UPC · Release
Vaughan Williams, Sir Adrian Boult
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The UPC for “The Complete Recordings” by Vaughan Williams, Sir Adrian Boult is 5099990356728. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2013-01-01. Label: EMI Classics. This release contains 143 tracks, each with its own ISRC. Tracks include GBAYC2200831, GBAYC2200832, GBAYC2200833.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | A Sea Symphony (Symphony No. 1): I. A Song for All Seas, All Ships (Moderato maestoso) / 1. Behold, the sea itself (chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 2 | A Sea Symphony (Symphony No. 1): I. A Song for All Seas, All Ships (Moderato maestoso) / 2. Today a rude brief recitative (baritone & chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 3 | A Sea Symphony (Symphony No. 1): I. A Song for All Seas, All Ships (Moderato maestoso) / 3. Flaunt out, O sea, your separate flags of nations! (soprano & chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4 | A Sea Symphony (Symphony No. 1): I. A Song for All Seas, All Ships (Moderato maestoso) / 4. Token of all brave captains (chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5 | A Sea Symphony (Symphony No. 1): I. A Song for All Seas, All Ships (Moderato maestoso) / 5. A pennant universal (baritone, soprano & chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 6 | A Sea Symphony (Symphony No. 1): II. On the Beach at Night, Alone (Largo sostenuto) / 1. On the beach at night, alone (baritone & semi-chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 7 | A Sea Symphony (Symphony No. 1): II. On the Beach at Night, Alone (Largo sostenuto) / 2. A vast similitude interlocks all (baritone & chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8 | A Sea Symphony (Symphony No. 1): III. Scherzo: The Waves (Allegro brillante) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 9 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 1. O vast Rondure, swimming in Space (chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 10 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 2. Down from the gardens of Asia descending (chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 11 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 3. O we can wait no longer (baritone & soprano) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 12 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 4. O thou transcendent (soprano, baritone & chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 13 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 5. Greater than stars or suns (chorus, soprano & baritone) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 14 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 6. Sail forth (chorus, soprano & baritone) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 15 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 7. O my brave Soul! (soprano, baritone & chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 2-1 | A London Symphony (Symphony no. 2): I. Lento - Allegro risoluto | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 2-2 | A London Symphony (Symphony no. 2): II. Lento | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 2-3 | A London Symphony (Symphony no. 2): III. Scherzo (Nocturne) - Allegro vivace | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 2-4 | A London Symphony (Symphony no. 2): IV. Andante con moto - Maestoso alla marcia | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 2-5 | A Pastoral Symphony (Symphony No. 3): I. Molto moderato | New Philharmonia Orchestra, Sir Adrian Boult | — | |
| 2-6 | A Pastoral Symphony (Symphony No. 3): II. Lento moderato | New Philharmonia Orchestra, Sir Adrian Boult | — | |
| 2-7 | A Pastoral Symphony (Symphony No. 3): III. Moderato pesante | New Philharmonia Orchestra, Sir Adrian Boult | — | |
| 2-8 | A Pastoral Symphony (Symphony No. 3): IV. Lento | Margaret Price, New Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-1 | Symphony no. 4 in F minor: I. Allegro | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-2 | Symphony no. 4 in F minor: II. Andante moderato | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-3 | Symphony no. 4 in F minor: III. Scherzo - Allegro molto | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-4 | Symphony no. 4 in F minor: IV. Finale con epilogo fugato - Allegro molto | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-5 | Symphony no. 6 in E minor: I. Allegro | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-6 | Symphony no. 6 in E minor: II. Moderato | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-7 | Symphony no. 6 in E minor: III. Scherzo - Allegro vivace | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-8 | Symphony no. 6 in E minor: IV. Epilogue - Moderato | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 4-1 | Symphony No. 5 in D major: I. Preludio: Moderato | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-2 | Symphony No. 5 in D major: II. Scherzo: Presto | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-3 | Symphony No. 5 in D major: III. Romanza: Lento | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-4 | Symphony No. 5 in D major: IV. Passacaglia: Moderato | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-5 | Symphony No. 9 in E minor: I. Moderato maestoso | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-6 | Symphony No. 9 in E minor: II. Andante sostenuto | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-7 | Symphony No. 9 in E minor: III. Scherzo (Allegro pesante) | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-8 | Symphony No. 9 in E minor: IV. Andante tranquillo | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-1 | Symphony no. 7 "Sinfonia antartica": I. Prelude: Andante maestoso | John Alldis, Norma Burrowes, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-2 | Symphony no. 7 "Sinfonia antartica": II. Scherzo: Moderato | John Alldis, Norma Burrowes, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-3 | Symphony no. 7 "Sinfonia antartica": III. Landscape: Lento | John Alldis, Norma Burrowes, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-4 | Symphony no. 7 "Sinfonia antartica": IV. Intermezzo: Andante sostenuto | John Alldis, Norma Burrowes, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-5 | Symphony no. 7 "Sinfonia antartica": V. Epilogue: Alla marcia | John Alldis, Norma Burrowes, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-6 | Symphony No. 8 in D minor: I. Fantasia (Variazioni senza tema) | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-7 | Symphony No. 8 in D minor: II. Scherzo alla marcia (per stromenti a fiato) - Allegro | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-8 | Symphony No. 8 in D minor: III. Cavatina (per stromenti ad arco) - Lento espressivo | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-9 | Symphony No. 8 in D minor: IV. Toccata - Moderato maestoso | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 6-1 | Norfolk Rhapsody no. 1 | — | ||
| 6-2 | In the Fen Country | — | ||
| 6-3 | The Lark Ascending | Hugh Bean, Philharmonia Orchestra, Sir Adrian Boult | T-902.843.856-4 | |
| 6-4 | “The Wasps” Aristophanic Suite: I. Overture | — | ||
| 6-5 | “The Wasps” Aristophanic Suite: II. Entr’acte | — | ||
| 6-6 | “The Wasps” Aristophanic Suite: III. March of the Kitchen Utensils | — | ||
| 6-7 | “The Wasps” Aristophanic Suite: IV. Entr’acte | — | ||
| 6-8 | “The Wasps” Aristophanic Suite: V. Ballet and Final Tableau | — | ||
| 6-9 | Fantasia on “Greensleeves” | — | ||
| 6-10 | English Folk Song Suite: I. March (Seventeen Come Sunday) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 6-11 | English Folk Song Suite: II. Intermezzo (My Bonny Boy) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 6-12 | English Folk Song Suite: III. March (Folk Songs from Somerset) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 7-1 | Fantasia on a Theme by Thomas Tallis | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 7-2 | Serenade to Music (1969, original version) | — | ||
| 7-3 | Toward the Unknown Region | — | ||
| 7-4 | Partita (for double string orchestra): I. Prelude: Andante tranquillo – | — | ||
| 7-5 | Partita (for double string orchestra): II. Scherzo ostinato: Presto | — | ||
| 7-6 | Partita (for double string orchestra): III. Intermezzo (Homage to Henry Hall): Andante con moto | — | ||
| 7-7 | Partita (for double string orchestra): IV. Fantasia: Allegro | — | ||
| 7-8 | Concerto Grosso: I. Intrada: Largo | — | ||
| 7-9 | Concerto Grosso: II. Burlesca ostinata: Allegro moderato | — | ||
| 7-10 | Concerto Grosso: III. Sarabande: Lento | — | ||
| 7-11 | Concerto Grosso: IV. Scherzo: Allegro: tempo di valse | — | ||
| 7-12 | Concerto Grosso: V. March: A la marcia and Reprise | — | ||
| 8-1 | Concerto in C for Two Pianos and Orchestra: I. Toccata (Allegro moderato) | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-2 | Concerto in C for Two Pianos and Orchestra: II. Romanza (Lento) | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-3 | Concerto in C for Two Pianos and Orchestra: IIIa. Fuga chromatica (Allegro) - | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-4 | Concerto in C for Two Pianos and Orchestra: IIIb. Finale alla tedesca | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-5 | Job: A Masque for Dancing: Scene I: Introduction | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-6 | Job: A Masque for Dancing: Scene I: Saraband of the Sons of God | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-7 | Job: A Masque for Dancing: Scene II: Satan's Dance of Triumph | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-8 | Job: A Masque for Dancing: Scene III: Minuet of the Sons of Job and their Wives | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-9 | Job: A Masque for Dancing: Scene IV: Jobs' Dream | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-10 | Job: A Masque for Dancing: Scene V: Dance of the Three Messengers | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-11 | Job: A Masque for Dancing: Scene VI: Dance of Job's Comforters | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-12 | Job: A Masque for Dancing: Scene VII: Eihu's Dance of Youth and Beauty | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-13 | Job: A Masque for Dancing: Scene VII: Pavane of the Sons of the Morning | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-14 | Job: A Masque for Dancing: Scene VIII: Galliard of the Sons of the Morning | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-15 | Job: A Masque for Dancing: Scene VIII: Altar Dance | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-16 | Job: A Masque for Dancing: Scene IX: Epilogue | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-1 | Dona nobis pacem: I. Agnus Dei: Lento – | — | ||
| 9-2 | Dona nobis pacem: II. Beat! beat! drums!: Allegro moderato – | — | ||
| 9-3 | Dona nobis pacem: III. Reconciliation: Andantino – | — | ||
| 9-4 | Dona nobis pacem: IV. Dirge for Two Veterans: Moderato alla marcia | — | ||
| 9-5 | Dona nobis pacem: V. The Angel of Death has been abroad: L’istesso tempo – | — | ||
| 9-6 | Dona nobis pacem: VI. O man greatly beloved | — | ||
| 9-7 | Fantasia (quasi variazione) on the Old 104th | — | ||
| 9-8 | A Song of Thanksgiving | — | ||
| 9-9 | The Lark Ascending (1952) | — | ||
| 10-1 | Symphony no. 6 in E minor (1949–50): I. Allegro | — | ||
| 10-2 | Symphony no. 6 in E minor (1949–50): II. Moderato | — | ||
| 10-4 | Symphony no. 6 in E minor (1949–50): IV. Epilogue: Moderato | — | ||
| 10-5 | Symphony no. 6 in E minor (1949–50): III. Scherzo (original version) | — | ||
| 10-6 | Flos campi: I. Sicut Lilium inter spinas | — | ||
| 10-7 | Flos campi: II. Jam enim hiems transit | — | ||
| 10-8 | Flos campi: III. Quaesivi quem diligit anima mea | — | ||
| 10-9 | Flos campi: IV. En lectulum Salomonis | — | ||
| 10-10 | Flos campi: V. Revertere, revertere Sulamitis! | — | ||
| 10-11 | Flos campi: VI. Pone me ut signaculum | — | ||
| 10-12 | Violin Concerto in D minor “Concerto accademico”: I. Allegro pesante | — | ||
| 10-13 | Violin Concerto in D minor “Concerto accademico”: II. Adagio – Tranquillo | — | ||
| 10-14 | Violin Concerto in D minor “Concerto accademico”: III. Presto | — | ||
| 11-2 | Fantasia on a Theme by Thomas Tallis (1940) | — | ||
| 11-3 | Job – A Masque for Dancing (1946): Scene I. Introduction – | — | ||
| 11-4 | Job – A Masque for Dancing (1946): Scene I. Saraband of the Sons of God | — | ||
| 11-5 | Job – A Masque for Dancing (1946): Scene II. Satan’s Dance of Triumph | — | ||
| 11-6 | Job – A Masque for Dancing (1946): Scene III. Minuet of the Sons of Job and Their Wives | — | ||
| 11-7 | Job – A Masque for Dancing (1946): Scene IV. Job’s Dream – | — | ||
| 11-8 | Job – A Masque for Dancing (1946): Scene V. Dance of the Three Messengers | — | ||
| 11-9 | Job – A Masque for Dancing (1946): Scene VI. Dance of Job’s Comforters | — | ||
| 11-10 | Job – A Masque for Dancing (1946): Scene VII. Elihu’s Dance of Youth and Beauty – | — | ||
| 11-11 | Job – A Masque for Dancing (1946): Scene VII. Pavane of the Sons of the Morning | — | ||
| 11-12 | Job – A Masque for Dancing (1946): Scene VIII. Galliard of the Sons of the Morning – | — | ||
| 11-13 | Job – A Masque for Dancing (1946): Scene VIII. Altar Dance – | — | ||
| 11-14 | Job – A Masque for Dancing (1946): Scene IX. Epilogue | — | ||
| 12-1 | The Pilgrim’s Progress: Prologue. Bunyan in Prison | — | ||
| 12-2 | The Pilgrim’s Progress: Act I, Scene 1. The Pilgrim Meets Evangelist | — | ||
| 12-3 | The Pilgrim’s Progress: Act I, Scene 2. The House Beautiful | — | ||
| 12-4 | The Pilgrim’s Progress: Act I. Nocturne: Intermezzo | — | ||
| 12-5 | The Pilgrim’s Progress: Act II, Scene 1. The Arming of the Pilgrim | — | ||
| 12-6 | The Pilgrim’s Progress: Act II, Scene 2. The Pilgrim Meets Apollyon | — | ||
| 12-7 | The Pilgrim’s Progress: Act III, Scene 1. Vanity Fair. “Buy! What will ye buy?” | — | ||
| 12-8 | The Pilgrim’s Progress: Act III, Scene 1. Vanity Fair. “I buy the truth!” | — | ||
| 13-1 | The Pilgrim’s Progress: Act III, Scene 2. The Pilgrim in Prison | — | ||
| 13-2 | The Pilgrim’s Progress: Act IV, Scene 1. The Pilgrim Meets Mister By-Ends | — | ||
| 13-3 | The Pilgrim’s Progress: Act IV. Entr’acte | — | ||
| 13-4 | The Pilgrim’s Progress: Act IV, Scene 2. The Delectable Mountains. “Who so dwelleth” | — | ||
| 13-5 | The Pilgrim’s Progress: Act IV, Scene 2. The Delectable Mountains. “The Lord is my Shepherd” | — | ||
| 13-6 | The Pilgrim’s Progress: Act IV, Scene 3. The Pilgrim Reaches the End of his Journey | — | ||
| 13-7 | The Pilgrim’s Progress: Epilogue | — | ||
| 13-8 | The Pilgrim’s Progress: Sir Adrian Boult in rehearsal. Act III, Scene 1 | — | ||
| 13-9 | The Pilgrim’s Progress: Sir Adrian Boult in rehearsal. Act I, Nocturne | — | ||
| 13-10 | The Pilgrim’s Progress: Sir Adrian Boult in rehearsal. Act IV, Scene 1 | — | ||
| 13-11 | The Pilgrim’s Progress: Sir Adrian Boult in rehearsal. Act IV, Scene 2 | — | ||
| 13-12 | The Pilgrim’s Progress: Sir Adrian Boult in rehearsal. Act II, Scene 1 | — |
Musical Works (ISWC)
Creative Contributors (ISNI)
Identifier Graph
5099990356728 is a Universal Product Code (UPC) assigned to The Complete Recordings by Vaughan Williams, Sir Adrian Boult. 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 143 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
The UPC for “The Complete Recordings” by Vaughan Williams, Sir Adrian Boult is 5099990356728. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2013-01-01. Label: EMI Classics. This release contains 143 tracks, each with its own ISRC. Tracks include GBAYC2200831, GBAYC2200832, GBAYC2200833.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | A Sea Symphony (Symphony No. 1): I. A Song for All Seas, All Ships (Moderato maestoso) / 1. Behold, the sea itself (chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 2 | A Sea Symphony (Symphony No. 1): I. A Song for All Seas, All Ships (Moderato maestoso) / 2. Today a rude brief recitative (baritone & chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 3 | A Sea Symphony (Symphony No. 1): I. A Song for All Seas, All Ships (Moderato maestoso) / 3. Flaunt out, O sea, your separate flags of nations! (soprano & chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4 | A Sea Symphony (Symphony No. 1): I. A Song for All Seas, All Ships (Moderato maestoso) / 4. Token of all brave captains (chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5 | A Sea Symphony (Symphony No. 1): I. A Song for All Seas, All Ships (Moderato maestoso) / 5. A pennant universal (baritone, soprano & chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 6 | A Sea Symphony (Symphony No. 1): II. On the Beach at Night, Alone (Largo sostenuto) / 1. On the beach at night, alone (baritone & semi-chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 7 | A Sea Symphony (Symphony No. 1): II. On the Beach at Night, Alone (Largo sostenuto) / 2. A vast similitude interlocks all (baritone & chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8 | A Sea Symphony (Symphony No. 1): III. Scherzo: The Waves (Allegro brillante) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 9 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 1. O vast Rondure, swimming in Space (chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 10 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 2. Down from the gardens of Asia descending (chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 11 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 3. O we can wait no longer (baritone & soprano) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 12 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 4. O thou transcendent (soprano, baritone & chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 13 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 5. Greater than stars or suns (chorus, soprano & baritone) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 14 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 6. Sail forth (chorus, soprano & baritone) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 15 | A Sea Symphony (Symphony No. 1): IV. The Explorers (Grave e molto adagio - Andante con moto) / 7. O my brave Soul! (soprano, baritone & chorus) | Frederic Jackson, Sheila Armstrong, John Carol Case, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 2-1 | A London Symphony (Symphony no. 2): I. Lento - Allegro risoluto | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 2-2 | A London Symphony (Symphony no. 2): II. Lento | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 2-3 | A London Symphony (Symphony no. 2): III. Scherzo (Nocturne) - Allegro vivace | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 2-4 | A London Symphony (Symphony no. 2): IV. Andante con moto - Maestoso alla marcia | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 2-5 | A Pastoral Symphony (Symphony No. 3): I. Molto moderato | New Philharmonia Orchestra, Sir Adrian Boult | — | |
| 2-6 | A Pastoral Symphony (Symphony No. 3): II. Lento moderato | New Philharmonia Orchestra, Sir Adrian Boult | — | |
| 2-7 | A Pastoral Symphony (Symphony No. 3): III. Moderato pesante | New Philharmonia Orchestra, Sir Adrian Boult | — | |
| 2-8 | A Pastoral Symphony (Symphony No. 3): IV. Lento | Margaret Price, New Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-1 | Symphony no. 4 in F minor: I. Allegro | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-2 | Symphony no. 4 in F minor: II. Andante moderato | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-3 | Symphony no. 4 in F minor: III. Scherzo - Allegro molto | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-4 | Symphony no. 4 in F minor: IV. Finale con epilogo fugato - Allegro molto | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-5 | Symphony no. 6 in E minor: I. Allegro | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-6 | Symphony no. 6 in E minor: II. Moderato | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-7 | Symphony no. 6 in E minor: III. Scherzo - Allegro vivace | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 3-8 | Symphony no. 6 in E minor: IV. Epilogue - Moderato | Philharmonia Orchestra, Sir Adrian Boult | — | |
| 4-1 | Symphony No. 5 in D major: I. Preludio: Moderato | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-2 | Symphony No. 5 in D major: II. Scherzo: Presto | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-3 | Symphony No. 5 in D major: III. Romanza: Lento | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-4 | Symphony No. 5 in D major: IV. Passacaglia: Moderato | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-5 | Symphony No. 9 in E minor: I. Moderato maestoso | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-6 | Symphony No. 9 in E minor: II. Andante sostenuto | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-7 | Symphony No. 9 in E minor: III. Scherzo (Allegro pesante) | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 4-8 | Symphony No. 9 in E minor: IV. Andante tranquillo | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-1 | Symphony no. 7 "Sinfonia antartica": I. Prelude: Andante maestoso | John Alldis, Norma Burrowes, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-2 | Symphony no. 7 "Sinfonia antartica": II. Scherzo: Moderato | John Alldis, Norma Burrowes, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-3 | Symphony no. 7 "Sinfonia antartica": III. Landscape: Lento | John Alldis, Norma Burrowes, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-4 | Symphony no. 7 "Sinfonia antartica": IV. Intermezzo: Andante sostenuto | John Alldis, Norma Burrowes, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-5 | Symphony no. 7 "Sinfonia antartica": V. Epilogue: Alla marcia | John Alldis, Norma Burrowes, London Philharmonic Choir, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-6 | Symphony No. 8 in D minor: I. Fantasia (Variazioni senza tema) | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-7 | Symphony No. 8 in D minor: II. Scherzo alla marcia (per stromenti a fiato) - Allegro | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-8 | Symphony No. 8 in D minor: III. Cavatina (per stromenti ad arco) - Lento espressivo | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 5-9 | Symphony No. 8 in D minor: IV. Toccata - Moderato maestoso | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 6-1 | Norfolk Rhapsody no. 1 | — | ||
| 6-2 | In the Fen Country | — | ||
| 6-3 | The Lark Ascending | Hugh Bean, Philharmonia Orchestra, Sir Adrian Boult | T-902.843.856-4 | |
| 6-4 | “The Wasps” Aristophanic Suite: I. Overture | — | ||
| 6-5 | “The Wasps” Aristophanic Suite: II. Entr’acte | — | ||
| 6-6 | “The Wasps” Aristophanic Suite: III. March of the Kitchen Utensils | — | ||
| 6-7 | “The Wasps” Aristophanic Suite: IV. Entr’acte | — | ||
| 6-8 | “The Wasps” Aristophanic Suite: V. Ballet and Final Tableau | — | ||
| 6-9 | Fantasia on “Greensleeves” | — | ||
| 6-10 | English Folk Song Suite: I. March (Seventeen Come Sunday) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 6-11 | English Folk Song Suite: II. Intermezzo (My Bonny Boy) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 6-12 | English Folk Song Suite: III. March (Folk Songs from Somerset) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 7-1 | Fantasia on a Theme by Thomas Tallis | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 7-2 | Serenade to Music (1969, original version) | — | ||
| 7-3 | Toward the Unknown Region | — | ||
| 7-4 | Partita (for double string orchestra): I. Prelude: Andante tranquillo – | — | ||
| 7-5 | Partita (for double string orchestra): II. Scherzo ostinato: Presto | — | ||
| 7-6 | Partita (for double string orchestra): III. Intermezzo (Homage to Henry Hall): Andante con moto | — | ||
| 7-7 | Partita (for double string orchestra): IV. Fantasia: Allegro | — | ||
| 7-8 | Concerto Grosso: I. Intrada: Largo | — | ||
| 7-9 | Concerto Grosso: II. Burlesca ostinata: Allegro moderato | — | ||
| 7-10 | Concerto Grosso: III. Sarabande: Lento | — | ||
| 7-11 | Concerto Grosso: IV. Scherzo: Allegro: tempo di valse | — | ||
| 7-12 | Concerto Grosso: V. March: A la marcia and Reprise | — | ||
| 8-1 | Concerto in C for Two Pianos and Orchestra: I. Toccata (Allegro moderato) | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-2 | Concerto in C for Two Pianos and Orchestra: II. Romanza (Lento) | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-3 | Concerto in C for Two Pianos and Orchestra: IIIa. Fuga chromatica (Allegro) - | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-4 | Concerto in C for Two Pianos and Orchestra: IIIb. Finale alla tedesca | Victor Babin, Vitya Vronsky, London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8-5 | Job: A Masque for Dancing: Scene I: Introduction | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-6 | Job: A Masque for Dancing: Scene I: Saraband of the Sons of God | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-7 | Job: A Masque for Dancing: Scene II: Satan's Dance of Triumph | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-8 | Job: A Masque for Dancing: Scene III: Minuet of the Sons of Job and their Wives | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-9 | Job: A Masque for Dancing: Scene IV: Jobs' Dream | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-10 | Job: A Masque for Dancing: Scene V: Dance of the Three Messengers | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-11 | Job: A Masque for Dancing: Scene VI: Dance of Job's Comforters | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-12 | Job: A Masque for Dancing: Scene VII: Eihu's Dance of Youth and Beauty | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-13 | Job: A Masque for Dancing: Scene VII: Pavane of the Sons of the Morning | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-14 | Job: A Masque for Dancing: Scene VIII: Galliard of the Sons of the Morning | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-15 | Job: A Masque for Dancing: Scene VIII: Altar Dance | London Symphony Orchestra, Sir Adrian Boult | — | |
| 8-16 | Job: A Masque for Dancing: Scene IX: Epilogue | London Symphony Orchestra, Sir Adrian Boult | — | |
| 9-1 | Dona nobis pacem: I. Agnus Dei: Lento – | — | ||
| 9-2 | Dona nobis pacem: II. Beat! beat! drums!: Allegro moderato – | — | ||
| 9-3 | Dona nobis pacem: III. Reconciliation: Andantino – | — | ||
| 9-4 | Dona nobis pacem: IV. Dirge for Two Veterans: Moderato alla marcia | — | ||
| 9-5 | Dona nobis pacem: V. The Angel of Death has been abroad: L’istesso tempo – | — | ||
| 9-6 | Dona nobis pacem: VI. O man greatly beloved | — | ||
| 9-7 | Fantasia (quasi variazione) on the Old 104th | — | ||
| 9-8 | A Song of Thanksgiving | — | ||
| 9-9 | The Lark Ascending (1952) | — | ||
| 10-1 | Symphony no. 6 in E minor (1949–50): I. Allegro | — | ||
| 10-2 | Symphony no. 6 in E minor (1949–50): II. Moderato | — | ||
| 10-4 | Symphony no. 6 in E minor (1949–50): IV. Epilogue: Moderato | — | ||
| 10-5 | Symphony no. 6 in E minor (1949–50): III. Scherzo (original version) | — | ||
| 10-6 | Flos campi: I. Sicut Lilium inter spinas | — | ||
| 10-7 | Flos campi: II. Jam enim hiems transit | — | ||
| 10-8 | Flos campi: III. Quaesivi quem diligit anima mea | — | ||
| 10-9 | Flos campi: IV. En lectulum Salomonis | — | ||
| 10-10 | Flos campi: V. Revertere, revertere Sulamitis! | — | ||
| 10-11 | Flos campi: VI. Pone me ut signaculum | — | ||
| 10-12 | Violin Concerto in D minor “Concerto accademico”: I. Allegro pesante | — | ||
| 10-13 | Violin Concerto in D minor “Concerto accademico”: II. Adagio – Tranquillo | — | ||
| 10-14 | Violin Concerto in D minor “Concerto accademico”: III. Presto | — | ||
| 11-2 | Fantasia on a Theme by Thomas Tallis (1940) | — | ||
| 11-3 | Job – A Masque for Dancing (1946): Scene I. Introduction – | — | ||
| 11-4 | Job – A Masque for Dancing (1946): Scene I. Saraband of the Sons of God | — | ||
| 11-5 | Job – A Masque for Dancing (1946): Scene II. Satan’s Dance of Triumph | — | ||
| 11-6 | Job – A Masque for Dancing (1946): Scene III. Minuet of the Sons of Job and Their Wives | — | ||
| 11-7 | Job – A Masque for Dancing (1946): Scene IV. Job’s Dream – | — | ||
| 11-8 | Job – A Masque for Dancing (1946): Scene V. Dance of the Three Messengers | — | ||
| 11-9 | Job – A Masque for Dancing (1946): Scene VI. Dance of Job’s Comforters | — | ||
| 11-10 | Job – A Masque for Dancing (1946): Scene VII. Elihu’s Dance of Youth and Beauty – | — | ||
| 11-11 | Job – A Masque for Dancing (1946): Scene VII. Pavane of the Sons of the Morning | — | ||
| 11-12 | Job – A Masque for Dancing (1946): Scene VIII. Galliard of the Sons of the Morning – | — | ||
| 11-13 | Job – A Masque for Dancing (1946): Scene VIII. Altar Dance – | — | ||
| 11-14 | Job – A Masque for Dancing (1946): Scene IX. Epilogue | — | ||
| 12-1 | The Pilgrim’s Progress: Prologue. Bunyan in Prison | — | ||
| 12-2 | The Pilgrim’s Progress: Act I, Scene 1. The Pilgrim Meets Evangelist | — | ||
| 12-3 | The Pilgrim’s Progress: Act I, Scene 2. The House Beautiful | — | ||
| 12-4 | The Pilgrim’s Progress: Act I. Nocturne: Intermezzo | — | ||
| 12-5 | The Pilgrim’s Progress: Act II, Scene 1. The Arming of the Pilgrim | — | ||
| 12-6 | The Pilgrim’s Progress: Act II, Scene 2. The Pilgrim Meets Apollyon | — | ||
| 12-7 | The Pilgrim’s Progress: Act III, Scene 1. Vanity Fair. “Buy! What will ye buy?” | — | ||
| 12-8 | The Pilgrim’s Progress: Act III, Scene 1. Vanity Fair. “I buy the truth!” | — | ||
| 13-1 | The Pilgrim’s Progress: Act III, Scene 2. The Pilgrim in Prison | — | ||
| 13-2 | The Pilgrim’s Progress: Act IV, Scene 1. The Pilgrim Meets Mister By-Ends | — | ||
| 13-3 | The Pilgrim’s Progress: Act IV. Entr’acte | — | ||
| 13-4 | The Pilgrim’s Progress: Act IV, Scene 2. The Delectable Mountains. “Who so dwelleth” | — | ||
| 13-5 | The Pilgrim’s Progress: Act IV, Scene 2. The Delectable Mountains. “The Lord is my Shepherd” | — | ||
| 13-6 | The Pilgrim’s Progress: Act IV, Scene 3. The Pilgrim Reaches the End of his Journey | — | ||
| 13-7 | The Pilgrim’s Progress: Epilogue | — | ||
| 13-8 | The Pilgrim’s Progress: Sir Adrian Boult in rehearsal. Act III, Scene 1 | — | ||
| 13-9 | The Pilgrim’s Progress: Sir Adrian Boult in rehearsal. Act I, Nocturne | — | ||
| 13-10 | The Pilgrim’s Progress: Sir Adrian Boult in rehearsal. Act IV, Scene 1 | — | ||
| 13-11 | The Pilgrim’s Progress: Sir Adrian Boult in rehearsal. Act IV, Scene 2 | — | ||
| 13-12 | The Pilgrim’s Progress: Sir Adrian Boult in rehearsal. Act II, Scene 1 | — |
