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ISRC

FRZ140601060

Messiah, HWV 56: Part I, no. 6. Air "But who may abide the day of His coming?"

Song: Messiah, HWV 56: Part I, no. 6. Air “But who may abide”

Lawrence ZazzoFreiburger BarockorchesterRené Jacobs
Released 2006-01-01

Last verified:

FRZ140601060 is the International Standard Recording Code (ISRC) for the recording "Messiah, HWV 56: Part I, no. 6. Air "But who may abide the day of His coming?"" by Lawrence Zazzo, Freiburger Barockorchester, René Jacobs, released 2006-01-01. ISRCs are 12-character ISO 3901 identifiers that uniquely tag a specific sound recording — different masters, remixes, and live versions each receive a distinct ISRC.

Format

FRCountry
Z14Registrant
06Year (2006)
01060Designation
Country:
ISO 3166-1 alpha-2 country code (FR).
Registrant:
3-character code identifying the label or distributor that assigned this ISRC.
Year (2006):
Last two digits of the reference year (2006). Years < 50 are 21st century.
Designation:
Unique 5-digit code assigned by the registrant for this specific recording.

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People also ask

What is the ISRC for "Messiah, HWV 56: Part I, no. 6. Air "But who may abide the day of His coming?"" by Lawrence Zazzo?
The ISRC for "Messiah, HWV 56: Part I, no. 6. Air "But who may abide the day of His coming?"" by Lawrence Zazzo, Freiburger Barockorchester, René Jacobs is FRZ140601060.
What is an ISRC and what does it tell you?
An ISRC (International Standard Recording Code) is a 12-character ISO 3901 identifier that uniquely tags a specific sound recording. The first two characters are the country code, the next three are the registrant (label or distributor), the next two are the year, and the last five are a unique recording number.

What is ISRC FRZ140601060?

FRZ140601060 is an International Standard Recording Code (ISRC) that uniquely identifies the recording "Messiah, HWV 56: Part I, no. 6. Air "But who may abide the day of His coming?"" by Lawrence Zazzo, Freiburger Barockorchester, René Jacobs. ISRCs are 12-character alphanumeric codes defined by ISO 3901, used globally by streaming platforms, record labels, and rights organizations to track plays and distribute royalties.

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