UPC · Release
Boulez, Cage, Crumb, Ives, Nono, Partch, Schuller, Stravinsky, Takemitsu, Leinsdorf, Maderna, Ozawa, Minton, Kirkpatrick
Last verified:
888750619020 is the Universal Product Code (UPC barcode) for the release “Masterworks of the 20th Century” by Boulez, Cage, Crumb, Ives, Nono, Partch, Schuller, Stravinsky, Takemitsu, Leinsdorf, Maderna, Ozawa, Minton, Kirkpatrick, released 2015-01-01 on Sony Classical. 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 93 tracks, each with its own ISRC. Tracks include USBC11000346, USBC11000347, USBC11000348.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Le marteau sans maître: I. Avant l'Artisanat furieux | — | ||
| 2 | Le marteau sans maître: II. Commentaire I de Bourreaux de solitude | — | ||
| 3 | Le marteau sans maître: III. L'Artisanat furieux | — | ||
| 4 | Le marteau sans maître: IV. Commentaire II de Bourreaux de solitude | — | ||
| 5 | Le marteau sans maître: V. Bel édifice et les pressentiments I | — | ||
| 6 | Le marteau sans maître: VI. Bourreaux de solitude | — | ||
| 7 | Le marteau sans maître: VII. Après l'Artisanat furieux | — | ||
| 8 | Le Marteau sans Maître: VIII. Commentaire III de Bourreaux de solitude | — | ||
| 9 | Le marteau sans maître: IX. Bel édifice et les pressentiments II | — | ||
| 10 | Livre pour cordes: 1a Variation | — | ||
| 11 | Livre pour cordes: 1b Mouvement | — | ||
| 2-1 | Asterism for Piano and Orchestra | Yuji Takahashi, Toronto Symphony, Seiji Ozawa | — | |
| 2-2 | Requiem for String Orchestra | Toronto Symphony, Seiji Ozawa | — | |
| 2-3 | Green for Orchestra | Toronto Symphony, Seiji Ozawa | — | |
| 2-4 | The Dorian Horizon for 17 Strings | Toronto Symphony, Seiji Ozawa | — | |
| 3-1 | Agon | — | ||
| 3-2 | 7 Studies on Themes of Paul Klee for Orchestra: Antique Harmonies | — | ||
| 3-3 | 7 Studies on Themes of Paul Klee for Orchestra: Abstract Trio | — | ||
| 3-4 | 7 Studies on Themes of Paul Klee for Orchestra: Little Blue Devil | — | ||
| 3-5 | 7 Studies on Themes of Paul Klee for Orchestra: The Twittering Machine | — | ||
| 3-6 | 7 Studies on Themes of Paul Klee for Orchestra: 5. Arab Village | — | ||
| 3-7 | 7 Studies on Themes of Paul Klee for Orchestra: An Eerie Moment | — | ||
| 3-8 | 7 Studies on Themes of Paul Klee for Orchestra: Pastorale | — | ||
| 4-1 | Piano Sonata no. 2 "Concord, Mass., 1840-60": I. Emerson | — | ||
| 4-2 | Piano Sonata no. 2 "Concord, Mass., 1840-60": II. Hawthorne | — | ||
| 4-3 | Piano Sonata no. 2 "Concord, Mass., 1840-60": III. The Alcotts | — | ||
| 4-4 | Piano Sonata no. 2 "Concord, Mass., 1840-60": IV. Thoreau | — | ||
| 4-5 | Emerson (end of exposition) | — | ||
| 4-6 | Emerson (most of recapitulation) | — | ||
| 4-7 | Hawthorne (fragment) | — | ||
| 4-8 | The Alcotts (complete) | — | ||
| 4-9 | Emerson Transcription No. 1 with Interpolated Improvisations | — | ||
| 4-10 | Emerson Transcription No. 3 with Interpolated Improvisations | — | ||
| 5-1 | Voice of the Whale (Vox Balaenae) for Three Masked Players | — | ||
| 5-2 | Night of the Four Moons: I. La luna está muerta, muerta | — | ||
| 5-3 | Night of the Four Moons: II. Cuando sale la luna | — | ||
| 5-4 | Night of the Four Moons: III. Otro Adán oscuro está soñando | — | ||
| 5-5 | Night of the Four Moons: IV. ¡Huye luna, luna, luna ! | — | ||
| 5-6 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 1, I. Morning Music (Genesis II) | — | ||
| 5-7 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 1, II. The Mystic Chord | — | ||
| 5-8 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 1, III. Rain-Death Variations | — | ||
| 5-9 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 1, IV. Twin Suns (Doppelgänger aus der Ewigkeit) | — | ||
| 5-10 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 2, V. Ghost Nocturne for the Druids of Stonehenge (Night-Spell II) | — | ||
| 5-11 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 2, VI. Gargoyles | — | ||
| 5-12 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 2, VII. Tora! Tora! Tora! (Cadenza Apocalittica) | — | ||
| 5-13 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 2, VIII. A Prophecy of Nostradamus | — | ||
| 5-14 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 3, IX. Cosmic Wind | — | ||
| 5-15 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 3, X. Voices from "Corona Borealis" | — | ||
| 5-16 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 3, XI. Litany of the Galactic Bells | — | ||
| 5-17 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 3, XII. Agnus Dei | — | ||
| 6-1 | Daphne of the Dunes | — | ||
| 6-2 | Barstow - Eight Hitchhiker Inscriptions from a Highway Railing at Barstow, California | — | ||
| 6-3 | Castor & Pollux - A Dance for the Twin Rhythms of Gemini from Plectra & Percussion Dances: | — | ||
| 6-4 | Partch in Prologue, Adapted Viola | — | ||
| 6-5 | Chromelodeon I | — | ||
| 6-6 | Kithara I | — | ||
| 6-7 | Castor & Pollux (Harmonic Canon II) | — | ||
| 6-8 | Diamond Marimba | — | ||
| 6-9 | Bass Marimba | — | ||
| 6-10 | Cloud-Chamber Bowls | — | ||
| 6-11 | Spoils of War | — | ||
| 6-12 | Surrogate Kithara | — | ||
| 6-13 | Kithara II | — | ||
| 6-14 | Boo | — | ||
| 6-15 | Harmonic Canon I | — | ||
| 6-16 | Zymo-Xyl | — | ||
| 6-17 | Mazda Marimba | — | ||
| 6-18 | Gourd Tree & Cone Gong | — | ||
| 6-19 | Hand Instruments, Partch in Epilogue | — | ||
| 7-1 | Sound Patterns | The Brandeis University Chamber Chorus, Alvin Lucier | T-070.143.785-5 | |
| 7-2 | North American Time Capsule 1967 | The Brandeis University Chamber Chorus, Alvin Lucier | — | |
| 7-3 | Solo for Voice 2 | Gordon Mumma, David Tudor | — | |
| 7-4 | She Was a Visitor | The Brandeis University Chamber Chorus, Alvin Lucier | T-700.000.906-5 | |
| 7-5 | Extended Voices | The Brandeis University Chamber Chorus, Alvin Lucier | — | |
| 7-6 | Chorus and Instruments II | The Brandeis University Chamber Chorus, John Bergamo, Harvey Philips, Alvin Lucier | — | |
| 7-7 | Christian Wolff in Cambridge | The Brandeis University Chamber Chorus, Alvin Lucier | — | |
| 8-1 | Akrata | — | ||
| 8-2 | Syzygy | — | ||
| 8-3 | Zyklus for a percussionist (no. 9) : | — | ||
| 8-4 | Fontana Mix - Feed | — | ||
| 8-5 | Lux Aeterna for 5 Masked Musicians | — | ||
| 9-1 | Stereo Electronic Music No. 1 | — | ||
| 9-2 | Leiyla and the Poet | — | ||
| 9-3 | Prologue: Enuma Elish (from 3 scenes from The Creation) | — | ||
| 9-4 | Composition for Synthesizer | — | ||
| 9-5 | Electronic Study No. 1 | — | ||
| 9-6 | Gargoyles | — | ||
| 9-7 | Ensembles for Synthesizer | — | ||
| 10-1 | Sonatine for Flute and Piano | — | ||
| 10-2 | Interpolation: Mobile for Flute (1, 2 and 3) | — | ||
| 10-3 | Concerto no. 1 for Oboe and Chamber Orchestra | — | ||
| 10-4 | Y Su Sangre Ya Viene Cantando | — | ||
| 10-5 | Serenade I for Flute and 14 Instruments | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
888750619020 is a Universal Product Code (UPC) assigned to Masterworks of the 20th Century by Boulez, Cage, Crumb, Ives, Nono, Partch, Schuller, Stravinsky, Takemitsu, Leinsdorf, Maderna, Ozawa, Minton, Kirkpatrick. 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 93 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
888750619020 is the Universal Product Code (UPC barcode) for the release “Masterworks of the 20th Century” by Boulez, Cage, Crumb, Ives, Nono, Partch, Schuller, Stravinsky, Takemitsu, Leinsdorf, Maderna, Ozawa, Minton, Kirkpatrick, released 2015-01-01 on Sony Classical. 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 93 tracks, each with its own ISRC. Tracks include USBC11000346, USBC11000347, USBC11000348.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Le marteau sans maître: I. Avant l'Artisanat furieux | — | ||
| 2 | Le marteau sans maître: II. Commentaire I de Bourreaux de solitude | — | ||
| 3 | Le marteau sans maître: III. L'Artisanat furieux | — | ||
| 4 | Le marteau sans maître: IV. Commentaire II de Bourreaux de solitude | — | ||
| 5 | Le marteau sans maître: V. Bel édifice et les pressentiments I | — | ||
| 6 | Le marteau sans maître: VI. Bourreaux de solitude | — | ||
| 7 | Le marteau sans maître: VII. Après l'Artisanat furieux | — | ||
| 8 | Le Marteau sans Maître: VIII. Commentaire III de Bourreaux de solitude | — | ||
| 9 | Le marteau sans maître: IX. Bel édifice et les pressentiments II | — | ||
| 10 | Livre pour cordes: 1a Variation | — | ||
| 11 | Livre pour cordes: 1b Mouvement | — | ||
| 2-1 | Asterism for Piano and Orchestra | Yuji Takahashi, Toronto Symphony, Seiji Ozawa | — | |
| 2-2 | Requiem for String Orchestra | Toronto Symphony, Seiji Ozawa | — | |
| 2-3 | Green for Orchestra | Toronto Symphony, Seiji Ozawa | — | |
| 2-4 | The Dorian Horizon for 17 Strings | Toronto Symphony, Seiji Ozawa | — | |
| 3-1 | Agon | — | ||
| 3-2 | 7 Studies on Themes of Paul Klee for Orchestra: Antique Harmonies | — | ||
| 3-3 | 7 Studies on Themes of Paul Klee for Orchestra: Abstract Trio | — | ||
| 3-4 | 7 Studies on Themes of Paul Klee for Orchestra: Little Blue Devil | — | ||
| 3-5 | 7 Studies on Themes of Paul Klee for Orchestra: The Twittering Machine | — | ||
| 3-6 | 7 Studies on Themes of Paul Klee for Orchestra: 5. Arab Village | — | ||
| 3-7 | 7 Studies on Themes of Paul Klee for Orchestra: An Eerie Moment | — | ||
| 3-8 | 7 Studies on Themes of Paul Klee for Orchestra: Pastorale | — | ||
| 4-1 | Piano Sonata no. 2 "Concord, Mass., 1840-60": I. Emerson | — | ||
| 4-2 | Piano Sonata no. 2 "Concord, Mass., 1840-60": II. Hawthorne | — | ||
| 4-3 | Piano Sonata no. 2 "Concord, Mass., 1840-60": III. The Alcotts | — | ||
| 4-4 | Piano Sonata no. 2 "Concord, Mass., 1840-60": IV. Thoreau | — | ||
| 4-5 | Emerson (end of exposition) | — | ||
| 4-6 | Emerson (most of recapitulation) | — | ||
| 4-7 | Hawthorne (fragment) | — | ||
| 4-8 | The Alcotts (complete) | — | ||
| 4-9 | Emerson Transcription No. 1 with Interpolated Improvisations | — | ||
| 4-10 | Emerson Transcription No. 3 with Interpolated Improvisations | — | ||
| 5-1 | Voice of the Whale (Vox Balaenae) for Three Masked Players | — | ||
| 5-2 | Night of the Four Moons: I. La luna está muerta, muerta | — | ||
| 5-3 | Night of the Four Moons: II. Cuando sale la luna | — | ||
| 5-4 | Night of the Four Moons: III. Otro Adán oscuro está soñando | — | ||
| 5-5 | Night of the Four Moons: IV. ¡Huye luna, luna, luna ! | — | ||
| 5-6 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 1, I. Morning Music (Genesis II) | — | ||
| 5-7 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 1, II. The Mystic Chord | — | ||
| 5-8 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 1, III. Rain-Death Variations | — | ||
| 5-9 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 1, IV. Twin Suns (Doppelgänger aus der Ewigkeit) | — | ||
| 5-10 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 2, V. Ghost Nocturne for the Druids of Stonehenge (Night-Spell II) | — | ||
| 5-11 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 2, VI. Gargoyles | — | ||
| 5-12 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 2, VII. Tora! Tora! Tora! (Cadenza Apocalittica) | — | ||
| 5-13 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 2, VIII. A Prophecy of Nostradamus | — | ||
| 5-14 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 3, IX. Cosmic Wind | — | ||
| 5-15 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 3, X. Voices from "Corona Borealis" | — | ||
| 5-16 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 3, XI. Litany of the Galactic Bells | — | ||
| 5-17 | Makrokosmos, Vol. II - Twelve Fantasy-Pieces after the Zodiac for Amplified Piano: Part 3, XII. Agnus Dei | — | ||
| 6-1 | Daphne of the Dunes | — | ||
| 6-2 | Barstow - Eight Hitchhiker Inscriptions from a Highway Railing at Barstow, California | — | ||
| 6-3 | Castor & Pollux - A Dance for the Twin Rhythms of Gemini from Plectra & Percussion Dances: | — | ||
| 6-4 | Partch in Prologue, Adapted Viola | — | ||
| 6-5 | Chromelodeon I | — | ||
| 6-6 | Kithara I | — | ||
| 6-7 | Castor & Pollux (Harmonic Canon II) | — | ||
| 6-8 | Diamond Marimba | — | ||
| 6-9 | Bass Marimba | — | ||
| 6-10 | Cloud-Chamber Bowls | — | ||
| 6-11 | Spoils of War | — | ||
| 6-12 | Surrogate Kithara | — | ||
| 6-13 | Kithara II | — | ||
| 6-14 | Boo | — | ||
| 6-15 | Harmonic Canon I | — | ||
| 6-16 | Zymo-Xyl | — | ||
| 6-17 | Mazda Marimba | — | ||
| 6-18 | Gourd Tree & Cone Gong | — | ||
| 6-19 | Hand Instruments, Partch in Epilogue | — | ||
| 7-1 | Sound Patterns | The Brandeis University Chamber Chorus, Alvin Lucier | T-070.143.785-5 | |
| 7-2 | North American Time Capsule 1967 | The Brandeis University Chamber Chorus, Alvin Lucier | — | |
| 7-3 | Solo for Voice 2 | Gordon Mumma, David Tudor | — | |
| 7-4 | She Was a Visitor | The Brandeis University Chamber Chorus, Alvin Lucier | T-700.000.906-5 | |
| 7-5 | Extended Voices | The Brandeis University Chamber Chorus, Alvin Lucier | — | |
| 7-6 | Chorus and Instruments II | The Brandeis University Chamber Chorus, John Bergamo, Harvey Philips, Alvin Lucier | — | |
| 7-7 | Christian Wolff in Cambridge | The Brandeis University Chamber Chorus, Alvin Lucier | — | |
| 8-1 | Akrata | — | ||
| 8-2 | Syzygy | — | ||
| 8-3 | Zyklus for a percussionist (no. 9) : | — | ||
| 8-4 | Fontana Mix - Feed | — | ||
| 8-5 | Lux Aeterna for 5 Masked Musicians | — | ||
| 9-1 | Stereo Electronic Music No. 1 | — | ||
| 9-2 | Leiyla and the Poet | — | ||
| 9-3 | Prologue: Enuma Elish (from 3 scenes from The Creation) | — | ||
| 9-4 | Composition for Synthesizer | — | ||
| 9-5 | Electronic Study No. 1 | — | ||
| 9-6 | Gargoyles | — | ||
| 9-7 | Ensembles for Synthesizer | — | ||
| 10-1 | Sonatine for Flute and Piano | — | ||
| 10-2 | Interpolation: Mobile for Flute (1, 2 and 3) | — | ||
| 10-3 | Concerto no. 1 for Oboe and Chamber Orchestra | — | ||
| 10-4 | Y Su Sangre Ya Viene Cantando | — | ||
| 10-5 | Serenade I for Flute and 14 Instruments | — |
