Staatskapelle Dresden, Otmar Suitner, Harald Neukirch's 'Die verkaufte Braut, JB 1:100, Act II: "Teurer Sohn, sprach Mütterlein"' came out on 1965. The duration of Die verkaufte Braut, JB 1:100, Act II: "Teurer Sohn, sprach Mütterlein" is about two minutes long, specifically at 2:29. This song does not appear to have any foul language. Die verkaufte Braut, JB 1:100, Act II: "Teurer Sohn, sprach Mütterlein"'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 13 in the song's album "Smetana: Die verkaufte Braut (Highlights - Sung in German)". In this album, this song's track order is #8. In terms of popularity, Die verkaufte Braut, JB 1:100, Act II: "Teurer Sohn, sprach Mütterlein" is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Die verkaufte Braut, JB 1:100, Act II: "Teurer Sohn, sprach Mütterlein" by Staatskapelle Dresden, Otmar Suitner, Harald Neukirch having a BPM of 92 with a half-time of 46 BPM and a double-time of 184 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 C Major. 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 | ||
---|---|---|---|---|---|---|---|
21 Hungarian Dances, WoO 1: Hungarian Dance No. 16 in F Minor | Seattle Symphony Orchestra, Johannes Brahms, Gerard Schwarz | F Major | 1 | 7B | 83 BPM | ||
Symphony for Flute, Oboe, Horn and Strings in D Major: II. Andantino | Domenico Cimarosa, Chopin Chamber Orchestra, Winston Dan Vogel | B♭ Major | 0 | 6B | 0 BPM | ||
Elektra, Op.58, TrV 223: "Was bluten muß? Dein eigenes Genick" | Richard Strauss, Inge Borkh, Jean Madeira, Staatskapelle Dresden, Karl Böhm | B♭ Major | 5 | 6B | 107 BPM | ||
Holberg Suite, Op. 40: 3. Gavotte (Allegretto) - Musette (poco più mosso) - Gavotte | Edvard Grieg, Gothenburg Symphony Orchestra, Neeme Järvi | G Major | 0 | 9B | 78 BPM | ||
Saint-Saëns: Symphony No. 3 in C Minor, Op. 78, "Organ": Maestoso - Allegro | Camille Saint-Saëns, Orchestre Du Capitole De Toulouse, Michel Plasson, Orchestre National Du Capitole De Toulouse | C Major | 4 | 8B | 98 BPM | ||
Il barbiere di Siviglia / Act 1: No.2 Cavatina: "Largo al factotum" | Gioachino Rossini, Dmitri Hvorostovsky, Philharmonia Orchestra, Ion Marin | C Major | 3 | 8B | 148 BPM | ||
Salut d'amour, Op. 12 (version for orchestra) | Edward Elgar, Slovak Radio Symphony Orchestra, Adrian Leaper | B♭ Major | 1 | 6B | 82 BPM | ||
La Cenerentola: Overture (Sinfonia) | Gioachino Rossini, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly | A Minor | 1 | 8A | 116 BPM | ||
Piano Concerto No. 2 in C Minor, Op. 18: I. Moderato | Sergei Rachmaninoff, Arthur Rubinstein, Fritz Reiner | C Minor | 1 | 5A | 71 BPM | ||
Wagner: Rienzi, WWV 49, Act 1 Scene 4: "Erstehe, hohe Roma, neu!" (Rienzi, Cecco, Adriano, Baroncelli, Raimondo, Irene, Chorus) | Richard Wagner, Heinrich Hollreiser, Staatskapelle Dresden | G Minor | 1 | 6A | 63 BPM |
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