"Symphony No. 8 in E Flat Major "Symphony of a Thousand" / Pt. 2: Komm! hebe dich zu höhern Sphären" by Gustav Mahler, Erin Morley, Los Angeles Philharmonic, Gustavo Dudamel was released on June 7, 2021. With Symphony No. 8 in E Flat Major "Symphony of a Thousand" / Pt. 2: Komm! hebe dich zu höhern Sphären being less than two minutes long, at 1:08, 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. The track order of this song in Gustav Mahler, Los Angeles Philharmonic, Gustavo Dudamel's "Mahler: Symphony No. 8 in E Flat Major "Symphony of a Thousand"" album is number 30 out of 32. Symphony No. 8 in E Flat Major "Symphony of a Thousand" / Pt. 2: Komm! hebe dich zu höhern Sphären 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.
We consider the tempo marking of Symphony No. 8 in E Flat Major "Symphony of a Thousand" / Pt. 2: Komm! hebe dich zu höhern Sphären by Gustav Mahler, Erin Morley, Los Angeles Philharmonic, Gustavo Dudamel to be Andante (at a walking pace) because the track has a tempo of 86 BPM, a half-time of 43BPM, and a double-time of 172 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 1/4.
This song is in the music key of B♭ Major. This also means that this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Der Freischütz, J. 277 / Act II: "Kommt ein schlanker Bursch gegangen" | Carl Maria von Weber, Edith Mathis, Staatskapelle Dresden, Carlos Kleiber | C Major | 2 | 8B | 95 BPM | ||
5 Canons on Latin Texts, Op. 16: Dormi Jesu | Anton Webern, Jennifer Welch-Babidge, Charles Neidich, Michael Lowenstern | D♭ Major | 0 | 3B | 110 BPM | ||
Symphony No. 9 in E Minor, Op. 95, B. 178, "From the New World": I. Adagio - Allegro molto | Antonín Dvořák, Los Angeles Philharmonic, Gustavo Dudamel | C Major | 1 | 8B | 127 BPM | ||
Otello, Act I: Fuoco di gioia! | Giuseppe Verdi, Coro del Teatro Carlo Felice di Genova, Orchestra del Teatro Carlo Felice di Genova, Steven Mercurio | E Minor | 2 | 9A | 79 BPM | ||
6 Ariette: No. 5, Per pietà, bell'idol mio | Vincenzo Bellini, Jessica Pratt, Vincenzo Scalera | C Minor | 1 | 5A | 122 BPM | ||
Wozzeck / Act I: Scene III: Marie's room. "Tschin Bum, Tschin Bum, Bum, Bum, Bum! Hörst Bub? Da kommen sie!" | Alban Berg, Hildegard Behrens, Anna Gonda, Franz Grundheber, Wiener Philharmoniker, Claudio Abbado | F Major | 1 | 7B | 137 BPM | ||
Rhapsody on a Theme of Paganini, Op. 43: Var. 17. Allegretto | Sergei Rachmaninoff, Yuja Wang, Los Angeles Philharmonic, Gustavo Dudamel | F♯ Major | 0 | 2B | 114 BPM | ||
Symphony No. 8 in G Major, Op. 88, B. 163: III. Allegretto grazioso - Molto vivace | Antonín Dvořák, Los Angeles Philharmonic, Gustavo Dudamel | C Major | 1 | 8B | 127 BPM | ||
Stabat Mater, Op. 58, B. 71: V. Tui nati vulnerati. Andante con moto quasi allegretto | Antonín Dvořák, Prague Symphony Orchestra, Prague Philharmonic Choir, Jiří Bělohlávek, Jaroslav Brych | G Major | 0 | 9B | 88 BPM | ||
Grande messe des morts, Op. 5, "Requiem": Rex tremendae | Hector Berlioz, Michael Schade, Toronto Mendelssohn Choir, Toronto Mendelssohn Youth Choir, Elora Festival Orchestra, Noel Edison | B♭ Major | 0 | 6B | 79 BPM |
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