Johann Strauss II, Erich Kunz, Anton Paulik, Vienna Volksoper Orchestra made "Eine Nacht in Venedig: Ach, wie so herrlich (Recorded 1949)" available on January 1, 2008. The duration of Eine Nacht in Venedig: Ach, wie so herrlich (Recorded 1949) is about 3 minutes long, at 3:23. Based on our data, "Eine Nacht in Venedig: Ach, wie so herrlich (Recorded 1949)" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 44 in the song's album "Strauss: Die Fledermaus (Recorded 1950)". In this album, this song's track order is #27. Furthermore, we believe that the track originated from United Kingdom. Based on our statistics, Eine Nacht in Venedig: Ach, wie so herrlich (Recorded 1949)'s popularity is unknown right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
With Eine Nacht in Venedig: Ach, wie so herrlich (Recorded 1949) by Johann Strauss II, Erich Kunz, Anton Paulik, Vienna Volksoper Orchestra having a BPM of 138 with a half-time of 69 BPM and a double-time of 276 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 4/4.
This song is in the music key of B♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Bruch : Violin Concerto No.1 in G minor Op.26 : III Finale - Allegro energico | Max Bruch, Maxim Vengerov, Kurt Masur, Gewandhausorchester Leipzig | G Major | 2 | 9B | 90 BPM | ||
Les contes d'Hoffmann (The Tales of Hoffmann): Tales of Hoffman: Intermezzo | Jacques Offenbach, Slovak Radio Symphony Orchestra, Keith Clark | G Major | 1 | 9B | 93 BPM | ||
Coppelia: Act I - Valse | Léo Delibes, Slovak Radio Symphony Orchestra, Andrew Mogrelia | E♭ Major | 0 | 5B | 89 BPM | ||
Boccerini: Minuet In D | Richard Hartley | A Major | 1 | 11B | 200 BPM | ||
The 4 Seasons: Violin Concerto in E major, Op. 8, No. 1, RV 269, "La primavera" (Spring): I. Allegro | Karoly Botvay | E Major | 1 | 12B | 95 BPM | ||
La vie parisienne, Polka | Jacques Offenbach, Budapest Strauss Ensemble, Istvan Bogar | G Major | 4 | 9B | 105 BPM | ||
Polovtsian Dances From "Prince Igor" | Alexander Borodin, Torgny Sporsen, Gothenburg Symphony Orchestra, Neeme Järvi, Gothenburg Symphony Choir | D Major | 1 | 10B | 103 BPM | ||
Der Zigeunerbaron: Act I: Als flotter Geist | Johann Strauss II, Ingrid Kertesi, János Berkes, Hungarian Operetta Orchestra, Laszlo Kovacs | G Major | 1 | 9B | 92 BPM | ||
Obertura De Guillermo Tell (Final) | Gioachino Rossini, Inma Shara | E Major | 6 | 12B | 145 BPM | ||
Die Gottin der Vernunft: Overture | Johann Strauss II, Veronika Groiss, Manfred Equiluz, Kirlianit Cortes, Franz Fodinger, Isabella Ma-Zach, Wolfgang Veith, Eva-Maria Kumpfmuller, Andreas Mittermeier, Nicolas Legoux, Vienna Private University Conservatory Students, Slovak Sinfonietta, Zilina, Christian Pollack | D Major | 1 | 10B | 111 BPM |
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