UPC · Release
Charles Rosen
Last verified:
888430147621 is the Universal Product Code (UPC barcode) for the release “The Complete Columbia And Epic Album Collection” by Charles Rosen, released 2014-01-01 on Sony Classical. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 268 tracks, each with its own ISRC. Tracks include USSM16001245, USSM16001246, USSM16001247.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Gaspard de la Nuit M 55: 1. Ondine. Lent | — | ||
| 2 | Gaspard de la Nuit M 55: 2. Le Gibet. Très lent | — | ||
| 3 | Gaspard de la Nuit M 55: 3. Scarbo. Modéré | — | ||
| 4 | Le tombeau de Couperin, Suite for Piano M 68: 1. Prélude. Vif | — | ||
| 5 | Le tombeau de Couperin, Suite for Piano M 68: 2. Fugue. Allegro moderato | — | ||
| 6 | Le tombeau de Couperin, Suite for Piano M 68: 3. Forlane. Allegretto | — | ||
| 7 | Le tombeau de Couperin, Suite for Piano M 68: 4. Rigaudon. Assez vif | — | ||
| 8 | Le tombeau de Couperin, Suite for Piano M 68: 5. Menuet. Allegro moderato | — | ||
| 9 | Le tombeau de Couperin, Suite for Piano M 68: 6. Toccata | — | ||
| 2-1 | Ballade n° 4 in F minor, Op. 52. Andante con moto | — | ||
| 2-2 | Scherzo n° 3 in C-Sharp minor, Op. 39. Presto con fuoco | — | ||
| 2-3 | Polonaise n° 6 in A-Flat major, Op. 53 "Heroic". Maestoso | — | ||
| 2-4 | Mazurka n° 2 in C-Sharp minor, Op. 6 n° 2 | — | ||
| 2-5 | Mazurka n° 31 in A-Flat major, Op. 50 n° 2. Allegretto | — | ||
| 2-6 | Mazurka n° 32 in C-Sharp minor, Op. 50 n° 3. Moderato | — | ||
| 2-7 | Nocturne n° 8 in D-Flat major, Op. 27 n° 2. Lento sostenuto | — | ||
| 2-8 | Nocturne n° 2 in F-Sharp major, Op. 15 n° 2. Largetto | — | ||
| 2-9 | Nocturne n° 17 in B major, Op. 62 n° 1. Andante | — | ||
| 3-1 | Serenade in A for Piano - I. Hymne | — | ||
| 3-2 | Serenade in A for Piano - II. Romanza | — | ||
| 3-3 | Serenade in A for Piano - III. Rondoletto | — | ||
| 3-4 | Serenade in A for Piano - IV. Cadenza finala | — | ||
| 3-5 | Sonata for Piano: I | Charles Rosen | — | |
| 3-6 | Sonata for Piano: II | Charles Rosen | — | |
| 3-7 | Sonata for Piano: III | Charles Rosen | — | |
| 3-8 | Piano Piece Op. 33a - Mäßig | — | ||
| 3-9 | Piano Piece Op. 33a - Mäßig langsam | — | ||
| 3-10 | Suite for Piano Op. 25 - I. Präludium. Rasch | — | ||
| 3-11 | Suite for Piano Op. 25 - II. Gavotte. Etwas langsam, nicht hastig | — | ||
| 3-12 | Suite for Piano Op. 25 - III. Musette. Rascher | — | ||
| 3-13 | Suite for Piano Op. 25 - IV. Intermezzo | — | ||
| 3-14 | Suite for Piano Op. 25 - V. Menuett. Moderato - Trio | — | ||
| 3-15 | Suite for Piano Op. 25 - VI. Gigue. Rasch | — | ||
| 3-16 | Movements for Piano and Orchestra: I. ♪ = 110 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 3-17 | Movements for Piano and Orchestra: II. ♪ = 52 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 3-18 | Movements for Piano and Orchestra: III. ♪ = 72 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 3-19 | Movements for Piano and Orchestra: IV. ♪ = 80 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 3-20 | Movements for Piano and Orchestra: V. ♪ = 104 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 4-1 | Double Concerto for Harpsichord and Piano with Two Chamber Orchestras - I. Introduction - Cadenza for Harpsichord | — | ||
| 4-2 | Double Concerto for Harpsichord and Piano with Two Chamber Orchestras - II. Allegro scherzando - Adagio - Presto - Cadenzas for Piano | — | ||
| 4-3 | Double Concerto for Harpsichord and Piano with Two Chamber Orchestras - III. Coda | — | ||
| 4-4 | Concerto for Violin, Cello, Ten Winds & Percussion | — | ||
| 4-5 | Piano Sonata - I. Maestoso | — | ||
| 4-6 | Piano Sonata - II. Andante | — | ||
| 5-1 | Études pour le Piano, Book I - I. Pour les "cinq doigts" - d'après Monsieur Czerny. Sagement | — | ||
| 5-2 | Études pour le Piano, Book I - II. Pour les tierces - Moderato, ma non troppo | — | ||
| 5-3 | Études pour le Piano, Book I - III. Pour les quartes. Andantino con moto | — | ||
| 5-4 | Études pour le Piano, Book I - IV. Pour les sixtes. Lento | — | ||
| 5-5 | Études pour le Piano, Book I - V. Pour les octaves. Joyeux et emporté, librement rythmé | — | ||
| 5-6 | Études pour le Piano, Book II - VI. Pour les huit doigts. Vivamente, molto leggiero legato | — | ||
| 5-7 | Études pour le Piano, Book II - VII. Pour les degrés chromatiques. Scherzando, animato assai | — | ||
| 5-8 | Études pour le Piano, Book II - VIII. Pour les agréments. Lento, rubato e leggiero | — | ||
| 5-9 | Études pour le Piano, Book II - IX. Pour les notes répétées. Scherzando | — | ||
| 5-10 | Études pour le Piano, Book II - X. Pour les sonorités opposées. Modéré sans lenteur | — | ||
| 5-11 | Études pour le Piano, Book II - XI. Pour les arpèges composés. Dolce e lusingando | — | ||
| 5-12 | Études pour le Piano, Book II - XII. Pour les accords. Décidé, rythmé, sans lourdeur | — | ||
| 6-1 | Piano Sonata in A major, D 959 - I. Allegro | — | ||
| 6-2 | Piano Sonata in A major, D 959 - II. Andantino | — | ||
| 6-3 | Piano Sonata in A major, D 959 - III. Scherzo. Allegro vivace - Trio. Un poco più lento | — | ||
| 6-4 | Piano Sonata in A major, D 959 - IV. Rondo. Allegretto | — | ||
| 6-5 | Rondo in A minor, K 511. Andante | — | ||
| 7-1 | Davidsbündlertänze Op. 6, Book I. N° 1, Lebhaft | — | ||
| 7-2 | Davidsbündlertänze Op. 6, Book I. N° 2, Innig | — | ||
| 7-3 | Davidsbündlertänze Op. 6, Book I. N° 3, Mit Humor | — | ||
| 7-4 | Davidsbündlertänze Op. 6, Book I. N° 4, Ungeduldig | — | ||
| 7-5 | Davidsbündlertänze Op. 6, Book I. N° 5, Einfach | — | ||
| 7-6 | Davidsbündlertänze Op. 6, Book I. N° 6, Sehr rasch | — | ||
| 7-7 | Davidsbündlertänze Op. 6, Book I. N° 7, Nicht schnell | — | ||
| 7-8 | Davidsbündlertänze Op. 6, Book I. N° 8, Frisch | — | ||
| 7-9 | Davidsbündlertänze Op. 6, Book I. N° 9, Lebhaft | — | ||
| 7-10 | Davidsbündlertänze op. 6, Book II. N° 10, Balladenmäßig - Sehr rasch | — | ||
| 7-11 | Davidsbündlertänze op. 6, Book II. N° 11, Einfach | — | ||
| 7-12 | Davidsbündlertänze op. 6, Book II. N° 12, Mit Humor | — | ||
| 7-13 | Davidsbündlertänze op. 6, Book II. N° 13, Wild und lustig | — | ||
| 7-14 | Davidsbündlertänze op. 6, Book II. N° 14, Zart und singend | — | ||
| 7-15 | Davidsbündlertänze op. 6, Book II. N° 15, Frisch | — | ||
| 7-16 | Davidsbündlertänze op. 6, Book II. N° 16, Mit gutem Humor | — | ||
| 7-17 | Davidsbündlertänze op. 6, Book II. N° 17, Wie aus der Ferne | — | ||
| 7-18 | Davidsbündlertänze op. 6, Book II. N° 18, Nicht schnell | — | ||
| 7-19 | Carnaval Op. 9: Préambule. Quasi maestoso - Più moto - Animato - Vivo - Presto | — | ||
| 7-20 | Carnaval Op. 9: Pierrot. Moderato | — | ||
| 7-21 | Carnaval Op. 9: Arlequin. Vivo | — | ||
| 7-22 | Carnaval Op. 9: Valse noble. Un poco maestoso | — | ||
| 7-23 | Carnaval Op. 9: Eusebius. Adagio | — | ||
| 7-24 | Carnaval Op. 9: Florestan. Passionato | — | ||
| 7-25 | Carnaval Op. 9: Coquette. Vivo | — | ||
| 7-26 | Carnaval Op. 9: Réplique. L'istesso tempo - Sphinxes Nos. 1-3 | — | ||
| 7-27 | Carnaval Op. 9: Papillons. Prestissimo | — | ||
| 7-28 | Carnaval Op. 9: A.S.C.H.-S.C.H.A. (Lettres dansantes). Presto | — | ||
| 7-29 | Carnaval Op. 9: Chiarina. Passionato | — | ||
| 7-30 | Carnaval Op. 9: Chopin. Agitato | — | ||
| 7-31 | Carnaval Op. 9: Estrella. Con affetto | — | ||
| 7-32 | Carnaval Op. 9: Reconnaissance. Animato | — | ||
| 7-33 | Carnaval Op. 9: Pantalon et Colombine. Presto | — | ||
| 7-34 | Carnaval Op. 9: Valse allemande. Molto vivace | — | ||
| 7-35 | Carnaval Op. 9: Paganini. Intermezzo. Presto | — | ||
| 7-36 | Carnaval Op. 9: Aveu. Passionato | — | ||
| 7-37 | Carnaval Op. 9: Promenade. Comodo | — | ||
| 7-38 | Carnaval Op. 9: Pause. Vivo | — | ||
| 7-39 | Carnaval Op. 9: Marche des "Davidsbündler" contre les Philistins | — | ||
| 8-1 | Réminiscences de Don Juan, S 418 (Grande Fantaisie based on Themes from Mozart) | — | ||
| 8-2 | Sonetto 104 del Petrarca, S 161 (Années de Pélerinage, 2e Année 'Italie') | — | ||
| 8-3 | Hungarian Rhapsody n° 10 in E major, S 244. Preludio | — | ||
| 8-4 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - I. Molto moderato - attaca | — | ||
| 8-5 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - II. Molto capriccioso | — | ||
| 8-6 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - III. Lento, rubato - attaca | — | ||
| 8-7 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - IV. Allegretto scherzando | — | ||
| 8-8 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - V. Allegro molto | — | ||
| 8-9 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - VI. Allegro moderato, molto capriccioso | — | ||
| 8-10 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - VII. Sostenuto rubato. A la mémoire de Debussy - attaca | — | ||
| 8-11 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - VIII. Allegro | — | ||
| 8-12 | 3 Studies, Sz 72 (Op. 18) - N° 1. Allegro molto | — | ||
| 8-13 | 3 Studies, Sz 72 (Op. 18) - N° 2. Andante sostenuto | — | ||
| 8-14 | 3 Studies, Sz 72 (Op. 18) - N° 3. Rubato - Tempo giusto | — | ||
| 9-1 | Piano Sonata n° 31 in A-Flat Major, Op. 110 - I. Moderato cantabile molto espressivo | — | ||
| 9-2 | Piano Sonata n° 31 in A-Flat Major, Op. 110 - II. Allegro molto | — | ||
| 9-3 | Piano Sonata n° 31 in A-Flat Major, Op. 110 - III. Adagio ma non troppo - Fuga. Allegro ma non troppo | — | ||
| 9-4 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - I. Allegro | — | ||
| 9-5 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - II. Scherzo - Assai vivace | — | ||
| 9-6 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - III. Adagio Sostenuto. Appassionato e con molto sentimento | — | ||
| 9-7 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - IV. Largo - Allergo risoluto | — | ||
| 10-1 | Study on the Waltz Op. 64 n° 1 by Chopin 'Minute Waltz in Thirds' | — | ||
| 10-2 | Wein, Weib und Gesang (Symphonic Metamorphosis on Themes by Strauss n° 3) | — | ||
| 10-3 | Scherzo from 'A Midsummer Night's Dream' (arr. Rachmaninov) | — | ||
| 10-4 | Soirée de Vienne S 427 n° 6 (Valse-Caprice d'après Schubert) | — | ||
| 10-5 | Man lebt nur einmal (Valse-Caprice d'après Strauss n° 2) | — | ||
| 10-6 | Liebesleid (arr. Rachmaninov) | — | ||
| 10-7 | Minuet from l'Arlésienne Suite n° 1 (arr. Rachmaninov) | — | ||
| 10-8 | Carnaval de Vienne (Humoresque on Themes by Strauss) | — | ||
| 11-1 | Piano Concerto no. 2 in F minor, op. 21: I. Maestoso | — | ||
| 11-2 | Piano Concerto no. 2 in F minor, op. 21: II. Larghetto | — | ||
| 11-3 | Piano Concerto no. 2 in F minor, op. 21: III. Allegro vivace | — | ||
| 11-4 | Piano Concerto no. 1 in E-flat major: I. Allegro maestoso | — | ||
| 11-5 | Piano Concerto no. 1 in E-flat major: II. Quasi adadgio - Allegretto vivace - Allegro animato | — | ||
| 11-6 | Piano Concerto no. 1 in E-flat major: III. Allegro marziale animato | — | ||
| 12-1 | Images, Book I: I. Reflets dans l’eau | — | ||
| 12-2 | Images, Book I: II. Hommage à Rameau | — | ||
| 12-3 | Images, Book I: III. Mouvement | — | ||
| 12-4 | Images, Book II: I. Cloches a travers les feuilles | — | ||
| 12-5 | Images, Book II: II. Et la lune descend sur le temple qui fut | — | ||
| 12-6 | Images, Book II: III. Poissons d’or | — | ||
| 12-7 | Estampes: I. Pagodes | — | ||
| 12-8 | Estampes: II. La soirée dans grenade | — | ||
| 12-9 | Estampes: III. Jardins sous la pluie | — | ||
| 12-10 | La plus que lente | — | ||
| 12-11 | Hommage à Haydn | — | ||
| 12-12 | Berceuse Héroïque | — | ||
| 12-13 | L’isle joyeuse | — | ||
| 13-1 | Variations for Orchestra | — | ||
| 13-2 | Double Concerto for Harpsichord & Piano - Intoduction - I. Cadenza for Harpsichord | — | ||
| 13-3 | Double Concerto for Harpsichord & Piano - Intoduction - II. Allegro scherzando - Adagio - Presto - Cadenzas for Piano | — | ||
| 13-4 | Double Concerto for Harpsichord & Piano - Intoduction - III. Coda | — | ||
| 14-1 | Musikalische Opfer, BWV 179 - I. Ricercar a 6 | — | ||
| 14-2 | Musikalische Opfer, BWV 179 - II. Ricercar a 3 | — | ||
| 14-3 | Die Kunst der Fuge, BWV 1080 - Contrapunctus I | — | ||
| 14-4 | Die Kunst der Fuge, BWV 1080 - Contrapunctus II | — | ||
| 14-5 | Die Kunst der Fuge, BWV 1080 - Contrapunctus III | — | ||
| 14-6 | Die Kunst der Fuge, BWV 1080 - Contrapunctus IV | — | ||
| 14-7 | Die Kunst der Fuge, BWV 1080 - Contrapunctus IV | — | ||
| 14-8 | Die Kunst der Fuge, BWV 1080 - Contrapunctus VI, a 4, in Stile francese | — | ||
| 14-9 | Die Kunst der Fuge, BWV 1080 - Contrapunctus VII, a 4, per Augmentationem & Diminutionem | — | ||
| 15-1 | Die Kunst der Fuge, BWV 1080 - Contrapunctus VIII, a 3 | — | ||
| 15-2 | Die Kunst der Fuge, BWV 1080 - Contrapunctus, a 4 Alla Duodecima | — | ||
| 15-3 | Die Kunst der Fuge, BWV 1080 - Contrapunctus X, a 4 Alla Decima | — | ||
| 15-4 | Die Kunst der Fuge, BWV 1080 - Contrapunctus XI, a 4 | — | ||
| 15-5 | Die Kunst der Fuge, BWV 1080 - Contrapunctus XII, a 4 (rectus) | — | ||
| 15-6 | Die Kunst der Fuge, BWV 1080 - Contrapunctus XII, a 4 (inversus) | — | ||
| 15-7 | Die Kunst der Fuge, BWV 1080 - Contrapunctus XIII, a 3 (rectus) | — | ||
| 15-8 | Die Kunst der Fuge, BWV 1080 - Contrapunctus XIII, a 3 (inversus) | — | ||
| 15-9 | Die Kunst der Fuge, BWV 1080 - Canon Per Augmentationem in contrario motu | — | ||
| 15-10 | Die Kunst der Fuge, BWV 1080 - Canon alla Ottava | — | ||
| 15-11 | Die Kunst der Fuge, BWV 1080 - Canon alla Decima in Contrapunto alla Terza | — | ||
| 15-12 | Die Kunst der Fuge, BWV 1080 - Canon alla Duodecima in Contrapunto alla Quinta | — | ||
| 15-13 | Die Kunst der Fuge, BWV 1080 - Contrapunctus XIV, a 4 (Fragment) | — | ||
| 16-1 | Goldberg-Variationen, BWV 988: Aria | Charles Rosen | T-902.128.688-4 | |
| 16-2 | Goldberg-Variationen, BWV 988: Var. 1 a 1 Clav. | — | ||
| 16-3 | Goldberg-Variationen, BWV 988: Var. 2 a 1 Clav. | — | ||
| 16-4 | Goldberg-Variationen, BWV 988: Var. 3. Canone all'Unisono a 1 Clav. | — | ||
| 16-5 | Goldberg-Variationen, BWV 988: Var. 4 a 1 Clav. | — | ||
| 16-6 | Goldberg-Variationen, BWV 988: Var. 5 a 1 ovvero 2 Clav. | — | ||
| 16-7 | Goldberg-Variationen, BWV 988: Var. 6. Canone alla Seconda a 1 Clav. | — | ||
| 16-8 | Goldberg-Variationen, BWV 988: Var. 7 a 1 ovvero 2 Clav. | — | ||
| 16-9 | Goldberg-Variationen, BWV 988: Var. 8 a 2 Clav. | — | ||
| 16-10 | Goldberg-Variationen, BWV 988: Var. 9. Canone alla Terza a 1 Clav. | — | ||
| 16-11 | Goldberg-Variationen, BWV 988: Var. 10. Fughetta a 1 Clav. | — | ||
| 16-12 | Goldberg-Variationen, BWV 988: Var. 11 a 2 Clav. | — | ||
| 16-13 | Goldberg-Variationen, BWV 988: Var. 12. Canone alla Quarta | — | ||
| 16-14 | Goldberg-Variationen, BWV 988: Var. 13 a 2 Clav. | — | ||
| 16-15 | Goldberg-Variationen, BWV 988: Var. 14 a 2 Clav. | — | ||
| 16-16 | Goldberg-Variationen, BWV 988: Var. 15. Canone alla Quinta in moto contrario a 1 Clav. Andante | — | ||
| 16-17 | Goldberg-Variationen, BWV 988: Var. 16. Ouverture a 1 Clav. | — | ||
| 16-18 | Goldberg-Variationen, BWV 988: Var. 17 a 2 Clav. | — | ||
| 16-19 | Goldberg-Variationen, BWV 988: Var. 18. Canone alla Sesta a 1 Clav. | — | ||
| 16-20 | Goldberg-Variationen, BWV 988: Var. 19 a 1 Clav. | — | ||
| 16-21 | Goldberg-Variationen, BWV 988: Var. 20 a 2 Clav. | — | ||
| 16-22 | Goldberg-Variationen, BWV 988: Var. 21. Canone alla Settima | — | ||
| 16-23 | Goldberg-Variationen, BWV 988: Var. 22. Alla breve a 1 Clav. | — | ||
| 16-24 | Goldberg-Variationen, BWV 988: Var. 23 a 2 Clav. | — | ||
| 16-25 | Goldberg-Variationen, BWV 988: Var. 24. Canone all'Ottava a 1 Clav. | — | ||
| 16-26 | Goldberg-Variationen, BWV 988: Var. 25 a 2 Clav. | — | ||
| 16-27 | Goldberg-Variationen, BWV 988: Var. 26 a 2 Clav. | — | ||
| 16-28 | Goldberg-Variationen, BWV 988: Var. 27. Canone alla Nona | — | ||
| 16-29 | Goldberg-Variationen, BWV 988: Var. 28 a 2 Clav. | — | ||
| 16-30 | Goldberg-Variationen, BWV 988: Var. 29 a 1 ovvero 2 Clav. | — | ||
| 16-31 | Goldberg-Variationen, BWV 988: Var. 30. Quodlibet a 1 Clav. | — | ||
| 16-32 | Goldberg-Variationen, BWV 988: Aria da capo | — | ||
| 17-1 | Sonata for Piano in C minor, Hob. XVI:20: I. Moderato | — | ||
| 17-2 | Sonata for Piano in C minor, Hob. XVI:20: II. Andante con moto | — | ||
| 17-3 | Sonata for Piano in C minor, Hob. XVI:20: III. Finale. Allegro | — | ||
| 17-4 | Sonata for Piano in A-flat major, Hob. XVI:46: I. Allegro moderato | — | ||
| 17-5 | Sonata for Piano in A-flat major, Hob. XVI:46: II. Adagio | — | ||
| 17-6 | Sonata for Piano in A-flat major, Hob. XVI:46: III. Finale. Presto | — | ||
| 17-7 | Sonata for Piano in G minor, Hob. XVI:44: I. Moderato | — | ||
| 17-8 | Sonata for Piano in G minor, Hob. XVI:44: II. Allegretto | — | ||
| 18-1 | Piano Sonata n° 27 in E Minor, Op. 90 - I. Mit Lebhaftigkeit und Durchaus Mit Empfindung und Ausdruck | — | ||
| 18-2 | Piano Sonata n° 27 in E Minor, Op. 90 - II. Nicht Zu Geschwind und Sehr Singbar Vorzutragen | — | ||
| 18-3 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - I. Allegro | — | ||
| 18-4 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - II. Scherzo. Assai Vivace | — | ||
| 18-5 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - III. Adagio Sostenuto. Appassionato E Con Molto Sentimento | — | ||
| 18-6 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - IV. Largo - Allegro Resoluto | — | ||
| 18-7 | Piano Sonata n° 28 in A Major, Op. 101 - I. Etwas Lebhaft und Mit Der Innigsten Empfindung. Allegretto Ma Non Troppo | — | ||
| 18-8 | Piano Sonata n° 28 in A Major, Op. 101 - II. Lebhaft, marschmäßig. Vivace alla marcia | — | ||
| 18-9 | Piano Sonata n° 28 in A Major, Op. 101 - III. Langsam und Sehnsuchtsvoll. Adagio Ma Non Troppo, Con Affetto | — | ||
| 18-10 | Piano Sonata n° 28 in A Major, Op. 101 - IV. Geschwind, Doch Nicht Zu Sehr und Mit Entschlossenheit. Allegro | — | ||
| 19-1 | Sonata for Piano no. 30 in E major, op. 109: I. Vivace, ma non troppo | — | ||
| 19-2 | Sonata for Piano no. 30 in E major, op. 109: II. Prestissimo | — | ||
| 19-3 | Sonata for Piano no. 30 in E major, op. 109: III. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo | — | ||
| 19-4 | Sonata for Piano no. 31 in A-flat major, op. 110: I. Moderato cantabile molto espressivo | — | ||
| 19-5 | Sonata for Piano no. 31 in A-flat major, op. 110: II. Allegro molto | — | ||
| 19-6 | Sonata for Piano no. 31 in A-flat major, op. 110: III. Adagio, ma non troppo - Fuga. Allegro ma non troppo | — | ||
| 19-7 | Sonata for Piano no. 32 in C minor, op. 111: I. Maestoso - Allegro con brio ed appassionato | — | ||
| 19-8 | Sonata for Piano no. 32 in C minor, op. 111: II. Arietta. Adagio molto semplice e cantabile | — | ||
| 20-1 | Piano Sonata n° 1 - I. Lent - Beaucoup plus allant | — | ||
| 20-2 | Piano Sonata n° 1 - II. Assez large - Rapide | — | ||
| 20-3 | Piano Sonata n° 3 - Trope | — | ||
| 20-4 | Constellation-Miroir | — | ||
| 21-1 | 5 Lieder from Der Siebente Ring by Stefan George, Op. 3 - I. Dies ist ein Lied für dich allein | — | ||
| 21-2 | 5 Lieder from Der Siebente Ring by Stefan George, Op. 3 - II. Im Windesweben | — | ||
| 21-3 | 5 Lieder from Der Siebente Ring by Stefan George, Op. 3 - III. An Baches Ranft | — | ||
| 21-4 | 5 Lieder from Der Siebente Ring by Stefan George, Op. 3 - IV. Im Morgentaun | — | ||
| 21-5 | 5 Lieder from Der Siebente Ring by Stefan George, Op. 3 - V. Kahl reckt der Baum | — | ||
| 21-6 | 5 Lieder after Poems by Stefan George, Op. 4 - I. Eingang | — | ||
| 21-7 | 5 Lieder after Poems by Stefan George, Op. 4 - II. Noch zwingt mich Treue | — | ||
| 21-8 | 5 Lieder after Poems by Stefan George, Op. 4 - III. Ja Heil und Dank dir | — | ||
| 21-9 | 5 Lieder after Poems by Stefan George, Op. 4 - IV. So ich traurig bin | — | ||
| 21-10 | 5 Lieder after Poems by Stefan George, Op. 4 - V. Ihr tratet zu dem Herde | — | ||
| 21-11 | 4 Pieces for Violin and Piano, Op. 7 - I. Sehr langsam | — | ||
| 21-12 | 4 Pieces for Violin and Piano, Op. 7 - II. Rasch | — | ||
| 21-13 | 4 Pieces for Violin and Piano, Op. 7 - III. Sehr langsam | — | ||
| 21-14 | 4 Pieces for Violin and Piano, Op. 7 - IV. Bewegt | — | ||
| 21-15 | 3 Little Pieces for Cello and Piano, Op. 11 - I. Mäßige Achtel | — | ||
| 21-16 | 3 Little Pieces for Cello and Piano, Op. 11 - II. Sehr bewegt | — | ||
| 21-17 | 3 Little Pieces for Cello and Piano, Op. 11 - III. Äußerst ruhig | — | ||
| 21-18 | 4 Lieder, Op. 12 - I. Der Tag ist vergangen | — | ||
| 21-19 | 4 Lieder, Op. 12 - II. Die geheimnisvolle Flöte | — | ||
| 21-20 | 4 Lieder, Op. 12 - III. Schien mir's, als ich sah die Sonne | — | ||
| 21-21 | 4 Lieder, Op. 12 - IV. Gleich und gleich | — | ||
| 21-22 | Quartet for Violin, Clarinet, Tenor Saxophone and Piano, Op. 22 - I. Sehr mäßig | — | ||
| 21-23 | Quartet for Violin, Clarinet, Tenor Saxophone and Piano, Op. 22 - II. Sehr schwungvoll | — | ||
| 21-24 | 3 Lieder from Viae inviae by Hildegard Jone, Op. 23 - I. Das Dunkle Herz | — | ||
| 21-25 | 3 Lieder from Viae inviae by Hildegard Jone, Op. 23 - II. Es stürzt aus Höhen Frische | — | ||
| 21-26 | 3 Lieder from Viae inviae by Hildegard Jone, Op. 23 - III. Herr Jesus mein | — | ||
| 21-27 | 3 Lieder after Poems by Hildegard Jone, Op. 25 - I. Wie bin ich froh! | — | ||
| 21-28 | 3 Lieder after Poems by Hildegard Jone, Op. 25 - II. Des Herzens Purpurvogel | — | ||
| 21-29 | 3 Lieder after Poems by Hildegard Jone, Op. 25 - III. Sterne, Ihr silbernen Bienen | — | ||
| 21-30 | Variations for Piano, Op. 27 - I. Sehr mässig | — | ||
| 21-31 | Variations for Piano, Op. 27 - II. Sehr schnell | — | ||
| 21-32 | Variations for Piano, Op. 27 - III. Ruhig fliessend | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Identifier Graph
888430147621 is a Universal Product Code (UPC) assigned to The Complete Columbia And Epic Album Collection by Charles Rosen. 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 268 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
888430147621 is the Universal Product Code (UPC barcode) for the release “The Complete Columbia And Epic Album Collection” by Charles Rosen, released 2014-01-01 on Sony Classical. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 268 tracks, each with its own ISRC. Tracks include USSM16001245, USSM16001246, USSM16001247.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Gaspard de la Nuit M 55: 1. Ondine. Lent | — | ||
| 2 | Gaspard de la Nuit M 55: 2. Le Gibet. Très lent | — | ||
| 3 | Gaspard de la Nuit M 55: 3. Scarbo. Modéré | — | ||
| 4 | Le tombeau de Couperin, Suite for Piano M 68: 1. Prélude. Vif | — | ||
| 5 | Le tombeau de Couperin, Suite for Piano M 68: 2. Fugue. Allegro moderato | — | ||
| 6 | Le tombeau de Couperin, Suite for Piano M 68: 3. Forlane. Allegretto | — | ||
| 7 | Le tombeau de Couperin, Suite for Piano M 68: 4. Rigaudon. Assez vif | — | ||
| 8 | Le tombeau de Couperin, Suite for Piano M 68: 5. Menuet. Allegro moderato | — | ||
| 9 | Le tombeau de Couperin, Suite for Piano M 68: 6. Toccata | — | ||
| 2-1 | Ballade n° 4 in F minor, Op. 52. Andante con moto | — | ||
| 2-2 | Scherzo n° 3 in C-Sharp minor, Op. 39. Presto con fuoco | — | ||
| 2-3 | Polonaise n° 6 in A-Flat major, Op. 53 "Heroic". Maestoso | — | ||
| 2-4 | Mazurka n° 2 in C-Sharp minor, Op. 6 n° 2 | — | ||
| 2-5 | Mazurka n° 31 in A-Flat major, Op. 50 n° 2. Allegretto | — | ||
| 2-6 | Mazurka n° 32 in C-Sharp minor, Op. 50 n° 3. Moderato | — | ||
| 2-7 | Nocturne n° 8 in D-Flat major, Op. 27 n° 2. Lento sostenuto | — | ||
| 2-8 | Nocturne n° 2 in F-Sharp major, Op. 15 n° 2. Largetto | — | ||
| 2-9 | Nocturne n° 17 in B major, Op. 62 n° 1. Andante | — | ||
| 3-1 | Serenade in A for Piano - I. Hymne | — | ||
| 3-2 | Serenade in A for Piano - II. Romanza | — | ||
| 3-3 | Serenade in A for Piano - III. Rondoletto | — | ||
| 3-4 | Serenade in A for Piano - IV. Cadenza finala | — | ||
| 3-5 | Sonata for Piano: I | Charles Rosen | — | |
| 3-6 | Sonata for Piano: II | Charles Rosen | — | |
| 3-7 | Sonata for Piano: III | Charles Rosen | — | |
| 3-8 | Piano Piece Op. 33a - Mäßig | — | ||
| 3-9 | Piano Piece Op. 33a - Mäßig langsam | — | ||
| 3-10 | Suite for Piano Op. 25 - I. Präludium. Rasch | — | ||
| 3-11 | Suite for Piano Op. 25 - II. Gavotte. Etwas langsam, nicht hastig | — | ||
| 3-12 | Suite for Piano Op. 25 - III. Musette. Rascher | — | ||
| 3-13 | Suite for Piano Op. 25 - IV. Intermezzo | — | ||
| 3-14 | Suite for Piano Op. 25 - V. Menuett. Moderato - Trio | — | ||
| 3-15 | Suite for Piano Op. 25 - VI. Gigue. Rasch | — | ||
| 3-16 | Movements for Piano and Orchestra: I. ♪ = 110 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 3-17 | Movements for Piano and Orchestra: II. ♪ = 52 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 3-18 | Movements for Piano and Orchestra: III. ♪ = 72 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 3-19 | Movements for Piano and Orchestra: IV. ♪ = 80 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 3-20 | Movements for Piano and Orchestra: V. ♪ = 104 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 4-1 | Double Concerto for Harpsichord and Piano with Two Chamber Orchestras - I. Introduction - Cadenza for Harpsichord | — | ||
| 4-2 | Double Concerto for Harpsichord and Piano with Two Chamber Orchestras - II. Allegro scherzando - Adagio - Presto - Cadenzas for Piano | — | ||
| 4-3 | Double Concerto for Harpsichord and Piano with Two Chamber Orchestras - III. Coda | — | ||
| 4-4 | Concerto for Violin, Cello, Ten Winds & Percussion | — | ||
| 4-5 | Piano Sonata - I. Maestoso | — | ||
| 4-6 | Piano Sonata - II. Andante | — | ||
| 5-1 | Études pour le Piano, Book I - I. Pour les "cinq doigts" - d'après Monsieur Czerny. Sagement | — | ||
| 5-2 | Études pour le Piano, Book I - II. Pour les tierces - Moderato, ma non troppo | — | ||
| 5-3 | Études pour le Piano, Book I - III. Pour les quartes. Andantino con moto | — | ||
| 5-4 | Études pour le Piano, Book I - IV. Pour les sixtes. Lento | — | ||
| 5-5 | Études pour le Piano, Book I - V. Pour les octaves. Joyeux et emporté, librement rythmé | — | ||
| 5-6 | Études pour le Piano, Book II - VI. Pour les huit doigts. Vivamente, molto leggiero legato | — | ||
| 5-7 | Études pour le Piano, Book II - VII. Pour les degrés chromatiques. Scherzando, animato assai | — | ||
| 5-8 | Études pour le Piano, Book II - VIII. Pour les agréments. Lento, rubato e leggiero | — | ||
| 5-9 | Études pour le Piano, Book II - IX. Pour les notes répétées. Scherzando | — | ||
| 5-10 | Études pour le Piano, Book II - X. Pour les sonorités opposées. Modéré sans lenteur | — | ||
| 5-11 | Études pour le Piano, Book II - XI. Pour les arpèges composés. Dolce e lusingando | — | ||
| 5-12 | Études pour le Piano, Book II - XII. Pour les accords. Décidé, rythmé, sans lourdeur | — | ||
| 6-1 | Piano Sonata in A major, D 959 - I. Allegro | — | ||
| 6-2 | Piano Sonata in A major, D 959 - II. Andantino | — | ||
| 6-3 | Piano Sonata in A major, D 959 - III. Scherzo. Allegro vivace - Trio. Un poco più lento | — | ||
| 6-4 | Piano Sonata in A major, D 959 - IV. Rondo. Allegretto | — | ||
| 6-5 | Rondo in A minor, K 511. Andante | — | ||
| 7-1 | Davidsbündlertänze Op. 6, Book I. N° 1, Lebhaft | — | ||
| 7-2 | Davidsbündlertänze Op. 6, Book I. N° 2, Innig | — | ||
| 7-3 | Davidsbündlertänze Op. 6, Book I. N° 3, Mit Humor | — | ||
| 7-4 | Davidsbündlertänze Op. 6, Book I. N° 4, Ungeduldig | — | ||
| 7-5 | Davidsbündlertänze Op. 6, Book I. N° 5, Einfach | — | ||
| 7-6 | Davidsbündlertänze Op. 6, Book I. N° 6, Sehr rasch | — | ||
| 7-7 | Davidsbündlertänze Op. 6, Book I. N° 7, Nicht schnell | — | ||
| 7-8 | Davidsbündlertänze Op. 6, Book I. N° 8, Frisch | — | ||
| 7-9 | Davidsbündlertänze Op. 6, Book I. N° 9, Lebhaft | — | ||
| 7-10 | Davidsbündlertänze op. 6, Book II. N° 10, Balladenmäßig - Sehr rasch | — | ||
| 7-11 | Davidsbündlertänze op. 6, Book II. N° 11, Einfach | — | ||
| 7-12 | Davidsbündlertänze op. 6, Book II. N° 12, Mit Humor | — | ||
| 7-13 | Davidsbündlertänze op. 6, Book II. N° 13, Wild und lustig | — | ||
| 7-14 | Davidsbündlertänze op. 6, Book II. N° 14, Zart und singend | — | ||
| 7-15 | Davidsbündlertänze op. 6, Book II. N° 15, Frisch | — | ||
| 7-16 | Davidsbündlertänze op. 6, Book II. N° 16, Mit gutem Humor | — | ||
| 7-17 | Davidsbündlertänze op. 6, Book II. N° 17, Wie aus der Ferne | — | ||
| 7-18 | Davidsbündlertänze op. 6, Book II. N° 18, Nicht schnell | — | ||
| 7-19 | Carnaval Op. 9: Préambule. Quasi maestoso - Più moto - Animato - Vivo - Presto | — | ||
| 7-20 | Carnaval Op. 9: Pierrot. Moderato | — | ||
| 7-21 | Carnaval Op. 9: Arlequin. Vivo | — | ||
| 7-22 | Carnaval Op. 9: Valse noble. Un poco maestoso | — | ||
| 7-23 | Carnaval Op. 9: Eusebius. Adagio | — | ||
| 7-24 | Carnaval Op. 9: Florestan. Passionato | — | ||
| 7-25 | Carnaval Op. 9: Coquette. Vivo | — | ||
| 7-26 | Carnaval Op. 9: Réplique. L'istesso tempo - Sphinxes Nos. 1-3 | — | ||
| 7-27 | Carnaval Op. 9: Papillons. Prestissimo | — | ||
| 7-28 | Carnaval Op. 9: A.S.C.H.-S.C.H.A. (Lettres dansantes). Presto | — | ||
| 7-29 | Carnaval Op. 9: Chiarina. Passionato | — | ||
| 7-30 | Carnaval Op. 9: Chopin. Agitato | — | ||
| 7-31 | Carnaval Op. 9: Estrella. Con affetto | — | ||
| 7-32 | Carnaval Op. 9: Reconnaissance. Animato | — | ||
| 7-33 | Carnaval Op. 9: Pantalon et Colombine. Presto | — | ||
| 7-34 | Carnaval Op. 9: Valse allemande. Molto vivace | — | ||
| 7-35 | Carnaval Op. 9: Paganini. Intermezzo. Presto | — | ||
| 7-36 | Carnaval Op. 9: Aveu. Passionato | — | ||
| 7-37 | Carnaval Op. 9: Promenade. Comodo | — | ||
| 7-38 | Carnaval Op. 9: Pause. Vivo | — | ||
| 7-39 | Carnaval Op. 9: Marche des "Davidsbündler" contre les Philistins | — | ||
| 8-1 | Réminiscences de Don Juan, S 418 (Grande Fantaisie based on Themes from Mozart) | — | ||
| 8-2 | Sonetto 104 del Petrarca, S 161 (Années de Pélerinage, 2e Année 'Italie') | — | ||
| 8-3 | Hungarian Rhapsody n° 10 in E major, S 244. Preludio | — | ||
| 8-4 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - I. Molto moderato - attaca | — | ||
| 8-5 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - II. Molto capriccioso | — | ||
| 8-6 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - III. Lento, rubato - attaca | — | ||
| 8-7 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - IV. Allegretto scherzando | — | ||
| 8-8 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - V. Allegro molto | — | ||
| 8-9 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - VI. Allegro moderato, molto capriccioso | — | ||
| 8-10 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - VII. Sostenuto rubato. A la mémoire de Debussy - attaca | — | ||
| 8-11 | Improvisations on Hungarian Peasant Songs, Sz 74 (Op. 20) - VIII. Allegro | — | ||
| 8-12 | 3 Studies, Sz 72 (Op. 18) - N° 1. Allegro molto | — | ||
| 8-13 | 3 Studies, Sz 72 (Op. 18) - N° 2. Andante sostenuto | — | ||
| 8-14 | 3 Studies, Sz 72 (Op. 18) - N° 3. Rubato - Tempo giusto | — | ||
| 9-1 | Piano Sonata n° 31 in A-Flat Major, Op. 110 - I. Moderato cantabile molto espressivo | — | ||
| 9-2 | Piano Sonata n° 31 in A-Flat Major, Op. 110 - II. Allegro molto | — | ||
| 9-3 | Piano Sonata n° 31 in A-Flat Major, Op. 110 - III. Adagio ma non troppo - Fuga. Allegro ma non troppo | — | ||
| 9-4 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - I. Allegro | — | ||
| 9-5 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - II. Scherzo - Assai vivace | — | ||
| 9-6 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - III. Adagio Sostenuto. Appassionato e con molto sentimento | — | ||
| 9-7 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - IV. Largo - Allergo risoluto | — | ||
| 10-1 | Study on the Waltz Op. 64 n° 1 by Chopin 'Minute Waltz in Thirds' | — | ||
| 10-2 | Wein, Weib und Gesang (Symphonic Metamorphosis on Themes by Strauss n° 3) | — | ||
| 10-3 | Scherzo from 'A Midsummer Night's Dream' (arr. Rachmaninov) | — | ||
| 10-4 | Soirée de Vienne S 427 n° 6 (Valse-Caprice d'après Schubert) | — | ||
| 10-5 | Man lebt nur einmal (Valse-Caprice d'après Strauss n° 2) | — | ||
| 10-6 | Liebesleid (arr. Rachmaninov) | — | ||
| 10-7 | Minuet from l'Arlésienne Suite n° 1 (arr. Rachmaninov) | — | ||
| 10-8 | Carnaval de Vienne (Humoresque on Themes by Strauss) | — | ||
| 11-1 | Piano Concerto no. 2 in F minor, op. 21: I. Maestoso | — | ||
| 11-2 | Piano Concerto no. 2 in F minor, op. 21: II. Larghetto | — | ||
| 11-3 | Piano Concerto no. 2 in F minor, op. 21: III. Allegro vivace | — | ||
| 11-4 | Piano Concerto no. 1 in E-flat major: I. Allegro maestoso | — | ||
| 11-5 | Piano Concerto no. 1 in E-flat major: II. Quasi adadgio - Allegretto vivace - Allegro animato | — | ||
| 11-6 | Piano Concerto no. 1 in E-flat major: III. Allegro marziale animato | — | ||
| 12-1 | Images, Book I: I. Reflets dans l’eau | — | ||
| 12-2 | Images, Book I: II. Hommage à Rameau | — | ||
| 12-3 | Images, Book I: III. Mouvement | — | ||
| 12-4 | Images, Book II: I. Cloches a travers les feuilles | — | ||
| 12-5 | Images, Book II: II. Et la lune descend sur le temple qui fut | — | ||
| 12-6 | Images, Book II: III. Poissons d’or | — | ||
| 12-7 | Estampes: I. Pagodes | — | ||
| 12-8 | Estampes: II. La soirée dans grenade | — | ||
| 12-9 | Estampes: III. Jardins sous la pluie | — | ||
| 12-10 | La plus que lente | — | ||
| 12-11 | Hommage à Haydn | — | ||
| 12-12 | Berceuse Héroïque | — | ||
| 12-13 | L’isle joyeuse | — | ||
| 13-1 | Variations for Orchestra | — | ||
| 13-2 | Double Concerto for Harpsichord & Piano - Intoduction - I. Cadenza for Harpsichord | — | ||
| 13-3 | Double Concerto for Harpsichord & Piano - Intoduction - II. Allegro scherzando - Adagio - Presto - Cadenzas for Piano | — | ||
| 13-4 | Double Concerto for Harpsichord & Piano - Intoduction - III. Coda | — | ||
| 14-1 | Musikalische Opfer, BWV 179 - I. Ricercar a 6 | — | ||
| 14-2 | Musikalische Opfer, BWV 179 - II. Ricercar a 3 | — | ||
| 14-3 | Die Kunst der Fuge, BWV 1080 - Contrapunctus I | — | ||
| 14-4 | Die Kunst der Fuge, BWV 1080 - Contrapunctus II | — | ||
| 14-5 | Die Kunst der Fuge, BWV 1080 - Contrapunctus III | — | ||
| 14-6 | Die Kunst der Fuge, BWV 1080 - Contrapunctus IV | — | ||
| 14-7 | Die Kunst der Fuge, BWV 1080 - Contrapunctus IV | — | ||
| 14-8 | Die Kunst der Fuge, BWV 1080 - Contrapunctus VI, a 4, in Stile francese | — | ||
| 14-9 | Die Kunst der Fuge, BWV 1080 - Contrapunctus VII, a 4, per Augmentationem & Diminutionem | — | ||
| 15-1 | Die Kunst der Fuge, BWV 1080 - Contrapunctus VIII, a 3 | — | ||
| 15-2 | Die Kunst der Fuge, BWV 1080 - Contrapunctus, a 4 Alla Duodecima | — | ||
| 15-3 | Die Kunst der Fuge, BWV 1080 - Contrapunctus X, a 4 Alla Decima | — | ||
| 15-4 | Die Kunst der Fuge, BWV 1080 - Contrapunctus XI, a 4 | — | ||
| 15-5 | Die Kunst der Fuge, BWV 1080 - Contrapunctus XII, a 4 (rectus) | — | ||
| 15-6 | Die Kunst der Fuge, BWV 1080 - Contrapunctus XII, a 4 (inversus) | — | ||
| 15-7 | Die Kunst der Fuge, BWV 1080 - Contrapunctus XIII, a 3 (rectus) | — | ||
| 15-8 | Die Kunst der Fuge, BWV 1080 - Contrapunctus XIII, a 3 (inversus) | — | ||
| 15-9 | Die Kunst der Fuge, BWV 1080 - Canon Per Augmentationem in contrario motu | — | ||
| 15-10 | Die Kunst der Fuge, BWV 1080 - Canon alla Ottava | — | ||
| 15-11 | Die Kunst der Fuge, BWV 1080 - Canon alla Decima in Contrapunto alla Terza | — | ||
| 15-12 | Die Kunst der Fuge, BWV 1080 - Canon alla Duodecima in Contrapunto alla Quinta | — | ||
| 15-13 | Die Kunst der Fuge, BWV 1080 - Contrapunctus XIV, a 4 (Fragment) | — | ||
| 16-1 | Goldberg-Variationen, BWV 988: Aria | Charles Rosen | T-902.128.688-4 | |
| 16-2 | Goldberg-Variationen, BWV 988: Var. 1 a 1 Clav. | — | ||
| 16-3 | Goldberg-Variationen, BWV 988: Var. 2 a 1 Clav. | — | ||
| 16-4 | Goldberg-Variationen, BWV 988: Var. 3. Canone all'Unisono a 1 Clav. | — | ||
| 16-5 | Goldberg-Variationen, BWV 988: Var. 4 a 1 Clav. | — | ||
| 16-6 | Goldberg-Variationen, BWV 988: Var. 5 a 1 ovvero 2 Clav. | — | ||
| 16-7 | Goldberg-Variationen, BWV 988: Var. 6. Canone alla Seconda a 1 Clav. | — | ||
| 16-8 | Goldberg-Variationen, BWV 988: Var. 7 a 1 ovvero 2 Clav. | — | ||
| 16-9 | Goldberg-Variationen, BWV 988: Var. 8 a 2 Clav. | — | ||
| 16-10 | Goldberg-Variationen, BWV 988: Var. 9. Canone alla Terza a 1 Clav. | — | ||
| 16-11 | Goldberg-Variationen, BWV 988: Var. 10. Fughetta a 1 Clav. | — | ||
| 16-12 | Goldberg-Variationen, BWV 988: Var. 11 a 2 Clav. | — | ||
| 16-13 | Goldberg-Variationen, BWV 988: Var. 12. Canone alla Quarta | — | ||
| 16-14 | Goldberg-Variationen, BWV 988: Var. 13 a 2 Clav. | — | ||
| 16-15 | Goldberg-Variationen, BWV 988: Var. 14 a 2 Clav. | — | ||
| 16-16 | Goldberg-Variationen, BWV 988: Var. 15. Canone alla Quinta in moto contrario a 1 Clav. Andante | — | ||
| 16-17 | Goldberg-Variationen, BWV 988: Var. 16. Ouverture a 1 Clav. | — | ||
| 16-18 | Goldberg-Variationen, BWV 988: Var. 17 a 2 Clav. | — | ||
| 16-19 | Goldberg-Variationen, BWV 988: Var. 18. Canone alla Sesta a 1 Clav. | — | ||
| 16-20 | Goldberg-Variationen, BWV 988: Var. 19 a 1 Clav. | — | ||
| 16-21 | Goldberg-Variationen, BWV 988: Var. 20 a 2 Clav. | — | ||
| 16-22 | Goldberg-Variationen, BWV 988: Var. 21. Canone alla Settima | — | ||
| 16-23 | Goldberg-Variationen, BWV 988: Var. 22. Alla breve a 1 Clav. | — | ||
| 16-24 | Goldberg-Variationen, BWV 988: Var. 23 a 2 Clav. | — | ||
| 16-25 | Goldberg-Variationen, BWV 988: Var. 24. Canone all'Ottava a 1 Clav. | — | ||
| 16-26 | Goldberg-Variationen, BWV 988: Var. 25 a 2 Clav. | — | ||
| 16-27 | Goldberg-Variationen, BWV 988: Var. 26 a 2 Clav. | — | ||
| 16-28 | Goldberg-Variationen, BWV 988: Var. 27. Canone alla Nona | — | ||
| 16-29 | Goldberg-Variationen, BWV 988: Var. 28 a 2 Clav. | — | ||
| 16-30 | Goldberg-Variationen, BWV 988: Var. 29 a 1 ovvero 2 Clav. | — | ||
| 16-31 | Goldberg-Variationen, BWV 988: Var. 30. Quodlibet a 1 Clav. | — | ||
| 16-32 | Goldberg-Variationen, BWV 988: Aria da capo | — | ||
| 17-1 | Sonata for Piano in C minor, Hob. XVI:20: I. Moderato | — | ||
| 17-2 | Sonata for Piano in C minor, Hob. XVI:20: II. Andante con moto | — | ||
| 17-3 | Sonata for Piano in C minor, Hob. XVI:20: III. Finale. Allegro | — | ||
| 17-4 | Sonata for Piano in A-flat major, Hob. XVI:46: I. Allegro moderato | — | ||
| 17-5 | Sonata for Piano in A-flat major, Hob. XVI:46: II. Adagio | — | ||
| 17-6 | Sonata for Piano in A-flat major, Hob. XVI:46: III. Finale. Presto | — | ||
| 17-7 | Sonata for Piano in G minor, Hob. XVI:44: I. Moderato | — | ||
| 17-8 | Sonata for Piano in G minor, Hob. XVI:44: II. Allegretto | — | ||
| 18-1 | Piano Sonata n° 27 in E Minor, Op. 90 - I. Mit Lebhaftigkeit und Durchaus Mit Empfindung und Ausdruck | — | ||
| 18-2 | Piano Sonata n° 27 in E Minor, Op. 90 - II. Nicht Zu Geschwind und Sehr Singbar Vorzutragen | — | ||
| 18-3 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - I. Allegro | — | ||
| 18-4 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - II. Scherzo. Assai Vivace | — | ||
| 18-5 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - III. Adagio Sostenuto. Appassionato E Con Molto Sentimento | — | ||
| 18-6 | Piano Sonata n° 29 in B-Flat Major, Op. 106 "Hammerklavier" - IV. Largo - Allegro Resoluto | — | ||
| 18-7 | Piano Sonata n° 28 in A Major, Op. 101 - I. Etwas Lebhaft und Mit Der Innigsten Empfindung. Allegretto Ma Non Troppo | — | ||
| 18-8 | Piano Sonata n° 28 in A Major, Op. 101 - II. Lebhaft, marschmäßig. Vivace alla marcia | — | ||
| 18-9 | Piano Sonata n° 28 in A Major, Op. 101 - III. Langsam und Sehnsuchtsvoll. Adagio Ma Non Troppo, Con Affetto | — | ||
| 18-10 | Piano Sonata n° 28 in A Major, Op. 101 - IV. Geschwind, Doch Nicht Zu Sehr und Mit Entschlossenheit. Allegro | — | ||
| 19-1 | Sonata for Piano no. 30 in E major, op. 109: I. Vivace, ma non troppo | — | ||
| 19-2 | Sonata for Piano no. 30 in E major, op. 109: II. Prestissimo | — | ||
| 19-3 | Sonata for Piano no. 30 in E major, op. 109: III. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo | — | ||
| 19-4 | Sonata for Piano no. 31 in A-flat major, op. 110: I. Moderato cantabile molto espressivo | — | ||
| 19-5 | Sonata for Piano no. 31 in A-flat major, op. 110: II. Allegro molto | — | ||
| 19-6 | Sonata for Piano no. 31 in A-flat major, op. 110: III. Adagio, ma non troppo - Fuga. Allegro ma non troppo | — | ||
| 19-7 | Sonata for Piano no. 32 in C minor, op. 111: I. Maestoso - Allegro con brio ed appassionato | — | ||
| 19-8 | Sonata for Piano no. 32 in C minor, op. 111: II. Arietta. Adagio molto semplice e cantabile | — | ||
| 20-1 | Piano Sonata n° 1 - I. Lent - Beaucoup plus allant | — | ||
| 20-2 | Piano Sonata n° 1 - II. Assez large - Rapide | — | ||
| 20-3 | Piano Sonata n° 3 - Trope | — | ||
| 20-4 | Constellation-Miroir | — | ||
| 21-1 | 5 Lieder from Der Siebente Ring by Stefan George, Op. 3 - I. Dies ist ein Lied für dich allein | — | ||
| 21-2 | 5 Lieder from Der Siebente Ring by Stefan George, Op. 3 - II. Im Windesweben | — | ||
| 21-3 | 5 Lieder from Der Siebente Ring by Stefan George, Op. 3 - III. An Baches Ranft | — | ||
| 21-4 | 5 Lieder from Der Siebente Ring by Stefan George, Op. 3 - IV. Im Morgentaun | — | ||
| 21-5 | 5 Lieder from Der Siebente Ring by Stefan George, Op. 3 - V. Kahl reckt der Baum | — | ||
| 21-6 | 5 Lieder after Poems by Stefan George, Op. 4 - I. Eingang | — | ||
| 21-7 | 5 Lieder after Poems by Stefan George, Op. 4 - II. Noch zwingt mich Treue | — | ||
| 21-8 | 5 Lieder after Poems by Stefan George, Op. 4 - III. Ja Heil und Dank dir | — | ||
| 21-9 | 5 Lieder after Poems by Stefan George, Op. 4 - IV. So ich traurig bin | — | ||
| 21-10 | 5 Lieder after Poems by Stefan George, Op. 4 - V. Ihr tratet zu dem Herde | — | ||
| 21-11 | 4 Pieces for Violin and Piano, Op. 7 - I. Sehr langsam | — | ||
| 21-12 | 4 Pieces for Violin and Piano, Op. 7 - II. Rasch | — | ||
| 21-13 | 4 Pieces for Violin and Piano, Op. 7 - III. Sehr langsam | — | ||
| 21-14 | 4 Pieces for Violin and Piano, Op. 7 - IV. Bewegt | — | ||
| 21-15 | 3 Little Pieces for Cello and Piano, Op. 11 - I. Mäßige Achtel | — | ||
| 21-16 | 3 Little Pieces for Cello and Piano, Op. 11 - II. Sehr bewegt | — | ||
| 21-17 | 3 Little Pieces for Cello and Piano, Op. 11 - III. Äußerst ruhig | — | ||
| 21-18 | 4 Lieder, Op. 12 - I. Der Tag ist vergangen | — | ||
| 21-19 | 4 Lieder, Op. 12 - II. Die geheimnisvolle Flöte | — | ||
| 21-20 | 4 Lieder, Op. 12 - III. Schien mir's, als ich sah die Sonne | — | ||
| 21-21 | 4 Lieder, Op. 12 - IV. Gleich und gleich | — | ||
| 21-22 | Quartet for Violin, Clarinet, Tenor Saxophone and Piano, Op. 22 - I. Sehr mäßig | — | ||
| 21-23 | Quartet for Violin, Clarinet, Tenor Saxophone and Piano, Op. 22 - II. Sehr schwungvoll | — | ||
| 21-24 | 3 Lieder from Viae inviae by Hildegard Jone, Op. 23 - I. Das Dunkle Herz | — | ||
| 21-25 | 3 Lieder from Viae inviae by Hildegard Jone, Op. 23 - II. Es stürzt aus Höhen Frische | — | ||
| 21-26 | 3 Lieder from Viae inviae by Hildegard Jone, Op. 23 - III. Herr Jesus mein | — | ||
| 21-27 | 3 Lieder after Poems by Hildegard Jone, Op. 25 - I. Wie bin ich froh! | — | ||
| 21-28 | 3 Lieder after Poems by Hildegard Jone, Op. 25 - II. Des Herzens Purpurvogel | — | ||
| 21-29 | 3 Lieder after Poems by Hildegard Jone, Op. 25 - III. Sterne, Ihr silbernen Bienen | — | ||
| 21-30 | Variations for Piano, Op. 27 - I. Sehr mässig | — | ||
| 21-31 | Variations for Piano, Op. 27 - II. Sehr schnell | — | ||
| 21-32 | Variations for Piano, Op. 27 - III. Ruhig fliessend | — |
