Wolfgang Amadeus Mozart, Sir Roger Norrington, London Classical Players's 'Mozart: Die Zauberflöte, K. 620, Act 1 Scene 14: "Schnelle Füsse, rascher Mut … Nur geschwinde, nur geschwinde … Wer viel wagt, gewinnt oft viel! … Das klinget so herrlich … Könnte jeder brave Mann" (Pamina, Papageno, Monostatos, Die Sklave' came out on February 7, 2005. The duration of Mozart: Die Zauberflöte, K. 620, Act 1 Scene 14: "Schnelle Füsse, rascher Mut … Nur geschwinde, nur geschwinde … Wer viel wagt, gewinnt oft viel! … Das klinget so herrlich … Könnte jeder brave Mann" (Pamina, Papageno, Monostatos, Die Sklave is about two minutes long, specifically at 2:51. This song does not appear to have any foul language. Mozart: Die Zauberflöte, K. 620, Act 1 Scene 14: "Schnelle Füsse, rascher Mut … Nur geschwinde, nur geschwinde … Wer viel wagt, gewinnt oft viel! … Das klinget so herrlich … Könnte jeder brave Mann" (Pamina, Papageno, Monostatos, Die Sklave's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Wolfgang Amadeus Mozart, Sir Roger Norrington, London Classical Players's "Mozart: Die Zauberflote" album is number 20 out of 60. On top of that, United Kingdom appears to be the country where this track was created. The popularity of Mozart: Die Zauberflöte, K. 620, Act 1 Scene 14: "Schnelle Füsse, rascher Mut … Nur geschwinde, nur geschwinde … Wer viel wagt, gewinnt oft viel! … Das klinget so herrlich … Könnte jeder brave Mann" (Pamina, Papageno, Monostatos, Die Sklave is currently 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.
We consider the tempo marking of Mozart: Die Zauberflöte, K. 620, Act 1 Scene 14: "Schnelle Füsse, rascher Mut … Nur geschwinde, nur geschwinde … Wer viel wagt, gewinnt oft viel! … Das klinget so herrlich … Könnte jeder brave Mann" (Pamina, Papageno, Monostatos, Die Sklave by Wolfgang Amadeus Mozart, Sir Roger Norrington, London Classical Players to be Presto (very, very fast) because the track has a tempo of 180 BPM, a half-time of 90BPM, and a double-time of 360 BPM. Based on that, the speed of the song's tempo is fast. The time signature for this track is 4/4.
The music key of this track is B Minor. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Le nozze di Figaro, K.492 / Act 1: "Or bene, ascolta, e taci" | Wolfgang Amadeus Mozart, Dawn Upshaw, Ferruccio Furlanetto, Metropolitan Opera Orchestra, James Levine | F Major | 1 | 7B | 77 BPM | ||
Le nozze di Figaro, K.492 / Act 1: "Via resti servita, madama brillante" | Wolfgang Amadeus Mozart, Edith Mathis, Patricia Johnson, Orchester der Deutschen Oper Berlin, Karl Böhm | A Major | 2 | 11B | 64 BPM | ||
Vesperae solennes de Dominica, K. 321: IV. Laudate pueri | Wolfgang Amadeus Mozart, Greta de Reyghere, Marijke van Arnhem, Renaat Deckers, Jan van der Crabben, Capella Brugensis, Collegium Instrumentale Brugense, Patrick Peire | F Major | 1 | 7B | 96 BPM | ||
Mass in C Minor, K. 427 "Grosse Messe" (Version by Franz Beyer): Benedictus - Live | Wolfgang Amadeus Mozart, Arleen Auger, Frederica von Stade, Frank Lopardo, Cornelius Hauptmann, Bavarian Radio Symphony Orchestra, Leonard Bernstein, Bavarian Radio Chorus | B Minor | 1 | 10A | 135 BPM | ||
Die Entführung aus dem Serail, K. 384 / Act III: "Meinetwegen sollst du sterben!" - Live | Wolfgang Amadeus Mozart, Diana Damrau, Rolando Villazón, Chamber Orchestra of Europe, Yannick Nézet-Séguin | B♭ Major | 2 | 6B | 82 BPM | ||
Requiem, K. 626, III. Sequenz: IV. Recordare | Wolfgang Amadeus Mozart, Annette Markert, Hanno Müller-Brachmann, Sybilla Rubens, Ian Bostridge, Orchestre des Champs-Élysées, Philippe Herreweghe | B♭ Major | 4 | 6B | 120 BPM | ||
Die Zauberflöte / Act 2: Marsch der Priester | Wolfgang Amadeus Mozart, Kurt Moll, Clemens Bieber, Hans Joachim Porcher, Andreas Schmidt, Wiener Philharmoniker, Sir Georg Solti | F Major | 0 | 7B | 73 BPM | ||
Le Nozze Di Figaro (The Marriage Of Figaro), K. 492: Act I Scene 8: Aria - Non Piu Andrai | Donato Di Stefano, Patrizia Pace, Jozsef Mukk, Ingrid Kertesi, Natale de Carolis, Hungarian State Opera Orchestra, Roberto Frontali, Maria Pia Ionata, Lorenzo Da Ponte, Wolfgang Amadeus Mozart | G Major | 2 | 9B | 127 BPM | ||
Die Entführung aus dem Serail, K. 384 / Act II: No. 13, "Vivat Bacchus! Bacchus lebe!" - Live | Wolfgang Amadeus Mozart, Paul Schweinester, Franz-Josef Selig, Chamber Orchestra of Europe, Yannick Nézet-Séguin | D Major | 1 | 10B | 114 BPM | ||
Die Zauberflöte, K. 620 / Act 1: "Bei Männern, welche Liebe fühlen" | Wolfgang Amadeus Mozart, Rolando Villazón, Christiane Karg, Jory Vinikour, Chamber Orchestra of Europe, Yannick Nézet-Séguin | E♭ Major | 1 | 5B | 172 BPM |
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