Richard Strauss, Peter Ustinov, Munich Chamber Orchestra, Karl Anton Rickenbacher's 'Der Bürger als Edelmann, TrV 228b / Act 1: Ouvertüre' came out on 1999. The duration of Der Bürger als Edelmann, TrV 228b / Act 1: Ouvertüre is about two minutes long, specifically at 2:29. This song does not appear to have any foul language. Der Bürger als Edelmann, TrV 228b / Act 1: Ouvertüre's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 34 in the song's album "Strauss: Der Bürger als Edelmann". In this album, this song's track order is #1. Furthermore, we believe that the track originated from Germany. Der Bürger als Edelmann, TrV 228b / Act 1: Ouvertüre is not that popular right now. Although the overall vibe is very danceable, it does project more negative sounds.
With Der Bürger als Edelmann, TrV 228b / Act 1: Ouvertüre by Richard Strauss, Peter Ustinov, Munich Chamber Orchestra, Karl Anton Rickenbacher having a BPM of 83 with a half-time of 42 BPM and a double-time of 166 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 4/4.
This song has a musical key of B♭ Minor. Which also means that the camelot key for this song is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
In the Steppes of Central Asia | Alexander Borodin, Royal Philharmonic Orchestra, Vladimir Ashkenazy | A Major | 0 | 11B | 69 BPM | ||
Les animaux modèles Suite, FP 111: II. Le lion amoureux | Francis Poulenc, RTÉ National Symphony Orchestra, Jean-Luc Tingaud | E Minor | 3 | 9A | 86 BPM | ||
L’arlésienne Suite No. 1, Op. 23bis, WD 40: IV. Carillon | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | E Major | 0 | 12B | 143 BPM | ||
Eugene Onegin, Op. 24, TH. 5 / Act I: Introduction | Pyotr Ilyich Tchaikovsky, Staatskapelle Dresden, James Levine | G Minor | 1 | 6A | 107 BPM | ||
Capriccio Espagnol, Op. 34: 3. Alborada | Nikolai Rimsky-Korsakov, Gothenburg Symphony Orchestra, Neeme Järvi | E♭ Major | 2 | 5B | 133 BPM | ||
Symphony No. 2 In C Minor - "Resurrection" / 1st Movement - Allegro maestoso (Totenfeier): Im Tempo nachgeben | Gustav Mahler, Wiener Philharmoniker, Gilbert Kaplan | B Major | 1 | 1B | 152 BPM | ||
Also sprach Zarathustra, Op.30, TrV 176: Das Nachtwandlerlied | Richard Strauss, Berliner Philharmoniker, Herbert von Karajan | B Major | 0 | 1B | 66 BPM | ||
Vier letzte Lieder, TrV 296: 2. September | Richard Strauss, Jessye Norman, Gewandhausorchester, Kurt Masur | D Major | 1 | 10B | 153 BPM | ||
Tchaikovsky: Variations on a Rococo Theme, Op. 33: Introduction - Thema | Pyotr Ilyich Tchaikovsky, Munich Philharmonic Orchestra, Valery Gergiev | B♭ Minor | 1 | 3A | 136 BPM | ||
Symphony No. 10 in E Minor, Op. 93: II. Allegro | Dmitri Shostakovich, Royal Liverpool Philharmonic Orchestra, Vasily Petrenko | B♭ Minor | 6 | 3A | 89 BPM |
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