Richard Strauss, Birgit Nilsson, Ewald Aichberger, Ruth Hesse, Walter Berry, Vienna State Opera Orchestra, Karl Böhm's 'Die Frau ohne Schatten, Op. 65, TrV 234 / Act 2: Schlange, was hab ich - Live' came out on January 1, 1985. The duration of Die Frau ohne Schatten, Op. 65, TrV 234 / Act 2: Schlange, was hab ich - Live is about 3 minutes long, at 3:12. Based on our data, "Die Frau ohne Schatten, Op. 65, TrV 234 / Act 2: Schlange, was hab ich - Live" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 39 in the song's album "Strauss, R.: Die Frau ohne Schatten". In this album, this song's track order is #6. Furthermore, we believe that the track originated from Germany. Die Frau ohne Schatten, Op. 65, TrV 234 / Act 2: Schlange, was hab ich - Live 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 Frau ohne Schatten, Op. 65, TrV 234 / Act 2: Schlange, was hab ich - Live by Richard Strauss, Birgit Nilsson, Ewald Aichberger, Ruth Hesse, Walter Berry, Vienna State Opera Orchestra, Karl Böhm having a BPM of 78 with a half-time of 39 BPM and a double-time of 156 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 D Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony No. 8 in G Minor, Op. 88, B. 163: III. Allegretto grazioso - Molto vivace | Antonín Dvořák, London Symphony Orchestra, Sir Colin Davis | G Major | 1 | 9B | 130 BPM | ||
24 Preludes For Piano, Op.11: No. 11 In B | Alexander Scriabin, Yuja Wang | B Major | 0 | 1B | 67 BPM | ||
Variations On An Original Theme, Op.36 "Enigma": 13. Romanza *** (Moderato) | Edward Elgar, BBC Symphony Orchestra, Leonard Bernstein | A♭ Major | 0 | 4B | 87 BPM | ||
Symphony No. 4 in F Minor, Op. 36: II. Andantino in modo di canzona | Pyotr Ilyich Tchaikovsky, Gianandrea Noseda, London Symphony Orchestra | D♭ Major | 0 | 3B | 85 BPM | ||
Jazz Suite No. 2: VIII. Finale | Dmitri Shostakovich, Russian State Symphony Orchestra, Dmitry Yablonsky | F Major | 4 | 7B | 141 BPM | ||
Morgen, Op. 27 No. 4 (Arr. Reger for Piano) | Richard Strauss, Angela Hewitt | A Major | 2 | 11B | 143 BPM | ||
Romeo and Juliet, Op. 64 - Act 1: The Fight | Sergei Prokofiev, Cleveland Orchestra, Lorin Maazel | C Major | 4 | 8B | 108 BPM | ||
Ma mère l'oye, ballet, M. 62: 3. Les Entretiens de la Belle et de la Bête.Mouvement de Valse modéré | Maurice Ravel, Berliner Philharmoniker, Pierre Boulez | G Minor | 0 | 6A | 89 BPM | ||
Symphony No.8 In G, Op.88, B. 163: 4. Allegro ma non troppo | Antonín Dvořák, Berliner Philharmoniker, Rafael Kubelík | G Major | 2 | 9B | 141 BPM | ||
Carmen Suite No. 1: 1. Prélude | Georges Bizet, Orchestre de Paris, Semyon Bychkov | A Minor | 1 | 8A | 96 BPM |
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