Paul Hindemith, Leonard Bernstein, New York Philharmonic's 'Konzertmusik für Streichorchester und Blechbläser, Op. 50: Lebhaft I' came out on November 2, 2018. The duration of Konzertmusik für Streichorchester und Blechbläser, Op. 50: Lebhaft I is about two minutes long, specifically at 2:00. This song does not appear to have any foul language. Konzertmusik für Streichorchester und Blechbläser, Op. 50: Lebhaft I's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Leonard Bernstein's "Hindemith: Symphonic Metamorphoses & Concert Music, Op. 50 - Honegger: Pacific 231 & Rugby & Pastorale d'été" album is number 7 out of 13. Based on our statistics, Konzertmusik für Streichorchester und Blechbläser, Op. 50: Lebhaft I's popularity 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.
We consider the tempo marking of Konzertmusik für Streichorchester und Blechbläser, Op. 50: Lebhaft I by Paul Hindemith, Leonard Bernstein, New York Philharmonic to be Allegro (fast, quick, and bright) because the track has a tempo of 143 BPM, a half-time of 72BPM, and a double-time of 286 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, jogging or cycling, can go well with this song. The time signature for this track is 4/4.
This song has a musical key of D Major. This also means that this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphonic Metamorphoses on Themes by Carl Maria von Weber: 1. Allegro | Paul Hindemith, San Francisco Symphony, Herbert Blomstedt | A Minor | 4 | 8A | 108 BPM | ||
Béatrice et Bénédict, Op. 27, H 138: Ouverture | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | G Major | 0 | 9B | 101 BPM | ||
Concerto for Orchestra, Sz. 116: III. Elegia (Andante, non troppo) | Béla Bartók, Chicago Symphony Orchestra, Pierre Boulez | D Major | 1 | 10B | 73 BPM | ||
Troisième livre de pièces de clavecin: 18ème ordre, Le tic-toc-choc ou les maillotins - Adapted by Marina Baranova | François Couperin, Marina Baranova | A♭ Major | 0 | 4B | 69 BPM | ||
Mathis Der Maler, 1st Tableau, Scene 1: Sonniges Land. Mildes Drängen schon nahen Sommers (Mathis) | Paul Hindemith, Rafael Kubelik, Bayerischer Rundfunk, Bavarian Radio Symphony Orchestra | E Minor | 1 | 9A | 88 BPM | ||
Piano Concerto No. 1 in C Minor, Op. 35: III. Moderato - | Dmitri Shostakovich, Boris Giltburg, Royal Liverpool Philharmonic Orchestra, Vasily Petrenko | A♭ Major | 1 | 4B | 149 BPM | ||
Symphony No. 5: IV. Passacaglia. Moderato | Ralph Vaughan Williams, Richard Hickox, London Symphony Orchestra | C Minor | 1 | 5A | 123 BPM | ||
Music for Strings, Percussion and Celesta, Sz. 106: II. Allegro | Béla Bartók, Chicago Symphony Orchestra, Sir Georg Solti | D♭ Major | 2 | 3B | 142 BPM | ||
Schoenberg: Verklärte Nacht, Op. 4: I. Grave | Arnold Schoenberg, Daniel Barenboim, Chicago Symphony Orchestra, Charles Pikler, John Sharp, Joseph Golan, Li-Kuo Chang, Ruben Gonzalez, Stephen Balderston | D Minor | 1 | 7A | 174 BPM | ||
Symphony No. 4, Op. 29 "The Inextinguishable": II. Poco allegretto | Carl Nielsen, Danish National Symphony Orchestra, Fabio Luisi | C Major | 0 | 8B | 77 BPM |
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