ISRC
Weihnachts-Oratorium, BWV 248: 5. Teil: Am Sonntage nach Neujahr / Nr.51 Terzett (Sopran, Alt, Tenor): „Ach, wann wird die Zeit erscheinen?“
Song: Weihnachts-Oratorium, BWV 248: Teil V, LI. Aria Terzetto (Soprano, Alto, Tenore) „Ach, wenn wird die Zeit erscheinen“
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DEN129900825 is the International Standard Recording Code (ISRC) for the recording “Weihnachts-Oratorium, BWV 248: 5. Teil: Am Sonntage nach Neujahr / Nr.51 Terzett (Sopran, Alt, Tenor): „Ach, wann wird die Zeit erscheinen?“” by Yvonne Naef, Christoph Prégardien, Barbara Schlick, Gewandhausorchester Leipzig, Georg Christoph Biller, released 1999-10-18. ISRCs are 12-character ISO 3901 identifiers that uniquely tag a specific sound recording — different masters, remixes, and live versions each receive a distinct ISRC.
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DEN129900825 is an International Standard Recording Code (ISRC) that uniquely identifies the recording “Weihnachts-Oratorium, BWV 248: 5. Teil: Am Sonntage nach Neujahr / Nr.51 Terzett (Sopran, Alt, Tenor): „Ach, wann wird die Zeit erscheinen?“” by Yvonne Naef, Christoph Prégardien, Barbara Schlick, Gewandhausorchester Leipzig, Georg Christoph Biller. ISRCs are 12-character alphanumeric codes defined by ISO 3901, used globally by streaming platforms, record labels, and rights organizations to track plays and distribute royalties.
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Christoph Prégardien, Collegium Vocale Gent, Philippe Herreweghe
FRZ149748110Christian Elsner, Mihoko Fujimura, Christian Gerhaher, GewandhausKinderchor, Gewandhauschor Leipzig, Simona Houda-Šaturová, MDR Rundfunkchor Leipzig, Gewandhausorchester Leipzig, Herbert Blomstedt
DERK61732254DEN129900825 is the International Standard Recording Code (ISRC) for the recording “Weihnachts-Oratorium, BWV 248: 5. Teil: Am Sonntage nach Neujahr / Nr.51 Terzett (Sopran, Alt, Tenor): „Ach, wann wird die Zeit erscheinen?“” by Yvonne Naef, Christoph Prégardien, Barbara Schlick, Gewandhausorchester Leipzig, Georg Christoph Biller, released 1999-10-18. ISRCs are 12-character ISO 3901 identifiers that uniquely tag a specific sound recording — different masters, remixes, and live versions each receive a distinct ISRC.
