UPC · Release
The Best Classical Album of the Millennium…Ever!
Various Artists
6002140920228
57 tracksReleased 1999-01-01
Last verified:
6002140920228 is the Universal Product Code (UPC barcode) for the release “The Best Classical Album of the Millennium…Ever!” by Various Artists, released 1999-01-01. 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 57 tracks, each with its own ISRC. Tracks include GBAYC8902007, GBAYC8800390, GBAYC7900176.
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UPCThe Best Classical Album of the Millennium…Ever!
ISRC49 recordings
ISWC35 works
IPI3 songwriters
Track List (57)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Also sprach Zarathustra (Thus Spake Zarathustra) | David Bell, London Philharmonic Orchestra, Klaus Tennstedt | — | |
| 2 | Jupiter (The Planets) | — | ||
| 3 | Toccata & Fugue in D minor, BWV 565: Toccata | Wayne Marshall | — | |
| 4 | Violin Concerto in E major “The Four Seasons: Spring”, op. 8 no. 1: I. Allegro | Yehudi Menuhin, Paul Crocker, Camerata Lysy Gstaad, Alberto Lysy | — | |
| 5 | Symphony No. 40 in G minor, K. 550 "Great": I. Molto Allegro, Excerpt | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 6 | Symphony no. 5 in C minor, op. 67: I. Allegro con brio | Philharmonia Orchestra, Kurt Sanderling | — | |
| 7 | Montagues and Capulets | The Philadelphia Orchestra, Riccardo Muti | — | |
| 8 | Piano Concerto in A minor, Op. 16: Allegro molto moderato (Opening) | Cécile Ousset, London Symphony Orchestra, Sir Neville Marriner | T-902.781.050-0 | |
| 9 | Boléro (conclusion) | London Symphony Orchestra, André Previn | T-003.006.377-4 | |
| 10 | Fanfare for the Common Man | — | ||
| 11 | Die Walküre: Act 3: Ride of the Valkyries | Oslo Philharmonic Orchestra, Mariss Jansons | T-070.257.887-7 | |
| 12 | Piano Concerto no. 1 in B‐flat minor, op. 23: I. Allegro non troppo e molto maestoso (opening) | Horacio Gutiérrez, London Symphony Orchestra, André Previn | — | |
| 13 | Brandenburg Concerto no. 2 in F major, BWV 1047: III. Allegro assai | Mark Bennett, Philip Pickett, Celia Nicklin, Kenneth Sillito, George Malcolm, Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 14 | Piano Concerto no. 3 in D minor: I. Allegro (Opening) | Mikhail Rudy, St. Petersburg Philharmonic Orchestra, Mariss Jansons | — | |
| 15 | 1812 Overture, op. 49 (excerpt) | Oslo Philharmonic Orchestra, Mariss Jansons | — | |
| 16 | Symphony no. 9 in D minor, op. 125 “Choral”: Ode to Joy | James Morris, Westminster Choir, The Philadelphia Orchestra, Riccardo Muti | — | |
| 17 | Carmen - Act 1, Prelude | Orchestre national de France | — | |
| 18 | “Emperor” Concerto | — | ||
| 19 | For Unto us a child is born (Messiah) | John McCarthy, Ambrosian Singers, English Chamber Orchestra, Charles Mackerras | T-011.162.720-3 | |
| 20 | Pomp and Circumstance March no. 1, op. 39 no. 1 "Land of Hope and Glory" (excerpt: Conclusion) | Royal Choral Society, London Philharmonic Orchestra, Sir Andrew Davis | T-917.603.184-8 | |
| 2-1 | Gloria in D major, RV 589: I. Gloria in excelsis Deo | Academy of St. Martin in the Fields Chorus, Academy of St Martin in the Fields, Sir Neville Marriner | T-905.452.179-8 | |
| 2-2 | Zadok the Priest | — | ||
| 2-3 | Herz und Mund und Tat und Leben, BWV 147: No. 10 "Jesus bleibet meine Freude" | Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks | T-905.387.081-8 | |
| 2-4 | Requiem in D minor, K. 626: Sequenz: Lacrimosa dies illa | London Philharmonic Choir, David Bell, London Philharmonic Orchestra, Franz Welser-Möst | — | |
| 2-5 | Ave Maria | Dame Janet Baker, Philip Ledger | T-905.133.373-4 | |
| 2-6 | Miserere mei, Deus | Gerald Finley, Timothy Beasley-Murray, Choir of King’s College, Cambridge, Stephen Cleobury | — | |
| 2-7 | In Paradisum (Requiem) | Choir of King’s College, Cambridge, Peter Barley, José-Luis García, English Chamber Orchestra, Stephen Cleobury | T-924.489.944-3 | |
| 2-8 | Lakmé : Acte I. « Viens, Mallika … » (Flower Duet) (Extract) | Chœurs du Théâtre National de l’Opéra-Comique, Mady Mesplé, Danielle Millet, National Opera Orchestra, Orchestre du Théâtre National de l’Opéra-Comique, Alain Lombard | T-316.901.758-3 | |
| 2-9 | Les Contes d’Hoffmann : Acte III. Barcarolle | Jeannine Collard, Elisabeth Schwarzkopf, René Duclos Chorus, Orchestre de la Société des Concerts du Conservatoire, André Cluytens | — | |
| 2-10 | Pavane | — | ||
| 2-11 | Gianni Schicchi: “O mio babbino caro” (Lauretta) | Montserrat Caballé, London Symphony Orchestra, Charles Mackerras | T-901.222.501-3 | |
| 2-12 | Madama Butterfly: Atto II. “Un bel dí vedremo” (Butterfly) | Renata Scotto, Orchestra del Teatro dell’Opera di Roma, Sir John Barbirolli | — | |
| 2-13 | Nabucco, Act 3: "Va pensiero" (Chorus of the Hebrew Slaves) | Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Bernard Haitink | — | |
| 2-14 | Les Pêcheurs de perles : Acte I. Duo « Au fond du temple saint » (Zurga, Nadir) | Ernest Blanc, Nicolai Gedda, Paris Opéra-Comique Orchestra, Pierre Dervaux | T-071.725.425-5 | |
| 2-15 | Il trovatore: Atto II, scena 1. “Vedi! Le fosche notturne spoglie” | Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Bernard Haitink | — | |
| 2-16 | Turandot: Act 3. “Nessun dorma!” (Calaf, Chorus) | José Carreras, Chœur de l'Opéra national du Rhin, Orchestre philharmonique de Strasbourg, Alain Lombard | — | |
| 2-17 | Carmina Burana: Fortuna Imperatrix Mundi: 1. O Fortuna | London Philharmonic Chorus, London Philharmonic Orchestra, Franz Welser-Möst | T-800.639.771-4 | |
| 2-18 | Dies Irae (Requiem) | — | ||
| 2-19 | Messiah, HWV 56: No. 44. Hallelujah | Elizabeth Harwood, Ambrosian Singers, English Chamber Orchestra, Sir Charles Mackerras | T-071.518.061-2 | |
| 3-1 | Canon in D | Taverner Players, Andrew Parrott | T-041.726.043-5 | |
| 3-2 | The Four Seasons: Concerto no. 4 in F minor “Winter”, RV 297: II. Largo | Paul Crocker, Yehudi Menuhin, Camerata Lysy Gstaad, Alberto Lysy | — | |
| 3-3 | Adagio for Organ and Strings in G minor | Academy of St Martin in the Fields, Sir Neville Marriner | — | |
| 3-4 | Symphony No. 6, Op. 68 "Pastoral": V. Allegretto "Shepherds' Hymn" (extract) | Philadelphia Orchestra, Riccardo Muti | — | |
| 3-5 | Concerto for Clarinet in A major, K. 622: II. Adagio | Jack Brymer, Royal Philharmonic Orchestra, Sir Thomas Beecham | — | |
| 3-6 | Cello Concerto in E minor, op. 85: III. Adagio | Jacqueline du Pré, London Symphony Orchestra, Sir John Barbirolli | T-010.115.155-6 | |
| 3-7 | Rhapsody of a Theme of Paganini: Variation 18 | Cécile Ousset, City of Birmingham Symphony Orchestra, Simon Rattle | T-902.858.745-3 | |
| 3-8 | Concierto de Aranjuez: II. Adagio (opening) | Julian Bream, City of Birmingham Symphony Orchestra, Simon Rattle | T-041.489.061-1 | |
| 3-9 | Swan Lake, op. 20: Act II: No. 10. Scène. Moderato | London Symphony Orchestra, André Previn | — | |
| 3-10 | “New World Symphony”: Largo | — | ||
| 3-11 | Variations on an Original Theme “Enigma”, op. 36: IX. Nimrod | London Symphony Orchestra, Sir Adrian Boult | T-010.115.427-1 | |
| 3-12 | Sonata for Piano no. 14 in C-sharp minor, op. 27 no. 2 "Moonlight": I. Adagio sostenuto | Moura Lympany | — | |
| 3-13 | Piano Concerto no. 2 in C minor op. 18: II. Adagio sostenuo (opening) | Cécile Ousset, City of Birmingham Symphony Orchestra, Simon Rattle | — | |
| 3-14 | Adagio for Strings | The Philadelphia Orchestra, Eugene Ormandy | T-070.000.199-5 | |
| 3-15 | Piano Concerto no. 21 in C major, K. 467 “Elvira Madigan”: II. Andante (excerpt) | Stephen Hough, Hallé Orchestra, Bryden Thomson | — | |
| 3-16 | Dance of the Reed Flutes (Nutcracker Suite) | — | ||
| 3-17 | Violin Concerto in E minor, op. 64: II. Andante (extract) | Yehudi Menuhin, New Philharmonia Orchestra, Efrem Kurtz | — | |
| 3-18 | Cavalleria rusticana: Intermezzo | Philharmonia Orchestra, Riccardo Muti | T-921.418.457-3 |
Also sprach Zarathustra (Thus Spake Zarathustra)
David Bell, London Philharmonic Orchestra, Klaus Tennstedt
—
Jupiter (The Planets)
—
Toccata & Fugue in D minor, BWV 565: Toccata
Wayne Marshall
—
Violin Concerto in E major “The Four Seasons: Spring”, op. 8 no. 1: I. Allegro
Yehudi Menuhin, Paul Crocker, Camerata Lysy Gstaad, Alberto Lysy
—
Symphony No. 40 in G minor, K. 550 "Great": I. Molto Allegro, Excerpt
Academy of St Martin in the Fields, Sir Neville Marriner
—
Symphony no. 5 in C minor, op. 67: I. Allegro con brio
Philharmonia Orchestra, Kurt Sanderling
—
Montagues and Capulets
The Philadelphia Orchestra, Riccardo Muti
—
Cécile Ousset, London Symphony Orchestra, Sir Neville Marriner
Fanfare for the Common Man
—
Piano Concerto no. 1 in B‐flat minor, op. 23: I. Allegro non troppo e molto maestoso (opening)
Horacio Gutiérrez, London Symphony Orchestra, André Previn
—
Brandenburg Concerto no. 2 in F major, BWV 1047: III. Allegro assai
Mark Bennett, Philip Pickett, Celia Nicklin, Kenneth Sillito, George Malcolm, Academy of St Martin in the Fields, Sir Neville Marriner
—
Piano Concerto no. 3 in D minor: I. Allegro (Opening)
Mikhail Rudy, St. Petersburg Philharmonic Orchestra, Mariss Jansons
—
1812 Overture, op. 49 (excerpt)
Oslo Philharmonic Orchestra, Mariss Jansons
—
Symphony no. 9 in D minor, op. 125 “Choral”: Ode to Joy
James Morris, Westminster Choir, The Philadelphia Orchestra, Riccardo Muti
—
Carmen - Act 1, Prelude
Orchestre national de France
—
“Emperor” Concerto
—
John McCarthy, Ambrosian Singers, English Chamber Orchestra, Charles Mackerras
Royal Choral Society, London Philharmonic Orchestra, Sir Andrew Davis
Academy of St. Martin in the Fields Chorus, Academy of St Martin in the Fields, Sir Neville Marriner
Zadok the Priest
—
Choir of King’s College, Cambridge, Academy of St Martin in the Fields, Sir David Willcocks
Requiem in D minor, K. 626: Sequenz: Lacrimosa dies illa
London Philharmonic Choir, David Bell, London Philharmonic Orchestra, Franz Welser-Möst
—
Miserere mei, Deus
Gerald Finley, Timothy Beasley-Murray, Choir of King’s College, Cambridge, Stephen Cleobury
—
Choir of King’s College, Cambridge, Peter Barley, José-Luis García, English Chamber Orchestra, Stephen Cleobury
Chœurs du Théâtre National de l’Opéra-Comique, Mady Mesplé, Danielle Millet, National Opera Orchestra, Orchestre du Théâtre National de l’Opéra-Comique, Alain Lombard
Les Contes d’Hoffmann : Acte III. Barcarolle
Jeannine Collard, Elisabeth Schwarzkopf, René Duclos Chorus, Orchestre de la Société des Concerts du Conservatoire, André Cluytens
—
Pavane
—
Montserrat Caballé, London Symphony Orchestra, Charles Mackerras
Madama Butterfly: Atto II. “Un bel dí vedremo” (Butterfly)
Renata Scotto, Orchestra del Teatro dell’Opera di Roma, Sir John Barbirolli
—
Nabucco, Act 3: "Va pensiero" (Chorus of the Hebrew Slaves)
Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Bernard Haitink
—
Ernest Blanc, Nicolai Gedda, Paris Opéra-Comique Orchestra, Pierre Dervaux
Il trovatore: Atto II, scena 1. “Vedi! Le fosche notturne spoglie”
Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Bernard Haitink
—
Turandot: Act 3. “Nessun dorma!” (Calaf, Chorus)
José Carreras, Chœur de l'Opéra national du Rhin, Orchestre philharmonique de Strasbourg, Alain Lombard
—
London Philharmonic Chorus, London Philharmonic Orchestra, Franz Welser-Möst
Dies Irae (Requiem)
—
Elizabeth Harwood, Ambrosian Singers, English Chamber Orchestra, Sir Charles Mackerras
The Four Seasons: Concerto no. 4 in F minor “Winter”, RV 297: II. Largo
Paul Crocker, Yehudi Menuhin, Camerata Lysy Gstaad, Alberto Lysy
—
Adagio for Organ and Strings in G minor
Academy of St Martin in the Fields, Sir Neville Marriner
—
Symphony No. 6, Op. 68 "Pastoral": V. Allegretto "Shepherds' Hymn" (extract)
Philadelphia Orchestra, Riccardo Muti
—
Concerto for Clarinet in A major, K. 622: II. Adagio
Jack Brymer, Royal Philharmonic Orchestra, Sir Thomas Beecham
—
Jacqueline du Pré, London Symphony Orchestra, Sir John Barbirolli
Cécile Ousset, City of Birmingham Symphony Orchestra, Simon Rattle
Julian Bream, City of Birmingham Symphony Orchestra, Simon Rattle
Swan Lake, op. 20: Act II: No. 10. Scène. Moderato
London Symphony Orchestra, André Previn
—
“New World Symphony”: Largo
—
London Symphony Orchestra, Sir Adrian Boult
Sonata for Piano no. 14 in C-sharp minor, op. 27 no. 2 "Moonlight": I. Adagio sostenuto
Moura Lympany
—
Piano Concerto no. 2 in C minor op. 18: II. Adagio sostenuo (opening)
Cécile Ousset, City of Birmingham Symphony Orchestra, Simon Rattle
—
Piano Concerto no. 21 in C major, K. 467 “Elvira Madigan”: II. Andante (excerpt)
Stephen Hough, Hallé Orchestra, Bryden Thomson
—
Dance of the Reed Flutes (Nutcracker Suite)
—
Violin Concerto in E minor, op. 64: II. Andante (extract)
Yehudi Menuhin, New Philharmonia Orchestra, Efrem Kurtz
—
Additional database matches (22)
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Lakmé : « Dôme épais … » (Flower Duet) | Mady Mesplé, Danielle Millet, Orchestre du Théâtre National de l’Opéra-Comique, Alain Lombard | T-305.625.671-0 |
| Swan Lake, op. 20: Act II: No. 10. Scène. Moderato | London Symphony Orchestra, André Previn | — |
| Swan Lake, op. 20: Act II: No. 10. Scène. Moderato | London Symphony Orchestra, André Previn | — |
| Madama Butterfly: Atto II. “Un bel dí vedremo” (Butterfly) | Renata Scotto, Orchestra del Teatro dell’Opera di Roma, Sir John Barbirolli | — |
| The Four Seasons: Concerto no. 4 in F minor “Winter”, RV 297: II. Largo | Paul Crocker, Yehudi Menuhin, Camerata Lysy Gstaad, Alberto Lysy | — |
| Adagio for Organ and Strings in G minor | Academy of St Martin in the Fields, Sir Neville Marriner | T-005.001.197-6 |
| Swan Lake, op. 20: Act II: No. 10. Scène. Moderato | London Symphony Orchestra, André Previn | — |
| Swan Lake, op. 20: Act II: No. 10. Scène. Moderato | London Symphony Orchestra, André Previn | T-900.160.317-4 |
| Nabucco, Act 3: "Va pensiero" (Chorus of the Hebrew Slaves) | Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Bernard Haitink | T-928.635.488-9 |
| Les Contes d’Hoffmann : Acte III. Barcarolle | Jeannine Collard, Elisabeth Schwarzkopf, René Duclos Chorus, Orchestre de la Société des Concerts du Conservatoire, André Cluytens | — |
| Il trovatore: Atto II, scena 1. “Vedi! Le fosche notturne spoglie” | Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Bernard Haitink | — |
| Piano Sonata no. 14 in C‐sharp minor, op. 27 no. 2 “Moonlight”: I. Adagio | Dame Moura Lympany | — |
| Nessun Dorma from 'Turandot' | José Carreras, Chœur de l'Opéra national du Rhin, Orchestre philharmonique de Strasbourg, Alain Lombard | T-900.798.623-4 |
| Madama Butterfly: Atto II. “Un bel dí vedremo” (Butterfly) | Renata Scotto, Orchestra del Teatro dell’Opera di Roma, Sir John Barbirolli | — |
| Cavalleria rusticana: Intermezzo | Philharmonia Orchestra, Riccardo Muti | — |
| Violin Concerto in E minor, op. 64: II. Andante (extract) | Yehudi Menuhin, New Philharmonia Orchestra, Efrem Kurtz | — |
| For Unto us a child is born (Messiah) | John McCarthy, Ambrosian Singers, English Chamber Orchestra, Charles Mackerras | — |
| Messiah, HWV 56: No. 44. Hallelujah | Elizabeth Harwood, Ambrosian Singers, English Chamber Orchestra, Sir Charles Mackerras | — |
| Miserere mei, Deus | Gerald Finley, Timothy Beasley-Murray, Choir of King’s College, Cambridge, Stephen Cleobury | — |
| Piano Concerto no. 2 in C minor op. 18: II. Adagio sostenuo (opening) | Cécile Ousset, City of Birmingham Symphony Orchestra, Simon Rattle | — |
| Piano Concerto no. 21 in C major, K. 467 “Elvira Madigan”: II. Andante (excerpt) | Stephen Hough, Hallé Orchestra, Bryden Thomson | T-802.445.410-3 |
| Requiem in D minor, K. 626: Sequenz: Lacrimosa dies illa | London Philharmonic Choir, David Bell, London Philharmonic Orchestra, Franz Welser-Möst | — |
Mady Mesplé, Danielle Millet, Orchestre du Théâtre National de l’Opéra-Comique, Alain Lombard
Swan Lake, op. 20: Act II: No. 10. Scène. Moderato
London Symphony Orchestra, André Previn
—
Swan Lake, op. 20: Act II: No. 10. Scène. Moderato
London Symphony Orchestra, André Previn
—
Madama Butterfly: Atto II. “Un bel dí vedremo” (Butterfly)
Renata Scotto, Orchestra del Teatro dell’Opera di Roma, Sir John Barbirolli
—
The Four Seasons: Concerto no. 4 in F minor “Winter”, RV 297: II. Largo
Paul Crocker, Yehudi Menuhin, Camerata Lysy Gstaad, Alberto Lysy
—
Academy of St Martin in the Fields, Sir Neville Marriner
Swan Lake, op. 20: Act II: No. 10. Scène. Moderato
London Symphony Orchestra, André Previn
—
London Symphony Orchestra, André Previn
Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Bernard Haitink
Les Contes d’Hoffmann : Acte III. Barcarolle
Jeannine Collard, Elisabeth Schwarzkopf, René Duclos Chorus, Orchestre de la Société des Concerts du Conservatoire, André Cluytens
—
Il trovatore: Atto II, scena 1. “Vedi! Le fosche notturne spoglie”
Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Bernard Haitink
—
Piano Sonata no. 14 in C‐sharp minor, op. 27 no. 2 “Moonlight”: I. Adagio
Dame Moura Lympany
—
José Carreras, Chœur de l'Opéra national du Rhin, Orchestre philharmonique de Strasbourg, Alain Lombard
Madama Butterfly: Atto II. “Un bel dí vedremo” (Butterfly)
Renata Scotto, Orchestra del Teatro dell’Opera di Roma, Sir John Barbirolli
—
Cavalleria rusticana: Intermezzo
Philharmonia Orchestra, Riccardo Muti
—
Violin Concerto in E minor, op. 64: II. Andante (extract)
Yehudi Menuhin, New Philharmonia Orchestra, Efrem Kurtz
—
For Unto us a child is born (Messiah)
John McCarthy, Ambrosian Singers, English Chamber Orchestra, Charles Mackerras
—
Messiah, HWV 56: No. 44. Hallelujah
Elizabeth Harwood, Ambrosian Singers, English Chamber Orchestra, Sir Charles Mackerras
—
Miserere mei, Deus
Gerald Finley, Timothy Beasley-Murray, Choir of King’s College, Cambridge, Stephen Cleobury
—
Piano Concerto no. 2 in C minor op. 18: II. Adagio sostenuo (opening)
Cécile Ousset, City of Birmingham Symphony Orchestra, Simon Rattle
—
Stephen Hough, Hallé Orchestra, Bryden Thomson
Requiem in D minor, K. 626: Sequenz: Lacrimosa dies illa
London Philharmonic Choir, David Bell, London Philharmonic Orchestra, Franz Welser-Möst
—
What other identifiers does this connect to?
Musical Works (ISWC)
T-010.115.155-6T-010.115.427-1T-010.115.155-6T-010.115.427-1T-070.000.199-5T-070.000.199-5T-070.054.000-6T-901.134.571-4T-902.858.745-3T-902.858.745-3
+25 more
T-905.387.081-8T-905.387.081-8T-924.489.944-3T-924.489.944-3T-003.006.377-4T-005.001.197-6T-011.162.720-3T-041.489.061-1T-041.726.043-5T-070.257.887-7T-071.518.061-2T-071.725.425-5T-305.625.671-0T-316.901.758-3T-800.639.771-4T-802.445.410-3T-900.160.317-4T-900.798.623-4T-901.222.501-3T-902.781.050-0T-905.133.373-4T-905.452.179-8T-917.603.184-8T-921.418.457-3T-928.635.488-9
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
00000000281229590000000060671181000000006097350X0000000063086703000000006309069X00000000630907020000000080450909000000008106277200000000810854640000000081692432
+40 more
000000008177300500000000836551920000000083835863000000008416312200000001065814490000000106617448000000010788634000000001079797580000000108606603000000010861735300000001087540750000000108854623000000010890624300000001089353780000000109110853000000010912747900000001091441130000000109282073000000010930050X00000001093706710000000109373768000000010940676900000001094265240000000109450217000000010962415X0000000109878520000000011011157000000001101365750000000110142625000000011016475200000001102256660000000110326977000000011038610100000001104260970000000110552771000000011082996100000001108804170000000110933953000000011297410X0000000114373762
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What is UPC 6002140920228?
6002140920228 is a Universal Product Code (UPC) assigned to The Best Classical Album of the Millennium…Ever! 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 57 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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