"Parsifal, WWV 111 / Act I: "Nun achte wohl und laß mich seh'n" - "Zum letzten Liebesmahle"" by Richard Wagner, Hermin Esser, Franz Crass, Bengt Rundgren, Bayreuth Festival Chorus, Bayreuth Festival Orchestra, Pierre Boulez was released on January 1, 1971. Parsifal, WWV 111 / Act I: "Nun achte wohl und laß mich seh'n" - "Zum letzten Liebesmahle" is about six minutes long, preciously at 6:04, making this song fairly long compared to other songs. This song is part of Wagner: Parsifal by Richard Wagner, Bayreuth Festival Chorus, Bayreuth Festival Orchestra, Pierre Boulez. The song's track number on the album is #11 out of 38 tracks. Based on our data, Germany was the country where this track was produced or recorded. In terms of popularity, Parsifal, WWV 111 / Act I: "Nun achte wohl und laß mich seh'n" - "Zum letzten Liebesmahle" is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
Since Parsifal, WWV 111 / Act I: "Nun achte wohl und laß mich seh'n" - "Zum letzten Liebesmahle" by Richard Wagner, Hermin Esser, Franz Crass, Bengt Rundgren, Bayreuth Festival Chorus, Bayreuth Festival Orchestra, Pierre Boulez has a tempo of 97 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Parsifal, WWV 111 / Act I: "Nun achte wohl und laß mich seh'n" - "Zum letzten Liebesmahle" being at 97 BPM, the half-time would be 48 BPM with a double-time of 194 BPM.In addition, we consider the tempo speed to be pretty slow for this song. The time signature for this track is 3/4.
This song has a musical key of E Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
La damnation de Faust, Op. 24, Part II: Ballet des syphes (Dance of the Spirits) | Hector Berlioz, Hungarian National Philharmonic, Ádám Fischer | D Major | 0 | 10B | 80 BPM | ||
Wagner: Tannhäuser, Act 3: "Wie Todesahnung … O du, mein holder Abendstern" (Wolfram) | Richard Wagner, Dietrich Fischer-Dieskau, Orchester Der Staatsoper Berlin, Franz Konwitschny, Staatsopernorchester Berlin | C Minor | 3 | 5A | 133 BPM | ||
La gazza ladra: Overture | Gioachino Rossini, Academy of St. Martin in the Fields, Sir Neville Marriner | E Major | 1 | 12B | 171 BPM | ||
Suite in A Major 'American Suite', Op. 98b, B. 190: Suite in A Major 'American Suite', Op. 98b, B. 190: I. Andante con moto | Antonín Dvořák, Luzerner Sinfonieorchester, James Gaffigan | A Major | 0 | 11B | 157 BPM | ||
Der Rosenkavalier, Op. 59 / Act 1: Introduction | Richard Strauss, Wiener Philharmoniker, Sir Georg Solti | D Major | 4 | 10B | 103 BPM | ||
The Mountain Thrall, Op. 32 | Edvard Grieg, Carole Farley, London Philharmonic Orchestra, José Serebrier | A♭ Major | 1 | 4B | 72 BPM | ||
Symphony No. 8 in G Minor, Op. 88, B. 163: II. Adagio | Antonín Dvořák, London Symphony Orchestra, Sir Colin Davis | C Major | 0 | 8B | 54 BPM | ||
Tchaikovsky: Symphony No. 4 in F Minor, Op. 36: III. Scherzo (Pizzicato ostinato - Allegro) | Pyotr Ilyich Tchaikovsky, San Francisco Symphony, Michael Tilson Thomas | C Major | 1 | 8B | 156 BPM | ||
Carmina Burana / III. Cour d'amours: "In trutina" | Carl Orff, Gundula Janowitz, Orchester der Deutschen Oper Berlin, Eugen Jochum | G Major | 0 | 9B | 89 BPM | ||
Prince Igor: Polovtsian Dances (Remastered): No. 17b, Allegro vivo | Alexander Borodin, Leonard Bernstein, New York Philharmonic | F Major | 2 | 7B | 79 BPM |
Section: 0.6371819972991943
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