"Act I: Wie kannst du so mein Herz touchieren?" by Albert Lortzing, Hans Sotin, Staatskapelle Dresden, Bernhard Klee was released on February 26, 1984. With Act I: Wie kannst du so mein Herz touchieren? being less than two minutes long, at 1:29, 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, Staatskapelle Dresden, Rundfunkchor Berlin, Peter Schreier, Bernhard Klee's "Lortzing: Der Wildschütz" album is number 8 out of 46. On top of that, Germany appears to be the country where this track was created. Act I: Wie kannst du so mein Herz touchieren? 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.
We consider the tempo marking of Act I: Wie kannst du so mein Herz touchieren? by Albert Lortzing, Hans Sotin, Staatskapelle Dresden, Bernhard Klee to be Andante (at a walking pace) because the track has a tempo of 86 BPM, a half-time of 43BPM, and a double-time of 172 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 4/4.
E♭ Major is the music key of this track. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Haydn: The Seven Last Words of Christ, Hob. XX:1: Sonata IV. "Deus meus, ut quid dereliquisti me?" | Joseph Haydn, Sir Neville Marriner, Academy of St. Martin in the Fields | G Minor | 3 | 6A | 115 BPM | ||
25 Études faciles et progressives, Op. 100: No. 10, Tendre fleur | Franz Burgmüller, The Gerst Ensemble | D Major | 0 | 10B | 75 BPM | ||
Divertimento No. 1, Op. 20: V. Csurdongolo (Stamping dance) | Leó Weiner, Budapest Strings, Karoly Botvay | G Major | 1 | 9B | 146 BPM | ||
Leichtes Blut, Polka schnell, Op.319 | Johann Strauss II, Berliner Philharmoniker, Herbert von Karajan | C Major | 3 | 8B | 85 BPM | ||
Marschner: Hans Heiling, Op. 80: "Gönne mir ein wort der Liebe" (Konrad) | Heinrich Marschner, Michael Spyres, Christophe Rousset, Les Talens Lyriques | G Major | 1 | 9B | 62 BPM | ||
Hungarian Dance No. 10 in F Major, WoO 1 (Orch. Brahms) | Johannes Brahms, NDR Elbphilharmonie Orchester, John Eliot Gardiner | B Minor | 3 | 10A | 150 BPM | ||
Hans Sachs: Overture | Albert Lortzing, Friederike Sailer, Richard Wolker, Karl Mikorey, Albert Vogler, Max Kohl, Margot Weindl, Hermann Guttendobler, Heinz Breitschaft, Nuremberg Community Choir, Karl Schmitt-Walter, Franconia State Orchestra, Max Loy | B♭ Major | 1 | 6B | 78 BPM | ||
Armida: Sinfonia | Gioachino Rossini, José Miguel Pérez-Sierra, Krakow Philharmonic Orchestra | D Major | 4 | 10B | 74 BPM | ||
Peer Gynt Suite No. 2, Op. 55: I. The Abduction (Ingrid's Lament) | Edvard Grieg, Berliner Philharmoniker, Herbert von Karajan | G Minor | 1 | 6A | 135 BPM | ||
Sibelius: Symphony No. 5 in E-Flat Major, Op. 82: II. Andante mosso, quasi allegretto (1915 Version) | Jean Sibelius, San Francisco Symphony, Esa-Pekka Salonen | G Major | 0 | 9B | 131 BPM |
Section: 0.8707473278045654
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