UPC · Release
Seiji Ozawa Edition
Seiji Ozawa
4988031812457
1000 tracksReleased 2025-01-01Universal
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4988031812457 is the Universal Product Code (UPC barcode) for the release “Seiji Ozawa Edition” by Seiji Ozawa, released 2025-01-01 on Universal. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 1000 tracks, each with its own ISRC. Tracks include DEF057201110, DEF057201120, DEF057201121.
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Credit Chain
UPCSeiji Ozawa Edition
ISRC487 recordings
ISWC20 works
IPI7 songwriters
Track List (1000)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Romeo and Juliet, TH 42: Andante non tanto quasi Moderato: Allegro giusto - Moderato assai | — | ||
| 2 | Romeo And Juliet, Ballet Suite, op. 64a, no. 2: I. The Montagues and the Capulets | — | ||
| 3 | Romeo And Juliet, Ballet Suite, op. 64a, no. 2: IV. Dance | — | ||
| 4 | Romeo And Juliet, Ballet Suite, op. 64a, no. 2: VII. Romeo at Juliet's Grave | — | ||
| 5 | Romeo And Juliet, Ballet Suite, op. 64a, no. 2: VI. Dance of the Maids from the Antilles | — | ||
| 6 | Romeo and Juliet, Ballet Suite, op. 64a, no. 1: VII. Death of Tybalt | — | ||
| 7 | Roméo et Juliette, op. 17, H.79, Part 3: Scène d'amour | — | ||
| 2-1 | Three Pieces for Blues Band and Symphony Orchestra, op.50: I. 1st Part | — | ||
| 2-2 | Three Pieces for Blues Band and Symphony Orchestra, op.50: II. 2nd Part | — | ||
| 2-3 | Three Pieces for Blues Band and Symphony Orchestra, op.50: III. 3rd Part | — | ||
| 2-4 | "West Side Story": Symphonic Dances: I. Prologue | — | ||
| 2-5 | "West Side Story": Symphonic Dances: II. Somewhere | — | ||
| 2-6 | "West Side Story": Symphonic Dances: III. Scherzo | — | ||
| 2-7 | "West Side Story": Symphonic Dances: IV. Mambo | — | ||
| 2-8 | "West Side Story": Symphonic Dances: V. Cha-cha | — | ||
| 2-9 | "West Side Story": Symphonic Dances: VI. Meeting Scene | — | ||
| 2-10 | "West Side Story": Symphonic Dances: VII. Cool Fugue | — | ||
| 2-11 | "West Side Story": Symphonic Dances: VIII. Rumble | — | ||
| 2-12 | "West Side Story": Symphonic Dances: IX. Finale | — | ||
| 3-1 | Symphonie fantastique, op. 14, H 48: I. Rêveries. Passions (Largo: Allegro agitato ed appassionato assai) | — | ||
| 3-2 | Symphonie fantastique, op. 14, H 48: II. Un bal (Valse: Allegro non troppo) | — | ||
| 3-3 | Symphonie fantastique, op. 14, H 48: III. Scène aux champs (Adagio) | — | ||
| 3-4 | Symphonie fantastique, op. 14, H 48: IV. Marche au supplice (Allegretto non troppo) | — | ||
| 3-5 | Symphonie fantastique, op. 14, H 48: V. Songe d'une nuit du Sabbat (Larghetto: Allegro - Ronde du Sabbat: Poco meno mosso) | — | ||
| 4-1 | La Damnation de Faust, op. 24, H 111, Pt. 1: Scène I. "Le vieil hiver a fait place au printemps" | — | ||
| 4-2 | La Damnation de Faust, op. 24, H 111, Pt. 1: Ronde des Paysans. "Les bergers quittent": Scène II. "Mais d'un éclat guerrier" | — | ||
| 4-3 | La Damnation de Faust, op. 24, H 111, Pt. 1: Marche hongroise | — | ||
| 4-4 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène III. "Sans regrets j'ai quitté les riantes campagnes" | — | ||
| 4-5 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chant de la fête de Pâques. "Christ vient de ressusciter!" | — | ||
| 4-6 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène IV. "O pure émotion!" | — | ||
| 4-7 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène V. Choeur de buveurs. "A boire encor!" | — | ||
| 4-8 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Brander. "Certain rat, dans une cuisine" | — | ||
| 4-9 | La Damnation de Faust, op. 24, H 111, Pt. 2: Fugue sur le thème de la chanson. "Amen" | — | ||
| 4-10 | La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Méphistophélès. "Une puce gentille" | — | ||
| 4-11 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VI. Air de Méphistophélès. "Voici des roses" | — | ||
| 4-12 | La Damnation de Faust, op. 24, H 111, Pt. 2: Songe de Faust. "Dors! heureux Faust" | — | ||
| 4-13 | La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VII. "Margarita!" | — | ||
| 4-14 | La Damnation de Faust, op. 24, H 111, Pt. 2: Choeurs de Soldats et Chanson d'Etudiants. "Villes entourées": "Jam nox stellata velamina pandit" | — | ||
| 5-1 | La Damnation de Faust, op. 24, H 111, Pt. 3: (Prélude: La retraite) | — | ||
| 5-2 | La Damnation de Faust, op. 24, H 111, Pt. 3: "Merci, doux crépuscule!": "Je l'entends!" (Faust / Méphistophélès, Faust) | — | ||
| 5-3 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène X. "Que l'air est étouffant" | — | ||
| 5-4 | La Damnation de Faust, op. 24, H 111, Pt. 3: Le roi de Thulé (Chanson gothique). "Autrefois un roi de Thulé" | — | ||
| 5-5 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1I. Evocation. "Esprits des flammes inconstantes" | — | ||
| 5-6 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1II. "Maintenant chantons à cette belle" | — | ||
| 5-7 | La Damnation de Faust, op. 24, H 111, Pt. 3: Sérénade de Méphistophélès. "Devant la maison" | — | ||
| 5-8 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1III. "Grands dieux!" | — | ||
| 5-9 | La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1IV. "Allons, il est trop tard!" | — | ||
| 5-10 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1V. Romance. "D'amour l'ardente flamme" | — | ||
| 5-11 | La Damnation de Faust, op. 24, H 111, Pt. 4: "Au son des trompettes" | — | ||
| 5-12 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VI. Invocation à la Nature. "Nature immense" | — | ||
| 5-13 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VII. Récitatif et Chasse. "A la voûte azurée" | — | ||
| 5-14 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VIII. La course à l'abîme. "Dans mon choeur retentit sa voix" | — | ||
| 5-15 | La Damnation de Faust, op. 24, H 111, Pt. 4: "Has! Irimirukarabrao! Has!": "Alors, l'Enfers se tut" (Choeur, Méphistophélès / Une Voix, Choeur) | — | ||
| 5-16 | La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 2I. Le Ciel. "Laus! Laus!": Apothéose de Marguerite. "Remonte au ciel, âme naïve" | — | ||
| 6-1 | Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": I. Allegro | — | ||
| 6-2 | Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": II. Adagio un poco mosso | — | ||
| 6-3 | Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": III. Rondo (Allegro) | — | ||
| 7-1 | The Miraculous Mandarin, BB 82, op. 19 (Sz.73): Suite | — | ||
| 7-2 | Symphony no. 4: I. Prelude (Walt Whitman) | — | ||
| 7-3 | Symphony no. 4: II. Allegretto | — | ||
| 7-4 | Symphony no. 4: III. Fugue. Andante moderato | — | ||
| 7-5 | Symphony no. 4: IV. Very slowly: Largo maestoso | — | ||
| 7-6 | Central Park in The Dark | — | ||
| 8-1 | Boléro, M. 81: Original Version, M. 81 | — | ||
| 8-2 | Miroirs, M.43, Orch. Ravel: III. Une barque sur l'océan | — | ||
| 8-3 | Menuet antique: for Orchestra | — | ||
| 8-4 | Alborada del gracioso, M 43: Orchestral version | — | ||
| 8-5 | Pavane pour une infante défunte, M.19 | — | ||
| 8-6 | La Valse, M.72 | — | ||
| 9-1 | Le Tombeau de Couperin, M. 68, Orchestral version: I. Prélude | — | ||
| 9-2 | Le Tombeau de Couperin, M. 68, Orchestral version: II. Forlane | — | ||
| 9-3 | Le Tombeau de Couperin, M. 68, Orchestral version: III. Menuet | — | ||
| 9-4 | Le Tombeau de Couperin, M. 68, Orchestral version: IV. Rigaudon | — | ||
| 9-5 | Ma mère l'Oye, M. 60, Orchestral version: Prélude | — | ||
| 9-6 | Ma mère l'Oye, M. 60, Orchestral version: Danse du rouet et scène: Interlude | — | ||
| 9-7 | Ma mère l'Oye, M. 60, Orchestral version: Pavane de la Belle au bois dormant | — | ||
| 9-8 | Ma mère l'Oye, M. 60, Orchestral version: Les entretiens de la Belle et de la Bête | — | ||
| 9-9 | Ma mère l'Oye, M. 60, Orchestral version: Petit Poucet | — | ||
| 9-10 | Ma mère l'Oye, M. 60, Orchestral version: Laideronnette, Impératrice des Pagodes | — | ||
| 9-11 | Ma mère l'Oye, M. 60, Orchestral version: Apothéose: Le jardin féerique | — | ||
| 9-12 | Rapsodie espagnole, M. 54: I. Prélude à la nuit | — | ||
| 9-13 | Rapsodie espagnole, M. 54: II. Malagueña | — | ||
| 9-14 | Rapsodie espagnole, M. 54: III. Habanera | — | ||
| 9-15 | Rapsodie espagnole, M. 54: IV. Feria | — | ||
| 10-1 | Daphnis et Chloé, M. 57, Première partie: Introduction: Lent - Trè modéré | — | ||
| 10-2 | Daphnis et Chloé, M. 57, Première partie: Danse religieuse: Modéré | — | ||
| 10-3 | Daphnis et Chloé, M. 57, Première partie: Scène: Un peu plus lent | — | ||
| 10-4 | Daphnis et Chloé, M. 57, Première partie: Scène: Les jeunes filles dansent - Vif | — | ||
| 10-5 | Daphnis et Chloé, M. 57, Première partie: Scène: Les jeunes filles dansent - Vif | — | ||
| 10-6 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse générale | — | ||
| 10-7 | Daphnis et Chloé, M. 57, Première partie: Scène: Vif - Plus modéré - Très modéré - Pesant | — | ||
| 10-8 | Daphnis et Chloé, M. 57, Première partie: Danse légère et gracieuse de Daphnis: Assez lent - Animé - Vif | — | ||
| 10-9 | Daphnis et Chloé, M. 57, Première partie: Scène: Lent - Moins lent - Très libre | — | ||
| 10-10 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse de Lyceion - Scène (Les pirates) | — | ||
| 10-11 | Daphnis et Chloé, M. 57, Première partie: Scène: Modérément animé - Très animé - Lent - Très agité | — | ||
| 10-12 | Daphnis et Chloé, M. 57, Première partie: Scène: Modéré - Plus lent | — | ||
| 10-13 | Daphnis et Chloé, M. 57, Première partie: Scène: Danse lente et mystérieuse | — | ||
| 10-14 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Même mouvement | — | ||
| 10-15 | Daphnis et Chloé, M. 57, Deuxième partie: Danse guerrière | — | ||
| 10-16 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Un peu moins animé | — | ||
| 10-17 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Danse suppliante de Chloé | — | ||
| 10-18 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Assez animé | — | ||
| 10-19 | Daphnis et Chloé, M. 57, Deuxième partie: Scène: Lent - Plus animé | — | ||
| 10-20 | Daphnis et Chloé, M. 57, Troisième partie: Lever du jour: Scène | — | ||
| 10-21 | Daphnis et Chloé, M. 57, Troisième partie: Daphnis et Chloé miment l'aventure de Pan et Syrinx | — | ||
| 10-22 | Daphnis et Chloé, M. 57, Troisième partie: Scène: Très lent | — | ||
| 10-23 | Daphnis et Chloé, M. 57, Troisième partie: Scène: Lent - Animé - Lent - Animé | — | ||
| 10-24 | Daphnis et Chloé, M. 57, Troisième partie: Danse générale | — | ||
| 10-25 | Valses nobles et sentimentales, M. 61: I. Modéré: très franc | — | ||
| 10-26 | Valses nobles et sentimentales, M. 61: II. Assez lent: avec une expression intense | — | ||
| 10-27 | Valses nobles et sentimentales, M. 61: III. Modéré | — | ||
| 10-28 | Valses nobles et sentimentales, M. 61: IV. Assez animé | — | ||
| 10-29 | Valses nobles et sentimentales, M. 61: V. Presque lent: dans un sentiment intime | — | ||
| 10-30 | Valses nobles et sentimentales, M. 61: VI. Assez vif | — | ||
| 10-31 | Valses nobles et sentimentales, M. 61: VII. Moins vif | — | ||
| 10-32 | Valses nobles et sentimentales, M. 61: VIII. Epilogue (Lent) | — | ||
| 11-1 | Symphony no. 2 in D major, op. 73: I. Allegro non troppo | — | ||
| 11-2 | Symphony no. 2 in D major, op. 73: II. Adagio non troppo: L'istesso tempo, ma grazioso | — | ||
| 11-3 | Symphony no. 2 in D major, op. 73: III. Allegretto grazioso (Quasi andantino): Presto ma non assai | — | ||
| 11-4 | Symphony no. 2 in D major, op. 73: IV. Allegro con spirito | — | ||
| 11-5 | Semiramide: Overture | — | ||
| 11-6 | Moto perpetuo, op. 11 | — | ||
| 12-1 | Roméo et Juliette, op. 17, H.79, Part 1: Introduction | — | ||
| 12-2 | Roméo et Juliette, op. 17, H.79, Part 1: Prologue: "D'anciennes haines endormies" | — | ||
| 12-3 | Roméo et Juliette, op. 17, H.79, Part 1: Strophe 1: "Premiers transports que nul n'oublie" | — | ||
| 12-4 | Roméo et Juliette, op. 17, H.79, Part 1: Récitatif et Scherzetto: "Bientôt de Roméo": "Mab! la messagère" - "Bientôt la mort est souveraine" | — | ||
| 12-5 | Roméo et Juliette, op. 17, H.79, Part 2: Roméo seul: Tristesse - Concert et bal. | — | ||
| 12-6 | Roméo et Juliette, op. 17, H.79, Part 3: "Ohé! Capulets": Scène d'amour | — | ||
| 13-1 | Roméo et Juliette, op. 17, H.79, Part 4: Scherzo. La Reine Mab ou la Fée des songes | — | ||
| 13-2 | Roméo et Juliette, op. 17, H.79, Part 5: Convoi funebre "Jetez des fleurs pour la vierge expirée" | — | ||
| 13-3 | Roméo et Juliette, op. 17, H.79, Part 6: Romeo au tombeau des Capulets | — | ||
| 13-4 | Roméo et Juliette, op. 17, H.79, Part 4: Invocation: Réveil de Juliette | — | ||
| 13-5 | Roméo et Juliette, op. 17, H.79, Part 4: Joie délirante, désespoir "Dernières angoisses et mort" | — | ||
| 13-6 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Quoi! Roméo de retour! Roméo" | — | ||
| 13-7 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Pauvres enfants que je pleure" | — | ||
| 13-8 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Mais notre sang rougit leur glaive" | — | ||
| 13-9 | Roméo et Juliette, op. 17, H.79, Part 7: Final. "Jurez donc, par l'auguste symbole" | — | ||
| 14-1 | Street Music, op. 65: A Blues Concerto: 1st Mvt | — | ||
| 14-2 | Street Music, op. 65: A Blues Concerto: 2nd Mvt | — | ||
| 14-3 | Street Music, op. 65: A Blues Concerto: 3rd Mvt | — | ||
| 14-4 | Street Music, op. 65: A Blues Concerto: 4th Mvt | — | ||
| 14-5 | An American in Paris | — | ||
| 15-1 | Chant du Ménestrel, op. 71 | — | ||
| 15-2 | Cello Concerto no. 2, op. 126: I. Largo | — | ||
| 15-3 | Cello Concerto no. 2, op. 126: II. Allegretto | — | ||
| 15-4 | Cello Concerto no. 2, op. 126: III. Allegretto | — | ||
| 15-5 | El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 1: Introducción | — | ||
| 15-6 | El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 1: Atardecer | — | ||
| 15-7 | El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 1: Danza de la molinera (Fandango) | — | ||
| 15-8 | El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 1: Las uvas | — | ||
| 15-9 | El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 2: Danza de los vecinos (Seguidillas) | — | ||
| 15-10 | El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 2: Danza del molinero (Farruca) | — | ||
| 15-11 | El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 2: Danza del corregidor | — | ||
| 15-12 | El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 2: Danza final (Jota) | — | ||
| 16-1 | Scheherazade, op. 35: I. The Sea and Sinbad's Ship | — | ||
| 16-2 | Scheherazade, op. 35: II. The Story of the Calender Prince | — | ||
| 16-3 | Scheherazade, op. 35: III. The Young Prince and the Young Princess | — | ||
| 16-4 | Scheherazade, op. 35: IV. Festival at Bagdad: The Sea - The Shipwreck Against a Rock Surmounted by a Bronze Warrior | — | ||
| 16-5 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): I. Andante tranquillo | — | ||
| 16-6 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): II. Allegro | — | ||
| 16-7 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): III. Adagio | — | ||
| 16-8 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): IV. Allegro molto | — | ||
| 17-1 | Symphony no. 5 in E minor, op. 64, TH.29: I. Andante: Allegro con anima | — | ||
| 17-2 | Symphony no. 5 in E minor, op. 64, TH.29: II. Andante cantabile, con alcuna licenza: Moderato con anima | — | ||
| 17-3 | Symphony no. 5 in E minor, op. 64, TH.29: III. Valse (Allegro moderato) | — | ||
| 17-4 | Symphony no. 5 in E minor, op. 64, TH.29: IV. Finale (Andante maestoso: Allegro vivace) | — | ||
| 18-1 | Clarinet Concerto in A major, K. 622: I. Allegro | — | ||
| 18-2 | Clarinet Concerto in A major, K. 622: II. Adagio | — | ||
| 18-3 | Clarinet Concerto in A major, K. 622: III. Rondo (Allegro) | — | ||
| 18-4 | Bassoon Concerto in B-flat major, K. 191, Cadenza: Walter Guetter: I. Allegro | — | ||
| 18-5 | Bassoon Concerto in B-flat major, K. 191, Cadenza: Walter Guetter: II. Andante ma Adagio | — | ||
| 18-6 | Bassoon Concerto in B-flat major, K. 191, Cadenza: Walter Guetter: III. Rondo. Tempo di Menuetto | — | ||
| 18-7 | Quatrain | — | ||
| 18-8 | A Flock Descends into the Pentagonal Garden | — | ||
| 19-1 | Symphony no. 1 in C minor, op. 68: I. Un poco sostenuto: Allegro - Meno allegro | — | ||
| 19-2 | Symphony no. 1 in C minor, op. 68: II. Andante sostenuto | — | ||
| 19-3 | Symphony no. 1 in C minor, op. 68: III. Un poco allegretto e grazioso | — | ||
| 19-4 | Symphony no. 1 in C minor, op. 68: IV. Adagio: Piu andante - Allegro non troppo, ma con brio - Piu allegro | — | ||
| 20-1 | Pines of Rome, P. 141: The Pines Of Villa Borghese (I pini di Villa Borghese) | — | ||
| 20-2 | Pines of Rome, P. 141: The Pines near a Catacomb (Pini presso una catacomba) | — | ||
| 20-3 | Pines of Rome, P. 141: The Pines of the Janiculum (I pini del Gianicolo) | — | ||
| 20-4 | Pines of Rome, P. 141: The Pines of the Appian Way (I pini della Via Appia) | — | ||
| 20-5 | Roman Festivals, P. 157: I. Circenses | — | ||
| 20-6 | Roman Festivals, P. 157: II. Giubileo | — | ||
| 20-7 | Roman Festivals, P. 157: III. L'Ottobrata | — | ||
| 20-8 | Roman Festivals, P. 157: IV. La Befana | — | ||
| 20-9 | Fountains of Rome, P. 106: I. The Valle Giulia Fountain at Daybreak (La fontana de Valle Giulia à l'alba) | — | ||
| 20-10 | Fountains of Rome, P. 106: II. The Triton Fountain in the Morning (La Fontana del Tritone al mattino) | — | ||
| 20-11 | Fountains of Rome, P. 106: III. The Trevi Fountain at Midday (La Fontana di Trevi al meriggio) | — | ||
| 20-12 | Fountains of Rome, P. 106: IV. The Villa Medici Fountain at Sunset (La Fontana di Villa Medici al tramonto) | — | ||
| 21-1 | Symphony no. 1 in D major: I. Langsam. Schleppend | — | ||
| 21-2 | Symphony no. 1 in D major: "Blumine". Andante allegretto | — | ||
| 21-3 | Symphony no. 1 in D major: II. Kräftig bewegt | — | ||
| 21-4 | Symphony no. 1 in D major: III. Feierlich und gemessen, ohne zu schleppen | — | ||
| 21-5 | Symphony no. 1 in D major: IV. Stürmisch bewegt | — | ||
| 22-1 | Violin Concerto "To the Memory of an Angel": I. Andante: Allegro | — | ||
| 22-2 | Violin Concerto "To the Memory of an Angel": II. Allegro: Adagio | — | ||
| 22-3 | Violin Concerto in D major: I. Toccata | — | ||
| 22-4 | Violin Concerto in D major: II. Aria I | — | ||
| 22-5 | Violin Concerto in D major: III. Aria II | — | ||
| 22-6 | Violin Concerto in D major: IV. Capriccio | — | ||
| 23-1 | Ancient Airs And Dances, Suite no. 1, P. 109: I. Balletto detto "Il Conte Orlando" | — | ||
| 23-2 | Ancient Airs And Dances, Suite no. 1, P. 109: II. Gagliarda | — | ||
| 23-3 | Ancient Airs And Dances, Suite no. 1, P. 109: III. Villanella | — | ||
| 23-4 | Ancient Airs And Dances, Suite no. 1, P. 109: IV. Passo mezzo e Mascherada | — | ||
| 23-5 | Ancient Airs And Dances, Suite no. 2, [P. 138]: I. Laura soave: balletto con gagliarda, saltarello e canario | — | ||
| 23-6 | Ancient Airs And Dances, Suite no. 2, [P. 138]: II. Danza rustica | — | ||
| 23-7 | Ancient Airs And Dances, Suite no. 2, [P. 138]: III. Campanae parisienses: Aria | — | ||
| 23-8 | Ancient Airs And Dances, Suite no. 2, [P. 138]: IV. Bergamasca | — | ||
| 23-9 | Ancient Airs And Dances, Suite no. 3, P. 172: I. Italiana | — | ||
| 23-10 | Ancient Airs And Dances, Suite no. 3, P. 172: II. Arie di corte | — | ||
| 23-11 | Ancient Airs And Dances, Suite no. 3, P. 172: III. Siciliana | — | ||
| 23-12 | Ancient Airs And Dances, Suite no. 3, P. 172: IV. Passacaglia | — | ||
| 24-1 | Swan Lake, op. 20, TH. 12: Introduction | — | ||
| 24-2 | Swan Lake, op. 20, TH. 12, Act 1: no. 1 Scène (Allegro giusto) | — | ||
| 24-3 | Swan Lake, op. 20, TH. 12, Act 1: no. 2 Valse (Corps de Ballet) | — | ||
| 24-4 | Swan Lake, op. 20, TH. 12, Act 1: no. 3 Scène (Allegro moderato) | — | ||
| 24-5 | Swan Lake, op. 20, TH. 12, Act 1: no. 4a Pas de trois: Intrada (Allegro) | — | ||
| 24-6 | Swan Lake, op. 20, TH. 12, Act 1: no. 4b Pas de trois: Andante sostenuto | — | ||
| 24-7 | Swan Lake, op. 20, TH. 12, Act 1: no. 4c Pas de trois: Allegro semplice | — | ||
| 24-8 | Swan Lake, op. 20, TH. 12, Act 1: no. 4d Pas de trois: Moderato | — | ||
| 24-9 | Swan Lake, op. 20, TH. 12, Act 1: no. 4e Pas de trois: Allegro | — | ||
| 24-10 | Swan Lake, op. 20, TH. 12, Act 1: no. 4f Pas de trois: Coda (Allegro vivace) | — | ||
| 24-11 | Swan Lake, op. 20, TH. 12, Act 1: no. 5 Pas de deux: a) Intrada-Valse: b) Andante | — | ||
| 24-12 | Swan Lake, op. 20, TH. 12, Act 1: no. 5c Pas de deux: Valse | — | ||
| 24-13 | Swan Lake, op. 20, TH. 12, Act 1: no. 5d Pas de deux: Coda (Allegro molto vivace) | — | ||
| 24-14 | Swan Lake, op. 20, TH. 12, Act 1: no. 6 Pas d'action und No. 7 Sujet | — | ||
| 24-15 | Swan Lake, op. 20, TH. 12, Act 1: no. 8 Danse des coupes (Tempo di polacca) | — | ||
| 24-16 | Swan Lake, op. 20, TH. 12, Act 1: no. 9 Finale (Andante) | — | ||
| 24-17 | Swan Lake, op. 20, TH. 12, Act 2: no. 10 Scène (Moderato) | — | ||
| 24-18 | Swan Lake, op. 20, TH. 12, Act 2: no. 11 Scène (Allegro moderato) | — | ||
| 24-19 | Swan Lake, op. 20, TH. 12, Act 2: no. 12 Scène (Allegro) | — | ||
| 24-20 | Swan Lake, op. 20, TH. 12, Act 2: no. 13a Danse des cygnes: Valse | — | ||
| 24-21 | Swan Lake, op. 20, TH. 12, Act 2: no. 13b Danse des cygnes: Odette solo/Première danse de la reine des cygnes (Moderato assai) | — | ||
| 24-22 | Swan Lake, op. 20, TH. 12, Act 2: no. 13c Danse des cygnes: Valse | — | ||
| 24-23 | Swan Lake, op. 20, TH. 12, Act 2: no. 13d Danse des petits cygnes (Allegro moderato) | — | ||
| 25-1 | Swan Lake, op. 20, TH. 12, Act 2: no. 13e Danse des cygnes: Pas d'action: Odette et le prince/Deuxième danse de la reine des cygnes (Andante) | — | ||
| 25-2 | Swan Lake, op. 20, TH. 12, Act 2: no. 13f Danse des cygnes: Danse générale (Valse) | — | ||
| 25-3 | Swan Lake, op. 20, TH. 12, Act 2: no. 13g Danse des cygnes: Coda (Allegro vivace) | — | ||
| 25-4 | Swan Lake, op. 20, TH. 12, Act 2: no. 14 Scène (Moderato) | — | ||
| 25-5 | Swan Lake, op. 20, TH. 12, Act 3: no. 15 Danse de fançailles (Allegro giusto) | — | ||
| 25-6 | Swan Lake, op. 20, TH. 12, Act 3: no. 16 Danses du corps de ballet et des nains (Moderato assai) | — | ||
| 25-7 | Swan Lake, op. 20, TH. 12, Act 3: no. 17 Scène: Entrée des invités (Fanfares) et la valse (Allegro) | — | ||
| 25-8 | Swan Lake, op. 20, TH. 12, Act 3: no. 18 Scène (Allegro) | — | ||
| 25-9 | Swan Lake, op. 20, TH. 12, Act 3: Pas de six: Intrada (moderato assai) | — | ||
| 25-10 | Swan Lake, op. 20, TH. 12, Act 3: Pas de six: Var. I (Allegro) und Var.II (Andante c.m.) | — | ||
| 25-11 | Swan Lake, op. 20, TH. 12, Act 3: Pas de six: Var. III (Moderato) und Var.IV (Allegro) | — | ||
| 25-12 | Swan Lake, op. 20, TH. 12, Act 3: Pas de six: Var. V (Moderato) und Coda (Allegro molto) | — | ||
| 25-13 | Swan Lake, op. 20, TH. 12, Act 3: no. 20 Danse hongroise (Czárdás) | — | ||
| 25-14 | Swan Lake, op. 20, TH. 12, Act 3: Danse russe (Moderato) | — | ||
| 25-15 | Swan Lake, op. 20, TH. 12, Act 3: no. 21 Danse espagnole (Allegro non troppo. Tempo di bolero) | — | ||
| 25-16 | Swan Lake, op. 20, TH. 12, Act 3: no. 22 Danse napolitaine | — | ||
| 25-17 | Swan Lake, op. 20, TH. 12, Act 3: no. 23 Mazurka | — | ||
| 25-18 | Swan Lake, op. 20, TH. 12, Act 3: no. 24 Scène (Allegro: Valse - Allegro vivo) | — | ||
| 25-19 | Swan Lake, op. 20, TH. 12, Act 4: no. 25 Entr'acte und No. 26 Scène | — | ||
| 25-20 | Swan Lake, op. 20, TH. 12, Act 4: no. 27 Danses des petits cygnes (Moderato) | — | ||
| 25-21 | Swan Lake, op. 20, TH. 12, Act 4: no. 28 Scène (Allegro agitato) | — | ||
| 25-22 | Swan Lake, op. 20, TH. 12, Act 4: no. 29 Scène finale (Andante) | — | ||
| 26-1 | Les Contes d'Hoffmann, Act 1: Prélude | — | ||
| 26-2 | Les Contes d'Hoffmann, Act 1: "Glou, glou, glou! Je suis la bière" | — | ||
| 26-3 | Les Contes d'Hoffmann, Act 1: Le conseiller Lindorf, morbleu! | — | ||
| 26-4 | Les Contes d'Hoffmann, Act 1: Dans les rôles d'amoureux langoureux | — | ||
| 26-5 | Les Contes d'Hoffmann, Act 1: "Deux heures devant moi!" | — | ||
| 26-6 | Les Contes d'Hoffmann, Act 1: "Drig, drig, drig, maître Luther" | — | ||
| 26-7 | Les Contes d'Hoffmann, Act 1: "Vive Dieu! mes amis, la belle créature!" | — | ||
| 26-8 | Les Contes d'Hoffmann, Act 1: "Il était une fois à la cour d'Eisenach" (La légende de Kleinzach) | — | ||
| 26-9 | Les Contes d'Hoffmann, Act 1: "Peuh! cette bière est détestable!" | — | ||
| 26-10 | Les Contes d'Hoffmann, Act 1: Simple échange de politesses! | — | ||
| 26-11 | Les Contes d'Hoffmann, Act 1: Ha! ha! ha! Monsieur aime donc quelquefois? | — | ||
| 26-12 | Les Contes d'Hoffmann, Act 2: Entr'acte | — | ||
| 26-13 | Les Contes d'Hoffmann, Act 2: Là! dors en paix | — | ||
| 26-14 | Les Contes d'Hoffmann, Act 2: "Allons! courage et confiance!" | — | ||
| 26-15 | Les Contes d'Hoffmann, Act 2: Voyez: la sous son éventail | — | ||
| 26-16 | Les Contes d'Hoffmann, Act 2: "C'est moi, Coppélius" | — | ||
| 26-17 | Les Contes d'Hoffmann, Act 2: "Je me nomme Coppélius" | — | ||
| 26-18 | Les Contes d'Hoffmann, Act 2: Hein! Vous? | — | ||
| 26-19 | Les Contes d'Hoffmann, Act 2: "Non, aucun hôte vraiment" | — | ||
| 26-20 | Les Contes d'Hoffmann, Act 2: "Les oiseaux dans la charmille" | — | ||
| 26-21 | Les Contes d'Hoffmann, Act 2: "Ah! mon ami, quel accent!" | — | ||
| 26-22 | Les Contes d'Hoffmann, Act 2: "Ils se sont éloignés, enfin!" | — | ||
| 26-23 | Les Contes d'Hoffmann, Act 2: Ah! Vivre deux | — | ||
| 26-24 | Les Contes d'Hoffmann, Act 2: "Tu me fuis?" | — | ||
| 26-25 | Les Contes d'Hoffmann, Act 2: "Voici les valseurs!" | — | ||
| 27-1 | Les Contes d'Hoffmann, Act 3: "Elle a fui la tourterelle" | — | ||
| 27-2 | Les Contes d'Hoffmann, Act 3: "Malheureuse enfant" | — | ||
| 27-3 | Les Contes d'Hoffmann, Act 3: "Jour et nuit" | — | ||
| 27-4 | Les Contes d'Hoffmann, Act 3: Frantz! ... C'est ici! | — | ||
| 27-5 | Les Contes d'Hoffmann, Act 3: "C'est une chanson d'amour" | — | ||
| 27-6 | Les Contes d'Hoffmann, Act 3: J'ai le bonheur dans l'âme! | — | ||
| 27-7 | Les Contes d'Hoffmann, Act 3: Qu'as-tu donc? | — | ||
| 27-8 | Les Contes d'Hoffmann, Act 3: "Pour conjurer le danger" | — | ||
| 27-9 | Les Contes d'Hoffmann, Act 3: "Ne plus chanter!" | — | ||
| 27-10 | Les Contes d'Hoffmann, Act 3: "Tu ne chanteras plus?" | — | ||
| 27-11 | Les Contes d'Hoffmann, Act 3: "Mon enfant! Ma fille!" | — | ||
| 27-12 | Les Contes d'Hoffmann, Act 4: "Belle nuit, ô nuit d'amour" | — | ||
| 27-13 | Les Contes d'Hoffmann, Act 4: "Et moi, ce n'est pas là qui m'enchante" | — | ||
| 27-14 | Les Contes d'Hoffmann, Act 4: "Amis, l'amour tendre et rêveur" | — | ||
| 27-15 | Les Contes d'Hoffmann, Act 4: Je vois qu'on est en fête | — | ||
| 27-16 | Les Contes d'Hoffmann, Act 4: Scintille, diamant | — | ||
| 27-17 | Les Contes d'Hoffmann, Act 4: Cher ange! | — | ||
| 27-18 | Les Contes d'Hoffmann, Act 4: Malheureux, tu ne comprends donc pas | — | ||
| 27-19 | Les Contes d'Hoffmann, Act 4: Schlémil! | — | ||
| 27-20 | Les Contes d'Hoffmann, Act 4: Hélas, mon coeur s'égare encore | — | ||
| 27-21 | Les Contes d'Hoffmann, Epilogue: Voilà quelle fut l'histoire de mes amours | — | ||
| 27-22 | Les Contes d'Hoffmann, Epilogue: Luther est un brave homme | — | ||
| 27-23 | Les Contes d'Hoffmann, Epilogue: Des cendres de ton coeur, réchauffe ton génie | — | ||
| 28-1 | Romeo and Juliet, op. 64: I. Introduction | — | ||
| 28-2 | Romeo and Juliet, op. 64, Act 1: II. Romeo | — | ||
| 28-3 | Romeo and Juliet, op. 64, Act 1: III. The street awakens | — | ||
| 28-4 | Romeo and Juliet, op. 64, Act 1: IV. Morning dance | — | ||
| 28-5 | Romeo and Juliet, op. 64, Act 1: V. The quarrel | — | ||
| 28-6 | Romeo and Juliet, op. 64, Act 1: VI. The fight | — | ||
| 28-7 | Romeo and Juliet, op. 64, Act 1: VII. The duke's command | — | ||
| 28-8 | Romeo and Juliet, op. 64, Act 1: VIII. Interlude | — | ||
| 28-9 | Romeo and Juliet, op. 64, Act 1: IX. At the Capulets' (Preparations for the ball) | — | ||
| 28-10 | Romeo and Juliet, op. 64, Act 1: X. The young Juliet | — | ||
| 28-11 | Romeo and Juliet, op. 64, Act 1: XI. Arrival of the guests | — | ||
| 28-12 | Romeo and Juliet, op. 64, Act 1: XII. Masks | — | ||
| 28-13 | Romeo and Juliet, op. 64, Act 1: XIII. Dance Of The Knights | — | ||
| 28-14 | Romeo and Juliet, op. 64, Act 1: XIV. Juliet's variation | — | ||
| 28-15 | Romeo and Juliet, op. 64, Act 1: XV. Mercutio | — | ||
| 28-16 | Romeo and Juliet, op. 64, Act 1: XVI. Madrigal | — | ||
| 28-17 | Romeo and Juliet, op. 64, Act 1: XVII. Tybalt recognizes Romeo | — | ||
| 28-18 | Romeo and Juliet, op. 64, Act 1: XVIII. Gavotte | — | ||
| 28-19 | Romeo and Juliet, op. 64, Act 1: XIX. Balcony scene | — | ||
| 28-20 | Romeo and Juliet, op. 64, Act 1: XX. Romeo's variation | — | ||
| 28-21 | Romeo and Juliet, op. 64, Act 1: XXI. Love dance | — | ||
| 28-22 | Romeo and Juliet, op. 64, Act 2: XXII. Folk dance | — | ||
| 28-23 | Romeo and Juliet, op. 64, Act 2: XXIII. Romeo and Mercutio | — | ||
| 28-24 | Romeo and Juliet, op. 64, Act 2: XXIV. Dance of the five couples | — | ||
| 28-25 | Romeo and Juliet, op. 64, Act 2: XXV. Dance with mandolins | — | ||
| 29-1 | Romeo and Juliet, op. 64, Act 2: 2VI. Nurse | — | ||
| 29-2 | Romeo and Juliet, op. 64, Act 2: 2VII. The nurse and Romeo | — | ||
| 29-3 | Romeo and Juliet, op. 64, Act 2: 2VIII. Romeo at friar Laurence's | — | ||
| 29-4 | Romeo and Juliet, op. 64, Act 2: 2IX. Juliet at friar Laurence's | — | ||
| 29-5 | Romeo and Juliet, op. 64, Act 2: 30. Public merrymaking | — | ||
| 29-6 | Romeo and Juliet, op. 64, Act 2: 3I. Further public festivities | — | ||
| 29-7 | Romeo and Juliet, op. 64, Act 2: 3II. Meeting of Tybalt and Mercutio | — | ||
| 29-8 | Romeo and Juliet, op. 64, Act 2: 3III. The duel | — | ||
| 29-9 | Romeo and Juliet, op. 64, Act 2: 3IV. Death of Mercutio | — | ||
| 29-10 | Romeo and Juliet, op. 64, Act 2: 3V. Romeo decides to avenge Mercutio | — | ||
| 29-11 | Romeo and Juliet, op. 64, Act 2: 3VI. Finale | — | ||
| 29-12 | Romeo and Juliet, op. 64, Act 3: 3VII. Introduction | — | ||
| 29-13 | Romeo and Juliet, op. 64, Act 3: 3VIII. Romeo and Juliet | — | ||
| 29-14 | Romeo and Juliet, op. 64, Act 3: 3IX. Romeo bids Juliet farewell | — | ||
| 29-15 | Romeo and Juliet, op. 64, Act 3: 40. Nurse | — | ||
| 29-16 | Romeo and Juliet, op. 64, Act 3: 4I. Juliet refuses to marry Paris | — | ||
| 29-17 | Romeo and Juliet, op. 64, Act 3: 4II. Juliet alone | — | ||
| 29-18 | Romeo and Juliet, op. 64, Act 3: 4III. Interlude | — | ||
| 29-19 | Romeo and Juliet, op. 64, Act 3: 4IV. At friar Laurence's cell | — | ||
| 29-20 | Romeo and Juliet, op. 64, Act 3: 4V. Interlude | — | ||
| 29-21 | Romeo and Juliet, op. 64, Act 3: 4VI. Juliet's room | — | ||
| 29-22 | Romeo and Juliet, op. 64, Act 3: 4VII. Juliet alone | — | ||
| 29-23 | Romeo and Juliet, op. 64, Act 3: 4VIII. Aubade | — | ||
| 29-24 | Romeo and Juliet, op. 64, Act 3: 4IX. Dance of the girls with lilies | — | ||
| 29-25 | Romeo and Juliet, op. 64, Act 3: 50. At Juliet's bedside | — | ||
| 29-26 | Romeo and Juliet, op. 64, Act 4: 5I. Juliet's funeral | — | ||
| 29-27 | Romeo and Juliet, op. 64, Act 4: 5II. Juliet's death | — | ||
| 30-1 | Pelléas et Mélisande, op. 80: I. Prélude. Quasi Adagio | — | ||
| 30-2 | Pelléas et Mélisande, op. 80: II. Fileuse. Andantino quasi Allegretto | — | ||
| 30-3 | Pelléas et Mélisande, op. 80: Chanson de Mélisande | — | ||
| 30-4 | Pelléas et Mélisande, op. 80: IV. Sicilienne | — | ||
| 30-5 | Pelléas et Mélisande, op. 80: VI. Molto adagio | — | ||
| 30-6 | Après un Rêve op. 7, no. 1 | — | ||
| 30-7 | Pavane, op. 50 | — | ||
| 30-8 | Elégie, op. 24: Molto adagio | — | ||
| 30-9 | Dolly Suite, op. 56: I. Berceuse | — | ||
| 30-10 | Dolly Suite, op. 56: II. Mi-A-Ou | — | ||
| 30-11 | Dolly Suite, op. 56: III. Le Jardin de Dolly | — | ||
| 30-12 | Dolly Suite, op. 56: IV. Kitty-Valse | — | ||
| 30-13 | Dolly Suite, op. 56: V. Tendresse | — | ||
| 30-14 | Dolly Suite, op. 56: VI. Le pas Espagnol | — | ||
| 31-1 | España: Rhapsody for Orchestra | — | ||
| 31-2 | Faust, Ballet Music: I. Les Nubiennes, valse (Allegretto) | — | ||
| 31-3 | Faust, Ballet Music: II. Adagio | — | ||
| 31-4 | Faust, Ballet Music: III. Danse antique (Allegretto) | — | ||
| 31-5 | Faust, Ballet Music: IV. Variations de Cléopatre (Moderato maestoso) | — | ||
| 31-6 | Faust, Ballet Music: V. Les Troyennes (Moderato con moto) | — | ||
| 31-7 | Faust, Ballet Music: VI. Variations du miroir (Allegretto) | — | ||
| 31-8 | Faust, Ballet Music: VII. Danse de Phryné (Allegro vivo) | — | ||
| 31-9 | Mignon: Overture | — | ||
| 31-10 | Gaîté parisienne: I. Overture | — | ||
| 31-11 | Gaîté parisienne: Polka | — | ||
| 31-12 | Gaîté parisienne: (Allegro) | — | ||
| 31-13 | Gaîté parisienne: IX. Valse lente | — | ||
| 31-14 | Gaîté parisienne: Valse-Allegro vivo-Valse-Allegro misterioso | — | ||
| 31-15 | Gaîté parisienne: Allegro: Cancan | — | ||
| 31-16 | Gaîté parisienne: Vivo: Barcarolle - Allegro moderato | — | ||
| 32-1 | Piano Concerto no. 1 in E-Flat major, S. 124: I. Allegro maestoso | — | ||
| 32-2 | Piano Concerto no. 1 in E-Flat major, S. 124: II. Quasi adagio: Allegretto vivace - Allegro animato | — | ||
| 32-3 | Piano Concerto no. 1 in E-Flat major, S. 124: III. Allegro marziale animato | — | ||
| 32-4 | Piano Concerto no. 2 in A major, S. 125: I. Adagio sostenuto assai: Allegro agitato assai | — | ||
| 32-5 | Piano Concerto no. 2 in A major, S. 125: II. Allegro moderato: Allegro deciso | — | ||
| 32-6 | Piano Concerto no. 2 in A major, S. 125: III. Marziale un poco meno allegro | — | ||
| 32-7 | Piano Concerto no. 2 in A major, S. 125: IV. Allegro animato: Stretto (molto accelerando) | — | ||
| 32-8 | Totentanz, S. 525 | — | ||
| 33-1 | Gloria, FP 144: I. Gloria | — | ||
| 33-2 | Gloria, FP 144: II. Laudamus te | — | ||
| 33-3 | Gloria, FP 144: III. Domine Deus | — | ||
| 33-4 | Gloria, FP 144: IV. Domini Fili Unigenite | — | ||
| 33-5 | Gloria, FP 144: V. Domine Deus, Agnus Dei | — | ||
| 33-6 | Gloria, FP 144: VI. Qui sedes ad dexteram Patris | — | ||
| 33-7 | Stabat Mater, FP 148: I. Stabat Mater dolorosa | — | ||
| 33-8 | Stabat Mater, FP 148: II. Cujus animam gementem | — | ||
| 33-9 | Stabat Mater, FP 148: III. O quam tristis | — | ||
| 33-10 | Stabat Mater, FP 148: IV. Quae moerebat | — | ||
| 33-11 | Stabat Mater, FP 148: V. Quis est homo | — | ||
| 33-12 | Stabat Mater, FP 148: VI. Vidit suum | — | ||
| 33-13 | Stabat Mater, FP 148: VII. Eja mater | — | ||
| 33-14 | Stabat Mater, FP 148: VIII. Fac ut ardeat | — | ||
| 33-15 | Stabat Mater, FP 148: IX. Sancta mater | — | ||
| 33-16 | Stabat Mater, FP 148: X. Fac ut portem | — | ||
| 33-17 | Stabat Mater, FP 148: 1I. Inflammatus et accensus | — | ||
| 33-18 | Stabat Mater, FP 148: 1II. Quando corpus | — | ||
| 34-1 | Symphony no. 4 in F minor, op. 36, TH.27: I. Andante sostenuto: Moderato con anima - Moderato assai, quasi Andante - Allegro vivo | — | ||
| 34-2 | Symphony no. 4 in F minor, op. 36, TH.27: II. Andantino in modo di canzone | — | ||
| 34-3 | Symphony no. 4 in F minor, op. 36, TH.27: III. Scherzo. Pizzicato ostinato: Allegro | — | ||
| 34-4 | Symphony no. 4 in F minor, op. 36, TH.27: IV. Finale (Allegro con fuoco) | — | ||
| 34-5 | Capriccio Italien, op. 45 | — | ||
| 35-1 | Symphony no. 5 in E minor, op. 64, TH.29: I. Andante: Allegro con anima | — | ||
| 35-2 | Symphony no. 5 in E minor, op. 64, TH.29: II. Andante cantabile, con alcuna licenza: Moderato con anima | — | ||
| 35-3 | Symphony no. 5 in E minor, op. 64, TH.29: III. Valse (Allegro moderato) | — | ||
| 35-4 | Symphony no. 5 in E minor, op. 64, TH.29: IV. Finale (Andante maestoso: Allegro vivace) | — | ||
| 35-5 | 1812 Overture, op. 49, TH 49: Largo: Allegro giusto | — | ||
| 36-1 | Concerto for Viola and Orchestra, op. post.: I. Moderato: Lento parlando | — | ||
| 36-2 | Concerto for Viola and Orchestra, op. post.: II. Adagio religioso: Allegretto | — | ||
| 36-3 | Concerto for Viola and Orchestra, op. post.: III. Allegro vivace | — | ||
| 36-4 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): I. Andante tranquillo | — | ||
| 36-5 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): II. Allegro | — | ||
| 36-6 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): III. Adagio | — | ||
| 36-7 | Music for Strings, Percussion and Celesta, BB 114 (Sz.106): IV. Allegro molto | — | ||
| 37-1 | Symphony no. 1 in D major, op. 25 "Classical Symphony": I. Allegro | — | ||
| 37-2 | Symphony no. 1 in D major, op. 25 "Classical Symphony": II. Larghetto | — | ||
| 37-3 | Symphony no. 1 in D major, op. 25 "Classical Symphony": III. Gavotta (Non troppo allegro) | — | ||
| 37-4 | Symphony no. 1 in D major, op. 25 "Classical Symphony": IV. Finale (Vivace) | — | ||
| 37-5 | Symphony no. 6 in E-flat, op. 111: I. Allegro moderato | — | ||
| 37-6 | Symphony no. 6 in E-flat, op. 111: II. Largo | — | ||
| 37-7 | Symphony no. 6 in E-flat, op. 111: III. Vivace | — | ||
| 38-1 | Symphony no. 2 in D minor, op. 40: I. Allegro ben articolato | — | ||
| 38-2 | Symphony no. 2 in D minor, op. 40: II. Theme and Variations | — | ||
| 38-3 | Symphony no. 7, op. 131: I. Moderato | — | ||
| 38-4 | Symphony no. 7, op. 131: II. Allegretto | — | ||
| 38-5 | Symphony no. 7, op. 131: III. Andante espressivo | — | ||
| 38-6 | Symphony no. 7, op. 131: IV. Vivace (original version) | — | ||
| 39-1 | Symphony no. 3 in C minor, op. 44: I. Moderato | — | ||
| 39-2 | Symphony no. 3 in C minor, op. 44: II. Andante | — | ||
| 39-3 | Symphony no. 3 in C minor, op. 44: III. Allegro agitato | — | ||
| 39-4 | Symphony no. 3 in C minor, op. 44: IV. Andante mosso | — | ||
| 39-5 | Symphony no. 4 in C, op. 47/112, Revised version: I. Andante: Allegro eroico | — | ||
| 39-6 | Symphony no. 4 in C, op. 47/112, Revised version: II. Andante tranquillo | — | ||
| 39-7 | Symphony no. 4 in C, op. 47/112, Revised version: III. Moderato, quasi allegretto | — | ||
| 39-8 | Symphony no. 4 in C, op. 47/112, Revised version: IV. Allegro risoluto: Andantino - Allegro come prima | — | ||
| 40-1 | Symphony no. 5 in B-flat major, op. 100: I. Andante | — | ||
| 40-2 | Symphony no. 5 in B-flat major, op. 100: II. Allegro marcato | — | ||
| 40-3 | Symphony no. 5 in B-flat major, op. 100: III. Adagio | — | ||
| 40-4 | Symphony no. 5 in B-flat major, op. 100: IV. Allegro giocoso | — | ||
| 40-5 | Lieutenant Kijé, Symphonic Suite, op. 60: I. Naissance de Kijé | — | ||
| 40-6 | Lieutenant Kijé, Symphonic Suite, op. 60: II. Romance | — | ||
| 40-7 | Lieutenant Kijé, Symphonic Suite, op. 60: III. Noces de Kijé | — | ||
| 40-8 | Lieutenant Kijé, Symphonic Suite, op. 60: IV. Troïka | — | ||
| 40-9 | Lieutenant Kijé, Symphonic Suite, op. 60: V. Enterrement de Kijé | — | ||
| 41-1 | Jeanne d'Arc au bûcher Oratorio dramatique: "Ténèbres! Ténèbres!" (Prologue) | — | ||
| 41-2 | Jeanne d'Arc au bûcher Oratorio dramatique: Il y eut une fille appelée Jeanne! | — | ||
| 41-3 | Jeanne d'Arc au bûcher Oratorio dramatique: (Scéne I: Les Voix Du Ciel) | — | ||
| 41-4 | Jeanne d'Arc au bûcher Oratorio dramatique: "Jeanne! Jeanne! Jeanne!" (SCÉNE II: LE LIVRE) | — | ||
| 41-5 | Jeanne d'Arc au bûcher Oratorio dramatique: "Jeanne! Jeanne!.."(SCÉNE III:LES VOIX DE LA TERRE) | — | ||
| 41-6 | Jeanne d'Arc au bûcher Oratorio dramatique: "La Cour! Faites silence!"(SCÉNE IV:JEANNE LIVRÉE..) | — | ||
| 41-7 | Jeanne d'Arc au bûcher Oratorio dramatique: "Qui sont les assesseurs?" (SCÉNE IV) | — | ||
| 41-8 | Jeanne d'Arc au bûcher Oratorio dramatique: "Quel est ce chien qui hurle dans la nuit?"(SCÉNE V) | — | ||
| 41-9 | Jeanne d'Arc au bûcher Oratorio dramatique: "Le jeu de cartes comprend quatre rois" (SCÉNE VI) | — | ||
| 41-10 | Jeanne d'Arc au bûcher Oratorio dramatique: "Quelles sont ces cloches dans la nuit?"(SCÉNE VII) | — | ||
| 41-11 | Jeanne d'Arc au bûcher Oratorio dramatique: "Voulez-vous manger des cesses?"(SCÉNE VIII:LE ROIS. .) | — | ||
| 41-12 | Jeanne d'Arc au bûcher Oratorio dramatique: "Aspiciens a longe" (SCÉNE VIII) | — | ||
| 41-13 | Jeanne d'Arc au bûcher Oratorio dramatique: "C'est moi qui ai fait cela!" (SCÉNE VIII) | — | ||
| 41-14 | Jeanne d'Arc au bûcher Oratorio dramatique: "Spera! Spira! Spera! Spira!"(SCÉNE IX:L'ÉPÉE DE...) | — | ||
| 41-15 | Jeanne d'Arc au bûcher Oratorio dramatique: "Rouen! Rouen! Rouen!" (SCÉNE IX:L'ÉPÉE DE JEANNE) | — | ||
| 41-16 | Jeanne d'Arc au bûcher Oratorio dramatique: "Un petit brin de vot'farine" (SCÉNE X: TRIMAZG) | — | ||
| 41-17 | Jeanne d'Arc au bûcher Oratorio dramatique: "J'accepte cette flamme pure" (SCÉNE XI) | — | ||
| 41-18 | Jeanne d'Arc au bûcher Oratorio dramatique: "Mère! Mère au-dessus de moi!" (SCÉNE XI) | — | ||
| 42-1 | The Nutcracker, op. 71, TH 14: Overture | — | ||
| 42-2 | The Nutcracker, op. 71, TH 14, Act 1: no. 1 The Christmas Tree | — | ||
| 42-3 | The Nutcracker, op. 71, TH 14, Act 1: no. 2 March | — | ||
| 42-4 | The Nutcracker, op. 71, TH 14, Act 1: no. 3 Galop and Dance of the Parents | — | ||
| 42-5 | The Nutcracker, op. 71, TH 14, Act 1: no. 4 Dance Scene: The Presents of Drosselmeyer | — | ||
| 42-6 | The Nutcracker, op. 71, TH 14, Act 1: no. 5 Scene: Grandfather Dance | — | ||
| 42-7 | The Nutcracker, op. 71, TH 14, Act 1: no. 6 Clara and the Nutcracker | — | ||
| 42-8 | The Nutcracker, op. 71, TH 14, Act 1: no. 7 The Nutcracker Battles the Army of the Mouse King: He Wins and Is Transformed into Prince Charming | — | ||
| 42-9 | The Nutcracker, op. 71, TH 14, Act 1: no. 8 in the Christmas Tree | — | ||
| 42-10 | The Nutcracker, op. 71, TH 14, Act 1: no. 9 Scene and Waltz of the Snowflakes | — | ||
| 42-11 | The Nutcracker, op. 71, TH 14, Act 2: no. 10 The Magic Castle on the Mountain of Sweets | — | ||
| 42-12 | The Nutcracker, op. 71, TH 14, Act 2: no. 11 Clara and Prince Charming | — | ||
| 42-13 | The Nutcracker, op. 71, TH 14, Act 2: no. 12 Divertissement | — | ||
| 43-1 | The Nutcracker, op. 71, TH 14, Act 2: no. 13 Waltz of the Flowers | — | ||
| 43-2 | The Nutcracker, op. 71, TH 14, Act 2: no. 14 Pas de deux: Intrada: Variation I/II - Coda | — | ||
| 43-3 | The Nutcracker, op. 71, TH 14, Act 2: no. 15 Final Waltz and Apotheosis | — | ||
| 43-4 | The Sleeping Beauty, Suite, op. 66a, TH 234: Introduction: The Lilac Fairy | — | ||
| 43-5 | The Sleeping Beauty, Suite, op. 66a, TH 234: Pas d'action: Rose Adagio | — | ||
| 43-6 | The Sleeping Beauty, Suite, op. 66a, TH 234: Pas de caractère: Puss in Boots | — | ||
| 43-7 | The Sleeping Beauty, Suite, op. 66a, TH 234: Panorama (andantino) | — | ||
| 43-8 | The Sleeping Beauty, Suite, op. 66a, TH 234: Valse | — | ||
| 44-1 | Violin Concerto no. 2, BB 117 (Sz. 112): I. Allegro non troppo | — | ||
| 44-2 | Violin Concerto no. 2, BB 117 (Sz. 112): II. Andante tranquillo | — | ||
| 44-3 | Violin Concerto no. 2, BB 117 (Sz. 112): III. Allegro molto | — | ||
| 44-4 | En reve: I. Lumière vaporeuse | — | ||
| 44-5 | En reve: II. Dialogue avec l'Étoile | — | ||
| 44-6 | En reve: III. Azur fascinant (Sérénade tessinoise) | — | ||
| 45-1 | Symphony in D minor, FWV 48: I. Lento: Allegro ma non troppo - Allegro | — | ||
| 45-2 | Symphony in D minor, FWV 48: II. Allegretto | — | ||
| 45-3 | Symphony in D minor, FWV 48: III. Allegro non troppo | — | ||
| 45-4 | Concerto for Organ, Strings and Percussion in G minor, FP 93: Andante | — | ||
| 45-5 | Concerto for Organ, Strings and Percussion in G minor, FP 93: Subito andante moderato | — | ||
| 45-6 | Concerto for Organ, Strings and Percussion in G minor, FP 93: Tempo allegro, molto agitato | — | ||
| 46-1 | Concert Champêtre, FP 49: I. Allegro molto | — | ||
| 46-2 | Concert Champêtre, FP 49: II. Andante | — | ||
| 46-3 | Concert Champêtre, FP 49: III. Finale | — | ||
| 47-1 | Violin Concerto no. 2 op. 129: I. Moderato | — | ||
| 47-2 | Violin Concerto no. 2 op. 129: II. Adagio | — | ||
| 47-3 | Violin Concerto no. 2 op. 129: III. Adagio: Allegro | — | ||
| 47-4 | Concerto for Violin and Orchestra in A minor: I. Nicht zu schnell (Allegro non troppo) | — | ||
| 47-5 | Concerto for Violin and Orchestra in A minor: II. Langsam (Lento) | — | ||
| 47-6 | Concerto for Violin and Orchestra in A minor: III. Sehr lebhaft (Molto vivace) | — | ||
| 48-1 | Overture "A Midsummer Night's Dream", op. 21, MWV P 3 | — | ||
| 48-2 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 1 Scherzo | — | ||
| 48-3 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. II. L'istesso tempo | — | ||
| 48-4 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: Fairies' March | — | ||
| 48-5 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 3 Song with Chorus: "Bunte Schlangen, zweigezüngt" | — | ||
| 48-6 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 4 The Speels | — | ||
| 48-7 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 5 Intermezzo | — | ||
| 48-8 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 7 Notturno | — | ||
| 48-9 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 8 Melodram | — | ||
| 48-10 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 9 Wedding March | — | ||
| 48-11 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 10 a) Prologue | — | ||
| 48-12 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 10 b) Funeral March | — | ||
| 48-13 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 11 Dance of the Clowns | — | ||
| 48-14 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: 1II. Allegro vivace come 1 | — | ||
| 48-15 | A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: Finale: "Bei des Feuers mattem Flimmern" | — | ||
| 49-1 | Piano Concerto no. 1 in F-sharp minor, op. 1: I. Vivace | — | ||
| 49-2 | Piano Concerto no. 1 in F-sharp minor, op. 1: II. Andante | — | ||
| 49-3 | Piano Concerto no. 1 in F-sharp minor, op. 1: III. Allegro vivace | — | ||
| 49-4 | Piano Concerto no. 2 in C minor, op. 18: I. Moderato | — | ||
| 49-5 | Piano Concerto no. 2 in C minor, op. 18: II. Adagio sostenuto | — | ||
| 49-6 | Piano Concerto no. 2 in C minor, op. 18: III. Allegro scherzando | — | ||
| 50-1 | Piano Concerto no. 2 in G minor, op. 16: I. Andantino | — | ||
| 50-2 | Piano Concerto no. 2 in G minor, op. 16: II. Scherzo (Vivace) | — | ||
| 50-3 | Piano Concerto no. 2 in G minor, op. 16: III. Intermezzo (Allegro moderato) | — | ||
| 50-4 | Piano Concerto no. 2 in G minor, op. 16: IV. Finale (Allegro tempestoso) | — | ||
| 50-5 | Piano Concerto in G major, M. 83: I. Allegramente | — | ||
| 50-6 | Piano Concerto in G major, M. 83: II. Adagio assai | — | ||
| 50-7 | Piano Concerto in G major, M. 83: III. Presto | — | ||
| 52-1 | Eugene Onegin, op. 24, Act III Scene 1: Polonaise | — | ||
| 52-2 | Symphony no. 5 In E minor, op. 64: I. Andante – Allegro Con Anima | — | ||
| 52-3 | Symphony no. 5 In E minor, op. 64: II. Andante Cantabile, Con Alcuna Licenza – Moderato Con Anima | — | ||
| 52-4 | Symphony no. 5 In E minor, op. 64: III. Valse. Allegro Moderato | — | ||
| 52-5 | Symphony no. 5 In E minor, op. 64: IV. Finale. Andante Maestoso – Allegro Vivace | — | ||
| 52-6 | Romance For Violin And Orchestra no. 1 In G major, op. 40 | — | ||
| 52-7 | Introduction And Rondo Capriccioso In A minor, op. 28 | — | ||
| 53-1 | Symphony no. 9 in D minor, op. 125 "Choral": I. Allegro ma non troppo, un poco maestoso | — | ||
| 53-2 | Symphony no. 9 in D minor, op. 125 "Choral": II. Molto vivace | — | ||
| 53-3 | Symphony no. 9 in D minor, op. 125 "Choral": III. Adagio molto e cantabile - Andante moderato | — | ||
| 53-4 | Symphony no. 9 in D minor, op. 125 "Choral": IV. Presto - Allegro assai | — | ||
| 54-1 | Symphony no. 6 In B Minor, op. 74, TH. 30: 1. Adagio - Allegro non troppo | — | ||
| 54-2 | Symphony no. 6 In B Minor, op. 74, TH. 30: 2. Allegro con grazia | — | ||
| 54-3 | Symphony no. 6 In B Minor, op. 74, TH. 30: 3. Allegro molto vivace | — | ||
| 54-4 | Symphony no. 6 In B Minor, op. 74, TH. 30: 4. Finale (Adagio lamentoso - Andante) | — | ||
| 55-1 | Nutcracker Suite, op. 71a: Miniature Overture | — | ||
| 55-2 | Nutcracker Suite, op. 71a: March | — | ||
| 55-3 | Nutcracker Suite, op. 71a: Dance of the Sugar‐Plum Fairy | — | ||
| 55-4 | Nutcracker Suite, op. 71a: Russian Dance (Trepak) | — | ||
| 55-5 | Nutcracker Suite, op. 71a: Arabian Dance (Coffee) | — | ||
| 55-6 | Nutcracker Suite, op. 71a: Chinese Dance (Tea) | — | ||
| 55-7 | Nutcracker Suite, op. 71a: Dance of the Reed‐Pipes | — | ||
| 55-8 | Nutcracker Suite, op. 71a: Waltz Of The Flowers | — | ||
| 55-9 | The Sleeping Beauty, Suite, op. 66a: Introduction - The Lilac Fairy | — | ||
| 55-10 | The Sleeping Beauty, Suite, op. 66a: Pas d’action: Rose Adagio | — | ||
| 55-11 | The Sleeping Beauty, Suite, op. 66a: Pas de caractère: Puss in Boots | — | ||
| 55-12 | The Sleeping Beauty, Suite, op. 66a: Panorama (andantino) | — | ||
| 55-13 | The Sleeping Beauty, Suite, op. 66a: Valse | — | ||
| 56-1 | Symphony no. 9: I. Adagio - Allegro molto | — | ||
| 56-2 | Symphony no. 9: II. Largo | — | ||
| 56-3 | Symphony no. 9: III: Scherzo: Molto vivace | — | ||
| 56-4 | Symphony no. 9: IV. Allegro con fuoco | — | ||
| 56-5 | Overture “Carnival”, op. 92 | — | ||
| 57-1 | Symphony no. 3 in E‐flat major, op. 55 “Eroica”: I. Allegro con brio | — | ||
| 57-2 | Symphony no. 3 in E‐flat major, op. 55 “Eroica”: II. Marcia funèbre (Adagio assai) | — | ||
| 57-3 | Symphony no. 3 in E‐flat major, op. 55 “Eroica”: III. Scherzo (Allegro vivace) | — | ||
| 57-4 | Symphony no. 3 in E‐flat major, op. 55 “Eroica”: IV. Finale (Allegro molto) | — | ||
| 58-1 | Gurrelieder: Part I. Vorspiel | — | ||
| 58-2 | Gurrelieder: Part I. "Nun dämpft die Dämm'rung" | — | ||
| 58-3 | Gurrelieder: Part I. "O, wenn des Mondes Strahlen" | — | ||
| 58-4 | Gurrelieder: Part I. "Roß! Mein Roß!" | — | ||
| 58-5 | Gurrelieder: Part I. "Sterne jubeln" | — | ||
| 58-6 | Gurrelieder: Part I. "So tanzen die Engel" | — | ||
| 58-7 | Gurrelieder: Part I. "Nun sag ich dir zum ersten Mal" | — | ||
| 58-8 | Gurrelieder: Part I. "Es ist Mitternachtszeit" | — | ||
| 58-9 | Gurrelieder: Part I. "Du sendest mir einen Liebesblick" | — | ||
| 58-10 | Gurrelieder: Part I. "Du wunderliche Tove!" | — | ||
| 58-11 | Gurrelieder: Part I. Voice of the Wood-dove | — | ||
| 59-1 | Gurrelieder: Part II (Die wilde Jagd). "Herrgott, weißt du, was du tatest" | — | ||
| 59-2 | Gurrelieder: Part II (Die wilde Jagd). "Erwacht, König Waldemars Mannen wert!" | — | ||
| 59-3 | Gurrelieder: Part II (Die wilde Jagd). "Deckel des Sarges klappert" | — | ||
| 59-4 | Gurrelieder: Part II (Die wilde Jagd). "Gegrüßt, o König" | — | ||
| 59-5 | Gurrelieder: Part II (Die wilde Jagd). "Mit Toves Stimme flüstert der Wald" | — | ||
| 59-6 | Gurrelieder: Part II (Die wilde Jagd). "Ein seltsamer Vogel ist so'n Aal" | — | ||
| 59-7 | Gurrelieder: Part II (Die wilde Jagd). "Du strenger Richter droben" | — | ||
| 59-8 | Gurrelieder: Part II (Die wilde Jagd). "Der Hahn erhebt den Kopf zur Kraht" | — | ||
| 59-9 | Gurrelieder: Part III (Des Sommerwindes wilde Jagd). Prelude | — | ||
| 59-10 | Gurrelieder: Part III (Des Sommerwindes wilde Jagd). "Herr Gänsefuß, Frau Gänsekraut" | — | ||
| 59-11 | Gurrelieder: Part III (Des Sommerwindes wilde Jagd). "Seht die Sonne" | — | ||
| 60-1 | Little Sisters of the Grassland | — | ||
| 60-2 | Stars and Stripes Forever | — | ||
| 60-3 | Piano Concerto no. 1: I. Allegro maestoso | — | ||
| 60-4 | Piano Concerto no. 1: II. Quasi adagio | — | ||
| 60-5 | Piano Concerto no. 1: III. Allegro marziale animato | — | ||
| 61-1 | The Planets: Mars, the Bringer of War | — | ||
| 61-2 | The Planets: Venus, the Bringer of Peace | — | ||
| 61-3 | The Planets: Mercury, the Winged Messenger | — | ||
| 61-4 | The Planets: Jupiter, the Bringer of Jollity | — | ||
| 61-5 | The Planets: Saturn, the Bringer of Old Age | — | ||
| 61-6 | The Planets: Uranus, the Magician | — | ||
| 61-7 | The Planets: Neptune, the Mystic | — | ||
| 62-1 | Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: I. Introduction | — | ||
| 62-2 | Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: II. Les Augures printaniers - Danses des adolescentes | — | ||
| 62-3 | Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: III. Jeu du rapt | — | ||
| 62-4 | Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: IV. Rondes printanières | — | ||
| 62-5 | Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: V. Jeux des cités | — | ||
| 62-6 | Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: VI. Cortège du sage - Le Sage | — | ||
| 62-7 | Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: VII. Danse de la terre | — | ||
| 62-8 | Le Sacre du printemps, Pt. 2 “Le Sacrifice”: I. Introduction | — | ||
| 62-9 | Le Sacre du printemps, Pt. 2 “Le Sacrifice”: II. Cercles mysteriéux des adolescentes | — | ||
| 62-10 | Le Sacre du printemps, Pt. 2 “Le Sacrifice”: III. Glorification d’élue | — | ||
| 62-11 | Le Sacre du printemps, Pt. 2 “Le Sacrifice”: IV. Évocation des ancêtres | — | ||
| 62-12 | Le Sacre du printemps, Pt. 2 “Le Sacrifice”: V. Action rituelle des ancêtres | — | ||
| 62-13 | Le Sacre du printemps, Pt. 2 “Le Sacrifice”: VI. Danse sacrale | — | ||
| 63-1 | Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 1: Veni. Creator Spiritus | — | ||
| 63-2 | Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 2: Poco adagio | — | ||
| 63-3 | Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 2: "Waldung, sie schwankt heran..." | — | ||
| 63-4 | Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 2: "Uns bleibt ein Erdenrest..." | — | ||
| 63-5 | Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 2: "Dir, der Unberührbaren..." | — | ||
| 63-6 | Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 2: "Blicket auf..." | — | ||
| 63-7 | Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 2: "Alles Vergängliche..." | — | ||
| 64-1 | Also sprach Zarathustra, op. 30: Einleitung | — | ||
| 64-2 | Also sprach Zarathustra, op. 30: Von den Hinterweltlern | — | ||
| 64-3 | Also sprach Zarathustra, op. 30: Von der großen Sehnsucht | — | ||
| 64-4 | Also sprach Zarathustra, op. 30: Von den Freuden und Leidenschaften | — | ||
| 64-5 | Also sprach Zarathustra, op. 30: Das Grablied | — | ||
| 64-6 | Also sprach Zarathustra, op. 30: Von der Wissenschaft | — | ||
| 64-7 | Also sprach Zarathustra, op. 30: Der Genesende | — | ||
| 64-8 | Also sprach Zarathustra, op. 30: Das Tanzlied | — | ||
| 64-9 | Also sprach Zarathustra, op. 30: Nachtwandlerlied | — | ||
| 64-10 | Ein Heldenleben, op. 40: Der Held | — | ||
| 64-11 | Ein Heldenleben, op. 40: Des Helden Widersacher | — | ||
| 64-12 | Ein Heldenleben, op. 40: Des Helden Gefährtin | — | ||
| 64-13 | Ein Heldenleben, op. 40: Des Helden Walstatt | — | ||
| 64-14 | Ein Heldenleben, op. 40: Des Helden Friedenswerke | — | ||
| 64-15 | Ein Heldenleben, op. 40: Des Helden Weltflucht und Vollendung | — | ||
| 65-1 | Violin Concerto in D major, op. 35: I. Allegro moderato | — | ||
| 65-2 | Violin Concerto in D major, op. 35: II. Canzonetta: Andante - | — | ||
| 65-3 | Violin Concerto in D major, op. 35: III. Finale: Allegro vivacissimo | — | ||
| 65-4 | Violin Concerto in D minor, op. 47: I. Allegro moderato | — | ||
| 65-5 | Violin Concerto in D minor, op. 47: II. Adagio di molto | — | ||
| 65-6 | Violin Concerto in D minor, op. 47: III. Allegro, ma non tanto | — | ||
| 66-1 | Symphony no. 2 in C minor: I. Allegro maestoso | — | ||
| 66-2 | Symphony no. 2 in C minor: II. Andante moderato | — | ||
| 66-3 | Symphony no. 2 in C minor: III. In ruhig fliessender bewegung | — | ||
| 66-4 | Symphony no. 2 in C minor: IV. "Urlicht". Sehr feierlich, aber schlicht | — | ||
| 66-5 | Symphony no. 2 in C minor: V. Im tempo des scherzo. Wild herausfahrend | — | ||
| 66-6 | Symphony no. 2 in C minor: V. Maestoso. Sehr zuruckhaltend - Wieder zuruckhaltend | — | ||
| 66-7 | Symphony no. 2 in C minor: V. Sehr langsam und gedehnt | — | ||
| 66-8 | Symphony no. 2 in C minor: V. Langsam. Misterioso ("Aufersteh'n") | — | ||
| 66-9 | Symphony no. 2 in C minor: V. Etwas bewegter ("O glaube, mein Herz, o glaube") | — | ||
| 67-1 | Symphony no. 4 in G major: I. Bedächtig. Nicht eilen - Recht gemächlich | — | ||
| 67-2 | Symphony no. 4 in G major: II. In gemächlicher Bewegung. Ohne Hast | — | ||
| 67-3 | Symphony no. 4 in G major: III. Ruhevoll. Poco adagio | — | ||
| 67-4 | Symphony no. 4 in G major: IV. Das himmlische Leben. Sehr behaglich | — | ||
| 68-1 | Symphony no. 1 in D major: I. Langsam, Schleppend - Im Anfang sehr gemächlich | — | ||
| 68-2 | Symphony no. 1 in D major: II. Kräftig bewegt, doch nicht zu schnell | — | ||
| 68-3 | Symphony no. 1 in D major: III. Feierlich und gemessen, ohne zu schleppen | — | ||
| 68-4 | Symphony no. 1 in D major: IV. Stürmisch bewegt | — | ||
| 69-1 | Fortuna Imperatrix Mundi: O Fortuna | — | ||
| 69-2 | Fortuna Imperatrix Mundi: Fortune plango vulnera | — | ||
| 69-3 | I. Primo vere: Veris leta facies | — | ||
| 69-4 | I. Primo vere: Omnia Sol temperat | — | ||
| 69-5 | I. Primo vere: Ecce gratum | — | ||
| 69-6 | Uf dem Anger: Tanz - | — | ||
| 69-7 | Uf dem Anger: Floret silva nobilis | — | ||
| 69-8 | Uf dem Anger: Chramer, gip die varwe mir | — | ||
| 69-9 | Uf dem Anger: Swaz hie gat umbe - Chume, chum geselle min | — | ||
| 69-10 | Uf dem Anger: Were diu werlt alle min | — | ||
| 69-11 | II. In Taberna: Estuans interius | — | ||
| 69-12 | II. In Taberna: Olim lacus colueram | — | ||
| 69-13 | II. In Taberna: Ego sum abbas | — | ||
| 69-14 | II. In Taberna: In taberna quando sumus | — | ||
| 69-15 | III. Cour d'amours: Amor volat undique | — | ||
| 69-16 | III. Cour d'amours: Dies, nox et omnia | — | ||
| 69-17 | III. Cour d'amours: Stetit puella | — | ||
| 69-18 | III. Cour d'amours: Circa mea pectora | — | ||
| 69-19 | III. Cour d'amours: Si puer cum puellula | — | ||
| 69-20 | III. Cour d'amours: Veni, veni, venias | — | ||
| 69-21 | III. Cour d'amours: In trutina | — | ||
| 69-22 | III. Cour d'amours: Tempus est iocundum | — | ||
| 69-23 | III. Cour d'amours: Dulcissime | — | ||
| 69-24 | Blanziflor et Helena: Ave formosissima | — | ||
| 69-25 | Fortuna Imperatrix Mundi: O Fortuna | — | ||
| 70-1 | Elektra: „Wo bleibt Elektra?“ | — | ||
| 70-2 | Elektra: „Allein! Weh, ganz allein.“ | — | ||
| 70-3 | Elektra: „Elektra!“ | — | ||
| 70-4 | Elektra: „Ich kann nicht sitzen und ins Dunkel starren“ | — | ||
| 70-5 | Elektra: „Es geht ein Lärm los.“ | — | ||
| 70-6 | Elektra: „Was willst du? Seht doch dort!“ | — | ||
| 70-7 | Elektra: „Die Götter! bist doch selber eine Göttin.“ | — | ||
| 70-8 | Elektra: „Ich will nichts hören!“ | — | ||
| 70-9 | Elektra: „Ich habe keine guten Nächte.“ | — | ||
| 70-10 | Elektra: „Wenn das rechte Blutopfer unterm Beile fällt“ | — | ||
| 70-11 | Elektra: „Was bluten muß? Dein eigenes Genick“ | — | ||
| 70-12 | Elektra: „Ach! Lichter!“ | — | ||
| 71-1 | Elektra: „Orest! Orest ist tot!“ | — | ||
| 71-2 | Elektra: „Nun muß es hier von uns geschehn.“ | — | ||
| 71-3 | Elektra: „Du! Du! Denn du bist stark! Wie stark du bist“ | — | ||
| 71-4 | Elektra: „Nun denn, allein!“ | — | ||
| 71-5 | Elektra: „Was willst du, fremder Mensch?“ | — | ||
| 71-6 | Elektra: „Orest!“ | — | ||
| 71-7 | Elektra: „Du wirst es tun? Allein? Du armes Kind?“ | — | ||
| 71-8 | Elektra: „Seid ihr von Sinnen“ | — | ||
| 71-9 | Elektra: „Ich habe ihm das Beil nicht geben können!“ | — | ||
| 71-10 | Elektra: „He! Lichter!“ | — | ||
| 71-11 | Elektra: „Elektra! Schwester!“ | — | ||
| 71-12 | Elektra: „Ob ich nicht höre?“ | — | ||
| 71-13 | Elektra: „Hörst du denn nicht“ | — | ||
| 71-14 | Elektra: „Schweig, und tanze“ | — | ||
| 72-1 | Carmen : Prélude | — | ||
| 72-2 | Carmen : Acte I. No. 1 Introduction « Sur la place, chacun passe » (les soldats, Moralès) | — | ||
| 72-3 | Carmen : Acte I. No. 1 « Regardez donc cette petite » (Moralès, les soldats, Micaëla) | — | ||
| 72-4 | Carmen : Acte I. No. 2 Marche et chœur des gamins « Avec la garde montante » (les gamins) | — | ||
| 72-5 | Carmen : Acte I. No. 2 Dialogue « Il y a une jolie fille » (Moralès, Don José) | — | ||
| 72-6 | Carmen : Acte I. No. 2 « Et la garde descendante » (les gamins) | — | ||
| 72-7 | Carmen : Acte I. No. 2 Dialogue « Dites‐moi, brigadier ? » (Zuniga, Don José) | — | ||
| 72-8 | Carmen : Acte I. No. 3 Chœur et scène « La cloche a sonné » (les jeunes gens, les soldats) | — | ||
| 72-9 | Carmen : Acte I. No. 3 « Dans l’air, nous suivons des yeux la fumée » (les cigarières, les jeunes gens) | — | ||
| 72-10 | Carmen : Acte I. No. 3 « Mais nous ne voyons pas la Carmencita ! » (les soldats, les jeunes gens, les cigarières) | — | ||
| 72-11 | Carmen : Acte I. No. 3 « Quand je vous aimerai ? » / No. 4 Havanaise « L’amour est un oiseau rebelle » (Carmen, les jeunes gens, les soldats) | — | ||
| 72-12 | Carmen : Acte I. No. 5 Scène « Carmen ! Sur tes pas nous nous pressons tous ! » (les jeunes gens, les cigarières) | — | ||
| 72-13 | Carmen : Acte I. No. 5 Dialogue « Qu’est‐ce que ça veut dire » (Don José, Micaëla) | — | ||
| 72-14 | Carmen : Acte I. No. 6 Duo « Parle‐moi de ma mère ! » (Don José, Micaëla) | — | ||
| 72-15 | Carmen : Acte I. No. 6 « Ma mère, je la vois ! » (Don José, Micaëla) | — | ||
| 72-16 | Carmen : Acte I. No. 6 Dialogue « Attends un peu maintenant » (Don José, Micaëla) | — | ||
| 72-17 | Carmen : Acte I. No. 7 Chœur « Au secours ! » (les cigarières, Zuniga, les soldats) | — | ||
| 72-18 | Carmen : Acte I. No. 7 Dialogue « Voyons, brigadier » (Zuniga, Don José, Carmen) | — | ||
| 72-19 | Carmen : Acte I. No. 8 Chanson et mélodrame Dialogue « Avez‐vous quelque chose à répondre ? » / « Tra la la la. Coupe‐moi brûle‐moi » (Carmen, Zuniga, les cigarières) | — | ||
| 72-20 | Carmen : Acte I. No. 8 Dialogue « Où me conduirez‐vous ? » (Carmen, Don José) | — | ||
| 72-21 | Carmen : Acte I. No. 9 Chanson (séguedille) et duo « Près des remparts de Séville » / « Tais‐toi » (Carmen, Don José) | — | ||
| 72-22 | Carmen : Acte I. No. 10 Final Dialogue « Le lieutenant ! … Prenez garde ! » / « Voici l’ordre » (Don José, Zuniga, Carmen) | — | ||
| 72-23 | Carmen : Acte I. Entracte | — | ||
| 72-24 | Carmen : Acte II. No. 11 Chanson « Les tringles des sistres tintaient » (Carmen, Frasquita, Mercédès) | — | ||
| 72-25 | Carmen : Acte II. No. 11 Dialogue « Vous avez quelque chose à nous dire, maître Lillas Pastia ? » (Zuniga, Pastia, Frasquita, Carmen) / No. 12 Chœur et ensemble « Vivat ! Vivat le torero ! » (les amis d’Escamillo) / Dialogue « Qu’est‐ce que c’est que ça ? » (Zuniga, Mercédès, Frasquita, Moralès, Pastia, les amis d’Escamillo) | — | ||
| 72-26 | Carmen : Acte II. No. 13 Couplets « Votre toast, je peux vous le rendre » / « Toréador, en garde ! » (Escamillo, tous) | — | ||
| 72-27 | Carmen : Acte II. No. 13 Dialogue « Messieurs les officiers, je vous en prie » (Pastia, Zuniga, Escamillo, Carmen) / Marche | — | ||
| 72-28 | Carmen : Acte II. No. 13 Dialogue « Le Dancaïre et le Remendado ont à vous parler » (Pastia, Frasquita, le Dancaïre, Carmen) | — | ||
| 72-29 | Carmen : Acte II. No. 14 Quintette « Nous avons en tête une affaire ! » (le Dancaïre, Frasquita, Mercédès, le Remendado, Carmen) | — | ||
| 72-30 | Carmen : Acte II. No. 14 Dialogue « En voilà assez » (le Dancaïre, le Remendado, Carmen, Frasquita, Mercédès) / No. 15 Chanson « Halte‐là ! Qui va là ? Dragon d’Alcala ! » (Don José) / Dialogue « C’est un dragon, ma foi » (Mercédès, Frasquita, le Dancaïre, Carmen) / « Halte‐là ! Qui va là ? Dragon d’Alcala ! » (Don José) / Dialogue « Enfin… te voilà » (Camen, Don José) | — | ||
| 72-31 | Carmen : Acte II. No. 16 Duo « Je vais danser en votre honneur » (Carmen, Don José) | — | ||
| 73-1 | Carmen : Acte II. No. 16 « Au quartier ! pour l’appel ! » (Carmen, Don José) | — | ||
| 73-2 | Carmen : Acte II. No. 16 « La fleur que tu m’avais jetée » (Don José) | — | ||
| 73-3 | Carmen : Acte II. No. 16 « Non ! Tu ne m’aimes pas ! » (Carmen, Don José) | — | ||
| 73-4 | Carmen : Acte II. No. 17 Final « Holà ! Carmen ! holà ! » (Zuniga, Don José, Carmen) | — | ||
| 73-5 | Carmen : Acte II. No. 17 Final « Bel officier, l’amour » (Carmen, le Remendado, le Dancaïre, bohémiens, Zuniga, Don José, Frasquita, Mercédès, bohémiennes) | — | ||
| 73-6 | Carmen : Acte II. Entracte | — | ||
| 73-7 | Carmen : Acte III, Premier tableau. No. 18 Introduction « Écoute, compagnon, écoute ! » (les contrebandiers, les contrebandières, Frasquita, Mercédès, Carmen, Don José, le Dancaïre, le Remendado) | — | ||
| 73-8 | Carmen : Acte III, Premier tableau. No. 18 Dialogue « Halte ! nous allons nous arrêter ici » (le Dancaïre, le Remendado, Don José, Carmen) | — | ||
| 73-9 | Carmen : Acte III, Premier tableau. No. 19 Trio des cartes « Mêlons ! Coupons ! » (Frasquita, Mercédès, Carmen) | — | ||
| 73-10 | Carmen : Acte III, Premier tableau. No. 19 « Carreau ! Pique ! … La mort ! » (Carmen, Frasquita, Mercédès) | — | ||
| 73-11 | Carmen : Acte III, Premier tableau. No. 19 Dialogue « Eh bien ? » (Carmen, le Dancaïre, le Remendado, Frasquita, Mercédès, Don José) | — | ||
| 73-12 | Carmen : Acte III, Premier tableau. No. 20 Morçeau d’ensemble « Quant au douanier, c’est notre affaire ! » (Frasquita, Mercédès, Carmen, les contrebandières, le Dancaïre, le Remendado, les contrebandiers) | — | ||
| 73-13 | Carmen : Acte III, Premier tableau. No. 20 Dialogue « C’est ici » (Micaëla, le guide) | — | ||
| 73-14 | Carmen : Acte III, Premier tableau. No. 21 Air « Je dis que rien ne m’épouvante » (Micaëla) | — | ||
| 73-15 | Carmen : Acte III, Premier tableau. No. 21 Dialogue « Mais… je ne me trompe pas… c’est Don José ! » (Micaëla, Escamillo, Don José) | — | ||
| 73-16 | Carmen : Acte III, Premier tableau. No. 22 Duo « Je suis Escamillo, torero de Grenade ! » (Escamillo, Don José) | — | ||
| 73-17 | Carmen : Acte III, Premier tableau. No. 23 Final « Holà ! holà ! José ! » (Carmen, Escamillo, le Dancaïre, Don José, les contrebandiers, les contrebandières) | — | ||
| 73-18 | Carmen : Acte III, Premier tableau. No. 23 « Halte ! quelqu’un est là qui cherche à se cacher ! » (le Remendado, Carmen, le Dancaïre, Don José, Micaëla, Frasquita, Mercédès, les contrebandiers, les contrebandières, Escamillo) | — | ||
| 73-19 | Carmen : Acte III. Entracte | — | ||
| 73-20 | Carmen : Acte III, Deuxième tableau. No. 24 Chœur « À dos cuartos ! » (les marchands, les marchandes, Zuniga, Moralès, un bohémien) | — | ||
| 73-21 | Carmen : Acte III, Deuxième tableau. No. 24 Dialogue « Qu’avez‐vous donc fait de la Carmencita ? » (Zuniga, Frasquita, Moralès, Mercédès) | — | ||
| 73-22 | Carmen : Acte III, Deuxième tableau. No. 25 Chœur et scène « Les voici ! Voici la quadrille ! » (les enfants, les marchands, les marchandes, les bohémiens, les bohémiennes) | — | ||
| 73-23 | Carmen : Acte III, Deuxième tableau. No. 25 « Si tu m’aimes, Carmen » (Escamillo, Carmen, alguazils, Frasquita, Mercédès) | — | ||
| 73-24 | Carmen : Acte III, Deuxième tableau. No. 26 Duo final « C’est toi ! » – « C’est moi ! » (Carmen, Don José, la foule) | — | ||
| 74-1 | Symphony no. 7 in E minor: I. Langsam - Allegro risoluto, ma non troppo | — | ||
| 74-2 | Symphony no. 7 in E minor: II. Nachtmusik: Allegro moderato | — | ||
| 74-3 | Symphony no. 7 in E minor: III. Scherzo | — | ||
| 74-4 | Symphony no. 7 in E minor: IV. Nachtmusik: Andante amoroso | — | ||
| 75-1 | Symphony no. 7 in E minor: V. Rondo-Finale: Allegro ordinario - Allegro moderato ma energico | — | ||
| 75-2 | Kindertotenlieder: Nun will die Sonn' so hell aufgeh'n | — | ||
| 75-3 | Kindertotenlieder: Nun seh' ich wohl, warum so dunkle Flammen | — | ||
| 75-4 | Kindertotenlieder: Wenn dein Mütterlein | — | ||
| 75-5 | Kindertotenlieder: Oft denk' ich, sie sind nur ausgegangen | — | ||
| 75-6 | Kindertotenlieder: In diesem Wetter | — | ||
| 76-1 | Der fliegende Holländer: Overture | — | ||
| 76-2 | Lohengrin: Prelude to Act I | — | ||
| 76-3 | Die Meistersinger von Nürnberg: Prelude to Act I | — | ||
| 76-4 | Tannhäuser: Overture | — | ||
| 76-5 | Tristan und Isolde: Prelude | — | ||
| 76-6 | Tristan und Isolde: Liebestod | — | ||
| 77-1 | Concerto for 2 Pianos and Orchestra in D minor: I. Allegro ma non troppo | — | ||
| 77-2 | Concerto for 2 Pianos and Orchestra in D minor: II. Larghetto | — | ||
| 77-3 | Concerto for 2 Pianos and Orchestra in D minor: III. Finale, Allegro molto | — | ||
| 77-4 | Sonata for Piano Duet: I. Prélude. Modéré | — | ||
| 77-5 | Sonata for Piano Duet: II. Rustique. Naïf et lent | — | ||
| 77-6 | Sonata for Piano Duet: III. Final. Très vite | — | ||
| 77-7 | Capriccio (d'après le Bal Masqué) | — | ||
| 77-8 | L'embarquement pour Cythère | — | ||
| 77-9 | Élégie (en accords alternés) | — | ||
| 77-10 | Scaramouche: I. Vif | — | ||
| 77-11 | Scaramouche: II. Modéré | — | ||
| 77-12 | Scaramouche: III. Brazileira (Mouvement de samba) | — | ||
| 78-1 | Symphony no. 9 in D major: I. Andante comodo - | — | ||
| 78-2 | Symphony no. 9 in D major: Mit Wut. Allegro risoluto - | — | ||
| 78-3 | Symphony no. 9 in D major: Tempo I | — | ||
| 78-4 | Symphony no. 9 in D major: II. Imp Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb - | — | ||
| 78-5 | Symphony no. 9 in D major: Poco più mosso subito - | — | ||
| 78-6 | Symphony no. 9 in D major: Ländler, ganz langsam | — | ||
| 78-7 | Symphony no. 9 in D major: III. Rondo-Burleske: Allegro assai. Sehr trotzig - | — | ||
| 78-8 | Symphony no. 9 in D major: Presto | — | ||
| 79-1 | Symphony no. 9 in D major: IV. Adagio Sehr langsam und noch zurückhaltend | — | ||
| 79-2 | Symphony no. 10 in F-sharp minor (unfinished): I. Andante - Adagio | — | ||
| 80-1 | Symphony no. 5 in C-sharp minor: Part I. I. Trauermarsch: In gemessenem Schritt. Streng. Wie ein Kondukt - Plötzlich scneller. Leidenschaftlich. Wild - Tempo I | — | ||
| 80-2 | Symphony no. 5 in C-sharp minor: Part I. II. Stürmisch bewegt. Mit größter Vehemenz - | — | ||
| 80-3 | Symphony no. 5 in C-sharp minor: Part II. III. Scherzo: Kräftig, nicht zu schnell | — | ||
| 80-4 | Symphony no. 5 in C-sharp minor: Part III. IV. Adagietto: Sehr langsam | — | ||
| 80-5 | Symphony no. 5 in C-sharp minor: Part III. V. Rondo-Finale: Allegro | — | ||
| 81-1 | Toccata and Fugue in D-minor, BWV 565 (Stokowski) | — | ||
| 81-2 | Musikalisches Opfer, BWV 1079 (Webern) | — | ||
| 81-3 | Partita in D-minor, BWV 1004 (Hideo Saito) | — | ||
| 81-4 | Vom Himmel hoch, BWV 769 (Stravinsky); Choral | — | ||
| 81-5 | Var. I In canone all 'ottava | — | ||
| 81-6 | Var. II Alio modo in canone alle quinta | — | ||
| 81-7 | Var. III In canone alla settima | — | ||
| 81-8 | Var. IV In canone all 'ottava per augmentationem | — | ||
| 81-9 | Var. V L'altra sorte del canone al rovescio | — | ||
| 81-10 | Prelude and Fugue in E-flat major, BWV 552 (Schoenberg) | — | ||
| 82-1 | Symphony no. 9 in E minor, op. 95 “From the New World”: I. Adagio - Allegro molto | — | ||
| 82-2 | Symphony no. 9 in E minor, op. 95 “From the New World”: II. Largo | — | ||
| 82-3 | Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace | — | ||
| 82-4 | Symphony no. 9 in E minor, op. 95 “From the New World”: IV. Allegro con fuoco | — | ||
| 82-5 | In Nature’s Realm, op. 91 | — | ||
| 83-1 | Symphony no. 6 in A minor: I. Allegro energico, ma non troppo. Heftig, aber markig | — | ||
| 83-2 | Symphony no. 6 in A minor: II. Scherzo. Wuchtig | — | ||
| 83-3 | Symphony no. 6 in A minor: III. Andante moderato | — | ||
| 84-1 | Symphony no. 6 in A minor: Finale: Allegro moderato - Allegro energico | — | ||
| 84-2 | Symphony no. 3 in D minor: Part I. I. Kräftig. Entschieden | — | ||
| 85-1 | Symphony no. 3 in D minor: Part II. II. Tempo di minuetto. Sehr mäßig | — | ||
| 85-2 | Symphony no. 3 in D minor: Part II. III. Comodo. Scherzando. Ohne Hast | — | ||
| 85-3 | Symphony no. 3 in D minor: Part II. IV. Zarathustras Mitternachtslied. Sehr langsam. Misterioso | — | ||
| 85-4 | Symphony no. 3 in D minor: Part II. V. Es sungen drei Engel. Lustig im Tempo und keck im Austruck | — | ||
| 85-5 | Symphony no. 3 in D minor: Part II. VI. Langsam. Ruhevoll. Empfunden | — | ||
| 86-1 | Symphony no. 8 in G major, op. 88: I. Allegro con brio | — | ||
| 86-2 | Symphony no. 8 in G major, op. 88: II. Adagio | — | ||
| 86-3 | Symphony no. 8 in G major, op. 88: III. Allegretto grazioso - Molto vivace | — | ||
| 86-4 | Symphony no. 8 in G major, op. 88: IV. Allegro ma non troppo | — | ||
| 86-5 | The Noonday Witch, op. 108 | — | ||
| 87-1 | Scheherazade, Op. 35: I. The Sea and Sinbad's Ship. Largo e maestoso - Allegro non troppo | — | ||
| 87-2 | Scheherazade, Op. 35: II. The Tale of the Kalendar Prince. Lento - Andante | — | ||
| 87-3 | Scheherazade, Op. 35: III. The Young Prince and The Young Princess. Andantino quasi allegretto | — | ||
| 87-4 | Scheherazade, Op. 35: IV. Festival at Baghdad - The Sea - Shipwreck on a Rock surmounted by a Bronze Warrior - Conclusion. Allegro molto | — | ||
| 87-5 | Russian Easter Overture | — | ||
| 88-1 | Salome, op. 54: "Wie schön ist die Prinzessin Salome heute Nacht!" | — | ||
| 88-2 | Salome, op. 54: "Nach mir wird Einer kommen" | — | ||
| 88-3 | Salome, op. 54: "Ich will nicht bleiben" | — | ||
| 88-4 | Salome, op. 54: "Siehe, der Herr ist gekommen" | — | ||
| 88-5 | Salome, op. 54: "Jauchze nicht, du Land Palästina" | — | ||
| 88-6 | Salome, op. 54: "Du wirst das für mich tun" | — | ||
| 88-7 | Salome, op. 54: "Wo ist er, dessen Sündenbecher jetzt voll ist?" | — | ||
| 88-8 | Salome, op. 54: "Er ist schrecklich. Er ist wirklich schrecklich!" | — | ||
| 88-9 | Salome, op. 54: "Wer ist dies Weib, das mich ansieht?" | — | ||
| 88-10 | Salome, op. 54: "Jochanaan! Ich bin verliebt in deinen Leib" | — | ||
| 88-11 | Salome, op. 54: "Zurück, Tochter Sodoms! Berühre mich nicht!" | — | ||
| 88-12 | Salome, op. 54: "Wird dir nicht bange, Tochter der Herodias?" | — | ||
| 88-13 | Salome, op. 54: "Lass mich deinen Mund küssen, Jochanaan" | — | ||
| 88-14 | Salome, op. 54: "Du bist verflucht" | — | ||
| 88-15 | Salome, op. 54: "Wo ist Salome?" | — | ||
| 88-16 | Salome, op. 54: "Salome, komm, trink Wein mit mir" | — | ||
| 88-17 | Salome, op. 54: "Sieh', die Zeit ist gekommen" | — | ||
| 88-18 | Salome, op. 54: "Wahrhaftig, Herr, es wäre besser" | — | ||
| 88-19 | Salome, op. 54: "Siehe, der Tag ist nahe" | — | ||
| 88-20 | Salome, op. 54: "Eine Menge Menschen wird sich gegen sie sammeln" | — | ||
| 88-21 | Salome, op. 54: "Tanz für mich, Salome" | — | ||
| 89-1 | Salome, op. 54: Salomes Tanz der sieben Schleier | — | ||
| 89-2 | Salome, op. 54: "Ah! Herrlich! Wundervoll, wundervoll!" | — | ||
| 89-3 | Salome, op. 54: "Salome, ich beschwöre dich" | — | ||
| 89-4 | Salome, op. 54: "Salome, bedenk, was du tun willst" | — | ||
| 89-5 | Salome, op. 54: "Man soll ihr geben, was sie verlangt!" | — | ||
| 89-6 | Salome, op. 54: "Es ist kein Laut zu vernehmen" | — | ||
| 89-7 | Salome, op. 54: "Ah! Du wolltest mich nicht deinen Mund küssen lassen" | — | ||
| 89-8 | Salome, op. 54: "Sie ist ein Ungeheuer, deine Tochter" | — | ||
| 89-9 | Salome, op. 54: "Ah! Ich habe deinen Mund geküsst, Jochanaan" | — | ||
| 90-1 | Concerto for Orchestra: I. Introduzione. Andante non troppo - Allegro vivace | — | ||
| 90-2 | Concerto for Orchestra: II. Giuoco delle coppie. Allegretto scherzando | — | ||
| 90-3 | Concerto for Orchestra: III. Elegia. Andante, non troppo | — | ||
| 90-4 | Concerto for Orchestra: IV. Intermezzo interrotto. Allegretto | — | ||
| 90-5 | Concerto for Orchestra: V. Finale. Pesante - Presto | — | ||
| 90-6 | The Miraculous Mandarin, op. 19: I. Allegro | — | ||
| 90-7 | The Miraculous Mandarin, op. 19: II. Comodo | — | ||
| 90-8 | The Miraculous Mandarin, op. 19: III. Allegretto | — | ||
| 90-9 | The Miraculous Mandarin, op. 19: IV. Lento | — | ||
| 90-10 | The Miraculous Mandarin, op. 19: V. Adagio | — | ||
| 90-11 | The Miraculous Mandarin, op. 19: VI. Molto moderato | — | ||
| 91-1 | Wiener Philharmoniker Fanfare, TrV 248 | — | ||
| 91-2 | Eine Alpensinfonie, op. 64, TrV 233: Nacht | — | ||
| 91-3 | Eine Alpensinfonie, op. 64, TrV 233: Sonnenaufgang | — | ||
| 91-4 | Eine Alpensinfonie, op. 64, TrV 233: Der Anstieg | — | ||
| 91-5 | Eine Alpensinfonie, op. 64, TrV 233: Eintritt in den Wald | — | ||
| 91-6 | Eine Alpensinfonie, op. 64, TrV 233: Wanderung neben dem Bache | — | ||
| 91-7 | Eine Alpensinfonie, op. 64, TrV 233: Am Wasserfall | — | ||
| 91-8 | Eine Alpensinfonie, op. 64, TrV 233: Erscheinung | — | ||
| 91-9 | Eine Alpensinfonie, op. 64, TrV 233: Auf blumige Wiesen | — | ||
| 91-10 | Eine Alpensinfonie, op. 64, TrV 233: Auf der Alm | — | ||
| 91-11 | Eine Alpensinfonie, op. 64, TrV 233: Durch Dickicht und Gestrüpp auf Irrwegen | — | ||
| 91-12 | Eine Alpensinfonie, op. 64, TrV 233: Auf dem Gletscher | — | ||
| 91-13 | Eine Alpensinfonie, op. 64, TrV 233: Gefahrvolle Augenblicke | — | ||
| 91-14 | Eine Alpensinfonie, op. 64, TrV 233: Auf dem Gipfel | — | ||
| 91-15 | Eine Alpensinfonie, op. 64, TrV 233: Vision | — | ||
| 91-16 | Eine Alpensinfonie, op. 64, TrV 233: Nebel steigen auf | — | ||
| 91-17 | Eine Alpensinfonie, op. 64, TrV 233: Die Sonne verdüstert sich allmählich | — | ||
| 91-18 | Eine Alpensinfonie, op. 64, TrV 233: Elegie | — | ||
| 91-19 | Eine Alpensinfonie, op. 64, TrV 233: Stille vor dem Sturm | — | ||
| 91-20 | Eine Alpensinfonie, op. 64, TrV 233: Gewitter und Sturm, Abstieg | — | ||
| 91-21 | Eine Alpensinfonie, op. 64, TrV 233: Sonnenuntergang | — | ||
| 91-22 | Eine Alpensinfonie, op. 64, TrV 233: Ausklang | — | ||
| 91-23 | Eine Alpensinfonie, op. 64, TrV 233: Nacht | — | ||
| 91-24 | Feierlicher Einzug (Einzug der Ritter des Johanniterordens), TrV 224 | — | ||
| 92-1 | National Anthem of the Federal Republic of Germany | — | ||
| 92-2 | La Marseillaise | — | ||
| 92-3 | National Anthem of the United Kingdom | — | ||
| 92-4 | National Anthem of the Kingdom of the Netherlands | — | ||
| 92-5 | "La Brabançonne", National Anthem of the Kingdom of Belgium | — | ||
| 92-6 | National Anthem of the Grand Duchy of Luxembourg | — | ||
| 92-7 | National Anthem of the Republic of Austria | — | ||
| 92-8 | National Anthem of the Republic of Italy | — | ||
| 92-9 | National Anthem of the Kingdom of Spain | — | ||
| 92-10 | A Portuguésa - National Anthem of the Portuguese Republic | — | ||
| 92-11 | National Anthem of the Kingdom of Norway | — | ||
| 92-12 | Du gamla, du fria - National Anthem of the Kingdom of Sweden | — | ||
| 92-13 | Der er et Yndigt land - National Anthem of the Kingdom of Denmark | — | ||
| 92-14 | National Anthem of the Republic of Finland | — | ||
| 92-15 | National Anthem of the Swiss Confederation | — | ||
| 92-16 | National Anthem of the Principality of Liechtenstein | — | ||
| 92-17 | National Anthem of the Principality of Andorra | — | ||
| 92-18 | National Anthem of the Principality of Monaco | — | ||
| 92-19 | Amhrán na bhFiann - National Anthem of Ireland | — | ||
| 92-20 | National Anthem of the Republic of Iceland | — | ||
| 92-21 | National Anthem of the Republic of Estonia | — | ||
| 92-22 | National Anthem of the Republic of Latvia | — | ||
| 92-23 | National Anthem of the Republic of Lithuania | — | ||
| 92-24 | Mazurek Dąbrowskiego - National Anthem of the Republic of Poland | — | ||
| 92-25 | National Anthem of the Czech Republic | — | ||
| 92-26 | National Anthem of the Slovak Republic | — | ||
| 92-27 | National Anthem of the Republic of Hungary | — | ||
| 92-28 | National Anthem of Romania | — | ||
| 92-29 | National Anthem of the Federal Republic of Yugoslavia | — | ||
| 92-30 | National Anthem of the Republic of Slovenia | — | ||
| 92-31 | National Anthem of the Republic of Croatia | — | ||
| 92-32 | National Anthem of Bosnia and Herzegovina | — | ||
| 92-33 | National Anthem of the Republic of Bulgaria | — | ||
| 92-34 | National Anthem of the Republic of Macedonia | — | ||
| 92-35 | National Anthem of the Hellenic Republic | — | ||
| 92-36 | National Anthem of Canada | — | ||
| 92-37 | The Star-Spangled Banner | — | ||
| 92-38 | Himno Nacional Mexicano - National Anthem of the United Mexican States | — | ||
| 92-39 | Himno Nacional - National Anthem of the Republic of Costa Rica | — | ||
| 92-40 | National Anthem of Jamaica | — | ||
| 92-41 | Hino Nacional - National Anthem of the Federative Republic of Brazil | — | ||
| 92-42 | National Anthem of the Republic of Chile | — | ||
| 92-43 | Himno Nacional Argentino - National Anthem of Argentina | — | ||
| 92-44 | National Anthem of The Russian Federation | — | ||
| 92-45 | National Anthem of the Republic of Belarus | — | ||
| 92-46 | National Anthem of Ukraine | — | ||
| 92-47 | National Anthem of the Republic of Moldova | — | ||
| 92-48 | National Anthem of the Republic of Georgia | — | ||
| 92-49 | National Anthem of the Republic of Armenia | — | ||
| 92-50 | National Anthem of the Azerbaidjan Republic | — | ||
| 92-51 | National Anthem of the Republic of Kazakhstan | — | ||
| 92-52 | National Anthem of the Republic of Uzbekistan | — | ||
| 92-53 | National Anthem of the Kyrgyz Republic | — | ||
| 92-54 | Kimigayo - National Anthem of Japan | — | ||
| 92-55 | Aegug-Ga - National Anthem of the Republic of Korea | — | ||
| 92-56 | National Anthem of the Democratic People's Republic of Korea | — | ||
| 92-57 | March of the Volunteers - National Anthem of the People's Republic of China | — | ||
| 92-58 | National Anthem of Mongolia | — | ||
| 92-59 | İstiklâl Marşı - National Anthem of the Republic of Turkey | — | ||
| 92-60 | National Anthem of the Republic of Cyprus | — | ||
| 92-61 | National Anthem of the State of Israel | — | ||
| 92-62 | National Anthem of the Islamic Republic of Iran | — | ||
| 92-63 | National Anthem of India | — | ||
| 92-64 | National Anthem of Australia | — | ||
| 92-65 | National Anthem of New Zealand | — | ||
| 92-66 | National Anthem of the Democratic People's Republic of Algeria | — | ||
| 92-67 | National Anthem of the Republic of South Africa | — | ||
| 94-1 | Shéhérazade: I. Asie | — | ||
| 94-2 | Shéhérazade: II. La Flûte enchantée | — | ||
| 94-3 | Shéhérazade: III. L’Indifférent | — | ||
| 94-4 | Les Illuminations, op. 18: I. Fanfare | — | ||
| 94-5 | Les Illuminations, op. 18: II. Villes | — | ||
| 94-6 | Les Illuminations, op. 18: IIIa. Phrase | — |
Romeo and Juliet, TH 42: Andante non tanto quasi Moderato: Allegro giusto - Moderato assai
—
Romeo And Juliet, Ballet Suite, op. 64a, no. 2: I. The Montagues and the Capulets
—
Romeo And Juliet, Ballet Suite, op. 64a, no. 2: IV. Dance
—
Romeo And Juliet, Ballet Suite, op. 64a, no. 2: VII. Romeo at Juliet's Grave
—
Romeo And Juliet, Ballet Suite, op. 64a, no. 2: VI. Dance of the Maids from the Antilles
—
Romeo and Juliet, Ballet Suite, op. 64a, no. 1: VII. Death of Tybalt
—
Roméo et Juliette, op. 17, H.79, Part 3: Scène d'amour
—
Three Pieces for Blues Band and Symphony Orchestra, op.50: I. 1st Part
—
Three Pieces for Blues Band and Symphony Orchestra, op.50: II. 2nd Part
—
Three Pieces for Blues Band and Symphony Orchestra, op.50: III. 3rd Part
—
"West Side Story": Symphonic Dances: I. Prologue
—
"West Side Story": Symphonic Dances: II. Somewhere
—
"West Side Story": Symphonic Dances: III. Scherzo
—
"West Side Story": Symphonic Dances: IV. Mambo
—
"West Side Story": Symphonic Dances: V. Cha-cha
—
"West Side Story": Symphonic Dances: VI. Meeting Scene
—
"West Side Story": Symphonic Dances: VII. Cool Fugue
—
"West Side Story": Symphonic Dances: VIII. Rumble
—
"West Side Story": Symphonic Dances: IX. Finale
—
Symphonie fantastique, op. 14, H 48: I. Rêveries. Passions (Largo: Allegro agitato ed appassionato assai)
—
Symphonie fantastique, op. 14, H 48: II. Un bal (Valse: Allegro non troppo)
—
Symphonie fantastique, op. 14, H 48: III. Scène aux champs (Adagio)
—
Symphonie fantastique, op. 14, H 48: IV. Marche au supplice (Allegretto non troppo)
—
Symphonie fantastique, op. 14, H 48: V. Songe d'une nuit du Sabbat (Larghetto: Allegro - Ronde du Sabbat: Poco meno mosso)
—
La Damnation de Faust, op. 24, H 111, Pt. 1: Scène I. "Le vieil hiver a fait place au printemps"
—
La Damnation de Faust, op. 24, H 111, Pt. 1: Ronde des Paysans. "Les bergers quittent": Scène II. "Mais d'un éclat guerrier"
—
La Damnation de Faust, op. 24, H 111, Pt. 1: Marche hongroise
—
La Damnation de Faust, op. 24, H 111, Pt. 2: Scène III. "Sans regrets j'ai quitté les riantes campagnes"
—
La Damnation de Faust, op. 24, H 111, Pt. 2: Chant de la fête de Pâques. "Christ vient de ressusciter!"
—
La Damnation de Faust, op. 24, H 111, Pt. 2: Scène IV. "O pure émotion!"
—
La Damnation de Faust, op. 24, H 111, Pt. 2: Scène V. Choeur de buveurs. "A boire encor!"
—
La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Brander. "Certain rat, dans une cuisine"
—
La Damnation de Faust, op. 24, H 111, Pt. 2: Fugue sur le thème de la chanson. "Amen"
—
La Damnation de Faust, op. 24, H 111, Pt. 2: Chanson de Méphistophélès. "Une puce gentille"
—
La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VI. Air de Méphistophélès. "Voici des roses"
—
La Damnation de Faust, op. 24, H 111, Pt. 2: Songe de Faust. "Dors! heureux Faust"
—
La Damnation de Faust, op. 24, H 111, Pt. 2: Scène VII. "Margarita!"
—
La Damnation de Faust, op. 24, H 111, Pt. 2: Choeurs de Soldats et Chanson d'Etudiants. "Villes entourées": "Jam nox stellata velamina pandit"
—
La Damnation de Faust, op. 24, H 111, Pt. 3: (Prélude: La retraite)
—
La Damnation de Faust, op. 24, H 111, Pt. 3: "Merci, doux crépuscule!": "Je l'entends!" (Faust / Méphistophélès, Faust)
—
La Damnation de Faust, op. 24, H 111, Pt. 3: Scène X. "Que l'air est étouffant"
—
La Damnation de Faust, op. 24, H 111, Pt. 3: Le roi de Thulé (Chanson gothique). "Autrefois un roi de Thulé"
—
La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1I. Evocation. "Esprits des flammes inconstantes"
—
La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1II. "Maintenant chantons à cette belle"
—
La Damnation de Faust, op. 24, H 111, Pt. 3: Sérénade de Méphistophélès. "Devant la maison"
—
La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1III. "Grands dieux!"
—
La Damnation de Faust, op. 24, H 111, Pt. 3: Scène 1IV. "Allons, il est trop tard!"
—
La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1V. Romance. "D'amour l'ardente flamme"
—
La Damnation de Faust, op. 24, H 111, Pt. 4: "Au son des trompettes"
—
La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VI. Invocation à la Nature. "Nature immense"
—
La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VII. Récitatif et Chasse. "A la voûte azurée"
—
La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 1VIII. La course à l'abîme. "Dans mon choeur retentit sa voix"
—
La Damnation de Faust, op. 24, H 111, Pt. 4: "Has! Irimirukarabrao! Has!": "Alors, l'Enfers se tut" (Choeur, Méphistophélès / Une Voix, Choeur)
—
La Damnation de Faust, op. 24, H 111, Pt. 4: Scène 2I. Le Ciel. "Laus! Laus!": Apothéose de Marguerite. "Remonte au ciel, âme naïve"
—
Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": I. Allegro
—
Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": II. Adagio un poco mosso
—
Piano Concerto no. 5 in E-flat major, op. 73 "Emperor": III. Rondo (Allegro)
—
The Miraculous Mandarin, BB 82, op. 19 (Sz.73): Suite
—
Symphony no. 4: I. Prelude (Walt Whitman)
—
Symphony no. 4: II. Allegretto
—
Symphony no. 4: III. Fugue. Andante moderato
—
Symphony no. 4: IV. Very slowly: Largo maestoso
—
Central Park in The Dark
—
Boléro, M. 81: Original Version, M. 81
—
Miroirs, M.43, Orch. Ravel: III. Une barque sur l'océan
—
Menuet antique: for Orchestra
—
Alborada del gracioso, M 43: Orchestral version
—
Pavane pour une infante défunte, M.19
—
La Valse, M.72
—
Le Tombeau de Couperin, M. 68, Orchestral version: I. Prélude
—
Le Tombeau de Couperin, M. 68, Orchestral version: II. Forlane
—
Le Tombeau de Couperin, M. 68, Orchestral version: III. Menuet
—
Le Tombeau de Couperin, M. 68, Orchestral version: IV. Rigaudon
—
Ma mère l'Oye, M. 60, Orchestral version: Prélude
—
Ma mère l'Oye, M. 60, Orchestral version: Danse du rouet et scène: Interlude
—
Ma mère l'Oye, M. 60, Orchestral version: Pavane de la Belle au bois dormant
—
Ma mère l'Oye, M. 60, Orchestral version: Les entretiens de la Belle et de la Bête
—
Ma mère l'Oye, M. 60, Orchestral version: Petit Poucet
—
Ma mère l'Oye, M. 60, Orchestral version: Laideronnette, Impératrice des Pagodes
—
Ma mère l'Oye, M. 60, Orchestral version: Apothéose: Le jardin féerique
—
Rapsodie espagnole, M. 54: I. Prélude à la nuit
—
Rapsodie espagnole, M. 54: II. Malagueña
—
Rapsodie espagnole, M. 54: III. Habanera
—
Rapsodie espagnole, M. 54: IV. Feria
—
Daphnis et Chloé, M. 57, Première partie: Introduction: Lent - Trè modéré
—
Daphnis et Chloé, M. 57, Première partie: Danse religieuse: Modéré
—
Daphnis et Chloé, M. 57, Première partie: Scène: Un peu plus lent
—
Daphnis et Chloé, M. 57, Première partie: Scène: Les jeunes filles dansent - Vif
—
Daphnis et Chloé, M. 57, Première partie: Scène: Les jeunes filles dansent - Vif
—
Daphnis et Chloé, M. 57, Première partie: Scène: Danse générale
—
Daphnis et Chloé, M. 57, Première partie: Scène: Vif - Plus modéré - Très modéré - Pesant
—
Daphnis et Chloé, M. 57, Première partie: Danse légère et gracieuse de Daphnis: Assez lent - Animé - Vif
—
Daphnis et Chloé, M. 57, Première partie: Scène: Lent - Moins lent - Très libre
—
Daphnis et Chloé, M. 57, Première partie: Scène: Danse de Lyceion - Scène (Les pirates)
—
Daphnis et Chloé, M. 57, Première partie: Scène: Modérément animé - Très animé - Lent - Très agité
—
Daphnis et Chloé, M. 57, Première partie: Scène: Modéré - Plus lent
—
Daphnis et Chloé, M. 57, Première partie: Scène: Danse lente et mystérieuse
—
Daphnis et Chloé, M. 57, Deuxième partie: Scène: Même mouvement
—
Daphnis et Chloé, M. 57, Deuxième partie: Danse guerrière
—
Daphnis et Chloé, M. 57, Deuxième partie: Scène: Un peu moins animé
—
Daphnis et Chloé, M. 57, Deuxième partie: Scène: Danse suppliante de Chloé
—
Daphnis et Chloé, M. 57, Deuxième partie: Scène: Assez animé
—
Daphnis et Chloé, M. 57, Deuxième partie: Scène: Lent - Plus animé
—
Daphnis et Chloé, M. 57, Troisième partie: Lever du jour: Scène
—
Daphnis et Chloé, M. 57, Troisième partie: Daphnis et Chloé miment l'aventure de Pan et Syrinx
—
Daphnis et Chloé, M. 57, Troisième partie: Scène: Très lent
—
Daphnis et Chloé, M. 57, Troisième partie: Scène: Lent - Animé - Lent - Animé
—
Daphnis et Chloé, M. 57, Troisième partie: Danse générale
—
Valses nobles et sentimentales, M. 61: I. Modéré: très franc
—
Valses nobles et sentimentales, M. 61: II. Assez lent: avec une expression intense
—
Valses nobles et sentimentales, M. 61: III. Modéré
—
Valses nobles et sentimentales, M. 61: IV. Assez animé
—
Valses nobles et sentimentales, M. 61: V. Presque lent: dans un sentiment intime
—
Valses nobles et sentimentales, M. 61: VI. Assez vif
—
Valses nobles et sentimentales, M. 61: VII. Moins vif
—
Valses nobles et sentimentales, M. 61: VIII. Epilogue (Lent)
—
Symphony no. 2 in D major, op. 73: I. Allegro non troppo
—
Symphony no. 2 in D major, op. 73: II. Adagio non troppo: L'istesso tempo, ma grazioso
—
Symphony no. 2 in D major, op. 73: III. Allegretto grazioso (Quasi andantino): Presto ma non assai
—
Symphony no. 2 in D major, op. 73: IV. Allegro con spirito
—
Semiramide: Overture
—
Moto perpetuo, op. 11
—
Roméo et Juliette, op. 17, H.79, Part 1: Introduction
—
Roméo et Juliette, op. 17, H.79, Part 1: Prologue: "D'anciennes haines endormies"
—
Roméo et Juliette, op. 17, H.79, Part 1: Strophe 1: "Premiers transports que nul n'oublie"
—
Roméo et Juliette, op. 17, H.79, Part 1: Récitatif et Scherzetto: "Bientôt de Roméo": "Mab! la messagère" - "Bientôt la mort est souveraine"
—
Roméo et Juliette, op. 17, H.79, Part 2: Roméo seul: Tristesse - Concert et bal.
—
Roméo et Juliette, op. 17, H.79, Part 3: "Ohé! Capulets": Scène d'amour
—
Roméo et Juliette, op. 17, H.79, Part 4: Scherzo. La Reine Mab ou la Fée des songes
—
Roméo et Juliette, op. 17, H.79, Part 5: Convoi funebre "Jetez des fleurs pour la vierge expirée"
—
Roméo et Juliette, op. 17, H.79, Part 6: Romeo au tombeau des Capulets
—
Roméo et Juliette, op. 17, H.79, Part 4: Invocation: Réveil de Juliette
—
Roméo et Juliette, op. 17, H.79, Part 4: Joie délirante, désespoir "Dernières angoisses et mort"
—
Roméo et Juliette, op. 17, H.79, Part 7: Final. "Quoi! Roméo de retour! Roméo"
—
Roméo et Juliette, op. 17, H.79, Part 7: Final. "Pauvres enfants que je pleure"
—
Roméo et Juliette, op. 17, H.79, Part 7: Final. "Mais notre sang rougit leur glaive"
—
Roméo et Juliette, op. 17, H.79, Part 7: Final. "Jurez donc, par l'auguste symbole"
—
Street Music, op. 65: A Blues Concerto: 1st Mvt
—
Street Music, op. 65: A Blues Concerto: 2nd Mvt
—
Street Music, op. 65: A Blues Concerto: 3rd Mvt
—
Street Music, op. 65: A Blues Concerto: 4th Mvt
—
An American in Paris
—
Chant du Ménestrel, op. 71
—
Cello Concerto no. 2, op. 126: I. Largo
—
Cello Concerto no. 2, op. 126: II. Allegretto
—
Cello Concerto no. 2, op. 126: III. Allegretto
—
El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 1: Introducción
—
El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 1: Atardecer
—
El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 1: Danza de la molinera (Fandango)
—
El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 1: Las uvas
—
El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 2: Danza de los vecinos (Seguidillas)
—
El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 2: Danza del molinero (Farruca)
—
El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 2: Danza del corregidor
—
El sombrero de tres picos, Text: Gregorio Martínez Sierra, Pt. 2: Danza final (Jota)
—
Scheherazade, op. 35: I. The Sea and Sinbad's Ship
—
Scheherazade, op. 35: II. The Story of the Calender Prince
—
Scheherazade, op. 35: III. The Young Prince and the Young Princess
—
Scheherazade, op. 35: IV. Festival at Bagdad: The Sea - The Shipwreck Against a Rock Surmounted by a Bronze Warrior
—
Music for Strings, Percussion and Celesta, BB 114 (Sz.106): I. Andante tranquillo
—
Music for Strings, Percussion and Celesta, BB 114 (Sz.106): II. Allegro
—
Music for Strings, Percussion and Celesta, BB 114 (Sz.106): III. Adagio
—
Music for Strings, Percussion and Celesta, BB 114 (Sz.106): IV. Allegro molto
—
Symphony no. 5 in E minor, op. 64, TH.29: I. Andante: Allegro con anima
—
Symphony no. 5 in E minor, op. 64, TH.29: II. Andante cantabile, con alcuna licenza: Moderato con anima
—
Symphony no. 5 in E minor, op. 64, TH.29: III. Valse (Allegro moderato)
—
Symphony no. 5 in E minor, op. 64, TH.29: IV. Finale (Andante maestoso: Allegro vivace)
—
Clarinet Concerto in A major, K. 622: I. Allegro
—
Clarinet Concerto in A major, K. 622: II. Adagio
—
Clarinet Concerto in A major, K. 622: III. Rondo (Allegro)
—
Bassoon Concerto in B-flat major, K. 191, Cadenza: Walter Guetter: I. Allegro
—
Bassoon Concerto in B-flat major, K. 191, Cadenza: Walter Guetter: II. Andante ma Adagio
—
Bassoon Concerto in B-flat major, K. 191, Cadenza: Walter Guetter: III. Rondo. Tempo di Menuetto
—
Quatrain
—
A Flock Descends into the Pentagonal Garden
—
Symphony no. 1 in C minor, op. 68: I. Un poco sostenuto: Allegro - Meno allegro
—
Symphony no. 1 in C minor, op. 68: II. Andante sostenuto
—
Symphony no. 1 in C minor, op. 68: III. Un poco allegretto e grazioso
—
Symphony no. 1 in C minor, op. 68: IV. Adagio: Piu andante - Allegro non troppo, ma con brio - Piu allegro
—
Pines of Rome, P. 141: The Pines Of Villa Borghese (I pini di Villa Borghese)
—
Pines of Rome, P. 141: The Pines near a Catacomb (Pini presso una catacomba)
—
Pines of Rome, P. 141: The Pines of the Janiculum (I pini del Gianicolo)
—
Pines of Rome, P. 141: The Pines of the Appian Way (I pini della Via Appia)
—
Roman Festivals, P. 157: I. Circenses
—
Roman Festivals, P. 157: II. Giubileo
—
Roman Festivals, P. 157: III. L'Ottobrata
—
Roman Festivals, P. 157: IV. La Befana
—
Fountains of Rome, P. 106: I. The Valle Giulia Fountain at Daybreak (La fontana de Valle Giulia à l'alba)
—
Fountains of Rome, P. 106: II. The Triton Fountain in the Morning (La Fontana del Tritone al mattino)
—
Fountains of Rome, P. 106: III. The Trevi Fountain at Midday (La Fontana di Trevi al meriggio)
—
Fountains of Rome, P. 106: IV. The Villa Medici Fountain at Sunset (La Fontana di Villa Medici al tramonto)
—
Symphony no. 1 in D major: I. Langsam. Schleppend
—
Symphony no. 1 in D major: "Blumine". Andante allegretto
—
Symphony no. 1 in D major: II. Kräftig bewegt
—
Symphony no. 1 in D major: III. Feierlich und gemessen, ohne zu schleppen
—
Symphony no. 1 in D major: IV. Stürmisch bewegt
—
Violin Concerto "To the Memory of an Angel": I. Andante: Allegro
—
Violin Concerto "To the Memory of an Angel": II. Allegro: Adagio
—
Violin Concerto in D major: I. Toccata
—
Violin Concerto in D major: II. Aria I
—
Violin Concerto in D major: III. Aria II
—
Violin Concerto in D major: IV. Capriccio
—
Ancient Airs And Dances, Suite no. 1, P. 109: I. Balletto detto "Il Conte Orlando"
—
Ancient Airs And Dances, Suite no. 1, P. 109: II. Gagliarda
—
Ancient Airs And Dances, Suite no. 1, P. 109: III. Villanella
—
Ancient Airs And Dances, Suite no. 1, P. 109: IV. Passo mezzo e Mascherada
—
Ancient Airs And Dances, Suite no. 2, [P. 138]: I. Laura soave: balletto con gagliarda, saltarello e canario
—
Ancient Airs And Dances, Suite no. 2, [P. 138]: II. Danza rustica
—
Ancient Airs And Dances, Suite no. 2, [P. 138]: III. Campanae parisienses: Aria
—
Ancient Airs And Dances, Suite no. 2, [P. 138]: IV. Bergamasca
—
Ancient Airs And Dances, Suite no. 3, P. 172: I. Italiana
—
Ancient Airs And Dances, Suite no. 3, P. 172: II. Arie di corte
—
Ancient Airs And Dances, Suite no. 3, P. 172: III. Siciliana
—
Ancient Airs And Dances, Suite no. 3, P. 172: IV. Passacaglia
—
Swan Lake, op. 20, TH. 12: Introduction
—
Swan Lake, op. 20, TH. 12, Act 1: no. 1 Scène (Allegro giusto)
—
Swan Lake, op. 20, TH. 12, Act 1: no. 2 Valse (Corps de Ballet)
—
Swan Lake, op. 20, TH. 12, Act 1: no. 3 Scène (Allegro moderato)
—
Swan Lake, op. 20, TH. 12, Act 1: no. 4a Pas de trois: Intrada (Allegro)
—
Swan Lake, op. 20, TH. 12, Act 1: no. 4b Pas de trois: Andante sostenuto
—
Swan Lake, op. 20, TH. 12, Act 1: no. 4c Pas de trois: Allegro semplice
—
Swan Lake, op. 20, TH. 12, Act 1: no. 4d Pas de trois: Moderato
—
Swan Lake, op. 20, TH. 12, Act 1: no. 4e Pas de trois: Allegro
—
Swan Lake, op. 20, TH. 12, Act 1: no. 4f Pas de trois: Coda (Allegro vivace)
—
Swan Lake, op. 20, TH. 12, Act 1: no. 5 Pas de deux: a) Intrada-Valse: b) Andante
—
Swan Lake, op. 20, TH. 12, Act 1: no. 5c Pas de deux: Valse
—
Swan Lake, op. 20, TH. 12, Act 1: no. 5d Pas de deux: Coda (Allegro molto vivace)
—
Swan Lake, op. 20, TH. 12, Act 1: no. 6 Pas d'action und No. 7 Sujet
—
Swan Lake, op. 20, TH. 12, Act 1: no. 8 Danse des coupes (Tempo di polacca)
—
Swan Lake, op. 20, TH. 12, Act 1: no. 9 Finale (Andante)
—
Swan Lake, op. 20, TH. 12, Act 2: no. 10 Scène (Moderato)
—
Swan Lake, op. 20, TH. 12, Act 2: no. 11 Scène (Allegro moderato)
—
Swan Lake, op. 20, TH. 12, Act 2: no. 12 Scène (Allegro)
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Swan Lake, op. 20, TH. 12, Act 2: no. 13a Danse des cygnes: Valse
—
Swan Lake, op. 20, TH. 12, Act 2: no. 13b Danse des cygnes: Odette solo/Première danse de la reine des cygnes (Moderato assai)
—
Swan Lake, op. 20, TH. 12, Act 2: no. 13c Danse des cygnes: Valse
—
Swan Lake, op. 20, TH. 12, Act 2: no. 13d Danse des petits cygnes (Allegro moderato)
—
Swan Lake, op. 20, TH. 12, Act 2: no. 13e Danse des cygnes: Pas d'action: Odette et le prince/Deuxième danse de la reine des cygnes (Andante)
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Swan Lake, op. 20, TH. 12, Act 2: no. 13f Danse des cygnes: Danse générale (Valse)
—
Swan Lake, op. 20, TH. 12, Act 2: no. 13g Danse des cygnes: Coda (Allegro vivace)
—
Swan Lake, op. 20, TH. 12, Act 2: no. 14 Scène (Moderato)
—
Swan Lake, op. 20, TH. 12, Act 3: no. 15 Danse de fançailles (Allegro giusto)
—
Swan Lake, op. 20, TH. 12, Act 3: no. 16 Danses du corps de ballet et des nains (Moderato assai)
—
Swan Lake, op. 20, TH. 12, Act 3: no. 17 Scène: Entrée des invités (Fanfares) et la valse (Allegro)
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Swan Lake, op. 20, TH. 12, Act 3: no. 18 Scène (Allegro)
—
Swan Lake, op. 20, TH. 12, Act 3: Pas de six: Intrada (moderato assai)
—
Swan Lake, op. 20, TH. 12, Act 3: Pas de six: Var. I (Allegro) und Var.II (Andante c.m.)
—
Swan Lake, op. 20, TH. 12, Act 3: Pas de six: Var. III (Moderato) und Var.IV (Allegro)
—
Swan Lake, op. 20, TH. 12, Act 3: Pas de six: Var. V (Moderato) und Coda (Allegro molto)
—
Swan Lake, op. 20, TH. 12, Act 3: no. 20 Danse hongroise (Czárdás)
—
Swan Lake, op. 20, TH. 12, Act 3: Danse russe (Moderato)
—
Swan Lake, op. 20, TH. 12, Act 3: no. 21 Danse espagnole (Allegro non troppo. Tempo di bolero)
—
Swan Lake, op. 20, TH. 12, Act 3: no. 22 Danse napolitaine
—
Swan Lake, op. 20, TH. 12, Act 3: no. 23 Mazurka
—
Swan Lake, op. 20, TH. 12, Act 3: no. 24 Scène (Allegro: Valse - Allegro vivo)
—
Swan Lake, op. 20, TH. 12, Act 4: no. 25 Entr'acte und No. 26 Scène
—
Swan Lake, op. 20, TH. 12, Act 4: no. 27 Danses des petits cygnes (Moderato)
—
Swan Lake, op. 20, TH. 12, Act 4: no. 28 Scène (Allegro agitato)
—
Swan Lake, op. 20, TH. 12, Act 4: no. 29 Scène finale (Andante)
—
Les Contes d'Hoffmann, Act 1: Prélude
—
Les Contes d'Hoffmann, Act 1: "Glou, glou, glou! Je suis la bière"
—
Les Contes d'Hoffmann, Act 1: Le conseiller Lindorf, morbleu!
—
Les Contes d'Hoffmann, Act 1: Dans les rôles d'amoureux langoureux
—
Les Contes d'Hoffmann, Act 1: "Deux heures devant moi!"
—
Les Contes d'Hoffmann, Act 1: "Drig, drig, drig, maître Luther"
—
Les Contes d'Hoffmann, Act 1: "Vive Dieu! mes amis, la belle créature!"
—
Les Contes d'Hoffmann, Act 1: "Il était une fois à la cour d'Eisenach" (La légende de Kleinzach)
—
Les Contes d'Hoffmann, Act 1: "Peuh! cette bière est détestable!"
—
Les Contes d'Hoffmann, Act 1: Simple échange de politesses!
—
Les Contes d'Hoffmann, Act 1: Ha! ha! ha! Monsieur aime donc quelquefois?
—
Les Contes d'Hoffmann, Act 2: Entr'acte
—
Les Contes d'Hoffmann, Act 2: Là! dors en paix
—
Les Contes d'Hoffmann, Act 2: "Allons! courage et confiance!"
—
Les Contes d'Hoffmann, Act 2: Voyez: la sous son éventail
—
Les Contes d'Hoffmann, Act 2: "C'est moi, Coppélius"
—
Les Contes d'Hoffmann, Act 2: "Je me nomme Coppélius"
—
Les Contes d'Hoffmann, Act 2: Hein! Vous?
—
Les Contes d'Hoffmann, Act 2: "Non, aucun hôte vraiment"
—
Les Contes d'Hoffmann, Act 2: "Les oiseaux dans la charmille"
—
Les Contes d'Hoffmann, Act 2: "Ah! mon ami, quel accent!"
—
Les Contes d'Hoffmann, Act 2: "Ils se sont éloignés, enfin!"
—
Les Contes d'Hoffmann, Act 2: Ah! Vivre deux
—
Les Contes d'Hoffmann, Act 2: "Tu me fuis?"
—
Les Contes d'Hoffmann, Act 2: "Voici les valseurs!"
—
Les Contes d'Hoffmann, Act 3: "Elle a fui la tourterelle"
—
Les Contes d'Hoffmann, Act 3: "Malheureuse enfant"
—
Les Contes d'Hoffmann, Act 3: "Jour et nuit"
—
Les Contes d'Hoffmann, Act 3: Frantz! ... C'est ici!
—
Les Contes d'Hoffmann, Act 3: "C'est une chanson d'amour"
—
Les Contes d'Hoffmann, Act 3: J'ai le bonheur dans l'âme!
—
Les Contes d'Hoffmann, Act 3: Qu'as-tu donc?
—
Les Contes d'Hoffmann, Act 3: "Pour conjurer le danger"
—
Les Contes d'Hoffmann, Act 3: "Ne plus chanter!"
—
Les Contes d'Hoffmann, Act 3: "Tu ne chanteras plus?"
—
Les Contes d'Hoffmann, Act 3: "Mon enfant! Ma fille!"
—
Les Contes d'Hoffmann, Act 4: "Belle nuit, ô nuit d'amour"
—
Les Contes d'Hoffmann, Act 4: "Et moi, ce n'est pas là qui m'enchante"
—
Les Contes d'Hoffmann, Act 4: "Amis, l'amour tendre et rêveur"
—
Les Contes d'Hoffmann, Act 4: Je vois qu'on est en fête
—
Les Contes d'Hoffmann, Act 4: Scintille, diamant
—
Les Contes d'Hoffmann, Act 4: Cher ange!
—
Les Contes d'Hoffmann, Act 4: Malheureux, tu ne comprends donc pas
—
Les Contes d'Hoffmann, Act 4: Schlémil!
—
Les Contes d'Hoffmann, Act 4: Hélas, mon coeur s'égare encore
—
Les Contes d'Hoffmann, Epilogue: Voilà quelle fut l'histoire de mes amours
—
Les Contes d'Hoffmann, Epilogue: Luther est un brave homme
—
Les Contes d'Hoffmann, Epilogue: Des cendres de ton coeur, réchauffe ton génie
—
Romeo and Juliet, op. 64: I. Introduction
—
Romeo and Juliet, op. 64, Act 1: II. Romeo
—
Romeo and Juliet, op. 64, Act 1: III. The street awakens
—
Romeo and Juliet, op. 64, Act 1: IV. Morning dance
—
Romeo and Juliet, op. 64, Act 1: V. The quarrel
—
Romeo and Juliet, op. 64, Act 1: VI. The fight
—
Romeo and Juliet, op. 64, Act 1: VII. The duke's command
—
Romeo and Juliet, op. 64, Act 1: VIII. Interlude
—
Romeo and Juliet, op. 64, Act 1: IX. At the Capulets' (Preparations for the ball)
—
Romeo and Juliet, op. 64, Act 1: X. The young Juliet
—
Romeo and Juliet, op. 64, Act 1: XI. Arrival of the guests
—
Romeo and Juliet, op. 64, Act 1: XII. Masks
—
Romeo and Juliet, op. 64, Act 1: XIII. Dance Of The Knights
—
Romeo and Juliet, op. 64, Act 1: XIV. Juliet's variation
—
Romeo and Juliet, op. 64, Act 1: XV. Mercutio
—
Romeo and Juliet, op. 64, Act 1: XVI. Madrigal
—
Romeo and Juliet, op. 64, Act 1: XVII. Tybalt recognizes Romeo
—
Romeo and Juliet, op. 64, Act 1: XVIII. Gavotte
—
Romeo and Juliet, op. 64, Act 1: XIX. Balcony scene
—
Romeo and Juliet, op. 64, Act 1: XX. Romeo's variation
—
Romeo and Juliet, op. 64, Act 1: XXI. Love dance
—
Romeo and Juliet, op. 64, Act 2: XXII. Folk dance
—
Romeo and Juliet, op. 64, Act 2: XXIII. Romeo and Mercutio
—
Romeo and Juliet, op. 64, Act 2: XXIV. Dance of the five couples
—
Romeo and Juliet, op. 64, Act 2: XXV. Dance with mandolins
—
Romeo and Juliet, op. 64, Act 2: 2VI. Nurse
—
Romeo and Juliet, op. 64, Act 2: 2VII. The nurse and Romeo
—
Romeo and Juliet, op. 64, Act 2: 2VIII. Romeo at friar Laurence's
—
Romeo and Juliet, op. 64, Act 2: 2IX. Juliet at friar Laurence's
—
Romeo and Juliet, op. 64, Act 2: 30. Public merrymaking
—
Romeo and Juliet, op. 64, Act 2: 3I. Further public festivities
—
Romeo and Juliet, op. 64, Act 2: 3II. Meeting of Tybalt and Mercutio
—
Romeo and Juliet, op. 64, Act 2: 3III. The duel
—
Romeo and Juliet, op. 64, Act 2: 3IV. Death of Mercutio
—
Romeo and Juliet, op. 64, Act 2: 3V. Romeo decides to avenge Mercutio
—
Romeo and Juliet, op. 64, Act 2: 3VI. Finale
—
Romeo and Juliet, op. 64, Act 3: 3VII. Introduction
—
Romeo and Juliet, op. 64, Act 3: 3VIII. Romeo and Juliet
—
Romeo and Juliet, op. 64, Act 3: 3IX. Romeo bids Juliet farewell
—
Romeo and Juliet, op. 64, Act 3: 40. Nurse
—
Romeo and Juliet, op. 64, Act 3: 4I. Juliet refuses to marry Paris
—
Romeo and Juliet, op. 64, Act 3: 4II. Juliet alone
—
Romeo and Juliet, op. 64, Act 3: 4III. Interlude
—
Romeo and Juliet, op. 64, Act 3: 4IV. At friar Laurence's cell
—
Romeo and Juliet, op. 64, Act 3: 4V. Interlude
—
Romeo and Juliet, op. 64, Act 3: 4VI. Juliet's room
—
Romeo and Juliet, op. 64, Act 3: 4VII. Juliet alone
—
Romeo and Juliet, op. 64, Act 3: 4VIII. Aubade
—
Romeo and Juliet, op. 64, Act 3: 4IX. Dance of the girls with lilies
—
Romeo and Juliet, op. 64, Act 3: 50. At Juliet's bedside
—
Romeo and Juliet, op. 64, Act 4: 5I. Juliet's funeral
—
Romeo and Juliet, op. 64, Act 4: 5II. Juliet's death
—
Pelléas et Mélisande, op. 80: I. Prélude. Quasi Adagio
—
Pelléas et Mélisande, op. 80: II. Fileuse. Andantino quasi Allegretto
—
Pelléas et Mélisande, op. 80: Chanson de Mélisande
—
Pelléas et Mélisande, op. 80: IV. Sicilienne
—
Pelléas et Mélisande, op. 80: VI. Molto adagio
—
Après un Rêve op. 7, no. 1
—
Pavane, op. 50
—
Elégie, op. 24: Molto adagio
—
Dolly Suite, op. 56: I. Berceuse
—
Dolly Suite, op. 56: II. Mi-A-Ou
—
Dolly Suite, op. 56: III. Le Jardin de Dolly
—
Dolly Suite, op. 56: IV. Kitty-Valse
—
Dolly Suite, op. 56: V. Tendresse
—
Dolly Suite, op. 56: VI. Le pas Espagnol
—
España: Rhapsody for Orchestra
—
Faust, Ballet Music: I. Les Nubiennes, valse (Allegretto)
—
Faust, Ballet Music: II. Adagio
—
Faust, Ballet Music: III. Danse antique (Allegretto)
—
Faust, Ballet Music: IV. Variations de Cléopatre (Moderato maestoso)
—
Faust, Ballet Music: V. Les Troyennes (Moderato con moto)
—
Faust, Ballet Music: VI. Variations du miroir (Allegretto)
—
Faust, Ballet Music: VII. Danse de Phryné (Allegro vivo)
—
Mignon: Overture
—
Gaîté parisienne: I. Overture
—
Gaîté parisienne: Polka
—
Gaîté parisienne: (Allegro)
—
Gaîté parisienne: IX. Valse lente
—
Gaîté parisienne: Valse-Allegro vivo-Valse-Allegro misterioso
—
Gaîté parisienne: Allegro: Cancan
—
Gaîté parisienne: Vivo: Barcarolle - Allegro moderato
—
Piano Concerto no. 1 in E-Flat major, S. 124: I. Allegro maestoso
—
Piano Concerto no. 1 in E-Flat major, S. 124: II. Quasi adagio: Allegretto vivace - Allegro animato
—
Piano Concerto no. 1 in E-Flat major, S. 124: III. Allegro marziale animato
—
Piano Concerto no. 2 in A major, S. 125: I. Adagio sostenuto assai: Allegro agitato assai
—
Piano Concerto no. 2 in A major, S. 125: II. Allegro moderato: Allegro deciso
—
Piano Concerto no. 2 in A major, S. 125: III. Marziale un poco meno allegro
—
Piano Concerto no. 2 in A major, S. 125: IV. Allegro animato: Stretto (molto accelerando)
—
Totentanz, S. 525
—
Gloria, FP 144: I. Gloria
—
Gloria, FP 144: II. Laudamus te
—
Gloria, FP 144: III. Domine Deus
—
Gloria, FP 144: IV. Domini Fili Unigenite
—
Gloria, FP 144: V. Domine Deus, Agnus Dei
—
Gloria, FP 144: VI. Qui sedes ad dexteram Patris
—
Stabat Mater, FP 148: I. Stabat Mater dolorosa
—
Stabat Mater, FP 148: II. Cujus animam gementem
—
Stabat Mater, FP 148: III. O quam tristis
—
Stabat Mater, FP 148: IV. Quae moerebat
—
Stabat Mater, FP 148: V. Quis est homo
—
Stabat Mater, FP 148: VI. Vidit suum
—
Stabat Mater, FP 148: VII. Eja mater
—
Stabat Mater, FP 148: VIII. Fac ut ardeat
—
Stabat Mater, FP 148: IX. Sancta mater
—
Stabat Mater, FP 148: X. Fac ut portem
—
Stabat Mater, FP 148: 1I. Inflammatus et accensus
—
Stabat Mater, FP 148: 1II. Quando corpus
—
Symphony no. 4 in F minor, op. 36, TH.27: I. Andante sostenuto: Moderato con anima - Moderato assai, quasi Andante - Allegro vivo
—
Symphony no. 4 in F minor, op. 36, TH.27: II. Andantino in modo di canzone
—
Symphony no. 4 in F minor, op. 36, TH.27: III. Scherzo. Pizzicato ostinato: Allegro
—
Symphony no. 4 in F minor, op. 36, TH.27: IV. Finale (Allegro con fuoco)
—
Capriccio Italien, op. 45
—
Symphony no. 5 in E minor, op. 64, TH.29: I. Andante: Allegro con anima
—
Symphony no. 5 in E minor, op. 64, TH.29: II. Andante cantabile, con alcuna licenza: Moderato con anima
—
Symphony no. 5 in E minor, op. 64, TH.29: III. Valse (Allegro moderato)
—
Symphony no. 5 in E minor, op. 64, TH.29: IV. Finale (Andante maestoso: Allegro vivace)
—
1812 Overture, op. 49, TH 49: Largo: Allegro giusto
—
Concerto for Viola and Orchestra, op. post.: I. Moderato: Lento parlando
—
Concerto for Viola and Orchestra, op. post.: II. Adagio religioso: Allegretto
—
Concerto for Viola and Orchestra, op. post.: III. Allegro vivace
—
Music for Strings, Percussion and Celesta, BB 114 (Sz.106): I. Andante tranquillo
—
Music for Strings, Percussion and Celesta, BB 114 (Sz.106): II. Allegro
—
Music for Strings, Percussion and Celesta, BB 114 (Sz.106): III. Adagio
—
Music for Strings, Percussion and Celesta, BB 114 (Sz.106): IV. Allegro molto
—
Symphony no. 1 in D major, op. 25 "Classical Symphony": I. Allegro
—
Symphony no. 1 in D major, op. 25 "Classical Symphony": II. Larghetto
—
Symphony no. 1 in D major, op. 25 "Classical Symphony": III. Gavotta (Non troppo allegro)
—
Symphony no. 1 in D major, op. 25 "Classical Symphony": IV. Finale (Vivace)
—
Symphony no. 6 in E-flat, op. 111: I. Allegro moderato
—
Symphony no. 6 in E-flat, op. 111: II. Largo
—
Symphony no. 6 in E-flat, op. 111: III. Vivace
—
Symphony no. 2 in D minor, op. 40: I. Allegro ben articolato
—
Symphony no. 2 in D minor, op. 40: II. Theme and Variations
—
Symphony no. 7, op. 131: I. Moderato
—
Symphony no. 7, op. 131: II. Allegretto
—
Symphony no. 7, op. 131: III. Andante espressivo
—
Symphony no. 7, op. 131: IV. Vivace (original version)
—
Symphony no. 3 in C minor, op. 44: I. Moderato
—
Symphony no. 3 in C minor, op. 44: II. Andante
—
Symphony no. 3 in C minor, op. 44: III. Allegro agitato
—
Symphony no. 3 in C minor, op. 44: IV. Andante mosso
—
Symphony no. 4 in C, op. 47/112, Revised version: I. Andante: Allegro eroico
—
Symphony no. 4 in C, op. 47/112, Revised version: II. Andante tranquillo
—
Symphony no. 4 in C, op. 47/112, Revised version: III. Moderato, quasi allegretto
—
Symphony no. 4 in C, op. 47/112, Revised version: IV. Allegro risoluto: Andantino - Allegro come prima
—
Symphony no. 5 in B-flat major, op. 100: I. Andante
—
Symphony no. 5 in B-flat major, op. 100: II. Allegro marcato
—
Symphony no. 5 in B-flat major, op. 100: III. Adagio
—
Symphony no. 5 in B-flat major, op. 100: IV. Allegro giocoso
—
Lieutenant Kijé, Symphonic Suite, op. 60: I. Naissance de Kijé
—
Lieutenant Kijé, Symphonic Suite, op. 60: II. Romance
—
Lieutenant Kijé, Symphonic Suite, op. 60: III. Noces de Kijé
—
Lieutenant Kijé, Symphonic Suite, op. 60: IV. Troïka
—
Lieutenant Kijé, Symphonic Suite, op. 60: V. Enterrement de Kijé
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Ténèbres! Ténèbres!" (Prologue)
—
Jeanne d'Arc au bûcher Oratorio dramatique: Il y eut une fille appelée Jeanne!
—
Jeanne d'Arc au bûcher Oratorio dramatique: (Scéne I: Les Voix Du Ciel)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Jeanne! Jeanne! Jeanne!" (SCÉNE II: LE LIVRE)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Jeanne! Jeanne!.."(SCÉNE III:LES VOIX DE LA TERRE)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "La Cour! Faites silence!"(SCÉNE IV:JEANNE LIVRÉE..)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Qui sont les assesseurs?" (SCÉNE IV)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Quel est ce chien qui hurle dans la nuit?"(SCÉNE V)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Le jeu de cartes comprend quatre rois" (SCÉNE VI)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Quelles sont ces cloches dans la nuit?"(SCÉNE VII)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Voulez-vous manger des cesses?"(SCÉNE VIII:LE ROIS. .)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Aspiciens a longe" (SCÉNE VIII)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "C'est moi qui ai fait cela!" (SCÉNE VIII)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Spera! Spira! Spera! Spira!"(SCÉNE IX:L'ÉPÉE DE...)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Rouen! Rouen! Rouen!" (SCÉNE IX:L'ÉPÉE DE JEANNE)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Un petit brin de vot'farine" (SCÉNE X: TRIMAZG)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "J'accepte cette flamme pure" (SCÉNE XI)
—
Jeanne d'Arc au bûcher Oratorio dramatique: "Mère! Mère au-dessus de moi!" (SCÉNE XI)
—
The Nutcracker, op. 71, TH 14: Overture
—
The Nutcracker, op. 71, TH 14, Act 1: no. 1 The Christmas Tree
—
The Nutcracker, op. 71, TH 14, Act 1: no. 2 March
—
The Nutcracker, op. 71, TH 14, Act 1: no. 3 Galop and Dance of the Parents
—
The Nutcracker, op. 71, TH 14, Act 1: no. 4 Dance Scene: The Presents of Drosselmeyer
—
The Nutcracker, op. 71, TH 14, Act 1: no. 5 Scene: Grandfather Dance
—
The Nutcracker, op. 71, TH 14, Act 1: no. 6 Clara and the Nutcracker
—
The Nutcracker, op. 71, TH 14, Act 1: no. 7 The Nutcracker Battles the Army of the Mouse King: He Wins and Is Transformed into Prince Charming
—
The Nutcracker, op. 71, TH 14, Act 1: no. 8 in the Christmas Tree
—
The Nutcracker, op. 71, TH 14, Act 1: no. 9 Scene and Waltz of the Snowflakes
—
The Nutcracker, op. 71, TH 14, Act 2: no. 10 The Magic Castle on the Mountain of Sweets
—
The Nutcracker, op. 71, TH 14, Act 2: no. 11 Clara and Prince Charming
—
The Nutcracker, op. 71, TH 14, Act 2: no. 12 Divertissement
—
The Nutcracker, op. 71, TH 14, Act 2: no. 13 Waltz of the Flowers
—
The Nutcracker, op. 71, TH 14, Act 2: no. 14 Pas de deux: Intrada: Variation I/II - Coda
—
The Nutcracker, op. 71, TH 14, Act 2: no. 15 Final Waltz and Apotheosis
—
The Sleeping Beauty, Suite, op. 66a, TH 234: Introduction: The Lilac Fairy
—
The Sleeping Beauty, Suite, op. 66a, TH 234: Pas d'action: Rose Adagio
—
The Sleeping Beauty, Suite, op. 66a, TH 234: Pas de caractère: Puss in Boots
—
The Sleeping Beauty, Suite, op. 66a, TH 234: Panorama (andantino)
—
The Sleeping Beauty, Suite, op. 66a, TH 234: Valse
—
Violin Concerto no. 2, BB 117 (Sz. 112): I. Allegro non troppo
—
Violin Concerto no. 2, BB 117 (Sz. 112): II. Andante tranquillo
—
Violin Concerto no. 2, BB 117 (Sz. 112): III. Allegro molto
—
En reve: I. Lumière vaporeuse
—
En reve: II. Dialogue avec l'Étoile
—
En reve: III. Azur fascinant (Sérénade tessinoise)
—
Symphony in D minor, FWV 48: I. Lento: Allegro ma non troppo - Allegro
—
Symphony in D minor, FWV 48: II. Allegretto
—
Symphony in D minor, FWV 48: III. Allegro non troppo
—
Concerto for Organ, Strings and Percussion in G minor, FP 93: Andante
—
Concerto for Organ, Strings and Percussion in G minor, FP 93: Subito andante moderato
—
Concerto for Organ, Strings and Percussion in G minor, FP 93: Tempo allegro, molto agitato
—
Concert Champêtre, FP 49: I. Allegro molto
—
Concert Champêtre, FP 49: II. Andante
—
Concert Champêtre, FP 49: III. Finale
—
Violin Concerto no. 2 op. 129: I. Moderato
—
Violin Concerto no. 2 op. 129: II. Adagio
—
Violin Concerto no. 2 op. 129: III. Adagio: Allegro
—
Concerto for Violin and Orchestra in A minor: I. Nicht zu schnell (Allegro non troppo)
—
Concerto for Violin and Orchestra in A minor: II. Langsam (Lento)
—
Concerto for Violin and Orchestra in A minor: III. Sehr lebhaft (Molto vivace)
—
Overture "A Midsummer Night's Dream", op. 21, MWV P 3
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 1 Scherzo
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. II. L'istesso tempo
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: Fairies' March
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 3 Song with Chorus: "Bunte Schlangen, zweigezüngt"
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 4 The Speels
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 5 Intermezzo
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 7 Notturno
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 8 Melodram
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 9 Wedding March
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 10 a) Prologue
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 10 b) Funeral March
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: no. 11 Dance of the Clowns
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: 1II. Allegro vivace come 1
—
A Midsummer Night's Dream, Incidental Music, op. 61, MWV M 13: Finale: "Bei des Feuers mattem Flimmern"
—
Piano Concerto no. 1 in F-sharp minor, op. 1: I. Vivace
—
Piano Concerto no. 1 in F-sharp minor, op. 1: II. Andante
—
Piano Concerto no. 1 in F-sharp minor, op. 1: III. Allegro vivace
—
Piano Concerto no. 2 in C minor, op. 18: I. Moderato
—
Piano Concerto no. 2 in C minor, op. 18: II. Adagio sostenuto
—
Piano Concerto no. 2 in C minor, op. 18: III. Allegro scherzando
—
Piano Concerto no. 2 in G minor, op. 16: I. Andantino
—
Piano Concerto no. 2 in G minor, op. 16: II. Scherzo (Vivace)
—
Piano Concerto no. 2 in G minor, op. 16: III. Intermezzo (Allegro moderato)
—
Piano Concerto no. 2 in G minor, op. 16: IV. Finale (Allegro tempestoso)
—
Piano Concerto in G major, M. 83: I. Allegramente
—
Piano Concerto in G major, M. 83: II. Adagio assai
—
Piano Concerto in G major, M. 83: III. Presto
—
Eugene Onegin, op. 24, Act III Scene 1: Polonaise
—
Symphony no. 5 In E minor, op. 64: I. Andante – Allegro Con Anima
—
Symphony no. 5 In E minor, op. 64: II. Andante Cantabile, Con Alcuna Licenza – Moderato Con Anima
—
Symphony no. 5 In E minor, op. 64: III. Valse. Allegro Moderato
—
Symphony no. 5 In E minor, op. 64: IV. Finale. Andante Maestoso – Allegro Vivace
—
Romance For Violin And Orchestra no. 1 In G major, op. 40
—
Introduction And Rondo Capriccioso In A minor, op. 28
—
Symphony no. 9 in D minor, op. 125 "Choral": I. Allegro ma non troppo, un poco maestoso
—
Symphony no. 9 in D minor, op. 125 "Choral": II. Molto vivace
—
Symphony no. 9 in D minor, op. 125 "Choral": III. Adagio molto e cantabile - Andante moderato
—
Symphony no. 9 in D minor, op. 125 "Choral": IV. Presto - Allegro assai
—
Symphony no. 6 In B Minor, op. 74, TH. 30: 1. Adagio - Allegro non troppo
—
Symphony no. 6 In B Minor, op. 74, TH. 30: 2. Allegro con grazia
—
Symphony no. 6 In B Minor, op. 74, TH. 30: 3. Allegro molto vivace
—
Symphony no. 6 In B Minor, op. 74, TH. 30: 4. Finale (Adagio lamentoso - Andante)
—
Nutcracker Suite, op. 71a: Miniature Overture
—
Nutcracker Suite, op. 71a: March
—
Nutcracker Suite, op. 71a: Dance of the Sugar‐Plum Fairy
—
Nutcracker Suite, op. 71a: Russian Dance (Trepak)
—
Nutcracker Suite, op. 71a: Arabian Dance (Coffee)
—
Nutcracker Suite, op. 71a: Chinese Dance (Tea)
—
Nutcracker Suite, op. 71a: Dance of the Reed‐Pipes
—
Nutcracker Suite, op. 71a: Waltz Of The Flowers
—
The Sleeping Beauty, Suite, op. 66a: Introduction - The Lilac Fairy
—
The Sleeping Beauty, Suite, op. 66a: Pas d’action: Rose Adagio
—
The Sleeping Beauty, Suite, op. 66a: Pas de caractère: Puss in Boots
—
The Sleeping Beauty, Suite, op. 66a: Panorama (andantino)
—
The Sleeping Beauty, Suite, op. 66a: Valse
—
Symphony no. 9: I. Adagio - Allegro molto
—
Symphony no. 9: II. Largo
—
Symphony no. 9: III: Scherzo: Molto vivace
—
Symphony no. 9: IV. Allegro con fuoco
—
Overture “Carnival”, op. 92
—
Symphony no. 3 in E‐flat major, op. 55 “Eroica”: I. Allegro con brio
—
Symphony no. 3 in E‐flat major, op. 55 “Eroica”: II. Marcia funèbre (Adagio assai)
—
Symphony no. 3 in E‐flat major, op. 55 “Eroica”: III. Scherzo (Allegro vivace)
—
Symphony no. 3 in E‐flat major, op. 55 “Eroica”: IV. Finale (Allegro molto)
—
Gurrelieder: Part I. Vorspiel
—
Gurrelieder: Part I. "Nun dämpft die Dämm'rung"
—
Gurrelieder: Part I. "O, wenn des Mondes Strahlen"
—
Gurrelieder: Part I. "Roß! Mein Roß!"
—
Gurrelieder: Part I. "Sterne jubeln"
—
Gurrelieder: Part I. "So tanzen die Engel"
—
Gurrelieder: Part I. "Nun sag ich dir zum ersten Mal"
—
Gurrelieder: Part I. "Es ist Mitternachtszeit"
—
Gurrelieder: Part I. "Du sendest mir einen Liebesblick"
—
Gurrelieder: Part I. "Du wunderliche Tove!"
—
Gurrelieder: Part I. Voice of the Wood-dove
—
Gurrelieder: Part II (Die wilde Jagd). "Herrgott, weißt du, was du tatest"
—
Gurrelieder: Part II (Die wilde Jagd). "Erwacht, König Waldemars Mannen wert!"
—
Gurrelieder: Part II (Die wilde Jagd). "Deckel des Sarges klappert"
—
Gurrelieder: Part II (Die wilde Jagd). "Gegrüßt, o König"
—
Gurrelieder: Part II (Die wilde Jagd). "Mit Toves Stimme flüstert der Wald"
—
Gurrelieder: Part II (Die wilde Jagd). "Ein seltsamer Vogel ist so'n Aal"
—
Gurrelieder: Part II (Die wilde Jagd). "Du strenger Richter droben"
—
Gurrelieder: Part II (Die wilde Jagd). "Der Hahn erhebt den Kopf zur Kraht"
—
Gurrelieder: Part III (Des Sommerwindes wilde Jagd). Prelude
—
Gurrelieder: Part III (Des Sommerwindes wilde Jagd). "Herr Gänsefuß, Frau Gänsekraut"
—
Gurrelieder: Part III (Des Sommerwindes wilde Jagd). "Seht die Sonne"
—
Little Sisters of the Grassland
—
Stars and Stripes Forever
—
Piano Concerto no. 1: I. Allegro maestoso
—
Piano Concerto no. 1: II. Quasi adagio
—
Piano Concerto no. 1: III. Allegro marziale animato
—
The Planets: Mars, the Bringer of War
—
The Planets: Venus, the Bringer of Peace
—
The Planets: Mercury, the Winged Messenger
—
The Planets: Jupiter, the Bringer of Jollity
—
The Planets: Saturn, the Bringer of Old Age
—
The Planets: Uranus, the Magician
—
The Planets: Neptune, the Mystic
—
Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: I. Introduction
—
Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: II. Les Augures printaniers - Danses des adolescentes
—
Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: III. Jeu du rapt
—
Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: IV. Rondes printanières
—
Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: V. Jeux des cités
—
Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: VI. Cortège du sage - Le Sage
—
Le Sacre du printemps, Pt. 1 “L’Adoration de la terre”: VII. Danse de la terre
—
Le Sacre du printemps, Pt. 2 “Le Sacrifice”: I. Introduction
—
Le Sacre du printemps, Pt. 2 “Le Sacrifice”: II. Cercles mysteriéux des adolescentes
—
Le Sacre du printemps, Pt. 2 “Le Sacrifice”: III. Glorification d’élue
—
Le Sacre du printemps, Pt. 2 “Le Sacrifice”: IV. Évocation des ancêtres
—
Le Sacre du printemps, Pt. 2 “Le Sacrifice”: V. Action rituelle des ancêtres
—
Le Sacre du printemps, Pt. 2 “Le Sacrifice”: VI. Danse sacrale
—
Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 1: Veni. Creator Spiritus
—
Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 2: Poco adagio
—
Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 2: "Waldung, sie schwankt heran..."
—
Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 2: "Uns bleibt ein Erdenrest..."
—
Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 2: "Dir, der Unberührbaren..."
—
Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 2: "Blicket auf..."
—
Symphony no. 8 in E-flat major "Symphony of a Thousand", Part 2: "Alles Vergängliche..."
—
Also sprach Zarathustra, op. 30: Einleitung
—
Also sprach Zarathustra, op. 30: Von den Hinterweltlern
—
Also sprach Zarathustra, op. 30: Von der großen Sehnsucht
—
Also sprach Zarathustra, op. 30: Von den Freuden und Leidenschaften
—
Also sprach Zarathustra, op. 30: Das Grablied
—
Also sprach Zarathustra, op. 30: Von der Wissenschaft
—
Also sprach Zarathustra, op. 30: Der Genesende
—
Also sprach Zarathustra, op. 30: Das Tanzlied
—
Also sprach Zarathustra, op. 30: Nachtwandlerlied
—
Ein Heldenleben, op. 40: Der Held
—
Ein Heldenleben, op. 40: Des Helden Widersacher
—
Ein Heldenleben, op. 40: Des Helden Gefährtin
—
Ein Heldenleben, op. 40: Des Helden Walstatt
—
Ein Heldenleben, op. 40: Des Helden Friedenswerke
—
Ein Heldenleben, op. 40: Des Helden Weltflucht und Vollendung
—
Violin Concerto in D major, op. 35: I. Allegro moderato
—
Violin Concerto in D major, op. 35: II. Canzonetta: Andante -
—
Violin Concerto in D major, op. 35: III. Finale: Allegro vivacissimo
—
Violin Concerto in D minor, op. 47: I. Allegro moderato
—
Violin Concerto in D minor, op. 47: II. Adagio di molto
—
Violin Concerto in D minor, op. 47: III. Allegro, ma non tanto
—
Symphony no. 2 in C minor: I. Allegro maestoso
—
Symphony no. 2 in C minor: II. Andante moderato
—
Symphony no. 2 in C minor: III. In ruhig fliessender bewegung
—
Symphony no. 2 in C minor: IV. "Urlicht". Sehr feierlich, aber schlicht
—
Symphony no. 2 in C minor: V. Im tempo des scherzo. Wild herausfahrend
—
Symphony no. 2 in C minor: V. Maestoso. Sehr zuruckhaltend - Wieder zuruckhaltend
—
Symphony no. 2 in C minor: V. Sehr langsam und gedehnt
—
Symphony no. 2 in C minor: V. Langsam. Misterioso ("Aufersteh'n")
—
Symphony no. 2 in C minor: V. Etwas bewegter ("O glaube, mein Herz, o glaube")
—
Symphony no. 4 in G major: I. Bedächtig. Nicht eilen - Recht gemächlich
—
Symphony no. 4 in G major: II. In gemächlicher Bewegung. Ohne Hast
—
Symphony no. 4 in G major: III. Ruhevoll. Poco adagio
—
Symphony no. 4 in G major: IV. Das himmlische Leben. Sehr behaglich
—
Symphony no. 1 in D major: I. Langsam, Schleppend - Im Anfang sehr gemächlich
—
Symphony no. 1 in D major: II. Kräftig bewegt, doch nicht zu schnell
—
Symphony no. 1 in D major: III. Feierlich und gemessen, ohne zu schleppen
—
Symphony no. 1 in D major: IV. Stürmisch bewegt
—
Fortuna Imperatrix Mundi: O Fortuna
—
Fortuna Imperatrix Mundi: Fortune plango vulnera
—
I. Primo vere: Veris leta facies
—
I. Primo vere: Omnia Sol temperat
—
I. Primo vere: Ecce gratum
—
Uf dem Anger: Tanz -
—
Uf dem Anger: Floret silva nobilis
—
Uf dem Anger: Chramer, gip die varwe mir
—
Uf dem Anger: Swaz hie gat umbe - Chume, chum geselle min
—
Uf dem Anger: Were diu werlt alle min
—
II. In Taberna: Estuans interius
—
II. In Taberna: Olim lacus colueram
—
II. In Taberna: Ego sum abbas
—
II. In Taberna: In taberna quando sumus
—
III. Cour d'amours: Amor volat undique
—
III. Cour d'amours: Dies, nox et omnia
—
III. Cour d'amours: Stetit puella
—
III. Cour d'amours: Circa mea pectora
—
III. Cour d'amours: Si puer cum puellula
—
III. Cour d'amours: Veni, veni, venias
—
III. Cour d'amours: In trutina
—
III. Cour d'amours: Tempus est iocundum
—
III. Cour d'amours: Dulcissime
—
Blanziflor et Helena: Ave formosissima
—
Fortuna Imperatrix Mundi: O Fortuna
—
Elektra: „Wo bleibt Elektra?“
—
Elektra: „Allein! Weh, ganz allein.“
—
Elektra: „Elektra!“
—
Elektra: „Ich kann nicht sitzen und ins Dunkel starren“
—
Elektra: „Es geht ein Lärm los.“
—
Elektra: „Was willst du? Seht doch dort!“
—
Elektra: „Die Götter! bist doch selber eine Göttin.“
—
Elektra: „Ich will nichts hören!“
—
Elektra: „Ich habe keine guten Nächte.“
—
Elektra: „Wenn das rechte Blutopfer unterm Beile fällt“
—
Elektra: „Was bluten muß? Dein eigenes Genick“
—
Elektra: „Ach! Lichter!“
—
Elektra: „Orest! Orest ist tot!“
—
Elektra: „Nun muß es hier von uns geschehn.“
—
Elektra: „Du! Du! Denn du bist stark! Wie stark du bist“
—
Elektra: „Nun denn, allein!“
—
Elektra: „Was willst du, fremder Mensch?“
—
Elektra: „Orest!“
—
Elektra: „Du wirst es tun? Allein? Du armes Kind?“
—
Elektra: „Seid ihr von Sinnen“
—
Elektra: „Ich habe ihm das Beil nicht geben können!“
—
Elektra: „He! Lichter!“
—
Elektra: „Elektra! Schwester!“
—
Elektra: „Ob ich nicht höre?“
—
Elektra: „Hörst du denn nicht“
—
Elektra: „Schweig, und tanze“
—
Carmen : Prélude
—
Carmen : Acte I. No. 1 Introduction « Sur la place, chacun passe » (les soldats, Moralès)
—
Carmen : Acte I. No. 1 « Regardez donc cette petite » (Moralès, les soldats, Micaëla)
—
Carmen : Acte I. No. 2 Marche et chœur des gamins « Avec la garde montante » (les gamins)
—
Carmen : Acte I. No. 2 Dialogue « Il y a une jolie fille » (Moralès, Don José)
—
Carmen : Acte I. No. 2 « Et la garde descendante » (les gamins)
—
Carmen : Acte I. No. 2 Dialogue « Dites‐moi, brigadier ? » (Zuniga, Don José)
—
Carmen : Acte I. No. 3 Chœur et scène « La cloche a sonné » (les jeunes gens, les soldats)
—
Carmen : Acte I. No. 3 « Dans l’air, nous suivons des yeux la fumée » (les cigarières, les jeunes gens)
—
Carmen : Acte I. No. 3 « Mais nous ne voyons pas la Carmencita ! » (les soldats, les jeunes gens, les cigarières)
—
Carmen : Acte I. No. 3 « Quand je vous aimerai ? » / No. 4 Havanaise « L’amour est un oiseau rebelle » (Carmen, les jeunes gens, les soldats)
—
Carmen : Acte I. No. 5 Scène « Carmen ! Sur tes pas nous nous pressons tous ! » (les jeunes gens, les cigarières)
—
Carmen : Acte I. No. 5 Dialogue « Qu’est‐ce que ça veut dire » (Don José, Micaëla)
—
Carmen : Acte I. No. 6 Duo « Parle‐moi de ma mère ! » (Don José, Micaëla)
—
Carmen : Acte I. No. 6 « Ma mère, je la vois ! » (Don José, Micaëla)
—
Carmen : Acte I. No. 6 Dialogue « Attends un peu maintenant » (Don José, Micaëla)
—
Carmen : Acte I. No. 7 Chœur « Au secours ! » (les cigarières, Zuniga, les soldats)
—
Carmen : Acte I. No. 7 Dialogue « Voyons, brigadier » (Zuniga, Don José, Carmen)
—
Carmen : Acte I. No. 8 Chanson et mélodrame Dialogue « Avez‐vous quelque chose à répondre ? » / « Tra la la la. Coupe‐moi brûle‐moi » (Carmen, Zuniga, les cigarières)
—
Carmen : Acte I. No. 8 Dialogue « Où me conduirez‐vous ? » (Carmen, Don José)
—
Carmen : Acte I. No. 9 Chanson (séguedille) et duo « Près des remparts de Séville » / « Tais‐toi » (Carmen, Don José)
—
Carmen : Acte I. No. 10 Final Dialogue « Le lieutenant ! … Prenez garde ! » / « Voici l’ordre » (Don José, Zuniga, Carmen)
—
Carmen : Acte I. Entracte
—
Carmen : Acte II. No. 11 Chanson « Les tringles des sistres tintaient » (Carmen, Frasquita, Mercédès)
—
Carmen : Acte II. No. 11 Dialogue « Vous avez quelque chose à nous dire, maître Lillas Pastia ? » (Zuniga, Pastia, Frasquita, Carmen) / No. 12 Chœur et ensemble « Vivat ! Vivat le torero ! » (les amis d’Escamillo) / Dialogue « Qu’est‐ce que c’est que ça ? » (Zuniga, Mercédès, Frasquita, Moralès, Pastia, les amis d’Escamillo)
—
Carmen : Acte II. No. 13 Couplets « Votre toast, je peux vous le rendre » / « Toréador, en garde ! » (Escamillo, tous)
—
Carmen : Acte II. No. 13 Dialogue « Messieurs les officiers, je vous en prie » (Pastia, Zuniga, Escamillo, Carmen) / Marche
—
Carmen : Acte II. No. 13 Dialogue « Le Dancaïre et le Remendado ont à vous parler » (Pastia, Frasquita, le Dancaïre, Carmen)
—
Carmen : Acte II. No. 14 Quintette « Nous avons en tête une affaire ! » (le Dancaïre, Frasquita, Mercédès, le Remendado, Carmen)
—
Carmen : Acte II. No. 14 Dialogue « En voilà assez » (le Dancaïre, le Remendado, Carmen, Frasquita, Mercédès) / No. 15 Chanson « Halte‐là ! Qui va là ? Dragon d’Alcala ! » (Don José) / Dialogue « C’est un dragon, ma foi » (Mercédès, Frasquita, le Dancaïre, Carmen) / « Halte‐là ! Qui va là ? Dragon d’Alcala ! » (Don José) / Dialogue « Enfin… te voilà » (Camen, Don José)
—
Carmen : Acte II. No. 16 Duo « Je vais danser en votre honneur » (Carmen, Don José)
—
Carmen : Acte II. No. 16 « Au quartier ! pour l’appel ! » (Carmen, Don José)
—
Carmen : Acte II. No. 16 « La fleur que tu m’avais jetée » (Don José)
—
Carmen : Acte II. No. 16 « Non ! Tu ne m’aimes pas ! » (Carmen, Don José)
—
Carmen : Acte II. No. 17 Final « Holà ! Carmen ! holà ! » (Zuniga, Don José, Carmen)
—
Carmen : Acte II. No. 17 Final « Bel officier, l’amour » (Carmen, le Remendado, le Dancaïre, bohémiens, Zuniga, Don José, Frasquita, Mercédès, bohémiennes)
—
Carmen : Acte II. Entracte
—
Carmen : Acte III, Premier tableau. No. 18 Introduction « Écoute, compagnon, écoute ! » (les contrebandiers, les contrebandières, Frasquita, Mercédès, Carmen, Don José, le Dancaïre, le Remendado)
—
Carmen : Acte III, Premier tableau. No. 18 Dialogue « Halte ! nous allons nous arrêter ici » (le Dancaïre, le Remendado, Don José, Carmen)
—
Carmen : Acte III, Premier tableau. No. 19 Trio des cartes « Mêlons ! Coupons ! » (Frasquita, Mercédès, Carmen)
—
Carmen : Acte III, Premier tableau. No. 19 « Carreau ! Pique ! … La mort ! » (Carmen, Frasquita, Mercédès)
—
Carmen : Acte III, Premier tableau. No. 19 Dialogue « Eh bien ? » (Carmen, le Dancaïre, le Remendado, Frasquita, Mercédès, Don José)
—
Carmen : Acte III, Premier tableau. No. 20 Morçeau d’ensemble « Quant au douanier, c’est notre affaire ! » (Frasquita, Mercédès, Carmen, les contrebandières, le Dancaïre, le Remendado, les contrebandiers)
—
Carmen : Acte III, Premier tableau. No. 20 Dialogue « C’est ici » (Micaëla, le guide)
—
Carmen : Acte III, Premier tableau. No. 21 Air « Je dis que rien ne m’épouvante » (Micaëla)
—
Carmen : Acte III, Premier tableau. No. 21 Dialogue « Mais… je ne me trompe pas… c’est Don José ! » (Micaëla, Escamillo, Don José)
—
Carmen : Acte III, Premier tableau. No. 22 Duo « Je suis Escamillo, torero de Grenade ! » (Escamillo, Don José)
—
Carmen : Acte III, Premier tableau. No. 23 Final « Holà ! holà ! José ! » (Carmen, Escamillo, le Dancaïre, Don José, les contrebandiers, les contrebandières)
—
Carmen : Acte III, Premier tableau. No. 23 « Halte ! quelqu’un est là qui cherche à se cacher ! » (le Remendado, Carmen, le Dancaïre, Don José, Micaëla, Frasquita, Mercédès, les contrebandiers, les contrebandières, Escamillo)
—
Carmen : Acte III. Entracte
—
Carmen : Acte III, Deuxième tableau. No. 24 Chœur « À dos cuartos ! » (les marchands, les marchandes, Zuniga, Moralès, un bohémien)
—
Carmen : Acte III, Deuxième tableau. No. 24 Dialogue « Qu’avez‐vous donc fait de la Carmencita ? » (Zuniga, Frasquita, Moralès, Mercédès)
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Carmen : Acte III, Deuxième tableau. No. 25 Chœur et scène « Les voici ! Voici la quadrille ! » (les enfants, les marchands, les marchandes, les bohémiens, les bohémiennes)
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Carmen : Acte III, Deuxième tableau. No. 25 « Si tu m’aimes, Carmen » (Escamillo, Carmen, alguazils, Frasquita, Mercédès)
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Carmen : Acte III, Deuxième tableau. No. 26 Duo final « C’est toi ! » – « C’est moi ! » (Carmen, Don José, la foule)
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Symphony no. 7 in E minor: I. Langsam - Allegro risoluto, ma non troppo
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Symphony no. 7 in E minor: II. Nachtmusik: Allegro moderato
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Symphony no. 7 in E minor: III. Scherzo
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Symphony no. 7 in E minor: IV. Nachtmusik: Andante amoroso
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Symphony no. 7 in E minor: V. Rondo-Finale: Allegro ordinario - Allegro moderato ma energico
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Kindertotenlieder: Nun will die Sonn' so hell aufgeh'n
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Kindertotenlieder: Nun seh' ich wohl, warum so dunkle Flammen
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Kindertotenlieder: Wenn dein Mütterlein
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Kindertotenlieder: Oft denk' ich, sie sind nur ausgegangen
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Kindertotenlieder: In diesem Wetter
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Der fliegende Holländer: Overture
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Lohengrin: Prelude to Act I
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Die Meistersinger von Nürnberg: Prelude to Act I
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Tannhäuser: Overture
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Tristan und Isolde: Prelude
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Tristan und Isolde: Liebestod
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Concerto for 2 Pianos and Orchestra in D minor: I. Allegro ma non troppo
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Concerto for 2 Pianos and Orchestra in D minor: II. Larghetto
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Concerto for 2 Pianos and Orchestra in D minor: III. Finale, Allegro molto
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Sonata for Piano Duet: I. Prélude. Modéré
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Sonata for Piano Duet: II. Rustique. Naïf et lent
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Sonata for Piano Duet: III. Final. Très vite
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Capriccio (d'après le Bal Masqué)
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L'embarquement pour Cythère
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Élégie (en accords alternés)
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Scaramouche: I. Vif
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Scaramouche: II. Modéré
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Scaramouche: III. Brazileira (Mouvement de samba)
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Symphony no. 9 in D major: I. Andante comodo -
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Symphony no. 9 in D major: Mit Wut. Allegro risoluto -
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Symphony no. 9 in D major: Tempo I
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Symphony no. 9 in D major: II. Imp Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb -
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Symphony no. 9 in D major: Poco più mosso subito -
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Symphony no. 9 in D major: Ländler, ganz langsam
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Symphony no. 9 in D major: III. Rondo-Burleske: Allegro assai. Sehr trotzig -
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Symphony no. 9 in D major: Presto
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Symphony no. 9 in D major: IV. Adagio Sehr langsam und noch zurückhaltend
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Symphony no. 10 in F-sharp minor (unfinished): I. Andante - Adagio
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Symphony no. 5 in C-sharp minor: Part I. I. Trauermarsch: In gemessenem Schritt. Streng. Wie ein Kondukt - Plötzlich scneller. Leidenschaftlich. Wild - Tempo I
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Symphony no. 5 in C-sharp minor: Part I. II. Stürmisch bewegt. Mit größter Vehemenz -
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Symphony no. 5 in C-sharp minor: Part II. III. Scherzo: Kräftig, nicht zu schnell
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Symphony no. 5 in C-sharp minor: Part III. IV. Adagietto: Sehr langsam
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Symphony no. 5 in C-sharp minor: Part III. V. Rondo-Finale: Allegro
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Toccata and Fugue in D-minor, BWV 565 (Stokowski)
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Musikalisches Opfer, BWV 1079 (Webern)
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Partita in D-minor, BWV 1004 (Hideo Saito)
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Vom Himmel hoch, BWV 769 (Stravinsky); Choral
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Var. I In canone all 'ottava
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Var. II Alio modo in canone alle quinta
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Var. III In canone alla settima
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Var. IV In canone all 'ottava per augmentationem
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Var. V L'altra sorte del canone al rovescio
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Prelude and Fugue in E-flat major, BWV 552 (Schoenberg)
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Symphony no. 9 in E minor, op. 95 “From the New World”: I. Adagio - Allegro molto
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Symphony no. 9 in E minor, op. 95 “From the New World”: II. Largo
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Symphony no. 9 in E minor, op. 95 “From the New World”: III. Scherzo: Molto vivace
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Symphony no. 9 in E minor, op. 95 “From the New World”: IV. Allegro con fuoco
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In Nature’s Realm, op. 91
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Symphony no. 6 in A minor: I. Allegro energico, ma non troppo. Heftig, aber markig
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Symphony no. 6 in A minor: II. Scherzo. Wuchtig
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Symphony no. 6 in A minor: III. Andante moderato
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Symphony no. 6 in A minor: Finale: Allegro moderato - Allegro energico
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Symphony no. 3 in D minor: Part I. I. Kräftig. Entschieden
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Symphony no. 3 in D minor: Part II. II. Tempo di minuetto. Sehr mäßig
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Symphony no. 3 in D minor: Part II. III. Comodo. Scherzando. Ohne Hast
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Symphony no. 3 in D minor: Part II. IV. Zarathustras Mitternachtslied. Sehr langsam. Misterioso
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Symphony no. 3 in D minor: Part II. V. Es sungen drei Engel. Lustig im Tempo und keck im Austruck
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Symphony no. 3 in D minor: Part II. VI. Langsam. Ruhevoll. Empfunden
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Symphony no. 8 in G major, op. 88: I. Allegro con brio
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Symphony no. 8 in G major, op. 88: II. Adagio
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Symphony no. 8 in G major, op. 88: III. Allegretto grazioso - Molto vivace
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Symphony no. 8 in G major, op. 88: IV. Allegro ma non troppo
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The Noonday Witch, op. 108
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Scheherazade, Op. 35: I. The Sea and Sinbad's Ship. Largo e maestoso - Allegro non troppo
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Scheherazade, Op. 35: II. The Tale of the Kalendar Prince. Lento - Andante
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Scheherazade, Op. 35: III. The Young Prince and The Young Princess. Andantino quasi allegretto
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Scheherazade, Op. 35: IV. Festival at Baghdad - The Sea - Shipwreck on a Rock surmounted by a Bronze Warrior - Conclusion. Allegro molto
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Russian Easter Overture
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Salome, op. 54: "Wie schön ist die Prinzessin Salome heute Nacht!"
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Salome, op. 54: "Nach mir wird Einer kommen"
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Salome, op. 54: "Ich will nicht bleiben"
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Salome, op. 54: "Siehe, der Herr ist gekommen"
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Salome, op. 54: "Jauchze nicht, du Land Palästina"
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Salome, op. 54: "Du wirst das für mich tun"
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Salome, op. 54: "Wo ist er, dessen Sündenbecher jetzt voll ist?"
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Salome, op. 54: "Er ist schrecklich. Er ist wirklich schrecklich!"
—
Salome, op. 54: "Wer ist dies Weib, das mich ansieht?"
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Salome, op. 54: "Jochanaan! Ich bin verliebt in deinen Leib"
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Salome, op. 54: "Zurück, Tochter Sodoms! Berühre mich nicht!"
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Salome, op. 54: "Wird dir nicht bange, Tochter der Herodias?"
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Salome, op. 54: "Lass mich deinen Mund küssen, Jochanaan"
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Salome, op. 54: "Du bist verflucht"
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Salome, op. 54: "Wo ist Salome?"
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Salome, op. 54: "Salome, komm, trink Wein mit mir"
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Salome, op. 54: "Sieh', die Zeit ist gekommen"
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Salome, op. 54: "Wahrhaftig, Herr, es wäre besser"
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Salome, op. 54: "Siehe, der Tag ist nahe"
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Salome, op. 54: "Eine Menge Menschen wird sich gegen sie sammeln"
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Salome, op. 54: "Tanz für mich, Salome"
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Salome, op. 54: Salomes Tanz der sieben Schleier
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Salome, op. 54: "Ah! Herrlich! Wundervoll, wundervoll!"
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Salome, op. 54: "Salome, ich beschwöre dich"
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Salome, op. 54: "Salome, bedenk, was du tun willst"
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Salome, op. 54: "Man soll ihr geben, was sie verlangt!"
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Salome, op. 54: "Es ist kein Laut zu vernehmen"
—
Salome, op. 54: "Ah! Du wolltest mich nicht deinen Mund küssen lassen"
—
Salome, op. 54: "Sie ist ein Ungeheuer, deine Tochter"
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Salome, op. 54: "Ah! Ich habe deinen Mund geküsst, Jochanaan"
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Concerto for Orchestra: I. Introduzione. Andante non troppo - Allegro vivace
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Concerto for Orchestra: II. Giuoco delle coppie. Allegretto scherzando
—
Concerto for Orchestra: III. Elegia. Andante, non troppo
—
Concerto for Orchestra: IV. Intermezzo interrotto. Allegretto
—
Concerto for Orchestra: V. Finale. Pesante - Presto
—
The Miraculous Mandarin, op. 19: I. Allegro
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The Miraculous Mandarin, op. 19: II. Comodo
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The Miraculous Mandarin, op. 19: III. Allegretto
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The Miraculous Mandarin, op. 19: IV. Lento
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The Miraculous Mandarin, op. 19: V. Adagio
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The Miraculous Mandarin, op. 19: VI. Molto moderato
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Wiener Philharmoniker Fanfare, TrV 248
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Eine Alpensinfonie, op. 64, TrV 233: Nacht
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Eine Alpensinfonie, op. 64, TrV 233: Sonnenaufgang
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Eine Alpensinfonie, op. 64, TrV 233: Der Anstieg
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Eine Alpensinfonie, op. 64, TrV 233: Eintritt in den Wald
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Eine Alpensinfonie, op. 64, TrV 233: Wanderung neben dem Bache
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Eine Alpensinfonie, op. 64, TrV 233: Am Wasserfall
—
Eine Alpensinfonie, op. 64, TrV 233: Erscheinung
—
Eine Alpensinfonie, op. 64, TrV 233: Auf blumige Wiesen
—
Eine Alpensinfonie, op. 64, TrV 233: Auf der Alm
—
Eine Alpensinfonie, op. 64, TrV 233: Durch Dickicht und Gestrüpp auf Irrwegen
—
Eine Alpensinfonie, op. 64, TrV 233: Auf dem Gletscher
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Eine Alpensinfonie, op. 64, TrV 233: Gefahrvolle Augenblicke
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Eine Alpensinfonie, op. 64, TrV 233: Auf dem Gipfel
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Eine Alpensinfonie, op. 64, TrV 233: Vision
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Eine Alpensinfonie, op. 64, TrV 233: Nebel steigen auf
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Eine Alpensinfonie, op. 64, TrV 233: Die Sonne verdüstert sich allmählich
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Eine Alpensinfonie, op. 64, TrV 233: Elegie
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Eine Alpensinfonie, op. 64, TrV 233: Stille vor dem Sturm
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Eine Alpensinfonie, op. 64, TrV 233: Gewitter und Sturm, Abstieg
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Eine Alpensinfonie, op. 64, TrV 233: Sonnenuntergang
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Eine Alpensinfonie, op. 64, TrV 233: Ausklang
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Eine Alpensinfonie, op. 64, TrV 233: Nacht
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Feierlicher Einzug (Einzug der Ritter des Johanniterordens), TrV 224
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National Anthem of the Federal Republic of Germany
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La Marseillaise
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National Anthem of the United Kingdom
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National Anthem of the Kingdom of the Netherlands
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"La Brabançonne", National Anthem of the Kingdom of Belgium
—
National Anthem of the Grand Duchy of Luxembourg
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National Anthem of the Republic of Austria
—
National Anthem of the Republic of Italy
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National Anthem of the Kingdom of Spain
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A Portuguésa - National Anthem of the Portuguese Republic
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National Anthem of the Kingdom of Norway
—
Du gamla, du fria - National Anthem of the Kingdom of Sweden
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Der er et Yndigt land - National Anthem of the Kingdom of Denmark
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National Anthem of the Republic of Finland
—
National Anthem of the Swiss Confederation
—
National Anthem of the Principality of Liechtenstein
—
National Anthem of the Principality of Andorra
—
National Anthem of the Principality of Monaco
—
Amhrán na bhFiann - National Anthem of Ireland
—
National Anthem of the Republic of Iceland
—
National Anthem of the Republic of Estonia
—
National Anthem of the Republic of Latvia
—
National Anthem of the Republic of Lithuania
—
Mazurek Dąbrowskiego - National Anthem of the Republic of Poland
—
National Anthem of the Czech Republic
—
National Anthem of the Slovak Republic
—
National Anthem of the Republic of Hungary
—
National Anthem of Romania
—
National Anthem of the Federal Republic of Yugoslavia
—
National Anthem of the Republic of Slovenia
—
National Anthem of the Republic of Croatia
—
National Anthem of Bosnia and Herzegovina
—
National Anthem of the Republic of Bulgaria
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National Anthem of the Republic of Macedonia
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National Anthem of the Hellenic Republic
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National Anthem of Canada
—
The Star-Spangled Banner
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Himno Nacional Mexicano - National Anthem of the United Mexican States
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Himno Nacional - National Anthem of the Republic of Costa Rica
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National Anthem of Jamaica
—
Hino Nacional - National Anthem of the Federative Republic of Brazil
—
National Anthem of the Republic of Chile
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Himno Nacional Argentino - National Anthem of Argentina
—
National Anthem of The Russian Federation
—
National Anthem of the Republic of Belarus
—
National Anthem of Ukraine
—
National Anthem of the Republic of Moldova
—
National Anthem of the Republic of Georgia
—
National Anthem of the Republic of Armenia
—
National Anthem of the Azerbaidjan Republic
—
National Anthem of the Republic of Kazakhstan
—
National Anthem of the Republic of Uzbekistan
—
National Anthem of the Kyrgyz Republic
—
Kimigayo - National Anthem of Japan
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Aegug-Ga - National Anthem of the Republic of Korea
—
National Anthem of the Democratic People's Republic of Korea
—
March of the Volunteers - National Anthem of the People's Republic of China
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National Anthem of Mongolia
—
İstiklâl Marşı - National Anthem of the Republic of Turkey
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National Anthem of the Republic of Cyprus
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National Anthem of the State of Israel
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National Anthem of the Islamic Republic of Iran
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National Anthem of India
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National Anthem of Australia
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National Anthem of New Zealand
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National Anthem of the Democratic People's Republic of Algeria
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National Anthem of the Republic of South Africa
—
Shéhérazade: I. Asie
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Shéhérazade: II. La Flûte enchantée
—
Shéhérazade: III. L’Indifférent
—
Les Illuminations, op. 18: I. Fanfare
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Les Illuminations, op. 18: II. Villes
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Les Illuminations, op. 18: IIIa. Phrase
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What other identifiers does this connect to?
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
0000000003166058000000002226213300000000252914310000000030421894000000003074707700000000369642160000000055136520000000005514291200000000551467370000000055160328
+40 more
000000005516374800000000551679840000000055169576000000005517266000000000551735910000000055179889000000005518936600000000554833540000000055589810000000005589298300000000630886370000000063110320000000006311251000000000724543440000000073600059000000007365855X00000000782570930000000078389598000000007839491X00000000783981440000000078398259000000007841144100000000798308160000000080029735000000008019056100000000807961920000000080870110000000008088028X0000000080991844000000008105027X0000000081255830000000008141306900000000814238810000000081438100000000008149083000000000816079710000000081612041000000008175899900000000817696980000000081807172
Identifier Graph
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What is UPC 4988031812457?
4988031812457 is a Universal Product Code (UPC) assigned to Seiji Ozawa Edition by Seiji Ozawa. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.
This release contains 1000 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm