Нахъ сплиты, нахъ концертники, нахъ синглы, нахъ ЕП всякие, давайте считать только АЛЬБОМЫ!

Квин. 15

Uriah Heep - 22, Alice Cooper - 19, из того, что вспомнил.

Ы? или Ы?

Елвизпресли - кажися, 50 номерных альбома (студийники, сборники синглов, не считая сборников хитов, саундтреки и коллекции неизданного материала) за 21 год

Френк Синатра - 60 альбомов за 48 лет

Френк Заппа - 59 альбомов за 27 лет

Прынць - 24 номерных альбома + 15 с маразмами = 39 альбомов за 29 лет

Кобзон - лох, всего 12 альбомов

И шо? Разговор же вроде чисто про студийники, а не синглы\сборники. Тогда у тех же Аэросмитов можно штук 50 насчитать, они ж сборники тоннами выпускают.

Дикрупс - 7 альбомов, Аэросмит - 14. Сопли Бетлаки за 6 лет 12 штук настругали

Самая охуенная дискография у группы Various Artists

Список в студию!

Хуйня
http://www.discogs.com/artist/Various+Artists
http://www.discogs.com/artist/Various+Artists+(2)

Больши небыла

ты хочешь шоб сервак слетел на котором форум лежит?

Давайте упростим сабж. Кто из украинских металл групп выпустил больше всего альбомов?

Lucifugum 13 альбомов

Но все равно 1 это миник, да еще и демка. А еще один ("Колесо") несмотря на хронометраж больше 30мин тоже считается миником (5 треков). Так что 11. Но все равно охрененно

Больше всего альбомов у Элтона Джона!

Из метала у японцев Sabbat немаленький такой списочек (если брать все релизы, официально выходившие).

Sabbat - Sabbat [ep] - 1985
Sabbat - Born By Evil Blood [ep] - 1987
Sabbat - Desecration [ep] - 1988
Sabbat - The Devil's Sperm Is Cold [ep] - 1989
Sabbat - The Seven Deadly Sins [ep] - 1990
Sabbat - Sabbatical Demon [demo] - 1990
Sabbat - Bloody Countess [demo] - 1991
Sabbat - Envenom (Rough Mixed Tape) [demo] - 1991
Sabbat - Envenom [full-length] - 1991
Sabbat - Evoke [full-length] - 1992
Sabbat - Disembody [full-length] - 1993
Sabbat - Black Up Your Soul [best of/compilation] - 1994
Sabbat - Sabbatical Devilucifer [ep] - 1994
Sabbat - Fetishism [full-length] - 1994
Sabbat - For Satan And Sacrifice [best of/compilation] - 1995
Sabbat - Live At Blokula [live] - 1995
Sabbat - Bloody Countess [best of/compilation] - 1996
Sabbat - Live 666 - Japanese Harmageddon [live] - 1996
Sabbat - The Dwelling [full-length] - 1996
Sabbat & Gehennah & Infernц & Bestial Warlust - Headbangers Against Disco Vol. 1 [split] - 1997
Sabbat - European Harmageddon [ep] - 1997
Sabbat - Scandinavian Harmageddon [ep] - 1997
Sabbat - African Harmageddon [ep] - 1998
Sabbat - American Harmagedon [ep] - 1998
Sabbat - Asian Harmageddon [ep] - 1998
Sabbat - East European Harmageddon [ep] - 1998
Sabbat - The Sabbatical Rites ('85-'89) [best of/compilation] - 1999
Sabbat - Oceanic Harmageddon - Live 666 Single Edition [ep] - 1999
Sabbat - Sabbatical Demonslaught [ep] - 1999
Sabbat - South American Harmageddon [ep] - 1999
Sabbat - Live Curse [live] - 1999
Sabbat - Live Kindergarden [live] - 1999
Sabbat - Karisma [full-length] - 1999
Sabbat - Live Devil [live] - 1999
Sabbat - Sabbatical Magicurse - Baltic Harmageddon [ep] - 1999
Sabbat & Imperial - The Bulldozer Armageddon Volume 1 [split] - 2000
Sabbat - Sabbatical Magicrucifixion - Iberian Harmageddon [ep] - 2000
Sabbat - Sabbatical Magicrypt - French Harmageddon [ep] - 2000
Sabbat - Far East Sabbatical Live Attack!!! [live] - 2000
Sabbat - Live Revenge [live] - 2000
Sabbat - Russian Harmageddon [live] - 2000
Sabbat - Venometal [live] - 2000
Sabbat - Charisma [full-length] - 2000
Sabbat - Satanasword [full-length] - 2000
Sabbat - Live Panica [ep] - 2000
Sabbat - Antarctic Harmageddon [live] - 2000
Sabbat & Gorgon - Gorgon / Sabbat [split] - 2001
Sabbat & Terror Squad - Terror Squad/Sabbat [split] - 2001
Sabbat & Unholy Grave- Unholy Grave/Sabbat [split] - 2001
Sabbat - Dietsland Harmageddon - Sabbatical Magicrest [ep] - 2001
Sabbat - Minami-kyushu Harmageddon - Sabbatical Magichaos [ep] - 2001
Sabbat - Live Festa [live] - 2001
Sabbat - Live Meltdown [live] - 2001
Sabbat & Unpure- Sabbatical Splitombstone [split] - 2001
Sabbat - Live Nuts [live] - 2001
Sabbat - Live Torture - Unleashed In The West [live] - 2001
Sabbat - Brazilian Demonslaught [ep] - 2002
Sabbat - Live Guanafight [live] - 2002
Sabbat - Live Lovefire [live] - 2002
Sabbat - Live Batan-q - Disturbed By Guardians [live] - 2002
Sabbat - Live Izumoden - Temisosmonslaught [ep] - 2002
Sabbat - Black Up You Soul... For Satan And Sacrifice [best of/compilation] - 2003
Sabbat - Fetishism 2-lp [best of/compilation] - 2003
Sabbat & Abigail - Kamikaze Splitting Roar [split] - 2003
Sabbat - Live Wacko [boxed set] - 2003
Sabbat - Elizaveatonslaught [ep] - 2003
Sabbat - Gezonslaught [ep] - 2003
Sabbat - Naniwa Tepoddonslaught [ep] - 2003
Sabbat - Tribute To Fetu - Naniwa Harmageddon [ep] - 2003
Sabbat - Valvinonslaught [ep] - 2003
Sabbat - Zorugelionslaught [ep] - 2003
Sabbat - Brigitte Harmageddon [live] - 2003
Sabbat - Live Hamagurism [live] - 2003
Sabbat - Sabbademonical Liveslaught [live] - 2003
Sabbat - Karmagmassacre [full-length] - 2003
Sabbat - Svart Eld - Demonslaught Sverige [ep] - 2003
Sabbat - ...And The Sabbatical Queen [best of/compilation] - 2004
Sabbat - ...To Praise The Sabbatical Queen [best of/compilation] - 2004
Sabbat - ...To Praise The Sabbatical Queen 2lp [best of/compilation] - 2004
Sabbat - Mion's Hill [best of/compilation] - 2004
Sabbat - Sabbatical Holocaust [best of/compilation] - 2004
Sabbat - Sabbatical Rites [best of/compilation] - 2004
Sabbat - Hamaguri Resurrection [ep] - 2004
Sabbat - Temis Osmonslaught [ep] - 2004
Sabbat - Gezonslaught [single] - 2004
Sabbat - Envenometal [live] - 2004
Sabbat - Live Undertakers (Temis Version) [live] - 2004
Sabbat - Sabbatical Satanichrist Slaughter - Bay Area Harmageddon [best of/compilation] - 2004
Sabbat - Live Undertakers (Zorugelion Version) [live] - 2004
Sabbat - Live Resurrection [live] - 2004
Sabbat & Asbestos- Sabbat / Asbestos Split Ep [split] - 2005
Sabbat & Forever Winter - Sabbat/Forever Winter [split] - 2005
Sabbat - Sabbatical Rehearsalucifer [best of/compilation] - 2005
Sabbat & Desaster- Sabbatical Desasterminator [split] - 2005
Sabbat - Live Undertakers (Gezol Version) [ep] - 2005
Sabbat - Live Sabbatical Hamaguri Queen [live] - 2005
Sabbat - Satanas Francisconslaught [ep] - 2005
Sabbat - Brooklyn Blackfire [live] - 2005
Sabbat & Gorgon - Sabbatical Gorgonslaught [split] - 2005
Sabbat - Icelandic & Greenlandic Demonslaught [ep] - 2006
Sabbat - Geionslaught 1986 [live] - 2006
Sabbat & Surrender Of Divinity - Sabbatical Siamesechristbeheading [split] - 2006
Sabbat - Tribute To Temis [live] - 2006
Sabbat & Ironfist - Bloodlust Regime 1942 – The Syonan – To Massacre [split] - 2006
Sabbat & Goat Semen - Sabbatical Goat Semen [split] - 2006
Sabbat - Go Gezol Go! [live] - 2007
Sabbat - Live In Bkk [live] - 2007
Sabbat - Live In Singapore [live] - 2007
Sabbat - Xenophobiac Xanthous Xenogenesis [live] - 2007
Sabbat - Demonslaught Quйbйcois [live] - 2007
Sabbat - Live Bangkok [live] - 2007
Sabbat - Hamaguri Hihoukan [ep] - 2007
Sabbat - Uda's Ultimate Unison [best of/compilation] - 2007

Mozart и ни...ет

Каждое эквивалентно альбому!

[edit] Childhood symphonies (1764-1771)
These are the numbered symphonies from Mozart's early childhood. It should be noted that there are also a fair amount of unnumbered symphonies from this time period.

Symphony No. 1 in E-flat major, K. 16
Symphony No. 2 in B-flat major, K. 17 (spurious)
Symphony No. 3 in E-flat major, K. 18 (spurious, by Abel)
Symphony No. 4 in D major, K. 19
Symphony No. 5 in B-flat major, K. 22
Symphony No. 6 in F major, K. 43
Symphony No. 7 in D major, K. 45
Symphony No. 8 in D major, K. 48
Symphony No. 9 in C major, K. 73
Symphony No. 10 in G major, K. 74
Symphony No. 11 in D major, K. 84
Symphony No. 12 in G major, K. 110
Symphony No. 13 in F major, K. 112

[edit] Salzburg-era symphonies (1771-1781)
These symphonies are sometimes subcategorized as "Early" (1771-1773) and "Late" (1773-1775), and sometimes subcategorized as "Germanic" (with minuet) or "Italian" (without minuet). None of these were printed during Mozart's lifetime.

Although not counted as "symphonies" the three Divertimenti K. 136-138, in 3-movement Italian overture style, are sometimes indicated as "Salzburg Symphonies" too.

Symphony No. 14 in A major, K. 114 (1771)
Symphony No. 15 in G major, K. 124 (1772)
Symphony No. 16 in C major, K. 128 (1772)
Symphony No. 17 in G major, K. 129 (1772)
Symphony No. 18 in F major, K. 130 (1772)
Symphony No. 19 in E-flat major, K. 132 (1772)
Symphony No. 20 in D major, K. 133 (1772)
Symphony No. 21 in A major, K. 134 (1772)
Symphony No. 22 in C major, K. 162 (1773)
Symphony No. 23 in D major, K. 181 (1773)
Symphony No. 24 in B-flat major, K. 182 (1773)
Symphony No. 25 in G minor, K. 183 (173d B) (1773)
Symphony No. 26 in E-flat major, K. 184 (1773)
Symphony No. 27 in G major, K. 199 (1773)
Symphony No. 28 in C major, K. 200 (1774)
Symphony No. 29 in A major, K. 201 (1774)
Symphony No. 30 in D major, K. 202 (1774)

[edit] Late symphonies (1781-1791)
Symphony No. 31 "Paris" in D major, K. 297 (K. 300a) (1778)
Symphony No. 32 "Overture in the Italian style" in G major, K. 318 (1779)
Symphony No. 33 in B-flat major, K. 319 (1779)
Symphony No. 34 in C major, K. 338 (1780)
Symphony No. 35 "Haffner" in D major, K. 385 (1782)
Symphony No. 36 "Linz" in C major, K. 425 (1783)
Symphony No. 37 in G major, K. 444 (1783)
For years this was categorized as a Mozart symphony, but later scholarship determined that it was actually composed by Michael Haydn (Symphony No. 25), and Mozart wrote only the slow introduction for it.
Symphony No. 38 "Prague" in D major, K. 504 (1786)
The three final symphonies (Nos. 39-41) were completed in about three months in 1788. It is quite likely that he hoped to publish these three works together as a single opus, although actually they remained unpublished until after his death. One or two of them might have been played in public in Leipzig in 1789.

Symphony No. 39 in E flat major, K. 543 (1788)
Symphony No. 40 in G minor, K. 550 (1788)
Symphony No. 41 "Jupiter" in C major, K. 551 (1788)

[edit] Concertos

[edit] Piano concertos
Main article: Mozart Piano Concertos
Mozart's production for piano and orchestra are numbered from 1 to 27. The first four numbered concertos are early works (Piano Concertos Nos 1-4 (Mozart)). The movements of these concertos are arrangements of keyboard sonatas by various contemporary composers (Raupach, Honauer, Schobert, Eckart, C.P.E. Bach). Concertos 7 and 10 are compositions for three and two pianos respectively. The remaining twenty-one are original compositions for solo piano and orchestra. Among them, fifteen were written in the years from 1782 to 1786, while in the last five years Mozart wrote just two more piano concertos.

Piano Concerto No. 1 in F major, K. 37
Piano Concerto No. 2 in B flat major, K. 39
Piano Concerto No. 3 in D major, K. 40
Piano Concerto No. 4 in G major, K. 41
Piano Concerto No. 5 in D major, K. 175
Piano Concerto No. 6 in B flat major, K. 238
Piano Concerto No. 7 in F major for Three Pianos, K. 242
Piano Concerto No. 8 "Lützow" in C major, K. 246
Piano Concerto No. 9 "Jeunehomme" in E flat major, K. 271
Piano Concerto No. 10 in E flat major for Two Pianos, K. 365
Piano Concerto No. 11 in F major, K. 413/387a
Piano Concerto No. 12 in A major, K. 414/385p
Piano Concerto No. 13 in C major, K. 415/387b
Piano Concerto No. 14 in E flat major, K. 449
Piano Concerto No. 15 in B flat major, K. 450
Piano Concerto No. 16 in D major, K. 451
Piano Concerto No. 17 in G major, K. 453
Piano Concerto No. 18 in B flat major, K. 456
Piano Concerto No. 19 in F major, K. 459
Piano Concerto No. 20 in D minor, K. 466
Piano Concerto No. 21 in C major, K. 467
Piano Concerto No. 22 in E flat major, K. 482
Piano Concerto No. 23 in A major, K. 488
Piano Concerto No. 24 in C minor, K. 491
Piano Concerto No. 25 in C major, K. 503
Piano Concerto No. 26 "Coronation" in D major, K. 537
Piano Concerto No. 27 in B flat major, K. 595

[edit] Violin concertos
Five violin concertos were written in his late teens while he was still touring with his father throughout Europe, an exceptional feat for a traveling composer. Mozart's Violin Concertos are notable for the beauty of their melodies and the skillful use of the expressive and technical characteristics of the instrument, though Mozart probably never went through all the violin possibilities like others (e.g. Beethoven and Brahms) did after him. (Alfred Einstein notes that the violin concerto–like sections in the serenades are more virtuosic than in the works titled Violin Concertos.)

Violin Concerto No. 1 in B flat major, K. 207 (1775)
Violin Concerto No. 2 in D major, K. 211 (1775)
Violin Concerto No. 3 in G major, K. 216 (1775)
Violin Concerto No. 4 in D major, K. 218 (1775)
Violin Concerto No. 5 in A major, K. 219 (1775)
Violin Concerto in E flat major, K. 268 (1780) (Doubtful)
Violin Concerto in D major, K. 271a Kolb (1777) (Doubtful)

[edit] Horn concertos
Arguably the most widely played concertos for horn, the four Horn Concertos are a major part of most professional horn players' repertoire. It is said that Mozart wrote them for his friend and lifelong companion, Joseph Leutgeb. The concertos (especially the fourth) were written as virtuoso vehicles that allow the soloist to show a variety of abilities. (In Mozart's time the horn had no valves making it a very difficult piece.)

The Horn Concertos are characterized by an elegant and humorous dialogue between the soloist and the orchestra. Many of the autographs contain jokes aimed at the dedicatee.

Horn Concerto No. 1 in D major, K. 412 (1791)
Horn Concerto No. 2 in E flat major, K. 417 (1783)
Horn Concerto No. 3 in E flat major, K. 447 (c. 1784-87)
Horn Concerto No. 4 in E flat major, K. 495 (1786)

[edit] Other concertos
Bassoon Concerto in B flat major, K. 191 (1774)
Concerto for Harp, Flute and Orchestra, K. 299 (1778)
Oboe Concerto in C major, K. 314 (has come down to us as the second flute concerto, but was almost certainly an oboe concerto)
Concerto for Clarinet and Orchestra in A major, K. 622 (1791)
Flute Concerto No. 1 in G Major, K. 313 (1778)
Flute Concerto No. 2 in D Major, K. 314 (1778) (An arrangement of the above Oboe Concerto).
Andante for Flute and Orchestra in C Major, K. 315 (1778)
Concerto for Trumpet, K47a (lost)

[edit] Concertante symphonies
Sinfonia Concertante for Violin, Viola and Orchestra K. 364 in E flat major (1779)
Sinfonia Concertante for Oboe, Clarinet, Horn and Bassoon K. 297b in E flat major Anh.9 and later Anh. C 14.01 (1778)

[edit] Piano music
See also: List of solo piano pieces by composer: M
Mozart's earliest composition attempts begin with piano sonatas and other piano pieces, as this is the instrument on which his musical education took place. Almost everything that he wrote for piano was intended to be played by himself (or by his sister, also a proficient piano player). Examples of his earliest works are those found in Nannerl's Music Book. Between 1782 and 1786 he wrote 20 works for piano solo (including sonatas, variations, fantasias, suites, fugues, rondo) and works for piano four hands and two pianos.


[edit] Solo piano works

[edit] Sonatas
Piano Sonata No. 1 in C major, K. 279 (Munich, Summer 1774)
Piano Sonata No. 2 in F major, K. 280 (Munich, Summer 1774)
Piano Sonata No. 3 in B-flat major, K. 281 (Munich, Summer 1774)
Piano Sonata No. 4 in E-flat major, K. 282 (Munich, Summer 1774)
Piano Sonata No. 5 in G major, K. 283 (Munich, Summer 1774)
Piano Sonata No. 6 in D major, K. 284 (Munich, Feb-Mar 1775)
Piano Sonata No. 7 in C major, K. 309 (Mannheim, Nov. 8 1777)
Piano Sonata No. 8 in A minor, K. 310 (Paris, Summer 1778)
Piano Sonata No. 9 in D major, K. 311 (Mannheim, Nov 1777)
Piano Sonata No. 10 in C major, K. 330 (Summer 1778)
Piano Sonata No. 11 "Turkish" in A major, K. 331 (Summer 1778)
Piano Sonata No. 12 in F major, K. 332 (Summer 1778)
Piano Sonata No. 13 in B-flat major, K. 333 (Summer 1778)
Piano Sonata No. 14 in C minor, K. 457 (Vienna, Oct. 14, 1784)
Piano Sonata No. 15 in F Major, K. 533/494 (Vienna, Jan. 3, 1788)
Piano Sonata No. 16 in C Major, K. 545 (so-called facile or semplice sonata; Vienna, Jun. 26, 1788)
Piano Sonata No. 17 in B-flat Major, K. 570 (Vienna, February, 1789)
Piano Sonata No. 18 in D Major K. 576 (Vienna, July 1789)

продолжение.... смори за спам\


Miscellaneous pieces
Nannerl's Music Book
Andante in C, K. 1a
Allegro in C, K. 1b
Allegro in F, K. 1c
Minuet in F, K. 1d
Minuet in G, K. 1e
Minuet in C, K. 1f
Minuet in F, K. 2
Allegro in B-flat, K. 3
Minuet in F, K. 4
Minuet in F, K. 5
Allegro in C, K. 5a
Andante in B-flat, K. 5b
Fantasy No. 1 with Fugue in C major, K. 394 (Vienna, 1782)
Fantasy No. 2 in C minor, K. 396 (Vienna, 1782)
Fantasy No. 3 in D minor, K. 397 (Vienna, 1782)
Fantasy No. 4 in C minor, K. 475 (Vienna, May 20, 1785)
Rondo No. 1 in D major, K. 485
Rondo No. 2 in F major, K. 494 (finale to K.533 above initially published alone)
Rondo No. 3 in A minor, K. 511
Adagio for Piano in B minor, K. 540 (Vienna, 1788)
Allegro and Rondo for piano in F Major, K. 547a (Vienna, Summer 1788) (adapted from K. 547 and K. 545)

[edit] Variations
8 Variations in G major on the Dutch song "Laat ons Juichen, Batavieren!" by Christian Ernst Graaf, K. 24
7 Variations in D major on the Dutch song "Willem van Nassau"", K. 25
6 Variations in F major, K 54 (Anh 138a)
12 Variations in C major on a Menuet by Johann Christian Fischer, K 179
6 Variations in G major on "Mio car Adone" from the opera "La fiera di Venezia" by Antonio Salieri, K. 180
9 Variations in C major on the arietta "Lison dormait" from the opera "Julie" by Nicolas Dezede, K 264 ("Lison dormait")
12 Variations in C major on the French song "Ah, vous virai-je, Maman", K. 265
8 Variations in F major on the choir "Dieu d´amour" from the opera "Les mariages samnites" by Andre-Ernest-Modeste Gretry, K. 352
12 Variations in E flat major on the French song "La belle Françoise", K. 353
12 Variations in E flat major on the Romance "Je suis Lindor" from "Le Barbier de Seville" by Pierre Beaumarchais, music by Antoine-Laurent Baudron, K. 354
6 Variations in F major on the aria "Salve tu, Domine" from the opera "I filosofi immaginarii" by Giovanni Paisiello, K 398
10 Variations in G major on the aria "Unser dummer Pöbel meint" from "La rencontre imprévue" by Christophe Willibald Gluck, K 455
8 Variations in A major on "Come un'agnello" from "Fra i due litiganti il terzo gode" by Giuseppe Sarti, K 460
12 Variations on an Allegretto in B major, K 500
9 Variations in D major on a Menuet by Jean-Pierre Duport, K 573
8 Variations in F major on the song "Ein Weib ist das herrlichste Ding" from the Singspiel "Der dumme Gartner" by Benedikt Schack, K 613

[edit] Dual piano/performer works
Sonata for Keyboard Four-hands in C major, K. 19d (London, May 1765)
Sonata for Keyboard Four-hands in D major, K. 381 / 123a
Sonata for Keyboard Four-hands in B flat major, K. 358 / 186c
Sonata for Keyboard Four-hands in F major, K. 497
Sonata for Keyboard Four-hands in C major, K. 521
Sonata for Keyboard Four-hands in G major, K. 357 (incompleted)
Sonata for Two Pianos in D Major, K. 448 / 375a
Fugue for Two Pianos in C minor, K. 426

[edit] Chamber music

[edit] Violin music
He also wrote for piano and violin (16 complete sonatas, plus several fragments and two variation sets), where - mainly in the more mature years - the piano does not play just a support to the other solo instrument, but builds a dialogue with it.


[edit] Childhood violin sonatas (1763-66)
Violin Sonata No. 1 in C major, K. 6
Violin Sonata No. 2 in D major, K. 7
Violin Sonata No. 3 in B flat major, K. 8
Violin Sonata No. 4 in G major, K. 9
Violin Sonata No. 5 in B flat major, K. 10
Violin Sonata No. 6 in G major, K. 11
Violin Sonata No. 7 in A major, K. 12
Violin Sonata No. 8 in F major, K. 13
Violin Sonata No. 9 in C major, K. 14
Violin Sonata No. 10 in B flat major, K. 15
Violin Sonata No. 11 in E flat major, K. 26
Violin Sonata No. 12 in G major, K. 27
Violin Sonata No. 13 in C major, K. 28
Violin Sonata No. 14 in D major, K. 29
Violin Sonata No. 15 in F major, K. 30
Violin Sonata No. 16 in B flat major, K. 31

[edit] Mature violin sonatas (1778-88)
Violin Sonata No. 17 in C major, K. 296
Violin Sonata No. 18 in G major, K. 301
Violin Sonata No. 19 in E flat major, K. 302
Violin Sonata No. 20 in C major, K. 303
Violin Sonata No. 21 in E minor, K. 304
Violin Sonata No. 22 in A major, K. 305
Violin Sonata No. 23 in D major, K. 306
Violin Sonata No. 24 in F major, K. 376
Violin Sonata No. 25 in F major, K. 377
Violin Sonata No. 26 in B flat major, K. 378
Violin Sonata No. 27 in G major, K. 379
Violin Sonata No. 28 in E flat major, K. 380
Violin Sonata No. 29 in A major, K. 402 (completed by M. Stadler)
Violin Sonata No. 32 in B flat major, K. 454
Violin Sonata No. 33 in E flat major, K. 481
Violin Sonata No. 35 in A major, K. 526
Violin Sonata No. 36 in F major, K. 547

[edit] Variations for violin and piano
Variations in G major, K. 359, "La bergere Celimene"
6 Variations in G minor on Helas, j'ai perdu mon amant, K. 360

[edit] String duos and trios
Duo for Violin & Viola in G major, K. 423
Duo for Violin & Viola in B flat major, K. 424
Trio for Violin, Viola & Cello in E flat major, K. 563 (1788)
Trio for 2 Violins & Cello in B flat major, K. 266
Preludes and Fugues for Violin, Viola & Cello, K. 404a

[edit] String quartets
Quartetti Milanesi, K. 80 and K. 155-160 (1770-1773)
This cycle, in three movements, is interesting as far as these works can be considered precursors of the later - more complete - string quartets.
String Quartet No. 1 in G major, K. 80/73f (1770)
String Quartet No. 2 in D major, K. 155/134a (1772)
String Quartet No. 3 in G major, K. 156/134b (1772)
String Quartet No. 4 in C major, K. 157 (1772-3)
String Quartet No. 5 in F major, K. 158 (1772-3)
String Quartet No. 6 in B-flat major, K. 159 (1773)
String Quartet No. 7 in E-flat major, K. 160/159a (1773)
Vienna Quartets, K. 168-173 (1773) +
Much more stylistically developed. In Vienna Mozart is believed to have heard the op. 17 and op. 20 quartets of Joseph Haydn, and had received from them a deep impression.
String Quartet No. 8 in F major, K. 168 (1773)
String Quartet No. 9 in A major, K. 169 (1773)
String Quartet No. 10 in C major, K. 170 (1773)
String Quartet No. 11 in E-flat major, K. 171 (1773)
String Quartet No. 12 in B-flat major, K. 172 (1773)
String Quartet No. 13 in D minor, K. 173 (1773)
Haydn Quartets K. 387, 421, 428, 458, 464, 465, Opus 10 (1782–1785)
Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets Opus 33, which are thought to have been a stimulus to Mozart in returning to the genre. These quartets are often regarded as among the pinnacles of the genre.
String Quartet No. 14 in G major, ("Spring") K. 387 (1782)
String Quartet No. 15 in D minor, K. 421/417b (1783)
String Quartet No. 16 in E-flat major, K. 428/421b (1783)
String Quartet No. 17 in B-flat major ("Hunt"), K. 458 (1784)
String Quartet No. 18 in A major, K. 464 (1785)
String Quartet No. 19 in C major ("Dissonance"), K. 465 (1785)
String Quartet No. 20 in D major ("Hoffmeister"), K. 499 (1786)
This work was published by (dedicated to?) Franz Anton Hoffmeister, as well as the Prussian Quartets. Mozart's last three quartets, dedicated to the King of Prussia Friedrich Wilhelm II, are noted for the cantabile character of the parts for cello (the instrument played by the king himself), the sweetness of sounds and the equilibrium among the different instruments.
Prussian Quartets K. 575, 589, 590 (1789-1790)
String Quartet No. 21 in D major, K. 575 (1789)
String Quartet No. 22 in B-flat major, K. 589 (1790)
String Quartet No. 23 in F major, K. 590 (1790)

[edit] String quintets
The string quintets (K. 174, 406, 515, 516, 593, 614), for two violins, two violas and cello. Charles Rosen wrote that "by general consent, Mozart's greatest achievement in chamber music is the group of string quintets with two violas."[1].

String Quintet in B flat major, K. 174
String Quintet in C major, K. 515
String Quintet in G minor, K. 516
String Quintet in C minor, K. 406 (516b)
This is a transcription for string quintet of the earlier Serenade for wind octet in C minor (K. 388).
String Quintet in D major, K. 593
String Quintet in E flat major, K. 614

[edit] Piano trios
Piano Trio in B flat, K. 254
Piano Trio in G, K. 496
Piano Trio in B flat, K. 502
Piano Trio in E, K. 542
Piano Trio in C, K. 548
Piano Trio in G, K. 564

[edit] Other chamber music
Flute Quartets (flute, violin, viola, cello) K. 285, 285a, 285b, 298 (1777–1778)
Oboe Quartet in F, K. 370
Horn Quintet In E Flat, K. 407
Quintet for piano and winds (oboe, clarinet, horn, bassoon) K. 452 (1784)
Piano Quartet No. 1 in G minor K. 478 (1785)
12 Duets - For Two Basset Horns, K. 487
Piano Quartet No. 2 in E-flat major K. 493 (1786)
Trio for Clarinet, Viola and Piano in E flat major, K. 498 "Kegelstatt" (1786)
Clarinet Quintet in A major, K. 581 (1789)

[edit] Serenades, divertimenti, and other instrumental works
Please help improve this article by expanding this section
with: a complete list of works.
See talk page for details. Please remove this message once the section has been expanded.

The production for instrumental ensembles includes several Divertimenti, Notturni, Serenades, Cassations, Marches, and Dances, besides, of course, the Symphonies. Mozart's production for orchestra is written for string ensembles (like the early Divertimenti K. 136–138), as well as for wind instruments ensembles and the varied combinations of string and wind.


[edit] Serenades
Serenade No. 1 in D major, K. 100
Serenade No. 3 ("Antretter") in D major, K. 185
Serenade No. 4 ("Colleredo") in D major, K. 203
Serenade No. 5 in D major, K. 204
Serenade No. 6 ("Serenata Notturna") in D major, K. 239
Serenade No. 7 ("Haffner") in D major, K. 250
Serenade No. 9 ("Posthorn") in D major, K. 320
Serenade No. 10 for winds (Serenade for Thirteen Wind Instruments or "Gran Partita") in B flat major, K. 361
Serenade No. 11 for winds in E flat major, K. 375
Serenade No. 12 for winds in C minor, K. 388
Serenade No. 13, "Eine kleine Nachtmusik" for String Quartet & Bass in G major, K. 525

[edit] Divertimenti
Galimathias Musicum (Quodlibet), K. 32 (1766)
Cassation in G, K. 63 (1769)
Cassation in B flat, K. 99 (1769)
Divertimento in E flat, K. 113 (1771)
Divertimento in D, K. 131 (1772)
Divertimenti, K. 136-138 (1772)
Although sometimes described as string quartets, they are almost certainly for strings with double bass and are like Sinfonias in the Italian style.
Divertimento in D, K. 205 (1773)
Divertimento in F "Lodron", K. 247 (1776)
Divertimento in D, K. 251 (1776)
Notturno in D for Four Orchestras, K. 286 (1776-77)
Divertimento in B flat "Lodron", K. 287 (1777)
Divertimento in D, K. 334 (1779-80)
Divertimento for two horns and strings, A Musical Joke, (Ein Musikalischer Spaß,) K. 522

[edit] Dances
Mozart left a huge production of dances for orchestra, including the genres of Minuetto (more than 100), Contredanse and Allemande (or Teitsch, or Laendler, or German Dances).

In his production of minuets, Mozart generally followed Haydn's example, preferring the slow character of the dance. Allemandes (56 between 1787 and 1791) were written mainly for public balls in Vienna. In the Contredanse production, also written mainly in Vienna, some examples of program music are found, like Il Temporale K. 534, La Bataille K. 535, Canary K. 600/5, etc.

6 Menuets, K. 61h
7 Menuets, K. 65a
4 Contredanses, K. 101/250a
20 Menuets, K. 103
6 Menuets, K. 104/61e
6 Menuets, K. 105/61f
Menuet in E flat, K. 122
Contredanse in B flat, K. 123
6 Menuets, K. 164
16 Menuets, K. 176
4 Contredanses, K. 267/271c
Gavotte in B flat, K. 300
3 Menuets, K. 363
5 Menuets, K. 461
6 Contredanses, K. 462/448b
2 Quadrilles, K. 463/448c
6 German Dances, K. 509
Contredanse in D, "Das Donnerwetter", K. 534
Contredanse in C, "La Bataille", K. 535
6 German Dances, K. 536
6 German Dances, K. 567
12 Menuets, K. 568
6 German Dances, K. 571
12 Menuets, K. 585
12 German Dances, K. 586
Contredanse in C, "Der Sieg vom Helden Koburg", K. 587
6 Menuets, K. 599
6 German Dances, K. 600
4 Menuets, K. 601
4 German Dances, K. 602
2 Contredanses, K. 603
2 Menuets, K. 604
3 German Dances, K. 605
6 German Dances, K. 606
5 German Dances, K. 609
Contredanse in G, K. 610

[edit] Sacred music
Mozart's sacred music is mainly vocal, though also instrumental examples exist, like the Sonate da Chiesa for 2 violins, double bass and organ, composed between 1767 and 1780.

Mozart's sacred music presents a rich stylistic mosaic: Gregorian choral elements meet rigorous counterpoint, and even operatic elements can sometimes emerge. Stylistic unity and consistency is present over all his sacred music work.

We include in this genre, for their liturgical character, also the compositions written for the Masonic Lodge, like The Cantata Laut Verkunde unsre Freude K623 and the Maurerische Trauermusik (Masonic Funeral Music) K477.


[edit] Masses
Mass No. 1 ("Missa brevis") in G major, K. 49
Mass No. 2 ("Missa brevis") in D minor, K. 65
Mass No. 3 in C major (Dominicusmesse), K. 66
Mass No. 4 ("Missa solemnis") in C minor, K. 139
Mass No. 5 ("Missa brevis") in G major, K. 140
Mass No. 6 ("Missa brevis") in F major, K. 192
Mass No. 7 in C major (Missa in honorem Sanctissimae Trinitatis), K. 167
Mass No. 8 ("Missa brevis") in D major, K. 194
Mass No. 9 ("Missa brevis") in C major (Spatzenmesse), K. 220
Mass No. 10 ("Missa brevis") in C major ("Credo" Mass), K. 257
Mass No. 11 in C major (Spaurmesse or Piccolomissa), K. 258
Mass No. 12 ("Missa brevis") in C major ("Organ Solo"), K. 259
Mass No. 13 ("Missa longa") in C major, K. 262
Mass No. 14 ("Missa brevis") in B flat major, K. 275
Mass No. 15 in C major ("Coronation"), K. 317
Mass No. 16 ("Missa solemnis") in C major (Missa aulica), K. 337
Mass No. 17 in C minor ("Great"), K. 427
Requiem Mass in D minor, K. 626 (completed by Franz Xaver Süssmayr after Mozart's death)

[edit] Other sacred music
Regina Coeli for soprano, chorus and orchestra, K. 108
Regina Coeli for soprano, chorus and orchestra, K. 127
Te Deum, K. 141
Exsultate, jubilate, K. 165
Regina Coeli for soloists, chorus and orchestra, K. 276
Vesperae solennes de confessore, K. 339 (1780)
Kyrie in D minor, K. 341
Ave verum corpus, K. 618




[edit] Church sonatas
Church Sonata No. 1 in E flat, K. 41h (1772)
Church Sonata No. 2 in B, K. 68 (1772)
Church Sonata No. 3 in D, K. 69 (1772)
Church Sonata No. 4 in D, K. 144 (1772)
Church Sonata No. 5 in F, K. 145 (1772)
Church Sonata No. 6 in B, K. 212 (1775)
Church Sonata No. 7 in F, K. 241a (1776)
Church Sonata No. 8 in A, K. 241b (1776)
Church Sonata No. 9 in G, K. 241 (1776)
Church Sonata No. 10 in F, K. 244 (1776)
Church Sonata No. 11 in D, K. 245 (1776)
Church Sonata No. 12 in C, K. 263 (1776)
Church Sonata No. 13 in G, K. 274 (1777)
Church Sonata No. 14 in C, K. 278 (1777)
Church Sonata No. 15 in C, K. 328 (1779)
Church Sonata No. 16 in C, K. 329 (1779)
Church Sonata No. 17 in C, K. 336 (1780)

[edit] Organ music
Fugue in E flat major, K. 153 (375f)
Fugue in G minor, K. 154 (385k)
Ouverture in C major, K. 399 (385i)
Fugue in G minor, K. 401 (375e)
Adagio un C major, K. 536 (617a)
Eine Kleine Gigue, K. 574
Adagio and Allegro in F minor for a Mechanical Organ , K. 594 (1790)
Fantasia in F minor for a Mechanical Organ , K. 608 (1791)
Andante in F for a Small Mechanical Organ , K. 616 (1791)

[edit] Operas

Mozart, at Vienna, playing his Opera "Don Juan" for the first timeDie Schuldigkeit des ersten Gebotes, K. 35 (1767)
Apollo et Hyacinthus, K. 38 (1767)
In 1767 Mozart composed his first opera, if one may thus call the scholastic musical drama Apollo et Hyacinthus.
Bastien und Bastienne, K. 50=46b (1768)
With respect to that first attempt, Bastien et Bastienne generates a definitely different result. The young musician is already able to dominate texts and his music emanates pastoral joy and spontaneous fascination.
La finta semplice, K. 51 (1768)
La finta semplice can be considered Mozart's first - only partially achieved - approach to the Opera buffa genre.
Mitridate, rè di Ponto, K. 87 (1770)
Then, the first Italian operas were composed, upon assignments received in Milan and Salzburg: Mitridate, re di Ponto, Ascanio in Alba, Il sogno di Scipione, and Lucio Silla. In all of these works, Mozart still shows some awkwardness while moving in the traditional opera seria frame. The librettos are often dramatically weak and improbable. Nevertheless, one can find in these works some unambiguously Mozartian distinguishing marks, though the weight, substance and formal perfection of the older Mozart are still lacking.
Ascanio in Alba, K. 111 (1771)
Betulia Liberata, an oratorio, K. 118=74c (1771)
On the subject of Judith and Holofernes.
Il sogno di Scipione, K. 126 (1772)
Lucio Silla, K. 135 (1772)
Thamos, König in Ägypten (1773, 1775)
La finta giardiniera, K. 196 (1774-5)
With La finta giardiniera, Mozart comes back to the opera buffa, outranging all previous models of that genre. The libretto is still weak, but characters are not schematic anymore and become real individuals, with music definitely contributing to their definition.
Il rè pastore, K. 208 (1775)
Zaide, K. 344 (1779)
Idomeneo, K. 366 (1781)
Die Entführung aus dem Serail, K. 384 (1782)
After many years from his debut in the German music drama (Singspiel), Mozart came back to this genre with Die Entführung aus dem Serail and, finally, with Die Zauberflöte.
L'oca del Cairo, K. 422 (1783)
Lo sposo deluso, K. 430
Der Schauspieldirektor, K. 486 (1786)
Le nozze di Figaro, K. 492 (1786)
Le nozze di Figaro, the first of the three great operatic works, all belonging to the opera buffa genre (though the Don Giovanni obviously involves tragic elements), that Mozart composed with libretto by Lorenzo da Ponte. Le nozze di Figaro was taken from the comedy Le mariage de Figaro by Pierre Beaumarchais, a work that was hardly accepted - and performed - in France, due to its denunciation contents against the flaws of the higher dominating classes (Clergy and Aristocracy), opposed to the healthy activism of the Third Estate. In Austria, too, Mozart's opera met the opposition of the imperial court, though it should be said that Da Ponte had purged the most shocking aspects from the original text. Actually, the opera was executed during the Spring of 1786 at the Vienna Burgtheater, with enormous success.
Don Giovanni, K. 527 (1787)
The trilogy of Da Ponte librettos continued with Don Giovanni and Così fan tutte, both dealing - but in highly different ways - with the subject of love between men and women.
Così fan tutte, K. 588 (1789)
Die Zauberflöte, K. 620 (1791)
Die Zauberflöte has been criticized for the absurdities of its libretto (by Emanuel Schikaneder), that was probably rehandled several times. However, it achieved great successes with its premiere. Its music proposes elements of great brightness and spirituality, with the composition of sacred and profane love in unique delight. This work was also influenced by Freemasonry.
La clemenza di Tito, K. 621 (1791)

[edit] Concert arias, songs and canons

[edit] Arias, canzonettas, cavatinas, recitatives

[edit] Soprano
Conservati fedele
Aria with orchestra, K. 23 (1765-10), libretto by Metastasio
Aria with piano, K. Zu 23 (1766-01), libretto by Metastasio
A Berenice, K. 70=61c (1767-02 or 1769-02)
Recitative for soprano and orchestra, librettist unknown
Sol nascente, K. 70=61c (1767-02 or 1769-02)
Aria for soprano and orchestra, librettist unknown
Non curo l'affetto, K⁶ 74b (1771)
Aria for soprano and orchestra, librettist unknown
Misero me!, K. 77=73e (1770-03)
Recitative for soprano and orchestra, libretto by Metastasio
Misero pargoletto, K. 77=73e (1770-03)
Aria for soprano and orchestra, libretto by Metastasio
O temerario Arbace!, K. 78=73b (1766)
Recitative for soprano and orchestra, libretto by Metastasio
Per pietà, bell'idol mio, K. 78=73b (1766)
Aria for soprano and orchestra, libretto by Metastasio
Per quel paterno amplesso, K. 79-73d (1766)
Aria for soprano and orchestra, libretto by Metastasio
Se ardire, e speranza, K. 82=73o (1770-04-25)
Aria for soprano and orchestra, libretto by Metastasio
Se tutti i mali miei, K. 83=73p (1770)
Aria for soprano and orchestra, libretto by Metastasio
Fra cento affanni e cento, K. 88=73c (1770)
Aria for soprano and orchestra, libretto by Metastasio
Der Liebe himmlisches Gefühl, K. 119=382h (1782)
Arrangment of aria for soprano and orchestra, librettist unknown
Ridente la calma, K. 152=210a (Between 1772 and 1775)
Canzonetta for soprano and piano accompaniment, libretto by G. Migliavacca
Piano arrangement of Josef Mysliveček's aria 'Ridente la calma' for the opera Armida
Voi avete un cor fedele, K. 217 (1775-10-26
Aria for soprano and orchestra, libretto by Carlo Goldoni
Ah, lo previdi!, K. 272 (1777-08)
Recitative for soprano and orchestra, libretto by Vittorio Amedio Cigna-Santi
Ah, t'invola agl'occhi miei, K. 272 (1777-08)
Aria for soprano and orchestra, libretto by Vittorio Amedio Cigna-Santi
Deh, non varcar quell'onda, K. 272 (1777-08)
Cavatina for soprano and orchestra, libretto by Vittorio Amedio Cigna-Santi
Alcandro, Io confesso, K. 294 (1778-02-24)
Recitative for soprano and orchestra, libretto by Metastasio
Non sò d'onde viene, K. 294 (1778-02-24)
Aria for soprano and orchestra, libretto by Metastasio
Basta, vincesti, K. 295a (1778-02-28)
Recitativo for soprano and orchestra, libretto by Metastasio
Ah, non lasciarmi, no, K. 295a (1778-02-28)
Aria for soprano and orchestra, libretto by Metastasio
Popoli di Tessaglia!, K. 316=300b (1779-01-08)
Recitative for soprano and orchestra, libretto by Ranieri de' Calzabigi.
Io non chiedo, eterni Dei, K. 316=300b (1779-01-08)
Aria for soprano and orchestra, libretto by Ranieri de' Calzabigi.
Ma che vi fece, o stelle, K. 368 (1781-01)
Recitavo for soprano and orchestra, libretto by Metastasio
Sperai vicino il lido, K. 368 (1781-01)
Aria for soprano and orchestra, libretto by Metastasio
Misera, dove son!, K. 369 (1781-03-08)
Recitative for soprano and orchestra, libretto by Metastasio
Ah! non son io che parlo, K. 369 (1781-03-08)
Aria for soprano and orchestra, libretto by Metastasio
A questo seno deh vieni, K. 374 (1781-04)
Recitative for soprano and orchestra, libretto by Giovanni de Gamerra
Or che il cielo a me ti rende, K. 374 (1781-04)
Aria for soprano and orchestra, libretto by Giovanni de Gamerra
Nehmt meinen Dank, ihr holden Gönner, K. 383 (1782-04-10)
Aria for soprano and orchestra, librettist unknown
Mia speranza adorata, K. 416 (1783-01-08)
Recitavo for soprano and orchestra, libretto by Gaetano Sertor
Ah, non sai qual pena, K. 416 (1783-01-08)
Aria for soprano and orchestra, libretto by Gaetano Sertor
Vorrei spiegarvi, oh Dio!, K. 418 (1783-06-20)
Aria for soprano and orchestra, librettist unknown
No, che non sei capace, K. 419 (1783-06)
Aria for soprano and orchestra, librettist unknown
In te spero, oh sposo amato, K. 440=383h (1782-02)
Aria for soprano and orchestra, libretto by Metastasio
Ch'io mi scordi di te?, K. 505 (1786-12-26)
Recitative for soprano and orchestra, librettist unknown
Non temer, amato bene, K. 505 (1786-12-26)
Aria for soprano and orchestra, librettist unknown
Bella mia fiamma, addio!, K. 528 (1787-11-03)
Recitative for soprano and orchestra, libretto by D. Michele Sarcone
Resta, oh cara!, K. 528 (1788-03-04)
Aria for soprano and orchestra, libretto by Metastasio
Ah se in ciel, benigne stelle, K. 538 (1788-03-04)
Aria for soprano and orchestra, libretto by Metastasio
Ohne Zwang aus eignem Triebe, K. 569 (?)
Aria for soprano, LOST
Alma grande e nobil core, K. 578 (1789-08)
Aria for soprano and orchestra, libretto by |Giuseppe Palomba
Schon lacht der holde Fruhling, K. 580 (1789-09-17)
Aria for soprano and orchestra, librettist unknown
Chi sà, chi sà, qual sia, K. 582 (1789-10)
Aria for soprano and orchestra, libretto by Lorenzo Da Ponte
Vado, ma dove? oh Dei!, K. 583 (1789-10)
Aria for soprano and orchestra, libretto by Lorenzo Da Ponte
Io ti lascio, oh cara, addio, NMA II/7/4 Anh III (?)
Cavatina for soprano and orchestra, libretto by Metastasio
Cara, se le mie pene, NMA II/7/1 No. 7 (1769)
Aria with soprano, 2 horns, violin, viola & bass, librettist unknown
"Aria for Gretl Marchard", K. deest
Aria for soprano, LOST
"Aria for daughter of Joseph Wolf", K. deest
Aria for soprano, LOST

[edit] Contralto
Ombra felice!, K. 255 (1776-09)
Recitativo for contralto and orchestra, libretto by Giovanni de Gamerra
Io ti lascio, e questo addio, K. 255 (1776-09)
Aria for contralto and orchestra, libretto by Giovanni de Gamerra

[edit] Tenor
Va, dal furor portata, K. 21=19c (1765)
Aria with Orchestra, libretto by Metastasio
Or che il dover, K. 36=33i (1766-12)
Recitative for tenor and orchestra, librettist unknown
Tali e cotanti sono, K. 36=33i (1766-12)
Aria for tenor and orchestra, librettist unknown
Ah, più tremar non voglio, K. 71 (1769 or 1770)
Aria for tenor and orchestra, libretto by Metastasio
Si mostra la sorte, K. 209 (1775-05-19)
Aria for tenor and orchestra, librettist unknown
Con ossequio, con rispetto, K. 210 (1775-05)
Aria for tenor and orchestra, librettist unknown
Clarice cara mia sposa, K. 256 (1776-09)
Aria for tenor and orchestra, librettist unknown
Se al labbro mio non credi, KV 295 (1778-02-28)
Aria for tenor and orchestra, libretto by Antonio_Salvi
Per pietà, non ricercate, K. 420 (1783-06-21)
Aria for tenor and orchestra, librettist unknown
Misero! O sogno, K. 431=425b (1783)
Recitative for tenor and orchestra, librettist unknown
Aura, che intorno spiri, K. 431=425b (1783)
Aria for tenor and orchestra, librettist unknown
Müßt ich auch durch tausend Drachen, K. 435=416b (1783)
Aria for tenor and orchestra, librettist unknown

[edit] Bass
Un dente guasto e gelato, K⁶ 209a (1775)
Aria for bass and orchestra, librettist unknown
Così dunque tradisci, K. 432=421a (1783)
Recitative for bass and orchestra, libretto by Metastasio
Aspri rimorsi atroci, K. 432=421a (1783)
Aria for bass and orchestra, libretto by Metastasio
Warnung: "Maenner suchen stets zu naschen", K. 433=416c (1783)
Aria for bass and orchestra, librettist unknown
Alcandro, Io confesso, K. 512 (1787-03-[18 or 19])
Recitativo for bass and orchestra, libretto by Metastasio
Non so d'onde viene, K. 512 (1787-03-[18 or 19])
Aria for bass and orchestra, libretto by Metastasio
Mentre ti lascio, oh figlia, K. 513 (1787-03-23)
Aria for bass and orchestra, libretto by Duca Sant' Angioli-Morbilli
Ich möchte wohl der Kaiser sein, K. 539 (1788-03-05)
German War Song for bass and orchestra, libretto by Johann Wilhelm Ludwig Gleim
Un bacio di mano, K. 541 (1788-06)
Arietta for bass and orchestra, libretto by Lorenzo Da Ponte
Io ti lascio, oh cara, addio, K⁶ 621a (1791)
Aria for bass and orchestra, librettist unknown

[edit] Group
Del gran regno delle amazzone, K. 434=480b (End of 1785)
Aria for tenor, 2 basses, and orchestra, libretto by Guiseppe Petrosellini
Dite almeno, in che mancai, K. 479 (1785-11-05)
Aria for soprano, tenor, 2 basses, and orchestra, librettist unknown
Mandina amabile, K. 480 (1785-11-21)
Aria for soprano, tenor, bass, and orchestra, librettist unknown
Per questa bella mano, K. 612 (1791-03-08)
Aria for bass, contrabass, and orchestra, librettist unknown

[edit] Songs
Abendempfindung an Laura: Abend ist's, die Sonne ist verschwunden: K. 523 (1787-06-24)
Ach, was müssen wir erfahren! K. 43a (1767-10-15)
Ah, spiegarti, oh Dio: K. 417e (1783)
Als aus Ägypten Israel: K. 336c/2 (1787-02)
Als Luise die Briefe ihres ungetruen Liebhabers verbrannte: Erzeugt von heißer Phantasie: K. 520 (1787-05-26)
An Chloe: Wenn die Lieb’ aus deinen blauen, hellen, offnen Augen sieht: K. 524 (1787-06-24)
An die Freude: Freude, Königin der Weisen: K. 47e (1768-11)
Auf die feierliche Johannisloge: O heiliges Band der Freundschaft treuer Brüder: K. 125h (1772)
Caro mio Druck und Schluck: K. 571a (1789)
Dans un bois solitaire: K. 295b (1777-10-30 to 1778-03-14)
Das Kinderspiel: Wir Kinder, wir schmecken der Freuden recht viel! K. 598 (1791-01-14)
Das Lied der Trennung: Die Engel Gottes weinen: K. 519 (1787-05-23)
Das Traumbild: Wo bist du, Bild: K. 530 (1787-11-06)
Das Veilchen: Ein Veilchen auf der Wiese stand: K. 476 (1785-06-08)
Der Frühling: Erwacht zum neuen Leben: K. 597 (1791-01-14)
Der Zauberer: Ihr Mädchen, flieht Damöten: K. 472 (1785-05-07)
Des kleinen Friedrichs Geburtstag: Es war einmal, ihr Leute: K. 529 (1787-11-06)
Die Alte: Ein bißchen aus der Nase: K. 517 (1787-05-18)
Die betrogene Welt: Der reiche Tor: K. 474 (1785-05-07)
Die kleine Spinnerin: Was spinnst du? K. 531 (1787-12-11)
Die Verschweigung: Sobald Damötas Chloen sieht: K. 518 (1787-05-20)
Die Zufriedenheit: Was frag' ich viel nach Geld und Gut: K. 367a (1777-11-8 to 1778-03-14)
Die Zufriedenheit: Wie sanft, wie ruhig: K. 473 (1785-05-07)
Due pupille amabili: K. 439 (1783)
Ecco quel fiero istante: K. 436 (1783)
Einsam bin ich, meine Liebe: K. 475a (Possibly 1785)
Bardengesang auf Gibraltar: O Calpe! Dir donnert's am Fusse: K. 386d (1782-12)
God is our refuge: K. 20 (1765-07)
Grazie agl'inganni tuoi: K. 532 (1787)
Ich würd' auf meinem Pfad: K. 340c (1781-08 to 1782-05)
Ihr unsre neuen Leiter: K. 484 (1785-12)
Komm, libe Zither, komm: K. 367b (1780-11 to 1781-03)
Leid beim Auszugin in das Feld: Dem hohen Kaiserworte treu K. 552: (1788-08-11)
Liebes Manndel, wo ist's Bandel? K. 441 (1783)
Lied der Freiheit: Wer unter eines Mädchens Hand: K. 506 (end of 1785)
Lied zur Gesellenreise: Die ihr einem neuen Grad: K. 468 (1785-03-26)
Luci care, luci belle: K. 439a (1783)
Mi lagnerò tacendo: K. 437 (1783)
O Gotteslamm: K. 336c/1 (1787-02)
Oiseaux, si tous les ans: K. 284d (1777-10-30)
Più non si trovano: K. 549 (1788-07-16)
Ridente la calma: K. 210a (Between 1772 and 1775)
Se lontan, ben mio, tu sei: K. 438 (1783)
Sehnsucht nach dem Frühling: Komm, lieber Mai, und mache: K. 596 (1791-01-14)
Sei du mein trost: K. 340b (1781-08 to 1782-05)
Verdankt sei es dem Glanz der Großen: K. 340a (1781-08 to 1782-05)
Wie unglücklich bin ich nit: K. 125g (1772)
Zerfließet heut', geliebte Brüder: K. 483 (1785-12)

[edit] Canons
14 Interval Canons No. 1 for 2 in 1: Canoni in unisono: NMA III/10 No. 26 No. 1 (1786-06-03)
14 Interval Canons No. 2 for 2 in 1: Canoni in seconda di sopra: NMA III/10 No. 26 No. 2 (1786-06-03)
14 Interval Canons No. 3 for 2 in 1: Canoni in seconda di sotto: NMA III/10 No. 26 No. 3 (1786-06-03)
14 Interval Canons No. 4 for 2 in 1: Canoni in terza di sopra: K. 508a No. 3 (1786-06-03)
14 Interval Canons No. 5 for 2 in 1: Canoni in terza di sotto: NMA III/10 No. 26 No. 5 (1786-06-03)
14 Interval Canons No. 6 for 2 in 1: Canoni in quarta di sopra: K. 508a No. 4 (1786-06-03)
14 Interval Canons No. 7 for 2 in 1: Canoni in quarta di sotto: NMA III/10 No. 26 No. 7 (1786-06-03)
14 Interval Canons No. 8 for 2 in 1: Canoni in quinta di sopra: K. 508a No. 5 (1786-06-03)
14 Interval Canons No. 9 for 2 in 1: Canoni in quinta di sotto: NMA III/10 No. 26 No. 9 (1786-06-03)
14 Interval Canons No. 10 for 2 in 1: Canoni in sesta di sopra: K. 508a No. 6 (1786-06-03)
14 Interval Canons No. 11 for 2 in 1: Canoni in sesta di sotto: NMA III/10 No. 26 No. 11 (1786-06-03)
14 Interval Canons No. 12 for 2 in 1: Canoni in settima di sopra: K. 508a No. 7 (1786-06-03)
14 Interval Canons No. 13 for 2 in 1: Canoni in settima di sotto: K. 508a NMA III/10 No. 26 No. 13 (1786-06-03)
14 Interval Canons No. 14 for 2 in 1: Canoni in settima di sotto: K. 508a No. 8 (1786-06-03)
2 Canons for 2 in 1: NMA III/10 Anh II No. 7a (1786-06-03)
2 Canons for 2 in 1: NMA III/10 Anh II No. 7b (1786-06-03)
4 Riddle Canons No. 1 for 3 Male Voices in 1: Ter ternis canite vocibus: Incipe Menalios: K. 73r (July or August 1770)
4 Riddle Canons No. 2 for 9 Female Voices in 1: Clama ne cesses. Tertia pars si placet: Cantate Domino: K. 73r (July or August 1770)
4 Riddle Canons No. 3 for 2 Mixed Voices and 1 additional Voice: Ter voce ciemus. Voce ter insonuit: Confitebor tibi Domine: K. 73r (July or August 1770)
4 Riddle Canons No. 4 for 6 Mixed Voices in 2: Thebana bella cantus / Troiana cantat: K. 73r (July or August 1770)
Canon for 2 Voices in 1: Selig, selig: K. 382b (1782)
Canon for 3 in 1: K. 508A (1786-06-03)
Canon for 3 in 1: NMA III/10 Anh II No. 6 (1786-06-03)
Canon for 3 in 3: NMA III/10 Anh II No. 1b (1781 or 1782)
Canon for 4 Instruments in 1 for 2 Violins, Viola & Bass: K. 562c (?)
Canon for 3 Voices in 1: Canone a tre soprani: Auf das Wohl aller Freunde: K. 508 (1786-06-03)
Canon for 3 Voices in 1: Ave Maria: K. 554 (1888-09-02)
Canon for 3 Voices in 1: Bei der Hitz im Sommer eß ich: K. 382e (1782)
Canon for 3 Voices in 1: Essen, Trinken / Bei der Hitz im Sommer eß ich: K. 382e (1782)
Canon for 3 Voices in 1: Heiterkeit und leichtes Blut: K. 507 (1786-06-03)
Canon for 3 Voices in 1: Leck mir den Arsch fein recht schön sauber / Nichts labt mich mehr als Wein: K. 233/382d (1782)
Canon for 3 Voices in 1: Nichts labt mich mehr als Wein: K. 382d (1782)
Canon for 3 Voices in 1: O du eselhafter Peierl: K. 559a (some point between 1785 and 1787)
Canon for 3 Voices in 1: Sie ist dahin: K. 382a (1782)
Canon for 3 Voices in 1: V'amo di core: K. 382g (1782)
Canon for 4 in 1: K. 562a (?)
Canon for 4 in 1: NMA III/10 No. 28 (Summer 1786)
Canon for 4 in 3: NMA III/10 Anh II No. 11 (1787 or 1888)
Canon for 4 in 4: NMA III/10 Anh II No 2 (1781 or 1782)
Canon for 4 in 4: NMA III/10 Anh II No. 10 (1787 or 1888)
Canon for 4 in 4: NMA III/10 Anh II No. 3 (1781 or 1782)
Canon for 4 in 4: NMA III/10 Anh II No. 4 (end of 1785 or 1786)
Canon for 4 in 4: NMA III/10 Anh II No. 9 (1787 or 1888)
Canon for 4 Instruments in 1: K. 73i (1770-04)
Canon for 4 Voices in 1: Alleluia K. 553 (1888-09-02)
Canon for 4 Voices in 1: Bona nox! bist a rechta Ox K. 561 (1888-09-02)
Canon for 4 Voices in 1: Caro bell'idol mio K. 562 (1888-09-02)
Canon for 4 Voices in 1: Difficile lectu mihi mars K. 559 (1888-09-02)
Canon for 4 Voices in 1: Gehn wir im Prater, gehn wir in d'Hetz K. 558 (1888-09-02)
Canon for 4 Voices in 1: Grechtelt's enk K. 556 (1888-09-02)
Canon for 4 Voices in 1: Lacrimoso son'io K. 555 (1888-09-02)
Canon for 4 Voices in 1: Nascoso è il mio sol K. 557 (1888-09-02)
Canon for 4 Voices in 1: O du eselhafter Martin (Jakob) K. 560 (1888-09-02)
Canon for 5 in 5: NMA III/10 Anh II No. 1a (1781 or 1782)
Canon for 6 Voices in 1: Laßt froh uns sein K. 382c (1782)
Canon for 6 Voices in 1: Wo der perlende Wein im Glase blinkt K. 382f (1782)
Canon in 3 Parts for 3 Female Voices in 1: Canone a tre soprani: K. 508a No. 1 (1786-06-03)
Canon in 3 Parts for 3 Female Voices in 1: Canone a tre soprani: K. 508a No. 2 (1786-06-03)
Canonical Study for 4 in 2: K. 616b/31 (Summer 1887)
Double Canon for 4 Voices in 2: K. 515b (1787-04-24)
Kyrie K. 73k (1770-05)
Canon for 6 voices in 1: Leck mich im Arsch / Laßt froh uns sein: K. 231/382c (1782)
Triple Canon for 12 Voices in 3: Lieber Freistädtler, lieber Gaulimauli: K. 509a (1787-07-04)
Untexted Canon for 4 (or 5) Voices in 1: Sit trium series una: K. 73i (1770-04)

Еще б Карлхайнца Штокгаузена запостили (-:

У Джо Кокера что-то тоже около 3-ёх десятков альбомов..
Кстати, а кто помнит, сколько у Аллы Пугачёвой их?

Думаю это сдесь уместно. Лемми жгёт по сей день


Motorhead - White Line Fever [single] - 1977
Motorhead - Motorhead [single] - 1977
Motorhead - Motorhead [full-length] - 1977
Motorhead - Louie Louie / Tear Ya Down [single] - 1978
Motorhead - Overkill C/W Too Late, Too Late [single] - 1978
Motorhead - Overkill [full-length] - 1979
Motorhead - No Class C/W Like A Nightmare [single] - 1979
Motorhead - Bomber [full-length] - 1979
Motorhead - On Parole [full-length] - 1979
Motorhead - Bomber C/W Over The Top [single] - 1979
Motorhead - The Golden Years [ep] - 1980
Motorhead - Ace Of Spades C/W Dirty Love [single] - 1980
Motorhead - Ace Of Spades [full-length] - 1980
Motorhead - Beer Drinkers [ep] - 1980
Motorhead - Great Pleasure [ep] - 1981
Motorhead - Train Kept A Rollin [single] - 1981
Motorhead - No Sleep 'til Hammersmith [live album] - 1981
Motorhead - Motorhead C/W Over The Top [single] - 1981
Motorhead - Live In Toronto [video/vhs] - 1982
Motorhead - Go To Hell [single] - 1982
Motorhead - Iron Fist C/W Remember Me I'm Gone [single] - 1982
Motorhead - Iron Fist [full-length] - 1982
Motorhead - Stand By Your Man [ep] - 1982
Motorhead - Beer Drinkers [best of/compilation] - 1983
Motorhead - What's Words Worth [live album] - 1983
Motorhead - I Got Mine C/W Turn You Round Again [single] - 1983
Motorhead - Another Perfect Day [full-length] - 1983
Motorhead - Shine [single] - 1983
Motorhead - The Best Of Motцrhead [best of/compilation] - 1984
Motorhead - Killed By Death [single] - 1984
Motorhead - No Remorse [best of/compilation] - 1984
Motorhead - No Remorse [best of/compilation СD2] - 1984
Motorhead - Anthology [best of/compilation] - 1985
Motorhead - Born To Lose [best of/compilation] - 1985
Motorhead - Deaf Not Blind [video/vhs] - 1986
Motorhead - Deaf Forever [single] - 1986
Motorhead - Orgasmatron [full-length] - 1986
Motorhead - The Collection [best of/compilation] - 1987
Motorhead - Eat The Rich [ep] - 1987
Motorhead - Rock 'n' Roll [single] - 1987
Motorhead - Rock 'n' Roll [full-length] - 1987
Motorhead - Live In Athens [single] - 1988
Motorhead - Nц Sleep At All [live album] - 1988
Motorhead - Ironstrike - 14 Rock Hard Hits [best of/compilation] - 1989
Motorhead - Dirty Love [best of/compilation] - 1989
Motorhead - Blitzkrieg On Birmingham '77 [live album] - 1989
Motorhead - Best 20 [best of/compilation] - 1990
Motorhead - From The Vaults [best of/compilation] - 1990
Motorhead - Welcome To The Bear Trap [best of/compilation] - 1990
Motorhead - Lock Up Your Daughters [live album] - 1990
Motorhead - The Birthday Party [live album] - 1990
Motorhead - The One To Sing The Blues [single] - 1990
Motorhead - Grind Ya Down [best of/compilation] - 1991
Motorhead - Everything Louder Than Everything Else [video/vhs] - 1991
Motorhead - Meltdown [boxed set] - 1991
Motorhead - Angel City And Other Cities Live 1991-1916 [ep] - 1991
Motorhead - It's Almost...1916 [single] - 1991
Motorhead - No Sleep 'til Spain [single] - 1991
Motorhead - No Voices In The Sky [single] - 1991
Motorhead - Live 1983 [live album] - 1991
Motorhead - 1916 [full-length] - 1991
Motorhead - Headbangers [best of/compilation] - 1991
Motorhead - Castle Masters Collection [best of/compilation] - 1992
Motorhead - The Best Of (Dutch) [best of/compilation] - 1992
Motorhead - Bad Religion [single] - 1992
Motorhead - Cat Scratch Fever [single] - 1992
Motorhead - Hellraiser [single] - 1992
Motorhead - You Better Run [single] - 1992
Motorhead - Jailbait [live album] - 1992
Motorhead - March Or Die [full-length] - 1992
Motorhead - '92 Tour Ep [ep] - 1992
Motorhead - All The Aces: The Best Of Motцrhead [best of/compilation] - 1993
Motorhead - Burner [single] - 1993
Motorhead - Don't Let Daddy Kiss Me [single] - 1993
Motorhead - Ace Of Spades [best of/compilation] - 1993
Motorhead - The Best Of Motorhead [best of/compilation] - 1993
Motorhead - Ace Of Spades (The Ccn Remix) [single] - 1993
Motorhead - Bastards [full-length] - 1993
Motorhead - Aces High [best of/compilation] - 1994
Motorhead - Best Of Vol. 2 [best of/compilation] - 1994
Motorhead - Born To Raise Hell [single] - 1994
Motorhead - Live At Brixton '87 [live album] - 1994
Motorhead - Fistful Of Aces: The Best Of Motцrhead [best of/compilation] - 1994
Motorhead - The Rock History - The Best Of [best of/compilation] - 1995
Motorhead - Ultimate Metal [best of/compilation] - 1995
Motorhead - Sacrifice (Promo) [single] - 1995
Motorhead - Sacrifice [full-length] - 1995
Motorhead - I Don't Believe A Word [single] - 1996
Motorhead - Hump On Your Back [single] - 1996
Motorhead - Overnight Sensation [full-length] - 1996
Motorhead - Fast, Loose & Live! [best of/compilation] - 1996
Motorhead - Rock Masterpiece Collection [best of/compilation] - 1997
Motorhead - Stone Dead Forever [best of/compilation] - 1997
Motorhead - Protect The Innocent [best of/compilation] - 1997
Motorhead - Archive [best of/compilation] - 1997
Motorhead - King Biscuit Flower Hour [live album] - 1997
Motorhead - Take No Prisoners [best of/compilation] - 1997
Motorhead - The Best Of - Deaf Forever [best of/compilation] - 1998
Motorhead - The Singles Collection: The Bronze Years 1978-1984 [best of/compilation] - 1998
Motorhead - Love For Sale (Promo) [single] - 1998
Motorhead - Snake Bite Love [full-length] - 1998
Motorhead - Today: The Encore Collection [best of/compilation] - 1998
Motorhead - The Early Years [best of/compilation] - 1998
Motorhead - Everything Louder Than Everyone Else [live album] - 1999
Motorhead - Born To Lose, Live To Win (The Bronze Singles 1978-1983) [boxed set] - 1999
Motorhead - The Golden Years - The Alternate Versions [best of/compilation] - 1999
Motorhead - Ace Of Spades [best of/compilation] - 1999
Motorhead - Motцrhead [best of/compilation] - 2000
Motorhead - The Best Of [ep] - 2000
Motorhead - See Me Burning [single] - 2000
Motorhead - We Are Motorhead [full-length] - 2000
Motorhead - God Save The Queen [single] - 2000
Motorhead - The Best Of [best of/compilation] - 2000
Motorhead - Over The Top: The Rarities [best of/compilation] - 2000
Motorhead - The Chase Is Better Than The Catch: The Singles A's & B's [best of/compilation] - 2000
Motorhead - The Birthday Party [dvd] - 2001
Motorhead - 25 & Alive "Boneshaker" [dvd] - 2001
Motorhead - The Best Of Motorhead [dvd] - 2002
Motorhead - No Class [best of/compilation] - 2002
Motorhead - Tales Of Sin [best of/compilation] - 2002
Motorhead - The Bronze Age [boxed set] - 2002
Motorhead - Hammered [full-length] - 2002
Motorhead - The Very Best Of Motorhead [best of/compilation] - 2002
Motorhead - Shoot You In The Back - The Early Years [best of/compilation] - 2002
Motorhead - Extended Versions [best of/compilation] - 2002
Motorhead - Aces [best of/compilation] - 2002
Motorhead - Hellraiser - Best Of The Epic Years [best of/compilation] - 2003
Motorhead - Special Edition Ep [dvd] - 2003
Motorhead - Rock Classix [best of/compilation] - 2003
Motorhead - The Complete Best Of Motцrhead [best of/compilation] - 2003
Motorhead - Stone Deaf Forever [boxed set] - 2003
Motorhead - Live At Brixton Academy [live album] - 2003
Motorhead - Inferno [full-length] - 2004
Motorhead - Classic Albums - Motorhead: Ace Of Spades [dvd] - 2005
Motorhead - Essential Noize: The Very Best Of [best of/compilation] - 2005
Motorhead - Inside Motцrhead [dvd] - 2005
Motorhead - Stage Fright [dvd] - 2005
Motorhead - Whorehouse Blues [single] - 2005
Motorhead - Bbc Live & In-session [live album] - 2005
Motorhead - Kiss Of Death [full-length] - 2006 [promo]
Motorhead - The Essential [best of/compilation] - 2007
Motorhead - Better Motцrhead Than Dead: Live At Hammersmith [live album] - 2007

Я считаю,что синглы считать неуместно.И всякие там сплиты и пр.

А ну мене на хуй, ото напостили.

А чего нет? Бутлеги не включать согласен. А ЕР и синглы - тоже ведь творчество. Тем более может кто ищет полную дискографию.

Моцарт по ходу всех натянул, а ведь он прожил всего 35 лет..

надо прикрутить голосовалку и по ее результатам определить, включать ли синглы/ЭП в дискографию

У Пристов немало.
"Rocka Rolla" – 1974
"Sad Wings Of Destiny" – 1975
"Sin After Sin" – 1977
"Stained Class" – 1978
"Hell Bent For Leather" – 1978
"Unleashed In The East" – 1979
"British Steel" – 1980
"Point Of Entry" – 1981
"Screaming For Vengeance" – 1982
"Defenders Of The Faith" – 1984
"Turbo" – 1986
"Priest... Live" – 1987
"Ram It Down" – 1988
"Painkiller" – 1990
"Metal Works '73-'93" – 1993
"Jugulator" – 1998
"Meltdown Live '98" – 1998
"Demolition" – 2001
"Live In London" – 2003
"Angel Of Retribution" – 2005

Вывод из 2-й строницы: слушайте классеко!

Френк Заппа, 60 альбомов:

* Freak Out! (June 27, 1966), US #130
* Absolutely Free (May 26, 1967), US #41
* We're Only in It for the Money (January 1968), US #30
* Lumpy Gravy (May 1968), US #159
* Cruising with Ruben & the Jets (December 2, 1968), US #110
* Uncle Meat (April 1969), US #43
* Hot Rats (October 1969), US #173
* Burnt Weeny Sandwich (February 1970), US #94
* Weasels Ripped My Flesh (August 10, 1970), US #189
* Chunga's Revenge (October 1970), US #119
* Fillmore East - June 1971 (August 1971), US #38
* 200 Motels (October 1971), US #59
* Just Another Band from L.A. (March 1972), US #85
* Waka/Jawaka (July 1972), US #152
* The Grand Wazoo (November 1972)
* Over-Nite Sensation (September 1973), US #32
* Apostrophe (') (March 1974), US #10
* Roxy & Elsewhere (September 1974), US #27
* One Size Fits All (June 1975), US #26
* Bongo Fury (October 1975), US #66
* Zoot Allures (October 1976), US #71
* Zappa in New York (March 1978), US #57
* Studio Tan (September 1978), US #147
* Sleep Dirt (January 1979), US #175
* Sheik Yerbouti (March 1979), US #21
* Orchestral Favorites (May 1979), US #168
* Joe's Garage (September 1979), US #27
* Tinseltown Rebellion (May 11, 1981), US #66
* Shut Up 'n Play Yer Guitar (May 1981)
* You Are What You Is (September 1981), US #93
* Ship Arriving Too Late to Save a Drowning Witch (May 1982), US #23
* The Man from Utopia (March 1983), US #153
* Baby Snakes (March 1983)
* London Symphony Orchestra, Vol. 1 (June 1983)
* Boulez Conducts Zappa: The Perfect Stranger (August 1984)
* Them or Us (October 18, 1984)
* Thing-Fish (November 1984)
* Francesco Zappa (November 1984)
* The Old Masters Box One (April 1985)
* Frank Zappa Meets the Mothers of Prevention (November 21, 1985), US #153
* Does Humor Belong in Music? (January 1986)
* The Old Masters Box Two (November 1986)
* Jazz from Hell (November 1986)
* London Symphony Orchestra, Vol. 2 (September 17, 1987)
* The Old Masters Box Three (December 1987)
* Guitar (April 1988)
* You Can't Do That on Stage Anymore, Vol. 1 (May 1988)
* You Can't Do That on Stage Anymore, Vol. 2 (October 1988)
* Broadway the Hard Way (October 14, 1988)
* You Can't Do That on Stage Anymore, Vol. 3 (November 1989)
* The Best Band You Never Heard in Your Life (April 1991)
* You Can't Do That on Stage Anymore, Vol. 4 (June 14, 1991)
* Make a Jazz Noise Here (June 1991)
* Beat the Boots (July 1991), 8 discs (boxed or separate):
o As an Am (recorded 1981 – 1982)
o The Ark (recorded 1969)
o Freaks & Motherfu*#@%! (recorded 1970)
o Unmitigated Audacity (recorded 1974)
o Anyway the Wind Blows (2 discs) (recorded 1979)
o 'Tis the Season to Be Jelly (recorded 1967)
o Saarbrucken 1978 (recorded 1978)
o Piquantique (recorded 1973)
* Beat the Boots II (June 1992), 8 discs (boxed only):
o Disconnected Synapses (recorded 1970)
o Tengo Na Minchia Tanta (recorded 1970)
o Electric Aunt Jemima (recorded 1968)
o At the Circus (recorded 1978)
o Swiss Cheese/Fire! (2 discs) (recorded 1971)
o Our Man in Nirvana (recorded 1968)
o Conceptual Continuity (recorded 1976)
* You Can't Do That on Stage Anymore, Vol. 5 (July 1992)
* You Can't Do That on Stage Anymore, Vol. 6 (July 1992)
* Playground Psychotics (October 1992)
* Ahead of Their Time (March 1993)
* The Yellow Shark (with Ensemble Modern) (November 1993), US #2 (Classical Crossover Chart)

Если уж говорить о ДИСКО-графии, то оправданно считать только студийные альбомы, т.к. они содержат неповторяющиеся песни. Ну и ещё EP-шки, которые состоят из песен, ни одна из которых не встречается в студийном альбоме. В синглах и EP-шках творчество обычно только наполовину, а вторая половина - повторяющиеся песни.
Да и то, альбомы бывают разные: и по 7-8 песен и по 14-15. Так что более объективным показателем творчества можно считать кол-во уникальных песен. Т.е. если вышел диск compilation или live, то это не значит, что увеличась творческая наработка группы.


Зато может синглов дохуя?