UPC · Release
Mariss Jansons, Chor, Symphonieorchester des Bayerischen Rundfunks
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The UPC for “Mariss Jansons - The Edition” by Mariss Jansons, Chor, Symphonieorchester des Bayerischen Rundfunks is 4035719002003. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2021-11-05. This release contains 552 tracks, each with its own ISRC. Tracks include DELW71971601, DELW71971602, DELW71971603.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphonie No. 1 in C major, Op. 21: I. Allegro Con Brio | — | ||
| 2 | Symphonie no. 1 in C major, op. 21: II. Andante cantabile con moto | — | ||
| 3 | Symphonie no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | — | ||
| 4 | Symphonie no. 1 in C major, op. 21: IV. Allegro molto e vivace | — | ||
| 5 | Maniai | — | ||
| 6 | Symphonie no. 2 in D major, op. 36: I. Allegro con brio | — | ||
| 7 | Symphonie no. 2 in D major, op. 36: II. Larghetto | — | ||
| 8 | Symphonie no. 2 in D major, op. 36: III. Scherzo. Allegro | — | ||
| 9 | Symphonie no. 2 in D major, op. 36: IV. Allegro molto | — | ||
| 10 | Nirai, intermezzo zu Beethovens Symphonien Nr. 2 und 6 | — | ||
| 2-1 | Symphonie No. 3 in E-flat major, “Eroica”: I. Allegro Con Brio | — | ||
| 2-2 | Symphonie no. 3 in E-flat major, “Eroica”: II. Marcia funebre. Adagio assai | — | ||
| 2-3 | Symphonie no. 3 in E-flat major, “Eroica”: III. Allegro vivace - Trio. Un poco meno allegro | — | ||
| 2-4 | Symphonie no. 3 in E-flat major, “Eroica”: IV. Finale - Allegro molto | — | ||
| 2-5 | Beethovens Heiligenstädter Testament, symphonisches fragment für orchester | — | ||
| 3-1 | Symphonie no. 4 in B-flat major, op. 60: I. Adagio | — | ||
| 3-2 | Symphonie no. 4 in B-flat major, op. 60: II. Adagio | — | ||
| 3-3 | Symphonie no. 4 in B-flat major, op. 60: III. Menuetto: Allegro vivace | — | ||
| 3-4 | Symphonie no. 4 in B-flat major, op. 60: IV. Allegro ma non troppo | — | ||
| 3-5 | Symphonie no. 5 in C minor, op. 67: I. Allegro con brio | — | ||
| 3-6 | Symphonie no. 5 in C minor, op. 67: II. Andante con moto | — | ||
| 3-7 | Symphonie no. 5 in C minor, op. 67: III. Allegro | — | ||
| 3-8 | Symphonie no. 5 in C minor, op. 67: IV. Allegro | — | ||
| 3-9 | Fires: I. Misterioso | — | ||
| 3-10 | Fires: II. Con brio | — | ||
| 4-1 | Symphony no. 6 in F major, op. 68 “Pastoral”: I. Allegro ma non troppo | — | ||
| 4-2 | Symphony no. 6 in F major, op. 68 “Pastoral”: II. Andante molto mosso | — | ||
| 4-3 | Symphony no. 6 in F major, op. 68 “Pastoral”: III. Allegro | — | ||
| 4-4 | Symphony no. 6 in F major, op. 68 “Pastoral”: IV. Allegro | — | ||
| 4-5 | Symphony no. 6 in F major, op. 68 “Pastoral”: V. Allegretto | — | ||
| 4-6 | Dixi, für gemischten Chor und Orchester | — | ||
| 5-1 | Symphony no. 7 in A major, op. 92: I. Poco sostenuto - Vivace | — | ||
| 5-2 | Symphony no. 7 in A major, op. 92: II. Allegretto | — | ||
| 5-3 | Symphony no. 7 in A major, op. 92: III. Presto, assai meno presto | — | ||
| 5-4 | Symphony no. 7 in A major, op. 92: IV. Allegro con brio | — | ||
| 5-5 | Con brio, Konzertouvertüre für Orchester | — | ||
| 5-6 | Symphony no. 8 in F major, op. 93: I. Allegro vivace e con brio | — | ||
| 5-7 | Symphony no. 8 in F major, op. 93: II. Allegretto scherzando | — | ||
| 5-8 | Symphony no. 8 in F major, op. 93: III. Tempo di menuetto | — | ||
| 5-9 | Symphony no. 8 in F major, op. 93: IV. Allegro vivace | — | ||
| 6-1 | Symphony no. 9 in D minor, op. 125 “Choral”: I. Allegro ma non troppo, un poco maestoso | — | ||
| 6-2 | Symphony no. 9 in D minor, op. 125 “Choral”: II. Molto vivace | — | ||
| 6-3 | Symphony no. 9 in D minor, op. 125 “Choral”: III. Adagio molto e cantabile - Andante moderato | — | ||
| 6-4 | Symphony no. 9 in D minor, op. 125 “Choral”: IV. Finale: Presto - Allegro assai | — | ||
| 7-1 | Symphony No. 9 in D minor, Op. 125 "Choral": I. Allegro ma non troppo, un poco maestoso | — | ||
| 7-2 | Symphony No. 9 in D minor, Op. 125 "Choral": II. Molto vivace - Presto | — | ||
| 7-3 | Symphony No. 9 in D minor, Op. 125 "Choral": III. Adagio molto e cantabile | — | ||
| 7-4 | Symphony No. 9 in D minor, Op. 125 "Choral": IV. Presto - Allegro assai | — | ||
| 8-1 | Messe C-Dur, op.86 - Kyrie. Andante con moto assai vivace quasi Allegretto ma non troppo | — | ||
| 8-2 | Messe C-Dur, op.86 - Gloria. Allegro | — | ||
| 8-3 | Messe C-Dur, op.86 - Credo. Allegro con brio | — | ||
| 8-4 | Messe C-Dur, op.86 - Sanctus. Adagio | — | ||
| 8-5 | Messe C-Dur, op.86 - Benedictus. Allegretto ma non troppo | — | ||
| 8-6 | Messe C-Dur, op.86 - Agnus Dei. Poco Andante | — | ||
| 8-7 | Leonoren-Ouvertüre Nr. 3 C-Dur, op. 72b | — | ||
| 9-1 | Symphonie fantastique, op. 14: I. Reveries: Largo - Passions: Allegro agitato e appassionato assai | — | ||
| 9-2 | Symphonie fantastique, op. 14: II. Un Bal (Valse): Allegro non troppo | — | ||
| 9-3 | Symphonie fantastique, op. 14: III. Scene aux Champs: Adagio | — | ||
| 9-4 | Symphonie fantastique, op. 14: IV. Marche au Supplice: Allegretto non troppo | — | ||
| 9-5 | Symphonie fantastique, op. 14: V. Songe d'une Nuit du Sabbat: Larghetto - Allegro | — | ||
| 9-6 | Ionisation | — | ||
| 10-1 | Symphonie Nr. 1 c-Moll, op. 68: I. Un poco sostenuto - Allegro | — | ||
| 10-2 | Symphonie Nr. 1 c-Moll, op. 68: II. Andante sostenuto | — | ||
| 10-3 | Symphonie Nr. 1 c-Moll, op. 68: III. Un poco allegretto e grazioso | — | ||
| 10-4 | Symphonie Nr. 1 c-Moll, op. 68: IV. Adagio - Più andante - Allegro non troppo, ma con brio | — | ||
| 11-1 | Symphonie Nr. 4 e-Moll, op. 98: I. Allegro non troppo | — | ||
| 11-2 | Symphonie Nr. 4 e-Moll, op. 98: II. Andante moderato | — | ||
| 11-3 | Symphonie Nr. 4 e-Moll, op. 98: III. Allegro giocoso | — | ||
| 11-4 | Symphonie Nr. 4 e-Moll, op. 98: IV. Allegro energico e passionato | — | ||
| 12-1 | Symphonie Nr. 2 D-Dur, op. 73: I. Allegro non troppo | — | ||
| 12-2 | Symphonie Nr. 2 D-Dur, op. 73: II. Adagio non troppo | — | ||
| 12-3 | Symphonie Nr. 2 D-Dur, op. 73: III. Allegretto grazioso (Quasi andantino) - Presto ma non assai | — | ||
| 12-4 | Symphonie Nr. 2 D-Dur, op. 73: IV. Allegro con spirito | — | ||
| 12-5 | Symphonie Nr. 3 F-Dur, op. 90: I. Allegro con brio | — | ||
| 12-6 | Symphonie Nr. 3 F-Dur, op. 90: II. Andante | — | ||
| 12-7 | Symphonie Nr. 3 F-Dur, op. 90: III. Poco allegretto | — | ||
| 12-8 | Symphonie Nr. 3 F-Dur, op. 90: IV. Allegro | — | ||
| 13-1 | 4 Symphonic Interludes from "Intermezzo, Op. 72", TrV 246a: No. 1, Reisefieber und Walzerszene. Schnell und heiter | — | ||
| 13-2 | 4 Symphonic Interludes from "Intermezzo, Op. 72", TrV 246a: No. 2, Träumerei am Kamin. Ruhig schwebend | — | ||
| 13-3 | 4 Symphonic Interludes from "Intermezzo, Op. 72", TrV 246a: No. 3, Am Spieltisch. Sehr gemächlich | — | ||
| 13-4 | 4 Symphonic Interludes from "Intermezzo, Op. 72", TrV 246a: No. 4, Fröhlicher Beschluss. Sehr lebhaft und fröhlich | — | ||
| 13-5 | Symphony No. 4 in E Minor, Op. 98: I. Allegro non troppo | — | ||
| 13-6 | Symphony No. 4 in E Minor, Op. 98: II. Andante moderato | — | ||
| 13-7 | Symphony No. 4 in E Minor, Op. 98: III. Allegro giocoso | — | ||
| 13-8 | Symphony No. 4 in E Minor, Op. 98: IV. Allegro energico e passionato | — | ||
| 14-1 | War Requiem, op. 66: Requiem Aeternam | — | ||
| 14-2 | War Requiem, op. 66: Dies Irae | — | ||
| 14-3 | War Requiem, op. 66: Offertorium | — | ||
| 15-1 | War Requiem, op. 66: Sanctus | — | ||
| 15-2 | War Requiem, op. 66: Agnus Dei | — | ||
| 15-3 | War Requiem, op. 66: Libera Me | — | ||
| 16-1 | Symphonie Nr. 3 d-Moll, WAB 103: Mehr langsam, misterioso | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 16-2 | Symphonie Nr. 3 d-Moll, WAB 103: Adagio, bewegt, quasi andante | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 16-3 | Symphonie Nr. 3 d-Moll, WAB 103: Ziemlich schnell – Trio | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 16-4 | Symphonie Nr. 3 d-Moll, WAB 103: Allegro | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-003.055.867-8 | |
| 17-1 | Symphonie Nr. 4 Es-Dur „Romantische“, WAB 104: Bewegt, nicht zu schnell | — | ||
| 17-2 | Symphonie Nr. 4 Es-Dur „Romantische“, WAB 104: Andante quasi Allegretto | — | ||
| 17-3 | Symphonie Nr. 4 Es-Dur „Romantische“, WAB 104: Scherzo. Bewegt – Trio. Nicht zu schnell. Keinesfalls schleppend | — | ||
| 17-4 | Symphonie Nr. 4 Es-Dur „Romantische“, WAB 104: Finale. Bewegt, doch nicht zu schnell | — | ||
| 18-1 | Symphonie Nr. 6, A-Dur: I. Maestoso | — | ||
| 18-2 | Symphonie Nr. 6, A-Dur: II. Adagio. Sehr feierlich | — | ||
| 18-3 | Symphonie Nr. 6, A-Dur: III. Scherzo. Nicht schnell - Trio. Langsam | — | ||
| 18-4 | Symphonie Nr. 6, A-Dur: IV. Finale. Bewegt, doch nicht zu schnell | — | ||
| 19-1 | Symphonie Nr. 7 E-dur: I. Allegro moderato | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 19-2 | Symphonie Nr. 7 E-dur: II. Adagio (Sehr feierlich und sehr langsam) | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 19-3 | Symphonie Nr. 7 E-dur: III. Scherzo (Sehr schnell), Trio (Etwas langsamer) | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 19-4 | Symphonie Nr. 7 E-dur: IV. Finale (Bewegt, doch nicht zu schnell) | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 20-1 | Symphonie Nr. 8 c-Moll: Allegro moderato | — | ||
| 20-2 | Symphonie Nr. 8 c-Moll: Scherzo. Allegro moderato – Trio. Langsam | — | ||
| 20-3 | Symphonie Nr. 8 c-Moll: Adagio. Feierlich langsam, doch nicht schleppend | — | ||
| 20-4 | Symphonie Nr. 8 c-Moll: Finale. Feierlich, nicht schnell | — | ||
| 21-1 | I. Feierlich, misterioso (Live) | — | ||
| 21-2 | II. Scherzo. Bewegt, lebhaft - Trio. Schnell (Live) | — | ||
| 21-3 | III. Adagio. Langsam feierlich (Live) | — | ||
| 22-1 | Mass No. 3 in F minor, WAB 28: Kyrie. Moderato | — | ||
| 22-2 | Mass No. 3 in F minor, WAB 28: Gloria. Allegro | — | ||
| 22-3 | Mass No. 3 in F minor, WAB 28: Credo. Allegro | — | ||
| 22-4 | Mass No. 3 in F minor, WAB 28: Sanctus. Moderato - Allegro | — | ||
| 22-5 | Mass No. 3 in F minor, WAB 28: Benedictus. Allegro moderato | — | ||
| 22-6 | Mass No. 3 in F minor, WAB 28: Agnus Die. Andante | — | ||
| 23-1 | Symphonie Nr. 8 G-Dur, Op. 88: Allegro con brio | — | ||
| 23-2 | Symphonie Nr. 8 G-Dur, Op. 88: Adagio | — | ||
| 23-3 | Symphonie Nr. 8 G-Dur, Op. 88: Allegretto grazioso | — | ||
| 23-4 | Symphonie Nr. 8 G-Dur, Op. 88: Allegro, ma non troppo | — | ||
| 23-5 | Serenáda für Streichorchester Es-Dur, Op. 6: Andante con moto | — | ||
| 23-6 | Serenáda für Streichorchester Es-Dur, Op. 6: Allegro, ma non troppo e grazioso - Poco meno mosso | — | ||
| 23-7 | Serenáda für Streichorchester Es-Dur, Op. 6: Adagio | — | ||
| 23-8 | Serenáda für Streichorchester Es-Dur, Op. 6: Allegro giocoso, ma non troppo presto | — | ||
| 23-9 | Karneval, Op. 92 | — | ||
| 24-1 | Stabat mater, op. 58: I. Stabat mater dolorosa. Andante con moto | — | ||
| 24-2 | Stabat mater, op. 58: II. Quis est homo, qui non fleret. Andante sostenuto | — | ||
| 24-3 | Stabat mater, op. 58: III. Eja, mater, fons amoris. Andante con moto | — | ||
| 24-4 | Stabat mater, op. 58: IV. Fac, ut ardeat cor meum. Largo | — | ||
| 24-5 | Stabat mater, op. 58: V. Tui nati vulnerati. Andante con moto, quasi allegretto | — | ||
| 24-6 | Stabat mater, op. 58: VI. Fac me vere tecum flere. Andante con moto | — | ||
| 24-7 | Stabat mater, op. 58: VII. Virgo virginum praeclara. Largo | — | ||
| 24-8 | Stabat mater, op. 58: VIII. Fac, ut portem Christi mortem. Larghetto | — | ||
| 24-9 | Stabat mater, op. 58: IX. Inflammatus et accensus. Andante maestoso | — | ||
| 24-10 | Stabat mater, op. 58: X. Quando corpus morietur. Andante con moto | — | ||
| 25-1 | España - Rhapsodie für Orchester | — | ||
| 25-2 | Rhapsody in Blue für Klavier und Orchester (Fassung von Ferde Grofé) | — | ||
| 25-3 | Rumänische Rhapsodie A- Dur, Op. 11 Nr. 1 | — | ||
| 25-4 | Rapsodie espagnole: Prélude à la nuit. Très modéré | — | ||
| 25-5 | Malagueña. Assez vif | — | ||
| 25-6 | Habanera. Assez lent et d'un rythme las | — | ||
| 25-7 | Feria. Assez animé | — | ||
| 25-8 | Ungarische Rhapsodie Nr. 2 (Bearbeitung für großes Orchester von Karl Müller-Berghaus) | — | ||
| 26-1 | Sinfonia in D-Dur, Hob.Ia:7: “Overtura” | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-2 | Symphonie in G-Dur, Hob. I:88: Adagio – Allegro | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-306.395.786-4 | |
| 26-3 | Symphonie in G-Dur, Hob. I:88: Largo | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-4 | Symphonie in G-Dur, Hob. I:88: Menuetto. Allegretto – Trio | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-5 | Symphonie in G-Dur, Hob. I:88: Finale. Allegro con spirito | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-6 | Messe für Soli, Chor und Orchester in B-Dur “Harmoniemesse”, Hob. XXII:14: Kyrie | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-7 | Messe für Soli, Chor und Orchester in B-Dur “Harmoniemesse”, Hob. XXII:14: Gloria | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-8 | Messe für Soli, Chor und Orchester in B-Dur “Harmoniemesse”, Hob. XXII:14: Credo | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-037.336.913-1 | |
| 26-9 | Messe für Soli, Chor und Orchester in B-Dur “Harmoniemesse”, Hob. XXII:14: Sanctus | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-10 | Messe für Soli, Chor und Orchester in B-Dur “Harmoniemesse”, Hob. XXII:14: Benedictus | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-11 | Messe für Soli, Chor und Orchester in B-Dur “Harmoniemesse”, Hob. XXII:14: Agnus Dei | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-922.061.546-3 | |
| 27-1 | Concerto for Orchestra: I. Intrada: Allegro maestoso | — | ||
| 27-2 | Concerto for Orchestra: II. Capriccio notturno e arioso: Vivace | — | ||
| 27-3 | Concerto for Orchestra: III. Passacaglia, toccata e Corale: Andante con moto | — | ||
| 27-4 | Symphony No.3, op.27 "Song of the Night": I. Moderato assai | — | ||
| 27-5 | Symphony No.3, op.27 "Song of the Night": II. Vivace scherzando | — | ||
| 27-6 | Symphony No.3, op.27 "Song of the Night": III. Largo | — | ||
| 27-7 | Symphony No.4, op.78 | — | ||
| 28-1 | Symphony no. 1 in D major “Titan”: I. Langsam. Schleppend (live) | — | ||
| 28-2 | Symphony no. 1 in D major “Titan”: II. Kräftig, bewegt, doch nicht zu schnell (live) | — | ||
| 28-3 | Symphony no. 1 in D major “Titan”: III. Feierlich und gemessen, ohne zu schleppen (live) | — | ||
| 28-4 | Symphony no. 1 in D major “Titan”: IV. Stürmisch bewegt (live) | — | ||
| 29-1 | Symphony no. 2 in C minor "Resurrection": I. Allegro maestoso. Mit durchaus ernstem und feierlichen Ausdruck | — | ||
| 29-2 | Symphony no. 2 in C minor "Resurrection": II. Andante moderato. Sehr gemächlich. Nie eilen | — | ||
| 29-3 | Symphony no. 2 in C minor "Resurrection": III. In ruhig fließender Bewegung. Sehr gemächlich. Nicht eilen | — | ||
| 29-4 | Symphony no. 2 in C minor "Resurrection": IV. 'Urlicht'. Sehr feierlich, aber schlicht. Choralmäßig | — | ||
| 29-5 | Symphony no. 2 in C minor "Resurrection": V. Im Tempo des Scherzo. Wild herausfahrend | — | ||
| 30-1 | Symphony No. 3 in D minor: I. Kräftig. Entschieden | — | ||
| 31-1 | Symphony No. 3 in D minor: II. Tempo di Menuetto. Sehr mäßig. Ja nicht eilen! | — | ||
| 31-2 | Symphony No. 3 in D minor: III. Comodo. Scherzando. Ohne Hast | — | ||
| 31-3 | Symphony No. 3 in D minor: IV. Sehr langsam. Misterioso. Durchaus ppp | — | ||
| 31-4 | Symphony No. 3 in D minor: V. Lustig im Tempo und keck im Ausdruck | — | ||
| 31-5 | Symphony No. 3 in D minor: VI. Langsam. Ruhevoll. Empfunden | — | ||
| 32-1 | Symphony no. 4 in G major: I. Bedächtig. Nicht eilen | — | ||
| 32-2 | Symphony no. 4 in G major: II. In gemächlicher Bewegung ohne Hast | — | ||
| 32-3 | Symphony no. 4 in G major: III. Ruhevoll (Poco adagio) | — | ||
| 32-4 | Symphony no. 4 in G major: IV. Sehr behaglich (Wir genießen die himmlischen Freuden) | — | ||
| 33-1 | Symphonie Nr. 5 cis-Moll: Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt | — | ||
| 33-2 | Symphonie Nr. 5 cis-Moll: Stürmisch bewegt. Mit größter Vehemenz | — | ||
| 33-3 | Symphonie Nr. 5 cis-Moll: Scherzo. Kräftig, nicht zu schnell | — | ||
| 33-4 | Symphonie Nr. 5 cis-Moll: Adagietto. Sehr langsam | — | ||
| 33-5 | Symphonie Nr. 5 cis-Moll: Rondo-Finale. Allegro | — | ||
| 34-1 | Symphony no. 6 in A minor "Tragic": I. Allegro energico, ma non troppo | — | ||
| 34-2 | Symphony no. 6 in A minor "Tragic": II. Scherzo | — | ||
| 34-3 | Symphony no. 6 in A minor "Tragic": III. Andante | — | ||
| 34-4 | Symphony no. 6 in A minor "Tragic": IV. Finale | — | ||
| 35-1 | Symphony no 7 in E major: I. Langsam. Adagio - Allegro risoluto, ma non troppo | — | ||
| 35-2 | Symphony no 7 in E major: II. Nachtmusik I: Allegro moderato | — | ||
| 35-3 | Symphony no 7 in E major: III. Scherzo: Schattenhaft | — | ||
| 35-4 | Symphony no 7 in E major: IV. Nachtmusik II: Andante amoroso | — | ||
| 35-5 | Symphony no 7 in E major: V. Rondo-Finale. Tempo 1 | — | ||
| 36-1 | Symphony no. 8: 1. Veni, creator spiritus - | — | ||
| 36-2 | Symphony no. 8: 2. Imple superna gratia - | — | ||
| 36-3 | Symphony no. 8: 3. Infirma nostri corporis - | — | ||
| 36-4 | Symphony no. 8: 4. Tempo I | — | ||
| 36-5 | Symphony no. 8: 5. Infirma nostri corporis - | — | ||
| 36-6 | Symphony no. 8: 6. Accende lumen sensibus - | — | ||
| 36-7 | Symphony no. 8: 7. Veni, creator spiritus - | — | ||
| 36-8 | Symphony no. 8: 8. Gloria Patri Domino | — | ||
| 36-9 | Symphony no. 8: 9. Poco adagio | — | ||
| 36-10 | Symphony no. 8: 10. Piu mosso | — | ||
| 36-11 | Symphony no. 8: 11. Waldung | — | ||
| 36-12 | Symphony no. 8: 12. Ewiger Wonnebrand - | — | ||
| 36-13 | Symphony no. 8: 13. Wie Felsenabgrund mir zu Fussen - | — | ||
| 36-14 | Symphony no. 8: 14. Gerettet ist das edle Glied - | — | ||
| 36-15 | Symphony no. 8: 15. Jene Rosen aus den Handen | — | ||
| 36-16 | Symphony no. 8: 16. Uns bleibt ein Erdenrest - | — | ||
| 36-17 | Symphony no. 8: 17. Hier ist die Aussicht frei - | — | ||
| 36-18 | Symphony no. 8: 18. Hochste Herrscherin der Welt! | — | ||
| 36-19 | Symphony no. 8: 19. Dir, der Unberuhrbaren - | — | ||
| 36-20 | Symphony no. 8: 20. Bei der Liebe, die den Fussen - | — | ||
| 36-21 | Symphony no. 8: 21. Neige, neige, du Ohnegleiche - | — | ||
| 36-22 | Symphony no. 8: 22. Er uberwachst uns schon | — | ||
| 36-23 | Symphony no. 8: 23. Komm! hebe dich zu hohern Spharen! - | — | ||
| 36-24 | Symphony no. 8: 24. Alles Vergangliche ist nur ein Gleichnis | — | ||
| 37-1 | Symphonie Nr. 9: Andante comodo | — | ||
| 37-2 | Symphonie Nr. 9: Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb | — | ||
| 37-3 | Symphonie Nr. 9: Rondo-Burleske. Allegro assai. Sehr trotzig | — | ||
| 37-4 | Symphonie Nr. 9: Adagio. Sehr langsam und noch zurückhaltend | — | ||
| 38-1 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): I. Introitus. Requiem aeternam | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-2 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): II. Kyrie eleison | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-911.382.283-6 | |
| 38-3 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IIIa. Dies irae | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-4 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IIIb. Tuba mirum | Genia Kühmeier, Elisabeth Kulman, Mark Padmore, Adam Plachetka, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-5 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IIIc. Rex tremendae | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-6 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IIId. Recordare | Genia Kühmeier, Elisabeth Kulman, Mark Padmore, Adam Plachetka, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-7 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IIIe. Confutatis | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-009.157.867-4 | |
| 38-8 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IIIf. Lacrimosa | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-9 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IVa. Offertorium. Domine Jesu Christe | Genia Kühmeier, Elisabeth Kulman, Mark Padmore, Adam Plachetka, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-10 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IVb. Offertorium. Hostias | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-11 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): V. Sanctus | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-12 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): VI. Benedictus | Genia Kühmeier, Elisabeth Kulman, Mark Padmore, Adam Plachetka, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-13 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): VII. Agnus Dei | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-14 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): VIII. Communio. Lux aeterna | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-910.952.061-8 | |
| 39-1 | Berliner Messe: Kyrie | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-2 | Berliner Messe: Gloria | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-3 | Berliner Messe: Alleluia I zum Pfingstfest | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-4 | Berliner Messe: Alleluia II zum Pfingstfest | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-5 | Berliner Messe: Veni sancte spiritus | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-6 | Berliner Messe: Credo | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-7 | Berliner Messe: Sanctus | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-8 | Berliner Messe: Agnus Dei | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-9 | Stabat Mater, FP 148: Stabat mater dolorosa. Très calme | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-10 | Stabat Mater, FP 148: Cujus animam gementem. Allegro molto (très violent) | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-11 | Stabat Mater, FP 148: O quam tristis. Très lent | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-12 | Stabat Mater, FP 148: Quae moerebat. Andantino | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-13 | Stabat Mater, FP 148: Quis est homo. Allegro molto | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-14 | Stabat Mater, FP 148: Vidit suum. Andante | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-15 | Stabat Mater, FP 148: Eja, mater. Allegro | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-16 | Stabat Mater, FP 148: Fac ut ardeat. Maestoso | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-17 | Stabat Mater, FP 148: Sancta mater. Moderato | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-18 | Stabat Mater, FP 148: Fac ut portem. Tempo de sarabande | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-19 | Stabat Mater, FP 148: Inflammatus et accensus. Animé et très rythmé | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-20 | Stabat Mater, FP 148: Quando corpus. Très calme | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-21 | Psalmensymphonie: Exaudi orationem meam | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-22 | Psalmensymphonie: Expectans expectavi Dominum | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-23 | Psalmensymphonie: Alleluja. Laudate Dominum | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 40-1 | The Bells op. 35: I. Allegro, ma no tanto | — | ||
| 40-2 | The Bells op. 35: II. Lento | — | ||
| 40-3 | The Bells op. 35: III. Presto | — | ||
| 40-4 | The Bells op. 35: IV. Lento lugubre | — | ||
| 40-5 | Symphonic Dances op. 45: I. Non allegro | — | ||
| 40-6 | Symphonic Dances op. 45: II. Andante con moto (Tempo di valse) | — | ||
| 40-7 | Symphonic Dances op. 45: III. Lento assai - Allegro vivace | — | ||
| 41-1 | Part I: Initial | — | ||
| 41-2 | II. Requiem Aeternam Dona eis Domine | — | ||
| 41-3 | III. Kyrie | — | ||
| 41-4 | Part II: IV. Sonett I | — | ||
| 41-5 | V. A. Psalm | — | ||
| 41-6 | VI. Sonett II | — | ||
| 41-7 | V. B. Psalm | — | ||
| 41-8 | VII. Sonett III | — | ||
| 41-9 | Part III: VIII. | — | ||
| 41-10 | IX. Lacrimosa I | — | ||
| 41-11 | X. Sanctus | — | ||
| 41-12 | XI. Der Tod ist groß | — | ||
| 41-13 | XII. Lacrimosa II | — | ||
| 41-14 | Xiii. Agnus Dei | — | ||
| 41-15 | XIV. Epilog (Strophen) | — | ||
| 42-1 | Symphonie Nr. 3 c-Moll, op. 78, "Orgelsymphonie": Ia. Adagio - Allegro moderato | — | ||
| 42-2 | Symphonie Nr. 3 c-Moll, op. 78, "Orgelsymphonie": Ib. Poco adagio | — | ||
| 42-3 | Symphonie Nr. 3 c-Moll, op. 78, "Orgelsymphonie": IIa. Allegro moderato | — | ||
| 42-4 | Symphonie Nr. 3 c-Moll, op. 78, "Orgelsymphonie": IIb. Maestoso | — | ||
| 42-5 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Andante | — | ||
| 42-6 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Allegro giocoso | — | ||
| 42-7 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Andante moderato | — | ||
| 42-8 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Tempo allegro. Molto agitato | — | ||
| 42-9 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Tres calme. Lent | — | ||
| 42-10 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Tempo de I'allegro initial | — | ||
| 42-11 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Largo | — | ||
| 43-1 | Symphony No. 5 in D minor, Op. 47:I. Moderato - Allegro non troppo | — | ||
| 43-2 | Symphony No. 5 in D minor, Op. 47: II. Allegretto | — | ||
| 43-3 | Symphony No. 5 in D minor, Op. 47: III. Largo | — | ||
| 43-4 | Symphony No. 5 in D minor, Op. 47:IV. Allegro non troppo | — | ||
| 44-1 | I. Allegretto | — | ||
| 44-2 | II. Moderato (poco allegretto) | — | ||
| 44-3 | III. Adagio - Largo - Moderato risoluto | — | ||
| 44-4 | IV. Allegro non troppo - Moderato | — | ||
| 45-1 | Symphonie Nr. 10 E-Moll: Moderato | — | ||
| 45-2 | Symphonie Nr. 10 E-Moll: Allegro | — | ||
| 45-3 | Symphonie Nr. 10 E-Moll: Allegretto - Largo | — | ||
| 45-4 | Symphonie Nr. 10 E-Moll: Andante - Allegro | — | ||
| 46-1 | Piano Concerto No.1 in C minor, I. Allegro moderato - | — | ||
| 46-2 | Piano Concerto No.1 in C minor, II. Lento | — | ||
| 46-3 | Piano Concerto No.1 in C minor, III. Moderato | — | ||
| 46-4 | Piano Concerto No.1 in C minor, IV. Allegro con brio - Presto - | — | ||
| 46-5 | Symphony No.9 in E Flat major, op.70, 1. Allegro | — | ||
| 46-6 | Symphony No.9 in E Flat major, op.70, 2. Moderato | — | ||
| 46-7 | Symphony No.9 in E Flat major, op.70, 3. Presto | — | ||
| 46-8 | Symphony No.9 in E Flat major, op.70, 4. Largo | — | ||
| 46-9 | Symphony No.9 in E Flat major, op.70, 5. Allegretto - Allegro | — | ||
| 47-1 | Carmen-Suite: 1. Einleitung. Andante assai | — | ||
| 47-2 | Carmen-Suite: Tanz. Allegro | — | ||
| 47-3 | Carmen-Suite: 3. Erstes Intermezzo. Allegro moderato | — | ||
| 47-4 | Carmen-Suite: 4. Wachablösung. Moderato | — | ||
| 47-5 | Carmen-Suite: 5. Carmen-Auftritt und Habanera. Allegro moderato | — | ||
| 47-6 | Carmen-Suite: 6. Szene. Allegro moderato | — | ||
| 47-7 | Carmen-Suite: 7. Zweites Intermezzo. Larghetto | — | ||
| 47-8 | Carmen-Suite: 8. Bolero. Allegro vivo | — | ||
| 47-9 | Carmen-Suite: 9. Torero. Moderato con stoltezza | — | ||
| 47-10 | Carmen-Suite: 10. Torero und Carmen. Lento | — | ||
| 47-11 | Carmen-Suite: 11. Adagio. Andante moderato | — | ||
| 47-12 | Carmen-Suite: 12. Wahrsagung. Andantino | — | ||
| 47-13 | Carmen-Suite: 13. Finale. Allegro | — | ||
| 47-14 | Pini di Roma: 1. Die Pinien der Villa Borghese. Allegretto vivace | — | ||
| 47-15 | Pini di Roma: 2. Pinien bei einer Katakombe. Lento | — | ||
| 47-16 | Pini di Roma: 3. Die Pinien auf dem Gianicolo. Lento | — | ||
| 47-17 | Pini di Roma: 4. Die Pinien der Via Appia. Tempo di marcia | — | ||
| 48-1 | Symphony No. 9 (8) in C Major, D. 944 "Great": I. Andante - Allegro ma non troppo | — | ||
| 48-2 | Symphony No. 9 (8) in C Major, D. 944 "Great": II. Andante con moto | — | ||
| 48-3 | Symphony No. 9 (8) in C Major, D. 944 "Great": III. Scherzo. Allegro vivace | — | ||
| 48-4 | Symphony No. 9 (8) in C Major, D. 944 "Great": IV. Allegro vivace | — | ||
| 49-1 | Mass No. 2 in G Major, D. 167: Kyrie | — | ||
| 49-2 | Mass No. 2 in G Major, D. 167: Gloria | — | ||
| 49-3 | Mass No. 2 in G Major, D. 167: Credo | — | ||
| 49-4 | Mass No. 2 in G Major, D. 167: Sanctus | — | ||
| 49-5 | Mass No. 2 in G Major, D. 167: Benedictus | — | ||
| 49-6 | Mass No. 2 in G Major, D. 167: Agnus Dei | — | ||
| 49-7 | Messe solennelle de Sainte Cécile: Kyrie | — | ||
| 49-8 | Messe solennelle de Sainte Cécile: Gloria | — | ||
| 49-9 | Messe solennelle de Sainte Cécile: Credo | — | ||
| 49-10 | Messe solennelle de Sainte Cécile: Offertorium | — | ||
| 49-11 | Messe solennelle de Sainte Cécile: Sanctus | — | ||
| 49-12 | Messe solennelle de Sainte Cécile: Benedictus | — | ||
| 49-13 | Messe solennelle de Sainte Cécile: Agnus Dei | — | ||
| 49-14 | Messe solennelle de Sainte Cécile: Domine Salvam: No. 1. Prière de l'église | — | ||
| 49-15 | Messe solennelle de Sainte Cécile: Domine Salvam: No. 2. Prière de l'armée | — | ||
| 49-16 | Messe solennelle de Sainte Cécile: Domine Salvam: No. 3. Prière de la nation | — | ||
| 50-1 | Symphonie Nr. 1 B-Dur - Andante un poco maestoso - Allegro molto vivace | — | ||
| 50-2 | Symphonie Nr. 1 B-Dur - Larghetto | — | ||
| 50-3 | Symphonie Nr. 1 B-Dur - Scherzo. Molto vivace | — | ||
| 50-4 | Symphonie Nr. 1 B-Dur - Allegro animato e grazioso | — | ||
| 50-5 | Symphonie Nr. 3 D-Dur - Adagio maestoso - Allegro con brio | — | ||
| 50-6 | Symphonie Nr. 3 D-Dur - Allegretto | — | ||
| 50-7 | Symphonie Nr. 3 D-Dur - Menuetto. Vivace | — | ||
| 50-8 | Symphonie Nr. 3 D-Dur - Presto. Vivace | — | ||
| 51-1 | Finlandia. Andante sostenuto – Allegro moderato | — | ||
| 51-2 | Karelia-Suite: Intermezzo. Moderato | — | ||
| 51-3 | Karelia-Suite: Ballade. Tempo di Menuetto – Un poco più lento | — | ||
| 51-4 | Karelia-Suite: Alla marcia. Moderato | — | ||
| 51-5 | Symphonie Nr. 2 D-Dur: Allegretto | — | ||
| 51-6 | Symphonie Nr. 2 D-Dur: Tempo andante, ma rubato | — | ||
| 51-7 | Symphonie Nr. 2 D-Dur: Vivacissimo – Trio. Lento e soave | — | ||
| 51-8 | Symphonie Nr. 2 D-Dur: Finale. Allegro moderato | — | ||
| 52-1 | Don Juan, Op. 20, TrV 156 (Live) | — | ||
| 52-2 | Ein Heldenleben, Op. 40, TrV 190: I. Der Held (Live) | — | ||
| 52-3 | Ein Heldenleben, Op. 40, TrV 190: II. Des Helden Widersacher - (Live) | — | ||
| 52-4 | Ein Heldenleben, Op. 40, TrV 190: III. Des Helden Gefährtin - (Live) | — | ||
| 52-5 | Ein Heldenleben, Op. 40, TrV 190: IV. Des Helden Walstatt - (Live) | — | ||
| 52-6 | Ein Heldenleben, Op. 40, TrV 190: V. Des Helden Friedenswerke - (Live) | — | ||
| 52-7 | Ein Heldenleben, Op. 40, TrV 190: VI. Des Helden Weltflucht und Vollendung (Live) | — | ||
| 53-1 | Also sprach Zarathustra, Op. 30, TrV 176: I. Einleitung (Live) | — | ||
| 53-2 | Also sprach Zarathustra, Op. 30, TrV 176: II. Von den Hinterweltlern (Live) | — | ||
| 53-3 | Also sprach Zarathustra, Op. 30, TrV 176: III. Von der großen Sehnsucht (Live) | — | ||
| 53-4 | Also sprach Zarathustra, Op. 30, TrV 176: IV. Von den Freuden und Leidenschaften (Live) | — | ||
| 53-5 | Also sprach Zarathustra, Op. 30, TrV 176: V. Das Grablied (Live) | — | ||
| 53-6 | Also sprach Zarathustra, Op. 30, TrV 176: VI. Von der Wissenschaft (Live) | — | ||
| 53-7 | Also sprach Zarathustra, Op. 30, TrV 176: VII. Der Genesende (Live) | — | ||
| 53-8 | Also sprach Zarathustra, Op. 30, TrV 176: VIII. Das Tanzlied (Live) | — | ||
| 53-9 | Also sprach Zarathustra, Op. 30, TrV 176: IX. Nachtwandlerlied (Live) | — | ||
| 53-10 | Burleske fur Klavier und Orchester d-Moll, WoO, AV. 85 | — | ||
| 54-1 | Eine Alpensinfonie, Op. 64: Nacht | — | ||
| 54-2 | Eine Alpensinfonie, Op. 64: Sonnenaufgang | — | ||
| 54-3 | Eine Alpensinfonie, Op. 64: Der Anstieg | — | ||
| 54-4 | Eine Alpensinfonie, Op. 64: Eintritt in den Wald | — | ||
| 54-5 | Eine Alpensinfonie, Op. 64: Wanderung neben dem Bache | — | ||
| 54-6 | Eine Alpensinfonie, Op. 64: Am Wasserfall | — | ||
| 54-7 | Eine Alpensinfonie, Op. 64: Erscheinung | — | ||
| 54-8 | Eine Alpensinfonie, Op. 64: Auf blumige Wiesen | — | ||
| 54-9 | Eine Alpensinfonie, Op. 64: Auf der Alm | — | ||
| 54-10 | Eine Alpensinfonie, Op. 64: Durch Dickicht und Gestrüpp auf Irrwegen | — | ||
| 54-11 | Eine Alpensinfonie, Op. 64: Auf dem Gletscher | — | ||
| 54-12 | Eine Alpensinfonie, Op. 64: Gefahrvolle Augenblicke | — | ||
| 54-13 | Eine Alpensinfonie, Op. 64: Auf dem Gipfel | — | ||
| 54-14 | Eine Alpensinfonie, Op. 64: Vision | — | ||
| 54-15 | Eine Alpensinfonie, Op. 64: Nebel steigen auf | — | ||
| 54-16 | Eine Alpensinfonie, Op. 64: Die Sonne verdüstert sich allmählich | — | ||
| 54-17 | Eine Alpensinfonie, Op. 64: Elegie | — | ||
| 54-18 | Eine Alpensinfonie, Op. 64: Stille vor dem Sturm | — | ||
| 54-19 | Eine Alpensinfonie, Op. 64: Gewitter und Sturm, Abstieg | — | ||
| 54-20 | Eine Alpensinfonie, Op. 64: Sonnenuntergang | — | ||
| 54-21 | Eine Alpensinfonie, Op. 64: Ausklang | — | ||
| 54-22 | Eine Alpensinfonie, Op. 64: Nacht | — | ||
| 54-23 | Tod und Verklärung, Op. 24 | — | ||
| 55-1 | Rosenkavalier-Suite, AV 145 | — | ||
| 55-2 | Till Eulenspiegels lustige Streiche, Op. 28 | — | ||
| 55-3 | Vier letzte Lieder, o.Op., AV 150: I. Frühling: Allegretto | — | ||
| 55-4 | Vier letzte Lieder, o.Op., AV 150: II. September: Andante | — | ||
| 55-5 | Vier letzte Lieder, o.Op., AV 150: III. Beim Schlafengehen: Andante | — | ||
| 55-6 | Vier letzte Lieder, o.Op., AV 150: IV. Im Abendrot: Andante | — | ||
| 56-1 | Petruschka (1947): 1. Bild - Jahrmarket in der Fastnachtswoche / The Shrove-tide Fair (Vivace) | — | ||
| 56-2 | Petruschka (1947): 1. Bild - Russischer Tanz / Russian Dance (Allegro giusto) | — | ||
| 56-3 | Petruschka (1947): 2. Bild - Bei Petruschka / Petrushka (Impetuoso) | — | ||
| 56-4 | Petruschka (1947): 3. Bild - Bei dem Mohren / The Blackamoor (L'istesso tempo) | — | ||
| 56-5 | Petruschka (1947): 3. Bild - Walzer / Valse (Lento cantabile) | — | ||
| 56-6 | Petruschka (1947): 4. Bild - Volksfest in der Fastnachtswoche gegen Abend / The Shrove-tide Fair Toward Evening (Tempo giusto) | — | ||
| 56-7 | Petruschka (1947): 4. Bild - Tanz der Ammen / The Wet-nurses' Dance (Allegretto) | — | ||
| 56-8 | Petruschka (1947): 4. Bild - Ein Bauer und der Bär / Peasant with Bear (Tempo giusto) | — | ||
| 56-9 | Petruschka (1947): 4. Bild - Die Zigeunerinnen und ein genusssüchtiger Kaufmann / Gypsies and a Rake Vendor (L'istesso tempo) | — | ||
| 56-10 | Petruschka (1947): 4. Bild - Tanz der Kutscher / Dance of the Coachmen (Allegro moderato) | — | ||
| 56-11 | Petruschka (1947): 4. Bild - Die Maskierten / Masqueraders (L'istesso tempo, ma poco a poco agitato) | — | ||
| 56-12 | Petruschka (1947): 4. Bild - Der Kampf: Der Mohr und Petruschka / The Scuffle: Blackamoor and Petrushka (Tempo di rigore) | — | ||
| 56-13 | Petruschka (1947): 4. Bild - Petruschkas Tod / Death of Petrushka (Lento, lamentoso) | — | ||
| 56-14 | Petruschka (1947): 4. Bild - Die Polizei und der Gaukler / Police and the Juggler (Più mosso - Lento) | — | ||
| 56-15 | Petruschka (1947): 4. Bild - Erscheinung von Petruschkas Geist / Apparition of Petrushka's Double (L'istesso tempo) | — | ||
| 56-16 | Bilder einer Ausstellung: Promenade | — | ||
| 56-17 | Bilder einer Ausstellung: Gnomus / The Gnome | — | ||
| 56-18 | Bilder einer Ausstellung: Promenade | — | ||
| 56-19 | Bilder einer Ausstellung: Il Vecchio Castello / The Old Castle | — | ||
| 56-20 | Bilder einer Ausstellung: Promenade | — | ||
| 56-21 | Bilder einer Ausstellung: Tuileries | — | ||
| 56-22 | Bilder einer Ausstellung: Bydlo / The Oxcart | — | ||
| 56-23 | Bilder einer Ausstellung: Promenade | — | ||
| 56-24 | Bilder einer Ausstellung: Ballet des Poussins dans leurs Coques / Ballet of the Chicks in Their Shells | — | ||
| 56-25 | Bilder einer Ausstellung: Samuel Goldenberg und Schmuyle | — | ||
| 56-26 | Bilder einer Ausstellung: Limoges. Le Marché / Limoges. The Market | — | ||
| 56-27 | Bilder einer Ausstellung: Catacombae - Sepulchrum Romanum / The Catacombs - Roman Sepulchre | — | ||
| 56-28 | Bilder einer Ausstellung: Con Mortuis in Lingua Mortua / With the Dead in a dead Language | — | ||
| 56-29 | Bilder einer Ausstellung: La Cabane sur des Pattes de Poule / The Hut on Chicken's Legs | — | ||
| 56-30 | Bilder einer Ausstellung: La Grande Porte de Kiev / The Great Gate of Kiev | — | ||
| 57-1 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', I. Introduction | — | ||
| 57-2 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', II. Dances Of The Young Girls | — | ||
| 57-3 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', III. Ritual Of Abduction | — | ||
| 57-4 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', IV. Spring Rounds | — | ||
| 57-5 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', V. Ritual Of The Rival Tribes | — | ||
| 57-6 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', VI. Procession Of The Sage | — | ||
| 57-7 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', VII. The Sage | — | ||
| 57-8 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', VIII. Dance Of The Earth | — | ||
| 57-9 | The Rite Of Spring, Pt. 2 'The Sacrifice', IX. Introduction | — | ||
| 57-10 | The Rite Of Spring, Pt. 2 'The Sacrifice', X. Mystic Circles Of The Young Girls | — | ||
| 57-11 | The Rite Of Spring, Pt. 2 'The Sacrifice', XI. Glorification Of The Chosen One | — | ||
| 57-12 | The Rite Of Spring, Pt. 2 'The Sacrifice', XII. Evocation Of The Ancestors | — | ||
| 57-13 | The Rite Of Spring, Pt. 2 'The Sacrifice', Xiii. Ritual Action Of The Ancestors | — | ||
| 57-14 | The Rite Of Spring, Pt. 2 'The Sacrifice', XIV. Sacrificial Dance | — | ||
| 58-1 | Symphony No.5 in E minor, op.64 - I. Andante - Allegro con anima | — | ||
| 58-2 | Symphony No.5 in E minor, op.64 - II. Andante cantabile, con alcuna licenza | — | ||
| 58-3 | Symphony No.5 in E minor, op.64 - III. Valse: Allegro moderato | — | ||
| 58-4 | Symphony No.5 in E minor, op.64 - IV. Andante maestoso - Allegro vivace | — | ||
| 58-5 | Francesca da Rimini, op.32 - Symphonic fantasy after Dante | — | ||
| 59-1 | Symphonie Nr. 6 h-Moll, op.54 - I. Largo - Moderato - Largo | — | ||
| 59-2 | Symphonie Nr. 6 h-Moll, op.54 - II. Allegro | — | ||
| 59-3 | Symphonie Nr. 6 h-Moll, op.54 - III. Presto | — | ||
| 59-4 | Symphonie Nr. 6 h-Moll, op. 64 "Pathétique": I. Adagio – Allegro non troppo | — | ||
| 59-5 | Symphonie Nr. 6 h-Moll, op. 64 "Pathétique": II. Allegro con grazia | — | ||
| 59-6 | Symphonie Nr. 6 h-Moll, op. 64 "Pathétique": III. Allegro molto vivace | — | ||
| 59-7 | Symphonie Nr. 6 h-Moll, op. 64 "Pathétique": IV. Finale. Adagio lamentoso | — | ||
| 60-1 | Romeo und Julia, TH 42 (Live) | — | ||
| 60-2 | L'oiseau de feu (1919 Suite): Ia. Introduction [Live] | — | ||
| 60-3 | L'oiseau de feu (1919 Suite): Ib. L'oiseau de feu et sa danse [Live] | — | ||
| 60-4 | L'oiseau de feu (1919 Suite): Ic. Variation de l'oiseau de feu [Live] | — | ||
| 60-5 | L'oiseau de feu (1919 Suite): II. Ronde des princesses [Live] | — | ||
| 60-6 | L'oiseau de feu (1919 Suite): III. Danse infernale du roi Kastchei [Live] | — | ||
| 60-7 | L'oiseau de feu (1919 Suite): IV. Berceuse [Live] | — | ||
| 60-8 | L'oiseau de feu (1919 Suite): V. Final [Live] | — | ||
| 61-1 | Pique Dame: Introduction | — | ||
| 61-2 | Pique Dame: Act 1, Scene 1, Nr. 1. Children’s Chorus. Gori, gori yasno | — | ||
| 61-3 | Pique Dame: Act 1, Scene 1, Nr. 2. Scene and Arioso of Herman | — | ||
| 61-4 | Pique Dame: Act 1, Scene 1, Nr. 3. Chorus and Scene | — | ||
| 61-5 | Pique Dame: Act 1, Scene 1, Nr. 4. Quintet and Scene | — | ||
| 61-6 | Pique Dame: Act 1, Scene 1, Nr. 5. Scene and Ballad of Tomsky | — | ||
| 61-7 | Pique Dame: Act 1, Scene 1, Nr. 6. Final Scene | — | ||
| 61-8 | Pique Dame: Act 1, Scene 2, Nr. 7. Duet Lisa, Polina | — | ||
| 61-9 | Pique Dame: Act 1, Scene 2, Nr. 8. Scene and Romance of Polina | — | ||
| 61-10 | Pique Dame: Act 1, Scene 2, Nr. 9. Scene and Arioso of the Governess | — | ||
| 61-11 | Pique Dame: Act 1, Scene 2, Nr. 10. Final Scene | — | ||
| 62-1 | Pique Dame: Act 2, Scene 3, Nr. 11. Entr’acte and Chorus | — | ||
| 62-2 | Pique Dame: Act 2, Scene 3, Nr. 12. Scene and Aria of the Prince | — | ||
| 62-3 | Pique Dame: Act 2, Scene 3, Nr. 13. Scene | — | ||
| 62-4 | Pique Dame: Act 2, Scene 3, Nr. 14.a Intermezzo | — | ||
| 62-5 | Pique Dame: Act 2, Scene 3, Nr. 14.c Duet Chloe and Daphnis | — | ||
| 62-6 | Pique Dame: Act 2, Scene 3, Nr. 14.d Finale (Intermezzo) | — | ||
| 62-7 | Pique Dame: Act 2, Scene 3, Nr. 15. Final Scene | — | ||
| 62-8 | Pique Dame: Act 2, Scene 4, Nr. 16. Scene and Chorus | — | ||
| 62-9 | Pique Dame: Act 2, Scene 4, Nr. 17. Final Scene | — | ||
| 63-1 | Pique Dame: Act 3, Scene 5, Nr. 18. Entr’acte and Chorus | — | ||
| 63-2 | Pique Dame: Act 3, Scene 5, Nr. 19. Scene | — | ||
| 63-3 | Pique Dame: Act 3, Scene 6, Nr. 20. Scene and Arioso of Lisa | — | ||
| 63-4 | Pique Dame: Act 3, Scene 6, Nr. 21. Scene and Duet | — | ||
| 63-5 | Pique Dame: Act 3, Scene 7, Nr. 22. Chorus and Scene | — | ||
| 63-6 | Pique Dame: Act 3, Scene 7, Nr. 23. Song of Tomsky and Chorus | — | ||
| 63-7 | Pique Dame: Act 3, Scene 7, Nr. 24. Final Scene | — | ||
| 64-1 | 1. Requiem et Kyrie | — | ||
| 64-2 | 2a. Sequenzia (Dies irae): Dies irae | — | ||
| 64-3 | 2b. Sequenzia (Dies irae): Tuba mirum spargens sonum | — | ||
| 64-4 | 2c. Sequenzia (Dies irae): Liber scriptus proferetur | — | ||
| 64-5 | 2d. Sequenzia (Dies irae): Quid sum miser tunc dicturus | — | ||
| 64-6 | 2e. Sequenzia (Dies irae): Rex tremendae majestatis | — | ||
| 64-7 | 2f. Sequenzia (Dies irae): Recordare, Jesu pie | — | ||
| 64-8 | 2g. Sequenzia (Dies irae): Ingemisco tamquam reus | — | ||
| 64-9 | 2h. Sequenzia (Dies irae): Confutatis maledictis | — | ||
| 64-10 | 2i. Sequenzia (Dies irae): Lacrimosa | — | ||
| 65-1 | 3a. Offertorio: Domine Jesu Christe | — | ||
| 65-2 | 3b. Offertorio: Hostias et preces tibi, Domine | — | ||
| 65-3 | Sanctus et Benedictus | — | ||
| 65-4 | Agnus Dei | — | ||
| 65-5 | Communio (Lux aeterna) | — | ||
| 65-6 | Responsorio (Libera me): Libera me, Domine | — | ||
| 68-1 | Symphonie fantastique: II. Un bal (rehearsal) | — | ||
| 68-2 | Solang der alte Peter (Arr. for Brass Ensemble) | — | ||
| 68-3 | Antrittsrede von Mariss Jansons an das BRSO | — | ||
| 68-4 | Erste Probe Berlioz, Symphonie fantastique (rehearsal) | — | ||
| 68-5 | Symphonie fantastique: IV. Marche au supplice (rehearsal) | — | ||
| 68-6 | Fortsetzung der Probe Berlioz, Symphonie fantastique (rehearsal) | — | ||
| 68-7 | Symphonie fantastique: V. Songe d'une nuit de sabbat (rehearsal) | — | ||
| 68-8 | Symphonie fantastique: V. Songe d'une nuit de sabbat (rehearsal) | — | ||
| 68-9 | Symphonie fantastique: V. Songe d'une nuit de sabbat (rehearsal) | — | ||
| 68-10 | Symphonie fantastique: V. Songe d'une nuit de sabbat (rehearsal) | — | ||
| 68-11 | Zusammenfassung der beiden Proben-Mitschnitte Berlioz, Symphonie fantastique (rehearsal) | — | ||
| 68-12 | Mariss Jansons im Gespräch mit Renate Ulm | — | ||
| 69-1 | I. Andante - Allegro con anima | — | ||
| 69-2 | I. Andante - Allegro con anima | — | ||
| 69-3 | Wie kann ich Ihnen das erklaeren? - Die innere Welt | — | ||
| 69-4 | I. Andante - Allegro con anima | — | ||
| 69-5 | I. Andante - Allegro con anima | — | ||
| 69-6 | Mariss Jansons im Gespräch mit Bernhard Neuhoff, Pt. 1 | — | ||
| 69-7 | I. Andante - Allegro con anima | — | ||
| 69-8 | I. Andante - Allegro con anima | — | ||
| 69-9 | Mariss Jansons im Gespräch mit Bernhard Neuhoff, Pt. 2 | — | ||
| 69-10 | I. Andante - Allegro con anima | — | ||
| 69-11 | Mariss Jansons im Gespräch mit Bernhard Neuhoff, Pt. 3 | — | ||
| 69-12 | II. Andante cantabile con alcuna licenza | — | ||
| 69-13 | Die Arbeit am Klang | — | ||
| 69-14 | II. Andante cantabile con alcuna licenza | — | ||
| 69-15 | II. Andante cantabile con alcuna licenza | — | ||
| 69-16 | Mariss Jansons im Gespräch mit Bernhard Neuhoff, Pt. 4 | — | ||
| 69-17 | II. Andante cantabile con alcuna licenza | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Identifier Graph
4035719002003 is a Universal Product Code (UPC) assigned to Mariss Jansons - The Edition by Mariss Jansons, Chor, Symphonieorchester des Bayerischen Rundfunks. 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 552 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
The UPC for “Mariss Jansons - The Edition” by Mariss Jansons, Chor, Symphonieorchester des Bayerischen Rundfunks is 4035719002003. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2021-11-05. This release contains 552 tracks, each with its own ISRC. Tracks include DELW71971601, DELW71971602, DELW71971603.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphonie No. 1 in C major, Op. 21: I. Allegro Con Brio | — | ||
| 2 | Symphonie no. 1 in C major, op. 21: II. Andante cantabile con moto | — | ||
| 3 | Symphonie no. 1 in C major, op. 21: III. Menuetto. Allegro molto e vivace | — | ||
| 4 | Symphonie no. 1 in C major, op. 21: IV. Allegro molto e vivace | — | ||
| 5 | Maniai | — | ||
| 6 | Symphonie no. 2 in D major, op. 36: I. Allegro con brio | — | ||
| 7 | Symphonie no. 2 in D major, op. 36: II. Larghetto | — | ||
| 8 | Symphonie no. 2 in D major, op. 36: III. Scherzo. Allegro | — | ||
| 9 | Symphonie no. 2 in D major, op. 36: IV. Allegro molto | — | ||
| 10 | Nirai, intermezzo zu Beethovens Symphonien Nr. 2 und 6 | — | ||
| 2-1 | Symphonie No. 3 in E-flat major, “Eroica”: I. Allegro Con Brio | — | ||
| 2-2 | Symphonie no. 3 in E-flat major, “Eroica”: II. Marcia funebre. Adagio assai | — | ||
| 2-3 | Symphonie no. 3 in E-flat major, “Eroica”: III. Allegro vivace - Trio. Un poco meno allegro | — | ||
| 2-4 | Symphonie no. 3 in E-flat major, “Eroica”: IV. Finale - Allegro molto | — | ||
| 2-5 | Beethovens Heiligenstädter Testament, symphonisches fragment für orchester | — | ||
| 3-1 | Symphonie no. 4 in B-flat major, op. 60: I. Adagio | — | ||
| 3-2 | Symphonie no. 4 in B-flat major, op. 60: II. Adagio | — | ||
| 3-3 | Symphonie no. 4 in B-flat major, op. 60: III. Menuetto: Allegro vivace | — | ||
| 3-4 | Symphonie no. 4 in B-flat major, op. 60: IV. Allegro ma non troppo | — | ||
| 3-5 | Symphonie no. 5 in C minor, op. 67: I. Allegro con brio | — | ||
| 3-6 | Symphonie no. 5 in C minor, op. 67: II. Andante con moto | — | ||
| 3-7 | Symphonie no. 5 in C minor, op. 67: III. Allegro | — | ||
| 3-8 | Symphonie no. 5 in C minor, op. 67: IV. Allegro | — | ||
| 3-9 | Fires: I. Misterioso | — | ||
| 3-10 | Fires: II. Con brio | — | ||
| 4-1 | Symphony no. 6 in F major, op. 68 “Pastoral”: I. Allegro ma non troppo | — | ||
| 4-2 | Symphony no. 6 in F major, op. 68 “Pastoral”: II. Andante molto mosso | — | ||
| 4-3 | Symphony no. 6 in F major, op. 68 “Pastoral”: III. Allegro | — | ||
| 4-4 | Symphony no. 6 in F major, op. 68 “Pastoral”: IV. Allegro | — | ||
| 4-5 | Symphony no. 6 in F major, op. 68 “Pastoral”: V. Allegretto | — | ||
| 4-6 | Dixi, für gemischten Chor und Orchester | — | ||
| 5-1 | Symphony no. 7 in A major, op. 92: I. Poco sostenuto - Vivace | — | ||
| 5-2 | Symphony no. 7 in A major, op. 92: II. Allegretto | — | ||
| 5-3 | Symphony no. 7 in A major, op. 92: III. Presto, assai meno presto | — | ||
| 5-4 | Symphony no. 7 in A major, op. 92: IV. Allegro con brio | — | ||
| 5-5 | Con brio, Konzertouvertüre für Orchester | — | ||
| 5-6 | Symphony no. 8 in F major, op. 93: I. Allegro vivace e con brio | — | ||
| 5-7 | Symphony no. 8 in F major, op. 93: II. Allegretto scherzando | — | ||
| 5-8 | Symphony no. 8 in F major, op. 93: III. Tempo di menuetto | — | ||
| 5-9 | Symphony no. 8 in F major, op. 93: IV. Allegro vivace | — | ||
| 6-1 | Symphony no. 9 in D minor, op. 125 “Choral”: I. Allegro ma non troppo, un poco maestoso | — | ||
| 6-2 | Symphony no. 9 in D minor, op. 125 “Choral”: II. Molto vivace | — | ||
| 6-3 | Symphony no. 9 in D minor, op. 125 “Choral”: III. Adagio molto e cantabile - Andante moderato | — | ||
| 6-4 | Symphony no. 9 in D minor, op. 125 “Choral”: IV. Finale: Presto - Allegro assai | — | ||
| 7-1 | Symphony No. 9 in D minor, Op. 125 "Choral": I. Allegro ma non troppo, un poco maestoso | — | ||
| 7-2 | Symphony No. 9 in D minor, Op. 125 "Choral": II. Molto vivace - Presto | — | ||
| 7-3 | Symphony No. 9 in D minor, Op. 125 "Choral": III. Adagio molto e cantabile | — | ||
| 7-4 | Symphony No. 9 in D minor, Op. 125 "Choral": IV. Presto - Allegro assai | — | ||
| 8-1 | Messe C-Dur, op.86 - Kyrie. Andante con moto assai vivace quasi Allegretto ma non troppo | — | ||
| 8-2 | Messe C-Dur, op.86 - Gloria. Allegro | — | ||
| 8-3 | Messe C-Dur, op.86 - Credo. Allegro con brio | — | ||
| 8-4 | Messe C-Dur, op.86 - Sanctus. Adagio | — | ||
| 8-5 | Messe C-Dur, op.86 - Benedictus. Allegretto ma non troppo | — | ||
| 8-6 | Messe C-Dur, op.86 - Agnus Dei. Poco Andante | — | ||
| 8-7 | Leonoren-Ouvertüre Nr. 3 C-Dur, op. 72b | — | ||
| 9-1 | Symphonie fantastique, op. 14: I. Reveries: Largo - Passions: Allegro agitato e appassionato assai | — | ||
| 9-2 | Symphonie fantastique, op. 14: II. Un Bal (Valse): Allegro non troppo | — | ||
| 9-3 | Symphonie fantastique, op. 14: III. Scene aux Champs: Adagio | — | ||
| 9-4 | Symphonie fantastique, op. 14: IV. Marche au Supplice: Allegretto non troppo | — | ||
| 9-5 | Symphonie fantastique, op. 14: V. Songe d'une Nuit du Sabbat: Larghetto - Allegro | — | ||
| 9-6 | Ionisation | — | ||
| 10-1 | Symphonie Nr. 1 c-Moll, op. 68: I. Un poco sostenuto - Allegro | — | ||
| 10-2 | Symphonie Nr. 1 c-Moll, op. 68: II. Andante sostenuto | — | ||
| 10-3 | Symphonie Nr. 1 c-Moll, op. 68: III. Un poco allegretto e grazioso | — | ||
| 10-4 | Symphonie Nr. 1 c-Moll, op. 68: IV. Adagio - Più andante - Allegro non troppo, ma con brio | — | ||
| 11-1 | Symphonie Nr. 4 e-Moll, op. 98: I. Allegro non troppo | — | ||
| 11-2 | Symphonie Nr. 4 e-Moll, op. 98: II. Andante moderato | — | ||
| 11-3 | Symphonie Nr. 4 e-Moll, op. 98: III. Allegro giocoso | — | ||
| 11-4 | Symphonie Nr. 4 e-Moll, op. 98: IV. Allegro energico e passionato | — | ||
| 12-1 | Symphonie Nr. 2 D-Dur, op. 73: I. Allegro non troppo | — | ||
| 12-2 | Symphonie Nr. 2 D-Dur, op. 73: II. Adagio non troppo | — | ||
| 12-3 | Symphonie Nr. 2 D-Dur, op. 73: III. Allegretto grazioso (Quasi andantino) - Presto ma non assai | — | ||
| 12-4 | Symphonie Nr. 2 D-Dur, op. 73: IV. Allegro con spirito | — | ||
| 12-5 | Symphonie Nr. 3 F-Dur, op. 90: I. Allegro con brio | — | ||
| 12-6 | Symphonie Nr. 3 F-Dur, op. 90: II. Andante | — | ||
| 12-7 | Symphonie Nr. 3 F-Dur, op. 90: III. Poco allegretto | — | ||
| 12-8 | Symphonie Nr. 3 F-Dur, op. 90: IV. Allegro | — | ||
| 13-1 | 4 Symphonic Interludes from "Intermezzo, Op. 72", TrV 246a: No. 1, Reisefieber und Walzerszene. Schnell und heiter | — | ||
| 13-2 | 4 Symphonic Interludes from "Intermezzo, Op. 72", TrV 246a: No. 2, Träumerei am Kamin. Ruhig schwebend | — | ||
| 13-3 | 4 Symphonic Interludes from "Intermezzo, Op. 72", TrV 246a: No. 3, Am Spieltisch. Sehr gemächlich | — | ||
| 13-4 | 4 Symphonic Interludes from "Intermezzo, Op. 72", TrV 246a: No. 4, Fröhlicher Beschluss. Sehr lebhaft und fröhlich | — | ||
| 13-5 | Symphony No. 4 in E Minor, Op. 98: I. Allegro non troppo | — | ||
| 13-6 | Symphony No. 4 in E Minor, Op. 98: II. Andante moderato | — | ||
| 13-7 | Symphony No. 4 in E Minor, Op. 98: III. Allegro giocoso | — | ||
| 13-8 | Symphony No. 4 in E Minor, Op. 98: IV. Allegro energico e passionato | — | ||
| 14-1 | War Requiem, op. 66: Requiem Aeternam | — | ||
| 14-2 | War Requiem, op. 66: Dies Irae | — | ||
| 14-3 | War Requiem, op. 66: Offertorium | — | ||
| 15-1 | War Requiem, op. 66: Sanctus | — | ||
| 15-2 | War Requiem, op. 66: Agnus Dei | — | ||
| 15-3 | War Requiem, op. 66: Libera Me | — | ||
| 16-1 | Symphonie Nr. 3 d-Moll, WAB 103: Mehr langsam, misterioso | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 16-2 | Symphonie Nr. 3 d-Moll, WAB 103: Adagio, bewegt, quasi andante | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 16-3 | Symphonie Nr. 3 d-Moll, WAB 103: Ziemlich schnell – Trio | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 16-4 | Symphonie Nr. 3 d-Moll, WAB 103: Allegro | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-003.055.867-8 | |
| 17-1 | Symphonie Nr. 4 Es-Dur „Romantische“, WAB 104: Bewegt, nicht zu schnell | — | ||
| 17-2 | Symphonie Nr. 4 Es-Dur „Romantische“, WAB 104: Andante quasi Allegretto | — | ||
| 17-3 | Symphonie Nr. 4 Es-Dur „Romantische“, WAB 104: Scherzo. Bewegt – Trio. Nicht zu schnell. Keinesfalls schleppend | — | ||
| 17-4 | Symphonie Nr. 4 Es-Dur „Romantische“, WAB 104: Finale. Bewegt, doch nicht zu schnell | — | ||
| 18-1 | Symphonie Nr. 6, A-Dur: I. Maestoso | — | ||
| 18-2 | Symphonie Nr. 6, A-Dur: II. Adagio. Sehr feierlich | — | ||
| 18-3 | Symphonie Nr. 6, A-Dur: III. Scherzo. Nicht schnell - Trio. Langsam | — | ||
| 18-4 | Symphonie Nr. 6, A-Dur: IV. Finale. Bewegt, doch nicht zu schnell | — | ||
| 19-1 | Symphonie Nr. 7 E-dur: I. Allegro moderato | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 19-2 | Symphonie Nr. 7 E-dur: II. Adagio (Sehr feierlich und sehr langsam) | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 19-3 | Symphonie Nr. 7 E-dur: III. Scherzo (Sehr schnell), Trio (Etwas langsamer) | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 19-4 | Symphonie Nr. 7 E-dur: IV. Finale (Bewegt, doch nicht zu schnell) | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 20-1 | Symphonie Nr. 8 c-Moll: Allegro moderato | — | ||
| 20-2 | Symphonie Nr. 8 c-Moll: Scherzo. Allegro moderato – Trio. Langsam | — | ||
| 20-3 | Symphonie Nr. 8 c-Moll: Adagio. Feierlich langsam, doch nicht schleppend | — | ||
| 20-4 | Symphonie Nr. 8 c-Moll: Finale. Feierlich, nicht schnell | — | ||
| 21-1 | I. Feierlich, misterioso (Live) | — | ||
| 21-2 | II. Scherzo. Bewegt, lebhaft - Trio. Schnell (Live) | — | ||
| 21-3 | III. Adagio. Langsam feierlich (Live) | — | ||
| 22-1 | Mass No. 3 in F minor, WAB 28: Kyrie. Moderato | — | ||
| 22-2 | Mass No. 3 in F minor, WAB 28: Gloria. Allegro | — | ||
| 22-3 | Mass No. 3 in F minor, WAB 28: Credo. Allegro | — | ||
| 22-4 | Mass No. 3 in F minor, WAB 28: Sanctus. Moderato - Allegro | — | ||
| 22-5 | Mass No. 3 in F minor, WAB 28: Benedictus. Allegro moderato | — | ||
| 22-6 | Mass No. 3 in F minor, WAB 28: Agnus Die. Andante | — | ||
| 23-1 | Symphonie Nr. 8 G-Dur, Op. 88: Allegro con brio | — | ||
| 23-2 | Symphonie Nr. 8 G-Dur, Op. 88: Adagio | — | ||
| 23-3 | Symphonie Nr. 8 G-Dur, Op. 88: Allegretto grazioso | — | ||
| 23-4 | Symphonie Nr. 8 G-Dur, Op. 88: Allegro, ma non troppo | — | ||
| 23-5 | Serenáda für Streichorchester Es-Dur, Op. 6: Andante con moto | — | ||
| 23-6 | Serenáda für Streichorchester Es-Dur, Op. 6: Allegro, ma non troppo e grazioso - Poco meno mosso | — | ||
| 23-7 | Serenáda für Streichorchester Es-Dur, Op. 6: Adagio | — | ||
| 23-8 | Serenáda für Streichorchester Es-Dur, Op. 6: Allegro giocoso, ma non troppo presto | — | ||
| 23-9 | Karneval, Op. 92 | — | ||
| 24-1 | Stabat mater, op. 58: I. Stabat mater dolorosa. Andante con moto | — | ||
| 24-2 | Stabat mater, op. 58: II. Quis est homo, qui non fleret. Andante sostenuto | — | ||
| 24-3 | Stabat mater, op. 58: III. Eja, mater, fons amoris. Andante con moto | — | ||
| 24-4 | Stabat mater, op. 58: IV. Fac, ut ardeat cor meum. Largo | — | ||
| 24-5 | Stabat mater, op. 58: V. Tui nati vulnerati. Andante con moto, quasi allegretto | — | ||
| 24-6 | Stabat mater, op. 58: VI. Fac me vere tecum flere. Andante con moto | — | ||
| 24-7 | Stabat mater, op. 58: VII. Virgo virginum praeclara. Largo | — | ||
| 24-8 | Stabat mater, op. 58: VIII. Fac, ut portem Christi mortem. Larghetto | — | ||
| 24-9 | Stabat mater, op. 58: IX. Inflammatus et accensus. Andante maestoso | — | ||
| 24-10 | Stabat mater, op. 58: X. Quando corpus morietur. Andante con moto | — | ||
| 25-1 | España - Rhapsodie für Orchester | — | ||
| 25-2 | Rhapsody in Blue für Klavier und Orchester (Fassung von Ferde Grofé) | — | ||
| 25-3 | Rumänische Rhapsodie A- Dur, Op. 11 Nr. 1 | — | ||
| 25-4 | Rapsodie espagnole: Prélude à la nuit. Très modéré | — | ||
| 25-5 | Malagueña. Assez vif | — | ||
| 25-6 | Habanera. Assez lent et d'un rythme las | — | ||
| 25-7 | Feria. Assez animé | — | ||
| 25-8 | Ungarische Rhapsodie Nr. 2 (Bearbeitung für großes Orchester von Karl Müller-Berghaus) | — | ||
| 26-1 | Sinfonia in D-Dur, Hob.Ia:7: “Overtura” | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-2 | Symphonie in G-Dur, Hob. I:88: Adagio – Allegro | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-306.395.786-4 | |
| 26-3 | Symphonie in G-Dur, Hob. I:88: Largo | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-4 | Symphonie in G-Dur, Hob. I:88: Menuetto. Allegretto – Trio | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-5 | Symphonie in G-Dur, Hob. I:88: Finale. Allegro con spirito | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-6 | Messe für Soli, Chor und Orchester in B-Dur “Harmoniemesse”, Hob. XXII:14: Kyrie | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-7 | Messe für Soli, Chor und Orchester in B-Dur “Harmoniemesse”, Hob. XXII:14: Gloria | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-8 | Messe für Soli, Chor und Orchester in B-Dur “Harmoniemesse”, Hob. XXII:14: Credo | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-037.336.913-1 | |
| 26-9 | Messe für Soli, Chor und Orchester in B-Dur “Harmoniemesse”, Hob. XXII:14: Sanctus | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-10 | Messe für Soli, Chor und Orchester in B-Dur “Harmoniemesse”, Hob. XXII:14: Benedictus | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 26-11 | Messe für Soli, Chor und Orchester in B-Dur “Harmoniemesse”, Hob. XXII:14: Agnus Dei | Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-922.061.546-3 | |
| 27-1 | Concerto for Orchestra: I. Intrada: Allegro maestoso | — | ||
| 27-2 | Concerto for Orchestra: II. Capriccio notturno e arioso: Vivace | — | ||
| 27-3 | Concerto for Orchestra: III. Passacaglia, toccata e Corale: Andante con moto | — | ||
| 27-4 | Symphony No.3, op.27 "Song of the Night": I. Moderato assai | — | ||
| 27-5 | Symphony No.3, op.27 "Song of the Night": II. Vivace scherzando | — | ||
| 27-6 | Symphony No.3, op.27 "Song of the Night": III. Largo | — | ||
| 27-7 | Symphony No.4, op.78 | — | ||
| 28-1 | Symphony no. 1 in D major “Titan”: I. Langsam. Schleppend (live) | — | ||
| 28-2 | Symphony no. 1 in D major “Titan”: II. Kräftig, bewegt, doch nicht zu schnell (live) | — | ||
| 28-3 | Symphony no. 1 in D major “Titan”: III. Feierlich und gemessen, ohne zu schleppen (live) | — | ||
| 28-4 | Symphony no. 1 in D major “Titan”: IV. Stürmisch bewegt (live) | — | ||
| 29-1 | Symphony no. 2 in C minor "Resurrection": I. Allegro maestoso. Mit durchaus ernstem und feierlichen Ausdruck | — | ||
| 29-2 | Symphony no. 2 in C minor "Resurrection": II. Andante moderato. Sehr gemächlich. Nie eilen | — | ||
| 29-3 | Symphony no. 2 in C minor "Resurrection": III. In ruhig fließender Bewegung. Sehr gemächlich. Nicht eilen | — | ||
| 29-4 | Symphony no. 2 in C minor "Resurrection": IV. 'Urlicht'. Sehr feierlich, aber schlicht. Choralmäßig | — | ||
| 29-5 | Symphony no. 2 in C minor "Resurrection": V. Im Tempo des Scherzo. Wild herausfahrend | — | ||
| 30-1 | Symphony No. 3 in D minor: I. Kräftig. Entschieden | — | ||
| 31-1 | Symphony No. 3 in D minor: II. Tempo di Menuetto. Sehr mäßig. Ja nicht eilen! | — | ||
| 31-2 | Symphony No. 3 in D minor: III. Comodo. Scherzando. Ohne Hast | — | ||
| 31-3 | Symphony No. 3 in D minor: IV. Sehr langsam. Misterioso. Durchaus ppp | — | ||
| 31-4 | Symphony No. 3 in D minor: V. Lustig im Tempo und keck im Ausdruck | — | ||
| 31-5 | Symphony No. 3 in D minor: VI. Langsam. Ruhevoll. Empfunden | — | ||
| 32-1 | Symphony no. 4 in G major: I. Bedächtig. Nicht eilen | — | ||
| 32-2 | Symphony no. 4 in G major: II. In gemächlicher Bewegung ohne Hast | — | ||
| 32-3 | Symphony no. 4 in G major: III. Ruhevoll (Poco adagio) | — | ||
| 32-4 | Symphony no. 4 in G major: IV. Sehr behaglich (Wir genießen die himmlischen Freuden) | — | ||
| 33-1 | Symphonie Nr. 5 cis-Moll: Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt | — | ||
| 33-2 | Symphonie Nr. 5 cis-Moll: Stürmisch bewegt. Mit größter Vehemenz | — | ||
| 33-3 | Symphonie Nr. 5 cis-Moll: Scherzo. Kräftig, nicht zu schnell | — | ||
| 33-4 | Symphonie Nr. 5 cis-Moll: Adagietto. Sehr langsam | — | ||
| 33-5 | Symphonie Nr. 5 cis-Moll: Rondo-Finale. Allegro | — | ||
| 34-1 | Symphony no. 6 in A minor "Tragic": I. Allegro energico, ma non troppo | — | ||
| 34-2 | Symphony no. 6 in A minor "Tragic": II. Scherzo | — | ||
| 34-3 | Symphony no. 6 in A minor "Tragic": III. Andante | — | ||
| 34-4 | Symphony no. 6 in A minor "Tragic": IV. Finale | — | ||
| 35-1 | Symphony no 7 in E major: I. Langsam. Adagio - Allegro risoluto, ma non troppo | — | ||
| 35-2 | Symphony no 7 in E major: II. Nachtmusik I: Allegro moderato | — | ||
| 35-3 | Symphony no 7 in E major: III. Scherzo: Schattenhaft | — | ||
| 35-4 | Symphony no 7 in E major: IV. Nachtmusik II: Andante amoroso | — | ||
| 35-5 | Symphony no 7 in E major: V. Rondo-Finale. Tempo 1 | — | ||
| 36-1 | Symphony no. 8: 1. Veni, creator spiritus - | — | ||
| 36-2 | Symphony no. 8: 2. Imple superna gratia - | — | ||
| 36-3 | Symphony no. 8: 3. Infirma nostri corporis - | — | ||
| 36-4 | Symphony no. 8: 4. Tempo I | — | ||
| 36-5 | Symphony no. 8: 5. Infirma nostri corporis - | — | ||
| 36-6 | Symphony no. 8: 6. Accende lumen sensibus - | — | ||
| 36-7 | Symphony no. 8: 7. Veni, creator spiritus - | — | ||
| 36-8 | Symphony no. 8: 8. Gloria Patri Domino | — | ||
| 36-9 | Symphony no. 8: 9. Poco adagio | — | ||
| 36-10 | Symphony no. 8: 10. Piu mosso | — | ||
| 36-11 | Symphony no. 8: 11. Waldung | — | ||
| 36-12 | Symphony no. 8: 12. Ewiger Wonnebrand - | — | ||
| 36-13 | Symphony no. 8: 13. Wie Felsenabgrund mir zu Fussen - | — | ||
| 36-14 | Symphony no. 8: 14. Gerettet ist das edle Glied - | — | ||
| 36-15 | Symphony no. 8: 15. Jene Rosen aus den Handen | — | ||
| 36-16 | Symphony no. 8: 16. Uns bleibt ein Erdenrest - | — | ||
| 36-17 | Symphony no. 8: 17. Hier ist die Aussicht frei - | — | ||
| 36-18 | Symphony no. 8: 18. Hochste Herrscherin der Welt! | — | ||
| 36-19 | Symphony no. 8: 19. Dir, der Unberuhrbaren - | — | ||
| 36-20 | Symphony no. 8: 20. Bei der Liebe, die den Fussen - | — | ||
| 36-21 | Symphony no. 8: 21. Neige, neige, du Ohnegleiche - | — | ||
| 36-22 | Symphony no. 8: 22. Er uberwachst uns schon | — | ||
| 36-23 | Symphony no. 8: 23. Komm! hebe dich zu hohern Spharen! - | — | ||
| 36-24 | Symphony no. 8: 24. Alles Vergangliche ist nur ein Gleichnis | — | ||
| 37-1 | Symphonie Nr. 9: Andante comodo | — | ||
| 37-2 | Symphonie Nr. 9: Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb | — | ||
| 37-3 | Symphonie Nr. 9: Rondo-Burleske. Allegro assai. Sehr trotzig | — | ||
| 37-4 | Symphonie Nr. 9: Adagio. Sehr langsam und noch zurückhaltend | — | ||
| 38-1 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): I. Introitus. Requiem aeternam | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-2 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): II. Kyrie eleison | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-911.382.283-6 | |
| 38-3 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IIIa. Dies irae | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-4 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IIIb. Tuba mirum | Genia Kühmeier, Elisabeth Kulman, Mark Padmore, Adam Plachetka, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-5 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IIIc. Rex tremendae | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-6 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IIId. Recordare | Genia Kühmeier, Elisabeth Kulman, Mark Padmore, Adam Plachetka, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-7 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IIIe. Confutatis | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-009.157.867-4 | |
| 38-8 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IIIf. Lacrimosa | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-9 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IVa. Offertorium. Domine Jesu Christe | Genia Kühmeier, Elisabeth Kulman, Mark Padmore, Adam Plachetka, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-10 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): IVb. Offertorium. Hostias | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-11 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): V. Sanctus | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-12 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): VI. Benedictus | Genia Kühmeier, Elisabeth Kulman, Mark Padmore, Adam Plachetka, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-13 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): VII. Agnus Dei | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 38-14 | Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr): VIII. Communio. Lux aeterna | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | T-910.952.061-8 | |
| 39-1 | Berliner Messe: Kyrie | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-2 | Berliner Messe: Gloria | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-3 | Berliner Messe: Alleluia I zum Pfingstfest | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-4 | Berliner Messe: Alleluia II zum Pfingstfest | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-5 | Berliner Messe: Veni sancte spiritus | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-6 | Berliner Messe: Credo | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-7 | Berliner Messe: Sanctus | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-8 | Berliner Messe: Agnus Dei | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-9 | Stabat Mater, FP 148: Stabat mater dolorosa. Très calme | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-10 | Stabat Mater, FP 148: Cujus animam gementem. Allegro molto (très violent) | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-11 | Stabat Mater, FP 148: O quam tristis. Très lent | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-12 | Stabat Mater, FP 148: Quae moerebat. Andantino | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-13 | Stabat Mater, FP 148: Quis est homo. Allegro molto | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-14 | Stabat Mater, FP 148: Vidit suum. Andante | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-15 | Stabat Mater, FP 148: Eja, mater. Allegro | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-16 | Stabat Mater, FP 148: Fac ut ardeat. Maestoso | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-17 | Stabat Mater, FP 148: Sancta mater. Moderato | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-18 | Stabat Mater, FP 148: Fac ut portem. Tempo de sarabande | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-19 | Stabat Mater, FP 148: Inflammatus et accensus. Animé et très rythmé | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-20 | Stabat Mater, FP 148: Quando corpus. Très calme | Genia Kühmeier, Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-21 | Psalmensymphonie: Exaudi orationem meam | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-22 | Psalmensymphonie: Expectans expectavi Dominum | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 39-23 | Psalmensymphonie: Alleluja. Laudate Dominum | Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons | — | |
| 40-1 | The Bells op. 35: I. Allegro, ma no tanto | — | ||
| 40-2 | The Bells op. 35: II. Lento | — | ||
| 40-3 | The Bells op. 35: III. Presto | — | ||
| 40-4 | The Bells op. 35: IV. Lento lugubre | — | ||
| 40-5 | Symphonic Dances op. 45: I. Non allegro | — | ||
| 40-6 | Symphonic Dances op. 45: II. Andante con moto (Tempo di valse) | — | ||
| 40-7 | Symphonic Dances op. 45: III. Lento assai - Allegro vivace | — | ||
| 41-1 | Part I: Initial | — | ||
| 41-2 | II. Requiem Aeternam Dona eis Domine | — | ||
| 41-3 | III. Kyrie | — | ||
| 41-4 | Part II: IV. Sonett I | — | ||
| 41-5 | V. A. Psalm | — | ||
| 41-6 | VI. Sonett II | — | ||
| 41-7 | V. B. Psalm | — | ||
| 41-8 | VII. Sonett III | — | ||
| 41-9 | Part III: VIII. | — | ||
| 41-10 | IX. Lacrimosa I | — | ||
| 41-11 | X. Sanctus | — | ||
| 41-12 | XI. Der Tod ist groß | — | ||
| 41-13 | XII. Lacrimosa II | — | ||
| 41-14 | Xiii. Agnus Dei | — | ||
| 41-15 | XIV. Epilog (Strophen) | — | ||
| 42-1 | Symphonie Nr. 3 c-Moll, op. 78, "Orgelsymphonie": Ia. Adagio - Allegro moderato | — | ||
| 42-2 | Symphonie Nr. 3 c-Moll, op. 78, "Orgelsymphonie": Ib. Poco adagio | — | ||
| 42-3 | Symphonie Nr. 3 c-Moll, op. 78, "Orgelsymphonie": IIa. Allegro moderato | — | ||
| 42-4 | Symphonie Nr. 3 c-Moll, op. 78, "Orgelsymphonie": IIb. Maestoso | — | ||
| 42-5 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Andante | — | ||
| 42-6 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Allegro giocoso | — | ||
| 42-7 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Andante moderato | — | ||
| 42-8 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Tempo allegro. Molto agitato | — | ||
| 42-9 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Tres calme. Lent | — | ||
| 42-10 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Tempo de I'allegro initial | — | ||
| 42-11 | Konzert für Orgel, Streichorchester und Pauken in g-Moll, FP 93: Largo | — | ||
| 43-1 | Symphony No. 5 in D minor, Op. 47:I. Moderato - Allegro non troppo | — | ||
| 43-2 | Symphony No. 5 in D minor, Op. 47: II. Allegretto | — | ||
| 43-3 | Symphony No. 5 in D minor, Op. 47: III. Largo | — | ||
| 43-4 | Symphony No. 5 in D minor, Op. 47:IV. Allegro non troppo | — | ||
| 44-1 | I. Allegretto | — | ||
| 44-2 | II. Moderato (poco allegretto) | — | ||
| 44-3 | III. Adagio - Largo - Moderato risoluto | — | ||
| 44-4 | IV. Allegro non troppo - Moderato | — | ||
| 45-1 | Symphonie Nr. 10 E-Moll: Moderato | — | ||
| 45-2 | Symphonie Nr. 10 E-Moll: Allegro | — | ||
| 45-3 | Symphonie Nr. 10 E-Moll: Allegretto - Largo | — | ||
| 45-4 | Symphonie Nr. 10 E-Moll: Andante - Allegro | — | ||
| 46-1 | Piano Concerto No.1 in C minor, I. Allegro moderato - | — | ||
| 46-2 | Piano Concerto No.1 in C minor, II. Lento | — | ||
| 46-3 | Piano Concerto No.1 in C minor, III. Moderato | — | ||
| 46-4 | Piano Concerto No.1 in C minor, IV. Allegro con brio - Presto - | — | ||
| 46-5 | Symphony No.9 in E Flat major, op.70, 1. Allegro | — | ||
| 46-6 | Symphony No.9 in E Flat major, op.70, 2. Moderato | — | ||
| 46-7 | Symphony No.9 in E Flat major, op.70, 3. Presto | — | ||
| 46-8 | Symphony No.9 in E Flat major, op.70, 4. Largo | — | ||
| 46-9 | Symphony No.9 in E Flat major, op.70, 5. Allegretto - Allegro | — | ||
| 47-1 | Carmen-Suite: 1. Einleitung. Andante assai | — | ||
| 47-2 | Carmen-Suite: Tanz. Allegro | — | ||
| 47-3 | Carmen-Suite: 3. Erstes Intermezzo. Allegro moderato | — | ||
| 47-4 | Carmen-Suite: 4. Wachablösung. Moderato | — | ||
| 47-5 | Carmen-Suite: 5. Carmen-Auftritt und Habanera. Allegro moderato | — | ||
| 47-6 | Carmen-Suite: 6. Szene. Allegro moderato | — | ||
| 47-7 | Carmen-Suite: 7. Zweites Intermezzo. Larghetto | — | ||
| 47-8 | Carmen-Suite: 8. Bolero. Allegro vivo | — | ||
| 47-9 | Carmen-Suite: 9. Torero. Moderato con stoltezza | — | ||
| 47-10 | Carmen-Suite: 10. Torero und Carmen. Lento | — | ||
| 47-11 | Carmen-Suite: 11. Adagio. Andante moderato | — | ||
| 47-12 | Carmen-Suite: 12. Wahrsagung. Andantino | — | ||
| 47-13 | Carmen-Suite: 13. Finale. Allegro | — | ||
| 47-14 | Pini di Roma: 1. Die Pinien der Villa Borghese. Allegretto vivace | — | ||
| 47-15 | Pini di Roma: 2. Pinien bei einer Katakombe. Lento | — | ||
| 47-16 | Pini di Roma: 3. Die Pinien auf dem Gianicolo. Lento | — | ||
| 47-17 | Pini di Roma: 4. Die Pinien der Via Appia. Tempo di marcia | — | ||
| 48-1 | Symphony No. 9 (8) in C Major, D. 944 "Great": I. Andante - Allegro ma non troppo | — | ||
| 48-2 | Symphony No. 9 (8) in C Major, D. 944 "Great": II. Andante con moto | — | ||
| 48-3 | Symphony No. 9 (8) in C Major, D. 944 "Great": III. Scherzo. Allegro vivace | — | ||
| 48-4 | Symphony No. 9 (8) in C Major, D. 944 "Great": IV. Allegro vivace | — | ||
| 49-1 | Mass No. 2 in G Major, D. 167: Kyrie | — | ||
| 49-2 | Mass No. 2 in G Major, D. 167: Gloria | — | ||
| 49-3 | Mass No. 2 in G Major, D. 167: Credo | — | ||
| 49-4 | Mass No. 2 in G Major, D. 167: Sanctus | — | ||
| 49-5 | Mass No. 2 in G Major, D. 167: Benedictus | — | ||
| 49-6 | Mass No. 2 in G Major, D. 167: Agnus Dei | — | ||
| 49-7 | Messe solennelle de Sainte Cécile: Kyrie | — | ||
| 49-8 | Messe solennelle de Sainte Cécile: Gloria | — | ||
| 49-9 | Messe solennelle de Sainte Cécile: Credo | — | ||
| 49-10 | Messe solennelle de Sainte Cécile: Offertorium | — | ||
| 49-11 | Messe solennelle de Sainte Cécile: Sanctus | — | ||
| 49-12 | Messe solennelle de Sainte Cécile: Benedictus | — | ||
| 49-13 | Messe solennelle de Sainte Cécile: Agnus Dei | — | ||
| 49-14 | Messe solennelle de Sainte Cécile: Domine Salvam: No. 1. Prière de l'église | — | ||
| 49-15 | Messe solennelle de Sainte Cécile: Domine Salvam: No. 2. Prière de l'armée | — | ||
| 49-16 | Messe solennelle de Sainte Cécile: Domine Salvam: No. 3. Prière de la nation | — | ||
| 50-1 | Symphonie Nr. 1 B-Dur - Andante un poco maestoso - Allegro molto vivace | — | ||
| 50-2 | Symphonie Nr. 1 B-Dur - Larghetto | — | ||
| 50-3 | Symphonie Nr. 1 B-Dur - Scherzo. Molto vivace | — | ||
| 50-4 | Symphonie Nr. 1 B-Dur - Allegro animato e grazioso | — | ||
| 50-5 | Symphonie Nr. 3 D-Dur - Adagio maestoso - Allegro con brio | — | ||
| 50-6 | Symphonie Nr. 3 D-Dur - Allegretto | — | ||
| 50-7 | Symphonie Nr. 3 D-Dur - Menuetto. Vivace | — | ||
| 50-8 | Symphonie Nr. 3 D-Dur - Presto. Vivace | — | ||
| 51-1 | Finlandia. Andante sostenuto – Allegro moderato | — | ||
| 51-2 | Karelia-Suite: Intermezzo. Moderato | — | ||
| 51-3 | Karelia-Suite: Ballade. Tempo di Menuetto – Un poco più lento | — | ||
| 51-4 | Karelia-Suite: Alla marcia. Moderato | — | ||
| 51-5 | Symphonie Nr. 2 D-Dur: Allegretto | — | ||
| 51-6 | Symphonie Nr. 2 D-Dur: Tempo andante, ma rubato | — | ||
| 51-7 | Symphonie Nr. 2 D-Dur: Vivacissimo – Trio. Lento e soave | — | ||
| 51-8 | Symphonie Nr. 2 D-Dur: Finale. Allegro moderato | — | ||
| 52-1 | Don Juan, Op. 20, TrV 156 (Live) | — | ||
| 52-2 | Ein Heldenleben, Op. 40, TrV 190: I. Der Held (Live) | — | ||
| 52-3 | Ein Heldenleben, Op. 40, TrV 190: II. Des Helden Widersacher - (Live) | — | ||
| 52-4 | Ein Heldenleben, Op. 40, TrV 190: III. Des Helden Gefährtin - (Live) | — | ||
| 52-5 | Ein Heldenleben, Op. 40, TrV 190: IV. Des Helden Walstatt - (Live) | — | ||
| 52-6 | Ein Heldenleben, Op. 40, TrV 190: V. Des Helden Friedenswerke - (Live) | — | ||
| 52-7 | Ein Heldenleben, Op. 40, TrV 190: VI. Des Helden Weltflucht und Vollendung (Live) | — | ||
| 53-1 | Also sprach Zarathustra, Op. 30, TrV 176: I. Einleitung (Live) | — | ||
| 53-2 | Also sprach Zarathustra, Op. 30, TrV 176: II. Von den Hinterweltlern (Live) | — | ||
| 53-3 | Also sprach Zarathustra, Op. 30, TrV 176: III. Von der großen Sehnsucht (Live) | — | ||
| 53-4 | Also sprach Zarathustra, Op. 30, TrV 176: IV. Von den Freuden und Leidenschaften (Live) | — | ||
| 53-5 | Also sprach Zarathustra, Op. 30, TrV 176: V. Das Grablied (Live) | — | ||
| 53-6 | Also sprach Zarathustra, Op. 30, TrV 176: VI. Von der Wissenschaft (Live) | — | ||
| 53-7 | Also sprach Zarathustra, Op. 30, TrV 176: VII. Der Genesende (Live) | — | ||
| 53-8 | Also sprach Zarathustra, Op. 30, TrV 176: VIII. Das Tanzlied (Live) | — | ||
| 53-9 | Also sprach Zarathustra, Op. 30, TrV 176: IX. Nachtwandlerlied (Live) | — | ||
| 53-10 | Burleske fur Klavier und Orchester d-Moll, WoO, AV. 85 | — | ||
| 54-1 | Eine Alpensinfonie, Op. 64: Nacht | — | ||
| 54-2 | Eine Alpensinfonie, Op. 64: Sonnenaufgang | — | ||
| 54-3 | Eine Alpensinfonie, Op. 64: Der Anstieg | — | ||
| 54-4 | Eine Alpensinfonie, Op. 64: Eintritt in den Wald | — | ||
| 54-5 | Eine Alpensinfonie, Op. 64: Wanderung neben dem Bache | — | ||
| 54-6 | Eine Alpensinfonie, Op. 64: Am Wasserfall | — | ||
| 54-7 | Eine Alpensinfonie, Op. 64: Erscheinung | — | ||
| 54-8 | Eine Alpensinfonie, Op. 64: Auf blumige Wiesen | — | ||
| 54-9 | Eine Alpensinfonie, Op. 64: Auf der Alm | — | ||
| 54-10 | Eine Alpensinfonie, Op. 64: Durch Dickicht und Gestrüpp auf Irrwegen | — | ||
| 54-11 | Eine Alpensinfonie, Op. 64: Auf dem Gletscher | — | ||
| 54-12 | Eine Alpensinfonie, Op. 64: Gefahrvolle Augenblicke | — | ||
| 54-13 | Eine Alpensinfonie, Op. 64: Auf dem Gipfel | — | ||
| 54-14 | Eine Alpensinfonie, Op. 64: Vision | — | ||
| 54-15 | Eine Alpensinfonie, Op. 64: Nebel steigen auf | — | ||
| 54-16 | Eine Alpensinfonie, Op. 64: Die Sonne verdüstert sich allmählich | — | ||
| 54-17 | Eine Alpensinfonie, Op. 64: Elegie | — | ||
| 54-18 | Eine Alpensinfonie, Op. 64: Stille vor dem Sturm | — | ||
| 54-19 | Eine Alpensinfonie, Op. 64: Gewitter und Sturm, Abstieg | — | ||
| 54-20 | Eine Alpensinfonie, Op. 64: Sonnenuntergang | — | ||
| 54-21 | Eine Alpensinfonie, Op. 64: Ausklang | — | ||
| 54-22 | Eine Alpensinfonie, Op. 64: Nacht | — | ||
| 54-23 | Tod und Verklärung, Op. 24 | — | ||
| 55-1 | Rosenkavalier-Suite, AV 145 | — | ||
| 55-2 | Till Eulenspiegels lustige Streiche, Op. 28 | — | ||
| 55-3 | Vier letzte Lieder, o.Op., AV 150: I. Frühling: Allegretto | — | ||
| 55-4 | Vier letzte Lieder, o.Op., AV 150: II. September: Andante | — | ||
| 55-5 | Vier letzte Lieder, o.Op., AV 150: III. Beim Schlafengehen: Andante | — | ||
| 55-6 | Vier letzte Lieder, o.Op., AV 150: IV. Im Abendrot: Andante | — | ||
| 56-1 | Petruschka (1947): 1. Bild - Jahrmarket in der Fastnachtswoche / The Shrove-tide Fair (Vivace) | — | ||
| 56-2 | Petruschka (1947): 1. Bild - Russischer Tanz / Russian Dance (Allegro giusto) | — | ||
| 56-3 | Petruschka (1947): 2. Bild - Bei Petruschka / Petrushka (Impetuoso) | — | ||
| 56-4 | Petruschka (1947): 3. Bild - Bei dem Mohren / The Blackamoor (L'istesso tempo) | — | ||
| 56-5 | Petruschka (1947): 3. Bild - Walzer / Valse (Lento cantabile) | — | ||
| 56-6 | Petruschka (1947): 4. Bild - Volksfest in der Fastnachtswoche gegen Abend / The Shrove-tide Fair Toward Evening (Tempo giusto) | — | ||
| 56-7 | Petruschka (1947): 4. Bild - Tanz der Ammen / The Wet-nurses' Dance (Allegretto) | — | ||
| 56-8 | Petruschka (1947): 4. Bild - Ein Bauer und der Bär / Peasant with Bear (Tempo giusto) | — | ||
| 56-9 | Petruschka (1947): 4. Bild - Die Zigeunerinnen und ein genusssüchtiger Kaufmann / Gypsies and a Rake Vendor (L'istesso tempo) | — | ||
| 56-10 | Petruschka (1947): 4. Bild - Tanz der Kutscher / Dance of the Coachmen (Allegro moderato) | — | ||
| 56-11 | Petruschka (1947): 4. Bild - Die Maskierten / Masqueraders (L'istesso tempo, ma poco a poco agitato) | — | ||
| 56-12 | Petruschka (1947): 4. Bild - Der Kampf: Der Mohr und Petruschka / The Scuffle: Blackamoor and Petrushka (Tempo di rigore) | — | ||
| 56-13 | Petruschka (1947): 4. Bild - Petruschkas Tod / Death of Petrushka (Lento, lamentoso) | — | ||
| 56-14 | Petruschka (1947): 4. Bild - Die Polizei und der Gaukler / Police and the Juggler (Più mosso - Lento) | — | ||
| 56-15 | Petruschka (1947): 4. Bild - Erscheinung von Petruschkas Geist / Apparition of Petrushka's Double (L'istesso tempo) | — | ||
| 56-16 | Bilder einer Ausstellung: Promenade | — | ||
| 56-17 | Bilder einer Ausstellung: Gnomus / The Gnome | — | ||
| 56-18 | Bilder einer Ausstellung: Promenade | — | ||
| 56-19 | Bilder einer Ausstellung: Il Vecchio Castello / The Old Castle | — | ||
| 56-20 | Bilder einer Ausstellung: Promenade | — | ||
| 56-21 | Bilder einer Ausstellung: Tuileries | — | ||
| 56-22 | Bilder einer Ausstellung: Bydlo / The Oxcart | — | ||
| 56-23 | Bilder einer Ausstellung: Promenade | — | ||
| 56-24 | Bilder einer Ausstellung: Ballet des Poussins dans leurs Coques / Ballet of the Chicks in Their Shells | — | ||
| 56-25 | Bilder einer Ausstellung: Samuel Goldenberg und Schmuyle | — | ||
| 56-26 | Bilder einer Ausstellung: Limoges. Le Marché / Limoges. The Market | — | ||
| 56-27 | Bilder einer Ausstellung: Catacombae - Sepulchrum Romanum / The Catacombs - Roman Sepulchre | — | ||
| 56-28 | Bilder einer Ausstellung: Con Mortuis in Lingua Mortua / With the Dead in a dead Language | — | ||
| 56-29 | Bilder einer Ausstellung: La Cabane sur des Pattes de Poule / The Hut on Chicken's Legs | — | ||
| 56-30 | Bilder einer Ausstellung: La Grande Porte de Kiev / The Great Gate of Kiev | — | ||
| 57-1 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', I. Introduction | — | ||
| 57-2 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', II. Dances Of The Young Girls | — | ||
| 57-3 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', III. Ritual Of Abduction | — | ||
| 57-4 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', IV. Spring Rounds | — | ||
| 57-5 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', V. Ritual Of The Rival Tribes | — | ||
| 57-6 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', VI. Procession Of The Sage | — | ||
| 57-7 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', VII. The Sage | — | ||
| 57-8 | The Rite Of Spring, Pt. 1 'Adoration Of The Earth', VIII. Dance Of The Earth | — | ||
| 57-9 | The Rite Of Spring, Pt. 2 'The Sacrifice', IX. Introduction | — | ||
| 57-10 | The Rite Of Spring, Pt. 2 'The Sacrifice', X. Mystic Circles Of The Young Girls | — | ||
| 57-11 | The Rite Of Spring, Pt. 2 'The Sacrifice', XI. Glorification Of The Chosen One | — | ||
| 57-12 | The Rite Of Spring, Pt. 2 'The Sacrifice', XII. Evocation Of The Ancestors | — | ||
| 57-13 | The Rite Of Spring, Pt. 2 'The Sacrifice', Xiii. Ritual Action Of The Ancestors | — | ||
| 57-14 | The Rite Of Spring, Pt. 2 'The Sacrifice', XIV. Sacrificial Dance | — | ||
| 58-1 | Symphony No.5 in E minor, op.64 - I. Andante - Allegro con anima | — | ||
| 58-2 | Symphony No.5 in E minor, op.64 - II. Andante cantabile, con alcuna licenza | — | ||
| 58-3 | Symphony No.5 in E minor, op.64 - III. Valse: Allegro moderato | — | ||
| 58-4 | Symphony No.5 in E minor, op.64 - IV. Andante maestoso - Allegro vivace | — | ||
| 58-5 | Francesca da Rimini, op.32 - Symphonic fantasy after Dante | — | ||
| 59-1 | Symphonie Nr. 6 h-Moll, op.54 - I. Largo - Moderato - Largo | — | ||
| 59-2 | Symphonie Nr. 6 h-Moll, op.54 - II. Allegro | — | ||
| 59-3 | Symphonie Nr. 6 h-Moll, op.54 - III. Presto | — | ||
| 59-4 | Symphonie Nr. 6 h-Moll, op. 64 "Pathétique": I. Adagio – Allegro non troppo | — | ||
| 59-5 | Symphonie Nr. 6 h-Moll, op. 64 "Pathétique": II. Allegro con grazia | — | ||
| 59-6 | Symphonie Nr. 6 h-Moll, op. 64 "Pathétique": III. Allegro molto vivace | — | ||
| 59-7 | Symphonie Nr. 6 h-Moll, op. 64 "Pathétique": IV. Finale. Adagio lamentoso | — | ||
| 60-1 | Romeo und Julia, TH 42 (Live) | — | ||
| 60-2 | L'oiseau de feu (1919 Suite): Ia. Introduction [Live] | — | ||
| 60-3 | L'oiseau de feu (1919 Suite): Ib. L'oiseau de feu et sa danse [Live] | — | ||
| 60-4 | L'oiseau de feu (1919 Suite): Ic. Variation de l'oiseau de feu [Live] | — | ||
| 60-5 | L'oiseau de feu (1919 Suite): II. Ronde des princesses [Live] | — | ||
| 60-6 | L'oiseau de feu (1919 Suite): III. Danse infernale du roi Kastchei [Live] | — | ||
| 60-7 | L'oiseau de feu (1919 Suite): IV. Berceuse [Live] | — | ||
| 60-8 | L'oiseau de feu (1919 Suite): V. Final [Live] | — | ||
| 61-1 | Pique Dame: Introduction | — | ||
| 61-2 | Pique Dame: Act 1, Scene 1, Nr. 1. Children’s Chorus. Gori, gori yasno | — | ||
| 61-3 | Pique Dame: Act 1, Scene 1, Nr. 2. Scene and Arioso of Herman | — | ||
| 61-4 | Pique Dame: Act 1, Scene 1, Nr. 3. Chorus and Scene | — | ||
| 61-5 | Pique Dame: Act 1, Scene 1, Nr. 4. Quintet and Scene | — | ||
| 61-6 | Pique Dame: Act 1, Scene 1, Nr. 5. Scene and Ballad of Tomsky | — | ||
| 61-7 | Pique Dame: Act 1, Scene 1, Nr. 6. Final Scene | — | ||
| 61-8 | Pique Dame: Act 1, Scene 2, Nr. 7. Duet Lisa, Polina | — | ||
| 61-9 | Pique Dame: Act 1, Scene 2, Nr. 8. Scene and Romance of Polina | — | ||
| 61-10 | Pique Dame: Act 1, Scene 2, Nr. 9. Scene and Arioso of the Governess | — | ||
| 61-11 | Pique Dame: Act 1, Scene 2, Nr. 10. Final Scene | — | ||
| 62-1 | Pique Dame: Act 2, Scene 3, Nr. 11. Entr’acte and Chorus | — | ||
| 62-2 | Pique Dame: Act 2, Scene 3, Nr. 12. Scene and Aria of the Prince | — | ||
| 62-3 | Pique Dame: Act 2, Scene 3, Nr. 13. Scene | — | ||
| 62-4 | Pique Dame: Act 2, Scene 3, Nr. 14.a Intermezzo | — | ||
| 62-5 | Pique Dame: Act 2, Scene 3, Nr. 14.c Duet Chloe and Daphnis | — | ||
| 62-6 | Pique Dame: Act 2, Scene 3, Nr. 14.d Finale (Intermezzo) | — | ||
| 62-7 | Pique Dame: Act 2, Scene 3, Nr. 15. Final Scene | — | ||
| 62-8 | Pique Dame: Act 2, Scene 4, Nr. 16. Scene and Chorus | — | ||
| 62-9 | Pique Dame: Act 2, Scene 4, Nr. 17. Final Scene | — | ||
| 63-1 | Pique Dame: Act 3, Scene 5, Nr. 18. Entr’acte and Chorus | — | ||
| 63-2 | Pique Dame: Act 3, Scene 5, Nr. 19. Scene | — | ||
| 63-3 | Pique Dame: Act 3, Scene 6, Nr. 20. Scene and Arioso of Lisa | — | ||
| 63-4 | Pique Dame: Act 3, Scene 6, Nr. 21. Scene and Duet | — | ||
| 63-5 | Pique Dame: Act 3, Scene 7, Nr. 22. Chorus and Scene | — | ||
| 63-6 | Pique Dame: Act 3, Scene 7, Nr. 23. Song of Tomsky and Chorus | — | ||
| 63-7 | Pique Dame: Act 3, Scene 7, Nr. 24. Final Scene | — | ||
| 64-1 | 1. Requiem et Kyrie | — | ||
| 64-2 | 2a. Sequenzia (Dies irae): Dies irae | — | ||
| 64-3 | 2b. Sequenzia (Dies irae): Tuba mirum spargens sonum | — | ||
| 64-4 | 2c. Sequenzia (Dies irae): Liber scriptus proferetur | — | ||
| 64-5 | 2d. Sequenzia (Dies irae): Quid sum miser tunc dicturus | — | ||
| 64-6 | 2e. Sequenzia (Dies irae): Rex tremendae majestatis | — | ||
| 64-7 | 2f. Sequenzia (Dies irae): Recordare, Jesu pie | — | ||
| 64-8 | 2g. Sequenzia (Dies irae): Ingemisco tamquam reus | — | ||
| 64-9 | 2h. Sequenzia (Dies irae): Confutatis maledictis | — | ||
| 64-10 | 2i. Sequenzia (Dies irae): Lacrimosa | — | ||
| 65-1 | 3a. Offertorio: Domine Jesu Christe | — | ||
| 65-2 | 3b. Offertorio: Hostias et preces tibi, Domine | — | ||
| 65-3 | Sanctus et Benedictus | — | ||
| 65-4 | Agnus Dei | — | ||
| 65-5 | Communio (Lux aeterna) | — | ||
| 65-6 | Responsorio (Libera me): Libera me, Domine | — | ||
| 68-1 | Symphonie fantastique: II. Un bal (rehearsal) | — | ||
| 68-2 | Solang der alte Peter (Arr. for Brass Ensemble) | — | ||
| 68-3 | Antrittsrede von Mariss Jansons an das BRSO | — | ||
| 68-4 | Erste Probe Berlioz, Symphonie fantastique (rehearsal) | — | ||
| 68-5 | Symphonie fantastique: IV. Marche au supplice (rehearsal) | — | ||
| 68-6 | Fortsetzung der Probe Berlioz, Symphonie fantastique (rehearsal) | — | ||
| 68-7 | Symphonie fantastique: V. Songe d'une nuit de sabbat (rehearsal) | — | ||
| 68-8 | Symphonie fantastique: V. Songe d'une nuit de sabbat (rehearsal) | — | ||
| 68-9 | Symphonie fantastique: V. Songe d'une nuit de sabbat (rehearsal) | — | ||
| 68-10 | Symphonie fantastique: V. Songe d'une nuit de sabbat (rehearsal) | — | ||
| 68-11 | Zusammenfassung der beiden Proben-Mitschnitte Berlioz, Symphonie fantastique (rehearsal) | — | ||
| 68-12 | Mariss Jansons im Gespräch mit Renate Ulm | — | ||
| 69-1 | I. Andante - Allegro con anima | — | ||
| 69-2 | I. Andante - Allegro con anima | — | ||
| 69-3 | Wie kann ich Ihnen das erklaeren? - Die innere Welt | — | ||
| 69-4 | I. Andante - Allegro con anima | — | ||
| 69-5 | I. Andante - Allegro con anima | — | ||
| 69-6 | Mariss Jansons im Gespräch mit Bernhard Neuhoff, Pt. 1 | — | ||
| 69-7 | I. Andante - Allegro con anima | — | ||
| 69-8 | I. Andante - Allegro con anima | — | ||
| 69-9 | Mariss Jansons im Gespräch mit Bernhard Neuhoff, Pt. 2 | — | ||
| 69-10 | I. Andante - Allegro con anima | — | ||
| 69-11 | Mariss Jansons im Gespräch mit Bernhard Neuhoff, Pt. 3 | — | ||
| 69-12 | II. Andante cantabile con alcuna licenza | — | ||
| 69-13 | Die Arbeit am Klang | — | ||
| 69-14 | II. Andante cantabile con alcuna licenza | — | ||
| 69-15 | II. Andante cantabile con alcuna licenza | — | ||
| 69-16 | Mariss Jansons im Gespräch mit Bernhard Neuhoff, Pt. 4 | — | ||
| 69-17 | II. Andante cantabile con alcuna licenza | — |
