UPC · Release
Esa‐Pekka Salonen
Last verified:
The UPC for “The Complete Sony Recordings” by Esa‐Pekka Salonen is 889854718428. 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 2018-01-01. Label: Sony Classical. This release contains 717 tracks, each with its own ISRC. Tracks include USSM10008737, USSM10008738, USSM10008739.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Toccata & Fugue in D minor, BWV 565: Toccata | Los Angeles Philharmonic, Esa-Pekka Salonen | T-905.381.873-8 | |
| 2 | Toccata & Fugue in D minor, BWV 565: Fugue | Los Angeles Philharmonic, Esa-Pekka Salonen | T-329.412.466-2 | |
| 3 | Fantasy & Fugue in C minor, BWV 537: Fantasy | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 4 | Fantasy & Fugue in C minor, BWV 537: Fugue | Los Angeles Philharmonic, Esa-Pekka Salonen | T-922.046.111-0 | |
| 5 | The Musical Offering: BWV 1079: Ricercare no. 2 | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 6 | Prelude & Fugue in E‐flat major, BWV 522 “St. Anne”: Prelude | Los Angeles Philharmonic, Esa-Pekka Salonen | T-913.970.719-0 | |
| 7 | Prelude & Fugue in E‐flat major, BWV 522 “St. Anne”: Fugue | Los Angeles Philharmonic, Esa-Pekka Salonen | T-329.412.466-2 | |
| 8 | Fugue in G minor, BWV 578 “Little”: Fugue | Los Angeles Philharmonic, Esa-Pekka Salonen | T-329.412.466-2 | |
| 9 | Suite For Organ, Harpsichord & Orchestra: I. Ouverture | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 10 | Suite For Organ, Harpsichord & Orchestra: II. Rondeau - | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 11 | Suite For Organ, Harpsichord & Orchestra: Badinerie | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 12 | Suite For Organ, Harpsichord & Orchestra: III. Air | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 13 | Suite For Organ, Harpsichord & Orchestra: IV. Gavotte I - | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 14 | Suite For Organ, Harpsichord & Orchestra: Gavotte II | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 2-1 | Concerto for Orchestra, Sz. 116: I. (Introduzione). Andante non troppo | — | ||
| 2-2 | Concerto for Orchestra, Sz. 116: II. (Giuco delle coppie). Allegro scherzando | — | ||
| 2-3 | Concerto for Orchestra, Sz. 116: III. (Elegia). Andante, non troppo | — | ||
| 2-4 | Concerto for Orchestra, Sz. 116: (Intermezzo interrotto). Allegretto | — | ||
| 2-5 | Concerto for Orchestra, Sz. 116: V. (Finale). Pesante – Presto | — | ||
| 2-6 | Music for Strings, Percussion, and Celesta, Sz. 106: I. Andante tranquillo | — | ||
| 2-7 | Music for Strings, Percussion, and Celesta, Sz. 106: II. Allegro | — | ||
| 2-8 | Music for Strings, Percussion, and Celesta, Sz. 106: III. Adagio | — | ||
| 2-9 | Music for Strings, Percussion, and Celesta, Sz. 106: IV. Allegro molto | — | ||
| 3-1 | Piano Concerto No. 2 in G major, Sz. 95: I. Allegro | — | ||
| 3-2 | Piano Concerto No. 2 in G major, Sz. 95: II. Adagio – Presto – Adagio | — | ||
| 3-3 | Piano Concerto No. 2 in G major, Sz. 95: III. Allegro molto | — | ||
| 3-4 | Piano Concerto No. 3 in E major (completed by Tibor Serly), Sz. 119: I. Allegretto | — | ||
| 3-5 | Piano Concerto No. 3 in E major (completed by Tibor Serly), Sz. 119: II. Adagio religioso – Poco più mosso – Tempo I | — | ||
| 3-6 | Piano Concerto No. 3 in E major (completed by Tibor Serly), Sz. 119: III. Allegro vivace | — | ||
| 3-7 | Piano Concerto No. 1 in A major, Sz. 83: I. Allegro moderato – Allegro – Allegro moderato | — | ||
| 3-8 | Piano Concerto No. 1 in A major, Sz. 83: II. Andante | — | ||
| 3-9 | Piano Concerto No. 1 in A major, Sz. 83: III. Allegro molto | — | ||
| 4-1 | Symphony no. 4 in E‐flat major “Romantic”: I. Bewegt, nicht zu schnell | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 4-2 | Symphony no. 4 in E‐flat major “Romantic”: II. Andante quasi allegretto | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 4-3 | Symphony no. 4 in E‐flat major “Romantic”: III. Scherzo. Bewegt – Trio. Nicht zu schnell. Keinesfalls schleppend | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 4-4 | Symphony no. 4 in E‐flat major “Romantic”: IV. Finale. Bewegt, doch nicht zu schnell | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 5-1 | Anna's Theme | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-2 | The Red Violin: I. Cremona: Main Title | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-3 | The Red Violin: I. Cremona: Death of Anna | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-4 | The Red Violin: I. Cremona: Birth of the Red Violin | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-5 | The Red Violin: I. Cremona: The Red Violin | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-6 | The Red Violin: II. Vienna: The Monastery | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-7 | The Red Violin: II. Vienna: Kaspar's Audition / Journey to Vienna | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-8 | II. Vienna: Etudes | — | ||
| 5-9 | II. Vienna: Death of Kaspar / III. Oxford: The Gypsies / Journey Across Europe | — | ||
| 5-10 | The Red Violin: III. Oxford: Pope's Gypsy Cadenza | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-11 | The Red Violin: III. Oxford: Coitus Musicalis / Victoria's Departure | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-12 | The Red Violin: III. Oxford: Pope's Concert | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-13 | The Red Violin: III. Oxford: Pope's Betrayal | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-14 | The Red Violin: IV. Shanghai: Journey to China | Joshua Bell, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 5-15 | The Red Violin: IV. Shanghai: People's Revolution / Death of Chou Yuan | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-16 | The Red Violin: V. Montreal: Morritz discovers the Red Violin | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-17 | The Red Violin: V. Montreal: Morritz's Theme | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-18 | The Red Violin: V. Montreal: The Theft | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-19 | The Red Violin: V. Montreal: End Titles | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-20 | Chaconne for Violin and Orchestra "The Red Violin" | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 6-1 | Il prigioniero: Prologue. “Ti rivedrò, mio figlio!” (La madre) | — | ||
| 6-2 | Il prigioniero: Prologue. Ballata “Vedo! Lo riconosco!” (La madre) | — | ||
| 6-3 | Il prigioniero: Prologue. Primo intermezzo corale “Fiat misericordia tua” (Chorus) | — | ||
| 6-4 | Il prigioniero: Act I, Scene 1. “Ero solo. Tutt’era bulio” (Il prigioniero, la madre) | — | ||
| 6-5 | Il prigioniero: Act I, Scene 2. “Solo. Son solo un’altra volta” (Il prigioniero, il carceriere) | — | ||
| 6-6 | Il prigioniero: Act I, Scene 2. Aria “Sull’Oceano, sulla Schelda” (Il carceriere, il prigioniero) | — | ||
| 6-7 | Il prigioniero: Act I, Scene 2. “Torna, sole, sulle città liberate!” (Il carceriere, il prigioniero) | — | ||
| 6-8 | Il prigioniero: Act I, Scene 2. “No, no… vaneggio” (Il carceriere, il prigioniero) | — | ||
| 6-9 | Il prigioniero: Act I, Scene 3. “Signore, aiutami a camminare” (Il prigioniero) | — | ||
| 6-10 | Il prigioniero: Act I, Scene 3. Ricercare primo super “Signore, aiutami a camminare”. “Bulo, Silenzio” (Il prigioniero) | — | ||
| 6-11 | Il prigioniero: Act I, Scene 3. Ricercare secondo super “Fratello”. “Non reggo” (Il prigioniero, due sacerdoti) | — | ||
| 6-12 | Il prigioniero: Act I, Scene 3. Ricercare terzo super Roelandt. “Quegli occhi mi guardavano” (Il prigioniero) | — | ||
| 6-13 | Il prigioniero: Act I. Secondo intermezzo corale “Domine, labia mea aperies” (Chorus) | — | ||
| 6-14 | Il prigioniero: Act I, Scene 4. “Alleluja!” (Il prigioniero, chorus, il grande inquisitore) | — | ||
| 6-15 | Canti di prigionia: I. Preghiera di Maria Stuarda | — | ||
| 6-16 | Canti di prigionia: II. Invocazione di Boezio | — | ||
| 6-17 | Canti di prigionia: III. Congedo di Girolamo Savonarola | — | ||
| 7-1 | Images pour orchestre: I. Gigues | — | ||
| 7-2 | Images pour orchestre: II. Iberia: Par les rues et par les chemins | — | ||
| 7-3 | Images pour orchestre: II. Iberia: Les parfums de la nuit | — | ||
| 7-4 | Images pour orchestre: II. Iberia: Le Matin d’un jour de fête | — | ||
| 7-5 | Images pour orchestre: III. Rondes de printemps | — | ||
| 7-6 | Prélude à l’après‐midi d’un faune | — | ||
| 7-7 | La Mer, trois esquisses symphoniques: I. De l’aube à midi sur la mer | — | ||
| 7-8 | La Mer, trois esquisses symphoniques: II. Jeux de vagues | — | ||
| 7-9 | La Mer, trois esquisses symphoniques: III. Dialogue du vent et de la mer | — | ||
| 8-1 | Nocturnes: I. Nuages | — | ||
| 8-2 | Nocturnes: II. Fêtes | — | ||
| 8-3 | Nocturnes: III. Sirènes | — | ||
| 8-4 | La Damoiselle élue | — | ||
| 8-5 | Le Martyre de Saint Sébastien: I. La Cour des lys. Prélude | — | ||
| 8-6 | Le Martyre de Saint Sébastien: II. Danse extatique et Final du 1er Acte | — | ||
| 8-7 | Le Martyre de Saint Sébastien: III. La Passion | — | ||
| 8-8 | Le Martyre de Saint Sébastien: IV. Le Bon Pasteur | — | ||
| 9-1 | Peer Gynt, op. 23: Act I. Prelude: In the Wedding Garden | — | ||
| 9-2 | Peer Gynt, op. 23: Act I. The Bridal Procession Passes | — | ||
| 9-3 | Peer Gynt, op. 23: Act I. Halling | — | ||
| 9-4 | Peer Gynt, op. 23: Act I. Springar | — | ||
| 9-5 | Peer Gynt, op. 23: Act II. Prelude: The Abduction of the Bride / Ingrid’s Lament | — | ||
| 9-6 | Peer Gynt, op. 23: Act II. In the Hall of the Mountain King | — | ||
| 9-7 | Peer Gynt, op. 23: Act II. Dance of the Mountain King’s Daughter | — | ||
| 9-8 | Peer Gynt, op. 23: Act III. Prelude: Deep in the Coniferous Forest | — | ||
| 9-9 | Peer Gynt, op. 23: Act III. Solveig’s Song | — | ||
| 9-10 | Peer Gynt, op. 23: Act III. Åse’s Death | — | ||
| 9-11 | Peer Gynt, op. 23: Act IV. Prelude: Morning Mood | — | ||
| 9-12 | Peer Gynt, op. 23: Act IV. Arabian Dance | — | ||
| 9-13 | Peer Gynt, op. 23: Act IV. Anitra’s Dance | — | ||
| 9-14 | Peer Gynt, op. 23: Act IV. Solveig’s Song | — | ||
| 9-15 | Peer Gynt, op. 23: Act V. Prelude: Peer Gynt’s Journey Home | — | ||
| 9-16 | Peer Gynt, op. 23: Act V. Solveig’s Song in the Hut | — | ||
| 9-17 | Peer Gynt, op. 23: Act V. Whitsun Hymn | — | ||
| 9-18 | Peer Gynt, op. 23: Act V. Solveig’s Lullaby | — | ||
| 10-1 | Symphony no. 82 in C major “The Bear”: I. Vivace | — | ||
| 10-2 | Symphony no. 82 in C major “The Bear”: II. Allegretto | — | ||
| 10-3 | Symphony no. 82 in C major “The Bear”: III. Menuetto & Trio | — | ||
| 10-4 | Symphony no. 82 in C major “The Bear”: IV. Finale. Vivace assai | — | ||
| 10-5 | Symphony no. 78 in C minor: I. Vivace | — | ||
| 10-6 | Symphony no. 78 in C minor: II. Adagio | — | ||
| 10-7 | Symphony no. 78 in C minor: III. Menuetto & Trio | — | ||
| 10-8 | Symphony no. 78 in C minor: IV. Finale. Presto | — | ||
| 10-9 | Symphony no. 22 in E‐flat major “The Philosopher”: I. Adagio | — | ||
| 10-10 | Symphony no. 22 in E‐flat major “The Philosopher”: II. Presto | — | ||
| 10-11 | Symphony no. 22 in E‐flat major “The Philosopher”: III. Menuetto & Trio | — | ||
| 10-12 | Symphony no. 22 in E‐flat major “The Philosopher”: IV. Finale. Presto | — | ||
| 11-1 | The Man Who Knew Too Much: Prelude | — | ||
| 11-2 | Psycho: A Suite for Strings: Prelude | — | ||
| 11-3 | Psycho: A Suite for Strings: The City | — | ||
| 11-4 | Psycho: A Suite for Strings: The Rainstorm | — | ||
| 11-5 | Psycho: A Suite for Strings: The Madhouse | — | ||
| 11-6 | Psycho: A Suite for Strings: The Murder | — | ||
| 11-7 | Psycho: A Suite for Strings: The Water | — | ||
| 11-8 | Psycho: A Suite for Strings: The Swamp | — | ||
| 11-9 | Psycho: A Suite for Strings: The Stairs | — | ||
| 11-10 | Psycho: A Suite for Strings: The Knife | — | ||
| 11-11 | Psycho: A Suite for Strings: The Cellar | — | ||
| 11-12 | Psycho: A Suite for Strings: Finale | — | ||
| 11-13 | Marnie: Suite: I. Prelude | — | ||
| 11-14 | Marnie: Suite: II. The Hunt | — | ||
| 11-15 | North by Northwest: Overture | — | ||
| 11-16 | Vertigo: Suite: I. Prelude | — | ||
| 11-17 | Vertigo: Suite: II. The Nightmare | — | ||
| 11-18 | Vertigo: Suite: III. Scène d’amour | — | ||
| 11-19 | Torn Curtain: I. Prelude | — | ||
| 11-20 | Torn Curtain: II. Gromek | — | ||
| 11-21 | Torn Curtain: III. The Killing | — | ||
| 11-22 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: Prelude | — | ||
| 11-23 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: Fire Engine | — | ||
| 11-24 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: The Bedroom | — | ||
| 11-25 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: The Reading | — | ||
| 11-26 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: The Garden | — | ||
| 11-27 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: The Nightmare | — | ||
| 11-28 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: Flowers of Fire | — | ||
| 11-29 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: Flamethrower | — | ||
| 11-30 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: The Captain’s Death | — | ||
| 11-31 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: The Road | — | ||
| 11-32 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: Finale | — | ||
| 11-33 | Taxi Driver: A Night‐Piece for Orchestra with Obbligato Alto Saxophone: Prelude | — | ||
| 11-34 | Taxi Driver: A Night‐Piece for Orchestra with Obbligato Alto Saxophone: Blues | — | ||
| 11-35 | Taxi Driver: A Night‐Piece for Orchestra with Obbligato Alto Saxophone: Night Prowl | — | ||
| 11-36 | Taxi Driver: A Night‐Piece for Orchestra with Obbligato Alto Saxophone: Bloodbath | — | ||
| 11-37 | Taxi Driver: A Night‐Piece for Orchestra with Obbligato Alto Saxophone: Finale | — | ||
| 12-1 | Lava | Eva Dahlgren | T-911.869.919-7 | |
| 12-2 | Stenmannen | Eva Dahlgren | — | |
| 12-3 | När en vild röd ros slår ut doftar hela skogen | Eva Dahlgren | — | |
| 12-4 | Jorden är ett litet rum | Eva Dahlgren | T-912.136.959-3 | |
| 12-5 | En gul böjd banan | Eva Dahlgren | T-912.024.179-4 | |
| 12-6 | Kväll | Eva Dahlgren | T-912.024.181-8 | |
| 12-7 | Du som älskar | Eva Dahlgren | T-001.532.134-2 | |
| 12-8 | Innan kärleken kom | Eva Dahlgren | T-912.021.159-8 | |
| 12-9 | Vild i min mun | Eva Dahlgren | T-912.024.184-1 | |
| 13-1 | Sinfonische metamorphosen: I. Allegro | — | ||
| 13-2 | Sinfonische metamorphosen: II. Turandot. Scherzo. Moderato – Lebhaft | — | ||
| 13-3 | Sinfonische metamorphosen: III. Andantino | — | ||
| 13-4 | Sinfonische metamorphosen: IV. Marsch | — | ||
| 13-5 | Die vier temperamente: I. Thema | — | ||
| 13-6 | Die vier temperamente: II. Melancholisch. Langsam | — | ||
| 13-7 | Die vier temperamente: III. Sanguinisch. Walzer | — | ||
| 13-8 | Die vier temperamente: IV. Phlegmatisch. Moderato | — | ||
| 13-9 | Die vier temperamente: V. Cholerisch. Vivace | — | ||
| 13-10 | Mathis der maler: I. Engelkonzert. Ruhig bewegt | — | ||
| 13-11 | Mathis der maler: II. Grablegung. Sehr langsam | — | ||
| 13-12 | Mathis der maler: III. Versuchung des heiligen Antonius. Sehr langsam, frei im Zeitmaß – Sehr lebhaft | — | ||
| 14-1 | Förklädd gud, op. 24: Förspel | — | ||
| 14-2 | Förklädd gud, op. 24: Recitation: Ej för de starka… | — | ||
| 14-3 | Förklädd gud, op. 24: Recitation: Vem spelar på en pipa… | — | ||
| 14-4 | Förklädd gud, op. 24: Kör | — | ||
| 14-5 | Förklädd gud, op. 24: Recitation: Apollon bor… | — | ||
| 14-6 | Förklädd gud, op. 24: Recitation: Kring höstlig vaktelds bränder… | — | ||
| 14-7 | Förklädd gud, op. 24: Baryton och kör | — | ||
| 14-8 | Förklädd gud, op. 24: Recitation: Välsignelse följer… | — | ||
| 14-9 | Förklädd gud, op. 24: Kör | — | ||
| 14-10 | Förklädd gud, op. 24: Recitation: Husbonden må vi prisa säll… | — | ||
| 14-11 | Förklädd gud, op. 24: Recitation: Vad faller över träden… | — | ||
| 14-12 | Förklädd gud, op. 24: Sopran och kör | — | ||
| 14-13 | Förklädd gud, op. 24: Recitation: Än vandra gudar… | — | ||
| 14-14 | Förklädd gud, op. 24: Recitation: Tror du att fåren skulle… | — | ||
| 14-15 | Förklädd gud, op. 24: Recitation: Bjuder ett mänskoöga… | — | ||
| 14-16 | Förklädd gud, op. 24: Sopran, baryton och kör | — | ||
| 14-17 | Pastoralsvit, op. 19: I. Overture | — | ||
| 14-18 | Pastoralsvit, op. 19: II. Romance | — | ||
| 14-19 | Pastoralsvit, op. 19: III. Scherzo | — | ||
| 14-20 | Violinkonsert, op. 42: I. Moderato | — | ||
| 14-21 | Violinkonsert, op. 42: II. Andante pastorale | — | ||
| 14-22 | Violinkonsert, op. 42: III. Lento | — | ||
| 15-1 | Le Grand Macabre: Car Horn Prelude | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-2 | Le Grand Macabre: Scene I. "Dies irae" (Piet, Amanda, Amando, Nekrotzar) | Graham Clark, Laura Claycomb, Charlotte Hellekant, Willard White, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-3 | Le Grand Macabre: Scene I. "Away, you swagpot!" (Nekrotzar, Piet) | Willard White, Graham Clark, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-4 | Le Grand Macabre: Scene I. "Shut up!" (Nekrotzar, Piet, Chorus) | Willard White, Graham Clark, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-5 | Le Grand Macabre: Scene I. "Oh..! - Amanda! Can do no more!" (Amanda, Amando, Piet) | Laura Claycomb, Charlotte Hellekant, Graham Clark, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-6 | Le Grand Macabre: Scene I. "Ha-ha-ha-ha! Hey! Give me my requisites" (Nekrotzar, Piet, Chorus) | Willard White, Graham Clark, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-7 | Le Grand Macabre: Scene I. "Melting snow is thy breast" (Amando, Amanda) | Charlotte Hellekant, Laura Claycomb, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-8 | Le Grand Macabre: Second Car Horn Prelude | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-9 | Le Grand Macabre: Scene II. "One! Two! Three! Five!" (Mescalina, Astradamors) | Jard van Nes, Frode Olsen, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-10 | Le Grand Macabre: Scene II. "Shapely and attractive figure" (Mescalina, Astradamors) | Jard van Nes, Frode Olsen, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-11 | Le Grand Macabre: Scene II. "Venus! Venus!" (Mescalina, Astradamors) | Jard van Nes, Frode Olsen, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-12 | Le Grand Macabre: Scene II. "Stop! - Sh!.. Quiet, for heaven's sake!" (Astradamors, Nekrotzar, Piet, Mescalina, Venus, Chorus) | Frode Olsen, Willard White, Graham Clark, Jard van Nes, Sibylle Ehlert, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-13 | Le Grand Macabre: Scene II. "Who's there? A man? - A man!" (Mescalina, Nekrotzar, Venus, Piet, Astradamors) | Sibylle Ehlert, Willard White, Sibylle Ehlert, Graham Clark, Frode Olsen, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-14 | Le Grand Macabre: Scene II. Finale: "Fire and death I bring" (Nekrotzar, Piet, Astradamors) | Willard White, Graham Clark, Frode Olsen, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-1 | Le Grand Macabre: Doorbell Prelude | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-2 | Le Grand Macabre: Scene III. "Arse-licker, arse-kisser!" (White Minister, Black Minister, Prince Go-Go) | Steven Cole, Richard Suart, Derek Lee Ragin, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-3 | Le Grand Macabre: Scene III. "Posture exercises!" (Black Minister, White Minister, Prince Go-Go) | Richard Suart, Steven Cole, Derek Lee Ragin, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-4 | Le Grand Macabre: Scene III. "Tsk... - Psssst! - Ha! Head of my secret service!" (Chorus, Gepopo, Prince Go-Go, White Minister, Black Minister) | Sibylle Ehlert, Derek Lee Ragin, Steven Cole, Richard Suart, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-5 | Le Grand Macabre: Scene III. "Ahh!.. Secret cypher!" (Gepopo, Prince Go-Go, White Minister, Black Minister) | Sibylle Ehlert, Derek Lee Ragin, Steven Cole, Richard Suart, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-6 | Le Grand Macabre: Scene III. "Hurray, hurray! My wife is dead" (Astradamors, Prince Go-Go, Chorus) | Frode Olsen, Derek Lee Ragin, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-7 | Le Grand Macabre: Scene III. Nekrotzar's Entrance | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-8 | Le Grand Macabre: Scene III. "Woe! Ooh! - For the day of wrath" (Nekrotzar, Astradamors, Chorus) | Willard White, Frode Olsen, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-9 | Le Grand Macabre: Scene III. "There's no need to fear" (Astradamors, Piet, Nektrotzar) | Frode Olsen, Graham Clark, Willard White, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-10 | Le Grand Macabre: Scene III. "Up! - Drink! - Up!" (Nekrotzar, Piet, Astradamors) | Willard White, Graham Clark, Frode Olsen, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-11 | Le Grand Macabre: Scene III. Galimatius: "Hmm! It's delicious!" (Nekrotzar, Piet, Astradamors, Prince Go-Go) | Willard White, Graham Clark, Frode Olsen, Derek Lee Ragin, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-12 | Le Grand Macabre: Scene III. "Where am I? What time is it?" (Nekrotzar, Piet, Prince Go-Go, Astradamors, Chorus) | Willard White, Graham Clark, Derek Lee Ragin, Frode Olsen, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-13 | Le Grand Macabre: Interlude | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-14 | Le Grand Macabre: Scene IV. "Ghost Astradamors, are you dead?" (Piet, Astradamors, Prince Go-Go, Ruffiack, Schobiack, Schabernack, Nektrotzar, Mescalina, White Minister, Black Minister) | Graham Clark, Frode Olsen, Derek Lee Ragin, Martin Winkler, Marc Campbell-Griffiths, Michael Lessiter, Willard White, Jard van Nes, Steven Cole, Richard Suart, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-15 | Le Grand Macabre: Scene IV. Mirror Canon: Nekrotzar's Death | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-16 | Le Grand Macabre: Scene IV. Finale. Passacaglia: "Ah, it was good" (Amando, Amando, all without Nekrotzar) | Charlotte Hellekant, Laura Claycomb, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 17-1 | Nonsense Madrigals: I. Two Dreams and Little Bat | — | ||
| 17-2 | Nonsense Madrigals: II. Cuckoo in the Pear‐Tree | — | ||
| 17-3 | Nonsense Madrigals: III. The Alphabet | — | ||
| 17-4 | Nonsense Madrigals: IV. Flying Robert | — | ||
| 17-5 | Nonsense Madrigals: V. The Lobster Quadrille | — | ||
| 17-6 | Nonsense Madrigals: VI. A Long, Sad Tale | — | ||
| 17-7 | Mysteries of the Macabre | — | ||
| 17-8 | Aventures | — | ||
| 17-9 | Nouvelles Aventures: I. Sostenuto | — | ||
| 17-10 | Nouvelles Aventures: II. Agitato molto | — | ||
| 17-11 | Der Sommer | — | ||
| 17-12 | Három Weöres‐dal: I. Tancol a Hold feher ingben | — | ||
| 17-13 | Három Weöres‐dal: II. Gyumolcs‐furt | — | ||
| 17-14 | Három Weöres‐dal: III. Kalmarjottnagy madarakkal | — | ||
| 17-15 | Öt Arany‐dal: I. Csalfa sugár | — | ||
| 17-16 | Öt Arany‐dal: II. A legszebb virág | — | ||
| 17-17 | Öt Arany‐dal: III. A csendes dalokból | — | ||
| 17-18 | Öt Arany‐dal: IV. A bujdosó | — | ||
| 17-19 | Öt Arany‐dal: V. Az ördög elvitte a fináncot | — | ||
| 17-20 | Négy lakodalmi tánc: I. A menyasszony szép virág | — | ||
| 17-21 | Négy lakodalmi tánc: II. A kapuban a szekér | — | ||
| 17-22 | Négy lakodalmi tánc: III. Hopp ide tisztán | — | ||
| 17-23 | Négy lakodalmi tánc: IV. Mikor kedves Laci bátyám | — | ||
| 18-1 | Cantigas | — | ||
| 18-2 | Cello Concerto | — | ||
| 18-3 | Parada | — | ||
| 18-4 | Fresco | — | ||
| 19-1 | Concerto for Piano and Orchestra, Op 42: I. Andante | — | ||
| 19-2 | Concerto for Piano and Orchestra, Op 42: II. Molto allegro | — | ||
| 19-3 | Concerto for Piano and Orchestra, Op 42: III. Adagio | — | ||
| 19-4 | Concerto for Piano and Orchestra, Op 42: IV. Giocoso [Moderato] | — | ||
| 19-5 | Concerto for Piano and Orchestra No. 2 in A major: I. Adagio sostenuto assai – Allegro agitato assai | — | ||
| 19-6 | Concerto for Piano and Orchestra No. 2 in A major: II. Allegro moderato | — | ||
| 19-7 | Concerto for Piano and Orchestra No. 2 in A major: III. Allegro deciso – Marziale un poco meno Allegro | — | ||
| 19-8 | Concerto for Piano and Orchestra No. 2 in A major: IV. Allegro animato | — | ||
| 19-9 | Concerto for Piano and Orchestra No. 1 in A‐flat major: I. Allegro maestoso | — | ||
| 19-10 | Concerto for Piano and Orchestra No. 1 in A‐flat major: II. Quasi Adagio | — | ||
| 19-11 | Concerto for Piano and Orchestra No. 1 in A‐flat major: III. Allegretto vivace – Allegro animato | — | ||
| 19-12 | Concerto for Piano and Orchestra No. 1 in A‐flat major: IV. Allegretto marziale animato | — | ||
| 20-1 | Fanfare for Los Angeles Philharmonic | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 20-2 | Concerto for Piano & Orchestra: I. ♩. = ca 110 | — | ||
| 20-3 | Concerto for Piano & Orchestra: II. Presto. ♩ = ca 160 | — | ||
| 20-4 | Concerto for Piano & Orchestra: III. Largo. ♪ = ca 85 | — | ||
| 20-5 | Concerto for Piano & Orchestra: IV. ♩ = ca 84 | — | ||
| 20-6 | Chantefleurs et chantefables: I. La Belle‐de‐nuit | — | ||
| 20-7 | Chantefleurs et chantefables: II. La Sauterelle | — | ||
| 20-8 | Chantefleurs et chantefables: III. La Véronique | — | ||
| 20-9 | Chantefleurs et chantefables: IV. L’Églantine, l’aubépine et la glycine | — | ||
| 20-10 | Chantefleurs et chantefables: V. La Tortue | — | ||
| 20-11 | Chantefleurs et chantefables: VI. La Rose | — | ||
| 20-12 | Chantefleurs et chantefables: VII. L’Alligator | — | ||
| 20-13 | Chantefleurs et chantefables: VIII. L’Angélique | — | ||
| 20-14 | Chantefleurs et chantefables: IX. Le Papillon | — | ||
| 20-15 | Symphony no. 2: I. Hésitant | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 20-16 | Symphony no. 2: II. Direct | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-1 | Fanfare for Los Angeles Philharmonic | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-2 | Symphony no. 1: I. Allegro giusto | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-3 | Symphony no. 1: II. Poco adagio | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-4 | Symphony no. 1: III. Allegretto misterioso | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-5 | Symphony no. 1: IV. Allegro vivace | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-6 | Symphony no. 2: I. Hésitant | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-7 | Symphony no. 2: II. Direct | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 22-1 | Symphony no. 4 | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 22-2 | Les Espaces du sommeil | — | ||
| 22-3 | Symphony no. 3 | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 23-1 | Symphony no. 3 in D minor: I. Kräftig. Entschieden | — | ||
| 23-2 | Symphony no. 3 in D minor: I. Langsam. Schwer | — | ||
| 23-3 | Symphony no. 3 in D minor: I. Tempo I | — | ||
| 23-4 | Symphony nn. 3 in D minor: I. A tempo | — | ||
| 23-5 | Symphony no. 3 in D minor: I. Immer dasselbe Tempo (Marsch) Nicht eilen | — | ||
| 23-6 | Symphony no. 3 in D minor: I. Tempo primo. Wie zu Anfang | — | ||
| 23-7 | Symphony no. 3 in D minor: I. Tempo I | — | ||
| 23-8 | Symphony no. 3 in D minor: II. Tempo di Menuetto. Sehr mässig | — | ||
| 23-9 | Symphony no. 3 in D minor: II. A tempo | — | ||
| 23-10 | Symphony no. 3 in D minor: II. Ganz plötzlich gemächlich. Tempo di Menuetto | — | ||
| 23-11 | Symphony no. 3 in D minor: III. Comodo. Scherzando. Ohne Hast. | — | ||
| 23-12 | Symphony no. 3 in D minor: III. Wieder sehr gemächlich, wie zu Anfang | — | ||
| 23-13 | Symphony no. 3 in D minor: III. Sehr gemächlich | — | ||
| 23-14 | Symphony no. 3 in D minor: III. Tempo I | — | ||
| 23-15 | Symphony no. 3 in D minor: III. Wieder sehr gemächlich, beinahe langsam | — | ||
| 24-1 | Symphony no. 3 in D minor: IV. Sehr langsam. Misterioso. Durchaus ppp | — | ||
| 24-2 | Symphony no. 3 in D minor: IV. Tempo I | — | ||
| 24-3 | Symphony no. 3 in D minor: V. Lustig im Tempo und keck im Ausdruck | — | ||
| 24-4 | Symphony no. 3 in D minor: VI. Langsam. Ruhevoll. Empfunden. | — | ||
| 24-5 | Symphony no. 3 in D minor: VI. Nicht mehr so breit | — | ||
| 24-6 | Symphony no. 3 in D minor: VI. Tempo I. Ruhevoll! | — | ||
| 24-7 | Symphony no. 3 in D minor: VI. A tempo (Etwas bewegter) | — | ||
| 24-8 | Symphony no. 3 in D minor: VI. Tempo I | — | ||
| 24-9 | Symphony no. 3 in D minor: VI. Langsam. Tempo I | — | ||
| 25-1 | Symphony no. 4: I. Bedächtig. Nicht eilen | — | ||
| 25-2 | Symphony no. 4: II. In gemälicher Bewegung. Ohne Hast | — | ||
| 25-3 | Symphony no. 4: III. Ruhevoll | — | ||
| 25-4 | Symphony no. 4: IV. Sehr behaglich (Soprano Solo: “Wir genießen die himmlischen Freuden”; from Des Knaben Wunderhorn) | — | ||
| 26-1 | Das Lied von der Erde – No. 1, -Das Trinklied vom Jammer der Erde- (The Drinking Song of Earth’s Sorrows)- -Schon winkt der | — | ||
| 26-2 | Das Lied von der Erde – No. 2, -Der Einsame im Herbst- (The Solitary Autumn)- -Herbstnebel wallen blaulich uberm See? | — | ||
| 26-3 | Das Lied von der Erde – No. 3, -Von der Jugend- (Of Youth)- -Mitten in dem kleinen Teiche? | — | ||
| 26-4 | Das Lied von der Erde – No. 4, -Von der Schonheit- (Of Beauty)- -Junge Madchen pflucken Blumen? | — | ||
| 26-5 | Das Lied von der Erde – No. 5, -Der Trunkene im Fruhling- (The Drunkard in Spring)- -Wenn nur ein Traum das Leben ist? | — | ||
| 26-6 | Das Lied von der Erde – No. 6, -Der Abschied- (The Farewell)- -Die Sonne scheidet hinter dem Gebirge? | — | ||
| 27-1 | All Rise: I. Jubal Step | — | ||
| 27-2 | All Rise: II. A Hundred and a Hundred, a Hundred and Twelve | — | ||
| 27-3 | All Rise: III. Go Slow (But Don’t Stop) | — | ||
| 27-4 | All Rise: IV. Wild Strumming of Fiddle | — | ||
| 27-5 | All Rise: V. Save Us | — | ||
| 27-6 | All Rise: VI. Cried, Shouted, Then Sung | — | ||
| 27-7 | All Rise: VII. Look Beyond | — | ||
| 27-8 | All Rise: VIII. The Hall of Erudition and Scholarship (Come Back Home) | — | ||
| 28-1 | All Rise: IX. El ‘Gran’ Baile de la Reina | — | ||
| 28-2 | All Rise: X. Expressbrown Local | — | ||
| 28-3 | All Rise: XI. Saturday Night Slow Drag | — | ||
| 28-4 | All Rise: XII. I Am (Don’t You Run From Me) | — | ||
| 29-1 | Turangalîla‐Symphonie: I. Introduction. Modéré, un peu vif | — | ||
| 29-2 | Turangalîla‐Symphonie: II. Chant d’amour 1. Modéré, lourd | — | ||
| 29-3 | Turangalîla‐Symphonie: III. Turangalîla 1. Presque lent, rêveur | — | ||
| 29-4 | Turangalîla‐Symphonie: IV. Chant d’amour 2. Bien modéré | — | ||
| 29-5 | Turangalîla‐Symphonie: V. Joie du sang des étoiles. Vif, passionné avec joie | — | ||
| 29-6 | Turangalîla‐Symphonie: VI. Jardin du Sommeil d’amour. Très modéré, très tendre | — | ||
| 29-7 | Turangalîla‐Symphonie: VII. Turangalîla 2. Un peu vif, bien modéré | — | ||
| 29-8 | Turangalîla‐Symphonie: VIII. Développement d’amour. Bien modéré | — | ||
| 29-9 | Turangalîla‐Symphonie: IX. Turangalîla 3. Bien modéré | — | ||
| 29-10 | Turangalîla‐Symphonie: X. Final. Modéré, presque vif, avec une grande joie | — | ||
| 30-1 | Des Canyons aux étoiles, I/51: I. Le désert | — | ||
| 30-2 | Des Canyons aux étoiles, I/51: II. Les orioles | — | ||
| 30-3 | Des Canyons aux étoiles, I/51: III. Ce qui est écrit sur les étoiles | — | ||
| 30-4 | Des Canyons aux étoiles, I/51: IV. Le cossyphe d’Heuglin | — | ||
| 30-5 | Des Canyons aux étoiles, I/51: V. Cedar Breaks et le don de crainte | — | ||
| 30-6 | Des Canyons aux étoiles, I/51: VI. Appel interstellaire | — | ||
| 30-7 | Des Canyons aux étoiles, I/51: VII. Bryce Canyon et les rochers rouge‐orange | — | ||
| 30-8 | Des Canyons aux étoiles, I/51: VIII. Les ressucités et le chant de l’étoile Aldebaran | — | ||
| 30-9 | Des Canyons aux étoiles, I/51: IX. Le moquer polyglotte | — | ||
| 31-1 | Des Canyons aux étoiles, I/51: X. La grive des bois | — | ||
| 31-2 | Des Canyons aux étoiles, I/51: XI. Des canyons aux etoiles: Omao, leiothrix, elapaio, shama | — | ||
| 31-3 | Des Canyons aux étoiles, I/51: XII. Des canyons aux etoiles: Zion Park et la cité céleste | — | ||
| 31-4 | Oiseaux exotiques, I/41 | — | ||
| 31-5 | Couleurs de la cité céleste, I/46 | — | ||
| 32-1 | Symphony no. 1 in G minor, op. 7: I. Allegro orgoglioso | — | ||
| 32-2 | Symphony no. 1 in G minor, op. 7: II. Andante | — | ||
| 32-3 | Symphony no. 1 in G minor, op. 7: III. Allegro comodo | — | ||
| 32-4 | Symphony no. 1 in G minor, op. 7: IV. Allegro con fuoco | — | ||
| 32-5 | Little Suite, op. 1: I. Präludium (Andante con moto) | — | ||
| 32-6 | Little Suite, op. 1: II. Intermezzo (Allegro moderato) | — | ||
| 32-7 | Little Suite, op. 1: III. Finale (Andante con moto – Allegro con brio) | — | ||
| 33-1 | Symphony no. 2, op. 16 “The Four Temperaments”: I. Allegro collerico | — | ||
| 33-2 | Symphony no. 2, op. 16 “The Four Temperaments”: II. Allegro comodo e flemmatico | — | ||
| 33-3 | Symphony no. 2, op. 16 “The Four Temperaments”: III. Andante malinconico | — | ||
| 33-4 | Symphony no. 2, op. 16 “The Four Temperaments”: IV. Allegro sanguineo | — | ||
| 33-5 | Pan & Syrinx, op. 49 | — | ||
| 33-6 | Aladdin Suite, op. 34: I. Oriental March | — | ||
| 33-7 | Aladdin Suite, op. 34: II. Aladdins Dream and Dance of the Morning Mist | — | ||
| 33-8 | Aladdin Suite, op. 34: III. Hindu Dance | — | ||
| 33-9 | Aladdin Suite, op. 34: IV. Chinese Dance | — | ||
| 33-10 | Aladdin Suite, op. 34: V. The Market Place in Ispahan | — | ||
| 33-11 | Aladdin Suite, op. 34: VI. Dance of the Prisoners | — | ||
| 33-12 | Aladdin Suite, op. 34: VII. Dance of the Negroes | — | ||
| 34-1 | Symphony no. 3 “Sinfonia Espansiva”, op.27: I. Allegro espansivo | — | ||
| 34-2 | Symphony no. 3 “Sinfonia Espansiva”, op.27: II. Andante pastorale | — | ||
| 34-3 | Symphony no. 3 “Sinfonia Espansiva”, op.27: III. Allegretto un poco | — | ||
| 34-4 | Symphony no. 3 “Sinfonia Espansiva”, op.27: IV. Finale. Allegro | — | ||
| 34-5 | Symphony no. 6 “Sinfonia Semplice”, FS 116: I. Tempo giusto | — | ||
| 34-6 | Symphony no. 6 “Sinfonia Semplice”, FS 116: II. Humoreske – Allegretto | — | ||
| 34-7 | Symphony no. 6 “Sinfonia Semplice”, FS 116: III. Proposta seria – Adagio | — | ||
| 34-8 | Symphony no. 6 “Sinfonia Semplice”, FS 116: IV. Tema con variazioni – Allegro | — | ||
| 35-1 | Symphony no. 4 “The Inextinguishable”, op. 29: I. Allegro | — | ||
| 35-2 | Symphony no. 4 “The Inextinguishable”, op. 29: II. Poco allegretto | — | ||
| 35-3 | Symphony no. 4 “The Inextinguishable”, op. 29: III. Poco adagio quasi andante | — | ||
| 35-4 | Symphony no. 4 “The Inextinguishable”, op. 29: IV. Allegro | — | ||
| 35-5 | Helios Overture, op. 17 | — | ||
| 36-1 | Symphony no. 5, op. 50: I. Tempo giusto | — | ||
| 36-2 | Symphony no. 5, op. 50: II. Adagio non troppo | — | ||
| 36-3 | Symphony no. 5, op. 50: III. Allegro | — | ||
| 36-4 | Symphony no. 5, op. 50: IV. Presto | — | ||
| 36-5 | Symphony no. 5, op. 50: V. Andante un poco tranquillo | — | ||
| 36-6 | Symphony no. 5, op. 50: VI. Allegro | — | ||
| 36-7 | Masquerade, FS 39 (excerpts): Overture | — | ||
| 36-8 | Masquerade, FS 39 (excerpts): Prelude to Act II | — | ||
| 36-9 | Masquerade, FS 39 (excerpts): Dance of Cockerel | — | ||
| 37-1 | Concerto for Violin and Orchestra in D minor, op. 47: I. Allegro moderato | Cho-Liang Lin, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 37-2 | Concerto for Violin and Orchestra in D minor, op. 47: II. Adagio di molto | Cho-Liang Lin, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 37-3 | Concerto for Violin and Orchestra in D minor, op. 47: III. Allegro, ma non tanto | Cho-Liang Lin, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 37-4 | Concerto for Violin & Orchestra, op. 33: I. Largo | Cho-Liang Lin, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 37-5 | Concerto for Violin & Orchestra, op. 33: II. Poco adagio | Cho-Liang Lin, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 37-6 | Concerto for Violin & Orchestra, op. 33: III. Rondo: Allegretto scherzando | Cho-Liang Lin, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 38-1 | Saul og David (Saul and David), opera, FS 25- Prelude | — | ||
| 38-2 | Clarinet concerto, Op. 57 (FS 129) | — | ||
| 38-3 | En fantasirejse til Faerøene (An Imaginary Trip to the Faroe Islands), rhapsodic overture for orchestra, FS 123 | — | ||
| 38-4 | Flute concerto, FS 119- Allegro moderato | — | ||
| 38-5 | Flute concerto, FS 119- Allegretto | — | ||
| 38-6 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Som en Graesgron Plet | — | ||
| 38-7 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- A Se, Nu Kommer Varen | — | ||
| 38-8 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Den Milde Dag Er Lys Og Lang | — | ||
| 38-9 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Der Har Vi Den Aldrende Sol Igen | — | ||
| 38-10 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Nu Kysser Solen Mit Ojelag | — | ||
| 38-11 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Nu Vil Vi Ud Og Lege | — | ||
| 38-12 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Sa Saetter Vi Piben I Ovnens Krog | — | ||
| 38-13 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Kom Her, Fiol Og Klarinet | — | ||
| 39-1 | Romeo and Juliet, Act I: The Prince’s Decree | — | ||
| 39-2 | Romeo and Juliet, Act I: Interlude | — | ||
| 39-3 | Romeo and Juliet, Act I: Preparations for the Ball | — | ||
| 39-4 | Romeo and Juliet, Act I: Juliet, the Young Girl | — | ||
| 39-5 | Romeo and Juliet, Act I: Arrival of the guests | — | ||
| 39-6 | Romeo and Juliet, Act I: Masks | — | ||
| 39-7 | Romeo and Juliet, Act I: Dance of the Knights | — | ||
| 39-8 | Romeo and Juliet, Act I: The Balcony Scene | — | ||
| 39-9 | Romeo and Juliet, Act I: Romeo’s Variation | — | ||
| 39-10 | Romeo and Juliet, Act I: Love Dance | — | ||
| 39-11 | Romeo and Juliet, Act II: Folk Dance | — | ||
| 39-12 | Romeo and Juliet, Act II: Dance with Mandolins | — | ||
| 39-13 | Romeo and Juliet, Act II: Tybalt fights Mercutio | — | ||
| 39-14 | Romeo and Juliet, Act II: Romeo Resolves to Avenge the Death of Mercutio | — | ||
| 39-15 | Romeo and Juliet, Act II: Finale | — | ||
| 39-16 | Romeo and Juliet, Act III: Farewell before the Parting | — | ||
| 39-17 | Romeo and Juliet, Act III: Morning Serenade | — | ||
| 39-18 | Romeo and Juliet, Act IV: Juliet’s Burial | — | ||
| 39-19 | Romeo and Juliet, Act IV: Death of Juliet | — | ||
| 40-1 | Violin Concerto No. 1 in D Op. 19: I. Andantino | — | ||
| 40-2 | Violin Concerto No. 1 in D Op. 19: II. Scherzo. Vivacissimo | — | ||
| 40-3 | Violin Concerto No. 1 in D Op. 19: III. Moderato | — | ||
| 40-4 | Violin Concerto No. 2 in G minor Op. 63: I. Allegro moderato | — | ||
| 40-5 | Violin Concerto No. 2 in G minor Op. 63: II. Andante assai | — | ||
| 40-6 | Violin Concerto No. 2 in G minor Op. 63: III. Allegro, ben marcato | — | ||
| 40-7 | Violin Concerto in D: I. Toccata | — | ||
| 40-8 | Violin Concerto in D: II. Aria 1 | — | ||
| 40-9 | Violin Concerto in D: III. Aria 2 | — | ||
| 40-10 | Violin Concerto in D: IV. Capriccio | — | ||
| 41-1 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: I. Moderato | Yefim Bronfman, The Philharmonia, Esa-Pekka Salonen | — | |
| 41-2 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: II. Adagio sostenuto | Yefim Bronfman, The Philharmonia, Esa-Pekka Salonen | — | |
| 41-3 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: III. Allegro scherzando | — | ||
| 41-4 | Concerto for Piano and Orchestra no. 3 in D minor, op. 30: I. Allegro ma non tanto | — | ||
| 41-5 | Concerto for Piano and Orchestra no. 3 in D minor, op. 30: II. Intermezzo. Adagio | — | ||
| 41-6 | Concerto for Piano and Orchestra no. 3 in D minor, op. 30: III. Finale. Alla breve | — | ||
| 42-1 | Sensemayá | — | ||
| 42-2 | Ocho por radio | — | ||
| 42-3 | La noche de los mayas: I. La noche de los mayas. — Molto sostenuto | — | ||
| 42-4 | La noche de los mayas: II. La noche de jaranas. — Scherzo | — | ||
| 42-5 | La noche de los mayas: III. La noche de Yucatán. — Andante espressivo | — | ||
| 42-6 | La noche de los mayas: IV. La noche de encantamiento. — Tema y variaciones | — | ||
| 42-7 | Homenaje a Federico García Lorca for Chamber Orchestra: I. Baile — Lento (quasi recitativo) — Allegro | — | ||
| 42-8 | Homenaje a Federico García Lorca for Chamber Orchestra: II. Duelo | — | ||
| 42-9 | Homenaje a Federico García Lorca for Chamber Orchestra: III. Son | — | ||
| 42-10 | Ventanas for Large Orchestra | — | ||
| 42-11 | First Little Serious Piece | — | ||
| 42-12 | Second Little Serious Piece: Tempo di Valse — Lento | — | ||
| 43-1 | Graal théâtre: I. Delicato | Gidon Kremer, BBC Symphony Orchestra, Esa-Pekka Salonen | — | |
| 43-2 | Graal théâtre: II. Impetuoso | Gidon Kremer, BBC Symphony Orchestra, Esa-Pekka Salonen | — | |
| 43-3 | Château de l'âme: I. La liane | Dawn Upshaw, Women Members of the Finnish Radio Chamber Choir, Radion sinfoniaorkesteri, Esa-Pekka Salonen | — | |
| 43-4 | Château de l'âme: II. À la terre | Dawn Upshaw, Women Members of the Finnish Radio Chamber Choir, Finnish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 43-5 | Château de l'âme: III. La liane | Dawn Upshaw, Women Members of the Finnish Radio Chamber Choir, Finnish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 43-6 | Château de l'âme: IV. Pour repousser l'esprit | Dawn Upshaw, Women Members of the Finnish Radio Chamber Choir, Finnish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 43-7 | Château de l'âme: V. Les formules | Dawn Upshaw, Women Members of the Finnish Radio Chamber Choir, Finnish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 43-8 | Amers: Part 1: Libero, dolce, misterioso | Anssi Karttunen, Avanti!, Esa-Pekka Salonen | T-910.371.989-7 | |
| 43-9 | Amers: Part 2: Sempre molto energico, ma espressivo | Anssi Karttunen, Avanti!, Esa-Pekka Salonen | T-910.371.989-7 | |
| 44-1 | LA Variations | — | ||
| 44-2 | Five Images After Sappho: 1. Tell Everyone | — | ||
| 44-3 | Five Images After Sappho: 2. Without Warning | — | ||
| 44-4 | Five Images After Sappho: 3. It’s No Use | — | ||
| 44-5 | Five Images After Sappho: 4. The Evening Star | — | ||
| 44-6 | Five Images After Sappho: 5. Wedding | — | ||
| 44-7 | Giro, for orchestra | — | ||
| 44-8 | Mania for violoncello solo and ensemble | — | ||
| 44-9 | Gambit, for orchestra | — | ||
| 45-1 | Verklärte Nacht, op. 4: Prelude: Grave | — | ||
| 45-2 | Verklärte Nacht, op. 4: Bar 100: Molto Rallentando (Woman) | — | ||
| 45-3 | Verklärte Nacht, op. 4: Bar 201: Pesante‐Grave (Interlude) | — | ||
| 45-4 | Verklärte Nacht, op. 4: Bar 229: Adagio (Man) | — | ||
| 45-5 | Verklärte Nacht, op. 4: Bar 370: Adagio (Postlude) | — | ||
| 45-6 | String Quartet no. 2, op. 10: I. Massig (moderato) | — | ||
| 45-7 | String Quartet no. 2, op. 10: II. Sehr rasch (Scherzo) | — | ||
| 45-8 | String Quartet no. 2, op. 10: III. Litanei langsam | — | ||
| 45-9 | String Quartet no. 2, op. 10: IV. Entruckun. Sehr langsam | — | ||
| 46-1 | Piano Concerto no. 1, for Piano, Trumpet & Strings, in C minor, op. 35: Allegretto | — | ||
| 46-2 | Piano Concerto no. 1, for Piano, Trumpet & Strings, in C minor, op. 35: Lento | — | ||
| 46-3 | Piano Concerto no. 1, for Piano, Trumpet & Strings, in C minor, op. 35: Moderato | — | ||
| 46-4 | Piano Concerto no. 1, for Piano, Trumpet & Strings, in C minor, op. 35: Allegro con brio | — | ||
| 46-5 | Piano Concerto no. 2 in F major, op. 102: Allegro | — | ||
| 46-6 | Andante (Piano Concerto no. 2) | Yefim Bronfman, Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 46-7 | Piano Concerto no. 2 in F major, op. 102: Allegro | — | ||
| 46-8 | Quintet for Piano & Strings in G minor, op. 57: I. Prelude: Lento | — | ||
| 46-9 | Quintet for Piano & Strings in G minor, op. 57: II. Fugue: Adagio | — | ||
| 46-10 | Quintet for Piano & Strings in G minor, op. 57: III. Scherzo: Allegretto | — | ||
| 46-11 | Quintet for Piano & Strings in G minor, op. 57: IV. Intermezzo: Lento | — | ||
| 46-12 | Quintet for Piano & Strings in G minor, op. 57: V. Finale: Allegretto | — | ||
| 47-1 | Symphony no. 5, op. 82: I. Tempo molto moderato; Allegro moderato | — | ||
| 47-2 | Symphony no. 5, op. 82: II. Andante mosso, quasi allegretto | — | ||
| 47-3 | Symphony no. 5, op. 82: III. Allegro molto | — | ||
| 47-4 | Pohjolan Tytar, op. 49 | — | ||
| 48-1 | Lemminkäinen Legends, op. 22: I. Lemminkäinen and the Maidens of Saari | — | ||
| 48-2 | Lemminkäinen Legends, op. 22: II. Lemminkäinen in Tuonela | — | ||
| 48-3 | Lemminkäinen Legends, op. 22: III. The Swan of Tuonela | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 48-4 | Lemminkäinen Legends, op. 22: IV. Lemminkäinen’s Return | — | ||
| 48-5 | En Saga, op. 9 | — | ||
| 49-1 | Kullervo, Op. 7: I. Introduction. Allegro moderato | — | ||
| 49-2 | Kullervo, Op. 7: II. Kullervo’s youth. Grave | — | ||
| 49-3 | Kullervo, Op. 7: III. Kullervo and his sister. Allegro vivace | — | ||
| 49-4 | Kullervo, Op. 7: IV. Kullervo goes to battle. Alla marcia | — | ||
| 49-5 | Kullervo, Op. 7: V. Kullervo’s death. Andante | — | ||
| 50-1 | Violin Concerto in D minor, op. 47: I. Allegro moderato | Los Angeles Philharmonic, Esa-Pekka Salonen, Joshua Bell | — | |
| 50-2 | Violin Concerto in D minor, op. 47: II. Adagio di molto | Joshua Bell, Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 50-3 | Violin Concerto in D minor, op. 47: III. Allegro, ma non tanto | Joshua Bell, Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 50-4 | Violin Concerto no. 1 in A minor, op. 28: I. Allegro moderato | Joshua Bell, Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 50-5 | Violin Concerto no. 1 in A minor, op. 28: II. Andante | Joshua Bell, Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 50-6 | Violin Concerto no. 1 in A minor, op. 28: III. Moderato - Allegretto | Joshua Bell, Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 51-1 | Metamorphosen | — | ||
| 51-2 | Duet‐Concertino for Clarinet & Bassoon with String Orchestra and Harp: Allegro moderato | — | ||
| 51-3 | Duet‐Concertino for Clarinet & Bassoon with String Orchestra and Harp: Andante | — | ||
| 51-4 | Duet‐Concertino for Clarinet & Bassoon with String Orchestra and Harp: Rondo: Allegro ma non troppo | — | ||
| 51-5 | Prelude to Cappriccio, Op. 85 | — | ||
| 52-1 | Petrouchka: Scene I. The Shrovetide Fair | — | ||
| 52-2 | Petrouchka: Scene I. Russian Dance | — | ||
| 52-3 | Petrouchka: Scene II. Petrushka | — | ||
| 52-4 | Petrouchka: Scene III. The Blackamoor | — | ||
| 52-5 | Petrouchka: Scene III. Waltz | — | ||
| 52-6 | Petrouchka: Scene IV. The Shrovetide Fair (Towards Evening) | — | ||
| 52-7 | Petrouchka: Scene IV. Wet‐Nurses’ Dance | — | ||
| 52-8 | Petrouchka: Scene IV. Peasant with Bear | — | ||
| 52-9 | Petrouchka: Scene IV. Gypsies and a Rake Vendor | — | ||
| 52-10 | Petrouchka: Scene IV. Dance of the Coachmen | — | ||
| 52-11 | Petrouchka: Scene IV. Masqueraders | — | ||
| 52-12 | Petrouchka: Scene IV. The Scuffle | — | ||
| 52-13 | Petrouchka: Scene IV. Death of Petrushka | — | ||
| 52-14 | Petrouchka: Scene IV. Police and the Juggler | — | ||
| 52-15 | Petrouchka: Scene IV. Apparition of Petrushka’s Double | — | ||
| 52-16 | Orpheus: Scene I. Orpheus | — | ||
| 52-17 | Orpheus: Scene I. Air de danse | — | ||
| 52-18 | Orpheus: Scene I. Dance of the Angel of Death | — | ||
| 52-19 | Orpheus: Scene I. Interlude | — | ||
| 52-20 | Orpheus: Scene II. Dance of the Furies | — | ||
| 52-21 | Orpheus: Scene II. Air de danse | — | ||
| 52-22 | Orpheus: Scene II. Interlude | — | ||
| 52-23 | Orpheus: Scene II. Air de danse | — | ||
| 52-24 | Orpheus: Scene II. Pas d’action | — | ||
| 52-25 | Orpheus: Scene II. Pas de deux | — | ||
| 52-26 | Orpheus: Scene II. Interlude | — | ||
| 52-27 | Orpheus: Scene II. Pas d’action | — | ||
| 52-28 | Orpheus: Scene III. Orpheus’ Apotheosis | — | ||
| 53-1 | The Firebird: Introduction | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-2 | The Firebird: Kashchei's Enchanted Garden | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-3 | The Firebird: The Firebird Appears, Pursued by Prince Ivan | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-4 | The Firebird: Dance of the Firebird | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-5 | The Firebird: The Firebird Is Captured by Prince Ivan | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-6 | The Firebird: The Firebird's Pleading | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-7 | The Firebird: Appearance of the Thirteen Enchanted Princesses | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-8 | The Firebird: The Princesses Play With the Golden Apples | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-9 | The Firebird: Prince Ivan Suddenly Appears | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-10 | The Firebird: Khorovod (Round dance) Of the Princesses | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-11 | The Firebird: Daybreak | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-12 | The Firebird: Prince Ivan Enters Kashchei's Palace | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-13 | The Firebird: Arrival of Kashchei the Immortal | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-14 | The Firebird: Dialogue Between Kashchei and Prince Ivan | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-15 | The Firebird: The Princesses' Intercede | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-16 | The Firebird: The Firebird Appears | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-17 | The Firebird: Dance of Kashchei's Court | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-18 | Ithe Firebird: Infernal Dance of Kashchei's Subjects | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-19 | The Firebird: Lullaby (The Firebird) | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-20 | The Firebird: Kashchei Awakens | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-21 | The Firebird: Death of Kashchei | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-22 | The Firebird: The Palace and Creatures of Kashchei Disappear | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-23 | Jeu De Cartes: First Deal | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-24 | Jeu De Cartes: Second Deal | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-25 | Jeu De Cartes: Third Deal | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-1 | Le Sacre du printemps: Part One: The Adoration of the Earth: Introduction | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-2 | Le Sacre du printemps: Part One: The Adoration of the Earth: The Augurs of Spring (Dances of the Young Girls) | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-3 | Le Sacre du printemps: Part One: The Adoration of the Earth: Ritual of Abduction | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-4 | Le Sacre du printemps: Part One: The Adoration of the Earth: Spring Khorovod (Round Dance) | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-5 | Le Sacre du printemps: Part One: The Adoration of the Earth: Ritual of the Rival Tribes | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-6 | Le Sacre du printemps: Part One: The Adoration of the Earth: Procession of the Sage | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-7 | Le Sacre du printemps: Part One: The Adoration of the Earth: Adoration of the Earth (The Sage) | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-8 | Le Sacre du printemps: Part One: The Adoration of the Earth: Dance of the Earth | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-9 | Le Sacre du printemps: Part Two: The Sacrifice: Introduction | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-10 | Le Sacre du printemps: Part Two: The Sacrifice: Mystic Circles of the Young Girls | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-11 | Le Sacre du printemps: Part Two: The Sacrifice: Glorification of the Chosen One | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-12 | Le Sacre du printemps: Part Two: The Sacrifice: Evocation of the Ancestors | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-13 | Le Sacre du printemps: Part Two: The Sacrifice: Ritual Action of the Ancestors | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-14 | Le Sacre du printemps: Part Two: The Sacrifice: Sacrificial Dance (The Chosen One) | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-15 | Symphony in Three Movements: I. ♩ = 160; ♩ = 80 | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-16 | Symphony in Three Movements: II. Andante ♩ = 76 | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-17 | Symphony in Three Movements: Interlude ♩ = 76 | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-18 | Symphony in Three Movements: III. Con moto ♩ = 108 | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 55-1 | Pulcinella: Overture. Allegro moderato | — | ||
| 55-2 | Pulcinella: Serenata. Largehtto “Mentre l’erbetta” | — | ||
| 55-3 | Pulcinella: Scherzino. Allegro | — | ||
| 55-4 | Pulcinella: Ancora poco meno “Contento forse vivere” | — | ||
| 55-5 | Pulcinella: Allegro assai - | — | ||
| 55-6 | Pulcinella: Allegro alla breve “Con queste paroline” | — | ||
| 55-7 | Pulcinella: Andante “Sento dire no’ncè pace” | — | ||
| 55-8 | Pulcinella: Presto “Una falan zemprece” | — | ||
| 55-9 | Pulcinella: Allegro alla breve | — | ||
| 55-10 | Pulcinella: Tarantella | — | ||
| 55-11 | Pulcinella: Andantino “Se tu m’ami” | — | ||
| 55-12 | Pulcinella: Allegro | — | ||
| 55-13 | Pulcinella: Gavotta con due variazioni | — | ||
| 55-14 | Pulcinella: Vivo | — | ||
| 55-15 | Pulcinella: Tempo di minuetto “Pupillette, fiammette d’amore” | — | ||
| 55-16 | Pulcinella: Finale. Allegro assai | — | ||
| 55-17 | Ragtime | — | ||
| 55-18 | Renard: Marche (Entrance of the Actors) | — | ||
| 55-19 | Renard: Allegro | — | ||
| 55-20 | Renard: Meno mosso (Rehearsal Mark No. 9) | — | ||
| 55-21 | Renard: Salto mortale (Rehearsal Mark No. 19) | — | ||
| 55-22 | Renard: Con brio | — | ||
| 55-23 | Renard: Meno mosso (Rehearsal Mark No. 41) | — | ||
| 55-24 | Renard: Colla parte (Rehearsal Mark No. 52) | — | ||
| 55-25 | Renard: Moderato | — | ||
| 55-26 | Renard: Scherzando | — | ||
| 55-27 | Renard: Poco meno mosso | — | ||
| 55-28 | Renard: Vivo | — | ||
| 55-29 | Renard: Marche (Departure of the Actors) | — | ||
| 55-30 | Octet for Wind Instruments: I. Sinfonia. Lento – Allegro moderato | — | ||
| 55-31 | Octet for Wind Instruments: II. Tema con variazioni. Andantino | — | ||
| 55-32 | Octet for Wind Instruments: III. Finale. Tempo giusto | — | ||
| 56-8 | Movements for Piano and Orchestra: I Eighth Note = 110 | — | ||
| 56-9 | Movements for Piano and Orchestra: II Quarter Note = 52 | — | ||
| 56-10 | Movements for Piano and Orchestra: III Eighth Note = 72 | — | ||
| 56-11 | Movements for Piano and Orchestra: IV Eighth Note = 80 | — | ||
| 56-12 | Movements for Piano and Orchestra: V Eighth Note = 104 | — | ||
| 57-1 | Apollon musagète: Scene I. Prologue: Birth of Apollo | — | ||
| 57-2 | Apollon musagète: Scene II. Variation of Apollo | — | ||
| 57-3 | Apollon musagète: Scene II. Pas d’action | — | ||
| 57-4 | Apollon musagète: Scene II. Variation of Calliope | — | ||
| 57-5 | Apollon musagète: Scene II. Variation of Polyhymnia | — | ||
| 57-6 | Apollon musagète: Scene II. Variation of Terpsichore | — | ||
| 57-7 | Apollon musagète: Scene II. Variation of Apollo | — | ||
| 57-8 | Apollon musagète: Scene II. Pas de deux | — | ||
| 57-9 | Apollon musagète: Scene II. Coda | — | ||
| 57-10 | Apollon musagète: Scene II. Apotheosis | — | ||
| 57-11 | Concerto in D major for String Orchestra: I. Vivace | — | ||
| 57-12 | Concerto in D major for String Orchestra: II. Arioso: Andantino | — | ||
| 57-13 | Concerto in D major for String Orchestra: III. Rondo: Allegro | — | ||
| 57-14 | Cantata: A Lyke‐Wake Dirge. Versus I. Prelude | — | ||
| 57-15 | Cantata: Ricercar I. The Maidens Came | — | ||
| 57-16 | Cantata: A Lyke‐Wake Dirge. Versus II. First Interlude | — | ||
| 57-17 | Cantata: Ricercar II. Sacred History | — | ||
| 57-18 | Cantata: A Lyke‐Wake Dirge. Versus III. Second Interlude | — | ||
| 57-19 | Cantata: Westron Wind | — | ||
| 57-20 | Cantata: A Lyke‐Wake Dirge. Versus IV. Postlude | — | ||
| 58-2 | Oedipus Rex: Act I. "Caedit nos pestis" | Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-3 | Oedipus Rex: Act I. "Liberi, vos liberado" (Oedipus, Narrator) | Vinson Cole, Radiokören, Patrice Chéreau, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-4 | Oedipus Rex: Act I. "Respondit deus" (Creon) | Simon Estes, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-5 | Oedipus Rex: Act I. "Non reperias vetus scelus" (Oedipus) | Vinson Cole, Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-6 | Oedipus Rex: Act I. Oedipe interroge la fontaine de vérité" (Narrator) | Radiokören, Patrice Chéreau, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-7 | Oedipus Rex: Act I. "Dicere non possum" (Tirésias, Oedipus) | Vinson Cole, Hans Sotin, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-8 | Oedipus Rex: Act I. "Rex peremptor regis est" / "Invidia fortunam odit" (Tirésias, Oedipus) | Vinson Cole, Hans Sotin, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-9 | Oedipus Rex: Act I. "Gloria!" (Narrator) | Radiokören, Patrice Chéreau, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-10 | Oedipus Rex: Act II. "La dispute des princes attire Jocaste" (Narrator) | Patrice Chéreau | — | |
| 58-11 | Oedipus Rex: Act II. "Gloria!" | Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-12 | Oedipus Rex: Act II. "Nonn' erubescite, reges" (Jocasta) | Anne Sofie von Otter, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-13 | Oedipus Rex: Act II. "Ne probentur oracula" (Jocasta) | Anne Sofie von Otter, Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-14 | Oedipus Rex: Act II. "Cave oracula!" / "Trivium, trivium..." (Jocasta, Oedipus) | Vinson Cole, Anne Sofie von Otter, Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-15 | Oedipus Rex: Act II. "Oracula mentiuntur" (Jocasta, Oedipus) | Vinson Cole, Anne Sofie von Otter, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-16 | Oedipus Rex: Act II. "Le témoin du meurtre sort de l'ombre" (Narrator) | Patrice Chéreau, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-17 | Oedipus Rex: Act II. "Adest omniscius pastor" (Messenger) | Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-18 | Oedipus Rex: Act II. "Oportebat tacere" (Shepherd) | Nicolai Gedda, Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-19 | Oedipus Rex: Act II. "Nonne monstrum rescituri" (Oedipus) | Vinson Cole, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-20 | Oedipus Rex: Act II. "In monte reppertus est" (Shepherd, Messenger) | Nicolai Gedda, Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-21 | Oedipus Rex: Act II. "Natus sum quo nefastum est" (Oedipus) | Vinson Cole, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-22 | Oedipus Rex: Act II. "Et maintenant, vous allez entendre" (Narrator) | Patrice Chéreau, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-23 | Oedipus Rex: Act II. "Divum Iocastae caput mortuum!" (Messenger) | Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-24 | Oedipus Rex: Act II. "Ecce! Regem Oedipoda" | Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 59-1 | To the Edge of Dream | John Williams, London Sinfonietta, Esa-Pekka Salonen | — | |
| 59-2 | Folios: I | John Williams | — | |
| 59-3 | Folios: II | John Williams | — | |
| 59-4 | Folios: III | John Williams | — | |
| 59-5 | Toward the Sea: I. The Night | Sebastian Bell, John Williams | — | |
| 59-6 | Toward the Sea: II. Moby Dick | Sebastian Bell, John Williams | — | |
| 59-7 | Toward the Sea: III. Cape Cod | Sebastian Bell, John Williams | — | |
| 59-8 | Twelve Songs: Here, There and Everywhere | John Williams | T-010.433.456-6 | |
| 59-9 | Twelve Songs: What a Friend | John Williams | — | |
| 59-10 | Twelve Songs: Amours perdues | John Williams | T-003.005.452-4 | |
| 59-11 | Twelve Songs for Guitar: Summertime | John Williams | T-910.978.509-3 | |
| 59-12 | Vers, L'arc-en-ciel, Palma | Gareth Hulse, John Williams, London Sinfonietta, Esa-Pekka Salonen | — | |
| 60-1 | Concerto for Trumpet and Orchestra: I. Allegro; Cadenza | — | ||
| 60-2 | Concerto for Trumpet and Orchestra: II. Nocturne; Andantino | — | ||
| 60-3 | Concerto for Trumpet and Orchestra: III. Finale; Giocoso – Allegro | — | ||
| 60-4 | Concertino for Trumpet, String Orchestra and Piano | — | ||
| 60-5 | Concerto no. 2 for Trumpet: I. Mesto; Concitato | — | ||
| 60-6 | Concerto no. 2 for Trumpet: II. Grave | — | ||
| 60-7 | Concerto no. 2 for Trumpet: III. Giocoso | — | ||
| 61-1 | “Midsommarvaka” (Swedish Rhapsody no. 1, op. 19) | — | ||
| 61-2 | Valse triste für Orchester aus Kuolema | Swedish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 61-3 | “Sigurd Jorsalfar”, op. 56 (Three Orchestral Pieces): 1. Prelude (In The King’s Hall) | — | ||
| 61-4 | “Sigurd Jorsalfar”, op. 56 (Three Orchestral Pieces): 2. Intermezzo (Borghild’s Dream) | — | ||
| 61-5 | “Sigurd Jorsalfar”, op. 56 (Three Orchestral Pieces): 3. Hyldings Marsch (Ceremonial March) | — | ||
| 61-6 | “Vallflickans dans” (from the Ballet‐Pantomime “Bergakungen”) | — | ||
| 61-7 | “Geysir” (Orchestral Prelude), op. 51 | — | ||
| 61-8 | “Maskerade”: Overture | — | ||
| 61-9 | “Maskerade”: Dance of the Cockerels | — | ||
| 61-10 | “Berceuse” | — | ||
| 61-11 | "Finlandia" (Tone Poem), op. 26 | Swedish Radio Symphony Orchestra, Esa-Pekka Salonen | T-910.256.702-2 |
Identifier Graph
889854718428 is a Universal Product Code (UPC) assigned to The Complete Sony Recordings by Esa‐Pekka Salonen. 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 717 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 |
|---|---|---|
| Oedipus Rex: Prologue "Spectateurs! Vous allez entendre une version latine d'Oedipe-Roi" (Narrator) | Radiokören, Patrice Chéreau, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — |
| Jorden är ett litet rum | Eva Dahlgren | — |
| Concerto for Violin and Orchestra in D minor, op. 47: III. Allegro, ma non tanto | Cho-Liang Lin, Philharmonia Orchestra, Esa-Pekka Salonen | — |
| Valse triste für Orchester aus Kuolema | Swedish Radio Symphony Orchestra, Esa-Pekka Salonen | — |
| Violin Concerto no. 1 in A minor, op. 28: III. Moderato - Allegretto | Joshua Bell, Los Angeles Philharmonic, Esa-Pekka Salonen | — |
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
The UPC for “The Complete Sony Recordings” by Esa‐Pekka Salonen is 889854718428. 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 2018-01-01. Label: Sony Classical. This release contains 717 tracks, each with its own ISRC. Tracks include USSM10008737, USSM10008738, USSM10008739.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Toccata & Fugue in D minor, BWV 565: Toccata | Los Angeles Philharmonic, Esa-Pekka Salonen | T-905.381.873-8 | |
| 2 | Toccata & Fugue in D minor, BWV 565: Fugue | Los Angeles Philharmonic, Esa-Pekka Salonen | T-329.412.466-2 | |
| 3 | Fantasy & Fugue in C minor, BWV 537: Fantasy | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 4 | Fantasy & Fugue in C minor, BWV 537: Fugue | Los Angeles Philharmonic, Esa-Pekka Salonen | T-922.046.111-0 | |
| 5 | The Musical Offering: BWV 1079: Ricercare no. 2 | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 6 | Prelude & Fugue in E‐flat major, BWV 522 “St. Anne”: Prelude | Los Angeles Philharmonic, Esa-Pekka Salonen | T-913.970.719-0 | |
| 7 | Prelude & Fugue in E‐flat major, BWV 522 “St. Anne”: Fugue | Los Angeles Philharmonic, Esa-Pekka Salonen | T-329.412.466-2 | |
| 8 | Fugue in G minor, BWV 578 “Little”: Fugue | Los Angeles Philharmonic, Esa-Pekka Salonen | T-329.412.466-2 | |
| 9 | Suite For Organ, Harpsichord & Orchestra: I. Ouverture | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 10 | Suite For Organ, Harpsichord & Orchestra: II. Rondeau - | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 11 | Suite For Organ, Harpsichord & Orchestra: Badinerie | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 12 | Suite For Organ, Harpsichord & Orchestra: III. Air | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 13 | Suite For Organ, Harpsichord & Orchestra: IV. Gavotte I - | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 14 | Suite For Organ, Harpsichord & Orchestra: Gavotte II | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 2-1 | Concerto for Orchestra, Sz. 116: I. (Introduzione). Andante non troppo | — | ||
| 2-2 | Concerto for Orchestra, Sz. 116: II. (Giuco delle coppie). Allegro scherzando | — | ||
| 2-3 | Concerto for Orchestra, Sz. 116: III. (Elegia). Andante, non troppo | — | ||
| 2-4 | Concerto for Orchestra, Sz. 116: (Intermezzo interrotto). Allegretto | — | ||
| 2-5 | Concerto for Orchestra, Sz. 116: V. (Finale). Pesante – Presto | — | ||
| 2-6 | Music for Strings, Percussion, and Celesta, Sz. 106: I. Andante tranquillo | — | ||
| 2-7 | Music for Strings, Percussion, and Celesta, Sz. 106: II. Allegro | — | ||
| 2-8 | Music for Strings, Percussion, and Celesta, Sz. 106: III. Adagio | — | ||
| 2-9 | Music for Strings, Percussion, and Celesta, Sz. 106: IV. Allegro molto | — | ||
| 3-1 | Piano Concerto No. 2 in G major, Sz. 95: I. Allegro | — | ||
| 3-2 | Piano Concerto No. 2 in G major, Sz. 95: II. Adagio – Presto – Adagio | — | ||
| 3-3 | Piano Concerto No. 2 in G major, Sz. 95: III. Allegro molto | — | ||
| 3-4 | Piano Concerto No. 3 in E major (completed by Tibor Serly), Sz. 119: I. Allegretto | — | ||
| 3-5 | Piano Concerto No. 3 in E major (completed by Tibor Serly), Sz. 119: II. Adagio religioso – Poco più mosso – Tempo I | — | ||
| 3-6 | Piano Concerto No. 3 in E major (completed by Tibor Serly), Sz. 119: III. Allegro vivace | — | ||
| 3-7 | Piano Concerto No. 1 in A major, Sz. 83: I. Allegro moderato – Allegro – Allegro moderato | — | ||
| 3-8 | Piano Concerto No. 1 in A major, Sz. 83: II. Andante | — | ||
| 3-9 | Piano Concerto No. 1 in A major, Sz. 83: III. Allegro molto | — | ||
| 4-1 | Symphony no. 4 in E‐flat major “Romantic”: I. Bewegt, nicht zu schnell | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 4-2 | Symphony no. 4 in E‐flat major “Romantic”: II. Andante quasi allegretto | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 4-3 | Symphony no. 4 in E‐flat major “Romantic”: III. Scherzo. Bewegt – Trio. Nicht zu schnell. Keinesfalls schleppend | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 4-4 | Symphony no. 4 in E‐flat major “Romantic”: IV. Finale. Bewegt, doch nicht zu schnell | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 5-1 | Anna's Theme | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-2 | The Red Violin: I. Cremona: Main Title | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-3 | The Red Violin: I. Cremona: Death of Anna | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-4 | The Red Violin: I. Cremona: Birth of the Red Violin | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-5 | The Red Violin: I. Cremona: The Red Violin | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-6 | The Red Violin: II. Vienna: The Monastery | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-7 | The Red Violin: II. Vienna: Kaspar's Audition / Journey to Vienna | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-8 | II. Vienna: Etudes | — | ||
| 5-9 | II. Vienna: Death of Kaspar / III. Oxford: The Gypsies / Journey Across Europe | — | ||
| 5-10 | The Red Violin: III. Oxford: Pope's Gypsy Cadenza | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-11 | The Red Violin: III. Oxford: Coitus Musicalis / Victoria's Departure | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-12 | The Red Violin: III. Oxford: Pope's Concert | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-13 | The Red Violin: III. Oxford: Pope's Betrayal | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-14 | The Red Violin: IV. Shanghai: Journey to China | Joshua Bell, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 5-15 | The Red Violin: IV. Shanghai: People's Revolution / Death of Chou Yuan | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-16 | The Red Violin: V. Montreal: Morritz discovers the Red Violin | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-17 | The Red Violin: V. Montreal: Morritz's Theme | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-18 | The Red Violin: V. Montreal: The Theft | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-19 | The Red Violin: V. Montreal: End Titles | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 5-20 | Chaconne for Violin and Orchestra "The Red Violin" | Philharmonia Orchestra, Esa-Pekka Salonen, Joshua Bell | — | |
| 6-1 | Il prigioniero: Prologue. “Ti rivedrò, mio figlio!” (La madre) | — | ||
| 6-2 | Il prigioniero: Prologue. Ballata “Vedo! Lo riconosco!” (La madre) | — | ||
| 6-3 | Il prigioniero: Prologue. Primo intermezzo corale “Fiat misericordia tua” (Chorus) | — | ||
| 6-4 | Il prigioniero: Act I, Scene 1. “Ero solo. Tutt’era bulio” (Il prigioniero, la madre) | — | ||
| 6-5 | Il prigioniero: Act I, Scene 2. “Solo. Son solo un’altra volta” (Il prigioniero, il carceriere) | — | ||
| 6-6 | Il prigioniero: Act I, Scene 2. Aria “Sull’Oceano, sulla Schelda” (Il carceriere, il prigioniero) | — | ||
| 6-7 | Il prigioniero: Act I, Scene 2. “Torna, sole, sulle città liberate!” (Il carceriere, il prigioniero) | — | ||
| 6-8 | Il prigioniero: Act I, Scene 2. “No, no… vaneggio” (Il carceriere, il prigioniero) | — | ||
| 6-9 | Il prigioniero: Act I, Scene 3. “Signore, aiutami a camminare” (Il prigioniero) | — | ||
| 6-10 | Il prigioniero: Act I, Scene 3. Ricercare primo super “Signore, aiutami a camminare”. “Bulo, Silenzio” (Il prigioniero) | — | ||
| 6-11 | Il prigioniero: Act I, Scene 3. Ricercare secondo super “Fratello”. “Non reggo” (Il prigioniero, due sacerdoti) | — | ||
| 6-12 | Il prigioniero: Act I, Scene 3. Ricercare terzo super Roelandt. “Quegli occhi mi guardavano” (Il prigioniero) | — | ||
| 6-13 | Il prigioniero: Act I. Secondo intermezzo corale “Domine, labia mea aperies” (Chorus) | — | ||
| 6-14 | Il prigioniero: Act I, Scene 4. “Alleluja!” (Il prigioniero, chorus, il grande inquisitore) | — | ||
| 6-15 | Canti di prigionia: I. Preghiera di Maria Stuarda | — | ||
| 6-16 | Canti di prigionia: II. Invocazione di Boezio | — | ||
| 6-17 | Canti di prigionia: III. Congedo di Girolamo Savonarola | — | ||
| 7-1 | Images pour orchestre: I. Gigues | — | ||
| 7-2 | Images pour orchestre: II. Iberia: Par les rues et par les chemins | — | ||
| 7-3 | Images pour orchestre: II. Iberia: Les parfums de la nuit | — | ||
| 7-4 | Images pour orchestre: II. Iberia: Le Matin d’un jour de fête | — | ||
| 7-5 | Images pour orchestre: III. Rondes de printemps | — | ||
| 7-6 | Prélude à l’après‐midi d’un faune | — | ||
| 7-7 | La Mer, trois esquisses symphoniques: I. De l’aube à midi sur la mer | — | ||
| 7-8 | La Mer, trois esquisses symphoniques: II. Jeux de vagues | — | ||
| 7-9 | La Mer, trois esquisses symphoniques: III. Dialogue du vent et de la mer | — | ||
| 8-1 | Nocturnes: I. Nuages | — | ||
| 8-2 | Nocturnes: II. Fêtes | — | ||
| 8-3 | Nocturnes: III. Sirènes | — | ||
| 8-4 | La Damoiselle élue | — | ||
| 8-5 | Le Martyre de Saint Sébastien: I. La Cour des lys. Prélude | — | ||
| 8-6 | Le Martyre de Saint Sébastien: II. Danse extatique et Final du 1er Acte | — | ||
| 8-7 | Le Martyre de Saint Sébastien: III. La Passion | — | ||
| 8-8 | Le Martyre de Saint Sébastien: IV. Le Bon Pasteur | — | ||
| 9-1 | Peer Gynt, op. 23: Act I. Prelude: In the Wedding Garden | — | ||
| 9-2 | Peer Gynt, op. 23: Act I. The Bridal Procession Passes | — | ||
| 9-3 | Peer Gynt, op. 23: Act I. Halling | — | ||
| 9-4 | Peer Gynt, op. 23: Act I. Springar | — | ||
| 9-5 | Peer Gynt, op. 23: Act II. Prelude: The Abduction of the Bride / Ingrid’s Lament | — | ||
| 9-6 | Peer Gynt, op. 23: Act II. In the Hall of the Mountain King | — | ||
| 9-7 | Peer Gynt, op. 23: Act II. Dance of the Mountain King’s Daughter | — | ||
| 9-8 | Peer Gynt, op. 23: Act III. Prelude: Deep in the Coniferous Forest | — | ||
| 9-9 | Peer Gynt, op. 23: Act III. Solveig’s Song | — | ||
| 9-10 | Peer Gynt, op. 23: Act III. Åse’s Death | — | ||
| 9-11 | Peer Gynt, op. 23: Act IV. Prelude: Morning Mood | — | ||
| 9-12 | Peer Gynt, op. 23: Act IV. Arabian Dance | — | ||
| 9-13 | Peer Gynt, op. 23: Act IV. Anitra’s Dance | — | ||
| 9-14 | Peer Gynt, op. 23: Act IV. Solveig’s Song | — | ||
| 9-15 | Peer Gynt, op. 23: Act V. Prelude: Peer Gynt’s Journey Home | — | ||
| 9-16 | Peer Gynt, op. 23: Act V. Solveig’s Song in the Hut | — | ||
| 9-17 | Peer Gynt, op. 23: Act V. Whitsun Hymn | — | ||
| 9-18 | Peer Gynt, op. 23: Act V. Solveig’s Lullaby | — | ||
| 10-1 | Symphony no. 82 in C major “The Bear”: I. Vivace | — | ||
| 10-2 | Symphony no. 82 in C major “The Bear”: II. Allegretto | — | ||
| 10-3 | Symphony no. 82 in C major “The Bear”: III. Menuetto & Trio | — | ||
| 10-4 | Symphony no. 82 in C major “The Bear”: IV. Finale. Vivace assai | — | ||
| 10-5 | Symphony no. 78 in C minor: I. Vivace | — | ||
| 10-6 | Symphony no. 78 in C minor: II. Adagio | — | ||
| 10-7 | Symphony no. 78 in C minor: III. Menuetto & Trio | — | ||
| 10-8 | Symphony no. 78 in C minor: IV. Finale. Presto | — | ||
| 10-9 | Symphony no. 22 in E‐flat major “The Philosopher”: I. Adagio | — | ||
| 10-10 | Symphony no. 22 in E‐flat major “The Philosopher”: II. Presto | — | ||
| 10-11 | Symphony no. 22 in E‐flat major “The Philosopher”: III. Menuetto & Trio | — | ||
| 10-12 | Symphony no. 22 in E‐flat major “The Philosopher”: IV. Finale. Presto | — | ||
| 11-1 | The Man Who Knew Too Much: Prelude | — | ||
| 11-2 | Psycho: A Suite for Strings: Prelude | — | ||
| 11-3 | Psycho: A Suite for Strings: The City | — | ||
| 11-4 | Psycho: A Suite for Strings: The Rainstorm | — | ||
| 11-5 | Psycho: A Suite for Strings: The Madhouse | — | ||
| 11-6 | Psycho: A Suite for Strings: The Murder | — | ||
| 11-7 | Psycho: A Suite for Strings: The Water | — | ||
| 11-8 | Psycho: A Suite for Strings: The Swamp | — | ||
| 11-9 | Psycho: A Suite for Strings: The Stairs | — | ||
| 11-10 | Psycho: A Suite for Strings: The Knife | — | ||
| 11-11 | Psycho: A Suite for Strings: The Cellar | — | ||
| 11-12 | Psycho: A Suite for Strings: Finale | — | ||
| 11-13 | Marnie: Suite: I. Prelude | — | ||
| 11-14 | Marnie: Suite: II. The Hunt | — | ||
| 11-15 | North by Northwest: Overture | — | ||
| 11-16 | Vertigo: Suite: I. Prelude | — | ||
| 11-17 | Vertigo: Suite: II. The Nightmare | — | ||
| 11-18 | Vertigo: Suite: III. Scène d’amour | — | ||
| 11-19 | Torn Curtain: I. Prelude | — | ||
| 11-20 | Torn Curtain: II. Gromek | — | ||
| 11-21 | Torn Curtain: III. The Killing | — | ||
| 11-22 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: Prelude | — | ||
| 11-23 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: Fire Engine | — | ||
| 11-24 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: The Bedroom | — | ||
| 11-25 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: The Reading | — | ||
| 11-26 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: The Garden | — | ||
| 11-27 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: The Nightmare | — | ||
| 11-28 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: Flowers of Fire | — | ||
| 11-29 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: Flamethrower | — | ||
| 11-30 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: The Captain’s Death | — | ||
| 11-31 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: The Road | — | ||
| 11-32 | Fahrenheit 451: Suite for Strings, Harps, and Percussion: Finale | — | ||
| 11-33 | Taxi Driver: A Night‐Piece for Orchestra with Obbligato Alto Saxophone: Prelude | — | ||
| 11-34 | Taxi Driver: A Night‐Piece for Orchestra with Obbligato Alto Saxophone: Blues | — | ||
| 11-35 | Taxi Driver: A Night‐Piece for Orchestra with Obbligato Alto Saxophone: Night Prowl | — | ||
| 11-36 | Taxi Driver: A Night‐Piece for Orchestra with Obbligato Alto Saxophone: Bloodbath | — | ||
| 11-37 | Taxi Driver: A Night‐Piece for Orchestra with Obbligato Alto Saxophone: Finale | — | ||
| 12-1 | Lava | Eva Dahlgren | T-911.869.919-7 | |
| 12-2 | Stenmannen | Eva Dahlgren | — | |
| 12-3 | När en vild röd ros slår ut doftar hela skogen | Eva Dahlgren | — | |
| 12-4 | Jorden är ett litet rum | Eva Dahlgren | T-912.136.959-3 | |
| 12-5 | En gul böjd banan | Eva Dahlgren | T-912.024.179-4 | |
| 12-6 | Kväll | Eva Dahlgren | T-912.024.181-8 | |
| 12-7 | Du som älskar | Eva Dahlgren | T-001.532.134-2 | |
| 12-8 | Innan kärleken kom | Eva Dahlgren | T-912.021.159-8 | |
| 12-9 | Vild i min mun | Eva Dahlgren | T-912.024.184-1 | |
| 13-1 | Sinfonische metamorphosen: I. Allegro | — | ||
| 13-2 | Sinfonische metamorphosen: II. Turandot. Scherzo. Moderato – Lebhaft | — | ||
| 13-3 | Sinfonische metamorphosen: III. Andantino | — | ||
| 13-4 | Sinfonische metamorphosen: IV. Marsch | — | ||
| 13-5 | Die vier temperamente: I. Thema | — | ||
| 13-6 | Die vier temperamente: II. Melancholisch. Langsam | — | ||
| 13-7 | Die vier temperamente: III. Sanguinisch. Walzer | — | ||
| 13-8 | Die vier temperamente: IV. Phlegmatisch. Moderato | — | ||
| 13-9 | Die vier temperamente: V. Cholerisch. Vivace | — | ||
| 13-10 | Mathis der maler: I. Engelkonzert. Ruhig bewegt | — | ||
| 13-11 | Mathis der maler: II. Grablegung. Sehr langsam | — | ||
| 13-12 | Mathis der maler: III. Versuchung des heiligen Antonius. Sehr langsam, frei im Zeitmaß – Sehr lebhaft | — | ||
| 14-1 | Förklädd gud, op. 24: Förspel | — | ||
| 14-2 | Förklädd gud, op. 24: Recitation: Ej för de starka… | — | ||
| 14-3 | Förklädd gud, op. 24: Recitation: Vem spelar på en pipa… | — | ||
| 14-4 | Förklädd gud, op. 24: Kör | — | ||
| 14-5 | Förklädd gud, op. 24: Recitation: Apollon bor… | — | ||
| 14-6 | Förklädd gud, op. 24: Recitation: Kring höstlig vaktelds bränder… | — | ||
| 14-7 | Förklädd gud, op. 24: Baryton och kör | — | ||
| 14-8 | Förklädd gud, op. 24: Recitation: Välsignelse följer… | — | ||
| 14-9 | Förklädd gud, op. 24: Kör | — | ||
| 14-10 | Förklädd gud, op. 24: Recitation: Husbonden må vi prisa säll… | — | ||
| 14-11 | Förklädd gud, op. 24: Recitation: Vad faller över träden… | — | ||
| 14-12 | Förklädd gud, op. 24: Sopran och kör | — | ||
| 14-13 | Förklädd gud, op. 24: Recitation: Än vandra gudar… | — | ||
| 14-14 | Förklädd gud, op. 24: Recitation: Tror du att fåren skulle… | — | ||
| 14-15 | Förklädd gud, op. 24: Recitation: Bjuder ett mänskoöga… | — | ||
| 14-16 | Förklädd gud, op. 24: Sopran, baryton och kör | — | ||
| 14-17 | Pastoralsvit, op. 19: I. Overture | — | ||
| 14-18 | Pastoralsvit, op. 19: II. Romance | — | ||
| 14-19 | Pastoralsvit, op. 19: III. Scherzo | — | ||
| 14-20 | Violinkonsert, op. 42: I. Moderato | — | ||
| 14-21 | Violinkonsert, op. 42: II. Andante pastorale | — | ||
| 14-22 | Violinkonsert, op. 42: III. Lento | — | ||
| 15-1 | Le Grand Macabre: Car Horn Prelude | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-2 | Le Grand Macabre: Scene I. "Dies irae" (Piet, Amanda, Amando, Nekrotzar) | Graham Clark, Laura Claycomb, Charlotte Hellekant, Willard White, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-3 | Le Grand Macabre: Scene I. "Away, you swagpot!" (Nekrotzar, Piet) | Willard White, Graham Clark, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-4 | Le Grand Macabre: Scene I. "Shut up!" (Nekrotzar, Piet, Chorus) | Willard White, Graham Clark, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-5 | Le Grand Macabre: Scene I. "Oh..! - Amanda! Can do no more!" (Amanda, Amando, Piet) | Laura Claycomb, Charlotte Hellekant, Graham Clark, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-6 | Le Grand Macabre: Scene I. "Ha-ha-ha-ha! Hey! Give me my requisites" (Nekrotzar, Piet, Chorus) | Willard White, Graham Clark, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-7 | Le Grand Macabre: Scene I. "Melting snow is thy breast" (Amando, Amanda) | Charlotte Hellekant, Laura Claycomb, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-8 | Le Grand Macabre: Second Car Horn Prelude | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-9 | Le Grand Macabre: Scene II. "One! Two! Three! Five!" (Mescalina, Astradamors) | Jard van Nes, Frode Olsen, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-10 | Le Grand Macabre: Scene II. "Shapely and attractive figure" (Mescalina, Astradamors) | Jard van Nes, Frode Olsen, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-11 | Le Grand Macabre: Scene II. "Venus! Venus!" (Mescalina, Astradamors) | Jard van Nes, Frode Olsen, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-12 | Le Grand Macabre: Scene II. "Stop! - Sh!.. Quiet, for heaven's sake!" (Astradamors, Nekrotzar, Piet, Mescalina, Venus, Chorus) | Frode Olsen, Willard White, Graham Clark, Jard van Nes, Sibylle Ehlert, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-13 | Le Grand Macabre: Scene II. "Who's there? A man? - A man!" (Mescalina, Nekrotzar, Venus, Piet, Astradamors) | Sibylle Ehlert, Willard White, Sibylle Ehlert, Graham Clark, Frode Olsen, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 15-14 | Le Grand Macabre: Scene II. Finale: "Fire and death I bring" (Nekrotzar, Piet, Astradamors) | Willard White, Graham Clark, Frode Olsen, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-1 | Le Grand Macabre: Doorbell Prelude | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-2 | Le Grand Macabre: Scene III. "Arse-licker, arse-kisser!" (White Minister, Black Minister, Prince Go-Go) | Steven Cole, Richard Suart, Derek Lee Ragin, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-3 | Le Grand Macabre: Scene III. "Posture exercises!" (Black Minister, White Minister, Prince Go-Go) | Richard Suart, Steven Cole, Derek Lee Ragin, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-4 | Le Grand Macabre: Scene III. "Tsk... - Psssst! - Ha! Head of my secret service!" (Chorus, Gepopo, Prince Go-Go, White Minister, Black Minister) | Sibylle Ehlert, Derek Lee Ragin, Steven Cole, Richard Suart, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-5 | Le Grand Macabre: Scene III. "Ahh!.. Secret cypher!" (Gepopo, Prince Go-Go, White Minister, Black Minister) | Sibylle Ehlert, Derek Lee Ragin, Steven Cole, Richard Suart, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-6 | Le Grand Macabre: Scene III. "Hurray, hurray! My wife is dead" (Astradamors, Prince Go-Go, Chorus) | Frode Olsen, Derek Lee Ragin, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-7 | Le Grand Macabre: Scene III. Nekrotzar's Entrance | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-8 | Le Grand Macabre: Scene III. "Woe! Ooh! - For the day of wrath" (Nekrotzar, Astradamors, Chorus) | Willard White, Frode Olsen, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-9 | Le Grand Macabre: Scene III. "There's no need to fear" (Astradamors, Piet, Nektrotzar) | Frode Olsen, Graham Clark, Willard White, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-10 | Le Grand Macabre: Scene III. "Up! - Drink! - Up!" (Nekrotzar, Piet, Astradamors) | Willard White, Graham Clark, Frode Olsen, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-11 | Le Grand Macabre: Scene III. Galimatius: "Hmm! It's delicious!" (Nekrotzar, Piet, Astradamors, Prince Go-Go) | Willard White, Graham Clark, Frode Olsen, Derek Lee Ragin, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-12 | Le Grand Macabre: Scene III. "Where am I? What time is it?" (Nekrotzar, Piet, Prince Go-Go, Astradamors, Chorus) | Willard White, Graham Clark, Derek Lee Ragin, Frode Olsen, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-13 | Le Grand Macabre: Interlude | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-14 | Le Grand Macabre: Scene IV. "Ghost Astradamors, are you dead?" (Piet, Astradamors, Prince Go-Go, Ruffiack, Schobiack, Schabernack, Nektrotzar, Mescalina, White Minister, Black Minister) | Graham Clark, Frode Olsen, Derek Lee Ragin, Martin Winkler, Marc Campbell-Griffiths, Michael Lessiter, Willard White, Jard van Nes, Steven Cole, Richard Suart, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-15 | Le Grand Macabre: Scene IV. Mirror Canon: Nekrotzar's Death | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 16-16 | Le Grand Macabre: Scene IV. Finale. Passacaglia: "Ah, it was good" (Amando, Amando, all without Nekrotzar) | Charlotte Hellekant, Laura Claycomb, London Voices, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 17-1 | Nonsense Madrigals: I. Two Dreams and Little Bat | — | ||
| 17-2 | Nonsense Madrigals: II. Cuckoo in the Pear‐Tree | — | ||
| 17-3 | Nonsense Madrigals: III. The Alphabet | — | ||
| 17-4 | Nonsense Madrigals: IV. Flying Robert | — | ||
| 17-5 | Nonsense Madrigals: V. The Lobster Quadrille | — | ||
| 17-6 | Nonsense Madrigals: VI. A Long, Sad Tale | — | ||
| 17-7 | Mysteries of the Macabre | — | ||
| 17-8 | Aventures | — | ||
| 17-9 | Nouvelles Aventures: I. Sostenuto | — | ||
| 17-10 | Nouvelles Aventures: II. Agitato molto | — | ||
| 17-11 | Der Sommer | — | ||
| 17-12 | Három Weöres‐dal: I. Tancol a Hold feher ingben | — | ||
| 17-13 | Három Weöres‐dal: II. Gyumolcs‐furt | — | ||
| 17-14 | Három Weöres‐dal: III. Kalmarjottnagy madarakkal | — | ||
| 17-15 | Öt Arany‐dal: I. Csalfa sugár | — | ||
| 17-16 | Öt Arany‐dal: II. A legszebb virág | — | ||
| 17-17 | Öt Arany‐dal: III. A csendes dalokból | — | ||
| 17-18 | Öt Arany‐dal: IV. A bujdosó | — | ||
| 17-19 | Öt Arany‐dal: V. Az ördög elvitte a fináncot | — | ||
| 17-20 | Négy lakodalmi tánc: I. A menyasszony szép virág | — | ||
| 17-21 | Négy lakodalmi tánc: II. A kapuban a szekér | — | ||
| 17-22 | Négy lakodalmi tánc: III. Hopp ide tisztán | — | ||
| 17-23 | Négy lakodalmi tánc: IV. Mikor kedves Laci bátyám | — | ||
| 18-1 | Cantigas | — | ||
| 18-2 | Cello Concerto | — | ||
| 18-3 | Parada | — | ||
| 18-4 | Fresco | — | ||
| 19-1 | Concerto for Piano and Orchestra, Op 42: I. Andante | — | ||
| 19-2 | Concerto for Piano and Orchestra, Op 42: II. Molto allegro | — | ||
| 19-3 | Concerto for Piano and Orchestra, Op 42: III. Adagio | — | ||
| 19-4 | Concerto for Piano and Orchestra, Op 42: IV. Giocoso [Moderato] | — | ||
| 19-5 | Concerto for Piano and Orchestra No. 2 in A major: I. Adagio sostenuto assai – Allegro agitato assai | — | ||
| 19-6 | Concerto for Piano and Orchestra No. 2 in A major: II. Allegro moderato | — | ||
| 19-7 | Concerto for Piano and Orchestra No. 2 in A major: III. Allegro deciso – Marziale un poco meno Allegro | — | ||
| 19-8 | Concerto for Piano and Orchestra No. 2 in A major: IV. Allegro animato | — | ||
| 19-9 | Concerto for Piano and Orchestra No. 1 in A‐flat major: I. Allegro maestoso | — | ||
| 19-10 | Concerto for Piano and Orchestra No. 1 in A‐flat major: II. Quasi Adagio | — | ||
| 19-11 | Concerto for Piano and Orchestra No. 1 in A‐flat major: III. Allegretto vivace – Allegro animato | — | ||
| 19-12 | Concerto for Piano and Orchestra No. 1 in A‐flat major: IV. Allegretto marziale animato | — | ||
| 20-1 | Fanfare for Los Angeles Philharmonic | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 20-2 | Concerto for Piano & Orchestra: I. ♩. = ca 110 | — | ||
| 20-3 | Concerto for Piano & Orchestra: II. Presto. ♩ = ca 160 | — | ||
| 20-4 | Concerto for Piano & Orchestra: III. Largo. ♪ = ca 85 | — | ||
| 20-5 | Concerto for Piano & Orchestra: IV. ♩ = ca 84 | — | ||
| 20-6 | Chantefleurs et chantefables: I. La Belle‐de‐nuit | — | ||
| 20-7 | Chantefleurs et chantefables: II. La Sauterelle | — | ||
| 20-8 | Chantefleurs et chantefables: III. La Véronique | — | ||
| 20-9 | Chantefleurs et chantefables: IV. L’Églantine, l’aubépine et la glycine | — | ||
| 20-10 | Chantefleurs et chantefables: V. La Tortue | — | ||
| 20-11 | Chantefleurs et chantefables: VI. La Rose | — | ||
| 20-12 | Chantefleurs et chantefables: VII. L’Alligator | — | ||
| 20-13 | Chantefleurs et chantefables: VIII. L’Angélique | — | ||
| 20-14 | Chantefleurs et chantefables: IX. Le Papillon | — | ||
| 20-15 | Symphony no. 2: I. Hésitant | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 20-16 | Symphony no. 2: II. Direct | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-1 | Fanfare for Los Angeles Philharmonic | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-2 | Symphony no. 1: I. Allegro giusto | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-3 | Symphony no. 1: II. Poco adagio | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-4 | Symphony no. 1: III. Allegretto misterioso | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-5 | Symphony no. 1: IV. Allegro vivace | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-6 | Symphony no. 2: I. Hésitant | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 21-7 | Symphony no. 2: II. Direct | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 22-1 | Symphony no. 4 | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 22-2 | Les Espaces du sommeil | — | ||
| 22-3 | Symphony no. 3 | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 23-1 | Symphony no. 3 in D minor: I. Kräftig. Entschieden | — | ||
| 23-2 | Symphony no. 3 in D minor: I. Langsam. Schwer | — | ||
| 23-3 | Symphony no. 3 in D minor: I. Tempo I | — | ||
| 23-4 | Symphony nn. 3 in D minor: I. A tempo | — | ||
| 23-5 | Symphony no. 3 in D minor: I. Immer dasselbe Tempo (Marsch) Nicht eilen | — | ||
| 23-6 | Symphony no. 3 in D minor: I. Tempo primo. Wie zu Anfang | — | ||
| 23-7 | Symphony no. 3 in D minor: I. Tempo I | — | ||
| 23-8 | Symphony no. 3 in D minor: II. Tempo di Menuetto. Sehr mässig | — | ||
| 23-9 | Symphony no. 3 in D minor: II. A tempo | — | ||
| 23-10 | Symphony no. 3 in D minor: II. Ganz plötzlich gemächlich. Tempo di Menuetto | — | ||
| 23-11 | Symphony no. 3 in D minor: III. Comodo. Scherzando. Ohne Hast. | — | ||
| 23-12 | Symphony no. 3 in D minor: III. Wieder sehr gemächlich, wie zu Anfang | — | ||
| 23-13 | Symphony no. 3 in D minor: III. Sehr gemächlich | — | ||
| 23-14 | Symphony no. 3 in D minor: III. Tempo I | — | ||
| 23-15 | Symphony no. 3 in D minor: III. Wieder sehr gemächlich, beinahe langsam | — | ||
| 24-1 | Symphony no. 3 in D minor: IV. Sehr langsam. Misterioso. Durchaus ppp | — | ||
| 24-2 | Symphony no. 3 in D minor: IV. Tempo I | — | ||
| 24-3 | Symphony no. 3 in D minor: V. Lustig im Tempo und keck im Ausdruck | — | ||
| 24-4 | Symphony no. 3 in D minor: VI. Langsam. Ruhevoll. Empfunden. | — | ||
| 24-5 | Symphony no. 3 in D minor: VI. Nicht mehr so breit | — | ||
| 24-6 | Symphony no. 3 in D minor: VI. Tempo I. Ruhevoll! | — | ||
| 24-7 | Symphony no. 3 in D minor: VI. A tempo (Etwas bewegter) | — | ||
| 24-8 | Symphony no. 3 in D minor: VI. Tempo I | — | ||
| 24-9 | Symphony no. 3 in D minor: VI. Langsam. Tempo I | — | ||
| 25-1 | Symphony no. 4: I. Bedächtig. Nicht eilen | — | ||
| 25-2 | Symphony no. 4: II. In gemälicher Bewegung. Ohne Hast | — | ||
| 25-3 | Symphony no. 4: III. Ruhevoll | — | ||
| 25-4 | Symphony no. 4: IV. Sehr behaglich (Soprano Solo: “Wir genießen die himmlischen Freuden”; from Des Knaben Wunderhorn) | — | ||
| 26-1 | Das Lied von der Erde – No. 1, -Das Trinklied vom Jammer der Erde- (The Drinking Song of Earth’s Sorrows)- -Schon winkt der | — | ||
| 26-2 | Das Lied von der Erde – No. 2, -Der Einsame im Herbst- (The Solitary Autumn)- -Herbstnebel wallen blaulich uberm See? | — | ||
| 26-3 | Das Lied von der Erde – No. 3, -Von der Jugend- (Of Youth)- -Mitten in dem kleinen Teiche? | — | ||
| 26-4 | Das Lied von der Erde – No. 4, -Von der Schonheit- (Of Beauty)- -Junge Madchen pflucken Blumen? | — | ||
| 26-5 | Das Lied von der Erde – No. 5, -Der Trunkene im Fruhling- (The Drunkard in Spring)- -Wenn nur ein Traum das Leben ist? | — | ||
| 26-6 | Das Lied von der Erde – No. 6, -Der Abschied- (The Farewell)- -Die Sonne scheidet hinter dem Gebirge? | — | ||
| 27-1 | All Rise: I. Jubal Step | — | ||
| 27-2 | All Rise: II. A Hundred and a Hundred, a Hundred and Twelve | — | ||
| 27-3 | All Rise: III. Go Slow (But Don’t Stop) | — | ||
| 27-4 | All Rise: IV. Wild Strumming of Fiddle | — | ||
| 27-5 | All Rise: V. Save Us | — | ||
| 27-6 | All Rise: VI. Cried, Shouted, Then Sung | — | ||
| 27-7 | All Rise: VII. Look Beyond | — | ||
| 27-8 | All Rise: VIII. The Hall of Erudition and Scholarship (Come Back Home) | — | ||
| 28-1 | All Rise: IX. El ‘Gran’ Baile de la Reina | — | ||
| 28-2 | All Rise: X. Expressbrown Local | — | ||
| 28-3 | All Rise: XI. Saturday Night Slow Drag | — | ||
| 28-4 | All Rise: XII. I Am (Don’t You Run From Me) | — | ||
| 29-1 | Turangalîla‐Symphonie: I. Introduction. Modéré, un peu vif | — | ||
| 29-2 | Turangalîla‐Symphonie: II. Chant d’amour 1. Modéré, lourd | — | ||
| 29-3 | Turangalîla‐Symphonie: III. Turangalîla 1. Presque lent, rêveur | — | ||
| 29-4 | Turangalîla‐Symphonie: IV. Chant d’amour 2. Bien modéré | — | ||
| 29-5 | Turangalîla‐Symphonie: V. Joie du sang des étoiles. Vif, passionné avec joie | — | ||
| 29-6 | Turangalîla‐Symphonie: VI. Jardin du Sommeil d’amour. Très modéré, très tendre | — | ||
| 29-7 | Turangalîla‐Symphonie: VII. Turangalîla 2. Un peu vif, bien modéré | — | ||
| 29-8 | Turangalîla‐Symphonie: VIII. Développement d’amour. Bien modéré | — | ||
| 29-9 | Turangalîla‐Symphonie: IX. Turangalîla 3. Bien modéré | — | ||
| 29-10 | Turangalîla‐Symphonie: X. Final. Modéré, presque vif, avec une grande joie | — | ||
| 30-1 | Des Canyons aux étoiles, I/51: I. Le désert | — | ||
| 30-2 | Des Canyons aux étoiles, I/51: II. Les orioles | — | ||
| 30-3 | Des Canyons aux étoiles, I/51: III. Ce qui est écrit sur les étoiles | — | ||
| 30-4 | Des Canyons aux étoiles, I/51: IV. Le cossyphe d’Heuglin | — | ||
| 30-5 | Des Canyons aux étoiles, I/51: V. Cedar Breaks et le don de crainte | — | ||
| 30-6 | Des Canyons aux étoiles, I/51: VI. Appel interstellaire | — | ||
| 30-7 | Des Canyons aux étoiles, I/51: VII. Bryce Canyon et les rochers rouge‐orange | — | ||
| 30-8 | Des Canyons aux étoiles, I/51: VIII. Les ressucités et le chant de l’étoile Aldebaran | — | ||
| 30-9 | Des Canyons aux étoiles, I/51: IX. Le moquer polyglotte | — | ||
| 31-1 | Des Canyons aux étoiles, I/51: X. La grive des bois | — | ||
| 31-2 | Des Canyons aux étoiles, I/51: XI. Des canyons aux etoiles: Omao, leiothrix, elapaio, shama | — | ||
| 31-3 | Des Canyons aux étoiles, I/51: XII. Des canyons aux etoiles: Zion Park et la cité céleste | — | ||
| 31-4 | Oiseaux exotiques, I/41 | — | ||
| 31-5 | Couleurs de la cité céleste, I/46 | — | ||
| 32-1 | Symphony no. 1 in G minor, op. 7: I. Allegro orgoglioso | — | ||
| 32-2 | Symphony no. 1 in G minor, op. 7: II. Andante | — | ||
| 32-3 | Symphony no. 1 in G minor, op. 7: III. Allegro comodo | — | ||
| 32-4 | Symphony no. 1 in G minor, op. 7: IV. Allegro con fuoco | — | ||
| 32-5 | Little Suite, op. 1: I. Präludium (Andante con moto) | — | ||
| 32-6 | Little Suite, op. 1: II. Intermezzo (Allegro moderato) | — | ||
| 32-7 | Little Suite, op. 1: III. Finale (Andante con moto – Allegro con brio) | — | ||
| 33-1 | Symphony no. 2, op. 16 “The Four Temperaments”: I. Allegro collerico | — | ||
| 33-2 | Symphony no. 2, op. 16 “The Four Temperaments”: II. Allegro comodo e flemmatico | — | ||
| 33-3 | Symphony no. 2, op. 16 “The Four Temperaments”: III. Andante malinconico | — | ||
| 33-4 | Symphony no. 2, op. 16 “The Four Temperaments”: IV. Allegro sanguineo | — | ||
| 33-5 | Pan & Syrinx, op. 49 | — | ||
| 33-6 | Aladdin Suite, op. 34: I. Oriental March | — | ||
| 33-7 | Aladdin Suite, op. 34: II. Aladdins Dream and Dance of the Morning Mist | — | ||
| 33-8 | Aladdin Suite, op. 34: III. Hindu Dance | — | ||
| 33-9 | Aladdin Suite, op. 34: IV. Chinese Dance | — | ||
| 33-10 | Aladdin Suite, op. 34: V. The Market Place in Ispahan | — | ||
| 33-11 | Aladdin Suite, op. 34: VI. Dance of the Prisoners | — | ||
| 33-12 | Aladdin Suite, op. 34: VII. Dance of the Negroes | — | ||
| 34-1 | Symphony no. 3 “Sinfonia Espansiva”, op.27: I. Allegro espansivo | — | ||
| 34-2 | Symphony no. 3 “Sinfonia Espansiva”, op.27: II. Andante pastorale | — | ||
| 34-3 | Symphony no. 3 “Sinfonia Espansiva”, op.27: III. Allegretto un poco | — | ||
| 34-4 | Symphony no. 3 “Sinfonia Espansiva”, op.27: IV. Finale. Allegro | — | ||
| 34-5 | Symphony no. 6 “Sinfonia Semplice”, FS 116: I. Tempo giusto | — | ||
| 34-6 | Symphony no. 6 “Sinfonia Semplice”, FS 116: II. Humoreske – Allegretto | — | ||
| 34-7 | Symphony no. 6 “Sinfonia Semplice”, FS 116: III. Proposta seria – Adagio | — | ||
| 34-8 | Symphony no. 6 “Sinfonia Semplice”, FS 116: IV. Tema con variazioni – Allegro | — | ||
| 35-1 | Symphony no. 4 “The Inextinguishable”, op. 29: I. Allegro | — | ||
| 35-2 | Symphony no. 4 “The Inextinguishable”, op. 29: II. Poco allegretto | — | ||
| 35-3 | Symphony no. 4 “The Inextinguishable”, op. 29: III. Poco adagio quasi andante | — | ||
| 35-4 | Symphony no. 4 “The Inextinguishable”, op. 29: IV. Allegro | — | ||
| 35-5 | Helios Overture, op. 17 | — | ||
| 36-1 | Symphony no. 5, op. 50: I. Tempo giusto | — | ||
| 36-2 | Symphony no. 5, op. 50: II. Adagio non troppo | — | ||
| 36-3 | Symphony no. 5, op. 50: III. Allegro | — | ||
| 36-4 | Symphony no. 5, op. 50: IV. Presto | — | ||
| 36-5 | Symphony no. 5, op. 50: V. Andante un poco tranquillo | — | ||
| 36-6 | Symphony no. 5, op. 50: VI. Allegro | — | ||
| 36-7 | Masquerade, FS 39 (excerpts): Overture | — | ||
| 36-8 | Masquerade, FS 39 (excerpts): Prelude to Act II | — | ||
| 36-9 | Masquerade, FS 39 (excerpts): Dance of Cockerel | — | ||
| 37-1 | Concerto for Violin and Orchestra in D minor, op. 47: I. Allegro moderato | Cho-Liang Lin, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 37-2 | Concerto for Violin and Orchestra in D minor, op. 47: II. Adagio di molto | Cho-Liang Lin, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 37-3 | Concerto for Violin and Orchestra in D minor, op. 47: III. Allegro, ma non tanto | Cho-Liang Lin, Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 37-4 | Concerto for Violin & Orchestra, op. 33: I. Largo | Cho-Liang Lin, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 37-5 | Concerto for Violin & Orchestra, op. 33: II. Poco adagio | Cho-Liang Lin, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 37-6 | Concerto for Violin & Orchestra, op. 33: III. Rondo: Allegretto scherzando | Cho-Liang Lin, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 38-1 | Saul og David (Saul and David), opera, FS 25- Prelude | — | ||
| 38-2 | Clarinet concerto, Op. 57 (FS 129) | — | ||
| 38-3 | En fantasirejse til Faerøene (An Imaginary Trip to the Faroe Islands), rhapsodic overture for orchestra, FS 123 | — | ||
| 38-4 | Flute concerto, FS 119- Allegro moderato | — | ||
| 38-5 | Flute concerto, FS 119- Allegretto | — | ||
| 38-6 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Som en Graesgron Plet | — | ||
| 38-7 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- A Se, Nu Kommer Varen | — | ||
| 38-8 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Den Milde Dag Er Lys Og Lang | — | ||
| 38-9 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Der Har Vi Den Aldrende Sol Igen | — | ||
| 38-10 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Nu Kysser Solen Mit Ojelag | — | ||
| 38-11 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Nu Vil Vi Ud Og Lege | — | ||
| 38-12 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Sa Saetter Vi Piben I Ovnens Krog | — | ||
| 38-13 | Fynsk foraar (Springtime on Funen), for soloists, chorus & orchestra, FS 96 (Op. 42)- Kom Her, Fiol Og Klarinet | — | ||
| 39-1 | Romeo and Juliet, Act I: The Prince’s Decree | — | ||
| 39-2 | Romeo and Juliet, Act I: Interlude | — | ||
| 39-3 | Romeo and Juliet, Act I: Preparations for the Ball | — | ||
| 39-4 | Romeo and Juliet, Act I: Juliet, the Young Girl | — | ||
| 39-5 | Romeo and Juliet, Act I: Arrival of the guests | — | ||
| 39-6 | Romeo and Juliet, Act I: Masks | — | ||
| 39-7 | Romeo and Juliet, Act I: Dance of the Knights | — | ||
| 39-8 | Romeo and Juliet, Act I: The Balcony Scene | — | ||
| 39-9 | Romeo and Juliet, Act I: Romeo’s Variation | — | ||
| 39-10 | Romeo and Juliet, Act I: Love Dance | — | ||
| 39-11 | Romeo and Juliet, Act II: Folk Dance | — | ||
| 39-12 | Romeo and Juliet, Act II: Dance with Mandolins | — | ||
| 39-13 | Romeo and Juliet, Act II: Tybalt fights Mercutio | — | ||
| 39-14 | Romeo and Juliet, Act II: Romeo Resolves to Avenge the Death of Mercutio | — | ||
| 39-15 | Romeo and Juliet, Act II: Finale | — | ||
| 39-16 | Romeo and Juliet, Act III: Farewell before the Parting | — | ||
| 39-17 | Romeo and Juliet, Act III: Morning Serenade | — | ||
| 39-18 | Romeo and Juliet, Act IV: Juliet’s Burial | — | ||
| 39-19 | Romeo and Juliet, Act IV: Death of Juliet | — | ||
| 40-1 | Violin Concerto No. 1 in D Op. 19: I. Andantino | — | ||
| 40-2 | Violin Concerto No. 1 in D Op. 19: II. Scherzo. Vivacissimo | — | ||
| 40-3 | Violin Concerto No. 1 in D Op. 19: III. Moderato | — | ||
| 40-4 | Violin Concerto No. 2 in G minor Op. 63: I. Allegro moderato | — | ||
| 40-5 | Violin Concerto No. 2 in G minor Op. 63: II. Andante assai | — | ||
| 40-6 | Violin Concerto No. 2 in G minor Op. 63: III. Allegro, ben marcato | — | ||
| 40-7 | Violin Concerto in D: I. Toccata | — | ||
| 40-8 | Violin Concerto in D: II. Aria 1 | — | ||
| 40-9 | Violin Concerto in D: III. Aria 2 | — | ||
| 40-10 | Violin Concerto in D: IV. Capriccio | — | ||
| 41-1 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: I. Moderato | Yefim Bronfman, The Philharmonia, Esa-Pekka Salonen | — | |
| 41-2 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: II. Adagio sostenuto | Yefim Bronfman, The Philharmonia, Esa-Pekka Salonen | — | |
| 41-3 | Concerto for Piano and Orchestra no. 2 in C minor, op. 18: III. Allegro scherzando | — | ||
| 41-4 | Concerto for Piano and Orchestra no. 3 in D minor, op. 30: I. Allegro ma non tanto | — | ||
| 41-5 | Concerto for Piano and Orchestra no. 3 in D minor, op. 30: II. Intermezzo. Adagio | — | ||
| 41-6 | Concerto for Piano and Orchestra no. 3 in D minor, op. 30: III. Finale. Alla breve | — | ||
| 42-1 | Sensemayá | — | ||
| 42-2 | Ocho por radio | — | ||
| 42-3 | La noche de los mayas: I. La noche de los mayas. — Molto sostenuto | — | ||
| 42-4 | La noche de los mayas: II. La noche de jaranas. — Scherzo | — | ||
| 42-5 | La noche de los mayas: III. La noche de Yucatán. — Andante espressivo | — | ||
| 42-6 | La noche de los mayas: IV. La noche de encantamiento. — Tema y variaciones | — | ||
| 42-7 | Homenaje a Federico García Lorca for Chamber Orchestra: I. Baile — Lento (quasi recitativo) — Allegro | — | ||
| 42-8 | Homenaje a Federico García Lorca for Chamber Orchestra: II. Duelo | — | ||
| 42-9 | Homenaje a Federico García Lorca for Chamber Orchestra: III. Son | — | ||
| 42-10 | Ventanas for Large Orchestra | — | ||
| 42-11 | First Little Serious Piece | — | ||
| 42-12 | Second Little Serious Piece: Tempo di Valse — Lento | — | ||
| 43-1 | Graal théâtre: I. Delicato | Gidon Kremer, BBC Symphony Orchestra, Esa-Pekka Salonen | — | |
| 43-2 | Graal théâtre: II. Impetuoso | Gidon Kremer, BBC Symphony Orchestra, Esa-Pekka Salonen | — | |
| 43-3 | Château de l'âme: I. La liane | Dawn Upshaw, Women Members of the Finnish Radio Chamber Choir, Radion sinfoniaorkesteri, Esa-Pekka Salonen | — | |
| 43-4 | Château de l'âme: II. À la terre | Dawn Upshaw, Women Members of the Finnish Radio Chamber Choir, Finnish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 43-5 | Château de l'âme: III. La liane | Dawn Upshaw, Women Members of the Finnish Radio Chamber Choir, Finnish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 43-6 | Château de l'âme: IV. Pour repousser l'esprit | Dawn Upshaw, Women Members of the Finnish Radio Chamber Choir, Finnish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 43-7 | Château de l'âme: V. Les formules | Dawn Upshaw, Women Members of the Finnish Radio Chamber Choir, Finnish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 43-8 | Amers: Part 1: Libero, dolce, misterioso | Anssi Karttunen, Avanti!, Esa-Pekka Salonen | T-910.371.989-7 | |
| 43-9 | Amers: Part 2: Sempre molto energico, ma espressivo | Anssi Karttunen, Avanti!, Esa-Pekka Salonen | T-910.371.989-7 | |
| 44-1 | LA Variations | — | ||
| 44-2 | Five Images After Sappho: 1. Tell Everyone | — | ||
| 44-3 | Five Images After Sappho: 2. Without Warning | — | ||
| 44-4 | Five Images After Sappho: 3. It’s No Use | — | ||
| 44-5 | Five Images After Sappho: 4. The Evening Star | — | ||
| 44-6 | Five Images After Sappho: 5. Wedding | — | ||
| 44-7 | Giro, for orchestra | — | ||
| 44-8 | Mania for violoncello solo and ensemble | — | ||
| 44-9 | Gambit, for orchestra | — | ||
| 45-1 | Verklärte Nacht, op. 4: Prelude: Grave | — | ||
| 45-2 | Verklärte Nacht, op. 4: Bar 100: Molto Rallentando (Woman) | — | ||
| 45-3 | Verklärte Nacht, op. 4: Bar 201: Pesante‐Grave (Interlude) | — | ||
| 45-4 | Verklärte Nacht, op. 4: Bar 229: Adagio (Man) | — | ||
| 45-5 | Verklärte Nacht, op. 4: Bar 370: Adagio (Postlude) | — | ||
| 45-6 | String Quartet no. 2, op. 10: I. Massig (moderato) | — | ||
| 45-7 | String Quartet no. 2, op. 10: II. Sehr rasch (Scherzo) | — | ||
| 45-8 | String Quartet no. 2, op. 10: III. Litanei langsam | — | ||
| 45-9 | String Quartet no. 2, op. 10: IV. Entruckun. Sehr langsam | — | ||
| 46-1 | Piano Concerto no. 1, for Piano, Trumpet & Strings, in C minor, op. 35: Allegretto | — | ||
| 46-2 | Piano Concerto no. 1, for Piano, Trumpet & Strings, in C minor, op. 35: Lento | — | ||
| 46-3 | Piano Concerto no. 1, for Piano, Trumpet & Strings, in C minor, op. 35: Moderato | — | ||
| 46-4 | Piano Concerto no. 1, for Piano, Trumpet & Strings, in C minor, op. 35: Allegro con brio | — | ||
| 46-5 | Piano Concerto no. 2 in F major, op. 102: Allegro | — | ||
| 46-6 | Andante (Piano Concerto no. 2) | Yefim Bronfman, Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 46-7 | Piano Concerto no. 2 in F major, op. 102: Allegro | — | ||
| 46-8 | Quintet for Piano & Strings in G minor, op. 57: I. Prelude: Lento | — | ||
| 46-9 | Quintet for Piano & Strings in G minor, op. 57: II. Fugue: Adagio | — | ||
| 46-10 | Quintet for Piano & Strings in G minor, op. 57: III. Scherzo: Allegretto | — | ||
| 46-11 | Quintet for Piano & Strings in G minor, op. 57: IV. Intermezzo: Lento | — | ||
| 46-12 | Quintet for Piano & Strings in G minor, op. 57: V. Finale: Allegretto | — | ||
| 47-1 | Symphony no. 5, op. 82: I. Tempo molto moderato; Allegro moderato | — | ||
| 47-2 | Symphony no. 5, op. 82: II. Andante mosso, quasi allegretto | — | ||
| 47-3 | Symphony no. 5, op. 82: III. Allegro molto | — | ||
| 47-4 | Pohjolan Tytar, op. 49 | — | ||
| 48-1 | Lemminkäinen Legends, op. 22: I. Lemminkäinen and the Maidens of Saari | — | ||
| 48-2 | Lemminkäinen Legends, op. 22: II. Lemminkäinen in Tuonela | — | ||
| 48-3 | Lemminkäinen Legends, op. 22: III. The Swan of Tuonela | Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 48-4 | Lemminkäinen Legends, op. 22: IV. Lemminkäinen’s Return | — | ||
| 48-5 | En Saga, op. 9 | — | ||
| 49-1 | Kullervo, Op. 7: I. Introduction. Allegro moderato | — | ||
| 49-2 | Kullervo, Op. 7: II. Kullervo’s youth. Grave | — | ||
| 49-3 | Kullervo, Op. 7: III. Kullervo and his sister. Allegro vivace | — | ||
| 49-4 | Kullervo, Op. 7: IV. Kullervo goes to battle. Alla marcia | — | ||
| 49-5 | Kullervo, Op. 7: V. Kullervo’s death. Andante | — | ||
| 50-1 | Violin Concerto in D minor, op. 47: I. Allegro moderato | Los Angeles Philharmonic, Esa-Pekka Salonen, Joshua Bell | — | |
| 50-2 | Violin Concerto in D minor, op. 47: II. Adagio di molto | Joshua Bell, Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 50-3 | Violin Concerto in D minor, op. 47: III. Allegro, ma non tanto | Joshua Bell, Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 50-4 | Violin Concerto no. 1 in A minor, op. 28: I. Allegro moderato | Joshua Bell, Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 50-5 | Violin Concerto no. 1 in A minor, op. 28: II. Andante | Joshua Bell, Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 50-6 | Violin Concerto no. 1 in A minor, op. 28: III. Moderato - Allegretto | Joshua Bell, Los Angeles Philharmonic, Esa-Pekka Salonen | — | |
| 51-1 | Metamorphosen | — | ||
| 51-2 | Duet‐Concertino for Clarinet & Bassoon with String Orchestra and Harp: Allegro moderato | — | ||
| 51-3 | Duet‐Concertino for Clarinet & Bassoon with String Orchestra and Harp: Andante | — | ||
| 51-4 | Duet‐Concertino for Clarinet & Bassoon with String Orchestra and Harp: Rondo: Allegro ma non troppo | — | ||
| 51-5 | Prelude to Cappriccio, Op. 85 | — | ||
| 52-1 | Petrouchka: Scene I. The Shrovetide Fair | — | ||
| 52-2 | Petrouchka: Scene I. Russian Dance | — | ||
| 52-3 | Petrouchka: Scene II. Petrushka | — | ||
| 52-4 | Petrouchka: Scene III. The Blackamoor | — | ||
| 52-5 | Petrouchka: Scene III. Waltz | — | ||
| 52-6 | Petrouchka: Scene IV. The Shrovetide Fair (Towards Evening) | — | ||
| 52-7 | Petrouchka: Scene IV. Wet‐Nurses’ Dance | — | ||
| 52-8 | Petrouchka: Scene IV. Peasant with Bear | — | ||
| 52-9 | Petrouchka: Scene IV. Gypsies and a Rake Vendor | — | ||
| 52-10 | Petrouchka: Scene IV. Dance of the Coachmen | — | ||
| 52-11 | Petrouchka: Scene IV. Masqueraders | — | ||
| 52-12 | Petrouchka: Scene IV. The Scuffle | — | ||
| 52-13 | Petrouchka: Scene IV. Death of Petrushka | — | ||
| 52-14 | Petrouchka: Scene IV. Police and the Juggler | — | ||
| 52-15 | Petrouchka: Scene IV. Apparition of Petrushka’s Double | — | ||
| 52-16 | Orpheus: Scene I. Orpheus | — | ||
| 52-17 | Orpheus: Scene I. Air de danse | — | ||
| 52-18 | Orpheus: Scene I. Dance of the Angel of Death | — | ||
| 52-19 | Orpheus: Scene I. Interlude | — | ||
| 52-20 | Orpheus: Scene II. Dance of the Furies | — | ||
| 52-21 | Orpheus: Scene II. Air de danse | — | ||
| 52-22 | Orpheus: Scene II. Interlude | — | ||
| 52-23 | Orpheus: Scene II. Air de danse | — | ||
| 52-24 | Orpheus: Scene II. Pas d’action | — | ||
| 52-25 | Orpheus: Scene II. Pas de deux | — | ||
| 52-26 | Orpheus: Scene II. Interlude | — | ||
| 52-27 | Orpheus: Scene II. Pas d’action | — | ||
| 52-28 | Orpheus: Scene III. Orpheus’ Apotheosis | — | ||
| 53-1 | The Firebird: Introduction | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-2 | The Firebird: Kashchei's Enchanted Garden | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-3 | The Firebird: The Firebird Appears, Pursued by Prince Ivan | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-4 | The Firebird: Dance of the Firebird | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-5 | The Firebird: The Firebird Is Captured by Prince Ivan | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-6 | The Firebird: The Firebird's Pleading | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-7 | The Firebird: Appearance of the Thirteen Enchanted Princesses | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-8 | The Firebird: The Princesses Play With the Golden Apples | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-9 | The Firebird: Prince Ivan Suddenly Appears | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-10 | The Firebird: Khorovod (Round dance) Of the Princesses | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-11 | The Firebird: Daybreak | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-12 | The Firebird: Prince Ivan Enters Kashchei's Palace | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-13 | The Firebird: Arrival of Kashchei the Immortal | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-14 | The Firebird: Dialogue Between Kashchei and Prince Ivan | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-15 | The Firebird: The Princesses' Intercede | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-16 | The Firebird: The Firebird Appears | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-17 | The Firebird: Dance of Kashchei's Court | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-18 | Ithe Firebird: Infernal Dance of Kashchei's Subjects | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-19 | The Firebird: Lullaby (The Firebird) | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-20 | The Firebird: Kashchei Awakens | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-21 | The Firebird: Death of Kashchei | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-22 | The Firebird: The Palace and Creatures of Kashchei Disappear | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-23 | Jeu De Cartes: First Deal | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-24 | Jeu De Cartes: Second Deal | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 53-25 | Jeu De Cartes: Third Deal | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-1 | Le Sacre du printemps: Part One: The Adoration of the Earth: Introduction | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-2 | Le Sacre du printemps: Part One: The Adoration of the Earth: The Augurs of Spring (Dances of the Young Girls) | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-3 | Le Sacre du printemps: Part One: The Adoration of the Earth: Ritual of Abduction | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-4 | Le Sacre du printemps: Part One: The Adoration of the Earth: Spring Khorovod (Round Dance) | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-5 | Le Sacre du printemps: Part One: The Adoration of the Earth: Ritual of the Rival Tribes | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-6 | Le Sacre du printemps: Part One: The Adoration of the Earth: Procession of the Sage | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-7 | Le Sacre du printemps: Part One: The Adoration of the Earth: Adoration of the Earth (The Sage) | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-8 | Le Sacre du printemps: Part One: The Adoration of the Earth: Dance of the Earth | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-9 | Le Sacre du printemps: Part Two: The Sacrifice: Introduction | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-10 | Le Sacre du printemps: Part Two: The Sacrifice: Mystic Circles of the Young Girls | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-11 | Le Sacre du printemps: Part Two: The Sacrifice: Glorification of the Chosen One | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-12 | Le Sacre du printemps: Part Two: The Sacrifice: Evocation of the Ancestors | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-13 | Le Sacre du printemps: Part Two: The Sacrifice: Ritual Action of the Ancestors | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-14 | Le Sacre du printemps: Part Two: The Sacrifice: Sacrificial Dance (The Chosen One) | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-15 | Symphony in Three Movements: I. ♩ = 160; ♩ = 80 | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-16 | Symphony in Three Movements: II. Andante ♩ = 76 | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-17 | Symphony in Three Movements: Interlude ♩ = 76 | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 54-18 | Symphony in Three Movements: III. Con moto ♩ = 108 | Philharmonia Orchestra, Esa-Pekka Salonen | — | |
| 55-1 | Pulcinella: Overture. Allegro moderato | — | ||
| 55-2 | Pulcinella: Serenata. Largehtto “Mentre l’erbetta” | — | ||
| 55-3 | Pulcinella: Scherzino. Allegro | — | ||
| 55-4 | Pulcinella: Ancora poco meno “Contento forse vivere” | — | ||
| 55-5 | Pulcinella: Allegro assai - | — | ||
| 55-6 | Pulcinella: Allegro alla breve “Con queste paroline” | — | ||
| 55-7 | Pulcinella: Andante “Sento dire no’ncè pace” | — | ||
| 55-8 | Pulcinella: Presto “Una falan zemprece” | — | ||
| 55-9 | Pulcinella: Allegro alla breve | — | ||
| 55-10 | Pulcinella: Tarantella | — | ||
| 55-11 | Pulcinella: Andantino “Se tu m’ami” | — | ||
| 55-12 | Pulcinella: Allegro | — | ||
| 55-13 | Pulcinella: Gavotta con due variazioni | — | ||
| 55-14 | Pulcinella: Vivo | — | ||
| 55-15 | Pulcinella: Tempo di minuetto “Pupillette, fiammette d’amore” | — | ||
| 55-16 | Pulcinella: Finale. Allegro assai | — | ||
| 55-17 | Ragtime | — | ||
| 55-18 | Renard: Marche (Entrance of the Actors) | — | ||
| 55-19 | Renard: Allegro | — | ||
| 55-20 | Renard: Meno mosso (Rehearsal Mark No. 9) | — | ||
| 55-21 | Renard: Salto mortale (Rehearsal Mark No. 19) | — | ||
| 55-22 | Renard: Con brio | — | ||
| 55-23 | Renard: Meno mosso (Rehearsal Mark No. 41) | — | ||
| 55-24 | Renard: Colla parte (Rehearsal Mark No. 52) | — | ||
| 55-25 | Renard: Moderato | — | ||
| 55-26 | Renard: Scherzando | — | ||
| 55-27 | Renard: Poco meno mosso | — | ||
| 55-28 | Renard: Vivo | — | ||
| 55-29 | Renard: Marche (Departure of the Actors) | — | ||
| 55-30 | Octet for Wind Instruments: I. Sinfonia. Lento – Allegro moderato | — | ||
| 55-31 | Octet for Wind Instruments: II. Tema con variazioni. Andantino | — | ||
| 55-32 | Octet for Wind Instruments: III. Finale. Tempo giusto | — | ||
| 56-8 | Movements for Piano and Orchestra: I Eighth Note = 110 | — | ||
| 56-9 | Movements for Piano and Orchestra: II Quarter Note = 52 | — | ||
| 56-10 | Movements for Piano and Orchestra: III Eighth Note = 72 | — | ||
| 56-11 | Movements for Piano and Orchestra: IV Eighth Note = 80 | — | ||
| 56-12 | Movements for Piano and Orchestra: V Eighth Note = 104 | — | ||
| 57-1 | Apollon musagète: Scene I. Prologue: Birth of Apollo | — | ||
| 57-2 | Apollon musagète: Scene II. Variation of Apollo | — | ||
| 57-3 | Apollon musagète: Scene II. Pas d’action | — | ||
| 57-4 | Apollon musagète: Scene II. Variation of Calliope | — | ||
| 57-5 | Apollon musagète: Scene II. Variation of Polyhymnia | — | ||
| 57-6 | Apollon musagète: Scene II. Variation of Terpsichore | — | ||
| 57-7 | Apollon musagète: Scene II. Variation of Apollo | — | ||
| 57-8 | Apollon musagète: Scene II. Pas de deux | — | ||
| 57-9 | Apollon musagète: Scene II. Coda | — | ||
| 57-10 | Apollon musagète: Scene II. Apotheosis | — | ||
| 57-11 | Concerto in D major for String Orchestra: I. Vivace | — | ||
| 57-12 | Concerto in D major for String Orchestra: II. Arioso: Andantino | — | ||
| 57-13 | Concerto in D major for String Orchestra: III. Rondo: Allegro | — | ||
| 57-14 | Cantata: A Lyke‐Wake Dirge. Versus I. Prelude | — | ||
| 57-15 | Cantata: Ricercar I. The Maidens Came | — | ||
| 57-16 | Cantata: A Lyke‐Wake Dirge. Versus II. First Interlude | — | ||
| 57-17 | Cantata: Ricercar II. Sacred History | — | ||
| 57-18 | Cantata: A Lyke‐Wake Dirge. Versus III. Second Interlude | — | ||
| 57-19 | Cantata: Westron Wind | — | ||
| 57-20 | Cantata: A Lyke‐Wake Dirge. Versus IV. Postlude | — | ||
| 58-2 | Oedipus Rex: Act I. "Caedit nos pestis" | Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-3 | Oedipus Rex: Act I. "Liberi, vos liberado" (Oedipus, Narrator) | Vinson Cole, Radiokören, Patrice Chéreau, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-4 | Oedipus Rex: Act I. "Respondit deus" (Creon) | Simon Estes, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-5 | Oedipus Rex: Act I. "Non reperias vetus scelus" (Oedipus) | Vinson Cole, Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-6 | Oedipus Rex: Act I. Oedipe interroge la fontaine de vérité" (Narrator) | Radiokören, Patrice Chéreau, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-7 | Oedipus Rex: Act I. "Dicere non possum" (Tirésias, Oedipus) | Vinson Cole, Hans Sotin, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-8 | Oedipus Rex: Act I. "Rex peremptor regis est" / "Invidia fortunam odit" (Tirésias, Oedipus) | Vinson Cole, Hans Sotin, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-9 | Oedipus Rex: Act I. "Gloria!" (Narrator) | Radiokören, Patrice Chéreau, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-10 | Oedipus Rex: Act II. "La dispute des princes attire Jocaste" (Narrator) | Patrice Chéreau | — | |
| 58-11 | Oedipus Rex: Act II. "Gloria!" | Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-12 | Oedipus Rex: Act II. "Nonn' erubescite, reges" (Jocasta) | Anne Sofie von Otter, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-13 | Oedipus Rex: Act II. "Ne probentur oracula" (Jocasta) | Anne Sofie von Otter, Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-14 | Oedipus Rex: Act II. "Cave oracula!" / "Trivium, trivium..." (Jocasta, Oedipus) | Vinson Cole, Anne Sofie von Otter, Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-15 | Oedipus Rex: Act II. "Oracula mentiuntur" (Jocasta, Oedipus) | Vinson Cole, Anne Sofie von Otter, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-16 | Oedipus Rex: Act II. "Le témoin du meurtre sort de l'ombre" (Narrator) | Patrice Chéreau, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-17 | Oedipus Rex: Act II. "Adest omniscius pastor" (Messenger) | Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-18 | Oedipus Rex: Act II. "Oportebat tacere" (Shepherd) | Nicolai Gedda, Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-19 | Oedipus Rex: Act II. "Nonne monstrum rescituri" (Oedipus) | Vinson Cole, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-20 | Oedipus Rex: Act II. "In monte reppertus est" (Shepherd, Messenger) | Nicolai Gedda, Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-21 | Oedipus Rex: Act II. "Natus sum quo nefastum est" (Oedipus) | Vinson Cole, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-22 | Oedipus Rex: Act II. "Et maintenant, vous allez entendre" (Narrator) | Patrice Chéreau, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-23 | Oedipus Rex: Act II. "Divum Iocastae caput mortuum!" (Messenger) | Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 58-24 | Oedipus Rex: Act II. "Ecce! Regem Oedipoda" | Radiokören, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — | |
| 59-1 | To the Edge of Dream | John Williams, London Sinfonietta, Esa-Pekka Salonen | — | |
| 59-2 | Folios: I | John Williams | — | |
| 59-3 | Folios: II | John Williams | — | |
| 59-4 | Folios: III | John Williams | — | |
| 59-5 | Toward the Sea: I. The Night | Sebastian Bell, John Williams | — | |
| 59-6 | Toward the Sea: II. Moby Dick | Sebastian Bell, John Williams | — | |
| 59-7 | Toward the Sea: III. Cape Cod | Sebastian Bell, John Williams | — | |
| 59-8 | Twelve Songs: Here, There and Everywhere | John Williams | T-010.433.456-6 | |
| 59-9 | Twelve Songs: What a Friend | John Williams | — | |
| 59-10 | Twelve Songs: Amours perdues | John Williams | T-003.005.452-4 | |
| 59-11 | Twelve Songs for Guitar: Summertime | John Williams | T-910.978.509-3 | |
| 59-12 | Vers, L'arc-en-ciel, Palma | Gareth Hulse, John Williams, London Sinfonietta, Esa-Pekka Salonen | — | |
| 60-1 | Concerto for Trumpet and Orchestra: I. Allegro; Cadenza | — | ||
| 60-2 | Concerto for Trumpet and Orchestra: II. Nocturne; Andantino | — | ||
| 60-3 | Concerto for Trumpet and Orchestra: III. Finale; Giocoso – Allegro | — | ||
| 60-4 | Concertino for Trumpet, String Orchestra and Piano | — | ||
| 60-5 | Concerto no. 2 for Trumpet: I. Mesto; Concitato | — | ||
| 60-6 | Concerto no. 2 for Trumpet: II. Grave | — | ||
| 60-7 | Concerto no. 2 for Trumpet: III. Giocoso | — | ||
| 61-1 | “Midsommarvaka” (Swedish Rhapsody no. 1, op. 19) | — | ||
| 61-2 | Valse triste für Orchester aus Kuolema | Swedish Radio Symphony Orchestra, Esa-Pekka Salonen | — | |
| 61-3 | “Sigurd Jorsalfar”, op. 56 (Three Orchestral Pieces): 1. Prelude (In The King’s Hall) | — | ||
| 61-4 | “Sigurd Jorsalfar”, op. 56 (Three Orchestral Pieces): 2. Intermezzo (Borghild’s Dream) | — | ||
| 61-5 | “Sigurd Jorsalfar”, op. 56 (Three Orchestral Pieces): 3. Hyldings Marsch (Ceremonial March) | — | ||
| 61-6 | “Vallflickans dans” (from the Ballet‐Pantomime “Bergakungen”) | — | ||
| 61-7 | “Geysir” (Orchestral Prelude), op. 51 | — | ||
| 61-8 | “Maskerade”: Overture | — | ||
| 61-9 | “Maskerade”: Dance of the Cockerels | — | ||
| 61-10 | “Berceuse” | — | ||
| 61-11 | "Finlandia" (Tone Poem), op. 26 | Swedish Radio Symphony Orchestra, Esa-Pekka Salonen | T-910.256.702-2 |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Oedipus Rex: Prologue "Spectateurs! Vous allez entendre une version latine d'Oedipe-Roi" (Narrator) | Radiokören, Patrice Chéreau, Sveriges Radios Symfoniorkester, Esa-Pekka Salonen | — |
| Jorden är ett litet rum | Eva Dahlgren | — |
| Concerto for Violin and Orchestra in D minor, op. 47: III. Allegro, ma non tanto | Cho-Liang Lin, Philharmonia Orchestra, Esa-Pekka Salonen | — |
| Valse triste für Orchester aus Kuolema | Swedish Radio Symphony Orchestra, Esa-Pekka Salonen | — |
| Violin Concerto no. 1 in A minor, op. 28: III. Moderato - Allegretto | Joshua Bell, Los Angeles Philharmonic, Esa-Pekka Salonen | — |
