01. Capriccio Espagnol, Op.34 : 1. Alborada
02. Capriccio Espagnol, Op.34 : 2. Variazioni
03. Capriccio Espagnol, Op.34 : 3. Alborada
04. Capriccio Espagnol, Op.34 : 4. Scena e canto gitano
05. Capriccio Espagnol, Op.34 : 5. Fandango asturiano
06. 12 Contredanses, WoO 14 : 2. Contredanse in A Major
07. 12 Contredanses, WoO 14 : 3. Contredanse - Trio in D Major
08. 12 Contredanses, WoO 14 : 4. Contredanse in B Major
09. 12 Contredanses, WoO 14 : 5. Contredanse - Trio in E Major
10. 12 Contredanses, WoO 14 : 6. Contredanse - Trio in C Major
11. 12 Contredanses, WoO 14 : 7. Contredanse in E Major
12. 12 Contredanses, WoO 14 : 10. Contredanse - Trio in C Major
13. 12 Contredanses, WoO 14 : 12. Contredanse - Trio in E Major
14. Symphony No.1 In E Flat, K.16 : 1. Allegro molto
15. Symphony No.1 In E Flat, K.16 : 2. Andante
16. Symphony No.1 In E Flat, K.16 : 3. Presto
17. El Amor Brujo : Introducción y escena
18. El Amor Brujo : En la cueva. La noche
19. El Amor Brujo : Canción del amor dolido
20. El Amor Brujo : El aparecido
21. El Amor Brujo : Danza del terror
22. El Amor Brujo : El círculo mágico
23. El Amor Brujo : A media noche. Los sortilegios
24. El Amor Brujo : Danza ritual del fuego, para ahuyentar los malos espí-
25. El Amor Brujo : Escena
26. El Amor Brujo : Canción del fuego fátuo
27. El Amor Brujo : Pantomima
28. El Amor Brujo : Danza del juego de amor
29. El Amor Brujo : Final. Las campanas del amanecer
30. The Firebird (L'oiseau de feu) - Suite (1919) : Introduction
31. The Firebird (L'oiseau de feu) - Suite (1919) : Variation Of The Firebird
32. The Firebird (L'oiseau de feu) - Suite (1919) : Round Dance Of The Princesses
33. The Firebird (L'oiseau de feu) - Suite (1919) : Infernal Dance Of King Kaschei
34. The Firebird (L'oiseau de feu) - Suite (1919) : Lullaby (Berceuse)
35. The Firebird (L'oiseau de feu) - Suite (1919) : Finale
36. Romeo And Juliet, Ballet Suite, Op.64a, No.2 : 1. The Montagues And The Capulets
37. Romeo And Juliet, Ballet Suite, Op.64a, No.2 : 4. Dance
38. Romeo And Juliet, Ballet Suite, Op.64a, No.2 : 7. Romeo At Juliet's Grave
39. Romeo And Juliet, Ballet Suite, Op.64a, No.2 : 6. Dance Of The Maids From The Antilles
40. Romeo And Juliet, Ballet Suite, Op.64a, No.1 : 7. Death Of Tybalt
41. Roméo et Juliette, Op.17 / Part 2 : Grande fête chez les Capulets
42. Roméo et Juliette, Op.17 / Part 4 : Scherzo - La Reine Mab où la Fée des songes
43. Roméo et Juliette, Op.17 / Part 3 : Scène d'amour
44. Roméo et Juliette, Op.17 / Part 6 : Romeo au tombeau des Capulets
45. Romeo And Juliet, Fantasy Overture
46. The Song Of The Nightingale (Le chant du rossignol) : Introduction
47. The Song Of The Nightingale (Le chant du rossignol) : Chinese March
48. The Song Of The Nightingale (Le chant du rossignol) : Song Of The Nightingale
49. The Song Of The Nightingale (Le chant du rossignol) : The Mechanical Nightingale's Game
50. Symphony No.5 In C Minor, Op.67 : 1. Allegro con brio
51. Symphony No.5 In C Minor, Op.67 : 2. Andante con moto
52. Symphony No.5 In C Minor, Op.67 : 3. Allegro
53. Symphony No.5 In C Minor, Op.67 : 4. Allegro
54. Overture "The Consecration Of The House", Op.124
55. Symphony No.3 In F, Op.90 : 1. Allegro con brio - Un poco sostenuto - Tempo I
56. Symphony No.3 In F, Op.90 : 2. Andante
57. Symphony No.3 In F, Op.90 : 3. Poco allegretto
58. Symphony No.3 In F, Op.90 : 4. Allegro
59. Tragic Overture, Op.81
60. Pines Of Rome : The Pines Of Villa Borghese, [P. 141]
61. Pines Of Rome : The Pines Near A Catacomb, [P. 141]
62. Pines Of Rome : The Pines Of The Janiculum, [P. 141]
63. Pines Of Rome : The Pines Of The Appian Way, [P. 141]
64. A Night On The Bare Mountain
65. Symphony No.4 In C Minor, D.417 - "Tragic" : 1. Adagio molto - Allegro vivace
66. Symphony No.4 In C Minor, D.417 - "Tragic" : 2. Andante
67. Symphony No.4 In C Minor, D.417 - "Tragic" : 3. Menuetto (Allegro vivace)
68. Symphony No.4 In C Minor, D.417 - "Tragic" : 4. Allegro
69. Symphony No.8 In B Minor, D.759 - "Unfinished" : 1. Allegro moderato
70. Symphony No.8 In B Minor, D.759 - "Unfinished" : 2. Andante con moto
71. Symphony No.28 In C, K.200 : 1. Allegro spiritoso
72. Symphony No.28 In C, K.200 : 2. Andante
73. Symphony No.28 In C, K.200 : 3. Menuetto (allegretto)
74. Symphony No.28 In C, K.200 : 4. Presto
75. Symphony No.41 In C, K.551 - "Jupiter" : 1. Allegro vivace
76. Symphony No.41 In C, K.551 - "Jupiter" : 2. Andante cantabile
77. Symphony No.41 In C, K.551 - "Jupiter" : 3. Menuetto (Allegretto)
78. Symphony No.41 In C, K.551 - "Jupiter" : 4. Molto allegro
79. Symphony No.6 In F, Op.68 -"Pastoral" : 1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande: Allegro ma non troppo
80. Symphony No.6 in F, Op.68 -"Pastoral" : 2. Szene am Bach: (Andante molto mosso)
81. Symphony No.6 In F, Op.68 -"Pastoral" : 3. Lustiges Zusammensein der Landleute (Allegro)
82. Symphony No.6 In F, Op.68 -"Pastoral" : 4. Gewitter, Sturm (Allegro)
83. Symphony No.6 In F, Op.68 -"Pastoral" : 5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm: Allegretto
84. L'Enfant et les sortilèges, M.71 / Première partie : Introduction. "J'ai pas envie de faire ma page"
85. L'Enfant et les sortilèges, M.71 / Première partie : Bébé a été sage?
86. L'Enfant et les sortilèges, M.71 / Première partie : Ca m'est égal!
87. L'Enfant et les sortilèges, M.71 / Première partie : "Votre serviteur humble, Bergère"
88. L'Enfant et les sortilèges, M.71 / Première partie : Ding, ding, ding, ding
89. L'Enfant et les sortilèges, M.71 / Première partie : How's Your Mug?
90. L'Enfant et les sortilèges, M.71 / Première partie : Keng-ca-fou, Mah-jong
91. L'Enfant et les sortilèges, M.71 / Première partie : "Oh! Ma belle tasse chinoise!"
92. L'Enfant et les sortilèges, M.71 / Première partie : Arrière! Je réchauffe les bons
93. L'Enfant et les sortilèges, M.71 / Première partie : Adieu, pastourelles!
94. L'Enfant et les sortilèges, M.71 / Première partie : "Ah! C'est Elle! C'est Elle!"
95. L'Enfant et les sortilèges, M.71 / Première partie : Toi, le coeur de la rose
96. L'Enfant et les sortilèges, M.71 / Première partie : "Deux robinets coulent dans un réservoir!"
97. L'Enfant et les sortilèges, M.71 / Première partie : Oh! Ma tête!
98. L'Enfant et les sortilèges, M.71 / Première partie : Duo miaulé
99. L'Enfant et les sortilèges, M.71 / Première partie : Musique d'insectes, de rainettes
100. L'Enfant et les sortilèges, M.71 / Deuxième partie : "Ah! Quelle joie de te retrouver, Jardin!"
101. L'Enfant et les sortilèges, M.71 / Deuxième partie : Où es-tu? Je te cherche ...
102. L'Enfant et les sortilèges, M.71 / Deuxième partie : Ronde des Chauves-Souris "Rends-la moi...tsk,tsk..."
103. L'Enfant et les sortilèges, M.71 / Deuxième partie : Danse des rainettes
104. L'Enfant et les sortilèges, M.71 / Deuxième partie : Sauve-toi, sotte! Et la cage? La cage?
105. L'Enfant et les sortilèges, M.71 / Deuxième partie : La Cage, c'était pour mieux voir ta pretesse
106. L'Enfant et les sortilèges, M.71 / Deuxième partie : "Ah! C'est l'Enfant au couteau"
107. L'Enfant et les sortilèges, M.71 / Deuxième partie : Il a pansé la plaie ...
108. L'Enfant et les sortilèges, M.71 / Deuxième partie : Il est bon, l'Enfant, il est sage
109. Symphony No. 4 In A Major, Op. 90, MWV N 16 - "Italian" : 1. Allegro vivace
110. Symphony No. 4 In A Major, Op. 90, MWV N 16 - "Italian" : 2. Andante con moto
111. Symphony No. 4 In A Major, Op. 90, MWV N 16 - "Italian" : 3. Con moto moderato
112. Symphony No. 4 In A Major, Op. 90, MWV N 16 - "Italian" : 4. Saltarello (Presto)
113. Symphony No.5 in D minor, Op.107, MWV N15 - "Reformation" : 1. Andante - Allegro con fuoco
114. Symphony No.5 in D minor, Op.107, MWV N15 - "Reformation" : 2. Allegro vivace
115. Symphony No.5 in D minor, Op.107, MWV N15 - "Reformation" : 3. Andante
116. Symphony No.5 in D minor, Op.107, MWV N15 - "Reformation" : 4. Choral "Ein' Feste Burg ist unser Gott!" (Andante con moto - Allegro vivace - Allegro maestoso - Più animato poco a poco)
117. Symphony No.5 In B Flat, D.485 : 1. Allegro
118. Symphony No.5 In B Flat, D.485 : 2. Andante con moto
119. Symphony No.5 In B Flat, D.485 : 3. Menuetto (Allegro molto)
120. Symphony No.5 In B Flat, D.485 : 4. Allegro vivace
121. Symphony No.6 In C, D.589 - "The Little" : 1. Adagio - Allegro
122. Symphony No.6 In C, D.589 - "The Little" : 2. Andante
123. Symphony No.6 In C, D.589 - "The Little" : 3. Scherzo (Presto)
124. Symphony No.6 In C, D.589 - "The Little" : 4. Allegro moderato
125. Symphony In D Minor : 1. Lento - Allegro ma non troppo - Allegro
126. Symphony In D Minor : 2. Allegretto
127. Symphony In D Minor : 3. Allegro non troppo
128. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 1. Tuning Up - "These Are Sounds..."
129. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 2. "It All Starts With An Idea"
130. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 3. "All Of Them Are Now Ready..." - Theme
131. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 4. "It Is Time That Each Instrument Speak For Itself" - Variation A
132. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 5. "When Two Oboes Discuss The Theme, ..." - Variation B
133. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 6. "Clarinets Are Glib Talkers And Are Very Popular" - Variation C
134. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 7. "Easily Recognized Is The Gossip Of The Bassoon" - Variation D
135. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 8. "Thirty Of The Sixty String Players Are Violinists" - Variation E
136. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 9. "The Alto Voice Of The Viola Is Larger Than The Violin´s" - Variation F
137. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 10. "The Violoncello Is Larger Still" - Variation G
138. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 11. "The Double Bass Stands As High As A Man" - Variation H
139. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 12. "Words Plucked From Any Of The Harp´s 47 Strings..." - Variation I
140. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 13. "The Horn Is A Brass Instrument" - Variation J
141. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 14. "These Two Trumpets Challenge Each Other In A Brilliant Exchange" - Variation K
142. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 15. "The Giants Of The Brass, The Trombones And Tuba, ..." - Variation L
143. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 16. "The Comment Of The Percussion Is Right To The Point" - Variation M
144. The Young Person's Guide To The Orchestra, Op.34 - With Narration - Text Edited By Lorin Maazel : 17. "Everyone Has Had His Say" - Fugue
145. Peter And The Wolf, Op.67 - Narration In English : 1. Introduction: "Peter And The Wolf - A Musical Tale For Children"
146. Peter And The Wolf, Op.67 - Narration In English : 2. "Now To Our Story. Early One Morning, Peter Opened The Gate..."
147. Peter And The Wolf, Op.67 - Narration In English : 3. "Suddenly, Something Caught Peter´s Attention"
148. Peter And The Wolf, Op.67 - Narration In English : 4. "No Sooner Had Peter Gone..."
149. Peter And The Wolf, Op.67 - Narration In English : 5. "And Now, This Is How Things Stood"
150. Peter And The Wolf, Op.67 - Narration In English : 6. "But Now, ...Now The Hunters Came Out Of The Woods"
151. Peter And The Wolf, Op.67 - Narration In English : 7. "And Now... Now Imagine The Triumphant Procession"
152. Symphony No.4 In F Minor, Op.36, TH.27 : 1. Andante sostenuto - Moderato con anima - Moderato assai, quasi Andante - Allegro vivo
153. Symphony No.4 In F Minor, Op.36, TH.27 : 2. Andantino in modo di canzone
154. Symphony No.4 In F Minor, Op.36, TH.27 : 3. Scherzo. Pizzicato ostinato - Allegro
155. Symphony No.4 In F Minor, Op.36, TH.27 : 4. Finale (Allegro con fuoco)
156. Symphony No.2 In B Flat, D.125 : 1. Largo - Allegro vivace
157. Symphony No.2 In B Flat, D.125 : 2. Andante
158. Symphony No.2 In B Flat, D.125 : 3. Menuetto (Allegro vivace)
159. Symphony No.2 In B Flat, D.125 : 4. Presto
160. Symphony No.3 In D, D.200 : 1. Adagio maestoso - Allegro con brio
161. Symphony No.3 In D, D.200 : 2. Allegretto
162. Symphony No.3 In D, D.200 : 3. Menuetto (Vivace)
163. Symphony No.3 In D, D.200 : 4. Presto. Vivace
164. L'heure espagnole, Comédie en un acte, M.52 : Introduction
165. L'heure espagnole, Comédie en un acte, M.52 - Poème de Franc-Nohain : Señor Torquemada, horloger de Tolède (Scenes I & II)
166. L'heure espagnole, Comédie en un acte, M.52 : "Totor!" (Scène II)
167. L'heure espagnole, Comédie en un acte, M.52 - Poème de Franc-Nohain : Il reste, voilà bien ma chance! (Scenes III-VI)
168. L'heure espagnole, Comédie en un acte, M.52 : "Il était temps, voici Gonzalve!" (Scène IV)
169. L'heure espagnole, Comédie en un acte, M.52 : "C'est fait, l'horloge est à sa place" (Scène V)
170. L'heure espagnole, Comédie en un acte, M.52 : "Maintenant pas de temps à perdre!" (Scène VI)
171. L'heure espagnole, Comédie en un acte, M.52 - Poème de Franc-Nohain : Salut à la belle horlogère! (Scenes VII-X)
172. L'heure espagnole, Comédie en un acte, M.52 : "Voilà! ... Et maintenant à l'autre!" (Scène VIII)
173. L'heure espagnole, Comédie en un acte, M.52 : "Evidemment, elle me congédie" (Scène IX)
174. L'heure espagnole, Comédie en un acte, M.52 : "Voilà ce que j'appelle une femme charmante" (Scène X)
175. L'heure espagnole, Comédie en un acte, M.52 - Poème de Franc-Nohain : Monsieur! Ah! Monsieur! (Scenes XI-XVI)
176. L'heure espagnole, Comédie en un acte, M.52 : "Enfin, il part!" (Scène XII)
177. L'heure espagnole, Comédie en un acte, M.52 : "Voilà l'objet!" (Scène XIII)
178. L'heure espagnole, Comédie en un acte, M.52 : "Ah! vous, n'est-ce pas, preste! leste!" (Scène XIV)
179. L'heure espagnole, Comédie en un acte, M.52 : "En dépit de cette inhumaine" (Scène XV)
180. L'heure espagnole, Comédie en un acte, M.52 : "Voilà ce que j'appelle une femme charmante"(ScèneXVI)
181. L'heure espagnole, Comédie en un acte, M.52 - Poème de Franc-Nohain : Oh! la pitoyable aventure! (Scenes XVII-XIX)
182. L'heure espagnole, Comédie en un acte, M.52 : Voilà! ... Et maintenant, Senora, je suis prêt (Scène XVIII)
183. L'heure espagnole, Comédie en un acte, M.52 : "Mon oeil anxieux interroge" (Scène XIX)
184. L'heure espagnole, Comédie en un acte, M.52 : Adieu, cellule, adieu, donjon!
185. L'heure espagnole, Comédie en un acte, M.52 - Poème de Franc-Nohain : Il n'est pour l'horloger (Scenes XX-XXI)
186. L'heure espagnole, Comédie en un acte, M.52 : "Pardieu, déménageur, vous venez à propos!" (ScèneXXI)
187. L'heure espagnole, Comédie en un acte, M.52 : Un financier ... Et un poète
188. El Sombrero De Tres Picos / Part 1 : Dance Of The Miller's Wife
189. El Sombrero De Tres Picos / Part 2 : Dance Of The Neighbours
190. El Sombrero De Tres Picos / Part 2 : The Miller's Dance
191. El Sombrero De Tres Picos / Part 2 : Final Dance
Born to American parents in Neuilly, France, conductor Lorin Maazel displayed musical maturity at an early age. Educated in the United States, he studied conducting with Vladimir Bakaleinikov, as well as violin and piano in Pittsburgh. Maazel's conducting career was underway by the tender age of seven, when the legendary Arturo Toscanini invited him to lead the NBC Orchestra in New York. Subsequently, young Maazel directed a series of New York Philharmonic performances at Lewisohn Stadium. In 1939, he conducted the Interlochen Orchestra at the World's Fair in New York, and the Los Angeles Philharmonic at the Hollywood Bowl, sharing the podium with Leopold Stokowski. Maazel's Cleveland Orchestra debut was in 1943, beginning what would become a historic relationship. In 1946, he enrolled in the languages, mathematics, and philosophy departments at the University of Pittsburgh. Concurrently, Maazel was a member of the Pittsburgh Symphony's violin section. In 1951, Maazel traveled to Italy as a Fulbright Scholar to the study music of the Baroque period, and enjoyed success conducting many leading European orchestras.
In 1972, the celebrated Cleveland Orchestra appointed Maazel its fifth music director. He remained in this capacity for a decade. Afterwrd, Maazel served as music director of several prestigious orchestras, including the Deutsch Oper Berlin, Berlin Radio Symphony, and Orchestre National de France, in addition to serving as principal guest conductor of the Philharmonia Orchestra in London. He was the conductor for the Pittsburgh Symphony, and the Bavarian Radio Symphony since 1988 (to 1996), and 1993 (to 2002) respectively. Between 2002 and 2009, he led the New York Philharmonic; the Orquestra de la Comunitat Valenciana from 2006-2011; and from 2004, Arturo Toscanini Philharmonic. His last appointment began in 2011 as chief conductor of the Munich Philharmonic. Maazel held the distinction of being not only the youngest to ever conduct at Bayreuth, but the first American. In fact, when he conducted Wagner's Ring at Bayreuth, Maazel became the first non-German to do so. The maestro conducted virtually all of the world's leading orchestras, including the Chicago Symphony, Boston Symphony, and more. He had vast and impressive experience directing opera, appearing at such prestigious houses as the Salzbug, Lucerne, Paris, and Metropolitan operas. He also conducted at La Scala and Covent Garden, as well as serving as artistic director (and general manager) of the Vienna State Opera from 1982-1984.
Maazel received numerous awards and distinctions, including the Comande's Cross of Merit of the Federal Republic (Germany), Legion of Honor (France), Commander of the Lion (Finland), and was made an honorary member of the Israel Philharmonic in 1985. He received the Grand Prix du Disque award ten times, and had been given numerous honorary degrees from various universities. His popularity and influence were undeniable when the United Nations named him Ambassador of Goodwill.
Maazel championed the use of television and film, himself writing film adaptations for such landmark works as Gustav Holst's Planets, and Vivaldi's Four Seasons. He also wrote operatic film music for Mozart's Don Giovanni and Bizet's Carmen, directed by Joseph Losey and Francisco Rossi, respectively. For these efforts, Maazel was awarded several international prizes.
Throughout his career, Maazel recorded extensively, continuously adding to a discography that is highlighted by recordings of the complete symphonic output of Beethoven, Mahler, Rachmaninov, and Sibelius. In addition to an ever-flourishing conducting career, Maazel maintained his dedication to composition. The 1996 recording of his concertos for cello, flute, and violin, with Rostropovich, Galway, and the composer as soloists respectively, is indicative of Lorin Maazel's timeless devotion to musical creativity. ~ David Brensilver