UPC · Release
Joseph Kerman, Gary Tomlinson
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9780312411220 is the Universal Product Code (UPC barcode) for the release “Listen” by Joseph Kerman, Gary Tomlinson, released 2004-01-01. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 224 tracks, each with its own ISRC. Tracks include GBFO77930210, GBF077930207, NLA507301108.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Vere Dignum | — | ||
| 2 | In Paradisum | — | ||
| 3 | Columba Aspexit | — | ||
| 4 | La Dousa Votz | — | ||
| 5 | Alleluia. Difffusa Est Gratia | — | ||
| 6 | Quant en moi | — | ||
| 7 | Ave Maris Stella | — | ||
| 8 | Pange Lingua Mass, Kyrie | — | ||
| 9 | Pange Lingua Mass, Kyrie | — | ||
| 10 | Pope Marcellus Mass, Qui tollis | — | ||
| 11 | As Vesta Was from Latmos Hill Descending | — | ||
| 12 | Daphne | — | ||
| 13 | Kemp's Jig | — | ||
| 14 | O Magnum Mysterium | — | ||
| 15 | Tornerai? | — | ||
| 16 | Speranza, Tu Mi Vai | — | ||
| 17 | Thy Hand, Belinda / When I Am Laid | — | ||
| 18 | With Drooping Wings | — | ||
| 19 | Suite (Canzona) | — | ||
| 20 | Suite (Balletto) | — | ||
| 21 | Suite (Corrente) | — | ||
| 22 | Suite (Passacaglia) | — | ||
| 23 | Violin Concerto in G, Op. 4, No.12 (I) | — | ||
| 24 | Violin Concerto in G, Op. 4, No.12 (II) | — | ||
| 25 | Violin Concerto in G, Op. 4, No.12 (III) | — | ||
| 26 | The Art of Fugue, Contrapunctus 4 | — | ||
| 27 | The Art of Fugue, Contrapunctus 4 | — | ||
| 28 | Qur'anic Recitation, Ya Sin | — | ||
| 29 | Hawai'ian Chant, "Mele Pule" | — | ||
| 30 | Navajo Song, "K'adnikini'ya'" | — | ||
| 31 | Hymn, "Hanaq Pachap Kusikuynin" | — | ||
| 32 | Sudanese Song with Lyre Accompaniment | — | ||
| 33 | Elephant-Hunt Song | — | ||
| 2-1 | Brandenburg Concerto No.5, I | — | ||
| 2-2 | Brandenburg Concerto No.5, I | — | ||
| 2-3 | Brandenburg Concerto No.5, I | — | ||
| 2-4 | Brandenburg Concerto No.5, I | — | ||
| 2-5 | Brandenburg Concerto No.5, I | — | ||
| 2-6 | Orchestral Suite No.3 in D, "Air" | — | ||
| 2-7 | Orchestral Suite No.3 in D, "Gavotte" I and II | — | ||
| 2-8 | "La Giustizia" | — | ||
| 2-9 | Messiah, HWV 56: Part I. “There were shepherds, abiding in the field – Glory to God” | Simon Preston, Christ Church Cathedral Choir, Oxford, Judith Nelson, Academy of Ancient Music, Christopher Hogwood | — | |
| 2-10 | Messias: Halleluja Chor (VI. H, S. 244) | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 2-11 | Cantata No.4 "Christ Lag In Todesbanden" | — | ||
| 2-12 | Cantata No.4 "Christ Lag in Todesbanden" | — | ||
| 2-13 | Cantata No.4 "Christ Lag in Todesbanden" | — | ||
| 2-14 | Choral Prelude, "Christ Lag in Todesbanden" | — | ||
| 2-15 | Symphony No.40 in G Minor, K. 550 I | — | ||
| 2-16 | Symphony No.40 in G Minor, K. 550 I | — | ||
| 2-17 | Symphony No.40 in G Minor, K. 550 I | — | ||
| 2-18 | Symphony No.40 in G Minor, K. 550 I | — | ||
| 2-19 | Symphony No.40 in G Minor, K. 550 I | — | ||
| 2-20 | Symphony No.40 in G Minor, K. 550 I | — | ||
| 2-21 | Symphony No.95 in C Minor, I | — | ||
| 2-22 | Symphony No.95 in C Minor, I | — | ||
| 2-23 | Symphony No.95 in C Minor, I | — | ||
| 2-24 | Symphony No.95 in C Minor, II | — | ||
| 2-25 | Symphony No.95 in C Minor, II | — | ||
| 2-26 | Symphony No.95 in C Minor, II | — | ||
| 2-27 | Symphony No.95 in C Minor, II | — | ||
| 2-28 | Symphony No.95 in C Minor, II | — | ||
| 2-29 | Symphony No.95 in C Minor, III | — | ||
| 2-30 | Symphony No.95 in C Minor, III | — | ||
| 2-31 | Symphony No.95 in C Minor, III | — | ||
| 2-32 | Symphony No.95 in C Minor, IV | — | ||
| 2-33 | Symphony No.95 in C Minor, IV | — | ||
| 2-34 | Symphony No.95 in C Minor, IV | — | ||
| 2-35 | Symphony No.95 in C Minor, IV | — | ||
| 2-36 | Piano Sonata in B Flat, K. 570, III | — | ||
| 2-37 | Piano Sonata in B Flat, K. 570, III | — | ||
| 2-38 | Piano Sonata in B Flat, K. 570, III | — | ||
| 2-39 | "Ho capito" (excerpt) | — | ||
| 2-40 | "Alfin siam liberati" (excerpt) | — | ||
| 2-41 | Don Giovanni: Atto I. “Là ci darem la mano” | Mirella Freni, Ingvar Wixell, Orchestra of the Royal Opera House, Covent Garden, Sir Colin Davis | — | |
| 3-1 | Piano Concerto No. 23 in A major, K. 488: I | — | ||
| 3-2 | Piano Concerto No. 23 in A major, K. 488: I | — | ||
| 3-3 | Piano Concerto No. 23 in A major, K. 488: I | — | ||
| 3-4 | Piano Concerto No. 23 in A major, K. 488: I | — | ||
| 3-5 | Piano Concerto No. 23 in A major, K. 488: I | — | ||
| 3-6 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-7 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-8 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-9 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-10 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-11 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-12 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-13 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-14 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-15 | Symphony No. 5 in C minor, Op. 67: II | — | ||
| 3-16 | Symphony No. 5 in C minor, Op. 67: II | — | ||
| 3-17 | Symphony No. 5 in C minor, Op. 67: III | — | ||
| 3-18 | Symphony No. 5 in C minor, Op. 67: III | — | ||
| 3-19 | Symphony No. 5 in C minor, Op. 67: IV | — | ||
| 3-20 | Symphony No. 5 in C minor, Op. 67: IV | — | ||
| 3-21 | String Quartet No. 16 in F major, Op. 135: II | — | ||
| 3-22 | Erlkönig | — | ||
| 3-23 | "Im wunderschönen Monat Mai" | — | ||
| 3-24 | "Die alten, bösen lieder" | — | ||
| 3-25 | "Der Mond kommt still gegangen" | — | ||
| 3-26 | Japanese Gagaku, "Etenraku" | — | ||
| 3-27 | Balinese Gamelan, "Bopong" | — | ||
| 3-28 | North Indian Rag, "Mauj-Khammaj" | — | ||
| 3-29 | North Indian Rag, "Mauj-Khammaj" | — | ||
| 4-1 | Moment Musical No.2 in A Flat | — | ||
| 4-2 | "Eusebius" | — | ||
| 4-3 | "Florestan" | — | ||
| 4-4 | Nocturne in F-sharp major, Op. 15 No. 2 | — | ||
| 4-5 | Fantastic Symphony, V | — | ||
| 4-6 | Fantastic Symphony, V | — | ||
| 4-7 | Fantastic Symphony, V | — | ||
| 4-8 | Fantastic Symphony, V | — | ||
| 4-9 | Fantastic Symphony, V | — | ||
| 4-10 | Fantastic Symphony, V | — | ||
| 4-11 | Fantastic Symphony, V | — | ||
| 4-12 | Aida, Act V, Scene II | — | ||
| 4-13 | Aida, Act V, Scene II | — | ||
| 4-14 | Aida, Act V, Scene II | — | ||
| 4-15 | Aida, Act V, Scene II | — | ||
| 4-16 | Tristan und Isolde, Prelude | — | ||
| 4-17 | Tristan und Isolde, Prelude | — | ||
| 4-18 | Tristan und Isolde, Prelude | — | ||
| 4-19 | Tristan und Isolde, Prelude | — | ||
| 4-20 | Tristan und Isolde, Prelude | — | ||
| 4-21 | Tristan und Isolde, Act I, Philter Scene | — | ||
| 4-22 | Tristan und Isolde, Act I, Philter Scene | — | ||
| 4-23 | Tristan und Isolde, Act I, Philter Scene | — | ||
| 4-24 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-25 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-26 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-27 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-28 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-29 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-30 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-31 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-32 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-33 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-34 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-35 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-36 | Orchestral Set No.2, II, "The Rockstrewn Hills Join in the People's Outdoor Meeting" | — | ||
| 4-37 | Orchestral Set No.2, II, "The Rockstrewn Hills Join in the People's Outdoor Meeting" | — | ||
| 5-1 | Promenade | — | ||
| 5-2 | "Gnomus" | — | ||
| 5-3 | Promenade | — | ||
| 5-4 | "The Great Gate at Kiev" | — | ||
| 5-5 | Violin Concerto in D, III | — | ||
| 5-6 | Violin Concerto in D, III | — | ||
| 5-7 | Violin Concerto in D, III | — | ||
| 5-8 | Violin Concerto in D, III | — | ||
| 5-9 | Violin Concerto in D, III | — | ||
| 5-10 | Violin Concerto in D, III | — | ||
| 5-11 | Symphony No.1, III | — | ||
| 5-12 | Symphony No.1, III | — | ||
| 5-13 | Symphony No.1, III | — | ||
| 5-14 | Symphony No.1, III | — | ||
| 5-15 | Symphony No.1, III | — | ||
| 5-16 | Symphony No.1, III | — | ||
| 5-17 | Symphony No.1, III | — | ||
| 5-18 | Symphony No.1, III | — | ||
| 5-19 | Clouds | — | ||
| 5-20 | Clouds | — | ||
| 5-21 | Clouds | — | ||
| 5-22 | Clouds | — | ||
| 5-23 | Clouds | — | ||
| 5-24 | Clouds | — | ||
| 5-25 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-26 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-27 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-28 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-29 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-30 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-31 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-32 | Pierrot lunaire, No.8, "Night" | — | ||
| 5-33 | Pierrot lunaire, No.18, "The Moonfleck" | — | ||
| 5-34 | Wozzeck, Act II, scenes iii and iv | — | ||
| 5-35 | Wozzeck, Act II, scenes iii and iv | — | ||
| 5-36 | Wozzeck, Act II, scenes iii and iv | — | ||
| 5-37 | Wozzeck, Act II, scenes iii and iv | — | ||
| 5-38 | Wozzeck, Act II, scenes iii and iv | — | ||
| 5-39 | Piano Concerto in G, I | — | ||
| 5-40 | Piano Concerto in G, I | — | ||
| 5-41 | Piano Concerto in G, I | — | ||
| 5-42 | Piano Concerto in G, I | — | ||
| 5-43 | Piano Concerto in G, I | — | ||
| 5-44 | Japanese kabuki, "Dojoji" | — | ||
| 5-45 | The Prince Who Changed Into a Cat | — | ||
| 6-1 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-2 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-3 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-4 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-5 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-6 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-7 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-8 | Appalachian Spring, Section 1 | — | ||
| 6-9 | Appalachian Spring, Section 2 | — | ||
| 6-10 | Appalachian Spring, Section 5 | — | ||
| 6-11 | Appalachian Spring, Section 6 | — | ||
| 6-12 | Five Orchestral Pieces, Op. 10, No. 4, IV | — | ||
| 6-13 | Lux aeterna | — | ||
| 6-14 | Lux aeterna | — | ||
| 6-15 | Lux aeterna | — | ||
| 6-16 | Lux aeterna | — | ||
| 6-17 | Poeme électronique | — | ||
| 6-18 | Black Angels, No. 1 - Night of the Electric Insects | — | ||
| 6-19 | Black Angels, No. 2 - Sounds of Bones and Flutes | — | ||
| 6-20 | Black Angels, No. 3 - Lost Bells | — | ||
| 6-21 | Black Angels, No. 4 - Devil-music | — | ||
| 6-22 | Black Angels, No. 5 - Danse Macabre | — | ||
| 6-23 | From the Grammar of Dreams: I. | Anu Komsi, Piia Komsi | T-927.735.969-0 | |
| 6-24 | From the Grammar of Dreams: III. | Anu Komsi, Piia Komsi | T-927.735.969-0 | |
| 6-25 | From the Grammar of Dreams: IV. | Anu Komsi, Piia Komsi | T-318.676.528-2 | |
| 6-26 | Tehillim, section 4 | — | ||
| 6-27 | Tehillim, section 4 | — | ||
| 6-28 | Tehillim, section 4 | — | ||
| 6-29 | Tehillim, section 4 | — | ||
| 6-30 | Tehillim, section 4 | — | ||
| 6-31 | "If You Ever Been Down" Blues | — | ||
| 6-32 | Conga Brava | — | ||
| 6-33 | Out of Nowhere | — | ||
| 6-34 | Bitches Brew | — | ||
| 6-35 | Prelude No. 1 | — | ||
| 6-36 | West Side Story, Dance at Gym: Meeting Scene | — | ||
| 6-37 | West Side Story, "Cool" | — | ||
| 6-38 | Yoruba drumming (Drums of Benin), "Ako" | — | ||
| 6-39 | South African popular song, "Anoku Gonda" | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Messias: Halleluja Chor (VI. H, S. 244) | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — |
| Don Giovanni: Atto I. “Là ci darem la mano” | Mirella Freni, Ingvar Wixell, Orchestra of the Royal Opera House, Covent Garden, Sir Colin Davis | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
9780312411220 is a Universal Product Code (UPC) assigned to Listen by Joseph Kerman, Gary Tomlinson. 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 224 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
9780312411220 is the Universal Product Code (UPC barcode) for the release “Listen” by Joseph Kerman, Gary Tomlinson, released 2004-01-01. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 224 tracks, each with its own ISRC. Tracks include GBFO77930210, GBF077930207, NLA507301108.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Vere Dignum | — | ||
| 2 | In Paradisum | — | ||
| 3 | Columba Aspexit | — | ||
| 4 | La Dousa Votz | — | ||
| 5 | Alleluia. Difffusa Est Gratia | — | ||
| 6 | Quant en moi | — | ||
| 7 | Ave Maris Stella | — | ||
| 8 | Pange Lingua Mass, Kyrie | — | ||
| 9 | Pange Lingua Mass, Kyrie | — | ||
| 10 | Pope Marcellus Mass, Qui tollis | — | ||
| 11 | As Vesta Was from Latmos Hill Descending | — | ||
| 12 | Daphne | — | ||
| 13 | Kemp's Jig | — | ||
| 14 | O Magnum Mysterium | — | ||
| 15 | Tornerai? | — | ||
| 16 | Speranza, Tu Mi Vai | — | ||
| 17 | Thy Hand, Belinda / When I Am Laid | — | ||
| 18 | With Drooping Wings | — | ||
| 19 | Suite (Canzona) | — | ||
| 20 | Suite (Balletto) | — | ||
| 21 | Suite (Corrente) | — | ||
| 22 | Suite (Passacaglia) | — | ||
| 23 | Violin Concerto in G, Op. 4, No.12 (I) | — | ||
| 24 | Violin Concerto in G, Op. 4, No.12 (II) | — | ||
| 25 | Violin Concerto in G, Op. 4, No.12 (III) | — | ||
| 26 | The Art of Fugue, Contrapunctus 4 | — | ||
| 27 | The Art of Fugue, Contrapunctus 4 | — | ||
| 28 | Qur'anic Recitation, Ya Sin | — | ||
| 29 | Hawai'ian Chant, "Mele Pule" | — | ||
| 30 | Navajo Song, "K'adnikini'ya'" | — | ||
| 31 | Hymn, "Hanaq Pachap Kusikuynin" | — | ||
| 32 | Sudanese Song with Lyre Accompaniment | — | ||
| 33 | Elephant-Hunt Song | — | ||
| 2-1 | Brandenburg Concerto No.5, I | — | ||
| 2-2 | Brandenburg Concerto No.5, I | — | ||
| 2-3 | Brandenburg Concerto No.5, I | — | ||
| 2-4 | Brandenburg Concerto No.5, I | — | ||
| 2-5 | Brandenburg Concerto No.5, I | — | ||
| 2-6 | Orchestral Suite No.3 in D, "Air" | — | ||
| 2-7 | Orchestral Suite No.3 in D, "Gavotte" I and II | — | ||
| 2-8 | "La Giustizia" | — | ||
| 2-9 | Messiah, HWV 56: Part I. “There were shepherds, abiding in the field – Glory to God” | Simon Preston, Christ Church Cathedral Choir, Oxford, Judith Nelson, Academy of Ancient Music, Christopher Hogwood | — | |
| 2-10 | Messias: Halleluja Chor (VI. H, S. 244) | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — | |
| 2-11 | Cantata No.4 "Christ Lag In Todesbanden" | — | ||
| 2-12 | Cantata No.4 "Christ Lag in Todesbanden" | — | ||
| 2-13 | Cantata No.4 "Christ Lag in Todesbanden" | — | ||
| 2-14 | Choral Prelude, "Christ Lag in Todesbanden" | — | ||
| 2-15 | Symphony No.40 in G Minor, K. 550 I | — | ||
| 2-16 | Symphony No.40 in G Minor, K. 550 I | — | ||
| 2-17 | Symphony No.40 in G Minor, K. 550 I | — | ||
| 2-18 | Symphony No.40 in G Minor, K. 550 I | — | ||
| 2-19 | Symphony No.40 in G Minor, K. 550 I | — | ||
| 2-20 | Symphony No.40 in G Minor, K. 550 I | — | ||
| 2-21 | Symphony No.95 in C Minor, I | — | ||
| 2-22 | Symphony No.95 in C Minor, I | — | ||
| 2-23 | Symphony No.95 in C Minor, I | — | ||
| 2-24 | Symphony No.95 in C Minor, II | — | ||
| 2-25 | Symphony No.95 in C Minor, II | — | ||
| 2-26 | Symphony No.95 in C Minor, II | — | ||
| 2-27 | Symphony No.95 in C Minor, II | — | ||
| 2-28 | Symphony No.95 in C Minor, II | — | ||
| 2-29 | Symphony No.95 in C Minor, III | — | ||
| 2-30 | Symphony No.95 in C Minor, III | — | ||
| 2-31 | Symphony No.95 in C Minor, III | — | ||
| 2-32 | Symphony No.95 in C Minor, IV | — | ||
| 2-33 | Symphony No.95 in C Minor, IV | — | ||
| 2-34 | Symphony No.95 in C Minor, IV | — | ||
| 2-35 | Symphony No.95 in C Minor, IV | — | ||
| 2-36 | Piano Sonata in B Flat, K. 570, III | — | ||
| 2-37 | Piano Sonata in B Flat, K. 570, III | — | ||
| 2-38 | Piano Sonata in B Flat, K. 570, III | — | ||
| 2-39 | "Ho capito" (excerpt) | — | ||
| 2-40 | "Alfin siam liberati" (excerpt) | — | ||
| 2-41 | Don Giovanni: Atto I. “Là ci darem la mano” | Mirella Freni, Ingvar Wixell, Orchestra of the Royal Opera House, Covent Garden, Sir Colin Davis | — | |
| 3-1 | Piano Concerto No. 23 in A major, K. 488: I | — | ||
| 3-2 | Piano Concerto No. 23 in A major, K. 488: I | — | ||
| 3-3 | Piano Concerto No. 23 in A major, K. 488: I | — | ||
| 3-4 | Piano Concerto No. 23 in A major, K. 488: I | — | ||
| 3-5 | Piano Concerto No. 23 in A major, K. 488: I | — | ||
| 3-6 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-7 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-8 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-9 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-10 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-11 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-12 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-13 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-14 | Symphony No. 5 in C minor, Op. 67: I | — | ||
| 3-15 | Symphony No. 5 in C minor, Op. 67: II | — | ||
| 3-16 | Symphony No. 5 in C minor, Op. 67: II | — | ||
| 3-17 | Symphony No. 5 in C minor, Op. 67: III | — | ||
| 3-18 | Symphony No. 5 in C minor, Op. 67: III | — | ||
| 3-19 | Symphony No. 5 in C minor, Op. 67: IV | — | ||
| 3-20 | Symphony No. 5 in C minor, Op. 67: IV | — | ||
| 3-21 | String Quartet No. 16 in F major, Op. 135: II | — | ||
| 3-22 | Erlkönig | — | ||
| 3-23 | "Im wunderschönen Monat Mai" | — | ||
| 3-24 | "Die alten, bösen lieder" | — | ||
| 3-25 | "Der Mond kommt still gegangen" | — | ||
| 3-26 | Japanese Gagaku, "Etenraku" | — | ||
| 3-27 | Balinese Gamelan, "Bopong" | — | ||
| 3-28 | North Indian Rag, "Mauj-Khammaj" | — | ||
| 3-29 | North Indian Rag, "Mauj-Khammaj" | — | ||
| 4-1 | Moment Musical No.2 in A Flat | — | ||
| 4-2 | "Eusebius" | — | ||
| 4-3 | "Florestan" | — | ||
| 4-4 | Nocturne in F-sharp major, Op. 15 No. 2 | — | ||
| 4-5 | Fantastic Symphony, V | — | ||
| 4-6 | Fantastic Symphony, V | — | ||
| 4-7 | Fantastic Symphony, V | — | ||
| 4-8 | Fantastic Symphony, V | — | ||
| 4-9 | Fantastic Symphony, V | — | ||
| 4-10 | Fantastic Symphony, V | — | ||
| 4-11 | Fantastic Symphony, V | — | ||
| 4-12 | Aida, Act V, Scene II | — | ||
| 4-13 | Aida, Act V, Scene II | — | ||
| 4-14 | Aida, Act V, Scene II | — | ||
| 4-15 | Aida, Act V, Scene II | — | ||
| 4-16 | Tristan und Isolde, Prelude | — | ||
| 4-17 | Tristan und Isolde, Prelude | — | ||
| 4-18 | Tristan und Isolde, Prelude | — | ||
| 4-19 | Tristan und Isolde, Prelude | — | ||
| 4-20 | Tristan und Isolde, Prelude | — | ||
| 4-21 | Tristan und Isolde, Act I, Philter Scene | — | ||
| 4-22 | Tristan und Isolde, Act I, Philter Scene | — | ||
| 4-23 | Tristan und Isolde, Act I, Philter Scene | — | ||
| 4-24 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-25 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-26 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-27 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-28 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-29 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-30 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-31 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-32 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-33 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-34 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-35 | Romeo and Juliet, Overture Fantasy | — | ||
| 4-36 | Orchestral Set No.2, II, "The Rockstrewn Hills Join in the People's Outdoor Meeting" | — | ||
| 4-37 | Orchestral Set No.2, II, "The Rockstrewn Hills Join in the People's Outdoor Meeting" | — | ||
| 5-1 | Promenade | — | ||
| 5-2 | "Gnomus" | — | ||
| 5-3 | Promenade | — | ||
| 5-4 | "The Great Gate at Kiev" | — | ||
| 5-5 | Violin Concerto in D, III | — | ||
| 5-6 | Violin Concerto in D, III | — | ||
| 5-7 | Violin Concerto in D, III | — | ||
| 5-8 | Violin Concerto in D, III | — | ||
| 5-9 | Violin Concerto in D, III | — | ||
| 5-10 | Violin Concerto in D, III | — | ||
| 5-11 | Symphony No.1, III | — | ||
| 5-12 | Symphony No.1, III | — | ||
| 5-13 | Symphony No.1, III | — | ||
| 5-14 | Symphony No.1, III | — | ||
| 5-15 | Symphony No.1, III | — | ||
| 5-16 | Symphony No.1, III | — | ||
| 5-17 | Symphony No.1, III | — | ||
| 5-18 | Symphony No.1, III | — | ||
| 5-19 | Clouds | — | ||
| 5-20 | Clouds | — | ||
| 5-21 | Clouds | — | ||
| 5-22 | Clouds | — | ||
| 5-23 | Clouds | — | ||
| 5-24 | Clouds | — | ||
| 5-25 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-26 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-27 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-28 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-29 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-30 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-31 | The Rite of Spring, Part 1 (excerpt) | — | ||
| 5-32 | Pierrot lunaire, No.8, "Night" | — | ||
| 5-33 | Pierrot lunaire, No.18, "The Moonfleck" | — | ||
| 5-34 | Wozzeck, Act II, scenes iii and iv | — | ||
| 5-35 | Wozzeck, Act II, scenes iii and iv | — | ||
| 5-36 | Wozzeck, Act II, scenes iii and iv | — | ||
| 5-37 | Wozzeck, Act II, scenes iii and iv | — | ||
| 5-38 | Wozzeck, Act II, scenes iii and iv | — | ||
| 5-39 | Piano Concerto in G, I | — | ||
| 5-40 | Piano Concerto in G, I | — | ||
| 5-41 | Piano Concerto in G, I | — | ||
| 5-42 | Piano Concerto in G, I | — | ||
| 5-43 | Piano Concerto in G, I | — | ||
| 5-44 | Japanese kabuki, "Dojoji" | — | ||
| 5-45 | The Prince Who Changed Into a Cat | — | ||
| 6-1 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-2 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-3 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-4 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-5 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-6 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-7 | Music for Strings, Percussion, and Celesta, II | — | ||
| 6-8 | Appalachian Spring, Section 1 | — | ||
| 6-9 | Appalachian Spring, Section 2 | — | ||
| 6-10 | Appalachian Spring, Section 5 | — | ||
| 6-11 | Appalachian Spring, Section 6 | — | ||
| 6-12 | Five Orchestral Pieces, Op. 10, No. 4, IV | — | ||
| 6-13 | Lux aeterna | — | ||
| 6-14 | Lux aeterna | — | ||
| 6-15 | Lux aeterna | — | ||
| 6-16 | Lux aeterna | — | ||
| 6-17 | Poeme électronique | — | ||
| 6-18 | Black Angels, No. 1 - Night of the Electric Insects | — | ||
| 6-19 | Black Angels, No. 2 - Sounds of Bones and Flutes | — | ||
| 6-20 | Black Angels, No. 3 - Lost Bells | — | ||
| 6-21 | Black Angels, No. 4 - Devil-music | — | ||
| 6-22 | Black Angels, No. 5 - Danse Macabre | — | ||
| 6-23 | From the Grammar of Dreams: I. | Anu Komsi, Piia Komsi | T-927.735.969-0 | |
| 6-24 | From the Grammar of Dreams: III. | Anu Komsi, Piia Komsi | T-927.735.969-0 | |
| 6-25 | From the Grammar of Dreams: IV. | Anu Komsi, Piia Komsi | T-318.676.528-2 | |
| 6-26 | Tehillim, section 4 | — | ||
| 6-27 | Tehillim, section 4 | — | ||
| 6-28 | Tehillim, section 4 | — | ||
| 6-29 | Tehillim, section 4 | — | ||
| 6-30 | Tehillim, section 4 | — | ||
| 6-31 | "If You Ever Been Down" Blues | — | ||
| 6-32 | Conga Brava | — | ||
| 6-33 | Out of Nowhere | — | ||
| 6-34 | Bitches Brew | — | ||
| 6-35 | Prelude No. 1 | — | ||
| 6-36 | West Side Story, Dance at Gym: Meeting Scene | — | ||
| 6-37 | West Side Story, "Cool" | — | ||
| 6-38 | Yoruba drumming (Drums of Benin), "Ako" | — | ||
| 6-39 | South African popular song, "Anoku Gonda" | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Messias: Halleluja Chor (VI. H, S. 244) | Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music, Christopher Hogwood | — |
| Don Giovanni: Atto I. “Là ci darem la mano” | Mirella Freni, Ingvar Wixell, Orchestra of the Royal Opera House, Covent Garden, Sir Colin Davis | — |
