"On Wenlock Edge: IV. Oh, when I was in love with you" by Ralph Vaughan Williams, Ian Bostridge, London Philharmonic Orchestra, Bernard Haitink was released on January 1, 1999. With On Wenlock Edge: IV. Oh, when I was in love with you being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. This song is part of Vaughan Williams: Symphony No. 6/In the Fen Country/On Wenlock Edge by Ralph Vaughan Williams, Bernard Haitink, London Philharmonic Orchestra. The song's track number on the album is #9 out of 11 tracks. In terms of popularity, On Wenlock Edge: IV. Oh, when I was in love with you is currently unknown. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
Since On Wenlock Edge: IV. Oh, when I was in love with you by Ralph Vaughan Williams, Ian Bostridge, London Philharmonic Orchestra, Bernard Haitink has a tempo of 94 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With On Wenlock Edge: IV. Oh, when I was in love with you being at 94 BPM, the half-time would be 47 BPM with a double-time of 188 BPM.In addition, we consider the tempo speed to be pretty slow for this song. This makes this song perfect for activities such as, yoga or pilates. The time signature for this track is 3/4.
This song has a musical key of G Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Woodland Sketches, Op. 51: No. 1: To a Wild Rose | Edward MacDowell, James Barbagallo | A Major | 0 | 11B | 87 BPM | ||
La Princesse lontaine - Prelude | Nikolai Tcherepnin, Russian National Orchestra, Mikhail Pletnev | A Major | 0 | 11B | 69 BPM | ||
The Wounded Heart, Op. 34, No. 1 (From "Elegiac Melodies") | Edvard Grieg, Yo-Yo Ma, Kathryn Stott | G Major | 1 | 9B | 81 BPM | ||
Slovak Suite, Op. 32: I. In the Church. Andante | Vítězslav Novák, Prague Philharmonia, Jiří Bělohlávek | G Major | 1 | 9B | 73 BPM | ||
Clarinet Quintet in A Major: Clarinet Quintet in A Major: I. Allegro | Wolfgang Amadeus Mozart, Arcanto Quartett, Jörg Widmann | A Major | 1 | 11B | 116 BPM | ||
Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio | Max Bruch, Arabella Steinbacher, Orquestra Gulbenkian, Lawrence Foster | E♭ Major | 0 | 5B | 100 BPM | ||
Thaïs: Méditation | Jules Massenet, Bomsori, NFM Wrocław Philharmonic, Giancarlo Guerrero | D Major | 0 | 10B | 84 BPM | ||
Papillon, Op. 77 | Gabriel Fauré, Yo-Yo Ma, Kathryn Stott | A Major | 1 | 11B | 143 BPM | ||
String Quartet No. 1 in D Major, Op. 11: II. Andante cantabile | Pyotr Ilyich Tchaikovsky, New Haydn Quartet | B♭ Major | 0 | 6B | 89 BPM | ||
Two Dialogues with Postscript: III. Morning Serenade | Valentin Silvestrov, Hélène Grimaud, Camerata Salzburg | E Minor | 0 | 9A | 61 BPM |
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