UPC · Release
Complete Edition
Chopin
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028947784456 is the Universal Product Code (UPC barcode) for the release “Complete Edition” by Chopin, released 2009-01-01 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 21 tracks, each with its own ISRC. Tracks include DEF059503540, DEF059503550, DEF059503560.
Format
- Number system:
- Identifies the product category (0/1/6/7/8 = general retail, 2 = variable measure, etc.).
- Manufacturer:
- 5-digit code identifying the label or distributor that owns the release.
- Product:
- 5-digit code identifying this specific release within the manufacturer's catalog.
- Check digit:
- Modulo-10 check digit that validates the rest of the barcode.
Credit Chain
Track List (21)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Nocturne no. 1 in B-flat minor, op. 9 no. 1: Larghetto | Maria João Pires | T-321.286.786-8 | |
| 2 | Nocturne no. 2 in E‐flat major, op. 9 no. 2: Andante | Maria João Pires | T-316.578.060-5 | |
| 3 | Nocturne No. 3 in B major, Op. 9 No. 3: Allegretto | Maria João Pires | — | |
| 4 | Nocturne no. 4 in F major, op. 15 no. 1: Andante cantabile | Maria João Pires | T-306.230.833-8 | |
| 5 | Nocturne no. 5 in F-sharp major, op. 15 no. 2: Larghetto | Maria João Pires | T-306.230.833-8 | |
| 6 | Nocturne No. 6 in G minor, Op. 15 No. 3: Lento | Maria João Pires | — | |
| 7 | Nocturne no. 7 in C-sharp minor, op. 27 no. 1: Larghetto | Maria João Pires | — | |
| 8 | Nocturne no. 8 in D-flat major, op. 27 no. 2: Lento sostenuto | Maria João Pires | T-306.230.835-0 | |
| 9 | Nocturne No. 9 in B major, Op. 32 No. 1: Andante sostenuto | Maria João Pires | T-900.129.617-9 | |
| 10 | Nocturne no. 10 in A-flat major, op. 32 no. 2: Lento | Maria João Pires | — | |
| 2-1 | Nocturne no. 11 in G minor, op. 37 no. 1: Andante sostenuto | Maria João Pires | — | |
| 2-2 | Nocturne No. 12 in G major, Op. 37 No. 2: Andantino | Maria João Pires | T-906.148.797-6 | |
| 2-3 | Nocturne no. 13 in C minor, op. 48 no. 1: Lento | Maria João Pires | — | |
| 2-4 | Nocturne No. 14 in F-sharp minor, Op. 48 No. 2: Andantino | Maria João Pires | T-306.230.833-8 | |
| 2-5 | Nocturne no. 15 in F minor, op. 55 no. 1: Andante | Maria João Pires | T-321.286.787-9 | |
| 2-6 | Nocturne No. 16 in E-flat major, Op. 55 No. 2: Lento sostenuto | Maria João Pires | — | |
| 2-7 | Nocturne No. 17 in B major, Op. 62 No. 1: Andante | Maria João Pires | — | |
| 2-8 | Nocturne no. 18 in E major, op. 62 no. 2: Lento | Maria João Pires | — | |
| 2-9 | Nocturne No. 19 in E minor, Op. post. 72 No. 1: Andante | Maria João Pires | — | |
| 2-10 | Nocturne no. 20 in C-sharp minor, op. post: Lento con gran espressione | Maria João Pires | T-928.543.689-7 | |
| 2-11 | Nocturne No. 21 in C minor, Op. post. | Maria João Pires | — |
Additional database matches (79)
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Rondo in C major, Op. 73 | Kurt Bauer, Heidi Bung | — |
| Études op. 10: No. 1 in C major: Allegro | Maurizio Pollini | T-329.456.966-3 |
| Études op. 10: No. 2 in A minor “Chromatique”: Allegro | Maurizio Pollini | T-329.458.384-5 |
| Études op. 10: No. 3 in E major “Tristesse”: Lento, ma non troppo | Maurizio Pollini | T-329.459.340-7 |
| Études op. 10: No. 4 in C‐sharp minor: Presto | Maurizio Pollini | T-915.981.383-9 |
| Études op. 10: No. 5 in G‐flat major “Black Keys”: Vivace | Maurizio Pollini | T-329.453.534-1 |
| Études op. 10: No. 6 in E‐flat minor: Andante | Maurizio Pollini | T-329.458.108-7 |
| Études op. 10: No. 7 in C major: Vivace | Maurizio Pollini | T-329.457.242-8 |
| Études op. 10: No. 8 in F major: Allegro | Maurizio Pollini | T-329.458.487-1 |
| Études op. 10: No. 9 in F minor: Allegro, molto agitato | Maurizio Pollini | T-329.456.945-8 |
| Études op. 10: No. 10 in A‐flat major: Vivace assai | Maurizio Pollini | T-329.454.326-9 |
| Études, op. 10: No. 11 in E‐flat major: Allegretto | Maurizio Pollini | T-329.456.687-9 |
| Études, op. 10: No. 12 in C minor “Revolutionary”: Allegro con fuoco | Maurizio Pollini | T-915.981.383-9 |
| 12 Études, Op. 25: No. 1 in A‐Flat Major “Harp Study” | Maurizio Pollini | — |
| Études, op. 25: No. 2 in F minor: Presto | Maurizio Pollini | T-329.456.945-8 |
| Études, op. 25: No. 3 in F major: Allegro | Maurizio Pollini | T-329.456.945-8 |
| Études, op. 25: No. 4 in A minor: Agitato | Maurizio Pollini | T-329.457.500-7 |
| Études, op. 25: No. 5 in E minor: Vivace | Maurizio Pollini | T-329.458.108-7 |
| Études, op. 25: No. 6 in G sharp minor: Allegro | Maurizio Pollini | T-915.981.383-9 |
| Etude no. 19 in C‐sharp minor, op. 25 no. 7 | Maurizio Pollini | T-915.981.383-9 |
| Études, op. 25: No. 8 in D flat major: Vivace | Maurizio Pollini | — |
| 12 Études, Op. 25: No. 9 in G‐Flat Major “Butterfly Wings” | Maurizio Pollini | — |
| 12 Études, Op. 25: No. 10 in B Minor “Octave” | Maurizio Pollini | T-308.384.655-9 |
| 12 Études, Op. 25: No. 11 in A Minor “Winter Wind” | Maurizio Pollini | T-308.381.369-4 |
| 12 Études, Op. 25: No. 12 in C Minor “Ocean” | Maurizio Pollini | T-310.766.142-3 |
| Andante Spianato and Grande Polonaise, Op. 22: I. Andante spianato: Tranquillo | Martha Argerich | — |
| Andante spianato et Grande polonaise brillante in E-flat Major, op. 22: Polonaise. Allegro molto | Martha Argerich | T-902.781.050-0 |
| Polonaise no. 1 in C‐sharp minor, op. 26 no. 1: Allegro appassionato | Maurizio Pollini | — |
| Polonaise no. 2 in E-flat minor, op. 26 no. 2: Maestoso | Maurizio Pollini | — |
| Polonaise no. 3 in A major, op. 40 no. 1 "Military": Allegro con brio | Maurizio Pollini | — |
| Polonaise no. 4 in C minor, op. 40 no. 2: Allegro maestoso | Maurizio Pollini | T-922.054.556-2 |
| Polonaise no. 5 in F-sharp minor, op. 44: Tempo di polacca - doppio movimento, tempo di Mazurka - Tempo I | Maurizio Pollini | T-918.019.319-5 |
| Polonaise no. 6 in A-flat major, op. 53 "Heroic": Maestoso | Maurizio Pollini | T-060.274.630-4 |
| Polonaise-Fantaisie no. 7 in A-flat major, op. 61: Allegro maestoso | Maurizio Pollini | — |
| Sonata for Piano and Violoncello in G minor, op. 65: III. Largo | Martha Argerich, Mstislav Rostropovich | — |
| Sonata for Piano and Violoncello in G minor, op. 65: I. Allegro moderato | Martha Argerich, Mstislav Rostropovich | T-902.781.050-0 |
| Sonata for Piano and Violoncello in G minor, op. 65: II. Scherzo. Allegro con brio | Martha Argerich, Mstislav Rostropovich | — |
| Sonata for Piano and Violoncello in G minor, op. 65: IV. Finale. Allegro | Martha Argerich, Mstislav Rostropovich | T-318.676.528-2 |
| Introduction and Polonaise brillante in C major, op. 3 | Martha Argerich, Mstislav Rostropovich | — |
| Piano Sonata No. 2 in B flat minor, Op. 35: I. Grave - Doppio movimento | Maurizio Pollini | — |
| Piano Sonata No. 2 in B flat minor, Op. 35: II. Scherzo | Maurizio Pollini | — |
| Piano Sonata No. 2 in B flat minor, Op. 35: III. Marche funèbre. Lento - attacca: | Maurizio Pollini | T-915.712.196-5 |
| Piano Sonata no. 2 in B-flat minor, op. 35: IV. Finale. Presto | Maurizio Pollini | T-309.554.578-7 |
| Piano Sonata No. 3, Op. 58: I. Allegro maestoso | Maurizio Pollini | T-911.517.582-1 |
| Piano Sonata No. 3, Op. 58: II. Scherzo. Molto vivace | Maurizio Pollini | T-911.517.582-1 |
| Piano Sonata No. 3, Op. 58: III. Largo | Maurizio Pollini | T-911.517.582-1 |
| Piano Sonata No. 3, Op. 58: IV. Finale. Presto ma non tanto | Maurizio Pollini | T-309.554.578-7 |
| Ballade no. 1 in G minor, op. 23 | Krystian Zimerman | T-917.141.447-4 |
| Ballade no. 2 in F major, op. 38 | Krystian Zimerman | — |
| Ballade no. 3 in A‐flat major, op. 47 | Krystian Zimerman | T-913.821.070-5 |
| Ballade no. 4 in F minor, op. 52 | Krystian Zimerman | — |
| Fantaisie in F minor, op. 49 | Krystian Zimerman | — |
| Scherzo no. 1 in B minor, op. 20 | Maurizio Pollini | T-308.384.655-9 |
| Scherzo no. 2 in B‐flat minor, op. 31 | Maurizio Pollini | — |
| Scherzo no. 3 in C‐sharp minor, op. 39 | Maurizio Pollini | T-918.063.801-1 |
| Scherzo no. 4 in E major, op. 54 | Maurizio Pollini | — |
| Berceuse in D flat, Op. 57 | Maurizio Pollini | — |
| Barcarolle in F-sharp major, Op. 60 | Maurizio Pollini | T-905.382.146-8 |
| Grand Duo Concertant in E major on Themes from "Robert le Diable", B. 70 | Frédéric Chopin | — |
| Introduction in C minor and Rondo in E flat major, Op. 16 | Михаил Васильевич Плетнёв | — |
| Wojak, Op. 74 No. 10 | Elzbieta Szmytka, Malcolm Martineau | — |
| Życzenie, Op. 74 No. 1 | Elzbieta Szmytka, Malcolm Martineau | — |
| Wiosna, Op. 74 No. 2 | Elzbieta Szmytka, Malcolm Martineau | — |
| Smutna rzeka, Op. 74 No. 3 | Elzbieta Szmytka, Malcolm Martineau | — |
| Hulanka, Op. 74 No. 4 | Elzbieta Szmytka, Malcolm Martineau | T-932.644.323-6 |
| Gdzie lubi, Op. 74 No. 5 | Elzbieta Szmytka, Malcolm Martineau | — |
| Precz z moich oczu, Op. 74 No. 6 | Elzbieta Szmytka, Malcolm Martineau | — |
| Poseł, Op. 74 No. 7 | Elzbieta Szmytka, Malcolm Martineau | — |
| Śliczny chłopiec, Op. 74 No. 8 | Elzbieta Szmytka, Malcolm Martineau | — |
| Melodia, Op. 74 No. 9 | Elzbieta Szmytka, Malcolm Martineau | — |
| Dwojaki koniec, Op. 74 No. 11 | Elzbieta Szmytka, Malcolm Martineau | — |
| Moja pieszczotka, Op. 74 No. 12 | Elzbieta Szmytka, Malcolm Martineau | — |
| Nie ma czego trzeba, Op. 74 No. 13 | Elzbieta Szmytka, Malcolm Martineau | — |
| Pierścień, Op. 74 No. 14 | Elzbieta Szmytka, Malcolm Martineau | — |
| Narzeczony, Op. 74 No. 15 | Elzbieta Szmytka, Malcolm Martineau | — |
| Piosnka litewska, Op. 74 No. 16 | Elzbieta Szmytka, Malcolm Martineau | — |
| Śpiew z mogiły, Op. 74 No. 17 | Elzbieta Szmytka, Malcolm Martineau | — |
| Czary, B. 51 | Elzbieta Szmytka, Malcolm Martineau | — |
| Dumka, B. 132 | Elzbieta Szmytka, Malcolm Martineau | — |
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What is UPC 028947784456?
028947784456 is a Universal Product Code (UPC) assigned to Complete Edition by Chopin. 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 21 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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