"Lamparilla: "Ich lass mich heut auf alles ein"" by Francisco Asenjo Barbieri, Anneliese Rothenberger, Kurt Wehofschitz, Hamburger Rundfunkorchester, Wilhelm Stephan was released on 2015. With Lamparilla: "Ich lass mich heut auf alles ein" being less than two minutes long, at 1:48, 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. The song is number 49 out of 135 in Anneliese Rothenberger: Ihre größten Erfolge und Raritäten by Kurt Böhme, Helmut Zacharias, Berliner Symphoniker. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. In terms of popularity, Lamparilla: "Ich lass mich heut auf alles ein" is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of Lamparilla: "Ich lass mich heut auf alles ein" by Francisco Asenjo Barbieri, Anneliese Rothenberger, Kurt Wehofschitz, Hamburger Rundfunkorchester, Wilhelm Stephan is Andante (at a walking pace), since this song has a tempo of 95 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 3/4.
G Minor is the music key of this track. Because this track belongs in the G Minor key, the camelot key is 6A. So, the perfect camelot match for 6A would be either 6A or 5B. While, a low energy boost can consist of either 6B or 7A. For moderate energy boost, you would use 3A and a high energy boost can either be 8A or 1A. However, if you are looking for a low energy drop, finding a song with a camelot key of 5A would be a great choice. Where 9A would give you a moderate drop, and 4A or 11A would be a high energy drop. Lastly, 9B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Servants' Chorus (Don Pasquale) | Choir and Orchestra of the Budapest State Opera, Josif Conta, Consortium Musicum Ljubjlana | A Major | 1 | 11B | 137 BPM | ||
Carmen (Act I, Sequedille) | Agnes Baltsa | D Major | 2 | 10B | 112 BPM | ||
Dúo de Maruxa y Pablo, Pt. 2 | Ofelia Nieto, Carlos Galeffi | A Major | 5 | 11B | 113 BPM | ||
Don Pasquale / Act 3: "Com'è gentil" | Gaetano Donizetti, Luciano Pavarotti, Ambrosian Singers, New Philharmonia Orchestra, Leone Magiera | A♭ Major | 1 | 4B | 114 BPM | ||
Los Diamantes de la Corona: "Preludio Acto II" | F. Camprodón, Francisco Asenjo Barbieri, Gran Orquesta Sinfonica | F Major | 2 | 7B | 84 BPM | ||
Los Diamantes de la Corona: "Vuestra Sien de Ángel, Niña Gentil..." | F. Camprodón, Francisco Asenjo Barbieri, Gran Orquesta Sinfonica | G Major | 5 | 9B | 117 BPM | ||
Don Giovanni, K. 527, Act I: Dalla sua pace | Wolfgang Amadeus Mozart, Cesare Valletti, Arturo Basile, Orchestra Sinfonica Di Torino Della Rai | B♭ Major | 1 | 6B | 112 BPM | ||
Lehár: Giuditta, Tableau 4: "Meine Lippen, sie küssen so heiss" (Giuditta) | Franz Lehár, Lucia Popp, Sir Neville Marriner, Academy of St. Martin in the Fields | A Major | 1 | 11B | 79 BPM | ||
Gluck: Iphigénie en Tauride, Wq. 46, Act 2: "Ô malheureuse Iphigénie !" (Iphigénie, Chœur) | Christoph Willibald Gluck, Georges Prêtre, Choeur René Duclos, Rita Gorr, Orchestre De La Société Des Concerts Du Conservatoire | G Major | 2 | 9B | 67 BPM | ||
Hoffmanns Erzählungen - Oper in drei Akten, einem Vor- und einem Nachspiel (Gesamtaufnahme in deutscher Sprache), Vorspiel: Nr. 1 Chor: Aus dem Keller kommt hervor | Jacques Offenbach, Jules Barbier, Michel Carre, Pierre Barbier, Chor des Bayerischen Rundfunks/Münchner Rundfunkorchester/Heinz Wallberg, Heinz Wallberg, Muenchner Rundfunkorchester, Munich Radio Orchestra | F Major | 2 | 7B | 167 BPM |
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