"Salome, Op. 54 / Scene 2: Laßt den Propheten herauskommen" by Richard Strauss, Cheryl Studer, Clemens Bieber, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli was released on January 1, 1991. The duration of Salome, Op. 54 / Scene 2: Laßt den Propheten herauskommen is about two minutes long, specifically at 2:18. This song does not appear to have any foul language. Salome, Op. 54 / Scene 2: Laßt den Propheten herauskommen's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 32 in the song's album "Richard Strauss: Salome". In this album, this song's track order is #6. Furthermore, we believe that the track originated from Germany. Salome, Op. 54 / Scene 2: Laßt den Propheten herauskommen 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 Salome, Op. 54 / Scene 2: Laßt den Propheten herauskommen by Richard Strauss, Cheryl Studer, Clemens Bieber, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli having a BPM of 64 with a half-time of 32 BPM and a double-time of 128 BPM, we would consider this track to have a Larghetto (rather broadly) 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 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 | ||
---|---|---|---|---|---|---|---|
The Maid of Pskov: Overture | Nikolai Rimsky-Korsakov, Mariinsky Orchestra, Valery Gergiev | D♭ Major | 2 | 3B | 100 BPM | ||
Piano Concerto No. 1 in C Minor, Op. 35: III. Moderato - | Dmitri Shostakovich, Boris Giltburg, Royal Liverpool Philharmonic Orchestra, Vasily Petrenko | A♭ Major | 1 | 4B | 149 BPM | ||
Tristia, Op.18: 3. Marche funèbre pour la dernière scène d'Hamlet | Hector Berlioz, Cleveland Orchestra, Pierre Boulez, The Cleveland Orchestra Chorus, Gareth Morrell | A Minor | 1 | 8A | 82 BPM | ||
Daphnis et Chloé, M. 57 / Première partie: Danse grotesque de Dorcon - Scène | Maurice Ravel, Orchestre Symphonique de Montréal, Charles Dutoit | E Major | 1 | 12B | 92 BPM | ||
Symphony No. 1 in D, Op. 25 "Classical Symphony": 2. Larghetto | Sergei Prokofiev, London Symphony Orchestra, Valery Gergiev | A Major | 5 | 11B | 83 BPM | ||
Salome, Op. 54 / Scene 3: "Wird dir nicht bange, Tochter der Herodias?" | Richard Strauss, Cheryl Studer, Bryn Terfel, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | G Major | 2 | 9B | 95 BPM | ||
Wagner: Lohengrin, Act 1: "Mich irret nicht ihr träumerischer Mut" (Frederick, Henry, Elsa, Chorus) | Richard Wagner, Daniel Barenboim, Falk Struckmann, René Pape, Staatskapelle Berlin | C Minor | 1 | 5A | 83 BPM | ||
Concerto for Flute, Harp, and Orchestra in C, K.299: 1. Allegro | Wolfgang Amadeus Mozart, Osian Ellis, Karl-Hermann Pillney, Kenneth Smith, Bryn Lewis, Philharmonia Orchestra, Giuseppe Sinopoli | C Major | 1 | 8B | 124 BPM | ||
Fontane di Roma, P. 106: I. La fontana di Valle Giulia all'alba | Ottorino Respighi, New York Philharmonic, Giuseppe Sinopoli | F♯ Major | 2 | 2B | 73 BPM | ||
Die Fledermaus / Act I: Nr. 1 Introduktion: "Täubchen, das entflattert ist" | Johann Strauss II, Lucia Popp, René Kollo, Bavarian State Orchestra, Carlos Kleiber | G Major | 1 | 9B | 50 BPM |
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