"L’opéra de quat'sous, Act I: "Pour répondre à l"endurcissement croissant"" by Kurt Weill, Thomas Ostermeier was released on September 22, 2023. With L’opéra de quat'sous, Act I: "Pour répondre à l"endurcissement croissant" 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 Weill, Brecht & Hauptmann: L'opéra de quat'sous by Kurt Weill, Le Balcon, Maxime Pascal. The song's track number on the album is #5 out of 57 tracks. Based on our data, France was the country where this track was produced or recorded. L’opéra de quat'sous, Act I: "Pour répondre à l"endurcissement croissant" is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
Since L’opéra de quat'sous, Act I: "Pour répondre à l"endurcissement croissant" by Kurt Weill, Thomas Ostermeier has a tempo of 70 beats per a minute, the tempo markings of this song would be Adagio (slowly with great expression). With L’opéra de quat'sous, Act I: "Pour répondre à l"endurcissement croissant" being at 70 BPM, the half-time would be 35 BPM with a double-time of 140 BPM.In addition, we consider the tempo speed to be pretty slow for this song. The time signature for this track is 4/4.
This song is in the music key of B Minor. Or for those who are familiar with the camelot wheel, this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Quiet City | Aaron Copland, Paula Engerer, Scott Moore, Nashville Chamber Orchestra, Paul Gambill | F Major | 0 | 7B | 72 BPM | ||
Ciganské melodie (Gypsy Melodies), Op. 55: 4. Songs my mother taught me (Kdyz mne stara matka) | Antonín Dvořák, Magdalena Kozená, Malcolm Martineau | G Minor | 4 | 6A | 160 BPM | ||
Die Dreigroschenoper (The Threepenny Opera) (arr. M. Blitzstein): Act II: Ballad of Dependency (Mrs. Peachum) | Kurt Weill, Marc Blitzstein, Charlotte Rae, Artist Unknown, Samuel Matlowsky | G Minor | 6 | 6A | 96 BPM | ||
Youkali | Kurt Weill, Fatma Said, Quinteto Ángel, Tim Allhoff, Heinrich Kobberling | C Major | 1 | 8B | 116 BPM | ||
Happy End (1929) / Part 2 - Songs of Love and Innocence: 8. Salvation Army Song IV: In our childhood's bright | Kurt Weill, Mary Thomas, Philip Langridge, Ian Partridge, Benjamin Luxon, London Sinfonietta, David Atherton | C Major | 1 | 8B | 91 BPM | ||
Les Indes galantes, RCT 44, Nouvelle entrée, Les sauvages, Scène VI: Rondeau - Duo et choeur "Forêts paisibles" | Jean-Philippe Rameau, Teodor Currentzis | F♯ Minor | 3 | 11A | 98 BPM | ||
Symphony No. 6 in B Minor, Op. 74, TH 30 "Pathétique": IV. Finale (Adagio lamentoso - Andante) | Pyotr Ilyich Tchaikovsky, Leningrad Philharmonic Orchestra, Evgeny Mravinsky | B Minor | 1 | 10A | 83 BPM | ||
Flow, my tears | John Dowland, Andreas Martin, Andreas Scholl | F♯ Minor | 1 | 11A | 74 BPM | ||
Bergakungen, Op. 37: Vallflickans dans | Hugo Alfvén, Swedish Radio Symphony Orchestra, Stig Westerberg | G Major | 1 | 9B | 152 BPM | ||
Souvenir de Porto Rico (Marcha De Los Jibaros), Op. 31, RO 250 | Louis Moreau Gottschalk, Simon Ghraichy | E♭ Minor | 2 | 2A | 101 BPM |
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