| Aida: Atto I, scena 1. Recitativo “Se quel guerriero io fossi!” … Romanza “Celeste Aida” (Radamès) | | | | | Aria | | | |
| Andrea Chénier: Atto I. “Colpito qui m’avete” … “Un dì all’azzurro spazio” (Improvviso) (Chénier) | | | | | Aria | | | |
| Concerto for Piano, Violin, Cello and Orchestra in C major, op. 56 “Triple Concerto”: I. Allegro | | | | | | | | |
| Concerto for Piano, Violin, Cello and Orchestra in C major, op. 56 “Triple Concerto”: II. Largo | | - [unknown]
- David Oistrakh, Sviatoslav Richter, Mstislav Rostropovich, Herbert von Karajan
- Eugene Istomin, Leonard Rose, Isaac Stern, The Philadelphia Orchestra, Eugene Ormandy
- Daniel Barenboim, Yo‐Yo Ma, Itzhak Perlman, Berliner Philharmoniker
- (show 90 more)
| | | | | | |
| Concerto for Piano, Violin, Cello and Orchestra in C major, op. 56 “Triple Concerto”: III. Rondo alla polacca | | | | | | | | |
| Concerto for Two Pianos and Orchestra in D minor, FP 61: I. Allegro ma non troppo | | | | | | | | |
| Concerto for Two Pianos and Orchestra in D minor, FP 61: II. Larghetto | | | | | | | | |
| Concerto for Two Pianos and Orchestra in D minor, FP 61: III. Finale (Allegro molto) | | | | | | | | |
| Concerto for Two Pianos and Orchestra in E major: I. Allegro vivace | | | | | | | | |
| Concerto for Two Pianos and Orchestra in E major: II. Adagio non troppo | | | | | | | | |
| Concerto for Two Pianos and Orchestra in E major: III. Allegro | | | | | | | | |
| Danzas fantásticas, op. 22, nº 1: Exaltación | | | | | | | | |
| Danzas fantásticas, op. 22, nº 2: Ensueño | | | | | | | | |
| Danzas fantásticas, op. 22, nº 3: Orgía | | | | | | | | |
| Der 95. Psalm ''Kommt, lasst uns anbeten'', op. 46: 1. Coro | | | | | | | | |
| Der 95. Psalm ''Kommt, lasst uns anbeten'', op. 46: 2. Coro | | | | | | | | |
| Der 95. Psalm ''Kommt, lasst uns anbeten'', op. 46: 3. Duetto | | | | | | | | |
| Der 95. Psalm ''Kommt, lasst uns anbeten'', op. 46: 4. Coro | | | | | | | | |
| Der 95. Psalm ''Kommt, lasst uns anbeten'', op. 46: 5. Coro | | | | | | | | |
| Der 98. Psalm „Singet dem Herrn“, op. 91: 1. Allegro | | | | | | | | |
| Der 98. Psalm „Singet dem Herrn“, op. 91: 2. Andante lento | | | | | | | | |
| Der 98. Psalm „Singet dem Herrn“, op. 91: 3. Andante con moto | | | | | | | | |
| Ein Sommernachtstraum, op. 21 (op. 61 no. 1): Ouvertüre | | | | | Overture | | | |
| Ein Sommernachtstraum, op. 61: 1. Scherzo. Allegro vivace | | | | | | | | |
| Ein Sommernachtstraum, op. 61: 5. Intermezzo. Allegro appassionato | | | | | | | | |
| Ein Sommernachtstraum, op. 61: 7. Notturno. Con moto tranquillo | | | | | | | | |
| Ein Sommernachtstraum, op. 61: 9. Hochzeitsmarsch. Allegro vivace | | | | | | | - 0O5-6429-1 (JASRAC ID)
- C major (Key)
| |
| El sombrero de tres picos, suite no. 2: III. Danza final (jota) | | | | | | | | |
| Fedora: Atto II. “Amor ti vieta” (Loris, Borov, Fedora, Olga) | | | | | Aria | | | |
| Hör mein Bitten | | | | | Motet | | | |
| Hymne-Drei geistliche Lieder und Fuge, op. 96: I. Hymne. ''Lass, o Herr, mich Hilfe finden'' | | - Felix Mendelssohn
- Chamber Choir of Europe, Württembergische Philharmonie Reutlingen, Nicol Matt
- Southwestern Seminary Oratorio Chorus, Fort Worth Chamber Orchestra, C. David Keith
- Chœur de Chambre de la Fondation Gulbenkian de Lisbonne, Nathalie Stutzmann, Guillaume Tourniaire, Orchestre de la Fondation Gulbenkian de Lisbonne, Michel Corboz
- Ensemble Vocal de Lausanne, Irène Friedli, Jean-Christophe Geiser, Michel Corboz
| | | | | | |
| Hymne-Drei geistliche Lieder und Fuge, op. 96: II. Choral. ''Deines Kind's Gebet erhöre'' | | - Felix Mendelssohn
- Chamber Choir of Europe, Württembergische Philharmonie Reutlingen, Nicol Matt
- Southwestern Seminary Oratorio Chorus, Fort Worth Chamber Orchestra, C. David Keith
- Chœur de Chambre de la Fondation Gulbenkian de Lisbonne, Nathalie Stutzmann, Guillaume Tourniaire, Orchestre de la Fondation Gulbenkian de Lisbonne, Michel Corboz
- Ensemble Vocal de Lausanne, Irène Friedli, Jean-Christophe Geiser, Michel Corboz
| | | | | | |
| Hymne-Drei geistliche Lieder und Fuge, op. 96: III. "Herr, wir trau'n auf deine Güte'' | | - Felix Mendelssohn
- Chamber Choir of Europe, Württembergische Philharmonie Reutlingen, Nicol Matt
- Southwestern Seminary Oratorio Chorus, Fort Worth Chamber Orchestra, C. David Keith
- Chœur de Chambre de la Fondation Gulbenkian de Lisbonne, Nathalie Stutzmann, Guillaume Tourniaire, Orchestre de la Fondation Gulbenkian de Lisbonne, Michel Corboz
- Ensemble Vocal de Lausanne, Irène Friedli, Jean-Christophe Geiser, Michel Corboz
| | | | | | |
| Hymne-Drei geistliche Lieder und Fuge, op. 96: IV. Fuga. ''Lasst sein heilig Lob uns singen'' | | | | | | | | |
| Il trovatore: Atto III, scena 2. “Di quella pira l’orrendo foco” (Manrico, Leonora, Ruiz, armed men) | | | | | Aria | | | |
| Kyrie for chorus & orchestra in D minor | | | | | | | | |
| La boda de Luis Alonso: Intermedio | | | | | | | | |
| La bohème: Atto I, no. 6. “Che gelida manina!” (Rodolfo) | | | | | Aria | | | |
| La cambiale di matrimonio: Sinfonia | | | | | Overture | | | |
| La Gioconda: Atto II. “Cielo e mar!” (Enzo) | | | | | Aria | | | |
| Lauda Sion, op. 73: I. Coro | | | | | | | | |
| Lauda Sion, op. 73: II. Coro | | | | | | | | |
| Lauda Sion, op. 73: III. Soprano solo e Coro | | | | | | | | |
| Lauda Sion, op. 73: IV. Quartetto | | | | | | | | |
| Lauda Sion, op. 73: V. Coro | | | | | | | | |
| Lauda Sion, op. 73: VI. Coro | | | | | | | | |
| Lauda Sion, op. 73: VII. Soprano Solo | | | | | | | | |
| Le Déluge, op. 45: Prélude | | | | | | | | |
| Luisa Miller: Atto II. “Oh! fede negar potessi” / “Quando le sere al placido” (Rodolfo) | | | | | Aria | | | |
| Madama Butterfly: Atto III. “Addio, fiorito asil” (Pinkerton, Sharpless) | | | | | Aria | | | |
| Manon Lescaut: Atto I. “Donna non vidi mai simile a questa!” (Des Grieux) | | | | | Aria | | | |
| Mass no. 1 in D minor, WAB 26: I. Kyrie | | | | | | | | |
| Mass no. 1 in D minor, WAB 26: II. Gloria | | - Edith Mathis, Marga Schiml, Wiesław Ochman, Karl Ridderbusch, Chor & Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum
- Württembergische Philharmonie Reutlingen, Nicol Matt
- Corydon Singers, Corydon Orchestra, Matthew Best
- Monteverdi Choir, Wiener Philharmoniker, Sir John Eliot Gardiner
| | | | | | |
| Mass no. 1 in D minor, WAB 26: III. Credo | | - Edith Mathis, Marga Schiml, Wiesław Ochman, Karl Ridderbusch, Chor & Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum
- Württembergische Philharmonie Reutlingen, Nicol Matt
- Corydon Singers, Corydon Orchestra, Matthew Best
- Monteverdi Choir, Wiener Philharmoniker, Sir John Eliot Gardiner
| | | | | | |
| Mass no. 1 in D minor, WAB 26: IV. Sanctus | | | | | | | | |
| Mass no. 1 in D minor, WAB 26: V. Benedictus | | - Edith Mathis, Marga Schiml, Wiesław Ochman, Karl Ridderbusch, Chor & Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum
- Württembergische Philharmonie Reutlingen, Nicol Matt
- Corydon Singers, Corydon Orchestra, Matthew Best
- Monteverdi Choir, Wiener Philharmoniker, Sir John Eliot Gardiner
| | | | | | |
| Mass no. 1 in D minor, WAB 26: VI. Agnus Dei | | | | | | | - D major (Key)
- G minor (Key)
| |
| Milonga del ángel | | | | | | | - 5767162 (AGADU ID)
- 798960101 (AKM ID)
- (show 25 more)
- 001071 454 07 (SUISA ID)
| |
| Nicht unserm Namen, Herr: Adagio Non Lento. Arioso. "Er Segne Euch Je Mehr Und Mehr " | | | | | | | | |
| Nicht unserm Namen, Herr: Allegro con fuoco. Chor. Nicht unserm Namen, Herr | | | | | | | | |
| Nicht unserm Namen, Herr: Con Moto. Duett Mit Chor. "Israel Hofft Auf Dich" | | | | | | | | |
| Nicht unserm Namen, Herr: Grave – Con Moto. Chor. "Die Todten Werden Dich Nicht Loben, o Herr" | | | | | | | | |
| O Haupt voll Blut und Wunden: I. O Haupt voll Blut und Wunden | | | | | | | | |
| O Haupt voll Blut und Wunden: II. Du, dessen Todeswunden | | | | | | | | |
| O Haupt voll Blut und Wunden: III. Ich will hier bei dir stehen | | | | | | | | |
| Pagliacci: Atto I. “Recitar!” … “Vesti la giubba” (Canio) | | | | | Aria | | | |
| Piano Concerto in E‐flat major, WoO 4: I. Allegro moderato | | | | | | | | |
| Piano Concerto in E‐flat major, WoO 4: II. Larghetto | | | | | | | | |
| Piano Concerto in E‐flat major, WoO 4: III. Rondo. Allegretto | | | | | | | | |
| Psalm 42, op. 42, MWV A 15: I. Chorus, "Wie der Hirsch schreit" | | | | | | | | |
| Psalm 42, op. 42, MWV A 15: II. Aria, "Meine Seele dürstet nach Gott" | | | | | | | | |
| Psalm 42, op. 42, MWV A 15: III. Recitative and aria, "Meine Tränen sind meine Speise", "Denn ich wollte gern hingehen" | | | | | | | | |
| Psalm 42, op. 42, MWV A 15: IV. Chorus, "Was betrübst du dich, meine Seele" | | | | | | | | |
| Psalm 42, op. 42, MWV A 15: V. Recitative, "Mein Gott, betrübt ist meine Seele" | | | | | | | | |
| Psalm 42, op. 42, MWV A 15: VI. Quintet, "Der Herr hat des Tages verheißen" | | | | | | | | |
| Psalm 42, op. 42, MWV A 15: VII. Final chorus, "Was betrübst du dich, meine Seele" | | | | | | | | |
| Samson et Dalila : Acte III, scène 2. Bacchanale | | | | | | | | |
| Scheherazade, op. 35: I. The Sea and Sinbad’s Ship | | | | | | | | |
| Scheherazade, op. 35: II. The Kalendar Prince | | | | | | | | |
| Scheherazade, op. 35: III. The Young Prince and the Young Princess | | | | | | | | |
| Scheherazade, op. 35: IV. Festival at Baghdad. The Sea. The Ship Breaks Against a Cliff Surmounted by a Bronze Horseman | | | | | | | | |
| Symfonie č. 9 e moll, op. 95 „Z Nového světa“: I. Adagio — Allegro molto | | | | | | | | |
| Symfonie č. 9 e moll, op. 95 „Z Nového světa“: II. Largo | | | | | | | - C-sharp minor (Key)
- D-flat major (Key)
| |
| Symfonie č. 9 e moll, op. 95 „Z Nového světa“: III. Scherzo. Molto vivace — Poco sostenuto | | | | | | | | |
| Symfonie č. 9 e moll, op. 95 „Z Nového světa“: IV. Allegro con fuoco | | | | | | | - E major (Key)
- E minor (Key)
| |
| Symphony no. 0 in D minor, WAB 100 "Nullte": I. Allegro | | | | | | | | |
| Symphony no. 0 in D minor, WAB 100 "Nullte": II. Andante | | | | | | | | |
| Symphony no. 0 in D minor, WAB 100 "Nullte": III. Scherzo: Presto | | | | | | | | |
| Symphony no. 0 in D minor, WAB 100 "Nullte": IV. Finale: Moderato | | | | | | | | |
| Symphony no. 1 in C minor, WAB 101: III. Scherzo: Lebhaft - Trio: Langsam | | | | | | | | |
| Symphony no. 1 in C-minor, WAB 101: I. Allegro | | | | | | | | |
| Symphony no. 1 in C-minor, WAB 101: II. Adagio | | | | | | | | |
| Symphony no. 1 in C-minor, WAB 101: IV. Finale: Bewegt und feurig | | | | | | | | |
| Symphony no. 2 in C minor, WAB 102: I. Moderato | | | | | | | | |
| Symphony no. 2 in C minor, WAB 102: II. Andante: Feierlich, etwas bewegt | | | | | | | | |
| Symphony no. 2 in C minor, WAB 102: III. Scherzo: Mäßig schnell - Trio: Gleiches Tempo | | | | | | | | |
| Symphony no. 2 in C minor, WAB 102: IV. Finale: Ziemlich schnell | | | | | | | | |
| Symphony no. 3 in A minor, op. 56 “Scottish”: I. Andante con moto – Allegro un poco agitato | | | | | | | | |
| Symphony no. 3 in A minor, op. 56 “Scottish”: II. Vivace non troppo | | | | | | | | |
| Symphony no. 3 in A minor, op. 56 “Scottish”: III. Adagio | | | | | | | | |
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