UPC · Release
Elgar, Sir Adrian Boult
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The UPC for “The Complete Recordings” by Elgar, Sir Adrian Boult is 5099990359224. 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 299 tracks, each with its own ISRC. Tracks include GBAYC8501048, GBAYD8600347, GBAYC0200309.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Cockaigne (In London Town), op. 40 — Concert Overture | — | ||
| 2 | Froissart, op. 19 — Concert Overture | — | ||
| 3 | Serenade in E minor, op. 20: I. Allegro piacevole | — | ||
| 4 | Serenade in E minor, op. 20: II. Larghetto | — | ||
| 5 | Serenade in E minor, op. 20: III. Allegretto — Come prima | — | ||
| 6 | Chanson de nuit, op. 15 no. 1 | — | ||
| 7 | Chanson de matin, op. 15 no. 2 | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8 | Three Bavarian Dances: I. The Dance (Sonnenbichl): Allegretto giocoso | — | ||
| 9 | Three Bavarian Dances: II. Lullaby (In Hammersbach): Moderato | — | ||
| 10 | Three Bavarian Dances: III. The Marksman (Bei Murnau): Allegro vivace | — | ||
| 11 | Meditation (from the Light of Life, op. 29) | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 12 | Imperial March, op. 32 | — | ||
| 13 | Triumphal March (from Caractacus, op. 35) | — | ||
| 2-1 | Variations on an Original Theme "Enigma", op. 36: Theme (Andante) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-2 | Variations on an Original Theme "Enigma", op. 36: I. C.A.E. (L'istesso tempo) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-3 | Variations on an Original Theme "Enigma", op. 36: II. H.D.S-P. (Allegro) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-4 | Variations on an Original Theme "Enigma", op. 36: III. R.B.T. (Allegretto) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-5 | Variations on an Original Theme "Enigma", op. 36: IV. W.M.B. (Allegro di molto) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-6 | Variations on an Original Theme "Enigma", op. 36: V. R.P.A. (Moderato) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-7 | Variations on an Original Theme "Enigma", op. 36: VI. Ysobel (Andantino) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-8 | Variations on an Original Theme "Enigma", op. 36: VII. Troyte (Presto) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-9 | Variations on an Original Theme "Enigma", op. 36: VIII. W.N. (Allegretto) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-10 | Variations on an Original Theme “Enigma”, op. 36: IX. Nimrod | London Symphony Orchestra, Sir Adrian Boult | T-010.115.427-1 | |
| 2-11 | Variations on an Original Theme "Enigma", op. 36: X. Intermezzo: Dorabella (Allegretto) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-12 | Variations on an Original Theme "Enigma", op. 36: XI. G.R.S. (Allegro di molto) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-13 | Variations on an Original Theme "Enigma", op. 36: XII. B.G.N. (Andante) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-14 | Variations on an Original Theme "Enigma", op. 36: XIII. Romanza (Moderato) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-15 | Variations on an Original Theme "Enigma", op. 36: XIV. Finale: E.D.U. (Allegro) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-16 | Pomp and Circumstance, op. 39 — Military Marches: No. 1 in D | — | ||
| 2-17 | Pomp and Circumstance, op. 39 — Military Marches: No. 2 in A minor | — | ||
| 2-18 | Pomp and Circumstance, op. 39 — Military Marches: No. 3 in C minor | — | ||
| 2-19 | Pomp and Circumstance, op. 39 — Military Marches: No. 4 in G | — | ||
| 2-20 | Pomp and Circumstance, op. 39 — Military Marches: No. 5 in C | — | ||
| 2-21 | Grania and Diarmid, op. 42 — Incidental Music: I. Incidental Music | — | ||
| 2-22 | Grania and Diarmid, op. 42 — Incidental Music: II. Funeral March | — | ||
| 2-23 | Dream Children, op. 43: I. Andante | — | ||
| 2-24 | Dream Children, op. 43: II. Allegretto piacevole | — | ||
| 2-25 | Empire March | — | ||
| 3-1 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: I. Overture: Allegro molto | — | ||
| 3-2 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: II. Serenade: Andantino | — | ||
| 3-3 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: III. Minuet (Old Style): Andante | — | ||
| 3-4 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: IV. Sun Dance: Presto | — | ||
| 3-5 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: V. Fairy Pipers: Allegretto | — | ||
| 3-6 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: VI. Slumber Scene: Moderato | — | ||
| 3-7 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: VII. Fairies and Giants: Presto | — | ||
| 3-8 | The Wand of Youth — Music to a Child’s Play: Second Suite, op. 1b: I. March (Alla Marcia): Allegro moderato | — | ||
| 3-9 | The Wand of Youth — Music to a Child’s Play: Second Suite, op. 1b: II. The Little Bells (Scherzino): Allegro molto | — | ||
| 3-10 | The Wand of Youth — Music to a Child’s Play: Second Suite, op. 1b: III. Moths and Butterflies (Dance): Allegretto | — | ||
| 3-11 | The Wand of Youth — Music to a Child’s Play: Second Suite, op. 1b: IV. Fountain Dance: Allegretto comodo | — | ||
| 3-12 | The Wand of Youth — Music to a Child’s Play: Second Suite, op. 1b: V. The Tame Bear: Allegro moderato | — | ||
| 3-13 | The Wand of Youth — Music to a Child’s Play: Second Suite, op. 1b: VI. Wild Bears: Presto | — | ||
| 3-14 | Carillon, op. 75 | — | ||
| 3-15 | Polonia, op. 76 | — | ||
| 3-16 | Fantasia and Fugue in C minor, op. 86 (J.S. Bach BWV537): I. Fantasia | — | ||
| 3-17 | Fantasia and Fugue in C minor, op. 86 (J.S. Bach BWV537): II. Fugue | — | ||
| 3-18 | Overture in D minor | — | ||
| 3-19 | Funeral March (from Chopin: Piano Sonata no. 2, op. 35) | — | ||
| 4-1 | Symphony no. 1 in A flat, op. 55: I. Andante, nobilmente e semplice — Allegro | — | ||
| 4-2 | Symphony no. 1 in A flat, op. 55: II. Allegro molto — | — | ||
| 4-3 | Symphony no. 1 in A flat, op. 55: III. Adagio | — | ||
| 4-4 | Symphony no. 1 in A flat, op. 55: IV. Lento — Allegro | — | ||
| 4-5 | In the South (Alassio) op. 50 — Concert Overture: Vivace — | — | ||
| 4-6 | In the South (Alassio) op. 50 — Concert Overture: Grandioso (fig. 20) — | — | ||
| 4-7 | In the South (Alassio) op. 50 — Concert Overture: Meno mosso, molto tranquillo (canto popolare) (fig. 34) — | — | ||
| 4-8 | In the South (Alassio) op. 50 — Concert Overture: Tempo I (fig. 40) — Poco meno mosso | — | ||
| 4-9 | Elegy op. 58 | — | ||
| 5-1 | Symphony no. 2 in E flat, op. 63: I. Allegro vivace e nobilmente | — | ||
| 5-2 | Symphony no. 2 in E flat, op. 63: II. Larghetto | — | ||
| 5-3 | Symphony no. 2 in E flat, op. 63: III. Rondo (Presto) | — | ||
| 5-4 | Symphony no. 2 in E flat, op. 63: IV. Moderato e maestoso | — | ||
| 5-5 | The Sanguine Fan, op. 81: I. (A Glade) | — | ||
| 5-6 | The Sanguine Fan, op. 81: II. Pan enters piping | — | ||
| 5-7 | The Sanguine Fan, op. 81: III. A young man enters, awaiting someone | — | ||
| 5-8 | The Sanguine Fan, op. 81: IV. Two girls enter gaily; the young man returns | — | ||
| 5-9 | The Sanguine Fan, op. 81: V. The young man declares his passion for the first girl | — | ||
| 5-10 | The Sanguine Fan, op. 81: VI. Echo awakes Pan, who falls in love with her | — | ||
| 5-11 | The Sanguine Fan, op. 81: VII. Three Shepherdesses bring gifts to Pan | — | ||
| 5-12 | The Sanguine Fan, op. 81: VIII. The first girl and the young man enter | — | ||
| 5-13 | The Sanguine Fan, op. 81: IX. Echo snatches Pan’s pipes and tempts the young man | — | ||
| 5-14 | The Sanguine Fan, op. 81: X. Echo, now disguised as a mortal, captivates the young man | — | ||
| 5-15 | The Sanguine Fan, op. 81: XI. Pan rouses and, full of jealous wrath, pursues the young man | — | ||
| 5-16 | The Sanguine Fan, op. 81: XII. Echo, sans disguise, runs back to Pan | — | ||
| 5-17 | Sospiri, op. 70 | — | ||
| 6-1 | Introduction and Allegro, op. 47 | — | ||
| 6-2 | Falstaff, op. 68 — Symphonic Study in C minor: I. Falstaff and Prince Henry | — | ||
| 6-3 | Falstaff, op. 68 — Symphonic Study in C minor: II. Eastcheap — Gadshill — The Boar’s Head, revelry and sleep | — | ||
| 6-4 | Falstaff, op. 68 — Symphonic Study in C minor: II. Dream Interlude: “Jack Falstaff, now Sir John, a boy, and a page to Thomas Mowbray, Duke of Norfolk”: Poco allegretto | — | ||
| 6-5 | Falstaff, op. 68 — Symphonic Study in C minor: III. Falstaff’s march — The return through Gloucestershire — | — | ||
| 6-6 | Falstaff, op. 68 — Symphonic Study in C minor: III. Interlude: Gloucestershire: Shallow’s orchard: Allegretto — The new king — The hurried trip to London | — | ||
| 6-7 | Falstaff, op. 68 — Symphonic Study in C minor: IV. King Henry V’s progress — The repudiation of Falstaff, and his death | — | ||
| 6-8 | Nursery Suite: I. Aubade (Awake): Allegretto | — | ||
| 6-9 | Nursery Suite: II. The Serious Doll: Andantino | — | ||
| 6-10 | Nursery Suite: III. Busy-ness: Allegro molto | — | ||
| 6-11 | Nursery Suite: IV. The Sad Doll: Andantino | — | ||
| 6-12 | Nursery Suite: V. The Wagon (Passes): Allegretto | — | ||
| 6-13 | Nursery Suite: VI. The Merry Doll: Allegro molto | — | ||
| 6-14 | Nursery Suite: VII. Dreaming: Lento — Envoy: Coda | — | ||
| 6-15 | Fantasia and Fugue in C minor (J.S. Bach BWV 537 orch. Elgar), op. 86: I. Fantasia | — | ||
| 6-16 | Fantasia and Fugue in C minor (J.S. Bach BWV 537 orch. Elgar), op. 86: II. Fugue | — | ||
| 7-1 | Violin Concerto in B minor, op. 61: I. Allegro | — | ||
| 7-2 | Violin Concerto in B minor, op. 61: II. Andante | Sir Edward Elgar | — | |
| 7-3 | Violin Concerto in B minor, op. 61: III. Allegro molto — Cadenza (accompagnata: Lento) — Allegro molto: Allegro molto — | — | ||
| 7-4 | Violin Concerto in B minor, op. 61: III. Cadenza (accompagnata: Lento) – Allegro molto | Yehudi Menuhin, New Philharmonia Orchestra, Sir Adrian Boult | — | |
| 7-5 | Cello Concerto in E minor, op. 85: I. Adagio — Moderato — | — | ||
| 7-6 | Cello Concerto in E minor, op. 85: II. Lento — Allegro molto | — | ||
| 7-7 | Cello Concerto in E minor, op. 85: III. Adagio — | — | ||
| 7-8 | Cello Concerto in E minor, op. 85: IV. Allegro — Moderato — Cadenza — Allegro ma non troppo — Adagio — Allegro molto | — | ||
| 8-1 | The Music Makers op. 69 (Moderato e nobilmente) | — | ||
| 8-2 | The Music Makers op. 69: We are the music makers | — | ||
| 8-3 | The Music Makers op. 69: With wonderful deathless ditties | — | ||
| 8-4 | The Music Makers op. 69: We, in the ages lying | — | ||
| 8-5 | The Music Makers op. 69: A breath of our inspiration | — | ||
| 8-6 | The Music Makers op. 69: They had no vision amazing | — | ||
| 8-7 | The Music Makers op. 69: And therefore to-day is thrilling | — | ||
| 8-8 | The Music Makers op. 69: But we, with our dreaming and singing | — | ||
| 8-9 | The Music Makers op. 69: For we are afar with the dawning | — | ||
| 8-10 | The Music Makers op. 69: Great hail! we cry to the comers | — | ||
| 8-11 | The Dream of Gerontius op. 38: Part 1: Prelude (Lento, mistico — Moderato — Andantino — Come prima) | — | ||
| 8-12 | The Dream of Gerontius op. 38: Part 1: Jesu Maria — I am near to death (Gerontius) | — | ||
| 8-13 | The Dream of Gerontius op. 38: Part 1: Kyrie eleison…Holy Mary, pray for him (Chorus) | — | ||
| 8-14 | The Dream of Gerontius op. 38: Part 1: Rouse thee, my fainting soul (Gerontius) | — | ||
| 8-15 | The Dream of Gerontius op. 38: Part 1: Be merciful, be gracious (Chorus) | — | ||
| 8-16 | The Dream of Gerontius op. 38: Part 1: Sanctus fortis, Sanctus Deus (Gerontius) | — | ||
| 8-17 | The Dream of Gerontius op. 38: Part 1: I can no more (Gerontius) | — | ||
| 8-18 | The Dream of Gerontius op. 38: Part 1: Rescue him, O Lord (Chorus/Gerontius) | — | ||
| 8-19 | The Dream of Gerontius op. 38: Part 1: Novissima hora est (Gerontius) | — | ||
| 8-20 | The Dream of Gerontius op. 38: Part 1: Proficiscere, anima Christiana (Priest) | — | ||
| 8-21 | The Dream of Gerontius op. 38: Part 1: Go in the name of Angels (Chorus/Priest) | — | ||
| 9-1 | The Dream of Gerontius op. 38: Part 2: (Andantino) — I went to sleep (Soul of Gerontius) | — | ||
| 9-2 | The Dream of Gerontius op. 38: Part 2: My work is done (Angel/Soul of Gerontius) | — | ||
| 9-3 | The Dream of Gerontius op. 38: Part 2: All hail! My child (Angel/Soul of Gerontius) | — | ||
| 9-4 | The Dream of Gerontius op. 38: Part 2: Low-born clods of brute earth (Chorus) | — | ||
| 9-5 | The Dream of Gerontius op. 38: Part 2: It is the restless panting of their being (Angel) | — | ||
| 9-6 | The Dream of Gerontius op. 38: Part 2: The mind bold and independent (Chorus) | — | ||
| 9-7 | The Dream of Gerontius op. 38: Part 2: I see not those false spirits (Soul of Gerontius/Angel) | — | ||
| 9-8 | The Dream of Gerontius op. 38: Part 2: Praise to the Holiest (Chorus) | — | ||
| 9-9 | The Dream of Gerontius op. 38: Part 2: The sound is like the rushing of the wind (Soul/Chorus) | — | ||
| 9-10 | The Dream of Gerontius op. 38: Part 2: Glory to Him (Chorus) | — | ||
| 9-11 | The Dream of Gerontius op. 38: Part 2: They sing of thy approaching agony (Angel/Soul/Chorus) | — | ||
| 9-12 | The Dream of Gerontius op. 38: Part 2: But hark! a grand mysterious harmony (Soul) | — | ||
| 9-13 | The Dream of Gerontius op. 38: Part 2: And now the threshold (Angel) | — | ||
| 9-14 | The Dream of Gerontius op. 38: Part 2: Praise to the Holiest (Chorus) | — | ||
| 9-15 | The Dream of Gerontius op. 38: Part 2: Thy judgement now is near (Angel/Soul) | — | ||
| 9-16 | The Dream of Gerontius op. 38: Part 2: Jesu! by that shuddering dread (Angel of the Agony/Soul) | — | ||
| 9-17 | The Dream of Gerontius op. 38: Part 2: Be merciful, be gracious (Chorus) | — | ||
| 9-18 | The Dream of Gerontius op. 38: Part 2: Praise to His name! (Angel) | — | ||
| 9-19 | The Dream of Gerontius op. 38: Part 2: Take me away (Soul) | — | ||
| 9-20 | The Dream of Gerontius op. 38: Part 2: Lord, Thou hast been our refuge (Chorus) | — | ||
| 9-21 | The Dream of Gerontius op. 38: Part 2: Softly and gently (Angel/Chorus) | — | ||
| 10-1 | The Apostles, op. 49: Prologue | — | ||
| 10-2 | The Apostles, op. 49: Part 1: I. The Calling of the Apostles: And it came to pass in those days | — | ||
| 10-3 | The Apostles, op. 49: Part 1: I. The Calling of the Apostles: In the Mountain — Night: The Dawn | — | ||
| 10-4 | The Apostles, op. 49: Part 1: I. The Calling of the Apostles: In the Mountain — Night: Morning Psalm | — | ||
| 10-5 | The Apostles, op. 49: Part 1: I. The Calling of the Apostles: In the Mountain — Night: The Lord hath chosen them | — | ||
| 10-6 | The Apostles, op. 49: Part 1: II. By the Wayside | — | ||
| 10-7 | The Apostles, op. 49: Part 1: III. By the Sea of Galilee: And straightaway Jesus constrained his disciples | — | ||
| 10-8 | The Apostles, op. 49: Part 1: III. By the Sea of Galilee: In the Tower of Magdala | — | ||
| 10-9 | The Apostles, op. 49: Part 1: III. By the Sea of Galilee: Fantasy: This shall ye have of mine hand | — | ||
| 10-10 | The Apostles, op. 49: Part 1: III. By the Sea of Galilee: In Caesarea Philippi: When Jesus came into the parts of Caesarea Philippi | — | ||
| 10-11 | The Apostles, op. 49: Part 1: III. By the Sea of Galilee: In Caesarea Philippi: And I will give unto thee | — | ||
| 10-12 | The Apostles, op. 49: Part 1: III. By the Sea of Galilee: In Capernaum: Turn you to the stronghold | — | ||
| 11-1 | The Apostles, op. 49: Part 2: Introduction | — | ||
| 11-2 | The Apostles, op. 49: Part 2: IV. The Betrayal: And it came to pass | — | ||
| 11-3 | The Apostles, op. 49: Part 2: IV. The Betrayal: Then gathered the Chief Priests and Pharisees | — | ||
| 11-4 | The Apostles, op. 49: Part 2: IV. The Betrayal: Hail, Master! | — | ||
| 11-5 | The Apostles, op. 49: Part 2: IV. The Betrayal: In the Place of the High Priest: Then Judas, which had betrayed him | — | ||
| 11-6 | The Apostles, op. 49: Part 2: IV. The Betrayal: The Temple: Without the temple | — | ||
| 11-7 | The Apostles, op. 49: Part 2: V. Golgotha | — | ||
| 11-8 | The Apostles, op. 49: Part 2: VI. At the Sepulchre | — | ||
| 11-9 | The Apostles, op. 49: Part 2: VII. The Ascension: We trusted that it had been He | — | ||
| 11-10 | The Apostles, op. 49: Part 2: VII. The Ascension: Give us one heart | — | ||
| 11-11 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Elgar’s use of leitmotiv: General introduction | — | ||
| 11-12 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Elgar’s use of leitmotiv: Introduction to The Apostles and The Kingdom | — | ||
| 11-13 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for the principal characters: Christ, the Man of Sorrows | — | ||
| 11-14 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for the principal characters: The Spirit of the Lord | — | ||
| 11-15 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for the principal characters: Christ’s Loneliness | — | ||
| 11-16 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for the principal characters: The Beatitudes | — | ||
| 11-17 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for the principal characters: Judas | — | ||
| 11-18 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for the principal characters: St. Peter | — | ||
| 11-19 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for abstract ideas: The Gospel | — | ||
| 11-20 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for abstract ideas: The Church | — | ||
| 11-21 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for abstract ideas: The Fellowship of the Apostles | — | ||
| 11-22 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes only used in The Kingdom: The New Faith (Christianity) | — | ||
| 11-23 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes only used in The Kingdom: In the name of Jesus Christ | — | ||
| 11-24 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes only used in The Kingdom: The Real Presence (Christ) | — | ||
| 11-25 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes only used in The Kingdom: Motto theme quoted from The Light of Life | — | ||
| 11-26 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes only used in The Kingdom: Motto theme quoted from The Dream of Gerontius | — | ||
| 12-1 | The Kingdom, op. 51: Prelude | — | ||
| 12-2 | The Kingdom, op. 51: I. In the Upper Room: Seek first the Kingdom of God | — | ||
| 12-3 | The Kingdom, op. 51: I. In the Upper Room: Men and brethren | — | ||
| 12-4 | The Kingdom, op. 51: I. In the Upper Room: O ye priests! | — | ||
| 12-5 | The Kingdom, op. 51: II. At the Beautiful Gate | — | ||
| 12-6 | The Kingdom, op. 51: III. Pentecost: And when the day of Pentecost | — | ||
| 12-7 | The Kingdom, op. 51: III. Pentecost: And suddenly there came from Heaven | — | ||
| 12-8 | The Kingdom, op. 51: III. Pentecost: Repent, and be baptised | — | ||
| 13-1 | The Kingdom, op. 51: IV. The Sign of Healing: Then they that gladly received his word | — | ||
| 13-2 | The Kingdom, op. 51: IV. The Sign of Healing: And as they spake…The Sun goeth down | — | ||
| 13-3 | The Kingdom, op. 51: V. The Upper Room: The voice of joy | — | ||
| 13-4 | The Kingdom, op. 51: V. The Upper Room: Thou, Almighty God | — | ||
| 13-5 | The Kingdom, op. 51: V. The Upper Room: Our Father | — | ||
| 13-6 | Coronation Ode, op. 44: I. Crown the King | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 13-7 | Coronation Ode, op. 44: IIa. The Queen | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 13-8 | Coronation Ode, op. 44: IIb. Daughter of ancient Kings | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 13-9 | Coronation Ode, op. 44: III. Britain, ask thyself | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 13-10 | Coronation Ode, op. 44: IV. Hark, upon the hallowed air…Only let the heart be pure | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 13-11 | Coronation Ode, op. 44: V. Peace, gentle Peace | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 13-12 | Coronation Ode, op. 44: VI. Land of Hope and Glory | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 14-1 | Symphony no. 1 in A flat, op. 55: I. Andante, nobilmente e semplice — Allegro | — | ||
| 14-2 | Symphony no. 1 in A flat, op. 55: II. Allegro molto — | — | ||
| 14-3 | Symphony no. 1 in A flat, op. 55: III. Adagio | — | ||
| 14-4 | Symphony no. 1 in A flat, op. 55: IV. Lento — Allegro | — | ||
| 14-5 | Variations on an Original Theme “Enigma”, op. 36: Theme | — | ||
| 14-6 | Variations on an Original Theme “Enigma”, op. 36: I. C.A.E. | — | ||
| 14-7 | Variations on an Original Theme “Enigma”, op. 36: II. H.D.S.-P. | — | ||
| 14-8 | Variations on an Original Theme “Enigma”, op. 36: III. R.B.T | — | ||
| 14-9 | Variations on an Original Theme “Enigma”, op. 36: IV. W.M.B | — | ||
| 14-10 | Variations on an Original Theme “Enigma”, op. 36: V. R.P.A | — | ||
| 14-11 | Variations on an Original Theme “Enigma”, op. 36: VI. Ysobel | — | ||
| 14-12 | Variations on an Original Theme “Enigma”, op. 36: VII. Troyte | — | ||
| 14-13 | Variations on an Original Theme “Enigma”, op. 36: VIII. W.N. | — | ||
| 14-14 | Variations on an Original Theme “Enigma”, op. 36: IX. Nimrod | London Symphony Orchestra, Sir Adrian Boult | T-010.115.427-1 | |
| 14-15 | Variations on an Original Theme “Enigma”, op. 36: X. Intermezzo: Dorabella | — | ||
| 14-16 | Variations on an Original Theme “Enigma”, op. 36: XI. G.R.S | — | ||
| 14-17 | Variations on an Original Theme “Enigma”, op. 36: XII. B.G.N | — | ||
| 14-18 | Variations on an Original Theme “Enigma”, op. 36: XIII. Romanza: *** | — | ||
| 14-19 | Variations on an Original Theme “Enigma”, op. 36: XIV. Finale: E.D.U | — | ||
| 15-1 | In the South (Alassio) op. 50 — Concert Overture: Vivace — | — | ||
| 15-2 | In the South (Alassio) op. 50 — Concert Overture: Grandioso (fig. 20) — | — | ||
| 15-3 | In the South (Alassio) op. 50 — Concert Overture: Meno mosso, molto tranquillo (canto popolare) (fig. 34) — | — | ||
| 15-4 | In the South (Alassio) op. 50 — Concert Overture: Tempo I (fig. 40) — Poco meno mosso | — | ||
| 15-5 | Falstaff, op. 68 — Symphonic Study in C minor: I. Falstaff and Prince Henry | — | ||
| 15-6 | Falstaff, op. 68 — Symphonic Study in C minor: II. Eastcheap — Gadshill — The Boar’s Head, revelry and sleep | — | ||
| 15-7 | Falstaff, op. 68 — Symphonic Study in C minor: II. Dream Interlude: “Jack Falstaff, now Sir John, a boy, and a page to Thomas Mowbray, Duke of Norfolk”: Poco allegretto | — | ||
| 15-8 | Falstaff, op. 68 — Symphonic Study in C minor: III. Falstaff’s march — The return through Gloucestershire — | — | ||
| 15-9 | Falstaff, op. 68 — Symphonic Study in C minor: III. Interlude: Gloucestershire: Shallow’s orchard: Allegretto — The new king — The hurried trip to London | — | ||
| 15-10 | Falstaff, op. 68 — Symphonic Study in C minor: IV. King Henry V’s progress — The repudiation of Falstaff, and his death | — | ||
| 15-11 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: I. Overture: Allegro molto | — | ||
| 15-12 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: II. Serenade: Andantino | — | ||
| 15-13 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: III. Minuet (Old Style): Andante | — | ||
| 15-14 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: IV. Sun Dance: Presto | — | ||
| 15-15 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: V. Fairy Pipers: Allegretto | — | ||
| 15-16 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: VI. Slumber Scene: Moderato | — | ||
| 15-17 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: VII. Fairies and Giants: Presto | — | ||
| 16-1 | Pomp and Circumstance, op. 39 — Military Marches: No. 1 in D | — | ||
| 16-2 | Pomp and Circumstance, op. 39 — Military Marches: No. 2 in A minor | — | ||
| 16-3 | Pomp and Circumstance, op. 39 — Military Marches: No. 3 in C minor | — | ||
| 16-4 | Pomp and Circumstance, op. 39 — Military Marches: No. 4 in G | — | ||
| 16-5 | Pomp and Circumstance, op. 39 — Military Marches: No. 5 in C | — | ||
| 16-6 | Froissart, op. 19 — Concert Overture | — | ||
| 16-7 | Dream Children, op. 43: I. Andante | — | ||
| 16-8 | Dream Children, op. 43: II. Allegro piacevole | — | ||
| 16-9 | Variations on an Original Theme “Enigma”, op. 36: Theme | — | ||
| 16-10 | Variations on an Original Theme “Enigma”, op. 36: I. C.A.E. | — | ||
| 16-11 | Variations on an Original Theme “Enigma”, op. 36: II. H.D.S.-P. | — | ||
| 16-12 | Variations on an Original Theme “Enigma”, op. 36: III. R.B.T | — | ||
| 16-13 | Variations on an Original Theme “Enigma”, op. 36: IV. W.M.B | — | ||
| 16-14 | Variations on an Original Theme “Enigma”, op. 36: V. R.P.A | — | ||
| 16-15 | Variations on an Original Theme “Enigma”, op. 36: VI. Ysobel | — | ||
| 16-16 | Variations on an Original Theme “Enigma”, op. 36: VII. Troyte | — | ||
| 16-17 | Variations on an Original Theme “Enigma”, op. 36: VIII. W.N. | — | ||
| 16-18 | Variations on an Original Theme “Enigma”, op. 36: IX. Nimrod | London Philharmonic Orchestra, Sir Adrian Boult | T-010.115.427-1 | |
| 16-19 | Variations on an Original Theme “Enigma”, op. 36: X. Intermezzo: Dorabella | — | ||
| 16-20 | Variations on an Original Theme “Enigma”, op. 36: XI. G.R.S | — | ||
| 16-21 | Variations on an Original Theme “Enigma”, op. 36: XII. B.G.N | — | ||
| 16-22 | Variations on an Original Theme “Enigma”, op. 36: XIII. Romanza: *** | — | ||
| 16-23 | Variations on an Original Theme “Enigma”, op. 36: XIV. Finale: E.D.U | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 17-1 | Pomp and Circumstance op. 39 — Military Marches: No. 3 in C minor | — | ||
| 17-2 | Introduction and Allegro, op. 47 | — | ||
| 17-3 | Violin Concerto in B minor, op. 61: I. Allegro | — | ||
| 17-4 | Violin Concerto in B minor, op. 61: II. Andante | — | ||
| 17-5 | Violin Concerto in B minor, op. 61: III. Allegro molto — Cadenza (accompagnata: Lento) — Allegro molto: Allegro molto — | — | ||
| 17-6 | Violin Concerto in B minor, op. 61: III. Allegro molto — Cadenza (accompagnata: Lento) — Allegro molto: Cadenza (accompagnata: Lento) — Allegro molto | — | ||
| 18-1 | Symphony no. 2 in E flat, op. 63: I. Allegro vivace e nobilmente | — | ||
| 18-2 | Symphony no. 2 in E flat, op. 63: II. Larghetto | — | ||
| 18-3 | Symphony no. 2 in E flat, op. 63: III. Rondo (Presto) | — | ||
| 18-4 | Symphony no. 2 in E flat, op. 63: IV. Moderato e maestoso | — | ||
| 18-5 | Funeral March (from Chopin: Piano Sonato no. 2, op. 35 orch. Elgar) | — | ||
| 18-6 | The Dream of Gerontius — Prelude | — | ||
| 18-7 | Imperial March, op. 32 | — | ||
| 19-1 | Introduction and Allegro, op. 47 | — | ||
| 19-2 | Variations on an Original Theme “Enigma”, op. 36: Theme | — | ||
| 19-3 | Variations on an Original Theme “Enigma”, op. 36: I. C.A.E. | — | ||
| 19-4 | Variations on an Original Theme “Enigma”, op. 36: II. H.D.S.-P. | — | ||
| 19-5 | Variations on an Original Theme “Enigma”, op. 36: III. R.B.T | — | ||
| 19-6 | Variations on an Original Theme “Enigma”, op. 36: IV. W.M.B | — | ||
| 19-7 | Variations on an Original Theme “Enigma”, op. 36: V. R.P.A | — | ||
| 19-8 | Variations on an Original Theme “Enigma”, op. 36: VI. Ysobel | — | ||
| 19-9 | Variations on an Original Theme “Enigma”, op. 36: VII. Troyte | — | ||
| 19-10 | Variations on an Original Theme “Enigma”, op. 36: VIII. W.N. | — | ||
| 19-11 | Variations on an Original Theme “Enigma”, op. 36: IX. Nimrod | London Symphony Orchestra, Sir Adrian Boult | T-010.115.427-1 | |
| 19-12 | Variations on an Original Theme “Enigma”, op. 36: X. Intermezzo: Dorabella | — | ||
| 19-13 | Variations on an Original Theme “Enigma”, op. 36: XI. G.R.S | — | ||
| 19-14 | Variations on an Original Theme “Enigma”, op. 36: XII. B.G.N | — | ||
| 19-15 | Variations on an Original Theme “Enigma”, op. 36: XIII. Romanza: *** | — | ||
| 19-16 | Variations on an Original Theme “Enigma”, op. 36: XIV. Finale: E.D.U | — | ||
| 19-17 | Cello Concerto in E minor, op. 85: I. Adagio - Moderato | Pau Casals, BBC Symphony Orchestra, Sir Adrian Boult | — | |
| 19-18 | Cello Concerto in E minor, op. 85: II. Lento - Allegro molto | Pau Casals, BBC Symphony Orchestra, Sir Adrian Boult | T-010.115.156-7 | |
| 19-19 | Cello Concerto in E minor, op. 85: III. Adagio | Pau Casals, BBC Symphony Orchestra, Sir Adrian Boult | T-010.115.155-6 | |
| 19-20 | Cello Concerto in E minor, op. 85: IV. Allegro - Moderato - Allegro, ma non troppo | Pau Casals, BBC Symphony Orchestra, Sir Adrian Boult | T-010.115.154-5 |
Identifier Graph
5099990359224 is a Universal Product Code (UPC) assigned to The Complete Recordings by Elgar, 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 299 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
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The UPC for “The Complete Recordings” by Elgar, Sir Adrian Boult is 5099990359224. 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 299 tracks, each with its own ISRC. Tracks include GBAYC8501048, GBAYD8600347, GBAYC0200309.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Cockaigne (In London Town), op. 40 — Concert Overture | — | ||
| 2 | Froissart, op. 19 — Concert Overture | — | ||
| 3 | Serenade in E minor, op. 20: I. Allegro piacevole | — | ||
| 4 | Serenade in E minor, op. 20: II. Larghetto | — | ||
| 5 | Serenade in E minor, op. 20: III. Allegretto — Come prima | — | ||
| 6 | Chanson de nuit, op. 15 no. 1 | — | ||
| 7 | Chanson de matin, op. 15 no. 2 | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 8 | Three Bavarian Dances: I. The Dance (Sonnenbichl): Allegretto giocoso | — | ||
| 9 | Three Bavarian Dances: II. Lullaby (In Hammersbach): Moderato | — | ||
| 10 | Three Bavarian Dances: III. The Marksman (Bei Murnau): Allegro vivace | — | ||
| 11 | Meditation (from the Light of Life, op. 29) | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 12 | Imperial March, op. 32 | — | ||
| 13 | Triumphal March (from Caractacus, op. 35) | — | ||
| 2-1 | Variations on an Original Theme "Enigma", op. 36: Theme (Andante) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-2 | Variations on an Original Theme "Enigma", op. 36: I. C.A.E. (L'istesso tempo) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-3 | Variations on an Original Theme "Enigma", op. 36: II. H.D.S-P. (Allegro) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-4 | Variations on an Original Theme "Enigma", op. 36: III. R.B.T. (Allegretto) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-5 | Variations on an Original Theme "Enigma", op. 36: IV. W.M.B. (Allegro di molto) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-6 | Variations on an Original Theme "Enigma", op. 36: V. R.P.A. (Moderato) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-7 | Variations on an Original Theme "Enigma", op. 36: VI. Ysobel (Andantino) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-8 | Variations on an Original Theme "Enigma", op. 36: VII. Troyte (Presto) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-9 | Variations on an Original Theme "Enigma", op. 36: VIII. W.N. (Allegretto) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-10 | Variations on an Original Theme “Enigma”, op. 36: IX. Nimrod | London Symphony Orchestra, Sir Adrian Boult | T-010.115.427-1 | |
| 2-11 | Variations on an Original Theme "Enigma", op. 36: X. Intermezzo: Dorabella (Allegretto) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-12 | Variations on an Original Theme "Enigma", op. 36: XI. G.R.S. (Allegro di molto) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-13 | Variations on an Original Theme "Enigma", op. 36: XII. B.G.N. (Andante) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-14 | Variations on an Original Theme "Enigma", op. 36: XIII. Romanza (Moderato) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-15 | Variations on an Original Theme "Enigma", op. 36: XIV. Finale: E.D.U. (Allegro) | London Symphony Orchestra, Sir Adrian Boult | — | |
| 2-16 | Pomp and Circumstance, op. 39 — Military Marches: No. 1 in D | — | ||
| 2-17 | Pomp and Circumstance, op. 39 — Military Marches: No. 2 in A minor | — | ||
| 2-18 | Pomp and Circumstance, op. 39 — Military Marches: No. 3 in C minor | — | ||
| 2-19 | Pomp and Circumstance, op. 39 — Military Marches: No. 4 in G | — | ||
| 2-20 | Pomp and Circumstance, op. 39 — Military Marches: No. 5 in C | — | ||
| 2-21 | Grania and Diarmid, op. 42 — Incidental Music: I. Incidental Music | — | ||
| 2-22 | Grania and Diarmid, op. 42 — Incidental Music: II. Funeral March | — | ||
| 2-23 | Dream Children, op. 43: I. Andante | — | ||
| 2-24 | Dream Children, op. 43: II. Allegretto piacevole | — | ||
| 2-25 | Empire March | — | ||
| 3-1 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: I. Overture: Allegro molto | — | ||
| 3-2 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: II. Serenade: Andantino | — | ||
| 3-3 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: III. Minuet (Old Style): Andante | — | ||
| 3-4 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: IV. Sun Dance: Presto | — | ||
| 3-5 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: V. Fairy Pipers: Allegretto | — | ||
| 3-6 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: VI. Slumber Scene: Moderato | — | ||
| 3-7 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: VII. Fairies and Giants: Presto | — | ||
| 3-8 | The Wand of Youth — Music to a Child’s Play: Second Suite, op. 1b: I. March (Alla Marcia): Allegro moderato | — | ||
| 3-9 | The Wand of Youth — Music to a Child’s Play: Second Suite, op. 1b: II. The Little Bells (Scherzino): Allegro molto | — | ||
| 3-10 | The Wand of Youth — Music to a Child’s Play: Second Suite, op. 1b: III. Moths and Butterflies (Dance): Allegretto | — | ||
| 3-11 | The Wand of Youth — Music to a Child’s Play: Second Suite, op. 1b: IV. Fountain Dance: Allegretto comodo | — | ||
| 3-12 | The Wand of Youth — Music to a Child’s Play: Second Suite, op. 1b: V. The Tame Bear: Allegro moderato | — | ||
| 3-13 | The Wand of Youth — Music to a Child’s Play: Second Suite, op. 1b: VI. Wild Bears: Presto | — | ||
| 3-14 | Carillon, op. 75 | — | ||
| 3-15 | Polonia, op. 76 | — | ||
| 3-16 | Fantasia and Fugue in C minor, op. 86 (J.S. Bach BWV537): I. Fantasia | — | ||
| 3-17 | Fantasia and Fugue in C minor, op. 86 (J.S. Bach BWV537): II. Fugue | — | ||
| 3-18 | Overture in D minor | — | ||
| 3-19 | Funeral March (from Chopin: Piano Sonata no. 2, op. 35) | — | ||
| 4-1 | Symphony no. 1 in A flat, op. 55: I. Andante, nobilmente e semplice — Allegro | — | ||
| 4-2 | Symphony no. 1 in A flat, op. 55: II. Allegro molto — | — | ||
| 4-3 | Symphony no. 1 in A flat, op. 55: III. Adagio | — | ||
| 4-4 | Symphony no. 1 in A flat, op. 55: IV. Lento — Allegro | — | ||
| 4-5 | In the South (Alassio) op. 50 — Concert Overture: Vivace — | — | ||
| 4-6 | In the South (Alassio) op. 50 — Concert Overture: Grandioso (fig. 20) — | — | ||
| 4-7 | In the South (Alassio) op. 50 — Concert Overture: Meno mosso, molto tranquillo (canto popolare) (fig. 34) — | — | ||
| 4-8 | In the South (Alassio) op. 50 — Concert Overture: Tempo I (fig. 40) — Poco meno mosso | — | ||
| 4-9 | Elegy op. 58 | — | ||
| 5-1 | Symphony no. 2 in E flat, op. 63: I. Allegro vivace e nobilmente | — | ||
| 5-2 | Symphony no. 2 in E flat, op. 63: II. Larghetto | — | ||
| 5-3 | Symphony no. 2 in E flat, op. 63: III. Rondo (Presto) | — | ||
| 5-4 | Symphony no. 2 in E flat, op. 63: IV. Moderato e maestoso | — | ||
| 5-5 | The Sanguine Fan, op. 81: I. (A Glade) | — | ||
| 5-6 | The Sanguine Fan, op. 81: II. Pan enters piping | — | ||
| 5-7 | The Sanguine Fan, op. 81: III. A young man enters, awaiting someone | — | ||
| 5-8 | The Sanguine Fan, op. 81: IV. Two girls enter gaily; the young man returns | — | ||
| 5-9 | The Sanguine Fan, op. 81: V. The young man declares his passion for the first girl | — | ||
| 5-10 | The Sanguine Fan, op. 81: VI. Echo awakes Pan, who falls in love with her | — | ||
| 5-11 | The Sanguine Fan, op. 81: VII. Three Shepherdesses bring gifts to Pan | — | ||
| 5-12 | The Sanguine Fan, op. 81: VIII. The first girl and the young man enter | — | ||
| 5-13 | The Sanguine Fan, op. 81: IX. Echo snatches Pan’s pipes and tempts the young man | — | ||
| 5-14 | The Sanguine Fan, op. 81: X. Echo, now disguised as a mortal, captivates the young man | — | ||
| 5-15 | The Sanguine Fan, op. 81: XI. Pan rouses and, full of jealous wrath, pursues the young man | — | ||
| 5-16 | The Sanguine Fan, op. 81: XII. Echo, sans disguise, runs back to Pan | — | ||
| 5-17 | Sospiri, op. 70 | — | ||
| 6-1 | Introduction and Allegro, op. 47 | — | ||
| 6-2 | Falstaff, op. 68 — Symphonic Study in C minor: I. Falstaff and Prince Henry | — | ||
| 6-3 | Falstaff, op. 68 — Symphonic Study in C minor: II. Eastcheap — Gadshill — The Boar’s Head, revelry and sleep | — | ||
| 6-4 | Falstaff, op. 68 — Symphonic Study in C minor: II. Dream Interlude: “Jack Falstaff, now Sir John, a boy, and a page to Thomas Mowbray, Duke of Norfolk”: Poco allegretto | — | ||
| 6-5 | Falstaff, op. 68 — Symphonic Study in C minor: III. Falstaff’s march — The return through Gloucestershire — | — | ||
| 6-6 | Falstaff, op. 68 — Symphonic Study in C minor: III. Interlude: Gloucestershire: Shallow’s orchard: Allegretto — The new king — The hurried trip to London | — | ||
| 6-7 | Falstaff, op. 68 — Symphonic Study in C minor: IV. King Henry V’s progress — The repudiation of Falstaff, and his death | — | ||
| 6-8 | Nursery Suite: I. Aubade (Awake): Allegretto | — | ||
| 6-9 | Nursery Suite: II. The Serious Doll: Andantino | — | ||
| 6-10 | Nursery Suite: III. Busy-ness: Allegro molto | — | ||
| 6-11 | Nursery Suite: IV. The Sad Doll: Andantino | — | ||
| 6-12 | Nursery Suite: V. The Wagon (Passes): Allegretto | — | ||
| 6-13 | Nursery Suite: VI. The Merry Doll: Allegro molto | — | ||
| 6-14 | Nursery Suite: VII. Dreaming: Lento — Envoy: Coda | — | ||
| 6-15 | Fantasia and Fugue in C minor (J.S. Bach BWV 537 orch. Elgar), op. 86: I. Fantasia | — | ||
| 6-16 | Fantasia and Fugue in C minor (J.S. Bach BWV 537 orch. Elgar), op. 86: II. Fugue | — | ||
| 7-1 | Violin Concerto in B minor, op. 61: I. Allegro | — | ||
| 7-2 | Violin Concerto in B minor, op. 61: II. Andante | Sir Edward Elgar | — | |
| 7-3 | Violin Concerto in B minor, op. 61: III. Allegro molto — Cadenza (accompagnata: Lento) — Allegro molto: Allegro molto — | — | ||
| 7-4 | Violin Concerto in B minor, op. 61: III. Cadenza (accompagnata: Lento) – Allegro molto | Yehudi Menuhin, New Philharmonia Orchestra, Sir Adrian Boult | — | |
| 7-5 | Cello Concerto in E minor, op. 85: I. Adagio — Moderato — | — | ||
| 7-6 | Cello Concerto in E minor, op. 85: II. Lento — Allegro molto | — | ||
| 7-7 | Cello Concerto in E minor, op. 85: III. Adagio — | — | ||
| 7-8 | Cello Concerto in E minor, op. 85: IV. Allegro — Moderato — Cadenza — Allegro ma non troppo — Adagio — Allegro molto | — | ||
| 8-1 | The Music Makers op. 69 (Moderato e nobilmente) | — | ||
| 8-2 | The Music Makers op. 69: We are the music makers | — | ||
| 8-3 | The Music Makers op. 69: With wonderful deathless ditties | — | ||
| 8-4 | The Music Makers op. 69: We, in the ages lying | — | ||
| 8-5 | The Music Makers op. 69: A breath of our inspiration | — | ||
| 8-6 | The Music Makers op. 69: They had no vision amazing | — | ||
| 8-7 | The Music Makers op. 69: And therefore to-day is thrilling | — | ||
| 8-8 | The Music Makers op. 69: But we, with our dreaming and singing | — | ||
| 8-9 | The Music Makers op. 69: For we are afar with the dawning | — | ||
| 8-10 | The Music Makers op. 69: Great hail! we cry to the comers | — | ||
| 8-11 | The Dream of Gerontius op. 38: Part 1: Prelude (Lento, mistico — Moderato — Andantino — Come prima) | — | ||
| 8-12 | The Dream of Gerontius op. 38: Part 1: Jesu Maria — I am near to death (Gerontius) | — | ||
| 8-13 | The Dream of Gerontius op. 38: Part 1: Kyrie eleison…Holy Mary, pray for him (Chorus) | — | ||
| 8-14 | The Dream of Gerontius op. 38: Part 1: Rouse thee, my fainting soul (Gerontius) | — | ||
| 8-15 | The Dream of Gerontius op. 38: Part 1: Be merciful, be gracious (Chorus) | — | ||
| 8-16 | The Dream of Gerontius op. 38: Part 1: Sanctus fortis, Sanctus Deus (Gerontius) | — | ||
| 8-17 | The Dream of Gerontius op. 38: Part 1: I can no more (Gerontius) | — | ||
| 8-18 | The Dream of Gerontius op. 38: Part 1: Rescue him, O Lord (Chorus/Gerontius) | — | ||
| 8-19 | The Dream of Gerontius op. 38: Part 1: Novissima hora est (Gerontius) | — | ||
| 8-20 | The Dream of Gerontius op. 38: Part 1: Proficiscere, anima Christiana (Priest) | — | ||
| 8-21 | The Dream of Gerontius op. 38: Part 1: Go in the name of Angels (Chorus/Priest) | — | ||
| 9-1 | The Dream of Gerontius op. 38: Part 2: (Andantino) — I went to sleep (Soul of Gerontius) | — | ||
| 9-2 | The Dream of Gerontius op. 38: Part 2: My work is done (Angel/Soul of Gerontius) | — | ||
| 9-3 | The Dream of Gerontius op. 38: Part 2: All hail! My child (Angel/Soul of Gerontius) | — | ||
| 9-4 | The Dream of Gerontius op. 38: Part 2: Low-born clods of brute earth (Chorus) | — | ||
| 9-5 | The Dream of Gerontius op. 38: Part 2: It is the restless panting of their being (Angel) | — | ||
| 9-6 | The Dream of Gerontius op. 38: Part 2: The mind bold and independent (Chorus) | — | ||
| 9-7 | The Dream of Gerontius op. 38: Part 2: I see not those false spirits (Soul of Gerontius/Angel) | — | ||
| 9-8 | The Dream of Gerontius op. 38: Part 2: Praise to the Holiest (Chorus) | — | ||
| 9-9 | The Dream of Gerontius op. 38: Part 2: The sound is like the rushing of the wind (Soul/Chorus) | — | ||
| 9-10 | The Dream of Gerontius op. 38: Part 2: Glory to Him (Chorus) | — | ||
| 9-11 | The Dream of Gerontius op. 38: Part 2: They sing of thy approaching agony (Angel/Soul/Chorus) | — | ||
| 9-12 | The Dream of Gerontius op. 38: Part 2: But hark! a grand mysterious harmony (Soul) | — | ||
| 9-13 | The Dream of Gerontius op. 38: Part 2: And now the threshold (Angel) | — | ||
| 9-14 | The Dream of Gerontius op. 38: Part 2: Praise to the Holiest (Chorus) | — | ||
| 9-15 | The Dream of Gerontius op. 38: Part 2: Thy judgement now is near (Angel/Soul) | — | ||
| 9-16 | The Dream of Gerontius op. 38: Part 2: Jesu! by that shuddering dread (Angel of the Agony/Soul) | — | ||
| 9-17 | The Dream of Gerontius op. 38: Part 2: Be merciful, be gracious (Chorus) | — | ||
| 9-18 | The Dream of Gerontius op. 38: Part 2: Praise to His name! (Angel) | — | ||
| 9-19 | The Dream of Gerontius op. 38: Part 2: Take me away (Soul) | — | ||
| 9-20 | The Dream of Gerontius op. 38: Part 2: Lord, Thou hast been our refuge (Chorus) | — | ||
| 9-21 | The Dream of Gerontius op. 38: Part 2: Softly and gently (Angel/Chorus) | — | ||
| 10-1 | The Apostles, op. 49: Prologue | — | ||
| 10-2 | The Apostles, op. 49: Part 1: I. The Calling of the Apostles: And it came to pass in those days | — | ||
| 10-3 | The Apostles, op. 49: Part 1: I. The Calling of the Apostles: In the Mountain — Night: The Dawn | — | ||
| 10-4 | The Apostles, op. 49: Part 1: I. The Calling of the Apostles: In the Mountain — Night: Morning Psalm | — | ||
| 10-5 | The Apostles, op. 49: Part 1: I. The Calling of the Apostles: In the Mountain — Night: The Lord hath chosen them | — | ||
| 10-6 | The Apostles, op. 49: Part 1: II. By the Wayside | — | ||
| 10-7 | The Apostles, op. 49: Part 1: III. By the Sea of Galilee: And straightaway Jesus constrained his disciples | — | ||
| 10-8 | The Apostles, op. 49: Part 1: III. By the Sea of Galilee: In the Tower of Magdala | — | ||
| 10-9 | The Apostles, op. 49: Part 1: III. By the Sea of Galilee: Fantasy: This shall ye have of mine hand | — | ||
| 10-10 | The Apostles, op. 49: Part 1: III. By the Sea of Galilee: In Caesarea Philippi: When Jesus came into the parts of Caesarea Philippi | — | ||
| 10-11 | The Apostles, op. 49: Part 1: III. By the Sea of Galilee: In Caesarea Philippi: And I will give unto thee | — | ||
| 10-12 | The Apostles, op. 49: Part 1: III. By the Sea of Galilee: In Capernaum: Turn you to the stronghold | — | ||
| 11-1 | The Apostles, op. 49: Part 2: Introduction | — | ||
| 11-2 | The Apostles, op. 49: Part 2: IV. The Betrayal: And it came to pass | — | ||
| 11-3 | The Apostles, op. 49: Part 2: IV. The Betrayal: Then gathered the Chief Priests and Pharisees | — | ||
| 11-4 | The Apostles, op. 49: Part 2: IV. The Betrayal: Hail, Master! | — | ||
| 11-5 | The Apostles, op. 49: Part 2: IV. The Betrayal: In the Place of the High Priest: Then Judas, which had betrayed him | — | ||
| 11-6 | The Apostles, op. 49: Part 2: IV. The Betrayal: The Temple: Without the temple | — | ||
| 11-7 | The Apostles, op. 49: Part 2: V. Golgotha | — | ||
| 11-8 | The Apostles, op. 49: Part 2: VI. At the Sepulchre | — | ||
| 11-9 | The Apostles, op. 49: Part 2: VII. The Ascension: We trusted that it had been He | — | ||
| 11-10 | The Apostles, op. 49: Part 2: VII. The Ascension: Give us one heart | — | ||
| 11-11 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Elgar’s use of leitmotiv: General introduction | — | ||
| 11-12 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Elgar’s use of leitmotiv: Introduction to The Apostles and The Kingdom | — | ||
| 11-13 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for the principal characters: Christ, the Man of Sorrows | — | ||
| 11-14 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for the principal characters: The Spirit of the Lord | — | ||
| 11-15 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for the principal characters: Christ’s Loneliness | — | ||
| 11-16 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for the principal characters: The Beatitudes | — | ||
| 11-17 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for the principal characters: Judas | — | ||
| 11-18 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for the principal characters: St. Peter | — | ||
| 11-19 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for abstract ideas: The Gospel | — | ||
| 11-20 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for abstract ideas: The Church | — | ||
| 11-21 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes used for abstract ideas: The Fellowship of the Apostles | — | ||
| 11-22 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes only used in The Kingdom: The New Faith (Christianity) | — | ||
| 11-23 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes only used in The Kingdom: In the name of Jesus Christ | — | ||
| 11-24 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes only used in The Kingdom: The Real Presence (Christ) | — | ||
| 11-25 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes only used in The Kingdom: Motto theme quoted from The Light of Life | — | ||
| 11-26 | The Apostles & The Kingdom: An Illustrated Introduction by Sir Adrian Boult: Motto themes only used in The Kingdom: Motto theme quoted from The Dream of Gerontius | — | ||
| 12-1 | The Kingdom, op. 51: Prelude | — | ||
| 12-2 | The Kingdom, op. 51: I. In the Upper Room: Seek first the Kingdom of God | — | ||
| 12-3 | The Kingdom, op. 51: I. In the Upper Room: Men and brethren | — | ||
| 12-4 | The Kingdom, op. 51: I. In the Upper Room: O ye priests! | — | ||
| 12-5 | The Kingdom, op. 51: II. At the Beautiful Gate | — | ||
| 12-6 | The Kingdom, op. 51: III. Pentecost: And when the day of Pentecost | — | ||
| 12-7 | The Kingdom, op. 51: III. Pentecost: And suddenly there came from Heaven | — | ||
| 12-8 | The Kingdom, op. 51: III. Pentecost: Repent, and be baptised | — | ||
| 13-1 | The Kingdom, op. 51: IV. The Sign of Healing: Then they that gladly received his word | — | ||
| 13-2 | The Kingdom, op. 51: IV. The Sign of Healing: And as they spake…The Sun goeth down | — | ||
| 13-3 | The Kingdom, op. 51: V. The Upper Room: The voice of joy | — | ||
| 13-4 | The Kingdom, op. 51: V. The Upper Room: Thou, Almighty God | — | ||
| 13-5 | The Kingdom, op. 51: V. The Upper Room: Our Father | — | ||
| 13-6 | Coronation Ode, op. 44: I. Crown the King | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 13-7 | Coronation Ode, op. 44: IIa. The Queen | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 13-8 | Coronation Ode, op. 44: IIb. Daughter of ancient Kings | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 13-9 | Coronation Ode, op. 44: III. Britain, ask thyself | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 13-10 | Coronation Ode, op. 44: IV. Hark, upon the hallowed air…Only let the heart be pure | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 13-11 | Coronation Ode, op. 44: V. Peace, gentle Peace | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 13-12 | Coronation Ode, op. 44: VI. Land of Hope and Glory | Cambridge University Musical Society Chorus, Choir of King’s College, Cambridge, Alfreda Hodgson, Felicity Lott, Richard Morton, Stephen Roberts, Band of the Royal Military School of Music (Kneller Hall), New Philharmonia Orchestra, Philip Ledger | — | |
| 14-1 | Symphony no. 1 in A flat, op. 55: I. Andante, nobilmente e semplice — Allegro | — | ||
| 14-2 | Symphony no. 1 in A flat, op. 55: II. Allegro molto — | — | ||
| 14-3 | Symphony no. 1 in A flat, op. 55: III. Adagio | — | ||
| 14-4 | Symphony no. 1 in A flat, op. 55: IV. Lento — Allegro | — | ||
| 14-5 | Variations on an Original Theme “Enigma”, op. 36: Theme | — | ||
| 14-6 | Variations on an Original Theme “Enigma”, op. 36: I. C.A.E. | — | ||
| 14-7 | Variations on an Original Theme “Enigma”, op. 36: II. H.D.S.-P. | — | ||
| 14-8 | Variations on an Original Theme “Enigma”, op. 36: III. R.B.T | — | ||
| 14-9 | Variations on an Original Theme “Enigma”, op. 36: IV. W.M.B | — | ||
| 14-10 | Variations on an Original Theme “Enigma”, op. 36: V. R.P.A | — | ||
| 14-11 | Variations on an Original Theme “Enigma”, op. 36: VI. Ysobel | — | ||
| 14-12 | Variations on an Original Theme “Enigma”, op. 36: VII. Troyte | — | ||
| 14-13 | Variations on an Original Theme “Enigma”, op. 36: VIII. W.N. | — | ||
| 14-14 | Variations on an Original Theme “Enigma”, op. 36: IX. Nimrod | London Symphony Orchestra, Sir Adrian Boult | T-010.115.427-1 | |
| 14-15 | Variations on an Original Theme “Enigma”, op. 36: X. Intermezzo: Dorabella | — | ||
| 14-16 | Variations on an Original Theme “Enigma”, op. 36: XI. G.R.S | — | ||
| 14-17 | Variations on an Original Theme “Enigma”, op. 36: XII. B.G.N | — | ||
| 14-18 | Variations on an Original Theme “Enigma”, op. 36: XIII. Romanza: *** | — | ||
| 14-19 | Variations on an Original Theme “Enigma”, op. 36: XIV. Finale: E.D.U | — | ||
| 15-1 | In the South (Alassio) op. 50 — Concert Overture: Vivace — | — | ||
| 15-2 | In the South (Alassio) op. 50 — Concert Overture: Grandioso (fig. 20) — | — | ||
| 15-3 | In the South (Alassio) op. 50 — Concert Overture: Meno mosso, molto tranquillo (canto popolare) (fig. 34) — | — | ||
| 15-4 | In the South (Alassio) op. 50 — Concert Overture: Tempo I (fig. 40) — Poco meno mosso | — | ||
| 15-5 | Falstaff, op. 68 — Symphonic Study in C minor: I. Falstaff and Prince Henry | — | ||
| 15-6 | Falstaff, op. 68 — Symphonic Study in C minor: II. Eastcheap — Gadshill — The Boar’s Head, revelry and sleep | — | ||
| 15-7 | Falstaff, op. 68 — Symphonic Study in C minor: II. Dream Interlude: “Jack Falstaff, now Sir John, a boy, and a page to Thomas Mowbray, Duke of Norfolk”: Poco allegretto | — | ||
| 15-8 | Falstaff, op. 68 — Symphonic Study in C minor: III. Falstaff’s march — The return through Gloucestershire — | — | ||
| 15-9 | Falstaff, op. 68 — Symphonic Study in C minor: III. Interlude: Gloucestershire: Shallow’s orchard: Allegretto — The new king — The hurried trip to London | — | ||
| 15-10 | Falstaff, op. 68 — Symphonic Study in C minor: IV. King Henry V’s progress — The repudiation of Falstaff, and his death | — | ||
| 15-11 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: I. Overture: Allegro molto | — | ||
| 15-12 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: II. Serenade: Andantino | — | ||
| 15-13 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: III. Minuet (Old Style): Andante | — | ||
| 15-14 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: IV. Sun Dance: Presto | — | ||
| 15-15 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: V. Fairy Pipers: Allegretto | — | ||
| 15-16 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: VI. Slumber Scene: Moderato | — | ||
| 15-17 | The Wand of Youth — Music to a Child’s Play: First Suite, op. 1a: VII. Fairies and Giants: Presto | — | ||
| 16-1 | Pomp and Circumstance, op. 39 — Military Marches: No. 1 in D | — | ||
| 16-2 | Pomp and Circumstance, op. 39 — Military Marches: No. 2 in A minor | — | ||
| 16-3 | Pomp and Circumstance, op. 39 — Military Marches: No. 3 in C minor | — | ||
| 16-4 | Pomp and Circumstance, op. 39 — Military Marches: No. 4 in G | — | ||
| 16-5 | Pomp and Circumstance, op. 39 — Military Marches: No. 5 in C | — | ||
| 16-6 | Froissart, op. 19 — Concert Overture | — | ||
| 16-7 | Dream Children, op. 43: I. Andante | — | ||
| 16-8 | Dream Children, op. 43: II. Allegro piacevole | — | ||
| 16-9 | Variations on an Original Theme “Enigma”, op. 36: Theme | — | ||
| 16-10 | Variations on an Original Theme “Enigma”, op. 36: I. C.A.E. | — | ||
| 16-11 | Variations on an Original Theme “Enigma”, op. 36: II. H.D.S.-P. | — | ||
| 16-12 | Variations on an Original Theme “Enigma”, op. 36: III. R.B.T | — | ||
| 16-13 | Variations on an Original Theme “Enigma”, op. 36: IV. W.M.B | — | ||
| 16-14 | Variations on an Original Theme “Enigma”, op. 36: V. R.P.A | — | ||
| 16-15 | Variations on an Original Theme “Enigma”, op. 36: VI. Ysobel | — | ||
| 16-16 | Variations on an Original Theme “Enigma”, op. 36: VII. Troyte | — | ||
| 16-17 | Variations on an Original Theme “Enigma”, op. 36: VIII. W.N. | — | ||
| 16-18 | Variations on an Original Theme “Enigma”, op. 36: IX. Nimrod | London Philharmonic Orchestra, Sir Adrian Boult | T-010.115.427-1 | |
| 16-19 | Variations on an Original Theme “Enigma”, op. 36: X. Intermezzo: Dorabella | — | ||
| 16-20 | Variations on an Original Theme “Enigma”, op. 36: XI. G.R.S | — | ||
| 16-21 | Variations on an Original Theme “Enigma”, op. 36: XII. B.G.N | — | ||
| 16-22 | Variations on an Original Theme “Enigma”, op. 36: XIII. Romanza: *** | — | ||
| 16-23 | Variations on an Original Theme “Enigma”, op. 36: XIV. Finale: E.D.U | London Philharmonic Orchestra, Sir Adrian Boult | — | |
| 17-1 | Pomp and Circumstance op. 39 — Military Marches: No. 3 in C minor | — | ||
| 17-2 | Introduction and Allegro, op. 47 | — | ||
| 17-3 | Violin Concerto in B minor, op. 61: I. Allegro | — | ||
| 17-4 | Violin Concerto in B minor, op. 61: II. Andante | — | ||
| 17-5 | Violin Concerto in B minor, op. 61: III. Allegro molto — Cadenza (accompagnata: Lento) — Allegro molto: Allegro molto — | — | ||
| 17-6 | Violin Concerto in B minor, op. 61: III. Allegro molto — Cadenza (accompagnata: Lento) — Allegro molto: Cadenza (accompagnata: Lento) — Allegro molto | — | ||
| 18-1 | Symphony no. 2 in E flat, op. 63: I. Allegro vivace e nobilmente | — | ||
| 18-2 | Symphony no. 2 in E flat, op. 63: II. Larghetto | — | ||
| 18-3 | Symphony no. 2 in E flat, op. 63: III. Rondo (Presto) | — | ||
| 18-4 | Symphony no. 2 in E flat, op. 63: IV. Moderato e maestoso | — | ||
| 18-5 | Funeral March (from Chopin: Piano Sonato no. 2, op. 35 orch. Elgar) | — | ||
| 18-6 | The Dream of Gerontius — Prelude | — | ||
| 18-7 | Imperial March, op. 32 | — | ||
| 19-1 | Introduction and Allegro, op. 47 | — | ||
| 19-2 | Variations on an Original Theme “Enigma”, op. 36: Theme | — | ||
| 19-3 | Variations on an Original Theme “Enigma”, op. 36: I. C.A.E. | — | ||
| 19-4 | Variations on an Original Theme “Enigma”, op. 36: II. H.D.S.-P. | — | ||
| 19-5 | Variations on an Original Theme “Enigma”, op. 36: III. R.B.T | — | ||
| 19-6 | Variations on an Original Theme “Enigma”, op. 36: IV. W.M.B | — | ||
| 19-7 | Variations on an Original Theme “Enigma”, op. 36: V. R.P.A | — | ||
| 19-8 | Variations on an Original Theme “Enigma”, op. 36: VI. Ysobel | — | ||
| 19-9 | Variations on an Original Theme “Enigma”, op. 36: VII. Troyte | — | ||
| 19-10 | Variations on an Original Theme “Enigma”, op. 36: VIII. W.N. | — | ||
| 19-11 | Variations on an Original Theme “Enigma”, op. 36: IX. Nimrod | London Symphony Orchestra, Sir Adrian Boult | T-010.115.427-1 | |
| 19-12 | Variations on an Original Theme “Enigma”, op. 36: X. Intermezzo: Dorabella | — | ||
| 19-13 | Variations on an Original Theme “Enigma”, op. 36: XI. G.R.S | — | ||
| 19-14 | Variations on an Original Theme “Enigma”, op. 36: XII. B.G.N | — | ||
| 19-15 | Variations on an Original Theme “Enigma”, op. 36: XIII. Romanza: *** | — | ||
| 19-16 | Variations on an Original Theme “Enigma”, op. 36: XIV. Finale: E.D.U | — | ||
| 19-17 | Cello Concerto in E minor, op. 85: I. Adagio - Moderato | Pau Casals, BBC Symphony Orchestra, Sir Adrian Boult | — | |
| 19-18 | Cello Concerto in E minor, op. 85: II. Lento - Allegro molto | Pau Casals, BBC Symphony Orchestra, Sir Adrian Boult | T-010.115.156-7 | |
| 19-19 | Cello Concerto in E minor, op. 85: III. Adagio | Pau Casals, BBC Symphony Orchestra, Sir Adrian Boult | T-010.115.155-6 | |
| 19-20 | Cello Concerto in E minor, op. 85: IV. Allegro - Moderato - Allegro, ma non troppo | Pau Casals, BBC Symphony Orchestra, Sir Adrian Boult | T-010.115.154-5 |
