Kurt Weill, Rias-Sinfonietta Berlin, John Mauceri's 'Die Dreigroschenoper: Overtüre' came out on January 1, 1988. The duration of Die Dreigroschenoper: Overtüre is about two minutes long, specifically at 2:32. This song does not appear to have any foul language. Die Dreigroschenoper: Overtüre's duration is considered a little bit shorter than the average duration of a typical track. This song is part of Weill: The Threepenny Opera by Kurt Weill, René Kollo, Mario Adorf, Helga Dernesch, Ute Lemper, Milva, Wolfgang Reichmann, Susanne Tremper, Rolf Boysen, Rias-Sinfonietta Berlin, John Mauceri. The song's track number on the album is #1 out of 27 tracks. In terms of popularity, Die Dreigroschenoper: Overtüre is currently not that popular. Although the overall vibe is very danceable, it does project more negative sounds.
Since Die Dreigroschenoper: Overtüre by Kurt Weill, Rias-Sinfonietta Berlin, John Mauceri has a tempo of 96 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Die Dreigroschenoper: Overtüre being at 96 BPM, the half-time would be 48 BPM with a double-time of 192 BPM.In addition, we consider the tempo speed to be pretty slow for this song. The time signature for this track is 3/4.
This song is in the music key of F Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Mozart: Die Zauberflöte, K. 620: Overture | Wolfgang Amadeus Mozart, Bernard Haitink, Bavarian Radio Symphony Orchestra | D♭ Minor | 2 | 12A | 93 BPM | ||
Turangalîla Symphonie: 1. Introduction | Olivier Messiaen, Yvonne Loriod, Jeanne Loriod, Orchestre de l'Opéra Bastille, Myung-Whun Chung | E♭ Minor | 4 | 2A | 143 BPM | ||
Oedipus Rex, Prologue and Act I: "Spectateurs, vous allez entendre…" | Igor Stravinsky, London Symphony Orchestra, Stuart Skelton, Fanny Ardant, The Monteverdi Choir, John Eliot Gardiner | B♭ Minor | 1 | 3A | 172 BPM | ||
Buddy on the Nightshift | Kurt Weill, Oscar Hammerstein II, Jiří Hájek, Jan Kučera, Epoque Quartet, Epoque Orchestra, Miroslav Hloucal Jazz Band | D Minor | 3 | 7A | 129 BPM | ||
Symphonic Dances from "West Side Story" *: Symphonic Dances from West Side Story: Mambo (Meno presto) | Leonard Bernstein, New York Philharmonic, West Side Story Original Broadway Cast | E Minor | 8 | 9A | 137 BPM | ||
Strauss, R: Vier letzte Lieder, TrV 196: I. Frühling | Richard Strauss, Elisabeth Schwarzkopf, George Szell, Radio-Sinfonie-Orchester Berlin | A♭ Major | 2 | 4B | 83 BPM | ||
Turandot / Act 1: "Popoli di Pekino!" | Giacomo Puccini, Sabin Markov, Montserrat Caballé, Luciano Pavarotti, Nicolai Ghiaurov, John Alldis Choir, London Philharmonic Orchestra, Zubin Mehta | A♭ Major | 3 | 4B | 134 BPM | ||
Hoffmanns Erzählungen: Prologue: Aus dem Becher kommt der Trunk | Jacques Offenbach, Kölner Rundfunkchor, Kölner Rundfunk-Sinfonie-Orchester, Chor, Eugen Szenkar | C Major | 3 | 8B | 75 BPM | ||
Die Dreigroschenoper: Seeräuberjenny | Kurt Weill, René Kollo, Ute Lemper, Rias-Sinfonietta Berlin, John Mauceri | D Minor | 1 | 7A | 78 BPM | ||
Songs of Travel: The Infinite Shining Heavens | Ralph Vaughan Williams, Roderick Williams, Iain Burnside | B♭ Major | 0 | 6B | 168 BPM |
Section: 0.6020841598510742
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