"Violin Concerto, Op. 12: I. Andante con moto" by Kurt Weill, Henry Raudales, Munich Radio Orchestra, Gerd Müller-Lorenz was released on January 1, 2016. Violin Concerto, Op. 12: I. Andante con moto appears to be safe for all ages as it is not explicit. This song is part of Weill: Violin Concerto, Op. 12, Kleine Dreigroschenmusik & Berlin im Licht by Kurt Weill, Henry Raudales, Munich Radio Orchestra, Gerd Müller-Lorenz. The song's track number on the album is #1 out of 14 tracks. Based on our data, Germany was the country where this track was produced or recorded. Based on our statistics, Violin Concerto, Op. 12: I. Andante con moto's popularity 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.
Since Violin Concerto, Op. 12: I. Andante con moto by Kurt Weill, Henry Raudales, Munich Radio Orchestra, Gerd Müller-Lorenz has a tempo of 133 beats per a minute, the tempo markings of this song would be Allegro (fast, quick, and bright). With Violin Concerto, Op. 12: I. Andante con moto being at 133 BPM, the half-time would be 66 BPM with a double-time of 266 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 is in the music key of D♭ Minor. Or for those who are familiar with the camelot wheel, this song has a camelot key of 12A. So, the perfect camelot match for 12A would be either 12A or 11B. While, a low energy boost can consist of either 12B or 1A. For moderate energy boost, you would use 9A and a high energy boost can either be 2A or 7A. However, if you are looking for a low energy drop, finding a song with a camelot key of 11A would be a great choice. Where 3A would give you a moderate drop, and 10A or 5A would be a high energy drop. Lastly, 3B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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14 Songs, Op. 34, No. 14. Vocalise: 14 Songs, Op. 34: No. 14, Vocalise (Arr. For theremin and piano) | Sergei Rachmaninoff, Clara Rockmore, Nadia Reisenberg | D♭ Minor | 1 | 12A | 95 BPM | ||
Tico Tico | Zequinha Abreu, Ludmila Peterková, Irina Kondratenko | C Minor | 5 | 5A | 105 BPM | ||
La bohème / Act 1: "Sì. Mi chiamano Mimì" | Giacomo Puccini, Mirella Freni, Berliner Philharmoniker, Herbert von Karajan | D Major | 1 | 10B | 83 BPM | ||
Schubert: 4 Lieder, Op. 88: No. 4, An die Musik, D. 547 | Franz Schubert, Ian Bostridge, Julius Drake | D Major | 0 | 10B | 72 BPM | ||
Die Dreigroschenoper: Hochzeitslied | Kurt Weill, Rolf Boysen, René Kollo, RIAS Kammerchor, Rias-Sinfonietta Berlin, John Mauceri | G Major | 1 | 9B | 86 BPM | ||
Ludus pro Patria, La Nuit et l'Amour: La Nuit et l'Amour: Interlude de l'ode symphonique - Ludus pro Patria | Augusta Holmès, Staatsphilharmonie Rheinland-Pfalz, Patrick Davin | B♭ Major | 0 | 6B | 78 BPM | ||
Vier letzte Lieder, TrV 296: 2. September | Richard Strauss, Jessye Norman, Gewandhausorchester, Kurt Masur | D Major | 1 | 10B | 153 BPM | ||
Youkali | Kurt Weill, Dagmar Peckova, Epoque Quartet, Epoque Orchestra, Miroslav Hloucal Jazz Band, Jan Kučera | B♭ Minor | 5 | 3A | 115 BPM | ||
Bizet: Carmen, WD 31, Act 1 Scene 10: No. 10, Séguedille et Duo, "Près des remparts de Séville" (Carmen, Don José) | Georges Bizet, Maria Callas, Nicolai Gedda, Orchestre de l'Opéra National de Paris, Georges Prêtre, Orchestre du Théâtre National de l'Opéra Paris, Paris Opera Orchestra | D Major | 1 | 10B | 83 BPM | ||
Pequeña Czarda (Arr. Harle) | Pedro Iturralde, Jess Gillam, Tippett Quartet, Andee Birkett, Zeynep Özsuca | C Minor | 4 | 5A | 170 BPM |
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