"Schlagobers Ballet, Op. 70: Act I. Aufzug. Die Firmlinge betreten die Konditorei" by Richard Strauss, Tokyo Metropolitan Symphony Orchestra, Hiroshi Wakasugi was released on January 1, 1989. The duration of Schlagobers Ballet, Op. 70: Act I. Aufzug. Die Firmlinge betreten die Konditorei is about two minutes long, specifically at 2:28. This song does not appear to have any foul language. Schlagobers Ballet, Op. 70: Act I. Aufzug. Die Firmlinge betreten die Konditorei's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 27 in the song's album "Schlagobers, Opus 70". In this album, this song's track order is #2. Furthermore, we believe that the track originated from United States. Schlagobers Ballet, Op. 70: Act I. Aufzug. Die Firmlinge betreten die Konditorei 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.
With Schlagobers Ballet, Op. 70: Act I. Aufzug. Die Firmlinge betreten die Konditorei by Richard Strauss, Tokyo Metropolitan Symphony Orchestra, Hiroshi Wakasugi having a BPM of 64 with a half-time of 32 BPM and a double-time of 128 BPM, we would consider this track to have a Larghetto (rather broadly) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
This song has a musical key of D♭ Minor. Or for those who are familiar with the camelot wheel, this song has a camelot key of 12A. So, the perfect camelot match for 12A would be either 12A or 11B. While, a low energy boost can consist of either 12B or 1A. For moderate energy boost, you would use 9A and a high energy boost can either be 2A or 7A. However, if you are looking for a low energy drop, finding a song with a camelot key of 11A would be a great choice. Where 3A would give you a moderate drop, and 10A or 5A would be a high energy drop. Lastly, 3B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Love's Labour's Lost, Op. 28a: III. Dumaine's Poem | Gerald Finzi, Robert Plane, Royal Northern Sinfonia, Howard Griffiths | G Minor | 1 | 6A | 105 BPM | ||
Kinderszenen, Op.15: 12. Kind im Einschlummern | Robert Schumann, Martha Argerich | E Minor | 0 | 9A | 123 BPM | ||
Haydn: Cello Concerto No. 1 in C Major, Hob. VIIb, 1: I. Moderato (Cadenza by Britten) | Franz Joseph Haydn, Mstislav Rostropovich, Academy of St. Martin in the Fields | C Major | 1 | 8B | 68 BPM | ||
Vaughan Williams: Job, a Masque for Dancing, Scene 9: Epilogue | Ralph Vaughan Williams, Andrew Davis, BBC Symphony Orchestra | G Minor | 0 | 6A | 99 BPM | ||
Strauss, R: Vier letzte Lieder, TrV 196: I. Frühling | Richard Strauss, Elisabeth Schwarzkopf, George Szell, Radio-Sinfonie-Orchester Berlin | A♭ Major | 2 | 4B | 83 BPM | ||
Saint-Saëns: Carnival of the Animals: V. The Elephant | Camille Saint-Saëns, Antonio Pappano, Martha Argerich, Orchestra dell'Accademia Nazionale di Santa Cecilia | E♭ Major | 0 | 5B | 114 BPM | ||
Salome, Op. 54 / Scene 1: "Nach mir wird Einer kommen" | Richard Strauss, Marianne Rorholm, Clemens Bieber, Bryn Terfel, Bengt Rundgren, William Murray, Klaus Lang, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | G Major | 0 | 9B | 82 BPM | ||
Romeo and Juliet, Op. 64 - Act 1: The Fight | Sergei Prokofiev, Cleveland Orchestra, Lorin Maazel | C Major | 4 | 8B | 108 BPM | ||
String Quintet In C, D. 956: 3. Scherzo (Presto) - Trio (Andante sostenuto) | Franz Schubert, Mstislav Rostropovich, Emerson String Quartet | C Major | 2 | 8B | 107 BPM | ||
The Young Person's Guide to the Orchestra: Variations and Fugue on a Theme of Henry Purcell, Op. 34: Theme | Benjamin Britten, London Symphony Orchestra, Steuart Bedford | B♭ Major | 1 | 6B | 83 BPM |
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