"Strauss, R: Ariadne auf Naxos, Op. 60, Prologue: "Erst nach der Oper kommen wir daran" (Zerbinetta, Primadonna, Music Master, Composer, A Dancing Master)" by Richard Strauss, Rudolf Kempe, Staatskapelle Dresden was released on 1992. With Strauss, R: Ariadne auf Naxos, Op. 60, Prologue: "Erst nach der Oper kommen wir daran" (Zerbinetta, Primadonna, Music Master, Composer, A Dancing Master) being less than two minutes long, at 1:08, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. There are a total of 27 in the song's album "R. Strauss: Ariadne auf Naxos". In this album, this song's track order is #6. Furthermore, we believe that the track originated from United Kingdom. Strauss, R: Ariadne auf Naxos, Op. 60, Prologue: "Erst nach der Oper kommen wir daran" (Zerbinetta, Primadonna, Music Master, Composer, A Dancing Master) is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Strauss, R: Ariadne auf Naxos, Op. 60, Prologue: "Erst nach der Oper kommen wir daran" (Zerbinetta, Primadonna, Music Master, Composer, A Dancing Master) by Richard Strauss, Rudolf Kempe, Staatskapelle Dresden having a BPM of 76 with a half-time of 38 BPM and a double-time of 152 BPM, we would consider this track to have a Adagio (slowly with great expression) 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 D♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Death of Usurer: Adagio | Valery Gergiev, London Symphony Orchestra | C Minor | 0 | 5A | 108 BPM | ||
Choral-Vatiationen: Var. I. In canone all'Ottava | Igor Stravinsky, Philippe Herreweghe, Royal Flemish Philharmonic, Collegium Vocale Gent | C Major | 1 | 8B | 93 BPM | ||
Symphony No. 5 in D Major, Op. 107, MWV N15, "Reformation": III. Andante | Felix Mendelssohn, RTÉ National Symphony Orchestra, Reinhard Seifried | G Minor | 0 | 6A | 96 BPM | ||
Suite pastorale: III. Sous-bois | Emmanuel Chabrier, Wiener Philharmoniker, John Eliot Gardiner | G Major | 0 | 9B | 0 BPM | ||
Strauss: Der Rosenkavalier, Op. 59, TrV 227, Act 1: "Di rigori armato il seno" (Der Sänger) | Hugo von Hofmannsthal, Richard Strauss, Leonie Rysanek, Wilhelm Schüchter, Berliner Philharmoniker | D♭ Major | 3 | 3B | 178 BPM | ||
Haydn: String Quartet in C Major, Op. 76 No. 3, Hob. III:77 "Emperor": II. (a) Poco adagio, cantabile | Franz Joseph Haydn, Alban Berg Quartett | B♭ Major | 1 | 6B | 101 BPM | ||
Rhapsodie Orientale, Op. 29: 1. Andante | Alexander Glazunov, Orchestre Symphonique de Montréal, Charles Dutoit | D♭ Major | 0 | 3B | 89 BPM | ||
Notturno in G Minor | Fanny Mendelssohn, Heather Schmidt | G Minor | 1 | 6A | 125 BPM | ||
Piano Concerto No. 1 in G Minor, Op. 25, MWV O7: 1. Molto allegro con fuoco | Felix Mendelssohn, Jan Lisiecki, Orpheus Chamber Orchestra | A♭ Major | 2 | 4B | 80 BPM | ||
Kinderszenen, Op.15: 12. Kind im Einschlummern | Robert Schumann, Martha Argerich | E Minor | 0 | 9A | 123 BPM |
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