UPC · Release
Various Artists
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190758007021 is the Universal Product Code (UPC barcode) for the release “100 Great Recordings - Renaissance, Baroque and Classical Masterpieces” by Various Artists, released 2017-01-01 on Deutsche Harmonia Mundi. 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 1000 tracks, each with its own ISRC. Tracks include DEE479000309, DEE479000310, DEE479000311.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Sinfonie C-Dur, Wq 182/3 (H 659): I. Allegro assai | Freiburger Barockorchester, Thomas Hengelbrock | T-306.395.786-4 | |
| 2 | Sinfonie C-Dur, Wq 182/3 (H 659): II. Adagio | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 3 | Sinfonie C-Dur, Wq 182/3 (H 659): III. Allegretto | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 4 | Concerto c-moll für Cembalo und Orchester, Wq 43/4 (H 474): I. Allegro assai | Andreas Staier, Freiburger Barockorchester, Thomas Hengelbrock | T-306.395.786-4 | |
| 5 | Concerto c-moll für Cembalo und Orchester, Wq 43/4 (H 474): II. Poco adagio | Andreas Staier, Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 6 | Concerto c-moll für Cembalo und Orchester, Wq 43/4 (H 474): III. Tempo di minuetto | Andreas Staier, Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 7 | Concerto c-moll für Cembalo und Orchester, Wq 43/4 (H 474): IV. Allegro assai | Andreas Staier, Freiburger Barockorchester, Thomas Hengelbrock | T-306.395.786-4 | |
| 8 | Sinfonie A-Dur, Wq 182/4 (H 660): I. Allegro ma non troppo | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 9 | Sinfonie A-Dur, Wq 182/4 (H 660): II. Largo et innocemente | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 10 | Sinfonie A-Dur, Wq 182/4 (H 660): III. Allegro assai | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 11 | Concerto Es-Dur für Oboe, Streicher und B.c., Wq 165 (H 468): I. Allegro | Hans-Peter Westermann, Freiburger Barockorchester, Thomas Hengelbrock | T-031.609.609-9 | |
| 12 | Concerto Es-Dur für Oboe, Streicher und B.c., Wq 165 (H 468): II. Adagio ma non troppo | Hans-Peter Westermann, Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 13 | Concerto Es-Dur für Oboe, Streicher und B.c., Wq 165 (H 468): III. Allegro ma non troppo | Hans-Peter Westermann, Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 14 | Sinfonie h-moll, Wq 182/5 (H 661): I. Allegretto | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 15 | Sinfonie h-moll, Wq 182/5 (H 661): II. Larghetto | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 16 | Sinfonie h-moll, Wq 182/5 (H 661): III. Presto | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 2-1 | Magnificat: Magnificat (chorus) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-2 | Magnificat: Quia respexit (soprano) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-3 | Magnificat: Quia fecit mihi magna (tenor) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-4 | Magnificat: Et misericordia (chorus) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-5 | Magnificat: Fecit potentiam (bass) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-6 | Magnificat: Deposuit potentes (tenor & alto) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-7 | Magnificat: Susceptit Israel (alto) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-8 | Magnificat: Gloria Patri (chorus) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-9 | Magnificat: Sicut erat (chorus) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-10 | Concerto in B-flat major, Wq 171: I. Allegretto | Angelica May, Collegium Aureum, Franzjosef Maier | — | |
| 2-11 | Concerto in B-flat major, Wq 171: II. Adagio | Angelica May, Collegium Aureum, Franzjosef Maier | — | |
| 2-12 | Concerto in B-flat major, Wq 171: III. Allegro assai | Angelica May, Collegium Aureum, Franzjosef Maier | — | |
| 3-1 | Sonata in A minor Wq 49,1: Moderato | Andreas Staier | — | |
| 3-2 | Sonata in A minor Wq 49,1: Andante | Andreas Staier | — | |
| 3-3 | Sonata in A minor Wq 49,1: Allegro assai | Andreas Staier | T-306.395.786-4 | |
| 3-4 | 12 Variationes auf die Folie d'Espagne in D minor Wq 118,9 | Andreas Staier | — | |
| 3-5 | "Sonata per il Cembalo solo" in G minor Wq 65,17: Allegro (attaca) | Andreas Staier | T-031.609.609-9 | |
| 3-6 | "Sonata per il Cembalo solo" in G minor Wq 65,17: Adagio (attacca) | Andreas Staier | — | |
| 3-7 | "Sonata per il Cembalo solo" in G minor Wq 65,17: Allegro assai | Andreas Staier | T-306.395.786-4 | |
| 3-8 | "Freye Fantasie" in F sharp minor Wq 67 | Andreas Staier | — | |
| 3-9 | Rondo in C minor Wq 59,4: Allegro | Andreas Staier | T-031.609.609-9 | |
| 3-10 | Sonata in E minor Wq 59,1: Presto (attacca) | Andreas Staier | — | |
| 3-11 | Sonata in E minor, Wq 59 No. 1 (H. 281): Adagio (attacca) | — | ||
| 3-12 | Sonata in E minor Wq 59,1: Andantino | Andreas Staier | — | |
| 3-13 | Fantasia in C major Wq 61,6: Presto di molto – Andante – Presto di molto – Larghetto sostenuto – Presto di molto | Andreas Staier | — | |
| 4-1 | Die Kunst der Fuge, BWV 1080: Contrapunctus I a 4 | Collegium Aureum | — | |
| 4-2 | Die Kunst der Fuge, BWV 1080: Contrapunctus II a 4 | Collegium Aureum | — | |
| 4-3 | Die Kunst der Fuge, BWV 1080: Contrapunctus III a 4 | Collegium Aureum | — | |
| 4-4 | Die Kunst der Fuge, BWV 1080: Contrapunctus IV a 4 | Collegium Aureum | — | |
| 4-5 | Die Kunst der Fuge, BWV 1080: Contrapunctus V a 4 | Collegium Aureum | — | |
| 4-6 | Die Kunst der Fuge, BWV 1080: Contrapunctus VI a 4 | Collegium Aureum | — | |
| 4-7 | Die Kunst der Fuge, BWV 1080: Contrapunctus VII a 4 | Collegium Aureum | — | |
| 4-8 | Die Kunst der Fuge, BWV 1080: Contrapunctus VIII a 3 | Collegium Aureum | — | |
| 4-9 | Die Kunst der Fuge, BWV 1080: Contrapunctus IX a 4 | Collegium Aureum | — | |
| 4-10 | Die Kunst der Fuge, BWV 1080: Contrapunctus X a 4 | Collegium Aureum | — | |
| 5-1 | Die Kunst der Fuge, BWV 1080, Contrapunctus XI a 4 | Collegium Aureum | — | |
| 5-2 | Die Kunst der Fuge, BWV 1080, Contrapunctus XII a 4 | Collegium Aureum | — | |
| 5-3 | Die Kunst der Fuge, BWV 1080, Contrapunctus XIII a 3 | Collegium Aureum | — | |
| 5-4 | Die Kunst der Fuge, BWV 1080, Contrapunctus XIII a 2 | Collegium Aureum | — | |
| 5-5 | Die Kunst der Fuge, BWV 1080, Contrapunctus XIV | Collegium Aureum | — | |
| 5-6 | Die Kunst der Fuge, BWV 1080, Contrapunctus XV | Collegium Aureum | — | |
| 5-7 | Die Kunst der Fuge, BWV 1080, Contrapunctus XVI | Collegium Aureum | — | |
| 5-8 | Die Kunst der Fuge, BWV 1080, Contrapunctus XVII | Collegium Aureum | — | |
| 5-9 | Die Kunst der Fuge, BWV 1080, Contrapunctus XVIII | Collegium Aureum | — | |
| 6-1 | Brandenburg Concerto no. 1 in F major, BWV 1046: I. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 6-2 | Brandenburg Concerto no. 1 in F major, BWV 1046: II. Adagio | La Petite Bande, Sigiswald Kuijken | — | |
| 6-3 | Brandenburg Concerto no. 1 in F major, BWV 1046: III. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 6-4 | Brandenburg Concerto no. 1 in F major, BWV 1046: IV. Menuetto | La Petite Bande, Sigiswald Kuijken | — | |
| 6-5 | Brandenburg Concerto no. 2 in F major, BWV 1047: I. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 6-6 | Brandenburg Concerto no. 2 in F major, BWV 1047: II. Andante | La Petite Bande, Sigiswald Kuijken | — | |
| 6-7 | Brandenburg Concerto no. 2 in F major, BWV 1047: III. Allegro assai | La Petite Bande, Sigiswald Kuijken | — | |
| 6-8 | Brandenburg Concerto no. 3 in G major, BWV 1048: I. Allegro / II. Adagio | La Petite Bande, Sigiswald Kuijken | — | |
| 6-9 | Brandenburg Concerto no. 3 in G major, BWV 1048: III. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 7-1 | Brandenburg Concerto no. 4 in G major, BWV 1049: I. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 7-2 | Brandenburg Concerto no. 4 in G major, BWV 1049: II. Andante | La Petite Bande, Sigiswald Kuijken | T-307.292.946-1 | |
| 7-3 | Brandenburg Concerto no. 4 in G major, BWV 1049: III. Presto | La Petite Bande, Sigiswald Kuijken | — | |
| 7-4 | Brandenburg Concerto no. 5 in D major, BWV 1050: I. Allegro | La Petite Bande, Sigiswald Kuijken | T-914.323.771-2 | |
| 7-5 | Brandenburg Concerto no. 5 in D major, BWV 1050: II. Affettuoso | La Petite Bande, Sigiswald Kuijken | — | |
| 7-6 | Brandenburg Concerto no. 5 in D major, BWV 1050: III. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 7-7 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: I. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 7-8 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: II. Adagio ma non tanto | La Petite Bande, Sigiswald Kuijken | — | |
| 7-9 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: III. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 8-1 | Goldberg-Variationen, BWV 988: Aria | — | ||
| 8-2 | Goldberg-Variationen, BWV 988: Variatio 1, a 1 Clav. | — | ||
| 8-3 | Goldberg-Variationen, BWV 988: Variatio 2, a 1 Clav. | — | ||
| 8-4 | Goldberg-Variationen, BWV 988: Variatio 3, a 1 Clav. Canone all'Unisono | — | ||
| 8-5 | Goldberg-Variationen, BWV 988: Variatio 4, a 1 Clav. | — | ||
| 8-6 | Goldberg-Variationen, BWV 988: Variatio 5, a 1 ovvero 2 Clav. | — | ||
| 8-7 | Goldberg-Variationen, BWV 988: Variatio 6, a 1 Clav. Canone alla Seconda | — | ||
| 8-8 | Goldberg-Variationen, BWV 988: Variatio 7, a 1 ovvero 2 Clav. Al tempo di Giga | — | ||
| 8-9 | Goldberg-Variationen, BWV 988: Variatio 8, a 2 Clav. | — | ||
| 8-10 | Goldberg-Variationen, BWV 988: Variatio 9, a 1 Clav. Canone alla Terza | — | ||
| 8-11 | Goldberg-Variationen, BWV 988: Variatio 10, a 1 Clav. Fughetta | — | ||
| 8-12 | Goldberg-Variationen, BWV 988: Variatio 11, a 2 Clav. | — | ||
| 8-13 | Goldberg-Variationen, BWV 988: Variatio 12, Canone all Quarta | — | ||
| 8-14 | Goldberg-Variationen, BWV 988: Variatio 13, a 2 Clav. | — | ||
| 8-15 | Goldberg-Variationen, BWV 988: Variatio 14, a 2 Clav. | — | ||
| 8-16 | Goldberg-Variationen, BWV 988: Variatio 15, a 1 Clav. Canone alla Quinta, Andante | — | ||
| 8-17 | Goldberg-Variationen, BWV 988: Variatio 16, a 1 Clav. Ouverture | — | ||
| 8-18 | Goldberg-Variationen, BWV 988: Variatio 17, a 2 Clav. | — | ||
| 8-19 | Goldberg-Variationen, BWV 988: Variatio 18, a 1 Clav. Canone alla Sesta | — | ||
| 8-20 | Goldberg-Variationen, BWV 988: Variatio 19, a 1 Clav. | — | ||
| 8-21 | Goldberg-Variationen, BWV 988: Variatio 20, a 2 Clav. | — | ||
| 8-22 | Goldberg-Variationen, BWV 988: Variatio 21, Canone alla Settima | — | ||
| 8-23 | Goldberg-Variationen, BWV 988: Variatio 22, a 1 Clav. Alla breve | — | ||
| 8-24 | Goldberg-Variationen, BWV 988: Variatio 23, a 2 Clav. | — | ||
| 8-25 | Goldberg-Variationen, BWV 988: Variatio 24, a 1 Clav. Canone all'Ottava | — | ||
| 8-26 | Goldberg-Variationen, BWV 988: Variatio 25, a 2 Clav. Adagio | — | ||
| 8-27 | Goldberg-Variationen, BWV 988: Variatio 26, a 2 Clav. | — | ||
| 8-28 | Goldberg-Variationen, BWV 988: Variatio 27, Canone all Nona, a 2 Clav. | — | ||
| 8-29 | Goldberg-Variationen, BWV 988: Variatio 28, a 2 Clav. | — | ||
| 8-30 | Goldberg-Variationen, BWV 988: Variatio 29, a 1 ovvero 2 Clav. | — | ||
| 8-31 | Goldberg-Variationen, BWV 988: Variatio 30, a 1 Clav. Quodlibet | — | ||
| 8-32 | Goldberg-Variationen, BWV 988: Aria da capo | — | ||
| 9-1 | Suite g-moll, BWV 995: I. Prélude | Konrad Junghänel | — | |
| 9-2 | Suite g-moll, BWV 995: II. Allemande | Konrad Junghänel | — | |
| 9-3 | Suite g-moll, BWV 995: III. Courante | Konrad Junghänel | — | |
| 9-4 | Suite g-moll, BWV 995: IV. Sarabande | Konrad Junghänel | — | |
| 9-5 | Suite g-moll, BWV 995: V. Gavotte I & II en Rondeau | Konrad Junghänel | — | |
| 9-6 | Suite g-Moll, BWV 995: VI. Gigue | Konrad Junghänel | — | |
| 9-7 | Suite c-moll, BWV 997: I. Prélude | Konrad Junghänel | — | |
| 9-8 | Suite c-moll, BWV 997: II. Fuga | Konrad Junghänel | — | |
| 9-9 | Suite c-moll, BWV 997: III. III. Sarabande | Konrad Junghänel | — | |
| 9-10 | Suite c-moll, BWV 997: IV. Gigue - Double | Konrad Junghänel | — | |
| 9-11 | Präludium c-moll, BWV 999 | Konrad Junghänel | — | |
| 9-12 | Fuge g-moll, BWV 1000 | Konrad Junghänel | — | |
| 10-1 | Präludium, Fuge & Allegro Es-dur, BWV 998 | Konrad Junghänel | T-915.711.069-5 | |
| 10-2 | Suite e-moll, BWV 996: I. Praeludio (Passaggio - Presto) | Konrad Junghänel | — | |
| 10-3 | Suite e-moll, BWV 996: II. Allemande | Konrad Junghänel | — | |
| 10-4 | Suite e-moll, BWV 996: III. Courante | Konrad Junghänel | — | |
| 10-5 | Suite e-moll, BWV 996: IV. Sarabande | Konrad Junghänel | — | |
| 10-6 | Suite e-moll, BWV 996: V. Bourrée | Konrad Junghänel | — | |
| 10-7 | Suite e-moll, BWV 996: VI. Gigue | Konrad Junghänel | — | |
| 10-8 | Suite E-dur, BWV 1006a: I. Prélude | Konrad Junghänel | — | |
| 10-9 | Suite E-dur, BWV 1006a: II. Loure | Konrad Junghänel | — | |
| 10-10 | Suite E-dur, BWV 1006a: III. Gavotte en Rondeau | Konrad Junghänel | — | |
| 10-11 | Suite E-dur, BWV 1006a: IV. Menuett I & II | Konrad Junghänel | — | |
| 10-12 | Suite E-dur, BWV 1006a: V. Bourée | Konrad Junghänel | — | |
| 10-13 | Suite E-dur, BWV 1006a: VI. Gigue | Konrad Junghänel | — | |
| 11-1 | Johannes-Passion, BWV 245: Teil I: No. 1. Chor: "Herr, unser Herrscher" | — | ||
| 11-2 | Johannes-Passion, BWV 245: Teil I: No. 2a. Rezitativ: "Jesus ging mit seinen Jüngern" (Evangelist, Jesus) | — | ||
| 11-3 | Johannes-Passion, BWV 245: Teil I: No. 2b. Chor: "Jesum von Nazereth!" | — | ||
| 11-4 | Johannes-Passion, BWV 245: Teil I: No. 2c. Rezitativ: "Jesus spricht zu ihnen" (Evangelist, Jesus) | — | ||
| 11-5 | Johannes-Passion, BWV 245: Teil I: No. 2d. Rezitativ: "Jesus antwortete" (Evangelist, Jesus) | — | ||
| 11-6 | Johannes-Passion, BWV 245: Teil I: No. 3. Chorale: "O große Lieb" | — | ||
| 11-7 | Johannes-Passion, BWV 245: Teil I: No. 4. Rezitativ: "Auf dass das Wort erfüllet würde" (Evangelist, Jesus) | — | ||
| 11-8 | Johannes-Passion, BWV 245: Teil I: No. 5. Chorale: "Dein Will gescheh, Herr Gott, zugleich" | — | ||
| 11-9 | Johannes-Passion, BWV 245: Teil I: No. 6. Rezitativ: "Die Schar aber und der Oberhauptmann" (Evangelist) | — | ||
| 11-10 | Johannes-Passion, BWV 245: Teil I: No. 7. Arie: "Von den Stricken meiner Sünden" (alto) | — | ||
| 11-11 | Johannes-Passion, BWV 245: Teil I: No. 8. Rezitativ: "Simon Petrus aber folgete Jesu nach" (Evangelist) | — | ||
| 11-12 | Johannes-Passion, BWV 245: Teil I: No. 9. Arie: "Ich folge dir gleichfalls" (soprano) | — | ||
| 11-13 | Johannes-Passion, BWV 245: Teil I: No. 10. Rezitativ: "Derselbige Jünger war dem Hohenpriester bekannt" (Evangelist, Maid, Peter, Jesus, Servant) | — | ||
| 11-14 | Johannes-Passion, BWV 245: Teil I: No. 11. Chorale: "Wer hat dich so geschlagen" | — | ||
| 11-15 | Johannes-Passion, BWV 245: Teil I: No. 12a. Rezitativ: "Und Hannas sandte ihn gebunden" (Evangelist) | — | ||
| 11-16 | Johannes-Passion, BWV 245: Teil I: No. 12b. Chor: "Bist du nicht seiner Jünger einer?" | — | ||
| 11-17 | Johannes-Passion, BWV 245: Teil I: No. 12c. Rezitativ: "Er leugnete aber und sprach" (Evangelist, Peter, Servant) | — | ||
| 11-18 | Johannes-Passion, BWV 245: Teil I: No. 13. Arie: "Ach, mein Sinn" (tenor) | — | ||
| 11-19 | Johannes-Passion, BWV 245: Teil I: No. 14. Chorale: "Petrus, der nicht denkt zurück" | — | ||
| 11-20 | Johannes-Passion, BWV 245: Teil II: No. 15. Chorale: "Christus, der uns selig macht" | — | ||
| 11-21 | Johannes-Passion, BWV 245: Teil II: No. 16a. Rezitativ: "Da führeten sie Jesum" (Evangelist, Pilate) | — | ||
| 11-22 | Johannes-Passion, BWV 245: Teil II: No. 16b. Chor: "Wäre dieser nicht ein Übeltäter" | — | ||
| 11-23 | Johannes-Passion, BWV 245: Teil II: No. 16c. Rezitativ: "Da sprach Pilatus zu ihnen" (Evangelist, Pilate) | — | ||
| 11-24 | Johannes-Passion, BWV 245: Teil II: No. 16d. Chor: "Wir dürfen niemand töten" | — | ||
| 11-25 | Johannes-Passion, BWV 245: Teil II: No. 16e. Rezitativ: "Auf dass erfüllet würde das Wort Jesu" (Evangelist, Pilate, Jesus) | — | ||
| 11-26 | Johannes-Passion, BWV 245: Teil II: No. 17. Chorale: "Ach, großer König" | — | ||
| 11-27 | Johannes-Passion, BWV 245: Teil II: No. 18a. Rezitativ: "Da sprach Pilatus zu ihm" (Evangelist, Pilate, Jesus) | — | ||
| 11-28 | Johannes-Passion, BWV 245: Teil II: No. 18b. Chor: "Nicht diesen, sondern Barrabam" | — | ||
| 11-29 | Johannes-Passion, BWV 245: Teil II: No. 18c. Rezitativ: "Barrabas aber war ein Mörder" (Evangelist) | — | ||
| 11-30 | Johannes-Passion, BWV 245: Teil II: No. 19. Arioso: "Betrachte, meine Seel" (bass) | — | ||
| 11-31 | Johannes-Passion, BWV 245: Teil II: No. 20. Arie: "Erwäge, wie sein blutgefärbter Rücken" (tenor) | — | ||
| 12-1 | Johannes-Passion, BWV 245: Teil II: No. 21a. Rezitativ: "Und die Kriegsknechte flochten eine Krone" (Evangelist) | — | ||
| 12-2 | Johannes-Passion, BWV 245: Teil II: No. 21b. Chor: "Sei gegrüßet, lieber Judenkönig!" | — | ||
| 12-3 | Johannes-Passion, BWV 245: Teil II: No. 21c. Rezitativ: "Und gaben ihm Backenstreiche" (Evangelist, Pilate) | — | ||
| 12-4 | Johannes-Passion, BWV 245: Teil II: No. 21d. Chor: "Kreuzige, kreuzige!" | — | ||
| 12-5 | Johannes-Passion, BWV 245: Teil II: No. 21e. Rezitativ: "Pilatus sprach zu ihnen" (Evangelist, Pilate) | — | ||
| 12-6 | Johannes-Passion, BWV 245: Teil II: No. 21f. Chor: "Wir haben ein Gesetz" | — | ||
| 12-7 | Johannes-Passion, BWV 245: Teil II: No. 21g. Rezitativ: "Da Pilatus das Wort hörete" (Evangelist, Pilate, Jesus) | — | ||
| 12-8 | Johannes-Passion, BWV 245: Teil II: No. 22. Chorale: "Durch dein Gefängnis, Gottes Sohn" | — | ||
| 12-9 | Johannes-Passion, BWV 245: Teil II: No. 23a. Rezitativ: "Die Juden aber schrien" (Evangelist) | — | ||
| 12-10 | Johannes-Passion, BWV 245: Teil II: No. 23b. Chor: "Lässest du diesen los" | — | ||
| 12-11 | Johannes-Passion, BWV 245: Teil II: No. 23c. Rezitativ: "Da Pilatus das Wort hörete" (Evangelist, Pilate) | — | ||
| 12-12 | Johannes-Passion, BWV 245: Teil II: No. 23d. Chor: "Weg, weg mit dem" | — | ||
| 12-13 | Johannes-Passion, BWV 245: Teil II: No. 23e. Rezitativ: "Spricht Pilatus zu ihnen" (Evangelist, Pilate) | — | ||
| 12-14 | Johannes-Passion, BWV 245: Teil II: No. 23f. Chor: "Wir haben keinen König" | — | ||
| 12-15 | Johannes-Passion, BWV 245: Teil II: No. 23g. Rezitativ: "Da überantwortete er ihn" (Evangelist) | — | ||
| 12-16 | Johannes-Passion, BWV 245: Teil II: No. 24. Arie with Chor: "Eilt, ihr angefochtnen Seelen" (bass) | — | ||
| 12-17 | Johannes-Passion, BWV 245: Teil II: No. 25a. Rezitativ: "Allda kreuzigten sie ihn" (Evangelist) | — | ||
| 12-18 | Johannes-Passion, BWV 245: Teil II: No. 25b. Chor: "Schreibe nicht: der Juden König" | — | ||
| 12-19 | Johannes-Passion, BWV 245: Teil II: No. 25c. Rezitativ: "Pilatus antwortete" (Evangelist, Pilate) | — | ||
| 12-20 | Johannes-Passion, BWV 245: Teil II: No. 26. Chorale: "In meines Herzens Grunde" | — | ||
| 12-21 | Johannes-Passion, BWV 245: Teil II: No. 27a. Rezitativ: "Die Kriegsknechte aber" (Evangelist) | — | ||
| 12-22 | Johannes-Passion, BWV 245: Teil II: No. 27b. Chor: "Lasset uns den nicht zerteilen" | — | ||
| 12-23 | Johannes-Passion, BWV 245: Teil II: No. 27c. Rezitativ: "Auf dass erfüllet würde die Schrift" (Evangelist, Jesus) | — | ||
| 12-24 | Johannes-Passion, BWV 245: Teil II: No. 28. Chorale: "Er nahm alles wohl in Acht" | — | ||
| 12-25 | Johannes-Passion, BWV 245: Teil II: No. 29. Rezitativ: "Und von Stund an" (Evangelist, Jesus) | — | ||
| 12-26 | Johannes-Passion, BWV 245: Teil II: No. 30. Arie: "Es ist vollbracht" (alto) | — | ||
| 12-27 | Johannes-Passion, BWV 245: Teil II: No. 31. Rezitativ: "Und neigte das Haupt" (Evangelist) | — | ||
| 12-28 | Johannes-Passion, BWV 245: Teil II: No. 32. Arie with Chorale: "Mein teurer Heiland" (bass) | — | ||
| 12-29 | Johannes-Passion, BWV 245: Teil II: No. 33. Rezitativ: "Und siehe da, der Vorhang im Tempel zerriss" (Evangelist) | — | ||
| 12-30 | Johannes-Passion, BWV 245: Teil II: No. 34. Arioso: "Mein Herz, indem die ganze Welt" (tenor) | — | ||
| 12-31 | Johannes-Passion, BWV 245: Teil II: No. 35. Arie: "Zerfließe, mein Herze" (soprano) | — | ||
| 12-32 | Johannes-Passion, BWV 245: Teil II: No. 36. Rezitativ: "Die Juden aber" (Evangelist) | — | ||
| 12-33 | Johannes-Passion, BWV 245: Teil II: No. 37. Chorale: "O hilf, Christe, Gottes Sohn" | — | ||
| 12-34 | Johannes-Passion, BWV 245: Teil II: No. 38. Rezitativ: "Darnach bat Pilatum Joseph von Arimathia" (Evangelist) | — | ||
| 12-35 | Johannes-Passion, BWV 245: Teil II: No. 39. Chor: "Ruht wohl, ihr heiligen Gebeine" | — | ||
| 12-36 | Johannes-Passion, BWV 245: Teil II: No. 40. Chorale: "Ach, Herr, lass dein lieb Engelein" | — | ||
| 13-1 | Toccata in D minor, BWV 913 | Gustav Leonhardt | — | |
| 13-2 | Liebster Herr Jesu, wir sind hier, BWV 731 | Gustav Leonhardt | T-905.384.167-1 | |
| 13-3 | Christ lag in Todesbanden, BWV 718 | Gustav Leonhardt | T-922.029.386-7 | |
| 13-4 | Valet will ich dir geben, BWV 736 | Gustav Leonhardt | — | |
| 13-5 | Lobt Gott, ihr Christen allzugleich, BWV 732 | Gustav Leonhardt | — | |
| 13-6 | Kyrie, Gott Vater in Ewigkeit, BWV 669 | Gustav Leonhardt | T-910.295.522-6 | |
| 13-7 | Christe, aller Welt Trost, BWV 670 | Gustav Leonhardt | — | |
| 13-8 | Kyrie, Gott heiliger Geist, BWV 671 | Gustav Leonhardt | — | |
| 13-9 | Allein Gott in der Höh sei Ehr, BWV 675 | Gustav Leonhardt | — | |
| 13-10 | Allein Gott in der Höh sei Ehr, BWV 677 | Gustav Leonhardt | — | |
| 13-11 | Dies sind die heilgen zehn Gebot, BWV 679 | Gustav Leonhardt | — | |
| 13-12 | Wir glauben all an einen Gott, BWV 681 | Gustav Leonhardt | — | |
| 13-13 | Vater unser im Himmelreich, BWV 683 | Gustav Leonhardt | — | |
| 13-14 | Christ, unser Herr, zum Jordan kam, BWV 684 | Gustav Leonhardt | — | |
| 13-15 | Aus tiefer Not schrei ich zu dir, BWV 687 | Gustav Leonhardt | — | |
| 13-16 | Jesus Christus unser Heiland, BWV 689 | Gustav Leonhardt | — | |
| 13-17 | Präludium & Fuge in E minor, BWV 533 | Gustav Leonhardt | T-316.902.911-8 | |
| 14-1 | Kaffee-Kantate, BWV 211: I. Recitativo (Erzähler): Schweigt stille, plaudert nicht | Gerald English, Collegium Aureum, Franzjosef Maier | — | |
| 14-2 | Kaffee-Kantate, BWV 211: II. Aria (Schlendrian): Hat man nicht mit seinen Kindern | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-3 | Kaffee-Kantate, BWV 211: III. Recitativo (Schlendrian): Du böses Kind, du loses Mädchen | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-4 | Kaffee-Kantate, BWV 211: IV. Aria (Lieschen): Ei, wie schmeckt der Coffee süße | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-5 | Kaffee-Kantate, BWV 211: V. Recitativo (Schlendrian): Wenn du mir nicht den Coffee läßt | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-6 | Kaffee-Kantate, BWV 211: VI. Aria (Schlendrian): Mädchen, die von harten Sinnen | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-7 | Kaffee-Kantate, BWV 211: VII. Recitativo (Schlendrian): Nun folge, was dein Vater spricht | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-8 | Kaffee-Kantate, BWV 211: VIII. Aria (Lieschen): Heute noch, heute noch | Siegmund Nimsgern, Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-9 | Kaffee-Kantate, BWV 211: IX. Recitativo (Erzähler): Nun geht und sucht der alte Schlendrian | Gerald English, Collegium Aureum, Franzjosef Maier | — | |
| 14-10 | Kaffee-Kantate, BWV 211: X. Coro: Die Katze läßt das Mausen nicht | Elly Ameling, Gerald English, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-11 | Bauern-Kantate, BWV 212: I. Sinfonia | Collegium Aureum, Franzjosef Maier | — | |
| 14-12 | Bauern-Kantate, BWV 212: II. Duetto: Mer han en neue Oberkeet | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-13 | Bauern-Kantate, BWV 212: III. Recitativo (Basso): Nu, Miecke, gib dein Guschel immer her | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | T-011.170.221-6 | |
| 14-14 | Bauern-Kantate, BWV 212: IV. Aria (Soprano): Ach es schmeckt doch gar zu gut | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-15 | Bauern-Kantate, BWV 212: V. Recitativo (Basso): Der Herr ist gut | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-16 | Bauern-Kantate, BWV 212: VI. Aria (Basso): Ach, Herr Schösser, geht nicht gar zu schlimm | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-17 | Bauern-Kantate, BWV 212: VII. Recitativo (Soprano): Es bleibt dabei, daß unser Herr der beste sei | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-18 | Bauern-Kantate, BWV 212: VIII. Aria (Soprano): Unser trefflicher lieber Kammerherr | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-19 | Bauern-Kantate, BWV 212: IX. Recitativo (Basso): Er hilft uns allen, alt und jung | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-20 | Bauern-Kantate, BWV 212: X. Aria (Soprano): Das ist galant | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-21 | Bauern-Kantate, BWV 212: XI. Recitativo (Basso): Und unsre gnädige Frau ist nicht ein prinkel stolz | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-22 | Bauern-Kantate, BWV 212: XII. Aria (Basso): Fünfzig Taler bares Geld | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-23 | Bauern-Kantate, BWV 212: XIII. Recitativo (Soprano): Im Ernst ein Wort! | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-24 | Bauern-Kantate, BWV 212: XIV. Aria (Soprano): Klein Zschocher müsse so zart und süße | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-25 | Bauern-Kantate, BWV 212: XV. Recitativo (Basso): Das ist zu klug vor dich | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-26 | Bauern-Kantate, BWV 212: XVI. Aria (Basso): Es nehme zehntausend Ducaten | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-27 | Bauern-Kantate, BWV 212: XVII. Recitativo (Soprano): Das klingt zu liederlich | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-28 | Bauern-Kantate, BWV 212: XVIII. Aria (Soprano): Gib, Schöne, viel Söhne von artger Gestalt | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-29 | Bauern-Kantate, BWV 212: XIX. Recitativo (Basso): Du hast wohl recht | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-30 | Bauern-Kantate, BWV 212: XX. Aria (Basso): Dein Wachstum sei feste und lache vor Lust | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-31 | Bauern-Kantate, BWV 212: XXI. Recitativo (Soprano): Und damit sei es auch genug | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-32 | Bauern-Kantate, BWV 212: XXII. Recitativo (Basso): Und daß ihr's alle wißt | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-33 | Bauern-Kantate, BWV 212: XXIII. Aria (Soprano): Mein Schatz, erraten! | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-34 | Bauern-Kantate, BWV 212: XXIV. Coro: Wir gehn nun, wo der Tudelsack | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 15-1 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Weichet nur, betrübte Schatten | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-2 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Die Welt wird wieder neu | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-3 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Phöbus eilt mit schnellen Pfeilen | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-4 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Drum sucht auch Amor sein Vergnügen | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-5 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Wenn die Frühlingslüfte streichen | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-6 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Und dieses ist das Glücke | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-7 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Sich üben im Lieben | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-8 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: So sei das Band der keuschen Liebe | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-9 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Sehet in Zufriedenheit | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-10 | Kantate "Non sà che sia dolore", BWV 209: Sinfonia | Collegium Aureum, Franzjosef Maier | — | |
| 15-11 | Kantate "Non sà che sia dolore", BWV 209: Non sà che sia dolore | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 15-12 | Kantate "Non sà che sia dolore", BWV 209: Parti pur col dolore | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 15-13 | Kantate "Non sà che sia dolore", BWV 209: Tuo saver al tempo e l'età | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 15-14 | Kantate "Non sà che sia dolore", BWV 209: Recitti gramezza e pavento | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 16-1 | Sonata I in G minor, BWV 1001: I. Adagio | — | ||
| 16-2 | Sonata I in G minor, BWV 1001: II. Fuga. Allegro | — | ||
| 16-3 | Sonata I in G minor, BWV 1001: III. Siciliana | — | ||
| 16-4 | Sonata I in G minor, BWV 1001: IV. Presto | — | ||
| 16-5 | Partita I in B minor, BWV 1002: I. Allemanda | — | ||
| 16-6 | Partita I in B minor, BWV 1002: II. Double | — | ||
| 16-7 | Partita I in B minor, BWV 1002: III. Correnta | — | ||
| 16-8 | Partita I in B minor, BWV 1002: IV. Double. Presto | — | ||
| 16-9 | Partita I in B minor, BWV 1002: V. Sarabande | — | ||
| 16-10 | Partita I in B minor, BWV 1002: VI. Double | — | ||
| 16-11 | Partita I in B minor, BWV 1002: VII. Tempo di Borea | — | ||
| 16-12 | Partita I in B minor, BWV 1002: VIII. Double | — | ||
| 16-13 | Sonata II in A minor, BWV 1003: I. Grave | — | ||
| 16-14 | Sonata II in A minor, BWV 1003: II. Fuga | — | ||
| 16-15 | Sonata II in A minor, BWV 1003: III. Andante | — | ||
| 16-16 | Sonata II in A minor, BWV 1003: IV. Allegro | — | ||
| 17-1 | Partita in D minor, BWV 1004: I. Allemanda | — | ||
| 17-2 | Partita in D minor, BWV 1004: II. Corrente | — | ||
| 17-3 | Partita in D minor, BWV 1004: III. Sarabanda | — | ||
| 17-4 | Partita in D minor, BWV 1004: IV. Giga | — | ||
| 17-5 | Partita in D minor, BWV 1004: V. Ciaccona | — | ||
| 17-6 | Sonata III in C major, BWV 1005: I. Adagio | — | ||
| 17-7 | Sonata III in C major, BWV 1005: II. Fuga | — | ||
| 17-8 | Sonata III in C major, BWV 1005: III. Largo | — | ||
| 17-9 | Sonata III in C major, BWV 1005: IV. Allegro assai | — | ||
| 17-10 | Partita III in E major, BWV 1006: I. Preludio | — | ||
| 17-11 | Partita III in E major, BWV 1006: II. Loure | — | ||
| 17-12 | Partita III in E major, BWV 1006: III. Gavotte en Rondeaux | — | ||
| 17-13 | Partita III in E major, BWV 1006: IV. Menuet I-II | — | ||
| 17-14 | Partita III in E major, BWV 1006: V. Bourée | — | ||
| 17-15 | Partita III in E major, BWV 1006: VI. Gigue | — | ||
| 18-1 | Sonata I d-moll: Praeludium | Heinrich Ignaz Franz von Biber | — | |
| 18-2 | Sonata I d-moll: Arai allegro - Varatio | Heinrich Ignaz Franz von Biber | — | |
| 18-3 | Sonata I d-moll: Finale | Heinrich Ignaz Franz von Biber | — | |
| 18-4 | Sonata II A-dur: Sonata - Presto | Heinrich Ignaz Franz von Biber | — | |
| 18-5 | Sonata II A-dur: Allemande | Heinrich Ignaz Franz von Biber | — | |
| 18-6 | Sonata II A-dur: Presto | Heinrich Ignaz Franz von Biber | — | |
| 18-7 | Sonata III h-moll: Sonata - Presto | Heinrich Ignaz Franz von Biber | — | |
| 18-8 | Sonata III h-moll: Courante - Double | Heinrich Ignaz Franz von Biber | — | |
| 18-9 | Sonata III h-moll: Adagio | Heinrich Ignaz Franz von Biber | — | |
| 18-10 | Sonata IV d-moll: Ciacona | Heinrich Ignaz Franz von Biber | — | |
| 18-11 | Sonata V A-dur: Praeludium - Presto | Heinrich Ignaz Franz von Biber | — | |
| 18-12 | Sonata V A-dur: Allemande | Heinrich Ignaz Franz von Biber | — | |
| 18-13 | Sonata V A-dur: Gigue | Heinrich Ignaz Franz von Biber | — | |
| 18-14 | Sonata V A-dur: Sarabande - Double | Heinrich Ignaz Franz von Biber | — | |
| 18-15 | Sonata VI c-moll: Lamento - Adagio | Heinrich Ignaz Franz von Biber | — | |
| 18-16 | Sonata VI c-moll: Presto - Adagio | Heinrich Ignaz Franz von Biber | — | |
| 18-17 | Sonata VI c-moll: Adagio | Heinrich Ignaz Franz von Biber | — | |
| 18-18 | Sonata VII F-dur: Allemande - Variatio | Heinrich Ignaz Franz von Biber | — | |
| 18-19 | Sonata VII F-dur: Sarabande- Variatio | Heinrich Ignaz Franz von Biber | — | |
| 18-20 | Sonata VIII B-dur: Sonata: Adagio - Presto | Heinrich Ignaz Franz von Biber | — | |
| 18-21 | Sonata VIII B-dur: Gigue - Double 1 (Presto) - Double 2 | Heinrich Ignaz Franz von Biber | — | |
| 18-22 | Sonata IX a-moll: Sonata | Heinrich Ignaz Franz von Biber | — | |
| 18-23 | Sonata IX a-moll: Courante - Double | Heinrich Ignaz Franz von Biber | — | |
| 18-24 | Sonata IX a-moll: Finale | Heinrich Ignaz Franz von Biber | — | |
| 19-1 | Sonata X in G major: I. Praeludium | Heinrich Ignaz Franz von Biber | — | |
| 19-2 | Sonata X in G major: II. Aria - Variatio | Heinrich Ignaz Franz von Biber | — | |
| 19-3 | Sonata XI in G major: I. Sonata - "Surrexit Christus Hodie" | Heinrich Ignaz Franz von Biber | — | |
| 19-4 | Sonata XI in G major: II. Adagio | Heinrich Ignaz Franz von Biber | — | |
| 19-5 | Sonata XII in C major: I. Intrada | Heinrich Ignaz Franz von Biber | — | |
| 19-6 | Sonata XII in C major: II. Aria Tubicinum | Heinrich Ignaz Franz von Biber | — | |
| 19-7 | Sonata XII in C major: III. Allemande | Heinrich Ignaz Franz von Biber | — | |
| 19-8 | Sonata XII in C major: IV. Courante - Double | Heinrich Ignaz Franz von Biber | — | |
| 19-9 | Sonata XIII in C major: I. Sonata | Heinrich Ignaz Franz von Biber | — | |
| 19-10 | Sonata XIII in C major: II. Gavotte | Heinrich Ignaz Franz von Biber | — | |
| 19-11 | Sonata XIII in C major: III. Gigue | Heinrich Ignaz Franz von Biber | — | |
| 19-12 | Sonata XIII in C major: IV. Sarabande | Heinrich Ignaz Franz von Biber | — | |
| 19-13 | Sonata XIV in D major: I. Praeludium | Heinrich Ignaz Franz von Biber | — | |
| 19-14 | Sonata XIV in D major: II. Aria | Heinrich Ignaz Franz von Biber | — | |
| 19-15 | Sonata XIV in D major: III. Gigue | Heinrich Ignaz Franz von Biber | — | |
| 19-16 | Sonata XV in C major: I. Sonata | Heinrich Ignaz Franz von Biber | — | |
| 19-17 | Sonata XV in C major: II. Aria (Mit 3 Variationen) | Heinrich Ignaz Franz von Biber | — | |
| 19-18 | Sonata XV in C major: III. Canzone | Heinrich Ignaz Franz von Biber | — | |
| 19-19 | Sonata XV in C major: IV. Sarabande | Heinrich Ignaz Franz von Biber | — | |
| 19-20 | Sonata XVI in G minor: I. Passacaglia - Violine Solo | Heinrich Ignaz Franz von Biber | — | |
| 20-1 | Concerto for Cello & Orchestra no. 7 in G major, G. 480: I. Allegro | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-2 | Concerto for Cello & Orchestra no. 7 in G major, G. 480: II. Adagio | Anner Bylsma, Tafelmusik, Jeanne Lamon | T-802.445.410-3 | |
| 20-3 | Concerto for Cello & Orchestra no. 7 in G major, G. 480: III. Allegro | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-4 | Symphony in B-flat major, op. 21 no. 5, G. 497: I. Allegro spiritoso | Anner Bylsma, Tafelmusik, Jeanne Lamon | T-902.876.200-7 | |
| 20-5 | Symphony in B-flat major, op. 21 no. 5, G. 497: II. Andantino con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-6 | Symphony in B-flat major, op. 21 no. 5, G. 497: III. Allegro vivace assai | Anner Bylsma, Tafelmusik, Jeanne Lamon | T-902.876.200-7 | |
| 20-7 | Concerto for Cello & Orchestra no. 10 in D major, G. 483: I. Allegro maestoso | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-8 | Concerto for Cello & Orchestra no. 10 in D major, G. 483: II. Andante lentarello | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-9 | Concerto for Cello & Orchestra no. 10 in D major, G. 483: III. Allegro e con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-10 | Symphony in D minor, op. 12 no. 4, G. 506 "La casa del diavolo": I. Andante sostenuto - Allegro assai | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-11 | Symphony in D minor, op. 12 no. 4, G. 506 "La casa del diavolo": II. Andantino con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-12 | Symphony in D minor, op. 12 no. 4, G. 506 "La casa del diavolo": III. Andante sostenuto - Allegro assai, con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 21-1 | Passacaglia, BuxWV 160 | — | ||
| 21-2 | Sonata in d-moll, Op. 1 No. 6, BuxWV 257 | — | ||
| 21-3 | Sonata in D-Dur, BuxWV 267 | — | ||
| 21-4 | Sonata in g-moll, Op. 2 No. 3, BuxWV 261 | — | ||
| 21-5 | Ciaccona, BuxWV 160 | — | ||
| 21-6 | Sonata in F-Dur, F, Op. 1 No. 1, BuxWV 252 | — | ||
| 21-7 | Sonata in C-Dur, BuxWV 266 | — | ||
| 21-8 | Fried- und Freudenreiche Hinfart, BuxWV 76 | — | ||
| 21-9 | Sonata in G-Dur, Op. 1 No. 2, BuxWV 253 | — | ||
| 22-1 | Praeludium in e, BuxWV 143 | — | ||
| 22-2 | Praeludium in F, BuxWV 145 | — | ||
| 22-3 | Praeludium in g, BuxWV 150 | — | ||
| 22-4 | Komm, heiliger Geist, Herre Gott, BuxWV 199 | — | ||
| 22-5 | Kommt her zu mir, spricht Gottes Sohn, BuxWV 139 | — | ||
| 22-6 | Praeludium in D, BuxWV 139 | — | ||
| 22-7 | Praeludium in g, BuxWV 149 | — | ||
| 22-8 | Nun lob, mein Seel, den Herren (Choralzyklus), BuxWV 214, 213.1, 215, 213.2, 213.3 | — | ||
| 22-9 | Praeludium in d, BuxWV 140 | — | ||
| 23-1 | Amor ch'attendi | — | ||
| 23-2 | Amor, io parto | — | ||
| 23-3 | Tu ch'hai le penne | — | ||
| 23-4 | Non ha'l ciel | — | ||
| 23-5 | Alme luci beate | — | ||
| 23-6 | Vedrò'l mio sol | — | ||
| 23-7 | Tutto 'l di piango | — | ||
| 23-8 | Dolcissimo sospiro | — | ||
| 23-9 | Dalle porta d'oriente | — | ||
| 23-10 | Amarilli mia bella | — | ||
| 23-11 | Movetevi à pietà | — | ||
| 23-12 | Belle rose porporine | — | ||
| 23-13 | Queste lagrim' amore | — | ||
| 23-14 | Torna, deh torna | — | ||
| 23-15 | Con le luci d'un bel ciglio | — | ||
| 24-1 | Concerto Grosso in D major, Op. 6 No. 7: I. Vivace - Allegro - Adagio | — | ||
| 24-2 | Concerto Grosso in D major, Op. 6 No. 7: II. Allegro | — | ||
| 24-3 | Concerto Grosso in D major, Op. 6 No. 7: III. Andante largo - Allegro | — | ||
| 24-4 | Concerto Grosso in D major, Op. 6 No. 7: IV. Vivace | — | ||
| 24-5 | Concerto Grosso in F major, Op. 6 No. 9: I. Preludio. Largo | — | ||
| 24-6 | Concerto Grosso in F major, Op. 6 No. 9: II. Allemanda. Allegro | — | ||
| 24-7 | Concerto Grosso in F major, Op. 6 No. 9: III. Corrente. Vivace | — | ||
| 24-8 | Concerto Grosso in F major, Op. 6 No. 9: IV. Gavotta. Allegro | — | ||
| 24-9 | Concerto Grosso in F major, Op. 6 No. 9: V. Adagio | — | ||
| 24-10 | Concerto Grosso in F major, Op. 6 No. 9: VI. Minuetto. Vivace | — | ||
| 24-11 | Concerto Grosso in C minor, Op. 6 No. 3: I. Largo - Allegro | — | ||
| 24-12 | Concerto Grosso in C minor, Op. 6 No. 3: II. Grave | — | ||
| 24-13 | Concerto Grosso in C minor, Op. 6 No. 3: III. Vivace | — | ||
| 24-14 | Concerto Grosso in C minor, Op. 6 No. 3: IV. Allegro | — | ||
| 24-15 | Concerto Grosso in D major, Op. 6 No. 1: I. Largo - Allegro | — | ||
| 24-16 | Concerto Grosso in D major, Op. 6 No. 1: II. Largo - Allegro | — | ||
| 24-17 | Concerto Grosso in D major, Op. 6 No. 1: III. Largo - Allegro | — | ||
| 24-18 | Concerto Grosso in D major, Op. 6 No. 1: IV. Allegro | — | ||
| 24-19 | Concerto Grosso in B-flat major, Op. 6 No. 11: I. Preludio. Andante largo | — | ||
| 24-20 | Concerto Grosso in B-flat major, Op. 6 No. 11: II. Allemanda. Allegro | — | ||
| 24-21 | Concerto Grosso in B-flat major, Op. 6 No. 11: III. Adagio - Andante largo | — | ||
| 24-22 | Concerto Grosso in B-flat major, Op. 6 No. 11: IV. Sarabande. Largo | — | ||
| 24-23 | Concerto Grosso in B-flat major, Op. 6 No. 11: V. Giga. Vivace | — | ||
| 24-24 | Concerto Grosso in G minor, Op. 6 No. 8 "Christmas Concerto": I. Vivace - Grave | — | ||
| 24-25 | Concerto Grosso in G minor, Op. 6 No. 8 "Christmas Concerto": II. Allegro | — | ||
| 24-26 | Concerto Grosso in G minor, Op. 6 No. 8 "Christmas Concerto": III. Adagio - Allegro - Adagio | — | ||
| 24-27 | Concerto Grosso in G minor, Op. 6 No. 8 "Christmas Concerto": IV. Vivace | — | ||
| 24-28 | Concerto Grosso in G minor, Op. 6 No. 8 "Christmas Concerto": V. Allegro - Pastorale. Largo | — | ||
| 25-1 | Praeter rerum seriem, Motet à 4 voix | — | ||
| 25-2 | Benedicta est caelorum Regina, Motet à 6 voix | — | ||
| 25-3 | Musae Jovis, Motet à 4 voix | — | ||
| 25-4 | Missa Benedicta es à 5 voix: Kyrie | — | ||
| 25-5 | Magnificat secundi toni super Praeter rerum seriem à 6 voix | — | ||
| 25-6 | Missa Benedicta es à 6 voix: Sanctus - Benedictus | — | ||
| 25-7 | Missa Benedicta es à 4 voix: Agnus Dei | — | ||
| 25-8 | Dum vastos Adriae, Motet à 5 voix | — | ||
| 25-9 | Benedicta est caelorum Regina, Motet à 12 voix | — | ||
| 25-10 | Premier chant contre le cours des choses à 14 voix | — | ||
| 26-1 | Canzon à 8 | — | ||
| 26-2 | Canzon prima Basso solo | — | ||
| 26-3 | Canzon quinta à 3, due Canti e Basso | — | ||
| 26-4 | Canzon quinta à 4, Canto, Alto, Tenor, Basso | — | ||
| 26-5 | Toccata decima | — | ||
| 26-6 | Canzona terza, detta "La Donatina" | — | ||
| 26-7 | Canzona terza à 2 Bassi | — | ||
| 26-8 | Canzon senconda à 4, due Canti e due Bassi | — | ||
| 26-9 | Toccata per Spinettina e Violino | — | ||
| 26-10 | Canzona decimanova, detta "La Capriola", Canto e Basso | — | ||
| 26-11 | Canzona nona, detta "La Gualterina" à due Canti | — | ||
| 26-12 | Canzona decima, detta "L'Henricuccia" à due Canti | — | ||
| 26-13 | Capriccio sopra la Bassa Fiamenga | — | ||
| 26-14 | Canzona vigesima, detta "La Lipparella" | — | ||
| 26-15 | Canzona sesta, detta "L'Altera" | — | ||
| 26-16 | Canzon terza à due Canti | — | ||
| 26-17 | Toccata undecima | — | ||
| 26-18 | Canzona decimasettima detta "La Diodata" à due Bassi | — | ||
| 26-19 | Canzona seconda detta "La Bernadina", Canto solo | — | ||
| 26-20 | Canzona trigesimaprima detta "L'Arnolfinia", due Canti e due Bassi | — | ||
| 27-1 | Vuele, vuele feliz mariposa - Villancico Al Sanitisimo Sacramento | — | ||
| 27-2 | Atención al retrato de Filis - Solo humano | — | ||
| 27-3 | Fuentecillas lisonjeras - Duo de Maestro Galán | — | ||
| 27-4 | O qué mal vamos Amor - Villancico a 4 de Ynstrumentos | — | ||
| 27-5 | Humano ardour - Al Santisimo / Duo con Ynstrumentos | — | ||
| 27-6 | Pintar quiero una imagen - Duo para un velo | — | ||
| 27-7 | Mariposa no corras al fuego - Tonada solo al Sanitisimo Sacramento | — | ||
| 27-8 | Pajarillo que cantas ausente - Tono humano | — | ||
| 27-9 | Ay, ay, cruel delito - A Christo Cruçificado | — | ||
| 27-10 | Pajarillo que al alba saludas - Solo y a 4 | — | ||
| 27-11 | Ya los caballos de jazmín y rosa - Tonada humana | — | ||
| 27-12 | Que ha de tener llegaré - Duo Al Santissimo Sacramento | — | ||
| 28-1 | Concerto Grosso in E minor, Op. 3 No. 3: I. Grave - Allegro moderato | — | ||
| 28-2 | Concerto Grosso in E minor, Op. 3 No. 3: II. Andante - Allegro | — | ||
| 28-3 | Concerto Grosso in A major, Op. 2 No. 6: I. Andante | — | ||
| 28-4 | Concerto Grosso in A major, Op. 2 No. 6: II. (Allegro) - Grave | — | ||
| 28-5 | Concerto Grosso in A major, Op. 2 No. 6: III. Allegro | — | ||
| 28-6 | Concerto Grosso in D minor, Op. 7 No. 2: I. Grave | — | ||
| 28-7 | Concerto Grosso in D minor, Op. 7 No. 2: II. Allegro assai | — | ||
| 28-8 | Concerto Grosso in D minor, Op. 7 No. 2: III. Andante | — | ||
| 28-9 | Concerto Grosso in D minor, Op. 7 No. 2: IV. Allegro | — | ||
| 28-10 | Concerto Grosso in D minor, Op. 6: according to Variations on 'La Folia', Op. 5 No. 12 from Arcangelo Corelli | — | ||
| 28-11 | Concerto Grosso in G minor, Op. 5: I. Adagio | — | ||
| 28-12 | Concerto Grosso in G minor, Op. 5: II. Vivace - Adagio | — | ||
| 28-13 | Concerto Grosso in G minor, Op. 5: III. Adagio | — | ||
| 28-14 | Concerto Grosso in G minor, Op. 5: IV. Allegro | — | ||
| 28-15 | Concerto Grosso in C minor, Op. 2 No. 5: I. Andante moderato | — | ||
| 28-16 | Concerto Grosso in C minor, Op. 2 No. 5: II. Presto | — | ||
| 28-17 | Concerto Grosso in C minor, Op. 2 No. 5: III. Andante | — | ||
| 28-18 | Concerto Grosso in C minor, Op. 2 No. 5: IV. Allegro | — | ||
| 29-1 | Gabriel archangelus - motet a 4 | — | ||
| 29-2 | Missa L'homme armé a 4: Kyrie | — | ||
| 29-3 | Missa L'homme armé a 4: Gloria | — | ||
| 29-4 | In illo tempore - motet a 4 | — | ||
| 29-5 | Missa L'homme armé a 4: Credo | — | ||
| 29-6 | ¡Qué buen año! | — | ||
| 29-7 | Ojos claros, serenos - canción a 4 | — | ||
| 29-8 | Vana sperança - canción a 4 | — | ||
| 29-9 | Acabe de matarme - canción a 4 | — | ||
| 29-10 | O Virgen, quand'os miro - canción a 3 | — | ||
| 29-11 | Es menester que se açierte - villanesca a 3 | — | ||
| 29-12 | Adiós, verde ribera - canción a 4 | — | ||
| 29-13 | Virgo prudentissima - motet a 4 | — | ||
| 29-14 | Missa L'homme armé a 4: Sanctus - Benedictus | — | ||
| 29-15 | Missa L'homme armé a 4: Agnus Dei | — | ||
| 29-16 | Sancta et immaculata - motet a 4 | — | ||
| 30-1 | Concerto grosso in G Major, Op. 6 No. 1, HWV 319 - I. A tempo giusto | — | ||
| 30-2 | Concerto grosso in G Major, Op. 6 No. 1, HWV 319 - II. Allegro | — | ||
| 30-3 | Concerto grosso in G Major, Op. 6 No. 1, HWV 319 - III. Adagio | — | ||
| 30-4 | Concerto grosso in G Major, Op. 6 No. 1, HWV 319 - IV. Allegro | — | ||
| 30-5 | Concerto grosso in G Major, Op. 6 No. 1, HWV 319 - V. Allegro | — | ||
| 30-6 | Concerto grosso in F Major, Op. 6 No. 2, HWV 320 - I. Andante larghetto | — | ||
| 30-7 | Concerto grosso in F Major, Op. 6 No. 2, HWV 320 - II. Allegro | — | ||
| 30-8 | Concerto grosso in F Major, Op. 6 No. 2, HWV 320 - III. Largo - Larghetto andante e piano | — | ||
| 30-9 | Concerto grosso in F Major, Op. 6 No. 2, HWV 320 - IV. Allegro ma non troppo | — | ||
| 30-10 | Concerto grosso in E Minor, Op. 6 No. 3, HWV 321 - I. Larghetto | — | ||
| 30-11 | Concerto grosso in E Minor, Op. 6 No. 3, HWV 321 - II. Andante | — | ||
| 30-12 | Concerto grosso in E Minor, Op. 6 No. 3, HWV 321 - III. Allegro | — | ||
| 30-13 | Concerto grosso in E Minor, Op. 6 No. 3, HWV 321 - IV. Polonaise: Andante | — | ||
| 30-14 | Concerto grosso in E Minor, Op. 6 No. 3, HWV 321 - V. Allegro ma non troppo | — | ||
| 30-15 | Concerto grosso in A Minor, Op. 6 No. 4, HWV 322 - I. Larghetto affettuoso | — | ||
| 30-16 | Concerto grosso in A Minor, Op. 6 No. 4, HWV 322 - II. Allegro | — | ||
| 30-17 | Concerto grosso in A Minor, Op. 6 No. 4, HWV 322 - III. Largo | — | ||
| 30-18 | Concerto grosso in A Minor, Op. 6 No. 4, HWV 322 - IV. Allegro | — | ||
| 30-19 | Concerto grosso in D Major, Op. 6 No. 5, HWV 323 - I. Larghetto e staccato | — | ||
| 30-20 | Concerto grosso in D Major, Op. 6 No. 5, HWV 323 - II. Allegro | — | ||
| 30-21 | Concerto grosso in D Major, Op. 6 No. 5, HWV 323 - III. Presto | — | ||
| 30-22 | Concerto grosso in D Major, Op. 6 No. 5, HWV 323 - IV. Largo | — | ||
| 30-23 | Concerto grosso in D Major, Op. 6 No. 5, HWV 323 - V. Allegro | — | ||
| 30-24 | Concerto grosso in D Major, Op. 6 No. 5, HWV 323 - VI. Menuet: Un poco larghetto | — | ||
| 31-1 | Concerto grosso in G minor, op. 6 no. 6, HWV 324: I. Largo affettuoso | — | ||
| 31-2 | Concerto grosso in G minor, op. 6 no. 6, HWV 324: II. A tempo giusto | — | ||
| 31-3 | Concerto grosso in G minor, op. 6 no. 6, HWV 324: III. Musette: Larghetto | — | ||
| 31-4 | Concerto grosso in G minor, op. 6 no. 6, HWV 324: IV. Allegretto | — | ||
| 31-5 | Concerto grosso in G minor, op. 6 no. 6, HWV 324: V. Allegro | — | ||
| 31-6 | Concerto grosso in B-Flat major, op. 6 no. 7, HWV 325: I. Largo | — | ||
| 31-7 | Concerto grosso in B-Flat major, op. 6 no. 7, HWV 325: II. Allegro | — | ||
| 31-8 | Concerto grosso in B-Flat major, op. 6 no. 7, HWV 325: III. Largo | — | ||
| 31-9 | Concerto grosso in B-Flat major, op. 6 no. 7, HWV 325: IV. Andante | — | ||
| 31-10 | Concerto grosso in B-Flat major, op. 6 no. 7, HWV 325: V. Hornpipe | — | ||
| 31-11 | Concerto grosso in C minor, op. 6 no. 8, HWV 326: I. Allemande | — | ||
| 31-12 | Concerto grosso in C minor, op. 6 no. 8, HWV 326: II. Grave | — | ||
| 31-13 | Concerto grosso in C minor, op. 6 no. 8, HWV 326: III. Andante allegro | — | ||
| 31-14 | Concerto grosso in C minor, op. 6 no. 8, HWV 326: IV. Adagio | — | ||
| 31-15 | Concerto grosso in C minor, op. 6 no. 8, HWV 326: V. Siciliana: Andante | — | ||
| 31-16 | Concerto grosso in C minor, op. 6 no. 8, HWV 326: VI. Allegro | — | ||
| 31-17 | Concerto grosso in F major, op. 6 no. 9, HWV 327: I. Largo | — | ||
| 31-18 | Concerto grosso in F major, op. 6 no. 9, HWV 327: II. Allegro | — | ||
| 31-19 | Concerto grosso in F major, op. 6 no. 9, HWV 327: III. Larghetto | — | ||
| 31-20 | Concerto grosso in F major, op. 6 no. 9, HWV 327: IV. Allegro | — | ||
| 31-21 | Concerto grosso in F major, op. 6 no. 9, HWV 327: V. Menuet | — | ||
| 31-22 | Concerto grosso in F major, op. 6 no. 9, HWV 327: VI. Gigue | — | ||
| 32-1 | Concerto grosso in D minor, op. 6 no. 10, HWV 328: I. Ouverture | — | ||
| 32-2 | Concerto grosso in D minor, op. 6 no. 10, HWV 328: II. Allegro | — | ||
| 32-3 | Concerto grosso in D minor, op. 6 no. 10, HWV 328: III. Air: Lentement | — | ||
| 32-4 | Concerto grosso in D minor, op. 6 no. 10, HWV 328: IV. Allegro | — | ||
| 32-5 | Concerto grosso in D minor, op. 6 no. 10, HWV 328: V. Allegro | — | ||
| 32-6 | Concerto grosso in D minor, op. 6 no. 10, HWV 328: VI. Allegro moderato | — | ||
| 32-7 | Concerto grosso in A major, op. 6 no. 11, HWV 329: I. Andante larghetto e staccato | — | ||
| 32-8 | Concerto grosso in A major, op. 6 no. 11, HWV 329: II. Allegro | — | ||
| 32-9 | Concerto grosso in A major, op. 6 no. 11, HWV 329: III. Largo e staccato | — | ||
| 32-10 | Concerto grosso in A major, op. 6 no. 11, HWV 329: IV. Andante | — | ||
| 32-11 | Concerto grosso in A major, op. 6 no. 11, HWV 329: V. Allegro | — | ||
| 32-12 | Concerto grosso in B minor, op. 6 no. 12, HWV 330: I. Largo | — | ||
| 32-13 | Concerto grosso in B minor, op. 6 no. 12, HWV 330: II. Allegro | — | ||
| 32-14 | Concerto grosso in B minor, op. 6 no. 12, HWV 330: III. Aria: Larghetto e piano | — | ||
| 32-15 | Concerto grosso in B minor, op. 6 no. 12, HWV 330: IV. Largo | — | ||
| 32-16 | Concerto grosso in B minor, op. 6 no. 12, HWV 330: V. Allegro | — | ||
| 32-17 | Concerto Grosso in C major, HWV 318, 'Alexanderfest': I. Allegro | — | ||
| 32-18 | Concerto Grosso in C major, HWV 318, 'Alexanderfest': II. Largo | — | ||
| 32-19 | Concerto Grosso in C major, HWV 318, 'Alexanderfest': III. Allegro | — | ||
| 32-20 | Concerto Grosso in C major, HWV 318, 'Alexanderfest': IV. Andante, non presto | — | ||
| 33-1 | Rodelinda, HWV 19: Act I: Ouverture | — | ||
| 33-2 | Rodelinda, HWV 19: Act I: Menuet | — | ||
| 33-3 | Rodelinda, HWV 19: Act I: Aria (Rodelinda): "Hò perduto il caro sposo" | — | ||
| 33-4 | Rodelinda, HWV 19: Act I: Recitativo: "Regina!" | — | ||
| 33-5 | Rodelinda, HWV 19: Act I: Aria (Rodelinda): "L'empio rigor del fato" | — | ||
| 33-6 | Rodelinda, HWV 19: Act I: Recitativo: "Duca, vedesti mai" | — | ||
| 33-7 | Rodelinda, HWV 19: Act I: Recitativo: "E tanto da che sei Rè" | — | ||
| 33-8 | Rodelinda, HWV 19: Act I: Aria (Grimoaldo): "Io già t'amai, ritrosa" | — | ||
| 33-9 | Rodelinda, HWV 19: Act I: Recitativo: "E tu dice d'amarmi?" | — | ||
| 33-10 | Rodelinda, HWV 19: Act I: Aria (Eduige): "Lo farò, dirò spietato" | — | ||
| 33-11 | Rodelinda, HWV 19: Act I: Recitativo: "Eduige, t'inganni" | — | ||
| 33-12 | Rodelinda, HWV 19: Act I: Aria (Garibaldo): "Di Cupido impiego i vanni" | — | ||
| 33-13 | Rodelinda, HWV 19: Act I: Recitativo & Aria (Bertarido): "Pompe vane di morte!" - "Dove sei, amato bene!" | — | ||
| 33-14 | Rodelinda, HWV 19: Act I: Recitativo: "Mà giunge Unulfo" | — | ||
| 33-15 | Rodelinda, HWV 19: Act I: Aria (Rodelinda): "Ombre, piante, urne funeste!" | — | ||
| 33-16 | Rodelinda, HWV 19: Act I: Recitativo: "Baci inutili e vani" | — | ||
| 33-17 | Rodelinda, HWV 19: Act I: Aria (Rodelinda): "Morrai sì, l'empia" | — | ||
| 33-18 | Rodelinda, HWV 19: Act I: Recitativo: "E ben, Duca, poss'io" | — | ||
| 33-19 | Rodelinda, HWV 19: Act I: Aria (Grimoaldo): "Se per te giungo a godere" | — | ||
| 33-20 | Rodelinda, HWV 19: Act I: "Unulfo, oh Dio!" | — | ||
| 33-21 | Rodelinda, HWV 19: Act I: Aria (Unulfo): "Sono i colpi della sorte" | — | ||
| 33-22 | Rodelinda, HWV 19: Act I: Recitativo: "Sì, l'infida consorte" | — | ||
| 33-23 | Rodelinda, HWV 19: Act I: Aria (Bertarido): "Confusa si miri" | — | ||
| 34-1 | Rodelinda, HWV 19: Act II: Recitativo: "Già perdesti, oh signora" | — | ||
| 34-2 | Rodelinda, HWV 19: Act II: Recitativo: "Rodelinda, si mesta ritorni" | — | ||
| 34-3 | Rodelinda, HWV 19: Act II: Aria (Eduige): "De'miei scherni" | — | ||
| 34-4 | Rodelinda, HWV 19: Act II: Recitativo: "Rodelinda, è pur ver?" | — | ||
| 34-5 | Rodelinda, HWV 19: Act II: Aria (Rodelinda): "Spietati, io vi giurai" | — | ||
| 34-6 | Rodelinda, HWV 19: Act II: Recitativo: "Unulfo, Garibaldo" | — | ||
| 34-7 | Rodelinda, HWV 19: Act II: Aria (Grimoaldo): "Prigioniera hó l'alma" | — | ||
| 34-8 | Rodelinda, HWV 19: Act II: Recitativo: "Massime così indegne" | — | ||
| 34-9 | Rodelinda, HWV 19: Act II: Aria (Garibaldo): "Tirannia gli diede il regno" | — | ||
| 34-10 | Rodelinda, HWV 19: Act II: Recitativo: "Sì, sì fellon, t'intendo" | — | ||
| 34-11 | Rodelinda, HWV 19: Act II: Aria (Unulfo): "Frà tempeste funeste" | — | ||
| 34-12 | Rodelinda, HWV 19: Act II: Aria (Bertarido): "Con rauco mormorio" | — | ||
| 34-13 | Rodelinda, HWV 19: Act II: Recitativo: "Ah, nò; che non m'inganna" | — | ||
| 34-14 | Rodelinda, HWV 19: Act II: Aria (Bertarido): "Scacciata dal suo nido" | — | ||
| 34-15 | Rodelinda, HWV 19: Act II: Recitativo: "Vive il mio sposo?" | — | ||
| 34-16 | Rodelinda, HWV 19: Act II: Aria (Rodelinda): "Ritorna, oh caro e dolce" | — | ||
| 34-17 | Rodelinda, HWV 19: Act II: Recitativo: "Ah! sì, ecco lo sposo" | — | ||
| 34-18 | Rodelinda, HWV 19: Act II: Aria (Grimoaldo): "Tuo drudo è mio rivale" | — | ||
| 34-19 | Rodelinda, HWV 19: Act II: Recitativo: "Non ti bastò, consorte" | — | ||
| 34-20 | Rodelinda, HWV 19: Act II: Duetto: "Io t'abbraccio" | — | ||
| 35-1 | Rodelinda, HWV 19: Act III: Recitativo: "Del german nel periglio" | — | ||
| 35-2 | Rodelinda, HWV 19: Act III: Aria (Unulfo): "Un zeffiro spirò" | — | ||
| 35-3 | Rodelinda, HWV 19: Act III: Recitativo: "Con opra giusta" | — | ||
| 35-4 | Rodelinda, HWV 19: Act III: Aria (Eduige): "Quanto più fiera tempesta" | — | ||
| 35-5 | Rodelinda, HWV 19: Act III: Recitativo: "O falso è Bertarido" | — | ||
| 35-6 | Rodelinda, HWV 19: Act III: Aria (Grimoaldo): "Trà sospetti, affetti" | — | ||
| 35-7 | Rodelinda, HWV 19: Act III: Aria & Recitativo (Bertarido): "Chi di voi fù più infedele" - "Mà non che sò dal remoto" | — | ||
| 35-8 | Rodelinda, HWV 19: Act III: Recitativo: "Non temere, Signore!" | — | ||
| 35-9 | Rodelinda, HWV 19: Act III: Aria (Rodelinda): "Se'l mio duo" | — | ||
| 35-10 | Rodelinda, HWV 19: Act III: Recitativo: "Fatto inferno è ll mio" | — | ||
| 35-11 | Rodelinda, HWV 19: Act III: Aria (Grimoaldo): "Pastorello d'un povero" | — | ||
| 35-12 | Rodelinda, HWV 19: Act III: Recitativo: "Che miro? amica sorte" | — | ||
| 35-13 | Rodelinda, HWV 19: Act III: Recitativo: "Tu morrai, traditor!" | — | ||
| 35-14 | Rodelinda, HWV 19: Act III: Aria (Bertarido): "Vivi tiranno!" | — | ||
| 35-15 | Rodelinda, HWV 19: Act III: Recitativo: "Dunque sei ertarido?" | — | ||
| 35-16 | Rodelinda, HWV 19: Act III: Recitativo: "Ecco ti innanzi il reo" | — | ||
| 35-17 | Rodelinda, HWV 19: Act III: Aria (Rodelinda): "Mio caro bene!" | — | ||
| 35-18 | Rodelinda, HWV 19: Act III: Recitativo: "Sposa, figlio, sorella" | — | ||
| 35-19 | Rodelinda, HWV 19: Act III: Coro: "Dopo la notte oscura" | — | ||
| 36-1 | Suite in F major, HWV 348: Allegro (Variations no. 1-11) | — | ||
| 36-2 | Suite in F major, HWV 348: Overture: Largo Allegro | — | ||
| 36-3 | Suite in F major, HWV 348: Adagio e staccato | — | ||
| 36-4 | Suite in F major, HWV 348: (Minuet) | — | ||
| 36-5 | Suite in F major, HWV 348: Andante | — | ||
| 36-6 | Suite in F major, HWV 348: Minuet (reprise) | — | ||
| 36-7 | Suite in F major, HWV 348: Passepied | — | ||
| 36-8 | Suite in F major, HWV 348: Air | — | ||
| 36-9 | Suite in F major, HWV 348: Minuet | — | ||
| 36-10 | Suite in F major, HWV 348: Bourrée | — | ||
| 36-11 | Suite in F major, HWV 348: Hornpipe | — | ||
| 36-12 | Suite in F major, HWV 348: (Andante) | — | ||
| 36-13 | Suite in F major, HWV 348: Alla Hornpipe (Variation no. 12) | — | ||
| 36-14 | Suite in G major, HWV 349: (Minuet) | — | ||
| 36-15 | Suite in G major, HWV 349: Rigaudon I & II | — | ||
| 36-16 | Suite in G major, HWV 349: Minuet I & II | — | ||
| 36-17 | Suite in G major, HWV 349: (Gigue I & II) | — | ||
| 36-18 | Suite in D major, HWV 350: (Allegro) | — | ||
| 36-19 | Suite in D major, HWV 350: Alla Hornpipe | — | ||
| 36-20 | Suite in D major, HWV 350: Minuet | — | ||
| 36-21 | Suite in D major, HWV 350: Lentement | — | ||
| 36-22 | Suite in D major, HWV 350: Bourrée | — | ||
| 37-1 | Sonata for Transverse Flute in D Major, HWV 378: I. Largo | — | ||
| 37-2 | Sonata for Transverse Flute in D Major, HWV 378: II. Allegro | — | ||
| 37-3 | Sonata for Transverse Flute in D Major, HWV 378: III. Adagio | — | ||
| 37-4 | Sonata for Transverse Flute in D Major, HWV 378: IV. Allegro | — | ||
| 37-5 | Sonata for Oboe in B-flat Major, HWV 357, "Fitzwilliam": I. Andante | — | ||
| 37-6 | Sonata for Oboe in B-flat Major, HWV 357, "Fitzwilliam": II. Grave | — | ||
| 37-7 | Sonata for Oboe in B-flat Major, HWV 357, "Fitzwilliam": III. Allegro | — | ||
| 37-8 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: I. Largo | — | ||
| 37-9 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: II. Vivace | — | ||
| 37-10 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: III. Presto | — | ||
| 37-11 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: IV. Adagio | — | ||
| 37-12 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: V. Alla breve | — | ||
| 37-13 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: VI. Andante | — | ||
| 37-14 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: VII. A tempo di Minuet | — | ||
| 37-15 | Sonata for Oboe in G Minor, Op. 1 No. 6, HWV 364: I. Larghetto | — | ||
| 37-16 | Sonata for Oboe in G Minor, Op. 1 No. 6, HWV 364: II. Allegro | — | ||
| 37-17 | Sonata for Oboe in G Minor, Op. 1 No. 6, HWV 364: III. Adagio | — | ||
| 37-18 | Sonata for Oboe in G Minor, Op. 1 No. 6, HWV 364: IV. Allegro | — | ||
| 37-19 | Sonata for Transverse Flute in E Minor, Op. 1 No. 1b, HWV 359b: I. Grave | — | ||
| 37-20 | Sonata for Transverse Flute in E Minor, Op. 1 No. 1b, HWV 359b: II. Allegro | — | ||
| 37-21 | Sonata for Transverse Flute in E Minor, Op. 1 No. 1b, HWV 359b: III. Adagio | — | ||
| 37-22 | Sonata for Transverse Flute in E Minor, Op. 1 No. 1b, HWV 359b: IV. Allegro | — | ||
| 37-23 | Sonata for Oboe in C Minor, Op. 1 No. 8, HWV 366: I. (Larghetto) | — | ||
| 37-24 | Sonata for Oboe in C Minor, Op. 1 No. 8, HWV 366: II. Allegro | — | ||
| 37-25 | Sonata for Oboe in C Minor, Op. 1 No. 8, HWV 366: III. Adagio | — | ||
| 37-26 | Sonata for Oboe in C Minor, Op. 1 No. 8, HWV 366: IV. Allegro (Bourée angloise) | — | ||
| 37-27 | Sonata for Transverse Flute in G Major, Op. 1 No. 5, HWV 363b: I. Adagio | — | ||
| 37-28 | Sonata for Transverse Flute in G Major, Op. 1 No. 5, HWV 363b: II. Allegro | — | ||
| 37-29 | Sonata for Transverse Flute in G Major, Op. 1 No. 5, HWV 363b: III. Adagio | — | ||
| 37-30 | Sonata for Transverse Flute in G Major, Op. 1 No. 5, HWV 363b: IV. Bourrée | — | ||
| 37-31 | Sonata for Transverse Flute in G Major, Op. 1 No. 5, HWV 363b: V. Menuetto | — | ||
| 37-32 | Sonata for Oboe in F Major, Op. 1 No. 4a, HWV 363a: I. Adagio | — | ||
| 37-33 | Sonata for Oboe in F Major, Op. 1 No. 4a, HWV 363a: II. Allegro | — | ||
| 37-34 | Sonata for Oboe in F Major, Op. 1 No. 4a, HWV 363a: III. Adagio | — | ||
| 37-35 | Sonata for Oboe in F Major, Op. 1 No. 4a, HWV 363a: IV. Bourrée | — | ||
| 37-36 | Sonata for Oboe in F Major, Op. 1 No. 4a, HWV 363a: V. Menuetto | — | ||
| 38-1 | Sonata for Recorder in D Minor, HWV 359a | — | ||
| 38-2 | Sonata for Recorder in B-flat Major, HWV 377 | — | ||
| 38-3 | Sonata for Recorder in G Minor, HWV 360 | — | ||
| 38-4 | Sonata for Recorder in A Minor, HWV 362 | — | ||
| 38-5 | Sonata for Recorder in C Major, HWV 365 | — | ||
| 38-6 | Sonata for Recorder in F Major, HWV 369 | — | ||
| 38-7 | Sonata for Recorder in G Major, HWV 358 | — | ||
| 38-8 | Trio sonata for Recorder in F Major, HWV 405 | — | ||
| 39-1 | Cello Concerto No. 1 in C Major, Hob. VIIb:1: I. Moderato | — | ||
| 39-2 | Cello Concerto No. 1 in C Major, Hob. VIIb:1: II. Adagio | — | ||
| 39-3 | Cello Concerto No. 1 in C Major, Hob. VIIb:1: III. Allegro Molto | — | ||
| 39-4 | Cello Concerto No. 2 in D Major, Hob. Viib:2: I. Allegro Moderato | — | ||
| 39-5 | Cello Concerto No. 2 in D Major, Hob. Viib:2: II. Adagio | — | ||
| 39-6 | Cello Concerto No. 2 in D Major, Hob. Viib:2: III. Allegro | — | ||
| 39-7 | Sinfonia Concertante in B-Flat Major, Hob. I:105: I. Allegro | — | ||
| 39-8 | Sinfonia Concertante in B-Flat Major, Hob. I:105: II. Andante | — | ||
| 39-9 | Sinfonia Concertante in B-Flat Major, Hob. I:105: III. Allegro Con Spirito | — | ||
| 40-1 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der erste Tag. No. 1. Largo. Die Vorstellung des Chaos | — | ||
| 40-2 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der erste Tag. No. 2. Rezitativ mit Chor: "Im Anfang schuf Gott Himmel und Erde" - "Und der Geist Gottes schwebte auf der Fläche der Wasser" (Raphael, Uriel) | — | ||
| 40-3 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der erste Tag. No. 3. Arie mit Chor: "Nun schwanden vor dem heiligen Strahle" - "Verzweiflung, Wut und Schrecken" (Uriel) | — | ||
| 40-4 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der zweite Tag. No. 4. Rezitativ: "Und Gott machte das Firmament" (Raphael) | — | ||
| 40-5 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der zweite Tag. No. 5. Chor mit Sopransolo: "Mit Staunen sieht das Wunderwerk" - "Und laut ertönt aus ihren Kehlen" (Gabriel) | — | ||
| 40-6 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. No. 6. Rezitativ: "Und Gott sprach: Es sammle sich das Wasser" (Raphael) | — | ||
| 40-7 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. No. 7. Arie: "Rollend in schäumenen Wellen" (Raphael) | — | ||
| 40-8 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. No. 8. Rezitativ: "Und Gott sprach: Es bringe die Erde Gras hervor" (Gabriel) | — | ||
| 40-9 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. No. 9. Arie: "Nun beut die Flur das frische Grün" (Gabriel) | — | ||
| 40-10 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. No. 10. Rezitativ: "Und die himmlischen Herrscharen verkündigten" (Uriel) | — | ||
| 40-11 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. No. 11. Chor: "Stimmt an die Saiten" | — | ||
| 40-12 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der vierte Tag. No. 12. Rezitativ: "Und Gott sprach: Es sei'n Lichter an der Feste des Himmels" (Uriel) | — | ||
| 40-13 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der vierte Tag. No. 13. Rezitativ: "In vollem Glanze steiget jetzt die Sonne" (Uriel) | — | ||
| 40-14 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der vierte Tag. No. 14. Chor mit Soli: "Die Himmel erzählen die Ehre Gottes" - "Dem Kommende Tage sagt es der Tag" (Gabriel, Uriel, Raphael) | — | ||
| 40-15 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. No. 15. Rezitativ: "Und Gott sprach: Es bringe das Wasser in der Fülle hervor" (Gabriel) | — | ||
| 40-16 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. No. 16. Arie: "Auf starkem Fittiche schwinget sich der Adler stolz" (Gabriel) | — | ||
| 40-17 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. No. 17. Rezitativ: "Und Gott schuf große Walfische" (Raphael) | — | ||
| 40-18 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. No. 18. Rezitativ: "Und die Engel rührten ihr' unsterblichen Harfen" (Raphael) | — | ||
| 40-19 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. No. 19. Terzett mit Chor: "In holder Anmut stehn" - "Der Herr ist groß in seiner Macht" (Gabriel, Uriel, Raphael) | — | ||
| 40-20 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 20. Rezitativ: "Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe" (Raphael) | — | ||
| 40-21 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 21. Rezitativ: "Gleich öffnet sich der Erde Schoß" (Raphael) | — | ||
| 40-22 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 22. Arie: "Nun scheint in vollem Glanze der Himmel" (Raphael) | — | ||
| 40-23 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 23. Rezitativ: "Und Gott schuf den Menschen" (Uriel) | — | ||
| 40-24 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 24. Arie: "Mit Würd' und Hoheit angetan" (Uriel) | — | ||
| 40-25 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 25. Rezitativ: "Und Gott sah jedes Ding" (Raphael) | — | ||
| 40-26 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 26. Chor und Terzett: "Vollendet ist das große Werk" - "Zu dir, o Herr, blickt alles auf" (Gabriel, Uriel, Raphael) | — | ||
| 41-1 | Die Schöpfung, Hob. XXI:2 / Part III / Aus Rosenwolken Bricht, Geweckt Durch Süßen Klang (Rec. Acc.) | Steve Davislim, Balthasar-Neumann-Ensemble, Thomas Hengelbrock | — | |
| 41-2 | Die Schöpfung, Hob. XXI:2 / Part III / Von Deiner Güt', O Herr Und Gott... Gesegnet Sei Des Herren Macht! | Balthasar-Neumann-Chor, Locky Chung, Dorothee Mields, Balthasar-Neumann-Ensemble, Thomas Hengelbrock | — | |
| 41-3 | Die Schöpfung, Hob. XXI:2 / Part III / Nun Ist Die Erste Pflicht Erfüllt (Rec.) | Locky Chung, Dorothee Mields, Balthasar-Neumann-Ensemble, Thomas Hengelbrock | — | |
| 41-4 | Die Schöpfung, Hob. XXI:2 / Part III / Holde Gattin! Dir Zur Seite (Duet) | Locky Chung, Dorothee Mields, Balthasar-Neumann-Ensemble, Thomas Hengelbrock | — | |
| 41-5 | Die Schöpfung, Hob. XXI:2 / Part III / O Glücklich Paar! Und Glücklich Immerfort! (Rec.) | Steve Davislim, Balthasar-Neumann-Ensemble, Thomas Hengelbrock | — | |
| 41-6 | Die Schöpfung, Hob. XXI:2 / Part III / Singt Dem Herren, Alle Stimmen | Balthasar-Neumann-Chor, Balthasar-Neumann-Ensemble, Thomas Hengelbrock | — | |
| 42-1 | Symphony No. 96 in D major, Hob. I:96 "The Miracle": I. Adagio - Allegro | — | ||
| 42-2 | Symphony No. 96 in D major, Hob. I:96 "The Miracle": II. Andante | — | ||
| 42-3 | Symphony No. 96 in D major, Hob. I:96 "The Miracle": III. Menuetto - Trio | — | ||
| 42-4 | Symphony No. 96 in D major, Hob. I:96 "The Miracle": IV. Finale. Vivace assai | — | ||
| 42-5 | Symphony No. 97 in C major, Hob. I:97: I. Adagio - Vivace | — | ||
| 42-6 | Symphony No. 97 in C major, Hob. I:97: II. Adagio ma non troppo | — | ||
| 42-7 | Symphony No. 97 in C major, Hob. I:97: III. Menuetto. Allegretto - Trio | — | ||
| 42-8 | Symphony No. 97 in C major, Hob. I:97: IV. Finale. Spirituoso | — | ||
| 42-9 | Symphony No. 98 in B flat major, Hob. I:98: I. Adagio - Allegro | — | ||
| 42-10 | Symphony No. 98 in B flat major, Hob. I:98: II. Adagio cantabile | — | ||
| 42-11 | Symphony No. 98 in B flat major, Hob. I:98: III. Menuetto - Trio | — | ||
| 42-12 | Symphony No. 98 in B flat major, Hob. I:98: IV. Finale. Presto | — | ||
| 43-1 | Symphony No. 85 in B-flat major, Hob. I:85 "La Reine": I. Adagio - Vivace | — | ||
| 43-2 | Symphony No. 85 in B-flat major, Hob. I:85 "La Reine": II. Romanze. Allegretto | — | ||
| 43-3 | Symphony No. 85 in B-flat major, Hob. I:85 "La Reine": III. Menuetto | — | ||
| 43-4 | Symphony No. 85 in B-flat major, Hob. I:85 "La Reine": IV. Finale. Presto | — | ||
| 43-5 | Symphony No. 83 in G minor, Hob. I:83 "La Poule": I. Allegro | — | ||
| 43-6 | Symphony No. 83 in G minor, Hob. I:83 "La Poule": II. Andante | — | ||
| 43-7 | Symphony No. 83 in G minor, Hob. I:83 "La Poule": III. Menuet | — | ||
| 43-8 | Symphony No. 83 in G minor, Hob. I:83 "La Poule": II. Finale. Vivace | — | ||
| 43-9 | Symphony No. 82 in C major, Hob. I:82 "L'ours": I. Vivace | — | ||
| 43-10 | Symphony No. 82 in C major, Hob. I:82 "L'ours": II. Allegretto | — | ||
| 43-11 | Symphony No. 82 in C major, Hob. I:82 "L'ours": III. Menuet | — | ||
| 43-12 | Symphony No. 82 in C major, Hob. I:82 "L'ours": IV. Finale. Vivace assai | — | ||
| 44-1 | Acis y Galatea, Primera Jornada: No hay otras iras que deban temerse | — | ||
| 44-2 | Acis y Galatea, Primera Jornada: ¡Ay de aquel que desprecia! | — | ||
| 44-3 | Acis y Galatea, Primera Jornada: Suspende las iras | — | ||
| 44-4 | Acis y Galatea, Primera Jornada: Sientan los que sienten | — | ||
| 44-5 | Acis y Galatea, Primera Jornada: Muda copia | — | ||
| 44-6 | Acis y Galatea, Primera Jornada: Pues que Polifemo | — | ||
| 44-7 | Acis y Galatea, Primera Jornada: Confiado jilguerillo | — | ||
| 44-8 | Acis y Galatea, Primera Jornada: Divina Galatea | — | ||
| 44-9 | Acis y Galatea, Primera Jornada: Joven galán | — | ||
| 44-10 | Acis y Galatea, Primera Jornada: ¿Con que en tu nobleza...? | — | ||
| 44-11 | Acis y Galatea, Segunda Jornada: Al aire de los suspiros | — | ||
| 44-12 | Acis y Galatea, Segunda Jornada: Estrafalaria deidad | — | ||
| 44-13 | Acis y Galatea, Segunda Jornada: Ayer, cuando la tarde | — | ||
| 44-14 | Acis y Galatea, Segunda Jornada: Dulce Galatea | — | ||
| 44-15 | Acis y Galatea, Segunda Jornada: Estos dulces cánticos | — | ||
| 44-16 | Acis y Galatea, Segunda Jornada: ¡Ten el acento! | — | ||
| 44-17 | Acis y Galatea, Segunda Jornada: Al ameno silencio | — | ||
| 44-18 | Acis y Galatea, Segunda Jornada: Qué poco a asustar llega | — | ||
| 44-19 | Acis y Galatea, Segunda Jornada: Aunque contra mí indignado | — | ||
| 44-20 | Acis y Galatea, Segunda Jornada: Huid de las iras del monstruo indegnado | — | ||
| 44-21 | Acis y Galatea, Segunda Jornada: ¿Que demonios es esto? | — | ||
| 44-22 | Acis y Galatea, Segunda Jornada: Queda en paz | — | ||
| 44-23 | Acis y Galatea, Segunda Jornada: Nùmenes del mar sagrado! | — | ||
| 44-24 | Acis y Galatea, Segunda Jornada: Acis dichoso | — | ||
| 44-25 | Acis y Galatea, Segunda Jornada: Viva quien hace siglos de dichas sus años | — | ||
| 45-1 | Introduttione 1 D-Dur | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-2 | Introduttione 2 F-Dur | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-3 | Sonate D-Dur Op8 No2 1 Adagio | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-4 | Sonate D-Dur Op8 No2 2 Allegro | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-5 | Sonate D-Dur Op8 No2 3 Presto-Lento-Presto | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-6 | Introduttione 3 B-Dur | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-7 | Introduttione 4 G-Dur | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-8 | Sonata e-Moll Op5 No2 1 Largo-Andante | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-9 | Sonata e-Moll Op5 No2 2 Allegro | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-10 | Sonata e-Moll Op5 No2 3 Allegro | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-11 | Introduttione 5 D-Dur | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-12 | Sonate A-Dur Op8 No10 1 Cantabile | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-13 | Sonate A-Dur Op8 No10 2 Allegro | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-14 | Sonate A-Dur Op8 No10 3 Vivace | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-15 | Introduttione 6 C-Dur | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 46-1 | Divertissement I: Ouverture d'Amadis | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-2 | Divertissement I: Répands charmante nuit | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-3 | Divertissement I: Récit d'Orphée | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-4 | Divertissement I: Entrée pour Bacchus et Ariadne | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-5 | Divertissement I: Rochers vous êtes sourds | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-6 | Divertissement I: Plainte de Vénus sur la mort d'Adonis | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-7 | Divertissement I: Dieu des enfers | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-8 | Divertissement II: Ouverture de Psyché | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-9 | Divertissement II: Plainte italienne | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-10 | Divertissement II: Chaconne d'Amadis | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-11 | Divertissement III: Entrée d'Apollon | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-12 | Divertissement III: Si l'amour vous soumet | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-13 | Divertissement III: Enfin il est en ma puissance | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-14 | Divertissement III: Air pour les démons et les monstres | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-15 | Divertissement III: Passacaille d'Armide | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 47-1 | Ouverture in C major: I. Allegro con spirito | — | ||
| 47-2 | Ouverture in C major: II. Andante ma non troppo | — | ||
| 47-3 | Ouverture in C major: III. Allegro spiritoso | — | ||
| 47-4 | Cantata 'Il primo amore': I. Recitativo: Ah troppo è ver! | — | ||
| 47-5 | Cantata 'Il primo amore': II. Aria: Sol che un istante | — | ||
| 47-6 | Cantata 'Il primo amore': III. Recitativo: Nè sol, quando la miro | — | ||
| 47-7 | Cantata 'Il primo amore': IV. Aria: Bella fiamma del mio core | — | ||
| 47-8 | Concerto per Cembalo in E major: I. Allegro | — | ||
| 47-9 | Concerto per Cembalo in E major: II. Andante | — | ||
| 47-10 | Concerto per Cembalo in E major: III. Allegro | — | ||
| 47-11 | Sonata per Cembalo in A major: I. Allegro | — | ||
| 47-12 | Sonata per Cembalo in A major: II. Adagio | — | ||
| 47-13 | Sonata per Cembalo in A major: III. Tempo di minuetto | — | ||
| 47-14 | Scelta d'Arie composte per suo diletto da Marianna Martines, Aria 'Berenice, ah che fai': I. Recitativo: Berenice, ah che fai | — | ||
| 47-15 | Scelta d'Arie composte per suo diletto da Marianna Martines, Aria 'Berenice, ah che fai': II. Aria: Non partir, bell'idol moi | — | ||
| 47-16 | Scelta d'Arie composte per suo diletto da Marianna Martines, Aria 'Berenice, ah che fai': III. Recitativo: Me infelice! | — | ||
| 47-17 | Scelta d'Arie composte per suo diletto da Marianna Martines, Aria 'Berenice, ah che fai': IV. Aria: Perché, se tanti siete | — | ||
| 48-1 | Trio I: I. Poco vivace | — | ||
| 48-2 | Trio I: II. Siciliana | — | ||
| 48-3 | Trio I: III. Menuet | — | ||
| 48-4 | Trio I: IV. Arietta allegretto | — | ||
| 48-5 | Trio II: I. Entrée | — | ||
| 48-6 | Trio II: II. Ballo | — | ||
| 48-7 | Trio II: III. Siciliano arioso | — | ||
| 48-8 | Trio II: IV. Menuet | — | ||
| 48-9 | Trio III: I. Andante | — | ||
| 48-10 | Trio III: II. Aria adagio | — | ||
| 48-11 | Trio III: III. Menuet | — | ||
| 48-12 | Trio III: IV. Allegro | — | ||
| 48-13 | Trio IV: I. Capricio | — | ||
| 48-14 | Trio IV: II. Scherzo | — | ||
| 48-15 | Trio IV: III. Menuet | — | ||
| 48-16 | Trio IV: IV. Areitta | — | ||
| 48-17 | Trio V: I. Andante | — | ||
| 48-18 | Trio V: II. Vivace | — | ||
| 48-19 | Trio V: III. Menuet | — | ||
| 48-20 | Trio V: IV. Arietta | — | ||
| 48-21 | Trio VI: I. Allemande | — | ||
| 48-22 | Trio VI: II. Siciliana | — | ||
| 48-23 | Trio VI: III. Menuet | — | ||
| 48-24 | Trio VI: IV. Vivace arioso | — | ||
| 48-25 | Notturno No. 1: I. Allegrino | — | ||
| 48-26 | Notturno No. 1: II. Grazioso | — | ||
| 49-1 | Trio Sonate in B/B-flat, K. 10: I. Allegro | — | ||
| 49-2 | Trio Sonate in B/B-flat, K. 10: II. Andante | — | ||
| 49-3 | Trio Sonate in B/B-flat, K. 10: III. Menuetto I | — | ||
| 49-4 | Trio Sonate in B/B-flat, K. 10: IV. Menuetto II | — | ||
| 49-5 | Trio Sonata in G, K. 11: I. Andante | — | ||
| 49-6 | Trio Sonata in G, K. 11: II. Allegro | — | ||
| 49-7 | Trio Sonata in G, K. 11: III. Menuetto | — | ||
| 49-8 | Trio Sonata in A, K. 12: I. Andante | — | ||
| 49-9 | Trio Sonata in A, K. 12: II. Allegro | — | ||
| 49-10 | Trio Sonata in F, K. 13: I. Allegro | — | ||
| 49-11 | Trio Sonata in F, K. 13: II. Andante | — | ||
| 49-12 | Trio Sonata in F, K. 13: III. Menuetto I & II | — | ||
| 49-13 | Trio Sonata in C, K. 14: I. Allegro | — | ||
| 49-14 | Trio Sonata in C, K. 14: II. Allegro | — | ||
| 49-15 | Trio Sonata in C, K. 14: III. Menuetto I & II en Carillon | — | ||
| 49-16 | Trio Sonate in B/B-flat, K. 15: I. Andante maestoso | — | ||
| 49-17 | Trio Sonate in B/B-flat, K. 15: II. Allegro grazioso | — | ||
| 49-18 | Divertimento à 3 in B/B-flat, K. 254: I. Allegro assai | — | ||
| 49-19 | Divertimento à 3 in B/B-flat, K. 254: II. Adagio | — | ||
| 49-20 | Divertimento à 3 in B/B-flat, K. 254: III. Rondeau - Tempo di Minuetto | — | ||
| 50-1 | Symphony no. 26 in E-flat major, K 184 (161a): I. Molto presto / II. Andante / III. Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | T-928.635.622-7 | |
| 50-2 | Zaide, K 344 (336b): Act I. Introduction: “Jetzt hören Sie doch auft...” (narrator) | Tobias Moretti | — | |
| 50-3 | Zaide, K 344 (336b): Act I. No. 1 Chorus of the 4 slaves: “Brüder, lasst uns lustig sein” | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-4 | Zaide, K 344 (336b): Act I. No. 2 Melologue: “Was für ein Schicksall” (Gomatz) | Michael Schade, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-5 | Zaide, K 344 (336b): Act I. Intermediate Text: “Dieser ohnmächtige, kraftlose, matte Gomatz” (narrator) | Tobias Moretti | — | |
| 50-6 | Zaide, K 344 (336b): Act I. No. 3 Aria: “Ruhe sanft, mein holdes Leben” (Zaide) | Diana Damrau, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-7 | Zaide, K 344 (336b): Act I. No. 4 Aria: “Rase, Schicksal, wüte immer” (Gomatz) | Michael Schade, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-8 | Zaide, K 344 (336b): Act I. Intermediate Text: “Zaide hat ihn natürlich heimlich beobachtet” (narrator) | Tobias Moretti | — | |
| 50-9 | Zaide, K 344 (336b): Act I. No. 5 Duet: “Meine Seele hüpft vor Freuden” (Zaide, Gomatz) | Diana Damrau, Michael Schade, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-10 | Zaide, K 344 (336b): Act I. Intermediate Text: “Ach, die beiden haben ein Glück” (narrator) | Tobias Moretti | — | |
| 50-11 | Zaide, K 344 (336b): Act I. No. 6 Aria: “Herr und Freund, wie dank' ich dir!” (Gomatz) | Michael Schade, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-12 | Zaide, K 344 (336b): Act I. Intermediate Text: “Und in Allazim entbrennt nun auch ein Kampf” (narrator) | Tobias Moretti | — | |
| 50-13 | Zaide, K 344 (336b): Act I. No. 7 Aria: “Nur mutig, mein Herze” (Allazim) | Florian Boesch, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-14 | Zaide, K 344 (336b): Act I. Intermediate Text: “Und Zaide ist jetzt weider dazugekommen” (narrator) | Tobias Moretti | — | |
| 50-15 | Zaide, K 344 (336b): Act I. No. 8 Trio: “O selige Wonne” (Zaide, Gomatz, Allazim) | Florian Boesch, Diana Damrau, Michael Schade, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-1 | Zaide, K 344 (336b): Act II. Intermediate Text: “Ja, und wie's der Teufel halt so will” (narrator) | Tobias Moretti | — | |
| 51-2 | Zaide, K 344 (336b): Act II. No. 9 Melologue & Aria: “Zaide geflohen!” (Soliman, narrator) | Tobias Moretti, Rudolf Schasching, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-3 | Zaide, K 344 (336b): Act II. Intermediate Text: “Natürlich ist auch Soliman, wie alle Reichen” (narrator) | Tobias Moretti | — | |
| 51-4 | Zaide, K 344 (336b): Act II. No. 10 Aria: “Wer hungrig bei der Tafel sitzt” (Osmin) | Anton Scharinger, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-5 | Zaide, K 344 (336b): Act II. Intermediate Text: “Für Soliman ist der Fall klar” (narrator) | Tobias Moretti | — | |
| 51-6 | Zaide, K 344 (336b): Act II. No. 11 Aria: “Ich bin so bös als gut” (Soliman) | Rudolf Schasching, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-7 | Zaide, K 344 (336b): Act II. Intermediate Text: “Jetzt wird's eng für Zaide” (narrator) | Tobias Moretti | — | |
| 51-8 | Zaide, K 344 (336b): Act II. No. 12 Aria: “Treulos schluchzet Philomele” (Zaide) | Diana Damrau, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-9 | Zaide, K 344 (336b): Act II. Intermediate Text: “Jetzt dreht sich's um Zaide weint, schluchzt, klagt” (narrator) | Tobias Moretti | — | |
| 51-10 | Zaide, K 344 (336b): Act II. No. 13 Aria: “Tiger! Wetze nur die Klauen” (Zaide) | Diana Damrau, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-11 | Zaide, K 344 (336b): Act II. Intermediate Text: “Allazim stößt ins gleiche Horn” (narrator) | Tobias Moretti | — | |
| 51-12 | Zaide, K 344 (336b): Act II. No. 14 Aria: “Ihr Mächtigen seht ungerührt” (Allazim) | Florian Boesch, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-13 | Zaide, K 344 (336b): Act II. Intermediate Text: “Das letzte Quartett!” (narrator) | Tobias Moretti, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-14 | Zaide, K 344 (336b): Act II. No. 15 Quartet: “Freundin, stille deine Tränen” (Gomatz, Allazim, Soliman, Zaide) | Florian Boesch, Diana Damrau, Michael Schade, Rudolf Schasching, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-15 | Zaide, K 344 (336b): Act II. Finale: “Und hier, am tiefsten Punkt des Konflikts” (narrator) | Tobias Moretti | — | |
| 52-1 | Con che soavità | — | ||
| 52-2 | Sonata 15 | — | ||
| 52-3 | Ohimè ch'io cado | — | ||
| 52-4 | Chiaconna à 2 | — | ||
| 52-5 | Toccata undecima | — | ||
| 52-6 | Canzon a doi soprani in echo proposta | — | ||
| 52-7 | Tempro la cetra | — | ||
| 52-8 | Frescobaldi Toccata Nona | — | ||
| 52-9 | Et è pur dunque vero | — | ||
| 52-10 | Passacaglio | — | ||
| 52-11 | Sinfonia | — | ||
| 52-12 | Ecco di dolci raggi | — | ||
| 52-13 | Se vittorie ai belle | — | ||
| 52-14 | Zefiro torna e' bel tempo rimena | — | ||
| 52-15 | Si dolce è il tormento | — | ||
| 53-1 | Vespro della Beata Vergine: Intonatio: Deus in adiutorium Domine ad adjuvandum | Cantus Cölln, Concerto Palatino, Konrad Junghänel | — | |
| 53-2 | Vespro della Beata Vergine, SV 206: II. Psalmus 109: Dixit Dominus | — | ||
| 53-3 | Vespro della Beata Vergine, SV 206: III. Concerto: Nigra sum | — | ||
| 53-4 | Vespro della Beata Vergine, SV 206: IV. Psalmus 112: Laudate, pueri, Dominum | — | ||
| 53-5 | Vespro della Beata Vergine, SV 206: V. Concerto: Pulchra es | — | ||
| 53-6 | Vespro della Beata Vergine, SV 206: VI. Psalmus 121: Laetatus sum | — | ||
| 53-7 | Vespro della Beata Vergine, SV 206: VII. Concerto: Duo Seraphim | — | ||
| 53-8 | Vespro della Beata Vergine, SV 206: VIII. Psalmus 126: Nisi Dominus | — | ||
| 53-9 | Vespro della Beata Vergine, SV 206: IX. Concerto: Audi, coelum | — | ||
| 53-10 | Vespro della Beata Vergine, SV 206: X. Psalmus 147: Lauda, Jerusalem, Dominum | — | ||
| 54-1 | Vespro della Beata Vergine, SV 206: XI. Sonata sopra "Sancta Maria, ora pro nobis" | — | ||
| 54-2 | Vespro della Beata Vergine, SV 206: XII. Hymnus: Ave maris stella | — | ||
| 54-3 | Vespro della Beata Vergine, SV 206: XIII. Magnificat | — | ||
| 54-4 | Vespro della Beata Vergine, SV 206: XIV. Et exultavit | — | ||
| 54-5 | Vespro della Beata Vergine, SV 206: XV. Quia respexit | — | ||
| 54-6 | Vespro della Beata Vergine, SV 206: XVI. Quia fecit mihi magna | — | ||
| 54-7 | Vespro della Beata Vergine, SV 206: XVII. Et misericordia eius | — | ||
| 54-8 | Vespro della Beata Vergine, SV 206: XVIII. Fecit potentiam | — | ||
| 54-9 | Vespro della Beata Vergine, SV 206: XIX. Deposuit potentes | — | ||
| 54-10 | Vespro della Beata Vergine, SV 206: XX. Esurientes implevit bonis | — | ||
| 54-11 | Vespro della Beata Vergine, SV 206: XXI. Suscepit Israel | — | ||
| 54-12 | Vespro della Beata Vergine, SV 206: XXII. Sicut locutus est | — | ||
| 54-13 | Vespro della Beata Vergine, SV 206: XXIII. Gloria Patri | — | ||
| 54-14 | Vespro della Beata Vergine, SV 206: XXIV. Sicut erat in principio | — | ||
| 55-1 | Miserere: Miserere mei Deus | — | ||
| 55-2 | Miserere: Et secundum multitudinem | — | ||
| 55-3 | Miserere: Amplius lava me | — | ||
| 55-4 | Miserere: Quoniam iniquitatem | — | ||
| 55-5 | Miserere: Tibi soli pecavi | — | ||
| 55-6 | Miserere: Ecce enim in inquitatibus | — | ||
| 55-7 | Miserere: Ecce enim veritatem | — | ||
| 55-8 | Miserere: Asperges me | — | ||
| 55-9 | Miserere: Auditui meo | — | ||
| 55-10 | Miserere: Averte faciem | — | ||
| 55-11 | Miserere: Cor mundum crea | — | ||
| 55-12 | Miserere: Ne projicias me | — | ||
| 55-13 | Miserere: Redde mihi | — | ||
| 55-14 | Miserere: Docebo | — | ||
| 55-15 | Miserere: Libera me | — | ||
| 55-16 | Miserere: Domine, labia mea aperies | — | ||
| 55-17 | Miserere: Quoniam si voluisses | — | ||
| 55-18 | Miserere: Sacrificium Deo | — | ||
| 55-19 | Miserere: Benigne fac | — | ||
| 55-20 | Miserere: Tunc acceptabis | — | ||
| 55-21 | Miserere: Tunc imponent | — | ||
| 55-22 | Iphigenia en Tracia (excerpt): Allegro cantabile | — | ||
| 55-23 | Iphigenia en Tracia (excerpt): Recitado: Yo soy, tyrana | — | ||
| 55-24 | Iphigenia en Tracia (excerpt): Area a dúo: Ha, ingrato | — | ||
| 56-1 | Jauchzet Dem Herrn | — | ||
| 56-2 | Nun Danket Alle Gott | — | ||
| 56-3 | Exsurgat Deus | — | ||
| 56-4 | Fürchte Dich Nicht | — | ||
| 56-5 | Der Gerechte | — | ||
| 56-6 | Tröste Uns Gott | — | ||
| 56-7 | Magnificat | Konrad Junghänel, Cantus Cölln | — | |
| 56-8 | Der Herr Ist König | — | ||
| 56-9 | Ich Lasse Dich Nicht | — | ||
| 56-10 | Gott Is Unser Zuversicht | — | ||
| 56-11 | Paratum Cor Meum Deus | — | ||
| 56-12 | Der Herr Ist König | — | ||
| 56-13 | Halt, Was Du Hast | — | ||
| 56-14 | Fürchtet Euch Nicht | — | ||
| 56-15 | Singet Dem Herrn | — | ||
| 56-16 | Jauchzet Gott Alle Lande | — | ||
| 57-1 | The Fairy Queen: I. Prelude in g - Hornpipe in g | — | ||
| 57-2 | The Fairy Queen: II. Air in B - Rondeau in B | — | ||
| 57-3 | The Fairy Queen: III. Overture in D | — | ||
| 57-4 | The Fairy Queen: IV. Prelude in C - Entry Dance in C - Dance for the Fairies in G | — | ||
| 57-5 | The Fairy Queen: V. Overture in G - Air in G - Prelude in g | — | ||
| 57-6 | The Fairy Queen: VI. Hornpipe in d | — | ||
| 57-7 | The Fairy Queen: VII. Symphony: Canzona - Largo - Allegro - Adagio - Allegro | — | ||
| 57-8 | Dido and Aeneas: I. Overture in c - Air in c - The Triumphing Dance in C | — | ||
| 57-9 | Dido and Aeneas: II. Ritornelle in d - Air | — | ||
| 57-10 | Dido and Aeneas: III. Echo Dance of Furies in F | — | ||
| 57-11 | Dido and Aeneas: IV. The Sailors' Dance in B | — | ||
| 57-12 | Dido and Aeneas: V. The Witches' Dance in B | — | ||
| 57-13 | Dido and Aeneas: VI. Chacony | — | ||
| 57-14 | King Arthur: I. Overture in d - Air in d - Overture in D | — | ||
| 57-15 | King Arthur: II. Symphony in g - Air in G - Hornpipe in g | — | ||
| 57-16 | King Arthur: III. Air in d - Air in a - Song Tune in a | — | ||
| 57-17 | King Arthur: IV. Symphony in C - Trumpet Tune in C | — | ||
| 57-18 | King Arthur: V. Frost Dance in c - Hornpipe in G | — | ||
| 57-19 | King Arthur: VI. Passacaglia in g | — | ||
| 57-20 | Abdelazer: I. Overture in d | — | ||
| 57-21 | Abdelazer: II. Rondeau in d | — | ||
| 57-22 | Abdelazer: III. Aire in D - Aire in G | — | ||
| 57-23 | Abdelazer: IV. Minuett in G - Aire in g | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Les Indes Galantes : Ouverture | Collegium Aureum | — |
| Les Indes Galantes : Entrée des Quatre Nations | Collegium Aureum | — |
| Les Indes Galantes : Menuet I et II | Collegium Aureum | — |
| Les Indes Galantes : Forlane | Collegium Aureum | — |
| Les Indes Galantes : Rondeau | Collegium Aureum | — |
| Les Indes Galantes : Air por les amours | Collegium Aureum | — |
| Les Indes Galantes : Contre-danse | Collegium Aureum | T-801.787.297-9 |
| Les Indes Galantes : Air pour les Persans | Collegium Aureum | — |
| Les Indes Galantes : Air vif pour Zéphire et la Rose | Collegium Aureum | — |
| Les Indes Galantes : Air pour Borée et la Rose | Collegium Aureum | — |
| Les Indes Galantes : Gavotte des Fleurs | Collegium Aureum | — |
| Les Indes Galantes : Air tendre pur la Rose | Collegium Aureum | — |
| Les Indes Galantes : Gavotte pour les Fleurs | Collegium Aureum | — |
| Les Indes Galantes : Tambourin | Collegium Aureum | T-912.761.754-3 |
| Les Indes Galantes : Chaconne | Collegium Aureum | — |
| Dardanus : Ouverture | Collegium Aureum | — |
| Dardanus : Marche pour les different nations | Collegium Aureum | — |
| Dardanus : Menuet tendre en rondeau | Collegium Aureum | — |
| Dardanus : Tambourin I et II | Collegium Aureum | — |
| Dardanus : Air vif | Collegium Aureum | — |
| Dardanus : Rigaudon I et II | Collegium Aureum | — |
| Dardanus : Air en Rondeau | Collegium Aureum | — |
| Dardanus : Entréss | Collegium Aureum | — |
| Dardanus : Sommeil | Collegium Aureum | — |
| Dardanus : Tambourin I et II | Collegium Aureum | — |
| Dardanus : Chaconne | Collegium Aureum | T-004.687.105-9 |
| Beatus vir | Konrad Junghänel, Cantus Cölln | — |
| Benedicam Dominum | Konrad Junghänel, Cantus Cölln | — |
| De profundis | Konrad Junghänel, Cantus Cölln | T-000.769.920-8 |
| Confitebor | Konrad Junghänel, Cantus Cölln | — |
| Gloria | Konrad Junghänel, Cantus Cölln | — |
| Der Herr ist mein Hirt, SWV 398 op. 12,1 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Ich hebe meine Augen auf zu den Bergen, SWV 398 op. 12,2 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Wo der Herr nicht das Haus bauet, SWV 400 op. 12,3 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Mein Sohn, warum hast du uns das getan?, SWV 401 op. 12,4 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| O Herr, hilf, o Herr, laß wohl gelingen, SWV 402 op. 12,5 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Siehe, es erschien der Engel des Herrn, SWV 403 op. 12,6 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Feget den alten Sauerteig aus, SWV 404 op. 12,7 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| O süßer Jesu Christ, SWV 405 op. 12,8 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| O Jesu süß. wer dein gedenkt, SWV 406 op. 12,9 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Lasset uns doch den Herren, unseren Gott, loben, SWV 407 op. 12,10 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Es ging en Sämann aus zu säen seinen Samen, SWV 408 op. 12,11 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Seid barmherzig, wie auch euer Vater barmherzig ist, SWV 409 op. 12,12 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Siehe, dieser wird gesetzt zu einem Fall, SWV 410 op. 12,13 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Vater unser, der du bist im Himmel, SWV 411 op. 12,14 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Siehe, wie fein und lieblich ist's, SWV 412 op. 12,15 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Hütet euch, daß euere Herzen nicht beschwert werden, SWV 413 op. 12,16 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Meister, wir wissen, daß du wahrhaftig bist, SWV 414 op. 12,17 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Saul, Saul, was verfolgst du mich?, SWV 415 op. 12,18 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Herr, wie lange willst du mein so gar vergessen, SWV 416 op. 12,19 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Komm, Heiliger Geist, Herre Gott, SWV 417 op. 12,20 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Nun dankelt alle Gott, SWV 418 op. 12,21 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Winterreise, D 911, op. 89: 1. Gute Nacht | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 2. Die Wetterfahne | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 3. Gefror'ne Tränen | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 4. Erstarrung | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 5. Der Lindenbaum | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 6. Wasserflut | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 7. Auf dem Flusse | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 8. Rückblick | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 9. Irrlicht | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 10. Rast | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 11. Frühlingstraum | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 12. Einsamkeit | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 13. Die Post | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 14. Der greise Kopf | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 15. Die Krähe | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 16. Letzte Hoffnung | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 17. Im Dorfe | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 18. Der stürmische Morgen | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 19. Täuschung | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 20. Der Wegweiser | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 21. Das Wirtshaus | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 22. Muth! | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 23. Die Nebensonnen | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 24. Der Leiermann | Michael Schopper, Andreas Staier | — |
| La Púrpura de Rosa, Loa: Chinfonia | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Loa: Entrada de clarines | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Loa: El coro de las Musas | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Loa: !Viva, viva! | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Baylete: Baile | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Baylete: Pasacalles | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Baylete: Danza | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Venus & Adonis: Venus & las Ninfas | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Venus & Adonis: Yo, Adonis | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Venus & Adonis: ¿Tu eres Venus? | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Venus & Adonis: Amor tirano | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Venus & Adonis: La maldición | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Marte & Belona: Venus & Marte | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Marte & Belona: !Arma, arma! | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Chato & Celfa: Chato & Celfa | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Chato & Celfa: !Guarda la fiera! | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Adonis descansa | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Venus en los montes | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Los sentimientos de Venus | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Adonis durmiendo | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Amor | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Fantasmas | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor: Venus & Adonis | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor: La hermosura de Venus | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor: Todo es amor | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor: El jardín de Venus | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor: Baile del villano | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor y los soldados: Los soldados | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor y los soldados: Amor | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor y los soldados: Enigmas | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor y los soldados: ¿Como escapar? | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La gruta de Desengaño: La gruta del Desengaño | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La gruta de desengaño: En tono triste | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La gruta de desengaño: Temor, Sospecha, Envidia & Ira | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La gruta de desengaño: El Desegaño | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La gruta de desengaño: El Desegaño & Marte | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La gruta de desengaño: El cristal | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Xácara: Venus y Adonis | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Xácara: Los dos coros de Ninfas | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Xácara: Xácara | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Marte en los montes | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Adonis y el jabalí | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Dragón, Chato & Celfa | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: La muerte de Adonis | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: La púrpura y las rosas | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: El lamento de Venus | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: La venganza de Marte | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: ¡Ay infelice! | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: La fuerza del dolor | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: Triste | Tomás de Torrejón y Velasco | T-035.024.507-6 |
| La Púrpura de Rosa, Fin de fiesta: La música de dos orbes | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Fin de fiesta: ¿Al villano que le dan? | Tomás de Torrejón y Velasco | — |
| Afectos amantes, Cantada al Santísimo con violines: Estrivillo: Afectos amantes | José de Torres y Martínez Bravo | — |
| Afectos amantes, Cantada al Santísimo con violines: Rezitado: Ese candido | José de Torres y Martínez Bravo | — |
| Afectos amantes, Cantada al Santísimo con violines: Area: La Solfa mia quiso | José de Torres y Martínez Bravo | — |
| Afectos amantes, Cantada al Santísimo con violines: Rezitado: Su maxima Divina | José de Torres y Martínez Bravo | — |
| Afectos amantes, Cantada al Santísimo con violines: Area: Cisne fue para espirar | José de Torres y Martínez Bravo | — |
| Afectos amantes, Cantada al Santísimo con violines: Rezitado: Este si que es Orfeo | José de Torres y Martínez Bravo | — |
| Afectos amantes, Cantada al Santísimo con violines: Coplas. Alegre: Al abismo | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Area. Grave: Divino hijo de Adan | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Rezitado: Que es esto | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Alegre: Volved, volved bien mio. Rezitado: A esso vengo | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Area: A eso vengo | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Rezitado A esto vaja | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Area. Alegre: Que viva immortal | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Grave: O severano amor | José de Torres y Martínez Bravo | — |
| Sonata prima: Preludio. Adagio | José de Torres y Martínez Bravo | — |
| Sonata prima: Allemanda. Allegro | José de Torres y Martínez Bravo | — |
| Sonata prima: Corrente. Allegro. | José de Torres y Martínez Bravo | — |
| Sonata prima: Giga. Allegro. | José de Torres y Martínez Bravo | — |
| Sonata prima: Minuet | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Area: O quien pudiera alcanzar | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Rezitado: O, humano corazon | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Aera: Si amando enternezido | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Despazio: Aves fieras | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Fuga: Y asi viendo | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Rezitado: Mas conta la fatiga | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Area: Yo espero, mi bien | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Grave: O, immenso Adonay | José de Torres y Martínez Bravo | — |
| Bosques umbrosos, Cantada humana con violines: Estrivillo: Bosques umbrosos | José de Torres y Martínez Bravo | — |
| Bosques umbrosos, Cantada humana con violines: Rezitado: Y pues este tormento | José de Torres y Martínez Bravo | — |
| Bosques umbrosos, Cantada humana con violines: Area: Acabe mi amor | José de Torres y Martínez Bravo | — |
| Bosques umbrosos, Cantada humana con violines: Seguidillas: Pero què digo | José de Torres y Martínez Bravo | — |
| Bosques umbrosos, Cantada humana con violines: Grave: Muere corazon | José de Torres y Martínez Bravo | — |
| Concerto primo Introducione, for Strings and Basso continuo in G major, op. 1 no. 1 "Concerti da chiesa e da camera": Largo spico - Allegro assai - Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto secondo, for Violin obligato, Strings and Basso continuo in D major, op. 1 no. 2 "Concerti da chiesa e da camera": I. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto secondo, for Violin obligato, Strings and Basso continuo in D major, op. 1 no. 2 "Concerti da chiesa e da camera": II. Adagio | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto secondo, for Violin obligato, Strings and Basso continuo in D major, op. 1 no. 2 "Concerti da chiesa e da camera": III. Spirituoso | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto terzo, for Strings and Basso continuo in C major, op. 1 no. 3 "Concerti da chiesa e da camera": I. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto terzo, for Strings and Basso continuo in C major, op. 1 no. 3 "Concerti da chiesa e da camera": II. Andante | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto terzo, for Strings and Basso continuo in C major, op. 1 no. 3 "Concerti da chiesa e da camera": III. Allegro Assai | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto quarto, for Violin obligato, Strings and Basso continuo in C minor, op. 1 no. 4 "Concerti da chiesa e da camera": II. Andante ma Larghetto | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto quarto, for Violin obligato, Strings and Basso continuo in C minor, op. 1 no. 4 "Concerti da chiesa e da camera": III. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto quinto, for Strings and Basso continuo in E major, op. 1 no. 5 "Concerti da chiesa e da camera": I. Largo - Allegro ma Aperto | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto quinto, for Strings and Basso continuo in E major, op. 1 no. 5 "Concerti da chiesa e da camera": II. Andante e Spico - Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto sesto, for Violin obligato, Strings and Basso continuo in A major, op. 1 no. 6 "Concerti da chiesa e da camera": I. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto sesto, for Violin obligato, Strings and Basso continuo in A major, op. 1 no. 6 "Concerti da chiesa e da camera": II. Adagio | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto sesto, for Violin obligato, Strings and Basso continuo in A major, op. 1 no. 6 "Concerti da chiesa e da camera": III. Vivace | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto settimo Teatrale, for Strings and Basso continuo in B-flat major, op. 1 no. 7 "Concerti da chiesa e da camera": I. Vivace | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto settimo Teatrale, for Strings and Basso continuo in B-flat major, op. 1 no. 7 "Concerti da chiesa e da camera": II. Andante | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto settimo Teatrale, for Strings and Basso continuo in B-flat major, op. 1 no. 7 "Concerti da chiesa e da camera": III. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto ottavo, for Violin obligato, Strings and Basso continuo in E-flat major, op. 1 no. 8 "Concerti da chiesa e da camera": I. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto ottavo, for Violin obligato, Strings and Basso continuo in E-flat major, op. 1 no. 8 "Concerti da chiesa e da camera": II. Adagio | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto ottavo, for Violin obligato, Strings and Basso continuo in E-flat major, op. 1 no. 8 "Concerti da chiesa e da camera": III. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto nono Teatrale, for Strings and Basso continuo in F major, op. 1 no. 9 "Concerti da chiesa e da camera": I. Allegro a Spico | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto nono Teatrale, for Strings and Basso continuo in F major, op. 1 no. 9 "Concerti da chiesa e da camera": III. Presto | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto decimo a Pastorale, for 2 Violini obligati, Strings and Basso Continuo in D major, op. 1 no. 10 "Concerti da chiesa e da camera": I. Grave - Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto decimo a Pastorale, for 2 Violini obligati, Strings and Basso Continuo in D major, op. 1 no. 10 "Concerti da chiesa e da camera": II. Largo - Pastorale | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto undecimo, for Strings and Basso continuo in G minor, op. 1 no. 11 "Concerti da chiesa e da camera": I. Spirituoso | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto undecimo, for Strings and Basso continuo in G minor, op. 1 no. 11 "Concerti da chiesa e da camera": II. Andantino - Allegro ma non tanto presto | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto duodecimo a Tempesta di Mare, for Violin obligato, Strings and Basso continuo in G major, op. 1 no. 12 "Concerti da chiesa e da camera": I. Allegro, e con Spirito | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto duodecimo a Tempesta di Mare, for Violin obligato, Strings and Basso continuo in G major, op. 1 no. 12 "Concerti da chiesa e da camera": II. Adagio, e piano (Navicella in calma) | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto duodecimo a Tempesta di Mare, for Violin obligato, Strings and Basso continuo in G major, op. 1 no. 12 "Concerti da chiesa e da camera": III. Allegro ma Aperto (Tempesta) | Freiburger Barockorchester, Gottfried von der Goltz | — |
| ''Hipocondrie'' à 7 concertanti in A major, ZWV 187 | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto in D major: Vivace | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto in D major: Andante | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto in D major: Andante | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto à 8 concertanti in G major, ZWV 186: Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto à 8 concertanti in G major, ZWV 186: Largo | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto à 8 concertanti in G major, ZWV 186: Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Sonata in C minor: Largo | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Sonata in C minor: Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| ''Simphonie'' a 8 concertanti in A minor, ZWV 189: [] | Freiburger Barockorchester, Gottfried von der Goltz | T-106.550.241-0 |
| ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Andante | Freiburger Barockorchester, Gottfried von der Goltz | — |
| ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Capriccio. Tempo di gavotta | Freiburger Barockorchester, Gottfried von der Goltz | — |
| ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Menuet I & II | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Lamentationes pro die Mercurii Sancto: Lamentatio I c-Moll | Jan Dismas Zelenka | — |
| Lamentationes pro die Mercurii Sancto: Lamentatio II F-dur | Jan Dismas Zelenka | — |
| Lamentationes pro die Jovis Sancto: Lamentatio I B-Dur | Jan Dismas Zelenka | — |
| Lamentationes pro die Jovis Sancto: Lamentatio II g-moll | Jan Dismas Zelenka | — |
| Übers Gebirg Maria geht | Johannes Eccard | — |
| Gelobet seist du, Jesu Christ | Johann Walter | — |
| Uns ist ein Kindlein heut geborn | Andreas Reussner | — |
| Vom Himmel hoch da komm ich her | Adam Gumpelzhaimer | — |
| Maria zart | Arnolt Schlick | — |
| In dulci jubilo | Michael Praetorius | T-312.820.730-3 |
| Christum wir sollen loben schon | Bartholomäus Gesius | — |
| Ein Kind geborn zu Bethlehem | Bartholomäus Gesius | — |
| Es ist ein Ros entsprungen | Michael Praetorius | T-923.659.287-3 |
| Joseph, lieber Joseph mein | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Angelus ad pastores ait | Tölzer Knabenchor, Gerhard Schmidt-Gaden | T-900.139.287-6 |
| Resonet in laudibus | Tölzer Knabenchor, Gerhard Schmidt-Gaden | T-071.070.038-1 |
| Omnes de Saba venient | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Ich steh an deiner Krippe hier | Tölzer Knabenchor, Gerhard Schmidt-Gaden | T-050.437.923-0 |
| O Jesulein zart | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Jetzt fangen wir zum Singen an | Tölzer Knabenchor, Gerhard Schmidt-Gaden | T-801.716.751-1 |
| Felsenharte Bethlehemiten | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Auf, auf! Ihr Hirten in dem Feld | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Das allerschönst Kindl | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Das himmlische Tor | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Still, o Himmel! | Tölzer Knabenchor, Gerhard Schmidt-Gaden | T-009.064.285-5 |
| Dort oben am Berge, da wehet der Wind | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Wir wollen dankbar sein | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Sonata in E minor for Transverse Flute & B. C.: I. Grave | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in E minor for Transverse Flute & B. C.: II. Allegro assai | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in E minor for Transverse Flute & B. C.: III. Presto | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in D major for Transverse Flute & Harpsichord obligato: I. Allegro un poco | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in D major for Transverse Flute & Harpsichord obligato: II. Largo | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in D major for Transverse Flute & Harpsichord obligato: III. Allegro | Johannes Koch, Hans-Martin Linde, Hugo Ruf | T-031.609.609-9 |
| Sonata in G major for Transverse Flute & Harpsichord obligato: I. Allegro moderato | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in G major for Transverse Flute & Harpsichord obligato: II. Andantino | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in G major for Transverse Flute & Harpsichord obligato: III. Allegro | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in A minor for Transverse Flute & B. C.: I. Adagio | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in A minor for Transverse Flute & B. C.: II. Presto | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in A minor for Transverse Flute & B. C.: III. Gigue | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Graduale Sarisburiense: Kyrie "Orbis Factor" (cum veribus) | [anonymous] | — |
| Missa sine nomine ("The Meane Mass"): I. Gloria | John Taverner | — |
| Missa sine nomine ("The Meane Mass"): II. Credo | John Taverner | T-030.223.287-6 |
| Missa sine nomine ("The Meane Mass"): III. Sanctus und Benedictus | John Taverner | — |
| Lamentationes for 5 voices | Osbert Parsley | — |
| "Playnsong Mass for a Meane": I. Kyrie | John Sheppard | T-902.704.637-3 |
| "Playnsong Mass for a Meane": III. Credo | John Sheppard | — |
| "Playnsong Mass for a Meane": IV. Sanctus und Benedictus | John Sheppard | — |
| "Playnsong Mass for a Meane": V. Agnus Dei | John Sheppard | — |
| Téttix | Ensemble Melpomen | T-050.104.969-9 |
| Psaphródita | Ensemble Melpomen | T-050.428.609-2 |
| Bíos | Ensemble Melpomen | — |
| Kýthera | Ensemble Melpomen | — |
| Naí | Ensemble Melpomen | T-905.076.188-1 |
| Kleis | Ensemble Melpomen | — |
| Pýr | Ensemble Melpomen | T-905.076.187-0 |
| Phýlla | Ensemble Melpomen | — |
| Manía | Ensemble Melpomen | — |
| O Tékos | Ensemble Melpomen | — |
| Kálamos | Ensemble Melpomen | — |
| Lýkos | Ensemble Melpomen | T-050.428.608-1 |
| Melíttta | Ensemble Melpomen | T-905.076.189-2 |
| Makróteros | Ensemble Melpomen | — |
| Diálogos II | Ensemble Melpomen | T-050.428.603-6 |
| Dóra | Ensemble Melpomen | T-050.444.765-7 |
| Kroúsis | Ensemble Melpomen | T-905.076.190-5 |
| Ónar | Ensemble Melpomen | — |
| Pollá | Ensemble Melpomen | — |
| Oi Yano, Yano (Traditional Trace) | [traditional] | T-322.201.889-1 |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
190758007021 is a Universal Product Code (UPC) assigned to 100 Great Recordings - Renaissance, Baroque and Classical Masterpieces by Various Artists. 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 1000 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
190758007021 is the Universal Product Code (UPC barcode) for the release “100 Great Recordings - Renaissance, Baroque and Classical Masterpieces” by Various Artists, released 2017-01-01 on Deutsche Harmonia Mundi. 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 1000 tracks, each with its own ISRC. Tracks include DEE479000309, DEE479000310, DEE479000311.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Sinfonie C-Dur, Wq 182/3 (H 659): I. Allegro assai | Freiburger Barockorchester, Thomas Hengelbrock | T-306.395.786-4 | |
| 2 | Sinfonie C-Dur, Wq 182/3 (H 659): II. Adagio | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 3 | Sinfonie C-Dur, Wq 182/3 (H 659): III. Allegretto | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 4 | Concerto c-moll für Cembalo und Orchester, Wq 43/4 (H 474): I. Allegro assai | Andreas Staier, Freiburger Barockorchester, Thomas Hengelbrock | T-306.395.786-4 | |
| 5 | Concerto c-moll für Cembalo und Orchester, Wq 43/4 (H 474): II. Poco adagio | Andreas Staier, Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 6 | Concerto c-moll für Cembalo und Orchester, Wq 43/4 (H 474): III. Tempo di minuetto | Andreas Staier, Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 7 | Concerto c-moll für Cembalo und Orchester, Wq 43/4 (H 474): IV. Allegro assai | Andreas Staier, Freiburger Barockorchester, Thomas Hengelbrock | T-306.395.786-4 | |
| 8 | Sinfonie A-Dur, Wq 182/4 (H 660): I. Allegro ma non troppo | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 9 | Sinfonie A-Dur, Wq 182/4 (H 660): II. Largo et innocemente | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 10 | Sinfonie A-Dur, Wq 182/4 (H 660): III. Allegro assai | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 11 | Concerto Es-Dur für Oboe, Streicher und B.c., Wq 165 (H 468): I. Allegro | Hans-Peter Westermann, Freiburger Barockorchester, Thomas Hengelbrock | T-031.609.609-9 | |
| 12 | Concerto Es-Dur für Oboe, Streicher und B.c., Wq 165 (H 468): II. Adagio ma non troppo | Hans-Peter Westermann, Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 13 | Concerto Es-Dur für Oboe, Streicher und B.c., Wq 165 (H 468): III. Allegro ma non troppo | Hans-Peter Westermann, Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 14 | Sinfonie h-moll, Wq 182/5 (H 661): I. Allegretto | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 15 | Sinfonie h-moll, Wq 182/5 (H 661): II. Larghetto | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 16 | Sinfonie h-moll, Wq 182/5 (H 661): III. Presto | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 2-1 | Magnificat: Magnificat (chorus) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-2 | Magnificat: Quia respexit (soprano) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-3 | Magnificat: Quia fecit mihi magna (tenor) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-4 | Magnificat: Et misericordia (chorus) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-5 | Magnificat: Fecit potentiam (bass) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-6 | Magnificat: Deposuit potentes (tenor & alto) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-7 | Magnificat: Susceptit Israel (alto) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-8 | Magnificat: Gloria Patri (chorus) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-9 | Magnificat: Sicut erat (chorus) | Tölzer Knabenchor, Collegium Aureum, Franzjosef Maier | — | |
| 2-10 | Concerto in B-flat major, Wq 171: I. Allegretto | Angelica May, Collegium Aureum, Franzjosef Maier | — | |
| 2-11 | Concerto in B-flat major, Wq 171: II. Adagio | Angelica May, Collegium Aureum, Franzjosef Maier | — | |
| 2-12 | Concerto in B-flat major, Wq 171: III. Allegro assai | Angelica May, Collegium Aureum, Franzjosef Maier | — | |
| 3-1 | Sonata in A minor Wq 49,1: Moderato | Andreas Staier | — | |
| 3-2 | Sonata in A minor Wq 49,1: Andante | Andreas Staier | — | |
| 3-3 | Sonata in A minor Wq 49,1: Allegro assai | Andreas Staier | T-306.395.786-4 | |
| 3-4 | 12 Variationes auf die Folie d'Espagne in D minor Wq 118,9 | Andreas Staier | — | |
| 3-5 | "Sonata per il Cembalo solo" in G minor Wq 65,17: Allegro (attaca) | Andreas Staier | T-031.609.609-9 | |
| 3-6 | "Sonata per il Cembalo solo" in G minor Wq 65,17: Adagio (attacca) | Andreas Staier | — | |
| 3-7 | "Sonata per il Cembalo solo" in G minor Wq 65,17: Allegro assai | Andreas Staier | T-306.395.786-4 | |
| 3-8 | "Freye Fantasie" in F sharp minor Wq 67 | Andreas Staier | — | |
| 3-9 | Rondo in C minor Wq 59,4: Allegro | Andreas Staier | T-031.609.609-9 | |
| 3-10 | Sonata in E minor Wq 59,1: Presto (attacca) | Andreas Staier | — | |
| 3-11 | Sonata in E minor, Wq 59 No. 1 (H. 281): Adagio (attacca) | — | ||
| 3-12 | Sonata in E minor Wq 59,1: Andantino | Andreas Staier | — | |
| 3-13 | Fantasia in C major Wq 61,6: Presto di molto – Andante – Presto di molto – Larghetto sostenuto – Presto di molto | Andreas Staier | — | |
| 4-1 | Die Kunst der Fuge, BWV 1080: Contrapunctus I a 4 | Collegium Aureum | — | |
| 4-2 | Die Kunst der Fuge, BWV 1080: Contrapunctus II a 4 | Collegium Aureum | — | |
| 4-3 | Die Kunst der Fuge, BWV 1080: Contrapunctus III a 4 | Collegium Aureum | — | |
| 4-4 | Die Kunst der Fuge, BWV 1080: Contrapunctus IV a 4 | Collegium Aureum | — | |
| 4-5 | Die Kunst der Fuge, BWV 1080: Contrapunctus V a 4 | Collegium Aureum | — | |
| 4-6 | Die Kunst der Fuge, BWV 1080: Contrapunctus VI a 4 | Collegium Aureum | — | |
| 4-7 | Die Kunst der Fuge, BWV 1080: Contrapunctus VII a 4 | Collegium Aureum | — | |
| 4-8 | Die Kunst der Fuge, BWV 1080: Contrapunctus VIII a 3 | Collegium Aureum | — | |
| 4-9 | Die Kunst der Fuge, BWV 1080: Contrapunctus IX a 4 | Collegium Aureum | — | |
| 4-10 | Die Kunst der Fuge, BWV 1080: Contrapunctus X a 4 | Collegium Aureum | — | |
| 5-1 | Die Kunst der Fuge, BWV 1080, Contrapunctus XI a 4 | Collegium Aureum | — | |
| 5-2 | Die Kunst der Fuge, BWV 1080, Contrapunctus XII a 4 | Collegium Aureum | — | |
| 5-3 | Die Kunst der Fuge, BWV 1080, Contrapunctus XIII a 3 | Collegium Aureum | — | |
| 5-4 | Die Kunst der Fuge, BWV 1080, Contrapunctus XIII a 2 | Collegium Aureum | — | |
| 5-5 | Die Kunst der Fuge, BWV 1080, Contrapunctus XIV | Collegium Aureum | — | |
| 5-6 | Die Kunst der Fuge, BWV 1080, Contrapunctus XV | Collegium Aureum | — | |
| 5-7 | Die Kunst der Fuge, BWV 1080, Contrapunctus XVI | Collegium Aureum | — | |
| 5-8 | Die Kunst der Fuge, BWV 1080, Contrapunctus XVII | Collegium Aureum | — | |
| 5-9 | Die Kunst der Fuge, BWV 1080, Contrapunctus XVIII | Collegium Aureum | — | |
| 6-1 | Brandenburg Concerto no. 1 in F major, BWV 1046: I. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 6-2 | Brandenburg Concerto no. 1 in F major, BWV 1046: II. Adagio | La Petite Bande, Sigiswald Kuijken | — | |
| 6-3 | Brandenburg Concerto no. 1 in F major, BWV 1046: III. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 6-4 | Brandenburg Concerto no. 1 in F major, BWV 1046: IV. Menuetto | La Petite Bande, Sigiswald Kuijken | — | |
| 6-5 | Brandenburg Concerto no. 2 in F major, BWV 1047: I. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 6-6 | Brandenburg Concerto no. 2 in F major, BWV 1047: II. Andante | La Petite Bande, Sigiswald Kuijken | — | |
| 6-7 | Brandenburg Concerto no. 2 in F major, BWV 1047: III. Allegro assai | La Petite Bande, Sigiswald Kuijken | — | |
| 6-8 | Brandenburg Concerto no. 3 in G major, BWV 1048: I. Allegro / II. Adagio | La Petite Bande, Sigiswald Kuijken | — | |
| 6-9 | Brandenburg Concerto no. 3 in G major, BWV 1048: III. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 7-1 | Brandenburg Concerto no. 4 in G major, BWV 1049: I. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 7-2 | Brandenburg Concerto no. 4 in G major, BWV 1049: II. Andante | La Petite Bande, Sigiswald Kuijken | T-307.292.946-1 | |
| 7-3 | Brandenburg Concerto no. 4 in G major, BWV 1049: III. Presto | La Petite Bande, Sigiswald Kuijken | — | |
| 7-4 | Brandenburg Concerto no. 5 in D major, BWV 1050: I. Allegro | La Petite Bande, Sigiswald Kuijken | T-914.323.771-2 | |
| 7-5 | Brandenburg Concerto no. 5 in D major, BWV 1050: II. Affettuoso | La Petite Bande, Sigiswald Kuijken | — | |
| 7-6 | Brandenburg Concerto no. 5 in D major, BWV 1050: III. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 7-7 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: I. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 7-8 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: II. Adagio ma non tanto | La Petite Bande, Sigiswald Kuijken | — | |
| 7-9 | Brandenburg Concerto no. 6 in B-flat major, BWV 1051: III. Allegro | La Petite Bande, Sigiswald Kuijken | — | |
| 8-1 | Goldberg-Variationen, BWV 988: Aria | — | ||
| 8-2 | Goldberg-Variationen, BWV 988: Variatio 1, a 1 Clav. | — | ||
| 8-3 | Goldberg-Variationen, BWV 988: Variatio 2, a 1 Clav. | — | ||
| 8-4 | Goldberg-Variationen, BWV 988: Variatio 3, a 1 Clav. Canone all'Unisono | — | ||
| 8-5 | Goldberg-Variationen, BWV 988: Variatio 4, a 1 Clav. | — | ||
| 8-6 | Goldberg-Variationen, BWV 988: Variatio 5, a 1 ovvero 2 Clav. | — | ||
| 8-7 | Goldberg-Variationen, BWV 988: Variatio 6, a 1 Clav. Canone alla Seconda | — | ||
| 8-8 | Goldberg-Variationen, BWV 988: Variatio 7, a 1 ovvero 2 Clav. Al tempo di Giga | — | ||
| 8-9 | Goldberg-Variationen, BWV 988: Variatio 8, a 2 Clav. | — | ||
| 8-10 | Goldberg-Variationen, BWV 988: Variatio 9, a 1 Clav. Canone alla Terza | — | ||
| 8-11 | Goldberg-Variationen, BWV 988: Variatio 10, a 1 Clav. Fughetta | — | ||
| 8-12 | Goldberg-Variationen, BWV 988: Variatio 11, a 2 Clav. | — | ||
| 8-13 | Goldberg-Variationen, BWV 988: Variatio 12, Canone all Quarta | — | ||
| 8-14 | Goldberg-Variationen, BWV 988: Variatio 13, a 2 Clav. | — | ||
| 8-15 | Goldberg-Variationen, BWV 988: Variatio 14, a 2 Clav. | — | ||
| 8-16 | Goldberg-Variationen, BWV 988: Variatio 15, a 1 Clav. Canone alla Quinta, Andante | — | ||
| 8-17 | Goldberg-Variationen, BWV 988: Variatio 16, a 1 Clav. Ouverture | — | ||
| 8-18 | Goldberg-Variationen, BWV 988: Variatio 17, a 2 Clav. | — | ||
| 8-19 | Goldberg-Variationen, BWV 988: Variatio 18, a 1 Clav. Canone alla Sesta | — | ||
| 8-20 | Goldberg-Variationen, BWV 988: Variatio 19, a 1 Clav. | — | ||
| 8-21 | Goldberg-Variationen, BWV 988: Variatio 20, a 2 Clav. | — | ||
| 8-22 | Goldberg-Variationen, BWV 988: Variatio 21, Canone alla Settima | — | ||
| 8-23 | Goldberg-Variationen, BWV 988: Variatio 22, a 1 Clav. Alla breve | — | ||
| 8-24 | Goldberg-Variationen, BWV 988: Variatio 23, a 2 Clav. | — | ||
| 8-25 | Goldberg-Variationen, BWV 988: Variatio 24, a 1 Clav. Canone all'Ottava | — | ||
| 8-26 | Goldberg-Variationen, BWV 988: Variatio 25, a 2 Clav. Adagio | — | ||
| 8-27 | Goldberg-Variationen, BWV 988: Variatio 26, a 2 Clav. | — | ||
| 8-28 | Goldberg-Variationen, BWV 988: Variatio 27, Canone all Nona, a 2 Clav. | — | ||
| 8-29 | Goldberg-Variationen, BWV 988: Variatio 28, a 2 Clav. | — | ||
| 8-30 | Goldberg-Variationen, BWV 988: Variatio 29, a 1 ovvero 2 Clav. | — | ||
| 8-31 | Goldberg-Variationen, BWV 988: Variatio 30, a 1 Clav. Quodlibet | — | ||
| 8-32 | Goldberg-Variationen, BWV 988: Aria da capo | — | ||
| 9-1 | Suite g-moll, BWV 995: I. Prélude | Konrad Junghänel | — | |
| 9-2 | Suite g-moll, BWV 995: II. Allemande | Konrad Junghänel | — | |
| 9-3 | Suite g-moll, BWV 995: III. Courante | Konrad Junghänel | — | |
| 9-4 | Suite g-moll, BWV 995: IV. Sarabande | Konrad Junghänel | — | |
| 9-5 | Suite g-moll, BWV 995: V. Gavotte I & II en Rondeau | Konrad Junghänel | — | |
| 9-6 | Suite g-Moll, BWV 995: VI. Gigue | Konrad Junghänel | — | |
| 9-7 | Suite c-moll, BWV 997: I. Prélude | Konrad Junghänel | — | |
| 9-8 | Suite c-moll, BWV 997: II. Fuga | Konrad Junghänel | — | |
| 9-9 | Suite c-moll, BWV 997: III. III. Sarabande | Konrad Junghänel | — | |
| 9-10 | Suite c-moll, BWV 997: IV. Gigue - Double | Konrad Junghänel | — | |
| 9-11 | Präludium c-moll, BWV 999 | Konrad Junghänel | — | |
| 9-12 | Fuge g-moll, BWV 1000 | Konrad Junghänel | — | |
| 10-1 | Präludium, Fuge & Allegro Es-dur, BWV 998 | Konrad Junghänel | T-915.711.069-5 | |
| 10-2 | Suite e-moll, BWV 996: I. Praeludio (Passaggio - Presto) | Konrad Junghänel | — | |
| 10-3 | Suite e-moll, BWV 996: II. Allemande | Konrad Junghänel | — | |
| 10-4 | Suite e-moll, BWV 996: III. Courante | Konrad Junghänel | — | |
| 10-5 | Suite e-moll, BWV 996: IV. Sarabande | Konrad Junghänel | — | |
| 10-6 | Suite e-moll, BWV 996: V. Bourrée | Konrad Junghänel | — | |
| 10-7 | Suite e-moll, BWV 996: VI. Gigue | Konrad Junghänel | — | |
| 10-8 | Suite E-dur, BWV 1006a: I. Prélude | Konrad Junghänel | — | |
| 10-9 | Suite E-dur, BWV 1006a: II. Loure | Konrad Junghänel | — | |
| 10-10 | Suite E-dur, BWV 1006a: III. Gavotte en Rondeau | Konrad Junghänel | — | |
| 10-11 | Suite E-dur, BWV 1006a: IV. Menuett I & II | Konrad Junghänel | — | |
| 10-12 | Suite E-dur, BWV 1006a: V. Bourée | Konrad Junghänel | — | |
| 10-13 | Suite E-dur, BWV 1006a: VI. Gigue | Konrad Junghänel | — | |
| 11-1 | Johannes-Passion, BWV 245: Teil I: No. 1. Chor: "Herr, unser Herrscher" | — | ||
| 11-2 | Johannes-Passion, BWV 245: Teil I: No. 2a. Rezitativ: "Jesus ging mit seinen Jüngern" (Evangelist, Jesus) | — | ||
| 11-3 | Johannes-Passion, BWV 245: Teil I: No. 2b. Chor: "Jesum von Nazereth!" | — | ||
| 11-4 | Johannes-Passion, BWV 245: Teil I: No. 2c. Rezitativ: "Jesus spricht zu ihnen" (Evangelist, Jesus) | — | ||
| 11-5 | Johannes-Passion, BWV 245: Teil I: No. 2d. Rezitativ: "Jesus antwortete" (Evangelist, Jesus) | — | ||
| 11-6 | Johannes-Passion, BWV 245: Teil I: No. 3. Chorale: "O große Lieb" | — | ||
| 11-7 | Johannes-Passion, BWV 245: Teil I: No. 4. Rezitativ: "Auf dass das Wort erfüllet würde" (Evangelist, Jesus) | — | ||
| 11-8 | Johannes-Passion, BWV 245: Teil I: No. 5. Chorale: "Dein Will gescheh, Herr Gott, zugleich" | — | ||
| 11-9 | Johannes-Passion, BWV 245: Teil I: No. 6. Rezitativ: "Die Schar aber und der Oberhauptmann" (Evangelist) | — | ||
| 11-10 | Johannes-Passion, BWV 245: Teil I: No. 7. Arie: "Von den Stricken meiner Sünden" (alto) | — | ||
| 11-11 | Johannes-Passion, BWV 245: Teil I: No. 8. Rezitativ: "Simon Petrus aber folgete Jesu nach" (Evangelist) | — | ||
| 11-12 | Johannes-Passion, BWV 245: Teil I: No. 9. Arie: "Ich folge dir gleichfalls" (soprano) | — | ||
| 11-13 | Johannes-Passion, BWV 245: Teil I: No. 10. Rezitativ: "Derselbige Jünger war dem Hohenpriester bekannt" (Evangelist, Maid, Peter, Jesus, Servant) | — | ||
| 11-14 | Johannes-Passion, BWV 245: Teil I: No. 11. Chorale: "Wer hat dich so geschlagen" | — | ||
| 11-15 | Johannes-Passion, BWV 245: Teil I: No. 12a. Rezitativ: "Und Hannas sandte ihn gebunden" (Evangelist) | — | ||
| 11-16 | Johannes-Passion, BWV 245: Teil I: No. 12b. Chor: "Bist du nicht seiner Jünger einer?" | — | ||
| 11-17 | Johannes-Passion, BWV 245: Teil I: No. 12c. Rezitativ: "Er leugnete aber und sprach" (Evangelist, Peter, Servant) | — | ||
| 11-18 | Johannes-Passion, BWV 245: Teil I: No. 13. Arie: "Ach, mein Sinn" (tenor) | — | ||
| 11-19 | Johannes-Passion, BWV 245: Teil I: No. 14. Chorale: "Petrus, der nicht denkt zurück" | — | ||
| 11-20 | Johannes-Passion, BWV 245: Teil II: No. 15. Chorale: "Christus, der uns selig macht" | — | ||
| 11-21 | Johannes-Passion, BWV 245: Teil II: No. 16a. Rezitativ: "Da führeten sie Jesum" (Evangelist, Pilate) | — | ||
| 11-22 | Johannes-Passion, BWV 245: Teil II: No. 16b. Chor: "Wäre dieser nicht ein Übeltäter" | — | ||
| 11-23 | Johannes-Passion, BWV 245: Teil II: No. 16c. Rezitativ: "Da sprach Pilatus zu ihnen" (Evangelist, Pilate) | — | ||
| 11-24 | Johannes-Passion, BWV 245: Teil II: No. 16d. Chor: "Wir dürfen niemand töten" | — | ||
| 11-25 | Johannes-Passion, BWV 245: Teil II: No. 16e. Rezitativ: "Auf dass erfüllet würde das Wort Jesu" (Evangelist, Pilate, Jesus) | — | ||
| 11-26 | Johannes-Passion, BWV 245: Teil II: No. 17. Chorale: "Ach, großer König" | — | ||
| 11-27 | Johannes-Passion, BWV 245: Teil II: No. 18a. Rezitativ: "Da sprach Pilatus zu ihm" (Evangelist, Pilate, Jesus) | — | ||
| 11-28 | Johannes-Passion, BWV 245: Teil II: No. 18b. Chor: "Nicht diesen, sondern Barrabam" | — | ||
| 11-29 | Johannes-Passion, BWV 245: Teil II: No. 18c. Rezitativ: "Barrabas aber war ein Mörder" (Evangelist) | — | ||
| 11-30 | Johannes-Passion, BWV 245: Teil II: No. 19. Arioso: "Betrachte, meine Seel" (bass) | — | ||
| 11-31 | Johannes-Passion, BWV 245: Teil II: No. 20. Arie: "Erwäge, wie sein blutgefärbter Rücken" (tenor) | — | ||
| 12-1 | Johannes-Passion, BWV 245: Teil II: No. 21a. Rezitativ: "Und die Kriegsknechte flochten eine Krone" (Evangelist) | — | ||
| 12-2 | Johannes-Passion, BWV 245: Teil II: No. 21b. Chor: "Sei gegrüßet, lieber Judenkönig!" | — | ||
| 12-3 | Johannes-Passion, BWV 245: Teil II: No. 21c. Rezitativ: "Und gaben ihm Backenstreiche" (Evangelist, Pilate) | — | ||
| 12-4 | Johannes-Passion, BWV 245: Teil II: No. 21d. Chor: "Kreuzige, kreuzige!" | — | ||
| 12-5 | Johannes-Passion, BWV 245: Teil II: No. 21e. Rezitativ: "Pilatus sprach zu ihnen" (Evangelist, Pilate) | — | ||
| 12-6 | Johannes-Passion, BWV 245: Teil II: No. 21f. Chor: "Wir haben ein Gesetz" | — | ||
| 12-7 | Johannes-Passion, BWV 245: Teil II: No. 21g. Rezitativ: "Da Pilatus das Wort hörete" (Evangelist, Pilate, Jesus) | — | ||
| 12-8 | Johannes-Passion, BWV 245: Teil II: No. 22. Chorale: "Durch dein Gefängnis, Gottes Sohn" | — | ||
| 12-9 | Johannes-Passion, BWV 245: Teil II: No. 23a. Rezitativ: "Die Juden aber schrien" (Evangelist) | — | ||
| 12-10 | Johannes-Passion, BWV 245: Teil II: No. 23b. Chor: "Lässest du diesen los" | — | ||
| 12-11 | Johannes-Passion, BWV 245: Teil II: No. 23c. Rezitativ: "Da Pilatus das Wort hörete" (Evangelist, Pilate) | — | ||
| 12-12 | Johannes-Passion, BWV 245: Teil II: No. 23d. Chor: "Weg, weg mit dem" | — | ||
| 12-13 | Johannes-Passion, BWV 245: Teil II: No. 23e. Rezitativ: "Spricht Pilatus zu ihnen" (Evangelist, Pilate) | — | ||
| 12-14 | Johannes-Passion, BWV 245: Teil II: No. 23f. Chor: "Wir haben keinen König" | — | ||
| 12-15 | Johannes-Passion, BWV 245: Teil II: No. 23g. Rezitativ: "Da überantwortete er ihn" (Evangelist) | — | ||
| 12-16 | Johannes-Passion, BWV 245: Teil II: No. 24. Arie with Chor: "Eilt, ihr angefochtnen Seelen" (bass) | — | ||
| 12-17 | Johannes-Passion, BWV 245: Teil II: No. 25a. Rezitativ: "Allda kreuzigten sie ihn" (Evangelist) | — | ||
| 12-18 | Johannes-Passion, BWV 245: Teil II: No. 25b. Chor: "Schreibe nicht: der Juden König" | — | ||
| 12-19 | Johannes-Passion, BWV 245: Teil II: No. 25c. Rezitativ: "Pilatus antwortete" (Evangelist, Pilate) | — | ||
| 12-20 | Johannes-Passion, BWV 245: Teil II: No. 26. Chorale: "In meines Herzens Grunde" | — | ||
| 12-21 | Johannes-Passion, BWV 245: Teil II: No. 27a. Rezitativ: "Die Kriegsknechte aber" (Evangelist) | — | ||
| 12-22 | Johannes-Passion, BWV 245: Teil II: No. 27b. Chor: "Lasset uns den nicht zerteilen" | — | ||
| 12-23 | Johannes-Passion, BWV 245: Teil II: No. 27c. Rezitativ: "Auf dass erfüllet würde die Schrift" (Evangelist, Jesus) | — | ||
| 12-24 | Johannes-Passion, BWV 245: Teil II: No. 28. Chorale: "Er nahm alles wohl in Acht" | — | ||
| 12-25 | Johannes-Passion, BWV 245: Teil II: No. 29. Rezitativ: "Und von Stund an" (Evangelist, Jesus) | — | ||
| 12-26 | Johannes-Passion, BWV 245: Teil II: No. 30. Arie: "Es ist vollbracht" (alto) | — | ||
| 12-27 | Johannes-Passion, BWV 245: Teil II: No. 31. Rezitativ: "Und neigte das Haupt" (Evangelist) | — | ||
| 12-28 | Johannes-Passion, BWV 245: Teil II: No. 32. Arie with Chorale: "Mein teurer Heiland" (bass) | — | ||
| 12-29 | Johannes-Passion, BWV 245: Teil II: No. 33. Rezitativ: "Und siehe da, der Vorhang im Tempel zerriss" (Evangelist) | — | ||
| 12-30 | Johannes-Passion, BWV 245: Teil II: No. 34. Arioso: "Mein Herz, indem die ganze Welt" (tenor) | — | ||
| 12-31 | Johannes-Passion, BWV 245: Teil II: No. 35. Arie: "Zerfließe, mein Herze" (soprano) | — | ||
| 12-32 | Johannes-Passion, BWV 245: Teil II: No. 36. Rezitativ: "Die Juden aber" (Evangelist) | — | ||
| 12-33 | Johannes-Passion, BWV 245: Teil II: No. 37. Chorale: "O hilf, Christe, Gottes Sohn" | — | ||
| 12-34 | Johannes-Passion, BWV 245: Teil II: No. 38. Rezitativ: "Darnach bat Pilatum Joseph von Arimathia" (Evangelist) | — | ||
| 12-35 | Johannes-Passion, BWV 245: Teil II: No. 39. Chor: "Ruht wohl, ihr heiligen Gebeine" | — | ||
| 12-36 | Johannes-Passion, BWV 245: Teil II: No. 40. Chorale: "Ach, Herr, lass dein lieb Engelein" | — | ||
| 13-1 | Toccata in D minor, BWV 913 | Gustav Leonhardt | — | |
| 13-2 | Liebster Herr Jesu, wir sind hier, BWV 731 | Gustav Leonhardt | T-905.384.167-1 | |
| 13-3 | Christ lag in Todesbanden, BWV 718 | Gustav Leonhardt | T-922.029.386-7 | |
| 13-4 | Valet will ich dir geben, BWV 736 | Gustav Leonhardt | — | |
| 13-5 | Lobt Gott, ihr Christen allzugleich, BWV 732 | Gustav Leonhardt | — | |
| 13-6 | Kyrie, Gott Vater in Ewigkeit, BWV 669 | Gustav Leonhardt | T-910.295.522-6 | |
| 13-7 | Christe, aller Welt Trost, BWV 670 | Gustav Leonhardt | — | |
| 13-8 | Kyrie, Gott heiliger Geist, BWV 671 | Gustav Leonhardt | — | |
| 13-9 | Allein Gott in der Höh sei Ehr, BWV 675 | Gustav Leonhardt | — | |
| 13-10 | Allein Gott in der Höh sei Ehr, BWV 677 | Gustav Leonhardt | — | |
| 13-11 | Dies sind die heilgen zehn Gebot, BWV 679 | Gustav Leonhardt | — | |
| 13-12 | Wir glauben all an einen Gott, BWV 681 | Gustav Leonhardt | — | |
| 13-13 | Vater unser im Himmelreich, BWV 683 | Gustav Leonhardt | — | |
| 13-14 | Christ, unser Herr, zum Jordan kam, BWV 684 | Gustav Leonhardt | — | |
| 13-15 | Aus tiefer Not schrei ich zu dir, BWV 687 | Gustav Leonhardt | — | |
| 13-16 | Jesus Christus unser Heiland, BWV 689 | Gustav Leonhardt | — | |
| 13-17 | Präludium & Fuge in E minor, BWV 533 | Gustav Leonhardt | T-316.902.911-8 | |
| 14-1 | Kaffee-Kantate, BWV 211: I. Recitativo (Erzähler): Schweigt stille, plaudert nicht | Gerald English, Collegium Aureum, Franzjosef Maier | — | |
| 14-2 | Kaffee-Kantate, BWV 211: II. Aria (Schlendrian): Hat man nicht mit seinen Kindern | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-3 | Kaffee-Kantate, BWV 211: III. Recitativo (Schlendrian): Du böses Kind, du loses Mädchen | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-4 | Kaffee-Kantate, BWV 211: IV. Aria (Lieschen): Ei, wie schmeckt der Coffee süße | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-5 | Kaffee-Kantate, BWV 211: V. Recitativo (Schlendrian): Wenn du mir nicht den Coffee läßt | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-6 | Kaffee-Kantate, BWV 211: VI. Aria (Schlendrian): Mädchen, die von harten Sinnen | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-7 | Kaffee-Kantate, BWV 211: VII. Recitativo (Schlendrian): Nun folge, was dein Vater spricht | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-8 | Kaffee-Kantate, BWV 211: VIII. Aria (Lieschen): Heute noch, heute noch | Siegmund Nimsgern, Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-9 | Kaffee-Kantate, BWV 211: IX. Recitativo (Erzähler): Nun geht und sucht der alte Schlendrian | Gerald English, Collegium Aureum, Franzjosef Maier | — | |
| 14-10 | Kaffee-Kantate, BWV 211: X. Coro: Die Katze läßt das Mausen nicht | Elly Ameling, Gerald English, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-11 | Bauern-Kantate, BWV 212: I. Sinfonia | Collegium Aureum, Franzjosef Maier | — | |
| 14-12 | Bauern-Kantate, BWV 212: II. Duetto: Mer han en neue Oberkeet | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-13 | Bauern-Kantate, BWV 212: III. Recitativo (Basso): Nu, Miecke, gib dein Guschel immer her | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | T-011.170.221-6 | |
| 14-14 | Bauern-Kantate, BWV 212: IV. Aria (Soprano): Ach es schmeckt doch gar zu gut | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-15 | Bauern-Kantate, BWV 212: V. Recitativo (Basso): Der Herr ist gut | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-16 | Bauern-Kantate, BWV 212: VI. Aria (Basso): Ach, Herr Schösser, geht nicht gar zu schlimm | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-17 | Bauern-Kantate, BWV 212: VII. Recitativo (Soprano): Es bleibt dabei, daß unser Herr der beste sei | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-18 | Bauern-Kantate, BWV 212: VIII. Aria (Soprano): Unser trefflicher lieber Kammerherr | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-19 | Bauern-Kantate, BWV 212: IX. Recitativo (Basso): Er hilft uns allen, alt und jung | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-20 | Bauern-Kantate, BWV 212: X. Aria (Soprano): Das ist galant | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-21 | Bauern-Kantate, BWV 212: XI. Recitativo (Basso): Und unsre gnädige Frau ist nicht ein prinkel stolz | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-22 | Bauern-Kantate, BWV 212: XII. Aria (Basso): Fünfzig Taler bares Geld | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-23 | Bauern-Kantate, BWV 212: XIII. Recitativo (Soprano): Im Ernst ein Wort! | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-24 | Bauern-Kantate, BWV 212: XIV. Aria (Soprano): Klein Zschocher müsse so zart und süße | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-25 | Bauern-Kantate, BWV 212: XV. Recitativo (Basso): Das ist zu klug vor dich | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-26 | Bauern-Kantate, BWV 212: XVI. Aria (Basso): Es nehme zehntausend Ducaten | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-27 | Bauern-Kantate, BWV 212: XVII. Recitativo (Soprano): Das klingt zu liederlich | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-28 | Bauern-Kantate, BWV 212: XVIII. Aria (Soprano): Gib, Schöne, viel Söhne von artger Gestalt | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-29 | Bauern-Kantate, BWV 212: XIX. Recitativo (Basso): Du hast wohl recht | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-30 | Bauern-Kantate, BWV 212: XX. Aria (Basso): Dein Wachstum sei feste und lache vor Lust | Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-31 | Bauern-Kantate, BWV 212: XXI. Recitativo (Soprano): Und damit sei es auch genug | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-32 | Bauern-Kantate, BWV 212: XXII. Recitativo (Basso): Und daß ihr's alle wißt | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 14-33 | Bauern-Kantate, BWV 212: XXIII. Aria (Soprano): Mein Schatz, erraten! | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 14-34 | Bauern-Kantate, BWV 212: XXIV. Coro: Wir gehn nun, wo der Tudelsack | Elly Ameling, Siegmund Nimsgern, Collegium Aureum, Franzjosef Maier | — | |
| 15-1 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Weichet nur, betrübte Schatten | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-2 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Die Welt wird wieder neu | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-3 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Phöbus eilt mit schnellen Pfeilen | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-4 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Drum sucht auch Amor sein Vergnügen | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-5 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Wenn die Frühlingslüfte streichen | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-6 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Und dieses ist das Glücke | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-7 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Sich üben im Lieben | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-8 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: So sei das Band der keuschen Liebe | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-9 | Kantate "Weichet nur, betrübte Schatten" / "Hochzeits", BWV 202: Sehet in Zufriedenheit | Elly Ameling, Collegium Aureum, Reinhard Peters | — | |
| 15-10 | Kantate "Non sà che sia dolore", BWV 209: Sinfonia | Collegium Aureum, Franzjosef Maier | — | |
| 15-11 | Kantate "Non sà che sia dolore", BWV 209: Non sà che sia dolore | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 15-12 | Kantate "Non sà che sia dolore", BWV 209: Parti pur col dolore | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 15-13 | Kantate "Non sà che sia dolore", BWV 209: Tuo saver al tempo e l'età | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 15-14 | Kantate "Non sà che sia dolore", BWV 209: Recitti gramezza e pavento | Elly Ameling, Collegium Aureum, Franzjosef Maier | — | |
| 16-1 | Sonata I in G minor, BWV 1001: I. Adagio | — | ||
| 16-2 | Sonata I in G minor, BWV 1001: II. Fuga. Allegro | — | ||
| 16-3 | Sonata I in G minor, BWV 1001: III. Siciliana | — | ||
| 16-4 | Sonata I in G minor, BWV 1001: IV. Presto | — | ||
| 16-5 | Partita I in B minor, BWV 1002: I. Allemanda | — | ||
| 16-6 | Partita I in B minor, BWV 1002: II. Double | — | ||
| 16-7 | Partita I in B minor, BWV 1002: III. Correnta | — | ||
| 16-8 | Partita I in B minor, BWV 1002: IV. Double. Presto | — | ||
| 16-9 | Partita I in B minor, BWV 1002: V. Sarabande | — | ||
| 16-10 | Partita I in B minor, BWV 1002: VI. Double | — | ||
| 16-11 | Partita I in B minor, BWV 1002: VII. Tempo di Borea | — | ||
| 16-12 | Partita I in B minor, BWV 1002: VIII. Double | — | ||
| 16-13 | Sonata II in A minor, BWV 1003: I. Grave | — | ||
| 16-14 | Sonata II in A minor, BWV 1003: II. Fuga | — | ||
| 16-15 | Sonata II in A minor, BWV 1003: III. Andante | — | ||
| 16-16 | Sonata II in A minor, BWV 1003: IV. Allegro | — | ||
| 17-1 | Partita in D minor, BWV 1004: I. Allemanda | — | ||
| 17-2 | Partita in D minor, BWV 1004: II. Corrente | — | ||
| 17-3 | Partita in D minor, BWV 1004: III. Sarabanda | — | ||
| 17-4 | Partita in D minor, BWV 1004: IV. Giga | — | ||
| 17-5 | Partita in D minor, BWV 1004: V. Ciaccona | — | ||
| 17-6 | Sonata III in C major, BWV 1005: I. Adagio | — | ||
| 17-7 | Sonata III in C major, BWV 1005: II. Fuga | — | ||
| 17-8 | Sonata III in C major, BWV 1005: III. Largo | — | ||
| 17-9 | Sonata III in C major, BWV 1005: IV. Allegro assai | — | ||
| 17-10 | Partita III in E major, BWV 1006: I. Preludio | — | ||
| 17-11 | Partita III in E major, BWV 1006: II. Loure | — | ||
| 17-12 | Partita III in E major, BWV 1006: III. Gavotte en Rondeaux | — | ||
| 17-13 | Partita III in E major, BWV 1006: IV. Menuet I-II | — | ||
| 17-14 | Partita III in E major, BWV 1006: V. Bourée | — | ||
| 17-15 | Partita III in E major, BWV 1006: VI. Gigue | — | ||
| 18-1 | Sonata I d-moll: Praeludium | Heinrich Ignaz Franz von Biber | — | |
| 18-2 | Sonata I d-moll: Arai allegro - Varatio | Heinrich Ignaz Franz von Biber | — | |
| 18-3 | Sonata I d-moll: Finale | Heinrich Ignaz Franz von Biber | — | |
| 18-4 | Sonata II A-dur: Sonata - Presto | Heinrich Ignaz Franz von Biber | — | |
| 18-5 | Sonata II A-dur: Allemande | Heinrich Ignaz Franz von Biber | — | |
| 18-6 | Sonata II A-dur: Presto | Heinrich Ignaz Franz von Biber | — | |
| 18-7 | Sonata III h-moll: Sonata - Presto | Heinrich Ignaz Franz von Biber | — | |
| 18-8 | Sonata III h-moll: Courante - Double | Heinrich Ignaz Franz von Biber | — | |
| 18-9 | Sonata III h-moll: Adagio | Heinrich Ignaz Franz von Biber | — | |
| 18-10 | Sonata IV d-moll: Ciacona | Heinrich Ignaz Franz von Biber | — | |
| 18-11 | Sonata V A-dur: Praeludium - Presto | Heinrich Ignaz Franz von Biber | — | |
| 18-12 | Sonata V A-dur: Allemande | Heinrich Ignaz Franz von Biber | — | |
| 18-13 | Sonata V A-dur: Gigue | Heinrich Ignaz Franz von Biber | — | |
| 18-14 | Sonata V A-dur: Sarabande - Double | Heinrich Ignaz Franz von Biber | — | |
| 18-15 | Sonata VI c-moll: Lamento - Adagio | Heinrich Ignaz Franz von Biber | — | |
| 18-16 | Sonata VI c-moll: Presto - Adagio | Heinrich Ignaz Franz von Biber | — | |
| 18-17 | Sonata VI c-moll: Adagio | Heinrich Ignaz Franz von Biber | — | |
| 18-18 | Sonata VII F-dur: Allemande - Variatio | Heinrich Ignaz Franz von Biber | — | |
| 18-19 | Sonata VII F-dur: Sarabande- Variatio | Heinrich Ignaz Franz von Biber | — | |
| 18-20 | Sonata VIII B-dur: Sonata: Adagio - Presto | Heinrich Ignaz Franz von Biber | — | |
| 18-21 | Sonata VIII B-dur: Gigue - Double 1 (Presto) - Double 2 | Heinrich Ignaz Franz von Biber | — | |
| 18-22 | Sonata IX a-moll: Sonata | Heinrich Ignaz Franz von Biber | — | |
| 18-23 | Sonata IX a-moll: Courante - Double | Heinrich Ignaz Franz von Biber | — | |
| 18-24 | Sonata IX a-moll: Finale | Heinrich Ignaz Franz von Biber | — | |
| 19-1 | Sonata X in G major: I. Praeludium | Heinrich Ignaz Franz von Biber | — | |
| 19-2 | Sonata X in G major: II. Aria - Variatio | Heinrich Ignaz Franz von Biber | — | |
| 19-3 | Sonata XI in G major: I. Sonata - "Surrexit Christus Hodie" | Heinrich Ignaz Franz von Biber | — | |
| 19-4 | Sonata XI in G major: II. Adagio | Heinrich Ignaz Franz von Biber | — | |
| 19-5 | Sonata XII in C major: I. Intrada | Heinrich Ignaz Franz von Biber | — | |
| 19-6 | Sonata XII in C major: II. Aria Tubicinum | Heinrich Ignaz Franz von Biber | — | |
| 19-7 | Sonata XII in C major: III. Allemande | Heinrich Ignaz Franz von Biber | — | |
| 19-8 | Sonata XII in C major: IV. Courante - Double | Heinrich Ignaz Franz von Biber | — | |
| 19-9 | Sonata XIII in C major: I. Sonata | Heinrich Ignaz Franz von Biber | — | |
| 19-10 | Sonata XIII in C major: II. Gavotte | Heinrich Ignaz Franz von Biber | — | |
| 19-11 | Sonata XIII in C major: III. Gigue | Heinrich Ignaz Franz von Biber | — | |
| 19-12 | Sonata XIII in C major: IV. Sarabande | Heinrich Ignaz Franz von Biber | — | |
| 19-13 | Sonata XIV in D major: I. Praeludium | Heinrich Ignaz Franz von Biber | — | |
| 19-14 | Sonata XIV in D major: II. Aria | Heinrich Ignaz Franz von Biber | — | |
| 19-15 | Sonata XIV in D major: III. Gigue | Heinrich Ignaz Franz von Biber | — | |
| 19-16 | Sonata XV in C major: I. Sonata | Heinrich Ignaz Franz von Biber | — | |
| 19-17 | Sonata XV in C major: II. Aria (Mit 3 Variationen) | Heinrich Ignaz Franz von Biber | — | |
| 19-18 | Sonata XV in C major: III. Canzone | Heinrich Ignaz Franz von Biber | — | |
| 19-19 | Sonata XV in C major: IV. Sarabande | Heinrich Ignaz Franz von Biber | — | |
| 19-20 | Sonata XVI in G minor: I. Passacaglia - Violine Solo | Heinrich Ignaz Franz von Biber | — | |
| 20-1 | Concerto for Cello & Orchestra no. 7 in G major, G. 480: I. Allegro | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-2 | Concerto for Cello & Orchestra no. 7 in G major, G. 480: II. Adagio | Anner Bylsma, Tafelmusik, Jeanne Lamon | T-802.445.410-3 | |
| 20-3 | Concerto for Cello & Orchestra no. 7 in G major, G. 480: III. Allegro | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-4 | Symphony in B-flat major, op. 21 no. 5, G. 497: I. Allegro spiritoso | Anner Bylsma, Tafelmusik, Jeanne Lamon | T-902.876.200-7 | |
| 20-5 | Symphony in B-flat major, op. 21 no. 5, G. 497: II. Andantino con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-6 | Symphony in B-flat major, op. 21 no. 5, G. 497: III. Allegro vivace assai | Anner Bylsma, Tafelmusik, Jeanne Lamon | T-902.876.200-7 | |
| 20-7 | Concerto for Cello & Orchestra no. 10 in D major, G. 483: I. Allegro maestoso | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-8 | Concerto for Cello & Orchestra no. 10 in D major, G. 483: II. Andante lentarello | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-9 | Concerto for Cello & Orchestra no. 10 in D major, G. 483: III. Allegro e con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-10 | Symphony in D minor, op. 12 no. 4, G. 506 "La casa del diavolo": I. Andante sostenuto - Allegro assai | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-11 | Symphony in D minor, op. 12 no. 4, G. 506 "La casa del diavolo": II. Andantino con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 20-12 | Symphony in D minor, op. 12 no. 4, G. 506 "La casa del diavolo": III. Andante sostenuto - Allegro assai, con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 21-1 | Passacaglia, BuxWV 160 | — | ||
| 21-2 | Sonata in d-moll, Op. 1 No. 6, BuxWV 257 | — | ||
| 21-3 | Sonata in D-Dur, BuxWV 267 | — | ||
| 21-4 | Sonata in g-moll, Op. 2 No. 3, BuxWV 261 | — | ||
| 21-5 | Ciaccona, BuxWV 160 | — | ||
| 21-6 | Sonata in F-Dur, F, Op. 1 No. 1, BuxWV 252 | — | ||
| 21-7 | Sonata in C-Dur, BuxWV 266 | — | ||
| 21-8 | Fried- und Freudenreiche Hinfart, BuxWV 76 | — | ||
| 21-9 | Sonata in G-Dur, Op. 1 No. 2, BuxWV 253 | — | ||
| 22-1 | Praeludium in e, BuxWV 143 | — | ||
| 22-2 | Praeludium in F, BuxWV 145 | — | ||
| 22-3 | Praeludium in g, BuxWV 150 | — | ||
| 22-4 | Komm, heiliger Geist, Herre Gott, BuxWV 199 | — | ||
| 22-5 | Kommt her zu mir, spricht Gottes Sohn, BuxWV 139 | — | ||
| 22-6 | Praeludium in D, BuxWV 139 | — | ||
| 22-7 | Praeludium in g, BuxWV 149 | — | ||
| 22-8 | Nun lob, mein Seel, den Herren (Choralzyklus), BuxWV 214, 213.1, 215, 213.2, 213.3 | — | ||
| 22-9 | Praeludium in d, BuxWV 140 | — | ||
| 23-1 | Amor ch'attendi | — | ||
| 23-2 | Amor, io parto | — | ||
| 23-3 | Tu ch'hai le penne | — | ||
| 23-4 | Non ha'l ciel | — | ||
| 23-5 | Alme luci beate | — | ||
| 23-6 | Vedrò'l mio sol | — | ||
| 23-7 | Tutto 'l di piango | — | ||
| 23-8 | Dolcissimo sospiro | — | ||
| 23-9 | Dalle porta d'oriente | — | ||
| 23-10 | Amarilli mia bella | — | ||
| 23-11 | Movetevi à pietà | — | ||
| 23-12 | Belle rose porporine | — | ||
| 23-13 | Queste lagrim' amore | — | ||
| 23-14 | Torna, deh torna | — | ||
| 23-15 | Con le luci d'un bel ciglio | — | ||
| 24-1 | Concerto Grosso in D major, Op. 6 No. 7: I. Vivace - Allegro - Adagio | — | ||
| 24-2 | Concerto Grosso in D major, Op. 6 No. 7: II. Allegro | — | ||
| 24-3 | Concerto Grosso in D major, Op. 6 No. 7: III. Andante largo - Allegro | — | ||
| 24-4 | Concerto Grosso in D major, Op. 6 No. 7: IV. Vivace | — | ||
| 24-5 | Concerto Grosso in F major, Op. 6 No. 9: I. Preludio. Largo | — | ||
| 24-6 | Concerto Grosso in F major, Op. 6 No. 9: II. Allemanda. Allegro | — | ||
| 24-7 | Concerto Grosso in F major, Op. 6 No. 9: III. Corrente. Vivace | — | ||
| 24-8 | Concerto Grosso in F major, Op. 6 No. 9: IV. Gavotta. Allegro | — | ||
| 24-9 | Concerto Grosso in F major, Op. 6 No. 9: V. Adagio | — | ||
| 24-10 | Concerto Grosso in F major, Op. 6 No. 9: VI. Minuetto. Vivace | — | ||
| 24-11 | Concerto Grosso in C minor, Op. 6 No. 3: I. Largo - Allegro | — | ||
| 24-12 | Concerto Grosso in C minor, Op. 6 No. 3: II. Grave | — | ||
| 24-13 | Concerto Grosso in C minor, Op. 6 No. 3: III. Vivace | — | ||
| 24-14 | Concerto Grosso in C minor, Op. 6 No. 3: IV. Allegro | — | ||
| 24-15 | Concerto Grosso in D major, Op. 6 No. 1: I. Largo - Allegro | — | ||
| 24-16 | Concerto Grosso in D major, Op. 6 No. 1: II. Largo - Allegro | — | ||
| 24-17 | Concerto Grosso in D major, Op. 6 No. 1: III. Largo - Allegro | — | ||
| 24-18 | Concerto Grosso in D major, Op. 6 No. 1: IV. Allegro | — | ||
| 24-19 | Concerto Grosso in B-flat major, Op. 6 No. 11: I. Preludio. Andante largo | — | ||
| 24-20 | Concerto Grosso in B-flat major, Op. 6 No. 11: II. Allemanda. Allegro | — | ||
| 24-21 | Concerto Grosso in B-flat major, Op. 6 No. 11: III. Adagio - Andante largo | — | ||
| 24-22 | Concerto Grosso in B-flat major, Op. 6 No. 11: IV. Sarabande. Largo | — | ||
| 24-23 | Concerto Grosso in B-flat major, Op. 6 No. 11: V. Giga. Vivace | — | ||
| 24-24 | Concerto Grosso in G minor, Op. 6 No. 8 "Christmas Concerto": I. Vivace - Grave | — | ||
| 24-25 | Concerto Grosso in G minor, Op. 6 No. 8 "Christmas Concerto": II. Allegro | — | ||
| 24-26 | Concerto Grosso in G minor, Op. 6 No. 8 "Christmas Concerto": III. Adagio - Allegro - Adagio | — | ||
| 24-27 | Concerto Grosso in G minor, Op. 6 No. 8 "Christmas Concerto": IV. Vivace | — | ||
| 24-28 | Concerto Grosso in G minor, Op. 6 No. 8 "Christmas Concerto": V. Allegro - Pastorale. Largo | — | ||
| 25-1 | Praeter rerum seriem, Motet à 4 voix | — | ||
| 25-2 | Benedicta est caelorum Regina, Motet à 6 voix | — | ||
| 25-3 | Musae Jovis, Motet à 4 voix | — | ||
| 25-4 | Missa Benedicta es à 5 voix: Kyrie | — | ||
| 25-5 | Magnificat secundi toni super Praeter rerum seriem à 6 voix | — | ||
| 25-6 | Missa Benedicta es à 6 voix: Sanctus - Benedictus | — | ||
| 25-7 | Missa Benedicta es à 4 voix: Agnus Dei | — | ||
| 25-8 | Dum vastos Adriae, Motet à 5 voix | — | ||
| 25-9 | Benedicta est caelorum Regina, Motet à 12 voix | — | ||
| 25-10 | Premier chant contre le cours des choses à 14 voix | — | ||
| 26-1 | Canzon à 8 | — | ||
| 26-2 | Canzon prima Basso solo | — | ||
| 26-3 | Canzon quinta à 3, due Canti e Basso | — | ||
| 26-4 | Canzon quinta à 4, Canto, Alto, Tenor, Basso | — | ||
| 26-5 | Toccata decima | — | ||
| 26-6 | Canzona terza, detta "La Donatina" | — | ||
| 26-7 | Canzona terza à 2 Bassi | — | ||
| 26-8 | Canzon senconda à 4, due Canti e due Bassi | — | ||
| 26-9 | Toccata per Spinettina e Violino | — | ||
| 26-10 | Canzona decimanova, detta "La Capriola", Canto e Basso | — | ||
| 26-11 | Canzona nona, detta "La Gualterina" à due Canti | — | ||
| 26-12 | Canzona decima, detta "L'Henricuccia" à due Canti | — | ||
| 26-13 | Capriccio sopra la Bassa Fiamenga | — | ||
| 26-14 | Canzona vigesima, detta "La Lipparella" | — | ||
| 26-15 | Canzona sesta, detta "L'Altera" | — | ||
| 26-16 | Canzon terza à due Canti | — | ||
| 26-17 | Toccata undecima | — | ||
| 26-18 | Canzona decimasettima detta "La Diodata" à due Bassi | — | ||
| 26-19 | Canzona seconda detta "La Bernadina", Canto solo | — | ||
| 26-20 | Canzona trigesimaprima detta "L'Arnolfinia", due Canti e due Bassi | — | ||
| 27-1 | Vuele, vuele feliz mariposa - Villancico Al Sanitisimo Sacramento | — | ||
| 27-2 | Atención al retrato de Filis - Solo humano | — | ||
| 27-3 | Fuentecillas lisonjeras - Duo de Maestro Galán | — | ||
| 27-4 | O qué mal vamos Amor - Villancico a 4 de Ynstrumentos | — | ||
| 27-5 | Humano ardour - Al Santisimo / Duo con Ynstrumentos | — | ||
| 27-6 | Pintar quiero una imagen - Duo para un velo | — | ||
| 27-7 | Mariposa no corras al fuego - Tonada solo al Sanitisimo Sacramento | — | ||
| 27-8 | Pajarillo que cantas ausente - Tono humano | — | ||
| 27-9 | Ay, ay, cruel delito - A Christo Cruçificado | — | ||
| 27-10 | Pajarillo que al alba saludas - Solo y a 4 | — | ||
| 27-11 | Ya los caballos de jazmín y rosa - Tonada humana | — | ||
| 27-12 | Que ha de tener llegaré - Duo Al Santissimo Sacramento | — | ||
| 28-1 | Concerto Grosso in E minor, Op. 3 No. 3: I. Grave - Allegro moderato | — | ||
| 28-2 | Concerto Grosso in E minor, Op. 3 No. 3: II. Andante - Allegro | — | ||
| 28-3 | Concerto Grosso in A major, Op. 2 No. 6: I. Andante | — | ||
| 28-4 | Concerto Grosso in A major, Op. 2 No. 6: II. (Allegro) - Grave | — | ||
| 28-5 | Concerto Grosso in A major, Op. 2 No. 6: III. Allegro | — | ||
| 28-6 | Concerto Grosso in D minor, Op. 7 No. 2: I. Grave | — | ||
| 28-7 | Concerto Grosso in D minor, Op. 7 No. 2: II. Allegro assai | — | ||
| 28-8 | Concerto Grosso in D minor, Op. 7 No. 2: III. Andante | — | ||
| 28-9 | Concerto Grosso in D minor, Op. 7 No. 2: IV. Allegro | — | ||
| 28-10 | Concerto Grosso in D minor, Op. 6: according to Variations on 'La Folia', Op. 5 No. 12 from Arcangelo Corelli | — | ||
| 28-11 | Concerto Grosso in G minor, Op. 5: I. Adagio | — | ||
| 28-12 | Concerto Grosso in G minor, Op. 5: II. Vivace - Adagio | — | ||
| 28-13 | Concerto Grosso in G minor, Op. 5: III. Adagio | — | ||
| 28-14 | Concerto Grosso in G minor, Op. 5: IV. Allegro | — | ||
| 28-15 | Concerto Grosso in C minor, Op. 2 No. 5: I. Andante moderato | — | ||
| 28-16 | Concerto Grosso in C minor, Op. 2 No. 5: II. Presto | — | ||
| 28-17 | Concerto Grosso in C minor, Op. 2 No. 5: III. Andante | — | ||
| 28-18 | Concerto Grosso in C minor, Op. 2 No. 5: IV. Allegro | — | ||
| 29-1 | Gabriel archangelus - motet a 4 | — | ||
| 29-2 | Missa L'homme armé a 4: Kyrie | — | ||
| 29-3 | Missa L'homme armé a 4: Gloria | — | ||
| 29-4 | In illo tempore - motet a 4 | — | ||
| 29-5 | Missa L'homme armé a 4: Credo | — | ||
| 29-6 | ¡Qué buen año! | — | ||
| 29-7 | Ojos claros, serenos - canción a 4 | — | ||
| 29-8 | Vana sperança - canción a 4 | — | ||
| 29-9 | Acabe de matarme - canción a 4 | — | ||
| 29-10 | O Virgen, quand'os miro - canción a 3 | — | ||
| 29-11 | Es menester que se açierte - villanesca a 3 | — | ||
| 29-12 | Adiós, verde ribera - canción a 4 | — | ||
| 29-13 | Virgo prudentissima - motet a 4 | — | ||
| 29-14 | Missa L'homme armé a 4: Sanctus - Benedictus | — | ||
| 29-15 | Missa L'homme armé a 4: Agnus Dei | — | ||
| 29-16 | Sancta et immaculata - motet a 4 | — | ||
| 30-1 | Concerto grosso in G Major, Op. 6 No. 1, HWV 319 - I. A tempo giusto | — | ||
| 30-2 | Concerto grosso in G Major, Op. 6 No. 1, HWV 319 - II. Allegro | — | ||
| 30-3 | Concerto grosso in G Major, Op. 6 No. 1, HWV 319 - III. Adagio | — | ||
| 30-4 | Concerto grosso in G Major, Op. 6 No. 1, HWV 319 - IV. Allegro | — | ||
| 30-5 | Concerto grosso in G Major, Op. 6 No. 1, HWV 319 - V. Allegro | — | ||
| 30-6 | Concerto grosso in F Major, Op. 6 No. 2, HWV 320 - I. Andante larghetto | — | ||
| 30-7 | Concerto grosso in F Major, Op. 6 No. 2, HWV 320 - II. Allegro | — | ||
| 30-8 | Concerto grosso in F Major, Op. 6 No. 2, HWV 320 - III. Largo - Larghetto andante e piano | — | ||
| 30-9 | Concerto grosso in F Major, Op. 6 No. 2, HWV 320 - IV. Allegro ma non troppo | — | ||
| 30-10 | Concerto grosso in E Minor, Op. 6 No. 3, HWV 321 - I. Larghetto | — | ||
| 30-11 | Concerto grosso in E Minor, Op. 6 No. 3, HWV 321 - II. Andante | — | ||
| 30-12 | Concerto grosso in E Minor, Op. 6 No. 3, HWV 321 - III. Allegro | — | ||
| 30-13 | Concerto grosso in E Minor, Op. 6 No. 3, HWV 321 - IV. Polonaise: Andante | — | ||
| 30-14 | Concerto grosso in E Minor, Op. 6 No. 3, HWV 321 - V. Allegro ma non troppo | — | ||
| 30-15 | Concerto grosso in A Minor, Op. 6 No. 4, HWV 322 - I. Larghetto affettuoso | — | ||
| 30-16 | Concerto grosso in A Minor, Op. 6 No. 4, HWV 322 - II. Allegro | — | ||
| 30-17 | Concerto grosso in A Minor, Op. 6 No. 4, HWV 322 - III. Largo | — | ||
| 30-18 | Concerto grosso in A Minor, Op. 6 No. 4, HWV 322 - IV. Allegro | — | ||
| 30-19 | Concerto grosso in D Major, Op. 6 No. 5, HWV 323 - I. Larghetto e staccato | — | ||
| 30-20 | Concerto grosso in D Major, Op. 6 No. 5, HWV 323 - II. Allegro | — | ||
| 30-21 | Concerto grosso in D Major, Op. 6 No. 5, HWV 323 - III. Presto | — | ||
| 30-22 | Concerto grosso in D Major, Op. 6 No. 5, HWV 323 - IV. Largo | — | ||
| 30-23 | Concerto grosso in D Major, Op. 6 No. 5, HWV 323 - V. Allegro | — | ||
| 30-24 | Concerto grosso in D Major, Op. 6 No. 5, HWV 323 - VI. Menuet: Un poco larghetto | — | ||
| 31-1 | Concerto grosso in G minor, op. 6 no. 6, HWV 324: I. Largo affettuoso | — | ||
| 31-2 | Concerto grosso in G minor, op. 6 no. 6, HWV 324: II. A tempo giusto | — | ||
| 31-3 | Concerto grosso in G minor, op. 6 no. 6, HWV 324: III. Musette: Larghetto | — | ||
| 31-4 | Concerto grosso in G minor, op. 6 no. 6, HWV 324: IV. Allegretto | — | ||
| 31-5 | Concerto grosso in G minor, op. 6 no. 6, HWV 324: V. Allegro | — | ||
| 31-6 | Concerto grosso in B-Flat major, op. 6 no. 7, HWV 325: I. Largo | — | ||
| 31-7 | Concerto grosso in B-Flat major, op. 6 no. 7, HWV 325: II. Allegro | — | ||
| 31-8 | Concerto grosso in B-Flat major, op. 6 no. 7, HWV 325: III. Largo | — | ||
| 31-9 | Concerto grosso in B-Flat major, op. 6 no. 7, HWV 325: IV. Andante | — | ||
| 31-10 | Concerto grosso in B-Flat major, op. 6 no. 7, HWV 325: V. Hornpipe | — | ||
| 31-11 | Concerto grosso in C minor, op. 6 no. 8, HWV 326: I. Allemande | — | ||
| 31-12 | Concerto grosso in C minor, op. 6 no. 8, HWV 326: II. Grave | — | ||
| 31-13 | Concerto grosso in C minor, op. 6 no. 8, HWV 326: III. Andante allegro | — | ||
| 31-14 | Concerto grosso in C minor, op. 6 no. 8, HWV 326: IV. Adagio | — | ||
| 31-15 | Concerto grosso in C minor, op. 6 no. 8, HWV 326: V. Siciliana: Andante | — | ||
| 31-16 | Concerto grosso in C minor, op. 6 no. 8, HWV 326: VI. Allegro | — | ||
| 31-17 | Concerto grosso in F major, op. 6 no. 9, HWV 327: I. Largo | — | ||
| 31-18 | Concerto grosso in F major, op. 6 no. 9, HWV 327: II. Allegro | — | ||
| 31-19 | Concerto grosso in F major, op. 6 no. 9, HWV 327: III. Larghetto | — | ||
| 31-20 | Concerto grosso in F major, op. 6 no. 9, HWV 327: IV. Allegro | — | ||
| 31-21 | Concerto grosso in F major, op. 6 no. 9, HWV 327: V. Menuet | — | ||
| 31-22 | Concerto grosso in F major, op. 6 no. 9, HWV 327: VI. Gigue | — | ||
| 32-1 | Concerto grosso in D minor, op. 6 no. 10, HWV 328: I. Ouverture | — | ||
| 32-2 | Concerto grosso in D minor, op. 6 no. 10, HWV 328: II. Allegro | — | ||
| 32-3 | Concerto grosso in D minor, op. 6 no. 10, HWV 328: III. Air: Lentement | — | ||
| 32-4 | Concerto grosso in D minor, op. 6 no. 10, HWV 328: IV. Allegro | — | ||
| 32-5 | Concerto grosso in D minor, op. 6 no. 10, HWV 328: V. Allegro | — | ||
| 32-6 | Concerto grosso in D minor, op. 6 no. 10, HWV 328: VI. Allegro moderato | — | ||
| 32-7 | Concerto grosso in A major, op. 6 no. 11, HWV 329: I. Andante larghetto e staccato | — | ||
| 32-8 | Concerto grosso in A major, op. 6 no. 11, HWV 329: II. Allegro | — | ||
| 32-9 | Concerto grosso in A major, op. 6 no. 11, HWV 329: III. Largo e staccato | — | ||
| 32-10 | Concerto grosso in A major, op. 6 no. 11, HWV 329: IV. Andante | — | ||
| 32-11 | Concerto grosso in A major, op. 6 no. 11, HWV 329: V. Allegro | — | ||
| 32-12 | Concerto grosso in B minor, op. 6 no. 12, HWV 330: I. Largo | — | ||
| 32-13 | Concerto grosso in B minor, op. 6 no. 12, HWV 330: II. Allegro | — | ||
| 32-14 | Concerto grosso in B minor, op. 6 no. 12, HWV 330: III. Aria: Larghetto e piano | — | ||
| 32-15 | Concerto grosso in B minor, op. 6 no. 12, HWV 330: IV. Largo | — | ||
| 32-16 | Concerto grosso in B minor, op. 6 no. 12, HWV 330: V. Allegro | — | ||
| 32-17 | Concerto Grosso in C major, HWV 318, 'Alexanderfest': I. Allegro | — | ||
| 32-18 | Concerto Grosso in C major, HWV 318, 'Alexanderfest': II. Largo | — | ||
| 32-19 | Concerto Grosso in C major, HWV 318, 'Alexanderfest': III. Allegro | — | ||
| 32-20 | Concerto Grosso in C major, HWV 318, 'Alexanderfest': IV. Andante, non presto | — | ||
| 33-1 | Rodelinda, HWV 19: Act I: Ouverture | — | ||
| 33-2 | Rodelinda, HWV 19: Act I: Menuet | — | ||
| 33-3 | Rodelinda, HWV 19: Act I: Aria (Rodelinda): "Hò perduto il caro sposo" | — | ||
| 33-4 | Rodelinda, HWV 19: Act I: Recitativo: "Regina!" | — | ||
| 33-5 | Rodelinda, HWV 19: Act I: Aria (Rodelinda): "L'empio rigor del fato" | — | ||
| 33-6 | Rodelinda, HWV 19: Act I: Recitativo: "Duca, vedesti mai" | — | ||
| 33-7 | Rodelinda, HWV 19: Act I: Recitativo: "E tanto da che sei Rè" | — | ||
| 33-8 | Rodelinda, HWV 19: Act I: Aria (Grimoaldo): "Io già t'amai, ritrosa" | — | ||
| 33-9 | Rodelinda, HWV 19: Act I: Recitativo: "E tu dice d'amarmi?" | — | ||
| 33-10 | Rodelinda, HWV 19: Act I: Aria (Eduige): "Lo farò, dirò spietato" | — | ||
| 33-11 | Rodelinda, HWV 19: Act I: Recitativo: "Eduige, t'inganni" | — | ||
| 33-12 | Rodelinda, HWV 19: Act I: Aria (Garibaldo): "Di Cupido impiego i vanni" | — | ||
| 33-13 | Rodelinda, HWV 19: Act I: Recitativo & Aria (Bertarido): "Pompe vane di morte!" - "Dove sei, amato bene!" | — | ||
| 33-14 | Rodelinda, HWV 19: Act I: Recitativo: "Mà giunge Unulfo" | — | ||
| 33-15 | Rodelinda, HWV 19: Act I: Aria (Rodelinda): "Ombre, piante, urne funeste!" | — | ||
| 33-16 | Rodelinda, HWV 19: Act I: Recitativo: "Baci inutili e vani" | — | ||
| 33-17 | Rodelinda, HWV 19: Act I: Aria (Rodelinda): "Morrai sì, l'empia" | — | ||
| 33-18 | Rodelinda, HWV 19: Act I: Recitativo: "E ben, Duca, poss'io" | — | ||
| 33-19 | Rodelinda, HWV 19: Act I: Aria (Grimoaldo): "Se per te giungo a godere" | — | ||
| 33-20 | Rodelinda, HWV 19: Act I: "Unulfo, oh Dio!" | — | ||
| 33-21 | Rodelinda, HWV 19: Act I: Aria (Unulfo): "Sono i colpi della sorte" | — | ||
| 33-22 | Rodelinda, HWV 19: Act I: Recitativo: "Sì, l'infida consorte" | — | ||
| 33-23 | Rodelinda, HWV 19: Act I: Aria (Bertarido): "Confusa si miri" | — | ||
| 34-1 | Rodelinda, HWV 19: Act II: Recitativo: "Già perdesti, oh signora" | — | ||
| 34-2 | Rodelinda, HWV 19: Act II: Recitativo: "Rodelinda, si mesta ritorni" | — | ||
| 34-3 | Rodelinda, HWV 19: Act II: Aria (Eduige): "De'miei scherni" | — | ||
| 34-4 | Rodelinda, HWV 19: Act II: Recitativo: "Rodelinda, è pur ver?" | — | ||
| 34-5 | Rodelinda, HWV 19: Act II: Aria (Rodelinda): "Spietati, io vi giurai" | — | ||
| 34-6 | Rodelinda, HWV 19: Act II: Recitativo: "Unulfo, Garibaldo" | — | ||
| 34-7 | Rodelinda, HWV 19: Act II: Aria (Grimoaldo): "Prigioniera hó l'alma" | — | ||
| 34-8 | Rodelinda, HWV 19: Act II: Recitativo: "Massime così indegne" | — | ||
| 34-9 | Rodelinda, HWV 19: Act II: Aria (Garibaldo): "Tirannia gli diede il regno" | — | ||
| 34-10 | Rodelinda, HWV 19: Act II: Recitativo: "Sì, sì fellon, t'intendo" | — | ||
| 34-11 | Rodelinda, HWV 19: Act II: Aria (Unulfo): "Frà tempeste funeste" | — | ||
| 34-12 | Rodelinda, HWV 19: Act II: Aria (Bertarido): "Con rauco mormorio" | — | ||
| 34-13 | Rodelinda, HWV 19: Act II: Recitativo: "Ah, nò; che non m'inganna" | — | ||
| 34-14 | Rodelinda, HWV 19: Act II: Aria (Bertarido): "Scacciata dal suo nido" | — | ||
| 34-15 | Rodelinda, HWV 19: Act II: Recitativo: "Vive il mio sposo?" | — | ||
| 34-16 | Rodelinda, HWV 19: Act II: Aria (Rodelinda): "Ritorna, oh caro e dolce" | — | ||
| 34-17 | Rodelinda, HWV 19: Act II: Recitativo: "Ah! sì, ecco lo sposo" | — | ||
| 34-18 | Rodelinda, HWV 19: Act II: Aria (Grimoaldo): "Tuo drudo è mio rivale" | — | ||
| 34-19 | Rodelinda, HWV 19: Act II: Recitativo: "Non ti bastò, consorte" | — | ||
| 34-20 | Rodelinda, HWV 19: Act II: Duetto: "Io t'abbraccio" | — | ||
| 35-1 | Rodelinda, HWV 19: Act III: Recitativo: "Del german nel periglio" | — | ||
| 35-2 | Rodelinda, HWV 19: Act III: Aria (Unulfo): "Un zeffiro spirò" | — | ||
| 35-3 | Rodelinda, HWV 19: Act III: Recitativo: "Con opra giusta" | — | ||
| 35-4 | Rodelinda, HWV 19: Act III: Aria (Eduige): "Quanto più fiera tempesta" | — | ||
| 35-5 | Rodelinda, HWV 19: Act III: Recitativo: "O falso è Bertarido" | — | ||
| 35-6 | Rodelinda, HWV 19: Act III: Aria (Grimoaldo): "Trà sospetti, affetti" | — | ||
| 35-7 | Rodelinda, HWV 19: Act III: Aria & Recitativo (Bertarido): "Chi di voi fù più infedele" - "Mà non che sò dal remoto" | — | ||
| 35-8 | Rodelinda, HWV 19: Act III: Recitativo: "Non temere, Signore!" | — | ||
| 35-9 | Rodelinda, HWV 19: Act III: Aria (Rodelinda): "Se'l mio duo" | — | ||
| 35-10 | Rodelinda, HWV 19: Act III: Recitativo: "Fatto inferno è ll mio" | — | ||
| 35-11 | Rodelinda, HWV 19: Act III: Aria (Grimoaldo): "Pastorello d'un povero" | — | ||
| 35-12 | Rodelinda, HWV 19: Act III: Recitativo: "Che miro? amica sorte" | — | ||
| 35-13 | Rodelinda, HWV 19: Act III: Recitativo: "Tu morrai, traditor!" | — | ||
| 35-14 | Rodelinda, HWV 19: Act III: Aria (Bertarido): "Vivi tiranno!" | — | ||
| 35-15 | Rodelinda, HWV 19: Act III: Recitativo: "Dunque sei ertarido?" | — | ||
| 35-16 | Rodelinda, HWV 19: Act III: Recitativo: "Ecco ti innanzi il reo" | — | ||
| 35-17 | Rodelinda, HWV 19: Act III: Aria (Rodelinda): "Mio caro bene!" | — | ||
| 35-18 | Rodelinda, HWV 19: Act III: Recitativo: "Sposa, figlio, sorella" | — | ||
| 35-19 | Rodelinda, HWV 19: Act III: Coro: "Dopo la notte oscura" | — | ||
| 36-1 | Suite in F major, HWV 348: Allegro (Variations no. 1-11) | — | ||
| 36-2 | Suite in F major, HWV 348: Overture: Largo Allegro | — | ||
| 36-3 | Suite in F major, HWV 348: Adagio e staccato | — | ||
| 36-4 | Suite in F major, HWV 348: (Minuet) | — | ||
| 36-5 | Suite in F major, HWV 348: Andante | — | ||
| 36-6 | Suite in F major, HWV 348: Minuet (reprise) | — | ||
| 36-7 | Suite in F major, HWV 348: Passepied | — | ||
| 36-8 | Suite in F major, HWV 348: Air | — | ||
| 36-9 | Suite in F major, HWV 348: Minuet | — | ||
| 36-10 | Suite in F major, HWV 348: Bourrée | — | ||
| 36-11 | Suite in F major, HWV 348: Hornpipe | — | ||
| 36-12 | Suite in F major, HWV 348: (Andante) | — | ||
| 36-13 | Suite in F major, HWV 348: Alla Hornpipe (Variation no. 12) | — | ||
| 36-14 | Suite in G major, HWV 349: (Minuet) | — | ||
| 36-15 | Suite in G major, HWV 349: Rigaudon I & II | — | ||
| 36-16 | Suite in G major, HWV 349: Minuet I & II | — | ||
| 36-17 | Suite in G major, HWV 349: (Gigue I & II) | — | ||
| 36-18 | Suite in D major, HWV 350: (Allegro) | — | ||
| 36-19 | Suite in D major, HWV 350: Alla Hornpipe | — | ||
| 36-20 | Suite in D major, HWV 350: Minuet | — | ||
| 36-21 | Suite in D major, HWV 350: Lentement | — | ||
| 36-22 | Suite in D major, HWV 350: Bourrée | — | ||
| 37-1 | Sonata for Transverse Flute in D Major, HWV 378: I. Largo | — | ||
| 37-2 | Sonata for Transverse Flute in D Major, HWV 378: II. Allegro | — | ||
| 37-3 | Sonata for Transverse Flute in D Major, HWV 378: III. Adagio | — | ||
| 37-4 | Sonata for Transverse Flute in D Major, HWV 378: IV. Allegro | — | ||
| 37-5 | Sonata for Oboe in B-flat Major, HWV 357, "Fitzwilliam": I. Andante | — | ||
| 37-6 | Sonata for Oboe in B-flat Major, HWV 357, "Fitzwilliam": II. Grave | — | ||
| 37-7 | Sonata for Oboe in B-flat Major, HWV 357, "Fitzwilliam": III. Allegro | — | ||
| 37-8 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: I. Largo | — | ||
| 37-9 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: II. Vivace | — | ||
| 37-10 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: III. Presto | — | ||
| 37-11 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: IV. Adagio | — | ||
| 37-12 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: V. Alla breve | — | ||
| 37-13 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: VI. Andante | — | ||
| 37-14 | Sonata for Transverse Flute in B Minor, Op. 1 No. 9b, HWV 367b: VII. A tempo di Minuet | — | ||
| 37-15 | Sonata for Oboe in G Minor, Op. 1 No. 6, HWV 364: I. Larghetto | — | ||
| 37-16 | Sonata for Oboe in G Minor, Op. 1 No. 6, HWV 364: II. Allegro | — | ||
| 37-17 | Sonata for Oboe in G Minor, Op. 1 No. 6, HWV 364: III. Adagio | — | ||
| 37-18 | Sonata for Oboe in G Minor, Op. 1 No. 6, HWV 364: IV. Allegro | — | ||
| 37-19 | Sonata for Transverse Flute in E Minor, Op. 1 No. 1b, HWV 359b: I. Grave | — | ||
| 37-20 | Sonata for Transverse Flute in E Minor, Op. 1 No. 1b, HWV 359b: II. Allegro | — | ||
| 37-21 | Sonata for Transverse Flute in E Minor, Op. 1 No. 1b, HWV 359b: III. Adagio | — | ||
| 37-22 | Sonata for Transverse Flute in E Minor, Op. 1 No. 1b, HWV 359b: IV. Allegro | — | ||
| 37-23 | Sonata for Oboe in C Minor, Op. 1 No. 8, HWV 366: I. (Larghetto) | — | ||
| 37-24 | Sonata for Oboe in C Minor, Op. 1 No. 8, HWV 366: II. Allegro | — | ||
| 37-25 | Sonata for Oboe in C Minor, Op. 1 No. 8, HWV 366: III. Adagio | — | ||
| 37-26 | Sonata for Oboe in C Minor, Op. 1 No. 8, HWV 366: IV. Allegro (Bourée angloise) | — | ||
| 37-27 | Sonata for Transverse Flute in G Major, Op. 1 No. 5, HWV 363b: I. Adagio | — | ||
| 37-28 | Sonata for Transverse Flute in G Major, Op. 1 No. 5, HWV 363b: II. Allegro | — | ||
| 37-29 | Sonata for Transverse Flute in G Major, Op. 1 No. 5, HWV 363b: III. Adagio | — | ||
| 37-30 | Sonata for Transverse Flute in G Major, Op. 1 No. 5, HWV 363b: IV. Bourrée | — | ||
| 37-31 | Sonata for Transverse Flute in G Major, Op. 1 No. 5, HWV 363b: V. Menuetto | — | ||
| 37-32 | Sonata for Oboe in F Major, Op. 1 No. 4a, HWV 363a: I. Adagio | — | ||
| 37-33 | Sonata for Oboe in F Major, Op. 1 No. 4a, HWV 363a: II. Allegro | — | ||
| 37-34 | Sonata for Oboe in F Major, Op. 1 No. 4a, HWV 363a: III. Adagio | — | ||
| 37-35 | Sonata for Oboe in F Major, Op. 1 No. 4a, HWV 363a: IV. Bourrée | — | ||
| 37-36 | Sonata for Oboe in F Major, Op. 1 No. 4a, HWV 363a: V. Menuetto | — | ||
| 38-1 | Sonata for Recorder in D Minor, HWV 359a | — | ||
| 38-2 | Sonata for Recorder in B-flat Major, HWV 377 | — | ||
| 38-3 | Sonata for Recorder in G Minor, HWV 360 | — | ||
| 38-4 | Sonata for Recorder in A Minor, HWV 362 | — | ||
| 38-5 | Sonata for Recorder in C Major, HWV 365 | — | ||
| 38-6 | Sonata for Recorder in F Major, HWV 369 | — | ||
| 38-7 | Sonata for Recorder in G Major, HWV 358 | — | ||
| 38-8 | Trio sonata for Recorder in F Major, HWV 405 | — | ||
| 39-1 | Cello Concerto No. 1 in C Major, Hob. VIIb:1: I. Moderato | — | ||
| 39-2 | Cello Concerto No. 1 in C Major, Hob. VIIb:1: II. Adagio | — | ||
| 39-3 | Cello Concerto No. 1 in C Major, Hob. VIIb:1: III. Allegro Molto | — | ||
| 39-4 | Cello Concerto No. 2 in D Major, Hob. Viib:2: I. Allegro Moderato | — | ||
| 39-5 | Cello Concerto No. 2 in D Major, Hob. Viib:2: II. Adagio | — | ||
| 39-6 | Cello Concerto No. 2 in D Major, Hob. Viib:2: III. Allegro | — | ||
| 39-7 | Sinfonia Concertante in B-Flat Major, Hob. I:105: I. Allegro | — | ||
| 39-8 | Sinfonia Concertante in B-Flat Major, Hob. I:105: II. Andante | — | ||
| 39-9 | Sinfonia Concertante in B-Flat Major, Hob. I:105: III. Allegro Con Spirito | — | ||
| 40-1 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der erste Tag. No. 1. Largo. Die Vorstellung des Chaos | — | ||
| 40-2 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der erste Tag. No. 2. Rezitativ mit Chor: "Im Anfang schuf Gott Himmel und Erde" - "Und der Geist Gottes schwebte auf der Fläche der Wasser" (Raphael, Uriel) | — | ||
| 40-3 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der erste Tag. No. 3. Arie mit Chor: "Nun schwanden vor dem heiligen Strahle" - "Verzweiflung, Wut und Schrecken" (Uriel) | — | ||
| 40-4 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der zweite Tag. No. 4. Rezitativ: "Und Gott machte das Firmament" (Raphael) | — | ||
| 40-5 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der zweite Tag. No. 5. Chor mit Sopransolo: "Mit Staunen sieht das Wunderwerk" - "Und laut ertönt aus ihren Kehlen" (Gabriel) | — | ||
| 40-6 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. No. 6. Rezitativ: "Und Gott sprach: Es sammle sich das Wasser" (Raphael) | — | ||
| 40-7 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. No. 7. Arie: "Rollend in schäumenen Wellen" (Raphael) | — | ||
| 40-8 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. No. 8. Rezitativ: "Und Gott sprach: Es bringe die Erde Gras hervor" (Gabriel) | — | ||
| 40-9 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. No. 9. Arie: "Nun beut die Flur das frische Grün" (Gabriel) | — | ||
| 40-10 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. No. 10. Rezitativ: "Und die himmlischen Herrscharen verkündigten" (Uriel) | — | ||
| 40-11 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der dritte Tag. No. 11. Chor: "Stimmt an die Saiten" | — | ||
| 40-12 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der vierte Tag. No. 12. Rezitativ: "Und Gott sprach: Es sei'n Lichter an der Feste des Himmels" (Uriel) | — | ||
| 40-13 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der vierte Tag. No. 13. Rezitativ: "In vollem Glanze steiget jetzt die Sonne" (Uriel) | — | ||
| 40-14 | Die Schöpfung, Hob. XXI:2: Erster Teil, Der vierte Tag. No. 14. Chor mit Soli: "Die Himmel erzählen die Ehre Gottes" - "Dem Kommende Tage sagt es der Tag" (Gabriel, Uriel, Raphael) | — | ||
| 40-15 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. No. 15. Rezitativ: "Und Gott sprach: Es bringe das Wasser in der Fülle hervor" (Gabriel) | — | ||
| 40-16 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. No. 16. Arie: "Auf starkem Fittiche schwinget sich der Adler stolz" (Gabriel) | — | ||
| 40-17 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. No. 17. Rezitativ: "Und Gott schuf große Walfische" (Raphael) | — | ||
| 40-18 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. No. 18. Rezitativ: "Und die Engel rührten ihr' unsterblichen Harfen" (Raphael) | — | ||
| 40-19 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der fünfte Tag. No. 19. Terzett mit Chor: "In holder Anmut stehn" - "Der Herr ist groß in seiner Macht" (Gabriel, Uriel, Raphael) | — | ||
| 40-20 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 20. Rezitativ: "Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe" (Raphael) | — | ||
| 40-21 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 21. Rezitativ: "Gleich öffnet sich der Erde Schoß" (Raphael) | — | ||
| 40-22 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 22. Arie: "Nun scheint in vollem Glanze der Himmel" (Raphael) | — | ||
| 40-23 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 23. Rezitativ: "Und Gott schuf den Menschen" (Uriel) | — | ||
| 40-24 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 24. Arie: "Mit Würd' und Hoheit angetan" (Uriel) | — | ||
| 40-25 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 25. Rezitativ: "Und Gott sah jedes Ding" (Raphael) | — | ||
| 40-26 | Die Schöpfung, Hob. XXI:2: Zweiter Teil, Der sechste Tag. No. 26. Chor und Terzett: "Vollendet ist das große Werk" - "Zu dir, o Herr, blickt alles auf" (Gabriel, Uriel, Raphael) | — | ||
| 41-1 | Die Schöpfung, Hob. XXI:2 / Part III / Aus Rosenwolken Bricht, Geweckt Durch Süßen Klang (Rec. Acc.) | Steve Davislim, Balthasar-Neumann-Ensemble, Thomas Hengelbrock | — | |
| 41-2 | Die Schöpfung, Hob. XXI:2 / Part III / Von Deiner Güt', O Herr Und Gott... Gesegnet Sei Des Herren Macht! | Balthasar-Neumann-Chor, Locky Chung, Dorothee Mields, Balthasar-Neumann-Ensemble, Thomas Hengelbrock | — | |
| 41-3 | Die Schöpfung, Hob. XXI:2 / Part III / Nun Ist Die Erste Pflicht Erfüllt (Rec.) | Locky Chung, Dorothee Mields, Balthasar-Neumann-Ensemble, Thomas Hengelbrock | — | |
| 41-4 | Die Schöpfung, Hob. XXI:2 / Part III / Holde Gattin! Dir Zur Seite (Duet) | Locky Chung, Dorothee Mields, Balthasar-Neumann-Ensemble, Thomas Hengelbrock | — | |
| 41-5 | Die Schöpfung, Hob. XXI:2 / Part III / O Glücklich Paar! Und Glücklich Immerfort! (Rec.) | Steve Davislim, Balthasar-Neumann-Ensemble, Thomas Hengelbrock | — | |
| 41-6 | Die Schöpfung, Hob. XXI:2 / Part III / Singt Dem Herren, Alle Stimmen | Balthasar-Neumann-Chor, Balthasar-Neumann-Ensemble, Thomas Hengelbrock | — | |
| 42-1 | Symphony No. 96 in D major, Hob. I:96 "The Miracle": I. Adagio - Allegro | — | ||
| 42-2 | Symphony No. 96 in D major, Hob. I:96 "The Miracle": II. Andante | — | ||
| 42-3 | Symphony No. 96 in D major, Hob. I:96 "The Miracle": III. Menuetto - Trio | — | ||
| 42-4 | Symphony No. 96 in D major, Hob. I:96 "The Miracle": IV. Finale. Vivace assai | — | ||
| 42-5 | Symphony No. 97 in C major, Hob. I:97: I. Adagio - Vivace | — | ||
| 42-6 | Symphony No. 97 in C major, Hob. I:97: II. Adagio ma non troppo | — | ||
| 42-7 | Symphony No. 97 in C major, Hob. I:97: III. Menuetto. Allegretto - Trio | — | ||
| 42-8 | Symphony No. 97 in C major, Hob. I:97: IV. Finale. Spirituoso | — | ||
| 42-9 | Symphony No. 98 in B flat major, Hob. I:98: I. Adagio - Allegro | — | ||
| 42-10 | Symphony No. 98 in B flat major, Hob. I:98: II. Adagio cantabile | — | ||
| 42-11 | Symphony No. 98 in B flat major, Hob. I:98: III. Menuetto - Trio | — | ||
| 42-12 | Symphony No. 98 in B flat major, Hob. I:98: IV. Finale. Presto | — | ||
| 43-1 | Symphony No. 85 in B-flat major, Hob. I:85 "La Reine": I. Adagio - Vivace | — | ||
| 43-2 | Symphony No. 85 in B-flat major, Hob. I:85 "La Reine": II. Romanze. Allegretto | — | ||
| 43-3 | Symphony No. 85 in B-flat major, Hob. I:85 "La Reine": III. Menuetto | — | ||
| 43-4 | Symphony No. 85 in B-flat major, Hob. I:85 "La Reine": IV. Finale. Presto | — | ||
| 43-5 | Symphony No. 83 in G minor, Hob. I:83 "La Poule": I. Allegro | — | ||
| 43-6 | Symphony No. 83 in G minor, Hob. I:83 "La Poule": II. Andante | — | ||
| 43-7 | Symphony No. 83 in G minor, Hob. I:83 "La Poule": III. Menuet | — | ||
| 43-8 | Symphony No. 83 in G minor, Hob. I:83 "La Poule": II. Finale. Vivace | — | ||
| 43-9 | Symphony No. 82 in C major, Hob. I:82 "L'ours": I. Vivace | — | ||
| 43-10 | Symphony No. 82 in C major, Hob. I:82 "L'ours": II. Allegretto | — | ||
| 43-11 | Symphony No. 82 in C major, Hob. I:82 "L'ours": III. Menuet | — | ||
| 43-12 | Symphony No. 82 in C major, Hob. I:82 "L'ours": IV. Finale. Vivace assai | — | ||
| 44-1 | Acis y Galatea, Primera Jornada: No hay otras iras que deban temerse | — | ||
| 44-2 | Acis y Galatea, Primera Jornada: ¡Ay de aquel que desprecia! | — | ||
| 44-3 | Acis y Galatea, Primera Jornada: Suspende las iras | — | ||
| 44-4 | Acis y Galatea, Primera Jornada: Sientan los que sienten | — | ||
| 44-5 | Acis y Galatea, Primera Jornada: Muda copia | — | ||
| 44-6 | Acis y Galatea, Primera Jornada: Pues que Polifemo | — | ||
| 44-7 | Acis y Galatea, Primera Jornada: Confiado jilguerillo | — | ||
| 44-8 | Acis y Galatea, Primera Jornada: Divina Galatea | — | ||
| 44-9 | Acis y Galatea, Primera Jornada: Joven galán | — | ||
| 44-10 | Acis y Galatea, Primera Jornada: ¿Con que en tu nobleza...? | — | ||
| 44-11 | Acis y Galatea, Segunda Jornada: Al aire de los suspiros | — | ||
| 44-12 | Acis y Galatea, Segunda Jornada: Estrafalaria deidad | — | ||
| 44-13 | Acis y Galatea, Segunda Jornada: Ayer, cuando la tarde | — | ||
| 44-14 | Acis y Galatea, Segunda Jornada: Dulce Galatea | — | ||
| 44-15 | Acis y Galatea, Segunda Jornada: Estos dulces cánticos | — | ||
| 44-16 | Acis y Galatea, Segunda Jornada: ¡Ten el acento! | — | ||
| 44-17 | Acis y Galatea, Segunda Jornada: Al ameno silencio | — | ||
| 44-18 | Acis y Galatea, Segunda Jornada: Qué poco a asustar llega | — | ||
| 44-19 | Acis y Galatea, Segunda Jornada: Aunque contra mí indignado | — | ||
| 44-20 | Acis y Galatea, Segunda Jornada: Huid de las iras del monstruo indegnado | — | ||
| 44-21 | Acis y Galatea, Segunda Jornada: ¿Que demonios es esto? | — | ||
| 44-22 | Acis y Galatea, Segunda Jornada: Queda en paz | — | ||
| 44-23 | Acis y Galatea, Segunda Jornada: Nùmenes del mar sagrado! | — | ||
| 44-24 | Acis y Galatea, Segunda Jornada: Acis dichoso | — | ||
| 44-25 | Acis y Galatea, Segunda Jornada: Viva quien hace siglos de dichas sus años | — | ||
| 45-1 | Introduttione 1 D-Dur | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-2 | Introduttione 2 F-Dur | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-3 | Sonate D-Dur Op8 No2 1 Adagio | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-4 | Sonate D-Dur Op8 No2 2 Allegro | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-5 | Sonate D-Dur Op8 No2 3 Presto-Lento-Presto | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-6 | Introduttione 3 B-Dur | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-7 | Introduttione 4 G-Dur | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-8 | Sonata e-Moll Op5 No2 1 Largo-Andante | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-9 | Sonata e-Moll Op5 No2 2 Allegro | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-10 | Sonata e-Moll Op5 No2 3 Allegro | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-11 | Introduttione 5 D-Dur | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-12 | Sonate A-Dur Op8 No10 1 Cantabile | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-13 | Sonate A-Dur Op8 No10 2 Allegro | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-14 | Sonate A-Dur Op8 No10 3 Vivace | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 45-15 | Introduttione 6 C-Dur | Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 46-1 | Divertissement I: Ouverture d'Amadis | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-2 | Divertissement I: Répands charmante nuit | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-3 | Divertissement I: Récit d'Orphée | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-4 | Divertissement I: Entrée pour Bacchus et Ariadne | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-5 | Divertissement I: Rochers vous êtes sourds | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-6 | Divertissement I: Plainte de Vénus sur la mort d'Adonis | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-7 | Divertissement I: Dieu des enfers | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-8 | Divertissement II: Ouverture de Psyché | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-9 | Divertissement II: Plainte italienne | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-10 | Divertissement II: Chaconne d'Amadis | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-11 | Divertissement III: Entrée d'Apollon | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-12 | Divertissement III: Si l'amour vous soumet | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-13 | Divertissement III: Enfin il est en ma puissance | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-14 | Divertissement III: Air pour les démons et les monstres | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 46-15 | Divertissement III: Passacaille d'Armide | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 47-1 | Ouverture in C major: I. Allegro con spirito | — | ||
| 47-2 | Ouverture in C major: II. Andante ma non troppo | — | ||
| 47-3 | Ouverture in C major: III. Allegro spiritoso | — | ||
| 47-4 | Cantata 'Il primo amore': I. Recitativo: Ah troppo è ver! | — | ||
| 47-5 | Cantata 'Il primo amore': II. Aria: Sol che un istante | — | ||
| 47-6 | Cantata 'Il primo amore': III. Recitativo: Nè sol, quando la miro | — | ||
| 47-7 | Cantata 'Il primo amore': IV. Aria: Bella fiamma del mio core | — | ||
| 47-8 | Concerto per Cembalo in E major: I. Allegro | — | ||
| 47-9 | Concerto per Cembalo in E major: II. Andante | — | ||
| 47-10 | Concerto per Cembalo in E major: III. Allegro | — | ||
| 47-11 | Sonata per Cembalo in A major: I. Allegro | — | ||
| 47-12 | Sonata per Cembalo in A major: II. Adagio | — | ||
| 47-13 | Sonata per Cembalo in A major: III. Tempo di minuetto | — | ||
| 47-14 | Scelta d'Arie composte per suo diletto da Marianna Martines, Aria 'Berenice, ah che fai': I. Recitativo: Berenice, ah che fai | — | ||
| 47-15 | Scelta d'Arie composte per suo diletto da Marianna Martines, Aria 'Berenice, ah che fai': II. Aria: Non partir, bell'idol moi | — | ||
| 47-16 | Scelta d'Arie composte per suo diletto da Marianna Martines, Aria 'Berenice, ah che fai': III. Recitativo: Me infelice! | — | ||
| 47-17 | Scelta d'Arie composte per suo diletto da Marianna Martines, Aria 'Berenice, ah che fai': IV. Aria: Perché, se tanti siete | — | ||
| 48-1 | Trio I: I. Poco vivace | — | ||
| 48-2 | Trio I: II. Siciliana | — | ||
| 48-3 | Trio I: III. Menuet | — | ||
| 48-4 | Trio I: IV. Arietta allegretto | — | ||
| 48-5 | Trio II: I. Entrée | — | ||
| 48-6 | Trio II: II. Ballo | — | ||
| 48-7 | Trio II: III. Siciliano arioso | — | ||
| 48-8 | Trio II: IV. Menuet | — | ||
| 48-9 | Trio III: I. Andante | — | ||
| 48-10 | Trio III: II. Aria adagio | — | ||
| 48-11 | Trio III: III. Menuet | — | ||
| 48-12 | Trio III: IV. Allegro | — | ||
| 48-13 | Trio IV: I. Capricio | — | ||
| 48-14 | Trio IV: II. Scherzo | — | ||
| 48-15 | Trio IV: III. Menuet | — | ||
| 48-16 | Trio IV: IV. Areitta | — | ||
| 48-17 | Trio V: I. Andante | — | ||
| 48-18 | Trio V: II. Vivace | — | ||
| 48-19 | Trio V: III. Menuet | — | ||
| 48-20 | Trio V: IV. Arietta | — | ||
| 48-21 | Trio VI: I. Allemande | — | ||
| 48-22 | Trio VI: II. Siciliana | — | ||
| 48-23 | Trio VI: III. Menuet | — | ||
| 48-24 | Trio VI: IV. Vivace arioso | — | ||
| 48-25 | Notturno No. 1: I. Allegrino | — | ||
| 48-26 | Notturno No. 1: II. Grazioso | — | ||
| 49-1 | Trio Sonate in B/B-flat, K. 10: I. Allegro | — | ||
| 49-2 | Trio Sonate in B/B-flat, K. 10: II. Andante | — | ||
| 49-3 | Trio Sonate in B/B-flat, K. 10: III. Menuetto I | — | ||
| 49-4 | Trio Sonate in B/B-flat, K. 10: IV. Menuetto II | — | ||
| 49-5 | Trio Sonata in G, K. 11: I. Andante | — | ||
| 49-6 | Trio Sonata in G, K. 11: II. Allegro | — | ||
| 49-7 | Trio Sonata in G, K. 11: III. Menuetto | — | ||
| 49-8 | Trio Sonata in A, K. 12: I. Andante | — | ||
| 49-9 | Trio Sonata in A, K. 12: II. Allegro | — | ||
| 49-10 | Trio Sonata in F, K. 13: I. Allegro | — | ||
| 49-11 | Trio Sonata in F, K. 13: II. Andante | — | ||
| 49-12 | Trio Sonata in F, K. 13: III. Menuetto I & II | — | ||
| 49-13 | Trio Sonata in C, K. 14: I. Allegro | — | ||
| 49-14 | Trio Sonata in C, K. 14: II. Allegro | — | ||
| 49-15 | Trio Sonata in C, K. 14: III. Menuetto I & II en Carillon | — | ||
| 49-16 | Trio Sonate in B/B-flat, K. 15: I. Andante maestoso | — | ||
| 49-17 | Trio Sonate in B/B-flat, K. 15: II. Allegro grazioso | — | ||
| 49-18 | Divertimento à 3 in B/B-flat, K. 254: I. Allegro assai | — | ||
| 49-19 | Divertimento à 3 in B/B-flat, K. 254: II. Adagio | — | ||
| 49-20 | Divertimento à 3 in B/B-flat, K. 254: III. Rondeau - Tempo di Minuetto | — | ||
| 50-1 | Symphony no. 26 in E-flat major, K 184 (161a): I. Molto presto / II. Andante / III. Allegro | Concentus Musicus Wien, Nikolaus Harnoncourt | T-928.635.622-7 | |
| 50-2 | Zaide, K 344 (336b): Act I. Introduction: “Jetzt hören Sie doch auft...” (narrator) | Tobias Moretti | — | |
| 50-3 | Zaide, K 344 (336b): Act I. No. 1 Chorus of the 4 slaves: “Brüder, lasst uns lustig sein” | Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-4 | Zaide, K 344 (336b): Act I. No. 2 Melologue: “Was für ein Schicksall” (Gomatz) | Michael Schade, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-5 | Zaide, K 344 (336b): Act I. Intermediate Text: “Dieser ohnmächtige, kraftlose, matte Gomatz” (narrator) | Tobias Moretti | — | |
| 50-6 | Zaide, K 344 (336b): Act I. No. 3 Aria: “Ruhe sanft, mein holdes Leben” (Zaide) | Diana Damrau, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-7 | Zaide, K 344 (336b): Act I. No. 4 Aria: “Rase, Schicksal, wüte immer” (Gomatz) | Michael Schade, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-8 | Zaide, K 344 (336b): Act I. Intermediate Text: “Zaide hat ihn natürlich heimlich beobachtet” (narrator) | Tobias Moretti | — | |
| 50-9 | Zaide, K 344 (336b): Act I. No. 5 Duet: “Meine Seele hüpft vor Freuden” (Zaide, Gomatz) | Diana Damrau, Michael Schade, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-10 | Zaide, K 344 (336b): Act I. Intermediate Text: “Ach, die beiden haben ein Glück” (narrator) | Tobias Moretti | — | |
| 50-11 | Zaide, K 344 (336b): Act I. No. 6 Aria: “Herr und Freund, wie dank' ich dir!” (Gomatz) | Michael Schade, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-12 | Zaide, K 344 (336b): Act I. Intermediate Text: “Und in Allazim entbrennt nun auch ein Kampf” (narrator) | Tobias Moretti | — | |
| 50-13 | Zaide, K 344 (336b): Act I. No. 7 Aria: “Nur mutig, mein Herze” (Allazim) | Florian Boesch, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 50-14 | Zaide, K 344 (336b): Act I. Intermediate Text: “Und Zaide ist jetzt weider dazugekommen” (narrator) | Tobias Moretti | — | |
| 50-15 | Zaide, K 344 (336b): Act I. No. 8 Trio: “O selige Wonne” (Zaide, Gomatz, Allazim) | Florian Boesch, Diana Damrau, Michael Schade, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-1 | Zaide, K 344 (336b): Act II. Intermediate Text: “Ja, und wie's der Teufel halt so will” (narrator) | Tobias Moretti | — | |
| 51-2 | Zaide, K 344 (336b): Act II. No. 9 Melologue & Aria: “Zaide geflohen!” (Soliman, narrator) | Tobias Moretti, Rudolf Schasching, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-3 | Zaide, K 344 (336b): Act II. Intermediate Text: “Natürlich ist auch Soliman, wie alle Reichen” (narrator) | Tobias Moretti | — | |
| 51-4 | Zaide, K 344 (336b): Act II. No. 10 Aria: “Wer hungrig bei der Tafel sitzt” (Osmin) | Anton Scharinger, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-5 | Zaide, K 344 (336b): Act II. Intermediate Text: “Für Soliman ist der Fall klar” (narrator) | Tobias Moretti | — | |
| 51-6 | Zaide, K 344 (336b): Act II. No. 11 Aria: “Ich bin so bös als gut” (Soliman) | Rudolf Schasching, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-7 | Zaide, K 344 (336b): Act II. Intermediate Text: “Jetzt wird's eng für Zaide” (narrator) | Tobias Moretti | — | |
| 51-8 | Zaide, K 344 (336b): Act II. No. 12 Aria: “Treulos schluchzet Philomele” (Zaide) | Diana Damrau, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-9 | Zaide, K 344 (336b): Act II. Intermediate Text: “Jetzt dreht sich's um Zaide weint, schluchzt, klagt” (narrator) | Tobias Moretti | — | |
| 51-10 | Zaide, K 344 (336b): Act II. No. 13 Aria: “Tiger! Wetze nur die Klauen” (Zaide) | Diana Damrau, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-11 | Zaide, K 344 (336b): Act II. Intermediate Text: “Allazim stößt ins gleiche Horn” (narrator) | Tobias Moretti | — | |
| 51-12 | Zaide, K 344 (336b): Act II. No. 14 Aria: “Ihr Mächtigen seht ungerührt” (Allazim) | Florian Boesch, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-13 | Zaide, K 344 (336b): Act II. Intermediate Text: “Das letzte Quartett!” (narrator) | Tobias Moretti, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-14 | Zaide, K 344 (336b): Act II. No. 15 Quartet: “Freundin, stille deine Tränen” (Gomatz, Allazim, Soliman, Zaide) | Florian Boesch, Diana Damrau, Michael Schade, Rudolf Schasching, Concentus Musicus Wien, Nikolaus Harnoncourt | — | |
| 51-15 | Zaide, K 344 (336b): Act II. Finale: “Und hier, am tiefsten Punkt des Konflikts” (narrator) | Tobias Moretti | — | |
| 52-1 | Con che soavità | — | ||
| 52-2 | Sonata 15 | — | ||
| 52-3 | Ohimè ch'io cado | — | ||
| 52-4 | Chiaconna à 2 | — | ||
| 52-5 | Toccata undecima | — | ||
| 52-6 | Canzon a doi soprani in echo proposta | — | ||
| 52-7 | Tempro la cetra | — | ||
| 52-8 | Frescobaldi Toccata Nona | — | ||
| 52-9 | Et è pur dunque vero | — | ||
| 52-10 | Passacaglio | — | ||
| 52-11 | Sinfonia | — | ||
| 52-12 | Ecco di dolci raggi | — | ||
| 52-13 | Se vittorie ai belle | — | ||
| 52-14 | Zefiro torna e' bel tempo rimena | — | ||
| 52-15 | Si dolce è il tormento | — | ||
| 53-1 | Vespro della Beata Vergine: Intonatio: Deus in adiutorium Domine ad adjuvandum | Cantus Cölln, Concerto Palatino, Konrad Junghänel | — | |
| 53-2 | Vespro della Beata Vergine, SV 206: II. Psalmus 109: Dixit Dominus | — | ||
| 53-3 | Vespro della Beata Vergine, SV 206: III. Concerto: Nigra sum | — | ||
| 53-4 | Vespro della Beata Vergine, SV 206: IV. Psalmus 112: Laudate, pueri, Dominum | — | ||
| 53-5 | Vespro della Beata Vergine, SV 206: V. Concerto: Pulchra es | — | ||
| 53-6 | Vespro della Beata Vergine, SV 206: VI. Psalmus 121: Laetatus sum | — | ||
| 53-7 | Vespro della Beata Vergine, SV 206: VII. Concerto: Duo Seraphim | — | ||
| 53-8 | Vespro della Beata Vergine, SV 206: VIII. Psalmus 126: Nisi Dominus | — | ||
| 53-9 | Vespro della Beata Vergine, SV 206: IX. Concerto: Audi, coelum | — | ||
| 53-10 | Vespro della Beata Vergine, SV 206: X. Psalmus 147: Lauda, Jerusalem, Dominum | — | ||
| 54-1 | Vespro della Beata Vergine, SV 206: XI. Sonata sopra "Sancta Maria, ora pro nobis" | — | ||
| 54-2 | Vespro della Beata Vergine, SV 206: XII. Hymnus: Ave maris stella | — | ||
| 54-3 | Vespro della Beata Vergine, SV 206: XIII. Magnificat | — | ||
| 54-4 | Vespro della Beata Vergine, SV 206: XIV. Et exultavit | — | ||
| 54-5 | Vespro della Beata Vergine, SV 206: XV. Quia respexit | — | ||
| 54-6 | Vespro della Beata Vergine, SV 206: XVI. Quia fecit mihi magna | — | ||
| 54-7 | Vespro della Beata Vergine, SV 206: XVII. Et misericordia eius | — | ||
| 54-8 | Vespro della Beata Vergine, SV 206: XVIII. Fecit potentiam | — | ||
| 54-9 | Vespro della Beata Vergine, SV 206: XIX. Deposuit potentes | — | ||
| 54-10 | Vespro della Beata Vergine, SV 206: XX. Esurientes implevit bonis | — | ||
| 54-11 | Vespro della Beata Vergine, SV 206: XXI. Suscepit Israel | — | ||
| 54-12 | Vespro della Beata Vergine, SV 206: XXII. Sicut locutus est | — | ||
| 54-13 | Vespro della Beata Vergine, SV 206: XXIII. Gloria Patri | — | ||
| 54-14 | Vespro della Beata Vergine, SV 206: XXIV. Sicut erat in principio | — | ||
| 55-1 | Miserere: Miserere mei Deus | — | ||
| 55-2 | Miserere: Et secundum multitudinem | — | ||
| 55-3 | Miserere: Amplius lava me | — | ||
| 55-4 | Miserere: Quoniam iniquitatem | — | ||
| 55-5 | Miserere: Tibi soli pecavi | — | ||
| 55-6 | Miserere: Ecce enim in inquitatibus | — | ||
| 55-7 | Miserere: Ecce enim veritatem | — | ||
| 55-8 | Miserere: Asperges me | — | ||
| 55-9 | Miserere: Auditui meo | — | ||
| 55-10 | Miserere: Averte faciem | — | ||
| 55-11 | Miserere: Cor mundum crea | — | ||
| 55-12 | Miserere: Ne projicias me | — | ||
| 55-13 | Miserere: Redde mihi | — | ||
| 55-14 | Miserere: Docebo | — | ||
| 55-15 | Miserere: Libera me | — | ||
| 55-16 | Miserere: Domine, labia mea aperies | — | ||
| 55-17 | Miserere: Quoniam si voluisses | — | ||
| 55-18 | Miserere: Sacrificium Deo | — | ||
| 55-19 | Miserere: Benigne fac | — | ||
| 55-20 | Miserere: Tunc acceptabis | — | ||
| 55-21 | Miserere: Tunc imponent | — | ||
| 55-22 | Iphigenia en Tracia (excerpt): Allegro cantabile | — | ||
| 55-23 | Iphigenia en Tracia (excerpt): Recitado: Yo soy, tyrana | — | ||
| 55-24 | Iphigenia en Tracia (excerpt): Area a dúo: Ha, ingrato | — | ||
| 56-1 | Jauchzet Dem Herrn | — | ||
| 56-2 | Nun Danket Alle Gott | — | ||
| 56-3 | Exsurgat Deus | — | ||
| 56-4 | Fürchte Dich Nicht | — | ||
| 56-5 | Der Gerechte | — | ||
| 56-6 | Tröste Uns Gott | — | ||
| 56-7 | Magnificat | Konrad Junghänel, Cantus Cölln | — | |
| 56-8 | Der Herr Ist König | — | ||
| 56-9 | Ich Lasse Dich Nicht | — | ||
| 56-10 | Gott Is Unser Zuversicht | — | ||
| 56-11 | Paratum Cor Meum Deus | — | ||
| 56-12 | Der Herr Ist König | — | ||
| 56-13 | Halt, Was Du Hast | — | ||
| 56-14 | Fürchtet Euch Nicht | — | ||
| 56-15 | Singet Dem Herrn | — | ||
| 56-16 | Jauchzet Gott Alle Lande | — | ||
| 57-1 | The Fairy Queen: I. Prelude in g - Hornpipe in g | — | ||
| 57-2 | The Fairy Queen: II. Air in B - Rondeau in B | — | ||
| 57-3 | The Fairy Queen: III. Overture in D | — | ||
| 57-4 | The Fairy Queen: IV. Prelude in C - Entry Dance in C - Dance for the Fairies in G | — | ||
| 57-5 | The Fairy Queen: V. Overture in G - Air in G - Prelude in g | — | ||
| 57-6 | The Fairy Queen: VI. Hornpipe in d | — | ||
| 57-7 | The Fairy Queen: VII. Symphony: Canzona - Largo - Allegro - Adagio - Allegro | — | ||
| 57-8 | Dido and Aeneas: I. Overture in c - Air in c - The Triumphing Dance in C | — | ||
| 57-9 | Dido and Aeneas: II. Ritornelle in d - Air | — | ||
| 57-10 | Dido and Aeneas: III. Echo Dance of Furies in F | — | ||
| 57-11 | Dido and Aeneas: IV. The Sailors' Dance in B | — | ||
| 57-12 | Dido and Aeneas: V. The Witches' Dance in B | — | ||
| 57-13 | Dido and Aeneas: VI. Chacony | — | ||
| 57-14 | King Arthur: I. Overture in d - Air in d - Overture in D | — | ||
| 57-15 | King Arthur: II. Symphony in g - Air in G - Hornpipe in g | — | ||
| 57-16 | King Arthur: III. Air in d - Air in a - Song Tune in a | — | ||
| 57-17 | King Arthur: IV. Symphony in C - Trumpet Tune in C | — | ||
| 57-18 | King Arthur: V. Frost Dance in c - Hornpipe in G | — | ||
| 57-19 | King Arthur: VI. Passacaglia in g | — | ||
| 57-20 | Abdelazer: I. Overture in d | — | ||
| 57-21 | Abdelazer: II. Rondeau in d | — | ||
| 57-22 | Abdelazer: III. Aire in D - Aire in G | — | ||
| 57-23 | Abdelazer: IV. Minuett in G - Aire in g | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Les Indes Galantes : Ouverture | Collegium Aureum | — |
| Les Indes Galantes : Entrée des Quatre Nations | Collegium Aureum | — |
| Les Indes Galantes : Menuet I et II | Collegium Aureum | — |
| Les Indes Galantes : Forlane | Collegium Aureum | — |
| Les Indes Galantes : Rondeau | Collegium Aureum | — |
| Les Indes Galantes : Air por les amours | Collegium Aureum | — |
| Les Indes Galantes : Contre-danse | Collegium Aureum | T-801.787.297-9 |
| Les Indes Galantes : Air pour les Persans | Collegium Aureum | — |
| Les Indes Galantes : Air vif pour Zéphire et la Rose | Collegium Aureum | — |
| Les Indes Galantes : Air pour Borée et la Rose | Collegium Aureum | — |
| Les Indes Galantes : Gavotte des Fleurs | Collegium Aureum | — |
| Les Indes Galantes : Air tendre pur la Rose | Collegium Aureum | — |
| Les Indes Galantes : Gavotte pour les Fleurs | Collegium Aureum | — |
| Les Indes Galantes : Tambourin | Collegium Aureum | T-912.761.754-3 |
| Les Indes Galantes : Chaconne | Collegium Aureum | — |
| Dardanus : Ouverture | Collegium Aureum | — |
| Dardanus : Marche pour les different nations | Collegium Aureum | — |
| Dardanus : Menuet tendre en rondeau | Collegium Aureum | — |
| Dardanus : Tambourin I et II | Collegium Aureum | — |
| Dardanus : Air vif | Collegium Aureum | — |
| Dardanus : Rigaudon I et II | Collegium Aureum | — |
| Dardanus : Air en Rondeau | Collegium Aureum | — |
| Dardanus : Entréss | Collegium Aureum | — |
| Dardanus : Sommeil | Collegium Aureum | — |
| Dardanus : Tambourin I et II | Collegium Aureum | — |
| Dardanus : Chaconne | Collegium Aureum | T-004.687.105-9 |
| Beatus vir | Konrad Junghänel, Cantus Cölln | — |
| Benedicam Dominum | Konrad Junghänel, Cantus Cölln | — |
| De profundis | Konrad Junghänel, Cantus Cölln | T-000.769.920-8 |
| Confitebor | Konrad Junghänel, Cantus Cölln | — |
| Gloria | Konrad Junghänel, Cantus Cölln | — |
| Der Herr ist mein Hirt, SWV 398 op. 12,1 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Ich hebe meine Augen auf zu den Bergen, SWV 398 op. 12,2 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Wo der Herr nicht das Haus bauet, SWV 400 op. 12,3 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Mein Sohn, warum hast du uns das getan?, SWV 401 op. 12,4 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| O Herr, hilf, o Herr, laß wohl gelingen, SWV 402 op. 12,5 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Siehe, es erschien der Engel des Herrn, SWV 403 op. 12,6 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Feget den alten Sauerteig aus, SWV 404 op. 12,7 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| O süßer Jesu Christ, SWV 405 op. 12,8 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| O Jesu süß. wer dein gedenkt, SWV 406 op. 12,9 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Lasset uns doch den Herren, unseren Gott, loben, SWV 407 op. 12,10 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Es ging en Sämann aus zu säen seinen Samen, SWV 408 op. 12,11 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Seid barmherzig, wie auch euer Vater barmherzig ist, SWV 409 op. 12,12 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Siehe, dieser wird gesetzt zu einem Fall, SWV 410 op. 12,13 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Vater unser, der du bist im Himmel, SWV 411 op. 12,14 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Siehe, wie fein und lieblich ist's, SWV 412 op. 12,15 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Hütet euch, daß euere Herzen nicht beschwert werden, SWV 413 op. 12,16 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Meister, wir wissen, daß du wahrhaftig bist, SWV 414 op. 12,17 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Saul, Saul, was verfolgst du mich?, SWV 415 op. 12,18 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Herr, wie lange willst du mein so gar vergessen, SWV 416 op. 12,19 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Komm, Heiliger Geist, Herre Gott, SWV 417 op. 12,20 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Nun dankelt alle Gott, SWV 418 op. 12,21 | Kammerchor Stuttgart, Musica Fiata, Frieder Bernius | — |
| Winterreise, D 911, op. 89: 1. Gute Nacht | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 2. Die Wetterfahne | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 3. Gefror'ne Tränen | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 4. Erstarrung | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 5. Der Lindenbaum | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 6. Wasserflut | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 7. Auf dem Flusse | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 8. Rückblick | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 9. Irrlicht | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 10. Rast | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 11. Frühlingstraum | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 12. Einsamkeit | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 13. Die Post | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 14. Der greise Kopf | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 15. Die Krähe | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 16. Letzte Hoffnung | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 17. Im Dorfe | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 18. Der stürmische Morgen | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 19. Täuschung | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 20. Der Wegweiser | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 21. Das Wirtshaus | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 22. Muth! | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 23. Die Nebensonnen | Michael Schopper, Andreas Staier | — |
| Winterreise, D 911, op. 89: 24. Der Leiermann | Michael Schopper, Andreas Staier | — |
| La Púrpura de Rosa, Loa: Chinfonia | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Loa: Entrada de clarines | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Loa: El coro de las Musas | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Loa: !Viva, viva! | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Baylete: Baile | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Baylete: Pasacalles | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Baylete: Danza | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Venus & Adonis: Venus & las Ninfas | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Venus & Adonis: Yo, Adonis | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Venus & Adonis: ¿Tu eres Venus? | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Venus & Adonis: Amor tirano | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Venus & Adonis: La maldición | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Marte & Belona: Venus & Marte | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Marte & Belona: !Arma, arma! | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Chato & Celfa: Chato & Celfa | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Chato & Celfa: !Guarda la fiera! | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Adonis descansa | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Venus en los montes | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Los sentimientos de Venus | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Adonis durmiendo | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Amor | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Fantasmas | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor: Venus & Adonis | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor: La hermosura de Venus | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor: Todo es amor | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor: El jardín de Venus | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor: Baile del villano | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor y los soldados: Los soldados | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor y los soldados: Amor | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor y los soldados: Enigmas | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Amor y los soldados: ¿Como escapar? | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La gruta de Desengaño: La gruta del Desengaño | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La gruta de desengaño: En tono triste | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La gruta de desengaño: Temor, Sospecha, Envidia & Ira | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La gruta de desengaño: El Desegaño | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La gruta de desengaño: El Desegaño & Marte | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La gruta de desengaño: El cristal | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Xácara: Venus y Adonis | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Xácara: Los dos coros de Ninfas | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Xácara: Xácara | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Marte en los montes | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Adonis y el jabalí | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, En los montes: Dragón, Chato & Celfa | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: La muerte de Adonis | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: La púrpura y las rosas | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: El lamento de Venus | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: La venganza de Marte | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: ¡Ay infelice! | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: La fuerza del dolor | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, La muerte de Adonis: Triste | Tomás de Torrejón y Velasco | T-035.024.507-6 |
| La Púrpura de Rosa, Fin de fiesta: La música de dos orbes | Tomás de Torrejón y Velasco | — |
| La Púrpura de Rosa, Fin de fiesta: ¿Al villano que le dan? | Tomás de Torrejón y Velasco | — |
| Afectos amantes, Cantada al Santísimo con violines: Estrivillo: Afectos amantes | José de Torres y Martínez Bravo | — |
| Afectos amantes, Cantada al Santísimo con violines: Rezitado: Ese candido | José de Torres y Martínez Bravo | — |
| Afectos amantes, Cantada al Santísimo con violines: Area: La Solfa mia quiso | José de Torres y Martínez Bravo | — |
| Afectos amantes, Cantada al Santísimo con violines: Rezitado: Su maxima Divina | José de Torres y Martínez Bravo | — |
| Afectos amantes, Cantada al Santísimo con violines: Area: Cisne fue para espirar | José de Torres y Martínez Bravo | — |
| Afectos amantes, Cantada al Santísimo con violines: Rezitado: Este si que es Orfeo | José de Torres y Martínez Bravo | — |
| Afectos amantes, Cantada al Santísimo con violines: Coplas. Alegre: Al abismo | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Area. Grave: Divino hijo de Adan | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Rezitado: Que es esto | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Alegre: Volved, volved bien mio. Rezitado: A esso vengo | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Area: A eso vengo | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Rezitado A esto vaja | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Area. Alegre: Que viva immortal | José de Torres y Martínez Bravo | — |
| Divino hijo de Adan, Cantada de Navidad con violines y oboe: Grave: O severano amor | José de Torres y Martínez Bravo | — |
| Sonata prima: Preludio. Adagio | José de Torres y Martínez Bravo | — |
| Sonata prima: Allemanda. Allegro | José de Torres y Martínez Bravo | — |
| Sonata prima: Corrente. Allegro. | José de Torres y Martínez Bravo | — |
| Sonata prima: Giga. Allegro. | José de Torres y Martínez Bravo | — |
| Sonata prima: Minuet | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Area: O quien pudiera alcanzar | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Rezitado: O, humano corazon | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Aera: Si amando enternezido | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Despazio: Aves fieras | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Fuga: Y asi viendo | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Rezitado: Mas conta la fatiga | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Area: Yo espero, mi bien | José de Torres y Martínez Bravo | — |
| O, quien pudiera alcanzar, Cantada al Santísimo con violines y oboe: Grave: O, immenso Adonay | José de Torres y Martínez Bravo | — |
| Bosques umbrosos, Cantada humana con violines: Estrivillo: Bosques umbrosos | José de Torres y Martínez Bravo | — |
| Bosques umbrosos, Cantada humana con violines: Rezitado: Y pues este tormento | José de Torres y Martínez Bravo | — |
| Bosques umbrosos, Cantada humana con violines: Area: Acabe mi amor | José de Torres y Martínez Bravo | — |
| Bosques umbrosos, Cantada humana con violines: Seguidillas: Pero què digo | José de Torres y Martínez Bravo | — |
| Bosques umbrosos, Cantada humana con violines: Grave: Muere corazon | José de Torres y Martínez Bravo | — |
| Concerto primo Introducione, for Strings and Basso continuo in G major, op. 1 no. 1 "Concerti da chiesa e da camera": Largo spico - Allegro assai - Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto secondo, for Violin obligato, Strings and Basso continuo in D major, op. 1 no. 2 "Concerti da chiesa e da camera": I. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto secondo, for Violin obligato, Strings and Basso continuo in D major, op. 1 no. 2 "Concerti da chiesa e da camera": II. Adagio | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto secondo, for Violin obligato, Strings and Basso continuo in D major, op. 1 no. 2 "Concerti da chiesa e da camera": III. Spirituoso | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto terzo, for Strings and Basso continuo in C major, op. 1 no. 3 "Concerti da chiesa e da camera": I. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto terzo, for Strings and Basso continuo in C major, op. 1 no. 3 "Concerti da chiesa e da camera": II. Andante | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto terzo, for Strings and Basso continuo in C major, op. 1 no. 3 "Concerti da chiesa e da camera": III. Allegro Assai | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto quarto, for Violin obligato, Strings and Basso continuo in C minor, op. 1 no. 4 "Concerti da chiesa e da camera": II. Andante ma Larghetto | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto quarto, for Violin obligato, Strings and Basso continuo in C minor, op. 1 no. 4 "Concerti da chiesa e da camera": III. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto quinto, for Strings and Basso continuo in E major, op. 1 no. 5 "Concerti da chiesa e da camera": I. Largo - Allegro ma Aperto | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto quinto, for Strings and Basso continuo in E major, op. 1 no. 5 "Concerti da chiesa e da camera": II. Andante e Spico - Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto sesto, for Violin obligato, Strings and Basso continuo in A major, op. 1 no. 6 "Concerti da chiesa e da camera": I. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto sesto, for Violin obligato, Strings and Basso continuo in A major, op. 1 no. 6 "Concerti da chiesa e da camera": II. Adagio | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto sesto, for Violin obligato, Strings and Basso continuo in A major, op. 1 no. 6 "Concerti da chiesa e da camera": III. Vivace | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto settimo Teatrale, for Strings and Basso continuo in B-flat major, op. 1 no. 7 "Concerti da chiesa e da camera": I. Vivace | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto settimo Teatrale, for Strings and Basso continuo in B-flat major, op. 1 no. 7 "Concerti da chiesa e da camera": II. Andante | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto settimo Teatrale, for Strings and Basso continuo in B-flat major, op. 1 no. 7 "Concerti da chiesa e da camera": III. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto ottavo, for Violin obligato, Strings and Basso continuo in E-flat major, op. 1 no. 8 "Concerti da chiesa e da camera": I. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto ottavo, for Violin obligato, Strings and Basso continuo in E-flat major, op. 1 no. 8 "Concerti da chiesa e da camera": II. Adagio | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto ottavo, for Violin obligato, Strings and Basso continuo in E-flat major, op. 1 no. 8 "Concerti da chiesa e da camera": III. Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto nono Teatrale, for Strings and Basso continuo in F major, op. 1 no. 9 "Concerti da chiesa e da camera": I. Allegro a Spico | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto nono Teatrale, for Strings and Basso continuo in F major, op. 1 no. 9 "Concerti da chiesa e da camera": III. Presto | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto decimo a Pastorale, for 2 Violini obligati, Strings and Basso Continuo in D major, op. 1 no. 10 "Concerti da chiesa e da camera": I. Grave - Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto decimo a Pastorale, for 2 Violini obligati, Strings and Basso Continuo in D major, op. 1 no. 10 "Concerti da chiesa e da camera": II. Largo - Pastorale | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto undecimo, for Strings and Basso continuo in G minor, op. 1 no. 11 "Concerti da chiesa e da camera": I. Spirituoso | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto undecimo, for Strings and Basso continuo in G minor, op. 1 no. 11 "Concerti da chiesa e da camera": II. Andantino - Allegro ma non tanto presto | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto duodecimo a Tempesta di Mare, for Violin obligato, Strings and Basso continuo in G major, op. 1 no. 12 "Concerti da chiesa e da camera": I. Allegro, e con Spirito | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto duodecimo a Tempesta di Mare, for Violin obligato, Strings and Basso continuo in G major, op. 1 no. 12 "Concerti da chiesa e da camera": II. Adagio, e piano (Navicella in calma) | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto duodecimo a Tempesta di Mare, for Violin obligato, Strings and Basso continuo in G major, op. 1 no. 12 "Concerti da chiesa e da camera": III. Allegro ma Aperto (Tempesta) | Freiburger Barockorchester, Gottfried von der Goltz | — |
| ''Hipocondrie'' à 7 concertanti in A major, ZWV 187 | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto in D major: Vivace | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto in D major: Andante | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto in D major: Andante | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto à 8 concertanti in G major, ZWV 186: Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto à 8 concertanti in G major, ZWV 186: Largo | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Concerto à 8 concertanti in G major, ZWV 186: Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Sonata in C minor: Largo | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Sonata in C minor: Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — |
| ''Simphonie'' a 8 concertanti in A minor, ZWV 189: [] | Freiburger Barockorchester, Gottfried von der Goltz | T-106.550.241-0 |
| ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Andante | Freiburger Barockorchester, Gottfried von der Goltz | — |
| ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Capriccio. Tempo di gavotta | Freiburger Barockorchester, Gottfried von der Goltz | — |
| ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Menuet I & II | Freiburger Barockorchester, Gottfried von der Goltz | — |
| Lamentationes pro die Mercurii Sancto: Lamentatio I c-Moll | Jan Dismas Zelenka | — |
| Lamentationes pro die Mercurii Sancto: Lamentatio II F-dur | Jan Dismas Zelenka | — |
| Lamentationes pro die Jovis Sancto: Lamentatio I B-Dur | Jan Dismas Zelenka | — |
| Lamentationes pro die Jovis Sancto: Lamentatio II g-moll | Jan Dismas Zelenka | — |
| Übers Gebirg Maria geht | Johannes Eccard | — |
| Gelobet seist du, Jesu Christ | Johann Walter | — |
| Uns ist ein Kindlein heut geborn | Andreas Reussner | — |
| Vom Himmel hoch da komm ich her | Adam Gumpelzhaimer | — |
| Maria zart | Arnolt Schlick | — |
| In dulci jubilo | Michael Praetorius | T-312.820.730-3 |
| Christum wir sollen loben schon | Bartholomäus Gesius | — |
| Ein Kind geborn zu Bethlehem | Bartholomäus Gesius | — |
| Es ist ein Ros entsprungen | Michael Praetorius | T-923.659.287-3 |
| Joseph, lieber Joseph mein | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Angelus ad pastores ait | Tölzer Knabenchor, Gerhard Schmidt-Gaden | T-900.139.287-6 |
| Resonet in laudibus | Tölzer Knabenchor, Gerhard Schmidt-Gaden | T-071.070.038-1 |
| Omnes de Saba venient | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Ich steh an deiner Krippe hier | Tölzer Knabenchor, Gerhard Schmidt-Gaden | T-050.437.923-0 |
| O Jesulein zart | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Jetzt fangen wir zum Singen an | Tölzer Knabenchor, Gerhard Schmidt-Gaden | T-801.716.751-1 |
| Felsenharte Bethlehemiten | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Auf, auf! Ihr Hirten in dem Feld | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Das allerschönst Kindl | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Das himmlische Tor | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Still, o Himmel! | Tölzer Knabenchor, Gerhard Schmidt-Gaden | T-009.064.285-5 |
| Dort oben am Berge, da wehet der Wind | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Wir wollen dankbar sein | Tölzer Knabenchor, Gerhard Schmidt-Gaden | — |
| Sonata in E minor for Transverse Flute & B. C.: I. Grave | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in E minor for Transverse Flute & B. C.: II. Allegro assai | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in E minor for Transverse Flute & B. C.: III. Presto | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in D major for Transverse Flute & Harpsichord obligato: I. Allegro un poco | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in D major for Transverse Flute & Harpsichord obligato: II. Largo | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in D major for Transverse Flute & Harpsichord obligato: III. Allegro | Johannes Koch, Hans-Martin Linde, Hugo Ruf | T-031.609.609-9 |
| Sonata in G major for Transverse Flute & Harpsichord obligato: I. Allegro moderato | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in G major for Transverse Flute & Harpsichord obligato: II. Andantino | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in G major for Transverse Flute & Harpsichord obligato: III. Allegro | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in A minor for Transverse Flute & B. C.: I. Adagio | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in A minor for Transverse Flute & B. C.: II. Presto | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Sonata in A minor for Transverse Flute & B. C.: III. Gigue | Johannes Koch, Hans-Martin Linde, Hugo Ruf | — |
| Graduale Sarisburiense: Kyrie "Orbis Factor" (cum veribus) | [anonymous] | — |
| Missa sine nomine ("The Meane Mass"): I. Gloria | John Taverner | — |
| Missa sine nomine ("The Meane Mass"): II. Credo | John Taverner | T-030.223.287-6 |
| Missa sine nomine ("The Meane Mass"): III. Sanctus und Benedictus | John Taverner | — |
| Lamentationes for 5 voices | Osbert Parsley | — |
| "Playnsong Mass for a Meane": I. Kyrie | John Sheppard | T-902.704.637-3 |
| "Playnsong Mass for a Meane": III. Credo | John Sheppard | — |
| "Playnsong Mass for a Meane": IV. Sanctus und Benedictus | John Sheppard | — |
| "Playnsong Mass for a Meane": V. Agnus Dei | John Sheppard | — |
| Téttix | Ensemble Melpomen | T-050.104.969-9 |
| Psaphródita | Ensemble Melpomen | T-050.428.609-2 |
| Bíos | Ensemble Melpomen | — |
| Kýthera | Ensemble Melpomen | — |
| Naí | Ensemble Melpomen | T-905.076.188-1 |
| Kleis | Ensemble Melpomen | — |
| Pýr | Ensemble Melpomen | T-905.076.187-0 |
| Phýlla | Ensemble Melpomen | — |
| Manía | Ensemble Melpomen | — |
| O Tékos | Ensemble Melpomen | — |
| Kálamos | Ensemble Melpomen | — |
| Lýkos | Ensemble Melpomen | T-050.428.608-1 |
| Melíttta | Ensemble Melpomen | T-905.076.189-2 |
| Makróteros | Ensemble Melpomen | — |
| Diálogos II | Ensemble Melpomen | T-050.428.603-6 |
| Dóra | Ensemble Melpomen | T-050.444.765-7 |
| Kroúsis | Ensemble Melpomen | T-905.076.190-5 |
| Ónar | Ensemble Melpomen | — |
| Pollá | Ensemble Melpomen | — |
| Oi Yano, Yano (Traditional Trace) | [traditional] | T-322.201.889-1 |
