UPC · Release
Claudio Abbado
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The UPC for “The Complete Recordings on Deutsche Grammophon & Decca” by Claudio Abbado is 028948625109. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2023-01-01. Label: Deutsche Grammophon. This release contains 965 tracks, each with its own ISRC. Tracks include DEN960702051, DEF058203881, DEF058203882.
Credit Chain
| # | 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, op. 19: Beginning | London Symphony Orchestra, Claudio Abbado | T-920.035.883-4 | |
| 3-2 | The Miraculous Mandarin, op. 19: The Curtain Rises | London Symphony Orchestra, Claudio Abbado | — | |
| 3-3 | The Miraculous Mandarin, op. 19: First Seduction Game: The Shabby Old Rake | London Symphony Orchestra, Claudio Abbado | — | |
| 3-4 | The Miraculous Mandarin, op. 19: Second Seduction Game | London Symphony Orchestra, Claudio Abbado | — | |
| 3-5 | The Miraculous Mandarin, op. 19: The Shy Youth Appears at the Door | London Symphony Orchestra, Claudio Abbado | — | |
| 3-6 | The Miraculous Mandarin, op. 19: Third Seduction Game | London Symphony Orchestra, Claudio Abbado | — | |
| 3-7 | The Miraculous Mandarin, op. 19: The Mandarin Enters - Encounter With the Girl | London Symphony Orchestra, Claudio Abbado | — | |
| 3-8 | The Miraculous Mandarin, op. 19: The Girl's Dance | London Symphony Orchestra, Claudio Abbado | T-900.052.312-6 | |
| 3-9 | The Miraculous Mandarin, op. 19: She Flees From Him; He Chases Her Wildly | London Symphony Orchestra, Claudio Abbado | — | |
| 3-10 | The Miraculous Mandarin, 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 | London Symphony Orchestra, Claudio Abbado | — | |
| 3-11 | The Miraculous Mandarin, op. 19: Suddenly the Mandarin's Head Disappears. The Tramps Drag Him Out, One Stabs Him Three Times. He Almost Collapses, But Draws Himself Up and Leaps at the Girl | London Symphony Orchestra, Claudio Abbado | — | |
| 3-12 | The Miraculous Mandarin, op. 19: The 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. | London Symphony Orchestra, Claudio Abbado | — | |
| 3-13 | The Miraculous Mandarin, op. 19: The Tramps Take Him Down. He Falls to the Floor and at Once Leaps at the Girl. They Embrace | London Symphony Orchestra, Claudio Abbado | — | |
| 3-14 | The Miraculous Mandarin, op. 19: His Longing Stilled, the Mandarin's Wounds Begin to Bleed; He Becomes Weaker and Dies | London Symphony Orchestra, Claudio Abbado | — | |
| 3-15 | Two Portraits, op. 5: 1. One Ideal. Andante | Shlomo Mintz, London Symphony Orchestra, Claudio Abbado | T-007.183.639-9 | |
| 3-16 | Two Portraits, op. 5: II. One Grotesque | Shlomo Mintz, London Symphony Orchestra, Claudio Abbado | T-007.183.639-9 | |
| 4-1 | Concerto for Piano and Orchestra no. 1: I. Allegro moderato - Allegro | Maurizio Pollini, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 4-2 | Concerto for Piano and Orchestra no. 1: II. Andante - Allegro - attacca: | Maurizio Pollini, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 4-3 | Concerto for Piano and Orchestra no. 1: III. Allegro molto | Maurizio Pollini, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 4-4 | Concerto for Piano and Orchestra no. 2: I. Allegro | Maurizio Pollini, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 4-5 | Concerto for Piano and Orchestra no. 2: II. Adagio - Presto - Adagio | Maurizio Pollini, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 4-6 | Concerto for Piano and Orchestra no. 2: III. Allegro molto - Presto | Maurizio Pollini, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 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 | Symphonie Nr. 5 c-moll, op. 67: I. Allegro con brio | Wiener Philharmoniker, Claudio Abbado | — | |
| 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 | Symphonie no. 6 F-Dur, op. 68 "Pastorale": III. Allegro "Lustiges Zusammensein der Landleute" | Wiener Philharmoniker, Claudio Abbado | — | |
| 13-4 | Symphonie no. 6 F-Dur, op. 68 "Pastorale": III. Allegro "Lustiges Zusammensein der Landleute" | Wiener Philharmoniker, Claudio Abbado | — | |
| 13-5 | Symphonie no. 6 F-Dur, op. 68 "Pastorale": III. Allegro "Lustiges Zusammensein der Landleute" | Wiener Philharmoniker, Claudio Abbado | — | |
| 13-6 | Symphonie no. 6 F-Dur, op. 68 "Pastorale": III. Allegro "Lustiges Zusammensein der Landleute" | Wiener Philharmoniker, Claudio Abbado | — | |
| 13-7 | Symphonie no. 6 F-Dur, op. 68 "Pastorale": III. Allegro "Lustiges Zusammensein der Landleute" | Wiener Philharmoniker, Claudio Abbado | — | |
| 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 | Symphonie no. 8 F-Dur, op. 93: IV. Allegro vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 14-6 | Symphonie no. 8 F-Dur, op. 93: IV. Allegro vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 14-7 | Symphonie no. 8 F-Dur, op. 93: IV. Allegro vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 14-8 | Symphonie no. 8 F-Dur, op. 93: IV. Allegro vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 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 | Klavierkonzert Nr. 3 c-Moll, op. 37: I. Allegro con brio | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 20-2 | Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 2. Largo | — | ||
| 20-3 | Klavierkonzert Nr. 3 c-Moll, op. 37: III. Rondo. Allegro | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 20-4 | Klavierkonzert Nr. 4 G-Dur, op. 58: I. Allegro moderato | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 20-5 | Klavierkonzert Nr. 4 G-Dur, op. 58: II. Andante con moto | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 20-6 | Klavierkonzert Nr. 4 G-Dur, op. 58: III. Rondo. Vivace | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 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 | Piano Concerto no. 2 in B-flat major, op. 19: I. Allegro con brio | Martha Argerich, Mahler Chamber Orchestra, Claudio Abbado | — | |
| 22-5 | Piano Concerto no. 2 in B-flat major, op. 19: II. Adagio | Martha Argerich, Mahler Chamber Orchestra, Claudio Abbado | — | |
| 22-6 | Piano Concerto no. 2 in B-flat major, op. 19: III. Rondo: Molto allegro | Martha Argerich, Mahler Chamber Orchestra, Claudio Abbado | — | |
| 23-1 | Egmont, op. 84: Overture. Sostenuto, ma non troppo - Allegro | Berliner Philharmoniker, Claudio Abbado | T-901.164.507-1 | |
| 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: I. Rondo. Andante (Introduzione) - Hymne. Sostenuto | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-2 | Lulu-Suite: II. Ostinato. Allegro | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-3 | Lulu-Suite: III. Lied der Lulu. Comodo | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-4 | Lulu-Suite: IV. Variationen. Moderato (Grandioso - Grazioso - Funèbre - Affettuoso) - Thema: Subito a tempo moderato | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-5 | Lulu-Suite: V. Adagio. Sostenuto - Lento - Grave | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-9 | Altenberg Lieder, op. 4: No. 1. Seele, wie bist du schöner | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-10 | Altenberg Lieder, op. 4: No. 2. Sahst du nach dem Gewitterregen den Wald | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-11 | Altenberg Lieder, op. 4: No. 3. Über die Grenzen des All | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-12 | Altenberg Lieder, op. 4: No. 4. Nichts ist gekommen | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-13 | Altenberg Lieder, op. 4: No. 5. Hier ist Friede | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 28-1 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 1. Seele, wie bist du schöner | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 28-2 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 2. Sahst du nach dem Gewitterregen den Wald | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 28-3 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 3. Über die Grenzen des All | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 28-4 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 4. Nichts ist gekommen | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 28-5 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 5. Hier ist Friede | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 28-9 | Lulu-Suite: 1. Rondo. Andante (Introduzione) - Hymne. Sostenuto | Wiener Philharmoniker, Claudio Abbado | — | |
| 28-10 | Lulu-Suite: 2. Ostinato. Allegro | Wiener Philharmoniker, Claudio Abbado | — | |
| 28-11 | Lulu-Suite: 3. Lied der Lulu. Comodo (»Wenn sich die Menschen um meinetwillen umgebracht haben«) | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 28-12 | Lulu-Suite: 4. Variationen. Moderato (Grandioso - Grazioso - Funebre - Affettuoso) - Thema. Subito tempo moderato | Wiener Philharmoniker, Claudio Abbado | — | |
| 28-13 | Lulu-Suite: 5. Adagio. Sostenuto - Lento - Grave (»Lulu! Mein Engel!«) | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 29-8 | Der Wein: Die Seele des Weines - Der Wein der Liebenden - Der Wein des Einsamen | Wiener Philharmoniker, Claudio Abbado | — | |
| 29-9 | Three Pieces for Orchestra, op. 6: I. Präludium. Langsam | Wiener Philharmoniker, Claudio Abbado | — | |
| 29-10 | Three Pieces for Orchestra, op. 6: II. Reigen. Anfangs etwas zögernd - Leicht beschwingt | Wiener Philharmoniker, Claudio Abbado | — | |
| 29-11 | Three Pieces for Orchestra, op. 6: III. Marsch. Mäßiges Marschtempo | Wiener Philharmoniker, Claudio Abbado | — | |
| 30-1 | Wozzeck: Erster Akt: Erste Szene. »Langsam, Wozzeck, langsam!« (Hauptmann, Wozzeck) | Helmuth Froschauer, Franz Grundheber, Heinz Zednik, Wiener Philharmoniker, Claudio Abbado | — | |
| 30-2 | Wozzeck: Erster Akt: Zweite Szene. »Du, der Platz ist verflucht!« (Wozzeck, Andres) | Helmuth Froschauer, Franz Grundheber, Philip Langridge, Wiener Philharmoniker, Claudio Abbado | — | |
| 30-3 | Wozzeck: Erster Akt: Dritte Szene. »Tschin Bum..! Hörst Bub? Da kommen sie!« (Marie, Marget, Wozzeck) | Helmuth Froschauer, Hildegard Behrens, Anna Gonda, Franz Grundheber, Wiener Philharmoniker, Claudio Abbado | — | |
| 30-4 | Wozzeck: Erster Akt: Vierte Szene. »Was erleb’ ich, Wozzeck?« (Doktor, Wozzeck) | Helmuth Froschauer, Franz Grundheber, Aage Haugland, Wiener Philharmoniker, Claudio Abbado | — | |
| 30-5 | Wozzeck: Erster Akt: Fünfte Szene. »Geh einmal vor Dich hin…« (Marie, Tambourmajor) | Helmuth Froschauer, Hildegard Behrens, Walter Raffeiner, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-1 | Wozzeck: Zweiter Akt: Erste Szene. »Was die Steine glänzen!« (Marie, Wozzeck) | Helmuth Froschauer, Hildegard Behrens, Franz Grundheber, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-2 | Wozzeck: Zweiter Akt: Zweite Szene. »Wohin so eilig, geehrtester Herr Sargnagel?« (Hauptmann, Doktor, Wozzeck) | Helmuth Froschauer, Aage Haugland, Franz Grundheber, Heinz Zednik, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-3 | Wozzeck: Zweiter Akt: Dritte Szene. »Guten Tag, Franz« (Marie, Wozzeck) | Helmuth Froschauer, Hildegard Behrens, Franz Grundheber, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-4 | Wozzeck: Zweiter Akt: Vierte Szene. »Ich hab’ ein Hemdlein an, das ist nicht mein…« (1. und 2. Handwerksbursche, Wozzeck, Marie, Tambourmajor, Burschen, Soldaten, Andres, Der Narr) | Helmuth Froschauer, Hildegard Behrens, Chor der Wiener Staatsoper, Franz Grundheber, Peter Jelosits, Werner Kamenik, Philip Langridge, Alexander Maly, Walter Raffeiner, Alfred Šramek, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-5 | Wozzeck: Zweiter Akt: Fünfte Szene. »Oh! Oh! Andres! Ich kann nicht schlafen« (Soldaten, Wozzeck, Andres, Tambourmajor) | Helmuth Froschauer, Chor der Wiener Staatsoper, Franz Grundheber, Werner Kamenik, Philip Langridge, Walter Raffeiner, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-6 | Wozzeck: Dritter Akt: Erste Szene. »Und ist kein Betrug in seinem Munde erfunden worden…« (Marie) | Helmuth Froschauer, Hildegard Behrens, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-7 | Wozzeck: Dritter Akt: Erste Szene. »Und kniete hin zu seinen Füßen« (Marie) | Helmuth Froschauer, Hildegard Behrens, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-8 | Wozzeck: Dritter Akt: Zweite Szene. »Dort links geht’s in die Stadt« (Marie, Wozzeck) | Helmuth Froschauer, Hildegard Behrens, Franz Grundheber, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-9 | Wozzeck: Dritter Akt: Dritte Szene. »Tanzt Alle; tanzt nur zu..!« (Wozzeck, Margret, Burschen, Dirnen) | Helmuth Froschauer, Chor der Wiener Staatsoper, Anna Gonda, Franz Grundheber, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-10 | Wozzeck: Dritter Akt: Vierte Szene. »Das Messer? Wo ist das Messer?« (Wzozeck, Hauptmann, Doktor) | Helmuth Froschauer, Franz Grundheber, Aage Haugland, Heinz Zednik, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-11 | Wozzeck: Dritter Akt: Fünfte Szene. »Ringel, Ringel, Rosenkranz, Ringelreih’n!« (Kinder, Mariens Knabe) | Helmuth Froschauer, Viktoria Lehner, Wiener Sängerknaben, Wiener Philharmoniker, Claudio Abbado | — | |
| 32-1 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-2 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-3 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-4 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-5 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-6 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-7 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-8 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 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 | London Symphony Orchestra, Claudio Abbado | T-900.143.514-9 | |
| 34-2 | L'Arlésienne Suite no. 1: Minuetto. Allegro giocoso | London Symphony Orchestra, Claudio Abbado | T-010.194.862-2 | |
| 34-3 | L'Arlésienne Suite no. 1: Adagietto. Adagio | London Symphony Orchestra, Claudio Abbado | T-910.448.362-7 | |
| 34-4 | L'Arlésienne Suite no. 1: Carillon. Allegretto moderato - Andantino - Tempo I | London Symphony Orchestra, Claudio Abbado | — | |
| 34-5 | L'Arlésienne Suite no. 2: Pastorale. Andante sostenuto assai - Andantino - Tempo I | London Symphony Orchestra, Claudio Abbado | T-071.478.968-0 | |
| 34-6 | L'Arlésienne Suite no. 2: Intermezzo. Andante moderato ma con moto - Allegro moderato | London Symphony Orchestra, Claudio Abbado | — | |
| 34-7 | L'Arlésienne Suite no. 2: Menuet. Andantino quasi allegretto | London Symphony Orchestra, Claudio Abbado | T-310.225.113-4 | |
| 34-8 | L'Arlésienne Suite no. 2: Farandole. Allegro deciso (Tempo di marcia) - Allegro vivo e deciso | London Symphony Orchestra, Claudio Abbado | T-010.194.866-6 | |
| 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, WD 31: Overture (Prelude) | London Symphony Orchestra, Claudio Abbado | T-031.673.380-8 | |
| 35-2 | Carmen : Acte I, Nº 1. Introduction « Sur la place chacun passe » (Les Soldats, Moralès) | Patrick Criswell, John McCarthy, Ambrosian Singers, Stuart Harling, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-3 | Carmen : Acte I. « Regardez donc cette petite » (Moralès, Les Soldats, Micaëla) | Patrick Criswell, John McCarthy, Ambrosian Singers, Ileana Cotrubaș, Stuart Harling, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-4 | Carmen : Acte I, Nº 2. Marche et Chœur des Gamins « Avec la garde montante » (Chœur des Gamins) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-5 | Carmen : Acte I. « Repos ! » (Zuniga, Moralès, Don José) | Plácido Domingo, Stuart Harling, Robert Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 35-6 | Carmen : Acte I. « Allons ! Allons ! » (Zuniga, Chœur des Gamins) | Patrick Criswell, John McCarthy, Ambrosian Singers, Robert Lloyd, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-7 | CARMEN, ACT I: DIALOGUE. DITES-MOI, BRIGADIER | CLAUDIO ABBADO LONDON SYMPHONY ORCHESTRA ROBERT LLOYD PLÁCIDO DOMINGO, GEORGES BIZET,ROBERT LLOYD,PLÁCIDO DOMINGO,LONDON SYMPHONY ORCHESTRA,CLAUDIO ABBADO | — | |
| 35-8 | Carmen : Acte I. “Voici la cloche qui sonne, mon lieutenant ” … “La cloche a sonné” | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-9 | Carmen : Acte I. « Mais nous ne voyons pas la Carmencita. » (Les Soldats, Les Jeunes Gens) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-10 | Carmen : Acte I. « Quand je vous aimerai ? » / Nº 4: Havanaise « L’amour est un oiseau rebelle » (Carmen, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-11 | Carmen : Acte I, Nº 5. Scène « Carmen, sur tes pas, nous nous pressons tous » (Les Jeunes Gens, Les Cigarières, Don José) | Patrick Criswell, John McCarthy, Ambrosian Singers, Plácido Domingo, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-12 | Carmen : Acte I. « Monsieur le brigadier ? » (Micaëla, Don José) / Nº 6: Duo « Parle‐moi de ma mère ! » (Don José, Micaëla) | Ileana Cotrubaș, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 35-13 | Carmen : Acte I. « Votre mère avec moi sortait de la chapelle » (Micaëla, Don José) | Ileana Cotrubaș, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 35-14 | Carmen : Acte I. « Ma mère, je la vois… » (Don José, Micaëla) | Ileana Cotrubaș, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 35-15 | Carmen : Acte I. « Que son fils l’aime et la venère » (Don José, Micaëla) / « Eh bien, eh bien ! » (Zuniga) | Ileana Cotrubaș, Plácido Domingo, Robert Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 35-16 | Carmen : Acte I, Nº 7. Chœur « Au secours ! » (Les Cigarières, Zuniga, Les Soldats) | Patrick Criswell, John McCarthy, Ambrosian Singers, Robert Lloyd, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-17 | Carmen : Acte I. « Voyons, brigadier… » (Zuniga, Don José, Carmen) / Nº 8. Chanson et Mélodrame « Tra la la la… » (Carmen, Zuniga, Les Cigarières, Un Soldat, Don José) | Patrick Criswell, John McCarthy, Ambrosian Singers, Richard Amner, Teresa Berganza, Plácido Domingo, Robert Lloyd, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-18 | Carmen : Acte I, Nº 9. Chanson (Séguedille) et Duo « Près des remparts de Séville » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 35-19 | Carmen : Acte I, Nº 10. Finale « Le lieutenant !… Prenez garde. » (Don José, Zuniga, Carmen) | Teresa Berganza, Plácido Domingo, Robert Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 35-20 | Carmen : Acte I. Entr’acte | London Symphony Orchestra, Claudio Abbado | — | |
| 35-21 | Carmen : Acte II, Nº 11. Chanson « Les tringles des sistres tintaient » (Carmen, Mercédès, Frasquita) | Teresa Berganza, Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | T-922.166.713-6 | |
| 35-22 | Carmen : Acte II. « Vous avez quelque chose à nous dire » (Zuniga, Pastia, Frasquita, Andrès, Mercédès, Carmen) | Teresa Berganza, Yvonne Kenny, Jean Lainé, Robert Lloyd, George Main, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | — | |
| 35-23 | Carmen : Acte II. « Tout est bien alors » (Carmen, Zuniga) / Nº 12. Chœur et Ensemble « Vivat ! vivat le toréro ! » (Chœur, Zuniga, Mercédès, Frasquita, Escamillo, Carmen, Andrès, Pastia) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Jean Lainé, Robert Lloyd, George Main, Alicia Nafé, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-24 | Carmen : Acte II, Nº 13. Couplet (Air du Toréador) « Votre toast… je peux vous le rendre » (Escamillo, tout le monde, Pastia, Zuniga, Carmen) / Nº 13 bis. Chœur « Toréador, en garde » (Chœur, Frasquita, Pastia, Dancaïre, Remendado) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Robert Lloyd, George Main, Sherrill Milnes, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-25 | Carmen : Acte II. Quintette « Nous avons en tête une affaire » | Teresa Berganza, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, London Symphony Orchestra, Claudio Abbado | — | |
| 35-26 | Carmen : Acte II, Nº 15. Chanson « Amoureuse…ce n’est pas une raison » (Dancaïre, Remendado, Frasquita, Mercédès, Carmen) / « Halte‐là ! Qui va là ? » (Don José, Mercédès, Frasquita, Dancaïre, Carmen) | Teresa Berganza, Plácido Domingo, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, London Symphony Orchestra, Claudio Abbado | — | |
| 36-1 | Carmen : Acte II, Nº 16. Duo « Je vais danser en votre honneur » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 36-2 | Carmen : Acte II. Air de la fleur « La Fleur que tu m’avais jetée » (Don José) | Plácido Domingo, London Symphony Orchestra, Claudio Abbado | T-928.635.311-5 | |
| 36-3 | Carmen : Acte II. « Non ! Tu ne m’aimes pas ! » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 36-4 | Carmen : Acte II, Nº 17. Finale « Holà ! Carmen ! Holà ! » (Zuniga, Don José, Carmen, Dancaïre, Remendado, Les Bohémiens) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, Robert Lloyd, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-5 | Carmen : Acte II. « Suis‐nous à travers la campagne » (Frasquita, Mercédès, Dancaïre, Remendado, Les Bohémiens, Les Bohémiennes) | Patrick Criswell, John McCarthy, Ambrosian Singers, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-6 | Carmen : Acte II. Entr’acte (entre Acte II & III) | London Symphony Orchestra, Claudio Abbado | — | |
| 36-7 | Carmen : Acte III, Nº 18. Introduction « Ecoute, compagnon, écoute » (Les Contrebandiers, Frasquita, Mercédès, Carmen, Don José, Dancaïre, Remendado) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-8 | Carmen : Acte III. « Halte ! Nous allons nous arrêter ici… » (Dancaïre, Remendado, Don José, Carmen) | Teresa Berganza, Plácido Domingo, Geoffrey Pogson, Gordon Sandison, London Symphony Orchestra, Claudio Abbado | — | |
| 36-9 | Carmen : Acte III, Nº 19. Trio « Mêlons ! » « Mêlons ! » « Coupons ! » (Frasquita, Mercédès) | Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | — | |
| 36-10 | Carmen : Acte III. Air des cartes « Carreau, pique … la mort ! » (Carmen) | Teresa Berganza, London Symphony Orchestra, Claudio Abbado | T-324.536.672-3 | |
| 36-11 | Carmen : Acte III. « Parlez encore, parlez, mes belles » (Frasquita, Mercédès, Carmen) | Teresa Berganza, Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | — | |
| 36-12 | Carmen : Acte III. « Eh bien, j’avais raison. » (Dancaïre, Carmen, Remendado, Frasquita, Mercédès, Don José) | Teresa Berganza, Plácido Domingo, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison | — | |
| 36-13 | Carmen : Acte III, Nº 20. Morceau d’ensemble « Quant au douanier, c’est notre affaire » (Carmen, Mercédès, Frasquita, Les Bohémiennes, Les Bohémiens, Dancaïre, Remendado) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Alicia Nafé, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-14 | Carmen : Acte III. « Nous y sommes » (Le Guide, Micaëla) | Ileana Cotrubaș, Jean Lainé | — | |
| 36-15 | Carmen : Acte III, Nº 21. Air « Je dis que rien ne m’épouvante » (Micaëla) | Ileana Cotrubaș, London Symphony Orchestra, Claudio Abbado | — | |
| 36-16 | Carmen : Acte III. « Mais… je ne me trompe pas… » (Micaëla, Escamillo, Don José) / Nº 22. Duo « Je suis Escamillo, toréro de Grenade. » (Escamillo, Don José) | Ileana Cotrubaș, Plácido Domingo, Sherrill Milnes, London Symphony Orchestra, Claudio Abbado | — | |
| 36-17 | Carmen : Acte III, Nº 23. Finale « Holà, José ! » (Carmen, Escamillo, Dancaïre, Don José, Les Contrebandiers, Les Contrebandières) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, Sherrill Milnes, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-18 | Carmen : Acte III. « Halte ! Quelqu’un est là qui cherche à se cacher. » (Remendado, Carmen, Dancaïre, Don José, Micaëla, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Ileana Cotrubaș, Plácido Domingo, Sherrill Milnes, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-19 | Carmen : Acte III. Entr’acte | London Symphony Orchestra, Claudio Abbado | T-010.248.557-3 | |
| 36-20 | Carmen : Acte III, Nº 24. Chœur « À deux cuartos » (Des Marchandes, Des Marchands, Un Soldat, Andrès, Un Bohémien) | Patrick Criswell, John McCarthy, Ambrosian Singers, Richard Amner, Leslie Fyson, Jean Lainé, Shirley Minty, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-21 | Carmen : Acte III, Nº 25. Chœur et Scène « Les voici, voici le quadrille » (Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-22 | Carmen : Acte IV. « Si tu m’aimes, Carmen » (Escamillo, Carmen, Frasquita, Mercédès) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Sherrill Milnes, Alicia Nafé, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-23 | Carmen : Acte IV, Nº 26. Duo final « C’est toi ? » / « C’est‐moi ! » (Carmen, Don José, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 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 | Berliner Philharmoniker, Claudio Abbado | — | |
| 39-2 | Schicksalslied, op. 54: Langsam und sehnsuchtsvoll - »Ihr wandelt droben im Licht« - Allegro - »Doch uns ist gegeben, auf keiner Stätte zu ruhn« - Adagio | Ernst-Senff-Chor, Berliner Philharmoniker, Claudio Abbado | T-322.185.896-0 | |
| 39-3 | Symphonie Nr. 3 in F-dur, op. 90: I. Allegro con brio | Berliner Philharmoniker, Claudio Abbado | T-329.366.811-4 | |
| 39-4 | Symphonie Nr. 3 in F-dur, op. 90: II. Andante | Berliner Philharmoniker, Claudio Abbado | T-329.366.812-5 | |
| 39-5 | Symphonie Nr. 3 in F-dur, op. 90: III. Poco Allegretto | Berliner Philharmoniker, Claudio Abbado | — | |
| 39-6 | Symphonie Nr. 3 in F-dur, op. 90: IV. Allegro | Berliner Philharmoniker, Claudio Abbado | T-318.676.528-2 | |
| 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 | Berliner Philharmoniker, Claudio Abbado | T-322.184.202-6 | |
| 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« | Rundfunkchor Berlin, Berliner Philharmoniker, Claudio Abbado | T-322.186.555-6 | |
| 40-3 | Symphony no. 4 in E minor, op. 98: I. Allegro non troppo | Berliner Philharmoniker, Claudio Abbado | T-902.764.002-4 | |
| 40-4 | Symphony no. 4 in E minor, op. 98: II. Andante moderato | Berliner Philharmoniker, Claudio Abbado | T-902.764.002-4 | |
| 40-5 | Symphony no. 4 in E minor, op. 98: III. Allegro giocoso | Berliner Philharmoniker, Claudio Abbado | — | |
| 40-6 | Symphony no. 4 in E minor, op. 98: IV. Allegro energico e pass | Berliner Philharmoniker, Claudio Abbado | T-902.764.002-4 | |
| 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 | Berliner Philharmoniker, Claudio Abbado | T-901.158.945-0 | |
| 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 | Symphonie Nr. 4 e-Moll op. 98: 1. Allegro non troppo | London Symphony Orchestra, Claudio Abbado | T-902.764.002-4 | |
| 44-2 | Symphonie Nr. 4 e-Moll op. 98: 2. Andante moderato | London Symphony Orchestra, Claudio Abbado | — | |
| 44-3 | Symphonie Nr. 4 e-Moll op. 98: 3. Allegro giocoso – Poco meno presto – Tempo I | London Symphony Orchestra, Claudio Abbado | — | |
| 44-4 | Symphonie Nr. 4 e-Moll op. 98: 4. Allegro energico e passionato – Più Allegro | London Symphony Orchestra, Claudio Abbado | T-902.764.002-4 | |
| 44-5 | Tragische Ouvertüre, op. 81 | — | ||
| 45-1 | Serenade Nr. 1 D-dur op. 11: I. Allegro molto | Berliner Philharmoniker, Claudio Abbado | T-329.454.787-4 | |
| 45-2 | Serenade Nr. 1 D-dur op. 11: II. Scherzo. Allegro non troppo – Trio. Poco più moto | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-3 | Serenade Nr. 1 D-dur op. 11: III. Adagio non troppo | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-4 | Serenade Nr. 1 D-dur op. 11: IV. Menuetto I – Menuetto II | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-5 | Serenade Nr. 1 D-dur op. 11: V. Scherzo. Allegro – Trio | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-6 | Serenade Nr. 1 D-dur op. 11: VI. Rondo. Allegro | Berliner Philharmoniker, Claudio Abbado | T-800.132.125-2 | |
| 45-7 | Serenade no. 2 in A major, op. 16: 1. Allegro moderato | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-8 | Serenade no. 2 in A major, op. 16: 2. Scherzo. Vivace — Trio | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-9 | Serenade no. 2 in A major, op. 16: 3. Adagio non troppo | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-10 | Serenade no. 2 in A major, op. 16: 4. Quasi menuetto — Trio | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-11 | Serenade no. 2 in A major, op. 16: 5. Rondo. Allegro | Berliner Philharmoniker, Claudio Abbado | T-800.132.125-2 | |
| 46-1 | Danse hongroise n° 1 | Wiener Philharmoniker, Claudio Abbado | T-322.186.564-7 | |
| 46-2 | Hungarian Dances, WoO 1: No. 2 in D minor: Allegro non assai — Vivace | Wiener Philharmoniker, Claudio Abbado | T-915.711.186-9 | |
| 46-3 | Hungarian Dances, WoO 1: No. 3 in F major: Allegretto | Wiener Philharmoniker, Claudio Abbado | T-322.178.813-8 | |
| 46-4 | Hungarian Dances, WoO 1: No. 4 in F-sharp minor: Poco sostenuto — Vivace | Wiener Philharmoniker, Claudio Abbado | T-909.573.827-5 | |
| 46-5 | Hungarian Dances, WoO 1: No. 5 in G minor: Allegro — Vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 46-6 | Hungarian Dances, WoO 1: No. 6 in D major: Vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 46-7 | Hungarian Dances, WoO 1: No. 7 in F major: Allegretto — Vivo | Wiener Philharmoniker, Claudio Abbado | T-312.524.872-4 | |
| 46-8 | Hungarian Dances, WoO 1: No. 8 in A minor: Presto | Wiener Philharmoniker, Claudio Abbado | T-312.524.872-4 | |
| 46-9 | Hungarian Dances, WoO 1: No. 9 in E minor: Allegro ma non troppo | Wiener Philharmoniker, Claudio Abbado | T-900.021.735-6 | |
| 46-10 | Hungarian Dances, WoO 1: No. 10 in F major: Presto | Wiener Philharmoniker, Claudio Abbado | T-909.573.827-5 | |
| 46-11 | Hungarian Dances, WoO 1: No. 11 in D minor: Poco andante | Wiener Philharmoniker, Claudio Abbado | T-900.833.446-1 | |
| 46-12 | Hungarian Dances, WoO 1: No. 12 in D minor: Presto | Wiener Philharmoniker, Claudio Abbado | — | |
| 46-13 | Hungarian Dances, WoO 1: No. 13 in D major: Adnantino grazioso — Vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 46-14 | Hungarian Dances, WoO 1: No. 14 in D minor: Un poco Andante | Wiener Philharmoniker, Claudio Abbado | T-915.711.196-1 | |
| 46-15 | Hungarian Dances, WoO 1: No. 15 in B-flat major: Allegretto grazioso | Wiener Philharmoniker, Claudio Abbado | — | |
| 46-16 | Hungarian Dances, WoO 1: No. 16 in F minor: Con moto | Wiener Philharmoniker, Claudio Abbado | — | |
| 46-17 | Hungarian Dances, WoO 1: No. 17 in F-sharp minor: Andantino vivace | Wiener Philharmoniker, Claudio Abbado | T-909.573.827-5 | |
| 46-18 | Hungarian Dances, WoO 1: No. 18 in D major: Molto vivace | Wiener Philharmoniker, Claudio Abbado | T-322.183.356-9 | |
| 46-19 | Hungarian Dances, WoO 1: No. 19 in B minor: Allegretto | Wiener Philharmoniker, Claudio Abbado | T-915.711.980-7 | |
| 46-20 | Hungarian Dances, WoO 1: No. 20 in E minor: Poco allegretto — Vivace | Wiener Philharmoniker, Claudio Abbado | T-329.391.163-0 | |
| 46-21 | Hungarian Dances, WoO 1: No. 21 in E minor: Vivace | Wiener Philharmoniker, Claudio Abbado | T-329.391.160-7 | |
| 47-1 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 1. Allegro non troppo | Maurizio Pollini, Wiener Philharmoniker, Claudio Abbado | T-322.446.876-8 | |
| 47-2 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 2. Allegro appassionato | Maurizio Pollini, Wiener Philharmoniker, Claudio Abbado | T-322.446.817-7 | |
| 47-3 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 3. Andante – Più adagio | Maurizio Pollini, Robert Scheiwein, Wiener Philharmoniker, Claudio Abbado | T-322.449.900-3 | |
| 47-4 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 4. Allegretto grazioso — Un poco più presto | Maurizio Pollini, Wiener Philharmoniker, Claudio Abbado | T-322.446.992-1 | |
| 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: I. Maestoso | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 50-2 | Concerto for Piano and Orchestra no. 1 in D Minor, op. 15: II. Adagio | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 50-3 | Concerto for Piano and Orchestra no. 1 in D Minor, op. 15: III. Rondo. Allegro Non Troppo | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 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: Allegro - L'istesso tempo, un poco maestoso - Animato - Maestoso | Berliner Philharmoniker, Claudio Abbado | T-901.158.945-0 | |
| 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 | Wiener Philharmoniker, Claudio Abbado | — | |
| 60-2 | Symphony no. 7 in E major (ed. Leopold Nowak): 2. Adagio. Sehr feierlich und sehr langsam | Wiener Philharmoniker, Claudio Abbado | — | |
| 60-3 | Symphony no. 7 in E major (ed. Leopold Nowak): 3. Scherzo. Sehr schnell - Trio. Etwas langsamer | Wiener Philharmoniker, Claudio Abbado | — | |
| 60-4 | Symphony no. 7 in E major (ed. Leopold Nowak): 4. Finale. Bewegt, doch nicht schnell | Wiener Philharmoniker, Claudio Abbado | — | |
| 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: I. Allegro maestoso | Martha Argerich, London Symphony Orchestra, Claudio Abbado | T-308.381.369-4 | |
| 65-2 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: II. Romance. Larghetto | Martha Argerich, London Symphony Orchestra, Claudio Abbado | T-308.381.369-4 | |
| 65-3 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: III. Rondo. Vivace | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 65-4 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: I. Allegro maestoso | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 65-5 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: II. Quasi adagio / III. Allegretto vivace - Allegro animato | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 65-6 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: IV. Allegro marziale animato | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 66-1 | Piano Concerto no. 2 in F minor, op. 21: I. Maestoso | Ivo Pogorelich, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 66-2 | Piano Concerto no. 2 in F minor, op. 21: I. Maestoso | Ivo Pogorelich, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 66-3 | Piano Concerto no. 2 in F minor, op. 21: I. Maestoso | Ivo Pogorelich, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 66-4 | Polonaise in F-sharp minor, op. 44: Tempo di polacca - Doppio movimento, tempo di mazurka - Tempo I | Ivo Pogorelich | T-918.019.319-5 | |
| 67-1 | Prélude à l'après-midi d'un faune, L 86: Très modéré | Berliner Philharmoniker, Claudio Abbado | — | |
| 67-2 | Nocturnes, L 91: 1. Nuages. Modéré - Un peu animé | Rundfunkchor Berlin, Berliner Philharmoniker, Claudio Abbado | — | |
| 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 | Berliner Philharmoniker, Claudio Abbado | — | |
| 67-4 | Nocturnes, L 91: 3. Sirènes (with women's chorus). Modérément animé | Rundfunkchor Berlin, Berliner Philharmoniker, Claudio Abbado | — | |
| 67-5 | Pelléas et Melisande - Concert Suite, L 88: Acte I. Une forêt | Berliner Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 67-6 | Pelléas et Melisande - Concert Suite, L 88: Acte II, scène 1. Une fontaine dans le parc | Berliner Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 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 | Berliner Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 67-8 | Pelléas et Melisande - Concert Suite, L 88: Acte V: Une chambre dans le château | Berliner Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 68-1 | Nocturnes, L 91: 1. Nuages. Modéré - Un peu animé | Boston Symphony Orchestra, Claudio Abbado | — | |
| 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 | Boston Symphony Orchestra, Claudio Abbado | — | |
| 68-3 | Nocturnes, L 91: 3. Sirènes. Modérément animé | New England Conservatory Chorus, Boston Symphony Orchestra, Claudio Abbado | — | |
| 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 | Lorna Cooke deVaron, New England Conservatory Chorus, Boston Symphony Orchestra, Claudio Abbado | — | |
| 68-5 | Pavane pour une infante défunte, M. 19: Lent | London Symphony Orchestra, Claudio Abbado | T-003.013.767-7 | |
| 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: Beginning | London Symphony Orchestra, Claudio Abbado | T-920.035.883-4 | |
| 69-2 | La damoiselle élue, L 62: Chœur : « La Damoiselle élue s’appuyait » (chœur, une récitante) | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 69-3 | La damoiselle élue, L 62: La Damoiselle : « Je voudrais qu’il fût déjà près de moi » | Maria Ewing, London Symphony Orchestra, Claudio Abbado | — | |
| 69-4 | La damoiselle élue, L 62: Chœur : « La lumière tressaillit … » (chœur, une récitante) | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 69-5 | Prélude à l’après-midi d’un faune, L 86: Très modéré | Peter Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 69-6 | Images pour orchestre Nᵒ 2 « Ibéria », L 122: 1. Par les rues et par les chemins. Assez animé | London Symphony Orchestra, Claudio Abbado | — | |
| 69-7 | Images pour orchestre Nᵒ 2 « Ibéria », L 122: 2. Les Parfums de la nuit. Lent et rêveur | London Symphony Orchestra, Claudio Abbado | — | |
| 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 | London Symphony Orchestra, Claudio Abbado | — | |
| 70-1 | Pelléas et Mélisande, L 88: Acte I, Scène 1.« Je ne pourrai plus sortir de cette forêt » (Golaud) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-2 | Pelléas et Mélisande, L 88: Acte I, Scène 1. « Pourquoi pleures-tu? » (Golaud, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-3 | Pelléas et Mélisande, L 88: Acte I, Scène 1. « Je suis perdu aussi » (Golaud) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-4 | Pelléas et Mélisande, L 88: Acte I, Scène 2. « Voici ce qu'il écrit à son frère Pelléas » (Geneviève) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-5 | Pelléas et Mélisande, L 88: Acte I, Scène 2. « Qu'en dites-vous ? » (Geneviève, Arkel, Pelléas) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-6 | Pelléas et Mélisande, L 88: Acte II, Scène 2. Interlude | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-7 | Pelléas et Mélisande, L 88: Acte I, Scène 3. « Il fait sombre dans les jardins » (Mélisande, Geneviève, Pelléas) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-8 | Pelléas et Mélisande, L 88: Acte I, Scène 3. « Hoé! Hisse Hoé! » (marins, Mélisande, Pelléas, Geneviève) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-9 | Pelléas et Mélisande, L 88: Acte II, Scène 1. « Vous ne savez pas où je vous ai menée ? » (Pelléas, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-10 | Pelléas et Mélisande, L 88: Acte II, Scène 1. « C'est au bord d'une fontaine » (Pelléas, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-11 | Pelléas et Mélisande, L 88: Acte I, Scène 2. Interlude | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-12 | Pelléas et Mélisande, L 88: Acte II, Scène 2. « Ah ! Ah ! Tout va bien » (Golaud, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-13 | Pelléas et Mélisande, L 88: Acte II, Scène 2. « Voyons, donne-moi ta main » (Golaud, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-14 | Pelléas et Mélisande, L 88: Acte II, Scène 1. Interlude | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-15 | Pelléas et Mélisande, L 88: Acte II, Scène 3. « Oui, c'est ici, nous y sommes » (Pelléas, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-16 | Pelléas et Mélisande, L 88: Acte III, Scène 1. « Mes longs cheveux descendent jusqu'au seuil de la tour » (Mélisande, Pelléas) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-17 | Pelléas et Mélisande, L 88: Acte III, Scène 1. « Je les tiens dans les mains » (Pelléas, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-18 | Pelléas et Mélisande, L 88: Acte III, Scène 1. « Que faites-vous ici ? » (Golaud, Pelléas) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-19 | Pelléas et Mélisande: Troisième Acte, Scène 1. « Prenez garde ; par ici, par ici » (Golaud, Pelléas) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-1 | Pelléas et Mélisande, L 88: Acte III, Scène 3. Interlude … « Ah ! Je respire enfin ! » (Pelléas, Golaud) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 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: Acte IV, Scène 1. « Où vas-tu ? » (Pelléas, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 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: Acte IV, Scène 2. « Ne mettez pas ainsi votre main à la gorge » (Golaud, Arkel, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-9 | Pelléas et Mélisande, L 88: Acte III, Scène 3. Interlude | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-10 | Pelléas et Mélisande, L 88: Acte IV, Scène 2. « Oh ! Cette pierre est lourde » (Yniold, un berger) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-11 | Pelléas et Mélisande, L 88: Acte IV, Scène 4. «C'est le dernier soir» | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-12 | Pelléas et Mélisande, L 88: Acte IV, Scène 4. «Nous sommes venus ici il y a bien longtemps» | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-13 | Pelléas et Mélisande, L 88: Acte IV, Scène 4. «On dirait que ta voix a passé sur la mer au printemps» | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-14 | Pelléas et Mélisande, L 88: Acte IV, Scène 4. «Quel est ce bruit?» | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 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: Acte V. « Attention ; je crois qu'elle s'éveille » (le médecin, Mélisande, Arkel, Golaud) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-17 | Pelléas et Mélisande, L 88: Acte V. « Mélisande, as-tu pitié de moi comme j'ai pitié da toi ? » (Golaud, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 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: Acte V. « Qu'y a-t-il » (Golaud, le médecin, Arkel) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 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, Op. 95 "New World": II. Largo | Berliner Philharmoniker, Claudio Abbado | T-902.286.256-2 | |
| 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: IV. Finale. Presto ma non troppo | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-2 | Symphony in D major, Hob. I:93: IV. Finale. Presto ma non troppo | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-3 | Symphony in D major, Hob. I:93: IV. Finale. Presto ma non troppo | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-4 | Symphony in D major, Hob. I:93: IV. Finale. Presto ma non troppo | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-5 | Symphony in D major, Hob. I:101 "The Clock": III. Menuet. Allegretto - Trio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-6 | Symphony in D major, Hob. I:101 "The Clock": III. Menuet. Allegretto - Trio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-7 | Symphony in D major, Hob. I:101 "The Clock": III. Menuet. Allegretto - Trio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-8 | Symphony in D major, Hob. I:101 "The Clock": III. Menuet. Allegretto - Trio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 74-1 | Symphony in D major, Hob. I:96 "The Miracle": I. Adagio - Allegro | The Chamber Orchestra of Europe, Claudio Abbado | T-306.395.786-4 | |
| 74-2 | Symphony in D major, Hob. I:96 "The Miracle": II. Andante | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 74-3 | Symphony in D major, Hob. I:96 "The Miracle": III. Menuetto. Allegretto - Trio - Menuetto | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 74-4 | Symphony in D major, Hob. I:96 "The Miracle": IV. Finale. Vivace (assai) | The Chamber Orchestra of Europe, Claudio Abbado | T-318.676.528-2 | |
| 74-5 | Sinfonia Concertante in B-flat major, Hob. I:105: I. Allegro | The Chamber Orchestra of Europe, Claudio Abbado | T-800.184.797-9 | |
| 74-6 | Sinfonia Concertante in B-flat major, Hob. I:105: II. Andante | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 74-7 | Sinfonia Concertante in B-flat major, Hob. I:105: III. Allegro con spirito | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 75-1 | Overture to "Il mondo della luna", Hob. XXVIII:7 | The Chamber Orchestra of Europe, Claudio Abbado | T-071.017.492-7 | |
| 75-2 | Symphony in B-flat major, Hob. I:98: I. Adagio - Allegro | The Chamber Orchestra of Europe, Claudio Abbado | T-306.395.786-4 | |
| 75-3 | Symphony in B-flat major, Hob. I:98: II. Adagio cantabile | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 75-4 | Symphony in B-flat major, Hob. I:98: III. Menuetto. Allegro | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 75-5 | Symphony in B-flat major, Hob. I:98: IV. Finale. Presto | The Chamber Orchestra of Europe, Claudio Abbado | T-318.676.528-2 | |
| 75-6 | Symphony in G major, Hob. I:100 "Military": I. Adagio - Allegro | The Chamber Orchestra of Europe, Claudio Abbado | T-306.395.786-4 | |
| 75-7 | Symphony in G major, Hob. I:100 "Military": II. Allegretto | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 75-8 | Symphony in G major, Hob. I:100 "Military": III. Menuet. Moderato | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 75-9 | Symphony in G major, Hob. I:100 "Military": IV. Finale. Presto | The Chamber Orchestra of Europe, Claudio Abbado | T-318.676.528-2 | |
| 76-1 | Symphony in B-flat major, Hob. I:102: I. Largo | The Chamber Orchestra of Europe, Claudio Abbado | T-931.717.545-4 | |
| 76-2 | Symphony in B-flat major, Hob. I:102: II. Adagio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 76-3 | Symphony in B-flat major, Hob. I:102: III. Menuet. Allegro - Trio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 76-4 | Symphony in B-flat major, Hob. I:102: IV. Finale. Presto | The Chamber Orchestra of Europe, Claudio Abbado | T-318.676.528-2 | |
| 76-5 | Symphony in E-flat major, Hob. I:103 "Drum Roll": I. Adagio - Allegro con spirito | The Chamber Orchestra of Europe, Claudio Abbado | T-921.506.221-8 | |
| 76-6 | Symphony in E-flat major, Hob. I:103 "Drum Roll": II. Andante più tosto Allegretto | The Chamber Orchestra of Europe, Claudio Abbado | T-910.783.706-9 | |
| 76-7 | Symphony in E-flat major, Hob. I:103 "Drum Roll": III. Menuet - Trio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 76-8 | Symphony in E-flat major, Hob. I:103 "Drum Roll": IV. Finale. Allegro con spirito | The Chamber Orchestra of Europe, Claudio Abbado | T-318.676.528-2 | |
| 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: I. Allegretto - Allegro - Maestoso | Berliner Philharmoniker, Claudio Abbado | T-900.952.974-2 | |
| 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 | Jürgen Ruck, Berliner Philharmoniker, Claudio Abbado | — | |
| 80-2 | Gruppen | Berliner Philharmoniker, Friedrich Goldmann, Claudio Abbado, Marcus Creed | — | |
| 81-1 | Symphonie no. 1: IV. Stürmisch bewegt | Berliner Philharmoniker, Claudio Abbado | T-900.953.062-5 | |
| 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: Erste Abteilung “Kräftig. Entschieden”: I. Kraftig. Entschieden | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-2 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: II. Immer das gleiche Tempo | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-3 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: III. Tempo I | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-4 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: IV. Zeit lassen | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-5 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: V. Zeit lassen | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-6 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: VI. Immer dasselbe Tempo (Marsch) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-7 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: VII. Im alten Marschtempo (Allegro moderato): 3 Takte nach | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-8 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: VIII. Tempo I | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-1 | Symphony no. 3 in D minor, Part II: II. Tempo di Menuetto. Sehr mäßig | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-2 | Symphony no. 3 in D minor, Part II: II. L’istesso tempo (3) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-3 | Symphony no. 3 in D minor, Part II: II. A tempo (Wie im Anfang) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-4 | Symphony no. 3 in D minor, Part II: II. Ganz Plötzlig gemächlich. Tempo di Menuetto (14) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-5 | Symphony no. 3 in D minor, Part II: III. Comodo. Scherzando. Ohne Hast | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-6 | Symphony no. 3 in D minor, Part II: III. Wieder sehr gemächlich, wie zu Anfang (6) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-7 | Symphony no. 3 in D minor, Part II: III. Etwas Zurückhaltend: 6 Takte vor/before/avant (14) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-8 | Symphony no. 3 in D minor, Part II: III. Tempo I: 2 Takte vor (17) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-9 | Symphony no. 3 in D minor, Part II: III. Wieder sehr gemächlich, beinahe langsam (27) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-10 | Symphony no. 3 in D minor, Part II: IV. Sehr langsam. Misterioso. Durchaus ppp | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-11 | Symphony no. 3 in D minor, Part II: IV. Più mosso subito: 6 Takte nach (6) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-12 | Symphony no. 3 in D minor, Part II: V. Lustig im Tempo und keck im Ausdruck | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-13 | Symphony no. 3 in D minor, Part II: VI. Langsam. Ruhevoll. Empfunden | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-14 | Symphony no. 3 in D minor, Part II: VI. Nicht mehr so breit (4) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-15 | Symphony no. 3 in D minor, Part II: VI. Tempo I Ruhevoll (9) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-16 | Symphony no. 3 in D minor, Part II: VI. Nicht mehr so breit (13) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-17 | Symphony no. 3 in D minor, Part II: VI. Tempo I (21) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-18 | Symphony no. 3 in D minor, Part II: VI. Langsam. Tempo I (25) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-19 | [applause] | [no artist] | T-072.571.419-1 | |
| 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: Teil III: IV. Adagietto. Sehr langsam | Berliner Philharmoniker, Claudio Abbado | — | |
| 86-2 | Symphony no. 5: Teil III: IV. Adagietto. Sehr langsam | Berliner Philharmoniker, Claudio Abbado | — | |
| 86-3 | Symphony no. 5: Teil III: IV. Adagietto. Sehr langsam | Berliner Philharmoniker, Claudio Abbado | — | |
| 86-4 | Symphony no. 5: Teil III: IV. Adagietto. Sehr langsam | Berliner Philharmoniker, Claudio Abbado | — | |
| 86-5 | Symphony no. 5: Teil III: IV. Adagietto. Sehr langsam | Berliner Philharmoniker, Claudio Abbado | — | |
| 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: I. Langsam (Adagio) – Allegro risoluto, ma non troppo | Berliner Philharmoniker, Claudio Abbado | — | |
| 88-2 | Symphony no. 7: II. Nachtmusik. Allegro moderato | Berliner Philharmoniker, Claudio Abbado | — | |
| 88-3 | Symphony no. 7: III. Scherzo. Schattenhaft – Trio | Berliner Philharmoniker, Claudio Abbado | — | |
| 88-4 | Symphony no. 7: IV. Nachtmusik. Andante amoroso | Berliner Philharmoniker, Claudio Abbado | — | |
| 88-5 | Symphony no. 7: V. Rondo-finale. Tempo I (Allegro ordinario) | Berliner Philharmoniker, Claudio Abbado | — | |
| 88-6 | [applause] | [no artist] | T-072.571.419-1 | |
| 89-1 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-2 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-3 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-4 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-5 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-6 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-7 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-8 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-1 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-2 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-3 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-4 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-5 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-6 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-7 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-8 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-9 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-10 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-11 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-12 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-13 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-14 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-15 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-16 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 91-1 | Symphony no. 9 in D major: I. Andante comodo | Berliner Philharmoniker, Claudio Abbado | — | |
| 91-2 | Symphony no. 9 in D major: II. Im Tempo eines gemaechlichen Laendlers. Etwas taeppisch und sehr derb. | Berliner Philharmoniker, Claudio Abbado | — | |
| 91-3 | Symphony no. 9 in D major: III. Rondo-Burleske. Allegro assai. Sehr trotzig. | Berliner Philharmoniker, Claudio Abbado | — | |
| 91-4 | Symphony no. 9 in D major: IV. Adagio. Sehr langsam und noch zurueckhaltend. | Berliner Philharmoniker, Claudio Abbado | T-318.676.528-2 | |
| 91-5 | Applause | — | ||
| 92-1 | Symphonie no. 10 fis-moll: d. Ziffer 24 | Wiener Philharmoniker, Claudio Abbado | — | |
| 92-2 | Symphonie no. 10 fis-moll: d. Ziffer 24 | Wiener Philharmoniker, Claudio Abbado | — | |
| 92-3 | Symphonie no. 10 fis-moll: d. Ziffer 24 | Wiener Philharmoniker, Claudio Abbado | — | |
| 92-4 | Symphonie no. 10 fis-moll: d. Ziffer 24 | Wiener Philharmoniker, Claudio Abbado | — | |
| 92-5 | Symphonie no. 10 fis-moll: d. Ziffer 24 | Wiener Philharmoniker, Claudio Abbado | — | |
| 92-6 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 92-7 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 92-8 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 92-9 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 92-10 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-1 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-2 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-3 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-4 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-5 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-6 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-7 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-8 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-9 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-10 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-11 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-12 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-13 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-14 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-15 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-16 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-17 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-18 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-19 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-20 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 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 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-2 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-3 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-4 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-5 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-6 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-7 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-8 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-9 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 96-1 | Symphonie no. 4: I. Bedächtig. Nicht eilen | Wiener Philharmoniker, Claudio Abbado | — | |
| 96-2 | Symphonie no. 4: IV. Sehr behaglich "Wir genießen die himmlischen Freuden" | Frederica von Stade, Wiener Philharmoniker, Claudio Abbado | — | |
| 96-3 | Symphonie no. 4: IV. Sehr behaglich "Wir genießen die himmlischen Freuden" | Frederica von Stade, Wiener Philharmoniker, Claudio Abbado | — | |
| 96-4 | Symphonie no. 4: IV. Sehr behaglich "Wir genießen die himmlischen Freuden" | Frederica von Stade, Wiener Philharmoniker, Claudio Abbado | — | |
| 97-1 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-2 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-3 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-4 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-5 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-6 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-7 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-8 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-9 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-10 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-11 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-12 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-13 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-14 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-15 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-16 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-17 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-18 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-19 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-20 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-21 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-22 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-23 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-24 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-25 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-26 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-27 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-28 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-29 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-30 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-31 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 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 | Chicago Symphony Orchestra, Claudio Abbado | T-070.275.805-1 | |
| 99-2 | Symphony no. 2 “Resurrection”: 1. Sehr mäßig und zurückhaltend | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-3 | Symphony no. 2 “Resurrection”: 1. Sehr langsam beginnend | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-4 | Symphony no. 2 “Resurrection”: 2. Andante moderato | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-5 | Symphony no. 2 “Resurrection”: 3. [Scherzo]. In ruhig fließender Bewegung | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-6 | Symphony no. 2 “Resurrection”: 4. »Urlicht«. Sehr feierlich, aber schlicht - »O Röschen rot« (alto solo) | Marilyn Horne, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-7 | Symphony no. 2 “Resurrection”: 5. Im Tempo des Scherzo. Wild herausfahrend | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-8 | Symphony no. 2 “Resurrection”: 5. Langsam | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-9 | Symphony no. 2 “Resurrection”: 5. Im Anfang sehr zurückgehalten | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-10 | Symphony no. 2 “Resurrection”: 5. Wieder sehr breit | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-11 | Symphony no. 2 “Resurrection”: 5. Maestoso. Sehr zurückhaltend | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-12 | Symphony no. 2 “Resurrection”: 5. Wieder zurückhaltend | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-13 | Symphony no. 2 “Resurrection”: 5. Langsam, immer noch mehr zurückhaltend | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-14 | Symphony no. 2 “Resurrection”: 5. Sehr langsam und gedehnt | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-15 | Symphony no. 2 “Resurrection”: 5. Langsam. Misterioso »Auferstehen, ja auferstehen wirst du« (soprano solo, chorus) | Margaret Hillis, Chicago Symphony Chorus, Carol Neblett, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-16 | Symphony no. 2 “Resurrection”: 5. Etwas bewegter »O glaube, mein Herz, o glaube« (alto & soprano solo) | Marilyn Horne, Carol Neblett, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-17 | Symphony no. 2 “Resurrection”: 5. Wieder etwas zurückhaltend »Was entstanden ist, das muss vergehen« (chorus, alto & soprano solo) | Margaret Hillis, Chicago Symphony Chorus, Marilyn Horne, Carol Neblett, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 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 | Symphony no. 6 in A minor, III. Andante moderato | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 101-2 | Symphony no. 6 in A minor, III. Andante moderato | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 101-3 | Symphony no. 6 in A minor, III. Andante moderato | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 102-1 | Symphony no. 6 in A minor, III. Andante moderato | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 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 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-2 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-3 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-4 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-5 | Symphony no. 7: 1. [bar 171] | — | ||
| 103-6 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-7 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-8 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-9 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-10 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-11 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-12 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-13 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-14 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-15 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-16 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-17 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-18 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-19 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-20 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-21 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 104-1 | Des Knaben Wunderhorn: I. Revelge | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-303.204.042-5 | |
| 104-2 | Des Knaben Wunderhorn: II. Rheinlegendchen | Anne Sofie von Otter, Berliner Philharmoniker, Claudio Abbado | — | |
| 104-3 | Des Knaben Wunderhorn: III. Trost im Unglück | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-904.908.073-1 | |
| 104-4 | Des Knaben Wunderhorn: IV. Verlorne Müh | Anne Sofie von Otter, Berliner Philharmoniker, Claudio Abbado | — | |
| 104-5 | Des Knaben Wunderhorn: V. Der Schildwache Nachtlied | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-904.908.073-1 | |
| 104-6 | Des Knaben Wunderhorn: VI. Das irdische Leben | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | — | |
| 104-7 | Des Knaben Wunderhorn: VII. Lied des Verfolgten im Turm | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-904.908.073-1 | |
| 104-8 | Des Knaben Wunderhorn: VIII. Wer hat dies Liedlein erdacht? | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | — | |
| 104-9 | Des Knaben Wunderhorn: IX. Des Antonius von Padua Fischpredigt | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-904.908.073-1 | |
| 104-10 | Des Knaben Wunderhorn: X. Lob des hohen Verstandes | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-904.908.073-1 | |
| 104-11 | Des Knaben Wunderhorn: XI. Wo die schönen Trompeten blasen | Anne Sofie von Otter, Berliner Philharmoniker, Claudio Abbado | T-917.182.185-5 | |
| 104-12 | Des Knaben Wunderhorn: XII. Der Tamboursg'sell | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-904.908.073-1 | |
| 104-13 | Des Knaben Wunderhorn: XIII. Urlicht | Anne Sofie von Otter, Berliner Philharmoniker, Claudio Abbado | T-915.187.590-0 | |
| 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: 9. Andante sostenuto assai - [Duet]: »Drum sing' ich mit meinem Liede ewig dein Lob« (tenor, soprano I) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-2 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-3 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 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: 9. Andante sostenuto assai - [Duet]: »Drum sing' ich mit meinem Liede ewig dein Lob« (tenor, soprano I) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-6 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-7 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-8 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-9 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-10 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-11 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-12 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-14 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 107-1 | Symphony no. 3 in A minor "Scottish", op. 56: IV. Allegro vivacissimo – Allegro maestoso assai | London Symphony Orchestra, Claudio Abbado | — | |
| 107-2 | Symphony no. 3 in A minor "Scottish", op. 56: IV. Allegro vivacissimo – Allegro maestoso assai | London Symphony Orchestra, Claudio Abbado | — | |
| 107-3 | Symphony no. 3 in A minor "Scottish", op. 56: IV. Allegro vivacissimo – Allegro maestoso assai | London Symphony Orchestra, Claudio Abbado | — | |
| 107-4 | Symphony no. 3 in A minor "Scottish", op. 56: IV. Allegro vivacissimo – Allegro maestoso assai | London Symphony Orchestra, Claudio Abbado | — | |
| 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, op. 90 “Italian”: I. Allegro vivace | London Symphony Orchestra, Claudio Abbado | — | |
| 108-2 | Symphony no. 4 in A major, op. 90 “Italian”: I. Allegro vivace | London Symphony Orchestra, Claudio Abbado | — | |
| 108-3 | Symphony no. 4 in A major, op. 90 “Italian”: I. Allegro vivace | London Symphony Orchestra, Claudio Abbado | — | |
| 108-4 | Symphony no. 4 in A major, op. 90 “Italian”: I. Allegro vivace | London Symphony Orchestra, Claudio Abbado | — | |
| 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: I. Allegro molto appassionato | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 110-2 | Concerto for Violin and Orchestra in E minor, op. 64: II. Andante | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | T-071.481.827-5 | |
| 110-3 | Concerto for Violin and Orchestra in E minor, op. 64: III. Allegretto non troppo - Allegro molto vivace | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 110-4 | Concerto for Violin and Orchestra no. 1 in G minor, op. 26: I. Vorspiel. Allegro moderato - attacca: | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 110-5 | Concerto for Violin and Orchestra no. 1 in G minor, op. 26: II. Adagio | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | T-071.481.827-5 | |
| 110-6 | Violinkonzert Nr. 1 g-Moll, op. 26: III. Allegro energico | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | T-700.095.171-5 | |
| 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 | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Piece for Orchestra, op. 6 no. 1: Präludium. Langsam | London Symphony Orchestra, Claudio Abbado | — |
| Piece for Orchestra, op. 6 no. 2: Reigen. Anfangs etwas zögernd - Leicht beschwingt | London Symphony Orchestra, Claudio Abbado | — |
| Piece for Orchestra, op. 6 no. 3: Marsch. Mässiges Marschtempo | London Symphony Orchestra, Claudio Abbado | — |
| 3 Pieces from the “Lyric Suite”, Version for String Orchestra (1928): 1. Andante amoroso | Wiener Philharmoniker, Claudio Abbado | — |
| 3 Pieces from the “Lyric Suite”, Version for String Orchestra (1928): 2. Allegro misterioso - Trio estatico | Wiener Philharmoniker, Claudio Abbado | — |
| 3 Pieces from the “Lyric Suite”, Version for String Orchestra (1928): 3. Adagio appassionato | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 1. Nacht | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 2. Schilflied | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 3. Die Nachtigall | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 4. Traumgekrönt | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 5. Im Zimmer | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 6. Liebesode | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 7. Sommertage | Wiener Philharmoniker, Claudio Abbado | — |
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| Stele, op. 33 (revised version): 1. Adagio - | Berliner Philharmoniker, Claudio Abbado | T-070.160.313-5 |
| Stele, op. 33 (revised version): 2. Lamentoso - disperato, con moto. Nicht zu schnell, aber wild, gehetzt, ungeduldig - | Berliner Philharmoniker, Claudio Abbado | T-802.784.175-5 |
| Stele, op. 33 (revised version): 3. Molto sostenuto | Berliner Philharmoniker, Claudio Abbado | — |
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| Symphony no. 40 in G minor with clarinets, K. 550: I. Allegro molto | London Symphony Orchestra, Claudio Abbado | T-003.035.132-6 |
| Symphony no. 40 in G minor with clarinets, K. 550: II. Andante | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 |
| Symphony no. 40 in G minor with clarinets, K. 550: III. Minuetto. Allegretto & Trio | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 |
| Symphony no. 40 in G minor with clarinets, K. 550: IV. Allegro assai | London Symphony Orchestra, Claudio Abbado | T-306.395.786-4 |
| Symphony no. 41 in C major, K. 551 "Jupiter": I. Allegro vivace | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 |
| Symphony no. 41 in C major, K. 551 "Jupiter": II. Andante cantabile | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 |
| Symphony no. 41 in C major, K. 551 "Jupiter": III. Minuetto. Allegretto & Trio | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 |
| Symphony no. 41 in C major, K. 551 "Jupiter": IV. Allegro molto | London Symphony Orchestra, Claudio Abbado | T-003.035.132-6 |
| Konzert für Klavier und Orchester Nr. 8 C-dur, KV 246 "Lützow-Konzert": 1. Allegro aperto (kadenz: Mozart) | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester Nr. 8 C-dur, KV 246 "Lützow-Konzert": 2. Andante (kadenz: Mozart) | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester Nr. 8 C-dur, KV 246 "Lützow-Konzert": 3. Rondeau. Tempo di Menuetto (kadenz: Mozart) | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Piano Concerto no. 12 in A, KV 414: I. Allegro | London Symphony Orchestra, Rudolf Serkin, Claudio Abbado | T-011.422.353-8 |
| Piano Concerto no. 12 in A, KV 414: II. Andante | London Symphony Orchestra, Rudolf Serkin, Claudio Abbado | — |
| Piano Concerto no. 12 in A, KV 414: III. Rondeau. Allegretto | London Symphony Orchestra, Rudolf Serkin, Claudio Abbado | — |
| Concerto for Piano no. 9 in E-flat major, K. 271 "Jenamy": I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 9 in E-flat major, K. 271 "Jenamy": II. Andantino | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 9 in E-flat major, K. 271 "Jenamy": III. Rondeau. Presto - adagio & Menuetto. Cantabile - tempo primo | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 17 in G major, K. 453 "Second Ployer": I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-071.070.336-8 |
| Concerto for Piano no. 17 in G major, K. 453 "Second Ployer": II. Andante | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 17 in G major, K. 453 "Second Ployer": III. Allegretto & Finale. Presto | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-902.774.400-9 |
| Concerto for Piano and Orchestra no. 15 in B-flat major, K. 450: I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 15 in B-flat major, K. 450: II. Andante | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 15 in B-flat major, K. 450: III. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 22 in E-flat major, K. 482: I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-070.161.055-0 |
| Concerto for Piano and Orchestra no. 22 in E-flat major, K. 482: II. Andante | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 22 in E-flat major, K. 482: III. Allegro - Andantino cantabile - Primo tempo | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester Nr. 18 B-dur KV 456: 1. Allegro vivace | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester Nr. 18 B-dur KV 456: 2. Andante un poco sostenuto | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester Nr. 18 B-dur KV 456: 3. Allegro vivace | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Piano Concerto no. 24 in C minor, K. 491: I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-011.422.353-8 |
| Piano Concerto no. 24 in C minor, K. 491: II. Larghetto | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-926.819.124-8 |
| Piano Concerto no. 24 in C minor, K. 491: III. (Allegretto) | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 25 in C major, K. 503: II. Andante | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 25 in C major, K. 503: III. Allegretto | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Piano Concerto no. 19 in F, KV 459: I. Allegro vivace | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Piano Concerto no. 19 in F, KV 459: II. Allegretto | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester no. 20 D-moll KV 466: I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-011.422.353-8 |
| Konzert für Klavier und Orchester no. 20 D-moll KV 466: II. Romance | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester no. 20 D-moll KV 466: III. Rondo (Allegro assai) | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-306.395.786-4 |
| Konzert für Klavier und Orchester Nr. 27 B-dur, KV 595: 2. Larghetto | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 21 in C major, K. 467 "Elvira Madigan": II. Andante | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Piano Concerto no. 23 in A, K. 488: I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-011.422.353-8 |
| Piano Concerto no. 23 in A, K. 488: II. Adagio | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-915.711.586-1 |
| Piano Concerto no. 23 in A, K. 488: III. Allegro assai | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-306.395.786-4 |
| Concerto no. 14 in E-flat major for Piano, K. 449: I. Allegro vivace | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto no. 14 in E-flat major for Piano, K. 449: II. Andantino | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto no. 14 in E-flat major for Piano, K. 449: III. Allegro ma non troppo | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano No. 26 in D major, K. 537: I. Allegro | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | T-070.160.313-5 |
| Piano Concerto no. 26 in D major, K 537 "Coronation": II. Larghetto | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | T-926.819.124-8 |
| Concerto for Piano No. 26 in D major, K. 537: III. Allegretto | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto no. 17 in G major for Piano, K. 453: I. Allegro | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto no. 17 in G major for Piano, K. 453: II. Andante | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto no. 17 in G major for Piano, K. 453: III. Allegretto | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto for Piano no. 21 in C major, K. 467: I. Allegro | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | T-070.160.313-5 |
| Concerto for Piano no. 21 in C major, K. 467: II. Andante | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto for Piano no. 21 in C major, K. 467: III. Allegro | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | T-306.395.786-4 |
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| Concerto for Piano no. 20 in D minor, K. 466: II. Romanze | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano no. 21 in C major, K. 467 "Elvira Madigan": I. Allegro | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano no. 25 in C-flat major, K. 503: I. Allegro Maestoso | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano no. 25 in C-flat major, K. 503: II. Andante | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano no. 25 in C-flat major, K. 503: III. Allegretto | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano no. 27 in B-flat major, K. 595: I. Allegro | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano no. 27 in B-flat major, K. 595: II. Larghetto | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | T-800.132.125-2 |
| Concerto for Piano no. 27 in B-flat major, K. 595: III. Allegro | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
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| Concerto for Violin and Orchestra (no. 7) in D major, K. 271a (271i): 1. Allegro | David Garrett, Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto for Violin and Orchestra (no. 7) in D major, K. 271a (271i): 2. Andante | David Garrett, Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto for Violin and Orchestra (no. 7) in D major, K. 271a (271i): 3. Rondeau: Allegro | David Garrett, Chamber Orchestra of Europe, Claudio Abbado | T-308.457.046-3 |
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| Oboe Concerto Movement (Allegro) in F, K. 293 (Robert Levin) | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Andante B-Dur, KV 315 | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Oboenkonzert C-Dur, KV 285d/314: I. Allegro aperto | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Oboenkonzert C-Dur, KV 285d/314: II. Adagio ma non troppo | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Oboenkonzert C-Dur, KV 285d/314: III. Rondo. Tempo di menuetto | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Ma che vi fece… Sperai vicino, K.368: Andantino – Allegro | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | T-306.395.786-4 |
| Aria “Al desio, di chi t'adora” in F major, K. 577 | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Andante und Rondo, D-Dur, KV 271a/271i: I., Andante | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Andante und Rondo, D-Dur, KV 271a/271i: II. Rondo - Allegro | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | T-902.773.746-8 |
| Oboenkonzert Nr. 1 d-Moll: I. Allegro | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | T-070.160.313-5 |
| Oboenkonzert Nr. 1 d-Moll: II. Grazioso | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Oboenkonzert Nr. 1 d-Moll: III. Rondo Allegro | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) I. Kyrie Adagio "Kyrie eleison" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) I. Kyrie Adagio "Kyrie eleison" | Gundula Janowitz, Frederica von Stade, Wiesław Ochman, Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) I. Kyrie Adagio "Christie eleison" | Gundula Janowitz, Frederica von Stade, Wiesław Ochman, Kurt Moll, Rudolf Scholz, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) I. Kyrie Adagio "Kyrie eleison" | Gundula Janowitz, Frederica von Stade, Wiesław Ochman, Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Gloria in excelsis Deo" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Laudamus te" | Gundula Janowitz, Frederica von Stade, Rudolf Scholz, Wiener Philharmoniker, Claudio Abbado | T-003.010.019-6 |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Gratias agimus" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Domine Deus" | Wiesław Ochman, Kurt Moll, Rudolf Scholz, Wiener Philharmoniker, Claudio Abbado | T-003.010.019-6 |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Qui tollis peccata mundi" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Quoniam tu solus Sanctus" | Gundula Janowitz, Rudolf Scholz, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Cum Sancto Spiritu" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) III. Credo Allegro "Credo in unum Deum" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | T-900.147.322-9 |
| Missa solemnis KV 139 (47a) III. Credo Allegro "Et incarnatus est" | Gundula Janowitz, Frederica von Stade, Rudolf Scholz, Wiener Philharmoniker, Claudio Abbado | T-924.224.927-0 |
| Missa solemnis KV 139 (47a) III. Credo Allegro "Crucifixus estiam pro nobis" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) III. Credo Allegro "Et resurrexit" | Gundula Janowitz, Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) III. Credo Allegro "Et in spiritum Sanctum" | Wiesław Ochman, Rudolf Scholz, Wiener Philharmoniker, Claudio Abbado | T-915.866.114-4 |
| Missa solemnis KV 139 (47a) III. Credo Allegro "Et in unam sanctam" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) IV. Sanctus Adagio "Sanctus, Sanctus, Sanctus Dominus" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) IV. Sanctus Adagio "Pleni sunt coeli" / "Osanna in excelsis" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) IV. Sanctus Adagio "Benedictus" | Gundula Janowitz, Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | T-106.642.813-3 |
| Missa solemnis KV 139 (47a) IV. Sanctus Adagio "Osanna in excelsis" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) V. Agnus Dei Andante "Agnus Dei, qui tollis peccata mundi" | Gundula Janowitz, Frederica von Stade, Wiesław Ochman, Kurt Moll, Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) V. Agnus Dei Andante "Dona nobis pacem" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Requiem in D minor, K. 626, Süßmayr completion with reconstructions by Franz Beyer (1971/79) and Robert D. Levin (1993): III. Sequentia: Confutatis | Swedish Radio Choir, Berliner Philharmoniker, Claudio Abbado | — |
| Vesperae solennes de confessore for Soloists, Chorus & Orchestra in C major, K. 339: V. "Laudate dominum" | Rachel Harnisch, Radiokören, Kay Johannsen, Berliner Philharmoniker, Claudio Abbado | — |
| Nehmt meinen Dank, ihr holden Gönner, KV 383 | Christine Schäfer, Berliner Philharmoniker, Claudio Abbado | — |
| Exsultate, jubilate, KV 165: "Exsultate, jubilate" | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Mia speranza adorata! - A non sai qual pena sia, KV 416 | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Ch'io mi scordi di te - Non temer, amato bene, KV 505 | Christine Schäfer, Maria João Pires, Berliner Philharmoniker, Claudio Abbado | — |
| Zaide, KV 344: Ruhe sanft, mein holdes Leben | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | T-061.791.492-7 |
| Vorrei spiegarvi, oh Dio! - Ah conte, partite!, KV 418 | Christine Schäfer, Berliner Philharmoniker, Claudio Abbado | T-924.224.904-3 |
| Wiegenlied, op. 41 no. 1 | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Das Rosenband, op. 36 no. 1 | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Liebeshymnus, op. 32 no. 3 | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Das Bächlein, AV 118 | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Morgen!, op. 27 no. 4 | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Le nozze di Figaro: Sinfonia | Wiener Philharmoniker, Claudio Abbado | T-900.133.397-7 |
| Le nozze di Figaro, K 492: Atto I. N. 1 Duettino: “Cinque... dieci... venti... trenta” (Figaro, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Cosa stai misurando” (Susanna, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 2 Duettino: “Se a caso madama la notte ti chiama” (Figaro, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Or bene, ascolta e taci” (Susanna, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. “Bravo, signor padrone!” (Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 3 Cavatina: “Se vuol ballare, signor contino” (Figaro) | Wiener Philharmoniker, Claudio Abbado | T-900.134.079-0 |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Ed aspettaste il giorno” (Bartolo, Marcellina) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 4 Aria: “La vendetta, oh, la vendetta” (Bartolo) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Tutto ancor non ho perso” (Marcellina, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 5 Duettino: “Via, resti servita” (Marcellina, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Va' là, vecchia pedante” (Susanna, Cherubino) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 6 Aria: “Non so più cosa son, cosa faccio” (Cherubino) | Cecilia Bartoli, Wiener Philharmoniker, Claudio Abbado | T-915.310.099-3 |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Ah, son perduto!” ... “Susanna, il ciel vi salvi!” (Cherubino, Susanna, conte, Basilio) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 7 Terzetto: “Cosa sento! Tosto andate” (conte, Basilio, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Basilio, in traccia tosto di Figaro” (conte, Susanna, Cherubino, Basilio) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 8 Coro: “Giovani liete, fiori spargete” (contadini, contadine) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Cos'è questa commedia?” (conte, Figaro, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 9 Coro: “Giovani liete, fiori spargete” (contadini, contadine) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Evviva!” ... “E voi non applaudite?” (Figaro, Susanna, Basilio, Cherubino, conte) 10.3 | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 10 Aria: “Non più andrai, farfallone amoroso” (Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 11 Cavatina: “Porgi, amor, qualche, ristoro” (contessa) | Wiener Philharmoniker, Claudio Abbado | T-306.482.540-3 |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Vieni, cara Susanna” (contessa, Susanna, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Quanto duolmi, Susanna” (contessa, Susanna, Cherubino) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K. 492: Atto II. No. 12 "Voi che sapete" | Dietrich D. Gerpheide, Cecilia Bartoli, Franz Bartolomey, Robert Scheiwein, Ronald Schneider, Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Bravo! Che bella voce!” (contessa, Susanna, Cherubino) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 13 Aria: “Venite, inginocchiatevi” (Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Quante buffonerie!” ... “Chi picchia alla mia porta?” (contessa, Susanna, Cherubino, conte) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. “Che novità! Non fu mai vostra usanza” (conte, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 14 Terzetto: “Susanna, or via sortite” (conte, contessa, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Dunque, voi non aprite?” (conte, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 15 Duettino: “Aprite, presto, aprite” (Susanna, Cherubino) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Oh guarda il demonietto” (Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Tutto è come il lasciai” (conte, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Esci omai, garzon malnato” (conte, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Signore! Cos'è quel stupore?” (Susanna, conte, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Susanna, son morta” (contessa, Susanna, conte) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Signori, di fuori son già i suonatori” (Figaro, conte, Susanna, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Conoscete, signor Figaro” (conte, Figaro, Susanna, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Ah signor! Signor” / “Cos'è stato?” (Antonio, conte, contessa, Susanna, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Vostre dunque saran queste carte” (Antonio, conte, Figaro, Susanna, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Voi, signor, che giusto siete” (Marcellina, Basilio, Bartolo, conte, contessa, Figaro, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “Che imbarazzo è mai questo” ... “Via, fatti core” (conte, contessa, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 17 Duettino: “Crudel! Perché finora, farmi languir così?” (conte, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “E perché fosti meco stamattina sì austera?” ... “Ehi, Susanna, ove vai?” (conte, Susanna, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 18 Recitativo ed aria: “Hai già vinta la causa!” (conte) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 18 Recitativo ed aria: “Vedrò mentr'io sospiro” (conte) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “Andiam, andiam, bel paggio” (Barbarina, Cherubino) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 20 Recitativo ed aria: “E Susanna non vien!” (contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 20 Recitativo ed aria: “Dove sono i bei momenti” (contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “È decisa la lite” (Don Curzio, Marcellina, Figaro, conte, Bartolo) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K.492: Act 3 - "Riconosci in questo amplesso" | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “Eccovi, o caro amico” (Marcellina, Bartolo, Susanna, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “Io vi dico, signor” ... “Cosa mi narri!” (Antonio, conte, contessa, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 21 Duettino: “Sull'aria” ... “Che soave zeffiretto” (contessa, Susanna) | Wiener Philharmoniker, Claudio Abbado | T-900.134.451-0 |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “Piegato è il foglio” (Susanna, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 22 Coro: “Ricevete, o padroncina” (contadinelle) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “Queste sono, madama, le ragazze del loco” ... “Eh cospettaccio!” ... “Signor, se trattenete” (Barbarina, contessa, Susanna, Antonio, conte, Figaro, Cherubino) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 23 Finale: “Ecco la marcia, andiamo” (Figaro, Susanna, conte, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 23 Finale: “Amanti costanti” (due contadine, coro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 23 Finale: “Eh già, solita usanza” (conte, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 23 Finale: “Andate, amici” (conte, coro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 24 Cavatina: “L'ho perduta, me meschina!” (Barbarina) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. Recitativo: “Barbarina, cos'hai?” ... “Madre” / “Figlio” ... “Presto, avvertiam Susanna!” (Figaro, Barbarina, Marcellina) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 25 Aria: “Il capro e la capretta” (Marcellina) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. Recitativo: “Nel padiglione a manca” ... “È Barbarina. Chi va là?” ... “Ha i diavoli nel corpo” (Barbarina, Figaro, Basilio, Bartolo) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 26 Aria: “In quegli anni in cui val poco” (Basilio) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 27 Recitativo ed aria: “Tutto è disposto” ... (Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 27 Recitativo ed aria: “Oh Susanna, Susanna, quanta pena mi costi!” (Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 27 Recitativo ed aria: “Aprite un po' quegli occhi” (Figaro) | Lucio Gallo, Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. Recitativo: “Signora, ella mi disse” ... “Madama, voi tremate” (Susanna, Marcellina, contessa, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 28 Recitativo ed aria: “Giunse alfin il momento” ... (Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 28 Recitativo ed aria: “Deh vieni, non tardar, o gioia bella” (Susanna) | Wiener Philharmoniker, Claudio Abbado | T-001.424.370-9 |
| Le nozze di Figaro, K 492: Atto IV. Recitativo: “Perfida! E in quella forma meco mentia?” (Figaro, Cherubino, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 29 Finale: “Pian pianin le andrò più presso” (Cherubino, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 29 Finale: “Ecco qui la mia Susanna” (conte, Susanna, Figaro, Cherubino, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 29 Finale: “Tutto è tranquillo e placido” (Figaro, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 29 Finale: “Pace, pace, mio dolce tesoro” ... “Non la trovo” (Figaro, Susanna, conte) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 29 Finale: “Gente, gente, all'armi, all'armi” (conte, Figaro, Basilio, Antonio, Susanna, contessa, coro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Appendice. N. 13a Arietta, K 579: “Un moto di gioia” (Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Appendice. N. 28a Rondò, K 577: “Al desio di chi t'adora” (Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Don Giovanni, K. 527: Act I, Scena XV. No. 11 Aria "Fin ch'han dal vino" (Don Giovanni) | Simon Keenlyside, Chamber Orchestra of Europe, Claudio Abbado | T-306.481.937-6 |
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| Pictures at an Exhibition: IX. The Hut on Chicken's Legs ("Baba Yaga"). Allegro con brio, feroce - Andante mosso - Allegro molto | Berliner Philharmoniker, Claudio Abbado | — |
| Pictures at an Exhibition: X. The Great Gate of Kiev. Allegro alla breve. Maestoso. Con grandezza | Berliner Philharmoniker, Claudio Abbado | — |
| Pictures at an Exhibition: Promenade. Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto | London Symphony Orchestra, Claudio Abbado | T-920.064.650-0 |
| Pictures at an Exhibition: 1. Gnomus. Vivo | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: Promenade. Moderato comodo e con delicatezza | London Symphony Orchestra, Claudio Abbado | T-900.140.545-4 |
| Pictures at an Exhibition: 2. Il vecchio castello. Andante | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: Promenade. Moderato non tanto, pesante | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: 3. Tuileries (Dispute d'enfants après jeux). Allegretto non troppo, capriccioso | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: 4. Bydło. Sempre moderato, pesante | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: Promenade. Tranquillo | London Symphony Orchestra, Claudio Abbado | T-902.633.719-9 |
| Pictures at an Exhibition: 5. Ballet des petits poussins dans leurs coques. Scherzino. Vivo leggiero | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: 6. Samuel Goldberg und Schmuÿle. Andante | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: 7. Limoges. Le Marché (La Grande Nouvelle). Allegretto vivo, sempre scherzando | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: VIII. Catacombae. Sepulchrum Romanum - Cum mortuis in lingua mortua | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: 9. La Cabane sur des pattes de poule (Baba-Yaga). Allegro con brio, feroce - Andante mosso - Allegro molto | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: 10. La Grande Porte de Kiev. Allegro alla breve. Maestoso. Con grandezza | London Symphony Orchestra, Claudio Abbado | — |
| Como una ola de fuerza y luz: Beginning | Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | T-920.035.883-4 |
| Como una ola de fuerza y luz: 1. Interno dolce (Soprano entry: “Lusiano!”). Score: p. 8 | Slavka Taskova, Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | T-005.002.517-6 |
| Como una ola de fuerza y luz: 2. Duro deciso (Soprano: “en los vientos azarósos de esta tierra”). Score: p. 8bis | Slavka Taskova, Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | T-005.002.517-6 |
| Como una ola de fuerza y luz: Piano entry. Score: p. 8bis | Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | — |
| Como una ola de fuerza y luz: 3. Dolcissimo sereno (Soprano: “voces de niños doblen campanas dulces”). Score: p. 27 | Slavka Taskova, Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | — |
| Como una ola de fuerza y luz: Orchestra entry. Score: p. 28 | Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | — |
| Como una ola de fuerza y luz: Orchestra and piano entry. Score: p. 67 | Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | — |
| ..... sofferte onde serene ... | Maurizio Pollini | — |
| Contrappunto dialettico alla mente | Luigi Nono | T-005.007.870-0 |
| Stabat Mater: Duetto. Grave. "Stabat Mater dolorosa" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-905.680.072-7 |
| Stabat Mater: Aria (Soprano). Andante amoroso. "Cuius animam gementem" | Margaret Marshall, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-925.590.388-9 |
| Stabat Mater: Duetto. Larghetto. "O quam tristis et afflicta" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-925.590.391-4 |
| Stabat Mater: Aria (Contralto). Allegro. "Quae moerebat et dolebat" | Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | — |
| Stabat Mater: Duetto. Largo – Allegro. "Quis est homo, qui non fleret" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | — |
| Stabat Mater: Aria (Soprano). A tempo giusto. "Vidit suum dulcem natum" | Margaret Marshall, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | — |
| Stabat Mater: Aria (Contralto). Andantino. "Eia, Mater, fons amoris" | Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-905.680.072-7 |
| Stabat Mater: Duetto. Allegro. "Fac, ut ardeat cor meum" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | — |
| Stabat Mater: Duetto. A tempo giusto. "Sancta Mater, istud agas" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-905.680.072-7 |
| Stabat Mater: Aria (Contralto). Largo. "Fac, ut portem Christi mortem" | Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-925.590.390-3 |
| Stabat Mater: Duetto. Allegro (ma non troppo). "Inflammatus et accensus" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-905.680.072-7 |
| Stabat Mater: Duetto. Largo assai – Presto assai. "Quando corpus morietur" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | — |
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| March in B-flat major, op. 99: Allegro | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Peter and the Wolf, op. 67: “Let me tell you a story.” | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “Early one morning Peter opened the gate …” Andantino | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “On a branch of a big tree sat a little bird, Peter’s friend.” Allegro – Andantino, come prima | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “Just then a duck came waddling around.” L’istesso tempo | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “Suddenly something caught Peter’s attention: he noticed a cat …” Moderato – Allegro, ma non troppo – Moderato | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “Grandfather came out.” Poco più andante – Andantino, come prima – Andante | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “No sooner had Peter gone, than a big grey wolf came out of the forest.” Andante molto – Nervoso – Allegro – Meno mosso – Andante – Allegretto – Moderato | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “Peter, in the meantime, stood behind the closed gate …” Andantino, come prima – Vivo – Andante molto – Vivo – Andante | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “Meanwhile, Peter made a lasso with his rope, carefully letting it down.” Poco meno mosso – Moderato (meno mosso) | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf (finale) | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Overture on Hebrew Themes, op. 34b: Un poco allegro | Stefan Vladar, Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 1 in D major, op. 25 "Classical": I. Allegro | The Chamber Orchestra of Europe, Claudio Abbado | T-800.184.797-9 |
| Symphony no. 1 in D major “Classical”, op. 25: 2. Larghetto | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 1 in D major “Classical”, op. 25: 3. Gavotta. Non troppo allegro | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 1 in D major “Classical”, op. 25: 4. Finale. Molto vivace | Chamber Orchestra of Europe, Claudio Abbado | T-003.055.867-8 |
| Scythian Suite, op. 20: 1. The Adoration of Veless and Ala. Allegro feroce - Poco meno mosso - Poco più lento | Chicago Symphony Orchestra, Claudio Abbado | — |
| Scythian Suite, op. 20: 2. The Enemy God and the Dance of the Spirits of Darkness. Allegro sostenuto | Chicago Symphony Orchestra, Claudio Abbado | — |
| Scythian Suite, op. 20: 3. Night. Andantino - Poco più mosso | Chicago Symphony Orchestra, Claudio Abbado | — |
| Scythian Suite, op. 20: 4. The Glorious Departure of Lolly and the Sun's Procession. Tempestoso - Allegro - Andante sostenuto | Chicago Symphony Orchestra, Claudio Abbado | — |
| Lieutenant Kijé, op. 60: I. Kijé’s Birth | Chicago Symphony Orchestra, Claudio Abbado | — |
| Lieutenant Kijé, op. 60: II. Romance | Chicago Symphony Orchestra, Claudio Abbado | — |
| Lieutenant Kijé, op. 60: III. Kijé’s Wedding | Chicago Symphony Orchestra, Claudio Abbado | — |
| Lieutenant Kijé, op. 60: IV. Troïka | Chicago Symphony Orchestra, Claudio Abbado | — |
| Lieutenant Kijé, op. 60: V. Kije’s Burial | Chicago Symphony Orchestra, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Montagues and Capulets | Berliner Philharmoniker, Claudio Abbado | T-003.506.743-6 |
| Romeo and Juliet, op. 101: Romeo at the fountain (op. 101/1, fig. 2). Andante assai | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: The street awakens (op. 64/3). Allegretto | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 101: Morning Dance (op. 101/2). Allegro | Berliner Philharmoniker, Claudio Abbado | T-070.242.287-4 |
| Romeo and Juliet, op. 64: The quarrel (op. 64/5). Allegro brusco | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: The fight (op. 64/6). Presto - Poco più sostenuto - Tempo I | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Dance with mandolins (op. 64/25). Vivace | Berliner Philharmoniker, Claudio Abbado | T-003.506.743-6 |
| Romeo and Juliet, op. 64: The Nurse (op. 64/26). Adagio scherzoso | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64b: Juliet the Young Girl (op. 64b/2). Vivace - Andante dolente - Lento | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Dance of the five couples (op. 64/24). Vivo - Meno mosso (Moderato marchiale) - Vivo, come prima | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Interlude (op. 64/8). Andante pomposo (L'istesso tempo) | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Masks (op. 64/12). Moderato marciale - Andante | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64a: Romeo and Juliet (op. 64a/6). Larghetto - Andante - Più mosso | Berliner Philharmoniker, Claudio Abbado | T-003.506.743-6 |
| Romeo and Juliet, op. 64a: Tybalt's death (op. 64a/7). Precipitato - Presto - Adagio drammatico | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64b: Romeo and Juliet before parting (op. 64b/5). Lento - Andante - Adagio - Poco più animato - Adagio - Andante | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Morning Serenade (op. 64/48). Andante giocoso | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Dance of the young girls with the lilies (op. 64/49). Andante con eleganza | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: At Juliet's bedside (op. 64/50, Fig. 345). Andante - Adagio | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Juliet's funeral (op. 64/51). Adagio funebre - | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Death of Juliet (op. 64/52). Adagio (meno mosso del tempo precedente) | Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 1 in D‐flat major, op. 10: Più mosso – Animato | Yevgeny Kissin, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: I. Andante – Allegro | Yevgeny Kissin, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra in G major, M. 83: 3. Presto | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Alexander Nevsky, op. 78: I. Russia under the Mongol Yoke | London Symphony Orchestra, Claudio Abbado | — |
| Alexander Nevsky, op. 78: II. Song about Alexander Nevsky | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — |
| Alexander Nevsky, op. 78: III. The Crusaders in Pskov | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — |
| Alexander Nevsky, op. 78: IV. Arise, Ye Russian People | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — |
| Alexander Nevsky, op. 78: V. The Battle on the Ice | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — |
| Alexander Nevsky, op. 78: VI. The Field of the Dead | Elena Obraztsova, London Symphony Orchestra, Claudio Abbado | — |
| Alexander Nevsky, op. 78: VII. Alexander's Entry into Pskov | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Violin and Orchestra no. 1 in D major, op. 19: II. Scherzo. Vivacissimo | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — |
| Violin Concerto no. 2 in G minor, op. 63: I. Allegro moderato | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester Nr. 2 c-moll, op. 18: Allegro scherzando | Lilya Zilberstein, Berliner Philharmoniker, Claudio Abbado | T-071.926.821-9 |
| Konzert für Klavier und Orchester Nr. 3 d-moll, op. 30: Allegro ma non tanto | Lilya Zilberstein, Berliner Philharmoniker, Claudio Abbado | — |
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| Boléro, M. 81: Tempo di bolero moderato assai | London Symphony Orchestra, Claudio Abbado | T-003.006.377-4 |
| Rapsodie espagnole, M. 54: 1. Prélude à la nuit. Très modéré | London Symphony Orchestra, Claudio Abbado | T-003.015.127-9 |
| Rapsodie espagnole, M. 54: 2. Malagueña. Assez vif | London Symphony Orchestra, Claudio Abbado | T-003.015.127-9 |
| Rapsodie espagnole, M. 54: 4. Feria. Assez animé | London Symphony Orchestra, Claudio Abbado | T-003.015.127-9 |
| Ma mère l'Oye, M. 60: Prélude. Très lent | London Symphony Orchestra, Claudio Abbado | — |
| Ma mère l'Oye, M. 60: 1ᵉʳ TABLEAU : Danse du rouet et scène. Allegro | London Symphony Orchestra, Claudio Abbado | T-305.194.387-0 |
| Ma mère l'Oye, M. 60: 2ᵉ TABLEAU : Pavane de la Belle au bois dormant. Lent - Allegro - Mouvement de valse modéré | London Symphony Orchestra, Claudio Abbado | — |
| Ma mère l'Oye, M. 60: 3ᵉ TABLEAU : Les Entretiens de la Belle et de la Bête. Mouvement de valse modéré | London Symphony Orchestra, Claudio Abbado | — |
| Ma mère l'Oye, M. 60: 4ᵉ TABLEAU : Petit Poucet. Très modéré | London Symphony Orchestra, Claudio Abbado | T-931.938.780-9 |
| Ma mère l'Oye, M. 60: 5ᵉ TABLEAU : Laideronnette, impératrice des pagodes. Mouvement de marche - Allegro - Très modéré | London Symphony Orchestra, Claudio Abbado | T-004.018.862-2 |
| Ma mère l'Oye, M. 60: APOTHÉOSE : Le jardin féerique. Lent et grave | London Symphony Orchestra, Claudio Abbado | T-305.194.399-4 |
| Daphnis et Chloé, M. 57: Première partie. 1a. Introduction | London Symphony Orchestra, Claudio Abbado | T-004.014.574-1 |
| Daphnis et Chloé, M. 57: Première partie. 1b. Danse religieuse | London Symphony Orchestra, Claudio Abbado | T-004.014.574-1 |
| Daphnis et Chloé, M. 57: Première partie. 1c. [Fig. 10] Tout au fond | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 1d. Danse des jeunes filles | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 1e. A ce moment, elle est entraînée dans la danse des jeunes gens | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 2a. Danse générale | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 2b. Vif - Plus modéré / 3. Danse grotesque de Dorcon | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 4a. Danse légère et gracieuse de Daphnis | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 4b. Lent - Moins lent - Très libre | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 5a. Danse de Lycéion | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 5b. Entrée des pirates | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 5c. Modéré | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 6. Nocturne. Danse lente et mystérieuse des Nymphes | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Deuxième partie. 7. Introduction | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Deuxième partie. 8a. Danse guerrière | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Deuxième partie. 8b Un peu moins animé | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Deuxième partie. 8c Bryaxis ordonne / 9a. Danse suppliante de Chloé | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Deuxième partie. 9b. Assez animé | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Deuxième partie. 9c. Lent - Modéré | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Troisième partie. 10a. Leve du jour “Daybreak” | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Troisième partie. 10b. Le vieux berger | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Troisième partie. 11a. Pantomime (Les amours de Pan et Syrinx) | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Troisième partie. 11b. Lent - Animé - Lent - Animé | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Troisième partie. 12. Danse générale (Bacchanale) | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Valses nobles et sentimentales, M. 61: I. Modéré, très franc | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: II. Assez lent, avec une expression intense | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: III. Modéré | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: IV. Assez animé | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: V. Presque lent, dans un sentiment intime | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: VI. Assez vif | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: VII. Moins vif | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: VIII. Épilogue, lent | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Le Tombeau de Couperin, M. 68a: 2. Forlane. Allegretto | London Symphony Orchestra, Claudio Abbado | — |
| Le Tombeau de Couperin, M. 68a: 4. Rigaudon. Assez vif | London Symphony Orchestra, Claudio Abbado | T-071.365.694-0 |
| Alborada del gracioso, M. 43/4: Assez vif | London Symphony Orchestra, Claudio Abbado | T-338.342.512-1 |
| Shéhérazade, Ouverture de féerie, M. 17: Modéré | London Symphony Orchestra, Claudio Abbado | T-003.015.891-8 |
| Menuet antique, M. 7: Maestoso | London Symphony Orchestra, Claudio Abbado | — |
| Une barque sur l'océan, M. 433: Très souple de rythme | London Symphony Orchestra, Claudio Abbado | T-338.342.541-6 |
| Fanfare for the Ballet “L’éventail de Jeanne”: Allegro moderato | London Symphony Orchestra, Claudio Abbado | T-906.860.938-1 |
| La Valse, M. 72: Mouvement de valse viennoise | London Symphony Orchestra, Claudio Abbado | T-003.017.882-5 |
| Il barbiere di Siviglia: Sinfonia (Ouverture) | London Symphony Orchestra, Claudio Abbado | T-306.482.271-1 |
| La Cenerentola: Sinfonia (Ouverture) | London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| L'italiana in Algeri: Overture | London Symphony Orchestra, Claudio Abbado | T-301.972.539-0 |
| La scala di seta: Overture | Chamber Orchestra of Europe, Claudio Abbado | T-305.157.600-8 |
| L’italiana in Algeri: Overture | Helmuth Froschauer, Wiener Philharmoniker, Claudio Abbado | T-301.972.539-0 |
| Il barbiere di Siviglia: Sinfonia | Chamber Orchestra of Europe, Claudio Abbado | T-306.482.271-1 |
| Il barbiere di Siviglia: Atto I. N. 1 Introduzione “Piano, pianissimo” (Fiorello, coro, conte) | Carlos Chausson, Frank Lopardo, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. Cavatina: “Ecco, ridente in cielo” (conte) / Seguito dell’introduzione: “Ehi, Fiorello?” (conte, Fiorello, coro) / Recitativo “Gente indiscreta!” (conte, Fiorello) | Carlos Chausson, Frank Lopardo, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 2 Cavatina: “Largo al factotum” (Figaro) / Recitativo: “Ah, ah! Che bella vita!” (Figaro, conte, Rosina, Bartolo) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 3 Canzone: “Se il mio nome saper voi bramate” (conte, Rosina, Figaro) / Recitativo: “Oh cielo!” (conte, Figaro) | Kathleen Battle, Plácido Domingo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 4 Duetto: “All’idea di quel metallo” (Figaro, conte) / Recitativo: “Evviva il mio padrone!” (Fiorello) | Carlos Chausson, Plácido Domingo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 5 Cavatina: “Una voce poco fa” (Rosina) / Recitativo: “Sì, sì, la vincerò” (Rosina, Figaro, Bartolo, Basilio) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Ruggero Raimondi, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 6 Aria: “La calunnia è un venticello” (Basilio) – Recitativo: “Ah! Che ne dite?” (Basilio, Bartolo, Figaro, Rosina) | Kathleen Battle, Plácido Domingo, Ruggero Raimondi, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 7 Duetto: “Dunque io son” (Rosina, Figaro) / Recitativo “Ora mi sento meglio” (Rosina, Bartolo) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 8 Aria: “A un dottor della mia sorte” (Bartolo) | Lucio Gallo, Chamber Orchestra of Europe, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. Recitativo: “Finora in questa camera” (Berta, conte) | Frank Lopardo, Gabriele Sima, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 9 Finale I: “Ehi, di casa! Buona gente!” (conte, Bartolo, Rosina) | Kathleen Battle, Lucio Gallo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto Primo. “Con la presente il dottor Bartolo” (Bartolo, conte, Rosina, Berta, Basilio) | Kathleen Battle, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Gabriele Sima, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto Primo. “Che cosa accadde, signori miei?” (Figaro, Bartolo, conte, Rosina, Berta, Basilio, ufficiale, coro) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Gabriele Sima, Goran Simić, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto Primo. Stretta del finale I: “Ma signor” … “Mi par d’esser con la testa” (Bartolo, coro, Berta, Basilio, Rosina, conte, Figaro) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Gabriele Sima, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. Recitativo: “Ma vedi il mio destino!” (Bartolo) / N. 10 Duetto: “Pace e gioia sia con voi” (conte, Bartolo) / Recitativo: “Insomma, mio signore” (Bartolo, conte, Rosina) | Kathleen Battle, Lucio Gallo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 11 Aria: “Contro un cor che accende amore” (Rosina, conte) / Recitativo: “Bella voce! Bravissima!” (conte, Rosina, Bartolo) | Kathleen Battle, Lucio Gallo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 12 Arietta: “Quando mi sei vicina” (Bartolo) / Recitativo: “Bravo, signor barbiere” (Bartolo, Figaro, Rosina, conte) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 13 Quintetto: “Don Basilio!” … “Cosa veggo!” (Rosina, conte, Figaro, Bartolo, Basilio) / Recitativo: “Ah, disgraziato me!” (Bartolo, Berta) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Gabriele Sima, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 14 Aria: “Il vecchiotto cerca moglie” (Berta) / Recitativo: “Dunque voi Don Alonso non conoscete affato?” (Bartolo, Basilio, Rosina) | Kathleen Battle, Lucio Gallo, Ruggero Raimondi, Gabriele Sima, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 14a Recitativo e aria: “Ma forse, ahimè, Lindoro … Ah se è ver” (Rosina) | Kathleen Battle, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 15 Temporale / Recitativo: “Alfine, eccoci qua” (Figaro, conte, Rosina) | Kathleen Battle, Plácido Domingo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 16 Terzetto: “Ah, qual colpo inaspettato!” (Rosina, Figaro, conte) / Recitativo: “Ah, disgraziati noi!” (Figaro, conte, Rosina, Basilio, Un notaio, Bartolo, ufficiale, coro) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Goran Simić, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 17 Recitativo: “Il conte! Ah, che mai sento!” (Bartolo, conte, Basilio) | Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 18 Aria con coro: “Cessa di più resistere” (conte, coro) / Recitativo: “Insomma, io ho tutti i torti!” (Bartolo, Figaro, Basilio) | Plácido Domingo, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 19 Finaletto II: “Di sì felice innesto” (tutti) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Gabriele Sima, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 1 Introduzione: “Piano, pianissimo” (Fiorello, coro, conte) | John McCarthy, Luigi Alva, Ambrosian Opera Chorus, Renato Cesari, London Symphony Orchestra, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 7 Duetto: “Dunque io son… tu non m'ingarbiere di Siviglia: Atto I. Cavatina: “Ecco, ridente in cielo” (conte) / Seguito dell’introduzione: “Ehi, Fiorello?” (conte, Fiorello, coro) / Recitativo: “Gente indiscreta!” (conte, Fiorello) | Luigi Alva, Renato Cesari, Ambrosian Opera Chorus, London Symphony Orchestra, Claudio Abbado | — |
| Il biviglia: Atto I. N. 2 Cavatina: “Largo al factotum” (Figaro) / Recitativo: “Ah, ah! Che bella vita!” (Figaro, conte, Rosina, Bartolo) | Luigi Alva, Teresa Berganza, Enzo Dara, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 3 Canzone: “Se il mio nome saper voi bramate” (conte, Rosina, Figaro) / Recitativo: “Oh cielo!” … “Nella stanza convien dir” (conte, Figaro) | Luigi Alva, Teresa Berganza, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 4 Duetto: “All’idea di quel metallo” (Figaro, conte) | Luigi Alva, Hermann Prey, London Symphony Orchestra, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 5 Cavatina: “Una voce poco fa … Io sono docile” (Rosina) / Recitativo: “Sì, sì, la vincerò” (Rosina, Figaro, Bartolo, Basilio) | Teresa Berganza, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 6 Aria: “La calunnia è un venticello” (Basilio) / Recitativo: “Ah! Che ne dite?” (Basilio, Bartolo, Figaro, Rosina) | Teresa Berganza, Enzo Dara, Paolo Montarsolo, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Sanni?” (Rosina, Figaro) / Recitativo: “Ora mi sento meglio” (Rosina, Bartolo) | Teresa Berganza, Hermann Prey, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 8 Aria: “A un dottor della mia sorte” (Bartolo) | Enzo Dara, London Symphony Orchestra, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I, Recitativo: “Finora in questa camera” (Berta, conte) / N. 9 Finale I: “Ehi, di casa! Buona gente!” (conte, Bartolo, Rosina, Berta, Figaro, Basilio, ufficiale) | Luigi Alva, Teresa Berganza, Enzo Dara, Stefania Malagú, Paolo Montarsolo, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 9 Finale I: “Alto là! Che cosa accadde” (Figaro, Bartolo, conte, Rosina, Berta, Basilio, ufficiale, coro) | John McCarthy, Luigi Alva, Ambrosian Opera Chorus, Teresa Berganza, Enzo Dara, Stefania Malagú, Paolo Montarsolo, Hermann Prey, Luigi Roni, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. Stretta del finale I: “Ma signor ”… “Mi par d'esser con la testa” (Bartolo, coro, Berta, Basilio, Rosina, conte, Figaro, ufficiale) | John McCarthy, Luigi Alva, Ambrosian Opera Chorus, Teresa Berganza, Enzo Dara, Stefania Malagú, Paolo Montarsolo, Hermann Prey, Luigi Roni, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. Recitativo: “Ma vedi il mio destino!” (Bartolo) / N. 10 Duetto: “Pace e gioia sia con voi” (conte, Bartolo) / Recitativo: “Insomma, mio signore” (Bartolo, conte, Rosina) | Luigi Alva, Teresa Berganza, Enzo Dara, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. N. 11 Aria: “Contro un cor che accende amore” (Rosina, conte) / Recitativo “Bella voce! Bravissima!” (conte, Rosina, Bartolo) | Luigi Alva, Teresa Berganza, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. N. 12 Arietta: “Quando mi sei vicina” (Bartolo) / Recitativo: “Bravo, signor barbiere” (Bartolo, Figaro, Rosina, conte) | Luigi Alva, Teresa Berganza, Enzo Dara, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II, N. 13 Quintetto: “Don Basilio!” … “Cosa veggo!” (Rosina, conte, Figaro, Bartolo, Basilio) / Recitativo: “Ah, disgraziato me!” (Bartolo) / Recitativo: “Che vecchio sospettoso!” (Berta) | Luigi Alva, Teresa Berganza, Enzo Dara, Stefania Malagú, Paolo Montarsolo, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. N. 14 Aria: “Il vecchiotto cerca moglie” (Berta) / Recitativo: “Dunque voi Don Alonso non conoscete affato?” (Bartolo, Basilio, Rosina) | Teresa Berganza, Enzo Dara, Stefania Malagú, Paolo Montarsolo, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. N. 15 Temporale / Recitativo: “Alfine, eccoci qua” (Figaro, conte, Rosina) | Luigi Alva, Teresa Berganza, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. N. 16 Terzetto: “Ah! qual colpo inaspettato!” (Rosina, Figaro, conte) / Recitativo: “Ah, disgraziati noi!” (Figaro, conte, Rosina, Basilio, Bartolo, ufficiale, coro) | Luigi Alva, Teresa Berganza, Enzo Dara, Paolo Montarsolo, Hermann Prey, Luigi Roni, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. N. 19 Finaletto II: “Di sì felice innesto” (Figaro, Rosina, conte, tutti) | Luigi Alva, Teresa Berganza, Renato Cesari, Enzo Dara, Stefania Malagú, Paolo Montarsolo, Hermann Prey, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| La Cenerentola: Atto I. Introduzione: “No, no, no: non v'è” (Clorinda, Tisbe) | Margherita Guglielmi, Laura Zannini, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto I. Introduzione: “Una volta c'era un re” (Cenerentola, Clorinda, Tisbe, Alidoro) | Teresa Berganza, Margherita Guglielmi, Ugo Trama, Laura Zannini, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto I. Introduzione: “O figlie amabili” (coro, Clorinda, Tisbe, Cenerentola, Alidoro) | Teresa Berganza, Margherita Guglielmi, Scottish Opera Chorus, Ugo Trama, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Recitativo: “Cenerentola, presto” (Tisbe, Clorinda, Cenerentola) | Teresa Berganza, Margherita Guglielmi, Scottish Opera Chorus, Laura Zannini, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto I. Cavatina: “Miei rampolli femminini” (Magnifico) | Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto I. Recitativo: “Sappiate che fra poco” (Clorinda, Tisbe, Magnifico) | Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Scena: “Tutto è deserto” (Ramiro, Cenerentola) | Luigi Alva, Teresa Berganza, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Duetto: “Un soave non so che” (Ramiro, Cenerentola, Clorinda, Tisbe) | Luigi Alva, Teresa Berganza, Margherita Guglielmi, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Recitativo: “Non so che dir” (Ramiro, Magnifico) | Luigi Alva, Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Coro: “Scegli la sposa” … Cavatina: “Come un'ape” (Dandini, Clorinda, Tisbe, Magnifico, Ramiro, coro) | Luigi Alva, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Scottish Opera Chorus, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Recitativo: “Allegrissimamente, che bei quadri!” (Dandini, Clorinda, Magnifico, Ramiro, Tisbe, Cenerentola) | Luigi Alva, Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Quintetto: “Signor, una parola” (Cenerentola, Magnifico, Dandini, Ramiro, Alidoro) | Luigi Alva, Teresa Berganza, Renato Capecchi, Paolo Montarsolo, Ugo Trama, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Recitativo: “Sì, tutto cangerà” (Alidoro, Cenerentola) | Teresa Berganza, Ugo Trama, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Aria: “Là del ciel nell'arcano profondo” (Alidoro) | Ugo Trama, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Recitativo: “Ma bravo, bravo” (Dandini, Magnifico, Ramiro, Clorinda, Tisbe) | Luigi Alva, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Coro: “Conciossiacosacché trenta botti già gustò” … Aria: “Intendente? Direttor?” (Magnifico, coro) | Paolo Montarsolo, Scottish Opera Chorus, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Finale I Duetto: “Zitto, zitto: piano piano” … “Principino, dove siete?” … “Venga, inoltri” (Ramiro, Dandini, Tisbe, Clorinda, coro, Alidoro) | Luigi Alva, Renato Capecchi, Margherita Guglielmi, Scottish Opera Chorus, Ugo Trama, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Finale I “Ah! Se velata ancor” … “Sprezzo quei don” (coro, Cenerentola, Ramiro, Dandini, Clorinda, Tisbe, Alidoro) | Luigi Alva, Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Scottish Opera Chorus, Ugo Trama, Laura Zannini, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto I. Finale I “Signor, Altezza, è in tavola” (Magnifico, Clorinda, Tisbe, Cenerentola, Ramiro, Dandini) | Luigi Alva, Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Recitativo: “Mi par che quei birbanti” (Magnifico, Tisbe, Clorinda) | Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto II. Aria: “Sia qualunque delle figlie” (Magnifico) | Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Recitativo: “Ah! questa bella incognita” (Ramiro, Dandini, Cenerentola, Alidoro) | Luigi Alva, Teresa Berganza, Renato Capecchi, Ugo Trama, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto II. Recitativo: “E allor … se non ti spiaccio” (Ramiro, Alidoro) | Luigi Alva, Ugo Trama, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Aria: “Sì, ritrovarla io giuro” (Ramiro, coro) | Luigi Alva, Scottish Opera Chorus, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Recitativo: “Ma dunque io son un ex?” (Dandini, Magnifico) | Renato Capecchi, Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Duetto: “Un segreto d'importanza” (Dandini, Magnifico) | Renato Capecchi, Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Canzone: “Una volta c'era un re” (Cenerentola) | Teresa Berganza, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto II. Recitativo: “Quanto sei caro!” (Cenerentola, Clorinda, Magnifico, Tisbe) | Teresa Berganza, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Temporale | London Symphony Orchestra, Claudio Abbado | T-031.702.708-9 |
| La Cenerentola: Atto II. Recitativo: “Scusate, amici” (Dandini, Magnifico, Ramiro, Clorinda, Cenerentola) | Luigi Alva, Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Sestetto: “Siete voi?” … “Questo è un nodo avviluppato” (Ramiro, Cenerentola, Tisbe, Clorinda, Dandini, Magnifico) | Luigi Alva, Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Sestetto: “Donna sciocca, alma di fango” (Clorinda, Magnifico, Ramiro, Dandini, Tisbe, Cenerentola) | Luigi Alva, Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Recitativo: “Giusto ciel, ti ringrazio!” (Alidoro) | Ugo Trama, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Finale II Coro: “Della fortuna instabile” | Scottish Opera Chorus, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Finale II Scena: “Sposa” … “Signor, perdona” (Ramiro, Cenerentola, Magnifico) | Luigi Alva, Teresa Berganza, Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Finale II Rondò: “Nacqui all'affanno” (Cenerentola, tutti) | Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| Symphony no. 8 in B minor “Unfinished”, D 759: I. Allegro moderato | The Chamber Orchestra of Europe, Claudio Abbado | T-902.685.630-4 |
| Symphony no. 8 in B minor “Unfinished”, D 759: II. Andante con moto | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 9 in C major "Great", D. 944: 1. Andante - Allegro ma non troppo | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 9 in C major "Great", D. 944: 2. Andante con moto | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 9 in C major "Great", D. 944: 3. Scherzo. Allegro vivace | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 9 in C major "Great", D. 944: 4. Allegro vivace | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Messe Nr. 6 Es-Dur, D 950: I. Kyrie. "Kyrie eleison" Andante con moto | Wiener Philharmoniker, Claudio Abbado | — |
| Piano Concerto in A minor, op. 54: II. Intermezzo. Andantino grazioso | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | T-909.264.262-1 |
| Piano Concerto in A Minor, Op. 54: I. Allegro affettuoso | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | T-909.264.262-1 |
| Konzert für Klavier und Orchester a-moll, op. 54: 2. Intermezzo. Andantino grazioso | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | T-909.264.262-1 |
| Konzert für Klavier und Orchester a-moll, op. 54: 3. Allegro vivace | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | T-909.264.262-1 |
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| Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Introduction | London Symphony Orchestra, Claudio Abbado | T-070.257.887-7 |
| Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Les Augures printaniers (Danses des adolescentes) | London Symphony Orchestra, Claudio Abbado | — |
| Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Jeu du rapt | London Symphony Orchestra, Claudio Abbado | — |
| Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Rondes printanières | London Symphony Orchestra, Claudio Abbado | T-070.257.887-7 |
| Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Jeux des cités rivales / Cortège du Sage - Adoration de la terre - Le Sage | London Symphony Orchestra, Claudio Abbado | — |
| Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Danse de la terre | London Symphony Orchestra, Claudio Abbado | T-070.257.887-7 |
| Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Introduction | London Symphony Orchestra, Claudio Abbado | — |
| Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Cercles mystérieux des adolescentes | London Symphony Orchestra, Claudio Abbado | — |
| Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Glorification de l'elue / Evocation des ancêtres | London Symphony Orchestra, Claudio Abbado | — |
| Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Action rituelle des ancêtres | London Symphony Orchestra, Claudio Abbado | T-070.257.887-7 |
| Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Danse sacrale (L'Élue) | London Symphony Orchestra, Claudio Abbado | — |
| L'Oiseau de feu : Introduction - L'Oiseau de feu et sa danse | London Symphony Orchestra, Claudio Abbado | — |
| L'Oiseau de feu : Variation de l'oiseau de feu | London Symphony Orchestra, Claudio Abbado | — |
| L'Oiseau de feu : Ronde des princesses | London Symphony Orchestra, Claudio Abbado | — |
| L'Oiseau de feu : Danse infernale du roi Kachtcheï | London Symphony Orchestra, Claudio Abbado | — |
| L'Oiseau de feu : Berceuse | London Symphony Orchestra, Claudio Abbado | — |
| L'Oiseau de feu : Final | London Symphony Orchestra, Claudio Abbado | T-073.071.144-0 |
| Jeu de cartes : Première donne | London Symphony Orchestra, Claudio Abbado | — |
| Jeu de cartes : Deuxième donne | London Symphony Orchestra, Claudio Abbado | — |
| Jeu de cartes : Troisième donne | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene I. Fête populaire de la semaine grasse - Le tour de passe-passe | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene I. Danse russe | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene II. Chez Pétrouchka | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene III. Chez le Maure - Danse de la Ballerine | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene III. Valse: La Ballerine et le Maure - Pétrouchka | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Fête populaire de la semaine grasse (vers le soir) | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Danse de nounous | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. L'Ours et un paysan | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Un marchand fêtard avec deux tziganes | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Danse de cochers et des palefreniers | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Les Déguisés | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. La Rixe: Le Maure et Pétrouchka | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Mort de Pétrushka | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. La Police et le charlatan | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Apparition du double de Pétrouchka | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: I. Ouverture: Allegro moderato | London Symphony Orchestra, Claudio Abbado | T-902.685.630-4 |
| Pulcinella: II. Serenata: Larghetto | Ryland Davies, London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: III. Scherzino: Allegro | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: Poco più vivo | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: VI. Allegro | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: V. Andantino | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: XIV. Allegro | London Symphony Orchestra, Claudio Abbado | T-922.067.243-5 |
| Pulcinella: VII. Allegretto | Teresa Berganza, London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: VIII. Allegro assai | London Symphony Orchestra, Claudio Abbado | T-306.395.786-4 |
| Pulcinella: X. Largo (Trio) - Allegro - Presto (Duetto) | Teresa Berganza, Ryland Davies, John Shirley-Quirk, London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: XI. Allegro - alla breve | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: XII. Tarantella | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: IV. Allegro | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 |
| Pulcinella: XV. Gavotta con due variazioni | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: XVI. Vivo | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: XVII. Tempo di minuetto | Teresa Berganza, Ryland Davies, John Shirley-Quirk, London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: XVIII. Allegro assai | London Symphony Orchestra, Claudio Abbado | T-306.395.786-4 |
| Symphony no. 2 in C minor, op. 17 “Little Russian”: II. Andantino marziale, quasi moderato | New Philharmonia Orchestra, Claudio Abbado | — |
| Symphony no. 4 in F minor, op. 36: 1. Andante sostenuto - Moderato con anima - Moderato assai, quasi andante - Allegro vivo | Wiener Philharmoniker, Claudio Abbado | — |
| Symphony no. 4 in F minor, op. 36: 2. Andantino in modo di canzone | Wiener Philharmoniker, Claudio Abbado | — |
| Symphony no. 4 in F minor, op. 36: 3. Scherzo. Pizzicato ostinato. Allegro | Wiener Philharmoniker, Claudio Abbado | — |
| Symphony no. 4 in F minor, op. 36: 4. Finale. Allegro con fuoco | Wiener Philharmoniker, Claudio Abbado | T-318.676.528-2 |
| Symphony no. 5 in E minor, op. 64: 1. Andante - Allegro con anima | London Symphony Orchestra, Claudio Abbado | — |
| Symphony no. 5 in E minor, op. 64: 2. Andante cantabile, con alcuna licenza - Moderato con anima - Andante mosso - Allegro non troppo - Tempo I | London Symphony Orchestra, Claudio Abbado | — |
| Symphony no. 5 in E minor, op. 64: 4. Finale. Andante maestoso - Allegro vivace - Molto vivace - Moderato assai e molto maestoso - Presto | London Symphony Orchestra, Claudio Abbado | — |
| Symphony no. 6 in B minor “Pathétique”, op. 74: 4. Finale. Adagio lamentoso - Andante | Wiener Philharmoniker, Claudio Abbado | — |
| THE TEMPEST, OP. 18, TH. 44 | Berliner Philharmoniker, Claudio Abbado | — |
| Slavonic March, op. 31 | Berliner Philharmoniker, Claudio Abbado | — |
| ROMEO AND JULIET, FANTASY OVERTURE | Berliner Philharmoniker, Claudio Abbado | T-905.031.800-8 |
| 1812""\"" OVERTURE, OP. 49 CLAUDIO ABBADO, BERLINER PHILHARMONIKER 885 233011115 applemusic true | Berliner Philharmoniker, Claudio Abbado | — |
| Le Poème de L'extase, op. 54 | Boston Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 1 in B-flat minor, op. 23: I. Allegro non troppo e molto maestoso - Allegro con spirito | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | T-010.194.845-1 |
| Concerto for Piano and Orchestra no. 1 in B-flat minor, op. 23: II. Andantino semplice - Prestissimo - Tempo I | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 1 in B-flat minor, op. 23: III. Allegro con fuoco | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Piano Concerto no. 1 in B-flat minor, op. 23: I. Allegro non troppo e molto maestoso - Allegro con spirito | Ivo Pogorelich, London Symphony Orchestra, Claudio Abbado | T-010.194.845-1 |
| Piano Concerto no. 1 in B-flat minor, op. 23: II. Andante semplice - Prestissimo - Tempo I | Ivo Pogorelich, London Symphony Orchestra, Claudio Abbado | — |
| Piano Concerto no. 1 in B-flat minor, op. 23: III. Allegro con fuoco | Ivo Pogorelich, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Violin and Orchestra no. 1 in D major, op. 35: II. Canzonetta. Andante | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — |
| Konzert für Violine und Orchester e-Moll, Op. 64: I. Allegro molto appassionato | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — |
| Messa da Requiem: Requiem. “Requiem aeternam” (chorus, solos) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-923.239.666-6 |
| Messa da Requiem: Dies Irae. “Dies irae” (chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Tuba mirum” (chorus, bass) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Liber scriptus” (mezzo-soprano, chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Quid sum miser” (mezzo-soprano, soprano, tenor) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Rex tremendae” (chorus, solos) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Recordare” (mezzo-soprano, soprano) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Ingemisco” (tenor) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Confutatis” (bass, chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Lacrymosa” (solos, chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Offertorio. “Domine Jesu Christe” (solos) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Sanctus. “Sanctus, Sanctus, Sanctus Dominus” (double chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Agnus Dei. “Agnus Dei, qui tollis peccata mundi” (soprano, mezzo-soprano, chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Lux Aeterna. “Lux aeterna luceat eis” (mezzo-soprano, bass, tenor) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-910.952.061-8 |
| Messa da Requiem: Libera Me. “Libera me, Domine” (soprano, chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Preludio | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.144.997-4 |
| Macbeth: Atto I. Introduzione e coro di streghe: “Che faceste? dite su!” / Scena e duetto: “Giorno non vidi mai” (Macbeth, Banco, coro) | Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto I. Coro di streghe - Stretta dell'introduzione: “S'allontanarono!” / Scena e cavatina: “Nel di della vittoria” (Lady Macbeth) | Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto I. Scena e marcia: “O donna mia!” (Macbeth, Lady Macbeth) | Piero Cappuccilli, Shirley Verrett, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto I. Gran scena e duetto: “Sappia la sposa mia” … “Fatal mia donna!” (Macbeth, Lady Macbeth) | Piero Cappuccilli, Shirley Verrett, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto II. Scena ed aria: “Perché mi sfuggi” (Lady Macbeth, Macbeth) | Piero Cappuccilli, Shirley Verrett, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto II. Finale II: “Salve o re!” (coro, Macbeth, Lady Macbeth, dama, Macduff) | Piero Cappuccilli, Coro del Teatro alla Scala di Milano, Shirley Verrett, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto II. Finale II: “Si colmi il calice” (Lady Macbeth, tutti, Macbeth, sicario) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Stefania Malagú, Shirley Verrett, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto III. Coro di streghe e ballabile: “Ondine e Silfidi” | Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto III. Scena e duetto (Finale III): “Ove son io?” … “Ora di morte” (Macbeth, araldo, Lady Macbeth) | Piero Cappuccilli, Shirley Verrett, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Coro di profughi scozzesi: “Patria oppressa!” | Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Scena ed aria: “O figli, o figli miei … Ah, la paterna mano” (Macduff) | Plácido Domingo, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Scena ed aria: “Dove siam? che bosco è quello?” (Malcolm, coro, Macduff) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Antonio Savastano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Gran scena del sonnambulismo: “Vegliammo invan due notti” (medico, dama) | Stefania Malagú, Carlo Zardo, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Gran scena del sonnambulismo: “Una macchia è qui tuttora” (Lady Macbeth, medico, dama) | Stefania Malagú, Shirley Verrett, Carlo Zardo, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Scena ed aria: “Perfidi! All'anglo contro me v'unite!” (Macbeth) | Piero Cappuccilli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Scena ed aria: “Pietà, rispetto, amore” (Macbeth) | Piero Cappuccilli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Scena e battaglia: “Ella è morta!” (coro, Macbeth, dama, Macduff) | Piero Cappuccilli, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Morte di Macbeth: “Mal per me m'affidai” (Macbeth) | Piero Cappuccilli, Coro del Teatro alla Scala di Milano, Plácido Domingo, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Inno di vittoria (Finale): “Vittoria!” (coro, Malcolm, Macduff) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Antonio Savastano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Aida: Preludio | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Introduzione e scena: “Sì, corre voce che l'Etiope ardisca” (Ramfis, Radamès) | Plácido Domingo, Nicolaï Ghiaurov, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Romanza: “Se quel guerrier io fossi! … Celeste Aida” (Radamès) | Plácido Domingo, Orchestra of La Scala, Milan, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Duetto: “Quale insolita gioia nel tuo sguardo!” (Amneris, Radamès) | Plácido Domingo, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Terzetto: “Vieni, o diletta, appressati” (Amneris, Aida, Radamès) | Plácido Domingo, Elena Obraztsova, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Scena e pezzo d'assieme: “Alta cagion v'aduna” (re, messaggero, Radamès, Ramfis, coro, Aida, Amneris) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Elena Obraztsova, Piero de Palma, Ruggero Raimondi, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. “Su! del Nilo al sacro lido” (re, Ramfis, coro, Aida, Radamès, Amneris) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Nicolaï Ghiaurov, Elena Obraztsova, Piero de Palma, Ruggero Raimondi, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Scena: “Ritorna vincitor!” (Aida) | Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Gran scena della consacrazione: “Possente Fthà” … “Tu che dal nulla” (sacerdotessa, coro, Ramfis) | Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Lucia Valentini Terrani, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Danza sacra delle sacerdotesse - “Immenso Fthà” … “Mortal, diletto ai Numi” (sacerdotessa, coro, Ramfis) | Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. Introduzione - Scena e coro di donne: “Chi mai fra gl'inni e i plausi” (coro, Amneris) | Coro del Teatro alla Scala di Milano, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. Danza di piccoli schiavi mori - “Vieni: sul crin ti piovano” (coro, Amneris) | Coro del Teatro alla Scala di Milano, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.138.252-1 |
| Aida: Atto II. Scena e duetto: “Fu la sorte dell'armi a' tuoi funesta” (Amneris, Aida) | Elena Obraztsova, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. “Pietà ti prenda del mio dolor” … “Su! del Nilo al sacro lido” … “Numi, Pietà” (Aida, Amneris, coro) | Elena Obraztsova, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: “Gloria all’Egitto” | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-310.527.191-4 |
| Aida: Triumphal Scene | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Ballett | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-010.287.722-4 |
| Aida: “Vieni, o guerriero vindice” | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. “Salvator della patria” (re, Radamès, Ramfis, coro) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Nicolaï Ghiaurov, Ruggero Raimondi, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. “Che veggo! Egli? Mio padre!” … “Anch'io pugnai” … “Ma tu, re, tu signore possente” (Aida, Amneris, Amonasro, re, Ramfis, coro) | Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Leo Nucci, Elena Obraztsova, Ruggero Raimondi, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. “Il dolor che in quel volto favella” … “Ma tu, o re” (Radamès, Amneris, Amonasro, re, Aida, coro, Ramfis) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Nicolaï Ghiaurov, Leo Nucci, Elena Obraztsova, Ruggero Raimondi, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. “O re: pei sacri Numi!” … “Gloria all'Egitto” (Radamès, re, Amneris, coro, Ramfis, Aida, Amonasro) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Nicolaï Ghiaurov, Leo Nucci, Elena Obraztsova, Ruggero Raimondi, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto III. Introduzione e preghiera: “O tu che sei d'Osiride” … “Vieni d'Iside al tempio” (coro, Ramfis, Amneris) | Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto terzo. Romanza: “Qui Radamès verrà! … O patria mia” (Aida) | Katia Ricciarelli, Claudio Abbado, Orchestra del Teatro alla Scala di Milano | T-900.065.376-9 |
| Aida: Atto III. Duetto: “Ciel, mio padre!” … “Rivedrai le foreste imbalsamate” (Aida, Amonasro) | Romano Gandolfi, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto III. Duetto: “Pur ti riveggo, mia dolce Aida” … “Nel fiero anelito” (Radamès, Aida) | Plácido Domingo, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto III. “Fuggiam gli ardori inospiti … Là, tra foreste vergini” (Aida, Radamès) | Plácido Domingo, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto III. Finale III: “Ma dimmi, per qual via” (Aida, Radamès, Amonasro, Amneris, Ramfis) | Plácido Domingo, Nicolaï Ghiaurov, Leo Nucci, Elena Obraztsova, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto IV. Scena: “L'aborrita rivale a me sfuggia” (Amneris) | Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto IV. Duetto: “Già i sacerdoti adunansi” (Amneris, Radamès) | Plácido Domingo, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto IV. Scena del giudizio: “Ohimè! morir mi sento” … “Spirto del Nume” (Amneris, Ramfis, coro) | Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto IV. “A lui vivo la tomba … Sacerdoti, compiste un delitto!” (Amneris, Ramfis, coro) | Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto IV. Scena e duetto: “La fatal pietra sovra me si chiuse” (Radamès, Aida) | Plácido Domingo, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto IV. Finale ultimo: “Immenso Fthà” … “O terra, addio” (coro, Aida, Radamès, Amneris) | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Plácido Domingo, Elena Obraztsova, Katia Ricciarelli, Lucia Valentini Terrani, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Macbeth: Atto I. Coro di Streghe “Che faceste? dite su!” | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
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| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 1 in E major “La primavera”, RV 269: 1. Allegro | Gidon Kremer, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-902.685.630-4 |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 1 in E major “La primavera”, RV 269: 2. Largo | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | T-801.397.798-6 |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 1 in E major “La primavera”, RV 269: 3. Allegro. Danza pastorale | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | — |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 2 in G minor “L'estate”, RV 315: 1. Allegro non molto | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | — |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 2 in G minor “L'estate”, RV 315: 2. Adagio - Presto | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | — |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 2 in G minor “L'estate”, RV 315: 3. Presto | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | T-902.717.414-7 |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 3 in F major “L'autunno”, RV 293: 1. Allegro | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | T-011.422.353-8 |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 3 in F major “L'autunno”, RV 293: 2. Adagio molto | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | — |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 3 in F major “L'autunno”, RV 293: 3. Allegro | Gidon Kremer, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-902.836.120-8 |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 4 in F minor “L'inverno”, RV 297: 1. Allegro non molto | Gidon Kremer, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | — |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 4 in F minor “L'inverno”, RV 297: 2. Largo | Gidon Kremer, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-801.397.798-6 |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 4 in F minor “L'inverno”, RV 297: 3. Allegro | Gidon Kremer, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-902.836.120-8 |
| Die Walküre: Walkürenritt | Berliner Philharmoniker, Claudio Abbado | T-001.148.492-6 |
| Lohengrin: Akt III. »In fernem Land, unnahbar euren Schritten« (Lohengrin, König, Chor) | Siegfried Jerusalem, Kurt Moll, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | T-905.385.122-2 |
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| Five Contredanses "Non più Andrai", K. 609: No. 3 in D | Wiener Philharmoniker, Claudio Abbado | — |
| Atmosphères (1961) | Wiener Philharmoniker, Claudio Abbado | — |
| Lontano (1967) | Wiener Philharmoniker, Claudio Abbado | T-005.007.306-7 |
| Piano Concerto no. 16 in D, KV 451: I. Allegro assai | Rudolf Serkin, The Chamber Orchestra of Europe, Claudio Abbado | T-306.395.786-4 |
| Piano Concerto no. 16 in D, KV 451: II. Andante | Rudolf Serkin, The Chamber Orchestra of Europe, Claudio Abbado | — |
| Piano Concerto no. 16 in D, KV 451: III. Rondeau. Allegro di molto | Rudolf Serkin, The Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: II. Andantino | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: III. Allegro ma non troppo | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Piano Concerto in G Major, M. 83: 2. Adagio assai | Maurice Ravel, Martha Argerich, Berliner Philharmoniker, Claudio Abbado | T-003.007.887-5 |
| Concerto for Piano and Orchestra in G major, M. 83: 1. Allegramente | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | T-305.199.174-9 |
| Concerto for Piano and Orchestra in G major, M. 83: 3. Presto | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | T-305.199.295-7 |
| Il barbiere di Siviglia: Atto I. N. 4 Duetto: “All’idea di quel metallo” (Figaro, conte) | Luigi Alva, Hermann Prey, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Identifier Graph
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 965 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
The UPC for “The Complete Recordings on Deutsche Grammophon & Decca” by Claudio Abbado is 028948625109. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2023-01-01. Label: Deutsche Grammophon. This release contains 965 tracks, each with its own ISRC. Tracks include DEN960702051, DEF058203881, DEF058203882.
| # | 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, op. 19: Beginning | London Symphony Orchestra, Claudio Abbado | T-920.035.883-4 | |
| 3-2 | The Miraculous Mandarin, op. 19: The Curtain Rises | London Symphony Orchestra, Claudio Abbado | — | |
| 3-3 | The Miraculous Mandarin, op. 19: First Seduction Game: The Shabby Old Rake | London Symphony Orchestra, Claudio Abbado | — | |
| 3-4 | The Miraculous Mandarin, op. 19: Second Seduction Game | London Symphony Orchestra, Claudio Abbado | — | |
| 3-5 | The Miraculous Mandarin, op. 19: The Shy Youth Appears at the Door | London Symphony Orchestra, Claudio Abbado | — | |
| 3-6 | The Miraculous Mandarin, op. 19: Third Seduction Game | London Symphony Orchestra, Claudio Abbado | — | |
| 3-7 | The Miraculous Mandarin, op. 19: The Mandarin Enters - Encounter With the Girl | London Symphony Orchestra, Claudio Abbado | — | |
| 3-8 | The Miraculous Mandarin, op. 19: The Girl's Dance | London Symphony Orchestra, Claudio Abbado | T-900.052.312-6 | |
| 3-9 | The Miraculous Mandarin, op. 19: She Flees From Him; He Chases Her Wildly | London Symphony Orchestra, Claudio Abbado | — | |
| 3-10 | The Miraculous Mandarin, 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 | London Symphony Orchestra, Claudio Abbado | — | |
| 3-11 | The Miraculous Mandarin, op. 19: Suddenly the Mandarin's Head Disappears. The Tramps Drag Him Out, One Stabs Him Three Times. He Almost Collapses, But Draws Himself Up and Leaps at the Girl | London Symphony Orchestra, Claudio Abbado | — | |
| 3-12 | The Miraculous Mandarin, op. 19: The 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. | London Symphony Orchestra, Claudio Abbado | — | |
| 3-13 | The Miraculous Mandarin, op. 19: The Tramps Take Him Down. He Falls to the Floor and at Once Leaps at the Girl. They Embrace | London Symphony Orchestra, Claudio Abbado | — | |
| 3-14 | The Miraculous Mandarin, op. 19: His Longing Stilled, the Mandarin's Wounds Begin to Bleed; He Becomes Weaker and Dies | London Symphony Orchestra, Claudio Abbado | — | |
| 3-15 | Two Portraits, op. 5: 1. One Ideal. Andante | Shlomo Mintz, London Symphony Orchestra, Claudio Abbado | T-007.183.639-9 | |
| 3-16 | Two Portraits, op. 5: II. One Grotesque | Shlomo Mintz, London Symphony Orchestra, Claudio Abbado | T-007.183.639-9 | |
| 4-1 | Concerto for Piano and Orchestra no. 1: I. Allegro moderato - Allegro | Maurizio Pollini, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 4-2 | Concerto for Piano and Orchestra no. 1: II. Andante - Allegro - attacca: | Maurizio Pollini, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 4-3 | Concerto for Piano and Orchestra no. 1: III. Allegro molto | Maurizio Pollini, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 4-4 | Concerto for Piano and Orchestra no. 2: I. Allegro | Maurizio Pollini, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 4-5 | Concerto for Piano and Orchestra no. 2: II. Adagio - Presto - Adagio | Maurizio Pollini, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 4-6 | Concerto for Piano and Orchestra no. 2: III. Allegro molto - Presto | Maurizio Pollini, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 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 | Symphonie Nr. 5 c-moll, op. 67: I. Allegro con brio | Wiener Philharmoniker, Claudio Abbado | — | |
| 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 | Symphonie no. 6 F-Dur, op. 68 "Pastorale": III. Allegro "Lustiges Zusammensein der Landleute" | Wiener Philharmoniker, Claudio Abbado | — | |
| 13-4 | Symphonie no. 6 F-Dur, op. 68 "Pastorale": III. Allegro "Lustiges Zusammensein der Landleute" | Wiener Philharmoniker, Claudio Abbado | — | |
| 13-5 | Symphonie no. 6 F-Dur, op. 68 "Pastorale": III. Allegro "Lustiges Zusammensein der Landleute" | Wiener Philharmoniker, Claudio Abbado | — | |
| 13-6 | Symphonie no. 6 F-Dur, op. 68 "Pastorale": III. Allegro "Lustiges Zusammensein der Landleute" | Wiener Philharmoniker, Claudio Abbado | — | |
| 13-7 | Symphonie no. 6 F-Dur, op. 68 "Pastorale": III. Allegro "Lustiges Zusammensein der Landleute" | Wiener Philharmoniker, Claudio Abbado | — | |
| 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 | Symphonie no. 8 F-Dur, op. 93: IV. Allegro vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 14-6 | Symphonie no. 8 F-Dur, op. 93: IV. Allegro vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 14-7 | Symphonie no. 8 F-Dur, op. 93: IV. Allegro vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 14-8 | Symphonie no. 8 F-Dur, op. 93: IV. Allegro vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 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 | Klavierkonzert Nr. 3 c-Moll, op. 37: I. Allegro con brio | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 20-2 | Concerto for Piano and Orchestra no. 3 in C minor, op. 37: 2. Largo | — | ||
| 20-3 | Klavierkonzert Nr. 3 c-Moll, op. 37: III. Rondo. Allegro | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 20-4 | Klavierkonzert Nr. 4 G-Dur, op. 58: I. Allegro moderato | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 20-5 | Klavierkonzert Nr. 4 G-Dur, op. 58: II. Andante con moto | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 20-6 | Klavierkonzert Nr. 4 G-Dur, op. 58: III. Rondo. Vivace | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 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 | Piano Concerto no. 2 in B-flat major, op. 19: I. Allegro con brio | Martha Argerich, Mahler Chamber Orchestra, Claudio Abbado | — | |
| 22-5 | Piano Concerto no. 2 in B-flat major, op. 19: II. Adagio | Martha Argerich, Mahler Chamber Orchestra, Claudio Abbado | — | |
| 22-6 | Piano Concerto no. 2 in B-flat major, op. 19: III. Rondo: Molto allegro | Martha Argerich, Mahler Chamber Orchestra, Claudio Abbado | — | |
| 23-1 | Egmont, op. 84: Overture. Sostenuto, ma non troppo - Allegro | Berliner Philharmoniker, Claudio Abbado | T-901.164.507-1 | |
| 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: I. Rondo. Andante (Introduzione) - Hymne. Sostenuto | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-2 | Lulu-Suite: II. Ostinato. Allegro | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-3 | Lulu-Suite: III. Lied der Lulu. Comodo | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-4 | Lulu-Suite: IV. Variationen. Moderato (Grandioso - Grazioso - Funèbre - Affettuoso) - Thema: Subito a tempo moderato | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-5 | Lulu-Suite: V. Adagio. Sostenuto - Lento - Grave | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-9 | Altenberg Lieder, op. 4: No. 1. Seele, wie bist du schöner | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-10 | Altenberg Lieder, op. 4: No. 2. Sahst du nach dem Gewitterregen den Wald | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-11 | Altenberg Lieder, op. 4: No. 3. Über die Grenzen des All | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-12 | Altenberg Lieder, op. 4: No. 4. Nichts ist gekommen | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 27-13 | Altenberg Lieder, op. 4: No. 5. Hier ist Friede | London Symphony Orchestra, Claudio Abbado, Margaret Price | — | |
| 28-1 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 1. Seele, wie bist du schöner | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 28-2 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 2. Sahst du nach dem Gewitterregen den Wald | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 28-3 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 3. Über die Grenzen des All | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 28-4 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 4. Nichts ist gekommen | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 28-5 | 5 Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4: 5. Hier ist Friede | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 28-9 | Lulu-Suite: 1. Rondo. Andante (Introduzione) - Hymne. Sostenuto | Wiener Philharmoniker, Claudio Abbado | — | |
| 28-10 | Lulu-Suite: 2. Ostinato. Allegro | Wiener Philharmoniker, Claudio Abbado | — | |
| 28-11 | Lulu-Suite: 3. Lied der Lulu. Comodo (»Wenn sich die Menschen um meinetwillen umgebracht haben«) | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 28-12 | Lulu-Suite: 4. Variationen. Moderato (Grandioso - Grazioso - Funebre - Affettuoso) - Thema. Subito tempo moderato | Wiener Philharmoniker, Claudio Abbado | — | |
| 28-13 | Lulu-Suite: 5. Adagio. Sostenuto - Lento - Grave (»Lulu! Mein Engel!«) | Juliane Banse, Wiener Philharmoniker, Claudio Abbado | — | |
| 29-8 | Der Wein: Die Seele des Weines - Der Wein der Liebenden - Der Wein des Einsamen | Wiener Philharmoniker, Claudio Abbado | — | |
| 29-9 | Three Pieces for Orchestra, op. 6: I. Präludium. Langsam | Wiener Philharmoniker, Claudio Abbado | — | |
| 29-10 | Three Pieces for Orchestra, op. 6: II. Reigen. Anfangs etwas zögernd - Leicht beschwingt | Wiener Philharmoniker, Claudio Abbado | — | |
| 29-11 | Three Pieces for Orchestra, op. 6: III. Marsch. Mäßiges Marschtempo | Wiener Philharmoniker, Claudio Abbado | — | |
| 30-1 | Wozzeck: Erster Akt: Erste Szene. »Langsam, Wozzeck, langsam!« (Hauptmann, Wozzeck) | Helmuth Froschauer, Franz Grundheber, Heinz Zednik, Wiener Philharmoniker, Claudio Abbado | — | |
| 30-2 | Wozzeck: Erster Akt: Zweite Szene. »Du, der Platz ist verflucht!« (Wozzeck, Andres) | Helmuth Froschauer, Franz Grundheber, Philip Langridge, Wiener Philharmoniker, Claudio Abbado | — | |
| 30-3 | Wozzeck: Erster Akt: Dritte Szene. »Tschin Bum..! Hörst Bub? Da kommen sie!« (Marie, Marget, Wozzeck) | Helmuth Froschauer, Hildegard Behrens, Anna Gonda, Franz Grundheber, Wiener Philharmoniker, Claudio Abbado | — | |
| 30-4 | Wozzeck: Erster Akt: Vierte Szene. »Was erleb’ ich, Wozzeck?« (Doktor, Wozzeck) | Helmuth Froschauer, Franz Grundheber, Aage Haugland, Wiener Philharmoniker, Claudio Abbado | — | |
| 30-5 | Wozzeck: Erster Akt: Fünfte Szene. »Geh einmal vor Dich hin…« (Marie, Tambourmajor) | Helmuth Froschauer, Hildegard Behrens, Walter Raffeiner, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-1 | Wozzeck: Zweiter Akt: Erste Szene. »Was die Steine glänzen!« (Marie, Wozzeck) | Helmuth Froschauer, Hildegard Behrens, Franz Grundheber, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-2 | Wozzeck: Zweiter Akt: Zweite Szene. »Wohin so eilig, geehrtester Herr Sargnagel?« (Hauptmann, Doktor, Wozzeck) | Helmuth Froschauer, Aage Haugland, Franz Grundheber, Heinz Zednik, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-3 | Wozzeck: Zweiter Akt: Dritte Szene. »Guten Tag, Franz« (Marie, Wozzeck) | Helmuth Froschauer, Hildegard Behrens, Franz Grundheber, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-4 | Wozzeck: Zweiter Akt: Vierte Szene. »Ich hab’ ein Hemdlein an, das ist nicht mein…« (1. und 2. Handwerksbursche, Wozzeck, Marie, Tambourmajor, Burschen, Soldaten, Andres, Der Narr) | Helmuth Froschauer, Hildegard Behrens, Chor der Wiener Staatsoper, Franz Grundheber, Peter Jelosits, Werner Kamenik, Philip Langridge, Alexander Maly, Walter Raffeiner, Alfred Šramek, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-5 | Wozzeck: Zweiter Akt: Fünfte Szene. »Oh! Oh! Andres! Ich kann nicht schlafen« (Soldaten, Wozzeck, Andres, Tambourmajor) | Helmuth Froschauer, Chor der Wiener Staatsoper, Franz Grundheber, Werner Kamenik, Philip Langridge, Walter Raffeiner, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-6 | Wozzeck: Dritter Akt: Erste Szene. »Und ist kein Betrug in seinem Munde erfunden worden…« (Marie) | Helmuth Froschauer, Hildegard Behrens, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-7 | Wozzeck: Dritter Akt: Erste Szene. »Und kniete hin zu seinen Füßen« (Marie) | Helmuth Froschauer, Hildegard Behrens, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-8 | Wozzeck: Dritter Akt: Zweite Szene. »Dort links geht’s in die Stadt« (Marie, Wozzeck) | Helmuth Froschauer, Hildegard Behrens, Franz Grundheber, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-9 | Wozzeck: Dritter Akt: Dritte Szene. »Tanzt Alle; tanzt nur zu..!« (Wozzeck, Margret, Burschen, Dirnen) | Helmuth Froschauer, Chor der Wiener Staatsoper, Anna Gonda, Franz Grundheber, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-10 | Wozzeck: Dritter Akt: Vierte Szene. »Das Messer? Wo ist das Messer?« (Wzozeck, Hauptmann, Doktor) | Helmuth Froschauer, Franz Grundheber, Aage Haugland, Heinz Zednik, Wiener Philharmoniker, Claudio Abbado | — | |
| 31-11 | Wozzeck: Dritter Akt: Fünfte Szene. »Ringel, Ringel, Rosenkranz, Ringelreih’n!« (Kinder, Mariens Knabe) | Helmuth Froschauer, Viktoria Lehner, Wiener Sängerknaben, Wiener Philharmoniker, Claudio Abbado | — | |
| 32-1 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-2 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-3 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-4 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-5 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-6 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-7 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 32-8 | Symphonie fantastique : IV. Marche au supplice: Allegretto non troppo | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 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 | London Symphony Orchestra, Claudio Abbado | T-900.143.514-9 | |
| 34-2 | L'Arlésienne Suite no. 1: Minuetto. Allegro giocoso | London Symphony Orchestra, Claudio Abbado | T-010.194.862-2 | |
| 34-3 | L'Arlésienne Suite no. 1: Adagietto. Adagio | London Symphony Orchestra, Claudio Abbado | T-910.448.362-7 | |
| 34-4 | L'Arlésienne Suite no. 1: Carillon. Allegretto moderato - Andantino - Tempo I | London Symphony Orchestra, Claudio Abbado | — | |
| 34-5 | L'Arlésienne Suite no. 2: Pastorale. Andante sostenuto assai - Andantino - Tempo I | London Symphony Orchestra, Claudio Abbado | T-071.478.968-0 | |
| 34-6 | L'Arlésienne Suite no. 2: Intermezzo. Andante moderato ma con moto - Allegro moderato | London Symphony Orchestra, Claudio Abbado | — | |
| 34-7 | L'Arlésienne Suite no. 2: Menuet. Andantino quasi allegretto | London Symphony Orchestra, Claudio Abbado | T-310.225.113-4 | |
| 34-8 | L'Arlésienne Suite no. 2: Farandole. Allegro deciso (Tempo di marcia) - Allegro vivo e deciso | London Symphony Orchestra, Claudio Abbado | T-010.194.866-6 | |
| 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, WD 31: Overture (Prelude) | London Symphony Orchestra, Claudio Abbado | T-031.673.380-8 | |
| 35-2 | Carmen : Acte I, Nº 1. Introduction « Sur la place chacun passe » (Les Soldats, Moralès) | Patrick Criswell, John McCarthy, Ambrosian Singers, Stuart Harling, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-3 | Carmen : Acte I. « Regardez donc cette petite » (Moralès, Les Soldats, Micaëla) | Patrick Criswell, John McCarthy, Ambrosian Singers, Ileana Cotrubaș, Stuart Harling, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-4 | Carmen : Acte I, Nº 2. Marche et Chœur des Gamins « Avec la garde montante » (Chœur des Gamins) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-5 | Carmen : Acte I. « Repos ! » (Zuniga, Moralès, Don José) | Plácido Domingo, Stuart Harling, Robert Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 35-6 | Carmen : Acte I. « Allons ! Allons ! » (Zuniga, Chœur des Gamins) | Patrick Criswell, John McCarthy, Ambrosian Singers, Robert Lloyd, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-7 | CARMEN, ACT I: DIALOGUE. DITES-MOI, BRIGADIER | CLAUDIO ABBADO LONDON SYMPHONY ORCHESTRA ROBERT LLOYD PLÁCIDO DOMINGO, GEORGES BIZET,ROBERT LLOYD,PLÁCIDO DOMINGO,LONDON SYMPHONY ORCHESTRA,CLAUDIO ABBADO | — | |
| 35-8 | Carmen : Acte I. “Voici la cloche qui sonne, mon lieutenant ” … “La cloche a sonné” | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-9 | Carmen : Acte I. « Mais nous ne voyons pas la Carmencita. » (Les Soldats, Les Jeunes Gens) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-10 | Carmen : Acte I. « Quand je vous aimerai ? » / Nº 4: Havanaise « L’amour est un oiseau rebelle » (Carmen, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-11 | Carmen : Acte I, Nº 5. Scène « Carmen, sur tes pas, nous nous pressons tous » (Les Jeunes Gens, Les Cigarières, Don José) | Patrick Criswell, John McCarthy, Ambrosian Singers, Plácido Domingo, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-12 | Carmen : Acte I. « Monsieur le brigadier ? » (Micaëla, Don José) / Nº 6: Duo « Parle‐moi de ma mère ! » (Don José, Micaëla) | Ileana Cotrubaș, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 35-13 | Carmen : Acte I. « Votre mère avec moi sortait de la chapelle » (Micaëla, Don José) | Ileana Cotrubaș, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 35-14 | Carmen : Acte I. « Ma mère, je la vois… » (Don José, Micaëla) | Ileana Cotrubaș, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 35-15 | Carmen : Acte I. « Que son fils l’aime et la venère » (Don José, Micaëla) / « Eh bien, eh bien ! » (Zuniga) | Ileana Cotrubaș, Plácido Domingo, Robert Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 35-16 | Carmen : Acte I, Nº 7. Chœur « Au secours ! » (Les Cigarières, Zuniga, Les Soldats) | Patrick Criswell, John McCarthy, Ambrosian Singers, Robert Lloyd, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-17 | Carmen : Acte I. « Voyons, brigadier… » (Zuniga, Don José, Carmen) / Nº 8. Chanson et Mélodrame « Tra la la la… » (Carmen, Zuniga, Les Cigarières, Un Soldat, Don José) | Patrick Criswell, John McCarthy, Ambrosian Singers, Richard Amner, Teresa Berganza, Plácido Domingo, Robert Lloyd, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-18 | Carmen : Acte I, Nº 9. Chanson (Séguedille) et Duo « Près des remparts de Séville » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 35-19 | Carmen : Acte I, Nº 10. Finale « Le lieutenant !… Prenez garde. » (Don José, Zuniga, Carmen) | Teresa Berganza, Plácido Domingo, Robert Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 35-20 | Carmen : Acte I. Entr’acte | London Symphony Orchestra, Claudio Abbado | — | |
| 35-21 | Carmen : Acte II, Nº 11. Chanson « Les tringles des sistres tintaient » (Carmen, Mercédès, Frasquita) | Teresa Berganza, Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | T-922.166.713-6 | |
| 35-22 | Carmen : Acte II. « Vous avez quelque chose à nous dire » (Zuniga, Pastia, Frasquita, Andrès, Mercédès, Carmen) | Teresa Berganza, Yvonne Kenny, Jean Lainé, Robert Lloyd, George Main, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | — | |
| 35-23 | Carmen : Acte II. « Tout est bien alors » (Carmen, Zuniga) / Nº 12. Chœur et Ensemble « Vivat ! vivat le toréro ! » (Chœur, Zuniga, Mercédès, Frasquita, Escamillo, Carmen, Andrès, Pastia) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Jean Lainé, Robert Lloyd, George Main, Alicia Nafé, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-24 | Carmen : Acte II, Nº 13. Couplet (Air du Toréador) « Votre toast… je peux vous le rendre » (Escamillo, tout le monde, Pastia, Zuniga, Carmen) / Nº 13 bis. Chœur « Toréador, en garde » (Chœur, Frasquita, Pastia, Dancaïre, Remendado) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Robert Lloyd, George Main, Sherrill Milnes, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 35-25 | Carmen : Acte II. Quintette « Nous avons en tête une affaire » | Teresa Berganza, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, London Symphony Orchestra, Claudio Abbado | — | |
| 35-26 | Carmen : Acte II, Nº 15. Chanson « Amoureuse…ce n’est pas une raison » (Dancaïre, Remendado, Frasquita, Mercédès, Carmen) / « Halte‐là ! Qui va là ? » (Don José, Mercédès, Frasquita, Dancaïre, Carmen) | Teresa Berganza, Plácido Domingo, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, London Symphony Orchestra, Claudio Abbado | — | |
| 36-1 | Carmen : Acte II, Nº 16. Duo « Je vais danser en votre honneur » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 36-2 | Carmen : Acte II. Air de la fleur « La Fleur que tu m’avais jetée » (Don José) | Plácido Domingo, London Symphony Orchestra, Claudio Abbado | T-928.635.311-5 | |
| 36-3 | Carmen : Acte II. « Non ! Tu ne m’aimes pas ! » (Carmen, Don José) | Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | — | |
| 36-4 | Carmen : Acte II, Nº 17. Finale « Holà ! Carmen ! Holà ! » (Zuniga, Don José, Carmen, Dancaïre, Remendado, Les Bohémiens) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, Robert Lloyd, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-5 | Carmen : Acte II. « Suis‐nous à travers la campagne » (Frasquita, Mercédès, Dancaïre, Remendado, Les Bohémiens, Les Bohémiennes) | Patrick Criswell, John McCarthy, Ambrosian Singers, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-6 | Carmen : Acte II. Entr’acte (entre Acte II & III) | London Symphony Orchestra, Claudio Abbado | — | |
| 36-7 | Carmen : Acte III, Nº 18. Introduction « Ecoute, compagnon, écoute » (Les Contrebandiers, Frasquita, Mercédès, Carmen, Don José, Dancaïre, Remendado) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-8 | Carmen : Acte III. « Halte ! Nous allons nous arrêter ici… » (Dancaïre, Remendado, Don José, Carmen) | Teresa Berganza, Plácido Domingo, Geoffrey Pogson, Gordon Sandison, London Symphony Orchestra, Claudio Abbado | — | |
| 36-9 | Carmen : Acte III, Nº 19. Trio « Mêlons ! » « Mêlons ! » « Coupons ! » (Frasquita, Mercédès) | Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | — | |
| 36-10 | Carmen : Acte III. Air des cartes « Carreau, pique … la mort ! » (Carmen) | Teresa Berganza, London Symphony Orchestra, Claudio Abbado | T-324.536.672-3 | |
| 36-11 | Carmen : Acte III. « Parlez encore, parlez, mes belles » (Frasquita, Mercédès, Carmen) | Teresa Berganza, Yvonne Kenny, Alicia Nafé, London Symphony Orchestra, Claudio Abbado | — | |
| 36-12 | Carmen : Acte III. « Eh bien, j’avais raison. » (Dancaïre, Carmen, Remendado, Frasquita, Mercédès, Don José) | Teresa Berganza, Plácido Domingo, Yvonne Kenny, Alicia Nafé, Geoffrey Pogson, Gordon Sandison | — | |
| 36-13 | Carmen : Acte III, Nº 20. Morceau d’ensemble « Quant au douanier, c’est notre affaire » (Carmen, Mercédès, Frasquita, Les Bohémiennes, Les Bohémiens, Dancaïre, Remendado) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Alicia Nafé, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-14 | Carmen : Acte III. « Nous y sommes » (Le Guide, Micaëla) | Ileana Cotrubaș, Jean Lainé | — | |
| 36-15 | Carmen : Acte III, Nº 21. Air « Je dis que rien ne m’épouvante » (Micaëla) | Ileana Cotrubaș, London Symphony Orchestra, Claudio Abbado | — | |
| 36-16 | Carmen : Acte III. « Mais… je ne me trompe pas… » (Micaëla, Escamillo, Don José) / Nº 22. Duo « Je suis Escamillo, toréro de Grenade. » (Escamillo, Don José) | Ileana Cotrubaș, Plácido Domingo, Sherrill Milnes, London Symphony Orchestra, Claudio Abbado | — | |
| 36-17 | Carmen : Acte III, Nº 23. Finale « Holà, José ! » (Carmen, Escamillo, Dancaïre, Don José, Les Contrebandiers, Les Contrebandières) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, Sherrill Milnes, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-18 | Carmen : Acte III. « Halte ! Quelqu’un est là qui cherche à se cacher. » (Remendado, Carmen, Dancaïre, Don José, Micaëla, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Ileana Cotrubaș, Plácido Domingo, Sherrill Milnes, Geoffrey Pogson, Gordon Sandison, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-19 | Carmen : Acte III. Entr’acte | London Symphony Orchestra, Claudio Abbado | T-010.248.557-3 | |
| 36-20 | Carmen : Acte III, Nº 24. Chœur « À deux cuartos » (Des Marchandes, Des Marchands, Un Soldat, Andrès, Un Bohémien) | Patrick Criswell, John McCarthy, Ambrosian Singers, Richard Amner, Leslie Fyson, Jean Lainé, Shirley Minty, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-21 | Carmen : Acte III, Nº 25. Chœur et Scène « Les voici, voici le quadrille » (Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-22 | Carmen : Acte IV. « Si tu m’aimes, Carmen » (Escamillo, Carmen, Frasquita, Mercédès) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Yvonne Kenny, Sherrill Milnes, Alicia Nafé, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 36-23 | Carmen : Acte IV, Nº 26. Duo final « C’est toi ? » / « C’est‐moi ! » (Carmen, Don José, Chœur) | Patrick Criswell, John McCarthy, Ambrosian Singers, Teresa Berganza, Plácido Domingo, George Watson’s College Boys’ Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 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 | Berliner Philharmoniker, Claudio Abbado | — | |
| 39-2 | Schicksalslied, op. 54: Langsam und sehnsuchtsvoll - »Ihr wandelt droben im Licht« - Allegro - »Doch uns ist gegeben, auf keiner Stätte zu ruhn« - Adagio | Ernst-Senff-Chor, Berliner Philharmoniker, Claudio Abbado | T-322.185.896-0 | |
| 39-3 | Symphonie Nr. 3 in F-dur, op. 90: I. Allegro con brio | Berliner Philharmoniker, Claudio Abbado | T-329.366.811-4 | |
| 39-4 | Symphonie Nr. 3 in F-dur, op. 90: II. Andante | Berliner Philharmoniker, Claudio Abbado | T-329.366.812-5 | |
| 39-5 | Symphonie Nr. 3 in F-dur, op. 90: III. Poco Allegretto | Berliner Philharmoniker, Claudio Abbado | — | |
| 39-6 | Symphonie Nr. 3 in F-dur, op. 90: IV. Allegro | Berliner Philharmoniker, Claudio Abbado | T-318.676.528-2 | |
| 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 | Berliner Philharmoniker, Claudio Abbado | T-322.184.202-6 | |
| 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« | Rundfunkchor Berlin, Berliner Philharmoniker, Claudio Abbado | T-322.186.555-6 | |
| 40-3 | Symphony no. 4 in E minor, op. 98: I. Allegro non troppo | Berliner Philharmoniker, Claudio Abbado | T-902.764.002-4 | |
| 40-4 | Symphony no. 4 in E minor, op. 98: II. Andante moderato | Berliner Philharmoniker, Claudio Abbado | T-902.764.002-4 | |
| 40-5 | Symphony no. 4 in E minor, op. 98: III. Allegro giocoso | Berliner Philharmoniker, Claudio Abbado | — | |
| 40-6 | Symphony no. 4 in E minor, op. 98: IV. Allegro energico e pass | Berliner Philharmoniker, Claudio Abbado | T-902.764.002-4 | |
| 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 | Berliner Philharmoniker, Claudio Abbado | T-901.158.945-0 | |
| 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 | Symphonie Nr. 4 e-Moll op. 98: 1. Allegro non troppo | London Symphony Orchestra, Claudio Abbado | T-902.764.002-4 | |
| 44-2 | Symphonie Nr. 4 e-Moll op. 98: 2. Andante moderato | London Symphony Orchestra, Claudio Abbado | — | |
| 44-3 | Symphonie Nr. 4 e-Moll op. 98: 3. Allegro giocoso – Poco meno presto – Tempo I | London Symphony Orchestra, Claudio Abbado | — | |
| 44-4 | Symphonie Nr. 4 e-Moll op. 98: 4. Allegro energico e passionato – Più Allegro | London Symphony Orchestra, Claudio Abbado | T-902.764.002-4 | |
| 44-5 | Tragische Ouvertüre, op. 81 | — | ||
| 45-1 | Serenade Nr. 1 D-dur op. 11: I. Allegro molto | Berliner Philharmoniker, Claudio Abbado | T-329.454.787-4 | |
| 45-2 | Serenade Nr. 1 D-dur op. 11: II. Scherzo. Allegro non troppo – Trio. Poco più moto | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-3 | Serenade Nr. 1 D-dur op. 11: III. Adagio non troppo | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-4 | Serenade Nr. 1 D-dur op. 11: IV. Menuetto I – Menuetto II | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-5 | Serenade Nr. 1 D-dur op. 11: V. Scherzo. Allegro – Trio | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-6 | Serenade Nr. 1 D-dur op. 11: VI. Rondo. Allegro | Berliner Philharmoniker, Claudio Abbado | T-800.132.125-2 | |
| 45-7 | Serenade no. 2 in A major, op. 16: 1. Allegro moderato | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-8 | Serenade no. 2 in A major, op. 16: 2. Scherzo. Vivace — Trio | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-9 | Serenade no. 2 in A major, op. 16: 3. Adagio non troppo | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-10 | Serenade no. 2 in A major, op. 16: 4. Quasi menuetto — Trio | Berliner Philharmoniker, Claudio Abbado | — | |
| 45-11 | Serenade no. 2 in A major, op. 16: 5. Rondo. Allegro | Berliner Philharmoniker, Claudio Abbado | T-800.132.125-2 | |
| 46-1 | Danse hongroise n° 1 | Wiener Philharmoniker, Claudio Abbado | T-322.186.564-7 | |
| 46-2 | Hungarian Dances, WoO 1: No. 2 in D minor: Allegro non assai — Vivace | Wiener Philharmoniker, Claudio Abbado | T-915.711.186-9 | |
| 46-3 | Hungarian Dances, WoO 1: No. 3 in F major: Allegretto | Wiener Philharmoniker, Claudio Abbado | T-322.178.813-8 | |
| 46-4 | Hungarian Dances, WoO 1: No. 4 in F-sharp minor: Poco sostenuto — Vivace | Wiener Philharmoniker, Claudio Abbado | T-909.573.827-5 | |
| 46-5 | Hungarian Dances, WoO 1: No. 5 in G minor: Allegro — Vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 46-6 | Hungarian Dances, WoO 1: No. 6 in D major: Vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 46-7 | Hungarian Dances, WoO 1: No. 7 in F major: Allegretto — Vivo | Wiener Philharmoniker, Claudio Abbado | T-312.524.872-4 | |
| 46-8 | Hungarian Dances, WoO 1: No. 8 in A minor: Presto | Wiener Philharmoniker, Claudio Abbado | T-312.524.872-4 | |
| 46-9 | Hungarian Dances, WoO 1: No. 9 in E minor: Allegro ma non troppo | Wiener Philharmoniker, Claudio Abbado | T-900.021.735-6 | |
| 46-10 | Hungarian Dances, WoO 1: No. 10 in F major: Presto | Wiener Philharmoniker, Claudio Abbado | T-909.573.827-5 | |
| 46-11 | Hungarian Dances, WoO 1: No. 11 in D minor: Poco andante | Wiener Philharmoniker, Claudio Abbado | T-900.833.446-1 | |
| 46-12 | Hungarian Dances, WoO 1: No. 12 in D minor: Presto | Wiener Philharmoniker, Claudio Abbado | — | |
| 46-13 | Hungarian Dances, WoO 1: No. 13 in D major: Adnantino grazioso — Vivace | Wiener Philharmoniker, Claudio Abbado | — | |
| 46-14 | Hungarian Dances, WoO 1: No. 14 in D minor: Un poco Andante | Wiener Philharmoniker, Claudio Abbado | T-915.711.196-1 | |
| 46-15 | Hungarian Dances, WoO 1: No. 15 in B-flat major: Allegretto grazioso | Wiener Philharmoniker, Claudio Abbado | — | |
| 46-16 | Hungarian Dances, WoO 1: No. 16 in F minor: Con moto | Wiener Philharmoniker, Claudio Abbado | — | |
| 46-17 | Hungarian Dances, WoO 1: No. 17 in F-sharp minor: Andantino vivace | Wiener Philharmoniker, Claudio Abbado | T-909.573.827-5 | |
| 46-18 | Hungarian Dances, WoO 1: No. 18 in D major: Molto vivace | Wiener Philharmoniker, Claudio Abbado | T-322.183.356-9 | |
| 46-19 | Hungarian Dances, WoO 1: No. 19 in B minor: Allegretto | Wiener Philharmoniker, Claudio Abbado | T-915.711.980-7 | |
| 46-20 | Hungarian Dances, WoO 1: No. 20 in E minor: Poco allegretto — Vivace | Wiener Philharmoniker, Claudio Abbado | T-329.391.163-0 | |
| 46-21 | Hungarian Dances, WoO 1: No. 21 in E minor: Vivace | Wiener Philharmoniker, Claudio Abbado | T-329.391.160-7 | |
| 47-1 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 1. Allegro non troppo | Maurizio Pollini, Wiener Philharmoniker, Claudio Abbado | T-322.446.876-8 | |
| 47-2 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 2. Allegro appassionato | Maurizio Pollini, Wiener Philharmoniker, Claudio Abbado | T-322.446.817-7 | |
| 47-3 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 3. Andante – Più adagio | Maurizio Pollini, Robert Scheiwein, Wiener Philharmoniker, Claudio Abbado | T-322.449.900-3 | |
| 47-4 | Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: 4. Allegretto grazioso — Un poco più presto | Maurizio Pollini, Wiener Philharmoniker, Claudio Abbado | T-322.446.992-1 | |
| 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: I. Maestoso | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 50-2 | Concerto for Piano and Orchestra no. 1 in D Minor, op. 15: II. Adagio | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 50-3 | Concerto for Piano and Orchestra no. 1 in D Minor, op. 15: III. Rondo. Allegro Non Troppo | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | — | |
| 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: Allegro - L'istesso tempo, un poco maestoso - Animato - Maestoso | Berliner Philharmoniker, Claudio Abbado | T-901.158.945-0 | |
| 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 | Wiener Philharmoniker, Claudio Abbado | — | |
| 60-2 | Symphony no. 7 in E major (ed. Leopold Nowak): 2. Adagio. Sehr feierlich und sehr langsam | Wiener Philharmoniker, Claudio Abbado | — | |
| 60-3 | Symphony no. 7 in E major (ed. Leopold Nowak): 3. Scherzo. Sehr schnell - Trio. Etwas langsamer | Wiener Philharmoniker, Claudio Abbado | — | |
| 60-4 | Symphony no. 7 in E major (ed. Leopold Nowak): 4. Finale. Bewegt, doch nicht schnell | Wiener Philharmoniker, Claudio Abbado | — | |
| 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: I. Allegro maestoso | Martha Argerich, London Symphony Orchestra, Claudio Abbado | T-308.381.369-4 | |
| 65-2 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: II. Romance. Larghetto | Martha Argerich, London Symphony Orchestra, Claudio Abbado | T-308.381.369-4 | |
| 65-3 | Concerto for Piano and Orchestra no. 1 in E minor, op. 11: III. Rondo. Vivace | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 65-4 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: I. Allegro maestoso | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 65-5 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: II. Quasi adagio / III. Allegretto vivace - Allegro animato | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 65-6 | Concerto for Piano and Orchestra no. 1 in E‐flat major, S. 124: IV. Allegro marziale animato | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 66-1 | Piano Concerto no. 2 in F minor, op. 21: I. Maestoso | Ivo Pogorelich, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 66-2 | Piano Concerto no. 2 in F minor, op. 21: I. Maestoso | Ivo Pogorelich, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 66-3 | Piano Concerto no. 2 in F minor, op. 21: I. Maestoso | Ivo Pogorelich, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 66-4 | Polonaise in F-sharp minor, op. 44: Tempo di polacca - Doppio movimento, tempo di mazurka - Tempo I | Ivo Pogorelich | T-918.019.319-5 | |
| 67-1 | Prélude à l'après-midi d'un faune, L 86: Très modéré | Berliner Philharmoniker, Claudio Abbado | — | |
| 67-2 | Nocturnes, L 91: 1. Nuages. Modéré - Un peu animé | Rundfunkchor Berlin, Berliner Philharmoniker, Claudio Abbado | — | |
| 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 | Berliner Philharmoniker, Claudio Abbado | — | |
| 67-4 | Nocturnes, L 91: 3. Sirènes (with women's chorus). Modérément animé | Rundfunkchor Berlin, Berliner Philharmoniker, Claudio Abbado | — | |
| 67-5 | Pelléas et Melisande - Concert Suite, L 88: Acte I. Une forêt | Berliner Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 67-6 | Pelléas et Melisande - Concert Suite, L 88: Acte II, scène 1. Une fontaine dans le parc | Berliner Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 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 | Berliner Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 67-8 | Pelléas et Melisande - Concert Suite, L 88: Acte V: Une chambre dans le château | Berliner Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 68-1 | Nocturnes, L 91: 1. Nuages. Modéré - Un peu animé | Boston Symphony Orchestra, Claudio Abbado | — | |
| 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 | Boston Symphony Orchestra, Claudio Abbado | — | |
| 68-3 | Nocturnes, L 91: 3. Sirènes. Modérément animé | New England Conservatory Chorus, Boston Symphony Orchestra, Claudio Abbado | — | |
| 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 | Lorna Cooke deVaron, New England Conservatory Chorus, Boston Symphony Orchestra, Claudio Abbado | — | |
| 68-5 | Pavane pour une infante défunte, M. 19: Lent | London Symphony Orchestra, Claudio Abbado | T-003.013.767-7 | |
| 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: Beginning | London Symphony Orchestra, Claudio Abbado | T-920.035.883-4 | |
| 69-2 | La damoiselle élue, L 62: Chœur : « La Damoiselle élue s’appuyait » (chœur, une récitante) | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 69-3 | La damoiselle élue, L 62: La Damoiselle : « Je voudrais qu’il fût déjà près de moi » | Maria Ewing, London Symphony Orchestra, Claudio Abbado | — | |
| 69-4 | La damoiselle élue, L 62: Chœur : « La lumière tressaillit … » (chœur, une récitante) | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — | |
| 69-5 | Prélude à l’après-midi d’un faune, L 86: Très modéré | Peter Lloyd, London Symphony Orchestra, Claudio Abbado | — | |
| 69-6 | Images pour orchestre Nᵒ 2 « Ibéria », L 122: 1. Par les rues et par les chemins. Assez animé | London Symphony Orchestra, Claudio Abbado | — | |
| 69-7 | Images pour orchestre Nᵒ 2 « Ibéria », L 122: 2. Les Parfums de la nuit. Lent et rêveur | London Symphony Orchestra, Claudio Abbado | — | |
| 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 | London Symphony Orchestra, Claudio Abbado | — | |
| 70-1 | Pelléas et Mélisande, L 88: Acte I, Scène 1.« Je ne pourrai plus sortir de cette forêt » (Golaud) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-2 | Pelléas et Mélisande, L 88: Acte I, Scène 1. « Pourquoi pleures-tu? » (Golaud, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-3 | Pelléas et Mélisande, L 88: Acte I, Scène 1. « Je suis perdu aussi » (Golaud) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-4 | Pelléas et Mélisande, L 88: Acte I, Scène 2. « Voici ce qu'il écrit à son frère Pelléas » (Geneviève) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-5 | Pelléas et Mélisande, L 88: Acte I, Scène 2. « Qu'en dites-vous ? » (Geneviève, Arkel, Pelléas) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-6 | Pelléas et Mélisande, L 88: Acte II, Scène 2. Interlude | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-7 | Pelléas et Mélisande, L 88: Acte I, Scène 3. « Il fait sombre dans les jardins » (Mélisande, Geneviève, Pelléas) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-8 | Pelléas et Mélisande, L 88: Acte I, Scène 3. « Hoé! Hisse Hoé! » (marins, Mélisande, Pelléas, Geneviève) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-9 | Pelléas et Mélisande, L 88: Acte II, Scène 1. « Vous ne savez pas où je vous ai menée ? » (Pelléas, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-10 | Pelléas et Mélisande, L 88: Acte II, Scène 1. « C'est au bord d'une fontaine » (Pelléas, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-11 | Pelléas et Mélisande, L 88: Acte I, Scène 2. Interlude | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-12 | Pelléas et Mélisande, L 88: Acte II, Scène 2. « Ah ! Ah ! Tout va bien » (Golaud, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-13 | Pelléas et Mélisande, L 88: Acte II, Scène 2. « Voyons, donne-moi ta main » (Golaud, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-14 | Pelléas et Mélisande, L 88: Acte II, Scène 1. Interlude | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-15 | Pelléas et Mélisande, L 88: Acte II, Scène 3. « Oui, c'est ici, nous y sommes » (Pelléas, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-16 | Pelléas et Mélisande, L 88: Acte III, Scène 1. « Mes longs cheveux descendent jusqu'au seuil de la tour » (Mélisande, Pelléas) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-17 | Pelléas et Mélisande, L 88: Acte III, Scène 1. « Je les tiens dans les mains » (Pelléas, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-18 | Pelléas et Mélisande, L 88: Acte III, Scène 1. « Que faites-vous ici ? » (Golaud, Pelléas) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 70-19 | Pelléas et Mélisande: Troisième Acte, Scène 1. « Prenez garde ; par ici, par ici » (Golaud, Pelléas) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-1 | Pelléas et Mélisande, L 88: Acte III, Scène 3. Interlude … « Ah ! Je respire enfin ! » (Pelléas, Golaud) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 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: Acte IV, Scène 1. « Où vas-tu ? » (Pelléas, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 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: Acte IV, Scène 2. « Ne mettez pas ainsi votre main à la gorge » (Golaud, Arkel, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-9 | Pelléas et Mélisande, L 88: Acte III, Scène 3. Interlude | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-10 | Pelléas et Mélisande, L 88: Acte IV, Scène 2. « Oh ! Cette pierre est lourde » (Yniold, un berger) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-11 | Pelléas et Mélisande, L 88: Acte IV, Scène 4. «C'est le dernier soir» | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-12 | Pelléas et Mélisande, L 88: Acte IV, Scène 4. «Nous sommes venus ici il y a bien longtemps» | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-13 | Pelléas et Mélisande, L 88: Acte IV, Scène 4. «On dirait que ta voix a passé sur la mer au printemps» | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-14 | Pelléas et Mélisande, L 88: Acte IV, Scène 4. «Quel est ce bruit?» | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 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: Acte V. « Attention ; je crois qu'elle s'éveille » (le médecin, Mélisande, Arkel, Golaud) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 71-17 | Pelléas et Mélisande, L 88: Acte V. « Mélisande, as-tu pitié de moi comme j'ai pitié da toi ? » (Golaud, Mélisande) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 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: Acte V. « Qu'y a-t-il » (Golaud, le médecin, Arkel) | Wiener Philharmoniker, Claudio Abbado | T-003.013.803-4 | |
| 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, Op. 95 "New World": II. Largo | Berliner Philharmoniker, Claudio Abbado | T-902.286.256-2 | |
| 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: IV. Finale. Presto ma non troppo | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-2 | Symphony in D major, Hob. I:93: IV. Finale. Presto ma non troppo | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-3 | Symphony in D major, Hob. I:93: IV. Finale. Presto ma non troppo | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-4 | Symphony in D major, Hob. I:93: IV. Finale. Presto ma non troppo | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-5 | Symphony in D major, Hob. I:101 "The Clock": III. Menuet. Allegretto - Trio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-6 | Symphony in D major, Hob. I:101 "The Clock": III. Menuet. Allegretto - Trio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-7 | Symphony in D major, Hob. I:101 "The Clock": III. Menuet. Allegretto - Trio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 73-8 | Symphony in D major, Hob. I:101 "The Clock": III. Menuet. Allegretto - Trio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 74-1 | Symphony in D major, Hob. I:96 "The Miracle": I. Adagio - Allegro | The Chamber Orchestra of Europe, Claudio Abbado | T-306.395.786-4 | |
| 74-2 | Symphony in D major, Hob. I:96 "The Miracle": II. Andante | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 74-3 | Symphony in D major, Hob. I:96 "The Miracle": III. Menuetto. Allegretto - Trio - Menuetto | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 74-4 | Symphony in D major, Hob. I:96 "The Miracle": IV. Finale. Vivace (assai) | The Chamber Orchestra of Europe, Claudio Abbado | T-318.676.528-2 | |
| 74-5 | Sinfonia Concertante in B-flat major, Hob. I:105: I. Allegro | The Chamber Orchestra of Europe, Claudio Abbado | T-800.184.797-9 | |
| 74-6 | Sinfonia Concertante in B-flat major, Hob. I:105: II. Andante | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 74-7 | Sinfonia Concertante in B-flat major, Hob. I:105: III. Allegro con spirito | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 75-1 | Overture to "Il mondo della luna", Hob. XXVIII:7 | The Chamber Orchestra of Europe, Claudio Abbado | T-071.017.492-7 | |
| 75-2 | Symphony in B-flat major, Hob. I:98: I. Adagio - Allegro | The Chamber Orchestra of Europe, Claudio Abbado | T-306.395.786-4 | |
| 75-3 | Symphony in B-flat major, Hob. I:98: II. Adagio cantabile | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 75-4 | Symphony in B-flat major, Hob. I:98: III. Menuetto. Allegro | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 75-5 | Symphony in B-flat major, Hob. I:98: IV. Finale. Presto | The Chamber Orchestra of Europe, Claudio Abbado | T-318.676.528-2 | |
| 75-6 | Symphony in G major, Hob. I:100 "Military": I. Adagio - Allegro | The Chamber Orchestra of Europe, Claudio Abbado | T-306.395.786-4 | |
| 75-7 | Symphony in G major, Hob. I:100 "Military": II. Allegretto | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 75-8 | Symphony in G major, Hob. I:100 "Military": III. Menuet. Moderato | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 75-9 | Symphony in G major, Hob. I:100 "Military": IV. Finale. Presto | The Chamber Orchestra of Europe, Claudio Abbado | T-318.676.528-2 | |
| 76-1 | Symphony in B-flat major, Hob. I:102: I. Largo | The Chamber Orchestra of Europe, Claudio Abbado | T-931.717.545-4 | |
| 76-2 | Symphony in B-flat major, Hob. I:102: II. Adagio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 76-3 | Symphony in B-flat major, Hob. I:102: III. Menuet. Allegro - Trio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 76-4 | Symphony in B-flat major, Hob. I:102: IV. Finale. Presto | The Chamber Orchestra of Europe, Claudio Abbado | T-318.676.528-2 | |
| 76-5 | Symphony in E-flat major, Hob. I:103 "Drum Roll": I. Adagio - Allegro con spirito | The Chamber Orchestra of Europe, Claudio Abbado | T-921.506.221-8 | |
| 76-6 | Symphony in E-flat major, Hob. I:103 "Drum Roll": II. Andante più tosto Allegretto | The Chamber Orchestra of Europe, Claudio Abbado | T-910.783.706-9 | |
| 76-7 | Symphony in E-flat major, Hob. I:103 "Drum Roll": III. Menuet - Trio | The Chamber Orchestra of Europe, Claudio Abbado | — | |
| 76-8 | Symphony in E-flat major, Hob. I:103 "Drum Roll": IV. Finale. Allegro con spirito | The Chamber Orchestra of Europe, Claudio Abbado | T-318.676.528-2 | |
| 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: I. Allegretto - Allegro - Maestoso | Berliner Philharmoniker, Claudio Abbado | T-900.952.974-2 | |
| 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 | Jürgen Ruck, Berliner Philharmoniker, Claudio Abbado | — | |
| 80-2 | Gruppen | Berliner Philharmoniker, Friedrich Goldmann, Claudio Abbado, Marcus Creed | — | |
| 81-1 | Symphonie no. 1: IV. Stürmisch bewegt | Berliner Philharmoniker, Claudio Abbado | T-900.953.062-5 | |
| 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: Erste Abteilung “Kräftig. Entschieden”: I. Kraftig. Entschieden | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-2 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: II. Immer das gleiche Tempo | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-3 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: III. Tempo I | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-4 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: IV. Zeit lassen | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-5 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: V. Zeit lassen | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-6 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: VI. Immer dasselbe Tempo (Marsch) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-7 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: VII. Im alten Marschtempo (Allegro moderato): 3 Takte nach | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 83-8 | Symphony no. 3: Erste Abteilung “Kräftig. Entschieden”: VIII. Tempo I | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-1 | Symphony no. 3 in D minor, Part II: II. Tempo di Menuetto. Sehr mäßig | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-2 | Symphony no. 3 in D minor, Part II: II. L’istesso tempo (3) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-3 | Symphony no. 3 in D minor, Part II: II. A tempo (Wie im Anfang) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-4 | Symphony no. 3 in D minor, Part II: II. Ganz Plötzlig gemächlich. Tempo di Menuetto (14) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-5 | Symphony no. 3 in D minor, Part II: III. Comodo. Scherzando. Ohne Hast | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-6 | Symphony no. 3 in D minor, Part II: III. Wieder sehr gemächlich, wie zu Anfang (6) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-7 | Symphony no. 3 in D minor, Part II: III. Etwas Zurückhaltend: 6 Takte vor/before/avant (14) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-8 | Symphony no. 3 in D minor, Part II: III. Tempo I: 2 Takte vor (17) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-9 | Symphony no. 3 in D minor, Part II: III. Wieder sehr gemächlich, beinahe langsam (27) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-10 | Symphony no. 3 in D minor, Part II: IV. Sehr langsam. Misterioso. Durchaus ppp | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-11 | Symphony no. 3 in D minor, Part II: IV. Più mosso subito: 6 Takte nach (6) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-12 | Symphony no. 3 in D minor, Part II: V. Lustig im Tempo und keck im Ausdruck | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-13 | Symphony no. 3 in D minor, Part II: VI. Langsam. Ruhevoll. Empfunden | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-14 | Symphony no. 3 in D minor, Part II: VI. Nicht mehr so breit (4) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-15 | Symphony no. 3 in D minor, Part II: VI. Tempo I Ruhevoll (9) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-16 | Symphony no. 3 in D minor, Part II: VI. Nicht mehr so breit (13) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-17 | Symphony no. 3 in D minor, Part II: VI. Tempo I (21) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-18 | Symphony no. 3 in D minor, Part II: VI. Langsam. Tempo I (25) | Berliner Philharmonic Orchestra, Claudio Abbado | — | |
| 84-19 | [applause] | [no artist] | T-072.571.419-1 | |
| 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: Teil III: IV. Adagietto. Sehr langsam | Berliner Philharmoniker, Claudio Abbado | — | |
| 86-2 | Symphony no. 5: Teil III: IV. Adagietto. Sehr langsam | Berliner Philharmoniker, Claudio Abbado | — | |
| 86-3 | Symphony no. 5: Teil III: IV. Adagietto. Sehr langsam | Berliner Philharmoniker, Claudio Abbado | — | |
| 86-4 | Symphony no. 5: Teil III: IV. Adagietto. Sehr langsam | Berliner Philharmoniker, Claudio Abbado | — | |
| 86-5 | Symphony no. 5: Teil III: IV. Adagietto. Sehr langsam | Berliner Philharmoniker, Claudio Abbado | — | |
| 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: I. Langsam (Adagio) – Allegro risoluto, ma non troppo | Berliner Philharmoniker, Claudio Abbado | — | |
| 88-2 | Symphony no. 7: II. Nachtmusik. Allegro moderato | Berliner Philharmoniker, Claudio Abbado | — | |
| 88-3 | Symphony no. 7: III. Scherzo. Schattenhaft – Trio | Berliner Philharmoniker, Claudio Abbado | — | |
| 88-4 | Symphony no. 7: IV. Nachtmusik. Andante amoroso | Berliner Philharmoniker, Claudio Abbado | — | |
| 88-5 | Symphony no. 7: V. Rondo-finale. Tempo I (Allegro ordinario) | Berliner Philharmoniker, Claudio Abbado | — | |
| 88-6 | [applause] | [no artist] | T-072.571.419-1 | |
| 89-1 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-2 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-3 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-4 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-5 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-6 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-7 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 89-8 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-1 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-2 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-3 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-4 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-5 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-6 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-7 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-8 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-9 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-10 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-11 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-12 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-13 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-14 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-15 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 90-16 | Symphonie no. 8: Zweiter Teil: Schlußszene aus Goethes “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” | Berliner Philharmoniker, Claudio Abbado | — | |
| 91-1 | Symphony no. 9 in D major: I. Andante comodo | Berliner Philharmoniker, Claudio Abbado | — | |
| 91-2 | Symphony no. 9 in D major: II. Im Tempo eines gemaechlichen Laendlers. Etwas taeppisch und sehr derb. | Berliner Philharmoniker, Claudio Abbado | — | |
| 91-3 | Symphony no. 9 in D major: III. Rondo-Burleske. Allegro assai. Sehr trotzig. | Berliner Philharmoniker, Claudio Abbado | — | |
| 91-4 | Symphony no. 9 in D major: IV. Adagio. Sehr langsam und noch zurueckhaltend. | Berliner Philharmoniker, Claudio Abbado | T-318.676.528-2 | |
| 91-5 | Applause | — | ||
| 92-1 | Symphonie no. 10 fis-moll: d. Ziffer 24 | Wiener Philharmoniker, Claudio Abbado | — | |
| 92-2 | Symphonie no. 10 fis-moll: d. Ziffer 24 | Wiener Philharmoniker, Claudio Abbado | — | |
| 92-3 | Symphonie no. 10 fis-moll: d. Ziffer 24 | Wiener Philharmoniker, Claudio Abbado | — | |
| 92-4 | Symphonie no. 10 fis-moll: d. Ziffer 24 | Wiener Philharmoniker, Claudio Abbado | — | |
| 92-5 | Symphonie no. 10 fis-moll: d. Ziffer 24 | Wiener Philharmoniker, Claudio Abbado | — | |
| 92-6 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 92-7 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 92-8 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 92-9 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 92-10 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-1 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-2 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-3 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-4 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-5 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-6 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-7 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-8 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-9 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-10 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-11 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-12 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-13 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-14 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-15 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-16 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-17 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-18 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-19 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 93-20 | Symphonie no. 2 "Auferstehungs-Symphonie": V, Ziffer 44. Mit Aufschwung, aber nicht eilen "O Schmerz! Du Alldurchdringer!" | Erwin Ortner, Arnold Schönberg Chor, Waltraud Meier, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado | — | |
| 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 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-2 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-3 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-4 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-5 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-6 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-7 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-8 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 95-9 | Symphonie no. 3: Abteilung II: IV, 6 Takte nach Ziffer 6. Più mosso subito | Jessye Norman, Wiener Philharmoniker, Claudio Abbado | — | |
| 96-1 | Symphonie no. 4: I. Bedächtig. Nicht eilen | Wiener Philharmoniker, Claudio Abbado | — | |
| 96-2 | Symphonie no. 4: IV. Sehr behaglich "Wir genießen die himmlischen Freuden" | Frederica von Stade, Wiener Philharmoniker, Claudio Abbado | — | |
| 96-3 | Symphonie no. 4: IV. Sehr behaglich "Wir genießen die himmlischen Freuden" | Frederica von Stade, Wiener Philharmoniker, Claudio Abbado | — | |
| 96-4 | Symphonie no. 4: IV. Sehr behaglich "Wir genießen die himmlischen Freuden" | Frederica von Stade, Wiener Philharmoniker, Claudio Abbado | — | |
| 97-1 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-2 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-3 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-4 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-5 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-6 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-7 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-8 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-9 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-10 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-11 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-12 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-13 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-14 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-15 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-16 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-17 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-18 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-19 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-20 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-21 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-22 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-23 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-24 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-25 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-26 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-27 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-28 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-29 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-30 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 97-31 | Symphonie no. 9 D-dur: IVe. Stets sehr gehalten | Wiener Philharmoniker, Claudio Abbado | — | |
| 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 | Chicago Symphony Orchestra, Claudio Abbado | T-070.275.805-1 | |
| 99-2 | Symphony no. 2 “Resurrection”: 1. Sehr mäßig und zurückhaltend | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-3 | Symphony no. 2 “Resurrection”: 1. Sehr langsam beginnend | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-4 | Symphony no. 2 “Resurrection”: 2. Andante moderato | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-5 | Symphony no. 2 “Resurrection”: 3. [Scherzo]. In ruhig fließender Bewegung | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-6 | Symphony no. 2 “Resurrection”: 4. »Urlicht«. Sehr feierlich, aber schlicht - »O Röschen rot« (alto solo) | Marilyn Horne, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-7 | Symphony no. 2 “Resurrection”: 5. Im Tempo des Scherzo. Wild herausfahrend | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-8 | Symphony no. 2 “Resurrection”: 5. Langsam | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-9 | Symphony no. 2 “Resurrection”: 5. Im Anfang sehr zurückgehalten | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-10 | Symphony no. 2 “Resurrection”: 5. Wieder sehr breit | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-11 | Symphony no. 2 “Resurrection”: 5. Maestoso. Sehr zurückhaltend | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-12 | Symphony no. 2 “Resurrection”: 5. Wieder zurückhaltend | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-13 | Symphony no. 2 “Resurrection”: 5. Langsam, immer noch mehr zurückhaltend | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-14 | Symphony no. 2 “Resurrection”: 5. Sehr langsam und gedehnt | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-15 | Symphony no. 2 “Resurrection”: 5. Langsam. Misterioso »Auferstehen, ja auferstehen wirst du« (soprano solo, chorus) | Margaret Hillis, Chicago Symphony Chorus, Carol Neblett, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-16 | Symphony no. 2 “Resurrection”: 5. Etwas bewegter »O glaube, mein Herz, o glaube« (alto & soprano solo) | Marilyn Horne, Carol Neblett, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 99-17 | Symphony no. 2 “Resurrection”: 5. Wieder etwas zurückhaltend »Was entstanden ist, das muss vergehen« (chorus, alto & soprano solo) | Margaret Hillis, Chicago Symphony Chorus, Marilyn Horne, Carol Neblett, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 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 | Symphony no. 6 in A minor, III. Andante moderato | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 101-2 | Symphony no. 6 in A minor, III. Andante moderato | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 101-3 | Symphony no. 6 in A minor, III. Andante moderato | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 102-1 | Symphony no. 6 in A minor, III. Andante moderato | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 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 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-2 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-3 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-4 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-5 | Symphony no. 7: 1. [bar 171] | — | ||
| 103-6 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-7 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-8 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-9 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-10 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-11 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-12 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-13 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-14 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-15 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-16 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-17 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-18 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-19 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-20 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 103-21 | Symphony no. 7 in E minor: IVa. Nachtmusik II: Andante amoroso | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 104-1 | Des Knaben Wunderhorn: I. Revelge | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-303.204.042-5 | |
| 104-2 | Des Knaben Wunderhorn: II. Rheinlegendchen | Anne Sofie von Otter, Berliner Philharmoniker, Claudio Abbado | — | |
| 104-3 | Des Knaben Wunderhorn: III. Trost im Unglück | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-904.908.073-1 | |
| 104-4 | Des Knaben Wunderhorn: IV. Verlorne Müh | Anne Sofie von Otter, Berliner Philharmoniker, Claudio Abbado | — | |
| 104-5 | Des Knaben Wunderhorn: V. Der Schildwache Nachtlied | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-904.908.073-1 | |
| 104-6 | Des Knaben Wunderhorn: VI. Das irdische Leben | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | — | |
| 104-7 | Des Knaben Wunderhorn: VII. Lied des Verfolgten im Turm | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-904.908.073-1 | |
| 104-8 | Des Knaben Wunderhorn: VIII. Wer hat dies Liedlein erdacht? | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | — | |
| 104-9 | Des Knaben Wunderhorn: IX. Des Antonius von Padua Fischpredigt | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-904.908.073-1 | |
| 104-10 | Des Knaben Wunderhorn: X. Lob des hohen Verstandes | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-904.908.073-1 | |
| 104-11 | Des Knaben Wunderhorn: XI. Wo die schönen Trompeten blasen | Anne Sofie von Otter, Berliner Philharmoniker, Claudio Abbado | T-917.182.185-5 | |
| 104-12 | Des Knaben Wunderhorn: XII. Der Tamboursg'sell | Thomas Quasthoff, Berliner Philharmoniker, Claudio Abbado | T-904.908.073-1 | |
| 104-13 | Des Knaben Wunderhorn: XIII. Urlicht | Anne Sofie von Otter, Berliner Philharmoniker, Claudio Abbado | T-915.187.590-0 | |
| 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: 9. Andante sostenuto assai - [Duet]: »Drum sing' ich mit meinem Liede ewig dein Lob« (tenor, soprano I) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-2 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-3 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 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: 9. Andante sostenuto assai - [Duet]: »Drum sing' ich mit meinem Liede ewig dein Lob« (tenor, soprano I) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-6 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-7 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-8 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-9 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-10 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-11 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-12 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 106-14 | 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) | London Symphony Orchestra, Claudio Abbado | — | |
| 107-1 | Symphony no. 3 in A minor "Scottish", op. 56: IV. Allegro vivacissimo – Allegro maestoso assai | London Symphony Orchestra, Claudio Abbado | — | |
| 107-2 | Symphony no. 3 in A minor "Scottish", op. 56: IV. Allegro vivacissimo – Allegro maestoso assai | London Symphony Orchestra, Claudio Abbado | — | |
| 107-3 | Symphony no. 3 in A minor "Scottish", op. 56: IV. Allegro vivacissimo – Allegro maestoso assai | London Symphony Orchestra, Claudio Abbado | — | |
| 107-4 | Symphony no. 3 in A minor "Scottish", op. 56: IV. Allegro vivacissimo – Allegro maestoso assai | London Symphony Orchestra, Claudio Abbado | — | |
| 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, op. 90 “Italian”: I. Allegro vivace | London Symphony Orchestra, Claudio Abbado | — | |
| 108-2 | Symphony no. 4 in A major, op. 90 “Italian”: I. Allegro vivace | London Symphony Orchestra, Claudio Abbado | — | |
| 108-3 | Symphony no. 4 in A major, op. 90 “Italian”: I. Allegro vivace | London Symphony Orchestra, Claudio Abbado | — | |
| 108-4 | Symphony no. 4 in A major, op. 90 “Italian”: I. Allegro vivace | London Symphony Orchestra, Claudio Abbado | — | |
| 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: I. Allegro molto appassionato | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 110-2 | Concerto for Violin and Orchestra in E minor, op. 64: II. Andante | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | T-071.481.827-5 | |
| 110-3 | Concerto for Violin and Orchestra in E minor, op. 64: III. Allegretto non troppo - Allegro molto vivace | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 110-4 | Concerto for Violin and Orchestra no. 1 in G minor, op. 26: I. Vorspiel. Allegro moderato - attacca: | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 110-5 | Concerto for Violin and Orchestra no. 1 in G minor, op. 26: II. Adagio | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | T-071.481.827-5 | |
| 110-6 | Violinkonzert Nr. 1 g-Moll, op. 26: III. Allegro energico | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | T-700.095.171-5 | |
| 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 | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Piece for Orchestra, op. 6 no. 1: Präludium. Langsam | London Symphony Orchestra, Claudio Abbado | — |
| Piece for Orchestra, op. 6 no. 2: Reigen. Anfangs etwas zögernd - Leicht beschwingt | London Symphony Orchestra, Claudio Abbado | — |
| Piece for Orchestra, op. 6 no. 3: Marsch. Mässiges Marschtempo | London Symphony Orchestra, Claudio Abbado | — |
| 3 Pieces from the “Lyric Suite”, Version for String Orchestra (1928): 1. Andante amoroso | Wiener Philharmoniker, Claudio Abbado | — |
| 3 Pieces from the “Lyric Suite”, Version for String Orchestra (1928): 2. Allegro misterioso - Trio estatico | Wiener Philharmoniker, Claudio Abbado | — |
| 3 Pieces from the “Lyric Suite”, Version for String Orchestra (1928): 3. Adagio appassionato | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 1. Nacht | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 2. Schilflied | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 3. Die Nachtigall | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 4. Traumgekrönt | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 5. Im Zimmer | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 6. Liebesode | Wiener Philharmoniker, Claudio Abbado | — |
| Sieben frühe Lieder: 7. Sommertage | Wiener Philharmoniker, Claudio Abbado | — |
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| Stele, op. 33 (revised version): 1. Adagio - | Berliner Philharmoniker, Claudio Abbado | T-070.160.313-5 |
| Stele, op. 33 (revised version): 2. Lamentoso - disperato, con moto. Nicht zu schnell, aber wild, gehetzt, ungeduldig - | Berliner Philharmoniker, Claudio Abbado | T-802.784.175-5 |
| Stele, op. 33 (revised version): 3. Molto sostenuto | Berliner Philharmoniker, Claudio Abbado | — |
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| Symphony no. 40 in G minor with clarinets, K. 550: I. Allegro molto | London Symphony Orchestra, Claudio Abbado | T-003.035.132-6 |
| Symphony no. 40 in G minor with clarinets, K. 550: II. Andante | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 |
| Symphony no. 40 in G minor with clarinets, K. 550: III. Minuetto. Allegretto & Trio | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 |
| Symphony no. 40 in G minor with clarinets, K. 550: IV. Allegro assai | London Symphony Orchestra, Claudio Abbado | T-306.395.786-4 |
| Symphony no. 41 in C major, K. 551 "Jupiter": I. Allegro vivace | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 |
| Symphony no. 41 in C major, K. 551 "Jupiter": II. Andante cantabile | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 |
| Symphony no. 41 in C major, K. 551 "Jupiter": III. Minuetto. Allegretto & Trio | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 |
| Symphony no. 41 in C major, K. 551 "Jupiter": IV. Allegro molto | London Symphony Orchestra, Claudio Abbado | T-003.035.132-6 |
| Konzert für Klavier und Orchester Nr. 8 C-dur, KV 246 "Lützow-Konzert": 1. Allegro aperto (kadenz: Mozart) | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester Nr. 8 C-dur, KV 246 "Lützow-Konzert": 2. Andante (kadenz: Mozart) | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester Nr. 8 C-dur, KV 246 "Lützow-Konzert": 3. Rondeau. Tempo di Menuetto (kadenz: Mozart) | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Piano Concerto no. 12 in A, KV 414: I. Allegro | London Symphony Orchestra, Rudolf Serkin, Claudio Abbado | T-011.422.353-8 |
| Piano Concerto no. 12 in A, KV 414: II. Andante | London Symphony Orchestra, Rudolf Serkin, Claudio Abbado | — |
| Piano Concerto no. 12 in A, KV 414: III. Rondeau. Allegretto | London Symphony Orchestra, Rudolf Serkin, Claudio Abbado | — |
| Concerto for Piano no. 9 in E-flat major, K. 271 "Jenamy": I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 9 in E-flat major, K. 271 "Jenamy": II. Andantino | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 9 in E-flat major, K. 271 "Jenamy": III. Rondeau. Presto - adagio & Menuetto. Cantabile - tempo primo | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 17 in G major, K. 453 "Second Ployer": I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-071.070.336-8 |
| Concerto for Piano no. 17 in G major, K. 453 "Second Ployer": II. Andante | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 17 in G major, K. 453 "Second Ployer": III. Allegretto & Finale. Presto | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-902.774.400-9 |
| Concerto for Piano and Orchestra no. 15 in B-flat major, K. 450: I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-011.422.353-8 |
| Concerto for Piano and Orchestra no. 15 in B-flat major, K. 450: II. Andante | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 15 in B-flat major, K. 450: III. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 22 in E-flat major, K. 482: I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-070.161.055-0 |
| Concerto for Piano and Orchestra no. 22 in E-flat major, K. 482: II. Andante | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 22 in E-flat major, K. 482: III. Allegro - Andantino cantabile - Primo tempo | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester Nr. 18 B-dur KV 456: 1. Allegro vivace | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester Nr. 18 B-dur KV 456: 2. Andante un poco sostenuto | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester Nr. 18 B-dur KV 456: 3. Allegro vivace | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Piano Concerto no. 24 in C minor, K. 491: I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-011.422.353-8 |
| Piano Concerto no. 24 in C minor, K. 491: II. Larghetto | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-926.819.124-8 |
| Piano Concerto no. 24 in C minor, K. 491: III. (Allegretto) | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 25 in C major, K. 503: II. Andante | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 25 in C major, K. 503: III. Allegretto | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Piano Concerto no. 19 in F, KV 459: I. Allegro vivace | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Piano Concerto no. 19 in F, KV 459: II. Allegretto | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester no. 20 D-moll KV 466: I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-011.422.353-8 |
| Konzert für Klavier und Orchester no. 20 D-moll KV 466: II. Romance | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester no. 20 D-moll KV 466: III. Rondo (Allegro assai) | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-306.395.786-4 |
| Konzert für Klavier und Orchester Nr. 27 B-dur, KV 595: 2. Larghetto | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano no. 21 in C major, K. 467 "Elvira Madigan": II. Andante | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | — |
| Piano Concerto no. 23 in A, K. 488: I. Allegro | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-011.422.353-8 |
| Piano Concerto no. 23 in A, K. 488: II. Adagio | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-915.711.586-1 |
| Piano Concerto no. 23 in A, K. 488: III. Allegro assai | Rudolf Serkin, London Symphony Orchestra, Claudio Abbado | T-306.395.786-4 |
| Concerto no. 14 in E-flat major for Piano, K. 449: I. Allegro vivace | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto no. 14 in E-flat major for Piano, K. 449: II. Andantino | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto no. 14 in E-flat major for Piano, K. 449: III. Allegro ma non troppo | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano No. 26 in D major, K. 537: I. Allegro | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | T-070.160.313-5 |
| Piano Concerto no. 26 in D major, K 537 "Coronation": II. Larghetto | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | T-926.819.124-8 |
| Concerto for Piano No. 26 in D major, K. 537: III. Allegretto | Maria João Pires, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto no. 17 in G major for Piano, K. 453: I. Allegro | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto no. 17 in G major for Piano, K. 453: II. Andante | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto no. 17 in G major for Piano, K. 453: III. Allegretto | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto for Piano no. 21 in C major, K. 467: I. Allegro | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | T-070.160.313-5 |
| Concerto for Piano no. 21 in C major, K. 467: II. Andante | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto for Piano no. 21 in C major, K. 467: III. Allegro | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | T-306.395.786-4 |
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| Concerto for Piano no. 20 in D minor, K. 466: II. Romanze | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano no. 21 in C major, K. 467 "Elvira Madigan": I. Allegro | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano no. 25 in C-flat major, K. 503: I. Allegro Maestoso | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano no. 25 in C-flat major, K. 503: II. Andante | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano no. 25 in C-flat major, K. 503: III. Allegretto | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano no. 27 in B-flat major, K. 595: I. Allegro | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
| Concerto for Piano no. 27 in B-flat major, K. 595: II. Larghetto | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | T-800.132.125-2 |
| Concerto for Piano no. 27 in B-flat major, K. 595: III. Allegro | Friedrich Gulda, Wiener Philharmoniker, Claudio Abbado | — |
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| Concerto for Violin and Orchestra (no. 7) in D major, K. 271a (271i): 1. Allegro | David Garrett, Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto for Violin and Orchestra (no. 7) in D major, K. 271a (271i): 2. Andante | David Garrett, Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto for Violin and Orchestra (no. 7) in D major, K. 271a (271i): 3. Rondeau: Allegro | David Garrett, Chamber Orchestra of Europe, Claudio Abbado | T-308.457.046-3 |
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| Oboe Concerto Movement (Allegro) in F, K. 293 (Robert Levin) | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Andante B-Dur, KV 315 | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Oboenkonzert C-Dur, KV 285d/314: I. Allegro aperto | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Oboenkonzert C-Dur, KV 285d/314: II. Adagio ma non troppo | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Oboenkonzert C-Dur, KV 285d/314: III. Rondo. Tempo di menuetto | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Ma che vi fece… Sperai vicino, K.368: Andantino – Allegro | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | T-306.395.786-4 |
| Aria “Al desio, di chi t'adora” in F major, K. 577 | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Andante und Rondo, D-Dur, KV 271a/271i: I., Andante | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Andante und Rondo, D-Dur, KV 271a/271i: II. Rondo - Allegro | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | T-902.773.746-8 |
| Oboenkonzert Nr. 1 d-Moll: I. Allegro | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | T-070.160.313-5 |
| Oboenkonzert Nr. 1 d-Moll: II. Grazioso | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Oboenkonzert Nr. 1 d-Moll: III. Rondo Allegro | Albrecht Mayer, Mahler Chamber Orchestra, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) I. Kyrie Adagio "Kyrie eleison" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) I. Kyrie Adagio "Kyrie eleison" | Gundula Janowitz, Frederica von Stade, Wiesław Ochman, Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) I. Kyrie Adagio "Christie eleison" | Gundula Janowitz, Frederica von Stade, Wiesław Ochman, Kurt Moll, Rudolf Scholz, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) I. Kyrie Adagio "Kyrie eleison" | Gundula Janowitz, Frederica von Stade, Wiesław Ochman, Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Gloria in excelsis Deo" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Laudamus te" | Gundula Janowitz, Frederica von Stade, Rudolf Scholz, Wiener Philharmoniker, Claudio Abbado | T-003.010.019-6 |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Gratias agimus" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Domine Deus" | Wiesław Ochman, Kurt Moll, Rudolf Scholz, Wiener Philharmoniker, Claudio Abbado | T-003.010.019-6 |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Qui tollis peccata mundi" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Quoniam tu solus Sanctus" | Gundula Janowitz, Rudolf Scholz, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) II. Gloria Allegro "Cum Sancto Spiritu" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) III. Credo Allegro "Credo in unum Deum" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | T-900.147.322-9 |
| Missa solemnis KV 139 (47a) III. Credo Allegro "Et incarnatus est" | Gundula Janowitz, Frederica von Stade, Rudolf Scholz, Wiener Philharmoniker, Claudio Abbado | T-924.224.927-0 |
| Missa solemnis KV 139 (47a) III. Credo Allegro "Crucifixus estiam pro nobis" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) III. Credo Allegro "Et resurrexit" | Gundula Janowitz, Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) III. Credo Allegro "Et in spiritum Sanctum" | Wiesław Ochman, Rudolf Scholz, Wiener Philharmoniker, Claudio Abbado | T-915.866.114-4 |
| Missa solemnis KV 139 (47a) III. Credo Allegro "Et in unam sanctam" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) IV. Sanctus Adagio "Sanctus, Sanctus, Sanctus Dominus" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) IV. Sanctus Adagio "Pleni sunt coeli" / "Osanna in excelsis" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) IV. Sanctus Adagio "Benedictus" | Gundula Janowitz, Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | T-106.642.813-3 |
| Missa solemnis KV 139 (47a) IV. Sanctus Adagio "Osanna in excelsis" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) V. Agnus Dei Andante "Agnus Dei, qui tollis peccata mundi" | Gundula Janowitz, Frederica von Stade, Wiesław Ochman, Kurt Moll, Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Missa solemnis KV 139 (47a) V. Agnus Dei Andante "Dona nobis pacem" | Rudolf Scholz, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | — |
| Requiem in D minor, K. 626, Süßmayr completion with reconstructions by Franz Beyer (1971/79) and Robert D. Levin (1993): III. Sequentia: Confutatis | Swedish Radio Choir, Berliner Philharmoniker, Claudio Abbado | — |
| Vesperae solennes de confessore for Soloists, Chorus & Orchestra in C major, K. 339: V. "Laudate dominum" | Rachel Harnisch, Radiokören, Kay Johannsen, Berliner Philharmoniker, Claudio Abbado | — |
| Nehmt meinen Dank, ihr holden Gönner, KV 383 | Christine Schäfer, Berliner Philharmoniker, Claudio Abbado | — |
| Exsultate, jubilate, KV 165: "Exsultate, jubilate" | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Mia speranza adorata! - A non sai qual pena sia, KV 416 | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Ch'io mi scordi di te - Non temer, amato bene, KV 505 | Christine Schäfer, Maria João Pires, Berliner Philharmoniker, Claudio Abbado | — |
| Zaide, KV 344: Ruhe sanft, mein holdes Leben | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | T-061.791.492-7 |
| Vorrei spiegarvi, oh Dio! - Ah conte, partite!, KV 418 | Christine Schäfer, Berliner Philharmoniker, Claudio Abbado | T-924.224.904-3 |
| Wiegenlied, op. 41 no. 1 | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Das Rosenband, op. 36 no. 1 | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Liebeshymnus, op. 32 no. 3 | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Das Bächlein, AV 118 | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Morgen!, op. 27 no. 4 | Berliner Philharmoniker, Claudio Abbado, Christine Schäfer | — |
| Le nozze di Figaro: Sinfonia | Wiener Philharmoniker, Claudio Abbado | T-900.133.397-7 |
| Le nozze di Figaro, K 492: Atto I. N. 1 Duettino: “Cinque... dieci... venti... trenta” (Figaro, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Cosa stai misurando” (Susanna, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 2 Duettino: “Se a caso madama la notte ti chiama” (Figaro, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Or bene, ascolta e taci” (Susanna, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. “Bravo, signor padrone!” (Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 3 Cavatina: “Se vuol ballare, signor contino” (Figaro) | Wiener Philharmoniker, Claudio Abbado | T-900.134.079-0 |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Ed aspettaste il giorno” (Bartolo, Marcellina) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 4 Aria: “La vendetta, oh, la vendetta” (Bartolo) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Tutto ancor non ho perso” (Marcellina, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 5 Duettino: “Via, resti servita” (Marcellina, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Va' là, vecchia pedante” (Susanna, Cherubino) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 6 Aria: “Non so più cosa son, cosa faccio” (Cherubino) | Cecilia Bartoli, Wiener Philharmoniker, Claudio Abbado | T-915.310.099-3 |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Ah, son perduto!” ... “Susanna, il ciel vi salvi!” (Cherubino, Susanna, conte, Basilio) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 7 Terzetto: “Cosa sento! Tosto andate” (conte, Basilio, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Basilio, in traccia tosto di Figaro” (conte, Susanna, Cherubino, Basilio) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 8 Coro: “Giovani liete, fiori spargete” (contadini, contadine) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Cos'è questa commedia?” (conte, Figaro, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 9 Coro: “Giovani liete, fiori spargete” (contadini, contadine) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. Recitativo: “Evviva!” ... “E voi non applaudite?” (Figaro, Susanna, Basilio, Cherubino, conte) 10.3 | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto I. N. 10 Aria: “Non più andrai, farfallone amoroso” (Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 11 Cavatina: “Porgi, amor, qualche, ristoro” (contessa) | Wiener Philharmoniker, Claudio Abbado | T-306.482.540-3 |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Vieni, cara Susanna” (contessa, Susanna, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Quanto duolmi, Susanna” (contessa, Susanna, Cherubino) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K. 492: Atto II. No. 12 "Voi che sapete" | Dietrich D. Gerpheide, Cecilia Bartoli, Franz Bartolomey, Robert Scheiwein, Ronald Schneider, Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Bravo! Che bella voce!” (contessa, Susanna, Cherubino) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 13 Aria: “Venite, inginocchiatevi” (Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Quante buffonerie!” ... “Chi picchia alla mia porta?” (contessa, Susanna, Cherubino, conte) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. “Che novità! Non fu mai vostra usanza” (conte, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 14 Terzetto: “Susanna, or via sortite” (conte, contessa, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Dunque, voi non aprite?” (conte, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 15 Duettino: “Aprite, presto, aprite” (Susanna, Cherubino) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Oh guarda il demonietto” (Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. Recitativo: “Tutto è come il lasciai” (conte, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Esci omai, garzon malnato” (conte, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Signore! Cos'è quel stupore?” (Susanna, conte, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Susanna, son morta” (contessa, Susanna, conte) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Signori, di fuori son già i suonatori” (Figaro, conte, Susanna, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Conoscete, signor Figaro” (conte, Figaro, Susanna, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Ah signor! Signor” / “Cos'è stato?” (Antonio, conte, contessa, Susanna, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Vostre dunque saran queste carte” (Antonio, conte, Figaro, Susanna, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto II. N. 16 Finale: “Voi, signor, che giusto siete” (Marcellina, Basilio, Bartolo, conte, contessa, Figaro, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “Che imbarazzo è mai questo” ... “Via, fatti core” (conte, contessa, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 17 Duettino: “Crudel! Perché finora, farmi languir così?” (conte, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “E perché fosti meco stamattina sì austera?” ... “Ehi, Susanna, ove vai?” (conte, Susanna, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 18 Recitativo ed aria: “Hai già vinta la causa!” (conte) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 18 Recitativo ed aria: “Vedrò mentr'io sospiro” (conte) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “Andiam, andiam, bel paggio” (Barbarina, Cherubino) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 20 Recitativo ed aria: “E Susanna non vien!” (contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 20 Recitativo ed aria: “Dove sono i bei momenti” (contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “È decisa la lite” (Don Curzio, Marcellina, Figaro, conte, Bartolo) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K.492: Act 3 - "Riconosci in questo amplesso" | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “Eccovi, o caro amico” (Marcellina, Bartolo, Susanna, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “Io vi dico, signor” ... “Cosa mi narri!” (Antonio, conte, contessa, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 21 Duettino: “Sull'aria” ... “Che soave zeffiretto” (contessa, Susanna) | Wiener Philharmoniker, Claudio Abbado | T-900.134.451-0 |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “Piegato è il foglio” (Susanna, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 22 Coro: “Ricevete, o padroncina” (contadinelle) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. Recitativo: “Queste sono, madama, le ragazze del loco” ... “Eh cospettaccio!” ... “Signor, se trattenete” (Barbarina, contessa, Susanna, Antonio, conte, Figaro, Cherubino) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 23 Finale: “Ecco la marcia, andiamo” (Figaro, Susanna, conte, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 23 Finale: “Amanti costanti” (due contadine, coro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 23 Finale: “Eh già, solita usanza” (conte, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto III. N. 23 Finale: “Andate, amici” (conte, coro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 24 Cavatina: “L'ho perduta, me meschina!” (Barbarina) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. Recitativo: “Barbarina, cos'hai?” ... “Madre” / “Figlio” ... “Presto, avvertiam Susanna!” (Figaro, Barbarina, Marcellina) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 25 Aria: “Il capro e la capretta” (Marcellina) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. Recitativo: “Nel padiglione a manca” ... “È Barbarina. Chi va là?” ... “Ha i diavoli nel corpo” (Barbarina, Figaro, Basilio, Bartolo) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 26 Aria: “In quegli anni in cui val poco” (Basilio) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 27 Recitativo ed aria: “Tutto è disposto” ... (Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 27 Recitativo ed aria: “Oh Susanna, Susanna, quanta pena mi costi!” (Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 27 Recitativo ed aria: “Aprite un po' quegli occhi” (Figaro) | Lucio Gallo, Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. Recitativo: “Signora, ella mi disse” ... “Madama, voi tremate” (Susanna, Marcellina, contessa, Figaro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 28 Recitativo ed aria: “Giunse alfin il momento” ... (Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 28 Recitativo ed aria: “Deh vieni, non tardar, o gioia bella” (Susanna) | Wiener Philharmoniker, Claudio Abbado | T-001.424.370-9 |
| Le nozze di Figaro, K 492: Atto IV. Recitativo: “Perfida! E in quella forma meco mentia?” (Figaro, Cherubino, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 29 Finale: “Pian pianin le andrò più presso” (Cherubino, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 29 Finale: “Ecco qui la mia Susanna” (conte, Susanna, Figaro, Cherubino, contessa) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 29 Finale: “Tutto è tranquillo e placido” (Figaro, Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 29 Finale: “Pace, pace, mio dolce tesoro” ... “Non la trovo” (Figaro, Susanna, conte) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Atto IV. N. 29 Finale: “Gente, gente, all'armi, all'armi” (conte, Figaro, Basilio, Antonio, Susanna, contessa, coro) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Appendice. N. 13a Arietta, K 579: “Un moto di gioia” (Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Le nozze di Figaro, K 492: Appendice. N. 28a Rondò, K 577: “Al desio di chi t'adora” (Susanna) | Wiener Philharmoniker, Claudio Abbado | — |
| Don Giovanni, K. 527: Act I, Scena XV. No. 11 Aria "Fin ch'han dal vino" (Don Giovanni) | Simon Keenlyside, Chamber Orchestra of Europe, Claudio Abbado | T-306.481.937-6 |
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| Pictures at an Exhibition: IX. The Hut on Chicken's Legs ("Baba Yaga"). Allegro con brio, feroce - Andante mosso - Allegro molto | Berliner Philharmoniker, Claudio Abbado | — |
| Pictures at an Exhibition: X. The Great Gate of Kiev. Allegro alla breve. Maestoso. Con grandezza | Berliner Philharmoniker, Claudio Abbado | — |
| Pictures at an Exhibition: Promenade. Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto | London Symphony Orchestra, Claudio Abbado | T-920.064.650-0 |
| Pictures at an Exhibition: 1. Gnomus. Vivo | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: Promenade. Moderato comodo e con delicatezza | London Symphony Orchestra, Claudio Abbado | T-900.140.545-4 |
| Pictures at an Exhibition: 2. Il vecchio castello. Andante | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: Promenade. Moderato non tanto, pesante | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: 3. Tuileries (Dispute d'enfants après jeux). Allegretto non troppo, capriccioso | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: 4. Bydło. Sempre moderato, pesante | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: Promenade. Tranquillo | London Symphony Orchestra, Claudio Abbado | T-902.633.719-9 |
| Pictures at an Exhibition: 5. Ballet des petits poussins dans leurs coques. Scherzino. Vivo leggiero | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: 6. Samuel Goldberg und Schmuÿle. Andante | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: 7. Limoges. Le Marché (La Grande Nouvelle). Allegretto vivo, sempre scherzando | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: VIII. Catacombae. Sepulchrum Romanum - Cum mortuis in lingua mortua | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: 9. La Cabane sur des pattes de poule (Baba-Yaga). Allegro con brio, feroce - Andante mosso - Allegro molto | London Symphony Orchestra, Claudio Abbado | — |
| Pictures at an Exhibition: 10. La Grande Porte de Kiev. Allegro alla breve. Maestoso. Con grandezza | London Symphony Orchestra, Claudio Abbado | — |
| Como una ola de fuerza y luz: Beginning | Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | T-920.035.883-4 |
| Como una ola de fuerza y luz: 1. Interno dolce (Soprano entry: “Lusiano!”). Score: p. 8 | Slavka Taskova, Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | T-005.002.517-6 |
| Como una ola de fuerza y luz: 2. Duro deciso (Soprano: “en los vientos azarósos de esta tierra”). Score: p. 8bis | Slavka Taskova, Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | T-005.002.517-6 |
| Como una ola de fuerza y luz: Piano entry. Score: p. 8bis | Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | — |
| Como una ola de fuerza y luz: 3. Dolcissimo sereno (Soprano: “voces de niños doblen campanas dulces”). Score: p. 27 | Slavka Taskova, Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | — |
| Como una ola de fuerza y luz: Orchestra entry. Score: p. 28 | Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | — |
| Como una ola de fuerza y luz: Orchestra and piano entry. Score: p. 67 | Maurizio Pollini, Symphonieorchester des Bayerischen Rundfunks, Claudio Abbado | — |
| ..... sofferte onde serene ... | Maurizio Pollini | — |
| Contrappunto dialettico alla mente | Luigi Nono | T-005.007.870-0 |
| Stabat Mater: Duetto. Grave. "Stabat Mater dolorosa" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-905.680.072-7 |
| Stabat Mater: Aria (Soprano). Andante amoroso. "Cuius animam gementem" | Margaret Marshall, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-925.590.388-9 |
| Stabat Mater: Duetto. Larghetto. "O quam tristis et afflicta" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-925.590.391-4 |
| Stabat Mater: Aria (Contralto). Allegro. "Quae moerebat et dolebat" | Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | — |
| Stabat Mater: Duetto. Largo – Allegro. "Quis est homo, qui non fleret" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | — |
| Stabat Mater: Aria (Soprano). A tempo giusto. "Vidit suum dulcem natum" | Margaret Marshall, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | — |
| Stabat Mater: Aria (Contralto). Andantino. "Eia, Mater, fons amoris" | Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-905.680.072-7 |
| Stabat Mater: Duetto. Allegro. "Fac, ut ardeat cor meum" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | — |
| Stabat Mater: Duetto. A tempo giusto. "Sancta Mater, istud agas" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-905.680.072-7 |
| Stabat Mater: Aria (Contralto). Largo. "Fac, ut portem Christi mortem" | Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-925.590.390-3 |
| Stabat Mater: Duetto. Allegro (ma non troppo). "Inflammatus et accensus" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-905.680.072-7 |
| Stabat Mater: Duetto. Largo assai – Presto assai. "Quando corpus morietur" | Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | — |
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| March in B-flat major, op. 99: Allegro | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Peter and the Wolf, op. 67: “Let me tell you a story.” | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “Early one morning Peter opened the gate …” Andantino | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “On a branch of a big tree sat a little bird, Peter’s friend.” Allegro – Andantino, come prima | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “Just then a duck came waddling around.” L’istesso tempo | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “Suddenly something caught Peter’s attention: he noticed a cat …” Moderato – Allegro, ma non troppo – Moderato | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “Grandfather came out.” Poco più andante – Andantino, come prima – Andante | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “No sooner had Peter gone, than a big grey wolf came out of the forest.” Andante molto – Nervoso – Allegro – Meno mosso – Andante – Allegretto – Moderato | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “Peter, in the meantime, stood behind the closed gate …” Andantino, come prima – Vivo – Andante molto – Vivo – Andante | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf, op. 67: “Meanwhile, Peter made a lasso with his rope, carefully letting it down.” Poco meno mosso – Moderato (meno mosso) | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Peter and the Wolf (finale) | Sting, Chamber Orchestra of Europe, Claudio Abbado | T-917.805.753-9 |
| Overture on Hebrew Themes, op. 34b: Un poco allegro | Stefan Vladar, Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 1 in D major, op. 25 "Classical": I. Allegro | The Chamber Orchestra of Europe, Claudio Abbado | T-800.184.797-9 |
| Symphony no. 1 in D major “Classical”, op. 25: 2. Larghetto | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 1 in D major “Classical”, op. 25: 3. Gavotta. Non troppo allegro | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 1 in D major “Classical”, op. 25: 4. Finale. Molto vivace | Chamber Orchestra of Europe, Claudio Abbado | T-003.055.867-8 |
| Scythian Suite, op. 20: 1. The Adoration of Veless and Ala. Allegro feroce - Poco meno mosso - Poco più lento | Chicago Symphony Orchestra, Claudio Abbado | — |
| Scythian Suite, op. 20: 2. The Enemy God and the Dance of the Spirits of Darkness. Allegro sostenuto | Chicago Symphony Orchestra, Claudio Abbado | — |
| Scythian Suite, op. 20: 3. Night. Andantino - Poco più mosso | Chicago Symphony Orchestra, Claudio Abbado | — |
| Scythian Suite, op. 20: 4. The Glorious Departure of Lolly and the Sun's Procession. Tempestoso - Allegro - Andante sostenuto | Chicago Symphony Orchestra, Claudio Abbado | — |
| Lieutenant Kijé, op. 60: I. Kijé’s Birth | Chicago Symphony Orchestra, Claudio Abbado | — |
| Lieutenant Kijé, op. 60: II. Romance | Chicago Symphony Orchestra, Claudio Abbado | — |
| Lieutenant Kijé, op. 60: III. Kijé’s Wedding | Chicago Symphony Orchestra, Claudio Abbado | — |
| Lieutenant Kijé, op. 60: IV. Troïka | Chicago Symphony Orchestra, Claudio Abbado | — |
| Lieutenant Kijé, op. 60: V. Kije’s Burial | Chicago Symphony Orchestra, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Montagues and Capulets | Berliner Philharmoniker, Claudio Abbado | T-003.506.743-6 |
| Romeo and Juliet, op. 101: Romeo at the fountain (op. 101/1, fig. 2). Andante assai | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: The street awakens (op. 64/3). Allegretto | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 101: Morning Dance (op. 101/2). Allegro | Berliner Philharmoniker, Claudio Abbado | T-070.242.287-4 |
| Romeo and Juliet, op. 64: The quarrel (op. 64/5). Allegro brusco | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: The fight (op. 64/6). Presto - Poco più sostenuto - Tempo I | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Dance with mandolins (op. 64/25). Vivace | Berliner Philharmoniker, Claudio Abbado | T-003.506.743-6 |
| Romeo and Juliet, op. 64: The Nurse (op. 64/26). Adagio scherzoso | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64b: Juliet the Young Girl (op. 64b/2). Vivace - Andante dolente - Lento | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Dance of the five couples (op. 64/24). Vivo - Meno mosso (Moderato marchiale) - Vivo, come prima | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Interlude (op. 64/8). Andante pomposo (L'istesso tempo) | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Masks (op. 64/12). Moderato marciale - Andante | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64a: Romeo and Juliet (op. 64a/6). Larghetto - Andante - Più mosso | Berliner Philharmoniker, Claudio Abbado | T-003.506.743-6 |
| Romeo and Juliet, op. 64a: Tybalt's death (op. 64a/7). Precipitato - Presto - Adagio drammatico | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64b: Romeo and Juliet before parting (op. 64b/5). Lento - Andante - Adagio - Poco più animato - Adagio - Andante | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Morning Serenade (op. 64/48). Andante giocoso | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Dance of the young girls with the lilies (op. 64/49). Andante con eleganza | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: At Juliet's bedside (op. 64/50, Fig. 345). Andante - Adagio | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Juliet's funeral (op. 64/51). Adagio funebre - | Berliner Philharmoniker, Claudio Abbado | — |
| Romeo and Juliet, op. 64: Death of Juliet (op. 64/52). Adagio (meno mosso del tempo precedente) | Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 1 in D‐flat major, op. 10: Più mosso – Animato | Yevgeny Kissin, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: I. Andante – Allegro | Yevgeny Kissin, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra in G major, M. 83: 3. Presto | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Alexander Nevsky, op. 78: I. Russia under the Mongol Yoke | London Symphony Orchestra, Claudio Abbado | — |
| Alexander Nevsky, op. 78: II. Song about Alexander Nevsky | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — |
| Alexander Nevsky, op. 78: III. The Crusaders in Pskov | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — |
| Alexander Nevsky, op. 78: IV. Arise, Ye Russian People | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — |
| Alexander Nevsky, op. 78: V. The Battle on the Ice | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — |
| Alexander Nevsky, op. 78: VI. The Field of the Dead | Elena Obraztsova, London Symphony Orchestra, Claudio Abbado | — |
| Alexander Nevsky, op. 78: VII. Alexander's Entry into Pskov | London Symphony Chorus, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Violin and Orchestra no. 1 in D major, op. 19: II. Scherzo. Vivacissimo | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — |
| Violin Concerto no. 2 in G minor, op. 63: I. Allegro moderato | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — |
| Konzert für Klavier und Orchester Nr. 2 c-moll, op. 18: Allegro scherzando | Lilya Zilberstein, Berliner Philharmoniker, Claudio Abbado | T-071.926.821-9 |
| Konzert für Klavier und Orchester Nr. 3 d-moll, op. 30: Allegro ma non tanto | Lilya Zilberstein, Berliner Philharmoniker, Claudio Abbado | — |
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| Boléro, M. 81: Tempo di bolero moderato assai | London Symphony Orchestra, Claudio Abbado | T-003.006.377-4 |
| Rapsodie espagnole, M. 54: 1. Prélude à la nuit. Très modéré | London Symphony Orchestra, Claudio Abbado | T-003.015.127-9 |
| Rapsodie espagnole, M. 54: 2. Malagueña. Assez vif | London Symphony Orchestra, Claudio Abbado | T-003.015.127-9 |
| Rapsodie espagnole, M. 54: 4. Feria. Assez animé | London Symphony Orchestra, Claudio Abbado | T-003.015.127-9 |
| Ma mère l'Oye, M. 60: Prélude. Très lent | London Symphony Orchestra, Claudio Abbado | — |
| Ma mère l'Oye, M. 60: 1ᵉʳ TABLEAU : Danse du rouet et scène. Allegro | London Symphony Orchestra, Claudio Abbado | T-305.194.387-0 |
| Ma mère l'Oye, M. 60: 2ᵉ TABLEAU : Pavane de la Belle au bois dormant. Lent - Allegro - Mouvement de valse modéré | London Symphony Orchestra, Claudio Abbado | — |
| Ma mère l'Oye, M. 60: 3ᵉ TABLEAU : Les Entretiens de la Belle et de la Bête. Mouvement de valse modéré | London Symphony Orchestra, Claudio Abbado | — |
| Ma mère l'Oye, M. 60: 4ᵉ TABLEAU : Petit Poucet. Très modéré | London Symphony Orchestra, Claudio Abbado | T-931.938.780-9 |
| Ma mère l'Oye, M. 60: 5ᵉ TABLEAU : Laideronnette, impératrice des pagodes. Mouvement de marche - Allegro - Très modéré | London Symphony Orchestra, Claudio Abbado | T-004.018.862-2 |
| Ma mère l'Oye, M. 60: APOTHÉOSE : Le jardin féerique. Lent et grave | London Symphony Orchestra, Claudio Abbado | T-305.194.399-4 |
| Daphnis et Chloé, M. 57: Première partie. 1a. Introduction | London Symphony Orchestra, Claudio Abbado | T-004.014.574-1 |
| Daphnis et Chloé, M. 57: Première partie. 1b. Danse religieuse | London Symphony Orchestra, Claudio Abbado | T-004.014.574-1 |
| Daphnis et Chloé, M. 57: Première partie. 1c. [Fig. 10] Tout au fond | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 1d. Danse des jeunes filles | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 1e. A ce moment, elle est entraînée dans la danse des jeunes gens | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 2a. Danse générale | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 2b. Vif - Plus modéré / 3. Danse grotesque de Dorcon | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 4a. Danse légère et gracieuse de Daphnis | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 4b. Lent - Moins lent - Très libre | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 5a. Danse de Lycéion | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 5b. Entrée des pirates | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 5c. Modéré | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Première partie. 6. Nocturne. Danse lente et mystérieuse des Nymphes | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Deuxième partie. 7. Introduction | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Deuxième partie. 8a. Danse guerrière | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Deuxième partie. 8b Un peu moins animé | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Deuxième partie. 8c Bryaxis ordonne / 9a. Danse suppliante de Chloé | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Deuxième partie. 9b. Assez animé | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Deuxième partie. 9c. Lent - Modéré | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Troisième partie. 10a. Leve du jour “Daybreak” | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Troisième partie. 10b. Le vieux berger | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Troisième partie. 11a. Pantomime (Les amours de Pan et Syrinx) | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Troisième partie. 11b. Lent - Animé - Lent - Animé | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Daphnis et Chloé, M. 57: Troisième partie. 12. Danse générale (Bacchanale) | London Symphony Orchestra, Claudio Abbado | T-003.008.231-5 |
| Valses nobles et sentimentales, M. 61: I. Modéré, très franc | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: II. Assez lent, avec une expression intense | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: III. Modéré | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: IV. Assez animé | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: V. Presque lent, dans un sentiment intime | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: VI. Assez vif | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: VII. Moins vif | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Valses nobles et sentimentales, M. 61: VIII. Épilogue, lent | London Symphony Orchestra, Claudio Abbado | T-003.017.935-1 |
| Le Tombeau de Couperin, M. 68a: 2. Forlane. Allegretto | London Symphony Orchestra, Claudio Abbado | — |
| Le Tombeau de Couperin, M. 68a: 4. Rigaudon. Assez vif | London Symphony Orchestra, Claudio Abbado | T-071.365.694-0 |
| Alborada del gracioso, M. 43/4: Assez vif | London Symphony Orchestra, Claudio Abbado | T-338.342.512-1 |
| Shéhérazade, Ouverture de féerie, M. 17: Modéré | London Symphony Orchestra, Claudio Abbado | T-003.015.891-8 |
| Menuet antique, M. 7: Maestoso | London Symphony Orchestra, Claudio Abbado | — |
| Une barque sur l'océan, M. 433: Très souple de rythme | London Symphony Orchestra, Claudio Abbado | T-338.342.541-6 |
| Fanfare for the Ballet “L’éventail de Jeanne”: Allegro moderato | London Symphony Orchestra, Claudio Abbado | T-906.860.938-1 |
| La Valse, M. 72: Mouvement de valse viennoise | London Symphony Orchestra, Claudio Abbado | T-003.017.882-5 |
| Il barbiere di Siviglia: Sinfonia (Ouverture) | London Symphony Orchestra, Claudio Abbado | T-306.482.271-1 |
| La Cenerentola: Sinfonia (Ouverture) | London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| L'italiana in Algeri: Overture | London Symphony Orchestra, Claudio Abbado | T-301.972.539-0 |
| La scala di seta: Overture | Chamber Orchestra of Europe, Claudio Abbado | T-305.157.600-8 |
| L’italiana in Algeri: Overture | Helmuth Froschauer, Wiener Philharmoniker, Claudio Abbado | T-301.972.539-0 |
| Il barbiere di Siviglia: Sinfonia | Chamber Orchestra of Europe, Claudio Abbado | T-306.482.271-1 |
| Il barbiere di Siviglia: Atto I. N. 1 Introduzione “Piano, pianissimo” (Fiorello, coro, conte) | Carlos Chausson, Frank Lopardo, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. Cavatina: “Ecco, ridente in cielo” (conte) / Seguito dell’introduzione: “Ehi, Fiorello?” (conte, Fiorello, coro) / Recitativo “Gente indiscreta!” (conte, Fiorello) | Carlos Chausson, Frank Lopardo, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 2 Cavatina: “Largo al factotum” (Figaro) / Recitativo: “Ah, ah! Che bella vita!” (Figaro, conte, Rosina, Bartolo) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 3 Canzone: “Se il mio nome saper voi bramate” (conte, Rosina, Figaro) / Recitativo: “Oh cielo!” (conte, Figaro) | Kathleen Battle, Plácido Domingo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 4 Duetto: “All’idea di quel metallo” (Figaro, conte) / Recitativo: “Evviva il mio padrone!” (Fiorello) | Carlos Chausson, Plácido Domingo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 5 Cavatina: “Una voce poco fa” (Rosina) / Recitativo: “Sì, sì, la vincerò” (Rosina, Figaro, Bartolo, Basilio) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Ruggero Raimondi, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 6 Aria: “La calunnia è un venticello” (Basilio) – Recitativo: “Ah! Che ne dite?” (Basilio, Bartolo, Figaro, Rosina) | Kathleen Battle, Plácido Domingo, Ruggero Raimondi, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 7 Duetto: “Dunque io son” (Rosina, Figaro) / Recitativo “Ora mi sento meglio” (Rosina, Bartolo) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 8 Aria: “A un dottor della mia sorte” (Bartolo) | Lucio Gallo, Chamber Orchestra of Europe, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. Recitativo: “Finora in questa camera” (Berta, conte) | Frank Lopardo, Gabriele Sima, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 9 Finale I: “Ehi, di casa! Buona gente!” (conte, Bartolo, Rosina) | Kathleen Battle, Lucio Gallo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto Primo. “Con la presente il dottor Bartolo” (Bartolo, conte, Rosina, Berta, Basilio) | Kathleen Battle, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Gabriele Sima, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto Primo. “Che cosa accadde, signori miei?” (Figaro, Bartolo, conte, Rosina, Berta, Basilio, ufficiale, coro) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Gabriele Sima, Goran Simić, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto Primo. Stretta del finale I: “Ma signor” … “Mi par d’esser con la testa” (Bartolo, coro, Berta, Basilio, Rosina, conte, Figaro) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Gabriele Sima, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. Recitativo: “Ma vedi il mio destino!” (Bartolo) / N. 10 Duetto: “Pace e gioia sia con voi” (conte, Bartolo) / Recitativo: “Insomma, mio signore” (Bartolo, conte, Rosina) | Kathleen Battle, Lucio Gallo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 11 Aria: “Contro un cor che accende amore” (Rosina, conte) / Recitativo: “Bella voce! Bravissima!” (conte, Rosina, Bartolo) | Kathleen Battle, Lucio Gallo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 12 Arietta: “Quando mi sei vicina” (Bartolo) / Recitativo: “Bravo, signor barbiere” (Bartolo, Figaro, Rosina, conte) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 13 Quintetto: “Don Basilio!” … “Cosa veggo!” (Rosina, conte, Figaro, Bartolo, Basilio) / Recitativo: “Ah, disgraziato me!” (Bartolo, Berta) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Gabriele Sima, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 14 Aria: “Il vecchiotto cerca moglie” (Berta) / Recitativo: “Dunque voi Don Alonso non conoscete affato?” (Bartolo, Basilio, Rosina) | Kathleen Battle, Lucio Gallo, Ruggero Raimondi, Gabriele Sima, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 14a Recitativo e aria: “Ma forse, ahimè, Lindoro … Ah se è ver” (Rosina) | Kathleen Battle, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 15 Temporale / Recitativo: “Alfine, eccoci qua” (Figaro, conte, Rosina) | Kathleen Battle, Plácido Domingo, Frank Lopardo, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 16 Terzetto: “Ah, qual colpo inaspettato!” (Rosina, Figaro, conte) / Recitativo: “Ah, disgraziati noi!” (Figaro, conte, Rosina, Basilio, Un notaio, Bartolo, ufficiale, coro) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Goran Simić, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 17 Recitativo: “Il conte! Ah, che mai sento!” (Bartolo, conte, Basilio) | Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 18 Aria con coro: “Cessa di più resistere” (conte, coro) / Recitativo: “Insomma, io ho tutti i torti!” (Bartolo, Figaro, Basilio) | Plácido Domingo, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto II. N. 19 Finaletto II: “Di sì felice innesto” (tutti) | Kathleen Battle, Plácido Domingo, Lucio Gallo, Frank Lopardo, Ruggero Raimondi, Gabriele Sima, Coro del Teatro La Fenice, Chamber Orchestra of Europe, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 1 Introduzione: “Piano, pianissimo” (Fiorello, coro, conte) | John McCarthy, Luigi Alva, Ambrosian Opera Chorus, Renato Cesari, London Symphony Orchestra, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 7 Duetto: “Dunque io son… tu non m'ingarbiere di Siviglia: Atto I. Cavatina: “Ecco, ridente in cielo” (conte) / Seguito dell’introduzione: “Ehi, Fiorello?” (conte, Fiorello, coro) / Recitativo: “Gente indiscreta!” (conte, Fiorello) | Luigi Alva, Renato Cesari, Ambrosian Opera Chorus, London Symphony Orchestra, Claudio Abbado | — |
| Il biviglia: Atto I. N. 2 Cavatina: “Largo al factotum” (Figaro) / Recitativo: “Ah, ah! Che bella vita!” (Figaro, conte, Rosina, Bartolo) | Luigi Alva, Teresa Berganza, Enzo Dara, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 3 Canzone: “Se il mio nome saper voi bramate” (conte, Rosina, Figaro) / Recitativo: “Oh cielo!” … “Nella stanza convien dir” (conte, Figaro) | Luigi Alva, Teresa Berganza, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 4 Duetto: “All’idea di quel metallo” (Figaro, conte) | Luigi Alva, Hermann Prey, London Symphony Orchestra, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I. N. 5 Cavatina: “Una voce poco fa … Io sono docile” (Rosina) / Recitativo: “Sì, sì, la vincerò” (Rosina, Figaro, Bartolo, Basilio) | Teresa Berganza, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 6 Aria: “La calunnia è un venticello” (Basilio) / Recitativo: “Ah! Che ne dite?” (Basilio, Bartolo, Figaro, Rosina) | Teresa Berganza, Enzo Dara, Paolo Montarsolo, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Sanni?” (Rosina, Figaro) / Recitativo: “Ora mi sento meglio” (Rosina, Bartolo) | Teresa Berganza, Hermann Prey, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 8 Aria: “A un dottor della mia sorte” (Bartolo) | Enzo Dara, London Symphony Orchestra, Claudio Abbado | — |
| Il barbiere di Siviglia: Atto I, Recitativo: “Finora in questa camera” (Berta, conte) / N. 9 Finale I: “Ehi, di casa! Buona gente!” (conte, Bartolo, Rosina, Berta, Figaro, Basilio, ufficiale) | Luigi Alva, Teresa Berganza, Enzo Dara, Stefania Malagú, Paolo Montarsolo, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. N. 9 Finale I: “Alto là! Che cosa accadde” (Figaro, Bartolo, conte, Rosina, Berta, Basilio, ufficiale, coro) | John McCarthy, Luigi Alva, Ambrosian Opera Chorus, Teresa Berganza, Enzo Dara, Stefania Malagú, Paolo Montarsolo, Hermann Prey, Luigi Roni, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto I. Stretta del finale I: “Ma signor ”… “Mi par d'esser con la testa” (Bartolo, coro, Berta, Basilio, Rosina, conte, Figaro, ufficiale) | John McCarthy, Luigi Alva, Ambrosian Opera Chorus, Teresa Berganza, Enzo Dara, Stefania Malagú, Paolo Montarsolo, Hermann Prey, Luigi Roni, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. Recitativo: “Ma vedi il mio destino!” (Bartolo) / N. 10 Duetto: “Pace e gioia sia con voi” (conte, Bartolo) / Recitativo: “Insomma, mio signore” (Bartolo, conte, Rosina) | Luigi Alva, Teresa Berganza, Enzo Dara, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. N. 11 Aria: “Contro un cor che accende amore” (Rosina, conte) / Recitativo “Bella voce! Bravissima!” (conte, Rosina, Bartolo) | Luigi Alva, Teresa Berganza, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. N. 12 Arietta: “Quando mi sei vicina” (Bartolo) / Recitativo: “Bravo, signor barbiere” (Bartolo, Figaro, Rosina, conte) | Luigi Alva, Teresa Berganza, Enzo Dara, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II, N. 13 Quintetto: “Don Basilio!” … “Cosa veggo!” (Rosina, conte, Figaro, Bartolo, Basilio) / Recitativo: “Ah, disgraziato me!” (Bartolo) / Recitativo: “Che vecchio sospettoso!” (Berta) | Luigi Alva, Teresa Berganza, Enzo Dara, Stefania Malagú, Paolo Montarsolo, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. N. 14 Aria: “Il vecchiotto cerca moglie” (Berta) / Recitativo: “Dunque voi Don Alonso non conoscete affato?” (Bartolo, Basilio, Rosina) | Teresa Berganza, Enzo Dara, Stefania Malagú, Paolo Montarsolo, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. N. 15 Temporale / Recitativo: “Alfine, eccoci qua” (Figaro, conte, Rosina) | Luigi Alva, Teresa Berganza, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. N. 16 Terzetto: “Ah! qual colpo inaspettato!” (Rosina, Figaro, conte) / Recitativo: “Ah, disgraziati noi!” (Figaro, conte, Rosina, Basilio, Bartolo, ufficiale, coro) | Luigi Alva, Teresa Berganza, Enzo Dara, Paolo Montarsolo, Hermann Prey, Luigi Roni, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| Il barbiere di Siviglia: Atto II. N. 19 Finaletto II: “Di sì felice innesto” (Figaro, Rosina, conte, tutti) | Luigi Alva, Teresa Berganza, Renato Cesari, Enzo Dara, Stefania Malagú, Paolo Montarsolo, Hermann Prey, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
| La Cenerentola: Atto I. Introduzione: “No, no, no: non v'è” (Clorinda, Tisbe) | Margherita Guglielmi, Laura Zannini, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto I. Introduzione: “Una volta c'era un re” (Cenerentola, Clorinda, Tisbe, Alidoro) | Teresa Berganza, Margherita Guglielmi, Ugo Trama, Laura Zannini, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto I. Introduzione: “O figlie amabili” (coro, Clorinda, Tisbe, Cenerentola, Alidoro) | Teresa Berganza, Margherita Guglielmi, Scottish Opera Chorus, Ugo Trama, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Recitativo: “Cenerentola, presto” (Tisbe, Clorinda, Cenerentola) | Teresa Berganza, Margherita Guglielmi, Scottish Opera Chorus, Laura Zannini, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto I. Cavatina: “Miei rampolli femminini” (Magnifico) | Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto I. Recitativo: “Sappiate che fra poco” (Clorinda, Tisbe, Magnifico) | Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Scena: “Tutto è deserto” (Ramiro, Cenerentola) | Luigi Alva, Teresa Berganza, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Duetto: “Un soave non so che” (Ramiro, Cenerentola, Clorinda, Tisbe) | Luigi Alva, Teresa Berganza, Margherita Guglielmi, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Recitativo: “Non so che dir” (Ramiro, Magnifico) | Luigi Alva, Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Coro: “Scegli la sposa” … Cavatina: “Come un'ape” (Dandini, Clorinda, Tisbe, Magnifico, Ramiro, coro) | Luigi Alva, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Scottish Opera Chorus, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Recitativo: “Allegrissimamente, che bei quadri!” (Dandini, Clorinda, Magnifico, Ramiro, Tisbe, Cenerentola) | Luigi Alva, Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Quintetto: “Signor, una parola” (Cenerentola, Magnifico, Dandini, Ramiro, Alidoro) | Luigi Alva, Teresa Berganza, Renato Capecchi, Paolo Montarsolo, Ugo Trama, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Recitativo: “Sì, tutto cangerà” (Alidoro, Cenerentola) | Teresa Berganza, Ugo Trama, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Aria: “Là del ciel nell'arcano profondo” (Alidoro) | Ugo Trama, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Recitativo: “Ma bravo, bravo” (Dandini, Magnifico, Ramiro, Clorinda, Tisbe) | Luigi Alva, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Coro: “Conciossiacosacché trenta botti già gustò” … Aria: “Intendente? Direttor?” (Magnifico, coro) | Paolo Montarsolo, Scottish Opera Chorus, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Finale I Duetto: “Zitto, zitto: piano piano” … “Principino, dove siete?” … “Venga, inoltri” (Ramiro, Dandini, Tisbe, Clorinda, coro, Alidoro) | Luigi Alva, Renato Capecchi, Margherita Guglielmi, Scottish Opera Chorus, Ugo Trama, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto I. Finale I “Ah! Se velata ancor” … “Sprezzo quei don” (coro, Cenerentola, Ramiro, Dandini, Clorinda, Tisbe, Alidoro) | Luigi Alva, Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Scottish Opera Chorus, Ugo Trama, Laura Zannini, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto I. Finale I “Signor, Altezza, è in tavola” (Magnifico, Clorinda, Tisbe, Cenerentola, Ramiro, Dandini) | Luigi Alva, Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Recitativo: “Mi par che quei birbanti” (Magnifico, Tisbe, Clorinda) | Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto II. Aria: “Sia qualunque delle figlie” (Magnifico) | Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Recitativo: “Ah! questa bella incognita” (Ramiro, Dandini, Cenerentola, Alidoro) | Luigi Alva, Teresa Berganza, Renato Capecchi, Ugo Trama, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto II. Recitativo: “E allor … se non ti spiaccio” (Ramiro, Alidoro) | Luigi Alva, Ugo Trama, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Aria: “Sì, ritrovarla io giuro” (Ramiro, coro) | Luigi Alva, Scottish Opera Chorus, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Recitativo: “Ma dunque io son un ex?” (Dandini, Magnifico) | Renato Capecchi, Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Duetto: “Un segreto d'importanza” (Dandini, Magnifico) | Renato Capecchi, Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Canzone: “Una volta c'era un re” (Cenerentola) | Teresa Berganza, London Symphony Orchestra, Claudio Abbado | T-304.872.410-9 |
| La Cenerentola: Atto II. Recitativo: “Quanto sei caro!” (Cenerentola, Clorinda, Magnifico, Tisbe) | Teresa Berganza, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Temporale | London Symphony Orchestra, Claudio Abbado | T-031.702.708-9 |
| La Cenerentola: Atto II. Recitativo: “Scusate, amici” (Dandini, Magnifico, Ramiro, Clorinda, Cenerentola) | Luigi Alva, Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Sestetto: “Siete voi?” … “Questo è un nodo avviluppato” (Ramiro, Cenerentola, Tisbe, Clorinda, Dandini, Magnifico) | Luigi Alva, Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Sestetto: “Donna sciocca, alma di fango” (Clorinda, Magnifico, Ramiro, Dandini, Tisbe, Cenerentola) | Luigi Alva, Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Recitativo: “Giusto ciel, ti ringrazio!” (Alidoro) | Ugo Trama, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Finale II Coro: “Della fortuna instabile” | Scottish Opera Chorus, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Finale II Scena: “Sposa” … “Signor, perdona” (Ramiro, Cenerentola, Magnifico) | Luigi Alva, Teresa Berganza, Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | — |
| La Cenerentola: Atto II. Finale II Rondò: “Nacqui all'affanno” (Cenerentola, tutti) | Teresa Berganza, Renato Capecchi, Margherita Guglielmi, Paolo Montarsolo, Laura Zannini, London Symphony Orchestra, Claudio Abbado | — |
| Symphony no. 8 in B minor “Unfinished”, D 759: I. Allegro moderato | The Chamber Orchestra of Europe, Claudio Abbado | T-902.685.630-4 |
| Symphony no. 8 in B minor “Unfinished”, D 759: II. Andante con moto | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 9 in C major "Great", D. 944: 1. Andante - Allegro ma non troppo | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 9 in C major "Great", D. 944: 2. Andante con moto | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 9 in C major "Great", D. 944: 3. Scherzo. Allegro vivace | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Symphony no. 9 in C major "Great", D. 944: 4. Allegro vivace | The Chamber Orchestra of Europe, Claudio Abbado | — |
| Messe Nr. 6 Es-Dur, D 950: I. Kyrie. "Kyrie eleison" Andante con moto | Wiener Philharmoniker, Claudio Abbado | — |
| Piano Concerto in A minor, op. 54: II. Intermezzo. Andantino grazioso | Maria João Pires, The Chamber Orchestra of Europe, Claudio Abbado | T-909.264.262-1 |
| Piano Concerto in A Minor, Op. 54: I. Allegro affettuoso | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | T-909.264.262-1 |
| Konzert für Klavier und Orchester a-moll, op. 54: 2. Intermezzo. Andantino grazioso | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | T-909.264.262-1 |
| Konzert für Klavier und Orchester a-moll, op. 54: 3. Allegro vivace | Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado | T-909.264.262-1 |
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| Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Introduction | London Symphony Orchestra, Claudio Abbado | T-070.257.887-7 |
| Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Les Augures printaniers (Danses des adolescentes) | London Symphony Orchestra, Claudio Abbado | — |
| Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Jeu du rapt | London Symphony Orchestra, Claudio Abbado | — |
| Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Rondes printanières | London Symphony Orchestra, Claudio Abbado | T-070.257.887-7 |
| Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Jeux des cités rivales / Cortège du Sage - Adoration de la terre - Le Sage | London Symphony Orchestra, Claudio Abbado | — |
| Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Danse de la terre | London Symphony Orchestra, Claudio Abbado | T-070.257.887-7 |
| Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Introduction | London Symphony Orchestra, Claudio Abbado | — |
| Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Cercles mystérieux des adolescentes | London Symphony Orchestra, Claudio Abbado | — |
| Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Glorification de l'elue / Evocation des ancêtres | London Symphony Orchestra, Claudio Abbado | — |
| Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Action rituelle des ancêtres | London Symphony Orchestra, Claudio Abbado | T-070.257.887-7 |
| Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Danse sacrale (L'Élue) | London Symphony Orchestra, Claudio Abbado | — |
| L'Oiseau de feu : Introduction - L'Oiseau de feu et sa danse | London Symphony Orchestra, Claudio Abbado | — |
| L'Oiseau de feu : Variation de l'oiseau de feu | London Symphony Orchestra, Claudio Abbado | — |
| L'Oiseau de feu : Ronde des princesses | London Symphony Orchestra, Claudio Abbado | — |
| L'Oiseau de feu : Danse infernale du roi Kachtcheï | London Symphony Orchestra, Claudio Abbado | — |
| L'Oiseau de feu : Berceuse | London Symphony Orchestra, Claudio Abbado | — |
| L'Oiseau de feu : Final | London Symphony Orchestra, Claudio Abbado | T-073.071.144-0 |
| Jeu de cartes : Première donne | London Symphony Orchestra, Claudio Abbado | — |
| Jeu de cartes : Deuxième donne | London Symphony Orchestra, Claudio Abbado | — |
| Jeu de cartes : Troisième donne | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene I. Fête populaire de la semaine grasse - Le tour de passe-passe | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene I. Danse russe | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene II. Chez Pétrouchka | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene III. Chez le Maure - Danse de la Ballerine | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene III. Valse: La Ballerine et le Maure - Pétrouchka | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Fête populaire de la semaine grasse (vers le soir) | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Danse de nounous | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. L'Ours et un paysan | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Un marchand fêtard avec deux tziganes | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Danse de cochers et des palefreniers | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Les Déguisés | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. La Rixe: Le Maure et Pétrouchka | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Mort de Pétrushka | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. La Police et le charlatan | London Symphony Orchestra, Claudio Abbado | — |
| Pétrouchka : Scene IV. Apparition du double de Pétrouchka | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: I. Ouverture: Allegro moderato | London Symphony Orchestra, Claudio Abbado | T-902.685.630-4 |
| Pulcinella: II. Serenata: Larghetto | Ryland Davies, London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: III. Scherzino: Allegro | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: Poco più vivo | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: VI. Allegro | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: V. Andantino | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: XIV. Allegro | London Symphony Orchestra, Claudio Abbado | T-922.067.243-5 |
| Pulcinella: VII. Allegretto | Teresa Berganza, London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: VIII. Allegro assai | London Symphony Orchestra, Claudio Abbado | T-306.395.786-4 |
| Pulcinella: X. Largo (Trio) - Allegro - Presto (Duetto) | Teresa Berganza, Ryland Davies, John Shirley-Quirk, London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: XI. Allegro - alla breve | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: XII. Tarantella | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: IV. Allegro | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 |
| Pulcinella: XV. Gavotta con due variazioni | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: XVI. Vivo | London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: XVII. Tempo di minuetto | Teresa Berganza, Ryland Davies, John Shirley-Quirk, London Symphony Orchestra, Claudio Abbado | — |
| Pulcinella: XVIII. Allegro assai | London Symphony Orchestra, Claudio Abbado | T-306.395.786-4 |
| Symphony no. 2 in C minor, op. 17 “Little Russian”: II. Andantino marziale, quasi moderato | New Philharmonia Orchestra, Claudio Abbado | — |
| Symphony no. 4 in F minor, op. 36: 1. Andante sostenuto - Moderato con anima - Moderato assai, quasi andante - Allegro vivo | Wiener Philharmoniker, Claudio Abbado | — |
| Symphony no. 4 in F minor, op. 36: 2. Andantino in modo di canzone | Wiener Philharmoniker, Claudio Abbado | — |
| Symphony no. 4 in F minor, op. 36: 3. Scherzo. Pizzicato ostinato. Allegro | Wiener Philharmoniker, Claudio Abbado | — |
| Symphony no. 4 in F minor, op. 36: 4. Finale. Allegro con fuoco | Wiener Philharmoniker, Claudio Abbado | T-318.676.528-2 |
| Symphony no. 5 in E minor, op. 64: 1. Andante - Allegro con anima | London Symphony Orchestra, Claudio Abbado | — |
| Symphony no. 5 in E minor, op. 64: 2. Andante cantabile, con alcuna licenza - Moderato con anima - Andante mosso - Allegro non troppo - Tempo I | London Symphony Orchestra, Claudio Abbado | — |
| Symphony no. 5 in E minor, op. 64: 4. Finale. Andante maestoso - Allegro vivace - Molto vivace - Moderato assai e molto maestoso - Presto | London Symphony Orchestra, Claudio Abbado | — |
| Symphony no. 6 in B minor “Pathétique”, op. 74: 4. Finale. Adagio lamentoso - Andante | Wiener Philharmoniker, Claudio Abbado | — |
| THE TEMPEST, OP. 18, TH. 44 | Berliner Philharmoniker, Claudio Abbado | — |
| Slavonic March, op. 31 | Berliner Philharmoniker, Claudio Abbado | — |
| ROMEO AND JULIET, FANTASY OVERTURE | Berliner Philharmoniker, Claudio Abbado | T-905.031.800-8 |
| 1812""\"" OVERTURE, OP. 49 CLAUDIO ABBADO, BERLINER PHILHARMONIKER 885 233011115 applemusic true | Berliner Philharmoniker, Claudio Abbado | — |
| Le Poème de L'extase, op. 54 | Boston Symphony Orchestra, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 1 in B-flat minor, op. 23: I. Allegro non troppo e molto maestoso - Allegro con spirito | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | T-010.194.845-1 |
| Concerto for Piano and Orchestra no. 1 in B-flat minor, op. 23: II. Andantino semplice - Prestissimo - Tempo I | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 1 in B-flat minor, op. 23: III. Allegro con fuoco | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Piano Concerto no. 1 in B-flat minor, op. 23: I. Allegro non troppo e molto maestoso - Allegro con spirito | Ivo Pogorelich, London Symphony Orchestra, Claudio Abbado | T-010.194.845-1 |
| Piano Concerto no. 1 in B-flat minor, op. 23: II. Andante semplice - Prestissimo - Tempo I | Ivo Pogorelich, London Symphony Orchestra, Claudio Abbado | — |
| Piano Concerto no. 1 in B-flat minor, op. 23: III. Allegro con fuoco | Ivo Pogorelich, London Symphony Orchestra, Claudio Abbado | — |
| Concerto for Violin and Orchestra no. 1 in D major, op. 35: II. Canzonetta. Andante | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — |
| Konzert für Violine und Orchester e-Moll, Op. 64: I. Allegro molto appassionato | Nathan Milstein, Vienna Philharmonic Orchestra, Claudio Abbado | — |
| Messa da Requiem: Requiem. “Requiem aeternam” (chorus, solos) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-923.239.666-6 |
| Messa da Requiem: Dies Irae. “Dies irae” (chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Tuba mirum” (chorus, bass) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Liber scriptus” (mezzo-soprano, chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Quid sum miser” (mezzo-soprano, soprano, tenor) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Rex tremendae” (chorus, solos) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Recordare” (mezzo-soprano, soprano) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Ingemisco” (tenor) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Confutatis” (bass, chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Dies Irae. “Lacrymosa” (solos, chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Offertorio. “Domine Jesu Christe” (solos) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Sanctus. “Sanctus, Sanctus, Sanctus Dominus” (double chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Agnus Dei. “Agnus Dei, qui tollis peccata mundi” (soprano, mezzo-soprano, chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Messa da Requiem: Lux Aeterna. “Lux aeterna luceat eis” (mezzo-soprano, bass, tenor) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-910.952.061-8 |
| Messa da Requiem: Libera Me. “Libera me, Domine” (soprano, chorus) | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Preludio | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.144.997-4 |
| Macbeth: Atto I. Introduzione e coro di streghe: “Che faceste? dite su!” / Scena e duetto: “Giorno non vidi mai” (Macbeth, Banco, coro) | Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto I. Coro di streghe - Stretta dell'introduzione: “S'allontanarono!” / Scena e cavatina: “Nel di della vittoria” (Lady Macbeth) | Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto I. Scena e marcia: “O donna mia!” (Macbeth, Lady Macbeth) | Piero Cappuccilli, Shirley Verrett, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto I. Gran scena e duetto: “Sappia la sposa mia” … “Fatal mia donna!” (Macbeth, Lady Macbeth) | Piero Cappuccilli, Shirley Verrett, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto II. Scena ed aria: “Perché mi sfuggi” (Lady Macbeth, Macbeth) | Piero Cappuccilli, Shirley Verrett, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto II. Finale II: “Salve o re!” (coro, Macbeth, Lady Macbeth, dama, Macduff) | Piero Cappuccilli, Coro del Teatro alla Scala di Milano, Shirley Verrett, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto II. Finale II: “Si colmi il calice” (Lady Macbeth, tutti, Macbeth, sicario) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Stefania Malagú, Shirley Verrett, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto III. Coro di streghe e ballabile: “Ondine e Silfidi” | Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto III. Scena e duetto (Finale III): “Ove son io?” … “Ora di morte” (Macbeth, araldo, Lady Macbeth) | Piero Cappuccilli, Shirley Verrett, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Coro di profughi scozzesi: “Patria oppressa!” | Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Scena ed aria: “O figli, o figli miei … Ah, la paterna mano” (Macduff) | Plácido Domingo, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Scena ed aria: “Dove siam? che bosco è quello?” (Malcolm, coro, Macduff) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Antonio Savastano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Gran scena del sonnambulismo: “Vegliammo invan due notti” (medico, dama) | Stefania Malagú, Carlo Zardo, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Gran scena del sonnambulismo: “Una macchia è qui tuttora” (Lady Macbeth, medico, dama) | Stefania Malagú, Shirley Verrett, Carlo Zardo, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Scena ed aria: “Perfidi! All'anglo contro me v'unite!” (Macbeth) | Piero Cappuccilli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Scena ed aria: “Pietà, rispetto, amore” (Macbeth) | Piero Cappuccilli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Scena e battaglia: “Ella è morta!” (coro, Macbeth, dama, Macduff) | Piero Cappuccilli, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Morte di Macbeth: “Mal per me m'affidai” (Macbeth) | Piero Cappuccilli, Coro del Teatro alla Scala di Milano, Plácido Domingo, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Macbeth: Atto IV. Inno di vittoria (Finale): “Vittoria!” (coro, Malcolm, Macduff) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Antonio Savastano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
| Aida: Preludio | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Introduzione e scena: “Sì, corre voce che l'Etiope ardisca” (Ramfis, Radamès) | Plácido Domingo, Nicolaï Ghiaurov, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Romanza: “Se quel guerrier io fossi! … Celeste Aida” (Radamès) | Plácido Domingo, Orchestra of La Scala, Milan, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Duetto: “Quale insolita gioia nel tuo sguardo!” (Amneris, Radamès) | Plácido Domingo, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Terzetto: “Vieni, o diletta, appressati” (Amneris, Aida, Radamès) | Plácido Domingo, Elena Obraztsova, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Scena e pezzo d'assieme: “Alta cagion v'aduna” (re, messaggero, Radamès, Ramfis, coro, Aida, Amneris) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Elena Obraztsova, Piero de Palma, Ruggero Raimondi, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. “Su! del Nilo al sacro lido” (re, Ramfis, coro, Aida, Radamès, Amneris) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Nicolaï Ghiaurov, Elena Obraztsova, Piero de Palma, Ruggero Raimondi, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Scena: “Ritorna vincitor!” (Aida) | Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Gran scena della consacrazione: “Possente Fthà” … “Tu che dal nulla” (sacerdotessa, coro, Ramfis) | Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Lucia Valentini Terrani, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto I. Danza sacra delle sacerdotesse - “Immenso Fthà” … “Mortal, diletto ai Numi” (sacerdotessa, coro, Ramfis) | Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. Introduzione - Scena e coro di donne: “Chi mai fra gl'inni e i plausi” (coro, Amneris) | Coro del Teatro alla Scala di Milano, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. Danza di piccoli schiavi mori - “Vieni: sul crin ti piovano” (coro, Amneris) | Coro del Teatro alla Scala di Milano, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.138.252-1 |
| Aida: Atto II. Scena e duetto: “Fu la sorte dell'armi a' tuoi funesta” (Amneris, Aida) | Elena Obraztsova, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. “Pietà ti prenda del mio dolor” … “Su! del Nilo al sacro lido” … “Numi, Pietà” (Aida, Amneris, coro) | Elena Obraztsova, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: “Gloria all’Egitto” | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-310.527.191-4 |
| Aida: Triumphal Scene | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Ballett | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-010.287.722-4 |
| Aida: “Vieni, o guerriero vindice” | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. “Salvator della patria” (re, Radamès, Ramfis, coro) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Nicolaï Ghiaurov, Ruggero Raimondi, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. “Che veggo! Egli? Mio padre!” … “Anch'io pugnai” … “Ma tu, re, tu signore possente” (Aida, Amneris, Amonasro, re, Ramfis, coro) | Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Leo Nucci, Elena Obraztsova, Ruggero Raimondi, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. “Il dolor che in quel volto favella” … “Ma tu, o re” (Radamès, Amneris, Amonasro, re, Aida, coro, Ramfis) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Nicolaï Ghiaurov, Leo Nucci, Elena Obraztsova, Ruggero Raimondi, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto II. “O re: pei sacri Numi!” … “Gloria all'Egitto” (Radamès, re, Amneris, coro, Ramfis, Aida, Amonasro) | Coro del Teatro alla Scala di Milano, Plácido Domingo, Nicolaï Ghiaurov, Leo Nucci, Elena Obraztsova, Ruggero Raimondi, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto III. Introduzione e preghiera: “O tu che sei d'Osiride” … “Vieni d'Iside al tempio” (coro, Ramfis, Amneris) | Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto terzo. Romanza: “Qui Radamès verrà! … O patria mia” (Aida) | Katia Ricciarelli, Claudio Abbado, Orchestra del Teatro alla Scala di Milano | T-900.065.376-9 |
| Aida: Atto III. Duetto: “Ciel, mio padre!” … “Rivedrai le foreste imbalsamate” (Aida, Amonasro) | Romano Gandolfi, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto III. Duetto: “Pur ti riveggo, mia dolce Aida” … “Nel fiero anelito” (Radamès, Aida) | Plácido Domingo, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto III. “Fuggiam gli ardori inospiti … Là, tra foreste vergini” (Aida, Radamès) | Plácido Domingo, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto III. Finale III: “Ma dimmi, per qual via” (Aida, Radamès, Amonasro, Amneris, Ramfis) | Plácido Domingo, Nicolaï Ghiaurov, Leo Nucci, Elena Obraztsova, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto IV. Scena: “L'aborrita rivale a me sfuggia” (Amneris) | Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto IV. Duetto: “Già i sacerdoti adunansi” (Amneris, Radamès) | Plácido Domingo, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto IV. Scena del giudizio: “Ohimè! morir mi sento” … “Spirto del Nume” (Amneris, Ramfis, coro) | Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto IV. “A lui vivo la tomba … Sacerdoti, compiste un delitto!” (Amneris, Ramfis, coro) | Coro del Teatro alla Scala di Milano, Nicolaï Ghiaurov, Elena Obraztsova, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto IV. Scena e duetto: “La fatal pietra sovra me si chiuse” (Radamès, Aida) | Plácido Domingo, Katia Ricciarelli, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Aida: Atto IV. Finale ultimo: “Immenso Fthà” … “O terra, addio” (coro, Aida, Radamès, Amneris) | Romano Gandolfi, Coro del Teatro alla Scala di Milano, Plácido Domingo, Elena Obraztsova, Katia Ricciarelli, Lucia Valentini Terrani, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | T-900.065.376-9 |
| Macbeth: Atto I. Coro di Streghe “Che faceste? dite su!” | Orchestra del Teatro alla Scala di Milano, Claudio Abbado | — |
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| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 1 in E major “La primavera”, RV 269: 1. Allegro | Gidon Kremer, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-902.685.630-4 |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 1 in E major “La primavera”, RV 269: 2. Largo | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | T-801.397.798-6 |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 1 in E major “La primavera”, RV 269: 3. Allegro. Danza pastorale | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | — |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 2 in G minor “L'estate”, RV 315: 1. Allegro non molto | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | — |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 2 in G minor “L'estate”, RV 315: 2. Adagio - Presto | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | — |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 2 in G minor “L'estate”, RV 315: 3. Presto | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | T-902.717.414-7 |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 3 in F major “L'autunno”, RV 293: 1. Allegro | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | T-011.422.353-8 |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 3 in F major “L'autunno”, RV 293: 2. Adagio molto | Gidon Kremer, London Symphony Orchestra, Claudio Abbado | — |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 3 in F major “L'autunno”, RV 293: 3. Allegro | Gidon Kremer, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-902.836.120-8 |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 4 in F minor “L'inverno”, RV 297: 1. Allegro non molto | Gidon Kremer, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | — |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 4 in F minor “L'inverno”, RV 297: 2. Largo | Gidon Kremer, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-801.397.798-6 |
| Concertos for Violin, Strings and Continuo “Le quattro stagioni”, op. 8: Concerto no. 4 in F minor “L'inverno”, RV 297: 3. Allegro | Gidon Kremer, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | T-902.836.120-8 |
| Die Walküre: Walkürenritt | Berliner Philharmoniker, Claudio Abbado | T-001.148.492-6 |
| Lohengrin: Akt III. »In fernem Land, unnahbar euren Schritten« (Lohengrin, König, Chor) | Siegfried Jerusalem, Kurt Moll, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado | T-905.385.122-2 |
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| Five Contredanses "Non più Andrai", K. 609: No. 3 in D | Wiener Philharmoniker, Claudio Abbado | — |
| Atmosphères (1961) | Wiener Philharmoniker, Claudio Abbado | — |
| Lontano (1967) | Wiener Philharmoniker, Claudio Abbado | T-005.007.306-7 |
| Piano Concerto no. 16 in D, KV 451: I. Allegro assai | Rudolf Serkin, The Chamber Orchestra of Europe, Claudio Abbado | T-306.395.786-4 |
| Piano Concerto no. 16 in D, KV 451: II. Andante | Rudolf Serkin, The Chamber Orchestra of Europe, Claudio Abbado | — |
| Piano Concerto no. 16 in D, KV 451: III. Rondeau. Allegro di molto | Rudolf Serkin, The Chamber Orchestra of Europe, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: II. Andantino | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: III. Allegro ma non troppo | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Piano Concerto in G Major, M. 83: 2. Adagio assai | Maurice Ravel, Martha Argerich, Berliner Philharmoniker, Claudio Abbado | T-003.007.887-5 |
| Concerto for Piano and Orchestra in G major, M. 83: 1. Allegramente | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | T-305.199.174-9 |
| Concerto for Piano and Orchestra in G major, M. 83: 3. Presto | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | T-305.199.295-7 |
| Il barbiere di Siviglia: Atto I. N. 4 Duetto: “All’idea di quel metallo” (Figaro, conte) | Luigi Alva, Hermann Prey, London Symphony Orchestra, Claudio Abbado | T-902.187.409-9 |
