UPC · Release
Mozart
Last verified:
094638789420 is the Universal Product Code (UPC barcode) for the release “The Collector’s Edition” by Mozart, released 2007-01-01. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 800 tracks, each with its own ISRC. Tracks include GBAYD8400332, GBAYC8903809, GBAYC8903810.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony no. 1 in E-flat, K. 16: I. Molto allegro | — | ||
| 2 | Symphony no. 1 in E-flat, K. 16: II. Andante | — | ||
| 3 | Symphony no. 1 in E-flat, K. 16: III. Presto | — | ||
| 4 | Symphony no. 4 in D, K. 19: I. Allegro | — | ||
| 5 | Symphony no. 4 in D, K. 19: II. Andante | — | ||
| 6 | Symphony no. 4 in D, K. 19: III. Presto | — | ||
| 7 | Symphony in F, K. 19a: I. Allegro assai | — | ||
| 8 | Symphony in F, K. 19a: II. Andante | — | ||
| 9 | Symphony in F, K. 19a: III. Presto | — | ||
| 10 | Symphony no. 5 in B-flat, K. 22: I. Allegro | — | ||
| 11 | Symphony no. 5 in B-flat, K. 22: II. Andante | — | ||
| 12 | Symphony no. 5 in B-flat, K. 22: III. Molto allegro | — | ||
| 13 | Symphony no. 7a in Gm K. 45a (Anh. 221) “Lambach”: I. Allegro maestoso | — | ||
| 14 | Symphony no. 7a in Gm K. 45a (Anh. 221) “Lambach”: II. Andante | — | ||
| 15 | Symphony no. 7a in Gm K. 45a (Anh. 221) “Lambach”: III. Molto allegro | — | ||
| 16 | Symphony no. 43 in F, K. 76 (42a): I. Allegro maestoso | — | ||
| 17 | Symphony no. 43 in F, K. 76 (42a): II. Andante | — | ||
| 18 | Symphony no. 43 in F, K. 76 (42a): III. Menuetto & Trio | — | ||
| 19 | Symphony no. 43 in F, K. 76 (42a): IV. Allegro | — | ||
| 2-1 | Symphony no. 31 in D, K. 297 (300a) “Paris”: I. Allegro assai | — | ||
| 2-2 | Symphony no. 31 in D, K. 297 (300a) “Paris”: II. Andante | — | ||
| 2-3 | Symphony no. 31 in D, K. 297 (300a) “Paris”: III. Allegro | — | ||
| 2-4 | Symphony no. 31 in D, K. 297 (300a) “Paris”: Appendix: Andante (alternative for II) | — | ||
| 2-5 | Symphony no. 27 in G, K. 199 (161b): I. Allegro | — | ||
| 2-6 | Symphony no. 27 in G, K. 199 (161b): II. Andantino grazioso | — | ||
| 2-7 | Symphony no. 27 in G, K. 199 (161b): III. Presto | — | ||
| 2-8 | Symphony no. 25 in G minor, K. 183 (173b): I. Allegro con brio | — | ||
| 2-9 | Symphony no. 25 in G minor, K. 183 (173b): II. Andante | — | ||
| 2-10 | Symphony no. 25 in G minor, K. 183 (173b): III. Menuetto & Trio | — | ||
| 2-11 | Symphony no. 25 in G minor, K. 183 (173b): IV. Allegro | — | ||
| 3-1 | Symphony no. 26 in E-flat, K. 184 (161a): I. Molto presto | — | ||
| 3-2 | Symphony no. 26 in E-flat, K. 184 (161a): II. Andante | — | ||
| 3-3 | Symphony no. 26 in E-flat, K. 184 (161a): III. Allegro | — | ||
| 3-4 | Symphony no. 29 in A, K. 201 (186a): I. Allegro moderato | — | ||
| 3-5 | Symphony no. 29 in A, K. 201 (186a): II. Andante | — | ||
| 3-6 | Symphony no. 29 in A, K. 201 (186a): III. Menuetto | — | ||
| 3-7 | Symphony no. 29 in A, K. 201 (186a): IV. Allegro con spirito | — | ||
| 3-8 | Symphony no. 30 in D, K. 202 (186b): I. Molto allegro | — | ||
| 3-9 | Symphony no. 30 in D, K. 202 (186b): II. Andantino con moto | — | ||
| 3-10 | Symphony no. 30 in D, K. 202 (186b): III. Menuetto | — | ||
| 3-11 | Symphony no. 30 in D, K. 202 (186b): IV. Presto | — | ||
| 3-12 | Symphony no. 28 in C, K. 200 (189k): I. Allegro spiritoso | — | ||
| 3-13 | Symphony no. 28 in C, K. 200 (189k): II. Andante | — | ||
| 3-14 | Symphony no. 28 in C, K. 200 (189k): III. Menuetto: Allegretto | — | ||
| 3-15 | Symphony no. 28 in C, K. 200 (189k): IV. Presto | — | ||
| 4-1 | Symphony no. 32 in G, K. 318: I. Allegro spiritoso | — | ||
| 4-2 | Symphony no. 32 in G, K. 318: II. Andante | — | ||
| 4-3 | Symphony no. 32 in G, K. 318: III. Allegro spiritoso | — | ||
| 4-4 | Symphony no. 35 in D, K. 385 “Haffner”: I. Allegro con spirito | — | ||
| 4-5 | Symphony no. 35 in D, K. 385 “Haffner”: II. Andante | — | ||
| 4-6 | Symphony no. 35 in D, K. 385 “Haffner”: III. Menuetto & Trio | — | ||
| 4-7 | Symphony no. 35 in D major, K. 385 "Haffner": IV. Finale. Presto | English Chamber Orchestra, Jeffrey Tate | — | |
| 4-8 | Symphony no. 39 in E-flat, K. 543: I. Adagio – Allegro | — | ||
| 4-9 | Symphony no. 39 in E-flat, K. 543: II. Andante | — | ||
| 4-10 | Symphony no. 39 in E-flat, K. 543: III. Menuetto: Allegretto & Trio | — | ||
| 4-11 | Symphony no. 39 in E-flat, K. 543: IV. Finale: Allegro | — | ||
| 5-1 | Symphony no. 34 in C major, K. 338: I. Allegro vivace | — | ||
| 5-2 | Symphony no. 34 in C major, K. 338: II. Andante di molto | — | ||
| 5-3 | Symphony no. 34 in C major, K. 338: III. Allegro vivace | — | ||
| 5-4 | Symphony no. 34 in C major, K. 338: Appendix: Menuetto & Trio, K. 409 (383f) | — | ||
| 5-5 | Symphony no. 33 in B-flat, K. 319: I. Allegro assai | — | ||
| 5-6 | Symphony no. 33 in B-flat, K. 319: II. Andante moderato | — | ||
| 5-7 | Symphony no. 33 in B-flat, K. 319: III. Menuetto & Trio | — | ||
| 5-8 | Symphony no. 33 in B-flat, K. 319: IV. Allegro assai | — | ||
| 6-1 | Symphony no. 36 in C, K. 425 “Linz”: I. Adagio – Allegro spiritoso | — | ||
| 6-2 | Symphony no. 36 in C, K. 425 “Linz”: II. Poco adagio | — | ||
| 6-3 | Symphony no. 36 in C, K. 425 “Linz”: III: Menuetto & Trio | — | ||
| 6-4 | Symphony no. 36 in C, K. 425 “Linz”: IV. Presto | — | ||
| 6-5 | Symphony no. 38 in D, K. 504 “Praque”: I. Adagio – Allegro | — | ||
| 6-6 | Symphony no. 38 in D, K. 504 “Praque”: II. Andante | — | ||
| 6-7 | Symphony no. 38 in D, K. 504 “Praque”: III. Presto | — | ||
| 7-1 | Symphony no. 40 in G minor, K. 550: I. Molto allegro | — | ||
| 7-2 | Symphony no. 40 in G minor, K. 550: II. Andante | — | ||
| 7-3 | Symphony no. 40 in G minor, K. 550: III. Menuetto: Allegretto & Trio | — | ||
| 7-4 | Symphony no. 40 in G minor, K. 550: IV. Allegro assai | — | ||
| 7-5 | Symphony no. 41 in C, K. 551 “Jupiter”: I. Allegro vivace | — | ||
| 7-6 | Symphony no. 41 in C, K. 551 “Jupiter”: II. Andante cantabile | — | ||
| 7-7 | Symphony no. 41 in C, K. 551 “Jupiter”: III. Menuetto: Allegretto & Trio | — | ||
| 7-8 | Symphony no. 41 in C, K. 551 “Jupiter”: IV. Molto allegro | — | ||
| 8-1 | Concerto for Piano no. 9 in E-flat major, K. 271 "Jeunehomme": I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 8-2 | Concerto for Piano no. 9 in E-flat major, K. 271 "Jeunehomme": II. Andantino | Daniel Barenboim, English Chamber Orchestra | — | |
| 8-3 | Concerto for Piano no. 9 in E-flat major, K. 271 "Jeunehomme": III. Rondeau. Presto - adagio & Menuetto. Cantabile - tempo primo | Daniel Barenboim, English Chamber Orchestra | — | |
| 8-4 | Piano Concerto no. 25 in C, K 503: I. Allegro maestoso | Daniel Barenboim, English Chamber Orchestra | — | |
| 8-5 | Piano Concerto no. 25 in C, K 503: II. Andante | Daniel Barenboim, English Chamber Orchestra | — | |
| 8-6 | Piano Concerto no. 25 in C, K 503: III. Allegretto | Daniel Barenboim, English Chamber Orchestra | — | |
| 8-7 | Rondo for Piano & Orchestra in D major, K. 382: Rondo. Allegretto grazioso - allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-1 | Concerto for Piano no. 11 in F major, K. 387a/413: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-2 | Concerto for Piano no. 11 in F major, K. 387a/413: II. Larghetto | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-3 | Concerto for Piano no. 11 in F major, K. 387a/413: III. Tempo di Minuetto | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-4 | Concerto for Piano no. 12 in A major, K. 385p/414: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-5 | Concerto for Piano no. 12 in A major, K. 385p/414: II. Andante | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-6 | Concerto for Piano no. 12 in A major, K. 385p/414: III. Rondo. Allegretto | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-7 | Concerto for Piano no. 13 in C major, K. 387b/415: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-8 | Concerto for Piano no. 13 in C major, K. 387b/415: II. Andante | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-9 | Concerto for Piano no. 13 in C major, K. 387b/415: III. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 10-1 | Concerto no. 14 in E-flat major for Piano, K. 449 "First Ployer": I. Allegro vivace | Daniel Barenboim, English Chamber Orchestra | — | |
| 10-2 | Concerto no. 14 in E-flat major for Piano, K. 449 "First Ployer": II. Andantino | Daniel Barenboim, English Chamber Orchestra | — | |
| 10-3 | Concerto no. 14 in E-flat major for Piano, K. 449 "First Ployer": III. Allegro ma non troppo | Daniel Barenboim, English Chamber Orchestra | — | |
| 10-4 | Concerto no. 15 in B-flat major for Piano, K. 450: I. Allegro | Daniel Barenboim, English Chamber Orchestra | T-920.112.434-7 | |
| 10-5 | Concerto no. 15 in B-flat major for Piano, K. 450: II. Adagio | Daniel Barenboim, English Chamber Orchestra | T-930.953.445-0 | |
| 10-6 | Concerto no. 15 in B-flat major for Piano, K. 450: III. Allegro assai | Daniel Barenboim, English Chamber Orchestra | T-920.112.434-7 | |
| 10-7 | Concerto no. 16 in D major for Piano, K. 451: I. Allegro assai | Daniel Barenboim, English Chamber Orchestra | — | |
| 10-8 | Concerto no. 16 in D major for Piano, K. 451: II. Andante | Daniel Barenboim, English Chamber Orchestra | — | |
| 10-9 | Concerto no. 16 in D major for Piano, K. 451: III. Rondo. Allegro di molto | Daniel Barenboim, English Chamber Orchestra | — | |
| 11-1 | Concerto for Piano no. 17 in G Major, K. 453: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 11-2 | Concerto for Piano no. 17 in G Major, K. 453: II. Andante | Daniel Barenboim, English Chamber Orchestra | — | |
| 11-3 | Concerto for Piano no. 17 in G Major, K. 453: III. Allegretto | Daniel Barenboim, English Chamber Orchestra | — | |
| 11-4 | Concerto for Piano no. 26 in D major, K. 537: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 11-5 | Concerto for Piano no. 26 in D major, K. 537: II. Larghetto | Daniel Barenboim, English Chamber Orchestra | — | |
| 11-6 | Concerto for Piano no. 26 in D major, K. 537: III. Allegretto | Daniel Barenboim, English Chamber Orchestra | — | |
| 12-1 | Concerto no. 18 in B-flat major for Piano, K. 456 "Paradis": I. Allegro vivace | Daniel Barenboim, English Chamber Orchestra | — | |
| 12-2 | Concerto no. 18 in B-flat major for Piano, K. 456 "Paradis": II. Andante un poco sostenuto | Daniel Barenboim, English Chamber Orchestra | — | |
| 12-3 | Concerto no. 18 in B-flat major for Piano, K. 456 "Paradis": III. Allegro vivace | Daniel Barenboim, English Chamber Orchestra | — | |
| 12-4 | Concerto no. 19 in F major for Piano, K. 459: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 12-5 | Concerto no. 19 in F major for Piano, K. 459: II. Allegretto | Daniel Barenboim, English Chamber Orchestra | — | |
| 12-6 | Concerto no. 19 in F major for Piano, K. 459: III. Allegro assai | Daniel Barenboim, English Chamber Orchestra | — | |
| 13-1 | Concerto for Piano no. 20 in D minor, K. 466: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 13-2 | Concerto for Piano no. 20 in D minor, K. 466: II. Romanze | Daniel Barenboim, English Chamber Orchestra | — | |
| 13-3 | Concerto for Piano no. 20 in D minor, K. 466: III. Rondo. Allegro assai | Daniel Barenboim, English Chamber Orchestra | — | |
| 13-4 | Concerto for Piano no. 24 in C minor, K. 491: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 13-5 | Concerto for Piano no. 24 in C minor, K. 491: II. Larghetto | Daniel Barenboim, English Chamber Orchestra | — | |
| 13-6 | Concerto for Piano no. 24 in C minor, K. 491: III. Allegretto | Daniel Barenboim, English Chamber Orchestra | — | |
| 14-1 | Concerto for Piano no. 21 in C major, K. 467 "Elvira Madigan": I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 14-2 | Concerto for Piano no. 21 in C major, K. 467 "Elvira Madigan": II. Andante | Daniel Barenboim, English Chamber Orchestra | T-930.953.445-0 | |
| 14-3 | Concerto for Piano no. 21 in C major, K. 467 "Elvira Madigan": III. Allegro vivace assai | Daniel Barenboim, English Chamber Orchestra | — | |
| 14-4 | Piano Concerto no. 27 in B-flat, K 595: I. Allegro | Daniel Barenboim, English Chamber Orchestra | T-920.112.434-7 | |
| 14-5 | Piano Concerto no. 27 in B-flat, K 595: II. Larghetto | Daniel Barenboim, English Chamber Orchestra | — | |
| 14-6 | Piano Concerto no. 27 in B-flat, K 595: III. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 15-1 | Concerto for Piano no. 22 in E-flat major, K. 482: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 15-2 | Concerto for Piano no. 22 in E-flat major, K. 482: II. Andante | Daniel Barenboim, English Chamber Orchestra | — | |
| 15-3 | Concerto for Piano no. 22 in E-flat major, K. 482: III. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 15-4 | Concerto for Piano no. 23 in A major, K. 488: I. Allegro | Daniel Barenboim, English Chamber Orchestra | T-915.711.586-1 | |
| 15-5 | Concerto for Piano no. 23 in A major, K. 488: II. Andante | Daniel Barenboim, English Chamber Orchestra | T-914.012.216-3 | |
| 15-6 | Concerto for Piano no. 23 in A major, K. 488: III. Allegro | Daniel Barenboim, English Chamber Orchestra | T-914.012.216-3 | |
| 16-1 | Concerto for Violin no. 1 in B-flat major, K. 207: I. Allegro moderato | David Oistrakh, Berliner Philharmoniker | — | |
| 16-2 | Concerto for Violin no. 1 in B-flat major, K. 207: II. Adagio | David Oistrakh, Berliner Philharmoniker | — | |
| 16-3 | Concerto for Violin no. 1 in B-flat major, K. 207: III. Presto | David Oistrakh, Berliner Philharmoniker | — | |
| 16-4 | Violin Concerto no. 2 in D major, K. 211: I. Allegro moderato | David Oistrakh, Berliner Philharmoniker | — | |
| 16-5 | Concerto for Violin no. 2 in D major, K. 211: II. Andante | David Oistrakh, Berliner Philharmoniker | — | |
| 16-6 | Violin Concerto no. 2 in D major, K. 211: III. Rondeau. Allegro | David Oistrakh, Berliner Philharmoniker | — | |
| 16-7 | Concerto no. 3 in G major for Violin, K. 216 "Strassburg": I. Allegro | David Oistrakh, Berliner Philharmoniker | — | |
| 16-8 | Concerto no. 3 in G major for Violin, K. 216 "Strassburg": II. Adagio | David Oistrakh, Berliner Philharmoniker | — | |
| 16-9 | Concerto no. 3 in G major for Violin, K. 216 "Strassburg": III. Rondeau. Allegro - andante - allegretto | David Oistrakh, Berliner Philharmoniker | — | |
| 16-10 | Concerto for Violin & Orchestra in C major, K. 373: Rondo. Allegretto grazioso | David Oistrakh, Berliner Philharmoniker | — | |
| 17-1 | Violin Concerto no. 4 in D, K. 218: I. Allegro | — | ||
| 17-2 | Violin Concerto no. 4 in D, K. 218: II. Andante cantabile | — | ||
| 17-3 | Violin Concerto no. 4 in D, K. 218: III. Rondeau: Allegro grazioso – Allegro ma non troppo | — | ||
| 17-4 | Violin Concerto no. 5 in A, K. 219 “Turkish”: I. Allegro aperto | — | ||
| 17-5 | Violin Concerto no. 5 in A, K. 219 “Turkish”: II. Adagio | — | ||
| 17-6 | Violin Concerto no. 5 in A, K. 219 “Turkish”: III. Rondeau: Tempo di menuetto – Allegro | — | ||
| 18-1 | Horn Concerto no. 1 in D, K. 412: I. Allegro | — | ||
| 18-2 | Horn Concerto no. 1 in D, K. 412: II. Rondo: Allegro | — | ||
| 18-3 | Horn Concerto no. 2 in E-flat, K. 417: I. Allegro maestoso | — | ||
| 18-4 | Horn Concerto no. 2 in E-flat, K. 417: II. Andante | — | ||
| 18-5 | Horn Concerto no. 2 in E-flat, K. 417: III. Rondo: Allegro | — | ||
| 18-6 | Horn Concerto no. 3 in E-flat, K. 447: I. Allegro | — | ||
| 18-7 | Horn Concerto no. 3 in E-flat, K. 447: II. Romance: Larghetto | — | ||
| 18-8 | Horn Concerto no. 3 in E-flat, K. 447: III. Allegro | — | ||
| 18-9 | Horn Concerto no. 4 in E-flat, K. 495: I. Allegro moderato | — | ||
| 18-10 | Horn Concerto No. 4 in E-flat major, K. 495: II. Romanze. Andante cantabile | Radovan Vlatković, English Chamber Orchestra, Jeffrey Tate | — | |
| 18-11 | Horn Concerto no. 4 in E-flat, K. 495: III. Rondo. Allegro vivace | Radovan Vlatković, English Chamber Orchestra, Jeffrey Tate | — | |
| 18-12 | Rondo in E-flat, K. 371 | — | ||
| 19-1 | Oboe Quartet in F, K. 370: I. Allegro | — | ||
| 19-2 | Oboe Quartet in F, K. 370: II. Adagio | — | ||
| 19-3 | Oboe Quartet in F, K. 370: III. Rondeau: Allegro | — | ||
| 19-4 | Clarinet Quintet in A, K. 581: I. Allegro | — | ||
| 19-5 | Clarinet Quintet in A, K. 581: II. Larghetto | — | ||
| 19-6 | Clarinet Quintet in A, K. 581: III. Menuetto | — | ||
| 19-7 | Clarinet Quintet in A, K. 581: IV. Allegretto con variazioni | — | ||
| 19-8 | Clarinet Concerto in A, K. 622: I. Allegro | — | ||
| 19-9 | Clarinet Concerto in A, K. 622: II. Adagio | — | ||
| 19-10 | Clarinet Concerto in A, K. 622: III. Rondo: Allegro | — | ||
| 20-1 | Flute Concerto in G, K. 313: I. Allegro maestoso | — | ||
| 20-2 | Flute Concerto in G, K. 313: II. Adagio non troppo | — | ||
| 20-3 | Flute Concerto in G, K. 313: III. Rondo: Tempo di Menuetto | — | ||
| 20-4 | Oboe Concerto in C, K. 314: I. Allegro aperto | — | ||
| 20-5 | Oboe Concerto in C, K. 314: II. Adagio non troppo | — | ||
| 20-6 | Oboe Concerto in C, K. 314: III. Rondo: Allegretto | — | ||
| 20-7 | Flute & Harp Concerto in C, K. 299: I. Allegro | — | ||
| 20-8 | Flute & Harp Concerto in C, K. 299: II. Andantino | — | ||
| 20-9 | Flute & Harp Concerto in C, K. 299: III. Rondeau. Allegro | — | ||
| 21-1 | Serenade no. 13 in G major, K. 525 “Eine kleine Nachtmusik”: I. Allegro | — | ||
| 21-2 | Serenade no. 13 in G major, K. 525 “Eine kleine Nachtmusik”: II. Romance: Andante | — | ||
| 21-3 | Serenade no. 13 in G major, K. 525 “Eine kleine Nachtmusik”: III. Menuetto: Allegretto & Trio | — | ||
| 21-4 | Serenade no. 13 in G major, K. 525 “Eine kleine Nachtmusik”: IV. Rondo: Allegro | — | ||
| 21-5 | Bassoon Concerto in B-flat, K. 191: I. Allegro | — | ||
| 21-6 | Bassoon Concerto in B-flat, K. 191: II. Andante ma adagio | — | ||
| 21-7 | Bassoon Concerto in B-flat, K. 191: III. Rondo: Tempo di menuetto | — | ||
| 21-8 | Divertimento in D, K. 136: I. Allegro | — | ||
| 21-9 | Divertimento in D, K. 136: II. Andante | — | ||
| 21-10 | Divertimento in D, K. 136: III. Presto | — | ||
| 21-11 | Divertimento in B-flat, K. 137: I. Andante | — | ||
| 21-12 | Divertimento in B-flat, K. 137: II. Allegro di molto | — | ||
| 21-13 | Divertimento in B-flat, K. 137: III. Allegro assai | — | ||
| 21-14 | Divertimento in F, K. 138: I. Allegro | — | ||
| 21-15 | Divertimento in F, K. 138: II. Andante | — | ||
| 21-16 | Divertimento in F, K. 138: III. Presto | — | ||
| 22-1 | Serenade no. 7 in D, K. 250 “Haffner”: I. Allegro maestoso – Allegro molto | — | ||
| 22-2 | Serenade no. 7 in D, K. 250 “Haffner”: II. Andante | — | ||
| 22-3 | Serenade no. 7 in D, K. 250 “Haffner”: III. Menuetto & Trio | — | ||
| 22-4 | Serenade no. 7 in D, K. 250 “Haffner”: IV. Rondo: Allegro | — | ||
| 22-5 | Serenade no. 7 in D, K. 250 “Haffner”: V. Menuetto galante & Trio | — | ||
| 22-6 | Serenade no. 7 in D, K. 250 “Haffner”: VI. Andante | — | ||
| 22-7 | Serenade no. 7 in D, K. 250 “Haffner”: VII. Menuetto & Trios 1 & 2 | — | ||
| 22-8 | Serenade no. 7 in D, K. 250 “Haffner”: VIII. Adagio – Allegro assai | — | ||
| 22-9 | Serenade in D major, KV 239, "Serenata notturna": I. Marcia (Maestoso) | Bath Festival Orchestra, Yehudi Menuhin | — | |
| 22-10 | Serenata notturna in D, K. 239: II. Menuetto & Trio | — | ||
| 22-11 | Serenata notturna in D, K. 239: III. Rondeau: Allegretto | — | ||
| 23-1 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": I. Largo - Allegro molto | Consortium Classicum | — | |
| 23-2 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": II. Minuetto | Consortium Classicum | — | |
| 23-3 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": III. Adagio | Consortium Classicum | — | |
| 23-4 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": IV. Minuetto. Allegretto | Consortium Classicum | — | |
| 23-5 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": V. Romanze. Adagio | Consortium Classicum | — | |
| 23-6 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": VI. Tema con variazioni | Consortium Classicum | — | |
| 23-7 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": VII. Rondo | Consortium Classicum | — | |
| 23-8 | Serenade no. 11 for Winds in E-flat major, K. 375: I. Allegro maestoso | Consortium Classicum | — | |
| 23-9 | Serenade no. 11 for Winds in E-flat major, K. 375: II. Minuetto | Consortium Classicum | — | |
| 23-10 | Serenade no. 11 for Winds in E-flat major, K. 375: III. Adagio | Consortium Classicum | — | |
| 23-11 | Serenade no. 11 for Winds in E-flat major, K. 375: IV. Minuetto & Trio | Consortium Classicum | — | |
| 23-12 | Serenade no. 11 for Winds in E-flat major, K. 375: V. Allegro | Consortium Classicum | — | |
| 24-1 | Serenade no. 12 for Winds in C minor, K. 384a/388 "Nacht musique": I. Allegro | Consortium Classicum | — | |
| 24-2 | Serenade no. 12 for Winds in C minor, K. 384a/388 "Nacht musique": II. Andante | Consortium Classicum | T-930.953.445-0 | |
| 24-3 | Serenade no. 12 for Winds in C minor, K. 384a/388 "Nacht musique": III. Minuetto & Trio | Consortium Classicum | — | |
| 24-4 | Serenade no. 12 for Winds in C minor, K. 384a/388 "Nacht musique": IV. Allegro | Consortium Classicum | — | |
| 24-5 | Divertimento no. 8 for 2 Oboes, 2 Horns & 2 Bassoons in F major, K. 213: I. Allegro spiritoso | Consortium Classicum | — | |
| 24-6 | Divertimento no. 8 for 2 Oboes, 2 Horns & 2 Bassoons in F major, K. 213: II. Andante | Consortium Classicum | — | |
| 24-7 | Divertimento no. 8 for 2 Oboes, 2 Horns & 2 Bassoons in F major, K. 213: III. Minuetto | Consortium Classicum | — | |
| 24-8 | Divertimento no. 8 for 2 Oboes, 2 Horns & 2 Bassoons in F major, K. 213: IV. Contredanse en rondeau | Consortium Classicum | — | |
| 24-9 | Divertimento no. 9 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 240: I. Allegro | Consortium Classicum | — | |
| 24-10 | Divertimento no. 9 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 240: II. Andante grazioso | Consortium Classicum | — | |
| 24-11 | Divertimento no. 9 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 240: III. Minuetto | Consortium Classicum | — | |
| 24-12 | Divertimento no. 9 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 240: IV. Allegro | Consortium Classicum | — | |
| 24-13 | Divertimento no. 12 for 2 Oboes, 2 Horns & 2 Bassoons in E-flat major, K. 240a/252: I. Andante | Consortium Classicum | — | |
| 24-14 | Divertimento no. 12 for 2 Oboes, 2 Horns & 2 Bassoons in E-flat major, K. 240a/252: II. Minuetto & Trio | Consortium Classicum | — | |
| 24-15 | Divertimento no. 12 for 2 Oboes, 2 Horns & 2 Bassoons in E-flat major, K. 240a/252: III. Polonaise. Andante | Consortium Classicum | — | |
| 24-16 | Divertimento no. 12 for 2 Oboes, 2 Horns & 2 Bassoons in E-flat major, K. 240a/252: IV. Presto assai | Consortium Classicum | — | |
| 24-17 | Divertimento no. 14 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 270: I. Allegro molto | Consortium Classicum | — | |
| 24-18 | Divertimento no. 14 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 270: II. Andantino | Consortium Classicum | — | |
| 24-19 | Divertimento no. 14 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 270: III. Minuetto | Consortium Classicum | — | |
| 24-20 | Divertimento no. 14 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 270: IV. Presto | Consortium Classicum | — | |
| 25-1 | String Quartet no. 15 in D minor, K. 421: I. Allegro moderato | — | ||
| 25-2 | String Quartet no. 15 in D minor, K. 421: II. Andante | — | ||
| 25-3 | String Quartet no. 15 in D minor, K. 421: III. Menuetto: Allegretto | — | ||
| 25-4 | String Quartet no. 15 in D minor, K. 421: IV. Allegretto ma non troppo | — | ||
| 25-5 | String Quartet no. 16 in E-flat, K. 428: I. Allegro non troppo | — | ||
| 25-6 | String Quartet no. 16 in E-flat, K. 428: II. Andante con moto | — | ||
| 25-7 | String Quartet no. 16 in E-flat, K. 428: III. Menuetto: Allegretto – Allegro | — | ||
| 25-8 | String Quartet no. 16 in E-flat, K. 428: IV. Allegro vivace | — | ||
| 25-9 | String Quartet no. 17 in B-flat, K. 458 “Hunt”: I. Allegro vivace assai | — | ||
| 25-10 | String Quartet no. 17 in B-flat, K. 458 “Hunt”: II. Menuetto moderato | — | ||
| 25-11 | String Quartet no. 17 in B-flat, K. 458 “Hunt”: III. Adagio | — | ||
| 25-12 | String Quartet no. 17 in B-flat, K. 458 “Hunt”: IV. Allegro assai | — | ||
| 26-1 | String Quartet no. 18 in A, K. 464: I. Allegro | — | ||
| 26-2 | String Quartet no. 18 in A, K. 464: II. Menuetto | — | ||
| 26-3 | String Quartet no. 18 in A, K. 464: III. Andante | — | ||
| 26-4 | String Quartet no. 18 in A, K. 464: IV. Allegro non troppo | — | ||
| 26-5 | String Quartet no. 19 in C, K. 465 “Dissonance”: I. Adagio – Allegro | — | ||
| 26-6 | String Quartet no. 19 in C, K. 465 “Dissonance”: II. Andante cantabile | — | ||
| 26-7 | String Quartet no. 19 in C, K. 465 “Dissonance”: III. Menuetto: Allegro | — | ||
| 26-8 | String Quartet no. 19 in C, K. 465 “Dissonance”: IV. Allegro moderato | — | ||
| 26-9 | String Quartet no. 22 in B-flat, K. 589: I. Allegro | — | ||
| 26-10 | String Quartet no. 22 in B-flat, K. 589: II. Larghetto | — | ||
| 26-11 | String Quartet no. 22 in B-flat, K. 589: III. Menuetto: Moderato | — | ||
| 26-12 | String Quartet no. 22 in B-flat, K. 589: IV. Allegro assai | — | ||
| 27-1 | String Quintet no. 3 in C, K. 515: I. Allegro | — | ||
| 27-2 | String Quintet no. 3 in C, K. 515: II. Andante | — | ||
| 27-3 | String Quintet no. 3 in C, K. 515: III. Menuetto: Allegretto | — | ||
| 27-4 | String Quintet no. 3 in C, K. 515: IV. Allegro | — | ||
| 27-5 | String Quintet no. 4 in G minor, K. 516: I. Allegro | — | ||
| 27-6 | String Quintet no. 4 in G minor, K. 516: II. Menuetto: Allegretto | — | ||
| 27-7 | String Quintet no. 4 in G minor, K. 516: III. Adagio ma non troppo | — | ||
| 27-8 | String Quintet no. 4 in G minor, K. 516: IV. Adagio – Allegro | — | ||
| 28-1 | String Quintet no. 1 in B-flat, K. 174: I. Larghetto – Allegro | — | ||
| 28-2 | String Quintet no. 1 in B-flat, K. 174: II. Adagio | — | ||
| 28-3 | String Quintet no. 1 in B-flat, K. 174: III. Menuetto ma allegretto | — | ||
| 28-4 | String Quintet no. 1 in B-flat, K. 174: IV. Allegro | — | ||
| 28-5 | String Quintet no. 5 in D, K. 593: I. Larghetto – Allegro | — | ||
| 28-6 | String Quintet no. 5 in D, K. 593: II. Adagio | — | ||
| 28-7 | String Quintet no. 5 in D, K. 593: III. Menuetto ma allegretto | — | ||
| 28-8 | String Quintet no. 5 in D, K. 593: IV. Allegro | — | ||
| 28-9 | String Quintet no. 6 in E-flat, K. 614: I. Allegro di molto | — | ||
| 28-10 | String Quintet no. 6 in E-flat, K. 614: II. Andante | — | ||
| 28-11 | String Quintet no. 6 in E-flat, K. 614: III. Menuetto: Allegretto | — | ||
| 28-12 | String Quintet no. 6 in E-flat, K. 614: IV. Allegro | — | ||
| 29-1 | Violin Sonata no. 23 in D major, K. 306: II. Andantino cantabile | Oleg Kagan, Sviatoslav Richter | — | |
| 29-2 | Violin Sonata no. 23 in D major, K. 306: II. Andantino cantabile | Oleg Kagan, Sviatoslav Richter | — | |
| 29-3 | Violin Sonata in D, K. 306: III. Allegretto | — | ||
| 29-4 | Violin Sonata no. 26 in B-flat major, K. 378: I. Allegro moderato | Oleg Kagan, Sviatoslav Richter | — | |
| 29-5 | Violin Sonata no. 26 in B-flat major, K. 378: II. Andantino sostenuto e cantabile | Oleg Kagan, Sviatoslav Richter | — | |
| 29-6 | Violin Sonata in B-flat, K. 378: III. Rondo: Allegro | — | ||
| 29-7 | Andante & Allegretto in C major, K. 404/385d: I. Andante | Oleg Kagan, Sviatoslav Richter | — | |
| 29-8 | Andante & Allegretto in C, K. 404: II. Allegro | — | ||
| 29-9 | Violin Sonata in B-flat, K. 372: I. Allegro | — | ||
| 30-1 | Piano Sonata in D, K. 311 (284c): I. Allegro con spirito | — | ||
| 30-2 | Piano Sonata in D, K. 311 (284c): II. Andantino con espressione | — | ||
| 30-3 | Piano Sonata in D, K. 311 (284c): III. Rondeau: Allegro | — | ||
| 30-4 | Piano Sonata in C, K. 330 (300h): I. Allegro moderato | — | ||
| 30-5 | Piano Sonata in C, K. 330 (300h): II. Andante cantabile | — | ||
| 30-6 | Piano Sonata in C, K. 330 (300h): III. Allegretto | — | ||
| 30-7 | Piano Sonata in A, K. 331 (300i): I. Tema (Andante grazioso) con variazioni (I-VI) | — | ||
| 30-8 | Piano Sonata in A, K. 331 (300i): II. Menuetto – Trio | — | ||
| 30-9 | Sonata for Piano no. 11 in A major, K. 300i/331 "Alla Turca": III. Rondo alla Turca. Allegretto | Daniel Barenboim | — | |
| 30-10 | Piano Sonata in F, K. 332 (300k): I. Allegro | — | ||
| 30-11 | Piano Sonata in F, K. 332 (300k): II. Adagio | — | ||
| 30-12 | Piano Sonata in F, K. 332 (300k): III. Allegro assai | — | ||
| 31-1 | Piano Sonata in B-flat, K. 333 (315c): I. Allegro | — | ||
| 31-2 | Piano Sonata in B-flat, K. 333 (315c): II. Andante cantabile | — | ||
| 31-3 | Piano Sonata in B-flat, K. 333 (315c): III. Allegretto grazioso | — | ||
| 31-4 | Fantasia in C minor, K. 475 | — | ||
| 31-5 | Piano Sonata in C minor, K. 457: I. Molto allegro | — | ||
| 31-6 | Piano Sonata in C minor, K. 457: II. Adagio | — | ||
| 31-7 | Piano Sonata in C minor, K. 457: III. Allegro assai | — | ||
| 32-1 | Piano Sonata in F, K. 533: I. Allegro | — | ||
| 32-2 | Piano Sonata in F, K. 533: II. Andante cantabile | — | ||
| 32-3 | Piano Sonata in F, K. 533: III. Allegretto | — | ||
| 32-4 | Piano Sonata in C, K. 545: I. Allegro | — | ||
| 32-5 | Piano Sonata in C, K. 545: II. Andante | — | ||
| 32-6 | Piano Sonata in C, K. 545: III. Rondo | — | ||
| 32-7 | Piano Sonata in B-flat, K. 570: I. Allegro | — | ||
| 32-8 | Piano Sonata in B-flat, K. 570: II. Adagio | — | ||
| 32-9 | Piano Sonata in B-flat, K. 570: III. Allegretto | — | ||
| 32-10 | Piano Sonata in D, K. 576: I. Allegro | — | ||
| 32-11 | Piano Sonata in D, K. 576: II. Adagio | — | ||
| 32-12 | Piano Sonata in D, K. 576: III. Allegretto | — | ||
| 33-1 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Tema (“Laat ons juichen”) (Allegretto) | — | ||
| 33-2 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 1 | — | ||
| 33-3 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 2 | — | ||
| 33-4 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 3 | — | ||
| 33-5 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 4 | — | ||
| 33-6 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 5 | — | ||
| 33-7 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 6 | — | ||
| 33-8 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 7: Adagio | — | ||
| 33-9 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 8 (Tempo I) | — | ||
| 33-10 | Variations on “Willevan Nassau”, K. 25: Tema (Air): Allegro | — | ||
| 33-11 | Variations on “Willevan Nassau”, K. 25: Variation 1 | — | ||
| 33-12 | Variations on “Willevan Nassau”, K. 25: Variation 2 | — | ||
| 33-13 | Variations on “Willevan Nassau”, K. 25: Variation 3 | — | ||
| 33-14 | Variations on “Willevan Nassau”, K. 25: Variation 4 | — | ||
| 33-15 | Variations on “Willevan Nassau”, K. 25: Variation 5: Adagio | — | ||
| 33-16 | Variations on “Willevan Nassau”, K. 25: Variation 6 (Tempo I) | — | ||
| 33-17 | Variations on “Willevan Nassau”, K. 25: Variation 7 | — | ||
| 33-18 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Tema (Minuett): Andante | — | ||
| 33-19 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Variation 1 | — | ||
| 33-20 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Variation 2 | — | ||
| 33-21 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Variation 3 | — | ||
| 33-22 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Variation 4 | — | ||
| 33-23 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Variation 5: Adagio | — | ||
| 33-24 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Variation 6: Allegretto | — | ||
| 33-25 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Tema (Menuet) | — | ||
| 33-26 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 1 | — | ||
| 33-27 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 2 | — | ||
| 33-28 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 3 | — | ||
| 33-29 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 4 | — | ||
| 33-30 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 5 | — | ||
| 33-31 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 6 | — | ||
| 33-32 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 7 | — | ||
| 33-33 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 8 | — | ||
| 33-34 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 9 | — | ||
| 33-35 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 10 | — | ||
| 33-36 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 11: Adagio | — | ||
| 33-37 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 12: Allegro | — | ||
| 33-38 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Tema (Air): Allegretto | — | ||
| 33-39 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 1 | — | ||
| 33-40 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 2 | — | ||
| 33-41 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 3 | — | ||
| 33-42 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 4 | — | ||
| 33-43 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 5 | — | ||
| 33-44 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 6 | — | ||
| 33-45 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 7 | — | ||
| 33-46 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 8 (Tempo di menuetto) | — | ||
| 33-47 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 9 | — | ||
| 33-48 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 10: Allegretto | — | ||
| 33-49 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 11 | — | ||
| 33-50 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 12 (Molto adagio) – | — | ||
| 33-51 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 12 (Allegretto) | — | ||
| 34-1 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Tema | — | ||
| 34-2 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 1 | — | ||
| 34-3 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 2 | — | ||
| 34-4 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 3 | — | ||
| 34-5 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 4 | — | ||
| 34-6 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 5 | — | ||
| 34-7 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 6 | — | ||
| 34-8 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 7 | — | ||
| 34-9 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 8 | — | ||
| 34-10 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 9 | — | ||
| 34-11 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 10 | — | ||
| 34-12 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 11: Adagio | — | ||
| 34-13 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 12: Presto | — | ||
| 34-14 | Variations on “La belle Françoise”, K. 353 (300f): Tema | — | ||
| 34-15 | Variations on “La belle Françoise”, K. 353 (300f): Variation 1 | — | ||
| 34-16 | Variations on “La belle Françoise”, K. 353 (300f): Variation 2 | — | ||
| 34-17 | Variations on “La belle Françoise”, K. 353 (300f): Variation 3 | — | ||
| 34-18 | Variations on “La belle Françoise”, K. 353 (300f): Variation 4 | — | ||
| 34-19 | Variations on “La belle Françoise”, K. 353 (300f): Variation 5 | — | ||
| 34-20 | Variations on “La belle Françoise”, K. 353 (300f): Variation 6 | — | ||
| 34-21 | Variations on “La belle Françoise”, K. 353 (300f): Variation 7 | — | ||
| 34-22 | Variations on “La belle Françoise”, K. 353 (300f): Variation 8 | — | ||
| 34-23 | Variations on “La belle Françoise”, K. 353 (300f): Variation 9 | — | ||
| 34-24 | Variations on “La belle Françoise”, K. 353 (300f): Variation 10 | — | ||
| 34-25 | Variations on “La belle Françoise”, K. 353 (300f): Variation 11: Adagio | — | ||
| 34-26 | Variations on “La belle Françoise”, K. 353 (300f): Variation 12: Presto | — | ||
| 34-27 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Tema: Andante | — | ||
| 34-28 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 1 | — | ||
| 34-29 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 2 | — | ||
| 34-30 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 3 | — | ||
| 34-31 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 4 | — | ||
| 34-32 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 5 | — | ||
| 34-33 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 6 | — | ||
| 34-34 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 7 | — | ||
| 34-35 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 8: Adagio | — | ||
| 34-36 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 9 (Allegro) | — | ||
| 34-37 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 9 (Tempo di tema) | — | ||
| 34-38 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Tema | — | ||
| 34-39 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 1 | — | ||
| 34-40 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 2 | — | ||
| 34-41 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 3 | — | ||
| 34-42 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 4 | — | ||
| 34-43 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 5 | — | ||
| 34-44 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 6 | — | ||
| 34-45 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 7: Adagio | — | ||
| 34-46 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 8: Allegro | — | ||
| 34-47 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Tema | — | ||
| 34-48 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Variation 1 | — | ||
| 34-49 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Variation 2 | — | ||
| 34-50 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Variation 3 | — | ||
| 34-51 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Variation 4 | — | ||
| 34-52 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Variation 5 | — | ||
| 34-53 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Variation 6 | — | ||
| 35-1 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Tema: Allegretto | — | ||
| 35-2 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 1 | — | ||
| 35-3 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 2 | — | ||
| 35-4 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 3 | — | ||
| 35-5 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 4 | — | ||
| 35-6 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 5 | — | ||
| 35-7 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 6 | — | ||
| 35-8 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 7 | — | ||
| 35-9 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 8 | — | ||
| 35-10 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 9: Adagio | — | ||
| 35-11 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 10 (Allegro) – | — | ||
| 35-12 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 10 (Tempo I) | — | ||
| 35-13 | Variations on an Original Theme, K. 500: Tema: Allegretto | — | ||
| 35-14 | Variations on an Original Theme, K. 500: Variation 1 | — | ||
| 35-15 | Variations on an Original Theme, K. 500: Variation 2 | — | ||
| 35-16 | Variations on an Original Theme, K. 500: Variation 3 | — | ||
| 35-17 | Variations on an Original Theme, K. 500: Variation 4 | — | ||
| 35-18 | Variations on an Original Theme, K. 500: Variation 5 | — | ||
| 35-19 | Variations on an Original Theme, K. 500: Variation 6 | — | ||
| 35-20 | Variations on an Original Theme, K. 500: Variation 7 | — | ||
| 35-21 | Variations on an Original Theme, K. 500: Variation 8 | — | ||
| 35-22 | Variations on an Original Theme, K. 500: Variation 9 | — | ||
| 35-23 | Variations on an Original Theme, K. 500: Variation 10 | — | ||
| 35-24 | Variations on an Original Theme, K. 500: Variation 11: Adagio | — | ||
| 35-25 | Variations on an Original Theme, K. 500: Variation 12 (Allegro) – | — | ||
| 35-26 | Variations on an Original Theme, K. 500: Variation 12 (Tempo I) | — | ||
| 35-27 | Variations on an Original Theme, K. 54 (547b): Tema: Allegretto | — | ||
| 35-28 | Variations on an Original Theme, K. 54 (547b): Variation 1 | — | ||
| 35-29 | Variations on an Original Theme, K. 54 (547b): Variation 2 | — | ||
| 35-30 | Variations on an Original Theme, K. 54 (547b): Variation 3 | — | ||
| 35-31 | Variations on an Original Theme, K. 54 (547b): Variation 4 | — | ||
| 35-32 | Variations on an Original Theme, K. 54 (547b): Variation 5 | — | ||
| 35-33 | Variations on an Original Theme, K. 54 (547b): Variation 6 | — | ||
| 35-34 | Variations on a Minuet by J.P. Duport, K. 573: Tema | — | ||
| 35-35 | Variations on a Minuet by J.P. Duport, K. 573: Variation 1 | — | ||
| 35-36 | Variations on a Minuet by J.P. Duport, K. 573: Variation 2 | — | ||
| 35-37 | Variations on a Minuet by J.P. Duport, K. 573: Variation 3 | — | ||
| 35-38 | Variations on a Minuet by J.P. Duport, K. 573: Variation 4 | — | ||
| 35-39 | Variations on a Minuet by J.P. Duport, K. 573: Variation 5 | — | ||
| 35-40 | Variations on a Minuet by J.P. Duport, K. 573: Variation 6 | — | ||
| 35-41 | Variations on a Minuet by J.P. Duport, K. 573: Variation 7 | — | ||
| 35-42 | Variations on a Minuet by J.P. Duport, K. 573: Variation 8: Adagio | — | ||
| 35-43 | Variations on a Minuet by J.P. Duport, K. 573: Variation 9: (Allegro) – | — | ||
| 35-44 | Variations on a Minuet by J.P. Duport, K. 573: Variation 9: (Tempo I) | — | ||
| 35-45 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Tema | — | ||
| 35-46 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 1 | — | ||
| 35-47 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 2 | — | ||
| 35-48 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 3 | — | ||
| 35-49 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 4 | — | ||
| 35-50 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 5 | — | ||
| 35-51 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 6 | — | ||
| 35-52 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 7: Adagio | — | ||
| 35-53 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 8: (Allegro) – | — | ||
| 35-54 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 8 (Tempo I) | — | ||
| 36-1 | Sehnsucht nach dem Frühlinge, K. 596 | — | ||
| 36-2 | An die Hoffnung, K. 390 (340c) | — | ||
| 36-3 | Der Zauberer, K. 472 | — | ||
| 36-4 | Die kleine Spinnerin, K. 531 | — | ||
| 36-5 | Die Verschweigung, K. 518 | — | ||
| 36-6 | Das Lied der Trennung, K. 519 | — | ||
| 36-7 | Die Zufriedenheit, K. 473 | — | ||
| 36-8 | Ais Luise die Briefe, K. 520 | — | ||
| 36-9 | An die Einsamkeit, K. 391 (340b) | — | ||
| 36-10 | Das Veilchen, K. 476 | — | ||
| 36-11 | Abendempfindung, K. 523 | — | ||
| 36-12 | An Chloe, K. 524 | — | ||
| 36-13 | Cantata: Die ihr des unermeßlichen Weltalls, K. 619 | — | ||
| 36-14 | Canzonetta: Ridente la calma, K. 152 | — | ||
| 36-15 | Dans un bois solitaire, K. 308 | Barbara Hendricks, Maria João Pires | — | |
| 36-16 | Oiseaux, si tous les ans, K. 307 (284d) | — | ||
| 36-17 | Un moto di gioia, K. 579 | — | ||
| 36-18 | Komm, liebe Zither, K. 351 (367b) | — | ||
| 36-19 | Ch'io mi scordi di te?...Non temer, amato bene, K. 505 | — | ||
| 37-1 | Mass in C minor, K. 427: I. Kyrie | — | ||
| 37-2 | Mass in C minor, K. 427: II. Gloria: Gloria in excelsis Deo | — | ||
| 37-3 | Mass in C minor, K. 427: II. Gloria: “Laudamus te” | Kiri Te Kanawa, New Philharmonia Orchestra, Raymond Leppard | — | |
| 37-4 | Mass in C minor, K. 427: II. Gloria: Gratias agimus tibi | — | ||
| 37-5 | Mass in C minor, K. 427: II. Gloria: Domine Deus | — | ||
| 37-6 | Mass in C minor, K. 427: II. Gloria: Qui tollis peccata mundi | — | ||
| 37-7 | Mass in C minor, K. 427: II. Gloria: Quoniam tu solus Sanctus | — | ||
| 37-8 | Mass in C minor, K. 427: II. Gloria: Jesu Christe | — | ||
| 37-9 | Mass in C minor, K. 427: II. Gloria: Cum Sancto Spiritu | — | ||
| 37-10 | Mass in C minor, K. 427: III. Credo: Credo in unum Deum | — | ||
| 37-11 | Mass in C minor, K. 427: III. Credo: Et incarnatus est | Ileana Cotrubaş, New Philharmonia Orchestra, Raymond Leppard | T-924.224.927-0 | |
| 37-12 | Mass in C minor, K. 427: IV. Sanctus: Sanctus, Sanctus, Sanctus | — | ||
| 37-13 | Mass in C minor, K. 427: IV. Sanctus: Osanna in excelsis | — | ||
| 37-14 | Mass in C minor, K. 427: V. Benedictus | — | ||
| 37-15 | Vesperae de Dominica, K. 321: I. Dixit dominus | — | ||
| 37-16 | Vesperae de Dominica, K. 321: V. Laudate Dominum | — | ||
| 37-17 | Vesperae de Dominica, K. 321: VI. Magnificat | — | ||
| 38-1 | Mass no. 14 in C, K. 317 “Coronation”: Kyrie | — | ||
| 38-2 | Mass no. 14 in C, K. 317 “Coronation”: Gloria | — | ||
| 38-3 | Mass no. 14 in C, K. 317 “Coronation”: Credo | — | ||
| 38-4 | Mass no. 14 in C, K. 317 “Coronation”: Sanctus | — | ||
| 38-5 | Mass no. 14 in C, K. 317 “Coronation”: Benedictus | Júlia Hamari, Dietrich Fischer-Dieskau, Nicolai Gedda, Edda Moser, Bavarian Radio Chorus, Bavarian Radio Symphony Orchestra, Eugen Jochum | — | |
| 38-6 | Mass no. 14 in C, K. 317 “Coronation”: Agnus Dei | — | ||
| 38-7 | Vesperae solennes de confessore, K. 339: Dixit Dominus | — | ||
| 38-8 | Vesperae solennes de confessore, K. 339: Confitebor | — | ||
| 38-9 | Vesperae solennes de confessore, K. 339: Beatus vir | — | ||
| 38-10 | Vesperae solennes de confessore, K. 339: Laudate pueri | — | ||
| 38-11 | Vesperae solennes de confessore | Manfred Ackermann, Bavarian Radio Chorus, Wolfgang Isenhardt, Edda Moser, Thomas Schulze, Stuttgarter Hymnus-Chorknaben, Bavarian Radio Symphony Orchestra, Eugen Jochum, Gerhard Wilhelm | T-900.135.371-5 | |
| 38-12 | Vesperae solennes de confessore, K. 339: Magnificat | — | ||
| 39-1 | Requiem in D minor, K. 626: I. Introitus: Requiem aeternam – II. Kyrie eleison | — | ||
| 39-2 | Requiem in D minor, K. 626: III. Sequenz: Dies irae | — | ||
| 39-3 | Requiem in D minor, K. 626: III. Sequenz: Tuba mirum | — | ||
| 39-4 | Requiem in D minor, K. 626: III. Sequenz: Rex tremendae | — | ||
| 39-5 | Requiem in D minor, K. 626: III. Sequenz: Recordare | — | ||
| 39-6 | Requiem in D minor, K. 626: III. Sequenz: Confutatis maledictis | — | ||
| 39-7 | Requiem in D minor, K. 626: III. Sequenz: Lacrimosa | — | ||
| 39-8 | Requiem in D minor, K. 626: IV: Offertorium: Domine Jesu | — | ||
| 39-9 | Requiem in D minor, K. 626: IV: Offertorium: Hostias et preces tibi | — | ||
| 39-10 | Requiem in D minor, K. 626: V. Sanctus | — | ||
| 39-11 | Requiem in D minor, K. 626: VI. Benedictus | — | ||
| 39-12 | Requiem in D minor, K. 626: VII. Agnus Dei – VIII. Communio | — | ||
| 39-13 | Ave verum corpus, K. 618 | Singverein der Gesellschaft der Musikfreunde in Wien, Philharmonia Orchestra, Herbert von Karajan | T-323.252.117-0 | |
| 39-14 | Motet “Exsultate, jubilate”, K. 165/158a | Barbara Hendricks, Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 40-1 | Die Entführung aus dem Serail, K. 384: Overture | — | ||
| 40-2 | Die Entführung aus dem Serail, K. 384: Act I. Hier soil ich... Aber wie soll ich in den Palast kommen? (Belmonte) | — | ||
| 40-3 | Die Entführung aus dem Serail, K. 384: Act I. Wer ein Liebchen hat gefunden... Verwünscht seist du (Osmin, Belmonte) | — | ||
| 40-4 | Die Entführung aus dem Serail, K. 384: Act I. Das scheint auch so ein Schurke (Osmin, Pedrillo) | — | ||
| 40-5 | Die Entführung aus dem Serail, K. 384: Act I. Solche hergelauf'ne Laffen (Osmin) | — | ||
| 40-6 | Die Entführung aus dem Serail, K. 384: Act I. Was bist du für ein grausamer Kerl! (Pedrillo, Osmin) | — | ||
| 40-7 | Die Entführung aus dem Serail, K. 384: Act I. Geh nur, verwünschter Aufpasser (Pedrillo, Belmonte) | — | ||
| 40-8 | Die Entführung aus dem Serail, K. 384: "Konstanze, dich wieder zu sehen, dich!" (Belmonte) | Nicolai Gedda, Wiener Philharmoniker, Josef Krips | T-910.405.802-8 | |
| 40-9 | Die Entführung aus dem Serail, K. 384: Act I. Herr, geschwind zur Seite!...Singt dem großen Bassa Lieder (Pedrillo, Chorus) | — | ||
| 40-10 | Die Entführung aus dem Serail, K. 384: Act I. Immer noch traurig, geliebte Konstanze? (Selim, Konstanze) | — | ||
| 40-11 | Die Entführung aus dem Serail, K. 384: Act I. Ach ich liebte, was so glücklich (Konstanze) | — | ||
| 40-12 | Die Entführung aus dem Serail, K. 384: Act I. Ihr Schmerz, ihre Tränen (Selim, Pedrillo, Belmonte, Osmin) | — | ||
| 41-1 | Die Entführung aus dem Serail, K. 384: Act II. Gift und Dolch... Durch Zärtlichkeit und Schmeicheln (Osmin, Blonde) | — | ||
| 41-2 | Die Entführung aus dem Serail, K. 384: Act II. Zärtlichkeit? Schmeicheln? (Osmin, Blonde) | — | ||
| 41-3 | Die Entführung aus dem Serail, K. 384: Act II. Ich gehe, doch rate ich dir... Ach, wie traurig (Osmin, Blonde) | — | ||
| 41-4 | Die Entführung aus dem Serail, K. 384: Act II. Welcher Kummer herrscht... Traurigkeit (Konstanze) | — | ||
| 41-5 | Die Entführung aus dem Serail, K. 384: Act II. Mein bestes Fräulein... (Blonde, Konstanze, Selim) | — | ||
| 41-6 | Die Entführung aus dem Serail, K. 384: "Martern aller Arten" (Konstanze) | Anneliese Rothenberger, Wiener Philharmoniker, Josef Krips | — | |
| 41-7 | Die Entführung aus dem Serail, K. 384: Act II. Woher hat sie auf einmal den Mut? (Selim, Blonde, Pedrillo) | — | ||
| 41-8 | Die Entführung aus dem Serail, K. 384: "Welche Wonne, welche Lust" (Blonde) | Lucia Popp, Wiener Philharmoniker, Josef Krips | — | |
| 41-9 | Die Entführung aus dem Serail, K. 384: Act II. Ach, wenn es doch schon... Frisch zum Kampfe! (Pedrillo) | — | ||
| 41-10 | Die Entführung aus dem Serail, K. 384: Act II. Na, hier geht's ja lustig zu! (Osmin, Pedrillo) | — | ||
| 41-11 | Die Entführung aus dem Serail, K. 384: "Vivat Bacchus" (Osmin & Pedrillo) | Gottlob Frick, Gerhard Unger, Wiener Philharmoniker, Josef Krips | T-910.405.802-8 | |
| 41-12 | Die Entführung aus dem Serail, K. 384: Act II. Das ist wahr - Wein (Osmin, Pedrillo, Belmonte) | — | ||
| 41-13 | Die Entführung aus dem Serail, K. 384: Act II. Ach, Belmonte, ach mein Leben! (Konstanze, Belmonte, Pedrillo, Blonde) | — | ||
| 41-14 | Die Entführung aus dem Serail, K. 384: Act III. Wenn der Freude Tränen fließen (Belmonte) | — | ||
| 41-15 | Die Entführung aus dem Serail, K. 384: Act III. Pedrillo! Ist alles fergit? (Belmonte, Pedrillo) | — | ||
| 41-16 | Die Entführung aus dem Serail, K. 384: Act III. Im Mohrenland gefangen war ein Mädchen (Pedrillo, Belmonte, Osmin, Blonde) | — | ||
| 41-17 | Die Entführung aus dem Serail, K. 384: "O, wie will ich triumphieren" (Osmin) | Gottlob Frick, Wiener Philharmoniker, Josef Krips | — | |
| 41-18 | Die Entführung aus dem Serail, K. 384: Act III. Was gibt's Osmin? (Selim, Osmin, Konstanze, Belmonte) | — | ||
| 41-19 | Die Entführung aus dem Serail, K. 384: Act III. Welch ein Geschick! (Belmonte, Konstanze) | — | ||
| 41-20 | Die Entführung aus dem Serail, K. 384: Act III. Nun, zitterst du, erwartest du dein Urteil? (Selim, Belmonte, Pedrillo, Osmin) | — | ||
| 41-21 | Die Entführung aus dem Serail, K. 384: Act III. Nie werd' ich deine Huld verkennen | — | ||
| 42-1 | Le nozze di Figaro, K. 492: Overture | — | ||
| 42-2 | Le nozze di Figaro, K. 492: Act I. Cinque... dieci... venti... | — | ||
| 42-3 | Le nozze di Figaro, K. 492: Act I. Se a caso Madama (Figaro, Susanna) | — | ||
| 42-4 | Le nozze di Figaro, K. 492: Act I. Bravo, signor padron... Se vuol ballare (Figaro) | — | ||
| 42-5 | Le nozze di Figaro, K. 492: Act I. La vendetta, oh, la vendetta (Bartolo) | — | ||
| 42-6 | Le nozze di Figaro, K. 492: Act I. Via, resti servita (Susanna, Marcellina) | — | ||
| 42-7 | Le nozze di Figaro, K. 492: Act I. Non so più cosa son, cosa faccio (Cherubino) | — | ||
| 42-8 | Le nozze di Figaro, K. 492: Act I. Oh cielo! Cosa sento! (Susanna, Count, Basilio) | — | ||
| 42-9 | Le nozze di Figaro, K. 492: Act I. Non più andrai (Figaro) | — | ||
| 42-10 | Le nozze di Figaro, K. 492: Act II, Porgi amor (Contessa) | Heather Harper, English Chamber Orchestra, Daniel Barenboim | — | |
| 42-11 | Le nozze di Figaro, K. 492: Act II, Vieni, cara Susanna (Countess, Susanna, Figaro, Cherubino) | — | ||
| 42-12 | Le nozze di Figaro, K. 492: Atto II, scena II. No. 12 Arietta “Voi che sapete che cosa è amor” (Cherubino) | Teresa Berganza, English Chamber Orchestra, Daniel Barenboim | — | |
| 42-13 | Le nozze di Figaro, K. 492: Act II. Bravo! Che bella voce! (Countess, Susanna, Cherubino) | — | ||
| 42-14 | Le nozze di Figaro, K. 492: Act II. Venite, inginocchiatevi (Susanna) | — | ||
| 42-15 | Le nozze di Figaro, K. 492: Act II. Quante buffonerie! (Countess, Susanna, Cherubino, Count) | — | ||
| 42-16 | Le nozze di Figaro, K. 492: Act II. Susanna, or via sortite (Count, Countess, Susanna) | — | ||
| 42-17 | Le nozze di Figaro, K. 492: Act II. Dunque voi non aprite? (Count, Countess) | — | ||
| 42-18 | Le nozze di Figaro, K. 492: Act II. Aprite, presto, aprite (Susanna, Cherubino) | — | ||
| 42-19 | Le nozze di Figaro, K. 492: Act II. Oh guarda il demonietto (Susanna, Count, Countess) | — | ||
| 42-20 | Le nozze di Figaro, K. 492: Act II. Esci, ormai, garzon malnato (Count, Countess) | — | ||
| 42-21 | Le nozze di Figaro, K. 492: Act II. Susanna! Susanna! (Count, Countess, Susanna) | — | ||
| 42-22 | Le nozze di Figaro, K. 492: Act II. Signori, di fuori! (Figaro, Count, Susanna, Countess) | — | ||
| 42-23 | Le nozze di Figaro, K. 492: Act II. Ah! Signor, signor! (Antonio, Count, Susanna, Countess, Figaro) | — | ||
| 42-24 | Le nozze di Figaro, K. 492: Act II. Voi signor, che giusto siete (Marcellina, Basilio, Bartolo, Susanna, Countess, Figaro, Count) | — | ||
| 43-1 | Le nozze di Figaro, K. 492: Act III. Che imbarazzo è mai questo! (Count, Countess, Susanna) | — | ||
| 43-2 | Le nozze di Figaro, K. 492: Act III. Crudel! Perche finora farmi languir così? (Count, Susanna) | — | ||
| 43-3 | Le nozze di Figaro, K. 492: Act III. E perchè fosti meco (Count, Susanna, Figaro) | — | ||
| 43-4 | Le nozze di Figaro, K. 492: Act III. Hai già vinta la causa!... Vedrò, mentr'io sospiro (Count) | — | ||
| 43-5 | Le nozze di Figaro, K. 492: Act III. È decisa la lite (Don Curzio, Marcellina, Figaro, Cunt, Bartolo) | — | ||
| 43-6 | Le nozze di Figaro, K. 492: Act III. Riconosci in questíamplesso (Marcellino, Figaro, Bartolo, Don Curzio, Count, Susanna) | — | ||
| 43-7 | Le nozze di Figaro, K. 492: Act III. Eccovi, o caro amico (Marcellina, Bartolo, Susanna, Figaro, Barbarina, Cherubino) | — | ||
| 43-8 | Le nozze di Figaro, K. 492: Act III. E Susanna non vien!... Dove sono (Countess) | — | ||
| 43-9 | Le nozze di Figaro, K. 492: Act III. Io vi dico, signor (Antonio, Count, Countess, Susanna) | — | ||
| 43-10 | Le nozze di Figaro, K. 492: Act III. Canzonetta sull'aria... Che soave zeffiretto (Countess, Susanna) | — | ||
| 43-11 | Le nozze di Figaro, K. 492: Act III. Ricevete, o padroncina (Peasant Girls, Barbarina, Countess, Susanna, Anotonio, Count, Cherubino, Figaro) | — | ||
| 43-12 | Le nozze di Figaro, K. 492: Act III. Ecco la marica (Figaro, Susanna, Count, Countess, Two Girls, Peasants) | — | ||
| 43-13 | Le nozze di Figaro, K. 492: Act IV. L'ho perduta, me meschina! (Barbarina) | — | ||
| 43-14 | Le nozze di Figaro, K. 492: Act IV. Barbarina, cos' hai? (Figaro, Barbarina, Marcellina) | — | ||
| 43-15 | Le nozze di Figaro, K. 492: Act IV. Nel padiglione a manca (Barbarina, Figaro, Basilio, Bartolo) | — | ||
| 43-16 | Le nozze di Figaro, K. 492: Act IV. Ha i diavoli nel corpo!... In quegli anni (Basilio, Bartolo) | — | ||
| 43-17 | Le nozze di Figaro, K. 492: Act IV. Tutto è disposto... Aprite un po'quegli occhi (Figaro) | — | ||
| 43-18 | Le nozze di Figaro, K. 492: Act IV. Signora, elle mi disse... (Susanna, Marcellina, Countess, Figaro) | — | ||
| 43-19 | Le nozze di Figaro, K. 492: Act IV. Giunse alfin il momento (Susanna) | — | ||
| 43-20 | Le nozze di Figaro, K. 492: Act IV. Deh vieni, non tardar (Susanna) | — | ||
| 43-21 | Le nozze di Figaro, K. 492: Act IV. Perfida! E in quella forma meco mentia? (Figaro, Cherubino, Countess) | — | ||
| 43-22 | Le nozze di Figaro, K. 492: Act IV. Pian, pianin, le andro piu presso (Cherubino, Countess, Count, Susanna, Figaro) | — | ||
| 43-23 | Le nozze di Figaro, K. 492: Act IV. Partito è alfin l'audace (Count, Countess, Figaro, Susanna) | — | ||
| 43-24 | Le nozze di Figaro, K. 492: Act IV. Tutto è tranquillo e placido (Figaro, Susanna) | — | ||
| 43-25 | Le nozze di Figaro, K. 492: Act IV. Pace, pace, mio dolce tescoro (Figaro, Susanna, Count) | — | ||
| 43-26 | Le nozze di Figaro, K. 492: Act IV. Gente, gente, all'armi, all'armi (All) | — | ||
| 44-1 | Don Giovanni, K. 527: Overture | — | ||
| 44-2 | Don Giovanni, K. 527: Act I, Scene 1. Notte e giorno faticar (Leporello) | — | ||
| 44-3 | Don Giovanni, K. 527: Act I, Scene 1. Non sperar, se non m'uccidi (Donna Anna, Don Giovanni, Leporello) | — | ||
| 44-4 | Don Giovanni, K. 527: Act I, Scene 1. Lasciala, indegno! (Commendatore, Don Giovanni, Leporello) | — | ||
| 44-5 | Don Giovanni, K. 527: Act I, Scene 1. Leporello, ove sei? (Don Giovanni, Leporello) | — | ||
| 44-6 | Don Giovanni, K. 527: Act I, Scene 1. Ah! Del padre in periglio (Donna Anna, Don Ottavio) | — | ||
| 44-7 | Don Giovanni, K. 527: Act I, Scene 1. Fuggi, crudele, fuggi! (Donna Anna, Don Otavio) | — | ||
| 44-8 | Don Giovanni, K. 527: Act I, Scene 2. Orsù, spicciati presto (Don Giovanni, Leporello, Donna Elvira) | — | ||
| 44-9 | Don Giovanni, K. 527: Act I, Scene 2. Ah, chi mi dice mai (Donna Elvira, Don Giovanni, Leporello) | — | ||
| 44-10 | Don Giovanni, K. 527: Act I, Scene 2. Madamina il catalogo è questo (Leporello) | — | ||
| 44-11 | Don Giovanni, K. 527: Act I, Scene 3. Giovinette, che fate all' amore (Zerlina, Peasants, Masetto) | — | ||
| 44-12 | Don Giovanni, K. 527: Act I, Scene 3. Ho capito, signor sì! (Masetto) | — | ||
| 44-13 | Don Giovanni, K. 527: Act I, Scene 3. Là ci darem la mano (Don Giovanni, Zerlina) | — | ||
| 44-14 | Don Giovanni, K. 527: Act I, Scene 3. Fermati, scellerato! (Donna Elvira, Zerlina, Don Giovanni) | — | ||
| 44-15 | Don Giovanni, K. 527: Act I, Scene 3. Ah, fuggi il traditor! (Donna Elvira) | — | ||
| 44-16 | Don Giovanni, K. 527: Act I, Scene 3. Non ti fidar, o misera (Don Giovanni, Don Ottavio, Donna Anna, Donna Elvira) | — | ||
| 44-17 | Don Giovanni, K. 527: Act I, Scene 3. Povera sventurata! (Don Giovanni) | — | ||
| 44-18 | Don Giovanni, K. 527: Act I, Scene 3. Don Ottavio, son morta! (Donna Anna, Don Ottavio) | — | ||
| 44-19 | Don Giovanni, K. 527: Act I, Scene 3. Or sai chi l'onore (Donna Anna) | — | ||
| 44-20 | Don Giovanni, K. 527: Act I, Scene 3. Finch' han dal vino (Don Giovanni) | — | ||
| 44-21 | Don Giovanni, K. 527: Act I, Scene 4. Batti, batti, o bel Masetto (Zerlina) | — | ||
| 44-22 | Don Giovanni, K. 527: Act I, Scene 4. Presto, presto, pria ch'ei venga (Masetto, Zerlina, Don Giovanni, Servants, Peasants) | — | ||
| 44-23 | Don Giovanni, K. 527: Act I, Scene 4. Tra quest'arbori celata (Zerlina, Don Giovanni, Masetto) | — | ||
| 44-24 | Don Giovanni, K. 527: Act I, Scene 4. Bisogna aver corragio (Donna Elvira, Don Ottavio, Donna Anna, Leporello, Don Giovanni) | — | ||
| 44-25 | Don Giovanni, K. 527: Act I, Scene 4. Protegga il giusto cielo (Donna Anna, Don Ottavio, Donna Elvira) | — | ||
| 44-26 | Don Giovanni, K. 527: Act I, Scene 5. Riposate, vezzose ragazze (Don Giovanni, Leporello, Masetto, Zerlina) | — | ||
| 44-27 | Don Giovanni, K. 527: Act I, Scene 5. Venite pur avanti (Leporello, Don Giovanni, Donna Anna, Donna Elvira, Don Ottavio, Masetto, Zerlina) | — | ||
| 44-28 | Don Giovanni, K. 527: Act I, Scene 5. Ecco il birbo (Don Giovanni, Leporello, Donna Anna, Donna Elvira, Don Ottavio) | — | ||
| 44-29 | Don Giovanni, K. 527: Act I, Scene 5. Trema trema, o scellerato! (Donna Anna, Zerlina, Donna Elvira, Don Ottavio, Masetto, Don Giovanni, Leporello) | — | ||
| 45-1 | Don Giovanni, K. 527: Act II, Scene 1. Eh via, buffone, non mi seccar! (Don Giovanni, Leporello) | — | ||
| 45-2 | Don Giovanni, K. 527: Act II, Scene 1. Ah, taci in giusto core! (Donna Elvira, Leporello, Don Giovanni) | — | ||
| 45-3 | Don Giovanni, K. 527: Act II, Scene 1. Deh! vieni alla finestra (Don Giovanni) | — | ||
| 45-4 | Don Giovanni, K. 527: Act II, Scene 1. Metà di voi qua vadano (Don Giovanni) | — | ||
| 45-5 | Don Giovanni, K. 527: Act II, Scene 1. Vedrai, carino (Zerlina) | — | ||
| 45-6 | Don Giovanni, K. 527: Act II, Scene 2. Sola sola in buio loco (Donna Elvira, Leporello, Don Ottavio, Donna Anna, Zerlina, Masetto) | — | ||
| 45-7 | Don Giovanni, K. 527: Act II, Scene 2. Mille torbidi pensieri (Donna Elvira, Leporello, Don Ottavio, Donna Anna, Zerlina, Masetto) | — | ||
| 45-8 | Don Giovanni, K. 527: Act II, Scene 2. Ah pietà, signora miei! (Leporello) | — | ||
| 45-9 | Don Giovanni, K. 527: Act II, Scene 2. Il mio tesoro intanto (Don Ottavio) | — | ||
| 45-10 | Don Giovanni, K. 527: Act II, Scene 3. O statua gentilissima (Don Giovanni, Leporello, Statue) | — | ||
| 45-11 | Don Giovanni, K. 527: Act II, Scene 4. Calmatevi, idol mio! (Don Ottavio, Donna Anna) | — | ||
| 45-12 | Don Giovanni, K. 527: Act II, Scene 4. Non mi dir (Donna Anna) | — | ||
| 45-13 | Don Giovanni, K. 527: Act II, Scene 5. Gia la mensa è preparata (Don Giovanni, Leporello) | — | ||
| 45-14 | Don Giovanni, K. 527: Act II, Scene 5. L'ultima prova dell'amor mio (Donna Elvira, Don Giovanni, Leporello) | — | ||
| 45-15 | Don Giovanni, K. 527: Act II, Scene 5. Che grido è questa mai? (Don Giovanni, Leporello) | — | ||
| 45-16 | Don Giovanni, K. 527: Act II, Scene 5. Don Giovanni, a cenar teco (Statue, Don Giovanni, Leporello) | — | ||
| 45-17 | Don Giovanni, K. 527: Act II, Scene 5. Da qual tremore insolito (Don Giovanni, Demons, Leporello) | — | ||
| 45-18 | Don Giovanni, K. 527: Act II, Scene 5. Ah, dovè il perfido? (Donna Elvira, Donna Anna, Zerlina, Don Ottavio, Masetto, Leporello) | — | ||
| 45-19 | Don Giovanni, K. 527: Act II, Scene 5. Or che tutti, o mio tesero (Donna Elvira, Donna Anna, Zerlina, Don Ottavio, Masetto, Leporello) | — | ||
| 45-20 | Don Giovanni, K. 527: Act II, Scene 5. Resti dunque quel birbon (Zerlina, Masetto, Leporello) | — | ||
| 45-21 | Don Giovanni, K. 527: Act II, Scene 5. Questo è il fin (Donna Elvira, Zerlina, Don Ottavio, Masetto, Donna Anna, Leporello) | — | ||
| 45-22 | Don Giovanni, K. 527: Appendix. Dalla sua pace (Don Ottavio) | — | ||
| 45-23 | Don Giovanni, K. 527: Appendix. In quali eccessi, o Numi (Donna Elvira) | — | ||
| 45-24 | Don Giovanni, K. 527: Appendix. Mi tradi, quell'alma ingrata (Donna Elvira) | — | ||
| 46-1 | Così fan tutte: Overture | — | ||
| 46-2 | Così fan tutte: Act I, Scene 1. La mia Dorabella capace non è | — | ||
| 46-3 | Così fan tutte: Act I, Scene 1. Fuor' la spada | — | ||
| 46-4 | Così fan tutte: Act I, Scene 1. É la fede delle femmine | — | ||
| 46-5 | Così fan tutte: Act I, Scene 1. Scioccherie di poeti! | — | ||
| 46-6 | Così fan tutte: Act I, Scene 1. Una bella serenata (Ferrando, Guglielmo, Don Alfonso) | — | ||
| 46-7 | Così fan tutte: Act I, Scene 2. Ah, guarda, sorella (Fiordiligi, Dorabella) | — | ||
| 46-8 | Così fan tutte: Act I, Scene 2. Mi par, che stamattina volentieri farei la pazzarella (Fiordiligi, Dorabella, Don Alfonso) | — | ||
| 46-9 | Così fan tutte: Act I, Scene 2. Barbaro fato!... Vorrei dir, e cor non ho (Don Alfonso) | — | ||
| 46-10 | Così fan tutte: Act I, Scene 2. Stella! Per carità, Signor Alfonso (Fiordiligi, Don Alfonso, Dorabella) | — | ||
| 46-11 | Così fan tutte: Act I, Scene 2. Sento, o Dio, che questo piede | — | ||
| 46-12 | Così fan tutte: Act I, Scene 2. Non piangere, idol mio! (Guglielmo, Ferrando, Don Alfonso, Fiordiligi, Dorabella) | — | ||
| 46-13 | Così fan tutte: Act I, Scene 2. Al fato dan legge quegli occhi (Ferrando, Guglielmo) | — | ||
| 46-14 | Così fan tutte: Act I, Scene 2. La commedia è graziosa (Don Alfonso, Ferrando, Fiordiligi, Dorabella) | — | ||
| 46-15 | Così fan tutte: Act I, Scene 2. Bella vita militar! (Chorus) | — | ||
| 46-16 | Così fan tutte: Act I, Scene 2. Non v'è più tempo (Don Alfonso, Fiordiligi, Dorabella, Ferrando, Guglielmo) | — | ||
| 46-17 | Così fan tutte: Act I, Scene 2. Muoio d'affanno!... Di scrivermi ogni giorno (Fiordiligi, Dorabella, Guglielmo, Ferrando, Don Alfonso) | — | ||
| 46-18 | Così fan tutte: Act I, Scene 2. Bella vita militar! (Chorus) | — | ||
| 46-19 | Così fan tutte: Act I, Scene 2. Dove son? (Dorabella, Don Alfonson, Fiordiligi) | — | ||
| 46-20 | Così fan tutte: Atto I, scena 2. “Soave sia il vento” | Claudio Desderi, Carol Vaness, Dolores Ziegler, London Philharmonic Orchestra, Bernard Haitink | — | |
| 46-21 | Così fan tutte: Act I, Scene 2. Non son cattivo comico (Don Alfonso) | — | ||
| 46-22 | Così fan tutte: Act I, Scene 3. Che vita maladetta (Despina, Fiordiligi, Dorabella) | — | ||
| 46-23 | Così fan tutte: Act I, Scene 3. Smanie implacabili (Dorabella) | — | ||
| 46-24 | Così fan tutte: Act I, Scene 3. Signora Dorabella, Signora Fiordiligi (Despina, Dorabella, Fiordiligi) | — | ||
| 46-25 | Così fan tutte: Act I, Scene 3. In uomini, in soldati (Despina) | — | ||
| 46-26 | Così fan tutte: Act I, Scene 3. Chi silenzio? Che aspetto di tristezza (Don Alfonso, Despina) | — | ||
| 46-27 | Così fan tutte: Act I, Scene 3. Alla bella Despinetta | — | ||
| 46-28 | Così fan tutte: Act I, Scene 3. Che sussurro! Che strepito! (tutti) | — | ||
| 46-29 | Così fan tutte: Act I, Scene 3. L'intatta fede | — | ||
| 46-30 | Così fan tutte: Act I, Scene 3. Come scoglio immoto resta (Fiordiligi) | — | ||
| 46-31 | Così fan tutte: Act I, Scene 3. Ah, non partite! (Ferrando, Guglielmo, Don Alfonso, Dorabella, Fiordiligi) | — | ||
| 46-32 | Così fan tutte: Act I, Scene 3. Non siate ritrosi, occhietti vezzosi (Guglielmo) | — | ||
| 46-33 | Così fan tutte: Act I, Scene 3. E voi ridete? (Don Alfonso, Ferrando, Guglielmo) | — | ||
| 46-34 | Così fan tutte: Act I, Scene 3. Si può sapere un poco (Don Alfonso, Guglielmo, Ferrando) | — | ||
| 46-35 | Così fan tutte: Atto I, scena 3. “Un’aura amorosa” | John Aler, London Philharmonic Orchestra, Bernard Haitink | — | |
| 47-1 | Così fan tutte: Act I, Scene 4. Ah, che tutto in un momento | — | ||
| 47-2 | Così fan tutte: Act I, Scene 4. Ah che del sole il raggio | — | ||
| 47-3 | Così fan tutte: Act I, Scene 4. Eccovi il medico | — | ||
| 47-4 | Così fan tutte: Act I, Scene 4. Dove son? Che loco è questo? | — | ||
| 47-5 | Così fan tutte: Act I, Scene 4. Dammi un bacio, o mio tesoro (tutti) | — | ||
| 47-6 | Così fan tutte: Act II, Scene 1. Andate là, che siete due bizarre ragazze! (Despina, Fiordiligi, Dorabella) | — | ||
| 47-7 | Così fan tutte: Act II, Scene 1. Una donna a quindici anni (Despina) | — | ||
| 47-8 | Così fan tutte: Act II, Scene 1. Sorella, cosa dici? (Fiordiligi, Dorabella) | — | ||
| 47-9 | Così fan tutte: Act II, Scene 1. Prenderò quel brunettino (Dorabella, Fiordiligi) | — | ||
| 47-10 | Così fan tutte: Act II, Scene 1. Ah correte al giardino (Don Alfonso) | — | ||
| 47-11 | Così fan tutte: Act II, Scene 2. Secondate, aurette amiche (Ferrando, Guglielmo, Chorus) | — | ||
| 47-12 | Così fan tutte: Act II, Scene 2. Cos'è tal mascherata? (tutti) | — | ||
| 47-13 | Così fan tutte: Act II, Scene 2. La mano a me date (Don Alfonso, Ferrando, Guglielmo, Despina) | — | ||
| 47-14 | Così fan tutte: Act II, Scene 2. Oh che bella giornata! (Fiordiligi, Ferrando, Dorabella, Guglielmo) | — | ||
| 47-15 | Così fan tutte: Act II, Scene 2. Il core vi dono (Guglielmo, Dorabella) | — | ||
| 47-16 | Così fan tutte: Act II, Scene 2. Barbara, perchè fuggi? (Ferrando, Fiordiligi) | — | ||
| 47-17 | Così fan tutte: Act II, Scene 2. Ah, io veggio, quell'anima bella (Ferrando) | — | ||
| 47-18 | Così fan tutte: Act II, Scene 2. Ei parte... senti... ah no! | — | ||
| 47-19 | Così fan tutte: Act II, Scene 2. Per pietà, ben mio, perdona (Fiordiligi) | — | ||
| 48-1 | Così fan tutte: Act II, Scene 2. Amico, abbiamo vinto! (Ferrando, Guglielmo) | — | ||
| 48-2 | Così fan tutte: Act II, Scene 2. Donne mie, la fate a tanti a tanti (Guglielmo) | — | ||
| 48-3 | Così fan tutte: Act II, Scene 2. In qual fiero contrasto | — | ||
| 48-4 | Così fan tutte: Act II, Scene 2. Tradito, schernito (Ferrando) | — | ||
| 48-5 | Così fan tutte: Act II, Scene 2. Bravo, questo è costanza (Don Alfonso, Ferrando, Guglielmo) | — | ||
| 48-6 | Così fan tutte: Act II, Scene 3. Ora vedo che siete una donna di garbo (Despina, Dorabella, Fiordiligi) | — | ||
| 48-7 | Così fan tutte: Act II, Scene 3. È amore un ladroncello (Dorabella) | — | ||
| 48-8 | Così fan tutte: Act II, Scene 3. Come tutto congiura a sedurre il mil cor! (Fiordiligi, Guglielmo, Despina, Don Alfonso) | — | ||
| 48-9 | Così fan tutte: Act II, Scene 3. Fra gli amplessi in pochi istanti (Fiordiligi, Ferrando) | — | ||
| 48-10 | Così fan tutte: Act II, Scene 3. Ah poveretto me, cosa ho veduto! (Guglielmo, Don Alfonso, Ferrando) | — | ||
| 48-11 | Così fan tutte: Act II, Scene 3. Tutti accusan le donne (Don Alfonso, Ferrando, Guglielmo, Don Alfonso) | — | ||
| 48-12 | Così fan tutte: Act II, Scene 3. Vittoria, padroncini! (Despina, Ferrando, Guglielmo, Don Alfonso) | — | ||
| 48-13 | Così fan tutte: Act II, Scene 4. Fate presto, o cari amici (tutti) | — | ||
| 48-14 | Così fan tutte: Act II, Scene 4. Benedetti i doppi coniugi (Coro, Fiordiligi, Dorabella, Ferrando, Guglielmo) | — | ||
| 48-15 | Così fan tutte: Act II, Scene 4. El nel tuo, nel mio bicchiero (Fiordiligi, Dorabella, Ferrando, Guglielmo) | — | ||
| 48-16 | Così fan tutte: Act II, Scene 4. Miei Signori, tutto è fatto | — | ||
| 48-17 | Così fan tutte: Act II, Scene 4. Bella vita militar! | — | ||
| 48-18 | Così fan tutte: Act II, Scene 4. Sani e salvi gli amplessi amorosi (tutti) | — | ||
| 48-19 | Così fan tutte: Act II, Scene 4. Giusto ciel! (Ferrando, Guglielmo) | — | ||
| 48-20 | Così fan tutte: Act II, Scene 4. Ah Signor, son rea di morte | — | ||
| 48-21 | Così fan tutte: Act II, Scene 4. V'ingannai, ma fu l'inganno | — | ||
| 48-22 | Così fan tutte: Act II, Scene 4. Fortunato l'uom che prende (tutti) | — | ||
| 49-1 | Die Zauberflöte: Ouvertüre | Bayerisches Staatsorchester, Wolfgang Sawallisch | T-070.160.184-4 | |
| 49-2 | Die Zauberflöte: Erster Aufzug: Nr.1: Introduktion: Zu Hilfe! zu Hilfe! (Tamino, Drei Damen) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-3 | Die Zauberflöte: Erster Aufzug: Dialog: Wo bin ich? (Tamino) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-4 | Die Zauberflöte: Erster Aufzug: Nr. 2: Lied: Der Vogelfänger bin ich ja (Papageno) | Walter Berry, Orchester der Bayerischen Staatsoper München, Wolfgang Sawallisch | — | |
| 49-5 | Die Zauberflöte: Erster Aufzug: Dialog: Heda! Was da? (Tamino, Papageno, Drei Damen) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-6 | Die Zauberflöte: Erster Aufzug: Nr. 3: Arie: Dies Bildnis ist bezaubernd schön (Tamino) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-7 | Die Zauberflöte: Erster Aufzug: Dialog:: Rüste dich mit Mut und Standhaftigkeit (Drei Damen, Tamino) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-8 | Die Zauberflöte: Erster Aufzug: Nr. 4: Rezitativ & Arie: O zittre nicht, mein lieber Sohn (Königin der Nacht) | Edda Moser, Orchester der Bayerischen Staatsoper München, Wolfgang Sawallisch | — | |
| 49-9 | Die Zauberflöte: Erster Aufzug: Dialog: Ist's denn auch Wahrheit, was ich sah? (Tamino) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-10 | Die Zauberflöte: Erster Aufzug: Nr. 5: Quintett: Hm! hm! hm! hm! (Papageno, Tamino, Drei Damen) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-11 | Die Zauberflöte: Erster Aufzug: Nr. 6: Terzett: Du feines Täubchen, nur herein! (Monostatos, Pamina, Papageno) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-12 | Die Zauberflöte: Erster Aufzug: Dialog: Bin ich nicht ein Narr (Papageno, Pamina) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-13 | Die Zauberflöte: Erster Aufzug: Nr. 7: Duett: Bei Männern, welche Liebe fühlen (Pamina, Papageno) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-14 | Die Zauberflöte: Erster Aufzug: Nr. 8: Finale I: Zum Ziele führt dich diese Bahn (Drei Knaben, Tamino, Sprecher, Chor) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-15 | Die Zauberflöte: Erster Aufzug: Wie stark ist nicht dein Zauberton - Schnelle Füße, rascher Mut (Tamino, Pamina, Papageno, Monostatos, Sarastro, Chor) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-16 | Die Zauberflöte: Zweiter Aufzug: Nr. 9: Marsch der Priester | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-17 | Die Zauberflöte: Zweiter Aufzug: Dialog: Ihr in den Weisheitstempel eingeweihten Diener (Sarastro, Zwei Priester, Sprecher) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-18 | Die Zauberflöte: Zweiter Aufzug: Nr. 10: Arie & Chor: Isis und Osiris (Sarastro, Chor) | Chor der Bayerischen Staatsoper, Kurt Moll, Bayerisches Staatsorchester, Wolfgang Sawallisch | T-911.794.016-6 | |
| 50-1 | Die Zauberflöte: Zweiter Aufzug: Dialog: Eine schreckliche Nacht (Tamino, Papageno, Zwei Priester) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-2 | Die Zauberflöte: Zweiter Aufzug: Nr. 11: Duett: Bewahret euch vor Weibertücken (Zwei Priester) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-3 | Die Zauberflöte: Zweiter Aufzug: Dialog: He, Lichter her! (Papageno, Tamino) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-4 | Die Zauberflöte: Zweiter Aufzug: Duett: Pamina, wo bist du? (Tamino, Papageno) | Walter Berry, Peter Schreier, Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-5 | Die Zauberflöte: Zweiter Aufzug: Nr. 12: Quintett: Wie? Wie? Wie? Ihr an diesem Schreckensort? (Drei Damen, Tamino, Papageno, Chor) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-6 | Die Zauberflöte: Zweiter Aufzug: Dialog: Tamino! Dein standhaft männliches Betragen hat gesiegt (Zwei Priester, Papageno, Monostatos) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-7 | Die Zauberflöte: Zweiter Aufzug: Nr. 13: Arie: Alles fühlt der Liebe Freuden ( Monostatos) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-8 | Die Zauberflöte: Zweiter Aufzug: Dialog: Zurück! - O weh! Die Königin der Nacht! (Königin der Nacht, Monostatos, Pamina) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-9 | Die Zauberflöte: Zweiter Aufzug: Nr. 14: Arie: Der Hölle Rache kocht in meinem Herzen (Königin der Nacht) | Edda Moser, Orchester der Bayerischen Staatsoper München, Wolfgang Sawallisch | — | |
| 50-10 | Die Zauberflöte: Zweiter Aufzug: Dialog: Morden soll ich? Das kann ich nicht! (Pamina, Monostatos, Sarastro) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-11 | Die Zauberflöte: Zweiter Aufzug: Nr. 15: Arie: in diesen heil'gen Hallen (Sarastro) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-12 | Die Zauberflöte: Zweiter Aufzug: Dialog: Hier seid ihr beide euch allein überlassen (Zwei Priester, Papageno, Tamino, Papagena) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-13 | Die Zauberflöte: Zweiter Aufzug: Nr. 16: Terzett: Seid uns zum zweiten Mal willkommen (Drei Knaben) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-14 | Die Zauberflöte: Zweiter Aufzug: Dialog: Tamino, wollen wir nicht speisen (Papageno, Pamina) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-15 | Die Zauberflöte: Zweiter Aufzug: Nr. 17: Arie: Ach, ich fühl's, es ist entschwunden (Pamina) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-16 | Die Zauberflöte: Zweiter Aufzug: Dialog: Siehst du, Tamino, ich kann auch schweigen (Papageno) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-17 | Die Zauberflöte: Zweiter Aufzug: Nr. 18: Chor: O Isis und Osiris! Welche Wonne! | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-18 | Die Zauberflöte: Zweiter Aufzug: Dialog: Tamino, dein Betragen war bisher männlich und gelassen (Sarastro, Pamina) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-19 | Die Zauberflöte: Zweiter Aufzug: Nr. 19: Terzett: Soll ich dich, Teurer, nicht mehr sehn? (Pamina, Sarastro, Tamino) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-20 | Die Zauberflöte: Zweiter Aufzug: Dialog: Tamino! Tamino! Willst du mich denn gänzlich verlassen? (Papageno, Erster Priester) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-21 | Die Zauberflöte: Zweiter Aufzug: Nr. 20: Arie: Ein Mädchen oder Weibchen (Papageno) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-22 | Die Zauberflöte: Zweiter Aufzug: Dialog: Da bin ich schon, mein Engel (Papageno, Papagena, Erster Priester) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-23 | Die Zauberflöte: Zweiter Aufzug: Nr. 21: Finale: Bald prangt, den Morgen zu verkünden (Drei Knaben, Pamina) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-24 | Die Zauberflöte: Zweiter Aufzug: Der, welcher wandert diese Straße (Zwei Geharnischte, Tamino, Papagena) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-25 | Die Zauberflöte: Atto II. "Papagena! Papagena!" (Papageno) | Walter Berry, Olivera Miljakovic, Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-26 | Die Zauberflöte: Zweiter Aufzug: Nur stille, stille, stille, stille - die Strahlen der Sonne (Königin der Nacht, Monostatos, Drei Damen, Sarastro, Chor) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — |
Musical Works (ISWC)
Creative Contributors (ISNI)
Identifier Graph
094638789420 is a Universal Product Code (UPC) assigned to The Collector’s Edition by Mozart. 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 800 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
094638789420 is the Universal Product Code (UPC barcode) for the release “The Collector’s Edition” by Mozart, released 2007-01-01. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 800 tracks, each with its own ISRC. Tracks include GBAYD8400332, GBAYC8903809, GBAYC8903810.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony no. 1 in E-flat, K. 16: I. Molto allegro | — | ||
| 2 | Symphony no. 1 in E-flat, K. 16: II. Andante | — | ||
| 3 | Symphony no. 1 in E-flat, K. 16: III. Presto | — | ||
| 4 | Symphony no. 4 in D, K. 19: I. Allegro | — | ||
| 5 | Symphony no. 4 in D, K. 19: II. Andante | — | ||
| 6 | Symphony no. 4 in D, K. 19: III. Presto | — | ||
| 7 | Symphony in F, K. 19a: I. Allegro assai | — | ||
| 8 | Symphony in F, K. 19a: II. Andante | — | ||
| 9 | Symphony in F, K. 19a: III. Presto | — | ||
| 10 | Symphony no. 5 in B-flat, K. 22: I. Allegro | — | ||
| 11 | Symphony no. 5 in B-flat, K. 22: II. Andante | — | ||
| 12 | Symphony no. 5 in B-flat, K. 22: III. Molto allegro | — | ||
| 13 | Symphony no. 7a in Gm K. 45a (Anh. 221) “Lambach”: I. Allegro maestoso | — | ||
| 14 | Symphony no. 7a in Gm K. 45a (Anh. 221) “Lambach”: II. Andante | — | ||
| 15 | Symphony no. 7a in Gm K. 45a (Anh. 221) “Lambach”: III. Molto allegro | — | ||
| 16 | Symphony no. 43 in F, K. 76 (42a): I. Allegro maestoso | — | ||
| 17 | Symphony no. 43 in F, K. 76 (42a): II. Andante | — | ||
| 18 | Symphony no. 43 in F, K. 76 (42a): III. Menuetto & Trio | — | ||
| 19 | Symphony no. 43 in F, K. 76 (42a): IV. Allegro | — | ||
| 2-1 | Symphony no. 31 in D, K. 297 (300a) “Paris”: I. Allegro assai | — | ||
| 2-2 | Symphony no. 31 in D, K. 297 (300a) “Paris”: II. Andante | — | ||
| 2-3 | Symphony no. 31 in D, K. 297 (300a) “Paris”: III. Allegro | — | ||
| 2-4 | Symphony no. 31 in D, K. 297 (300a) “Paris”: Appendix: Andante (alternative for II) | — | ||
| 2-5 | Symphony no. 27 in G, K. 199 (161b): I. Allegro | — | ||
| 2-6 | Symphony no. 27 in G, K. 199 (161b): II. Andantino grazioso | — | ||
| 2-7 | Symphony no. 27 in G, K. 199 (161b): III. Presto | — | ||
| 2-8 | Symphony no. 25 in G minor, K. 183 (173b): I. Allegro con brio | — | ||
| 2-9 | Symphony no. 25 in G minor, K. 183 (173b): II. Andante | — | ||
| 2-10 | Symphony no. 25 in G minor, K. 183 (173b): III. Menuetto & Trio | — | ||
| 2-11 | Symphony no. 25 in G minor, K. 183 (173b): IV. Allegro | — | ||
| 3-1 | Symphony no. 26 in E-flat, K. 184 (161a): I. Molto presto | — | ||
| 3-2 | Symphony no. 26 in E-flat, K. 184 (161a): II. Andante | — | ||
| 3-3 | Symphony no. 26 in E-flat, K. 184 (161a): III. Allegro | — | ||
| 3-4 | Symphony no. 29 in A, K. 201 (186a): I. Allegro moderato | — | ||
| 3-5 | Symphony no. 29 in A, K. 201 (186a): II. Andante | — | ||
| 3-6 | Symphony no. 29 in A, K. 201 (186a): III. Menuetto | — | ||
| 3-7 | Symphony no. 29 in A, K. 201 (186a): IV. Allegro con spirito | — | ||
| 3-8 | Symphony no. 30 in D, K. 202 (186b): I. Molto allegro | — | ||
| 3-9 | Symphony no. 30 in D, K. 202 (186b): II. Andantino con moto | — | ||
| 3-10 | Symphony no. 30 in D, K. 202 (186b): III. Menuetto | — | ||
| 3-11 | Symphony no. 30 in D, K. 202 (186b): IV. Presto | — | ||
| 3-12 | Symphony no. 28 in C, K. 200 (189k): I. Allegro spiritoso | — | ||
| 3-13 | Symphony no. 28 in C, K. 200 (189k): II. Andante | — | ||
| 3-14 | Symphony no. 28 in C, K. 200 (189k): III. Menuetto: Allegretto | — | ||
| 3-15 | Symphony no. 28 in C, K. 200 (189k): IV. Presto | — | ||
| 4-1 | Symphony no. 32 in G, K. 318: I. Allegro spiritoso | — | ||
| 4-2 | Symphony no. 32 in G, K. 318: II. Andante | — | ||
| 4-3 | Symphony no. 32 in G, K. 318: III. Allegro spiritoso | — | ||
| 4-4 | Symphony no. 35 in D, K. 385 “Haffner”: I. Allegro con spirito | — | ||
| 4-5 | Symphony no. 35 in D, K. 385 “Haffner”: II. Andante | — | ||
| 4-6 | Symphony no. 35 in D, K. 385 “Haffner”: III. Menuetto & Trio | — | ||
| 4-7 | Symphony no. 35 in D major, K. 385 "Haffner": IV. Finale. Presto | English Chamber Orchestra, Jeffrey Tate | — | |
| 4-8 | Symphony no. 39 in E-flat, K. 543: I. Adagio – Allegro | — | ||
| 4-9 | Symphony no. 39 in E-flat, K. 543: II. Andante | — | ||
| 4-10 | Symphony no. 39 in E-flat, K. 543: III. Menuetto: Allegretto & Trio | — | ||
| 4-11 | Symphony no. 39 in E-flat, K. 543: IV. Finale: Allegro | — | ||
| 5-1 | Symphony no. 34 in C major, K. 338: I. Allegro vivace | — | ||
| 5-2 | Symphony no. 34 in C major, K. 338: II. Andante di molto | — | ||
| 5-3 | Symphony no. 34 in C major, K. 338: III. Allegro vivace | — | ||
| 5-4 | Symphony no. 34 in C major, K. 338: Appendix: Menuetto & Trio, K. 409 (383f) | — | ||
| 5-5 | Symphony no. 33 in B-flat, K. 319: I. Allegro assai | — | ||
| 5-6 | Symphony no. 33 in B-flat, K. 319: II. Andante moderato | — | ||
| 5-7 | Symphony no. 33 in B-flat, K. 319: III. Menuetto & Trio | — | ||
| 5-8 | Symphony no. 33 in B-flat, K. 319: IV. Allegro assai | — | ||
| 6-1 | Symphony no. 36 in C, K. 425 “Linz”: I. Adagio – Allegro spiritoso | — | ||
| 6-2 | Symphony no. 36 in C, K. 425 “Linz”: II. Poco adagio | — | ||
| 6-3 | Symphony no. 36 in C, K. 425 “Linz”: III: Menuetto & Trio | — | ||
| 6-4 | Symphony no. 36 in C, K. 425 “Linz”: IV. Presto | — | ||
| 6-5 | Symphony no. 38 in D, K. 504 “Praque”: I. Adagio – Allegro | — | ||
| 6-6 | Symphony no. 38 in D, K. 504 “Praque”: II. Andante | — | ||
| 6-7 | Symphony no. 38 in D, K. 504 “Praque”: III. Presto | — | ||
| 7-1 | Symphony no. 40 in G minor, K. 550: I. Molto allegro | — | ||
| 7-2 | Symphony no. 40 in G minor, K. 550: II. Andante | — | ||
| 7-3 | Symphony no. 40 in G minor, K. 550: III. Menuetto: Allegretto & Trio | — | ||
| 7-4 | Symphony no. 40 in G minor, K. 550: IV. Allegro assai | — | ||
| 7-5 | Symphony no. 41 in C, K. 551 “Jupiter”: I. Allegro vivace | — | ||
| 7-6 | Symphony no. 41 in C, K. 551 “Jupiter”: II. Andante cantabile | — | ||
| 7-7 | Symphony no. 41 in C, K. 551 “Jupiter”: III. Menuetto: Allegretto & Trio | — | ||
| 7-8 | Symphony no. 41 in C, K. 551 “Jupiter”: IV. Molto allegro | — | ||
| 8-1 | Concerto for Piano no. 9 in E-flat major, K. 271 "Jeunehomme": I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 8-2 | Concerto for Piano no. 9 in E-flat major, K. 271 "Jeunehomme": II. Andantino | Daniel Barenboim, English Chamber Orchestra | — | |
| 8-3 | Concerto for Piano no. 9 in E-flat major, K. 271 "Jeunehomme": III. Rondeau. Presto - adagio & Menuetto. Cantabile - tempo primo | Daniel Barenboim, English Chamber Orchestra | — | |
| 8-4 | Piano Concerto no. 25 in C, K 503: I. Allegro maestoso | Daniel Barenboim, English Chamber Orchestra | — | |
| 8-5 | Piano Concerto no. 25 in C, K 503: II. Andante | Daniel Barenboim, English Chamber Orchestra | — | |
| 8-6 | Piano Concerto no. 25 in C, K 503: III. Allegretto | Daniel Barenboim, English Chamber Orchestra | — | |
| 8-7 | Rondo for Piano & Orchestra in D major, K. 382: Rondo. Allegretto grazioso - allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-1 | Concerto for Piano no. 11 in F major, K. 387a/413: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-2 | Concerto for Piano no. 11 in F major, K. 387a/413: II. Larghetto | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-3 | Concerto for Piano no. 11 in F major, K. 387a/413: III. Tempo di Minuetto | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-4 | Concerto for Piano no. 12 in A major, K. 385p/414: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-5 | Concerto for Piano no. 12 in A major, K. 385p/414: II. Andante | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-6 | Concerto for Piano no. 12 in A major, K. 385p/414: III. Rondo. Allegretto | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-7 | Concerto for Piano no. 13 in C major, K. 387b/415: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-8 | Concerto for Piano no. 13 in C major, K. 387b/415: II. Andante | Daniel Barenboim, English Chamber Orchestra | — | |
| 9-9 | Concerto for Piano no. 13 in C major, K. 387b/415: III. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 10-1 | Concerto no. 14 in E-flat major for Piano, K. 449 "First Ployer": I. Allegro vivace | Daniel Barenboim, English Chamber Orchestra | — | |
| 10-2 | Concerto no. 14 in E-flat major for Piano, K. 449 "First Ployer": II. Andantino | Daniel Barenboim, English Chamber Orchestra | — | |
| 10-3 | Concerto no. 14 in E-flat major for Piano, K. 449 "First Ployer": III. Allegro ma non troppo | Daniel Barenboim, English Chamber Orchestra | — | |
| 10-4 | Concerto no. 15 in B-flat major for Piano, K. 450: I. Allegro | Daniel Barenboim, English Chamber Orchestra | T-920.112.434-7 | |
| 10-5 | Concerto no. 15 in B-flat major for Piano, K. 450: II. Adagio | Daniel Barenboim, English Chamber Orchestra | T-930.953.445-0 | |
| 10-6 | Concerto no. 15 in B-flat major for Piano, K. 450: III. Allegro assai | Daniel Barenboim, English Chamber Orchestra | T-920.112.434-7 | |
| 10-7 | Concerto no. 16 in D major for Piano, K. 451: I. Allegro assai | Daniel Barenboim, English Chamber Orchestra | — | |
| 10-8 | Concerto no. 16 in D major for Piano, K. 451: II. Andante | Daniel Barenboim, English Chamber Orchestra | — | |
| 10-9 | Concerto no. 16 in D major for Piano, K. 451: III. Rondo. Allegro di molto | Daniel Barenboim, English Chamber Orchestra | — | |
| 11-1 | Concerto for Piano no. 17 in G Major, K. 453: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 11-2 | Concerto for Piano no. 17 in G Major, K. 453: II. Andante | Daniel Barenboim, English Chamber Orchestra | — | |
| 11-3 | Concerto for Piano no. 17 in G Major, K. 453: III. Allegretto | Daniel Barenboim, English Chamber Orchestra | — | |
| 11-4 | Concerto for Piano no. 26 in D major, K. 537: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 11-5 | Concerto for Piano no. 26 in D major, K. 537: II. Larghetto | Daniel Barenboim, English Chamber Orchestra | — | |
| 11-6 | Concerto for Piano no. 26 in D major, K. 537: III. Allegretto | Daniel Barenboim, English Chamber Orchestra | — | |
| 12-1 | Concerto no. 18 in B-flat major for Piano, K. 456 "Paradis": I. Allegro vivace | Daniel Barenboim, English Chamber Orchestra | — | |
| 12-2 | Concerto no. 18 in B-flat major for Piano, K. 456 "Paradis": II. Andante un poco sostenuto | Daniel Barenboim, English Chamber Orchestra | — | |
| 12-3 | Concerto no. 18 in B-flat major for Piano, K. 456 "Paradis": III. Allegro vivace | Daniel Barenboim, English Chamber Orchestra | — | |
| 12-4 | Concerto no. 19 in F major for Piano, K. 459: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 12-5 | Concerto no. 19 in F major for Piano, K. 459: II. Allegretto | Daniel Barenboim, English Chamber Orchestra | — | |
| 12-6 | Concerto no. 19 in F major for Piano, K. 459: III. Allegro assai | Daniel Barenboim, English Chamber Orchestra | — | |
| 13-1 | Concerto for Piano no. 20 in D minor, K. 466: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 13-2 | Concerto for Piano no. 20 in D minor, K. 466: II. Romanze | Daniel Barenboim, English Chamber Orchestra | — | |
| 13-3 | Concerto for Piano no. 20 in D minor, K. 466: III. Rondo. Allegro assai | Daniel Barenboim, English Chamber Orchestra | — | |
| 13-4 | Concerto for Piano no. 24 in C minor, K. 491: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 13-5 | Concerto for Piano no. 24 in C minor, K. 491: II. Larghetto | Daniel Barenboim, English Chamber Orchestra | — | |
| 13-6 | Concerto for Piano no. 24 in C minor, K. 491: III. Allegretto | Daniel Barenboim, English Chamber Orchestra | — | |
| 14-1 | Concerto for Piano no. 21 in C major, K. 467 "Elvira Madigan": I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 14-2 | Concerto for Piano no. 21 in C major, K. 467 "Elvira Madigan": II. Andante | Daniel Barenboim, English Chamber Orchestra | T-930.953.445-0 | |
| 14-3 | Concerto for Piano no. 21 in C major, K. 467 "Elvira Madigan": III. Allegro vivace assai | Daniel Barenboim, English Chamber Orchestra | — | |
| 14-4 | Piano Concerto no. 27 in B-flat, K 595: I. Allegro | Daniel Barenboim, English Chamber Orchestra | T-920.112.434-7 | |
| 14-5 | Piano Concerto no. 27 in B-flat, K 595: II. Larghetto | Daniel Barenboim, English Chamber Orchestra | — | |
| 14-6 | Piano Concerto no. 27 in B-flat, K 595: III. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 15-1 | Concerto for Piano no. 22 in E-flat major, K. 482: I. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 15-2 | Concerto for Piano no. 22 in E-flat major, K. 482: II. Andante | Daniel Barenboim, English Chamber Orchestra | — | |
| 15-3 | Concerto for Piano no. 22 in E-flat major, K. 482: III. Allegro | Daniel Barenboim, English Chamber Orchestra | — | |
| 15-4 | Concerto for Piano no. 23 in A major, K. 488: I. Allegro | Daniel Barenboim, English Chamber Orchestra | T-915.711.586-1 | |
| 15-5 | Concerto for Piano no. 23 in A major, K. 488: II. Andante | Daniel Barenboim, English Chamber Orchestra | T-914.012.216-3 | |
| 15-6 | Concerto for Piano no. 23 in A major, K. 488: III. Allegro | Daniel Barenboim, English Chamber Orchestra | T-914.012.216-3 | |
| 16-1 | Concerto for Violin no. 1 in B-flat major, K. 207: I. Allegro moderato | David Oistrakh, Berliner Philharmoniker | — | |
| 16-2 | Concerto for Violin no. 1 in B-flat major, K. 207: II. Adagio | David Oistrakh, Berliner Philharmoniker | — | |
| 16-3 | Concerto for Violin no. 1 in B-flat major, K. 207: III. Presto | David Oistrakh, Berliner Philharmoniker | — | |
| 16-4 | Violin Concerto no. 2 in D major, K. 211: I. Allegro moderato | David Oistrakh, Berliner Philharmoniker | — | |
| 16-5 | Concerto for Violin no. 2 in D major, K. 211: II. Andante | David Oistrakh, Berliner Philharmoniker | — | |
| 16-6 | Violin Concerto no. 2 in D major, K. 211: III. Rondeau. Allegro | David Oistrakh, Berliner Philharmoniker | — | |
| 16-7 | Concerto no. 3 in G major for Violin, K. 216 "Strassburg": I. Allegro | David Oistrakh, Berliner Philharmoniker | — | |
| 16-8 | Concerto no. 3 in G major for Violin, K. 216 "Strassburg": II. Adagio | David Oistrakh, Berliner Philharmoniker | — | |
| 16-9 | Concerto no. 3 in G major for Violin, K. 216 "Strassburg": III. Rondeau. Allegro - andante - allegretto | David Oistrakh, Berliner Philharmoniker | — | |
| 16-10 | Concerto for Violin & Orchestra in C major, K. 373: Rondo. Allegretto grazioso | David Oistrakh, Berliner Philharmoniker | — | |
| 17-1 | Violin Concerto no. 4 in D, K. 218: I. Allegro | — | ||
| 17-2 | Violin Concerto no. 4 in D, K. 218: II. Andante cantabile | — | ||
| 17-3 | Violin Concerto no. 4 in D, K. 218: III. Rondeau: Allegro grazioso – Allegro ma non troppo | — | ||
| 17-4 | Violin Concerto no. 5 in A, K. 219 “Turkish”: I. Allegro aperto | — | ||
| 17-5 | Violin Concerto no. 5 in A, K. 219 “Turkish”: II. Adagio | — | ||
| 17-6 | Violin Concerto no. 5 in A, K. 219 “Turkish”: III. Rondeau: Tempo di menuetto – Allegro | — | ||
| 18-1 | Horn Concerto no. 1 in D, K. 412: I. Allegro | — | ||
| 18-2 | Horn Concerto no. 1 in D, K. 412: II. Rondo: Allegro | — | ||
| 18-3 | Horn Concerto no. 2 in E-flat, K. 417: I. Allegro maestoso | — | ||
| 18-4 | Horn Concerto no. 2 in E-flat, K. 417: II. Andante | — | ||
| 18-5 | Horn Concerto no. 2 in E-flat, K. 417: III. Rondo: Allegro | — | ||
| 18-6 | Horn Concerto no. 3 in E-flat, K. 447: I. Allegro | — | ||
| 18-7 | Horn Concerto no. 3 in E-flat, K. 447: II. Romance: Larghetto | — | ||
| 18-8 | Horn Concerto no. 3 in E-flat, K. 447: III. Allegro | — | ||
| 18-9 | Horn Concerto no. 4 in E-flat, K. 495: I. Allegro moderato | — | ||
| 18-10 | Horn Concerto No. 4 in E-flat major, K. 495: II. Romanze. Andante cantabile | Radovan Vlatković, English Chamber Orchestra, Jeffrey Tate | — | |
| 18-11 | Horn Concerto no. 4 in E-flat, K. 495: III. Rondo. Allegro vivace | Radovan Vlatković, English Chamber Orchestra, Jeffrey Tate | — | |
| 18-12 | Rondo in E-flat, K. 371 | — | ||
| 19-1 | Oboe Quartet in F, K. 370: I. Allegro | — | ||
| 19-2 | Oboe Quartet in F, K. 370: II. Adagio | — | ||
| 19-3 | Oboe Quartet in F, K. 370: III. Rondeau: Allegro | — | ||
| 19-4 | Clarinet Quintet in A, K. 581: I. Allegro | — | ||
| 19-5 | Clarinet Quintet in A, K. 581: II. Larghetto | — | ||
| 19-6 | Clarinet Quintet in A, K. 581: III. Menuetto | — | ||
| 19-7 | Clarinet Quintet in A, K. 581: IV. Allegretto con variazioni | — | ||
| 19-8 | Clarinet Concerto in A, K. 622: I. Allegro | — | ||
| 19-9 | Clarinet Concerto in A, K. 622: II. Adagio | — | ||
| 19-10 | Clarinet Concerto in A, K. 622: III. Rondo: Allegro | — | ||
| 20-1 | Flute Concerto in G, K. 313: I. Allegro maestoso | — | ||
| 20-2 | Flute Concerto in G, K. 313: II. Adagio non troppo | — | ||
| 20-3 | Flute Concerto in G, K. 313: III. Rondo: Tempo di Menuetto | — | ||
| 20-4 | Oboe Concerto in C, K. 314: I. Allegro aperto | — | ||
| 20-5 | Oboe Concerto in C, K. 314: II. Adagio non troppo | — | ||
| 20-6 | Oboe Concerto in C, K. 314: III. Rondo: Allegretto | — | ||
| 20-7 | Flute & Harp Concerto in C, K. 299: I. Allegro | — | ||
| 20-8 | Flute & Harp Concerto in C, K. 299: II. Andantino | — | ||
| 20-9 | Flute & Harp Concerto in C, K. 299: III. Rondeau. Allegro | — | ||
| 21-1 | Serenade no. 13 in G major, K. 525 “Eine kleine Nachtmusik”: I. Allegro | — | ||
| 21-2 | Serenade no. 13 in G major, K. 525 “Eine kleine Nachtmusik”: II. Romance: Andante | — | ||
| 21-3 | Serenade no. 13 in G major, K. 525 “Eine kleine Nachtmusik”: III. Menuetto: Allegretto & Trio | — | ||
| 21-4 | Serenade no. 13 in G major, K. 525 “Eine kleine Nachtmusik”: IV. Rondo: Allegro | — | ||
| 21-5 | Bassoon Concerto in B-flat, K. 191: I. Allegro | — | ||
| 21-6 | Bassoon Concerto in B-flat, K. 191: II. Andante ma adagio | — | ||
| 21-7 | Bassoon Concerto in B-flat, K. 191: III. Rondo: Tempo di menuetto | — | ||
| 21-8 | Divertimento in D, K. 136: I. Allegro | — | ||
| 21-9 | Divertimento in D, K. 136: II. Andante | — | ||
| 21-10 | Divertimento in D, K. 136: III. Presto | — | ||
| 21-11 | Divertimento in B-flat, K. 137: I. Andante | — | ||
| 21-12 | Divertimento in B-flat, K. 137: II. Allegro di molto | — | ||
| 21-13 | Divertimento in B-flat, K. 137: III. Allegro assai | — | ||
| 21-14 | Divertimento in F, K. 138: I. Allegro | — | ||
| 21-15 | Divertimento in F, K. 138: II. Andante | — | ||
| 21-16 | Divertimento in F, K. 138: III. Presto | — | ||
| 22-1 | Serenade no. 7 in D, K. 250 “Haffner”: I. Allegro maestoso – Allegro molto | — | ||
| 22-2 | Serenade no. 7 in D, K. 250 “Haffner”: II. Andante | — | ||
| 22-3 | Serenade no. 7 in D, K. 250 “Haffner”: III. Menuetto & Trio | — | ||
| 22-4 | Serenade no. 7 in D, K. 250 “Haffner”: IV. Rondo: Allegro | — | ||
| 22-5 | Serenade no. 7 in D, K. 250 “Haffner”: V. Menuetto galante & Trio | — | ||
| 22-6 | Serenade no. 7 in D, K. 250 “Haffner”: VI. Andante | — | ||
| 22-7 | Serenade no. 7 in D, K. 250 “Haffner”: VII. Menuetto & Trios 1 & 2 | — | ||
| 22-8 | Serenade no. 7 in D, K. 250 “Haffner”: VIII. Adagio – Allegro assai | — | ||
| 22-9 | Serenade in D major, KV 239, "Serenata notturna": I. Marcia (Maestoso) | Bath Festival Orchestra, Yehudi Menuhin | — | |
| 22-10 | Serenata notturna in D, K. 239: II. Menuetto & Trio | — | ||
| 22-11 | Serenata notturna in D, K. 239: III. Rondeau: Allegretto | — | ||
| 23-1 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": I. Largo - Allegro molto | Consortium Classicum | — | |
| 23-2 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": II. Minuetto | Consortium Classicum | — | |
| 23-3 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": III. Adagio | Consortium Classicum | — | |
| 23-4 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": IV. Minuetto. Allegretto | Consortium Classicum | — | |
| 23-5 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": V. Romanze. Adagio | Consortium Classicum | — | |
| 23-6 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": VI. Tema con variazioni | Consortium Classicum | — | |
| 23-7 | Serenade no. 10 for 12 Winds & Contrabass in B-flat major, K. 370a/361 "Gran partita": VII. Rondo | Consortium Classicum | — | |
| 23-8 | Serenade no. 11 for Winds in E-flat major, K. 375: I. Allegro maestoso | Consortium Classicum | — | |
| 23-9 | Serenade no. 11 for Winds in E-flat major, K. 375: II. Minuetto | Consortium Classicum | — | |
| 23-10 | Serenade no. 11 for Winds in E-flat major, K. 375: III. Adagio | Consortium Classicum | — | |
| 23-11 | Serenade no. 11 for Winds in E-flat major, K. 375: IV. Minuetto & Trio | Consortium Classicum | — | |
| 23-12 | Serenade no. 11 for Winds in E-flat major, K. 375: V. Allegro | Consortium Classicum | — | |
| 24-1 | Serenade no. 12 for Winds in C minor, K. 384a/388 "Nacht musique": I. Allegro | Consortium Classicum | — | |
| 24-2 | Serenade no. 12 for Winds in C minor, K. 384a/388 "Nacht musique": II. Andante | Consortium Classicum | T-930.953.445-0 | |
| 24-3 | Serenade no. 12 for Winds in C minor, K. 384a/388 "Nacht musique": III. Minuetto & Trio | Consortium Classicum | — | |
| 24-4 | Serenade no. 12 for Winds in C minor, K. 384a/388 "Nacht musique": IV. Allegro | Consortium Classicum | — | |
| 24-5 | Divertimento no. 8 for 2 Oboes, 2 Horns & 2 Bassoons in F major, K. 213: I. Allegro spiritoso | Consortium Classicum | — | |
| 24-6 | Divertimento no. 8 for 2 Oboes, 2 Horns & 2 Bassoons in F major, K. 213: II. Andante | Consortium Classicum | — | |
| 24-7 | Divertimento no. 8 for 2 Oboes, 2 Horns & 2 Bassoons in F major, K. 213: III. Minuetto | Consortium Classicum | — | |
| 24-8 | Divertimento no. 8 for 2 Oboes, 2 Horns & 2 Bassoons in F major, K. 213: IV. Contredanse en rondeau | Consortium Classicum | — | |
| 24-9 | Divertimento no. 9 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 240: I. Allegro | Consortium Classicum | — | |
| 24-10 | Divertimento no. 9 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 240: II. Andante grazioso | Consortium Classicum | — | |
| 24-11 | Divertimento no. 9 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 240: III. Minuetto | Consortium Classicum | — | |
| 24-12 | Divertimento no. 9 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 240: IV. Allegro | Consortium Classicum | — | |
| 24-13 | Divertimento no. 12 for 2 Oboes, 2 Horns & 2 Bassoons in E-flat major, K. 240a/252: I. Andante | Consortium Classicum | — | |
| 24-14 | Divertimento no. 12 for 2 Oboes, 2 Horns & 2 Bassoons in E-flat major, K. 240a/252: II. Minuetto & Trio | Consortium Classicum | — | |
| 24-15 | Divertimento no. 12 for 2 Oboes, 2 Horns & 2 Bassoons in E-flat major, K. 240a/252: III. Polonaise. Andante | Consortium Classicum | — | |
| 24-16 | Divertimento no. 12 for 2 Oboes, 2 Horns & 2 Bassoons in E-flat major, K. 240a/252: IV. Presto assai | Consortium Classicum | — | |
| 24-17 | Divertimento no. 14 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 270: I. Allegro molto | Consortium Classicum | — | |
| 24-18 | Divertimento no. 14 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 270: II. Andantino | Consortium Classicum | — | |
| 24-19 | Divertimento no. 14 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 270: III. Minuetto | Consortium Classicum | — | |
| 24-20 | Divertimento no. 14 for 2 Oboes, 2 Horns & 2 Bassoons in B-flat major, K. 270: IV. Presto | Consortium Classicum | — | |
| 25-1 | String Quartet no. 15 in D minor, K. 421: I. Allegro moderato | — | ||
| 25-2 | String Quartet no. 15 in D minor, K. 421: II. Andante | — | ||
| 25-3 | String Quartet no. 15 in D minor, K. 421: III. Menuetto: Allegretto | — | ||
| 25-4 | String Quartet no. 15 in D minor, K. 421: IV. Allegretto ma non troppo | — | ||
| 25-5 | String Quartet no. 16 in E-flat, K. 428: I. Allegro non troppo | — | ||
| 25-6 | String Quartet no. 16 in E-flat, K. 428: II. Andante con moto | — | ||
| 25-7 | String Quartet no. 16 in E-flat, K. 428: III. Menuetto: Allegretto – Allegro | — | ||
| 25-8 | String Quartet no. 16 in E-flat, K. 428: IV. Allegro vivace | — | ||
| 25-9 | String Quartet no. 17 in B-flat, K. 458 “Hunt”: I. Allegro vivace assai | — | ||
| 25-10 | String Quartet no. 17 in B-flat, K. 458 “Hunt”: II. Menuetto moderato | — | ||
| 25-11 | String Quartet no. 17 in B-flat, K. 458 “Hunt”: III. Adagio | — | ||
| 25-12 | String Quartet no. 17 in B-flat, K. 458 “Hunt”: IV. Allegro assai | — | ||
| 26-1 | String Quartet no. 18 in A, K. 464: I. Allegro | — | ||
| 26-2 | String Quartet no. 18 in A, K. 464: II. Menuetto | — | ||
| 26-3 | String Quartet no. 18 in A, K. 464: III. Andante | — | ||
| 26-4 | String Quartet no. 18 in A, K. 464: IV. Allegro non troppo | — | ||
| 26-5 | String Quartet no. 19 in C, K. 465 “Dissonance”: I. Adagio – Allegro | — | ||
| 26-6 | String Quartet no. 19 in C, K. 465 “Dissonance”: II. Andante cantabile | — | ||
| 26-7 | String Quartet no. 19 in C, K. 465 “Dissonance”: III. Menuetto: Allegro | — | ||
| 26-8 | String Quartet no. 19 in C, K. 465 “Dissonance”: IV. Allegro moderato | — | ||
| 26-9 | String Quartet no. 22 in B-flat, K. 589: I. Allegro | — | ||
| 26-10 | String Quartet no. 22 in B-flat, K. 589: II. Larghetto | — | ||
| 26-11 | String Quartet no. 22 in B-flat, K. 589: III. Menuetto: Moderato | — | ||
| 26-12 | String Quartet no. 22 in B-flat, K. 589: IV. Allegro assai | — | ||
| 27-1 | String Quintet no. 3 in C, K. 515: I. Allegro | — | ||
| 27-2 | String Quintet no. 3 in C, K. 515: II. Andante | — | ||
| 27-3 | String Quintet no. 3 in C, K. 515: III. Menuetto: Allegretto | — | ||
| 27-4 | String Quintet no. 3 in C, K. 515: IV. Allegro | — | ||
| 27-5 | String Quintet no. 4 in G minor, K. 516: I. Allegro | — | ||
| 27-6 | String Quintet no. 4 in G minor, K. 516: II. Menuetto: Allegretto | — | ||
| 27-7 | String Quintet no. 4 in G minor, K. 516: III. Adagio ma non troppo | — | ||
| 27-8 | String Quintet no. 4 in G minor, K. 516: IV. Adagio – Allegro | — | ||
| 28-1 | String Quintet no. 1 in B-flat, K. 174: I. Larghetto – Allegro | — | ||
| 28-2 | String Quintet no. 1 in B-flat, K. 174: II. Adagio | — | ||
| 28-3 | String Quintet no. 1 in B-flat, K. 174: III. Menuetto ma allegretto | — | ||
| 28-4 | String Quintet no. 1 in B-flat, K. 174: IV. Allegro | — | ||
| 28-5 | String Quintet no. 5 in D, K. 593: I. Larghetto – Allegro | — | ||
| 28-6 | String Quintet no. 5 in D, K. 593: II. Adagio | — | ||
| 28-7 | String Quintet no. 5 in D, K. 593: III. Menuetto ma allegretto | — | ||
| 28-8 | String Quintet no. 5 in D, K. 593: IV. Allegro | — | ||
| 28-9 | String Quintet no. 6 in E-flat, K. 614: I. Allegro di molto | — | ||
| 28-10 | String Quintet no. 6 in E-flat, K. 614: II. Andante | — | ||
| 28-11 | String Quintet no. 6 in E-flat, K. 614: III. Menuetto: Allegretto | — | ||
| 28-12 | String Quintet no. 6 in E-flat, K. 614: IV. Allegro | — | ||
| 29-1 | Violin Sonata no. 23 in D major, K. 306: II. Andantino cantabile | Oleg Kagan, Sviatoslav Richter | — | |
| 29-2 | Violin Sonata no. 23 in D major, K. 306: II. Andantino cantabile | Oleg Kagan, Sviatoslav Richter | — | |
| 29-3 | Violin Sonata in D, K. 306: III. Allegretto | — | ||
| 29-4 | Violin Sonata no. 26 in B-flat major, K. 378: I. Allegro moderato | Oleg Kagan, Sviatoslav Richter | — | |
| 29-5 | Violin Sonata no. 26 in B-flat major, K. 378: II. Andantino sostenuto e cantabile | Oleg Kagan, Sviatoslav Richter | — | |
| 29-6 | Violin Sonata in B-flat, K. 378: III. Rondo: Allegro | — | ||
| 29-7 | Andante & Allegretto in C major, K. 404/385d: I. Andante | Oleg Kagan, Sviatoslav Richter | — | |
| 29-8 | Andante & Allegretto in C, K. 404: II. Allegro | — | ||
| 29-9 | Violin Sonata in B-flat, K. 372: I. Allegro | — | ||
| 30-1 | Piano Sonata in D, K. 311 (284c): I. Allegro con spirito | — | ||
| 30-2 | Piano Sonata in D, K. 311 (284c): II. Andantino con espressione | — | ||
| 30-3 | Piano Sonata in D, K. 311 (284c): III. Rondeau: Allegro | — | ||
| 30-4 | Piano Sonata in C, K. 330 (300h): I. Allegro moderato | — | ||
| 30-5 | Piano Sonata in C, K. 330 (300h): II. Andante cantabile | — | ||
| 30-6 | Piano Sonata in C, K. 330 (300h): III. Allegretto | — | ||
| 30-7 | Piano Sonata in A, K. 331 (300i): I. Tema (Andante grazioso) con variazioni (I-VI) | — | ||
| 30-8 | Piano Sonata in A, K. 331 (300i): II. Menuetto – Trio | — | ||
| 30-9 | Sonata for Piano no. 11 in A major, K. 300i/331 "Alla Turca": III. Rondo alla Turca. Allegretto | Daniel Barenboim | — | |
| 30-10 | Piano Sonata in F, K. 332 (300k): I. Allegro | — | ||
| 30-11 | Piano Sonata in F, K. 332 (300k): II. Adagio | — | ||
| 30-12 | Piano Sonata in F, K. 332 (300k): III. Allegro assai | — | ||
| 31-1 | Piano Sonata in B-flat, K. 333 (315c): I. Allegro | — | ||
| 31-2 | Piano Sonata in B-flat, K. 333 (315c): II. Andante cantabile | — | ||
| 31-3 | Piano Sonata in B-flat, K. 333 (315c): III. Allegretto grazioso | — | ||
| 31-4 | Fantasia in C minor, K. 475 | — | ||
| 31-5 | Piano Sonata in C minor, K. 457: I. Molto allegro | — | ||
| 31-6 | Piano Sonata in C minor, K. 457: II. Adagio | — | ||
| 31-7 | Piano Sonata in C minor, K. 457: III. Allegro assai | — | ||
| 32-1 | Piano Sonata in F, K. 533: I. Allegro | — | ||
| 32-2 | Piano Sonata in F, K. 533: II. Andante cantabile | — | ||
| 32-3 | Piano Sonata in F, K. 533: III. Allegretto | — | ||
| 32-4 | Piano Sonata in C, K. 545: I. Allegro | — | ||
| 32-5 | Piano Sonata in C, K. 545: II. Andante | — | ||
| 32-6 | Piano Sonata in C, K. 545: III. Rondo | — | ||
| 32-7 | Piano Sonata in B-flat, K. 570: I. Allegro | — | ||
| 32-8 | Piano Sonata in B-flat, K. 570: II. Adagio | — | ||
| 32-9 | Piano Sonata in B-flat, K. 570: III. Allegretto | — | ||
| 32-10 | Piano Sonata in D, K. 576: I. Allegro | — | ||
| 32-11 | Piano Sonata in D, K. 576: II. Adagio | — | ||
| 32-12 | Piano Sonata in D, K. 576: III. Allegretto | — | ||
| 33-1 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Tema (“Laat ons juichen”) (Allegretto) | — | ||
| 33-2 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 1 | — | ||
| 33-3 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 2 | — | ||
| 33-4 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 3 | — | ||
| 33-5 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 4 | — | ||
| 33-6 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 5 | — | ||
| 33-7 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 6 | — | ||
| 33-8 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 7: Adagio | — | ||
| 33-9 | Variations on a Dutch Theme by C.E. Graaf, K. 24: Variation 8 (Tempo I) | — | ||
| 33-10 | Variations on “Willevan Nassau”, K. 25: Tema (Air): Allegro | — | ||
| 33-11 | Variations on “Willevan Nassau”, K. 25: Variation 1 | — | ||
| 33-12 | Variations on “Willevan Nassau”, K. 25: Variation 2 | — | ||
| 33-13 | Variations on “Willevan Nassau”, K. 25: Variation 3 | — | ||
| 33-14 | Variations on “Willevan Nassau”, K. 25: Variation 4 | — | ||
| 33-15 | Variations on “Willevan Nassau”, K. 25: Variation 5: Adagio | — | ||
| 33-16 | Variations on “Willevan Nassau”, K. 25: Variation 6 (Tempo I) | — | ||
| 33-17 | Variations on “Willevan Nassau”, K. 25: Variation 7 | — | ||
| 33-18 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Tema (Minuett): Andante | — | ||
| 33-19 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Variation 1 | — | ||
| 33-20 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Variation 2 | — | ||
| 33-21 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Variation 3 | — | ||
| 33-22 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Variation 4 | — | ||
| 33-23 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Variation 5: Adagio | — | ||
| 33-24 | Variations on “Mio caro Adone” fromLa fiera di Venezia by Salieri, K. 180 (173c): Variation 6: Allegretto | — | ||
| 33-25 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Tema (Menuet) | — | ||
| 33-26 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 1 | — | ||
| 33-27 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 2 | — | ||
| 33-28 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 3 | — | ||
| 33-29 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 4 | — | ||
| 33-30 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 5 | — | ||
| 33-31 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 6 | — | ||
| 33-32 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 7 | — | ||
| 33-33 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 8 | — | ||
| 33-34 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 9 | — | ||
| 33-35 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 10 | — | ||
| 33-36 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 11: Adagio | — | ||
| 33-37 | Variations on a Minuet by J.C. Fischer, K. 179 (189a): Variation 12: Allegro | — | ||
| 33-38 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Tema (Air): Allegretto | — | ||
| 33-39 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 1 | — | ||
| 33-40 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 2 | — | ||
| 33-41 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 3 | — | ||
| 33-42 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 4 | — | ||
| 33-43 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 5 | — | ||
| 33-44 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 6 | — | ||
| 33-45 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 7 | — | ||
| 33-46 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 8 (Tempo di menuetto) | — | ||
| 33-47 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 9 | — | ||
| 33-48 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 10: Allegretto | — | ||
| 33-49 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 11 | — | ||
| 33-50 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 12 (Molto adagio) – | — | ||
| 33-51 | Variations on the Romance “Je suis Lindor” by A.L. Baudron from Beaumarchais’s Le Barbierde Séville, K. 354 (299a): Variation 12 (Allegretto) | — | ||
| 34-1 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Tema | — | ||
| 34-2 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 1 | — | ||
| 34-3 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 2 | — | ||
| 34-4 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 3 | — | ||
| 34-5 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 4 | — | ||
| 34-6 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 5 | — | ||
| 34-7 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 6 | — | ||
| 34-8 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 7 | — | ||
| 34-9 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 8 | — | ||
| 34-10 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 9 | — | ||
| 34-11 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 10 | — | ||
| 34-12 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 11: Adagio | — | ||
| 34-13 | Variations on “Ah, vous dirai-je, maman”, K. 265 (300e): Variation 12: Presto | — | ||
| 34-14 | Variations on “La belle Françoise”, K. 353 (300f): Tema | — | ||
| 34-15 | Variations on “La belle Françoise”, K. 353 (300f): Variation 1 | — | ||
| 34-16 | Variations on “La belle Françoise”, K. 353 (300f): Variation 2 | — | ||
| 34-17 | Variations on “La belle Françoise”, K. 353 (300f): Variation 3 | — | ||
| 34-18 | Variations on “La belle Françoise”, K. 353 (300f): Variation 4 | — | ||
| 34-19 | Variations on “La belle Françoise”, K. 353 (300f): Variation 5 | — | ||
| 34-20 | Variations on “La belle Françoise”, K. 353 (300f): Variation 6 | — | ||
| 34-21 | Variations on “La belle Françoise”, K. 353 (300f): Variation 7 | — | ||
| 34-22 | Variations on “La belle Françoise”, K. 353 (300f): Variation 8 | — | ||
| 34-23 | Variations on “La belle Françoise”, K. 353 (300f): Variation 9 | — | ||
| 34-24 | Variations on “La belle Françoise”, K. 353 (300f): Variation 10 | — | ||
| 34-25 | Variations on “La belle Françoise”, K. 353 (300f): Variation 11: Adagio | — | ||
| 34-26 | Variations on “La belle Françoise”, K. 353 (300f): Variation 12: Presto | — | ||
| 34-27 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Tema: Andante | — | ||
| 34-28 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 1 | — | ||
| 34-29 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 2 | — | ||
| 34-30 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 3 | — | ||
| 34-31 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 4 | — | ||
| 34-32 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 5 | — | ||
| 34-33 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 6 | — | ||
| 34-34 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 7 | — | ||
| 34-35 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 8: Adagio | — | ||
| 34-36 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 9 (Allegro) | — | ||
| 34-37 | Variations on the Air “Lison dormait” from Juliet by N. Dezède, K. 264 (315d): Variation 9 (Tempo di tema) | — | ||
| 34-38 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Tema | — | ||
| 34-39 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 1 | — | ||
| 34-40 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 2 | — | ||
| 34-41 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 3 | — | ||
| 34-42 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 4 | — | ||
| 34-43 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 5 | — | ||
| 34-44 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 6 | — | ||
| 34-45 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 7: Adagio | — | ||
| 34-46 | Variations on the March “Dieu d'amour” from Les Mariages samnites by Grétry, K. 352 (374c): Variation 8: Allegro | — | ||
| 34-47 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Tema | — | ||
| 34-48 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Variation 1 | — | ||
| 34-49 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Variation 2 | — | ||
| 34-50 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Variation 3 | — | ||
| 34-51 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Variation 4 | — | ||
| 34-52 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Variation 5 | — | ||
| 34-53 | Variations on the “Salve tu, Domine” from I filosofi immaginari by Paisiello, K. 398 (416e): Variation 6 | — | ||
| 35-1 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Tema: Allegretto | — | ||
| 35-2 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 1 | — | ||
| 35-3 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 2 | — | ||
| 35-4 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 3 | — | ||
| 35-5 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 4 | — | ||
| 35-6 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 5 | — | ||
| 35-7 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 6 | — | ||
| 35-8 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 7 | — | ||
| 35-9 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 8 | — | ||
| 35-10 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 9: Adagio | — | ||
| 35-11 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 10 (Allegro) – | — | ||
| 35-12 | Variations on “Les hommes pieusement” from La Rencontre imprévue by Gluck, K. 455: Variation 10 (Tempo I) | — | ||
| 35-13 | Variations on an Original Theme, K. 500: Tema: Allegretto | — | ||
| 35-14 | Variations on an Original Theme, K. 500: Variation 1 | — | ||
| 35-15 | Variations on an Original Theme, K. 500: Variation 2 | — | ||
| 35-16 | Variations on an Original Theme, K. 500: Variation 3 | — | ||
| 35-17 | Variations on an Original Theme, K. 500: Variation 4 | — | ||
| 35-18 | Variations on an Original Theme, K. 500: Variation 5 | — | ||
| 35-19 | Variations on an Original Theme, K. 500: Variation 6 | — | ||
| 35-20 | Variations on an Original Theme, K. 500: Variation 7 | — | ||
| 35-21 | Variations on an Original Theme, K. 500: Variation 8 | — | ||
| 35-22 | Variations on an Original Theme, K. 500: Variation 9 | — | ||
| 35-23 | Variations on an Original Theme, K. 500: Variation 10 | — | ||
| 35-24 | Variations on an Original Theme, K. 500: Variation 11: Adagio | — | ||
| 35-25 | Variations on an Original Theme, K. 500: Variation 12 (Allegro) – | — | ||
| 35-26 | Variations on an Original Theme, K. 500: Variation 12 (Tempo I) | — | ||
| 35-27 | Variations on an Original Theme, K. 54 (547b): Tema: Allegretto | — | ||
| 35-28 | Variations on an Original Theme, K. 54 (547b): Variation 1 | — | ||
| 35-29 | Variations on an Original Theme, K. 54 (547b): Variation 2 | — | ||
| 35-30 | Variations on an Original Theme, K. 54 (547b): Variation 3 | — | ||
| 35-31 | Variations on an Original Theme, K. 54 (547b): Variation 4 | — | ||
| 35-32 | Variations on an Original Theme, K. 54 (547b): Variation 5 | — | ||
| 35-33 | Variations on an Original Theme, K. 54 (547b): Variation 6 | — | ||
| 35-34 | Variations on a Minuet by J.P. Duport, K. 573: Tema | — | ||
| 35-35 | Variations on a Minuet by J.P. Duport, K. 573: Variation 1 | — | ||
| 35-36 | Variations on a Minuet by J.P. Duport, K. 573: Variation 2 | — | ||
| 35-37 | Variations on a Minuet by J.P. Duport, K. 573: Variation 3 | — | ||
| 35-38 | Variations on a Minuet by J.P. Duport, K. 573: Variation 4 | — | ||
| 35-39 | Variations on a Minuet by J.P. Duport, K. 573: Variation 5 | — | ||
| 35-40 | Variations on a Minuet by J.P. Duport, K. 573: Variation 6 | — | ||
| 35-41 | Variations on a Minuet by J.P. Duport, K. 573: Variation 7 | — | ||
| 35-42 | Variations on a Minuet by J.P. Duport, K. 573: Variation 8: Adagio | — | ||
| 35-43 | Variations on a Minuet by J.P. Duport, K. 573: Variation 9: (Allegro) – | — | ||
| 35-44 | Variations on a Minuet by J.P. Duport, K. 573: Variation 9: (Tempo I) | — | ||
| 35-45 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Tema | — | ||
| 35-46 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 1 | — | ||
| 35-47 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 2 | — | ||
| 35-48 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 3 | — | ||
| 35-49 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 4 | — | ||
| 35-50 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 5 | — | ||
| 35-51 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 6 | — | ||
| 35-52 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 7: Adagio | — | ||
| 35-53 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 8: (Allegro) – | — | ||
| 35-54 | Variations on “Ein Weib ist das herrlichste Ding” by B. Schack from Schikaneder’s Der dumme Gärtner, K. 613: Variation 8 (Tempo I) | — | ||
| 36-1 | Sehnsucht nach dem Frühlinge, K. 596 | — | ||
| 36-2 | An die Hoffnung, K. 390 (340c) | — | ||
| 36-3 | Der Zauberer, K. 472 | — | ||
| 36-4 | Die kleine Spinnerin, K. 531 | — | ||
| 36-5 | Die Verschweigung, K. 518 | — | ||
| 36-6 | Das Lied der Trennung, K. 519 | — | ||
| 36-7 | Die Zufriedenheit, K. 473 | — | ||
| 36-8 | Ais Luise die Briefe, K. 520 | — | ||
| 36-9 | An die Einsamkeit, K. 391 (340b) | — | ||
| 36-10 | Das Veilchen, K. 476 | — | ||
| 36-11 | Abendempfindung, K. 523 | — | ||
| 36-12 | An Chloe, K. 524 | — | ||
| 36-13 | Cantata: Die ihr des unermeßlichen Weltalls, K. 619 | — | ||
| 36-14 | Canzonetta: Ridente la calma, K. 152 | — | ||
| 36-15 | Dans un bois solitaire, K. 308 | Barbara Hendricks, Maria João Pires | — | |
| 36-16 | Oiseaux, si tous les ans, K. 307 (284d) | — | ||
| 36-17 | Un moto di gioia, K. 579 | — | ||
| 36-18 | Komm, liebe Zither, K. 351 (367b) | — | ||
| 36-19 | Ch'io mi scordi di te?...Non temer, amato bene, K. 505 | — | ||
| 37-1 | Mass in C minor, K. 427: I. Kyrie | — | ||
| 37-2 | Mass in C minor, K. 427: II. Gloria: Gloria in excelsis Deo | — | ||
| 37-3 | Mass in C minor, K. 427: II. Gloria: “Laudamus te” | Kiri Te Kanawa, New Philharmonia Orchestra, Raymond Leppard | — | |
| 37-4 | Mass in C minor, K. 427: II. Gloria: Gratias agimus tibi | — | ||
| 37-5 | Mass in C minor, K. 427: II. Gloria: Domine Deus | — | ||
| 37-6 | Mass in C minor, K. 427: II. Gloria: Qui tollis peccata mundi | — | ||
| 37-7 | Mass in C minor, K. 427: II. Gloria: Quoniam tu solus Sanctus | — | ||
| 37-8 | Mass in C minor, K. 427: II. Gloria: Jesu Christe | — | ||
| 37-9 | Mass in C minor, K. 427: II. Gloria: Cum Sancto Spiritu | — | ||
| 37-10 | Mass in C minor, K. 427: III. Credo: Credo in unum Deum | — | ||
| 37-11 | Mass in C minor, K. 427: III. Credo: Et incarnatus est | Ileana Cotrubaş, New Philharmonia Orchestra, Raymond Leppard | T-924.224.927-0 | |
| 37-12 | Mass in C minor, K. 427: IV. Sanctus: Sanctus, Sanctus, Sanctus | — | ||
| 37-13 | Mass in C minor, K. 427: IV. Sanctus: Osanna in excelsis | — | ||
| 37-14 | Mass in C minor, K. 427: V. Benedictus | — | ||
| 37-15 | Vesperae de Dominica, K. 321: I. Dixit dominus | — | ||
| 37-16 | Vesperae de Dominica, K. 321: V. Laudate Dominum | — | ||
| 37-17 | Vesperae de Dominica, K. 321: VI. Magnificat | — | ||
| 38-1 | Mass no. 14 in C, K. 317 “Coronation”: Kyrie | — | ||
| 38-2 | Mass no. 14 in C, K. 317 “Coronation”: Gloria | — | ||
| 38-3 | Mass no. 14 in C, K. 317 “Coronation”: Credo | — | ||
| 38-4 | Mass no. 14 in C, K. 317 “Coronation”: Sanctus | — | ||
| 38-5 | Mass no. 14 in C, K. 317 “Coronation”: Benedictus | Júlia Hamari, Dietrich Fischer-Dieskau, Nicolai Gedda, Edda Moser, Bavarian Radio Chorus, Bavarian Radio Symphony Orchestra, Eugen Jochum | — | |
| 38-6 | Mass no. 14 in C, K. 317 “Coronation”: Agnus Dei | — | ||
| 38-7 | Vesperae solennes de confessore, K. 339: Dixit Dominus | — | ||
| 38-8 | Vesperae solennes de confessore, K. 339: Confitebor | — | ||
| 38-9 | Vesperae solennes de confessore, K. 339: Beatus vir | — | ||
| 38-10 | Vesperae solennes de confessore, K. 339: Laudate pueri | — | ||
| 38-11 | Vesperae solennes de confessore | Manfred Ackermann, Bavarian Radio Chorus, Wolfgang Isenhardt, Edda Moser, Thomas Schulze, Stuttgarter Hymnus-Chorknaben, Bavarian Radio Symphony Orchestra, Eugen Jochum, Gerhard Wilhelm | T-900.135.371-5 | |
| 38-12 | Vesperae solennes de confessore, K. 339: Magnificat | — | ||
| 39-1 | Requiem in D minor, K. 626: I. Introitus: Requiem aeternam – II. Kyrie eleison | — | ||
| 39-2 | Requiem in D minor, K. 626: III. Sequenz: Dies irae | — | ||
| 39-3 | Requiem in D minor, K. 626: III. Sequenz: Tuba mirum | — | ||
| 39-4 | Requiem in D minor, K. 626: III. Sequenz: Rex tremendae | — | ||
| 39-5 | Requiem in D minor, K. 626: III. Sequenz: Recordare | — | ||
| 39-6 | Requiem in D minor, K. 626: III. Sequenz: Confutatis maledictis | — | ||
| 39-7 | Requiem in D minor, K. 626: III. Sequenz: Lacrimosa | — | ||
| 39-8 | Requiem in D minor, K. 626: IV: Offertorium: Domine Jesu | — | ||
| 39-9 | Requiem in D minor, K. 626: IV: Offertorium: Hostias et preces tibi | — | ||
| 39-10 | Requiem in D minor, K. 626: V. Sanctus | — | ||
| 39-11 | Requiem in D minor, K. 626: VI. Benedictus | — | ||
| 39-12 | Requiem in D minor, K. 626: VII. Agnus Dei – VIII. Communio | — | ||
| 39-13 | Ave verum corpus, K. 618 | Singverein der Gesellschaft der Musikfreunde in Wien, Philharmonia Orchestra, Herbert von Karajan | T-323.252.117-0 | |
| 39-14 | Motet “Exsultate, jubilate”, K. 165/158a | Barbara Hendricks, Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 40-1 | Die Entführung aus dem Serail, K. 384: Overture | — | ||
| 40-2 | Die Entführung aus dem Serail, K. 384: Act I. Hier soil ich... Aber wie soll ich in den Palast kommen? (Belmonte) | — | ||
| 40-3 | Die Entführung aus dem Serail, K. 384: Act I. Wer ein Liebchen hat gefunden... Verwünscht seist du (Osmin, Belmonte) | — | ||
| 40-4 | Die Entführung aus dem Serail, K. 384: Act I. Das scheint auch so ein Schurke (Osmin, Pedrillo) | — | ||
| 40-5 | Die Entführung aus dem Serail, K. 384: Act I. Solche hergelauf'ne Laffen (Osmin) | — | ||
| 40-6 | Die Entführung aus dem Serail, K. 384: Act I. Was bist du für ein grausamer Kerl! (Pedrillo, Osmin) | — | ||
| 40-7 | Die Entführung aus dem Serail, K. 384: Act I. Geh nur, verwünschter Aufpasser (Pedrillo, Belmonte) | — | ||
| 40-8 | Die Entführung aus dem Serail, K. 384: "Konstanze, dich wieder zu sehen, dich!" (Belmonte) | Nicolai Gedda, Wiener Philharmoniker, Josef Krips | T-910.405.802-8 | |
| 40-9 | Die Entführung aus dem Serail, K. 384: Act I. Herr, geschwind zur Seite!...Singt dem großen Bassa Lieder (Pedrillo, Chorus) | — | ||
| 40-10 | Die Entführung aus dem Serail, K. 384: Act I. Immer noch traurig, geliebte Konstanze? (Selim, Konstanze) | — | ||
| 40-11 | Die Entführung aus dem Serail, K. 384: Act I. Ach ich liebte, was so glücklich (Konstanze) | — | ||
| 40-12 | Die Entführung aus dem Serail, K. 384: Act I. Ihr Schmerz, ihre Tränen (Selim, Pedrillo, Belmonte, Osmin) | — | ||
| 41-1 | Die Entführung aus dem Serail, K. 384: Act II. Gift und Dolch... Durch Zärtlichkeit und Schmeicheln (Osmin, Blonde) | — | ||
| 41-2 | Die Entführung aus dem Serail, K. 384: Act II. Zärtlichkeit? Schmeicheln? (Osmin, Blonde) | — | ||
| 41-3 | Die Entführung aus dem Serail, K. 384: Act II. Ich gehe, doch rate ich dir... Ach, wie traurig (Osmin, Blonde) | — | ||
| 41-4 | Die Entführung aus dem Serail, K. 384: Act II. Welcher Kummer herrscht... Traurigkeit (Konstanze) | — | ||
| 41-5 | Die Entführung aus dem Serail, K. 384: Act II. Mein bestes Fräulein... (Blonde, Konstanze, Selim) | — | ||
| 41-6 | Die Entführung aus dem Serail, K. 384: "Martern aller Arten" (Konstanze) | Anneliese Rothenberger, Wiener Philharmoniker, Josef Krips | — | |
| 41-7 | Die Entführung aus dem Serail, K. 384: Act II. Woher hat sie auf einmal den Mut? (Selim, Blonde, Pedrillo) | — | ||
| 41-8 | Die Entführung aus dem Serail, K. 384: "Welche Wonne, welche Lust" (Blonde) | Lucia Popp, Wiener Philharmoniker, Josef Krips | — | |
| 41-9 | Die Entführung aus dem Serail, K. 384: Act II. Ach, wenn es doch schon... Frisch zum Kampfe! (Pedrillo) | — | ||
| 41-10 | Die Entführung aus dem Serail, K. 384: Act II. Na, hier geht's ja lustig zu! (Osmin, Pedrillo) | — | ||
| 41-11 | Die Entführung aus dem Serail, K. 384: "Vivat Bacchus" (Osmin & Pedrillo) | Gottlob Frick, Gerhard Unger, Wiener Philharmoniker, Josef Krips | T-910.405.802-8 | |
| 41-12 | Die Entführung aus dem Serail, K. 384: Act II. Das ist wahr - Wein (Osmin, Pedrillo, Belmonte) | — | ||
| 41-13 | Die Entführung aus dem Serail, K. 384: Act II. Ach, Belmonte, ach mein Leben! (Konstanze, Belmonte, Pedrillo, Blonde) | — | ||
| 41-14 | Die Entführung aus dem Serail, K. 384: Act III. Wenn der Freude Tränen fließen (Belmonte) | — | ||
| 41-15 | Die Entführung aus dem Serail, K. 384: Act III. Pedrillo! Ist alles fergit? (Belmonte, Pedrillo) | — | ||
| 41-16 | Die Entführung aus dem Serail, K. 384: Act III. Im Mohrenland gefangen war ein Mädchen (Pedrillo, Belmonte, Osmin, Blonde) | — | ||
| 41-17 | Die Entführung aus dem Serail, K. 384: "O, wie will ich triumphieren" (Osmin) | Gottlob Frick, Wiener Philharmoniker, Josef Krips | — | |
| 41-18 | Die Entführung aus dem Serail, K. 384: Act III. Was gibt's Osmin? (Selim, Osmin, Konstanze, Belmonte) | — | ||
| 41-19 | Die Entführung aus dem Serail, K. 384: Act III. Welch ein Geschick! (Belmonte, Konstanze) | — | ||
| 41-20 | Die Entführung aus dem Serail, K. 384: Act III. Nun, zitterst du, erwartest du dein Urteil? (Selim, Belmonte, Pedrillo, Osmin) | — | ||
| 41-21 | Die Entführung aus dem Serail, K. 384: Act III. Nie werd' ich deine Huld verkennen | — | ||
| 42-1 | Le nozze di Figaro, K. 492: Overture | — | ||
| 42-2 | Le nozze di Figaro, K. 492: Act I. Cinque... dieci... venti... | — | ||
| 42-3 | Le nozze di Figaro, K. 492: Act I. Se a caso Madama (Figaro, Susanna) | — | ||
| 42-4 | Le nozze di Figaro, K. 492: Act I. Bravo, signor padron... Se vuol ballare (Figaro) | — | ||
| 42-5 | Le nozze di Figaro, K. 492: Act I. La vendetta, oh, la vendetta (Bartolo) | — | ||
| 42-6 | Le nozze di Figaro, K. 492: Act I. Via, resti servita (Susanna, Marcellina) | — | ||
| 42-7 | Le nozze di Figaro, K. 492: Act I. Non so più cosa son, cosa faccio (Cherubino) | — | ||
| 42-8 | Le nozze di Figaro, K. 492: Act I. Oh cielo! Cosa sento! (Susanna, Count, Basilio) | — | ||
| 42-9 | Le nozze di Figaro, K. 492: Act I. Non più andrai (Figaro) | — | ||
| 42-10 | Le nozze di Figaro, K. 492: Act II, Porgi amor (Contessa) | Heather Harper, English Chamber Orchestra, Daniel Barenboim | — | |
| 42-11 | Le nozze di Figaro, K. 492: Act II, Vieni, cara Susanna (Countess, Susanna, Figaro, Cherubino) | — | ||
| 42-12 | Le nozze di Figaro, K. 492: Atto II, scena II. No. 12 Arietta “Voi che sapete che cosa è amor” (Cherubino) | Teresa Berganza, English Chamber Orchestra, Daniel Barenboim | — | |
| 42-13 | Le nozze di Figaro, K. 492: Act II. Bravo! Che bella voce! (Countess, Susanna, Cherubino) | — | ||
| 42-14 | Le nozze di Figaro, K. 492: Act II. Venite, inginocchiatevi (Susanna) | — | ||
| 42-15 | Le nozze di Figaro, K. 492: Act II. Quante buffonerie! (Countess, Susanna, Cherubino, Count) | — | ||
| 42-16 | Le nozze di Figaro, K. 492: Act II. Susanna, or via sortite (Count, Countess, Susanna) | — | ||
| 42-17 | Le nozze di Figaro, K. 492: Act II. Dunque voi non aprite? (Count, Countess) | — | ||
| 42-18 | Le nozze di Figaro, K. 492: Act II. Aprite, presto, aprite (Susanna, Cherubino) | — | ||
| 42-19 | Le nozze di Figaro, K. 492: Act II. Oh guarda il demonietto (Susanna, Count, Countess) | — | ||
| 42-20 | Le nozze di Figaro, K. 492: Act II. Esci, ormai, garzon malnato (Count, Countess) | — | ||
| 42-21 | Le nozze di Figaro, K. 492: Act II. Susanna! Susanna! (Count, Countess, Susanna) | — | ||
| 42-22 | Le nozze di Figaro, K. 492: Act II. Signori, di fuori! (Figaro, Count, Susanna, Countess) | — | ||
| 42-23 | Le nozze di Figaro, K. 492: Act II. Ah! Signor, signor! (Antonio, Count, Susanna, Countess, Figaro) | — | ||
| 42-24 | Le nozze di Figaro, K. 492: Act II. Voi signor, che giusto siete (Marcellina, Basilio, Bartolo, Susanna, Countess, Figaro, Count) | — | ||
| 43-1 | Le nozze di Figaro, K. 492: Act III. Che imbarazzo è mai questo! (Count, Countess, Susanna) | — | ||
| 43-2 | Le nozze di Figaro, K. 492: Act III. Crudel! Perche finora farmi languir così? (Count, Susanna) | — | ||
| 43-3 | Le nozze di Figaro, K. 492: Act III. E perchè fosti meco (Count, Susanna, Figaro) | — | ||
| 43-4 | Le nozze di Figaro, K. 492: Act III. Hai già vinta la causa!... Vedrò, mentr'io sospiro (Count) | — | ||
| 43-5 | Le nozze di Figaro, K. 492: Act III. È decisa la lite (Don Curzio, Marcellina, Figaro, Cunt, Bartolo) | — | ||
| 43-6 | Le nozze di Figaro, K. 492: Act III. Riconosci in questíamplesso (Marcellino, Figaro, Bartolo, Don Curzio, Count, Susanna) | — | ||
| 43-7 | Le nozze di Figaro, K. 492: Act III. Eccovi, o caro amico (Marcellina, Bartolo, Susanna, Figaro, Barbarina, Cherubino) | — | ||
| 43-8 | Le nozze di Figaro, K. 492: Act III. E Susanna non vien!... Dove sono (Countess) | — | ||
| 43-9 | Le nozze di Figaro, K. 492: Act III. Io vi dico, signor (Antonio, Count, Countess, Susanna) | — | ||
| 43-10 | Le nozze di Figaro, K. 492: Act III. Canzonetta sull'aria... Che soave zeffiretto (Countess, Susanna) | — | ||
| 43-11 | Le nozze di Figaro, K. 492: Act III. Ricevete, o padroncina (Peasant Girls, Barbarina, Countess, Susanna, Anotonio, Count, Cherubino, Figaro) | — | ||
| 43-12 | Le nozze di Figaro, K. 492: Act III. Ecco la marica (Figaro, Susanna, Count, Countess, Two Girls, Peasants) | — | ||
| 43-13 | Le nozze di Figaro, K. 492: Act IV. L'ho perduta, me meschina! (Barbarina) | — | ||
| 43-14 | Le nozze di Figaro, K. 492: Act IV. Barbarina, cos' hai? (Figaro, Barbarina, Marcellina) | — | ||
| 43-15 | Le nozze di Figaro, K. 492: Act IV. Nel padiglione a manca (Barbarina, Figaro, Basilio, Bartolo) | — | ||
| 43-16 | Le nozze di Figaro, K. 492: Act IV. Ha i diavoli nel corpo!... In quegli anni (Basilio, Bartolo) | — | ||
| 43-17 | Le nozze di Figaro, K. 492: Act IV. Tutto è disposto... Aprite un po'quegli occhi (Figaro) | — | ||
| 43-18 | Le nozze di Figaro, K. 492: Act IV. Signora, elle mi disse... (Susanna, Marcellina, Countess, Figaro) | — | ||
| 43-19 | Le nozze di Figaro, K. 492: Act IV. Giunse alfin il momento (Susanna) | — | ||
| 43-20 | Le nozze di Figaro, K. 492: Act IV. Deh vieni, non tardar (Susanna) | — | ||
| 43-21 | Le nozze di Figaro, K. 492: Act IV. Perfida! E in quella forma meco mentia? (Figaro, Cherubino, Countess) | — | ||
| 43-22 | Le nozze di Figaro, K. 492: Act IV. Pian, pianin, le andro piu presso (Cherubino, Countess, Count, Susanna, Figaro) | — | ||
| 43-23 | Le nozze di Figaro, K. 492: Act IV. Partito è alfin l'audace (Count, Countess, Figaro, Susanna) | — | ||
| 43-24 | Le nozze di Figaro, K. 492: Act IV. Tutto è tranquillo e placido (Figaro, Susanna) | — | ||
| 43-25 | Le nozze di Figaro, K. 492: Act IV. Pace, pace, mio dolce tescoro (Figaro, Susanna, Count) | — | ||
| 43-26 | Le nozze di Figaro, K. 492: Act IV. Gente, gente, all'armi, all'armi (All) | — | ||
| 44-1 | Don Giovanni, K. 527: Overture | — | ||
| 44-2 | Don Giovanni, K. 527: Act I, Scene 1. Notte e giorno faticar (Leporello) | — | ||
| 44-3 | Don Giovanni, K. 527: Act I, Scene 1. Non sperar, se non m'uccidi (Donna Anna, Don Giovanni, Leporello) | — | ||
| 44-4 | Don Giovanni, K. 527: Act I, Scene 1. Lasciala, indegno! (Commendatore, Don Giovanni, Leporello) | — | ||
| 44-5 | Don Giovanni, K. 527: Act I, Scene 1. Leporello, ove sei? (Don Giovanni, Leporello) | — | ||
| 44-6 | Don Giovanni, K. 527: Act I, Scene 1. Ah! Del padre in periglio (Donna Anna, Don Ottavio) | — | ||
| 44-7 | Don Giovanni, K. 527: Act I, Scene 1. Fuggi, crudele, fuggi! (Donna Anna, Don Otavio) | — | ||
| 44-8 | Don Giovanni, K. 527: Act I, Scene 2. Orsù, spicciati presto (Don Giovanni, Leporello, Donna Elvira) | — | ||
| 44-9 | Don Giovanni, K. 527: Act I, Scene 2. Ah, chi mi dice mai (Donna Elvira, Don Giovanni, Leporello) | — | ||
| 44-10 | Don Giovanni, K. 527: Act I, Scene 2. Madamina il catalogo è questo (Leporello) | — | ||
| 44-11 | Don Giovanni, K. 527: Act I, Scene 3. Giovinette, che fate all' amore (Zerlina, Peasants, Masetto) | — | ||
| 44-12 | Don Giovanni, K. 527: Act I, Scene 3. Ho capito, signor sì! (Masetto) | — | ||
| 44-13 | Don Giovanni, K. 527: Act I, Scene 3. Là ci darem la mano (Don Giovanni, Zerlina) | — | ||
| 44-14 | Don Giovanni, K. 527: Act I, Scene 3. Fermati, scellerato! (Donna Elvira, Zerlina, Don Giovanni) | — | ||
| 44-15 | Don Giovanni, K. 527: Act I, Scene 3. Ah, fuggi il traditor! (Donna Elvira) | — | ||
| 44-16 | Don Giovanni, K. 527: Act I, Scene 3. Non ti fidar, o misera (Don Giovanni, Don Ottavio, Donna Anna, Donna Elvira) | — | ||
| 44-17 | Don Giovanni, K. 527: Act I, Scene 3. Povera sventurata! (Don Giovanni) | — | ||
| 44-18 | Don Giovanni, K. 527: Act I, Scene 3. Don Ottavio, son morta! (Donna Anna, Don Ottavio) | — | ||
| 44-19 | Don Giovanni, K. 527: Act I, Scene 3. Or sai chi l'onore (Donna Anna) | — | ||
| 44-20 | Don Giovanni, K. 527: Act I, Scene 3. Finch' han dal vino (Don Giovanni) | — | ||
| 44-21 | Don Giovanni, K. 527: Act I, Scene 4. Batti, batti, o bel Masetto (Zerlina) | — | ||
| 44-22 | Don Giovanni, K. 527: Act I, Scene 4. Presto, presto, pria ch'ei venga (Masetto, Zerlina, Don Giovanni, Servants, Peasants) | — | ||
| 44-23 | Don Giovanni, K. 527: Act I, Scene 4. Tra quest'arbori celata (Zerlina, Don Giovanni, Masetto) | — | ||
| 44-24 | Don Giovanni, K. 527: Act I, Scene 4. Bisogna aver corragio (Donna Elvira, Don Ottavio, Donna Anna, Leporello, Don Giovanni) | — | ||
| 44-25 | Don Giovanni, K. 527: Act I, Scene 4. Protegga il giusto cielo (Donna Anna, Don Ottavio, Donna Elvira) | — | ||
| 44-26 | Don Giovanni, K. 527: Act I, Scene 5. Riposate, vezzose ragazze (Don Giovanni, Leporello, Masetto, Zerlina) | — | ||
| 44-27 | Don Giovanni, K. 527: Act I, Scene 5. Venite pur avanti (Leporello, Don Giovanni, Donna Anna, Donna Elvira, Don Ottavio, Masetto, Zerlina) | — | ||
| 44-28 | Don Giovanni, K. 527: Act I, Scene 5. Ecco il birbo (Don Giovanni, Leporello, Donna Anna, Donna Elvira, Don Ottavio) | — | ||
| 44-29 | Don Giovanni, K. 527: Act I, Scene 5. Trema trema, o scellerato! (Donna Anna, Zerlina, Donna Elvira, Don Ottavio, Masetto, Don Giovanni, Leporello) | — | ||
| 45-1 | Don Giovanni, K. 527: Act II, Scene 1. Eh via, buffone, non mi seccar! (Don Giovanni, Leporello) | — | ||
| 45-2 | Don Giovanni, K. 527: Act II, Scene 1. Ah, taci in giusto core! (Donna Elvira, Leporello, Don Giovanni) | — | ||
| 45-3 | Don Giovanni, K. 527: Act II, Scene 1. Deh! vieni alla finestra (Don Giovanni) | — | ||
| 45-4 | Don Giovanni, K. 527: Act II, Scene 1. Metà di voi qua vadano (Don Giovanni) | — | ||
| 45-5 | Don Giovanni, K. 527: Act II, Scene 1. Vedrai, carino (Zerlina) | — | ||
| 45-6 | Don Giovanni, K. 527: Act II, Scene 2. Sola sola in buio loco (Donna Elvira, Leporello, Don Ottavio, Donna Anna, Zerlina, Masetto) | — | ||
| 45-7 | Don Giovanni, K. 527: Act II, Scene 2. Mille torbidi pensieri (Donna Elvira, Leporello, Don Ottavio, Donna Anna, Zerlina, Masetto) | — | ||
| 45-8 | Don Giovanni, K. 527: Act II, Scene 2. Ah pietà, signora miei! (Leporello) | — | ||
| 45-9 | Don Giovanni, K. 527: Act II, Scene 2. Il mio tesoro intanto (Don Ottavio) | — | ||
| 45-10 | Don Giovanni, K. 527: Act II, Scene 3. O statua gentilissima (Don Giovanni, Leporello, Statue) | — | ||
| 45-11 | Don Giovanni, K. 527: Act II, Scene 4. Calmatevi, idol mio! (Don Ottavio, Donna Anna) | — | ||
| 45-12 | Don Giovanni, K. 527: Act II, Scene 4. Non mi dir (Donna Anna) | — | ||
| 45-13 | Don Giovanni, K. 527: Act II, Scene 5. Gia la mensa è preparata (Don Giovanni, Leporello) | — | ||
| 45-14 | Don Giovanni, K. 527: Act II, Scene 5. L'ultima prova dell'amor mio (Donna Elvira, Don Giovanni, Leporello) | — | ||
| 45-15 | Don Giovanni, K. 527: Act II, Scene 5. Che grido è questa mai? (Don Giovanni, Leporello) | — | ||
| 45-16 | Don Giovanni, K. 527: Act II, Scene 5. Don Giovanni, a cenar teco (Statue, Don Giovanni, Leporello) | — | ||
| 45-17 | Don Giovanni, K. 527: Act II, Scene 5. Da qual tremore insolito (Don Giovanni, Demons, Leporello) | — | ||
| 45-18 | Don Giovanni, K. 527: Act II, Scene 5. Ah, dovè il perfido? (Donna Elvira, Donna Anna, Zerlina, Don Ottavio, Masetto, Leporello) | — | ||
| 45-19 | Don Giovanni, K. 527: Act II, Scene 5. Or che tutti, o mio tesero (Donna Elvira, Donna Anna, Zerlina, Don Ottavio, Masetto, Leporello) | — | ||
| 45-20 | Don Giovanni, K. 527: Act II, Scene 5. Resti dunque quel birbon (Zerlina, Masetto, Leporello) | — | ||
| 45-21 | Don Giovanni, K. 527: Act II, Scene 5. Questo è il fin (Donna Elvira, Zerlina, Don Ottavio, Masetto, Donna Anna, Leporello) | — | ||
| 45-22 | Don Giovanni, K. 527: Appendix. Dalla sua pace (Don Ottavio) | — | ||
| 45-23 | Don Giovanni, K. 527: Appendix. In quali eccessi, o Numi (Donna Elvira) | — | ||
| 45-24 | Don Giovanni, K. 527: Appendix. Mi tradi, quell'alma ingrata (Donna Elvira) | — | ||
| 46-1 | Così fan tutte: Overture | — | ||
| 46-2 | Così fan tutte: Act I, Scene 1. La mia Dorabella capace non è | — | ||
| 46-3 | Così fan tutte: Act I, Scene 1. Fuor' la spada | — | ||
| 46-4 | Così fan tutte: Act I, Scene 1. É la fede delle femmine | — | ||
| 46-5 | Così fan tutte: Act I, Scene 1. Scioccherie di poeti! | — | ||
| 46-6 | Così fan tutte: Act I, Scene 1. Una bella serenata (Ferrando, Guglielmo, Don Alfonso) | — | ||
| 46-7 | Così fan tutte: Act I, Scene 2. Ah, guarda, sorella (Fiordiligi, Dorabella) | — | ||
| 46-8 | Così fan tutte: Act I, Scene 2. Mi par, che stamattina volentieri farei la pazzarella (Fiordiligi, Dorabella, Don Alfonso) | — | ||
| 46-9 | Così fan tutte: Act I, Scene 2. Barbaro fato!... Vorrei dir, e cor non ho (Don Alfonso) | — | ||
| 46-10 | Così fan tutte: Act I, Scene 2. Stella! Per carità, Signor Alfonso (Fiordiligi, Don Alfonso, Dorabella) | — | ||
| 46-11 | Così fan tutte: Act I, Scene 2. Sento, o Dio, che questo piede | — | ||
| 46-12 | Così fan tutte: Act I, Scene 2. Non piangere, idol mio! (Guglielmo, Ferrando, Don Alfonso, Fiordiligi, Dorabella) | — | ||
| 46-13 | Così fan tutte: Act I, Scene 2. Al fato dan legge quegli occhi (Ferrando, Guglielmo) | — | ||
| 46-14 | Così fan tutte: Act I, Scene 2. La commedia è graziosa (Don Alfonso, Ferrando, Fiordiligi, Dorabella) | — | ||
| 46-15 | Così fan tutte: Act I, Scene 2. Bella vita militar! (Chorus) | — | ||
| 46-16 | Così fan tutte: Act I, Scene 2. Non v'è più tempo (Don Alfonso, Fiordiligi, Dorabella, Ferrando, Guglielmo) | — | ||
| 46-17 | Così fan tutte: Act I, Scene 2. Muoio d'affanno!... Di scrivermi ogni giorno (Fiordiligi, Dorabella, Guglielmo, Ferrando, Don Alfonso) | — | ||
| 46-18 | Così fan tutte: Act I, Scene 2. Bella vita militar! (Chorus) | — | ||
| 46-19 | Così fan tutte: Act I, Scene 2. Dove son? (Dorabella, Don Alfonson, Fiordiligi) | — | ||
| 46-20 | Così fan tutte: Atto I, scena 2. “Soave sia il vento” | Claudio Desderi, Carol Vaness, Dolores Ziegler, London Philharmonic Orchestra, Bernard Haitink | — | |
| 46-21 | Così fan tutte: Act I, Scene 2. Non son cattivo comico (Don Alfonso) | — | ||
| 46-22 | Così fan tutte: Act I, Scene 3. Che vita maladetta (Despina, Fiordiligi, Dorabella) | — | ||
| 46-23 | Così fan tutte: Act I, Scene 3. Smanie implacabili (Dorabella) | — | ||
| 46-24 | Così fan tutte: Act I, Scene 3. Signora Dorabella, Signora Fiordiligi (Despina, Dorabella, Fiordiligi) | — | ||
| 46-25 | Così fan tutte: Act I, Scene 3. In uomini, in soldati (Despina) | — | ||
| 46-26 | Così fan tutte: Act I, Scene 3. Chi silenzio? Che aspetto di tristezza (Don Alfonso, Despina) | — | ||
| 46-27 | Così fan tutte: Act I, Scene 3. Alla bella Despinetta | — | ||
| 46-28 | Così fan tutte: Act I, Scene 3. Che sussurro! Che strepito! (tutti) | — | ||
| 46-29 | Così fan tutte: Act I, Scene 3. L'intatta fede | — | ||
| 46-30 | Così fan tutte: Act I, Scene 3. Come scoglio immoto resta (Fiordiligi) | — | ||
| 46-31 | Così fan tutte: Act I, Scene 3. Ah, non partite! (Ferrando, Guglielmo, Don Alfonso, Dorabella, Fiordiligi) | — | ||
| 46-32 | Così fan tutte: Act I, Scene 3. Non siate ritrosi, occhietti vezzosi (Guglielmo) | — | ||
| 46-33 | Così fan tutte: Act I, Scene 3. E voi ridete? (Don Alfonso, Ferrando, Guglielmo) | — | ||
| 46-34 | Così fan tutte: Act I, Scene 3. Si può sapere un poco (Don Alfonso, Guglielmo, Ferrando) | — | ||
| 46-35 | Così fan tutte: Atto I, scena 3. “Un’aura amorosa” | John Aler, London Philharmonic Orchestra, Bernard Haitink | — | |
| 47-1 | Così fan tutte: Act I, Scene 4. Ah, che tutto in un momento | — | ||
| 47-2 | Così fan tutte: Act I, Scene 4. Ah che del sole il raggio | — | ||
| 47-3 | Così fan tutte: Act I, Scene 4. Eccovi il medico | — | ||
| 47-4 | Così fan tutte: Act I, Scene 4. Dove son? Che loco è questo? | — | ||
| 47-5 | Così fan tutte: Act I, Scene 4. Dammi un bacio, o mio tesoro (tutti) | — | ||
| 47-6 | Così fan tutte: Act II, Scene 1. Andate là, che siete due bizarre ragazze! (Despina, Fiordiligi, Dorabella) | — | ||
| 47-7 | Così fan tutte: Act II, Scene 1. Una donna a quindici anni (Despina) | — | ||
| 47-8 | Così fan tutte: Act II, Scene 1. Sorella, cosa dici? (Fiordiligi, Dorabella) | — | ||
| 47-9 | Così fan tutte: Act II, Scene 1. Prenderò quel brunettino (Dorabella, Fiordiligi) | — | ||
| 47-10 | Così fan tutte: Act II, Scene 1. Ah correte al giardino (Don Alfonso) | — | ||
| 47-11 | Così fan tutte: Act II, Scene 2. Secondate, aurette amiche (Ferrando, Guglielmo, Chorus) | — | ||
| 47-12 | Così fan tutte: Act II, Scene 2. Cos'è tal mascherata? (tutti) | — | ||
| 47-13 | Così fan tutte: Act II, Scene 2. La mano a me date (Don Alfonso, Ferrando, Guglielmo, Despina) | — | ||
| 47-14 | Così fan tutte: Act II, Scene 2. Oh che bella giornata! (Fiordiligi, Ferrando, Dorabella, Guglielmo) | — | ||
| 47-15 | Così fan tutte: Act II, Scene 2. Il core vi dono (Guglielmo, Dorabella) | — | ||
| 47-16 | Così fan tutte: Act II, Scene 2. Barbara, perchè fuggi? (Ferrando, Fiordiligi) | — | ||
| 47-17 | Così fan tutte: Act II, Scene 2. Ah, io veggio, quell'anima bella (Ferrando) | — | ||
| 47-18 | Così fan tutte: Act II, Scene 2. Ei parte... senti... ah no! | — | ||
| 47-19 | Così fan tutte: Act II, Scene 2. Per pietà, ben mio, perdona (Fiordiligi) | — | ||
| 48-1 | Così fan tutte: Act II, Scene 2. Amico, abbiamo vinto! (Ferrando, Guglielmo) | — | ||
| 48-2 | Così fan tutte: Act II, Scene 2. Donne mie, la fate a tanti a tanti (Guglielmo) | — | ||
| 48-3 | Così fan tutte: Act II, Scene 2. In qual fiero contrasto | — | ||
| 48-4 | Così fan tutte: Act II, Scene 2. Tradito, schernito (Ferrando) | — | ||
| 48-5 | Così fan tutte: Act II, Scene 2. Bravo, questo è costanza (Don Alfonso, Ferrando, Guglielmo) | — | ||
| 48-6 | Così fan tutte: Act II, Scene 3. Ora vedo che siete una donna di garbo (Despina, Dorabella, Fiordiligi) | — | ||
| 48-7 | Così fan tutte: Act II, Scene 3. È amore un ladroncello (Dorabella) | — | ||
| 48-8 | Così fan tutte: Act II, Scene 3. Come tutto congiura a sedurre il mil cor! (Fiordiligi, Guglielmo, Despina, Don Alfonso) | — | ||
| 48-9 | Così fan tutte: Act II, Scene 3. Fra gli amplessi in pochi istanti (Fiordiligi, Ferrando) | — | ||
| 48-10 | Così fan tutte: Act II, Scene 3. Ah poveretto me, cosa ho veduto! (Guglielmo, Don Alfonso, Ferrando) | — | ||
| 48-11 | Così fan tutte: Act II, Scene 3. Tutti accusan le donne (Don Alfonso, Ferrando, Guglielmo, Don Alfonso) | — | ||
| 48-12 | Così fan tutte: Act II, Scene 3. Vittoria, padroncini! (Despina, Ferrando, Guglielmo, Don Alfonso) | — | ||
| 48-13 | Così fan tutte: Act II, Scene 4. Fate presto, o cari amici (tutti) | — | ||
| 48-14 | Così fan tutte: Act II, Scene 4. Benedetti i doppi coniugi (Coro, Fiordiligi, Dorabella, Ferrando, Guglielmo) | — | ||
| 48-15 | Così fan tutte: Act II, Scene 4. El nel tuo, nel mio bicchiero (Fiordiligi, Dorabella, Ferrando, Guglielmo) | — | ||
| 48-16 | Così fan tutte: Act II, Scene 4. Miei Signori, tutto è fatto | — | ||
| 48-17 | Così fan tutte: Act II, Scene 4. Bella vita militar! | — | ||
| 48-18 | Così fan tutte: Act II, Scene 4. Sani e salvi gli amplessi amorosi (tutti) | — | ||
| 48-19 | Così fan tutte: Act II, Scene 4. Giusto ciel! (Ferrando, Guglielmo) | — | ||
| 48-20 | Così fan tutte: Act II, Scene 4. Ah Signor, son rea di morte | — | ||
| 48-21 | Così fan tutte: Act II, Scene 4. V'ingannai, ma fu l'inganno | — | ||
| 48-22 | Così fan tutte: Act II, Scene 4. Fortunato l'uom che prende (tutti) | — | ||
| 49-1 | Die Zauberflöte: Ouvertüre | Bayerisches Staatsorchester, Wolfgang Sawallisch | T-070.160.184-4 | |
| 49-2 | Die Zauberflöte: Erster Aufzug: Nr.1: Introduktion: Zu Hilfe! zu Hilfe! (Tamino, Drei Damen) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-3 | Die Zauberflöte: Erster Aufzug: Dialog: Wo bin ich? (Tamino) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-4 | Die Zauberflöte: Erster Aufzug: Nr. 2: Lied: Der Vogelfänger bin ich ja (Papageno) | Walter Berry, Orchester der Bayerischen Staatsoper München, Wolfgang Sawallisch | — | |
| 49-5 | Die Zauberflöte: Erster Aufzug: Dialog: Heda! Was da? (Tamino, Papageno, Drei Damen) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-6 | Die Zauberflöte: Erster Aufzug: Nr. 3: Arie: Dies Bildnis ist bezaubernd schön (Tamino) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-7 | Die Zauberflöte: Erster Aufzug: Dialog:: Rüste dich mit Mut und Standhaftigkeit (Drei Damen, Tamino) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-8 | Die Zauberflöte: Erster Aufzug: Nr. 4: Rezitativ & Arie: O zittre nicht, mein lieber Sohn (Königin der Nacht) | Edda Moser, Orchester der Bayerischen Staatsoper München, Wolfgang Sawallisch | — | |
| 49-9 | Die Zauberflöte: Erster Aufzug: Dialog: Ist's denn auch Wahrheit, was ich sah? (Tamino) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-10 | Die Zauberflöte: Erster Aufzug: Nr. 5: Quintett: Hm! hm! hm! hm! (Papageno, Tamino, Drei Damen) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-11 | Die Zauberflöte: Erster Aufzug: Nr. 6: Terzett: Du feines Täubchen, nur herein! (Monostatos, Pamina, Papageno) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-12 | Die Zauberflöte: Erster Aufzug: Dialog: Bin ich nicht ein Narr (Papageno, Pamina) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-13 | Die Zauberflöte: Erster Aufzug: Nr. 7: Duett: Bei Männern, welche Liebe fühlen (Pamina, Papageno) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-14 | Die Zauberflöte: Erster Aufzug: Nr. 8: Finale I: Zum Ziele führt dich diese Bahn (Drei Knaben, Tamino, Sprecher, Chor) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-15 | Die Zauberflöte: Erster Aufzug: Wie stark ist nicht dein Zauberton - Schnelle Füße, rascher Mut (Tamino, Pamina, Papageno, Monostatos, Sarastro, Chor) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-16 | Die Zauberflöte: Zweiter Aufzug: Nr. 9: Marsch der Priester | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-17 | Die Zauberflöte: Zweiter Aufzug: Dialog: Ihr in den Weisheitstempel eingeweihten Diener (Sarastro, Zwei Priester, Sprecher) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 49-18 | Die Zauberflöte: Zweiter Aufzug: Nr. 10: Arie & Chor: Isis und Osiris (Sarastro, Chor) | Chor der Bayerischen Staatsoper, Kurt Moll, Bayerisches Staatsorchester, Wolfgang Sawallisch | T-911.794.016-6 | |
| 50-1 | Die Zauberflöte: Zweiter Aufzug: Dialog: Eine schreckliche Nacht (Tamino, Papageno, Zwei Priester) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-2 | Die Zauberflöte: Zweiter Aufzug: Nr. 11: Duett: Bewahret euch vor Weibertücken (Zwei Priester) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-3 | Die Zauberflöte: Zweiter Aufzug: Dialog: He, Lichter her! (Papageno, Tamino) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-4 | Die Zauberflöte: Zweiter Aufzug: Duett: Pamina, wo bist du? (Tamino, Papageno) | Walter Berry, Peter Schreier, Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-5 | Die Zauberflöte: Zweiter Aufzug: Nr. 12: Quintett: Wie? Wie? Wie? Ihr an diesem Schreckensort? (Drei Damen, Tamino, Papageno, Chor) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-6 | Die Zauberflöte: Zweiter Aufzug: Dialog: Tamino! Dein standhaft männliches Betragen hat gesiegt (Zwei Priester, Papageno, Monostatos) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-7 | Die Zauberflöte: Zweiter Aufzug: Nr. 13: Arie: Alles fühlt der Liebe Freuden ( Monostatos) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-8 | Die Zauberflöte: Zweiter Aufzug: Dialog: Zurück! - O weh! Die Königin der Nacht! (Königin der Nacht, Monostatos, Pamina) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-9 | Die Zauberflöte: Zweiter Aufzug: Nr. 14: Arie: Der Hölle Rache kocht in meinem Herzen (Königin der Nacht) | Edda Moser, Orchester der Bayerischen Staatsoper München, Wolfgang Sawallisch | — | |
| 50-10 | Die Zauberflöte: Zweiter Aufzug: Dialog: Morden soll ich? Das kann ich nicht! (Pamina, Monostatos, Sarastro) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-11 | Die Zauberflöte: Zweiter Aufzug: Nr. 15: Arie: in diesen heil'gen Hallen (Sarastro) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-12 | Die Zauberflöte: Zweiter Aufzug: Dialog: Hier seid ihr beide euch allein überlassen (Zwei Priester, Papageno, Tamino, Papagena) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-13 | Die Zauberflöte: Zweiter Aufzug: Nr. 16: Terzett: Seid uns zum zweiten Mal willkommen (Drei Knaben) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-14 | Die Zauberflöte: Zweiter Aufzug: Dialog: Tamino, wollen wir nicht speisen (Papageno, Pamina) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-15 | Die Zauberflöte: Zweiter Aufzug: Nr. 17: Arie: Ach, ich fühl's, es ist entschwunden (Pamina) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-16 | Die Zauberflöte: Zweiter Aufzug: Dialog: Siehst du, Tamino, ich kann auch schweigen (Papageno) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-17 | Die Zauberflöte: Zweiter Aufzug: Nr. 18: Chor: O Isis und Osiris! Welche Wonne! | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-18 | Die Zauberflöte: Zweiter Aufzug: Dialog: Tamino, dein Betragen war bisher männlich und gelassen (Sarastro, Pamina) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-19 | Die Zauberflöte: Zweiter Aufzug: Nr. 19: Terzett: Soll ich dich, Teurer, nicht mehr sehn? (Pamina, Sarastro, Tamino) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-20 | Die Zauberflöte: Zweiter Aufzug: Dialog: Tamino! Tamino! Willst du mich denn gänzlich verlassen? (Papageno, Erster Priester) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-21 | Die Zauberflöte: Zweiter Aufzug: Nr. 20: Arie: Ein Mädchen oder Weibchen (Papageno) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-22 | Die Zauberflöte: Zweiter Aufzug: Dialog: Da bin ich schon, mein Engel (Papageno, Papagena, Erster Priester) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-23 | Die Zauberflöte: Zweiter Aufzug: Nr. 21: Finale: Bald prangt, den Morgen zu verkünden (Drei Knaben, Pamina) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-24 | Die Zauberflöte: Zweiter Aufzug: Der, welcher wandert diese Straße (Zwei Geharnischte, Tamino, Papagena) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-25 | Die Zauberflöte: Atto II. "Papagena! Papagena!" (Papageno) | Walter Berry, Olivera Miljakovic, Bayerisches Staatsorchester, Wolfgang Sawallisch | — | |
| 50-26 | Die Zauberflöte: Zweiter Aufzug: Nur stille, stille, stille, stille - die Strahlen der Sonne (Königin der Nacht, Monostatos, Drei Damen, Sarastro, Chor) | Bayerisches Staatsorchester, Wolfgang Sawallisch | — |
