UPC · Release
Igor Stravinsky
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The UPC for “The Complete Columbia Album Collection” by Igor Stravinsky is 888750261625. 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 2015-01-01. Label: Sony Classical. This release contains 830 tracks, each with its own ISRC. Tracks include USSM11206801, USSM11206802, USSM11206803.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Le Sacre du printemps: Première partie. L’Adoration de la terre: I. Introduction | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 2 | Le Sacre du printemps: Première partie. L’Adoration de la terre: II. Les Augures printaniers – Danses des adolescentes | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 3 | Le Sacre du printemps: Première partie. L’Adoration de la terre: III. Jeu du rapt | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 4 | Le Sacre du printemps: Première partie. L’Adoration de la terre: IV. Rondes printanières | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 5 | Le Sacre du printemps: Première partie. L’Adoration de la terre: V. Jeux des cités rivales | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 6 | Le Sacre du printemps: Première partie. L’Adoration de la terre: VI. Cortège du sage | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 7 | Le Sacre du printemps: Première partie. L’Adoration de la terre: VII. Le Sage | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 8 | Le Sacre du printemps: Première partie. L’Adoration de la terre: VIII. Danse de la terre | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 9 | Le Sacre du printemps: Deuxième partie. Le Sacrifice: IX. Introduction | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 10 | Le Sacre du printemps: Deuxième partie. Le Sacrifice: X. Cercles mystérieux des adolescentes | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 11 | Le Sacre du printemps: Deuxième partie. Le Sacrifice: XI. Glorification de l’Élue | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 12 | Le Sacre du printemps: Deuxième partie. Le Sacrifice: XII. Évocation des ancêtres | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 13 | Le Sacre du printemps: Deuxième partie. Le Sacrifice: XIII. Action rituelle des ancêtres | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 14 | Le Sacre du printemps: Deuxième partie. Le Sacrifice: XIV. Danse sacrale (L’Élue) | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 15 | A propos of Le Sacre (Commentary by Igor Stravinsky About the History of a Musical Landmark) | — | ||
| 2-1 | Petrushka Ballet Suite: Legerdemain Scene | — | ||
| 2-2 | Petrushka Ballet Suite: Russian Dance | — | ||
| 2-3 | Petrushka Ballet Suite: Petrushka's Room | — | ||
| 2-4 | Petrushka Ballet Suite: Dance of the Wet-Nurses | — | ||
| 2-5 | Petrushka Ballet Suite: Dance of the Peasant and the Bear | — | ||
| 2-6 | Petrushka Ballet Suite: Dance of the Gypsy Girls | — | ||
| 2-7 | Petrushka Ballet Suite: Dance of the Coachmen and the Grooms | — | ||
| 2-8 | Petrushka Ballet Suite: The Masqueraders | — | ||
| 2-9 | Scènes de ballet: Introduction | — | ||
| 2-10 | Scènes de ballet: Danses (Corps de ballet & Ballerine) | — | ||
| 2-11 | Scènes de ballet: Pantomime I | — | ||
| 2-12 | Scènes de ballet: Pas de deux | — | ||
| 2-13 | Scènes de ballet: Pantomime II | — | ||
| 2-14 | Scènes de ballet: Variations (Danseur & Ballerine) | — | ||
| 2-15 | Scènes de ballet: Pantomime III | — | ||
| 2-16 | Scènes de ballet: Danses (Corps de ballet) | — | ||
| 2-17 | Scènes de ballet: Apothéose | — | ||
| 2-18 | Divertimento from Le Baiser de la fée: I. Sinfonia | — | ||
| 2-19 | Divertimento from Le Baiser de la fée: II. Danses suisses | — | ||
| 2-20 | Divertimento from Le Baiser de la fée: III. Scherzo | — | ||
| 2-21 | Divertimento from Le Baiser de la fée: IV. Pas de deux (Adagio - Variation - Coda) | — | ||
| 3-1 | The Firebird: Introduction | — | ||
| 3-2 | The Firebird: Prelude and Dance of the Firebird | — | ||
| 3-3 | The Firebird: Pas de deux - Firebird and Ivan Tsarevich | — | ||
| 3-4 | The Firebird: Scherzo - Dance of the Princesses | — | ||
| 3-5 | The Firebird: Rondo (Khorovod) | — | ||
| 3-6 | The Firebird: Infernal Dance | — | ||
| 3-7 | The Firebird: Lullaby (The Firebird) | — | ||
| 3-8 | The Firebird: Final Hymn | — | ||
| 4-1 | Symphony of Psalms: I. Exaudi orationem meam, Domine | — | ||
| 4-2 | Symphony of Psalms: II. Exspectans exspectavi Dominum | — | ||
| 4-3 | Symphony of Psalms: III. Alleluia - Laudate Dominum | — | ||
| 4-4 | Symphony in Three Movements: I. [q = 160] | — | ||
| 4-5 | Symphony in Three Movements: II. Andante - Interlude - L'istesso tempo | — | ||
| 4-6 | Symphony in Three Movements: III. Con moto | — | ||
| 5-1 | Concerto for Two Solo Pianos: I. Con moto | — | ||
| 5-2 | Concerto for Two Solo Pianos: II. Notturno - Adagietto | — | ||
| 5-3 | Concerto for Two Solo Pianos: III. Quattro variazioni | — | ||
| 5-4 | Concerto for Two Solo Pianos: IV. Preludio e Fuga | — | ||
| 5-5 | Scherzo à la Russe | — | ||
| 5-6 | The Snow Maiden: Dance of the Tumblers | — | ||
| 5-7 | Russian Village | — | ||
| 5-8 | Suite No. 1 for Two Pianos, Op. 15: Waltz | — | ||
| 5-9 | Sadko: Cradle Song | — | ||
| 5-10 | Circus Polka | — | ||
| 5-11 | Tango | — | ||
| 6-1 | Orpheus: Premier tableau: Orpheus Weeps for Eurydice - Lento sostenuto | — | ||
| 6-2 | Orpheus: Premier tableau: Air de danse | — | ||
| 6-3 | Orpheus: Premier tableau: L'Ange de la Mort et sa danse | — | ||
| 6-4 | Orpheus: Premier tableau: Interlude | — | ||
| 6-5 | Orpheus: Deuxième tableau: Pas des Furies | — | ||
| 6-6 | Orpheus: Deuxième tableau: Air de danse - Interlude - Air de danse | — | ||
| 6-7 | Orpheus: Deuxième tableau: Pas d'action I | — | ||
| 6-8 | Orpheus: Deuxième tableau: Pas de deux | — | ||
| 6-9 | Orpheus: Deuxième tableau: Interlude | — | ||
| 6-10 | Orpheus: Deuxième tableau: Pas d'action II | — | ||
| 6-11 | Orpheus: Troisième tableau: Apothéose d'Orphée | — | ||
| 6-12 | Mass for Mixed Chorus and Double Wind Quintet: I. Kyrie | — | ||
| 6-13 | Mass for Mixed Chorus and Double Wind Quintet: II. Gloria | — | ||
| 6-14 | Mass for Mixed Chorus and Double Wind Quintet: III. Credo | — | ||
| 6-15 | Mass for Mixed Chorus and Double Wind Quintet: IV. Sanctus | — | ||
| 6-16 | Mass for Mixed Chorus and Double Wind Quintet: V. Agnus Dei | — | ||
| 7-1 | Duo Concertant for Violin and Piano: I. Cantilène | Igor Stravinsky, Joseph Szigeti | — | |
| 7-2 | Duo Concertant for Violin and Piano: II. Eclogue I | Igor Stravinsky, Joseph Szigeti | — | |
| 7-3 | Duo Concertant for Violin and Piano: III. Eclogue II | Igor Stravinsky, Joseph Szigeti | — | |
| 7-4 | Duo Concertant for Violin and Piano: IV. Gigue | Igor Stravinsky, Joseph Szigeti | — | |
| 7-5 | Duo Concertant for Violin and Piano: V. Dithyrambe | Igor Stravinsky, Joseph Szigeti | — | |
| 7-6 | Baal Shem: I. Vidui (Contrition) | — | ||
| 7-7 | Baal Shem: II. Nigun (Improvisation) | — | ||
| 7-8 | Baal Shem: III. Simchas Torah (Rejoicing) | — | ||
| 7-9 | Pastorale, Song without Words for Violin & Woodwind Quartet - Remastered | — | ||
| 8-1 | Divertimento from Le baiser de la fée: I. Sinfonia | — | ||
| 8-2 | Divertimento from Le baiser de la fée: II. Danses Suisses | — | ||
| 8-3 | Divertimento from Le baiser de la fée: III. Scherzo (Au Moulin) | — | ||
| 8-4 | Divertimento from Le baiser de la fée: IV. Pas de deux | — | ||
| 8-5 | Danses concertantes for Chamber Orchestra: I. Marche - Introduction | — | ||
| 8-6 | Danses concertantes for Chamber Orchestra: II. Pas d'action | — | ||
| 8-7 | Danses concertantes for Chamber Orchestra: III. Theme varie | — | ||
| 8-8 | Danses concertantes for Chamber Orchestra: IV. Pas de deux | — | ||
| 8-9 | Danses concertantes for Chamber Orchestra: V. Marche - Conclusion | — | ||
| 8-10 | Concerto for Piano and Wind Instruments: I. Largo - Allegro - Maestoso | — | ||
| 8-11 | Concerto for Piano and Wind Instruments: II. Largo | — | ||
| 8-12 | Concerto for Piano and Wind Instruments: III. Allegro | — | ||
| 8-13 | Scherzo à la Russe | — | ||
| 9-1 | Apollon musagète: Naissance d'Apollon | — | ||
| 9-2 | Apollon musagète: Variation d'Apollon I | — | ||
| 9-3 | Apollon musagète: Pas d'action | — | ||
| 9-4 | Apollon musagète: Variation de Calliope | — | ||
| 9-5 | Apollon musagète: Variation de Polymnie | — | ||
| 9-6 | Apollon musagète: Variation de Terpsichore | — | ||
| 9-7 | Apollon musagète: Variation d'Apollon II | — | ||
| 9-8 | Apollon musagète: Pas de deux | — | ||
| 9-9 | Apollon musagète: Coda | — | ||
| 9-10 | Apollon musagète: Apotheose | — | ||
| 9-11 | Concerto en Re (pour orchestre a cordes) "Basle Concerto": I. Vivace | — | ||
| 9-12 | Concerto en Re (pour orchestre a cordes) "Basle Concerto": II. Arioso - Andantino | — | ||
| 9-13 | Concerto en Re (pour orchestre a cordes) "Basle Concerto": III. Rondo - Allegro | — | ||
| 10-1 | Fireworks, Op. 4 | — | ||
| 10-2 | Ode, Elegiacal Chant in 3 Parts for Orchestra: I. Eulogy | — | ||
| 10-3 | Ode, Elegiacal Chant in 3 Parts for Orchestra: II. Eclogue | — | ||
| 10-4 | Ode, Elegiacal Chant in 3 Parts for Orchestra: III. Epitaph | — | ||
| 10-5 | Russian Maiden's Song | — | ||
| 10-6 | Ebony Concerto: I. Allegro moderato | — | ||
| 10-7 | Ebony Concerto: II. Andante | — | ||
| 10-8 | Ebony Concerto: III. Moderato - Con moto - Moderato - Vivo | — | ||
| 10-9 | Four Norwegian Moods: I. Intrada | — | ||
| 10-10 | Four Norwegian Moods: II. Song | — | ||
| 10-11 | Four Norwegian Moods: III. Wedding Dance | — | ||
| 10-12 | Four Norwegian Moods: IV. Cortège | — | ||
| 10-13 | Circus Polka | — | ||
| 11-2 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Caedit nos pestis" (Chorus) | — | ||
| 11-3 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Liberi, vos liberabo" (Oedipus, Chorus) | — | ||
| 11-4 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Respondit deus" (Creon) | — | ||
| 11-5 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Non reperias vetus scelus" (Oedipus, Chorus) | — | ||
| 11-6 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Oedipe interroge la fontaine de verite" (Narrator, Chorus) | — | ||
| 11-7 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Dicere non possum" (Tiresias, Oedipus) | — | ||
| 11-8 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Rex peremptor regis est" - "Invidia fortunam odit" (Tiresias, Oedipus) | — | ||
| 11-9 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Gloria!" (Chorus) | — | ||
| 11-10 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "La dispute des princes attire Jocaste" (Narrator) | — | ||
| 11-11 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Gloria!" (Chorus) | — | ||
| 11-12 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Nonn' erubescite, reges" (Jocasta) | — | ||
| 11-13 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Ne probentur oracula" (Jocasta) | — | ||
| 11-14 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Cave oracula!" - "Trivium, trivium" (Jocasta, Chorus, Oedipus) | — | ||
| 11-15 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Oracula mentiuntur" (Jocasta, Chorus, Oedipus) | — | ||
| 11-16 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Le témoin du meurtre sort de l'ombre" (Narrator) | — | ||
| 11-17 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Adest omniscius pastor" (Chorus, Messenger) | — | ||
| 11-18 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Oportebat tacere" (Shepherd) | — | ||
| 11-19 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Nonne monstrum rescituri" (Oedipus) | — | ||
| 11-20 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "In monte reppertus est" (Shepherd, Messenger) | — | ||
| 11-21 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Natus sum quo nefastum est" (Oedipus) | — | ||
| 11-22 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Et maintenant, vous allez entendre" (Narrator) | — | ||
| 11-23 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Divum Iocastea caput mortuum!" (Messenger, Chorus) | — | ||
| 11-24 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Ecce! Regem Oedipoda" (Chorus) | — | ||
| 12-1 | The Rake’s Progress: Act I. Prelude | — | ||
| 12-2 | The Rake’s Progress: Act I, Scene 1. Duet and Trio: “The Woods Are Green” – Recitative: “Anne, My Dear” (Anne, Rakewell, Trulove) | — | ||
| 12-3 | The Rake’s Progress: Act I, Scene 1. Recitative: “Here I stand” – Aria: “Since It Is Not by Merit” (Rakewell) | — | ||
| 12-4 | The Rake’s Progress: Act I, Scene 1. Recitative: “Tom Rakewell?” – Recitative: “Fair Lady, Gracious Gentlemen” – Quartet: “I Wished But Once” – Recitative: “I’ll Call the Coachman, Sir” (Shadow, Rakewell, Anne, Trulove) | — | ||
| 12-5 | The Rake’s Progress: Act I, Scene 1. Duettino: “Farewell for Now” – Recitative: “All Is Ready, Sir” – Arioso: “Dear Father Truelove” – Terzettino: “Laughter and Light” (Anne, Rakewell, Trulove, Shadow) | — | ||
| 12-6 | The Rake’s Progress: Act I, Scene 2. Chorus: “With Air Commanding and Weapon Handy” (Chorus) | — | ||
| 12-7 | The Rake’s Progress: Act I, Scene 2. Recitative and Scene: “Come, Tom” – Chorus: “Soon Dawn Will Glitter” – Recitative: “Sisters of Venus, Brothers of Mars” (Shadow, Rakewell, Mother Goose, Chorus) | — | ||
| 12-8 | The Rake’s Progress: Act I, Scene 2. Cavatina: “Love, too Frequently Betrayed” – Chorus: “How Sad a Song” – Chorus: “The Sun Is Bright, the Grass Is Green” (Rakewell, Chorus, Mother Goose) | — | ||
| 12-9 | The Rake’s Progress: Act I, Scene 2. Chorus: “Lanterloo, My Lady” (Chorus, Shadow) | — | ||
| 12-10 | The Rake’s Progress: Act I, Scene 3. Recitative: “No Word from Tom” – Aria: “Quietly, Night” – Recitative: “My Father! Can I Desert Him” (Anne, Truelove) | — | ||
| 12-11 | The Rake’s Progress: Act I, Scene 3. Cabaletta: “I Go, I Go to Him” (Anne) | — | ||
| 12-12 | The Rake’s Progress: Act II, Scene 1. Aria: “Vary the Song, O London, Change!” – Recitative: O Nature, Green Unnatural Mother" – Aria (reprise): “Always the Quarry” (Rakewell) | — | ||
| 12-13 | The Rake’s Progress: Act II, Scene 1. Recitative: “Master, Are You Alone?” – Aria: “In Youth the Panting Slave” (Shadow, Rakewell) | — | ||
| 12-14 | The Rake’s Progress: Act II, Scene 1. Duet‐Finale: “My Tale Shall Be Told” (Rakewell, Shadow) | — | ||
| 12-15 | The Rake’s Progress: Act II, Scene 2. Introduction – Recitative: “How Strange” – Arioso: “O Heart Be Stronger” (Anne) | — | ||
| 12-16 | The Rake’s Progress: Act II, Scene 2. Duet: “Anne! Here!” – Recitative: “My Love, Am I to Remain in Here for Ever?” (Rakewell, Anne, Baba) | — | ||
| 12-17 | The Rake’s Progress: Act II, Scene 2. Trio: “Could It Then Have Been Known” – Finale: “I Have Not Run Away” (Anne, Rakewell, Baba) | — | ||
| 13-1 | The Rake’s Progress: Act II, Scene 3. Aria: “As I Was Saying” – Baba’s Song: “Come, Sweet, Come” – Aria: “Scorned! Abused!” – Recitative: “My Heart Is Cold, I Cannot Weep” – Pantomime: “Fa la la” – Recitative: “Oh, I Wish It Were True” (Baba, Rakewell, Shadow) | — | ||
| 13-2 | The Rake’s Progress: Act II, Scene 3. Arioso‐Recitative: “You! O Nick, I’ve Had the Strangest Dream” – Duet: “Thanks to This Excellent Device” – Recitative: “Forgive Me, Master” (Rakewell, Shadow) | — | ||
| 13-3 | The Rake’s Progress: Act III, Scene 1. “Ruin, Disaster, Shame” (Chorus, Anne) | — | ||
| 13-4 | The Rake’s Progress: Act III, Scene 1. “Aha!” (Sellem, Chorus) | — | ||
| 13-5 | The Rake’s Progress: Act III, Scene 1. Aria: “Sold! Annoyed!” – Recitative: “Now What Was That!” – Duet: “You Love Him” – Ballad Tune: “If Boys Had Wings” (Baba, Chorus, Rakewell, Shadow, Anne, Sellem) | — | ||
| 13-6 | The Rake’s Progress: Act III, Scene 1. Stretto‐Finale: “I Go to Him” – Ballad Tune (reprise): “Who Cares a Fig” (Anne, Baba, Sellem, Chorus, Rakewell) | — | ||
| 13-7 | The Rake’s Progress: Act III, Scene 2. Prelude | — | ||
| 13-8 | The Rake’s Progress: Act III, Scene 2. Duet: “How Dark and Dreadful Is This Place” (Rakewell, Shadow) | — | ||
| 13-9 | The Rake’s Progress: Act III, Scene 2. Recitative: “Very Well, Then, My Dear and Good Tom” – Duet: “Well, Then” – “My heart Is Wild with Fear” (Shadow, Rakewell, Anne) | — | ||
| 13-10 | The Rake’s Progress: Act III, Scene 2. “I Burn! I Burn! I Freeze!” (Shadow, Rakewell) | — | ||
| 13-11 | The Rake’s Progress: Act III, Scene 3. Arioso: “Prepare Yourselves, Heroic Shades” – Dialogue: “Madmen’s Words Are All Untrue” – Chorus‐Minuet: “Leave All Love and Hope Behind” (Rakewell, Chorus) | — | ||
| 13-12 | The Rake’s Progress: Act III, Scene 3. Recitative: “There He Is. Have no Fear” – Arioso: “I Have Waited” – Duet: “In a Foolish Dream” – Recitative: “I Am Exceedingly Weary” (Keeper, Anne, Rakewell) | — | ||
| 13-13 | The Rake’s Progress: Act III, Scene 3. Lullaby: “Gently, Little Boat” – Recitative: “Anne, My Dear, the Tale Is Ended Now” – Duettino: “Every Wearied Body” (Anne, Truelove) | — | ||
| 13-14 | The Rake’s Progress: Act III, Scene 3. Finale‐Recitative: “Where Art Thou, Venus?” – Mourning Chorus: “Mourn for Adonis” (Rakewell, Chorus) | — | ||
| 13-15 | The Rake’s Progress: Act III, Scene 3. Epilogue: “Good People, Just a Moment” (Anne, Baba, Rakewell, Shadow, Truelove) | — | ||
| 14-1 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Overture. Allegro moderato | — | ||
| 14-2 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Serenata. Larghetto - "Mentre l'erbetta, pasce l'agnella" | — | ||
| 14-3 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Scherzino. Allegro | — | ||
| 14-4 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Poco più vivo - Allegro | — | ||
| 14-5 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Andantino | — | ||
| 14-6 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro | — | ||
| 14-7 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegretto - "Contento forse vivere" | — | ||
| 14-8 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro assai | — | ||
| 14-9 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro (alla breve) - "Con queste paroline" | — | ||
| 14-10 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Largo - "Sento dire: no nc' è pace" - "Chi disse cà la femmena" | — | ||
| 14-11 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro - "Ncè sta quacuna pò" - "Una te fa la nzemprece" | — | ||
| 14-12 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Presto - "Una te fa la nzemprece" | — | ||
| 14-13 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Tempo I (Largo) | — | ||
| 14-14 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro alle breve | — | ||
| 14-15 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Tarantella | — | ||
| 14-16 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Andantino - "Se tu m'ami" | — | ||
| 14-17 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro | — | ||
| 14-18 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Gavotta con due variazioni. Allegro moderato | — | ||
| 14-19 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Var. I. Allegretto | — | ||
| 14-20 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Var. II. Allegro più tosto moderato | — | ||
| 14-21 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Vivo | — | ||
| 14-22 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Tempo di minuetto - "Pupillette, fiammette d'amore" | — | ||
| 14-23 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro assai | — | ||
| 15-1 | Symphony in C: I. Moderato alla breve | — | ||
| 15-2 | Symphony in C: II. Larghetto concertante | — | ||
| 15-3 | Symphony in C: III. Allegretto | — | ||
| 15-4 | Symphony in C: IV. Largo - Tempo giusto, alla breve | — | ||
| 15-5 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: A Lyke-Wake Dirge - Versus I (Prelude): "This ae Nighte" | — | ||
| 15-6 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: Ricercar I: "The Maidens Came" | — | ||
| 15-7 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: A Lyke-Wake Dirge - Versus II (First Interlude): "If Ever Thou Gav'st Hos'n and Shoon" | — | ||
| 15-8 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: Ricercar II (Sacred History): "Tomorrow Shall Be" | — | ||
| 15-9 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: A Lyke-Wake Dirge - Versus III (Second Interlude): "From Whinnymuir When Thou May'st Pass" | — | ||
| 15-10 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: Westron Wind | — | ||
| 15-11 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: A Lyke-Wake Dirge - Versus IV (Postlude) - "If Ever Thou Gav'st Meat or Drink" | — | ||
| 16-1 | L'Histoire du Soldat, Suite: The Soldier's March | — | ||
| 16-2 | L'Histoire du Soldat, Suite: Airs by a Stream | — | ||
| 16-3 | L'Histoire du Soldat, Suite: Pastorale | — | ||
| 16-4 | L'Histoire du Soldat, Suite: The Royal March | — | ||
| 16-5 | L'Histoire du Soldat, Suite: The Little Concerto | — | ||
| 16-6 | L'Histoire du Soldat, Suite: Tango | — | ||
| 16-7 | L'Histoire du Soldat, Suite: Waltz | — | ||
| 16-8 | L'Histoire du Soldat, Suite: Ragtime | — | ||
| 16-9 | L'Histoire du Soldat, Suite: The Devil's Dance | — | ||
| 16-10 | L'Histoire du Soldat, Suite: Great Chorale | — | ||
| 16-11 | L'Histoire du Soldat, Suite: Triumphal March of the Devil | — | ||
| 16-12 | Octet for Wind Instruments: I. Sinfonia | — | ||
| 16-13 | Octet for Wind Instruments: II. Tema con variazioni | — | ||
| 16-14 | Octet for Wind Instruments: Variazione A | — | ||
| 16-15 | Octet for Wind Instruments: Variazione B | — | ||
| 16-16 | Octet for Wind Instruments: Variazione A (Reprise I) | — | ||
| 16-17 | Octet for Wind Instruments: Variazione C | — | ||
| 16-18 | Octet for Wind Instruments: Variazione D | — | ||
| 16-19 | Octet for Wind Instruments: Variazione A (Reprise II) | — | ||
| 16-20 | Octet for Wind Instruments: Variazione E | — | ||
| 16-21 | Octet for Wind Instruments: Finale (Tempo giusto) | — | ||
| 17-1 | In Memorium Dylan Thomas: Dirge-Canons (Prelude) | — | ||
| 17-2 | In Memorium Dylan Thomas: Do Not Go Gentle into That Good Night | — | ||
| 17-3 | In Memorium Dylan Thomas: Dirge-Canons (Postlude) | — | ||
| 17-4 | Three Songs from William Shakespeare: I. Musick to Heare | — | ||
| 17-5 | Three Songs from William Shakespeare: II. Full Fadom Five | — | ||
| 17-6 | Three Songs from William Shakespeare: III. When Dasies Pied | — | ||
| 17-7 | Septet: I. [sonata allegro] quarter note = 88 | — | ||
| 17-8 | Septet: II. Passacaglia | — | ||
| 17-9 | Septet: III. Gigue | — | ||
| 17-10 | Four Russian Songs for Soprano, Flute, Harp and Guitar: I. The Drake | — | ||
| 17-11 | Four Russian Songs for Soprano, Flute, Harp and Guitar: II. A Russian Spiritual | — | ||
| 17-12 | Four Russian Songs for Soprano, Flute, Harp and Guitar: III. Geese and Swans | — | ||
| 17-13 | Four Russian Songs for Soprano, Flute, Harp and Guitar: IV. Tilim-bom | — | ||
| 17-14 | Two Poems of Konstantin Balmont: I. Forget-me-nots | — | ||
| 17-15 | Two Poems of Konstantin Balmont: II. The Dove | — | ||
| 17-16 | Three Japanese Lyrics: I. Akahito | — | ||
| 17-17 | Three Japanese Lyrics: II. Mazatsumi | — | ||
| 17-18 | Three Japanese Lyrics: III. Tsaraiuki | — | ||
| 17-19 | Three Little Songs "Recollections of my Childhood": I. The Magpie | — | ||
| 17-20 | Three Little Songs "Recollections of my Childhood": II. The Rook | — | ||
| 17-21 | Three Little Songs "Recollections of my Childhood": III. The Jackdaw | — | ||
| 17-22 | Four Russian Peasant Songs for Female Choir "Saucer": I. On Saints' Days in Chigisakh | — | ||
| 17-23 | Four Russian Peasant Songs for Female Choir "Saucer": II. Ovsen | — | ||
| 17-24 | Four Russian Peasant Songs for Female Choir "Saucer": III. The Pike | — | ||
| 17-25 | Four Russian Peasant Songs for Female Choir "Saucer": IV. Master Portly | — | ||
| 18-1 | The Fairy's Kiss: Scene I: Prologue. The Lullaby in the Storm (Andante - Allegro sostenuto - Vivace agitato) | — | ||
| 18-2 | The Fairy's Kiss: Scene II: A Village Fête (Tempo giusto - Valse, poco più lento - Tempo I) | — | ||
| 18-3 | The Fairy's Kiss: Scene III: At the Mill (Moderato - Allegretto grazioso) | — | ||
| 18-4 | The Fairy's Kiss: Pas de deux: a) Entrée (Moderato) | — | ||
| 18-5 | The Fairy's Kiss: Pas de deux: b) Adagio | — | ||
| 18-6 | The Fairy's Kiss: Pas de deux: c) Variation (Allegretto grazioso) | — | ||
| 18-7 | The Fairy's Kiss: Pas de deux: d) Coda (Presto) | — | ||
| 18-8 | The Fairy's Kiss: Scène (Andante non tanto - Più lento) | — | ||
| 18-9 | The Fairy's Kiss: Scene IV: Epilogue. Berceuse of the Eternal Dwellings (L'istesso tempo - Andante non tanto) | — | ||
| 19-1 | Perséphone, Melodrame en Trois Tableaux: I. Perséphone Ravie | — | ||
| 19-2 | Perséphone, Melodrame en Trois Tableaux: II. Perséphone aux Enfers | — | ||
| 19-3 | Perséphone, Melodrame en Trois Tableaux: III. Perséphone renaissante | — | ||
| 20-1 | Agon: Pas de quatre | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-2 | Agon: Double Pas de quatre | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-3 | Agon: Triple Pas de quatre | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-4 | Agon: Prélude | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-5 | Agon: First Pas de trois. Saraband Step | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-6 | Agon: First Pas de trois. Gaillarde | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-7 | Agon: First Pas de trois. Coda | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-8 | Agon: First Pas de trois. Interlude | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-9 | Agon: Second Pas de trois. Bransle simple | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-10 | Agon: Second Pas de trois. Bransle gay | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-11 | Agon: Second Pas de trois. Bransle double | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-12 | Agon: Second Pas de trois. Interlude | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-13 | Agon: Second Pas de trois. Pas de deux | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-14 | Agon: Second Pas de trois. Coda | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-15 | Agon: Second Pas de trois. Four Duos | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-16 | Agon: Second Pas de trois. Four Trios | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-17 | Canticum Sacrum: Dedicatio | Howard Chitjian, Los Angeles Festival Symphony Chorus, Richard Robinson, Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-18 | Canticum Sacrum: I. Euntes in mundum | Howard Chitjian, Los Angeles Festival Symphony Chorus, Richard Robinson, Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-19 | Canticum Sacrum: II. Surge, aquilo | Howard Chitjian, Los Angeles Festival Symphony Chorus, Richard Robinson, Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-20 | Canticum Sacrum: III. Ad tres virtutes hortationes | Howard Chitjian, Los Angeles Festival Symphony Chorus, Richard Robinson, Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-21 | Canticum Sacrum: IV. Jesus autem ait illi | Howard Chitjian, Los Angeles Festival Symphony Chorus, Richard Robinson, Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-22 | Canticum Sacrum: V. Illi autem profecti | Howard Chitjian, Los Angeles Festival Symphony Chorus, Richard Robinson, Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 21-1 | Threni: Incipit | Hugh Ross, Bethany Beardslee, Beatrice Krebs, William Lewis, Mac Morgan, Robert Oliver, The Schola Cantorum, James Wainner, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 21-2 | Threni: De Elegia Prima | Hugh Ross, Bethany Beardslee, Beatrice Krebs, William Lewis, Mac Morgan, Robert Oliver, The Schola Cantorum, James Wainner, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 21-3 | Threni: De Elegia Tertia | Hugh Ross, Bethany Beardslee, Beatrice Krebs, William Lewis, Mac Morgan, Robert Oliver, The Schola Cantorum, James Wainner, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 21-4 | Threni: De Elegia Quinta | Hugh Ross, Bethany Beardslee, Beatrice Krebs, William Lewis, Mac Morgan, Robert Oliver, The Schola Cantorum, James Wainner, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-1 | The Rite of Spring: Part One. Introduction | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-2 | The Rite of Spring: Part One. The Augurs of Spring | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-3 | The Rite of Spring: Part One. Mock Abduction | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-4 | The Rite of Spring: Part One. Spring Round Dances | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-5 | The Rite of Spring: Part One. Games of the Rival Tribes | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-6 | The Rite of Spring: Part One. Procession of the Wise Elder | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-7 | The Rite of Spring: Part One. Adoration of the Earth | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-8 | The Rite of Spring: Part One. Dance of the Earth | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-9 | The Rite of Spring: Part Two. Introduction | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-10 | The Rite of Spring: Part Two. Mystical Circles of the Young Girls | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-11 | The Rite of Spring: Part Two. Glorification of the Chosen Victim | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-12 | The Rite of Spring: Part Two. Summoning of the Ancestors | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-13 | The Rite of Spring: Part Two. Ritual of the Ancestors | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-14 | The Rite of Spring: Part Two. Sacrificial Dance | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-15 | Petrushka: Scene 1. The Shrove-Tide Fair | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-16 | Petrushka: Scene 1. The Crowds | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-17 | Petrushka: Scene 1. The Charlatan's Booth | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-18 | Petrushka: Scene 1. Russian Dance | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-19 | Petrushka: Scene 2. Petrushka's Room | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-20 | Petrushka: Scene 3. The Moor's Room | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-21 | Petrushka: Scene 3. Dance of the Ballerina | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-22 | Petrushka: Scene 3. Waltz (Ballerina and Moor) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-23 | Petrushka: Scene 4. The Shrove-Tide Fair (Near Evening) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-24 | Petrushka: Scene 4. Dance of the Wet Nurses | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-25 | Petrushka: Scene 4. Dance of the Peasant and the Bear | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-26 | Petrushka: Scene 4. Dance of the Gipsy Girls | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-27 | Petrushka: Scene 4. Dance of the Coachmen and Grooms | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-28 | Petrushka: Scene 4. The Masqueraders | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-29 | Petrushka: Scene 4. Conclusion (Petrushka's Death) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 23-1 | Serenade for Piano in A Major: I. Hymne | — | ||
| 23-2 | Serenade for Piano in A Major: II. Romanza | — | ||
| 23-3 | Serenade for Piano in A Major: III. Rondoletto | — | ||
| 23-4 | Serenade for Piano in A Major: IV. Cadenza Finala | — | ||
| 23-5 | Sonata for Piano: I | Charles Rosen | — | |
| 23-6 | Sonata for Piano: II | Charles Rosen | — | |
| 23-7 | Sonata for Piano: III | Charles Rosen | — | |
| 23-8 | Piano Piece, Op. 33a | — | ||
| 23-9 | Piano Piece, Op. 33b | — | ||
| 23-10 | Suite for Piano, Op. 25: I. Präludium - Rasch | — | ||
| 23-11 | Suite for Piano, Op. 25: II. Gavotte - Etwas langsam, nicht hastig | — | ||
| 23-12 | Suite for Piano, Op. 25: III. Musette - Rascher | — | ||
| 23-13 | Suite for Piano, Op. 25: IV. Intermezzo | — | ||
| 23-14 | Suite for Piano, Op. 25: V. Menuett - Moderato - Trio | — | ||
| 23-15 | Suite for Piano, Op. 25: VI. Gigue - Rasch | — | ||
| 24-1 | Movements for Piano and Orchestra: I. ♪ = 110 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 24-2 | Movements for Piano and Orchestra: II. ♪ = 52 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 24-3 | Movements for Piano and Orchestra: III. ♪ = 72 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 24-4 | Movements for Piano and Orchestra: IV. ♪ = 80 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 24-5 | Movements for Piano and Orchestra: V. ♪ = 104 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 24-6 | Double Canon | Israel Baker, Otis Igleman, George Neikrug, Sanford Schonbach, Robert Craft | T-070.261.167-3 | |
| 24-7 | Epitaphium (For the Tombstone of Prince Max Egon zu Fürstenberg) | — | ||
| 24-8 | Octet for Wind Instruments: I. Sinfonia | — | ||
| 24-9 | Octet for Wind Instruments: II. Tema con variazioni | — | ||
| 24-10 | Octet for Wind Instruments: Variazione A | — | ||
| 24-11 | Octet for Wind Instruments: Variazione B | — | ||
| 24-12 | Octet for Wind Instruments: Variazione A (Reprise I) | — | ||
| 24-13 | Octet for Wind Instruments: Variazione C | — | ||
| 24-14 | Octet for Wind Instruments: Variazione D | — | ||
| 24-15 | Octet for Wind Instruments: Variazione A (Reprise II) | — | ||
| 24-16 | Octet for Wind Instruments: Variazione E | — | ||
| 24-17 | Octet for Wind Instruments: III. Finale | — | ||
| 24-18 | Histoire du Soldat Suite: Marche du Soldat - Airs de marche | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-19 | Histoire du Soldat Suite: Premiere tableau - Airs by a Stream | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-20 | Histoire du Soldat Suite: Deuxieme tableau - Pastorale | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-21 | Histoire du Soldat Suite: Marche Royal | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-22 | Histoire du Soldat Suite: Petit Concert | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-23 | Histoire du Soldat Suite: Trois Danses - Tango, Valse, Ragtime | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-24 | Histoire du Soldat Suite: Danse du Diable | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-25 | Histoire du Soldat Suite: Grand Choral | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-26 | Histoire du Soldat Suite: March Triomphale du Diable | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 25-1 | Volgi, mia luce, Madrigal for 6 Voices | — | ||
| 25-2 | O dolorosa gioia, Madridgal for 5 Voices | — | ||
| 25-3 | Ardo per te, mio bene, Madrigal for 5 Voices | — | ||
| 25-4 | Gagliarda | — | ||
| 25-5 | Quando ridente e bella, Madrigal for 5 Voices | — | ||
| 25-6 | Dolcissima mia vita, Madrigal for 5 Voices | — | ||
| 25-7 | Recessit pastor noster, Motet for 6 Voices | — | ||
| 25-8 | Che fai meco, Madrigal for 5 Voices | — | ||
| 25-9 | Questa crudele e pia, Madrigal for 5 Voices | — | ||
| 25-10 | Ardita zanzaretta, Madrigal for 5 Voices | — | ||
| 25-11 | Aestimatus sum, Madrigal for 6 Voices | — | ||
| 25-12 | Canzon francese del principe | — | ||
| 25-13 | Monumentum pro Gesualdo di Venosa ad CD Annum: I. Asciugate i begli occhi (Book V/14) | — | ||
| 25-14 | Monumentum pro Gesualdo di Venosa ad CD Annum: II. Ma tu, cagion di quella (Book V/18) | — | ||
| 25-15 | Monumentum pro Gesualdo di Venosa ad CD Annum: III. Beltà, poi che t'assenti (Book VI/2) | — | ||
| 25-16 | Illumina nos, Motet for 7 Voices | — | ||
| 26-1 | The Nightingale: Act 1. Introduction | John Moriarty, Herbert Beattie, Loren Driscoll, Reri Grist, Marina Picassi, Kenneth Smith, Chorus of the Opera Society of Washington, D.C., Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-2 | The Nightingale: Act 2. Entr'acte: Breezes | John Moriarty, Marina Picassi, Kenneth Smith, Chorus of the Opera Society of Washington, D.C., Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-3 | The Nightingale: Act 2. Chinese March | Kenneth Smith, Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-4 | The Nightingale: Act 2. Song of the Nightingale | Donald Gramm, Reri Grist, Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-5 | The Nightingale: Act 2. The Courtiers | John Moriarty, Kenneth Smith, Chorus of the Opera Society of Washington, D.C., Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-6 | The Nightingale: Act 2. Three Japanese Envoys | Carl Kaiser, Stanley Kolk, William Murphy, Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-7 | The Nightingale: Act 2. Performance of the Mechanical Nightingale | Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-8 | The Nightingale: Act 2. Conclusion, Larghetto | John Moriarty, Loren Driscoll, Donald Gramm, Kenneth Smith, Chorus of the Opera Society of Washington, D.C., Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-9 | The Nightingale: Act 3. Prelude | Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-10 | The Nightingale: Act 3. A Room in the Palace of the Emperor | John Moriarty, Donald Gramm, Chorus of the Opera Society of Washington, D.C., Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-11 | The Nightingale: Act 3. The Return of the Nightingale | Elaine Bonazzi, Donald Gramm, Reri Grist, Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-12 | The Nightingale: Act 3. Solemn Procession | Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-13 | The Nightingale: Act 3. The Emperor's Recovery | Loren Driscoll, Donald Gramm, Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 27-1 | The Firebird: Introduction | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 27-2 | The Firebird: Scene 1. Kaschei's Enchanted Garden | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-3 | The Firebird: Scene 1. The Firebird Appears, Pursued by Ivan Tsarevitch | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-4 | The Firebird: Scene 1. Dance of the Firebird | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-5 | The Firebird: Scene 1. Ivan Tsarevitch Captures the Firebird | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-6 | The Firebird: Scene 1. The Firebird's Entreaty | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 27-7 | The Firebird: Scene 1. The Appearance of the Thirteen Enchanted Princesses | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-8 | The Firebird: Scene 1. The Princesses' Game With Apples of Gold (Scherzo) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-9 | The Firebird: Scene 1. The Sudden Appearance of Ivan Tsarevitch | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-10 | The Firebird: Scene 1. The Princesses' Round | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-11 | The Firebird: Scene 1. Dawn (Ivan Tsarevitch Enters Kashchei's Palace) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-12 | The Firebird: Scene 1. The Sound of Enchanted Bells - Monsters Appear, Kaschei's Guards, and Take Ivan Tsarevitch Prisoner | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-13 | The Firebird: Scene 1. The Arrival of Kashchei the Immortal | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-14 | The Firebird: Scene 1. Kashchei's Dialogue With Ivan Tsarevitch | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-15 | The Firebird: Scene 1. The Princesses' Intercede | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-16 | The Firebird: Scene 1. The Appearance of the Firebird | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 27-17 | The Firebird: Scene 1. Kashchei's Followers Dance Under the Firebird's Spell | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-18 | The Firebird: Scene 1. Infernal Dance of Kashchei's Subjects | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-19 | The Firebird: Scene 1. Lullaby (The Firebird) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-20 | The Firebird: Scene 1. Kashchei Awakes | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-21 | The Firebird: Scene 1. Death of Kashchei - Profound Darkness | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-22 | The Firebird: Scene 2. Kashchei's Spells Are Broken; His Palace Disappears, the Stone Knights Return to Life, Joy Reigns | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-1 | Violin Concerto in D major: I. Toccata | Isaac Stern, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-2 | Violin Concerto in D major: II. Aria I | Isaac Stern, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-3 | Violin Concerto in D major: III. Aria II | Isaac Stern, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-4 | Violin Concerto in D major: IV. Capriccio | Isaac Stern, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-5 | Symphony in Three Movements: I. Overture. Allegro | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-6 | Symphony in Three Movements: II. Andante - Interlude: L'istesso tempo | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-7 | Symphony in Three Movements: III. Con moto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 29-1 | Concerto for Two Solo Pianos: I. Con moto | — | ||
| 29-2 | Concerto for Two Solo Pianos: II. Notturno. Adagietto | — | ||
| 29-3 | Concerto for Two Solo Pianos: III. Quattro variazioni | — | ||
| 29-4 | Concerto for Two Solo Pianos: IV. Preludio e fuga. Lento - Fuga a 4 voci | — | ||
| 29-5 | Three Easy Pieces for Piano Duet: 1. March | — | ||
| 29-6 | Three Easy Pieces for Piano Duet: 2. Waltz | — | ||
| 29-7 | Three Easy Pieces for Piano Duet: 3. Polka | — | ||
| 29-8 | Five Easy Pieces for Piano Duet: 1. Andante | — | ||
| 29-9 | Five Easy Pieces for Piano Duet: 2. Española | — | ||
| 29-10 | Five Easy Pieces for Piano Duet: 3. Balalaika | — | ||
| 29-11 | Five Easy Pieces for Piano Duet: 4. Napolitana | — | ||
| 29-12 | Five Easy Pieces for Piano Duet: 5. Galop | — | ||
| 29-13 | Sonata for Two Pianos: I. Moderato | Igor Stravinsky | — | |
| 29-14 | Sonata for Two Pianos: II. Thème avec variations. Largo - Var. 1-4 | Igor Stravinsky | — | |
| 29-15 | Sonata for Two Pianos: III. Allegretto | Igor Stravinsky | — | |
| 30-1 | The Flood: Prelude | Robert Craft | T-902.193.150-0 | |
| 30-2 | The Flood: Melodrama | Columbia Symphony Orchestra, Robert Craft | T-902.193.150-0 | |
| 30-3 | The Flood: The Building of the Ark (Choreography) | Columbia Symphony Orchestra, Robert Craft | T-902.193.150-0 | |
| 30-4 | The Flood: The Catalogue of the Animals | Columbia Symphony Orchestra, Robert Craft | T-902.193.150-0 | |
| 30-5 | The Flood: The Comedy (Noah and His Wife) | Columbia Symphony Orchestra, Robert Craft | T-902.193.150-0 | |
| 30-6 | The Flood: The Flood (Choreography) | Columbia Symphony Orchestra, Robert Craft | T-902.193.150-0 | |
| 30-7 | The Flood: The Covenant of the Rainbow | Columbia Symphony Orchestra, Robert Craft | T-902.193.150-0 | |
| 30-8 | Mass: Kyrie | Gregg Smith, Gregg Smith Singers, Columbia Symphony Winds & Brass, Igor Stravinsky | — | |
| 30-9 | Mass: Gloria | Gregg Smith, Gregg Smith Singers, Columbia Symphony Winds & Brass, Igor Stravinsky | — | |
| 30-10 | Mass: Credo | Gregg Smith, Gregg Smith Singers, Columbia Symphony Winds & Brass, Igor Stravinsky | — | |
| 30-11 | Mass: Sanctus | Gregg Smith, Gregg Smith Singers, Columbia Symphony Winds & Brass, Igor Stravinsky | — | |
| 30-12 | Mass: Agnus Dei | Gregg Smith, Gregg Smith Singers, Columbia Symphony Winds & Brass, Igor Stravinsky | — | |
| 31-1 | The Wedding: Part I Scene I. The Bride's Chamber | Margaret Hillis, Milfred Allen, Regina Sarfaty, Robert Oliver, Loren Driscoll, The American Concert Choir, Samuel Barber, Roger Sessions, Lukas Foss, Aaron Copland, Columbia Percussion Ensemble, Igor Stravinsky | — | |
| 31-2 | The Wedding: Part I Scene II. At the Bridegroom's | Margaret Hillis, Milfred Allen, Regina Sarfaty, Robert Oliver, Loren Driscoll, The American Concert Choir, Samuel Barber, Roger Sessions, Lukas Foss, Aaron Copland, Columbia Percussion Ensemble, Igor Stravinsky | — | |
| 31-3 | The Wedding: Part I Scene III. The Bride's Departure | Margaret Hillis, Milfred Allen, Regina Sarfaty, Robert Oliver, Loren Driscoll, The American Concert Choir, Samuel Barber, Roger Sessions, Lukas Foss, Aaron Copland, Columbia Percussion Ensemble, Igor Stravinsky | — | |
| 31-4 | The Wedding: Part I Scene IV. The Wedding Feast | Margaret Hillis, Milfred Allen, Regina Sarfaty, Robert Oliver, Loren Driscoll, The American Concert Choir, Samuel Barber, Roger Sessions, Lukas Foss, Aaron Copland, Columbia Percussion Ensemble, Igor Stravinsky | — | |
| 31-5 | Renard the Fox | Loren Driscoll, Donald Gramm, William Murphy, George Shirley, Toni Koves-Steiner, Igor Stravinsky, Columbia Chamber Ensemble | — | |
| 31-6 | Ragtime for 11 Instruments | Columbia Chamber Ensemble, Toni Koves-Steiner, Igor Stravinsky | — | |
| 32-1 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Prologue (Narrator) | — | ||
| 32-2 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Caedit nos pestis" (Chorus) | — | ||
| 32-3 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Liberi, vos liberabo" (Oedipus, Chorus) | — | ||
| 32-4 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Respondit deus" (Creon) | — | ||
| 32-5 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Non reperias vetus scelus" (Oedipus, Chorus) | — | ||
| 32-6 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Oedipus Questions Teiresias the Seer" (Narrator, Chorus) | — | ||
| 32-7 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Dicere non possum" (Tiresias, Oedipus) | — | ||
| 32-8 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Rex peremptor regis est" - "Invidia fortunam odit" (Tiresias, Oedipus) | — | ||
| 32-9 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Gloria!" (Chorus) | — | ||
| 32-10 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "The Dispute of the Princes Summons Jocasta" (Narrator) | — | ||
| 32-11 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Gloria!" (Chorus) | — | ||
| 32-12 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Nonn' erubescite, reges" (Jocasta) | — | ||
| 32-13 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Ne probentur oracula" (Jocasta) | — | ||
| 32-14 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Cave oracula!" - "Trivium, trivium" (Jocasta, Chorus, Oedipus) | — | ||
| 32-15 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Oracula mentiuntur" (Jocasta, Chorus, Oedipus) | — | ||
| 32-16 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "A Messenger Announces that King Polybus of Corinth is Dead" (Narrator) | — | ||
| 32-17 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Adest omniscius pastor" (Chorus, Messenger) | — | ||
| 32-18 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Oportebat tacere" (Shepherd) | — | ||
| 32-19 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Nonne monstrum rescituri" (Oedipus) | — | ||
| 32-20 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "In monte reppertus est" (Shepherd, Messenger) | — | ||
| 32-21 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Natus sum quo nefastum est" (Oedipus) | — | ||
| 32-22 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "And Now, You Will Hear the Messenger" (Narrator) | — | ||
| 32-23 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Divum Jocastae caput mortuum!" (Messenger, Chorus) | — | ||
| 32-24 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Ecce! Regem Oedipoda" (Chorus) | — | ||
| 33-4 | Symphony in C major: I. Moderato alla breve | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.805-1 | |
| 33-5 | Symphony in C major: II. Larghetto concertante | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.805-1 | |
| 33-6 | Symphony in C major: III. Allegretto | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.805-1 | |
| 33-7 | Symphony in C major: IV. Largo - Tempo giusto, alla breve | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.805-1 | |
| 34-1 | Orpheus: Scene 1. Orphée | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-2 | Orpheus: Scene 1. Air de danse | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-3 | Orpheus: Scene 1. Dance of the Angel of Death | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-4 | Orpheus: Scene 1. Interlude | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-5 | Orpheus: Scene 2. The Furies | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-6 | Orpheus: Scene 2. Air de danse - Interlude - Air de danse | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-7 | Orpheus: Scene 2. Pas d'action | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-8 | Orpheus: Scene 2. Pas de deux | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-9 | Orpheus: Scene 2. Interlude | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-10 | Orpheus: Scene 2. Pas d'action | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-11 | Orpheus: Scene 3. Apothéose d'Orphée | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-12 | Apollo: Scene 1. The Birth of Apollo | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-13 | Apollo: Scene 2. Variation d'Apollon | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-14 | Apollo: Scene 2. Pas d'action | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-15 | Apollo: Scene 2. Variation de Calliope | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-16 | Apollo: Scene 2. Variation de Polymnie | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-17 | Apollo: Scene 2. Variation de terpsichore | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-18 | Apollo: Scene 2. Variation d'Apollon | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-19 | Apollo: Scene 2. Pas de deux | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-20 | Apollo: Scene 2. Coda | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-21 | Apollo: Scene 2. Apothéose | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 35-1 | Greeting Prelude | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 35-2 | Concerto in E‐flat for Chamber Orchestra “Dumbarton Oaks”: I. Tempo giusto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 35-3 | Concerto in E‐flat for Chamber Orchestra “Dumbarton Oaks”: II. Allegretto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 35-4 | Concerto in E‐flat for Chamber Orchestra “Dumbarton Oaks”: III. Con moto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 35-5 | Eight Instrumental Miniatures: I. Andantino | Igor Stravinsky | — | |
| 35-6 | Eight Instrumental Miniatures: II. Vivace | Igor Stravinsky | — | |
| 35-7 | Eight Instrumental Miniatures: III. Lento | Igor Stravinsky | — | |
| 35-8 | Eight Instrumental Miniatures: IV. Allegretto | Igor Stravinsky | T-318.676.528-2 | |
| 35-9 | Eight Instrumental Miniatures: V. Moderato alla breve | Igor Stravinsky | — | |
| 35-10 | Eight Instrumental Miniatures: VI. Tempo di Marcia | Igor Stravinsky | — | |
| 35-11 | Eight Instrumental Miniatures: VII. Larghetto | Igor Stravinsky | — | |
| 35-12 | Eight Instrumental Miniatures: VIII. Tempo di Tango | Igor Stravinsky | — | |
| 35-13 | Four Etudes for Orchestra: I. Danse | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-14 | Four Etudes for Orchestra: II. Excentrique | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-15 | Four Etudes for Orchestra: III. Cantique | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-16 | Four Etudes for Orchestra: IV. Madrid | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-17 | Circus Polka (Composed for a Young Elephant) | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-18 | Suite no. 1 for Small Orchestra: I. Andante | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-19 | Suite no. 1 for Small Orchestra: II. Napolitana | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-20 | Suite no. 1 for Small Orchestra: III. Española | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-21 | Suite no. 1 for Small Orchestra: IV. Balalaika | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-22 | Suite no. 2 for Small Orchestra: I. Marche | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-23 | Suite no. 2 for Small Orchestra: II. Valse | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-24 | Suite no. 2 for Small Orchestra: III. Polka | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-25 | Suite no. 2 for Small Orchestra: IV. Galop | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 36-1 | Card Game: First Deal | Cleveland Orchestra, Igor Stravinsky | — | |
| 36-2 | Card Game: Second Deal | Cleveland Orchestra, Igor Stravinsky | — | |
| 36-3 | Card Game: Third Deal | Cleveland Orchestra, Igor Stravinsky | — | |
| 36-4 | Bluebird - Pas de deux: Adagio | Columbia Symphony Orchestra, Igor Stravinsky | T-922.332.148-0 | |
| 36-5 | Bluebird - Pas de deux: Variation I | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 36-6 | Bluebird - Pas de deux: Variation II | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 36-7 | Bluebird - Pas de deux: Coda | Columbia Symphony Orchestra, Igor Stravinsky | T-313.892.277-3 | |
| 36-8 | Scènes de ballet: Introduction | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.511-0 | |
| 36-9 | Scènes de ballet: Danses (Corps de ballet & Ballerine) | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 36-10 | Scènes de ballet: Pantomime | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.511-0 | |
| 36-11 | Scènes de ballet: Pas de deux | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.511-0 | |
| 36-12 | Scènes de ballet: Pantomime | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 36-13 | Scènes de ballet: Variations: Danseur & Ballerine | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 36-15 | Scènes de ballet: Danses (Corps de ballet) | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 36-16 | Scènes de ballet: Apothéose | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.511-0 | |
| 37-1 | Zvezdoliki | Elmer Iseler, Festival Singers of Toronto, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-2 | Anthem | Elmer Iseler, Festival Singers of Toronto, Igor Stravinsky | — | |
| 37-3 | Chorale Variations: Choral | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-4 | Chorale Variations: Variation I (In canone all'Ottava) | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-5 | Chorale Variations: Variation II (Alio modo canone alla Quinta) | Elmer Iseler, Festival Singers of Toronto, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-6 | Chorale Variations: Variation III (In canone alla Settima) | Elmer Iseler, Festival Singers of Toronto, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-7 | Chorale Variations: Variation IV (In canone all'Ottava per | Elmer Iseler, Festival Singers of Toronto, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-8 | Chorale Variations: Variation V (L'altra sorte del canone al | Elmer Iseler, Festival Singers of Toronto, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-9 | Babel | Elmer Iseler, John Calicos, Festival Singers of Toronto, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-10 | A Sermon, A Narrative and a Prayer: I. A Sermon | Loren Driscoll, John Horton, Shirley Verrett, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-11 | A Sermon, A Narrative and a Prayer: II. A Narrative | Loren Driscoll, John Horton, Shirley Verrett, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-12 | A Sermon, A Narrative and a Prayer: III. A Prayer | Loren Driscoll, John Horton, Shirley Verrett, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 38-1 | The Rake's Progress: Act I, Scene I. Prelude | Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-2 | The Rake's Progress: Act I, Scene I. "The Woods Are Green" | Don Garrard, Judith Raskin, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-3 | The Rake's Progress: Act I, Scene I. "Here I Stand" | Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-4 | The Rake's Progress: Act I, Scene I. "Tom Rakewell?" | Don Garrard, Judith Raskin, John Reardon, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-5 | The Rake's Progress: Act I, Scene I. "Farewell for Now" | Don Garrard, Judith Raskin, John Reardon, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-6 | The Rake's Progress: Act I, Scene II. "With Air Commanding" | John Barker, Sadler’s Wells Opera Chorus, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-7 | The Rake's Progress: Act I, Scene II. "Come, Tom" | Jean Manning, John Reardon, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-8 | The Rake's Progress: Act I, Scene II. "Love too Frequently Betrayed" | John Barker, Jean Manning, Sadler’s Wells Opera Chorus, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-9 | The Rake's Progress: Act I, Scene II. "The Sun Is Bright" | John Barker, John Reardon, Sadler’s Wells Opera Chorus, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-10 | The Rake's Progress: Act I, Scene III. "No Word From Tom" | Don Garrard, Judith Raskin, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-11 | The Rake's Progress: Act I, Scene III. "I Go to Him" | Judith Raskin, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-12 | The Rake's Progress: Act II, Scene I. "Vary the Song, O London, Change!" | Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-13 | The Rake's Progress: Act II, Scene I. "Master, Are You Alone" | John Reardon, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-14 | The Rake's Progress: Act II, Scene I. "My Tale Shall Be Told" | John Reardon, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-15 | The Rake's Progress: Act II, Scene II. "How Strange!" | Judith Raskin, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-16 | The Rake's Progress: Act II, Scene II. "Anne! Here!" | Judith Raskin, Regina Sarfaty, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-17 | The Rake's Progress: Act II, Scene II. "Could It Then Have Been Known" | John Barker, Judith Raskin, Sadler’s Wells Opera Chorus, Regina Sarfaty, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-1 | The Rake's Progress: Act II, Scene II. "Could It Then Have Been Known" | John Barker, Judith Raskin, Sadler’s Wells Opera Chorus, Regina Sarfaty, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-2 | The Rake's Progress: Act II, Scene III. "You! O Nick, I've Had the Strangest Dream" | John Reardon, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-3 | The Rake's Progress: Act III, Scene I. "What Curious Phenomena..." | John Barker, Judith Raskin, Sadler’s Wells Opera Chorus, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-4 | The Rake's Progress: Act III, Scene I. "Aha!" | John Barker, Kevin Miller, Sadler’s Wells Opera Chorus, Regina Sarfaty, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-5 | The Rake's Progress: Act III, Scene I. "Sold! Annoyed! I've Caught You! Thieving!" | John Barker, Kevin Miller, Judith Raskin, John Reardon, Sadler’s Wells Opera Chorus, Regina Sarfaty, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-6 | The Rake's Progress: Act III, Scene I. "I Go to Him" | John Barker, Kevin Miller, Judith Raskin, John Reardon, Sadler’s Wells Opera Chorus, Regina Sarfaty, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-7 | The Rake's Progress: Act III, Scene II. Prelude | Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-8 | The Rake's Progress: Act III, Scene II. "How Dark and Dreadful Is This Place" | John Reardon, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-9 | The Rake's Progress: Act III, Scene II. "Very Well, Then, My Dear" | Judith Raskin, John Reardon, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-10 | The Rake's Progress: Act III, Scene II. "I Burn! I Freeze!" | John Reardon, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-11 | The Rake's Progress: Act III, Scene III. "Prepare Yourselves, Heroic Shades" | John Barker, Sadler’s Wells Opera Chorus, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-12 | The Rake's Progress: Act III, Scene III. "There He Is. Have No Fear" | Judith Raskin, Peter Tracey, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-13 | The Rake's Progress: Act III, Scene III. "Gently, Little Boat" | Don Garrard, Judith Raskin, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-14 | The Rake's Progress: Act III, Scene III. "Where Art Thou, Venus?" | John Barker, Sadler’s Wells Opera Chorus, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-15 | The Rake's Progress: Act III, Scene III. Epilogue "Good People, Just a Moment" | Don Garrard, Judith Raskin, John Reardon, Regina Sarfaty, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 40-1 | The Fairy's Kiss: Scene 1. Prologue | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-2 | The Fairy's Kiss: Scene 2. A Village Fête | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-3 | The Fairy's Kiss: Scene 3. At the Mill | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-4 | The Fairy's Kiss: Scene 3. Pas de deux | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-5 | The Fairy's Kiss: Scene 3. Adagio | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-6 | The Fairy's Kiss: Scene 3. Variation | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-7 | The Fairy's Kiss: Scene 3. Coda | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-8 | The Fairy's Kiss: Scene 3. Scene | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-9 | The Fairy's Kiss: Scene 4. Epilogue: The Lullaby of the Land Beyond Time and Place | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 41-1 | Prelude, Fugue & Riffs: I. Prelude | — | ||
| 41-2 | Prelude, Fugue & Riffs: II. Fugue | — | ||
| 41-3 | Prelude, Fugue & Riffs: III. Riffs | — | ||
| 41-4 | Concerto for Clarinet and String Orchestra (With Piano & Harp) | Abba Bogin, Benny Goodman, Laura Newell, Columbia Symphony Orchestra, Aaron Copland | — | |
| 41-5 | Ebony Concerto: I. Allegro moderato | Benny Goodman, Columbia Jazz Combo, Igor Stravinsky | — | |
| 41-6 | Ebony Concerto: II. Andante | Benny Goodman, Columbia Jazz Combo, Igor Stravinsky | — | |
| 41-7 | Ebony Concerto: III. Moderato - Con moto | Benny Goodman, Columbia Jazz Combo, Igor Stravinsky | — | |
| 41-8 | Derivations for clarinet and band: I. Warm-Up | Benny Goodman, Columbia Jazz Combo, Morton Gould | — | |
| 41-9 | Derivations for clarinet and band: II. Contrapuntal Blues | Benny Goodman, Columbia Jazz Combo, Morton Gould | — | |
| 41-10 | Derivations for clarinet and band: III. Rag | Benny Goodman, Columbia Jazz Combo, Morton Gould | — | |
| 41-11 | Derivations for Clarinet and Band: IV. Ride-Out | — | ||
| 42-1 | Pulcinella: Overture | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 42-2 | Pulcinella: Serenata | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 42-3 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Scherzino. Allegro | — | ||
| 42-4 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Poco più vivo - Allegro | — | ||
| 42-5 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Andantino | — | ||
| 42-6 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro | — | ||
| 42-7 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegretto - "Contento forse vivere" | — | ||
| 42-8 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro assai | — | ||
| 42-9 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro (alla breve) - "Con queste paroline" | — | ||
| 42-10 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Largo - "Sento dire: no nc'è pace" - "Chi disse cà la femmena" | — | ||
| 42-11 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro - "Nce sta quacuna pò" - "Una te fa la nzemprece" | — | ||
| 42-12 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Presto - "Una te fa la nzemprece" | — | ||
| 42-13 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Tempo I (Largo) | — | ||
| 42-14 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro (alle breve) | — | ||
| 42-15 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Tarantella | — | ||
| 42-16 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Andantino - "Se tu m'ami" | — | ||
| 42-17 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro | — | ||
| 42-18 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Gavotta con due variazioni. Allegro moderato | — | ||
| 42-19 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Var. I. Allegretto | — | ||
| 42-20 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Var. II. Allegro più tosto moderato | — | ||
| 42-21 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Vivo | — | ||
| 42-22 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Tempo di minuetto - "Pupillette, fiammette d'amore" | — | ||
| 42-23 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro assai | — | ||
| 43-1 | Perséphone: I. Persephone Abducted | George Bragg, Gregg Smith, The Ithaca College Concert Choir, Michele Molese, Gregg Smith Singers, Texas Boys Choir of Fort Worth, Vera Zorina, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 43-2 | Perséphone: II. Persephone in the Underworld | George Bragg, Gregg Smith, The Ithaca College Concert Choir, Michele Molese, Gregg Smith Singers, Texas Boys Choir of Fort Worth, Vera Zorina, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 43-3 | Perséphone: III. Persephone Restored | George Bragg, Gregg Smith, The Ithaca College Concert Choir, Michele Molese, Gregg Smith Singers, Texas Boys Choir of Fort Worth, Vera Zorina, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 44-1 | Symphony in E-flat major, op. 1: I. Allegro moderato | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 44-2 | Symphony in E-flat major, op. 1: II. Scherzo. Allegretto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 44-3 | Symphony in E-flat major, op. 1: III. Largo | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 44-4 | Symphony in E-flat major, op. 1: IV. Finale. Allegro molto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 45-1 | Mavra, Opera buffa in One Act: Overture | — | ||
| 45-2 | Mavra, Opera buffa in One Act: "Drug moy milyy" (Parasha) | — | ||
| 45-3 | Mavra, Opera buffa in One Act: "Kolokol'chiki zvenyat" (Hussar, Parasha) | — | ||
| 45-4 | Mavra, Opera buffa in One Act: "U pesen vsekh slova odni" (Parasha, Hussar) | — | ||
| 45-5 | Mavra, Opera buffa in One Act: "Moya strast' sil'neye stanovitsya" (Parasha, Hussar) | — | ||
| 45-6 | Mavra, Opera buffa in One Act: "Izbavi Bog prislugu" (Mother, Parasha) | — | ||
| 45-7 | Mavra, Opera buffa in One Act: "Net, ne zabyt' vo veki mne pokoynitsu" (Mother) | — | ||
| 45-8 | Mavra, Opera buffa in One Act: "Zhelayu zdravstvovat'! " (Neighbour, Mother) | — | ||
| 45-9 | Mavra, Opera buffa in One Act: "Gde tak dolgo ty byla?" (Mother, Neighbour, Parasha, Cook) | — | ||
| 45-10 | Mavra, Opera buffa in One Act: "Parasha!" / "Ya, Vasiliy milyy!" (Parasha, Cook) | — | ||
| 45-11 | Mavra, Opera buffa in One Act: "Ya pamyat'yu ne izmenyu" (Parasha, Cook) | — | ||
| 45-12 | Mavra, Opera buffa in One Act: "Parasha!" / "Slyshish'?" (Mother, Parasha, Cook) | — | ||
| 45-13 | Mavra, Opera buffa in One Act: "Ya zhdu, ya zhdu pokorno" (Cook) | — | ||
| 45-14 | Mavra, Opera buffa in One Act: "Pozhaluy vremya nastupilo pobrit'sya" (Cook, Mother, Parasha, Neighbour) | — | ||
| 45-15 | Les Noces (1923): Part I, Scene 1: Chez le mariée "Kosal moya ko" | — | ||
| 45-16 | Les Noces (1923): Part I, Scene 2: che le marié "Prechistaya Mat, khodi" | — | ||
| 45-17 | Les Noces (1923): Part I, Scene 3: Le départ de la mariée "Blagoslavyalsya svetyol mesyats" | — | ||
| 45-18 | Les Noces (1923): Part II, Scene 4: Le repas de noces | — | ||
| 46-1 | Cantata: A Lyke-Wake Dirge (Versus I. Prelude) | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-2 | Cantata: Ricercar I (Soprano) The Maidens Came | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-3 | Cantata: A Lyke-Wake Dirge (Versus II. 1st Interlude) | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-4 | Cantata: Ricercar II (Tenor) Tomorrow Shall Be (Sacred History) | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-5 | Cantata: A Lyke-Wake Dirge (Versus III. 2nd Interlude) | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-6 | Cantata: Westron Wind (Soprano and Tenor) | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-7 | Cantata: A Lyke-Wake Dirge (Versus IV. Postlude) | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-8 | Mass for Mixed Chorus and Double Wind Quintet: I. Kyrie | — | ||
| 46-9 | Mass for Mixed Chorus and Double Wind Quintet: II. Gloria | — | ||
| 46-10 | Mass for Mixed Chorus and Double Wind Quintet: III. Credo | — | ||
| 46-11 | Mass for Mixed Chorus and Double Wind Quintet: IV. Sanctus | — | ||
| 46-12 | Mass for Mixed Chorus and Double Wind Quintet: V. Agnus Dei | — | ||
| 46-13 | In Memoriam Dylan Thomas: Dirge-Canons | Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-14 | In Memoriam Dylan Thomas: Do not go gentle into that good night | Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | T-060.277.046-6 | |
| 46-15 | In Memoriam Dylan Thomas: Dirge-Canons (Postlude) | Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-16 | Fanfare for a New Theatre | — | ||
| 46-17 | The Owl and the Pussy-Cat | Adrienne Albert, Robert Craft, Igor Stravinsky | T-900.010.250-1 | |
| 46-18 | Septett: I | Columbia Chamber Ensemble, Igor Stravinsky | T-070.275.533-6 | |
| 46-19 | Septett: II. Passacaglia | Columbia Chamber Ensemble, Igor Stravinsky | T-070.275.533-6 | |
| 46-20 | Septett: III. Gigue | Columbia Chamber Ensemble, Igor Stravinsky | T-070.275.533-6 | |
| 46-21 | Elegy for J.F.K. | Cathy Berberian, Paul Howland, Jack Kreiselman, Charles Russo, Igor Stravinsky | — | |
| 47-1 | The Firebird (Suite): Introduction | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-2 | The Firebird (Suite): Prelude and Dance of the Firebird | Columbia Symphony Orchestra, Igor Stravinsky | T-042.176.795-4 | |
| 47-3 | The Firebird (Suite): Variations (The Firebird) | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-4 | The Firebird (Suite): Pantomime I | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-5 | The Firebird (Suite): Pas de deux (The Firebird and Ivan Tsarevitch) | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-6 | The Firebird (Suite): Pantomime II | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-7 | The Firebird (Suite): Scherzo. Dance of the Princess | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-8 | The Firebird (Suite): Pantomime III | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-9 | The Firebird (Suite): Rondo (Corovod) | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-10 | The Firebird (Suite): Infernal Dance | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-11 | The Firebird (Suite): Lullaby (The Firebird) | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-12 | The Firebird (Suite): Final Hymn | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-13 | Petrushka Suite: The Shrovetide Fair | — | ||
| 47-14 | Petrushka Suite: The Crowds | — | ||
| 47-15 | Petrushka Suite: The Charlatan's Booth | — | ||
| 47-16 | Petrushka Suite: Russian Dance | — | ||
| 47-17 | Petrushka Suite: Petruchka's Room | — | ||
| 47-18 | Petrushka Suite: The Shrovetide Fair (Towards Evening) | — | ||
| 47-19 | Petrushka Suite: Dance of the Wet-Nurses | — | ||
| 47-20 | Petrushka Suite: Dance of the Peasant and the Bear | — | ||
| 47-21 | Petrushka Suite: Dance of the Gypsy Girls | — | ||
| 47-22 | Petrushka Suite: Dance of the Coachmen and the Grooms | — | ||
| 47-23 | Petrushka Suite: The Masqueraders | — | ||
| 48-1 | Capriccio (1949 version): I. Presto - attacca | Philippe Entremont, Columbia Symphony Orchestra, Robert Craft | — | |
| 48-2 | Capriccio (1949 version): II. Andante rapsodico | Philippe Entremont, Columbia Symphony Orchestra, Robert Craft | T-072.904.032-7 | |
| 48-3 | Capriccio (1949 version): III. Allegro capriccio ma tempo giusto | Philippe Entremont, Columbia Symphony Orchestra, Robert Craft | — | |
| 48-4 | Concerto for Piano and Wind Instruments (1950 version): I. Largo - Allegro - Più mosso - Maestoso (Largo del principio) | Philippe Entremont, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 48-5 | Concerto for Piano and Wind Instruments (1950 version): II. LArgo - Più mosso - Doppio valore - Tempo primo | Philippe Entremont, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 48-6 | Concerto for Piano and Wind Instruments (1950 version): III. Allegro - Agitato - Lento - Stringendo | Philippe Entremont, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-1 | Pulcinella (Suite): I. Sinfonia (Ouverture) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-2 | Pulcinella (Suite): II. Serenata | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-3 | Pulcinella (Suite): III. a) Scherzino | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-4 | Pulcinella (Suite): b) Allegro | Columbia Symphony Orchestra, Igor Stravinsky | T-073.071.144-0 | |
| 49-5 | Pulcinella (Suite): c) Andantino | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-6 | Pulcinella (Suite): IV. Tarantella | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-7 | Pulcinella (Suite): V. Toccata | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-8 | Pulcinella (Suite): VI. Gavotta con due variazioni | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-9 | Pulcinella (Suite): VII. Vivo (Duetto) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-10 | Pulcinella (Suite): VIII. a) Minuetto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-11 | Pulcinella (Suite): b) Finale | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-12 | Scherzo fantastique | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 49-13 | Fireworks | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-14 | Scherzo à la Russe | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 50-1 | Variations: Aldous Huxley in memoriam | Columbia Symphony Orchestra, Robert Craft | — | |
| 50-2 | Abraham and Isaac | Columbia Symphony Orchestra, Robert Craft | — | |
| 50-3 | Introitus | Gregg Smith, Gregg Smith Singers, Igor Stravinsky | — | |
| 50-4 | Requiem Canticles: I. Prelude | Columbia Symphony Orchestra, Robert Craft | — | |
| 50-5 | Requiem Canticles: II. Exaudi | Gregg Smith, The Ithaca College Concert Choir, Columbia Symphony Orchestra, Robert Craft | — | |
| 50-6 | Requiem Canticles: III. Dies Irae | Gregg Smith, The Ithaca College Concert Choir, Columbia Symphony Orchestra, Robert Craft | — | |
| 50-7 | Requiem Canticles: IV. Tuba mirum | Donald Gramm, Columbia Symphony Orchestra, Robert Craft | — | |
| 50-8 | Requiem Canticles: V. Interlude | Columbia Symphony Orchestra, Robert Craft | — | |
| 50-9 | Requiem Canticles: VI. Rex tremendae | Gregg Smith, The Ithaca College Concert Choir, Columbia Symphony Orchestra, Robert Craft | — | |
| 50-10 | Requiem Canticles: VII. Lacrimosa | Elaine Bonazzi, Columbia Symphony Orchestra, Robert Craft | — | |
| 50-11 | Requiem Canticles: VIII. Libera me | Gregg Smith, Elaine Bonazzi, Donald Gramm, The Ithaca College Concert Choir, Columbia Symphony Orchestra, Robert Craft | — | |
| 50-12 | Requiem Canticles: IX. Postlude | Columbia Symphony Orchestra, Robert Craft | — | |
| 51-1 | Faun and Shepherdess: I. The Shepherdess | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 51-2 | Faun and Shepherdess: II. The Faun | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 51-3 | Faun and Shepherdess: III. The Torrent | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 51-4 | Two Poems of Paul Verlaine: The white moon shines in the woods | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-5 | Two Poems of Paul Verlaine: Sleep | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-6 | Two Poems of Konstantin Bal'mont: I. The Flower | Игорь Фёдорович Стравинский | — | |
| 51-7 | Two Poems of Konstantin Bal'mont: II. The Dove | Игорь Фёдорович Стравинский | — | |
| 51-8 | Three Japanese Lyrics: I. Akahito | Columbia Symphony Orchestra, Robert Craft | — | |
| 51-9 | Three Japanese Lyrics: II. Mazatsumi | Columbia Symphony Orchestra, Robert Craft | — | |
| 51-10 | Three Japanese Lyrics: III. Tsaraiuki | Columbia Symphony Orchestra, Robert Craft | — | |
| 51-11 | Three Little Songs (Recollections of my Childhood): I. The Magpie | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-12 | Three Little Songs (Recollections of my Childhood): II. The Rook | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-13 | Three Little Songs (Recollections of my Childhood): III. The Jackdaw | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-14 | Pribaoutki (Pleasant Songs): I. Uncle Armand | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-15 | Pribaoutki (Pleasant Songs): II. The Oven | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-16 | Pribaoutki (Pleasant Songs): III. The Colonel | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-17 | Pribaoutki (Pleasant Songs): IV. The Old Man and the Hare | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-18 | Tilim-Bom / Klabum-Klabam | Columbia Symphony Orchestra, Robert Craft | — | |
| 51-19 | Cat's Cradle Songs: I. On the Stove | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-20 | Cat's Cradle Songs: II. At Home | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-21 | Cat's Cradle Songs: III. Bye bye | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-22 | Cat's Cradle Songs: IV. The Cat has... | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-23 | Four Russian Songs: I. The Drake | Игорь Фёдорович Стравинский | — | |
| 51-24 | Four Songs: II. A Russian Spiritual | Игорь Фёдорович Стравинский | — | |
| 51-25 | Four Songs: III. Geese and Swans | Игорь Фёдорович Стравинский | — | |
| 51-26 | Four Russian Songs: IV. Tilim‐bom | Игорь Фёдорович Стравинский | — | |
| 51-27 | Three Songs from William Shakespeare: I. Music to hear | Igor Stravinsky | — | |
| 51-28 | Three Songs from William Shakespeare: II. Full fathom five | Igor Stravinsky | — | |
| 51-29 | Three Songs from William Shakespeare: III. When daisies pied | Igor Stravinsky | — | |
| 52-1 | Danses Concertantes for Chamber Orchestra: I. Marche - Introduction | — | ||
| 52-2 | Danses Concertantes for Chamber Orchestra: II. Pas d'action. Con moto | — | ||
| 52-3 | Danses Concertantes for Chamber Orchestra: III. Thème varié. Lento - Var. 1. Allegretto - Var. 2. Scherzando - Var. 3. Andantino - Var. 4. Tempo giusto | — | ||
| 52-4 | Danses Concertantes for Chamber Orchestra: IV. Pas de deux. Risoluto - Andante sostenuto | — | ||
| 52-5 | Danses Concertantes for Chamber Orchestra: V. Marche - Conclusion | — | ||
| 52-6 | Four Norwegian Moods for Orchestra: I. Intrada | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 52-7 | Four Norwegian Moods for Orchestra: II. Song | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 52-8 | Four Norwegian Moods for Orchestra: III. Wedding Dance | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 52-9 | Four Norwegian Moods for Orchestra: IV. Cortège | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 52-10 | Ode: I. Eulogy | Cleveland Orchestra, Igor Stravinsky | — | |
| 52-11 | Ode: II. Eclogue | Cleveland Orchestra, Igor Stravinsky | — | |
| 52-12 | Ode: III. Epitaph | Cleveland Orchestra, Igor Stravinsky | — | |
| 52-13 | Concerto in D major for String Orchestra “Basle Concerto”: I. Vivace | Columbia Symphony Orchestra, Igor Stravinsky | T-070.259.343-8 | |
| 52-14 | Concerto in D major for String Orchestra “Basle Concerto”: II. Arioso. Andantino | Columbia Symphony Orchestra, Igor Stravinsky | T-070.259.343-8 | |
| 52-15 | Concerto in D major for String Orchestra “Basle Concerto”: III.Rondo. Allegro | Columbia Symphony Orchestra, Igor Stravinsky | T-070.259.343-8 | |
| 53-1 | Preludium for Jazz Ensemble | Columbia Jazz Combo, Igor Stravinsky | T-070.270.113-0 | |
| 53-3 | Tango | Columbia Jazz Combo, Igor Stravinsky | T-070.178.048-4 | |
| 53-4 | Concertino for 12 Instruments | Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 53-5 | The Star-Spangled Banner | — | ||
| 53-6 | Four Russian Peasant Songs: I. On Saint's Days in Chigisakh | Igor Stravinsky | — | |
| 53-7 | Four Russian Peasant Songs: Ii. Ovsen | Gregg Smith, Gregg Smith Singers, Igor Stravinsky | — | |
| 53-8 | Four Russian Peasant Songs: III. The Pik | Igor Stravinsky | — | |
| 53-9 | Four Russian Peasant Songs: IV. Master Portly | Igor Stravinsky | — | |
| 53-13 | Pastorale, Song Without Words for Soprano and Piano | — | ||
| 53-14 | Stravinsky in Rehearsal: Apollon musagète | — | ||
| 53-15 | Stravinsky in Rehearsal: The Sleeping Beauty: Bluebird Pas de deux | — | ||
| 53-16 | Stravinsky in Rehearsal: 3 Little Songs "Recollections of My Childhood" with Cathy Berberian | — | ||
| 53-17 | Stravinsky in Rehearsal: Pulcinella | — | ||
| 53-18 | Stravinsky in Rehearsal: Concerto for Piano and Wind Instruments with Philippe Entremont | — | ||
| 53-19 | Stravinsky in Rehearsal: Symphony in C | — | ||
| 53-20 | Stravinsky in His Own Words: Excerpts from Portrait of Stravinsky | — | ||
| 53-21 | Rehearsal Fragment: Symphony in C (Near End of the First Movement) | — | ||
| 54-1 | Symphonies of Wind Instruments - Revised 1947 version | — | ||
| 54-8 | Chant du rossignol: I. Introduction | — | ||
| 54-9 | Chant du rossignol: II. Marche chinoise | — | ||
| 54-10 | Chant du rossignol: III. Chant du rossignol | — | ||
| 54-11 | Chant du rossignol: IV. Jeu du rossignol mécanique | — | ||
| 55-6 | Septet for Clarinet, Bassoon, Horn, Piano, Violin, Viola & Cello: I. [Sonata allegro] Quarter Note = 88 | — | ||
| 55-7 | Septet for Clarinet, Bassoon, Horn, Piano, Violin, Viola & Cello: II. Passacaglia | — | ||
| 55-8 | Septet for Clarinet, Bassoon, Horn, Piano, Violin, Viola & Cello: III. Gigue | — | ||
| 55-10 | Three Pieces for Clarinet: I. Sempre piano e molto tranquillo | — | ||
| 55-11 | Three Pieces for Clarinet: II. Eighth Note = 168 | — | ||
| 55-12 | Three Pieces for Clarinet: III. Eighth Note = 160 | — | ||
| 55-13 | Suite italienne, Arrangement for Cello and Piano from "Pulcinella": I. Introduzione. Allegro moderato | — | ||
| 55-14 | Suite italienne, Arrangement for Cello and Piano from "Pulcinella": II. Serenata. Larghetto | — | ||
| 55-15 | Suite italienne, Arrangement for Cello and Piano from "Pulcinella": III. Aria. Allegro alla breve | — | ||
| 55-16 | Suite italienne, Arrangement for Cello and Piano from "Pulcinella": IV. Tarantella. Vivace | — | ||
| 55-17 | Suite italienne, Arrangement for Cello and Piano from "Pulcinella": V. Minuetto e Finale. Moderato - Molto vivace | — | ||
| 56-1 | The Soldier's Tale: Part 1: Introduction: The Soldier's March | — | ||
| 56-2 | The Soldier's Tale: Part 1: Music for Scene One: Airs by a Stream | — | ||
| 56-3 | The Soldier's Tale: Part 1: The Soldier's March (Reprise) | — | ||
| 56-4 | The Soldier's Tale: Part 1: Music for Scene Two: Pastorale | — | ||
| 56-5 | The Soldier's Tale: Part 1: Airs by a Stream (Reprise) | — | ||
| 56-6 | The Soldier's Tale: Part 1: Music for Scene Three: Airs by a Stream (Reprise) | — | ||
| 56-7 | The Soldier's Tale: Part 2: The Soldier's March (Reprise) | — | ||
| 56-8 | The Soldier's Tale: Part 2: The Royal March | — | ||
| 56-9 | The Soldier's Tale: Part 2: The Little Concert | — | ||
| 56-10 | The Soldier's Tale: Part 2: Three Dances: 1. Tango | — | ||
| 56-11 | The Soldier's Tale: Part 2: Three Dances: 2. Valse | — | ||
| 56-12 | The Soldier's Tale: Part 2: Three Dances: 3. Ragtime | — | ||
| 56-13 | The Soldier's Tale: Part 2: The Devil's Dance | — | ||
| 56-14 | The Soldier's Tale: Part 2: Little Chorale | — | ||
| 56-15 | The Soldier's Tale: Part 2: The Devil's Song | — | ||
| 56-16 | The Soldier's Tale: Part 2: Great Choral | — | ||
| 56-17 | Histoire du Soldat Suite: March Triomphale du Diable | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — |
Identifier Graph
888750261625 is a Universal Product Code (UPC) assigned to The Complete Columbia Album Collection by Igor Stravinsky. 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 830 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
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Scènes de ballet: Pantomime | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.511-0 |
| Concerto for Clarinet and String Orchestra (With Piano & Harp) | Abba Bogin, Benny Goodman, Laura Newell, Columbia Symphony Orchestra, Aaron Copland | — |
| Symphonies of Wind Instruments | WDR Sinfonieorchester Köln, Igor Stravinsky | — |
| The Rite of Spring: Part Two. Sacrificial Dance | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 |
Creative Contributors (ISNI)
The UPC for “The Complete Columbia Album Collection” by Igor Stravinsky is 888750261625. 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 2015-01-01. Label: Sony Classical. This release contains 830 tracks, each with its own ISRC. Tracks include USSM11206801, USSM11206802, USSM11206803.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Le Sacre du printemps: Première partie. L’Adoration de la terre: I. Introduction | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 2 | Le Sacre du printemps: Première partie. L’Adoration de la terre: II. Les Augures printaniers – Danses des adolescentes | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 3 | Le Sacre du printemps: Première partie. L’Adoration de la terre: III. Jeu du rapt | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 4 | Le Sacre du printemps: Première partie. L’Adoration de la terre: IV. Rondes printanières | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 5 | Le Sacre du printemps: Première partie. L’Adoration de la terre: V. Jeux des cités rivales | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 6 | Le Sacre du printemps: Première partie. L’Adoration de la terre: VI. Cortège du sage | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 7 | Le Sacre du printemps: Première partie. L’Adoration de la terre: VII. Le Sage | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 8 | Le Sacre du printemps: Première partie. L’Adoration de la terre: VIII. Danse de la terre | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 9 | Le Sacre du printemps: Deuxième partie. Le Sacrifice: IX. Introduction | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 10 | Le Sacre du printemps: Deuxième partie. Le Sacrifice: X. Cercles mystérieux des adolescentes | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 11 | Le Sacre du printemps: Deuxième partie. Le Sacrifice: XI. Glorification de l’Élue | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 12 | Le Sacre du printemps: Deuxième partie. Le Sacrifice: XII. Évocation des ancêtres | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 13 | Le Sacre du printemps: Deuxième partie. Le Sacrifice: XIII. Action rituelle des ancêtres | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 14 | Le Sacre du printemps: Deuxième partie. Le Sacrifice: XIV. Danse sacrale (L’Élue) | Philharmonic-Symphony Orchestra of New York, Igor Stravinsky | T-070.257.887-7 | |
| 15 | A propos of Le Sacre (Commentary by Igor Stravinsky About the History of a Musical Landmark) | — | ||
| 2-1 | Petrushka Ballet Suite: Legerdemain Scene | — | ||
| 2-2 | Petrushka Ballet Suite: Russian Dance | — | ||
| 2-3 | Petrushka Ballet Suite: Petrushka's Room | — | ||
| 2-4 | Petrushka Ballet Suite: Dance of the Wet-Nurses | — | ||
| 2-5 | Petrushka Ballet Suite: Dance of the Peasant and the Bear | — | ||
| 2-6 | Petrushka Ballet Suite: Dance of the Gypsy Girls | — | ||
| 2-7 | Petrushka Ballet Suite: Dance of the Coachmen and the Grooms | — | ||
| 2-8 | Petrushka Ballet Suite: The Masqueraders | — | ||
| 2-9 | Scènes de ballet: Introduction | — | ||
| 2-10 | Scènes de ballet: Danses (Corps de ballet & Ballerine) | — | ||
| 2-11 | Scènes de ballet: Pantomime I | — | ||
| 2-12 | Scènes de ballet: Pas de deux | — | ||
| 2-13 | Scènes de ballet: Pantomime II | — | ||
| 2-14 | Scènes de ballet: Variations (Danseur & Ballerine) | — | ||
| 2-15 | Scènes de ballet: Pantomime III | — | ||
| 2-16 | Scènes de ballet: Danses (Corps de ballet) | — | ||
| 2-17 | Scènes de ballet: Apothéose | — | ||
| 2-18 | Divertimento from Le Baiser de la fée: I. Sinfonia | — | ||
| 2-19 | Divertimento from Le Baiser de la fée: II. Danses suisses | — | ||
| 2-20 | Divertimento from Le Baiser de la fée: III. Scherzo | — | ||
| 2-21 | Divertimento from Le Baiser de la fée: IV. Pas de deux (Adagio - Variation - Coda) | — | ||
| 3-1 | The Firebird: Introduction | — | ||
| 3-2 | The Firebird: Prelude and Dance of the Firebird | — | ||
| 3-3 | The Firebird: Pas de deux - Firebird and Ivan Tsarevich | — | ||
| 3-4 | The Firebird: Scherzo - Dance of the Princesses | — | ||
| 3-5 | The Firebird: Rondo (Khorovod) | — | ||
| 3-6 | The Firebird: Infernal Dance | — | ||
| 3-7 | The Firebird: Lullaby (The Firebird) | — | ||
| 3-8 | The Firebird: Final Hymn | — | ||
| 4-1 | Symphony of Psalms: I. Exaudi orationem meam, Domine | — | ||
| 4-2 | Symphony of Psalms: II. Exspectans exspectavi Dominum | — | ||
| 4-3 | Symphony of Psalms: III. Alleluia - Laudate Dominum | — | ||
| 4-4 | Symphony in Three Movements: I. [q = 160] | — | ||
| 4-5 | Symphony in Three Movements: II. Andante - Interlude - L'istesso tempo | — | ||
| 4-6 | Symphony in Three Movements: III. Con moto | — | ||
| 5-1 | Concerto for Two Solo Pianos: I. Con moto | — | ||
| 5-2 | Concerto for Two Solo Pianos: II. Notturno - Adagietto | — | ||
| 5-3 | Concerto for Two Solo Pianos: III. Quattro variazioni | — | ||
| 5-4 | Concerto for Two Solo Pianos: IV. Preludio e Fuga | — | ||
| 5-5 | Scherzo à la Russe | — | ||
| 5-6 | The Snow Maiden: Dance of the Tumblers | — | ||
| 5-7 | Russian Village | — | ||
| 5-8 | Suite No. 1 for Two Pianos, Op. 15: Waltz | — | ||
| 5-9 | Sadko: Cradle Song | — | ||
| 5-10 | Circus Polka | — | ||
| 5-11 | Tango | — | ||
| 6-1 | Orpheus: Premier tableau: Orpheus Weeps for Eurydice - Lento sostenuto | — | ||
| 6-2 | Orpheus: Premier tableau: Air de danse | — | ||
| 6-3 | Orpheus: Premier tableau: L'Ange de la Mort et sa danse | — | ||
| 6-4 | Orpheus: Premier tableau: Interlude | — | ||
| 6-5 | Orpheus: Deuxième tableau: Pas des Furies | — | ||
| 6-6 | Orpheus: Deuxième tableau: Air de danse - Interlude - Air de danse | — | ||
| 6-7 | Orpheus: Deuxième tableau: Pas d'action I | — | ||
| 6-8 | Orpheus: Deuxième tableau: Pas de deux | — | ||
| 6-9 | Orpheus: Deuxième tableau: Interlude | — | ||
| 6-10 | Orpheus: Deuxième tableau: Pas d'action II | — | ||
| 6-11 | Orpheus: Troisième tableau: Apothéose d'Orphée | — | ||
| 6-12 | Mass for Mixed Chorus and Double Wind Quintet: I. Kyrie | — | ||
| 6-13 | Mass for Mixed Chorus and Double Wind Quintet: II. Gloria | — | ||
| 6-14 | Mass for Mixed Chorus and Double Wind Quintet: III. Credo | — | ||
| 6-15 | Mass for Mixed Chorus and Double Wind Quintet: IV. Sanctus | — | ||
| 6-16 | Mass for Mixed Chorus and Double Wind Quintet: V. Agnus Dei | — | ||
| 7-1 | Duo Concertant for Violin and Piano: I. Cantilène | Igor Stravinsky, Joseph Szigeti | — | |
| 7-2 | Duo Concertant for Violin and Piano: II. Eclogue I | Igor Stravinsky, Joseph Szigeti | — | |
| 7-3 | Duo Concertant for Violin and Piano: III. Eclogue II | Igor Stravinsky, Joseph Szigeti | — | |
| 7-4 | Duo Concertant for Violin and Piano: IV. Gigue | Igor Stravinsky, Joseph Szigeti | — | |
| 7-5 | Duo Concertant for Violin and Piano: V. Dithyrambe | Igor Stravinsky, Joseph Szigeti | — | |
| 7-6 | Baal Shem: I. Vidui (Contrition) | — | ||
| 7-7 | Baal Shem: II. Nigun (Improvisation) | — | ||
| 7-8 | Baal Shem: III. Simchas Torah (Rejoicing) | — | ||
| 7-9 | Pastorale, Song without Words for Violin & Woodwind Quartet - Remastered | — | ||
| 8-1 | Divertimento from Le baiser de la fée: I. Sinfonia | — | ||
| 8-2 | Divertimento from Le baiser de la fée: II. Danses Suisses | — | ||
| 8-3 | Divertimento from Le baiser de la fée: III. Scherzo (Au Moulin) | — | ||
| 8-4 | Divertimento from Le baiser de la fée: IV. Pas de deux | — | ||
| 8-5 | Danses concertantes for Chamber Orchestra: I. Marche - Introduction | — | ||
| 8-6 | Danses concertantes for Chamber Orchestra: II. Pas d'action | — | ||
| 8-7 | Danses concertantes for Chamber Orchestra: III. Theme varie | — | ||
| 8-8 | Danses concertantes for Chamber Orchestra: IV. Pas de deux | — | ||
| 8-9 | Danses concertantes for Chamber Orchestra: V. Marche - Conclusion | — | ||
| 8-10 | Concerto for Piano and Wind Instruments: I. Largo - Allegro - Maestoso | — | ||
| 8-11 | Concerto for Piano and Wind Instruments: II. Largo | — | ||
| 8-12 | Concerto for Piano and Wind Instruments: III. Allegro | — | ||
| 8-13 | Scherzo à la Russe | — | ||
| 9-1 | Apollon musagète: Naissance d'Apollon | — | ||
| 9-2 | Apollon musagète: Variation d'Apollon I | — | ||
| 9-3 | Apollon musagète: Pas d'action | — | ||
| 9-4 | Apollon musagète: Variation de Calliope | — | ||
| 9-5 | Apollon musagète: Variation de Polymnie | — | ||
| 9-6 | Apollon musagète: Variation de Terpsichore | — | ||
| 9-7 | Apollon musagète: Variation d'Apollon II | — | ||
| 9-8 | Apollon musagète: Pas de deux | — | ||
| 9-9 | Apollon musagète: Coda | — | ||
| 9-10 | Apollon musagète: Apotheose | — | ||
| 9-11 | Concerto en Re (pour orchestre a cordes) "Basle Concerto": I. Vivace | — | ||
| 9-12 | Concerto en Re (pour orchestre a cordes) "Basle Concerto": II. Arioso - Andantino | — | ||
| 9-13 | Concerto en Re (pour orchestre a cordes) "Basle Concerto": III. Rondo - Allegro | — | ||
| 10-1 | Fireworks, Op. 4 | — | ||
| 10-2 | Ode, Elegiacal Chant in 3 Parts for Orchestra: I. Eulogy | — | ||
| 10-3 | Ode, Elegiacal Chant in 3 Parts for Orchestra: II. Eclogue | — | ||
| 10-4 | Ode, Elegiacal Chant in 3 Parts for Orchestra: III. Epitaph | — | ||
| 10-5 | Russian Maiden's Song | — | ||
| 10-6 | Ebony Concerto: I. Allegro moderato | — | ||
| 10-7 | Ebony Concerto: II. Andante | — | ||
| 10-8 | Ebony Concerto: III. Moderato - Con moto - Moderato - Vivo | — | ||
| 10-9 | Four Norwegian Moods: I. Intrada | — | ||
| 10-10 | Four Norwegian Moods: II. Song | — | ||
| 10-11 | Four Norwegian Moods: III. Wedding Dance | — | ||
| 10-12 | Four Norwegian Moods: IV. Cortège | — | ||
| 10-13 | Circus Polka | — | ||
| 11-2 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Caedit nos pestis" (Chorus) | — | ||
| 11-3 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Liberi, vos liberabo" (Oedipus, Chorus) | — | ||
| 11-4 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Respondit deus" (Creon) | — | ||
| 11-5 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Non reperias vetus scelus" (Oedipus, Chorus) | — | ||
| 11-6 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Oedipe interroge la fontaine de verite" (Narrator, Chorus) | — | ||
| 11-7 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Dicere non possum" (Tiresias, Oedipus) | — | ||
| 11-8 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Rex peremptor regis est" - "Invidia fortunam odit" (Tiresias, Oedipus) | — | ||
| 11-9 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte I: "Gloria!" (Chorus) | — | ||
| 11-10 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "La dispute des princes attire Jocaste" (Narrator) | — | ||
| 11-11 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Gloria!" (Chorus) | — | ||
| 11-12 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Nonn' erubescite, reges" (Jocasta) | — | ||
| 11-13 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Ne probentur oracula" (Jocasta) | — | ||
| 11-14 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Cave oracula!" - "Trivium, trivium" (Jocasta, Chorus, Oedipus) | — | ||
| 11-15 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Oracula mentiuntur" (Jocasta, Chorus, Oedipus) | — | ||
| 11-16 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Le témoin du meurtre sort de l'ombre" (Narrator) | — | ||
| 11-17 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Adest omniscius pastor" (Chorus, Messenger) | — | ||
| 11-18 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Oportebat tacere" (Shepherd) | — | ||
| 11-19 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Nonne monstrum rescituri" (Oedipus) | — | ||
| 11-20 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "In monte reppertus est" (Shepherd, Messenger) | — | ||
| 11-21 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Natus sum quo nefastum est" (Oedipus) | — | ||
| 11-22 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Et maintenant, vous allez entendre" (Narrator) | — | ||
| 11-23 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Divum Iocastea caput mortuum!" (Messenger, Chorus) | — | ||
| 11-24 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Acte II: "Ecce! Regem Oedipoda" (Chorus) | — | ||
| 12-1 | The Rake’s Progress: Act I. Prelude | — | ||
| 12-2 | The Rake’s Progress: Act I, Scene 1. Duet and Trio: “The Woods Are Green” – Recitative: “Anne, My Dear” (Anne, Rakewell, Trulove) | — | ||
| 12-3 | The Rake’s Progress: Act I, Scene 1. Recitative: “Here I stand” – Aria: “Since It Is Not by Merit” (Rakewell) | — | ||
| 12-4 | The Rake’s Progress: Act I, Scene 1. Recitative: “Tom Rakewell?” – Recitative: “Fair Lady, Gracious Gentlemen” – Quartet: “I Wished But Once” – Recitative: “I’ll Call the Coachman, Sir” (Shadow, Rakewell, Anne, Trulove) | — | ||
| 12-5 | The Rake’s Progress: Act I, Scene 1. Duettino: “Farewell for Now” – Recitative: “All Is Ready, Sir” – Arioso: “Dear Father Truelove” – Terzettino: “Laughter and Light” (Anne, Rakewell, Trulove, Shadow) | — | ||
| 12-6 | The Rake’s Progress: Act I, Scene 2. Chorus: “With Air Commanding and Weapon Handy” (Chorus) | — | ||
| 12-7 | The Rake’s Progress: Act I, Scene 2. Recitative and Scene: “Come, Tom” – Chorus: “Soon Dawn Will Glitter” – Recitative: “Sisters of Venus, Brothers of Mars” (Shadow, Rakewell, Mother Goose, Chorus) | — | ||
| 12-8 | The Rake’s Progress: Act I, Scene 2. Cavatina: “Love, too Frequently Betrayed” – Chorus: “How Sad a Song” – Chorus: “The Sun Is Bright, the Grass Is Green” (Rakewell, Chorus, Mother Goose) | — | ||
| 12-9 | The Rake’s Progress: Act I, Scene 2. Chorus: “Lanterloo, My Lady” (Chorus, Shadow) | — | ||
| 12-10 | The Rake’s Progress: Act I, Scene 3. Recitative: “No Word from Tom” – Aria: “Quietly, Night” – Recitative: “My Father! Can I Desert Him” (Anne, Truelove) | — | ||
| 12-11 | The Rake’s Progress: Act I, Scene 3. Cabaletta: “I Go, I Go to Him” (Anne) | — | ||
| 12-12 | The Rake’s Progress: Act II, Scene 1. Aria: “Vary the Song, O London, Change!” – Recitative: O Nature, Green Unnatural Mother" – Aria (reprise): “Always the Quarry” (Rakewell) | — | ||
| 12-13 | The Rake’s Progress: Act II, Scene 1. Recitative: “Master, Are You Alone?” – Aria: “In Youth the Panting Slave” (Shadow, Rakewell) | — | ||
| 12-14 | The Rake’s Progress: Act II, Scene 1. Duet‐Finale: “My Tale Shall Be Told” (Rakewell, Shadow) | — | ||
| 12-15 | The Rake’s Progress: Act II, Scene 2. Introduction – Recitative: “How Strange” – Arioso: “O Heart Be Stronger” (Anne) | — | ||
| 12-16 | The Rake’s Progress: Act II, Scene 2. Duet: “Anne! Here!” – Recitative: “My Love, Am I to Remain in Here for Ever?” (Rakewell, Anne, Baba) | — | ||
| 12-17 | The Rake’s Progress: Act II, Scene 2. Trio: “Could It Then Have Been Known” – Finale: “I Have Not Run Away” (Anne, Rakewell, Baba) | — | ||
| 13-1 | The Rake’s Progress: Act II, Scene 3. Aria: “As I Was Saying” – Baba’s Song: “Come, Sweet, Come” – Aria: “Scorned! Abused!” – Recitative: “My Heart Is Cold, I Cannot Weep” – Pantomime: “Fa la la” – Recitative: “Oh, I Wish It Were True” (Baba, Rakewell, Shadow) | — | ||
| 13-2 | The Rake’s Progress: Act II, Scene 3. Arioso‐Recitative: “You! O Nick, I’ve Had the Strangest Dream” – Duet: “Thanks to This Excellent Device” – Recitative: “Forgive Me, Master” (Rakewell, Shadow) | — | ||
| 13-3 | The Rake’s Progress: Act III, Scene 1. “Ruin, Disaster, Shame” (Chorus, Anne) | — | ||
| 13-4 | The Rake’s Progress: Act III, Scene 1. “Aha!” (Sellem, Chorus) | — | ||
| 13-5 | The Rake’s Progress: Act III, Scene 1. Aria: “Sold! Annoyed!” – Recitative: “Now What Was That!” – Duet: “You Love Him” – Ballad Tune: “If Boys Had Wings” (Baba, Chorus, Rakewell, Shadow, Anne, Sellem) | — | ||
| 13-6 | The Rake’s Progress: Act III, Scene 1. Stretto‐Finale: “I Go to Him” – Ballad Tune (reprise): “Who Cares a Fig” (Anne, Baba, Sellem, Chorus, Rakewell) | — | ||
| 13-7 | The Rake’s Progress: Act III, Scene 2. Prelude | — | ||
| 13-8 | The Rake’s Progress: Act III, Scene 2. Duet: “How Dark and Dreadful Is This Place” (Rakewell, Shadow) | — | ||
| 13-9 | The Rake’s Progress: Act III, Scene 2. Recitative: “Very Well, Then, My Dear and Good Tom” – Duet: “Well, Then” – “My heart Is Wild with Fear” (Shadow, Rakewell, Anne) | — | ||
| 13-10 | The Rake’s Progress: Act III, Scene 2. “I Burn! I Burn! I Freeze!” (Shadow, Rakewell) | — | ||
| 13-11 | The Rake’s Progress: Act III, Scene 3. Arioso: “Prepare Yourselves, Heroic Shades” – Dialogue: “Madmen’s Words Are All Untrue” – Chorus‐Minuet: “Leave All Love and Hope Behind” (Rakewell, Chorus) | — | ||
| 13-12 | The Rake’s Progress: Act III, Scene 3. Recitative: “There He Is. Have no Fear” – Arioso: “I Have Waited” – Duet: “In a Foolish Dream” – Recitative: “I Am Exceedingly Weary” (Keeper, Anne, Rakewell) | — | ||
| 13-13 | The Rake’s Progress: Act III, Scene 3. Lullaby: “Gently, Little Boat” – Recitative: “Anne, My Dear, the Tale Is Ended Now” – Duettino: “Every Wearied Body” (Anne, Truelove) | — | ||
| 13-14 | The Rake’s Progress: Act III, Scene 3. Finale‐Recitative: “Where Art Thou, Venus?” – Mourning Chorus: “Mourn for Adonis” (Rakewell, Chorus) | — | ||
| 13-15 | The Rake’s Progress: Act III, Scene 3. Epilogue: “Good People, Just a Moment” (Anne, Baba, Rakewell, Shadow, Truelove) | — | ||
| 14-1 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Overture. Allegro moderato | — | ||
| 14-2 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Serenata. Larghetto - "Mentre l'erbetta, pasce l'agnella" | — | ||
| 14-3 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Scherzino. Allegro | — | ||
| 14-4 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Poco più vivo - Allegro | — | ||
| 14-5 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Andantino | — | ||
| 14-6 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro | — | ||
| 14-7 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegretto - "Contento forse vivere" | — | ||
| 14-8 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro assai | — | ||
| 14-9 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro (alla breve) - "Con queste paroline" | — | ||
| 14-10 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Largo - "Sento dire: no nc' è pace" - "Chi disse cà la femmena" | — | ||
| 14-11 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro - "Ncè sta quacuna pò" - "Una te fa la nzemprece" | — | ||
| 14-12 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Presto - "Una te fa la nzemprece" | — | ||
| 14-13 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Tempo I (Largo) | — | ||
| 14-14 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro alle breve | — | ||
| 14-15 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Tarantella | — | ||
| 14-16 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Andantino - "Se tu m'ami" | — | ||
| 14-17 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro | — | ||
| 14-18 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Gavotta con due variazioni. Allegro moderato | — | ||
| 14-19 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Var. I. Allegretto | — | ||
| 14-20 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Var. II. Allegro più tosto moderato | — | ||
| 14-21 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Vivo | — | ||
| 14-22 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Tempo di minuetto - "Pupillette, fiammette d'amore" | — | ||
| 14-23 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro assai | — | ||
| 15-1 | Symphony in C: I. Moderato alla breve | — | ||
| 15-2 | Symphony in C: II. Larghetto concertante | — | ||
| 15-3 | Symphony in C: III. Allegretto | — | ||
| 15-4 | Symphony in C: IV. Largo - Tempo giusto, alla breve | — | ||
| 15-5 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: A Lyke-Wake Dirge - Versus I (Prelude): "This ae Nighte" | — | ||
| 15-6 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: Ricercar I: "The Maidens Came" | — | ||
| 15-7 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: A Lyke-Wake Dirge - Versus II (First Interlude): "If Ever Thou Gav'st Hos'n and Shoon" | — | ||
| 15-8 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: Ricercar II (Sacred History): "Tomorrow Shall Be" | — | ||
| 15-9 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: A Lyke-Wake Dirge - Versus III (Second Interlude): "From Whinnymuir When Thou May'st Pass" | — | ||
| 15-10 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: Westron Wind | — | ||
| 15-11 | Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: A Lyke-Wake Dirge - Versus IV (Postlude) - "If Ever Thou Gav'st Meat or Drink" | — | ||
| 16-1 | L'Histoire du Soldat, Suite: The Soldier's March | — | ||
| 16-2 | L'Histoire du Soldat, Suite: Airs by a Stream | — | ||
| 16-3 | L'Histoire du Soldat, Suite: Pastorale | — | ||
| 16-4 | L'Histoire du Soldat, Suite: The Royal March | — | ||
| 16-5 | L'Histoire du Soldat, Suite: The Little Concerto | — | ||
| 16-6 | L'Histoire du Soldat, Suite: Tango | — | ||
| 16-7 | L'Histoire du Soldat, Suite: Waltz | — | ||
| 16-8 | L'Histoire du Soldat, Suite: Ragtime | — | ||
| 16-9 | L'Histoire du Soldat, Suite: The Devil's Dance | — | ||
| 16-10 | L'Histoire du Soldat, Suite: Great Chorale | — | ||
| 16-11 | L'Histoire du Soldat, Suite: Triumphal March of the Devil | — | ||
| 16-12 | Octet for Wind Instruments: I. Sinfonia | — | ||
| 16-13 | Octet for Wind Instruments: II. Tema con variazioni | — | ||
| 16-14 | Octet for Wind Instruments: Variazione A | — | ||
| 16-15 | Octet for Wind Instruments: Variazione B | — | ||
| 16-16 | Octet for Wind Instruments: Variazione A (Reprise I) | — | ||
| 16-17 | Octet for Wind Instruments: Variazione C | — | ||
| 16-18 | Octet for Wind Instruments: Variazione D | — | ||
| 16-19 | Octet for Wind Instruments: Variazione A (Reprise II) | — | ||
| 16-20 | Octet for Wind Instruments: Variazione E | — | ||
| 16-21 | Octet for Wind Instruments: Finale (Tempo giusto) | — | ||
| 17-1 | In Memorium Dylan Thomas: Dirge-Canons (Prelude) | — | ||
| 17-2 | In Memorium Dylan Thomas: Do Not Go Gentle into That Good Night | — | ||
| 17-3 | In Memorium Dylan Thomas: Dirge-Canons (Postlude) | — | ||
| 17-4 | Three Songs from William Shakespeare: I. Musick to Heare | — | ||
| 17-5 | Three Songs from William Shakespeare: II. Full Fadom Five | — | ||
| 17-6 | Three Songs from William Shakespeare: III. When Dasies Pied | — | ||
| 17-7 | Septet: I. [sonata allegro] quarter note = 88 | — | ||
| 17-8 | Septet: II. Passacaglia | — | ||
| 17-9 | Septet: III. Gigue | — | ||
| 17-10 | Four Russian Songs for Soprano, Flute, Harp and Guitar: I. The Drake | — | ||
| 17-11 | Four Russian Songs for Soprano, Flute, Harp and Guitar: II. A Russian Spiritual | — | ||
| 17-12 | Four Russian Songs for Soprano, Flute, Harp and Guitar: III. Geese and Swans | — | ||
| 17-13 | Four Russian Songs for Soprano, Flute, Harp and Guitar: IV. Tilim-bom | — | ||
| 17-14 | Two Poems of Konstantin Balmont: I. Forget-me-nots | — | ||
| 17-15 | Two Poems of Konstantin Balmont: II. The Dove | — | ||
| 17-16 | Three Japanese Lyrics: I. Akahito | — | ||
| 17-17 | Three Japanese Lyrics: II. Mazatsumi | — | ||
| 17-18 | Three Japanese Lyrics: III. Tsaraiuki | — | ||
| 17-19 | Three Little Songs "Recollections of my Childhood": I. The Magpie | — | ||
| 17-20 | Three Little Songs "Recollections of my Childhood": II. The Rook | — | ||
| 17-21 | Three Little Songs "Recollections of my Childhood": III. The Jackdaw | — | ||
| 17-22 | Four Russian Peasant Songs for Female Choir "Saucer": I. On Saints' Days in Chigisakh | — | ||
| 17-23 | Four Russian Peasant Songs for Female Choir "Saucer": II. Ovsen | — | ||
| 17-24 | Four Russian Peasant Songs for Female Choir "Saucer": III. The Pike | — | ||
| 17-25 | Four Russian Peasant Songs for Female Choir "Saucer": IV. Master Portly | — | ||
| 18-1 | The Fairy's Kiss: Scene I: Prologue. The Lullaby in the Storm (Andante - Allegro sostenuto - Vivace agitato) | — | ||
| 18-2 | The Fairy's Kiss: Scene II: A Village Fête (Tempo giusto - Valse, poco più lento - Tempo I) | — | ||
| 18-3 | The Fairy's Kiss: Scene III: At the Mill (Moderato - Allegretto grazioso) | — | ||
| 18-4 | The Fairy's Kiss: Pas de deux: a) Entrée (Moderato) | — | ||
| 18-5 | The Fairy's Kiss: Pas de deux: b) Adagio | — | ||
| 18-6 | The Fairy's Kiss: Pas de deux: c) Variation (Allegretto grazioso) | — | ||
| 18-7 | The Fairy's Kiss: Pas de deux: d) Coda (Presto) | — | ||
| 18-8 | The Fairy's Kiss: Scène (Andante non tanto - Più lento) | — | ||
| 18-9 | The Fairy's Kiss: Scene IV: Epilogue. Berceuse of the Eternal Dwellings (L'istesso tempo - Andante non tanto) | — | ||
| 19-1 | Perséphone, Melodrame en Trois Tableaux: I. Perséphone Ravie | — | ||
| 19-2 | Perséphone, Melodrame en Trois Tableaux: II. Perséphone aux Enfers | — | ||
| 19-3 | Perséphone, Melodrame en Trois Tableaux: III. Perséphone renaissante | — | ||
| 20-1 | Agon: Pas de quatre | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-2 | Agon: Double Pas de quatre | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-3 | Agon: Triple Pas de quatre | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-4 | Agon: Prélude | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-5 | Agon: First Pas de trois. Saraband Step | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-6 | Agon: First Pas de trois. Gaillarde | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-7 | Agon: First Pas de trois. Coda | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-8 | Agon: First Pas de trois. Interlude | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-9 | Agon: Second Pas de trois. Bransle simple | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-10 | Agon: Second Pas de trois. Bransle gay | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-11 | Agon: Second Pas de trois. Bransle double | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-12 | Agon: Second Pas de trois. Interlude | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-13 | Agon: Second Pas de trois. Pas de deux | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-14 | Agon: Second Pas de trois. Coda | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-15 | Agon: Second Pas de trois. Four Duos | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-16 | Agon: Second Pas de trois. Four Trios | Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-17 | Canticum Sacrum: Dedicatio | Howard Chitjian, Los Angeles Festival Symphony Chorus, Richard Robinson, Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-18 | Canticum Sacrum: I. Euntes in mundum | Howard Chitjian, Los Angeles Festival Symphony Chorus, Richard Robinson, Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-19 | Canticum Sacrum: II. Surge, aquilo | Howard Chitjian, Los Angeles Festival Symphony Chorus, Richard Robinson, Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-20 | Canticum Sacrum: III. Ad tres virtutes hortationes | Howard Chitjian, Los Angeles Festival Symphony Chorus, Richard Robinson, Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-21 | Canticum Sacrum: IV. Jesus autem ait illi | Howard Chitjian, Los Angeles Festival Symphony Chorus, Richard Robinson, Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 20-22 | Canticum Sacrum: V. Illi autem profecti | Howard Chitjian, Los Angeles Festival Symphony Chorus, Richard Robinson, Los Angeles Festival Symphony Orchestra, Igor Stravinsky | — | |
| 21-1 | Threni: Incipit | Hugh Ross, Bethany Beardslee, Beatrice Krebs, William Lewis, Mac Morgan, Robert Oliver, The Schola Cantorum, James Wainner, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 21-2 | Threni: De Elegia Prima | Hugh Ross, Bethany Beardslee, Beatrice Krebs, William Lewis, Mac Morgan, Robert Oliver, The Schola Cantorum, James Wainner, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 21-3 | Threni: De Elegia Tertia | Hugh Ross, Bethany Beardslee, Beatrice Krebs, William Lewis, Mac Morgan, Robert Oliver, The Schola Cantorum, James Wainner, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 21-4 | Threni: De Elegia Quinta | Hugh Ross, Bethany Beardslee, Beatrice Krebs, William Lewis, Mac Morgan, Robert Oliver, The Schola Cantorum, James Wainner, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-1 | The Rite of Spring: Part One. Introduction | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-2 | The Rite of Spring: Part One. The Augurs of Spring | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-3 | The Rite of Spring: Part One. Mock Abduction | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-4 | The Rite of Spring: Part One. Spring Round Dances | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-5 | The Rite of Spring: Part One. Games of the Rival Tribes | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-6 | The Rite of Spring: Part One. Procession of the Wise Elder | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-7 | The Rite of Spring: Part One. Adoration of the Earth | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-8 | The Rite of Spring: Part One. Dance of the Earth | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-9 | The Rite of Spring: Part Two. Introduction | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-10 | The Rite of Spring: Part Two. Mystical Circles of the Young Girls | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-11 | The Rite of Spring: Part Two. Glorification of the Chosen Victim | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-12 | The Rite of Spring: Part Two. Summoning of the Ancestors | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-13 | The Rite of Spring: Part Two. Ritual of the Ancestors | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 22-14 | The Rite of Spring: Part Two. Sacrificial Dance | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-15 | Petrushka: Scene 1. The Shrove-Tide Fair | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-16 | Petrushka: Scene 1. The Crowds | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-17 | Petrushka: Scene 1. The Charlatan's Booth | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-18 | Petrushka: Scene 1. Russian Dance | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-19 | Petrushka: Scene 2. Petrushka's Room | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-20 | Petrushka: Scene 3. The Moor's Room | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-21 | Petrushka: Scene 3. Dance of the Ballerina | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-22 | Petrushka: Scene 3. Waltz (Ballerina and Moor) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-23 | Petrushka: Scene 4. The Shrove-Tide Fair (Near Evening) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-24 | Petrushka: Scene 4. Dance of the Wet Nurses | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-25 | Petrushka: Scene 4. Dance of the Peasant and the Bear | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-26 | Petrushka: Scene 4. Dance of the Gipsy Girls | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-27 | Petrushka: Scene 4. Dance of the Coachmen and Grooms | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-28 | Petrushka: Scene 4. The Masqueraders | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 22-29 | Petrushka: Scene 4. Conclusion (Petrushka's Death) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 23-1 | Serenade for Piano in A Major: I. Hymne | — | ||
| 23-2 | Serenade for Piano in A Major: II. Romanza | — | ||
| 23-3 | Serenade for Piano in A Major: III. Rondoletto | — | ||
| 23-4 | Serenade for Piano in A Major: IV. Cadenza Finala | — | ||
| 23-5 | Sonata for Piano: I | Charles Rosen | — | |
| 23-6 | Sonata for Piano: II | Charles Rosen | — | |
| 23-7 | Sonata for Piano: III | Charles Rosen | — | |
| 23-8 | Piano Piece, Op. 33a | — | ||
| 23-9 | Piano Piece, Op. 33b | — | ||
| 23-10 | Suite for Piano, Op. 25: I. Präludium - Rasch | — | ||
| 23-11 | Suite for Piano, Op. 25: II. Gavotte - Etwas langsam, nicht hastig | — | ||
| 23-12 | Suite for Piano, Op. 25: III. Musette - Rascher | — | ||
| 23-13 | Suite for Piano, Op. 25: IV. Intermezzo | — | ||
| 23-14 | Suite for Piano, Op. 25: V. Menuett - Moderato - Trio | — | ||
| 23-15 | Suite for Piano, Op. 25: VI. Gigue - Rasch | — | ||
| 24-1 | Movements for Piano and Orchestra: I. ♪ = 110 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 24-2 | Movements for Piano and Orchestra: II. ♪ = 52 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 24-3 | Movements for Piano and Orchestra: III. ♪ = 72 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 24-4 | Movements for Piano and Orchestra: IV. ♪ = 80 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 24-5 | Movements for Piano and Orchestra: V. ♪ = 104 | Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky | T-070.270.113-0 | |
| 24-6 | Double Canon | Israel Baker, Otis Igleman, George Neikrug, Sanford Schonbach, Robert Craft | T-070.261.167-3 | |
| 24-7 | Epitaphium (For the Tombstone of Prince Max Egon zu Fürstenberg) | — | ||
| 24-8 | Octet for Wind Instruments: I. Sinfonia | — | ||
| 24-9 | Octet for Wind Instruments: II. Tema con variazioni | — | ||
| 24-10 | Octet for Wind Instruments: Variazione A | — | ||
| 24-11 | Octet for Wind Instruments: Variazione B | — | ||
| 24-12 | Octet for Wind Instruments: Variazione A (Reprise I) | — | ||
| 24-13 | Octet for Wind Instruments: Variazione C | — | ||
| 24-14 | Octet for Wind Instruments: Variazione D | — | ||
| 24-15 | Octet for Wind Instruments: Variazione A (Reprise II) | — | ||
| 24-16 | Octet for Wind Instruments: Variazione E | — | ||
| 24-17 | Octet for Wind Instruments: III. Finale | — | ||
| 24-18 | Histoire du Soldat Suite: Marche du Soldat - Airs de marche | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-19 | Histoire du Soldat Suite: Premiere tableau - Airs by a Stream | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-20 | Histoire du Soldat Suite: Deuxieme tableau - Pastorale | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-21 | Histoire du Soldat Suite: Marche Royal | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-22 | Histoire du Soldat Suite: Petit Concert | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-23 | Histoire du Soldat Suite: Trois Danses - Tango, Valse, Ragtime | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-24 | Histoire du Soldat Suite: Danse du Diable | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-25 | Histoire du Soldat Suite: Grand Choral | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 24-26 | Histoire du Soldat Suite: March Triomphale du Diable | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 25-1 | Volgi, mia luce, Madrigal for 6 Voices | — | ||
| 25-2 | O dolorosa gioia, Madridgal for 5 Voices | — | ||
| 25-3 | Ardo per te, mio bene, Madrigal for 5 Voices | — | ||
| 25-4 | Gagliarda | — | ||
| 25-5 | Quando ridente e bella, Madrigal for 5 Voices | — | ||
| 25-6 | Dolcissima mia vita, Madrigal for 5 Voices | — | ||
| 25-7 | Recessit pastor noster, Motet for 6 Voices | — | ||
| 25-8 | Che fai meco, Madrigal for 5 Voices | — | ||
| 25-9 | Questa crudele e pia, Madrigal for 5 Voices | — | ||
| 25-10 | Ardita zanzaretta, Madrigal for 5 Voices | — | ||
| 25-11 | Aestimatus sum, Madrigal for 6 Voices | — | ||
| 25-12 | Canzon francese del principe | — | ||
| 25-13 | Monumentum pro Gesualdo di Venosa ad CD Annum: I. Asciugate i begli occhi (Book V/14) | — | ||
| 25-14 | Monumentum pro Gesualdo di Venosa ad CD Annum: II. Ma tu, cagion di quella (Book V/18) | — | ||
| 25-15 | Monumentum pro Gesualdo di Venosa ad CD Annum: III. Beltà, poi che t'assenti (Book VI/2) | — | ||
| 25-16 | Illumina nos, Motet for 7 Voices | — | ||
| 26-1 | The Nightingale: Act 1. Introduction | John Moriarty, Herbert Beattie, Loren Driscoll, Reri Grist, Marina Picassi, Kenneth Smith, Chorus of the Opera Society of Washington, D.C., Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-2 | The Nightingale: Act 2. Entr'acte: Breezes | John Moriarty, Marina Picassi, Kenneth Smith, Chorus of the Opera Society of Washington, D.C., Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-3 | The Nightingale: Act 2. Chinese March | Kenneth Smith, Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-4 | The Nightingale: Act 2. Song of the Nightingale | Donald Gramm, Reri Grist, Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-5 | The Nightingale: Act 2. The Courtiers | John Moriarty, Kenneth Smith, Chorus of the Opera Society of Washington, D.C., Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-6 | The Nightingale: Act 2. Three Japanese Envoys | Carl Kaiser, Stanley Kolk, William Murphy, Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-7 | The Nightingale: Act 2. Performance of the Mechanical Nightingale | Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-8 | The Nightingale: Act 2. Conclusion, Larghetto | John Moriarty, Loren Driscoll, Donald Gramm, Kenneth Smith, Chorus of the Opera Society of Washington, D.C., Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-9 | The Nightingale: Act 3. Prelude | Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-10 | The Nightingale: Act 3. A Room in the Palace of the Emperor | John Moriarty, Donald Gramm, Chorus of the Opera Society of Washington, D.C., Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-11 | The Nightingale: Act 3. The Return of the Nightingale | Elaine Bonazzi, Donald Gramm, Reri Grist, Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-12 | The Nightingale: Act 3. Solemn Procession | Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 26-13 | The Nightingale: Act 3. The Emperor's Recovery | Loren Driscoll, Donald Gramm, Orchestra of the Opera Society of Washington, D.C., Igor Stravinsky | — | |
| 27-1 | The Firebird: Introduction | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 27-2 | The Firebird: Scene 1. Kaschei's Enchanted Garden | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-3 | The Firebird: Scene 1. The Firebird Appears, Pursued by Ivan Tsarevitch | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-4 | The Firebird: Scene 1. Dance of the Firebird | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-5 | The Firebird: Scene 1. Ivan Tsarevitch Captures the Firebird | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-6 | The Firebird: Scene 1. The Firebird's Entreaty | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 27-7 | The Firebird: Scene 1. The Appearance of the Thirteen Enchanted Princesses | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-8 | The Firebird: Scene 1. The Princesses' Game With Apples of Gold (Scherzo) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-9 | The Firebird: Scene 1. The Sudden Appearance of Ivan Tsarevitch | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-10 | The Firebird: Scene 1. The Princesses' Round | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-11 | The Firebird: Scene 1. Dawn (Ivan Tsarevitch Enters Kashchei's Palace) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-12 | The Firebird: Scene 1. The Sound of Enchanted Bells - Monsters Appear, Kaschei's Guards, and Take Ivan Tsarevitch Prisoner | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-13 | The Firebird: Scene 1. The Arrival of Kashchei the Immortal | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-14 | The Firebird: Scene 1. Kashchei's Dialogue With Ivan Tsarevitch | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-15 | The Firebird: Scene 1. The Princesses' Intercede | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-16 | The Firebird: Scene 1. The Appearance of the Firebird | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 27-17 | The Firebird: Scene 1. Kashchei's Followers Dance Under the Firebird's Spell | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-18 | The Firebird: Scene 1. Infernal Dance of Kashchei's Subjects | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-19 | The Firebird: Scene 1. Lullaby (The Firebird) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-20 | The Firebird: Scene 1. Kashchei Awakes | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-21 | The Firebird: Scene 1. Death of Kashchei - Profound Darkness | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 27-22 | The Firebird: Scene 2. Kashchei's Spells Are Broken; His Palace Disappears, the Stone Knights Return to Life, Joy Reigns | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-1 | Violin Concerto in D major: I. Toccata | Isaac Stern, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-2 | Violin Concerto in D major: II. Aria I | Isaac Stern, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-3 | Violin Concerto in D major: III. Aria II | Isaac Stern, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-4 | Violin Concerto in D major: IV. Capriccio | Isaac Stern, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-5 | Symphony in Three Movements: I. Overture. Allegro | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-6 | Symphony in Three Movements: II. Andante - Interlude: L'istesso tempo | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 28-7 | Symphony in Three Movements: III. Con moto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 29-1 | Concerto for Two Solo Pianos: I. Con moto | — | ||
| 29-2 | Concerto for Two Solo Pianos: II. Notturno. Adagietto | — | ||
| 29-3 | Concerto for Two Solo Pianos: III. Quattro variazioni | — | ||
| 29-4 | Concerto for Two Solo Pianos: IV. Preludio e fuga. Lento - Fuga a 4 voci | — | ||
| 29-5 | Three Easy Pieces for Piano Duet: 1. March | — | ||
| 29-6 | Three Easy Pieces for Piano Duet: 2. Waltz | — | ||
| 29-7 | Three Easy Pieces for Piano Duet: 3. Polka | — | ||
| 29-8 | Five Easy Pieces for Piano Duet: 1. Andante | — | ||
| 29-9 | Five Easy Pieces for Piano Duet: 2. Española | — | ||
| 29-10 | Five Easy Pieces for Piano Duet: 3. Balalaika | — | ||
| 29-11 | Five Easy Pieces for Piano Duet: 4. Napolitana | — | ||
| 29-12 | Five Easy Pieces for Piano Duet: 5. Galop | — | ||
| 29-13 | Sonata for Two Pianos: I. Moderato | Igor Stravinsky | — | |
| 29-14 | Sonata for Two Pianos: II. Thème avec variations. Largo - Var. 1-4 | Igor Stravinsky | — | |
| 29-15 | Sonata for Two Pianos: III. Allegretto | Igor Stravinsky | — | |
| 30-1 | The Flood: Prelude | Robert Craft | T-902.193.150-0 | |
| 30-2 | The Flood: Melodrama | Columbia Symphony Orchestra, Robert Craft | T-902.193.150-0 | |
| 30-3 | The Flood: The Building of the Ark (Choreography) | Columbia Symphony Orchestra, Robert Craft | T-902.193.150-0 | |
| 30-4 | The Flood: The Catalogue of the Animals | Columbia Symphony Orchestra, Robert Craft | T-902.193.150-0 | |
| 30-5 | The Flood: The Comedy (Noah and His Wife) | Columbia Symphony Orchestra, Robert Craft | T-902.193.150-0 | |
| 30-6 | The Flood: The Flood (Choreography) | Columbia Symphony Orchestra, Robert Craft | T-902.193.150-0 | |
| 30-7 | The Flood: The Covenant of the Rainbow | Columbia Symphony Orchestra, Robert Craft | T-902.193.150-0 | |
| 30-8 | Mass: Kyrie | Gregg Smith, Gregg Smith Singers, Columbia Symphony Winds & Brass, Igor Stravinsky | — | |
| 30-9 | Mass: Gloria | Gregg Smith, Gregg Smith Singers, Columbia Symphony Winds & Brass, Igor Stravinsky | — | |
| 30-10 | Mass: Credo | Gregg Smith, Gregg Smith Singers, Columbia Symphony Winds & Brass, Igor Stravinsky | — | |
| 30-11 | Mass: Sanctus | Gregg Smith, Gregg Smith Singers, Columbia Symphony Winds & Brass, Igor Stravinsky | — | |
| 30-12 | Mass: Agnus Dei | Gregg Smith, Gregg Smith Singers, Columbia Symphony Winds & Brass, Igor Stravinsky | — | |
| 31-1 | The Wedding: Part I Scene I. The Bride's Chamber | Margaret Hillis, Milfred Allen, Regina Sarfaty, Robert Oliver, Loren Driscoll, The American Concert Choir, Samuel Barber, Roger Sessions, Lukas Foss, Aaron Copland, Columbia Percussion Ensemble, Igor Stravinsky | — | |
| 31-2 | The Wedding: Part I Scene II. At the Bridegroom's | Margaret Hillis, Milfred Allen, Regina Sarfaty, Robert Oliver, Loren Driscoll, The American Concert Choir, Samuel Barber, Roger Sessions, Lukas Foss, Aaron Copland, Columbia Percussion Ensemble, Igor Stravinsky | — | |
| 31-3 | The Wedding: Part I Scene III. The Bride's Departure | Margaret Hillis, Milfred Allen, Regina Sarfaty, Robert Oliver, Loren Driscoll, The American Concert Choir, Samuel Barber, Roger Sessions, Lukas Foss, Aaron Copland, Columbia Percussion Ensemble, Igor Stravinsky | — | |
| 31-4 | The Wedding: Part I Scene IV. The Wedding Feast | Margaret Hillis, Milfred Allen, Regina Sarfaty, Robert Oliver, Loren Driscoll, The American Concert Choir, Samuel Barber, Roger Sessions, Lukas Foss, Aaron Copland, Columbia Percussion Ensemble, Igor Stravinsky | — | |
| 31-5 | Renard the Fox | Loren Driscoll, Donald Gramm, William Murphy, George Shirley, Toni Koves-Steiner, Igor Stravinsky, Columbia Chamber Ensemble | — | |
| 31-6 | Ragtime for 11 Instruments | Columbia Chamber Ensemble, Toni Koves-Steiner, Igor Stravinsky | — | |
| 32-1 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Prologue (Narrator) | — | ||
| 32-2 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Caedit nos pestis" (Chorus) | — | ||
| 32-3 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Liberi, vos liberabo" (Oedipus, Chorus) | — | ||
| 32-4 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Respondit deus" (Creon) | — | ||
| 32-5 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Non reperias vetus scelus" (Oedipus, Chorus) | — | ||
| 32-6 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Oedipus Questions Teiresias the Seer" (Narrator, Chorus) | — | ||
| 32-7 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Dicere non possum" (Tiresias, Oedipus) | — | ||
| 32-8 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Rex peremptor regis est" - "Invidia fortunam odit" (Tiresias, Oedipus) | — | ||
| 32-9 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act I: "Gloria!" (Chorus) | — | ||
| 32-10 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "The Dispute of the Princes Summons Jocasta" (Narrator) | — | ||
| 32-11 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Gloria!" (Chorus) | — | ||
| 32-12 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Nonn' erubescite, reges" (Jocasta) | — | ||
| 32-13 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Ne probentur oracula" (Jocasta) | — | ||
| 32-14 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Cave oracula!" - "Trivium, trivium" (Jocasta, Chorus, Oedipus) | — | ||
| 32-15 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Oracula mentiuntur" (Jocasta, Chorus, Oedipus) | — | ||
| 32-16 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "A Messenger Announces that King Polybus of Corinth is Dead" (Narrator) | — | ||
| 32-17 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Adest omniscius pastor" (Chorus, Messenger) | — | ||
| 32-18 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Oportebat tacere" (Shepherd) | — | ||
| 32-19 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Nonne monstrum rescituri" (Oedipus) | — | ||
| 32-20 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "In monte reppertus est" (Shepherd, Messenger) | — | ||
| 32-21 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Natus sum quo nefastum est" (Oedipus) | — | ||
| 32-22 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "And Now, You Will Hear the Messenger" (Narrator) | — | ||
| 32-23 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Divum Jocastae caput mortuum!" (Messenger, Chorus) | — | ||
| 32-24 | Oedipus Rex, Opera-Oratorio in two acts after Sophocles: Act II: "Ecce! Regem Oedipoda" (Chorus) | — | ||
| 33-4 | Symphony in C major: I. Moderato alla breve | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.805-1 | |
| 33-5 | Symphony in C major: II. Larghetto concertante | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.805-1 | |
| 33-6 | Symphony in C major: III. Allegretto | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.805-1 | |
| 33-7 | Symphony in C major: IV. Largo - Tempo giusto, alla breve | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.805-1 | |
| 34-1 | Orpheus: Scene 1. Orphée | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-2 | Orpheus: Scene 1. Air de danse | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-3 | Orpheus: Scene 1. Dance of the Angel of Death | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-4 | Orpheus: Scene 1. Interlude | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-5 | Orpheus: Scene 2. The Furies | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-6 | Orpheus: Scene 2. Air de danse - Interlude - Air de danse | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-7 | Orpheus: Scene 2. Pas d'action | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-8 | Orpheus: Scene 2. Pas de deux | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-9 | Orpheus: Scene 2. Interlude | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-10 | Orpheus: Scene 2. Pas d'action | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-11 | Orpheus: Scene 3. Apothéose d'Orphée | Chicago Symphony Orchestra, Igor Stravinsky | — | |
| 34-12 | Apollo: Scene 1. The Birth of Apollo | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-13 | Apollo: Scene 2. Variation d'Apollon | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-14 | Apollo: Scene 2. Pas d'action | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-15 | Apollo: Scene 2. Variation de Calliope | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-16 | Apollo: Scene 2. Variation de Polymnie | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-17 | Apollo: Scene 2. Variation de terpsichore | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-18 | Apollo: Scene 2. Variation d'Apollon | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-19 | Apollo: Scene 2. Pas de deux | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-20 | Apollo: Scene 2. Coda | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 34-21 | Apollo: Scene 2. Apothéose | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 35-1 | Greeting Prelude | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 35-2 | Concerto in E‐flat for Chamber Orchestra “Dumbarton Oaks”: I. Tempo giusto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 35-3 | Concerto in E‐flat for Chamber Orchestra “Dumbarton Oaks”: II. Allegretto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 35-4 | Concerto in E‐flat for Chamber Orchestra “Dumbarton Oaks”: III. Con moto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 35-5 | Eight Instrumental Miniatures: I. Andantino | Igor Stravinsky | — | |
| 35-6 | Eight Instrumental Miniatures: II. Vivace | Igor Stravinsky | — | |
| 35-7 | Eight Instrumental Miniatures: III. Lento | Igor Stravinsky | — | |
| 35-8 | Eight Instrumental Miniatures: IV. Allegretto | Igor Stravinsky | T-318.676.528-2 | |
| 35-9 | Eight Instrumental Miniatures: V. Moderato alla breve | Igor Stravinsky | — | |
| 35-10 | Eight Instrumental Miniatures: VI. Tempo di Marcia | Igor Stravinsky | — | |
| 35-11 | Eight Instrumental Miniatures: VII. Larghetto | Igor Stravinsky | — | |
| 35-12 | Eight Instrumental Miniatures: VIII. Tempo di Tango | Igor Stravinsky | — | |
| 35-13 | Four Etudes for Orchestra: I. Danse | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-14 | Four Etudes for Orchestra: II. Excentrique | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-15 | Four Etudes for Orchestra: III. Cantique | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-16 | Four Etudes for Orchestra: IV. Madrid | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-17 | Circus Polka (Composed for a Young Elephant) | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-18 | Suite no. 1 for Small Orchestra: I. Andante | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-19 | Suite no. 1 for Small Orchestra: II. Napolitana | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-20 | Suite no. 1 for Small Orchestra: III. Española | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-21 | Suite no. 1 for Small Orchestra: IV. Balalaika | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-22 | Suite no. 2 for Small Orchestra: I. Marche | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-23 | Suite no. 2 for Small Orchestra: II. Valse | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-24 | Suite no. 2 for Small Orchestra: III. Polka | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 35-25 | Suite no. 2 for Small Orchestra: IV. Galop | Members of the CBC Symphony Orchestra, Igor Stravinsky | — | |
| 36-1 | Card Game: First Deal | Cleveland Orchestra, Igor Stravinsky | — | |
| 36-2 | Card Game: Second Deal | Cleveland Orchestra, Igor Stravinsky | — | |
| 36-3 | Card Game: Third Deal | Cleveland Orchestra, Igor Stravinsky | — | |
| 36-4 | Bluebird - Pas de deux: Adagio | Columbia Symphony Orchestra, Igor Stravinsky | T-922.332.148-0 | |
| 36-5 | Bluebird - Pas de deux: Variation I | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 36-6 | Bluebird - Pas de deux: Variation II | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 36-7 | Bluebird - Pas de deux: Coda | Columbia Symphony Orchestra, Igor Stravinsky | T-313.892.277-3 | |
| 36-8 | Scènes de ballet: Introduction | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.511-0 | |
| 36-9 | Scènes de ballet: Danses (Corps de ballet & Ballerine) | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 36-10 | Scènes de ballet: Pantomime | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.511-0 | |
| 36-11 | Scènes de ballet: Pas de deux | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.511-0 | |
| 36-12 | Scènes de ballet: Pantomime | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 36-13 | Scènes de ballet: Variations: Danseur & Ballerine | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 36-15 | Scènes de ballet: Danses (Corps de ballet) | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 36-16 | Scènes de ballet: Apothéose | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.511-0 | |
| 37-1 | Zvezdoliki | Elmer Iseler, Festival Singers of Toronto, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-2 | Anthem | Elmer Iseler, Festival Singers of Toronto, Igor Stravinsky | — | |
| 37-3 | Chorale Variations: Choral | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-4 | Chorale Variations: Variation I (In canone all'Ottava) | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-5 | Chorale Variations: Variation II (Alio modo canone alla Quinta) | Elmer Iseler, Festival Singers of Toronto, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-6 | Chorale Variations: Variation III (In canone alla Settima) | Elmer Iseler, Festival Singers of Toronto, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-7 | Chorale Variations: Variation IV (In canone all'Ottava per | Elmer Iseler, Festival Singers of Toronto, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-8 | Chorale Variations: Variation V (L'altra sorte del canone al | Elmer Iseler, Festival Singers of Toronto, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-9 | Babel | Elmer Iseler, John Calicos, Festival Singers of Toronto, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-10 | A Sermon, A Narrative and a Prayer: I. A Sermon | Loren Driscoll, John Horton, Shirley Verrett, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-11 | A Sermon, A Narrative and a Prayer: II. A Narrative | Loren Driscoll, John Horton, Shirley Verrett, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 37-12 | A Sermon, A Narrative and a Prayer: III. A Prayer | Loren Driscoll, John Horton, Shirley Verrett, CBC Symphony Orchestra, Igor Stravinsky | — | |
| 38-1 | The Rake's Progress: Act I, Scene I. Prelude | Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-2 | The Rake's Progress: Act I, Scene I. "The Woods Are Green" | Don Garrard, Judith Raskin, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-3 | The Rake's Progress: Act I, Scene I. "Here I Stand" | Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-4 | The Rake's Progress: Act I, Scene I. "Tom Rakewell?" | Don Garrard, Judith Raskin, John Reardon, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-5 | The Rake's Progress: Act I, Scene I. "Farewell for Now" | Don Garrard, Judith Raskin, John Reardon, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-6 | The Rake's Progress: Act I, Scene II. "With Air Commanding" | John Barker, Sadler’s Wells Opera Chorus, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-7 | The Rake's Progress: Act I, Scene II. "Come, Tom" | Jean Manning, John Reardon, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-8 | The Rake's Progress: Act I, Scene II. "Love too Frequently Betrayed" | John Barker, Jean Manning, Sadler’s Wells Opera Chorus, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-9 | The Rake's Progress: Act I, Scene II. "The Sun Is Bright" | John Barker, John Reardon, Sadler’s Wells Opera Chorus, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-10 | The Rake's Progress: Act I, Scene III. "No Word From Tom" | Don Garrard, Judith Raskin, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-11 | The Rake's Progress: Act I, Scene III. "I Go to Him" | Judith Raskin, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-12 | The Rake's Progress: Act II, Scene I. "Vary the Song, O London, Change!" | Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-13 | The Rake's Progress: Act II, Scene I. "Master, Are You Alone" | John Reardon, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-14 | The Rake's Progress: Act II, Scene I. "My Tale Shall Be Told" | John Reardon, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-15 | The Rake's Progress: Act II, Scene II. "How Strange!" | Judith Raskin, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-16 | The Rake's Progress: Act II, Scene II. "Anne! Here!" | Judith Raskin, Regina Sarfaty, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 38-17 | The Rake's Progress: Act II, Scene II. "Could It Then Have Been Known" | John Barker, Judith Raskin, Sadler’s Wells Opera Chorus, Regina Sarfaty, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-1 | The Rake's Progress: Act II, Scene II. "Could It Then Have Been Known" | John Barker, Judith Raskin, Sadler’s Wells Opera Chorus, Regina Sarfaty, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-2 | The Rake's Progress: Act II, Scene III. "You! O Nick, I've Had the Strangest Dream" | John Reardon, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-3 | The Rake's Progress: Act III, Scene I. "What Curious Phenomena..." | John Barker, Judith Raskin, Sadler’s Wells Opera Chorus, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-4 | The Rake's Progress: Act III, Scene I. "Aha!" | John Barker, Kevin Miller, Sadler’s Wells Opera Chorus, Regina Sarfaty, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-5 | The Rake's Progress: Act III, Scene I. "Sold! Annoyed! I've Caught You! Thieving!" | John Barker, Kevin Miller, Judith Raskin, John Reardon, Sadler’s Wells Opera Chorus, Regina Sarfaty, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-6 | The Rake's Progress: Act III, Scene I. "I Go to Him" | John Barker, Kevin Miller, Judith Raskin, John Reardon, Sadler’s Wells Opera Chorus, Regina Sarfaty, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-7 | The Rake's Progress: Act III, Scene II. Prelude | Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-8 | The Rake's Progress: Act III, Scene II. "How Dark and Dreadful Is This Place" | John Reardon, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-9 | The Rake's Progress: Act III, Scene II. "Very Well, Then, My Dear" | Judith Raskin, John Reardon, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-10 | The Rake's Progress: Act III, Scene II. "I Burn! I Freeze!" | John Reardon, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-11 | The Rake's Progress: Act III, Scene III. "Prepare Yourselves, Heroic Shades" | John Barker, Sadler’s Wells Opera Chorus, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-12 | The Rake's Progress: Act III, Scene III. "There He Is. Have No Fear" | Judith Raskin, Peter Tracey, Alexander Young, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-13 | The Rake's Progress: Act III, Scene III. "Gently, Little Boat" | Don Garrard, Judith Raskin, Colin Tilney, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-14 | The Rake's Progress: Act III, Scene III. "Where Art Thou, Venus?" | John Barker, Sadler’s Wells Opera Chorus, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 39-15 | The Rake's Progress: Act III, Scene III. Epilogue "Good People, Just a Moment" | Don Garrard, Judith Raskin, John Reardon, Regina Sarfaty, Alexander Young, Royal Philharmonic Orchestra, Igor Stravinsky | — | |
| 40-1 | The Fairy's Kiss: Scene 1. Prologue | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-2 | The Fairy's Kiss: Scene 2. A Village Fête | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-3 | The Fairy's Kiss: Scene 3. At the Mill | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-4 | The Fairy's Kiss: Scene 3. Pas de deux | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-5 | The Fairy's Kiss: Scene 3. Adagio | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-6 | The Fairy's Kiss: Scene 3. Variation | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-7 | The Fairy's Kiss: Scene 3. Coda | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-8 | The Fairy's Kiss: Scene 3. Scene | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 40-9 | The Fairy's Kiss: Scene 4. Epilogue: The Lullaby of the Land Beyond Time and Place | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 41-1 | Prelude, Fugue & Riffs: I. Prelude | — | ||
| 41-2 | Prelude, Fugue & Riffs: II. Fugue | — | ||
| 41-3 | Prelude, Fugue & Riffs: III. Riffs | — | ||
| 41-4 | Concerto for Clarinet and String Orchestra (With Piano & Harp) | Abba Bogin, Benny Goodman, Laura Newell, Columbia Symphony Orchestra, Aaron Copland | — | |
| 41-5 | Ebony Concerto: I. Allegro moderato | Benny Goodman, Columbia Jazz Combo, Igor Stravinsky | — | |
| 41-6 | Ebony Concerto: II. Andante | Benny Goodman, Columbia Jazz Combo, Igor Stravinsky | — | |
| 41-7 | Ebony Concerto: III. Moderato - Con moto | Benny Goodman, Columbia Jazz Combo, Igor Stravinsky | — | |
| 41-8 | Derivations for clarinet and band: I. Warm-Up | Benny Goodman, Columbia Jazz Combo, Morton Gould | — | |
| 41-9 | Derivations for clarinet and band: II. Contrapuntal Blues | Benny Goodman, Columbia Jazz Combo, Morton Gould | — | |
| 41-10 | Derivations for clarinet and band: III. Rag | Benny Goodman, Columbia Jazz Combo, Morton Gould | — | |
| 41-11 | Derivations for Clarinet and Band: IV. Ride-Out | — | ||
| 42-1 | Pulcinella: Overture | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 42-2 | Pulcinella: Serenata | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 42-3 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Scherzino. Allegro | — | ||
| 42-4 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Poco più vivo - Allegro | — | ||
| 42-5 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Andantino | — | ||
| 42-6 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro | — | ||
| 42-7 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegretto - "Contento forse vivere" | — | ||
| 42-8 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro assai | — | ||
| 42-9 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro (alla breve) - "Con queste paroline" | — | ||
| 42-10 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Largo - "Sento dire: no nc'è pace" - "Chi disse cà la femmena" | — | ||
| 42-11 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro - "Nce sta quacuna pò" - "Una te fa la nzemprece" | — | ||
| 42-12 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Presto - "Una te fa la nzemprece" | — | ||
| 42-13 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Tempo I (Largo) | — | ||
| 42-14 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro (alle breve) | — | ||
| 42-15 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Tarantella | — | ||
| 42-16 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Andantino - "Se tu m'ami" | — | ||
| 42-17 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro | — | ||
| 42-18 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Gavotta con due variazioni. Allegro moderato | — | ||
| 42-19 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Var. I. Allegretto | — | ||
| 42-20 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Var. II. Allegro più tosto moderato | — | ||
| 42-21 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Vivo | — | ||
| 42-22 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Tempo di minuetto - "Pupillette, fiammette d'amore" | — | ||
| 42-23 | Pulcinella, Ballet in One Act for Small Orchestra with 3 Solo Voices after Pergolesi: Allegro assai | — | ||
| 43-1 | Perséphone: I. Persephone Abducted | George Bragg, Gregg Smith, The Ithaca College Concert Choir, Michele Molese, Gregg Smith Singers, Texas Boys Choir of Fort Worth, Vera Zorina, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 43-2 | Perséphone: II. Persephone in the Underworld | George Bragg, Gregg Smith, The Ithaca College Concert Choir, Michele Molese, Gregg Smith Singers, Texas Boys Choir of Fort Worth, Vera Zorina, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 43-3 | Perséphone: III. Persephone Restored | George Bragg, Gregg Smith, The Ithaca College Concert Choir, Michele Molese, Gregg Smith Singers, Texas Boys Choir of Fort Worth, Vera Zorina, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 44-1 | Symphony in E-flat major, op. 1: I. Allegro moderato | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 44-2 | Symphony in E-flat major, op. 1: II. Scherzo. Allegretto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 44-3 | Symphony in E-flat major, op. 1: III. Largo | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 44-4 | Symphony in E-flat major, op. 1: IV. Finale. Allegro molto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 45-1 | Mavra, Opera buffa in One Act: Overture | — | ||
| 45-2 | Mavra, Opera buffa in One Act: "Drug moy milyy" (Parasha) | — | ||
| 45-3 | Mavra, Opera buffa in One Act: "Kolokol'chiki zvenyat" (Hussar, Parasha) | — | ||
| 45-4 | Mavra, Opera buffa in One Act: "U pesen vsekh slova odni" (Parasha, Hussar) | — | ||
| 45-5 | Mavra, Opera buffa in One Act: "Moya strast' sil'neye stanovitsya" (Parasha, Hussar) | — | ||
| 45-6 | Mavra, Opera buffa in One Act: "Izbavi Bog prislugu" (Mother, Parasha) | — | ||
| 45-7 | Mavra, Opera buffa in One Act: "Net, ne zabyt' vo veki mne pokoynitsu" (Mother) | — | ||
| 45-8 | Mavra, Opera buffa in One Act: "Zhelayu zdravstvovat'! " (Neighbour, Mother) | — | ||
| 45-9 | Mavra, Opera buffa in One Act: "Gde tak dolgo ty byla?" (Mother, Neighbour, Parasha, Cook) | — | ||
| 45-10 | Mavra, Opera buffa in One Act: "Parasha!" / "Ya, Vasiliy milyy!" (Parasha, Cook) | — | ||
| 45-11 | Mavra, Opera buffa in One Act: "Ya pamyat'yu ne izmenyu" (Parasha, Cook) | — | ||
| 45-12 | Mavra, Opera buffa in One Act: "Parasha!" / "Slyshish'?" (Mother, Parasha, Cook) | — | ||
| 45-13 | Mavra, Opera buffa in One Act: "Ya zhdu, ya zhdu pokorno" (Cook) | — | ||
| 45-14 | Mavra, Opera buffa in One Act: "Pozhaluy vremya nastupilo pobrit'sya" (Cook, Mother, Parasha, Neighbour) | — | ||
| 45-15 | Les Noces (1923): Part I, Scene 1: Chez le mariée "Kosal moya ko" | — | ||
| 45-16 | Les Noces (1923): Part I, Scene 2: che le marié "Prechistaya Mat, khodi" | — | ||
| 45-17 | Les Noces (1923): Part I, Scene 3: Le départ de la mariée "Blagoslavyalsya svetyol mesyats" | — | ||
| 45-18 | Les Noces (1923): Part II, Scene 4: Le repas de noces | — | ||
| 46-1 | Cantata: A Lyke-Wake Dirge (Versus I. Prelude) | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-2 | Cantata: Ricercar I (Soprano) The Maidens Came | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-3 | Cantata: A Lyke-Wake Dirge (Versus II. 1st Interlude) | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-4 | Cantata: Ricercar II (Tenor) Tomorrow Shall Be (Sacred History) | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-5 | Cantata: A Lyke-Wake Dirge (Versus III. 2nd Interlude) | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-6 | Cantata: Westron Wind (Soprano and Tenor) | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-7 | Cantata: A Lyke-Wake Dirge (Versus IV. Postlude) | Gregg Smith, Adrienne Albert, Gregg Smith Singers, Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-8 | Mass for Mixed Chorus and Double Wind Quintet: I. Kyrie | — | ||
| 46-9 | Mass for Mixed Chorus and Double Wind Quintet: II. Gloria | — | ||
| 46-10 | Mass for Mixed Chorus and Double Wind Quintet: III. Credo | — | ||
| 46-11 | Mass for Mixed Chorus and Double Wind Quintet: IV. Sanctus | — | ||
| 46-12 | Mass for Mixed Chorus and Double Wind Quintet: V. Agnus Dei | — | ||
| 46-13 | In Memoriam Dylan Thomas: Dirge-Canons | Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-14 | In Memoriam Dylan Thomas: Do not go gentle into that good night | Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | T-060.277.046-6 | |
| 46-15 | In Memoriam Dylan Thomas: Dirge-Canons (Postlude) | Alexander Young, Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 46-16 | Fanfare for a New Theatre | — | ||
| 46-17 | The Owl and the Pussy-Cat | Adrienne Albert, Robert Craft, Igor Stravinsky | T-900.010.250-1 | |
| 46-18 | Septett: I | Columbia Chamber Ensemble, Igor Stravinsky | T-070.275.533-6 | |
| 46-19 | Septett: II. Passacaglia | Columbia Chamber Ensemble, Igor Stravinsky | T-070.275.533-6 | |
| 46-20 | Septett: III. Gigue | Columbia Chamber Ensemble, Igor Stravinsky | T-070.275.533-6 | |
| 46-21 | Elegy for J.F.K. | Cathy Berberian, Paul Howland, Jack Kreiselman, Charles Russo, Igor Stravinsky | — | |
| 47-1 | The Firebird (Suite): Introduction | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-2 | The Firebird (Suite): Prelude and Dance of the Firebird | Columbia Symphony Orchestra, Igor Stravinsky | T-042.176.795-4 | |
| 47-3 | The Firebird (Suite): Variations (The Firebird) | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-4 | The Firebird (Suite): Pantomime I | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-5 | The Firebird (Suite): Pas de deux (The Firebird and Ivan Tsarevitch) | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-6 | The Firebird (Suite): Pantomime II | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-7 | The Firebird (Suite): Scherzo. Dance of the Princess | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-8 | The Firebird (Suite): Pantomime III | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-9 | The Firebird (Suite): Rondo (Corovod) | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-10 | The Firebird (Suite): Infernal Dance | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-11 | The Firebird (Suite): Lullaby (The Firebird) | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-12 | The Firebird (Suite): Final Hymn | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 | |
| 47-13 | Petrushka Suite: The Shrovetide Fair | — | ||
| 47-14 | Petrushka Suite: The Crowds | — | ||
| 47-15 | Petrushka Suite: The Charlatan's Booth | — | ||
| 47-16 | Petrushka Suite: Russian Dance | — | ||
| 47-17 | Petrushka Suite: Petruchka's Room | — | ||
| 47-18 | Petrushka Suite: The Shrovetide Fair (Towards Evening) | — | ||
| 47-19 | Petrushka Suite: Dance of the Wet-Nurses | — | ||
| 47-20 | Petrushka Suite: Dance of the Peasant and the Bear | — | ||
| 47-21 | Petrushka Suite: Dance of the Gypsy Girls | — | ||
| 47-22 | Petrushka Suite: Dance of the Coachmen and the Grooms | — | ||
| 47-23 | Petrushka Suite: The Masqueraders | — | ||
| 48-1 | Capriccio (1949 version): I. Presto - attacca | Philippe Entremont, Columbia Symphony Orchestra, Robert Craft | — | |
| 48-2 | Capriccio (1949 version): II. Andante rapsodico | Philippe Entremont, Columbia Symphony Orchestra, Robert Craft | T-072.904.032-7 | |
| 48-3 | Capriccio (1949 version): III. Allegro capriccio ma tempo giusto | Philippe Entremont, Columbia Symphony Orchestra, Robert Craft | — | |
| 48-4 | Concerto for Piano and Wind Instruments (1950 version): I. Largo - Allegro - Più mosso - Maestoso (Largo del principio) | Philippe Entremont, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 48-5 | Concerto for Piano and Wind Instruments (1950 version): II. LArgo - Più mosso - Doppio valore - Tempo primo | Philippe Entremont, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 48-6 | Concerto for Piano and Wind Instruments (1950 version): III. Allegro - Agitato - Lento - Stringendo | Philippe Entremont, Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-1 | Pulcinella (Suite): I. Sinfonia (Ouverture) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-2 | Pulcinella (Suite): II. Serenata | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-3 | Pulcinella (Suite): III. a) Scherzino | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-4 | Pulcinella (Suite): b) Allegro | Columbia Symphony Orchestra, Igor Stravinsky | T-073.071.144-0 | |
| 49-5 | Pulcinella (Suite): c) Andantino | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-6 | Pulcinella (Suite): IV. Tarantella | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-7 | Pulcinella (Suite): V. Toccata | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-8 | Pulcinella (Suite): VI. Gavotta con due variazioni | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-9 | Pulcinella (Suite): VII. Vivo (Duetto) | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-10 | Pulcinella (Suite): VIII. a) Minuetto | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-11 | Pulcinella (Suite): b) Finale | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-12 | Scherzo fantastique | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 49-13 | Fireworks | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 49-14 | Scherzo à la Russe | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 50-1 | Variations: Aldous Huxley in memoriam | Columbia Symphony Orchestra, Robert Craft | — | |
| 50-2 | Abraham and Isaac | Columbia Symphony Orchestra, Robert Craft | — | |
| 50-3 | Introitus | Gregg Smith, Gregg Smith Singers, Igor Stravinsky | — | |
| 50-4 | Requiem Canticles: I. Prelude | Columbia Symphony Orchestra, Robert Craft | — | |
| 50-5 | Requiem Canticles: II. Exaudi | Gregg Smith, The Ithaca College Concert Choir, Columbia Symphony Orchestra, Robert Craft | — | |
| 50-6 | Requiem Canticles: III. Dies Irae | Gregg Smith, The Ithaca College Concert Choir, Columbia Symphony Orchestra, Robert Craft | — | |
| 50-7 | Requiem Canticles: IV. Tuba mirum | Donald Gramm, Columbia Symphony Orchestra, Robert Craft | — | |
| 50-8 | Requiem Canticles: V. Interlude | Columbia Symphony Orchestra, Robert Craft | — | |
| 50-9 | Requiem Canticles: VI. Rex tremendae | Gregg Smith, The Ithaca College Concert Choir, Columbia Symphony Orchestra, Robert Craft | — | |
| 50-10 | Requiem Canticles: VII. Lacrimosa | Elaine Bonazzi, Columbia Symphony Orchestra, Robert Craft | — | |
| 50-11 | Requiem Canticles: VIII. Libera me | Gregg Smith, Elaine Bonazzi, Donald Gramm, The Ithaca College Concert Choir, Columbia Symphony Orchestra, Robert Craft | — | |
| 50-12 | Requiem Canticles: IX. Postlude | Columbia Symphony Orchestra, Robert Craft | — | |
| 51-1 | Faun and Shepherdess: I. The Shepherdess | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 51-2 | Faun and Shepherdess: II. The Faun | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 51-3 | Faun and Shepherdess: III. The Torrent | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 51-4 | Two Poems of Paul Verlaine: The white moon shines in the woods | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-5 | Two Poems of Paul Verlaine: Sleep | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-6 | Two Poems of Konstantin Bal'mont: I. The Flower | Игорь Фёдорович Стравинский | — | |
| 51-7 | Two Poems of Konstantin Bal'mont: II. The Dove | Игорь Фёдорович Стравинский | — | |
| 51-8 | Three Japanese Lyrics: I. Akahito | Columbia Symphony Orchestra, Robert Craft | — | |
| 51-9 | Three Japanese Lyrics: II. Mazatsumi | Columbia Symphony Orchestra, Robert Craft | — | |
| 51-10 | Three Japanese Lyrics: III. Tsaraiuki | Columbia Symphony Orchestra, Robert Craft | — | |
| 51-11 | Three Little Songs (Recollections of my Childhood): I. The Magpie | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-12 | Three Little Songs (Recollections of my Childhood): II. The Rook | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-13 | Three Little Songs (Recollections of my Childhood): III. The Jackdaw | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-14 | Pribaoutki (Pleasant Songs): I. Uncle Armand | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-15 | Pribaoutki (Pleasant Songs): II. The Oven | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-16 | Pribaoutki (Pleasant Songs): III. The Colonel | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-17 | Pribaoutki (Pleasant Songs): IV. The Old Man and the Hare | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-18 | Tilim-Bom / Klabum-Klabam | Columbia Symphony Orchestra, Robert Craft | — | |
| 51-19 | Cat's Cradle Songs: I. On the Stove | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-20 | Cat's Cradle Songs: II. At Home | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-21 | Cat's Cradle Songs: III. Bye bye | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-22 | Cat's Cradle Songs: IV. The Cat has... | Columbia Symphony Orchestra, Igor Stravinsky | — | |
| 51-23 | Four Russian Songs: I. The Drake | Игорь Фёдорович Стравинский | — | |
| 51-24 | Four Songs: II. A Russian Spiritual | Игорь Фёдорович Стравинский | — | |
| 51-25 | Four Songs: III. Geese and Swans | Игорь Фёдорович Стравинский | — | |
| 51-26 | Four Russian Songs: IV. Tilim‐bom | Игорь Фёдорович Стравинский | — | |
| 51-27 | Three Songs from William Shakespeare: I. Music to hear | Igor Stravinsky | — | |
| 51-28 | Three Songs from William Shakespeare: II. Full fathom five | Igor Stravinsky | — | |
| 51-29 | Three Songs from William Shakespeare: III. When daisies pied | Igor Stravinsky | — | |
| 52-1 | Danses Concertantes for Chamber Orchestra: I. Marche - Introduction | — | ||
| 52-2 | Danses Concertantes for Chamber Orchestra: II. Pas d'action. Con moto | — | ||
| 52-3 | Danses Concertantes for Chamber Orchestra: III. Thème varié. Lento - Var. 1. Allegretto - Var. 2. Scherzando - Var. 3. Andantino - Var. 4. Tempo giusto | — | ||
| 52-4 | Danses Concertantes for Chamber Orchestra: IV. Pas de deux. Risoluto - Andante sostenuto | — | ||
| 52-5 | Danses Concertantes for Chamber Orchestra: V. Marche - Conclusion | — | ||
| 52-6 | Four Norwegian Moods for Orchestra: I. Intrada | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 52-7 | Four Norwegian Moods for Orchestra: II. Song | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 52-8 | Four Norwegian Moods for Orchestra: III. Wedding Dance | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 52-9 | Four Norwegian Moods for Orchestra: IV. Cortège | CBC Symphony Orchestra, Igor Stravinsky | — | |
| 52-10 | Ode: I. Eulogy | Cleveland Orchestra, Igor Stravinsky | — | |
| 52-11 | Ode: II. Eclogue | Cleveland Orchestra, Igor Stravinsky | — | |
| 52-12 | Ode: III. Epitaph | Cleveland Orchestra, Igor Stravinsky | — | |
| 52-13 | Concerto in D major for String Orchestra “Basle Concerto”: I. Vivace | Columbia Symphony Orchestra, Igor Stravinsky | T-070.259.343-8 | |
| 52-14 | Concerto in D major for String Orchestra “Basle Concerto”: II. Arioso. Andantino | Columbia Symphony Orchestra, Igor Stravinsky | T-070.259.343-8 | |
| 52-15 | Concerto in D major for String Orchestra “Basle Concerto”: III.Rondo. Allegro | Columbia Symphony Orchestra, Igor Stravinsky | T-070.259.343-8 | |
| 53-1 | Preludium for Jazz Ensemble | Columbia Jazz Combo, Igor Stravinsky | T-070.270.113-0 | |
| 53-3 | Tango | Columbia Jazz Combo, Igor Stravinsky | T-070.178.048-4 | |
| 53-4 | Concertino for 12 Instruments | Columbia Chamber Ensemble, Igor Stravinsky | — | |
| 53-5 | The Star-Spangled Banner | — | ||
| 53-6 | Four Russian Peasant Songs: I. On Saint's Days in Chigisakh | Igor Stravinsky | — | |
| 53-7 | Four Russian Peasant Songs: Ii. Ovsen | Gregg Smith, Gregg Smith Singers, Igor Stravinsky | — | |
| 53-8 | Four Russian Peasant Songs: III. The Pik | Igor Stravinsky | — | |
| 53-9 | Four Russian Peasant Songs: IV. Master Portly | Igor Stravinsky | — | |
| 53-13 | Pastorale, Song Without Words for Soprano and Piano | — | ||
| 53-14 | Stravinsky in Rehearsal: Apollon musagète | — | ||
| 53-15 | Stravinsky in Rehearsal: The Sleeping Beauty: Bluebird Pas de deux | — | ||
| 53-16 | Stravinsky in Rehearsal: 3 Little Songs "Recollections of My Childhood" with Cathy Berberian | — | ||
| 53-17 | Stravinsky in Rehearsal: Pulcinella | — | ||
| 53-18 | Stravinsky in Rehearsal: Concerto for Piano and Wind Instruments with Philippe Entremont | — | ||
| 53-19 | Stravinsky in Rehearsal: Symphony in C | — | ||
| 53-20 | Stravinsky in His Own Words: Excerpts from Portrait of Stravinsky | — | ||
| 53-21 | Rehearsal Fragment: Symphony in C (Near End of the First Movement) | — | ||
| 54-1 | Symphonies of Wind Instruments - Revised 1947 version | — | ||
| 54-8 | Chant du rossignol: I. Introduction | — | ||
| 54-9 | Chant du rossignol: II. Marche chinoise | — | ||
| 54-10 | Chant du rossignol: III. Chant du rossignol | — | ||
| 54-11 | Chant du rossignol: IV. Jeu du rossignol mécanique | — | ||
| 55-6 | Septet for Clarinet, Bassoon, Horn, Piano, Violin, Viola & Cello: I. [Sonata allegro] Quarter Note = 88 | — | ||
| 55-7 | Septet for Clarinet, Bassoon, Horn, Piano, Violin, Viola & Cello: II. Passacaglia | — | ||
| 55-8 | Septet for Clarinet, Bassoon, Horn, Piano, Violin, Viola & Cello: III. Gigue | — | ||
| 55-10 | Three Pieces for Clarinet: I. Sempre piano e molto tranquillo | — | ||
| 55-11 | Three Pieces for Clarinet: II. Eighth Note = 168 | — | ||
| 55-12 | Three Pieces for Clarinet: III. Eighth Note = 160 | — | ||
| 55-13 | Suite italienne, Arrangement for Cello and Piano from "Pulcinella": I. Introduzione. Allegro moderato | — | ||
| 55-14 | Suite italienne, Arrangement for Cello and Piano from "Pulcinella": II. Serenata. Larghetto | — | ||
| 55-15 | Suite italienne, Arrangement for Cello and Piano from "Pulcinella": III. Aria. Allegro alla breve | — | ||
| 55-16 | Suite italienne, Arrangement for Cello and Piano from "Pulcinella": IV. Tarantella. Vivace | — | ||
| 55-17 | Suite italienne, Arrangement for Cello and Piano from "Pulcinella": V. Minuetto e Finale. Moderato - Molto vivace | — | ||
| 56-1 | The Soldier's Tale: Part 1: Introduction: The Soldier's March | — | ||
| 56-2 | The Soldier's Tale: Part 1: Music for Scene One: Airs by a Stream | — | ||
| 56-3 | The Soldier's Tale: Part 1: The Soldier's March (Reprise) | — | ||
| 56-4 | The Soldier's Tale: Part 1: Music for Scene Two: Pastorale | — | ||
| 56-5 | The Soldier's Tale: Part 1: Airs by a Stream (Reprise) | — | ||
| 56-6 | The Soldier's Tale: Part 1: Music for Scene Three: Airs by a Stream (Reprise) | — | ||
| 56-7 | The Soldier's Tale: Part 2: The Soldier's March (Reprise) | — | ||
| 56-8 | The Soldier's Tale: Part 2: The Royal March | — | ||
| 56-9 | The Soldier's Tale: Part 2: The Little Concert | — | ||
| 56-10 | The Soldier's Tale: Part 2: Three Dances: 1. Tango | — | ||
| 56-11 | The Soldier's Tale: Part 2: Three Dances: 2. Valse | — | ||
| 56-12 | The Soldier's Tale: Part 2: Three Dances: 3. Ragtime | — | ||
| 56-13 | The Soldier's Tale: Part 2: The Devil's Dance | — | ||
| 56-14 | The Soldier's Tale: Part 2: Little Chorale | — | ||
| 56-15 | The Soldier's Tale: Part 2: The Devil's Song | — | ||
| 56-16 | The Soldier's Tale: Part 2: Great Choral | — | ||
| 56-17 | Histoire du Soldat Suite: March Triomphale du Diable | Israel Baker, Charles Brady, Don Christlieb, Richard D. Kelley, William Kraft, Robert Marsteller, Roy d'Antonio, Columbia Chamber Ensemble, Igor Stravinsky | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Scènes de ballet: Pantomime | CBC Symphony Orchestra, Igor Stravinsky | T-070.275.511-0 |
| Concerto for Clarinet and String Orchestra (With Piano & Harp) | Abba Bogin, Benny Goodman, Laura Newell, Columbia Symphony Orchestra, Aaron Copland | — |
| Symphonies of Wind Instruments | WDR Sinfonieorchester Köln, Igor Stravinsky | — |
| The Rite of Spring: Part Two. Sacrificial Dance | Columbia Symphony Orchestra, Igor Stravinsky | T-070.257.887-7 |
