UPC · Release
The Complete Recordings on Deutsche Grammophon & Decca
Claudio Abbado
028948625109
968 tracksReleased 2023-01-01Deutsche Grammophon
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028948625109 is the Universal Product Code (UPC barcode) for the release “The Complete Recordings on Deutsche Grammophon & Decca” by Claudio Abbado, released 2023-01-01 on Deutsche Grammophon. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 968 tracks, each with its own ISRC. Tracks include DEN960702051, DEF058203881, DEF058203882.
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UPCThe Complete Recordings on Deutsche Grammophon & Decca
ISRC609 recordings
ISWC194 works
IPI21 songwriters
Track List (968)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Brandenburg Concerto no. 1 in F major, BWV 1046: 1. (Allegro) | — | ||
| 2 | Brandenburg Concerto no. 1 in F major, BWV 1046: 2. Adagio | — | ||
| 3 | Brandenburg Concerto no. 1 in F major, BWV 1046: 3. Allegro | — | ||
| 4 | Brandenburg Concerto no. 1 in F major, BWV 1046: 4. Menuetto - Trio I - Polacca - Trio II | — | ||
| 5 | Brandenburg Concerto no. 3 in G major, BWV 1048: 1. (Allegro) | — | ||
| 6 | Brandenburg Concerto no. 3 in G major, BWV 1048: 2. Adagio | — | ||
| 7 | Brandenburg Concerto no. 3 in G major, BWV 1048: 3. Allegro | — | ||
| 8 | Brandenburg Concerto no. 5 in D major, BWV 1050: 1. Allegro | — | ||
| 9 | Brandenburg Concerto no. 5 in D major, BWV 1050: 2. Affettuoso | — | ||
| 10 | Brandenburg Concerto no. 5 in D major, BWV 1050: 3. Allegro | — | ||
| 2-1 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: 1. (Allegro) | — | ||
| 2-2 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: 2. Adagio ma non tanto | — | ||
| 2-3 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: 3. Allegro | — | ||
| 2-4 | Brandenburg Concerto no. 4 in G major, BWV 1049: 1. Allegro | — | ||
| 2-5 | Brandenburg Concerto no. 4 in G major, BWV 1049: 2. Andante | — | ||
| 2-6 | Brandenburg Concerto no. 4 in G major, BWV 1049: 3. Presto | — | ||
| 2-7 | Brandenburg Concerto no. 2 in F major, BWV 1047: 1. (Allegro) | — | ||
| 2-8 | Brandenburg Concerto no. 2 in F major, BWV 1047: 2. Andante | — | ||
| 2-9 | Brandenburg Concerto no. 2 in F major, BWV 1047: 3. Allegro assai | — | ||
| 3-1 | The Miraculous Mandarin, Sz. 73 (op. 19): Beginning | — | ||
| 3-2 | The Miraculous Mandarin, Sz. 73 (op. 19): The curtain rises. | — | ||
| 3-3 | The Miraculous Mandarin, Sz. 73 (op. 19): First seduction game: the shabby old rake. | — | ||
| 3-4 | The Miraculous Mandarin, Sz. 73 (op. 19): Second seduction game. | — | ||
| 3-5 | The Miraculous Mandarin, Sz. 73 (op. 19): The shy youth appears at the door. | — | ||
| 3-6 | The Miraculous Mandarin, Sz. 73 (op. 19): Third seduction game | — | ||
| 3-7 | The Miraculous Mandarin, Sz. 73 (op. 19): The Mandarin enters; encounter with the girl | — | ||
| 3-8 | The Miraculous Mandarin, Sz. 73 (op. 19): The girl's dance | — | ||
| 3-9 | The Miraculous Mandarin, Sz. 73 (op. 19): She flees from him; he chases her wildly. | — | ||
| 3-10 | The Miraculous Mandarin, Sz. 73 (op. 19): The Mandarin stumbles, but catches the girl; they fight. The tramps leap out, seize the Mandarin, rob him and suffocate him with pillows. | — | ||
| 3-11 | The Miraculous Mandarin, Sz. 73 (op. 19): Suddenly the Mandarin's head appears. The tramps drag him out, one stabs him three times. He almost collapses, but draws himself up and leaps at the girl. | — | ||
| 3-12 | The Miraculous Mandarin, Sz. 73 (op. 19): They drag the Mandarin to the centre of the room and hang him on a lamp hook. The lamp falls to the floor - goes out. The Mandarin's body begins to glow. | — | ||
| 3-13 | The Miraculous Mandarin, Sz. 73 (op. 19): The tramps take him down. He falls to the floor and at once leaps at the girl. They embrace. | — | ||
| 3-14 | The Miraculous Mandarin, Sz. 73 (op. 19): His longing stilled, the Mandarin's wounds begin to bleed; he becomes weaker and dies. | — | ||
| 3-15 | Two Portraits (One Ideal - One Grotesque), Sz. 37 (op. 5): 1. Andante | — | ||
| 3-16 | Two Portraits (One Ideal - One Grotesque), Sz. 37 (op. 5): 2. Presto | — | ||
| 4-1 | Concerto for Piano and Orchestra no. 1, Sz. 83: 1. Allegro moderato - Allegro | — | ||
| 4-2 | Concerto for Piano and Orchestra no. 1, Sz. 83: 2. Andante - Allegro - attacca | — | ||
| 4-3 | Concerto for Piano and Orchestra no. 1, Sz. 83: 3. Allegro molto | — | ||
| 4-4 | Concerto for Piano and Orchestra no. 2, Sz. 95: 1. Allegro | — | ||
| 4-5 | Concerto for Piano and Orchestra no. 2, Sz. 95: 2. Adagio - Presto - Adagio | — | ||
| 4-6 | Concerto for Piano and Orchestra no. 2, Sz. 95: 3. Allegro molto | — | ||
| 5-1 | Symphony no. 1 in C major, op. 21: 1. Adagio molto - Allegro con brio | — | ||
| 5-2 | Symphony no. 1 in C major, op. 21: 2. Andante cantabile con moto | — | ||
| 5-3 | Symphony no. 1 in C major, op. 21: 3. Menuetto. Allegro molto e vivace - Trio | — | ||
| 5-4 | Symphony no. 1 in C major, op. 21: 4. Adagio - Allegro molto e vivace | — | ||
| 5-5 | Symphony no. 3 in E-flat major “Eroica”, op. 55: 1. Allegro con brio | — | ||
| 5-6 | Symphony no. 3 in E-flat major “Eroica”, op. 55: 2. Marcia funebre. Adagio assai | — | ||
| 5-7 | Symphony no. 3 in E-flat major “Eroica”, op. 55: 3. Scherzo. Allegro vivace - Trio | — | ||
| 5-8 | Symphony no. 3 in E-flat major “Eroica”, op. 55: 4. Allegro molto - Poco andante - Presto | — | ||
| 6-1 | Symphony no. 2 in D major, op. 36: 1. Adagio molto - Allegro con brio | — | ||
| 6-2 | Symphony no. 2 in D major, op. 36: 2. Larghetto | — | ||
| 6-3 | Symphony no. 2 in D major, op. 36: 3. Scherzo. Allegro - Trio | — | ||
| 6-4 | Symphony no. 2 in D major, op. 36: 4. Allegro molto | — | ||
| 6-5 | Symphony no. 4 in B-flat major, op. 60: 1. Adagio - Allegro vivace | — | ||
| 6-6 | Symphony no. 4 in B-flat major, op. 60: 2. Adagio | — | ||
| 6-7 | Symphony no. 4 in B-flat major, op. 60: 3. Allegro molto e vivace - Trio. Un poco meno allegro | — | ||
| 6-8 | Symphony no. 4 in B-flat major, op. 60: 4. Allegro ma non troppo | — | ||
| 7-1 | Symphony no. 5 in C minor, op. 67: 1. Allegro con brio | — | ||
| 7-2 | Symphony no. 5 in C minor, op. 67: 2. Andante con moto | — | ||
| 7-3 | Symphony no. 5 in C minor, op. 67: 3. Allegro | — | ||
| 7-4 | Symphony no. 5 in C minor, op. 67: 4. Allegro | — | ||
| 7-5 | Symphony no. 6 in F major “Pastoral”, op. 68: 1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo | — | ||
| 7-6 | Symphony no. 6 in F major “Pastoral”, op. 68: 2. Szene am Bach. Andante molto mosso | — | ||
| 7-7 | Symphony no. 6 in F major “Pastoral”, op. 68: 3. Lustiges Zusammensein der Landleute. Allegro | — | ||
| 7-8 | Symphony no. 6 in F major “Pastoral”, op. 68: 4. Gewitter - Sturm. Allegro | — | ||
| 7-9 | Symphony no. 6 in F major “Pastoral”, op. 68: 5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto | — | ||
| 8-1 | Symphony no. 7 in A minor, op. 92: 1. Poco sostenuto - Vivace | — | ||
| 8-2 | Symphony no. 7 in A minor, op. 92: 2. Allegretto | — | ||
| 8-3 | Symphony no. 7 in A minor, op. 92: 3. Presto | — | ||
| 8-4 | Symphony no. 7 in A minor, op. 92: 4. Allegro con brio | — | ||
| 8-5 | Symphony no. 8 in F major, op. 93: 1. Allegro vivace e con brio | — | ||
| 8-6 | Symphony no. 8 in F major, op. 93: 2. Allegretto scherzando | — | ||
| 8-7 | Symphony no. 8 in F major, op. 93: 3. Tempo di menuetto | — | ||
| 8-8 | Symphony no. 8 in F major, op. 93: 4. Allegro vivace | — | ||
| 9-1 | Symphony no. 9 in D minor “Choral”, op. 125: 1. Allegro ma non troppo e un poco maestoso | — | ||
| 9-2 | Symphony no. 9 in D minor “Choral”, op. 125: 2. Molto vivace - Presto | — | ||
| 9-3 | Symphony no. 9 in D minor “Choral”, op. 125: 3. Adagio molto e cantabile - Andante moderato | — | ||
| 9-4 | Symphony no. 9 in D minor “Choral”, op. 125: 4. Presto - Allegro assai - | — | ||
| 9-5 | Symphony no. 9 in D minor “Choral”, op. 125: 4. Presto - Rezitativo: »O Freunde, nicht diese Töne!« - Allegro assai | — | ||
| 10-1 | Symphony no. 1 in C major, op. 21: 1. Adagio molto - Allegro con brio | — | ||
| 10-2 | Symphony no. 1 in C major, op. 21: 2. Andante cantabile con moto | — | ||
| 10-3 | Symphony no. 1 in C major, op. 21: 3. Menuetto. Allegro molto e vivace - Trio | — | ||
| 10-4 | Symphony no. 1 in C major, op. 21: 4. Adagio - Allegro molto e vivace | — | ||
| 10-5 | Symphony no. 2 in D major, op. 36: 1. Adagio molto - Allegro con brio | — | ||
| 10-6 | Symphony no. 2 in D major, op. 36: 2. Larghetto | — | ||
| 10-7 | Symphony no. 2 in D major, op. 36: 3. Scherzo. Allegro - Trio | — | ||
| 10-8 | Symphony no. 2 in D major, op. 36: 4. Allegro molto | — | ||
| 11-1 | Symphony no. 3 in E-flat major “Eroica”, op. 55: 1. Allegro con brio | — | ||
| 11-2 | Symphony no. 3 in E-flat major “Eroica”, op. 55: 2. Marcia funebre. Adagio assai | — | ||
| 11-3 | Symphony no. 3 in E-flat major “Eroica”, op. 55: 3. Scherzo. Allegro vivace - Trio | — | ||
| 11-4 | Symphony no. 3 in E-flat major “Eroica”, op. 55: 4. Allegro molto - Poco andante - Presto | — | ||
| 12-1 | Symphony no. 4 in B-flat major, op. 60: 1. Adagio - Allegro vivace | — | ||
| 12-2 | Symphony no. 4 in B-flat major, op. 60: 2. Adagio | — | ||
| 12-3 | Symphony no. 4 in B-flat major, op. 60: 3. Allegro molto e vivace - Trio. Un poco meno allegro | — | ||
| 12-4 | Symphony no. 4 in B-flat major, op. 60: 4. Allegro ma non troppo | — | ||
| 12-5 | Symphony no. 5 in C minor, op. 67: 1. Allegro con brio | — | ||
| 12-6 | Symphony no. 5 in C minor, op. 67: 2. Andante con moto | — | ||
| 12-7 | Symphony no. 5 in C minor, op. 67: 3. Allegro | — | ||
| 12-8 | Symphony no. 5 in C minor, op. 67: 4. Allegro | — | ||
| 13-1 | Meeresstille und glückliche Fahrt, op. 112: Meeresstille. Poco sostenuto | — | ||
| 13-2 | Meeresstille und glückliche Fahrt, op. 112: Glückliche Fahrt. Allegro vivace | — | ||
| 13-3 | Symphony no. 6 in F major “Pastoral”, op. 68: 1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo | — | ||
| 13-4 | Symphony no. 6 in F major “Pastoral”, op. 68: 2. Szene am Bach. Andante molto mosso | — | ||
| 13-5 | Symphony no. 6 in F major “Pastoral”, op. 68: 3. Lustiges Zusammensein der Landleute. Allegro | — | ||
| 13-6 | Symphony no. 6 in F major “Pastoral”, op. 68: 4. Gewitter - Sturm. Allegro | — | ||
| 13-7 | Symphony no. 6 in F major “Pastoral”, op. 68: 5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto | — | ||
| 13-8 | Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Adagio | — | ||
| 13-9 | Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Finale. Allegro - Meno allegro - Allegro molto - | — | ||
| 13-10 | Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Finale. Adagio ma non troppo - | — | ||
| 13-11 | Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Finale. Marcia, assai vivace - Allegro - | — | ||
| 13-12 | Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Finale. Allegretto, ma non troppo (quasi andante con moto) »Schmeichelnd hold und lieblich klingen«- | — | ||
| 13-13 | Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Finale. Presto | — | ||
| 14-1 | Symphony no. 7 in A major, op. 92: 1. Poco sostenuto - Vivace | — | ||
| 14-2 | Symphony no. 7 in A major, op. 92: 2. Allegretto | — | ||
| 14-3 | Symphony no. 7 in A major, op. 92: 3. Presto | — | ||
| 14-4 | Symphony no. 7 in A major, op. 92: 4. Allegro con brio | — | ||
| 14-5 | Symphony no. 8 in F major, op. 93: 1. Allegro vivace e con brio | — | ||
| 14-6 | Symphony no. 8 in F major, op. 93: 2. Allegretto scherzando | — | ||
| 14-7 | Symphony no. 8 in F major, op. 93: 3. Tempo di menuetto | — | ||
| 14-8 | Symphony no. 8 in F major, op. 93: 4. Allegro vivace | — | ||
| 15-1 | Symphony no. 9 in D minor “Choral”, op. 125: 1. Allegro ma non troppo e un poco maestoso | — | ||
| 15-2 | Symphony no. 9 in D minor “Choral”, op. 125: 2. Molto vivace - Presto | — | ||
| 15-3 | Symphony no. 9 in D minor “Choral”, op. 125: 3. Adagio molto e cantabile - Andante moderato | — | ||
| 15-4 | Symphony no. 9 in D minor “Choral”, op. 125: 4. Presto - Allegro assai - Presto - Rezitativo: »O Freunde, nicht diese Töne!« - Allegro assai | — | ||
| 16-1 | Die Geschöpfe des Prometheus, op. 43: Overture. Adagio - Allegro molto con brio | — | ||
| 16-2 | König Stephan, op. 117: Overture. Andante con moto - Presto | — | ||
| 16-3 | Die Ruinen von Athen, op. 113: Overture. Andante con moto - Allegro, ma non troppo | — | ||
| 16-4 | Die Weihe des Hauses, op. 124: Overture. Maestoso e sostenuto - Allegro con brio | — | ||
| 16-5 | Overture “Zur Namensfeier”, op. 115: Maestoso - Allegro assai vivace | — | ||
| 16-6 | Overture “Coriolan”, op. 62: Allegro con brio | — | ||
| 16-7 | Overture “Egmont”, op. 84: Overture. Sostenuto, ma non troppo - Allegro | — | ||
| 17-1 | Overture “Fidelio”, op. 72: Allegro - Adagio - Presto | — | ||
| 17-2 | Overture “Leonore I”, op. 138: Andante con moto - Allegro con brio | — | ||
| 17-3 | Overture “Leonore II”, op. 72a: Adagio - Allegro - Adagio - Presto | — | ||
| 17-4 | Overture “Leonore III”, op. 72b: Adagio - Allegro - Presto | — | ||
| 18-1 | Symphony no. 7 in A major, op. 92: 1. Poco sostenuto - Vivace | — | ||
| 18-2 | Symphony no. 7 in A major, op. 92: 2. Allegretto | — | ||
| 18-3 | Symphony no. 7 in A major, op. 92: 3. Presto | — | ||
| 18-4 | Symphony no. 7 in A major, op. 92: 4. Allegro con brio | — | ||
| 18-5 | Overture “Die Geschöpfe des Prometheus”, op. 43: Adagio - Allegro molto con brio | — | ||
| 18-6 | Symphony no. 8 in F major, op. 93: 1. Allegro vivace e con brio | — | ||
| 18-7 | Symphony no. 8 in F major, op. 93: 2. Allegretto scherzando | — | ||
| 18-8 | Symphony no. 8 in F major, op. 93: 3. Tempo di menuetto | — | ||
| 18-9 | Symphony no. 8 in F major, op. 93: 4. Allegro vivace | — | ||
| 19-1 | Concerto for Piano and Orchestra no. 1 in C major, op. 15: 1. Allegro con brio | — | ||
| 19-2 | Concerto for Piano and Orchestra no. 1 in C major, op. 15: 2. Largo | — | ||
| 19-3 | Concerto for Piano and Orchestra no. 1 in C major, op. 15: 3. Rondo. Allegro scherzando | — | ||
| 19-4 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: 1. Allegro con brio | — | ||
| 19-5 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: 2. Adagio | — | ||
| 19-6 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: 3. Rondo. Molto allegro | — | ||
| 20-1 | Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 1. Allegro con brio | — | ||
| 20-2 | Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 2. Largo | — | ||
| 20-3 | Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 3. Rondo. Allegro | — | ||
| 20-4 | Concerto for Piano and Orchestra no. 4 in G major, op. 58: 1. Allegro moderato | — | ||
| 20-5 | Concerto for Piano and Orchestra no. 4 in G major, op. 58: 2. Andante con moto | — | ||
| 20-6 | Concerto for Piano and Orchestra no. 4 in G major, op. 58: 3. Rondo. Vivace | — | ||
| 21-1 | Concerto for Piano and Orchestra no. 5 in E-flat major “Emperor”, op. 73: 1. Allegro | — | ||
| 21-2 | Concerto for Piano and Orchestra no. 5 in E-flat major “Emperor”, op. 73: 2. Adagio un poco mosso | — | ||
| 21-3 | Concerto for Piano and Orchestra no. 5 in E-flat major “Emperor”, op. 73: 3. Rondo. Allegro | — | ||
| 21-4 | Concerto for Piano, Violin, Violoncello and Orchestra in C major “Triple Concerto”, op. 56: 1. Allegro | — | ||
| 21-5 | Concerto for Piano, Violin, Violoncello and Orchestra in C major “Triple Concerto”, op. 56: 2. Largo | — | ||
| 21-6 | Concerto for Piano, Violin, Violoncello and Orchestra in C major “Triple Concerto”, op. 56: 3. Rondo alla polacca | — | ||
| 22-1 | Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 1. Allegro con brio | — | ||
| 22-2 | Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 2. Largo | — | ||
| 22-3 | Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 3. Rondo. Allegro | — | ||
| 22-4 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: 1. Allegro con brio | — | ||
| 22-5 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: 2. Adagio | — | ||
| 22-6 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: 3. Rondo. Molto allegro | — | ||
| 23-1 | Musik zu Goethes Trauerspiel “Egmont”, op. 84: Ouvertüre | — | ||
| 23-2 | Musik zu Goethes Trauerspiel “Egmont”, op. 84: 1. Lied (Klärchen): »Die Trommel gerühret« | — | ||
| 23-3 | Musik zu Goethes Trauerspiel “Egmont”, op. 84: 2. Zwischenaktmusik I | — | ||
| 23-4 | Musik zu Goethes Trauerspiel “Egmont”, op. 84: 4. Lied (Klärchen): »Freudvoll und leidvoll« | — | ||
| 23-5 | Musik zu Goethes Trauerspiel “Egmont”, op. 84: 5. Zwischenaktmusik III | — | ||
| 23-6 | Musik zu Goethes Trauerspiel “Egmont”, op. 84: 6. Zwischenaktmusik IV | — | ||
| 23-7 | Musik zu Goethes Trauerspiel “Egmont”, op. 84: 7. Musik, Klärchens Tod bezeichnend | — | ||
| 23-8 | Musik zu Goethes Trauerspiel “Egmont”, op. 84: 8. Melodram (Egmont): »Süßer Schlaf!« | — | ||
| 23-9 | Musik zu Goethes Trauerspiel “Egmont”, op. 84: 9. Siegessymphonie | — | ||
| 23-10 | Scena ed Aria “Ah! perfido” for Soprano and Orchestra, op. 65 | — | ||
| 23-11 | Overture “Leonore III”, op. 72b | — | ||
| 23-12 | Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Adagio - Finale. Allegro - Meno allegro - Allegro molto - Adagio ma non troppo - Marcia, assai vivace - Allegro - Allegretto ma non troppo (quasi andante con moto): »Schmeichelnd hold und lieblich klingen« - Presto | — | ||
| 24-1 | Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: Ouvertüre, op. 124 | — | ||
| 24-2 | Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 1. Chor: »Folge dem mächtigen Ruf der Ehre!« | — | ||
| 24-3 | Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 2. Duett: »Ohne Verschulden Knechtschaft dulden« | — | ||
| 24-4 | Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 3. Chor der Derwische: »Du hast in deines Ärmels Falten« | — | ||
| 24-5 | Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 4. Marcia alla turca | — | ||
| 24-6 | Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 5. Chor (mit Sopran-Solo): »Wo sich die Pulse« - »Lasst uns im Tanze« | — | ||
| 24-7 | Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 6. Marsch (mit Chor): »Schmückt die Altäre« | — | ||
| 24-8 | Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 7. Melodram: »Es wandelt schon das Volk im Feierkleide« | — | ||
| 24-9 | Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 8. Rezitativ: »Mit reger Freude, die nie erkaltet« | — | ||
| 24-10 | Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 8. Chor: »Wir tragen empfängliche Herzen im Busen« / Arie (mit Chor): »Will unser Genius« - »Er ist's! Wir sind erhört!« | — | ||
| 24-11 | Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 9. Chor: »Heil unserm Kaiser!« | — | ||
| 24-12 | Musik zu Friedrich Dunckers Drama “Leonore Prohaska”, WoO 96: 1. Kriegerchor: »Wir bauen und sterben« | — | ||
| 24-13 | Musik zu Friedrich Dunckers Drama “Leonore Prohaska”, WoO 96: 2. Romanze: »Es blüht eine Blume im Garten mein« | — | ||
| 24-14 | Musik zu Friedrich Dunckers Drama “Leonore Prohaska”, WoO 96: 3. Melodram: »Du, dem sie gewunden« (Recitation) | — | ||
| 24-15 | Musik zu Friedrich Dunckers Drama “Leonore Prohaska”, WoO 96: 4. Trauermarsch | — | ||
| 24-16 | Musik zu Goethes Trauerspiel “Egmont”, op. 84: 2. Zwischenaktmusik I - »Es ist keine falsche Ader an ihm« | — | ||
| 24-17 | Musik zu Goethes Trauerspiel “Egmont”, op. 84: 3. Zwischenaktmusik II | — | ||
| 25-1 | Fidelio, op. 72: Ouvertüre | — | ||
| 25-2 | Fidelio, op. 72: Erster Aufzug. Nr. 1 Duett: »Jetzt, Schätzchen, jetzt sind wir allein« (Jaquino, Marzelline) | — | ||
| 25-3 | Fidelio, op. 72: Erster Aufzug. »Seit Fidelio bei uns ist, ist die Welt wie verwandelt« (Marzelline) | — | ||
| 25-4 | Fidelio, op. 72: Erster Aufzug. Nr. 2 Arie: »O wär ich schon mit dir vereint« (Marzelline) | — | ||
| 25-5 | Fidelio, op. 72: Erster Aufzug. »Ich täusche die Menschen, die mich ernähren« (Leonore, Rocco) | — | ||
| 25-6 | Fidelio, op. 72: Erster Aufzug. Nr. 3 Quartett: »Mir ist so wunderbar« (Marzelline, Leonore, Rocco, Jaquino) | — | ||
| 25-7 | Fidelio, op. 72: Erster Aufzug. »Marzelline und Fidelio haben sich offensichtlich recht lieb« (Rocco) | — | ||
| 25-8 | Fidelio, op. 72: Erster Aufzug. Nr. 4 Arie: »Hat man nicht auch Gold beineben« (Rocco) | — | ||
| 25-9 | Fidelio, op. 72: Erster Aufzug. »In den finstersten Gewölben sitzt ein Gefangener« (Rocco) | — | ||
| 25-10 | Fidelio, op. 72: Erster Aufzug. Nr. 5 Terzett: »Gut, Söhnchen, gut, hab immer Mut« (Rocco, Leonore, Marzelline) | — | ||
| 25-11 | Fidelio, op. 72: Erster Aufzug. Nr. 6 Marsch | — | ||
| 25-12 | Fidelio, op. 72: Erster Aufzug. »Was Neues vorgefallen?« (Pizarro, Rocco) | — | ||
| 25-13 | Fidelio, op. 72: Erster Aufzug. Nr. 7 Arie mit Chor: »Ha! Welch ein Augenblick!« (Pizarro, Chor) | — | ||
| 25-14 | Fidelio, op. 72: Erster Aufzug. »Und nun zu dir mein lieber Rocco!« (Pizarro, Rocco) | — | ||
| 25-15 | Fidelio, op. 72: Erster Aufzug. Nr. 8 Duett: »Jetzt, Alter, jetzt hat es Eile!« (Pizarro, Rocco) | — | ||
| 25-16 | Fidelio, op. 72: Erster Aufzug. Nr. 9 Rezitativ und Arie: »Abscheulicher! Wo eilst du hin?« … »Komm, Hoffnung, lass den letzten Stern« (Leonore) | — | ||
| 25-17 | Fidelio, op. 72: Erster Aufzug. »Wie Fidelio das wieder geschafft hatte, war mir ein Rätsel« (Jaquino) | — | ||
| 25-18 | Fidelio, op. 72: Erster Aufzug. Nr. 10 Finale I: »O welche Lust, in freier Luft den Atem leicht zu heben!« (Gefangene, Erster Gefangener, Zweiter Gefangener) | — | ||
| 25-19 | Fidelio, op. 72: Erster Aufzug. Nr. 10 Finale I: [Rezitativ und Duett]: »Nun sprecht, wie ging's?« … »Noch heute! Noch heute!« (Leonore, Rocco) | — | ||
| 25-20 | Fidelio, op. 72: Erster Aufzug. Nr. 10 Finale I: »Ach, Vater, Vater eilt!« (Marzelline, Rocco, Jaquino, Leonore) | — | ||
| 25-21 | Fidelio, op. 72: Erster Aufzug. Nr. 10 Finale I: »Verwegner Alter!« (Pizarro, Rocco) | — | ||
| 25-22 | Fidelio, op. 72: Erster Aufzug. Nr. 10 Finale I: »Leb wohl, du warmes Sonnenlicht« (Chor, Marzelline, Leonore, Jaquino, Pizarro, Rocco) | — | ||
| 26-1 | Fidelio op. 72: Zweiter Aufzug. Nr. 11 Introduktion und Arie: »Gott! Welch Dunkel hier! … In des Lebens Frühlingstagen« (Florestan) | — | ||
| 26-2 | Fidelio op. 72: Zweiter Aufzug. Nr. 12 Melodram und Duett: »Wie kalt ist es diesem unterirdischen Gewölbe!« … »Nur hurtig fort, nur frisch gegraben« (Leonore, Rocco) | — | ||
| 26-3 | Fidelio op. 72: Zweiter Aufzug. »Ihr habt wieder geruht?« (Rocco, Florestan, Leonore) | — | ||
| 26-4 | Fidelio op. 72: Zweiter Aufzug. Nr. 13 Terzett: »Euch werde Lohn in bessern Welten« (Florestan, Rocco, Leonore) | — | ||
| 26-5 | Fidelio op. 72: Zweiter Aufzug. »Ist alles bereit?« (Pizarro, Rocco) | — | ||
| 26-6 | Fidelio op. 72: Zweiter Aufzug. Nr. 14 Quartett: »Er sterbe! Doch er soll erst wissen« (Pizarro, Florestan, Leonore, Rocco) | — | ||
| 26-7 | Fidelio op. 72: Zweiter Aufzug. Nr. 15 Duett: »O namenlose Freude!« (Leonore, Florestan) | — | ||
| 26-8 | Fidelio op. 72: Zweiter Aufzug. Nr. 16 Finale II: »Heil sei dem Tag« … »Des besten Königs Wink und Wille« … »Wer ein holdes Weib errungen« (Chor, Fernando, Rocco, Pizarro, Leonore, Marzelline, Florestan, Jaquino) | — | ||
| 27-1 | Lulu-Suite: 1. Rondo. Andante (Introduzione) - Hymne. Sostenuto | — | ||
| 27-2 | Lulu-Suite: 2. Ostinato. Allegro | — | ||
| 27-3 | Lulu-Suite: 3. Lied der Lulu. Comodo (»Wenn sich die Menschen um meinetwillen umgebracht haben«) | — | ||
| 27-4 | Lulu-Suite: 4. Variationen. Moderato (Grandioso - Grazioso - Funebre - Affettuoso) - Thema. Subito tempo moderato | — | ||
| 27-5 | Lulu-Suite: 5. Adagio. Sostenuto - Lento - Grave (»Lulu! Mein Engel!«) | — | ||
| 27-9 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 1. »Seele, wie bist du schöner« | — | ||
| 27-10 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 2. »Sahst du nach dem Gewitterregen den Wald« | — | ||
| 27-11 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 3. »Über die Grenzen des All« | — | ||
| 27-12 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 4. »Nichts ist gekommen« | — | ||
| 27-13 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 5. »Hier ist Friede« | — | ||
| 28-1 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 1. »Seele, wie bist du schöner« | — | ||
| 28-2 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 2. »Sahst du nach dem Gewitteregen den Wald« | — | ||
| 28-3 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 3. »Über die Grenzen des All« | — | ||
| 28-4 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 4. »Nichts ist gekommen« | — | ||
| 28-5 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 5. »Hier ist Friede« | — | ||
| 28-9 | Lulu-Suite: 1. Rondo. Andante (Introduzione) - Hymne. Sostenuto | — | ||
| 28-10 | Lulu-Suite: 2. Ostinato. Allegro | — | ||
| 28-11 | Lulu-Suite: 3. Lied der Lulu. Comodo (»Wenn sich die Menschen um meinetwillen umgebracht haben«) | — | ||
| 28-12 | Lulu-Suite: 4. Variationen. Moderato (Grandioso - Grazioso - Funebre - Affettuoso) - Thema. Subito tempo moderato | — | ||
| 28-13 | Lulu-Suite: 5. Adagio. Sostenuto - Lento - Grave (»Lulu! Mein Engel!«) | — | ||
| 29-8 | Der Wein: Die Seele des Weines - Der Wein der Liebenden - Der Wein des Einsamen | — | ||
| 29-9 | 3 Pieces for Orchestra, op. 6: 1. Präludium. Langsam | — | ||
| 29-10 | 3 Pieces for Orchestra, op. 6: 2. Reigen. Anfangs etwas zögernd - Leicht beschwingt | — | ||
| 29-11 | 3 Pieces for Orchestra, op. 6: 3. Marsch. Mäßiges Marschtempo | — | ||
| 30-1 | Wozzeck, op. 7: Erster Akt. »Langsam, Wozzeck, langsam!« (Hauptmann, Wozzeck) | — | ||
| 30-2 | Wozzeck, op. 7: Erster Akt. »Du, der Platz ist verflucht!« (Wozzeck, Andres) | — | ||
| 30-3 | Wozzeck, op. 7: Erster Akt. »Tschin Bum …! Hörst Bub? Da kommen sie!« (Marie, Margret, Wozzeck) | — | ||
| 30-4 | Wozzeck, op. 7: Erster Akt. »Was erleb' ich, Wozzeck?« (Doktor, Wozzeck) | — | ||
| 30-5 | Wozzeck, op. 7: Erster Akt. »Geh einmal vor dich hin …« (Marie, Tambourmajor) | — | ||
| 31-1 | Wozzeck, op. 7: Zweiter Akt. »Was die Steine glänzen!« (Marie, Wozzeck) | — | ||
| 31-2 | Wozzeck, op. 7: Zweiter Akt. »Wohin so eilig, geehrtester Herr Sargnagel?« (Hauptmann, Doktor, Wozzeck) | — | ||
| 31-3 | Wozzeck, op. 7: Zweiter Akt. »Guten Tag, Franz« / »Ich seh' nichts« (Marie, Wozzeck) | — | ||
| 31-4 | Wozzeck, op. 7: Zweiter Akt. »Ich hab' ein Hemdlein an, das ist nicht mein …« (1. & 2. Handwerksbursche, Wozzeck, Marie, Tambourmajor, Burschen, Soldaten, Andres, Der Narr) | — | ||
| 31-5 | Wozzeck, op. 7: Zweiter Akt. »Oh! oh! Andres! Ich kann nicht schlafen« (Soldaten, Wozzeck, Andres, Tambourmajor) | — | ||
| 31-6 | Wozzeck, op. 7: Dritter Akt. »Und ist kein Betrug in seinem Munde erfunden worden« (Marie) | — | ||
| 31-7 | Wozzeck, op. 7: Dritter Akt. »Und kniete hin zu seinen Füßen« (Marie) | — | ||
| 31-8 | Wozzeck, op. 7: Dritter Akt. »Dort links geht's in die Stadt« (Marie, Wozzeck) | — | ||
| 31-9 | Wozzeck, op. 7: Dritter Akt. »Tanzt Alle; tanzt nur zu …!« (Wozzeck, Margret, Burschen, Dirnen) | — | ||
| 31-10 | Wozzeck, op. 7: Dritter Akt. »Das Messer? Wo ist das Messer?« (Wozzeck, Hauptmann, Doktor) | — | ||
| 31-11 | Wozzeck, op. 7: Dritter Akt. »Ringel, Ringel, Rosenkranz, Ringelreih'n!« (Kinder, Mariens Knabe) | — | ||
| 32-1 | Symphonie fantastique, op. 14: 1. Rêveries – Passions: Largo – Allegro agitato ed appassionato assai | — | ||
| 32-2 | Symphonie fantastique, op. 14: 2. Un bal. Valse. Allegro non troppo | — | ||
| 32-3 | Symphonie fantastique, op. 14: 2. Scène aux champs. Adagio | — | ||
| 32-4 | Symphonie fantastique, op. 14: 4. Marche au supplice. Allegretto non troppo | — | ||
| 32-5 | Symphonie fantastique, op. 14: 5. Songe d’une nuit du Sabbat. Larghetto – Allegro - | — | ||
| 32-6 | Symphonie fantastique, op. 14: 5. Songe d’une nuit du Sabbat. Dies irae - | — | ||
| 32-7 | Symphonie fantastique, op. 14: 5. Songe d’une nuit du Sabbat. Ronde du sabbat - | — | ||
| 32-8 | Symphonie fantastique, op. 14: 5. Songe d’une nuit du Sabbat. Dies irae et Ronde du sabbat ensemble | — | ||
| 33-1 | Te Deum, op. 22: Te Deum (Hymne). Allegro moderato | — | ||
| 33-2 | Te Deum, op. 22: Tibi omnes (Hymne). Andantino | — | ||
| 33-3 | Te Deum, op. 22: Dignare (Prière). Moderato quasi andantino | — | ||
| 33-4 | Te Deum, op. 22: Christe, rex gloriae (Hymne). Allegro non troppo | — | ||
| 33-5 | Te Deum, op. 22: Te ergo quaesumus (Prière). Andantino quasi adagio | — | ||
| 33-6 | Te Deum, op. 22: Judex crederis (Hymne et prière). Allegretto un poco maestoso | — | ||
| 34-1 | L'Arlésienne Suite no. 1: Prélude. Allegro deciso (Tempo di marcia) - Andantino - Andante molto | — | ||
| 34-2 | L'Arlésienne Suite no. 1: Minuetto. Allegro giocoso | — | ||
| 34-3 | L'Arlésienne Suite no. 1: Adagietto. Adagio | — | ||
| 34-4 | L'Arlésienne Suite no. 1: Carillon. Allegretto moderato - Andantino - Tempo I | — | ||
| 34-5 | L'Arlésienne Suite no. 2: Pastorale. Andante sostenuto assai - Andantino - Tempo I | — | ||
| 34-6 | L'Arlésienne Suite no. 2: Intermezzo. Andante moderato ma con moto - Allegro moderato | — | ||
| 34-7 | L'Arlésienne Suite no. 2: Menuet. Andantino quasi allegretto | — | ||
| 34-8 | L'Arlésienne Suite no. 2: Farandole. Allegro deciso (Tempo di marcia) - Allegro vivo e deciso | — | ||
| 34-9 | Carmen Suite: Prélude. Allegro giocoso | — | ||
| 34-10 | Carmen Suite: Entr'acte. Allegro moderato (between Act I & II) | — | ||
| 34-11 | Carmen Suite: Entr'acte. Andantino quasi allegretto (between Act II & III) | — | ||
| 34-12 | Carmen Suite: Entr'acte Allegro vivo (between Act III & IV) | — | ||
| 35-1 | Carmen: Prélude | — | ||
| 35-2 | Carmen: Premier Acte. Nᵒ 1 Introduction « Sur la place chacun passe » (les soldats, Moralès) | — | ||
| 35-3 | Carmen: Premier Acte. « Regardez donc cette petite » (Moralès, les soldats, Micaëla) | — | ||
| 35-4 | Carmen: Premier Acte. Nᵒ 2 Marche et chœur des gamins : « Avec la garde montante » (les gamins) | — | ||
| 35-5 | Carmen: Premier Acte. « Repos! » (Zuniga, Moralès, Don José) | — | ||
| 35-6 | Carmen: Premier Acte. « Allons! allons! » (Zuniga, les gamins) | — | ||
| 35-7 | Carmen: Premier Acte. « Dites‐moi, brigadier? » (Zuniga, Don José) | — | ||
| 35-8 | Carmen: Premier Acte. Nᵒ 3 Chœur et scène : « La cloche a sonné » (les jeunes gens, les soldats, les cigarières) | — | ||
| 35-9 | Carmen: Premier Acte. « Mais nous ne voyons pas la Carmencita » (les soldats, les jeunes gens) | — | ||
| 35-10 | Carmen: Premier Acte. « Quand je vous aimerai? » (Carmen) / Nᵒ 4 Havanaise : « L’amour est un oiseau rebelle » (Carmen, chœur) | — | ||
| 35-11 | Carmen: Premier Acte. Nᵒ 5 Scène : « Carmen, sur tes pas nous nous pressons tous » (les jeunes gens, le cigarières, Don José) | — | ||
| 35-12 | Carmen: Premier Acte. « Monsieur le brigadier? » (Micaëla, Don José) / Nᵒ 6 Duo : « Parle‐moi de ma mère ! » (Don José, Micaëla) | — | ||
| 35-13 | Carmen: Premier Acte. « Votre mère avec moi sortait de la chapelle » (Micaëla, Don José) | — | ||
| 35-14 | Carmen: Premier Acte. « Ma mère, je la vois… » (Don José, Micaëla) | — | ||
| 35-15 | Carmen: Premier Acte. « Que son fils l’aime et la vénère » (Don José, Micaëla) / « Eh bien, eh bien ! » (Zuniga) | — | ||
| 35-16 | Carmen: Premier Acte. Nᵒ 7 Chœur : « Au secours ! » (les cigarières, Zuniga, les soldats) | — | ||
| 35-17 | Carmen: Premier Acte. « Voyons, brigadier… » (Zuniga, Don José) / Nᵒ 8 Chanson et mélodrame : « Tra la la la… » (Carmen, Zuniga, les cigarières, un soldat, Don José) | — | ||
| 35-18 | Carmen: Premier Acte. Nᵒ 9 Chanson (Séguedille) et duo : « Près des remparts de Séville » (Carmen, Don José) | — | ||
| 35-19 | Carmen: Premier Acte. Nᵒ 10 Finale : « Le lieutenant!… Prenez garde! » (Don José, Zuniga, Carmen) | — | ||
| 35-20 | Carmen: Entr’acte | — | ||
| 35-21 | Carmen: Deuxième Acte. Nᵒ 11 Chanson : « Les tringles des sistres tintaient » (Carmen, Mercédès, Frasquita) | — | ||
| 35-22 | Carmen: Deuxième Acte. « Vous avez quelque chose à nous dire » (Zuniga, Pastia, Frasquita, Mercédès, Andrès, Carmen) | — | ||
| 35-23 | Carmen: Deuxième Acte. « Tout est bien alors » (Carmen, Zuniga) / Nᵒ 12 Chœur et ensemble : « Vivat ! vivat le toréro ! » (chœur, Zuniga, Mercédes, Andrès, Frasquita, Pastia) | — | ||
| 35-24 | Carmen: Deuxième Acte. Nᵒ 13 Couplet (Air du Toréador) : « Votre toast… je peux vous le rendre » (Escamillo, chœur, Frasquita, Mercédès, Carmen, Pastia, Zuniga) / Nᵒ 13 bis Chœur : « Toréador, en garde » (chœur, Frasquita, Pastia, Dancaïre, Remendado) | — | ||
| 35-25 | Carmen: Deuxième Acte. Nᵒ 14 Quintette : « Nous avons en tête une affaire » (Dancaïre, Frasquita, Mercédès, Remendado, Carmen) | — | ||
| 35-26 | Carmen: Deuxième Acte. « Amoureuse… ce n’est pas une raison, cela » (Dancaïre, Remendado, Frasquita, Mercédès, Carmen) / Nᵒ 15 Chanson : « Halte‐là ! Qui va là ? » (Don José, Mercédès, Frasquita, Dancaïre, Carmen) | — | ||
| 36-1 | Carmen: Deuxième Acte. Nᵒ 16 Duo : « Je vais danser en votre honneur » (Carmen, Don José) | — | ||
| 36-2 | Carmen: Deuxième Acte. Air de la fleur : « La fleur que tu m’avais jetée » (Don José) | — | ||
| 36-3 | Carmen: Deuxième Acte. « Non! Tu ne m’aimes pas ! » (Carmen, Don José) | — | ||
| 36-4 | Carmen: Deuxième Acte. Nᵒ 17 Finale : « Holà ! Carmen ! holà ! » (Zuniga, Don José, Carmen, Dancaïre, Remendado, les bohémiens) | — | ||
| 36-5 | Carmen: Deuxième Acte. « Suis‐nous à travers la campagne » (Frasquita, Mercédès, Dancaïre, Remendado, les bohémiens, les bohémiennes) | — | ||
| 36-6 | Carmen: Entr’acte | — | ||
| 36-7 | Carmen: Troisième Acte, Premier Tableau. Nᵒ 18 Introduction : « Écoute, compagnon, écoute » (les contrabandiers, Frasquita, Mercédès, Carmen, Don José, Dancaïre, Remendado) | — | ||
| 36-8 | Carmen: Troisième Acte, Premier Tableau. « Halte ! nous allons nous arrêter ici… » (Dancaïre, Remendado, Don José, Carmen) | — | ||
| 36-9 | Carmen: Troisième Acte, Premier Tableau. Nᵒ 19 Trio : « Mêlons ! » - « Mêlons ! » - « Coupons ! » (Frasquita, Mercédès) | — | ||
| 36-10 | Carmen: Troisième Acte, Premier Tableau. Air des cartes : « Carreau, pique… la mort ! » (Carmen) | — | ||
| 36-11 | Carmen: Troisième Acte, Premier Tableau. « Parlez encore, parlez, mes belles » (Frasquita, Mercédès, Carmen) | — | ||
| 36-12 | Carmen: Troisième Acte, Premier Tableau. « Eh bien, j’avais raison » (Dancaïre, Carmen, Remandado, Frasquita, Mercédès, Don José) | — | ||
| 36-13 | Carmen: Troisième Acte, Premier Tableau. Nᵒ 20 Morceau d’ensemble : « Quant au douanier, c’est notre affaire » (Carmen, Mercédès, Frasquita, les bohémiennes, les bohémiens, Dancaïre, Remandado) | — | ||
| 36-14 | Carmen: Troisième Acte, Premier Tableau. « Nous y sommes » (le guide, Micaëla) | — | ||
| 36-15 | Carmen: Troisième Acte, Premier Tableau. Nᵒ 21 Air « Je dis que rien ne m’épouvante » (Micaëla) | — | ||
| 36-16 | Carmen: Troisième Acte, Premier Tableau. « Mais… je ne me trompe pas… » (Micaëla, Escamillo, Don José) / Nᵒ 22 Duo : « Je suis Escamillo, toréro de Grenade » (Escamillo, Don José) | — | ||
| 36-17 | Carmen: Troisième Acte, Premier Tableau. Nᵒ 23 Finale : « Holà, José ! » (Carmen, Escamillo, Dancaïre, Don José, les contrebandiers, les contrebandières) | — | ||
| 36-18 | Carmen: Troisième Acte, Premier Tableau. « Halte !... Quelqu’un est là qui cherche à se cacher » (Remendado, Carmen, Dancaïre, Don José, Micaëla, chœur, Escamillo) | — | ||
| 36-19 | Carmen: Entr’acte | — | ||
| 36-20 | Carmen: Troisième Acte, Deuxième Tableau. Nᵒ 24 Chœur : « A deux cuartos » (marchandes, marchands, un soldat, Andrès, un bohémien) | — | ||
| 36-21 | Carmen: Troisième Acte, Deuxième Tableau. Nᵒ 25 Chœur et scène : « Les voici ! Voici le quadrille » (chœur) | — | ||
| 36-22 | Carmen: Troisième Acte, Deuxième Tableau. « Si tu m’aimes, Carmen » (Escamillo, Carmen, Frasquita, Mercédès) | — | ||
| 36-23 | Carmen: Troisième Acte, Deuxième Tableau. Nᵒ 26 Duo final : « C’est toi? » / « C’est moi ! » (Carmen, Don José, chœur) | — | ||
| 37-1 | Symphony no. 1 in C minor, op. 68: 1. Un poco sostenuto - Allegro | — | ||
| 37-2 | Symphony no. 1 in C minor, op. 68: 2. Andante sostenuto | — | ||
| 37-3 | Symphony no. 1 in C minor, op. 68: 3. Un poco Allegretto e grazioso | — | ||
| 37-4 | Symphony no. 1 in C minor, op. 68: 4. Adagio - Più Andante - Allegro non troppo, ma con brio | — | ||
| 37-5 | Gesang der Parzen, op. 89: Maestoso - »Es fürchte die Götter das Menschengeschlects!« | — | ||
| 38-1 | Rhapsody, op. 53: Adagio - »Aber abseits, wer ist's?« - Poco andante - Adagio: »Ist auf deinem Psalter« | — | ||
| 38-2 | Symphony no. 2 in D major, op. 73: 1. Allegro non troppo | — | ||
| 38-3 | Symphony no. 2 in D major, op. 73: 2. Adagio non troppo - L'istesso tempo, ma grazioso | — | ||
| 38-4 | Symphony no. 2 in D major, op. 73: 3. Allegretto grazioso (Quasi andantino) - Presto ma non assai - Tempo I | — | ||
| 38-5 | Symphony no. 2 in D major, op. 73: 4. Allegro con spirito | — | ||
| 39-1 | Tragische Ouvertüre, op. 81 | — | ||
| 39-2 | Schicksalslied, op. 54: Langsam und sehnsuchtsvoll - »Ihr wandelt droben im Licht« - Allegro - »Doch uns ist gegeben, auf keiner Stätte zu ruhn« - Adagio | — | ||
| 39-3 | Symphony no. 3 in F major, op. 90: 1. Allegro con brio | — | ||
| 39-4 | Symphony no. 3 in F major, op. 90: 2. Andante | — | ||
| 39-5 | Symphony no. 3 in F major, op. 90: 3. Poco allegretto | — | ||
| 39-6 | Symphony no. 3 in F major, op. 90: 4. Allegro | — | ||
| 40-1 | Variations on a Theme by Joseph Haydn, op. 56a: Chorale St. Antoni. Andante / Variation I. Poco più animato / Variation II. Più vivace / Variation III. Con moto / Variation IV. Andante con moto / Variation V. Vivace / Variation VI. Vivace / Variation VII. Grazioso / Variation VIII. Presto non troppo / Finale. Andante | — | ||
| 40-2 | Nänie, op. 82: Andante - »Auch das Schöne muss sterben!« - Più sostenuto: »Aber sie steigt aus dem Meer« - Tempo primo - »Auch ein Klaglied zu sein« | — | ||
| 40-3 | Symphony no. 4 in E minor, op. 98: 1. Allegro non troppo | — | ||
| 40-4 | Symphony no. 4 in E minor, op. 98: 2. Andante moderato | — | ||
| 40-5 | Symphony no. 4 in E minor, op. 98: 3. Allegro giocoso - Poco meno presto - Tempo I | — | ||
| 40-6 | Symphony no. 4 in E minor, op. 98: 4. Allegro energico e passionato - Più allegro | — | ||
| 41-1 | Symphony no. 1 in C minor, op. 68: 1. Un poco sostenuto - Allegro | — | ||
| 41-2 | Symphony no. 1 in C minor, op. 68: 2. Andante sostenuto | — | ||
| 41-3 | Symphony no. 1 in C minor, op. 68: 3. Un poco allegretto e grazioso | — | ||
| 41-4 | Symphony no. 1 in C minor, op. 68: 4. Adagio - Più andante - Allegro non troppo, ma con brio | — | ||
| 42-1 | Symphony no. 2 in D major, op. 73: 1. Allegro non troppo | — | ||
| 42-2 | Symphony no. 2 in D major, op. 73: 2. Adagio non troppo - L'istesso tempo, ma grazioso | — | ||
| 42-3 | Symphony no. 2 in D major, op. 73: 3. Allegretto grazioso (Quasi andantino) - Presto ma non assai - Tempo I | — | ||
| 42-4 | Symphony no. 2 in D major, op. 73: 4. Allegro con spirito | — | ||
| 42-5 | Akademische Festouvertüre, op. 80 | — | ||
| 43-1 | Symphony no. 3 in F major, op. 90: 1. Allegro con brio | — | ||
| 43-2 | Symphony no. 3 in F major, op. 90: 2. Andante | — | ||
| 43-3 | Symphony no. 3 in F major, op. 90: 3. Poco allegretto | — | ||
| 43-4 | Symphony no. 3 in F major, op. 90: 4. Allegro | — | ||
| 43-5 | Variations on a Theme by Joseph Haydn, op. 56a: Chorale St Antoni. Andante | — | ||
| 43-6 | Variations on a Theme by Joseph Haydn, op. 56a: Variation I. Poco più animato | — | ||
| 43-7 | Variations on a Theme by Joseph Haydn, op. 56a: Variation II. Più vivace | — | ||
| 43-8 | Variations on a Theme by Joseph Haydn, op. 56a: Variation III. Con moto | — | ||
| 43-9 | Variations on a Theme by Joseph Haydn, op. 56a: Variation IV. Andante con moto | — | ||
| 43-10 | Variations on a Theme by Joseph Haydn, op. 56a: Variation V. Vivace | — | ||
| 43-11 | Variations on a Theme by Joseph Haydn, op. 56a: Variation VI. Vivace | — | ||
| 43-12 | Variations on a Theme by Joseph Haydn, op. 56a: Variation VII. Grazioso | — | ||
| 43-13 | Variations on a Theme by Joseph Haydn, op. 56a: Variation VIII. Presto non troppo | — | ||
| 43-14 | Variations on a Theme by Joseph Haydn, op. 56a: Finale. Andante | — | ||
| 44-1 | Symphony no. 4 in E minor, op. 98: 1. Allegro non troppo | — | ||
| 44-2 | Symphony no. 4 in E minor, op. 98: 2. Andante moderato | — | ||
| 44-3 | Symphony no. 4 in E minor, op. 98: 3. Allegro giocoso - Poco meno presto - Tempo I | — | ||
| 44-4 | Symphony no. 4 in E minor, op. 98: 4. Allegro energico e passionato - Più allegro | — | ||
| 44-5 | Tragische Ouvertüre, op. 81 | — | ||
| 45-1 | Serenade no. 1 in D major, op. 11: 1. Allegro molto | — | ||
| 45-2 | Serenade no. 1 in D major, op. 11: 2. Scherzo. Allegro non troppo - Trio. Poco più moto | — | ||
| 45-3 | Serenade no. 1 in D major, op. 11: 3. Adagio non troppo | — | ||
| 45-4 | Serenade no. 1 in D major, op. 11: 4. Menuetto I - Menuetto II | — | ||
| 45-5 | Serenade no. 1 in D major, op. 11: 5. Scherzo. Allegro - Trio | — | ||
| 45-6 | Serenade no. 1 in D major, op. 11: 6. Rondo. Allegro | — | ||
| 45-7 | Serenade no. 2 in A major, op. 16: 1. Allegro moderato | — | ||
| 45-8 | Serenade no. 2 in A major, op. 16: 2. Scherzo. Vivace | — | ||
| 45-9 | Serenade no. 2 in A major, op. 16: 3. Adagio non troppo | — | ||
| 45-10 | Serenade no. 2 in A major, op. 16: 4. Quasi menuetto | — | ||
| 45-11 | Serenade no. 2 in A major, op. 16: 5. Rondo. Allegro | — | ||
| 46-1 | Hungarian Dances, WoO 1: No. 1 in G minor. Allegro molto | — | ||
| 46-2 | Hungarian Dances, WoO 1: No. 2 in D minor. Allegro non assai - Vivace | — | ||
| 46-3 | Hungarian Dances, WoO 1: No. 3 in F major. Allegretto | — | ||
| 46-4 | Hungarian Dances, WoO 1: No. 4 in F-sharp minor. Poco sostenuto - Vivace | — | ||
| 46-5 | Hungarian Dances, WoO 1: No. 5 in G minor. Allegro - Vivace | — | ||
| 46-6 | Hungarian Dances, WoO 1: No. 6 in D major. Vivace | — | ||
| 46-7 | Hungarian Dances, WoO 1: No. 7 in F major. Allegretto - Vivo | — | ||
| 46-8 | Hungarian Dances, WoO 1: No. 8 in A minor. Presto | — | ||
| 46-9 | Hungarian Dances, WoO 1: No. 9 in E minor. Allegro ma non troppo | — | ||
| 46-10 | Hungarian Dances, WoO 1: No. 10 in F major. Presto | — | ||
| 46-11 | Hungarian Dances, WoO 1: No. 11 in D minor. Poco andante | — | ||
| 46-12 | Hungarian Dances, WoO 1: No. 12 in D minor. Presto | — | ||
| 46-13 | Hungarian Dances, WoO 1: No. 13 in D major. Andantino grazioso - Vivace | — | ||
| 46-14 | Hungarian Dances, WoO 1: No. 14 in D minor. Un poco andante | — | ||
| 46-15 | Hungarian Dances, WoO 1: No. 15 in B-flat major. Allegretto grazioso | — | ||
| 46-16 | Hungarian Dances, WoO 1: No. 16 in F minor. Con moto | — | ||
| 46-17 | Hungarian Dances, WoO 1: No. 17 in F-sharp minor. Andantino - Vivace | — | ||
| 46-18 | Hungarian Dances, WoO 1: No. 18 in D major. Molto vivace | — | ||
| 46-19 | Hungarian Dances, WoO 1: No. 19 in B minor. Allegretto | — | ||
| 46-20 | Hungarian Dances, WoO 1: No. 20 in E minor. Poco allegretto - Vivace | — | ||
| 46-21 | Hungarian Dances, WoO 1: No. 21 in E minor. Vivace | — | ||
| 47-1 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 1. Allegro non troppo | — | ||
| 47-2 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 2. Allegro appassionato | — | ||
| 47-3 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 3. Andante - Più adagio | — | ||
| 47-4 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 4. Allegretto grazioso - Un poco più presto | — | ||
| 48-1 | Concerto for Piano and Orchestra no. 1 in D minor, op. 15: 1. Maestoso - Poco più moderato | — | ||
| 48-2 | Concerto for Piano and Orchestra no. 1 in D minor, op. 15: 2. Adagio | — | ||
| 48-3 | Concerto for Piano and Orchestra no. 1 in D minor, op. 15: 3. Rondo. Allegro non troppo | — | ||
| 49-1 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 1. Allegro non troppo | — | ||
| 49-2 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 2. Allegro appassionato | — | ||
| 49-3 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 3. Andante - Più adagio | — | ||
| 49-4 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 4. Allegretto grazioso - Un poco più presto | — | ||
| 50-1 | Concerto for Piano and Orchestra no. 1 in D minor, op. 15: 1. Maestoso - Poco più moderato | — | ||
| 50-2 | Concerto for Piano and Orchestra no. 1 in D minor, op. 15: 2. Adagio | — | ||
| 50-3 | Concerto for Piano and Orchestra no. 1 in D minor, op. 15: 3. Rondo. Allegro non troppo | — | ||
| 51-1 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 1. Allegro non troppo | — | ||
| 51-2 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 2. Allegro appassionato | — | ||
| 51-3 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 3. Andante - Più adagio | — | ||
| 51-4 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 4. Allegretto grazioso - Un poco più presto | — | ||
| 52-1 | Concerto for Violin and Orchestra in D major, op. 77: 1. Allegro non troppo | — | ||
| 52-2 | Concerto for Violin and Orchestra in D major, op. 77: 2. Adagio | — | ||
| 52-3 | Concerto for Violin and Orchestra in D major, op. 77: 3. Allegro giocoso, ma non troppo vivace - Poco più presto | — | ||
| 52-4 | Akademische Festouvertüre, op. 80 | — | ||
| 53-1 | Concerto for Violin and Orchestra in D major, op. 77: 1. Allegro non troppo | — | ||
| 53-2 | Concerto for Violin and Orchestra in D major, op. 77: 2. Adagio | — | ||
| 53-3 | Concerto for Violin and Orchestra in D major, op. 77: 3. Allegro giocoso, ma non troppo vivace - Poco più presto | — | ||
| 54-1 | Concerto for Violin and Orchestra in D major, op. 77: 1. Allegro non troppo | — | ||
| 54-2 | Concerto for Violin and Orchestra in D major, op. 77: 2. Adagio | — | ||
| 54-3 | Concerto for Violin and Orchestra in D major, op. 77: 3. Allegro giocoso, ma non troppo vivace - Poco più presto | — | ||
| 54-4 | Concerto for Violin, Violoncello and Orchestra in A minor, op. 102: 1. Allegro | — | ||
| 54-5 | Concerto for Violin, Violoncello and Orchestra in A minor, op. 102: 2. Andante | — | ||
| 54-6 | Concerto for Violin, Violoncello and Orchestra in A minor, op. 102: 3. Vivace non troppo - Poco meno allegro - Tempo I | — | ||
| 55-1 | Ein deutsches Requiem, op. 45: 1. »Selig sind, die da Leid tragen« (chorus) | — | ||
| 55-2 | Ein deutsches Requiem, op. 45: 2. »Denn alles Fleisch, es ist wie Gras« (chorus) | — | ||
| 55-3 | Ein deutsches Requiem, op. 45: 3. »Herr, lehre doch mich« (baritone, chorus) | — | ||
| 55-4 | Ein deutsches Requiem, op. 45: 4. »Wie lieblich sind deine Wohnungen« (chorus) | — | ||
| 55-5 | Ein deutsches Requiem, op. 45: 5. »Ihr habt nun Traurigkeit« (soprano, chorus) | — | ||
| 55-6 | Ein deutsches Requiem, op. 45: 6. »Denn wir haben hie keine bleibende Statt« (baritone, chorus) | — | ||
| 55-7 | Ein deutsches Requiem, op. 45: 7. »Selig sind die Toten« (chorus) | — | ||
| 56-1 | Rinaldo, op. 50: »Zu dem Strande! Zu der Barke!« (chorus) - »O lasst mich einen Augenblick noch hier!« (Rinaldo) - | — | ||
| 56-2 | Rinaldo, op. 50: Poco adagio - »Stell her der goldnen Tage« (Rinaldo) - »Sachte kommt! und kommt verbunden« (chorus, Rinaldo) - In tempo - Allegro - »Aber Alles verkündet« (Rinaldo) - | — | ||
| 56-3 | Rinaldo, op. 50: »Nein! nicht länger ist zu säumen!« - Allegro non troppo (chorus) - Poco sostenuto - »Weh, was seh' ich, welch ein Bild!« (Rinaldo, chorus) - | — | ||
| 56-4 | Rinaldo, op. 50: Allegretto non troppo - »Zurück nur! zurücke« (chorus) - | — | ||
| 56-5 | Rinaldo, op. 50: Andante con moto e poco agitato - »Zum zweiten Male seh' ich erscheinen« (Rinaldo, chorus) - | — | ||
| 56-6 | Rinaldo, op. 50: Allegro con fuoco - »Und umgewandelt seh' ich die Holde« (Rinaldo, chorus) - »Schon sind sie erhöret« (chorus, Rinaldo) | — | ||
| 56-7 | Rinaldo, op. 50: Auf dem Meere. Final Chorus: »Segel schwellen! Grüne Wellen« - »Das erfrischet« | — | ||
| 56-8 | Schicksalslied, op. 54: Langsam und sehnsuchtsvoll - »Ihr wandelt droben im Licht« - Allegro - »Doch uns ist gegeben, auf Stätte zu ruhn« - Adagio | — | ||
| 59-1 | Symphony no. 5 in B-flat major (ed. Leopold Nowak): 1. Introduktion. Adagio - Allegro | — | ||
| 59-2 | Symphony no. 5 in B-flat major (ed. Leopold Nowak): 2. Adagio. Sehr langsam | — | ||
| 59-3 | Symphony no. 5 in B-flat major (ed. Leopold Nowak): 3. Scherzo. Molto vivace (schnell) | — | ||
| 59-4 | Symphony no. 5 in B-flat major (ed. Leopold Nowak): 4. Finale. Adagio | — | ||
| 60-1 | Symphony no. 7 in E major (ed. Leopold Nowak): 1. Allegro moderato | — | ||
| 60-2 | Symphony no. 7 in E major (ed. Leopold Nowak): 2. Adagio. Sehr feierlich und sehr langsam | — | ||
| 60-3 | Symphony no. 7 in E major (ed. Leopold Nowak): 3. Scherzo. Sehr schnell - Trio. Etwas langsamer | — | ||
| 60-4 | Symphony no. 7 in E major (ed. Leopold Nowak): 4. Finale. Bewegt, doch nicht schnell | — | ||
| 61-1 | Symphony no. 9 in D minor (ed. Leopold Nowak): 1. Feierlich, misterioso | — | ||
| 61-2 | Symphony no. 9 in D minor (ed. Leopold Nowak): 2. Scherzo. Bewegt, lebhaft - Trio. Schnell | — | ||
| 61-3 | Symphony no. 9 in D minor (ed. Leopold Nowak): 3. Adagio. Langsam, feierlich | — | ||
| 64-1 | Symphony no. 9 in D minor: 1. Feierlich, misterioso | — | ||
| 64-2 | Symphony no. 9 in D minor: 2. Scherzo. Bewegt, lebhaft — Trio. Schnell | — | ||
| 64-3 | Symphony no. 9 in D minor: 3. Adagio. Langsam, feierlich | — | ||
| 65-1 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: 1. Allegro maestoso | — | ||
| 65-2 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: 2. Romance. Larghetto | — | ||
| 65-3 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: 3. Rondo. Vivace | — | ||
| 65-4 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 1. Allegro maestoso | — | ||
| 65-5 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 2. Quasi adagio - Allegretto vivace - Allegro animato | — | ||
| 65-6 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 3. Allegro marziale animato - Presto | — | ||
| 66-1 | Concerto for Piano and Orchestra no. 2 in F minor, op. 21: 1. Maestoso | — | ||
| 66-2 | Concerto for Piano and Orchestra no. 2 in F minor, op. 21: 2. Larghetto | — | ||
| 66-3 | Concerto for Piano and Orchestra no. 2 in F minor, op. 21: 3. Allegro vivace | — | ||
| 66-4 | Polonaise in F-sharp minor, op. 44: Tempo di polacca - Doppio movimento, tempo di mazurka - Tempo I | — | ||
| 67-1 | Prélude à l'après-midi d'un faune, L 86: Très modéré | — | ||
| 67-2 | Nocturnes, L 91: 1. Nuages. Modéré - Un peu animé | — | ||
| 67-3 | Nocturnes, L 91: 2. Fêtes. Animé et très rythmé - Modéré mais toujours très rythmé - De plus en plus sonore et en serrant le mouvement | — | ||
| 67-4 | Nocturnes, L 91: 3. Sirènes (with women's chorus). Modérément animé | — | ||
| 67-5 | Pelléas et Melisande - Concert Suite, L 88: Acte I. Une forêt | — | ||
| 67-6 | Pelléas et Melisande - Concert Suite, L 88: Acte II, scène 1. Une fontaine dans le parc | — | ||
| 67-7 | Pelléas et Melisande - Concert Suite, L 88: Acte III, scène 2. Les souterrains du château / Acte IV, scène 2. Un appartement dans le château | — | ||
| 67-8 | Pelléas et Melisande - Concert Suite, L 88: Acte V: Une chambre dans le château | — | ||
| 68-1 | Nocturnes, L 91: 1. Nuages. Modéré - Un peu animé | — | ||
| 68-2 | Nocturnes, L 91: 2. Fêtes. Animé et très rythmé - Modéré mais toujours très rythmé - De plus en plus sonore et en serrant le mouvement | — | ||
| 68-3 | Nocturnes, L 91: 3. Sirènes. Modérément animé | — | ||
| 68-4 | Daphnis et Chloé , M. 57b, Fragments symphoniques (2ᵉ série) : 1. Lever du jour. Lent / 2. Pantomime. Lent - Très lent - Vif - Très lent / 3. Danse générale. Lent - Animé | — | ||
| 68-5 | Pavane pour une infante défunte, M. 19: Lent | — | ||
| 68-6 | La Mer, L 109: 1. De l'aube à midi sur la mer - Très lent | — | ||
| 68-7 | La Mer, L 109: 2. Jeux de vagues. Allegro | — | ||
| 68-8 | La Mer, L 109: 3. Dialogue du vent et de la mer. Animé et tumultueux | — | ||
| 69-1 | La damoiselle élue, L 62: Début | — | ||
| 69-2 | La damoiselle élue, L 62: Chœur : « La Damoiselle élue s’appuyait » (chœur, une récitante) | — | ||
| 69-3 | La damoiselle élue, L 62: La Damoiselle : « Je voudrais qu’il fût déjà près de moi » | — | ||
| 69-4 | La damoiselle élue, L 62: Chœur : « La lumière tressaillit … » (chœur, une récitante) | — | ||
| 69-5 | Prélude à l’après-midi d’un faune, L 86: Très modéré | — | ||
| 69-6 | Images pour orchestre Nᵒ 2 « Ibéria », L 122: 1. Par les rues et par les chemins. Assez animé | — | ||
| 69-7 | Images pour orchestre Nᵒ 2 « Ibéria », L 122: 2. Les Parfums de la nuit. Lent et rêveur | — | ||
| 69-8 | Images pour orchestre Nᵒ 2 « Ibéria », L 122: 3. Le matin d’un jour de fête. Dans un rythme de marche lointaine, alerte et joyeuse | — | ||
| 70-1 | Pelléas et Mélisande, L 88: Premier Acte. « Je ne pourrai plus sortir de cette forêt » (Golaud) | — | ||
| 70-2 | Pelléas et Mélisande, L 88: Premier Acte. « Pourquoi pleures-tu? » (Golaud, Mélisande) | — | ||
| 70-3 | Pelléas et Mélisande, L 88: Premier Acte. « Je suis perdu aussi » (Golaud) | — | ||
| 70-4 | Pelléas et Mélisande, L 88: Premier Acte. « Voici ce qu'il écrit à son frère Pelléas » (Geneviève) | — | ||
| 70-5 | Pelléas et Mélisande, L 88: Premier Acte. « Qu'en dites-vous ? » (Geneviève, Arkel, Pelléas) | — | ||
| 70-6 | Pelléas et Mélisande, L 88: Premier Acte. Interlude | — | ||
| 70-7 | Pelléas et Mélisande, L 88: Premier Acte. « Il fait sombre dans les jardins » (Mélisande, Geneviève, Pelléas) | — | ||
| 70-8 | Pelléas et Mélisande, L 88: Premier Acte. « Hoé! Hisse Hoé! » (marins, Mélisande, Pelléas, Geneviève) | — | ||
| 70-9 | Pelléas et Mélisande, L 88: Deuxième Acte. « Vous ne savez pas où je vous ai menée ? » (Pelléas, Mélisande) | — | ||
| 70-10 | Pelléas et Mélisande, L 88: Deuxième Acte. « C'est au bord d'une fontaine » (Pelléas, Mélisande) | — | ||
| 70-11 | Pelléas et Mélisande, L 88: Deuxième Acte. Interlude | — | ||
| 70-12 | Pelléas et Mélisande, L 88: Deuxième Acte. « Ah ! Ah ! Tout va bien » (Golaud, Mélisande) | — | ||
| 70-13 | Pelléas et Mélisande, L 88: Deuxième Acte. « Voyons, donne-moi ta main » (Golaud, Mélisande) | — | ||
| 70-14 | Pelléas et Mélisande, L 88: Deuxième Acte. Interlude | — | ||
| 70-15 | Pelléas et Mélisande, L 88: Deuxième Acte. « Oui, c'est ici, nous y sommes » (Pelléas, Mélisande) | — | ||
| 70-16 | Pelléas et Mélisande, L 88: Troisième Acte. « Mes longs cheveux descendent jusqu'au seuil de la tour » (Mélisande, Pelléas) | — | ||
| 70-17 | Pelléas et Mélisande, L 88: Troisième Acte. « Je les tiens dans les mains » (Pelléas, Mélisande) | — | ||
| 70-18 | Pelléas et Mélisande, L 88: Troisième Acte. « Que faites-vous ici ? » (Golaud, Pelléas) | — | ||
| 70-19 | Pelléas et Mélisande, L 88: Troisième Acte. « Prenez garde ; par ici, par ici » (Golaud, Pelléas) | — | ||
| 71-1 | Pelléas et Mélisande, L 88: Troisième Acte. Interlude … « Ah ! Je respire enfin ! » (Pelléas, Golaud) | — | ||
| 71-2 | Pelléas et Mélisande, L 88: Troisième Acte. Interlude | — | ||
| 71-3 | Pelléas et Mélisande, L 88: Troisième Acte. « Viens, nous allons nous asseoir ici, Yniold » (Golaud, Yniold) | — | ||
| 71-4 | Pelléas et Mélisande, L 88: Troisième Acte. « Qu'ils s'embrassent, petit père ? » (Yniold, Golaud) | — | ||
| 71-5 | Pelléas et Mélisande, L 88: Quatrième Acte. « Où vas-tu ? » (Pelléas, Mélisande) | — | ||
| 71-6 | Pelléas et Mélisande, L 88: Quatrième Acte. « Maintenant que le père de Pelléas est sauvé » (Arkel, Mélisande) | — | ||
| 71-7 | Pelléas et Mélisande, L 88: Quatrième Acte. « Pelléas part ce soir » (Golaud, Arkel, Mélisande) | — | ||
| 71-8 | Pelléas et Mélisande, L 88: Quatrième Acte. « Ne mettez pas ainsi votre main à la gorge » (Golaud, Arkel, Mélisande) | — | ||
| 71-9 | Pelléas et Mélisande, L 88: Quatrième Acte. Interlude | — | ||
| 71-10 | Pelléas et Mélisande, L 88: Quatrième Acte. « Oh ! Cette pierre est lourde » (Yniold, un berger) | — | ||
| 71-11 | Pelléas et Mélisande, L 88: Quatrième Acte. « C'est le dernier soir » (Pelléas, Mélisande) | — | ||
| 71-12 | Pelléas et Mélisande, L 88: Quatrième Acte. « Nous sommes venus ici il y a bien longtemps » (Mélisande, Pelléas) | — | ||
| 71-13 | Pelléas et Mélisande, L 88: Quatrième Acte. « On dirait que ta voix a passé sur la mer au printemps » (Pelléas, Mélisande) | — | ||
| 71-14 | Pelléas et Mélisande, L 88: Quatrième Acte. « Quel est ce bruit ? » (Pelléas, Mélisande) | — | ||
| 71-15 | Pelléas et Mélisande, L 88: Cinquième Acte. « Ce n'est pas de cette petite blessure qu'elle peut mourir » (le médecin, Arkel, Golaud) | — | ||
| 71-16 | Pelléas et Mélisande, L 88: Cinquième Acte. « Attention ; je crois qu'elle s'éveille » (le médecin, Mélisande, Arkel, Golaud) | — | ||
| 71-17 | Pelléas et Mélisande, L 88: Cinquième Acte. « Mélisande, as-tu pitié de moi comme j'ai pitié da toi ? » (Golaud, Mélisande) | — | ||
| 71-18 | Pelléas et Mélisande, L 88: Cinquième Acte. « Non, non, nous n'avons pas été coupables » (Mélisande, Golaud) | — | ||
| 71-19 | Pelléas et Mélisande, L 88: Cinquième Acte. « Qu'avez-vous fait ? » (Arkel, Golaud, Mélisande) | — | ||
| 71-20 | Pelléas et Mélisande, L 88: Cinquième Acte. « Qu'y a-t-il » (Golaud, le médecin, Arkel) | — | ||
| 71-21 | Pelléas et Mélisande, L 88: Cinquième Acte. « Attention… attention. Il faut parler à voix basse, maintenant » (Arkel, le médecin, Golaud) | — | ||
| 72-1 | Concert Overture “Othello”, op. 93 | — | ||
| 72-2 | Symphony no. 9 in E minor “From the New World”. op. 95: 1. Adagio - Allegro molto | — | ||
| 72-3 | Symphony no. 9 in E minor “From the New World”. op. 95: 2. Largo | — | ||
| 72-4 | Symphony no. 9 in E minor “From the New World”. op. 95: 3. Molto vivace | — | ||
| 72-5 | Symphony no. 9 in E minor “From the New World”. op. 95: 4. Allegro con fuoco | — | ||
| 73-1 | Symphony in D major, Hob. I:93: 1. Adagio - Allegro assai | — | ||
| 73-2 | Symphony in D major, Hob. I:93: 2. Largo cantabile | — | ||
| 73-3 | Symphony in D major, Hob. I:93: 3. Menuetto. Allegro - Trio | — | ||
| 73-4 | Symphony in D major, Hob. I:93: 4. Finale. Presto ma non troppo | — | ||
| 73-5 | Symphony in D major “The Clock”, Hob. I:101: 1. Adagio - Presto | — | ||
| 73-6 | Symphony in D major “The Clock”, Hob. I:101: 2. Andante | — | ||
| 73-7 | Symphony in D major “The Clock”, Hob. I:101: 3. Menuetto. Allegretto - Trio | — | ||
| 73-8 | Symphony in D major “The Clock”, Hob. I:101: 4. Finale. Vivace | — | ||
| 74-1 | Symphony in D major “The Miracle”, Hob. I:96: 1. Adagio - Allegro | — | ||
| 74-2 | Symphony in D major “The Miracle”, Hob. I:96: 2. Andante | — | ||
| 74-3 | Symphony in D major “The Miracle”, Hob. I:96: 3. Menuetto. Trio | — | ||
| 74-4 | Symphony in D major “The Miracle”, Hob. I:96: 4. Finale. Vivace assai | — | ||
| 74-5 | Sinfonia Concertante in B-flat major, Hob. I:105: 1. Allegro | — | ||
| 74-6 | Sinfonia Concertante in B-flat major, Hob. I:105: 2. Andante | — | ||
| 74-7 | Sinfonia Concertante in B-flat major, Hob. I:105: 3. Allegro con spirito | — | ||
| 75-1 | Overture to “Il mondo della luna”, Hob. XXVIII:7 | — | ||
| 75-2 | Symphony in B-flat major, Hob. I:98: 1. Adagio - Allegro | — | ||
| 75-3 | Symphony in B-flat major, Hob. I:98: 2. Adagio | — | ||
| 75-4 | Symphony in B-flat major, Hob. I:98: 3. Menuetto - Trio | — | ||
| 75-5 | Symphony in B-flat major, Hob. I:98: 4. Finale. Presto | — | ||
| 75-6 | Symphony in G major “Military”, Hob. I:100: 1. Adagio - Allegro | — | ||
| 75-7 | Symphony in G major “Military”, Hob. I:100: 2. Allegretto | — | ||
| 75-8 | Symphony in G major “Military”, Hob. I:100: 3. Menuet. Moderato - Trio | — | ||
| 75-9 | Symphony in G major “Military”, Hob. I:100: 4. Finale. Presto | — | ||
| 76-1 | Symphony in B-flat major, Hob. I:102: 1. Largo - Vivace | — | ||
| 76-2 | Symphony in B-flat major, Hob. I:102: 2. Adagio | — | ||
| 76-3 | Symphony in B-flat major, Hob. I:102: 3. Menuet. Allegro - Trio | — | ||
| 76-4 | Symphony in B-flat major, Hob. I:102: 4. Finale. Presto | — | ||
| 76-5 | Symphony in E-flat major “Drum Roll”, Hob. I:103: 1. Adagio - Allegro con spirito | — | ||
| 76-6 | Symphony in E-flat major “Drum Roll”, Hob. I:103: 2. Andante più tosto Allegretto | — | ||
| 76-7 | Symphony in E-flat major “Drum Roll”, Hob. I:103: 3. Menuet - Trio | — | ||
| 76-8 | Symphony in E-flat major “Drum Roll”, Hob. I:103: 4. Finale. Allegro con spirito | — | ||
| 77-1 | Symphonie »Mathis der Maler«: 1. Engelkonzert. Ruhig bewegt | — | ||
| 77-2 | Symphonie »Mathis der Maler«: 2. Grablegung. Sehr langsam | — | ||
| 77-3 | Symphonie »Mathis der Maler«: 3. Versuchung des heiligen Antonius. Sehr langsam, frei im Zeitmaß - Sehr lebhaft | — | ||
| 77-4 | Nobilissima visione: 1. Einleitung und Rondo. Sehr langsam - Rondo. Mäßig schnell | — | ||
| 77-5 | Nobilissima visione: 2. Marsch und Pastorale. Lebhaft | — | ||
| 77-6 | Nobilissima visione: 3. Passacaglia. Feierlich bewegt | — | ||
| 77-7 | Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 1. Allegro | — | ||
| 77-8 | Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 2. “Turandot, Scherzo”. Moderate - Lively | — | ||
| 77-9 | Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 3. Andantino | — | ||
| 77-10 | Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 4. March | — | ||
| 78-1 | Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 1. Allegro | — | ||
| 78-2 | Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 2. “Turandot, Scherzo”. Moderate - Lively | — | ||
| 78-3 | Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 3. Andantino | — | ||
| 78-4 | Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 4. March | — | ||
| 78-5 | Sinfonietta: 1. Allegretto - Allegro - Maestoso | — | ||
| 78-6 | Sinfonietta: 2. Andante - Allegretto - Maestoso - Tempo I - Allegretto | — | ||
| 78-7 | Sinfonietta: 3. Moderato - Con moto - Prestissimo - Tempo I - Moderato | — | ||
| 78-8 | Sinfonietta: 4. Allegretto - Adagio - Presto - Andante - Presto - Prestissimo | — | ||
| 78-9 | Sinfonietta: 5. Andante con moto - Maestoso - Tempo I - Allegretto - Allegro - Maestoso - Adagio | — | ||
| 78-10 | Romeo and Juliet, Suite no. 2, op. 64b no. 1: The Montagues and Capulets | — | ||
| 78-11 | Romeo and Juliet, Suite no. 3, op. 101 no. 16: Morning Dance | — | ||
| 78-12 | Romeo and Juliet, Ballet, op. 64 no. 5: The Quarrrel | — | ||
| 78-13 | Romeo and Juliet, Ballet, op. 64 no. 6: The Fight | — | ||
| 78-14 | Romeo and Juliet, Ballet, op. 64 no. 25: Dance with Mandolins | — | ||
| 78-15 | Romeo and Juliet, Suite no. 2, op. 64b no. 4: Dance | — | ||
| 78-16 | Romeo and Juliet, Suite no. 3, op. 101 no. 19: Aubade (Morning Serenade) | — | ||
| 78-17 | Romeo and Juliet, Suite no. 2, op. 64b no. 6: Dance of the Maids from the Antilles | — | ||
| 78-18 | Romeo and Juliet, Suite no. 1, op. 64a no. 7: Death of Tybalt | — | ||
| 79-1 | The Diary of One Who Disappeared: 1. “Potkal Jsem Mladou cigánku” (tenor) | — | ||
| 79-2 | The Diary of One Who Disappeared: 2. “Ta černá cigánka” (tenor) | — | ||
| 79-3 | The Diary of One Who Disappeared: 3. “Svatojanské mušky tančíja” (tenor) | — | ||
| 79-4 | The Diary of One Who Disappeared: 4. “Už mladé vlaštúvky” (tenor) | — | ||
| 79-5 | The Diary of One Who Disappeared: 5. “Těžko sa mi oře” (tenor) | — | ||
| 79-6 | The Diary of One Who Disappeared: 6. “Hajsi, vy siví volci” (tenor) | — | ||
| 79-7 | The Diary of One Who Disappeared: 7. “Ztratil sem količek” (tenor) | — | ||
| 79-8 | The Diary of One Who Disappeared: 8. “Nehled’te, volečci” (tenor) | — | ||
| 79-9 | The Diary of One Who Disappeared: 9. “Vítaj, Janičku” (alto, tenor, chorus) | — | ||
| 79-10 | The Diary of One Who Disappeared: 10. “Bože Dálný, Nesmrtelný” (alto, chorus) | — | ||
| 79-11 | The Diary of One Who Disappeared: 11. “Táhne vuňa k lesu” (tenor, alto) | — | ||
| 79-12 | The Diary of One Who Disappeared: 12. “Tmavá olšinka, chladná studénka” (tenor) | — | ||
| 79-13 | The Diary of One Who Disappeared: 13. * * * (orchestra) | — | ||
| 79-14 | The Diary of One Who Disappeared: 14. “Slnéčko sa zdvihá” (tenor) | — | ||
| 79-15 | The Diary of One Who Disappeared: 15. “Moji sivi volci” (tenor) | — | ||
| 79-16 | The Diary of One Who Disappeared: 16. “Co sem to udělal?” (tenor) | — | ||
| 79-17 | The Diary of One Who Disappeared: 17. “Co komu súzeno” (tenor) | — | ||
| 79-18 | The Diary of One Who Disappeared: 18. “Nedbám já včil o nic” (tenor) | — | ||
| 79-19 | The Diary of One Who Disappeared: 19. “Letí straka” (tenor) | — | ||
| 79-20 | The Diary of One Who Disappeared: 20. “Mám já panenku” (tenor) | — | ||
| 79-21 | The Diary of One Who Disappeared: 21. “Muj drahý tatíčku” (tenor) | — | ||
| 79-22 | The Diary of One Who Disappeared: 22. “S Bohem, rodný kraju” (tenor) | — | ||
| 79-23 | Sinfonietta: 1. Allegretto - Allegro - Maestoso | — | ||
| 79-24 | Sinfonietta: 2. Andante - Allegretto - Maestoso - Tempo I - Allegretto | — | ||
| 79-25 | Sinfonietta: 3. Moderato - Con moto - Prestissimo - Tempo I - Moderato | — | ||
| 79-26 | Sinfonietta: 4. Allegretto - Adagio - Presto - Andante - Presto - Prestissimo | — | ||
| 79-27 | Sinfonietta: 5. Andante con moto - Maestoso - Tempo I - Allegretto - Allegro - Maestoso - Adagio | — | ||
| 80-1 | Grabstein für Stephan, op. 15c | — | ||
| 80-2 | Gruppen | — | ||
| 81-1 | Symphony no. 1 “Titan”: 1. Langsam. Schleppend. Wie ein Naturlaut - Immer sehr gemächlich | — | ||
| 81-2 | Symphony no. 1 “Titan”: 2. Kräftig bewegt, doch nicht zu schnell - Trio. Recht gemächlich | — | ||
| 81-3 | Symphony no. 1 “Titan”: 3. Feierlich und gemessen, ohne zu schleppen | — | ||
| 81-4 | Symphony no. 1 “Titan”: 4. Stürmisch bewegt | — | ||
| 82-1 | Symphony no. 2 “Resurrection”: 1. Allegro maestoso. [Totenfeier]. Mit durchaus ernstem und feierlichem Ausdruck | — | ||
| 82-2 | Symphony no. 2 “Resurrection”: 2. Andante moderato. Sehr gemächlich. Nie eilen | — | ||
| 82-3 | Symphony no. 2 “Resurrection”: 3. [Scherzo]. In ruhig fließender Bewegung | — | ||
| 82-4 | Symphony no. 2 “Resurrection”: 4. »Urlicht«. Sehr feierlich, aber schlicht - »O Röschen rot!« (alto solo) | — | ||
| 82-5 | Symphony no. 2 “Resurrection”: 5. Im Tempo des Scherzo - Wild herausfahrend - »Auferstehn, ja auferstehnwirst du« (soprano solo, chorus) - »O glaube, mein Herz, o glaube« (alto & soprano solo, chorus) | — | ||
| 83-1 | Symphony no. 3: Part I. 1. Kräftig. Entschieden | — | ||
| 83-2 | Symphony no. 3: Part I. 1. Immer das gleiche Tempo [fig. 11] | — | ||
| 83-3 | Symphony no. 3: Part I. 1. Tempo I [fig. 18] | — | ||
| 83-4 | Symphony no. 3: Part I. 1. Zeit lassen [fig. 29] | — | ||
| 83-5 | Symphony no. 3: Part I. 1. Zeit lassen [fig. 33] | — | ||
| 83-6 | Symphony no. 3: Part I. 1. Immer dasselbe Tempo. (Marsch) [fig. 43] | — | ||
| 83-7 | Symphony no. 3: Part I. 1. Im alten Marschtempo (Allegro Moderato): 3 bars after [fig. 54] | — | ||
| 83-8 | Symphony no. 3: Part I. 1. Tempo I [fig. 62] | — | ||
| 84-1 | Symphony no. 3: Part II. 2. Tempo di Menuetto. Sehr mäßig | — | ||
| 84-2 | Symphony no. 3: Part II. 2. L'istesso tempo [fig. 3] | — | ||
| 84-3 | Symphony no. 3: Part II. 2. A tempo. (Wie im Anfang) [fig. 6] | — | ||
| 84-4 | Symphony no. 3: Part II. 2. Ganz plötzlich gemächlich. Tempo di Menuetto [fig. 14] | — | ||
| 84-5 | Symphony no. 3: Part II. 3. Comodo. Scherzando. Ohne Hast | — | ||
| 84-6 | Symphony no. 3: Part II. 3. Wieder sehr gemächlich, wie zu Anfang [fig. 6] | — | ||
| 84-7 | Symphony no. 3: Part II. 3. Etwas zurückhaltend: 6 bars before [fig. 14] | — | ||
| 84-8 | Symphony no. 3: Part II. 3. Tempo I: 2 bars before [fig. 17] | — | ||
| 84-9 | Symphony no. 3: Part II. 3. Wieder sehr gemächlich, beinahe langsam [fig. 27] | — | ||
| 84-10 | Symphony no. 3: Part II. 4. Sehr langsam. Misterioso. Durchaus ppp »O Mensch! Gib acht!« (alto solo) | — | ||
| 84-11 | Symphony no. 3: Part II. 4. Più mosso subito: 6 bars before [fig. 6] | — | ||
| 84-12 | Symphony no. 3: Part II. 5. Lustig im Tempo und keck im Ausdruck »Bimm Bamm! Es sungen drei Engel« (chorus, alto solo) | — | ||
| 84-13 | Symphony no. 3: Part II. 6. Langsam. Ruhevoll. Empfunden | — | ||
| 84-14 | Symphony no. 3: Part II. 6. Nicht mehr so breit [fig. 4] | — | ||
| 84-15 | Symphony no. 3: Part II. 6. Tempo I. Ruhevoll [fig. 9] | — | ||
| 84-16 | Symphony no. 3: Part II. 6. Nicht mehr so breit [fig. 13] | — | ||
| 84-17 | Symphony no. 3: Part II. 6. Tempo I [fig. 21] | — | ||
| 84-18 | Symphony no. 3: Part II. 6. Langsam. Tempo I [fig. 25] | — | ||
| 84-19 | Applause | — | ||
| 85-1 | Symphony no. 4: 1. Bedächtig. Nicht eilen - Recht gemächlich | — | ||
| 85-2 | Symphony no. 4: 2. In gemächlicher Bewegung. Ohne Hast | — | ||
| 85-3 | Symphony no. 4: 3. Ruhevoll (Poco adagio) - Allegretto subito (Nicht eilen) - Allegro subito - Andante subito | — | ||
| 85-4 | Symphony no. 4: 4. Sehr behaglich: »Wir genießen die himmlischen Freuden« (soprano solo) | — | ||
| 85-5 | 7 Early Songs: 1. Nacht | — | ||
| 85-6 | 7 Early Songs: 2. Schilflied | — | ||
| 85-7 | 7 Early Songs: 3. Die Nachtigall | — | ||
| 85-8 | 7 Early Songs: 4. Traumgekrönt | — | ||
| 85-9 | 7 Early Songs: 5. Im Zimmer | — | ||
| 85-10 | 7 Early Songs: 6. Liebesode | — | ||
| 85-11 | 7 Early Songs: 7. Sommertage | — | ||
| 85-12 | Applause | — | ||
| 86-1 | Symphony no. 5: Part I. 1. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt | — | ||
| 86-2 | Symphony no. 5: Part I. 2. Stürmisch bewegt, mit größter Vehemenz | — | ||
| 86-3 | Symphony no. 5: Part II. 3. Scherzo. Kräftig, nicht zu schnell | — | ||
| 86-4 | Symphony no. 5: Part III. 4. Adagietto. Sehr langsam | — | ||
| 86-5 | Symphony no. 5: Part III. 5. Rondo-Finale. Allegro - Allegro giocoso. Frisch | — | ||
| 87-1 | Symphony no. 6: 1. Allegro energico, ma non troppo. Heftig, aber markig | — | ||
| 87-2 | Symphony no. 6: 2. Andante moderato | — | ||
| 87-3 | Symphony no. 6: 3. Scherzo. Wuchtig | — | ||
| 87-4 | Symphony no. 6: 4. Finale. Allegro moderato - Allegro energico | — | ||
| 87-5 | Applause | — | ||
| 88-1 | Symphony no. 7: 1. Langsam (Adagio) - Allegro risoluto, ma non troppo | — | ||
| 88-2 | Symphony no. 7: 2. Nachtmusik. Allegro moderato | — | ||
| 88-3 | Symphony no. 7: 3. Scherzo. Schattenhaft - Trio | — | ||
| 88-4 | Symphony no. 7: 4. Nachtmusik. Andante amoroso | — | ||
| 88-5 | Symphony no. 7: 5. Rondo - Finale. Tempo I (Allegro ordinario) - Tempo II (Allegro moderato ma energico) | — | ||
| 88-6 | Applause | — | ||
| 89-1 | Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. Allegro impetuoso. »Veni, creator spiritus« (chorus I/II) | — | ||
| 89-2 | Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. A tempo. Etwas (aber unmerklich) gemäßigter; immer sehr fließend. »Imple superna gratia« (soprano I, tenor, soprano II, alto I/II, baritone, bass, chorus I/II) | — | ||
| 89-3 | Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. Etwas drängend - Noch einmal so langsam. (Nicht schleppend). »Infirma nostri corporis« (chorus I/II, soprano I/II, alto I/II, tenor, bass, baritone) | — | ||
| 89-4 | Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. Tempo I. (Allegro, etwas hastig) | — | ||
| 89-5 | Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. Sehr fließend - Noch einmal so langsam als vorher. Nicht schleppend. »Infirma nostri corporis« (bass, tenor, alto I/II, baritone, soprano I/II) | — | ||
| 89-6 | Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. Plötzlich sehr breit und leidenschaftlichen Ausdrucks - Mit plötzlichem Aufschwung. »Accende lumen sensibus« (soprano I/II, alto I/II, tenor, baritone, bass, boys' choir, chorus I/II) | — | ||
| 89-7 | Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. »Veni, creator spiritus« (soprano I/II, alto I/II, tenor, baritone, bass, chorus I/II, boys' choir) | — | ||
| 89-8 | Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. Wieder frisch. »Gloria sit Patri Domino« (boys' choir, soprano I/II, alto I/II, tenor, chorus I/II, baritone, bass) | — | ||
| 90-1 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Poco adagio | — | ||
| 90-2 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Più mosso. (Allegro moderato) | — | ||
| 90-3 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Wieder langsam. Chor und Echo: »Waldung, sie schwankt heran« (chorus I/II) | — | ||
| 90-4 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Moderato. Pater ecstaticus: »Ewiger Wonnebrand« (baritone) | — | ||
| 90-5 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Allegro - (Allegro appassionato). Pater profundus: »Wie Felsenabgrund mir zu Füßen« (bass) | — | ||
| 90-6 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Allegro deciso. (Im Anfang noch nicht eilen). Chor der Engel: »Gerettet ist das edle Glied der Geisterwelt vom Bösen« / Chor seliger Knaben: »Hände verschlinget euch« (chorus I/II, soprano, alto, boys' choir) | — | ||
| 90-7 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Molto leggiero. Chor der jüngeren Engel: »Jene Rosen aus den Händen« (chorus I, soprano, alto) | — | ||
| 90-8 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Schon etwas langsamer und immer noch mäßiger - Wie die gleiche Stelle im I. Teil. Die vollendeteren Engel: »Uns bleibt ein Erdenrest« (chorus II, soprano, alto, tenor, alto solo) | — | ||
| 90-9 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Im Anfang (die ersten vier Takte) noch etwas gehalten. Die jüngeren Engel: »Ich spür’ soeben nebelnd um Felsenhöh« / Doctor Marianus: »Hier ist die Aussicht frei« / Chor seliger Knaben: »Freudig empfangen wir« (chorus I, soprano, alto, tenor, boys' choir) | — | ||
| 90-10 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Sempre l'istesso tempo. Doctor Marianus: »Höchste Herrscherin der Welt!« (tenor, chorus I/II) | — | ||
| 90-11 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Äußerst langsam. Adagissimo. »Dir, der Unberührbaren« (chorus I/II) / Chor der Büßerinnen und Una poenitentium: »Du schwebst zu Höhen der ewigen Reiche« (chorus II, soprano I) | — | ||
| 90-12 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Fließend. Magna Peccatrix: »Bei der Liebe, die den Füßen« / Mulier Samaritana: »Bei dem Bronn, zu dem schon weiland« / Maria Aegyptiaca: »Bei dem hochgeweihten Orte« (soprano II, alto I, alto II) | — | ||
| 90-13 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Una poenitentium: »Neige, neige, du Ohnegleiche« (soprano I) | — | ||
| 90-14 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Unmerklich frischer werden. Selige Knaben: »Er überwächst uns schon« / Una poenitentium: »Vom edlen Geisterchor umgeben« (boys' choir, chorus II, soprano, soprano I) | — | ||
| 90-15 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Sehr langsam. Mater gloriosa: »Komm! hebe dich zu höhern Sphären!« / Hymnenartig (Ungefähr im selben Zeitmaß weiter). Doctor Marianus: »Blicket auf zum Retterblick, alle reuig Zarten« (soprano, tenor, chorus I/II, boys' choir) | — | ||
| 90-16 | Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Sehr langsam beginnend. Chorus mysticus: »Alles Vergängliche ist nur ein Gleichnis« (chorus I/II, soprano I/II, alto I/II, tenor, baritone, bass, boys' choir) | — | ||
| 91-1 | Symphony no. 9: 1. Andante comodo | — | ||
| 91-2 | Symphony no. 9: 2. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb | — | ||
| 91-3 | Symphony no. 9: 3. Rondo-Burleske. Allegro assai. Sehr trotzig | — | ||
| 91-4 | Symphony no. 9: 4. Adagio. Sehr langsam und noch zurückhaltend | — | ||
| 91-5 | Applause | — | ||
| 92-1 | Symphony no. 10 (unfinished): Adagio: 1. Andante - Adagio | — | ||
| 92-2 | Symphony no. 10 (unfinished): Adagio: 2. Andante come prima [bar 40] | — | ||
| 92-3 | Symphony no. 10 (unfinished): Adagio: 3. [bar 105] | — | ||
| 92-4 | Symphony no. 10 (unfinished): Adagio: 4. [bar 178] | — | ||
| 92-5 | Symphony no. 10 (unfinished): Adagio: 5. A tempo [bar 217] | — | ||
| 92-6 | Symphony no. 2 “Resurrection”: 1. Allegro maestoso [Totenfeier]. Mit durchaus ernstem und feierlichem Ausdruck | — | ||
| 92-7 | Symphony no. 2 “Resurrection”: 1. Sehr mäßig und zurückhaltend [fig. 7] | — | ||
| 92-8 | Symphony no. 2 “Resurrection”: 1. Schnell [fig. 15] | — | ||
| 92-9 | Symphony no. 2 “Resurrection”: 1. Tempo I [5 bars after fig. 20] | — | ||
| 92-10 | Symphony no. 2 “Resurrection”: 1. Tempo sostenuto [fig. 24] | — | ||
| 93-1 | Symphony no. 2 “Resurrection”: 2. Andante moderato. Sehr gemächlich | — | ||
| 93-2 | Symphony no. 2 “Resurrection”: 2. Nicht eilen. Sehr gemächlich [1 bar before fig. 3] | — | ||
| 93-3 | Symphony no. 2 “Resurrection”: 2. In Tempo I zurückkehren [fig. 5] | — | ||
| 93-4 | Symphony no. 2 “Resurrection”: 2. Energisch bewegt [fig. 6] | — | ||
| 93-5 | Symphony no. 2 “Resurrection”: 2. Wieder ins Tempo zurückgehen. Tempo I [fig. 12] | — | ||
| 93-6 | Symphony no. 2 “Resurrection”: 3. [Scherzo]. In ruhig fließender Bewegung | — | ||
| 93-7 | Symphony no. 2 “Resurrection”: 3. Sehr getragen und gesangvoll [fig. 40] | — | ||
| 93-8 | Symphony no. 2 “Resurrection”: 3. Zum Tempo I zurückkehren [fig. 43] | — | ||
| 93-9 | Symphony no. 2 “Resurrection”: 4. »Urlicht«. Sehr feierlich, aber schlicht. »O Röschen rot!« (alto solo) | — | ||
| 93-10 | Symphony no. 2 “Resurrection”: 5. Im Tempo des Scherzos. Wild herausfahrend | — | ||
| 93-11 | Symphony no. 2 “Resurrection”: 5. Langsam [fig. 3] | — | ||
| 93-12 | Symphony no. 2 “Resurrection”: 5. Im Angang sehr zurückgehalten [fig. 7] | — | ||
| 93-13 | Symphony no. 2 “Resurrection”: 5. Wieder sehr breit [fig. 10] | — | ||
| 93-14 | Symphony no. 2 “Resurrection”: 5. Molto ritenuto. Maestoso [3 bars before fig. 14] | — | ||
| 93-15 | Symphony no. 2 “Resurrection”: 5. Wieder zurückhaltend [fig. 21] | — | ||
| 93-16 | Symphony no. 2 “Resurrection”: 5. Sehr langsam und gedehnt [fig. 29] | — | ||
| 93-17 | Symphony no. 2 “Resurrection”: 5. Langsam. Misterioso [fig. 31]. »Auferstehn, ja auferstehn wirst du« (soprano solo, chorus) | — | ||
| 93-18 | Symphony no. 2 “Resurrection”: 5. Langsam ppp. Nicht schleppen [fig. 35]. »Wieder aufzublühn, wirst du gesät« (soprano solo, chorus) | — | ||
| 93-19 | Symphony no. 2 “Resurrection”: 5. Etwas bewegter [fig. 39]. »O glaube, mein Herz, o glaube« (alto & soprano solo, chorus) | — | ||
| 93-20 | Symphony no. 2 “Resurrection”: 5. Mit Aufschwung, aber nicht eilen [fig. 44]. »O Schmerz! Du Alldurchdringer« (alto & soprano solo, chorus) | — | ||
| 94-1 | Symphony no. 3: Part I. 1. Kräftig. Entschieden | — | ||
| 94-2 | Symphony no. 3: Part I. 1. Langsam. Schwer [fig. 13] | — | ||
| 94-3 | Symphony no. 3: Part I. 1. Tempo I [fig. 18] | — | ||
| 94-4 | Symphony no. 3: Part I. 1. A tempo [fig. 29] | — | ||
| 94-5 | Symphony no. 3: Part I. 1. Immer dasselbe Tempo (Marsch) [fig. 43] | — | ||
| 94-6 | Symphony no. 3: Part I. 1. (Allegro moderato) [3 bars after fig. 54] | — | ||
| 94-7 | Symphony no. 3: Part I. 1. Tempo I [fig. 62] | — | ||
| 94-8 | Symphony no. 3: Part II. 2. Tempo di menuetto. Sehr mäßig | — | ||
| 94-9 | Symphony no. 3: Part II. 2. A tempo [fig. 6] | — | ||
| 94-10 | Symphony no. 3: Part II. 2. Ganz plötzlich gemächlich. Tempo di menuetto [fig. 14] | — | ||
| 94-11 | Symphony no. 3: Part II. 3. Comodo. Scherzando. Ohne Hast | — | ||
| 94-12 | Symphony no. 3: Part II. 3. Wieder sehr gemächlich, wie zu Anfang [fig. 6] | — | ||
| 94-13 | Symphony no. 3: Part II. 3. Sehr gemächlich (Posthorn) [fig. 14] | — | ||
| 94-14 | Symphony no. 3: Part II. 3. Tempo I [2 bars before fig. 17] | — | ||
| 94-15 | Symphony no. 3: Part II. 3. Wieder sehr gemächlich, beinahe langsam [fig. 27] | — | ||
| 95-1 | Symphony no. 3: Part II. 4. Sehr langsam. Misterioso. Durchaus ppp. »O Mensch! Gib acht!« (alto solo) | — | ||
| 95-2 | Symphony no. 3: Part II. 4. Più mosso subito [6 bars after fig. 6] | — | ||
| 95-3 | Symphony no. 3: Part II. 5. Lustig im Tempo und keck im Ausdruck. »Bimm bamm / Es sungen drei Engel« (chorus, alto solo) | — | ||
| 95-4 | Symphony no. 3: Part II. 6. Langsam. Ruhevoll. Empfunden | — | ||
| 95-5 | Symphony no. 3: Part II. 6. Nicht mehr so breit [fig. 4] | — | ||
| 95-6 | Symphony no. 3: Part II. 6. Tempo I. Ruhevoll [fig. 9] | — | ||
| 95-7 | Symphony no. 3: Part II. 6. A tempo (Etwas bewegter) [fig. 14] | — | ||
| 95-8 | Symphony no. 3: Part II. 6. Tempo I [fig. 21] | — | ||
| 95-9 | Symphony no. 3: Part II. 6. Langsam. Tempo I [fig. 25] | — | ||
| 96-1 | Symphony no. 4: 1. Bedächtig. Nicht eilen - Recht gemächlich | — | ||
| 96-2 | Symphony no. 4: 2. In gemächlicher Bewegung. Ohne Hast | — | ||
| 96-3 | Symphony no. 4: 3. Ruhevoll (Poco adagio) - Allegretto subito (Nicht eilen - Allegro subito - Andante subito) | — | ||
| 96-4 | Symphony no. 4: 4. Sehr behaglich: »Wir genießen die himmlischen Freuden« (soprano solo) | — | ||
| 97-1 | Symphony no. 9: 1. Andante comodo | — | ||
| 97-2 | Symphony no. 9: 1. Etwas frischer [bar 80] | — | ||
| 97-3 | Symphony no. 9: 1. Tempo I [bar 148] | — | ||
| 97-4 | Symphony no. 9: 1. Mit Wut. Allegro risoluto [bar 174] | — | ||
| 97-5 | Symphony no. 9: 1. Leidenschaftlich [bar 211] | — | ||
| 97-6 | Symphony no. 9: 1. Schattenhaft [bar 254] | — | ||
| 97-7 | Symphony no. 9: 1. Etwas fließender [bar 279] | — | ||
| 97-8 | Symphony no. 9: 1. Wie von Anfang [bar 347] | — | ||
| 97-9 | Symphony no. 9: 1. Schon ganz langsam [bar 406] | — | ||
| 97-10 | Symphony no. 9: 2. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb | — | ||
| 97-11 | Symphony no. 9: 2. Poco più mosso subito (Tempo II) [bar 90] | — | ||
| 97-12 | Symphony no. 9: 2. Tempo III [bar 218] | — | ||
| 97-13 | Symphony no. 9: 2. A tempo II [bar 261] | — | ||
| 97-14 | Symphony no. 9: 2. Tempo I [bar 369] | — | ||
| 97-15 | Symphony no. 9: 2. Tempo II [bar 423] | — | ||
| 97-16 | Symphony no. 9: 2. 8 bars before: Tempo I subito [bar 515] | — | ||
| 97-17 | Symphony no. 9: 3. Rondo-Burleske. Allegro assai. Sehr trotzig | — | ||
| 97-18 | Symphony no. 9: 3. L'istesso tempo [bar 109] | — | ||
| 97-19 | Symphony no. 9: 3. Sempre l'istesso tempo [bar 180] | — | ||
| 97-20 | Symphony no. 9: 3. Sempre l'istesso tempo [bar 311] | — | ||
| 97-21 | Symphony no. 9: 3. (clarinets/Klarinetten) [bar 444] | — | ||
| 97-22 | Symphony no. 9: 3. Tempo I. subito [bar 522] | — | ||
| 97-23 | Symphony no. 9: 3. Più stretto [bar 617] | — | ||
| 97-24 | Symphony no. 9: 4. Adagio. Sehr langsam und noch zurückhaltend | — | ||
| 97-25 | Symphony no. 9: 4. Plötzlich wieder sehr langsam (wie zu Anfang) und etwas zögernd [bar 28] | — | ||
| 97-26 | Symphony no. 9: 4. Molto adagio subito [bar 49] | — | ||
| 97-27 | Symphony no. 9: 4. A tempo (Molto adagio) [bar 64] | — | ||
| 97-28 | Symphony no. 9: 4. Stets sehr gehalten [bar 88] | — | ||
| 97-29 | Symphony no. 9: 4. Fließender, doch durchaus nicht eilend [bar 107] | — | ||
| 97-30 | Symphony no. 9: 4. Tempo I. Molto adagio [bar 126] | — | ||
| 97-31 | Symphony no. 9: 4. Adagissimo [bar 159] | — | ||
| 98-1 | Symphony no. 1 “Titan”: 1 Langsam. Schleppend. Wie ein Naturlaut - Immer sehr gemächlich | — | ||
| 98-2 | Symphony no. 1 “Titan”: 2. Kräftig bewegt, doch nicht zu schnell - Trio. Recht gemächlich | — | ||
| 98-3 | Symphony no. 1 “Titan”: 3. Feierlich und gemessen, ohne zu schleppen | — | ||
| 98-4 | Symphony no. 1 “Titan”: 4. Stürmisch bewegt | — | ||
| 99-1 | Symphony no. 2 “Resurrection”: 1. Allegro maestoso [Totenfeier]. Mit durchaus ernstem und feierlichem Ausdruck | — | ||
| 99-2 | Symphony no. 2 “Resurrection”: 1. Sehr mäßig und zurückhaltend | — | ||
| 99-3 | Symphony no. 2 “Resurrection”: 1. Sehr langsam beginnend | — | ||
| 99-4 | Symphony no. 2 “Resurrection”: 2. Andante moderato | — | ||
| 99-5 | Symphony no. 2 “Resurrection”: 3. [Scherzo]. In ruhig fließender Bewegung | — | ||
| 99-6 | Symphony no. 2 “Resurrection”: 4. »Urlicht«. Sehr feierlich, aber schlicht - »O Röschen rot« (alto solo) | — | ||
| 99-7 | Symphony no. 2 “Resurrection”: 5. Im Tempo des Scherzo. Wild herausfahrend | — | ||
| 99-8 | Symphony no. 2 “Resurrection”: 5. Langsam | — | ||
| 99-9 | Symphony no. 2 “Resurrection”: 5. Im Anfang sehr zurückgehalten | — | ||
| 99-10 | Symphony no. 2 “Resurrection”: 5. Wieder sehr breit | — | ||
| 99-11 | Symphony no. 2 “Resurrection”: 5. Maestoso. Sehr zurückhaltend | — | ||
| 99-12 | Symphony no. 2 “Resurrection”: 5. Wieder zurückhaltend | — | ||
| 99-13 | Symphony no. 2 “Resurrection”: 5. Langsam, immer noch mehr zurückhaltend | — | ||
| 99-14 | Symphony no. 2 “Resurrection”: 5. Sehr langsam und gedehnt | — | ||
| 99-15 | Symphony no. 2 “Resurrection”: 5. Langsam. Misterioso »Auferstehen, ja auferstehen wirst du« (soprano solo, chorus) | — | ||
| 99-16 | Symphony no. 2 “Resurrection”: 5. Etwas bewegter »O glaube, mein Herz, o glaube« (alto & soprano solo) | — | ||
| 99-17 | Symphony no. 2 “Resurrection”: 5. Wieder etwas zurückhaltend »Was entstanden ist, das muss vergehen« (chorus, alto & soprano solo) | — | ||
| 100-1 | Symphony no. 5: Part I. 1. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt | — | ||
| 100-2 | Symphony no. 5: Part I. 2. Stürmisch bewegt, mit größter Vehemenz | — | ||
| 100-3 | Symphony no. 5: Part II. 3. Scherzo. Kräftig, nicht zu schnell | — | ||
| 100-4 | Symphony no. 5: Part III. 4. Adagietto. Sehr langsam | — | ||
| 100-5 | Symphony no. 5: Part III. 5. Rondo-Finale. Allegro - Allegro giocoso. Frisch | — | ||
| 101-1 | Symphonie no. 6: 1. Allegro energico, ma non troppo. Heftig, aber markig | — | ||
| 101-2 | Symphonie no. 6: 2. Andante moderato | — | ||
| 101-3 | Symphonie no. 6: 3. Scherzo. Wuchtig | — | ||
| 102-1 | Symphonie no. 6: 4. Finale. Allegro moderato - Allegro energico | — | ||
| 102-2 | 5 Lieder nach Texten von Friedrich Rückert: Blicke mir nicht in die Lieder | — | ||
| 102-3 | 5 Lieder nach Texten von Friedrich Rückert: Liebst du um Shönheit | — | ||
| 102-4 | 5 Lieder nach Texten von Friedrich Rückert: Ich bin der Welt abhanden gekommen | — | ||
| 102-5 | 5 Lieder nach Texten von Friedrich Rückert: Ich atmet' einen linden Duft | — | ||
| 102-6 | 5 Lieder nach Texten von Friedrich Rückert: Um Mitternacht | — | ||
| 103-1 | Symphony no. 7: 1. Langsam (Adagio) | — | ||
| 103-2 | Symphony no. 7: 1. Nicht schleppen [bar 27] | — | ||
| 103-3 | Symphony no. 7: 1. Allegro risoluto, ma non troppo [bar 50] | — | ||
| 103-4 | Symphony no. 7: 1. a tempo [bar 118] | — | ||
| 103-5 | Symphony no. 7: 1. [bar 171] | — | ||
| 103-6 | Symphony no. 7: 1. Subito allegro I [bar 266] | — | ||
| 103-7 | Symphony no. 7: 1. Adagio (Tempo der Einleitung) [bar 388] | — | ||
| 103-8 | Symphony no. 7: 1. Allegro come prima [bar 373] | — | ||
| 103-9 | Symphony no. 7: 2. Nachtmusik. Allegro moderato | — | ||
| 103-10 | Symphony no. 7: 2. Sempre l'istesso Tempo (Nicht eilen) [bar 83] | — | ||
| 103-11 | Symphony no. 7: 2. Tempo [bar 223] | — | ||
| 103-12 | Symphony no. 7: 2. [bar 262] | — | ||
| 103-13 | Symphony no. 7: 3. Scherzo. Schattenhaft | — | ||
| 103-14 | Symphony no. 7: 3. Trio [bar 179] | — | ||
| 103-15 | Symphony no. 7: 3. Wieder wie zu Anfang [bar 294] | — | ||
| 103-16 | Symphony no. 7: 4. Nachtmusik. Andante amoroso | — | ||
| 103-17 | Symphony no. 7: 4. [bar 187] | — | ||
| 103-18 | Symphony no. 7: 5. Rondo - Finale. Tempo I (Allegro ordinario) | — | ||
| 103-19 | Symphony no. 7: 5. Tempo II (Allegro moderato ma energico) [bar 87] | — | ||
| 103-20 | Symphony no. 7: 5. Tempo I [bar 267] | — | ||
| 103-21 | Symphony no. 7: 5. Sempre l'istesso tempo (Tempo I) [bar 368] | — | ||
| 104-1 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Revelge | — | ||
| 104-2 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Rheinlegendchen | — | ||
| 104-3 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Trost im Unglück | — | ||
| 104-4 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Verlorne Müh’ | — | ||
| 104-5 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Der Schildwache Nachtlied | — | ||
| 104-6 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Das irdische Leben | — | ||
| 104-7 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Lied des Verfolgten im Turm | — | ||
| 104-8 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Wer hat dies Liedlein erdacht? | — | ||
| 104-9 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Des Antonius von Padua Fischpredigt | — | ||
| 104-10 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Lob des hohen Verstandes | — | ||
| 104-11 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Wo die schönen Trompeten blasen | — | ||
| 104-12 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Der Tamboursg’sell | — | ||
| 104-13 | Lieder nach Gedichten aus Des Knaben Wunderhorn: Urlicht | — | ||
| 105-1 | Symphony no. 1 in C minor, op. 11: 1. Allegro de molto | — | ||
| 105-2 | Symphony no. 1 in C minor, op. 11: 2. Andante | — | ||
| 105-3 | Symphony no. 1 in C minor, op. 11: 3. Menuetto. Allegro molto | — | ||
| 105-4 | Symphony no. 1 in C minor, op. 11: 4. Allegro con fuoco | — | ||
| 105-5 | Scherzo in G minor from Octet, op. 20: Sempre pianissimo e leggiero | — | ||
| 105-6 | Ein Sommernachtstraum, op. 21: Allegro di molto | — | ||
| 105-7 | Die Hebriden (»Die Fingalshöhle«), op. 26: Allegro moderato - animato in tempo | — | ||
| 105-8 | Meeresstille und glückliche Fahrt, op. 27: Adagio - Molto allegro e vivace | — | ||
| 106-1 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 1. Sinfonia. Maestoso con moto - Allegro - Maestoso con moto come I - attacca | — | ||
| 106-2 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 1. Allegretto un poco agitato - | — | ||
| 106-3 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 1. Adagio religioso | — | ||
| 106-4 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 2. Allegro moderato maestoso - Allegro di molto - Chorus: »Alles, was Odem hat, lobe den Herrn« | — | ||
| 106-5 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 2. Molto più moderato ma con fuoco - »Lobe den Herrn, meine Seele« (soprano I, women's chorus) | — | ||
| 106-6 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 3. Recitative: »Saget es, die ihr erlöset seid durch den Herrn« (tenor) | — | ||
| 106-7 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 3. Allegro moderato - [Aria]: »Er zählet unsre Tränen in der Zeit der Not« (tenor) | — | ||
| 106-8 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 4. A tempo moderato - Chorus: »Sagt es, die ihr erlöset seid« | — | ||
| 106-9 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 5. Andante - Duet & Chorus: »Ich harrete des Herrn« (sopranos I & II) - »Wohl dem, der seine Hoffnung setzt« (chorus) | — | ||
| 106-10 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 6. Allegro un poco agitato - Allegro assai agitato - Tempo I moderato - Aria: »Stricke des Todes hatten uns umfangen« (tenor) | — | ||
| 106-11 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 7. Allegro maestoso e molto vivace - Chorus: »Die Nacht ist vergangen« | — | ||
| 106-12 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 8. Andante con moto - Un poco più animato - Chorale: »Nun danket alle Gott« | — | ||
| 106-13 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 9. Andante sostenuto assai - [Duet]: »Drum sing' ich mit meinem Liede ewig dein Lob« (tenor, soprano I) | — | ||
| 106-14 | Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 10. Allegro non troppo - Più vivace - Maestoso come I - Final Chorus: »Ihr Völker, bringet her dem Herrn Ehre und Macht! Danket dem Herrn und rühmt seinen Namen« | — | ||
| 107-1 | Symphony no. 3 in A minor “Scottish”, op. 56: 1. Andante con moto - Allegro un poco agitato - Assai animato - Andante come prima - | — | ||
| 107-2 | Symphony no. 3 in A minor “Scottish”, op. 56: 2. Vivace non troppo | — | ||
| 107-3 | Symphony no. 3 in A minor “Scottish”, op. 56: 3. Adagio | — | ||
| 107-4 | Symphony no. 3 in A minor “Scottish”, op. 56: 4. Allegro vivacissimo - Allegro maestoso assai | — | ||
| 107-5 | Die schöne Melusine, op. 32: Allegro con moto | — | ||
| 107-6 | Trompeten-Ouvertüre, op. 101: Allegro vivace | — | ||
| 107-7 | Ruy Blas, op. 95: Lento - Allegro molto | — | ||
| 108-1 | Symphony no. 4 in A major “Italian”, op. 90: 1. Allegro vivace | — | ||
| 108-2 | Symphony no. 4 in A major “Italian”, op. 90: 2. Andante con moto | — | ||
| 108-3 | Symphony no. 4 in A major “Italian”, op. 90: 3. Con moto moderato | — | ||
| 108-4 | Symphony no. 4 in A major “Italian”, op. 90: 4. Saltarello. Presto | — | ||
| 108-5 | Symphony no. 5 in D minor “Reformation”, op. 107: 1. Andante - Allegro con fuoco | — | ||
| 108-6 | Symphony no. 5 in D minor “Reformation”, op. 107: 2. Allegro vivace | — | ||
| 108-7 | Symphony no. 5 in D minor “Reformation”, op. 107: 3. Andante | — | ||
| 108-8 | Symphony no. 5 in D minor “Reformation”, op. 107: 4. Chorale »Ein' feste Burg ist unser Gott«. Andante con moto - Allegro maestoso | — | ||
| 108-9 | Overture for Wind Instruments in C major, op. 24: Andante con moto - Allegro vivace | — | ||
| 109-1 | Symphony no. 3 in A minor “Scottish”, op. 56: 1. Andante con moto - Allegro un poco agitato - Assai animato - Andante come prima | — | ||
| 109-2 | Symphony no. 3 in A minor “Scottish”, op. 56: 2. Vivace non troppo | — | ||
| 109-3 | Symphony no. 3 in A minor “Scottish”, op. 56: 3. Adagio | — | ||
| 109-4 | Symphony no. 3 in A minor “Scottish”, op. 56: 4. Allegro vivacissimo - Allegro maestoso assai | — | ||
| 109-5 | Symphony no. 4 in A major “Italian”, op. 90: 1. Allegro vivace | — | ||
| 109-6 | Symphony no. 4 in A major “Italian”, op. 90: 2. Andante con moto | — | ||
| 109-7 | Symphony no. 4 in A major “Italian”, op. 90: 3. Con moto moderato | — | ||
| 109-8 | Symphony no. 4 in A major “Italian”, op. 90: 4. Saltarello. Presto | — | ||
| 110-1 | Concerto for Violin and Orchestra in E minor, op. 64: 1. Allegro molto appassionato | — | ||
| 110-2 | Concerto for Violin and Orchestra in E minor, op. 64: 2. Andante | — | ||
| 110-3 | Concerto for Violin and Orchestra in E minor, op. 64: 3. Allegro non troppo - Allegro molto vivace | — | ||
| 110-4 | Concerto for Violin and Orchestra no. 1 in G minor, op. 26: 1. Vorspiel. Allegro moderato | — | ||
| 110-5 | Concerto for Violin and Orchestra no. 1 in G minor, op. 26: 2. Adagio | — | ||
| 110-6 | Concerto for Violin and Orchestra no. 1 in G minor, op. 26: 3. Finale. Allegro energico | — | ||
| 111-1 | Symphony no. 35 in D major “Haffner”, K. 385: 1. Allegro con spirito | — | ||
| 111-2 | Symphony no. 35 in D major “Haffner”, K. 385: 2. Andante | — | ||
| 111-3 | Symphony no. 35 in D major “Haffner”, K. 385: 3. Menuetto - Trio | — | ||
| 111-4 | Symphony no. 35 in D major “Haffner”, K. 385: 4. Presto | — | ||
| 111-5 | Symphony no. 29 in A major, K. 201: 1. Allegro moderato | — | ||
| 111-6 | Symphony no. 29 in A major, K. 201: 2. Andante | — | ||
| 111-7 | Symphony no. 29 in A major, K. 201: 3. Menuetto - Trio | — | ||
| 111-8 | Symphony no. 29 in A major, K. 201: 4. Allegro con spirito | — | ||
| 111-9 | Symphony no. 33 in B-flat major, K. 319: 1. Allegro assai | — | ||
| 111-10 | Symphony no. 33 in B-flat major, K. 319: 2. Andante moderato | — | ||
| 111-11 | Symphony no. 33 in B-flat major, K. 319: 3. Menuetto - Trio | — | ||
| 111-12 | Symphony no. 33 in B-flat major, K. 319: 4. Allegro assai | — | ||
| 112-1 | Symphony no. 38 in D major “Prague”, K. 504: 1. Adagio - Allegro | — |
Brandenburg Concerto no. 1 in F major, BWV 1046: 1. (Allegro)
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Brandenburg Concerto no. 1 in F major, BWV 1046: 2. Adagio
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Brandenburg Concerto no. 1 in F major, BWV 1046: 3. Allegro
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Brandenburg Concerto no. 1 in F major, BWV 1046: 4. Menuetto - Trio I - Polacca - Trio II
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Brandenburg Concerto no. 3 in G major, BWV 1048: 1. (Allegro)
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Brandenburg Concerto no. 3 in G major, BWV 1048: 2. Adagio
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Brandenburg Concerto no. 3 in G major, BWV 1048: 3. Allegro
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Brandenburg Concerto no. 5 in D major, BWV 1050: 1. Allegro
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Brandenburg Concerto no. 5 in D major, BWV 1050: 2. Affettuoso
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Brandenburg Concerto no. 5 in D major, BWV 1050: 3. Allegro
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Brandenburg Concerto no. 6 in B-flat major, BWV 1051: 1. (Allegro)
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Brandenburg Concerto no. 6 in B-flat major, BWV 1051: 2. Adagio ma non tanto
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Brandenburg Concerto no. 6 in B-flat major, BWV 1051: 3. Allegro
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Brandenburg Concerto no. 4 in G major, BWV 1049: 1. Allegro
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Brandenburg Concerto no. 4 in G major, BWV 1049: 2. Andante
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Brandenburg Concerto no. 4 in G major, BWV 1049: 3. Presto
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Brandenburg Concerto no. 2 in F major, BWV 1047: 1. (Allegro)
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Brandenburg Concerto no. 2 in F major, BWV 1047: 2. Andante
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Brandenburg Concerto no. 2 in F major, BWV 1047: 3. Allegro assai
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The Miraculous Mandarin, Sz. 73 (op. 19): Beginning
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The Miraculous Mandarin, Sz. 73 (op. 19): The curtain rises.
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The Miraculous Mandarin, Sz. 73 (op. 19): First seduction game: the shabby old rake.
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The Miraculous Mandarin, Sz. 73 (op. 19): Second seduction game.
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The Miraculous Mandarin, Sz. 73 (op. 19): The shy youth appears at the door.
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The Miraculous Mandarin, Sz. 73 (op. 19): Third seduction game
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The Miraculous Mandarin, Sz. 73 (op. 19): The Mandarin enters; encounter with the girl
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The Miraculous Mandarin, Sz. 73 (op. 19): The girl's dance
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The Miraculous Mandarin, Sz. 73 (op. 19): She flees from him; he chases her wildly.
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The Miraculous Mandarin, Sz. 73 (op. 19): The Mandarin stumbles, but catches the girl; they fight. The tramps leap out, seize the Mandarin, rob him and suffocate him with pillows.
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The Miraculous Mandarin, Sz. 73 (op. 19): Suddenly the Mandarin's head appears. The tramps drag him out, one stabs him three times. He almost collapses, but draws himself up and leaps at the girl.
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The Miraculous Mandarin, Sz. 73 (op. 19): They drag the Mandarin to the centre of the room and hang him on a lamp hook. The lamp falls to the floor - goes out. The Mandarin's body begins to glow.
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The Miraculous Mandarin, Sz. 73 (op. 19): The tramps take him down. He falls to the floor and at once leaps at the girl. They embrace.
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The Miraculous Mandarin, Sz. 73 (op. 19): His longing stilled, the Mandarin's wounds begin to bleed; he becomes weaker and dies.
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Two Portraits (One Ideal - One Grotesque), Sz. 37 (op. 5): 1. Andante
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Two Portraits (One Ideal - One Grotesque), Sz. 37 (op. 5): 2. Presto
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Concerto for Piano and Orchestra no. 1, Sz. 83: 1. Allegro moderato - Allegro
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Concerto for Piano and Orchestra no. 1, Sz. 83: 2. Andante - Allegro - attacca
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Concerto for Piano and Orchestra no. 1, Sz. 83: 3. Allegro molto
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Concerto for Piano and Orchestra no. 2, Sz. 95: 1. Allegro
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Concerto for Piano and Orchestra no. 2, Sz. 95: 2. Adagio - Presto - Adagio
—
Concerto for Piano and Orchestra no. 2, Sz. 95: 3. Allegro molto
—
Symphony no. 1 in C major, op. 21: 1. Adagio molto - Allegro con brio
—
Symphony no. 1 in C major, op. 21: 2. Andante cantabile con moto
—
Symphony no. 1 in C major, op. 21: 3. Menuetto. Allegro molto e vivace - Trio
—
Symphony no. 1 in C major, op. 21: 4. Adagio - Allegro molto e vivace
—
Symphony no. 3 in E-flat major “Eroica”, op. 55: 1. Allegro con brio
—
Symphony no. 3 in E-flat major “Eroica”, op. 55: 2. Marcia funebre. Adagio assai
—
Symphony no. 3 in E-flat major “Eroica”, op. 55: 3. Scherzo. Allegro vivace - Trio
—
Symphony no. 3 in E-flat major “Eroica”, op. 55: 4. Allegro molto - Poco andante - Presto
—
Symphony no. 2 in D major, op. 36: 1. Adagio molto - Allegro con brio
—
Symphony no. 2 in D major, op. 36: 2. Larghetto
—
Symphony no. 2 in D major, op. 36: 3. Scherzo. Allegro - Trio
—
Symphony no. 2 in D major, op. 36: 4. Allegro molto
—
Symphony no. 4 in B-flat major, op. 60: 1. Adagio - Allegro vivace
—
Symphony no. 4 in B-flat major, op. 60: 2. Adagio
—
Symphony no. 4 in B-flat major, op. 60: 3. Allegro molto e vivace - Trio. Un poco meno allegro
—
Symphony no. 4 in B-flat major, op. 60: 4. Allegro ma non troppo
—
Symphony no. 5 in C minor, op. 67: 1. Allegro con brio
—
Symphony no. 5 in C minor, op. 67: 2. Andante con moto
—
Symphony no. 5 in C minor, op. 67: 3. Allegro
—
Symphony no. 5 in C minor, op. 67: 4. Allegro
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Symphony no. 6 in F major “Pastoral”, op. 68: 1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo
—
Symphony no. 6 in F major “Pastoral”, op. 68: 2. Szene am Bach. Andante molto mosso
—
Symphony no. 6 in F major “Pastoral”, op. 68: 3. Lustiges Zusammensein der Landleute. Allegro
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Symphony no. 6 in F major “Pastoral”, op. 68: 4. Gewitter - Sturm. Allegro
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Symphony no. 6 in F major “Pastoral”, op. 68: 5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto
—
Symphony no. 7 in A minor, op. 92: 1. Poco sostenuto - Vivace
—
Symphony no. 7 in A minor, op. 92: 2. Allegretto
—
Symphony no. 7 in A minor, op. 92: 3. Presto
—
Symphony no. 7 in A minor, op. 92: 4. Allegro con brio
—
Symphony no. 8 in F major, op. 93: 1. Allegro vivace e con brio
—
Symphony no. 8 in F major, op. 93: 2. Allegretto scherzando
—
Symphony no. 8 in F major, op. 93: 3. Tempo di menuetto
—
Symphony no. 8 in F major, op. 93: 4. Allegro vivace
—
Symphony no. 9 in D minor “Choral”, op. 125: 1. Allegro ma non troppo e un poco maestoso
—
Symphony no. 9 in D minor “Choral”, op. 125: 2. Molto vivace - Presto
—
Symphony no. 9 in D minor “Choral”, op. 125: 3. Adagio molto e cantabile - Andante moderato
—
Symphony no. 9 in D minor “Choral”, op. 125: 4. Presto - Allegro assai -
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Symphony no. 9 in D minor “Choral”, op. 125: 4. Presto - Rezitativo: »O Freunde, nicht diese Töne!« - Allegro assai
—
Symphony no. 1 in C major, op. 21: 1. Adagio molto - Allegro con brio
—
Symphony no. 1 in C major, op. 21: 2. Andante cantabile con moto
—
Symphony no. 1 in C major, op. 21: 3. Menuetto. Allegro molto e vivace - Trio
—
Symphony no. 1 in C major, op. 21: 4. Adagio - Allegro molto e vivace
—
Symphony no. 2 in D major, op. 36: 1. Adagio molto - Allegro con brio
—
Symphony no. 2 in D major, op. 36: 2. Larghetto
—
Symphony no. 2 in D major, op. 36: 3. Scherzo. Allegro - Trio
—
Symphony no. 2 in D major, op. 36: 4. Allegro molto
—
Symphony no. 3 in E-flat major “Eroica”, op. 55: 1. Allegro con brio
—
Symphony no. 3 in E-flat major “Eroica”, op. 55: 2. Marcia funebre. Adagio assai
—
Symphony no. 3 in E-flat major “Eroica”, op. 55: 3. Scherzo. Allegro vivace - Trio
—
Symphony no. 3 in E-flat major “Eroica”, op. 55: 4. Allegro molto - Poco andante - Presto
—
Symphony no. 4 in B-flat major, op. 60: 1. Adagio - Allegro vivace
—
Symphony no. 4 in B-flat major, op. 60: 2. Adagio
—
Symphony no. 4 in B-flat major, op. 60: 3. Allegro molto e vivace - Trio. Un poco meno allegro
—
Symphony no. 4 in B-flat major, op. 60: 4. Allegro ma non troppo
—
Symphony no. 5 in C minor, op. 67: 1. Allegro con brio
—
Symphony no. 5 in C minor, op. 67: 2. Andante con moto
—
Symphony no. 5 in C minor, op. 67: 3. Allegro
—
Symphony no. 5 in C minor, op. 67: 4. Allegro
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Meeresstille und glückliche Fahrt, op. 112: Meeresstille. Poco sostenuto
—
Meeresstille und glückliche Fahrt, op. 112: Glückliche Fahrt. Allegro vivace
—
Symphony no. 6 in F major “Pastoral”, op. 68: 1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo
—
Symphony no. 6 in F major “Pastoral”, op. 68: 2. Szene am Bach. Andante molto mosso
—
Symphony no. 6 in F major “Pastoral”, op. 68: 3. Lustiges Zusammensein der Landleute. Allegro
—
Symphony no. 6 in F major “Pastoral”, op. 68: 4. Gewitter - Sturm. Allegro
—
Symphony no. 6 in F major “Pastoral”, op. 68: 5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto
—
Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Adagio
—
Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Finale. Allegro - Meno allegro - Allegro molto -
—
Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Finale. Adagio ma non troppo -
—
Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Finale. Marcia, assai vivace - Allegro -
—
Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Finale. Allegretto, ma non troppo (quasi andante con moto) »Schmeichelnd hold und lieblich klingen«-
—
Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Finale. Presto
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Symphony no. 7 in A major, op. 92: 1. Poco sostenuto - Vivace
—
Symphony no. 7 in A major, op. 92: 2. Allegretto
—
Symphony no. 7 in A major, op. 92: 3. Presto
—
Symphony no. 7 in A major, op. 92: 4. Allegro con brio
—
Symphony no. 8 in F major, op. 93: 1. Allegro vivace e con brio
—
Symphony no. 8 in F major, op. 93: 2. Allegretto scherzando
—
Symphony no. 8 in F major, op. 93: 3. Tempo di menuetto
—
Symphony no. 8 in F major, op. 93: 4. Allegro vivace
—
Symphony no. 9 in D minor “Choral”, op. 125: 1. Allegro ma non troppo e un poco maestoso
—
Symphony no. 9 in D minor “Choral”, op. 125: 2. Molto vivace - Presto
—
Symphony no. 9 in D minor “Choral”, op. 125: 3. Adagio molto e cantabile - Andante moderato
—
Symphony no. 9 in D minor “Choral”, op. 125: 4. Presto - Allegro assai - Presto - Rezitativo: »O Freunde, nicht diese Töne!« - Allegro assai
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Die Geschöpfe des Prometheus, op. 43: Overture. Adagio - Allegro molto con brio
—
König Stephan, op. 117: Overture. Andante con moto - Presto
—
Die Ruinen von Athen, op. 113: Overture. Andante con moto - Allegro, ma non troppo
—
Die Weihe des Hauses, op. 124: Overture. Maestoso e sostenuto - Allegro con brio
—
Overture “Zur Namensfeier”, op. 115: Maestoso - Allegro assai vivace
—
Overture “Coriolan”, op. 62: Allegro con brio
—
Overture “Egmont”, op. 84: Overture. Sostenuto, ma non troppo - Allegro
—
Overture “Fidelio”, op. 72: Allegro - Adagio - Presto
—
Overture “Leonore I”, op. 138: Andante con moto - Allegro con brio
—
Overture “Leonore II”, op. 72a: Adagio - Allegro - Adagio - Presto
—
Overture “Leonore III”, op. 72b: Adagio - Allegro - Presto
—
Symphony no. 7 in A major, op. 92: 1. Poco sostenuto - Vivace
—
Symphony no. 7 in A major, op. 92: 2. Allegretto
—
Symphony no. 7 in A major, op. 92: 3. Presto
—
Symphony no. 7 in A major, op. 92: 4. Allegro con brio
—
Overture “Die Geschöpfe des Prometheus”, op. 43: Adagio - Allegro molto con brio
—
Symphony no. 8 in F major, op. 93: 1. Allegro vivace e con brio
—
Symphony no. 8 in F major, op. 93: 2. Allegretto scherzando
—
Symphony no. 8 in F major, op. 93: 3. Tempo di menuetto
—
Symphony no. 8 in F major, op. 93: 4. Allegro vivace
—
Concerto for Piano and Orchestra no. 1 in C major, op. 15: 1. Allegro con brio
—
Concerto for Piano and Orchestra no. 1 in C major, op. 15: 2. Largo
—
Concerto for Piano and Orchestra no. 1 in C major, op. 15: 3. Rondo. Allegro scherzando
—
Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: 1. Allegro con brio
—
Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: 2. Adagio
—
Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: 3. Rondo. Molto allegro
—
Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 1. Allegro con brio
—
Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 2. Largo
—
Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 3. Rondo. Allegro
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Concerto for Piano and Orchestra no. 4 in G major, op. 58: 1. Allegro moderato
—
Concerto for Piano and Orchestra no. 4 in G major, op. 58: 2. Andante con moto
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Concerto for Piano and Orchestra no. 4 in G major, op. 58: 3. Rondo. Vivace
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Concerto for Piano and Orchestra no. 5 in E-flat major “Emperor”, op. 73: 1. Allegro
—
Concerto for Piano and Orchestra no. 5 in E-flat major “Emperor”, op. 73: 2. Adagio un poco mosso
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Concerto for Piano and Orchestra no. 5 in E-flat major “Emperor”, op. 73: 3. Rondo. Allegro
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Concerto for Piano, Violin, Violoncello and Orchestra in C major “Triple Concerto”, op. 56: 1. Allegro
—
Concerto for Piano, Violin, Violoncello and Orchestra in C major “Triple Concerto”, op. 56: 2. Largo
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Concerto for Piano, Violin, Violoncello and Orchestra in C major “Triple Concerto”, op. 56: 3. Rondo alla polacca
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Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 1. Allegro con brio
—
Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 2. Largo
—
Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 3. Rondo. Allegro
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: 1. Allegro con brio
—
Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: 2. Adagio
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: 3. Rondo. Molto allegro
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Musik zu Goethes Trauerspiel “Egmont”, op. 84: Ouvertüre
—
Musik zu Goethes Trauerspiel “Egmont”, op. 84: 1. Lied (Klärchen): »Die Trommel gerühret«
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Musik zu Goethes Trauerspiel “Egmont”, op. 84: 2. Zwischenaktmusik I
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Musik zu Goethes Trauerspiel “Egmont”, op. 84: 4. Lied (Klärchen): »Freudvoll und leidvoll«
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Musik zu Goethes Trauerspiel “Egmont”, op. 84: 5. Zwischenaktmusik III
—
Musik zu Goethes Trauerspiel “Egmont”, op. 84: 6. Zwischenaktmusik IV
—
Musik zu Goethes Trauerspiel “Egmont”, op. 84: 7. Musik, Klärchens Tod bezeichnend
—
Musik zu Goethes Trauerspiel “Egmont”, op. 84: 8. Melodram (Egmont): »Süßer Schlaf!«
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Musik zu Goethes Trauerspiel “Egmont”, op. 84: 9. Siegessymphonie
—
Scena ed Aria “Ah! perfido” for Soprano and Orchestra, op. 65
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Overture “Leonore III”, op. 72b
—
Fantasia in C minor for Piano, Chorus and Orchestra “Choral Fantasy”, op. 80: Adagio - Finale. Allegro - Meno allegro - Allegro molto - Adagio ma non troppo - Marcia, assai vivace - Allegro - Allegretto ma non troppo (quasi andante con moto): »Schmeichelnd hold und lieblich klingen« - Presto
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Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: Ouvertüre, op. 124
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Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 1. Chor: »Folge dem mächtigen Ruf der Ehre!«
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Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 2. Duett: »Ohne Verschulden Knechtschaft dulden«
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Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 3. Chor der Derwische: »Du hast in deines Ärmels Falten«
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Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 4. Marcia alla turca
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Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 5. Chor (mit Sopran-Solo): »Wo sich die Pulse« - »Lasst uns im Tanze«
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Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 6. Marsch (mit Chor): »Schmückt die Altäre«
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Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 7. Melodram: »Es wandelt schon das Volk im Feierkleide«
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Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 8. Rezitativ: »Mit reger Freude, die nie erkaltet«
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Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 8. Chor: »Wir tragen empfängliche Herzen im Busen« / Arie (mit Chor): »Will unser Genius« - »Er ist's! Wir sind erhört!«
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Musik zu Carl Meisls Gelegenheitsfestspiel “Die Weihe des Hauses”: 9. Chor: »Heil unserm Kaiser!«
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Musik zu Friedrich Dunckers Drama “Leonore Prohaska”, WoO 96: 1. Kriegerchor: »Wir bauen und sterben«
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Musik zu Friedrich Dunckers Drama “Leonore Prohaska”, WoO 96: 2. Romanze: »Es blüht eine Blume im Garten mein«
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Musik zu Friedrich Dunckers Drama “Leonore Prohaska”, WoO 96: 3. Melodram: »Du, dem sie gewunden« (Recitation)
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Musik zu Friedrich Dunckers Drama “Leonore Prohaska”, WoO 96: 4. Trauermarsch
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Musik zu Goethes Trauerspiel “Egmont”, op. 84: 2. Zwischenaktmusik I - »Es ist keine falsche Ader an ihm«
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Musik zu Goethes Trauerspiel “Egmont”, op. 84: 3. Zwischenaktmusik II
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Fidelio, op. 72: Ouvertüre
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Fidelio, op. 72: Erster Aufzug. Nr. 1 Duett: »Jetzt, Schätzchen, jetzt sind wir allein« (Jaquino, Marzelline)
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Fidelio, op. 72: Erster Aufzug. »Seit Fidelio bei uns ist, ist die Welt wie verwandelt« (Marzelline)
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Fidelio, op. 72: Erster Aufzug. Nr. 2 Arie: »O wär ich schon mit dir vereint« (Marzelline)
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Fidelio, op. 72: Erster Aufzug. »Ich täusche die Menschen, die mich ernähren« (Leonore, Rocco)
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Fidelio, op. 72: Erster Aufzug. Nr. 3 Quartett: »Mir ist so wunderbar« (Marzelline, Leonore, Rocco, Jaquino)
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Fidelio, op. 72: Erster Aufzug. »Marzelline und Fidelio haben sich offensichtlich recht lieb« (Rocco)
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Fidelio, op. 72: Erster Aufzug. Nr. 4 Arie: »Hat man nicht auch Gold beineben« (Rocco)
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Fidelio, op. 72: Erster Aufzug. »In den finstersten Gewölben sitzt ein Gefangener« (Rocco)
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Fidelio, op. 72: Erster Aufzug. Nr. 5 Terzett: »Gut, Söhnchen, gut, hab immer Mut« (Rocco, Leonore, Marzelline)
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Fidelio, op. 72: Erster Aufzug. Nr. 6 Marsch
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Fidelio, op. 72: Erster Aufzug. »Was Neues vorgefallen?« (Pizarro, Rocco)
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Fidelio, op. 72: Erster Aufzug. Nr. 7 Arie mit Chor: »Ha! Welch ein Augenblick!« (Pizarro, Chor)
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Fidelio, op. 72: Erster Aufzug. »Und nun zu dir mein lieber Rocco!« (Pizarro, Rocco)
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Fidelio, op. 72: Erster Aufzug. Nr. 8 Duett: »Jetzt, Alter, jetzt hat es Eile!« (Pizarro, Rocco)
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Fidelio, op. 72: Erster Aufzug. Nr. 9 Rezitativ und Arie: »Abscheulicher! Wo eilst du hin?« … »Komm, Hoffnung, lass den letzten Stern« (Leonore)
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Fidelio, op. 72: Erster Aufzug. »Wie Fidelio das wieder geschafft hatte, war mir ein Rätsel« (Jaquino)
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Fidelio, op. 72: Erster Aufzug. Nr. 10 Finale I: »O welche Lust, in freier Luft den Atem leicht zu heben!« (Gefangene, Erster Gefangener, Zweiter Gefangener)
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Fidelio, op. 72: Erster Aufzug. Nr. 10 Finale I: [Rezitativ und Duett]: »Nun sprecht, wie ging's?« … »Noch heute! Noch heute!« (Leonore, Rocco)
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Fidelio, op. 72: Erster Aufzug. Nr. 10 Finale I: »Ach, Vater, Vater eilt!« (Marzelline, Rocco, Jaquino, Leonore)
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Fidelio, op. 72: Erster Aufzug. Nr. 10 Finale I: »Verwegner Alter!« (Pizarro, Rocco)
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Fidelio, op. 72: Erster Aufzug. Nr. 10 Finale I: »Leb wohl, du warmes Sonnenlicht« (Chor, Marzelline, Leonore, Jaquino, Pizarro, Rocco)
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Fidelio op. 72: Zweiter Aufzug. Nr. 11 Introduktion und Arie: »Gott! Welch Dunkel hier! … In des Lebens Frühlingstagen« (Florestan)
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Fidelio op. 72: Zweiter Aufzug. Nr. 12 Melodram und Duett: »Wie kalt ist es diesem unterirdischen Gewölbe!« … »Nur hurtig fort, nur frisch gegraben« (Leonore, Rocco)
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Fidelio op. 72: Zweiter Aufzug. »Ihr habt wieder geruht?« (Rocco, Florestan, Leonore)
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Fidelio op. 72: Zweiter Aufzug. Nr. 13 Terzett: »Euch werde Lohn in bessern Welten« (Florestan, Rocco, Leonore)
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Fidelio op. 72: Zweiter Aufzug. »Ist alles bereit?« (Pizarro, Rocco)
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Fidelio op. 72: Zweiter Aufzug. Nr. 14 Quartett: »Er sterbe! Doch er soll erst wissen« (Pizarro, Florestan, Leonore, Rocco)
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Fidelio op. 72: Zweiter Aufzug. Nr. 15 Duett: »O namenlose Freude!« (Leonore, Florestan)
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Fidelio op. 72: Zweiter Aufzug. Nr. 16 Finale II: »Heil sei dem Tag« … »Des besten Königs Wink und Wille« … »Wer ein holdes Weib errungen« (Chor, Fernando, Rocco, Pizarro, Leonore, Marzelline, Florestan, Jaquino)
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Lulu-Suite: 1. Rondo. Andante (Introduzione) - Hymne. Sostenuto
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Lulu-Suite: 2. Ostinato. Allegro
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Lulu-Suite: 3. Lied der Lulu. Comodo (»Wenn sich die Menschen um meinetwillen umgebracht haben«)
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Lulu-Suite: 4. Variationen. Moderato (Grandioso - Grazioso - Funebre - Affettuoso) - Thema. Subito tempo moderato
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Lulu-Suite: 5. Adagio. Sostenuto - Lento - Grave (»Lulu! Mein Engel!«)
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5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 1. »Seele, wie bist du schöner«
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5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 2. »Sahst du nach dem Gewitterregen den Wald«
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5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 3. »Über die Grenzen des All«
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5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 4. »Nichts ist gekommen«
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5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 5. »Hier ist Friede«
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5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 1. »Seele, wie bist du schöner«
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5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 2. »Sahst du nach dem Gewitteregen den Wald«
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5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 3. »Über die Grenzen des All«
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5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 4. »Nichts ist gekommen«
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5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 5. »Hier ist Friede«
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Lulu-Suite: 1. Rondo. Andante (Introduzione) - Hymne. Sostenuto
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Lulu-Suite: 2. Ostinato. Allegro
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Lulu-Suite: 3. Lied der Lulu. Comodo (»Wenn sich die Menschen um meinetwillen umgebracht haben«)
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Lulu-Suite: 4. Variationen. Moderato (Grandioso - Grazioso - Funebre - Affettuoso) - Thema. Subito tempo moderato
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Lulu-Suite: 5. Adagio. Sostenuto - Lento - Grave (»Lulu! Mein Engel!«)
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Der Wein: Die Seele des Weines - Der Wein der Liebenden - Der Wein des Einsamen
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3 Pieces for Orchestra, op. 6: 1. Präludium. Langsam
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3 Pieces for Orchestra, op. 6: 2. Reigen. Anfangs etwas zögernd - Leicht beschwingt
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3 Pieces for Orchestra, op. 6: 3. Marsch. Mäßiges Marschtempo
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Wozzeck, op. 7: Erster Akt. »Langsam, Wozzeck, langsam!« (Hauptmann, Wozzeck)
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Wozzeck, op. 7: Erster Akt. »Du, der Platz ist verflucht!« (Wozzeck, Andres)
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Wozzeck, op. 7: Erster Akt. »Tschin Bum …! Hörst Bub? Da kommen sie!« (Marie, Margret, Wozzeck)
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Wozzeck, op. 7: Erster Akt. »Was erleb' ich, Wozzeck?« (Doktor, Wozzeck)
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Wozzeck, op. 7: Erster Akt. »Geh einmal vor dich hin …« (Marie, Tambourmajor)
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Wozzeck, op. 7: Zweiter Akt. »Was die Steine glänzen!« (Marie, Wozzeck)
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Wozzeck, op. 7: Zweiter Akt. »Wohin so eilig, geehrtester Herr Sargnagel?« (Hauptmann, Doktor, Wozzeck)
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Wozzeck, op. 7: Zweiter Akt. »Guten Tag, Franz« / »Ich seh' nichts« (Marie, Wozzeck)
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Wozzeck, op. 7: Zweiter Akt. »Ich hab' ein Hemdlein an, das ist nicht mein …« (1. & 2. Handwerksbursche, Wozzeck, Marie, Tambourmajor, Burschen, Soldaten, Andres, Der Narr)
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Wozzeck, op. 7: Zweiter Akt. »Oh! oh! Andres! Ich kann nicht schlafen« (Soldaten, Wozzeck, Andres, Tambourmajor)
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Wozzeck, op. 7: Dritter Akt. »Und ist kein Betrug in seinem Munde erfunden worden« (Marie)
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Wozzeck, op. 7: Dritter Akt. »Und kniete hin zu seinen Füßen« (Marie)
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Wozzeck, op. 7: Dritter Akt. »Dort links geht's in die Stadt« (Marie, Wozzeck)
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Wozzeck, op. 7: Dritter Akt. »Tanzt Alle; tanzt nur zu …!« (Wozzeck, Margret, Burschen, Dirnen)
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Wozzeck, op. 7: Dritter Akt. »Das Messer? Wo ist das Messer?« (Wozzeck, Hauptmann, Doktor)
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Wozzeck, op. 7: Dritter Akt. »Ringel, Ringel, Rosenkranz, Ringelreih'n!« (Kinder, Mariens Knabe)
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Symphonie fantastique, op. 14: 1. Rêveries – Passions: Largo – Allegro agitato ed appassionato assai
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Symphonie fantastique, op. 14: 2. Un bal. Valse. Allegro non troppo
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Symphonie fantastique, op. 14: 2. Scène aux champs. Adagio
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Symphonie fantastique, op. 14: 4. Marche au supplice. Allegretto non troppo
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Symphonie fantastique, op. 14: 5. Songe d’une nuit du Sabbat. Larghetto – Allegro -
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Symphonie fantastique, op. 14: 5. Songe d’une nuit du Sabbat. Dies irae -
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Symphonie fantastique, op. 14: 5. Songe d’une nuit du Sabbat. Ronde du sabbat -
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Symphonie fantastique, op. 14: 5. Songe d’une nuit du Sabbat. Dies irae et Ronde du sabbat ensemble
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Te Deum, op. 22: Te Deum (Hymne). Allegro moderato
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Te Deum, op. 22: Tibi omnes (Hymne). Andantino
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Te Deum, op. 22: Dignare (Prière). Moderato quasi andantino
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Te Deum, op. 22: Christe, rex gloriae (Hymne). Allegro non troppo
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Te Deum, op. 22: Te ergo quaesumus (Prière). Andantino quasi adagio
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Te Deum, op. 22: Judex crederis (Hymne et prière). Allegretto un poco maestoso
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L'Arlésienne Suite no. 1: Prélude. Allegro deciso (Tempo di marcia) - Andantino - Andante molto
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L'Arlésienne Suite no. 1: Minuetto. Allegro giocoso
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L'Arlésienne Suite no. 1: Adagietto. Adagio
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L'Arlésienne Suite no. 1: Carillon. Allegretto moderato - Andantino - Tempo I
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L'Arlésienne Suite no. 2: Pastorale. Andante sostenuto assai - Andantino - Tempo I
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L'Arlésienne Suite no. 2: Intermezzo. Andante moderato ma con moto - Allegro moderato
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L'Arlésienne Suite no. 2: Menuet. Andantino quasi allegretto
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L'Arlésienne Suite no. 2: Farandole. Allegro deciso (Tempo di marcia) - Allegro vivo e deciso
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Carmen Suite: Prélude. Allegro giocoso
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Carmen Suite: Entr'acte. Allegro moderato (between Act I & II)
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Carmen Suite: Entr'acte. Andantino quasi allegretto (between Act II & III)
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Carmen Suite: Entr'acte Allegro vivo (between Act III & IV)
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Carmen: Prélude
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Carmen: Premier Acte. Nᵒ 1 Introduction « Sur la place chacun passe » (les soldats, Moralès)
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Carmen: Premier Acte. « Regardez donc cette petite » (Moralès, les soldats, Micaëla)
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Carmen: Premier Acte. Nᵒ 2 Marche et chœur des gamins : « Avec la garde montante » (les gamins)
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Carmen: Premier Acte. « Repos! » (Zuniga, Moralès, Don José)
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Carmen: Premier Acte. « Allons! allons! » (Zuniga, les gamins)
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Carmen: Premier Acte. « Dites‐moi, brigadier? » (Zuniga, Don José)
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Carmen: Premier Acte. Nᵒ 3 Chœur et scène : « La cloche a sonné » (les jeunes gens, les soldats, les cigarières)
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Carmen: Premier Acte. « Mais nous ne voyons pas la Carmencita » (les soldats, les jeunes gens)
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Carmen: Premier Acte. « Quand je vous aimerai? » (Carmen) / Nᵒ 4 Havanaise : « L’amour est un oiseau rebelle » (Carmen, chœur)
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Carmen: Premier Acte. Nᵒ 5 Scène : « Carmen, sur tes pas nous nous pressons tous » (les jeunes gens, le cigarières, Don José)
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Carmen: Premier Acte. « Monsieur le brigadier? » (Micaëla, Don José) / Nᵒ 6 Duo : « Parle‐moi de ma mère ! » (Don José, Micaëla)
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Carmen: Premier Acte. « Votre mère avec moi sortait de la chapelle » (Micaëla, Don José)
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Carmen: Premier Acte. « Ma mère, je la vois… » (Don José, Micaëla)
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Carmen: Premier Acte. « Que son fils l’aime et la vénère » (Don José, Micaëla) / « Eh bien, eh bien ! » (Zuniga)
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Carmen: Premier Acte. Nᵒ 7 Chœur : « Au secours ! » (les cigarières, Zuniga, les soldats)
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Carmen: Premier Acte. « Voyons, brigadier… » (Zuniga, Don José) / Nᵒ 8 Chanson et mélodrame : « Tra la la la… » (Carmen, Zuniga, les cigarières, un soldat, Don José)
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Carmen: Premier Acte. Nᵒ 9 Chanson (Séguedille) et duo : « Près des remparts de Séville » (Carmen, Don José)
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Carmen: Premier Acte. Nᵒ 10 Finale : « Le lieutenant!… Prenez garde! » (Don José, Zuniga, Carmen)
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Carmen: Entr’acte
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Carmen: Deuxième Acte. Nᵒ 11 Chanson : « Les tringles des sistres tintaient » (Carmen, Mercédès, Frasquita)
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Carmen: Deuxième Acte. « Vous avez quelque chose à nous dire » (Zuniga, Pastia, Frasquita, Mercédès, Andrès, Carmen)
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Carmen: Deuxième Acte. « Tout est bien alors » (Carmen, Zuniga) / Nᵒ 12 Chœur et ensemble : « Vivat ! vivat le toréro ! » (chœur, Zuniga, Mercédes, Andrès, Frasquita, Pastia)
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Carmen: Deuxième Acte. Nᵒ 13 Couplet (Air du Toréador) : « Votre toast… je peux vous le rendre » (Escamillo, chœur, Frasquita, Mercédès, Carmen, Pastia, Zuniga) / Nᵒ 13 bis Chœur : « Toréador, en garde » (chœur, Frasquita, Pastia, Dancaïre, Remendado)
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Carmen: Deuxième Acte. Nᵒ 14 Quintette : « Nous avons en tête une affaire » (Dancaïre, Frasquita, Mercédès, Remendado, Carmen)
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Carmen: Deuxième Acte. « Amoureuse… ce n’est pas une raison, cela » (Dancaïre, Remendado, Frasquita, Mercédès, Carmen) / Nᵒ 15 Chanson : « Halte‐là ! Qui va là ? » (Don José, Mercédès, Frasquita, Dancaïre, Carmen)
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Carmen: Deuxième Acte. Nᵒ 16 Duo : « Je vais danser en votre honneur » (Carmen, Don José)
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Carmen: Deuxième Acte. Air de la fleur : « La fleur que tu m’avais jetée » (Don José)
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Carmen: Deuxième Acte. « Non! Tu ne m’aimes pas ! » (Carmen, Don José)
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Carmen: Deuxième Acte. Nᵒ 17 Finale : « Holà ! Carmen ! holà ! » (Zuniga, Don José, Carmen, Dancaïre, Remendado, les bohémiens)
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Carmen: Deuxième Acte. « Suis‐nous à travers la campagne » (Frasquita, Mercédès, Dancaïre, Remendado, les bohémiens, les bohémiennes)
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Carmen: Entr’acte
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Carmen: Troisième Acte, Premier Tableau. Nᵒ 18 Introduction : « Écoute, compagnon, écoute » (les contrabandiers, Frasquita, Mercédès, Carmen, Don José, Dancaïre, Remendado)
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Carmen: Troisième Acte, Premier Tableau. « Halte ! nous allons nous arrêter ici… » (Dancaïre, Remendado, Don José, Carmen)
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Carmen: Troisième Acte, Premier Tableau. Nᵒ 19 Trio : « Mêlons ! » - « Mêlons ! » - « Coupons ! » (Frasquita, Mercédès)
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Carmen: Troisième Acte, Premier Tableau. Air des cartes : « Carreau, pique… la mort ! » (Carmen)
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Carmen: Troisième Acte, Premier Tableau. « Parlez encore, parlez, mes belles » (Frasquita, Mercédès, Carmen)
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Carmen: Troisième Acte, Premier Tableau. « Eh bien, j’avais raison » (Dancaïre, Carmen, Remandado, Frasquita, Mercédès, Don José)
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Carmen: Troisième Acte, Premier Tableau. Nᵒ 20 Morceau d’ensemble : « Quant au douanier, c’est notre affaire » (Carmen, Mercédès, Frasquita, les bohémiennes, les bohémiens, Dancaïre, Remandado)
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Carmen: Troisième Acte, Premier Tableau. « Nous y sommes » (le guide, Micaëla)
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Carmen: Troisième Acte, Premier Tableau. Nᵒ 21 Air « Je dis que rien ne m’épouvante » (Micaëla)
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Carmen: Troisième Acte, Premier Tableau. « Mais… je ne me trompe pas… » (Micaëla, Escamillo, Don José) / Nᵒ 22 Duo : « Je suis Escamillo, toréro de Grenade » (Escamillo, Don José)
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Carmen: Troisième Acte, Premier Tableau. Nᵒ 23 Finale : « Holà, José ! » (Carmen, Escamillo, Dancaïre, Don José, les contrebandiers, les contrebandières)
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Carmen: Troisième Acte, Premier Tableau. « Halte !... Quelqu’un est là qui cherche à se cacher » (Remendado, Carmen, Dancaïre, Don José, Micaëla, chœur, Escamillo)
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Carmen: Entr’acte
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Carmen: Troisième Acte, Deuxième Tableau. Nᵒ 24 Chœur : « A deux cuartos » (marchandes, marchands, un soldat, Andrès, un bohémien)
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Carmen: Troisième Acte, Deuxième Tableau. Nᵒ 25 Chœur et scène : « Les voici ! Voici le quadrille » (chœur)
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Carmen: Troisième Acte, Deuxième Tableau. « Si tu m’aimes, Carmen » (Escamillo, Carmen, Frasquita, Mercédès)
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Carmen: Troisième Acte, Deuxième Tableau. Nᵒ 26 Duo final : « C’est toi? » / « C’est moi ! » (Carmen, Don José, chœur)
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Symphony no. 1 in C minor, op. 68: 1. Un poco sostenuto - Allegro
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Symphony no. 1 in C minor, op. 68: 2. Andante sostenuto
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Symphony no. 1 in C minor, op. 68: 3. Un poco Allegretto e grazioso
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Symphony no. 1 in C minor, op. 68: 4. Adagio - Più Andante - Allegro non troppo, ma con brio
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Gesang der Parzen, op. 89: Maestoso - »Es fürchte die Götter das Menschengeschlects!«
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Rhapsody, op. 53: Adagio - »Aber abseits, wer ist's?« - Poco andante - Adagio: »Ist auf deinem Psalter«
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Symphony no. 2 in D major, op. 73: 1. Allegro non troppo
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Symphony no. 2 in D major, op. 73: 2. Adagio non troppo - L'istesso tempo, ma grazioso
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Symphony no. 2 in D major, op. 73: 3. Allegretto grazioso (Quasi andantino) - Presto ma non assai - Tempo I
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Symphony no. 2 in D major, op. 73: 4. Allegro con spirito
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Tragische Ouvertüre, op. 81
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Schicksalslied, op. 54: Langsam und sehnsuchtsvoll - »Ihr wandelt droben im Licht« - Allegro - »Doch uns ist gegeben, auf keiner Stätte zu ruhn« - Adagio
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Symphony no. 3 in F major, op. 90: 1. Allegro con brio
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Symphony no. 3 in F major, op. 90: 2. Andante
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Symphony no. 3 in F major, op. 90: 3. Poco allegretto
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Symphony no. 3 in F major, op. 90: 4. Allegro
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Variations on a Theme by Joseph Haydn, op. 56a: Chorale St. Antoni. Andante / Variation I. Poco più animato / Variation II. Più vivace / Variation III. Con moto / Variation IV. Andante con moto / Variation V. Vivace / Variation VI. Vivace / Variation VII. Grazioso / Variation VIII. Presto non troppo / Finale. Andante
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Nänie, op. 82: Andante - »Auch das Schöne muss sterben!« - Più sostenuto: »Aber sie steigt aus dem Meer« - Tempo primo - »Auch ein Klaglied zu sein«
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Symphony no. 4 in E minor, op. 98: 1. Allegro non troppo
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Symphony no. 4 in E minor, op. 98: 2. Andante moderato
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Symphony no. 4 in E minor, op. 98: 3. Allegro giocoso - Poco meno presto - Tempo I
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Symphony no. 4 in E minor, op. 98: 4. Allegro energico e passionato - Più allegro
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Symphony no. 1 in C minor, op. 68: 1. Un poco sostenuto - Allegro
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Symphony no. 1 in C minor, op. 68: 2. Andante sostenuto
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Symphony no. 1 in C minor, op. 68: 3. Un poco allegretto e grazioso
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Symphony no. 1 in C minor, op. 68: 4. Adagio - Più andante - Allegro non troppo, ma con brio
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Symphony no. 2 in D major, op. 73: 1. Allegro non troppo
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Symphony no. 2 in D major, op. 73: 2. Adagio non troppo - L'istesso tempo, ma grazioso
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Symphony no. 2 in D major, op. 73: 3. Allegretto grazioso (Quasi andantino) - Presto ma non assai - Tempo I
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Symphony no. 2 in D major, op. 73: 4. Allegro con spirito
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Akademische Festouvertüre, op. 80
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Symphony no. 3 in F major, op. 90: 1. Allegro con brio
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Symphony no. 3 in F major, op. 90: 2. Andante
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Symphony no. 3 in F major, op. 90: 3. Poco allegretto
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Symphony no. 3 in F major, op. 90: 4. Allegro
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Variations on a Theme by Joseph Haydn, op. 56a: Chorale St Antoni. Andante
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Variations on a Theme by Joseph Haydn, op. 56a: Variation I. Poco più animato
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Variations on a Theme by Joseph Haydn, op. 56a: Variation II. Più vivace
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Variations on a Theme by Joseph Haydn, op. 56a: Variation III. Con moto
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Variations on a Theme by Joseph Haydn, op. 56a: Variation IV. Andante con moto
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Variations on a Theme by Joseph Haydn, op. 56a: Variation V. Vivace
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Variations on a Theme by Joseph Haydn, op. 56a: Variation VI. Vivace
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Variations on a Theme by Joseph Haydn, op. 56a: Variation VII. Grazioso
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Variations on a Theme by Joseph Haydn, op. 56a: Variation VIII. Presto non troppo
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Variations on a Theme by Joseph Haydn, op. 56a: Finale. Andante
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Symphony no. 4 in E minor, op. 98: 1. Allegro non troppo
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Symphony no. 4 in E minor, op. 98: 2. Andante moderato
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Symphony no. 4 in E minor, op. 98: 3. Allegro giocoso - Poco meno presto - Tempo I
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Symphony no. 4 in E minor, op. 98: 4. Allegro energico e passionato - Più allegro
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Tragische Ouvertüre, op. 81
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Serenade no. 1 in D major, op. 11: 1. Allegro molto
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Serenade no. 1 in D major, op. 11: 2. Scherzo. Allegro non troppo - Trio. Poco più moto
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Serenade no. 1 in D major, op. 11: 3. Adagio non troppo
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Serenade no. 1 in D major, op. 11: 4. Menuetto I - Menuetto II
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Serenade no. 1 in D major, op. 11: 5. Scherzo. Allegro - Trio
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Serenade no. 1 in D major, op. 11: 6. Rondo. Allegro
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Serenade no. 2 in A major, op. 16: 1. Allegro moderato
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Serenade no. 2 in A major, op. 16: 2. Scherzo. Vivace
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Serenade no. 2 in A major, op. 16: 3. Adagio non troppo
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Serenade no. 2 in A major, op. 16: 4. Quasi menuetto
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Serenade no. 2 in A major, op. 16: 5. Rondo. Allegro
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Hungarian Dances, WoO 1: No. 1 in G minor. Allegro molto
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Hungarian Dances, WoO 1: No. 2 in D minor. Allegro non assai - Vivace
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Hungarian Dances, WoO 1: No. 3 in F major. Allegretto
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Hungarian Dances, WoO 1: No. 4 in F-sharp minor. Poco sostenuto - Vivace
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Hungarian Dances, WoO 1: No. 5 in G minor. Allegro - Vivace
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Hungarian Dances, WoO 1: No. 6 in D major. Vivace
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Hungarian Dances, WoO 1: No. 7 in F major. Allegretto - Vivo
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Hungarian Dances, WoO 1: No. 8 in A minor. Presto
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Hungarian Dances, WoO 1: No. 9 in E minor. Allegro ma non troppo
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Hungarian Dances, WoO 1: No. 10 in F major. Presto
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Hungarian Dances, WoO 1: No. 11 in D minor. Poco andante
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Hungarian Dances, WoO 1: No. 12 in D minor. Presto
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Hungarian Dances, WoO 1: No. 13 in D major. Andantino grazioso - Vivace
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Hungarian Dances, WoO 1: No. 14 in D minor. Un poco andante
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Hungarian Dances, WoO 1: No. 15 in B-flat major. Allegretto grazioso
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Hungarian Dances, WoO 1: No. 16 in F minor. Con moto
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Hungarian Dances, WoO 1: No. 17 in F-sharp minor. Andantino - Vivace
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Hungarian Dances, WoO 1: No. 18 in D major. Molto vivace
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Hungarian Dances, WoO 1: No. 19 in B minor. Allegretto
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Hungarian Dances, WoO 1: No. 20 in E minor. Poco allegretto - Vivace
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Hungarian Dances, WoO 1: No. 21 in E minor. Vivace
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 1. Allegro non troppo
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 2. Allegro appassionato
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 3. Andante - Più adagio
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 4. Allegretto grazioso - Un poco più presto
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Concerto for Piano and Orchestra no. 1 in D minor, op. 15: 1. Maestoso - Poco più moderato
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Concerto for Piano and Orchestra no. 1 in D minor, op. 15: 2. Adagio
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Concerto for Piano and Orchestra no. 1 in D minor, op. 15: 3. Rondo. Allegro non troppo
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 1. Allegro non troppo
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 2. Allegro appassionato
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 3. Andante - Più adagio
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 4. Allegretto grazioso - Un poco più presto
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Concerto for Piano and Orchestra no. 1 in D minor, op. 15: 1. Maestoso - Poco più moderato
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Concerto for Piano and Orchestra no. 1 in D minor, op. 15: 2. Adagio
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Concerto for Piano and Orchestra no. 1 in D minor, op. 15: 3. Rondo. Allegro non troppo
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 1. Allegro non troppo
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 2. Allegro appassionato
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 3. Andante - Più adagio
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Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 4. Allegretto grazioso - Un poco più presto
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Concerto for Violin and Orchestra in D major, op. 77: 1. Allegro non troppo
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Concerto for Violin and Orchestra in D major, op. 77: 2. Adagio
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Concerto for Violin and Orchestra in D major, op. 77: 3. Allegro giocoso, ma non troppo vivace - Poco più presto
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Akademische Festouvertüre, op. 80
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Concerto for Violin and Orchestra in D major, op. 77: 1. Allegro non troppo
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Concerto for Violin and Orchestra in D major, op. 77: 2. Adagio
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Concerto for Violin and Orchestra in D major, op. 77: 3. Allegro giocoso, ma non troppo vivace - Poco più presto
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Concerto for Violin and Orchestra in D major, op. 77: 1. Allegro non troppo
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Concerto for Violin and Orchestra in D major, op. 77: 2. Adagio
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Concerto for Violin and Orchestra in D major, op. 77: 3. Allegro giocoso, ma non troppo vivace - Poco più presto
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Concerto for Violin, Violoncello and Orchestra in A minor, op. 102: 1. Allegro
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Concerto for Violin, Violoncello and Orchestra in A minor, op. 102: 2. Andante
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Concerto for Violin, Violoncello and Orchestra in A minor, op. 102: 3. Vivace non troppo - Poco meno allegro - Tempo I
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Ein deutsches Requiem, op. 45: 1. »Selig sind, die da Leid tragen« (chorus)
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Ein deutsches Requiem, op. 45: 2. »Denn alles Fleisch, es ist wie Gras« (chorus)
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Ein deutsches Requiem, op. 45: 3. »Herr, lehre doch mich« (baritone, chorus)
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Ein deutsches Requiem, op. 45: 4. »Wie lieblich sind deine Wohnungen« (chorus)
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Ein deutsches Requiem, op. 45: 5. »Ihr habt nun Traurigkeit« (soprano, chorus)
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Ein deutsches Requiem, op. 45: 6. »Denn wir haben hie keine bleibende Statt« (baritone, chorus)
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Ein deutsches Requiem, op. 45: 7. »Selig sind die Toten« (chorus)
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Rinaldo, op. 50: »Zu dem Strande! Zu der Barke!« (chorus) - »O lasst mich einen Augenblick noch hier!« (Rinaldo) -
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Rinaldo, op. 50: Poco adagio - »Stell her der goldnen Tage« (Rinaldo) - »Sachte kommt! und kommt verbunden« (chorus, Rinaldo) - In tempo - Allegro - »Aber Alles verkündet« (Rinaldo) -
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Rinaldo, op. 50: »Nein! nicht länger ist zu säumen!« - Allegro non troppo (chorus) - Poco sostenuto - »Weh, was seh' ich, welch ein Bild!« (Rinaldo, chorus) -
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Rinaldo, op. 50: Allegretto non troppo - »Zurück nur! zurücke« (chorus) -
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Rinaldo, op. 50: Andante con moto e poco agitato - »Zum zweiten Male seh' ich erscheinen« (Rinaldo, chorus) -
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Rinaldo, op. 50: Allegro con fuoco - »Und umgewandelt seh' ich die Holde« (Rinaldo, chorus) - »Schon sind sie erhöret« (chorus, Rinaldo)
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Rinaldo, op. 50: Auf dem Meere. Final Chorus: »Segel schwellen! Grüne Wellen« - »Das erfrischet«
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Schicksalslied, op. 54: Langsam und sehnsuchtsvoll - »Ihr wandelt droben im Licht« - Allegro - »Doch uns ist gegeben, auf Stätte zu ruhn« - Adagio
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Symphony no. 5 in B-flat major (ed. Leopold Nowak): 1. Introduktion. Adagio - Allegro
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Symphony no. 5 in B-flat major (ed. Leopold Nowak): 2. Adagio. Sehr langsam
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Symphony no. 5 in B-flat major (ed. Leopold Nowak): 3. Scherzo. Molto vivace (schnell)
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Symphony no. 5 in B-flat major (ed. Leopold Nowak): 4. Finale. Adagio
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Symphony no. 7 in E major (ed. Leopold Nowak): 1. Allegro moderato
—
Symphony no. 7 in E major (ed. Leopold Nowak): 2. Adagio. Sehr feierlich und sehr langsam
—
Symphony no. 7 in E major (ed. Leopold Nowak): 3. Scherzo. Sehr schnell - Trio. Etwas langsamer
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Symphony no. 7 in E major (ed. Leopold Nowak): 4. Finale. Bewegt, doch nicht schnell
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Symphony no. 9 in D minor (ed. Leopold Nowak): 1. Feierlich, misterioso
—
Symphony no. 9 in D minor (ed. Leopold Nowak): 2. Scherzo. Bewegt, lebhaft - Trio. Schnell
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Symphony no. 9 in D minor (ed. Leopold Nowak): 3. Adagio. Langsam, feierlich
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Symphony no. 9 in D minor: 1. Feierlich, misterioso
—
Symphony no. 9 in D minor: 2. Scherzo. Bewegt, lebhaft — Trio. Schnell
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Symphony no. 9 in D minor: 3. Adagio. Langsam, feierlich
—
Concerto for Piano and Orchestra no. 1 in E minor, op. 11: 1. Allegro maestoso
—
Concerto for Piano and Orchestra no. 1 in E minor, op. 11: 2. Romance. Larghetto
—
Concerto for Piano and Orchestra no. 1 in E minor, op. 11: 3. Rondo. Vivace
—
Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 1. Allegro maestoso
—
Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 2. Quasi adagio - Allegretto vivace - Allegro animato
—
Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: 3. Allegro marziale animato - Presto
—
Concerto for Piano and Orchestra no. 2 in F minor, op. 21: 1. Maestoso
—
Concerto for Piano and Orchestra no. 2 in F minor, op. 21: 2. Larghetto
—
Concerto for Piano and Orchestra no. 2 in F minor, op. 21: 3. Allegro vivace
—
Polonaise in F-sharp minor, op. 44: Tempo di polacca - Doppio movimento, tempo di mazurka - Tempo I
—
Prélude à l'après-midi d'un faune, L 86: Très modéré
—
Nocturnes, L 91: 1. Nuages. Modéré - Un peu animé
—
Nocturnes, L 91: 2. Fêtes. Animé et très rythmé - Modéré mais toujours très rythmé - De plus en plus sonore et en serrant le mouvement
—
Nocturnes, L 91: 3. Sirènes (with women's chorus). Modérément animé
—
Pelléas et Melisande - Concert Suite, L 88: Acte I. Une forêt
—
Pelléas et Melisande - Concert Suite, L 88: Acte II, scène 1. Une fontaine dans le parc
—
Pelléas et Melisande - Concert Suite, L 88: Acte III, scène 2. Les souterrains du château / Acte IV, scène 2. Un appartement dans le château
—
Pelléas et Melisande - Concert Suite, L 88: Acte V: Une chambre dans le château
—
Nocturnes, L 91: 1. Nuages. Modéré - Un peu animé
—
Nocturnes, L 91: 2. Fêtes. Animé et très rythmé - Modéré mais toujours très rythmé - De plus en plus sonore et en serrant le mouvement
—
Nocturnes, L 91: 3. Sirènes. Modérément animé
—
Daphnis et Chloé , M. 57b, Fragments symphoniques (2ᵉ série) : 1. Lever du jour. Lent / 2. Pantomime. Lent - Très lent - Vif - Très lent / 3. Danse générale. Lent - Animé
—
Pavane pour une infante défunte, M. 19: Lent
—
La Mer, L 109: 1. De l'aube à midi sur la mer - Très lent
—
La Mer, L 109: 2. Jeux de vagues. Allegro
—
La Mer, L 109: 3. Dialogue du vent et de la mer. Animé et tumultueux
—
La damoiselle élue, L 62: Début
—
La damoiselle élue, L 62: Chœur : « La Damoiselle élue s’appuyait » (chœur, une récitante)
—
La damoiselle élue, L 62: La Damoiselle : « Je voudrais qu’il fût déjà près de moi »
—
La damoiselle élue, L 62: Chœur : « La lumière tressaillit … » (chœur, une récitante)
—
Prélude à l’après-midi d’un faune, L 86: Très modéré
—
Images pour orchestre Nᵒ 2 « Ibéria », L 122: 1. Par les rues et par les chemins. Assez animé
—
Images pour orchestre Nᵒ 2 « Ibéria », L 122: 2. Les Parfums de la nuit. Lent et rêveur
—
Images pour orchestre Nᵒ 2 « Ibéria », L 122: 3. Le matin d’un jour de fête. Dans un rythme de marche lointaine, alerte et joyeuse
—
Pelléas et Mélisande, L 88: Premier Acte. « Je ne pourrai plus sortir de cette forêt » (Golaud)
—
Pelléas et Mélisande, L 88: Premier Acte. « Pourquoi pleures-tu? » (Golaud, Mélisande)
—
Pelléas et Mélisande, L 88: Premier Acte. « Je suis perdu aussi » (Golaud)
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Pelléas et Mélisande, L 88: Premier Acte. « Voici ce qu'il écrit à son frère Pelléas » (Geneviève)
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Pelléas et Mélisande, L 88: Premier Acte. « Qu'en dites-vous ? » (Geneviève, Arkel, Pelléas)
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Pelléas et Mélisande, L 88: Premier Acte. Interlude
—
Pelléas et Mélisande, L 88: Premier Acte. « Il fait sombre dans les jardins » (Mélisande, Geneviève, Pelléas)
—
Pelléas et Mélisande, L 88: Premier Acte. « Hoé! Hisse Hoé! » (marins, Mélisande, Pelléas, Geneviève)
—
Pelléas et Mélisande, L 88: Deuxième Acte. « Vous ne savez pas où je vous ai menée ? » (Pelléas, Mélisande)
—
Pelléas et Mélisande, L 88: Deuxième Acte. « C'est au bord d'une fontaine » (Pelléas, Mélisande)
—
Pelléas et Mélisande, L 88: Deuxième Acte. Interlude
—
Pelléas et Mélisande, L 88: Deuxième Acte. « Ah ! Ah ! Tout va bien » (Golaud, Mélisande)
—
Pelléas et Mélisande, L 88: Deuxième Acte. « Voyons, donne-moi ta main » (Golaud, Mélisande)
—
Pelléas et Mélisande, L 88: Deuxième Acte. Interlude
—
Pelléas et Mélisande, L 88: Deuxième Acte. « Oui, c'est ici, nous y sommes » (Pelléas, Mélisande)
—
Pelléas et Mélisande, L 88: Troisième Acte. « Mes longs cheveux descendent jusqu'au seuil de la tour » (Mélisande, Pelléas)
—
Pelléas et Mélisande, L 88: Troisième Acte. « Je les tiens dans les mains » (Pelléas, Mélisande)
—
Pelléas et Mélisande, L 88: Troisième Acte. « Que faites-vous ici ? » (Golaud, Pelléas)
—
Pelléas et Mélisande, L 88: Troisième Acte. « Prenez garde ; par ici, par ici » (Golaud, Pelléas)
—
Pelléas et Mélisande, L 88: Troisième Acte. Interlude … « Ah ! Je respire enfin ! » (Pelléas, Golaud)
—
Pelléas et Mélisande, L 88: Troisième Acte. Interlude
—
Pelléas et Mélisande, L 88: Troisième Acte. « Viens, nous allons nous asseoir ici, Yniold » (Golaud, Yniold)
—
Pelléas et Mélisande, L 88: Troisième Acte. « Qu'ils s'embrassent, petit père ? » (Yniold, Golaud)
—
Pelléas et Mélisande, L 88: Quatrième Acte. « Où vas-tu ? » (Pelléas, Mélisande)
—
Pelléas et Mélisande, L 88: Quatrième Acte. « Maintenant que le père de Pelléas est sauvé » (Arkel, Mélisande)
—
Pelléas et Mélisande, L 88: Quatrième Acte. « Pelléas part ce soir » (Golaud, Arkel, Mélisande)
—
Pelléas et Mélisande, L 88: Quatrième Acte. « Ne mettez pas ainsi votre main à la gorge » (Golaud, Arkel, Mélisande)
—
Pelléas et Mélisande, L 88: Quatrième Acte. Interlude
—
Pelléas et Mélisande, L 88: Quatrième Acte. « Oh ! Cette pierre est lourde » (Yniold, un berger)
—
Pelléas et Mélisande, L 88: Quatrième Acte. « C'est le dernier soir » (Pelléas, Mélisande)
—
Pelléas et Mélisande, L 88: Quatrième Acte. « Nous sommes venus ici il y a bien longtemps » (Mélisande, Pelléas)
—
Pelléas et Mélisande, L 88: Quatrième Acte. « On dirait que ta voix a passé sur la mer au printemps » (Pelléas, Mélisande)
—
Pelléas et Mélisande, L 88: Quatrième Acte. « Quel est ce bruit ? » (Pelléas, Mélisande)
—
Pelléas et Mélisande, L 88: Cinquième Acte. « Ce n'est pas de cette petite blessure qu'elle peut mourir » (le médecin, Arkel, Golaud)
—
Pelléas et Mélisande, L 88: Cinquième Acte. « Attention ; je crois qu'elle s'éveille » (le médecin, Mélisande, Arkel, Golaud)
—
Pelléas et Mélisande, L 88: Cinquième Acte. « Mélisande, as-tu pitié de moi comme j'ai pitié da toi ? » (Golaud, Mélisande)
—
Pelléas et Mélisande, L 88: Cinquième Acte. « Non, non, nous n'avons pas été coupables » (Mélisande, Golaud)
—
Pelléas et Mélisande, L 88: Cinquième Acte. « Qu'avez-vous fait ? » (Arkel, Golaud, Mélisande)
—
Pelléas et Mélisande, L 88: Cinquième Acte. « Qu'y a-t-il » (Golaud, le médecin, Arkel)
—
Pelléas et Mélisande, L 88: Cinquième Acte. « Attention… attention. Il faut parler à voix basse, maintenant » (Arkel, le médecin, Golaud)
—
Concert Overture “Othello”, op. 93
—
Symphony no. 9 in E minor “From the New World”. op. 95: 1. Adagio - Allegro molto
—
Symphony no. 9 in E minor “From the New World”. op. 95: 2. Largo
—
Symphony no. 9 in E minor “From the New World”. op. 95: 3. Molto vivace
—
Symphony no. 9 in E minor “From the New World”. op. 95: 4. Allegro con fuoco
—
Symphony in D major, Hob. I:93: 1. Adagio - Allegro assai
—
Symphony in D major, Hob. I:93: 2. Largo cantabile
—
Symphony in D major, Hob. I:93: 3. Menuetto. Allegro - Trio
—
Symphony in D major, Hob. I:93: 4. Finale. Presto ma non troppo
—
Symphony in D major “The Clock”, Hob. I:101: 1. Adagio - Presto
—
Symphony in D major “The Clock”, Hob. I:101: 2. Andante
—
Symphony in D major “The Clock”, Hob. I:101: 3. Menuetto. Allegretto - Trio
—
Symphony in D major “The Clock”, Hob. I:101: 4. Finale. Vivace
—
Symphony in D major “The Miracle”, Hob. I:96: 1. Adagio - Allegro
—
Symphony in D major “The Miracle”, Hob. I:96: 2. Andante
—
Symphony in D major “The Miracle”, Hob. I:96: 3. Menuetto. Trio
—
Symphony in D major “The Miracle”, Hob. I:96: 4. Finale. Vivace assai
—
Sinfonia Concertante in B-flat major, Hob. I:105: 1. Allegro
—
Sinfonia Concertante in B-flat major, Hob. I:105: 2. Andante
—
Sinfonia Concertante in B-flat major, Hob. I:105: 3. Allegro con spirito
—
Overture to “Il mondo della luna”, Hob. XXVIII:7
—
Symphony in B-flat major, Hob. I:98: 1. Adagio - Allegro
—
Symphony in B-flat major, Hob. I:98: 2. Adagio
—
Symphony in B-flat major, Hob. I:98: 3. Menuetto - Trio
—
Symphony in B-flat major, Hob. I:98: 4. Finale. Presto
—
Symphony in G major “Military”, Hob. I:100: 1. Adagio - Allegro
—
Symphony in G major “Military”, Hob. I:100: 2. Allegretto
—
Symphony in G major “Military”, Hob. I:100: 3. Menuet. Moderato - Trio
—
Symphony in G major “Military”, Hob. I:100: 4. Finale. Presto
—
Symphony in B-flat major, Hob. I:102: 1. Largo - Vivace
—
Symphony in B-flat major, Hob. I:102: 2. Adagio
—
Symphony in B-flat major, Hob. I:102: 3. Menuet. Allegro - Trio
—
Symphony in B-flat major, Hob. I:102: 4. Finale. Presto
—
Symphony in E-flat major “Drum Roll”, Hob. I:103: 1. Adagio - Allegro con spirito
—
Symphony in E-flat major “Drum Roll”, Hob. I:103: 2. Andante più tosto Allegretto
—
Symphony in E-flat major “Drum Roll”, Hob. I:103: 3. Menuet - Trio
—
Symphony in E-flat major “Drum Roll”, Hob. I:103: 4. Finale. Allegro con spirito
—
Symphonie »Mathis der Maler«: 1. Engelkonzert. Ruhig bewegt
—
Symphonie »Mathis der Maler«: 2. Grablegung. Sehr langsam
—
Symphonie »Mathis der Maler«: 3. Versuchung des heiligen Antonius. Sehr langsam, frei im Zeitmaß - Sehr lebhaft
—
Nobilissima visione: 1. Einleitung und Rondo. Sehr langsam - Rondo. Mäßig schnell
—
Nobilissima visione: 2. Marsch und Pastorale. Lebhaft
—
Nobilissima visione: 3. Passacaglia. Feierlich bewegt
—
Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 1. Allegro
—
Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 2. “Turandot, Scherzo”. Moderate - Lively
—
Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 3. Andantino
—
Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 4. March
—
Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 1. Allegro
—
Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 2. “Turandot, Scherzo”. Moderate - Lively
—
Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 3. Andantino
—
Symphonische Metamorphosen nach Themen von Carl Maria von Weber: 4. March
—
Sinfonietta: 1. Allegretto - Allegro - Maestoso
—
Sinfonietta: 2. Andante - Allegretto - Maestoso - Tempo I - Allegretto
—
Sinfonietta: 3. Moderato - Con moto - Prestissimo - Tempo I - Moderato
—
Sinfonietta: 4. Allegretto - Adagio - Presto - Andante - Presto - Prestissimo
—
Sinfonietta: 5. Andante con moto - Maestoso - Tempo I - Allegretto - Allegro - Maestoso - Adagio
—
Romeo and Juliet, Suite no. 2, op. 64b no. 1: The Montagues and Capulets
—
Romeo and Juliet, Suite no. 3, op. 101 no. 16: Morning Dance
—
Romeo and Juliet, Ballet, op. 64 no. 5: The Quarrrel
—
Romeo and Juliet, Ballet, op. 64 no. 6: The Fight
—
Romeo and Juliet, Ballet, op. 64 no. 25: Dance with Mandolins
—
Romeo and Juliet, Suite no. 2, op. 64b no. 4: Dance
—
Romeo and Juliet, Suite no. 3, op. 101 no. 19: Aubade (Morning Serenade)
—
Romeo and Juliet, Suite no. 2, op. 64b no. 6: Dance of the Maids from the Antilles
—
Romeo and Juliet, Suite no. 1, op. 64a no. 7: Death of Tybalt
—
The Diary of One Who Disappeared: 1. “Potkal Jsem Mladou cigánku” (tenor)
—
The Diary of One Who Disappeared: 2. “Ta černá cigánka” (tenor)
—
The Diary of One Who Disappeared: 3. “Svatojanské mušky tančíja” (tenor)
—
The Diary of One Who Disappeared: 4. “Už mladé vlaštúvky” (tenor)
—
The Diary of One Who Disappeared: 5. “Těžko sa mi oře” (tenor)
—
The Diary of One Who Disappeared: 6. “Hajsi, vy siví volci” (tenor)
—
The Diary of One Who Disappeared: 7. “Ztratil sem količek” (tenor)
—
The Diary of One Who Disappeared: 8. “Nehled’te, volečci” (tenor)
—
The Diary of One Who Disappeared: 9. “Vítaj, Janičku” (alto, tenor, chorus)
—
The Diary of One Who Disappeared: 10. “Bože Dálný, Nesmrtelný” (alto, chorus)
—
The Diary of One Who Disappeared: 11. “Táhne vuňa k lesu” (tenor, alto)
—
The Diary of One Who Disappeared: 12. “Tmavá olšinka, chladná studénka” (tenor)
—
The Diary of One Who Disappeared: 13. * * * (orchestra)
—
The Diary of One Who Disappeared: 14. “Slnéčko sa zdvihá” (tenor)
—
The Diary of One Who Disappeared: 15. “Moji sivi volci” (tenor)
—
The Diary of One Who Disappeared: 16. “Co sem to udělal?” (tenor)
—
The Diary of One Who Disappeared: 17. “Co komu súzeno” (tenor)
—
The Diary of One Who Disappeared: 18. “Nedbám já včil o nic” (tenor)
—
The Diary of One Who Disappeared: 19. “Letí straka” (tenor)
—
The Diary of One Who Disappeared: 20. “Mám já panenku” (tenor)
—
The Diary of One Who Disappeared: 21. “Muj drahý tatíčku” (tenor)
—
The Diary of One Who Disappeared: 22. “S Bohem, rodný kraju” (tenor)
—
Sinfonietta: 1. Allegretto - Allegro - Maestoso
—
Sinfonietta: 2. Andante - Allegretto - Maestoso - Tempo I - Allegretto
—
Sinfonietta: 3. Moderato - Con moto - Prestissimo - Tempo I - Moderato
—
Sinfonietta: 4. Allegretto - Adagio - Presto - Andante - Presto - Prestissimo
—
Sinfonietta: 5. Andante con moto - Maestoso - Tempo I - Allegretto - Allegro - Maestoso - Adagio
—
Grabstein für Stephan, op. 15c
—
Gruppen
—
Symphony no. 1 “Titan”: 1. Langsam. Schleppend. Wie ein Naturlaut - Immer sehr gemächlich
—
Symphony no. 1 “Titan”: 2. Kräftig bewegt, doch nicht zu schnell - Trio. Recht gemächlich
—
Symphony no. 1 “Titan”: 3. Feierlich und gemessen, ohne zu schleppen
—
Symphony no. 1 “Titan”: 4. Stürmisch bewegt
—
Symphony no. 2 “Resurrection”: 1. Allegro maestoso. [Totenfeier]. Mit durchaus ernstem und feierlichem Ausdruck
—
Symphony no. 2 “Resurrection”: 2. Andante moderato. Sehr gemächlich. Nie eilen
—
Symphony no. 2 “Resurrection”: 3. [Scherzo]. In ruhig fließender Bewegung
—
Symphony no. 2 “Resurrection”: 4. »Urlicht«. Sehr feierlich, aber schlicht - »O Röschen rot!« (alto solo)
—
Symphony no. 2 “Resurrection”: 5. Im Tempo des Scherzo - Wild herausfahrend - »Auferstehn, ja auferstehnwirst du« (soprano solo, chorus) - »O glaube, mein Herz, o glaube« (alto & soprano solo, chorus)
—
Symphony no. 3: Part I. 1. Kräftig. Entschieden
—
Symphony no. 3: Part I. 1. Immer das gleiche Tempo [fig. 11]
—
Symphony no. 3: Part I. 1. Tempo I [fig. 18]
—
Symphony no. 3: Part I. 1. Zeit lassen [fig. 29]
—
Symphony no. 3: Part I. 1. Zeit lassen [fig. 33]
—
Symphony no. 3: Part I. 1. Immer dasselbe Tempo. (Marsch) [fig. 43]
—
Symphony no. 3: Part I. 1. Im alten Marschtempo (Allegro Moderato): 3 bars after [fig. 54]
—
Symphony no. 3: Part I. 1. Tempo I [fig. 62]
—
Symphony no. 3: Part II. 2. Tempo di Menuetto. Sehr mäßig
—
Symphony no. 3: Part II. 2. L'istesso tempo [fig. 3]
—
Symphony no. 3: Part II. 2. A tempo. (Wie im Anfang) [fig. 6]
—
Symphony no. 3: Part II. 2. Ganz plötzlich gemächlich. Tempo di Menuetto [fig. 14]
—
Symphony no. 3: Part II. 3. Comodo. Scherzando. Ohne Hast
—
Symphony no. 3: Part II. 3. Wieder sehr gemächlich, wie zu Anfang [fig. 6]
—
Symphony no. 3: Part II. 3. Etwas zurückhaltend: 6 bars before [fig. 14]
—
Symphony no. 3: Part II. 3. Tempo I: 2 bars before [fig. 17]
—
Symphony no. 3: Part II. 3. Wieder sehr gemächlich, beinahe langsam [fig. 27]
—
Symphony no. 3: Part II. 4. Sehr langsam. Misterioso. Durchaus ppp »O Mensch! Gib acht!« (alto solo)
—
Symphony no. 3: Part II. 4. Più mosso subito: 6 bars before [fig. 6]
—
Symphony no. 3: Part II. 5. Lustig im Tempo und keck im Ausdruck »Bimm Bamm! Es sungen drei Engel« (chorus, alto solo)
—
Symphony no. 3: Part II. 6. Langsam. Ruhevoll. Empfunden
—
Symphony no. 3: Part II. 6. Nicht mehr so breit [fig. 4]
—
Symphony no. 3: Part II. 6. Tempo I. Ruhevoll [fig. 9]
—
Symphony no. 3: Part II. 6. Nicht mehr so breit [fig. 13]
—
Symphony no. 3: Part II. 6. Tempo I [fig. 21]
—
Symphony no. 3: Part II. 6. Langsam. Tempo I [fig. 25]
—
Applause
—
Symphony no. 4: 1. Bedächtig. Nicht eilen - Recht gemächlich
—
Symphony no. 4: 2. In gemächlicher Bewegung. Ohne Hast
—
Symphony no. 4: 3. Ruhevoll (Poco adagio) - Allegretto subito (Nicht eilen) - Allegro subito - Andante subito
—
Symphony no. 4: 4. Sehr behaglich: »Wir genießen die himmlischen Freuden« (soprano solo)
—
7 Early Songs: 1. Nacht
—
7 Early Songs: 2. Schilflied
—
7 Early Songs: 3. Die Nachtigall
—
7 Early Songs: 4. Traumgekrönt
—
7 Early Songs: 5. Im Zimmer
—
7 Early Songs: 6. Liebesode
—
7 Early Songs: 7. Sommertage
—
Applause
—
Symphony no. 5: Part I. 1. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt
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Symphony no. 5: Part I. 2. Stürmisch bewegt, mit größter Vehemenz
—
Symphony no. 5: Part II. 3. Scherzo. Kräftig, nicht zu schnell
—
Symphony no. 5: Part III. 4. Adagietto. Sehr langsam
—
Symphony no. 5: Part III. 5. Rondo-Finale. Allegro - Allegro giocoso. Frisch
—
Symphony no. 6: 1. Allegro energico, ma non troppo. Heftig, aber markig
—
Symphony no. 6: 2. Andante moderato
—
Symphony no. 6: 3. Scherzo. Wuchtig
—
Symphony no. 6: 4. Finale. Allegro moderato - Allegro energico
—
Applause
—
Symphony no. 7: 1. Langsam (Adagio) - Allegro risoluto, ma non troppo
—
Symphony no. 7: 2. Nachtmusik. Allegro moderato
—
Symphony no. 7: 3. Scherzo. Schattenhaft - Trio
—
Symphony no. 7: 4. Nachtmusik. Andante amoroso
—
Symphony no. 7: 5. Rondo - Finale. Tempo I (Allegro ordinario) - Tempo II (Allegro moderato ma energico)
—
Applause
—
Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. Allegro impetuoso. »Veni, creator spiritus« (chorus I/II)
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Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. A tempo. Etwas (aber unmerklich) gemäßigter; immer sehr fließend. »Imple superna gratia« (soprano I, tenor, soprano II, alto I/II, baritone, bass, chorus I/II)
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Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. Etwas drängend - Noch einmal so langsam. (Nicht schleppend). »Infirma nostri corporis« (chorus I/II, soprano I/II, alto I/II, tenor, bass, baritone)
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Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. Tempo I. (Allegro, etwas hastig)
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Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. Sehr fließend - Noch einmal so langsam als vorher. Nicht schleppend. »Infirma nostri corporis« (bass, tenor, alto I/II, baritone, soprano I/II)
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Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. Plötzlich sehr breit und leidenschaftlichen Ausdrucks - Mit plötzlichem Aufschwung. »Accende lumen sensibus« (soprano I/II, alto I/II, tenor, baritone, bass, boys' choir, chorus I/II)
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Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. »Veni, creator spiritus« (soprano I/II, alto I/II, tenor, baritone, bass, chorus I/II, boys' choir)
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Symphony no. 8 “Symphony of a Thousand”: Part I: Hymnus »Veni, creator spiritus«. Wieder frisch. »Gloria sit Patri Domino« (boys' choir, soprano I/II, alto I/II, tenor, chorus I/II, baritone, bass)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Poco adagio
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Più mosso. (Allegro moderato)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Wieder langsam. Chor und Echo: »Waldung, sie schwankt heran« (chorus I/II)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Moderato. Pater ecstaticus: »Ewiger Wonnebrand« (baritone)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Allegro - (Allegro appassionato). Pater profundus: »Wie Felsenabgrund mir zu Füßen« (bass)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Allegro deciso. (Im Anfang noch nicht eilen). Chor der Engel: »Gerettet ist das edle Glied der Geisterwelt vom Bösen« / Chor seliger Knaben: »Hände verschlinget euch« (chorus I/II, soprano, alto, boys' choir)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Molto leggiero. Chor der jüngeren Engel: »Jene Rosen aus den Händen« (chorus I, soprano, alto)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Schon etwas langsamer und immer noch mäßiger - Wie die gleiche Stelle im I. Teil. Die vollendeteren Engel: »Uns bleibt ein Erdenrest« (chorus II, soprano, alto, tenor, alto solo)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Im Anfang (die ersten vier Takte) noch etwas gehalten. Die jüngeren Engel: »Ich spür’ soeben nebelnd um Felsenhöh« / Doctor Marianus: »Hier ist die Aussicht frei« / Chor seliger Knaben: »Freudig empfangen wir« (chorus I, soprano, alto, tenor, boys' choir)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Sempre l'istesso tempo. Doctor Marianus: »Höchste Herrscherin der Welt!« (tenor, chorus I/II)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Äußerst langsam. Adagissimo. »Dir, der Unberührbaren« (chorus I/II) / Chor der Büßerinnen und Una poenitentium: »Du schwebst zu Höhen der ewigen Reiche« (chorus II, soprano I)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Fließend. Magna Peccatrix: »Bei der Liebe, die den Füßen« / Mulier Samaritana: »Bei dem Bronn, zu dem schon weiland« / Maria Aegyptiaca: »Bei dem hochgeweihten Orte« (soprano II, alto I, alto II)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Una poenitentium: »Neige, neige, du Ohnegleiche« (soprano I)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Unmerklich frischer werden. Selige Knaben: »Er überwächst uns schon« / Una poenitentium: »Vom edlen Geisterchor umgeben« (boys' choir, chorus II, soprano, soprano I)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Sehr langsam. Mater gloriosa: »Komm! hebe dich zu höhern Sphären!« / Hymnenartig (Ungefähr im selben Zeitmaß weiter). Doctor Marianus: »Blicket auf zum Retterblick, alle reuig Zarten« (soprano, tenor, chorus I/II, boys' choir)
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Symphony no. 8: Part II: Final Scene from Geothe's “Faust II”. Sehr langsam beginnend. Chorus mysticus: »Alles Vergängliche ist nur ein Gleichnis« (chorus I/II, soprano I/II, alto I/II, tenor, baritone, bass, boys' choir)
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Symphony no. 9: 1. Andante comodo
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Symphony no. 9: 2. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
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Symphony no. 9: 3. Rondo-Burleske. Allegro assai. Sehr trotzig
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Symphony no. 9: 4. Adagio. Sehr langsam und noch zurückhaltend
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Applause
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Symphony no. 10 (unfinished): Adagio: 1. Andante - Adagio
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Symphony no. 10 (unfinished): Adagio: 2. Andante come prima [bar 40]
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Symphony no. 10 (unfinished): Adagio: 3. [bar 105]
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Symphony no. 10 (unfinished): Adagio: 4. [bar 178]
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Symphony no. 10 (unfinished): Adagio: 5. A tempo [bar 217]
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Symphony no. 2 “Resurrection”: 1. Allegro maestoso [Totenfeier]. Mit durchaus ernstem und feierlichem Ausdruck
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Symphony no. 2 “Resurrection”: 1. Sehr mäßig und zurückhaltend [fig. 7]
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Symphony no. 2 “Resurrection”: 1. Schnell [fig. 15]
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Symphony no. 2 “Resurrection”: 1. Tempo I [5 bars after fig. 20]
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Symphony no. 2 “Resurrection”: 1. Tempo sostenuto [fig. 24]
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Symphony no. 2 “Resurrection”: 2. Andante moderato. Sehr gemächlich
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Symphony no. 2 “Resurrection”: 2. Nicht eilen. Sehr gemächlich [1 bar before fig. 3]
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Symphony no. 2 “Resurrection”: 2. In Tempo I zurückkehren [fig. 5]
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Symphony no. 2 “Resurrection”: 2. Energisch bewegt [fig. 6]
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Symphony no. 2 “Resurrection”: 2. Wieder ins Tempo zurückgehen. Tempo I [fig. 12]
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Symphony no. 2 “Resurrection”: 3. [Scherzo]. In ruhig fließender Bewegung
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Symphony no. 2 “Resurrection”: 3. Sehr getragen und gesangvoll [fig. 40]
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Symphony no. 2 “Resurrection”: 3. Zum Tempo I zurückkehren [fig. 43]
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Symphony no. 2 “Resurrection”: 4. »Urlicht«. Sehr feierlich, aber schlicht. »O Röschen rot!« (alto solo)
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Symphony no. 2 “Resurrection”: 5. Im Tempo des Scherzos. Wild herausfahrend
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Symphony no. 2 “Resurrection”: 5. Langsam [fig. 3]
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Symphony no. 2 “Resurrection”: 5. Im Angang sehr zurückgehalten [fig. 7]
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Symphony no. 2 “Resurrection”: 5. Wieder sehr breit [fig. 10]
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Symphony no. 2 “Resurrection”: 5. Molto ritenuto. Maestoso [3 bars before fig. 14]
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Symphony no. 2 “Resurrection”: 5. Wieder zurückhaltend [fig. 21]
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Symphony no. 2 “Resurrection”: 5. Sehr langsam und gedehnt [fig. 29]
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Symphony no. 2 “Resurrection”: 5. Langsam. Misterioso [fig. 31]. »Auferstehn, ja auferstehn wirst du« (soprano solo, chorus)
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Symphony no. 2 “Resurrection”: 5. Langsam ppp. Nicht schleppen [fig. 35]. »Wieder aufzublühn, wirst du gesät« (soprano solo, chorus)
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Symphony no. 2 “Resurrection”: 5. Etwas bewegter [fig. 39]. »O glaube, mein Herz, o glaube« (alto & soprano solo, chorus)
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Symphony no. 2 “Resurrection”: 5. Mit Aufschwung, aber nicht eilen [fig. 44]. »O Schmerz! Du Alldurchdringer« (alto & soprano solo, chorus)
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Symphony no. 3: Part I. 1. Kräftig. Entschieden
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Symphony no. 3: Part I. 1. Langsam. Schwer [fig. 13]
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Symphony no. 3: Part I. 1. Tempo I [fig. 18]
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Symphony no. 3: Part I. 1. A tempo [fig. 29]
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Symphony no. 3: Part I. 1. Immer dasselbe Tempo (Marsch) [fig. 43]
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Symphony no. 3: Part I. 1. (Allegro moderato) [3 bars after fig. 54]
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Symphony no. 3: Part I. 1. Tempo I [fig. 62]
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Symphony no. 3: Part II. 2. Tempo di menuetto. Sehr mäßig
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Symphony no. 3: Part II. 2. A tempo [fig. 6]
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Symphony no. 3: Part II. 2. Ganz plötzlich gemächlich. Tempo di menuetto [fig. 14]
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Symphony no. 3: Part II. 3. Comodo. Scherzando. Ohne Hast
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Symphony no. 3: Part II. 3. Wieder sehr gemächlich, wie zu Anfang [fig. 6]
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Symphony no. 3: Part II. 3. Sehr gemächlich (Posthorn) [fig. 14]
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Symphony no. 3: Part II. 3. Tempo I [2 bars before fig. 17]
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Symphony no. 3: Part II. 3. Wieder sehr gemächlich, beinahe langsam [fig. 27]
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Symphony no. 3: Part II. 4. Sehr langsam. Misterioso. Durchaus ppp. »O Mensch! Gib acht!« (alto solo)
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Symphony no. 3: Part II. 4. Più mosso subito [6 bars after fig. 6]
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Symphony no. 3: Part II. 5. Lustig im Tempo und keck im Ausdruck. »Bimm bamm / Es sungen drei Engel« (chorus, alto solo)
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Symphony no. 3: Part II. 6. Langsam. Ruhevoll. Empfunden
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Symphony no. 3: Part II. 6. Nicht mehr so breit [fig. 4]
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Symphony no. 3: Part II. 6. Tempo I. Ruhevoll [fig. 9]
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Symphony no. 3: Part II. 6. A tempo (Etwas bewegter) [fig. 14]
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Symphony no. 3: Part II. 6. Tempo I [fig. 21]
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Symphony no. 3: Part II. 6. Langsam. Tempo I [fig. 25]
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Symphony no. 4: 1. Bedächtig. Nicht eilen - Recht gemächlich
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Symphony no. 4: 2. In gemächlicher Bewegung. Ohne Hast
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Symphony no. 4: 3. Ruhevoll (Poco adagio) - Allegretto subito (Nicht eilen - Allegro subito - Andante subito)
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Symphony no. 4: 4. Sehr behaglich: »Wir genießen die himmlischen Freuden« (soprano solo)
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Symphony no. 9: 1. Andante comodo
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Symphony no. 9: 1. Etwas frischer [bar 80]
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Symphony no. 9: 1. Tempo I [bar 148]
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Symphony no. 9: 1. Mit Wut. Allegro risoluto [bar 174]
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Symphony no. 9: 1. Leidenschaftlich [bar 211]
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Symphony no. 9: 1. Schattenhaft [bar 254]
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Symphony no. 9: 1. Etwas fließender [bar 279]
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Symphony no. 9: 1. Wie von Anfang [bar 347]
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Symphony no. 9: 1. Schon ganz langsam [bar 406]
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Symphony no. 9: 2. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
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Symphony no. 9: 2. Poco più mosso subito (Tempo II) [bar 90]
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Symphony no. 9: 2. Tempo III [bar 218]
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Symphony no. 9: 2. A tempo II [bar 261]
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Symphony no. 9: 2. Tempo I [bar 369]
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Symphony no. 9: 2. Tempo II [bar 423]
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Symphony no. 9: 2. 8 bars before: Tempo I subito [bar 515]
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Symphony no. 9: 3. Rondo-Burleske. Allegro assai. Sehr trotzig
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Symphony no. 9: 3. L'istesso tempo [bar 109]
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Symphony no. 9: 3. Sempre l'istesso tempo [bar 180]
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Symphony no. 9: 3. Sempre l'istesso tempo [bar 311]
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Symphony no. 9: 3. (clarinets/Klarinetten) [bar 444]
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Symphony no. 9: 3. Tempo I. subito [bar 522]
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Symphony no. 9: 3. Più stretto [bar 617]
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Symphony no. 9: 4. Adagio. Sehr langsam und noch zurückhaltend
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Symphony no. 9: 4. Plötzlich wieder sehr langsam (wie zu Anfang) und etwas zögernd [bar 28]
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Symphony no. 9: 4. Molto adagio subito [bar 49]
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Symphony no. 9: 4. A tempo (Molto adagio) [bar 64]
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Symphony no. 9: 4. Stets sehr gehalten [bar 88]
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Symphony no. 9: 4. Fließender, doch durchaus nicht eilend [bar 107]
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Symphony no. 9: 4. Tempo I. Molto adagio [bar 126]
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Symphony no. 9: 4. Adagissimo [bar 159]
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Symphony no. 1 “Titan”: 1 Langsam. Schleppend. Wie ein Naturlaut - Immer sehr gemächlich
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Symphony no. 1 “Titan”: 2. Kräftig bewegt, doch nicht zu schnell - Trio. Recht gemächlich
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Symphony no. 1 “Titan”: 3. Feierlich und gemessen, ohne zu schleppen
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Symphony no. 1 “Titan”: 4. Stürmisch bewegt
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Symphony no. 2 “Resurrection”: 1. Allegro maestoso [Totenfeier]. Mit durchaus ernstem und feierlichem Ausdruck
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Symphony no. 2 “Resurrection”: 1. Sehr mäßig und zurückhaltend
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Symphony no. 2 “Resurrection”: 1. Sehr langsam beginnend
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Symphony no. 2 “Resurrection”: 2. Andante moderato
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Symphony no. 2 “Resurrection”: 3. [Scherzo]. In ruhig fließender Bewegung
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Symphony no. 2 “Resurrection”: 4. »Urlicht«. Sehr feierlich, aber schlicht - »O Röschen rot« (alto solo)
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Symphony no. 2 “Resurrection”: 5. Im Tempo des Scherzo. Wild herausfahrend
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Symphony no. 2 “Resurrection”: 5. Langsam
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Symphony no. 2 “Resurrection”: 5. Im Anfang sehr zurückgehalten
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Symphony no. 2 “Resurrection”: 5. Wieder sehr breit
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Symphony no. 2 “Resurrection”: 5. Maestoso. Sehr zurückhaltend
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Symphony no. 2 “Resurrection”: 5. Wieder zurückhaltend
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Symphony no. 2 “Resurrection”: 5. Langsam, immer noch mehr zurückhaltend
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Symphony no. 2 “Resurrection”: 5. Sehr langsam und gedehnt
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Symphony no. 2 “Resurrection”: 5. Langsam. Misterioso »Auferstehen, ja auferstehen wirst du« (soprano solo, chorus)
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Symphony no. 2 “Resurrection”: 5. Etwas bewegter »O glaube, mein Herz, o glaube« (alto & soprano solo)
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Symphony no. 2 “Resurrection”: 5. Wieder etwas zurückhaltend »Was entstanden ist, das muss vergehen« (chorus, alto & soprano solo)
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Symphony no. 5: Part I. 1. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt
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Symphony no. 5: Part I. 2. Stürmisch bewegt, mit größter Vehemenz
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Symphony no. 5: Part II. 3. Scherzo. Kräftig, nicht zu schnell
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Symphony no. 5: Part III. 4. Adagietto. Sehr langsam
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Symphony no. 5: Part III. 5. Rondo-Finale. Allegro - Allegro giocoso. Frisch
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Symphonie no. 6: 1. Allegro energico, ma non troppo. Heftig, aber markig
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Symphonie no. 6: 2. Andante moderato
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Symphonie no. 6: 3. Scherzo. Wuchtig
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Symphonie no. 6: 4. Finale. Allegro moderato - Allegro energico
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5 Lieder nach Texten von Friedrich Rückert: Blicke mir nicht in die Lieder
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5 Lieder nach Texten von Friedrich Rückert: Liebst du um Shönheit
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5 Lieder nach Texten von Friedrich Rückert: Ich bin der Welt abhanden gekommen
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5 Lieder nach Texten von Friedrich Rückert: Ich atmet' einen linden Duft
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5 Lieder nach Texten von Friedrich Rückert: Um Mitternacht
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Symphony no. 7: 1. Langsam (Adagio)
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Symphony no. 7: 1. Nicht schleppen [bar 27]
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Symphony no. 7: 1. Allegro risoluto, ma non troppo [bar 50]
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Symphony no. 7: 1. a tempo [bar 118]
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Symphony no. 7: 1. [bar 171]
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Symphony no. 7: 1. Subito allegro I [bar 266]
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Symphony no. 7: 1. Adagio (Tempo der Einleitung) [bar 388]
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Symphony no. 7: 1. Allegro come prima [bar 373]
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Symphony no. 7: 2. Nachtmusik. Allegro moderato
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Symphony no. 7: 2. Sempre l'istesso Tempo (Nicht eilen) [bar 83]
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Symphony no. 7: 2. Tempo [bar 223]
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Symphony no. 7: 2. [bar 262]
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Symphony no. 7: 3. Scherzo. Schattenhaft
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Symphony no. 7: 3. Trio [bar 179]
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Symphony no. 7: 3. Wieder wie zu Anfang [bar 294]
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Symphony no. 7: 4. Nachtmusik. Andante amoroso
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Symphony no. 7: 4. [bar 187]
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Symphony no. 7: 5. Rondo - Finale. Tempo I (Allegro ordinario)
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Symphony no. 7: 5. Tempo II (Allegro moderato ma energico) [bar 87]
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Symphony no. 7: 5. Tempo I [bar 267]
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Symphony no. 7: 5. Sempre l'istesso tempo (Tempo I) [bar 368]
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Revelge
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Rheinlegendchen
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Trost im Unglück
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Verlorne Müh’
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Der Schildwache Nachtlied
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Das irdische Leben
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Lied des Verfolgten im Turm
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Wer hat dies Liedlein erdacht?
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Des Antonius von Padua Fischpredigt
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Lob des hohen Verstandes
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Wo die schönen Trompeten blasen
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Der Tamboursg’sell
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Lieder nach Gedichten aus Des Knaben Wunderhorn: Urlicht
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Symphony no. 1 in C minor, op. 11: 1. Allegro de molto
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Symphony no. 1 in C minor, op. 11: 2. Andante
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Symphony no. 1 in C minor, op. 11: 3. Menuetto. Allegro molto
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Symphony no. 1 in C minor, op. 11: 4. Allegro con fuoco
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Scherzo in G minor from Octet, op. 20: Sempre pianissimo e leggiero
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Ein Sommernachtstraum, op. 21: Allegro di molto
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Die Hebriden (»Die Fingalshöhle«), op. 26: Allegro moderato - animato in tempo
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Meeresstille und glückliche Fahrt, op. 27: Adagio - Molto allegro e vivace
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 1. Sinfonia. Maestoso con moto - Allegro - Maestoso con moto come I - attacca
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 1. Allegretto un poco agitato -
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 1. Adagio religioso
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 2. Allegro moderato maestoso - Allegro di molto - Chorus: »Alles, was Odem hat, lobe den Herrn«
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 2. Molto più moderato ma con fuoco - »Lobe den Herrn, meine Seele« (soprano I, women's chorus)
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 3. Recitative: »Saget es, die ihr erlöset seid durch den Herrn« (tenor)
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 3. Allegro moderato - [Aria]: »Er zählet unsre Tränen in der Zeit der Not« (tenor)
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 4. A tempo moderato - Chorus: »Sagt es, die ihr erlöset seid«
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 5. Andante - Duet & Chorus: »Ich harrete des Herrn« (sopranos I & II) - »Wohl dem, der seine Hoffnung setzt« (chorus)
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 6. Allegro un poco agitato - Allegro assai agitato - Tempo I moderato - Aria: »Stricke des Todes hatten uns umfangen« (tenor)
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 7. Allegro maestoso e molto vivace - Chorus: »Die Nacht ist vergangen«
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 8. Andante con moto - Un poco più animato - Chorale: »Nun danket alle Gott«
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 9. Andante sostenuto assai - [Duet]: »Drum sing' ich mit meinem Liede ewig dein Lob« (tenor, soprano I)
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Symphony no. 2 in B-flat major “Hymn of Praise”, op. 52: 10. Allegro non troppo - Più vivace - Maestoso come I - Final Chorus: »Ihr Völker, bringet her dem Herrn Ehre und Macht! Danket dem Herrn und rühmt seinen Namen«
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Symphony no. 3 in A minor “Scottish”, op. 56: 1. Andante con moto - Allegro un poco agitato - Assai animato - Andante come prima -
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Symphony no. 3 in A minor “Scottish”, op. 56: 2. Vivace non troppo
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Symphony no. 3 in A minor “Scottish”, op. 56: 3. Adagio
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Symphony no. 3 in A minor “Scottish”, op. 56: 4. Allegro vivacissimo - Allegro maestoso assai
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Die schöne Melusine, op. 32: Allegro con moto
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Trompeten-Ouvertüre, op. 101: Allegro vivace
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Ruy Blas, op. 95: Lento - Allegro molto
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Symphony no. 4 in A major “Italian”, op. 90: 1. Allegro vivace
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Symphony no. 4 in A major “Italian”, op. 90: 2. Andante con moto
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Symphony no. 4 in A major “Italian”, op. 90: 3. Con moto moderato
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Symphony no. 4 in A major “Italian”, op. 90: 4. Saltarello. Presto
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Symphony no. 5 in D minor “Reformation”, op. 107: 1. Andante - Allegro con fuoco
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Symphony no. 5 in D minor “Reformation”, op. 107: 2. Allegro vivace
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Symphony no. 5 in D minor “Reformation”, op. 107: 3. Andante
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Symphony no. 5 in D minor “Reformation”, op. 107: 4. Chorale »Ein' feste Burg ist unser Gott«. Andante con moto - Allegro maestoso
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Overture for Wind Instruments in C major, op. 24: Andante con moto - Allegro vivace
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Symphony no. 3 in A minor “Scottish”, op. 56: 1. Andante con moto - Allegro un poco agitato - Assai animato - Andante come prima
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Symphony no. 3 in A minor “Scottish”, op. 56: 2. Vivace non troppo
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Symphony no. 3 in A minor “Scottish”, op. 56: 3. Adagio
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Symphony no. 3 in A minor “Scottish”, op. 56: 4. Allegro vivacissimo - Allegro maestoso assai
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Symphony no. 4 in A major “Italian”, op. 90: 1. Allegro vivace
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Symphony no. 4 in A major “Italian”, op. 90: 2. Andante con moto
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Symphony no. 4 in A major “Italian”, op. 90: 3. Con moto moderato
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Symphony no. 4 in A major “Italian”, op. 90: 4. Saltarello. Presto
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Concerto for Violin and Orchestra in E minor, op. 64: 1. Allegro molto appassionato
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Concerto for Violin and Orchestra in E minor, op. 64: 2. Andante
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Concerto for Violin and Orchestra in E minor, op. 64: 3. Allegro non troppo - Allegro molto vivace
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Concerto for Violin and Orchestra no. 1 in G minor, op. 26: 1. Vorspiel. Allegro moderato
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Concerto for Violin and Orchestra no. 1 in G minor, op. 26: 2. Adagio
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Concerto for Violin and Orchestra no. 1 in G minor, op. 26: 3. Finale. Allegro energico
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Symphony no. 35 in D major “Haffner”, K. 385: 1. Allegro con spirito
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Symphony no. 35 in D major “Haffner”, K. 385: 2. Andante
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Symphony no. 35 in D major “Haffner”, K. 385: 3. Menuetto - Trio
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Symphony no. 35 in D major “Haffner”, K. 385: 4. Presto
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Symphony no. 29 in A major, K. 201: 1. Allegro moderato
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Symphony no. 29 in A major, K. 201: 2. Andante
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Symphony no. 29 in A major, K. 201: 3. Menuetto - Trio
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Symphony no. 29 in A major, K. 201: 4. Allegro con spirito
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Symphony no. 33 in B-flat major, K. 319: 1. Allegro assai
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Symphony no. 33 in B-flat major, K. 319: 2. Andante moderato
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Symphony no. 33 in B-flat major, K. 319: 3. Menuetto - Trio
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Symphony no. 33 in B-flat major, K. 319: 4. Allegro assai
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Symphony no. 38 in D major “Prague”, K. 504: 1. Adagio - Allegro
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Additional database matches (902)
| Track Title | Artist(s) | ISWC |
|---|---|---|
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What other identifiers does this connect to?
Musical Works (ISWC)
T-005.007.870-0T-005.003.368-5T-005.007.870-0T-071.926.821-9T-071.926.821-9T-801.916.776-2T-900.953.062-5T-900.953.062-5T-902.858.745-3T-902.858.745-3
+184 more
T-913.242.186-4T-001.148.492-6T-001.321.541-2T-001.424.370-9T-001.444.317-4T-003.006.377-4T-003.007.887-5T-003.008.231-5T-003.010.019-6T-003.011.148-8T-003.013.767-7T-003.013.803-4T-003.015.127-9T-003.015.891-8T-003.017.882-5T-003.017.935-1T-003.035.132-6T-003.055.867-8T-003.506.743-6T-004.014.574-1T-005.002.517-6T-005.007.306-7T-007.183.639-9T-007.303.107-8T-010.194.845-1T-010.194.862-2T-010.194.866-6T-010.194.871-3T-010.248.557-3T-010.287.722-4T-010.512.679-1T-010.909.095-0T-011.422.353-8T-011.768.712-3T-031.673.380-8T-031.702.708-9T-060.827.907-7T-061.791.492-7T-070.160.313-5T-070.161.055-0T-070.242.287-4T-070.257.887-7T-070.275.805-1T-071.017.492-7T-071.070.336-8T-071.365.694-0T-071.478.968-0T-071.481.827-5T-072.571.419-1T-073.071.144-0T-106.642.813-3T-301.972.539-0T-303.204.042-5T-303.792.628-2T-304.872.410-9T-305.157.600-8T-305.194.387-0T-305.194.399-4T-305.199.174-9T-305.199.295-7T-306.395.786-4T-306.481.937-6T-306.482.271-1T-306.482.540-3T-306.482.593-6T-306.483.079-7T-308.381.369-4T-308.451.891-8T-308.457.046-3T-310.225.113-4T-310.527.191-4T-310.922.675-3T-312.438.878-5T-312.524.872-4T-312.542.381-2T-314.638.300-4T-318.676.528-2T-322.178.813-8T-322.183.356-9T-322.184.202-6T-322.185.896-0T-322.186.555-6T-322.186.564-7T-322.446.817-7T-322.446.876-8T-322.446.992-1T-322.449.900-3T-324.536.672-3T-326.455.450-5T-329.366.811-4T-329.366.812-5T-329.391.160-7T-329.391.163-0T-329.454.787-4T-700.095.171-5T-800.132.125-2T-800.184.797-9T-800.652.468-2T-801.397.798-6T-801.744.062-0T-802.587.503-1T-802.784.175-5T-900.021.735-6T-900.052.312-6T-900.065.376-9T-900.133.397-7T-900.134.079-0T-900.134.395-9T-900.134.451-0T-900.138.252-1T-900.140.545-4T-900.143.514-9T-900.144.997-4T-900.147.322-9T-900.222.345-2T-900.833.446-1T-900.952.974-2T-901.158.945-0T-901.164.507-1T-901.222.501-3T-902.187.409-9T-902.286.256-2T-902.574.141-7T-902.633.719-9T-902.685.630-4T-902.717.414-7T-902.764.002-4T-902.773.746-8T-902.774.400-9T-902.836.120-8T-902.876.200-7T-904.908.073-1T-905.680.072-7T-906.860.938-1T-909.264.262-1T-909.573.827-5T-909.574.378-5T-909.821.799-3T-909.876.799-8T-910.415.366-4T-910.448.362-7T-910.783.706-9T-910.952.061-8T-911.362.261-0T-911.640.005-6T-912.658.196-2T-914.325.765-2T-915.187.590-0T-915.310.099-3T-915.710.750-1T-915.711.186-9T-915.711.196-1T-915.711.586-1T-915.711.980-7T-915.866.114-4T-917.182.185-5T-917.805.753-9T-918.019.319-5T-918.245.117-8T-919.807.218-3T-920.035.883-4T-920.064.650-0T-921.158.813-5T-921.506.221-8T-921.960.994-6T-922.067.243-5T-922.166.713-6T-923.239.666-6T-924.224.904-3T-924.224.927-0T-925.590.388-9T-925.590.390-3T-925.590.391-4T-926.359.926-4T-926.362.354-7T-926.368.096-2T-926.819.124-8T-928.635.311-5T-928.635.313-7T-928.635.622-7T-931.717.262-6T-931.717.263-7T-931.717.545-4T-931.938.780-9
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
0000000008858715000000002303428X000000003738034300000000466813830000000055136520000000005514586500000000551555880000000055155756000000005516242X0000000055169728
+40 more
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Credits Graph
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What is UPC 028948625109?
028948625109 is a Universal Product Code (UPC) assigned to The Complete Recordings on Deutsche Grammophon & Decca by Claudio Abbado. 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 968 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