"Die Frau ohne Schatten, Op. 65, TrV 234 / Act 2: Falke, Falke, du Wiedergefundener - Live" by Richard Strauss, James King, Vienna State Opera Orchestra, Karl Böhm was released on January 1, 1985. Die Frau ohne Schatten, Op. 65, TrV 234 / Act 2: Falke, Falke, du Wiedergefundener - Live appears to be safe for all ages as it is not explicit. 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 #4. Furthermore, we believe that the track originated from Germany. Die Frau ohne Schatten, Op. 65, TrV 234 / Act 2: Falke, Falke, du Wiedergefundener - 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 2: Falke, Falke, du Wiedergefundener - Live by Richard Strauss, James King, Vienna State Opera Orchestra, Karl Böhm having a BPM of 87 with a half-time of 44 BPM and a double-time of 174 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. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
This song has a musical key of B Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 1B. So, the perfect camelot match for 1B would be either 1B or 2A. While, 2B can give you a low energy boost. For moderate energy boost, you would use 10B and a high energy boost can either be 3B or 8B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 1A or 12B will give you a low energy drop, 4B would be a moderate one, and 11B or 6B would be a high energy drop. Lastly, 10A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony No.9 In E Minor, Op.95, B.178 - "From The New World": 3. Scherzo (Molto vivace) | Antonín Dvořák, Berliner Philharmoniker, Rafael Kubelík | E Minor | 1 | 9A | 125 BPM | ||
Prélude à l'après-midi d'un faune, L.86 | Claude Debussy, Timothy Hutchins, Orchestre Symphonique de Montréal, Charles Dutoit | A♭ Minor | 0 | 1A | 90 BPM | ||
Carmen Suite No. 1: 3. Intermezzo | Georges Bizet, Orchestre de Paris, Semyon Bychkov | B♭ Major | 0 | 6B | 74 BPM | ||
Sorochintsi Fair, Act I: Gopak (Hopak) | Modest Mussorgsky, Slovak Philharmonic, Kenneth Jean | G Major | 2 | 9B | 127 BPM | ||
Overture "A Midsummer Night's Dream", Op.21 | Felix Mendelssohn, Boston Symphony Orchestra, Seiji Ozawa | E Major | 1 | 12B | 139 BPM | ||
Symphony in E Minor, Op. 32, "Gaelic Symphony": II. Alla siciliana - Allegro vivace - Andante | Amy Beach, Nashville Symphony Orchestra, Kenneth Schermerhorn | F Major | 0 | 7B | 122 BPM | ||
Elgar: Cello Concerto in E Minor, Op. 85: II. Lento - Allegro molto | Edward Elgar, Jacqueline du Pré, London Symphony Orchestra, Sir John Barbirolli | G Major | 2 | 9B | 87 BPM | ||
St. Paul's Suite, Op. 29, No. 2: III. Intermezzo | Gustav Holst, English Sinfonia, Howard Griffiths | E Minor | 1 | 9A | 132 BPM | ||
Symphonie fantastique, Op. 14, H 48: II. Un Bal | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | A Major | 1 | 11B | 113 BPM | ||
Symphony in C Minor, EG 119: II. Adagio espressivo | Edvard Grieg, Malmö Symphony Orchestra, Bjarte Engeset | E Major | 1 | 12B | 78 BPM |
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