Carl Orff, Cleveland Orchestra, Michael Tilson Thomas made "Carmina Burana: Were diu werlt alle min" available on 1975. With Carmina Burana: Were diu werlt alle min 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. There are a total of 26 in the song's album "Orff: Carmina Baruna". In this album, this song's track order is #11. Carmina Burana: Were diu werlt alle min is not that popular right now. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
With Carmina Burana: Were diu werlt alle min by Carl Orff, Cleveland Orchestra, Michael Tilson Thomas 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.
C Major is the music key of this track. 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 | ||
---|---|---|---|---|---|---|---|
Pictures at an Exhibition: The Great Gate at Kiev | Modest Mussorgsky, George Szell, Cleveland Orchestra | E♭ Major | 1 | 5B | 131 BPM | ||
Schumann: Symphony No. 3 in E-Flat Major, Op. 97, Rhenish: IV. Feierlich | Robert Schumann, San Francisco Symphony, Michael Tilson Thomas | E♭ Minor | 1 | 2A | 62 BPM | ||
Symphony No.8 in E flat - "Symphony of a Thousand" / Part One: Hymnus "Veni creator spiritus": "Accende lumen sensibus" | Gustav Mahler, Heather Harper, Lucia Popp, Yvonne Minton, Helen Watts, René Kollo, John Shirley-Quirk, Martti Talvela, Vienna Boys' Choir, Wiener Singverein, Vienna State Opera Chorus, Chicago Symphony Orchestra, Sir Georg Solti | E Major | 5 | 12B | 70 BPM | ||
Cavalleria rusticana: "Voi lo sapete, o mamma" | Pietro Mascagni, Elina Garanca, Orquestra de la Comunitat Valenciana, Roberto Abbado | E Minor | 2 | 9A | 168 BPM | ||
Carmina Burana Suite, "Cantiones profanae" (arr. J. Krance): VI. Were diu werlt alle min (Were the world all mine) | John Krance, Carl Orff, Florida All-State Symphonic Band, Richard Clary | C Major | 3 | 8B | 74 BPM | ||
4 Sacred Pieces (Quattro pezzi sacri): Ave Maria | Giuseppe Verdi, Cheryl Studer, Wiener Philharmoniker, Claudio Abbado, Vienna State Opera Chorus, Norbert Balatsch | G Major | 0 | 9B | 81 BPM | ||
Pictures at an Exhibition: Bydlo | Modest Mussorgsky, George Szell, Cleveland Orchestra | D♭ Major | 0 | 3B | 79 BPM | ||
Wiegenlied beim Mondschein zu singen, Matthias Claudius, für Sprechstimme und drei Marimbaphone (Paralipomena Nr. 33, Carl Orff 1977) | Carl Orff, Sonja Korkeala, Carolin Widmann, Karl Peinkofer, Andreas Schumacher, Markus Zahnhausen, Wilfried Hiller, Martin Ruhland, Godela Orff, Max Frey | C Major | 0 | 8B | 77 BPM | ||
Schumann: Symphony No. 1 in B-Flat Major, Op. 38, Spring: II. Larghetto | Robert Schumann, San Francisco Symphony, Michael Tilson Thomas | E♭ Major | 1 | 5B | 57 BPM | ||
L'elisir d'amore / Act 2: "Ei corregge ogni difetto" | Gaetano Donizetti, Spiro Malas, Dame Joan Sutherland, Luciano Pavarotti, Dominic Cossa, Ambrosian Opera Chorus, English Chamber Orchestra, Richard Bonynge | B♭ Major | 3 | 6B | 126 BPM |
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