UPC · Release
Various Artists
Last verified:
The UPC for “The History of Classical Music, Part 5: Modern: From Sibelius to Glass” by Various Artists is 028947923046. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2013-10-14. This release contains 271 tracks, each with its own ISRC. Tracks include DEF056500031, DEF056500032, DEF056500033.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Symphony no. 5 in E-flat major, op. 82: Ia. Tempo molto moderato - Largamente - | Berliner Philharmoniker, Herbert von Karajan | — | |
| 2 | Symphony no. 5 in E‐flat major, op. 82: Ib. Allegro moderato – Presto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 3 | Symphony no. 5 in E-flat major, op. 82: II. Andante mosso, quasi allegretto | Berliner Philharmoniker, Herbert von Karajan | — | |
| 4 | Symphony no. 5 in E-flat major, op. 82: III. Allegro molto - Misterioso - Un pochettino largamente - Largamente assai | Berliner Philharmoniker, Herbert von Karajan | — | |
| 5 | Valse triste, op. 44 | Berliner Philharmoniker, Herbert von Karajan | — | |
| 6 | Finlandia, op. 26: Andante sostenuto - Allegro moderato - Allegro | Berliner Philharmoniker, Herbert von Karajan | T-306.395.786-4 | |
| 7 | Tapiola, op. 112 | Berliner Philharmoniker, Herbert von Karajan | — | |
| 2-1 | Piano Sonata no. 2 “Concord, Mass., 1840–1860”: I. “Emerson”. Slowly - Slowly and quietly | — | ||
| 2-2 | Piano Sonata no. 2 “Concord, Mass., 1840–1860”: II. “Hawthorne”. Very fast | — | ||
| 2-3 | Piano Sonata no. 2 “Concord, Mass., 1840–1860”: III. “The Alcotts” | — | ||
| 2-4 | Piano Sonata no. 2 “Concord, Mass., 1840–1860”: IV. “Thoreau”. Starting slowly and quietly | — | ||
| 2-5 | Central Park in the Dark | Boston Symphony Orchestra, Seiji Ozawa | — | |
| 2-6 | Three Places in New England: I. The "St. Gaudens" in Boston Common (Col. Shaw and his Colored Regiment) | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 2-7 | Three Places in New England: II. Putnam’s Camp, Redding, Connecticut | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 2-8 | Three Places in New England: III. The Housatonic at Stockbridge | Boston Symphony Orchestra, Michael Tilson Thomas | — | |
| 2-9 | Adagio for Strings, op. 11 | Baltimore Symphony Orchestra, David Zinman | T-070.000.199-5 | |
| 3-1 | Taras Bulba: I. Der Tod des Andrej | — | ||
| 3-2 | Taras Bulba: II. Der Tod des Ostap | — | ||
| 3-3 | Taras Bulba: III. Prophezeiung und Tod des Taras Bulba | — | ||
| 3-4 | Concertino für Klavier, 2 Violinen, Viola, Klarinette, Horn und Fagott: I. Moderato | — | ||
| 3-5 | Concertino für Klavier, 2 Violinen, Viola, Klarinette, Horn und Fagott: II. Più mosso | — | ||
| 3-6 | Concertino für Klavier, 2 Violinen, Viola, Klarinette, Horn und Fagott: III. Con moto | — | ||
| 3-7 | Concertino für Klavier, 2 Violinen, Viola, Klarinette, Horn und Fagott: IV. Allegro | — | ||
| 3-8 | Sinfonietta: I. Allegretto - Allegro - Maestoso | — | ||
| 3-9 | Sinfonietta: II. Andante - Allegretto | — | ||
| 3-10 | Sinfonietta: III. Moderato | — | ||
| 3-11 | Sinfonietta: IV. Allegretto | — | ||
| 3-12 | Sinfonietta: V. Andante con moto | — | ||
| 4-1 | Boléro, M. 81: Tempo di bolero moderato assai | London Symphony Orchestra, Claudio Abbado | T-003.006.377-4 | |
| 4-2 | Concerto for Piano and Orchestra in G major: III. Presto | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 4-3 | Concerto for Piano and Orchestra in G major: III. Presto | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 4-4 | Concerto for Piano and Orchestra in G major: III. Presto | Martha Argerich, London Symphony Orchestra, Claudio Abbado | — | |
| 4-5 | Pavane pour une infante défunte, M. 19: Lent | London Symphony Orchestra, Claudio Abbado | T-003.013.767-7 | |
| 4-6 | Ma mère l'Oye, M. 60: Prélude. Très lent | London Symphony Orchestra, Claudio Abbado | — | |
| 4-7 | Ma mère l'Oye, M. 60: 1ᵉʳ TABLEAU : Danse du rouet et scène. Allegro | London Symphony Orchestra, Claudio Abbado | T-305.194.387-0 | |
| 4-8 | Ma mère l'Oye, M. 60: 2ᵉ TABLEAU : Pavane de la Belle au bois dormant. Lent - Allegro - Mouvement de valse modéré | London Symphony Orchestra, Claudio Abbado | — | |
| 4-9 | Ma mère l'Oye, M. 60: 3ᵉ TABLEAU : Les Entretiens de la Belle et de la Bête. Mouvement de valse modéré | London Symphony Orchestra, Claudio Abbado | — | |
| 4-10 | Ma mère l'Oye, M. 60: 4ᵉ TABLEAU : Petit Poucet. Très modéré | London Symphony Orchestra, Claudio Abbado | T-931.938.780-9 | |
| 4-11 | Ma mère l'Oye, M. 60: 5ᵉ TABLEAU : Laideronnette, impératrice des pagodes. Mouvement de marche - Allegro - Très modéré | London Symphony Orchestra, Claudio Abbado | T-004.018.862-2 | |
| 4-12 | Ma mère l'Oye, M. 60: APOTHÉOSE : Le jardin féerique. Lent et grave | London Symphony Orchestra, Claudio Abbado | T-305.194.399-4 | |
| 5-1 | Verklärte Nacht, op. 4: I. Sehr langsam (bar 1) | — | ||
| 5-2 | Verklärte Nacht, op. 4: II. Breiter (bar 200) | — | ||
| 5-3 | Verklärte Nacht, op. 4: III. Schwer betont (bar 201) | — | ||
| 5-4 | Verklärte Nacht, op. 4: IV. Sehr breit und langsam (bar 229) | — | ||
| 5-5 | Verklärte Nacht, op. 4: V. Sehr ruhig (bar 370) | — | ||
| 5-6 | Pierrot lunaire, op. 21: I. Teil: 1. Mondestrunken | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-7 | Pierrot lunaire, op. 21: I. Teil: 2. Colombine | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-8 | Pierrot lunaire, op. 21: I. Teil: 3. Der Dandy | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-9 | Pierrot lunaire, op. 21: I. Teil: 4. Eine blasse Wäscherin | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-10 | Pierrot lunaire, op. 21: I. Teil: 5. Valse de Chopin | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-11 | Pierrot lunaire, op. 21: I. Teil: 6. Madonna | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-12 | Pierrot lunaire, op. 21: I. Teil: 7. Der kranke Mond | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-13 | Pierrot lunaire, op. 21: II. Teil: 8. Nacht | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-14 | Pierrot lunaire, op. 21: II. Teil: 9. Gebet an Pierrot | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-15 | Pierrot lunaire, op. 21: II. Teil: 10. Raub | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-16 | Pierrot lunaire, op. 21: II. Teil: 11. Rote Messe | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-17 | Pierrot lunaire, op. 21: II. Teil: 12. Galgenlied | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-18 | Pierrot lunaire, op. 21: II. Teil: 13. Enthauptung | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-19 | Pierrot lunaire, op. 21: II. Teil: 14. Die Kreuze | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-20 | Pierrot lunaire, op. 21: III. Teil: 15. Heimweh | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-21 | Pierrot lunaire, op. 21: III. Teil: 16. Gemeinheit! | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-22 | Pierrot lunaire, op. 21: III. Teil: 17. Parodie | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-23 | Pierrot lunaire, op. 21: III. Teil: 18. Der Mondfleck | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-24 | Pierrot lunaire, op. 21: III. Teil: 19. Serenade | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-25 | Pierrot lunaire, op. 21: III. Teil: 20. Heimfahrt | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-26 | Pierrot lunaire, op. 21: III. Teil: 21. O alter Duft | Christine Schäfer, Ensemble InterContemporain, Pierre Boulez | T-071.000.879-9 | |
| 5-27 | 6 Pieces for Orchestra, op. 6: I. Etwas bewegt | Berliner Philharmoniker, Pierre Boulez | — | |
| 5-28 | 6 Pieces for Orchestra, op. 6: II. Bewegt | Berliner Philharmoniker, Pierre Boulez | — | |
| 5-29 | 6 Pieces for Orchestra, op. 6: III. Zart bewegt | Berliner Philharmoniker, Pierre Boulez | — | |
| 5-30 | 6 Pieces for Orchestra op. 6: IV. Langsam. Marcia Funebre | Berliner Philharmoniker, Pierre Boulez | — | |
| 5-31 | 6 Pieces for Orchestra, op. 6: V. Sehr langsam | Berliner Philharmoniker, Pierre Boulez | — | |
| 5-32 | 6 Pieces for Orchestra, op. 6: VI. Zart bewegt | Berliner Philharmoniker, Pierre Boulez | — | |
| 5-33 | Symphony, op. 21: 1. Ruhig schreitend | Berliner Philharmoniker, Pierre Boulez | — | |
| 5-34 | Symphony, op. 21: 2. Variationen | Berliner Philharmoniker, Pierre Boulez | — | |
| 6-1 | Drei Orchesterstücke, op. 6 (1929 revision): 1. Präludium | Berliner Philharmoniker, Herbert von Karajan | — | |
| 6-2 | Drei Orchesterstücke, op. 6 (1929 revision): 2. Reigen | Berliner Philharmoniker, Herbert von Karajan | — | |
| 6-3 | Drei Orchesterstücke, op. 6 (1929 revision): 3. Marsch | Berliner Philharmoniker, Herbert von Karajan | — | |
| 6-4 | Concerto for Violin and Orchestra: I. Andante - Allegretto | Henryk Szeryng, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 6-5 | Concerto for Violin and Orchestra: II. Allegro - Adagio | Henryk Szeryng, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 6-6 | Three Pieces from the "Lyric Suite": I. Andante amoroso | Berliner Philharmoniker, Herbert von Karajan | — | |
| 6-7 | Three Pieces from the "Lyric Suite": II. Allegro misterioso | Berliner Philharmoniker, Herbert von Karajan | — | |
| 6-8 | Three Pieces from the "Lyric Suite": III. Adagio appassionato | Berliner Philharmoniker, Herbert von Karajan | — | |
| 7-1 | Petrouchka - (1a) Fete populaire de la semaine grasse | London Symphony Orchestra, Charles Dutoit | — | |
| 7-2 | Petrouchka - (1b) Le tour de passe-passe | London Symphony Orchestra, Charles Dutoit | — | |
| 7-3 | Petrouchka - (2a) Chez Petrouchka | London Symphony Orchestra, Charles Dutoit | — | |
| 7-4 | Petrouchka - (3a) Chez le maure - Danse de la ballerine | London Symphony Orchestra, Charles Dutoit | — | |
| 7-5 | Petrouchka - (3b) Valse. La ballerine et le maure | London Symphony Orchestra, Charles Dutoit | — | |
| 7-6 | Petrouchka - (4a) Fete populaire de la semaine grasse (vers le soir) | London Symphony Orchestra, Charles Dutoit | — | |
| 7-7 | Petrouchka - (4b) Danse des nounous | London Symphony Orchestra, Charles Dutoit | — | |
| 7-8 | Petrouchka - (4c) Danse du paysan et de l'ours | London Symphony Orchestra, Charles Dutoit | — | |
| 7-9 | Petrouchka - (4d) Bohemien et marchand malhonnete | London Symphony Orchestra, Charles Dutoit | — | |
| 7-10 | Petrouchka - (4e) Danse des cochers et des palefreniers | London Symphony Orchestra, Charles Dutoit | — | |
| 7-11 | Petrouchka - (4f) Les deguises | London Symphony Orchestra, Charles Dutoit | — | |
| 7-12 | Petrouchka - (4g) Le rixe: Le maure et Petrouchka | London Symphony Orchestra, Charles Dutoit | — | |
| 7-13 | Petrouchka - (4h) Mort de Petrouchka | London Symphony Orchestra, Charles Dutoit | — | |
| 7-14 | Petrouchka - (4i) La police et l'enchanteur | London Symphony Orchestra, Charles Dutoit | — | |
| 7-15 | Petrouchka - (4j) Vociferation du double de Petrouchka | London Symphony Orchestra, Charles Dutoit | — | |
| 7-16 | Apollon Musagéte (1947 version): Tableau I. Naissance d'Apollon | Berliner Philharmoniker, Herbert von Karajan | — | |
| 7-18 | Apollon Musagéte (1947 version): Tableau II. Pas d'action (Apollo et les trois Muses: Calliope-Polymnie et Terpsichore) | Berliner Philharmoniker, Herbert von Karajan | — | |
| 7-19 | Apollon Musagéte (1947 version): Tableau II. Variation de Galliope | Berliner Philharmoniker, Herbert von Karajan | — | |
| 7-20 | Apollon Musagéte (1947 version): Tableau II. Variation de Polymnia | Berliner Philharmoniker, Herbert von Karajan | — | |
| 7-21 | Apollon Musagéte (1947 version): Tableau II. Variation de Terpsichore | Berliner Philharmoniker, Herbert von Karajan | — | |
| 7-22 | Apollon Musagéte (1947 version): Tableau II. Variation de Apollo | Berliner Philharmoniker, Herbert von Karajan | — | |
| 7-23 | Apollon Musagéte (1947 version): Tableau II. Pas de deux (Apollon et Terpsichore) | Berliner Philharmoniker, Herbert von Karajan | — | |
| 7-24 | Apollon Musagéte (1947 version): Tableau II. Coda (Apollon et Musese) | Berliner Philharmoniker, Herbert von Karajan | — | |
| 7-25 | Apollon Musagéte (1947 version): Tableau II. Apotheose | Berliner Philharmoniker, Herbert von Karajan | — | |
| 7-26 | Circus Polka for a Young Elephant | — | ||
| 8-1 | Pulcinella: I. Ouverture: Allegro moderato | London Symphony Orchestra, Claudio Abbado | T-902.685.630-4 | |
| 8-2 | Pulcinella: II. Serenata: Larghetto | Ryland Davies, London Symphony Orchestra, Claudio Abbado | — | |
| 8-3 | Pulcinella: III. Scherzino: Allegro | London Symphony Orchestra, Claudio Abbado | — | |
| 8-4 | Pulcinella: Poco più vivo | London Symphony Orchestra, Claudio Abbado | — | |
| 8-5 | Pulcinella: XIV. Allegro | London Symphony Orchestra, Claudio Abbado | T-922.067.243-5 | |
| 8-6 | Pulcinella: V. Andantino | London Symphony Orchestra, Claudio Abbado | — | |
| 8-7 | Pulcinella: VI. Allegro | London Symphony Orchestra, Claudio Abbado | — | |
| 8-8 | Pulcinella: VII. Allegretto | Teresa Berganza, London Symphony Orchestra, Claudio Abbado | — | |
| 8-9 | Pulcinella: XVIII. Allegro assai | London Symphony Orchestra, Claudio Abbado | T-306.395.786-4 | |
| 8-10 | Pulcinella: IX. Allegro (alla breve) | John Shirley-Quirk, London Symphony Orchestra, Claudio Abbado | — | |
| 8-11 | Pulcinella: X. Largo (Trio) - Allegro - Presto (Duetto) | Teresa Berganza, Ryland Davies, John Shirley-Quirk, London Symphony Orchestra, Claudio Abbado | — | |
| 8-12 | Pulcinella: XI. Allegro - alla breve | London Symphony Orchestra, Claudio Abbado | — | |
| 8-13 | Pulcinella: XII. Tarantella | London Symphony Orchestra, Claudio Abbado | — | |
| 8-14 | Pulcinella: XIII. Andantino | Teresa Berganza, London Symphony Orchestra, Claudio Abbado | — | |
| 8-15 | Pulcinella: IV. Allegro | London Symphony Orchestra, Claudio Abbado | T-312.542.381-2 | |
| 8-16 | Pulcinella: XV. Gavotta con due variazioni | London Symphony Orchestra, Claudio Abbado | — | |
| 8-17 | Pulcinella: XVI. Vivo | London Symphony Orchestra, Claudio Abbado | — | |
| 8-18 | Pulcinella: XVII. Tempo di minuetto | Teresa Berganza, Ryland Davies, John Shirley-Quirk, London Symphony Orchestra, Claudio Abbado | — | |
| 8-19 | Pulcinella: VIII. Allegro assai | London Symphony Orchestra, Claudio Abbado | T-306.395.786-4 | |
| 8-20 | Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Introduction | London Symphony Orchestra, Claudio Abbado | T-070.257.887-7 | |
| 8-21 | Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Les Augures printaniers (Danses des adolescentes) | London Symphony Orchestra, Claudio Abbado | — | |
| 8-22 | Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Jeu du rapt | London Symphony Orchestra, Claudio Abbado | — | |
| 8-23 | Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Rondes printanières | London Symphony Orchestra, Claudio Abbado | T-070.257.887-7 | |
| 8-24 | Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Jeux des cités rivales / Cortège du Sage - Adoration de la terre - Le Sage | London Symphony Orchestra, Claudio Abbado | — | |
| 8-25 | Le Sacre du printemps (Revised version 1947): Première partie : L'Adoration de la terre. Danse de la terre | London Symphony Orchestra, Claudio Abbado | T-070.257.887-7 | |
| 8-26 | Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Introduction | London Symphony Orchestra, Claudio Abbado | — | |
| 8-27 | Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Cercles mystérieux des adolescentes | London Symphony Orchestra, Claudio Abbado | — | |
| 8-28 | Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Glorification de l'elue / Evocation des ancêtres | London Symphony Orchestra, Claudio Abbado | — | |
| 8-29 | Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Action rituelle des ancêtres | London Symphony Orchestra, Claudio Abbado | T-070.257.887-7 | |
| 8-30 | Le Sacre du printemps (Revised version 1947): Seconde partie : Le Sacrifice. Danse sacrale (L'Élue) | London Symphony Orchestra, Claudio Abbado | — | |
| 9-1 | Concerto for Violin and Orchestra no. 1 in D major, op. 19: II. Scherzo. Vivacissimo | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 9-2 | Concerto for Violin and Orchestra no. 1 in D major, op. 19: II. Scherzo. Vivacissimo | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 9-3 | Concerto for Violin and Orchestra no. 1 in D major, op. 19: II. Scherzo. Vivacissimo | Shlomo Mintz, Chicago Symphony Orchestra, Claudio Abbado | — | |
| 9-4 | Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 9-5 | Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 9-6 | Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — | |
| 9-7 | Lieutenant Kijé, op. 60: I. Kijé’s Birth | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 9-8 | Lieutenant Kijé, op. 60: II. Romance | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 9-9 | Lieutenant Kijé, op. 60: III. Kijé’s Wedding | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 9-10 | Lieutenant Kijé, op. 60: IV. Troïka | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 9-11 | Lieutenant Kijé, op. 60: V. Kije’s Burial | Chicago Symphony Orchestra, Claudio Abbado | — | |
| 10-1 | Music for Strings, Percussion and Celesta, Sz 106: I. Andante tranquillo | — | ||
| 10-2 | Music for Strings, Percussion and Celesta, Sz 106: II. Allegro | — | ||
| 10-3 | Music for Strings, Percussion and Celesta, Sz 106: III. Adagio | — | ||
| 10-4 | Music for Strings, Percussion and Celesta, Sz 106: IV. Allegro molto | — | ||
| 10-5 | Concerto for Orchestra, Sz 116: I. Introduzione. Andante non troppo – Allegro vivace – Tempo I | — | ||
| 10-6 | Concerto for Orchestra, Sz 116: II. Giuoco della coppie. Allegretto scherzando | — | ||
| 10-7 | Concerto for Orchestra, Sz 116: III. Elegia. Andante, non troppo | — | ||
| 10-8 | Concerto for Orchestra, Sz 116: IV. Intermezzo interrotto. Allegretto | — | ||
| 10-9 | Concerto for Orchestra, Sz 116: V. Finale. Pesante – Presto | — | ||
| 11-1 | Symphonie “Mathis der Maler”: I. Engelkonzert | — | ||
| 11-2 | Symphonie “Mathis der Maler”: II. Grablegung | — | ||
| 11-3 | Symphonie “Mathis der Maler”: III. Versuchung des heiligen Antonius | — | ||
| 11-4 | Doktor Faust, First Scene: Symphonic Intermezzo | — | ||
| 11-5 | Palestrina: Prelude to Act I. Ruhig. Andante | — | ||
| 11-6 | Palestrina: Prelude to Act II. Mit Wucht und Wildheit | — | ||
| 11-7 | Palestrina: Prelude to Act III. Langsam, sehr getragen | — | ||
| 11-8 | Kleine Dreigroschenmusik: I. Overture. Maestoso | — | ||
| 11-9 | Kleine Dreigroschenmusik: II. The Ballad of Mack the Knife. Moderato assai | — | ||
| 11-10 | Kleine Dreigroschenmusik: III. Instead‐of song. Moderato | — | ||
| 11-11 | Kleine Dreigroschenmusik: IV. The Ballad of Pleasant Living. Foxtrott | — | ||
| 11-12 | Kleine Dreigroschenmusik: V. Polly’s Song. Andante con moto | — | ||
| 11-13 | Kleine Dreigroschenmusik: Va. Tango‐Ballad | — | ||
| 11-14 | Kleine Dreigroschenmusik: VI. Cannon Song. Charleston‐Tempo | — | ||
| 11-15 | Kleine Dreigroschenmusik: 7. Dreigroschen‐Finale | — | ||
| 12-1 | Cello Concerto no. 2 in G major, op. 126: I. Largo | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | T-005.005.728-7 | |
| 12-2 | Cello Concerto no. 2 in G major, op. 126: II. Allegretto | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | — | |
| 12-3 | Cello Concerto no. 2 in G major, op. 126: III. Allegretto | Mstislav Rostropovich, Boston Symphony Orchestra, Seiji Ozawa | T-902.717.414-7 | |
| 12-4 | Symphony no. 5 in D minor, op. 47: I. Moderato | National Symphony Orchestra, Mstislav Rostropovich | — | |
| 12-5 | Symphony no. 5 in D minor, op. 47: I. Moderato | National Symphony Orchestra, Mstislav Rostropovich | — | |
| 12-6 | Symphony no. 5 in D minor, op. 47: I. Moderato | National Symphony Orchestra, Mstislav Rostropovich | — | |
| 12-7 | Symphony no. 5 in D minor, op. 47: I. Moderato | National Symphony Orchestra, Mstislav Rostropovich | — | |
| 13-1 | Serenade for Tenor, Horn & Strings, Op. 31: Sonnet - O Soft Embalmer of the Still Midnight | Robert Tear, Dale Clevenger, Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 13-2 | Serenade for Tenor, Horn & Strings, Op. 31: Sonnet - O Soft Embalmer of the Still Midnight | Robert Tear, Dale Clevenger, Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 13-3 | Serenade for Tenor, Horn & Strings, Op. 31: Sonnet - O Soft Embalmer of the Still Midnight | Robert Tear, Dale Clevenger, Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 13-4 | Serenade for Tenor, Horn & Strings, Op. 31: Sonnet - O Soft Embalmer of the Still Midnight | Robert Tear, Dale Clevenger, Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 13-5 | Serenade for Tenor, Horn & Strings, Op. 31: Sonnet - O Soft Embalmer of the Still Midnight | Robert Tear, Dale Clevenger, Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 13-6 | Serenade for Tenor, Horn & Strings, Op. 31: Sonnet - O Soft Embalmer of the Still Midnight | Robert Tear, Dale Clevenger, Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 13-7 | Serenade for Tenor, Horn & Strings, Op. 31: Sonnet - O Soft Embalmer of the Still Midnight | Robert Tear, Dale Clevenger, Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 13-8 | Serenade for Tenor, Horn & Strings, Op. 31: Sonnet - O Soft Embalmer of the Still Midnight | Robert Tear, Dale Clevenger, Chicago Symphony Orchestra, Carlo Maria Giulini | — | |
| 13-9 | Two Pieces for Small Orchestra: I. On Hearing the First Cuckoo in Spring | — | ||
| 13-10 | Two Pieces for Small Orchestra: II. Summer Night on the River | — | ||
| 13-11 | Fantasia on “Greensleeves” | — | ||
| 13-12 | The Lark Ascending | Pinchas Zukerman, English Chamber Orchestra, Daniel Barenboim | — | |
| 14-1 | Concierto de Aranjuez: I. Allegro con spirito | Narciso Yepes, Orquesta Sinfónica R.T.V. Española, Odón Alonso | T-041.489.061-1 | |
| 14-2 | Concierto de Aranjuez: II. Adagio | Narciso Yepes, Orquesta Sinfónica de Radio Televisión Española, Odón Alonso | T-041.489.061-1 | |
| 14-3 | Concierto de Aranjuez: III. Allegro gentile | Narciso Yepes, Orquesta Sinfónica R.T.V. Española, Odón Alonso | T-041.489.061-1 | |
| 14-4 | El amor brujo: I. Introducción y escena | London Symphony Orchestra, Garcia Navarro | — | |
| 14-5 | El amor brujo: II. En la cueva: La noche | London Symphony Orchestra, Garcia Navarro | — | |
| 14-6 | El amor brujo: III. Canción del amor dolido | Teresa Berganza, London Symphony Orchestra, Garcia Navarro | T-041.489.063-3 | |
| 14-7 | El amor brujo: IV. El aparecido | London Symphony Orchestra, Garcia Navarro | — | |
| 14-8 | El amor brujo: V. Danza del terror | London Symphony Orchestra, Garcia Navarro | — | |
| 14-9 | El amor brujo: VI. El círculo mágico: Romance del pescador | London Symphony Orchestra, Garcia Navarro | — | |
| 14-10 | El amor brujo: VII. A media noche: Los sortilegios | London Symphony Orchestra, Garcia Navarro | — | |
| 14-11 | El amor brujo (ballet By G. Martinez Sierra): Danza ritual del fuego, para ahuyentar los malos espíritos | London Symphony Orchestra, García Navarro | T-041.489.063-3 | |
| 14-12 | El amor brujo: IX. Escena | London Symphony Orchestra, Garcia Navarro | T-041.489.062-2 | |
| 14-13 | El amor brujo: X. Canción del fuego fatuo | Teresa Berganza, London Symphony Orchestra, Garcia Navarro | T-041.489.063-3 | |
| 14-14 | El amor brujo: XI. Pantomima | London Symphony Orchestra, Garcia Navarro | — | |
| 14-15 | El amor brujo: XII. Danza del juego de amor | London Symphony Orchestra, Garcia Navarro | T-041.489.063-3 | |
| 14-16 | El amor brujo: XIII. Final: Las campanas del amanecer | Teresa Berganza, London Symphony Orchestra, Garcia Navarro | — | |
| 14-17 | Noches en los jardines de España: I. En el Generalife | Margrit Weber, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 14-18 | Noches en los jardines de España: II. Danza lejana | Margrit Weber, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | — | |
| 14-19 | Noches en los jardines de España: III. En los jardines de la Sierra de Cordoba | Margrit Weber, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelík | T-041.489.075-7 | |
| 15-1 | Rhapsody in Blue | George Gershwin | T-010.244.926-2 | |
| 15-2 | An American in Paris | San Francisco Symphony, Seiji Ozawa | T-070.001.144-4 | |
| 15-3 | Candide: Overture | — | ||
| 15-4 | Symphonic Dances from West Side Story: Prologue (Allegro moderato) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 15-5 | Symphonic Dances from West Side Story: “Somewhere” (Adagio) | San Francisco Symphony, Seiji Ozawa | T-070.136.739-6 | |
| 15-6 | Symphonic Dances from West Side Story: Scherzo (Vivace leggiero) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 15-7 | Symphonic Dances from West Side Story: Mambo (Presto) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 15-8 | Symphonic Dances from West Side Story: Cha‐cha (Andante con grazia) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 15-9 | Symphonic Dances from West Side Story: Meeting Scene | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 15-10 | Symphonic Dances from West Side Story: “Cool” (Allegretto) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 15-11 | Symphonic Dances from West Side Story: Rumble (Molto allegro) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 15-12 | Symphonic Dances from West Side Story: Finale (Adagio) | San Francisco Symphony, Seiji Ozawa | T-070.139.164-1 | |
| 16-1 | Turangalîla-Symphonie: Introduction. Modéré, un peu vif | Jeanne Loriod, Yvonne Loriod, Orchestre de l’Opéra Bastille, Myung-Whun Chung | T-003.017.772-0 | |
| 16-2 | Turangalîla-Symphonie: Chant d'amour 1. Modéré, lourd | Jeanne Loriod, Yvonne Loriod, Orchestre de l’Opéra Bastille, Myung-Whun Chung | T-003.017.772-0 | |
| 16-3 | Turangalîla-Symphonie: Turangalîla 1. Presque lent, rêveur | Jeanne Loriod, Yvonne Loriod, Orchestre de l’Opéra Bastille, Myung-Whun Chung | T-003.017.772-0 | |
| 16-4 | Turangalîla-Symphonie: Chant d'amour 2. Bien modéré | Jeanne Loriod, Yvonne Loriod, Orchestre de l’Opéra Bastille, Myung-Whun Chung | T-003.017.772-0 | |
| 16-5 | Turangalîla-Symphonie: Joie du sang des étoiles. Vif, passionné, avec joie | Jeanne Loriod, Yvonne Loriod, Orchestre de l’Opéra Bastille, Myung-Whun Chung | T-003.017.772-0 | |
| 16-6 | Turangalîla-Symphonie: Jardin du sommeil d'amour. Très modéré, très tendre | Jeanne Loriod, Yvonne Loriod, Orchestre de l’Opéra Bastille, Myung-Whun Chung | T-003.017.772-0 | |
| 16-7 | Turangalîla-Symphonie: Turangalîla 2. Un peu vif - bien modéré | Jeanne Loriod, Yvonne Loriod, Orchestre de l’Opéra Bastille, Myung-Whun Chung | T-003.017.772-0 | |
| 16-8 | Turangalîla-Symphonie: Développement de l'amour. Bien modéré | Jeanne Loriod, Yvonne Loriod, Orchestre de l’Opéra Bastille, Myung-Whun Chung | T-003.017.772-0 | |
| 16-9 | Turangalîla-Symphonie: Turangalîla 3. Bien modéré | Jeanne Loriod, Yvonne Loriod, Orchestre de l’Opéra Bastille, Myung-Whun Chung | T-003.017.772-0 | |
| 16-10 | Turangalîla‐Symphonie: Final. Modéré, presque vif, avec une grande joie | Jeanne Loriod, Yvonne Loriod, Orchestre de l’Opéra Bastille, Myung-Whun Chung | T-003.017.772-0 | |
| 17-1 | Le Marteau sans maître: I. Avant l’Artisanat furieux. Rapide | Hilary Summers, Ensemble intercontemporain, Pierre Boulez | — | |
| 17-2 | Le Marteau sans maître: II. Commentaire I de Bourreaux de solitude. Lent | Hilary Summers, Ensemble intercontemporain, Pierre Boulez | — | |
| 17-3 | Le Marteau sans maître: III. L’Artisanat furieux. Modéré sans rigueur | Hilary Summers, Ensemble intercontemporain, Pierre Boulez | — | |
| 17-4 | Le Marteau sans maître: IV. Commentaire II de Bourreaux de solitude. Rapide | Hilary Summers, Ensemble intercontemporain, Pierre Boulez | — | |
| 17-5 | Le Marteau sans maître: V. Bel édifice et les pressentiments – version première. Assez vif | Hilary Summers, Ensemble intercontemporain, Pierre Boulez | — | |
| 17-6 | Le Marteau sans maître: VI. Bourreaux de solitude. Assez lent | Hilary Summers, Ensemble intercontemporain, Pierre Boulez | — | |
| 17-7 | Le Marteau sans maître: VII. Après l’Artisanat furieux. Rapide | Hilary Summers, Ensemble intercontemporain, Pierre Boulez | — | |
| 17-8 | Le Marteau sans maître: VIII. Commentaire III de Bourreaux de solitude. Assez lent | Hilary Summers, Ensemble intercontemporain, Pierre Boulez | — | |
| 17-9 | Le Marteau sans maître: IX. Bel édifice et les pressentiments – double. Tempo libre de rècit | Hilary Summers, Ensemble intercontemporain, Pierre Boulez | — | |
| 17-10 | Gruppen | Berliner Philharmoniker, Friedrich Goldmann, Claudio Abbado, Marcus Creed | — | |
| 18-1 | Chain 3: I. Presto | — | ||
| 18-2 | Chain 3: II. Presto (13) | — | ||
| 18-3 | Chain 3: III. (38) | — | ||
| 18-4 | Concerto grosso no. 1: I. Preludio. Andante | — | ||
| 18-5 | Concerto grosso no. 1: II. Toccata. Allegro | — | ||
| 18-6 | Concerto grosso no. 1: III. Recitativo. Lento | — | ||
| 18-7 | Concerto grosso no. 1: IV. Cadenza. () | — | ||
| 18-8 | Concerto grosso no. 1: V. Rondo. Agitato | — | ||
| 18-9 | Concerto grosso no. 1: VI. Postludio. Andante – Allegro – Andante | — | ||
| 18-10 | Chamber Concerto: I. Corrente. Fliessend | — | ||
| 18-11 | Chamber Concerto: II. Calmo, sostenuto | — | ||
| 18-12 | Chamber Concerto: III. Movimento preciso e meccanico | — | ||
| 18-13 | Chamber Concerto: IV. Presto | — | ||
| 18-14 | Novelette: I. Announcement | — | ||
| 18-15 | Novelette: II. First Event | — | ||
| 18-16 | Novelette: III. Second Event | — | ||
| 18-17 | Novelette: IV. Third Event | — | ||
| 18-18 | Novelette: V. Conclusion | — | ||
| 19-1 | Symphony no. 3 "Symphony of Sorrowful Songs", op. 36: 1. Lento. Sostenuto tranquillo ma cantabile | Joanna Kozłowska, Orkiestra Symfoniczna Filharmonii Narodowej, Kazimierz Kord | T-010.158.028-2 | |
| 19-2 | Symphony of Sorrowful Songs (2nd Movement) | Joanna Kozłowska, Warsaw Philharmonic Orchestra, Kazimierz Kord | — | |
| 19-3 | Symphony no. 3 "Symphony of Sorrowful Songs", op. 36: 3. Lento. Cantabile semplice | Joanna Kozłowska, Orkiestra Symfoniczna Filharmonii Narodowej, Kazimierz Kord | — | |
| 20-1 | Six Pianos | — | ||
| 20-2 | Shaker Loops: I. Shaking and Trembling | — | ||
| 20-3 | Shaker Loops: II. Hymning Slews | — | ||
| 20-4 | Shaker Loops: III. Loops and Verses | San Francisco Symphony, Edo de Waart | — | |
| 20-5 | Shaker Loops: IV. A Final Shaking | San Francisco Symphony, Edo de Waart | — | |
| 20-6 | Concerto for Violin and Orchestra: I. ♩ = 104 – ♩ = 120 | Gidon Kremer, Wiener Philharmoniker, Christoph von Dohnányi | T-922.975.221-0 | |
| 20-7 | Concerto for Violin and Orchestra: II. ♩ = ca. 108 | Gidon Kremer, Wiener Philharmoniker, Christoph von Dohnányi | T-922.975.221-0 | |
| 20-8 | Concerto for Violin and Orchestra: III. ♩ = ca. 150 – Coda: Poco meno ♩ = 104 | Gidon Kremer, Wiener Philharmoniker, Christoph von Dohnányi | — |
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Apollon Musagéte (1947 version): Tableau II. Variation d'Apollon (Apollen et les Muses) | Berliner Philharmoniker, Herbert von Karajan | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: II. Andantino | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: III. Allegro ma non troppo | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Identifier Graph
028947923046 is a Universal Product Code (UPC) assigned to The History of Classical Music, Part 5: Modern: From Sibelius to Glass by Various Artists. 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 271 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.
Learn more about UPCs · Data powered by Notes.fm
The UPC for “The History of Classical Music, Part 5: Modern: From Sibelius to Glass” by Various Artists is 028947923046. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2013-10-14. This release contains 271 tracks, each with its own ISRC. Tracks include DEF056500031, DEF056500032, DEF056500033.
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Apollon Musagéte (1947 version): Tableau II. Variation d'Apollon (Apollen et les Muses) | Berliner Philharmoniker, Herbert von Karajan | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: I Andante. Allegro | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: II. Andantino | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
| Concerto for Piano and Orchestra no. 3 in C major, op. 26: III. Allegro ma non troppo | Martha Argerich, Berliner Philharmoniker, Claudio Abbado | — |
