Franz Lehár, Großes Wiener Rundfunkorchester, Ernst Tautenhayn's 'Wo die Lerche singt, Act I: "Was geh'n mich an die Leute" (Pál)' came out on March 6, 2015. The duration of Wo die Lerche singt, Act I: "Was geh'n mich an die Leute" (Pál) is about two minutes long, specifically at 2:43. This song does not appear to have any foul language. Wo die Lerche singt, Act I: "Was geh'n mich an die Leute" (Pál)'s duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Franz Lehár, Großes Wiener Rundfunkorchester, Ernst Tautenhayn, Else Macha's "Lehár: Wo die Lerche singt" album is number 4 out of 29. On top of that, Germany appears to be the country where this track was created. Based on our statistics, Wo die Lerche singt, Act I: "Was geh'n mich an die Leute" (Pál)'s popularity is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Wo die Lerche singt, Act I: "Was geh'n mich an die Leute" (Pál) by Franz Lehár, Großes Wiener Rundfunkorchester, Ernst Tautenhayn to be Allegro (fast, quick, and bright) because the track has a tempo of 145 BPM, a half-time of 72BPM, and a double-time of 290 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, jogging or cycling, can go well with this song. The time signature for this track is 1/4.
D Major is the music key of this track. This also means that this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Kleiner Anzeiger | Joseph Hellmesberger, Jr., Göttingen Symphony Orchestra, Christian Simonis | E♭ Major | 4 | 5B | 146 BPM | ||
Die tote Stadt, Op. 12: Mein Sehnen, mein Wähnen (Pierrot's Tanzlied) | Erich Wolfgang Korngold, Samuel Hasselhorn, Poznań Philharmonic Orchestra, Łukasz Borowicz | F Major | 1 | 7B | 129 BPM | ||
La Vergine degli angeli | Lesley Garrett, Ivor Bolton, Britten Sinfonia | C Major | 2 | 8B | 129 BPM | ||
Turandot, Act 2: "in Questa Reggia" | Birgit Nilsson | D Major | 3 | 10B | 85 BPM | ||
Alpine Rose - Polka Op. 127 | Eduard Strauss, Hallé, Bramwell Tovey | C Major | 0 | 8B | 112 BPM | ||
La Cenerentola / Act 1: "O figlie amabili" | Gioachino Rossini, Fernanda Costa, Gloria Banditelli, Cecilia Bartoli, Michele Pertusi, Coro del Teatro Comunale di Bologna, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly | F Major | 2 | 7B | 86 BPM | ||
String Quartet in F, H.III No.17, Op.3 No.5 - "Serenade": 2. Andante cantabile | Roman Hoffstetter, I Musici | C Major | 0 | 8B | 88 BPM | ||
Waldeinsamkeit | Max Reger, Regula Mühlemann, Adrian Baianu | G Major | 1 | 9B | 104 BPM | ||
Life and Works: Rusalka (Act I: Song to the Moon) | Sean Barrett | F♯ Major | 0 | 2B | 126 BPM | ||
The Bartered Bride, Act I Scene V: Introduction. Polka | Bedřich Smetana, Sir Charles Mackerras, Philharmonic Orchestra, The Royal Opera Chorus | C Major | 3 | 8B | 103 BPM |
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