Robert Schumann, San Francisco Symphony, Michael Tilson Thomas's 'Schumann: Symphony No. 2 in C Major, Op. 61: II. Scherzo (Allegro vivace)' came out on November 10, 2017. Since Schumann: Symphony No. 2 in C Major, Op. 61: II. Scherzo (Allegro vivace) is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. There are a total of 17 in the song's album "Schumann: Symphonies Nos. 1-4". In this album, this song's track order is #6. Based on our statistics, Schumann: Symphony No. 2 in C Major, Op. 61: II. Scherzo (Allegro vivace)'s popularity is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Schumann: Symphony No. 2 in C Major, Op. 61: II. Scherzo (Allegro vivace) by Robert Schumann, San Francisco Symphony, Michael Tilson Thomas having a BPM of 126 with a half-time of 63 BPM and a double-time of 252 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 has a musical key of G Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Pelléas et Mélisande, Op.80: 1. Prélude | Gabriel Fauré, Academy of St. Martin in the Fields, Sir Neville Marriner | G Major | 1 | 9B | 134 BPM | ||
Barber: Adagio for Strings, Op. 11a (After "Molto adagio" from String Quartet, Op. 11) | Samuel Barber, London Symphony Orchestra, Michael Tilson Thomas | D Minor | 0 | 7A | 75 BPM | ||
Rêverie, L. 68: Rêverie | Claude Debussy, Jean-Yves Thibaudet | G Minor | 0 | 6A | 69 BPM | ||
Prince Igor / Act 2: Dance of the Polovtsian Maidens | Alexander Borodin, Bavarian Radio Symphony Orchestra, Esa-Pekka Salonen | F Major | 1 | 7B | 100 BPM | ||
Czech Dances, Book 1: No. 4. Polka in B-Flat Major | Bedřich Smetana, Antonin Kubalek | F Major | 1 | 7B | 69 BPM | ||
Piano Concerto in A minor, Op. 16: II. Adagio | Edvard Grieg, Krystian Zimerman, Berliner Philharmoniker, Herbert von Karajan | D♭ Major | 0 | 3B | 77 BPM | ||
Pictures at an Exhibition (Orch. Ravel): VIIIb. Cum mortuis in lingua mortua | Modest Mussorgsky, Wiener Philharmoniker, Gustavo Dudamel | F♯ Major | 0 | 2B | 69 BPM | ||
Schumann: Minnespiel aus Friedrich Rückerts "Liebesfrühling", Op. 101: No. 8, So wahr die Sonne scheinet (Innig und nicht schnell) | Friedrich Rückert, Robert Schumann, Walter Berry | G Major | 3 | 9B | 84 BPM | ||
String Quartet in E Minor, Op. 121: III. Allegro | Gabriel Fauré, Ad Libitum Quartet | E Minor | 0 | 9A | 136 BPM | ||
Nocturne No. 9 in E-Flat Major | John Field, Benjamin Frith | E♭ Major | 0 | 5B | 56 BPM |
Section: 0.7073712348937988
End: 0.7123315334320068