"Schubert: 4 Lieder, Op. 88: No. 4, An die Musik, D. 547" by Franz Schubert, Elisabeth Schwarzkopf, Edwin Fischer was released on 1953. The duration of Schubert: 4 Lieder, Op. 88: No. 4, An die Musik, D. 547 is about two minutes long, specifically at 2:40. This song does not appear to have any foul language. Schubert: 4 Lieder, Op. 88: No. 4, An die Musik, D. 547's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 12 in the song's album "Schubert: Lieder". In this album, this song's track order is #1. Furthermore, we believe that the track originated from United Kingdom. Schubert: 4 Lieder, Op. 88: No. 4, An die Musik, D. 547 is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Schubert: 4 Lieder, Op. 88: No. 4, An die Musik, D. 547 by Franz Schubert, Elisabeth Schwarzkopf, Edwin Fischer having a BPM of 71 with a half-time of 36 BPM and a double-time of 142 BPM, we would consider this track to have a Adagio (slowly with great expression) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
D Major is the music key of this track. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Schubert: Rosamunde, Op. 26, D. 797: Entr'acte III | Franz Schubert, Sir Neville Marriner, Academy of St. Martin in the Fields | F Major | 0 | 7B | 121 BPM | ||
Norma (1997 - Remaster), Act I, Scene 1: Casta diva (Norma/Coro) | Vincenzo Bellini, Maria Callas, Coro Del Teatro Alla Scala Di Milano, Orchestra Del Teatro Alla Scala, Milano, Tullio Serafin, Orchestra Del Teatro Alla Scala Di Milan | F Major | 1 | 7B | 140 BPM | ||
Poème de Paul Verlaine: L'heure exquise | Reynaldo Hahn, Marie-Nicole Lemieux | B Major | 0 | 1B | 94 BPM | ||
Serse / Act 1, HWV 40: "Ombra mai fu" | George Frideric Handel, Renée Fleming, Orchestra of the Age of Enlightenment, Harry Bicket | E Major | 2 | 12B | 175 BPM | ||
Artaserse, Act III, Scene 1: Aria "Son qual nave ch'agitata" (Arbace) | Riccardo Broschi, Derek Lee Ragin | D♭ Major | 2 | 3B | 125 BPM | ||
Poulenc: Dialogues des Carmélites, FP 159, Act 3 Tableau 4: "Salve Regina" (La Foule, Les Carmélites) | Francis Poulenc, José van Dam, Kent Nagano, Orchestre De L'Opéra National De Lyon | G Minor | 1 | 6A | 89 BPM | ||
L'elisir d'Amor: Una furtiva lagrima | Carlo Bergonzi | F Minor | 3 | 4A | 63 BPM | ||
Mass No. 6 in E-Flat Major, D. 950: Sanctus: Sanctus Dominus | Franz Schubert, Birte Kulawik, Dorothea Craxton, Cornelia Rosenthal, Raimund Minarschik, Rolf Ehlers, Klaus Schredl, Immortal Bach Ensemble, Leipzig Chamber Orchestra, Morten Schuldt-Jensen | D Major | 3 | 10B | 142 BPM | ||
Oboe Concerto in D Minor, Op. 9, No. 2: II. Adagio | Tomaso Albinoni, Anthony Camden, London Virtuosi, John Georgiadis | B♭ Major | 1 | 6B | 75 BPM | ||
La Bohème (1991 Digital Remaster), Act I: Sì. Mi chiamano Mimì (Mimì/Rodolfo) | Giacomo Puccini, Nicolai Gedda, Thomas Schippers, Orchestra Del Teatro Dell'Opera Di Roma | D Major | 1 | 10B | 181 BPM |
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