| | John Mark Ainsley | Tomorrow Belongs to Me | |
| | John Mark Ainsley & Malcolm Martineau | Three Shakespeare Songs, Op. 6: I. Come Away, Death | |
| | Collegium Vocale Gent, John Mark Ainsley, La Chapelle Royale, Orchestre des Champs-Elysées & Philippe Herreweghe | Elias, Op. 70, Erster Teil: No. 3 Rezitativ. Obadjah "Zerreißet Eure Herzen" - No. 4 Arie. Obadjah "So Ihr Mich Von Ganzem Herzen Suchet" | |
| | The King's Consort, Robert King, Rogers Covey-Crump, Choir of New College Oxford, John Mark Ainsley, Michael George & James Bowman | Hail! Bright Cecilia, Z. 328: XIII. Hail! Bright Cecilia, Hail to Thee! | |
| | John Mark Ainsley, The Choir of King's College, Cambridge, Brandenburg Consort & Sir Stephen Cleobury | Messiah, HWV 56, Pt. 2: Air "Thou Shalt Break Them" | |
| | John Mark Ainsley & The Nash Ensemble | Along the Field: VIII. With Rue My Heart Is Laden | |
| | John Mark Ainsley & The Nash Ensemble | Along the Field: VII. Fancy's Knell | |
| | John Mark Ainsley & The Nash Ensemble | Along the Field: VI. Good-Bye | |
| | John Mark Ainsley & The Nash Ensemble | Along the Field: V. The Sigh That Heaves the Grasses | |
| | John Mark Ainsley & The Nash Ensemble | Along the Field: IV. In the Morning | |
| | John Mark Ainsley & The Nash Ensemble | Along the Field: III. The Half-Moon Westers Low | |
| | John Mark Ainsley & The Nash Ensemble | Along the Field: II. Along the Field | |
| | John Mark Ainsley & The Nash Ensemble | Along the Field: I. We'll to the Woods No More | |
| | John Mark Ainsley & Malcolm Martineau | Five Shakespeare Songs, Op. 23: IV. Take, O Take Those Lips Away | |
| | John Mark Ainsley & Malcolm Martineau | Five Shakespeare Songs, Op. 23: III. It Was a Lover and His Lass | |
| | John Mark Ainsley, Akademie für Alte Musik Berlin & Marcus Creed | Jephtha, HWV 70, Act II, Scene 1: Air: Tune the Soft Melodious Lute (Iphis) | |
| | John Mark Ainsley, Akademie für Alte Musik Berlin & Marcus Creed | Jephtha, HWV 70, Act I, Scene 3: Air: Dull Delay, in Piercing Anguish (Hamor) | |
| | Iain Burnside & John Mark Ainsley | An Die Hoffnung, Op. 32 | |
| | Karina Gauvin, Emöke Baráth, John Mark Ainsley, Teresa Iervolino, Luca Tittoto, Il Pomo d'Oro, Riccardo Minasi & Philippe Jaroussky | Partenope, HWV 27, Act 3: "D'Imeneo le belle tede" (Chorus) | |
| | John Mark Ainsley, Il Pomo d'Oro & Riccardo Minasi | Partenope, HWV 27, Act 3: "La gloria in nobil alma" (Emilio) | |
| | Karina Gauvin, Emöke Baráth, John Mark Ainsley, Teresa Iervolino, Luca Tittoto, Il Pomo d'Oro, Riccardo Minasi & Philippe Jaroussky | Partenope, HWV 27, Act 1: "Viva, viva, Partenope viva" (Chorus) | |
| | Graham Johnson & John Mark Ainsley | Die erste Liebe, D. 182 | |
| | John Mark Ainsley, Mozarteumorchester Salzburg, Miah Persson, Ivor Bolton, David Wilson-Johnson & Salzburg Bach Choir | Die Jahreszeiten (The Seasons), Hob.XXI:3: Der Winter (Winter): Song with Chorus: Ein Madchen, das auf Ehre (Hanne, Chorus) | |
| | Michael George, Simon Keenlyside, Graham Johnson, John Mark Ainsley & Jamie MacDougall | Das Grab, D. 330 | |
| | The Nash Ensemble & John Mark Ainsley | The Curlew: I. The Curlew | |
| | John Mark Ainsley, Malcolm Martineau, Marieke Blankestijn & Ursula Smith | Verschiedene Volkslieder WoO 157: 10. Sir Johnnie Cope | |
| | Sir Roger Norrington, London Classical Players & John Mark Ainsley | Don Giovanni, K. 527, Act 1: Recitativo. "Come mai creder deggio" (Don Ottavio) | |
| | Simon Keenlyside, Sarah Walker, John Mark Ainsley & Graham Johnson | Saul and the Witch at Endor, Z. 134 | |
| | Christopher Glynn & John Mark Ainsley | Raiders' Dawn | |
| | John Mark Ainsley & Iain Burnside | A Young Man's Exhortation, Op. 14, Pt. 1: No. 3, Budmouth Dears | |
| | John Mark Ainsley & Graham Johnson | Au cimetière, Op. 51 No. 2 | |
| | John Mark Ainsley & Malcolm Martineau | Fancy | |
| | John Mark Ainsley & Graham Johnson | Turn Then Thine Eyes, Z. 425 (Arr. Britten) | |
| | John Mark Ainsley, Stephen Roberts, Westminster Cathedral Choir, City of London Sinfonia, Iain Simcock & James O'Donnell | Canticum sacrum ad honorem Sancti Marci nominis: Part 2. Ad tres virtutes hortationes No 2. Spes | |
| | Sir Roger Norrington, Nancy Argenta, Peter Thorley, Alastair Miles, Catherine Robbin, John Mark Ainsley, London Classical Players & Schütz Choir of London | Requiem in D Minor, K. 626: III. Sequenz: No. 7, Amen | |
| | Catherine Bott, John Mark Ainsley, New London Consort & Philip Pickett | Il combattimento di Tancredi e Clorinda: Amico, hai vinto | |
| | The King's Consort, Robert King & John Mark Ainsley | Joshua: Act 3 VIII. Recitative: In Bloom of Youth, This Stripling Hath Achiev'd (Joshua) | |
| | John Mark Ainsley, Michael George, Catherine Denley, Christiane Oelze, Axel Köhler, Julia Gooding, RIAS Kammerchor, Akademie für Alte Musik Berlin & Marcus Creed | Jephtha, HWV 70, Pt. 1: Chorus. O God, Behold Our Sore Distress | |
| | Kimberly Barber, John Mark Ainsley, London Symphony Orchestra & André Previn | L'heure espagnole, Comédie en un acte: "Il était temps, voici Gonzalve!" (Scène IV) | |
| | Graham Johnson & John Mark Ainsley | Sylvie, Op. 6 No. 3 | |
| | John Mark Ainsley & Graham Johnson | Das Mädchen von Inistore, D. 281 | |
| | John Senter, BBC National Chorus of Wales, Chester Festival Chorus, Richard Hickox, BBC National Orchestra of Wales, Patricia Rozario, John Mark Ainsley & Andrew Murgatroyd | We Shall See Him As He Is: Refrain. The Unfolding of the Great Mystery | |
| | Sally Matthews, Sara Mingardo, John Mark Ainsley, Alastair Miles, Sir Colin Davis, London Symphony Chorus & London Symphony Orchestra | Mass in C, Op. 86: VI. Agnus Dei | |
| | Craig Ogden & John Mark Ainsley | Anon in Love: VI. To Couple Is a Custom | |
| | Gregory Yurisich, Sir Roger Norrington, London Classical Players & John Mark Ainsley | Don Giovanni, K. 527, Act 2: Recitativo. "Ah pietà... compassion" (Leporello, Don Ottavio) | |
| | John Mark Ainsley & Malcolm Martineau | 4 Songs of Mirza Schaffy, Op. 2: No. 3, Ich fühle deinen Odem | |
| | Graham Johnson & John Mark Ainsley | The Land of Lost Content: II. Ladslove | |
| | John Mark Ainsley & Craig Ogden | Anon in Love: VI. To Couple Is a Custom | |
| | The King's Consort, Robert King & John Mark Ainsley | Welcome, Welcome, Glorious Morn, Z. 338: V. The Mighty Goddess of This Wealthy Isle | |
| | James Bowman, John Mark Ainsley, Michael George, Choir of New College Oxford, The King's Consort & Robert King | Te Deum in D Major, "Queen Caroline": I. We Praise Thee, O God | |
