UPC · Release
The Radio Recordings
Royal Concertgebouw Orchestra, Bernard Haitink
8713309970142
124 tracksReleased 1999-01-01Q Disc
Last verified:
8713309970142 is the Universal Product Code (UPC barcode) for the release “The Radio Recordings” by Royal Concertgebouw Orchestra, Bernard Haitink, released 1999-01-01 on Q Disc. 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 124 tracks, each with its own ISRC.
Format
871GS1 prefix
3309Company prefix
97014Product
2Check digit
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Track List (124)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Piano Concerto in B flat major KV. 595: I. Allegro | — | ||
| 2 | Piano Concerto in B flat major KV. 595: II. Larghetto | — | ||
| 3 | Piano Concerto in B flat major KV. 595: III. Rondo. Allegro | — | ||
| 4 | Ballade op. 19 | — | ||
| 5 | Piano Concerto for the left hand | — | ||
| 2-1 | Piano Concerto no. 5 in G major op. 55: I. Allegro con brio | — | ||
| 2-2 | Piano Concerto no. 5 in G major op. 55: II. Moderato ben accentuato | — | ||
| 2-3 | Piano Concerto no. 5 in G major op. 55: III. Toccata | — | ||
| 2-4 | Piano Concerto no. 5 in G major op. 55: IV. Larghetto | — | ||
| 2-5 | Piano Concerto no. 5 in G major op. 55: V. Vivo | — | ||
| 2-6 | Piano Concerto | — | ||
| 2-7 | Piano Concerto no. 2 Sz. 95: I. Allegro | — | ||
| 2-8 | Piano Concerto no. 2 Sz. 95: II. Adagio | — | ||
| 2-9 | Piano Concerto no. 2 Sz. 95: III. Allegro molto | — | ||
| 3-1 | Violin Concerto no. 1 in D major op. 19 [1916-1917]: I. Andantino | — | ||
| 3-2 | Violin Concerto no. 1 in D major op. 19 [1916-1917]: II. Scherzo. Vivacissimo | — | ||
| 3-3 | Violin Concerto no. 1 in D major op. 19 [1916-1917]: III. Moderato | — | ||
| 3-4 | Violin Concerto no. 2 Sz. 112: I. Allegro non troppo | — | ||
| 3-5 | Violin Concerto no. 2 Sz. 112: II. Andante tranquillo | — | ||
| 3-6 | Violin Concerto no. 2 Sz. 112: III. Allegro molto | — | ||
| 4-1 | Cello Concerto: I. Lento - Allegro moderato | — | ||
| 4-2 | Cello Concerto: II. Adagietto | — | ||
| 4-3 | Cello Concerto: III. Vivace | — | ||
| 4-4 | Cello Concerto: I. Moderato | — | ||
| 4-5 | Cello Concerto: II. Allegro appassionato | — | ||
| 4-6 | Cello Concerto: III. Lento | — | ||
| 5-1 | Wesendonk-Lieder: I. Der Engel | — | ||
| 5-2 | Wesendonk-Lieder: II. Stehe still! | — | ||
| 5-3 | Wesendonk-Lieder: III. Im Treibhaus | — | ||
| 5-4 | Wesendonk-Lieder: IV. Schmerzen | — | ||
| 5-5 | Wesendonk-Lieder: V. Träume | — | ||
| 5-6 | from "Boris Godunov": Boris's Monologue (Act II) | — | ||
| 5-7 | from "Boris Godunov": The Clock Scene (Act II) | — | ||
| 5-8 | from "Boris Godunov": The Death of Boris (Act IV, 1) | — | ||
| 5-9 | Vier letzte Lieder: I. Frühling (Hesse) | — | ||
| 5-10 | Vier letzte Lieder: II. September (Hesse) | — | ||
| 5-11 | Vier letzte Lieder: III. Beim Schlafengehen (Hesse) | — | ||
| 5-12 | Vier letzte Lieder: IV. Im Abendrot (Eichendorff) | — | ||
| 6-1 | Erwartung op. 17 | — | ||
| 6-2 | 6 Stücke für Orchester op. 6: I. Langsam | — | ||
| 6-3 | 6 Stücke für Orchester op. 6: II. Bewegt | — | ||
| 6-4 | 6 Stücke für Orchester op. 6: III. Mäßig | — | ||
| 6-5 | 6 Stücke für Orchester op. 6: IV. Sehr mäßig | — | ||
| 6-6 | 6 Stücke für Orchester op. 6: V. Sehr langsam | — | ||
| 6-7 | 6 Stücke für Orchester op. 6: VI. Langsam | — | ||
| 6-8 | 5 Stücke für Orchester op. 10: I. Sehr ruhig und zart | — | ||
| 6-9 | 5 Stücke für Orchester op. 10: II. Lebhaft und zart bewegt | — | ||
| 6-10 | 5 Stücke für Orchester op. 10: III. Sehr langsam und äußerst ruhig | — | ||
| 6-11 | 5 Stücke für Orchester op. 10: IV. Fließend, äußerst zart | — | ||
| 6-12 | 5 Stücke für Orchester op. 10: V. Sehr fließend | — | ||
| 6-13 | Kammerkonzert: I. Thema scherzoso con Variazioni | — | ||
| 6-14 | Kammerkonzert: II. Adagio | — | ||
| 6-15 | Kammerkonzert: III. Rondo ritmico con Introduzione ("Kadenz") | — | ||
| 7-1 | Antifone | — | ||
| 7-2 | Lontano | — | ||
| 7-3 | November Steps | — | ||
| 7-4 | San Francisco Polyphony | — | ||
| 7-5 | Mi-parti | — | ||
| 8-1 | Six Épigraphes antiques [orchestrated by Rudolf Escher]: I. Pour invoquer Pan, dieu du vent d'été | — | ||
| 8-2 | Six Épigraphes antiques [orchestrated by Rudolf Escher]: II. Pour un tombeau sans nom. | — | ||
| 8-3 | Six Épigraphes antiques [orchestrated by Rudolf Escher]: III. Pour que la nuit soit propice | — | ||
| 8-4 | Six Épigraphes antiques [orchestrated by Rudolf Escher]: IV. Pour la danseuse aux crotales | — | ||
| 8-5 | Six Épigraphes antiques [orchestrated by Rudolf Escher]: V. Pour l'Egyptienne | — | ||
| 8-6 | Six Épigraphes antiques [orchestrated by Rudolf Escher]: VI. Pour remercier la pluie au matin | — | ||
| 8-7 | Jeux - Poème dansé | — | ||
| 8-8 | Shéhérazade: I. Asie | — | ||
| 8-9 | Shéhérazade: II. La Flûte enchantée | — | ||
| 8-10 | Shéhérazade: III. L'Indifférent | — | ||
| 8-11 | Don Quichotte à Dulcinée: I. Chanson romanesque | — | ||
| 8-12 | Don Quichotte à Dulcinée: II. Chanson épique | — | ||
| 8-13 | Don Quichotte à Dulcinée: III. Chanson à boire | — | ||
| 9-1 | Suite from 'Le Festin de l'Araignée' op. 17 [1912] | — | ||
| 9-2 | Symphony no. 5 "Di tre re": I. Grave | — | ||
| 9-3 | Symphony no. 5 "Di tre re": II. Allegretto | — | ||
| 9-4 | Symphony no. 5 "Di tre re": III. Allegro marcato | — | ||
| 9-5 | Suite from "Les Biches": I. Rondo | — | ||
| 9-6 | Suite from "Les Biches": II. Adagietto | — | ||
| 9-7 | Suite from "Les Biches": III. Rag-Mazurka | — | ||
| 9-8 | Suite from "Les Biches": IV. Andantino | — | ||
| 9-9 | Suite from "Les Biches": V. Final | — | ||
| 10-1 | Orpheus: Scene I | — | ||
| 10-2 | Orpheus: Scene II | — | ||
| 10-3 | Orpheus: Scene III | — | ||
| 10-4 | Movements for Piano and Orchestra: I | — | ||
| 10-5 | Movements for Piano and Orchestra: II | — | ||
| 10-6 | Movements for Piano and Orchestra: III | — | ||
| 10-7 | Movements for Piano and Orchestra: IV | — | ||
| 10-8 | Movements for Piano and Orchestra: V | — | ||
| 10-9 | Requiem Canticles: I. Prelude | — | ||
| 10-10 | Requiem Canticles: II. Exaudi | — | ||
| 10-11 | Requiem Canticles: III. Dies Irae | — | ||
| 10-12 | Requiem Canticles: IV. Tuba mirum | — | ||
| 10-13 | Requiem Canticles: V. Interlude | — | ||
| 10-14 | Requiem Canticles: VI. Rex tremendae | — | ||
| 10-15 | Requiem Canticles: VII. Lacrimosa | — | ||
| 10-16 | Requiem Canticles: VIII. Libera me | — | ||
| 10-17 | Requiem Canticles: IX. Postlude | — | ||
| 10-18 | Threni: Incipit | — | ||
| 10-19 | Threni: De Elegia Prima | — | ||
| 10-20 | Threni: De Elegia Tertia | — | ||
| 10-21 | Threni: De Elegia Quinta | — | ||
| 11-1 | Die Nacht (Hölderlin) | — | ||
| 11-2 | Réflexions sonores op. 99: Le fleuve Godawari - Le royaume Pratichtana, situé sur le fleuve Godawari - Le roi Triwikramasena | — | ||
| 11-3 | Réflexions sonores op. 99: Le moine mendiant - Le singe domestique - Pierreries | — | ||
| 11-4 | Réflexions sonores op. 99: Nuit - Le passage à travers le crématorium - Le cercle magique - Le wétala | — | ||
| 11-5 | Réflexions sonores op. 99: Danse magique - Transfiguration - Le roi, suivant le wétala | — | ||
| 11-6 | Sonnet Op. 9 [1940] | — | ||
| 11-7 | Ombres: I | — | ||
| 11-8 | Ombres: II | — | ||
| 11-9 | Ombres: III | — | ||
| 11-10 | Ombres: IV | — | ||
| 11-11 | Sinfonia | — | ||
| 12-1 | Symphony no. 6 in A minor: I. Allegro energico, ma non troppo | — | ||
| 12-2 | Symphony no. 6 in A minor: II. Scherzo. Wuchtig | — | ||
| 12-3 | Symphony no. 6 in A minor: III. Andante moderato | — | ||
| 12-4 | Symphony no. 6 in A minor: IV. Finale. Allegro moderato | — | ||
| 13-1 | Symphony no. 7 in E major: I. Allegro moderato | — | ||
| 13-2 | Symphony no. 7 in E major: II. Adagio. Sehr feierlich und sehr langsam | — | ||
| 13-3 | Symphony no. 7 in E major: III. Scherzo. Sehr schnell | — | ||
| 13-4 | Symphony no. 7 in E major: IV. Finale. Bewegt, doch nicht schnell | — | ||
| 14-1 | Symphony no. 10 in E minor op. 93 [1953]: I. Moderato | — | ||
| 14-2 | Symphony no. 10 in E minor op. 93 [1953]: II. Allegro | — | ||
| 14-3 | Symphony no. 10 in E minor op. 93 [1953]: III. Allegretto | — | ||
| 14-4 | Symphony no. 10 in E minor op. 93 [1953]: IV. Andante - Allegro | — |
Piano Concerto in B flat major KV. 595: I. Allegro
—
Piano Concerto in B flat major KV. 595: II. Larghetto
—
Piano Concerto in B flat major KV. 595: III. Rondo. Allegro
—
Ballade op. 19
—
Piano Concerto for the left hand
—
Piano Concerto no. 5 in G major op. 55: I. Allegro con brio
—
Piano Concerto no. 5 in G major op. 55: II. Moderato ben accentuato
—
Piano Concerto no. 5 in G major op. 55: III. Toccata
—
Piano Concerto no. 5 in G major op. 55: IV. Larghetto
—
Piano Concerto no. 5 in G major op. 55: V. Vivo
—
Piano Concerto
—
Piano Concerto no. 2 Sz. 95: I. Allegro
—
Piano Concerto no. 2 Sz. 95: II. Adagio
—
Piano Concerto no. 2 Sz. 95: III. Allegro molto
—
Violin Concerto no. 1 in D major op. 19 [1916-1917]: I. Andantino
—
Violin Concerto no. 1 in D major op. 19 [1916-1917]: II. Scherzo. Vivacissimo
—
Violin Concerto no. 1 in D major op. 19 [1916-1917]: III. Moderato
—
Violin Concerto no. 2 Sz. 112: I. Allegro non troppo
—
Violin Concerto no. 2 Sz. 112: II. Andante tranquillo
—
Violin Concerto no. 2 Sz. 112: III. Allegro molto
—
Cello Concerto: I. Lento - Allegro moderato
—
Cello Concerto: II. Adagietto
—
Cello Concerto: III. Vivace
—
Cello Concerto: I. Moderato
—
Cello Concerto: II. Allegro appassionato
—
Cello Concerto: III. Lento
—
Wesendonk-Lieder: I. Der Engel
—
Wesendonk-Lieder: II. Stehe still!
—
Wesendonk-Lieder: III. Im Treibhaus
—
Wesendonk-Lieder: IV. Schmerzen
—
Wesendonk-Lieder: V. Träume
—
from "Boris Godunov": Boris's Monologue (Act II)
—
from "Boris Godunov": The Clock Scene (Act II)
—
from "Boris Godunov": The Death of Boris (Act IV, 1)
—
Vier letzte Lieder: I. Frühling (Hesse)
—
Vier letzte Lieder: II. September (Hesse)
—
Vier letzte Lieder: III. Beim Schlafengehen (Hesse)
—
Vier letzte Lieder: IV. Im Abendrot (Eichendorff)
—
Erwartung op. 17
—
6 Stücke für Orchester op. 6: I. Langsam
—
6 Stücke für Orchester op. 6: II. Bewegt
—
6 Stücke für Orchester op. 6: III. Mäßig
—
6 Stücke für Orchester op. 6: IV. Sehr mäßig
—
6 Stücke für Orchester op. 6: V. Sehr langsam
—
6 Stücke für Orchester op. 6: VI. Langsam
—
5 Stücke für Orchester op. 10: I. Sehr ruhig und zart
—
5 Stücke für Orchester op. 10: II. Lebhaft und zart bewegt
—
5 Stücke für Orchester op. 10: III. Sehr langsam und äußerst ruhig
—
5 Stücke für Orchester op. 10: IV. Fließend, äußerst zart
—
5 Stücke für Orchester op. 10: V. Sehr fließend
—
Kammerkonzert: I. Thema scherzoso con Variazioni
—
Kammerkonzert: II. Adagio
—
Kammerkonzert: III. Rondo ritmico con Introduzione ("Kadenz")
—
Antifone
—
Lontano
—
November Steps
—
San Francisco Polyphony
—
Mi-parti
—
Six Épigraphes antiques [orchestrated by Rudolf Escher]: I. Pour invoquer Pan, dieu du vent d'été
—
Six Épigraphes antiques [orchestrated by Rudolf Escher]: II. Pour un tombeau sans nom.
—
Six Épigraphes antiques [orchestrated by Rudolf Escher]: III. Pour que la nuit soit propice
—
Six Épigraphes antiques [orchestrated by Rudolf Escher]: IV. Pour la danseuse aux crotales
—
Six Épigraphes antiques [orchestrated by Rudolf Escher]: V. Pour l'Egyptienne
—
Six Épigraphes antiques [orchestrated by Rudolf Escher]: VI. Pour remercier la pluie au matin
—
Jeux - Poème dansé
—
Shéhérazade: I. Asie
—
Shéhérazade: II. La Flûte enchantée
—
Shéhérazade: III. L'Indifférent
—
Don Quichotte à Dulcinée: I. Chanson romanesque
—
Don Quichotte à Dulcinée: II. Chanson épique
—
Don Quichotte à Dulcinée: III. Chanson à boire
—
Suite from 'Le Festin de l'Araignée' op. 17 [1912]
—
Symphony no. 5 "Di tre re": I. Grave
—
Symphony no. 5 "Di tre re": II. Allegretto
—
Symphony no. 5 "Di tre re": III. Allegro marcato
—
Suite from "Les Biches": I. Rondo
—
Suite from "Les Biches": II. Adagietto
—
Suite from "Les Biches": III. Rag-Mazurka
—
Suite from "Les Biches": IV. Andantino
—
Suite from "Les Biches": V. Final
—
Orpheus: Scene I
—
Orpheus: Scene II
—
Orpheus: Scene III
—
Movements for Piano and Orchestra: I
—
Movements for Piano and Orchestra: II
—
Movements for Piano and Orchestra: III
—
Movements for Piano and Orchestra: IV
—
Movements for Piano and Orchestra: V
—
Requiem Canticles: I. Prelude
—
Requiem Canticles: II. Exaudi
—
Requiem Canticles: III. Dies Irae
—
Requiem Canticles: IV. Tuba mirum
—
Requiem Canticles: V. Interlude
—
Requiem Canticles: VI. Rex tremendae
—
Requiem Canticles: VII. Lacrimosa
—
Requiem Canticles: VIII. Libera me
—
Requiem Canticles: IX. Postlude
—
Threni: Incipit
—
Threni: De Elegia Prima
—
Threni: De Elegia Tertia
—
Threni: De Elegia Quinta
—
Die Nacht (Hölderlin)
—
Réflexions sonores op. 99: Le fleuve Godawari - Le royaume Pratichtana, situé sur le fleuve Godawari - Le roi Triwikramasena
—
Réflexions sonores op. 99: Le moine mendiant - Le singe domestique - Pierreries
—
Réflexions sonores op. 99: Nuit - Le passage à travers le crématorium - Le cercle magique - Le wétala
—
Réflexions sonores op. 99: Danse magique - Transfiguration - Le roi, suivant le wétala
—
Sonnet Op. 9 [1940]
—
Ombres: I
—
Ombres: II
—
Ombres: III
—
Ombres: IV
—
Sinfonia
—
Symphony no. 6 in A minor: I. Allegro energico, ma non troppo
—
Symphony no. 6 in A minor: II. Scherzo. Wuchtig
—
Symphony no. 6 in A minor: III. Andante moderato
—
Symphony no. 6 in A minor: IV. Finale. Allegro moderato
—
Symphony no. 7 in E major: I. Allegro moderato
—
Symphony no. 7 in E major: II. Adagio. Sehr feierlich und sehr langsam
—
Symphony no. 7 in E major: III. Scherzo. Sehr schnell
—
Symphony no. 7 in E major: IV. Finale. Bewegt, doch nicht schnell
—
Symphony no. 10 in E minor op. 93 [1953]: I. Moderato
—
Symphony no. 10 in E minor op. 93 [1953]: II. Allegro
—
Symphony no. 10 in E minor op. 93 [1953]: III. Allegretto
—
Symphony no. 10 in E minor op. 93 [1953]: IV. Andante - Allegro
—
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What is UPC 8713309970142?
8713309970142 is a Universal Product Code (UPC) assigned to The Radio Recordings by Royal Concertgebouw Orchestra, Bernard Haitink. 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 124 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