"Die Gezeichneten / Act 2: Ich bitt' Euch, sprecht nicht und blickt mich nur an" by Franz Schreker, Elizabeth Connell, Heinz Kruse, Deutsches Symphonie-Orchester Berlin, Lothar Zagrosek was released on January 1, 1995. With this song being around four minutes long, at 3:51, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. There are a total of 33 in the song's album "Schrecker: Die Gezeichneten". In this album, this song's track order is #9. Furthermore, we believe that the track originated from United Kingdom. Die Gezeichneten / Act 2: Ich bitt' Euch, sprecht nicht und blickt mich nur an 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 Die Gezeichneten / Act 2: Ich bitt' Euch, sprecht nicht und blickt mich nur an by Franz Schreker, Elizabeth Connell, Heinz Kruse, Deutsches Symphonie-Orchester Berlin, Lothar Zagrosek having a BPM of 85 with a half-time of 42 BPM and a double-time of 170 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 3/4.
A 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 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Turangalîla Symphonie: 1. Introduction | Olivier Messiaen, Yvonne Loriod, Jeanne Loriod, Orchestre de l'Opéra Bastille, Myung-Whun Chung | E♭ Minor | 4 | 2A | 143 BPM | ||
Verklärte Nacht, Op. 4: Grave (Takt 1) | Arnold Schoenberg, Orpheus Chamber Orchestra | F Major | 5 | 7B | 84 BPM | ||
Poulenc: Piano Concerto in C-Sharp Minor, FP 146: II. Andante con moto | Francis Poulenc, James Conlon, Rotterdam Philharmonic Orchestra | E♭ Major | 0 | 5B | 175 BPM | ||
Bocherini / Arr Grützmacher: Cello Concerto No. 9 in B-Flat Major, G. 482: II. Adagio non troppo (Arr. Grützmacher) | Luigi Boccherini, Jacqueline du Pré, Daniel Barenboim, English Chamber Orchestra | G Minor | 1 | 6A | 86 BPM | ||
Berceuse, Op. 16 | Gabriel Fauré, Michael Healy, RTE Sinfonietta, John Georgiadis | D Major | 0 | 10B | 75 BPM | ||
Violin Sonata (version for clarinet and piano): II. Lento | Emma Johnson | E♭ Major | 0 | 5B | 73 BPM | ||
Must the Devil Have All the Good Tunes?: II. Much Slower; Gently, Relaxed | John Adams, Yuja Wang, Los Angeles Philharmonic, Gustavo Dudamel | F Major | 1 | 7B | 60 BPM | ||
Der ferne Klang, Act I Scene 4: Das war ein lustiges Spiel! (Vigelius, Grete, Graumann, Mutter, Chor) | Franz Schreker, Frankfurter Opern- und Museumsorchester, Sebastian Weigle, Magnus Baldvinsson, Dietrich Volle, Barbara Zechmeister, Jennifer Holloway, Chor der Oper Frankfurt | A Major | 4 | 11B | 89 BPM | ||
Schoenberg: Verklärte Nacht, Op. 4: II. Molto rallentando | Arnold Schoenberg, Daniel Barenboim, Chicago Symphony Orchestra, Charles Pikler, John Sharp, Joseph Golan, Li-Kuo Chang, Ruben Gonzalez, Stephen Balderston | E Major | 2 | 12B | 76 BPM | ||
Arcadiana, Op. 12: VI. O Albion | Thomas Adès, Signum Quartet | E♭ Major | 0 | 5B | 72 BPM |
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