"Siegfried: Act II Scene 3: Was ihr mir nutzt, weiss ich nicht (Siegfried)" by Richard Wagner, Wolfgang Windgassen, Paul Kuen, Hans Hotter, Gustav Neidlinger, Arnold van Mill, Astrid Varnay, Bayreuth Festival Orchestra, Hans Knappertsbusch was released on May 2, 2012. Siegfried: Act II Scene 3: Was ihr mir nutzt, weiss ich nicht (Siegfried) appears to be safe for all ages as it is not explicit. The track order of this song in Richard Wagner, Hans Knappertsbusch's "Hans Knappertbusch: Richard Wagner's Der Ring Des Nibelungen" album is number 6 out of 205. On top of that, United States appears to be the country where this track was created. In terms of popularity, Siegfried: Act II Scene 3: Was ihr mir nutzt, weiss ich nicht (Siegfried) is currently unknown. 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 Siegfried: Act II Scene 3: Was ihr mir nutzt, weiss ich nicht (Siegfried) by Richard Wagner, Wolfgang Windgassen, Paul Kuen, Hans Hotter, Gustav Neidlinger, Arnold van Mill, Astrid Varnay, Bayreuth Festival Orchestra, Hans Knappertsbusch to be Andante (at a walking pace) because the track has a tempo of 93 BPM, a half-time of 46BPM, and a double-time of 186 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 3/4.
This song has a musical key of D♭ Major. This also means that this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphonie fantastique, Op. 14, H 48: IV. Marche au supplice | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | B♭ Major | 1 | 6B | 155 BPM | ||
Romeo and Juliet, Op. 64 - Act 1: The Quarrel | Sergei Prokofiev, Cleveland Orchestra, Lorin Maazel | B Minor | 4 | 10A | 91 BPM | ||
Verdi: Messa da Requiem: I. Introit - Kyrie | Giuseppe Verdi, Riccardo Muti, Cheryl Studer, Coro Del Teatro Alla Scala Di Milano, Dolora Zajic, Luciano Pavarotti, Samuel Ramey, Orchestra Del Teatro Alla Scala, Milano | C Major | 2 | 8B | 114 BPM | ||
Pomp and Circumstance Marches, Op. 39: March No. 4 in G Major | Edward Elgar, London Philharmonic Orchestra, Sir Georg Solti | G Major | 3 | 9B | 118 BPM | ||
Stravinsky: Symphony in C: I. Moderato alla breve | Igor Stravinsky, Sir Simon Rattle, Berliner Philharmoniker | C Major | 0 | 8B | 147 BPM | ||
Prince Igor (Knyaz Igor): Act I: Greshno tait': ya skuki nye lyublyu (I don't like boredom) (Galitzky) | Alexander Borodin, Angelina Shvachka, Dmytro Popov, Mykola Koval, Taras Shtonda, Mykola Hobdych, Kiev Chamber Choir, Ukraine National Radio Symphony Orchestra, Theodore Kuchar | B Major | 4 | 1B | 84 BPM | ||
Tchaikovsky : Symphony No.5 in E minor Op.64 : III Valse - Allegro moderato | Pyotr Ilyich Tchaikovsky, Daniel Barenboim, Chicago Symphony Orchestra | A Major | 1 | 11B | 146 BPM | ||
The Sorcerer's Apprentice | Philharmonia Orchestra | D♭ Major | 2 | 3B | 130 BPM | ||
Tristan und Isolde, WWV 90: Prelude (Excerpt) | Richard Wagner, Seattle Symphony Orchestra, Gerard Schwarz | A Minor | 0 | 8A | 66 BPM | ||
L’arlésienne Suite No. 2 (Arr. E. Guiraud): I. Pastorale | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | A Major | 0 | 11B | 117 BPM |
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