UPC · Release
Benjamin Britten
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5099921752629 is the Universal Product Code (UPC barcode) for the release “The Collector's Edition” by Benjamin Britten, 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 740 tracks, each with its own ISRC. Tracks include GBAYC8903189, GBAYC8903190, GBAYC8903191.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Sinfonia da Requiem, Op. 20: I. Lacrymosa | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 2 | Sinfonia da Requiem, Op. 20: II. Dies irae | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 3 | Sinfonia da Requiem, Op. 20: II. Requiem aeternam | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 4 | Four Sea Interludes and Passacaglia from Peter Grimes, Op. 33: I. Dawn | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 5 | Four Sea Interludes and Passacaglia from Peter Grimes, Op. 33: II. Sunday Morning | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 6 | Four Sea Interludes and Passacaglia from Peter Grimes, Op. 33: III. Moonlight | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 7 | Four Sea Interludes and Passacaglia from Peter Grimes, Op. 33: IV. Passacaglia | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 8 | Four Sea Interludes and Passacaglia from Peter Grimes, Op. 33: V. Storm | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 9 | The Young Person's Guide to the Orchestra, Op. 34: I. Theme: Allegro maestoso e largamente | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 10 | The Young Person's Guide to the Orchestra Op.34: Var. A: Flutes and piccolo | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 11 | The Young Person's Guide to the Orchestra Op.34: Var. B: Oboes (Lento) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 12 | The Young Person's Guide to the Orchestra Op.34: Var. C: Clarinets (Moderato) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 13 | The Young Person's Guide to the Orchestra Op.34: Var. D: Bassoons (Allegro alla marcia) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | T-900.107.459-5 | |
| 14 | The Young Person's Guide to the Orchestra Op.34: Var. E: Violins (Brillante: alla polacca) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 15 | The Young Person's Guide to the Orchestra Op.34: Var. F: Violas (Meno mosso) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | T-900.107.459-5 | |
| 16 | The Young Person's Guide to the Orchestra Op.34: Var. G: Cellos | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 17 | The Young Person's Guide to the Orchestra Op.34: Var. H: Double basses (Cominciando lento ma poco a poco accel. al Allegro) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 18 | The Young Person's Guide to the Orchestra Op.34: Var. I: Harp (Maestoso) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 19 | The Young Person's Guide to the Orchestra Op.34: Var. J: Horns (L'istesso tempo) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 20 | The Young Person's Guide to the Orchestra Op.34: Var. K: Trumpets (Vivace) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 21 | The Young Person's Guide to the Orchestra Op.34: Var L: Trombones and bass tuba (Allegro pomposo) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 22 | The Young Person's Guide to the Orchestra, Op. 34: V. The Percussion Var. M (Moderato) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 23 | The Young Person's Guide to the Orchestra, Op. 34: VI. Fugue: Allegro molto - Con slancio | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 2-1 | Canadian Carnival, op. 19 | Wesley Warren, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-2 | Diversions for Piano Left-hand and Orchestra, op. 21: I. Theme | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-3 | Diversions for Piano Left Hand and Orchestra, op. 21: II. Variation 1: Recitative | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-4 | Diversions for Piano Left Hand and Orchestra, op. 21: III. Variation 2: Romance | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-5 | Diversions for Piano Left Hand and Orchestra, op. 21: IV. Variation 3: March | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-6 | Diversions for Piano Left Hand and Orchestra, op. 21: V. Variation 4: Arabesque | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-7 | Diversions for Piano Left Hand and Orchestra, op. 21: VI. Variation 5: Chant | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-8 | Diversions for Piano Left Hand and Orchestra, op. 21: VII. Variation 6: Nocturne | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-9 | Diversions for Piano Left Hand and Orchestra, op. 21: VIII. Variation 7: Badinerie | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-10 | Diversions for Piano Left Hand and Orchestra, op. 21: IX. Variation 8: Burlesque | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-11 | Diversions for Piano Left Hand and Orchestra, op. 21: X. Variation 9a: Toccata 1 - Variation 9b: Toccata 2 | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-12 | Diversions for Piano Left Hand and Orchestra, op. 21: XI. Variation 10: Adagio | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-13 | Diversions for Piano Left Hand and Orchestra, op. 21: XII. Finale: Tarantella | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-14 | Scottish Ballad for 2 Pianos and Orchestra, Op.26 | City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-15 | Occasional Overture in C major, Op.38 | City of Birmingham Symphony Orchestra, Simon Rattle | T-010.302.388-6 | |
| 2-16 | An American Overture, op. 27 | City of Birmingham Symphony Orchestra, Simon Rattle | T-900.093.572-8 | |
| 2-17 | The Building of the House, op. 79 | City of Birmingham Symphony Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 3-1 | Piano Concerto, op. 13: I. Toccata. Allegro molto e con brio | City of Birmingham Symphony Orchestra, Paavo Järvi, Leif Ove Andsnes | — | |
| 3-2 | Piano Concerto, op. 13: II. Waltz. Allegretto | City of Birmingham Symphony Orchestra, Paavo Järvi, Leif Ove Andsnes | — | |
| 3-3 | Piano Concerto, op. 13: III. Impromptu. Andante lento - | City of Birmingham Symphony Orchestra, Paavo Järvi, Leif Ove Andsnes | — | |
| 3-4 | Piano Concerto, op. 13: IV. March. Allegro moderato - sempre alla marcia | City of Birmingham Symphony Orchestra, Paavo Järvi, Leif Ove Andsnes | — | |
| 3-5 | Violin Concerto, op. 15: I. Moderato con moto | Ida Haendel, Bournemouth Symphony Orchestra, Paavo Berglund | — | |
| 3-6 | Violin Concerto, op. 15: II. Vivace — | Ida Haendel, Bournemouth Symphony Orchestra, Paavo Berglund | — | |
| 3-7 | Violin Concerto, op. 15: III. Passacaglia (Andante lento — Un poco meno mosso) | Ida Haendel, Bournemouth Symphony Orchestra, Paavo Berglund | — | |
| 3-8 | "Young Apollo" for Piano, String Quartet, and Strings, Op.16 | Jeremy Ballard, Peter Cole, Peter Donohoe, Michal Kaznowski, Felix Kok, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 4-1 | Simple Symphony, Op. 4: I. Boisterous Bourrée | Norwegian Chamber Orchestra, Iona Brown | — | |
| 4-2 | Simple Symphony, Op. 4: II. Playful Pizzicato | Norwegian Chamber Orchestra, Iona Brown | — | |
| 4-3 | Simple Symphony, Op. 4: III. Sentimental Sarabande | Norwegian Chamber Orchestra, Iona Brown | — | |
| 4-4 | Simple Symphony, Op. 4: IV. Frolicsome Finale | Norwegian Chamber Orchestra, Iona Brown | — | |
| 4-5 | Variations on a Theme of Frank Bridge, Op. 10: Introduction and Theme | Det Norske Kammerorkester, Iona Brown | — | |
| 4-6 | Variations on a Theme of Frank Bridge, Op. 10: Adagio | Det Norske Kammerorkester, Iona Brown | — | |
| 4-7 | Variations on a Theme of Frank Bridge, Op. 10: March | Det Norske Kammerorkester, Iona Brown | — | |
| 4-8 | Variations on a Theme of Frank Bridge, Op. 10: Romance | Det Norske Kammerorkester, Iona Brown | — | |
| 4-9 | Variations on a Theme of Frank Bridge, Op. 10: Aria Italiana | Det Norske Kammerorkester, Iona Brown | — | |
| 4-10 | Variations on a Theme of Frank Bridge, Op. 10: Bourée Classique | Det Norske Kammerorkester, Iona Brown | — | |
| 4-11 | Variations on a Theme of Frank Bridge, Op. 10: Wiener Walzer | Det Norske Kammerorkester, Iona Brown | — | |
| 4-12 | Variations on a Theme of Frank Bridge, Op. 10: Moto Perpetuo | Det Norske Kammerorkester, Iona Brown | — | |
| 4-13 | Variations on a Theme of Frank Bridge, Op. 10: Funeral March | Det Norske Kammerorkester, Iona Brown | — | |
| 4-14 | Variations on a Theme of Frank Bridge, Op. 10: Chant | Det Norske Kammerorkester, Iona Brown | — | |
| 4-15 | Variations on a Theme of Frank Bridge, Op. 10: Fuge and Finale | Det Norske Kammerorkester, Iona Brown | — | |
| 4-16 | Prelude and Fugue, Op. 29 | Norwegian Chamber Orchestra, Iona Brown | — | |
| 4-17 | Lachrymae, Op. 48a | Lars Anders Tomter, Norwegian Chamber Orchestra, Iona Brown | — | |
| 5-1 | Symphonic Suite from 'Gloriana' Op.53a: I. The Tournament | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-2 | Symphonic Suite from 'Gloriana' Op.53a: II. The Lute Song | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-3 | Symphonic Suite from 'Gloriana' Op.53a: III. The Courtly Dances - March | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-4 | Symphonic Suite from 'Gloriana' Op.53a: III. The Courtly Dances - Coranto | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-5 | Symphonic Suite from 'Gloriana' Op.53a: III. The Courtly Dances - Pavane | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-6 | Symphonic Suite from 'Gloriana' Op.53a: III. The Courtly Dances - Morris Dance | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-7 | Symphonic Suite from 'Gloriana' Op.53a: III. The Courtly Dances - Galliard | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-8 | Symphonic Suite from 'Gloriana' Op.53a: III. The Courtly Dances - Lavolta | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-9 | Symphonic Suite from 'Gloriana' Op.53a: IV. Gloriana moritura | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-10 | Cello Symphony Op. 68: I. Allegro maestoso | Steven Isserlis, City of London Sinfonia, Richard Hickox | — | |
| 5-11 | Symphony for Cello and Orchestra, op. 68: II. Presto inquieto | Steven Isserlis, City of London Sinfonia, Richard Hickox | — | |
| 5-12 | Cello Symphony Op. 68: III. Adagio | Steven Isserlis, City of London Sinfonia, Richard Hickox | — | |
| 5-13 | Cello Symphony Op. 68: III. Cadenza | Steven Isserlis, City of London Sinfonia, Richard Hickox | — | |
| 5-14 | Cello Symphony Op. 68: IV. Passacaglia (Andante allegro) | Steven Isserlis, City of London Sinfonia, Richard Hickox | — | |
| 5-15 | Men of Goodwill | Minnesota Orchestra, Sir Neville Marriner | — | |
| 6-1 | Sinfonietta Op.1: I. Poco presto ed agitato | Britten Sinfonia, Daniel Harding | — | |
| 6-2 | Sinfonietta Op.1: II. Andante lento | Britten Sinfonia, Daniel Harding | — | |
| 6-3 | Sinfonietta Op.1: III. Tarantella: Presto vivace | Britten Sinfonia, Daniel Harding | — | |
| 6-4 | Russian Funeral: Andante alla marcia - Un pochissimo animando - Tempo primo più maestoso | City of Birmingham Symphony Orchestra, Sir Simon Rattle | — | |
| 6-5 | Suite on English Folk Tunes, op. 90 "A time there was...": I. Cakes and Ale | City of Birmingham Symphony Orchestra, Simon Rattle | T-900.015.529-3 | |
| 6-6 | Suite on English Folk Tunes, op. 90 "A time there was...": II. The Bitter Withy | City of Birmingham Symphony Orchestra, Simon Rattle | T-900.015.529-3 | |
| 6-7 | Suite on English Folk Tunes, op. 90 "A time there was...": III. Hankin Booby | City of Birmingham Symphony Orchestra, Simon Rattle | T-900.015.529-3 | |
| 6-8 | Suite on English Folk Tunes, op. 90 "A time there was...": IV. Hunt the Squirrel | City of Birmingham Symphony Orchestra, Simon Rattle | T-900.015.529-3 | |
| 6-9 | Suite on English Folk Tunes, op. 90 "A time there was...": V. Lord Melbourne (feat. cor anglais: Peter Walden) | City of Birmingham Symphony Orchestra, Simon Rattle | T-900.015.529-3 | |
| 6-10 | Matinées musicales Op.24: March | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-11 | Matinées musicales Op.24: Nocturne | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-12 | Matinées musicales Op.24: Waltz | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-13 | Matinées musicales Op.24: Pantomime | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-14 | Matinées musicales Op.24: Moto perpetuo | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-15 | Matinées musicales Op.24: March | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-16 | Matinées musicales Op.24: Canzonetta | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-17 | Matinées musicales Op.24: Tirolese | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-18 | Matinées musicales Op.24: Bolero | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-19 | Matinées musicales Op.24: Tarantella | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-20 | Rossini Suite: I. March. Allegro brillante | Neil Mackie, Steuart Bedford, Scottish Chamber Orchestra | — | |
| 6-21 | Rossini Suite: II. Canzonetta. Allegretto | Boys of the Paisley Abbey Choir, Neil Mackie, Steuart Bedford, Scottish Chamber Orchestra | — | |
| 6-22 | Rossini Suite: III. Allegretto | Neil Mackie, Steuart Bedford, Scottish Chamber Orchestra | — | |
| 6-23 | Rossini Suite: IV. Bolero. Allegro moderato | Neil Mackie, Steuart Bedford, Scottish Chamber Orchestra | — | |
| 6-24 | Rossini Suite: V. Allegro con brio | Boys of the Paisley Abbey Choir, Neil Mackie, Steuart Bedford, Scottish Chamber Orchestra | — | |
| 7-1 | The Prince of the Pagodas: Prelude | London Sinfonietta, Oliver Knussen | — | |
| 7-2 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - The Fool and the Dwarf | David Purser, London Sinfonietta, Oliver Knussen | — | |
| 7-3 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - March and Courtiers' Dance | John Harle, London Sinfonietta, Oliver Knussen | — | |
| 7-4 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Entry of the Pages and the Four Kings | Sebastian Bell, London Sinfonietta, Oliver Knussen | — | |
| 7-5 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Variation of the King of the North | London Sinfonietta, Oliver Knussen | — | |
| 7-6 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Variation of the King of the East | Michael Thompson, London Sinfonietta, Oliver Knussen | — | |
| 7-7 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Variation of the King of the West | London Sinfonietta, Oliver Knussen | — | |
| 7-8 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Variation of the King of the South | John Chimes, Kevin Nutty, London Sinfonietta, Oliver Knussen | — | |
| 7-9 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - The Kings bow before the Emperor | London Sinfonietta, Oliver Knussen | — | |
| 7-10 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Variation of Princess Belle Épine | London Sinfonietta, Oliver Knussen | — | |
| 7-11 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Variation of Princess Belle Rose and Pas de deux | Gareth Hulse, John Miller, London Sinfonietta, Oliver Knussen | — | |
| 7-12 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - The Kings and Belle Rose | London Sinfonietta, Oliver Knussen | — | |
| 7-13 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Belle Épine and the Four Kings | London Sinfonietta, Oliver Knussen | — | |
| 7-14 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - The Rage of the Kings | London Sinfonietta, Oliver Knussen | — | |
| 7-15 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Entry of the Four Winged Frogs | John Orford, London Sinfonietta, Oliver Knussen | — | |
| 7-16 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Introduction: Belle Rose borne in by the Frogs | London Sinfonietta, Oliver Knussen | — | |
| 7-17 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Waltz: Clouds, Stars, and Moon | London Sinfonietta, Oliver Knussen | — | |
| 7-18 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Belle Rose borne in by the Frogs (1) | London Sinfonietta, Oliver Knussen | — | |
| 7-19 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Entrée: Sea Horses, Fish Creatures and Waves | London Sinfonietta, Oliver Knussen | — | |
| 7-20 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Variation: Sea Horses | London Sinfonietta, Oliver Knussen | — | |
| 7-21 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Variation: Fish Creatures | Joy Farrall, Helen Tunstall, London Sinfonietta, Oliver Knussen | — | |
| 7-22 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Coda (1) | London Sinfonietta, Oliver Knussen | — | |
| 7-23 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Belle Rose borne in by the Frogs (2) | London Sinfonietta, Oliver Knussen | — | |
| 7-24 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Pas de deux: Male and Female Flames | London Sinfonietta, Oliver Knussen | — | |
| 7-25 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Variation: Male Flame | London Sinfonietta, Oliver Knussen | — | |
| 7-26 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Variation: Female Flame | London Sinfonietta, Oliver Knussen | — | |
| 7-27 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Coda (2) | London Sinfonietta, Oliver Knussen | — | |
| 7-28 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Belle Rose, exhausted, borne in by the Frogs | London Sinfonietta, Oliver Knussen | — | |
| 7-29 | The Prince of the Pagodas: Act Two, Scene Two: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas - Belle Rose in darkness | Nona Liddell, London Sinfonietta, Oliver Knussen | — | |
| 7-30 | The Prince of the Pagodas: Act Two, Scene Two: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas - The Pagodas | John Constable, James Holland, London Sinfonietta, Oliver Knussen | — | |
| 7-31 | The Prince of the Pagodas: Act Two, Scene Two: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas - The Salamander | London Sinfonietta, Oliver Knussen | — | |
| 7-32 | The Prince of the Pagodas: Act Two, Scene Two: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas - Pas de deux: The Prince and Belle Rose | London Sinfonietta, Oliver Knussen | — | |
| 7-33 | The Prince of the Pagodas: Act Two, Scene Two: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas - Belle Rose hunts for the Prince | London Sinfonietta, Oliver Knussen | — | |
| 8-1 | The Prince of the Pagodas: Act Three, Scene One: The Palace of the Middle Kingdom - Empress Belle Épine | London Sinfonietta, Oliver Knussen | — | |
| 8-2 | The Prince of the Pagodas: Act Three, Scene One: The Palace of the Middle Kingdom - The Old Emperor | John Harle, London Sinfonietta, Oliver Knussen | — | |
| 8-3 | The Prince of the Pagodas: Act Three, Scene One: The Palace of the Middle Kingdom - Appearance of Belle Rose and the Salamander | London Sinfonietta, Oliver Knussen | — | |
| 8-4 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Transformation | London Sinfonietta, Oliver Knussen | — | |
| 8-5 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Pas de six: Entrée | London Sinfonietta, Oliver Knussen | — | |
| 8-6 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Variation 1: Pas de deux | Christopher van Kampen, Nona Liddell, London Sinfonietta, Oliver Knussen | — | |
| 8-7 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Variation 2: Girl's solo | London Sinfonietta, Oliver Knussen | — | |
| 8-8 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Variation 3: Boy's solo | London Sinfonietta, Oliver Knussen | — | |
| 8-9 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Pas de trois | London Sinfonietta, Oliver Knussen | — | |
| 8-10 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Coda | London Sinfonietta, Oliver Knussen | — | |
| 8-11 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Pas de caractére: The Emperor and the Fool | London Sinfonietta, Oliver Knussen | — | |
| 8-12 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Pas de deux: Belle Rose and the Prince of the Pagodas | London Sinfonietta, Oliver Knussen | — | |
| 8-13 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Variation IV: The Prince | London Sinfonietta, Oliver Knussen | — | |
| 8-14 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Variation V: Belle Rose | London Sinfonietta, Oliver Knussen | — | |
| 8-15 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Finale | London Sinfonietta, Oliver Knussen | — | |
| 8-16 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Apotheosis | London Sinfonietta, Oliver Knussen | — | |
| 9-1 | Rhapsody, for string quartet | — | ||
| 9-2 | Quartettino, for string quartet: 1. Andante - Allegro molto e con fuoco | — | ||
| 9-3 | Quartettino, for string quartet: 2. Poco adagio ma con moto | — | ||
| 9-4 | Quartettino, for string quartet: 3. Allegro molto vivace | — | ||
| 9-5 | Elegy, for solo viola | — | ||
| 9-6 | String Quartet in D major: 1. Allegro maestoso | — | ||
| 9-7 | String Quartet in D major: 2. Lento ed espressivo | — | ||
| 9-8 | String Quartet in D major: 3. Allegro giocoso | — | ||
| 9-9 | Phantasy, for string quintet in F minor | — | ||
| 10-1 | Phantasy Quartet, for oboe & string trio in F minor, Op. 2 | — | ||
| 10-2 | Divertimenti (3), for string quartet: 1. March | — | ||
| 10-3 | Divertimenti (3), for string quartet: 2. Waltz | — | ||
| 10-4 | Divertimenti (3), for string quartet: 3. Burlesque | — | ||
| 10-5 | Alla Marcia, for string quartet | — | ||
| 10-6 | String Quartet No. 1 in D major, Op. 25: 1. Andante sostenuto - Allegro vivo | — | ||
| 10-7 | String Quartet No. 1 in D major, Op. 25: 2. Allegretto con slancio | — | ||
| 10-8 | String Quartet No. 1 in D major, Op. 25: 3. Andante calmo | — | ||
| 10-9 | String Quartet No. 1 in D major, Op. 25: 4. Molto vivace | — | ||
| 11-1 | String Quartet No. 2 in C major, Op. 36: 1. Allegro calmo senza rigore | — | ||
| 11-2 | String Quartet No. 2 in C major, Op. 36: 2. Vivace | — | ||
| 11-3 | String Quartet No. 2 in C major, Op. 36: 3. Chacony (Sostenuto) | — | ||
| 11-4 | String Quartet No. 3, Op. 94: 1. Duets (With moderate movement) | — | ||
| 11-5 | String Quartet No. 3, Op. 94: 2. Ostinato (Very fast) | — | ||
| 11-6 | String Quartet No. 3, Op. 94: 3. Solo (Very calm) | — | ||
| 11-7 | String Quartet No. 3, Op. 94: 4. Burlesque (Fast, con fuoco) | — | ||
| 11-8 | String Quartet No. 3, Op. 94: 5. Recitative and Passacaglia (La Serenissima) (Slow) | — | ||
| 12-1 | Suite for Solo Cello No. 1 in G major, Op. 72: Canto primo: Sostenuto e largamente | Truls Mørk | — | |
| 12-2 | Suite for Solo Cello No. 1 in G major, Op. 72: I. Fuga: Andante moderato | Truls Mørk | — | |
| 12-3 | Suite for Solo Cello No. 1 in G major, Op. 72: II. Lamento: Lento rubato | Truls Mørk | — | |
| 12-4 | Suite for Solo Cello No. 1 in G major, Op. 72: Canto secondo: Sostenuto | Truls Mørk | — | |
| 12-5 | Suite for Solo Cello No. 1 in G major, Op. 72: III. Serenata: Allegretto (pizzicato) | Truls Mørk | — | |
| 12-6 | Suite for Solo Cello No. 1 in G major, Op. 72: IV. Marcia: Alla marcia moderato | Truls Mørk | — | |
| 12-7 | Suite for solo cello No. 1, Op. 72: Canto terzo: Sostenuto | — | ||
| 12-8 | Suite for Solo Cello No. 1 in G major, Op. 72: V. Bordone: Moderato quasi recitativo | Truls Mørk | — | |
| 12-9 | Suite for Solo Cello No. 1 in G major, Op. 72: VI. Moto perpetuo e Canto quarto: Presto | Truls Mørk | — | |
| 12-10 | Suite for Solo Cello No. 2 in D major, Op. 80: I. Declamato: Largo | Truls Mørk | — | |
| 12-11 | Suite for Solo Cello No. 2 in D major, Op. 80: II. Fuga: Andante | Truls Mørk | — | |
| 12-12 | Suite for Solo Cello No. 2 in D major, Op. 80: III. Scherzo: Allegro molto | Truls Mørk | — | |
| 12-13 | Suite for Solo Cello No. 2 in D major, Op. 80: IV. Andante lento | Truls Mørk | — | |
| 12-14 | Suite for Solo Cello No. 2 in D major, Op. 80: V. Ciaccona: Allegro | Truls Mørk | — | |
| 12-15 | Suite for Solo Cello No. 3, Op. 87: I. Introduzione: Lento | Truls Mørk | — | |
| 12-16 | Suite for Solo Cello No. 3, Op. 87: II. Marcia: Allegro | Truls Mørk | — | |
| 12-17 | Suite for Solo Cello No. 3, Op. 87: III. Canto: Con moto | Truls Mørk | — | |
| 12-18 | Suite for Solo Cello No. 3, Op. 87: IV. Barcarola: Lento | Truls Mørk | — | |
| 12-19 | Suite for Solo Cello No. 3, Op. 87: V. Dialogo: Allegretto | Truls Mørk | — | |
| 12-20 | Suite for Solo Cello No. 3, Op. 87: VI. Fuga: Andante espressivo | Truls Mørk | — | |
| 12-21 | Suite for Solo Cello No. 3, Op. 87: VII. Recitativo: Fantastico | Truls Mørk | — | |
| 12-22 | Suite for Solo Cello No. 3, Op. 87: VIII. Moto perpetuo: Presto | Truls Mørk | — | |
| 12-23 | Suite for Solo Cello No. 3, Op. 87: IX. Passacaglia: Lento solenne | Truls Mørk | — | |
| 13-1 | Holiday Diary, suite for piano, Op. 5: 1. Early morning bathe | — | ||
| 13-2 | Holiday Diary, suite for piano, Op. 5: 2. Sailing | — | ||
| 13-3 | Holiday Diary, suite for piano, Op. 5: 3. Funfair | — | ||
| 13-4 | Holiday Diary, suite for piano, Op. 5: 4. Night | — | ||
| 13-5 | Character Pieces (3), for piano: 1. Poco allegro vivace | — | ||
| 13-6 | Character Pieces (3), for piano: 2. Poco andante grazioso | — | ||
| 13-7 | Character Pieces (3), for piano: 3. Poco presto e molto capriccioso | — | ||
| 13-8 | Night Piece (Notturno), for piano | — | ||
| 13-9 | Sonatina Romantica, for piano: Moderato | — | ||
| 13-10 | Sonatina Romantica, for piano: Nocturne | — | ||
| 13-11 | Variations (12), for piano | — | ||
| 13-12 | Waltzes (5), for piano: 1. Rather fast and nervous | — | ||
| 13-13 | Waltzes (5), for piano: 2. Quick, with wit | — | ||
| 13-14 | Waltzes (5), for piano: 3. Dramatic | — | ||
| 13-15 | Waltzes (5), for piano: 4. Rhythmic; not fast | — | ||
| 13-16 | Waltzes (5), for piano: 5. Variations: Quiet and simple | — | ||
| 13-17 | Two Lullabies, for 2 pianos: Lullaby | — | ||
| 13-18 | Two Lullabies, for 2 pianos: Lullaby for a retired Colonel | — | ||
| 13-19 | Pieces (2), for 2 pianos, Op. 23: No. 2 Mazurka elegiaca | — | ||
| 13-20 | Pieces (2), for 2 pianos, Op. 23: Introduction | — | ||
| 13-21 | Pieces (2), for 2 pianos, Op. 23: Rondo alla burlesca | — | ||
| 14-1 | Suite, for violin & piano, Op. 6: Introduction: Andante maestoso | — | ||
| 14-2 | Suite, for violin & piano, Op. 6: 1. March: Allegro alla marcia | — | ||
| 14-3 | Suite, for violin & piano, Op. 6: 2. Moto perpetuo: Allegro molto e con fuoco | — | ||
| 14-4 | Suite, for violin & piano, Op. 6: 3. Lullaby: Lento tranquillo | — | ||
| 14-5 | Suite, for violin & piano, Op. 6: 4. Waltz: Alla valse: vivace e rubato | — | ||
| 14-6 | Sonata for cello & piano in C major, Op. 65: 1. Dialogo: Allegro | — | ||
| 14-7 | Sonata for cello & piano in C major, Op. 65: 2. Scherzo - Pizzicato: Allegretto | — | ||
| 14-8 | Sonata for cello & piano in C major, Op. 65: 3. Elegia: Lento | — | ||
| 14-9 | Sonata for cello & piano in C major, Op. 65: 4. Marcia: Energico | — | ||
| 14-10 | Sonata for cello & piano in C major, Op. 65: 5. Moto perpetuo: Presto | — | ||
| 14-11 | Metamorphoses (6) after Ovid, for oboe solo, Op. 49: 1. Pan (Senza misura) | — | ||
| 14-12 | Metamorphoses (6) after Ovid, for oboe solo, Op. 49: 2. Phaeton (Vivace ritmico) | — | ||
| 14-13 | Metamorphoses (6) after Ovid, for oboe solo, Op. 49: 3. Niobe (Andante) | — | ||
| 14-14 | Metamorphoses (6) after Ovid, for oboe solo, Op. 49: 4. Bacchus (Allegro pesante) | — | ||
| 14-15 | Metamorphoses (6) after Ovid, for oboe solo, Op. 49: 5. Narcissus (Lento piacevole) | — | ||
| 14-16 | Metamorphoses (6) after Ovid, for oboe solo, Op. 49: 6. Arethusa (Largamente) | — | ||
| 14-17 | Nocturnal after John Dowland, for guitar, Op. 70: 1. Musingly (Meditativo) | — | ||
| 14-18 | Nocturnal after John Dowland, for guitar, Op. 70: 2. Agitated (Molto agitativo) | — | ||
| 14-19 | Nocturnal after John Dowland, for guitar, Op. 70: 3. Restless (Inquieto) | — | ||
| 14-20 | Nocturnal after John Dowland, for guitar, Op. 70: 4. Uneasy (Ansioso) | — | ||
| 14-21 | Nocturnal after John Dowland, for guitar, Op. 70: 5. March-like (Quasi una marcia) | — | ||
| 14-22 | Nocturnal after John Dowland, for guitar, Op. 70: 6. Dreaming (Sognanti) | — | ||
| 14-23 | Nocturnal after John Dowland, for guitar, Op. 70: 7. Gently rocking (Cullante) | — | ||
| 14-24 | Nocturnal after John Dowland, for guitar, Op. 70: 8. Passacaglia (Misurato) | — | ||
| 14-25 | Nocturnal after John Dowland, for guitar, Op. 70: 9. Slow and quiet (Tranquillo) | — | ||
| 15-1 | War Requiem, op. 66: I. Requiem aeternam. "Requiem aeternam dona eis Domine" | Boys of Christ Church Cathedral, Oxford, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-2 | War Requiem, op. 66: I. Requiem aeternam. "What passing-bells for these who die as cattle?" | Robert Tear, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-3 | War Requiem, op. 66: I. Requiem aeternam. "Kyrie eleison" | City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-4 | War Requiem, op. 66: II. Dies irae. "Dies irae, dies illa" | City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-5 | War Requiem, op. 66: II. Dies irae. "Bugles sang, saddening the evening air" | Sir Thomas Allen, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-6 | War Requiem, op. 66: II. Dies irae. "Liber scriptus proferetur" | Elisabeth Söderström, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-7 | War Requiem, op. 66: II. Dies irae. "Out there, we've walked quite friendly up to Death" | Robert Tear, Sir Thomas Allen, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-8 | War Requiem, op. 66: II. Dies irae. "Recordare Jesu pie" | City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-9 | War Requiem, op. 66: II. Dies irae. "Be slowly lifted up, thou long black arm" | Sir Thomas Allen, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-10 | War Requiem, op. 66: II. Dies irae. "Dies irae, dies illa" | City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-11 | War Requiem, op. 66: II. Dies irae. "Lacrimosa dies illa" | Elisabeth Söderström, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-12 | War Requiem, op. 66: II. Dies irae "Move him into the sun...Pie Jesu" | Robert Tear, Elisabeth Söderström, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-13 | War Requiem, op. 66: III. Offertorium. "Domine Jesu Christe" | Boys of Christ Church Cathedral, Oxford, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-14 | War Requiem, op. 66: III. Offertorium. "So Abram rose, and clave the wood, and went" | Robert Tear, Sir Thomas Allen, Boys of Christ Church Cathedral, Oxford, Simon Rattle | — | |
| 15-15 | War Requiem, op. 66: IV. Sanctus. "Sanctus, sanctus, sanctus" | Elisabeth Söderström, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-16 | War Requiem, op. 66: IV. Sanctus. "Benedictus qui venit in nomine Domini" | Elisabeth Söderström, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-17 | War Requiem, op. 66: IV. Sanctus. "After the blast of lightning from the East" | Sir Thomas Allen, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-18 | War Requiem, op. 66: V. Agnus Dei | Robert Tear, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 16-1 | War Requiem, op. 66: VI. Libera me. "Libera me, Domine, de morte aeterna" | Elisabeth Söderström, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 16-2 | War Requiem, op. 66: VI. Libera me. "It seemed that out of battle I escaped" | Robert Tear, Sir Thomas Allen, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 16-3 | War Requiem, op. 66: VI. Libera me. "Let us sleep now...In paradisum" | Robert Tear, Sir Thomas Allen, Elisabeth Söderström, Boys of Christ Church Cathedral, Oxford, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 16-4 | A Spring Symphony, op. 44: Part One. I. Introduction: Shine Out | London Symphony Orchestra, André Previn | — | |
| 16-5 | A Spring Symphony, op. 44: Part One. II. The Merry Cuckoo | London Symphony Orchestra, André Previn | — | |
| 16-6 | A Spring Symphony, op. 44: Part One. III. Spring, the Sweet Spring | London Symphony Orchestra, André Previn | — | |
| 16-7 | A Spring Symphony, op. 44: Part One. IV. The Driving Boy | London Symphony Orchestra, André Previn | — | |
| 16-8 | A Spring Symphony, op. 44: Part One. V. The Morning Star | London Symphony Orchestra, André Previn | — | |
| 16-9 | A Spring Symphony, op. 44: Part Two. I. Welcome, Maids of Honour | London Symphony Orchestra, André Previn | — | |
| 16-10 | A Spring Symphony, op. 44: Part Two. II. Waters Above! | London Symphony Orchestra, André Previn | — | |
| 16-11 | A Spring Symphony, op. 44: Part Two. III. Out on the Lawn I Lie in Bed | London Symphony Orchestra, André Previn | — | |
| 16-12 | A Spring Symphony, op. 44: Part Three. I. When Will My May Come | London Symphony Orchestra, André Previn | — | |
| 16-13 | A Spring Symphony, op. 44: Part Three. II. Fair and Fair | London Symphony Orchestra, André Previn | — | |
| 16-14 | A Spring Symphony, op. 44: Part Three. III. Sound the Flute! | London Symphony Orchestra, André Previn | — | |
| 16-15 | A Spring Symphony, op. 44: Part Four. Finale: London, to Thee I Do Present | London Symphony Orchestra, André Previn | — | |
| 17-1 | Hymn to St. Cecilia, for chorus, Op. 27: 1. In a garden shady this holy lady | — | ||
| 17-2 | Hymn to St. Cecilia, for chorus, Op. 27: 2. I cannot grow | — | ||
| 17-3 | Hymn to St. Cecilia, for chorus, Op. 27: 3. O ear whose creatures cannot wish to fail | — | ||
| 17-4 | Ceremony of Carols: I. Procession | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-5 | Ceremony of Carols: II. Wolcum Yole! | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-6 | Ceremony of Carols: III. There is no Rose | Choir of King’s College, Cambridge, Osian Ellis, Sir David Willcocks | — | |
| 17-7 | Ceremony of Carols: IV. That Yonge Child | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-8 | Ceremony of Carols: V. Balulalow | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-9 | A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: 5. As dew in Aprille | — | ||
| 17-10 | Ceremony of Carols: VII. This Little Babe | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-11 | A Ceremony of Carols: Interlude (Andante Pastorale) | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-12 | Ceremony of Carols: VIIII. In Freezing Winter Night | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-13 | Ceremony of Carols: X. Spring Carol | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-14 | Ceremony of Carols: XI. Deo Gracias | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-15 | Ceremony of Carols: XII. Recession | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-16 | Missa Brevis in D: I. Kyrie | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-17 | Missa Brevis in D: II. Gloria | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-18 | Missa Brevis in D: III. Sanctus | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-19 | Missa Brevis in D: IV. Benedictus | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-20 | Missa Brevis in D: V. Agnus Dei | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-21 | Festival Te Deum, op. 32 | Choir of King’s College, Cambridge, James Lancelot, Philip Ledger | — | |
| 17-22 | Rejoice in the Lamb, Op. 30: Rejoice in God, O ye Tongues — | James Bowman, Choir of King’s College, Cambridge, Marcus Creed, Richard Morton, David Corkhill, James Lancelot, Philip Ledger | — | |
| 17-23 | Rejoice in the Lamb, Op. 30: For I will consider my Cat Jeoffry — | James Bowman, Choir of King’s College, Cambridge, Marcus Creed, Richard Morton, David Corkhill, James Lancelot, Philip Ledger | — | |
| 17-24 | Rejoice in the Lamb, Op. 30: For the Mouse is a creature of great personal valour — | James Bowman, Choir of King’s College, Cambridge, Marcus Creed, Richard Morton, David Corkhill, James Lancelot, Philip Ledger | — | |
| 17-25 | Rejoice in the Lamb, Op. 30: For the flowers are great blessings — | James Bowman, Choir of King’s College, Cambridge, Marcus Creed, Richard Morton, David Corkhill, James Lancelot, Philip Ledger | — | |
| 17-26 | Rejoice in the Lamb, Op. 30: For I am under the same accusation with my Saviour — | James Bowman, Choir of King’s College, Cambridge, Marcus Creed, Richard Morton, David Corkhill, James Lancelot, Philip Ledger | — | |
| 17-27 | Rejoice in the Lamb, festival cantata for trumpet, ATB soloists, chorus & organ, Op. 30: For H is a spirit and therefore he is God | — | ||
| 17-28 | Rejoice in the Lamb, Op. 30: Hallelujah from the heart of God | James Bowman, Choir of King’s College, Cambridge, Marcus Creed, Richard Morton, David Corkhill, James Lancelot, Philip Ledger | — | |
| 17-29 | Te Deum in C major (1934) | Choir of King’s College, Cambridge, James Lancelot, Philip Ledger | — | |
| 17-30 | Jubliate Deo (1961) | Choir of King’s College, Cambridge, James Lancelot, Philip Ledger | T-902.877.719-7 | |
| 18-1 | A Hymn to the Virgin, for double chorus | — | ||
| 18-2 | Saint Nicolas: Introduction | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-3 | Saint Nicolas: The Birth of Nicolas | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-4 | Saint Nicolas: Nicolas Devotes Himself to God | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-5 | Saint Nicolas: He Journeys to Palestine | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-6 | Saint Nicolas: Nicolas Comes to Myra and Is Chosen Bishop | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-7 | Saint Nicolas: Nicolas From Prison | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-8 | Saint Nicolas: Nicolas and the Pickled Boys | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-9 | Saint Nicolas: His Piety and Marvellous Works | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-10 | Saint Nicolas: The Death of Nicolas | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-11 | Hymn to St. Peter, for trumpet, chorus & organ, Op. 56a | — | ||
| 18-12 | Hymn of St. Columba (Regis regum rectissimi), for chorus & organ | — | ||
| 18-13 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 1. St Godric's Hymn | — | ||
| 18-14 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 2. I mon waxe sod | — | ||
| 18-15 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 3. Lenten is come | — | ||
| 18-16 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 4. The long night | — | ||
| 18-17 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 5. Yif ic of luve can | — | ||
| 18-18 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 6. Carol | — | ||
| 18-19 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 7. Ye that pasen by | — | ||
| 18-20 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 8. A death | — | ||
| 19-1 | The Little Sweep, children's opera, Op. 45: Scene 1. 1. The Sweep's Song: Sweep! Sweep! (Audience Song 1) | — | ||
| 19-2 | The Little Sweep, children's opera, Op. 45: Scene 1. 2. Quartet: Sweep this chimney | — | ||
| 19-3 | The Little Sweep, children's opera, Op. 45: Scene 1. 3. Duet: Now, little white boy! | — | ||
| 19-4 | The Little Sweep, children's opera, Op. 45: Scene 1. 3a. Hide and Seek: Juliet! Juliet! | — | ||
| 19-5 | The Little Sweep, children's opera, Op. 45: Scene 1. 4. Shanty: Pull the rope gently | — | ||
| 19-6 | The Little Sweep, children's opera, Op. 45: Scene 1. 5. Ensemble: Is he wounded? | — | ||
| 19-7 | The Little Sweep, children's opera, Op. 45: Scene 1. 6. Marching Song: Sooty tracks upon the sheet | — | ||
| 19-8 | The Little Sweep, children's opera, Op. 45: Scene 1. 7. Trio: Sam! Sam! | — | ||
| 19-9 | The Little Sweep, children's opera, Op. 45: Scene 1. 8. Aria: Run, poor sweepboy | — | ||
| 19-10 | The Little Sweep, children's opera, Op. 45: Scene 1. 9. Sammy's Bath: The kettles are singing (Audience Song 2) | — | ||
| 19-11 | The Little Sweep, children's opera, Op. 45: Scene 2. 10. Ensemble: O why do you weep... | — | ||
| 19-12 | The Little Sweep, children's opera, Op. 45: Scene 2. 11. Pantomime and | — | ||
| 19-13 | The Little Sweep, children's opera, Op. 45: Scene 2. 12. Scene: Ah!... Blackguards | — | ||
| 19-14 | The Little Sweep, children's opera, Op. 45: Scene 2. 13. Finale: Help! Help! She's collapsed! | — | ||
| 19-15 | The Little Sweep, children's opera, Op. 45: Scene 2. 14. The Night Song: The owl, wide-winging (Audience Song 3) | — | ||
| 19-16 | The Little Sweep, children's opera, Op. 45: Scene 3. 15. Aria: Soon the coach will carry you away | — | ||
| 19-17 | The Little Sweep, children's opera, Op. 45: Scene 3. 16. Ensemble: Morning, Sammy | — | ||
| 19-18 | The Little Sweep, children's opera, Op. 45: Scene 3. 17. Trio and Ensemble: Ready, Alfred? | — | ||
| 19-19 | The Little Sweep, children's opera, Op. 45: Scene 3. 18. Finale: Coaching Song: The Horses and champing (Audience Song 4) | — | ||
| 19-20 | A Boy Was Born, choral variations for mixed voices, Op. 3: Theme. A Boy was Born | — | ||
| 19-21 | A Boy Was Born, choral variations for mixed voices, Op. 3: Variation 1. Lullay, Jesu | — | ||
| 19-22 | A Boy Was Born, choral variations for mixed voices, Op. 3: Variation 2. Herod | — | ||
| 19-23 | A Boy Was Born, choral variations for mixed voices, Op. 3: Variation 3. Jesu, as Thou art our Saviour | — | ||
| 19-24 | A Boy Was Born, choral variations for mixed voices, Op. 3: Variation 4. The Three Kings | — | ||
| 19-25 | A Boy Was Born, choral variations for mixed voices, Op. 3: Variation 5. In the Bleak Mid-Winter | — | ||
| 19-26 | A Boy Was Born, choral variations for mixed voices, Op. 3: Variation 6. Noël! | — | ||
| 19-27 | A Shepherd's Carol, for chorus | — | ||
| 20-1 | Noye's Fludde, children's opera, Op. 59: Lord Jesus, think on me | — | ||
| 20-2 | Noye's Fludde, children's opera, Op. 59: I, God, that all this worlde hath wroughte | — | ||
| 20-3 | Noye's Fludde, children's opera, Op. 59: O, Lorde, I thanke thee lowde and still | — | ||
| 20-4 | Noye's Fludde, children's opera, Op. 59: Now in the name of God I will begyne | — | ||
| 20-5 | Noye's Fludde, children's opera, Op. 59: Wyffe, in this vessel we shall be kepte | — | ||
| 20-6 | Noye's Fludde, children's opera, Op. 59: Noye, Noye, take thou thy company | — | ||
| 20-7 | Noye's Fludde, children's opera, Op. 59: Sir! Here are lions, lepardes, in | — | ||
| 20-8 | Noye's Fludde, children's opera, Op. 59: Wiffe, come in! | — | ||
| 20-9 | Noye's Fludde, children's opera, Op. 59: It is good for to be still | — | ||
| 20-10 | Noye's Fludde, children's opera, Op. 59: Eternal Father, strong to save | — | ||
| 20-11 | Noye's Fludde, children's opera, Op. 59: Now forty dayes are fullie gone | — | ||
| 20-12 | Noye's Fludde, children's opera, Op. 59: Noye, take they wife anone | — | ||
| 20-13 | Noye's Fludde, children's opera, Op. 59: Noye, heare I behette thee a heste | — | ||
| 20-14 | Noye's Fludde, children's opera, Op. 59: The spacious firmament on high | — | ||
| 20-15 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: Heaven-Haven | — | ||
| 20-16 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: O deus, ego amo te | — | ||
| 20-17 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: Rosa Mystica | — | ||
| 20-18 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: The Soldier | — | ||
| 20-19 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: Prayer 2 | — | ||
| 20-20 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: God's Grandeur | — | ||
| 20-21 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: Prayer 1 | — | ||
| 20-22 | Ballad of Little Musgrave and Lady Barnard, for male chorus & piano | — | ||
| 21-1 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 1. 1. Chaos | — | ||
| 21-2 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 1. 2. The Morning Stars | — | ||
| 21-3 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 2. 3. Angels appear to Jacob, Elisha and Mary | — | ||
| 21-4 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 2. 4. Christ, the fair glory | — | ||
| 21-5 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 2. 5. War in Heaven | — | ||
| 21-6 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 3. 6. Heaven is here | — | ||
| 21-7 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 3. 7. A thousand, thousand gleaming fires | — | ||
| 21-8 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 3. 8. Funeral March for a Boy | — | ||
| 21-9 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 3. 9. Whoso dwelleth under the defence of the most High | — | ||
| 21-10 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 3. 10. There came out also at this time | — | ||
| 21-11 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 3. 11. Ye watchers and ye holy ones | — | ||
| 21-12 | Ballad of Heroes, op. 14: I. Funeral March (Swingler) - | City of Birmingham Symphony Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 21-13 | Ballad of Heroes, op. 14: II. Scherzo (Auden) - | City of Birmingham Symphony Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 21-14 | Ballad of Heroes, op. 14: III. Recitative and Choral (Auden/Swingler) | City of Birmingham Symphony Chorus, Robert Tear, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 21-15 | "Praise We Great Men" for Voices, Chorus and Orchestra: I. | City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 21-16 | "Praise We Great Men" for Voices, Chorus and Orchestra: II. | City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 21-17 | "Praise We Great Men" for Voices, Chorus and Orchestra: III. | City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 22-1 | Les illuminations, song cycle for high voice & strings, op. 18: 1. Fanfare | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-2 | Les illuminations, song cycle for high voice & strings, op. 18: 2. Villes | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-3 | Les illuminations, song cycle for high voice & strings, op. 18: 3a. Phrase | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-4 | Les illuminations, song cycle for high voice & strings, op. 18: 3b. Antique | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-5 | Les illuminations, song cycle for high voice & strings, op. 18: 4. Royauté | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-6 | Les illuminations, song cycle for high voice & strings, op. 18: 5. Marine | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-7 | Les illuminations, song cycle for high voice & strings, op. 18: 6. Interlude | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-8 | Les illuminations, song cycle for high voice & strings, op. 18: 7. Being Beauteous | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-9 | Les illuminations, song cycle for high voice & strings, op. 18: 8. Parade | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-10 | Les illuminations, song cycle for high voice & strings, op. 18: 9. Départ | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-11 | Serenade, for tenor, horn & strings, Op. 31: Prologue | — | ||
| 22-12 | Serenade, for tenor, horn & strings, Op. 31: 1. Pastoral | — | ||
| 22-13 | Serenade, for tenor, horn & strings, Op. 31: 2. Nocturne | — | ||
| 22-14 | Serenade, for tenor, horn & strings, Op. 31: 3. Elegy | — | ||
| 22-15 | Serenade, for tenor, horn & strings, Op. 31: 4. Dirge | — | ||
| 22-16 | Serenade, for tenor, horn & strings, Op. 31: 5. Hymn | — | ||
| 22-17 | Serenade, for tenor, horn & strings, Op. 31: 6. Sonnet | — | ||
| 22-18 | Serenade, for tenor, horn & strings, Op. 31: Epilogue | — | ||
| 22-19 | Now sleeps the crimson petal, song for tenor, horn & strings | — | ||
| 22-20 | Nocturne, for tenor, 7 instruments & strings, Op. 60: On a poet's lips I slept | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-21 | Nocturne, for tenor, 7 instruments & strings, Op. 60: Below the thunders of the upper deep | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-22 | Nocturne, for tenor, 7 instruments & strings, Op. 60: Encinctured with a twine of leaves | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-23 | Nocturne, for tenor, 7 instruments & strings, Op. 60: Midnight's bell goes ting, ting, ting, ting, ting | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-24 | Nocturne, for tenor, 7 instruments & strings, Op. 60: But that night when on my bed I lay | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-25 | Nocturne, for tenor, 7 instruments & strings, Op. 60: She sleeps on soft, last breaths | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-26 | Nocturne, for tenor, 7 instruments & strings, Op. 60: What is more gentle whan a wind in summer? | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-27 | Nocturne, for tenor, 7 instruments & strings, Op. 60: When most I wink, then do my eyes best see | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 23-1 | 4 Chansons Françaises for Voice and Orchestra: I. Nuits de juin (Lento e molto rubato) | Jill Gomez, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 23-2 | 4 Chansons Françaises for Voice and Orchestra: I. Sagesse (Lento Ma Non Troppo) | City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 23-3 | 4 Chansons Françaises for Voice and Orchestra: I. L'Enfance (Animato) | City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 23-4 | 4 Chansons Françaises for Voice and Orchestra: I. Chanson d'automne (Moderato con molto ma sempre colla voce) | Jill Gomez, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 23-5 | Our Hunting Fathers, song cycle for high voice & orchestra, Op. 8: Prologue | — | ||
| 23-6 | Our Hunting Fathers, song cycle for high voice & orchestra, Op. 8: A. Rats Away! | — | ||
| 23-7 | Our Hunting Fathers, song cycle for high voice & orchestra, Op. 8: B. Messalina | — | ||
| 23-8 | Our Hunting Fathers, song cycle for high voice & orchestra, Op. 8: C. Dance of Death | — | ||
| 23-9 | Our Hunting Fathers, song cycle for high voice & orchestra, Op. 8: Epilogue and Funeral March | — | ||
| 23-10 | Little Sir William, for voice & piano (Folk Songs, Vol. 1) | — | ||
| 23-11 | Come you not from Newcastle?, for voice & piano (Folk Songs, Vol. 3) | — | ||
| 23-12 | The Bonny Earl o' Moray, for voice & piano (Folk Songs, Vol. 1) | — | ||
| 23-13 | Oliver Cromwell, for voice & piano (Folk Songs, Vol. 1) | — | ||
| 23-14 | Phaedra, dramatic cantata for mezzo-soprano, string orchestra, percussion & harpsichord, Op. 93: In May, in brilliant Athens | — | ||
| 23-15 | Phaedra, dramatic cantata for mezzo-soprano, string orchestra, percussion & harpsichord, Op. 93: O Gods of wrath | — | ||
| 23-16 | Phaedra, dramatic cantata for mezzo-soprano, string orchestra, percussion & harpsichord, Op. 93: My time's too short, your highness | — | ||
| 23-17 | La belle est au jardin d'amour, for voice & piano (Folk Songs, Vol. 2) | — | ||
| 23-18 | Folksong Arrangements, Vol. II "France", for voice & piano: Eho! Eho! | — | ||
| 23-19 | Folksong Arrangements, Vol. II "France", for voice & piano: Fileuse, folksong for voice & piano (Folk Songs, Vol. 2) | — | ||
| 23-20 | Folksong Arrangements, Vol. II "France", for voice & piano: Quand j'étais chez mon père, for voice & piano (Folk Songs, Vol. 2) | — | ||
| 23-21 | Le roi s'en va-t'en chasse, for voice & piano (Folk Songs, Vol. 2) Le roi s'en va-t'en chasse | — | ||
| 24-1 | Seven Sonnets of Michelangelo, op. 22: 1. Sì come nella penna | Peter Pears, Benjamin Britten | — | |
| 24-2 | Seven Sonnets of Michelangelo, op. 22: 2. A che più debb'io mai | Peter Pears, Benjamin Britten | — | |
| 24-3 | Seven Sonnets of Michelangelo, op. 22: 3. Veggio co' bei vostri occhi | Peter Pears, Benjamin Britten | — | |
| 24-4 | Seven Sonnets of Michelangelo, op. 22: 4. Tu sa' ch'io so | Peter Pears, Benjamin Britten | — | |
| 24-5 | Seven Sonnets of Michelangelo, op. 22: 5. Rendete a gli occhi miei | Peter Pears, Benjamin Britten | — | |
| 24-6 | Seven Sonnets of Michelangelo, op. 22: 6. S'un casto amor | Peter Pears, Benjamin Britten | — | |
| 24-7 | Seven Sonnets of Michelangelo, op. 22: 7. Spirto ben nato | Peter Pears, Benjamin Britten | — | |
| 24-8 | Holy Sonnets of John Donne, op. 35: 1. Oh My Blacke Soule | Peter Pears, Benjamin Britten | — | |
| 24-9 | Holy Sonnets of John Donne, op. 35: 2. Batter My Heart | Peter Pears, Benjamin Britten | — | |
| 24-10 | Holy Sonnets of John Donne, op. 35: 3. O Might Those Sighes and Teares | Peter Pears, Benjamin Britten | — | |
| 24-11 | Holy Sonnets of John Donne, op. 35: 4. Oh, to Vex Me | Peter Pears, Benjamin Britten | — | |
| 24-12 | Holy Sonnets of John Donne, op. 35: 5. What If This Present | Peter Pears, Benjamin Britten | — | |
| 24-13 | Holy Sonnets of John Donne, op. 35: 6. Since She Whom I Loved | Peter Pears, Benjamin Britten | — | |
| 24-14 | Holy Sonnets of John Donne, op. 35: 7. At the Round Earth's Imagined Corners | Peter Pears, Benjamin Britten | — | |
| 24-15 | Holy Sonnets of John Donne, op. 35: 8. Thou Hast Made Me | Peter Pears, Benjamin Britten | — | |
| 24-16 | Holy Sonnets of John Donne, op. 35: 9. Death, Be Not Proud | Peter Pears, Benjamin Britten | — | |
| 24-17 | On this Island, song cycle for voice & piano, Op. 11: 1. Let the florid music praise! | — | ||
| 24-18 | On this Island, song cycle for voice & piano, Op. 11: 2. Now the leaves are falling fast | — | ||
| 24-19 | On this Island, song cycle for voice & piano, Op. 11: 3. Seascape | — | ||
| 24-20 | On this Island, song cycle for voice & piano, Op. 11: 4. Nocturne | — | ||
| 24-21 | On this Island, song cycle for voice & piano, Op. 11: 5. As it is; plenty | — | ||
| 24-22 | Winter Words, song cycle for tenor & piano, Op. 52: 1. At day-close in November | — | ||
| 24-23 | Winter Words, song cycle for tenor & piano, Op. 52: 2. Midnight on the Great Western (or the Journeying Boy) | — | ||
| 24-24 | Winter Words, song cycle for tenor & piano, Op. 52: 3. Wagtail and Baby (A Satire) | — | ||
| 24-25 | Winter Words, song cycle for tenor & piano, Op. 52: 4. The Little Old Table | — | ||
| 24-26 | Winter Words, song cycle for tenor & piano, Op. 52: 5. The Choirmaster's Burial (or The Tenor Man's Story) | — | ||
| 24-27 | Winter Words, song cycle for tenor & piano, Op. 52: 6. The Proud Songsters (Thrushes, Finches and Nightingales) | — | ||
| 24-28 | Winter Words, song cycle for tenor & piano, Op. 52: 7. At the Railway Station, Upway (or The Convict and Boy with the Violin) | — | ||
| 24-29 | Winter Words, song cycle for tenor & piano, Op. 52: 8. Before Life and After | — | ||
| 25-1 | Canticle I: My Beloved is Mine, op. 40 | Ian Bostridge, Julius Drake | — | |
| 25-2 | Canticle II: Abraham and Isaac, op. 51 | Ian Bostridge, David Daniels, Julius Drake | — | |
| 25-3 | Canticle III: Still Falls the Rain, op. 55 | Ian Bostridge, Timothy Brown, Julius Drake | — | |
| 25-4 | Canticle IV: Journey of the Magi, op. 86 | Ian Bostridge, David Daniels, Christopher Maltman, Julius Drake | — | |
| 25-5 | Canticle V: The Death of Saint Narcissus, op. 89 | Ian Bostridge, Aline Brewer | — | |
| 25-6 | The Plough Boy | Christopher Maltman, Julius Drake | — | |
| 25-7 | The Salley Gardens | Christopher Maltman, Julius Drake | — | |
| 25-8 | The Foggy, Foggy Dew | Christopher Maltman, Julius Drake | — | |
| 25-9 | There's None to Soothe | David Daniels, Julius Drake | — | |
| 25-10 | O Waly, Waly | David Daniels, Julius Drake | — | |
| 25-11 | The Ash Grove | Ian Bostridge, Julius Drake | — | |
| 25-12 | Greensleeves | Ian Bostridge, Julius Drake | — | |
| 26-1 | Songs (2) by Thomas Hardy, for voice & piano: The Children and Sir Nameless | — | ||
| 26-2 | Songs (2) by Thomas Hardy, for voice & piano: If it's ever spring again | — | ||
| 26-3 | Beware!, early songs (3) for medium voice & piano: 1. Beware! | — | ||
| 26-4 | Beware!, early songs (3) for medium voice & piano: 2. O that I had ne'er been married | — | ||
| 26-5 | Beware!, early songs (3) for medium voice & piano: 3. Epitaph: The Clerk | — | ||
| 26-6 | Not even summer yet, song for high voice & piano | — | ||
| 26-7 | Songs (2) by W. H. Auden, for voice & piano: To lie flat on the back | — | ||
| 26-8 | Songs (2) by W. H. Auden, for voice & piano: Night covers up the rigid land | — | ||
| 26-9 | The Oxen, carol for female chorus & piano | — | ||
| 26-10 | Dawtie's Devotion, song for voice & piano (discarded from "Who are these Children," Op. 84) | — | ||
| 26-11 | Tradition, song for voice & piano (discarded from "Who are these Children," Op. 84) | — | ||
| 26-12 | The Gully, song for voice & piano (discarded from "Who are these Children," Op. 84) | — | ||
| 26-13 | Tit for Tat, song cycle for voice & piano: 1. A Song of Enchantment | — | ||
| 26-14 | Tit for Tat, song cycle for voice & piano: 3. Silver | — | ||
| 26-15 | Tit for Tat, song cycle for voice & piano: 5. Tit for Tat | — | ||
| 26-16 | Ballads (2), for 2 voices & piano: 1. Mother Comfort | — | ||
| 26-17 | Ballads (2), for 2 voices & piano: 2. Underneath the Abject Willow | — | ||
| 26-18 | Folksong Arrangements, Vol. III "British Isles", for voice & piano Sweet Polly Oliver | — | ||
| 26-19 | Folksong Arrangements, Vol. IV "Moore's Irish Melodies", for voice & piano The Minstrel Boy | — | ||
| 26-20 | Folksong Arrangements, Vol. V "British Isles", for voice & piano: The Brisk Young Widow | — | ||
| 26-21 | Folksong Arrangements, Vol. V "British Isles", for voice & piano: Ca' the Yowes | — | ||
| 26-22 | Folksong Arrangements, Vol. V "British Isles", for voice & piano: The Lincolnshire Poacher | — | ||
| 26-23 | Folksong Arrangements, Vol. I "British Isles", for voice & piano: O can ye sew cushions? | — | ||
| 26-24 | Folksong Arrangements, Vol. I "British Isles", for voice & piano: The trees they grow so high | — | ||
| 26-25 | Folksong Arrangements, Vol. V "British Isles", for voice & piano Early one morning | — | ||
| 26-26 | Folksong Arrangements, Vol. IV "Moore's Irish Melodies", for voice & piano How sweet the answer | — | ||
| 26-27 | Folksong Arrangements, Vol. II "France", for voice & piano Voici le printemps | — | ||
| 26-28 | Folksong Arrangements, Vol. IV "Moore's Irish Melodies", for voice & piano: The last rose of Summer | — | ||
| 26-29 | Folksong Arrangements, Vol. IV "Moore's Irish Melodies", for voice & piano: Dear Harp of my Country! | — | ||
| 26-30 | Folksong Arrangements, Vol. IV "Moore's Irish Melodies", for voice & piano: Oft in the stilly night | — | ||
| 27-1 | The Queen's Epicedium, for soprano or tenor & piano (Purcell Realization) | — | ||
| 27-2 | Purcell Realizations from Orpheus Britannicus: Duets (6), for 2 voices & piano: Sound the Trumpet | — | ||
| 27-3 | Purcell Realizations from Orpheus Britannicus: Songs (5), for voice & piano: I attempt from love's sickness to fly | — | ||
| 27-4 | Purcell Realizations from Orpheus Britannicus: Duets (6), for 2 voices & piano: Lost is my quiet for ever | — | ||
| 27-5 | Purcell Realizations from Orpheus Britannicus: Songs (7), for voice & piano: Fairest Isle | — | ||
| 27-6 | Purcell Realizations from Orpheus Britannicus: Duets (6), for 2 voices & piano: What can we poor females do? | — | ||
| 27-7 | Purcell Realizations from Orpheus Britannicus: Songs (7), for voice & piano: I'll sail upon the Dog-star | — | ||
| 27-8 | Purcell Realizations from Orpheus Britannicus: Songs (7), for voice & piano: Hears not my Phyllis (The Knotting Song), song, Z. 371 | — | ||
| 27-9 | Purcell Realizations from Orpheus Britannicus: Duets (6), for 2 voices & piano: Man is for the woman made | — | ||
| 27-10 | Purcell Realizations from Orpheus Britannicus: Songs (5), for voice & piano: 1. Let sullen discord smile | — | ||
| 27-11 | Purcell Realizations from Orpheus Britannicus: Songs (5), for voice & piano: 2. Why should men quarrel | — | ||
| 27-12 | Purcell Realizations from Orpheus Britannicus: Songs (5), for voice & piano: 3. So when the glittering Queen of Night | — | ||
| 27-13 | Purcell Realizations from Orpheus Britannicus: Songs (5), for voice & piano: 4. Thou tun'st this world | — | ||
| 27-14 | Purcell Realizations from Orpheus Britannicus: Songs (5), for voice & piano: 5a. 'tis holiday / 5b. Sound Fame thy brazen trumpet | — | ||
| 27-15 | Die Forelle ("In einem Bächlein helle"), song for voice & piano, D. 550 (Op. 32) | — | ||
| 27-16 | Frühlingsnacht ("Uberm Garten durch die Lüfte"), song for voice & piano (Liederkreis), Op. 39/12 | — | ||
| 28-1 | Paul Bunyan, operetta, Op. 17: 1. Introduction | — | ||
| 28-2 | Paul Bunyan, operetta, Op. 17: 2. Prologue. Since the birth of the earth | — | ||
| 28-3 | Paul Bunyan, operetta, Op. 17: 2. Prologue. No. No. We do not want life to be slow | — | ||
| 28-4 | Paul Bunyan, operetta, Op. 17: 2. Prologue. Ooh! Ooh! O how terrible to be as old fashined as a tree | — | ||
| 28-5 | Paul Bunyan, operetta, Op. 17: 2. Prologue. You are all to leave here | — | ||
| 28-6 | Paul Bunyan, operetta, Op. 17: 2. Prologue. It isn't very often the conservatives are wrong... / But once in a while the odd thing | — | ||
| 28-7 | Paul Bunyan, operetta, Op. 17: 2a. First Ballad Interlude: The cold wind blew through the crooked thorn | — | ||
| 28-8 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 3. Bunyan's Greeting | — | ||
| 28-9 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 3a. Call of Lumberjacks | — | ||
| 28-10 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 4. Lumberjack's Chorus: My birthplace was in Sweden | — | ||
| 28-11 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 4a. Bunyan's Welcome | — | ||
| 28-12 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 5. Quartet of Swedes: Swedish born and Swedish bred | — | ||
| 28-13 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 6. Western Union Boy's Song: A telegram from oversea | — | ||
| 28-14 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 7. Cooks' Duet: Sam for soups. Ben for beans | — | ||
| 28-15 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 8. Animal Trio: Ah! Miaou! The single creature lives a partial life | — | ||
| 28-16 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 8a. Bunyan's Goodnight (1) | — | ||
| 28-17 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 8b. Exit of Lumberjacks: Down the line... Timberr | — | ||
| 28-18 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 9. The Blues: Gold in the North came the blizzard to say | — | ||
| 28-19 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 10. Bunyan's Goodnight (2) | — | ||
| 28-20 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 10a. Second Ballad Interlude: The Spring came and the Summer and Fall | — | ||
| 28-21 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 11. Food Chorus: Do I look the sort of fellow | — | ||
| 28-22 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 12. Chorus Accusation: There now look what you have done | — | ||
| 28-23 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 12a. Slim's Song: In fair days and foul... I come from open spaces | — | ||
| 28-24 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 13. Bunyan's Return: Look, the Chief is back | — | ||
| 28-25 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 14. Inkslinger's Song: It was out in the sticks | — | ||
| 28-26 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 14a. Entrance of Chorus | — | ||
| 28-27 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 15. Tiny's Entrance | — | ||
| 28-28 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 15a. Tiny's Song: Ah!... Whether the sun shine upon children playing | — | ||
| 28-29 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 16. Inkslinger's Regret: All the little brooks of love | — | ||
| 28-30 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 17. Bunyan's Goodnight (3) | — | ||
| 29-1 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 18. Bunyan's Good Morning | — | ||
| 29-2 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 18a. Shears' Song: It has always been my dream | — | ||
| 29-3 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 18b. Bunyan's Warning | — | ||
| 29-4 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 19. Farmer's Song: The shanty-boy invades the wood | — | ||
| 29-5 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 19a. Farmers' Exit | — | ||
| 29-6 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 20. The Mocking of Hel Helson: Heron, heron winging by | — | ||
| 29-7 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 21. Fido's Sympathy: Why won't you tell me what's the matter? | — | ||
| 29-8 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 22. Cat's Creed: Let Man the romantic in vision espy | — | ||
| 29-9 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 23. The Fight: What is it? What's happening? | — | ||
| 29-10 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 23a. Love Duet: Move, move from the trysting stone | — | ||
| 29-11 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 23b. Mock Funeral March: Take away the body and lay it on ice | — | ||
| 29-12 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 23c. Hymn: O great day of discovery! | — | ||
| 29-13 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 24. Third Ballad Interlude: So Helson smiled and Bunyan smiled | — | ||
| 29-14 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 25. The Christmas Party. Rah! Another slice of turkey | — | ||
| 29-15 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 25. The Christmas Party. Dear friends, with your leave | — | ||
| 29-16 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 25. The Christmas Party. Carry her over the water | — | ||
| 29-17 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 25. The Christmas Party. Where we are is not very far | — | ||
| 29-18 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 25. The Christmas Party. A telegram from Hollywood | — | ||
| 29-19 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 25. The Christmas Party. We always knew that one day you | — | ||
| 29-20 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 26. Bunyan's Farewell | — | ||
| 29-21 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 27. Litany: The campfire embers are black and cold | — | ||
| 29-22 | Paul Bunyan, operetta, Op. 17: Appendix. Overture | — | ||
| 29-23 | Paul Bunyan, operetta, Op. 17: Appendix. Inkslinger's Love Song | — | ||
| 29-24 | Paul Bunyan, operetta, Op. 17: Appendix. Lullaby of Dream Shadows | — | ||
| 30-1 | Peter Grimes, opera, Op. 33: Prologue. Peter Grimes! | — | ||
| 30-2 | Peter Grimes, opera, Op. 33: Prologue. You sailed your boat round the coast | — | ||
| 30-3 | Peter Grimes, opera, Op. 33: Prologue. Peter Grimes, I here advise you! | — | ||
| 30-4 | Peter Grimes, opera, Op. 33: Prologue. The truth - the pity | — | ||
| 30-5 | Peter Grimes, opera, Op. 33: Prologue. Interlude 1: Dawn | — | ||
| 30-6 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. Oh hang at open doors the net | — | ||
| 30-7 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. Hi! Give us a hand! | — | ||
| 30-8 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. I have to go from pub to pub | — | ||
| 30-9 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. Let her among you without a fault cast the first stone | — | ||
| 30-10 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. Look! The storm cone! | — | ||
| 30-11 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. And do you prefer the storm | — | ||
| 30-12 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. They listen to money | — | ||
| 30-13 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. What harbour shelters peace | — | ||
| 30-14 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. Interlude 2: Storm | — | ||
| 30-15 | Peter Grimes, opera, Op. 33: Act 1. Scene 2. Past time to close! | — | ||
| 30-16 | Peter Grimes, opera, Op. 33: Act 1. Scene 2. Come on, boy! | — | ||
| 30-17 | Peter Grimes, opera, Op. 33: Act 1. Scene 2. Have you heard the cliff is down | — | ||
| 30-18 | Peter Grimes, opera, Op. 33: Act 1. Scene 2. Now the Great Bear and the Pleiades | — | ||
| 30-19 | Peter Grimes, opera, Op. 33: Act 1. Scene 2. Old Joe has gone fishing | — | ||
| 30-20 | Peter Grimes, opera, Op. 33: Act 1. Scene 2. The bridge is down | — | ||
| 30-21 | Peter Grimes, opera, Op. 33: Act 2. Interlude 3: Sunday morning | — | ||
| 30-22 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. Glitter of waves and glitter of sunlight | — | ||
| 30-23 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. Child you're not too young to know | — | ||
| 30-24 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. This unrelenting work | — | ||
| 31-1 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. Fool to let it come to this! | — | ||
| 31-2 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. People...! No! I will speak! | — | ||
| 31-3 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. We planned that their lives should have a new start | — | ||
| 31-4 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. Now is gossip put on trial | — | ||
| 31-5 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. From the gutter | — | ||
| 31-6 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. Interlude 4: Passacaglia | — | ||
| 31-7 | Peter Grimes, opera, Op. 33: Act 2. Scene 2. Go there! | — | ||
| 31-8 | Peter Grimes, opera, Op. 33: Act 2. Scene 2. In dreams I've built myself some kindlier home | — | ||
| 31-9 | Peter Grimes, opera, Op. 33: Act 2. Scene 2. Now!... Now! | — | ||
| 31-10 | Peter Grimes, opera, Op. 33: Act 2. Scene 2. Peter Grimes! Nobody here? | — | ||
| 31-11 | Peter Grimes, opera, Op. 33: Act 3. Interlude 5: Moonlight | — | ||
| 31-12 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Assign your prettiness to me | — | ||
| 31-13 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Mr Keene! | — | ||
| 31-14 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Come along, Doctor | — | ||
| 31-15 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Embroidery in childhood was a luxury of idleness | — | ||
| 31-16 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Mr Swallow, Mr Swallow | — | ||
| 31-17 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Who holds himself apart lets his pride rise | — | ||
| 31-18 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Interlude 6 | — | ||
| 31-19 | Peter Grimes, opera, Op. 33: Act 3. Scene 2. Grimes! | — | ||
| 31-20 | Peter Grimes, opera, Op. 33: Act 3. Scene 2. Peter, we've come to take you home | — | ||
| 31-21 | Peter Grimes, opera, Op. 33: Act 3. Scene 2. To those who pass the Borough | — | ||
| 32-1 | Turn of the Screw, chamber opera, Op. 54: Prologue | — | ||
| 32-2 | Turn of the Screw, chamber opera, Op. 54: Act 1. Theme | — | ||
| 32-3 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 1. The Journey | — | ||
| 32-4 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 1 | — | ||
| 32-5 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 2. The Welcome | — | ||
| 32-6 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 2 | — | ||
| 32-7 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 3. The Letter | — | ||
| 32-8 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 3 | — | ||
| 32-9 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 4. The Tower | — | ||
| 32-10 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 4 | — | ||
| 32-11 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 5. The Window | — | ||
| 32-12 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 5 | — | ||
| 32-13 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 6. The Lesson | — | ||
| 32-14 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 6 | — | ||
| 32-15 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 7. The Lake | — | ||
| 32-16 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 7 | — | ||
| 32-17 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 8. At Night | — | ||
| 33-1 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 8 | — | ||
| 33-2 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 1. Colliquy and Soliloquy | — | ||
| 33-3 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 9 | — | ||
| 33-4 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 2. The Bells | — | ||
| 33-5 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 10 | — | ||
| 33-6 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 3. Miss Jessel | — | ||
| 33-7 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 11 | — | ||
| 33-8 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 4. The Bedroom | — | ||
| 33-9 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 12 | — | ||
| 33-10 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 5. Quint | — | ||
| 33-11 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 13 | — | ||
| 33-12 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 6. The Piano | — | ||
| 33-13 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 14 | — | ||
| 33-14 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 7. Flora | — | ||
| 33-15 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 15 | — | ||
| 33-16 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 8. Miles | — | ||
| 34-1 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Introduction: The wood, deepening twilight. Over hill, over dale | — | ||
| 34-2 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Oberon is passing fell and wrath | — | ||
| 34-3 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Well, go thy way | — | ||
| 34-4 | A Midsummer Night's Dream, opera, Op. 64: Act 1. How now my love? | — | ||
| 34-5 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Be it on lion, bear, or wolf, or bull | — | ||
| 34-6 | A Midsummer Night's Dream: Act 1. Welcome wanderer... I know a bank | James Bowman, City of London Sinfonia, Richard Hickox | — | |
| 34-7 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Is all our company here? | — | ||
| 34-8 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Fair love, you faint with wand'ring in the wood | — | ||
| 34-9 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Through the forest have I gone | — | ||
| 34-10 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Stay, though thou kill me, sweet Demetrius | — | ||
| 34-11 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Come, now a roundel and a fairy song | — | ||
| 34-12 | A Midsummer Night's Dream, opera, Op. 64: Act 1. You spotted snakes with double tongue | — | ||
| 34-13 | A Midsummer Night's Dream, opera, Op. 64: Act 1. What thou seest when thou dost wake | — | ||
| 34-14 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Introduction: The Wood | — | ||
| 34-15 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Are we all met? | — | ||
| 34-16 | A Midsummer Night's Dream, opera, Op. 64: Act 2. I see their knavery | — | ||
| 34-17 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Be kind and courteous to this gentleman | — | ||
| 34-18 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Hail, mortal, hail! | — | ||
| 34-19 | A Midsummer Night's Dream, opera, Op. 64: I have a reas'nable good ear in music | — | ||
| 34-20 | A Midsummer Night's Dream, opera, Op. 64: Act 2. How now, mad spirit? | — | ||
| 35-1 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Flower of this purple dye | — | ||
| 35-2 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Puppet? Why, so? | — | ||
| 35-3 | A Midsummer Night's Dream, opera, Op. 64: Act 2. This is thy negligence | — | ||
| 35-4 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Up and down, up and down | — | ||
| 35-5 | A Midsummer Night's Dream, opera, Op. 64: Act 2. On the ground, sleep sound | — | ||
| 35-6 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Introduction: The wood, early next morning. My gentle Robin, seest thou this sweet sight? | — | ||
| 35-7 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Helena! Hermia! Demetrius! Lysander! | — | ||
| 35-8 | A Midsummer Night's Dream, opera, Op. 64: Act 3. When my cue comes, call me | — | ||
| 35-9 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Have you sent to Bottom's house? | — | ||
| 35-10 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Theseus' palace. Now, fair Hippolyta | — | ||
| 35-11 | A Midsummer Night's Dream, opera, Op. 64: Act 3. If we offend, it is with our good will | — | ||
| 35-12 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Gentles, perchance you wonder at this show | — | ||
| 35-13 | A Midsummer Night's Dream, opera, Op. 64: Act 3. In this same interlude it doth befall | — | ||
| 35-14 | A Midsummer Night's Dream, opera, Op. 64: Act 3. O grim-look'd night, O night with hue so black | — | ||
| 35-15 | A Midsummer Night's Dream, opera, Op. 64: Act 3. O Wall, full often hast thou heard my moans | — | ||
| 35-16 | A Midsummer Night's Dream, opera, Op. 64: Act 3. You ladies, you whose gentle hearts do fear | — | ||
| 35-17 | A Midsummer Night's Dream, opera, Op. 64: Act 3. This lanthorn doth the hornèd moon present | — | ||
| 35-18 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Sweet Moon, I thank thee for thy sunny beams | — | ||
| 35-19 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Asleep, my love? | — | ||
| 35-20 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Come, your Bergomask | — | ||
| 35-21 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Now the hungry lion roars | — | ||
| 36-1 | The Rape of Lucretia, op. 37: Act 1, Scene 1: "Rome is now ruled by the Etruscan upstart" (Male Chorus) | Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-2 | The Rape of Lucretia, op. 37: Act 1, Scene 1: "It is an axiom among kings" (Female & Male Chorus) | Sir Peter Pears, Joan Cross, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-3 | The Rape of Lucretia, op. 37: Act 1, Scene 1: "Here the thirsty evening" (Male Chorus, Collatinus, Junius, Tarquinius) | Sir Peter Pears, Norman Lumsden, Denis Dowling, Frederick Sharp, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-4 | The Rape of Lucretia, op. 37: Act 1, Scene 1: "Lucretia! Lucretia! (Junius, Male Chorus, Collatinus) | Denis Dowling, Sir Peter Pears, Norman Lumsden, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-5 | The Rape of Lucretia, op. 37: Act 1, Scene 1: "With you two arm in arm again" (Collatinus, Tarquinius, Junius) | Sir Peter Pears, Frederick Sharp, Denis Dowling, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-6 | The Rape of Lucretia, op. 37: Act 1, Scene 1: Interlude "Tarquinius does not wait" (Male Chorus) | Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-7 | The Rape of Lucretia, op. 37: Act 1, Scene 2: "Their spinning-wheel unwinds" (Female Chorus, Lucretia, Bianca, Lucia) | Joan Cross, Sir Peter Pears, Flora Nielsen, Margaret Ritchie, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-8 | The Rape of Lucretia, op. 37: Act 1, Scene 2: "It is better to desire" (Bianca, Lucretia, Lucia, Female Chorus) | Flora Nielsen, Nancy Evans, Margaret Ritchie, Joan Cross, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-9 | The Rape of Lucretia, op. 37: Act 1, Scene 2: "The oatmeal slippers of sleep" (Female & Male Chorus) | Joan Cross, Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-10 | The Rape of Lucretia, op. 37: Act 1, Scene 2: "None of the women move" (Female Chorus, Tarquinius, Male Chorus, Bianca, Lucia, Lucretia) | Joan Cross, Frederick Sharp, Sir Peter Pears, Flora Nielsen, Margaret Ritchie, Nancy Evans, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-11 | The Rape of Lucretia, op. 37: Act 2, Scene 1: "She sleeps as a rose" (Female & Male Chorus) | Joan Cross, Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-12 | The Rape of Lucretia, op. 37: Act 2, Scene 1: "Lucretia!... What do you want?" (Tarquinius, Lucretia) | Frederick Sharp, Nancy Evans, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-13 | The Rape of Lucretia, op. 37: Act 2, Scene 1: "Go, Tarquinius!" (Female & Male Chorus, Tarquinius, Lucretia) | Joan Cross, Sir Peter Pears, Frederick Sharp, Nancy Evans, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-14 | The Rape of Lucretia, op. 37: Act 2, Scene 1: Interlude "Here in this scene you see" (Female & Male Chorus) | Joan Cross, Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-15 | The Rape of Lucretia, op. 37: Act 2, Scene 2: "Oh! What a lovely day!" (Lucia, Bianca) | Margaret Ritchie, Flora Nielsen, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-16 | The Rape of Lucretia, op. 37: Act 2, Scene 2: "How hideous! Take them away!" (Lucretia, Bianca, Lucia) | Nancy Evans, Flora Nielsen, Margaret Ritchie, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-17 | The Rape of Lucretia, op. 37: Act 2, Scene 2: "Flowers bring to every year" (Lucretia, Bianca) | Nancy Evans, Flora Nielsen, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-18 | The Rape of Lucretia, op. 37: Act 2, Scene 2: "Too late, Junius" (Collatinus, Lucretia) | Norman Lumsden, Nancy Evans, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-19 | The Rape of Lucretia, op. 37: Act 2, Scene 2: "This dead hand lets fall" (Collatinus, Junius, Lucia, Bianca, Female & Male Chorus) | Norman Lumsden, Denis Dowling, Margaret Ritchie, Flora Nielsen, Joan Cross, Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-20 | The Rape of Lucretia, op. 37: Act 2, Scene 2: "Is all this suffering and pain" (Female & Male Chorus) | Joan Cross, Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 37-1 | Peter Grimes, op. 33: Act I, Scene 1: "Whatever you say... Let her among you without fault" (Ellen) | Joan Cross, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-2 | Peter Grimes, op. 33: Act I, Scene 2: "Now the Great Bear and Pleiades" (Peter) | Sir Peter Pears, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-3 | Peter Grimes, op. 33: Act II, Scene 1: Interlude III: Sunday Morning (orchestra) | Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-4 | Peter Grimes, op. 33: Act II, Scene 1: "Glitter of waves" (Ellen, Chorus) | Joan Cross, BBC Theatre Chorus, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-5 | Peter Grimes, op. 33: Act II, Scene 1: "Wherefore, I pray and beseech you" (Rector, Chorus, Ellen) | Tom Culbert, BBC Theatre Chorus, Joan Cross, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-6 | Peter Grimes, op. 33: Act II, Scene 1: "O all ye works of the Lord" (Chorus, Peter, Ellen) | BBC Theatre Chorus, Sir Peter Pears, Joan Cross, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-7 | Peter Grimes, opera, Op. 33: Act 2. Scene 2. In dreams I've built myself some kindlier home | — | ||
| 37-8 | Peter Grimes, op. 33: Act III, Scene 1: "Embroider in childhood" (Ellen) | Joan Cross, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-9 | Peter Grimes, op. 33: Act III: Interlude VI | Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-10 | Peter Grimes, op. 33: Act III, Scene 2: "Grimes!... Steady. There you are" (Chorus, Peter, Ellen) | BBC Theatre Chorus, Sir Peter Pears, Joan Cross, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-11 | Folksong Arrangements, Vol. III "British Isles", for voice & piano: The Plough Boy | — | ||
| 37-12 | Folksong Arrangements, Vol. III "British Isles", for voice & piano: Come you not from Newcastle? | — | ||
| 37-13 | Folksong Arrangements, Vol. III "British Isles", for voice & piano: The Foggy, Foggy Dew | — | ||
| 37-14 | Folksong Arrangements, Vol. III "British Isles", for voice & piano: The King is gone a-hunting | — | ||
| 37-15 | Folksong Arrangements, Vol. III "British Isles", for voice & piano: O Waly, Waly | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Ceremony of Carols: III. There is no Rose | Choir of King’s College, Cambridge, Osian Ellis, Sir David Willcocks | — |
| Ceremony of Carols: I. Procession | Choir of King’s College, Cambridge, Sir David Willcocks | — |
| Ceremony of Carols: II. Wolcum Yole! | Choir of King’s College, Cambridge, Sir David Willcocks | — |
| Ceremony of Carols: III. There is no Rose | Choir of King’s College, Cambridge, Osian Ellis, Sir David Willcocks | — |
| Ceremony of Carols: IV. That Yonge Child | Choir of King’s College, Cambridge, Sir David Willcocks | — |
| Ceremony of Carols: V. Balulalow | Choir of King’s College, Cambridge, Sir David Willcocks | — |
| Ceremony of Carols: VII. This Little Babe | Choir of King’s College, Cambridge, Sir David Willcocks | — |
| Ceremony of Carols: VIIII. In Freezing Winter Night | Choir of King’s College, Cambridge, Sir David Willcocks | — |
| Ceremony of Carols: X. Spring Carol | Choir of King’s College, Cambridge, Sir David Willcocks | — |
| Ceremony of Carols: XI. Deo Gracias | Choir of King’s College, Cambridge, Sir David Willcocks | — |
| Te Deum in C major (1934) | Choir of King’s College, Cambridge, James Lancelot, Philip Ledger | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
5099921752629 is a Universal Product Code (UPC) assigned to The Collector's Edition by Benjamin Britten. 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 740 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
5099921752629 is the Universal Product Code (UPC barcode) for the release “The Collector's Edition” by Benjamin Britten, 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 740 tracks, each with its own ISRC. Tracks include GBAYC8903189, GBAYC8903190, GBAYC8903191.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Sinfonia da Requiem, Op. 20: I. Lacrymosa | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 2 | Sinfonia da Requiem, Op. 20: II. Dies irae | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 3 | Sinfonia da Requiem, Op. 20: II. Requiem aeternam | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 4 | Four Sea Interludes and Passacaglia from Peter Grimes, Op. 33: I. Dawn | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 5 | Four Sea Interludes and Passacaglia from Peter Grimes, Op. 33: II. Sunday Morning | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 6 | Four Sea Interludes and Passacaglia from Peter Grimes, Op. 33: III. Moonlight | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 7 | Four Sea Interludes and Passacaglia from Peter Grimes, Op. 33: IV. Passacaglia | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 8 | Four Sea Interludes and Passacaglia from Peter Grimes, Op. 33: V. Storm | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 9 | The Young Person's Guide to the Orchestra, Op. 34: I. Theme: Allegro maestoso e largamente | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 10 | The Young Person's Guide to the Orchestra Op.34: Var. A: Flutes and piccolo | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 11 | The Young Person's Guide to the Orchestra Op.34: Var. B: Oboes (Lento) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 12 | The Young Person's Guide to the Orchestra Op.34: Var. C: Clarinets (Moderato) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 13 | The Young Person's Guide to the Orchestra Op.34: Var. D: Bassoons (Allegro alla marcia) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | T-900.107.459-5 | |
| 14 | The Young Person's Guide to the Orchestra Op.34: Var. E: Violins (Brillante: alla polacca) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 15 | The Young Person's Guide to the Orchestra Op.34: Var. F: Violas (Meno mosso) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | T-900.107.459-5 | |
| 16 | The Young Person's Guide to the Orchestra Op.34: Var. G: Cellos | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 17 | The Young Person's Guide to the Orchestra Op.34: Var. H: Double basses (Cominciando lento ma poco a poco accel. al Allegro) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 18 | The Young Person's Guide to the Orchestra Op.34: Var. I: Harp (Maestoso) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 19 | The Young Person's Guide to the Orchestra Op.34: Var. J: Horns (L'istesso tempo) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 20 | The Young Person's Guide to the Orchestra Op.34: Var. K: Trumpets (Vivace) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 21 | The Young Person's Guide to the Orchestra Op.34: Var L: Trombones and bass tuba (Allegro pomposo) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 22 | The Young Person's Guide to the Orchestra, Op. 34: V. The Percussion Var. M (Moderato) | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 23 | The Young Person's Guide to the Orchestra, Op. 34: VI. Fugue: Allegro molto - Con slancio | Royal Liverpool Philharmonic Orchestra, Libor Pešek | — | |
| 2-1 | Canadian Carnival, op. 19 | Wesley Warren, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-2 | Diversions for Piano Left-hand and Orchestra, op. 21: I. Theme | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-3 | Diversions for Piano Left Hand and Orchestra, op. 21: II. Variation 1: Recitative | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-4 | Diversions for Piano Left Hand and Orchestra, op. 21: III. Variation 2: Romance | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-5 | Diversions for Piano Left Hand and Orchestra, op. 21: IV. Variation 3: March | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-6 | Diversions for Piano Left Hand and Orchestra, op. 21: V. Variation 4: Arabesque | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-7 | Diversions for Piano Left Hand and Orchestra, op. 21: VI. Variation 5: Chant | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-8 | Diversions for Piano Left Hand and Orchestra, op. 21: VII. Variation 6: Nocturne | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-9 | Diversions for Piano Left Hand and Orchestra, op. 21: VIII. Variation 7: Badinerie | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-10 | Diversions for Piano Left Hand and Orchestra, op. 21: IX. Variation 8: Burlesque | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-11 | Diversions for Piano Left Hand and Orchestra, op. 21: X. Variation 9a: Toccata 1 - Variation 9b: Toccata 2 | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-12 | Diversions for Piano Left Hand and Orchestra, op. 21: XI. Variation 10: Adagio | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-13 | Diversions for Piano Left Hand and Orchestra, op. 21: XII. Finale: Tarantella | Peter Donohoe, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-14 | Scottish Ballad for 2 Pianos and Orchestra, Op.26 | City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 2-15 | Occasional Overture in C major, Op.38 | City of Birmingham Symphony Orchestra, Simon Rattle | T-010.302.388-6 | |
| 2-16 | An American Overture, op. 27 | City of Birmingham Symphony Orchestra, Simon Rattle | T-900.093.572-8 | |
| 2-17 | The Building of the House, op. 79 | City of Birmingham Symphony Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 3-1 | Piano Concerto, op. 13: I. Toccata. Allegro molto e con brio | City of Birmingham Symphony Orchestra, Paavo Järvi, Leif Ove Andsnes | — | |
| 3-2 | Piano Concerto, op. 13: II. Waltz. Allegretto | City of Birmingham Symphony Orchestra, Paavo Järvi, Leif Ove Andsnes | — | |
| 3-3 | Piano Concerto, op. 13: III. Impromptu. Andante lento - | City of Birmingham Symphony Orchestra, Paavo Järvi, Leif Ove Andsnes | — | |
| 3-4 | Piano Concerto, op. 13: IV. March. Allegro moderato - sempre alla marcia | City of Birmingham Symphony Orchestra, Paavo Järvi, Leif Ove Andsnes | — | |
| 3-5 | Violin Concerto, op. 15: I. Moderato con moto | Ida Haendel, Bournemouth Symphony Orchestra, Paavo Berglund | — | |
| 3-6 | Violin Concerto, op. 15: II. Vivace — | Ida Haendel, Bournemouth Symphony Orchestra, Paavo Berglund | — | |
| 3-7 | Violin Concerto, op. 15: III. Passacaglia (Andante lento — Un poco meno mosso) | Ida Haendel, Bournemouth Symphony Orchestra, Paavo Berglund | — | |
| 3-8 | "Young Apollo" for Piano, String Quartet, and Strings, Op.16 | Jeremy Ballard, Peter Cole, Peter Donohoe, Michal Kaznowski, Felix Kok, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 4-1 | Simple Symphony, Op. 4: I. Boisterous Bourrée | Norwegian Chamber Orchestra, Iona Brown | — | |
| 4-2 | Simple Symphony, Op. 4: II. Playful Pizzicato | Norwegian Chamber Orchestra, Iona Brown | — | |
| 4-3 | Simple Symphony, Op. 4: III. Sentimental Sarabande | Norwegian Chamber Orchestra, Iona Brown | — | |
| 4-4 | Simple Symphony, Op. 4: IV. Frolicsome Finale | Norwegian Chamber Orchestra, Iona Brown | — | |
| 4-5 | Variations on a Theme of Frank Bridge, Op. 10: Introduction and Theme | Det Norske Kammerorkester, Iona Brown | — | |
| 4-6 | Variations on a Theme of Frank Bridge, Op. 10: Adagio | Det Norske Kammerorkester, Iona Brown | — | |
| 4-7 | Variations on a Theme of Frank Bridge, Op. 10: March | Det Norske Kammerorkester, Iona Brown | — | |
| 4-8 | Variations on a Theme of Frank Bridge, Op. 10: Romance | Det Norske Kammerorkester, Iona Brown | — | |
| 4-9 | Variations on a Theme of Frank Bridge, Op. 10: Aria Italiana | Det Norske Kammerorkester, Iona Brown | — | |
| 4-10 | Variations on a Theme of Frank Bridge, Op. 10: Bourée Classique | Det Norske Kammerorkester, Iona Brown | — | |
| 4-11 | Variations on a Theme of Frank Bridge, Op. 10: Wiener Walzer | Det Norske Kammerorkester, Iona Brown | — | |
| 4-12 | Variations on a Theme of Frank Bridge, Op. 10: Moto Perpetuo | Det Norske Kammerorkester, Iona Brown | — | |
| 4-13 | Variations on a Theme of Frank Bridge, Op. 10: Funeral March | Det Norske Kammerorkester, Iona Brown | — | |
| 4-14 | Variations on a Theme of Frank Bridge, Op. 10: Chant | Det Norske Kammerorkester, Iona Brown | — | |
| 4-15 | Variations on a Theme of Frank Bridge, Op. 10: Fuge and Finale | Det Norske Kammerorkester, Iona Brown | — | |
| 4-16 | Prelude and Fugue, Op. 29 | Norwegian Chamber Orchestra, Iona Brown | — | |
| 4-17 | Lachrymae, Op. 48a | Lars Anders Tomter, Norwegian Chamber Orchestra, Iona Brown | — | |
| 5-1 | Symphonic Suite from 'Gloriana' Op.53a: I. The Tournament | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-2 | Symphonic Suite from 'Gloriana' Op.53a: II. The Lute Song | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-3 | Symphonic Suite from 'Gloriana' Op.53a: III. The Courtly Dances - March | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-4 | Symphonic Suite from 'Gloriana' Op.53a: III. The Courtly Dances - Coranto | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-5 | Symphonic Suite from 'Gloriana' Op.53a: III. The Courtly Dances - Pavane | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-6 | Symphonic Suite from 'Gloriana' Op.53a: III. The Courtly Dances - Morris Dance | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-7 | Symphonic Suite from 'Gloriana' Op.53a: III. The Courtly Dances - Galliard | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-8 | Symphonic Suite from 'Gloriana' Op.53a: III. The Courtly Dances - Lavolta | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-9 | Symphonic Suite from 'Gloriana' Op.53a: IV. Gloriana moritura | Royal Liverpool Philharmonic Orchestra, Takuo Yuasa | — | |
| 5-10 | Cello Symphony Op. 68: I. Allegro maestoso | Steven Isserlis, City of London Sinfonia, Richard Hickox | — | |
| 5-11 | Symphony for Cello and Orchestra, op. 68: II. Presto inquieto | Steven Isserlis, City of London Sinfonia, Richard Hickox | — | |
| 5-12 | Cello Symphony Op. 68: III. Adagio | Steven Isserlis, City of London Sinfonia, Richard Hickox | — | |
| 5-13 | Cello Symphony Op. 68: III. Cadenza | Steven Isserlis, City of London Sinfonia, Richard Hickox | — | |
| 5-14 | Cello Symphony Op. 68: IV. Passacaglia (Andante allegro) | Steven Isserlis, City of London Sinfonia, Richard Hickox | — | |
| 5-15 | Men of Goodwill | Minnesota Orchestra, Sir Neville Marriner | — | |
| 6-1 | Sinfonietta Op.1: I. Poco presto ed agitato | Britten Sinfonia, Daniel Harding | — | |
| 6-2 | Sinfonietta Op.1: II. Andante lento | Britten Sinfonia, Daniel Harding | — | |
| 6-3 | Sinfonietta Op.1: III. Tarantella: Presto vivace | Britten Sinfonia, Daniel Harding | — | |
| 6-4 | Russian Funeral: Andante alla marcia - Un pochissimo animando - Tempo primo più maestoso | City of Birmingham Symphony Orchestra, Sir Simon Rattle | — | |
| 6-5 | Suite on English Folk Tunes, op. 90 "A time there was...": I. Cakes and Ale | City of Birmingham Symphony Orchestra, Simon Rattle | T-900.015.529-3 | |
| 6-6 | Suite on English Folk Tunes, op. 90 "A time there was...": II. The Bitter Withy | City of Birmingham Symphony Orchestra, Simon Rattle | T-900.015.529-3 | |
| 6-7 | Suite on English Folk Tunes, op. 90 "A time there was...": III. Hankin Booby | City of Birmingham Symphony Orchestra, Simon Rattle | T-900.015.529-3 | |
| 6-8 | Suite on English Folk Tunes, op. 90 "A time there was...": IV. Hunt the Squirrel | City of Birmingham Symphony Orchestra, Simon Rattle | T-900.015.529-3 | |
| 6-9 | Suite on English Folk Tunes, op. 90 "A time there was...": V. Lord Melbourne (feat. cor anglais: Peter Walden) | City of Birmingham Symphony Orchestra, Simon Rattle | T-900.015.529-3 | |
| 6-10 | Matinées musicales Op.24: March | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-11 | Matinées musicales Op.24: Nocturne | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-12 | Matinées musicales Op.24: Waltz | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-13 | Matinées musicales Op.24: Pantomime | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-14 | Matinées musicales Op.24: Moto perpetuo | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-15 | Matinées musicales Op.24: March | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-16 | Matinées musicales Op.24: Canzonetta | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-17 | Matinées musicales Op.24: Tirolese | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-18 | Matinées musicales Op.24: Bolero | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-19 | Matinées musicales Op.24: Tarantella | English Chamber Orchestra, Sir Alexander Gibson | — | |
| 6-20 | Rossini Suite: I. March. Allegro brillante | Neil Mackie, Steuart Bedford, Scottish Chamber Orchestra | — | |
| 6-21 | Rossini Suite: II. Canzonetta. Allegretto | Boys of the Paisley Abbey Choir, Neil Mackie, Steuart Bedford, Scottish Chamber Orchestra | — | |
| 6-22 | Rossini Suite: III. Allegretto | Neil Mackie, Steuart Bedford, Scottish Chamber Orchestra | — | |
| 6-23 | Rossini Suite: IV. Bolero. Allegro moderato | Neil Mackie, Steuart Bedford, Scottish Chamber Orchestra | — | |
| 6-24 | Rossini Suite: V. Allegro con brio | Boys of the Paisley Abbey Choir, Neil Mackie, Steuart Bedford, Scottish Chamber Orchestra | — | |
| 7-1 | The Prince of the Pagodas: Prelude | London Sinfonietta, Oliver Knussen | — | |
| 7-2 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - The Fool and the Dwarf | David Purser, London Sinfonietta, Oliver Knussen | — | |
| 7-3 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - March and Courtiers' Dance | John Harle, London Sinfonietta, Oliver Knussen | — | |
| 7-4 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Entry of the Pages and the Four Kings | Sebastian Bell, London Sinfonietta, Oliver Knussen | — | |
| 7-5 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Variation of the King of the North | London Sinfonietta, Oliver Knussen | — | |
| 7-6 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Variation of the King of the East | Michael Thompson, London Sinfonietta, Oliver Knussen | — | |
| 7-7 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Variation of the King of the West | London Sinfonietta, Oliver Knussen | — | |
| 7-8 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Variation of the King of the South | John Chimes, Kevin Nutty, London Sinfonietta, Oliver Knussen | — | |
| 7-9 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - The Kings bow before the Emperor | London Sinfonietta, Oliver Knussen | — | |
| 7-10 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Variation of Princess Belle Épine | London Sinfonietta, Oliver Knussen | — | |
| 7-11 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Variation of Princess Belle Rose and Pas de deux | Gareth Hulse, John Miller, London Sinfonietta, Oliver Knussen | — | |
| 7-12 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - The Kings and Belle Rose | London Sinfonietta, Oliver Knussen | — | |
| 7-13 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Belle Épine and the Four Kings | London Sinfonietta, Oliver Knussen | — | |
| 7-14 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - The Rage of the Kings | London Sinfonietta, Oliver Knussen | — | |
| 7-15 | The Prince of the Pagodas: Act One, The Palace of the Emperor of the Middle Kingdom - Entry of the Four Winged Frogs | John Orford, London Sinfonietta, Oliver Knussen | — | |
| 7-16 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Introduction: Belle Rose borne in by the Frogs | London Sinfonietta, Oliver Knussen | — | |
| 7-17 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Waltz: Clouds, Stars, and Moon | London Sinfonietta, Oliver Knussen | — | |
| 7-18 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Belle Rose borne in by the Frogs (1) | London Sinfonietta, Oliver Knussen | — | |
| 7-19 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Entrée: Sea Horses, Fish Creatures and Waves | London Sinfonietta, Oliver Knussen | — | |
| 7-20 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Variation: Sea Horses | London Sinfonietta, Oliver Knussen | — | |
| 7-21 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Variation: Fish Creatures | Joy Farrall, Helen Tunstall, London Sinfonietta, Oliver Knussen | — | |
| 7-22 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Coda (1) | London Sinfonietta, Oliver Knussen | — | |
| 7-23 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Belle Rose borne in by the Frogs (2) | London Sinfonietta, Oliver Knussen | — | |
| 7-24 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Pas de deux: Male and Female Flames | London Sinfonietta, Oliver Knussen | — | |
| 7-25 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Variation: Male Flame | London Sinfonietta, Oliver Knussen | — | |
| 7-26 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Variation: Female Flame | London Sinfonietta, Oliver Knussen | — | |
| 7-27 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Coda (2) | London Sinfonietta, Oliver Knussen | — | |
| 7-28 | The Prince of the Pagodas: Act Two, Scene One: The Strange Journey of Belle Rose to the Pagoda Land - Belle Rose, exhausted, borne in by the Frogs | London Sinfonietta, Oliver Knussen | — | |
| 7-29 | The Prince of the Pagodas: Act Two, Scene Two: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas - Belle Rose in darkness | Nona Liddell, London Sinfonietta, Oliver Knussen | — | |
| 7-30 | The Prince of the Pagodas: Act Two, Scene Two: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas - The Pagodas | John Constable, James Holland, London Sinfonietta, Oliver Knussen | — | |
| 7-31 | The Prince of the Pagodas: Act Two, Scene Two: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas - The Salamander | London Sinfonietta, Oliver Knussen | — | |
| 7-32 | The Prince of the Pagodas: Act Two, Scene Two: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas - Pas de deux: The Prince and Belle Rose | London Sinfonietta, Oliver Knussen | — | |
| 7-33 | The Prince of the Pagodas: Act Two, Scene Two: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas - Belle Rose hunts for the Prince | London Sinfonietta, Oliver Knussen | — | |
| 8-1 | The Prince of the Pagodas: Act Three, Scene One: The Palace of the Middle Kingdom - Empress Belle Épine | London Sinfonietta, Oliver Knussen | — | |
| 8-2 | The Prince of the Pagodas: Act Three, Scene One: The Palace of the Middle Kingdom - The Old Emperor | John Harle, London Sinfonietta, Oliver Knussen | — | |
| 8-3 | The Prince of the Pagodas: Act Three, Scene One: The Palace of the Middle Kingdom - Appearance of Belle Rose and the Salamander | London Sinfonietta, Oliver Knussen | — | |
| 8-4 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Transformation | London Sinfonietta, Oliver Knussen | — | |
| 8-5 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Pas de six: Entrée | London Sinfonietta, Oliver Knussen | — | |
| 8-6 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Variation 1: Pas de deux | Christopher van Kampen, Nona Liddell, London Sinfonietta, Oliver Knussen | — | |
| 8-7 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Variation 2: Girl's solo | London Sinfonietta, Oliver Knussen | — | |
| 8-8 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Variation 3: Boy's solo | London Sinfonietta, Oliver Knussen | — | |
| 8-9 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Pas de trois | London Sinfonietta, Oliver Knussen | — | |
| 8-10 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Coda | London Sinfonietta, Oliver Knussen | — | |
| 8-11 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Pas de caractére: The Emperor and the Fool | London Sinfonietta, Oliver Knussen | — | |
| 8-12 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Pas de deux: Belle Rose and the Prince of the Pagodas | London Sinfonietta, Oliver Knussen | — | |
| 8-13 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Variation IV: The Prince | London Sinfonietta, Oliver Knussen | — | |
| 8-14 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Variation V: Belle Rose | London Sinfonietta, Oliver Knussen | — | |
| 8-15 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Finale | London Sinfonietta, Oliver Knussen | — | |
| 8-16 | The Prince of the Pagodas: Act Three, Scene Two: The Pagoda Palace - Apotheosis | London Sinfonietta, Oliver Knussen | — | |
| 9-1 | Rhapsody, for string quartet | — | ||
| 9-2 | Quartettino, for string quartet: 1. Andante - Allegro molto e con fuoco | — | ||
| 9-3 | Quartettino, for string quartet: 2. Poco adagio ma con moto | — | ||
| 9-4 | Quartettino, for string quartet: 3. Allegro molto vivace | — | ||
| 9-5 | Elegy, for solo viola | — | ||
| 9-6 | String Quartet in D major: 1. Allegro maestoso | — | ||
| 9-7 | String Quartet in D major: 2. Lento ed espressivo | — | ||
| 9-8 | String Quartet in D major: 3. Allegro giocoso | — | ||
| 9-9 | Phantasy, for string quintet in F minor | — | ||
| 10-1 | Phantasy Quartet, for oboe & string trio in F minor, Op. 2 | — | ||
| 10-2 | Divertimenti (3), for string quartet: 1. March | — | ||
| 10-3 | Divertimenti (3), for string quartet: 2. Waltz | — | ||
| 10-4 | Divertimenti (3), for string quartet: 3. Burlesque | — | ||
| 10-5 | Alla Marcia, for string quartet | — | ||
| 10-6 | String Quartet No. 1 in D major, Op. 25: 1. Andante sostenuto - Allegro vivo | — | ||
| 10-7 | String Quartet No. 1 in D major, Op. 25: 2. Allegretto con slancio | — | ||
| 10-8 | String Quartet No. 1 in D major, Op. 25: 3. Andante calmo | — | ||
| 10-9 | String Quartet No. 1 in D major, Op. 25: 4. Molto vivace | — | ||
| 11-1 | String Quartet No. 2 in C major, Op. 36: 1. Allegro calmo senza rigore | — | ||
| 11-2 | String Quartet No. 2 in C major, Op. 36: 2. Vivace | — | ||
| 11-3 | String Quartet No. 2 in C major, Op. 36: 3. Chacony (Sostenuto) | — | ||
| 11-4 | String Quartet No. 3, Op. 94: 1. Duets (With moderate movement) | — | ||
| 11-5 | String Quartet No. 3, Op. 94: 2. Ostinato (Very fast) | — | ||
| 11-6 | String Quartet No. 3, Op. 94: 3. Solo (Very calm) | — | ||
| 11-7 | String Quartet No. 3, Op. 94: 4. Burlesque (Fast, con fuoco) | — | ||
| 11-8 | String Quartet No. 3, Op. 94: 5. Recitative and Passacaglia (La Serenissima) (Slow) | — | ||
| 12-1 | Suite for Solo Cello No. 1 in G major, Op. 72: Canto primo: Sostenuto e largamente | Truls Mørk | — | |
| 12-2 | Suite for Solo Cello No. 1 in G major, Op. 72: I. Fuga: Andante moderato | Truls Mørk | — | |
| 12-3 | Suite for Solo Cello No. 1 in G major, Op. 72: II. Lamento: Lento rubato | Truls Mørk | — | |
| 12-4 | Suite for Solo Cello No. 1 in G major, Op. 72: Canto secondo: Sostenuto | Truls Mørk | — | |
| 12-5 | Suite for Solo Cello No. 1 in G major, Op. 72: III. Serenata: Allegretto (pizzicato) | Truls Mørk | — | |
| 12-6 | Suite for Solo Cello No. 1 in G major, Op. 72: IV. Marcia: Alla marcia moderato | Truls Mørk | — | |
| 12-7 | Suite for solo cello No. 1, Op. 72: Canto terzo: Sostenuto | — | ||
| 12-8 | Suite for Solo Cello No. 1 in G major, Op. 72: V. Bordone: Moderato quasi recitativo | Truls Mørk | — | |
| 12-9 | Suite for Solo Cello No. 1 in G major, Op. 72: VI. Moto perpetuo e Canto quarto: Presto | Truls Mørk | — | |
| 12-10 | Suite for Solo Cello No. 2 in D major, Op. 80: I. Declamato: Largo | Truls Mørk | — | |
| 12-11 | Suite for Solo Cello No. 2 in D major, Op. 80: II. Fuga: Andante | Truls Mørk | — | |
| 12-12 | Suite for Solo Cello No. 2 in D major, Op. 80: III. Scherzo: Allegro molto | Truls Mørk | — | |
| 12-13 | Suite for Solo Cello No. 2 in D major, Op. 80: IV. Andante lento | Truls Mørk | — | |
| 12-14 | Suite for Solo Cello No. 2 in D major, Op. 80: V. Ciaccona: Allegro | Truls Mørk | — | |
| 12-15 | Suite for Solo Cello No. 3, Op. 87: I. Introduzione: Lento | Truls Mørk | — | |
| 12-16 | Suite for Solo Cello No. 3, Op. 87: II. Marcia: Allegro | Truls Mørk | — | |
| 12-17 | Suite for Solo Cello No. 3, Op. 87: III. Canto: Con moto | Truls Mørk | — | |
| 12-18 | Suite for Solo Cello No. 3, Op. 87: IV. Barcarola: Lento | Truls Mørk | — | |
| 12-19 | Suite for Solo Cello No. 3, Op. 87: V. Dialogo: Allegretto | Truls Mørk | — | |
| 12-20 | Suite for Solo Cello No. 3, Op. 87: VI. Fuga: Andante espressivo | Truls Mørk | — | |
| 12-21 | Suite for Solo Cello No. 3, Op. 87: VII. Recitativo: Fantastico | Truls Mørk | — | |
| 12-22 | Suite for Solo Cello No. 3, Op. 87: VIII. Moto perpetuo: Presto | Truls Mørk | — | |
| 12-23 | Suite for Solo Cello No. 3, Op. 87: IX. Passacaglia: Lento solenne | Truls Mørk | — | |
| 13-1 | Holiday Diary, suite for piano, Op. 5: 1. Early morning bathe | — | ||
| 13-2 | Holiday Diary, suite for piano, Op. 5: 2. Sailing | — | ||
| 13-3 | Holiday Diary, suite for piano, Op. 5: 3. Funfair | — | ||
| 13-4 | Holiday Diary, suite for piano, Op. 5: 4. Night | — | ||
| 13-5 | Character Pieces (3), for piano: 1. Poco allegro vivace | — | ||
| 13-6 | Character Pieces (3), for piano: 2. Poco andante grazioso | — | ||
| 13-7 | Character Pieces (3), for piano: 3. Poco presto e molto capriccioso | — | ||
| 13-8 | Night Piece (Notturno), for piano | — | ||
| 13-9 | Sonatina Romantica, for piano: Moderato | — | ||
| 13-10 | Sonatina Romantica, for piano: Nocturne | — | ||
| 13-11 | Variations (12), for piano | — | ||
| 13-12 | Waltzes (5), for piano: 1. Rather fast and nervous | — | ||
| 13-13 | Waltzes (5), for piano: 2. Quick, with wit | — | ||
| 13-14 | Waltzes (5), for piano: 3. Dramatic | — | ||
| 13-15 | Waltzes (5), for piano: 4. Rhythmic; not fast | — | ||
| 13-16 | Waltzes (5), for piano: 5. Variations: Quiet and simple | — | ||
| 13-17 | Two Lullabies, for 2 pianos: Lullaby | — | ||
| 13-18 | Two Lullabies, for 2 pianos: Lullaby for a retired Colonel | — | ||
| 13-19 | Pieces (2), for 2 pianos, Op. 23: No. 2 Mazurka elegiaca | — | ||
| 13-20 | Pieces (2), for 2 pianos, Op. 23: Introduction | — | ||
| 13-21 | Pieces (2), for 2 pianos, Op. 23: Rondo alla burlesca | — | ||
| 14-1 | Suite, for violin & piano, Op. 6: Introduction: Andante maestoso | — | ||
| 14-2 | Suite, for violin & piano, Op. 6: 1. March: Allegro alla marcia | — | ||
| 14-3 | Suite, for violin & piano, Op. 6: 2. Moto perpetuo: Allegro molto e con fuoco | — | ||
| 14-4 | Suite, for violin & piano, Op. 6: 3. Lullaby: Lento tranquillo | — | ||
| 14-5 | Suite, for violin & piano, Op. 6: 4. Waltz: Alla valse: vivace e rubato | — | ||
| 14-6 | Sonata for cello & piano in C major, Op. 65: 1. Dialogo: Allegro | — | ||
| 14-7 | Sonata for cello & piano in C major, Op. 65: 2. Scherzo - Pizzicato: Allegretto | — | ||
| 14-8 | Sonata for cello & piano in C major, Op. 65: 3. Elegia: Lento | — | ||
| 14-9 | Sonata for cello & piano in C major, Op. 65: 4. Marcia: Energico | — | ||
| 14-10 | Sonata for cello & piano in C major, Op. 65: 5. Moto perpetuo: Presto | — | ||
| 14-11 | Metamorphoses (6) after Ovid, for oboe solo, Op. 49: 1. Pan (Senza misura) | — | ||
| 14-12 | Metamorphoses (6) after Ovid, for oboe solo, Op. 49: 2. Phaeton (Vivace ritmico) | — | ||
| 14-13 | Metamorphoses (6) after Ovid, for oboe solo, Op. 49: 3. Niobe (Andante) | — | ||
| 14-14 | Metamorphoses (6) after Ovid, for oboe solo, Op. 49: 4. Bacchus (Allegro pesante) | — | ||
| 14-15 | Metamorphoses (6) after Ovid, for oboe solo, Op. 49: 5. Narcissus (Lento piacevole) | — | ||
| 14-16 | Metamorphoses (6) after Ovid, for oboe solo, Op. 49: 6. Arethusa (Largamente) | — | ||
| 14-17 | Nocturnal after John Dowland, for guitar, Op. 70: 1. Musingly (Meditativo) | — | ||
| 14-18 | Nocturnal after John Dowland, for guitar, Op. 70: 2. Agitated (Molto agitativo) | — | ||
| 14-19 | Nocturnal after John Dowland, for guitar, Op. 70: 3. Restless (Inquieto) | — | ||
| 14-20 | Nocturnal after John Dowland, for guitar, Op. 70: 4. Uneasy (Ansioso) | — | ||
| 14-21 | Nocturnal after John Dowland, for guitar, Op. 70: 5. March-like (Quasi una marcia) | — | ||
| 14-22 | Nocturnal after John Dowland, for guitar, Op. 70: 6. Dreaming (Sognanti) | — | ||
| 14-23 | Nocturnal after John Dowland, for guitar, Op. 70: 7. Gently rocking (Cullante) | — | ||
| 14-24 | Nocturnal after John Dowland, for guitar, Op. 70: 8. Passacaglia (Misurato) | — | ||
| 14-25 | Nocturnal after John Dowland, for guitar, Op. 70: 9. Slow and quiet (Tranquillo) | — | ||
| 15-1 | War Requiem, op. 66: I. Requiem aeternam. "Requiem aeternam dona eis Domine" | Boys of Christ Church Cathedral, Oxford, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-2 | War Requiem, op. 66: I. Requiem aeternam. "What passing-bells for these who die as cattle?" | Robert Tear, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-3 | War Requiem, op. 66: I. Requiem aeternam. "Kyrie eleison" | City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-4 | War Requiem, op. 66: II. Dies irae. "Dies irae, dies illa" | City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-5 | War Requiem, op. 66: II. Dies irae. "Bugles sang, saddening the evening air" | Sir Thomas Allen, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-6 | War Requiem, op. 66: II. Dies irae. "Liber scriptus proferetur" | Elisabeth Söderström, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-7 | War Requiem, op. 66: II. Dies irae. "Out there, we've walked quite friendly up to Death" | Robert Tear, Sir Thomas Allen, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-8 | War Requiem, op. 66: II. Dies irae. "Recordare Jesu pie" | City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-9 | War Requiem, op. 66: II. Dies irae. "Be slowly lifted up, thou long black arm" | Sir Thomas Allen, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-10 | War Requiem, op. 66: II. Dies irae. "Dies irae, dies illa" | City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-11 | War Requiem, op. 66: II. Dies irae. "Lacrimosa dies illa" | Elisabeth Söderström, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-12 | War Requiem, op. 66: II. Dies irae "Move him into the sun...Pie Jesu" | Robert Tear, Elisabeth Söderström, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-13 | War Requiem, op. 66: III. Offertorium. "Domine Jesu Christe" | Boys of Christ Church Cathedral, Oxford, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-14 | War Requiem, op. 66: III. Offertorium. "So Abram rose, and clave the wood, and went" | Robert Tear, Sir Thomas Allen, Boys of Christ Church Cathedral, Oxford, Simon Rattle | — | |
| 15-15 | War Requiem, op. 66: IV. Sanctus. "Sanctus, sanctus, sanctus" | Elisabeth Söderström, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-16 | War Requiem, op. 66: IV. Sanctus. "Benedictus qui venit in nomine Domini" | Elisabeth Söderström, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-17 | War Requiem, op. 66: IV. Sanctus. "After the blast of lightning from the East" | Sir Thomas Allen, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 15-18 | War Requiem, op. 66: V. Agnus Dei | Robert Tear, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 16-1 | War Requiem, op. 66: VI. Libera me. "Libera me, Domine, de morte aeterna" | Elisabeth Söderström, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 16-2 | War Requiem, op. 66: VI. Libera me. "It seemed that out of battle I escaped" | Robert Tear, Sir Thomas Allen, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 16-3 | War Requiem, op. 66: VI. Libera me. "Let us sleep now...In paradisum" | Robert Tear, Sir Thomas Allen, Elisabeth Söderström, Boys of Christ Church Cathedral, Oxford, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 16-4 | A Spring Symphony, op. 44: Part One. I. Introduction: Shine Out | London Symphony Orchestra, André Previn | — | |
| 16-5 | A Spring Symphony, op. 44: Part One. II. The Merry Cuckoo | London Symphony Orchestra, André Previn | — | |
| 16-6 | A Spring Symphony, op. 44: Part One. III. Spring, the Sweet Spring | London Symphony Orchestra, André Previn | — | |
| 16-7 | A Spring Symphony, op. 44: Part One. IV. The Driving Boy | London Symphony Orchestra, André Previn | — | |
| 16-8 | A Spring Symphony, op. 44: Part One. V. The Morning Star | London Symphony Orchestra, André Previn | — | |
| 16-9 | A Spring Symphony, op. 44: Part Two. I. Welcome, Maids of Honour | London Symphony Orchestra, André Previn | — | |
| 16-10 | A Spring Symphony, op. 44: Part Two. II. Waters Above! | London Symphony Orchestra, André Previn | — | |
| 16-11 | A Spring Symphony, op. 44: Part Two. III. Out on the Lawn I Lie in Bed | London Symphony Orchestra, André Previn | — | |
| 16-12 | A Spring Symphony, op. 44: Part Three. I. When Will My May Come | London Symphony Orchestra, André Previn | — | |
| 16-13 | A Spring Symphony, op. 44: Part Three. II. Fair and Fair | London Symphony Orchestra, André Previn | — | |
| 16-14 | A Spring Symphony, op. 44: Part Three. III. Sound the Flute! | London Symphony Orchestra, André Previn | — | |
| 16-15 | A Spring Symphony, op. 44: Part Four. Finale: London, to Thee I Do Present | London Symphony Orchestra, André Previn | — | |
| 17-1 | Hymn to St. Cecilia, for chorus, Op. 27: 1. In a garden shady this holy lady | — | ||
| 17-2 | Hymn to St. Cecilia, for chorus, Op. 27: 2. I cannot grow | — | ||
| 17-3 | Hymn to St. Cecilia, for chorus, Op. 27: 3. O ear whose creatures cannot wish to fail | — | ||
| 17-4 | Ceremony of Carols: I. Procession | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-5 | Ceremony of Carols: II. Wolcum Yole! | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-6 | Ceremony of Carols: III. There is no Rose | Choir of King’s College, Cambridge, Osian Ellis, Sir David Willcocks | — | |
| 17-7 | Ceremony of Carols: IV. That Yonge Child | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-8 | Ceremony of Carols: V. Balulalow | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-9 | A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: 5. As dew in Aprille | — | ||
| 17-10 | Ceremony of Carols: VII. This Little Babe | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-11 | A Ceremony of Carols: Interlude (Andante Pastorale) | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-12 | Ceremony of Carols: VIIII. In Freezing Winter Night | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-13 | Ceremony of Carols: X. Spring Carol | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-14 | Ceremony of Carols: XI. Deo Gracias | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-15 | Ceremony of Carols: XII. Recession | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-16 | Missa Brevis in D: I. Kyrie | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-17 | Missa Brevis in D: II. Gloria | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-18 | Missa Brevis in D: III. Sanctus | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-19 | Missa Brevis in D: IV. Benedictus | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-20 | Missa Brevis in D: V. Agnus Dei | Choir of King’s College, Cambridge, Sir David Willcocks | — | |
| 17-21 | Festival Te Deum, op. 32 | Choir of King’s College, Cambridge, James Lancelot, Philip Ledger | — | |
| 17-22 | Rejoice in the Lamb, Op. 30: Rejoice in God, O ye Tongues — | James Bowman, Choir of King’s College, Cambridge, Marcus Creed, Richard Morton, David Corkhill, James Lancelot, Philip Ledger | — | |
| 17-23 | Rejoice in the Lamb, Op. 30: For I will consider my Cat Jeoffry — | James Bowman, Choir of King’s College, Cambridge, Marcus Creed, Richard Morton, David Corkhill, James Lancelot, Philip Ledger | — | |
| 17-24 | Rejoice in the Lamb, Op. 30: For the Mouse is a creature of great personal valour — | James Bowman, Choir of King’s College, Cambridge, Marcus Creed, Richard Morton, David Corkhill, James Lancelot, Philip Ledger | — | |
| 17-25 | Rejoice in the Lamb, Op. 30: For the flowers are great blessings — | James Bowman, Choir of King’s College, Cambridge, Marcus Creed, Richard Morton, David Corkhill, James Lancelot, Philip Ledger | — | |
| 17-26 | Rejoice in the Lamb, Op. 30: For I am under the same accusation with my Saviour — | James Bowman, Choir of King’s College, Cambridge, Marcus Creed, Richard Morton, David Corkhill, James Lancelot, Philip Ledger | — | |
| 17-27 | Rejoice in the Lamb, festival cantata for trumpet, ATB soloists, chorus & organ, Op. 30: For H is a spirit and therefore he is God | — | ||
| 17-28 | Rejoice in the Lamb, Op. 30: Hallelujah from the heart of God | James Bowman, Choir of King’s College, Cambridge, Marcus Creed, Richard Morton, David Corkhill, James Lancelot, Philip Ledger | — | |
| 17-29 | Te Deum in C major (1934) | Choir of King’s College, Cambridge, James Lancelot, Philip Ledger | — | |
| 17-30 | Jubliate Deo (1961) | Choir of King’s College, Cambridge, James Lancelot, Philip Ledger | T-902.877.719-7 | |
| 18-1 | A Hymn to the Virgin, for double chorus | — | ||
| 18-2 | Saint Nicolas: Introduction | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-3 | Saint Nicolas: The Birth of Nicolas | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-4 | Saint Nicolas: Nicolas Devotes Himself to God | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-5 | Saint Nicolas: He Journeys to Palestine | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-6 | Saint Nicolas: Nicolas Comes to Myra and Is Chosen Bishop | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-7 | Saint Nicolas: Nicolas From Prison | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-8 | Saint Nicolas: Nicolas and the Pickled Boys | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-9 | Saint Nicolas: His Piety and Marvellous Works | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-10 | Saint Nicolas: The Death of Nicolas | Cambridge Girls Choir, Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | — | |
| 18-11 | Hymn to St. Peter, for trumpet, chorus & organ, Op. 56a | — | ||
| 18-12 | Hymn of St. Columba (Regis regum rectissimi), for chorus & organ | — | ||
| 18-13 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 1. St Godric's Hymn | — | ||
| 18-14 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 2. I mon waxe sod | — | ||
| 18-15 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 3. Lenten is come | — | ||
| 18-16 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 4. The long night | — | ||
| 18-17 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 5. Yif ic of luve can | — | ||
| 18-18 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 6. Carol | — | ||
| 18-19 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 7. Ye that pasen by | — | ||
| 18-20 | Sacred and Profane, medieval lyrics (8) for SSATB chorus, Op. 91: 8. A death | — | ||
| 19-1 | The Little Sweep, children's opera, Op. 45: Scene 1. 1. The Sweep's Song: Sweep! Sweep! (Audience Song 1) | — | ||
| 19-2 | The Little Sweep, children's opera, Op. 45: Scene 1. 2. Quartet: Sweep this chimney | — | ||
| 19-3 | The Little Sweep, children's opera, Op. 45: Scene 1. 3. Duet: Now, little white boy! | — | ||
| 19-4 | The Little Sweep, children's opera, Op. 45: Scene 1. 3a. Hide and Seek: Juliet! Juliet! | — | ||
| 19-5 | The Little Sweep, children's opera, Op. 45: Scene 1. 4. Shanty: Pull the rope gently | — | ||
| 19-6 | The Little Sweep, children's opera, Op. 45: Scene 1. 5. Ensemble: Is he wounded? | — | ||
| 19-7 | The Little Sweep, children's opera, Op. 45: Scene 1. 6. Marching Song: Sooty tracks upon the sheet | — | ||
| 19-8 | The Little Sweep, children's opera, Op. 45: Scene 1. 7. Trio: Sam! Sam! | — | ||
| 19-9 | The Little Sweep, children's opera, Op. 45: Scene 1. 8. Aria: Run, poor sweepboy | — | ||
| 19-10 | The Little Sweep, children's opera, Op. 45: Scene 1. 9. Sammy's Bath: The kettles are singing (Audience Song 2) | — | ||
| 19-11 | The Little Sweep, children's opera, Op. 45: Scene 2. 10. Ensemble: O why do you weep... | — | ||
| 19-12 | The Little Sweep, children's opera, Op. 45: Scene 2. 11. Pantomime and | — | ||
| 19-13 | The Little Sweep, children's opera, Op. 45: Scene 2. 12. Scene: Ah!... Blackguards | — | ||
| 19-14 | The Little Sweep, children's opera, Op. 45: Scene 2. 13. Finale: Help! Help! She's collapsed! | — | ||
| 19-15 | The Little Sweep, children's opera, Op. 45: Scene 2. 14. The Night Song: The owl, wide-winging (Audience Song 3) | — | ||
| 19-16 | The Little Sweep, children's opera, Op. 45: Scene 3. 15. Aria: Soon the coach will carry you away | — | ||
| 19-17 | The Little Sweep, children's opera, Op. 45: Scene 3. 16. Ensemble: Morning, Sammy | — | ||
| 19-18 | The Little Sweep, children's opera, Op. 45: Scene 3. 17. Trio and Ensemble: Ready, Alfred? | — | ||
| 19-19 | The Little Sweep, children's opera, Op. 45: Scene 3. 18. Finale: Coaching Song: The Horses and champing (Audience Song 4) | — | ||
| 19-20 | A Boy Was Born, choral variations for mixed voices, Op. 3: Theme. A Boy was Born | — | ||
| 19-21 | A Boy Was Born, choral variations for mixed voices, Op. 3: Variation 1. Lullay, Jesu | — | ||
| 19-22 | A Boy Was Born, choral variations for mixed voices, Op. 3: Variation 2. Herod | — | ||
| 19-23 | A Boy Was Born, choral variations for mixed voices, Op. 3: Variation 3. Jesu, as Thou art our Saviour | — | ||
| 19-24 | A Boy Was Born, choral variations for mixed voices, Op. 3: Variation 4. The Three Kings | — | ||
| 19-25 | A Boy Was Born, choral variations for mixed voices, Op. 3: Variation 5. In the Bleak Mid-Winter | — | ||
| 19-26 | A Boy Was Born, choral variations for mixed voices, Op. 3: Variation 6. Noël! | — | ||
| 19-27 | A Shepherd's Carol, for chorus | — | ||
| 20-1 | Noye's Fludde, children's opera, Op. 59: Lord Jesus, think on me | — | ||
| 20-2 | Noye's Fludde, children's opera, Op. 59: I, God, that all this worlde hath wroughte | — | ||
| 20-3 | Noye's Fludde, children's opera, Op. 59: O, Lorde, I thanke thee lowde and still | — | ||
| 20-4 | Noye's Fludde, children's opera, Op. 59: Now in the name of God I will begyne | — | ||
| 20-5 | Noye's Fludde, children's opera, Op. 59: Wyffe, in this vessel we shall be kepte | — | ||
| 20-6 | Noye's Fludde, children's opera, Op. 59: Noye, Noye, take thou thy company | — | ||
| 20-7 | Noye's Fludde, children's opera, Op. 59: Sir! Here are lions, lepardes, in | — | ||
| 20-8 | Noye's Fludde, children's opera, Op. 59: Wiffe, come in! | — | ||
| 20-9 | Noye's Fludde, children's opera, Op. 59: It is good for to be still | — | ||
| 20-10 | Noye's Fludde, children's opera, Op. 59: Eternal Father, strong to save | — | ||
| 20-11 | Noye's Fludde, children's opera, Op. 59: Now forty dayes are fullie gone | — | ||
| 20-12 | Noye's Fludde, children's opera, Op. 59: Noye, take they wife anone | — | ||
| 20-13 | Noye's Fludde, children's opera, Op. 59: Noye, heare I behette thee a heste | — | ||
| 20-14 | Noye's Fludde, children's opera, Op. 59: The spacious firmament on high | — | ||
| 20-15 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: Heaven-Haven | — | ||
| 20-16 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: O deus, ego amo te | — | ||
| 20-17 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: Rosa Mystica | — | ||
| 20-18 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: The Soldier | — | ||
| 20-19 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: Prayer 2 | — | ||
| 20-20 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: God's Grandeur | — | ||
| 20-21 | A. M. D. G. (Ad Majorem Dei Gloriam), for chorus, Op. 17: Prayer 1 | — | ||
| 20-22 | Ballad of Little Musgrave and Lady Barnard, for male chorus & piano | — | ||
| 21-1 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 1. 1. Chaos | — | ||
| 21-2 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 1. 2. The Morning Stars | — | ||
| 21-3 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 2. 3. Angels appear to Jacob, Elisha and Mary | — | ||
| 21-4 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 2. 4. Christ, the fair glory | — | ||
| 21-5 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 2. 5. War in Heaven | — | ||
| 21-6 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 3. 6. Heaven is here | — | ||
| 21-7 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 3. 7. A thousand, thousand gleaming fires | — | ||
| 21-8 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 3. 8. Funeral March for a Boy | — | ||
| 21-9 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 3. 9. Whoso dwelleth under the defence of the most High | — | ||
| 21-10 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 3. 10. There came out also at this time | — | ||
| 21-11 | The Company of Heaven, cantata for 2 speakers, soprano, tenor, chorus, tympani, organ & strings: Part 3. 11. Ye watchers and ye holy ones | — | ||
| 21-12 | Ballad of Heroes, op. 14: I. Funeral March (Swingler) - | City of Birmingham Symphony Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 21-13 | Ballad of Heroes, op. 14: II. Scherzo (Auden) - | City of Birmingham Symphony Chorus, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 21-14 | Ballad of Heroes, op. 14: III. Recitative and Choral (Auden/Swingler) | City of Birmingham Symphony Chorus, Robert Tear, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 21-15 | "Praise We Great Men" for Voices, Chorus and Orchestra: I. | City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 21-16 | "Praise We Great Men" for Voices, Chorus and Orchestra: II. | City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 21-17 | "Praise We Great Men" for Voices, Chorus and Orchestra: III. | City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 22-1 | Les illuminations, song cycle for high voice & strings, op. 18: 1. Fanfare | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-2 | Les illuminations, song cycle for high voice & strings, op. 18: 2. Villes | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-3 | Les illuminations, song cycle for high voice & strings, op. 18: 3a. Phrase | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-4 | Les illuminations, song cycle for high voice & strings, op. 18: 3b. Antique | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-5 | Les illuminations, song cycle for high voice & strings, op. 18: 4. Royauté | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-6 | Les illuminations, song cycle for high voice & strings, op. 18: 5. Marine | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-7 | Les illuminations, song cycle for high voice & strings, op. 18: 6. Interlude | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-8 | Les illuminations, song cycle for high voice & strings, op. 18: 7. Being Beauteous | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-9 | Les illuminations, song cycle for high voice & strings, op. 18: 8. Parade | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-10 | Les illuminations, song cycle for high voice & strings, op. 18: 9. Départ | Heather Harper, Royal Northern Sinfonia, Sir Neville Marriner | — | |
| 22-11 | Serenade, for tenor, horn & strings, Op. 31: Prologue | — | ||
| 22-12 | Serenade, for tenor, horn & strings, Op. 31: 1. Pastoral | — | ||
| 22-13 | Serenade, for tenor, horn & strings, Op. 31: 2. Nocturne | — | ||
| 22-14 | Serenade, for tenor, horn & strings, Op. 31: 3. Elegy | — | ||
| 22-15 | Serenade, for tenor, horn & strings, Op. 31: 4. Dirge | — | ||
| 22-16 | Serenade, for tenor, horn & strings, Op. 31: 5. Hymn | — | ||
| 22-17 | Serenade, for tenor, horn & strings, Op. 31: 6. Sonnet | — | ||
| 22-18 | Serenade, for tenor, horn & strings, Op. 31: Epilogue | — | ||
| 22-19 | Now sleeps the crimson petal, song for tenor, horn & strings | — | ||
| 22-20 | Nocturne, for tenor, 7 instruments & strings, Op. 60: On a poet's lips I slept | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-21 | Nocturne, for tenor, 7 instruments & strings, Op. 60: Below the thunders of the upper deep | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-22 | Nocturne, for tenor, 7 instruments & strings, Op. 60: Encinctured with a twine of leaves | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-23 | Nocturne, for tenor, 7 instruments & strings, Op. 60: Midnight's bell goes ting, ting, ting, ting, ting | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-24 | Nocturne, for tenor, 7 instruments & strings, Op. 60: But that night when on my bed I lay | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-25 | Nocturne, for tenor, 7 instruments & strings, Op. 60: She sleeps on soft, last breaths | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-26 | Nocturne, for tenor, 7 instruments & strings, Op. 60: What is more gentle whan a wind in summer? | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 22-27 | Nocturne, for tenor, 7 instruments & strings, Op. 60: When most I wink, then do my eyes best see | Robert Tear, English Chamber Orchestra, Jeffrey Tate | — | |
| 23-1 | 4 Chansons Françaises for Voice and Orchestra: I. Nuits de juin (Lento e molto rubato) | Jill Gomez, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 23-2 | 4 Chansons Françaises for Voice and Orchestra: I. Sagesse (Lento Ma Non Troppo) | City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 23-3 | 4 Chansons Françaises for Voice and Orchestra: I. L'Enfance (Animato) | City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 23-4 | 4 Chansons Françaises for Voice and Orchestra: I. Chanson d'automne (Moderato con molto ma sempre colla voce) | Jill Gomez, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 23-5 | Our Hunting Fathers, song cycle for high voice & orchestra, Op. 8: Prologue | — | ||
| 23-6 | Our Hunting Fathers, song cycle for high voice & orchestra, Op. 8: A. Rats Away! | — | ||
| 23-7 | Our Hunting Fathers, song cycle for high voice & orchestra, Op. 8: B. Messalina | — | ||
| 23-8 | Our Hunting Fathers, song cycle for high voice & orchestra, Op. 8: C. Dance of Death | — | ||
| 23-9 | Our Hunting Fathers, song cycle for high voice & orchestra, Op. 8: Epilogue and Funeral March | — | ||
| 23-10 | Little Sir William, for voice & piano (Folk Songs, Vol. 1) | — | ||
| 23-11 | Come you not from Newcastle?, for voice & piano (Folk Songs, Vol. 3) | — | ||
| 23-12 | The Bonny Earl o' Moray, for voice & piano (Folk Songs, Vol. 1) | — | ||
| 23-13 | Oliver Cromwell, for voice & piano (Folk Songs, Vol. 1) | — | ||
| 23-14 | Phaedra, dramatic cantata for mezzo-soprano, string orchestra, percussion & harpsichord, Op. 93: In May, in brilliant Athens | — | ||
| 23-15 | Phaedra, dramatic cantata for mezzo-soprano, string orchestra, percussion & harpsichord, Op. 93: O Gods of wrath | — | ||
| 23-16 | Phaedra, dramatic cantata for mezzo-soprano, string orchestra, percussion & harpsichord, Op. 93: My time's too short, your highness | — | ||
| 23-17 | La belle est au jardin d'amour, for voice & piano (Folk Songs, Vol. 2) | — | ||
| 23-18 | Folksong Arrangements, Vol. II "France", for voice & piano: Eho! Eho! | — | ||
| 23-19 | Folksong Arrangements, Vol. II "France", for voice & piano: Fileuse, folksong for voice & piano (Folk Songs, Vol. 2) | — | ||
| 23-20 | Folksong Arrangements, Vol. II "France", for voice & piano: Quand j'étais chez mon père, for voice & piano (Folk Songs, Vol. 2) | — | ||
| 23-21 | Le roi s'en va-t'en chasse, for voice & piano (Folk Songs, Vol. 2) Le roi s'en va-t'en chasse | — | ||
| 24-1 | Seven Sonnets of Michelangelo, op. 22: 1. Sì come nella penna | Peter Pears, Benjamin Britten | — | |
| 24-2 | Seven Sonnets of Michelangelo, op. 22: 2. A che più debb'io mai | Peter Pears, Benjamin Britten | — | |
| 24-3 | Seven Sonnets of Michelangelo, op. 22: 3. Veggio co' bei vostri occhi | Peter Pears, Benjamin Britten | — | |
| 24-4 | Seven Sonnets of Michelangelo, op. 22: 4. Tu sa' ch'io so | Peter Pears, Benjamin Britten | — | |
| 24-5 | Seven Sonnets of Michelangelo, op. 22: 5. Rendete a gli occhi miei | Peter Pears, Benjamin Britten | — | |
| 24-6 | Seven Sonnets of Michelangelo, op. 22: 6. S'un casto amor | Peter Pears, Benjamin Britten | — | |
| 24-7 | Seven Sonnets of Michelangelo, op. 22: 7. Spirto ben nato | Peter Pears, Benjamin Britten | — | |
| 24-8 | Holy Sonnets of John Donne, op. 35: 1. Oh My Blacke Soule | Peter Pears, Benjamin Britten | — | |
| 24-9 | Holy Sonnets of John Donne, op. 35: 2. Batter My Heart | Peter Pears, Benjamin Britten | — | |
| 24-10 | Holy Sonnets of John Donne, op. 35: 3. O Might Those Sighes and Teares | Peter Pears, Benjamin Britten | — | |
| 24-11 | Holy Sonnets of John Donne, op. 35: 4. Oh, to Vex Me | Peter Pears, Benjamin Britten | — | |
| 24-12 | Holy Sonnets of John Donne, op. 35: 5. What If This Present | Peter Pears, Benjamin Britten | — | |
| 24-13 | Holy Sonnets of John Donne, op. 35: 6. Since She Whom I Loved | Peter Pears, Benjamin Britten | — | |
| 24-14 | Holy Sonnets of John Donne, op. 35: 7. At the Round Earth's Imagined Corners | Peter Pears, Benjamin Britten | — | |
| 24-15 | Holy Sonnets of John Donne, op. 35: 8. Thou Hast Made Me | Peter Pears, Benjamin Britten | — | |
| 24-16 | Holy Sonnets of John Donne, op. 35: 9. Death, Be Not Proud | Peter Pears, Benjamin Britten | — | |
| 24-17 | On this Island, song cycle for voice & piano, Op. 11: 1. Let the florid music praise! | — | ||
| 24-18 | On this Island, song cycle for voice & piano, Op. 11: 2. Now the leaves are falling fast | — | ||
| 24-19 | On this Island, song cycle for voice & piano, Op. 11: 3. Seascape | — | ||
| 24-20 | On this Island, song cycle for voice & piano, Op. 11: 4. Nocturne | — | ||
| 24-21 | On this Island, song cycle for voice & piano, Op. 11: 5. As it is; plenty | — | ||
| 24-22 | Winter Words, song cycle for tenor & piano, Op. 52: 1. At day-close in November | — | ||
| 24-23 | Winter Words, song cycle for tenor & piano, Op. 52: 2. Midnight on the Great Western (or the Journeying Boy) | — | ||
| 24-24 | Winter Words, song cycle for tenor & piano, Op. 52: 3. Wagtail and Baby (A Satire) | — | ||
| 24-25 | Winter Words, song cycle for tenor & piano, Op. 52: 4. The Little Old Table | — | ||
| 24-26 | Winter Words, song cycle for tenor & piano, Op. 52: 5. The Choirmaster's Burial (or The Tenor Man's Story) | — | ||
| 24-27 | Winter Words, song cycle for tenor & piano, Op. 52: 6. The Proud Songsters (Thrushes, Finches and Nightingales) | — | ||
| 24-28 | Winter Words, song cycle for tenor & piano, Op. 52: 7. At the Railway Station, Upway (or The Convict and Boy with the Violin) | — | ||
| 24-29 | Winter Words, song cycle for tenor & piano, Op. 52: 8. Before Life and After | — | ||
| 25-1 | Canticle I: My Beloved is Mine, op. 40 | Ian Bostridge, Julius Drake | — | |
| 25-2 | Canticle II: Abraham and Isaac, op. 51 | Ian Bostridge, David Daniels, Julius Drake | — | |
| 25-3 | Canticle III: Still Falls the Rain, op. 55 | Ian Bostridge, Timothy Brown, Julius Drake | — | |
| 25-4 | Canticle IV: Journey of the Magi, op. 86 | Ian Bostridge, David Daniels, Christopher Maltman, Julius Drake | — | |
| 25-5 | Canticle V: The Death of Saint Narcissus, op. 89 | Ian Bostridge, Aline Brewer | — | |
| 25-6 | The Plough Boy | Christopher Maltman, Julius Drake | — | |
| 25-7 | The Salley Gardens | Christopher Maltman, Julius Drake | — | |
| 25-8 | The Foggy, Foggy Dew | Christopher Maltman, Julius Drake | — | |
| 25-9 | There's None to Soothe | David Daniels, Julius Drake | — | |
| 25-10 | O Waly, Waly | David Daniels, Julius Drake | — | |
| 25-11 | The Ash Grove | Ian Bostridge, Julius Drake | — | |
| 25-12 | Greensleeves | Ian Bostridge, Julius Drake | — | |
| 26-1 | Songs (2) by Thomas Hardy, for voice & piano: The Children and Sir Nameless | — | ||
| 26-2 | Songs (2) by Thomas Hardy, for voice & piano: If it's ever spring again | — | ||
| 26-3 | Beware!, early songs (3) for medium voice & piano: 1. Beware! | — | ||
| 26-4 | Beware!, early songs (3) for medium voice & piano: 2. O that I had ne'er been married | — | ||
| 26-5 | Beware!, early songs (3) for medium voice & piano: 3. Epitaph: The Clerk | — | ||
| 26-6 | Not even summer yet, song for high voice & piano | — | ||
| 26-7 | Songs (2) by W. H. Auden, for voice & piano: To lie flat on the back | — | ||
| 26-8 | Songs (2) by W. H. Auden, for voice & piano: Night covers up the rigid land | — | ||
| 26-9 | The Oxen, carol for female chorus & piano | — | ||
| 26-10 | Dawtie's Devotion, song for voice & piano (discarded from "Who are these Children," Op. 84) | — | ||
| 26-11 | Tradition, song for voice & piano (discarded from "Who are these Children," Op. 84) | — | ||
| 26-12 | The Gully, song for voice & piano (discarded from "Who are these Children," Op. 84) | — | ||
| 26-13 | Tit for Tat, song cycle for voice & piano: 1. A Song of Enchantment | — | ||
| 26-14 | Tit for Tat, song cycle for voice & piano: 3. Silver | — | ||
| 26-15 | Tit for Tat, song cycle for voice & piano: 5. Tit for Tat | — | ||
| 26-16 | Ballads (2), for 2 voices & piano: 1. Mother Comfort | — | ||
| 26-17 | Ballads (2), for 2 voices & piano: 2. Underneath the Abject Willow | — | ||
| 26-18 | Folksong Arrangements, Vol. III "British Isles", for voice & piano Sweet Polly Oliver | — | ||
| 26-19 | Folksong Arrangements, Vol. IV "Moore's Irish Melodies", for voice & piano The Minstrel Boy | — | ||
| 26-20 | Folksong Arrangements, Vol. V "British Isles", for voice & piano: The Brisk Young Widow | — | ||
| 26-21 | Folksong Arrangements, Vol. V "British Isles", for voice & piano: Ca' the Yowes | — | ||
| 26-22 | Folksong Arrangements, Vol. V "British Isles", for voice & piano: The Lincolnshire Poacher | — | ||
| 26-23 | Folksong Arrangements, Vol. I "British Isles", for voice & piano: O can ye sew cushions? | — | ||
| 26-24 | Folksong Arrangements, Vol. I "British Isles", for voice & piano: The trees they grow so high | — | ||
| 26-25 | Folksong Arrangements, Vol. V "British Isles", for voice & piano Early one morning | — | ||
| 26-26 | Folksong Arrangements, Vol. IV "Moore's Irish Melodies", for voice & piano How sweet the answer | — | ||
| 26-27 | Folksong Arrangements, Vol. II "France", for voice & piano Voici le printemps | — | ||
| 26-28 | Folksong Arrangements, Vol. IV "Moore's Irish Melodies", for voice & piano: The last rose of Summer | — | ||
| 26-29 | Folksong Arrangements, Vol. IV "Moore's Irish Melodies", for voice & piano: Dear Harp of my Country! | — | ||
| 26-30 | Folksong Arrangements, Vol. IV "Moore's Irish Melodies", for voice & piano: Oft in the stilly night | — | ||
| 27-1 | The Queen's Epicedium, for soprano or tenor & piano (Purcell Realization) | — | ||
| 27-2 | Purcell Realizations from Orpheus Britannicus: Duets (6), for 2 voices & piano: Sound the Trumpet | — | ||
| 27-3 | Purcell Realizations from Orpheus Britannicus: Songs (5), for voice & piano: I attempt from love's sickness to fly | — | ||
| 27-4 | Purcell Realizations from Orpheus Britannicus: Duets (6), for 2 voices & piano: Lost is my quiet for ever | — | ||
| 27-5 | Purcell Realizations from Orpheus Britannicus: Songs (7), for voice & piano: Fairest Isle | — | ||
| 27-6 | Purcell Realizations from Orpheus Britannicus: Duets (6), for 2 voices & piano: What can we poor females do? | — | ||
| 27-7 | Purcell Realizations from Orpheus Britannicus: Songs (7), for voice & piano: I'll sail upon the Dog-star | — | ||
| 27-8 | Purcell Realizations from Orpheus Britannicus: Songs (7), for voice & piano: Hears not my Phyllis (The Knotting Song), song, Z. 371 | — | ||
| 27-9 | Purcell Realizations from Orpheus Britannicus: Duets (6), for 2 voices & piano: Man is for the woman made | — | ||
| 27-10 | Purcell Realizations from Orpheus Britannicus: Songs (5), for voice & piano: 1. Let sullen discord smile | — | ||
| 27-11 | Purcell Realizations from Orpheus Britannicus: Songs (5), for voice & piano: 2. Why should men quarrel | — | ||
| 27-12 | Purcell Realizations from Orpheus Britannicus: Songs (5), for voice & piano: 3. So when the glittering Queen of Night | — | ||
| 27-13 | Purcell Realizations from Orpheus Britannicus: Songs (5), for voice & piano: 4. Thou tun'st this world | — | ||
| 27-14 | Purcell Realizations from Orpheus Britannicus: Songs (5), for voice & piano: 5a. 'tis holiday / 5b. Sound Fame thy brazen trumpet | — | ||
| 27-15 | Die Forelle ("In einem Bächlein helle"), song for voice & piano, D. 550 (Op. 32) | — | ||
| 27-16 | Frühlingsnacht ("Uberm Garten durch die Lüfte"), song for voice & piano (Liederkreis), Op. 39/12 | — | ||
| 28-1 | Paul Bunyan, operetta, Op. 17: 1. Introduction | — | ||
| 28-2 | Paul Bunyan, operetta, Op. 17: 2. Prologue. Since the birth of the earth | — | ||
| 28-3 | Paul Bunyan, operetta, Op. 17: 2. Prologue. No. No. We do not want life to be slow | — | ||
| 28-4 | Paul Bunyan, operetta, Op. 17: 2. Prologue. Ooh! Ooh! O how terrible to be as old fashined as a tree | — | ||
| 28-5 | Paul Bunyan, operetta, Op. 17: 2. Prologue. You are all to leave here | — | ||
| 28-6 | Paul Bunyan, operetta, Op. 17: 2. Prologue. It isn't very often the conservatives are wrong... / But once in a while the odd thing | — | ||
| 28-7 | Paul Bunyan, operetta, Op. 17: 2a. First Ballad Interlude: The cold wind blew through the crooked thorn | — | ||
| 28-8 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 3. Bunyan's Greeting | — | ||
| 28-9 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 3a. Call of Lumberjacks | — | ||
| 28-10 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 4. Lumberjack's Chorus: My birthplace was in Sweden | — | ||
| 28-11 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 4a. Bunyan's Welcome | — | ||
| 28-12 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 5. Quartet of Swedes: Swedish born and Swedish bred | — | ||
| 28-13 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 6. Western Union Boy's Song: A telegram from oversea | — | ||
| 28-14 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 7. Cooks' Duet: Sam for soups. Ben for beans | — | ||
| 28-15 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 8. Animal Trio: Ah! Miaou! The single creature lives a partial life | — | ||
| 28-16 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 8a. Bunyan's Goodnight (1) | — | ||
| 28-17 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 8b. Exit of Lumberjacks: Down the line... Timberr | — | ||
| 28-18 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 9. The Blues: Gold in the North came the blizzard to say | — | ||
| 28-19 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 10. Bunyan's Goodnight (2) | — | ||
| 28-20 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 1. 10a. Second Ballad Interlude: The Spring came and the Summer and Fall | — | ||
| 28-21 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 11. Food Chorus: Do I look the sort of fellow | — | ||
| 28-22 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 12. Chorus Accusation: There now look what you have done | — | ||
| 28-23 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 12a. Slim's Song: In fair days and foul... I come from open spaces | — | ||
| 28-24 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 13. Bunyan's Return: Look, the Chief is back | — | ||
| 28-25 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 14. Inkslinger's Song: It was out in the sticks | — | ||
| 28-26 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 14a. Entrance of Chorus | — | ||
| 28-27 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 15. Tiny's Entrance | — | ||
| 28-28 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 15a. Tiny's Song: Ah!... Whether the sun shine upon children playing | — | ||
| 28-29 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 16. Inkslinger's Regret: All the little brooks of love | — | ||
| 28-30 | Paul Bunyan, operetta, Op. 17: Act 1. Scene 2. 17. Bunyan's Goodnight (3) | — | ||
| 29-1 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 18. Bunyan's Good Morning | — | ||
| 29-2 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 18a. Shears' Song: It has always been my dream | — | ||
| 29-3 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 18b. Bunyan's Warning | — | ||
| 29-4 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 19. Farmer's Song: The shanty-boy invades the wood | — | ||
| 29-5 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 19a. Farmers' Exit | — | ||
| 29-6 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 20. The Mocking of Hel Helson: Heron, heron winging by | — | ||
| 29-7 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 21. Fido's Sympathy: Why won't you tell me what's the matter? | — | ||
| 29-8 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 22. Cat's Creed: Let Man the romantic in vision espy | — | ||
| 29-9 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 23. The Fight: What is it? What's happening? | — | ||
| 29-10 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 23a. Love Duet: Move, move from the trysting stone | — | ||
| 29-11 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 23b. Mock Funeral March: Take away the body and lay it on ice | — | ||
| 29-12 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 23c. Hymn: O great day of discovery! | — | ||
| 29-13 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 1. 24. Third Ballad Interlude: So Helson smiled and Bunyan smiled | — | ||
| 29-14 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 25. The Christmas Party. Rah! Another slice of turkey | — | ||
| 29-15 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 25. The Christmas Party. Dear friends, with your leave | — | ||
| 29-16 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 25. The Christmas Party. Carry her over the water | — | ||
| 29-17 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 25. The Christmas Party. Where we are is not very far | — | ||
| 29-18 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 25. The Christmas Party. A telegram from Hollywood | — | ||
| 29-19 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 25. The Christmas Party. We always knew that one day you | — | ||
| 29-20 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 26. Bunyan's Farewell | — | ||
| 29-21 | Paul Bunyan, operetta, Op. 17: Act 2. Scene 2. 27. Litany: The campfire embers are black and cold | — | ||
| 29-22 | Paul Bunyan, operetta, Op. 17: Appendix. Overture | — | ||
| 29-23 | Paul Bunyan, operetta, Op. 17: Appendix. Inkslinger's Love Song | — | ||
| 29-24 | Paul Bunyan, operetta, Op. 17: Appendix. Lullaby of Dream Shadows | — | ||
| 30-1 | Peter Grimes, opera, Op. 33: Prologue. Peter Grimes! | — | ||
| 30-2 | Peter Grimes, opera, Op. 33: Prologue. You sailed your boat round the coast | — | ||
| 30-3 | Peter Grimes, opera, Op. 33: Prologue. Peter Grimes, I here advise you! | — | ||
| 30-4 | Peter Grimes, opera, Op. 33: Prologue. The truth - the pity | — | ||
| 30-5 | Peter Grimes, opera, Op. 33: Prologue. Interlude 1: Dawn | — | ||
| 30-6 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. Oh hang at open doors the net | — | ||
| 30-7 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. Hi! Give us a hand! | — | ||
| 30-8 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. I have to go from pub to pub | — | ||
| 30-9 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. Let her among you without a fault cast the first stone | — | ||
| 30-10 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. Look! The storm cone! | — | ||
| 30-11 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. And do you prefer the storm | — | ||
| 30-12 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. They listen to money | — | ||
| 30-13 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. What harbour shelters peace | — | ||
| 30-14 | Peter Grimes, opera, Op. 33: Act 1. Scene 1. Interlude 2: Storm | — | ||
| 30-15 | Peter Grimes, opera, Op. 33: Act 1. Scene 2. Past time to close! | — | ||
| 30-16 | Peter Grimes, opera, Op. 33: Act 1. Scene 2. Come on, boy! | — | ||
| 30-17 | Peter Grimes, opera, Op. 33: Act 1. Scene 2. Have you heard the cliff is down | — | ||
| 30-18 | Peter Grimes, opera, Op. 33: Act 1. Scene 2. Now the Great Bear and the Pleiades | — | ||
| 30-19 | Peter Grimes, opera, Op. 33: Act 1. Scene 2. Old Joe has gone fishing | — | ||
| 30-20 | Peter Grimes, opera, Op. 33: Act 1. Scene 2. The bridge is down | — | ||
| 30-21 | Peter Grimes, opera, Op. 33: Act 2. Interlude 3: Sunday morning | — | ||
| 30-22 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. Glitter of waves and glitter of sunlight | — | ||
| 30-23 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. Child you're not too young to know | — | ||
| 30-24 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. This unrelenting work | — | ||
| 31-1 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. Fool to let it come to this! | — | ||
| 31-2 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. People...! No! I will speak! | — | ||
| 31-3 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. We planned that their lives should have a new start | — | ||
| 31-4 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. Now is gossip put on trial | — | ||
| 31-5 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. From the gutter | — | ||
| 31-6 | Peter Grimes, opera, Op. 33: Act 2. Scene 1. Interlude 4: Passacaglia | — | ||
| 31-7 | Peter Grimes, opera, Op. 33: Act 2. Scene 2. Go there! | — | ||
| 31-8 | Peter Grimes, opera, Op. 33: Act 2. Scene 2. In dreams I've built myself some kindlier home | — | ||
| 31-9 | Peter Grimes, opera, Op. 33: Act 2. Scene 2. Now!... Now! | — | ||
| 31-10 | Peter Grimes, opera, Op. 33: Act 2. Scene 2. Peter Grimes! Nobody here? | — | ||
| 31-11 | Peter Grimes, opera, Op. 33: Act 3. Interlude 5: Moonlight | — | ||
| 31-12 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Assign your prettiness to me | — | ||
| 31-13 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Mr Keene! | — | ||
| 31-14 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Come along, Doctor | — | ||
| 31-15 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Embroidery in childhood was a luxury of idleness | — | ||
| 31-16 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Mr Swallow, Mr Swallow | — | ||
| 31-17 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Who holds himself apart lets his pride rise | — | ||
| 31-18 | Peter Grimes, opera, Op. 33: Act 3. Scene 1. Interlude 6 | — | ||
| 31-19 | Peter Grimes, opera, Op. 33: Act 3. Scene 2. Grimes! | — | ||
| 31-20 | Peter Grimes, opera, Op. 33: Act 3. Scene 2. Peter, we've come to take you home | — | ||
| 31-21 | Peter Grimes, opera, Op. 33: Act 3. Scene 2. To those who pass the Borough | — | ||
| 32-1 | Turn of the Screw, chamber opera, Op. 54: Prologue | — | ||
| 32-2 | Turn of the Screw, chamber opera, Op. 54: Act 1. Theme | — | ||
| 32-3 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 1. The Journey | — | ||
| 32-4 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 1 | — | ||
| 32-5 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 2. The Welcome | — | ||
| 32-6 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 2 | — | ||
| 32-7 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 3. The Letter | — | ||
| 32-8 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 3 | — | ||
| 32-9 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 4. The Tower | — | ||
| 32-10 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 4 | — | ||
| 32-11 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 5. The Window | — | ||
| 32-12 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 5 | — | ||
| 32-13 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 6. The Lesson | — | ||
| 32-14 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 6 | — | ||
| 32-15 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 7. The Lake | — | ||
| 32-16 | Turn of the Screw, chamber opera, Op. 54: Act 1. Variation 7 | — | ||
| 32-17 | Turn of the Screw, chamber opera, Op. 54: Act 1. Scene 8. At Night | — | ||
| 33-1 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 8 | — | ||
| 33-2 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 1. Colliquy and Soliloquy | — | ||
| 33-3 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 9 | — | ||
| 33-4 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 2. The Bells | — | ||
| 33-5 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 10 | — | ||
| 33-6 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 3. Miss Jessel | — | ||
| 33-7 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 11 | — | ||
| 33-8 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 4. The Bedroom | — | ||
| 33-9 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 12 | — | ||
| 33-10 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 5. Quint | — | ||
| 33-11 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 13 | — | ||
| 33-12 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 6. The Piano | — | ||
| 33-13 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 14 | — | ||
| 33-14 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 7. Flora | — | ||
| 33-15 | Turn of the Screw, chamber opera, Op. 54: Act 2. Variation 15 | — | ||
| 33-16 | Turn of the Screw, chamber opera, Op. 54: Act 2. Scene 8. Miles | — | ||
| 34-1 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Introduction: The wood, deepening twilight. Over hill, over dale | — | ||
| 34-2 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Oberon is passing fell and wrath | — | ||
| 34-3 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Well, go thy way | — | ||
| 34-4 | A Midsummer Night's Dream, opera, Op. 64: Act 1. How now my love? | — | ||
| 34-5 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Be it on lion, bear, or wolf, or bull | — | ||
| 34-6 | A Midsummer Night's Dream: Act 1. Welcome wanderer... I know a bank | James Bowman, City of London Sinfonia, Richard Hickox | — | |
| 34-7 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Is all our company here? | — | ||
| 34-8 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Fair love, you faint with wand'ring in the wood | — | ||
| 34-9 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Through the forest have I gone | — | ||
| 34-10 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Stay, though thou kill me, sweet Demetrius | — | ||
| 34-11 | A Midsummer Night's Dream, opera, Op. 64: Act 1. Come, now a roundel and a fairy song | — | ||
| 34-12 | A Midsummer Night's Dream, opera, Op. 64: Act 1. You spotted snakes with double tongue | — | ||
| 34-13 | A Midsummer Night's Dream, opera, Op. 64: Act 1. What thou seest when thou dost wake | — | ||
| 34-14 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Introduction: The Wood | — | ||
| 34-15 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Are we all met? | — | ||
| 34-16 | A Midsummer Night's Dream, opera, Op. 64: Act 2. I see their knavery | — | ||
| 34-17 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Be kind and courteous to this gentleman | — | ||
| 34-18 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Hail, mortal, hail! | — | ||
| 34-19 | A Midsummer Night's Dream, opera, Op. 64: I have a reas'nable good ear in music | — | ||
| 34-20 | A Midsummer Night's Dream, opera, Op. 64: Act 2. How now, mad spirit? | — | ||
| 35-1 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Flower of this purple dye | — | ||
| 35-2 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Puppet? Why, so? | — | ||
| 35-3 | A Midsummer Night's Dream, opera, Op. 64: Act 2. This is thy negligence | — | ||
| 35-4 | A Midsummer Night's Dream, opera, Op. 64: Act 2. Up and down, up and down | — | ||
| 35-5 | A Midsummer Night's Dream, opera, Op. 64: Act 2. On the ground, sleep sound | — | ||
| 35-6 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Introduction: The wood, early next morning. My gentle Robin, seest thou this sweet sight? | — | ||
| 35-7 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Helena! Hermia! Demetrius! Lysander! | — | ||
| 35-8 | A Midsummer Night's Dream, opera, Op. 64: Act 3. When my cue comes, call me | — | ||
| 35-9 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Have you sent to Bottom's house? | — | ||
| 35-10 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Theseus' palace. Now, fair Hippolyta | — | ||
| 35-11 | A Midsummer Night's Dream, opera, Op. 64: Act 3. If we offend, it is with our good will | — | ||
| 35-12 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Gentles, perchance you wonder at this show | — | ||
| 35-13 | A Midsummer Night's Dream, opera, Op. 64: Act 3. In this same interlude it doth befall | — | ||
| 35-14 | A Midsummer Night's Dream, opera, Op. 64: Act 3. O grim-look'd night, O night with hue so black | — | ||
| 35-15 | A Midsummer Night's Dream, opera, Op. 64: Act 3. O Wall, full often hast thou heard my moans | — | ||
| 35-16 | A Midsummer Night's Dream, opera, Op. 64: Act 3. You ladies, you whose gentle hearts do fear | — | ||
| 35-17 | A Midsummer Night's Dream, opera, Op. 64: Act 3. This lanthorn doth the hornèd moon present | — | ||
| 35-18 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Sweet Moon, I thank thee for thy sunny beams | — | ||
| 35-19 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Asleep, my love? | — | ||
| 35-20 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Come, your Bergomask | — | ||
| 35-21 | A Midsummer Night's Dream, opera, Op. 64: Act 3. Now the hungry lion roars | — | ||
| 36-1 | The Rape of Lucretia, op. 37: Act 1, Scene 1: "Rome is now ruled by the Etruscan upstart" (Male Chorus) | Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-2 | The Rape of Lucretia, op. 37: Act 1, Scene 1: "It is an axiom among kings" (Female & Male Chorus) | Sir Peter Pears, Joan Cross, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-3 | The Rape of Lucretia, op. 37: Act 1, Scene 1: "Here the thirsty evening" (Male Chorus, Collatinus, Junius, Tarquinius) | Sir Peter Pears, Norman Lumsden, Denis Dowling, Frederick Sharp, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-4 | The Rape of Lucretia, op. 37: Act 1, Scene 1: "Lucretia! Lucretia! (Junius, Male Chorus, Collatinus) | Denis Dowling, Sir Peter Pears, Norman Lumsden, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-5 | The Rape of Lucretia, op. 37: Act 1, Scene 1: "With you two arm in arm again" (Collatinus, Tarquinius, Junius) | Sir Peter Pears, Frederick Sharp, Denis Dowling, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-6 | The Rape of Lucretia, op. 37: Act 1, Scene 1: Interlude "Tarquinius does not wait" (Male Chorus) | Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-7 | The Rape of Lucretia, op. 37: Act 1, Scene 2: "Their spinning-wheel unwinds" (Female Chorus, Lucretia, Bianca, Lucia) | Joan Cross, Sir Peter Pears, Flora Nielsen, Margaret Ritchie, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-8 | The Rape of Lucretia, op. 37: Act 1, Scene 2: "It is better to desire" (Bianca, Lucretia, Lucia, Female Chorus) | Flora Nielsen, Nancy Evans, Margaret Ritchie, Joan Cross, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-9 | The Rape of Lucretia, op. 37: Act 1, Scene 2: "The oatmeal slippers of sleep" (Female & Male Chorus) | Joan Cross, Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-10 | The Rape of Lucretia, op. 37: Act 1, Scene 2: "None of the women move" (Female Chorus, Tarquinius, Male Chorus, Bianca, Lucia, Lucretia) | Joan Cross, Frederick Sharp, Sir Peter Pears, Flora Nielsen, Margaret Ritchie, Nancy Evans, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-11 | The Rape of Lucretia, op. 37: Act 2, Scene 1: "She sleeps as a rose" (Female & Male Chorus) | Joan Cross, Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-12 | The Rape of Lucretia, op. 37: Act 2, Scene 1: "Lucretia!... What do you want?" (Tarquinius, Lucretia) | Frederick Sharp, Nancy Evans, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-13 | The Rape of Lucretia, op. 37: Act 2, Scene 1: "Go, Tarquinius!" (Female & Male Chorus, Tarquinius, Lucretia) | Joan Cross, Sir Peter Pears, Frederick Sharp, Nancy Evans, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-14 | The Rape of Lucretia, op. 37: Act 2, Scene 1: Interlude "Here in this scene you see" (Female & Male Chorus) | Joan Cross, Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-15 | The Rape of Lucretia, op. 37: Act 2, Scene 2: "Oh! What a lovely day!" (Lucia, Bianca) | Margaret Ritchie, Flora Nielsen, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-16 | The Rape of Lucretia, op. 37: Act 2, Scene 2: "How hideous! Take them away!" (Lucretia, Bianca, Lucia) | Nancy Evans, Flora Nielsen, Margaret Ritchie, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-17 | The Rape of Lucretia, op. 37: Act 2, Scene 2: "Flowers bring to every year" (Lucretia, Bianca) | Nancy Evans, Flora Nielsen, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-18 | The Rape of Lucretia, op. 37: Act 2, Scene 2: "Too late, Junius" (Collatinus, Lucretia) | Norman Lumsden, Nancy Evans, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-19 | The Rape of Lucretia, op. 37: Act 2, Scene 2: "This dead hand lets fall" (Collatinus, Junius, Lucia, Bianca, Female & Male Chorus) | Norman Lumsden, Denis Dowling, Margaret Ritchie, Flora Nielsen, Joan Cross, Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 36-20 | The Rape of Lucretia, op. 37: Act 2, Scene 2: "Is all this suffering and pain" (Female & Male Chorus) | Joan Cross, Sir Peter Pears, English Opera Group Chamber Orchestra, Sir Reginald Goodall | — | |
| 37-1 | Peter Grimes, op. 33: Act I, Scene 1: "Whatever you say... Let her among you without fault" (Ellen) | Joan Cross, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-2 | Peter Grimes, op. 33: Act I, Scene 2: "Now the Great Bear and Pleiades" (Peter) | Sir Peter Pears, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-3 | Peter Grimes, op. 33: Act II, Scene 1: Interlude III: Sunday Morning (orchestra) | Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-4 | Peter Grimes, op. 33: Act II, Scene 1: "Glitter of waves" (Ellen, Chorus) | Joan Cross, BBC Theatre Chorus, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-5 | Peter Grimes, op. 33: Act II, Scene 1: "Wherefore, I pray and beseech you" (Rector, Chorus, Ellen) | Tom Culbert, BBC Theatre Chorus, Joan Cross, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-6 | Peter Grimes, op. 33: Act II, Scene 1: "O all ye works of the Lord" (Chorus, Peter, Ellen) | BBC Theatre Chorus, Sir Peter Pears, Joan Cross, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-7 | Peter Grimes, opera, Op. 33: Act 2. Scene 2. In dreams I've built myself some kindlier home | — | ||
| 37-8 | Peter Grimes, op. 33: Act III, Scene 1: "Embroider in childhood" (Ellen) | Joan Cross, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-9 | Peter Grimes, op. 33: Act III: Interlude VI | Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-10 | Peter Grimes, op. 33: Act III, Scene 2: "Grimes!... Steady. There you are" (Chorus, Peter, Ellen) | BBC Theatre Chorus, Sir Peter Pears, Joan Cross, Orchestra of the Royal Opera House, Covent Garden, Sir Reginald Goodall | — | |
| 37-11 | Folksong Arrangements, Vol. III "British Isles", for voice & piano: The Plough Boy | — | ||
| 37-12 | Folksong Arrangements, Vol. III "British Isles", for voice & piano: Come you not from Newcastle? | — | ||
| 37-13 | Folksong Arrangements, Vol. III "British Isles", for voice & piano: The Foggy, Foggy Dew | — | ||
| 37-14 | Folksong Arrangements, Vol. III "British Isles", for voice & piano: The King is gone a-hunting | — | ||
| 37-15 | Folksong Arrangements, Vol. III "British Isles", for voice & piano: O Waly, Waly | — |
