UPC · Release
Zubin Mehta, New York Philharmonic, Israel Philharmonic Orchestra, Wiener Philharmoniker, Berliner Philharmoniker, Los Angeles Philharmonic, New Philharmonia Orchestra
Last verified:
190759376621 is the Universal Product Code (UPC barcode) for the release “Zubin Mehta: The Complete Columbia Album Collection” by Zubin Mehta, New York Philharmonic, Israel Philharmonic Orchestra, Wiener Philharmoniker, Berliner Philharmoniker, Los Angeles Philharmonic, New Philharmonia Orchestra, released 2019-01-01 on Sony Classical. 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 888 tracks, each with its own ISRC. Tracks include USBC10000832, USSM16300247, USBC19200325.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Feste Romane : I. Circenses | — | ||
| 2 | Feste Romane : II. Giubilio | — | ||
| 3 | Feste Romane : III. L' Ottorbrata | — | ||
| 4 | Feste Romane : IV. La Befana | — | ||
| 5 | Don Juan, Op. 20, TrV 156 | — | ||
| 2-1 | Il trovatore: Atto I, Scena I. "All'erta, all'erta!" (Ferrando, retainers, soldiers) | — | ||
| 2-2 | Il trovatore: Atto I, Scena I. "Di due figli vivea" (Ferrando, retainers, soldiers) | — | ||
| 2-3 | Il trovatore: Atto I, Scena II. "Che più t'arresti?" (Inez, Leanora) | — | ||
| 2-4 | Il trovatore: Atto I, Scena II. "Tacea la notte placida" (Leonora, Inez) | — | ||
| 2-5 | Il trovatore: Atto I, Scena II. "Di tale amor, che dirsi" (Leonora, Inez) | — | ||
| 2-6 | Il trovatore: Atto I, Scena II. "Tace la notte!" (Count) | — | ||
| 2-7 | Il trovatore: Atto I, Scena II. "Deserto sulla terra" (Manrico, Count) | — | ||
| 2-8 | Il trovatore: Atto I, Scena II. "Non m'inganno" (Count, Leonora, Manrico) | — | ||
| 2-9 | Il trovatore: Atto I, Scena II. "Di geloso amor sprezzato" (Count, Leonora, Manrico) | — | ||
| 2-10 | Il trovatore: Atto II, Scena I. "Vedi! La fosche notturne spoglie" (gypsies) | John McCarthy, Ambrosian Singers, Philharmonia Orchestra, Zubin Mehta | — | |
| 2-11 | Il trovatore: Atto II, Scena I. "Stride la vampa!" (Azucena, gypsies, Manrico, an old gypsy) | — | ||
| 2-12 | Il trovatore: Atto II, Scena I. "Soli or siamo!" (Manrico, Azucena) | — | ||
| 2-13 | Il trovatore: Atto II, Scena I. "Condotta ell'era in ceppi" (Azucena, Manrico) | — | ||
| 2-14 | Il trovatore: Atto II, Scena I. "Non son tuo figlio?" (Manrico, Azucena) | — | ||
| 2-15 | Il trovatore: Atto II, Scena I. "Mal reggendo all'aspro assalto" (Manrico, Azucena) | — | ||
| 2-16 | Il trovatore: Atto II, Scena I. "Inoltra il piè" (Manrico, messenger, Azucena) | — | ||
| 2-17 | Il trovatore: Atto II, Scena I. "Perigliarti ancor languente" (Azucena, Manrico) | — | ||
| 2-18 | Il trovatore: Atto II, Scena II. "Tutto è deserto" (Count, Ferrando) | — | ||
| 2-19 | Il trovatore: Atto II, Scena II. "Il balen del suo sorriso" (Count) | — | ||
| 2-20 | Il trovatore: Atto II, Scena II. "Quel suono! Oh ciel!" (Count, Ferrando, retainers) | — | ||
| 2-21 | Il trovatore: Atto II, Scena II. "Per me ora fatale" (Count, Ferrando, retainers) | — | ||
| 2-22 | Il trovatore: Atto II, Scena II. "Ah! se l'error t'ingombra" (nuns, Count, Ferrando, retainers) | — | ||
| 2-23 | Il trovatore: Atto II, Scena II. "Perché piangete" ... "O dolci amiche" (Leonora, Inez, Count, nuns) | — | ||
| 2-24 | Il trovatore: Atto II, Scena II. "E deggio e posso crederlo?" (Leonora, Count, Manrico, Inez, nuns, Ferrando, soldiers, Ruiz) | — | ||
| 3-1 | Il trovatore: Atto III, Scena I. "Or co' dadi, ma fra poco" (soldiers, Ferrandao) | — | ||
| 3-2 | Il trovatore: Atto III, Scena I. "Squilli, echeggi la tromba guerriera" (Ferrando, soldiers) | — | ||
| 3-3 | Il trovatore: Atto III, Scena I. "In braccio al mio rival!" (Count, Ferrando, Azucena, soldiers) | — | ||
| 3-4 | Il trovatore: Atto III, Scena II. "Quale d'armi fragor poc'anzi intesi?" (Leonora, Manrico) | — | ||
| 3-5 | Il trovatore: Atto III, Scena II. "Ah si, ben mio, coll'essere io tuo" (Manrico) | — | ||
| 3-6 | Il trovatore: Atto III, Scena II. "L'onda de' suoni mistici pura discenda al cor!" (Leonora, Manrico, Ruiz) | — | ||
| 3-7 | Il trovatore: Atto III, Scena II. "Di quella pira l'orrendo foco" (Manrico, Leonora, Ruiz, armed men) | — | ||
| 3-8 | Il trovatore: Atto IV, Scena I. "Siam giunti: ecco la torre" (Ruiz, Leonora) | — | ||
| 3-9 | Il trovatore: Atto IV, Scena I. "D'amor sull'ali rosee" (Leonora) | — | ||
| 3-10 | Il trovatore: Atto IV, Scena I. "Miserere d' un'alma già vicina" ... "Quel son, quelle preci" (Leonora, Manrico, choir) | — | ||
| 3-11 | Il trovatore: Atto IV, Scena I. "Tu vedrai che amore in terra" (Leonora) | — | ||
| 3-12 | Il trovatore: Atto IV, Scena I. "Udiste? Come albeggi, la scure al figlio" (Count, Leonora) | — | ||
| 3-13 | Il trovatore: Atto IV, Scena I. "Mira, di acerbe lagrime" (Leonora, Count) | — | ||
| 3-14 | Il trovatore: Atto IV, Scena I. "Vivrà! ... Contende il giubilo" (Leonora, Count) | — | ||
| 3-15 | Il trovatore: Atto IV, Scena II. "Madre, non dormi?" (Manrico, Azucena) | — | ||
| 3-16 | Il trovatore: Atto IV, Scena II. "Ai nostri monti ritorneremo" (Azucena, Manrico) | — | ||
| 3-17 | Il trovatore: Atto IV, Scena II. "Che! ... Non m'inganna!" (Manrico, Leonora, Azucena, Count) | — | ||
| 4-1 | Tosca: Atto I. “Ah! Finalmente!” | — | ||
| 4-2 | Tosca: Atto I. “E sempre lava” | — | ||
| 4-3 | Tosca: Atto I. “Damni i colori!” | — | ||
| 4-4 | Tosca: Atto I. “Voi! Cavaradossi!” | — | ||
| 4-5 | Tosca: Atto I. “Mario! Mario! Mario!” | — | ||
| 4-6 | Tosca: Atto I. “Non la sospiri la nostra casetta” | — | ||
| 4-7 | Tosca: Atto I. “Or lasciami al lavoro” | — | ||
| 4-8 | Tosca: Atto I. “Ah, quegli occhi!” | — | ||
| 4-9 | Tosca: Atto I. “È buona la mia Tosca” | — | ||
| 4-10 | Tosca: Atto I. “Tutta qui la cantoria! Presto!” | — | ||
| 4-11 | Tosca: Atto I. “Un tal baccano in chiesa!” | — | ||
| 4-12 | Tosca: Atto I. “Tosca? Che non mi veda” | — | ||
| 4-13 | Tosca: Atto I. “Tre sbirri, una carrozza” | — | ||
| 5-1 | Tosca: Atto II. “Tosca è un buon falco!” | — | ||
| 5-2 | Tosca: Atto II. “O galantuomo” | — | ||
| 5-3 | Tosca: Atto II. “Egli è là – sale ascende l’uman cantico” | — | ||
| 5-4 | Tosca: Atto II. “Dov’è Angelotti?” | — | ||
| 5-5 | Tosca: Atto II. “Ed or fra noi parliam” | — | ||
| 5-6 | Tosca: Atto II. “Ahimè! – Mario consenti ch’io parli?” | — | ||
| 5-7 | Tosca: Atto II. “Nel pozzo… Nel giardino” | — | ||
| 5-8 | Tosca: Atto II. “Floria! – amore” | — | ||
| 5-9 | Tosca: Atto II. “Vittoria! Vittoria!” | — | ||
| 5-10 | Tosca: Atto II. “Quanto?” … “Quanto?” … “Il prezzo!” | — | ||
| 5-11 | Tosca: Atto II. “Ah! Piuttosto giù m’avvento” | — | ||
| 5-12 | Tosca: Atto II. “Vissi d’arte, vissi d’amore” | — | ||
| 5-13 | Tosca: Atto II. “Risolvi? Mi vuoi supplice” | — | ||
| 5-14 | Tosca: Atto II. “Tosca, finalmente mia!” | — | ||
| 5-15 | Tosca: Atto III. “Io de’ sospiri” | — | ||
| 5-16 | Tosca: Atto III. “Mario Cavaradossi? A voi” | — | ||
| 5-17 | Tosca: Atto III. “E lucevan le stelle” | — | ||
| 5-18 | Tosca: Atto III. “Ah! Franchigia a Floria Tosca” | — | ||
| 5-19 | Tosca: Atto III. “Il tuo sangue o il mio amore volea” | — | ||
| 5-20 | Tosca: Atto III. “O dolce mani” | — | ||
| 5-21 | Tosca: Atto III. “Senti l’ora è vicina” | — | ||
| 5-22 | Tosca: Atto III. “Com’è lunga l’attesa!” | — | ||
| 5-23 | Tosca: Atto III. “Presto, su! Mario!” | — | ||
| 6-1 | The Rite of Spring: Adoration of the Earth: Introduction: Lento | — | ||
| 6-2 | The Rite of Spring: Adoration of the Earth:The Augurs of Spring (Dance of the Young Girls) | — | ||
| 6-3 | The Rite of Spring: Adoration of the Earth: Mock Abduction | — | ||
| 6-4 | The Rite of Spring: Adoration of the Earth: Spring Round Dances | — | ||
| 6-5 | The Rite of Spring: Adoration of the Earth: Games of the Rival Tribes | — | ||
| 6-6 | The Rite of Spring: Adoration of the Earth: Procession of the Wise Elder | — | ||
| 6-7 | The Rite of Spring: Adoration of the Earth: Adoration of the Earth (The Wise Elder) | — | ||
| 6-8 | The Rite of Spring: Adoration of the Earth: Dance of the Earth | — | ||
| 6-9 | The Rite of Spring: The Sacrifice: Introduction: Largo | — | ||
| 6-10 | The Rite of Spring: The Sacrifice: Mystical Circles of the Young Girls | — | ||
| 6-11 | The Rite of Spring: The Sacrifice: Glorification of the Chosen Victim | — | ||
| 6-12 | The Rite of Spring: The Sacrifice: Summoning of the Ancestors | — | ||
| 6-13 | The Rite of Spring: The Sacrifice: Ritual of the Ancestors | — | ||
| 6-14 | The Rite of Spring: The Sacrifice: Sacrificial Dance (The Chosen Victim) | — | ||
| 7-1 | Concerto for Violin and Orchestra in D major, op. 77: I. Allegro non troppo | — | ||
| 7-2 | Concerto for Violin and Orchestra in D major, op. 77: II. Adagio | — | ||
| 7-3 | Concerto for Violin and Orchestra in D major, op. 77: III. Allegro giocoso, ma non troppo vivace - Poco più presto | — | ||
| 8-1 | Symphony no. 2 in D major, op. 73: I. Allegro non troppo | — | ||
| 8-2 | Symphony no. 2 in D major, op. 73: II. Adagio non troppo | — | ||
| 8-3 | Symphony no. 2 in D major, op. 73: III. Allegretto grazioso (quasi andantino) | — | ||
| 8-4 | Symphony no. 2 in D major, op. 73: IV. Allegro con spirito | New York Philharmonic, Zubin Mehta | — | |
| 9-1 | Violin Concerto No. 1 in G minor, Op. 26: I. Vorspiel: Allegro moderato | — | ||
| 9-2 | Concerto for Violin and Orchestra no. 1 in G minor, op. 26: II. Adagio | Pinchas Zukerman, London Philharmonic Orchestra, Zubin Mehta | — | |
| 9-3 | Violin Concerto No. 1 in G minor, Op. 26: III. Finale: Allegro energico | — | ||
| 9-4 | Symphonie espagnole in D minor, Op. 21: I. Allegro non troppo | — | ||
| 9-5 | Symphonie espagnole in D minor, Op. 21: II. Scherzando: Allegro molto | — | ||
| 9-6 | Symphonie espagnole in D minor, Op. 21: III. Intermezzo: Allegretto non troppo | — | ||
| 9-7 | Symphonie espagnole in D minor, Op. 21: IV. Andante | — | ||
| 9-8 | Symphonie espagnole in D minor, Op. 21: V. Rondo: Allegro | — | ||
| 10-1 | Music from the Woody Allen film Manhattan: Rhapsody in Blue | — | ||
| 10-2 | Music from the Woody Allen film Manhattan: Land of the Gay Caballero | — | ||
| 10-3 | Music from the Woody Allen film Manhattan: Someone to Watch over Me | — | ||
| 10-4 | Music from the Woody Allen film Manhattan: I've Got a Crush on You | — | ||
| 10-5 | Music from the Woody Allen film Manhattan: Do, Do, Do | — | ||
| 10-6 | Music from the Woody Allen film Manhattan: Mine | — | ||
| 10-7 | Music from the Woody Allen film Manhattan: He Loves and She Loves | — | ||
| 10-8 | Music from the Woody Allen film Manhattan: Bronco Busters | — | ||
| 10-9 | Music from the Woody Allen film Manhattan: Oh, Lady Be Good! | — | ||
| 10-10 | Music from the Woody Allen film Manhattan: 'S Wonderful | — | ||
| 10-11 | Music from the Woody Allen film Manhattan: Love Is Here to Stay | — | ||
| 10-12 | Music from the Woody Allen film Manhattan: Sweet and Low-Down | — | ||
| 10-13 | Music from the Woody Allen film Manhattan: Blue Blue Blue | — | ||
| 10-14 | Music from the Woody Allen film Manhattan: Embraceable You | — | ||
| 10-15 | Music from the Woody Allen film Manhattan: He Loves and She Loves | — | ||
| 10-16 | Music from the Woody Allen film Manhattan: Love Is Sweeping the Country - Land of the Gay Caballero (Medley) | — | ||
| 10-17 | Music from the Woody Allen film Manhattan: Strike Up the Band | — | ||
| 10-18 | Music from the Woody Allen film Manhattan: But Not for Me | — | ||
| 11-1 | Violin Concerto No. 2, Sz 112: I. Allegro non troppo | — | ||
| 11-2 | Violin Concerto No. 2, Sz 112: II. Andante tranquillo | — | ||
| 11-3 | Violin Concerto No. 2, Sz 112: III. Allegro molto | — | ||
| 12-1 | Pictures at an Exhibition: Promenade | — | ||
| 12-2 | Pictures at an Exhibition: I. Gnomus | — | ||
| 12-3 | Pictures at an Exhibition: Promenade | — | ||
| 12-4 | Pictures at an Exhibition: II. Il vecchio castello | — | ||
| 12-5 | Pictures at an Exhibition: Promenade | — | ||
| 12-6 | Pictures at an Exhibition: III. Tuileries | — | ||
| 12-7 | Pictures at an Exhibition: IV. Bidło | — | ||
| 12-8 | Pictures at an Exhibition: Promenade | — | ||
| 12-9 | Pictures at an Exhibition: V. Ballet des poussins dans leurs coques | — | ||
| 12-10 | Pictures at an Exhibition: VI. Samuel Goldenberg und Schmuÿle | — | ||
| 12-11 | Pictures at an Exhibition: VII. Limoges - Le Marché | — | ||
| 12-12 | Pictures at an Exhibition: VIII. Catacombae (Sepulcrum romanum) | — | ||
| 12-13 | Pictures at an Exhibition: Cum mortuis in lingua mortua | — | ||
| 12-14 | Pictures at an Exhibition: IX. La Cabane sur des pattes de poule (Baba-Yaga) | — | ||
| 12-15 | Pictures at an Exhibition: X. La Grande Porte de Kiev | — | ||
| 12-16 | La Valse, M. 72 | — | ||
| 13-1 | Symphony no. 4 in E minor, op. 98: I. Allegro non troppo | — | ||
| 13-2 | Symphony no. 4 in E minor, op. 98: II. Andante moderato | — | ||
| 13-3 | Symphony no. 4 in E minor, op. 98: III. Allegro giocoso | — | ||
| 13-4 | Symphony no. 4 in E minor, op. 98: IV. Allegro energico e passionato | — | ||
| 14-1 | Petrushka: Scene I: The Shrove-Tide Fair: Vivace | — | ||
| 14-2 | Petrushka: Scene I: The Shrove-Tide Fair: The Magic Trick | — | ||
| 14-3 | Petrushka: Scene I: The Shrove-Tide Fair: Russian Dance | — | ||
| 14-4 | Petrushka: Scene II: Petrouchka's Room | — | ||
| 14-5 | Petrushka: Scene III: The Moor's Room: Feroce stringendo | — | ||
| 14-6 | Petrushka: Scene III: The Moor's Room: Dance of the Ballerina | — | ||
| 14-7 | Petrushka: Scene III: The Moor's Room: Valse | — | ||
| 14-8 | Petrushka: Scene IV: The Fair Toward Evening: Con moto | — | ||
| 14-9 | Petrushka: Scene IV: The Fair Toward Evening: Wet-Nurses' Dance | — | ||
| 14-10 | Petrushka: Scene IV: The Fair Toward Evening: Peasant with Bear | — | ||
| 14-11 | Petrushka: Scene IV: The Fair Toward Evening: Gypsies | — | ||
| 14-12 | Petrushka: Scene IV: The Fair Toward Evening: Dance of the Coachmen | — | ||
| 14-13 | Petrushka: Scene IV: The Fair Toward Evening: Masqueraders | — | ||
| 14-14 | Petrushka: Scene IV: The Fair Toward Evening: Scuffle | — | ||
| 14-15 | Petrushka: Scene IV: The Fair Toward Evening: Death of Petrouchka | — | ||
| 14-16 | Petrushka: Scene IV: The Fair Toward Evening: Petrouchka's Ghost | — | ||
| 15-1 | Symphony no. 3: I. Allegro con brio | — | ||
| 15-2 | Symphony no. 3: II. Marcia funebre - Adagio assai | — | ||
| 15-3 | Symphony no. 3: III. Scherzo - Allegro Vivace - Trio | — | ||
| 15-4 | Symphony no. 3: IV. Finale - Allegro Molto - Poco Andante - Presto | — | ||
| 16-1 | Concerto no. 1 for Piano & Orchestra in E minor, op. 11: I. Allegro maestoso | — | ||
| 16-2 | Concerto no. 1 for Piano & Orchestra in E minor, op. 11: II. Romanze: Larghetto | — | ||
| 16-3 | Concerto no. 1 for Piano & Orchestra in E minor, op. 11: III. Rondo: Vivace | — | ||
| 17-1 | Also sprach Zarathustra, Op. 30: Einleitung | — | ||
| 17-2 | Also sprach Zarathustra, Op. 30: Von den Hinterweltlern | — | ||
| 17-3 | Also sprach Zarathustra, Op. 30: Von der großen Sehnsucht | — | ||
| 17-4 | Also sprach Zarathustra, Op. 30: Von den Freuden und Leidenschaften | — | ||
| 17-5 | Also sprach Zarathustra, Op. 30: Das Grablied | — | ||
| 17-6 | Also sprach Zarathustra, Op. 30: Von der Wissenschaft | — | ||
| 17-7 | Also sprach Zarathustra, Op. 30: Der Genesende | — | ||
| 17-8 | Also sprach Zarathustra, Op. 30: Ziemlich langsam - Schnell | — | ||
| 17-9 | Also sprach Zarathustra, Op. 30: Das Tanzlied | — | ||
| 17-10 | Also sprach Zarathustra, Op. 30: Nachtwandlerlied | — | ||
| 17-11 | Also sprach Zarathustra, Op. 30: Langsam | — | ||
| 18-1 | Concerto for Piano and Orchestra no. 1 in B-flat minor, op. 23: I. Allegro non troppo e molto maestoso - Allegro con spirito | Emil Gilels, New York Philharmonic, Zubin Mehta | — | |
| 18-2 | Concerto for Piano and Orchestra no. 1 in B-flat minor, op. 23: II. Andantino semplice | Emil Gilels, New York Philharmonic, Zubin Mehta | — | |
| 18-3 | Concerto for Piano and Orchestra no. 1 in B-flat minor, op. 23: III. Allegro con fuoco | Emil Gilels, New York Philharmonic, Zubin Mehta | — | |
| 18-4 | Prelude No. 10 in E minor, BWV 855 | Emil Gilels | — | |
| 19-1 | Concerto for Violin, Cello and Orchestra in A minor, op. 102 “Double Concerto”: I. Allegro | — | ||
| 19-2 | Concerto for Violin, Cello and Orchestra in A minor, op. 102 “Double Concerto”: II. Andante | — | ||
| 19-3 | Concerto for Violin, Cello and Orchestra in A minor, op. 102 “Double Concerto”: III. Vivace non troppo | — | ||
| 19-4 | Academic Festival Overture, op. 80 | — | ||
| 20-1 | Concerto for Two Violins in D minor, BWV 1043: I. Vivace | Itzhak Perlman, Isaac Stern, New York Philharmonic, Zubin Mehta | — | |
| 20-2 | Concerto for Two Violins in D minor, BWV 1043: II. Largo ma non tanto | Itzhak Perlman, Isaac Stern, New York Philharmonic, Zubin Mehta | — | |
| 20-3 | Concerto for Two Violins in D minor, BWV 1043: III. Allegro | Itzhak Perlman, Isaac Stern, New York Philharmonic, Zubin Mehta | — | |
| 20-4 | Concerto for Three Violins F1 No. 34: I. Allegro | Itzhak Perlman, Isaac Stern, Pinchas Zukerman, New York Philharmonic, Zubin Mehta | T-902.836.120-8 | |
| 20-5 | Concerto for Three Violins F1 No. 34: II. Andante | Itzhak Perlman, Isaac Stern, Pinchas Zukerman, New York Philharmonic, Zubin Mehta | — | |
| 20-6 | Concerto for Three Violins F1 No. 34: III. Allegro | Itzhak Perlman, Isaac Stern, Pinchas Zukerman, New York Philharmonic, Zubin Mehta | — | |
| 20-7 | Sinfonia Concertante for Violin and Viola, K. 364: I. Allegro maestoso | — | ||
| 20-8 | Sinfonia Concertante for Violin and Viola, K. 364: II. Andante | — | ||
| 20-9 | Sinfonia Concertante for Violin and Viola, K. 364: III. Presto | — | ||
| 21-1 | Concerto for Piano no. 2 in B-flat major, op. 83: I. Allegro non troppo | — | ||
| 21-2 | Concerto for Piano no. 2 in B-flat major, op. 83: II. Allegro appassionato | — | ||
| 21-3 | Concerto for Piano no. 2 in B-flat major, op. 83: III. Andante - Più adagio | — | ||
| 21-4 | Concerto for Piano no. 2 in B-flat major, op. 83: IV. Allegretto grazioso | — | ||
| 22-1 | Messa da Requiem: I. Requiem & Kyrie | — | ||
| 22-2 | Messa da Requiem: II. Dies irae: Dies irae, dies illa | — | ||
| 22-3 | Messa da Requiem: II. Tuba mirum spargens sonum | — | ||
| 22-4 | Messa da Requiem: II. Liber scriptus proferetur | — | ||
| 22-5 | Messa da Requiem: II. Quid sum miser | — | ||
| 22-6 | Messa da Requiem: II. Rex tremendae majestatis | — | ||
| 22-7 | Messa da Requiem: II. Recordare, Jesu pie | — | ||
| 22-8 | Messa da Requiem: II. Ingemisco tamquam reus | — | ||
| 22-9 | Messa da Requiem: II. Confutatis maledictis | — | ||
| 22-10 | Messa da Requiem: II. Lacrymosa dies illa | — | ||
| 23-1 | Messa da Requiem: III. Offertorio | — | ||
| 23-2 | Messa da Requiem: IV. Sanctus | — | ||
| 23-3 | Messa da Requiem: V. Agnus Dei | — | ||
| 23-4 | Messa da Requiem: VI. Lux aeterna | — | ||
| 23-5 | Messa da Requiem: VII. Libera me | — | ||
| 24-1 | Concerto for Piano no. 1 in D minor, op. 15: I. Maestoso | — | ||
| 24-2 | Concerto for Piano no. 1 in D minor, op. 15: II. Adagio | — | ||
| 24-3 | Concerto for Piano no. 1 in D minor, op. 15: III. Rondo | — | ||
| 25-1 | Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio | — | ||
| 25-2 | Symphony No. 5 in C Minor, Op. 67: II. Andante con moto | — | ||
| 25-3 | Symphony No. 5 in C Minor, Op. 67: III. Scherzo, Allegro | — | ||
| 25-4 | Symphony No. 5 in C Minor, Op. 67: IV. Allegro | — | ||
| 25-5 | Symphony No. 8 in F Major, Op. 93: I. Allegro vivace e con brio | — | ||
| 25-6 | Symphony No. 8 in F Major, Op. 93: II. Allegretto scherzando | — | ||
| 25-7 | Symphony No. 8 in F Major, Op. 93: III. Tempo di menuetto | — | ||
| 25-8 | Symphony No. 8 in F Major, Op. 93: IV. Allegro vivace | — | ||
| 26-1 | Symphony no. 1 "Titan": I. Langsam. Schleppend. Wie ein Naturlaut. Im Anfang sehr gemachlich | — | ||
| 26-2 | Symphony no. 1 "Titan": II. Kraftig bewegt, doch nicht zu schnell | — | ||
| 26-3 | Symphony no. 1 "Titan": III. Feierlich und gemessen, ohne zu shleppen | — | ||
| 26-4 | Symphony no. 1 "Titan": IV. Sturmisch bewegt - Energisch | — | ||
| 27-1 | Tristan und Isolde: Prelude / Liebestod | — | ||
| 27-2 | Der fliegende Holländer: Senta's Ballad | — | ||
| 27-3 | Tannhäuser: Aria 'Dich, teure Halle' | — | ||
| 27-4 | Die Götterdämmerung: Brunnhilde's Immolation Scene | — | ||
| 28-1 | Concerto for Violin and Orchestra no. 1 in D major, op. 19: I. Andantino - Andante assai | — | ||
| 28-2 | Concerto for Violin and Orchestra no. 1 in D major, op. 19: II. Scherzo. Vivacissimo | — | ||
| 28-3 | Concerto for Violin and Orchestra no. 1 in D major, op. 19: III. Moderato - Allegro moderato - Moderato - Più tranquillo | — | ||
| 28-4 | Concerto for Violin and Orchestra no. 2 in G minor, op. 63: I. Allegro moderato | — | ||
| 28-5 | Concerto for Violin and Orchestra no. 2 in G minor, op. 63: II. Andante assai - Allegretto - Andante assai | — | ||
| 28-6 | Concerto for Violin and Orchestra no. 2 in G minor, op. 63: III. Allegro, ben marcato | — | ||
| 29-1 | Ein Heldenleben, Op. 40: Der Held | — | ||
| 29-2 | Ein Heldenleben, Op. 40: Des Helden Widersacher | — | ||
| 29-3 | Ein Heldenleben, Op. 40: Des Helden Gefährtin | — | ||
| 29-4 | Ein Heldenleben, Op. 40: Des Helden Walstatt | — | ||
| 29-5 | Ein Heldenleben, Op. 40: Des Helden Friedenswerke | — | ||
| 29-6 | Ein Heldenleben, Op. 40: Des Helden Weltflucht und Vollendung | — | ||
| 30-1 | Symphony No.9 Op. 125 "Choral/Corale" in D Minor - Allegro Ma Non Troppo, Un Poco Maestoso | — | ||
| 30-2 | Symphony No.9 Op. 125 "Choral/Corale" in D Minor - Molto Vivace; Presto; Molto Vivace | New York Philharmonic, Zubin Mehta | — | |
| 30-3 | Symphony No.9 Op. 125 "Choral/Corale" in D Minor - Adagio Molto E Cantabile; Andante Moderato | — | ||
| 30-4 | Symphony No.9 Op. 125 "Choral/Corale" in D Minor - Presto; Allegro Assai | — | ||
| 31-1 | Choral Fantasia in C minor, op. 80: I. Adagio | — | ||
| 31-2 | Choral Fantasia in C minor, op. 80: II. Allegro | — | ||
| 31-3 | Choral Fantasia in C minor, op. 80: III. Meno allegro | — | ||
| 31-4 | Choral Fantasia in C minor, op. 80: IV. Adagio ma non troppo | — | ||
| 31-5 | Choral Fantasia in C minor, op. 80: V. Marcia, assai vivace | — | ||
| 31-6 | Choral Fantasia in C minor, op. 80: VI. Allegretto ma non troppo | — | ||
| 31-7 | Choral Fantasia in C minor, op. 80: VII. Presto | — | ||
| 32-1 | Das Rheingold: Entrance of the Gods into Valhalla | — | ||
| 32-2 | Die Walküre: The Ride of the Valkyries | — | ||
| 32-3 | Die Walküre: Magic Fire Music | — | ||
| 32-4 | Siegfried: Forest Murmurs | — | ||
| 32-5 | Götterdämmerung: Dawn and Siegfried's Rhine Journey | — | ||
| 32-6 | Götterdämmerung: Siegfried's Funeral Music | — | ||
| 33-1 | Symphony no. 3 in F major, op. 90: I. Allegro con brio | — | ||
| 33-2 | Symphony no. 3 in F major, op. 90: II. Andante | — | ||
| 33-3 | Symphony no. 3 in F major, op. 90: III. Poco allegretto | — | ||
| 33-4 | Symphony no. 3 in F major, op. 90: IV. Allegro | — | ||
| 33-5 | Variations on a Theme by Joseph Haydn, op. 56a: Thema - Chorale St. Antoni | — | ||
| 33-6 | Variations on a Theme by Joseph Haydn, op. 56a: Variation I | — | ||
| 33-7 | Variations on a Theme by Joseph Haydn, op. 56a: Variation II | — | ||
| 33-8 | Variations on a Theme by Joseph Haydn, op. 56a: Variation III | — | ||
| 33-9 | Variations on a Theme by Joseph Haydn, op. 56a: Variation IV | — | ||
| 33-10 | Variations on a Theme by Joseph Haydn, op. 56a: Variation V | — | ||
| 33-11 | Variations on a Theme by Joseph Haydn, op. 56a: Variation VI | — | ||
| 33-12 | Variations on a Theme by Joseph Haydn, op. 56a: Variation VII | — | ||
| 33-13 | Variations on a Theme by Joseph Haydn, op. 56a: Variation VIII | — | ||
| 33-14 | Variations on a Theme by Joseph Haydn, op. 56a: Finale | — | ||
| 34-1 | Concerto for Violin and Orchestra in D major, op. 35: I. Allegro moderato | — | ||
| 34-2 | Concerto for Violin and Orchestra in D major, op. 35: II. Canzonetta. Andante | — | ||
| 34-3 | Concerto for Violin and Orchestra in D major, op. 35: III. Finale. Allegro vivacissimo | — | ||
| 34-4 | Sérénade Mélancolique, op. 26 | — | ||
| 34-5 | Mélodie, op. 42 no. 3 | — | ||
| 35-1 | Die Walküre, WWV 86B : Vorspiel | — | ||
| 35-2 | Die Walküre, WWV 86B : "Wes Herd dies auch sei, hier muss ich rasten" | — | ||
| 35-3 | Die Walküre, WWV 86B : "Müd am Herd fand ich den Mann" | — | ||
| 35-4 | Die Walküre, WWV 86B : "Friedmund darf ich nicht heißen" | — | ||
| 35-5 | Die Walküre, WWV 86B : "Ich weiß ein wildes Geschlecht" | — | ||
| 35-6 | Die Walküre, WWV 86B : "Ein Schwert verhieß mir der Vater" | — | ||
| 35-7 | Die Walküre, WWV 86B : "Schläfst du, Gast?" | — | ||
| 35-8 | Die Walküre, WWV 86B : "Der Männer Sippe saß hier im Saal" | — | ||
| 35-9 | Die Walküre, WWV 86B : "Winterstürme wichen dem Wonnemond" | — | ||
| 35-10 | Die Walküre, WWV 86B : "Du bist der Lenz" | — | ||
| 35-11 | Die Walküre, WWV 86B : "War Wälse dein Vater, und bist du ein Wälsung" | — | ||
| 35-12 | Die Walküre, WWV 86B : "Siegmund, den Wälsung, siehst du, Weib!" | — | ||
| 36-1 | Symphonia Domestica, op. 53: Bewegt | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-2 | Symphonia Domestica, op. 53: Sehr lebhaft | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-3 | Symphonia Domestica, op. 53: Ruhig | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-4 | Symphonia Domestica, op. 53: Scherzo (munter) | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-5 | Symphonia Domestica, op. 53: Etwas ruhiger | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-6 | Symphonia Domestica, op. 53: Wiegenlied: Mäßig langsam | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-7 | Symphonia Domestica, op. 53: Mäßig langsam und sehr ruhig | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-8 | Symphonia Domestica, op. 53: Mäßig langsam | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-9 | Symphonia Domestica, op. 53: Mäßig langsam | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-10 | Symphonia Domestica, op. 53: Finale: Sehr lebhaft | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-11 | Symphonia Domestica, op. 53: A tempo, ruhig und einfach | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-12 | Symphonia Domestica, op. 53: Sehr lebhaft und lustig | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-13 | Burleske for Piano and Orchestra in D minor: Allegro vivace | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-14 | Burleske for Piano and Orchestra in D minor: Tranquillo | Berliner Philharmoniker, Zubin Mehta | T-801.162.741-2 | |
| 36-15 | Burleske for Piano and Orchestra in D minor: (Cadenza) | Berliner Philharmoniker, Zubin Mehta | T-801.162.741-2 | |
| 36-16 | Burleske for Piano and Orchestra in D minor: Solo | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-17 | Burleske for Piano and Orchestra in D minor: Solo | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-18 | Burleske for Piano and Orchestra in D minor: poco piu tranquillo | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-19 | Burleske for Piano and Orchestra in D minor: Sempre quasi Cadenza | Berliner Philharmoniker, Zubin Mehta | — | |
| 37-1 | Symphony no. 1 in C minor, op. 68: I. Un poco sostenuto | — | ||
| 37-2 | Symphony no. 1 in C minor, op. 68: II. Andante sostenuto | — | ||
| 37-3 | Symphony no. 1 in C minor, op. 68: III. Un poco Allegretto e grazioso | — | ||
| 37-4 | Symphony no. 1 in C minor, op. 68: IV. Adagio - Più andante - Allegro non troppo, ma con brio | — | ||
| 38-1 | Heritage : Part I: In The Beginning: Overture | — | ||
| 38-2 | Heritage : Part I: In The Beginning: Ancient People....Noah's Covenant | — | ||
| 38-3 | Heritage : Part I: In The Beginning: Exodus From Egypt | — | ||
| 38-4 | Heritage : Part I: In The Beginning: Dance: Before The Golden Calf | — | ||
| 38-5 | Heritage : Part I: In The Beginning: The Ten Commandments | — | ||
| 38-6 | Heritage : Part I: In The Beginning: March: Judges And Kings | — | ||
| 38-7 | Heritage : Part I: In The Beginning: Exile: By The Rivers Of Babylon And Destruction Of The Temple | — | ||
| 38-8 | Heritage : Part I: In The Beginning: Lament And Survival...Heritage | — | ||
| 38-9 | Heritage : Part II: The Living Legacy: Prelude | — | ||
| 38-10 | Heritage : Part II: The Living Legacy: Heritage | — | ||
| 38-11 | Heritage : Part II: The Living Legacy: Diaspora | — | ||
| 38-12 | Heritage : Part II: The Living Legacy: Christianity | — | ||
| 38-13 | Heritage : Part II: The Living Legacy: Islam | — | ||
| 38-14 | Heritage : Part II: The Living Legacy: Moorish Spain....Moorish Dance | — | ||
| 38-15 | Heritage : Part II: The Living Legacy: Ashkenazim | — | ||
| 38-16 | Heritage : Part II: The Living Legacy: Shtetl | — | ||
| 38-17 | Heritage : Part II: The Living Legacy: America | — | ||
| 38-18 | Heritage : Part II: The Living Legacy: Holocaust | — | ||
| 38-19 | Heritage : Part II: The Living Legacy: Israel: A People...A Heritage Reunited | — | ||
| 39-1 | Scheherezade: I. Largo e maestoso; Allegro non troppo | — | ||
| 39-2 | Scheherezade: II. Lento; Andantino; Allegro molto | — | ||
| 39-3 | Scheherezade: III. Andantino, quasi allegretto | — | ||
| 39-4 | Scheherezade: IV. Allegro molto; Vivo; Allegro non troppo e maestoso | — | ||
| 39-5 | Russian Easter Overture | — | ||
| 40-1 | Concerto No. 3 in D minor for Piano & Orchestra, Op.30: I. Allegro ma non tanto | — | ||
| 40-2 | Concerto No. 3 in D minor for Piano & Orchestra, Op.30: II. Intermezzo: Adagio | — | ||
| 40-3 | Concerto No. 3 in D minor for Piano & Orchestra, Op.30: III. Finale. Alla breve | — | ||
| 40-4 | Rhapsody On A Theme Of Paganini, Op.43: I. Introduction | — | ||
| 40-5 | Rhapsody On A Theme Of Paganini, Op.43: II. Variation No. 1 | — | ||
| 40-6 | Rhapsody On A Theme Of Paganini, Op.43: III. Variation No. 2 | — | ||
| 40-7 | Rhapsody On A Theme Of Paganini, Op.43: IV. Variation No. 3 | — | ||
| 40-8 | Rhapsody On A Theme Of Paganini, Op.43: V. Variation No. 4 | — | ||
| 40-9 | Rhapsody On A Theme Of Paganini, Op.43: VI. Variation No. 5 | — | ||
| 40-10 | Rhapsody On A Theme Of Paganini, Op.43: VII. Variation No. 6 | — | ||
| 40-11 | Rhapsody On A Theme Of Paganini, Op.43: VIII. Variation No. 7 | — | ||
| 40-12 | Rhapsody On A Theme Of Paganini, Op.43: IX. Variation No. 8 | — | ||
| 40-13 | Rhapsody On A Theme Of Paganini, Op.43: X. Variation No. 9 | — | ||
| 40-14 | Rhapsody On A Theme Of Paganini, Op.43: XI. Variation No. 10 | — | ||
| 40-15 | Rhapsody On A Theme Of Paganini, Op.43: XII. Variation No. 11 | — | ||
| 40-16 | Rhapsody On A Theme Of Paganini, Op.43: XIII. Variation No. 12 | — | ||
| 40-17 | Rhapsody On A Theme Of Paganini, Op.43: XIV. Variation No. 13 | — | ||
| 40-18 | Rhapsody On A Theme Of Paganini, Op.43: XV. Variation No. 14 | — | ||
| 40-19 | Rhapsody On A Theme Of Paganini, Op.43: XVI. Variation No. 15 | — | ||
| 40-20 | Rhapsody On A Theme Of Paganini, Op.43: XVII. Variation No. 16 | — | ||
| 40-21 | Rhapsody On A Theme Of Paganini, Op.43: XVIII. Variation No. 17 | — | ||
| 40-22 | Rhapsody On A Theme Of Paganini, Op.43: XIX. Variation No. 18 | — | ||
| 40-23 | Rhapsody On A Theme Of Paganini, Op.43: XX. Variation No. 19 | — | ||
| 40-24 | Rhapsody On A Theme Of Paganini, Op.43: XXI. Variation No. 20 | — | ||
| 40-25 | Rhapsody On A Theme Of Paganini, Op.43: XXII. Variation No. 21 | — | ||
| 40-26 | Rhapsody On A Theme Of Paganini, Op.43: XXIII. Variation No. 22 | — | ||
| 40-27 | Rhapsody On A Theme Of Paganini, Op.43: XXIV. Variation No. 23 | — | ||
| 40-28 | Rhapsody On A Theme Of Paganini, Op.43: XXV. Variation No. 24 | — | ||
| 41-1 | Fedora, Act 2: "Amor ti vieta" | — | ||
| 41-2 | Giuditta: "Freunde, das Leben ist lebenswert | — | ||
| 41-3 | Donna Diana: Overture | — | ||
| 41-4 | L'amico Fritz: Suzel, Buon Di "Cherry Duet" | — | ||
| 41-5 | Capriccio Espagnol, Op. 34 : I. Alborada. Vivo e strepitoso | — | ||
| 41-6 | Capriccio Espagnol, Op. 34 : II. Variations. Andante con moto | — | ||
| 41-7 | Capriccio Espagnol, Op. 34 : III. Alborada. Vivo e strepitoso | — | ||
| 41-8 | Capriccio Espagnol, Op. 34 : IV. Scene and Gypsy Song. Allegro | — | ||
| 41-9 | Capriccio Espagnol, Op. 34 : V. Fandango of the Asturias | — | ||
| 41-10 | Granada | — | ||
| 41-11 | Frühlingsstimmen, Op. 410 | — | ||
| 41-12 | La traviata: Act II: "Lunge da lei ... De'miei bollenti spiriti" | — | ||
| 41-13 | Ideale | — | ||
| 41-14 | Gianni Schicchi: "O mio babbino caro" | — | ||
| 41-15 | Musica proibita, Op. 5 | — | ||
| 42-1 | Concerto for Flute no. 1 in G major, K. 285c/313: I. Allegro maestoso | — | ||
| 42-2 | Concerto for Flute no. 1 in G major, K. 285c/313: II. Adagio non troppo | — | ||
| 42-3 | Concerto for Flute no. 1 in G major, K. 285c/313: III. Rondo. Tempo di menuetto | — | ||
| 42-4 | Concerto for Flute no. 2 in D major, K. 285d/314: I. Allegro aperto | — | ||
| 42-5 | Concerto for Flute no. 2 in D major, K. 285d/314: II. Adagio ma non troppo | — | ||
| 42-6 | Concerto for Flute no. 2 in D major, K. 285d/314: III. Rondo. Allegretto | — | ||
| 42-7 | Concerto for Flute & Orchestra in C major, K. 285e/315: Andante | — | ||
| 42-8 | Rondo for Flute & orchestra in D major, K.Anh.184: Allegretto grazioso | — | ||
| 43-1 | Concerto for Violin & Orchestra in A minor, Op. 53: I. Allegro | — | ||
| 43-2 | Concerto for Violin & Orchestra in A minor, Op. 53: II. Adagio | — | ||
| 43-3 | Concerto for Violin & Orchestra in A minor, Op. 53: III. Finale | — | ||
| 43-4 | Romance for Violin & Orchestra in F minor, Op. 11 | — | ||
| 43-5 | Overture in A major, Op. 92 "Carnival" | — | ||
| 44-1 | Hungarian Rhapsody no. 1 | — | ||
| 44-2 | Hungarian Rhapsody no. 2 | — | ||
| 44-3 | Hungarian Rhapsody no. 3 | — | ||
| 44-4 | Hungarian Rhapsody no. 4 | — | ||
| 44-5 | Hungarian Rhapsody no. 5 | — | ||
| 44-6 | Hungarian Rhapsody no. 6 “Carnival in Pest” | — | ||
| 45-1 | Dichter und Bauer | — | ||
| 45-2 | Tantalusqualen | — | ||
| 45-3 | Banditenstreiche | — | ||
| 45-4 | Die schöne Galathée | — | ||
| 45-5 | Pique Dame | — | ||
| 45-6 | Leichte Kavallerie | — | ||
| 45-7 | Wiener Jubel | — | ||
| 45-8 | Ein Morgen, ein Mittag, ein Abend in Wien | — | ||
| 46-1 | Eine Alpensinfonie, op. 64, 1. Night | — | ||
| 46-2 | Eine Alpensinfonie, op. 64, 2. Sunrise | — | ||
| 46-3 | Eine Alpensinfonie, op. 64, 3. The Ascent | — | ||
| 46-4 | Eine Alpensinfonie, op. 64, 4. Entry into the Wood | — | ||
| 46-5 | Eine Alpensinfonie, op. 64, 5. Wandering by the Side of the Brook | — | ||
| 46-6 | Eine Alpensinfonie, op. 64, 6. At the Waterfall | — | ||
| 46-7 | Eine Alpensinfonie, op. 64, 7. Apparition | — | ||
| 46-8 | Eine Alpensinfonie, op. 64, 8. On Flowering Meadows | — | ||
| 46-9 | Eine Alpensinfonie, op. 64, 9. On the Alpine Pasture | — | ||
| 46-10 | Eine Alpensinfonie, op. 64, 10. Through Thicket and Undergrowth on the Wrong Way | — | ||
| 46-11 | Eine Alpensinfonie, op. 64, 11. On the Glacier | — | ||
| 46-12 | Eine Alpensinfonie, op. 64, 12. Dangerous Moments | — | ||
| 46-13 | Eine Alpensinfonie, op. 64, 13. On the Summit | — | ||
| 46-14 | Eine Alpensinfonie, op. 64, 14. Vision | — | ||
| 46-15 | Eine Alpensinfonie, op. 64, 15. Mists Rise | — | ||
| 46-16 | Eine Alpensinfonie, op. 64, 16. The Sun Gradually Becomes Obscured | — | ||
| 46-17 | Eine Alpensinfonie, op. 64, 17. Elegy | — | ||
| 46-18 | Eine Alpensinfonie, op. 64, 18. Calm before the Storm | — | ||
| 46-19 | Eine Alpensinfonie, op. 64, 19. Thunder and Tempest; Descent | — | ||
| 46-20 | Eine Alpensinfonie, op. 64, 20. Sunset | — | ||
| 46-21 | Eine Alpensinfonie, op. 64, 21. Waning Tones | — | ||
| 46-22 | Eine Alpensinfonie, op. 64, 22. Night | — | ||
| 46-23 | Horn Concerto, no. 1 in E flat major, op. 11, I. Allegro | — | ||
| 46-24 | Horn Concerto, no. 1 in E flat major, op. 11, II. Andante | — | ||
| 46-25 | Horn Concerto, no. 1 in E flat major, op. 11, III. Allegro | — | ||
| 47-1 | Concerto for Orchestra, Sz. 116 : I. Introduzione. Andante non troppo | — | ||
| 47-2 | Concerto for Orchestra, Sz. 116 : II. Giuoco delle coppie. Allegretto scherzando | — | ||
| 47-3 | Concerto for Orchestra, Sz. 116 : III. Elegia. Andante, non troppo | — | ||
| 47-4 | Concerto for Orchestra, Sz. 116 : IV. Intermezzo interrotto. Allegretto | — | ||
| 47-5 | Concerto for Orchestra, Sz. 116 : V. Finale. Pesante - Presto | — | ||
| 47-6 | The Miraculous Mandarin, Sz. 73 | — | ||
| 48-1 | Concerto No. 1 for Piano & Orchestra in E minor, Op. 11: I. Allegro maestoso | — | ||
| 48-2 | Concerto No. 1 for Piano & Orchestra in E minor, Op. 11: II. Romanze: Larghetto | — | ||
| 48-3 | Concerto No. 1 for Piano & Orchestra in E minor, Op. 11: III. Rondo: Vivace | — | ||
| 48-4 | Concerto No. 2 for Piano & Orchestra in F minor, Op. 21: I. Maestoso | — | ||
| 48-5 | Concerto No. 2 for Piano & Orchestra in F minor, Op. 21: II. Larghetto | — | ||
| 48-6 | Concerto No. 2 for Piano & Orchestra in F minor, Op. 21: III. Allegro vivace | — | ||
| 49-1 | Symphony No. 8 in C Minor, WAB 108 : I. Allegro moderato | — | ||
| 49-2 | Symphony No. 8 in C Minor, WAB 108 : II. Scherzo. Allegro moderato - Trio. Langsam | — | ||
| 49-3 | Symphony No. 8 in C Minor, WAB 108 : III. Adagio. Feierlich langsam, doch nicht schleppend | — | ||
| 50-1 | Symphony No. 8 in C Minor, WAB 108 : IV. Finale. Feierlich, nicht schnell | — | ||
| 50-2 | Symphony in D Minor 'Nullte', WAB 100 : I. Allegro | — | ||
| 50-3 | Symphony in D Minor 'Nullte', WAB 100 : II. Andante | — | ||
| 50-4 | Symphony in D Minor 'Nullte', WAB 100 : III. Scherzo. Presto | — | ||
| 50-5 | Symphony in D Minor 'Nullte', WAB 100 : IV. Finale. Moderato | — | ||
| 51-1 | Pelleas und Melisande, op. 5: Anfang | — | ||
| 51-2 | Pelleas und Melisande, op. 5: Heftig | — | ||
| 51-3 | Pelleas und Melisande, op. 5: Lebhaft | — | ||
| 51-4 | Pelleas und Melisande, op. 5: Sehr rasch | — | ||
| 51-5 | Pelleas und Melisande, op. 5: Sehr langsam | — | ||
| 51-6 | Pelleas und Melisande, op. 5: Sehr langsam, gedehnt | — | ||
| 51-7 | Pelleas und Melisande, op. 5: Ein wenig bewegt | — | ||
| 51-8 | Pelleas und Melisande, op. 5: Langsam | — | ||
| 51-9 | Pelleas und Melisande, op. 5: Ein wenig bewegter | — | ||
| 51-10 | Pelleas und Melisande, op. 5: Sehr langsam | — | ||
| 51-11 | Pelleas und Melisande, op. 5: Langsam | — | ||
| 51-12 | Pelleas und Melisande, op. 5: In gehender Bewegung | — | ||
| 51-13 | Pelleas und Melisande, op. 5: Breit | — | ||
| 51-14 | Pelleas und Melisande, op. 46: Act I, Scene I. Introduction, At The Castle Gate | — | ||
| 51-15 | Pelleas und Melisande, op. 46: Act I, Scene II. Introduction, Melisande | — | ||
| 51-16 | Pelleas und Melisande, op. 46: Act II, Scene I. Am Wunderborn im Park | Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 51-17 | Pelleas und Melisande, op. 46: Act V, Scene II. The Death Of Mélisande | — | ||
| 51-18 | Pelléas et Mélisande, op. 80: I. Prélude. Quasi Adagio | — | ||
| 51-19 | Pelléas et Mélisande, op. 80: II. La Fileuse. Andantino quasi Allegretto | — | ||
| 51-20 | Pelléas et Mélisande, op. 80: III. Sicilienne. Allegretto molto moderato | — | ||
| 51-21 | Pelléas et Mélisande, op. 80: IV. La mort de Mélisande. Molto Adagio | — | ||
| 52-1 | Violin Concerto no. 1, Sz. 36: I. Andante sostenuto | — | ||
| 52-2 | Violin Concerto no. 1, Sz. 36: II. Allegro giocoso | — | ||
| 52-3 | Violin Concerto no. 2 in B minor, Sz. 112: I. Allegro non troppo | — | ||
| 52-4 | Violin Concerto no. 2 in B minor, Sz. 112: II. Andante tranquillo | — | ||
| 52-5 | Violin Concerto no. 2 in B minor, Sz. 112: III. Allegro molto | — | ||
| 53-1 | Psalm | — | ||
| 53-2 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | — | ||
| 53-3 | Symphony no. 5 in C minor, op. 67: II. Andante con moto | — | ||
| 53-4 | Symphony no. 5 in C minor, op. 67: III. Allegro | — | ||
| 53-5 | Symphony no. 5 in C minor, op. 67: IV. Allegro | — | ||
| 53-6 | La Valse | — | ||
| 54-1 | Salome, Op. 54, TrV 215, Scene I: "Wie schön ist die Prinzessin Salome heute nacht!" | — | ||
| 54-2 | Salome, Op. 54, TrV 215, Scene I: "Nach mir wird Einer kommen" | — | ||
| 54-3 | Salome, Op. 54, TrV 215, Scene II: "Ich will nicht bleiben" | — | ||
| 54-4 | Salome, Op. 54, TrV 215, Scene II: "Siehe, der Herr ist gekommen,..." | — | ||
| 54-5 | Salome, Op. 54, TrV 215, Scene II: "Du wirst das für mich tun, Narraboth, nicht wahr?" | — | ||
| 54-6 | Salome, Op. 54, TrV 215, Scene II: "Ah!" - Orchestral Interlude | — | ||
| 54-7 | Salome, Op. 54, TrV 215, Scene III: "Wo ist er, dessen Sündenbecher jetzt voll ist?" | — | ||
| 54-8 | Salome, Op. 54, TrV 215, Scene III: "Er ist schrecklich" | — | ||
| 54-9 | Salome, Op. 54, TrV 215, Scene III: "Jochanaan!" | — | ||
| 54-10 | Salome, Op. 54, TrV 215, Scene III: "Niemals, Tochter Babylons,...." | — | ||
| 54-11 | Salome, Op. 54, TrV 215, Orchestral Interlude | — | ||
| 54-12 | Salome, Op. 54, TrV 215, Scene IV: "Wo ist Salome? Wo ist die Prinzessin?" | — | ||
| 54-13 | Salome, Op. 54, TrV 215, Scene IV: "Salome, komm, trink Wein mit mir,..." | — | ||
| 54-14 | Salome, Op. 54, TrV 215, Scene IV: "Wahrhaftig, Herr, es wäre besser,..." | — | ||
| 54-15 | Salome, Op. 54, TrV 215, Scene IV: "Siehe, der Tag ist nahe,..." | — | ||
| 55-1 | Salome, Op. 54, TrV 215, Scene IV: "Tanz für mich, Salome." | — | ||
| 55-2 | Salome, Op. 54, TrV 215, Scene IV: Salomes Tanz | — | ||
| 55-3 | Salome, Op. 54, TrV 215, Scene IV: "Ah! Herrlich!" | — | ||
| 55-4 | Salome, Op. 54, TrV 215, Scene IV: "Still, sprich nicht zu mir!" | — | ||
| 55-5 | Salome, Op. 54, TrV 215, Scene IV: "Wer hat meinen Ring genommen?" | — | ||
| 55-6 | Salome, Op. 54, TrV 215, Scene IV: "Es ist kein Laut zu vernehmen" | — | ||
| 55-7 | Salome, Op. 54, TrV 215, Scene IV: "Ah! du wolltest mich nicht deinen Mund küssen lassen" | — | ||
| 55-8 | Salome, Op. 54, TrV 215, Scene IV: "Sie ist ein Ungeheuer, deine Tochter." | — | ||
| 55-9 | Salome, Op. 54, TrV 215, Scene IV: "Ah! Ich habe deinen Mund geküsst, Jochanaan." | — | ||
| 56-1 | Tannhäuser: Ouvertüre und Venusbergmusik | — | ||
| 56-2 | Parsifal: Vorspiel zum 1. Aufzug | — | ||
| 56-3 | Parsifal: Karfreitagszauber | — | ||
| 56-4 | Rienzi: Ouvertüre | — | ||
| 57-1 | Violin Concerto, op. 61: I. Allegro ma non troppo | — | ||
| 57-2 | Violin Concerto, op. 61: II. Larghetto | — | ||
| 57-3 | Violin Concerto, op. 61: III. Rondo. Allegro | — | ||
| 57-4 | Sonata no. 10 for Piano and Violin, op. 96: I. Allegro moderato | — | ||
| 57-5 | Sonata no. 10 for Piano and Violin, op. 96: II. Adagio espressivo | — | ||
| 57-6 | Sonata no. 10 for Piano and Violin, op. 96: III. Scherzo. Allegro | — | ||
| 57-7 | Sonata no. 10 for Piano and Violin, op. 96: IV. Poco allegretto | — | ||
| 58-1 | Violin Concerto No. 3, Op. 61 : I. Allegro non troppo | — | ||
| 58-2 | Violin Concerto No. 3, Op. 61 : II. Andantino quasi allegretto | — | ||
| 58-3 | Violin Concerto No. 3, Op. 61 : III. Molto moderato e maestoso - Allegro non troppo - Piu allegro | — | ||
| 58-4 | Violin Concerto No. 2, Op. 22 : I. Allegro moderato | — | ||
| 58-5 | Violin Concerto No. 2, Op. 22 : II. Romance - Andante non troppo | — | ||
| 58-6 | Violin Concerto No. 2, Op. 22 : III. Allegro con fuoco - Allegro moderato (a la Zingara) | — | ||
| 59-1 | Symphony No. 1 in C Minor, Op. 68: I. Un poco sostenuto - Allegro | — | ||
| 59-2 | Symphony No. 1 in C Minor, Op. 68: II. Andante sostenuto | — | ||
| 59-3 | Symphony No. 1 in C Minor, Op. 68: III. Un poco allegretto e grazioso | — | ||
| 59-4 | Symphony No. 1 in C Minor, Op. 68: IV. Adagio - Piu Andante - Allegro non troppo, ma con brio | — | ||
| 60-1 | Symphony No. 2 in D Major, Op. 73: I. Allegro non troppo | — | ||
| 60-2 | Symphony No. 2 in D Major, Op. 73: II. Adagio non troppo | — | ||
| 60-3 | Symphony No. 2 in D Major, Op. 73: III. Allegretto grazioso (Quasi Andantino) - Presto ma non assai | — | ||
| 60-4 | Symphony No. 2 in D Major, Op. 73: IV. Allegro con spirito | — | ||
| 60-5 | Tragic Overture in D Minor, Op. 81: Allegro ma non troppo | — | ||
| 61-1 | Symphony No. 3 in F Major, Op. 90: I. Allegro con brio | — | ||
| 61-2 | Symphony No. 3 in F Major, Op. 90: II. Andante | — | ||
| 61-3 | Symphony No. 3 in F Major, Op. 90: III. Poco Allegretto | — | ||
| 61-4 | Symphony No. 3 in F Major, Op. 90: IV. Allegro | — | ||
| 61-5 | Variations on a Theme by Joseph Haydn, Op. 56a: Thema - Chorale St. Antoni - Andante | — | ||
| 61-6 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation I: Poco piu animato | — | ||
| 61-7 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation II: Piu vivace | — | ||
| 61-8 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation III: Con moto | — | ||
| 61-9 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation IV: Andante con moto | — | ||
| 61-10 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation V: Vivace | — | ||
| 61-11 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation VI: Vivace | — | ||
| 61-12 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation VII: Grazioso | — | ||
| 61-13 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation VIII: Presto non troppo | — | ||
| 61-14 | Variations on a Theme by Joseph Haydn, Op. 56a: Finale - Andante | — | ||
| 62-1 | Symphony No. 4 in E Minor, Op. 98: I. Allegro non troppo | — | ||
| 62-2 | Symphony No. 4 in E Minor, Op. 98: II. Andante moderato | — | ||
| 62-3 | Symphony No. 4 in E Minor, Op. 98: III. Allegro giocoso - Poco meno presto | — | ||
| 62-4 | Symphony No. 4 in E Minor, Op. 98: IV. Allegro energico e passionato - Piu Allegro | — | ||
| 63-1 | Gurre-lieder: Erster Teil. Orchestervorspiel | — | ||
| 63-2 | Gurre-lieder: Erster Teil. "Nun dämpft die Daemm'rung" (Waldemar) | — | ||
| 63-3 | Gurre-lieder: Erster Teil. "O, wenn des Mondes Strahlen" (Tove) | — | ||
| 63-4 | Gurre-lieder: Erster Teil. "Ross! Mein Ross!" (Waldemar) | — | ||
| 63-5 | Gurre-lieder: Erster Teil. "Sterne jubeln" (Tove) | — | ||
| 63-6 | Gurre-lieder: Erster Teil. "So tanzen die Engel vor Gottes Thron nicht" (Waldemar) | — | ||
| 63-7 | Gurre-lieder: Erster Teil. "Nun sag ich dir zum ersten Mal" (Tove) | — | ||
| 63-8 | Gurre=lieder: Erster Teil. "Es ist Mitternachtszeit" (Waldemar) | — | ||
| 63-9 | Gurre-lieder: Erster Teil. "Du sendest mir einen Liebesblick" (Tove) | — | ||
| 63-10 | Gurre-lieder: Erster Teil. "Du wunderlische Tove!" (Waldemar) | — | ||
| 63-11 | Gurre-lieder: Erster Teil. Orchesterzwischenspiel | — | ||
| 63-12 | Gurre-lieder: Erster Teil. "Tauben von Gurre!" (Waldtaube) | — | ||
| 64-1 | Gurre-lieder: Zweiter Teil. "Herrgott, weißt du, was du tatest" (Waldemar) | — | ||
| 64-2 | Gurre-lieder: Dritter Teil. "Erwacht, König Waldemars Mannen" (Waldemar) | — | ||
| 64-3 | Gurre-lieder: Dritter Teil. "Deckel des Sarges klappert" (Bauer) | — | ||
| 64-4 | Gurre-lieder: Dritter Teil. "Gegrüßt, o König" (Waldermars Mannen) | — | ||
| 64-5 | Gurre-lieder: Dritter Teil. "Mit Toves Stimme flüstert der Wald" (Waldemar) | — | ||
| 64-6 | Gurre-lieder: Dritter Teil. "Ein seltsamer Vogel ist so'n Aal" (Klaus-Narr) | — | ||
| 64-7 | Gurre-lieder: Dritter Teil. "Du strenger Richter droben" (Waldemar) | — | ||
| 64-8 | Gurre-lieder: Dritter Teil. "Der Hahn erhebt den Kopf zur Kraht" (Waldermars Mannen) | — | ||
| 64-9 | Gurre-lieder: Dritte Teil. Des Sommers Wilde Jagd: Vorspiel | — | ||
| 64-10 | Gurre-lieder: Dritte Teil. Des Sommers Wilde Jagd: "Herr Gänseßuss, Frau Gänsekraut" (Sprecher) | — | ||
| 64-11 | Gurre-lieder: Dritte Teil. Des Sommers Wilde Jagd: "Seht die Sonne" (Chor) | — | ||
| 65-1 | Walzerfolge aus "Der Rosenkavalier" (Akt I & II) | — | ||
| 65-2 | Symphonisches Fragment aus "Die Liebe der Danae". Molto vivace | — | ||
| 65-3 | Symphonisches Fragment aus "Die Liebe der Danae". Piu tranquillo | — | ||
| 65-4 | Symphonische Zwischenspiele aus "Intermezzo" I. Reisefieber und Walzerszene | — | ||
| 65-5 | Symphonische Zwischenspiele aus "Intermezzo" II. Träumerei am Kamin | — | ||
| 65-6 | Symphonische Zwischenspiele aus "Intermezzo" III. Am Spieltisch | — | ||
| 65-7 | Symphonische Zwischenspiele aus "Intermezzo" IV. Fröhlicher Beschluß | — | ||
| 65-8 | Symphonische Fantasie aus "Die Frau ohne Schatten" | — | ||
| 66-1 | Piano Concerto No. 1 in D-flat major, Op. 10: I. Allegro brioso | — | ||
| 66-2 | Piano Concerto No. 1 in D-flat major, Op. 10: II. Meno mosso | — | ||
| 66-3 | Piano Concerto No. 1 in D-flat major, Op. 10: III. Andante assai | — | ||
| 66-4 | Piano Concerto No. 1 in D-flat major, Op. 10: IV. Allegro scherzando | — | ||
| 66-5 | Piano Concerto No. 3 in C major, Op. 26: I. Andante - Allegro | — | ||
| 66-6 | Piano Concerto No. 3 in C major, Op. 26: II. Tema: Andantino | — | ||
| 66-7 | Piano Concerto No. 3 in C major, Op. 26: II. Var. 1 | — | ||
| 66-8 | Piano Concerto No. 3 in C major, Op. 26: II. Var. 2 | — | ||
| 66-9 | Piano Concerto No. 3 in C major, Op. 26: II. Var. 3 | — | ||
| 66-10 | Piano Concerto No. 3 in C major, Op. 26: II. Var. 4 | — | ||
| 66-11 | Piano Concerto No. 3 in C major, Op. 26: II. Var. 5 | — | ||
| 66-12 | Piano Concerto No. 3 in C major, Op. 26: III. Tema: Allegro giusto | — | ||
| 66-13 | Piano Concerto No. 3 in C major, Op. 26: IV. Allegro ma non troppo | — | ||
| 66-14 | Piano Concerto No. 5 in G major, Op. 55: I. Allegro con brio | — | ||
| 66-15 | Piano Concerto No. 5 in G major, Op. 55: II. Moderato ben accentuato | — | ||
| 66-16 | Piano Concerto No. 5 in G major, Op. 55: III. Toccata: Allegro con fuoco | — | ||
| 66-17 | Piano Concerto No. 5 in G major, Op. 55: IV. Larghetto | — | ||
| 66-18 | Piano Concerto No. 5 in G major, Op. 55: V. Vivo | — | ||
| 67-1 | Symphony No. 3 in D Minor : I. Kräftig, Entschieden | — | ||
| 67-2 | Symphony No. 3 in D Minor : II. Tempo di Minuetto | — | ||
| 67-3 | Symphony No. 3 in D Minor : III. Comodo, Scherzando. Ohne Hast | — | ||
| 68-1 | Symphony No. 3 in D Minor : IV. Sehr Langsam. Misterioso. Durchaus Leise | — | ||
| 68-2 | Symphony No. 3 in D Minor : V. Lustig im Tempo und keck im Ausdruck | — | ||
| 68-3 | Symphony No. 3 in D Minor : VI. Langsam, Ruhevoll. Empfunden | — | ||
| 68-4 | Symphony No. 10 (Adagio) | — | ||
| 69-1 | Le nozze di Figaro: Sinfonia | — | ||
| 69-2 | Le nozze di Figaro: Atto I, no. 1. “Duettino: Cinque… dieci… venti… trenta…” | — | ||
| 69-3 | Le nozze di Figaro: Atto I. Recitativo: “Cosa stai misurando” | — | ||
| 69-4 | Le nozze di Figaro: Atto I, no. 2. Duettino: “Se a caso madama” | — | ||
| 69-5 | Le nozze di Figaro: Atto I. Recitativo: “Or bene; ascolto, e taci!” | — | ||
| 69-6 | Le nozze di Figaro: Atto I, no. 3. Cavatina: “Se vuol ballare” | — | ||
| 69-7 | Le nozze di Figaro: Atto I. Recitativo: “Ed aspettaste il giorno” | — | ||
| 69-8 | Le nozze di Figaro: Atto I, no. 4. Aria: “La vendetta, oh, la vendetta!” | — | ||
| 69-9 | Le nozze di Figaro: Atto I. Recitativo: “Tutto ancor non ho perso” | — | ||
| 69-10 | Le nozze di Figaro: Atto I, no. 5. Duettino: “Via resti servita” | — | ||
| 69-11 | Le nozze di Figaro: Atto I. Recitativo: “Va’ la, vecchia pedante” | — | ||
| 69-12 | Le nozze di Figaro: Atto I, no. 6. Aria: “Non so piu cosa son” | — | ||
| 69-13 | Le nozze di Figaro: Atto I. Recitativo: “Ah, son perduto!” | — | ||
| 69-14 | Le nozze di Figaro: Atto I, no. 7. Terzetto: “Cosa sento! Tosto andate” | — | ||
| 69-15 | Le nozze di Figaro: Atto I. Recitativo: “Basilio, in traccia tosto” | — | ||
| 69-16 | Le nozze di Figaro: Atto I, no. 8. Coro: “Giovani liete” | — | ||
| 69-17 | Le nozze di Figaro: Atto I. Recitativo: “Cos’ e questa commedia?” | — | ||
| 69-18 | Le nozze di Figaro: Atto I, no. 9. Coro: “Giovani liete” | — | ||
| 69-19 | Le nozze di Figaro: Atto I. Recitativo: “Evviva!” | — | ||
| 69-20 | Le nozze di Figaro: Atto I, no. 10. Aria: “Non piu andrai, farfallone amoroso” | — | ||
| 69-21 | Le nozze di Figaro: Atto II, no. 11. Cavatina: “Porgi, amor, qualche ristoro” | — | ||
| 69-22 | Le nozze di Figaro: Atto II. Recitativo: “Vieni, cara Susanna” | — | ||
| 69-23 | Le nozze di Figaro: Atto II. Recitativo: “Quanto duolmi, Susanna” | — | ||
| 69-24 | Le nozze di Figaro: Atto II, no. 12. Arietta: “Voi che sapete” | — | ||
| 69-25 | Le nozze di Figaro: Atto II. Recitativo: “Bravo! Che bella voce!” | — | ||
| 70-1 | Le nozze di Figaro: Atto II, no. 13. Aria: “Venite, inginocchiatevi” | — | ||
| 70-2 | Le nozze di Figaro: Atto II. Recitativo: “Quante buffonerie!” | — | ||
| 70-3 | Le nozze di Figaro: Atto II. Recitativo: “Che novita!” | — | ||
| 70-4 | Le nozze di Figaro: Atto II, no. 14. Terzetto: “Susanna, or via, sortite” | — | ||
| 70-5 | Le nozze di Figaro: Atto II. Recitativo: “Dunque voi non aprite?” | — | ||
| 70-6 | Le nozze di Figaro: Atto II, no. 15. Duettino: “Aprite, presto, aprite” | — | ||
| 70-7 | Le nozze di Figaro: Atto II. Recitativo: “Oh, guarda il demonietto!” | — | ||
| 70-8 | Le nozze di Figaro: Atto II. Recitativo: “Tutto e come il lasciai” | — | ||
| 70-9 | Le nozze di Figaro: Atto II, no. 16. Finale: “Esci omai, garzon malnato” | — | ||
| 70-10 | Le nozze di Figaro: Atto II. “Susanna!…Signore” | — | ||
| 70-11 | Le nozze di Figaro: Atto II. “Susanna, son morta” | — | ||
| 70-12 | Le nozze di Figaro: Atto II. “Signori, di fuori” | — | ||
| 70-13 | Le nozze di Figaro: Atto II. “Ah, signor…signor…” | — | ||
| 70-14 | Le nozze di Figaro: Atto II. “Voi signor, che giusto siete” | — | ||
| 70-15 | Le nozze di Figaro: Atto III. Recitativo: “Che imbarazzo e mai questo!” | — | ||
| 70-16 | Le nozze di Figaro: Atto III, no. 17. Duettino: “Crudel! Perche finora” | — | ||
| 70-17 | Le nozze di Figaro: Atto III. Recitativo: “E perche fosti meco” | — | ||
| 70-18 | Le nozze di Figaro: Atto III, no. 18. Recitativo ed aria: “Hai gia vinta la causa! – Vedro mentre io sospiro” | — | ||
| 70-19 | Le nozze di Figaro: Atto III. Recitativo: “E decisa la lite” | — | ||
| 70-20 | Le nozze di Figaro: Atto III, no. 19. Sestetto: “Riconosci in questo amplesso” | — | ||
| 70-21 | Le nozze di Figaro: Atto III. Recitativo: “Eccovi, oh caro amico” | — | ||
| 70-22 | Le nozze di Figaro: Atto III. Recitativo: “Andiam, andiam, bel paggio” | — | ||
| 70-23 | Le nozze di Figaro: Atto III, no. 20. Recitativo ed aria: “E Susanna non vien! – Dove sono I bei momenti” | — | ||
| 71-1 | Le nozze di Figaro: Atto III. Recitativo: “Io vi dico, signor” | — | ||
| 71-2 | Le nozze di Figaro: Atto III. Recitativo: “Cosa mi narri” | — | ||
| 71-3 | Le nozze di Figaro: Atto III, no. 21. Duettino: “Sull’aria…che soave zeffiretto” | — | ||
| 71-4 | Le nozze di Figaro: Atto III. Recitativo: “Piegato e il foglio” | — | ||
| 71-5 | Le nozze di Figaro: Atto III, no. 22. Coro: “Ricevete, oh padroncina” | — | ||
| 71-6 | Le nozze di Figaro: Atto III. Recitativo: “Queste sono, madama” | — | ||
| 71-7 | Le nozze di Figaro: Atto III, no. 23. Finale: “Ecco la marcia, andiamo” | — | ||
| 71-8 | Le nozze di Figaro: Atto IV, no. 24. Cavatina: “L’ho perduta… me meschina…” | — | ||
| 71-9 | Le nozze di Figaro: Atto IV. Recitativo: “Barbarina, cos’hai?” | — | ||
| 71-10 | Le nozze di Figaro: Atto IV. “Madre!…Figlio!” | — | ||
| 71-11 | Le nozze di Figaro: Atto IV. Recitativo: “Presto avvertiam susanna” | — | ||
| 71-12 | Le nozze di Figaro: Atto IV, no. 25. Aria: “Il capro e la capretta” | — | ||
| 71-13 | Le nozze di Figaro: Atto IV. Recitativo: “Nel padiglione a manca” | — | ||
| 71-14 | Le nozze di Figaro: Atto IV, no. 26. Aria: “In quegl’anni, in cui val poco” | — | ||
| 71-15 | Le nozze di Figaro: Atto IV, no. 27. Recitativo ed aria: “Tutto e disposto – Aprite un po’ quegl’occhi” | — | ||
| 71-16 | Le nozze di Figaro: Atto IV. Recitativo: “Signora, ella mi disse” | — | ||
| 71-17 | Le nozze di Figaro: Atto IV, no. 28. Recitativo ed aria: “Giunse alfin il momento – Deh vieni, non tardar” | — | ||
| 71-18 | Le nozze di Figaro: Atto IV. Recitativo: “Perfida, e in quella forma” | — | ||
| 71-19 | Le nozze di Figaro: Atto IV, no. 29. Finale: “Pian pianin le andro piu presso” | — | ||
| 71-20 | Le nozze di Figaro: Atto IV. “Ecco qui la mia Susanna!” | — | ||
| 71-21 | Le nozze di Figaro: Atto IV. “Tutto e tranquillo e placido” | — | ||
| 71-22 | Le nozze di Figaro: Atto IV. “Pace, pace, mio dolce tesoro” | — | ||
| 71-23 | Le nozze di Figaro: Atto IV. “Gente, gente, all’armi, all’armi!” | — | ||
| 71-24 | Appendice: Atto III, no. 18. Recitativo ed aria: “Hai gia vinta la causa! – Vedro mentre io sospiro” | — | ||
| 72-1 | Má vlast: Vyšehrad - The High Castle | — | ||
| 72-2 | Má vlast: Vltava - The Moldau | — | ||
| 72-3 | Má vlast: Šárka | — | ||
| 72-4 | Má vlast: Z českých luhů a hájů - From Bohemia's Woods and Fields | — | ||
| 72-5 | Má vlast: Tábor | — | ||
| 72-6 | Má vlast: Blaník | — | ||
| 73-1 | Concerto for Violin and Orchestra in D minor, op. 47: I. Allegro moderato | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-2 | Concerto for Violin and Orchestra in D minor, op. 47: II. Adagio di molto | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-3 | Concerto for Violin and Orchestra in D minor, op. 47: III. Allegro, ma non tanto | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-4 | Scottish Fantasy for Violin and Orchestra, op. 46: Introduction. Grave | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-5 | Scottish Fantasy for Violin and Orchestra, op. 46: I. Adagio cantabile | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-6 | Scottish Fantasy for Violin and Orchestra, op. 46: II. Allegro | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-7 | Scottish Fantasy for Violin and Orchestra, op. 46: III. Andante sostenuto | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-8 | Scottish Fantasy for Violin and Orchestra, op. 46: IV. Finale. Allegro guerriero | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 74-1 | Piano Concerto No. 2 in G minor, Op. 16: I. Andantino | — | ||
| 74-2 | Piano Concerto No. 2 in G minor, Op. 16: II. Scherzo. Vivace | — | ||
| 74-3 | Piano Concerto No. 2 in G minor, Op. 16: III. Intermezzo. Allegro moderato | — | ||
| 74-4 | Piano Concerto No. 2 in G minor, Op. 16: IV. Finale. Allegro tempestoso | — | ||
| 74-5 | Piano Concerto No. 4 in B-flat major, Op. 53 "For the Left Hand": I. Vivace | — | ||
| 74-6 | Piano Concerto No. 4 in B-flat major, Op. 53 "For the Left Hand": II. Andante | — | ||
| 74-7 | Piano Concerto No. 4 in B-flat major, Op. 53 "For the Left Hand": III. Moderato | — | ||
| 74-8 | Piano Concerto No. 4 in B-flat major, Op. 53 "For the Left Hand": IV. Vivace | — | ||
| 74-9 | Overture on Hebrew Themes for Clarinet, String Quartet and Piano, Op. 34 | — | ||
| 75-1 | Ein Heldenleben, Op. 40, TrV 190: Der Held | — | ||
| 75-2 | Ein Heldenleben, Op. 40, TrV 190: Des Helden Widersacher | — | ||
| 75-3 | Ein Heldenleben, Op. 40, TrV 190: Des Helden Gefährtin | — | ||
| 75-4 | Ein Heldenleben, Op. 40, TrV 190: Des Helden Walstatt | — | ||
| 75-5 | Ein Heldenleben, Op. 40, TrV 190: Des Helden Friedenswerke | — | ||
| 75-6 | Ein Heldenleben, Op. 40, TrV 190: Des Helden Weltflucht und Vollendung | — | ||
| 75-7 | Horn Concerto No. 2 in E-Flat Major, TrV 283: I. Allegro | — | ||
| 75-8 | Horn Concerto No. 2 in E-Flat Major, TrV 283: II. Andante con moto | — | ||
| 75-9 | Horn Concerto No. 2 in E-Flat Major, TrV 283: III. Rondo. Allegro molto | — | ||
| 76-1 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": I. Largo – Molto allegro | — | ||
| 76-2 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": II. Menuetto – Trio I – Trio II | — | ||
| 76-3 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": III. Adagio | — | ||
| 76-4 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": IV. Menuetto. Allegretto – Trio I – Trio II | — | ||
| 76-5 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": V. Romance. Adagio – Allegretto – Adagio | — | ||
| 76-6 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Tema. Andante | — | ||
| 76-7 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Var. 1 | — | ||
| 76-8 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Var. 2 | — | ||
| 76-9 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Var. 3 | — | ||
| 76-10 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Var. 4 | — | ||
| 76-11 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Var. 5 | — | ||
| 76-12 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Var. 6 | — | ||
| 76-13 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VII. Finale. Molto allegro | — | ||
| 77-1 | Concerto for Violin and Orchestra in D major, Op. 77: I. Allegro non troppo | — | ||
| 77-2 | Concerto for Violin and Orchestra in D major, Op. 77: II. Adagio | — | ||
| 77-3 | Concerto for Violin and Orchestra in D major, Op. 77: III. Allegro giocoso, ma non troppo vivace - Poco più presto | — | ||
| 77-4 | Violin Concerto No. 1 in G minor, Op. 26: I. Vorspiel. Allegro moderato | — | ||
| 77-5 | Violin Concerto No. 1 in G minor, Op. 26: II. Adagio | — | ||
| 77-6 | Violin Concerto No. 1 in G minor, Op. 26: III. Finale. Allegro energico | — | ||
| 78-1 | Les Préludes, Symphonic Poem for Orchestra, S. 97 (LW G3) | — | ||
| 78-2 | Orpheus, Symphonic Poem for Orchestra, S. 98 (LW G9) | — | ||
| 78-3 | Mazeppa, Symphonic Poem for Orchestra, S. 100 (LW G7) | — | ||
| 78-4 | Hamlet, Symphonic Poem for Orchestra, S. 104 (LW G22) | — | ||
| 78-5 | Hunnenschlacht, Symphonic Poem for Orchestra, S. 105 (LW G17) | — | ||
| 79-1 | Concerto In D Minor For Two Violins And Orchestra, BWV 1043: I. Vivace | — | ||
| 79-2 | Concerto In D Minor For Two Violins And Orchestra, BWV 1043: II. Largo, Ma Non Tanto | — | ||
| 79-3 | Concerto In D Minor For Two Violins And Orchestra, BWV 1043: III. Allegro | — | ||
| 79-4 | Concerto In B Minor For Four Violins And Orchestra, RV 580 (Op. 3, No. 10): I. Allegro | — | ||
| 79-5 | Concerto In B Minor For Four Violins And Orchestra, RV 580 (Op. 3, No. 10): II. Largo | — | ||
| 79-6 | Concerto In B Minor For Four Violins And Orchestra, RV 580 (Op. 3, No. 10): III. Allegro | — | ||
| 79-7 | Symphony No. 2 In D, Op. 73: I. Allegro Non Troppo | — | ||
| 79-8 | Symphony No. 2 In D, Op. 73: II. Adagio Non Troppo | — | ||
| 79-9 | Symphony No. 2 In D, Op. 73: III. Allegretto Grazioso | — | ||
| 79-10 | Symphony No. 2 In D, Op. 73: IV. Allegro Con Spirito | — | ||
| 79-11 | Hatikvah (from ’’The Stars Salute Israel at 30″) | Barbra Streisand | — | |
| 80-1 | Salome, Op. 54: "Ah! Du wolltest mich nicht deinen Mund küssen lassen, Jochanaan!" | — | ||
| 80-2 | Guntram, Op. 25: "Fass' ich sie bang" | — | ||
| 80-3 | Lucio Silla, K. 135: "Ah corri, vola - Quest'improvviso tremito che in sen di più s'avanza" | — | ||
| 80-4 | Don Giovanni, K. 527: "Crudele! Ah no, mio bene!".."Non mi dir" | — | ||
| 80-5 | Ariadne auf Naxos, Op. 60: "Es gibt ein Reich, wo alles rein ist" | — | ||
| 80-6 | Idomeneo, K. 366: "Oh smania! Oh furie" | — | ||
| 80-7 | Arabella, Op. 79: "Mein Elemer! Das hat so einen sonderbaren Klang!" | — | ||
| 80-8 | Don Giovanni, K. 527: "Or sai chi l'onore" | — | ||
| 80-9 | Idomeneo, K. 366: "Idol mio, se ritroso" | — | ||
| 80-10 | Die ägyptische Helena, Op. 75: "Zweite Brautnacht!" | — | ||
| 81-1 | Violin Concerto in E Minor, Op. 64 : I. Allegro molto appassionato | — | ||
| 81-2 | Violin Concerto in E Minor, Op. 64 : II. Andante | — | ||
| 81-3 | Violin Concerto in E Minor, Op. 64 : III. Allegretto non troppo - Allegro molto vivace | — | ||
| 81-4 | Violin Concerto in D Major, Op. 61 (Cadenza: Fritz Kreisler) : I. Allegro ma non troppo (Cadenza: Fritz Kreisler) | — | ||
| 81-5 | Violin Concerto in D Major, Op. 61 : II. Larghetto | — | ||
| 81-6 | Violin Concerto in D Major, Op. 61 (Cadenza: Fritz Kreisler) : III. Rondo: Allegro (Cadenza: Fritz Kreisler) | — | ||
| 82-1 | Piano Concerto no. 1 in D minor, op. 15: I. Maestoso | Arthur Rubinstein, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 82-2 | Piano Concerto no. 1 in D minor, op. 15: II. Adagio | Arthur Rubinstein, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 82-3 | Piano Concerto no. 1 in D minor, op. 15: III. Rondo. Allegro non troppo | Arthur Rubinstein, Israel Philharmonic Orchestra, Zubin Mehta | T-031.682.208-8 | |
| 83-1 | Concerto for Piano and Orchestra no. 3 in D minor, op. 30: I. Allegro ma non tanto | Vladimir Horowitz, New York Philharmonic, Zubin Mehta | — | |
| 83-2 | Concerto for Piano and Orchestra no. 3 in D minor, op. 30: II. Intermezzo. Adagio – | Vladimir Horowitz, New York Philharmonic, Zubin Mehta | — | |
| 83-3 | Concerto for Piano and Orchestra no. 3 in D minor, op. 30: III. Finale. Alla breve | Vladimir Horowitz, New York Philharmonic, Zubin Mehta | — | |
| 84-1 | Concerto for Piano and Orchestra No. 1 in D Minor, Op. 15 : I. Maestoso | — | ||
| 84-2 | Concerto for Piano and Orchestra No. 1 in D Minor, Op. 15 : II. Adagio | — | ||
| 84-3 | Concerto for Piano and Orchestra No. 1 in D Minor, Op. 15 : III. Rondo - Allegro non troppo | — | ||
| 85-1 | Concerto for Piano and Orchestra No. 2 in B-Flat Major, Op. 83 : I. Allegro non troppo | — | ||
| 85-2 | Concerto for Piano and Orchestra No. 2 in B-Flat Major, Op. 83 : II. Allegro appassionato | — | ||
| 85-3 | Concerto for Piano and Orchestra No. 2 in B-Flat Major, Op. 83 : III. Andante | — | ||
| 85-4 | Concerto for Piano and Orchestra No. 2 in B-Flat Major, Op. 83 : IV. Allegretto grazioso | — | ||
| 86-1 | The Gypsy Baron: Entrance March | — | ||
| 86-2 | Polka Mazur, op. 282: The Emancipated Woman | — | ||
| 86-3 | Red Indian Galop, Op. 111 | — | ||
| 86-4 | Simplicius, Op. 427: Little Danube Woman (Waltz on Themes from Simplicius) | — | ||
| 86-5 | Sport Polka (Quickly), Op. 170 | — | ||
| 86-6 | Polka Mazur, Op. 73: Sympathy | — | ||
| 86-7 | Vienna Blood (Waltz), Op. 354 | — | ||
| 86-8 | Indigo And The Forty Thieves, Op. 348: At the Double-Quick Step | — | ||
| 86-9 | Tales From The Vienna Woods, Op. 325 | — | ||
| 86-10 | Chit-Chat, Op. 214: Chit-Chat (Quick Polka) | — | ||
| 86-11 | Explosion Polka, Op. 43 | — | ||
| 86-12 | Letter To The Editor, Op. 240 | — | ||
| 86-13 | On The Beautiful Blue Danube, Op. 314 | — | ||
| 86-14 | Radetzky March, Op. 228 | — | ||
| 87-1 | Reiter-Marsch, op. 428 | — | ||
| 87-2 | Arm in Arm, op. 215: Polka schnell | — | ||
| 87-3 | Favorit-Polka, op. 201 | — | ||
| 87-4 | Morgenblätter, op. 279: Walzer | — | ||
| 87-5 | Process-Polka, op. 294: Polka schnell | — | ||
| 87-6 | Mephistos Höllenrufe, op. 101: Walzer | — | ||
| 87-7 | Perpetuum mobile, op. 257: Musikalischer Scherz | — | ||
| 87-8 | Thalia, op. 195: Polka mazur | — | ||
| 87-9 | Electrisch: Polka schnell | — | ||
| 87-10 | Alice-Polka, op. 238 | — | ||
| 87-11 | Russische Marsch-Phantasie, op. 353 | — | ||
| 87-12 | Mein Lebenslauf ist Lieb’ un Lust! op. 133: Polka schnell | — | ||
| 87-13 | Schützen-Quadrille | — | ||
| 87-14 | Auf Ferienreisen, op. 133: Polka schnell | — | ||
| 87-15 | An der schönen, blauen Donau, op. 314: Walzer | — | ||
| 87-16 | Radetzky-Marsch, op. 228 | — | ||
| 88-1 | Wo uns're Fahne weht, Marsch, Op. 473 | — | ||
| 88-2 | Nachtfalter, Walzer, Op. 157 | — | ||
| 88-3 | Kleiner Anzeiger, Galopp | — | ||
| 88-4 | Die Schwebende, Polka Mazur, Op. 110 | — | ||
| 88-5 | Jocus Polka, Polka schnell, Op. 216 | — | ||
| 88-6 | Nordseebilder, Walzer, Op. 390 | — | ||
| 88-7 | Tritsch Tratsch Polka, Polka schnell, Op. 214 | — | ||
| 88-8 | Ouvertüre zur Operette "Prinz Methusalem" | — | ||
| 88-9 | Wiener Bonbons, Walzer, Op. 307 | — | ||
| 88-10 | Marianka Polka, Op. 173 | — | ||
| 88-11 | In der Heimat, Polka Mazur, Op. 231 | — | ||
| 88-12 | Annen Polka, Op. 117 | — | ||
| 88-13 | Plappermäulchen (Musikalischer Scherz), Polka schnell, Op. 245 | — | ||
| 88-14 | Neue Melodien-Quadrille, Op. 254 | — | ||
| 88-15 | Rosen aus dem Süden, Walzer, Op. 388 | — | ||
| 88-16 | Bahn frei, Polka schnell, Op. 45 | — | ||
| 89-1 | Nur fort, Polka schnell, Op. 383 | — | ||
| 89-2 | An der schönen blauen Donau, Walzer, Op. 314 | — | ||
| 89-3 | Radetzky-Marsch, Op. 228 | — | ||
| 90-1 | Zivio! Marsch, Op. 456 | — | ||
| 90-2 | Flattergeister, Waltz, Op. 62 | — | ||
| 90-3 | Moulinet-polka française, Op. 57 | — | ||
| 90-4 | Elfenreigen | — | ||
| 90-5 | Delirien Waltz, Op. 212 | — | ||
| 90-6 | Einzugs-Galopp, Op. 35 | — | ||
| 91-1 | Overture to the operetta Waldmeister | — | ||
| 91-2 | Irenen-Polka, Polka française, Op. 113 | — | ||
| 91-3 | Wo die Zitronen blüh'n, Op.364 | — | ||
| 91-4 | Ohne Bremse Polka schnell, Op. 238 | — | ||
| 91-5 | Stadt und Land, Op. 322 | — | ||
| 91-6 | Matrosen-Polka, Op. 52 | — | ||
| 91-7 | Dynamiden, Op. 173 | — | ||
| 91-8 | Erinnerungen an Ernst (Der Karvneval von Venedig), Fantasie, Op. 126 | — | ||
| 91-9 | Furioso-Galopp, Op. 114 | — | ||
| 91-10 | Leichtfüssig (Polka schnell) | — | ||
| 91-11 | New Year's Address | — | ||
| 91-12 | An der schönen blauen Donau, Op. 314 | — | ||
| 91-13 | Radetzky-Marsch, Op. 228 (Arr. Leopold Weninger) | — | ||
| 92-1 | Ein Morgen, ein Mittag, ein Abend in Wien: Ouvertüre | — | ||
| 92-2 | Märchen aus dem Orient | — | ||
| 92-3 | Wiener Leben, op. 218 | — | ||
| 92-4 | Wo man lacht und lebt, op. 108 | — | ||
| 92-5 | Dorfschwalben aus Österreich, op. 164 | — | ||
| 92-6 | Vom Donaustrande, op. 356 | — | ||
| 92-7 | Perpetuum mobile, op. 257 | — | ||
| 92-8 | Accelerationen, op. 234 | — | ||
| 92-9 | Electro-magnetische Polka, op. 110 | — | ||
| 92-10 | Mit Dampf, op. 70 | — | ||
| 93-1 | An der Elbe, op. 477 | — | ||
| 93-2 | Champagner-Galopp | — | ||
| 93-3 | Studenten-Polka, op. 263 | — | ||
| 93-4 | Freiheits-Marsch, op. 226 | — | ||
| 93-5 | Annen-Polka, op. 117 | — | ||
| 93-6 | Wein, Weib und Gesang, op. 333 | — | ||
| 93-7 | Mit Chic, op. 221 | — | ||
| 93-8 | Explosions-Polka, op. 43 | — | ||
| 93-9 | Neujahrsgruss | — | ||
| 93-10 | An der schönen blauen Donau, op. 314 | — | ||
| 93-11 | Radetzky-Marsch, op. 228 | — | ||
| 94-1 | Wiener Philharmoniker Fanfare | Wiener Philharmoniker, Zubin Mehta | T-801.916.720-6 | |
| 94-2 | Maskerade: Overtüre | Wiener Philharmoniker, Zubin Mehta | — | |
| 94-3 | Concerto for Piano and Orchestra in A minor, op. 16: I. Allegro molto moderato | Rudolf Buchbinder, Wiener Philharmoniker, Zubin Mehta | T-902.781.050-0 | |
| 94-4 | Concerto for Piano and Orchestra in A minor, op. 16: II. Adagio - attacca | Rudolf Buchbinder, Wiener Philharmoniker, Zubin Mehta | — | |
| 94-5 | Concerto for Piano and Orchestra in A minor, op. 16: III. Allegro moderato molto e marcato - Quasi Presto - Andante maestoso | Rudolf Buchbinder, Wiener Philharmoniker, Zubin Mehta | — | |
| 94-6 | Frühlingsrauschen, op. 32/3: Agitato | Wiener Philharmoniker, Zubin Mehta | — | |
| 94-7 | Peer Gynt Suite no. 1, op. 46: I. Morning Mood | Wiener Philharmoniker, Zubin Mehta | — | |
| 94-8 | Peer Gynt Suite no. 1, op. 46: II. Åse's Death | Wiener Philharmoniker, Zubin Mehta | — | |
| 94-9 | Peer Gynt Suite no. 1, op. 46: III. Anitra's Dance | Wiener Philharmoniker, Zubin Mehta | — | |
| 94-10 | Peer Gynt Suite no. 1, op. 46: IV. In the Hall of the Mountain King | Wiener Philharmoniker, Zubin Mehta | — | |
| 94-11 | Finlandia, op. 26: Tone Poem | Wiener Philharmoniker, Zubin Mehta | T-910.256.702-2 | |
| 94-12 | Kopenhagener Eisenbahn-Dampf-Galopp | Wiener Philharmoniker, Zubin Mehta | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Concerto for Three Violins F1 No. 34: I. Allegro | Itzhak Perlman, Isaac Stern, Pinchas Zukerman, New York Philharmonic, Zubin Mehta | — |
| Concerto for Three Violins F1 No. 34: II. Andante | Itzhak Perlman, Isaac Stern, Pinchas Zukerman, New York Philharmonic, Zubin Mehta | — |
| Concerto for Three Violins F1 No. 34: III. Allegro | Itzhak Perlman, Isaac Stern, Pinchas Zukerman, New York Philharmonic, Zubin Mehta | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
190759376621 is a Universal Product Code (UPC) assigned to Zubin Mehta: The Complete Columbia Album Collection by Zubin Mehta, New York Philharmonic, Israel Philharmonic Orchestra, Wiener Philharmoniker, Berliner Philharmoniker, Los Angeles Philharmonic, New Philharmonia Orchestra. 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 888 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
190759376621 is the Universal Product Code (UPC barcode) for the release “Zubin Mehta: The Complete Columbia Album Collection” by Zubin Mehta, New York Philharmonic, Israel Philharmonic Orchestra, Wiener Philharmoniker, Berliner Philharmoniker, Los Angeles Philharmonic, New Philharmonia Orchestra, released 2019-01-01 on Sony Classical. 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 888 tracks, each with its own ISRC. Tracks include USBC10000832, USSM16300247, USBC19200325.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Feste Romane : I. Circenses | — | ||
| 2 | Feste Romane : II. Giubilio | — | ||
| 3 | Feste Romane : III. L' Ottorbrata | — | ||
| 4 | Feste Romane : IV. La Befana | — | ||
| 5 | Don Juan, Op. 20, TrV 156 | — | ||
| 2-1 | Il trovatore: Atto I, Scena I. "All'erta, all'erta!" (Ferrando, retainers, soldiers) | — | ||
| 2-2 | Il trovatore: Atto I, Scena I. "Di due figli vivea" (Ferrando, retainers, soldiers) | — | ||
| 2-3 | Il trovatore: Atto I, Scena II. "Che più t'arresti?" (Inez, Leanora) | — | ||
| 2-4 | Il trovatore: Atto I, Scena II. "Tacea la notte placida" (Leonora, Inez) | — | ||
| 2-5 | Il trovatore: Atto I, Scena II. "Di tale amor, che dirsi" (Leonora, Inez) | — | ||
| 2-6 | Il trovatore: Atto I, Scena II. "Tace la notte!" (Count) | — | ||
| 2-7 | Il trovatore: Atto I, Scena II. "Deserto sulla terra" (Manrico, Count) | — | ||
| 2-8 | Il trovatore: Atto I, Scena II. "Non m'inganno" (Count, Leonora, Manrico) | — | ||
| 2-9 | Il trovatore: Atto I, Scena II. "Di geloso amor sprezzato" (Count, Leonora, Manrico) | — | ||
| 2-10 | Il trovatore: Atto II, Scena I. "Vedi! La fosche notturne spoglie" (gypsies) | John McCarthy, Ambrosian Singers, Philharmonia Orchestra, Zubin Mehta | — | |
| 2-11 | Il trovatore: Atto II, Scena I. "Stride la vampa!" (Azucena, gypsies, Manrico, an old gypsy) | — | ||
| 2-12 | Il trovatore: Atto II, Scena I. "Soli or siamo!" (Manrico, Azucena) | — | ||
| 2-13 | Il trovatore: Atto II, Scena I. "Condotta ell'era in ceppi" (Azucena, Manrico) | — | ||
| 2-14 | Il trovatore: Atto II, Scena I. "Non son tuo figlio?" (Manrico, Azucena) | — | ||
| 2-15 | Il trovatore: Atto II, Scena I. "Mal reggendo all'aspro assalto" (Manrico, Azucena) | — | ||
| 2-16 | Il trovatore: Atto II, Scena I. "Inoltra il piè" (Manrico, messenger, Azucena) | — | ||
| 2-17 | Il trovatore: Atto II, Scena I. "Perigliarti ancor languente" (Azucena, Manrico) | — | ||
| 2-18 | Il trovatore: Atto II, Scena II. "Tutto è deserto" (Count, Ferrando) | — | ||
| 2-19 | Il trovatore: Atto II, Scena II. "Il balen del suo sorriso" (Count) | — | ||
| 2-20 | Il trovatore: Atto II, Scena II. "Quel suono! Oh ciel!" (Count, Ferrando, retainers) | — | ||
| 2-21 | Il trovatore: Atto II, Scena II. "Per me ora fatale" (Count, Ferrando, retainers) | — | ||
| 2-22 | Il trovatore: Atto II, Scena II. "Ah! se l'error t'ingombra" (nuns, Count, Ferrando, retainers) | — | ||
| 2-23 | Il trovatore: Atto II, Scena II. "Perché piangete" ... "O dolci amiche" (Leonora, Inez, Count, nuns) | — | ||
| 2-24 | Il trovatore: Atto II, Scena II. "E deggio e posso crederlo?" (Leonora, Count, Manrico, Inez, nuns, Ferrando, soldiers, Ruiz) | — | ||
| 3-1 | Il trovatore: Atto III, Scena I. "Or co' dadi, ma fra poco" (soldiers, Ferrandao) | — | ||
| 3-2 | Il trovatore: Atto III, Scena I. "Squilli, echeggi la tromba guerriera" (Ferrando, soldiers) | — | ||
| 3-3 | Il trovatore: Atto III, Scena I. "In braccio al mio rival!" (Count, Ferrando, Azucena, soldiers) | — | ||
| 3-4 | Il trovatore: Atto III, Scena II. "Quale d'armi fragor poc'anzi intesi?" (Leonora, Manrico) | — | ||
| 3-5 | Il trovatore: Atto III, Scena II. "Ah si, ben mio, coll'essere io tuo" (Manrico) | — | ||
| 3-6 | Il trovatore: Atto III, Scena II. "L'onda de' suoni mistici pura discenda al cor!" (Leonora, Manrico, Ruiz) | — | ||
| 3-7 | Il trovatore: Atto III, Scena II. "Di quella pira l'orrendo foco" (Manrico, Leonora, Ruiz, armed men) | — | ||
| 3-8 | Il trovatore: Atto IV, Scena I. "Siam giunti: ecco la torre" (Ruiz, Leonora) | — | ||
| 3-9 | Il trovatore: Atto IV, Scena I. "D'amor sull'ali rosee" (Leonora) | — | ||
| 3-10 | Il trovatore: Atto IV, Scena I. "Miserere d' un'alma già vicina" ... "Quel son, quelle preci" (Leonora, Manrico, choir) | — | ||
| 3-11 | Il trovatore: Atto IV, Scena I. "Tu vedrai che amore in terra" (Leonora) | — | ||
| 3-12 | Il trovatore: Atto IV, Scena I. "Udiste? Come albeggi, la scure al figlio" (Count, Leonora) | — | ||
| 3-13 | Il trovatore: Atto IV, Scena I. "Mira, di acerbe lagrime" (Leonora, Count) | — | ||
| 3-14 | Il trovatore: Atto IV, Scena I. "Vivrà! ... Contende il giubilo" (Leonora, Count) | — | ||
| 3-15 | Il trovatore: Atto IV, Scena II. "Madre, non dormi?" (Manrico, Azucena) | — | ||
| 3-16 | Il trovatore: Atto IV, Scena II. "Ai nostri monti ritorneremo" (Azucena, Manrico) | — | ||
| 3-17 | Il trovatore: Atto IV, Scena II. "Che! ... Non m'inganna!" (Manrico, Leonora, Azucena, Count) | — | ||
| 4-1 | Tosca: Atto I. “Ah! Finalmente!” | — | ||
| 4-2 | Tosca: Atto I. “E sempre lava” | — | ||
| 4-3 | Tosca: Atto I. “Damni i colori!” | — | ||
| 4-4 | Tosca: Atto I. “Voi! Cavaradossi!” | — | ||
| 4-5 | Tosca: Atto I. “Mario! Mario! Mario!” | — | ||
| 4-6 | Tosca: Atto I. “Non la sospiri la nostra casetta” | — | ||
| 4-7 | Tosca: Atto I. “Or lasciami al lavoro” | — | ||
| 4-8 | Tosca: Atto I. “Ah, quegli occhi!” | — | ||
| 4-9 | Tosca: Atto I. “È buona la mia Tosca” | — | ||
| 4-10 | Tosca: Atto I. “Tutta qui la cantoria! Presto!” | — | ||
| 4-11 | Tosca: Atto I. “Un tal baccano in chiesa!” | — | ||
| 4-12 | Tosca: Atto I. “Tosca? Che non mi veda” | — | ||
| 4-13 | Tosca: Atto I. “Tre sbirri, una carrozza” | — | ||
| 5-1 | Tosca: Atto II. “Tosca è un buon falco!” | — | ||
| 5-2 | Tosca: Atto II. “O galantuomo” | — | ||
| 5-3 | Tosca: Atto II. “Egli è là – sale ascende l’uman cantico” | — | ||
| 5-4 | Tosca: Atto II. “Dov’è Angelotti?” | — | ||
| 5-5 | Tosca: Atto II. “Ed or fra noi parliam” | — | ||
| 5-6 | Tosca: Atto II. “Ahimè! – Mario consenti ch’io parli?” | — | ||
| 5-7 | Tosca: Atto II. “Nel pozzo… Nel giardino” | — | ||
| 5-8 | Tosca: Atto II. “Floria! – amore” | — | ||
| 5-9 | Tosca: Atto II. “Vittoria! Vittoria!” | — | ||
| 5-10 | Tosca: Atto II. “Quanto?” … “Quanto?” … “Il prezzo!” | — | ||
| 5-11 | Tosca: Atto II. “Ah! Piuttosto giù m’avvento” | — | ||
| 5-12 | Tosca: Atto II. “Vissi d’arte, vissi d’amore” | — | ||
| 5-13 | Tosca: Atto II. “Risolvi? Mi vuoi supplice” | — | ||
| 5-14 | Tosca: Atto II. “Tosca, finalmente mia!” | — | ||
| 5-15 | Tosca: Atto III. “Io de’ sospiri” | — | ||
| 5-16 | Tosca: Atto III. “Mario Cavaradossi? A voi” | — | ||
| 5-17 | Tosca: Atto III. “E lucevan le stelle” | — | ||
| 5-18 | Tosca: Atto III. “Ah! Franchigia a Floria Tosca” | — | ||
| 5-19 | Tosca: Atto III. “Il tuo sangue o il mio amore volea” | — | ||
| 5-20 | Tosca: Atto III. “O dolce mani” | — | ||
| 5-21 | Tosca: Atto III. “Senti l’ora è vicina” | — | ||
| 5-22 | Tosca: Atto III. “Com’è lunga l’attesa!” | — | ||
| 5-23 | Tosca: Atto III. “Presto, su! Mario!” | — | ||
| 6-1 | The Rite of Spring: Adoration of the Earth: Introduction: Lento | — | ||
| 6-2 | The Rite of Spring: Adoration of the Earth:The Augurs of Spring (Dance of the Young Girls) | — | ||
| 6-3 | The Rite of Spring: Adoration of the Earth: Mock Abduction | — | ||
| 6-4 | The Rite of Spring: Adoration of the Earth: Spring Round Dances | — | ||
| 6-5 | The Rite of Spring: Adoration of the Earth: Games of the Rival Tribes | — | ||
| 6-6 | The Rite of Spring: Adoration of the Earth: Procession of the Wise Elder | — | ||
| 6-7 | The Rite of Spring: Adoration of the Earth: Adoration of the Earth (The Wise Elder) | — | ||
| 6-8 | The Rite of Spring: Adoration of the Earth: Dance of the Earth | — | ||
| 6-9 | The Rite of Spring: The Sacrifice: Introduction: Largo | — | ||
| 6-10 | The Rite of Spring: The Sacrifice: Mystical Circles of the Young Girls | — | ||
| 6-11 | The Rite of Spring: The Sacrifice: Glorification of the Chosen Victim | — | ||
| 6-12 | The Rite of Spring: The Sacrifice: Summoning of the Ancestors | — | ||
| 6-13 | The Rite of Spring: The Sacrifice: Ritual of the Ancestors | — | ||
| 6-14 | The Rite of Spring: The Sacrifice: Sacrificial Dance (The Chosen Victim) | — | ||
| 7-1 | Concerto for Violin and Orchestra in D major, op. 77: I. Allegro non troppo | — | ||
| 7-2 | Concerto for Violin and Orchestra in D major, op. 77: II. Adagio | — | ||
| 7-3 | Concerto for Violin and Orchestra in D major, op. 77: III. Allegro giocoso, ma non troppo vivace - Poco più presto | — | ||
| 8-1 | Symphony no. 2 in D major, op. 73: I. Allegro non troppo | — | ||
| 8-2 | Symphony no. 2 in D major, op. 73: II. Adagio non troppo | — | ||
| 8-3 | Symphony no. 2 in D major, op. 73: III. Allegretto grazioso (quasi andantino) | — | ||
| 8-4 | Symphony no. 2 in D major, op. 73: IV. Allegro con spirito | New York Philharmonic, Zubin Mehta | — | |
| 9-1 | Violin Concerto No. 1 in G minor, Op. 26: I. Vorspiel: Allegro moderato | — | ||
| 9-2 | Concerto for Violin and Orchestra no. 1 in G minor, op. 26: II. Adagio | Pinchas Zukerman, London Philharmonic Orchestra, Zubin Mehta | — | |
| 9-3 | Violin Concerto No. 1 in G minor, Op. 26: III. Finale: Allegro energico | — | ||
| 9-4 | Symphonie espagnole in D minor, Op. 21: I. Allegro non troppo | — | ||
| 9-5 | Symphonie espagnole in D minor, Op. 21: II. Scherzando: Allegro molto | — | ||
| 9-6 | Symphonie espagnole in D minor, Op. 21: III. Intermezzo: Allegretto non troppo | — | ||
| 9-7 | Symphonie espagnole in D minor, Op. 21: IV. Andante | — | ||
| 9-8 | Symphonie espagnole in D minor, Op. 21: V. Rondo: Allegro | — | ||
| 10-1 | Music from the Woody Allen film Manhattan: Rhapsody in Blue | — | ||
| 10-2 | Music from the Woody Allen film Manhattan: Land of the Gay Caballero | — | ||
| 10-3 | Music from the Woody Allen film Manhattan: Someone to Watch over Me | — | ||
| 10-4 | Music from the Woody Allen film Manhattan: I've Got a Crush on You | — | ||
| 10-5 | Music from the Woody Allen film Manhattan: Do, Do, Do | — | ||
| 10-6 | Music from the Woody Allen film Manhattan: Mine | — | ||
| 10-7 | Music from the Woody Allen film Manhattan: He Loves and She Loves | — | ||
| 10-8 | Music from the Woody Allen film Manhattan: Bronco Busters | — | ||
| 10-9 | Music from the Woody Allen film Manhattan: Oh, Lady Be Good! | — | ||
| 10-10 | Music from the Woody Allen film Manhattan: 'S Wonderful | — | ||
| 10-11 | Music from the Woody Allen film Manhattan: Love Is Here to Stay | — | ||
| 10-12 | Music from the Woody Allen film Manhattan: Sweet and Low-Down | — | ||
| 10-13 | Music from the Woody Allen film Manhattan: Blue Blue Blue | — | ||
| 10-14 | Music from the Woody Allen film Manhattan: Embraceable You | — | ||
| 10-15 | Music from the Woody Allen film Manhattan: He Loves and She Loves | — | ||
| 10-16 | Music from the Woody Allen film Manhattan: Love Is Sweeping the Country - Land of the Gay Caballero (Medley) | — | ||
| 10-17 | Music from the Woody Allen film Manhattan: Strike Up the Band | — | ||
| 10-18 | Music from the Woody Allen film Manhattan: But Not for Me | — | ||
| 11-1 | Violin Concerto No. 2, Sz 112: I. Allegro non troppo | — | ||
| 11-2 | Violin Concerto No. 2, Sz 112: II. Andante tranquillo | — | ||
| 11-3 | Violin Concerto No. 2, Sz 112: III. Allegro molto | — | ||
| 12-1 | Pictures at an Exhibition: Promenade | — | ||
| 12-2 | Pictures at an Exhibition: I. Gnomus | — | ||
| 12-3 | Pictures at an Exhibition: Promenade | — | ||
| 12-4 | Pictures at an Exhibition: II. Il vecchio castello | — | ||
| 12-5 | Pictures at an Exhibition: Promenade | — | ||
| 12-6 | Pictures at an Exhibition: III. Tuileries | — | ||
| 12-7 | Pictures at an Exhibition: IV. Bidło | — | ||
| 12-8 | Pictures at an Exhibition: Promenade | — | ||
| 12-9 | Pictures at an Exhibition: V. Ballet des poussins dans leurs coques | — | ||
| 12-10 | Pictures at an Exhibition: VI. Samuel Goldenberg und Schmuÿle | — | ||
| 12-11 | Pictures at an Exhibition: VII. Limoges - Le Marché | — | ||
| 12-12 | Pictures at an Exhibition: VIII. Catacombae (Sepulcrum romanum) | — | ||
| 12-13 | Pictures at an Exhibition: Cum mortuis in lingua mortua | — | ||
| 12-14 | Pictures at an Exhibition: IX. La Cabane sur des pattes de poule (Baba-Yaga) | — | ||
| 12-15 | Pictures at an Exhibition: X. La Grande Porte de Kiev | — | ||
| 12-16 | La Valse, M. 72 | — | ||
| 13-1 | Symphony no. 4 in E minor, op. 98: I. Allegro non troppo | — | ||
| 13-2 | Symphony no. 4 in E minor, op. 98: II. Andante moderato | — | ||
| 13-3 | Symphony no. 4 in E minor, op. 98: III. Allegro giocoso | — | ||
| 13-4 | Symphony no. 4 in E minor, op. 98: IV. Allegro energico e passionato | — | ||
| 14-1 | Petrushka: Scene I: The Shrove-Tide Fair: Vivace | — | ||
| 14-2 | Petrushka: Scene I: The Shrove-Tide Fair: The Magic Trick | — | ||
| 14-3 | Petrushka: Scene I: The Shrove-Tide Fair: Russian Dance | — | ||
| 14-4 | Petrushka: Scene II: Petrouchka's Room | — | ||
| 14-5 | Petrushka: Scene III: The Moor's Room: Feroce stringendo | — | ||
| 14-6 | Petrushka: Scene III: The Moor's Room: Dance of the Ballerina | — | ||
| 14-7 | Petrushka: Scene III: The Moor's Room: Valse | — | ||
| 14-8 | Petrushka: Scene IV: The Fair Toward Evening: Con moto | — | ||
| 14-9 | Petrushka: Scene IV: The Fair Toward Evening: Wet-Nurses' Dance | — | ||
| 14-10 | Petrushka: Scene IV: The Fair Toward Evening: Peasant with Bear | — | ||
| 14-11 | Petrushka: Scene IV: The Fair Toward Evening: Gypsies | — | ||
| 14-12 | Petrushka: Scene IV: The Fair Toward Evening: Dance of the Coachmen | — | ||
| 14-13 | Petrushka: Scene IV: The Fair Toward Evening: Masqueraders | — | ||
| 14-14 | Petrushka: Scene IV: The Fair Toward Evening: Scuffle | — | ||
| 14-15 | Petrushka: Scene IV: The Fair Toward Evening: Death of Petrouchka | — | ||
| 14-16 | Petrushka: Scene IV: The Fair Toward Evening: Petrouchka's Ghost | — | ||
| 15-1 | Symphony no. 3: I. Allegro con brio | — | ||
| 15-2 | Symphony no. 3: II. Marcia funebre - Adagio assai | — | ||
| 15-3 | Symphony no. 3: III. Scherzo - Allegro Vivace - Trio | — | ||
| 15-4 | Symphony no. 3: IV. Finale - Allegro Molto - Poco Andante - Presto | — | ||
| 16-1 | Concerto no. 1 for Piano & Orchestra in E minor, op. 11: I. Allegro maestoso | — | ||
| 16-2 | Concerto no. 1 for Piano & Orchestra in E minor, op. 11: II. Romanze: Larghetto | — | ||
| 16-3 | Concerto no. 1 for Piano & Orchestra in E minor, op. 11: III. Rondo: Vivace | — | ||
| 17-1 | Also sprach Zarathustra, Op. 30: Einleitung | — | ||
| 17-2 | Also sprach Zarathustra, Op. 30: Von den Hinterweltlern | — | ||
| 17-3 | Also sprach Zarathustra, Op. 30: Von der großen Sehnsucht | — | ||
| 17-4 | Also sprach Zarathustra, Op. 30: Von den Freuden und Leidenschaften | — | ||
| 17-5 | Also sprach Zarathustra, Op. 30: Das Grablied | — | ||
| 17-6 | Also sprach Zarathustra, Op. 30: Von der Wissenschaft | — | ||
| 17-7 | Also sprach Zarathustra, Op. 30: Der Genesende | — | ||
| 17-8 | Also sprach Zarathustra, Op. 30: Ziemlich langsam - Schnell | — | ||
| 17-9 | Also sprach Zarathustra, Op. 30: Das Tanzlied | — | ||
| 17-10 | Also sprach Zarathustra, Op. 30: Nachtwandlerlied | — | ||
| 17-11 | Also sprach Zarathustra, Op. 30: Langsam | — | ||
| 18-1 | Concerto for Piano and Orchestra no. 1 in B-flat minor, op. 23: I. Allegro non troppo e molto maestoso - Allegro con spirito | Emil Gilels, New York Philharmonic, Zubin Mehta | — | |
| 18-2 | Concerto for Piano and Orchestra no. 1 in B-flat minor, op. 23: II. Andantino semplice | Emil Gilels, New York Philharmonic, Zubin Mehta | — | |
| 18-3 | Concerto for Piano and Orchestra no. 1 in B-flat minor, op. 23: III. Allegro con fuoco | Emil Gilels, New York Philharmonic, Zubin Mehta | — | |
| 18-4 | Prelude No. 10 in E minor, BWV 855 | Emil Gilels | — | |
| 19-1 | Concerto for Violin, Cello and Orchestra in A minor, op. 102 “Double Concerto”: I. Allegro | — | ||
| 19-2 | Concerto for Violin, Cello and Orchestra in A minor, op. 102 “Double Concerto”: II. Andante | — | ||
| 19-3 | Concerto for Violin, Cello and Orchestra in A minor, op. 102 “Double Concerto”: III. Vivace non troppo | — | ||
| 19-4 | Academic Festival Overture, op. 80 | — | ||
| 20-1 | Concerto for Two Violins in D minor, BWV 1043: I. Vivace | Itzhak Perlman, Isaac Stern, New York Philharmonic, Zubin Mehta | — | |
| 20-2 | Concerto for Two Violins in D minor, BWV 1043: II. Largo ma non tanto | Itzhak Perlman, Isaac Stern, New York Philharmonic, Zubin Mehta | — | |
| 20-3 | Concerto for Two Violins in D minor, BWV 1043: III. Allegro | Itzhak Perlman, Isaac Stern, New York Philharmonic, Zubin Mehta | — | |
| 20-4 | Concerto for Three Violins F1 No. 34: I. Allegro | Itzhak Perlman, Isaac Stern, Pinchas Zukerman, New York Philharmonic, Zubin Mehta | T-902.836.120-8 | |
| 20-5 | Concerto for Three Violins F1 No. 34: II. Andante | Itzhak Perlman, Isaac Stern, Pinchas Zukerman, New York Philharmonic, Zubin Mehta | — | |
| 20-6 | Concerto for Three Violins F1 No. 34: III. Allegro | Itzhak Perlman, Isaac Stern, Pinchas Zukerman, New York Philharmonic, Zubin Mehta | — | |
| 20-7 | Sinfonia Concertante for Violin and Viola, K. 364: I. Allegro maestoso | — | ||
| 20-8 | Sinfonia Concertante for Violin and Viola, K. 364: II. Andante | — | ||
| 20-9 | Sinfonia Concertante for Violin and Viola, K. 364: III. Presto | — | ||
| 21-1 | Concerto for Piano no. 2 in B-flat major, op. 83: I. Allegro non troppo | — | ||
| 21-2 | Concerto for Piano no. 2 in B-flat major, op. 83: II. Allegro appassionato | — | ||
| 21-3 | Concerto for Piano no. 2 in B-flat major, op. 83: III. Andante - Più adagio | — | ||
| 21-4 | Concerto for Piano no. 2 in B-flat major, op. 83: IV. Allegretto grazioso | — | ||
| 22-1 | Messa da Requiem: I. Requiem & Kyrie | — | ||
| 22-2 | Messa da Requiem: II. Dies irae: Dies irae, dies illa | — | ||
| 22-3 | Messa da Requiem: II. Tuba mirum spargens sonum | — | ||
| 22-4 | Messa da Requiem: II. Liber scriptus proferetur | — | ||
| 22-5 | Messa da Requiem: II. Quid sum miser | — | ||
| 22-6 | Messa da Requiem: II. Rex tremendae majestatis | — | ||
| 22-7 | Messa da Requiem: II. Recordare, Jesu pie | — | ||
| 22-8 | Messa da Requiem: II. Ingemisco tamquam reus | — | ||
| 22-9 | Messa da Requiem: II. Confutatis maledictis | — | ||
| 22-10 | Messa da Requiem: II. Lacrymosa dies illa | — | ||
| 23-1 | Messa da Requiem: III. Offertorio | — | ||
| 23-2 | Messa da Requiem: IV. Sanctus | — | ||
| 23-3 | Messa da Requiem: V. Agnus Dei | — | ||
| 23-4 | Messa da Requiem: VI. Lux aeterna | — | ||
| 23-5 | Messa da Requiem: VII. Libera me | — | ||
| 24-1 | Concerto for Piano no. 1 in D minor, op. 15: I. Maestoso | — | ||
| 24-2 | Concerto for Piano no. 1 in D minor, op. 15: II. Adagio | — | ||
| 24-3 | Concerto for Piano no. 1 in D minor, op. 15: III. Rondo | — | ||
| 25-1 | Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio | — | ||
| 25-2 | Symphony No. 5 in C Minor, Op. 67: II. Andante con moto | — | ||
| 25-3 | Symphony No. 5 in C Minor, Op. 67: III. Scherzo, Allegro | — | ||
| 25-4 | Symphony No. 5 in C Minor, Op. 67: IV. Allegro | — | ||
| 25-5 | Symphony No. 8 in F Major, Op. 93: I. Allegro vivace e con brio | — | ||
| 25-6 | Symphony No. 8 in F Major, Op. 93: II. Allegretto scherzando | — | ||
| 25-7 | Symphony No. 8 in F Major, Op. 93: III. Tempo di menuetto | — | ||
| 25-8 | Symphony No. 8 in F Major, Op. 93: IV. Allegro vivace | — | ||
| 26-1 | Symphony no. 1 "Titan": I. Langsam. Schleppend. Wie ein Naturlaut. Im Anfang sehr gemachlich | — | ||
| 26-2 | Symphony no. 1 "Titan": II. Kraftig bewegt, doch nicht zu schnell | — | ||
| 26-3 | Symphony no. 1 "Titan": III. Feierlich und gemessen, ohne zu shleppen | — | ||
| 26-4 | Symphony no. 1 "Titan": IV. Sturmisch bewegt - Energisch | — | ||
| 27-1 | Tristan und Isolde: Prelude / Liebestod | — | ||
| 27-2 | Der fliegende Holländer: Senta's Ballad | — | ||
| 27-3 | Tannhäuser: Aria 'Dich, teure Halle' | — | ||
| 27-4 | Die Götterdämmerung: Brunnhilde's Immolation Scene | — | ||
| 28-1 | Concerto for Violin and Orchestra no. 1 in D major, op. 19: I. Andantino - Andante assai | — | ||
| 28-2 | Concerto for Violin and Orchestra no. 1 in D major, op. 19: II. Scherzo. Vivacissimo | — | ||
| 28-3 | Concerto for Violin and Orchestra no. 1 in D major, op. 19: III. Moderato - Allegro moderato - Moderato - Più tranquillo | — | ||
| 28-4 | Concerto for Violin and Orchestra no. 2 in G minor, op. 63: I. Allegro moderato | — | ||
| 28-5 | Concerto for Violin and Orchestra no. 2 in G minor, op. 63: II. Andante assai - Allegretto - Andante assai | — | ||
| 28-6 | Concerto for Violin and Orchestra no. 2 in G minor, op. 63: III. Allegro, ben marcato | — | ||
| 29-1 | Ein Heldenleben, Op. 40: Der Held | — | ||
| 29-2 | Ein Heldenleben, Op. 40: Des Helden Widersacher | — | ||
| 29-3 | Ein Heldenleben, Op. 40: Des Helden Gefährtin | — | ||
| 29-4 | Ein Heldenleben, Op. 40: Des Helden Walstatt | — | ||
| 29-5 | Ein Heldenleben, Op. 40: Des Helden Friedenswerke | — | ||
| 29-6 | Ein Heldenleben, Op. 40: Des Helden Weltflucht und Vollendung | — | ||
| 30-1 | Symphony No.9 Op. 125 "Choral/Corale" in D Minor - Allegro Ma Non Troppo, Un Poco Maestoso | — | ||
| 30-2 | Symphony No.9 Op. 125 "Choral/Corale" in D Minor - Molto Vivace; Presto; Molto Vivace | New York Philharmonic, Zubin Mehta | — | |
| 30-3 | Symphony No.9 Op. 125 "Choral/Corale" in D Minor - Adagio Molto E Cantabile; Andante Moderato | — | ||
| 30-4 | Symphony No.9 Op. 125 "Choral/Corale" in D Minor - Presto; Allegro Assai | — | ||
| 31-1 | Choral Fantasia in C minor, op. 80: I. Adagio | — | ||
| 31-2 | Choral Fantasia in C minor, op. 80: II. Allegro | — | ||
| 31-3 | Choral Fantasia in C minor, op. 80: III. Meno allegro | — | ||
| 31-4 | Choral Fantasia in C minor, op. 80: IV. Adagio ma non troppo | — | ||
| 31-5 | Choral Fantasia in C minor, op. 80: V. Marcia, assai vivace | — | ||
| 31-6 | Choral Fantasia in C minor, op. 80: VI. Allegretto ma non troppo | — | ||
| 31-7 | Choral Fantasia in C minor, op. 80: VII. Presto | — | ||
| 32-1 | Das Rheingold: Entrance of the Gods into Valhalla | — | ||
| 32-2 | Die Walküre: The Ride of the Valkyries | — | ||
| 32-3 | Die Walküre: Magic Fire Music | — | ||
| 32-4 | Siegfried: Forest Murmurs | — | ||
| 32-5 | Götterdämmerung: Dawn and Siegfried's Rhine Journey | — | ||
| 32-6 | Götterdämmerung: Siegfried's Funeral Music | — | ||
| 33-1 | Symphony no. 3 in F major, op. 90: I. Allegro con brio | — | ||
| 33-2 | Symphony no. 3 in F major, op. 90: II. Andante | — | ||
| 33-3 | Symphony no. 3 in F major, op. 90: III. Poco allegretto | — | ||
| 33-4 | Symphony no. 3 in F major, op. 90: IV. Allegro | — | ||
| 33-5 | Variations on a Theme by Joseph Haydn, op. 56a: Thema - Chorale St. Antoni | — | ||
| 33-6 | Variations on a Theme by Joseph Haydn, op. 56a: Variation I | — | ||
| 33-7 | Variations on a Theme by Joseph Haydn, op. 56a: Variation II | — | ||
| 33-8 | Variations on a Theme by Joseph Haydn, op. 56a: Variation III | — | ||
| 33-9 | Variations on a Theme by Joseph Haydn, op. 56a: Variation IV | — | ||
| 33-10 | Variations on a Theme by Joseph Haydn, op. 56a: Variation V | — | ||
| 33-11 | Variations on a Theme by Joseph Haydn, op. 56a: Variation VI | — | ||
| 33-12 | Variations on a Theme by Joseph Haydn, op. 56a: Variation VII | — | ||
| 33-13 | Variations on a Theme by Joseph Haydn, op. 56a: Variation VIII | — | ||
| 33-14 | Variations on a Theme by Joseph Haydn, op. 56a: Finale | — | ||
| 34-1 | Concerto for Violin and Orchestra in D major, op. 35: I. Allegro moderato | — | ||
| 34-2 | Concerto for Violin and Orchestra in D major, op. 35: II. Canzonetta. Andante | — | ||
| 34-3 | Concerto for Violin and Orchestra in D major, op. 35: III. Finale. Allegro vivacissimo | — | ||
| 34-4 | Sérénade Mélancolique, op. 26 | — | ||
| 34-5 | Mélodie, op. 42 no. 3 | — | ||
| 35-1 | Die Walküre, WWV 86B : Vorspiel | — | ||
| 35-2 | Die Walküre, WWV 86B : "Wes Herd dies auch sei, hier muss ich rasten" | — | ||
| 35-3 | Die Walküre, WWV 86B : "Müd am Herd fand ich den Mann" | — | ||
| 35-4 | Die Walküre, WWV 86B : "Friedmund darf ich nicht heißen" | — | ||
| 35-5 | Die Walküre, WWV 86B : "Ich weiß ein wildes Geschlecht" | — | ||
| 35-6 | Die Walküre, WWV 86B : "Ein Schwert verhieß mir der Vater" | — | ||
| 35-7 | Die Walküre, WWV 86B : "Schläfst du, Gast?" | — | ||
| 35-8 | Die Walküre, WWV 86B : "Der Männer Sippe saß hier im Saal" | — | ||
| 35-9 | Die Walküre, WWV 86B : "Winterstürme wichen dem Wonnemond" | — | ||
| 35-10 | Die Walküre, WWV 86B : "Du bist der Lenz" | — | ||
| 35-11 | Die Walküre, WWV 86B : "War Wälse dein Vater, und bist du ein Wälsung" | — | ||
| 35-12 | Die Walküre, WWV 86B : "Siegmund, den Wälsung, siehst du, Weib!" | — | ||
| 36-1 | Symphonia Domestica, op. 53: Bewegt | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-2 | Symphonia Domestica, op. 53: Sehr lebhaft | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-3 | Symphonia Domestica, op. 53: Ruhig | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-4 | Symphonia Domestica, op. 53: Scherzo (munter) | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-5 | Symphonia Domestica, op. 53: Etwas ruhiger | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-6 | Symphonia Domestica, op. 53: Wiegenlied: Mäßig langsam | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-7 | Symphonia Domestica, op. 53: Mäßig langsam und sehr ruhig | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-8 | Symphonia Domestica, op. 53: Mäßig langsam | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-9 | Symphonia Domestica, op. 53: Mäßig langsam | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-10 | Symphonia Domestica, op. 53: Finale: Sehr lebhaft | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-11 | Symphonia Domestica, op. 53: A tempo, ruhig und einfach | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-12 | Symphonia Domestica, op. 53: Sehr lebhaft und lustig | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-13 | Burleske for Piano and Orchestra in D minor: Allegro vivace | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-14 | Burleske for Piano and Orchestra in D minor: Tranquillo | Berliner Philharmoniker, Zubin Mehta | T-801.162.741-2 | |
| 36-15 | Burleske for Piano and Orchestra in D minor: (Cadenza) | Berliner Philharmoniker, Zubin Mehta | T-801.162.741-2 | |
| 36-16 | Burleske for Piano and Orchestra in D minor: Solo | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-17 | Burleske for Piano and Orchestra in D minor: Solo | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-18 | Burleske for Piano and Orchestra in D minor: poco piu tranquillo | Berliner Philharmoniker, Zubin Mehta | — | |
| 36-19 | Burleske for Piano and Orchestra in D minor: Sempre quasi Cadenza | Berliner Philharmoniker, Zubin Mehta | — | |
| 37-1 | Symphony no. 1 in C minor, op. 68: I. Un poco sostenuto | — | ||
| 37-2 | Symphony no. 1 in C minor, op. 68: II. Andante sostenuto | — | ||
| 37-3 | Symphony no. 1 in C minor, op. 68: III. Un poco Allegretto e grazioso | — | ||
| 37-4 | Symphony no. 1 in C minor, op. 68: IV. Adagio - Più andante - Allegro non troppo, ma con brio | — | ||
| 38-1 | Heritage : Part I: In The Beginning: Overture | — | ||
| 38-2 | Heritage : Part I: In The Beginning: Ancient People....Noah's Covenant | — | ||
| 38-3 | Heritage : Part I: In The Beginning: Exodus From Egypt | — | ||
| 38-4 | Heritage : Part I: In The Beginning: Dance: Before The Golden Calf | — | ||
| 38-5 | Heritage : Part I: In The Beginning: The Ten Commandments | — | ||
| 38-6 | Heritage : Part I: In The Beginning: March: Judges And Kings | — | ||
| 38-7 | Heritage : Part I: In The Beginning: Exile: By The Rivers Of Babylon And Destruction Of The Temple | — | ||
| 38-8 | Heritage : Part I: In The Beginning: Lament And Survival...Heritage | — | ||
| 38-9 | Heritage : Part II: The Living Legacy: Prelude | — | ||
| 38-10 | Heritage : Part II: The Living Legacy: Heritage | — | ||
| 38-11 | Heritage : Part II: The Living Legacy: Diaspora | — | ||
| 38-12 | Heritage : Part II: The Living Legacy: Christianity | — | ||
| 38-13 | Heritage : Part II: The Living Legacy: Islam | — | ||
| 38-14 | Heritage : Part II: The Living Legacy: Moorish Spain....Moorish Dance | — | ||
| 38-15 | Heritage : Part II: The Living Legacy: Ashkenazim | — | ||
| 38-16 | Heritage : Part II: The Living Legacy: Shtetl | — | ||
| 38-17 | Heritage : Part II: The Living Legacy: America | — | ||
| 38-18 | Heritage : Part II: The Living Legacy: Holocaust | — | ||
| 38-19 | Heritage : Part II: The Living Legacy: Israel: A People...A Heritage Reunited | — | ||
| 39-1 | Scheherezade: I. Largo e maestoso; Allegro non troppo | — | ||
| 39-2 | Scheherezade: II. Lento; Andantino; Allegro molto | — | ||
| 39-3 | Scheherezade: III. Andantino, quasi allegretto | — | ||
| 39-4 | Scheherezade: IV. Allegro molto; Vivo; Allegro non troppo e maestoso | — | ||
| 39-5 | Russian Easter Overture | — | ||
| 40-1 | Concerto No. 3 in D minor for Piano & Orchestra, Op.30: I. Allegro ma non tanto | — | ||
| 40-2 | Concerto No. 3 in D minor for Piano & Orchestra, Op.30: II. Intermezzo: Adagio | — | ||
| 40-3 | Concerto No. 3 in D minor for Piano & Orchestra, Op.30: III. Finale. Alla breve | — | ||
| 40-4 | Rhapsody On A Theme Of Paganini, Op.43: I. Introduction | — | ||
| 40-5 | Rhapsody On A Theme Of Paganini, Op.43: II. Variation No. 1 | — | ||
| 40-6 | Rhapsody On A Theme Of Paganini, Op.43: III. Variation No. 2 | — | ||
| 40-7 | Rhapsody On A Theme Of Paganini, Op.43: IV. Variation No. 3 | — | ||
| 40-8 | Rhapsody On A Theme Of Paganini, Op.43: V. Variation No. 4 | — | ||
| 40-9 | Rhapsody On A Theme Of Paganini, Op.43: VI. Variation No. 5 | — | ||
| 40-10 | Rhapsody On A Theme Of Paganini, Op.43: VII. Variation No. 6 | — | ||
| 40-11 | Rhapsody On A Theme Of Paganini, Op.43: VIII. Variation No. 7 | — | ||
| 40-12 | Rhapsody On A Theme Of Paganini, Op.43: IX. Variation No. 8 | — | ||
| 40-13 | Rhapsody On A Theme Of Paganini, Op.43: X. Variation No. 9 | — | ||
| 40-14 | Rhapsody On A Theme Of Paganini, Op.43: XI. Variation No. 10 | — | ||
| 40-15 | Rhapsody On A Theme Of Paganini, Op.43: XII. Variation No. 11 | — | ||
| 40-16 | Rhapsody On A Theme Of Paganini, Op.43: XIII. Variation No. 12 | — | ||
| 40-17 | Rhapsody On A Theme Of Paganini, Op.43: XIV. Variation No. 13 | — | ||
| 40-18 | Rhapsody On A Theme Of Paganini, Op.43: XV. Variation No. 14 | — | ||
| 40-19 | Rhapsody On A Theme Of Paganini, Op.43: XVI. Variation No. 15 | — | ||
| 40-20 | Rhapsody On A Theme Of Paganini, Op.43: XVII. Variation No. 16 | — | ||
| 40-21 | Rhapsody On A Theme Of Paganini, Op.43: XVIII. Variation No. 17 | — | ||
| 40-22 | Rhapsody On A Theme Of Paganini, Op.43: XIX. Variation No. 18 | — | ||
| 40-23 | Rhapsody On A Theme Of Paganini, Op.43: XX. Variation No. 19 | — | ||
| 40-24 | Rhapsody On A Theme Of Paganini, Op.43: XXI. Variation No. 20 | — | ||
| 40-25 | Rhapsody On A Theme Of Paganini, Op.43: XXII. Variation No. 21 | — | ||
| 40-26 | Rhapsody On A Theme Of Paganini, Op.43: XXIII. Variation No. 22 | — | ||
| 40-27 | Rhapsody On A Theme Of Paganini, Op.43: XXIV. Variation No. 23 | — | ||
| 40-28 | Rhapsody On A Theme Of Paganini, Op.43: XXV. Variation No. 24 | — | ||
| 41-1 | Fedora, Act 2: "Amor ti vieta" | — | ||
| 41-2 | Giuditta: "Freunde, das Leben ist lebenswert | — | ||
| 41-3 | Donna Diana: Overture | — | ||
| 41-4 | L'amico Fritz: Suzel, Buon Di "Cherry Duet" | — | ||
| 41-5 | Capriccio Espagnol, Op. 34 : I. Alborada. Vivo e strepitoso | — | ||
| 41-6 | Capriccio Espagnol, Op. 34 : II. Variations. Andante con moto | — | ||
| 41-7 | Capriccio Espagnol, Op. 34 : III. Alborada. Vivo e strepitoso | — | ||
| 41-8 | Capriccio Espagnol, Op. 34 : IV. Scene and Gypsy Song. Allegro | — | ||
| 41-9 | Capriccio Espagnol, Op. 34 : V. Fandango of the Asturias | — | ||
| 41-10 | Granada | — | ||
| 41-11 | Frühlingsstimmen, Op. 410 | — | ||
| 41-12 | La traviata: Act II: "Lunge da lei ... De'miei bollenti spiriti" | — | ||
| 41-13 | Ideale | — | ||
| 41-14 | Gianni Schicchi: "O mio babbino caro" | — | ||
| 41-15 | Musica proibita, Op. 5 | — | ||
| 42-1 | Concerto for Flute no. 1 in G major, K. 285c/313: I. Allegro maestoso | — | ||
| 42-2 | Concerto for Flute no. 1 in G major, K. 285c/313: II. Adagio non troppo | — | ||
| 42-3 | Concerto for Flute no. 1 in G major, K. 285c/313: III. Rondo. Tempo di menuetto | — | ||
| 42-4 | Concerto for Flute no. 2 in D major, K. 285d/314: I. Allegro aperto | — | ||
| 42-5 | Concerto for Flute no. 2 in D major, K. 285d/314: II. Adagio ma non troppo | — | ||
| 42-6 | Concerto for Flute no. 2 in D major, K. 285d/314: III. Rondo. Allegretto | — | ||
| 42-7 | Concerto for Flute & Orchestra in C major, K. 285e/315: Andante | — | ||
| 42-8 | Rondo for Flute & orchestra in D major, K.Anh.184: Allegretto grazioso | — | ||
| 43-1 | Concerto for Violin & Orchestra in A minor, Op. 53: I. Allegro | — | ||
| 43-2 | Concerto for Violin & Orchestra in A minor, Op. 53: II. Adagio | — | ||
| 43-3 | Concerto for Violin & Orchestra in A minor, Op. 53: III. Finale | — | ||
| 43-4 | Romance for Violin & Orchestra in F minor, Op. 11 | — | ||
| 43-5 | Overture in A major, Op. 92 "Carnival" | — | ||
| 44-1 | Hungarian Rhapsody no. 1 | — | ||
| 44-2 | Hungarian Rhapsody no. 2 | — | ||
| 44-3 | Hungarian Rhapsody no. 3 | — | ||
| 44-4 | Hungarian Rhapsody no. 4 | — | ||
| 44-5 | Hungarian Rhapsody no. 5 | — | ||
| 44-6 | Hungarian Rhapsody no. 6 “Carnival in Pest” | — | ||
| 45-1 | Dichter und Bauer | — | ||
| 45-2 | Tantalusqualen | — | ||
| 45-3 | Banditenstreiche | — | ||
| 45-4 | Die schöne Galathée | — | ||
| 45-5 | Pique Dame | — | ||
| 45-6 | Leichte Kavallerie | — | ||
| 45-7 | Wiener Jubel | — | ||
| 45-8 | Ein Morgen, ein Mittag, ein Abend in Wien | — | ||
| 46-1 | Eine Alpensinfonie, op. 64, 1. Night | — | ||
| 46-2 | Eine Alpensinfonie, op. 64, 2. Sunrise | — | ||
| 46-3 | Eine Alpensinfonie, op. 64, 3. The Ascent | — | ||
| 46-4 | Eine Alpensinfonie, op. 64, 4. Entry into the Wood | — | ||
| 46-5 | Eine Alpensinfonie, op. 64, 5. Wandering by the Side of the Brook | — | ||
| 46-6 | Eine Alpensinfonie, op. 64, 6. At the Waterfall | — | ||
| 46-7 | Eine Alpensinfonie, op. 64, 7. Apparition | — | ||
| 46-8 | Eine Alpensinfonie, op. 64, 8. On Flowering Meadows | — | ||
| 46-9 | Eine Alpensinfonie, op. 64, 9. On the Alpine Pasture | — | ||
| 46-10 | Eine Alpensinfonie, op. 64, 10. Through Thicket and Undergrowth on the Wrong Way | — | ||
| 46-11 | Eine Alpensinfonie, op. 64, 11. On the Glacier | — | ||
| 46-12 | Eine Alpensinfonie, op. 64, 12. Dangerous Moments | — | ||
| 46-13 | Eine Alpensinfonie, op. 64, 13. On the Summit | — | ||
| 46-14 | Eine Alpensinfonie, op. 64, 14. Vision | — | ||
| 46-15 | Eine Alpensinfonie, op. 64, 15. Mists Rise | — | ||
| 46-16 | Eine Alpensinfonie, op. 64, 16. The Sun Gradually Becomes Obscured | — | ||
| 46-17 | Eine Alpensinfonie, op. 64, 17. Elegy | — | ||
| 46-18 | Eine Alpensinfonie, op. 64, 18. Calm before the Storm | — | ||
| 46-19 | Eine Alpensinfonie, op. 64, 19. Thunder and Tempest; Descent | — | ||
| 46-20 | Eine Alpensinfonie, op. 64, 20. Sunset | — | ||
| 46-21 | Eine Alpensinfonie, op. 64, 21. Waning Tones | — | ||
| 46-22 | Eine Alpensinfonie, op. 64, 22. Night | — | ||
| 46-23 | Horn Concerto, no. 1 in E flat major, op. 11, I. Allegro | — | ||
| 46-24 | Horn Concerto, no. 1 in E flat major, op. 11, II. Andante | — | ||
| 46-25 | Horn Concerto, no. 1 in E flat major, op. 11, III. Allegro | — | ||
| 47-1 | Concerto for Orchestra, Sz. 116 : I. Introduzione. Andante non troppo | — | ||
| 47-2 | Concerto for Orchestra, Sz. 116 : II. Giuoco delle coppie. Allegretto scherzando | — | ||
| 47-3 | Concerto for Orchestra, Sz. 116 : III. Elegia. Andante, non troppo | — | ||
| 47-4 | Concerto for Orchestra, Sz. 116 : IV. Intermezzo interrotto. Allegretto | — | ||
| 47-5 | Concerto for Orchestra, Sz. 116 : V. Finale. Pesante - Presto | — | ||
| 47-6 | The Miraculous Mandarin, Sz. 73 | — | ||
| 48-1 | Concerto No. 1 for Piano & Orchestra in E minor, Op. 11: I. Allegro maestoso | — | ||
| 48-2 | Concerto No. 1 for Piano & Orchestra in E minor, Op. 11: II. Romanze: Larghetto | — | ||
| 48-3 | Concerto No. 1 for Piano & Orchestra in E minor, Op. 11: III. Rondo: Vivace | — | ||
| 48-4 | Concerto No. 2 for Piano & Orchestra in F minor, Op. 21: I. Maestoso | — | ||
| 48-5 | Concerto No. 2 for Piano & Orchestra in F minor, Op. 21: II. Larghetto | — | ||
| 48-6 | Concerto No. 2 for Piano & Orchestra in F minor, Op. 21: III. Allegro vivace | — | ||
| 49-1 | Symphony No. 8 in C Minor, WAB 108 : I. Allegro moderato | — | ||
| 49-2 | Symphony No. 8 in C Minor, WAB 108 : II. Scherzo. Allegro moderato - Trio. Langsam | — | ||
| 49-3 | Symphony No. 8 in C Minor, WAB 108 : III. Adagio. Feierlich langsam, doch nicht schleppend | — | ||
| 50-1 | Symphony No. 8 in C Minor, WAB 108 : IV. Finale. Feierlich, nicht schnell | — | ||
| 50-2 | Symphony in D Minor 'Nullte', WAB 100 : I. Allegro | — | ||
| 50-3 | Symphony in D Minor 'Nullte', WAB 100 : II. Andante | — | ||
| 50-4 | Symphony in D Minor 'Nullte', WAB 100 : III. Scherzo. Presto | — | ||
| 50-5 | Symphony in D Minor 'Nullte', WAB 100 : IV. Finale. Moderato | — | ||
| 51-1 | Pelleas und Melisande, op. 5: Anfang | — | ||
| 51-2 | Pelleas und Melisande, op. 5: Heftig | — | ||
| 51-3 | Pelleas und Melisande, op. 5: Lebhaft | — | ||
| 51-4 | Pelleas und Melisande, op. 5: Sehr rasch | — | ||
| 51-5 | Pelleas und Melisande, op. 5: Sehr langsam | — | ||
| 51-6 | Pelleas und Melisande, op. 5: Sehr langsam, gedehnt | — | ||
| 51-7 | Pelleas und Melisande, op. 5: Ein wenig bewegt | — | ||
| 51-8 | Pelleas und Melisande, op. 5: Langsam | — | ||
| 51-9 | Pelleas und Melisande, op. 5: Ein wenig bewegter | — | ||
| 51-10 | Pelleas und Melisande, op. 5: Sehr langsam | — | ||
| 51-11 | Pelleas und Melisande, op. 5: Langsam | — | ||
| 51-12 | Pelleas und Melisande, op. 5: In gehender Bewegung | — | ||
| 51-13 | Pelleas und Melisande, op. 5: Breit | — | ||
| 51-14 | Pelleas und Melisande, op. 46: Act I, Scene I. Introduction, At The Castle Gate | — | ||
| 51-15 | Pelleas und Melisande, op. 46: Act I, Scene II. Introduction, Melisande | — | ||
| 51-16 | Pelleas und Melisande, op. 46: Act II, Scene I. Am Wunderborn im Park | Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 51-17 | Pelleas und Melisande, op. 46: Act V, Scene II. The Death Of Mélisande | — | ||
| 51-18 | Pelléas et Mélisande, op. 80: I. Prélude. Quasi Adagio | — | ||
| 51-19 | Pelléas et Mélisande, op. 80: II. La Fileuse. Andantino quasi Allegretto | — | ||
| 51-20 | Pelléas et Mélisande, op. 80: III. Sicilienne. Allegretto molto moderato | — | ||
| 51-21 | Pelléas et Mélisande, op. 80: IV. La mort de Mélisande. Molto Adagio | — | ||
| 52-1 | Violin Concerto no. 1, Sz. 36: I. Andante sostenuto | — | ||
| 52-2 | Violin Concerto no. 1, Sz. 36: II. Allegro giocoso | — | ||
| 52-3 | Violin Concerto no. 2 in B minor, Sz. 112: I. Allegro non troppo | — | ||
| 52-4 | Violin Concerto no. 2 in B minor, Sz. 112: II. Andante tranquillo | — | ||
| 52-5 | Violin Concerto no. 2 in B minor, Sz. 112: III. Allegro molto | — | ||
| 53-1 | Psalm | — | ||
| 53-2 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | — | ||
| 53-3 | Symphony no. 5 in C minor, op. 67: II. Andante con moto | — | ||
| 53-4 | Symphony no. 5 in C minor, op. 67: III. Allegro | — | ||
| 53-5 | Symphony no. 5 in C minor, op. 67: IV. Allegro | — | ||
| 53-6 | La Valse | — | ||
| 54-1 | Salome, Op. 54, TrV 215, Scene I: "Wie schön ist die Prinzessin Salome heute nacht!" | — | ||
| 54-2 | Salome, Op. 54, TrV 215, Scene I: "Nach mir wird Einer kommen" | — | ||
| 54-3 | Salome, Op. 54, TrV 215, Scene II: "Ich will nicht bleiben" | — | ||
| 54-4 | Salome, Op. 54, TrV 215, Scene II: "Siehe, der Herr ist gekommen,..." | — | ||
| 54-5 | Salome, Op. 54, TrV 215, Scene II: "Du wirst das für mich tun, Narraboth, nicht wahr?" | — | ||
| 54-6 | Salome, Op. 54, TrV 215, Scene II: "Ah!" - Orchestral Interlude | — | ||
| 54-7 | Salome, Op. 54, TrV 215, Scene III: "Wo ist er, dessen Sündenbecher jetzt voll ist?" | — | ||
| 54-8 | Salome, Op. 54, TrV 215, Scene III: "Er ist schrecklich" | — | ||
| 54-9 | Salome, Op. 54, TrV 215, Scene III: "Jochanaan!" | — | ||
| 54-10 | Salome, Op. 54, TrV 215, Scene III: "Niemals, Tochter Babylons,...." | — | ||
| 54-11 | Salome, Op. 54, TrV 215, Orchestral Interlude | — | ||
| 54-12 | Salome, Op. 54, TrV 215, Scene IV: "Wo ist Salome? Wo ist die Prinzessin?" | — | ||
| 54-13 | Salome, Op. 54, TrV 215, Scene IV: "Salome, komm, trink Wein mit mir,..." | — | ||
| 54-14 | Salome, Op. 54, TrV 215, Scene IV: "Wahrhaftig, Herr, es wäre besser,..." | — | ||
| 54-15 | Salome, Op. 54, TrV 215, Scene IV: "Siehe, der Tag ist nahe,..." | — | ||
| 55-1 | Salome, Op. 54, TrV 215, Scene IV: "Tanz für mich, Salome." | — | ||
| 55-2 | Salome, Op. 54, TrV 215, Scene IV: Salomes Tanz | — | ||
| 55-3 | Salome, Op. 54, TrV 215, Scene IV: "Ah! Herrlich!" | — | ||
| 55-4 | Salome, Op. 54, TrV 215, Scene IV: "Still, sprich nicht zu mir!" | — | ||
| 55-5 | Salome, Op. 54, TrV 215, Scene IV: "Wer hat meinen Ring genommen?" | — | ||
| 55-6 | Salome, Op. 54, TrV 215, Scene IV: "Es ist kein Laut zu vernehmen" | — | ||
| 55-7 | Salome, Op. 54, TrV 215, Scene IV: "Ah! du wolltest mich nicht deinen Mund küssen lassen" | — | ||
| 55-8 | Salome, Op. 54, TrV 215, Scene IV: "Sie ist ein Ungeheuer, deine Tochter." | — | ||
| 55-9 | Salome, Op. 54, TrV 215, Scene IV: "Ah! Ich habe deinen Mund geküsst, Jochanaan." | — | ||
| 56-1 | Tannhäuser: Ouvertüre und Venusbergmusik | — | ||
| 56-2 | Parsifal: Vorspiel zum 1. Aufzug | — | ||
| 56-3 | Parsifal: Karfreitagszauber | — | ||
| 56-4 | Rienzi: Ouvertüre | — | ||
| 57-1 | Violin Concerto, op. 61: I. Allegro ma non troppo | — | ||
| 57-2 | Violin Concerto, op. 61: II. Larghetto | — | ||
| 57-3 | Violin Concerto, op. 61: III. Rondo. Allegro | — | ||
| 57-4 | Sonata no. 10 for Piano and Violin, op. 96: I. Allegro moderato | — | ||
| 57-5 | Sonata no. 10 for Piano and Violin, op. 96: II. Adagio espressivo | — | ||
| 57-6 | Sonata no. 10 for Piano and Violin, op. 96: III. Scherzo. Allegro | — | ||
| 57-7 | Sonata no. 10 for Piano and Violin, op. 96: IV. Poco allegretto | — | ||
| 58-1 | Violin Concerto No. 3, Op. 61 : I. Allegro non troppo | — | ||
| 58-2 | Violin Concerto No. 3, Op. 61 : II. Andantino quasi allegretto | — | ||
| 58-3 | Violin Concerto No. 3, Op. 61 : III. Molto moderato e maestoso - Allegro non troppo - Piu allegro | — | ||
| 58-4 | Violin Concerto No. 2, Op. 22 : I. Allegro moderato | — | ||
| 58-5 | Violin Concerto No. 2, Op. 22 : II. Romance - Andante non troppo | — | ||
| 58-6 | Violin Concerto No. 2, Op. 22 : III. Allegro con fuoco - Allegro moderato (a la Zingara) | — | ||
| 59-1 | Symphony No. 1 in C Minor, Op. 68: I. Un poco sostenuto - Allegro | — | ||
| 59-2 | Symphony No. 1 in C Minor, Op. 68: II. Andante sostenuto | — | ||
| 59-3 | Symphony No. 1 in C Minor, Op. 68: III. Un poco allegretto e grazioso | — | ||
| 59-4 | Symphony No. 1 in C Minor, Op. 68: IV. Adagio - Piu Andante - Allegro non troppo, ma con brio | — | ||
| 60-1 | Symphony No. 2 in D Major, Op. 73: I. Allegro non troppo | — | ||
| 60-2 | Symphony No. 2 in D Major, Op. 73: II. Adagio non troppo | — | ||
| 60-3 | Symphony No. 2 in D Major, Op. 73: III. Allegretto grazioso (Quasi Andantino) - Presto ma non assai | — | ||
| 60-4 | Symphony No. 2 in D Major, Op. 73: IV. Allegro con spirito | — | ||
| 60-5 | Tragic Overture in D Minor, Op. 81: Allegro ma non troppo | — | ||
| 61-1 | Symphony No. 3 in F Major, Op. 90: I. Allegro con brio | — | ||
| 61-2 | Symphony No. 3 in F Major, Op. 90: II. Andante | — | ||
| 61-3 | Symphony No. 3 in F Major, Op. 90: III. Poco Allegretto | — | ||
| 61-4 | Symphony No. 3 in F Major, Op. 90: IV. Allegro | — | ||
| 61-5 | Variations on a Theme by Joseph Haydn, Op. 56a: Thema - Chorale St. Antoni - Andante | — | ||
| 61-6 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation I: Poco piu animato | — | ||
| 61-7 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation II: Piu vivace | — | ||
| 61-8 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation III: Con moto | — | ||
| 61-9 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation IV: Andante con moto | — | ||
| 61-10 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation V: Vivace | — | ||
| 61-11 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation VI: Vivace | — | ||
| 61-12 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation VII: Grazioso | — | ||
| 61-13 | Variations on a Theme by Joseph Haydn, Op. 56a: Variation VIII: Presto non troppo | — | ||
| 61-14 | Variations on a Theme by Joseph Haydn, Op. 56a: Finale - Andante | — | ||
| 62-1 | Symphony No. 4 in E Minor, Op. 98: I. Allegro non troppo | — | ||
| 62-2 | Symphony No. 4 in E Minor, Op. 98: II. Andante moderato | — | ||
| 62-3 | Symphony No. 4 in E Minor, Op. 98: III. Allegro giocoso - Poco meno presto | — | ||
| 62-4 | Symphony No. 4 in E Minor, Op. 98: IV. Allegro energico e passionato - Piu Allegro | — | ||
| 63-1 | Gurre-lieder: Erster Teil. Orchestervorspiel | — | ||
| 63-2 | Gurre-lieder: Erster Teil. "Nun dämpft die Daemm'rung" (Waldemar) | — | ||
| 63-3 | Gurre-lieder: Erster Teil. "O, wenn des Mondes Strahlen" (Tove) | — | ||
| 63-4 | Gurre-lieder: Erster Teil. "Ross! Mein Ross!" (Waldemar) | — | ||
| 63-5 | Gurre-lieder: Erster Teil. "Sterne jubeln" (Tove) | — | ||
| 63-6 | Gurre-lieder: Erster Teil. "So tanzen die Engel vor Gottes Thron nicht" (Waldemar) | — | ||
| 63-7 | Gurre-lieder: Erster Teil. "Nun sag ich dir zum ersten Mal" (Tove) | — | ||
| 63-8 | Gurre=lieder: Erster Teil. "Es ist Mitternachtszeit" (Waldemar) | — | ||
| 63-9 | Gurre-lieder: Erster Teil. "Du sendest mir einen Liebesblick" (Tove) | — | ||
| 63-10 | Gurre-lieder: Erster Teil. "Du wunderlische Tove!" (Waldemar) | — | ||
| 63-11 | Gurre-lieder: Erster Teil. Orchesterzwischenspiel | — | ||
| 63-12 | Gurre-lieder: Erster Teil. "Tauben von Gurre!" (Waldtaube) | — | ||
| 64-1 | Gurre-lieder: Zweiter Teil. "Herrgott, weißt du, was du tatest" (Waldemar) | — | ||
| 64-2 | Gurre-lieder: Dritter Teil. "Erwacht, König Waldemars Mannen" (Waldemar) | — | ||
| 64-3 | Gurre-lieder: Dritter Teil. "Deckel des Sarges klappert" (Bauer) | — | ||
| 64-4 | Gurre-lieder: Dritter Teil. "Gegrüßt, o König" (Waldermars Mannen) | — | ||
| 64-5 | Gurre-lieder: Dritter Teil. "Mit Toves Stimme flüstert der Wald" (Waldemar) | — | ||
| 64-6 | Gurre-lieder: Dritter Teil. "Ein seltsamer Vogel ist so'n Aal" (Klaus-Narr) | — | ||
| 64-7 | Gurre-lieder: Dritter Teil. "Du strenger Richter droben" (Waldemar) | — | ||
| 64-8 | Gurre-lieder: Dritter Teil. "Der Hahn erhebt den Kopf zur Kraht" (Waldermars Mannen) | — | ||
| 64-9 | Gurre-lieder: Dritte Teil. Des Sommers Wilde Jagd: Vorspiel | — | ||
| 64-10 | Gurre-lieder: Dritte Teil. Des Sommers Wilde Jagd: "Herr Gänseßuss, Frau Gänsekraut" (Sprecher) | — | ||
| 64-11 | Gurre-lieder: Dritte Teil. Des Sommers Wilde Jagd: "Seht die Sonne" (Chor) | — | ||
| 65-1 | Walzerfolge aus "Der Rosenkavalier" (Akt I & II) | — | ||
| 65-2 | Symphonisches Fragment aus "Die Liebe der Danae". Molto vivace | — | ||
| 65-3 | Symphonisches Fragment aus "Die Liebe der Danae". Piu tranquillo | — | ||
| 65-4 | Symphonische Zwischenspiele aus "Intermezzo" I. Reisefieber und Walzerszene | — | ||
| 65-5 | Symphonische Zwischenspiele aus "Intermezzo" II. Träumerei am Kamin | — | ||
| 65-6 | Symphonische Zwischenspiele aus "Intermezzo" III. Am Spieltisch | — | ||
| 65-7 | Symphonische Zwischenspiele aus "Intermezzo" IV. Fröhlicher Beschluß | — | ||
| 65-8 | Symphonische Fantasie aus "Die Frau ohne Schatten" | — | ||
| 66-1 | Piano Concerto No. 1 in D-flat major, Op. 10: I. Allegro brioso | — | ||
| 66-2 | Piano Concerto No. 1 in D-flat major, Op. 10: II. Meno mosso | — | ||
| 66-3 | Piano Concerto No. 1 in D-flat major, Op. 10: III. Andante assai | — | ||
| 66-4 | Piano Concerto No. 1 in D-flat major, Op. 10: IV. Allegro scherzando | — | ||
| 66-5 | Piano Concerto No. 3 in C major, Op. 26: I. Andante - Allegro | — | ||
| 66-6 | Piano Concerto No. 3 in C major, Op. 26: II. Tema: Andantino | — | ||
| 66-7 | Piano Concerto No. 3 in C major, Op. 26: II. Var. 1 | — | ||
| 66-8 | Piano Concerto No. 3 in C major, Op. 26: II. Var. 2 | — | ||
| 66-9 | Piano Concerto No. 3 in C major, Op. 26: II. Var. 3 | — | ||
| 66-10 | Piano Concerto No. 3 in C major, Op. 26: II. Var. 4 | — | ||
| 66-11 | Piano Concerto No. 3 in C major, Op. 26: II. Var. 5 | — | ||
| 66-12 | Piano Concerto No. 3 in C major, Op. 26: III. Tema: Allegro giusto | — | ||
| 66-13 | Piano Concerto No. 3 in C major, Op. 26: IV. Allegro ma non troppo | — | ||
| 66-14 | Piano Concerto No. 5 in G major, Op. 55: I. Allegro con brio | — | ||
| 66-15 | Piano Concerto No. 5 in G major, Op. 55: II. Moderato ben accentuato | — | ||
| 66-16 | Piano Concerto No. 5 in G major, Op. 55: III. Toccata: Allegro con fuoco | — | ||
| 66-17 | Piano Concerto No. 5 in G major, Op. 55: IV. Larghetto | — | ||
| 66-18 | Piano Concerto No. 5 in G major, Op. 55: V. Vivo | — | ||
| 67-1 | Symphony No. 3 in D Minor : I. Kräftig, Entschieden | — | ||
| 67-2 | Symphony No. 3 in D Minor : II. Tempo di Minuetto | — | ||
| 67-3 | Symphony No. 3 in D Minor : III. Comodo, Scherzando. Ohne Hast | — | ||
| 68-1 | Symphony No. 3 in D Minor : IV. Sehr Langsam. Misterioso. Durchaus Leise | — | ||
| 68-2 | Symphony No. 3 in D Minor : V. Lustig im Tempo und keck im Ausdruck | — | ||
| 68-3 | Symphony No. 3 in D Minor : VI. Langsam, Ruhevoll. Empfunden | — | ||
| 68-4 | Symphony No. 10 (Adagio) | — | ||
| 69-1 | Le nozze di Figaro: Sinfonia | — | ||
| 69-2 | Le nozze di Figaro: Atto I, no. 1. “Duettino: Cinque… dieci… venti… trenta…” | — | ||
| 69-3 | Le nozze di Figaro: Atto I. Recitativo: “Cosa stai misurando” | — | ||
| 69-4 | Le nozze di Figaro: Atto I, no. 2. Duettino: “Se a caso madama” | — | ||
| 69-5 | Le nozze di Figaro: Atto I. Recitativo: “Or bene; ascolto, e taci!” | — | ||
| 69-6 | Le nozze di Figaro: Atto I, no. 3. Cavatina: “Se vuol ballare” | — | ||
| 69-7 | Le nozze di Figaro: Atto I. Recitativo: “Ed aspettaste il giorno” | — | ||
| 69-8 | Le nozze di Figaro: Atto I, no. 4. Aria: “La vendetta, oh, la vendetta!” | — | ||
| 69-9 | Le nozze di Figaro: Atto I. Recitativo: “Tutto ancor non ho perso” | — | ||
| 69-10 | Le nozze di Figaro: Atto I, no. 5. Duettino: “Via resti servita” | — | ||
| 69-11 | Le nozze di Figaro: Atto I. Recitativo: “Va’ la, vecchia pedante” | — | ||
| 69-12 | Le nozze di Figaro: Atto I, no. 6. Aria: “Non so piu cosa son” | — | ||
| 69-13 | Le nozze di Figaro: Atto I. Recitativo: “Ah, son perduto!” | — | ||
| 69-14 | Le nozze di Figaro: Atto I, no. 7. Terzetto: “Cosa sento! Tosto andate” | — | ||
| 69-15 | Le nozze di Figaro: Atto I. Recitativo: “Basilio, in traccia tosto” | — | ||
| 69-16 | Le nozze di Figaro: Atto I, no. 8. Coro: “Giovani liete” | — | ||
| 69-17 | Le nozze di Figaro: Atto I. Recitativo: “Cos’ e questa commedia?” | — | ||
| 69-18 | Le nozze di Figaro: Atto I, no. 9. Coro: “Giovani liete” | — | ||
| 69-19 | Le nozze di Figaro: Atto I. Recitativo: “Evviva!” | — | ||
| 69-20 | Le nozze di Figaro: Atto I, no. 10. Aria: “Non piu andrai, farfallone amoroso” | — | ||
| 69-21 | Le nozze di Figaro: Atto II, no. 11. Cavatina: “Porgi, amor, qualche ristoro” | — | ||
| 69-22 | Le nozze di Figaro: Atto II. Recitativo: “Vieni, cara Susanna” | — | ||
| 69-23 | Le nozze di Figaro: Atto II. Recitativo: “Quanto duolmi, Susanna” | — | ||
| 69-24 | Le nozze di Figaro: Atto II, no. 12. Arietta: “Voi che sapete” | — | ||
| 69-25 | Le nozze di Figaro: Atto II. Recitativo: “Bravo! Che bella voce!” | — | ||
| 70-1 | Le nozze di Figaro: Atto II, no. 13. Aria: “Venite, inginocchiatevi” | — | ||
| 70-2 | Le nozze di Figaro: Atto II. Recitativo: “Quante buffonerie!” | — | ||
| 70-3 | Le nozze di Figaro: Atto II. Recitativo: “Che novita!” | — | ||
| 70-4 | Le nozze di Figaro: Atto II, no. 14. Terzetto: “Susanna, or via, sortite” | — | ||
| 70-5 | Le nozze di Figaro: Atto II. Recitativo: “Dunque voi non aprite?” | — | ||
| 70-6 | Le nozze di Figaro: Atto II, no. 15. Duettino: “Aprite, presto, aprite” | — | ||
| 70-7 | Le nozze di Figaro: Atto II. Recitativo: “Oh, guarda il demonietto!” | — | ||
| 70-8 | Le nozze di Figaro: Atto II. Recitativo: “Tutto e come il lasciai” | — | ||
| 70-9 | Le nozze di Figaro: Atto II, no. 16. Finale: “Esci omai, garzon malnato” | — | ||
| 70-10 | Le nozze di Figaro: Atto II. “Susanna!…Signore” | — | ||
| 70-11 | Le nozze di Figaro: Atto II. “Susanna, son morta” | — | ||
| 70-12 | Le nozze di Figaro: Atto II. “Signori, di fuori” | — | ||
| 70-13 | Le nozze di Figaro: Atto II. “Ah, signor…signor…” | — | ||
| 70-14 | Le nozze di Figaro: Atto II. “Voi signor, che giusto siete” | — | ||
| 70-15 | Le nozze di Figaro: Atto III. Recitativo: “Che imbarazzo e mai questo!” | — | ||
| 70-16 | Le nozze di Figaro: Atto III, no. 17. Duettino: “Crudel! Perche finora” | — | ||
| 70-17 | Le nozze di Figaro: Atto III. Recitativo: “E perche fosti meco” | — | ||
| 70-18 | Le nozze di Figaro: Atto III, no. 18. Recitativo ed aria: “Hai gia vinta la causa! – Vedro mentre io sospiro” | — | ||
| 70-19 | Le nozze di Figaro: Atto III. Recitativo: “E decisa la lite” | — | ||
| 70-20 | Le nozze di Figaro: Atto III, no. 19. Sestetto: “Riconosci in questo amplesso” | — | ||
| 70-21 | Le nozze di Figaro: Atto III. Recitativo: “Eccovi, oh caro amico” | — | ||
| 70-22 | Le nozze di Figaro: Atto III. Recitativo: “Andiam, andiam, bel paggio” | — | ||
| 70-23 | Le nozze di Figaro: Atto III, no. 20. Recitativo ed aria: “E Susanna non vien! – Dove sono I bei momenti” | — | ||
| 71-1 | Le nozze di Figaro: Atto III. Recitativo: “Io vi dico, signor” | — | ||
| 71-2 | Le nozze di Figaro: Atto III. Recitativo: “Cosa mi narri” | — | ||
| 71-3 | Le nozze di Figaro: Atto III, no. 21. Duettino: “Sull’aria…che soave zeffiretto” | — | ||
| 71-4 | Le nozze di Figaro: Atto III. Recitativo: “Piegato e il foglio” | — | ||
| 71-5 | Le nozze di Figaro: Atto III, no. 22. Coro: “Ricevete, oh padroncina” | — | ||
| 71-6 | Le nozze di Figaro: Atto III. Recitativo: “Queste sono, madama” | — | ||
| 71-7 | Le nozze di Figaro: Atto III, no. 23. Finale: “Ecco la marcia, andiamo” | — | ||
| 71-8 | Le nozze di Figaro: Atto IV, no. 24. Cavatina: “L’ho perduta… me meschina…” | — | ||
| 71-9 | Le nozze di Figaro: Atto IV. Recitativo: “Barbarina, cos’hai?” | — | ||
| 71-10 | Le nozze di Figaro: Atto IV. “Madre!…Figlio!” | — | ||
| 71-11 | Le nozze di Figaro: Atto IV. Recitativo: “Presto avvertiam susanna” | — | ||
| 71-12 | Le nozze di Figaro: Atto IV, no. 25. Aria: “Il capro e la capretta” | — | ||
| 71-13 | Le nozze di Figaro: Atto IV. Recitativo: “Nel padiglione a manca” | — | ||
| 71-14 | Le nozze di Figaro: Atto IV, no. 26. Aria: “In quegl’anni, in cui val poco” | — | ||
| 71-15 | Le nozze di Figaro: Atto IV, no. 27. Recitativo ed aria: “Tutto e disposto – Aprite un po’ quegl’occhi” | — | ||
| 71-16 | Le nozze di Figaro: Atto IV. Recitativo: “Signora, ella mi disse” | — | ||
| 71-17 | Le nozze di Figaro: Atto IV, no. 28. Recitativo ed aria: “Giunse alfin il momento – Deh vieni, non tardar” | — | ||
| 71-18 | Le nozze di Figaro: Atto IV. Recitativo: “Perfida, e in quella forma” | — | ||
| 71-19 | Le nozze di Figaro: Atto IV, no. 29. Finale: “Pian pianin le andro piu presso” | — | ||
| 71-20 | Le nozze di Figaro: Atto IV. “Ecco qui la mia Susanna!” | — | ||
| 71-21 | Le nozze di Figaro: Atto IV. “Tutto e tranquillo e placido” | — | ||
| 71-22 | Le nozze di Figaro: Atto IV. “Pace, pace, mio dolce tesoro” | — | ||
| 71-23 | Le nozze di Figaro: Atto IV. “Gente, gente, all’armi, all’armi!” | — | ||
| 71-24 | Appendice: Atto III, no. 18. Recitativo ed aria: “Hai gia vinta la causa! – Vedro mentre io sospiro” | — | ||
| 72-1 | Má vlast: Vyšehrad - The High Castle | — | ||
| 72-2 | Má vlast: Vltava - The Moldau | — | ||
| 72-3 | Má vlast: Šárka | — | ||
| 72-4 | Má vlast: Z českých luhů a hájů - From Bohemia's Woods and Fields | — | ||
| 72-5 | Má vlast: Tábor | — | ||
| 72-6 | Má vlast: Blaník | — | ||
| 73-1 | Concerto for Violin and Orchestra in D minor, op. 47: I. Allegro moderato | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-2 | Concerto for Violin and Orchestra in D minor, op. 47: II. Adagio di molto | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-3 | Concerto for Violin and Orchestra in D minor, op. 47: III. Allegro, ma non tanto | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-4 | Scottish Fantasy for Violin and Orchestra, op. 46: Introduction. Grave | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-5 | Scottish Fantasy for Violin and Orchestra, op. 46: I. Adagio cantabile | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-6 | Scottish Fantasy for Violin and Orchestra, op. 46: II. Allegro | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-7 | Scottish Fantasy for Violin and Orchestra, op. 46: III. Andante sostenuto | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 73-8 | Scottish Fantasy for Violin and Orchestra, op. 46: IV. Finale. Allegro guerriero | Midori, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 74-1 | Piano Concerto No. 2 in G minor, Op. 16: I. Andantino | — | ||
| 74-2 | Piano Concerto No. 2 in G minor, Op. 16: II. Scherzo. Vivace | — | ||
| 74-3 | Piano Concerto No. 2 in G minor, Op. 16: III. Intermezzo. Allegro moderato | — | ||
| 74-4 | Piano Concerto No. 2 in G minor, Op. 16: IV. Finale. Allegro tempestoso | — | ||
| 74-5 | Piano Concerto No. 4 in B-flat major, Op. 53 "For the Left Hand": I. Vivace | — | ||
| 74-6 | Piano Concerto No. 4 in B-flat major, Op. 53 "For the Left Hand": II. Andante | — | ||
| 74-7 | Piano Concerto No. 4 in B-flat major, Op. 53 "For the Left Hand": III. Moderato | — | ||
| 74-8 | Piano Concerto No. 4 in B-flat major, Op. 53 "For the Left Hand": IV. Vivace | — | ||
| 74-9 | Overture on Hebrew Themes for Clarinet, String Quartet and Piano, Op. 34 | — | ||
| 75-1 | Ein Heldenleben, Op. 40, TrV 190: Der Held | — | ||
| 75-2 | Ein Heldenleben, Op. 40, TrV 190: Des Helden Widersacher | — | ||
| 75-3 | Ein Heldenleben, Op. 40, TrV 190: Des Helden Gefährtin | — | ||
| 75-4 | Ein Heldenleben, Op. 40, TrV 190: Des Helden Walstatt | — | ||
| 75-5 | Ein Heldenleben, Op. 40, TrV 190: Des Helden Friedenswerke | — | ||
| 75-6 | Ein Heldenleben, Op. 40, TrV 190: Des Helden Weltflucht und Vollendung | — | ||
| 75-7 | Horn Concerto No. 2 in E-Flat Major, TrV 283: I. Allegro | — | ||
| 75-8 | Horn Concerto No. 2 in E-Flat Major, TrV 283: II. Andante con moto | — | ||
| 75-9 | Horn Concerto No. 2 in E-Flat Major, TrV 283: III. Rondo. Allegro molto | — | ||
| 76-1 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": I. Largo – Molto allegro | — | ||
| 76-2 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": II. Menuetto – Trio I – Trio II | — | ||
| 76-3 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": III. Adagio | — | ||
| 76-4 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": IV. Menuetto. Allegretto – Trio I – Trio II | — | ||
| 76-5 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": V. Romance. Adagio – Allegretto – Adagio | — | ||
| 76-6 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Tema. Andante | — | ||
| 76-7 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Var. 1 | — | ||
| 76-8 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Var. 2 | — | ||
| 76-9 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Var. 3 | — | ||
| 76-10 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Var. 4 | — | ||
| 76-11 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Var. 5 | — | ||
| 76-12 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VI. Tema con variazioni: Var. 6 | — | ||
| 76-13 | Serenade in B-flat major, K. 361 (370a), "Gran Partita": VII. Finale. Molto allegro | — | ||
| 77-1 | Concerto for Violin and Orchestra in D major, Op. 77: I. Allegro non troppo | — | ||
| 77-2 | Concerto for Violin and Orchestra in D major, Op. 77: II. Adagio | — | ||
| 77-3 | Concerto for Violin and Orchestra in D major, Op. 77: III. Allegro giocoso, ma non troppo vivace - Poco più presto | — | ||
| 77-4 | Violin Concerto No. 1 in G minor, Op. 26: I. Vorspiel. Allegro moderato | — | ||
| 77-5 | Violin Concerto No. 1 in G minor, Op. 26: II. Adagio | — | ||
| 77-6 | Violin Concerto No. 1 in G minor, Op. 26: III. Finale. Allegro energico | — | ||
| 78-1 | Les Préludes, Symphonic Poem for Orchestra, S. 97 (LW G3) | — | ||
| 78-2 | Orpheus, Symphonic Poem for Orchestra, S. 98 (LW G9) | — | ||
| 78-3 | Mazeppa, Symphonic Poem for Orchestra, S. 100 (LW G7) | — | ||
| 78-4 | Hamlet, Symphonic Poem for Orchestra, S. 104 (LW G22) | — | ||
| 78-5 | Hunnenschlacht, Symphonic Poem for Orchestra, S. 105 (LW G17) | — | ||
| 79-1 | Concerto In D Minor For Two Violins And Orchestra, BWV 1043: I. Vivace | — | ||
| 79-2 | Concerto In D Minor For Two Violins And Orchestra, BWV 1043: II. Largo, Ma Non Tanto | — | ||
| 79-3 | Concerto In D Minor For Two Violins And Orchestra, BWV 1043: III. Allegro | — | ||
| 79-4 | Concerto In B Minor For Four Violins And Orchestra, RV 580 (Op. 3, No. 10): I. Allegro | — | ||
| 79-5 | Concerto In B Minor For Four Violins And Orchestra, RV 580 (Op. 3, No. 10): II. Largo | — | ||
| 79-6 | Concerto In B Minor For Four Violins And Orchestra, RV 580 (Op. 3, No. 10): III. Allegro | — | ||
| 79-7 | Symphony No. 2 In D, Op. 73: I. Allegro Non Troppo | — | ||
| 79-8 | Symphony No. 2 In D, Op. 73: II. Adagio Non Troppo | — | ||
| 79-9 | Symphony No. 2 In D, Op. 73: III. Allegretto Grazioso | — | ||
| 79-10 | Symphony No. 2 In D, Op. 73: IV. Allegro Con Spirito | — | ||
| 79-11 | Hatikvah (from ’’The Stars Salute Israel at 30″) | Barbra Streisand | — | |
| 80-1 | Salome, Op. 54: "Ah! Du wolltest mich nicht deinen Mund küssen lassen, Jochanaan!" | — | ||
| 80-2 | Guntram, Op. 25: "Fass' ich sie bang" | — | ||
| 80-3 | Lucio Silla, K. 135: "Ah corri, vola - Quest'improvviso tremito che in sen di più s'avanza" | — | ||
| 80-4 | Don Giovanni, K. 527: "Crudele! Ah no, mio bene!".."Non mi dir" | — | ||
| 80-5 | Ariadne auf Naxos, Op. 60: "Es gibt ein Reich, wo alles rein ist" | — | ||
| 80-6 | Idomeneo, K. 366: "Oh smania! Oh furie" | — | ||
| 80-7 | Arabella, Op. 79: "Mein Elemer! Das hat so einen sonderbaren Klang!" | — | ||
| 80-8 | Don Giovanni, K. 527: "Or sai chi l'onore" | — | ||
| 80-9 | Idomeneo, K. 366: "Idol mio, se ritroso" | — | ||
| 80-10 | Die ägyptische Helena, Op. 75: "Zweite Brautnacht!" | — | ||
| 81-1 | Violin Concerto in E Minor, Op. 64 : I. Allegro molto appassionato | — | ||
| 81-2 | Violin Concerto in E Minor, Op. 64 : II. Andante | — | ||
| 81-3 | Violin Concerto in E Minor, Op. 64 : III. Allegretto non troppo - Allegro molto vivace | — | ||
| 81-4 | Violin Concerto in D Major, Op. 61 (Cadenza: Fritz Kreisler) : I. Allegro ma non troppo (Cadenza: Fritz Kreisler) | — | ||
| 81-5 | Violin Concerto in D Major, Op. 61 : II. Larghetto | — | ||
| 81-6 | Violin Concerto in D Major, Op. 61 (Cadenza: Fritz Kreisler) : III. Rondo: Allegro (Cadenza: Fritz Kreisler) | — | ||
| 82-1 | Piano Concerto no. 1 in D minor, op. 15: I. Maestoso | Arthur Rubinstein, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 82-2 | Piano Concerto no. 1 in D minor, op. 15: II. Adagio | Arthur Rubinstein, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 82-3 | Piano Concerto no. 1 in D minor, op. 15: III. Rondo. Allegro non troppo | Arthur Rubinstein, Israel Philharmonic Orchestra, Zubin Mehta | T-031.682.208-8 | |
| 83-1 | Concerto for Piano and Orchestra no. 3 in D minor, op. 30: I. Allegro ma non tanto | Vladimir Horowitz, New York Philharmonic, Zubin Mehta | — | |
| 83-2 | Concerto for Piano and Orchestra no. 3 in D minor, op. 30: II. Intermezzo. Adagio – | Vladimir Horowitz, New York Philharmonic, Zubin Mehta | — | |
| 83-3 | Concerto for Piano and Orchestra no. 3 in D minor, op. 30: III. Finale. Alla breve | Vladimir Horowitz, New York Philharmonic, Zubin Mehta | — | |
| 84-1 | Concerto for Piano and Orchestra No. 1 in D Minor, Op. 15 : I. Maestoso | — | ||
| 84-2 | Concerto for Piano and Orchestra No. 1 in D Minor, Op. 15 : II. Adagio | — | ||
| 84-3 | Concerto for Piano and Orchestra No. 1 in D Minor, Op. 15 : III. Rondo - Allegro non troppo | — | ||
| 85-1 | Concerto for Piano and Orchestra No. 2 in B-Flat Major, Op. 83 : I. Allegro non troppo | — | ||
| 85-2 | Concerto for Piano and Orchestra No. 2 in B-Flat Major, Op. 83 : II. Allegro appassionato | — | ||
| 85-3 | Concerto for Piano and Orchestra No. 2 in B-Flat Major, Op. 83 : III. Andante | — | ||
| 85-4 | Concerto for Piano and Orchestra No. 2 in B-Flat Major, Op. 83 : IV. Allegretto grazioso | — | ||
| 86-1 | The Gypsy Baron: Entrance March | — | ||
| 86-2 | Polka Mazur, op. 282: The Emancipated Woman | — | ||
| 86-3 | Red Indian Galop, Op. 111 | — | ||
| 86-4 | Simplicius, Op. 427: Little Danube Woman (Waltz on Themes from Simplicius) | — | ||
| 86-5 | Sport Polka (Quickly), Op. 170 | — | ||
| 86-6 | Polka Mazur, Op. 73: Sympathy | — | ||
| 86-7 | Vienna Blood (Waltz), Op. 354 | — | ||
| 86-8 | Indigo And The Forty Thieves, Op. 348: At the Double-Quick Step | — | ||
| 86-9 | Tales From The Vienna Woods, Op. 325 | — | ||
| 86-10 | Chit-Chat, Op. 214: Chit-Chat (Quick Polka) | — | ||
| 86-11 | Explosion Polka, Op. 43 | — | ||
| 86-12 | Letter To The Editor, Op. 240 | — | ||
| 86-13 | On The Beautiful Blue Danube, Op. 314 | — | ||
| 86-14 | Radetzky March, Op. 228 | — | ||
| 87-1 | Reiter-Marsch, op. 428 | — | ||
| 87-2 | Arm in Arm, op. 215: Polka schnell | — | ||
| 87-3 | Favorit-Polka, op. 201 | — | ||
| 87-4 | Morgenblätter, op. 279: Walzer | — | ||
| 87-5 | Process-Polka, op. 294: Polka schnell | — | ||
| 87-6 | Mephistos Höllenrufe, op. 101: Walzer | — | ||
| 87-7 | Perpetuum mobile, op. 257: Musikalischer Scherz | — | ||
| 87-8 | Thalia, op. 195: Polka mazur | — | ||
| 87-9 | Electrisch: Polka schnell | — | ||
| 87-10 | Alice-Polka, op. 238 | — | ||
| 87-11 | Russische Marsch-Phantasie, op. 353 | — | ||
| 87-12 | Mein Lebenslauf ist Lieb’ un Lust! op. 133: Polka schnell | — | ||
| 87-13 | Schützen-Quadrille | — | ||
| 87-14 | Auf Ferienreisen, op. 133: Polka schnell | — | ||
| 87-15 | An der schönen, blauen Donau, op. 314: Walzer | — | ||
| 87-16 | Radetzky-Marsch, op. 228 | — | ||
| 88-1 | Wo uns're Fahne weht, Marsch, Op. 473 | — | ||
| 88-2 | Nachtfalter, Walzer, Op. 157 | — | ||
| 88-3 | Kleiner Anzeiger, Galopp | — | ||
| 88-4 | Die Schwebende, Polka Mazur, Op. 110 | — | ||
| 88-5 | Jocus Polka, Polka schnell, Op. 216 | — | ||
| 88-6 | Nordseebilder, Walzer, Op. 390 | — | ||
| 88-7 | Tritsch Tratsch Polka, Polka schnell, Op. 214 | — | ||
| 88-8 | Ouvertüre zur Operette "Prinz Methusalem" | — | ||
| 88-9 | Wiener Bonbons, Walzer, Op. 307 | — | ||
| 88-10 | Marianka Polka, Op. 173 | — | ||
| 88-11 | In der Heimat, Polka Mazur, Op. 231 | — | ||
| 88-12 | Annen Polka, Op. 117 | — | ||
| 88-13 | Plappermäulchen (Musikalischer Scherz), Polka schnell, Op. 245 | — | ||
| 88-14 | Neue Melodien-Quadrille, Op. 254 | — | ||
| 88-15 | Rosen aus dem Süden, Walzer, Op. 388 | — | ||
| 88-16 | Bahn frei, Polka schnell, Op. 45 | — | ||
| 89-1 | Nur fort, Polka schnell, Op. 383 | — | ||
| 89-2 | An der schönen blauen Donau, Walzer, Op. 314 | — | ||
| 89-3 | Radetzky-Marsch, Op. 228 | — | ||
| 90-1 | Zivio! Marsch, Op. 456 | — | ||
| 90-2 | Flattergeister, Waltz, Op. 62 | — | ||
| 90-3 | Moulinet-polka française, Op. 57 | — | ||
| 90-4 | Elfenreigen | — | ||
| 90-5 | Delirien Waltz, Op. 212 | — | ||
| 90-6 | Einzugs-Galopp, Op. 35 | — | ||
| 91-1 | Overture to the operetta Waldmeister | — | ||
| 91-2 | Irenen-Polka, Polka française, Op. 113 | — | ||
| 91-3 | Wo die Zitronen blüh'n, Op.364 | — | ||
| 91-4 | Ohne Bremse Polka schnell, Op. 238 | — | ||
| 91-5 | Stadt und Land, Op. 322 | — | ||
| 91-6 | Matrosen-Polka, Op. 52 | — | ||
| 91-7 | Dynamiden, Op. 173 | — | ||
| 91-8 | Erinnerungen an Ernst (Der Karvneval von Venedig), Fantasie, Op. 126 | — | ||
| 91-9 | Furioso-Galopp, Op. 114 | — | ||
| 91-10 | Leichtfüssig (Polka schnell) | — | ||
| 91-11 | New Year's Address | — | ||
| 91-12 | An der schönen blauen Donau, Op. 314 | — | ||
| 91-13 | Radetzky-Marsch, Op. 228 (Arr. Leopold Weninger) | — | ||
| 92-1 | Ein Morgen, ein Mittag, ein Abend in Wien: Ouvertüre | — | ||
| 92-2 | Märchen aus dem Orient | — | ||
| 92-3 | Wiener Leben, op. 218 | — | ||
| 92-4 | Wo man lacht und lebt, op. 108 | — | ||
| 92-5 | Dorfschwalben aus Österreich, op. 164 | — | ||
| 92-6 | Vom Donaustrande, op. 356 | — | ||
| 92-7 | Perpetuum mobile, op. 257 | — | ||
| 92-8 | Accelerationen, op. 234 | — | ||
| 92-9 | Electro-magnetische Polka, op. 110 | — | ||
| 92-10 | Mit Dampf, op. 70 | — | ||
| 93-1 | An der Elbe, op. 477 | — | ||
| 93-2 | Champagner-Galopp | — | ||
| 93-3 | Studenten-Polka, op. 263 | — | ||
| 93-4 | Freiheits-Marsch, op. 226 | — | ||
| 93-5 | Annen-Polka, op. 117 | — | ||
| 93-6 | Wein, Weib und Gesang, op. 333 | — | ||
| 93-7 | Mit Chic, op. 221 | — | ||
| 93-8 | Explosions-Polka, op. 43 | — | ||
| 93-9 | Neujahrsgruss | — | ||
| 93-10 | An der schönen blauen Donau, op. 314 | — | ||
| 93-11 | Radetzky-Marsch, op. 228 | — | ||
| 94-1 | Wiener Philharmoniker Fanfare | Wiener Philharmoniker, Zubin Mehta | T-801.916.720-6 | |
| 94-2 | Maskerade: Overtüre | Wiener Philharmoniker, Zubin Mehta | — | |
| 94-3 | Concerto for Piano and Orchestra in A minor, op. 16: I. Allegro molto moderato | Rudolf Buchbinder, Wiener Philharmoniker, Zubin Mehta | T-902.781.050-0 | |
| 94-4 | Concerto for Piano and Orchestra in A minor, op. 16: II. Adagio - attacca | Rudolf Buchbinder, Wiener Philharmoniker, Zubin Mehta | — | |
| 94-5 | Concerto for Piano and Orchestra in A minor, op. 16: III. Allegro moderato molto e marcato - Quasi Presto - Andante maestoso | Rudolf Buchbinder, Wiener Philharmoniker, Zubin Mehta | — | |
| 94-6 | Frühlingsrauschen, op. 32/3: Agitato | Wiener Philharmoniker, Zubin Mehta | — | |
| 94-7 | Peer Gynt Suite no. 1, op. 46: I. Morning Mood | Wiener Philharmoniker, Zubin Mehta | — | |
| 94-8 | Peer Gynt Suite no. 1, op. 46: II. Åse's Death | Wiener Philharmoniker, Zubin Mehta | — | |
| 94-9 | Peer Gynt Suite no. 1, op. 46: III. Anitra's Dance | Wiener Philharmoniker, Zubin Mehta | — | |
| 94-10 | Peer Gynt Suite no. 1, op. 46: IV. In the Hall of the Mountain King | Wiener Philharmoniker, Zubin Mehta | — | |
| 94-11 | Finlandia, op. 26: Tone Poem | Wiener Philharmoniker, Zubin Mehta | T-910.256.702-2 | |
| 94-12 | Kopenhagener Eisenbahn-Dampf-Galopp | Wiener Philharmoniker, Zubin Mehta | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Concerto for Three Violins F1 No. 34: I. Allegro | Itzhak Perlman, Isaac Stern, Pinchas Zukerman, New York Philharmonic, Zubin Mehta | — |
| Concerto for Three Violins F1 No. 34: II. Andante | Itzhak Perlman, Isaac Stern, Pinchas Zukerman, New York Philharmonic, Zubin Mehta | — |
| Concerto for Three Violins F1 No. 34: III. Allegro | Itzhak Perlman, Isaac Stern, Pinchas Zukerman, New York Philharmonic, Zubin Mehta | — |
