UPC · Release
The Collector’s Edition
Vaughan Williams
5099920663629
458 tracksReleased 2008-01-01EMI Classics
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5099920663629 is the Universal Product Code (UPC barcode) for the release “The Collector’s Edition” by Vaughan Williams, released 2008-01-01 on EMI Classics. 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 458 tracks, each with its own ISRC. Tracks include GBAYD8800371, GBAYD8800372, GBAYD8800373.
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9920Company prefix
66362Product
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Credit Chain
UPCThe Collector’s Edition
ISRC46 recordings
ISWC29 works
IPI2 songwriters
Track List (458)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony no. 1, "A Sea Symphony": Ia. A Song for All Seas, All Ships: Behold, the sea itself | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 2 | Symphony no. 1, "A Sea Symphony": Ib. A Song for All Seas, All Ships: Today a rude brief recitative | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 3 | Symphony no. 1, "A Sea Symphony": Ic. A Song for All Seas, All Ships: Flaunt out, O sea, your separate flags of nations! | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 4 | Symphony no. 1, "A Sea Symphony": Id. A Song for All Seas, All Ships: Token of all brave captains | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 5 | Symphony no. 1, "A Sea Symphony": Ie. A Song for All Seas, All Ships: A pennant universal | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 6 | Symphony no. 1, "A Sea Symphony": IIa. On the Beach at Night, Alone: On the beach at night, alone | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 7 | Symphony no. 1, "A Sea Symphony": IIb. On the Beach at Night, Alone: A vast similitude interlocks all | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 8 | Symphony no. 1, "A Sea Symphony": III. Scherzo. The Waves | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 9 | Symphony No. 1, "A Sea Symphony": IVa. The Explorers: O vast Rondure, swimming in space | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 10 | Symphony No. 1, "A Sea Symphony": IVb. The Explorers: Down from the gardens of Asia descending | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 11 | Symphony No. 1, "A Sea Symphony": IVc. The Explorers: O we can wait no longer | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 12 | Symphony No. 1, "A Sea Symphony": IVd. The Explorers: O thou transcendent | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 13 | Symphony No. 1, "A Sea Symphony": IVe. The Explorers: Greater than stars or suns | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 14 | Symphony No. 1, "A Sea Symphony": IVf. The Explorers: Sail forth | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 15 | Symphony No. 1, "A Sea Symphony": IVg. The Explorers: O my brave Soul! | Royal Liverpool Philharmonic Orchestra, Vernon Handley | — | |
| 2-1 | Symphony No. 2, "A London Symphony": I. Lento - Allegro risoluto (molto pesante) | — | ||
| 2-2 | Symphony No. 2, "A London Symphony": II. Lento | — | ||
| 2-3 | Symphony No. 2, "A London Symphony": III. Scherzo (Nocturne): Allegro vivace | — | ||
| 2-4 | Symphony No. 2, "A London Symphony": IV. Andante con moto - Maestoso alla marcia (quasi lento) - Allegro - Maestoso alla marcia (alla I) - Epilogue (Andante sostenuto) | — | ||
| 2-5 | Symphony No. 8 in D minor: I. Fantasia: Variazioni senza tema | — | ||
| 2-6 | Symphony No. 8 in D minor: II. Scherzo alla marcia (per stromenti a fiato): Allegro alla marcia | — | ||
| 2-7 | Symphony No. 8 in D minor: III. Cavatina (per stromenti ad arco): Lento espressivo | — | ||
| 2-8 | Symphony No. 8 in D minor: IV. Toccata: Moderato maestoso | — | ||
| 3-1 | Symphony No. 3, "A Pastoral Symphony": I. Molto moderato | — | ||
| 3-2 | Symphony No. 3, "A Pastoral Symphony": II. Lento moderato | — | ||
| 3-3 | Symphony No. 3, "A Pastoral Symphony": III. Moderato pesante | — | ||
| 3-4 | Symphony No. 3, "A Pastoral Symphony": IV. Lento | — | ||
| 3-5 | Symphony No. 4 in F minor: I. Allegro | — | ||
| 3-6 | Symphony No. 4 in F minor: II. Andante moderato | — | ||
| 3-7 | Symphony No. 4 in F minor: III. Scherzo: Allegro molto | — | ||
| 3-8 | Symphony No. 4 in F minor: IV. Finale (Allegro molto) con epilogo fugato (Con anima) | — | ||
| 4-1 | Oboe Concerto in A minor: I. Rondo pastorale: Allegro moderato | — | ||
| 4-2 | Oboe Concerto in A minor: II. Minuet and Musette: Allegro moderato | — | ||
| 4-3 | Oboe Concerto in A minor: III. Finale (Scherzo): Presto - Lento - Presto | — | ||
| 4-4 | Symphony No. 5 in D major: I. Preludio: Moderato - Allegro - Tempo I | — | ||
| 4-5 | Symphony No. 5 in D major: II. Scherzo: Presto misterioso | — | ||
| 4-6 | Symphony No. 5 in D major: III. Romanza: Lento | — | ||
| 4-7 | Symphony No. 5 in D major: IV. Passacaglia: Moderato - Allegro - Tempo Primo - Tempo del Preludio | — | ||
| 5-1 | Symphony No. 6 in E minor: I. Allegro | — | ||
| 5-2 | Symphony No. 6 in E minor: II. Moderato | — | ||
| 5-3 | Symphony No. 6 in E minor: III. Scherzo: Allegro vivace | — | ||
| 5-4 | Symphony No. 6 in E minor: IV. Epilogue: Moderato | — | ||
| 5-5 | Symphony No. 9 in E minor: I. Moderato maestoso | — | ||
| 5-6 | Symphony No. 9 in E minor: II. Andante sostenuto | — | ||
| 5-7 | Symphony No. 9 in E minor: III. Scherzo: Allegro pesante | — | ||
| 5-8 | Symphony No. 9 in E minor: IV. Andante tranquillo | — | ||
| 6-2 | Partita for double string orchestra: I. Prelude: Andante tranquillo | — | ||
| 6-3 | Partita for double string orchestra: II. Scherzo ostinato: Presto | — | ||
| 6-4 | Partita for double string orchestra: III. Intermezzo (Homage to Henry Hall): Andante con moto | — | ||
| 6-5 | Partita for double string orchestra: IV. Fantasia: Allegro | — | ||
| 6-6 | Symphony No. 7, "Sinfonia antartica": I. Prelude: Andante maestoso | — | ||
| 6-7 | Symphony No. 7, "Sinfonia antartica": II. Scherzo: Moderato | — | ||
| 6-8 | Symphony No. 7, "Sinfonia antartica": III. Landscape: Lento | — | ||
| 6-9 | Symphony No. 7, "Sinfonia antartica": IV. Intermezzo: Andante sostenuto | — | ||
| 6-10 | Symphony No. 7, "Sinfonia antartica": V. Epilogue: Alla marcia moderato, non troppo allegro | — | ||
| 7-1 | The Wasps - Aristophanic Suite: I. Overture | — | ||
| 7-2 | The Wasps - Aristophanic Suite: II. Entr'acte | — | ||
| 7-3 | The Wasps - Aristophanic Suite: III. March Past of the Kitchen Utensils | — | ||
| 7-4 | The Wasps - Aristophanic Suite: IV. Entr'acte | — | ||
| 7-5 | The Wasps - Aristophanic Suite: V. Ballet and Final Tableau | — | ||
| 7-6 | Prelude and Fugue in C minor: I. Prelude | — | ||
| 7-7 | Prelude and Fugue in C minor: II. Fugue | — | ||
| 7-8 | Piano Concerto in C: I. Toccata: Allegro moderato | — | ||
| 7-9 | Piano Concerto in C: II. Romanza: Lento | — | ||
| 7-10 | Piano Concerto in C: IIIa. Fuga cromatica (Allegro) | — | ||
| 7-11 | Piano Concerto in C: IIIb. con finale alla tedesca | — | ||
| 8-1 | Concerto in C for Two Pianos and Orchestra: I. Toccata (Allegro moderato) | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-2 | Concerto in C for Two Pianos and Orchestra: II. Romanza (Lento) | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-3 | Concerto in C for Two Pianos and Orchestra: IIIa. Fuga chromatica (Allegro) - | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-4 | Concerto in C for Two Pianos and Orchestra: IIIb. Finale alla tedesca | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-5 | Job: A Masque for Dancing: Scene I: Introduction | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-6 | Job: A Masque for Dancing: Scene I: Saraband of the Sons of God | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-7 | Job: A Masque for Dancing: Scene II: Satan's Dance of Triumph | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-8 | Job: A Masque for Dancing: Scene III: Minuet of the Sons of Job and their Wives | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-9 | Job: A Masque for Dancing: Scene IV: Jobs' Dream | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-10 | Job: A Masque for Dancing: Scene V: Dance of the Three Messengers | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-11 | Job: A Masque for Dancing: Scene VI: Dance of Job's Comforters | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-12 | Job: A Masque for Dancing: Scene VII: Eihu's Dance of Youth and Beauty | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-13 | Job: A Masque for Dancing: Scene VII: Pavane of the Sons of the Morning | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-14 | Job: A Masque for Dancing: Scene VIII: Galliard of the Sons of the Morning | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-15 | Job: A Masque for Dancing: Scene VIII: Altar Dance | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-16 | Job: A Masque for Dancing: Scene IX: Epilogue | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-1 | Serenade to Music | — | ||
| 9-2 | English Folk Song Suite: I. March (Seventeen Come Sunday) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-3 | English Folk Song Suite: II. Intermezzo (My Bonny Boy) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-4 | English Folk Song Suite: III. March (Folk Songs from Somerset) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-5 | Norfolk Rhapsody No. 1 | — | ||
| 9-6 | Fantasia on "Greensleeves" | — | ||
| 9-7 | In the Fen Country | — | ||
| 9-8 | The Lark Ascending | Hugh Bean, Philharmonia Orchestra, Sir Adrian Boult | T-902.843.856-4 | |
| 10-1 | Fantasia on a Theme by Thomas Tallis | — | ||
| 10-2 | Sea Songs - March | — | ||
| 10-6 | Dawn Patrol (from the film Coastal Command) | — | ||
| 10-7 | Concerto grosso: I. Intrada: Largo | — | ||
| 10-8 | Concerto grosso: II. Burlesca ostinato: Allegro moderato | — | ||
| 10-9 | Concerto grosso: III. Sarabande: Lento | — | ||
| 10-10 | Concerto grosso: IV. Scherzo: Allegro, tempo di valse | — | ||
| 10-11 | Concerto grosso: V. March (A la marcia) and Reprise | — | ||
| 10-12 | Romance in D flat for harmonica with strings and piano | — | ||
| 10-13 | Tuba Concerto in F minor: I. Prelude: Allegro moderato | Philip B. Catelinet, London Symphony Orchestra, Sir John Barbirolli | — | |
| 10-14 | Tuba Concerto in F minor: II. Romanza: Andante sostenuto | Philip B. Catelinet, London Symphony Orchestra, Sir John Barbirolli | — | |
| 10-15 | Tuba Concerto in F minor: III. Finale: Rondo alla tedesca (Allegro) | Philip B. Catelinet, London Symphony Orchestra, Sir John Barbirolli | — | |
| 11-2 | The Poisoned Kiss - Overture | — | ||
| 11-3 | Old King Cole - A Ballet for Orchestra: I. Allegro moderato | — | ||
| 11-4 | Old King Cole - A Ballet for Orchestra: II. Pipe dance | — | ||
| 11-5 | Old King Cole - A Ballet for Orchestra: III. Bowl dance | — | ||
| 11-6 | Old King Cole - A Ballet for Orchestra: IV. Morris Jig "Go and 'list for a sailor" | — | ||
| 11-7 | Old King Cole - A Ballet for Orchestra: V. Folk Song "A Bold Young Farmer" | — | ||
| 11-8 | Old King Cole - A Ballet for Orchestra: VI. Folk Song "The Jolly Thresherman" | — | ||
| 11-9 | Old King Cole - A Ballet for Orchestra: VII. Solo Jig | — | ||
| 11-10 | Five Mystical Songs: I. Easter | — | ||
| 11-11 | Five Mystical Songs: II. I got me flowers | — | ||
| 11-12 | Five Mystical Songs: III. Love bade me welcome | — | ||
| 11-13 | Five Mystical Songs: IV. The Call | — | ||
| 11-14 | Five Mystical Songs: V. Antiphon | — | ||
| 11-15 | Prelude on an Old Carol Tune | — | ||
| 11-16 | The Running Set | — | ||
| 11-17 | Prelude: 49th Parallel | — | ||
| 12-1 | Variations for Orchestra: Theme: Andante maestoso | — | ||
| 12-2 | Variations for Orchestra: I. Poco tranquillo | — | ||
| 12-3 | Variations for Orchestra: II. Tranquillo cantabile | — | ||
| 12-4 | Variations for Orchestra: III. Allegro | — | ||
| 12-5 | Variations for Orchestra: IV. Canon (Allegro) | — | ||
| 12-6 | Variations for Orchestra: V. Moderato sostenuto | — | ||
| 12-7 | Variations for Orchestra: VI. Tempo di valse | — | ||
| 12-8 | Variations for Orchestra: VII. Arabesque (Andante sostenuto) | — | ||
| 12-9 | Variations for Orchestra: VIII. Alla polacca | — | ||
| 12-10 | Variations for Orchestra: IX. Adagio | — | ||
| 12-11 | Variations for Orchestra: X. Fugato (Allegro moderato e risoluto) | — | ||
| 12-12 | Variations for Orchestra: XI. Chorale | — | ||
| 12-13 | Two Hymn-Tune Preludes: I. Eventide | — | ||
| 12-14 | Two Hymn-Tune Preludes: II. Dominus regit me | — | ||
| 12-15 | Concerto accademico for violin and strings in D minor: I. Allegro pesante | — | ||
| 12-16 | Concerto accademico for violin and strings in D minor: II. Adagio | — | ||
| 12-17 | Concerto accademico for violin and strings in D minor: III. Presto | — | ||
| 12-18 | Three Preludes Founded on Welsh Hymn Tunes: II. Rhosymedre | — | ||
| 12-19 | Three Preludes Founded on Welsh Hymn Tunes: III. Hyfrydol | — | ||
| 12-20 | String Quartet No. 1 in G minor: I. Allegro moderato | — | ||
| 12-21 | String Quartet No. 1 in G minor: II. Minuet and Trio: Tempo di minuetto | — | ||
| 12-22 | String Quartet No. 1 in G minor: III. Romance: Andante sostenuto | — | ||
| 12-23 | String Quartet No. 1 in G minor: IV. Finale: Rondo capriccioso (Allegro molto - Pochettino più mosso) | — | ||
| 13-1 | Violin Sonata in A minor: I. Fantasia: Allegro giusto | — | ||
| 13-2 | Violin Sonata in A minor: II. Scherzo: Allegro furioso, ma non troppo | — | ||
| 13-3 | Violin Sonata in A minor: III. Tema con variazioni (Andante - Var. 6: Allegro) | — | ||
| 13-4 | Phantasy Quintet for two violins, two violas and cello: I. Prelude: Lento ma non troppo | — | ||
| 13-5 | Phantasy Quintet for two violins, two violas and cello: II. Scherzo: Prestissimo | — | ||
| 13-6 | Phantasy Quintet for two violins, two violas and cello: III. Alla sarabanda: Lento | — | ||
| 13-7 | Phantasy Quintet for two violins, two violas and cello: IV. Burlesca: Allegro moderato | — | ||
| 13-8 | Six Studies in English Folk Song for cello and piano: I. Adagio "Lovely on the Water" | — | ||
| 13-9 | Six Studies in English Folk Song for cello and piano: II. Andante sostenuto "Spum Point" | — | ||
| 13-10 | Six Studies in English Folk Song for cello and piano: III. Larghetto "Van Diemen's Land" | — | ||
| 13-11 | Six Studies in English Folk Song for cello and piano: IV. Lento "She borrowed some of her mother's gold" | — | ||
| 13-12 | Six Studies in English Folk Song for cello and piano: V. Andante tranquillo "The Lady and the Dragon" | — | ||
| 13-13 | Six Studies in English Folk Song for cello and piano: VI. Allegro vivace "As I walked over London Bridge" | — | ||
| 13-14 | String Quartet No. 2 in A minor: I. Prelude: Allegro appassionato | — | ||
| 13-15 | String Quartet No. 2 in A minor: II. Romance: Largo | — | ||
| 13-16 | String Quartet No. 2 in A minor: III. Scherzo: Allegro | — | ||
| 13-17 | String Quartet No. 2 in A minor: IV. Epilogue: Greetings from Joan to Jean (Andante sostenuto) | — | ||
| 14-1 | Toward the Unknown Region | — | ||
| 14-2 | Dona nobis pacem: I. "Agnus Dei" (Lento) | — | ||
| 14-3 | Dona nobis pacem: II. "Beat! beat! drums!" (Allegro moderato) | — | ||
| 14-4 | Dona nobis pacem: III. Reconciliation (Andantino) | — | ||
| 14-5 | Dona nobis pacem: IV. Dirge for Two Veterans (Moderato alla marcia) | — | ||
| 14-6 | Dona nobis pacem: V. "The Angel of Death has been abroad" (L'istesso tempo) | — | ||
| 14-7 | Dona nobis pacem: VI. "O man greatly beloved" | — | ||
| 14-8 | Fantasia (quasi variazione) on the Old 104th Psalm Tune | — | ||
| 14-9 | Magnificat | — | ||
| 15-1 | An Oxford Elegy: I. Lento | — | ||
| 15-2 | An Oxford Elegy: II. "Go, for they call you, Shepherd" | — | ||
| 15-3 | An Oxford Elegy: III. "Here will I sit and wait" | — | ||
| 15-4 | An Oxford Elegy: IV. "Screen'd is this nook" | — | ||
| 15-5 | An Oxford Elegy: V. "That sweet city" | — | ||
| 15-6 | An Oxford Elegy: VI. "Come, let me read" | — | ||
| 15-7 | An Oxford Elegy: VII. "Or in my boat I lie" | — | ||
| 15-8 | An Oxford Elegy: VIII. "And once, in winter" | — | ||
| 15-9 | An Oxford Elegy: IX. "But what - I dream!" | — | ||
| 15-10 | An Oxford Elegy: X. "No, no, thou has not felt" | — | ||
| 15-11 | An Oxford Elegy: XI. "Runs it not here" | — | ||
| 15-12 | An Oxford Elegy: XII. "Needs must I, with heavy heart" | — | ||
| 15-13 | An Oxford Elegy: XIII. "Soon will the high Midsummer pomps" | — | ||
| 15-14 | An Oxford Elegy: XIV. "He hearkens not!" | — | ||
| 15-15 | An Oxford Elegy: XV. "Never more" | — | ||
| 15-16 | An Oxford Elegy: XVI. "Yes, thou art gone!" | — | ||
| 15-17 | An Oxford Elegy: XVII. "Despair will I not" | — | ||
| 15-18 | An Oxford Elegy: XVIII. "Why faintest thou?" | — | ||
| 15-19 | Three Choral Hymns: Whitsunday Hymn | — | ||
| 15-20 | Flos campi: I. Lento "Sicut Lilium inter spinas" | — | ||
| 15-21 | Flos campi: II. Andante con moto "Jam enim hiems transiit" | — | ||
| 15-22 | Flos campi: III. Lento - Allegro moderato "Quaesivi quem diligit anima mea" | — | ||
| 15-23 | Flos campi: IV. Moderato alla marcia "En lectulum Salomonis" | — | ||
| 15-24 | Flos campi: V. Andante quasi lento "Revertere, revertere Sulamitis!" | — | ||
| 15-25 | Flos campi: VI. Moderato tranquillo "Pone me ut signaculum" | — | ||
| 15-26 | Sancta civitas (The Holy City): I. Lento "I was in the spirit" | — | ||
| 15-27 | Sancta civitas (The Holy City): II. Allegro "And I saw Heaven opened" | — | ||
| 15-28 | Sancta civitas (The Holy City): III. Meno mosso "And I saw an angel standing in the sun" | — | ||
| 15-29 | Sancta civitas (The Holy City): IV. Lento "Babylon the great is fallen" | — | ||
| 15-30 | Sancta civitas (The Holy City): V. Allegro moderato "Rejoice over her O Heavens" | — | ||
| 15-31 | Sancta civitas (The Holy City): VI. Adagio "And I saw a new heaven" | — | ||
| 15-32 | Sancta civitas (The Holy City): VII. Poco meno largo "Therefore are they before the throne of God" | — | ||
| 15-33 | Sancta civitas (The Holy City): IX. "And I saw a pure river" | — | ||
| 15-34 | Sancta civitas (The Holy City): X. Andante sostenuto "Holy, Holy, Holy" | — | ||
| 15-35 | Sancta civitas (The Holy City): XI. Poco animato "Heaven and earth are full of Thy glory" | — | ||
| 16-1 | Five Tudors Portraits: I. Ballad "The Tunning of Elinor Rumming" | — | ||
| 16-2 | Five Tudors Portraits: II. Intermezzo "My Pretty Bess" | — | ||
| 16-3 | Five Tudors Portraits: III. Burlesca "Epitaph on John Jayberd of Diss" | — | ||
| 16-4 | Five Tudors Portraits: IV. Romanza "Jane Scoop (Her Lament for Philip Sparrow)" | — | ||
| 16-5 | Five Tudors Portraits: V. Scherzo "Jolly Rutterkin" | — | ||
| 16-6 | Benedicite | — | ||
| 16-7 | Five Variants of "Dives and Lazarus" | Jacques Orchestra, Sir David Willcocks | — | |
| 17-5 | Hodie - A Christmas Cantata: I. Prologue: "Nowell! Nowell!" | — | ||
| 17-6 | Hodie - A Christmas Cantata: II. Narration: "Now the birth of Jesus Christ" | — | ||
| 17-7 | Hodie - A Christmas Cantata: III. Song: "It was the winter wild" | — | ||
| 17-8 | Hodie - A Christmas Cantata: IV. Narration: "And it came to pass in those days" | — | ||
| 17-9 | Hodie - A Christmas Cantata: V. Choral: "The blessed Son of God" | — | ||
| 17-10 | Hodie - A Christmas Cantata: VI. Narration: "And there were in the same country" | — | ||
| 17-11 | Hodie - A Christmas Cantata: VII. Song: "The Oxen" | — | ||
| 17-12 | Hodie - A Christmas Cantata: VIII. Narration: "And the shepherds returned" | — | ||
| 17-13 | Hodie - A Christmas Cantata: IX. Pastoral: "The shepherds sing" | — | ||
| 17-14 | Hodie - A Christmas Cantata: X. Narration: "But Mary kept all these things" | — | ||
| 17-15 | Hodie - A Christmas Cantata: XI. Lullaby: "Sweet was the song the Virgin sang" | — | ||
| 17-16 | Hodie - A Christmas Cantata: XII. Hymn: "Bright portals of the sky" | — | ||
| 17-17 | Hodie - A Christmas Cantata: XIII. Narration: "Now when Jesus was born" | — | ||
| 17-18 | Hodie - A Christmas Cantata: XIV. "The March of the Three Kings: From kingdoms of wisdom" | — | ||
| 17-19 | Hodie - A Christmas Cantata: XV. Choral: "No sad thought his soul affright" | — | ||
| 17-20 | Hodie - A Christmas Cantata: XVI. Epilogue: "In the beginning was the Word" | — | ||
| 18-5 | Yorkshire Wassail Song (We've been awhile a-wandering) | — | ||
| 18-6 | In Windsor Forest: I. The Conspiracy | — | ||
| 18-7 | In Windsor Forest: II. Drinking Song | — | ||
| 18-8 | In Windsor Forest: III. Falstaff and the Fairies | — | ||
| 18-9 | In Windsor Forest: IV. Wedding Chorus | — | ||
| 18-10 | In Windsor Forest: V. Epilogue | — | ||
| 18-20 | On Wenlock Edge: I. "On Wenlock Edge" | — | ||
| 18-21 | On Wenlock Edge: II. "From far, from eve and morning" | — | ||
| 18-22 | On Wenlock Edge: III. "Is my team ploughing" | — | ||
| 18-23 | On Wenlock Edge: IV. "Oh, when I was in love with you" | — | ||
| 18-24 | On Wenlock Edge: V. "Bredon Hill" | — | ||
| 18-25 | On Wenlock Edge: VI. "Clun" | — | ||
| 19-1 | O clap your hands (Psalm 47) | — | ||
| 19-2 | Mass in G minor: I. Kyrie | David van Asch, Choir of King’s College, Cambridge, Robin Doveton, John Eaton, Nigel Perrin, David Willcocks | — | |
| 19-3 | Mass in G minor: II. Gloria | — | ||
| 19-4 | Mass in G minor: III. Credo | — | ||
| 19-5 | Mass in G minor: IV. Sanctus - Osanna I - Benedictus - Osanna II | — | ||
| 19-6 | Mass in G minor: V. Agnus Dei | — | ||
| 19-7 | All people that on earth do dwell (The Old Hundredth) | — | ||
| 19-8 | O taste and see (Psalm 34) | — | ||
| 19-9 | Te Deum in G | — | ||
| 19-10 | For all the saints (Sine nomine) | — | ||
| 19-11 | Three Preludes Founded on Welsh Hymn Tunes: I. "Bryn Calfaria" | — | ||
| 19-12 | Three Preludes Founded on Welsh Hymn Tunes: II. "Rhosymedre" | — | ||
| 19-13 | Three Preludes Founded on Welsh Hymn Tunes: III. "Hyfrydol" | — | ||
| 19-14 | The Truth from Above | Choir of King’s College, Cambridge, Sir David Willcocks | T-010.424.965-1 | |
| 19-15 | O Little Town of Bethlehem | Choir of King’s College, Cambridge, Thomas Armstrong, Francis Grier, Sir Philip Ledger | T-308.192.515-3 | |
| 19-16 | Joseph and Mary | Choir of King’s College, Cambridge, Charles Daniels, Thomas Trotter, Philip Ledger | — | |
| 19-17 | And All in the Morning | Choir of King’s College, Cambridge, Sir David Willcocks | T-011.570.543-5 | |
| 19-18 | Alleluya, sing to Jesus (Hyfrydol) | — | ||
| 19-19 | Come Down, O Love Divine | Choir of King’s College, Cambridge, Thomas Williamson, Stephen Cleobury | — | |
| 20-1 | Four Hymns: I. Lord! come away! | — | ||
| 20-2 | Four Hymns: II. Who is this fair one? | — | ||
| 20-3 | Four Hymns: III. Come Love, come Lord | — | ||
| 20-4 | Four Hymns: IV. Evening Hymn | — | ||
| 20-5 | Merciless Beauty: I. Your eyën two | — | ||
| 20-6 | Merciless Beauty: II. So hath your beauty | — | ||
| 20-7 | Merciless Beauty: III. Since I from Love | — | ||
| 20-8 | The Water Mill | — | ||
| 20-9 | The New Ghost | — | ||
| 20-10 | Ten Blake Songs: I. Infant Joy | — | ||
| 20-11 | Ten Blake Songs: II. A Poison Tree | — | ||
| 20-12 | Ten Blake Songs: III. The Piper | — | ||
| 20-13 | Ten Blake Songs: IV. London | — | ||
| 20-14 | Ten Blake Songs: V. The Lamb | — | ||
| 20-15 | Ten Blake Songs: VI. The Shepherd | — | ||
| 20-16 | Ten Blake Songs: VII. Ah, Sun-flower! | Ian Partridge, Janet Craxton | — | |
| 20-17 | Ten Blake Songs: VIII. Cruelty has a human heart | — | ||
| 20-18 | Ten Blake Songs: IX. The Divine Image | — | ||
| 20-19 | Ten Blake Songs: X. Eternity | — | ||
| 21-1 | The House of Life: I. Love-Sight | — | ||
| 21-2 | The House of Life: II. Silent Noon | — | ||
| 21-3 | The House of Life: III. Love's Minstrels | — | ||
| 21-4 | The House of Life: IV. Heart's Haven | — | ||
| 21-5 | The House of Life: V. Death in Love | — | ||
| 21-6 | The House of Life: VI. Love's Last Gift | — | ||
| 21-7 | Songs of Travel: I. The Vagabond | — | ||
| 21-8 | Songs of Travel: II. Let beauty awake | — | ||
| 21-9 | Songs of Travel: III. The Roadside Fire | — | ||
| 21-10 | Songs of Travel: IV. Youth and Love | — | ||
| 21-11 | Songs of Travel: V. In Dreams | — | ||
| 21-12 | Songs of Travel: VI. The infinite shining heavens | — | ||
| 21-13 | Songs of Travel: VII. Whither must I wander | — | ||
| 21-14 | Songs of Travel: VIII. Bright is the ring of words | — | ||
| 21-15 | Songs of Travel: IX. I have trod the upward and the downward slope | — | ||
| 22-1 | Linden Lea | — | ||
| 22-2 | Joy, shipmate, joy! | — | ||
| 22-3 | A Clear Midnight | — | ||
| 22-4 | Orpheus with his lute (first setting) | — | ||
| 22-5 | Hands, eyes and heart | — | ||
| 22-6 | Rest | — | ||
| 22-7 | Five Mystical Songs: The Call | — | ||
| 22-9 | Five English Folk Songs: I. The Dark-Eyed Sailor | — | ||
| 22-10 | Five English Folk Songs: II. The Spring Time of the Year | — | ||
| 22-11 | Five English Folk Songs: III. Just as the Tide was Flowing | — | ||
| 22-12 | Five English Folk Songs: IV. The Lover's Ghost (Well met, my own true love) | — | ||
| 22-13 | Five English Folk Songs: V. Wassail Song | — | ||
| 22-14 | Bushes and Briars | — | ||
| 22-15 | Loch Lomond | — | ||
| 22-16 | John Dory | — | ||
| 22-17 | Greensleeves | — | ||
| 22-18 | Ward, the Pirate | — | ||
| 22-19 | Ca' the Yowes | — | ||
| 22-20 | The Unquiet Grave | — | ||
| 22-21 | The Seeds of Love | — | ||
| 22-22 | Early in the Spring | — | ||
| 22-23 | The Turtle Dove | — | ||
| 22-24 | An Acre of Land | — | ||
| 23-1 | The Captain's Apprentice | — | ||
| 23-2 | As I walked out | — | ||
| 23-3 | Bushes and Briars | — | ||
| 23-4 | Geordie | — | ||
| 23-5 | On Board a Ninety-Eight | — | ||
| 23-6 | The Ploughman | — | ||
| 23-7 | The Brewer | — | ||
| 23-8 | Rolling in the Dew | — | ||
| 23-9 | The Truth Sent from Above | — | ||
| 23-10 | Joseph and Mary | — | ||
| 23-11 | The Saviour's Love | — | ||
| 23-12 | Réveillez-vous, Piccars | — | ||
| 23-13 | Chanson de quête | — | ||
| 23-14 | Ballad de Jésus Christ | — | ||
| 23-15 | She's like the swallow | — | ||
| 23-16 | The Morning Dew | — | ||
| 23-17 | The Maiden's Lament | — | ||
| 23-18 | The Cuckoo | — | ||
| 23-19 | The Lawyer | — | ||
| 23-20 | Searching for Lambs | — | ||
| 23-21 | How cold the wind doth blow (or The Unquiet Grave) | — | ||
| 23-22 | A Song of Thanksgiving | — | ||
| 24-1 | Epithalamion: I. Prologue | — | ||
| 24-2 | Epithalamion: II. Wake Now | — | ||
| 24-3 | Epithalamion: III. The Calling of the Bride | — | ||
| 24-4 | Epithalamion: IV. The Minstrels | — | ||
| 24-5 | Epithalamion: V. Procession of the Bride | — | ||
| 24-6 | Epithalamion: VI. The Temple Gates | — | ||
| 24-7 | Epithalamion: VII. The Bell Ringers | — | ||
| 24-8 | Epithalamion: VIII. The Lover's Song | — | ||
| 24-9 | Epithalamion: IX. The Minstrel's Song | — | ||
| 24-10 | Epithalamion: X. Song of the Winged Loves | — | ||
| 24-11 | Epithalamion: XI. Prayer to Juno | — | ||
| 24-12 | Riders to the Sea: Where Is She? | — | ||
| 24-13 | Riders to the Sea: Where Is the Bit of New Rope | — | ||
| 24-14 | Riders to the Sea: Wait, Nora | — | ||
| 24-15 | Riders to the Sea: You Didn't Give Him His Bit of Bread? | — | ||
| 24-16 | Riders to the Sea: Bartley Will Be Lost Now | — | ||
| 24-17 | Riders to the Sea: They Are All Gone Now | — | ||
| 25-1 | Hugh the Drover or Love in the Stocks: Act I, I. (Allegro vivacissimo) Buy, buy, buy | — | ||
| 25-2 | Hugh the Drover or Love in the Stocks: Act I, II. Cold blows the wind on Cotsali | — | ||
| 25-3 | Hugh the Drover or Love in the Stocks: Act I, III. As I was a-walking | — | ||
| 25-4 | Hugh the Drover or Love in the Stocks: Act I, IV. Show me a richer man | — | ||
| 25-5 | Hugh the Drover or Love in the Stocks: Act I, V. Here come the Morris men | — | ||
| 25-6 | Hugh the Drover or Love in the Stocks: Act I, VI. Life must be full of care | — | ||
| 25-7 | Hugh the Drover or Love in the Stocks: Act I, VII. Sweet little linnet that longs to be free | — | ||
| 25-8 | Hugh the Drover or Love in the Stocks: Act I, VIII. Horse-hoofs, horse-hoofs, thunder down the valleys | — | ||
| 25-9 | Hugh the Drover or Love in the Stocks: Act I, IX. In the night-time I have seen you riding | — | ||
| 25-10 | Hugh the Drover or Love in the Stocks: Act I, X. Mary! Mary! | — | ||
| 25-11 | Hugh the Drover or Love in the Stocks: Act I, XI. Oh! The devil and Bonyparty | — | ||
| 25-12 | Hugh the Drover or Love in the Stocks: Act I, XII. Yes, I! | — | ||
| 25-13 | Hugh the Drover or Love in the Stocks: Act I, XIII. Are you ready? Go! | — | ||
| 25-14 | Hugh the Drover or Love in the Stocks: Act I, XIV. The drover's won! | — | ||
| 25-15 | Hugh the Drover or Love in the Stocks: Act I, XV. I tell you there's a price on this man's head | — | ||
| 26-1 | Hugh the Drover or Love in the Stocks: Act II, I. (Lento moderato) Past four o'clock | — | ||
| 26-2 | Hugh the Drover or Love in the Stocks: Act II, II. Gaily I go to die | — | ||
| 26-3 | Hugh the Drover or Love in the Stocks: Act II, III. Hugh!...Mary! | — | ||
| 26-4 | Hugh the Drover or Love in the Stocks: Act II, IV. Sweet little home | — | ||
| 26-5 | Hugh the Drover or Love in the Stocks: Act II, V. Where's she gone to? | — | ||
| 26-6 | Hugh the Drover or Love in the Stocks: Act II, VI. Here, queen uncrowned | — | ||
| 26-7 | Hugh the Drover or Love in the Stocks: Act II, VII. A trollop from the stocks | — | ||
| 26-8 | Hugh the Drover or Love in the Stocks: Act II, VIII. Dropped from the ranks on a winter's night | — | ||
| 26-9 | Hugh the Drover or Love in the Stocks: Act II, IX. March away, John! | — | ||
| 26-10 | Hugh the Drover or Love in the Stocks: Act II, X. O foolish girl, O radiant soul! | — | ||
| 26-11 | Hugh the Drover or Love in the Stocks: Act II, XI. Oh! the sky shall be our roof | — | ||
| 27-1 | Sir John in Love: Act I, I. (Allegro vivace) What-hoa! | — | ||
| 27-2 | Sir John in Love: Act I, II. How now, Master Shallow | — | ||
| 27-3 | Sir John in Love: Act I, III. O heavens, this is Mistress Anne Page | — | ||
| 27-4 | Sir John in Love: Act I, IV. Ahem...I had rather than forty shillings | — | ||
| 27-5 | Sir John in Love: Act I, V. Weep eyes, break heart | — | ||
| 27-6 | Sir John in Love: Act I, VI. Do but look on her eyes now | — | ||
| 27-7 | Sir John in Love: Act I, VII. I see I cannot get thy father's love | — | ||
| 27-8 | Sir John in Love: Act I, VIII. Vere is dat knave Rugby? | — | ||
| 27-9 | Sir John in Love: Act I, IX. I will myself marry Anne Page | — | ||
| 27-10 | Sir John in Love: Act I, X. Master Fenton, I'll be sworn she loves you | — | ||
| 27-11 | Sir John in Love: Act I, XI. Back and side go bare | — | ||
| 27-12 | Sir John in Love: Act I, XII. I spy entertainment in her | — | ||
| 27-13 | Sir John in Love: Act I, XIII. Wilt thou revenge? | — | ||
| 27-14 | Sir John in Love: Act I, XIV. Love my wife? I will be patient | — | ||
| 27-15 | Sir John in Love: Act I, XV. When daisies pied and violets blue | — | ||
| 27-16 | Sir John in Love: Act II, Scene I, I. (Allegro moderato e maestoso) | — | ||
| 27-17 | Sir John in Love: Act II, Scene I, II. Thine own true knight | — | ||
| 27-18 | Sir John in Love: Act II, Scene I, III. Ask me no reason why I love you | — | ||
| 27-19 | Sir John in Love: Act II, Scene I, IV. Sigh no more, ladies | — | ||
| 27-20 | Sir John in Love: Act II, Scene I, V. (Maestoso) | — | ||
| 27-21 | Sir John in Love: Act II, Scene II, I. Bardolph, Bardolph, I say! | — | ||
| 27-22 | Sir John in Love: Act II, Scene II, II. Give your worship good morrow | — | ||
| 27-23 | Sir John in Love: Act II, Scene II, III. O that joy so soon should waste! | — | ||
| 27-24 | Sir John in Love: Act II, Scene II, IV. There's one Master Brook below | — | ||
| 27-25 | Sir John in Love: Act II, Scene II, V. I have long loved her | — | ||
| 27-26 | Sir John in Love: Act II, Scene II, VI. The dew that lies on roses | — | ||
| 27-27 | Sir John in Love: Act II, Scene II, VII. Vere is mine host of de Garter? | — | ||
| 27-28 | Sir John in Love: Act II, Scene II, VIII. (Maestoso) | — | ||
| 28-1 | Sir John in Love: Act III, Scene I, I. (Andante moderato) | — | ||
| 28-2 | Sir John in Love: Act III, Scene I, II. Yet hear me speak | — | ||
| 28-3 | Sir John in Love: Act III, Scene I, III. Beauty clear and fair | — | ||
| 28-4 | Sir John in Love: Act III, Scene I, IV. Fair and fair and twice so fair | — | ||
| 28-5 | Sir John in Love: Act III, Scene I, V. But listen, good mine host | — | ||
| 28-6 | Sir John in Love: Act III, Scene I, VI. I mun be married a-Sunday | — | ||
| 28-7 | Sir John in Love: Act III, Scene II, I. (Lento) When as we sat in Papylon | — | ||
| 28-8 | Sir John in Love: Act III, Scene II, II. How now, Master Parson? | — | ||
| 28-9 | Sir John in Love: Act III, Scene II, III. Peace, I say! | — | ||
| 28-10 | Sir John in Love: Act III, Scene II, IV. When I was a bachelor | — | ||
| 28-11 | Sir John in Love: Act III, Scene II, V. (Allegro) | — | ||
| 28-12 | Sir John in Love: Act III, Scene III, I. What, John! What, Robert! | — | ||
| 28-13 | Sir John in Love: Act III, Scene III, II. Alas, my love, you do me wrong | — | ||
| 28-14 | Sir John in Love: Act III, Scene III, III. Have I caught my heavenly jewel | — | ||
| 28-15 | Sir John in Love: Act III, Scene III, IV. Mistress Ford! Mistress Ford! | — | ||
| 28-16 | Sir John in Love: Act III, Scene III, V. When I was a bachelor | — | ||
| 28-17 | Sir John in Love: Act III, Scene III, VI. Nay, follow him, gentlemen | — | ||
| 28-18 | Sir John in Love: Act III, Scene III, VII. Mistress Page!...Mistress Page! | — | ||
| 28-19 | Sir John in Love: Act IV, Scene I, I. (Andante piacevole) | — | ||
| 28-20 | Sir John in Love: Act IV, Scene I, II. Pardon me, wife | — | ||
| 28-21 | Sir John in Love: Act IV, Scene I, III. There is an old tale goes | — | ||
| 28-22 | Sir John in Love: Act IV, Scene I, IV. Trib, fairies, trib...Round about in a fair ring-a | — | ||
| 28-23 | Sir John in Love: Act IV, Scene I, V. (Lento moderato) (Greensleeves) | — | ||
| 28-24 | Sir John in Love: Act IV, Scene II, I. (Vivace) | — | ||
| 28-25 | Sir John in Love: Act IV, Scene II, II. The Windsor bell hath struck twelve | — | ||
| 28-26 | Sir John in Love: Act IV, Scene II, III. Oo! Oo!...Fairies black, grey, green and white | — | ||
| 28-27 | Sir John in Love: Act IV, Scene II, IV. Dance of the fairies (Allegro pesante) - But stay! I smell a man of middle earth | — | ||
| 28-28 | Sir John in Love: Act IV, Scene II, V. Pinch him, pinch him black and blue | — | ||
| 28-29 | Sir John in Love: Act IV, Scene II, VI. (Moderato) - Nay, do not fly | — | ||
| 28-30 | Sir John in Love: Act IV, Scene II, VII. See the chariot at hand | — | ||
| 28-31 | Sir John in Love: Act IV, Scene II, VIII. Whether men do laugh or weep | — | ||
| 28-32 | Sir John in Love: Act IV, Scene II, IX. Dance (Presto) | — | ||
| 29-1 | The Pilgrim's Progress: Prologue: Bunyan in Prison | — | ||
| 29-2 | The Pilgrim's Progress: Act I, Scene I: The Pilgrim meets Evangelist | — | ||
| 29-3 | The Pilgrim's Progress: Act I, Scene II: The House Beautiful | — | ||
| 29-4 | The Pilgrim's Progress: Act I, Nocturne: (Intermezzo) | — | ||
| 29-5 | The Pilgrim's Progress: Act II, Scene I: The Arming of the Pilgrim | — | ||
| 29-6 | The Pilgrim's Progress: Act II, Scene II: The Pilgrim meets Apollyon | — | ||
| 29-7 | The Pilgrim's Progress: Act III, Scene I, I. Buy! What will ye buy? | — | ||
| 29-8 | The Pilgrim's Progress: Act III, Scene I, II. I buy the truth! | — | ||
| 30-1 | The Pilgrim's Progress: Act III, Scene II: The Pilgrim in Prison | — | ||
| 30-2 | The Pilgrim's Progress: Act IV, Scene I: The Pilgrim meets Mister By-Ends | — | ||
| 30-3 | The Pilgrim's Progress: Act IV, Entr'acte | — | ||
| 30-4 | The Pilgrim's Progress: Act IV, Scene II: I. Who so dwelleth | — | ||
| 30-5 | The Pilgrim's Progress: Act IV, Scene II: II. The Lord is my Shepherd | — | ||
| 30-6 | The Pilgrim's Progress: Act IV, Scene III: The Pilgrim reaches the end of his journey | — | ||
| 30-7 | The Pilgrim's Progress: Act IV, Epilogue | — | ||
| 30-8 | The Pilgrim's Progress (rehearsal): Act III, Scene I: Vanity Fair | — | ||
| 30-9 | The Pilgrim's Progress (rehearsal): Act I, Nocturne | — | ||
| 30-10 | The Pilgrim's Progress (rehearsal): Act IV, Scene I: Mister By-Ends | — | ||
| 30-11 | The Pilgrim's Progress (rehearsal): Act IV, Scene II: The Shepherds | — | ||
| 30-12 | The Pilgrim's Progress (rehearsal): Act II, Scene I: The Arming of the Pilgrim | — |
Symphony no. 1, "A Sea Symphony": Ia. A Song for All Seas, All Ships: Behold, the sea itself
Royal Liverpool Philharmonic Orchestra, Vernon Handley
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Symphony no. 1, "A Sea Symphony": Ib. A Song for All Seas, All Ships: Today a rude brief recitative
Royal Liverpool Philharmonic Orchestra, Vernon Handley
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Symphony no. 1, "A Sea Symphony": Ic. A Song for All Seas, All Ships: Flaunt out, O sea, your separate flags of nations!
Royal Liverpool Philharmonic Orchestra, Vernon Handley
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Symphony no. 1, "A Sea Symphony": Id. A Song for All Seas, All Ships: Token of all brave captains
Royal Liverpool Philharmonic Orchestra, Vernon Handley
—
Symphony no. 1, "A Sea Symphony": Ie. A Song for All Seas, All Ships: A pennant universal
Royal Liverpool Philharmonic Orchestra, Vernon Handley
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Symphony no. 1, "A Sea Symphony": IIa. On the Beach at Night, Alone: On the beach at night, alone
Royal Liverpool Philharmonic Orchestra, Vernon Handley
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Symphony no. 1, "A Sea Symphony": IIb. On the Beach at Night, Alone: A vast similitude interlocks all
Royal Liverpool Philharmonic Orchestra, Vernon Handley
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Symphony no. 1, "A Sea Symphony": III. Scherzo. The Waves
Royal Liverpool Philharmonic Orchestra, Vernon Handley
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Symphony No. 1, "A Sea Symphony": IVa. The Explorers: O vast Rondure, swimming in space
Royal Liverpool Philharmonic Orchestra, Vernon Handley
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Symphony No. 1, "A Sea Symphony": IVb. The Explorers: Down from the gardens of Asia descending
Royal Liverpool Philharmonic Orchestra, Vernon Handley
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Symphony No. 1, "A Sea Symphony": IVc. The Explorers: O we can wait no longer
Royal Liverpool Philharmonic Orchestra, Vernon Handley
—
Symphony No. 1, "A Sea Symphony": IVd. The Explorers: O thou transcendent
Royal Liverpool Philharmonic Orchestra, Vernon Handley
—
Symphony No. 1, "A Sea Symphony": IVe. The Explorers: Greater than stars or suns
Royal Liverpool Philharmonic Orchestra, Vernon Handley
—
Symphony No. 1, "A Sea Symphony": IVf. The Explorers: Sail forth
Royal Liverpool Philharmonic Orchestra, Vernon Handley
—
Symphony No. 1, "A Sea Symphony": IVg. The Explorers: O my brave Soul!
Royal Liverpool Philharmonic Orchestra, Vernon Handley
—
Symphony No. 2, "A London Symphony": I. Lento - Allegro risoluto (molto pesante)
—
Symphony No. 2, "A London Symphony": II. Lento
—
Symphony No. 2, "A London Symphony": III. Scherzo (Nocturne): Allegro vivace
—
Symphony No. 2, "A London Symphony": IV. Andante con moto - Maestoso alla marcia (quasi lento) - Allegro - Maestoso alla marcia (alla I) - Epilogue (Andante sostenuto)
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Symphony No. 8 in D minor: I. Fantasia: Variazioni senza tema
—
Symphony No. 8 in D minor: II. Scherzo alla marcia (per stromenti a fiato): Allegro alla marcia
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Symphony No. 8 in D minor: III. Cavatina (per stromenti ad arco): Lento espressivo
—
Symphony No. 8 in D minor: IV. Toccata: Moderato maestoso
—
Symphony No. 3, "A Pastoral Symphony": I. Molto moderato
—
Symphony No. 3, "A Pastoral Symphony": II. Lento moderato
—
Symphony No. 3, "A Pastoral Symphony": III. Moderato pesante
—
Symphony No. 3, "A Pastoral Symphony": IV. Lento
—
Symphony No. 4 in F minor: I. Allegro
—
Symphony No. 4 in F minor: II. Andante moderato
—
Symphony No. 4 in F minor: III. Scherzo: Allegro molto
—
Symphony No. 4 in F minor: IV. Finale (Allegro molto) con epilogo fugato (Con anima)
—
Oboe Concerto in A minor: I. Rondo pastorale: Allegro moderato
—
Oboe Concerto in A minor: II. Minuet and Musette: Allegro moderato
—
Oboe Concerto in A minor: III. Finale (Scherzo): Presto - Lento - Presto
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Symphony No. 5 in D major: I. Preludio: Moderato - Allegro - Tempo I
—
Symphony No. 5 in D major: II. Scherzo: Presto misterioso
—
Symphony No. 5 in D major: III. Romanza: Lento
—
Symphony No. 5 in D major: IV. Passacaglia: Moderato - Allegro - Tempo Primo - Tempo del Preludio
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Symphony No. 6 in E minor: I. Allegro
—
Symphony No. 6 in E minor: II. Moderato
—
Symphony No. 6 in E minor: III. Scherzo: Allegro vivace
—
Symphony No. 6 in E minor: IV. Epilogue: Moderato
—
Symphony No. 9 in E minor: I. Moderato maestoso
—
Symphony No. 9 in E minor: II. Andante sostenuto
—
Symphony No. 9 in E minor: III. Scherzo: Allegro pesante
—
Symphony No. 9 in E minor: IV. Andante tranquillo
—
Partita for double string orchestra: I. Prelude: Andante tranquillo
—
Partita for double string orchestra: II. Scherzo ostinato: Presto
—
Partita for double string orchestra: III. Intermezzo (Homage to Henry Hall): Andante con moto
—
Partita for double string orchestra: IV. Fantasia: Allegro
—
Symphony No. 7, "Sinfonia antartica": I. Prelude: Andante maestoso
—
Symphony No. 7, "Sinfonia antartica": II. Scherzo: Moderato
—
Symphony No. 7, "Sinfonia antartica": III. Landscape: Lento
—
Symphony No. 7, "Sinfonia antartica": IV. Intermezzo: Andante sostenuto
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Symphony No. 7, "Sinfonia antartica": V. Epilogue: Alla marcia moderato, non troppo allegro
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The Wasps - Aristophanic Suite: I. Overture
—
The Wasps - Aristophanic Suite: II. Entr'acte
—
The Wasps - Aristophanic Suite: III. March Past of the Kitchen Utensils
—
The Wasps - Aristophanic Suite: IV. Entr'acte
—
The Wasps - Aristophanic Suite: V. Ballet and Final Tableau
—
Prelude and Fugue in C minor: I. Prelude
—
Prelude and Fugue in C minor: II. Fugue
—
Piano Concerto in C: I. Toccata: Allegro moderato
—
Piano Concerto in C: II. Romanza: Lento
—
Piano Concerto in C: IIIa. Fuga cromatica (Allegro)
—
Piano Concerto in C: IIIb. con finale alla tedesca
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Concerto in C for Two Pianos and Orchestra: I. Toccata (Allegro moderato)
Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult
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Concerto in C for Two Pianos and Orchestra: II. Romanza (Lento)
Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult
—
Concerto in C for Two Pianos and Orchestra: IIIa. Fuga chromatica (Allegro) -
Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult
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Concerto in C for Two Pianos and Orchestra: IIIb. Finale alla tedesca
Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult
—
Job: A Masque for Dancing: Scene I: Introduction
London Symphony Orchestra, Sir Adrian Boult
—
Job: A Masque for Dancing: Scene I: Saraband of the Sons of God
London Symphony Orchestra, Sir Adrian Boult
—
Job: A Masque for Dancing: Scene II: Satan's Dance of Triumph
London Symphony Orchestra, Sir Adrian Boult
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Job: A Masque for Dancing: Scene III: Minuet of the Sons of Job and their Wives
London Symphony Orchestra, Sir Adrian Boult
—
Job: A Masque for Dancing: Scene IV: Jobs' Dream
London Symphony Orchestra, Sir Adrian Boult
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Job: A Masque for Dancing: Scene V: Dance of the Three Messengers
London Symphony Orchestra, Sir Adrian Boult
—
Job: A Masque for Dancing: Scene VI: Dance of Job's Comforters
London Symphony Orchestra, Sir Adrian Boult
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Job: A Masque for Dancing: Scene VII: Eihu's Dance of Youth and Beauty
London Symphony Orchestra, Sir Adrian Boult
—
Job: A Masque for Dancing: Scene VII: Pavane of the Sons of the Morning
London Symphony Orchestra, Sir Adrian Boult
—
Job: A Masque for Dancing: Scene VIII: Galliard of the Sons of the Morning
London Symphony Orchestra, Sir Adrian Boult
—
Job: A Masque for Dancing: Scene VIII: Altar Dance
London Symphony Orchestra, Sir Adrian Boult
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Job: A Masque for Dancing: Scene IX: Epilogue
London Symphony Orchestra, Sir Adrian Boult
—
Serenade to Music
—
English Folk Song Suite: I. March (Seventeen Come Sunday)
London Symphony Orchestra, Sir Adrian Boult
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English Folk Song Suite: II. Intermezzo (My Bonny Boy)
London Symphony Orchestra, Sir Adrian Boult
—
English Folk Song Suite: III. March (Folk Songs from Somerset)
London Symphony Orchestra, Sir Adrian Boult
—
Norfolk Rhapsody No. 1
—
Fantasia on "Greensleeves"
—
In the Fen Country
—
Fantasia on a Theme by Thomas Tallis
—
Sea Songs - March
—
Dawn Patrol (from the film Coastal Command)
—
Concerto grosso: I. Intrada: Largo
—
Concerto grosso: II. Burlesca ostinato: Allegro moderato
—
Concerto grosso: III. Sarabande: Lento
—
Concerto grosso: IV. Scherzo: Allegro, tempo di valse
—
Concerto grosso: V. March (A la marcia) and Reprise
—
Romance in D flat for harmonica with strings and piano
—
Tuba Concerto in F minor: I. Prelude: Allegro moderato
Philip B. Catelinet, London Symphony Orchestra, Sir John Barbirolli
—
Tuba Concerto in F minor: II. Romanza: Andante sostenuto
Philip B. Catelinet, London Symphony Orchestra, Sir John Barbirolli
—
Tuba Concerto in F minor: III. Finale: Rondo alla tedesca (Allegro)
Philip B. Catelinet, London Symphony Orchestra, Sir John Barbirolli
—
The Poisoned Kiss - Overture
—
Old King Cole - A Ballet for Orchestra: I. Allegro moderato
—
Old King Cole - A Ballet for Orchestra: II. Pipe dance
—
Old King Cole - A Ballet for Orchestra: III. Bowl dance
—
Old King Cole - A Ballet for Orchestra: IV. Morris Jig "Go and 'list for a sailor"
—
Old King Cole - A Ballet for Orchestra: V. Folk Song "A Bold Young Farmer"
—
Old King Cole - A Ballet for Orchestra: VI. Folk Song "The Jolly Thresherman"
—
Old King Cole - A Ballet for Orchestra: VII. Solo Jig
—
Five Mystical Songs: I. Easter
—
Five Mystical Songs: II. I got me flowers
—
Five Mystical Songs: III. Love bade me welcome
—
Five Mystical Songs: IV. The Call
—
Five Mystical Songs: V. Antiphon
—
Prelude on an Old Carol Tune
—
The Running Set
—
Prelude: 49th Parallel
—
Variations for Orchestra: Theme: Andante maestoso
—
Variations for Orchestra: I. Poco tranquillo
—
Variations for Orchestra: II. Tranquillo cantabile
—
Variations for Orchestra: III. Allegro
—
Variations for Orchestra: IV. Canon (Allegro)
—
Variations for Orchestra: V. Moderato sostenuto
—
Variations for Orchestra: VI. Tempo di valse
—
Variations for Orchestra: VII. Arabesque (Andante sostenuto)
—
Variations for Orchestra: VIII. Alla polacca
—
Variations for Orchestra: IX. Adagio
—
Variations for Orchestra: X. Fugato (Allegro moderato e risoluto)
—
Variations for Orchestra: XI. Chorale
—
Two Hymn-Tune Preludes: I. Eventide
—
Two Hymn-Tune Preludes: II. Dominus regit me
—
Concerto accademico for violin and strings in D minor: I. Allegro pesante
—
Concerto accademico for violin and strings in D minor: II. Adagio
—
Concerto accademico for violin and strings in D minor: III. Presto
—
Three Preludes Founded on Welsh Hymn Tunes: II. Rhosymedre
—
Three Preludes Founded on Welsh Hymn Tunes: III. Hyfrydol
—
String Quartet No. 1 in G minor: I. Allegro moderato
—
String Quartet No. 1 in G minor: II. Minuet and Trio: Tempo di minuetto
—
String Quartet No. 1 in G minor: III. Romance: Andante sostenuto
—
String Quartet No. 1 in G minor: IV. Finale: Rondo capriccioso (Allegro molto - Pochettino più mosso)
—
Violin Sonata in A minor: I. Fantasia: Allegro giusto
—
Violin Sonata in A minor: II. Scherzo: Allegro furioso, ma non troppo
—
Violin Sonata in A minor: III. Tema con variazioni (Andante - Var. 6: Allegro)
—
Phantasy Quintet for two violins, two violas and cello: I. Prelude: Lento ma non troppo
—
Phantasy Quintet for two violins, two violas and cello: II. Scherzo: Prestissimo
—
Phantasy Quintet for two violins, two violas and cello: III. Alla sarabanda: Lento
—
Phantasy Quintet for two violins, two violas and cello: IV. Burlesca: Allegro moderato
—
Six Studies in English Folk Song for cello and piano: I. Adagio "Lovely on the Water"
—
Six Studies in English Folk Song for cello and piano: II. Andante sostenuto "Spum Point"
—
Six Studies in English Folk Song for cello and piano: III. Larghetto "Van Diemen's Land"
—
Six Studies in English Folk Song for cello and piano: IV. Lento "She borrowed some of her mother's gold"
—
Six Studies in English Folk Song for cello and piano: V. Andante tranquillo "The Lady and the Dragon"
—
Six Studies in English Folk Song for cello and piano: VI. Allegro vivace "As I walked over London Bridge"
—
String Quartet No. 2 in A minor: I. Prelude: Allegro appassionato
—
String Quartet No. 2 in A minor: II. Romance: Largo
—
String Quartet No. 2 in A minor: III. Scherzo: Allegro
—
String Quartet No. 2 in A minor: IV. Epilogue: Greetings from Joan to Jean (Andante sostenuto)
—
Toward the Unknown Region
—
Dona nobis pacem: I. "Agnus Dei" (Lento)
—
Dona nobis pacem: II. "Beat! beat! drums!" (Allegro moderato)
—
Dona nobis pacem: III. Reconciliation (Andantino)
—
Dona nobis pacem: IV. Dirge for Two Veterans (Moderato alla marcia)
—
Dona nobis pacem: V. "The Angel of Death has been abroad" (L'istesso tempo)
—
Dona nobis pacem: VI. "O man greatly beloved"
—
Fantasia (quasi variazione) on the Old 104th Psalm Tune
—
Magnificat
—
An Oxford Elegy: I. Lento
—
An Oxford Elegy: II. "Go, for they call you, Shepherd"
—
An Oxford Elegy: III. "Here will I sit and wait"
—
An Oxford Elegy: IV. "Screen'd is this nook"
—
An Oxford Elegy: V. "That sweet city"
—
An Oxford Elegy: VI. "Come, let me read"
—
An Oxford Elegy: VII. "Or in my boat I lie"
—
An Oxford Elegy: VIII. "And once, in winter"
—
An Oxford Elegy: IX. "But what - I dream!"
—
An Oxford Elegy: X. "No, no, thou has not felt"
—
An Oxford Elegy: XI. "Runs it not here"
—
An Oxford Elegy: XII. "Needs must I, with heavy heart"
—
An Oxford Elegy: XIII. "Soon will the high Midsummer pomps"
—
An Oxford Elegy: XIV. "He hearkens not!"
—
An Oxford Elegy: XV. "Never more"
—
An Oxford Elegy: XVI. "Yes, thou art gone!"
—
An Oxford Elegy: XVII. "Despair will I not"
—
An Oxford Elegy: XVIII. "Why faintest thou?"
—
Three Choral Hymns: Whitsunday Hymn
—
Flos campi: I. Lento "Sicut Lilium inter spinas"
—
Flos campi: II. Andante con moto "Jam enim hiems transiit"
—
Flos campi: III. Lento - Allegro moderato "Quaesivi quem diligit anima mea"
—
Flos campi: IV. Moderato alla marcia "En lectulum Salomonis"
—
Flos campi: V. Andante quasi lento "Revertere, revertere Sulamitis!"
—
Flos campi: VI. Moderato tranquillo "Pone me ut signaculum"
—
Sancta civitas (The Holy City): I. Lento "I was in the spirit"
—
Sancta civitas (The Holy City): II. Allegro "And I saw Heaven opened"
—
Sancta civitas (The Holy City): III. Meno mosso "And I saw an angel standing in the sun"
—
Sancta civitas (The Holy City): IV. Lento "Babylon the great is fallen"
—
Sancta civitas (The Holy City): V. Allegro moderato "Rejoice over her O Heavens"
—
Sancta civitas (The Holy City): VI. Adagio "And I saw a new heaven"
—
Sancta civitas (The Holy City): VII. Poco meno largo "Therefore are they before the throne of God"
—
Sancta civitas (The Holy City): IX. "And I saw a pure river"
—
Sancta civitas (The Holy City): X. Andante sostenuto "Holy, Holy, Holy"
—
Sancta civitas (The Holy City): XI. Poco animato "Heaven and earth are full of Thy glory"
—
Five Tudors Portraits: I. Ballad "The Tunning of Elinor Rumming"
—
Five Tudors Portraits: II. Intermezzo "My Pretty Bess"
—
Five Tudors Portraits: III. Burlesca "Epitaph on John Jayberd of Diss"
—
Five Tudors Portraits: IV. Romanza "Jane Scoop (Her Lament for Philip Sparrow)"
—
Five Tudors Portraits: V. Scherzo "Jolly Rutterkin"
—
Benedicite
—
Five Variants of "Dives and Lazarus"
Jacques Orchestra, Sir David Willcocks
—
Hodie - A Christmas Cantata: I. Prologue: "Nowell! Nowell!"
—
Hodie - A Christmas Cantata: II. Narration: "Now the birth of Jesus Christ"
—
Hodie - A Christmas Cantata: III. Song: "It was the winter wild"
—
Hodie - A Christmas Cantata: IV. Narration: "And it came to pass in those days"
—
Hodie - A Christmas Cantata: V. Choral: "The blessed Son of God"
—
Hodie - A Christmas Cantata: VI. Narration: "And there were in the same country"
—
Hodie - A Christmas Cantata: VII. Song: "The Oxen"
—
Hodie - A Christmas Cantata: VIII. Narration: "And the shepherds returned"
—
Hodie - A Christmas Cantata: IX. Pastoral: "The shepherds sing"
—
Hodie - A Christmas Cantata: X. Narration: "But Mary kept all these things"
—
Hodie - A Christmas Cantata: XI. Lullaby: "Sweet was the song the Virgin sang"
—
Hodie - A Christmas Cantata: XII. Hymn: "Bright portals of the sky"
—
Hodie - A Christmas Cantata: XIII. Narration: "Now when Jesus was born"
—
Hodie - A Christmas Cantata: XIV. "The March of the Three Kings: From kingdoms of wisdom"
—
Hodie - A Christmas Cantata: XV. Choral: "No sad thought his soul affright"
—
Hodie - A Christmas Cantata: XVI. Epilogue: "In the beginning was the Word"
—
Yorkshire Wassail Song (We've been awhile a-wandering)
—
In Windsor Forest: I. The Conspiracy
—
In Windsor Forest: II. Drinking Song
—
In Windsor Forest: III. Falstaff and the Fairies
—
In Windsor Forest: IV. Wedding Chorus
—
In Windsor Forest: V. Epilogue
—
On Wenlock Edge: I. "On Wenlock Edge"
—
On Wenlock Edge: II. "From far, from eve and morning"
—
On Wenlock Edge: III. "Is my team ploughing"
—
On Wenlock Edge: IV. "Oh, when I was in love with you"
—
On Wenlock Edge: V. "Bredon Hill"
—
On Wenlock Edge: VI. "Clun"
—
O clap your hands (Psalm 47)
—
Mass in G minor: I. Kyrie
David van Asch, Choir of King’s College, Cambridge, Robin Doveton, John Eaton, Nigel Perrin, David Willcocks
—
Mass in G minor: II. Gloria
—
Mass in G minor: III. Credo
—
Mass in G minor: IV. Sanctus - Osanna I - Benedictus - Osanna II
—
Mass in G minor: V. Agnus Dei
—
All people that on earth do dwell (The Old Hundredth)
—
O taste and see (Psalm 34)
—
Te Deum in G
—
For all the saints (Sine nomine)
—
Three Preludes Founded on Welsh Hymn Tunes: I. "Bryn Calfaria"
—
Three Preludes Founded on Welsh Hymn Tunes: II. "Rhosymedre"
—
Three Preludes Founded on Welsh Hymn Tunes: III. "Hyfrydol"
—
Choir of King’s College, Cambridge, Thomas Armstrong, Francis Grier, Sir Philip Ledger
Joseph and Mary
Choir of King’s College, Cambridge, Charles Daniels, Thomas Trotter, Philip Ledger
—
Alleluya, sing to Jesus (Hyfrydol)
—
Come Down, O Love Divine
Choir of King’s College, Cambridge, Thomas Williamson, Stephen Cleobury
—
Four Hymns: I. Lord! come away!
—
Four Hymns: II. Who is this fair one?
—
Four Hymns: III. Come Love, come Lord
—
Four Hymns: IV. Evening Hymn
—
Merciless Beauty: I. Your eyën two
—
Merciless Beauty: II. So hath your beauty
—
Merciless Beauty: III. Since I from Love
—
The Water Mill
—
The New Ghost
—
Ten Blake Songs: I. Infant Joy
—
Ten Blake Songs: II. A Poison Tree
—
Ten Blake Songs: III. The Piper
—
Ten Blake Songs: IV. London
—
Ten Blake Songs: V. The Lamb
—
Ten Blake Songs: VI. The Shepherd
—
Ten Blake Songs: VII. Ah, Sun-flower!
Ian Partridge, Janet Craxton
—
Ten Blake Songs: VIII. Cruelty has a human heart
—
Ten Blake Songs: IX. The Divine Image
—
Ten Blake Songs: X. Eternity
—
The House of Life: I. Love-Sight
—
The House of Life: II. Silent Noon
—
The House of Life: III. Love's Minstrels
—
The House of Life: IV. Heart's Haven
—
The House of Life: V. Death in Love
—
The House of Life: VI. Love's Last Gift
—
Songs of Travel: I. The Vagabond
—
Songs of Travel: II. Let beauty awake
—
Songs of Travel: III. The Roadside Fire
—
Songs of Travel: IV. Youth and Love
—
Songs of Travel: V. In Dreams
—
Songs of Travel: VI. The infinite shining heavens
—
Songs of Travel: VII. Whither must I wander
—
Songs of Travel: VIII. Bright is the ring of words
—
Songs of Travel: IX. I have trod the upward and the downward slope
—
Linden Lea
—
Joy, shipmate, joy!
—
A Clear Midnight
—
Orpheus with his lute (first setting)
—
Hands, eyes and heart
—
Rest
—
Five Mystical Songs: The Call
—
Five English Folk Songs: I. The Dark-Eyed Sailor
—
Five English Folk Songs: II. The Spring Time of the Year
—
Five English Folk Songs: III. Just as the Tide was Flowing
—
Five English Folk Songs: IV. The Lover's Ghost (Well met, my own true love)
—
Five English Folk Songs: V. Wassail Song
—
Bushes and Briars
—
Loch Lomond
—
John Dory
—
Greensleeves
—
Ward, the Pirate
—
Ca' the Yowes
—
The Unquiet Grave
—
The Seeds of Love
—
Early in the Spring
—
The Turtle Dove
—
An Acre of Land
—
The Captain's Apprentice
—
As I walked out
—
Bushes and Briars
—
Geordie
—
On Board a Ninety-Eight
—
The Ploughman
—
The Brewer
—
Rolling in the Dew
—
The Truth Sent from Above
—
Joseph and Mary
—
The Saviour's Love
—
Réveillez-vous, Piccars
—
Chanson de quête
—
Ballad de Jésus Christ
—
She's like the swallow
—
The Morning Dew
—
The Maiden's Lament
—
The Cuckoo
—
The Lawyer
—
Searching for Lambs
—
How cold the wind doth blow (or The Unquiet Grave)
—
A Song of Thanksgiving
—
Epithalamion: I. Prologue
—
Epithalamion: II. Wake Now
—
Epithalamion: III. The Calling of the Bride
—
Epithalamion: IV. The Minstrels
—
Epithalamion: V. Procession of the Bride
—
Epithalamion: VI. The Temple Gates
—
Epithalamion: VII. The Bell Ringers
—
Epithalamion: VIII. The Lover's Song
—
Epithalamion: IX. The Minstrel's Song
—
Epithalamion: X. Song of the Winged Loves
—
Epithalamion: XI. Prayer to Juno
—
Riders to the Sea: Where Is She?
—
Riders to the Sea: Where Is the Bit of New Rope
—
Riders to the Sea: Wait, Nora
—
Riders to the Sea: You Didn't Give Him His Bit of Bread?
—
Riders to the Sea: Bartley Will Be Lost Now
—
Riders to the Sea: They Are All Gone Now
—
Hugh the Drover or Love in the Stocks: Act I, I. (Allegro vivacissimo) Buy, buy, buy
—
Hugh the Drover or Love in the Stocks: Act I, II. Cold blows the wind on Cotsali
—
Hugh the Drover or Love in the Stocks: Act I, III. As I was a-walking
—
Hugh the Drover or Love in the Stocks: Act I, IV. Show me a richer man
—
Hugh the Drover or Love in the Stocks: Act I, V. Here come the Morris men
—
Hugh the Drover or Love in the Stocks: Act I, VI. Life must be full of care
—
Hugh the Drover or Love in the Stocks: Act I, VII. Sweet little linnet that longs to be free
—
Hugh the Drover or Love in the Stocks: Act I, VIII. Horse-hoofs, horse-hoofs, thunder down the valleys
—
Hugh the Drover or Love in the Stocks: Act I, IX. In the night-time I have seen you riding
—
Hugh the Drover or Love in the Stocks: Act I, X. Mary! Mary!
—
Hugh the Drover or Love in the Stocks: Act I, XI. Oh! The devil and Bonyparty
—
Hugh the Drover or Love in the Stocks: Act I, XII. Yes, I!
—
Hugh the Drover or Love in the Stocks: Act I, XIII. Are you ready? Go!
—
Hugh the Drover or Love in the Stocks: Act I, XIV. The drover's won!
—
Hugh the Drover or Love in the Stocks: Act I, XV. I tell you there's a price on this man's head
—
Hugh the Drover or Love in the Stocks: Act II, I. (Lento moderato) Past four o'clock
—
Hugh the Drover or Love in the Stocks: Act II, II. Gaily I go to die
—
Hugh the Drover or Love in the Stocks: Act II, III. Hugh!...Mary!
—
Hugh the Drover or Love in the Stocks: Act II, IV. Sweet little home
—
Hugh the Drover or Love in the Stocks: Act II, V. Where's she gone to?
—
Hugh the Drover or Love in the Stocks: Act II, VI. Here, queen uncrowned
—
Hugh the Drover or Love in the Stocks: Act II, VII. A trollop from the stocks
—
Hugh the Drover or Love in the Stocks: Act II, VIII. Dropped from the ranks on a winter's night
—
Hugh the Drover or Love in the Stocks: Act II, IX. March away, John!
—
Hugh the Drover or Love in the Stocks: Act II, X. O foolish girl, O radiant soul!
—
Hugh the Drover or Love in the Stocks: Act II, XI. Oh! the sky shall be our roof
—
Sir John in Love: Act I, I. (Allegro vivace) What-hoa!
—
Sir John in Love: Act I, II. How now, Master Shallow
—
Sir John in Love: Act I, III. O heavens, this is Mistress Anne Page
—
Sir John in Love: Act I, IV. Ahem...I had rather than forty shillings
—
Sir John in Love: Act I, V. Weep eyes, break heart
—
Sir John in Love: Act I, VI. Do but look on her eyes now
—
Sir John in Love: Act I, VII. I see I cannot get thy father's love
—
Sir John in Love: Act I, VIII. Vere is dat knave Rugby?
—
Sir John in Love: Act I, IX. I will myself marry Anne Page
—
Sir John in Love: Act I, X. Master Fenton, I'll be sworn she loves you
—
Sir John in Love: Act I, XI. Back and side go bare
—
Sir John in Love: Act I, XII. I spy entertainment in her
—
Sir John in Love: Act I, XIII. Wilt thou revenge?
—
Sir John in Love: Act I, XIV. Love my wife? I will be patient
—
Sir John in Love: Act I, XV. When daisies pied and violets blue
—
Sir John in Love: Act II, Scene I, I. (Allegro moderato e maestoso)
—
Sir John in Love: Act II, Scene I, II. Thine own true knight
—
Sir John in Love: Act II, Scene I, III. Ask me no reason why I love you
—
Sir John in Love: Act II, Scene I, IV. Sigh no more, ladies
—
Sir John in Love: Act II, Scene I, V. (Maestoso)
—
Sir John in Love: Act II, Scene II, I. Bardolph, Bardolph, I say!
—
Sir John in Love: Act II, Scene II, II. Give your worship good morrow
—
Sir John in Love: Act II, Scene II, III. O that joy so soon should waste!
—
Sir John in Love: Act II, Scene II, IV. There's one Master Brook below
—
Sir John in Love: Act II, Scene II, V. I have long loved her
—
Sir John in Love: Act II, Scene II, VI. The dew that lies on roses
—
Sir John in Love: Act II, Scene II, VII. Vere is mine host of de Garter?
—
Sir John in Love: Act II, Scene II, VIII. (Maestoso)
—
Sir John in Love: Act III, Scene I, I. (Andante moderato)
—
Sir John in Love: Act III, Scene I, II. Yet hear me speak
—
Sir John in Love: Act III, Scene I, III. Beauty clear and fair
—
Sir John in Love: Act III, Scene I, IV. Fair and fair and twice so fair
—
Sir John in Love: Act III, Scene I, V. But listen, good mine host
—
Sir John in Love: Act III, Scene I, VI. I mun be married a-Sunday
—
Sir John in Love: Act III, Scene II, I. (Lento) When as we sat in Papylon
—
Sir John in Love: Act III, Scene II, II. How now, Master Parson?
—
Sir John in Love: Act III, Scene II, III. Peace, I say!
—
Sir John in Love: Act III, Scene II, IV. When I was a bachelor
—
Sir John in Love: Act III, Scene II, V. (Allegro)
—
Sir John in Love: Act III, Scene III, I. What, John! What, Robert!
—
Sir John in Love: Act III, Scene III, II. Alas, my love, you do me wrong
—
Sir John in Love: Act III, Scene III, III. Have I caught my heavenly jewel
—
Sir John in Love: Act III, Scene III, IV. Mistress Ford! Mistress Ford!
—
Sir John in Love: Act III, Scene III, V. When I was a bachelor
—
Sir John in Love: Act III, Scene III, VI. Nay, follow him, gentlemen
—
Sir John in Love: Act III, Scene III, VII. Mistress Page!...Mistress Page!
—
Sir John in Love: Act IV, Scene I, I. (Andante piacevole)
—
Sir John in Love: Act IV, Scene I, II. Pardon me, wife
—
Sir John in Love: Act IV, Scene I, III. There is an old tale goes
—
Sir John in Love: Act IV, Scene I, IV. Trib, fairies, trib...Round about in a fair ring-a
—
Sir John in Love: Act IV, Scene I, V. (Lento moderato) (Greensleeves)
—
Sir John in Love: Act IV, Scene II, I. (Vivace)
—
Sir John in Love: Act IV, Scene II, II. The Windsor bell hath struck twelve
—
Sir John in Love: Act IV, Scene II, III. Oo! Oo!...Fairies black, grey, green and white
—
Sir John in Love: Act IV, Scene II, IV. Dance of the fairies (Allegro pesante) - But stay! I smell a man of middle earth
—
Sir John in Love: Act IV, Scene II, V. Pinch him, pinch him black and blue
—
Sir John in Love: Act IV, Scene II, VI. (Moderato) - Nay, do not fly
—
Sir John in Love: Act IV, Scene II, VII. See the chariot at hand
—
Sir John in Love: Act IV, Scene II, VIII. Whether men do laugh or weep
—
Sir John in Love: Act IV, Scene II, IX. Dance (Presto)
—
The Pilgrim's Progress: Prologue: Bunyan in Prison
—
The Pilgrim's Progress: Act I, Scene I: The Pilgrim meets Evangelist
—
The Pilgrim's Progress: Act I, Scene II: The House Beautiful
—
The Pilgrim's Progress: Act I, Nocturne: (Intermezzo)
—
The Pilgrim's Progress: Act II, Scene I: The Arming of the Pilgrim
—
The Pilgrim's Progress: Act II, Scene II: The Pilgrim meets Apollyon
—
The Pilgrim's Progress: Act III, Scene I, I. Buy! What will ye buy?
—
The Pilgrim's Progress: Act III, Scene I, II. I buy the truth!
—
The Pilgrim's Progress: Act III, Scene II: The Pilgrim in Prison
—
The Pilgrim's Progress: Act IV, Scene I: The Pilgrim meets Mister By-Ends
—
The Pilgrim's Progress: Act IV, Entr'acte
—
The Pilgrim's Progress: Act IV, Scene II: I. Who so dwelleth
—
The Pilgrim's Progress: Act IV, Scene II: II. The Lord is my Shepherd
—
The Pilgrim's Progress: Act IV, Scene III: The Pilgrim reaches the end of his journey
—
The Pilgrim's Progress: Act IV, Epilogue
—
The Pilgrim's Progress (rehearsal): Act III, Scene I: Vanity Fair
—
The Pilgrim's Progress (rehearsal): Act I, Nocturne
—
The Pilgrim's Progress (rehearsal): Act IV, Scene I: Mister By-Ends
—
The Pilgrim's Progress (rehearsal): Act IV, Scene II: The Shepherds
—
The Pilgrim's Progress (rehearsal): Act II, Scene I: The Arming of the Pilgrim
—
Additional database matches (2)
| Track Title | Artist(s) | ISWC |
|---|---|---|
| All People That on Earth Do Dwell | Choir of King’s College, Cambridge, Benjamin Bayl, Stephen Cleobury | — |
| O little town of Bethlehem (feat. descant Armstrong) | Choir of King’s College, Cambridge | T-072.366.054-5 |
All People That on Earth Do Dwell
Choir of King’s College, Cambridge, Benjamin Bayl, Stephen Cleobury
—
Choir of King’s College, Cambridge
What other identifiers does this connect to?
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
0000000023474007000000002676994300000000337351000000000035339283000000005475622600000000551458650000000055159386000000005516408900000000551697600000000055186034
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0000000055504303000000005553225900000000563019380000000058876540000000006302211X00000000630850060000000063086092000000006308672X00000000630925480000000063103868000000006311255300000000665953940000000078253973000000007839256X000000007881970300000000809693050000000080993313000000008177300500000000819492260000000083171876000000008365517600000000838631860000000083930289000000008414806100000000841542770000000085067570000000010658144900000001066047350000000106617448000000010721370100000001072620360000000107843412000000010806151900000001086344870000000108694148000000010912747900000001091275240000000109287288000000010930050X0000000109426524
Identifier Graph
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What is UPC 5099920663629?
5099920663629 is a Universal Product Code (UPC) assigned to The Collector’s Edition by Vaughan Williams. 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 458 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.
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