UPC · Release
Spielpläne 9/10
[unknown]
9783121799312
236 tracksReleased 2008-01-01
Last verified:
9783121799312 is the Universal Product Code (UPC barcode) for the release “Spielpläne 9/10” by [unknown], released 2008-01-01. 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 236 tracks, each with its own ISRC. Tracks include DEN120103193, USNO19846502, DEA349502964.
Format
978GS1 prefix
3121Company prefix
79931Product
2Check digit
- GS1 prefix:
- Country/region prefix assigned by GS1 (e.g. 060/061 = USA/Canada, 50 = UK).
- Company prefix:
- Label/distributor identifier assigned by the local GS1 office.
- Product:
- Unique product number assigned by the company.
- Check digit:
- Modulo-10 check digit that validates the rest of the barcode.
Credit Chain
UPCSpielpläne 9/10
ISRC4 recordings
ISWC8 works
IPI23 songwriters
Track List (236)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Potancu (Istrische Insel Krk) | — | ||
| 2 | Wisiratu Shaman Curing Duet | — | ||
| 3 | Hyojo netori | — | ||
| 4 | La donna e mobile aus ,,Rigoletto” | — | ||
| 5 | La Boheme (1. Akt), Duett Mimi/Rodolfo | — | ||
| 6 | Don’t be that way | — | ||
| 7 | Get off of my cloud | — | ||
| 8 | Think | — | ||
| 9 | Up above my head (Playback) | — | ||
| 10 | We will rock you | — | ||
| 11 | Que será, será | Hermes House Band | T-070.198.718-9 | |
| 12 | „Ich gehör nur mir” aus dem Musical „Elisabeth“ (Playback) | — | ||
| 13 | We shall overcome | — | ||
| 14 | Where have all the flowers gone | — | ||
| 15 | Marseillaise (Orchesterfassung) | — | ||
| 16 | Die beiden Grenadiere, op. 49, Nr.1 | — | ||
| 17 | Ouvertiire 1812 | — | ||
| 18 | Lied der Hitler-Jugend | — | ||
| 19 | HYMNEN, 2. Region | — | ||
| 20 | Notenwerte (Playback) | — | ||
| 21 | Notenwerte (Playback) | — | ||
| 22 | Grooves (Playback) | — | ||
| 23 | It's a long way to the top (Playback) | — | ||
| 24 | Ich träumte | — | ||
| 25 | Piano Phase | — | ||
| 26 | Saint Agnes | — | ||
| 27 | Get Busy: Intro | — | ||
| 28 | Get Busy: Teil A (Strophe) | — | ||
| 29 | Get Busy: Teil B (Refrain) | — | ||
| 30 | Get Busy: Girlspart, Teil A (Strophe) + Wiederholungen bis Ende | — | ||
| 31 | Christ Church Bells | — | ||
| 32 | Rock around the clock | — | ||
| 33 | Menuett aus ,,Il Pastor Fido” | — | ||
| 34 | Jovano Jovanke | — | ||
| 35 | Hassaposerviko: Sirtaki | — | ||
| 36 | Diplos Issios | — | ||
| 2-1 | Omal | — | ||
| 2-2 | Livanoi | — | ||
| 2-3 | Hava nagila | — | ||
| 2-4 | Präludium C-Dur, BWV 939 | — | ||
| 2-5 | Chaconne | — | ||
| 2-6 | Valses sentimentales, op. 50: Nr. 1 | — | ||
| 2-7 | Valses sentimentales, op. 50: Nr. 2 | — | ||
| 2-8 | Brandenburgisches Konzert Nr. 3, BWV 1048 : 1. Satz, (Thema) (T. 1-15) | — | ||
| 2-9 | Klaviersonate A-Dur, KV 331: 1. Satz, (Thema ) (T. 1-8 und Wiederholung) | — | ||
| 2-10 | Klaviersonate c-Moll, op. 10: 1. Satz, (Thema) | — | ||
| 2-11 | Rock-Feeling | — | ||
| 2-12 | Triolen-Feeling | — | ||
| 2-13 | Swing-Feeling | — | ||
| 2-14 | Schlagzeugpattern (Swing-Feeling, Übergang gerade - swing) | — | ||
| 2-15 | Alleluia: Pascha nostrum, Gregorianischer Choral | — | ||
| 2-16 | Now is the month of maying | — | ||
| 2-17 | Kommt, ihr G’spielen | — | ||
| 2-18 | A che tormi il ben mio | — | ||
| 2-19 | Quis est iste | — | ||
| 2-20 | Sonata pian’ e forte | — | ||
| 2-21 | Fuge c-Moll (Cembalo-Fassung) | — | ||
| 2-22 | Fuge c-Moll (Klavier-Fassung) | — | ||
| 2-23 | Brandenburgisches Konzert Nr. 2, BWV 1047: 1. Satz: T. 1-28 | — | ||
| 2-24 | Brandenburgisches Konzert Nr. 2, BWV 1047: 1. Satz: T. 28-40 | — | ||
| 2-25 | Brandenburgisches Konzert Nr. 2, BWV 1047: 1. Satz: T. 40-59 | — | ||
| 2-26 | Brandenburgisches Konzert Nr. 2, BWV 1047: 1. Satz: T. 60-83 | — | ||
| 2-27 | Brandenburgisches Konzert Nr. 2, BWV 1047: 1. Satz: T. 84-102 | — | ||
| 2-28 | Brandenburgisches Konzert Nr. 2, BWV 1047: 1. Satz: T. 103-Schluss | — | ||
| 2-29 | Johannespassion, BWV 245: Nr. 7 Choral: O große Lieb‘ | — | ||
| 2-30 | Johannespassion, BWV 245: Nr. 1 Chor: Herr, unser Herrscher | — | ||
| 2-31 | Johannespassion, BWV 245: Nr. 2 Rezitativ: Verrat des Judas/Nr.3 Chor: Jesum von Nazareth | — | ||
| 2-32 | Johannespassion, BWV 245: Nr. 9 Arie: Ich folge dir gleichfalls | — | ||
| 2-33 | Johannespassion, BWV 245: Nr. 18 Rezitativ: Verleugnung Jesu | — | ||
| 2-34 | Johannespassion, BWV 245: Nr. 33 Rezitativ/Nr. 34 Chor: Sei gegrüßet | — | ||
| 2-35 | Johannespassion, BWV 245: Nr. 37 Rezitativ/Nr. 38 Chor: Wir haben ein Gesetz | — | ||
| 2-36 | Johannespassion, BWV 245: Nr. 48 Arie mit Chor: Eilt, eilt | — | ||
| 2-37 | Johannespassion, BWV 245: Nr. 53 Rezitativ/Nr. 54 Chor: Lasset uns den nicht zerteilen | — | ||
| 2-38 | Johannespassion, BWV 245: Nr. 58 Arie: Es ist vollbracht/Nr. 59 Rezitativ: Jesu Tod | — | ||
| 2-39 | Lukas-Passion: Nr. 12 Psalm: Miserere mei, Deus | — | ||
| 2-40 | Lukas-Passion: Nr. 3 Arie: Deus meus | — | ||
| 2-41 | Lukas-Passion: Nr. 3 Arie: Deus meus | — | ||
| 3-1 | Sinfonia a 8 D-Dur (La Melodia Germanica Nr. 1) | — | ||
| 3-2 | Sinfonie Nr. 40, g-Moll, KV 550: 1. Satz: Hauptsatz | — | ||
| 3-3 | Sinfonie Nr. 40, g-Moll, KV 550: 1. Satz: Überleitung | — | ||
| 3-4 | Sinfonie Nr. 40, g-Moll, KV 550: 1. Satz: Seitensatz und Schlussgruppe | — | ||
| 3-5 | Streichquartett op. 33, Nr. 5: Exposition (Thema 1) | — | ||
| 3-6 | Streichquartett op. 33, Nr. 5: Exposition (Thema 2) | — | ||
| 3-7 | Streichquartett op. 33, Nr. 5: Durchführung (1) | — | ||
| 3-8 | Streichquartett op. 33, Nr. 5: Durchführung (2) | — | ||
| 3-9 | Streichquartett op. 33, Nr. 5: Reprise (1) | — | ||
| 3-10 | Streichquartett op. 33, Nr. 5: Reprise (2) | — | ||
| 3-11 | Egmont-Ouvertüre op. 84: T.1 ff. (Sarabandenrhythmus) | — | ||
| 3-12 | Egmont-Ouvertüre op. 84: T. 5 ff. (Klage) | — | ||
| 3-13 | Egmont-Ouvertüre op. 84: T. 15 ff. (Überleitungsmotiv und Sarabandenrhythmus) | — | ||
| 3-14 | Egmont-Ouvertüre op. 84: T. 28 ff. (Hauptthema) | — | ||
| 3-15 | Egmont-Ouvertüre op. 84: T. 82 ff. (Seitenthema) | — | ||
| 3-16 | Egmont-Ouvertüre op. 84: T. 259 ff. (Egmonts Tod) | — | ||
| 3-17 | Egmont-Ouvertüre op. 84: T. 287 ff. (Aufstand) | — | ||
| 3-18 | Egmont-Ouvertüre op. 84: T. 307 ff. (Ostinato) | — | ||
| 3-19 | Violinkonzert D-Dur, op. 61: 1. Satz: Thema I (Oboen, Klarinetten, Fagotte) | — | ||
| 3-20 | Violinkonzert D-Dur, op. 61: 1. Satz: Paukenmotiv | — | ||
| 3-21 | Violinkonzert D-Dur, op. 61: 1. Satz: Skalenmotiv (ab T. 18) | — | ||
| 3-22 | Violinkonzert D-Dur, op. 61: 1. Satz: Zäsurblock (ab T. 28) | — | ||
| 3-23 | Violinkonzert D-Dur, op. 61: 1. Satz: Sechzehntelmotiv (ab T. 35) | — | ||
| 3-24 | Violinkonzert D-Dur, op. 61: 1. Satz: Thema Il (Holzbläser, Violinen ab T. 43) | — | ||
| 3-25 | Violinkonzert D-Dur, op. 61: 1. Satz: Schlussgruppenmotiv (ab T. 77) | — | ||
| 3-26 | Violinkonzert D-Dur, op. 61: 1. Satz: Soloexposition | — | ||
| 3-27 | Violinkonzert D-Dur, op. 61: 1. Satz: Durchführung | — | ||
| 3-28 | Violinkonzert D-Dur, op. 61: 1. Satz: Reprise | — | ||
| 3-29 | Violinkonzert D-Dur, op. 61: 1. Satz: Solokadenz | — | ||
| 3-30 | Violinkonzert D-Dur, op. 61: 1. Satz: Coda | — | ||
| 3-31 | Wanderers Nachtlied Il | — | ||
| 3-32 | Salut d‘amour | — | ||
| 3-33 | Peer-Gynt-Suite, op. 46: Morgenstimmung: Anfang + Mittelteil | — | ||
| 3-34 | Peer-Gynt-Suite, op. 46: Morgenstimmung: Schlussteil | — | ||
| 3-35 | Peer-Gynt-Suite, op. 46: Morgenstimmung: Schluss - Fortsetzung, Partiturausschnitt | — | ||
| 3-36 | Mazeppa aus „Etudes d’execution transcendentale Nr. 4“: T. 133 ff. | — | ||
| 3-37 | Mazeppa (historische Einspielung, 1905, Welte-Klavier) | — | ||
| 3-38 | Mazeppa (neuere Einspielung) | — | ||
| 3-39 | Mazeppa (Sinfonische Dichtung Nr. 6): T. 1-34 | — | ||
| 3-40 | Mazeppa (Sinfonische Dichtung Nr. 6): T. 34-61 | — | ||
| 3-41 | Mazeppa (Sinfonische Dichtung Nr. 6): T. 108-155 | — | ||
| 3-42 | Mazeppa (Sinfonische Dichtung Nr. 6): T. 244-294 | — | ||
| 3-43 | Mazeppa (Sinfonische Dichtung Nr. 6): T. 308-403 | — | ||
| 3-44 | Mazeppa (Sinfonische Dichtung Nr. 6): T. 404-436 | — | ||
| 3-45 | Mazeppa (Sinfonische Dichtung Nr. 6): T. 437-464 | — | ||
| 3-46 | Mazeppa (Sinfonische Dichtung Nr. 6): T. 466-488 | — | ||
| 3-47 | Mazeppa (Sinfonische Dichtung Nr. 6): T. 510-540 | — | ||
| 3-48 | Mazeppa (Sinfonische Dichtung Nr. 6): T. 580-Schluss | — | ||
| 3-49 | Polnische Mazurka aus Radom | — | ||
| 3-50 | Mazurka a-Moll, op. 17, Nr. 4: T. 1-60 (Anfang) | — | ||
| 3-51 | Mazurka a-Moll, op. 17, Nr. 4: T. 61-114 (Mittelteil) | — | ||
| 3-52 | Mazurka a-Moll, op. 17, Nr. 4: T. 114 ff. (Schluss) | — | ||
| 3-53 | Malagueña | — | ||
| 4-1 | Spur 1 | — | ||
| 4-2 | Spur 2 | — | ||
| 4-3 | Spur 3 | — | ||
| 4-4 | Spur 4 | — | ||
| 4-5 | Spur 5 | — | ||
| 4-6 | Spur 6 | — | ||
| 4-7 | Spur 7 | — | ||
| 4-8 | Spur 8 | — | ||
| 4-9 | Spur 9 | — | ||
| 4-10 | Spur 10 | — | ||
| 4-11 | Spur 11 | — | ||
| 4-12 | Spur 12 | — | ||
| 4-13 | Spur 13 | — | ||
| 4-14 | Spur 14 | — | ||
| 4-15 | Spur 15 | — | ||
| 4-16 | Spur 16 | — | ||
| 4-17 | Spur 17 | — | ||
| 4-18 | Spur 18 | — | ||
| 4-19 | Spur 19 | — | ||
| 4-20 | Spur 20 | — | ||
| 4-21 | Spur 21 | — | ||
| 4-22 | Spur 22 | — | ||
| 4-23 | Spur 23 | — | ||
| 4-24 | Spur 24 | — | ||
| 4-25 | Spur 25 | — | ||
| 4-26 | Spur 26 | — | ||
| 4-27 | Spur 27 | — | ||
| 4-28 | Spur 28 | — | ||
| 4-29 | Spur 29 | — | ||
| 4-30 | Spur 30 | — | ||
| 4-31 | Spur 31 | — | ||
| 4-32 | Spur 32 | — | ||
| 4-33 | John's Book of Alleged Dances: Toot Nipple | Kronos Quartet | — | |
| 4-34 | Spur 34 | — | ||
| 4-35 | Spur 35 | — | ||
| 4-36 | Spur 36 | — | ||
| 4-37 | Spur 37 | — | ||
| 4-38 | Spur 38 | — | ||
| 5-1 | Spur 1 | — | ||
| 5-2 | Spur 2 | — | ||
| 5-3 | Spur 3 | — | ||
| 5-4 | Spur 4 | — | ||
| 5-5 | Spur 5 | — | ||
| 5-6 | Spur 6 | — | ||
| 5-7 | Spur 7 | — | ||
| 5-8 | Spur 8 | — | ||
| 5-9 | Spur 9 | — | ||
| 5-10 | Spur 10 | — | ||
| 5-11 | Spur 11 | — | ||
| 5-12 | Spur 12 | — | ||
| 5-13 | Spur 13 | — | ||
| 5-14 | Spur 14 | — | ||
| 5-15 | Spur 15 | — | ||
| 5-16 | Spur 16 | — | ||
| 5-17 | Spur 17 | — | ||
| 5-18 | Spur 18 | — | ||
| 5-19 | Spur 19 | — | ||
| 5-20 | Spur 20 | — | ||
| 5-21 | Spur 21 | — | ||
| 5-22 | Spur 22 | — | ||
| 5-23 | Spur 23 | — | ||
| 5-24 | Spur 24 | — | ||
| 5-25 | Spur 25 | — | ||
| 5-26 | Spur 26 | — | ||
| 5-27 | Spur 27 | — | ||
| 5-28 | Spur 28 | — | ||
| 5-29 | Spur 29 | — | ||
| 5-30 | Spur 30 | — | ||
| 5-31 | Spur 31 | — | ||
| 5-32 | Spur 32 | — | ||
| 5-33 | Spur 33 | — | ||
| 5-34 | Spur 34 | — | ||
| 5-35 | Spur 35 | — | ||
| 6-1 | Spur 1 | — | ||
| 6-2 | Spur 2 | — | ||
| 6-3 | Spur 3 | — | ||
| 6-4 | Spur 4 | — | ||
| 6-5 | Spur 5 | — | ||
| 6-6 | Spur 6 | — | ||
| 6-7 | Spur 7 | — | ||
| 6-8 | Spur 8 | — | ||
| 6-9 | Spur 9 | — | ||
| 6-10 | Spur 10 | — | ||
| 6-11 | Spur 11 | — | ||
| 6-12 | Spur 12 | — | ||
| 6-13 | Spur 13 | — | ||
| 6-14 | Spur 14 | — | ||
| 6-15 | Spur 15 | — | ||
| 6-16 | Spur 16 | — | ||
| 6-17 | Spur 17 | — | ||
| 6-18 | Spur 18 | — | ||
| 6-19 | Spur 19 | — | ||
| 6-20 | Spur 20 | — | ||
| 6-21 | Lemon Tree | Fool’s Garden | T-801.162.121-0 | |
| 6-22 | Spur 22 | — | ||
| 6-23 | Spur 23 | — | ||
| 6-24 | Spur 24 | — | ||
| 6-25 | Spur 25 | — | ||
| 6-26 | Spur 26 | — | ||
| 6-27 | Spur 27 | — | ||
| 6-28 | Spur 28 | — | ||
| 6-29 | Spur 29 | — | ||
| 6-30 | Wiegenlied, op. 49 no. 4 | Anne Sofie von Otter, Bengt Forsberg | T-301.695.245-3 | |
| 6-31 | Spur 31 | — | ||
| 6-32 | Spur 32 | — | ||
| 6-33 | Spur 33 | — |
Potancu (Istrische Insel Krk)
—
Wisiratu Shaman Curing Duet
—
Hyojo netori
—
La donna e mobile aus ,,Rigoletto”
—
La Boheme (1. Akt), Duett Mimi/Rodolfo
—
Don’t be that way
—
Get off of my cloud
—
Think
—
Up above my head (Playback)
—
We will rock you
—
„Ich gehör nur mir” aus dem Musical „Elisabeth“ (Playback)
—
We shall overcome
—
Where have all the flowers gone
—
Marseillaise (Orchesterfassung)
—
Die beiden Grenadiere, op. 49, Nr.1
—
Ouvertiire 1812
—
Lied der Hitler-Jugend
—
HYMNEN, 2. Region
—
Notenwerte (Playback)
—
Notenwerte (Playback)
—
Grooves (Playback)
—
It's a long way to the top (Playback)
—
Ich träumte
—
Piano Phase
—
Saint Agnes
—
Get Busy: Intro
—
Get Busy: Teil A (Strophe)
—
Get Busy: Teil B (Refrain)
—
Get Busy: Girlspart, Teil A (Strophe) + Wiederholungen bis Ende
—
Christ Church Bells
—
Rock around the clock
—
Menuett aus ,,Il Pastor Fido”
—
Jovano Jovanke
—
Hassaposerviko: Sirtaki
—
Diplos Issios
—
Omal
—
Livanoi
—
Hava nagila
—
Präludium C-Dur, BWV 939
—
Chaconne
—
Valses sentimentales, op. 50: Nr. 1
—
Valses sentimentales, op. 50: Nr. 2
—
Brandenburgisches Konzert Nr. 3, BWV 1048 : 1. Satz, (Thema) (T. 1-15)
—
Klaviersonate A-Dur, KV 331: 1. Satz, (Thema ) (T. 1-8 und Wiederholung)
—
Klaviersonate c-Moll, op. 10: 1. Satz, (Thema)
—
Rock-Feeling
—
Triolen-Feeling
—
Swing-Feeling
—
Schlagzeugpattern (Swing-Feeling, Übergang gerade - swing)
—
Alleluia: Pascha nostrum, Gregorianischer Choral
—
Now is the month of maying
—
Kommt, ihr G’spielen
—
A che tormi il ben mio
—
Quis est iste
—
Sonata pian’ e forte
—
Fuge c-Moll (Cembalo-Fassung)
—
Fuge c-Moll (Klavier-Fassung)
—
Brandenburgisches Konzert Nr. 2, BWV 1047: 1. Satz: T. 1-28
—
Brandenburgisches Konzert Nr. 2, BWV 1047: 1. Satz: T. 28-40
—
Brandenburgisches Konzert Nr. 2, BWV 1047: 1. Satz: T. 40-59
—
Brandenburgisches Konzert Nr. 2, BWV 1047: 1. Satz: T. 60-83
—
Brandenburgisches Konzert Nr. 2, BWV 1047: 1. Satz: T. 84-102
—
Brandenburgisches Konzert Nr. 2, BWV 1047: 1. Satz: T. 103-Schluss
—
Johannespassion, BWV 245: Nr. 7 Choral: O große Lieb‘
—
Johannespassion, BWV 245: Nr. 1 Chor: Herr, unser Herrscher
—
Johannespassion, BWV 245: Nr. 2 Rezitativ: Verrat des Judas/Nr.3 Chor: Jesum von Nazareth
—
Johannespassion, BWV 245: Nr. 9 Arie: Ich folge dir gleichfalls
—
Johannespassion, BWV 245: Nr. 18 Rezitativ: Verleugnung Jesu
—
Johannespassion, BWV 245: Nr. 33 Rezitativ/Nr. 34 Chor: Sei gegrüßet
—
Johannespassion, BWV 245: Nr. 37 Rezitativ/Nr. 38 Chor: Wir haben ein Gesetz
—
Johannespassion, BWV 245: Nr. 48 Arie mit Chor: Eilt, eilt
—
Johannespassion, BWV 245: Nr. 53 Rezitativ/Nr. 54 Chor: Lasset uns den nicht zerteilen
—
Johannespassion, BWV 245: Nr. 58 Arie: Es ist vollbracht/Nr. 59 Rezitativ: Jesu Tod
—
Lukas-Passion: Nr. 12 Psalm: Miserere mei, Deus
—
Lukas-Passion: Nr. 3 Arie: Deus meus
—
Lukas-Passion: Nr. 3 Arie: Deus meus
—
Sinfonia a 8 D-Dur (La Melodia Germanica Nr. 1)
—
Sinfonie Nr. 40, g-Moll, KV 550: 1. Satz: Hauptsatz
—
Sinfonie Nr. 40, g-Moll, KV 550: 1. Satz: Überleitung
—
Sinfonie Nr. 40, g-Moll, KV 550: 1. Satz: Seitensatz und Schlussgruppe
—
Streichquartett op. 33, Nr. 5: Exposition (Thema 1)
—
Streichquartett op. 33, Nr. 5: Exposition (Thema 2)
—
Streichquartett op. 33, Nr. 5: Durchführung (1)
—
Streichquartett op. 33, Nr. 5: Durchführung (2)
—
Streichquartett op. 33, Nr. 5: Reprise (1)
—
Streichquartett op. 33, Nr. 5: Reprise (2)
—
Egmont-Ouvertüre op. 84: T.1 ff. (Sarabandenrhythmus)
—
Egmont-Ouvertüre op. 84: T. 5 ff. (Klage)
—
Egmont-Ouvertüre op. 84: T. 15 ff. (Überleitungsmotiv und Sarabandenrhythmus)
—
Egmont-Ouvertüre op. 84: T. 28 ff. (Hauptthema)
—
Egmont-Ouvertüre op. 84: T. 82 ff. (Seitenthema)
—
Egmont-Ouvertüre op. 84: T. 259 ff. (Egmonts Tod)
—
Egmont-Ouvertüre op. 84: T. 287 ff. (Aufstand)
—
Egmont-Ouvertüre op. 84: T. 307 ff. (Ostinato)
—
Violinkonzert D-Dur, op. 61: 1. Satz: Thema I (Oboen, Klarinetten, Fagotte)
—
Violinkonzert D-Dur, op. 61: 1. Satz: Paukenmotiv
—
Violinkonzert D-Dur, op. 61: 1. Satz: Skalenmotiv (ab T. 18)
—
Violinkonzert D-Dur, op. 61: 1. Satz: Zäsurblock (ab T. 28)
—
Violinkonzert D-Dur, op. 61: 1. Satz: Sechzehntelmotiv (ab T. 35)
—
Violinkonzert D-Dur, op. 61: 1. Satz: Thema Il (Holzbläser, Violinen ab T. 43)
—
Violinkonzert D-Dur, op. 61: 1. Satz: Schlussgruppenmotiv (ab T. 77)
—
Violinkonzert D-Dur, op. 61: 1. Satz: Soloexposition
—
Violinkonzert D-Dur, op. 61: 1. Satz: Durchführung
—
Violinkonzert D-Dur, op. 61: 1. Satz: Reprise
—
Violinkonzert D-Dur, op. 61: 1. Satz: Solokadenz
—
Violinkonzert D-Dur, op. 61: 1. Satz: Coda
—
Wanderers Nachtlied Il
—
Salut d‘amour
—
Peer-Gynt-Suite, op. 46: Morgenstimmung: Anfang + Mittelteil
—
Peer-Gynt-Suite, op. 46: Morgenstimmung: Schlussteil
—
Peer-Gynt-Suite, op. 46: Morgenstimmung: Schluss - Fortsetzung, Partiturausschnitt
—
Mazeppa aus „Etudes d’execution transcendentale Nr. 4“: T. 133 ff.
—
Mazeppa (historische Einspielung, 1905, Welte-Klavier)
—
Mazeppa (neuere Einspielung)
—
Mazeppa (Sinfonische Dichtung Nr. 6): T. 1-34
—
Mazeppa (Sinfonische Dichtung Nr. 6): T. 34-61
—
Mazeppa (Sinfonische Dichtung Nr. 6): T. 108-155
—
Mazeppa (Sinfonische Dichtung Nr. 6): T. 244-294
—
Mazeppa (Sinfonische Dichtung Nr. 6): T. 308-403
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Mazeppa (Sinfonische Dichtung Nr. 6): T. 404-436
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Mazeppa (Sinfonische Dichtung Nr. 6): T. 437-464
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Mazeppa (Sinfonische Dichtung Nr. 6): T. 466-488
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Mazeppa (Sinfonische Dichtung Nr. 6): T. 510-540
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Mazeppa (Sinfonische Dichtung Nr. 6): T. 580-Schluss
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Polnische Mazurka aus Radom
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Mazurka a-Moll, op. 17, Nr. 4: T. 1-60 (Anfang)
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Mazurka a-Moll, op. 17, Nr. 4: T. 61-114 (Mittelteil)
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Mazurka a-Moll, op. 17, Nr. 4: T. 114 ff. (Schluss)
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Malagueña
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John's Book of Alleged Dances: Toot Nipple
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What is UPC 9783121799312?
9783121799312 is a Universal Product Code (UPC) assigned to Spielpläne 9/10 by [unknown]. 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 236 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