"Rusalka, Op. 114 / Act 1: Cury mury fuk" by Antonín Dvořák, Dolora Zajick, Franz Hawlata, Czech Philharmonic Orchestra, Sir Charles Mackerras was released on January 1, 1998. The duration of Rusalka, Op. 114 / Act 1: Cury mury fuk is about two minutes long, specifically at 2:49. This song does not appear to have any foul language. Rusalka, Op. 114 / Act 1: Cury mury fuk's duration is considered a little bit shorter than the average duration of a typical track. The song is number 10 out of 30 in Dvorák: Rusalka by Antonín Dvořák, Renée Fleming, Ben Heppner, Czech Philharmonic Orchestra, Sir Charles Mackerras. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. Based on our statistics, Rusalka, Op. 114 / Act 1: Cury mury fuk'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.
The tempo marking of Rusalka, Op. 114 / Act 1: Cury mury fuk by Antonín Dvořák, Dolora Zajick, Franz Hawlata, Czech Philharmonic Orchestra, Sir Charles Mackerras is Allegro (fast, quick, and bright), since this song has a tempo of 123 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 4/4.
B Major is the music key of this track. This also means that this song has a camelot key of 1B. So, the perfect camelot match for 1B would be either 1B or 2A. While, 2B can give you a low energy boost. For moderate energy boost, you would use 10B and a high energy boost can either be 3B or 8B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 1A or 12B will give you a low energy drop, 4B would be a moderate one, and 11B or 6B would be a high energy drop. Lastly, 10A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Il Barbiere di Siviglia (1996 Digital Remaster): Ah, qual colpo inaspettato! (Figaro/Conte/Rosina) | Gioachino Rossini, Beverly Sills, Nicolai Gedda, Sherrill Milnes, Renato Capecchi, Ruggero Raimondi, Michael Rippon, John Alldis Choir, Joseph Galiano, London Symphony Orchestra, James Levine, Fedora Barbieri | F Major | 2 | 7B | 134 BPM | ||
ドヴォルザーク:スラヴ舞曲集 作品46;第5番 イ長調 | ヴァーツラフ・ノイマン, Czech Philharmonic | A♭ Major | 1 | 4B | 103 BPM | ||
Cavalleria rusticana: "Voi lo sapete, o mama" (Romanza) | Pietro Mascagni, Fiorenza Cossotto, Maria Gracia Allegri, Orchestra Del Teatro Alla Scala, Milano, Herbert von Karajan | D Major | 3 | 10B | 108 BPM | ||
The Bartered Bride, JB 1:100, Act I, Scene 3: Terzetto. He's Well Brought Up and Decent ... (Krušina, Sedlák, Ludmila, Manželka Krušiny, Kecal, Vesnický dohazovač) | Bedřich Smetana, Jindřich Jindrák, Marie Vesela, Richard Novak, Czech Philharmonic Orchestra, Zdeněk Košler | C Major | 2 | 8B | 97 BPM | ||
Arabella, Op. 79, TrV 263: Das war sehr gut, Mandryka | Richard Strauss, Anne Schwanewilms, Gürzenich Orchester Köln, Markus Stenz | A Major | 1 | 11B | 133 BPM | ||
ドヴォルザーク:スラヴ舞曲集 作品46;第7番 ハ短調 | ヴァーツラフ・ノイマン, Czech Philharmonic | F♯ Minor | 2 | 11A | 74 BPM | ||
Symphony No. 1, H. 289: I. Moderato | Bohuslav Martinů, Czech Philharmonic Orchestra, Václav Neumann | E Major | 3 | 12B | 75 BPM | ||
La fanciulla del West: Ch'ella mi creda | Giacomo Puccini, Thomas Harper, Slovak Radio Symphony Orchestra, Michael Halasz | F Major | 6 | 7B | 103 BPM | ||
Adriana Lecouvreur / Act 1: Io son l'umile ancella | Francesco Cilea, Renée Fleming, London Philharmonic Orchestra, Sir Charles Mackerras | A♭ Major | 1 | 4B | 89 BPM | ||
Eugene Onegin, Op. 24, TH. 5 / Act II: (Scene 2) Introduction, Scene and Aria. "Nu, shto zhe?" - "Kuda, kuda, kuda vi udalilis" | Pyotr Ilyich Tchaikovsky, Neil Shicoff, Gunter Emmerlich, Staatskapelle Dresden, James Levine | E Minor | 2 | 9A | 78 BPM |
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