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 29. Einleitung. Adagio ma non troppo / Rezitativ: »Nun senket sich das blasse Jahr« (Simon, Hanne) | — | ||
| 51-12 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 30. Kavatine: »Licht und Leben sind geschwächet« (Hanne) | — | ||
| 51-13 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 31. Rezitativ: »Gefesselt steht der breite See« (Lukas) | — | ||
| 51-14 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 32. Arie: »Hier steht der Wand'rer nun« (Lukas) | — | ||
| 51-15 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 33. Rezitativ: »So wie er naht« (Lukas, Hanne, Simon) | — | ||
| 51-16 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 34. Lied mit Chor: »Knurre, schnurre, knurre« (Chor, Hanne) | — | ||
| 51-17 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 35. Rezitativ: »Abgesponnen ist der Flachs« (Lukas) | — | ||
| 51-18 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 36. Lied mit Chor: »Ein Mädchen, das auf Ehre hielt« (Hanne, Chor) | — | ||
| 51-19 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 37. Rezitativ: »Vom dürren Osten dringt« (Simon) | — | ||
| 51-20 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 38. Arie: »Erblicke hier, betörter Mensch« (Simon) / Rezitativ: »Die bleibt allein« (Simon) | — | ||
| 51-21 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 39. Terzett und Doppelchor: »Dann brcht der große Morgen an« (Simon, Lukas, Chor, Hanne) | — | ||
| 52-1 | The Warriors: Vivace (Tempo I) - Lento (Tempo II) - Tempo I - Lento, poco più mosso - A tempo, pochissimo meno - Tempo I (Dance Orgy) - Lento: molto maestoso (Climax) - Presto (Dance Orgy) | Philharmonia Orchestra, John Eliot Gardiner | — | |
| 52-2 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 52-3 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 52-4 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 52-5 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 52-6 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 52-7 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 52-8 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 53-1 | Die lustige Witwe: Erster Akt. 1. Introduktion: »Verehrteste Damen und Herren« (Cascada, Zeta, Valencienne, Sylviane, Olga Praškowia, Camille, St. Brioche, Kromow, Chor) | — | ||
| 53-2 | Die lustige Witwe: Erster Akt. 1a. Ballmusik / »Camille, ich muss mit ihnen sprechen!« (Valencienne, Camille, Zeta) | — | ||
| 53-3 | Die lustige Witwe: Erster Akt. 2. Duett: »So kommen Sie! 's ist niemand hier!« (Valencienne, Camille) | — | ||
| 53-4 | Die lustige Witwe: Erster Akt. »Nun, Njegus, haben Sie meine Botschaft überbracht?« (Zeta, Njegus) | — | ||
| 53-5 | Die lustige Witwe: Erster Akt. »Achtung, maine Herren, die Glawari kommt!« - »Was hat das zu bedeuten?« (Zeta, Njegus) / 3. Entrée-Lied und Ensemble: »Bitte, meine Herr'n« - »Hab' in Paris mich noch nicht ganz so akklimatisiert« (Hanna, Cascada, St. Brioche, Männerchor) | — | ||
| 53-6 | Die lustige Witwe: Erster Akt. 3a. Ballmusik / »Camille!« - »Ja?« (Valencienne, Camille) | — | ||
| 53-7 | Die lustige Witwe: Erster Akt. »Also, Njegus, hier bin ich, und wo ist das Vaterland?« / 4. Auftrittslied: »O Vaterland« (Danilo) | — | ||
| 53-8 | Die lustige Witwe: Erster Akt. »Ich habe schon die vierte Nacht nicht geschlafen!« (Danilo, Njegus, St. Brioche, Hanna) | — | ||
| 53-9 | Die lustige Witwe: Erster Akt. »Ich bitte Sie, lieber Freund, es hat doch keinen Zweck« (Valencienne, Camille) / 5. Duett: »Ja, was?« - »Ein trautes Zimmerlein« (Camille, Valencienne) | — | ||
| 53-10 | Die lustige Witwe: Erster Akt. »Also, lieber Graf, Sie sind, mein Mann« (Zeta, Danilo) / 6. Finale I: »Damenwahl! Hört man rufen rings im Saal« (Hanna, Danilo, Cascada, St. Brioche, eine Dame, Valencienne, Camille, Chor) | — | ||
| 53-11 | Die lustige Witwe: Zweiter Akt. 7. Introduction, Tanz und Vilja-Lied: »Ich bitte, hier jetzt zu verweilen« - »Es lebt' eine Vilja« (Hanna, Chor) | — | ||
| 53-12 | Die lustige Witwe: Zweiter Akt. »Gospodina, dieses vaterländische Fest könnte nicht vaterländischer sein!« (Zeta, Hanna, Danilo) | — | ||
| 53-13 | Die lustige Witwe: Zweiter Akt. 8. Duett: »Heia, Mädel, aufgeschaut« (Hanna, Danilo) | — | ||
| 53-14 | Die lustige Witwe: Zweiter Akt. »Wir werden uns noch schlagen um die Witwe!« (St. Brioche, Cascada, Danilo, Zeta) / 9. Marsch-Septett: »Wie die Weiber man behandelt« (Danilo, Zeta, St. Brioche, Cascada, Kromow Bogdanowitsch, Pritschitsch) | — | ||
| 53-15 | Die lustige Witwe: Zweiter Akt. »Mein tapferer Reitersmann!« (Hanna, Danilo) / 10. Spielszene und Tanzduett: »So, wie die Dinge sich entwickeln« (Hanna, Danilo) | — | ||
| 53-16 | Die lustige Witwe: Zweiter Akt. »Nein, nein, nein« (Valencienne, Camille) / 11. Duett und Romanze: »Mein Freund! Vernunft!« - »Wie eine Rosenknospe« (Valencienne, Camille) | — | ||
| 53-17 | Die lustige Witwe: Zweiter Akt. »Ah, die Baronin und der Herr Rosillon« (Njegus, Zeta, Danilo) | — | ||
| 53-18 | Die lustige Witwe: Zweiter Akt. 12. Finale II: »Ha! Ha!« - »Wir fragen, was man von uns will!« (Danilo, Zeta, Hanna, Valencienne, Camille, Njegus, Sylviane, Olga, Praškowia, Bogdanowitsch, Kromow, Pritschitsch, Chor) | — | ||
| 53-19 | Die lustige Witwe: Dritter Akt. 12b. Zwischenspiel / »Also, also, also!« (Zeta, Njegus) | — | ||
| 53-20 | Die lustige Witwe: Dritter Akt. 13. Tanz-Szene | — | ||
| 53-21 | Die lustige Witwe: Dritter Akt. »Graf Danilowitsch …« (Njegus, Danilo) / 14. Chanson: »Ja, wir sind es, die Grisetten« (Valencienne, Lolo, Dodo, Jou-Jou, Frou-Frou, Clo-Clo, Margot, Danilo, Zeta, Bogdanowitsch, Pritschitsch, Kromow, Chor) | — | ||
| 53-22 | Die lustige Witwe: Dritter Akt. »Exzellenz, Exzellenz, Graf, eine Expressdepesche!« (A servant, Danilo, Zeta, Hanna) | — | ||
| 53-23 | Die lustige Witwe: Dritter Akt. »Aber dort bin ich zu Hause …« / 15. Duett: »Lippen schweigen« (Danilo, Hanna) | — | ||
| 53-24 | Die lustige Witwe: Dritter Akt. »Exzellenz! Exzellenz! Diesen Fächer hat man im Pavillon gefunden!« (Njegus, Valencienne, Zeta, Hanna, Danilo) | — | ||
| 53-25 | Die lustige Witwe: Dritter Akt. 16. Schlussgesang: »Ja, das Studium der Weiber ist schwer« (Hanna, Zeta, Danilo, Valencienne, Lolo, Dodo, Jou-Jou, Frou-Frou, Clo-Clo, Margot, Kromow, Bogdanowitsch, Pritschitsch, Chor) | — | ||
| 54-1 | Lieder eines fahrenden Gesellen: 1. Wenn mein Schatz Hochzeit macht | — | ||
| 54-2 | Lieder eines fahrenden Gesellen: 2. Ging heut' morgen übers Feld | — | ||
| 54-3 | Lieder eines fahrenden Gesellen: 3. Ich hab' ein glühend Messer | — | ||
| 54-4 | Lieder eines fahrenden Gesellen: 4. Die zwei blauen Augen | — | ||
| 54-5 | 6 Gesänge nach Gedichten von Maurice Maeterlinck, op. 13: 1. Die drei Schwestern | — | ||
| 54-6 | 6 Gesänge nach Gedichten von Maurice Maeterlinck, op. 13: 2. Die Mädchenmit den verbundenen Augen | — | ||
| 54-7 | 6 Gesänge nach Gedichten von Maurice Maeterlinck, op. 13: 3. Lied der Jungfrau | — | ||
| 54-8 | 6 Gesänge nach Gedichten von Maurice Maeterlinck, op. 13: 4. Also ihr Geliebter schied | — | ||
| 54-9 | 6 Gesänge nach Gedichten von Maurice Maeterlinck, op. 13: 5. Und kehrt er einst heim | — | ||
| 54-10 | 6 Gesänge nach Gedichten von Maurice Maeterlinck, op. 13: 6. Sie kam zum Schloss gegangen | — | ||
| 54-11 | 5 Lieder nach Gedichten von Friedrich Rückert: 1. Ich atmet' einen linden Duft | — | ||
| 54-12 | 5 Lieder nach Gedichten von Friedrich Rückert: 2. Blicke mir nicht iun die Lieder | — | ||
| 54-13 | 5 Lieder nach Gedichten von Friedrich Rückert: 3. Liebst du um Schönheit | — | ||
| 54-14 | 5 Lieder nach Gedichten von Friedrich Rückert: 4. Um Mittenacht | — | ||
| 54-15 | 5 Lieder nach Gedichten von Friedrich Rückert: 5. Ich bin der Welt abhanden gekommen | — | ||
| 55-1 | Symphony no. 4 in A major “Italian”, op. 90: 1. Allegro vivace | — | ||
| 55-2 | Symphony no. 4 in A major “Italian”, op. 90: 2. Andante con moto | — | ||
| 55-3 | Symphony no. 4 in A major “Italian”, op. 90: 3. Con moto moderato | — | ||
| 55-4 | Symphony no. 4 in A major “Italian”, op. 90: 4. Salterello. Presto | — | ||
| 55-5 | Symphony no. 5 in D major “Reformation”, op. 107: 1. Andante - Allegro con fuoco | — | ||
| 55-6 | Symphony no. 5 in D major “Reformation”, op. 107: 2. Allegro vivace | — | ||
| 55-7 | Symphony no. 5 in D major “Reformation”, op. 107: 3. Andante | — | ||
| 55-8 | Symphony no. 5 in D major “Reformation”, op. 107: 4. Chorale “Ein' feste Burg ist unser Gott” / Andante con moto - Allegro vivace - Allegro maestoso | — | ||
| 56-1 | Vespro della Beata Vergine, SV 206: I. Domine ad adiuvandum | Monteverdi Choir, Nigel Robson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-2 | Vespro della Beata Vergine, SV 206: II. Dixit dominus | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-3 | Vespro della Beata Vergine, SV 206: III. Nigra sum | Mark Tucker, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-4 | Vespro della Beata Vergine, SV 206: IV. Laudate pueri | Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-5 | Vespro della beata Vergine: Pulchra es A 2 | Ann Monoyios, Marinella Pennicchi, Jakob Lindberg, David Miller, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-6 | Vespro della Beata Vergine, SV 206: VI. Laetatus sum | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-7 | Vespro della beata Vergine: Duo seraphim A 3 | Sandro Naglia, Nigel Robson, Mark Tucker, Jakob Lindberg, David Miller, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-8 | Vespro della beata Vergine: Nisi Dominus A 10 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-9 | Vespro della Beata Vergine, SV 206: IX. Audi coelum | Monteverdi Choir, Nigel Robson, Mark Tucker, Jakob Lindberg, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-10 | Vespro della beata Vergine: Lauda Jerusalem A 7 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 57-1 | Vespro della Beata Vergine, SV 206: XI. Sonata sopra "Sancta Maria" | Patrick Russill, London Oratory Junior Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 57-2 | Vespro della Beata Vergine, SV 206: XII. Ave maris stella | Patrick Russill, Michael Chance, London Oratory Junior Choir, Monteverdi Choir, Nigel Robson, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 57-3 | Vespro della Beata Vergine, SV 206: XIII. Magnificat a 7 voci | Patrick Russill, Michael Chance, London Oratory Junior Choir, Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, Ian Watson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 57-4 | Vespro della Beata Vergine, SV 206a: XII. Magnificat a 6 voci | Patrick Russill, London Oratory Junior Choir, Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, Ian Watson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 58-1 | L'Orfeo: Toccata | His Majestys Sagbutts and Cornetts, English Baroque Soloists, Sir John Eliot Gardiner | T-702.928.999-6 | |
| 58-2 | L'Orfeo: Prologo. "Dal mio Permesso" (La Musica) | John Eliot Gardiner, The English Baroque Soloists, Lynne Dawson | T-702.928.999-6 | |
| 58-3 | L'Orfeo: Atto primo. "In questo lieto e fortunato giorno" / "Vieni, Imeneo" / "Muse, onor di Parnaso" | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Nancy Argenta, Mark Tucker | T-702.928.999-6 | |
| 58-4 | L'Orfeo: Atto primo. Balletto. "Lasciate i monti" / "Ma tu, gentil cantor" | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Michael Chance | T-702.928.999-6 | |
| 58-5 | L'Orfeo: Rosa del ciel | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Anthony Rolfe Johnson, Julianne Baird | T-702.928.999-6 | |
| 58-6 | L'Orfeo: Atto primo. "Ma se il nostro gioir" / "Ecco Orfeo, cui pur" | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Nancy Argenta, Mark Tucker, Nigel Robson, Michael Chance, Simon Birchall | T-702.928.999-6 | |
| 58-7 | L'Orfeo: Sinfonia... Ecco pur ch'a voi ritorno | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson | T-011.354.204-3 | |
| 58-8 | L'Orfeo: Mira cha sé nalletta | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Mark Tucker, Nigel Robson | T-702.928.999-6 | |
| 58-9 | L'Orfeo: Atto secondo. "Vi ricorda, o bosch'ombrosi" (Orfeo, Pastore I) | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson | T-702.928.999-6 | |
| 58-10 | L'Orfeo: Atto secondo. "Ahi, caso acerbo" / "In un fiorito prato" | Michael Chance, Anne Sofie von Otter, Nigel Robson, Anthony Rolfe Johnson, Mark Tucker, English Baroque Soloists, Sir John Eliot Gardiner | T-702.928.999-6 | |
| 58-11 | L'Orfeo: Atto secondo. "Ahi, caso acerbo" / "Ma io, che in questa lingua" | Monteverdi Choir, Anne Sofie von Otter, English Baroque Soloists, Sir John Eliot Gardiner | T-702.928.999-6 | |
| 58-12 | L'Orfeo: Atto secondo. Sinfonia / "Chi ne consola, ahi lassi?" / "Ahi, caso acerbo" / "Ma dove, ah dove" / "Ahi, caso acerbo" | Monteverdi Choir, Nigel Robson, Mark Tucker, English Baroque Soloists, Sir John Eliot Gardiner | T-702.928.999-6 | |
| 59-1 | L'Orfeo: Atto terzo. Sinfonia / "Scorto da te, mio Nume" / "Ecco l'atra palude" / "Dove, ah dove ten vai" | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson, Mary Nichols | T-702.928.999-6 | |
| 59-2 | L'Orfeo: Atto terzo. "O tu, ch'inanzi morte" (Caronte) | The English Baroque Soloists, John Tomlinson | T-702.928.999-6 | |
| 59-3 | Orfeo, Akt III: "Possente spirto" | Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | T-702.928.999-6 | |
| 59-4 | L'Orfeo: Atto terzo. "Ben mi lusinga" | John Eliot Gardiner, Anthony Rolfe Johnson, Nicolas Robertson | T-702.928.999-6 | |
| 59-5 | L'Orfeo: Atto terzo. "Nulla impresa per uom" (Coro di spiriti) | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir | T-702.928.999-6 | |
| 59-6 | L'Orfeo: Atto quarto. "Signor, quel infelice" / "Benché severo" / "O degli abitator" / "Quali grazie ti rendo" / "Tue soavi parole" | John Eliot Gardiner, The English Baroque Soloists, Diana Montague, Willard White, Howard Milner, Nicolas Robertson | T-702.928.999-6 | |
| 59-7 | L'Orfeo: Atto quarto. "Pietade, oggi, e amore" / "Ecco il gentil cantor" | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Howard Milner | T-702.928.999-6 | |
| 59-8 | L'Orfeo: Qual onor di te fia degno | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson, John Tomlinson | T-702.928.999-6 | |
| 59-9 | L'Orfeo: Ahi, vista troppo dolce | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson, Julianne Baird, Howard Milner | T-702.928.999-6 | |
| 59-10 | L'Orfeo: Atto quarto. "È la virtute un raggio" (Coro di spiriti) | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir | T-702.928.999-6 | |
| 59-11 | L'Orfeo: Atto quinto. "Questi i campi di Tracia" (Orfeo, Eco) | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson, Mark Tucker | T-702.928.999-6 | |
| 59-12 | L'Orfeo: Atto quinto. Sinfonia / "Perché a lo sdegno" | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson, Nigel Robson | T-702.928.999-6 | |
| 59-13 | L'Orfeo: Atto quinto. "Vanne Orfeo" (Coro di ninfe e pastori) | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir | T-702.928.999-6 | |
| 59-14 | L'Orfeo: Moresca | John Eliot Gardiner, The English Baroque Soloists | T-702.928.999-6 | |
| 60-1 | L'incoronazione di Poppea: Sinfonia / Prologo. “Deh, nasconditi, o Virtù” (Fortuna, Virtù, Amore) / “Deh, sommergerti, malnata” (Virtù) / “Chi vi credete, o Dee” (Amore, Fortuna, Virtù) | — | ||
| 60-2 | L'incoronazione di Poppea: Atto Primo. Ritornello - “E pur'io torno qui, qual linea al centro” (Ottone) | — | ||
| 60-3 | L'incoronazione di Poppea: Atto Primo. “Chi parla? chi parla?” (Soldato I, Ottone, Soldato II) | — | ||
| 60-4 | L'incoronazione di Poppea: Atto Primo. “Signor, deh, non partire!” (Poppea, Nerone) | — | ||
| 60-5 | L'incoronazione di Poppea: Atto Primo. Ritornello - “Speranza, tu mi vai” (Poppea, Arnalta) | — | ||
| 60-6 | L'incoronazione di Poppea: Atto Primo. “Disprezzata regina” (Ottavia) | — | ||
| 60-7 | L'incoronazione di Poppea: Atto Primo. “Ottavia, Ottavia!” (Nutrice, Ottavia) | — | ||
| 60-8 | L'incoronazione di Poppea: Atto Primo. “Ecco la sconsolata” (Seneca, Ottavia) | — | ||
| 60-9 | L'incoronazione di Poppea: Atto Primo. “Madama, con tua pace” (Valletto, Ottavia) | — | ||
| 60-10 | L'incoronazione di Poppea: Atto Primo. “Le porpore regali, e imperatrici” (Seneca) | — | ||
| 60-11 | L'incoronazione di Poppea: Atto Primo. “Seneca, io miro in cielo infausti rai” (Pallade, Seneca) | — | ||
| 60-12 | L'incoronazione di Poppea: Atto Primo. “Son risoluto insomma” (Nerone, Seneca) | — | ||
| 60-13 | L'incoronazione di Poppea: Atto Primo. Sinfonia - “Come dolci, Signore come soavi” (Poppea, Nerone) | — | ||
| 61-1 | L'incoronazione di Poppea: Atto Primo. Ritornello - “Ad altri tocca in sorte” (Ottone, Poppea) | — | ||
| 61-2 | L'incoronazione di Poppea: Atto Primo. “Infelice garzone!” (Arnalta) - “Otton, torna in te stesso” (Ottone) | — | ||
| 61-3 | L'incoronazione di Poppea: Atto Primo. “Pur sempre di Poppea” (Drusilla, Ottone) | — | ||
| 61-4 | L'incoronazione di Poppea: Atto Secondo. “Solitudine amata” (Seneca, Mercurio) | — | ||
| 61-5 | L'incoronazione di Poppea: Atto Secondo. “Il comando tiranno” (Liberto, Seneca) | — | ||
| 61-6 | L'incoronazione di Poppea: Atto Secondo. “Amici, è giunta l'ora” (Seneca) / “Non morir, Seneca, no!” (famigliari) / “Supprimete i singulti” (Seneca) | — | ||
| 61-7 | L'incoronazione di Poppea: Atto Secondo. Ritornello - “Sento un certo non so che” (Valletto, Damigella) | — | ||
| 61-8 | L'incoronazione di Poppea: Atto Secondo. “Dunque amor così comincia?” (Valletto, Damigella) | — | ||
| 61-9 | L'incoronazione di Poppea: Atto Secondo. “Or che Seneca è morto” (Nerone, Lucano) | — | ||
| 61-10 | L'incoronazione di Poppea: Atto Secondo. Ritornello - “Son rubini amorosi” (Nerone, Lucano) | — | ||
| 61-11 | L'incoronazione di Poppea: Atto Secondo. “Tu che dagli avi miei” (Ottavia, Ottone) | — | ||
| 61-12 | L'incoronazione di Poppea: Atto Secondo. “Felice cor mio” (Drusilla) / “Nutrice, quanto pagheresti” (Valletto, Nutrice, Drusilla) / Ritornello - “Il giorno femminil” (Nutrice, Valletto) | — | ||
| 61-13 | L'incoronazione di Poppea: Atto Secondo. “Io son so dov'io vada” (Ottone, Drusilla) | — | ||
| 61-14 | L'incoronazione di Poppea: Atto Secondo. “Or che Seneca è morto” (Poppea, Arnalta) | — | ||
| 61-15 | L'incoronazione di Poppea: Atto Secondo. “Adagiati, Poppea” - “Oblivion soave” (Arnalta) | — | ||
| 61-16 | L'incoronazione di Poppea: Atto Secondo. “Dorme, l'incauta dorme” (Amore) | — | ||
| 61-17 | L'incoronazione di Poppea: Atto Secondo. “Eccomi trasformato” (Ottone) | — | ||
| 61-18 | L'incoronazione di Poppea: Atto Secondo. “Forsennato, scellerato” (Amore, Poppea, Arnalta) | — | ||
| 62-1 | L'incoronazione di Poppea: Atto Terzo. “O felice Drusilla, o che sper'io?” (Drusilla) | — | ||
| 62-2 | L'incoronazione di Poppea: Atto Terzo. “Ecco la scellerata” (Arnalta, Littore, Drusilla) | — | ||
| 62-3 | L'incoronazione di Poppea: Atto Terzo. “Signor, ecco la rea” (Arnalta, Nerone, Drusilla) | — | ||
| 62-4 | L'incoronazione di Poppea: Atto Terzo. “No, no, questa sentenza” (Ottone, Drusilla, Nerone, Littore) | — | ||
| 62-5 | L'incoronazione di Poppea: Atto Terzo. “Signor, oggi rinasco ai primi fiori” (Poppea, Nerone) / “Non più s'interporrà noia o dimora” (Nerone, Poppea) | — | ||
| 62-6 | L'incoronazione di Poppea: Atto Terzo. “Oggi sarà Poppea” (Arnalta) | — | ||
| 62-7 | L'incoronazione di Poppea: Atto Terzo. “A Dio, Roma! a Dio, patria! amici, a Dio!” (Ottavia) | — | ||
| 62-8 | L'incoronazione di Poppea: Atto Terzo. “Ascendi, o mia diletta” (Nerone) / “A te, sovrana augusta” (Consoli, Tribuni) | — | ||
| 62-9 | L'incoronazione di Poppea: Atto Terzo. “Scendiam, scendiam” (Amore, Coro d'Amori, Venere, Poppea, Nerone) | — | ||
| 62-10 | L'incoronazione di Poppea: Atto Terzo. “Pur ti miro” (Poppea, Nerone) | — | ||
| 63-1 | Concerto for Piano and Orchestra no. 5 in D major, K. 175: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 | |
| 63-2 | Concerto for Piano and Orchestra no. 5 in D major, K. 175: II. Andante ma un poco adagio | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 63-3 | Concerto for Piano and Orchestra no. 5 in D major, K. 175: III. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Concerto for Piano and Orchestra no. 6 in B-flat major, K. 238: I. Allegro aperto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 6 in B-flat major, K. 238: II. Andante un poco adagio | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 6 in B-flat major, K. 238: III. Rondeau. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for 3 Pianos and Orchestra no. 7 in F major, K. 242 "Lodron": I. Allegro | Malcolm Bilson, Robert Levin, Melvyn Tan, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 |
| Concerto for 3 Pianos and Orchestra no. 7 in F major, K. 242 "Lodron": II. Adagio | Malcolm Bilson, Robert Levin, Melvyn Tan, English Baroque Soloists, Sir John Eliot Gardiner | T-007.185.681-9 |
| Concerto for 3 Pianos and Orchestra no. 7 in F major, K. 242 "Lodron": III. Rondeau. Tempo di menuetto | Malcolm Bilson, Robert Levin, Melvyn Tan, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 8 in C major, K. 246 "Lützow": I. Allegro aperto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 8 in C major, K. 246 "Lützow": II. Andante | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-802.445.410-3 |
| Concerto for Piano and Orchestra no. 8 in C major, K. 246 "Lützow": III. Rondeau. Tempo di menuetto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for 2 Pianos and Orchestra (no. 10) in E-flat, K. 365: 1. Allegro | Malcolm Bilson, Robert Levin, English Baroque Soloists, John Eliot Gardiner | T-011.422.353-8 |
| Concerto for 2 Pianos and Orchestra (no. 10) in E-flat, K. 365: 2. Andante | Malcolm Bilson, Robert Levin, English Baroque Soloists, John Eliot Gardiner | T-802.445.410-3 |
| Concerto for 2 Pianos and Orchestra (no. 10) in E-flat, K. 365: 3. Rondeau (Allegro) | Malcolm Bilson, Robert Levin, English Baroque Soloists, John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 11 in F major, K. 413: I. Allegro | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 11 in F major, K. 413: II. Larghetto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 11 in F major, K. 413: III. Tempo di menuetto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 12 in A major, K. 414: II. Andante | Malcolm Bilson, Robert Smissen, Sir John Eliot Gardiner | T-802.445.410-3 |
| Concerto for Piano and Orchestra no. 14 in E-flat major, K. 449: I. Allegro vivace | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 18 in B-flat major, K. 456: I. Allegro vivace | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 18 in B-flat major, K. 456: II. Andante un poco sostenuto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 18 in B-flat major, K. 456: III. Allegro vivace | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 16 in D major, K. 451: I. Allegro assai | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | T-306.395.786-4 |
| Concerto for Piano and Orchestra no. 16 in D major, K. 451: II. Andante | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | T-802.445.410-3 |
| Concerto for Piano and Orchestra no. 16 in D major, K. 451: III. Rondeau. Allegro di molto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 19 in F major, K. 459: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 19 in F major, K. 459: II. Allegretto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-802.445.410-3 |
| Concerto for Piano and Orchestra no. 19 in F major, K. 459: III. Allegro assai | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | T-306.395.786-4 |
| Concerto for Piano and Orchestra no. 21 in C major, K. 467: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 21 in C major, K. 467: II. Andante | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-802.445.410-3 |
| Concerto for Piano and Orchestra no. 21 in C major, K. 467: III. Allegro vivace assai | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 17 in G major, K. 453: I. Allegro | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 17 in G major, K. 453: II. Andante | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 17 in G major, K. 453: III. Allegretto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 20 in D minor, K. 466: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 20 in D minor, K. 466: II. Romance | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 20 in D minor, K. 466: III. Rondo. Allegro assai | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 22 in E-flat major, K. 482: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 22 in E-flat major, K. 482: II. Andante | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-802.445.410-3 |
| Concerto for Piano and Orchestra no. 22 in E-flat major, K. 482: III. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 23 in A major, K. 488: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 23 in A major, K. 488: II. Adagio | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-915.711.586-1 |
| Concerto for Piano and Orchestra no. 23 in A major, K. 488: III. Allegro assai | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-306.395.786-4 |
| Concerto for Piano and Orchestra no. 24 in C minor, K. 491: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 24 in C minor, K. 491: II. Larghetto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 24 in C minor, K. 491: III. Allegretto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 25 in C major, K. 503: I. Allegro maestoso | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 25 in C major, K. 503: II. Andante | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 25 in C major, K. 503: III. Allegretto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 26 in D major, K. 537 "Coronation": I. Allegro | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 26 in D major, K. 537 "Coronation": II. Larghetto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 26 in D major, K. 537 "Coronation": III. Allegretto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 27 in B-flat major, K. 595: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 27 in B-flat major, K. 595: II. Larghetto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 27 in B-flat major, K. 595: III. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Ouverture | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act I, Scene I. Recitativo "Quando avran fine omai" (Ilia) / No. 1 Aria "Padre, germani, addio!" (Ilia) / "Ecco Idamante, ahimé!" (Ilia) | Sylvia McNair, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act I, Scene II. Recitativo "Radunate i Troiani, ite" (Ilia, Idamante) / No. 2 Aria "Non ho colpa" (Idamante) | Sylvia McNair, Anne Sofie von Otter, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act I, Recitativo "Ecco il mesero resto de Troiani" / Recitativo "Scingete le catene" | Sylvia McNair, Anne Sofie von Otter, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act I, No.3 coro "Godiam la pace" / Rec "Tutta la Grecia oltraggi" / Rec "Ma quel pianto che annunzia ? / Rec : Estinto è idomeneo ? / No.4 aria : Tutte nel cor vi sento / No.5 coro : Pietá ! Numi, pietá ! / Rec : Eccoci salvi alfin / Rec : Voi di Marte e di Nettuno" | Stephen Charlesworth, Angela Kazimierczuk, Jonathan Peter Kenny, Sylvia McNair, Hillevi Martinpelto, Monteverdi Choir, Anne Sofie von Otter, Nigel Robson, Anthony Rolfe Johnson, Philip Salmon, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act I, No. 6 aria "Vedrommi intorno" / Recitativo : "Cieli ! Che veggo ?" / Recitativo : "Spiagge romite" | Anne Sofie von Otter, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act I, Scene X. No. 7 Aria "Il padre adorato" (Idamante) | Anne Sofie von Otter, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act I, Scene XI. No. 8 Marcia | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act I, Scene XI. No. 9 Coro "Nettuno s'onori!" (Coro) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene I. No. 10a Recitativo "Tutto m'è noto" (Arbace, Idomeneo) | Nigel Robson, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene I. No. 10a Aria. Allegro "Se il tuo duol, se il mio desio" (Arbace) | Nigel Robson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene II. Recitativo "Se mai pomposo" (Ilia, Idomeneo) | Sylvia McNair, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene II. No. 11 Aria "Se il padre perdei" (Ilia) | Sylvia McNair, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene III. Recitativo "Qual mi conturba i sensi" (Idomeneo) | Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act II, No. 12 aria "Fuor del mar ho un mar in seno" | Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | T-306.097.548-2 |
| Idomeneo, re di Creta K. 366: Act II, Recitativo "Frettolosa e Guiliva Elettra Vien" / Recitativo "Chi mai del Mio Provò" | Hillevi Martinpelto, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene V. No. 13 Aria "Idol mio, se ritroso" (Elettra) | Hillevi Martinpelto, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene V. Marcia / No. 14 Recitavio "Odo da lunge" (Elettra) | Hillevi Martinpelto, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene V. Recitativo "Sidonie sponde!" (Elettra) | Hillevi Martinpelto, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act II, No. 15 coro "Placido è il mar / Soavi zeffiri" / Recitativo "Vattene prence" / No. 16 terzetto : "Pria di partir, oh dio !" / No. 17 coro : "Qual nuovo terrore !" / Recitativo : "Eccoti in me, barbaro nume !" / No. 18 coro : "Corriamo, fuggiamo" | Hillevi Martinpelto, Monteverdi Choir, Anne Sofie von Otter, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene I. No. 19 Aria "Zeffiretti lusinghieri" (Ilia) / Act III, Scene II. Recitativo "Ei stesso vien" (Ilia) | Sylvia McNair, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act III, "Principessa, a' tuoi sguardi" / No. 20 duetto "S'io non moro a questi accenti" / Recitativo : "Cieli ! Che vedo ?" | Sylvia McNair, Hillevi Martinpelto, Anne Sofie von Otter, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act III, Recitativo "Dunque io me n'andrò" / No. 21 quartetto "Andrò ramingo e solo" | Sylvia McNair, Hillevi Martinpelto, Anne Sofie von Otter, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene IV. Recitativo "Sire, alla reggia tua immensa turba" (Arbace, Ilia,Idomeneo, Elettra) | Sylvia McNair, Hillevi Martinpelto, Nigel Robson, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene V. Recitativo "Sventurata Sidon!" (Arbace) | Nigel Robson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene V. No. 22 Aria "Se colà ne' fati è scritto" (Arbace) | Nigel Robson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene VI. No. 23 Recitativo "Volgi intorno lo sguardo" (Gran Sacerdote, Idomeneo) | Anthony Rolfe Johnson, Glenn Winslade, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene VI. No. 24 Coro "O voto tremendo" (Coro, Gran Sacerdote) | Monteverdi Choir, Glenn Winslade, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene VII. No. 25 Marcia | English Baroque Soloists, Sir John Eliot Gardiner | T-906.743.326-5 |
| Idomeneo, re di Creta K. 366: Act III, No. 26 cavatina con coro "Accogli, oh re del mar" | Monteverdi Choir, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Appendix , Recitativo "Frettolosa e giuliva Elettra vien" / Recitativo "Sire, da arbace intensi" / Recitativo : "Chi ma del mio provò" | Hillevi Martinpelto, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Coro "Stupenda vittoria!" / Recitativo "Sire, il prence" | Monteverdi Choir, Nigel Robson, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Recitativo "Padre, mio caro padre" | Anne Sofie von Otter, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene IX. No. 27a Aria "No, la morte io non pavento" (Idamante) | Anne Sofie von Otter, English Baroque Soloists, Sir John Eliot Gardiner | T-306.143.268-2 |
| Idomeneo, re di Creta, K. 366: Act III, Scene X. Recitativo "Ma, che più tardi?" (Idamante, Idomeneo, Ilia, Gran Sacerdote) | Anne Sofie von Otter, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene X. Dialogue "Ferma, oh sire, che fai?" (Ilia,Idomeneo, Idomante, Ilia, Gran Sacerdote) | Sylvia McNair, Hillevi Martinpelto, Anne Sofie von Otter, Anthony Rolfe Johnson, Glenn Winslade, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene X. No. 28 La Voce "Ha vinto Amore" (La Voce) | Cornelius Hauptmann, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Recitativo "Oh ciel pietoso !" / Recitativo "Oh, smania ! Oh furie !" / No. 29 aria : "D'oreste, d'aiace" | Sylvia McNair, Hillevi Martinpelto, Anne Sofie von Otter, Nigel Robson, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene XI. No. 30 Recitativo "Popoli, a voi l'ultima legge" (Idomeneo) | Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene XI. No. 30a Aria "Torna la pace al core" (Idomeneo) | Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | T-306.096.245-6 |
| Idomeneo, re di Creta, K. 366: Act III, Scene XI. No. 31 Coro "Scenda Amor, scenda Imeneo" (Coro) | English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| Idomeneo, re di Creta, K. 366: Act III, No. 32 Ballet K. 367(Chaconne / Larghetto / La Chaconne, qui reprend / Largo / Allegretto, sempre Piano / Più Allegro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Appendix, Recitativo "Ferma, oh sire, che fai ?" | Sylvia McNair, Hillevi Martinpelto, Anne Sofie von Otter, Anthony Rolfe Johnson, Glenn Winslade, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Appendix, No. 28 "A Idomeneo perdona" (Versione per legni / Woodwind version) | Cornelius Hauptmann, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Appendix No. 28 "Ha vinto amore" (Versione più estesa per ottoni / Brass : Longer version) | Cornelius Hauptmann, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Appendix, Recitativo "Oh ciel pietoso!" / Recitativo "Oh, smania! Oh, furie!" | Sylvia McNair, Hillevi Martinpelto, Anne Sofie von Otter, Nigel Robson, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Ouvertüre | English Baroque Soloists, Sir John Eliot Gardiner | T-003.143.988-9 |
| Die Entführung aus dem Serail, K. 384: Act I, Scene I. No. 1 Aria "Hier soll ich Dich denn sehen" (Belmonte) / Act I, Scene I. Dialog "Aber wie soll ich in den Palast kommen?" (Belmonte) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene II. No. 2 Lied und Duetto "Wer ein Liebchen hat gefunden" (Osmin, Belmonte) | English Baroque Soloists, Sir John Eliot Gardiner | T-900.134.067-6 |
| Die Entführung aus dem Serail, K. 384: Act I, Nun, wie steht's, Osmin? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene III. No. 3 Aria "Solche hergelauf'ne Laffen" (Osmin) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene IV. Dialog "Geh nur, verwünschter Aufpasser!" (Pedrillo, Belmonte) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Konstanze, dich wiederzusehen / Nr. 4: O wie ängstlich, o wie feurig | Stanford Olsen, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Herr, geschwind auf die Seite / Nr. 5a Marsch | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene VI. No. 5b Chor "Singt dem grossen Bassa Lieder" (Chor und Solisten der Janitscharen) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene VII. Dialog "Immer noch traurig, geliebte Konstanze?" (Selim, Konstanze) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene VII. No. 6 Aria "Ach ich liebte" (Konstanze) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Du bist so großmütig, so gut / Ha, Triumph, Triumph, Herr! / Wohin? ... Hinein! | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene X. No. 7 Trio "Marsch, marsch, marsch! Trollt euch fort" (Osmin, Belmonte, Pedrillo) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Gift und Dolch / O, des Zankens, Befehlens und Murrens / Nr. 8: Durch Zärtlichkeit und Schmeicheln | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene I. Dialog "Zärtlichkeit? Schmeicheln? Es ist mir wie pure Zärtlichkeit!" (Osmin, Blonde) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene I. No. 9 Duetto "Ich gehe, doch rate ich dir" (Osmin, Blonde) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene II. No. 10 Aria "Traurigkeit ward mir zum Lose" (Konstanze) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Ach mein bestes Fräulein / Nun, Konstanze, denkst du meinem Begehren nach? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene III. No. 11 Aria "Martern aller Arten" (Konstanze) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Ist das ein Traum? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Bst, bst! Blondchen! | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene VI. No. 12 Aria "Welche Wonne, welche Lust" (Blonde) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Ah, dass es schon vorbei wäre! / Act II, Scene VII. No. 13 Aria "Frisch zum Kampfe!" (Pedrillo) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene VIII. Dialog "Ha! Geht's hier so lustig zu?" (Osmin, Pedrillo) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene VIII. No. 14 Duetto "Vivat Bacchus! Bacchus lebe!" (Pedrillo, Osmin) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Wein - das ist wahr - Wein / Pedrillo, ist Konstanze noch nicht hier? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, No. 15: Wenn der Freude Tränen fließen / Ich hab hier ein Schiff in Bereitschaft | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, No. 16: Ach, Belmonte! Ach, mein Leben | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Pedrillo! Pedrillo! | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Scene III. No. 17 Aria "Ich baue ganz auf deine Stärke" (Belmonte) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Alles liegt auf dem Ohr / Nr. 18: In Mohrenland gefangen war | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Sie macht auf, Herr! / Gift und Dolch! Was ist das? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Scene V. No. 19 Aria "O, wie will ich triumphieren" (Osmin) | Cornelius Hauptmann, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Was gibt's, Osmin, was gibt's? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Scene VII. Recitativo "Welch ein Geschick!" (Belmonte, Konstanze) / No. 20 Duetto "Meinetwegen sollst du sterben!" | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Nun, Sklave! Erwartest du dein Urteil? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, No. 21a. Finale. Vaudeville: "Nie werd' ich deine Huld verkennen" (Tutti) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Overture | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene I. No. 1 Duetto "Cinque… dieci… Venti… trenta…" (Figaro, Susanna) | Bryn Terfel, Alison Hagley, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene I. Recitativo "Cosa stai misurando" (Figaro, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene I. No. 2 Duettino "Se a caso madama la notte ti chiama" (Figaro, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene I. Recitativo "Or bene, ascolta, e taci" (Figaro, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene II. Recitativo "Bravo, Signor padrone!" (Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | T-009.157.866-3 |
| Le Nozze di Figaro, K. 492: Act I, Scene II. No. 3 Cavatina "Se vuol ballare, signor Contino" (Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | T-009.157.866-3 |
| Le Nozze di Figaro, K. 492: Act I, Scene III. Recitativo "Ed aspettaste il giorno" (Bartolo, Marcellina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene III. No. 4 Aria "La vendetta, oh, la vendetta" (Bartolo) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene IV. Recitativo "Tutto ancor non ho perso" (Marcellina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene IV. No. 5 Duettino "Via, resti servita, madama brillante" (Marcellina, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene V. Recitativo "Va la, vecchia pedante" (Susanna, Cherubino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene V. No. 6 Aria "Non so più cosa son, cosa faccio" (Cherubino) | English Baroque Soloists, Sir John Eliot Gardiner | T-915.310.099-3 |
| Le Nozze di Figaro, K. 492: Act I, Scene VI-VII. Recitativo "Ah, son perduto!" (Susanna, Cherubino, Il Conte, Basilio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene VII. No. 7 Terzetto "Cosa sento! tosto andante" (Il Conte, Basilio, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene VII. Recitativo "Basilio, in traccia tosto di Figaro" (Susanna, Cherubino, Il Conte, Basilio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene VIII. No. 8 Coro "Giovani liete, fiori spargete" (Coro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene VIII. Recitativo "Cos'e questa commedia" (Il Conte, Figaro, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene VIII. No. 8 Coro "Giovani liete, fiori spargete" (Coro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene VIII. Recitativo "Evviva! ... E voi non applaudite" (Figaro, Susanna, Basilio, Cherubino, Il Conte) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro: “Non più andrai” | Bryn Terfel, English Baroque Soloists, John Eliot Gardiner | T-009.157.866-3 |
| Le nozze di Figaro, K. 492: Act II, Scene I. No. 11 Cavatina "Porgi, amor qualche ristoro" (La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | T-306.482.540-3 |
| Le Nozze di Figaro, K. 492: Act II, Scene I. Recitativo "Vieni, cara Susanna" (La Contessa, Susanna, Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act II, Scene II. Recitativo "Quanto duolmi, Susanna" (La Contessa, Susanna, Cherubino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene II. No. 12 Arietta "Voi che sapete che cosa è amor" (Cherubino) | Pamela Helen Stephen, English Baroque Soloists, Sir John Eliot Gardiner | T-031.862.676-4 |
| Le Nozze di Figaro, K. 492: Act II, Scene II. Recitativo "Bravo! che bella voce!" (La Contessa, Susanna, Cherubino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene II. No. 13 Aria "Venite… inginocchiatevi…" (Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act II, Scene II. Recitativo "Quante buffonerie!" (La Contessa, Susanna, Cherubino, Il Conte) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene III. Recitativo "Che novità!" (Il Conte, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene III. No. 14 Terzetto "Susanna or via, sortite" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act II, Scene III. Recitativo "Dunque, voi non aprite" (Il Conte, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene IV. No. 15 Duettino "Aprite, presto, aprite" (Susanna, Cherubino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act II, Scene IV. Recitativo "O guarda il demonietto!" (Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene V. Recitativo "Tutto è come io lasciai" (Il Conte, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene VII. No. 16 Finale "Esci, ormai, garzon malnato" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene VII. No. 16 Finale "Signore, cos'è quel stupore?" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene VIII. No. 16 Finale "Susanna, son morta" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene IX. No. 16 Finale "Signori di fuori son già suonatori" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene IX. No. 16 Finale "Conoscete signor Figaro" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene X. No. 16 Finale "Ah signor... signor" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene X. No. 16 "Vostre dunque saran queste carte che perdeste" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene XI. No. 16 Finale "Voi signor che giusto siete" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scenes I-II. Recitativo "Che imbarazzo è mai questo!" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene II. No. 17 Duetto "Crudel! Perché finora farmi languir così?" (Il Conte, Susanna) | Rodney Gilfry, Alison Hagley, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene III. Recitativo "E perchè fosti meco" (Il Conte, Susanna, Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene IV. No. 18 Recitativo "Hai già vinta la causa" (Il Conte) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene IV. No. 18 Aria "Vedrò, mentre io sospiro" (Il Conte) | Rodney Gilfry, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene VII. Recitativo "Andiam, andiam, bel paggio" (Barbarina, Cherubino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene VIII. No. 20 Recitativo "E Susanna non vien!" (La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene VIII. No. 20 Aria "Dove sono i bei momenti" (La Contessa) | Hillevi Martinpelto, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene V. Recitativo "È decisa la lite" (Don Curzio, Marcellina, Figaro, Il Conte, Bartolo) | Francis Egerton, Carlos Feller, Rodney Gilfry, Susan McCulloch, Bryn Terfel, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene V. No. 19 Sestetto "Riconosci in questo amplesso" (Susanna, Marcellina, Don Curzio, Il Conte, Bartolo, Figaro) | Francis Egerton, Carlos Feller, Rodney Gilfry, Alison Hagley, Susan McCulloch, Bryn Terfel, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene VI. Recitativo "Eccovi, o caro amico" (Marcellina, Bartolo, Figaro, Susanna) | Carlos Feller, Alison Hagley, Susan McCulloch, Bryn Terfel, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene IX. Duettino "Io vi dico, signor, che Cherubino" (Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene X. No. 21 Duettino "Che soave zeffiretto" (La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene X. Recitativo "Piegato è il foglio" (La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene XI. No. 22 Coro "Ricevete, oh padroncina" (Figaro, Susanna, Il Conte, La Contessa, Due Ragazze) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scenes XII-XIII. Recitativo "Questo sono, Madama" (Barbarina, La Contessa, Susanna, Antonio, Il Conte, Cherubino, Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scenes XII-XIV. No. 23 Finale "Ecco la marcia, Andiamo" (Figaro, Susanna, Il Conte, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene XIV. No. 23 Finale "Amanti costanti seguaci d'onor" (Due Contadine, Coro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene XIV. No. 23 Finale "Eh già solita usanza" (Il Conte, Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene XIV. No. 23 Finale "Andate amici!" (Il Conte, Coro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene I. No. 24 Aria "L'ho perduta... me meschina" (Barbarina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scenes II-III. Recitativo "Barbarina, cos'hai?" (Figaro, Barbarina, Marcellina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene VI. No. 25 Aria "Il capro e la capretta" (Marcellina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scenes VI-VII. Recitativo "Nel padiglione a manca" (Barbarina, Figaro, Basilio, Bartolo) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene VII. No. 26 Recitativo "In quegli anni in cui val poco" (Basilio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene VIII. No. 27 Recitativo "Tutto è disposto" (Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene IX. Recitativo "Signora, ella mi disse" (Susanna, La Contessa, Marcellina, Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene X. No. 28 Aria "Giunse alfin il momento" (Cherubino, La Contessa, Il Conte, Susanna, Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro: Atto IV: Aria: “Deh vieni, non tardar” (Susanna) | Alison Hagley, English Baroque Soloists, Sir John Eliot Gardiner | T-001.424.370-9 |
| Le nozze di Figaro, K. 492: Act IV, Scene VIII. No. 27 Recitativo "Oh Susanna, Susanna, quanta pena mi costi!" (Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene VIII. No. 27 Recitativo "Aprite un po' quegl'occhi" (Figaro) | Bryn Terfel, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scenes XI. Recitativo "La la la, la la la, la lera" (Cherubino, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | T-031.796.870-9 |
| Le nozze di Figaro, K. 492: Act IV, Scene Ultima. No. 29 Finale "Pian pianin le andrò più presso" (Cherubino, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene Ultima. No. 29 Finale "Ecco qui la mia Susanna" (Il Conte, Tutti) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene Ultima. No. 29 Finale "Tutto è tranquillo e placido" (Il Conte, Tutti) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene Ultima. No. 29 Finale "Pace pace, mio dolce tesoro" (Il Conte, Tutti) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene Ultima. No. 29 Finale "Gente gente, all'armi all'armi!" (Il Conte, Tutti) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Appendix. No. 27 Recitativo ed Aria (traditional version) Recitativo "Tutto e disposto" (Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Appendix. No. 27 Recitativo ed Aria (traditional version) Aria "Aprite un po' quegli occhi" (Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scenes XI-XIV. Recitativo "Perfida, e in quella forma meco mentia?" (Figaro, Cherubino, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Ouvertura | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena I. No. 1 Introduzione: “Notte e giorno faticar” (Leporello, Donna Anna, Don Giovanni, Il Commendatore) | Rodney Gilfry, Ľuba Orgonášová, Andrea Silvestrelli, Ildebrando d’Arcangelo, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena II. Recitativo: “Leporello, ove sei?” (Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena III. Recitativo: “Ah! del padre in periglio” (Donna Anna, Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena III. No. 2 Recitativo accompagnato: “Ma qual mai s’offre, oh Dei” (Donna Anna, Don Ottavio) / No. 2 Duetto: “Fuggi, crudele, fuggi!” (Donna Anna, Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | T-910.758.999-1 |
| Don Giovanni: Atto I, Scena IV. Recitativo: “Orsù, spicciati presto” (Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena V. No. 3 Aria: “Ah! chi mi dice mai” (Donna Elvira, Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena V. Recitativo: “Chi è la?” / “Stelle! che vedo!” (Donna Elvira, Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena V. No. 4 Aria: “Madamina, il catalogo è questo” (Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | T-929.621.870-7 |
| Don Giovanni: Atto I, Scena VI. Recitativo: “In questa forma, dunque” (Donna Elvira) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena VII. No. 5 Coro: “Giovinette che fate all’amore” (Zerlina, Masetto, Coro di contadine e contadini) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena VIII. Recitativo: “Manco male è partita” (Don Giovanni, Leporello, Zerlina, Masetto) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena VIII. No. 6 Aria: “Ho capito, signor sì” (Masetto) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena IX. Recitativo: “Alfin siam liberati” (Don Giovanni, Zerlina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena IX. No. 7 Duettino: “Là ci darem la mano” (Don Giovanni, Zerlina) | Rod Gilfry, Eirian James, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena X. Recitativo: “Fermati, scellerato” (Donna Elvira, Zerlina, Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena X. No. 8 Aria: “Ah, fuggi il traditor” (Donna Elvira) | English Baroque Soloists, Sir John Eliot Gardiner | T-910.758.999-1 |
| Don Giovanni: Atto I, Scena XI. Recitativo: “Mi par ch’oggi il demonio si diverta” (Don Giovanni, Don Ottavio, Donna Anna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XII. Recitativo: “Ah, ti ritrovo ancor” (Donna Elvira) / No. 9 Quartetto: “Non ti fidar, o misera” (Donna Elvira, Donna Anna, Don Ottavio, Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XII. Recitativo: “Povera sventurata!” (Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XIII. No. 10 Recitativo accompagnato: “Don Ottavio, son morta!” (Donna Anna, Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XIII. No. 10 Aria: “Or sai chi l’onore” (Donna Anna) | English Baroque Soloists, Sir John Eliot Gardiner | T-929.613.726-3 |
| Don Giovanni: Atto I, Scena XIV. Recitativo: “Come mai creder deggio” (Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XIV. No. 10a Aria: “Dalla sua pace” (Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XV. Recitativo: “Io deggio ad ogni patto” (Leporello, Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XV. No. 11 Aria: “Fin ch’han dal vino” (Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | T-306.481.937-6 |
| Don Giovanni: Atto I, Scena XVI. Recitativo: “Masetto: senti un po’!” (Zerlina, Masetto) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XVI. No. 12 Aria: “Batti, batti, o bel Masetto” (Zerlina) | English Baroque Soloists, Sir John Eliot Gardiner | T-929.621.873-0 |
| Don Giovanni: Atto I, Scena XVI. Recitativo: “Guarda un po’” (Masetto, Don Giovanni, Zerlina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XVI. No. 13 Finale: “Presto presto pria ch’ei venga” (Masetto, Zerlina, Don Giovanni, Coro) / Scena XVII. “Su svegliatevi, da bravi” (Don Giovanni, Servi) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XVIII. No. 13 Finale: “Tra quest’arbori celata” (Zerlina, Don Giovanni, Masetto, Coro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XIX. No. 13 Finale: “Bisogna aver coraggio” (Donna Elvira, Don Ottavio, Donna Anna, Leporello, Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XX. No. 13 Finale: “Riposate, vezzose ragazze!” (Don Giovanni, Leporello, Masetto, Zerlina, Donna Anna, Donna Elvira, Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena I. No. 14 Duetto: “Eh via, buffone” (Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena I. Recitativo: “Leporello” / “Signore” (Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena II. No. 15 Terzetto: “Ah! taci, ingiusto core” (Donna Elvira, Leporello, Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.122-3 |
| Don Giovanni: Atto II, Scena II. Recitativo: “Amico, che ti par?” (Don Giovanni, Leporello) / Scena III. Recitativo: “Eccomi a voi!” (Donna Elvira, Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena III. No. 16 Canzonetta: “Deh, vieni alla finestra” (Don Giovanni) | Rodney Gilfy, English Baroque Soloists, Sir John Eliot Gardiner | T-306.483.075-3 |
| Don Giovanni: Atto II, Scena III. Recitativo: “V’è gente alla finestra!” (Don Giovanni) / Scena IV. Recitativo: “Non ci stanchiamo” (Masetto, Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena IV. No. 17 Aria: “Metà di voi qua vadano” (Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena V. Recitativo: “Zitto! lascia ch’io senta” (Don Giovanni, Masetto) / Scena VI. Recitativo: “Ahi! ahi! la testa mia!” (Masetto, Zerlina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena VI. No. 18 Aria: “Vedrai, carino” (Zerlina) | English Baroque Soloists, Sir John Eliot Gardiner | T-929.621.876-3 |
| Don Giovanni: Atto II, Scena VII. Recitativo: “Di molte faci il lume” (Leporello, Donna Elvira) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena VII/VIII. No. 19 Sestetto: “Sola, sola, in buio loco” (Donna Elvira, Leporello, Don Ottavio, Donna Anna, Zerlina, Masetto) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena IX. Recitativo: “Dunque quello sei tu” (Zerlina, Donna Elvira, Don Ottavio, Masetto)/Recitativo: “Ah pietà… compassion” (Leporello, Don Ottavio)/Scena X. Recitativo: “Ferma, perfido, ferma” (Donna Elvira, Masetto, Zerlina, Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena Xa. Recitativo: “Restati qua!” (Zerlina, Leporello) | Eirian James, Ildebrando d’Arcangelo, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena Xa. No. 21a Duetto: “Per queste tue manine” (Leporello, Zerlina) | Eirian James, Ildebrando d’Arcangelo, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena Xb. Recitativo: “Amico, per pietà” (Leporello) / Scena Xc. Recitativo: “Andiam, signora” (Zerlina, Donna Elvira, Masetto) | Ildebrando d’Arcangelo, Eirian James, Charlotte Margiono, Julian Clarkson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena Xd. No. 21b Recitativo accompagnato: “In quali eccessi, o Numi” (Donna Elvira) | English Baroque Soloists, Sir John Eliot Gardiner | T-926.159.933-1 |
| Don Giovanni: Atto II, Scena Xd. No. 21b Aria: “Mi tradì quell’alma ingrata” (Donna Elvira) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XI. Recitativo: “Ah, ah, ah, ah, questa è buona” (Don Giovanni, Leporello, Il Commendatore) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XI. No. 22 Duetto: “O statua gentilissima” (Leporello, Don Giovanni, Il Commendatore) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XII. Recitativo: “Calmatevi, idol mio” (Don Ottavio, Donna Anna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XII. No. 23 Recitativo accompagnato: “Crudele! – Ah no, mio bene!” (Donna Anna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XII. No. 23 Rondo: “Non mi dir, bell’idol mio” (Donna Anna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XII. Recitativo: “Ah, si segua il suo passo” (Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XIII. No. 24 Finale: “Già la mensa è preparata” (Don Giovanni, Leporello) | Rodney Gilfry, Ildebrando d’Arcangelo, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XIV. Recitativo: “L’ultima prova dell’amor mio” (Donna Elvira, Don Giovanni, Leporello) | Rodney Gilfry, Charlotte Margiono, Ildebrando d’Arcangelo, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XV. “Don Giovanni, a cenar teco” (Il Commendatore, Don Giovanni, Leporello, Coro) | Rod Gilfry, Andrea Silvestrelli, Ildebrando d’Arcangelo, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena ultima. “Ah! dove è il perfido” (Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Masetto, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Appendix. Recitativo: “Dunque quello sei tu” (Zerlina, Donna Elvira, Don Ottavio, Masetto) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Appendix. No. 20 Aria: “Ah, pietà, signori miei” (Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Appendix. Recitativo: “Ferma, perfido, ferma” (Donna Elvira, Masetto, Zerlina, Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Appendix. No. 21 Aria: “Il mio tesoro intanto” (Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Appendix. Recitativo: “Ah, ah, ah, ah, questa è buona” (Don Giovanni, Leporello, Il Commendatore) / No. 22 Duetto: “O statua gentilissima” (Leporello, Don Giovanni, Il Commendatore) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. Ouverture | English Baroque Soloists, Sir John Eliot Gardiner | T-902.763.968-5 |
| Così fan tutte, K. 588: Act I. "La mia Dorabella" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | T-916.490.741-9 |
| Così fan tutte, K. 588: Act I. "Fuor la spada" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "E la fede delle femminine" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Scioccerie di poeti" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Una bella serenata" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Ah, guarda, sorella" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Mi par che stamattina" | Carlos Feller, Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Vorrei dir, e cor non ho" | Carlos Feller, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Stelle! Per carità, signor Alfonso" | Carlos Feller, Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Sento, oh Dio, che questo piede" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Non piangere, idol mio!" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Al fato dan legge" | Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | T-900.134.391-5 |
| Così fan tutte, K. 588: Act I. "La commedia è graziosa" | Carlos Feller, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Bella vita militar!" | English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | T-906.905.438-2 |
| Così fan tutte, K. 588: Act I. "Non vè più tempo: Amici" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Di scrivermi ogni giorno" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Bella vita militar!" | English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| Così fan tutte, K. 588: Act I. "Dove son?" | Carlos Feller, Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Soave sia il vento" | Carlos Feller, Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | T-902.525.648-8 |
| Così fan tutte, K. 588: Act I. "Non son cattivo comico" | Carlos Feller, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Che vita maledetta" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act I. "Ah, scostati!" | Rosa Mannion, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Smanie implacabili" | Rosa Mannion, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Signora Dorabella" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act I. "In uominI. in soldati" | English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act I. "Che silenzio!" | Carlos Feller, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act I. "Alla bella Despinetta" | Carlos Feller, Rodney Gilfry, Eirian James, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Che sussurro! Che strepito!" | Carlos Feller, Rodney Gilfry, Eirian James, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Come scoglio" | Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Ah, non partite" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Non siate ritrosi" | Rod Gilfry, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "E voi ridete?" - "La cagion di quel riso?" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Si può sapere un poco la cagion di quel riso?" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Un'aura amorosa" | Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I, "Oh, la saria da ridere!" | Carlos Feller, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act I, "Ah, che tutta in un momento" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "Andate là" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "Una donna a quindici anni" | English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "Sorella, cosa dici?" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Prenderò quel brunettino" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | T-911.791.893-1 |
| Così fan tutte, K. 588: Act II. "Ah, correte al giardino" | Carlos Feller, Rosa Mannion, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Secondate, aurette amiche" | Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| Così fan tutte, K. 588: Act II. "Il tutto deponete" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "La mano a me date" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "Oh che bella giornata!" | Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Il cor vi dono" | Rod Gilfry, Rosa Mannion, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Barbara! Perché fuggi?" | Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Ah, lo veggio" | Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Ei parte… senti… ah no!" | Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Per pietà, ben mio, perdona" | Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Amico, abbiamo vinto!" | Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Donne mie, la fate a tanti" | Rod Gilfry, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "In qual fiero contrasto" | Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Tradito, schernito" | Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | T-306.152.256-9 |
| Così fan tutte, K. 588: Act II. "Bravo, questa è costanza" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Ora vedo che siete" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "E amore un ladroncello" | Rosa Mannion, English Baroque Soloists, Sir John Eliot Gardiner | T-919.170.448-0 |
| Così fan tutte, K. 588: Act II. "Come tutto congiura" | Carlos Feller, Rod Gilfry, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "Fra gli amplessi in pochi istanti" | Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Oh poveretto me" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Tutti accusan le donne" | Rodney Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Vittoria, padroncini!" | Carlos Feller, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "Fate presto, o cari amici" | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Appendix. "Rivolgete a lui lo sguardo" - "E voi ridete?" | Rod Gilfry, English Baroque Soloists, Sir John Eliot Gardiner | — |
| La clemenza di Tito, K. 621: Act I. "Parto, ma tu ben mio" | Anne Sofie von Otter, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Ouvertüre | English Baroque Soloists, Sir John Eliot Gardiner | T-903.529.769-9 |
| Die Zauberflöte: Act I. Nr. 1 Introduktion: »Zu Hilfe ! Zu Hilfe« (Tamino, Die drei Damen) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »Wo bin ich?« (Tamino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. Nr. 2 Arie: »Der Vogelfänger bin ich ja« (Papageno) | Gerald Finley, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »He! Du da!« (Tamino, Papageno, Die drei Damen) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. Nr. 3 Arie: »Dies Bildnis ist bezaubernd schön« (Tamino) | English Baroque Soloists, Sir John Eliot Gardiner | T-101.070.693-9 |
| Die Zauberflöte: Act I. »Rüste dich mit Mut und Standhaftigkeit« (Die drei Damen, Tamino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. Nr. 4 Rezitativ und Arie: »O zittre nicht, mein lieber Sohn!« – »Zum Leiden bin ich auserkoren« (Königin der Nacht) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »War das Wirklichkeit, was ich sah?« (Tamino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. Nr. 5 Quintett: »Hm, hm, hm« (Papageno, Tamino, Die drei Damen) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. Nr. 6 Terzett: »Du feines Täubchen, nur herein!« (Monostatos, Pamina, Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »Mutter! Mutter!« (Pamina, Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. Nr. 7 Duett: »Bei Männern, welche Liebe fühlen« (Pamina, Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | T-900.134.395-9 |
| Die Zauberflöte: Act I. Nr. 8 Finale: »Zum Ziele führt dich diese Bahn« (Die drei Knaben, Tamino, Priester, Sprecher) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »Schnelle Füße, rascher Mut« (Pamina, Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »Nur geschwinde!« (Monostatos, Pamina, Papageno, Chor) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »Es lebe Sarastro« (Chor, Pamina, Sarastro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »Ja, stolzer Jüngling« (Monostatos, Pamina, Tamino, Chor, Sarastro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 9 Marsch der Priester | English Baroque Soloists, Sir John Eliot Gardiner | T-921.158.813-5 |
| Die Zauberflöte: Act II. Nr. 9a [Dreimaliger Akkord] »Eingeweihte Diener« (Sarastro, Sprecher, Zweiter und Dritter Priester) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 10 Arie mit Chor: »O Isis und Osiris« (Sarastro, Chor) | English Baroque Soloists, Sir John Eliot Gardiner | T-001.321.541-2 |
| Die Zauberflöte: Appendix. Nr. 3a Arie: »So reizend hold, so zaubrisch schön« (Tamino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Appendix. Nr. 7a Duett: »Der Liebe holdes Glück empfinden« (Pamina, Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Was für eine schreckliche Nacht!« (Tamino, Papageno, Sprecher, Zweiter Priester) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 11 Duett: »Bewahret euch vor Weibertücken« (Sprecher, Zweiter Priester) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »He! Die Lichter her!« (Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 12 Quintett: »Wie? Wie? Wie? Ihr an diesem Schreckensort?« (Die drei Damen, Papageno, Tamino, Chor) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Du bist standhaft geblieben« (Sprecher, Zweiter Priester, Papageno, Monostatos) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 13 Arie: »Alles fühlt der Liebe Freuden« (Monostatos) | English Baroque Soloists, Sir John Eliot Gardiner | T-900.222.345-2 |
| Die Zauberflöte: Act II. »Zurück!« / »Mutter!« (Königin der Nacht, Pamina, Monostatos) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 14 Arie: »Der Hölle Rache kocht in meinem Herzen« (Königin der Nacht) | Cyndia Sieden, English Baroque Soloists, Sir John Eliot Gardiner | T-918.245.117-8 |
| Die Zauberflöte: Act II. »Morden soll ich?« (Pamina, Monostatos, Sarastro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 15 Arie: »In diesen heil’gen Hallen« (Sarastro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Von hier an seid ihr euch beide allein überlassen« (Sprecher, Priester, Papageno, Tamino, Papagena) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 16 Terzett: »Seid uns zum zweitenmal willkommen« (Die drei Knaben) | English Baroque Soloists, Sir John Eliot Gardiner | T-909.688.137-7 |
| Die Zauberflöte: Act II. »Tamino, wollen wir nicht speisen?« (Papageno, Pamina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 17 Arie: »Ach, ich fühl’s, es ist verschwunden« (Pamina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Siehst du, Tamino« (Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 18 Chor der Priester: »O Isis und Osiris« | English Baroque Soloists, Sir John Eliot Gardiner | T-001.321.541-2 |
| Die Zauberflöte: Act II. »Prinz! Bisher hast du dich« (Sarastro, Pamina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 19 Terzett: »Soll ich dich, Teurer, nicht mehr sehn?« (Pamina, Sarastro, Tamino) | English Baroque Soloists, Sir John Eliot Gardiner | T-931.460.428-9 |
| Die Zauberflöte: Act II. »Tamino! Lass mich nicht im Stich!« (Papageno, Sprecher, drei Priester) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 20 Arie: »Ein Mädchen oder Weibchen wünscht Papageno sich« (Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | T-802.587.503-1 |
| Die Zauberflöte: Act II. »Da bin ich schon, mein Engel« (Papagena, Papageno, Sprecher) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 21 Finale: »Bald prangt, den Morgen zu verkünden« (Die drei Knaben) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Du also bist mein Bräutigam?« (Pamina, Die drei Knaben) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Der, welcher wandert diese Strasse« (Die Geharnischten, Tamino, Pamina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Tamino mein! O welch ein Glück!« (Pamina, Tamino, Die Geharnischten) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Wir wandelten durch Feuergluten« (Pamina, Tamino, Chor) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Papagena! Weibchen! Täubchen!« (Papageno, Die drei Knaben, Papagena) / »Pa‐pa‐gena!« / »Pa‐pa‐geno!« (Papageno, Papagena) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Nur stille, stille, stille!« (Monostatos, Königin der Nacht, Die drei Damen) / »Die Strahlen der Sonne vertreiben die Nacht« (Sarastro, Chor) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Appendix. Nr. 17a Arie: »Ach, ich fühl’s, es ist verschwunden« (Pamina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Appendix. From Nr. 21a Finale: »Tamino mein! O welch ein Glück!« (Tamino, Pamina, Die Geharnischten) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 1: Prelude | English Baroque Soloists, Sir John Eliot Gardiner | T-011.355.807-8 |
| The Fairy Queen, Z.629, Act 1: Hornpipe | English Baroque Soloists, Sir John Eliot Gardiner | T-900.022.630-2 |
| The Fairy Queen, Z.629, Act 1: Air | English Baroque Soloists, Sir John Eliot Gardiner | T-010.433.374-5 |
| The Fairy Queen, Z.629, Act 1: Rondeau | English Baroque Soloists, Sir John Eliot Gardiner | T-900.076.903-9 |
| The Fairy Queen, Z.629, Act 1: Overture | English Baroque Soloists, Sir John Eliot Gardiner | T-902.314.020-7 |
| The Fairy Queen, Z.629, Act 1: Song in Two Parts: "Come, come, come, let us leave" | Eiddwen Harrhy, Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 1: Scene of the Drunken Poet: "Fill up the Bowl" | Judith Nelson, Elisabeth Priday, David Thomas, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 1: First Act Tune: Jig | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: Prelude...Come, all ye songsters of the sky | Wynford Evans, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: Prelude | English Baroque Soloists, Sir John Eliot Gardiner | T-011.355.807-8 |
| The Fairy Queen, Z.629, Act 2: Trio: "May the God of Wit inspire" | Wynford Evans, Martyn Hill, Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: Echo | English Baroque Soloists, Sir John Eliot Gardiner | T-205.044.740-7 |
| The Fairy Queen, Z.629, Act 2: Chorus: "Now Joyn your Warbling Voices all" | English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 2: A Dance of Fairies | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: Song and Chorus: "Sing while we trip it on the Green" | Judith Nelson, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 2: no. 14 "See, even Night herself is here" | Jennifer Smith, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: no. 15 "I am come to lock all fast" | Judith Nelson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: no. 16 "One charming night" | Timothy Penrose, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: no. 17 "Hush, no more" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 2: no. 18 Dance for the followers of night | English Baroque Soloists, Sir John Eliot Gardiner | T-926.155.164-8 |
| The Fairy Queen, Z.629, Act 2: Second Act Tune: Air | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: A Song in Two Parts and Chorus: "If Love's a Sweet Passion" | Jennifer Smith, Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 3: Overture: Symphony while the Swans come forward | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: Dance for the Fairies | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: Dance for the Green Men | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: Song: "Ye Gentle Spirits of the Air, appear" | Judith Nelson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: Dialog: "Now the Maids and the Men" | Timothy Penrose, David Thomas, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: Song: "When I have often heard" | Jennifer Smith, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: A Dance of Haymakers | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: Song and Chorus: "A Thousand Thousand ways we'll find" | Wynford Evans, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 3: Third Act Tune: Hornpipe | English Baroque Soloists, Sir John Eliot Gardiner | T-902.314.028-5 |
| The Fairy Queen, Z.629, Act 4: Symphony | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: no. 31 Solo & Chorus "Now the night" | Judith Nelson, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 4: Duet: "Let the fifes, and the Clarions" | Timothy Penrose, Ashley Stafford, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: Entry of Phoebus | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: Song: "When a cruel long Winter"- Chorus: "Hail! Great Parent of us all" | Martyn Hill, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 4: Song: "Thus the ever Grateful Spring" | Jennifer Smith, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: Song: "Here's the Summer, Sprightly, Gay" | Timothy Penrose, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: Song: "See my many Colour'd Fields" | Martyn Hill, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: Song and Chorus: "Now Winter comes Slowly" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: Fourth Act Tune: Air | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 5: Prelude | English Baroque Soloists, Sir John Eliot Gardiner | T-011.355.807-8 |
| The Fairy Queen, Z.629, Act 5: Epithalamium: Thrice happy Lovers | Eiddwen Harrhy, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 5: The Plaint | Jennifer Smith, English Baroque Soloists, Sir John Eliot Gardiner | T-011.657.800-7 |
| The Fairy Queen, Z.629, Act 5: Entry Dance | English Baroque Soloists, Sir John Eliot Gardiner | T-900.247.953-0 |
| The Fairy Queen, Z.629, Act 5: Symphony | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Freue dich des Weibes deiner Jugend, SWV 453 | Frieder Lang, The Monteverdi Choir, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Ist nicht Ephraim mein teurer Sohn, SWV 40 | Ruth Holton, The Monteverdi Choir, Ashley Stafford, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Saul, Saul, was verfolgst du mich?, SWV 415 | Simon Birchall, Michael Chance, Carol Hall, Ruth Holton, The Monteverdi Choir, Lawrence Wallington, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Auf dem Gebirge hat man ein Geschrei gehöret, SWV 396 | Michael Chance, Ashley Stafford, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Musikalische Exequien: I. Concert in Form einer teutschen Begräbnis-Missa, SWV 279 | Stephen Charlesworth, The Monteverdi Choir, Rachel Platt, Nicolas Robertson, Mary Seers, Ashley Stafford, Lawrence Wallington, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Musikalische Exequien: II. Motette "Herr, wenn ich nur dich habe", SWV 280 | The Monteverdi Choir, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Musikalische Exequien: III. Canticum Simeonis, SWV 281 | Stephen Charlesworth, Frieder Lang, The Monteverdi Choir, Rachel Platt, Mary Seers, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Symphony in G minor WoO 29 "Zwickau": I. Moderato - Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony in G minor WoO 29 "Zwickau": II. Andantino quasi allegretto - Intermezzo quasi Scherzo: Allegro assai - Andantino | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 1 in B-flat major, op. 38 "Spring": I. Andante un poco maestoso - Allegro molto vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 1 in B-flat major, op. 38 "Spring": II. Larghetto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-902.876.200-7 |
| Symphony no. 1 in B-flat major, op. 38 "Spring": III. Scherzo: Molto vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 1 in B-flat major, op. 38 "Spring": IV. Allegro animato e grazioso | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Overture, Scherzo and Finale in E minor-major, op. 52: I. Overture: Andante con moto - Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Overture, Scherzo and Finale in E minor-major, op. 52: II. Scherzo: Vivo | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-011.742.574-7 |
| Overture, Scherzo and Finale in E minor-major, op. 52: III. Finale: Allegro molto vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1841 Version): I. Andante con moto - Allegro di molto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1841 Version): II. Romanza: Andante | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1841 Version): III. Scherzo: Presto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1841 Version): IV. Largo - Finale: Allegro vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 2 in C major, op. 61: I. Sostenuto assai - Allegro, ma non troppo | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 2 in C major, op. 61: II. Scherzo: Allegro vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-911.517.582-1 |
| Symphony no. 2 in C major, op. 61: III. Adagio espressivo | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 2 in C major, op. 61: IV. Allegro molto vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Konzertstück for 4 Horns and Orchestra in F major, op. 86: I. Lebhaft | Susan Dent, Gavin Edwards, Robert Maskell, Roger Montgomery, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Konzertstück for 4 Horns and Orchestra in F major, op. 86: II. Romanze - Ziemlich langsam, doch nicht schleppend | Susan Dent, Gavin Edwards, Robert Maskell, Roger Montgomery, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Konzertstück for 4 Horns and Orchestra in F major, op. 86: III. Sehr lebhaft | Susan Dent, Gavin Edwards, Robert Maskell, Roger Montgomery, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 3 in E-flat major, op. 97 "Rheinische": I. Lebhaft | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 3 in E-flat major, op. 97 "Rheinische": II. Scherzo. Sehr mäßig | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 3 in E-flat major, op. 97 "Rheinische": III. Nicht schnell | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 3 in E-flat major, op. 97 "Rheinische": IV. Feierlich | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 3 in E-flat major, op. 97 "Rheinische": V. Lebhaft | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-902.876.200-7 |
| Symphony no. 4 in D minor, op. 120 (1851 Version): I. Ziemlich langsam - Lebhaft | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1851 Version): II. Romanza - Ziemlich langsam | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1851 Version): III. Scherzo - Lebhaft | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-902.876.200-7 |
| Symphony no. 4 in D minor, op. 120 (1851 Version): IV. Etwas zurückhaltend | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1851 Version): V. Lebhaft | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-902.876.200-7 |
| Requiem Für Mignon | William Dazeley, Knabenchor Hannover, Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Nachtlied | Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 1. Vor Edens Tor im Morgenprangen (Alt-Solo) | Bernarda Fink, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 2. Wie glücklich sie wandeln, die sel’gen Geister (Die Peri) | Barbara Bonney, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 3. Rezitativ: Der hehre Engel (Tenor-Solo); Dir, Kind des Stamms (Der Engel) | Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 4. Wo find’ ich sie? (Die Peri) | Barbara Bonney, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 5. So sann sie nach und schwang die Flügel (Tenor-Solo) | Neill Archer, Alexandra Coku, Bernarda Fink, Gerald Finley, Cornelius Hauptmann, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 6. Doch seine Ströme sind jetzt rot (Chor) | Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 7. Und einsam steht (Tenor-Solo, Chor); Komm, kühner Held (Gazna); Du schlugst des Landes (Der Jüngling, Gazna) | Neill Archer, Cornelius Hauptmann, Monteverdi Choir, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 8. Weh, weh, weh, er fehlte das Ziel (Chor) | Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 9. Die Peri sah das Mal (Tenor-Solo); Sei dies, mein Geschenk (Die Peri, Vokalquartett) | Neill Archer, Barbara Bonney, Alexandra Coku, Bernarda Fink, Monteverdi Choir, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 10. Die Peri tritt (Tenor-Solo); Gern grüssen wir, die so gegangen (Der Engel, Chor) | Bernarda Fink, Monteverdi Choir, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 11. Ihr erstes Himmelshoffen (Tenor-Solo); Hervor aus den Wässern (Chor, Die Peri) | Barbara Bonney, Monteverdi Choir, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 12. Fort streift von hier (Tenor-Solo); Für euren ersten Fall (Die Peri) | Barbara Bonney, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 13. Die Peri weint (Tenor-Solo, Vokalquartett) | Neill Archer, Alexandra Coku, Bernarda Fink, Cornelius Hauptmann, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 14. Im Waldesgrün am stillen See (Alt-Solo); Ach, einen Tropfen (Der Jüngling) | Neill Archer, Bernarda Fink, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 15. Verlassener Hüngling (Mezzosopran-Solo); Doch sieh, we naht (Tenor-Solo); Du hier? (Der Jüngling) | Neill Archer, Bernarda Fink, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 16. O lass mich von der Luft (Die Jungfrau); Sie wankt - sie sinkt (Tenor-Solo) | Alexandra Coku, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 17. Schlaf nun und ruhe in Träumen (Die Peri, Chor) | Barbara Bonney, Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 18. Schmücket die Stufen (Chor); Auch der Geliebten (Vokalquartett); Seht da, die Bahn (Sopran I, II, Chor) | Constanze Backes, Donna Deam, Katherine Fuge, Lucinda Houghton, Jacqueline Connell, Monteverdi Choir, Susanna Spicer, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 19. Dem Sang von ferne (Tenor-Solo); Noch nicht! (Der Engel) | Bernarda Fink, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 20. Verstossen! Verschlossen aufs neu das Goldportal! (Die Peri) | Barbara Bonney, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 21. Jetzt sank des Abends goldner Schein (Bariton-Solo) | Gerald Finley, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 22. Und wie sie niederwärts (Tenor-Solo); Peri, ist’s wahr (Vokalquartett); Mit ihrer Schwestern (Bariton-Solo) | Donna Deam, Gerald Finley, Lucinda Houghton, Jacqueline Connell, Monteverdi Choir, Susanna Spicer, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 23. Hinab zu jenem (Die Peri); Sie schwebt herab (Tenor-Solo); Doch horch (Mezzosopran-Solo) | Barbara Bonney, Bernarda Fink, Gerald Finley, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 24. O heil’ge Tränen inn’ger Reue (Vokalquartett, Chor) | Neill Archer, Alexandra Coku, Bernarda Fink, Cornelius Hauptmann, Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 25. Es fällt ein Tropfen (Die Peri); Und sieh, demütig betend (Tenor-Solo, Chor) | Barbara Bonney, Monteverdi Choir, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: Freud’, ew’ge Fruede; Wilkommen, wilkommen unter den Frommen! (Die Peri, Chor) | Barbara Bonney, Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony of Psalms: 1. Exaudi orationem meam | Monteverdi Choir, London Symphony Orchestra, Sir John Eliot Gardiner | — |
| Symphony of Psalms: 2. Expectans expectavi Dominum | Monteverdi Choir, London Symphony Orchestra, Sir John Eliot Gardiner | — |
| Symphony of Psalms: 3. Alleluia. Laudate Dominum | Monteverdi Choir, London Symphony Orchestra, Sir John Eliot Gardiner | — |
| Schickelgruber | Anne Sofie von Otter, Bengt Forsberg | — |
| Thamos, König in Ägypten, KV 345: 7a. Schlußmusik zum Fünften Akt (original version) | English Baroque Soloists, Sir John Eliot Gardiner | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Identifier Graph
028948399635 is a Universal Product Code (UPC) assigned to Complete Recordings on Archiv Produktion and Deutsche Grammophon by Sir John Eliot Gardiner. 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 985 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
The UPC for “Complete Recordings on Archiv Produktion and Deutsche Grammophon” by Sir John Eliot Gardiner is 028948399635. 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 2021-01-01. Label: Deutsche Grammophon. This release contains 985 tracks, each with its own ISRC. Tracks include DEF058730101, DEF058730126, DEF058730127.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Christmas Oratorio, BWV 248: Part I, No. 1 Chorus: »Jauchzet, frohlocket, auf, preiset die Tage« | The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2 | Christmas Oratorio, BWV 248: no. 2. Evangelista: "Es begab sich aber zu der Zeit" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 3 | Christmas Oratorio, BWV 248: no. 3. Recitativo (Alto): "Nun wird mein liebster Bräutigam" | English Baroque Soloists, John Eliot Gardiner | — | |
| 4 | Christmas Oratorio, BWV 248: No. 4. Aria (Alto): "Bereite dich, Zion, mit zärtlichen Trieben" | Anne Sofie von Otter, English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 5 | Christmas Oratorio, BWV 248: no. 5. Choral: "Wie soll ich dich empfangen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 6 | Christmas Oratorio, BWV 248: no. 6. Evangelista: "Und sie gebar ihren ersten Sohn" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 7 | Christmas Oratorio, BWV 248: no. 7. Choral (Soprani): "Er ist auf Erden kommen arm" / Recitativo (Basso): "Wer will die Liebe recht erhöhn" | English Baroque Soloists, John Eliot Gardiner | T-802.372.990-1 | |
| 8 | Christmas Oratorio, BWV 248: No. 8. Aria (Basso): "Großer Herr, o starker König" | Olaf Bär, English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 9 | Christmas Oratorio, BWV 248: no. 9. Choral: "Ach mein herzliebes Jesulein" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 10 | Christmas Oratorio, BWV 248: no. 10. Sinfonia | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 11 | Christmas Oratorio, BWV 248: no. 11. Evangelista: "Und es waren Hirten in derselben Gegend" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 12 | Christmas Oratorio, BWV 248: no. 12. Choral: "Brich an, o schönes Morgenlicht" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 13 | Christmas Oratorio, BWV 248: no. 13. Evangelista: "Und der Engel sprach zu ihnen" / Angelus: "Fürchtet euch nicht" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 14 | Christmas Oratorio, BWV 248: no. 14. Recitativo (Basso): "Was Gott dem Abraham verheißen" | English Baroque Soloists, John Eliot Gardiner | — | |
| 15 | Christmas Oratorio, BWV 248: no. 15. Aria (Tenore): "Frohe Hirten, eilt, ach eilet" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 16 | Christmas Oratorio, BWV 248: no. 16. Evangelista: "Und das habt zum Zeichen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 17 | Christmas Oratorio, BWV 248: no. 17. Choral: "Schaut hin, dort liegt im finstern Stall" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 18 | Christmas Oratorio, BWV 248: no. 18. Recitativo (Basso): "So geht denn hin" | English Baroque Soloists, John Eliot Gardiner | — | |
| 19 | Christmas Oratorio, BWV 248: no. 19. Aria (Alto): "Schlafe, mein Liebster, genieße der Ruh" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 20 | Christmas Oratorio, BWV 248: no. 20. Evangelista: "Und alsobald war da bei dem Engel" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 21 | Christmas Oratorio, BWV 248: no. 21. Coro: "Ehre sei Gott in der Höhe" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 22 | Christmas Oratorio, BWV 248: no. 22. Recitativo (Basso): "So recht, ihr Engel, jauchzt und singet" | English Baroque Soloists, John Eliot Gardiner | — | |
| 23 | Christmas Oratorio, BWV 248: no. 23. Choral: "Wir singen dir in deinem Heer" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 24 | Christmas Oratorio, BWV 248: Part III, No. 24 Chorus: »Herrscher des Himmels, erhöre das Lallen« | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 25 | Christmas Oratorio, BWV 248: no. 25. Evangelista: "Und da die Engel von ihnen gen Himmel fuhren" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 26 | Lasset uns nun gehen gen Bethlehem | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 27 | Christmas Oratorio, BWV 248: no. 27. Recitativo (Basso): "Er hat sein Volk getröst'" | English Baroque Soloists, John Eliot Gardiner | — | |
| 28 | Christmas Oratorio, BWV 248: no. 28 Choral: "Dies hat er alles uns getan" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 29 | Christmas Oratorio, BWV 248: no. 29. Duetto (Soprano, Basso): "Herr, dein Mitleid, dein Erbarmen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 30 | Christmas Oratorio, BWV 248: no. 30. Evangelista: "Und sie kamen eilend" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 31 | Christmas Oratorio, BWV 248: no. 31. Aria (Alto): "Schließe, mein Herze, dies selige Wunder" | English Baroque Soloists, John Eliot Gardiner | — | |
| 32 | Christmas Oratorio, BWV 248: no. 32. Recitativo (Alto): "Ja, ja, mein Herz soll es bewahren" | English Baroque Soloists, John Eliot Gardiner | — | |
| 33 | Christmas Oratorio, BWV 248: no. 33. Choral: "Ich will dich mit Fleiß bewahren" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 34 | Christmas Oratorio, BWV 248: no. 34. Evangelista: "Und die Hirten kehrten wieder um" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 35 | Christmas Oratorio, BWV 248: no. 35. Choral: "Seid froh dieweil" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 36 | Christmas Oratorio, BWV 248: no. 24. Coro de capo: "Herrscher des Himmels, erhöre das Lallen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-1 | Christmas Oratorio, BWV 248: no. 36. Coro: "Fallt mit Danken, fallt mit Loben" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-2 | Christmas Oratorio, BWV 248: no. 37. Evangelista: "Und da acht Tage um waren" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-3 | Christmas Oratorio, BWV 248: no. 38. Recitativo (Basso): "Immanuel, o süßes Wort" / Arioso (Soprani, Basso): "Jesu, du mein liebstes Leben" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-4 | Christmas Oratorio, BWV 248: no. 39. Aria (Soprano, Echo Soprano): "Flößt, mein Heiland, flößt dein Namen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-5 | Christmas Oratorio, BWV 248: no. 40. Recitativo (Basso): "Wohlan, dein Name soll allein" / Choral (Soprani): "Jesu, meine Freud und Wonne" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-6 | Christmas Oratorio, BWV 248: no. 41. Aria (Tenore): "Ich will nur dir zu Ehren leben" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-7 | Christmas Oratorio, BWV 248: no. 42. Choral: "Jesus richte mein Beginnen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-8 | Christmas Oratorio, BWV 248: Part V, No. 43 Chorus »Ehre sei dir, Gott, gesungen« | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-9 | Christmas Oratorio, BWV 248: no. 44. Evangelista: "Da Jesu geboren war zu Bethlehem" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-10 | Christmas Oratorio, BWV 248: no. 45. Coro: "Wo is der neugeborene König der Jüden" / Recitativo (Alto): "Sucht ihn in meiner Brust" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-11 | Christmas Oratorio, BWV 248: no. 46. Choral: "Dein Glanz all Finsternis verzehrt" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-12 | Christmas Oratorio, BWV 248: no. 47. Aria (Basso): "Erleucht auch meine finstre Sinnen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-13 | Christmas Oratorio, BWV 248: no. 48. Evangelista: "Da das der König Herodes hörte" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-14 | Christmas Oratorio, BWV 248: no. 49. Recitativo (Alto): "Warum wollt ihr erschrecken" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-15 | Christmas Oratorio, BWV 248: no. 50. Evangelista: "Und ließ versammlen alle Hohepriester" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-16 | Christmas Oratorio, BWV 248: no. 51. Terzetto (Soprano, Alto, Tenore): "Ach, wenn wird die Zeit erscheinen" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-17 | Christmas Oratorio, BWV 248: no. 52. Recitativo (Alto): "Mein Liebster herrschet schon" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-18 | Christmas Oratorio, BWV 248: no. 53. Choral: "Zwar ist solche Herzensstube" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-19 | Christmas Oratorio, BWV 248: no. 54. Coro: "Herr, wenn die stolzen Feinde schnauben" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-20 | Christmas Oratorio, BWV 248: no. 55. Evangelista: "Da berief Herodes die Weisen heimlish" / Herodes: "Ziehet hin und forschet fleißig" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-21 | Christmas Oratorio, BWV 248: no. 56. Recitativo (Soprano): "Du Falscher, suche nur den Herrn zu fällen" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-22 | Christmas Oratorio, BWV 248: no. 57. Aria (Soprano): "Nur ein Wink von seinen Händen" | English Baroque Soloists, John Eliot Gardiner | — | |
| 2-23 | Christmas Oratorio, BWV 248: no. 58. Evangelista: "Als sie nun den König gehöret hatten" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-24 | Christmas Oratorio, BWV 248: no. 59. Choral: "Ich steh an deiner Krippen hier" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-25 | Christmas Oratorio, BWV 248: no. 60. Evangelista: "Und Gott befahl ihnen im Traum" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-26 | Christmas Oratorio, BWV 248: no. 61. Recitativo (Tenore): "So geht! Genug, mein Schatz geht nicht von hier" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-27 | Christmas Oratorio, BWV 248: no. 62. Aria (Tenore): "Nun mögt ihr stolzen Feinde schrecken" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-28 | Christmas Oratorio, BWV 248: no. 63. Recitativo (Soprano, Alto, Tenore, Basso): "Was will der Höllen Schrecken nun" | English Baroque Soloists, John Eliot Gardiner | T-070.024.961-1 | |
| 2-29 | Christmas Oratorio, BWV 248: no. 64. Choral: "Nun seid ihr wohl gerochen" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-050.278.855-7 | |
| 3-1 | St. Matthew Passion, BWV 244, No. 1 Chorus: »Kommt, ihr Töchter, helft mir klagen« / Chorale »O Lamm Gottes, unschuldig« | English Baroque Soloists, John Eliot Gardiner | T-010.437.719-6 | |
| 3-2 | St. Matthew Passion, BWV 244: Part One. Annointing in Bethany: 2. Recitative (Evangelist): "Da Jesus diese Rede vollendet hatte" | — | ||
| 3-3 | St. Matthew Passion, BWV 244: Teil I. Choral "Herzliebster Jesu, was hast du verbrochen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-4 | St. Matthew Passion, BWV 244: Part One. Annointing in Bethany: 4a. Recitative (Evangelist): "Da versammelten sich die Hohenpriester" / 4b. Chorus: "Ja nicht auf das Fest" / 4c. Recitative (Evangelist): "Da nun Jesus war zu Bethanien" / 4d. Chorus: "Wozu dienet dieser Unrat?" / 4e. Recitative (Evangelist, Jesus) "Da das Jesus merkete" | — | ||
| 3-5 | St. Matthew Passion, BWV 244: Part One. Annointing in Bethany: 5. Recitative (alto): "Du lieber Heiland du" | — | ||
| 3-6 | St. Matthew Passion, BWV 244: Teil I. Aria (Alt) "Buss und Reu" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-7 | St. Matthew Passion, BWV 244: Part One. Judas's Betrayal: 7. Recitative (Evangelist, Judas): "Da ging hin der Zwölfen einer" | — | ||
| 3-8 | St. Matthew Passion, BWV 244: Teil I. Aria (Sopran) "Blute nur, du liebes Herz" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-9 | St. Matthew Passion, BWV 244: Part One. The Last Supper: 9a. Recitative (Evangelist): "Aber am ersten Tage der süßen Brot" / 9b. Chorus: "Wo willst du, dass wir dir bereiten" / 9c. Recitative (Evangelist, Jesus): "Er sprach: Gehet hin in die Stadt" / 9d. Recitative (Evangelist): "Und sie wurden sehr betrübt" / 9e. Chorus: "Herr, ich bin's" | — | ||
| 3-10 | St. Matthew Passion, BWV 244: Part One. The Last Supper: 10. Chorale: "Ich bin's, ich sollte büßen" | — | ||
| 3-11 | St. Matthew Passion, BWV 244: Part One. The Last Supper: 11. Recitative (Evangelist, Jesus, Judas): "Er antwortete und sprach" | — | ||
| 3-12 | St. Matthew Passion, BWV 244: Part One. The Last Supper: 12. Recitative (soprano): "Wiewohl mein Herz in Tränen schwimmt" | — | ||
| 3-13 | St. Matthew Passion, BWV 244: Part One. The Last Supper: 13. Aria (soprano): "Ich will dir mein Herze schenken" | — | ||
| 3-14 | St. Matthew Passion, BWV 244: Part One. Jesus's Despair on the Mount of Olives: 14. Recitative (Evangelist, Jesus): "Und da sie den Lobgesang gesprochen hatten" | — | ||
| 3-15 | St. Matthew Passion, BWV 244: Part One. Jesus's Despair on the Mount of Olives: 15. Chorale: "Erkenne mich, mein Hüter" | — | ||
| 3-16 | St. Matthew Passion, BWV 244: Part One. Jesus's Despair on the Mount of Olives: 16. Recitative (Evangelist, Peter, Jesus): "Petrus aber antwortete und sprach zu ihm" | — | ||
| 3-17 | St. Matthew Passion, BWV 244: Teil I. "Ich will hier bei dir stehen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-18 | St. Matthew Passion, BWV 244: Part One. Jesus's Despair on the Mount of Olives: 18. Recitative (Evangelist, Jesus): "Da kam Jesus mit ihnen zu einen Hofe" | — | ||
| 3-19 | St. Matthew Passion, BWV 244: Part One. Jesus's Despair on the Mount of Olives: 19. Recitative (tenor): "O Schmerz! Hier zittert das gequälte Herz" / Chorale: “Was ist die Ursach' aller solcher Plagen” | — | ||
| 3-20 | St. Matthew Passion, BWV 244: Teil I. Aria (Tenor) "Ich will bei meinen Jesu wachen" - Chorus "So schlafen unsre Sünden ein" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-21 | St. Matthew Passion, BWV 244: Part One. Prayer on the Mount of Olives: 21. Recitative (Evangelist, Jesus): "Und ging hin ein wenig" | — | ||
| 3-22 | St. Matthew Passion, BWV 244: Teil I. Recitativo (Bass) "Der Heiland fällt vor seinem Vater nieder" | English Baroque Soloists, Sir John Eliot Gardiner | T-802.372.990-1 | |
| 3-23 | St. Matthew Passion, BWV 244: Teil I. Aria (Bass) "Gerne will ich mich bequemen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-24 | St. Matthew Passion, BWV 244: Part One. Prayer on the Mount of Olives: 24. Recitative (Evangelist, Jesus): "Und er kam zu seinen Jüngern" | — | ||
| 3-25 | St. Matthew Passion, BWV 244: Teil I. Choral "Was mein Gott will, das g'scheh allzeit" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 3-26 | St. Matthew Passion, BWV 244: Part One. Prayer on the Mount of Olives: 26. Recitative (Evangelist, Jesus): "Und er kam und fand sie aber schlafend" / Recitative (Evangelist, Judas, Jesus): “Und als er noch redete” | — | ||
| 3-27 | St. Matthew Passion, BWV 244: Part One. Arrest of Jesus. 27a. Aria (Duet: soprano, alto): "So ist mein Jesus nun gefangen" - Chorus: “Lasst ihn, haltet, bindet nicht” / 27b. Chorus: "Sind Blitze, sind Donner in Wolken verschwunden?" | — | ||
| 3-28 | St. Matthew Passion, BWV 244: Part One. Arrest of Jesus: 28. Recitative (Evangelist, Jesus): "Und siehe, einer aus denen, die mit Jesu waren" | — | ||
| 3-29 | St. Matthew Passion, BWV 244: Part One. Arrest of Jesus: 29. Chorale: "O Mensch, bewein dein Sünde groß" | — | ||
| 3-30 | St. Matthew Passion, BWV 244: Part Two. 30. Aria (alto): "Ach, nun ist mein Jesus hin!" / Chorus: “Wo ist denn dein Freund hingegangen” | — | ||
| 3-31 | St. Matthew Passion, BWV 244: Part Two. Jesus's Interrogation by the High Priests: 31. Recitative (Evangelist): "Die aber Jesum gegriffen hatten" | — | ||
| 3-32 | St. Matthew Passion, BWV 244: Part Two. Jesus's Interrogation by the High Priests: 32. Chorale: "Mir hat die Welt trüglich gericht'" | — | ||
| 3-33 | St. Matthew Passion, BWV 244: Part Two. Jesus's Interrogation by the High Priests: 33. Recitative (Evangelist, Witnesses I/II, High Priest): "Und wiewohl viel falsche Zeugen herzutraten" | — | ||
| 3-34 | St. Matthew Passion, BWV 244: Part Two. Jesus's Interrogation by the High Priests: 34. Recitative (tenor): "Mein Jesus schweigt zu falschen Lügen stille" | — | ||
| 3-35 | St. Matthew Passion, BWV 244: Part Two. Jesus's Interrogation by the High Priests: 35. Aria (tenor): "Geduld! Wenn mich falsche Zungen stechen!" | — | ||
| 4-1 | St. Matthew Passion, BWV 244: Part II. Peter's Denial: 36a. Recitative (Evangelist, High Priest, Jesus): "Und der Hohepriester antwortete" / 36b. Chorus: "Er ist des Todes schuldig" / 36c. Recitative (Evangelist): "Da speieten sie aus" / 36d. Chorus: "Weissage uns, Christe" | — | ||
| 4-2 | St. Matthew Passion, BWV 244: Part II. Peter's Denial: 37. Chorale: "Wer hat dich so geschlagen" | — | ||
| 4-3 | St. Matthew Passion, BWV 244: Part II. Peter's Denial: 38a. Recitative (Evangelist, Maids I/II, Peter): "Petrus aber saß draußen" / 38b. Chorus: "Wahrlich, du bist auch einer von denen" / 38c. Recitative (Evangelist, Peter) "Da hub er an, sich zu verfluchen" | — | ||
| 4-4 | St. Matthew Passion, BWV 244: Aria 'Erbarme dich, mein Gott' | English Baroque Soloists, Sir John Eliot Gardiner | T-101.607.667-6 | |
| 4-5 | St. Matthew Passion, BWV 244: Part II. Peter's Denial: 40. Chorale: "Bin ich gleich von dir gewichen" | — | ||
| 4-6 | St. Matthew Passion, BWV 244: Part II. Judas in the Temple: 41a. Recitative (Evangelist, Judas): "Des Morgens aber hielten alle Hohepriester" / 41b. Chorus: "Was gehet uns das an?" / 41c. Recitative (Evangelist, High Priest I): "Und er warf die Silberlinge in den Tempel" | — | ||
| 4-7 | Matthäus-Passion, BWV 244: Teil II, XLII. Aria (Basso) "Gebt mir meinen Jesum wieder" | English Baroque Soloists, Sir John Eliot Gardiner | T-802.372.990-1 | |
| 4-8 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 43. Recitative (Evangelist, Pilate, Jesus): "Sie hielten aber einen Rat" | — | ||
| 4-9 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 44. Chorale: "Befiehl du deine Wege" | — | ||
| 4-10 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 45a. Recitative (Evangelist, Pilate, Pilate's Wife, chorus): "Auf das Fest aber hatte der Landpfleger Gewohnheit" / 45b. Chorus: "Lass ihn kreuzigen" | — | ||
| 4-11 | St. Matthew Passion, BWV 244: Teil II. Choral "Wie wunderbarlich ist doch diese Strafe" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 4-12 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 47. Recitative (Evangelist, Pilate): "Der Landpfleger sagte" | — | ||
| 4-13 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 48. Recitative (soprano): "Er hat uns allen wohlgetan" | — | ||
| 4-14 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 49. Aria (soprano): "Aus Liebe will mein Heiland sterben" | — | ||
| 4-15 | St. Matthew Passion, BWV 244: Part II. Jesus before Pilate: 50a. Recitative (Evangelista): "Sie schrieen aber noch mehr" / 50b. Chorus: "Lass ihn kreuzigen" / 50c. Recitative (Evangelist, Pilate): "Da aber Pilatus sahe" / 50d. Chorus: "Sein Blut komme über uns" / 50e. Recitative "Da gab er ihnen Barrabam los" | — | ||
| 4-16 | St. Matthew Passion, BWV 244: Part II. Scourging of Jesus: 51. Recitative (alto): "Erbarm es Gott!" | — | ||
| 4-17 | St. Matthew Passion, BWV 244: Teil II. Aria (Alt) "Können Tränen meiner Wangen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 4-18 | St. Matthew Passion, BWV 244: Part II. Scourging of Jesus: 53a. Recitative (Evangelist): "Da nahmen die Kriegsknechte" / 53b. Chorus: "Gegrüßet seist du, Jüdenkönig" / 53c. Recitative (Evangelist): "Und speieten ihn an" | — | ||
| 4-19 | St. Matthew Passion, BWV 244: Part II. Scourging of Jesus: 54. Chorale: "O Haupt voll Blut und Wunden" | — | ||
| 4-20 | St. Matthew Passion, BWV 244: Part II. Simon of Cyrene: 55. Recitative (Evangelist): "Und da sie ihn verspottet hatten" | — | ||
| 4-21 | St. Matthew Passion, BWV 244: Part II. Simon of Cyrene: 56. Recitative (bass): "Ja freilich will in uns das Fleisch und Blut" | — | ||
| 4-22 | St. Matthew Passion, BWV 244: Part II. Simon of Cyrene: 57. Aria (bass): "Komm, süßes Kreuz, so will ich sagen" | — | ||
| 4-23 | St. Matthew Passion, BWV 244: Part II. Crucifixion: 58a. Recitative (Evangelist): "Und da sie an die Stätte kamen" / 58b. Chorus: "Der du den Tempel Gottes zerbrichst" / 58c. Recitative (Evangelist): "Desgleichen auch die Hohenpriester" / 58d. Chorus: "Andern hat er geholfen" - | — | ||
| 4-24 | St. Matthew Passion, BWV 244: Part II. Crucifixion: 59. Recitative (alto): "Ach Golgatha" | — | ||
| 4-25 | St. Matthew Passion, BWV 244: Part II. Crucifixion: 60. Aria (alto): "Sehet, Jesus hat die Hand" / Chorus: “Wohin?” | — | ||
| 4-26 | St. Matthew Passion, BWV 244: Part II. Crucifixion: 61a. Recitative (Evangelist, Jesus): "Und von der sechsten Stunde an" / 61b. Chorus: "Der rufet dem Elias" / 61c. Chorus: "Und bald lief einer unter ihnen" / 61d. Chorus: "Halt, lass sehen" / 61e. Recitative (Evangelist): "Aber Jesus schriee abermal laut" | — | ||
| 4-27 | St. Matthew Passion, BWV 244: Part II. Crucifixion: 62. Chorale: "Wenn ich einmal soll scheiden" | — | ||
| 4-28 | St. Matthew Passion, BWV 244: Part II. Crucifixion: 63a. Recitative (Evangelist): "Und siehe da, der Vorhang im Tempel zerriss" / 63b. Chorus: "Wahrlich, dieser ist Gottes Sohn gewesen" / Descent from the Cross: 63c. Recitative: "Und es waren viel Weiber da" | — | ||
| 4-29 | St. Matthew Passion, BWV 244: Part II. Descent from the Cross: 64. Recitative (Evangelist): "Am Abend, da es kühle war" | — | ||
| 4-30 | St. Matthew Passion, BWV 244: Teil II. Aria (Bass) "Mache dich, mein Herze, rein" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 4-31 | St. Matthew Passion, BWV 244: Part II. Burial: 66a. Recitative (Evangelist): "Und Joseph nahm den Leib" / 66b. Chorus: "Herr, wir haben gedacht" / 66c. Recitative (Evangelist, Pilate): "Pilatus sprach zu ihnen" | — | ||
| 4-32 | Matthäus-Passion, BWV 244: Teil II, LXVII. Recitativo (Soprano, Alto, Tenore, Basso) "Nun ist der Herr zur Ruh gebracht" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 4-33 | Matthäus-Passion, BWV 244: Teil II, LXVIII. Coro "Wir setzen uns mit Tränen nieder" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 5-1 | Johannes-Passion, BWV 245: Erster Teil: 1. Chor: Herr, Unser Herrscher, Dessen Ruhm | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-2 | St. John Passion, BWV 245: Part One. Betrayal and Arrest: 2a. Recitative (Evangelist, Jesus) "Jesus ging mit seinen Jüngern über den Bach Kidron" / 2b. Chorus: "Jesum von Nazareth!" / 2c. Recitative (Evangelist, Jesus): "Jesus spricht zu ihnen" / 2d. Chorus: "Jesum von Nazareth!" / 2e. Recitative (Evangelist, Jesus): "Jesus antwortete" | — | ||
| 5-3 | Johannes-Passion, BWV 245: Erster Teil: 3. Choral: O Große Lieb | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-4 | St. John Passion, BWV 245: Part One. Betrayal and Arrest: 4. Recitative (Evangelist, Jesus): "Auf dass das Wort erfüllet würde" | — | ||
| 5-5 | St. John Passion, BWV 245: Part One. Betrayal and Arrest: 5. Chorale: "Dein Will gescheh, Herr Gott, zugleich" | — | ||
| 5-6 | St. John Passion, BWV 245: Part One. Betrayal and Arrest: 6. Recitative (Evangelist) "Die Schar aber und der Oberhauptmann und die Diener der Jüden nahmen Jesum" | — | ||
| 5-7 | Johannes-Passion, BWV 245: Erster Teil: 7. Arie (Altus): Von Den Stricken Meiner Sünden | Michael Chance, Valerie Darke, Anthony Robson, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-8 | St. John Passion, BWV 245: Part One. Denial: 8. Recitative (Evangelist): "Simon Petrus aber folgete Jesu nach" | — | ||
| 5-9 | St. John Passion, BWV 245: Part One. Denial: 9. Aria (soprano): "Ich folge dir gleichfalls mit freudigen Schritten" | — | ||
| 5-10 | St. John Passion, BWV 245: Part One. Denial: 10. Recitative (Evangelist, Maid, Peter, Jesus, Servant): "Derselbige Jünger war dem Hohepriester bekannt" | — | ||
| 5-11 | Johannes-Passion, BWV 245: Erster Teil: 11. Choral: Wer Hat Dich So Geschlagen | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-12 | St. John Passion, BWV 245: Part One. Denial: 12a. Recitative (Evangelist): "Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas" / 12b. Chorus: "Bist du nicht seiner Jünger einer?" / 12c. Recitative (Evangelist, Peter, Servant): "Er leugnete aber und sprach" | — | ||
| 5-13 | Johannes-Passion, BWV 245: Erster Teil: 13. Arie (Tenor): Ach, Mein Sinn, Wo Willt Du Endlich Hin | Neill Archer, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-14 | St. John Passion, BWV 245: Part One. Denial: 14. Chorale: "Petrus, der nicht denkt zurück" | — | ||
| 5-15 | Johannes-Passion, BWV 245: Zweiter Teil: 15. Choral: Christus, Der Uns Selig Macht | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-16 | St. John Passion, BWV 245: Part Two. Interrogation and Scourging: 16a. Recitative (Evangelist, Pilate): "Da führeten sie Jesum von Kaiphas vor das Richthaus" / 16b. Chorus: "Wäre dieser nicht ein Übeltäter" / 16c. Recitative (Evangelist, Pilate): "Da sprach Pilatus zu ihnen" / 16d. Chorus: "Wir dürfen niemand töten" / 16e. Recitative (Evangelist, Pilate, Jesus): "Auf dass erfüllet würde das Wort Jesu" | — | ||
| 5-17 | Johannes-Passion, BWV 245: Zweiter Teil: 17. Choral: Ach Grosser König, Gross Zu Allen Zeiten | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 5-18 | St. John Passion, BWV 245: Part Two. Interrogation and Scourging: 18a. Recitative (Evangelist, Pilate, Jesus): "Da sprach Pilatus zu ihm" / 18b. Chorus: "Nicht diesen, sondern Barrabam!" / 18c. Recitative (Evangelist): "Barrabas aber war ein Mörder!" | — | ||
| 5-19 | Johannes-Passion, BWV 245: Zweiter Teil: 19. Arioso (Bass): Betrachte, Mein Seel | Cornelius Hauptmann, Pavlo Beznosiuk, Roy Goodman, Jakob Lindberg, English Baroque Soloists, John Eliot Gardiner | T-050.327.214-7 | |
| 5-20 | Johannes-Passion, BWV 245: Zweiter Teil: 20. Arie (Tenor): Erwäge, Wie Sein Blutgefärbter Rücken | Rufus Müller, Pavlo Beznosiuk, Richard Campbell, Roy Goodman, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-1 | St. John Passion, BWV 245: Part Two. Verurteilung und Kreuzigung: 21a. Recitative (Evangelist): "Und die Kriegsknechte flochten eine Krone von Dornen" / 21b. Chorus: "Sei gegrüßet, lieber Jüdenkönig" / 21c. Recitative (Evangelist, Pilate) "Und gaben ihm Backenstreiche" / 21d. Chorus: "Kreuzige, kreuzige!" / 21e. Recitative (Evangelist, Pilate): "Pilatus sprach zu ihnen" / 21f. Chorus: "Wir haben ein Gesetz" / 21g. Recitative (Evangelist, Pilate, Jesus): "Da Pilatus das Wort hörete" | — | ||
| 6-2 | Johannes-Passion, BWV 245: Zweiter Teil: 22. Choral: Durch Dein Gefängnis, Gottes Sohn | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-3 | St. John Passion, BWV 245: Part Two. Verurteilung und Kreuzigung: 23a. Recitative (Evangelist): "Die Jüden aber schrieen und sprachen" / 23b. Chorus: "Lässest du diesen los" / 23c. Recitative (Evangelist, Pilate): "Da Pilatus das Wort hörete" / 23d. Chorus: "Weg, weg mit dem" / 23e. Recitative (Evangelist): "Spricht Pilatus zu ihnen" / 23f. Chorus: "Wir haben keinen König denn den Kaiser" / 23g. Recitative (Evangelist): "Da überantwortete er ihn, dass er gekreuziget würde" | — | ||
| 6-4 | Johannes-Passion, BWV 245: Zweiter Teil: 24. Arie (Bass) - Chor: Eilt Ihr Angefochtnen Seelen / Wohin? | Cornelius Hauptmann, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-050.327.214-7 | |
| 6-5 | St. John Passion, BWV 245: Part Two. Verurteilung und Kreuzigung: 25a. Recitative (Evangelist): "Allda kreuzigten sie ihn" / 25b. Chorus: "Schreibe nicht: der Jüden König" / 25c. Recitative (Evangelist, Pilate): "Pilatus antwortet" | — | ||
| 6-6 | Johannes-Passion, BWV 245: Zweiter Teil: 26. Choral: In Meines Herzens Grunde | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-7 | St. John Passion, BWV 245: Part Two. The Death of Jesus: 27a. Recitative (Evangelist): "Die Kriegsknechte aber, da sie Jesum gekreuziget hatten" / 27b. Chorus: "Lasset uns den nicht zerteilen" / 27c. Recitative (Evangelist, Jesus) "Auf dass erfüllet würde die Schrift" | — | ||
| 6-8 | St. John Passion, BWV 245: Part Two. The Death of Jesus: 28. Chorale: "Er nahm alles wohl in acht" | — | ||
| 6-9 | St. John Passion, BWV 245: Part Two. The Death of Jesus: 29. Recitative (Evangelist, Jesus): "Und von Stund an nahm sie der Jünger zu sich" | — | ||
| 6-10 | Johannes-Passion, BWV 245: Zweiter Teil: 30. Arie (Altus): Es Ist Vollbracht | Michael Chance, Cornelius Hauptmann, Richard Campbell, English Baroque Soloists, John Eliot Gardiner | T-915.681.108-4 | |
| 6-11 | St. John Passion, BWV 245: Part Two. The Death of Jesus: 31. Recitative (Evangelist): "Und neigte das Haupt und verschied" | — | ||
| 6-12 | Johannes-Passion, BWV 245: Zweiter Teil: 32. Arie (Bass): Mein Teurer Heiland / Mit Choral: Jesu, Der Du Warest Tot | Cornelius Hauptmann, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-13 | St. John Passion, BWV 245: Part Two. Burial: 33. Recitative (Evangelist): "Und siehe da, der Vorhang im Tempel zerriss" | — | ||
| 6-14 | Johannes-Passion, BWV 245: Zweiter Teil: 34. Arioso (Tenor I): Mein Herz, Indem Die Ganze Welt | Neill Archer, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-15 | Johannes-Passion, BWV 245: Zweiter Teil: 35. Arie (Sopran): Zerfliesse, Mein Herze | Nancy Argenta, Lisa Beznosiuk, Richard Earle, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-16 | St. John Passion, BWV 245: Part Two. Burial: 36. Recitative (Evangelist) "Die Jüden aber, dieweil es der Rüsttag war" | — | ||
| 6-17 | Johannes-Passion, BWV 245: Zweiter Teil: 37. Choral: O Hilf, Christe, Gottes Sohn | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 6-18 | St. John Passion, BWV 245: Part Two. Burial: 38. Recitative (Evangelist): "Darnach bat Pilatum Joseph von Arimathia" | — | ||
| 6-19 | Johannes-Passion, BWV 245: Zweiter Teil: 39. Chor: Ruht Wohl, Ihr Heiligen Gebeine | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | T-915.682.948-0 | |
| 6-20 | Johannes-Passion, BWV 245: Zweiter Teil: 40. Choral: Ach Herr, Lass Dein Lieb Engelein | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 7-1 | Mass in B minor BWV 232: I. Kyrie: Kyrie eleison | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-070.093.418-4 | |
| 7-2 | Mass in B minor BWV 232: II. Kyrie: Christe eleison | Lynne Dawson, Carol Hall, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-3 | Mass in B minor BWV 232: III. Kyrie: Kyrie eleison | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-4 | Mass in B minor BWV 232: IV. Gloria: Gloria in excelsis (attacca) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-010.963.456-1 | |
| 7-5 | Mass in B minor BWV 232: V. Gloria: Et in terra pax | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-6 | Mass in B minor BWV 232: VI. Gloria: Laudamus te | Nancy Argenta, Elizabeth Wilcock, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-7 | Mass in B minor BWV 232: VII. Gloria: Gratias agimus tibi | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-921.408.876-3 | |
| 7-8 | Mass in B minor BWV 232: VIII. Gloria: Domine Deus (attacca) | Nancy Argenta, Howard Milner, Lisa Beznosiuk, English Baroque Soloists, Sir John Eliot Gardiner | T-926.494.374-0 | |
| 7-9 | Mass in B minor BWV 232: IX. Gloria: Qui tollis peccata mundi | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-10 | Mass in B Minor, BWV 232: Aria 'Qui sedes ad dextram Patris' | Michael Chance, Sophia McKenna, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-11 | Mass in B minor BWV 232: XI. Gloria: Quoniam tu solus sanctus (attacca) | Stephen Varcoe, Michael Thompson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 7-12 | Mass in B minor BWV 232: XII. Gloria: Cum Sancto Spiritu | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 8-1 | Mass in B minor BWV 232: XIII. Credo: Credo in unum Deum | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.322-9 | |
| 8-2 | Mass in B minor BWV 232: XIV. Credo: Credo in unum Deum / Patrem omnipotentem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 8-3 | Mass in B minor BWV 232: XV. Credo: Et in unum Dominum | Patrizia Kwella, Mary Nichols, English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.322-9 | |
| 8-4 | Mass in B minor BWV 232: XVI. Credo: Et incarnatus est | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-306.483.194-9 | |
| 8-5 | Mass in B minor BWV 232: XVII. Credo: Crucifixus | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-917.413.519-4 | |
| 8-6 | Mass in B minor BWV 232: XVIII. Credo: Et resurrexit | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 8-7 | Mass in B minor BWV 232: XIX. Credo: Et in Spiritum Sanctum | Richard Lloyd-Morgan, Valerie Darke, Sophia McKenna, English Baroque Soloists, Sir John Eliot Gardiner | T-915.866.114-4 | |
| 8-8 | Mass in B minor BWV 232: XX. Credo: Confiteor (attacca) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 8-9 | Mass in B minor BWV 232: XXI: Credo: Et exspecto resurrectionem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 8-10 | Mass in B minor, BWV 232: No. 22 Chorus: »Sanctus« | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | T-312.692.424-7 | |
| 8-11 | Mass in B minor, BWV 232: No. 23 Chorus I/II: »Osanna in excelsis« | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 8-12 | Mass in B minor BWV 232: XXIV. Sanctus: Benedictus, qui venit | Wynford Evans, Lisa Beznosiuk, English Baroque Soloists, Sir John Eliot Gardiner | T-050.283.177-7 | |
| 8-13 | Mass in B minor BWV 232: XXV. Sanctus: Osanna (da capo) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 8-14 | Mass in B Minor, BWV 232: Aria 'Agnus Dei' | Michael Chance, English Baroque Soloists, Sir John Eliot Gardiner | T-914.368.452-0 | |
| 8-15 | Mass in B minor BWV 232: XXVII. Agnus Dei: Dona nobis pacem | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-050.051.776-9 | |
| 9-1 | Magnificat, BWV 243: I. Coro "Magnificat anima mea" | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-2 | Magnificat, BWV 243: II. Aria (soprano II) "Et exsultavit spiritus meus" | Patrizia Kwella, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-3 | Magnificat, BWV 243: III. Aria (soprano I) "Quia respexit humilitatem" | Nancy Argenta, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-4 | Magnificat in D major, BWV 243: IV. Coro "Omnes generationes" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 9-5 | Magnificat, BWV 243: V. Aria (bass) "Quia fecit mihi magna" | David Thomas, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-6 | Magnificat, BWV 243: VI. Aria (Duetto) (alto, tenor) "Et misericordia" | Anthony Rolfe Johnson, Sir John Eliot Gardiner, English Baroque Soloists, Charles Brett | — | |
| 9-7 | Magnificat, BWV 243: VII. Coro "Fecit potentiam" | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-8 | Magnificat, BWV 243: VIII. Aria (tenor) "Deposuit potentes" | Anthony Rolfe Johnson, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-9 | Magnificat, BWV 243: IX. Aria (alto) "Esurientes implevit bonis" | Charles Brett, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-10 | Magnificat, BWV 243: X. Aria (Terzetto) (sopranos I & II, alto) "Suscepit Israel" | Nancy Argenta, Sir John Eliot Gardiner, English Baroque Soloists, Patrizia Kwella, Charles Brett | — | |
| 9-11 | Magnificat, BWV 243: XI. Coro "Sicut locutus est" | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-12 | Magnificat, BWV 243: XII. Coro "Gloria Patri" | Monteverdi Choir, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-13 | Kantate, BWV 51 "Jauchzet Gott in allen Landen": I. Aria "Jauchzet Gott" | Emma Kirkby, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-14 | Kantate, BWV 51 "Jauchzet Gott in allen Landen": II. Recitativo "Wir beten zu dem Tempel an" | Emma Kirkby, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-15 | Kantate, BWV 51 "Jauchzet Gott in allen Landen": III. Aria "Höchster, mache deine Güte" | Emma Kirkby, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-16 | Kantate, BWV 51 "Jauchzet Gott in allen Landen": IV. Chorale "Sei Lob und Preis mit Ehren" | Emma Kirkby, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 9-17 | Kantate, BWV 51 "Jauchzet Gott in allen Landen": V. Aria "Alleluja" | Emma Kirkby, Sir John Eliot Gardiner, English Baroque Soloists | — | |
| 10-1 | “Nun komm, der Heiden Heiland”, BWV 61: 1. Ouverture (chorus): “Nun komm, her Heiden Heiland” | — | ||
| 10-2 | “Nun komm, der Heiden Heiland”, BWV 61: 2. Recitative (tenor): “Der Heiland ist gekommen” | — | ||
| 10-3 | “Nun komm, der Heiden Heiland”, BWV 61: 3. Aria (tenor): “Komm, Jesu, komm zu deiner Kirche” | — | ||
| 10-4 | “Nun komm, der Heiden Heiland”, BWV 61: 4. Recitative (baritone): “Siehe, ich stehe vor der Tür” | — | ||
| 10-5 | “Nun komm, der Heiden Heiland”, BWV 61: 5. Aria (soprano): “Öffne dich, mein ganzes Herze” | — | ||
| 10-6 | “Nun komm, der Heiden Heiland”, BWV 61: 6. Chorale: “Amen” | — | ||
| 10-7 | “Schwingt freudig euch empor”, BWV 36: First Part. 1. Chorus: “Schwingt freudig euch empor” | — | ||
| 10-8 | “Schwingt freudig euch empor”, BWV 36: First Part. 2. Chorale (soprano, mezzo-soprano): “Nun komm, her Heiden Heiland” | — | ||
| 10-9 | “Schwingt freudig euch empor”, BWV 36: First Part. 3. Aria (tenor): “Die Liebe zieht mit sanften Schritten” | — | ||
| 10-10 | “Schwingt freudig euch empor”, BWV 36: First Part. 4. Chorale: “Zwingt die Saiten in Cy” | — | ||
| 10-11 | “Schwingt freudig euch empor”, BWV 36: Second Part. 5. Aria (baritone): “Willkommen, werter Schatz!” | — | ||
| 10-12 | “Schwingt freudig euch empor”, BWV 36: Second Part. 6. Chorale (tenors): “Der du bist dem Vater gleich” | — | ||
| 10-13 | “Schwingt freudig euch empor”, BWV 36: Second Part. 7. Aria (soprano): “Auch mit gedämpften, schwachen Stimmen” | — | ||
| 10-14 | “Schwingt freudig euch empor”, BWV 36: Second Part. 8. Chorale: “Lob sei Gott, dem Vater, ton” | — | ||
| 10-15 | Nun komm, der Heiden Heiland II, BWV 62: No. 1 Chorus: »Nun komm, der Heiden Heiland« | The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner | — | |
| 10-16 | “Nun komm, der Heiden Heiland”, BWV 62: 2. Aria (tenor): “Bewundert, o Menschen, dies große Geheimnis” | — | ||
| 10-17 | “Nun komm, der Heiden Heiland”, BWV 62: 3. Recitative (baritone): “So geht aus Gottes Herrlichkeit und Thron” | — | ||
| 10-18 | “Nun komm, der Heiden Heiland”, BWV 62: 4. Aria (baritone): “Streite, siege, starker Held!” | — | ||
| 10-19 | “Nun komm, der Heiden Heiland”, BWV 62: 5. Recitative (soprano, mezzo-soprano): “Wir ehren diese Herrlichkeit” | — | ||
| 10-20 | “Nun komm, der Heiden Heiland”, BWV 62: 6. Chorale: “Lob sei Gott, dem Vater, ton” | — | ||
| 11-1 | Christen, aetzet diesen Tag, BWV 63: I. Chorus "Christen, aetzet diesen Tag" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-2 | Christen, aetzet diesen Tag, BWV 63: II. Recitative (contralto) "O selger Tag! o ungemeines Heute" | Sara Mingardo, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-3 | Christen, aetzet diesen Tag, BWV 63: III. Duet (soprano, bass) "Gott, du hast es wohl gefüget" | Stephan Loges, Ann Monoyios, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-4 | Christen, aetzet diesen Tag, BWV 63: IV. Recitative (tenor) "So kehret sich num heut das bange Leid" | Rufus Müller, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-5 | Christen, aetzet diesen Tag, BWV 63: V. Duet (contralto, tenor) "Ruft und fleht den Himmel an" | Sara Mingardo, Rufus Müller, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-6 | Christen, aetzet diesen Tag, BWV 63: VI. Recitative (bass) "Verdoppelt euch demnach, ihr heißen Andachtsflammen" | Stephan Loges, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-7 | Christen, aetzet diesen Tag, BWV 63: VII. Chorus "Höchster, schau in Gnaden an" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-8 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: I. Chorus "Sehet, welch eine Liebe hat uns der Vater erzeiget" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-9 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: II. Chorale "Das hat er alles uns getan" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-10 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: III. Recitative (contralto) "Geh, Welt! behalte nur das Deine" | Sara Mingardo, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-11 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: IV. Chorale "Was frag ich nach der Welt" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-12 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: V. Aria (soprano) "Was die Welt in sich hãlt" | Ann Monoyios, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-13 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: VI. Recitative (bass) "Der Himmel bleibet mir gewiss" | Stephan Loges, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-14 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: VII. Aria (contralto) "Von der Welt verlang ich nichts" | Sara Mingardo, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-15 | Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64: VIII. Chorale "Gute Nacht, o Wesen" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-16 | Christum wir sollen loben schon, BWV 121: I. Chorus "Christum wir sollen loben schon" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | T-900.166.671-3 | |
| 11-17 | Christum wir sollen loben schon, BWV 121: II. Aria (tenor) "O du von Gott erhörte Kreature" | Rufus Müller, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-18 | Christum wir sollen loben schon, BWV 121: III. Recitative (contralto) "Der Gnade unermesslichs Wesen" | Sara Mingardo, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-19 | Christum wir sollen loben schon, BWV 121: IV. Aria (bass) "Johannis freudenvolles Springen" | Stephan Loges, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-20 | Christum wir sollen loben schon, BWV 121: V. Recitative (soprano) "Doch wie erblickt es dich in deiner Krippe?" | Ann Monoyios, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-21 | Christum wir sollen loben schon, BWV 121: VI. Chorale "Lob, Ehr und Dank sei dir gesagt" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-22 | Ich freue mich in dir, BWV 133: I. Chorale "Ich freue mich in dir" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-23 | Ich freue mich in dir, BWV 133: II. Aria (countertenor) "Getrost! es fasst ein heilger Leib" | Derek Lee Ragin, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-24 | Ich freue mich in dir, BWV 133: III. Recitative (tenor) "Ein Adam mag sich voller Schrecken" | Julian Podger, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-25 | Ich freue mich in dir, BWV 133: IV. Aria (soprano) "Wie lieblich klingt es in den Ohren" | Katherine Fuge, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 11-26 | Ich freue mich in dir, BWV 133: V. Recitative (bass) "Wohlan, des Todes Furcht und Schmerz" | Gotthold Schwarz, English Baroque Soloists, Sir John Eliot Gardiner | T-802.372.990-1 | |
| 11-27 | Ich freue mich in dir, BWV 133: VI. Chorale "Wohlan, so will ich mich" | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 12-1 | “Was Gott tut, das ist wohlgetan”, BWV 98: 1. Chorus: “Was Gott tut, das ist wohlgetan” | — | ||
| 12-2 | “Was Gott tut, das ist wohlgetan”, BWV 98: 2. Recitative (tenor): “Ach Gott! wenn wirst du mich einmal” | — | ||
| 12-3 | “Was Gott tut, das ist wohlgetan”, BWV 98: 3. Aria (soprano): “Hört, ihr Augen, auf zu weinen” | — | ||
| 12-4 | “Was Gott tut, das ist wohlgetan”, BWV 98: 4. Recitative (alto): “Gott hat ein Herz, das des Erbarmens Überfluss” | — | ||
| 12-5 | “Was Gott tut, das ist wohlgetan”, BWV 98: 5. Aria (bass): “Meinen Jesum lass ich nicht” | — | ||
| 12-6 | “Wohl dem, der sich auf seinen Gott”, BWV 139: 1. Chorus: “Wohl dem, der sich auf seinen Gott” | — | ||
| 12-7 | “Wohl dem, der sich auf seinen Gott”, BWV 139: 2. Aria (tenor): “Gott ist mein Freund; was hilft das Toben” | — | ||
| 12-8 | “Wohl dem, der sich auf seinen Gott”, BWV 139: 3. Recitative (alto): “Der Heiland sendet ja die Seinen” | — | ||
| 12-9 | “Wohl dem, der sich auf seinen Gott”, BWV 139: 4. Aria (bass): “Das Unglück schlägt auf allen Seiten” | — | ||
| 12-10 | “Wohl dem, der sich auf seinen Gott”, BWV 139: 5. Recitative (soprano): “Ja, trag ich gleich den größten Feind in mir” | — | ||
| 12-11 | “Wohl dem, der sich auf seinen Gott”, BWV 139: 6. Chorale: “Dahero Trotz der Höllen Heer” | — | ||
| 12-12 | “Herr Gott, dich loben wir”, BWV 16: 1. Chorus: “Herr Gott, dich loben wir” | — | ||
| 12-13 | “Herr Gott, dich loben wir”, BWV 16: 2. Recitative (bass): “So stimmen wir bei dieser frohen Zeit” | — | ||
| 12-14 | “Herr Gott, dich loben wir”, BWV 16: 3. Aria (chorus, bass): “Lasst uns jauchzen, lasst uns freuen” / “Krönt und segnet seine Hand” | — | ||
| 12-15 | “Herr Gott, dich loben wir”, BWV 16: 4. Recitative (alto): “Ach, treuer Hort, beschütz auch fernerhin dein wertes Wort” | — | ||
| 12-16 | “Herr Gott, dich loben wir”, BWV 16: 5. Aria (tenor): “Geliebter Jesu, nur du allein” | — | ||
| 12-17 | “Herr Gott, dich loben wir”, BWV 16: 6. Chorale: “All solch dein Güt wir preisen” | — | ||
| 13-1 | Alles nur nach Gottes Willen, BWV 72: Chorus "Alles nur nach Gottes Willen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-2 | Alles nur nach Gottes Willen, BWV 72: Recitative, Arioso & Aria (contralto) "O selger Christ, der allzeit seinen Willen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-3 | Alles nur nach Gottes Willen, BWV 72: Recitative (bass) "So glaube nun!" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-4 | Alles nur nach Gottes Willen, BWV 72: Aria (soprano) "Mein Jesus will es tun" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-5 | Alles nur nach Gottes Willen, BWV 72: Chorale "Was mein Gott will, das g'scheh allzeit" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-6 | Herr, wie du willt, so schicks mit mir, BWV 73: Chorus & Recitative (soprano, tenor, bass) "Herr, wie du willt, so schicks mit mir" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-7 | Herr, wie du willt, so schicks mit mir, BWV 73: Aria (tenor) "Ach, senke doch den Geist der Freuden" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-8 | Herr, wie du willt, so schicks mit mir, BWV 73: Recitative (bass) "Ach, unser Wille bleibt verkehrt" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-9 | Herr, wie du willt, so schicks mit mir, BWV 73: Aria (bass) "Herr, so du willt" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-10 | Herr, wie du willt, so schicks mit mir, BWV 73: Chorale "Das ist des Vaters Wille" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-11 | Was mein Gott will, das g'scheh allzeit, BWV 111: Chorus "Was mein Gott will, das g'scheh allzeit" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-12 | Was mein Gott will, das g'scheh allzeit, BWV 111: Aria (bass) "Entsetze dich, mein Herze, nicht" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-13 | Was mein Gott will, das g'scheh allzeit, BWV 111: Recitative (contralto) "O Törichter! der sich von Gott entzieht" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-14 | Was mein Gott will, das g'scheh allzeit, BWV 111: Duet (contralto, tenor) "So geh ich mit beherzten Schritten" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-15 | Was mein Gott will, das g'scheh allzeit, BWV 111: Recitative (soprano) "Drum wenn der Tod zuletzt den Geist" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-16 | Was mein Gott will, das g'scheh allzeit, BWV 111: Chorale "Noch eins, Herr, will ich bitten dich" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-17 | Ich steh mit einem Fuß im Grabe, BWV 156: Sinfonia | English Baroque Soloists, Sir John Eliot Gardiner | T-011.354.204-3 | |
| 13-18 | Ich steh mit einem Fuß im Grabe, BWV 156: Aria (tenor) & Chorale (sopranos) "Ich steh mit einem Fuß im Grabe" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-19 | Ich steh mit einem Fuß im Grabe, BWV 156: Recitative (bass) "Mein Angst und Not" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-20 | Ich steh mit einem Fuß im Grabe, BWV 156: Aria (contralto) "Herr, was du willt, soll mir gefallen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-21 | Ich steh mit einem Fuß im Grabe, BWV 156: Recitative (bass) "Und willst du, dass ich nicht soll kranken" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 13-22 | Ich steh mit einem Fuß im Grabe, BWV 156: Chorale "Herr, wie du willt, so schicks mit mir" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-1 | Cantata, BWV 83 "Erfreute Zeit im neuen Bunde": I. Aria (Countertenor) "Erfreute Zeit in neuem Bunde" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-2 | Cantata, BWV 83 "Erfreute Zeit im neuen Bunde": II. Intonation (Basso) "Herr, nun lässest du deinen Diener" - Recitative (Basso) "Was uns als Menschen schreckligen scheint" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-3 | Cantata, BWV 83 "Erfreute Zeit im neuen Bunde": III. Aria (Tenor) "Eile, Herz, voll Freudigkeit" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-4 | Cantata, BWV 83 "Erfreute Zeit im neuen Bunde": IV. Recitative (Countertenor) "Ja, merkt dein Glaube noch viel Finsternis" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-5 | Cantata, BWV 83 "Erfreute Zeit im neuen Bunde": V. Chorale "Er ist das Heil und selig Licht" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-6 | Cantata, BWV 82 "Ich habe genug": I. Aria (Basso) "Ich habe genug" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-7 | Cantata, BWV 82 "Ich habe genug": II. Recitative (Basso) "Ich habe genug" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-8 | Cantata, BWV 82 "Ich habe genug": III. Aria (Basso) "Schlummert ein, ihr matten Augen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-9 | Cantata, BWV 82 "Ich habe genug": IV. Recitative (Basso) "Mein Gott! wann kommt das schoene: Nun!" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-10 | Cantata, BWV 82 "Ich habe genug": V. Aria (Basso) "Ich freue mich auf meinen Tod" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-11 | Cantata, BWV 125 "Mit Fried und Freud ich fahr dahin": I. Chorale "Mit Fried und Freud ich fahr dahin" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-12 | Cantata, BWV 125 "Mit Fried und Freud ich fahr dahin": II. Aria (Countertenor) "Ich will auch mit gebrochnen Augen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-13 | Cantata, BWV 125 "Mit Fried und Freud ich fahr dahin": III. Recitative (Basso) "O Wunder, das ein Herz" - Chorale (Basso) "Das macht Christus, wahr' Gottes Sohn" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-14 | Cantata, BWV 125 "Mit Fried und Freud ich fahr dahin": IV. Aria (Tenor, Basso) "Ein unbegreiflich Licht erfüllt den ganzen Kreis der Erden" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-15 | Cantata, BWV 125 "Mit Fried und Freud ich fahr dahin": V. Recitative (Countertenor) "O Unerschöpfter Schatz der Güte" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-16 | Cantata, BWV 125 "Mit Fried und Freud ich fahr dahin": VI. Chorale "Er ist das Heil und sel'ge Licht" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 14-17 | Cantata, BWV 200 "Bekennen will ich seinen Namen": Aria (Countertenor) "Bekennen will ich seinen Namen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 15-1 | “Bleib bei uns, denn es will Abend werden”, BWV 6: 1. Chorus: “Bleib bei uns, denn es will Abend werden” | — | ||
| 15-2 | “Bleib bei uns, denn es will Abend werden”, BWV 6: 2. Aria (alto): “Hochgelobter Gottessohn” | — | ||
| 15-3 | “Bleib bei uns, denn es will Abend werden”, BWV 6: 3. Chorale (sopranos): “Ach bleib bei uns, Herr Jesu Christ” | — | ||
| 15-4 | “Bleib bei uns, denn es will Abend werden”, BWV 6: 4. Recitative (bass): “Es hat die Dunkelheit an vielen Orten” | — | ||
| 15-5 | “Bleib bei uns, denn es will Abend werden”, BWV 6: 5. Aria (tenor): “Jesu, lass uns auf duch sehen” | — | ||
| 15-6 | “Bleib bei uns, denn es will Abend werden”, BWV 6: 6. Chorale: “Beweis dein Macht, Herr Jesu Christ” | — | ||
| 15-7 | “Erfreut euch, ihr Herzen”, BWV 66: 1. Chorus: “Erfreut euch, ihr Herzen” | — | ||
| 15-8 | “Erfreut euch, ihr Herzen”, BWV 66: 2. Recitative (bass): “Es bricht das Grab und damit unsre Not” | — | ||
| 15-9 | “Erfreut euch, ihr Herzen”, BWV 66: 3. Aria (bass): “Lasset dem Höchsten ein Danklied erschallen” | — | ||
| 15-10 | “Erfreut euch, ihr Herzen”, BWV 66: 4. Recitative (dialogue) & Arioso (alto, tenor): “Bei Jesu Leben freudig sein” | — | ||
| 15-11 | “Erfreut euch, ihr Herzen”, BWV 66: 5. Duet (alto, tenor): “Ich fürchte zwar/nicht des Grabes Finsternissen” | — | ||
| 15-12 | “Erfreut euch, ihr Herzen”, BWV 66: 6. Chorale: “Halleluja! Des solln wir alle froh sein” | — | ||
| 16-1 | Gott fähret auf mit Jauchzen, BWV 43: Chorus "Gott fähret auf mit Jauchzen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-2 | Gott fähret auf mit Jauchzen, BWV 43: Recitative (tenor) "Es will der Höchste sich ein Siegsgeprãng bereiten" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-3 | Gott fähret auf mit Jauchzen, BWV 43: Aria (tenor) "Ja tausend mal tausend begleiten den Wagen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-4 | Gott fähret auf mit Jauchzen, BWV 43: Recitative (soprano) "Und der Herr, nachdem er mit ihnen geredet hatte" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-5 | Gott fähret auf mit Jauchzen, BWV 43: Aria (Soprano) "Mein Jesus hat nunmehr das Heilandwerk vollendet" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-6 | Gott fähret auf mit Jauchzen, BWV 43: Recitative (bass) "Es kommt der Helden Held" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-7 | Gott fähret auf mit Jauchzen, BWV 43: Aria (bass) "Er ists, der ganz allein die Kelter hat getreten" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-8 | Gott fähret auf mit Jauchzen, BWV 43: Recitative (countertenor) "Der Vater hat ihm ja ein ewig Reich bestimmet" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-9 | Gott fähret auf mit Jauchzen, BWV 43: Aria (countertenor) "Ich sehe schon im Geist" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-10 | Gott fähret auf mit Jauchzen, BWV 43: Recitative (soprano) "Er will mir neben sich die Wohnung zubereiten" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-11 | Gott fähret auf mit Jauchzen, BWV 43: Chorale "Du Levensfürst, Herr Hesu Christe" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-12 | Auf Christi Himmelfart allein, BWV 128: Chorus "Auf Christi Himmelfart allein" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-13 | Auf Christi Himmelfart allein, BWV 128: Recitative (tenor) "Ich bin bereit, komm hole mich!" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-14 | Auf Christi Himmelfart allein, BWV 128: Aria & Recitative (bass) "Auf, auf, mit hellem Schall" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-15 | Auf Christi Himmelfart allein, BWV 128: Aria (coutertenor, tenor) "Sein Allmacht zu ergründen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-16 | Auf Christi Himmelfart allein, BWV 128: Chorale "Alsdann so wirst du mich zu deiner Rechten stellen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-17 | Wer da gläubet und getauft wird, BWV 37: Chorus "Wer da gläubet und getauft wird" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-18 | Wer da gläubet und getauft wird, BWV 37: Aria (tenor) "Der Glaube ist das Pfand der Liebe" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-19 | Wer da gläubet und getauft wird, BWV 37: Chorale (soprano, countertenor) "Herr Gott Vater, main starker Held!" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-20 | Wer da gläubet und getauft wird, BWV 37: Recitative (bass) "Ihr Sterblichen, verlanget ihr" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-21 | Wer da gläubet und getauft wird, BWV 37: Aria (bass) "Der Glaube schafft der Seele Flügel" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-22 | Wer da gläubet und getauft wird, BWV 37: Chorale "Den Glauben mir verleihe an dein' Sohn Jesum Christ" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-23 | Lobet Gott in seinen Reichen, BWV 11: Chorus "Lobet Gott in seinen Reichen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-24 | Lobet Gott in seinen Reichen, BWV 11: Recitative (tenor [Evangelist]) "Der Herr Jesus hub seine Hände auf" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-25 | Lobet Gott in seinen Reichen, BWV 11: Recitative (bass) "Ach, Jesu. ist dein Abschied schon so nah?" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-26 | Lobet Gott in seinen Reichen, BWV 11: Aria (coutertenor) "Ach, bleibe doch, mein liebstes Leben" | English Baroque Soloists, Sir John Eliot Gardiner | T-919.170.489-9 | |
| 16-27 | Lobet Gott in seinen Reichen, BWV 11: Recitative (tenor [Evangelist]) "Und ward aufgehoben zusehends" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-28 | Lobet Gott in seinen Reichen, BWV 11: Chorale "Nun liegt alles unter dir" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-29 | Lobet Gott in seinen Reichen, BWV 11: Recitative (tenor [Evangelist], bass) "Und da sie ihm nachsahen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-30 | Lobet Gott in seinen Reichen, BWV 11: Recitative (countertenor) "Ach ja! so komme bald zurück" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-31 | Lobet Gott in seinen Reichen, BWV 11: Recitative (tenor [Evangelist]) "Sie aber beteten ihn an" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-32 | Lobet Gott in seinen Reichen, BWV 11: Aria (soprano) "Jesu, deine Gnadenblicke" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 16-33 | Lobet Gott in seinen Reichen, BWV 11: Chorale "Wenn soll es doch geschehen" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 17-1 | “Erschallet, ihr Lieder”, BWV 172: 1. Chorus: “Erschallet, ihr Lieder, erklinget, ihr Saiten!” | — | ||
| 17-2 | “Erschallet, ihr Lieder”, BWV 172: 2. Recitative (bass): “Wer mich liebet, der wird mein Wort halten” | — | ||
| 17-3 | “Erschallet, ihr Lieder”, BWV 172: 3. Aria (bass): “Heiligste Dreieinigkeit” | — | ||
| 17-4 | “Erschallet, ihr Lieder”, BWV 172: 4. Aria (tenor): “O Seelenparadies” | — | ||
| 17-5 | “Erschallet, ihr Lieder”, BWV 172: 5. Aria (Duet: soprano, alto): “Komm, lass mich nicht länger warten” | — | ||
| 17-6 | “Erschallet, ihr Lieder”, BWV 172: 6. Chorale: “Von Gott kömmt mir ein Freudenschein” | — | ||
| 17-7 | “Wer mich liebet, der wird mein Wort halten”, BWV 59: 1. Duet (soprano, bass): “Wer mich liebet, der wird mein Wort halten” | — | ||
| 17-8 | “Wer mich liebet, der wird mein Wort halten”, BWV 59: 2. Recitative (soprano): “O was sind das vor Ehren” | — | ||
| 17-9 | “Wer mich liebet, der wird mein Wort halten”, BWV 59: 3. Chorale: “Komm, Heiliger Geist, Herre Gott” | — | ||
| 17-10 | “Wer mich liebet, der wird mein Wort halten”, BWV 59: 4. Aria (bass): “Die Welt mit allen Königreichen” | — | ||
| 17-11 | “Wer mich liebet, der wird mein Wort halten”, BWV 59: 5. Chorale: “Du heilige Brunst, süßer Trost” | — | ||
| 17-12 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 1. Chorus: “Wer mich liebet, der wird mein Wort halten” | — | ||
| 17-13 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 2. Aria (soprano): “Komm, komm, mein Herze steht dir offen” | — | ||
| 17-14 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 3. Recitative (alto): “Die Wohnung ist bereit” | — | ||
| 17-15 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 4. Aria (bass): “Ich gehe hin und komme wieder zu euch” | — | ||
| 17-16 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 5. Aria (tenor): “Kommt, eilet, stimmet Sait und Lieder” | — | ||
| 17-17 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 6. Recitative (bass): “Es ist nichts Verdammliches an denen” | — | ||
| 17-18 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 7. Aria (alto): “Nichts kann mich erretten” | — | ||
| 17-19 | “Wer mich liebet, der wird mein Wort halten”, BWV 74: 8. Chorale: “Kein Menschenkind hier auf der Erd” | — | ||
| 17-20 | “O ewiges Feuer, o Ursprung der Liebe” BWV 34: 1. Chorus: “O ewiges Feuer, o Ursprung der Liebe” | — | ||
| 17-21 | “O ewiges Feuer, o Ursprung der Liebe” BWV 34: 2. Recitative (tenor): “Herr! unsre Herzen halten dir” | — | ||
| 17-22 | “O ewiges Feuer, o Ursprung der Liebe” BWV 34: 3. Aria (alto): “Wohl euch, ihr auserwählten Seelen” | — | ||
| 17-23 | “O ewiges Feuer, o Ursprung der Liebe” BWV 34: 4. Recitative (bass): “Erwählt sich Gott die Heilgen Hütten” | — | ||
| 17-24 | “O ewiges Feuer, o Ursprung der Liebe” BWV 34: 5. Chorus: “Friede über Israel!” | — | ||
| 18-1 | Was frag' ich nach der Welt, BWV 94: I. Chorus: Was frag' ich nach der Welt | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-2 | Was frag' ich nach der Welt, BWV 94: II. Aria (Basso): Die Welt ist wie ein Rauch und Schatten | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-3 | Was frag' ich nach der Welt, BWV 94: III. Chorale & Recitative (Tenor): Die Welt sucht Ehr' und Ruhm - Ein Stolzer baut die prächtigste | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-4 | Was frag' ich nach der Welt, BWV 94: IV. Aria (Alt): Betörte Welt, betörte Welt | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-5 | Was frag' ich nach der Welt, BWV 94: V. Chorale & Recitative (Bass): Die Welt bekümmert sich - Was muss wohl doch der Kummer sein | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-6 | Was frag' ich nach der Welt, BWV 94: VI. Aria (Tenor): Die Welt kann ihre Lust und Freud | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-7 | Was frag' ich nach der Welt, BWV 94: VII. Aria (Sopran): Es halt es mit der blinden Welt | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-8 | Was frag' ich nach der Welt, BWV 94: VIII. Chorale: Was frag ich nach der Welt | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-9 | Tue Rechnung! Donnerwort, BWV 168: I. Aria (Bass): Tue Rechnung! Donnerwort | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-10 | Tue Rechnung! Donnerwort, BWV 168: II. Recitative (Tenor): Es ist nur fremdes Gut | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-11 | Tue Rechnung! Donnerwort, BWV 168: III. Aria (Tenor): Kapital und Interessen | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-12 | Tue Rechnung! Donnerwort, BWV 168: IV. Recitative (Bass): Jedoch, erschocknes Herz, leb und verzage | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-13 | Tue Rechnung! Donnerwort, BWV 168: V. Aria (Duett Sopran & Alt): Herz, zerreiß des Mammons Kette | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-14 | Tue Rechnung! Donnerwort, BWV 168: VI. Chorale: Stärk mich mit Deinem Freudengeist | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-15 | Herr, gehe nicht ins Gericht mit Deinem Knecht, BWV 105: I. Chorus: Herr, gehe nicht ins Gericht | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-16 | Herr, gehe nicht ins Gericht mit Deinem Knecht, BWV 105: II. Recitative (Alt): Mein Gott, verwirf mich nicht | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-17 | Herr, gehe nicht ins Gericht mit Deinem Knecht, BWV 105: III. Aria (Soprano): Wie zittern und wanken | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-18 | Herr, gehe nicht ins Gericht mit Deinem Knecht, BWV 105: IV. Recitative (Bass): Wohl aber dem, der seinen Bürgen weiß | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-19 | Herr, gehe nicht ins Gericht mit Deinem Knecht, BWV 105: V. Aria (Tenor): Kann ich nur Jesum mir zum Freunde machen | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 18-20 | Herr, gehe nicht ins Gericht mit Deinem Knecht, BWV 105: VI. Chorale: Nun, ich weiß, Du wirst mir stillen | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-1 | Cantata, BWV 179 "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei": I. Chorus "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-2 | Cantata, BWV 179 "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei": II. Recitative "Das heutge Christentum ist leider schlecht bestellt" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-3 | Cantata, BWV 179 "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei": III. Aria "Falscher Heuchler Ebenbild" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-4 | Cantata, BWV 179 "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei": IV. Recitative "Wer so von innen wie von aussen ist" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-5 | Cantata, BWV 179 "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei": V. Aria "Liebster Gott, erbarme dich" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-6 | Cantata, BWV 179 "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei": VI. Chorale "Ich armer Mensch, Ich armer Sünder" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-7 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": I. Recitative "Mein Herze schwimmt im Blut" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-8 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": II. Aria "Stumme Seufzer, stille Klagen" / Recitative "Mein Herz ist itzt ein Tränenbrunne" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-9 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": III. Recitative "Doch Gott muß mir genädig sein" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-10 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": IV. Aria "Tief gebückt und voller Reue" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-11 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": V. Recitative "Auf diese Schmerzensreu" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-12 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": VI. Chorale "Ich, Dein betrübtes Kind" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-13 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": VII. Recitative "Ich lege mich in diese Wunden" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-14 | Cantata, BWV 199 "Mein Herze schwimmt im Blut": VIII. Aria "Wie freudig ist mein Herz" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-15 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": I. Chorale "Herr Jesu Christ, du höchstes Gut" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-16 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": II. Chorale "Erbarm dich mein in solcher Last" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-17 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": III. Aria "Fürwahr, wenn mir das kommet ein" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-18 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": IV. Chorale "Jedoch dein heilsam Wort, das macht" / Recitative "daß meine Brust" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-19 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": V. Aria "Jesus nimmt die Sünder an" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-20 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": VI. Recitative "Der Heiland nimmt die Sünder an" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-21 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": VII. Aria "Ach Herr, mein Gott, vergib mir doch" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 19-22 | Cantata, BWV 113 "Herr Jesu Christ, du höchstes Gut": VIII. Chorale "Stärk mich mit deinem Freudengeist" | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-1 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-2 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-3 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-4 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-5 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-6 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-7 | Wachet auf, ruft uns die Stimme BWV 140: Recitative (bass) "So geh herein zu mir" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 20-8 | Cantate « Herz und Mund und Tat und Leben », BWV 147: Choral « Jesus bleibet meine Freude » | The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner | T-905.387.081-8 | |
| 21-1 | Gottes Zeit ist die allerbeste Zeit, BWV 106: Sonatina, Molto adagio | English Baroque Soloists, John Eliot Gardiner | T-007.186.645-9 | |
| 21-2 | “Gottes Zeit ist die allerbeste Zeit”, “Actus Tragicus” BWV 106: 2a. Chorus: “Gottes Zeit ist die allerbeste Zeit” / 2b. Arioso (tenor): “Ach, Herr, Lehre uns bedenken” / 2c. Aria (bass): “Bestelle dein Haus” / 2d. Chorus & Arioso (soprano): “Es ist der alte Bund” / “Ja, komm, Herr Jesu” | — | ||
| 21-3 | Gottes Zeit ist die allerbeste Zeit, BWV 106: Ariosi & Choral: In deine Hände befehl ich meinen Geist | Michael Chance, Monteverdi Choir, Stephen Varcoe, English Baroque Soloists, John Eliot Gardiner | — | |
| 21-4 | Gottes Zeit ist die allerbeste Zeit, BWV 106: Chorus "Glorie, Lob, Ehr und Herrlichkeit" | Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | — | |
| 21-5 | O Jesu Christ, meins Lebens Licht BWV 118/231 | English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 21-6 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 1. Chorus: “Lass, Fürstin, lass noch einen Strahl” | — | ||
| 21-7 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 2. Recitative (soprano): “Dein Sachsen, dein bestürztes Meißen” | — | ||
| 21-8 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 3. Aria (soprano): “Verstummt, verstummt, ihr holden Saiten!” | — | ||
| 21-9 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 4. Recitative (alto): “Der Glocken bebendes Getön” | — | ||
| 21-10 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 5. Aria (alto): “Wie starb die Heldin so vergnügt!” | — | ||
| 21-11 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 6. Recitative (tenor): “Ihr Leben ließ die Kunst zu sterben” | — | ||
| 21-12 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: First Part. 7. Chorus: “An dir, du Fürbild großer Frauen” | — | ||
| 21-13 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: Second Part. 8. Aria (tenor): “Der Ewigkeit saphirnes Haus” | — | ||
| 21-14 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: Second Part. 9. Recitative - Arioso - Recitative (bass): “Was Wunder ist's?” | — | ||
| 21-15 | “Lass, Fürstin, lass noch einen Strahl”, BWV 198: Second Part. 10. Chorus: “Doch, Königin! du stirbest nicht” | — | ||
| 22-1 | Symphony no. 1 in C major, op. 21: I. Adagio molto - Allegro con brio | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-915.714.772-3 | |
| 22-2 | Symphony no. 1 in C major, op. 21: II. Andante cantabile con moto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 22-3 | Symphony no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 22-4 | Symphony no. 1 in C major, op. 21: IV. Adagio - Allegro molto e vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-318.676.528-2 | |
| 22-5 | Symphony no. 2 in D major, op. 36: I. Adagio molto - Allegro con brio | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-915.714.772-3 | |
| 22-6 | Symphony no. 2 in D major, op. 36: II. Larghetto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 22-7 | Symphony no. 2 in D major, op. 36: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 22-8 | Symphony no. 2 in D major, op. 36: IV. Allegro molto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 23-1 | Symphony no. 3 in E‐flat major, op. 55 “Eroica”: IV. Finale. Allegro molto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 23-2 | Symphony no. 3 in E‐flat major, op. 55 “Eroica”: IV. Finale. Allegro molto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 23-3 | Symphony no. 3 in E‐flat major, op. 55 “Eroica”: IV. Finale. Allegro molto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 23-4 | Symphony no. 3 in E‐flat major, op. 55 “Eroica”: IV. Finale. Allegro molto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 23-5 | Symphony no. 4 in B‐flat major, op. 60: I. Adagio - Allegro vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-001.444.317-4 | |
| 23-6 | Symphony no. 4 in B‐flat major, op. 60: II. Adagio | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-001.444.317-4 | |
| 23-7 | Symphony no. 4 in B‐flat major, op. 60: III. Allegro vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-001.444.317-4 | |
| 23-8 | Symphony no. 4 in B‐flat major, op. 60: IV. Allegro ma non troppo | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-001.444.317-4 | |
| 24-1 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-2 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-3 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-4 | Symphony no. 5 in C minor, op. 67: III. Scherzo. Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-5 | Symphony no. 6 in F major, op. 68 “Pastoral”: I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande: Allegro ma non troppo | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-6 | Symphony no. 6 in F major, op. 68 “Pastoral”: II. Szene am Bach: Andante molto mosso | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-7 | Symphony no. 6 in F major, op. 68 “Pastoral”: III. Lustiges Zusammensein der Landleute: Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-8 | Symphony no. 6 in F major, op. 68 “Pastoral”: IV. Gewitter, Sturm: Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 24-9 | Symphony no. 6 in F major, op. 68 “Pastoral”: V. Hirtengesang: Frohe und dankbare Gefühle nach dem Sturm: Allegretto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 25-1 | Symphony no. 7 in A major, op. 92: I. Poco sostenuto - Vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 25-2 | Symphony no. 7 in A major, op. 92: II. Allegretto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-314.638.300-4 | |
| 25-3 | Symphony no. 7 in A major, op. 92: III. Presto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-931.717.518-1 | |
| 25-4 | Symphony no. 7 in A major, op. 92: IV. Allegro con brio | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 25-5 | Symphony no. 8 in F major, op. 93: I. Allegro vivace e con brio | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 25-6 | Symphony no. 8 in F major, op. 93: II. Allegretto scherzando | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-909.821.799-3 | |
| 25-7 | Symphony no. 8 in F major, op. 93: III. Tempo di Menuetto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-909.821.799-3 | |
| 25-8 | Symphony no. 8 in F major, op. 93: IV. Allegro vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-909.821.799-3 | |
| 26-1 | Symphony no. 9 in D minor, op. 125: Allegro ma non troppo, un poco maestoso | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 26-2 | Symphony no. 9 in D minor, op. 125: Molto vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-909.876.841-3 | |
| 26-3 | Symphony no. 9 in D minor, op. 125: Adagio molto e cantabile | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-912.747.871-1 | |
| 26-4 | Symphony no. 9 in D minor, op. 125: Presto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 26-5 | Symphony no. 9 in D minor, op. 125: Presto: “O Freunde, nicht diese Töne!” Allegro assai | Gilles Cachemaille, Monteverdi Choir, Ľuba Orgonášová, Anne Sofie von Otter, Anthony Rolfe Johnson, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 27-1 | Piano Concerto no. 2 in B-flat major, op. 19: 1. Allegro con brio | — | ||
| 27-2 | Piano Concerto no. 2 in B-flat major, op. 19: 2. Adagio | — | ||
| 27-3 | Piano Concerto no. 2 in B-flat major, op. 19: 3. Rondo. Allegro molto | — | ||
| 27-4 | Rondo for Piano and Orchestra in B-flat major, WoO 6: Allegro - Andante - (Tempo I) | — | ||
| 27-5 | Piano Concerto no. 1 in C major, op. 15: 1. Allegro con brio | — | ||
| 27-6 | Piano Concerto no. 1 in C major, op. 15: 2. Largo | — | ||
| 27-7 | Piano Concerto no. 1 in C major, op. 15: 3. Rondo. Allegro | — | ||
| 28-1 | Piano Concerto no. 3 in C minor, op. 37: 1. Allegro con brio | — | ||
| 28-2 | Concerto for Piano and Orchestra no. 3 in C minor, op. 37: II. Largo | Robert Levin, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — | |
| 28-3 | Piano Concerto no. 3 in C minor, op. 37: 3. Rondo. Allegro | — | ||
| 28-4 | Piano Concerto no. 4 in G major, op. 58: 1. Allegro moderato | — | ||
| 28-5 | Piano Concerto no. 4 in G major, op. 58: 2. Andante con moto - attacca | — | ||
| 28-6 | Piano Concerto no. 4 in G major, op. 58: 3. Rondo. Vivace | — | ||
| 29-1 | Piano Concerto no. 5 in E-flat major “Emperor”, op. 73: 1. Allegro | — | ||
| 29-2 | Piano Concerto no. 5 in E-flat major “Emperor”, op. 73: 2. Adagio un poco moto - attacca | — | ||
| 29-3 | Piano Concerto no. 5 in E-flat major “Emperor”, op. 73: 3. Rondo. Allegro ma non troppo | — | ||
| 29-4 | Fantasy for Piano, Chorus and Orchestra in C minor “Choral Fantasy”, op. 80: Adagio - | — | ||
| 29-5 | Fantasy for Piano, Chorus and Orchestra in C minor “Choral Fantasy”, op. 80: Finale. Allegro - Meno allegro (Allegretto) - Allegro molto - Adagio ma non troppo - Marcia assai vivace - Allegro - Allegretto ma non troppo quasi andante con moto - Presto | — | ||
| 29-6 | Fantasy for Piano, Chorus and Orchestra in C minor “Choral Fantasy”, op. 80 (2 alternative improvised introductions): No. 1 | — | ||
| 29-7 | Fantasy for Piano, Chorus and Orchestra in C minor “Choral Fantasy”, op. 80 (2 alternative improvised introductions): No. 2 | — | ||
| 30-1 | Piano Concerto no. 4 in G major, op. 58: 1. Allegro moderato | — | ||
| 30-2 | Piano Concerto no. 4 in G major, op. 58: 2. Andante con moto - attacca | — | ||
| 30-3 | Piano Concerto no. 4 in G major, op. 58: 3. Rondo. Vivace | — | ||
| 30-4 | Symphony no. 2 in D major, op. 36: 1. Adagio - Allegro con brio | — | ||
| 30-5 | Symphony no. 2 in D major, op. 36: 2. Larghetto quasi andante | — | ||
| 30-6 | Symphony no. 2 in D major, op. 36: 3. Scherzo. Allegro - Trio | — | ||
| 30-7 | Symphony no. 2 in D major, op. 36: 4. Allegro molto | — | ||
| 31-1 | Violin Concerto in D major, op. 61: 1. Allegro ma non troppo | — | ||
| 31-2 | Violin Concerto in D major, op. 61: 2. Larghetto - attacca | — | ||
| 31-3 | Violin Concerto in D major, op. 61: 3. Rondo. Allegro | — | ||
| 32-1 | Missa solemnis, op. 123: 1. Kyrie. Assai sostenuto (Mit Andacht) | — | ||
| 32-2 | Missa solemnis, op. 123: 2. Gloria. Allegro vivace | — | ||
| 32-3 | Missa solemnis, op. 123: 3. Creedo. Allegro ma non troppo | — | ||
| 32-4 | Missa solemnis, op. 123: 4. Sanctus. Adagio (Mit Andacht) - Benedictus. Andante molto cantabile e non troppo mosso | — | ||
| 32-5 | Missa solemnis, op. 123: 5. Agnus Dei. Adagio | — | ||
| 33-1 | “Ah! Perfido” - “Per pietà”, op. 65: Scena ed aria per soprano ed orchestra | — | ||
| 33-2 | Meeres Stille und Glückliche Fahrt, op. 112 | — | ||
| 33-3 | Mass in C major, op. 86: 1. Kyrie | — | ||
| 33-4 | Mass in C major, op. 86: 2. Gloria | — | ||
| 33-5 | Mass in C major, op. 86: 3. Credo | — | ||
| 33-6 | Mass in C major, op. 86: 4. Sanctus - Benedictus | — | ||
| 33-7 | Mass in C major, op. 86: 5. Agnus Dei | — | ||
| 34-1 | Leonore oder Der Triumph der ehelichen Liebe: Ouverture »Leonore II« | — | ||
| 34-2 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. »Es war in Wahrheit« | — | ||
| 34-3 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. Nr. 1 Arie: »O wär' ich schon mit dir vereint« (Marzelline) | — | ||
| 34-4 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. »Beharrlich bleibt auf dem Liebespfad« | — | ||
| 34-5 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. Nr. 2 Duett: »Jetzt, Schätzchen, jetzt sind wir allein« (Jaquino, Marzelline) | — | ||
| 34-6 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. »Der Kerkermeister, Rocco, der Vater« | — | ||
| 34-7 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. Nr. 3 Terzett: »Ein Mann ist bald genommen« (Rocco, Marzelline, Jaquino) | — | ||
| 34-8 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. »Fidelio kam - und niemand weiß woher« | — | ||
| 34-9 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. Nr. 4 Quartett: »Mir ist so wunderbar« (Marzelline, Leonore, Rocco, Jaquino) | — | ||
| 34-10 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. »Gefühl ist gut, doch Geld ist besser« | — | ||
| 34-11 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. Nr. 5 Arie: »Hat man nicht auch Gold beineben« (Rocco) | — | ||
| 34-12 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. »Unantastbar klar birgt Leonores Brust« | — | ||
| 34-13 | Leonore oder Der Triumph der ehelichen Liebe: Erster Aufzug. Nr. 6 Terzett: »Gut, Söhnchen, gut« (Rocco, Leonore, Marzelline) | — | ||
| 34-14 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. Nr. 7 Einleitung | — | ||
| 34-15 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. »Der Gouverneur ist da« | — | ||
| 34-16 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. Nr. 8 Arie mit Chor: »Ha! Welch ein Augenblick!« (Pizarro, Chor) | — | ||
| 34-17 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. »Postiert eine Trompete auf dem Wachturm!« | — | ||
| 34-18 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. Nr. 9 Duett: »Jetzt, Alter, hat es Eile!« (Pizarro, Rocco) | — | ||
| 34-19 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. »Und Leonore begegnet Marzelline« | — | ||
| 34-20 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. Nr. 10 Duett: »Um in der Ehe froh zu leben« (Marzelline, Leonore) | — | ||
| 34-21 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. »Die ernsten Steine des dumpfen Gemäuers« | — | ||
| 34-22 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. Nr. 11 Rezitativ und Arie: »Ach, brich noch nicht du mattes Herz!« - »Komm, Hoffnung, lass den letzten Stern« (Leonore) | — | ||
| 35-1 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. Nr. 12 Finale: »O welche Lust, in freier Luft« (Gefangenenchor, 1. und 2. Gefangener) | — | ||
| 35-2 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. (Rezitativ:) »Entfernt euch jetzt! Nun, könnt ihr eilen?« (Rocco) / »Nun, sprecht, wie ging's?« (Leonore, Rocco) / (Duett:) »Noch heute, noch heute?« (Leonore, Rocco) | — | ||
| 35-3 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. (Duett:) »Wir müssen gleich zu Werke schreiten« (Rocco, Leonore) / (Quartett:) »Ach Vater, eilt!« (Marzelline, Rocco, Leonore, Pizarro) | — | ||
| 35-4 | Leonore oder Der Triumph der ehelichen Liebe: Zweiter Aufzug. (Arie:) »Auf euch nur will ich bauen« (Pizarro, Chor) | — | ||
| 35-5 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Florestans Not im Dunkel tauber Einsamkeit« | — | ||
| 35-6 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. Nr. 13 Rezitativ und Arie: »Gott! Welch Dunkel hier!« - »In des lebens Frühlingstagen« (Florestan) | — | ||
| 35-7 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. Nr. 14 Melodram und Duett: »Wie kalt ist es in diesem unterirdischen Gewölbe!« (Leonore, Rocco) | — | ||
| 35-8 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. (Duett:) »Nur hurtig fort, nur frisch gegraben« (Rocco, Leonore) | — | ||
| 35-9 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Dort, in der Tiefe« | — | ||
| 35-10 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. Nr. 15 Terzett: »Euch werde Lohn in bessern Welten« (Florestan, Rocco, Leonore) | — | ||
| 35-11 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Und Rocco eilt« | — | ||
| 35-12 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. Nr. 16 Quartett: »Er sterbe! Doch er soll erst wissen« (Pizarro, Florestan, Leonore, Rocco) | — | ||
| 35-13 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Oh Leonore! Alles was dein Mut gewagt - verloren!« | — | ||
| 35-14 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. Nr. 17 Rezitativ und Duett: »Ich kann mich noch nicht fassen« - »O namelose Freude!« (Florestan, Leonore) | — | ||
| 35-15 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. Nr. 18 Finale: »Zur Rache! Zur Rache!« (Chor, Leonore, Florestan, Rocco Fernando, Jaquino, Marzelline) | — | ||
| 35-16 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »O Gott! O welch ein Augenblick!« (Leonore, Marzelline, Florestan, Jaquino, Fernando, Rocco, Chor) | — | ||
| 35-17 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »So müssen endlich Aufgeklärte« | — | ||
| 35-18 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Doch höre erst, du Bösewicht« (Fernando, Chor, Leonore, Florestan) | — | ||
| 35-19 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Dann herrscht allgemeine Freiheit und Gleichheit der Geister« | — | ||
| 35-20 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Nein, nein, nein! Er ist noch zu gering bestraft!« (Chor) | — | ||
| 35-21 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Ein höherer Geist, vom Himmel gesandt« | — | ||
| 35-22 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. (Rezitativ:) »Der König wird dein Richter sein!« (Fernando, Chor) | — | ||
| 35-23 | Leonore oder Der Triumph der ehelichen Liebe: Dritter Aufzug. »Wer ein holdes Weib errungen« (Marzelline, Jaquino, Rocco, Fernando, Chor, Florestan, Leonore) | — | ||
| 36-1 | Historical influences on Beethoven | — | ||
| 36-2 | The technical demands made of instrumentalists | — | ||
| 36-3 | Using period instruments | — | ||
| 36-4 | Beethoven's tempo markings | — | ||
| 36-5 | The political dimension in Beethoven's music | — | ||
| 36-6 | Summing up | — | ||
| 36-7 | Historischer Einfluss auf Beethoven | — | ||
| 36-8 | Technische Anforderungen an Instrumentalisten | — | ||
| 36-9 | Über den Einsatz historischer Instrumente | — | ||
| 36-10 | Beethovens Tempobezeichnungen | — | ||
| 36-11 | Politische Dimension in der Musik Beethovens | — | ||
| 36-12 | Zum Schluss | — | ||
| 36-13 | Influence historique sur Beethoven | — | ||
| 36-14 | Conditions pour les instrumentistes | — | ||
| 36-15 | Utilisation d'instruments historiques | — | ||
| 36-16 | Les marques de tempo de Beethoven | — | ||
| 36-17 | Dimension politique dans la musique de Beethoven | — | ||
| 36-18 | Les symphonies de Beethoven | — | ||
| 37-1 | War Requiem, op. 66: I. Requiem aeternam. Requiem aeternam (chorus) - Te decet hymnus, Deus in Sion (boys' choir) | — | ||
| 37-2 | War Requiem, op. 66: I. Requiem aeternam. “What passing bells for these who die as cattle?” (tenor) - Kyrie eleison (chorus) | — | ||
| 37-3 | War Requiem, op. 66: II. Dies irae. Dies irae, dies illa (chorus) | — | ||
| 37-4 | War Requiem, op. 66: II. Dies irae. “Bugles sang, saddening the evening air” (baritone) | — | ||
| 37-5 | War Requiem, op. 66: II. Dies irae. Liber scriptus proferetur (soprano, chorus) | — | ||
| 37-6 | War Requiem, op. 66: II. Dies irae. “Out there, we've walked quite friendly up to death” (tenor, baritone) | — | ||
| 37-7 | War Requiem, op. 66: II. Dies irae. Recordare Jesu pie (chorus) | — | ||
| 37-8 | War Requiem, op. 66: II. Dies irae. “Be slowly lifted up, thou long black arm” (baritone) | — | ||
| 37-9 | War Requiem, op. 66: II. Dies irae. Dies irae, dies illa (chorus) | — | ||
| 37-10 | War Requiem, op. 66: II. Dies irae. Lacrimosa dies illa (soprano, chorus) | — | ||
| 37-11 | War Requiem, op. 66: II. Dies irae. “Move him into the sun” / Lacrimosa (tenor/soprano, chorus) | — | ||
| 37-12 | War Requiem, op. 66: III. Offertorium. Domine Jesu Christe (boys' choir) / Sed signifer Sanctus Michael … Quam olim Abrahae promisisti (chorus) | — | ||
| 37-13 | War Requiem, op. 66: III. Offertorium. “So Abram rose, and clave the wood” / Hostias (baritone, tenor/boys' choir) - Quam olim Abrahae promisisti (chorus) | — | ||
| 37-14 | War Requiem, op. 66: IV. Sanctus. Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth (soprano, chorus) | — | ||
| 37-15 | War Requiem, op. 66: IV. Sanctus. “After the blast of lightning from the East” (baritone) | — | ||
| 37-16 | War Requiem, op. 66: V. Agnus Dei. “One ever hangs where shelled roads part” / Agnus Dei (tenor/chorus) | — | ||
| 37-17 | War Requiem, op. 66: VI. Libera me. Libera me, Domine (chorus, soprano) | — | ||
| 37-18 | War Requiem, op. 66: VI. Libera me. “It seemed that our of battle I escaped” (tenor, baritone) | — | ||
| 37-19 | War Requiem, op. 66: VI. Libera me. “Let us sleep now” / In Paradisum (baritone, tenor/boys' choir, chorus, soprano) | — | ||
| 38-1 | Spring Symphony, op. 44: Part I. Introduction: “Shine out fair sun” (chorus) | — | ||
| 38-2 | Spring Symphony, op. 44: Part I. The Merry Cuckoo (tenor) | — | ||
| 38-3 | Spring Symphony, op. 44: Part I. Spring, the Sweet Spring (soprano, alto, tenor, chorus) | — | ||
| 38-4 | Spring Symphony, op. 44: Part I. The Driving Boy (children's chorus) | — | ||
| 38-5 | Spring Symphony, op. 44: Part I. The Morning Star (chorus) | — | ||
| 38-6 | Spring Symphony, op. 44: Part II. Welcome, Maids of Honour (alto) | — | ||
| 38-7 | Spring Symphony, op. 44: Part II. Waters above (tenor) | — | ||
| 38-8 | Spring Symphony, op. 44: Part II. Out on the lawn I lie in bed (alto, chorus) | — | ||
| 38-9 | Spring Symphony, op. 44: Part III. When will my May come (tenor) | — | ||
| 38-10 | Spring Symphony, op. 44: Part III. Fair and fair (soprano, tenor) | — | ||
| 38-11 | Spring Symphony, op. 44: Part III. Sound the flute (chorus, children's chorus) | — | ||
| 38-12 | Spring Symphony, op. 44: Part IV. Finale: “London, to thee I do present” (tenor, alto, soprano, chorus, children's chorus) | — | ||
| 38-13 | Hymn to St. Cecilia, op. 27: “In a garden shady” | — | ||
| 38-14 | Hymn to St. Cecilia, op. 27: “I cannot grow” | — | ||
| 38-15 | Hymn to St. Cecilia, op. 27: “O ear whose creatures” | — | ||
| 38-16 | Five Flower Songs, op. 47: 1. To Daffodils | — | ||
| 38-17 | Five Flower Songs, op. 47: 2. The Succession of the Four Sweet Months | — | ||
| 38-18 | Five Flower Songs, op. 47: 3. Marsh Flowers | — | ||
| 38-19 | Five Flower Songs, op. 47: 4. The Evening Primrose | — | ||
| 38-20 | Five Flower Songs, op. 47: 5. Ballad of Green Broom | — | ||
| 39-1 | Mass no. 1 in D minor: 1. Kyrie | — | ||
| 39-2 | Mass no. 1 in D minor: 2. Gloria | — | ||
| 39-3 | Mass no. 1 in D minor: 3. Credo | — | ||
| 39-4 | Mass no. 1 in D minor: 4. Sanctus | — | ||
| 39-5 | Mass no. 1 in D minor: 5. Benedictus | — | ||
| 39-6 | Mass no. 1 in D minor: 6. Agnus Dei | — | ||
| 39-7 | Ave Maria | — | ||
| 39-8 | Tota pulchra es, Maria | — | ||
| 39-9 | Locus iste | — | ||
| 39-10 | Os justi | — | ||
| 39-11 | Christus factus est | — | ||
| 40-1 | O bone Jesu, fili Mariae, SWV 471: Sinfonia / Solo (soprano I): “O bone Jesu, fili Mariae virginis” / Tutti: “Jesu, soile serenior” / Solo (alto): “Amabilis Jesu, transfige medullas animae meae” / Tutti: “Jesu, summa benignitas” / Solo (tenor I): “Da mihi, Domine” / Tutti: “Jesu, decus angelicum” / Solo (bass): “Oleum effusum nomen tuum” / Soli (soprano I, alto, tenor I, bass) & chorus: “Adjuva ergo nos et salva nos” / Soli (soprano I/II, alto, tenor I/II, bass): “Caeli cives, occurrite” / Tutti: “Caeli cives, occurrite” | — | ||
| 40-2 | Membra Jesu Nostri, BuxWV 73: I. Ad pedes: Sonata / Concerto (coprano I/II, alto, tenor, bass): “Ecce super montes” / Aria (soprano I): “Salve mundi salutare” / Aria (soprano II): “Clavos pedum, plagas duras” / Aria (bass): “Dulcis Jesu, pie Deus” / Concerto (chorus): “Ecce super montes” (da capo) / Concerto (tenor, chorus): “Salve mundi salutare” (da capo) | — | ||
| 40-3 | Membra Jesu Nostri, BuxWV 73: II. Ad genua: Sonata / Concerto (chorus): “Ad ubera portabimini” / Aria (tenor): “Salve Jesu, rex sanctorum” / Aria (alto): “Quid sum tibi responsurus” / Aria (soprano I/II, bass): “Ut te quaeram mente pura” / Concerto: “Ad ubera portabimini” (da capo) | — | ||
| 40-4 | Membra Jesu Nostri, BuxWV 73: III. Ad manus: Sonata / Concerto (soprano I/II, alto, tenor, bass, chorus): “Quid sunt plagae istae” / Aria (soprano I): “Salve Jesu, pastor bone” / Aria (soprano III): “Manus sanctae, vos amplector” / Aria (alto, tenor, bass): “In cruore tuo lotum” / Concerto (chorus): “Quid sunt plagae istae” (da capo) | — | ||
| 40-5 | Membra Jesu Nostri, BuxWV 73: IV. Ad latus: Sonata / Concerto (soprano I/II, alto, tenor, bass, chorus): “Surge, amica mea” / Aria (soprano III): “Salve latus salvatoris” / Aria (chorus - altos, tenors, basses): “Ecce tibi appropinquo” / Aria (soprano II): “Hora mortis meus flatus intret” / Concerto: “Surge, amica mea” (da capo) | — | ||
| 40-6 | Membra Jesu Nostri, BuxWV 73: V. Ad pectus: Sonata / Concerto (alto, tenor, bass): “Sicut modo geniti infantes” / Aria (alto): “Salve, salus mea, Deus” / Aria (tenor): “Pectus mihi confer mundum” / Aria (chorus - basses): “Ave, verum templum Dei” / Concerto (chorus): “Sicut modo geniti infantes” (da capo) | — | ||
| 40-7 | Membra Jesu Nostri, BuxWV 73: VI. Ad cor: Sonata / Concerto (soprano I/II, bass): “Vulnerasti cor meum” / Aria (soprano III): “Summi regis cor” / Aria (soprano IV): “Per medullam cordis mei” / Aria (bass): “Viva cordis voce clamo” / Concerto (chorus): “Vulnerasti cor meum” (da capo) | — | ||
| 40-8 | Membra Jesu Nostri, BuxWV 73: VII. Ad faciem: Sonata / Concerto (soprano I/II, alto, tenor, bass, chorus): “Illustra faciem tuam” / Aria (alto, tenor, bass): “Salve, caput cruentatum” / Aria (alto): “Dum me mori est necesse” / Concerto (chorus): “Cum me jubes emigrare” / “Amen” | — | ||
| 41-1 | Suite pastorale: 1. Idylle | — | ||
| 41-2 | Suite pastorale: 2. Danse villageoise | — | ||
| 41-3 | Suite pastorale: 3. Sous Bois | — | ||
| 41-4 | Suite pastorale: 4. Scherzo-Valse | — | ||
| 41-5 | Habanera | — | ||
| 41-6 | España | — | ||
| 41-7 | Larghetto for Horn and Orchestra | — | ||
| 41-8 | Overture to Gwendoline | — | ||
| 41-9 | Prélude pastoral | — | ||
| 41-10 | Marche française (Joyeuse Marche) | — | ||
| 41-11 | Fête polonaise | — | ||
| 42-1 | Symphonic Variations on an Original Theme, op. 78 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-2 | Czech Suite, op. 39: I. Preludium. Pastorale | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-3 | Czech Suite, op. 39: I. Preludium. Pastorale | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-4 | Czech Suite, op. 39: I. Preludium. Pastorale | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-5 | Czech Suite, op. 39: I. Preludium. Pastorale | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-6 | Czech Suite, op. 39: I. Preludium. Pastorale | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-7 | Hungarian Dance no. 1 | NDR Sinfonieorchester, Sir John Eliot Gardiner | T-329.367.585-7 | |
| 42-8 | Hungarian Dance no. 3 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-9 | Hungarian Dance no. 5 | NDR Elbphilharmonie Orchester, Sir John Eliot Gardiner | T-329.366.800-1 | |
| 42-10 | Hungarian Dance no. 10 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-11 | Hungarian Dance no. 16 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-12 | Hungarian Dance no. 18 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-13 | Hungarian Dance no. 19 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-14 | Hungarian Dance no. 20 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 42-15 | Hungarian Dance no. 21 | NDR Sinfonieorchester, Sir John Eliot Gardiner | — | |
| 43-1 | In the South (Alassio): Concert Overture, op. 50 | Wiener Philharmoniker, Sir John Eliot Gardiner | T-900.057.982-8 | |
| 43-2 | Introduction and Allegro for Strings, op. 47 | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-3 | Sospiri: Adagio for Strings, Harp and Organ, op. 70 | Wiener Philharmoniker, Sir John Eliot Gardiner | T-011.613.873-8 | |
| 43-4 | Variations on an Original Theme, op. 36 "Enigma": Theme (Andante) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-5 | Variations on an Original Theme, op. 36 "Enigma": I. C.A.E. (L'istesso tempo) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-6 | Variations on an Original Theme, op. 36 "Enigma": II. H.D.S.-P. (Allegro) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-7 | Variations on an Original Theme, op. 36 "Enigma": III. R.B.T. (Allegretto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-8 | Variations on an Original Theme, op. 36 "Enigma": IV. W.M.B. (Allegro di molto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-9 | Variations on an Original Theme, op. 36 "Enigma": V. R.P.A. (Moderato) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-10 | Variations on an Original Theme, op. 36 "Enigma": VI. Ysobel (Andantino) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-11 | Variations on an Original Theme, op. 36 "Enigma": VII. Troyte (Presto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-12 | Variations on an Original Theme, op. 36 "Enigma": VIII. W.N. (Allegretto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-13 | Variations on an Original Theme, op. 36 "Enigma": IX. Nimrod (Adagio) | Wiener Philharmoniker, Sir John Eliot Gardiner | T-010.115.427-1 | |
| 43-14 | Variations on an Original Theme, op. 36 "Enigma": X. Intermezzo: Dorabella (Allegretto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-15 | Variations on an Original Theme, op. 36 "Enigma": XI. G.R.S. (Allegro di molto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-16 | Variations on an Original Theme, op. 36 "Enigma": XII. B.G.N. (Andante) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-17 | Variations on an Original Theme, op. 36 "Enigma": XIII. Romanza *** (Moderato) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 43-18 | Variations on an Original Theme, op. 36 "Enigma": XIV. Finale: E.D.U. (Allegro - Presto) | Wiener Philharmoniker, Sir John Eliot Gardiner | — | |
| 44-1 | Acis and Galatea, HWV 49a: Act One. 1. Sinfonia | — | ||
| 44-2 | Acis and Galatea, HWV 49a: Act One. 2. Chorus: “Oh, the pleasure of the plains!” | — | ||
| 44-3 | Acis and Galatea, HWV 49a: Act One. 3. Accompagnato: “Ye verdant plains and woody mountains” (Galatea) | — | ||
| 44-4 | Acis and Galatea, HWV 49a: Act One. 4. Air: “Hush, ye pretty warling quire!” (Galatea) | — | ||
| 44-5 | Acis and Galatea, HWV 49a: Act One. 5. Air: “Where shall I seek the charming fair?” (Acis) | — | ||
| 44-6 | Acis and Galatea, HWV 49a: Act One. 5. Recitative: “Stay, shepherd, stay!” (Damon) | — | ||
| 44-7 | Acis and Galatea, HWV 49a: Act One. 6. Air: “Shepherd, what are thou pursuing?” (Damon) | — | ||
| 44-8 | Acis and Galatea, HWV 49a: Act One. 6. Recitative: “Lo! Here my love!” (Acis) | — | ||
| 44-9 | Acis and Galatea, HWV 49a: Act One. 7. Air: “Love in her eyes sits playing” (Acis) | — | ||
| 44-10 | Acis and Galatea, HWV 49a: Act One. 7. Recitative: “Oh! didst thou know of the pains of absent love” (Galatea) | — | ||
| 44-11 | Acis and Galatea, HWV 49a: Act One. 8. Air: “As when the dove” (Galatea) | — | ||
| 44-12 | Acis and Galatea, HWV 49a: Act One. 9. Duet: “Happy we” (Galatea, Acis) | — | ||
| 45-1 | Acis and Galatea, HWV 49a: Act Two. 10. Chorus: “Wretched lovers! Fate has past” | — | ||
| 45-2 | Acis and Galatea, HWV 49a: Act Two. 11. Accompagnato: “I rage - I melt - I burn” (Polyphemus) | — | ||
| 45-3 | Acis and Galatea, HWV 49a: Act Two. 12. Air: “O ruddier than the cherry” (Polyphemus) | — | ||
| 45-4 | Acis and Galatea, HWV 49a: Act Two. 12. Recitative: “Whither, fairest, art thou running” (Polyphemus, Galatea) | — | ||
| 45-5 | Acis and Galatea, HWV 49a: Act Two. 13. Air: “Cease to beauty to be suing” (Polyphemus) | — | ||
| 45-6 | Acis and Galatea, HWV 49a: Act Two. 14. Air: “Would you gain the tender creature” (Damon) | — | ||
| 45-7 | Acis and Galatea, HWV 49a: Act Two. 14. Recitative: “His hideous love provokes my rage” (Acis) | — | ||
| 45-8 | Acis and Galatea, HWV 49a: Act Two. 15. Air: “Love sounds th'alarm” (Acis) | — | ||
| 45-9 | Acis and Galatea, HWV 49a: Act Two. 16. Air: “Consider, fond shepherd” (Damon) | — | ||
| 45-10 | Acis and Galatea, HWV 49a: Act Two. 16. Recitative: “Cease, O cease, thou gentle youth” (Galatea) | — | ||
| 45-11 | Acis and Galatea, HWV 49a: Act Two. 17. Trio: “The flocks shall leave the mountains” (Galatea, Acis, Polyphemus) | — | ||
| 45-12 | Acis and Galatea, HWV 49a: Act Two. 18. Accompagnato: “Help, Galatea! help, ye parent gods!” (Acis) | — | ||
| 45-13 | Acis and Galatea, HWV 49a: Act Two. 19. Chorus: “Mourn, all ye muses! weep, all ye swains” | — | ||
| 45-14 | Acis and Galatea, HWV 49a: Act Two. 20. Air with Chorus: “Must I my Acis still bemoan” (Galatea) | — | ||
| 45-15 | Acis and Galatea, HWV 49a: Act Two. 20. Recitative: “'Tis done: Thus I exert my pow'r divine” (Galatea) | — | ||
| 45-16 | Acis and Galatea, HWV 49a: Act Two. 21. Air: “Heart, the seat of soft delight” (Galatea) | — | ||
| 45-17 | Acis and Galatea, HWV 49a: Act Two. 22. Chorus: “Galatea, dry thy tears” | — | ||
| 46-1 | Hercules, HWV 60: Act One. 1. Overtura | — | ||
| 46-2 | Hercules, HWV 60: Act One. 2. Recitativo accompagnato: “See with what sad dejection” (Lichas) | — | ||
| 46-3 | Hercules, HWV 60: Act One. 3. Aria: “No longer, Fate, relentless frown” (Lichas) | — | ||
| 46-4 | Hercules, HWV 60: Act One. 4. Recitativo accompagnato: “O Hercules! why art thou absent from me?” (Dejanira) / 5. Aria: “The world, when day's career is run” (Dejanira) | — | ||
| 46-5 | Hercules, HWV 60: Act One. 6. Recitativo: “Princess! be comforted, and hope the best” (Lichas, Dejanira, Hyllus) | — | ||
| 46-6 | Hercules, HWV 60: Act One. 7. Aria: “I feel, I feel the god” (Hyllus) | — | ||
| 46-7 | Hercules, HWV 60: Act One. 8. Recitativo: “Then I am lost! O dreadful oracle!” (Dejanira) / 9. Aria: “There in myrtle shades reclined” (Dejanira) | — | ||
| 46-8 | Hercules, HWV 60: Act One. 10. Recitativo: “Despair not! but let rising hope suspend” (Hyllus) / 11. Aria: “Where congealed the northern streams” (Hyllus) | — | ||
| 46-9 | Hercules, HWV 60: Act One. 12. Chorus: “O filial piety! O generous love!” | — | ||
| 46-10 | Hercules, HWV 60: Act One. 13. Recitativo: “Banish your fears! The noble Hercules” (Lichas, Dejanira) / 14. Aria: “Begone, my fears, fly hence, away” (Dejanira) | — | ||
| 46-11 | Hercules, HWV 60: Act One. 15. Recitativo: “A train of captives, red with honest wounds” (Lichas, Hyllus, Dejanira) | — | ||
| 46-12 | Hercules, HWV 60: Act One. 16. March | — | ||
| 46-13 | Hercules, HWV 60: Act One. 17. Recitativo: “Thanks to the powers above” (Hercules, Iole) | — | ||
| 46-14 | Hercules, HWV 60: Act One. 18. Aria: “My father! Ah! methinks I see” (Iole) | — | ||
| 46-15 | Hercules, HWV 60: Act One. 19. Recitativo: “Now farewell, arms! From hence the tide of time” (Hercules) / 20. Aria: “The god of battle quits the bloody field” (Hercules) | — | ||
| 46-16 | Hercules, HWV 60: Act One. 21. Chorus: “Crown with festal pomp the day” | — | ||
| 46-17 | Hercules, HWV 60: Act Two. 22. Aria: “How blest the maid ordained to dwell” (Iole) | — | ||
| 46-18 | Hercules, HWV 60: Act Two. 23. Recitativo: “It must be so! Fame speaks aloud my wrongs” (Dejanira, Iole) / 24. Aria “When beauty sorrow's livery wears” (Dejanira) | — | ||
| 46-19 | Hercules, HWV 60: Act Two. 25. Recitativo: “Whence this unjust suspicion?” (Iole, Dejanira) | — | ||
| 46-20 | Hercules, HWV 60: Act Two. 26. Aria: “Ah! think what ills the healous prove” (Iole) | — | ||
| 46-21 | Hercules, HWV 60: Act Two. 27. Recitativo: “It is too sure that Hercules is false” (Dejanira, Lichas) | — | ||
| 46-22 | Hercules, HWV 60: Act Two. 28. Chorus: “Jealousy! Infernal pest” | — | ||
| 47-1 | Hercules, HWV 60: Act Two. 29. Recitativo: “She knows my passion, and has heard me breathe” (Hyllus, Iole) | — | ||
| 47-2 | Hercules, HWV 60: Act Two. 30. Aria: “From celestial seats descending” (Hyllus) | — | ||
| 47-3 | Hercules, HWV 60: Act Two. 31. Chorus: “Wanton god of amorous fires” | — | ||
| 47-4 | Hercules, HWV 60: Act Two. 32. Recitativo: “Yes, I congratulate your titles, swelled” (Dejanira, Hercules) / 33. Aria: “Alcides' name in latest story” (Dejanira) | — | ||
| 47-5 | Hercules, HWV 60: Act Two. 34. Recitativo: “O glorious pattern of heroic deeds!” (Dejanira) / 35. Aria: “Resign thy club and lion's spoils” (Dejanira) | — | ||
| 47-6 | Hercules, HWV 60: Act Two. 36. Recitativo: “You are deceived! Some villain has belied” (Hercules, Dejanira) | — | ||
| 47-7 | Hercules, HWV 60: Act Two. 37. Aria: “Cease, ruler of the day, to rise” (Dejanira) | — | ||
| 47-8 | Hercules, HWV 60: Act Two. 38. Recitativo: “Some kinder power inspire me to regain” (Dejanira, Lichas, Iole) | — | ||
| 47-9 | Hercules, HWV 60: Act Two. 39. Duet: “Joys of freedom, joys of power” (Dejanira, Iole) | — | ||
| 47-10 | Hercules, HWV 60: Act Two. 40. Recitativo: “Father of Hercules, great Jove, O help” (Dejanira) / 41. Chorus: “Love and Hymen, hand in hand” | — | ||
| 47-11 | Hercules, HWV 60: Act Three. 42. Sinfonia | — | ||
| 47-12 | Hercules, HWV 60: Act Three. 43. Recitativo: “Ye sons of Trachin, mourn you valiant chief” (Lichas) | — | ||
| 47-13 | Hercules, HWV 60: Act Three. 44. Aria: “O scene of unexampled woe” (Lichas) | — | ||
| 47-14 | Hercules, HWV 60: Act Three. 45. Chorus: “Tyrants now no more shall dread” | — | ||
| 47-15 | Hercules, HWV 60: Act Three. 46. Recitativo accompagnato: “O Jove! what land is this, what clime accurst” (Hercules) | — | ||
| 47-16 | Hercules, HWV 60: Act Three. 47. Recitativo: “Great Jove! relieve his pains!” (Hyllus, Hercules) | — | ||
| 47-17 | Hercules, HWV 60: Act Three. 48. Aria: “Let not fame the tidings spread” (Hyllus) | — | ||
| 47-18 | Hercules, HWV 60: Act Three. 49. Recitativo accompagnato: “Where shall I fly? Where hide this guilty head?” (Dejanira) | — | ||
| 47-19 | Hercules, HWV 60: Act Three. 50. Recitativo: “Lo! the fair fatal cause of this ruin!” (Dejanira, Iole) | — | ||
| 47-20 | Hercules, HWV 60: Act Three. 51. Aria: “My breast with tender pity swells” (Iole) | — | ||
| 47-21 | Hercules, HWV 60: Act Three. 52. Recitativo: “Princess, rejoice! whose heaven-directed hand” (Priest of Jupiter, Dejanira) | — | ||
| 47-22 | Hercules, HWV 60: Act Three. 53. Recitativo: “Words are too faint to speak the warring passions” (Dejanira, Priest, Hyllus, Iole) | — | ||
| 47-23 | Hercules, HWV 60: Act Three. 54. Duet: “O prince, whose virtues all admire” / “O princess, whose exalted charms” (Iole, Hyllus) | — | ||
| 47-24 | Hercules, HWV 60: Act Three. 55. Recitativo: “Ye sons of freedom, now, in every clime” (Priest) / 56. Chorus: “To him your grateful notes of praise belong” | — | ||
| 48-1 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der erste Tag. 1. Largo. Die Vorstellung des Chaos | — | ||
| 48-2 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der erste Tag. 2. Rezitativ mit Chor: »Im Anfang schuf Gott Himmel und Erde« - »Und der Geist Gottes schwebte auf der Fläche der Wasser« (Raphael, Uriel) | — | ||
| 48-3 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der erste Tag. 3. Arie mit Chor: »Nun schwanden vor dem heiligen Strahle« - »Verzweiflung, Wut und Schrecken« (Uriel) | — | ||
| 48-4 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der zweite Tag. 4. Rezitativ: »Und Gott machte das Firmament« (Raphael) | — | ||
| 48-5 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der zweite Tag. 5. Chor mit Sopransolo: »Mit Staunen sieht das Wunderwerk« - »Und laut ertönt aus ihren Kehlen« (Gabriel) | — | ||
| 48-6 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. 6. Rezitativ: »Und Gott sprach: Es sammle sich das Wasser« (Raphael) | — | ||
| 48-7 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. 7. Arie: »Rollend in schäumenen Wellen« (Raphael) | — | ||
| 48-8 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. 8. Rezitativ: »Und Gott sprach: Es bringe die Erde Gras hervor« (Gabriel) | — | ||
| 48-9 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. 9. Arie: »Nun beut die Flur das frische Grün« (Gabriel) | — | ||
| 48-10 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. 10. Rezitativ: »Und die himmlischen Herrscharen verkündigten« (Uriel) | — | ||
| 48-11 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. 11. Chor: »Stimmt an die Saiten« | — | ||
| 48-12 | Die Schöpfung, Hob. XXI:2: Erster TeilDer vierte Tag. 12. Rezitativ: »Und Gott sprach: Es sei'n Lichter an der Feste des Himmels« (Uriel) | — | ||
| 48-13 | Die Schöpfung, Hob. XXI:2: Erster TeilDer vierte Tag. 13. Rezitativ: »In vollem Glanze steiget jetzt die Sonne« (Uriel) | — | ||
| 48-14 | Die Schöpfung, Hob. XXI:2: Erster TeilDer vierte Tag. 14. Chor mit Soli: »Die Himmel erzählen die Ehre Gottes« - »Dem Kommende Tage sagt es der Tag« (Gabriel, Uriel, Raphael) | — | ||
| 48-15 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. 15. Rezitativ: »Und Gott sprach: Es bringe das Wasser in der Fülle hervor« (Gabriel) | — | ||
| 48-16 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. 16. Arie: »Auf starkem Fittiche schwinget sich der Adler stolz« (Gabriel) | — | ||
| 48-17 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. 17. Rezitativ: »Und Gott schuf große Walfische« (Raphael) | — | ||
| 48-18 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. 18. Rezitativ: »Und die Engel rührten ihr' unsterblichen Harfen« (Raphael) | — | ||
| 48-19 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. 19. Terzett mit Chor: »In holder Anmut stehn« - »Der Herr ist groß in seiner Macht« (Gabriel, Uriel, Raphael) | — | ||
| 49-1 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 20. Rezitativ: »Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe« (Raphael) | — | ||
| 49-2 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 21. Rezitativ: »Gleich öffnet sich der Erde Schoß« (Raphael) | — | ||
| 49-3 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 22. Arie: »Nun scheint in vollem Glanze der Himmel« (Raphael) | — | ||
| 49-4 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 23. Rezitativ: »Und Gott schuf den Menschen« (Uriel) | — | ||
| 49-5 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 24. Arie: »Mit Würd' und Hoheit angetan« (Uriel) | — | ||
| 49-6 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 25. Rezitativ: »Und Gott sah jedes Ding« (Raphael) | — | ||
| 49-7 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag: 26. Chor und Terzett: »Vollendet ist das große Werk« - »Zu dir, o Herr, blickt alles auf« (Gabriel, Uriel, Raphael) | — | ||
| 49-8 | Die Schöpfung, Hob. XXI:2: Dritter Teil. 27. Orchestereinleitung und Rezitativ: »Aus Rosenwolken bricht« (Uriel) | — | ||
| 49-9 | Die Schöpfung, Hob. XXI:2: Dritter Teil. 28. Duett mit Chor: »Von deiner Güt' o Herr und Gott« - »Gesegnet sei des Herren Macht« (Eva, Adam) | — | ||
| 49-10 | Die Schöpfung, Hob. XXI:2: Dritter Teil. 29. Rezitativ: »Nun ist die erste Pflicht erfüllt« (Adam, Eva) | — | ||
| 49-11 | Die Schöpfung, Hob. XXI:2: Dritter Teil. 30. Duett: »Holde Gattin, dir zur Seite« (Adam, Eva) | — | ||
| 49-12 | Die Schöpfung, Hob. XXI:2: Dritter Teil. 31. Rezitativ: »O glücklich Paar, und glücklich immerfort« (Uriel) | — | ||
| 49-13 | Die Schöpfung, Hob. XXI:2: Dritter Teil. 32. Schlusschor mit Soli: »Singt dem Herrn, alle Stimmen« | — | ||
| 50-1 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 1. Einleitung. Largo - Vivace / Rezitativ: »Seht, wie der strenge Winter flieht« (Simon, Lukas Hanne) | — | ||
| 50-2 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 2. Chor: »Komm, holder Lenz!« | — | ||
| 50-3 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 3. Rezitativ: »Vom Widder straglet jetzt« (Simon) | — | ||
| 50-4 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 4. Arie: »Schon eilet froh der Ackermann« (Simon) | — | ||
| 50-5 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 5. Rezitativ: »Der Landmann hat sein Werk vollbracht« (Lukas) | — | ||
| 50-6 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 6. Terzett und Chor - Bittgesang: »Sei nun gnädig, milder Himmel!« (Lukas, Chor, Simon, Hanne) | — | ||
| 50-7 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 7. Rezitativ: »Erhört ist unser Fiehn« (Hanne) | — | ||
| 50-8 | Die Jahreszeiten, Hob. XXI:3: Der Frühling. 8. Freudenlied: »I wie lieblich ist der Anblick« (Hanne, Lukas, Chor, Simon) | — | ||
| 50-9 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 9. Einleitung. Adagio / Rezitativ: »In grauem Schleier rückt heran« (Lukas, Simon) | — | ||
| 50-10 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 10. Arie: »Der munt're Hirt versammelt nun« (Simon) / Rezitativ: »Die Morgenröte bricht hervor« (Hanne) | — | ||
| 50-11 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 11. Terzett und Chor: »Sie steigt herauf, die Sonne« - »Heil! O Sonne Heil!« (Hanne, Lukas, Simon, Chor) | — | ||
| 50-12 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 12. Rezitativ: »Nun regt und bewegt sich alles umher« (Simon) / Rezitativ: »Die Mittagssonne brennet jetzt« (Lukas) | — | ||
| 50-13 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 13. Kavatine: »Sem Druck erlieget die Natur« (Lukas) | — | ||
| 50-14 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 14. Rezitativ: »Willkommen jetzt, o dunkler Hain« (Hanne) | — | ||
| 50-15 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 15. Arie: »Welche Labung für die Sinne!« (Hanne) | — | ||
| 50-16 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 16. Rezitativ: »O seht! Es steiget in der schwülen Luft« (Simon, Lukas, Hanne) | — | ||
| 50-17 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 17. Chor: »Ach, das Ungewitter naht!« | — | ||
| 50-18 | Die Jahreszeiten, Hob. XXI:3: Der Sommer. 18. Terzett und Chor: »Die düstren Wolken trennen sich« (Lukas, Hanne, Simon, Chor) | — | ||
| 51-1 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 19. Einleitung. Allegretto / Rezitativ: »Was durch seine Blüte« (Hanne) / Rezitativ: »Den reichen Vorrat fährt er nun« (Lukas, Simon) | — | ||
| 51-2 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 20. Terzett mit Chor: »So lohnet die Natur den Fleiß« (Simon, Hanne, Lukas, Chor) | — | ||
| 51-3 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 21. Rezitativ: »Seht, wie zum Haselbusche dort« (Hanne, Simon, Lukas) | — | ||
| 51-4 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 22. Duett: »Ihr Schönen aus der Stadt, kommt her!« (Lukas, Hanne) | — | ||
| 51-5 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 23. Rezitativ: »Nun zeiget das entblößte Feld« (Simon) | — | ||
| 51-6 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 24. Arie: »Seht auf die breiten Wiesen hin!« (Simon) | — | ||
| 51-7 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 25. Rezitativ: »Hier treibt ein dichter Kreis« (Lukas) | — | ||
| 51-8 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 26. Chor des Landvolks und der Jäger: »Hört, hört das laute Getön« | — | ||
| 51-9 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 27. Rezitativ: »Am Rebenstocke blinket jetzt« (Hanne, Simon, Lukas) | — | ||
| 51-10 | Die Jahreszeiten, Hob. XXI:3: Der Herbst. 28. Chor: »Juchhe! Juchhe! Der Wein ist da« | — | ||
| 51-11 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 29. Einleitung. Adagio ma non troppo / Rezitativ: »Nun senket sich das blasse Jahr« (Simon, Hanne) | — | ||
| 51-12 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 30. Kavatine: »Licht und Leben sind geschwächet« (Hanne) | — | ||
| 51-13 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 31. Rezitativ: »Gefesselt steht der breite See« (Lukas) | — | ||
| 51-14 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 32. Arie: »Hier steht der Wand'rer nun« (Lukas) | — | ||
| 51-15 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 33. Rezitativ: »So wie er naht« (Lukas, Hanne, Simon) | — | ||
| 51-16 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 34. Lied mit Chor: »Knurre, schnurre, knurre« (Chor, Hanne) | — | ||
| 51-17 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 35. Rezitativ: »Abgesponnen ist der Flachs« (Lukas) | — | ||
| 51-18 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 36. Lied mit Chor: »Ein Mädchen, das auf Ehre hielt« (Hanne, Chor) | — | ||
| 51-19 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 37. Rezitativ: »Vom dürren Osten dringt« (Simon) | — | ||
| 51-20 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 38. Arie: »Erblicke hier, betörter Mensch« (Simon) / Rezitativ: »Die bleibt allein« (Simon) | — | ||
| 51-21 | Die Jahreszeiten, Hob. XXI:3: Der Winter. 39. Terzett und Doppelchor: »Dann brcht der große Morgen an« (Simon, Lukas, Chor, Hanne) | — | ||
| 52-1 | The Warriors: Vivace (Tempo I) - Lento (Tempo II) - Tempo I - Lento, poco più mosso - A tempo, pochissimo meno - Tempo I (Dance Orgy) - Lento: molto maestoso (Climax) - Presto (Dance Orgy) | Philharmonia Orchestra, John Eliot Gardiner | — | |
| 52-2 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 52-3 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 52-4 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 52-5 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 52-6 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 52-7 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 52-8 | The Planets, op. 32: 3. Mercury, the Winged Messenger. Vivace | Philharmonia Orchestra, Sir John Eliot Gardiner | — | |
| 53-1 | Die lustige Witwe: Erster Akt. 1. Introduktion: »Verehrteste Damen und Herren« (Cascada, Zeta, Valencienne, Sylviane, Olga Praškowia, Camille, St. Brioche, Kromow, Chor) | — | ||
| 53-2 | Die lustige Witwe: Erster Akt. 1a. Ballmusik / »Camille, ich muss mit ihnen sprechen!« (Valencienne, Camille, Zeta) | — | ||
| 53-3 | Die lustige Witwe: Erster Akt. 2. Duett: »So kommen Sie! 's ist niemand hier!« (Valencienne, Camille) | — | ||
| 53-4 | Die lustige Witwe: Erster Akt. »Nun, Njegus, haben Sie meine Botschaft überbracht?« (Zeta, Njegus) | — | ||
| 53-5 | Die lustige Witwe: Erster Akt. »Achtung, maine Herren, die Glawari kommt!« - »Was hat das zu bedeuten?« (Zeta, Njegus) / 3. Entrée-Lied und Ensemble: »Bitte, meine Herr'n« - »Hab' in Paris mich noch nicht ganz so akklimatisiert« (Hanna, Cascada, St. Brioche, Männerchor) | — | ||
| 53-6 | Die lustige Witwe: Erster Akt. 3a. Ballmusik / »Camille!« - »Ja?« (Valencienne, Camille) | — | ||
| 53-7 | Die lustige Witwe: Erster Akt. »Also, Njegus, hier bin ich, und wo ist das Vaterland?« / 4. Auftrittslied: »O Vaterland« (Danilo) | — | ||
| 53-8 | Die lustige Witwe: Erster Akt. »Ich habe schon die vierte Nacht nicht geschlafen!« (Danilo, Njegus, St. Brioche, Hanna) | — | ||
| 53-9 | Die lustige Witwe: Erster Akt. »Ich bitte Sie, lieber Freund, es hat doch keinen Zweck« (Valencienne, Camille) / 5. Duett: »Ja, was?« - »Ein trautes Zimmerlein« (Camille, Valencienne) | — | ||
| 53-10 | Die lustige Witwe: Erster Akt. »Also, lieber Graf, Sie sind, mein Mann« (Zeta, Danilo) / 6. Finale I: »Damenwahl! Hört man rufen rings im Saal« (Hanna, Danilo, Cascada, St. Brioche, eine Dame, Valencienne, Camille, Chor) | — | ||
| 53-11 | Die lustige Witwe: Zweiter Akt. 7. Introduction, Tanz und Vilja-Lied: »Ich bitte, hier jetzt zu verweilen« - »Es lebt' eine Vilja« (Hanna, Chor) | — | ||
| 53-12 | Die lustige Witwe: Zweiter Akt. »Gospodina, dieses vaterländische Fest könnte nicht vaterländischer sein!« (Zeta, Hanna, Danilo) | — | ||
| 53-13 | Die lustige Witwe: Zweiter Akt. 8. Duett: »Heia, Mädel, aufgeschaut« (Hanna, Danilo) | — | ||
| 53-14 | Die lustige Witwe: Zweiter Akt. »Wir werden uns noch schlagen um die Witwe!« (St. Brioche, Cascada, Danilo, Zeta) / 9. Marsch-Septett: »Wie die Weiber man behandelt« (Danilo, Zeta, St. Brioche, Cascada, Kromow Bogdanowitsch, Pritschitsch) | — | ||
| 53-15 | Die lustige Witwe: Zweiter Akt. »Mein tapferer Reitersmann!« (Hanna, Danilo) / 10. Spielszene und Tanzduett: »So, wie die Dinge sich entwickeln« (Hanna, Danilo) | — | ||
| 53-16 | Die lustige Witwe: Zweiter Akt. »Nein, nein, nein« (Valencienne, Camille) / 11. Duett und Romanze: »Mein Freund! Vernunft!« - »Wie eine Rosenknospe« (Valencienne, Camille) | — | ||
| 53-17 | Die lustige Witwe: Zweiter Akt. »Ah, die Baronin und der Herr Rosillon« (Njegus, Zeta, Danilo) | — | ||
| 53-18 | Die lustige Witwe: Zweiter Akt. 12. Finale II: »Ha! Ha!« - »Wir fragen, was man von uns will!« (Danilo, Zeta, Hanna, Valencienne, Camille, Njegus, Sylviane, Olga, Praškowia, Bogdanowitsch, Kromow, Pritschitsch, Chor) | — | ||
| 53-19 | Die lustige Witwe: Dritter Akt. 12b. Zwischenspiel / »Also, also, also!« (Zeta, Njegus) | — | ||
| 53-20 | Die lustige Witwe: Dritter Akt. 13. Tanz-Szene | — | ||
| 53-21 | Die lustige Witwe: Dritter Akt. »Graf Danilowitsch …« (Njegus, Danilo) / 14. Chanson: »Ja, wir sind es, die Grisetten« (Valencienne, Lolo, Dodo, Jou-Jou, Frou-Frou, Clo-Clo, Margot, Danilo, Zeta, Bogdanowitsch, Pritschitsch, Kromow, Chor) | — | ||
| 53-22 | Die lustige Witwe: Dritter Akt. »Exzellenz, Exzellenz, Graf, eine Expressdepesche!« (A servant, Danilo, Zeta, Hanna) | — | ||
| 53-23 | Die lustige Witwe: Dritter Akt. »Aber dort bin ich zu Hause …« / 15. Duett: »Lippen schweigen« (Danilo, Hanna) | — | ||
| 53-24 | Die lustige Witwe: Dritter Akt. »Exzellenz! Exzellenz! Diesen Fächer hat man im Pavillon gefunden!« (Njegus, Valencienne, Zeta, Hanna, Danilo) | — | ||
| 53-25 | Die lustige Witwe: Dritter Akt. 16. Schlussgesang: »Ja, das Studium der Weiber ist schwer« (Hanna, Zeta, Danilo, Valencienne, Lolo, Dodo, Jou-Jou, Frou-Frou, Clo-Clo, Margot, Kromow, Bogdanowitsch, Pritschitsch, Chor) | — | ||
| 54-1 | Lieder eines fahrenden Gesellen: 1. Wenn mein Schatz Hochzeit macht | — | ||
| 54-2 | Lieder eines fahrenden Gesellen: 2. Ging heut' morgen übers Feld | — | ||
| 54-3 | Lieder eines fahrenden Gesellen: 3. Ich hab' ein glühend Messer | — | ||
| 54-4 | Lieder eines fahrenden Gesellen: 4. Die zwei blauen Augen | — | ||
| 54-5 | 6 Gesänge nach Gedichten von Maurice Maeterlinck, op. 13: 1. Die drei Schwestern | — | ||
| 54-6 | 6 Gesänge nach Gedichten von Maurice Maeterlinck, op. 13: 2. Die Mädchenmit den verbundenen Augen | — | ||
| 54-7 | 6 Gesänge nach Gedichten von Maurice Maeterlinck, op. 13: 3. Lied der Jungfrau | — | ||
| 54-8 | 6 Gesänge nach Gedichten von Maurice Maeterlinck, op. 13: 4. Also ihr Geliebter schied | — | ||
| 54-9 | 6 Gesänge nach Gedichten von Maurice Maeterlinck, op. 13: 5. Und kehrt er einst heim | — | ||
| 54-10 | 6 Gesänge nach Gedichten von Maurice Maeterlinck, op. 13: 6. Sie kam zum Schloss gegangen | — | ||
| 54-11 | 5 Lieder nach Gedichten von Friedrich Rückert: 1. Ich atmet' einen linden Duft | — | ||
| 54-12 | 5 Lieder nach Gedichten von Friedrich Rückert: 2. Blicke mir nicht iun die Lieder | — | ||
| 54-13 | 5 Lieder nach Gedichten von Friedrich Rückert: 3. Liebst du um Schönheit | — | ||
| 54-14 | 5 Lieder nach Gedichten von Friedrich Rückert: 4. Um Mittenacht | — | ||
| 54-15 | 5 Lieder nach Gedichten von Friedrich Rückert: 5. Ich bin der Welt abhanden gekommen | — | ||
| 55-1 | Symphony no. 4 in A major “Italian”, op. 90: 1. Allegro vivace | — | ||
| 55-2 | Symphony no. 4 in A major “Italian”, op. 90: 2. Andante con moto | — | ||
| 55-3 | Symphony no. 4 in A major “Italian”, op. 90: 3. Con moto moderato | — | ||
| 55-4 | Symphony no. 4 in A major “Italian”, op. 90: 4. Salterello. Presto | — | ||
| 55-5 | Symphony no. 5 in D major “Reformation”, op. 107: 1. Andante - Allegro con fuoco | — | ||
| 55-6 | Symphony no. 5 in D major “Reformation”, op. 107: 2. Allegro vivace | — | ||
| 55-7 | Symphony no. 5 in D major “Reformation”, op. 107: 3. Andante | — | ||
| 55-8 | Symphony no. 5 in D major “Reformation”, op. 107: 4. Chorale “Ein' feste Burg ist unser Gott” / Andante con moto - Allegro vivace - Allegro maestoso | — | ||
| 56-1 | Vespro della Beata Vergine, SV 206: I. Domine ad adiuvandum | Monteverdi Choir, Nigel Robson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-2 | Vespro della Beata Vergine, SV 206: II. Dixit dominus | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-3 | Vespro della Beata Vergine, SV 206: III. Nigra sum | Mark Tucker, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-4 | Vespro della Beata Vergine, SV 206: IV. Laudate pueri | Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-5 | Vespro della beata Vergine: Pulchra es A 2 | Ann Monoyios, Marinella Pennicchi, Jakob Lindberg, David Miller, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-6 | Vespro della Beata Vergine, SV 206: VI. Laetatus sum | Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Mark Tucker, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-7 | Vespro della beata Vergine: Duo seraphim A 3 | Sandro Naglia, Nigel Robson, Mark Tucker, Jakob Lindberg, David Miller, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-8 | Vespro della beata Vergine: Nisi Dominus A 10 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-9 | Vespro della Beata Vergine, SV 206: IX. Audi coelum | Monteverdi Choir, Nigel Robson, Mark Tucker, Jakob Lindberg, Christopher Wilson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 56-10 | Vespro della beata Vergine: Lauda Jerusalem A 7 | Monteverdi Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 57-1 | Vespro della Beata Vergine, SV 206: XI. Sonata sopra "Sancta Maria" | Patrick Russill, London Oratory Junior Choir, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 57-2 | Vespro della Beata Vergine, SV 206: XII. Ave maris stella | Patrick Russill, Michael Chance, London Oratory Junior Choir, Monteverdi Choir, Nigel Robson, Jakob Lindberg, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 57-3 | Vespro della Beata Vergine, SV 206: XIII. Magnificat a 7 voci | Patrick Russill, Michael Chance, London Oratory Junior Choir, Alastair Miles, Ann Monoyios, Monteverdi Choir, Sandro Naglia, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, Ian Watson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 57-4 | Vespro della Beata Vergine, SV 206a: XII. Magnificat a 6 voci | Patrick Russill, London Oratory Junior Choir, Alastair Miles, Ann Monoyios, Monteverdi Choir, Marinella Pennicchi, Nigel Robson, Bryn Terfel, Mark Tucker, Ian Watson, English Baroque Soloists, His Majestys Sagbutts and Cornetts, Sir John Eliot Gardiner | — | |
| 58-1 | L'Orfeo: Toccata | His Majestys Sagbutts and Cornetts, English Baroque Soloists, Sir John Eliot Gardiner | T-702.928.999-6 | |
| 58-2 | L'Orfeo: Prologo. "Dal mio Permesso" (La Musica) | John Eliot Gardiner, The English Baroque Soloists, Lynne Dawson | T-702.928.999-6 | |
| 58-3 | L'Orfeo: Atto primo. "In questo lieto e fortunato giorno" / "Vieni, Imeneo" / "Muse, onor di Parnaso" | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Nancy Argenta, Mark Tucker | T-702.928.999-6 | |
| 58-4 | L'Orfeo: Atto primo. Balletto. "Lasciate i monti" / "Ma tu, gentil cantor" | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Michael Chance | T-702.928.999-6 | |
| 58-5 | L'Orfeo: Rosa del ciel | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Anthony Rolfe Johnson, Julianne Baird | T-702.928.999-6 | |
| 58-6 | L'Orfeo: Atto primo. "Ma se il nostro gioir" / "Ecco Orfeo, cui pur" | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Nancy Argenta, Mark Tucker, Nigel Robson, Michael Chance, Simon Birchall | T-702.928.999-6 | |
| 58-7 | L'Orfeo: Sinfonia... Ecco pur ch'a voi ritorno | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson | T-011.354.204-3 | |
| 58-8 | L'Orfeo: Mira cha sé nalletta | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Mark Tucker, Nigel Robson | T-702.928.999-6 | |
| 58-9 | L'Orfeo: Atto secondo. "Vi ricorda, o bosch'ombrosi" (Orfeo, Pastore I) | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson | T-702.928.999-6 | |
| 58-10 | L'Orfeo: Atto secondo. "Ahi, caso acerbo" / "In un fiorito prato" | Michael Chance, Anne Sofie von Otter, Nigel Robson, Anthony Rolfe Johnson, Mark Tucker, English Baroque Soloists, Sir John Eliot Gardiner | T-702.928.999-6 | |
| 58-11 | L'Orfeo: Atto secondo. "Ahi, caso acerbo" / "Ma io, che in questa lingua" | Monteverdi Choir, Anne Sofie von Otter, English Baroque Soloists, Sir John Eliot Gardiner | T-702.928.999-6 | |
| 58-12 | L'Orfeo: Atto secondo. Sinfonia / "Chi ne consola, ahi lassi?" / "Ahi, caso acerbo" / "Ma dove, ah dove" / "Ahi, caso acerbo" | Monteverdi Choir, Nigel Robson, Mark Tucker, English Baroque Soloists, Sir John Eliot Gardiner | T-702.928.999-6 | |
| 59-1 | L'Orfeo: Atto terzo. Sinfonia / "Scorto da te, mio Nume" / "Ecco l'atra palude" / "Dove, ah dove ten vai" | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson, Mary Nichols | T-702.928.999-6 | |
| 59-2 | L'Orfeo: Atto terzo. "O tu, ch'inanzi morte" (Caronte) | The English Baroque Soloists, John Tomlinson | T-702.928.999-6 | |
| 59-3 | Orfeo, Akt III: "Possente spirto" | Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | T-702.928.999-6 | |
| 59-4 | L'Orfeo: Atto terzo. "Ben mi lusinga" | John Eliot Gardiner, Anthony Rolfe Johnson, Nicolas Robertson | T-702.928.999-6 | |
| 59-5 | L'Orfeo: Atto terzo. "Nulla impresa per uom" (Coro di spiriti) | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir | T-702.928.999-6 | |
| 59-6 | L'Orfeo: Atto quarto. "Signor, quel infelice" / "Benché severo" / "O degli abitator" / "Quali grazie ti rendo" / "Tue soavi parole" | John Eliot Gardiner, The English Baroque Soloists, Diana Montague, Willard White, Howard Milner, Nicolas Robertson | T-702.928.999-6 | |
| 59-7 | L'Orfeo: Atto quarto. "Pietade, oggi, e amore" / "Ecco il gentil cantor" | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Howard Milner | T-702.928.999-6 | |
| 59-8 | L'Orfeo: Qual onor di te fia degno | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson, John Tomlinson | T-702.928.999-6 | |
| 59-9 | L'Orfeo: Ahi, vista troppo dolce | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson, Julianne Baird, Howard Milner | T-702.928.999-6 | |
| 59-10 | L'Orfeo: Atto quarto. "È la virtute un raggio" (Coro di spiriti) | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir | T-702.928.999-6 | |
| 59-11 | L'Orfeo: Atto quinto. "Questi i campi di Tracia" (Orfeo, Eco) | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson, Mark Tucker | T-702.928.999-6 | |
| 59-12 | L'Orfeo: Atto quinto. Sinfonia / "Perché a lo sdegno" | John Eliot Gardiner, The English Baroque Soloists, Anthony Rolfe Johnson, Nigel Robson | T-702.928.999-6 | |
| 59-13 | L'Orfeo: Atto quinto. "Vanne Orfeo" (Coro di ninfe e pastori) | John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir | T-702.928.999-6 | |
| 59-14 | L'Orfeo: Moresca | John Eliot Gardiner, The English Baroque Soloists | T-702.928.999-6 | |
| 60-1 | L'incoronazione di Poppea: Sinfonia / Prologo. “Deh, nasconditi, o Virtù” (Fortuna, Virtù, Amore) / “Deh, sommergerti, malnata” (Virtù) / “Chi vi credete, o Dee” (Amore, Fortuna, Virtù) | — | ||
| 60-2 | L'incoronazione di Poppea: Atto Primo. Ritornello - “E pur'io torno qui, qual linea al centro” (Ottone) | — | ||
| 60-3 | L'incoronazione di Poppea: Atto Primo. “Chi parla? chi parla?” (Soldato I, Ottone, Soldato II) | — | ||
| 60-4 | L'incoronazione di Poppea: Atto Primo. “Signor, deh, non partire!” (Poppea, Nerone) | — | ||
| 60-5 | L'incoronazione di Poppea: Atto Primo. Ritornello - “Speranza, tu mi vai” (Poppea, Arnalta) | — | ||
| 60-6 | L'incoronazione di Poppea: Atto Primo. “Disprezzata regina” (Ottavia) | — | ||
| 60-7 | L'incoronazione di Poppea: Atto Primo. “Ottavia, Ottavia!” (Nutrice, Ottavia) | — | ||
| 60-8 | L'incoronazione di Poppea: Atto Primo. “Ecco la sconsolata” (Seneca, Ottavia) | — | ||
| 60-9 | L'incoronazione di Poppea: Atto Primo. “Madama, con tua pace” (Valletto, Ottavia) | — | ||
| 60-10 | L'incoronazione di Poppea: Atto Primo. “Le porpore regali, e imperatrici” (Seneca) | — | ||
| 60-11 | L'incoronazione di Poppea: Atto Primo. “Seneca, io miro in cielo infausti rai” (Pallade, Seneca) | — | ||
| 60-12 | L'incoronazione di Poppea: Atto Primo. “Son risoluto insomma” (Nerone, Seneca) | — | ||
| 60-13 | L'incoronazione di Poppea: Atto Primo. Sinfonia - “Come dolci, Signore come soavi” (Poppea, Nerone) | — | ||
| 61-1 | L'incoronazione di Poppea: Atto Primo. Ritornello - “Ad altri tocca in sorte” (Ottone, Poppea) | — | ||
| 61-2 | L'incoronazione di Poppea: Atto Primo. “Infelice garzone!” (Arnalta) - “Otton, torna in te stesso” (Ottone) | — | ||
| 61-3 | L'incoronazione di Poppea: Atto Primo. “Pur sempre di Poppea” (Drusilla, Ottone) | — | ||
| 61-4 | L'incoronazione di Poppea: Atto Secondo. “Solitudine amata” (Seneca, Mercurio) | — | ||
| 61-5 | L'incoronazione di Poppea: Atto Secondo. “Il comando tiranno” (Liberto, Seneca) | — | ||
| 61-6 | L'incoronazione di Poppea: Atto Secondo. “Amici, è giunta l'ora” (Seneca) / “Non morir, Seneca, no!” (famigliari) / “Supprimete i singulti” (Seneca) | — | ||
| 61-7 | L'incoronazione di Poppea: Atto Secondo. Ritornello - “Sento un certo non so che” (Valletto, Damigella) | — | ||
| 61-8 | L'incoronazione di Poppea: Atto Secondo. “Dunque amor così comincia?” (Valletto, Damigella) | — | ||
| 61-9 | L'incoronazione di Poppea: Atto Secondo. “Or che Seneca è morto” (Nerone, Lucano) | — | ||
| 61-10 | L'incoronazione di Poppea: Atto Secondo. Ritornello - “Son rubini amorosi” (Nerone, Lucano) | — | ||
| 61-11 | L'incoronazione di Poppea: Atto Secondo. “Tu che dagli avi miei” (Ottavia, Ottone) | — | ||
| 61-12 | L'incoronazione di Poppea: Atto Secondo. “Felice cor mio” (Drusilla) / “Nutrice, quanto pagheresti” (Valletto, Nutrice, Drusilla) / Ritornello - “Il giorno femminil” (Nutrice, Valletto) | — | ||
| 61-13 | L'incoronazione di Poppea: Atto Secondo. “Io son so dov'io vada” (Ottone, Drusilla) | — | ||
| 61-14 | L'incoronazione di Poppea: Atto Secondo. “Or che Seneca è morto” (Poppea, Arnalta) | — | ||
| 61-15 | L'incoronazione di Poppea: Atto Secondo. “Adagiati, Poppea” - “Oblivion soave” (Arnalta) | — | ||
| 61-16 | L'incoronazione di Poppea: Atto Secondo. “Dorme, l'incauta dorme” (Amore) | — | ||
| 61-17 | L'incoronazione di Poppea: Atto Secondo. “Eccomi trasformato” (Ottone) | — | ||
| 61-18 | L'incoronazione di Poppea: Atto Secondo. “Forsennato, scellerato” (Amore, Poppea, Arnalta) | — | ||
| 62-1 | L'incoronazione di Poppea: Atto Terzo. “O felice Drusilla, o che sper'io?” (Drusilla) | — | ||
| 62-2 | L'incoronazione di Poppea: Atto Terzo. “Ecco la scellerata” (Arnalta, Littore, Drusilla) | — | ||
| 62-3 | L'incoronazione di Poppea: Atto Terzo. “Signor, ecco la rea” (Arnalta, Nerone, Drusilla) | — | ||
| 62-4 | L'incoronazione di Poppea: Atto Terzo. “No, no, questa sentenza” (Ottone, Drusilla, Nerone, Littore) | — | ||
| 62-5 | L'incoronazione di Poppea: Atto Terzo. “Signor, oggi rinasco ai primi fiori” (Poppea, Nerone) / “Non più s'interporrà noia o dimora” (Nerone, Poppea) | — | ||
| 62-6 | L'incoronazione di Poppea: Atto Terzo. “Oggi sarà Poppea” (Arnalta) | — | ||
| 62-7 | L'incoronazione di Poppea: Atto Terzo. “A Dio, Roma! a Dio, patria! amici, a Dio!” (Ottavia) | — | ||
| 62-8 | L'incoronazione di Poppea: Atto Terzo. “Ascendi, o mia diletta” (Nerone) / “A te, sovrana augusta” (Consoli, Tribuni) | — | ||
| 62-9 | L'incoronazione di Poppea: Atto Terzo. “Scendiam, scendiam” (Amore, Coro d'Amori, Venere, Poppea, Nerone) | — | ||
| 62-10 | L'incoronazione di Poppea: Atto Terzo. “Pur ti miro” (Poppea, Nerone) | — | ||
| 63-1 | Concerto for Piano and Orchestra no. 5 in D major, K. 175: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 | |
| 63-2 | Concerto for Piano and Orchestra no. 5 in D major, K. 175: II. Andante ma un poco adagio | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — | |
| 63-3 | Concerto for Piano and Orchestra no. 5 in D major, K. 175: III. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Concerto for Piano and Orchestra no. 6 in B-flat major, K. 238: I. Allegro aperto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 6 in B-flat major, K. 238: II. Andante un poco adagio | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 6 in B-flat major, K. 238: III. Rondeau. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for 3 Pianos and Orchestra no. 7 in F major, K. 242 "Lodron": I. Allegro | Malcolm Bilson, Robert Levin, Melvyn Tan, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 |
| Concerto for 3 Pianos and Orchestra no. 7 in F major, K. 242 "Lodron": II. Adagio | Malcolm Bilson, Robert Levin, Melvyn Tan, English Baroque Soloists, Sir John Eliot Gardiner | T-007.185.681-9 |
| Concerto for 3 Pianos and Orchestra no. 7 in F major, K. 242 "Lodron": III. Rondeau. Tempo di menuetto | Malcolm Bilson, Robert Levin, Melvyn Tan, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 8 in C major, K. 246 "Lützow": I. Allegro aperto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 8 in C major, K. 246 "Lützow": II. Andante | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-802.445.410-3 |
| Concerto for Piano and Orchestra no. 8 in C major, K. 246 "Lützow": III. Rondeau. Tempo di menuetto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for 2 Pianos and Orchestra (no. 10) in E-flat, K. 365: 1. Allegro | Malcolm Bilson, Robert Levin, English Baroque Soloists, John Eliot Gardiner | T-011.422.353-8 |
| Concerto for 2 Pianos and Orchestra (no. 10) in E-flat, K. 365: 2. Andante | Malcolm Bilson, Robert Levin, English Baroque Soloists, John Eliot Gardiner | T-802.445.410-3 |
| Concerto for 2 Pianos and Orchestra (no. 10) in E-flat, K. 365: 3. Rondeau (Allegro) | Malcolm Bilson, Robert Levin, English Baroque Soloists, John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 11 in F major, K. 413: I. Allegro | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 11 in F major, K. 413: II. Larghetto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 11 in F major, K. 413: III. Tempo di menuetto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 12 in A major, K. 414: II. Andante | Malcolm Bilson, Robert Smissen, Sir John Eliot Gardiner | T-802.445.410-3 |
| Concerto for Piano and Orchestra no. 14 in E-flat major, K. 449: I. Allegro vivace | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 18 in B-flat major, K. 456: I. Allegro vivace | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 18 in B-flat major, K. 456: II. Andante un poco sostenuto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 18 in B-flat major, K. 456: III. Allegro vivace | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 16 in D major, K. 451: I. Allegro assai | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | T-306.395.786-4 |
| Concerto for Piano and Orchestra no. 16 in D major, K. 451: II. Andante | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | T-802.445.410-3 |
| Concerto for Piano and Orchestra no. 16 in D major, K. 451: III. Rondeau. Allegro di molto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 19 in F major, K. 459: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 19 in F major, K. 459: II. Allegretto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-802.445.410-3 |
| Concerto for Piano and Orchestra no. 19 in F major, K. 459: III. Allegro assai | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | T-306.395.786-4 |
| Concerto for Piano and Orchestra no. 21 in C major, K. 467: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 21 in C major, K. 467: II. Andante | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-802.445.410-3 |
| Concerto for Piano and Orchestra no. 21 in C major, K. 467: III. Allegro vivace assai | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 17 in G major, K. 453: I. Allegro | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 17 in G major, K. 453: II. Andante | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 17 in G major, K. 453: III. Allegretto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 20 in D minor, K. 466: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 20 in D minor, K. 466: II. Romance | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 20 in D minor, K. 466: III. Rondo. Allegro assai | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 22 in E-flat major, K. 482: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 22 in E-flat major, K. 482: II. Andante | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-802.445.410-3 |
| Concerto for Piano and Orchestra no. 22 in E-flat major, K. 482: III. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 23 in A major, K. 488: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 23 in A major, K. 488: II. Adagio | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-915.711.586-1 |
| Concerto for Piano and Orchestra no. 23 in A major, K. 488: III. Allegro assai | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-306.395.786-4 |
| Concerto for Piano and Orchestra no. 24 in C minor, K. 491: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 24 in C minor, K. 491: II. Larghetto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 24 in C minor, K. 491: III. Allegretto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 25 in C major, K. 503: I. Allegro maestoso | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 25 in C major, K. 503: II. Andante | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 25 in C major, K. 503: III. Allegretto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 26 in D major, K. 537 "Coronation": I. Allegro | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 26 in D major, K. 537 "Coronation": II. Larghetto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 26 in D major, K. 537 "Coronation": III. Allegretto | English Baroque Soloists, Sir John Eliot Gardiner, Malcolm Bilson | — |
| Concerto for Piano and Orchestra no. 27 in B-flat major, K. 595: I. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 27 in B-flat major, K. 595: II. Larghetto | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Concerto for Piano and Orchestra no. 27 in B-flat major, K. 595: III. Allegro | Malcolm Bilson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Ouverture | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act I, Scene I. Recitativo "Quando avran fine omai" (Ilia) / No. 1 Aria "Padre, germani, addio!" (Ilia) / "Ecco Idamante, ahimé!" (Ilia) | Sylvia McNair, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act I, Scene II. Recitativo "Radunate i Troiani, ite" (Ilia, Idamante) / No. 2 Aria "Non ho colpa" (Idamante) | Sylvia McNair, Anne Sofie von Otter, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act I, Recitativo "Ecco il mesero resto de Troiani" / Recitativo "Scingete le catene" | Sylvia McNair, Anne Sofie von Otter, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act I, No.3 coro "Godiam la pace" / Rec "Tutta la Grecia oltraggi" / Rec "Ma quel pianto che annunzia ? / Rec : Estinto è idomeneo ? / No.4 aria : Tutte nel cor vi sento / No.5 coro : Pietá ! Numi, pietá ! / Rec : Eccoci salvi alfin / Rec : Voi di Marte e di Nettuno" | Stephen Charlesworth, Angela Kazimierczuk, Jonathan Peter Kenny, Sylvia McNair, Hillevi Martinpelto, Monteverdi Choir, Anne Sofie von Otter, Nigel Robson, Anthony Rolfe Johnson, Philip Salmon, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act I, No. 6 aria "Vedrommi intorno" / Recitativo : "Cieli ! Che veggo ?" / Recitativo : "Spiagge romite" | Anne Sofie von Otter, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act I, Scene X. No. 7 Aria "Il padre adorato" (Idamante) | Anne Sofie von Otter, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act I, Scene XI. No. 8 Marcia | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act I, Scene XI. No. 9 Coro "Nettuno s'onori!" (Coro) | Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene I. No. 10a Recitativo "Tutto m'è noto" (Arbace, Idomeneo) | Nigel Robson, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene I. No. 10a Aria. Allegro "Se il tuo duol, se il mio desio" (Arbace) | Nigel Robson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene II. Recitativo "Se mai pomposo" (Ilia, Idomeneo) | Sylvia McNair, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene II. No. 11 Aria "Se il padre perdei" (Ilia) | Sylvia McNair, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene III. Recitativo "Qual mi conturba i sensi" (Idomeneo) | Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act II, No. 12 aria "Fuor del mar ho un mar in seno" | Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | T-306.097.548-2 |
| Idomeneo, re di Creta K. 366: Act II, Recitativo "Frettolosa e Guiliva Elettra Vien" / Recitativo "Chi mai del Mio Provò" | Hillevi Martinpelto, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene V. No. 13 Aria "Idol mio, se ritroso" (Elettra) | Hillevi Martinpelto, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene V. Marcia / No. 14 Recitavio "Odo da lunge" (Elettra) | Hillevi Martinpelto, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act II, Scene V. Recitativo "Sidonie sponde!" (Elettra) | Hillevi Martinpelto, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act II, No. 15 coro "Placido è il mar / Soavi zeffiri" / Recitativo "Vattene prence" / No. 16 terzetto : "Pria di partir, oh dio !" / No. 17 coro : "Qual nuovo terrore !" / Recitativo : "Eccoti in me, barbaro nume !" / No. 18 coro : "Corriamo, fuggiamo" | Hillevi Martinpelto, Monteverdi Choir, Anne Sofie von Otter, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene I. No. 19 Aria "Zeffiretti lusinghieri" (Ilia) / Act III, Scene II. Recitativo "Ei stesso vien" (Ilia) | Sylvia McNair, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act III, "Principessa, a' tuoi sguardi" / No. 20 duetto "S'io non moro a questi accenti" / Recitativo : "Cieli ! Che vedo ?" | Sylvia McNair, Hillevi Martinpelto, Anne Sofie von Otter, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Act III, Recitativo "Dunque io me n'andrò" / No. 21 quartetto "Andrò ramingo e solo" | Sylvia McNair, Hillevi Martinpelto, Anne Sofie von Otter, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene IV. Recitativo "Sire, alla reggia tua immensa turba" (Arbace, Ilia,Idomeneo, Elettra) | Sylvia McNair, Hillevi Martinpelto, Nigel Robson, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene V. Recitativo "Sventurata Sidon!" (Arbace) | Nigel Robson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene V. No. 22 Aria "Se colà ne' fati è scritto" (Arbace) | Nigel Robson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene VI. No. 23 Recitativo "Volgi intorno lo sguardo" (Gran Sacerdote, Idomeneo) | Anthony Rolfe Johnson, Glenn Winslade, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene VI. No. 24 Coro "O voto tremendo" (Coro, Gran Sacerdote) | Monteverdi Choir, Glenn Winslade, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene VII. No. 25 Marcia | English Baroque Soloists, Sir John Eliot Gardiner | T-906.743.326-5 |
| Idomeneo, re di Creta K. 366: Act III, No. 26 cavatina con coro "Accogli, oh re del mar" | Monteverdi Choir, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta K. 366: Appendix , Recitativo "Frettolosa e giuliva Elettra vien" / Recitativo "Sire, da arbace intensi" / Recitativo : "Chi ma del mio provò" | Hillevi Martinpelto, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Coro "Stupenda vittoria!" / Recitativo "Sire, il prence" | Monteverdi Choir, Nigel Robson, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Recitativo "Padre, mio caro padre" | Anne Sofie von Otter, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene IX. No. 27a Aria "No, la morte io non pavento" (Idamante) | Anne Sofie von Otter, English Baroque Soloists, Sir John Eliot Gardiner | T-306.143.268-2 |
| Idomeneo, re di Creta, K. 366: Act III, Scene X. Recitativo "Ma, che più tardi?" (Idamante, Idomeneo, Ilia, Gran Sacerdote) | Anne Sofie von Otter, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene X. Dialogue "Ferma, oh sire, che fai?" (Ilia,Idomeneo, Idomante, Ilia, Gran Sacerdote) | Sylvia McNair, Hillevi Martinpelto, Anne Sofie von Otter, Anthony Rolfe Johnson, Glenn Winslade, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene X. No. 28 La Voce "Ha vinto Amore" (La Voce) | Cornelius Hauptmann, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Recitativo "Oh ciel pietoso !" / Recitativo "Oh, smania ! Oh furie !" / No. 29 aria : "D'oreste, d'aiace" | Sylvia McNair, Hillevi Martinpelto, Anne Sofie von Otter, Nigel Robson, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene XI. No. 30 Recitativo "Popoli, a voi l'ultima legge" (Idomeneo) | Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Act III, Scene XI. No. 30a Aria "Torna la pace al core" (Idomeneo) | Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | T-306.096.245-6 |
| Idomeneo, re di Creta, K. 366: Act III, Scene XI. No. 31 Coro "Scenda Amor, scenda Imeneo" (Coro) | English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| Idomeneo, re di Creta, K. 366: Act III, No. 32 Ballet K. 367(Chaconne / Larghetto / La Chaconne, qui reprend / Largo / Allegretto, sempre Piano / Più Allegro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Appendix, Recitativo "Ferma, oh sire, che fai ?" | Sylvia McNair, Hillevi Martinpelto, Anne Sofie von Otter, Anthony Rolfe Johnson, Glenn Winslade, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Appendix, No. 28 "A Idomeneo perdona" (Versione per legni / Woodwind version) | Cornelius Hauptmann, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Appendix No. 28 "Ha vinto amore" (Versione più estesa per ottoni / Brass : Longer version) | Cornelius Hauptmann, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Idomeneo, re di Creta, K. 366: Appendix, Recitativo "Oh ciel pietoso!" / Recitativo "Oh, smania! Oh, furie!" | Sylvia McNair, Hillevi Martinpelto, Anne Sofie von Otter, Nigel Robson, Anthony Rolfe Johnson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Ouvertüre | English Baroque Soloists, Sir John Eliot Gardiner | T-003.143.988-9 |
| Die Entführung aus dem Serail, K. 384: Act I, Scene I. No. 1 Aria "Hier soll ich Dich denn sehen" (Belmonte) / Act I, Scene I. Dialog "Aber wie soll ich in den Palast kommen?" (Belmonte) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene II. No. 2 Lied und Duetto "Wer ein Liebchen hat gefunden" (Osmin, Belmonte) | English Baroque Soloists, Sir John Eliot Gardiner | T-900.134.067-6 |
| Die Entführung aus dem Serail, K. 384: Act I, Nun, wie steht's, Osmin? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene III. No. 3 Aria "Solche hergelauf'ne Laffen" (Osmin) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene IV. Dialog "Geh nur, verwünschter Aufpasser!" (Pedrillo, Belmonte) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Konstanze, dich wiederzusehen / Nr. 4: O wie ängstlich, o wie feurig | Stanford Olsen, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Herr, geschwind auf die Seite / Nr. 5a Marsch | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene VI. No. 5b Chor "Singt dem grossen Bassa Lieder" (Chor und Solisten der Janitscharen) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene VII. Dialog "Immer noch traurig, geliebte Konstanze?" (Selim, Konstanze) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene VII. No. 6 Aria "Ach ich liebte" (Konstanze) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Du bist so großmütig, so gut / Ha, Triumph, Triumph, Herr! / Wohin? ... Hinein! | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act I, Scene X. No. 7 Trio "Marsch, marsch, marsch! Trollt euch fort" (Osmin, Belmonte, Pedrillo) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Gift und Dolch / O, des Zankens, Befehlens und Murrens / Nr. 8: Durch Zärtlichkeit und Schmeicheln | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene I. Dialog "Zärtlichkeit? Schmeicheln? Es ist mir wie pure Zärtlichkeit!" (Osmin, Blonde) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene I. No. 9 Duetto "Ich gehe, doch rate ich dir" (Osmin, Blonde) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene II. No. 10 Aria "Traurigkeit ward mir zum Lose" (Konstanze) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Ach mein bestes Fräulein / Nun, Konstanze, denkst du meinem Begehren nach? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene III. No. 11 Aria "Martern aller Arten" (Konstanze) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Ist das ein Traum? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Bst, bst! Blondchen! | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene VI. No. 12 Aria "Welche Wonne, welche Lust" (Blonde) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Ah, dass es schon vorbei wäre! / Act II, Scene VII. No. 13 Aria "Frisch zum Kampfe!" (Pedrillo) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene VIII. Dialog "Ha! Geht's hier so lustig zu?" (Osmin, Pedrillo) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Scene VIII. No. 14 Duetto "Vivat Bacchus! Bacchus lebe!" (Pedrillo, Osmin) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Wein - das ist wahr - Wein / Pedrillo, ist Konstanze noch nicht hier? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, No. 15: Wenn der Freude Tränen fließen / Ich hab hier ein Schiff in Bereitschaft | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, No. 16: Ach, Belmonte! Ach, mein Leben | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act II, Pedrillo! Pedrillo! | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Scene III. No. 17 Aria "Ich baue ganz auf deine Stärke" (Belmonte) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Alles liegt auf dem Ohr / Nr. 18: In Mohrenland gefangen war | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Sie macht auf, Herr! / Gift und Dolch! Was ist das? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Scene V. No. 19 Aria "O, wie will ich triumphieren" (Osmin) | Cornelius Hauptmann, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Was gibt's, Osmin, was gibt's? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Scene VII. Recitativo "Welch ein Geschick!" (Belmonte, Konstanze) / No. 20 Duetto "Meinetwegen sollst du sterben!" | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, Nun, Sklave! Erwartest du dein Urteil? | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Entführung aus dem Serail, K. 384: Act III, No. 21a. Finale. Vaudeville: "Nie werd' ich deine Huld verkennen" (Tutti) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Overture | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene I. No. 1 Duetto "Cinque… dieci… Venti… trenta…" (Figaro, Susanna) | Bryn Terfel, Alison Hagley, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene I. Recitativo "Cosa stai misurando" (Figaro, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene I. No. 2 Duettino "Se a caso madama la notte ti chiama" (Figaro, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene I. Recitativo "Or bene, ascolta, e taci" (Figaro, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene II. Recitativo "Bravo, Signor padrone!" (Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | T-009.157.866-3 |
| Le Nozze di Figaro, K. 492: Act I, Scene II. No. 3 Cavatina "Se vuol ballare, signor Contino" (Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | T-009.157.866-3 |
| Le Nozze di Figaro, K. 492: Act I, Scene III. Recitativo "Ed aspettaste il giorno" (Bartolo, Marcellina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene III. No. 4 Aria "La vendetta, oh, la vendetta" (Bartolo) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene IV. Recitativo "Tutto ancor non ho perso" (Marcellina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene IV. No. 5 Duettino "Via, resti servita, madama brillante" (Marcellina, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene V. Recitativo "Va la, vecchia pedante" (Susanna, Cherubino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene V. No. 6 Aria "Non so più cosa son, cosa faccio" (Cherubino) | English Baroque Soloists, Sir John Eliot Gardiner | T-915.310.099-3 |
| Le Nozze di Figaro, K. 492: Act I, Scene VI-VII. Recitativo "Ah, son perduto!" (Susanna, Cherubino, Il Conte, Basilio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene VII. No. 7 Terzetto "Cosa sento! tosto andante" (Il Conte, Basilio, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene VII. Recitativo "Basilio, in traccia tosto di Figaro" (Susanna, Cherubino, Il Conte, Basilio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene VIII. No. 8 Coro "Giovani liete, fiori spargete" (Coro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene VIII. Recitativo "Cos'e questa commedia" (Il Conte, Figaro, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act I, Scene VIII. No. 8 Coro "Giovani liete, fiori spargete" (Coro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act I, Scene VIII. Recitativo "Evviva! ... E voi non applaudite" (Figaro, Susanna, Basilio, Cherubino, Il Conte) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro: “Non più andrai” | Bryn Terfel, English Baroque Soloists, John Eliot Gardiner | T-009.157.866-3 |
| Le nozze di Figaro, K. 492: Act II, Scene I. No. 11 Cavatina "Porgi, amor qualche ristoro" (La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | T-306.482.540-3 |
| Le Nozze di Figaro, K. 492: Act II, Scene I. Recitativo "Vieni, cara Susanna" (La Contessa, Susanna, Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act II, Scene II. Recitativo "Quanto duolmi, Susanna" (La Contessa, Susanna, Cherubino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene II. No. 12 Arietta "Voi che sapete che cosa è amor" (Cherubino) | Pamela Helen Stephen, English Baroque Soloists, Sir John Eliot Gardiner | T-031.862.676-4 |
| Le Nozze di Figaro, K. 492: Act II, Scene II. Recitativo "Bravo! che bella voce!" (La Contessa, Susanna, Cherubino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene II. No. 13 Aria "Venite… inginocchiatevi…" (Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act II, Scene II. Recitativo "Quante buffonerie!" (La Contessa, Susanna, Cherubino, Il Conte) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene III. Recitativo "Che novità!" (Il Conte, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene III. No. 14 Terzetto "Susanna or via, sortite" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act II, Scene III. Recitativo "Dunque, voi non aprite" (Il Conte, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene IV. No. 15 Duettino "Aprite, presto, aprite" (Susanna, Cherubino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le Nozze di Figaro, K. 492: Act II, Scene IV. Recitativo "O guarda il demonietto!" (Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene V. Recitativo "Tutto è come io lasciai" (Il Conte, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene VII. No. 16 Finale "Esci, ormai, garzon malnato" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene VII. No. 16 Finale "Signore, cos'è quel stupore?" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene VIII. No. 16 Finale "Susanna, son morta" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene IX. No. 16 Finale "Signori di fuori son già suonatori" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene IX. No. 16 Finale "Conoscete signor Figaro" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene X. No. 16 Finale "Ah signor... signor" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene X. No. 16 "Vostre dunque saran queste carte che perdeste" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act II, Scene XI. No. 16 Finale "Voi signor che giusto siete" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scenes I-II. Recitativo "Che imbarazzo è mai questo!" (Il Conte, La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene II. No. 17 Duetto "Crudel! Perché finora farmi languir così?" (Il Conte, Susanna) | Rodney Gilfry, Alison Hagley, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene III. Recitativo "E perchè fosti meco" (Il Conte, Susanna, Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene IV. No. 18 Recitativo "Hai già vinta la causa" (Il Conte) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene IV. No. 18 Aria "Vedrò, mentre io sospiro" (Il Conte) | Rodney Gilfry, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene VII. Recitativo "Andiam, andiam, bel paggio" (Barbarina, Cherubino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene VIII. No. 20 Recitativo "E Susanna non vien!" (La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene VIII. No. 20 Aria "Dove sono i bei momenti" (La Contessa) | Hillevi Martinpelto, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene V. Recitativo "È decisa la lite" (Don Curzio, Marcellina, Figaro, Il Conte, Bartolo) | Francis Egerton, Carlos Feller, Rodney Gilfry, Susan McCulloch, Bryn Terfel, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene V. No. 19 Sestetto "Riconosci in questo amplesso" (Susanna, Marcellina, Don Curzio, Il Conte, Bartolo, Figaro) | Francis Egerton, Carlos Feller, Rodney Gilfry, Alison Hagley, Susan McCulloch, Bryn Terfel, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene VI. Recitativo "Eccovi, o caro amico" (Marcellina, Bartolo, Figaro, Susanna) | Carlos Feller, Alison Hagley, Susan McCulloch, Bryn Terfel, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene IX. Duettino "Io vi dico, signor, che Cherubino" (Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene X. No. 21 Duettino "Che soave zeffiretto" (La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene X. Recitativo "Piegato è il foglio" (La Contessa, Susanna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scene XI. No. 22 Coro "Ricevete, oh padroncina" (Figaro, Susanna, Il Conte, La Contessa, Due Ragazze) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act III, Scenes XII-XIII. Recitativo "Questo sono, Madama" (Barbarina, La Contessa, Susanna, Antonio, Il Conte, Cherubino, Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scenes XII-XIV. No. 23 Finale "Ecco la marcia, Andiamo" (Figaro, Susanna, Il Conte, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene XIV. No. 23 Finale "Amanti costanti seguaci d'onor" (Due Contadine, Coro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene XIV. No. 23 Finale "Eh già solita usanza" (Il Conte, Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene XIV. No. 23 Finale "Andate amici!" (Il Conte, Coro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene I. No. 24 Aria "L'ho perduta... me meschina" (Barbarina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scenes II-III. Recitativo "Barbarina, cos'hai?" (Figaro, Barbarina, Marcellina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene VI. No. 25 Aria "Il capro e la capretta" (Marcellina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scenes VI-VII. Recitativo "Nel padiglione a manca" (Barbarina, Figaro, Basilio, Bartolo) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene VII. No. 26 Recitativo "In quegli anni in cui val poco" (Basilio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene VIII. No. 27 Recitativo "Tutto è disposto" (Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene IX. Recitativo "Signora, ella mi disse" (Susanna, La Contessa, Marcellina, Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene X. No. 28 Aria "Giunse alfin il momento" (Cherubino, La Contessa, Il Conte, Susanna, Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro: Atto IV: Aria: “Deh vieni, non tardar” (Susanna) | Alison Hagley, English Baroque Soloists, Sir John Eliot Gardiner | T-001.424.370-9 |
| Le nozze di Figaro, K. 492: Act IV, Scene VIII. No. 27 Recitativo "Oh Susanna, Susanna, quanta pena mi costi!" (Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene VIII. No. 27 Recitativo "Aprite un po' quegl'occhi" (Figaro) | Bryn Terfel, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scenes XI. Recitativo "La la la, la la la, la lera" (Cherubino, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | T-031.796.870-9 |
| Le nozze di Figaro, K. 492: Act IV, Scene Ultima. No. 29 Finale "Pian pianin le andrò più presso" (Cherubino, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene Ultima. No. 29 Finale "Ecco qui la mia Susanna" (Il Conte, Tutti) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene Ultima. No. 29 Finale "Tutto è tranquillo e placido" (Il Conte, Tutti) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene Ultima. No. 29 Finale "Pace pace, mio dolce tesoro" (Il Conte, Tutti) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scene Ultima. No. 29 Finale "Gente gente, all'armi all'armi!" (Il Conte, Tutti) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Appendix. No. 27 Recitativo ed Aria (traditional version) Recitativo "Tutto e disposto" (Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Appendix. No. 27 Recitativo ed Aria (traditional version) Aria "Aprite un po' quegli occhi" (Figaro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Le nozze di Figaro, K. 492: Act IV, Scenes XI-XIV. Recitativo "Perfida, e in quella forma meco mentia?" (Figaro, Cherubino, La Contessa) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Ouvertura | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena I. No. 1 Introduzione: “Notte e giorno faticar” (Leporello, Donna Anna, Don Giovanni, Il Commendatore) | Rodney Gilfry, Ľuba Orgonášová, Andrea Silvestrelli, Ildebrando d’Arcangelo, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena II. Recitativo: “Leporello, ove sei?” (Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena III. Recitativo: “Ah! del padre in periglio” (Donna Anna, Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena III. No. 2 Recitativo accompagnato: “Ma qual mai s’offre, oh Dei” (Donna Anna, Don Ottavio) / No. 2 Duetto: “Fuggi, crudele, fuggi!” (Donna Anna, Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | T-910.758.999-1 |
| Don Giovanni: Atto I, Scena IV. Recitativo: “Orsù, spicciati presto” (Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena V. No. 3 Aria: “Ah! chi mi dice mai” (Donna Elvira, Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena V. Recitativo: “Chi è la?” / “Stelle! che vedo!” (Donna Elvira, Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena V. No. 4 Aria: “Madamina, il catalogo è questo” (Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | T-929.621.870-7 |
| Don Giovanni: Atto I, Scena VI. Recitativo: “In questa forma, dunque” (Donna Elvira) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena VII. No. 5 Coro: “Giovinette che fate all’amore” (Zerlina, Masetto, Coro di contadine e contadini) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena VIII. Recitativo: “Manco male è partita” (Don Giovanni, Leporello, Zerlina, Masetto) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena VIII. No. 6 Aria: “Ho capito, signor sì” (Masetto) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena IX. Recitativo: “Alfin siam liberati” (Don Giovanni, Zerlina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena IX. No. 7 Duettino: “Là ci darem la mano” (Don Giovanni, Zerlina) | Rod Gilfry, Eirian James, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena X. Recitativo: “Fermati, scellerato” (Donna Elvira, Zerlina, Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena X. No. 8 Aria: “Ah, fuggi il traditor” (Donna Elvira) | English Baroque Soloists, Sir John Eliot Gardiner | T-910.758.999-1 |
| Don Giovanni: Atto I, Scena XI. Recitativo: “Mi par ch’oggi il demonio si diverta” (Don Giovanni, Don Ottavio, Donna Anna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XII. Recitativo: “Ah, ti ritrovo ancor” (Donna Elvira) / No. 9 Quartetto: “Non ti fidar, o misera” (Donna Elvira, Donna Anna, Don Ottavio, Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XII. Recitativo: “Povera sventurata!” (Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XIII. No. 10 Recitativo accompagnato: “Don Ottavio, son morta!” (Donna Anna, Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XIII. No. 10 Aria: “Or sai chi l’onore” (Donna Anna) | English Baroque Soloists, Sir John Eliot Gardiner | T-929.613.726-3 |
| Don Giovanni: Atto I, Scena XIV. Recitativo: “Come mai creder deggio” (Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XIV. No. 10a Aria: “Dalla sua pace” (Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XV. Recitativo: “Io deggio ad ogni patto” (Leporello, Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XV. No. 11 Aria: “Fin ch’han dal vino” (Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | T-306.481.937-6 |
| Don Giovanni: Atto I, Scena XVI. Recitativo: “Masetto: senti un po’!” (Zerlina, Masetto) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XVI. No. 12 Aria: “Batti, batti, o bel Masetto” (Zerlina) | English Baroque Soloists, Sir John Eliot Gardiner | T-929.621.873-0 |
| Don Giovanni: Atto I, Scena XVI. Recitativo: “Guarda un po’” (Masetto, Don Giovanni, Zerlina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XVI. No. 13 Finale: “Presto presto pria ch’ei venga” (Masetto, Zerlina, Don Giovanni, Coro) / Scena XVII. “Su svegliatevi, da bravi” (Don Giovanni, Servi) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XVIII. No. 13 Finale: “Tra quest’arbori celata” (Zerlina, Don Giovanni, Masetto, Coro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XIX. No. 13 Finale: “Bisogna aver coraggio” (Donna Elvira, Don Ottavio, Donna Anna, Leporello, Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto I, Scena XX. No. 13 Finale: “Riposate, vezzose ragazze!” (Don Giovanni, Leporello, Masetto, Zerlina, Donna Anna, Donna Elvira, Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena I. No. 14 Duetto: “Eh via, buffone” (Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena I. Recitativo: “Leporello” / “Signore” (Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena II. No. 15 Terzetto: “Ah! taci, ingiusto core” (Donna Elvira, Leporello, Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | T-900.147.122-3 |
| Don Giovanni: Atto II, Scena II. Recitativo: “Amico, che ti par?” (Don Giovanni, Leporello) / Scena III. Recitativo: “Eccomi a voi!” (Donna Elvira, Don Giovanni, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena III. No. 16 Canzonetta: “Deh, vieni alla finestra” (Don Giovanni) | Rodney Gilfy, English Baroque Soloists, Sir John Eliot Gardiner | T-306.483.075-3 |
| Don Giovanni: Atto II, Scena III. Recitativo: “V’è gente alla finestra!” (Don Giovanni) / Scena IV. Recitativo: “Non ci stanchiamo” (Masetto, Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena IV. No. 17 Aria: “Metà di voi qua vadano” (Don Giovanni) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena V. Recitativo: “Zitto! lascia ch’io senta” (Don Giovanni, Masetto) / Scena VI. Recitativo: “Ahi! ahi! la testa mia!” (Masetto, Zerlina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena VI. No. 18 Aria: “Vedrai, carino” (Zerlina) | English Baroque Soloists, Sir John Eliot Gardiner | T-929.621.876-3 |
| Don Giovanni: Atto II, Scena VII. Recitativo: “Di molte faci il lume” (Leporello, Donna Elvira) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena VII/VIII. No. 19 Sestetto: “Sola, sola, in buio loco” (Donna Elvira, Leporello, Don Ottavio, Donna Anna, Zerlina, Masetto) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena IX. Recitativo: “Dunque quello sei tu” (Zerlina, Donna Elvira, Don Ottavio, Masetto)/Recitativo: “Ah pietà… compassion” (Leporello, Don Ottavio)/Scena X. Recitativo: “Ferma, perfido, ferma” (Donna Elvira, Masetto, Zerlina, Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena Xa. Recitativo: “Restati qua!” (Zerlina, Leporello) | Eirian James, Ildebrando d’Arcangelo, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena Xa. No. 21a Duetto: “Per queste tue manine” (Leporello, Zerlina) | Eirian James, Ildebrando d’Arcangelo, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena Xb. Recitativo: “Amico, per pietà” (Leporello) / Scena Xc. Recitativo: “Andiam, signora” (Zerlina, Donna Elvira, Masetto) | Ildebrando d’Arcangelo, Eirian James, Charlotte Margiono, Julian Clarkson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena Xd. No. 21b Recitativo accompagnato: “In quali eccessi, o Numi” (Donna Elvira) | English Baroque Soloists, Sir John Eliot Gardiner | T-926.159.933-1 |
| Don Giovanni: Atto II, Scena Xd. No. 21b Aria: “Mi tradì quell’alma ingrata” (Donna Elvira) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XI. Recitativo: “Ah, ah, ah, ah, questa è buona” (Don Giovanni, Leporello, Il Commendatore) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XI. No. 22 Duetto: “O statua gentilissima” (Leporello, Don Giovanni, Il Commendatore) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XII. Recitativo: “Calmatevi, idol mio” (Don Ottavio, Donna Anna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XII. No. 23 Recitativo accompagnato: “Crudele! – Ah no, mio bene!” (Donna Anna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XII. No. 23 Rondo: “Non mi dir, bell’idol mio” (Donna Anna) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XII. Recitativo: “Ah, si segua il suo passo” (Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XIII. No. 24 Finale: “Già la mensa è preparata” (Don Giovanni, Leporello) | Rodney Gilfry, Ildebrando d’Arcangelo, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XIV. Recitativo: “L’ultima prova dell’amor mio” (Donna Elvira, Don Giovanni, Leporello) | Rodney Gilfry, Charlotte Margiono, Ildebrando d’Arcangelo, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena XV. “Don Giovanni, a cenar teco” (Il Commendatore, Don Giovanni, Leporello, Coro) | Rod Gilfry, Andrea Silvestrelli, Ildebrando d’Arcangelo, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Atto II, Scena ultima. “Ah! dove è il perfido” (Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Masetto, Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Appendix. Recitativo: “Dunque quello sei tu” (Zerlina, Donna Elvira, Don Ottavio, Masetto) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Appendix. No. 20 Aria: “Ah, pietà, signori miei” (Leporello) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Appendix. Recitativo: “Ferma, perfido, ferma” (Donna Elvira, Masetto, Zerlina, Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Appendix. No. 21 Aria: “Il mio tesoro intanto” (Don Ottavio) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Don Giovanni: Appendix. Recitativo: “Ah, ah, ah, ah, questa è buona” (Don Giovanni, Leporello, Il Commendatore) / No. 22 Duetto: “O statua gentilissima” (Leporello, Don Giovanni, Il Commendatore) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. Ouverture | English Baroque Soloists, Sir John Eliot Gardiner | T-902.763.968-5 |
| Così fan tutte, K. 588: Act I. "La mia Dorabella" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | T-916.490.741-9 |
| Così fan tutte, K. 588: Act I. "Fuor la spada" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "E la fede delle femminine" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Scioccerie di poeti" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Una bella serenata" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Ah, guarda, sorella" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Mi par che stamattina" | Carlos Feller, Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Vorrei dir, e cor non ho" | Carlos Feller, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Stelle! Per carità, signor Alfonso" | Carlos Feller, Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Sento, oh Dio, che questo piede" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Non piangere, idol mio!" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Al fato dan legge" | Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | T-900.134.391-5 |
| Così fan tutte, K. 588: Act I. "La commedia è graziosa" | Carlos Feller, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Bella vita militar!" | English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | T-906.905.438-2 |
| Così fan tutte, K. 588: Act I. "Non vè più tempo: Amici" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Di scrivermi ogni giorno" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Bella vita militar!" | English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| Così fan tutte, K. 588: Act I. "Dove son?" | Carlos Feller, Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Soave sia il vento" | Carlos Feller, Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | T-902.525.648-8 |
| Così fan tutte, K. 588: Act I. "Non son cattivo comico" | Carlos Feller, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Che vita maledetta" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act I. "Ah, scostati!" | Rosa Mannion, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Smanie implacabili" | Rosa Mannion, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Signora Dorabella" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act I. "In uominI. in soldati" | English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act I. "Che silenzio!" | Carlos Feller, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act I. "Alla bella Despinetta" | Carlos Feller, Rodney Gilfry, Eirian James, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Che sussurro! Che strepito!" | Carlos Feller, Rodney Gilfry, Eirian James, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Come scoglio" | Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Ah, non partite" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Non siate ritrosi" | Rod Gilfry, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "E voi ridete?" - "La cagion di quel riso?" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Si può sapere un poco la cagion di quel riso?" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I. "Un'aura amorosa" | Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act I, "Oh, la saria da ridere!" | Carlos Feller, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act I, "Ah, che tutta in un momento" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "Andate là" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "Una donna a quindici anni" | English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "Sorella, cosa dici?" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Prenderò quel brunettino" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | T-911.791.893-1 |
| Così fan tutte, K. 588: Act II. "Ah, correte al giardino" | Carlos Feller, Rosa Mannion, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Secondate, aurette amiche" | Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| Così fan tutte, K. 588: Act II. "Il tutto deponete" | Carlos Feller, Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "La mano a me date" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "Oh che bella giornata!" | Rod Gilfry, Rosa Mannion, Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Il cor vi dono" | Rod Gilfry, Rosa Mannion, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Barbara! Perché fuggi?" | Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Ah, lo veggio" | Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Ei parte… senti… ah no!" | Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Per pietà, ben mio, perdona" | Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Amico, abbiamo vinto!" | Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Donne mie, la fate a tanti" | Rod Gilfry, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "In qual fiero contrasto" | Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Tradito, schernito" | Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | T-306.152.256-9 |
| Così fan tutte, K. 588: Act II. "Bravo, questa è costanza" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Ora vedo che siete" | Rosa Mannion, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "E amore un ladroncello" | Rosa Mannion, English Baroque Soloists, Sir John Eliot Gardiner | T-919.170.448-0 |
| Così fan tutte, K. 588: Act II. "Come tutto congiura" | Carlos Feller, Rod Gilfry, Amanda Roocroft, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "Fra gli amplessi in pochi istanti" | Amanda Roocroft, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Oh poveretto me" | Carlos Feller, Rod Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Tutti accusan le donne" | Rodney Gilfry, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Act II. "Vittoria, padroncini!" | Carlos Feller, Rainer Trost, English Baroque Soloists, Sir John Eliot Gardiner, Eirian James | — |
| Così fan tutte, K. 588: Act II. "Fate presto, o cari amici" | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Così fan tutte, K. 588: Appendix. "Rivolgete a lui lo sguardo" - "E voi ridete?" | Rod Gilfry, English Baroque Soloists, Sir John Eliot Gardiner | — |
| La clemenza di Tito, K. 621: Act I. "Parto, ma tu ben mio" | Anne Sofie von Otter, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Ouvertüre | English Baroque Soloists, Sir John Eliot Gardiner | T-903.529.769-9 |
| Die Zauberflöte: Act I. Nr. 1 Introduktion: »Zu Hilfe ! Zu Hilfe« (Tamino, Die drei Damen) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »Wo bin ich?« (Tamino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. Nr. 2 Arie: »Der Vogelfänger bin ich ja« (Papageno) | Gerald Finley, English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »He! Du da!« (Tamino, Papageno, Die drei Damen) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. Nr. 3 Arie: »Dies Bildnis ist bezaubernd schön« (Tamino) | English Baroque Soloists, Sir John Eliot Gardiner | T-101.070.693-9 |
| Die Zauberflöte: Act I. »Rüste dich mit Mut und Standhaftigkeit« (Die drei Damen, Tamino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. Nr. 4 Rezitativ und Arie: »O zittre nicht, mein lieber Sohn!« – »Zum Leiden bin ich auserkoren« (Königin der Nacht) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »War das Wirklichkeit, was ich sah?« (Tamino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. Nr. 5 Quintett: »Hm, hm, hm« (Papageno, Tamino, Die drei Damen) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. Nr. 6 Terzett: »Du feines Täubchen, nur herein!« (Monostatos, Pamina, Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »Mutter! Mutter!« (Pamina, Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. Nr. 7 Duett: »Bei Männern, welche Liebe fühlen« (Pamina, Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | T-900.134.395-9 |
| Die Zauberflöte: Act I. Nr. 8 Finale: »Zum Ziele führt dich diese Bahn« (Die drei Knaben, Tamino, Priester, Sprecher) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »Schnelle Füße, rascher Mut« (Pamina, Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »Nur geschwinde!« (Monostatos, Pamina, Papageno, Chor) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »Es lebe Sarastro« (Chor, Pamina, Sarastro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act I. »Ja, stolzer Jüngling« (Monostatos, Pamina, Tamino, Chor, Sarastro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 9 Marsch der Priester | English Baroque Soloists, Sir John Eliot Gardiner | T-921.158.813-5 |
| Die Zauberflöte: Act II. Nr. 9a [Dreimaliger Akkord] »Eingeweihte Diener« (Sarastro, Sprecher, Zweiter und Dritter Priester) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 10 Arie mit Chor: »O Isis und Osiris« (Sarastro, Chor) | English Baroque Soloists, Sir John Eliot Gardiner | T-001.321.541-2 |
| Die Zauberflöte: Appendix. Nr. 3a Arie: »So reizend hold, so zaubrisch schön« (Tamino) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Appendix. Nr. 7a Duett: »Der Liebe holdes Glück empfinden« (Pamina, Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Was für eine schreckliche Nacht!« (Tamino, Papageno, Sprecher, Zweiter Priester) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 11 Duett: »Bewahret euch vor Weibertücken« (Sprecher, Zweiter Priester) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »He! Die Lichter her!« (Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 12 Quintett: »Wie? Wie? Wie? Ihr an diesem Schreckensort?« (Die drei Damen, Papageno, Tamino, Chor) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Du bist standhaft geblieben« (Sprecher, Zweiter Priester, Papageno, Monostatos) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 13 Arie: »Alles fühlt der Liebe Freuden« (Monostatos) | English Baroque Soloists, Sir John Eliot Gardiner | T-900.222.345-2 |
| Die Zauberflöte: Act II. »Zurück!« / »Mutter!« (Königin der Nacht, Pamina, Monostatos) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 14 Arie: »Der Hölle Rache kocht in meinem Herzen« (Königin der Nacht) | Cyndia Sieden, English Baroque Soloists, Sir John Eliot Gardiner | T-918.245.117-8 |
| Die Zauberflöte: Act II. »Morden soll ich?« (Pamina, Monostatos, Sarastro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 15 Arie: »In diesen heil’gen Hallen« (Sarastro) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Von hier an seid ihr euch beide allein überlassen« (Sprecher, Priester, Papageno, Tamino, Papagena) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 16 Terzett: »Seid uns zum zweitenmal willkommen« (Die drei Knaben) | English Baroque Soloists, Sir John Eliot Gardiner | T-909.688.137-7 |
| Die Zauberflöte: Act II. »Tamino, wollen wir nicht speisen?« (Papageno, Pamina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 17 Arie: »Ach, ich fühl’s, es ist verschwunden« (Pamina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Siehst du, Tamino« (Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 18 Chor der Priester: »O Isis und Osiris« | English Baroque Soloists, Sir John Eliot Gardiner | T-001.321.541-2 |
| Die Zauberflöte: Act II. »Prinz! Bisher hast du dich« (Sarastro, Pamina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 19 Terzett: »Soll ich dich, Teurer, nicht mehr sehn?« (Pamina, Sarastro, Tamino) | English Baroque Soloists, Sir John Eliot Gardiner | T-931.460.428-9 |
| Die Zauberflöte: Act II. »Tamino! Lass mich nicht im Stich!« (Papageno, Sprecher, drei Priester) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 20 Arie: »Ein Mädchen oder Weibchen wünscht Papageno sich« (Papageno) | English Baroque Soloists, Sir John Eliot Gardiner | T-802.587.503-1 |
| Die Zauberflöte: Act II. »Da bin ich schon, mein Engel« (Papagena, Papageno, Sprecher) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. Nr. 21 Finale: »Bald prangt, den Morgen zu verkünden« (Die drei Knaben) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Du also bist mein Bräutigam?« (Pamina, Die drei Knaben) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Der, welcher wandert diese Strasse« (Die Geharnischten, Tamino, Pamina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Tamino mein! O welch ein Glück!« (Pamina, Tamino, Die Geharnischten) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Wir wandelten durch Feuergluten« (Pamina, Tamino, Chor) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Papagena! Weibchen! Täubchen!« (Papageno, Die drei Knaben, Papagena) / »Pa‐pa‐gena!« / »Pa‐pa‐geno!« (Papageno, Papagena) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Act II. »Nur stille, stille, stille!« (Monostatos, Königin der Nacht, Die drei Damen) / »Die Strahlen der Sonne vertreiben die Nacht« (Sarastro, Chor) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Appendix. Nr. 17a Arie: »Ach, ich fühl’s, es ist verschwunden« (Pamina) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Die Zauberflöte: Appendix. From Nr. 21a Finale: »Tamino mein! O welch ein Glück!« (Tamino, Pamina, Die Geharnischten) | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 1: Prelude | English Baroque Soloists, Sir John Eliot Gardiner | T-011.355.807-8 |
| The Fairy Queen, Z.629, Act 1: Hornpipe | English Baroque Soloists, Sir John Eliot Gardiner | T-900.022.630-2 |
| The Fairy Queen, Z.629, Act 1: Air | English Baroque Soloists, Sir John Eliot Gardiner | T-010.433.374-5 |
| The Fairy Queen, Z.629, Act 1: Rondeau | English Baroque Soloists, Sir John Eliot Gardiner | T-900.076.903-9 |
| The Fairy Queen, Z.629, Act 1: Overture | English Baroque Soloists, Sir John Eliot Gardiner | T-902.314.020-7 |
| The Fairy Queen, Z.629, Act 1: Song in Two Parts: "Come, come, come, let us leave" | Eiddwen Harrhy, Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 1: Scene of the Drunken Poet: "Fill up the Bowl" | Judith Nelson, Elisabeth Priday, David Thomas, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 1: First Act Tune: Jig | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: Prelude...Come, all ye songsters of the sky | Wynford Evans, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: Prelude | English Baroque Soloists, Sir John Eliot Gardiner | T-011.355.807-8 |
| The Fairy Queen, Z.629, Act 2: Trio: "May the God of Wit inspire" | Wynford Evans, Martyn Hill, Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: Echo | English Baroque Soloists, Sir John Eliot Gardiner | T-205.044.740-7 |
| The Fairy Queen, Z.629, Act 2: Chorus: "Now Joyn your Warbling Voices all" | English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 2: A Dance of Fairies | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: Song and Chorus: "Sing while we trip it on the Green" | Judith Nelson, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 2: no. 14 "See, even Night herself is here" | Jennifer Smith, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: no. 15 "I am come to lock all fast" | Judith Nelson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: no. 16 "One charming night" | Timothy Penrose, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 2: no. 17 "Hush, no more" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 2: no. 18 Dance for the followers of night | English Baroque Soloists, Sir John Eliot Gardiner | T-926.155.164-8 |
| The Fairy Queen, Z.629, Act 2: Second Act Tune: Air | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: A Song in Two Parts and Chorus: "If Love's a Sweet Passion" | Jennifer Smith, Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 3: Overture: Symphony while the Swans come forward | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: Dance for the Fairies | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: Dance for the Green Men | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: Song: "Ye Gentle Spirits of the Air, appear" | Judith Nelson, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: Dialog: "Now the Maids and the Men" | Timothy Penrose, David Thomas, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: Song: "When I have often heard" | Jennifer Smith, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: A Dance of Haymakers | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 3: Song and Chorus: "A Thousand Thousand ways we'll find" | Wynford Evans, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 3: Third Act Tune: Hornpipe | English Baroque Soloists, Sir John Eliot Gardiner | T-902.314.028-5 |
| The Fairy Queen, Z.629, Act 4: Symphony | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: no. 31 Solo & Chorus "Now the night" | Judith Nelson, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 4: Duet: "Let the fifes, and the Clarions" | Timothy Penrose, Ashley Stafford, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: Entry of Phoebus | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: Song: "When a cruel long Winter"- Chorus: "Hail! Great Parent of us all" | Martyn Hill, English Baroque Soloists, Sir John Eliot Gardiner, Monteverdi Choir | — |
| The Fairy Queen, Z.629, Act 4: Song: "Thus the ever Grateful Spring" | Jennifer Smith, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: Song: "Here's the Summer, Sprightly, Gay" | Timothy Penrose, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: Song: "See my many Colour'd Fields" | Martyn Hill, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: Song and Chorus: "Now Winter comes Slowly" | Stephen Varcoe, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 4: Fourth Act Tune: Air | English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 5: Prelude | English Baroque Soloists, Sir John Eliot Gardiner | T-011.355.807-8 |
| The Fairy Queen, Z.629, Act 5: Epithalamium: Thrice happy Lovers | Eiddwen Harrhy, English Baroque Soloists, Sir John Eliot Gardiner | — |
| The Fairy Queen, Z.629, Act 5: The Plaint | Jennifer Smith, English Baroque Soloists, Sir John Eliot Gardiner | T-011.657.800-7 |
| The Fairy Queen, Z.629, Act 5: Entry Dance | English Baroque Soloists, Sir John Eliot Gardiner | T-900.247.953-0 |
| The Fairy Queen, Z.629, Act 5: Symphony | English Baroque Soloists, Sir John Eliot Gardiner | — |
| Freue dich des Weibes deiner Jugend, SWV 453 | Frieder Lang, The Monteverdi Choir, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Ist nicht Ephraim mein teurer Sohn, SWV 40 | Ruth Holton, The Monteverdi Choir, Ashley Stafford, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Saul, Saul, was verfolgst du mich?, SWV 415 | Simon Birchall, Michael Chance, Carol Hall, Ruth Holton, The Monteverdi Choir, Lawrence Wallington, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Auf dem Gebirge hat man ein Geschrei gehöret, SWV 396 | Michael Chance, Ashley Stafford, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Musikalische Exequien: I. Concert in Form einer teutschen Begräbnis-Missa, SWV 279 | Stephen Charlesworth, The Monteverdi Choir, Rachel Platt, Nicolas Robertson, Mary Seers, Ashley Stafford, Lawrence Wallington, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Musikalische Exequien: II. Motette "Herr, wenn ich nur dich habe", SWV 280 | The Monteverdi Choir, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Musikalische Exequien: III. Canticum Simeonis, SWV 281 | Stephen Charlesworth, Frieder Lang, The Monteverdi Choir, Rachel Platt, Mary Seers, The English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner | — |
| Symphony in G minor WoO 29 "Zwickau": I. Moderato - Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony in G minor WoO 29 "Zwickau": II. Andantino quasi allegretto - Intermezzo quasi Scherzo: Allegro assai - Andantino | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 1 in B-flat major, op. 38 "Spring": I. Andante un poco maestoso - Allegro molto vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 1 in B-flat major, op. 38 "Spring": II. Larghetto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-902.876.200-7 |
| Symphony no. 1 in B-flat major, op. 38 "Spring": III. Scherzo: Molto vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 1 in B-flat major, op. 38 "Spring": IV. Allegro animato e grazioso | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Overture, Scherzo and Finale in E minor-major, op. 52: I. Overture: Andante con moto - Allegro | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Overture, Scherzo and Finale in E minor-major, op. 52: II. Scherzo: Vivo | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-011.742.574-7 |
| Overture, Scherzo and Finale in E minor-major, op. 52: III. Finale: Allegro molto vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1841 Version): I. Andante con moto - Allegro di molto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1841 Version): II. Romanza: Andante | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1841 Version): III. Scherzo: Presto | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1841 Version): IV. Largo - Finale: Allegro vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 2 in C major, op. 61: I. Sostenuto assai - Allegro, ma non troppo | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 2 in C major, op. 61: II. Scherzo: Allegro vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-911.517.582-1 |
| Symphony no. 2 in C major, op. 61: III. Adagio espressivo | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 2 in C major, op. 61: IV. Allegro molto vivace | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Konzertstück for 4 Horns and Orchestra in F major, op. 86: I. Lebhaft | Susan Dent, Gavin Edwards, Robert Maskell, Roger Montgomery, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Konzertstück for 4 Horns and Orchestra in F major, op. 86: II. Romanze - Ziemlich langsam, doch nicht schleppend | Susan Dent, Gavin Edwards, Robert Maskell, Roger Montgomery, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Konzertstück for 4 Horns and Orchestra in F major, op. 86: III. Sehr lebhaft | Susan Dent, Gavin Edwards, Robert Maskell, Roger Montgomery, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 3 in E-flat major, op. 97 "Rheinische": I. Lebhaft | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 3 in E-flat major, op. 97 "Rheinische": II. Scherzo. Sehr mäßig | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 3 in E-flat major, op. 97 "Rheinische": III. Nicht schnell | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 3 in E-flat major, op. 97 "Rheinische": IV. Feierlich | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 3 in E-flat major, op. 97 "Rheinische": V. Lebhaft | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-902.876.200-7 |
| Symphony no. 4 in D minor, op. 120 (1851 Version): I. Ziemlich langsam - Lebhaft | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1851 Version): II. Romanza - Ziemlich langsam | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1851 Version): III. Scherzo - Lebhaft | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-902.876.200-7 |
| Symphony no. 4 in D minor, op. 120 (1851 Version): IV. Etwas zurückhaltend | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony no. 4 in D minor, op. 120 (1851 Version): V. Lebhaft | Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | T-902.876.200-7 |
| Requiem Für Mignon | William Dazeley, Knabenchor Hannover, Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Nachtlied | Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 1. Vor Edens Tor im Morgenprangen (Alt-Solo) | Bernarda Fink, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 2. Wie glücklich sie wandeln, die sel’gen Geister (Die Peri) | Barbara Bonney, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 3. Rezitativ: Der hehre Engel (Tenor-Solo); Dir, Kind des Stamms (Der Engel) | Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 4. Wo find’ ich sie? (Die Peri) | Barbara Bonney, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 5. So sann sie nach und schwang die Flügel (Tenor-Solo) | Neill Archer, Alexandra Coku, Bernarda Fink, Gerald Finley, Cornelius Hauptmann, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 6. Doch seine Ströme sind jetzt rot (Chor) | Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 7. Und einsam steht (Tenor-Solo, Chor); Komm, kühner Held (Gazna); Du schlugst des Landes (Der Jüngling, Gazna) | Neill Archer, Cornelius Hauptmann, Monteverdi Choir, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 8. Weh, weh, weh, er fehlte das Ziel (Chor) | Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 9. Die Peri sah das Mal (Tenor-Solo); Sei dies, mein Geschenk (Die Peri, Vokalquartett) | Neill Archer, Barbara Bonney, Alexandra Coku, Bernarda Fink, Monteverdi Choir, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 10. Die Peri tritt (Tenor-Solo); Gern grüssen wir, die so gegangen (Der Engel, Chor) | Bernarda Fink, Monteverdi Choir, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 11. Ihr erstes Himmelshoffen (Tenor-Solo); Hervor aus den Wässern (Chor, Die Peri) | Barbara Bonney, Monteverdi Choir, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 12. Fort streift von hier (Tenor-Solo); Für euren ersten Fall (Die Peri) | Barbara Bonney, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 13. Die Peri weint (Tenor-Solo, Vokalquartett) | Neill Archer, Alexandra Coku, Bernarda Fink, Cornelius Hauptmann, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 14. Im Waldesgrün am stillen See (Alt-Solo); Ach, einen Tropfen (Der Jüngling) | Neill Archer, Bernarda Fink, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 15. Verlassener Hüngling (Mezzosopran-Solo); Doch sieh, we naht (Tenor-Solo); Du hier? (Der Jüngling) | Neill Archer, Bernarda Fink, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 16. O lass mich von der Luft (Die Jungfrau); Sie wankt - sie sinkt (Tenor-Solo) | Alexandra Coku, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 17. Schlaf nun und ruhe in Träumen (Die Peri, Chor) | Barbara Bonney, Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 18. Schmücket die Stufen (Chor); Auch der Geliebten (Vokalquartett); Seht da, die Bahn (Sopran I, II, Chor) | Constanze Backes, Donna Deam, Katherine Fuge, Lucinda Houghton, Jacqueline Connell, Monteverdi Choir, Susanna Spicer, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 19. Dem Sang von ferne (Tenor-Solo); Noch nicht! (Der Engel) | Bernarda Fink, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 20. Verstossen! Verschlossen aufs neu das Goldportal! (Die Peri) | Barbara Bonney, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 21. Jetzt sank des Abends goldner Schein (Bariton-Solo) | Gerald Finley, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 22. Und wie sie niederwärts (Tenor-Solo); Peri, ist’s wahr (Vokalquartett); Mit ihrer Schwestern (Bariton-Solo) | Donna Deam, Gerald Finley, Lucinda Houghton, Jacqueline Connell, Monteverdi Choir, Susanna Spicer, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 23. Hinab zu jenem (Die Peri); Sie schwebt herab (Tenor-Solo); Doch horch (Mezzosopran-Solo) | Barbara Bonney, Bernarda Fink, Gerald Finley, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 24. O heil’ge Tränen inn’ger Reue (Vokalquartett, Chor) | Neill Archer, Alexandra Coku, Bernarda Fink, Cornelius Hauptmann, Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: 25. Es fällt ein Tropfen (Die Peri); Und sieh, demütig betend (Tenor-Solo, Chor) | Barbara Bonney, Monteverdi Choir, Christoph Prégardien, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Das Paradies und die Peri: Freud’, ew’ge Fruede; Wilkommen, wilkommen unter den Frommen! (Die Peri, Chor) | Barbara Bonney, Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner | — |
| Symphony of Psalms: 1. Exaudi orationem meam | Monteverdi Choir, London Symphony Orchestra, Sir John Eliot Gardiner | — |
| Symphony of Psalms: 2. Expectans expectavi Dominum | Monteverdi Choir, London Symphony Orchestra, Sir John Eliot Gardiner | — |
| Symphony of Psalms: 3. Alleluia. Laudate Dominum | Monteverdi Choir, London Symphony Orchestra, Sir John Eliot Gardiner | — |
| Schickelgruber | Anne Sofie von Otter, Bengt Forsberg | — |
| Thamos, König in Ägypten, KV 345: 7a. Schlußmusik zum Fünften Akt (original version) | English Baroque Soloists, Sir John Eliot Gardiner | — |
