"Die Walküre / Erster Aufzug: "Ein Schwert verhieß mir der Vater"" by Richard Wagner, James King, Wiener Philharmoniker, Sir Georg Solti was released on January 1, 2012. Die Walküre / Erster Aufzug: "Ein Schwert verhieß mir der Vater" is about six minutes long, preciously at 6:09, making this song fairly long compared to other songs. There are a total of 414 in the song's album "Solti - Wagner - The Operas". In this album, this song's track order is #8. Furthermore, we believe that the track originated from United Kingdom. Die Walküre / Erster Aufzug: "Ein Schwert verhieß mir der Vater" 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.
With Die Walküre / Erster Aufzug: "Ein Schwert verhieß mir der Vater" by Richard Wagner, James King, Wiener Philharmoniker, Sir Georg Solti having a BPM of 81 with a half-time of 40 BPM and a double-time of 162 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 3/4.
This song has a musical key of C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Die Fledermaus / Act 2: "Dieser Anstand, so manierlich" | Johann Strauss II, Julia Varady, Hermann Prey, Bavarian State Orchestra, Carlos Kleiber | C Major | 2 | 8B | 173 BPM | ||
Sphärenklänge, Walzer, Op. 235 | Josef Strauss, Christian Thielemann, Wiener Philharmoniker | D Major | 1 | 10B | 93 BPM | ||
Káta Kabanová / Act 2: Jste to vy, Katerino Petrovno? | Leoš Janáček, Peter Dvorsky, Elisabeth Söderström, Libuse Marova, Wiener Philharmoniker, Sir Charles Mackerras | B Major | 2 | 1B | 140 BPM | ||
Parsifal, WWV 111 / Act I: Titurel, der fromme Held | Richard Wagner, Marjon Lambriks, Anne Gjevang, Heiner Hopfner, Kurt Moll, Georg Tichy, Berliner Philharmoniker, Herbert von Karajan | E♭ Major | 1 | 5B | 71 BPM | ||
Carolinen-Galopp, Op. 21a | Johann Strauss I, Daniel Barenboim, Wiener Philharmoniker | B♭ Major | 2 | 6B | 151 BPM | ||
Symphony No. 8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust": "Bei der Liebe, die den Fussen" | Gustav Mahler, Heather Harper, Yvonne Minton, Helen Watts, Chicago Symphony Orchestra, Sir Georg Solti | G Minor | 1 | 6A | 107 BPM | ||
Gurrelieder / Pt. 3: XXII. Mixed Chorus: Seht die Sonne | Arnold Schoenberg, Wiener Philharmoniker, Claudio Abbado, Vienna State Opera Chorus, Dietrich Gerpheide, Arnold Schoenberg Chor, Erwin Ortner, Slovak Philharmonic Choir, Jan Rozehnal | E Major | 3 | 12B | 89 BPM | ||
Mozart: Don Giovanni, K. 527, Act 1 Scene 19: "Protegge il giusto cielo" (Donna Anna, Don Ottavio, Donna Elvira) | Wolfgang Amadeus Mozart, Cheryl Studer, Riccardo Muti, Wiener Philharmoniker | B♭ Major | 0 | 6B | 74 BPM | ||
Bizet: Carmen: Je dis que rien ne m'epouvante - Act Three | Georges Bizet, Kiri Te Kanawa, José van Dam, Plácido Domingo | G Minor | 2 | 6A | 72 BPM | ||
Parsifal, WWV 111 / Act III: Von dorther kam das Stöhnen | Richard Wagner, Dunja Vejzovic, Kurt Moll, Berliner Philharmoniker, Herbert von Karajan | C Minor | 0 | 5A | 89 BPM |
Section: 0.7054247856140137
End: 0.7104151248931885