Concerto in D major, op. 8 no. 11, RV 210: I. Allegro | | | | | | | |
Concerto in D major, op. 8 no. 11, RV 210: II. Largo | | | | | | | |
Concerto in D major, op. 8 no. 11, RV 210: III. Allegro | | | | | | | |
Concerto in D minor, op. 8 no. 7, RV 242: I. Allegro | | | | | | | |
Concerto in D minor, op. 8 no. 7, RV 242: II. Largo | | | | | | | |
Concerto in D minor, op. 8 no. 7, RV 242: III. Allegro | | | | | | | |
Concerto in D minor, op. 8 no. 9, RV 236: I. Allegro | | | | | | | |
Concerto in D minor, op. 8 no. 9, RV 236: II. Largo | | | | | | | |
Concerto in D minor, op. 8 no. 9, RV 236: III. Allegro | | | | | | | |
Concerto in E major, op. 8 no. 1, RV 269 “La primavera”: I. Allegro | | - Alexander Permovalsky, Baroque Festival Orchestra, The English Philharmonic Orchestra, Musici di San Marco, I Solisti Napoli, Salzburger Kammerorchester, Slovak Chamber Orchestra, I Musici di Zagreb, Südwest-Studioorchester, Simon Addison, Alberto Lizzio, Heribert Münchner, Alexander von Pitamic, Bohdan Warchal
- [unknown]
- Takako Nishizaki, Capella Istropolitana, Stephen Gunzenhauser
- Paul Crocker, Yehudi Menuhin, Camerata Lysy Gstaad, Alberto Lysy
- (show 424 more)
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Concerto in E major, op. 8 no. 1, RV 269 “La primavera”: II. Largo | | | | | | | |
Concerto in E major, op. 8 no. 1, RV 269 “La primavera”: III. Allegro pastorale | | - Alexander Permovalsky, Baroque Festival Orchestra, Südwest-Studioorchester, Alberto Lizzio, Heribert Münchner
- I Solisti di Zagreb, Musici di San Marco, Slovak Chamber Orchestra, Alberto Lizzio, Bohdan Warchal
- [unknown]
- Paul Crocker, Yehudi Menuhin, Camerata Lysy Gstaad, Alberto Lysy
- (show 371 more)
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Concerto in E-flat major, op. 8 no. 5, RV 253 "La tempesta di mare": I. (Allegro e) Presto | | | | | | | |
Concerto in E-flat major, op. 8 no. 5, RV 253 "La tempesta di mare": II. Largo | | | | | | | |
Concerto in E-flat major, op. 8 no. 5, RV 253 "La tempesta di mare": III. Presto | | | | | | | |
Concerto in F major, op. 8 no. 3, RV 293 “L’autunno”: I. Allegro | | | | | | | |
Concerto in F major, op. 8 no. 3, RV 293 “L’autunno”: II. Adagio molto | | - Alexander Permovalsky, Baroque Festival Orchestra, Südwest-Studioorchester, Alberto Lizzio, Heribert Münchner
- Musici di San Marco, Slovak Chamber Orchestra, Alberto Lizzio, Bohdan Warchal
- Michel Schwalbé, Berliner Philharmoniker, Herbert von Karajan
- Trevor Pinnock, Simon Standage, The English Concert
- (show 349 more)
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Concerto in F major, op. 8 no. 3, RV 293 “L’autunno”: III. Allegro | | - Alexander Permovalsky, Baroque Festival Orchestra, The English Philharmonic Orchestra, Musici di San Marco, I Solisti Napoli, Salzburger Kammerorchester, Slovak Chamber Orchestra, I Musici di Zagreb, Südwest-Studioorchester, Simon Addison, Alberto Lizzio, Heribert Münchner, Alexander von Pitamic, Bohdan Warchal
- Musici di San Marco, Alberto Lizzio
- Baroque Festival Orchestra, Alexander Permovalsky, Alberto Lizzio
- Trevor Pinnock, Simon Standage, The English Concert
- (show 354 more)
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Concerto in F minor, op. 8 no. 4, RV 297 “L’inverno”: I. Allegro non molto | | | | | | - 0O7-3717-0 (JASRAC ID)
- F minor (Key)
| |
Concerto in F minor, op. 8 no. 4, RV 297 “L’inverno”: II. Largo | | | | | | | |
Concerto in F minor, op. 8 no. 4, RV 297 “L’inverno”: III. Allegro | | | | | | | |
Concerto in G minor, op. 8 no. 2, RV 315 “L’estate”: I. Allegro non molto | | - Baroque Festival Orchestra, Alexander Permovalsky, Alberto Lizzio
- Musici di San Marco, Nova Filarmonia Portuguesa, Slovak Chamber Orchestra, Álvaro Cassuto, Alberto Lizzio, Bohdan Warchal
- Michel Schwalbé, Berliner Philharmoniker, Herbert von Karajan
- Trevor Pinnock, Simon Standage, The English Concert
- (show 361 more)
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Concerto in G minor, op. 8 no. 2, RV 315 “L’estate”: II. Adagio e piano – Presto e forte | | - Alexander Permovalsky, Baroque Festival Orchestra, Alberto Lizzio
- Musici di San Marco, Salzburger Kammerorchester, Slovak Chamber Orchestra, Alberto Lizzio, Alexander von Pitamic, Bohdan Warchal
- Michel Schwalbé, Berliner Philharmoniker, Herbert von Karajan
- Trevor Pinnock, Simon Standage, The English Concert
- (show 361 more)
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Concerto in G minor, op. 8 no. 2, RV 315 “L’estate”: III. Presto | | | | | | | |
Concerto in G minor, op. 8 no. 8, RV 332: I. Allegro | | | | | | | |
Concerto in G minor, op. 8 no. 8, RV 332: II. Largo | | | | | | | |
Concerto in G minor, op. 8 no. 8, RV 332: III. Allegro (molto vivace) | | | | | | | |
Dance of the Kurds, from the ballet Gayaneh | | | | | | | |
Der Freischütz: Ouvertüre | | | | Overture | | | |
Der Lindberghflug | | | | | | | |
Der Lindberghflug: No. 1 Aufforderung an die amerikanischen Flieger, den Ozean zu überfliegen | | | | Song | | | |
Der Lindberghflug: No. 2 Vorstellung des Fliegers Ch. Lindbergh | | | | Song | | | |
Der Lindberghflug: No. 3 Aufbruch des Fliegers Ch. Lindbergh in NY zu seinem Flug nach Europa | | | | Song | | | |
Der Lindberghflug: No. 5 Fast während seines ganzen Fluges hatte der Flieger mit Nebel zu kämpfen | | | | Song | | | |
Der Lindberghflug: No. 6a In der Nacht kam ein Schneesturm | | | | Song | | | |
Der Lindberghflug: No. 8 Lindbergh kämpft mit Schlaf | | | | Song | | | |
Der Lindberghflug: No. 11 Lindbergh spricht mit seinem Motor | | | | Song | | | |
Der Lindberghflug: No. 13 Auf dem Flugplatz Le Bourget bei Paris erwartet in der Nacht des 21. Mai 1927 abends 10 Uhr, eine Riesenmenge den amerikanischen Flieger | | | | Song | | | |
Der Lindberghflug: No. 13 Endlich, unweit Schottlands, wird Lindbergh von Fischern gesichtet | | | | Song | | | |
Des Simplicius Simplicissimus Jugend | | | | Opera | | | |
Déserts | | | | | | | 5 |
Deux épisodes d’après le Faust de Lenau, S. 110: II. Der Tanz in der Dorfschenke (Erster Mephisto-Walzer) | | | | | | | |
Die Geschöpfe des Prometheus, op. 43: Ouverture | | | | | | | |
Die glückliche Hand, op. 18 | | - BBC Singers, Siegmund Nimsgern, BBC Symphony Orchestra, Pierre Boulez
- Philharmonia Orchestra, Robert Craft, Simon Joly Chorale, Mark Beesley
- Kieth Engen, Symphonieorchester des Bayerischen Rundfunks, Hermann Scherchen
- Mark Beesley, Philharmonia Orchestra, Simon Joly Chorale, Robert Craft
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Die Kunst der Fuge, BWV 1080: I. Contrapunctus 1 | | | | | | | |
Die Kunst der Fuge, BWV 1080: I. Contrapunctus 1 | | | | | | | |
Die Kunst der Fuge, BWV 1080: II. Contrapunctus 2 | | | | | | | |
Die Kunst der Fuge, BWV 1080: II. Contrapunctus 2 | | | | | | | |
Die Kunst der Fuge, BWV 1080: III. Contrapunctus 3 | | | | | | | |
Die Kunst der Fuge, BWV 1080: III. Contrapunctus 3 | | | | | | | |
Die Kunst der Fuge, BWV 1080: IV. Contrapunctus 4 | | | | | | | |
Die Kunst der Fuge, BWV 1080: IV. Contrapunctus 4 | | | | | | | |
Die Kunst der Fuge, BWV 1080: IX. Contrapunctus 9 a 4 alla Duodecima | | | | | | | |
Die Kunst der Fuge, BWV 1080: V. Contrapunctus 5 | | | | | | | |
Die Kunst der Fuge, BWV 1080: V. Contrapunctus 5 | | | | | | | |
Die Kunst der Fuge, BWV 1080: VI. Contrapunctus 6 a 4 in Stylo Francese | | | | | | | |
Die Kunst der Fuge, BWV 1080: VI. Contrapunctus 6 a 4 in Stylo Francese | | | | | | | |
Die Kunst der Fuge, BWV 1080: VII. Contrapunctus 7 a 4 per Augmentationem et Diminutionem | | | | | | | |
Die Kunst der Fuge, BWV 1080: VII. Contrapunctus 7 a 4 per Augmentationem et Diminutionem | | | | | | | |
Die Kunst der Fuge, BWV 1080: VIII. Contrapunctus 8 a 3 | | | | | | | |
Die Kunst der Fuge, BWV 1080: VIII. Contrapunctus 8 a 3 | | | | | | | |
Die Kunst der Fuge, BWV 1080: X. Contrapunctus 10 a 4 alla Decima | | | | | | | |
Die Kunst der Fuge, BWV 1080: X. Contrapunctus 10 a 4 alla Decima | | | | | | | |
Die Kunst der Fuge, BWV 1080: XI. Contrapunctus 11 a 4 | | | | | | | |
Die Kunst der Fuge, BWV 1080: XII, 1. Contrapunctus inversus a 4 (Forma recta) | | | | | | | |
Die Kunst der Fuge, BWV 1080: XII, 1. Contrapunctus inversus a 4 (Forma recta) | | | | | | | |
Die Kunst der Fuge, BWV 1080: XII, 2. Contrapunctus inversus 12 a 4 (Forma inversa) | | | | | | | |
Die Kunst der Fuge, BWV 1080: XII, 2. Contrapunctus inversus 12 a 4 (Forma inversa) | | | | | | | |
Die Kunst der Fuge, BWV 1080: XIII, 1. Contrapunctus inversus a 3 (Forma recta) | | | | | | | |
Die Kunst der Fuge, BWV 1080: XIII, 1. Contrapunctus inversus a 3 (Forma recta) | | | | | | | |
Die Kunst der Fuge, BWV 1080: XIII, 2. Contrapunctus inversus a 3 (Forma inversa) | | | | | | | |
Die Kunst der Fuge, BWV 1080: XIII, 2. Contrapunctus inversus a 3 (Forma inversa) | | | | | | | |
Die Kunst der Fuge, BWV 1080: XIV. Canon per Augmentationem in Contrario Motu | | | | | | | |
Die Kunst der Fuge, BWV 1080: XIX. Fuga a 3 [4] Soggetti | | | | | | | |
Die Kunst der Fuge, BWV 1080: XIX. Fuga a 3 [4] Soggetti | | | | | | | |
Die Kunst der Fuge, BWV 1080: XV. Canon alla Ottava | | | | | | | |
Die Kunst der Fuge, BWV 1080: XVI. Canon alla Decima in Contrapunto alla Terza | | | | | | | |
Die Kunst der Fuge, BWV 1080: XVII. Canon alla Duodecima in Contrapunto alla Quinta | | | | | | | |
Die Ruinen von Athen, op. 113: Overtüre | | | | | | | |
Die verkaufte Braut: II. Furiant | | | | | | | |
Die verkaufte Braut: III. Komödiantenszene | | | | | | | |
Die Weihe des Hauses, op. 124: Overture | | | | Overture | | | |
Eine Lustspiel-Ouvertüre, op. 120 | | | | Overture | | | |
Eine romantische Suite, op. 125: I. Notturno. Molto sostenuto | | | | | | | |
Eine romantische Suite, op. 125: II. Scherzo. Vivace | | | | | | | |
Eine romantische Suite, op. 125: III. Finale. Molto sostenuto | | | | | | | |
El amor brujo: V. Danza del terror | | | | | | | |
El amor brujo: VIII. Danza ritual del fuego | | | | | | | |
Entrata | | | | | | | |
Erwartung, op. 17: 1. Szene: "Hier hinein?..." | | | | | | | |
Erwartung, op. 17: 2. Szene: "Ist das noch der Weg?" | | | | | | | |
Erwartung, op. 17: 3. Szene: "Da kommt ein Licht!" | | | | | | | |
Erwartung, op. 17: 4. Szene: "Er ist auch nicht da..." | | | | | | | |
España | | | | | | | |
Fidelio, op. 72: Overture | | | | Overture | | | |
First Suite from the ballet “Gayaneh” for orchestra, op. 53: II. Dance of the Rose Maidens | | | | | | | |
First Suite from the ballet “Gayaneh” for orchestra, op. 53: V. Lullaby | | | | | | | |
First Suite from the ballet “Gayaneh” for orchestra, op. 53: VIII. Lezghinka | | | | | | | |
Fünf Orchesterstücke, op. 16: I. Vorgefühle. Sehr rasch | | | | | | | |
Fünf Orchesterstücke, op. 16: II. Vergangenes. Mässige Viertel | | | | | | | |