Franz Lehár, Esther Rethy, Else Macha, Ernst Tautenhayn made "Wo die Lerche singt, Act I: Dialog 5 (Vilma, Margit, Pál)" available on March 6, 2015. With Wo die Lerche singt, Act I: Dialog 5 (Vilma, Margit, Pál) 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. The track order of this song in Franz Lehár, Großes Wiener Rundfunkorchester, Ernst Tautenhayn, Else Macha's "Lehár: Wo die Lerche singt" album is number 10 out of 29. On top of that, Germany appears to be the country where this track was created. Wo die Lerche singt, Act I: Dialog 5 (Vilma, Margit, Pál) is unknown right now. The overall tone is very danceable, especially with its high energy, which produces more of a euphoric, cheerful, or happy vibe.
We consider the tempo marking of Wo die Lerche singt, Act I: Dialog 5 (Vilma, Margit, Pál) by Franz Lehár, Esther Rethy, Else Macha, Ernst Tautenhayn to be Andante (at a walking pace) because the track has a tempo of 88 BPM, a half-time of 44BPM, and a double-time of 176 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 3/4.
B Major is the music key of this track. This also means that this song has a camelot key of 1B. So, the perfect camelot match for 1B would be either 1B or 2A. While, 2B can give you a low energy boost. For moderate energy boost, you would use 10B and a high energy boost can either be 3B or 8B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 1A or 12B will give you a low energy drop, 4B would be a moderate one, and 11B or 6B would be a high energy drop. Lastly, 10A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Phonix, Op. 105: Phonix-Marsch, Op. 105 | Josef Strauss, Slovak State Philharmonic Orchestra, Kosice, Michael Dittrich | E♭ Major | 5 | 5B | 108 BPM | ||
Carmen, WD 31 / Act 1: "L'amour est un oiseau rebelle" | Georges Bizet, Marilyn Horne, Wiener Opernchor, Wiener Opernorchester, Henry Lewis | D Major | 2 | 10B | 129 BPM | ||
Suor Angelica: Senza mamma, o bimbo | Giacomo Puccini, Mirella Freni, Orchestra del Maggio Musicale Fiorentino, Bruno Bartoletti | F Major | 3 | 7B | 75 BPM | ||
Canzonetta spagnuola | Gioachino Rossini, Giuseppina Bridelli, Alessandro Marangoni | D Major | 4 | 10B | 103 BPM | ||
Rossini : La Cenerentola : Act 2 "Non più mesta accanto al fuoco" [Cenerentola, Clorinda, Tisbe, Dandini, Magnifico, Chorus] | Gioachino Rossini, Carlo Rizzi, Orchestra of the Royal Opera House, Covent Garden | E Major | 2 | 12B | 127 BPM | ||
Rossini: La cenerentola, Act 2: "Nacqui all'affanno e al pianto.....Non più mesta" (Angelina) | Gioachino Rossini, Maria Callas, Nicola Rescigno, Orchestre De La Société Des Concerts Du Conservatoire | E Major | 1 | 12B | 122 BPM | ||
Donizetti: L'elisir d'amore, Act 2: "Una furtiva lagrima" (Nemorino) | Gaetano Donizetti, Marcello Viotti, English Chamber Orchestra, Roberto Alagna | A♭ Major | 0 | 4B | 181 BPM | ||
Serenade, Op 6: I | Toselli, Promising Philharmonic Orchestra | D Major | 2 | 10B | 86 BPM | ||
L'elisir d'Amor: Una furtiva lagrima | Carlo Bergonzi | F Minor | 3 | 4A | 63 BPM | ||
Coppélia / Tableau 1: No. 1 Valse | Léo Delibes, Orchestre de la Suisse Romande, Richard Bonynge | C Minor | 1 | 5A | 75 BPM |
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