Kurt Weill, Mary Thomas, Philip Langridge, Ian Partridge, Benjamin Luxon, London Sinfonietta, David Atherton's 'Happy End (1929) / Part 2 - Songs of Love and Innocence: 8. Salvation Army Song IV: In our childhood's bright' came out on January 1, 1976. With Happy End (1929) / Part 2 - Songs of Love and Innocence: 8. Salvation Army Song IV: In our childhood's bright 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: Kleine Dreigroschenmusik; Mahagonny Songspiel; Happy End; Berliner Requiem; Violin Concerto by Kurt Weill, London Sinfonietta, David Atherton. The song's track number on the album is #8 out of 42 tracks. In terms of popularity, Happy End (1929) / Part 2 - Songs of Love and Innocence: 8. Salvation Army Song IV: In our childhood's bright 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 Happy End (1929) / Part 2 - Songs of Love and Innocence: 8. Salvation Army Song IV: In our childhood's bright by Kurt Weill, Mary Thomas, Philip Langridge, Ian Partridge, Benjamin Luxon, London Sinfonietta, David Atherton has a tempo of 91 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Happy End (1929) / Part 2 - Songs of Love and Innocence: 8. Salvation Army Song IV: In our childhood's bright being at 91 BPM, the half-time would be 46 BPM with a double-time of 182 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 5/4.
This song is in the music key of C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Strauss, R: 4 Lieder, Op. 27: No. 4, Morgen! (Version with Orchestra) | Richard Strauss, Diana Damrau, Christian Thielemann, Munich Philharmonic Orchestra | G Major | 0 | 9B | 178 BPM | ||
Symphony No. 9 in E Minor Op. 95 "from the New World": I. Adagio - Allegro molto | Antonín Dvořák, Ferenc Fricsay, Berliner Philharmoniker | A Minor | 2 | 8A | 116 BPM | ||
Poème de Théophile de Viau: À Chloris | Reynaldo Hahn, Marie-Nicole Lemieux | E♭ Major | 1 | 5B | 59 BPM | ||
Die Dreigroschenoper: Akt III, Das Lied von der Unzulänglichkeit ("Der Mensch lebt durch den Kopf") | Kurt Weill, Willy Trenk-Trebitsch, Wolfgang Grunert, Wilhelm Brückner-Rüggeberg | A Minor | 1 | 8A | 72 BPM | ||
Flow, my tears | John Dowland, Andreas Martin, Andreas Scholl | F♯ Minor | 1 | 11A | 74 BPM | ||
8 Slavonic Dances, Op. 72, B. 147: No. 2 in E Minor (Allegretto grazioso) | Antonín Dvořák, Budapest Festival Orchestra, Iván Fischer | B♭ Major | 1 | 6B | 60 BPM | ||
Vocalise, Op. 34, No. 14 - Remastered | Sergei Rachmaninoff, Anna Moffo, Leopold Stokowski, American Symphony Orchestra | D Major | 1 | 10B | 100 BPM | ||
Die Dreigroschenoper: Ouvertüre ("Sie werden jetzt eine Oper für Bettler hören") | Kurt Weill, Wolfgang Neuss, Wilhelm Brückner-Rüggeberg | A Minor | 1 | 8A | 101 BPM | ||
Sea Pictures, Op. 37: No. 1, Sea Slumber-Song | Edward Elgar, Alice Coote, Sir Mark Elder, Hallé | C Minor | 3 | 5A | 133 BPM | ||
Trumpet Concerto in E-Flat Major, S. 49: III. Rondo. Allegro | Johann Nepomuk Hummel, Wynton Marsalis, Raymond Leppard, National Philharmonic Orchestra | E♭ Major | 3 | 5B | 148 BPM |
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