"8 Gedichte aus "Letzte Blätter", Op. 10, TrV 141: 1. Zueignung" by Richard Strauss, Jessye Norman, Gewandhausorchester, Kurt Masur was released on January 1, 1983. With 8 Gedichte aus "Letzte Blätter", Op. 10, TrV 141: 1. Zueignung being less than two minutes long, at 1:46, 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. There are a total of 10 in the song's album "Strauss, R.: Four Last Songs, etc.". In this album, this song's track order is #10. Furthermore, we believe that the track originated from Netherlands. In terms of popularity, 8 Gedichte aus "Letzte Blätter", Op. 10, TrV 141: 1. Zueignung 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.
With 8 Gedichte aus "Letzte Blätter", Op. 10, TrV 141: 1. Zueignung by Richard Strauss, Jessye Norman, Gewandhausorchester, Kurt Masur having a BPM of 102 with a half-time of 51 BPM and a double-time of 204 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 3/4.
This song has a musical key of C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | 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 | ||
Requiem, Op. 89 B. 165: Introitus: Requiem aeternam - Kyrie (Vocal Quartet, Chorus) | Antonín Dvořák, Christiane Libor, Ewa Wolak, Daniel Kirch, Janusz Monarcha, Chór Filharmonii Narodowej w Warszawie, Orkiestra Filharmonii Narodowej w Warszawie, Antoni Wit | F Major | 1 | 7B | 77 BPM | ||
Schubert: Ganymed, Op. 19 No. 3, D. 544 | Franz Schubert, Barbara Bonney | B♭ Major | 1 | 6B | 72 BPM | ||
Strauss, R: 4 Lieder, Op. 27: No. 4, Morgen! | Richard Strauss, Diana Damrau, Anton Barakhovsky, Mariss Jansons, Bavarian Radio Symphony Orchestra | F Minor | 1 | 4A | 126 BPM | ||
Le Comte Ory, Act I, Scene VIII, No. 4: En proie à la tristesse... Vous que l'on dit sensible... Céleste providence | Gioachino Rossini, Pretty Yende, Marco Armiliato | E♭ Major | 2 | 5B | 88 BPM | ||
Les chemins de l'amour, FP 106 | Francis Poulenc, Jessye Norman, Dalton Baldwin | D♭ Major | 1 | 3B | 77 BPM | ||
Matthäus-Passion, BWV 244, Pt. 2: No. 46, Chorale. "Wie wunderbarlich ist doch diese Strafe!" (Chorus) | Johann Sebastian Bach, Dresdner Kreuzchor, Thomanerchor Leipzig, Gewandhausorchester, Rudolf Mauersberger, Erhard Mauersberger | A♭ Major | 1 | 4B | 74 BPM | ||
Stimmungsbilder, Op.9 : V. Heidebild (On the heath) | Alex Alguacil, Richard Strauss | G Minor | 0 | 6A | 73 BPM | ||
Le colibri Op.2 N°7 | Ernest Chausson, Susan Manoff, Sandrine Piau | D♭ Major | 0 | 3B | 130 BPM | ||
Salome, Op. 54, TrV 215 / Scene 4: Ah! Ich habe deinen Mund geküsst, Jochanaan | Richard Strauss, Birgit Nilsson, Gerhard Stolze, Wiener Philharmoniker, Sir Georg Solti | G Major | 3 | 9B | 92 BPM |
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