"Strauss, R: 4 Lieder, Op. 27: No. 4, Morgen!" by Richard Strauss, Elsa Dreisig, Jonathan Ware was released on January 17, 2020. With this song being about 5 minutes long, at 4:47, "Strauss, R: 4 Lieder, Op. 27: No. 4, Morgen!" by Richard Strauss, Elsa Dreisig, Jonathan Ware is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The track order of this song in Elsa Dreisig, Jonathan Ware's "Morgen" album is number 21 out of 21. On top of that, United Kingdom appears to be the country where this track was created. The popularity of Strauss, R: 4 Lieder, Op. 27: No. 4, Morgen! is currently average in popularity 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 Strauss, R: 4 Lieder, Op. 27: No. 4, Morgen! by Richard Strauss, Elsa Dreisig, Jonathan Ware to be Vivace (lively and fast) because the track has a tempo of 173 BPM, a half-time of 86BPM, and a double-time of 346 BPM. Based on that, the speed of the song's tempo is fast. The time signature for this track is 4/4.
This song has a musical key of D Major. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Piano Concerto No. 6: II. Larghetto | John Field, Matthias Bamert, London Mozart Players, Miceal O'Rourke | E Major | 0 | 12B | 79 BPM | ||
Matthäus-Passion: Erster Teil, 1. Chorus I & II Kommt, ihr Töchter, helft mir klagen | Johann Sebastian Bach, RIAS Kammerchor, Staats- und Domchor Berlin, Akademie für Alte Musik Berlin, René Jacobs | E♭ Minor | 3 | 2A | 77 BPM | ||
Andante Festivo | Jean Sibelius, Gothenburg Symphony Orchestra, Neeme Järvi | G Major | 1 | 9B | 86 BPM | ||
Salome, Op. 54 / Scene 4: "Wahrhaftig, Herr, es wäre besser, ihn in unsre Hände zu geben!" | Richard Strauss, Leonie Rysanek, Cheryl Studer, Horst Hiestermann, Uwe Peper, Karl-Ernst Mercker, Peter Maus, Warren Mok, Friedrich Molsberger, Manfred Röhrl, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | D Minor | 4 | 7A | 86 BPM | ||
Symphony No. 5 in C-Sharp Minor (arr. J. Gribben for piano) | Gustav Mahler, John Gribben, Edward Wolanin | F Major | 0 | 7B | 71 BPM | ||
Strauss: Der Rosenkavalier, Op. 59, TrV 227, Act 1: "Di rigori armato il seno" (Der Sänger) | Hugo von Hofmannsthal, Richard Strauss, Leonie Rysanek, Wilhelm Schüchter, Berliner Philharmoniker | D♭ Major | 3 | 3B | 178 BPM | ||
Lieder ohne Worte (Songs without Words), Book 2, Op. 30: No. 7 in E-Flat Major, Op. 30, No. 1 | Felix Mendelssohn, Péter Nagy | E♭ Major | 0 | 5B | 68 BPM | ||
Pavane pour une infante défunte | Maurice Ravel, Alexandre Tharaud | E Minor | 0 | 9A | 63 BPM | ||
Vier letzte Lieder, TrV 296: 3. Beim Schlafengehen | Richard Strauss, Jessye Norman, Gewandhausorchester, Kurt Masur | D♭ Major | 1 | 3B | 82 BPM | ||
Serse, HWV 40: Ombra mai fu | George Frideric Handel, Cecilia Bartoli, Il Giardino Armonico, Giovanni Antonini | E Major | 1 | 12B | 135 BPM |
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