UPC · Release
Various Artists
Last verified:
The UPC for “Deutsche Harmonia Mundi: 50 Jahre: 1958–2008” by Various Artists is 886972818221. 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 2008-01-01. Label: Deutsche Harmonia Mundi. This release contains 881 tracks, each with its own ISRC. Tracks include DEE479700131, DEE479700144, DEA819500320.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Magnificat B-Dur: I. Coro "Magnificat anima mea" | — | ||
| 2 | Magnificat B-Dur: II. Soprano solo "Et misericordia" | — | ||
| 3 | Magnificat B-Dur: III. Coro "Fecit potentiam" | — | ||
| 4 | Magnificat B-Dur: IV. Coro "Deposuit potentes" | — | ||
| 5 | Magnificat B-Dur: V. Duetto Tenore/Basso "Suscepit Israel" | — | ||
| 6 | Magnificat B-Dur: VI. Coro "Sicut locutus est" | — | ||
| 7 | Magnificat B-Dur: VII. Coro "Gloria Patri" | — | ||
| 8 | Magnificat B-Dur: VIII. Coro "Sicut erat in principio" | — | ||
| 9 | Stabat Mater: I. Coro "Stabat Mater" | — | ||
| 10 | Stabat Mater: II. Terzetto Soprano/Alto/Tenore "O quam tristis" | — | ||
| 11 | Stabat Mater: III. Duetto Alto/Soprano, Duetto Tenore/Basso "Quis est homo" | — | ||
| 12 | Stabat Mater: IV. Coro "Eja mater" | — | ||
| 13 | Stabat Mater: V. Soprano solo "Sancta mater" | — | ||
| 14 | Stabat Mater: VI. Duetto Alto/Tenore "Fac me tecum" | — | ||
| 15 | Stabat Mater: VII. Coro "Virgo virginum" | — | ||
| 16 | Stabat Mater: VIII. Solo Basso "Fac me plagis" | — | ||
| 17 | Stabat Mater: IX. Coro "Christe cum sit" | — | ||
| 18 | Confiteor tibi Domine: I. Coro "Confitebor" | — | ||
| 19 | Confiteor tibi Domine: II. Soprano solo "Confessio" | — | ||
| 20 | Confiteor tibi Domine: III. Soprano solo "Fidelia omnia" | — | ||
| 21 | Confiteor tibi Domine: IV. Coro "Redemptionem misit" | — | ||
| 22 | Confiteor tibi Domine: V. Alto solo "Sanctum et terribile" | — | ||
| 23 | Confiteor tibi Domine: VI. Alto solo "Intellectus bonus" | — | ||
| 24 | Confiteor tibi Domine: VII. Coro "Gloria Patri" | — | ||
| 25 | Confiteor tibi Domine: VIII. Coro "Sicut erat" | — | ||
| 2-1 | Konzert c-Moll für Violine, Oboe, Streicher und Continuo, BWV 1060: I. Allegro | — | ||
| 2-2 | Konzert c-Moll für Violine, Oboe, Streicher und Continuo, BWV 1060: II. Adagio | — | ||
| 2-3 | Konzert c-Moll für Violine, Oboe, Streicher und Continuo, BWV 1060: III. Allegro | — | ||
| 2-4 | Konzert F-Dur nach BWV 49 & 169: I. Allegro | — | ||
| 2-5 | Konzert F-Dur nach BWV 49 & 169: II. Siciliano | — | ||
| 2-6 | Konzert F-Dur nach BWV 49 & 169: III. Allegro | — | ||
| 2-7 | Konzert A-Dur für Oboe d'amore, Streicher und Continuo, BWV 1055: I. Allegro | — | ||
| 2-8 | Konzert A-Dur für Oboe d'amore, Streicher und Continuo, BWV 1055: II. Larghetto | — | ||
| 2-9 | Konzert A-Dur für Oboe d'amore, Streicher und Continuo, BWV 1055: III. Allegro ma non tanto | — | ||
| 2-10 | Konzert g-Moll für 3 Violinen, Streicher und Continuo, BWV 1056: I. Moderato | — | ||
| 2-11 | Konzert g-Moll für 3 Violinen, Streicher und Continuo, BWV 1056: II. Adagio | — | ||
| 2-12 | Konzert g-Moll für 3 Violinen, Streicher und Continuo, BWV 1056: III. Presto | — | ||
| 3-1 | Goldberg-Variationen, BWV 988: Aria | — | ||
| 3-2 | Goldberg-Variationen, BWV 988: Variatio 1, a 1 Clav. | — | ||
| 3-3 | Goldberg-Variationen, BWV 988: Variatio 2, a 1 Clav. | — | ||
| 3-4 | Goldberg-Variationen, BWV 988: Variatio 3, a 1 Clav. Canone all'Unisono | — | ||
| 3-5 | Goldberg-Variationen, BWV 988: Variatio 4, a 1 Clav. | — | ||
| 3-6 | Goldberg-Variationen, BWV 988: Variatio 5, a 1 ovvero 2 Clav. | — | ||
| 3-7 | Goldberg-Variationen, BWV 988: Variatio 6, a 1 Clav. Canone alla Seconda | — | ||
| 3-8 | Goldberg-Variationen, BWV 988: Variatio 7, a 1 ovvero 2 Clav. Al tempo di Giga | — | ||
| 3-9 | Goldberg-Variationen, BWV 988: Variatio 8, a 2 Clav. | — | ||
| 3-10 | Goldberg-Variationen, BWV 988: Variatio 9, a 1 Clav. Canone alla Terza | — | ||
| 3-11 | Goldberg-Variationen, BWV 988: Variatio 10, a 1 Clav. Fughetta | — | ||
| 3-12 | Goldberg-Variationen, BWV 988: Variatio 11, a 2 Clav. | — | ||
| 3-13 | Goldberg-Variationen, BWV 988: Variatio 12, Canone all Quarta | — | ||
| 3-14 | Goldberg-Variationen, BWV 988: Variatio 13, a 2 Clav. | — | ||
| 3-15 | Goldberg-Variationen, BWV 988: Variatio 14, a 2 Clav. | — | ||
| 3-16 | Goldberg-Variationen, BWV 988: Variatio 15, a 1 Clav. Canone alla Quinta, Andante | — | ||
| 3-17 | Goldberg-Variationen, BWV 988: Variatio 16, a 1 Clav. Ouverture | — | ||
| 3-18 | Goldberg-Variationen, BWV 988: Variatio 17, a 2 Clav. | — | ||
| 3-19 | Goldberg-Variationen, BWV 988: Variatio 18, a 1 Clav. Canone alla Sesta | — | ||
| 3-20 | Goldberg-Variationen, BWV 988: Variatio 19, a 1 Clav. | — | ||
| 3-21 | Goldberg-Variationen, BWV 988: Variatio 20, a 2 Clav. | — | ||
| 3-22 | Goldberg-Variationen, BWV 988: Variatio 21, Canone alla Settima | — | ||
| 3-23 | Goldberg-Variationen, BWV 988: Variatio 22, a 1 Clav. Alla breve | — | ||
| 3-24 | Goldberg-Variationen, BWV 988: Variatio 23, a 2 Clav. | — | ||
| 3-25 | Goldberg-Variationen, BWV 988: Variatio 24, a 1 Clav. Canone all'Ottava | — | ||
| 3-26 | Goldberg-Variationen, BWV 988: Variatio 25, a 2 Clav. Adagio | — | ||
| 3-27 | Goldberg-Variationen, BWV 988: Variatio 26, a 2 Clav. | — | ||
| 3-28 | Goldberg-Variationen, BWV 988: Variatio 27, Canone all Nona, a 2 Clav. | — | ||
| 3-29 | Goldberg-Variationen, BWV 988: Variatio 28, a 2 Clav. | — | ||
| 3-30 | Goldberg-Variationen, BWV 988: Variatio 29, a 1 ovvero 2 Clav. | — | ||
| 3-31 | Goldberg-Variationen, BWV 988: Variatio 30, a 1 Clav. Quodlibet | — | ||
| 3-32 | Goldberg-Variationen, BWV 988: Aria da capo | — | ||
| 4-1 | Musikalisches Opfer, BWV 1079: I. Ricercare a 3 | — | ||
| 4-2 | Musikalisches Opfer, BWV 1079: II. Canon perpetuus super thema regium | — | ||
| 4-3 | Musikalisches Opfer, BWV 1079: IIIa. 5 Canones diversi super thema regium, Canon a 2 | — | ||
| 4-4 | Musikalisches Opfer, BWV 1079: IIIb. 5 Canones diversi super thema regium, Canon a 2 Violini in unisono | — | ||
| 4-5 | Musikalisches Opfer, BWV 1079: IIIc. 5 Canones diversi super thema regium, Canon a 2 Per motum contrarium | — | ||
| 4-6 | Musikalisches Opfer, BWV 1079: IIId. 5 Canones diversi super thema regium, Canon a 2 Per augmentationem, contrario motu | — | ||
| 4-7 | Musikalisches Opfer, BWV 1079: IIIe. 5 Canones diversi super thema regium, Canon a 2 Per tonos | — | ||
| 4-8 | Musikalisches Opfer, BWV 1079: IV. Fuga Canonica in Epidiapente | — | ||
| 4-9 | Musikalisches Opfer, BWV 1079: V. Ricercare a 6 | — | ||
| 4-10 | Musikalisches Opfer, BWV 1079: VI. Canon a 2 | — | ||
| 4-11 | Musikalisches Opfer, BWV 1079: VII. Canon a 4 | — | ||
| 4-12 | Musikalisches Opfer, BWV 1079: VIIIa. Trio, Largo | — | ||
| 4-13 | Musikalisches Opfer, BWV 1079: VIIIb. Trio, Allegro | — | ||
| 4-14 | Musikalisches Opfer, BWV 1079: VIIIc. Trio, Andante | — | ||
| 4-15 | Musikalisches Opfer, BWV 1079: VIIId. Trio, Allegro | — | ||
| 4-16 | Musikalisches Opfer, BWV 1079: IX. Canon perpetuus | — | ||
| 5-1 | Motette, BWV 225 "Singet dem Herrn ein neues Lied" | — | ||
| 5-2 | Motette, BWV 229 "Komm, Jesu, komm" | — | ||
| 5-3 | Motette, BWV 227 "Jesu, meine Freude" | — | ||
| 5-4 | Motette, BWV 226 "Der Geist hilft unserer Schwachheit auf" | — | ||
| 5-5 | Motette, BWV 228 "Fürchte dich nicht, ich bin bei dir" | — | ||
| 5-6 | Motette, BWV 230 "Lobet den Herren, alle Heiden" | — | ||
| 6-1 | Messe in H-Moll, BWV 232: Ia. Coro "Kyrie eleison" | — | ||
| 6-2 | Messe in H-Moll, BWV 232: Ib. Duetto (Soprano I, Soprano II) "Christe eleison" | — | ||
| 6-3 | Messe in H-Moll, BWV 232: Ic. Coro "Kyrie eleison" | — | ||
| 6-4 | Messe in H-Moll, BWV 232: IIa. Coro "Gloria in excelsis Deo" | — | ||
| 6-5 | Messe in H-Moll, BWV 232: IIb. Coro "Et in terra pax" | — | ||
| 6-6 | Messe in H-Moll, BWV 232: IIc. Aria (Soprano II) "Laudamus te" | — | ||
| 6-7 | Messe in H-Moll, BWV 232: IId. Coro "Gratias agimus" | — | ||
| 6-8 | Messe in H-Moll, BWV 232: IIe. Duetto (Soprano I, Tenore) "Domine Deus" | — | ||
| 6-9 | Messe in H-Moll, BWV 232: IIf. Coro "Qui tollis peccata mundi" | Balthasar-Neumann-Chor, Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 6-10 | Messe in H-Moll, BWV 232: IIg. Aria (Alto) "Qui sedes ad dexteram Patris" | — | ||
| 6-11 | Messe in H-Moll, BWV 232: IIh. Aria (Basso) "Quoniam tu solus Sanctus" | — | ||
| 6-12 | Messe in H-Moll, BWV 232: IIi. Coro "Cum Sancto Spiritu" | — | ||
| 7-1 | Messe in H-Moll, BWV 232: IIIa. Coro "Credo in unum Deum" | — | ||
| 7-2 | Messe in H-Moll, BWV 232: IIIb. Coro "Patrem omnipotentem" | — | ||
| 7-3 | Messe in H-Moll, BWV 232: IIIc. Duetto (Soprano I, Alto) "Et in unum Dominum" | — | ||
| 7-4 | Messe in H-Moll, BWV 232: IIId. Coro "Et incarnatus est" | — | ||
| 7-5 | Messe in H-Moll, BWV 232: IIIe. Coro "Crucifixus" | — | ||
| 7-6 | Messe in H-Moll, BWV 232: IIIf. Coro "Et resurrexit" | — | ||
| 7-7 | Messe in H-Moll, BWV 232: IIIg. Aria (Basso) "Et in Spiritum Sanctum" | — | ||
| 7-8 | Messe in H-Moll, BWV 232: IIIh. Coro "Confiteor unum baptisma" | — | ||
| 7-9 | Messe in H-Moll, BWV 232: IIIi. Coro "Et expecto" | — | ||
| 7-10 | Messe in H-Moll, BWV 232: IVa. Coro "Sanctus" | Balthasar-Neumann-Chor, Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 7-11 | Messe in H-Moll, BWV 232: IVb. Coro "Hosanna" | — | ||
| 7-12 | Messe in H-Moll, BWV 232: IVc. Aria (Tenore) "Benedictus" | — | ||
| 7-13 | Messe in H-Moll, BWV 232: IVd. Coro "Hosanna" | — | ||
| 7-14 | Messe in H-Moll, BWV 232: IVe. Aria (Alto) "Agnus Dei" | — | ||
| 7-15 | Messe in H-Moll, BWV 232: IVf. Coro "Dona nobis pacem" | — | ||
| 8-1 | Ouverture zur Oper "L'Olimpiade" | — | ||
| 8-2 | Orchestersuite No. 4 D-dur, BWV 1069: I. Ouverture | — | ||
| 8-3 | Orchestersuite No. 4 D-dur, BWV 1069: II. Bourrée | — | ||
| 8-4 | Orchestersuite No. 4 D-dur, BWV 1069: III. Gavotte | — | ||
| 8-5 | Orchestersuite No. 4 D-dur, BWV 1069: IV. Menuet | — | ||
| 8-6 | Streichersinfonie A-Dur, RV 158: I. | — | ||
| 8-7 | Streichersinfonie A-Dur, RV 158: II. | — | ||
| 8-8 | Streichersinfonie A-Dur, RV 158: III. | — | ||
| 8-9 | Kantate, BWV 42 "Am Abend aber desselbigen Sabbats": I. Sinfonia | — | ||
| 8-10 | Konzert h-Moll aus "L'Estro Armonico", Op. 3 No. 10 für 4 Violinen, Streicher und Bc.: I. Allegro | — | ||
| 8-11 | Konzert h-moll aus "L'Estro Armonico", Op. 3 No. 10 für 4 Violinen, Streicher und Bc.: II. Largo - Larghetto | — | ||
| 8-12 | Konzert h-moll aus "L'Estro Armonico", Op. 3 No. 10 für 4 Violinen, Streicher und Bc.: III. Allegro | — | ||
| 8-13 | Konzert für Violine solo, Streicher und Basso continuo D-Dur, BWV 1064R: I. (Allegro) | — | ||
| 8-14 | Konzert für Violine solo, Streicher und Basso continuo D-Dur, BWV 1064R: II. Adagio | — | ||
| 8-15 | Konzert für Violine solo, Streicher und Basso continuo D-Dur, BWV 1064R: III. Allegro | — | ||
| 9-1 | 6 Suiten für Violoncello Solo, Suite I G-dur, BWV 1007: I. Prelude | — | ||
| 9-2 | 6 Suiten für Violoncello Solo, Suite I G-dur, BWV 1007: II. Allemande | — | ||
| 9-3 | 6 Suiten für Violoncello Solo, Suite I G-dur, BWV 1007: III. Courante | — | ||
| 9-4 | 6 Suiten für Violoncello Solo, Suite I G-dur, BWV 1007: IV. Sarabande | — | ||
| 9-5 | 6 Suiten für Violoncello Solo, Suite I G-dur, BWV 1007: V. Menuet | — | ||
| 9-6 | 6 Suiten für Violoncello Solo, Suite I G-dur, BWV 1007: VI. Gigue | — | ||
| 9-7 | 6 Suiten für Violoncello Solo, Suite IV Es-dur, BWV 1010: I. Prelude | — | ||
| 9-8 | 6 Suiten für Violoncello Solo, Suite IV Es-dur, BWV 1010: II. Allemande | — | ||
| 9-9 | 6 Suiten für Violoncello Solo, Suite IV Es-dur, BWV 1010: III. Courante | — | ||
| 9-10 | 6 Suiten für Violoncello Solo, Suite IV Es-dur, BWV 1010: IV. Sarabande | — | ||
| 9-11 | 6 Suiten für Violoncello Solo, Suite IV Es-dur, BWV 1010: V. Bourrée | — | ||
| 9-12 | 6 Suiten für Violoncello Solo, Suite IV Es-dur, BWV 1010: VI. Gigue | — | ||
| 9-13 | 6 Suiten für Violoncello Solo, Suite V c-moll, BWV 1011: I. Prelude | — | ||
| 9-14 | 6 Suiten für Violoncello Solo, Suite V c-moll, BWV 1011: II. Allemande | — | ||
| 9-15 | 6 Suiten für Violoncello Solo, Suite V c-moll, BWV 1011: III. Courante | — | ||
| 9-16 | 6 Suiten für Violoncello Solo, Suite V c-moll, BWV 1011: IV. Sarabande | — | ||
| 9-17 | 6 Suiten für Violoncello Solo, Suite V c-moll, BWV 1011: V. Gavotte | — | ||
| 9-18 | 6 Suiten für Violoncello Solo, Suite V c-moll, BWV 1011: VI. Gigue | — | ||
| 10-1 | 6 Suiten für Violoncello Solo, Suite III C-dur, BWV 1009: I. Prelude | — | ||
| 10-2 | 6 Suiten für Violoncello Solo, Suite III C-dur, BWV 1009: II. Allemande | — | ||
| 10-3 | 6 Suiten für Violoncello Solo, Suite III C-dur, BWV 1009: III. Courante | — | ||
| 10-4 | 6 Suiten für Violoncello Solo, Suite III C-dur, BWV 1009: IV. Sarabande | — | ||
| 10-5 | 6 Suiten für Violoncello Solo, Suite III C-dur, BWV 1009: V. Bourrée | — | ||
| 10-6 | 6 Suiten für Violoncello Solo, Suite III C-dur, BWV 1009: VI. Gigue | — | ||
| 10-7 | 6 Suiten für Violoncello Solo, Suite II d-moll, BWV 1008: I. Prelude | — | ||
| 10-8 | 6 Suiten für Violoncello Solo, Suite II d-moll, BWV 1008: II. Allemande | — | ||
| 10-9 | 6 Suiten für Violoncello Solo, Suite II d-moll, BWV 1008: III. Courante | — | ||
| 10-10 | 6 Suiten für Violoncello Solo, Suite II d-moll, BWV 1008: IV. Sarabande | — | ||
| 10-11 | 6 Suiten für Violoncello Solo, Suite II d-moll, BWV 1008: V. Menuet | — | ||
| 10-12 | 6 Suiten für Violoncello Solo, Suite II d-moll, BWV 1008: VI. Gigue | — | ||
| 10-13 | 6 Suiten für Violoncello Solo, Suite VI D-dur, BWV 1012: I. Prelude | — | ||
| 10-14 | 6 Suiten für Violoncello Solo, Suite VI D-dur, BWV 1012: II. Allemande | — | ||
| 10-15 | 6 Suiten für Violoncello Solo, Suite VI D-dur, BWV 1012: III. Courante | — | ||
| 10-16 | 6 Suiten für Violoncello Solo, Suite VI D-dur, BWV 1012: IV. Sarabande | — | ||
| 10-17 | 6 Suiten für Violoncello Solo, Suite VI D-dur, BWV 1012: V. Gavotte | — | ||
| 10-18 | 6 Suiten für Violoncello Solo, Suite VI D-dur, BWV 1012: VI. Gigue | — | ||
| 11-1 | Azis y Galatea: I. Seguidillas | — | ||
| 11-2 | Azis y Galatea: II. Rezitado/Area: "Confiado gilguerillo" | — | ||
| 11-3 | Azis y Galatea: III. Rezitado/Area: "Monstruo, en quien ha sobrado" | — | ||
| 11-4 | Azis y Galatea: IV. Area: "Pues del culto mi piedad" | — | ||
| 11-5 | Azis y Galatea: V. Rezitado/Area: "Azis dichoso" | — | ||
| 11-6 | Azis y Galatea: VI. Coplas | — | ||
| 11-7 | "Ruede la Vola" | — | ||
| 11-8 | Veneno es de amor la envidia, Area: "Ondas, riscos, pezes, mares" | — | ||
| 11-9 | El impossible mayor en amor le venze Amor: I. Area: "Donde vas" | — | ||
| 11-10 | El impossible mayor en amor le venze Amor: II. Rezitaclo/Area: "Danae, cuya belleza" | — | ||
| 11-11 | El impossible mayor en amor le venze Amor: III. Rezitado/Area: "Oye, escucha, aguarda, espera" | — | ||
| 11-12 | Discurso de ecos | — | ||
| 11-13 | Los Elementos: I. Rezitado/Arieta: "Deydad" que en el monte vipartido" | — | ||
| 11-14 | Los Elementos: II. Arieta: "Ayamor" | — | ||
| 11-15 | Los Elementos: III. Rezitad/Arieta: "Mas si fuese la planta fugitiva" | — | ||
| 11-16 | Cancion Franzesa | — | ||
| 11-17 | El estrago en la fineza o Jupiter y Semele: I. "Pues soy abejuela" | — | ||
| 11-18 | El estrago en la fineza o Jupiter y Semele: II. Rezitado "afectuoso" / Aria: "Yo he de enmdecer" | — | ||
| 11-19 | El estrago en la fineza o Jupiter y Semele: III. "Ven dulcissimo bien" | — | ||
| 11-20 | Diferencias sobre la gayta | — | ||
| 12-1 | Canzone XVI in A minor (detta la Samminiata) | Girolamo Frescobaldi, Lidewij Scheifes, Bob van Asperen | — | |
| 12-2 | Canzone VIII in G minor (detta la Ambitiosa) | Anner Bylsma, Bob van Asperen | — | |
| 12-3 | Canzone XV in F major (detta la Lieuratte) | Anner Bylsma, Lidewij Scheifes, Bob van Asperen | — | |
| 12-4 | Ricercar V in C major | Anner Bylsma | — | |
| 12-5 | Canon à due Violoncelli in D major | Anner Bylsma, Lidewij Scheifes | — | |
| 12-6 | Ricercar I in G minor | Anner Bylsma | — | |
| 12-7 | Sonata in G major: Grave - Presto - Adagio | Anner Bylsma, Bob van Asperen | — | |
| 12-8 | Ricercar IV in E-flat major | Anner Bylsma | — | |
| 12-9 | Sonata in C major, op. 3/10: Presto e spiritoso - Adagio - Allegro Aria Francese | Anner Bylsma, Bob van Asperen | — | |
| 12-10 | Ricercar II in A minor | Anner Bylsma | — | |
| 12-11 | Sonata in A minor, op. 1, no. 8: Allegro - Prestissimo - Adagio - Aria allegro | Anner Bylsma, Bob van Asperen | — | |
| 12-12 | Ricercar III in D major | Anner Bylsma | — | |
| 12-13 | Sonata in A major: Grave - Allegro - Largo - Presto | Anner Bylsma, Bob van Asperen | — | |
| 12-14 | Ricercar III in F major | Anner Bylsma | — | |
| 12-15 | Ricercar X in G minor | Anner Bylsma | — | |
| 12-16 | Sonata in G major, op. 3, no. 9: Spiritoso (Presto) - Grave - Menuet | Anner Bylsma, Bob van Asperen | — | |
| 12-17 | Ricercar VI in G major | Domenico Gabrielli | — | |
| 12-18 | Ricercar VII in D minor | Domenico Gabrielli | — | |
| 12-19 | Sonata in B-flat major, op. 1, no. 7: Adagio - Prestissimo - Adagio - Aria presto | Anner Bylsma, Bob van Asperen | — | |
| 13-1 | Requiem à 15 im A-dur: I. Introitus, Requiem aeternam dona eis | — | ||
| 13-2 | Requiem à 15 im A-dur: II. Kyrie eleison | — | ||
| 13-3 | Requiem à 15 im A-dur: III. Sequenz, Dies Irae, dies illa | — | ||
| 13-4 | Requiem à 15 im A-dur: IV. Offertorium. Domine Jesu Christe | — | ||
| 13-5 | Requiem à 15 im A-dur: V. Sanctus | — | ||
| 13-6 | Requiem à 15 im A-dur: VI. Agnus Dei | — | ||
| 13-7 | Requiem à 15 im A-dur: VII. Communio. Lux aeterna luceat eis | — | ||
| 13-8 | Stabat mater: I. Stabat mater (Coro) | — | ||
| 13-9 | Stabat mater: II. Cujus animam | — | ||
| 13-10 | Stabat mater: III. Quis est homo | — | ||
| 13-11 | Stabat mater: IV. Pro peccatis | — | ||
| 13-12 | Stabat mater: V. Vidit suum dulcern | — | ||
| 13-13 | Stabat mater: VI. Eja mater | — | ||
| 13-14 | Stabat mater: VII. Fac me vere | — | ||
| 13-15 | Stabat mater: VIII. Virgo virginum | — | ||
| 13-16 | Stabat mater: IX. Fac ut portem | — | ||
| 13-17 | Stabat mater: X. Fac me plagis | — | ||
| 13-18 | Stabat mater: XI. Inflammatur | — | ||
| 13-19 | Stabat mater: XII. Quando corpus | — | ||
| 14-1 | Concerto for Cello & Orchestra no. 7 in G major, G. 480: I. Allegro | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-2 | Concerto for Cello & Orchestra no. 7 in G major, G. 480: II. Adagio | Anner Bylsma, Tafelmusik, Jeanne Lamon | T-802.445.410-3 | |
| 14-3 | Concerto for Cello & Orchestra no. 7 in G major, G. 480: III. Allegro | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-4 | Symphony in B-flat major, op. 21 no. 5, G. 497: I. Allegro spiritoso | Anner Bylsma, Tafelmusik, Jeanne Lamon | T-902.876.200-7 | |
| 14-5 | Symphony in B-flat major, op. 21 no. 5, G. 497: II. Andantino con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-6 | Symphony in B-flat major, op. 21 no. 5, G. 497: III. Allegro vivace assai | Anner Bylsma, Tafelmusik, Jeanne Lamon | T-902.876.200-7 | |
| 14-7 | Concerto for Cello & Orchestra no. 10 in D major, G. 483: I. Allegro maestoso | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-8 | Concerto for Cello & Orchestra no. 10 in D major, G. 483: II. Andante lentarello | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-9 | Concerto for Cello & Orchestra no. 10 in D major, G. 483: III. Allegro e con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-10 | Symphony in D minor, op. 12 no. 4, G. 506 "La casa del diavolo": I. Andante sostenuto - Allegro assai | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-11 | Symphony in D minor, op. 12 no. 4, G. 506 "La casa del diavolo": II. Andantino con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-12 | Symphony in D minor, op. 12 no. 4, G. 506 "La casa del diavolo": III. Andante sostenuto - Allegro assai, con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 15-1 | Abendmusik: Passacaglia BuxWV 161 | — | ||
| 15-2 | Abendmusik: Sonata in D minor, Op. 1/6 BuxWV 257 | — | ||
| 15-3 | Abendmusik: Sonata in D major, BuxWV 267 | — | ||
| 15-4 | Abendmusik: Sonata in G minor, Op. 2/3 BuxWV 261 | — | ||
| 15-5 | Abendmusik: Ciaccona BuxWV 160 | — | ||
| 15-6 | Abendmusik: Sonata in F major, Op. 1/1 BuxWV 252 | — | ||
| 15-7 | Abendmusik: Sonata in C major, BuxWV 266 | — | ||
| 15-8 | Abendmusik: Fried- und Freudenreiche Hinfart, BuxWV 76 | — | ||
| 15-9 | Abendmusik: Sonata in G major, Op. 1/2 BuxWV 253 | — | ||
| 16-1 | Nuove musiche e nuova maniera di scriverle: Amor ch'attendi | — | ||
| 16-2 | Le nuove musiche: Amor, io parto | — | ||
| 16-3 | Nuove musiche e nuova maniera di scriverle: Tu ch'hai le penne | — | ||
| 16-4 | Nuove musiche e nuova maniera di scriverle: Non ha'l ciel | — | ||
| 16-5 | Nuove musiche e nuova maniera di scriverle: Alme luci beate | — | ||
| 16-6 | Le nuove musiche: Vedrò 'l mio sol | — | ||
| 16-7 | Nuove musiche e nuova maniera di scriverle: Tutto 'l dì piango | — | ||
| 16-8 | Le nuove musiche: Dolcissimo sospiro | — | ||
| 16-9 | Nuove musiche e nuova maniera di scriverle: Dalle porta d'oriente | — | ||
| 16-10 | Le nuove musiche: Amarilli mia bella | — | ||
| 16-11 | Le nuove musiche: Movetevi à pietà | — | ||
| 16-12 | Le nuove musiche: Belle rose porporine | — | ||
| 16-13 | Le nuove musiche: Queste lagrim' amare | — | ||
| 16-14 | Nuove musiche e nuova maniera di scriverle: Torna, deh torna | — | ||
| 16-15 | Nuove musiche e nuova maniera di scriverle: Con le luci d'un bel ciglio | — | ||
| 17-1 | La Sultane | Capriccio Stravagante, Skip Sempé | — | |
| 17-2 | Première Suite in E minor for viola da gamba & basso continuo: I. Prélude, Gravement | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-3 | Première Suite in E minor for viola da gamba & basso continuo: II. Allemande, Légère | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-4 | Première Suite in E minor for viola da gamba & basso continuo: III. Courante | Capriccio Stravagante, Skip Sempé | — | |
| 17-5 | Première Suite in E minor for viola da gamba & basso continuo: IV. Sarabande, Grave | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-6 | Première Suite in E minor for viola da gamba & basso continuo: V. Gavotte, Gracieusement, sans lenteur | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-7 | Première Suite in E minor for viola da gamba & basso continuo: VI. Gigue, Gayment | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-8 | Première Suite in E minor for viola da gamba & basso continuo: VII. Passacaille ou Chaconne | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | T-909.233.399-8 | |
| 17-9 | Le Dodo ou l'amour au berceau | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-10 | Deuxième Suite in A major for viola da gamba & basso continuo: I. Prélude, Gravement | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-11 | Deuxième Suite in A major for viola da gamba & basso continuo: II. Fuguette | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-12 | Deuxième Suite in A major for viola da gamba & basso continuo: III. Pompe Funèbre, Très gravement | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-13 | Deuxième Suite in A major for viola da gamba & basso continuo: IV. La Chemise Blanche, Très viste | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-14 | La Superbe | Capriccio Stravagante, Skip Sempé | — | |
| 18-1 | Concertino I in E minor, Op. 1: I. | — | ||
| 18-2 | Concertino I in E minor, Op. 1: II. | — | ||
| 18-3 | Concertino I in E minor, Op. 1: III. | — | ||
| 18-4 | Concertino II in B-flat major, Op. 1: I. | — | ||
| 18-5 | Concertino II in B-flat major, Op. 1: II. | — | ||
| 18-6 | Concertino II in B-flat major, Op. 1: III. | — | ||
| 18-7 | Concertino III in E major, Op. 1: I. | — | ||
| 18-8 | Concertino III in E major, Op. 1: II. | — | ||
| 18-9 | Concertino III in E major, Op. 1: III. | — | ||
| 18-10 | Concertino IV in C minor, Op. 1: I. | — | ||
| 18-11 | Concertino IV in C minor, Op. 1: II. | — | ||
| 18-12 | Concertino IV in C minor, Op. 1: III. | — | ||
| 18-13 | Concertino V in A major, Op. 1: I. | — | ||
| 18-14 | Concertino V in A major, Op. 1: II. | — | ||
| 18-15 | Concertino V in A major, Op. 1: III. | — | ||
| 18-16 | Concertino VI in F major, Op. 1: I. | — | ||
| 18-17 | Concertino VI in F major, Op. 1: II. | — | ||
| 18-18 | Concertino VI in F major, Op. 1: III. | — | ||
| 18-19 | Concerto in G minor, RV 157: I. | — | ||
| 18-20 | Concerto in G minor, RV 157: II. | — | ||
| 18-21 | Concerto in G minor, RV 157: III. | — | ||
| 19-1 | Pièces de viole: Suite No. 1 in D minor: I. Allemande "La Laborde" | — | ||
| 19-2 | Pièces de clavecin: Suite No. 1 in D minor: III. La Cottin | — | ||
| 19-3 | Pièces de viole: Suite No. 1 in D minor: V. La Portugaise | — | ||
| 19-4 | Pièces de clavecin: Suite No. 1 in D minor: II. La Forqueray | — | ||
| 19-5 | Pièces de viole: Suite No. 3 in D minor: II. La Régente | — | ||
| 19-6 | Pièces de clavecin: Suite No. 4 in G minor: I. La Marella | — | ||
| 19-7 | Pièces de clavecin: Suite No. 4 in G minor: III. Sarabande "La d´Aubonne" | — | ||
| 19-8 | Pièces de viole: Suite No. 3 in D minor: I. La Ferrand | — | ||
| 19-9 | Pièces de clavecin: Suite No. 1 in D minor: VI. La Couperin | — | ||
| 19-10 | Pièces de viole: Suite No. 5 in C minor: IV. Chaconne "La Buisson" | — | ||
| 19-11 | Pièces de clavecin: Suite No. 2 in G major: IV. La Leclair | — | ||
| 19-12 | Pièces de clavecin: Suite No. 5 in C minor: I. La Rameau | — | ||
| 19-13 | Pièces de viole: Suite No. 5 in C minor: VII. Jupiter | — | ||
| 20-1 | Fiori Musicali, Op. 12: Messa della Domenica: Toccata avanti la Messa | — | ||
| 20-2 | Fiori Musicali, Op. 12: Messa della Domenica: Kyrie orbis factor | — | ||
| 20-3 | Fiori Musicali, Op. 12: Messa della Domenica: Gloria | — | ||
| 20-4 | Fiori Musicali, Op. 12: Messa della Domenica: Canzon dopo la Pistola | — | ||
| 20-5 | Fiori Musicali, Op. 12: Messa della Domenica: Credo (Credo I) | — | ||
| 20-6 | Fiori Musicali, Op. 12: Messa della Domenica: Recercar dopo il Credo | — | ||
| 20-7 | Fiori Musicali, Op. 12: Messa della Domenica: Sanctus | — | ||
| 20-8 | Fiori Musicali, Op. 12: Messa della Domenica: Toccata chromaticha per le levatione | — | ||
| 20-9 | Fiori Musicali, Op. 12: Messa della Domenica: Agnus Dei | — | ||
| 20-10 | Fiori Musicali, Op. 12: Messa della Domenica: Canzon post il Comune | — | ||
| 20-11 | Fiori Musicali, Op. 12: Messa della Domenica: Ite Missa est | — | ||
| 20-12 | Fiori Musicali, Op. 12: Messa della Domenica: Toccata sopra i pedali | — | ||
| 20-13 | Fiori Musicali, Op. 12: Messa della Domenica: Invitatorium. Deus, in adjutorium | — | ||
| 20-14 | Fiori Musicali, Op. 12: Messa della Domenica: Christe Versets | — | ||
| 20-15 | Fiori Musicali, Op. 12: Messa della Domenica: Antiphon. Dixit Dominus | — | ||
| 20-16 | Fiori Musicali, Op. 12: Messa della Domenica: Kyrie Versets | — | ||
| 20-17 | Fiori Musicali, Op. 12: Messa della Domenica: Il secondo libro di toccate: Hinno della Domenica "Lucis creator optime" / Hymnus. Lucis creator optime | — | ||
| 20-18 | Fiori Musicali, Op. 12: Messa della Domenica: Antiphon. Serve nequam / Il secondo libro di toccate: Magnificat sesti toni | — | ||
| 20-19 | Fiori Musicali, Op. 12: Messa della Domenica: Benedicamus Domino | — | ||
| 20-20 | Fiori Musicali, Op. 12: Messa della Domenica: Marian Antiphon. Salve Regina | — | ||
| 20-21 | Fiori Musicali, Op. 12: Messa della Madonna: Bergamasca | — | ||
| 21-1 | Fiori Musicali, Op. 12: Messa della Madonna: Toccata avanti la Messa | — | ||
| 21-2 | Fiori Musicali, Op. 12: Messa della Madonna: Kyrie cum jubilo | — | ||
| 21-3 | Gloria | — | ||
| 21-4 | Fiori Musicali, Op. 12: Messa della Madonna: Canzon doppio la Pistola | — | ||
| 21-5 | Credo (Credo VI) | — | ||
| 21-6 | Fiori Musicali, Op. 12: Messa della Madonna: Recercar doppo il Credo | — | ||
| 21-7 | Sanctus | — | ||
| 21-8 | Fiori Musicali, Op. 12: Messa della Madonna: Toccata per le Levatione | — | ||
| 21-9 | Agnus Dei | — | ||
| 21-10 | Fiori Musicali, Op. 12: Messa della Madonna: Toccata avanti il Ricercar | — | ||
| 21-11 | Fiori Musicali, Op. 12: Messa della Madonna: Recercar con obligato di cantare | — | ||
| 21-12 | Ite Missa est | — | ||
| 21-13 | Il secondo libro di toccate: Toccata sesta | — | ||
| 21-14 | Invitatorium. Deus, in adjutorium | — | ||
| 21-15 | Canzoni alla francese: Canzon sesta detta la Pesenti | — | ||
| 21-16 | Antiphon. Jam hiems | — | ||
| 21-17 | Il primo libro di capricci: Capriccio sopra la Bassa Fiamenga | — | ||
| 21-18 | Responsorium breve. Ave Maria, gratia plena | — | ||
| 21-19 | Il secondo libro di toccate: Hinno Ave Maris stella / Hymnus. Ave Maris stella | — | ||
| 21-20 | Antiphon. Ave Maria, gratia plena / Il secondo libro di toccate: Magnificat primi toni | — | ||
| 21-21 | Benedicamus Domino | — | ||
| 21-22 | Marian Antiphon. Ave Regina | — | ||
| 21-23 | Fiori Musicali, Op. 12: Messa della Madonna: Capriccio sopra la Girolmeta | — | ||
| 22-1 | Le Cinesi: I. Sinfonia (Ouverture) | — | ||
| 22-2 | Le Cinesi: II. Rezitativo: E ben: Stupide e mute | — | ||
| 22-3 | Le Cinesi: III. Aria: Prenditi il figlio...! | — | ||
| 22-4 | Le Cinesi: IV. Rezitativo: Ah, non firnir si presto | — | ||
| 22-5 | Le Cinesi: V. Aria: Son lunghi e non mi brami | — | ||
| 22-6 | Le Cinesi: VI. Rezitativo: Che vi par della scena? | — | ||
| 22-7 | Le Cinesi: VII. Aria: Non sprear, non lusingarti | — | ||
| 22-8 | Le Cinesi: VIII. Rezitativo: Che amabil pastorella! | — | ||
| 22-9 | Le Cinesi: IX. Aria: Ad un riso, ad un'occhiata | — | ||
| 22-10 | Le Cinesi: X. Rezitativo: Che ti sembra, Silango | — | ||
| 22-11 | Le Cinesi: XI. Quartetto: Voli il piede in lieti giri | — | ||
| 23-1 | Musica Dei Donum | — | ||
| 23-2 | Lauda Sion Salvatorem | — | ||
| 23-3 | Missa Puisque j'ay perdu: I. Kyrie | — | ||
| 23-4 | Missa Puisque j'ay perdu: II. Gloria | — | ||
| 23-5 | Missa Puisque j'ay perdu: III. Credo | — | ||
| 23-6 | Missa Puisque j'ay perdu: IV. Sancturs & Benedictus | — | ||
| 23-7 | Missa Puisque j'ay perdu: V. Agnus Dei | — | ||
| 24-1 | Requiem à 5: I. Introitus | — | ||
| 24-2 | Requiem à 5: II. Kyrie | — | ||
| 24-3 | Requiem à 5: III. Graduale (Cantus gregorianus) | — | ||
| 24-4 | Requiem à 5: IV. Tractus "Absolve Domine" | — | ||
| 24-5 | Requiem à 5: V. Offertorium "Domine Jesu Christe" | — | ||
| 24-6 | Requiem à 5: VI. Sanctus - Benedicts | — | ||
| 24-7 | Requiem à 5: VII. Agnus Dei | — | ||
| 24-8 | Requiem à 5: VIII. Communio "Lux aeterna" | — | ||
| 24-9 | O bone Jesu | — | ||
| 24-10 | Magnificat "Praeter rerum seriem" | — | ||
| 24-11 | Alma Redemptoris mater | — | ||
| 24-12 | Ave Maria | — | ||
| 25-1 | Los Elementos: I. "Frondosa, apacible estancia" / "Moradores de esta playas" | — | ||
| 25-2 | Los Elementos: II. "Y así le festejen" | — | ||
| 25-3 | Los Elementos: III. "Pues Reverentes aves le gerjean" | — | ||
| 25-4 | Los Elementos: IV. Recitado: "Y al rápido sonido de mi aliento" / "Olmo apacible" | — | ||
| 25-5 | Los Elementos: V. Recitando: "Ms si fuese la planta fugitiva" / "Fuego encendo" | — | ||
| 25-6 | Los Elementos: VI. "Y pues soy el agua" | — | ||
| 25-7 | Los Elementos: VII. "El ayre soy" | — | ||
| 25-8 | Los Elementos: VIII. Recitado: "No podrá" / Arieta: "De flores vestida" | — | ||
| 25-9 | Los Elementos: IX. "Y en tan triste confusión" | — | ||
| 25-10 | Los Elementos: X. Arieta: "Ay Amor" | — | ||
| 25-11 | Los Elementos: XI. "Sienta la tierra" | — | ||
| 25-12 | Los Elementos: XII. Recitado: "Mas en la oscura noche" | — | ||
| 25-13 | Los Elementos: XIII. "Ires fatales fulminan" | — | ||
| 25-14 | Los Elementos: XIV. Recitado: "Y aunque intente la fatiga" / Arieta: "Risueña el aurora" | — | ||
| 25-15 | Los Elementos: XV. Recitado: "Y pues la lux" / Arieta. "Rompa la tierra" | — | ||
| 25-16 | Los Elementos: XVI. "Y sus acordes fragancias" | — | ||
| 25-17 | Los Elementos: XVII. Recitado: "Y pues ya se desvían" / Arieta: "En brazos del alba" | — | ||
| 25-18 | Los Elementos: XVIII. Recitado: "Deidades, que en el monte" / Arieta: "Suenen los clarines" | — | ||
| 25-19 | Los Elementos: XIX. "Dormida fatiga" | — | ||
| 25-20 | Los Elementos: XX. "El moble diamante" | — | ||
| 25-21 | Los Elementos: XXI. "Y pues tierra" | — | ||
| 25-22 | Los Elementos: XXII. "Flores; aves; fuentes; rios" | — | ||
| 25-23 | Los Elementos: XXIII. "Esfera copiosa" | — | ||
| 26-1 | Divertissement I: Ouverture d'Amadis | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-2 | Divertissement I: Répands charmante nuit | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-3 | Divertissement I: Récit d'Orphée | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-4 | Divertissement I: Entrée pour Bacchus et Ariadne | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-5 | Divertissement I: Rochers vous êtes sourds | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-6 | Divertissement I: Plainte de Vénus sur la mort d'Adonis | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-7 | Divertissement I: Dieu des enfers | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-8 | Divertissement II: Ouverture de Psyché | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-9 | Divertissement II: Plainte italienne | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-10 | Divertissement II: Chaconne d'Amadis | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-11 | Divertissement III: Entrée d'Apollon | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-12 | Divertissement III: Si l'amour vous soumet | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-13 | Divertissement III: Enfin il est en ma puissance | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-14 | Divertissement III: Air pour les démons et les monstres | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-15 | Divertissement III: Passacaille d'Armide | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 27-1 | Cathédrale de Reims, Messe Nostre Dame à 4: I. Kyrie | — | ||
| 27-2 | Cathédrale de Reims, Messe Nostre Dame à 4: II. Gloria | — | ||
| 27-3 | Cathédrale de Reims, Messe Nostre Dame à 4: III. Credo | — | ||
| 27-4 | Cathédrale de Reims, Messe Nostre Dame à 4: IV. Sanctus | — | ||
| 27-5 | Cathédrale de Reims, Messe Nostre Dame à 4: V. Angus Dei | — | ||
| 27-6 | Cathédrale de Reims, Messe Nostre Dame à 4: VI. Ite Missa est | — | ||
| 27-7 | Perotinus Magnus Notre-Dame de Paris: Graduale "Sederunt principes" | — | ||
| 27-8 | Conductus "Pater noster commiserans" | — | ||
| 27-9 | Conductus "Dic Christi veritas" | — | ||
| 27-10 | Graduale "Viderunt omnes" | — | ||
| 27-11 | "Alleluja Christus ressurgens" & Clausula "Mors" | — | ||
| 27-12 | "Alleluja Nativitas" | — | ||
| 28-1 | Ach Herr, strafe mich nicht | — | ||
| 28-2 | Das ist mir Ileb | — | ||
| 28-3 | Gott, sei mir gnädig nach deiner Güte | — | ||
| 28-4 | Ach, mein herzliebes Jesulein | — | ||
| 28-5 | Barherzig und gnädig ist der Herr | — | ||
| 28-6 | Es haben mir die Hoffärtigen | — | ||
| 28-7 | Aus der Tieffen rufe lich, Herr zu dir | — | ||
| 28-8 | O heilige Zeit | — | ||
| 29-1 | Pièces en trio in D major: I. Prélude | — | ||
| 29-2 | Pièces en trio in D major: II. Sarabande grave | — | ||
| 29-3 | Pièces en trio in D major: III. Fantaise champestre | — | ||
| 29-4 | Pièces en trio in D major: IV. Gavotte en Rondeau Double | — | ||
| 29-5 | Pièces en trio in D major: V. Gigue | — | ||
| 29-6 | Pièces en trio in D major: VI. Bransle de Village | — | ||
| 29-7 | Pièces en trio in D major: VII. Rigaudon | — | ||
| 29-8 | Pièces en trio in D major: VIII. Menuet I / Menuet II / Menuet I da capo | — | ||
| 29-9 | Pièces en trio in D major: IX. Simphonie | — | ||
| 29-10 | Pièces en trio in G minor: I. Prélude | — | ||
| 29-11 | Pièces en trio in G minor: II. Fantaise | — | ||
| 29-12 | Pièces en trio in G minor: III. Sarabande | — | ||
| 29-13 | Pièces en trio in G minor: IV. Rondeau | — | ||
| 29-14 | Pièces en trio in G minor: V. Gigue | — | ||
| 29-15 | Pièces en trio in G minor: VI. Gavotte | — | ||
| 29-16 | Pièces en trio in G minor: VII. Menuet | — | ||
| 29-17 | Pièces en trio in G minor: VIII. Plainte | — | ||
| 29-18 | Pièces en trio in G minor: IX. Passacaille | — | ||
| 29-19 | Pièces en trio in G minor: X. Air | — | ||
| 29-20 | Pièces en trio in C major: I. Prélude | — | ||
| 29-21 | Pièces en trio in C major: II. Sarabande | — | ||
| 29-22 | Pièces en trio in C major: III. Fantaise | — | ||
| 29-23 | Pièces en trio in C major: IV. Loure | — | ||
| 29-24 | Pièces en trio in C major: V. La Bagatelle | — | ||
| 29-25 | Pièces en trio in C major: VI. Gavotte | — | ||
| 29-26 | Pièces en trio in C major: VII. Rondeau | — | ||
| 29-27 | Pièces en trio in C major: VIII. Menuet | — | ||
| 29-28 | Pièces en trio in C major: IX. Chaconne | — | ||
| 30-1 | Capriccio Stravagante: I. | — | ||
| 30-2 | Capriccio Stravagante: II. La Lira | — | ||
| 30-3 | Capriccio Stravagante: III. Il Fiferino | — | ||
| 30-4 | Capriccio Stravagante: IV. Lira variata | — | ||
| 30-5 | Capriccio Stravagante: V. Qui si bate con il lengo dei archetto sopra del le corde | — | ||
| 30-6 | Capriccio Stravagante: VI. La Trombetta | — | ||
| 30-7 | Capriccio Stravagante: VII. La Clarino | — | ||
| 30-8 | Capriccio Stravagante: VIII. Die Herrpaucken | — | ||
| 30-9 | Capriccio Stravagante: IX. La Gallina | — | ||
| 30-10 | Capriccio Stravagante: X. Il Gallo | — | ||
| 30-11 | Capriccio Stravagante: XI. Il Flautino pian piano | — | ||
| 30-12 | Capriccio Stravagante: XII. Il Tremulanto | — | ||
| 30-13 | Capriccio Stravagante: XIII. Fiferino della Soldatesca et Il Tambura | — | ||
| 30-14 | Capriccio Stravagante: XIV. Il Gatto | — | ||
| 30-15 | Capriccio Stravagante: XV. Il Cane | — | ||
| 30-16 | Capriccio Stravagante: XVI. La Chitarra Spagniola | — | ||
| 30-17 | Lasciate mi morire | — | ||
| 30-18 | Lamento d'Arianna: I. Lasciate mi morire | — | ||
| 30-19 | Lamento d'Arianna: II. O Teseo mio | — | ||
| 30-20 | Lamento d'Arianna: III. Dove la fede | — | ||
| 30-21 | Lamento d'Arianna: IV. Ahi che non piu rispondi | — | ||
| 30-22 | Lamento d'Arianna: V. Misera, ancor doloco | — | ||
| 30-23 | Intrada del Marchese di Caravazzo | — | ||
| 30-24 | L'Amaltea | — | ||
| 30-25 | Combatimento di Tancredi et Clorinda: I. Tancredi che Clorinda un homo stima | — | ||
| 30-26 | Combatimento di Tancredi et Clorinda: II. Trotto del Cavallo | — | ||
| 30-27 | Combatimento di Tancredi et Clorinda: III. Passagio bellicose grave | — | ||
| 30-28 | Combatimento di Tancredi et Clorinda: IV. Sinfonia | — | ||
| 30-29 | Combatimento di Tancredi et Clorinda: V. Passagio piu grave ristretto | — | ||
| 30-30 | Combatimento di Tancredi et Clorinda: VI. Passagio ristretto | — | ||
| 30-31 | Combatimento di Tancredi et Clorinda: VII. Passagio della guerra | — | ||
| 30-32 | Combatimento di Tancredi et Clorinda: VIII. Qui si lascia l'arco, e si strappano le corde con duoi ditti | — | ||
| 30-33 | Combatimento di Tancredi et Clorinda: IX. Qui si ripiglia l'arco | — | ||
| 30-34 | Combatimento di Tancredi et Clorinda: X. Guerra | — | ||
| 30-35 | Combatimento di Tancredi et Clorinda: XI. Clorinda sola in 4 viola | — | ||
| 30-36 | Combatimento di Tancredi et Clorinda: XII. Clorinda sola in 4 viole Soave arcate | — | ||
| 31-1 | Vespro della Beata Vergine: Intonatio: Deus in adiutorium Domine ad adjuvandum | Cantus Cölln, Concerto Palatino, Konrad Junghänel | — | |
| 31-2 | Vespro della Beata Vergine: II. Dixit Dominus | — | ||
| 31-3 | Vespro della Beata Vergine: III. Nigra sum | — | ||
| 31-4 | Vespro della Beata Vergine: IV. Laudate pueri | — | ||
| 31-5 | Vespro della Beata Vergine: V. Pulchra es | — | ||
| 31-6 | Vespro della Beata Vergine: VI. Laetatus sum | — | ||
| 31-7 | Vespro della Beata Vergine: VII. Duo Seraphim | — | ||
| 31-8 | Vespro della Beata Vergine: VIII. Nisi Dominus | — | ||
| 31-9 | Vespro della Beata Vergine: IX. Audi coelum | — | ||
| 31-10 | Vespro della Beata Vergine: X. Lauda Jerusalem | — | ||
| 32-1 | Vespro della Beata Vergine: XI. Sonata à 8 sopra "Sancta Maria ora pro nobis" | — | ||
| 32-2 | Vespro della Beata Vergine: XII. Hymnus à 8: Ave maris stella | — | ||
| 32-3 | Vespro della Beata Vergine, Magnificat: I. Magnificat | — | ||
| 32-4 | Vespro della Beata Vergine, Magnificat: II. Et exultavit | — | ||
| 32-5 | Vespro della Beata Vergine, Magnificat: III. Quia respexit | — | ||
| 32-6 | Vespro della Beata Vergine, Magnificat: IV. Quia fecit mihi magna | — | ||
| 32-7 | Vespro della Beata Vergine, Magnificat: V. Et misericordia | — | ||
| 32-8 | Vespro della Beata Vergine, Magnificat: VI. Fecit potentiam | — | ||
| 32-9 | Vespro della Beata Vergine, Magnificat: VII. Deposuit potentes | — | ||
| 32-10 | Vespro della Beata Vergine, Magnificat: VIII. Esurientis implevit bonis | — | ||
| 32-11 | Vespro della Beata Vergine, Magnificat: IX. Suscepit Israel | — | ||
| 32-12 | Vespro della Beata Vergine, Magnificat: X. Sicut locutus est | — | ||
| 32-13 | Vespro della Beata Vergine, Magnificat: XI. Gloria patri | — | ||
| 32-14 | Vespro della Beata Vergine, Magnificat: XII. Sicut erat in principio | — | ||
| 33-1 | Jauchzet dem Herrn | — | ||
| 33-2 | Nun danket alle Gott | — | ||
| 33-3 | Exsurgat Deus | — | ||
| 33-4 | Fürchte dich nicht | — | ||
| 33-5 | Der Gerechte | — | ||
| 33-6 | Tröste uns Gott | — | ||
| 33-7 | Magnificat | — | ||
| 33-8 | Der Herr ist König | — | ||
| 33-9 | Ich lasse dich nicht | — | ||
| 33-10 | Gott ist unser Zuversicht | — | ||
| 33-11 | Paratum cor meum Deus | — | ||
| 33-12 | Der Herr ist König | — | ||
| 33-13 | Halt, was du hast | — | ||
| 33-14 | Fürchtet euch nicht | — | ||
| 33-15 | Singet dem Herrn | — | ||
| 33-16 | Jauchzet Gott alle Lande | — | ||
| 34-1 | Ave Regina Caelorum | — | ||
| 34-2 | Lamentationen zum Karsamstag: I. Lection I | — | ||
| 34-3 | Lamentationen zum Karsamstag: II. Lection II | — | ||
| 34-4 | Lamentationen zum Karsamstag: III. Lection III | — | ||
| 34-5 | Gloriosi principes terrae | — | ||
| 34-6 | Missa in duplicibus: I. Kyrie - Christe - Kyrie | — | ||
| 34-7 | Missa in duplicibus: II. Gloria | — | ||
| 34-8 | Missa in duplicibus: III. Credo | — | ||
| 34-9 | Missa in duplicibus: IV. Sanctus | — | ||
| 34-10 | Missa in duplicibus: V. Agnus Dei | — | ||
| 35-1 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Aria Uberto 'Aspettare, e non venire' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-2 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Recitativo | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-3 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Aria Uberto 'Sempre in contrasti' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-4 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Recitativo | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-5 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Aria Serpina 'Stizzoso, mio stizzoso' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-6 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Recitativo | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-7 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Duetto 'La conosco a quegl'occhietti' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-8 | La Serva Padrona (Intermezzo buffo in due atti): Atto secondo: Recitativo | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-9 | La Serva Padrona (Intermezzo buffo in due atti): Atto secondo: Aria Serpina 'A Serpina penserete' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-10 | La Serva Padrona (Intermezzo buffo in due atti): Atto secondo: Recitativo | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-11 | La Serva Padrona (Intermezzo buffo in due atti): Atto secondo: Aria Uberto 'Son imbrogliato io già' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-12 | La Serva Padrona (Intermezzo buffo in due atti): Atto secondo: Recitativo | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-13 | La Serva Padrona (Intermezzo buffo in due atti): Atto secondo: Duetto 'Per te io ho nel core' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 36-1 | Orchestral Suite from "Dioclesian": I. Overture | Freiburger Barockorchester, Gottfried von der Goltz | T-902.314.020-7 | |
| 36-2 | Orchestral Suite from "Dioclesian": II. Dance / Song "If music be the food" | — | ||
| 36-3 | Orchestral Suite from "Dioclesian": III. Dance of Bacchanals / Trumpet tune | — | ||
| 36-4 | Orchestral Suite from "Dioclesian": IV. Prelude / Song "Oh how happy" / Hornpipe | — | ||
| 36-5 | Orchestral Suite from "Dioclesian": V. Dance of the Furies | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 36-6 | Orchestral Suite from "Dioclesian": VI. First music | Nancy Argenta, Michael Chance, Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 36-7 | Orchestral Suite from "Dioclesian": VII. Duet "Lost es my quiet" | — | ||
| 36-8 | Orchestral Suite from "Dioclesian": VIII. Prelude / Song "Let the soldiers rejoice" / Act tune | — | ||
| 36-9 | Orchestral Suite from "Dioclesian": IX. Chaconne | — | ||
| 36-10 | Orchestral Suite from "Dioclesian": X. Second Music / Paspe / Chair dance | Nancy Argenta, Michael Chance, Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 36-11 | Concerto grosso, Op. 6 No. 6: I. Largo e affettuoso | — | ||
| 36-12 | Concerto grosso, Op. 6 No. 6: II. A tempo giusto | — | ||
| 36-13 | Concerto grosso, Op. 6 No. 6: III. Musette - Larghetto | — | ||
| 36-14 | Concerto grosso, Op. 6 No. 6: IV. Allegro | — | ||
| 36-15 | Concerto grosso, Op. 6 No. 6: V. Allegro | — | ||
| 36-16 | "Il duello amoroso", HWV. 82: I. Sonata: Allegro Menuetto | — | ||
| 36-17 | "Il duello amoroso", HWV. 82: II. Recitativo (Daliso) | — | ||
| 36-18 | "Il duello amoroso", HWV. 82: III. Aria (Daliso) | — | ||
| 36-19 | "Il duello amoroso", HWV. 82: IV. Recitativo (Amarilli) | — | ||
| 36-20 | "Il duello amoroso", HWV. 82: V. Aria (Amarilli) | — | ||
| 36-21 | "Il duello amoroso", HWV. 82: VI. Recitativo (Daliso/Amarilli) | — | ||
| 36-22 | "Il duello amoroso", HWV. 82: VII. Aria (Amarilli) | — | ||
| 36-23 | "Il duello amoroso", HWV. 82: VIII. Recitativo (Daliso) | — | ||
| 36-24 | "Il duello amoroso", HWV. 82: IX. Aria (Daliso) | — | ||
| 36-25 | "Il duello amoroso", HWV. 82: X. Recitativo (Amarilli/Daliso) | — | ||
| 36-26 | "Il duello amoroso", HWV. 82: XI. Aria à 2 con Ritornello (Amarilli/Daliso) | — | ||
| 37-1 | 3 tunes new to John Playford's Dancing Master | — | ||
| 37-2 | William Lawes: Why so pale / Henry Lawes: Bid me to live / Anonymous: 2 tunes new to John Playford's Dancing Master | — | ||
| 37-3 | Nicola Matteis: Passages in Imitation of the Trumpet / Anonymous: 5 marches and tunes from John Playford's new tunes | — | ||
| 37-4 | Fantazie, Suite in A major | — | ||
| 37-5 | Court Masques under Charles I and Charles II | — | ||
| 37-6 | Toccata / The Plaint / Ground in A major | — | ||
| 37-7 | The black Joak | — | ||
| 37-8 | A Ground in D major | — | ||
| 38-1 | Hippolyte et Aricie, suite pour orchestre: Prologue. I. Ouverture | — | ||
| 38-2 | Hippolyte et Aricie, suite pour orchestre: Prologue. II. Entrée des habitants de la forêt | — | ||
| 38-3 | Hippolyte et Aricie, suite pour orchestre: Prologue. III. Air en rondeau pour les Amours | — | ||
| 38-4 | Hippolyte et Aricie, suite pour orchestre: Prologue. IV. Gavottes I et II | — | ||
| 38-5 | Hippolyte et Aricie, suite pour orchestre: Prologue. V. Menuets I et II | — | ||
| 38-6 | Hippolyte et Aricie, suite pour orchestre: Prologue. VI. Gavottes vives I et II | — | ||
| 38-7 | Hippolyte et Aricie, suite pour orchestre: Prologue. VII. Marche | — | ||
| 38-8 | Hippolyte et Aricie, suite pour orchestre: Act I. I. Marche des prêtresses de Diane | — | ||
| 38-9 | Hippolyte et Aricie, suite pour orchestre: Act I. II. Premier air (gracieusement et doux) | — | ||
| 38-10 | Hippolyte et Aricie, suite pour orchestre: Act I. III. Second air (un peu gai) | — | ||
| 38-11 | Hippolyte et Aricie, suite pour orchestre: Act I. IV. Tonnerre | — | ||
| 38-12 | Hippolyte et Aricie, suite pour orchestre: Act II. I. Premier Air des furies (gravement) | — | ||
| 38-13 | Hippolyte et Aricie, suite pour orchestre: Act II. II. Deuxième Air des furies (vite) | — | ||
| 38-14 | Hippolyte et Aricie, suite pour orchestre: Act II. III. Troisième Air des furies (composé 1757) | — | ||
| 38-15 | Hippolyte et Aricie, suite pour orchestre: Act III. I. Ritournelle (composé 1742) | — | ||
| 38-16 | Hippolyte et Aricie, suite pour orchestre: Act III. II. Marche des Treseniens | — | ||
| 38-17 | Hippolyte et Aricie, suite pour orchestre: Act III. III. Air gai (composé 1757) | — | ||
| 38-18 | Hippolyte et Aricie, suite pour orchestre: Act III. IV. Menuet | — | ||
| 38-19 | Hippolyte et Aricie, suite pour orchestre: Act III. V. Tambourin I, II et III (composé 1757) | — | ||
| 38-20 | Hippolyte et Aricie, suite pour orchestre: Act III. VI. 1er Rigaudon en Tambourin et 2è Rigaudon | — | ||
| 38-21 | Hippolyte et Aricie, suite pour orchestre: Act IV. I. Rondeau | — | ||
| 38-22 | Hippolyte et Aricie, suite pour orchestre: Act IV. II. Menuet I et II | — | ||
| 38-23 | Hippolyte et Aricie, suite pour orchestre: Act V. I. Symphonie (3è scène) (gracieusement) | — | ||
| 38-24 | Hippolyte et Aricie, suite pour orchestre: Act V. II. Vol des Zéphyrs (très vite) | — | ||
| 38-25 | Hippolyte et Aricie, suite pour orchestre: Act V. III. Marche | — | ||
| 38-26 | Hippolyte et Aricie, suite pour orchestre: Act V. IV. Chaconne | — | ||
| 38-27 | Hippolyte et Aricie, suite pour orchestre: Act V. V. Gavotte I et II (composé en 1757) | — | ||
| 39-1 | Suites from Platée: I. Ouverture | — | ||
| 39-2 | Suites from Platée: II. Air Pantomime - Fièrement | — | ||
| 39-3 | Suites from Platée: III. Rigaudons | — | ||
| 39-4 | Suites from Platée: IV. contredanse (en Rondeau) | — | ||
| 39-5 | Suites from Platée: V. Passepieds | — | ||
| 39-6 | Suites from Platée: VI. Tambourins | — | ||
| 39-7 | Suites from Platée: VII. Air de Ballet (Mouvement de Chaconne) | — | ||
| 39-8 | Suites from Platée: VIII. Passepieds | — | ||
| 39-9 | Suites from Platée: IX. Orage | — | ||
| 39-10 | Suites from Platée: X. Air, pour fous gais | — | ||
| 39-11 | Suites from Platée: XI. Air, pour fous, tristes | — | ||
| 39-12 | Suites from Platée: XII. Menuet | — | ||
| 39-13 | Suites from Platée: XIII. Airs | — | ||
| 39-14 | Suites from Platée: XIV. Loure - Grave | — | ||
| 39-15 | Suites from Platée: XV. Musette - Gracieux | — | ||
| 39-16 | Suites from Platée: XVI. Tambourins (Rigaudons) | — | ||
| 39-17 | Suites from Platée: XVII. Chaconne | — | ||
| 39-18 | Suite from Dardanus: I. Ouverture | — | ||
| 39-19 | Suite from Dardanus: II. Air gracieux pour le Plaisirs | — | ||
| 39-20 | Suite from Dardanus: III. Tambourins | — | ||
| 39-21 | Suite from Dardanus: IV. Air vif | — | ||
| 39-22 | Suite from Dardanus: V. Air - Grave | — | ||
| 39-23 | Suite from Dardanus: VI. Air - Vivement | — | ||
| 39-24 | Suite from Dardanus: VII. Air gai en Rondeau 'Les Niais de Sologne' | — | ||
| 39-25 | Suite from Dardanus: VIII. Tambourins | — | ||
| 39-26 | Suite from Dardanus: IX. Le Sommeil Rondeau tendre | — | ||
| 39-27 | Suite from Dardanus: X. Le Monstre sortant des flots | — | ||
| 39-28 | Suite from Dardanus: XI. Gavotte gracieuse / Gavotte en Rondeau | — | ||
| 39-29 | Suite from Dardanus: XII. Chaconne | — | ||
| 40-1 | Pygmalion: Scène I. Ouverture | — | ||
| 40-2 | Pygmalion: Scène I. Fatal Amour, cruel vainqueur | — | ||
| 40-3 | Pygmalion: Scène II. Pygmalion, est il possible | — | ||
| 40-4 | Pygmalion: Scène III. Que d'appas ! Que d'attrais ! | — | ||
| 40-5 | Pygmalion: Scène III. Que vois-je? Ou suis je? | — | ||
| 40-6 | Pygmalion: Scène IV. Du pouvoir de L'amour | — | ||
| 40-7 | Pygmalion: Scène IV. Air | — | ||
| 40-8 | Pygmalion: Scène IV. Gavotte gracieuse | — | ||
| 40-9 | Pygmalion: Scène IV. Menuet | — | ||
| 40-10 | Pygmalion: Scène IV. Gavotte gaie | — | ||
| 40-11 | Pygmalion: Scène IV. Chaconne vive | — | ||
| 40-12 | Pygmalion: Scène IV. Loure très grave | — | ||
| 40-13 | Pygmalion: Scène IV. Les Grâces (Passepied vif) | — | ||
| 40-14 | Pygmalion: Scène IV. Rigaudon. Vif | — | ||
| 40-15 | Pygmalion: Scène IV. Sarabande our la Statue | — | ||
| 40-16 | Pygmalion: Scène IV. Tambourin. Fort et vite | — | ||
| 40-17 | Pygmalion: Scène IV. Cèdons à notr'impatience | — | ||
| 40-18 | Pygmalion: Scène IV. Le peuple dans ces lieux | — | ||
| 40-19 | Pygmalion: Scène V. L'amour triomphe | — | ||
| 40-20 | Pygmalion: Scène V. Pantomine niaise et un peu lente | — | ||
| 40-21 | Pygmalion: Scène V. Règne, Amour | — | ||
| 40-22 | Pygmalion: Scène V. Air | — | ||
| 40-23 | Pygmalion: Scène V. Rondeau Contredanse. Gai | — | ||
| 41-1 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: I. "La Flore" in A major | — | ||
| 41-2 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: II. "La Junon" in E minor | — | ||
| 41-3 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: III. "La Venus" in F major | — | ||
| 41-4 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: IV. "Le Tombeau de Monsieur de Lully" in C minor | — | ||
| 41-5 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: V. "La Pallas" in D major | — | ||
| 41-6 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: VI. "L'Immortelle" in G minor | — | ||
| 41-7 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: VII. "L'Apollon" in B-flat major | — | ||
| 42-1 | Pièces pour viole de gambe: I. Prélude | — | ||
| 42-2 | Pièces pour viole de gambe: II. Les Couplets | — | ||
| 42-3 | Pièces pour viole de gambe: III. Le Retrouvé | — | ||
| 42-4 | Pièces pour viole de gambe: IV. La Conférence | — | ||
| 42-5 | Pièces pour viole de gambe: V. Le Changé | — | ||
| 42-6 | Pièces pour viole de gambe: VI. Tombeau Les Regrets | — | ||
| 42-7 | Pièces pour viole de gambe: VII. Le Raporté | — | ||
| 42-8 | Pièces pour viole de gambe: VIII. Le Majestueux | — | ||
| 42-9 | Pièces pour viole de gambe: IX. Le Précipité | — | ||
| 42-10 | Pièces pour viole de gambe: X. La Varié | — | ||
| 42-11 | Pièces pour viole de gambe: XI. L'infidelle | — | ||
| 43-1 | Ombre tacite e sole: I. Adagio: Ombre tacite e sole | — | ||
| 43-2 | Ombre tacite e sole: II. Lento: Con piede errante e lasso | — | ||
| 43-3 | Ombre tacite e sole: III. Recitativo. Qui tra tenebre oscure | — | ||
| 43-4 | Ombre tacite e sole: IV. Andante e Lento: Allor d'intorno a te | — | ||
| 43-5 | Il genio di Mitilde: I. Recitativo. Il genio di Mitilde mente non v'e | — | ||
| 43-6 | Il genio di Mitilde: II. Aria. Tante il mar non ha procelle | — | ||
| 43-7 | Il genio di Mitilde: III. Recitativo. Ella muove talor per vie romite | — | ||
| 43-8 | Il genio di Mitilde: IV. Aria. Allegro: Così d'amor lo strale fugga | — | ||
| 43-9 | Perché tacete, regolati concenti?: I. Sinfonia | — | ||
| 43-10 | Perché tacete, regolati concenti?: II. Allegro | — | ||
| 43-11 | Perché tacete, regolati concenti?: III. Adagio | — | ||
| 43-12 | Perché tacete, regolati concenti?: IV. Recitativo. Perché tacete, regolati concenti? | — | ||
| 43-13 | Perché tacete, regolati concenti?: V. Aria. Alla mano che dotta in voi scherza | — | ||
| 43-14 | Perché tacete, regolati concenti?: VI. Recitativo. Ma che dissi? | — | ||
| 43-15 | Perché tacete, regolati concenti?: VII. Aria. Tra le fiamme del mio duolo | — | ||
| 43-16 | Perché tacete, regolati concenti?: VIII. Recitativo. Nè m'ascolti, crudele | — | ||
| 43-17 | Perché tacete, regolati concenti?: IX. Aria. Dormi, ma sappi almen | — | ||
| 43-18 | Perché tacete, regolati concenti?: X. Recitativo. Ma tiranna, tu dormi | — | ||
| 43-19 | Perché tacete, regolati concenti?: XI. Aria. Deh pensieri in me si schieri | — | ||
| 43-20 | O pace del mio cor (first setting): I. Recitativo. Adagio: O pace del moi cor | — | ||
| 43-21 | O pace del mio cor (first setting): II. Aria. Lento: Spunta l'alba e nasce il sole | — | ||
| 43-22 | O pace del mio cor (first setting): III. Recitativo. Porta il piede vagante | — | ||
| 43-23 | O pace del mio cor (first setting): IV. Aria. La pace del mio core | — | ||
| 43-24 | Il rosignolo (first setting): I. Allegro: Il rosignolo se scioglie il volo | — | ||
| 43-25 | Il rosignolo (first setting): II. Recitativo. Vola dal miorto al faggio | — | ||
| 43-26 | Il rosignolo (first setting): III. Aria. Col tuo mesto mormorio | — | ||
| 43-27 | Infirmata, vulnerata (motet): I. Largo: Infirmata, vulnerata | — | ||
| 43-28 | Infirmata, vulnerata (motet): II. Recitativo. O care, o dulcis amor | — | ||
| 43-29 | Infirmata, vulnerata (motet): III. Largo: Vulnera percute, transfige cor | — | ||
| 43-30 | Infirmata, vulnerata (motet): IV. Aria. Andante: Cur, quaeso, crudelis | — | ||
| 43-31 | Infirmata, vulnerata (motet): V. Recitativo. Vicisti, amor | — | ||
| 43-32 | Infirmata, vulnerata (motet): VI. Allegro: Semper gratus, desiderabilis | — | ||
| 44-1 | Passio Secundum Ioannem: I. Passio domini nostri lesu Christi | — | ||
| 44-2 | Passio Secundum Ioannem: II. In illo tempore egerssus est | — | ||
| 44-3 | Passio Secundum Ioannem: III. Iesus itaque sciens omnia | — | ||
| 44-4 | Passio Secundum Ioannem: IV. Cors ergo et tribunus | — | ||
| 44-5 | Passio Secundum Ioannem: V. Sequebatur autem lesus Simon Petrus | — | ||
| 44-6 | Passio Secundum Ioannem: VI. Pontifex ergo interrogavit lesum | — | ||
| 44-7 | Passio Secundum Ioannem: VII. Erat autem Simon Petrus | — | ||
| 44-8 | Passio Secundum Ioannem: VIII. Adducunt ergo lesurn | — | ||
| 44-9 | Passio Secundum Ioannem: IX. Introivit ergo iterum in praetorium Pilatus | — | ||
| 44-10 | Passio Secundum Ioannem: X. Et, cum hoc dixisset, iterum exivit ad ludaeos | — | ||
| 44-11 | Passio Secundum Ioannem: XI. Tunc ergo aprehendit Pilatus lesum | — | ||
| 44-12 | Passio Secundum Ioannem: XII. Et exinde quaerebat Pilatus | — | ||
| 44-13 | Passio Secundum Ioannem: XIII. Susceperunt autern lesum | — | ||
| 44-14 | Passio Secundum Ioannem: XIV. Stabant autem iuxta crucem | — | ||
| 44-15 | Passio Secundum Ioannem: XV. Postea sciens lesus | — | ||
| 44-16 | Passio Secundum Ioannem: XVI. Iudaei ergo | — | ||
| 45-1 | Concerto pour flûte à bec, flûte traversière, cordes et basse continue en mi mineur: I. Largo | — | ||
| 45-2 | Concerto pour flûte à bec, flûte traversière, cordes et basse continue en mi mineur: II. Allegro | — | ||
| 45-3 | Concerto pour flûte à bec, flûte traversière, cordes et basse continue en mi mineur: III. Largo | — | ||
| 45-4 | Concerto pour flûte à bec, flûte traversière, cordes et basse continue en mi mineur: IV. Presto | — | ||
| 45-5 | Concerto pour violon, hautbois, cordes et basse continue, en ut mineur: I. Adagio | — | ||
| 45-6 | Concerto pour violon, hautbois, cordes et basse continue, en ut mineur: II. Allegro | — | ||
| 45-7 | Concerto pour violon, hautbois, cordes et basse continue, en ut mineur: III. Adagio | — | ||
| 45-8 | Concerto pour violon, hautbois, cordes et basse continue, en ut mineur: IV. Allegro | — | ||
| 45-9 | Concerto pour deux flûtes traversières, cordes et basse continue, en la mineur: I. Gravement | — | ||
| 45-10 | Concerto pour deux flûtes traversières, cordes et basse continue, en la mineur: II. Vistement | — | ||
| 45-11 | Concerto pour deux flûtes traversières, cordes et basse continue, en la mineur: III. Largement | — | ||
| 45-12 | Concerto pour deux flûtes traversières, cordes et basse continue, en la mineur: IV. Vivement | — | ||
| 45-13 | Concerto pour flûte traversière, cordes et basse continue, en si mineur: I. Presto | — | ||
| 45-14 | Concerto pour flûte traversière, cordes et basse continue, en si mineur: II. Largo | — | ||
| 45-15 | Concerto pour flûte traversière, cordes et basse continue, en si mineur: III. Allegro | — | ||
| 45-16 | Concerto pour deux hautbois d'amour, violoncelle, cordes et basse continue, en ré majeur: I. Allegro | — | ||
| 45-17 | Concerto pour deux hautbois d'amour, violoncelle, cordes et basse continue, en ré majeur: II. Dolce | — | ||
| 45-18 | Concerto pour deux hautbois d'amour, violoncelle, cordes et basse continue, en ré majeur: III. Allegro | — | ||
| 45-19 | Concerto pour hautbois, violon, duex flûtes traversières, deux altos et basse continue, en si bémol majeur: I. Largo | — | ||
| 45-20 | Concerto pour hautbois, violon, duex flûtes traversières, deux altos et basse continue, en si bémol majeur: II. Allegro | — | ||
| 45-21 | Concerto pour hautbois, violon, duex flûtes traversières, deux altos et basse continue, en si bémol majeur: III. Dolce | — | ||
| 45-22 | Concerto pour hautbois, violon, duex flûtes traversières, deux altos et basse continue, en si bémol majeur: IV. Allegro | — | ||
| 46-1 | Concerto no. 1 in E major, RV 269 “Spring”: Allegro | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-2 | Concerto no. 1 in E major, RV 269 “Spring”: Largo | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-3 | Concerto no. 1 in E major, RV 269 “Spring”: Allegro (Danza pastorale) | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-4 | Concerto no. 2 in G minor, RV 315 “Summer”: Allegro non molto – Allegro | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | T-902.802.010-2 | |
| 46-5 | Concerto no. 2 in G minor, RV 315 “Summer”: Adagio – Presto – Adagio | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-6 | Concerto no. 2 in G minor, RV 315 “Summer”: Presto (Tempo impoetuoso d’estate) | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-7 | Concerto no. 3 in F major, RV 293 “Autumn”: Allegro | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-8 | Concerto no. 3 in F major, RV 293 “Autumn”: Adagio Molto | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-9 | Concerto no. 3 in F major, RV 293 “Autumn”: Allegro (La caccia) | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-10 | Concerto no. 4 in F minor, RV 297 “Winter”: Allegro non molto | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-11 | Concerto no. 4 in F minor, RV 297 “Winter”: Largo | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-12 | Concerto no. 4 in F minor, RV 297 “Winter”: Allegro | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-13 | Concerto no. 6 in C major, RV 180 “Pleasure”: Allegro non molto | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-14 | Concerto no. 6 in C major, RV 180 “Pleasure”: Largo | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-15 | Concerto no. 6 in C major, RV 180 “Pleasure”: Allegro | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-16 | Concerto no. 5 in E-flat major, RV 253 “The Seastorm”: Presto – Adagio – Presto | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-17 | Concerto no. 5 in E-flat major, RV 253 “The Seastorm”: Largo | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-18 | Concerto no. 5 in E-flat major, RV 253 “The Seastorm”: Presto | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-19 | Descriptive Sonnet to the Four Seasons: La Primavera | Franco Viciani | — | |
| 46-20 | Descriptive Sonnet to the Four Seasons: L’Estate | Franco Viciani | — | |
| 46-21 | Descriptive Sonnet to the Four Seasons: L’Autunno | Franco Viciani | — | |
| 46-22 | Descriptive Sonnet to the Four Seasons: L’Inverno | Franco Viciani | — | |
| 47-1 | Sinfonia in F major, RV 703 "Bajazet": I. Allegro | — | ||
| 47-2 | Sinfonia in F major, RV 703 "Bajazet": II. Andante molto | — | ||
| 47-3 | Sinfonia in F major, RV 703 "Bajazet": III. Allegro | — | ||
| 47-4 | Sinfonia in C major, RV 725 "L'Olimpiade": I. Allegro | — | ||
| 47-5 | Sinfonia in C major, RV 725 "L'Olimpiade": II. Andante | — | ||
| 47-6 | Sinfonia in C major, RV 725 "L'Olimpiade": III. Allegro | — | ||
| 47-7 | Sinfonia in C major, RV 725 "L'Olimpiade": IV. Allegro molto con l'arco attaccato | — | ||
| 47-8 | Sinfonia in G major, RV 739 "La Verita' in Cimento": I. Allegro | — | ||
| 47-9 | Sinfonia in G major, RV 739 "La Verita' in Cimento": II. Andante | — | ||
| 47-10 | Sinfonia in G major, RV 739 "La Verita' in Cimento": III. Allegro e forte | — | ||
| 47-11 | Violin Concerto in C minor, RV 761 "Amato Bene": I. Allegro | — | ||
| 47-12 | Violin Concerto in C minor, RV 761 "Amato Bene": II. Largo | — | ||
| 47-13 | Violin Concerto in C minor, RV 761 "Amato Bene": III. Allegro | — | ||
| 47-14 | Sinfonia in C major, RV 729 "Ottone in Villa": I. Allegro | — | ||
| 47-15 | Sinfonia in C major, RV 729 "Ottone in Villa": II. Larghetto | — | ||
| 47-16 | Concerto in F major, RV 571: I. Allegro | — | ||
| 47-17 | Concerto in F major, RV 571: II. Largo | — | ||
| 47-18 | Concerto in F major, RV 571: III. Allegro | — | ||
| 47-19 | Sinfonia in C major, RV 709 "La Dorilla": I. Primo tempo | — | ||
| 47-20 | Sinfonia in C major, RV 709 "La Dorilla": II. Allegro | — | ||
| 47-21 | Sinfonia in C major, RV 709 "La Dorilla": III. Andante | — | ||
| 47-22 | Sinfonia in C major, RV 711 "Farnace" | — | ||
| 47-23 | Sinfonia in G major, RV 149: I. Allegro molto | — | ||
| 47-24 | Sinfonia in G major, RV 149: II. Andante | — | ||
| 47-25 | Sinfonia in G major, RV 149: III. Allegro | — | ||
| 47-26 | Concerto in D minor, RV 128: I. Allegro non molto | — | ||
| 47-27 | Concerto in D minor, RV 128: II. Largo | — | ||
| 47-28 | Concerto in D minor, RV 128: III. Allegro | — | ||
| 47-29 | Sinfonia in C major, RV 717 "Il Giustino": I. Primotempo | — | ||
| 47-30 | Sinfonia in C major, RV 717 "Il Giustino": II. Andante | — | ||
| 47-31 | Sinfonia in C major, RV 717 "Il Giustino": III. Allegro | — | ||
| 48-1 | Sonata in F major: Largo | — | ||
| 48-2 | Sonata in F major: Allegro | — | ||
| 48-3 | Sonata in F major: Largo | — | ||
| 48-4 | Sonata in F major: Allegro | — | ||
| 48-5 | Sonata in A minor: Largo | — | ||
| 48-6 | Sonata in A minor: Allegro | — | ||
| 48-7 | Sonata in A minor: Largo | — | ||
| 48-8 | Sonata in A minor: Allegro | — | ||
| 48-9 | Sonata in E minor: Largo | — | ||
| 48-10 | Sonata in E minor: Allegro | — | ||
| 48-11 | Sonata in E minor: Largo | — | ||
| 48-12 | Sonata in E minor: Allegro | — | ||
| 48-13 | Sonata in A minor: Largo | — | ||
| 48-14 | Sonata in A minor: Allegro poco | — | ||
| 48-15 | Sonata in A minor: Largo | — | ||
| 48-16 | Sonata in A minor: Allegro | — | ||
| 48-17 | Sonata in G minor: Preludio | — | ||
| 48-18 | Sonata in G minor: Allemande | — | ||
| 48-19 | Sonata in G minor: Sarabande | — | ||
| 48-20 | Sonata in G minor: Gigue | — | ||
| 48-21 | Sonata in E flat major: Larghetto | — | ||
| 48-22 | Sonata in E flat major: Allegro | — | ||
| 48-23 | Sonata in E flat major: Andante | — | ||
| 48-24 | Sonata in E flat major: Allegro | — | ||
| 49-1 | Missa Dei Filii, ZWV 20: I. Kyrie: Kyrie eleison | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-2 | Missa Dei Filii, ZWV 20: II. Kyrie: Christe eleison | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart, Nancy Argenta | T-106.684.110-7 | |
| 49-3 | Missa Dei Filii, ZWV 20: III. Kyrie: Kyrie eleison | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | T-106.557.169-7 | |
| 49-4 | Missa Dei Filii, ZWV 20: IV. Gloria: Gloria in excelsis Deo | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart, Nancy Argenta, Michael Chance, Christoph Prégardien, Gordon Jones | — | |
| 49-5 | Missa Dei Filii, ZWV 20: V. Gloria: Qui tollis peccata mundi | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart, Nancy Argenta, Christoph Prégardien, Gordon Jones | — | |
| 49-6 | Missa Dei Filii, ZWV 20: VI. Gloria: Qui sedes ad dexteram Patris | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-7 | Missa Dei Filii, ZWV 20: VII. Gloria: Quoniam tu solus Sanctus I | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-8 | Missa Dei Filii, ZWV 20: VIII. Gloria: Quoniam tu solus Sanctus II | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-9 | Missa Dei Filii, ZWV 20: IX. Gloria: Cum Sancto Spiritu I | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-10 | Missa Dei Filii, ZWV 20: X. Gloria: Cum Sancto Spiritu II | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-11 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: I. Kyrie eleison | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart, Nancy Argenta, Michael Chance, Christoph Prégardien, Gordon Jones | — | |
| 49-12 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: II. Pater de coelis | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart, Nancy Argenta | — | |
| 49-13 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: III. Mater divinae gratiae | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-14 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: IV. Virgo prudentissima I | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-15 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: V. Virgo prudentissima II | Frieder Bernius, Tafelmusik, Nancy Argenta, Michael Chance, Christoph Prégardien, Gordon Jones | — | |
| 49-16 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: VI. Salus infirmorum | Frieder Bernius, Tafelmusik, Michael Chance | — | |
| 49-17 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: VII. Regina Angelorum | Frieder Bernius, Tafelmusik, Christoph Prégardien | — | |
| 49-18 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: VIII. Agnus Dei I | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | T-000.609.750-2 | |
| 49-19 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: IX. Agnus Dei II | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 50-1 | ''Hipocondrie'' à 7 concertanti in A major, ZWV 187 | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-2 | Concerto in D major: Vivace | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-3 | Concerto in D major: Andante | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-4 | Concerto in D major: Andante | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-5 | Concerto à 8 concertanti in G major, ZWV 186: Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-6 | Concerto à 8 concertanti in G major, ZWV 186: Largo | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-7 | Concerto à 8 concertanti in G major, ZWV 186: Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-8 | Sonata in C minor: Largo | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-9 | Sonata in C minor: Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-10 | ''Simphonie'' a 8 concertanti in A minor, ZWV 189: [] | Freiburger Barockorchester, Gottfried von der Goltz | T-106.550.241-0 | |
| 50-11 | ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Andante | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-12 | ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Capriccio. Tempo di gavotta | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-13 | ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Menuet I & II | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-14 | ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Menuet I & II | Freiburger Barockorchester, Gottfried von der Goltz | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Identifier Graph
886972818221 is a Universal Product Code (UPC) assigned to Deutsche Harmonia Mundi: 50 Jahre: 1958–2008 by Various Artists. 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 881 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
Creative Contributors (ISNI)
The UPC for “Deutsche Harmonia Mundi: 50 Jahre: 1958–2008” by Various Artists is 886972818221. 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 2008-01-01. Label: Deutsche Harmonia Mundi. This release contains 881 tracks, each with its own ISRC. Tracks include DEE479700131, DEE479700144, DEA819500320.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Magnificat B-Dur: I. Coro "Magnificat anima mea" | — | ||
| 2 | Magnificat B-Dur: II. Soprano solo "Et misericordia" | — | ||
| 3 | Magnificat B-Dur: III. Coro "Fecit potentiam" | — | ||
| 4 | Magnificat B-Dur: IV. Coro "Deposuit potentes" | — | ||
| 5 | Magnificat B-Dur: V. Duetto Tenore/Basso "Suscepit Israel" | — | ||
| 6 | Magnificat B-Dur: VI. Coro "Sicut locutus est" | — | ||
| 7 | Magnificat B-Dur: VII. Coro "Gloria Patri" | — | ||
| 8 | Magnificat B-Dur: VIII. Coro "Sicut erat in principio" | — | ||
| 9 | Stabat Mater: I. Coro "Stabat Mater" | — | ||
| 10 | Stabat Mater: II. Terzetto Soprano/Alto/Tenore "O quam tristis" | — | ||
| 11 | Stabat Mater: III. Duetto Alto/Soprano, Duetto Tenore/Basso "Quis est homo" | — | ||
| 12 | Stabat Mater: IV. Coro "Eja mater" | — | ||
| 13 | Stabat Mater: V. Soprano solo "Sancta mater" | — | ||
| 14 | Stabat Mater: VI. Duetto Alto/Tenore "Fac me tecum" | — | ||
| 15 | Stabat Mater: VII. Coro "Virgo virginum" | — | ||
| 16 | Stabat Mater: VIII. Solo Basso "Fac me plagis" | — | ||
| 17 | Stabat Mater: IX. Coro "Christe cum sit" | — | ||
| 18 | Confiteor tibi Domine: I. Coro "Confitebor" | — | ||
| 19 | Confiteor tibi Domine: II. Soprano solo "Confessio" | — | ||
| 20 | Confiteor tibi Domine: III. Soprano solo "Fidelia omnia" | — | ||
| 21 | Confiteor tibi Domine: IV. Coro "Redemptionem misit" | — | ||
| 22 | Confiteor tibi Domine: V. Alto solo "Sanctum et terribile" | — | ||
| 23 | Confiteor tibi Domine: VI. Alto solo "Intellectus bonus" | — | ||
| 24 | Confiteor tibi Domine: VII. Coro "Gloria Patri" | — | ||
| 25 | Confiteor tibi Domine: VIII. Coro "Sicut erat" | — | ||
| 2-1 | Konzert c-Moll für Violine, Oboe, Streicher und Continuo, BWV 1060: I. Allegro | — | ||
| 2-2 | Konzert c-Moll für Violine, Oboe, Streicher und Continuo, BWV 1060: II. Adagio | — | ||
| 2-3 | Konzert c-Moll für Violine, Oboe, Streicher und Continuo, BWV 1060: III. Allegro | — | ||
| 2-4 | Konzert F-Dur nach BWV 49 & 169: I. Allegro | — | ||
| 2-5 | Konzert F-Dur nach BWV 49 & 169: II. Siciliano | — | ||
| 2-6 | Konzert F-Dur nach BWV 49 & 169: III. Allegro | — | ||
| 2-7 | Konzert A-Dur für Oboe d'amore, Streicher und Continuo, BWV 1055: I. Allegro | — | ||
| 2-8 | Konzert A-Dur für Oboe d'amore, Streicher und Continuo, BWV 1055: II. Larghetto | — | ||
| 2-9 | Konzert A-Dur für Oboe d'amore, Streicher und Continuo, BWV 1055: III. Allegro ma non tanto | — | ||
| 2-10 | Konzert g-Moll für 3 Violinen, Streicher und Continuo, BWV 1056: I. Moderato | — | ||
| 2-11 | Konzert g-Moll für 3 Violinen, Streicher und Continuo, BWV 1056: II. Adagio | — | ||
| 2-12 | Konzert g-Moll für 3 Violinen, Streicher und Continuo, BWV 1056: III. Presto | — | ||
| 3-1 | Goldberg-Variationen, BWV 988: Aria | — | ||
| 3-2 | Goldberg-Variationen, BWV 988: Variatio 1, a 1 Clav. | — | ||
| 3-3 | Goldberg-Variationen, BWV 988: Variatio 2, a 1 Clav. | — | ||
| 3-4 | Goldberg-Variationen, BWV 988: Variatio 3, a 1 Clav. Canone all'Unisono | — | ||
| 3-5 | Goldberg-Variationen, BWV 988: Variatio 4, a 1 Clav. | — | ||
| 3-6 | Goldberg-Variationen, BWV 988: Variatio 5, a 1 ovvero 2 Clav. | — | ||
| 3-7 | Goldberg-Variationen, BWV 988: Variatio 6, a 1 Clav. Canone alla Seconda | — | ||
| 3-8 | Goldberg-Variationen, BWV 988: Variatio 7, a 1 ovvero 2 Clav. Al tempo di Giga | — | ||
| 3-9 | Goldberg-Variationen, BWV 988: Variatio 8, a 2 Clav. | — | ||
| 3-10 | Goldberg-Variationen, BWV 988: Variatio 9, a 1 Clav. Canone alla Terza | — | ||
| 3-11 | Goldberg-Variationen, BWV 988: Variatio 10, a 1 Clav. Fughetta | — | ||
| 3-12 | Goldberg-Variationen, BWV 988: Variatio 11, a 2 Clav. | — | ||
| 3-13 | Goldberg-Variationen, BWV 988: Variatio 12, Canone all Quarta | — | ||
| 3-14 | Goldberg-Variationen, BWV 988: Variatio 13, a 2 Clav. | — | ||
| 3-15 | Goldberg-Variationen, BWV 988: Variatio 14, a 2 Clav. | — | ||
| 3-16 | Goldberg-Variationen, BWV 988: Variatio 15, a 1 Clav. Canone alla Quinta, Andante | — | ||
| 3-17 | Goldberg-Variationen, BWV 988: Variatio 16, a 1 Clav. Ouverture | — | ||
| 3-18 | Goldberg-Variationen, BWV 988: Variatio 17, a 2 Clav. | — | ||
| 3-19 | Goldberg-Variationen, BWV 988: Variatio 18, a 1 Clav. Canone alla Sesta | — | ||
| 3-20 | Goldberg-Variationen, BWV 988: Variatio 19, a 1 Clav. | — | ||
| 3-21 | Goldberg-Variationen, BWV 988: Variatio 20, a 2 Clav. | — | ||
| 3-22 | Goldberg-Variationen, BWV 988: Variatio 21, Canone alla Settima | — | ||
| 3-23 | Goldberg-Variationen, BWV 988: Variatio 22, a 1 Clav. Alla breve | — | ||
| 3-24 | Goldberg-Variationen, BWV 988: Variatio 23, a 2 Clav. | — | ||
| 3-25 | Goldberg-Variationen, BWV 988: Variatio 24, a 1 Clav. Canone all'Ottava | — | ||
| 3-26 | Goldberg-Variationen, BWV 988: Variatio 25, a 2 Clav. Adagio | — | ||
| 3-27 | Goldberg-Variationen, BWV 988: Variatio 26, a 2 Clav. | — | ||
| 3-28 | Goldberg-Variationen, BWV 988: Variatio 27, Canone all Nona, a 2 Clav. | — | ||
| 3-29 | Goldberg-Variationen, BWV 988: Variatio 28, a 2 Clav. | — | ||
| 3-30 | Goldberg-Variationen, BWV 988: Variatio 29, a 1 ovvero 2 Clav. | — | ||
| 3-31 | Goldberg-Variationen, BWV 988: Variatio 30, a 1 Clav. Quodlibet | — | ||
| 3-32 | Goldberg-Variationen, BWV 988: Aria da capo | — | ||
| 4-1 | Musikalisches Opfer, BWV 1079: I. Ricercare a 3 | — | ||
| 4-2 | Musikalisches Opfer, BWV 1079: II. Canon perpetuus super thema regium | — | ||
| 4-3 | Musikalisches Opfer, BWV 1079: IIIa. 5 Canones diversi super thema regium, Canon a 2 | — | ||
| 4-4 | Musikalisches Opfer, BWV 1079: IIIb. 5 Canones diversi super thema regium, Canon a 2 Violini in unisono | — | ||
| 4-5 | Musikalisches Opfer, BWV 1079: IIIc. 5 Canones diversi super thema regium, Canon a 2 Per motum contrarium | — | ||
| 4-6 | Musikalisches Opfer, BWV 1079: IIId. 5 Canones diversi super thema regium, Canon a 2 Per augmentationem, contrario motu | — | ||
| 4-7 | Musikalisches Opfer, BWV 1079: IIIe. 5 Canones diversi super thema regium, Canon a 2 Per tonos | — | ||
| 4-8 | Musikalisches Opfer, BWV 1079: IV. Fuga Canonica in Epidiapente | — | ||
| 4-9 | Musikalisches Opfer, BWV 1079: V. Ricercare a 6 | — | ||
| 4-10 | Musikalisches Opfer, BWV 1079: VI. Canon a 2 | — | ||
| 4-11 | Musikalisches Opfer, BWV 1079: VII. Canon a 4 | — | ||
| 4-12 | Musikalisches Opfer, BWV 1079: VIIIa. Trio, Largo | — | ||
| 4-13 | Musikalisches Opfer, BWV 1079: VIIIb. Trio, Allegro | — | ||
| 4-14 | Musikalisches Opfer, BWV 1079: VIIIc. Trio, Andante | — | ||
| 4-15 | Musikalisches Opfer, BWV 1079: VIIId. Trio, Allegro | — | ||
| 4-16 | Musikalisches Opfer, BWV 1079: IX. Canon perpetuus | — | ||
| 5-1 | Motette, BWV 225 "Singet dem Herrn ein neues Lied" | — | ||
| 5-2 | Motette, BWV 229 "Komm, Jesu, komm" | — | ||
| 5-3 | Motette, BWV 227 "Jesu, meine Freude" | — | ||
| 5-4 | Motette, BWV 226 "Der Geist hilft unserer Schwachheit auf" | — | ||
| 5-5 | Motette, BWV 228 "Fürchte dich nicht, ich bin bei dir" | — | ||
| 5-6 | Motette, BWV 230 "Lobet den Herren, alle Heiden" | — | ||
| 6-1 | Messe in H-Moll, BWV 232: Ia. Coro "Kyrie eleison" | — | ||
| 6-2 | Messe in H-Moll, BWV 232: Ib. Duetto (Soprano I, Soprano II) "Christe eleison" | — | ||
| 6-3 | Messe in H-Moll, BWV 232: Ic. Coro "Kyrie eleison" | — | ||
| 6-4 | Messe in H-Moll, BWV 232: IIa. Coro "Gloria in excelsis Deo" | — | ||
| 6-5 | Messe in H-Moll, BWV 232: IIb. Coro "Et in terra pax" | — | ||
| 6-6 | Messe in H-Moll, BWV 232: IIc. Aria (Soprano II) "Laudamus te" | — | ||
| 6-7 | Messe in H-Moll, BWV 232: IId. Coro "Gratias agimus" | — | ||
| 6-8 | Messe in H-Moll, BWV 232: IIe. Duetto (Soprano I, Tenore) "Domine Deus" | — | ||
| 6-9 | Messe in H-Moll, BWV 232: IIf. Coro "Qui tollis peccata mundi" | Balthasar-Neumann-Chor, Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 6-10 | Messe in H-Moll, BWV 232: IIg. Aria (Alto) "Qui sedes ad dexteram Patris" | — | ||
| 6-11 | Messe in H-Moll, BWV 232: IIh. Aria (Basso) "Quoniam tu solus Sanctus" | — | ||
| 6-12 | Messe in H-Moll, BWV 232: IIi. Coro "Cum Sancto Spiritu" | — | ||
| 7-1 | Messe in H-Moll, BWV 232: IIIa. Coro "Credo in unum Deum" | — | ||
| 7-2 | Messe in H-Moll, BWV 232: IIIb. Coro "Patrem omnipotentem" | — | ||
| 7-3 | Messe in H-Moll, BWV 232: IIIc. Duetto (Soprano I, Alto) "Et in unum Dominum" | — | ||
| 7-4 | Messe in H-Moll, BWV 232: IIId. Coro "Et incarnatus est" | — | ||
| 7-5 | Messe in H-Moll, BWV 232: IIIe. Coro "Crucifixus" | — | ||
| 7-6 | Messe in H-Moll, BWV 232: IIIf. Coro "Et resurrexit" | — | ||
| 7-7 | Messe in H-Moll, BWV 232: IIIg. Aria (Basso) "Et in Spiritum Sanctum" | — | ||
| 7-8 | Messe in H-Moll, BWV 232: IIIh. Coro "Confiteor unum baptisma" | — | ||
| 7-9 | Messe in H-Moll, BWV 232: IIIi. Coro "Et expecto" | — | ||
| 7-10 | Messe in H-Moll, BWV 232: IVa. Coro "Sanctus" | Balthasar-Neumann-Chor, Freiburger Barockorchester, Thomas Hengelbrock | — | |
| 7-11 | Messe in H-Moll, BWV 232: IVb. Coro "Hosanna" | — | ||
| 7-12 | Messe in H-Moll, BWV 232: IVc. Aria (Tenore) "Benedictus" | — | ||
| 7-13 | Messe in H-Moll, BWV 232: IVd. Coro "Hosanna" | — | ||
| 7-14 | Messe in H-Moll, BWV 232: IVe. Aria (Alto) "Agnus Dei" | — | ||
| 7-15 | Messe in H-Moll, BWV 232: IVf. Coro "Dona nobis pacem" | — | ||
| 8-1 | Ouverture zur Oper "L'Olimpiade" | — | ||
| 8-2 | Orchestersuite No. 4 D-dur, BWV 1069: I. Ouverture | — | ||
| 8-3 | Orchestersuite No. 4 D-dur, BWV 1069: II. Bourrée | — | ||
| 8-4 | Orchestersuite No. 4 D-dur, BWV 1069: III. Gavotte | — | ||
| 8-5 | Orchestersuite No. 4 D-dur, BWV 1069: IV. Menuet | — | ||
| 8-6 | Streichersinfonie A-Dur, RV 158: I. | — | ||
| 8-7 | Streichersinfonie A-Dur, RV 158: II. | — | ||
| 8-8 | Streichersinfonie A-Dur, RV 158: III. | — | ||
| 8-9 | Kantate, BWV 42 "Am Abend aber desselbigen Sabbats": I. Sinfonia | — | ||
| 8-10 | Konzert h-Moll aus "L'Estro Armonico", Op. 3 No. 10 für 4 Violinen, Streicher und Bc.: I. Allegro | — | ||
| 8-11 | Konzert h-moll aus "L'Estro Armonico", Op. 3 No. 10 für 4 Violinen, Streicher und Bc.: II. Largo - Larghetto | — | ||
| 8-12 | Konzert h-moll aus "L'Estro Armonico", Op. 3 No. 10 für 4 Violinen, Streicher und Bc.: III. Allegro | — | ||
| 8-13 | Konzert für Violine solo, Streicher und Basso continuo D-Dur, BWV 1064R: I. (Allegro) | — | ||
| 8-14 | Konzert für Violine solo, Streicher und Basso continuo D-Dur, BWV 1064R: II. Adagio | — | ||
| 8-15 | Konzert für Violine solo, Streicher und Basso continuo D-Dur, BWV 1064R: III. Allegro | — | ||
| 9-1 | 6 Suiten für Violoncello Solo, Suite I G-dur, BWV 1007: I. Prelude | — | ||
| 9-2 | 6 Suiten für Violoncello Solo, Suite I G-dur, BWV 1007: II. Allemande | — | ||
| 9-3 | 6 Suiten für Violoncello Solo, Suite I G-dur, BWV 1007: III. Courante | — | ||
| 9-4 | 6 Suiten für Violoncello Solo, Suite I G-dur, BWV 1007: IV. Sarabande | — | ||
| 9-5 | 6 Suiten für Violoncello Solo, Suite I G-dur, BWV 1007: V. Menuet | — | ||
| 9-6 | 6 Suiten für Violoncello Solo, Suite I G-dur, BWV 1007: VI. Gigue | — | ||
| 9-7 | 6 Suiten für Violoncello Solo, Suite IV Es-dur, BWV 1010: I. Prelude | — | ||
| 9-8 | 6 Suiten für Violoncello Solo, Suite IV Es-dur, BWV 1010: II. Allemande | — | ||
| 9-9 | 6 Suiten für Violoncello Solo, Suite IV Es-dur, BWV 1010: III. Courante | — | ||
| 9-10 | 6 Suiten für Violoncello Solo, Suite IV Es-dur, BWV 1010: IV. Sarabande | — | ||
| 9-11 | 6 Suiten für Violoncello Solo, Suite IV Es-dur, BWV 1010: V. Bourrée | — | ||
| 9-12 | 6 Suiten für Violoncello Solo, Suite IV Es-dur, BWV 1010: VI. Gigue | — | ||
| 9-13 | 6 Suiten für Violoncello Solo, Suite V c-moll, BWV 1011: I. Prelude | — | ||
| 9-14 | 6 Suiten für Violoncello Solo, Suite V c-moll, BWV 1011: II. Allemande | — | ||
| 9-15 | 6 Suiten für Violoncello Solo, Suite V c-moll, BWV 1011: III. Courante | — | ||
| 9-16 | 6 Suiten für Violoncello Solo, Suite V c-moll, BWV 1011: IV. Sarabande | — | ||
| 9-17 | 6 Suiten für Violoncello Solo, Suite V c-moll, BWV 1011: V. Gavotte | — | ||
| 9-18 | 6 Suiten für Violoncello Solo, Suite V c-moll, BWV 1011: VI. Gigue | — | ||
| 10-1 | 6 Suiten für Violoncello Solo, Suite III C-dur, BWV 1009: I. Prelude | — | ||
| 10-2 | 6 Suiten für Violoncello Solo, Suite III C-dur, BWV 1009: II. Allemande | — | ||
| 10-3 | 6 Suiten für Violoncello Solo, Suite III C-dur, BWV 1009: III. Courante | — | ||
| 10-4 | 6 Suiten für Violoncello Solo, Suite III C-dur, BWV 1009: IV. Sarabande | — | ||
| 10-5 | 6 Suiten für Violoncello Solo, Suite III C-dur, BWV 1009: V. Bourrée | — | ||
| 10-6 | 6 Suiten für Violoncello Solo, Suite III C-dur, BWV 1009: VI. Gigue | — | ||
| 10-7 | 6 Suiten für Violoncello Solo, Suite II d-moll, BWV 1008: I. Prelude | — | ||
| 10-8 | 6 Suiten für Violoncello Solo, Suite II d-moll, BWV 1008: II. Allemande | — | ||
| 10-9 | 6 Suiten für Violoncello Solo, Suite II d-moll, BWV 1008: III. Courante | — | ||
| 10-10 | 6 Suiten für Violoncello Solo, Suite II d-moll, BWV 1008: IV. Sarabande | — | ||
| 10-11 | 6 Suiten für Violoncello Solo, Suite II d-moll, BWV 1008: V. Menuet | — | ||
| 10-12 | 6 Suiten für Violoncello Solo, Suite II d-moll, BWV 1008: VI. Gigue | — | ||
| 10-13 | 6 Suiten für Violoncello Solo, Suite VI D-dur, BWV 1012: I. Prelude | — | ||
| 10-14 | 6 Suiten für Violoncello Solo, Suite VI D-dur, BWV 1012: II. Allemande | — | ||
| 10-15 | 6 Suiten für Violoncello Solo, Suite VI D-dur, BWV 1012: III. Courante | — | ||
| 10-16 | 6 Suiten für Violoncello Solo, Suite VI D-dur, BWV 1012: IV. Sarabande | — | ||
| 10-17 | 6 Suiten für Violoncello Solo, Suite VI D-dur, BWV 1012: V. Gavotte | — | ||
| 10-18 | 6 Suiten für Violoncello Solo, Suite VI D-dur, BWV 1012: VI. Gigue | — | ||
| 11-1 | Azis y Galatea: I. Seguidillas | — | ||
| 11-2 | Azis y Galatea: II. Rezitado/Area: "Confiado gilguerillo" | — | ||
| 11-3 | Azis y Galatea: III. Rezitado/Area: "Monstruo, en quien ha sobrado" | — | ||
| 11-4 | Azis y Galatea: IV. Area: "Pues del culto mi piedad" | — | ||
| 11-5 | Azis y Galatea: V. Rezitado/Area: "Azis dichoso" | — | ||
| 11-6 | Azis y Galatea: VI. Coplas | — | ||
| 11-7 | "Ruede la Vola" | — | ||
| 11-8 | Veneno es de amor la envidia, Area: "Ondas, riscos, pezes, mares" | — | ||
| 11-9 | El impossible mayor en amor le venze Amor: I. Area: "Donde vas" | — | ||
| 11-10 | El impossible mayor en amor le venze Amor: II. Rezitaclo/Area: "Danae, cuya belleza" | — | ||
| 11-11 | El impossible mayor en amor le venze Amor: III. Rezitado/Area: "Oye, escucha, aguarda, espera" | — | ||
| 11-12 | Discurso de ecos | — | ||
| 11-13 | Los Elementos: I. Rezitado/Arieta: "Deydad" que en el monte vipartido" | — | ||
| 11-14 | Los Elementos: II. Arieta: "Ayamor" | — | ||
| 11-15 | Los Elementos: III. Rezitad/Arieta: "Mas si fuese la planta fugitiva" | — | ||
| 11-16 | Cancion Franzesa | — | ||
| 11-17 | El estrago en la fineza o Jupiter y Semele: I. "Pues soy abejuela" | — | ||
| 11-18 | El estrago en la fineza o Jupiter y Semele: II. Rezitado "afectuoso" / Aria: "Yo he de enmdecer" | — | ||
| 11-19 | El estrago en la fineza o Jupiter y Semele: III. "Ven dulcissimo bien" | — | ||
| 11-20 | Diferencias sobre la gayta | — | ||
| 12-1 | Canzone XVI in A minor (detta la Samminiata) | Girolamo Frescobaldi, Lidewij Scheifes, Bob van Asperen | — | |
| 12-2 | Canzone VIII in G minor (detta la Ambitiosa) | Anner Bylsma, Bob van Asperen | — | |
| 12-3 | Canzone XV in F major (detta la Lieuratte) | Anner Bylsma, Lidewij Scheifes, Bob van Asperen | — | |
| 12-4 | Ricercar V in C major | Anner Bylsma | — | |
| 12-5 | Canon à due Violoncelli in D major | Anner Bylsma, Lidewij Scheifes | — | |
| 12-6 | Ricercar I in G minor | Anner Bylsma | — | |
| 12-7 | Sonata in G major: Grave - Presto - Adagio | Anner Bylsma, Bob van Asperen | — | |
| 12-8 | Ricercar IV in E-flat major | Anner Bylsma | — | |
| 12-9 | Sonata in C major, op. 3/10: Presto e spiritoso - Adagio - Allegro Aria Francese | Anner Bylsma, Bob van Asperen | — | |
| 12-10 | Ricercar II in A minor | Anner Bylsma | — | |
| 12-11 | Sonata in A minor, op. 1, no. 8: Allegro - Prestissimo - Adagio - Aria allegro | Anner Bylsma, Bob van Asperen | — | |
| 12-12 | Ricercar III in D major | Anner Bylsma | — | |
| 12-13 | Sonata in A major: Grave - Allegro - Largo - Presto | Anner Bylsma, Bob van Asperen | — | |
| 12-14 | Ricercar III in F major | Anner Bylsma | — | |
| 12-15 | Ricercar X in G minor | Anner Bylsma | — | |
| 12-16 | Sonata in G major, op. 3, no. 9: Spiritoso (Presto) - Grave - Menuet | Anner Bylsma, Bob van Asperen | — | |
| 12-17 | Ricercar VI in G major | Domenico Gabrielli | — | |
| 12-18 | Ricercar VII in D minor | Domenico Gabrielli | — | |
| 12-19 | Sonata in B-flat major, op. 1, no. 7: Adagio - Prestissimo - Adagio - Aria presto | Anner Bylsma, Bob van Asperen | — | |
| 13-1 | Requiem à 15 im A-dur: I. Introitus, Requiem aeternam dona eis | — | ||
| 13-2 | Requiem à 15 im A-dur: II. Kyrie eleison | — | ||
| 13-3 | Requiem à 15 im A-dur: III. Sequenz, Dies Irae, dies illa | — | ||
| 13-4 | Requiem à 15 im A-dur: IV. Offertorium. Domine Jesu Christe | — | ||
| 13-5 | Requiem à 15 im A-dur: V. Sanctus | — | ||
| 13-6 | Requiem à 15 im A-dur: VI. Agnus Dei | — | ||
| 13-7 | Requiem à 15 im A-dur: VII. Communio. Lux aeterna luceat eis | — | ||
| 13-8 | Stabat mater: I. Stabat mater (Coro) | — | ||
| 13-9 | Stabat mater: II. Cujus animam | — | ||
| 13-10 | Stabat mater: III. Quis est homo | — | ||
| 13-11 | Stabat mater: IV. Pro peccatis | — | ||
| 13-12 | Stabat mater: V. Vidit suum dulcern | — | ||
| 13-13 | Stabat mater: VI. Eja mater | — | ||
| 13-14 | Stabat mater: VII. Fac me vere | — | ||
| 13-15 | Stabat mater: VIII. Virgo virginum | — | ||
| 13-16 | Stabat mater: IX. Fac ut portem | — | ||
| 13-17 | Stabat mater: X. Fac me plagis | — | ||
| 13-18 | Stabat mater: XI. Inflammatur | — | ||
| 13-19 | Stabat mater: XII. Quando corpus | — | ||
| 14-1 | Concerto for Cello & Orchestra no. 7 in G major, G. 480: I. Allegro | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-2 | Concerto for Cello & Orchestra no. 7 in G major, G. 480: II. Adagio | Anner Bylsma, Tafelmusik, Jeanne Lamon | T-802.445.410-3 | |
| 14-3 | Concerto for Cello & Orchestra no. 7 in G major, G. 480: III. Allegro | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-4 | Symphony in B-flat major, op. 21 no. 5, G. 497: I. Allegro spiritoso | Anner Bylsma, Tafelmusik, Jeanne Lamon | T-902.876.200-7 | |
| 14-5 | Symphony in B-flat major, op. 21 no. 5, G. 497: II. Andantino con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-6 | Symphony in B-flat major, op. 21 no. 5, G. 497: III. Allegro vivace assai | Anner Bylsma, Tafelmusik, Jeanne Lamon | T-902.876.200-7 | |
| 14-7 | Concerto for Cello & Orchestra no. 10 in D major, G. 483: I. Allegro maestoso | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-8 | Concerto for Cello & Orchestra no. 10 in D major, G. 483: II. Andante lentarello | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-9 | Concerto for Cello & Orchestra no. 10 in D major, G. 483: III. Allegro e con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-10 | Symphony in D minor, op. 12 no. 4, G. 506 "La casa del diavolo": I. Andante sostenuto - Allegro assai | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-11 | Symphony in D minor, op. 12 no. 4, G. 506 "La casa del diavolo": II. Andantino con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 14-12 | Symphony in D minor, op. 12 no. 4, G. 506 "La casa del diavolo": III. Andante sostenuto - Allegro assai, con moto | Anner Bylsma, Tafelmusik, Jeanne Lamon | — | |
| 15-1 | Abendmusik: Passacaglia BuxWV 161 | — | ||
| 15-2 | Abendmusik: Sonata in D minor, Op. 1/6 BuxWV 257 | — | ||
| 15-3 | Abendmusik: Sonata in D major, BuxWV 267 | — | ||
| 15-4 | Abendmusik: Sonata in G minor, Op. 2/3 BuxWV 261 | — | ||
| 15-5 | Abendmusik: Ciaccona BuxWV 160 | — | ||
| 15-6 | Abendmusik: Sonata in F major, Op. 1/1 BuxWV 252 | — | ||
| 15-7 | Abendmusik: Sonata in C major, BuxWV 266 | — | ||
| 15-8 | Abendmusik: Fried- und Freudenreiche Hinfart, BuxWV 76 | — | ||
| 15-9 | Abendmusik: Sonata in G major, Op. 1/2 BuxWV 253 | — | ||
| 16-1 | Nuove musiche e nuova maniera di scriverle: Amor ch'attendi | — | ||
| 16-2 | Le nuove musiche: Amor, io parto | — | ||
| 16-3 | Nuove musiche e nuova maniera di scriverle: Tu ch'hai le penne | — | ||
| 16-4 | Nuove musiche e nuova maniera di scriverle: Non ha'l ciel | — | ||
| 16-5 | Nuove musiche e nuova maniera di scriverle: Alme luci beate | — | ||
| 16-6 | Le nuove musiche: Vedrò 'l mio sol | — | ||
| 16-7 | Nuove musiche e nuova maniera di scriverle: Tutto 'l dì piango | — | ||
| 16-8 | Le nuove musiche: Dolcissimo sospiro | — | ||
| 16-9 | Nuove musiche e nuova maniera di scriverle: Dalle porta d'oriente | — | ||
| 16-10 | Le nuove musiche: Amarilli mia bella | — | ||
| 16-11 | Le nuove musiche: Movetevi à pietà | — | ||
| 16-12 | Le nuove musiche: Belle rose porporine | — | ||
| 16-13 | Le nuove musiche: Queste lagrim' amare | — | ||
| 16-14 | Nuove musiche e nuova maniera di scriverle: Torna, deh torna | — | ||
| 16-15 | Nuove musiche e nuova maniera di scriverle: Con le luci d'un bel ciglio | — | ||
| 17-1 | La Sultane | Capriccio Stravagante, Skip Sempé | — | |
| 17-2 | Première Suite in E minor for viola da gamba & basso continuo: I. Prélude, Gravement | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-3 | Première Suite in E minor for viola da gamba & basso continuo: II. Allemande, Légère | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-4 | Première Suite in E minor for viola da gamba & basso continuo: III. Courante | Capriccio Stravagante, Skip Sempé | — | |
| 17-5 | Première Suite in E minor for viola da gamba & basso continuo: IV. Sarabande, Grave | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-6 | Première Suite in E minor for viola da gamba & basso continuo: V. Gavotte, Gracieusement, sans lenteur | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-7 | Première Suite in E minor for viola da gamba & basso continuo: VI. Gigue, Gayment | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-8 | Première Suite in E minor for viola da gamba & basso continuo: VII. Passacaille ou Chaconne | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | T-909.233.399-8 | |
| 17-9 | Le Dodo ou l'amour au berceau | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-10 | Deuxième Suite in A major for viola da gamba & basso continuo: I. Prélude, Gravement | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-11 | Deuxième Suite in A major for viola da gamba & basso continuo: II. Fuguette | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-12 | Deuxième Suite in A major for viola da gamba & basso continuo: III. Pompe Funèbre, Très gravement | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-13 | Deuxième Suite in A major for viola da gamba & basso continuo: IV. La Chemise Blanche, Très viste | Jay Bernfeld, Capriccio Stravagante, Skip Sempé | — | |
| 17-14 | La Superbe | Capriccio Stravagante, Skip Sempé | — | |
| 18-1 | Concertino I in E minor, Op. 1: I. | — | ||
| 18-2 | Concertino I in E minor, Op. 1: II. | — | ||
| 18-3 | Concertino I in E minor, Op. 1: III. | — | ||
| 18-4 | Concertino II in B-flat major, Op. 1: I. | — | ||
| 18-5 | Concertino II in B-flat major, Op. 1: II. | — | ||
| 18-6 | Concertino II in B-flat major, Op. 1: III. | — | ||
| 18-7 | Concertino III in E major, Op. 1: I. | — | ||
| 18-8 | Concertino III in E major, Op. 1: II. | — | ||
| 18-9 | Concertino III in E major, Op. 1: III. | — | ||
| 18-10 | Concertino IV in C minor, Op. 1: I. | — | ||
| 18-11 | Concertino IV in C minor, Op. 1: II. | — | ||
| 18-12 | Concertino IV in C minor, Op. 1: III. | — | ||
| 18-13 | Concertino V in A major, Op. 1: I. | — | ||
| 18-14 | Concertino V in A major, Op. 1: II. | — | ||
| 18-15 | Concertino V in A major, Op. 1: III. | — | ||
| 18-16 | Concertino VI in F major, Op. 1: I. | — | ||
| 18-17 | Concertino VI in F major, Op. 1: II. | — | ||
| 18-18 | Concertino VI in F major, Op. 1: III. | — | ||
| 18-19 | Concerto in G minor, RV 157: I. | — | ||
| 18-20 | Concerto in G minor, RV 157: II. | — | ||
| 18-21 | Concerto in G minor, RV 157: III. | — | ||
| 19-1 | Pièces de viole: Suite No. 1 in D minor: I. Allemande "La Laborde" | — | ||
| 19-2 | Pièces de clavecin: Suite No. 1 in D minor: III. La Cottin | — | ||
| 19-3 | Pièces de viole: Suite No. 1 in D minor: V. La Portugaise | — | ||
| 19-4 | Pièces de clavecin: Suite No. 1 in D minor: II. La Forqueray | — | ||
| 19-5 | Pièces de viole: Suite No. 3 in D minor: II. La Régente | — | ||
| 19-6 | Pièces de clavecin: Suite No. 4 in G minor: I. La Marella | — | ||
| 19-7 | Pièces de clavecin: Suite No. 4 in G minor: III. Sarabande "La d´Aubonne" | — | ||
| 19-8 | Pièces de viole: Suite No. 3 in D minor: I. La Ferrand | — | ||
| 19-9 | Pièces de clavecin: Suite No. 1 in D minor: VI. La Couperin | — | ||
| 19-10 | Pièces de viole: Suite No. 5 in C minor: IV. Chaconne "La Buisson" | — | ||
| 19-11 | Pièces de clavecin: Suite No. 2 in G major: IV. La Leclair | — | ||
| 19-12 | Pièces de clavecin: Suite No. 5 in C minor: I. La Rameau | — | ||
| 19-13 | Pièces de viole: Suite No. 5 in C minor: VII. Jupiter | — | ||
| 20-1 | Fiori Musicali, Op. 12: Messa della Domenica: Toccata avanti la Messa | — | ||
| 20-2 | Fiori Musicali, Op. 12: Messa della Domenica: Kyrie orbis factor | — | ||
| 20-3 | Fiori Musicali, Op. 12: Messa della Domenica: Gloria | — | ||
| 20-4 | Fiori Musicali, Op. 12: Messa della Domenica: Canzon dopo la Pistola | — | ||
| 20-5 | Fiori Musicali, Op. 12: Messa della Domenica: Credo (Credo I) | — | ||
| 20-6 | Fiori Musicali, Op. 12: Messa della Domenica: Recercar dopo il Credo | — | ||
| 20-7 | Fiori Musicali, Op. 12: Messa della Domenica: Sanctus | — | ||
| 20-8 | Fiori Musicali, Op. 12: Messa della Domenica: Toccata chromaticha per le levatione | — | ||
| 20-9 | Fiori Musicali, Op. 12: Messa della Domenica: Agnus Dei | — | ||
| 20-10 | Fiori Musicali, Op. 12: Messa della Domenica: Canzon post il Comune | — | ||
| 20-11 | Fiori Musicali, Op. 12: Messa della Domenica: Ite Missa est | — | ||
| 20-12 | Fiori Musicali, Op. 12: Messa della Domenica: Toccata sopra i pedali | — | ||
| 20-13 | Fiori Musicali, Op. 12: Messa della Domenica: Invitatorium. Deus, in adjutorium | — | ||
| 20-14 | Fiori Musicali, Op. 12: Messa della Domenica: Christe Versets | — | ||
| 20-15 | Fiori Musicali, Op. 12: Messa della Domenica: Antiphon. Dixit Dominus | — | ||
| 20-16 | Fiori Musicali, Op. 12: Messa della Domenica: Kyrie Versets | — | ||
| 20-17 | Fiori Musicali, Op. 12: Messa della Domenica: Il secondo libro di toccate: Hinno della Domenica "Lucis creator optime" / Hymnus. Lucis creator optime | — | ||
| 20-18 | Fiori Musicali, Op. 12: Messa della Domenica: Antiphon. Serve nequam / Il secondo libro di toccate: Magnificat sesti toni | — | ||
| 20-19 | Fiori Musicali, Op. 12: Messa della Domenica: Benedicamus Domino | — | ||
| 20-20 | Fiori Musicali, Op. 12: Messa della Domenica: Marian Antiphon. Salve Regina | — | ||
| 20-21 | Fiori Musicali, Op. 12: Messa della Madonna: Bergamasca | — | ||
| 21-1 | Fiori Musicali, Op. 12: Messa della Madonna: Toccata avanti la Messa | — | ||
| 21-2 | Fiori Musicali, Op. 12: Messa della Madonna: Kyrie cum jubilo | — | ||
| 21-3 | Gloria | — | ||
| 21-4 | Fiori Musicali, Op. 12: Messa della Madonna: Canzon doppio la Pistola | — | ||
| 21-5 | Credo (Credo VI) | — | ||
| 21-6 | Fiori Musicali, Op. 12: Messa della Madonna: Recercar doppo il Credo | — | ||
| 21-7 | Sanctus | — | ||
| 21-8 | Fiori Musicali, Op. 12: Messa della Madonna: Toccata per le Levatione | — | ||
| 21-9 | Agnus Dei | — | ||
| 21-10 | Fiori Musicali, Op. 12: Messa della Madonna: Toccata avanti il Ricercar | — | ||
| 21-11 | Fiori Musicali, Op. 12: Messa della Madonna: Recercar con obligato di cantare | — | ||
| 21-12 | Ite Missa est | — | ||
| 21-13 | Il secondo libro di toccate: Toccata sesta | — | ||
| 21-14 | Invitatorium. Deus, in adjutorium | — | ||
| 21-15 | Canzoni alla francese: Canzon sesta detta la Pesenti | — | ||
| 21-16 | Antiphon. Jam hiems | — | ||
| 21-17 | Il primo libro di capricci: Capriccio sopra la Bassa Fiamenga | — | ||
| 21-18 | Responsorium breve. Ave Maria, gratia plena | — | ||
| 21-19 | Il secondo libro di toccate: Hinno Ave Maris stella / Hymnus. Ave Maris stella | — | ||
| 21-20 | Antiphon. Ave Maria, gratia plena / Il secondo libro di toccate: Magnificat primi toni | — | ||
| 21-21 | Benedicamus Domino | — | ||
| 21-22 | Marian Antiphon. Ave Regina | — | ||
| 21-23 | Fiori Musicali, Op. 12: Messa della Madonna: Capriccio sopra la Girolmeta | — | ||
| 22-1 | Le Cinesi: I. Sinfonia (Ouverture) | — | ||
| 22-2 | Le Cinesi: II. Rezitativo: E ben: Stupide e mute | — | ||
| 22-3 | Le Cinesi: III. Aria: Prenditi il figlio...! | — | ||
| 22-4 | Le Cinesi: IV. Rezitativo: Ah, non firnir si presto | — | ||
| 22-5 | Le Cinesi: V. Aria: Son lunghi e non mi brami | — | ||
| 22-6 | Le Cinesi: VI. Rezitativo: Che vi par della scena? | — | ||
| 22-7 | Le Cinesi: VII. Aria: Non sprear, non lusingarti | — | ||
| 22-8 | Le Cinesi: VIII. Rezitativo: Che amabil pastorella! | — | ||
| 22-9 | Le Cinesi: IX. Aria: Ad un riso, ad un'occhiata | — | ||
| 22-10 | Le Cinesi: X. Rezitativo: Che ti sembra, Silango | — | ||
| 22-11 | Le Cinesi: XI. Quartetto: Voli il piede in lieti giri | — | ||
| 23-1 | Musica Dei Donum | — | ||
| 23-2 | Lauda Sion Salvatorem | — | ||
| 23-3 | Missa Puisque j'ay perdu: I. Kyrie | — | ||
| 23-4 | Missa Puisque j'ay perdu: II. Gloria | — | ||
| 23-5 | Missa Puisque j'ay perdu: III. Credo | — | ||
| 23-6 | Missa Puisque j'ay perdu: IV. Sancturs & Benedictus | — | ||
| 23-7 | Missa Puisque j'ay perdu: V. Agnus Dei | — | ||
| 24-1 | Requiem à 5: I. Introitus | — | ||
| 24-2 | Requiem à 5: II. Kyrie | — | ||
| 24-3 | Requiem à 5: III. Graduale (Cantus gregorianus) | — | ||
| 24-4 | Requiem à 5: IV. Tractus "Absolve Domine" | — | ||
| 24-5 | Requiem à 5: V. Offertorium "Domine Jesu Christe" | — | ||
| 24-6 | Requiem à 5: VI. Sanctus - Benedicts | — | ||
| 24-7 | Requiem à 5: VII. Agnus Dei | — | ||
| 24-8 | Requiem à 5: VIII. Communio "Lux aeterna" | — | ||
| 24-9 | O bone Jesu | — | ||
| 24-10 | Magnificat "Praeter rerum seriem" | — | ||
| 24-11 | Alma Redemptoris mater | — | ||
| 24-12 | Ave Maria | — | ||
| 25-1 | Los Elementos: I. "Frondosa, apacible estancia" / "Moradores de esta playas" | — | ||
| 25-2 | Los Elementos: II. "Y así le festejen" | — | ||
| 25-3 | Los Elementos: III. "Pues Reverentes aves le gerjean" | — | ||
| 25-4 | Los Elementos: IV. Recitado: "Y al rápido sonido de mi aliento" / "Olmo apacible" | — | ||
| 25-5 | Los Elementos: V. Recitando: "Ms si fuese la planta fugitiva" / "Fuego encendo" | — | ||
| 25-6 | Los Elementos: VI. "Y pues soy el agua" | — | ||
| 25-7 | Los Elementos: VII. "El ayre soy" | — | ||
| 25-8 | Los Elementos: VIII. Recitado: "No podrá" / Arieta: "De flores vestida" | — | ||
| 25-9 | Los Elementos: IX. "Y en tan triste confusión" | — | ||
| 25-10 | Los Elementos: X. Arieta: "Ay Amor" | — | ||
| 25-11 | Los Elementos: XI. "Sienta la tierra" | — | ||
| 25-12 | Los Elementos: XII. Recitado: "Mas en la oscura noche" | — | ||
| 25-13 | Los Elementos: XIII. "Ires fatales fulminan" | — | ||
| 25-14 | Los Elementos: XIV. Recitado: "Y aunque intente la fatiga" / Arieta: "Risueña el aurora" | — | ||
| 25-15 | Los Elementos: XV. Recitado: "Y pues la lux" / Arieta. "Rompa la tierra" | — | ||
| 25-16 | Los Elementos: XVI. "Y sus acordes fragancias" | — | ||
| 25-17 | Los Elementos: XVII. Recitado: "Y pues ya se desvían" / Arieta: "En brazos del alba" | — | ||
| 25-18 | Los Elementos: XVIII. Recitado: "Deidades, que en el monte" / Arieta: "Suenen los clarines" | — | ||
| 25-19 | Los Elementos: XIX. "Dormida fatiga" | — | ||
| 25-20 | Los Elementos: XX. "El moble diamante" | — | ||
| 25-21 | Los Elementos: XXI. "Y pues tierra" | — | ||
| 25-22 | Los Elementos: XXII. "Flores; aves; fuentes; rios" | — | ||
| 25-23 | Los Elementos: XXIII. "Esfera copiosa" | — | ||
| 26-1 | Divertissement I: Ouverture d'Amadis | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-2 | Divertissement I: Répands charmante nuit | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-3 | Divertissement I: Récit d'Orphée | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-4 | Divertissement I: Entrée pour Bacchus et Ariadne | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-5 | Divertissement I: Rochers vous êtes sourds | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-6 | Divertissement I: Plainte de Vénus sur la mort d'Adonis | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-7 | Divertissement I: Dieu des enfers | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-8 | Divertissement II: Ouverture de Psyché | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-9 | Divertissement II: Plainte italienne | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-10 | Divertissement II: Chaconne d'Amadis | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-11 | Divertissement III: Entrée d'Apollon | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-12 | Divertissement III: Si l'amour vous soumet | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-13 | Divertissement III: Enfin il est en ma puissance | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-14 | Divertissement III: Air pour les démons et les monstres | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 26-15 | Divertissement III: Passacaille d'Armide | Guillemette Laurens, Capriccio Stravagante, Skip Sempé | — | |
| 27-1 | Cathédrale de Reims, Messe Nostre Dame à 4: I. Kyrie | — | ||
| 27-2 | Cathédrale de Reims, Messe Nostre Dame à 4: II. Gloria | — | ||
| 27-3 | Cathédrale de Reims, Messe Nostre Dame à 4: III. Credo | — | ||
| 27-4 | Cathédrale de Reims, Messe Nostre Dame à 4: IV. Sanctus | — | ||
| 27-5 | Cathédrale de Reims, Messe Nostre Dame à 4: V. Angus Dei | — | ||
| 27-6 | Cathédrale de Reims, Messe Nostre Dame à 4: VI. Ite Missa est | — | ||
| 27-7 | Perotinus Magnus Notre-Dame de Paris: Graduale "Sederunt principes" | — | ||
| 27-8 | Conductus "Pater noster commiserans" | — | ||
| 27-9 | Conductus "Dic Christi veritas" | — | ||
| 27-10 | Graduale "Viderunt omnes" | — | ||
| 27-11 | "Alleluja Christus ressurgens" & Clausula "Mors" | — | ||
| 27-12 | "Alleluja Nativitas" | — | ||
| 28-1 | Ach Herr, strafe mich nicht | — | ||
| 28-2 | Das ist mir Ileb | — | ||
| 28-3 | Gott, sei mir gnädig nach deiner Güte | — | ||
| 28-4 | Ach, mein herzliebes Jesulein | — | ||
| 28-5 | Barherzig und gnädig ist der Herr | — | ||
| 28-6 | Es haben mir die Hoffärtigen | — | ||
| 28-7 | Aus der Tieffen rufe lich, Herr zu dir | — | ||
| 28-8 | O heilige Zeit | — | ||
| 29-1 | Pièces en trio in D major: I. Prélude | — | ||
| 29-2 | Pièces en trio in D major: II. Sarabande grave | — | ||
| 29-3 | Pièces en trio in D major: III. Fantaise champestre | — | ||
| 29-4 | Pièces en trio in D major: IV. Gavotte en Rondeau Double | — | ||
| 29-5 | Pièces en trio in D major: V. Gigue | — | ||
| 29-6 | Pièces en trio in D major: VI. Bransle de Village | — | ||
| 29-7 | Pièces en trio in D major: VII. Rigaudon | — | ||
| 29-8 | Pièces en trio in D major: VIII. Menuet I / Menuet II / Menuet I da capo | — | ||
| 29-9 | Pièces en trio in D major: IX. Simphonie | — | ||
| 29-10 | Pièces en trio in G minor: I. Prélude | — | ||
| 29-11 | Pièces en trio in G minor: II. Fantaise | — | ||
| 29-12 | Pièces en trio in G minor: III. Sarabande | — | ||
| 29-13 | Pièces en trio in G minor: IV. Rondeau | — | ||
| 29-14 | Pièces en trio in G minor: V. Gigue | — | ||
| 29-15 | Pièces en trio in G minor: VI. Gavotte | — | ||
| 29-16 | Pièces en trio in G minor: VII. Menuet | — | ||
| 29-17 | Pièces en trio in G minor: VIII. Plainte | — | ||
| 29-18 | Pièces en trio in G minor: IX. Passacaille | — | ||
| 29-19 | Pièces en trio in G minor: X. Air | — | ||
| 29-20 | Pièces en trio in C major: I. Prélude | — | ||
| 29-21 | Pièces en trio in C major: II. Sarabande | — | ||
| 29-22 | Pièces en trio in C major: III. Fantaise | — | ||
| 29-23 | Pièces en trio in C major: IV. Loure | — | ||
| 29-24 | Pièces en trio in C major: V. La Bagatelle | — | ||
| 29-25 | Pièces en trio in C major: VI. Gavotte | — | ||
| 29-26 | Pièces en trio in C major: VII. Rondeau | — | ||
| 29-27 | Pièces en trio in C major: VIII. Menuet | — | ||
| 29-28 | Pièces en trio in C major: IX. Chaconne | — | ||
| 30-1 | Capriccio Stravagante: I. | — | ||
| 30-2 | Capriccio Stravagante: II. La Lira | — | ||
| 30-3 | Capriccio Stravagante: III. Il Fiferino | — | ||
| 30-4 | Capriccio Stravagante: IV. Lira variata | — | ||
| 30-5 | Capriccio Stravagante: V. Qui si bate con il lengo dei archetto sopra del le corde | — | ||
| 30-6 | Capriccio Stravagante: VI. La Trombetta | — | ||
| 30-7 | Capriccio Stravagante: VII. La Clarino | — | ||
| 30-8 | Capriccio Stravagante: VIII. Die Herrpaucken | — | ||
| 30-9 | Capriccio Stravagante: IX. La Gallina | — | ||
| 30-10 | Capriccio Stravagante: X. Il Gallo | — | ||
| 30-11 | Capriccio Stravagante: XI. Il Flautino pian piano | — | ||
| 30-12 | Capriccio Stravagante: XII. Il Tremulanto | — | ||
| 30-13 | Capriccio Stravagante: XIII. Fiferino della Soldatesca et Il Tambura | — | ||
| 30-14 | Capriccio Stravagante: XIV. Il Gatto | — | ||
| 30-15 | Capriccio Stravagante: XV. Il Cane | — | ||
| 30-16 | Capriccio Stravagante: XVI. La Chitarra Spagniola | — | ||
| 30-17 | Lasciate mi morire | — | ||
| 30-18 | Lamento d'Arianna: I. Lasciate mi morire | — | ||
| 30-19 | Lamento d'Arianna: II. O Teseo mio | — | ||
| 30-20 | Lamento d'Arianna: III. Dove la fede | — | ||
| 30-21 | Lamento d'Arianna: IV. Ahi che non piu rispondi | — | ||
| 30-22 | Lamento d'Arianna: V. Misera, ancor doloco | — | ||
| 30-23 | Intrada del Marchese di Caravazzo | — | ||
| 30-24 | L'Amaltea | — | ||
| 30-25 | Combatimento di Tancredi et Clorinda: I. Tancredi che Clorinda un homo stima | — | ||
| 30-26 | Combatimento di Tancredi et Clorinda: II. Trotto del Cavallo | — | ||
| 30-27 | Combatimento di Tancredi et Clorinda: III. Passagio bellicose grave | — | ||
| 30-28 | Combatimento di Tancredi et Clorinda: IV. Sinfonia | — | ||
| 30-29 | Combatimento di Tancredi et Clorinda: V. Passagio piu grave ristretto | — | ||
| 30-30 | Combatimento di Tancredi et Clorinda: VI. Passagio ristretto | — | ||
| 30-31 | Combatimento di Tancredi et Clorinda: VII. Passagio della guerra | — | ||
| 30-32 | Combatimento di Tancredi et Clorinda: VIII. Qui si lascia l'arco, e si strappano le corde con duoi ditti | — | ||
| 30-33 | Combatimento di Tancredi et Clorinda: IX. Qui si ripiglia l'arco | — | ||
| 30-34 | Combatimento di Tancredi et Clorinda: X. Guerra | — | ||
| 30-35 | Combatimento di Tancredi et Clorinda: XI. Clorinda sola in 4 viola | — | ||
| 30-36 | Combatimento di Tancredi et Clorinda: XII. Clorinda sola in 4 viole Soave arcate | — | ||
| 31-1 | Vespro della Beata Vergine: Intonatio: Deus in adiutorium Domine ad adjuvandum | Cantus Cölln, Concerto Palatino, Konrad Junghänel | — | |
| 31-2 | Vespro della Beata Vergine: II. Dixit Dominus | — | ||
| 31-3 | Vespro della Beata Vergine: III. Nigra sum | — | ||
| 31-4 | Vespro della Beata Vergine: IV. Laudate pueri | — | ||
| 31-5 | Vespro della Beata Vergine: V. Pulchra es | — | ||
| 31-6 | Vespro della Beata Vergine: VI. Laetatus sum | — | ||
| 31-7 | Vespro della Beata Vergine: VII. Duo Seraphim | — | ||
| 31-8 | Vespro della Beata Vergine: VIII. Nisi Dominus | — | ||
| 31-9 | Vespro della Beata Vergine: IX. Audi coelum | — | ||
| 31-10 | Vespro della Beata Vergine: X. Lauda Jerusalem | — | ||
| 32-1 | Vespro della Beata Vergine: XI. Sonata à 8 sopra "Sancta Maria ora pro nobis" | — | ||
| 32-2 | Vespro della Beata Vergine: XII. Hymnus à 8: Ave maris stella | — | ||
| 32-3 | Vespro della Beata Vergine, Magnificat: I. Magnificat | — | ||
| 32-4 | Vespro della Beata Vergine, Magnificat: II. Et exultavit | — | ||
| 32-5 | Vespro della Beata Vergine, Magnificat: III. Quia respexit | — | ||
| 32-6 | Vespro della Beata Vergine, Magnificat: IV. Quia fecit mihi magna | — | ||
| 32-7 | Vespro della Beata Vergine, Magnificat: V. Et misericordia | — | ||
| 32-8 | Vespro della Beata Vergine, Magnificat: VI. Fecit potentiam | — | ||
| 32-9 | Vespro della Beata Vergine, Magnificat: VII. Deposuit potentes | — | ||
| 32-10 | Vespro della Beata Vergine, Magnificat: VIII. Esurientis implevit bonis | — | ||
| 32-11 | Vespro della Beata Vergine, Magnificat: IX. Suscepit Israel | — | ||
| 32-12 | Vespro della Beata Vergine, Magnificat: X. Sicut locutus est | — | ||
| 32-13 | Vespro della Beata Vergine, Magnificat: XI. Gloria patri | — | ||
| 32-14 | Vespro della Beata Vergine, Magnificat: XII. Sicut erat in principio | — | ||
| 33-1 | Jauchzet dem Herrn | — | ||
| 33-2 | Nun danket alle Gott | — | ||
| 33-3 | Exsurgat Deus | — | ||
| 33-4 | Fürchte dich nicht | — | ||
| 33-5 | Der Gerechte | — | ||
| 33-6 | Tröste uns Gott | — | ||
| 33-7 | Magnificat | — | ||
| 33-8 | Der Herr ist König | — | ||
| 33-9 | Ich lasse dich nicht | — | ||
| 33-10 | Gott ist unser Zuversicht | — | ||
| 33-11 | Paratum cor meum Deus | — | ||
| 33-12 | Der Herr ist König | — | ||
| 33-13 | Halt, was du hast | — | ||
| 33-14 | Fürchtet euch nicht | — | ||
| 33-15 | Singet dem Herrn | — | ||
| 33-16 | Jauchzet Gott alle Lande | — | ||
| 34-1 | Ave Regina Caelorum | — | ||
| 34-2 | Lamentationen zum Karsamstag: I. Lection I | — | ||
| 34-3 | Lamentationen zum Karsamstag: II. Lection II | — | ||
| 34-4 | Lamentationen zum Karsamstag: III. Lection III | — | ||
| 34-5 | Gloriosi principes terrae | — | ||
| 34-6 | Missa in duplicibus: I. Kyrie - Christe - Kyrie | — | ||
| 34-7 | Missa in duplicibus: II. Gloria | — | ||
| 34-8 | Missa in duplicibus: III. Credo | — | ||
| 34-9 | Missa in duplicibus: IV. Sanctus | — | ||
| 34-10 | Missa in duplicibus: V. Agnus Dei | — | ||
| 35-1 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Aria Uberto 'Aspettare, e non venire' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-2 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Recitativo | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-3 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Aria Uberto 'Sempre in contrasti' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-4 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Recitativo | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-5 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Aria Serpina 'Stizzoso, mio stizzoso' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-6 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Recitativo | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-7 | La Serva Padrona (Intermezzo buffo in due atti): Atto primo: Duetto 'La conosco a quegl'occhietti' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-8 | La Serva Padrona (Intermezzo buffo in due atti): Atto secondo: Recitativo | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-9 | La Serva Padrona (Intermezzo buffo in due atti): Atto secondo: Aria Serpina 'A Serpina penserete' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-10 | La Serva Padrona (Intermezzo buffo in due atti): Atto secondo: Recitativo | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-11 | La Serva Padrona (Intermezzo buffo in due atti): Atto secondo: Aria Uberto 'Son imbrogliato io già' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-12 | La Serva Padrona (Intermezzo buffo in due atti): Atto secondo: Recitativo | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 35-13 | La Serva Padrona (Intermezzo buffo in due atti): Atto secondo: Duetto 'Per te io ho nel core' | Franzjosef Maier, Fritz Neumeyer, Collegium Aureum | — | |
| 36-1 | Orchestral Suite from "Dioclesian": I. Overture | Freiburger Barockorchester, Gottfried von der Goltz | T-902.314.020-7 | |
| 36-2 | Orchestral Suite from "Dioclesian": II. Dance / Song "If music be the food" | — | ||
| 36-3 | Orchestral Suite from "Dioclesian": III. Dance of Bacchanals / Trumpet tune | — | ||
| 36-4 | Orchestral Suite from "Dioclesian": IV. Prelude / Song "Oh how happy" / Hornpipe | — | ||
| 36-5 | Orchestral Suite from "Dioclesian": V. Dance of the Furies | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 36-6 | Orchestral Suite from "Dioclesian": VI. First music | Nancy Argenta, Michael Chance, Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 36-7 | Orchestral Suite from "Dioclesian": VII. Duet "Lost es my quiet" | — | ||
| 36-8 | Orchestral Suite from "Dioclesian": VIII. Prelude / Song "Let the soldiers rejoice" / Act tune | — | ||
| 36-9 | Orchestral Suite from "Dioclesian": IX. Chaconne | — | ||
| 36-10 | Orchestral Suite from "Dioclesian": X. Second Music / Paspe / Chair dance | Nancy Argenta, Michael Chance, Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 36-11 | Concerto grosso, Op. 6 No. 6: I. Largo e affettuoso | — | ||
| 36-12 | Concerto grosso, Op. 6 No. 6: II. A tempo giusto | — | ||
| 36-13 | Concerto grosso, Op. 6 No. 6: III. Musette - Larghetto | — | ||
| 36-14 | Concerto grosso, Op. 6 No. 6: IV. Allegro | — | ||
| 36-15 | Concerto grosso, Op. 6 No. 6: V. Allegro | — | ||
| 36-16 | "Il duello amoroso", HWV. 82: I. Sonata: Allegro Menuetto | — | ||
| 36-17 | "Il duello amoroso", HWV. 82: II. Recitativo (Daliso) | — | ||
| 36-18 | "Il duello amoroso", HWV. 82: III. Aria (Daliso) | — | ||
| 36-19 | "Il duello amoroso", HWV. 82: IV. Recitativo (Amarilli) | — | ||
| 36-20 | "Il duello amoroso", HWV. 82: V. Aria (Amarilli) | — | ||
| 36-21 | "Il duello amoroso", HWV. 82: VI. Recitativo (Daliso/Amarilli) | — | ||
| 36-22 | "Il duello amoroso", HWV. 82: VII. Aria (Amarilli) | — | ||
| 36-23 | "Il duello amoroso", HWV. 82: VIII. Recitativo (Daliso) | — | ||
| 36-24 | "Il duello amoroso", HWV. 82: IX. Aria (Daliso) | — | ||
| 36-25 | "Il duello amoroso", HWV. 82: X. Recitativo (Amarilli/Daliso) | — | ||
| 36-26 | "Il duello amoroso", HWV. 82: XI. Aria à 2 con Ritornello (Amarilli/Daliso) | — | ||
| 37-1 | 3 tunes new to John Playford's Dancing Master | — | ||
| 37-2 | William Lawes: Why so pale / Henry Lawes: Bid me to live / Anonymous: 2 tunes new to John Playford's Dancing Master | — | ||
| 37-3 | Nicola Matteis: Passages in Imitation of the Trumpet / Anonymous: 5 marches and tunes from John Playford's new tunes | — | ||
| 37-4 | Fantazie, Suite in A major | — | ||
| 37-5 | Court Masques under Charles I and Charles II | — | ||
| 37-6 | Toccata / The Plaint / Ground in A major | — | ||
| 37-7 | The black Joak | — | ||
| 37-8 | A Ground in D major | — | ||
| 38-1 | Hippolyte et Aricie, suite pour orchestre: Prologue. I. Ouverture | — | ||
| 38-2 | Hippolyte et Aricie, suite pour orchestre: Prologue. II. Entrée des habitants de la forêt | — | ||
| 38-3 | Hippolyte et Aricie, suite pour orchestre: Prologue. III. Air en rondeau pour les Amours | — | ||
| 38-4 | Hippolyte et Aricie, suite pour orchestre: Prologue. IV. Gavottes I et II | — | ||
| 38-5 | Hippolyte et Aricie, suite pour orchestre: Prologue. V. Menuets I et II | — | ||
| 38-6 | Hippolyte et Aricie, suite pour orchestre: Prologue. VI. Gavottes vives I et II | — | ||
| 38-7 | Hippolyte et Aricie, suite pour orchestre: Prologue. VII. Marche | — | ||
| 38-8 | Hippolyte et Aricie, suite pour orchestre: Act I. I. Marche des prêtresses de Diane | — | ||
| 38-9 | Hippolyte et Aricie, suite pour orchestre: Act I. II. Premier air (gracieusement et doux) | — | ||
| 38-10 | Hippolyte et Aricie, suite pour orchestre: Act I. III. Second air (un peu gai) | — | ||
| 38-11 | Hippolyte et Aricie, suite pour orchestre: Act I. IV. Tonnerre | — | ||
| 38-12 | Hippolyte et Aricie, suite pour orchestre: Act II. I. Premier Air des furies (gravement) | — | ||
| 38-13 | Hippolyte et Aricie, suite pour orchestre: Act II. II. Deuxième Air des furies (vite) | — | ||
| 38-14 | Hippolyte et Aricie, suite pour orchestre: Act II. III. Troisième Air des furies (composé 1757) | — | ||
| 38-15 | Hippolyte et Aricie, suite pour orchestre: Act III. I. Ritournelle (composé 1742) | — | ||
| 38-16 | Hippolyte et Aricie, suite pour orchestre: Act III. II. Marche des Treseniens | — | ||
| 38-17 | Hippolyte et Aricie, suite pour orchestre: Act III. III. Air gai (composé 1757) | — | ||
| 38-18 | Hippolyte et Aricie, suite pour orchestre: Act III. IV. Menuet | — | ||
| 38-19 | Hippolyte et Aricie, suite pour orchestre: Act III. V. Tambourin I, II et III (composé 1757) | — | ||
| 38-20 | Hippolyte et Aricie, suite pour orchestre: Act III. VI. 1er Rigaudon en Tambourin et 2è Rigaudon | — | ||
| 38-21 | Hippolyte et Aricie, suite pour orchestre: Act IV. I. Rondeau | — | ||
| 38-22 | Hippolyte et Aricie, suite pour orchestre: Act IV. II. Menuet I et II | — | ||
| 38-23 | Hippolyte et Aricie, suite pour orchestre: Act V. I. Symphonie (3è scène) (gracieusement) | — | ||
| 38-24 | Hippolyte et Aricie, suite pour orchestre: Act V. II. Vol des Zéphyrs (très vite) | — | ||
| 38-25 | Hippolyte et Aricie, suite pour orchestre: Act V. III. Marche | — | ||
| 38-26 | Hippolyte et Aricie, suite pour orchestre: Act V. IV. Chaconne | — | ||
| 38-27 | Hippolyte et Aricie, suite pour orchestre: Act V. V. Gavotte I et II (composé en 1757) | — | ||
| 39-1 | Suites from Platée: I. Ouverture | — | ||
| 39-2 | Suites from Platée: II. Air Pantomime - Fièrement | — | ||
| 39-3 | Suites from Platée: III. Rigaudons | — | ||
| 39-4 | Suites from Platée: IV. contredanse (en Rondeau) | — | ||
| 39-5 | Suites from Platée: V. Passepieds | — | ||
| 39-6 | Suites from Platée: VI. Tambourins | — | ||
| 39-7 | Suites from Platée: VII. Air de Ballet (Mouvement de Chaconne) | — | ||
| 39-8 | Suites from Platée: VIII. Passepieds | — | ||
| 39-9 | Suites from Platée: IX. Orage | — | ||
| 39-10 | Suites from Platée: X. Air, pour fous gais | — | ||
| 39-11 | Suites from Platée: XI. Air, pour fous, tristes | — | ||
| 39-12 | Suites from Platée: XII. Menuet | — | ||
| 39-13 | Suites from Platée: XIII. Airs | — | ||
| 39-14 | Suites from Platée: XIV. Loure - Grave | — | ||
| 39-15 | Suites from Platée: XV. Musette - Gracieux | — | ||
| 39-16 | Suites from Platée: XVI. Tambourins (Rigaudons) | — | ||
| 39-17 | Suites from Platée: XVII. Chaconne | — | ||
| 39-18 | Suite from Dardanus: I. Ouverture | — | ||
| 39-19 | Suite from Dardanus: II. Air gracieux pour le Plaisirs | — | ||
| 39-20 | Suite from Dardanus: III. Tambourins | — | ||
| 39-21 | Suite from Dardanus: IV. Air vif | — | ||
| 39-22 | Suite from Dardanus: V. Air - Grave | — | ||
| 39-23 | Suite from Dardanus: VI. Air - Vivement | — | ||
| 39-24 | Suite from Dardanus: VII. Air gai en Rondeau 'Les Niais de Sologne' | — | ||
| 39-25 | Suite from Dardanus: VIII. Tambourins | — | ||
| 39-26 | Suite from Dardanus: IX. Le Sommeil Rondeau tendre | — | ||
| 39-27 | Suite from Dardanus: X. Le Monstre sortant des flots | — | ||
| 39-28 | Suite from Dardanus: XI. Gavotte gracieuse / Gavotte en Rondeau | — | ||
| 39-29 | Suite from Dardanus: XII. Chaconne | — | ||
| 40-1 | Pygmalion: Scène I. Ouverture | — | ||
| 40-2 | Pygmalion: Scène I. Fatal Amour, cruel vainqueur | — | ||
| 40-3 | Pygmalion: Scène II. Pygmalion, est il possible | — | ||
| 40-4 | Pygmalion: Scène III. Que d'appas ! Que d'attrais ! | — | ||
| 40-5 | Pygmalion: Scène III. Que vois-je? Ou suis je? | — | ||
| 40-6 | Pygmalion: Scène IV. Du pouvoir de L'amour | — | ||
| 40-7 | Pygmalion: Scène IV. Air | — | ||
| 40-8 | Pygmalion: Scène IV. Gavotte gracieuse | — | ||
| 40-9 | Pygmalion: Scène IV. Menuet | — | ||
| 40-10 | Pygmalion: Scène IV. Gavotte gaie | — | ||
| 40-11 | Pygmalion: Scène IV. Chaconne vive | — | ||
| 40-12 | Pygmalion: Scène IV. Loure très grave | — | ||
| 40-13 | Pygmalion: Scène IV. Les Grâces (Passepied vif) | — | ||
| 40-14 | Pygmalion: Scène IV. Rigaudon. Vif | — | ||
| 40-15 | Pygmalion: Scène IV. Sarabande our la Statue | — | ||
| 40-16 | Pygmalion: Scène IV. Tambourin. Fort et vite | — | ||
| 40-17 | Pygmalion: Scène IV. Cèdons à notr'impatience | — | ||
| 40-18 | Pygmalion: Scène IV. Le peuple dans ces lieux | — | ||
| 40-19 | Pygmalion: Scène V. L'amour triomphe | — | ||
| 40-20 | Pygmalion: Scène V. Pantomine niaise et un peu lente | — | ||
| 40-21 | Pygmalion: Scène V. Règne, Amour | — | ||
| 40-22 | Pygmalion: Scène V. Air | — | ||
| 40-23 | Pygmalion: Scène V. Rondeau Contredanse. Gai | — | ||
| 41-1 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: I. "La Flore" in A major | — | ||
| 41-2 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: II. "La Junon" in E minor | — | ||
| 41-3 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: III. "La Venus" in F major | — | ||
| 41-4 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: IV. "Le Tombeau de Monsieur de Lully" in C minor | — | ||
| 41-5 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: V. "La Pallas" in D major | — | ||
| 41-6 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: VI. "L'Immortelle" in G minor | — | ||
| 41-7 | Recueil de douze Sonates par Monsieur rebel, Paris, 1712: VII. "L'Apollon" in B-flat major | — | ||
| 42-1 | Pièces pour viole de gambe: I. Prélude | — | ||
| 42-2 | Pièces pour viole de gambe: II. Les Couplets | — | ||
| 42-3 | Pièces pour viole de gambe: III. Le Retrouvé | — | ||
| 42-4 | Pièces pour viole de gambe: IV. La Conférence | — | ||
| 42-5 | Pièces pour viole de gambe: V. Le Changé | — | ||
| 42-6 | Pièces pour viole de gambe: VI. Tombeau Les Regrets | — | ||
| 42-7 | Pièces pour viole de gambe: VII. Le Raporté | — | ||
| 42-8 | Pièces pour viole de gambe: VIII. Le Majestueux | — | ||
| 42-9 | Pièces pour viole de gambe: IX. Le Précipité | — | ||
| 42-10 | Pièces pour viole de gambe: X. La Varié | — | ||
| 42-11 | Pièces pour viole de gambe: XI. L'infidelle | — | ||
| 43-1 | Ombre tacite e sole: I. Adagio: Ombre tacite e sole | — | ||
| 43-2 | Ombre tacite e sole: II. Lento: Con piede errante e lasso | — | ||
| 43-3 | Ombre tacite e sole: III. Recitativo. Qui tra tenebre oscure | — | ||
| 43-4 | Ombre tacite e sole: IV. Andante e Lento: Allor d'intorno a te | — | ||
| 43-5 | Il genio di Mitilde: I. Recitativo. Il genio di Mitilde mente non v'e | — | ||
| 43-6 | Il genio di Mitilde: II. Aria. Tante il mar non ha procelle | — | ||
| 43-7 | Il genio di Mitilde: III. Recitativo. Ella muove talor per vie romite | — | ||
| 43-8 | Il genio di Mitilde: IV. Aria. Allegro: Così d'amor lo strale fugga | — | ||
| 43-9 | Perché tacete, regolati concenti?: I. Sinfonia | — | ||
| 43-10 | Perché tacete, regolati concenti?: II. Allegro | — | ||
| 43-11 | Perché tacete, regolati concenti?: III. Adagio | — | ||
| 43-12 | Perché tacete, regolati concenti?: IV. Recitativo. Perché tacete, regolati concenti? | — | ||
| 43-13 | Perché tacete, regolati concenti?: V. Aria. Alla mano che dotta in voi scherza | — | ||
| 43-14 | Perché tacete, regolati concenti?: VI. Recitativo. Ma che dissi? | — | ||
| 43-15 | Perché tacete, regolati concenti?: VII. Aria. Tra le fiamme del mio duolo | — | ||
| 43-16 | Perché tacete, regolati concenti?: VIII. Recitativo. Nè m'ascolti, crudele | — | ||
| 43-17 | Perché tacete, regolati concenti?: IX. Aria. Dormi, ma sappi almen | — | ||
| 43-18 | Perché tacete, regolati concenti?: X. Recitativo. Ma tiranna, tu dormi | — | ||
| 43-19 | Perché tacete, regolati concenti?: XI. Aria. Deh pensieri in me si schieri | — | ||
| 43-20 | O pace del mio cor (first setting): I. Recitativo. Adagio: O pace del moi cor | — | ||
| 43-21 | O pace del mio cor (first setting): II. Aria. Lento: Spunta l'alba e nasce il sole | — | ||
| 43-22 | O pace del mio cor (first setting): III. Recitativo. Porta il piede vagante | — | ||
| 43-23 | O pace del mio cor (first setting): IV. Aria. La pace del mio core | — | ||
| 43-24 | Il rosignolo (first setting): I. Allegro: Il rosignolo se scioglie il volo | — | ||
| 43-25 | Il rosignolo (first setting): II. Recitativo. Vola dal miorto al faggio | — | ||
| 43-26 | Il rosignolo (first setting): III. Aria. Col tuo mesto mormorio | — | ||
| 43-27 | Infirmata, vulnerata (motet): I. Largo: Infirmata, vulnerata | — | ||
| 43-28 | Infirmata, vulnerata (motet): II. Recitativo. O care, o dulcis amor | — | ||
| 43-29 | Infirmata, vulnerata (motet): III. Largo: Vulnera percute, transfige cor | — | ||
| 43-30 | Infirmata, vulnerata (motet): IV. Aria. Andante: Cur, quaeso, crudelis | — | ||
| 43-31 | Infirmata, vulnerata (motet): V. Recitativo. Vicisti, amor | — | ||
| 43-32 | Infirmata, vulnerata (motet): VI. Allegro: Semper gratus, desiderabilis | — | ||
| 44-1 | Passio Secundum Ioannem: I. Passio domini nostri lesu Christi | — | ||
| 44-2 | Passio Secundum Ioannem: II. In illo tempore egerssus est | — | ||
| 44-3 | Passio Secundum Ioannem: III. Iesus itaque sciens omnia | — | ||
| 44-4 | Passio Secundum Ioannem: IV. Cors ergo et tribunus | — | ||
| 44-5 | Passio Secundum Ioannem: V. Sequebatur autem lesus Simon Petrus | — | ||
| 44-6 | Passio Secundum Ioannem: VI. Pontifex ergo interrogavit lesum | — | ||
| 44-7 | Passio Secundum Ioannem: VII. Erat autem Simon Petrus | — | ||
| 44-8 | Passio Secundum Ioannem: VIII. Adducunt ergo lesurn | — | ||
| 44-9 | Passio Secundum Ioannem: IX. Introivit ergo iterum in praetorium Pilatus | — | ||
| 44-10 | Passio Secundum Ioannem: X. Et, cum hoc dixisset, iterum exivit ad ludaeos | — | ||
| 44-11 | Passio Secundum Ioannem: XI. Tunc ergo aprehendit Pilatus lesum | — | ||
| 44-12 | Passio Secundum Ioannem: XII. Et exinde quaerebat Pilatus | — | ||
| 44-13 | Passio Secundum Ioannem: XIII. Susceperunt autern lesum | — | ||
| 44-14 | Passio Secundum Ioannem: XIV. Stabant autem iuxta crucem | — | ||
| 44-15 | Passio Secundum Ioannem: XV. Postea sciens lesus | — | ||
| 44-16 | Passio Secundum Ioannem: XVI. Iudaei ergo | — | ||
| 45-1 | Concerto pour flûte à bec, flûte traversière, cordes et basse continue en mi mineur: I. Largo | — | ||
| 45-2 | Concerto pour flûte à bec, flûte traversière, cordes et basse continue en mi mineur: II. Allegro | — | ||
| 45-3 | Concerto pour flûte à bec, flûte traversière, cordes et basse continue en mi mineur: III. Largo | — | ||
| 45-4 | Concerto pour flûte à bec, flûte traversière, cordes et basse continue en mi mineur: IV. Presto | — | ||
| 45-5 | Concerto pour violon, hautbois, cordes et basse continue, en ut mineur: I. Adagio | — | ||
| 45-6 | Concerto pour violon, hautbois, cordes et basse continue, en ut mineur: II. Allegro | — | ||
| 45-7 | Concerto pour violon, hautbois, cordes et basse continue, en ut mineur: III. Adagio | — | ||
| 45-8 | Concerto pour violon, hautbois, cordes et basse continue, en ut mineur: IV. Allegro | — | ||
| 45-9 | Concerto pour deux flûtes traversières, cordes et basse continue, en la mineur: I. Gravement | — | ||
| 45-10 | Concerto pour deux flûtes traversières, cordes et basse continue, en la mineur: II. Vistement | — | ||
| 45-11 | Concerto pour deux flûtes traversières, cordes et basse continue, en la mineur: III. Largement | — | ||
| 45-12 | Concerto pour deux flûtes traversières, cordes et basse continue, en la mineur: IV. Vivement | — | ||
| 45-13 | Concerto pour flûte traversière, cordes et basse continue, en si mineur: I. Presto | — | ||
| 45-14 | Concerto pour flûte traversière, cordes et basse continue, en si mineur: II. Largo | — | ||
| 45-15 | Concerto pour flûte traversière, cordes et basse continue, en si mineur: III. Allegro | — | ||
| 45-16 | Concerto pour deux hautbois d'amour, violoncelle, cordes et basse continue, en ré majeur: I. Allegro | — | ||
| 45-17 | Concerto pour deux hautbois d'amour, violoncelle, cordes et basse continue, en ré majeur: II. Dolce | — | ||
| 45-18 | Concerto pour deux hautbois d'amour, violoncelle, cordes et basse continue, en ré majeur: III. Allegro | — | ||
| 45-19 | Concerto pour hautbois, violon, duex flûtes traversières, deux altos et basse continue, en si bémol majeur: I. Largo | — | ||
| 45-20 | Concerto pour hautbois, violon, duex flûtes traversières, deux altos et basse continue, en si bémol majeur: II. Allegro | — | ||
| 45-21 | Concerto pour hautbois, violon, duex flûtes traversières, deux altos et basse continue, en si bémol majeur: III. Dolce | — | ||
| 45-22 | Concerto pour hautbois, violon, duex flûtes traversières, deux altos et basse continue, en si bémol majeur: IV. Allegro | — | ||
| 46-1 | Concerto no. 1 in E major, RV 269 “Spring”: Allegro | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-2 | Concerto no. 1 in E major, RV 269 “Spring”: Largo | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-3 | Concerto no. 1 in E major, RV 269 “Spring”: Allegro (Danza pastorale) | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-4 | Concerto no. 2 in G minor, RV 315 “Summer”: Allegro non molto – Allegro | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | T-902.802.010-2 | |
| 46-5 | Concerto no. 2 in G minor, RV 315 “Summer”: Adagio – Presto – Adagio | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-6 | Concerto no. 2 in G minor, RV 315 “Summer”: Presto (Tempo impoetuoso d’estate) | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-7 | Concerto no. 3 in F major, RV 293 “Autumn”: Allegro | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-8 | Concerto no. 3 in F major, RV 293 “Autumn”: Adagio Molto | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-9 | Concerto no. 3 in F major, RV 293 “Autumn”: Allegro (La caccia) | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-10 | Concerto no. 4 in F minor, RV 297 “Winter”: Allegro non molto | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-11 | Concerto no. 4 in F minor, RV 297 “Winter”: Largo | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-12 | Concerto no. 4 in F minor, RV 297 “Winter”: Allegro | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-13 | Concerto no. 6 in C major, RV 180 “Pleasure”: Allegro non molto | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-14 | Concerto no. 6 in C major, RV 180 “Pleasure”: Largo | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-15 | Concerto no. 6 in C major, RV 180 “Pleasure”: Allegro | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-16 | Concerto no. 5 in E-flat major, RV 253 “The Seastorm”: Presto – Adagio – Presto | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-17 | Concerto no. 5 in E-flat major, RV 253 “The Seastorm”: Largo | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-18 | Concerto no. 5 in E-flat major, RV 253 “The Seastorm”: Presto | Gottfried von der Goltz, The Harp Consort, Freiburger Barockorchester, Andrew Lawrence-King | — | |
| 46-19 | Descriptive Sonnet to the Four Seasons: La Primavera | Franco Viciani | — | |
| 46-20 | Descriptive Sonnet to the Four Seasons: L’Estate | Franco Viciani | — | |
| 46-21 | Descriptive Sonnet to the Four Seasons: L’Autunno | Franco Viciani | — | |
| 46-22 | Descriptive Sonnet to the Four Seasons: L’Inverno | Franco Viciani | — | |
| 47-1 | Sinfonia in F major, RV 703 "Bajazet": I. Allegro | — | ||
| 47-2 | Sinfonia in F major, RV 703 "Bajazet": II. Andante molto | — | ||
| 47-3 | Sinfonia in F major, RV 703 "Bajazet": III. Allegro | — | ||
| 47-4 | Sinfonia in C major, RV 725 "L'Olimpiade": I. Allegro | — | ||
| 47-5 | Sinfonia in C major, RV 725 "L'Olimpiade": II. Andante | — | ||
| 47-6 | Sinfonia in C major, RV 725 "L'Olimpiade": III. Allegro | — | ||
| 47-7 | Sinfonia in C major, RV 725 "L'Olimpiade": IV. Allegro molto con l'arco attaccato | — | ||
| 47-8 | Sinfonia in G major, RV 739 "La Verita' in Cimento": I. Allegro | — | ||
| 47-9 | Sinfonia in G major, RV 739 "La Verita' in Cimento": II. Andante | — | ||
| 47-10 | Sinfonia in G major, RV 739 "La Verita' in Cimento": III. Allegro e forte | — | ||
| 47-11 | Violin Concerto in C minor, RV 761 "Amato Bene": I. Allegro | — | ||
| 47-12 | Violin Concerto in C minor, RV 761 "Amato Bene": II. Largo | — | ||
| 47-13 | Violin Concerto in C minor, RV 761 "Amato Bene": III. Allegro | — | ||
| 47-14 | Sinfonia in C major, RV 729 "Ottone in Villa": I. Allegro | — | ||
| 47-15 | Sinfonia in C major, RV 729 "Ottone in Villa": II. Larghetto | — | ||
| 47-16 | Concerto in F major, RV 571: I. Allegro | — | ||
| 47-17 | Concerto in F major, RV 571: II. Largo | — | ||
| 47-18 | Concerto in F major, RV 571: III. Allegro | — | ||
| 47-19 | Sinfonia in C major, RV 709 "La Dorilla": I. Primo tempo | — | ||
| 47-20 | Sinfonia in C major, RV 709 "La Dorilla": II. Allegro | — | ||
| 47-21 | Sinfonia in C major, RV 709 "La Dorilla": III. Andante | — | ||
| 47-22 | Sinfonia in C major, RV 711 "Farnace" | — | ||
| 47-23 | Sinfonia in G major, RV 149: I. Allegro molto | — | ||
| 47-24 | Sinfonia in G major, RV 149: II. Andante | — | ||
| 47-25 | Sinfonia in G major, RV 149: III. Allegro | — | ||
| 47-26 | Concerto in D minor, RV 128: I. Allegro non molto | — | ||
| 47-27 | Concerto in D minor, RV 128: II. Largo | — | ||
| 47-28 | Concerto in D minor, RV 128: III. Allegro | — | ||
| 47-29 | Sinfonia in C major, RV 717 "Il Giustino": I. Primotempo | — | ||
| 47-30 | Sinfonia in C major, RV 717 "Il Giustino": II. Andante | — | ||
| 47-31 | Sinfonia in C major, RV 717 "Il Giustino": III. Allegro | — | ||
| 48-1 | Sonata in F major: Largo | — | ||
| 48-2 | Sonata in F major: Allegro | — | ||
| 48-3 | Sonata in F major: Largo | — | ||
| 48-4 | Sonata in F major: Allegro | — | ||
| 48-5 | Sonata in A minor: Largo | — | ||
| 48-6 | Sonata in A minor: Allegro | — | ||
| 48-7 | Sonata in A minor: Largo | — | ||
| 48-8 | Sonata in A minor: Allegro | — | ||
| 48-9 | Sonata in E minor: Largo | — | ||
| 48-10 | Sonata in E minor: Allegro | — | ||
| 48-11 | Sonata in E minor: Largo | — | ||
| 48-12 | Sonata in E minor: Allegro | — | ||
| 48-13 | Sonata in A minor: Largo | — | ||
| 48-14 | Sonata in A minor: Allegro poco | — | ||
| 48-15 | Sonata in A minor: Largo | — | ||
| 48-16 | Sonata in A minor: Allegro | — | ||
| 48-17 | Sonata in G minor: Preludio | — | ||
| 48-18 | Sonata in G minor: Allemande | — | ||
| 48-19 | Sonata in G minor: Sarabande | — | ||
| 48-20 | Sonata in G minor: Gigue | — | ||
| 48-21 | Sonata in E flat major: Larghetto | — | ||
| 48-22 | Sonata in E flat major: Allegro | — | ||
| 48-23 | Sonata in E flat major: Andante | — | ||
| 48-24 | Sonata in E flat major: Allegro | — | ||
| 49-1 | Missa Dei Filii, ZWV 20: I. Kyrie: Kyrie eleison | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-2 | Missa Dei Filii, ZWV 20: II. Kyrie: Christe eleison | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart, Nancy Argenta | T-106.684.110-7 | |
| 49-3 | Missa Dei Filii, ZWV 20: III. Kyrie: Kyrie eleison | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | T-106.557.169-7 | |
| 49-4 | Missa Dei Filii, ZWV 20: IV. Gloria: Gloria in excelsis Deo | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart, Nancy Argenta, Michael Chance, Christoph Prégardien, Gordon Jones | — | |
| 49-5 | Missa Dei Filii, ZWV 20: V. Gloria: Qui tollis peccata mundi | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart, Nancy Argenta, Christoph Prégardien, Gordon Jones | — | |
| 49-6 | Missa Dei Filii, ZWV 20: VI. Gloria: Qui sedes ad dexteram Patris | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-7 | Missa Dei Filii, ZWV 20: VII. Gloria: Quoniam tu solus Sanctus I | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-8 | Missa Dei Filii, ZWV 20: VIII. Gloria: Quoniam tu solus Sanctus II | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-9 | Missa Dei Filii, ZWV 20: IX. Gloria: Cum Sancto Spiritu I | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-10 | Missa Dei Filii, ZWV 20: X. Gloria: Cum Sancto Spiritu II | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-11 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: I. Kyrie eleison | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart, Nancy Argenta, Michael Chance, Christoph Prégardien, Gordon Jones | — | |
| 49-12 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: II. Pater de coelis | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart, Nancy Argenta | — | |
| 49-13 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: III. Mater divinae gratiae | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-14 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: IV. Virgo prudentissima I | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 49-15 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: V. Virgo prudentissima II | Frieder Bernius, Tafelmusik, Nancy Argenta, Michael Chance, Christoph Prégardien, Gordon Jones | — | |
| 49-16 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: VI. Salus infirmorum | Frieder Bernius, Tafelmusik, Michael Chance | — | |
| 49-17 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: VII. Regina Angelorum | Frieder Bernius, Tafelmusik, Christoph Prégardien | — | |
| 49-18 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: VIII. Agnus Dei I | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | T-000.609.750-2 | |
| 49-19 | Litaniae Lauretanae "Salus infirmorum", ZWV 152: IX. Agnus Dei II | Frieder Bernius, Tafelmusik, Kammerchor Stuttgart | — | |
| 50-1 | ''Hipocondrie'' à 7 concertanti in A major, ZWV 187 | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-2 | Concerto in D major: Vivace | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-3 | Concerto in D major: Andante | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-4 | Concerto in D major: Andante | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-5 | Concerto à 8 concertanti in G major, ZWV 186: Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-6 | Concerto à 8 concertanti in G major, ZWV 186: Largo | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-7 | Concerto à 8 concertanti in G major, ZWV 186: Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-8 | Sonata in C minor: Largo | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-9 | Sonata in C minor: Allegro | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-10 | ''Simphonie'' a 8 concertanti in A minor, ZWV 189: [] | Freiburger Barockorchester, Gottfried von der Goltz | T-106.550.241-0 | |
| 50-11 | ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Andante | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-12 | ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Capriccio. Tempo di gavotta | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-13 | ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Menuet I & II | Freiburger Barockorchester, Gottfried von der Goltz | — | |
| 50-14 | ''Simphonie'' a 8 concertanti in A minor, ZWV 189: Menuet I & II | Freiburger Barockorchester, Gottfried von der Goltz | — |
