UPC · Release
The 1953 American Decca Recordings
Leonard Bernstein
028947700029
52 tracksReleased 2004-01-01Deutsche Grammophon
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028947700029 is the Universal Product Code (UPC barcode) for the release “The 1953 American Decca Recordings” by Leonard Bernstein, released 2004-01-01 on Deutsche Grammophon. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 52 tracks, each with its own ISRC. Tracks include DEF055309181, DEF055309182, DEF055309183.
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9Check digit
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Credit Chain
UPCThe 1953 American Decca Recordings
ISRC52 recordings
ISWC4 works
IPI1 songwriter
Track List (52)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": I. Allegro con brio | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 2 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": II. Marcia funebre. Adagio assai | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 3 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": III. Scherzo. Allegro vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 4 | Symphony No. 3 in E-flat major, Op. 55 "Eroica": IV. Finale. Allegro molto | New York Stadium Symphony Orchestra, Leonard Bernstein | T-318.676.528-2 | |
| 5 | Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "Simplicity itself..." (1st movement) | [dialogue] | — | |
| 6 | Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "I always feel this gigantism..." (2nd movement) | [dialogue] | — | |
| 7 | Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "We have just been examining..." (3rd movement) | [dialogue] | — | |
| 2-1 | Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "All that we have said..." (4th movement) | [dialogue] | — | |
| 2-2 | Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "The study of Eroica is a lifetime work..." | [dialogue] | — | |
| 2-3 | Symphony No. 9 in E minor, Op. 95 "From the New World": I. Adagio – Allegro molto | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 2-4 | Symphony No. 9 in E minor, Op. 95 "From the New World": II. Largo | New York Stadium Symphony Orchestra, Leonard Bernstein | T-902.286.256-2 | |
| 2-5 | Symphony No. 9 in E minor, Op. 95 "From the New World": III. Scherzo. Molto vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 2-6 | Symphony No. 9 in E minor, Op. 95 "From the New World": IV. Allegro con fuoco | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 2-7 | Musical Analysis (Bernstein on Dvorák's Symphony No.9): "Does this music sound like the New World to you?" (3rd movement, Trio II; 1st movement) | [dialogue] | — | |
| 2-8 | Musical Analysis (Bernstein on Dvorák's Symphony No.9): "We come now to the second movement, which has a charming melody, ..." (2nd movement) | [dialogue] | — | |
| 2-9 | Musical Analysis (Bernstein on Dvorák's Symphony No.9): "The third movement is a marvel of ingenuity and deftness" (3rd movement) | [dialogue] | — | |
| 2-10 | Musical Analysis (Bernstein on Dvorák's Symphony No.9): "And now the last movement. In general I should say that this is the most Slavic of all" (4th movement) | [dialogue] | — | |
| 2-11 | Musical Analysis (Bernstein on Dvorák's Symphony No.9): "The final claim of those who argue for the New World Symphony as American music, ..." (4th movement, continued) | [dialogue] | — | |
| 3-1 | Symphony No. 2 in C major, Op. 61: I. Sostenuto assai - Un poco più vivace - Allegro ma non troppo - Con fuoco | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 3-2 | Symphony No. 2 in C major, Op. 61: II. Scherzo: Allegro vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 3-3 | Symphony No. 2 in C major, Op. 61: III. Adagio espressivo | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 3-4 | Symphony No. 2 in C major, Op. 61: IV. Allegro molto vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 3-5 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Robert Schumann has been dead..." (3rd movement, opening theme) | [dialogue] | — | |
| 3-6 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "To my mind, Schumann follows in this tradition..." | [dialogue] | — | |
| 3-7 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Now let's look at the Symphony itself..." (1st movement) | [dialogue] | — | |
| 3-8 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "And so we have arrived at the allegro section..." (1st movement, continued) | [dialogue] | — | |
| 3-9 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "In the marvelous Scherzo that follows..." (2nd movement) | [dialogue] | — | |
| 3-10 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "But perhaps the greatest beauty...." (3rd movement) | [dialogue] | — | |
| 3-11 | Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Even in the final movement...." (4th movement) | [dialogue] | — | |
| 4-1 | Symphony No. 4 in E minor, Op. 98: I. Allegro non troppo | New York Stadium Symphony Orchestra, Leonard Bernstein | T-902.764.002-4 | |
| 4-2 | Symphony No. 4 in E minor, Op. 98: II. Andante moderato | New York Stadium Symphony Orchestra, Leonard Bernstein | T-902.764.002-4 | |
| 4-3 | Symphony No. 4 in E minor, Op. 98: III. Allegro giocoso - Poco meno presto - Tempo I | New York Stadium Symphony Orchestra, Leonard Bernstein | T-902.764.002-4 | |
| 4-4 | Symphony No. 4 in E minor, Op. 98: IV. Allegro energico e passionato - Più allegro | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 4-5 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Brahms' Fourth Symphony in E minor is today ..." (4th movement., opening theme) | [dialogue] | — | |
| 4-6 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Our journey begins without introduction..." (1st movement) | [dialogue] | — | |
| 4-7 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Do you see now what a symphonic theme is?" (1st movement) | [dialogue] | — | |
| 4-8 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Now, think of it - we have so far only had 44 bars of music" (1st movement) | [dialogue] | — | |
| 4-9 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Here is that second theme" (1st movement) | [dialogue] | — | |
| 4-10 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "This brings us to the development section proper" (1st movement) | [dialogue] | — | |
| 4-11 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): And here we are back home, ready for the rehearing of the exposition,..." (1st movement) | [dialogue] | — | |
| 4-12 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "So we arrive at the coda" (1st movement) | [dialogue] | — | |
| 4-13 | Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Well, we have had a microscopic look at symphonic method" (1st movement) | [dialogue] | — | |
| 5-1 | Symphony No. 6 in B minor, Op. 74 "Pathétique": I. Adagio – Allegro non troppo | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 5-2 | Symphony No. 6 in B minor, Op. 74 "Pathétique": II. Allegro con grazia | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 5-3 | Symphony No. 6 in B minor, Op. 74 "Pathétique": III. Allegro molto vivace | New York Stadium Symphony Orchestra, Leonard Bernstein | — | |
| 5-4 | Symphony No. 6 in B minor, Op. 74 "Pathétique": IV. Finale. Adagio lamentoso – Andante | New York Stadium Symphony Orchestra, Leonard Bernstein | T-003.055.867-8 | |
| 5-5 | Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now there is a melody, a pure orchestral song..." (1st movement) | [dialogue] | — | |
| 5-6 | Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now the development section erupts..." (1st movement continued) | [dialogue] | — | |
| 5-7 | Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now one would think that Tchaikovsky had really exploited the device of scales" (2nd movement) | [dialogue] | — | |
| 5-8 | Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Jumping now to the famous third movement, the great March..." (3rd movement) | [dialogue] | — | |
| 5-9 | Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Perhaps the most admirable example of this is to be found in the wonderful last movement, ..." (4th movement) | [dialogue] | — | |
| 5-10 | Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now I don't want to give you the impression that scales are the only unifying force in this work" | [dialogue] | — |
Symphony No. 3 in E-flat major, Op. 55 "Eroica": I. Allegro con brio
New York Stadium Symphony Orchestra, Leonard Bernstein
—
Symphony No. 3 in E-flat major, Op. 55 "Eroica": II. Marcia funebre. Adagio assai
New York Stadium Symphony Orchestra, Leonard Bernstein
—
Symphony No. 3 in E-flat major, Op. 55 "Eroica": III. Scherzo. Allegro vivace
New York Stadium Symphony Orchestra, Leonard Bernstein
—
New York Stadium Symphony Orchestra, Leonard Bernstein
Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "Simplicity itself..." (1st movement)
[dialogue]
—
Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "I always feel this gigantism..." (2nd movement)
[dialogue]
—
Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "We have just been examining..." (3rd movement)
[dialogue]
—
Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "All that we have said..." (4th movement)
[dialogue]
—
Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "The study of Eroica is a lifetime work..."
[dialogue]
—
Symphony No. 9 in E minor, Op. 95 "From the New World": I. Adagio – Allegro molto
New York Stadium Symphony Orchestra, Leonard Bernstein
—
New York Stadium Symphony Orchestra, Leonard Bernstein
Symphony No. 9 in E minor, Op. 95 "From the New World": III. Scherzo. Molto vivace
New York Stadium Symphony Orchestra, Leonard Bernstein
—
Symphony No. 9 in E minor, Op. 95 "From the New World": IV. Allegro con fuoco
New York Stadium Symphony Orchestra, Leonard Bernstein
—
Musical Analysis (Bernstein on Dvorák's Symphony No.9): "Does this music sound like the New World to you?" (3rd movement, Trio II; 1st movement)
[dialogue]
—
Musical Analysis (Bernstein on Dvorák's Symphony No.9): "We come now to the second movement, which has a charming melody, ..." (2nd movement)
[dialogue]
—
Musical Analysis (Bernstein on Dvorák's Symphony No.9): "The third movement is a marvel of ingenuity and deftness" (3rd movement)
[dialogue]
—
Musical Analysis (Bernstein on Dvorák's Symphony No.9): "And now the last movement. In general I should say that this is the most Slavic of all" (4th movement)
[dialogue]
—
Musical Analysis (Bernstein on Dvorák's Symphony No.9): "The final claim of those who argue for the New World Symphony as American music, ..." (4th movement, continued)
[dialogue]
—
Symphony No. 2 in C major, Op. 61: I. Sostenuto assai - Un poco più vivace - Allegro ma non troppo - Con fuoco
New York Stadium Symphony Orchestra, Leonard Bernstein
—
Symphony No. 2 in C major, Op. 61: II. Scherzo: Allegro vivace
New York Stadium Symphony Orchestra, Leonard Bernstein
—
Symphony No. 2 in C major, Op. 61: III. Adagio espressivo
New York Stadium Symphony Orchestra, Leonard Bernstein
—
Symphony No. 2 in C major, Op. 61: IV. Allegro molto vivace
New York Stadium Symphony Orchestra, Leonard Bernstein
—
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Robert Schumann has been dead..." (3rd movement, opening theme)
[dialogue]
—
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "To my mind, Schumann follows in this tradition..."
[dialogue]
—
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Now let's look at the Symphony itself..." (1st movement)
[dialogue]
—
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "And so we have arrived at the allegro section..." (1st movement, continued)
[dialogue]
—
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "In the marvelous Scherzo that follows..." (2nd movement)
[dialogue]
—
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "But perhaps the greatest beauty...." (3rd movement)
[dialogue]
—
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Even in the final movement...." (4th movement)
[dialogue]
—
New York Stadium Symphony Orchestra, Leonard Bernstein
New York Stadium Symphony Orchestra, Leonard Bernstein
New York Stadium Symphony Orchestra, Leonard Bernstein
Symphony No. 4 in E minor, Op. 98: IV. Allegro energico e passionato - Più allegro
New York Stadium Symphony Orchestra, Leonard Bernstein
—
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Brahms' Fourth Symphony in E minor is today ..." (4th movement., opening theme)
[dialogue]
—
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Our journey begins without introduction..." (1st movement)
[dialogue]
—
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Do you see now what a symphonic theme is?" (1st movement)
[dialogue]
—
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Now, think of it - we have so far only had 44 bars of music" (1st movement)
[dialogue]
—
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Here is that second theme" (1st movement)
[dialogue]
—
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "This brings us to the development section proper" (1st movement)
[dialogue]
—
Musical Analysis (Bernstein on Brahms's Symphony No. 4): And here we are back home, ready for the rehearing of the exposition,..." (1st movement)
[dialogue]
—
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "So we arrive at the coda" (1st movement)
[dialogue]
—
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Well, we have had a microscopic look at symphonic method" (1st movement)
[dialogue]
—
Symphony No. 6 in B minor, Op. 74 "Pathétique": I. Adagio – Allegro non troppo
New York Stadium Symphony Orchestra, Leonard Bernstein
—
Symphony No. 6 in B minor, Op. 74 "Pathétique": II. Allegro con grazia
New York Stadium Symphony Orchestra, Leonard Bernstein
—
Symphony No. 6 in B minor, Op. 74 "Pathétique": III. Allegro molto vivace
New York Stadium Symphony Orchestra, Leonard Bernstein
—
New York Stadium Symphony Orchestra, Leonard Bernstein
Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now there is a melody, a pure orchestral song..." (1st movement)
[dialogue]
—
Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now the development section erupts..." (1st movement continued)
[dialogue]
—
Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now one would think that Tchaikovsky had really exploited the device of scales" (2nd movement)
[dialogue]
—
Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Jumping now to the famous third movement, the great March..." (3rd movement)
[dialogue]
—
Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Perhaps the most admirable example of this is to be found in the wonderful last movement, ..." (4th movement)
[dialogue]
—
Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now I don't want to give you the impression that scales are the only unifying force in this work"
[dialogue]
—
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What is UPC 028947700029?
028947700029 is a Universal Product Code (UPC) assigned to The 1953 American Decca Recordings by Leonard Bernstein. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.
This release contains 52 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
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