Albert Lortzing, Monika Krause, Josef Protschka, Heinz Kruse, John Janssen, Christine Hampe, Andreas Schmidt, Ingeborg Most, Klaus Hager, Günter Wewel, Dirk Schortemeier, Cologne West German Radio Chorus, Cologne West German Radio Orchestra, Kurt Peter Eichhorn made "Undine: Act IV: Dialogue: Lasst mich in Ruh (Veit, Hans)" available on January 1, 2005. With Undine: Act IV: Dialogue: Lasst mich in Ruh (Veit, Hans) being less than two minutes long, at 1:18, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The track order of this song in Albert Lortzing, Monika Krause, Kurt Peter Eichhorn's "Lortzing, A.: Undine [Opera]" album is number 16 out of 37. On top of that, United States appears to be the country where this track was created. Based on our statistics, Undine: Act IV: Dialogue: Lasst mich in Ruh (Veit, Hans)'s popularity is unknown right now. Even with the track produces more of a neutral energy, it is pretty danceable compared to others.
We consider the tempo marking of Undine: Act IV: Dialogue: Lasst mich in Ruh (Veit, Hans) by Albert Lortzing, Monika Krause, Josef Protschka, Heinz Kruse, John Janssen, Christine Hampe, Andreas Schmidt, Ingeborg Most, Klaus Hager, Günter Wewel, Dirk Schortemeier, Cologne West German Radio Chorus, Cologne West German Radio Orchestra, Kurt Peter Eichhorn to be Allegro (fast, quick, and bright) because the track has a tempo of 128 BPM, a half-time of 64BPM, and a double-time of 256 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 1/4.
A♭ Major is the music key of this track. This also means that this song has a camelot key of 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Act II: Prelude | Albert Lortzing, Staatskapelle Dresden, Bernhard Klee | C Major | 2 | 8B | 137 BPM | ||
Symphony No.6 In F, Op.68 -"Pastoral": 5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm: Allegretto | Ludwig van Beethoven, Berliner Philharmoniker, Herbert von Karajan | F Major | 1 | 7B | 89 BPM | ||
交響曲 第40番 K.550~第4楽章 | リボル・ペシェック, Czech National Symphony Orchestra | G Minor | 3 | 6A | 133 BPM | ||
Zar und Zimmermann: Holzschutanz | Munchener Rundfunkorchester, Heinz Wallberg | E♭ Major | 1 | 5B | 87 BPM | ||
Symphony in D Major, G. 500: IV. Presto | Luigi Boccherini, German Chamber Academy Neuss, Johannes Goritzki | D Major | 3 | 10B | 91 BPM | ||
The Haunting Hour | Emiliano Branda | B♭ Major | 2 | 6B | 151 BPM | ||
Die erste Walpurgisnacht, Op. 60: So weit gebracht, dass wir bei Nacht (Baritone, Chorus) | Felix Mendelssohn, MDR Leipzig Radio Chorus, Kurt Masur, Leipzig Gewandhaus Orchestra, Siegfried Lorenz | C Major | 3 | 8B | 83 BPM | ||
Armida: Sinfonia | Gioachino Rossini, José Miguel Pérez-Sierra, Krakow Philharmonic Orchestra | D Major | 4 | 10B | 74 BPM | ||
Der Rosenkavalier, Op. 59, TrV 227 / Act I: Introduction | Richard Strauss, Staatskapelle Dresden, Karl Böhm | D Major | 1 | 10B | 105 BPM | ||
Ungarische Galoppe Oder Frischka, Op. 36: No. 2 In A Major | Slovak Sinfonietta, Zilina, Johann Strauss I | E Major | 1 | 12B | 170 BPM |
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