Franz Lehár, Esther Rethy, Fred Liewehr made "Wo die Lerche singt, Act II: Dialog 3 (Vilma, Sándor)" available on March 6, 2015. The duration of Wo die Lerche singt, Act II: Dialog 3 (Vilma, Sándor) is about two minutes long, specifically at 2:44. This song does not appear to have any foul language. Wo die Lerche singt, Act II: Dialog 3 (Vilma, Sándor)'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 21 out of 29. On top of that, Germany appears to be the country where this track was created. In terms of popularity, Wo die Lerche singt, Act II: Dialog 3 (Vilma, Sándor) is currently unknown. Even with the track produces more of a neutral energy, it is pretty danceable compared to others.
We consider the tempo marking of Wo die Lerche singt, Act II: Dialog 3 (Vilma, Sándor) by Franz Lehár, Esther Rethy, Fred Liewehr to be Moderato (at a moderate speed) because the track has a tempo of 110 BPM, a half-time of 55BPM, and a double-time of 220 BPM. Based on that, the speed of the song's tempo is moderate. The time signature for this track is 5/4.
A♭ Major is the music key of this track. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Iphigénie en Tauride, Wq. 46 (Excerpts): Les Dieux longtemps en courroux | Christoph Willibald Gluck, Munich Radio Orchestra, Lamberto Gardelli, Bavarian Radio Chorus | C Major | 2 | 8B | 86 BPM | ||
Puccini: La bohème, Act 1: "O soave fanciulla" (Rodolfo, Mimì) | Giacomo Puccini, James Conlon, Barbara Hendricks, José Carreras, Orchestre National De France | D♭ Minor | 2 | 12A | 168 BPM | ||
Der Probekuss: In Saus und Braus | Carl Millöcker, Wiener Johann Strauss Orchester, Alfred Eschwe | F Major | 4 | 7B | 78 BPM | ||
Music for the Royal Fireworks, HWV 351: IV. La rejouissance | George Frideric Handel, Le Concert Spirituel, Herve Niquet | D♭ Major | 4 | 3B | 107 BPM | ||
Manon Lescaut: Act I: Donna non vidi mai simile a questa! | Giacomo Puccini, Lucienne van Deyck, Miriam Gauci, Donald George, Ludwig van Gijzegem, Kaludi Kaludov, Henk Lauwers, Marcel Rosca, Vicente Sardinero, BRT Philharmonic Chorus, Jaak Gregoor Choir, Belgian Radio and Television Philharmonic Orchestra, Alexander Rahbari | D Major | 0 | 10B | 83 BPM | ||
Serenade, Op 6: I | Toselli, Promising Philharmonic Orchestra | D Major | 2 | 10B | 86 BPM | ||
Le nozze di Figaro, K.492 / Act 4: "Deh vieni, non tardar" | Wolfgang Amadeus Mozart, Dawn Upshaw, Metropolitan Opera Orchestra, James Levine | F Major | 0 | 7B | 97 BPM | ||
Wo die Lerche singt, Act I: "Bitte nehmens' doch Platz bei der Laube" - "Auf dem Bankerl" (Vilma, Margit, Pál) | Franz Lehár, Großes Wiener Rundfunkorchester, Esther Rethy, Else Macha, Ernst Tautenhayn | A♭ Major | 2 | 4B | 110 BPM | ||
Die Csardasfurstin (The Gypsy Princess), Act II: Duet: Tanzen mochte ich | Emmerich Kálmán, Ruth-Margret Putz, Heinz Hoppe, Berlin Municipal Opera Orchestra, Hansgeorg Otto | D Major | 2 | 10B | 86 BPM | ||
Caro mio ben (Arr. Marriner) | Tomasso Giordani, Dmitri Hvorostovsky, Academy of St. Martin in the Fields, Sir Neville Marriner | D Major | 2 | 10B | 96 BPM |
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