Julius Patzak, Margareta Kenney, Wiener Philharmoniker, Clemens Krauss's 'Salomé, Op. 54, TrV 215, Scène 4: "Sie ist ein Ungeheuer, deine Tochter" (Herod, Herodias)' came out on June 1, 2016. With Salomé, Op. 54, TrV 215, Scène 4: "Sie ist ein Ungeheuer, deine Tochter" (Herod, Herodias) being less than two minutes long, at 1:03, 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. There are a total of 248 in the song's album "Richard Strauss: Les grands opéras - La discothèque idéale de Diapason, Vol. 7". In this album, this song's track order is #26. Salomé, Op. 54, TrV 215, Scène 4: "Sie ist ein Ungeheuer, deine Tochter" (Herod, Herodias) is unknown right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Salomé, Op. 54, TrV 215, Scène 4: "Sie ist ein Ungeheuer, deine Tochter" (Herod, Herodias) by Julius Patzak, Margareta Kenney, Wiener Philharmoniker, Clemens Krauss having a BPM of 83 with a half-time of 42 BPM and a double-time of 166 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.
This song is in the music key of A♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Dvořák: Symphony No. 5 in F Major, Op. 76, B. 54: I. Allegro ma non troppo | Antonín Dvořák, Mariss Jansons, Oslo Philharmonic Orchestra | C Minor | 2 | 5A | 99 BPM | ||
Die Walküre, WWV 86B / Act III: "Hojotoho! Heiaha!" | Richard Wagner, Liselotte Rebmann, Danica Mastilovic, Ingrid Steger, Lilo Brockhaus, Carlotta Ordassy, Barbro Ericson, Cvetka Ahlin, Helga Jenckel, Berliner Philharmoniker, Herbert von Karajan | G Major | 4 | 9B | 93 BPM | ||
Stabat Mater: Cujus animam gementem | Gioachino Rossini, Lawrence Brownlee, Orchestra dell' Accademia Nazionale di Santa Cecilia, Roma, Antonio Pappano, Orchestra dell'Accademia Nazionale di Santa Cecilia | D Minor | 0 | 7A | 106 BPM | ||
Don Pasquale / Act I: Bella siccome un angelo | Gaetano Donizetti, Dmitri Hvorostovsky, Philharmonia Orchestra, Ion Marin | D♭ Major | 1 | 3B | 74 BPM | ||
Symphony No. 3 in D Minor: V. Lustig im Tempo und keck im Ausdruck | Gustav Mahler, Ewa Podles, Cracow Boys' Choir, Cracow Philharmonic Chorus, Polish National Radio Symphony Orchestra, Antoni Wit | C Major | 1 | 8B | 78 BPM | ||
Eine Symphonie zu Dantes Divina Commedia, S109/R426, "Dante Symphony": I. Inferno: Lento | Franz Liszt, Veronika Kincses, Hungarian Radio and Television Ladies Chorus, Budapest Symphony Orchestra, György Lehel | G Major | 4 | 9B | 169 BPM | ||
Myrthen, Op. 25: 24. Du bist wie eine Blume | Robert Schumann, Dietrich Fischer-Dieskau, Christoph Eschenbach | F♯ Major | 0 | 2B | 131 BPM | ||
Tosca / Act 3: "Come è lunga l'attesta!" | Giacomo Puccini, Katia Ricciarelli, Berliner Philharmoniker, Herbert von Karajan | A Minor | 1 | 8A | 71 BPM | ||
Die Fledermaus / Act I: Nr. 1 Introduktion: "Täubchen, das entflattert ist" | Johann Strauss II, Lucia Popp, René Kollo, Bavarian State Orchestra, Carlos Kleiber | G Major | 1 | 9B | 50 BPM | ||
La traviata / Act I: "E strano! ... Ah, fors'è lui" | Giuseppe Verdi, Ileana Cotrubas, Bavarian State Orchestra, Carlos Kleiber | F Major | 1 | 7B | 74 BPM |
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