Johann Strauss II, Nikolaus Harnoncourt, Berliner Philharmoniker's 'Strauss II, J: Die Tauben von San Marco, Op. 414' came out on 1986. With this song being about 5 minutes long, at 4:35, "Strauss II, J: Die Tauben von San Marco, Op. 414" by Johann Strauss II, Nikolaus Harnoncourt, Berliner Philharmoniker is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. There are a total of 13 in the song's album "Strauss, Johann II : Waltzes, Polkas & Marches (Apex)". In this album, this song's track order is #12. The popularity of Strauss II, J: Die Tauben von San Marco, Op. 414 is currently below average in popularity right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Strauss II, J: Die Tauben von San Marco, Op. 414 by Johann Strauss II, Nikolaus Harnoncourt, Berliner Philharmoniker having a BPM of 177 with a half-time of 88 BPM and a double-time of 354 BPM, we would consider this track to have a Presto (very, very fast) tempo marking. Because of this, we believe that the song has an overall fast tempo. The time signature for this track is 4/4.
This song is in the music key of D Major. 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 | ||
---|---|---|---|---|---|---|---|
Vocalise, Op. 34, No. 14 | Sergei Rachmaninoff, Berliner Philharmoniker, Lorin Maazel | E Minor | 1 | 9A | 76 BPM | ||
Carmen, Opera Suite No. 1: I. Prelude, Act 1 | London Festival Orchestra Alfred Scholz | G Minor | 1 | 6A | 47 BPM | ||
La Grande Duchess de Gerolstein, Acte III (Tableau 2): No 19: Entracte et Galop | Jacques Offenbach, Felicity Lott, Sandrine Piau, Yann Beuron, Choeur des Musiciens du Louvre, Les Musiciens du Louvre, Grenoble, Marc Minkowski | D Major | 4 | 10B | 92 BPM | ||
Peer Gynt Suite No. 2, Op. 55: II. Arabian Dance. Allegretto vivace | Edvard Grieg, Leonard Bernstein, New York Philharmonic | C Major | 3 | 8B | 129 BPM | ||
Valse-Caprice in E-Flat Major | Anton Rubinstein, Yevgeny Svetlanov, USSR State Symphony Orchestra | E♭ Major | 3 | 5B | 124 BPM | ||
Beethoven: Symphony No. 8 in F Major, Op. 93: I. Allegro vivace e con brio | Ludwig van Beethoven, Nikolaus Harnoncourt, Chamber Orchestra of Europe | G Minor | 1 | 6A | 111 BPM | ||
Fruhlingsstimmen (Voices Of Spring), Op. 410 | Strauss Festival Orchestra, Johann Strauss II | B♭ Major | 1 | 6B | 99 BPM | ||
Isabella: Overture | Franz von Suppé, Neeme Järvi, Royal Scottish National Orchestra | A Major | 2 | 11B | 99 BPM | ||
L'Italiana in Algeri (The Italian Girl in Algiers): Sinfonia | Gioachino Rossini, Prague Sinfonia, Christian Benda | C Major | 2 | 8B | 148 BPM | ||
La Damnation de Faust, Op.24: Hungarian March | Hector Berlioz, Herbert von Karajan, Berliner Philharmoniker | A Major | 3 | 11B | 106 BPM |
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