"Mozart: Als Luise die Briefe, K. 520" by Wolfgang Amadeus Mozart, Barbara Bonney was released on October 1, 1991. With Mozart: Als Luise die Briefe, K. 520 being less than two minutes long, at 1:47, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The track order of this song in Barbara Bonney's "Mozart : Lieder (Elatus)" album is number 14 out of 22. On top of that, Germany appears to be the country where this track was created. In terms of popularity, Mozart: Als Luise die Briefe, K. 520 is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Mozart: Als Luise die Briefe, K. 520 by Wolfgang Amadeus Mozart, Barbara Bonney to be Andante (at a walking pace) because the track has a tempo of 94 BPM, a half-time of 47BPM, and a double-time of 188 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 4/4.
The music key of this track is D♭ Minor. This also means that this song has a camelot key of 12A. So, the perfect camelot match for 12A would be either 12A or 11B. While, a low energy boost can consist of either 12B or 1A. For moderate energy boost, you would use 9A and a high energy boost can either be 2A or 7A. However, if you are looking for a low energy drop, finding a song with a camelot key of 11A would be a great choice. Where 3A would give you a moderate drop, and 10A or 5A would be a high energy drop. Lastly, 3B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Die Schöpfung Hob. XXI:2 / Dritter Teil: 34. Schlußchor mit Soli: Singt dem Herren alle Stimmen | Franz Joseph Haydn, Gösta Winbergh, Kathleen Battle, Kurt Moll, Berliner Philharmoniker, James Levine, Stockholm Radio Chorus, Stockholm Chamber Choir, Gustav Sjökvist | A♭ Major | 1 | 4B | 66 BPM | ||
Verschwiegene Liebe | Hugo Wolf, Jonas Kaufmann, Helmut Deutsch | A Major | 0 | 11B | 74 BPM | ||
Grande Messe en ut mineur, K. 427: Gloria | Wolfgang Amadeus Mozart, Orchestre & Chorale Paul Kuentz, Barbara Schlick, Mechthild Georg, Alexander Stevenson, Philip Langshaw | C Major | 2 | 8B | 90 BPM | ||
The Magic Flute, K. 620, Act II: Ach! Ich fühl's, es ist verschwunden | Wolfgang Amadeus Mozart, Wilfried Gahmlich, Anna Gonda, Hungarian Festival Chorus, Budapest Failoni Chamber Orchestra, Michael Halasz, Hellen Kwon, Lotte Leitner, Herbert Lippert, Elizabeth Norberg-Schulz, Kurt Rydl, Georg Tichy, Julia Faulkner, Waltraud Winsauer | G Minor | 0 | 6A | 181 BPM | ||
Liebeslieder-Walzer, Op.52 - Verses From "Polydora": 1. Rede, Mädchen, allzu liebes | Johannes Brahms, Edith Mathis, Brigitte Fassbaender, Peter Schreier, Dietrich Fischer-Dieskau, Karl Engel, Wolfgang Sawallisch | E Major | 1 | 12B | 94 BPM | ||
Zigeunerlieder Op. 103: II. Hochgetürmte Rimaflut | Johannes Brahms, Anne Sofie von Otter, Bengt Forsberg | E Major | 0 | 12B | 81 BPM | ||
German Requiem, Op. 45: Denn wir haben hie keine bleibende Statt | Johannes Brahms, London Symphony Orchestra, Valery Gergiev, Christopher Maltman, London Symphony Chorus | E♭ Major | 0 | 5B | 98 BPM | ||
Brahms: Ein deutsches Requiem, Op. 45: III. Herr, lehre doch mich | Johannes Brahms, Sir Simon Rattle, Rundfunkchor Berlin, Berliner Philharmoniker | B♭ Major | 0 | 6B | 120 BPM | ||
Grande Messe en ut mineur, K. 427: Et incarnatus est | Wolfgang Amadeus Mozart, Orchestre & Chorale Paul Kuentz, Barbara Schlick, Mechthild Georg, Alexander Stevenson, Philip Langshaw | A Minor | 3 | 8A | 168 BPM | ||
Dixit and Magnificat, K. 193: II. Magnificat | Wolfgang Amadeus Mozart, Greta de Reyghere, Marijke van Arnhem, Renaat Deckers, Jan van der Crabben, Capella Brugensis, Collegium Instrumentale Brugense, Patrick Peire | C Major | 1 | 8B | 109 BPM |
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