Carl Maria von Weber, Staatskapelle Dresden, Carlos Kleiber, MDR Leipzig Radio Chorus made "Der Freischütz, J. 277 / Act III: "Was gleicht wohl auf Erden dem Jägervergnügen?"" available on January 1, 1973. The duration of Der Freischütz, J. 277 / Act III: "Was gleicht wohl auf Erden dem Jägervergnügen?" is about two minutes long, specifically at 2:28. This song does not appear to have any foul language. Der Freischütz, J. 277 / Act III: "Was gleicht wohl auf Erden dem Jägervergnügen?"'s duration is considered a little bit shorter than the average duration of a typical track. This song is part of Weber: Der Freischütz by Carl Maria von Weber, Staatskapelle Dresden, Carlos Kleiber. The song's track number on the album is #9 out of 30 tracks. Based on our data, Germany was the country where this track was produced or recorded. Based on our statistics, Der Freischütz, J. 277 / Act III: "Was gleicht wohl auf Erden dem Jägervergnügen?"'s popularity is below average in popularity right now. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
Since Der Freischütz, J. 277 / Act III: "Was gleicht wohl auf Erden dem Jägervergnügen?" by Carl Maria von Weber, Staatskapelle Dresden, Carlos Kleiber, MDR Leipzig Radio Chorus has a tempo of 124 beats per a minute, the tempo markings of this song would be Allegro (fast, quick, and bright). With Der Freischütz, J. 277 / Act III: "Was gleicht wohl auf Erden dem Jägervergnügen?" being at 124 BPM, the half-time would be 62 BPM with a double-time of 248 BPM.In addition, we consider the tempo speed to be pretty fast for this song. This makes this song perfect for activities such as, walking. The time signature for this track is 4/4.
D 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 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 | ||
---|---|---|---|---|---|---|---|
Die Zauberflöte, K.620 / Zweiter Aufzug: "Papagena, Papagena, Papagena! Weibchen, Täubchen" | Wolfgang Amadeus Mozart, Rosl Schwaiger, Antonia Fahberg, Lisa Otto, Raili Kostia, Dietrich Fischer-Dieskau, Berliner Philharmoniker, Karl Böhm | G Major | 2 | 9B | 107 BPM | ||
Die Zauberflöte, K.620 / Act 1: "Bei Männern, welche Liebe fühlen" | Wolfgang Amadeus Mozart, Dorothea Röschmann, Hanno Müller-Brachmann, Mahler Chamber Orchestra, Claudio Abbado | E♭ Major | 0 | 5B | 95 BPM | ||
Carmen, Act IV, No.26 Marche et Choeur: Les voici! Voici le quadrille! (Choeurs/Enfants) | Georges Bizet, Choeur Les Elements, Orchestre National Du Capitole De Toulouse, Michel Plasson, Wolff | D♭ Minor | 2 | 12A | 93 BPM | ||
Carmina Burana / I. Primo vere: "Omnia Sol temperat" | Carl Orff, Dietrich Fischer-Dieskau, Orchester der Deutschen Oper Berlin, Eugen Jochum | B♭ Major | 0 | 6B | 76 BPM | ||
Faust / Act 2: No.7 Ronde du veau d'or: "Le veau d'or" | Charles Gounod, René Pape, Staatskapelle Dresden, Sebastian Weigle, Men's Chorus of the Dresden State Opera Chorus, Ulrich Paetzholdt | F Minor | 4 | 4A | 119 BPM | ||
Les contes d'Hoffmann (The Tales of Hoffmann) (arr. M. Rosenthal for orchestra): Ouverture - Barbe-Bleu | Jacques Offenbach, Manuel Rosenthal, Monte-Carlo Philharmonic Orchestra | E Major | 3 | 12B | 134 BPM | ||
Die erste Walpurgisnacht, Op. 60: Hilf, ach hilf mir, Kriegsgeselle (Tenor, Male Chorus) | Felix Mendelssohn, MDR Leipzig Radio Chorus, Kurt Masur, Leipzig Gewandhaus Orchestra, Eberhard Büchner | F Major | 1 | 7B | 68 BPM | ||
Piano Concerto No. 1 in C Major, Op. 11, J. 98: II. Adagio | Carl Maria von Weber, Benjamin Frith, RTE Sinfonietta, Proinnsias O'Duinn | A♭ Major | 0 | 4B | 95 BPM | ||
Eugene Onegin, Op. 24, TH. 5 / Act I: Scene and Quartet. "Mesdames! Ya na sebya vzyal smyelost" | Pyotr Ilyich Tchaikovsky, Mirella Freni, Anne Sofie von Otter, Rosemarie Lang, Neil Shicoff, Thomas Allen, Staatskapelle Dresden, James Levine | E Minor | 2 | 9A | 78 BPM | ||
Tristan und Isolde / Act 3: "Hei nun! Wie du kamst?" | Richard Wagner, Dietrich Fischer-Dieskau, René Kollo, Staatskapelle Dresden, Carlos Kleiber | F Minor | 2 | 4A | 170 BPM |
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