| performed |
|---|
| 1980-04-01 | Die Jakobsleiter: "Dies Entweder und dies Oder" (Gabriel, ein Ringender) | | | BBC Symphony Orchestra, Pierre Boulez | 3:54 |
| 1980-04-01 | Die Jakobsleiter: "Du bist immerhin zufrieden mit dir" (Gabriel, ein Aufrührerischer) | | | BBC Symphony Orchestra, Pierre Boulez | 2:09 |
| 1980-04-01 | Die Jakobsleiter: "Gegen seinen und euren Willen" (Gabriel) | | | BBC Symphony Orchestra, Pierre Boulez | 2:25 |
| 1980-04-01 | Die Jakobsleiter: "Gleichviel! Weiter!" (Gabriel, ein Berufener) | | | BBC Symphony Orchestra, Pierre Boulez | 3:54 |
| 1980-04-01 | Die Jakobsleiter: "Herr, mein ganzes Leben lang" (Der Sterbende) | | | BBC Symphony Orchestra, Pierre Boulez | 3:30 |
| 1980-04-01 | Die Jakobsleiter: "Herr, verzeih meine Überhebung!" (Der Mönch, Gabriel) | | | BBC Symphony Orchestra, Pierre Boulez | 5:10 |
| 1980-04-01 | Die Jakobsleiter: "Ich sollte nicht näher, denn ich verliere dabei" (Der Auserwählte, Gabriel) | | | BBC Symphony Orchestra, Pierre Boulez | 5:40 |
| 1980-04-01 | Die Jakobsleiter: "Nahst du wieder dem Licht?" (Gabriel, die Seele, Chor) | | | BBC Symphony Orchestra, Pierre Boulez | 3:25 |
| 1980-04-01 | Die Jakobsleiter: "Ob rechts, ob links, vorwärts oder rückwarts" (Gabriel, Chor) | | | BBC Symphony Orchestra, Pierre Boulez | 4:51 |
| 1980-04-01 | Die Jakobsleiter: "Ohne zu Fragen?" (Chor, Gabriel) | | | BBC Symphony Orchestra, Pierre Boulez | 4:46 |
| 1980-04-01 | Die Jakobsleiter: Great Symphonic Interlude | | | BBC Symphony Orchestra, Pierre Boulez | 7:24 |
| Les nuits d'été Op. 7: Sur les lagunes - Lamento | | | London Symphony Orchestra, Sir Colin Davis, John Shirley‐Quirk | 7:10 |
| vocals |
|---|
| 1962-03-08 | La Damnation de Faust, op. 24: Deuxième Partie. Scène VI. La cave d’Auerbach à Leipzig. Chanson de Brander « Certain rat, dans une cuisine » | | bass vocals [Brander] | London Symphony Chorus, Michel Roux, John Shirley‐Quirk, London Symphony Orchestra, Pierre Monteux | 2:20 |
| 1962-03-08 | La Damnation de Faust, op. 24: Deuxième Partie. Scène VI. La cave d’Auerbach à Leipzig. Chœur de buveurs « Oh ! qu’il fait bon, quand le ciel tonne » | | bass vocals [Brander] | London Symphony Chorus, Michel Roux, John Shirley‐Quirk, London Symphony Orchestra, Pierre Monteux | 2:20 |
| 1962-03-08 | La Damnation de Faust, op. 24: Deuxième Partie. Scène VI. La cave d’Auerbach à Leipzig. Fugue sur le thème de la chanson de Brander « Amen » | | bass vocals [Brander] | London Symphony Chorus, Michel Roux, John Shirley‐Quirk, London Symphony Orchestra, Pierre Monteux | 2:56 |
| 1964-04 | Cantata No. 82 "Ich habe genug": I. Aria: Ich habe genug, ich habe den Heiland | | bass vocals | Academy of St Martin in the Fields, Sir Neville Marriner | 9:42 |
| 1964-04 | Cantata No. 82 "Ich habe genug": II. Recitative: Ich habe genug! Mein Trost ist nur allein | | bass vocals | Academy of St Martin in the Fields, Sir Neville Marriner | 1:28 |
| 1964-04 | Cantata No. 82 "Ich habe genug": III. Aria: Schlummert ein, ihr matten Augen | | bass vocals | Academy of St Martin in the Fields, Sir Neville Marriner | 11:13 |
| 1964-04 | Cantata No. 82 "Ich habe genug": IV. Recitative: Mein Gott! Wann kommt das schöne: Nun! | | bass vocals | Academy of St Martin in the Fields, Sir Neville Marriner | 0:59 |
| 1964-04 | Cantata No. 82 "Ich habe genug": V. Ich freue mich auf meinen Tod | | bass vocals | Academy of St Martin in the Fields, Sir Neville Marriner | 4:16 |
| 1965-05-11 – 1965-05-22 | Part I: Air - “But Who May Abide the Day of His Coming” | | bass-baritone vocals | Georg Friedrich Händel | 5:31 |
| 1965-05-11 – 1965-05-22 | Part I: Air - “The People That Walked in the Darkness” | | bass-baritone vocals | John Shirley‐Quirk, Royal Philharmonic Orchestra, Sir Malcolm Sargent | 5:01 |
| 1965-05-11 – 1965-05-22 | Part I: Recit - “For Behold, Darkness Shall Cover the Earth” | | bass-baritone vocals | John Shirley‐Quirk, Royal Philharmonic Orchestra, Sir Malcolm Sargent | 2:55 |
| 1965-05-11 – 1965-05-22 | Part I: Recit - “Thus Saith the Lord” | | bass-baritone vocals | Georg Friedrich Händel | 1:51 |
| 1965-05-11 – 1965-05-22 | Part II: Air - “Why Do the Nations So Furiously Rage” | | bass-baritone vocals | John Shirley‐Quirk, Royal Philharmonic Orchestra, Sir Malcolm Sargent | 3:03 |
| 1965-05-11 – 1965-05-22 | Part III: Air - “The Trumpet Shall Sound” | | bass-baritone vocals | John Shirley‐Quirk, Royal Philharmonic Orchestra, Sir Malcolm Sargent | 4:22 |
| 1965-05-11 – 1965-05-22 | Part III: Recit - “Behold, I Tell You a Mystery” | | bass-baritone vocals | John Shirley‐Quirk, Royal Philharmonic Orchestra, Sir Malcolm Sargent | 0:41 |
| 1966-01 | Cantata No. 159 "Sehet, wir gehn hinauf gen Jerusalem": I. Arioso & Recitative: Sehet, wir gehn hinauf gen Jerusalem! | | bass vocals | Academy of St Martin in the Fields, Sir Neville Marriner | 3:26 |
| 1966-01 | Cantata No. 159 "Sehet, wir gehn hinauf gen Jerusalem": IV. Aria: Es ist vollbracht | | bass vocals | Academy of St Martin in the Fields, Sir Neville Marriner | 5:29 |
| 1966-05-08 | Requiem in Re minore K 626: Benedictus | John Shirley Quirk | baritone vocals and solo | Wolfgang Amadeus Mozart | 4:50 |
| 1966-05-08 | Requiem in Re minore K 626: Domine Jesu | John Shirley Quirk | baritone vocals and solo | Wolfgang Amadeus Mozart | 4:08 |
| 1966-05-08 | Requiem in Re minore K 626: Recordare | John Shirley Quirk | baritone vocals and solo | Wolfgang Amadeus Mozart | 5:58 |
| 1966-05-08 | Requiem in Re minore K 626: Tuba mirum | John Shirley Quirk | baritone vocals and solo | Wolfgang Amadeus Mozart | 4:02 |
| 1966-06 | Messiah: Part I, No. 4 Accompagnato "Thus saith the Lord" | | bass vocals | John Shirley‐Quirk, London Symphony Orchestra, Sir Colin Davis | 1:30 |
| 1966-06 | Messiah: Part I, No. 10 Accompagnato "For behold, darkness shall cover the earth" / No. 11 Air "The people that walked in darkness" | | bass vocals | John Shirley‐Quirk, London Symphony Orchestra, Sir Colin Davis | 6:00 |
| 1966-06 | Messiah: Part II, No. 34 Air "Thou art gone up on high" | | bass vocals | John Shirley‐Quirk, London Symphony Orchestra, Sir Colin Davis | 3:18 |
| 1966-06 | Messiah: Part II, No. 38 Air "Why do the nations" | | bass vocals | John Shirley‐Quirk, London Symphony Orchestra, Sir Colin Davis | 2:43 |
| 1966-06 | Messiah: Part III, No. 46 Air "The trumpet shall sound" | | bass vocals | John Shirley‐Quirk, London Symphony Orchestra, Sir Colin Davis | 8:30 |
| 1967-10-24 – 1967-10-25 | Lélio ou Le Retour à la vie, op. 14b: III. Chanson de brigands (Le Capitaine, Chorus) | | baritone vocals [Le Capitaine] | London Symphony Chorus, John Shirley‐Quirk, London Symphony Orchestra, Pierre Boulez | 3:51 |
| 1968-04 | Romeo et Juliette, op. 17: Part IV. Finale. Air du Père Laurence: "Pauvres enfants que je pleure" - "Mais notre sang rougit leur glaive" | | bass-baritone vocals | John Shirley‐Quirk, The John Alldis Choir, London Symphony Chorus, London Symphony Orchestra, Sir Colin Davis | 8:53 |
| 1968-04 | Romeo et Juliette, op. 17: Part IV. Finale. Cœurs et Récitatif du Père Laurence: "Quoi! Roméo de rétour!" | | bass-baritone vocals | John Shirley‐Quirk, The John Alldis Choir, London Symphony Chorus, London Symphony Orchestra, Sir Colin Davis | 4:28 |
| 1968-04 | Romeo et Juliette, op. 17: Part IV. Finale. Serment de réconciliation: "Jurez donc" | | bass-baritone vocals | John Shirley‐Quirk, The John Alldis Choir, London Symphony Chorus, London Symphony Orchestra, Sir Colin Davis | 5:28 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: I. In the Upper Room: Men and brethren | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 5:31 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: I. In the Upper Room: O ye priests! | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 3:43 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: I. In the Upper Room: Seek first the Kingdom of God | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 8:37 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: II. At the Beautiful Gate | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 6:39 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: III. Pentecost: And suddenly there came from Heaven | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 15:00 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: III. Pentecost: And when the day of Pentecost | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 4:39 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: III. Pentecost: Repent, and be baptised | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 5:43 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: IV. The Sign of Healing: And as they spake…The Sun goeth down | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 11:09 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: IV. The Sign of Healing: Then they that gladly received his word | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 10:17 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: Prelude | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 7:47 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: V. The Upper Room: Our Father | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 5:29 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: V. The Upper Room: The voice of joy | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 6:46 |
| 1968-12-16 – 1968-12-22 | The Kingdom, op. 51: V. The Upper Room: Thou, Almighty God | | bass vocals [St. Peter] | John Alldis, London Philharmonic Choir, Yvonne Minton, Margaret Price, John Shirley‐Quirk, Alexander Young, London Philharmonic Orchestra, Sir Adrian Boult | 5:16 |
| 1968-12 | Bold William Taylor | | baritone vocals | John Shirley‐Quirk, English Chamber Orchestra | 3:40 |
| 1968-12 | Shallow Brown | | baritone vocals | John Shirley‐Quirk, English Chamber Orchestra | 5:38 |
| 1968-12 | Süßer Trost, mein Jesus kommt, Cantata BWV 151: II. Recitativo: Erfreue dich, mein Herz | | bass vocals | John Shirley‐Quirk, English Chamber Orchestra, Benjamin Britten | 1:29 |
| 1969-01 | Ode for St Cecilia's Day (1692), Z. 328: Hark, hark, each tree its silence breaks (Treble, Bass II) | | bass vocals [II] | John Shirley‐Quirk, Simon Woolf, Charles Mackerras | 4:54 |
| 1969-01 | Ode for St Cecilia's Day (1692), Z. 328: Let these amongst themselves contest (Bass I & II) | | bass vocals [II] | Michael Rippon, John Shirley‐Quirk, English Chamber Orchestra, Charles Mackerras | 3:16 |
| 1969-01 | Ode for St Cecilia's Day (1692), Z. 328: Woundrous machine! (Bass II) | | bass vocals [II] | John Shirley‐Quirk, English Chamber Orchestra, Charles Mackerras | 3:21 |
| 1969-10-27 – 1969-10-30 | Changes: Part II No. 1 Prayer: The night is come | | baritone vocals and solo | John Shirley‐Quirk, London Symphony Orchestra, Norman Del Mar | 5:43 |
| 1969-10-27 – 1969-10-30 | Changes: Part III No. 2 Epitaph: O mortal folk, you may behold and see | | baritone vocals and solo | John Shirley‐Quirk, London Symphony Chorus, Norman Del Mar | 3:35 |
| 1969-10-27 – 1969-10-30 | Changes: Part III No. 4 Wake all the dead | | baritone vocals and solo | John Shirley‐Quirk, London Symphony Chorus, London Symphony Orchestra, Norman Del Mar | 3:39 |
| 1971-05 | Krönungsmesse, K. 317: II. Gloria | | baritone vocals | Ileana Cotrubaş, Robert Tear, John Shirley‐Quirk, George Malcolm, Schola Cantorum of Oxford, Academy of St Martin in the Fields, Sir Neville Marriner | 4:22 |
| 1971-05 | Krönungsmesse, K. 317: III. Credo | | baritone vocals | Ileana Cotrubaş, Robert Tear, John Shirley‐Quirk, George Malcolm, Schola Cantorum of Oxford, Academy of St Martin in the Fields, Sir Neville Marriner | 6:38 |
| 1971-05 | Krönungsmesse, K. 317: V. Benedictus | | baritone vocals | Ileana Cotrubaş, Robert Tear, John Shirley‐Quirk, George Malcolm, Schola Cantorum of Oxford, Academy of St Martin in the Fields, Sir Neville Marriner | 3:59 |
| 1971-05 | Litaniae Lauretanae, K. 195: I. Kyrie eleison | | baritone vocals | Ileana Cotrubaş, Helen Watts, Robert Tear, John Shirley‐Quirk, George Malcolm, Schola Cantorum of Oxford, Academy of St Martin in the Fields, Sir Neville Marriner | 6:12 |
| 1971-05 | Litaniae Lauretanae, K. 195: II. Sancta Maria | | baritone vocals | Ileana Cotrubaş, Helen Watts, Robert Tear, John Shirley‐Quirk, Schola Cantorum of Oxford, Academy of St Martin in the Fields, Sir Neville Marriner | 8:42 |
| 1971-05 | Litaniae Lauretanae, K. 195: III. Salus infirmorum | | baritone vocals | Ileana Cotrubaş, Helen Watts, Robert Tear, John Shirley‐Quirk, Schola Cantorum of Oxford, Academy of St Martin in the Fields, Sir Neville Marriner | 3:32 |
| 1971-05 | Litaniae Lauretanae, K. 195: IV. Regina angelorum | | baritone vocals | Ileana Cotrubaş, Helen Watts, Robert Tear, John Shirley‐Quirk, Schola Cantorum of Oxford, Academy of St Martin in the Fields, Sir Neville Marriner | 5:33 |
| 1971-05 | Missa brevis No. 9 in B-flat major: “Agnus Dei; Dona nobis pacem” | | baritone vocals | Andrew Parrott, Schola Cantorum of Oxford, Helen Watts, Ileana Cotrubaș, John Shirley‐Quirk, Robert Tear, George Malcolm, Academy of St Martin in the Fields, Neville Marriner | 6:21 |
| 1971-07 | The Dream of Gerontius: Profiscere, anima Christiana... | | baritone vocals | Choir of King’s College, Cambridge, London Symphony Chorus, John Shirley‐Quirk, London Symphony Orchestra, Benjamin Britten | 6:00 |
| 1971-07 | The Dream of Gerontius: Thy judgement now is near.... | | baritone vocals | Choir of King’s College, Cambridge, London Symphony Chorus, Yvonne Minton, Peter Pears, John Shirley‐Quirk, London Symphony Orchestra, Benjamin Britten | 7:27 |
| 1971-08 – 1971-09 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": “Alles Vergängliche” | | baritone vocals and solo | Sir Georg Solti, Chicago Symphony Orchestra | 6:42 |
| 1971-09 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: b. Imple superna gratia | | baritone vocals and solo | Chicago Symphony Orchestra, Sir Georg Solti | 4:26 |
| 1971-09 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: c. Infirma nostri corporis | | baritone vocals and solo | Chicago Symphony Orchestra, Sir Georg Solti | 6:20 |
| 1971-09 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: d. Accende lumen sensibus | | baritone vocals and solo | Chicago Symphony Orchestra, Sir Georg Solti | 4:44 |
| 1971-09 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: e. Veni, creator… da gaudiorum praemia | | baritone vocals and solo | Chicago Symphony Orchestra, Sir Georg Solti | 3:49 |
| 1971-09 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: I. Teil. “Veni creator spiritus”: f. Gloria sit patri domino” | | baritone vocals and solo | Chicago Symphony Orchestra, Sir Georg Solti | 2:35 |
| 1971-09 | Symphony No. 8 in E-flat major “Symphony of a Thousand”: II Teil. Schlußszene aus "Faust": "Ewiger Wonnebrand” | | baritone vocals [Pater Ecstaticus] and solo | Chicago Symphony Orchestra, Sir Georg Solti | 1:35 |
| 1971-09 | Symphony No. 8 in E-flat major, Part II: Final scene from Goethe's Faust Part II: Alles Vergängliche | | baritone vocals | Chicago Symphony Orchestra, Sir Georg Solti | 5:28 |
| 1972-03-29 – 1972-03-30 | “Belshazzar’s Feast” (Conclusion) | | baritone vocals | John Shirley‐Quirk, London Symphony Orchestra Chorus, London Symphony Orchestra, André Previn | ?:?? |
| 1972-03-29 – 1972-03-30 | “Belshazzar’s Feast” (Part 1) | | baritone vocals | John Shirley‐Quirk, London Symphony Orchestra Chorus, London Symphony Orchestra, André Previn | ?:?? |
| 1972-03-29 – 1972-03-30 | Belshazzar's Feast: And in that same hour, as they feasted | | baritone vocals | John Shirley‐Quirk, London Symphony Chorus, London Symphony Orchestra, André Previn | 2:18 |
| 1972-03-29 – 1972-03-30 | Belshazzar's Feast: Babylon was a great city | | baritone vocals | John Shirley‐Quirk, London Symphony Chorus, London Symphony Orchestra, André Previn | 4:26 |
| 1972-03-29 – 1972-03-30 | Belshazzar's Feast: If I forget thee, O Jerusalem | | baritone vocals | John Shirley‐Quirk, London Symphony Chorus, London Symphony Orchestra, André Previn | 2:48 |
| 1972-03-29 – 1972-03-30 | Belshazzar's Feast: Praise ye the God of Gold | | baritone vocals | John Shirley‐Quirk, London Symphony Chorus, London Symphony Orchestra, André Previn | 5:19 |
| 1972-07 | Mass in B Minor, BWV 232: Et in Spiritum Sanctum Dominum | | bass vocals | Philharmonia Orchestra, Carlo Maria Giulini | 5:53 |
| 1972-07 | Mass in B Minor, BWV 232: Quoniam tu solus Sanctus | | bass vocals | Philharmonia Orchestra, Carlo Maria Giulini | 4:47 |
| 1972-09 | Szenen aus Goethes Faust: Dritte Abteilung. Alles Vergängliche ist nur ein Gleichnis | | baritone vocals | Aldeburgh Festival Singers, Dietrich Fischer‐Dieskau, Elizabeth Harrison, Felicity Palmer, Peter Pears, John Shirley‐Quirk, English Chamber Orchestra, Benjamin Britten | 9:19 |
| 1972-09 | Szenen aus Goethes Faust: Dritte Abteilung. Wie Felsenabgrund mir zu Füßen | | baritone vocals | Robert Lloyd, John Shirley‐Quirk, Wandsworth School Boys’ Choir, English Chamber Orchestra, Benjamin Britten | 6:47 |
| 1972-09 | Szenen aus Goethes Faust: Erste Abteilung. Du kanntest mich, O kleiner Engel | | baritone vocals | Meriel Dickinson, Dietrich Fischer‐Dieskau, Elizabeth Harwood, John Shirley‐Quirk, English Chamber Orchestra, Benjamin Britten | 5:06 |
| 1972-09 | Szenen aus Goethes Faust: Erste Abteilung. Wie anders, Gretchen, war dir's | | baritone vocals | Aldeburgh Festival Singers, John Shirley‐Quirk, English Chamber Orchestra, Benjamin Britten | 6:56 |
| 1972-09 | Szenen aus Goethes Faust: Zweite Abteilung. Herbei! herbei! Herein! herein! | | baritone vocals | Dietrich Fischer‐Dieskau, John Shirley‐Quirk, Wandsworth School Boys’ Choir, English Chamber Orchestra, Benjamin Britten | 5:16 |
| 1972-09 | Szenen aus Goethes Faust: Zweite Abteilung. Ihn sättigt keine Lust | | baritone vocals | Aldeburgh Festival Singers, John Shirley‐Quirk, English Chamber Orchestra, Benjamin Britten | 5:11 |
| 1972-11-22 – 1972-11-29 | Symphony no. 9 in D minor, op. 125 "Choral": IV. Finale. Presto - Allegro assai | | bass vocals | London Symphony Orchestra, Carlo Maria Giulini | 26:01 |
| 1972-11 | Shenandoah | | baritone vocals | Linden Singers, John Shirley‐Quirk, Wandsworth School Boys’ Choir, Steuart Bedford | 1:41 |
| 1972-11 | Tit for Tat: A song of enchantment | | baritone vocals | John Shirley‐Quirk, Benjamin Britten | 2:27 |
| 1972-11 | Tit for Tat: Autumn | | baritone vocals | John Shirley‐Quirk, Benjamin Britten | 1:13 |
| 1972-11 | Tit for Tat: Silver | | baritone vocals | John Shirley‐Quirk, Benjamin Britten | 1:45 |
| 1972-11 | Tit for Tat: Tit for tat | | baritone vocals | John Shirley‐Quirk, Benjamin Britten | 1:34 |
| 1972-11 | Tit for Tat: Vigil | | baritone vocals | John Shirley‐Quirk, Benjamin Britten | 1:43 |
| 1974-01 | Vespro della Beata Vergine, SV 206: III. Psalmus 109: Dixit Dominus | | baritone vocals | Jill Gomez, Philip Langridge, Monteverdi Choir, Felicity Palmer, Michael Rippon, John Shirley‐Quirk, Robert Tear, Monteverdi Orchestra, John Eliot Gardiner | 8:13 |
| 1974-01 | Vespro della Beata Vergine, SV 206: V. Psalmus 112: Laudate, pueri, Dominum | | baritone vocals | Jill Gomez, Philip Langridge, Monteverdi Choir, Felicity Palmer, Michael Rippon, John Shirley‐Quirk, Robert Tear, Monteverdi Orchestra, Philip Jones Brass Ensemble, John Eliot Gardiner | 6:55 |
| 1974-01 | Vespro della Beata Vergine, SV 206: VII. Psalmus 121: Laetatus sum | | baritone vocals | James Bowman, Jill Gomez, Philip Langridge, Monteverdi Choir, Felicity Palmer, Michael Rippon, John Shirley‐Quirk, Robert Tear, Monteverdi Orchestra, Philip Jones Brass Ensemble, John Eliot Gardiner | 8:01 |
| 1974-01 | Vespro della Beata Vergine, SV 206: XIII. Hymnus: Ave maris stella | | baritone vocals | James Bowman, Jill Gomez, Philip Langridge, Monteverdi Choir, Felicity Palmer, Michael Rippon, Salisbury Cathedral Boys' Choir, John Shirley‐Quirk, Robert Tear, David Munrow Recorder Ensemble, Monteverdi Orchestra, Philip Jones Brass Ensemble, John Eliot Gardiner | 10:10 |
| 1974-01 | Vespro della Beata Vergine, SV 206: XVII. Quia fecit mihi magna | | baritone vocals | Monteverdi Choir, Michael Rippon, John Shirley‐Quirk, Monteverdi Orchestra, John Eliot Gardiner | 1:05 |
| 1974 | Le Messie: n° 4 - Récit de basse | | bass vocals | John Shirley‐Quirk, English Chamber Orchestra, Raymond Leppard | ?:?? |
| 1974 | Le Messie: n° 10 - Récit de basse | | bass vocals | John Shirley‐Quirk, English Chamber Orchestra, Raymond Leppard | ?:?? |
| 1974 | Le Messie: n° 11 - Aria de basse | | bass vocals | John Shirley‐Quirk, English Chamber Orchestra, Raymond Leppard | ?:?? |
| 1974 | Le Messie: n° 38 - Aria de basse | | bass vocals | John Shirley‐Quirk, English Chamber Orchestra, Raymond Leppard | ?:?? |
| See all 555 relationships |
| vocals |
|---|
| Carmina Burana | | baritone vocals | Carl Orff; Burrowes, Devos, Shirley‐Quirk, Brighton Festival Chorus, Royal Philharmonic Orchestra, Antal Doráti | |
| Death in Venice | | | Britten | |
| Hippolyte et Aricie | | baritone vocals [Thésée] | Rameau; Robert Tear, Angela Hickey, Janet Baker, John Shirley‐Quirk, English Chamber Orchestra, Anthony Lewis | |
| Pulcinella / La Consagración de la Primavera (Orquesta Sinfónica de Londres feat. conductor: Claudio Abbado) | | bass vocals | Igor Strawinsky; Teresa Berganza, Ryland Davies, John Shirley‐Quirk, London Symphony Orchestra, Claudio Abbado | |
| Requiem | | bass vocals | Mozart; Ileana Cotrubas, Helen Watts, Robert Tear, John Shirley‐Quirk, Academy and Chorus of St. Martin in the Fields, Neville Marriner | |
| Requiem / Krönungsmesse / Coronation Mass / Exsultate, jubilate / Litany K. 195 | | bass-baritone vocals | Wolfgang Amadeus Mozart; Cotrubaş, Watts, Tear, Shirley‐Quirk, Academy of St Martin in the Fields, Sir Neville Marriner | |
