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ISRC

GBAJY8725124

Messiah: Part II. XXIII. Contralto aria "He was despised and rejected of men"

Song: Messiah, HWV 56: Part II, no. 23. Air “He was despised” (Alto)

Orchestra of The SixteenHarry Christophers
Released 1987-06-01

Last verified:

GBAJY8725124 is the International Standard Recording Code (ISRC) for the recording "Messiah: Part II. XXIII. Contralto aria "He was despised and rejected of men"" by Orchestra of The Sixteen, Harry Christophers, released 1987-06-01. 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

GBCountry
AJYRegistrant
87Year (1987)
25124Designation
Country:
ISO 3166-1 alpha-2 country code (GB).
Registrant:
3-character code identifying the label or distributor that assigned this ISRC.
Year (1987):
Last two digits of the reference year (1987). Years < 50 are 21st century.
Designation:
Unique 5-digit code assigned by the registrant for this specific recording.

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What is the ISRC for "Messiah: Part II. XXIII. Contralto aria "He was despised and rejected of men"" by Orchestra of The Sixteen?
The ISRC for "Messiah: Part II. XXIII. Contralto aria "He was despised and rejected of men"" by Orchestra of The Sixteen, Harry Christophers is GBAJY8725124.
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 GBAJY8725124?

GBAJY8725124 is an International Standard Recording Code (ISRC) that uniquely identifies the recording "Messiah: Part II. XXIII. Contralto aria "He was despised and rejected of men"" by Orchestra of The Sixteen, Harry Christophers. 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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