"Wesendonck Lieder, WWV 91: Schmerzen" by Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis was released on July 1, 1976. The duration of Wesendonck Lieder, WWV 91: Schmerzen is about two minutes long, specifically at 2:31. This song does not appear to have any foul language. Wesendonck Lieder, WWV 91: Schmerzen's duration is considered a little bit shorter than the average duration of a typical track. This song is part of Wagner: Wesendonk Lieder; Tristan & Isolde: Prelude & Liebestod by Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis. The song's track number on the album is #6 out of 7 tracks. Based on our statistics, Wesendonck Lieder, WWV 91: Schmerzen's popularity is below 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.
Since Wesendonck Lieder, WWV 91: Schmerzen by Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis has a tempo of 132 beats per a minute, the tempo markings of this song would be Allegro (fast, quick, and bright). With Wesendonck Lieder, WWV 91: Schmerzen being at 132 BPM, the half-time would be 66 BPM with a double-time of 264 BPM.In addition, we consider the tempo speed to be pretty fast for this song. This makes this song perfect for activities such as, walking. The time signature for this track is 4/4.
This song has a musical key of C Minor. Which also means that the camelot key for this song is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony No. 4 in E Minor, Op. 98: IV. Allegro energico e passionato - Più allegro | Johannes Brahms, Wiener Philharmoniker, Carlos Kleiber | F♯ Major | 7 | 2B | 129 BPM | ||
Sechs Lieder, Op. 37, TrV 187: 3. Meinem Kinde | Richard Strauss, Jessye Norman, Gewandhausorchester, Kurt Masur | D♭ Major | 1 | 3B | 181 BPM | ||
Requiem: XIV. Agnus Dei | Giuseppe Verdi, Sir Colin Davis, Christine Brewer, Karen Cargill, London Symphony Orchestra | C Major | 0 | 8B | 173 BPM | ||
La Bohème / Act 4: "Sono andati" | Giacomo Puccini, Mirella Freni, Luciano Pavarotti, Berliner Philharmoniker, Herbert von Karajan | A♭ Major | 1 | 4B | 78 BPM | ||
War Requiem, Op. 66: xii. Dies Irae - Dies irae | Benjamin Britten, Gianandrea Noseda, Sabina Cvilak, London Symphony Chorus, London Symphony Orchestra | B♭ Minor | 0 | 3A | 77 BPM | ||
The Birth of the Twins and Padmé's Destiny | John Williams, London Symphony Orchestra | E Major | 1 | 12B | 65 BPM | ||
Variations on an Original Theme, Op. 36, "Enigma": Theme - Andante | Edward Elgar, Sir Colin Davis, London Symphony Orchestra | G Minor | 0 | 6A | 91 BPM | ||
Messa da Requiem: III. Dies irae. Tuba mirum (Chorus) | Giuseppe Verdi, Richard Hickox, London Symphony Orchestra, London Symphony Chorus | B Minor | 1 | 10A | 137 BPM | ||
La bohème / Act 1: "Sì. Mi chiamano Mimì" | Giacomo Puccini, Mirella Freni, Berliner Philharmoniker, Herbert von Karajan | D Major | 1 | 10B | 83 BPM | ||
4 Lieder, Op. 27: 2. Cäcilie | Richard Strauss, Jessye Norman, Gewandhausorchester Leipzig, Kurt Masur | E♭ Minor | 3 | 2A | 97 BPM |
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