•	I. Allegramente
•	II. Adagio assai
•	III. Presto
•	1. Presto
•	2. Andante rapsodico
•	3. Allegro capriccioso ma sempre giusto
•	No. 1, Prelude
•	No. 2, Fugue
•	No. 3, Forlane
•	No. 4, Rigaudon
•	No. 5, Menuet
•	No. 6, Toccata

Disc 2

•	Andante - Allegro con anima
•	Andante cantabile, con alcuna licenza
•	Valse, Allegro moderato
•	Finale, Andante maestoso - Allegro vivace
•	Polovtsian Dances

Disc 3

•	"Denn es gehet dem Menschen"
•	"Ich wandte mich, und sahe an alle"
•	"O Tod, o Tod, wie bitter bist du"
•	"Wenn ich mit Menschen-und mit Engelszungen redete"
•	No. 1, "Im wunderschonen Monat Mai"
•	No. 2, "Aus meinen Tranen spriessen"
•	No. 3, "Die Rose, die Lilie, die Taube"
•	No. 4, "Wenn ich in deine Augen seh'"
•	No. 5, "Ich will meine Seele tauchen"
•	No. 6, "Im Rhein, im heiligen Strome"
•	No. 7, "Ich grolle nicht"
•	No. 8, Und wussten's die Blumen, die kleinen"
•	No. 9, "Das ist ein Floten und Geigen"
•	No. 10, "Hor' ich das Liedchen klingen"
•	No. 11, "Ein Jungling liebt ein Madchen"
•	No. 12, "Am leuchtenden Sommermorgen"
•	No. 13, "Ich hab' im Traum geweinet"
•	No. 14, "Allnachtlich im Traume seh' ich dich"
•	No. 15, "Aus alten Marchen winkt es hervor"
•	No. 16, "Die alten, bosen Lieder"

Disc 4

•	Allegro molto moderato
•	Andante un poco moto
•	Scherzo & Trio, Allegro vivace... Allegretto
•	Allegro assai
•	Allegro ma non troppo
•	Andante
•	Menuetto & Trio, Allegretto
•	Allegro moderato

Disc 5

•	Visions and passions
•	Un bal: Valse, Allegro non troppo
•	Scene au champ, Adagio
•	Marche au supplice, Allegro non troppo
•	Songe d'une nuit du Sabbat

Disc 6

•	Allegro non troppo
•	Adagio
•	Allegro giocoso, ma non troppo vivace

Disc 7

•	Entritt, Nicht zu schnell
•	Jager auf der Lauer, Hochst lebhaft
•	Einsame Blumen, Einfach
•	Verrufene Stelle
•	Freundliche Landschaft
•	Herberge, Massig
•	Vogel als Prophet, Langsam, sehr zart
•	Jagdlied, Rasch, kraftig
•	Abschied, Nicht schnell
•	Des Abends
•	Aufschwung
•	Warum?
•	In der Nacht
•	Traumes Wirren
•	Ende vom Lied
•	No. 1 in F Major

Disc 8

•	The Capulets' Ball
•	Queen Mab
•	Love Scene
•	Romeo at the Capulets' Tomb
•	Romeo at Juliet's Tomb
•	Tybalt's Death

Editorial Reviews:

Amazon.com
Europe is heard bursting out of the tension and isolation of war in recordings that--because of their pre-stereo status--have been long unavailable in any form. Pianist Monique Haas performs in combustible collaborations with conductors Hans Schmidt-Isserstedt and Ferenc Fricsay, respectively, in Ravel's Concerto in G and Stravinsky's Capriccio, reflecting the postwar German enthusiasm for the French-based music they'd been deprived of. Fricsay's Tchaikovsky Symphony No. 5 is one of the best ever, the young Amadeus Quartet is far more alert and inventive in Schubert's "Rosamunde" quartet than its more mature self, and the late conductor Fritz Lehmann has an incomparable way with Bach's chorales in Christmas Oratorio excerpts. Violinist Wolfgang Schneiderhan is heard in his earlier (and better) Beethoven sonata recordings with Wilhelm Kempf, and the younger, less-mannered Dietrich Fischer-Dieskau sings Brahms's Four Serious Songs. Two Russian greats, David Oistrakh and Sviatoslav Richter, bringing their customary mastery, respectively, to Brahms and Schumann, as does the electrifying Igor Markevitch in his lesser-known, 1953 recording of Berlioz's Symphonie Fantastique. Lorin Maazel, conducting selections from Berlioz's Romeo and Juliet, is full of fine ideas but not a lot of style. --David Patrick Stearns