UPC · Release
Sir Georg Solti
Last verified:
028948517176 is the Universal Product Code (UPC barcode) for the release “London: The Orchestral Recordings” by Sir Georg Solti, released 2021-01-01 on Decca. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 319 tracks, each with its own ISRC. Tracks include GBF077712001, GBF077712002, GBF077712003.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony no. 38 in D, K. 504 “Prague”: I. Adagio - Allegro | — | ||
| 2 | Symphony no. 38 in D, K. 504 “Prague”: II. Andante | — | ||
| 3 | Symphony no. 38 in D, K. 504 “Prague”: III. Finale: Presto | — | ||
| 4 | Symphony no. 25 in G minor, K. 183: I. Allegro con brio | — | ||
| 5 | Symphony no. 25 in G minor, K. 183: II. Andante | — | ||
| 6 | Symphony no. 25 in G minor, K. 183: III. Menuetto | — | ||
| 7 | Symphony no. 25 in G minor, K. 183: IV. Allegro | — | ||
| 2-1 | Piano Concerto no. 25 in C major, K. 503: I. Allegro maestoso | Alicia de Larrocha, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 2-2 | Piano Concerto no. 25 in C major, K. 503: II. Andante | Alicia de Larrocha, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 2-3 | Piano Concerto no. 25 in C major, K. 503: III. Allegretto | Alicia de Larrocha, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 2-4 | Piano Concerto no. 27 in B-flat major, K. 595: I. Allegro | Alicia de Larrocha, London Philharmonic Orchestra, Sir Georg Solti | T-011.422.353-8 | |
| 2-5 | Piano Concerto no. 27 in B-flat major, K. 595: II. Larghetto | Alicia de Larrocha, London Philharmonic Orchestra, Sir Georg Solti | T-802.445.410-3 | |
| 2-6 | Piano Concerto no. 27 in B-flat major, K. 595: III. Allegro | Alicia de Larrocha, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 3-1 | Piano Concerto no. 24 in C minor, K. 491: I. Allegro | Alicia de Larrocha, Chamber Orchestra of Europe, Sir Georg Solti | T-011.422.353-8 | |
| 3-2 | Piano Concerto no. 24 in C minor, K. 491: II. Larghetto | Alicia de Larrocha, Chamber Orchestra of Europe, Sir Georg Solti | T-802.445.410-3 | |
| 3-3 | Piano Concerto no. 24 in C minor, K. 491: III. Allegretto | Alicia de Larrocha, Chamber Orchestra of Europe, Sir Georg Solti | — | |
| 3-4 | Piano Concerto no. 26 in D major, K. 537 “Coronation”: I. Allegro | Alicia de Larrocha, Chamber Orchestra of Europe, Sir Georg Solti | T-070.160.313-5 | |
| 3-5 | Piano Concerto no. 26 in D major, K. 537 “Coronation”: II. Larghetto | Alicia de Larrocha, Chamber Orchestra of Europe, Sir Georg Solti | T-802.445.410-3 | |
| 3-6 | Piano Concerto no. 26 in D major, K. 537 “Coronation”: III. Allegretto | Alicia de Larrocha, Chamber Orchestra of Europe, Sir Georg Solti | — | |
| 4-1 | Concerto for 2 pianos in E-flat major, K. 365: I. Allegro | Daniel Barenboim, Sir Georg Solti, English Chamber Orchestra | T-011.422.353-8 | |
| 4-2 | Concerto for 2 pianos in E-flat major, K. 365: II. Andante | Daniel Barenboim, Sir Georg Solti, English Chamber Orchestra | — | |
| 4-3 | Concerto for 2 pianos in E-flat major, K. 365: III. Rondeaux, Allegro | Daniel Barenboim, Sir Georg Solti, English Chamber Orchestra | — | |
| 4-4 | Concerto no. 7 in F, K. 242 “Lodron”: I. Allegro | — | ||
| 4-5 | Concerto no. 7 in F, K. 242 “Lodron”: II. Adagio | — | ||
| 4-6 | Concerto no. 7 in F, K. 242 “Lodron”: III. Rondeau: Tempo di menuetto | — | ||
| 4-7 | Piano Concerto no. 20 in D minor, K. 466: I. Allegro | — | ||
| 4-8 | Piano Concerto no. 20 in D minor, K. 466: II. Romance | — | ||
| 4-9 | Piano Concerto no. 20 in D minor, K. 466: III. Rondo: Allegro assai | — | ||
| 5-1 | Symphony no. 100 in G, Hob. I:100 “Military”: I. Adagio - Allegro | — | ||
| 5-2 | Symphony no. 100 in G, Hob. I:100 “Military”: II. Allegretto | — | ||
| 5-3 | Symphony no. 100 in G, Hob. I:100 “Military”: III. Menuetto e Trio: Moderato | — | ||
| 5-4 | Symphony no. 100 in G, Hob. I:100 “Military”: IV. Finale: Presto | — | ||
| 5-5 | Symphony no. 102 in B-flat, Hob. I:102: I. Largo - Vivace | — | ||
| 5-6 | Symphony no. 102 in B-flat, Hob. I:102: II. Adagio | — | ||
| 5-7 | Symphony no. 102 in B-flat, Hob. I:102: III. Menuetto e Trio: Allegro | — | ||
| 5-8 | Symphony no. 102 in B-flat, Hob. I:102: IV. Finale: Presto | — | ||
| 5-9 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: I. Adagio - Allegro con spirito | — | ||
| 5-10 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: II. Andante, più tosto allegretto | — | ||
| 5-11 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: III. Menuetto e Trio | — | ||
| 5-12 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: IV. Finale: Allegro con spirito | — | ||
| 6-1 | Symphony no. 93 in D, Hob. I:93: I. Adagio - Allegro assai | — | ||
| 6-2 | Symphony no. 93 in D, Hob. I:93: II. Largo cantabile | — | ||
| 6-3 | Symphony no. 93 in D, Hob. I:93: III. Menuetto e Trio: Allegro | — | ||
| 6-4 | Symphony no. 93 in D, Hob. I:93: IV. Finale: Presto ma non troppo | — | ||
| 6-5 | Symphony no. 94 in G, Hob. I:94 “Surprise”: I. Adagio - Vivace assai | — | ||
| 6-6 | Symphony no. 94 in G, Hob. I:94 “Surprise”: II. Andante | — | ||
| 6-7 | Symphony no. 94 in G, Hob. I:94 “Surprise”: III. Menuet e Trio: Allegro molto | — | ||
| 6-8 | Symphony no. 94 in G, Hob. I:94 “Surprise”: IV. Finale: Allegro di molto | — | ||
| 6-9 | Symphony no. 101 in D, Hob. I:101 “The Clock”: I. Adagio - Presto | — | ||
| 6-10 | Symphony no. 101 in D, Hob. I:101 “The Clock”: II. Andante | — | ||
| 6-11 | Symphony no. 101 in D, Hob. I:101 “The Clock”: III. Menuetto e Trio: Allegretto | — | ||
| 6-12 | Symphony no. 101 in D, Hob. I:101 “The Clock”: IV. Finale: Vivace | — | ||
| 7-1 | Symphony no. 95 in C minor, Hob. I:95: I. Allegro moderato | — | ||
| 7-2 | Symphony no. 95 in C minor, Hob. I:95: II. Andante cantabile | — | ||
| 7-3 | Symphony no. 95 in C minor, Hob. I:95: III. Menuet e Trio | — | ||
| 7-4 | Symphony no. 95 in C minor, Hob. I:95: IV. Finale: Vivace | — | ||
| 7-5 | Symphony no. 96 in D, Hob. I:96 “Miracle”: I. Adagio - Allegro | — | ||
| 7-6 | Symphony no. 96 in D, Hob. I:96 “Miracle”: II. Andante | — | ||
| 7-7 | Symphony no. 96 in D, Hob. I:96 “Miracle”: III. Menuetto e Trio: Allegretto | — | ||
| 7-8 | Symphony no. 96 in D, Hob. I:96 “Miracle”: IV. Finale: Vivace | — | ||
| 7-9 | Symphony no. 99 in E-flat, Hob. I:99: I. Adagio - Vivace assai | — | ||
| 7-10 | Symphony no. 99 in E-flat, Hob. I:99: II. Adagio | — | ||
| 7-11 | Symphony no. 99 in E-flat, Hob. I:99: III. Menuetto e Trio: Allegretto | — | ||
| 7-12 | Symphony no. 99 in E-flat, Hob. I:99: IV. Finale: Vivace | — | ||
| 8-1 | Symphony no. 97 in C, Hob. I:97: I. Adagio - Vivace | — | ||
| 8-2 | Symphony no. 97 in C, Hob. I:97: II. Adagio ma non troppo | — | ||
| 8-3 | Symphony no. 97 in C, Hob. I:97: III. Menuetto: Allegretto | — | ||
| 8-4 | Symphony no. 97 in C, Hob. I:97: IV. Finale: Presto assai | — | ||
| 8-5 | Symphony no. 98 in B-flat, Hob. I:98: I. Adagio - Allegro | — | ||
| 8-6 | Symphony no. 98 in B-flat, Hob. I:98: II. Adagio | — | ||
| 8-7 | Symphony no. 98 in B-flat, Hob. I:98: III. Menuetto e Trio: Allegro | — | ||
| 8-8 | Symphony no. 98 in B-flat, Hob. I:98: IV. Finale: Presto | — | ||
| 8-9 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: I. Adagio | — | ||
| 8-10 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: II. Andante, più tosto allegretto | — | ||
| 8-11 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: III. Menuetto e Trio | — | ||
| 8-12 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: IV. Finale: Allegro con spirito | — | ||
| 9-1 | Symphony no. 100 in G, Hob. I:100 “Military”: I. Adagio - Allegro | — | ||
| 9-2 | Symphony no. 100 in G, Hob. I:100 “Military”: II. Allegretto | — | ||
| 9-3 | Symphony no. 100 in G, Hob. I:100 “Military”: III. Menuetto e Trio: Moderato | — | ||
| 9-4 | Symphony no. 100 in G, Hob. I:100 “Military”: IV. Finale: Presto | — | ||
| 9-5 | Symphony no. 102 in B-flat, Hob. I:102: I. Largo - Vivace | — | ||
| 9-6 | Symphony no. 102 in B-flat, Hob. I:102: II. Adagio | — | ||
| 9-7 | Symphony no. 102 in B-flat, Hob. I:102: III. Menuetto e Trio: Allegro | — | ||
| 9-8 | Symphony no. 102 in B-flat, Hob. I:102: IV. Finale: Presto | — | ||
| 9-9 | Symphony no. 104 in D, Hob. I:104 “London”: I. Adagio - Allegro | — | ||
| 9-10 | Symphony no. 104 in D, Hob. I:104 “London”: II. Andante | — | ||
| 9-11 | Symphony no. 104 in D, Hob. I:104 “London”: III. Menuetto e Trio: Allegro | — | ||
| 9-12 | Symphony no. 104 in D, Hob. I:104 “London”: IV. Finale: Spiritoso | — | ||
| 10-1 | Violin Concerto in D, op. 61: I. Allegro ma non troppo | — | ||
| 10-2 | Violin Concerto in D, op. 61: II. Larghetto | — | ||
| 10-3 | Violin Concerto in D, op. 61: III. Rondo: Allegro | — | ||
| 11-1 | Symphony no. 3 in A minor, op. 56 “Scottish”: I. Andante con moto - Allegro un poco agitato - Assai animato - Andante come prima | — | ||
| 11-2 | Symphony no. 3 in A minor, op. 56 “Scottish”: II. Vivace non troppo | — | ||
| 11-3 | Symphony no. 3 in A minor, op. 56 “Scottish”: III. Adagio | — | ||
| 11-4 | Symphony no. 3 in A minor, op. 56 “Scottish”: IV. Allegro vivacissimo - Allegro maestoso assai | — | ||
| 11-5 | Symphony no. 4 in B-flat, op. 60: I. Adagio - Allegro vivace | — | ||
| 11-6 | Symphony no. 4 in B-flat, op. 60: II. Adagio | — | ||
| 11-7 | Symphony no. 4 in B-flat, op. 60: III. Allegro vivace | — | ||
| 11-8 | Symphony no. 4 in B-flat, op. 60: IV. Allegro ma non troppo | — | ||
| 12-1 | L'Italiana in Algeri: Overture | — | ||
| 12-2 | Il barbiere di Siviglia: Overture | — | ||
| 12-3 | Die leichte Kavallerie: Overture | — | ||
| 12-4 | Dichter und Bauer: Overture | — | ||
| 12-5 | Ein Morgan, Mittag und ein Abend in Wien: Overture | — | ||
| 12-6 | Pique Dame: Overture | — | ||
| 13-1 | Gaîté Parisienne: Ouverture | — | ||
| 13-2 | Gaîté Parisienne: Allegro brillante | — | ||
| 13-3 | Gaîté Parisienne: Polka | — | ||
| 13-4 | Gaîté Parisienne: Allegro - Valse | — | ||
| 13-5 | Gaîté Parisienne: Mazurka | — | ||
| 13-6 | Gaîté Parisienne: Valse | — | ||
| 13-7 | Gaîté Parisienne: Peruvian dance (Allegro) | — | ||
| 13-8 | Gaîté Parisienne: Polka | — | ||
| 13-9 | Gaîté Parisienne: Valse lente | — | ||
| 13-10 | Gaîté Parisienne: Tempo di marcia | — | ||
| 13-11 | Gaîté Parisienne: Valse | — | ||
| 13-12 | Gaîté Parisienne: Allegro vivo - Valse | — | ||
| 13-13 | Gaîté Parisienne: Allegro vivace | — | ||
| 13-14 | Gaîté Parisienne: Valse | — | ||
| 13-15 | Gaîté Parisienne: Allegro - Cancan | — | ||
| 13-16 | Gaîté Parisienne: Quadrille - Cancan | — | ||
| 13-17 | Gaîté Parisienne: Allegro moderato | — | ||
| 13-18 | Gaîté Parisienne: Allegro | — | ||
| 13-19 | Gaîté Parisienne: Leggiero | — | ||
| 13-20 | Gaîté Parisienne: Vivo | — | ||
| 13-21 | Gaîté Parisienne: Barcarolle | — | ||
| 14-1 | La forza del destino: Overture | — | ||
| 14-2 | La traviata: Prelude to Act I | — | ||
| 14-3 | L'Italiana in Algeri: Overture | — | ||
| 14-4 | Les Contes d'Hoffman: Entr'acte (Barcarolle) | — | ||
| 14-5 | La traviata: Prelude to Act III | — | ||
| 14-6 | Semiramide: Overture | — | ||
| 14-7 | La Gioconda: Dance of the Hours | — | ||
| 14-8 | Faust (Ballet Music): Act V. Les Nubiennes (Allegretto: movement de valse) | — | ||
| 14-9 | Faust (Ballet Music): Act V. Adagio | — | ||
| 14-10 | Faust (Ballet Music): Act V. Danse antique (Allegretto) | — | ||
| 14-11 | Faust (Ballet Music): Act V. Variations de Cléopâtre (Moderato maestoso) | — | ||
| 14-12 | Faust (Ballet Music): Act V. Les Troyennes (Moderato con moto) | — | ||
| 14-13 | Faust (Ballet Music): Act V. Variations du miroir (Allegretto) | — | ||
| 14-14 | Faust (Ballet Music): Act V. Danse de Phryné (Allegro vivo) | — | ||
| 15-1 | Les Préludes, S. 97 | London Philharmonic Orchestra, Sir Georg Solti | T-905.646.816-7 | |
| 15-2 | Prometheus, S.99 | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 15-3 | Festklänge, S. 101 | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 15-4 | Wanderer-Fantasie: I. Allegro con fuoco | — | ||
| 15-5 | Wanderer-Fantasie: II. Adagio | — | ||
| 15-6 | Wanderer-Fantasie: III. Presto | — | ||
| 15-7 | Wanderer-Fantasie: IV. Allegro | — | ||
| 16-1 | Ruslan and Lyudmila: Overture | London Symphony Orchestra, Sir Georg Solti | T-909.762.448-1 | |
| 16-2 | Khovanshchina: Prelude | London Symphony Orchestra, Sir Georg Solti | — | |
| 16-3 | Night on the Bare Mountain | London Symphony Orchestra, Sir Georg Solti | — | |
| 16-4 | Prince Igor: Overture | London Symphony Orchestra, Sir Georg Solti | — | |
| 16-5 | Prince Igor: Polovtsian Dances and Chorus | London Symphony Orchestra Chorus, London Symphony Orchestra, Sir Georg Solti | — | |
| 16-6 | Piano Concerto no. 2 in C minor, op. 18: I. Moderato | Julius Katchen, London Symphony Orchestra, Sir Georg Solti | — | |
| 16-7 | Piano Concerto no. 2 in C minor, op. 18: II. Adagio sostenuto | Julius Katchen, London Symphony Orchestra, Sir Georg Solti | — | |
| 16-8 | Piano Concerto no. 2 in C minor, op. 18: III. Allegro scherzando | Julius Katchen, London Symphony Orchestra, Sir Georg Solti | T-071.926.821-9 | |
| 17-1 | Symphony no. 1 in A-flat major, op. 55: I. Andante, nobilmente e semplice - Allegro | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 17-2 | Symphony no. 1 in A-flat major, op. 55: II. Allegro molto | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 17-3 | Symphony no. 1 in A-flat major, op. 55: III. Adagio | London Philharmonic Orchestra, Sir Georg Solti | T-913.999.561-2 | |
| 17-4 | Symphony no. 1 in A-flat major, op. 55: IV. Lento - Allegro | London Philharmonic Orchestra, Sir Georg Solti | T-306.395.786-4 | |
| 18-1 | Symphony no. 2 in E-flat major, op. 63: I. Allegro vivace e nobilmente | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 18-2 | Symphony no. 2 in E-flat major, op. 63: II. Larghetto | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 18-3 | Symphony no. 2 in E-flat major, op. 63: III. Rondo: Presto | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 18-4 | Symphony no. 2 in E-flat major, op. 63: IV. Moderato e maestoso | London Philharmonic Orchestra, Sir Georg Solti | T-902.764.002-4 | |
| 19-1 | Falstaff, op. 68, Symphonic Study in C minor: I. Allegro (Start) | — | ||
| 19-2 | Falstaff, op. 68, Symphonic Study in C minor: II. Allegro molto | — | ||
| 19-3 | Falstaff, op. 68, Symphonic Study in C minor: III. Poco allegretto (Dream Interlude) | — | ||
| 19-4 | Falstaff, op. 68, Symphonic Study in C minor: IV. Allegro | — | ||
| 19-5 | Falstaff, op. 68, Symphonic Study in C minor: V. Allegretto (Interlude) | — | ||
| 19-6 | Falstaff, op. 68, Symphonic Study in C minor: VI. Allegro molto | — | ||
| 19-7 | In the South "Alassio" - Concert Overture, op. 50 | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 20-1 | Overture Cockaigne, op. 40 (In London Town) | London Philharmonic Orchestra, Sir Georg Solti | T-010.035.109-4 | |
| 20-2 | Pomp and Circumstance March no. 1 in D, op. 39 no. 1 | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 20-3 | Pomp and Circumstance March, op. 39: no. 2 in A Minor | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 20-4 | Pomp and Circumstance March, op. 39: no. 3 in C Minor | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 20-5 | Pomp and Circumstance March, op. 39: no. 4 in G major | London Philharmonic Orchestra, London Symphony Orchestra, Sir Georg Solti | T-010.247.851-2 | |
| 20-6 | Pomp and Circumstance March, op. 39: no. 5 in C major | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 20-7 | Enigma Variations, op. 36: Theme | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-8 | Enigma Variations, op. 36: Variation I. C.A.E. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-9 | Enigma Variations, op. 36: Variation II. H.D.S. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-10 | Enigma Variations, op. 36: Variation III. R.B.T. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-11 | Enigma Variations, op. 36: Variation IV. W.M.B. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-12 | Enigma Variations, op. 36: Variation V. R.P.A. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-13 | Enigma Variations, op. 36: Variation VI. Ysobel | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-14 | Enigma Variations, op. 36: Variation VII. Troyte | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-15 | Enigma Variations, op. 36: Variation VIII. W.N. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-16 | Enigma Variations, op. 36: Variation IX. Nimrod | Chicago Symphony Orchestra, Sir Georg Solti | T-010.115.427-1 | |
| 20-17 | Enigma Variations, op. 36: Variation X. (Intermezzo) Dorabella | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-18 | Enigma Variations, op. 36: Variation XI. G.R.S. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-19 | Enigma Variations, op. 36: Variation XII. B.G.N. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-20 | Enigma Variations, op. 36: Variation XIII. (Romanza) | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-21 | Enigma Variations, op. 36: Variation XIV. (Finale) E.D.U. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 21-1 | Violin Concerto in B minor, op. 61: I. Allegro | — | ||
| 21-2 | Violin Concerto in B minor, op. 61: II. Andante | — | ||
| 21-3 | Violin Concerto in B minor, op. 61: III. Allegro molto | — | ||
| 22-1 | The Planets, op. 32: I. Mars, the Bringer of War | London Philharmonic Orchestra, Sir Georg Solti | T-923.663.725-5 | |
| 22-2 | The Planets, op. 32: II. Venus, the Bringer of Peace | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 22-3 | The Planets, op. 32: III. Mercury, the Winged Messenger | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 22-4 | The Planets, op. 32: IV. Jupiter, the Bringer of Jollity | London Philharmonic Orchestra, Sir Georg Solti | T-101.257.909-6 | |
| 22-5 | The Planets, op. 32: V. Saturn, the Bringer of Old Age | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 22-6 | The Planets, op. 32: VI. Uranus, the Magician | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 22-7 | The Planets, op. 32: VII. Neptune, the Mystic | London Philharmonic Orchestra, Sir Georg Solti, London Philharmonic Choir | — | |
| 23-1 | Symphony no. 1 in D major: I. Langsam, schleppend | London Symphony Orchestra, Georg Solti | T-909.573.284-6 | |
| 23-2 | Symphony no. 1 in D major: II. Kräftig bewegt, doch nicht zu schnell | London Symphony Orchestra, Georg Solti | T-928.635.616-9 | |
| 23-3 | Symphony no. 1 in D major: III. Feierlich und gemessen, ohne zu schleppen | London Symphony Orchestra, Georg Solti | — | |
| 23-4 | Symphony no. 1 in D major: IV. Stürmisch bewegt | London Symphony Orchestra, Georg Solti | T-900.953.062-5 | |
| 24-1 | Symphony no. 2 in C minor “Resurrection”: I. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck | London Symphony Orchestra, Georg Solti | — | |
| 24-2 | Symphony no. 2 in C minor “Resurrection”: II. Andante moderato. Sehr gemächlich. Nie eilen | London Symphony Orchestra, Georg Solti | — | |
| 24-3 | Symphony no. 2 in C minor “Resurrection”: III. Scherzo: In ruhig fließender Bewegung | London Symphony Orchestra, Georg Solti | — | |
| 24-4 | Symphony no. 2 in C minor “Resurrection”: 4. “Urlicht” – Sehr feierlich, aber schlicht | Helen Watts, London Symphony Orchestra, Georg Solti | — | |
| 24-5 | Symphony no. 2 in C minor “Resurrection”: V. Im Tempo des Scherzo: Wild herausfahrend | London Symphony Orchestra, Georg Solti | — | |
| 24-6 | Symphony no. 2 in C minor “Resurrection”: V. Im Tempo des Scherzo: Wieder zurückhaltend… Der große Appell… Conclusion | Heather Harper, Helen Watts, London Symphony Chorus, John Alldis, London Symphony Orchestra, Georg Solti | — | |
| 25-1 | Symphonie Nr. 3 in d-moll: 1. Satz. Kräftig | London Symphony Orchestra, Sir Georg Solti | — | |
| 26-1 | Symphony no. 3: 2nd Movement: Tempo di Menuetto | London Symphony Orchestra, Georg Solti | — | |
| 26-2 | Symphony no. 3: 3rd Movement: Comodo | London Symphony Orchestra, Georg Solti | T-902.748.588-7 | |
| 26-3 | Symphony no. 3: 4th Movement: Sehr Langsam | Helen Watts, London Symphony Orchestra, Georg Solti | — | |
| 26-4 | Symphony no. 3: 5th Movement: Lustig Im Tempo Und Keck Im Ausdruck | Helen Watts, Boys From Wandsworth School, Ambrosian Chorus, John McCarthy, London Symphony Orchestra, Georg Solti | — | |
| 26-5 | Symphony no. 3: 6th Movement: Langsam | London Symphony Orchestra, Georg Solti | — | |
| 27-1 | Symphony no. 9 in D: I. Andante comodo | — | ||
| 27-2 | Symphony no. 9 in D: II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb | — | ||
| 27-3 | Symphony no. 9 in D: III. Rondo-Burleske. Allegro assai. Sehr trotzig | — | ||
| 27-4 | Symphony no. 9 in D: IV. Adagio. Sehr langsam und noch zurückhaltend | — | ||
| 28-1 | Music for Strings, Percussion and Celesta, BB 114: I. Andante tranquillo | — | ||
| 28-2 | Music for Strings, Percussion and Celesta, BB 114: II. Allegro | — | ||
| 28-3 | Music for Strings, Percussion and Celesta, BB 114: III. Adagio | — | ||
| 28-4 | Music for Strings, Percussion and Celesta, BB 114: IV. Allegro molto | — | ||
| 28-5 | Dance Suite, BB 86a: I. Moderato | — | ||
| 28-6 | Dance Suite, BB 86a: II. Allegro molto | — | ||
| 28-7 | Dance Suite, BB 86a: III. Allegro vivace | — | ||
| 28-8 | Dance Suite, BB 86a: IV. Molto tranquillo | — | ||
| 28-9 | Dance Suite, BB 86a: V. Comodo | — | ||
| 28-10 | Dance Suite, BB 86a: VI. Finale: Allegro | — | ||
| 28-11 | Háry János Suite, op. 35a: I. The Fairy Tale Begins | — | ||
| 28-12 | Háry János Suite, op. 35a: II. Viennese Musical Clock | — | ||
| 28-13 | Háry János Suite, op. 35a: III. Song | — | ||
| 28-14 | Háry János Suite, op. 35a: IV. The Battle and Defeat of Napoleon | — | ||
| 28-15 | Háry János Suite, op. 35a: V. Intermezzo | — | ||
| 28-16 | Háry János Suite, op. 35a: VI. Entrance of the Emperor and His Court | — | ||
| 29-1 | Psalmus Hungaricus, op. 13: When as King David sore was afflicted | — | ||
| 29-2 | Psalmus Hungaricus, op. 13: I could have borne so sore an affliction | — | ||
| 29-3 | Psalmus Hungaricus, op. 13: So in Jehovah I will put my trust | — | ||
| 29-4 | Variations on a Hungarian Folk Song “Felszállott a páva” (The Peacock): Theme: Moderato | — | ||
| 29-5 | Variations on a Hungarian Folk Song “Felszállott a páva” (The Peacock): Variation I: Con brio / Variation II / Variation III: Più mosso / Variation IV: Poco calmato / Variation V: Appassionato / Variation VI: Calmato | — | ||
| 29-6 | Variations on a Hungarian Folk Song “Felszállott a páva” (The Peacock): Variation VII: Vivo / Variation VIII: Più vivo / Variation IX / Variation X: Molto vivo | — | ||
| 29-7 | Variations on a Hungarian Folk Song “Felszállott a páva” (The Peacock): Variation XI: Andante espressivo / Variation XII: Adagio | — | ||
| 29-8 | Variations on a Hungarian Folk Song “Felszállott a páva” (The Peacock): Variation XIII: Tempo di marcia funebre / Variation XIV: Andante, poco rubato / Variation XV: Allegro giocoso / Variation XVI: Maestoso | — | ||
| 29-9 | Variations on a Hungarian Folk Song “Felszállott a páva” (The Peacock): Finale: Vivace | — | ||
| 29-10 | Dances of Galánta (Galántai táncok): Lento - Maestoso | — | ||
| 29-11 | Dances of Galánta (Galántai táncok): Allegretto moderato | — | ||
| 29-12 | Dances of Galánta (Galántai táncok): Allegro con moto, grazioso | — | ||
| 29-13 | Dances of Galánta (Galántai táncok): Allegro | — | ||
| 29-14 | Dances of Galánta (Galántai táncok): Allegro vivace | — | ||
| 30-1 | Concerto for Orchestra, Sz. 116: I. Introduzione: Andante non troppo — Allegro vivace | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-2 | Concerto for Orchestra, Sz. 116: II. Giuoco delle coppie: Allegretto scherzando | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-3 | Concerto for Orchestra, Sz. 116: III. Elegia: Andante, non troppo | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-4 | Concerto for Orchestra, Sz. 116: IV. Intermezzo interrotto: Allegretto | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-5 | Concerto for Orchestra, Sz. 116: V. Finale: Pesante — Presto | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-6 | Dance Suite, Sz. 77: I. Moderato | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-7 | Dance Suite, Sz. 77: II. Allegro molto | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-8 | Dance Suite, Sz. 77: III. Allegro vivace | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-9 | Dance Suite, Sz. 77: IV. Molto tranquillo | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-10 | Dance Suite, Sz. 77: V. Comodo | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-11 | Dance Suite, Sz. 77: VI. Finale: Allegro | London Symphony Orchestra, Sir Georg Solti | T-802.326.793-9 | |
| 31-1 | Music for Strings, Percussion and Celesta, BB 114: I. Andante tranquillo | — | ||
| 31-2 | Music for Strings, Percussion and Celesta, BB 114: II. Allegro | — | ||
| 31-3 | Music for Strings, Percussion and Celesta, BB 114: III. Adagio | — | ||
| 31-4 | Music for Strings, Percussion and Celesta, BB 114: IV. Allegro molto | — | ||
| 31-5 | The Miraculous Mandarin Suite, op. 19 | London Symphony Orchestra, Sir Georg Solti | — | |
| 32-1 | Piano Concerto no. 1 in E minor, Sz. 83: I. Allegro moderato - Allegro | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-2 | Piano Concerto no. 1 in E minor, Sz. 83: II. Andante | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | T-802.445.410-3 | |
| 32-3 | Piano Concerto no. 1 in E minor, Sz. 83: III. Allegro molto | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-4 | Piano Concerto no. 2, BB 101, Sz. 95: 1. Allegro | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-5 | Piano Concerto no. 2, BB 101, Sz. 95: 2. Adagio - Più adagio - Presto | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-6 | Piano Concerto no. 2, BB 101, Sz. 95: 3. Allegro molto | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-7 | Piano Concerto no. 3 in E major, Sz. 119: I. Allegretto | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-8 | Piano Concerto no. 3 in E major, Sz. 119: II. Adagio religioso | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-9 | Piano Concerto no. 3 in E major, Sz. 119: III. Allegro vivace | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 33-1 | Violin Concerto no. 2, BB 117: I. Allegro non troppo | — | ||
| 33-2 | Violin Concerto no. 2, BB 117: II. Andante tranquillo | — | ||
| 33-3 | Violin Concerto no. 2, BB 117: III. Allegro molto | — | ||
| 34-1 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Opening Scene: “Megérkeztünk” | — | ||
| 34-2 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 1: “Jaj!” – “Mit látsz? Mit látsz? Láncok kések” | — | ||
| 34-3 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 2: “Mit látsz?” – “Száz kegyetlen szörnyü gegyver” | — | ||
| 34-4 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 3: “Oh, be sok kincs! Oh, be sok kincs!” | — | ||
| 34-5 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 4: “Oh! Virágok! Oh! Ilatos kert!” | — | ||
| 34-6 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 5: “Ah! – “Lásd ez az én birodalmam” | — | ||
| 34-7 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 6: “Csendes fehér tavat látok” | — | ||
| 34-8 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 7: “Lásd a régi asszonyokat” | — | ||
| 35-1 | Oedipus Rex: Prologue: “Ladies and Gentlemen” (Speaker) | — | ||
| 35-2 | Oedipus Rex: Act I. “Caedit nos pestis” (Chorus) | — | ||
| 35-3 | Oedipus Rex: Act I. “Liberi, vos liberabo” (Oedipus) | — | ||
| 35-4 | Oedipus Rex: Act I. “Creon, the brother-in-law of Oedipus” (Speaker) | — | ||
| 35-5 | Oedipus Rex: Act I. “Respondit deus” (Creon) | — | ||
| 35-6 | Oedipus Rex: Act I. “Non reperias vetus scelus” (Oedipus) | — | ||
| 35-7 | Oedipus Rex: Act I. “Oedipus questions Tiresias” (Speaker) | — | ||
| 35-8 | Oedipus Rex: Act I. “Delie, expectamus, Minerva, filia Iovis” (Chorus) | — | ||
| 35-9 | Oedipus Rex: Act I. “Dicere non possum, dicere non licet” (Tiresias) | — | ||
| 35-10 | Oedipus Rex: Act I. “Invidia fortunam odit” (Oedipus) | — | ||
| 35-11 | Oedipus Rex: Act I. “Gloria, gloria, gloria!” (Chorus) | — | ||
| 35-12 | Oedipus Rex: Act II. “The dispute of the princes summons Jocasta” (Speaker) | — | ||
| 35-13 | Oedipus Rex: Act II. “Gloria, gloria, gloria!” (Chorus) | — | ||
| 35-14 | Oedipus Rex: Act II. “Nonn’ erubescite, reges” (Jocasta) | — | ||
| 35-15 | Oedipus Rex: Act II. “Trivium, trivium, trivium!… Pavesco subito, Jocasta” (Chorus, Oedipus) | — | ||
| 35-16 | Oedipus Rex: Act II. “A messenger announces” (Speaker) | — | ||
| 35-17 | Oedipus Rex: Act II. “Adest omniscius pastor” (Chorus) | — | ||
| 35-18 | Oedipus Rex: Act II. “In monte reppertus est” (Shepherd, Messenger) | — | ||
| 35-19 | Oedipus Rex: Act II. “And now you will hear the messenger” (Speaker) | — | ||
| 35-20 | Oedipus Rex: Act II. “Divum Jocastae caput mortuum!” (Messenger) | — | ||
| 35-21 | Oedipus Rex: Act II. “Ecce! Regem Oedipoda” (Chorus) | — | ||
| 36-1 | Coronation Te Deum | — | ||
| 36-2 | Belshazzar's Feast: Thus spake Isaiah | — | ||
| 36-3 | Belshazzar's Feast: If I forget thee | — | ||
| 36-4 | Belshazzar's Feast: Babylon was a great city | — | ||
| 36-5 | Belshazzar's Feast: In Babylon Belshazzar the King | — | ||
| 36-6 | Belshazzar's Feast: Praise ye the god of gold | — | ||
| 36-7 | Belshazzar's Feast: Thus in Babylon, the mighty city | — | ||
| 36-8 | Belshazzar's Feast: And in that same hour | — | ||
| 36-9 | Belshazzar's Feast: Then sing aloud to God our strength | — | ||
| 36-10 | Belshazzar's Feast: The trumpeters and pipers | — | ||
| 36-11 | Belshazzar's Feast: Then sing aloud to God our strength | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
028948517176 is a Universal Product Code (UPC) assigned to London: The Orchestral Recordings by Sir Georg Solti. 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 319 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
028948517176 is the Universal Product Code (UPC barcode) for the release “London: The Orchestral Recordings” by Sir Georg Solti, released 2021-01-01 on Decca. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 319 tracks, each with its own ISRC. Tracks include GBF077712001, GBF077712002, GBF077712003.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony no. 38 in D, K. 504 “Prague”: I. Adagio - Allegro | — | ||
| 2 | Symphony no. 38 in D, K. 504 “Prague”: II. Andante | — | ||
| 3 | Symphony no. 38 in D, K. 504 “Prague”: III. Finale: Presto | — | ||
| 4 | Symphony no. 25 in G minor, K. 183: I. Allegro con brio | — | ||
| 5 | Symphony no. 25 in G minor, K. 183: II. Andante | — | ||
| 6 | Symphony no. 25 in G minor, K. 183: III. Menuetto | — | ||
| 7 | Symphony no. 25 in G minor, K. 183: IV. Allegro | — | ||
| 2-1 | Piano Concerto no. 25 in C major, K. 503: I. Allegro maestoso | Alicia de Larrocha, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 2-2 | Piano Concerto no. 25 in C major, K. 503: II. Andante | Alicia de Larrocha, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 2-3 | Piano Concerto no. 25 in C major, K. 503: III. Allegretto | Alicia de Larrocha, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 2-4 | Piano Concerto no. 27 in B-flat major, K. 595: I. Allegro | Alicia de Larrocha, London Philharmonic Orchestra, Sir Georg Solti | T-011.422.353-8 | |
| 2-5 | Piano Concerto no. 27 in B-flat major, K. 595: II. Larghetto | Alicia de Larrocha, London Philharmonic Orchestra, Sir Georg Solti | T-802.445.410-3 | |
| 2-6 | Piano Concerto no. 27 in B-flat major, K. 595: III. Allegro | Alicia de Larrocha, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 3-1 | Piano Concerto no. 24 in C minor, K. 491: I. Allegro | Alicia de Larrocha, Chamber Orchestra of Europe, Sir Georg Solti | T-011.422.353-8 | |
| 3-2 | Piano Concerto no. 24 in C minor, K. 491: II. Larghetto | Alicia de Larrocha, Chamber Orchestra of Europe, Sir Georg Solti | T-802.445.410-3 | |
| 3-3 | Piano Concerto no. 24 in C minor, K. 491: III. Allegretto | Alicia de Larrocha, Chamber Orchestra of Europe, Sir Georg Solti | — | |
| 3-4 | Piano Concerto no. 26 in D major, K. 537 “Coronation”: I. Allegro | Alicia de Larrocha, Chamber Orchestra of Europe, Sir Georg Solti | T-070.160.313-5 | |
| 3-5 | Piano Concerto no. 26 in D major, K. 537 “Coronation”: II. Larghetto | Alicia de Larrocha, Chamber Orchestra of Europe, Sir Georg Solti | T-802.445.410-3 | |
| 3-6 | Piano Concerto no. 26 in D major, K. 537 “Coronation”: III. Allegretto | Alicia de Larrocha, Chamber Orchestra of Europe, Sir Georg Solti | — | |
| 4-1 | Concerto for 2 pianos in E-flat major, K. 365: I. Allegro | Daniel Barenboim, Sir Georg Solti, English Chamber Orchestra | T-011.422.353-8 | |
| 4-2 | Concerto for 2 pianos in E-flat major, K. 365: II. Andante | Daniel Barenboim, Sir Georg Solti, English Chamber Orchestra | — | |
| 4-3 | Concerto for 2 pianos in E-flat major, K. 365: III. Rondeaux, Allegro | Daniel Barenboim, Sir Georg Solti, English Chamber Orchestra | — | |
| 4-4 | Concerto no. 7 in F, K. 242 “Lodron”: I. Allegro | — | ||
| 4-5 | Concerto no. 7 in F, K. 242 “Lodron”: II. Adagio | — | ||
| 4-6 | Concerto no. 7 in F, K. 242 “Lodron”: III. Rondeau: Tempo di menuetto | — | ||
| 4-7 | Piano Concerto no. 20 in D minor, K. 466: I. Allegro | — | ||
| 4-8 | Piano Concerto no. 20 in D minor, K. 466: II. Romance | — | ||
| 4-9 | Piano Concerto no. 20 in D minor, K. 466: III. Rondo: Allegro assai | — | ||
| 5-1 | Symphony no. 100 in G, Hob. I:100 “Military”: I. Adagio - Allegro | — | ||
| 5-2 | Symphony no. 100 in G, Hob. I:100 “Military”: II. Allegretto | — | ||
| 5-3 | Symphony no. 100 in G, Hob. I:100 “Military”: III. Menuetto e Trio: Moderato | — | ||
| 5-4 | Symphony no. 100 in G, Hob. I:100 “Military”: IV. Finale: Presto | — | ||
| 5-5 | Symphony no. 102 in B-flat, Hob. I:102: I. Largo - Vivace | — | ||
| 5-6 | Symphony no. 102 in B-flat, Hob. I:102: II. Adagio | — | ||
| 5-7 | Symphony no. 102 in B-flat, Hob. I:102: III. Menuetto e Trio: Allegro | — | ||
| 5-8 | Symphony no. 102 in B-flat, Hob. I:102: IV. Finale: Presto | — | ||
| 5-9 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: I. Adagio - Allegro con spirito | — | ||
| 5-10 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: II. Andante, più tosto allegretto | — | ||
| 5-11 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: III. Menuetto e Trio | — | ||
| 5-12 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: IV. Finale: Allegro con spirito | — | ||
| 6-1 | Symphony no. 93 in D, Hob. I:93: I. Adagio - Allegro assai | — | ||
| 6-2 | Symphony no. 93 in D, Hob. I:93: II. Largo cantabile | — | ||
| 6-3 | Symphony no. 93 in D, Hob. I:93: III. Menuetto e Trio: Allegro | — | ||
| 6-4 | Symphony no. 93 in D, Hob. I:93: IV. Finale: Presto ma non troppo | — | ||
| 6-5 | Symphony no. 94 in G, Hob. I:94 “Surprise”: I. Adagio - Vivace assai | — | ||
| 6-6 | Symphony no. 94 in G, Hob. I:94 “Surprise”: II. Andante | — | ||
| 6-7 | Symphony no. 94 in G, Hob. I:94 “Surprise”: III. Menuet e Trio: Allegro molto | — | ||
| 6-8 | Symphony no. 94 in G, Hob. I:94 “Surprise”: IV. Finale: Allegro di molto | — | ||
| 6-9 | Symphony no. 101 in D, Hob. I:101 “The Clock”: I. Adagio - Presto | — | ||
| 6-10 | Symphony no. 101 in D, Hob. I:101 “The Clock”: II. Andante | — | ||
| 6-11 | Symphony no. 101 in D, Hob. I:101 “The Clock”: III. Menuetto e Trio: Allegretto | — | ||
| 6-12 | Symphony no. 101 in D, Hob. I:101 “The Clock”: IV. Finale: Vivace | — | ||
| 7-1 | Symphony no. 95 in C minor, Hob. I:95: I. Allegro moderato | — | ||
| 7-2 | Symphony no. 95 in C minor, Hob. I:95: II. Andante cantabile | — | ||
| 7-3 | Symphony no. 95 in C minor, Hob. I:95: III. Menuet e Trio | — | ||
| 7-4 | Symphony no. 95 in C minor, Hob. I:95: IV. Finale: Vivace | — | ||
| 7-5 | Symphony no. 96 in D, Hob. I:96 “Miracle”: I. Adagio - Allegro | — | ||
| 7-6 | Symphony no. 96 in D, Hob. I:96 “Miracle”: II. Andante | — | ||
| 7-7 | Symphony no. 96 in D, Hob. I:96 “Miracle”: III. Menuetto e Trio: Allegretto | — | ||
| 7-8 | Symphony no. 96 in D, Hob. I:96 “Miracle”: IV. Finale: Vivace | — | ||
| 7-9 | Symphony no. 99 in E-flat, Hob. I:99: I. Adagio - Vivace assai | — | ||
| 7-10 | Symphony no. 99 in E-flat, Hob. I:99: II. Adagio | — | ||
| 7-11 | Symphony no. 99 in E-flat, Hob. I:99: III. Menuetto e Trio: Allegretto | — | ||
| 7-12 | Symphony no. 99 in E-flat, Hob. I:99: IV. Finale: Vivace | — | ||
| 8-1 | Symphony no. 97 in C, Hob. I:97: I. Adagio - Vivace | — | ||
| 8-2 | Symphony no. 97 in C, Hob. I:97: II. Adagio ma non troppo | — | ||
| 8-3 | Symphony no. 97 in C, Hob. I:97: III. Menuetto: Allegretto | — | ||
| 8-4 | Symphony no. 97 in C, Hob. I:97: IV. Finale: Presto assai | — | ||
| 8-5 | Symphony no. 98 in B-flat, Hob. I:98: I. Adagio - Allegro | — | ||
| 8-6 | Symphony no. 98 in B-flat, Hob. I:98: II. Adagio | — | ||
| 8-7 | Symphony no. 98 in B-flat, Hob. I:98: III. Menuetto e Trio: Allegro | — | ||
| 8-8 | Symphony no. 98 in B-flat, Hob. I:98: IV. Finale: Presto | — | ||
| 8-9 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: I. Adagio | — | ||
| 8-10 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: II. Andante, più tosto allegretto | — | ||
| 8-11 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: III. Menuetto e Trio | — | ||
| 8-12 | Symphony no. 103 in E-flat, Hob. I:103 “Drum Roll”: IV. Finale: Allegro con spirito | — | ||
| 9-1 | Symphony no. 100 in G, Hob. I:100 “Military”: I. Adagio - Allegro | — | ||
| 9-2 | Symphony no. 100 in G, Hob. I:100 “Military”: II. Allegretto | — | ||
| 9-3 | Symphony no. 100 in G, Hob. I:100 “Military”: III. Menuetto e Trio: Moderato | — | ||
| 9-4 | Symphony no. 100 in G, Hob. I:100 “Military”: IV. Finale: Presto | — | ||
| 9-5 | Symphony no. 102 in B-flat, Hob. I:102: I. Largo - Vivace | — | ||
| 9-6 | Symphony no. 102 in B-flat, Hob. I:102: II. Adagio | — | ||
| 9-7 | Symphony no. 102 in B-flat, Hob. I:102: III. Menuetto e Trio: Allegro | — | ||
| 9-8 | Symphony no. 102 in B-flat, Hob. I:102: IV. Finale: Presto | — | ||
| 9-9 | Symphony no. 104 in D, Hob. I:104 “London”: I. Adagio - Allegro | — | ||
| 9-10 | Symphony no. 104 in D, Hob. I:104 “London”: II. Andante | — | ||
| 9-11 | Symphony no. 104 in D, Hob. I:104 “London”: III. Menuetto e Trio: Allegro | — | ||
| 9-12 | Symphony no. 104 in D, Hob. I:104 “London”: IV. Finale: Spiritoso | — | ||
| 10-1 | Violin Concerto in D, op. 61: I. Allegro ma non troppo | — | ||
| 10-2 | Violin Concerto in D, op. 61: II. Larghetto | — | ||
| 10-3 | Violin Concerto in D, op. 61: III. Rondo: Allegro | — | ||
| 11-1 | Symphony no. 3 in A minor, op. 56 “Scottish”: I. Andante con moto - Allegro un poco agitato - Assai animato - Andante come prima | — | ||
| 11-2 | Symphony no. 3 in A minor, op. 56 “Scottish”: II. Vivace non troppo | — | ||
| 11-3 | Symphony no. 3 in A minor, op. 56 “Scottish”: III. Adagio | — | ||
| 11-4 | Symphony no. 3 in A minor, op. 56 “Scottish”: IV. Allegro vivacissimo - Allegro maestoso assai | — | ||
| 11-5 | Symphony no. 4 in B-flat, op. 60: I. Adagio - Allegro vivace | — | ||
| 11-6 | Symphony no. 4 in B-flat, op. 60: II. Adagio | — | ||
| 11-7 | Symphony no. 4 in B-flat, op. 60: III. Allegro vivace | — | ||
| 11-8 | Symphony no. 4 in B-flat, op. 60: IV. Allegro ma non troppo | — | ||
| 12-1 | L'Italiana in Algeri: Overture | — | ||
| 12-2 | Il barbiere di Siviglia: Overture | — | ||
| 12-3 | Die leichte Kavallerie: Overture | — | ||
| 12-4 | Dichter und Bauer: Overture | — | ||
| 12-5 | Ein Morgan, Mittag und ein Abend in Wien: Overture | — | ||
| 12-6 | Pique Dame: Overture | — | ||
| 13-1 | Gaîté Parisienne: Ouverture | — | ||
| 13-2 | Gaîté Parisienne: Allegro brillante | — | ||
| 13-3 | Gaîté Parisienne: Polka | — | ||
| 13-4 | Gaîté Parisienne: Allegro - Valse | — | ||
| 13-5 | Gaîté Parisienne: Mazurka | — | ||
| 13-6 | Gaîté Parisienne: Valse | — | ||
| 13-7 | Gaîté Parisienne: Peruvian dance (Allegro) | — | ||
| 13-8 | Gaîté Parisienne: Polka | — | ||
| 13-9 | Gaîté Parisienne: Valse lente | — | ||
| 13-10 | Gaîté Parisienne: Tempo di marcia | — | ||
| 13-11 | Gaîté Parisienne: Valse | — | ||
| 13-12 | Gaîté Parisienne: Allegro vivo - Valse | — | ||
| 13-13 | Gaîté Parisienne: Allegro vivace | — | ||
| 13-14 | Gaîté Parisienne: Valse | — | ||
| 13-15 | Gaîté Parisienne: Allegro - Cancan | — | ||
| 13-16 | Gaîté Parisienne: Quadrille - Cancan | — | ||
| 13-17 | Gaîté Parisienne: Allegro moderato | — | ||
| 13-18 | Gaîté Parisienne: Allegro | — | ||
| 13-19 | Gaîté Parisienne: Leggiero | — | ||
| 13-20 | Gaîté Parisienne: Vivo | — | ||
| 13-21 | Gaîté Parisienne: Barcarolle | — | ||
| 14-1 | La forza del destino: Overture | — | ||
| 14-2 | La traviata: Prelude to Act I | — | ||
| 14-3 | L'Italiana in Algeri: Overture | — | ||
| 14-4 | Les Contes d'Hoffman: Entr'acte (Barcarolle) | — | ||
| 14-5 | La traviata: Prelude to Act III | — | ||
| 14-6 | Semiramide: Overture | — | ||
| 14-7 | La Gioconda: Dance of the Hours | — | ||
| 14-8 | Faust (Ballet Music): Act V. Les Nubiennes (Allegretto: movement de valse) | — | ||
| 14-9 | Faust (Ballet Music): Act V. Adagio | — | ||
| 14-10 | Faust (Ballet Music): Act V. Danse antique (Allegretto) | — | ||
| 14-11 | Faust (Ballet Music): Act V. Variations de Cléopâtre (Moderato maestoso) | — | ||
| 14-12 | Faust (Ballet Music): Act V. Les Troyennes (Moderato con moto) | — | ||
| 14-13 | Faust (Ballet Music): Act V. Variations du miroir (Allegretto) | — | ||
| 14-14 | Faust (Ballet Music): Act V. Danse de Phryné (Allegro vivo) | — | ||
| 15-1 | Les Préludes, S. 97 | London Philharmonic Orchestra, Sir Georg Solti | T-905.646.816-7 | |
| 15-2 | Prometheus, S.99 | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 15-3 | Festklänge, S. 101 | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 15-4 | Wanderer-Fantasie: I. Allegro con fuoco | — | ||
| 15-5 | Wanderer-Fantasie: II. Adagio | — | ||
| 15-6 | Wanderer-Fantasie: III. Presto | — | ||
| 15-7 | Wanderer-Fantasie: IV. Allegro | — | ||
| 16-1 | Ruslan and Lyudmila: Overture | London Symphony Orchestra, Sir Georg Solti | T-909.762.448-1 | |
| 16-2 | Khovanshchina: Prelude | London Symphony Orchestra, Sir Georg Solti | — | |
| 16-3 | Night on the Bare Mountain | London Symphony Orchestra, Sir Georg Solti | — | |
| 16-4 | Prince Igor: Overture | London Symphony Orchestra, Sir Georg Solti | — | |
| 16-5 | Prince Igor: Polovtsian Dances and Chorus | London Symphony Orchestra Chorus, London Symphony Orchestra, Sir Georg Solti | — | |
| 16-6 | Piano Concerto no. 2 in C minor, op. 18: I. Moderato | Julius Katchen, London Symphony Orchestra, Sir Georg Solti | — | |
| 16-7 | Piano Concerto no. 2 in C minor, op. 18: II. Adagio sostenuto | Julius Katchen, London Symphony Orchestra, Sir Georg Solti | — | |
| 16-8 | Piano Concerto no. 2 in C minor, op. 18: III. Allegro scherzando | Julius Katchen, London Symphony Orchestra, Sir Georg Solti | T-071.926.821-9 | |
| 17-1 | Symphony no. 1 in A-flat major, op. 55: I. Andante, nobilmente e semplice - Allegro | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 17-2 | Symphony no. 1 in A-flat major, op. 55: II. Allegro molto | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 17-3 | Symphony no. 1 in A-flat major, op. 55: III. Adagio | London Philharmonic Orchestra, Sir Georg Solti | T-913.999.561-2 | |
| 17-4 | Symphony no. 1 in A-flat major, op. 55: IV. Lento - Allegro | London Philharmonic Orchestra, Sir Georg Solti | T-306.395.786-4 | |
| 18-1 | Symphony no. 2 in E-flat major, op. 63: I. Allegro vivace e nobilmente | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 18-2 | Symphony no. 2 in E-flat major, op. 63: II. Larghetto | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 18-3 | Symphony no. 2 in E-flat major, op. 63: III. Rondo: Presto | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 18-4 | Symphony no. 2 in E-flat major, op. 63: IV. Moderato e maestoso | London Philharmonic Orchestra, Sir Georg Solti | T-902.764.002-4 | |
| 19-1 | Falstaff, op. 68, Symphonic Study in C minor: I. Allegro (Start) | — | ||
| 19-2 | Falstaff, op. 68, Symphonic Study in C minor: II. Allegro molto | — | ||
| 19-3 | Falstaff, op. 68, Symphonic Study in C minor: III. Poco allegretto (Dream Interlude) | — | ||
| 19-4 | Falstaff, op. 68, Symphonic Study in C minor: IV. Allegro | — | ||
| 19-5 | Falstaff, op. 68, Symphonic Study in C minor: V. Allegretto (Interlude) | — | ||
| 19-6 | Falstaff, op. 68, Symphonic Study in C minor: VI. Allegro molto | — | ||
| 19-7 | In the South "Alassio" - Concert Overture, op. 50 | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 20-1 | Overture Cockaigne, op. 40 (In London Town) | London Philharmonic Orchestra, Sir Georg Solti | T-010.035.109-4 | |
| 20-2 | Pomp and Circumstance March no. 1 in D, op. 39 no. 1 | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 20-3 | Pomp and Circumstance March, op. 39: no. 2 in A Minor | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 20-4 | Pomp and Circumstance March, op. 39: no. 3 in C Minor | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 20-5 | Pomp and Circumstance March, op. 39: no. 4 in G major | London Philharmonic Orchestra, London Symphony Orchestra, Sir Georg Solti | T-010.247.851-2 | |
| 20-6 | Pomp and Circumstance March, op. 39: no. 5 in C major | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 20-7 | Enigma Variations, op. 36: Theme | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-8 | Enigma Variations, op. 36: Variation I. C.A.E. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-9 | Enigma Variations, op. 36: Variation II. H.D.S. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-10 | Enigma Variations, op. 36: Variation III. R.B.T. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-11 | Enigma Variations, op. 36: Variation IV. W.M.B. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-12 | Enigma Variations, op. 36: Variation V. R.P.A. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-13 | Enigma Variations, op. 36: Variation VI. Ysobel | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-14 | Enigma Variations, op. 36: Variation VII. Troyte | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-15 | Enigma Variations, op. 36: Variation VIII. W.N. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-16 | Enigma Variations, op. 36: Variation IX. Nimrod | Chicago Symphony Orchestra, Sir Georg Solti | T-010.115.427-1 | |
| 20-17 | Enigma Variations, op. 36: Variation X. (Intermezzo) Dorabella | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-18 | Enigma Variations, op. 36: Variation XI. G.R.S. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-19 | Enigma Variations, op. 36: Variation XII. B.G.N. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-20 | Enigma Variations, op. 36: Variation XIII. (Romanza) | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 20-21 | Enigma Variations, op. 36: Variation XIV. (Finale) E.D.U. | Chicago Symphony Orchestra, Sir Georg Solti | — | |
| 21-1 | Violin Concerto in B minor, op. 61: I. Allegro | — | ||
| 21-2 | Violin Concerto in B minor, op. 61: II. Andante | — | ||
| 21-3 | Violin Concerto in B minor, op. 61: III. Allegro molto | — | ||
| 22-1 | The Planets, op. 32: I. Mars, the Bringer of War | London Philharmonic Orchestra, Sir Georg Solti | T-923.663.725-5 | |
| 22-2 | The Planets, op. 32: II. Venus, the Bringer of Peace | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 22-3 | The Planets, op. 32: III. Mercury, the Winged Messenger | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 22-4 | The Planets, op. 32: IV. Jupiter, the Bringer of Jollity | London Philharmonic Orchestra, Sir Georg Solti | T-101.257.909-6 | |
| 22-5 | The Planets, op. 32: V. Saturn, the Bringer of Old Age | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 22-6 | The Planets, op. 32: VI. Uranus, the Magician | London Philharmonic Orchestra, Sir Georg Solti | — | |
| 22-7 | The Planets, op. 32: VII. Neptune, the Mystic | London Philharmonic Orchestra, Sir Georg Solti, London Philharmonic Choir | — | |
| 23-1 | Symphony no. 1 in D major: I. Langsam, schleppend | London Symphony Orchestra, Georg Solti | T-909.573.284-6 | |
| 23-2 | Symphony no. 1 in D major: II. Kräftig bewegt, doch nicht zu schnell | London Symphony Orchestra, Georg Solti | T-928.635.616-9 | |
| 23-3 | Symphony no. 1 in D major: III. Feierlich und gemessen, ohne zu schleppen | London Symphony Orchestra, Georg Solti | — | |
| 23-4 | Symphony no. 1 in D major: IV. Stürmisch bewegt | London Symphony Orchestra, Georg Solti | T-900.953.062-5 | |
| 24-1 | Symphony no. 2 in C minor “Resurrection”: I. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck | London Symphony Orchestra, Georg Solti | — | |
| 24-2 | Symphony no. 2 in C minor “Resurrection”: II. Andante moderato. Sehr gemächlich. Nie eilen | London Symphony Orchestra, Georg Solti | — | |
| 24-3 | Symphony no. 2 in C minor “Resurrection”: III. Scherzo: In ruhig fließender Bewegung | London Symphony Orchestra, Georg Solti | — | |
| 24-4 | Symphony no. 2 in C minor “Resurrection”: 4. “Urlicht” – Sehr feierlich, aber schlicht | Helen Watts, London Symphony Orchestra, Georg Solti | — | |
| 24-5 | Symphony no. 2 in C minor “Resurrection”: V. Im Tempo des Scherzo: Wild herausfahrend | London Symphony Orchestra, Georg Solti | — | |
| 24-6 | Symphony no. 2 in C minor “Resurrection”: V. Im Tempo des Scherzo: Wieder zurückhaltend… Der große Appell… Conclusion | Heather Harper, Helen Watts, London Symphony Chorus, John Alldis, London Symphony Orchestra, Georg Solti | — | |
| 25-1 | Symphonie Nr. 3 in d-moll: 1. Satz. Kräftig | London Symphony Orchestra, Sir Georg Solti | — | |
| 26-1 | Symphony no. 3: 2nd Movement: Tempo di Menuetto | London Symphony Orchestra, Georg Solti | — | |
| 26-2 | Symphony no. 3: 3rd Movement: Comodo | London Symphony Orchestra, Georg Solti | T-902.748.588-7 | |
| 26-3 | Symphony no. 3: 4th Movement: Sehr Langsam | Helen Watts, London Symphony Orchestra, Georg Solti | — | |
| 26-4 | Symphony no. 3: 5th Movement: Lustig Im Tempo Und Keck Im Ausdruck | Helen Watts, Boys From Wandsworth School, Ambrosian Chorus, John McCarthy, London Symphony Orchestra, Georg Solti | — | |
| 26-5 | Symphony no. 3: 6th Movement: Langsam | London Symphony Orchestra, Georg Solti | — | |
| 27-1 | Symphony no. 9 in D: I. Andante comodo | — | ||
| 27-2 | Symphony no. 9 in D: II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb | — | ||
| 27-3 | Symphony no. 9 in D: III. Rondo-Burleske. Allegro assai. Sehr trotzig | — | ||
| 27-4 | Symphony no. 9 in D: IV. Adagio. Sehr langsam und noch zurückhaltend | — | ||
| 28-1 | Music for Strings, Percussion and Celesta, BB 114: I. Andante tranquillo | — | ||
| 28-2 | Music for Strings, Percussion and Celesta, BB 114: II. Allegro | — | ||
| 28-3 | Music for Strings, Percussion and Celesta, BB 114: III. Adagio | — | ||
| 28-4 | Music for Strings, Percussion and Celesta, BB 114: IV. Allegro molto | — | ||
| 28-5 | Dance Suite, BB 86a: I. Moderato | — | ||
| 28-6 | Dance Suite, BB 86a: II. Allegro molto | — | ||
| 28-7 | Dance Suite, BB 86a: III. Allegro vivace | — | ||
| 28-8 | Dance Suite, BB 86a: IV. Molto tranquillo | — | ||
| 28-9 | Dance Suite, BB 86a: V. Comodo | — | ||
| 28-10 | Dance Suite, BB 86a: VI. Finale: Allegro | — | ||
| 28-11 | Háry János Suite, op. 35a: I. The Fairy Tale Begins | — | ||
| 28-12 | Háry János Suite, op. 35a: II. Viennese Musical Clock | — | ||
| 28-13 | Háry János Suite, op. 35a: III. Song | — | ||
| 28-14 | Háry János Suite, op. 35a: IV. The Battle and Defeat of Napoleon | — | ||
| 28-15 | Háry János Suite, op. 35a: V. Intermezzo | — | ||
| 28-16 | Háry János Suite, op. 35a: VI. Entrance of the Emperor and His Court | — | ||
| 29-1 | Psalmus Hungaricus, op. 13: When as King David sore was afflicted | — | ||
| 29-2 | Psalmus Hungaricus, op. 13: I could have borne so sore an affliction | — | ||
| 29-3 | Psalmus Hungaricus, op. 13: So in Jehovah I will put my trust | — | ||
| 29-4 | Variations on a Hungarian Folk Song “Felszállott a páva” (The Peacock): Theme: Moderato | — | ||
| 29-5 | Variations on a Hungarian Folk Song “Felszállott a páva” (The Peacock): Variation I: Con brio / Variation II / Variation III: Più mosso / Variation IV: Poco calmato / Variation V: Appassionato / Variation VI: Calmato | — | ||
| 29-6 | Variations on a Hungarian Folk Song “Felszállott a páva” (The Peacock): Variation VII: Vivo / Variation VIII: Più vivo / Variation IX / Variation X: Molto vivo | — | ||
| 29-7 | Variations on a Hungarian Folk Song “Felszállott a páva” (The Peacock): Variation XI: Andante espressivo / Variation XII: Adagio | — | ||
| 29-8 | Variations on a Hungarian Folk Song “Felszállott a páva” (The Peacock): Variation XIII: Tempo di marcia funebre / Variation XIV: Andante, poco rubato / Variation XV: Allegro giocoso / Variation XVI: Maestoso | — | ||
| 29-9 | Variations on a Hungarian Folk Song “Felszállott a páva” (The Peacock): Finale: Vivace | — | ||
| 29-10 | Dances of Galánta (Galántai táncok): Lento - Maestoso | — | ||
| 29-11 | Dances of Galánta (Galántai táncok): Allegretto moderato | — | ||
| 29-12 | Dances of Galánta (Galántai táncok): Allegro con moto, grazioso | — | ||
| 29-13 | Dances of Galánta (Galántai táncok): Allegro | — | ||
| 29-14 | Dances of Galánta (Galántai táncok): Allegro vivace | — | ||
| 30-1 | Concerto for Orchestra, Sz. 116: I. Introduzione: Andante non troppo — Allegro vivace | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-2 | Concerto for Orchestra, Sz. 116: II. Giuoco delle coppie: Allegretto scherzando | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-3 | Concerto for Orchestra, Sz. 116: III. Elegia: Andante, non troppo | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-4 | Concerto for Orchestra, Sz. 116: IV. Intermezzo interrotto: Allegretto | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-5 | Concerto for Orchestra, Sz. 116: V. Finale: Pesante — Presto | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-6 | Dance Suite, Sz. 77: I. Moderato | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-7 | Dance Suite, Sz. 77: II. Allegro molto | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-8 | Dance Suite, Sz. 77: III. Allegro vivace | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-9 | Dance Suite, Sz. 77: IV. Molto tranquillo | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-10 | Dance Suite, Sz. 77: V. Comodo | London Symphony Orchestra, Sir Georg Solti | — | |
| 30-11 | Dance Suite, Sz. 77: VI. Finale: Allegro | London Symphony Orchestra, Sir Georg Solti | T-802.326.793-9 | |
| 31-1 | Music for Strings, Percussion and Celesta, BB 114: I. Andante tranquillo | — | ||
| 31-2 | Music for Strings, Percussion and Celesta, BB 114: II. Allegro | — | ||
| 31-3 | Music for Strings, Percussion and Celesta, BB 114: III. Adagio | — | ||
| 31-4 | Music for Strings, Percussion and Celesta, BB 114: IV. Allegro molto | — | ||
| 31-5 | The Miraculous Mandarin Suite, op. 19 | London Symphony Orchestra, Sir Georg Solti | — | |
| 32-1 | Piano Concerto no. 1 in E minor, Sz. 83: I. Allegro moderato - Allegro | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-2 | Piano Concerto no. 1 in E minor, Sz. 83: II. Andante | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | T-802.445.410-3 | |
| 32-3 | Piano Concerto no. 1 in E minor, Sz. 83: III. Allegro molto | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-4 | Piano Concerto no. 2, BB 101, Sz. 95: 1. Allegro | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-5 | Piano Concerto no. 2, BB 101, Sz. 95: 2. Adagio - Più adagio - Presto | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-6 | Piano Concerto no. 2, BB 101, Sz. 95: 3. Allegro molto | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-7 | Piano Concerto no. 3 in E major, Sz. 119: I. Allegretto | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-8 | Piano Concerto no. 3 in E major, Sz. 119: II. Adagio religioso | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 32-9 | Piano Concerto no. 3 in E major, Sz. 119: III. Allegro vivace | Vladimir Ashkenazy, London Philharmonic Orchestra, Sir Georg Solti | — | |
| 33-1 | Violin Concerto no. 2, BB 117: I. Allegro non troppo | — | ||
| 33-2 | Violin Concerto no. 2, BB 117: II. Andante tranquillo | — | ||
| 33-3 | Violin Concerto no. 2, BB 117: III. Allegro molto | — | ||
| 34-1 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Opening Scene: “Megérkeztünk” | — | ||
| 34-2 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 1: “Jaj!” – “Mit látsz? Mit látsz? Láncok kések” | — | ||
| 34-3 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 2: “Mit látsz?” – “Száz kegyetlen szörnyü gegyver” | — | ||
| 34-4 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 3: “Oh, be sok kincs! Oh, be sok kincs!” | — | ||
| 34-5 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 4: “Oh! Virágok! Oh! Ilatos kert!” | — | ||
| 34-6 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 5: “Ah! – “Lásd ez az én birodalmam” | — | ||
| 34-7 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 6: “Csendes fehér tavat látok” | — | ||
| 34-8 | Bluebeard's Castle (A Kékszakállú herceg vára), BB 62: Door 7: “Lásd a régi asszonyokat” | — | ||
| 35-1 | Oedipus Rex: Prologue: “Ladies and Gentlemen” (Speaker) | — | ||
| 35-2 | Oedipus Rex: Act I. “Caedit nos pestis” (Chorus) | — | ||
| 35-3 | Oedipus Rex: Act I. “Liberi, vos liberabo” (Oedipus) | — | ||
| 35-4 | Oedipus Rex: Act I. “Creon, the brother-in-law of Oedipus” (Speaker) | — | ||
| 35-5 | Oedipus Rex: Act I. “Respondit deus” (Creon) | — | ||
| 35-6 | Oedipus Rex: Act I. “Non reperias vetus scelus” (Oedipus) | — | ||
| 35-7 | Oedipus Rex: Act I. “Oedipus questions Tiresias” (Speaker) | — | ||
| 35-8 | Oedipus Rex: Act I. “Delie, expectamus, Minerva, filia Iovis” (Chorus) | — | ||
| 35-9 | Oedipus Rex: Act I. “Dicere non possum, dicere non licet” (Tiresias) | — | ||
| 35-10 | Oedipus Rex: Act I. “Invidia fortunam odit” (Oedipus) | — | ||
| 35-11 | Oedipus Rex: Act I. “Gloria, gloria, gloria!” (Chorus) | — | ||
| 35-12 | Oedipus Rex: Act II. “The dispute of the princes summons Jocasta” (Speaker) | — | ||
| 35-13 | Oedipus Rex: Act II. “Gloria, gloria, gloria!” (Chorus) | — | ||
| 35-14 | Oedipus Rex: Act II. “Nonn’ erubescite, reges” (Jocasta) | — | ||
| 35-15 | Oedipus Rex: Act II. “Trivium, trivium, trivium!… Pavesco subito, Jocasta” (Chorus, Oedipus) | — | ||
| 35-16 | Oedipus Rex: Act II. “A messenger announces” (Speaker) | — | ||
| 35-17 | Oedipus Rex: Act II. “Adest omniscius pastor” (Chorus) | — | ||
| 35-18 | Oedipus Rex: Act II. “In monte reppertus est” (Shepherd, Messenger) | — | ||
| 35-19 | Oedipus Rex: Act II. “And now you will hear the messenger” (Speaker) | — | ||
| 35-20 | Oedipus Rex: Act II. “Divum Jocastae caput mortuum!” (Messenger) | — | ||
| 35-21 | Oedipus Rex: Act II. “Ecce! Regem Oedipoda” (Chorus) | — | ||
| 36-1 | Coronation Te Deum | — | ||
| 36-2 | Belshazzar's Feast: Thus spake Isaiah | — | ||
| 36-3 | Belshazzar's Feast: If I forget thee | — | ||
| 36-4 | Belshazzar's Feast: Babylon was a great city | — | ||
| 36-5 | Belshazzar's Feast: In Babylon Belshazzar the King | — | ||
| 36-6 | Belshazzar's Feast: Praise ye the god of gold | — | ||
| 36-7 | Belshazzar's Feast: Thus in Babylon, the mighty city | — | ||
| 36-8 | Belshazzar's Feast: And in that same hour | — | ||
| 36-9 | Belshazzar's Feast: Then sing aloud to God our strength | — | ||
| 36-10 | Belshazzar's Feast: The trumpeters and pipers | — | ||
| 36-11 | Belshazzar's Feast: Then sing aloud to God our strength | — |
