Saturday, 31 January 2015

Review: Liszt - Totentanz, Malediction, Fantasia - Jorge Bolet - LSO, Fischer, 1984, Decca


Recorded in March 1984 in Walthamstow Assembly Hall, London, these recordings capture Jorge Bolet, his Bechstein, the London Symphony and Ivan Fischer in top form. The total timing is miserable (about 46 minutes), but the three works are among Liszt's finest creations for piano and orchestra.

Malediction is an early work for piano and strings, an astonishing thing for an inexperienced young composer to create in the mid-1830s. As Humphrey Searle has told us, the beginning explores a stunning effect that was not repeated until Stravinsky's Petrouchka – some 80 years later! The MS is untitled; the misleading title comes from the opening phrase, but the scope of the piece is considerably broader. The Fantasia is an ingenious arrangement of Liszt's own 14th Hungarian Rhapsody. Light stuff, but great fun. Totentanz is generally considered Liszt's greatest masterpiece in the genre, and with good reason. Constructed as a set of variations on the "Dies Irae" chant, the work reveals Death in all of her/his/its guises. Bemused Bela Bartok lamented the lyrical passages; he thought they weakened the work. He might have thought otherwise could he hear this recording.

Much has been written, with some justification but also with a great deal of exaggeration, about the inadequacy of Jorge Bolet's late recordings for Decca. Slow, stodgy, sterile they have been called. This is tosh. You needn't worry about this recording anyway. Jorge burns and melts the keyboard. The playing here reveals all of his best qualities: enormous sonority without banging, beauty of sound without lacking drama, exquisite phrasing without losing the overall structure, subtle tempo fluctuations and dramatic accents without self-indulgent mannerisms. In short, virtuosity and musicianship of the highest order. Never have these works been taken more seriously. Never have they been played in a grander and nobler way. The results fully justify the means.

There is an early recording (1960) of the Fantasia with Robert Irving and Symphony of the Air for Everest. It is a fine recording, in stellar early stereo captured on 35 mm magnetic film, but it is no match for this one. And I don't mean the sonics. In 1960, Bolet treats the Fantasia as a showpiece. In 1984, he treats it as a masterpiece. Of course it is both. But given the choice, I will definitely go with the digital rendition.

If you are fan of Cziffra's Fantasia and Zimerman's Totentanz, you may want to skip this recording. If you want just one recording of these works as a reference, you can do so much worse than this one. If you seriously care for Liszt's works for piano and orchestra, you have no excuse to skip this recording. If you by any chance happen to be a fan of Jorge Bolet but still don't have this recording, what are you waiting for?

The sound is glorious, with stupendous dynamic range (note the orchestral explosion in the end of Totentanz!) and perfect balance between piano and orchestra. Fischer handles the baton with authority and understanding. He easily rivals Karajan in the Fantasia and clearly surpasses Ozawa in Totentanz.

Great stuff. Worth having at any price. Get it while you still can.

Karajan and Brahms’ Four: A Brief Comparison


The symphonies of Johannes Brahms form a curious quartet. The First may not be “Beethoven’s Tenth”, as Hans von Bülow dubbed it, but it’s a journey of epic proportions all the same. The Second may have been Brahms’ most inspired symphony, but I have always found it the least memorable. The Third, by turns wistful and grand, may be the most unjustly underrated symphonic work by a major composer in the standard repertoire. The Fourth is a perfect masterpiece. For once, Johannes let his hair down and surpassed himself.

Karajan conducted the symphonies for more than 50 years, from the 1930s to 1988, though by no means equally often. The First was his greatest favourite (143 performances), followed closely by the Second (134 performances). The Third and the Fourth managed only 50 and 61 performances, respectively. He recorded them as a set on three occasions, always with the Berlin Philharmonic for DG, in 1963-64, in 1977-78, and in 1987-88. The difference in the sound is considerable, and though Karajan was genetically incapable of playing Brahms badly, at least one set fails to reach the greatest artistic heights.


The 60s set is splendid. Unlike Karajan’s first take of Beethoven’s symphonies, which is overrated for historical reasons, this one really is one of the Brahmsian summits of his recorded legacy. The sound is sumptuous and spacious, remarkable for its age and little dated by modern standards; occasionally there is a slight shrillness in the strings and the brass, but nothing to make fuss about. Add to this the compelling musicianship, as exciting as a live concert or even a dress rehearsal, and you have a no-brainer. Essential set for Karajan and Brahms aficionados alike. The First is the superstar. It may be the finest Karajan ever did. There is a sense of spontaneity he didn’t always achieve in this elusive work. From the arresting opening (one of the greatest in the symphonic repertoire) to the sweeping conclusion, it flows as smoothly as it almost never does.

The only problem with this set is that it’s not available as a set. I don’t know about old editions, but the new remasters are spread on three different CDs. The Second and the Third are collected together. The First is coupled with Schumann’s First from 1971 in Originals series. The Fourth can be found on the Karajan: The Music, The Legend twofer (CD+DVD) or, if you don’t mind the repetition or the trouble of acquiring it, the Japanese edition of the Third and the Fourth. DG really should consider re-issuing these recordings as a handsome set. They deserve it. They sure have earned it.



The 70s set is strange. Interpretation-wise, the unbridled approach, so exhilarating in the 60s, has degenerated into questionable histrionics and tense, debilitating urgency. Occasionally, as in the finale of the Fourth for instance, this is refreshing. But for the most part it is plain awkward. It might benefit Tchaikovsky, Richard Strauss or even Beethoven, but certainly not a timid creature like the good old Johannes. Worse than that, the late analogue sound is dreadful. I wonder how it was approved for release. Flat, harsh, arid and right-up-your-face, it is nearly unlistenable. The strings and the brass have a metallic edge that grates on the ear. In short, it is the epitome of “manipulated”, “doctored”, etc. sound. I don’t mind it’s artificial; every recording is. I just don’t think the music is well served by it.

Ironically enough, this is most easily available set. It has been released on two or three discs (together with the Tragic Overture and the Haydn Variations) countless times, including in the so-called “Karajan Symphony Edition”. Avoid it anyway.


The 80s set is magnificent. I suspect I am not even in the minority here. I am probably the only person in the world who considers this set Karajan’s best. But as my favourite writer says: “Nor does it greatly disturb me to discover that my judgement is at variance with that of the majority. I have a certain confidence in my instinct.” If I am forced to choose between them, I will be very sorry to part with the 60s set, but I will not hesitate to do so.

The digital set has not a single weakness. The sound is stupendous, almost as rich and sensuous as the one from the 60s, but with marked improvement in terms of clarity and dynamics. The interpretations have matured and mellowed. They are slower and weightier, too. The near-hysteria of the 70s is toned down and there is a polish absent in the 60s set. Yet there is nothing slack or slick, nothing pretentious or soporific, in these performances. On the contrary, the dramatic intensity is shattering; the brass and the timpani are more prominent, often to a great effect, and the strings, though less lush than in the 60s, boast unheard-of commitment and precision. Just listen to the development in the first movement, or to whole finale, of the Third. The First may not be quite up to the landmark from 60s, but neither is much inferior to it. The Fourth is the superstar. It is by far the finest Karajan ever did. Note the stunning finale of the first movement where he creates something that must be heard to be believed. The trombones in the finale for once don’t blare, and the effect is chilling. In case you wondered, the good old Johannes does thrive on subtlety and sensitivity.

 Getting this set as a set isn’t easy, either. The old 1991 edition is very nice, on three discs and including the Tragic Overture and the Haydn Variations (both from 1983). It’s been out of print for ages but cheap second-hand copies can still be found (for example, here). There once was a Japanese version of this set, but it must by now be even scarcer and considerably more expensive than the original. Fairly recently, in 2001, DG released, for the first time ever, the four symphonies squeezed on two CDs in their DUO series. For some obscure reason, this is not available on the Amazons. If you search hard enough online, you may still find it reasonably priced. Look for a green cover with the young Johannes on it.

Miscellaneous recordings. Karajan first recorded the First in 1943 with the Concertgebouw. Richard Osborne has gone as far as suggesting that this is the finest of his six studio recordings. He must have smoked something really strong! The Philharmonia years yielded recordings of the First (1952), the Second (1955) and the Fourth (1955). Only the Second, recorded in marvellously vivid early stereo, can stand comparison with the Berlin remakes. (The same goes for the Unfinished from the same year with the same orchestra, also on EMI in the same superb stereo.) The Fourth is an interesting apprentice recording (in mono, by the way), but neither Karajan nor the orchestra seem to have been ready for it. If you are in love with the “Decca Sound”, the First (1960) and the Third (1960) with the Vienna Philharmonic are not to be missed.


Video recordings. The first two symphonies from the digital set have been released on DVD. How much they overlap with the audio versions is debatable, but the performances are terrific all the same; no quibbles about the sound or the picture. If we are to believe John Hunt, Karajan’s most conscientious discographer, the Third and the Fourth were also recorded on video. Why they have never been released is an enduring mystery. The Unitel DVD that was released in 2008 for Karajan’s Centenary collects incandescent live performances with the Berlin Philharmonic from 1973. Very much worth seeing and hearing!

Bottom line. Depending on your personal preferences in terms of sound and vision, the choice is between the 60s and the 80s set. The old set is rightly and lavishly praised. I don’t really know why the digital one has had such a bad press. The 70s set is for Karajan collectors only. Even if you happen to like the interpretation, the sound alone disqualifies it. The one set that everybody must avoid is the travesty in Karajan The Collection which collects the first three symphonies from the 80s and the Fourth from the 70s. The difference in the sound alone is jarring and very, very unpleasant. From the miscellaneous recordings, only the Second with Philharmonia is really indispensable. 

The set to be avoided!

Tuesday, 20 January 2015

Karajan and Tchaikovsky’s Late Symphonies: A Brief Comparison



Tchaikovsky’s Fourth, Fifth and Sixth symphonies, so different from one another yet so unmistakably Tchaikovskian, were cornerstones of Karajan’s career every bit as important as the symphonies of Beethoven or Brahms. They entered his symphonic repertoire before WWII and stayed there for some half a century or so. He recorded them commercially at least four times. Three of these sets, in fine recent remasters, are conveniently available as twofers.

1964-66, BPO, DG; 2003, OIBP, Karajan The Collection


These are fine performances, now available in better-than-ever-before sound. All the same, they are of mostly historical interest. Both of the next two sets have, in their different ways, vastly superior sound. This one tends to be a little muddy (woodwinds, timpani) or harsh (brass, cymbals), pitfalls of Jesus-Christus-Kirche as a recording venue which Günter Hermanns, Karajan’s Tonmeister for DG, didn’t always avoid. (Neither did Wolfgang Gülich on EMI, for that matter.) And the sound does matter – unless you still believe the old hokum about Tchaikovsky’s amateurish orchestration. Karajan’s interpretations didn’t change much over the years, but they did become more refined and better nuanced. It was all “smoothing the edges” more – according to the Karajan detractors who claim that he never made another fine recording after those DECCA sessions with the VPO in 1959-60. But that’s another story.

The Sixth is notable for the relatively slow, Karajan-wise, climax in the first movement. Also, it is the best recorded of the bunch, although it was actually recorded first (1964). The Fifth is given a very dramatic reading. I don’t know how Richard Osborne decided it is “the most gracious and urbane” of all recordings of this symphony made by Karajan. Then again, Mr Osborne is no stranger to writing nonsense in his liner notes. Again according to him, the Fifth is “less troubled (and less original)” than the other two. Ha! You bet!

On the whole, this twofer is a very good place to start. All the same, for the real thing we have to enter the 1970s.

1971, BPO, EMI; 2007, remastered


If you are used to the DG sound, this one will come as a shock. Don’t worry. Stay calm. Keep listening. Things will normalise again. Trust me, I know. I’ve been through it.

I don’t know about early editions, but the 2007 remaster boasts incredible sound: spacious, deep, natural. The strings are unbelievable! So many details for which you have to listen carefully on DG here leap to your attention. Unlike some other EMI recordings from the 1970s, the woodwinds are not distant, nor the timpani overblown. My only quibble is that the brass is not clear enough in the grand climaxes. But you can’t win them all.

Sound apart, these are leaner, more athletic performances than the ones on DG. There is a sense of abandon that’s almost apocalyptic. I use the word in its literal sense. The Berliners plays as if the End of the World is coming and there is no tomorrow. All three symphonies are superbly performed, but the Sixth is special. It may be the best Karajan ever did. I do not agree, and never will, with his rather fast take of the climax in the first movement, but here, for once, it sounds almost right. The prominent strings work miracles. The Scherzo sounds totally different, the Waltz is spookier than ever, and the finale will displace your furniture. I guarantee. Just listen to the low strings after the first climax. All in all, stupendous performance in stupendous sound!

1975-76, BPO, DG; 1997, OIBP


This is, on the whole, my favourite set. The sound was already superb on the old box-set edition (4 CDs, 6 symphonies, 1975-79) and, fortunately, the remastering didn’t change that. Compared to EMI, the strings here remind one of a chamber orchestra; but the tone is rich and deep. The sound is brighter – some would say brittle – and that is not to everybody’s taste, but I have no problems with it. The dynamic range in general and the brass in particular are totally superior to EMI: the climaxes are magnificent yet clear. Just listen to the three cataclysmic chords in the end of the Fourth’s first movement, while the main theme wails high in the violins, and the following sound hurricane. Swept you out together with the armchair you were sitting in, didn’t it? The Fourth, indeed, is a standout. Karajan surpassed himself. None of his other five studio attempts comes close. The Fifth is rather different than the EMI version, but it stands well to comparison. The Sixth on EMI is unsurpassed, but this one is no slouch either.

1984, VPO, DG; 1994, OIBP, Karajan Gold, not available as set


This is the most disappointing “set”. Only the Fourth (Karajan’s forte) reminds, from time to time, of his finest Tchaikovsky. The climaxes in the Fifth and the Sixth are strangely tepid. They give the impression of routine drudgery made for the sake of the digital catalogue. This is worthy neither of Karajan nor of the VPO. The sound is, of course, crystal clear and very detailed, but awfully flat and with somewhat limited dynamic range. The balance is rather off: trumpets far too prominent, horns and trombones quite the opposite. The strings are dreadfully thin and weak! Surely the string section of the VPO can do better than that!


The best about these performances is that they were captured on video and released on DVD. They are much better seen than listened to; the camera is often revealing about some less obvious details of the orchestration. And they make for an interesting comparison with the younger and considerably more vigorous Karajan from the “bonus track”. If you are a Tchaikovsky or a Karajan aficionado, you probably won’t regret the purchase. Then again, you just might. The bad news is that the sound on the SONY DVDs, especially the 2007 editions “re-recorded at the original venues” (what for!?), is even more dreadful than the one on the DG CDs. The dynamic range is flattened to death! And the balance is by no means improved. Judging by the Fourth symphony alone, the problem with the balance was already there in the early SONY DVD (2000), but the limited dynamic range is largely a result of the re-recording procedure. Get the VHS from the 1980s if you can. They are probably superior to both DVD releases.

Bonus track: 1973, BPO, Unitel/DG, Live, DVDX2


Coming from the years between the EMI and the DG sets, these live performances are rather disappointing, at least by Karajan’s somewhat exalted standards. Neither the sound nor the performance lives up to the studio recordings. To be sure, they are hugely preferable to the videos with the VPO. But that doesn’t say much, does it?

(To be exact, there is one "set" more, with Philharmonia for EMI (1953-56), as well as isolated recordings of separate symphonies (Fourth for EMI with BPO from 1960, Sixth with BPO for DG from 1939 and with VPO for EMI from 1949), but these are of interest only to fanatical Karajan collectors who want to trace his development.)

Bottom line

Karajan’s Tchaikovsky may not be idiomatic enough for the connoisseurs, but for me great music transcends national borders (at least the ones between Russia and the West). I love Mravinsky’s grand vision, Rozhdestvensky’s devastating passion, Gergiev’s scary intensity (especially in the Pathetique) and even Svetlanov’s rushed brilliance, yet if I have to choose but one set, I have no doubt which one it will be. As a total experience, for me, Karajan from the 1970s tops them all with a vengeance. Whether one prefers the EMI or the DG sound is a matter of taste. I, for one, would love to combine the EMI strings with the rest from DG. But, like I said, you can’t win them all. Therefore, I wouldn’t want to be without either set. The other two sets are of limited historical (1960s) or visual (1980s) interest.

Monday, 5 January 2015

Herbert von Karajan: A Compressed Discography


Herbert von Karajan:
A Compressed Discography

NB. The aim of this discography is to demonstrate, in the shortest possible space, Herbert von Karajan’s tireless industry and the impressive scope of his recorded legacy. The list includes all recordings that have ever been officially released, including (most) pirate live recordings, sorted in alphabetical order by the composer’s last name. Unpublished recordings and radio broadcasts are omitted. So, for the sake of clarity, are different editions, remasters and other such stuff.

For every recording, date, orchestra, label, type (studio or live) and soloists (if applicable) are given; in a few exceptional cases, the place may also be supplied. When a recording has been released by several labels, as in many piratical cases, only one selected edition is given. When a recording stretched over many months or even years, usually only the date of completion is given.

Each entry consists of all recordings of a single work. The exceptions are Beethoven’s incidental music to Egmont and the albums with Christmas songs, National Anthems and Prussian marches: they are listed as single works because they mostly contain obscure stuff of limited interest. A few other recordings of distinct works, for example dances by Mozart, Brahms and Dvorak, concertos by Vivaldi or Handel’s Concerti grossi, are grouped because they were recorded together and only once. The 1969 recording of the Egmont Overture is the only deliberate duplication: it is listed both separately and as a part of the incidental music.

For easier navigation, staples of the repertoire (≥3 official recordings; ≥2 for operas) and the first time a composer’s name appears are marked in bold. Unless otherwise noted, all recordings are audio and have appeared on CD and/or DVD, though they may no longer be in print or even available second-hand. Those who want to know more are referred to John Hunt’s Philharmonic Autocrat 1 (2000) as well as to the disco- and videography in Paul Robinson’s Herbert von Karajan: The Maestro as Superstar (2007).

Abbreviations: S = Studio; L = Live; V = Video; V+A = Video and Audio; WP = Wiener Philharmoniker; BP = Berliner Philharmoniker; PO = Philharmonia Orchestra; LS = Orchestra and Chorus of La Scala; BFO = Bayreuth Festival Orchestra; LFO = Lucerne Festival Orchestra; WS = Wiener Singverein; WSC = Chorus of Wiener Staatsoper; DOC = Chorus of Deutsche Oper, Berlin; WSy = Wiener Symphoniker; BS = Berlin Staatskapelle; DS = Dresden Staatskapelle; OP = Orchestre de Paris; CA = Concertgebouw Amsterdam; LP = Released on LP only.

Statistics: 530 entries, 496 distinct works by 93 composers (keeping in mind the abovementioned exceptions), including 97 symphonies, 40 operas, 14 choral works, 50 concertos with soloists and 295 miscellaneous works.

1.  Adam – Giselle (abridged) – 9/61, WP, DECCA (S).
2.  Albinoni – Adagio in G minor (arr.: Giazotto) – 8/69, BP, DG (S); 9/83, BP, DG (S).
3.  Bach – Air (Orchestral Suite No. 3) – 9/83, BP, DG (S).
4.  Bach – Brandenburg Concerto No. 1 – 8/64, BP, DG (S); 3/67, BP, Arkadia (L); 8/68, BP, Natise (L); 5/69, BP, Melodya (L, Moscow); 1/79, BP, DG (S).
5.  Bach – Brandenburg Concerto No. 2 – 8/64, BP, DG (S); 8/68, BP, Nuova Era (L); 1/79, BP, DG (S).
6.  Bach – Brandenburg Concerto No. 3 – 8/64, BP, DG (S); 3/67, BP, Arkadia (L); 5/67, BP, Nuova Era (L); 8/68, BP, Natise (L); 1/79, BP, DG (S).
7.  Bach – Brandenburg Concerto No. 4 – 8/64, BP, DG (S); 8/68, BP, Nuova Era (L); 9/70(76?), BP, Foyer (L); 1/79, BP, DG (S).
8.  Bach – Brandenburg Concerto No. 5 – 8/64, BP, DG (S); 8/68, BP, Natise (L); 1/79, BP, DG (S).
9.  Bach – Brandenburg Concerto No. 6 – 2/65, BP, DG (S); 8/68, BP, Nuova Era (L); 1/79, BP, DG (S).
10.  Bach – Magnificat, BWV 243 – 2/79, Tomowa-Sintow, Baltsa, Schreier, Luxon, DOC, BP, DG (S); 12/84, Blegen, Muller-Molinari, Araiza, Holl, RIAS choir, BP, Telemondial (L, V).
11.  Bach – Mass in B minor – Schwarzkopf, Ferrier, Ludwig, Poll, WS, WP, Arkadia (L); 11/52-7/53, Schwarzkopf, Höffgen, Gedda, Rehfuss, WS, PO, EMI (S); Price, Ludwig, Gedda, Souza, Berry, WS, WP (L, LP: MM); 9/73, Janowitz, Ludwig, Schreier, Kerns, Ridderbusch, WS, BP, DG (S).
12.  Bach – Mass in B minor: Christe eleison; Laudamus te; Et in unum Dominum – 6/50, Schwarzkopf, Ferrier, WSy, EMI (S).
13.  Bach - Matthäus-Passion – Seefried, Ferrier, Sterba, Feldermayer, Berry, WS, WP, Andante (L); 1/72, Janowitz, Ludwig, Schreier, Fischer-Dieskau, Berry, Laubenthal, Diakov, WS, BP, DG (S).
14.  Bach – Orchestral Suite No. 2 – 8/64, BP, DG (S).
15.  Bach – Orchestral Suite No. 3 – 8/64, BP, DG (S).
16.  Bach – Violin Concerto, BWV 1041 – 8/66, Ferras, BP, DG (S); 3/67, BP, Arkadia (L).
17.  Bach – Violin Concerto, BWV 1042 – 8/66, Ferras, BP, DG (S); 12/84, Mutter, BP, Telemondial (L, V).
18.  Bach – Violin Concerto, BWV 1043 – 8/66, Ferras, Schwalbe, BP, DG (S).
19.  Balakirev – Symphony No. 1 – 11/49, PO, EMI (S).
20.  BartokConcerto for Orchestra7/53, PO, EMI (S); 11/65, BP, DG (S); 5/74, BP, EMI (S).
21.  Bartok – Music for Strings, Percussion and Celesta11/49, PO, EMI (S); 11/60, BP, EMI (S); 8/69, BP, SG (S).
22.  Bartok – Piano Concerto No. 3 – 8/72, Anda, DS, DG (L).
23.  Beethoven – Ah perfido (concert aria) – 9/54, Schwarzkopf, PO, EMI (S).
24.  Beethoven – Congratulation Menuet, WoO 3 – 69, BP, DG (S).
25.  Beethoven – Coriolan7/53, PO, EMI (S); 9/65, BP, DG (S); 5/69, BP, Melodya (L, Moscow); 12/75, BP, Unitel (L, V); 12/85, BP, DG (S).
26.  Beethoven – Die Geshöpfe des Prometheus – 1/69, BP, DG (S).
27.  Beethoven – Die Ruinen von Athens – 1/69, BP, DG (S).
28.  Beethoven – Die Weihe des Hauses – 1/69, BP, DG (S).
29.  Beethoven – Egmont7/53, PO, EMI (S); 1/69, BP, DG (S); 12/75, BP, Unitel (L, V); 12/85, BP, DG/Telemondial (S, V+A).
30.  Beethoven – Egmont (incidental music) – 1/69, BP, DG, Janowitz (S).
31.  Beethoven – Fidelio – 7/57, Goltz, Jurinac, Zampieri, Kmentt, Majkut, WSC, WP, Arkadia (L); 12/60, Nilsson, Lipp, Vickers, Unger, Gullino, Hotter, LS, HRE (L); 5/62, Janowitz, Ludwig, Vickers, Berry, WSC, WP, DG (L); 12/63, Ludwig, Uhl, Prey, Berry, Stolze, Bavarian Opera, Arkadia (L); 10/70, Dernesch, Donath, Vickers, van Dam, Kelemen, Ridderbusch, DOC, BP, EMI (S).
32.  Beethoven – Fidelio: Overture – 9/65, BP, DG (S); 12/85, BP, DG (S, V+A).
33.  Beethoven – Fidelio: “Abscheulicher…” – 9/54, Schwarzkopf, PO, EMI (S).
34.  Beethoven – Grosse Fuge (arr.: Weingartner) – 8/69, BP, DG (S).
35.  Beethoven – König Stephan – 1/69, BP, DG (S).
36.  Beethoven – Leonore No. 1 – 1/69, BP, DG (S).
37.  Beethoven – Leonore No. 2 – 1/69, BP, DG (S).
38.  Beethoven – Leonore No. 39/43, CA, DG (S); 7/53, PO, EMI (S); 9/65, BP, DG (S); 12/85, BP, DG/Telemondial (S, V+A).
39.  Beethoven – Missa Solemnis9/58, Schwarzkopf, Ludwig, Gedda, Zaccaria, PO, WS, EMI/Testament (S); 8/59, Price, Gedda, Ludwig, Zaccaria, WS, WP, EMI (L); 2/66, Janowitz, Ludwig, Wunderlich, Berry, BP, WS, DG (S); 2/66, Janowitz, Ludwig, Wunderlich, Berry, BP, WS, Arkadia (L); 9/74, Janowitz, Baltsa, Schreier, Van Dam, BP, WS, EMI (S); 4/79, Tomowa-Sintow, Baltsa, Tappy, Van Dam, BP, WS, Unitel (L, V); 9/85, Cuberli, Schmidt, Cole, Van Dam, BP, WS, DG/Telemondial (S, V+A).
40.  Beethoven – Namensfeier – 1/69, BP, DG (S).
41.  Beethoven – Piano Concerto No. 1 – 12/66, Eschenbach, BP, DG (S); 9/77, Weissenberg, BP, EMI (S).
42.  Beethoven – Piano Concerto No. 2 – 9/77, Weissenberg, BP, EMI (S).
43.  Beethoven – Piano Concerto No. 3 – 5/57, Gould, BP, Sony (L); 9/77, Weissenberg, BP, EMI (S); 12/80, Pollini, BP, Exclusive (L).
44.  Beethoven – Piano Concerto No. 4 – 6/51, Gieseking, PO, EMI (S); 9/74, Weissenberg, BP, EMI (S).
45.  Beethoven – Piano Concerto No. 5 – 6/51, Gieseking, PO, EMI (S); 5/74, Weissenberg, BP, EMI (S).
46.  Beethoven – Ritterballet, WoO 1 – 69, BP, DG (S).
47.  Beethoven – Symphony No. 111/53, PO, EMI (S); 12/61, BP, DG (S); 8/66, WP, Andante (L); 12/71, BP, Unitel (S, V); 3/77, BP, DG (S); 1/84, BP, DG/Telemondial (S, V+A).
48.  Beethoven – Symphony No. 211/53, PO, EMI (S); 2/62, BP, DG (S); 11/71, BP, Unitel (S, V); 3/77, BP, DG (S); 2/84, BP, DG/Telemondial (S, V+A).
49.  Beethoven – Symphony No. 35/44, BS, Koch (S); 11/52, PO, EMI (S); 9/53, BP, Artemis (L); 11/62, BP, DG (S); 9/69, BP, Arkadia (L); 6/70, BP, Foyer (L); 10/71, BP, Unitel (S, V); 3/77, BP, DG (S); 4/82, BP, Sony (L, V); 1/84, BP, DG/Telemondial (S, V+A).
50.  Beethoven – Symphony No. 411/53, PO, EMI (S); 11/62, BP, DG (S); 5/67, BP, Nuova Era (L); 12/71, BP, Unitel (S, V); 9/76, BP, DG (S); 12/83, BP, DG/Telemondial (S, V+A); 4/85, BP, Testament (L, London).
51.  Beethoven – Symphony No. 511/48, WP, EMI (S); 11/54, PO, EMI (S); 11/57, BP, Dynamic (L, V, Tokyo); 3/62, BP, DG (S); 2/66, BP, DG (S, V); 5/69, BP, Melodya (L, Moscow); 2/72, BP, Unitel (S, V); 10/76, BP, DG (S); 11/82, BP, DG (S, V+A).
52.  Beethoven – Symphony No. 67/53, PO, EMI (S); 2/62, BP, DG (S); 10/67, BP, Unitel (S, V); 5/69, BP, Melodya (L, Moscow); 5/72, BP, Testament (L, London); 10/76, BP, DG (S); 11/82, BP, DG/Telemondial (S, V+A).
53.  Beethoven – Symphony No. 76/41, BS, DG (S); 11/51, PO, EMI (S); 2/57, WSy, Orfeo (L); 3/59, WP, DECCA (S); 3/62, BP, DG (S); 10/71, BP, Unitel (S, V); 3/77, BP, DG (S); 12/83, BP, DG/Telemondial (S, V+A).
54.  Beethoven – Symphony No. 81/46, WP, EMI (S); 5/55, PO, EMI (S); 4/61, BP, Arkadia (L); 1/62, BP, DG (S); 11/71, BP, Unitel (S, V); 3/77, BP, DG (S); 2/84, BP, DG/Telemondial (S, V+A).
55.  Beethoven – Symphony No. 911/47, Schwarzkopf, Höffgen, Patzak, Hotter, WS, WP, EMI (S); 7/55, Schwarzkopf, Höffgen, Haefliger, Edelmann, WS, PO, EMI (S); 4/57, Grümmer, Höffgen, Häfliger, Frick, St Hedwig Cathedral Choir, BP, Artemis (L); 11/62, Janowitz, Rössl-Majdan, Kmentt, Berry, WS, BP, DG (S); 1/68, Janowitz, Ludwig, Thomas, Berry, DOC, BP, Artemis (L); 2/68, Janowitz, Ludwig, Thomas, Berry, DOC, BP, Unitel (S, V); 6/70, Janowitz, Reynolds, Hollweg, Berry, WS, BP, Natisse (L); 3/77, Tomowa-Sintow, Baltsa, Schreier, Van Dam, WS, BP, DG (S); 12/77, Tomowa-Sintow, Baltsa, Kollo, Van Dam, DOC, BP, Unitel (L, V); 10/79, Tomowa-Sintow, Baldani, Schreier, Van Dam, WS, BP, DG (L, Tokyo); 9/83, Perry, Baltsa, Cole, Van Dam, WS, BP (S); 9/86, Cuberli, Müller-Molinari, Cole, Grundheber, WS, BP, Telemondial (S, V).
56.  Beethoven – Triple Concerto – 9/69, Oistrakh, Rostropovich, Richter, BP, EMI (S); 9/79, Mutter, Ma, Zeltser, BP, DG (S).
57.  Beethoven – Violin Concerto1/67, Ferras, BP, DG (S); 9/79, Mutter, BP, DG (S); 2/84, Mutter, DG/Telemondial (S, V).
58.  Beethoven – Wellingtons Sieg – 1/69, BP, DG (S).
59.  Berg – Three Pieces for Orchestra – 12/72, BP, DG (S).
60.  Berg – Lyric Suite – 11/73, BP, DG (S).
61.  Berlioz – La Damnation de Faust: Ballet des Sylphes/Menuet des Follets – 9/71, BP, DG (S).
62.  Berlioz – La Damnation de Faust: Rakoczy March1/58, PO, EMI (S); 12/78, BP, Unitel (L, V); 1/79, BP, EMI (S).
63.  Berlioz – Le Carnaval Romain – 1/58, PO, EMI (S).
64.  Berlioz – Les Troyens: Royal Hunt and Storm – 1/59, PO, EMI (S).
65.  Berlioz – Symphonie Fantastique7/54, PO, EMI (S); 12/64, BP, DG (S); 8/66, BP, Natisse (L); 10/70, OP, EMI (S, V); 2/75, BP, DG (S).
66.  Bizet Carmen10/54, Simionato, Gedda, Güden, Roux, WS, WSy, Andante (L, radio broadcast, probably of concert performance); 1/55, Simionato, Carteri, Di Stefano, Roux, LS, Arkadia (L); 12/61, Resnik, Guden, Usunow, Protti, WSC, WP, Arkadia (L); 11/63, Price, Corelli, Freni, Merrill, WSC, WP, RCA (S); 7/67, Bumbry, Vickers, Freni, Diaz, WSC, WP, Arkadia (L); 8/67, Bumbry, Vickers, Freni, Diaz, WSC, WP, Unitel (S, V); 9/82, Baltsa, Carreras, Van Dam, Ricciarelli, Choir of Paris Opera, BP, DG (S).
67.  Bizet – Carmen Suite – 1/58, PO, EMI (S); 12/70, BP, DG (S).
68.  Bizet – Carmen Suite: Entr’acte (Act 4) – 7/54, PO, EMI (S). [Entr’actes to Acts 2 and 3 also recorded during the same sessions, but never released]
69.  Bizet – L'Arlesienne Suite No. 11/58, PO, EMI (S); 12/70, BP, DG (S); 2/84, BP, DG (S).
70.  Bizet – L'Arlesienne Suite No. 21/58, PO, EMI (S); 12/70, BP, DG (S); 12/78, BP, Unitel (L, V, no Minuet); 1/79, BP, EMI (S); 2/84, BP, DG (S).
71.  Boccherini – Quintettino – 69, BP, DG (S).
72.  BorodinePolovitsian Dances11/54, PO, EMI (S); 9/60, PO, EMI (S); 1/71, BP, DG (S).
73.  Brahms – Double Concerto – 2/83, Mutter, Meneses, BP, DG (S).
74.  Brahms – Ein deutsches Requiem11/47, Schwarzkopf, Hotter, WS, WP, EMI (S); 8/57, Della Casa, Fischer-Dieskau, WS, WP, EMI (L); 5/64, Janowitz, Waechter, WS, BP, DG (S); 10/76, Tomowa-Sintow, Van Dam,  WS, BP, EMI (S); 3/78, Janowitz, Van Dam, WS, BP, Unitel (L, V); 5/83, Hendricks, Van Dam, WS, WP, DG (S); 6/87, Battle, Van Dam, WS, WP, Telemondial (S, V).
75.  Brahms – Haydn Variations5/55, PO, EMI (S); 2/64, BP, DG (S); 5/67, BP, Nuova Era (L, Florence); 10/76, BP, EMI (S); 2/83, BP, DG (S).
76.  Brahms – Hungarian Dances Nos. 1, 3, 5, 6, 17, 18, 19, 20 – 9/59, BP, DG (S).
77.  Brahms – Piano Concerto No. 2 – 10/58, Richter-Haaser, BP, EMI (S); 5/64, Backhaus, BP, Cetra (L); 9/67, Anda, BP, DG (S); 9/68, Anda, BP, Arkadia (L).
78.  Brahms – Symphony No. 19/43, CA, DG (S); 7/52, PO, EMI (S); 2/55, BP, Classical Collection (L, Washington); 3/59, WP, DECCA (S); 10/63, BP, DG (S); 3/70, BP, Arkadia (L); 3/73, BP, Unitel (L, V); 2/78, BP, DG (S); 6/86, BP, Telemondial (S, V); 1/87, BP, DG (S); the last two recordings may stem from the same master tapes; 10/88, BP, Testament (L, London).
79.  Brahms – Symphony No. 210/49, WP, EMI (S); 5/55, PO, EMI (S); 10/63, BP, DG (S); 9/68, BP, Arkadia (L); 3/73, BP, Unitel (L, V); 10/77, BP, DG (S); 6/86, BP, Telemondial (S, V); 1/87, BP, DG (S); the last two recordings may stem from the same master tapes.
80.  Brahms – Symphony No. 39/60, WP, DECCA (S); 9/64, BP, DG (S); 9/68, BP, Arkadia (L); 3/73, BP, Unitel (L, V); 10/77, BP, DG (S); 10/88, BP, DG (S).
81.  Brahms – Symphony No. 45/55, PO, EMI (S); 10/63, BP, DG (S); 9/68, BP, Arkadia (L); 3/73, BP, Unitel (L, V); 10/77, BP, DG (S); 8/83, BP, Live Classics Best – Japan (L); 10/88, BP, DG (S).
82.  Brahms – Tragic Overture9/61, WP, DECCA (S); 10/70, BP, EMI (S); 2/78, BP, DG (S); 3/83, BP, DG (S); 6/86, BP, Telemondial (S, V).
83.  Brahms – Violin Concerto5/64, Ferras, BP, DG (S); 3/76, Kremer, BP, EMI (S); 9/81, Mutter, BP, DG (S).
84.  Britten – Variations on a Theme by Frank Bridge – 11/53, PO, EMI (S).
85.  Bruch – Violin Concerto – 9/80, Mutter, BP, DG (S).
86.  Bruckner – Symphony No. 1 – 1/81, BP, DG (S).
87.  Bruckner – Symphony No. 2 – 1/81, BP, DG (S).
88.  Bruckner – Symphony No. 3 – 9/80, BP, DG (S).
89.  Bruckner – Symphony No. 4 – 10/70, BP, EMI (S); 4/75, BP, DG (S); 6/79, BP, Live Classics, Japan (L).
90.  Bruckner – Symphony No. 5 – 10/54, WSy, Orfeo (L); 8/69, WP, Arkadia (L); 12/76, (S).
91.  Bruckner – Symphony No. 6 – 9/79, BP, DG (S).
92.  Bruckner – Symphony No. 78/66, WP, Private CD – Italy (L); 9/69, BP, Arkadia (L, London); 4/71, BP, EMI (S); 4/75, BP, DG (S); 4/89, WP, DG (S, last recording).
93.  Bruckner – Symphony No. 89/44, BS, Koch (S, mvts. 2-4 only, No. 4 in experimental stereo); 4/57, WP, Andante (L); 5/57, BP, EMI (S); 4/65, WP, Nuova Era (L, London); 3/67, BP, Arkadia (L); 4/75, BP, DG (S); 6/79, WP, Unitel (L, V); 11/88, WP, DG/Telemondial (S, V+A).
94.  Bruckner – Symphony No. 93/66, BP, DG (S); 1/70, BP, Arkadia (L); 9/75, BP, DG (S); 7/76, WP, DG (L); 5/78, WP, Unitel (L, V+A); 11/85, BP, Telemondial (L, V).
95.  Bruckner – Te Deum9/52, Streich, Herrmann, Häfliger, Braun, WS, WSy, Arkadia (L, Perugia); 8/60, Price, Rössl-Majdan, Wunderlich, Berry, WS, WP, EMI (L); 7/72, Mathis, Simon, Laubenthal, Van Dam, WSC, WP, Andante (L); 5/76,  Tomowa-Sintow, Baltsa, Schreier, Van Dam, WS, BP, DG (S); 5/78, Tomowa-Sintow, Baltsa, Rendall, Van Dam, WS, WP, Unitel (L, V); 9/84, Perry, Müller-Molinari, Winbergh, Malta, WS, WP, DG (S).
96.  ChabrierEspaña12/47, WP, EMI (S); 7/53, PO, EMI (S); 1/79, BP, EMI (S).
97.  Chabrier Marche joyeuse – 7/55, PO, EMI (S); 9/60, PO, EMI (S).
98.  Cherubini – Anacreon: Overture – 4/39, BS, DG (S); 1/81, BP, EMI (S).
99.  Christmas Album (Gruber, Mendelssohn, Hopkins, Willis, Bach, Schubert, Adam, Mozart, Traditional) – 6/61, Price, WS, WP, DECCA (S).
100.  Cilea – Adriana Lecouvreur: Intermezzo – 9/67, BP, DG (S).
101.  Corelli – Concerto grosso Op. 8/6 – 8/70, BP, DG (S).
102.  DebussyLa Mer7/53, PO, EMI (S); 3/64, BP, DG (S); 1/77, BP, EMI (S); 2/78, BP, Unitel (L, V); 2/86, BP, DG/Telemondial (S, V+A).
103.  Debussy – Pelleas et Melisande – 12/78, Stilwell, Von Stade, Van Dam, Raimondi, DOC, BP, EMI (S).
104.  Debussy – Prélude à l'après-midi d'un faune 3/64, BP, DG (S); 1/77, BP, EMI (S); 2/78, BP, Unitel (L, V); 2/86, BP, DG/Telemondial (S, V+A).
105.  Delibes – Coppelia (ballet suite) – 4/61, BP, DG (S).
106.  Donizetti – Lucia di Lammermoor – 9/55, Callas, Di Stefano, Zaccaria, Panerai, LS, EMI (L).
107.  Dvorak – Cello Concerto – 9/68, Rostropovich, DG (S).
108.  Dvorak – Scherzo Capriccioso – 9/71, BP, DG (S).
109.  Dvorak – Serenade for Strings – 9/80, BP, DG (S).
110.  Dvorak – Slavonic Dances Op. 46 Nos. 1, 3 & 7; Op. 72 Nos. 10 & 16 – 9/59, BP, DG (S).
111.  Dvorak – Slavonic Dance Op. 46 No. 8 – 1/77, BP, EMI (S).
112.  Dvorak – Symphony No. 810/61, WP, DECCA (S); 8/74, WP, Andante (L); 1/79, BP, EMI (S); 2/85, WP, DG/Telemondial (S, V+A).
113.  Dvorak – Symphony No. 93/40, BP, DG (S); 5/58, BP, EMI (S); 4/64, BP, DG (S); 2/66, BP, Unitel (S, V); 1/77, BP, EMI (S); 2/85, WP, DG/Telemondial (S, V+A).
114.  Franck – Symphonic Variations – 6/51, Gieseking, EMI (S); 9/72, Weissenberg, BP, EMI (S).
115.  Franck – Symphony in D minor – 11/69, OP, EMI (S).
116.  Granados – Goyescas: Intermezzo – 1/59, PO, EMI (S)
117.  Giordano – Fedora: Intermezzo – 9/67, BP, DG (S).
118.  Gluck – Orfeo ed Euridice – 8/59, Simionato, Jurinac, Sciutti, WP, DG (L).
119.  Gluck – Orfeo ed Euridice: Dance of the Blessed Spirits – 9/83, BP, DG (S).
120.  GounodFaust: Ballet Music1/58, PO, EMI (S); 2/71, BP, DG (S); 1/79, BP, EMI (S).
121.  Gounod – Faust: Serenade of Mephistopheles – 11/49, Christoff, PO, EMI (S).
122.  Gounod – Faust: Waltz – 2/71, BP, DG (S).
123.  Grieg – Holberg Suite – 2/81, BP, DG (S).
124.  Grieg – Peer Gynt Suite No. 19/61, WP, DECCA (S); 9/71, BP, DG (S); 2/82, BP, DG (S).
125.  Grieg – Peer Gynt Suite No. 2 – 9/61, WP, DECCA (S, only “Ingrid’s Lament” and “Solveig’s Song”); 9/71, BP, DG (S); 2/82, BP, DG (S).
126.  Grieg – Piano Concerto – 6/51, Gieseking, PO, EMI (S); 1/82, Zimerman, BP, DG (S).
127.  Grieg – Sigurd Jorsalfar – 9/71, BP, DG (S).
128.  Handel – 12 Concerti grossi, Op. 6 – 8/66–8/68, BP, DG (S).
129.  Handel – Water Music Suite (arr.: Harty) – 7/52, PO, EMI (S); 12/59, BP, EMI (S).
130.  Haydn – Die Jahreszeiten – 11/72, Janowitz, Hollweg, Berry, DOC, BP, EMI (S).
131.  Haydn – Die Schöpfung – 8/65, Janowitz, Prey, Wunderlich, Borg, WS, WP, DG (L); 9/68, Janowitz, Ludwig, Wunderlich, Krenn, Berry, Fischer-Dieskau, WS, BP, DG (S); 8/1982, Mathis, Murray, Araiza, Van Dam, WS, WP, DG (S+L, recording drawn from rehearsal and performance in Salzburg).
132.  Haydn – Symphony No. 82 – 7/80, BP, DG (S).
133.  Haydn – Symphony No. 83 – 8/71, BP, EMI (S); 7/80, BP, DG (S).
134.  Haydn – Symphony No. 84 – 7/80, BP, DG (S).
135.  Haydn – Symphony No. 85 – 7/80, BP, DG (S).
136.  Haydn – Symphony No. 86 – 7/80, BP, DG (S).
137.  Haydn – Symphony No. 87 – 7/80, BP, DG (S).
138.  Haydn – Symphony No. 93 – 2/82, BP, DG (S).
139.  Haydn – Symphony No. 94 – 2/82, BP, DG (S).
140.  Haydn – Symphony No. 95 – 2/82, BP, DG (S).
141.  Haydn – Symphony No. 96 – 2/82, BP, DG (S).
142.  Haydn – Symphony No. 97 – 2/82, BP, DG (S).
143.  Haydn – Symphony No. 98 – 2/82, BP, DG (S).
144.  Haydn – Symphony No. 99 – 2/82, BP, DG (S).
145.  Haydn – Symphony No. 100 – 2/82, BP, DG (S).
146.  Haydn – Symphony No. 101 – 8/71, BP, EMI (S); 2/82, BP, DG (S).
147.  Haydn – Symphony No. 102 – 2/82, BP, DG (S).
148.  Haydn – Symphony No. 103 – 4/63, WP, DECCA (S); 2/82, BP, DG (S).
149.  Haydn – Symphony No. 1043/59, WP, DECCA (S); 12/75, BP, EMI (S); 7/79, WP, Andante (L); 2/82, BP, DG (S).
150.  Hindemith – Symphony “Mathis der Maler” – 2/57, WP, Orfeo (L); 11/57, BP, EMI (S).
151.  Holst – The Planets – 9/61, WP, DECCA (S); 3/81, BP, DG (S).
152.  Honegger – Symphony No. 2 – 8/69, BP, DG (S).
153.  Honegger – Symphony No. 3 "Liturgique" – 9/69, BP, DG (S).
154.  Hummel – Trumpet Concerto E flat – 5/74, Andre, BP, EMI (S).
155.  Humperdinck – Hänsel und Gretel – 7/53, Schwarzkopf, Grümmer, PO, EMI (S); 2/54, Schwarzkopf, Jurinac, Streich, Panerai, RAI Milano, Legato (L).
156.  Humperdinck – Hänsel und Gretel: Overture – 1/81, BP, EMI (S).
157.  Kodaly – Hary Janos: Intermezzo – 7/54, PO, EMI (S).
158.  Lehar – Die lustige Witwe – 11/72, Harwood, Stratas, Kollo. Grobe, Hollweg, Krenn, Kelemen, Renar, DOC, BP, DG (S).
159.  Leimer – Piano concerto for left hand – 11/54, Leimer, PO, EMI (S).
160.  Leimer – Piano concerto in C minor – 11/54, Leimer, PO, EMI (S).
161.  LeoncavalloPagliacci10/65, Carlyle, Bergonzi, Taddei, Panerai, LS, DG (S); 8/68, Kabaivanska, Vickers, Glossop, Panerai, Unitel (S, V).
162.  Leoncavallo – Pagliacci: Intermezzo7/54, PO, EMI (S); 1/59, PO, EMI (S); 9/67, BP, DG (S); 12/85, BP, Telemondial (L, V).
163.  Liszt – Fantasy on Hungarian National Melodies – 12/60, Cherkassky, BP, DG (S).
164.  Liszt – Hungarian Rhapsody No. 22/58, PO, EMI (S); 4/67, BP, DG (S); 12/78, BP, Unitel (L, V).
165.  Liszt – Hungarian Rhapsody No. 4 – 2/61, BP, DG (S); 11/75, BP, DG (S).
166.  Liszt – Hungarian Rhapsody No. 512/60, BP, DG (S); 11/75, BP, DG (S); 2/84, BP, DG (S); 12/85, BP, Telemondial (L, V).
167.  Liszt – Les Preludes1/58, PO, EMI (S); 4/67, BP, DG (S); 2/84, BP, DG (S).
168.  Liszt – Mazeppa - 2/61, BP, DG (S).
169.  Liszt – Mephisto Waltz No. 1 – 9/71, BP, DG (S).
170.  Liszt – Tasso, Lamento e Trionfo – 11/75, BP, DG (S).
171.  Locatelli – Concerto Grosso Op. 1/8 – 70, BP, DG (S).
172.  Mahler – Das Lied von der Erde12/73, Ludwig, Kollo, BP, DG (S).
173.  Mahler – Kindertotenlieder5/74, Ludwig, BP, DG (S).
174.  Mahler – Rückert-Lieder10/74, Ludwig, BP, DG (S).
175.  Mahler – Symphony No. 4 – 2/79, BP, DG (S).
176.  Mahler – Symphony No. 5 – 2/73, BP, DG (S).
177.  Mahler – Symphony No. 6 – 3/77, BP, DG (S).
178.  Mahler – Symphony No. 9 – 9/80, BP, DG (S); 2/82, BP, DG (L).
179.  Manfredini – Concerto Grosso Op. 3/12 – 70, BP, DG (S).
180.  Mascagni – Cavalleria Rusticana – 10/65, Cossotto, Bergonzi, Martino, Guelfi, LS, DG (S); 70, Cossotto, Cecchele, Martino, Guelfi, LS, Unitel (S, V).
181.  Mascagni – Cavalleria Rusticana: Intermezzo1/49, WP, EMI (S); 7/54, PO, EMI (S); 9/67, BP, DG (S).
182.  Mascagni – L'Amico Fritz: Intermezzo7/54, PO, EMI (S); 1/59, PO, EMI (S); 9/67, BP, DG (S); 12/78, BP, Unitel (L, V); 1/81, BP, EMI (S).
183.  MassenetThais: Meditation7/54, Parikian, PO, EMI (S); 9/67, Schwalbé, BP, DG (S); 1/81, Mutter, BP, EMI (S).
184.  MendelssohnHebrides Overture – 9/60, BP, EMI (S); 1/71, BP, DG (S).
185.  Mendelssohn – Symphony No. 1 – 9/72, BP, DG (S).
186.  Mendelssohn – Symphony No. 2 – 2/73, BP, DG (S).
187.  Mendelssohn – Symphony No. 3 – 1/71, BP, DG (S).
188.  Mendelssohn – Symphony No. 4 – 2/71, BP, DG (S).
189.  Mendelssohn – Symphony No. 5 – 2/72, BP, DG (S).
190.  Mendelssohn – Violin Concerto – 9/80, Mutter, BP, DG (S).
191.  Mozart – Adagio and Fugue in C minor – 12/47, WP, DG (S); 8/69, BP, DG (S).
192.  Mozart – Ave verum corpus – 7/55, WS, PO, EMI (S).
193.  Mozart – Bassoon Concerto – 8/71, Piesk, BP, EMI (S).
194.  Mozart – Clarinet Concerto11/49, Wlach, WP, EMI (S); 6/55, Walton, PO, EMI (S); 8/71, Leister, BP, EMI (S).
195.  Mozart – Coronation Mass K. 3175/67, Donath, Troyanos, Krenn, Crass, RAI Roma, Arkadia (L); 7/72 Mathis, Simon, Laubenthal, Van Dam, WS, WP, Andante (L); 9/75, Tomowa-Sintow, Baltsa, Krenn, Van Dam, WS, BP, DG (S); 6/85, Battle, Schmidt, Winbergh, Furlanetto, WS, WP, DG/Telemondial (L, V+A; the audio recording is of the music only, the video also includes the service by Pope John Paul II in St Peter, Rome).
196.  Mozart – Cosi fan tutte – 7/54, Schwarzkopf, Merriman, Otto, Simoneau, Panerai, Bruscantini, PO, EMI (S).
197.  Mozart – Die Entführung aus dem Serail: Martern aller Arten – 10/46, Schwarzkopf, WP, EMI (S).
198.  Mozart – Die Zauberflöte11/50, Seefried, Lipp, Loose, Dermota, Kunz, London, Weber, WS, WP, EMI (S); 12/53, Schwarzkopf, Streich, Taddei, Gedda, RAI Roma, Arkadia (L); 5/62, Lipp, Hallstein, Sciutti, Gedda, Kunz, Wachter, Frick, WSC, WP, RCA (L); 7/74, Mathis, Gruberova, Grist, Kollo, Prey, Van Dam, WSC, WP, Arkadia (L); 1/80, Mathis, Ott, Perry, Araiza, Hornik, Van Dam, Nikolai, DOC, BP, DG (S).
199.  Mozart – Die Zauberflöte: Bei Männern, welche Liebe fühlen – 12/47, Kunz, Schwarzkopf, WP, EMI (S).
200.  Mozart – Die Zauberflöte: Overture – 12/38, BS, DG (S, 1st recording).
201.  Mozart – Die Zauberflöte: Wo willst du, kühner Fremdling hin – 5/62, Gedda, Wächter, WP, RCA (L).
202.  Mozart – Divertimento K. 136 – 8/68, BP, DG (S).
203.  Mozart – Divertimento K. 137 – 8/68, BP, DG (S).
204.  Mozart – Divertimento K. 138 – 8/68, BP, DG (S).
205.  Mozart – Divertimento K. 247 – 8/66, BP, DG (S).
206.  Mozart – Divertimento K. 251 – 8/66, BP, DG (S).
207.  Mozart – Divertimento K. 2875/55, PO, EMI (S); 8/65, BP, DG (S); 5/72, BP, Testament (L, London); 10/84, BP, Telemondial (L, V, Osaka); 9/87, BP, DG (S).
208.  Mozart – Divertimento K. 33412/47, WP, PO (EMI, Adagio only); 8/66, BP, DG (S); 5/69, BP, Melodya (L, Moscow); 4/87, BP, DG (S); 5/87, BP, Telemondial (L, V).
209.  Mozart – Don Giovanni8/60, Schwarzkopf, Price, Sciutti, Valletti, Wächter, Berry, Panerai, Zaccaria, WSC, WP, Orfeo (L); 6/63, Güden, Price, Sciutti, Wunderlich, Wächter, Berry, Kreppel, WSC, WP, Gala (L); 7/68, Janowitz, Zylis-Gara, Freni, Kraus, Ghiaurov, Berry, Evans, Talvela, WSC, WP, GOP (L); 8/69, Janowitz, Zylis-Gara, Freni, Kraus, Ghiaurov, Berry, Varady, Tomowa-Sintov, Battle, Winbergh, Ramey, Furlanetto, Burchuladze, VOC, VPO Evans, Halem, WSC, WP, Arkadia (L); 7/70, Janowitz, Zylis-Gara, Mijakovic, Burrows, Ghiaurov, Berry, Evans, Halem, WSC, WP, Arkadia (L); 1/85, Baltsa, Tomowa-Sintov, Battle, Winbergh, Ramey, Furlanetto, Burchuladze, DOC, BP, DG (S); 7/87, Varady, Tomowa-Sintov, Battle, Winbergh, Ramey, Furlanetto, Burchuladze, WSC, WP, Telemondial (L, V).
210.  Mozart – Don Giovanni: Batti, Batti, o bel Masetto – 12/47, Seefried, WP, EMI (S).
211.  Mozart – Don Giovanni: Crudele?… Non mi dir – 12/47, Cebotari, WP, EMI (S); 60, Price, WP (L).
212.  Mozart – Don Giovanni: Fin ch’an dal vino - 8/60, Wächter, WP, RCA (L).
213.  Mozart – Don Giovanni: La ci darem la mano – 12/47, Seefried, Kunz, WP, EMI (S); 8/60, Sciutti, Wächter, WP, RCA (L).
214.  Mozart – Don Giovanni: Or sai chi l’onore – 12/47, Cebotari, WP, EMI (S); 60, Price, WP, Melodram (L).
215.  Mozart – Eine kleine Nachtmusik10/46, WP, EMI (S); 11/53, PO, EMI (S); 12/59, BP, EMI (S); 8/65, BP, DG (S); 2/81, BP, DG (S).
216.  Mozart – Flute and Harp Concerto – 8/71, Galway, Helmis, BP, EMI (S).
217.  Mozart – Flute Concerto No. 1 – 8/71, Blau, BP, EMI (S).
218.  Mozart – German Dance K. 600 No. 5 – 10/46, WP, EMI (S); 11/60, BP, EMI (S).
219.  Mozart – German Dance K. 602 No. 3 – 11/60, BP, EMI (S).
220.  Mozart – German Dance K. 605 No. 3 – 10/46, WP, EMI (S); 11/60, BP, EMI (S).
221.  Mozart – Great Mass in C Minor K. 427 – 2/81, Hendricks, Perry, Schreier, Luxon, WS, BP, DG (S).
222.  Mozart – Horn Concerto No. 1 – 11/53, Brain, PO, EMI (S); 8/68, Seifert, BP, DG (S).
223.  Mozart – Horn Concerto No. 2 – 11/53, Brain, PO, EMI (S); 8/68, Seifert, BP, DG (S).
224.  Mozart – Horn Concerto No. 3 – 11/53, Brain, PO, EMI (S); 8/68, Seifert, BP, DG (S).
225.  Mozart – Horn Concerto No. 4 – 11/53, Brain, PO, EMI (S); 8/68, Seifert, BP, DG (S).
226.  Mozart – Le nozze di Figaro10/50, Schwarzkopf, Seefried, Jurinac, Kunz, London, WSC, WP, EMI (S, without the secco recitatives); 2/54, Schwarzkopf, Seefried, Jurinac, Panerai, Petri, Maionic, LS, Arkadia (L); 7/74, Harwood, Freni, Von Stade, Van Dam, Krause, WSC, WP, Bravissimo Opera Library (L); 4/78, Tomowa-Sintow, Cotrubas, Von Stade, Van Dam, Krause, WSC, WP, DECCA (S).
227.  Mozart – Le Nozze di Figaro: Deh, vieni, non tardar – 12/47, Seefried, WP, EMI (S).
228.  Mozart – Le Nozze di Figaro: Non piu andrai – 8/47, Kunz, WP, EMI (S).
229.  Mozart – Le Nozze di Figaro: Overture – 10/46, WP, EMI (S).
230.  Mozart – Le Nozze di Figaro: Se vuol ballare – 12/47, Kunz, WP, EMI (S).
231.  Mozart – Le Nozze di Figaro: Voi, che sapete – 12/47, Seefried, WP, EMI (S).
232.  Mozart – Le Nozze di Figaro: excerpts – 12/48–1/49, Schwarzkopf, Seefried, Jurinac, Cebotari, Taddei, Höfermeyer, WP, Di Stefano GDS 1206 (L).
233.  Mozart – Maurerische Trauermusik – 12/47, WP, DG (S).
234.  Mozart – Oboe Concerto – 8/71, Koch, BP, EMI (S).
235.  Mozart – Piano Concerto No. 7 (3 Pianos) – 4/69, Eschenbach, Frantz, Karajan, BP, Curico-Hunt (L).
236.  Mozart – Piano Concerto No. 20 – 1/56, Kempff, BP, Audite (L, radio broadcast).
237.  Mozart – Piano Concerto No. 21 – 8/50, Lipatti, LFO (L); 7/57, Anda, BP, DG (L).
238.  Mozart – Piano Concerto No. 23 – 6/51, Gieseking, PO, EMI (S).
239.  Mozart – Piano Concerto No. 24 – 8/53, Gieseking, PO, EMI (S).
240.  Mozart – Requiem8/60, Price, Rössl-Majdan, Dermota, Wunderlich, Wächter, WS, WP, Melodram (L); 10/61, Lipp, Rössl-Majdan, Dermota, Berry, WS, BP, DG (S); 11/63, Lipp, Rössl-Majdan, Wunderlich, Engen, WS, WSy, Arkadia (L); 9/75, Tomowa-Sintow, Baltsa, Krenn, Van Dam, WS, BP, DG (S); 6/86, Tomowa-Sintow, Müller-Molinari, Cole, Burchuladze WS, WP, DG/Telemondial (S, V+A).
241.  Mozart – Serenata Notturna – 8/68, BP, DG (S); 9/83, BP, DG (S).
242.  Mozart – Sinfonia Concertante for Wind – 11/53, Sutcliffe, James, Walton, Brain, PO, EMI (S); 8/70, BP, Testament (L); 8/71, Stein, Braun, Leister, Seiffert, BP, EMI (S).
243.  Mozart – Symphony No. 293/60, BP, EMI (S); 8/65, BP, DG (S); 2/87, BP, DG (S).
244.  Mozart – Symphony No. 32 – 10/77, BP, DG (S).
245.  Mozart – Symphony No. 33 – 10/46, WP, EMI (S); 8/65, BP, DG (S).
246.  Mozart – Symphony No. 3510/42, RAI Torino, DG (S); 2/55, BP, Movimento Musica (L, Washington); 5/55, PO, EMI (S); 7/57, BP, DG (L); 9/70, BP, EMI (S); 10/77, BP, DG (S).
247.  Mozart – Symphony No. 36 – 9/70, BP, EMI (S); 10/77, BP, DG (S).
248.  Mozart – Symphony No. 389/58, PO, EMI/Testament (S); 9/70, BP, EMI (S); 10/77, BP, DG (S).
249.  Mozart – Symphony No. 3910/49, WP, EMI (S); 10/55, PO, EMI (S); 9/70, BP, EMI (S); 10/77, BP, DG (S); 9/87, BP, DG (S).
250.  Mozart – Symphony No. 4010/42, RAI Torino, DG (S); 4/59, WP, DECCA (S); 9/70, BP, EMI (S); 10/77, BP, DG (S).
251.  Mozart – Symphony No. 4110/42, RAI Torino, DG (S); 1/56, BP, Audite (L, radio broadcast); 7/57, BP, DG (L); 10/63, WP, DECCA (S); 9/70, BP, EMI (S); 10/77, BP, DG (S).
252.  Mozart – Violin Concerto No. 3 – 2/78, Mutter, BP, DG (S).
253.  Mozart – Violin Concerto No. 5 – 1/66, Menuhin, WSy, Unitel (S, V); 9/72, Oistrakh, European Youth Orchestra (L, LP: Melodya); 2/78, Mutter, BP, DG (S).
254.  Mozart, Leopold – Toy Symphony – 4/57, PO, EMI (S).
255.  Mozart, Leopold – Trumpet Concerto in D – 5/74, Andre, BP, EMI (S).
256.  Mussorgsky – Boris Godunov – 7/65, Ghiaurov, Ghiuselev, Jurinac, Usunow, Stolze, WSC, WP, Arkadia (L); 8/66, Jurinac, Maslennikov, Stolze, Ghiaurov, Kelemen, WSC, WP, Nuova Era (L); 11/70, Ghiaurov, Kelemen, Vishevskaya, Spiess, Maslennikov, WSC, WP, DECCA (S).
257.  Mussorgsky – Boris Godunov: Varlaam's Song – 11/48, Christoff, PO, EMI (S).
258.  Mussorgsky – Khovantschina: Intermezzo7/54, PO, EMI (S); 1/59, PO, EMI (S); 9/67, BP, DG (S).
259.  Mussorgsky – Khovantschina: Dance of the Persian Slaves – 11/54, PO, EMI (S); 9/60, PO, EMI (S).
260.  Mussorgsky – Pictures at an Exhibition6/56, PO, EMI (S); 11/65, BP, DG (S); 2/86, BP, DG/Telemondial (S, V+A).
261.  National Anthems (European Anthem (“Ode to Joy”, arranged for full orchestra by HvK), Austria, Belgium, Cyprus, Denmark, Germany, France, Iceland, Ireland, Italy, Luxembourg, Malta, The Netherlands, Norway, Sweden, Switzerland, Turkey, UK, Greece) – 2/72, BP, DG (S).
262.  Nicolai – Die lustigen Weiber von Windsor: Overture – 9/60, PO, EMI (S).
263.  Nielsen – Symphony No. 4 – 2/81, BP, DG (S).
264.  Offenbach – Barbe-Bleue: Overture – 9/80, BP, DG (S).
265.  Offenbach – Gaîté Parisienne Suite (arr.: Manuel Rosenthal) – 1/58, PO, EMI (S); 2/71, BP, DG (S).
266.  Offenbach – La Belle Helene: Overture – 9/80, BP, DG (S).
267.  Offenbach – La Grande Duchesse de Gerolstein: Overture – 9/80, BP, DG (S).
268.  OffenbachLes Contes d'Hoffmann: Barcarolle7/54, PO, EMI (S); 1/59, PO, EMI (S); 9/80, BP, DG (S).
269.  OffenbachOrphée aux Enfers: Overture7/55, PO, EMI (S); 9/60, PO, EMI (S); 9/80, BP, DG (S).
270.  Offenbach – Vert-Vert: Overture – 9/80, BP, DG (S).
271.  Orff – De temporum fine comoedia – 7/73, Tomowa-Sintow, Ludwig, Schreier, Greindl, Boysen, Kölner Rundfunkchor, RIAS-Kammerchor, Tölzer Knabenchor, Kölner Rundfunk-Sinfonie-Orchester, DG (S).
272.  Pachelbel – Canon and Fugue (arr.: Seifert) – 8/69, BP, DG (S); 12/83, BP, DG (S).
273.  Penderecki – Polymorphia – 1/68, BP, Foyer (L).
274.  Pizzetti – Assassino nelle Catedrale – Zadek, Ludwig, Dermota, Stolze, Hotter, Schöffler, WSC, WP, DG (L, sung in German).
275.  PonchielliDance of the Hours11/54, PO, EMI (S); 9/60, PO, EMI (S); 1/71, BP, DG (S).
276.  Prokofiev – Classical Symphony – 2/81, BP, DG (S); 12/88, BP, Telemondial (L, V).
277.  Prokofiev – Peter and the Wolf – 4/57, Ustinov, PO, EMI (S).
278.  Prokofiev – Symphony No. 5 – 9/68, BP, DG (S).
279.  Prussian and Austrian Marches (30 pieces of unsurpassed obscurity) – 3/73, BP, DG (S).
280.  Puccini – Gianni Schicchi: “O mio babbino caro” – 11/48, Schwarzkopf, WP, EMI (S).
281.  Puccini – La Boheme11/63, Freni, Raimondi, Panerai, Güden, Vinco, WSC, WP, RCA (L); 9/64, Freni, Raimondi, Panerai, Vincenzi, Vinco, LS, Melodram (L); 5/65, Freni, Raimondi, Panerai, Martino, Vinco, LS, Unitel (S, V); 10/72, Freni, Pavarotti, Panerai, Harwood, Ghiaurov, DOC, BP, DECCA (S).
282.  Puccini – La Boheme: Si, mi chiamano Mimi – 11/48, Schwarzkopf, WP, EMI (S).
283.  Puccini – La Boheme: Quando me n’vo – 11/48, Welitsch, WP, EMI (S).
284.  Puccini – Madama Butterfly8/55, Callas, Gedda, Danielli, LS, EMI (S); 1/74, Freni, Pavarotti, Ludwig, WSC, WP, DECCA (S); 11/74, Freni, Domingo, Ludwig, WSC, WP (S, V); the last two recordings overlap.
285.  Puccini – Manon Lescaut: Intermezzo11/48, WP, EMI (S); 4/54, PO, EMI (S); 1/59, PO, EMI (S); 9/67, BP, DG; 1/81, BP, EMI (S); 12/85, BP, Telemondial (L, V).
286.  Puccini – Suor Angelica: Intermezzo – 9/67, BP, DG; 1/81, BP, EMI (S).
287.  Puccini – Tosca1/62, Cavalli, Usunow, Protti, WSC, WP, Arkadia (L); 9/62, Price, Di Stefano, Taddei, WSC, WP, DECCA (S); 9/79, Ricciarelli, Carreras, Raimondi, DOC, BPO, DG (S).
288.  Puccini – Turandot – 5/81, Ricciarelli, Domingo, Hendricks, Raimondi, WSC, WP, DG (S).
289.  Rachmaninoff – Piano Concerto No. 2 – 9/72, Weissenberg, BP, EMI (S); 9/73, Weissenberg, BP, Unitel (L, V).
290.  Ravel – Alborada del gracioso – 6/71, OP, EMI (S).
291.  Ravel – Bolero3/66, BP, DG (S); 1/77, BP, EMI (S); 12/85, BP, DG/Telemondial (S, L, V+A).
292.  Ravel – Daphnis et Chloe: Suite No. 23/64, BP, DG (S); 2/78, BP, Unitel (L, V); 2/86, BP, DG/Telemondial (S, V+A).
293.  Ravel – La Valse – 6/71, OP, EMI (S).
294.  Ravel – Le Tombeau de Couperin – 6/71, OP, EMI (S).
295.  Ravel – Pavane pour une infante defunte – 2/86, BP, DG (S).
296.  Ravel – Rapsodie Espagnole7/53, PO, EMI (S); 6/71, OP, EMI (S); 2/87, BP, DG (S).
297.  Respighi – Antiche Danze et Arie: Suite 3 8/69, BP, DG (S).
298.  Respighi – Fontane di Roma – 2/78, BP, DG (S).
299.  Respighi – Pini di Roma – 1/58, PO, EMI (S); 2/78, BP, DG (S); 10/84, BP, Telemondial (L, Osaka).
300.  Reznicek – Donna Diana: Overture – 12/47, WP, EMI (S).
301.  Rimsky-Korsakov – Scheherazade – 1/67, BP, DG (S).
302.  Rossini – Il Barbiere di Siviglia: Overture – 3/60, PO, EMI (S); 1/71, BP, DG (S).
303.  Rossini – Italiana in Algeri: Overture – 3/60, PO, EMI (S); 1/71, BP, DG (S).
304.  Rossini – La gazza ladra: Overture – 3/60, PO, EMI (S); 1/71, BP, DG (S).
305.  Rossini – La scala di seta: Overture – 3/60, PO, EMI (S); 1/71, BP, DG (S).
306.  Rossini – Semiramide: Overture – 3/60, PO, EMI (S); 1/71, BP, DG (S).
307.  Rossini – Sonatas for Strings Nos. 1, 2, 4, 6 – 8/68, BP, DG (S).
308.  Rossini – William Tell: Ballet music – 3/60, PO, EMI (S); 1/71, BP, DG (S).
309.  Rossini – William Tell: Overture3/60, PO, EMI (S); 1/71, BP, DG (S); 12/75, BP, Unitel (L, V); 12/83, BP, Telemondial (L, V); 2/84, BP, DG (S).
310.  Roussel – Symphony No. 4 – 11/49, PO, EMI (S).
311.  Saint-Saens – Symphony No. 3 – 9/81, BP, DG (S).
312.  SchmidtNotre Dame: Intermezzo1/59, PO, EMI (S); 9/67, BP, DG (S); 1/81, BP, EMI (S).
313.  Schoenberg – Pelleas und Melisande – 1/74, BP, DG (S).
314.  Schoenberg – Variations, Op. 31 – 2/74, BP, DG (S).
315.  Schoenberg – Verklärte Nacht – 12/73, BP, DG (S); 10/88, BP, Testament, (L, London).
316.  Schubert – Rosamunde: Ballet music 1 – 1/78, BP, EMI (S).
317.  Schubert – Rosamunde: Ballet music 2 – 1/78, BP, EMI (S).
318.  Schubert – Rosamunde: Overture – 1/78, BP, EMI (S).
319.  Schubert – Symphony No. 1 – 1/78, BP, EMI (S).
320.  Schubert – Symphony No. 2 – 1/78, BP, EMI (S).
321.  Schubert – Symphony No. 3 – 1/78, BP, EMI (S).
322.  Schubert – Symphony No. 4 – 1/78, BP, EMI (S).
323.  Schubert – Symphony No. 5 – 5/58, BP, EMI (S); 1/78, BP, EMI (S).
324.  Schubert – Symphony No. 6 – 1/78, BP, EMI (S).
325.  Schubert – Symphony No. 85/55, PO, EMI (S); 10/64, BP, DG (S); 1/75, BP, EMI (S).
326.  Schubert – Symphony No. 99/46, WP, EMI (S); 9/68, BP, DG (S); 1/78, BP, EMI (S).
327.  Schumann – Overture, Scherzo and Finale – 2/71, BP, DG (S).
328.  Schumann – Piano Concerto4/48, Lipatti, PO, EMI (S); 8/53, Gieseking, PO, EMI (S); 8/74, Pollini, WP, DG (L); 1/82, Zimerman, BP, DG (S).
329.  Schumann – Symphony No. 1 – 2/71, BP, DG (S).
330.  Schumann – Symphony No. 2 – 2/71, BP, DG (S).
331.  Schumann – Symphony No. 3 – 2/71, BP, DG (S).
332.  Schumann – Symphony No. 44/57, BP, EMI (S); 2/71, BP, DG (S); 2/72, DS, DG (L); 5/87, WP, DG (L).
333.  Shostakovich – Symphony No. 10 – 11/66, BP, DG (S); 5/69, BP, Melodya (L, Moscow); 8/76, DS, Sardana (L); 2/81, BP, DG (S).
334.  Sibelius – En Saga – 10/76, BP, EMI (S).
335.  Sibelius – Finlandia7/52, PO, EMI (S); 1/59, PO, EMI (S); 10/64, BP, DG (S); 12/76, BP, EMI (S); 2/84, BP, DG (S).
336.  Sibelius – Karelia Suite – 1/81, BP, EMI (S).
337.  Sibelius – Pelleas and Melisande – 2/82, BP, DG (S).
338.  Sibelius – Symphony No. 1 – 1/81, BP, EMI (S).
339.  Sibelius – Symphony No. 2 – 3/60, PO, EMI (S); 11/80, BP, EMI (S).
340.  Sibelius – Symphony No. 47/53, PO, EMI (S); 5/65, BP, DG (S); 12/76, BP, EMI (S).
341.  Sibelius – Symphony No. 57/52, PO, EMI (S); 5/57, BP, Sony (L); 9/60, PO, EMI (S); 2/65, BP, DG (S); 10/76, BP, EMI (S).
342.  Sibelius – Symphony No. 67/55, PO, EMI (S); 4/67, BP, DG (S); 11/80, BP, EMI (S).
343.  Sibelius – Symphony No. 7 – 7/55, PO, EMI (S); 9/67, BP, DG (S).
344.  Sibelius – Tapiola7/53, PO, EMI (S); 10/64, BP, DG (S); 12/76, BP, EMI (S); 2/84, BP, DG (S).
345.  Sibelius – The Swan of Tuonela 9/65, BP, DG (S); 12/76, BP, EMI (S); 2/84, BP, DG (S).
346.  Sibelius – Valse Triste1/58, PO, EMI (S); 1/67, BP, DG (S); 11/80, BP, EMI (S); 12/83, BP, Telemondial (L, V); 2/84, BP, DG (S).
347.  Sibelius – Violin Concerto – 10/64, Ferras, BP, DG (S).
348.  Smetana – The Bartered Bride: Dance of the Comedians – 9/71, BP, DG (S).
349.  Smetana – The Bartered Bride: Furiant – 9/71, BP, DG (S).
350.  Smetana – The Bartered Bride: Polka – 9/71, BP, DG (S).
351.  Smetana – The Bartered Bride: Endlich allein… Wie fremd und tot – 12/47, Konetzni, WP, EMI (S).
352.  Smetana – Vltava (Moldau)6/40, BP, DG (S); 5/58, BP, EMI (S); 4/67, BP, DG (S); 1/77, BP, EMI (S); 12/83, BP, Telemondial (L, V); 2/84, BP, DG (S); 5/85, WP, DG (S).
353.  Smetana – Vysherad – 4/67, BP, DG (S).
354.  Strauss, Johann – Accelerationen – 12/80, BP, DG (S).
355.  Strauss, Johann – Ägyptischer Marsch – 4/69, BP, DG (S).
356.  Strauss, Johann – An der schönen blauen Donau10/46, WP, EMI (S); 7/55, PO, EMI (S); 6/58, WP, Wiener Männersingverein, Arkadia (L, Brussels); 12/66, BP, DG (S); 12/75, BP, EMI (S); 12/80, BP, DG (S); 1/87, WP, DG/Telemondial (L, V+A).
357.  Strauss, Johann – Annen Polka 6/58, WP, Arkadia (L, Brussels); 4/59, WP, DECCA (S); 12/66, BP, DG (S); 6/68, WP, DG (L); 12/75, BP, EMI (S); 12/80, BP, DG (S); 1/87, WP, DG/Telemondial (L, V+A).
358.  Strauss, Johann – Auf der Jagd6/58, WP, Arkadia (L, Brussels); 4/59, WP, DECCA (S); 4/69, BP, DG (S); 12/80, BP, DG (S).
359.  Strauss, Johann – Die Fledermaus4/55, Schwarzkopf, Streich, Gedda, Kunz, PO, EMI (S); 6/60, Güden, Köth, Kmentt, Berry, Wächter, Zampieri, Resnik, WP, DECCA (S); 12/60, Güden, Streich, Wächter, Kunz, Stolze, Zampieri, Berry, WSC, WP, RCA (L).
360.  Strauss, Johann – Die Fledermaus: Overture12/42, BP, DG (S); 11/48, WP, EMI (S); 6/58, WP, Arkadia (L, Brussels); 4/59, WP, DECCA (S); 12/66, BP, DG (S); 12/75, BP, EMI (S); 12/80, BP, DG (S); 1/87, WP, DG/Telemondial (L, V+A).
361.  Strauss, Johann – Die Fledermaus: Quadrille – 12/80, BP, DG (S).
362.  Strauss, Johann – Die Fledermaus: Ballet music – 4/59, WP, DECCA (S).
363.  Strauss, Johann – Der Zigeunerbaron: Overture10/42, BP, DG (S); 10/46, WP, EMI (S); 7/55, PO, EMI (S); 4/59, WP, DECCA (S); 12/66, BP, DG (S); 6/68, WP, DG (L); 12/75, BP, EMI (S); 12/80, BP, DG (S); 12/83, BP, Telemondial (L, V); 1/87, WP, Telemondial (L, V+A).
364.  Strauss, Johann – Der Zigeunerbaron: So elend und treu – 11/48, Cebotari, WP, EMI (S).
365.  Strauss, Johann – Eljen a Magyar – 12/80, BP, DG (S).
366.  Strauss, Johann – Frühlingsstimmen – 6/58, Güden, WP, DG (L, Brusssels); 1/87, Battle, WP, DG/Telemondial (L, V+A).
367.  Strauss, Johann – G'schichten aus dem Wienerwald11/48, WP, EMI (S); 4/59, WP, DECCA (S); 4/69, BP, DG (S); 12/80, BP, DG (S).
368.  Strauss, Johann – Kaiserwalzer6/41, BP, DG (S); 10/46, WP, EMI (S); 7/55, PO, EMI (S); 12/66, BP, DG (S); 6/58, WP, Arkadia (L, Brussels); 8/68, WP, DG (L); 12/75, BP, EMI (S); 12/80, BP, DG (S); 1/87, WP, DG/Telemondial (L, V+A).
369.  Strauss, Johann – Künstlerleben6/41, BP, DG (S); 10/46, WP, EMI (S); 7/55, PO, EMI (S); 12/80, BP, DG (S).
370.  Strauss, Johann – Leichtes Blut10/46, WP, EMI (S); 4/69, BP, DG (S); 12/80, BP, DG (S).
371.  Strauss, Johann – Morgenblätter – 4/69, BP, DG (S).
372.  Strauss, Johann – Napoleon Marsch – 12/80, BP, DG (S).
373.  Strauss, Johann – Perpetuum Mobile1/49, WP, EMI (S); 12/66, BP, DG (S); 8/68, WP, DG (L); 12/80, BP, DG (S); 1/87, WP, DG/Telemondial (L, V+A).
374.  Strauss, Johann – Persischer Marsch – 4/69, BP, DG (S); 12/80, BP, DG (S).
375.  Strauss, Johann – Postillion d'Amour – 4/69, BP, DG (S).
376.  Strauss, Johann – Rosen aus dem Süden – 12/80, BP, DG (S).
377.  Strauss, Johann – Tritsch-Tratsch10/49, WP, EMI (S); 7/55, PO, EMI (S); 9/60, PO, EMI (S); 12/66, BP, DG (S); 12/75, BP, EMI (S); 12/80, BP, DG (S).
378.  Strauss, Johann – Unter Donner und Blitz10/49, WP, EMI (S); 7/55, PO, EMI (S); 6/58, WP, Arkadia (L, Brussels); 9/60, PO, EMI (S); 4/69, BP, DG (S); 12/80, BP, DG (S); 1/87, WP, DG/Telemondial (L, V+A).
379.  Strauss, Johann – Vergnügungszug – 1/87, WP, DG/Telemondial (L, V+A).
380.  Strauss, Johann – Wein, Weib und Gesang – 10/49, WP, EMI (S); 12/80, BP, DG (S).
381.  Strauss, Johann – Wiener Blut10/49, WP, EMI (S); 4/69, BP, DG (S); 12/80, BP, DG (S).
382.  Strauss, Johann (Vater) – Beliebte Annen Polka – 1/87, WP, DG/Telemondial (L, V+A).
383.  Strauss, Johann (Vater) – Radetzky Marsch7/55, PO, EMI (S); 6/58, WP, Arkadia (L, Brussels); 9/60, PO, EMI (S); 12/66, BP, DG (S); 12/80, BP, DG (S); 1/87, WP, DG/Telemondial (L, V+A).
384.  Strauss, JosefDelirien10/49, WP, EMI (S); 7/55, PO, EMI (S); 4/59, WP, DECCA (S); 12/66, BP, DG (S); 8/68, WP, DG (L); 12/80, BP, DG (S); 12/83, BP, Telemondial (L, V); 1/87, WP, DG/Telemondial (L, V+A).
385.  Strauss, Josef – Ohne Sorgen – 1/87, WP, DG/Telemondial (L, V+A).
386.  Strauss, Josef – Sphärenklänge10/49, WP, EMI (S); 4/69, BP, DG (S); 12/80, BP, DG (S); 1/87, WP, DG/Telemondial (L, V+A).
387.  Strauss, Josef – Transaktionen – 10/49, WP, EMI (S).
388.  Strauss, Josef & JohannPizzicato Polka10/46, WP, EMI (S); 7/55, PO, EMI (S); 6/58, WP, Arkadia (L, Brussels); 4/69, BP, DG (S); 1/87, WP, DG/Telemondial (L, V+A).
389.  Strauss, RichardAlso sprach Zarathustra4/59, WP, DECCA (S); 8/64, WP, Andante (L); 8/70, BP, Testament (L); 3/73, BP, DG (S); 5/77, BP, Live Classics Best – Japan (L, orchestra incorrectly listed as WP); 9/83, BP, DG (S); 5/87, BP, Telemondial (L, V).
390.  Strauss, Richard – Ariadne auf Naxos – 7/54, Schwarzkopf, Streich, Seefried, Schock, PO, EMI (S).
391.  Strauss, Richard – Ariadne auf Naxos: Es gibt ein Reich – 11/48, Cebotari, WP, EMI (S).
392.  Strauss, Richard – Capriccio: Orchestral interlude and Closing Scene – 11/85, Tomowa-Sintow, BP, DG (S).
393.  Strauss, Richard – Der Rosenkavalier1/52, Schwarzkopf, Jurinac, Della Casa, Edelmann, Kunz, LS, Legato (L); 12/56, Schwarzkopf, Edelmann, Ludwig, Wachter, Stich-Randall, Welitsch, PO, EMI (S); 7/60, Della Casa, Jurinac, Güden, Edelmann, Kunz, WP, DG (L); 8/60, Schwarzkopf, Jurinac, Rothenberger, Zampieri, Edelmann, Kunz, WSC, WP, Kultur (L, V); 7/63, Schwarzkopf, Jurinac, Rothenberger, Romani, Edelmann, Donch, WSC, WP,  (L, LP: Movimento Musica); 8/64, Schwarzkopf, Jurinac, Rothenberger, Lorenzi, Edelmann, Ferenz, WSC, WP, Arkadia (L); 1/84, Tomowa-Sintow, Baltsa, Perry, Cole, Moll, Hornik, WSC, WP, DG (S); 7/84, Tomowa-Sintow, Baltsa, Perry, Cole, Moll, Hornik, WP, Telemondial (L, V).
394.  Strauss, Richard – Der Rosenkavalier: Kann mich auch an ein Mädel erinnern – 12/47, Konetzni, WP, EMI (S).
395.  Strauss, Richard – Der Rosenkavalier: Quinquin, er soll jetzt geh’n – 12/47, Konetzni, WP, EMI (S).
396.  Strauss, Richard – Der Rosenkavalier: Herr Gott in Himmel – 12/47, Schwarzkopf, Seefried, WP, EMI (S).
397.  Strauss, Richard – Die Frau ohne Schatten – 6/64, Rysanek, Hoffman, Ludwig, Thomas, Berry, Popp, Wunderlich, WK, WSC (L).
398.  Strauss, Richard – Die heiligen drei Könige aus Mohrenland – 11/85, Tomowa-Sintow, BP, DG (S).
399.  Strauss, Richard – Don Juan9/43, CA, DG (S); 12/51, PO, EMI/Testament (S); 10/54, PO, Arkadia (L, Turin, wrongly given as “London, 28/5/1952”); 11/57, BP, Dynamic (L, V, Tokyo); 6/60, WP, DECCA (S); 1/73, BP, DG (S); 5/77, BP, Live Classics Best – Japan (L); 11/83, BP, DG (S); 10/84, BP, Telemondial (L, Osaka).
400.  Strauss, Richard – Don Quixote12/65, Fournier, BP, DG (S); 1/75, Rostropovich, BP, EMI/Unitel (S, V+A); 1/86, Meneses, BP, DG/Telemondial (S, V+A).
401.  Strauss, Richard – Ein Heldenleben3/59, BP, DG (S); 8/64, BP, Paragon (L); 5/67, BP, Nuova Era (L, Florence); 5/69, BP, Melodya (L, Moscow); 4/71, BP, Live Classics Best – Japan (L); 5/72, BP, Testament (L, London); 5/74, BP, EMI (S); 2/85, BP, DG/Telemondial (S, V+A); 4/85, BP, Testament (L, London).
402.  Strauss, Richard – Eine Alpensinfonie12/80, BP, DG (S); 8/82, BP, Live Classics Best – Japan (L); 11/83, BP, Telemondial (L, V).
403.  Strauss, Richard – Elektra – 8/64, Mödl, Varnay, Hillebrecht, WSC, WP, Orfeo (L).
404.  Strauss, Richard – Four Last Songs6/56, Schwarzkopf, PO, EMI (L); 8/64, Schwarzkopf, BP, Nuova Era (L); 2/73, Janowitz, BP, DG (S); 11/85, Tomowa-Sintow, BP, DG (S).
405.  Strauss, Richard – Horn Concerto No. 2 – 3/73, Hauptmann, BP, DG (S).
406.  Strauss, Richard – Metamorphosen11/47, WP, EMI (S, world premiere recording); 8/69, BP, DG (S); 9/80, BP, DG (S); 11/84, BP, Telemondial (L, V).
407.  Strauss, Richard – Oboe Concerto – 9/69, Koch, BP, DG (S).
408.  Strauss, Richard – Salome – 5/77-5/78, Behrens, Böhm, Baltsa, Van Dam, Ochman, WP, EMI (S).
409.  Strauss, Richard – Salome: Orchestral interlude and Closing Scene – 11/48, Wellitsch, WP, EMI (S).
410.  Strauss, Richard – Salome: Tanz der sieben Schleier9/43, CA, DG (S); 9/60, WP, DECCA (S); 1/73, BP, DG (S).
411.  Strauss, Richard – Salome: Abstieg in die Cisterne – 11/48, Welitsch, Schuster, Witt, WP, EMI (S).
412.  Strauss, Richard – Salome: Ah! Du wolltest mich nicht – 11/48, Welitsch, Schuster, Witt, WP, EMI (S).
413.  Strauss, Richard – Salome: Ah! warum hast du mich nicht angeseh’n – 11/48, Welitsch, Schuster, Witt, WP, EMI (S).
414.  Strauss, Richard – Sinfonia domestica – 6/73, BP, EMI (S).
415.  Strauss, Richard – Till Eulenspiegel12/51, PO, EMI/Testament (S); 2/55, BP, Foyer (L, Washington); 6/60, WP, DECCA (S); 1/73, BP, DG (S); 5/77, BP, Live Classics – Japan (L); 6/86, BP, DG (S).
416.  Strauss, Richard – Tod und Verklärung7/53, PO, EMI/Testament (S); 6/60, WP, DECCA (S); 1/73, BP, DG (S); 1/82, BP, DG (S); 11/84, BP, Telemondial (L, V).
417.  Stravinsky – Apollon Musagete – 8/72, BP, DG (S).
418.  Stravinsky – Circus Polka – 4/70, BP, DG (S).
419.  Stravinsky – Concerto in D – 8/69, BP, DG (S).
420.  Stravinsky – Jeu de Cartes – 5/52, PO, EMI (S).
421.  Stravinsky – Oedipus Rex – 12/52, RAI Roma, Datum (L).
422.  Stravinsky – Symphony in C – 12/69, BP, DG (S).
423.  Stravinsky – Symphony of Psalms – 2/75, DOC, BP, DG (S).
424.  Stravinsky – The Rite of Spring – 2/64, BP, DS (S); 5/72, BP, Testament (L, London); 1/77, BP, DG (S).
425.  Suppe – Dichter und Bauer: Overture – 9/69, BP, DG (S).
426.  Suppe – Die schöne Galathea: Overture – 9/69, BP, DG (S).
427.  Suppe – Ein Morgen ein Mittag ein Abend in Wien: Overture – 9/69, BP, DG (S).
428.  Suppe – Leichte Kavallerie7/55, PO, EMI (S); 9/60, PO, EMI (S); 9/69, BP, DG (S); 12/78, BP, Unitel (L, V).
429.  Suppe – Pique Dame: Overture – 9/69, BP, DG (S).
430.  Suppe – Banditenstreiche – 9/69, BP, DG (S).
431.  Tchaikovsky – Capriccio Italien – 10/66, BP, DG (S).
432.  Tchaikovsky – Eugene Onegin: Polonaise & Waltz – 1/71, BP, DG (S).
433.  Tchaikovsky – Marche Slave – 10/66, BP, DG (S).
434.  Tchaikovsky – Nutcracker Suite7/52, PO, EMI (S); 9/61, WP, DECCA (S); 12/66, BP, DG (S); 9/82, BP, DG (S).
435.  Tchaikovsky – Overture 1812 – 2/58, PO, EMI (S); 12/66, BP, Don Kosaken Choir, DG (S).
436.  Tchaikovsky – Piano Concerto No. 12/62, Richter, WSy, DG (S); 4/67, Weissenberg, BP, Unitel (S, V); 2/70, Weissenberg, OP, EMI (S); 9/73, Weissenberg, BP, VHM (S, V, Laseridisc, Japan only, different film than the one from 67?); 11/75, Berman, BP, DG (S); 12/88, Kissin, BP, DG (S); 12/88, Kissin, BP, Telemondial (L, V); the last two recordings may overlap.
437.  Tchaikovsky – Rococo Variations – 9/68, Rostropovich, BP, DG (S).
438.  Tchaikovsky – Romeo and Juliet10/46, WP, EMI (S); 6/60, WP, DECCA (S); 10/66, BP, DG (S); 9/82, BP, DG (S).
439.  Tchaikovsky – Serenade for Strings – 10/66, BP, DG (S); 10/80, BP, DG (S).
440.  Tchaikovsky – Sleeping Beauty Suite12/52, PO, EMI (S); 1/59, PO, EMI (S); 3/65, WP, DECCA (S); 2/71, BP, DG (S).
441.  Tchaikovsky – Swan Lake Suite12/52, PO, EMI (S); 1/59, PO, EMI (S); 3/65, WP, DECCA (S); 2/71, BP, DG (S).
442.  Tchaikovsky – Symphony No. 1 – 12/77, BP, DG (S).
443.  Tchaikovsky – Symphony No. 2 – 1/79, BP, DG (S).
444.  Tchaikovsky – Symphony No. 3 – 2/79, BP, DG (S).
445.  Tchaikovsky – Symphony No. 47/53, PO, EMI (S); 11/54, WP, Orfeo (L); 2/60, BP, EMI (S); 10/66, BP, DG (S); 9/71, BP, EMI (S); 12/73, BP, Unitel (L, V); 12/76, BP, DG (S); 9/84, WP, DG/Telemondial (S, V+A).
446.  Tchaikovsky – Symphony No. 5 2/53, RAI Torino, Cetra (L); 7/53, PO, EMI (S); 9/65, BP, DG (S); 9/71, BP, EMI (S); 5/73, BP, Unitel (L, V); 10/75, BP, DG (S); 3/84, WP, DG/Telemondial (S, V+A).
447.  Tchaikovsky – Symphony No. 64/39, BP, DG (S); 1/49, WP, EMI (S); 1/54, NHK SO, DG (L, Tokyo); 6/56, PO, EMI (S); 2/64, BP, DG (S); 9/71, BP, EMI (S); 12/73, BP, Unitel (L, V); 5/76, BP, DG (S); 1/84, WP, DG/Telemondial (S, V+A).
448.  Tchaikovsky – Violin Concerto – 11/65, Ferras, BP, DG (S); 8/88, Mutter, WP, DG (L).
449.  Telemann – Trumpet Concerto in D – 5/74, Andre, BP, EMI (S).
450.  Torelli – Concerto Grosso Op. 8/6 – 70, BP, DG (S).
451.  Vaughan Williams – Fantasia on a Theme by Thomas Tallis – 11/53, PO, EMI (S).
452.  VerdiAida2/51, Martinis, Rankin, Fehenberger, Petri, WSC, WP, Arkadia (L); 9/59, Tebaldi, Bergonzi, Simionato, Macneil, WSC, WP, DECCA (S); 5/79, Freni, Carreras, Baltsa, Cappuccilli, WSC, WP, EMI (S).
453.  Verdi – Aida: Ballet music (Act 2)11/54, PO, EMI (S); 9/60, PO, EMI (S); 1/71, BP, DG (S).
454.  Verdi – Aida: Dances of the Priestesses & the Moorish slaves – 1/71, BP, DG (S).
455.  Verdi – Aida: Prelude – 10/75, BP, DG (S).
456.  Verdi – Alzira: Overture – 10/75, BP, DG (S).
457.  Verdi – Aroldo: Overture – 10/75, BP, DG (S).
458.  Verdi – Attila: Prelude – 10/75, BP, DG (S).
459.  Verdi – Don Carlo7/58, Fernandi, Jurinac, Simionato, Bastianini, Siepi, Zaccaria, WSC, WP, DG (L); 9/78, Carreras, Freni, Baltsa, Cappuccilli, Ghiaurov, Raimondi, DOC, BP, EMI (S); 3/86, Carreras, Izzo-d'Amico, Baltsa, Cappuccilli, Furlanetto, Salminen, WSC, BP, Telemondial (L, V).
460.  Verdi – Don Carlo: Ella giammai m’amo –11/49, Christoff, PO, EMI (S).
461.  Verdi – Ernani: Prelude – 10/75, BP, DG (S).
462.  Verdi – Falstaff7/56, Gobbi, Alva, Panerai, Schwarzkopf, Moffo, Merriman, Barbieri, PO, EMI (S); 8/57, Gobbi, Alva, Panerai, Schwarzkopf, Moffo, Simionato, Arkadia (L); 5/80, Kabaivanska, Perry, Schmidt, Ludwig, Araiza, Taddei, Panerai, WSC, WP DG (S); 7/82, Kabaivanska, Perry, Schmidt, Ludwig, Araiza, Taddei, Panerai, WSC, WP, Telemondial (L, V).
463.  Verdi – Giovanna d’Arco: Overture – 10/75, BP, DG (S).
464.  Verdi – I masnadieri: Overture – 10/75, BP, DG (S).
465.  Verdi – I vespri siciliani: Overture – 10/75, BP, DG (S).
466.  Verdi – Il corsaro: Overture – 10/75, BP, DG (S).
467.  Verdi – Il trovatore8/56, Callas, di Stefano, Barbieri, Panerai, LS, EMI (S); 7/62, Price, Corelli, Simionato, Bastianini, WSC, WP (L); 9/77, Price, Bonisolli, Obraztsova, Cappuccilli, DOC, BP, EMI (S); 5/78, Kabaivanska, Domingo, Cossotto, Cappuccilli, WSC, WP, RCA/TDK (L, V+A).
468.  Verdi – La Battaglia di Legnano: Overture – 10/75, BP, DG (S).
469.  Verdi – La Forza del Destino: Overture2/39, BS, DG (S); 10/75, BP, DG (S); 12/78, BP, Unitel (L, V).
470.  Verdi – La Traviata – 12/64, Freni/Moffo, Cioni, Sereni, LS, Arkadia (L, 2 different performances released).
471.  Verdi – La Traviata: Prelude (Act 1) – 10/42, RAI Torino, DG (S); 10/75, BP, DG (S).
472.  Verdi – La Traviata: Prelude (Act 3)10/42, RAI Torino, DG (S); 7/54, PO, EMI (S); 9/67, BP, DG (S).
473.  Verdi – Luisa Miller: Overture – 10/75, BP, DG (S).
474.  Verdi – Macbeth: Prelude – 10/75, BP, DG (S).
475.  Verdi – Nabucco: Overture – 10/75, BP, DG (S).
476.  Verdi – Oberto: Overture – 10/75, BP, DG (S).
477.  Verdi – Otello5/61, Del Monaco, Tebaldi, Protti, WSC, WP, DECCA (S); 8/72, Vickers, Freni, Glossop, Foyer (L); 8/73, Vickers, Freni, Glossop, DOC, BP, EMI/Unitel (S, V+A).
478.  Verdi – Otello: Ballet Music – 1/71, BP, DG (S).
479.  Verdi – Requiem8/49, Zadek, Klose, Rosvaenge, Christoff, WS, WP, Audite (L); 11/54, Stella, Dominguez, Gedda, Modesti, WS, WSy, Orfeo (L); 8/58, Rysanek, Ludwig, Zampieri, Siepi, WS, WP, EMI (L); 8/62, Price, Simionato, Zampieri, Ghiaurov, WS, BP, Testament (L); 9/64, Price, Cossotto, Bergonzi, Zaccaria, LS, Foyer (L, Moscow, bass incorrectly given as Ghiaurov); 1/67, Price, Cossotto, Pavarotti, Ghiaurov, LS, Unitel (S, V); 8/70, Janowitz, Ludwig, Bergonzi, Raimondi, WS, WP, Doremi (L); 1/72, Freni, Ludwig, Cossutta, Ghiaurov, WS, BP, DG (S); 6/84, Tomowa-Sintow, Baltsa, Carreras, Van Dam, WS, WP, Sofia National Opera Chorus (S, V+A).
480.  Verdi – Rigoletto: Prelude – 10/75, BP, DG (S).
481.  Verdi – Un Ballo in Maschera – 2/89, Domingo, etc., WSC, WP, DG (S).
482.  Verdi – Un Ballo in Maschera: Prelude – 10/75, BP, DG (S).
483.  Verdi – Un Giorno di Regno: Overture – 10/75, BP, DG (S).
484.  Vivaldi – Concertos RV 129, 151, 234, 271 & 523; Sinfonia RV 169 – 70, BP, DG (S).
485.  Vivaldi – Concertos RV 549, 550, 567, 580 – 72, BP, DG (S).
486.  Vivaldi – Concerto RV 439 – 83, BP, DG (S).
487.  Vivaldi – The Four Seasons8/72, Schwalbe, BP, DG (S); 6/84, Mutter, WP, EMI (S); 10/87, Mutter, WP, Telemondial (L, V).
488.  Vivaldi – Trumpet Concerto – 5/74, Andre, BP, EMI (S).
489.  WagnerDas Rheingold8/51, Bjoerling, Malaniuk, Weber, Windgassen, Schwarzkopf, BFO, Arkadia (L); 12/67, Fischer-Dieskau, Veasey, Kelemen, Stolze, Dominguez, BP (S); 4/73 (audio) – 78 (video), Stewart, Fassbänder, Kelemen, Stolze, Schreier, BP (S, V).
490.  Wagner – Der fliegende Holländer – 12/83, Van Dam, Vejzovic, Hofmann, Moll, WSC, BP, EMI (S).
491.  Wagner – Der fliegende Holländer: Overture – 9/60, BP, EMI (S); 10/74, BP, EMI (S).
492.  Wagner – Der fliegende Holländer: Summ’ und Brumm’ – 11/48, Schuster, WSC, WP, EMI (S).
493.  Wagner – Der fliegende Holländer: Introduction and Sailors’ Chorus (Act 3) – 11/49, WSC, WP, EMI (S).
494.  Wagner – Die Meistersinger von Nürnberg8/51, Schwarzkopf, Malaniuk, Hopf, Unger, Edelmann, BFO, EMI (L); 12/70, Donath, Kollo, Schreier, Adam, Ridderbusch, DS, EMI (S).
495.  Wagner – Die Meistersinger von Nürnberg: Prelude (Act 1) 2/39, BS, DG (S); 2/57, BP, EMI (S); 10/74, BP, EMI (S).
496.  Wagner – Die Meistersinger von Nürnberg: Prelude (Act 3) – 2/84, BP, DG (S).
497.  Wagner – Die Meistersinger von Nürnberg: Final Chorus – 11/49, WSC, WP, EMI (S).
498.  Wagner – Die Meistersinger von Nürnberg: Da zu dir der Heiland kam– 11/49, WSC, WP, EMI (S).
499.  Wagner – Die Walküre – 8/51, Bjoerling, Varnay, Rysanek, BFO, EMI (L, Act 3 only!); 12/66, Crespin, Stewart, Janowitz, Vickers, Veasey, Talvela, BP, DG (S); 3/67, Crespin, Stewart, Janowitz, Vickers, Ludwig, Talvela, BP, Arkadia (L); 3/69, Nilsson, Adam, Crespin, Vickers, Veasy, Talvela, Metropolitan, Arkadia (L).
500.  Wagner – Götterdämmerung – 8/51, Varnay, Modl, Schwarzkopf, Uhde, Pflanz, Weber, BFO, Arkadia (L, Act 3 only!); 10/69, Dernesch, Janowitz, Ludwig, Brilioth, Stewart, Kelemen, Ridderbusch, DOC, BP, DG (S); 3/70, Dernesch, Janowitz, Ludwig, Thomas, Stewart, Kelemen, Ridderbusch, WSC, BP, Arkadia (L).
501.  Wagner – Lohengrin – 12/75-5/81, Tomowa-Sintow, Vejzovic, Kollo, Nimsgern, DOC, BP, EMI (S).
502.  Wagner – Lohengrin: Prelude (Act 1) – 9/60, BP, EMI (S); 10/74, BP, EMI (S).
503.  Wagner – Lohengrin: Prelude (Act 3) – 11/49, WP, EMI (S); 10/74, BP, EMI (S).
504.  Wagner – Lohengrin: Treulich geführt – 11/49, WSC, WP, EMI (S).
505.  Wagner – Parsifal – 4/61, Ludwig/Höngen, Uhl, Wächter, Hotter, WSC, WP, RCA (L); 7/80, Vejzovic, Hofmann, Nimsgern, Moll, Van Dam, DOP, BP, DG (S).
506.  Wagner – Parsifal: Prelude (Act 1) – 10/74, BP, EMI (S).
507.  Wagner – Parsifal: Prelude (Act 3) – 10/74, BP, EMI (S).
508.  Wagner – Siegfried – 8/51, Varnay, Lipp, Bjoerling, BFO, Melodram (L); 12/68 Dernesch, Thomas, Stewart, Stolze, Kelemen, Ridderbusch, Dominguez, BP, DG (S); 3/69, Dernesch, Thomas, Stewart, Kelemen, Ridderbusch, BP, Arkadia (L).
509.  Wagner – Siegfried Idyll – 3/77, BP, DG (S); 8/87, WP, DG (L).
510.  Wagner – Tannhäuser – 1/63, Brouwenstijn, Beirer, Ludwig, Wächter, WSC, WP, DG (L).
511.  Wagner – Tannhäuser: Overture2/57, BP, EMI (S); 1/75, BP, Unitel (L, V); 8/87, WP, DG (L).
512.  Wagner – Tannhäuser: Overture & Venusberg – 10/74, BP, EMI (S); 2/84, BP, DG (S).
513.  Wagner – Tannhäuser: Venusberg – 11/54, PO, EMI/Testament (S); 9/60, PO, EMI (S).
514.  Wagner – Tannhäuser: March and Entry of the Guests – 11/49, WSC, WP, EMI (S).
515.  Wagner – Tristan und Isolde – 7/52, Mödl, Vinay, Malaniuk, Hotter, BFO, Myto/Arkadia (L); 1/72, Dernesch, Vickers, Ludwig, Berry, DOC, BP, EMI (S).
516.  Wagner – Tristan und Isolde: Prelude & Liebestod2/57, BP, EMI; 10/74, BP, EMI (S); 2/84, BP, DG (S); 8/87, Norman, WP, DG (L).
517.  Waldteufel – Les Patineurs: Waltz – 7/53, PO, EMI (S); 9/60, PO, EMI (S).
518.  Weber – Abu Hassan: Overture – 1/71, BP, DG (S).
519.  Weber – Aufforderung zum Tanz1/58, PO, EMI (S); 11/71, BP, DG (S); 2/84, BP, DG (S).
520.  Weber – Der Beherrscher der Geister: Overture – 1/71, BP, DG (S).
521.  Weber – Der Freischutz: Overture9/43, CA, DG (S); 9/60, BP, EMI (S); 2/72, BP, DG (S); 1/75, BP, Unitel (L, V); 1/81, BP, EMI (S); 12/85, BP, Telemondial (L, V).
522.  Weber – Euryanthe: Overture – 2/72, BP, DG (S).
523.  Weber – Oberon: Overture – 2/72, BP, DG (S).
524.  Weber – Peter Schmoll: Overture – 1/71, BP, DG (S).
525.  Webern – Passacaglia, Op. 1 – 2/74, BP, DG (S).
526.  Webern – Symphony, Op. 21 – 2/74, BP, DG (S).
527.  Webern – 5 Movements, Op. 4 – 2/74, BP, DG (S).
528.  Webern – 6 Pieces, Op. 62/74, BP, DG (S).
529.  Weinberger – Schwanda der Bagpiper: Polka – 7/53, PO, EMI (S); 9/60, PO, EMI (S).
530.  Wolf-Ferrari – I Gioielli della Madonna: Intermezzo – 9/67, BP, DG (S).