"Die Frau ohne Schatten, Op. 65, TrV 234 / Act 3: Mir anvertraut - Live" by Richard Strauss, Walter Berry, Birgit Nilsson, Vienna State Opera Orchestra, Karl Böhm was released on January 1, 1985. With this song being around four minutes long, at 3:33, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. There are a total of 39 in the song's album "Strauss, R.: Die Frau ohne Schatten". In this album, this song's track order is #2. Furthermore, we believe that the track originated from Germany. Die Frau ohne Schatten, Op. 65, TrV 234 / Act 3: Mir anvertraut - Live 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.
With Die Frau ohne Schatten, Op. 65, TrV 234 / Act 3: Mir anvertraut - Live by Richard Strauss, Walter Berry, Birgit Nilsson, Vienna State Opera Orchestra, Karl Böhm having a BPM of 77 with a half-time of 38 BPM and a double-time of 154 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
This song has a musical key of D♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Don Quixote, Op. 35, TrV 184: Variation III. Gespräche zwischen Ritter und Knappe | Richard Strauss, Oslo Philharmonic Orchestra, Vasily Petrenko, Louisa Tuck, Catherine Bullock | C Major | 0 | 8B | 134 BPM | ||
Spartacus, Act III: Adagio of Spartacus and Phrygia (arr. Y. Grigorovich) [1968 Bolshoi Version] | Aram Khachaturian, RIAS Kammerchor, Deutsches Symphonie-Orchester Berlin, Michail Jurowski | E Major | 2 | 12B | 123 BPM | ||
Elektra: Xi. Was bluten muss? | Hugo von Hofmannsthal, Richard Strauss, Laila Andersson-palme, Royal Swedish Opera Orchestra, Siegfried Köhler | A♭ Major | 2 | 4B | 106 BPM | ||
Death of Usurer: Adagio | Valery Gergiev, London Symphony Orchestra | C Minor | 0 | 5A | 108 BPM | ||
Piano Concerto in A Minor, Op.16: II. Adagio | Edvard Grieg, Javier Perianes, Sakari Oramo, BBC Symphony Orchestra | D♭ Major | 0 | 3B | 93 BPM | ||
Symphony No. 1 in D Major: 3. Feierlich und gemessen, ohne zu schleppen - Live | Gustav Mahler, Berliner Philharmoniker, Claudio Abbado | G Minor | 0 | 6A | 56 BPM | ||
Piano Concerto No. 2 in C Minor, Op. 18: I. Moderato | Sergei Rachmaninoff, Arthur Rubinstein, Fritz Reiner | C Minor | 1 | 5A | 71 BPM | ||
Overture "A Midsummer Night's Dream", Op.21 | Felix Mendelssohn, Boston Symphony Orchestra, Seiji Ozawa | E Major | 1 | 12B | 139 BPM | ||
Symphonie fantastique, Op. 14, H 48: II. Un Bal | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | A Major | 1 | 11B | 113 BPM | ||
Schumann: Symphony No. 3 in E-Flat Major, Op. 97 "Rhenish": IV. Feierlich | Robert Schumann, Staatskapelle Dresden, Wolfgang Sawallisch | E♭ Minor | 1 | 2A | 79 BPM |
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