"Die Meistersinger von Nürnberg (1999 Digital Remaster), Act Three, Scene Four: Die selige Morgentraum-Deutweise....Selig, wie die Sonne (Sachs/Eva/Walther/David/Magdalene)" by Karl Ridderbusch, Chor Des Reichssenders Leipzig, Theo Adam, Zoltan Kelemen, Horst Lunow, Horst Reeh, Helen Donath, Hermann Christian Polster, René Kollo, Staatskapelle Dresden, Peter Bindszus, Geraint Evans, Eberhard Büchner, Kurt Moll, Herbert von Karajan, Hans-Joachim Rotzsch, Siegfried Vogel, Horst Hiestermann, Ruth Hesse, Dresden State Opera Chorus, Peter Schreier was released on 2004. Die Meistersinger von Nürnberg (1999 Digital Remaster), Act Three, Scene Four: Die selige Morgentraum-Deutweise....Selig, wie die Sonne (Sachs/Eva/Walther/David/Magdalene) is about six minutes long, preciously at 5:32, making this song fairly long compared to other songs. There is only one song in 100 Best Opera Classics, so we believe that "Die Meistersinger von Nürnberg (1999 Digital Remaster), Act Three, Scene Four: Die selige Morgentraum-Deutweise....Selig, wie die Sonne (Sachs/Eva/Walther/David/Magdalene)" is a single. Die Meistersinger von Nürnberg (1999 Digital Remaster), Act Three, Scene Four: Die selige Morgentraum-Deutweise....Selig, wie die Sonne (Sachs/Eva/Walther/David/Magdalene) is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of Die Meistersinger von Nürnberg (1999 Digital Remaster), Act Three, Scene Four: Die selige Morgentraum-Deutweise....Selig, wie die Sonne (Sachs/Eva/Walther/David/Magdalene) by Karl Ridderbusch, Chor Des Reichssenders Leipzig, Theo Adam, Zoltan Kelemen, Horst Lunow, Horst Reeh, Helen Donath, Hermann Christian Polster, René Kollo, Staatskapelle Dresden, Peter Bindszus, Geraint Evans, Eberhard Büchner, Kurt Moll, Herbert von Karajan, Hans-Joachim Rotzsch, Siegfried Vogel, Horst Hiestermann, Ruth Hesse, Dresden State Opera Chorus, Peter Schreier is Adagio (slowly with great expression), since this song has a tempo of 76 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of F♯ Minor. This also means that this song has a camelot key of 11A. So, the perfect camelot match for 11A would be either 11A or 10B. While, a low energy boost can consist of either 11B or 12A. For moderate energy boost, you would use 8A and a high energy boost can either be 1A or 6A. However, if you are looking for a low energy drop, finding a song with a camelot key of 10A would be a great choice. Where 2A would give you a moderate drop, and 9A or 4A would be a high energy drop. Lastly, 2B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Weber: Der Freischütz, Op. 77, J. 277, Act 1 Scene 5: No. 4, Lied, "Hier im ird'schen Jammertal" (Kaspar, Max) | Carl Maria von Weber, Elisabeth Grümmer, Berliner Philharmoniker, Joseph Keilberth | E Minor | 0 | 9A | 89 BPM | ||
Der Rosenkavalier, Op. 59, TrV 227, Act III: Act III: Marie Theres'! … Hab' mir's gelobt (Octavian, Marschallin, Sophie, Faninal) | Richard Strauss, Lorenz Fehenberger, Chor der Bayerischen Staatsoper, Bavarian State Orchestra, Gerhard Unger, Claire Watson, Lucia Popp, Brigitte Fassbaender, Benno Kusche, Karl Ridderbusch, David Thaw, Albrecht Peter, Annelie Waas, Margarethe Bence, Georg Paskuda, Franz Klarwein, Hans Wilbrink, Carlos Kleiber | D♭ Major | 2 | 3B | 79 BPM | ||
Bach, JS: Matthäus-Passion, BWV 244, Pt. 1: No. 11, Rezitativ. "Er antwortete und sprach" | Johann Sebastian Bach, Concentus Musicus Wien, Nikolaus Harnoncourt, Karl Ridderbusch, Kurt Equiluz, Max van Egmond | E Minor | 1 | 9A | 81 BPM | ||
Rusalka, Op.114 / Act 1: Jel mlady lovec, jel a jel | Antonín Dvořák, Ivan Kusnjer, Ben Heppner, Czech Philharmonic Orchestra, Sir Charles Mackerras | A♭ Major | 0 | 4B | 126 BPM | ||
Götterdämmerung, WWV 86D / Act I: "Da sann ich nach: von seiner Seite durch stumme Reihen stahl ich mich fort" | Richard Wagner, Helga Dernesch, Christa Ludwig, Berliner Philharmoniker, Herbert von Karajan | C Major | 1 | 8B | 103 BPM | ||
La Cenerentola / Act 1: "Miei rampolli femminini" | Gioachino Rossini, Enzo Dara, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly | C Major | 3 | 8B | 137 BPM | ||
Strauss, R: Der Rosenkavalier, Op. 59, Act 1: "Lachst du mich aus? ... Lach' ich dich aus?" (Octavian, Marschallin) | Richard Strauss, Herbert von Karajan, Elisabeth Schwarzkopf, Christa Ludwig, Philharmonia Orchestra | A Major | 0 | 11B | 123 BPM | ||
Die lustigen Weiber von Windsor / Act 2: Wer klopft? Mach auf, Herr Fluth | Otto Nicolai, Wolfgang Brendel, Heinz Zednik, Alfred Sramek, Alexander Malta, Helen Donath, Karl Ridderbusch, Trudeliese Schmidt, Bavarian Radio Symphony Orchestra, Rafael Kubelík | G Major | 3 | 9B | 125 BPM | ||
Das Rheingold, WWV 86A / Dritte Szene: "Nibelheim hier" | Richard Wagner, Dietrich Fischer-Dieskau, Gerhard Stolze, Erwin Wohlfahrt, Berliner Philharmoniker, Herbert von Karajan | G Minor | 2 | 6A | 100 BPM | ||
Die Fledermaus / Act I: Nr. 1 Introduktion: "Täubchen, das entflattert ist" | Johann Strauss II, Lucia Popp, René Kollo, Bavarian State Orchestra, Carlos Kleiber | G Major | 1 | 9B | 50 BPM |
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