"Elektra: Vi. Was heulst du?" by Richard Strauss, Hugo von Hofmannsthal, Anita Soldh, Laila Andersson-palme, Royal Swedish Opera Orchestra, Siegfried Köhler was released on March 3, 2023. The duration of Elektra: Vi. Was heulst du? is about two minutes long, specifically at 2:15. This song does not appear to have any foul language. Elektra: Vi. Was heulst du?'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 28 in the song's album "Richard Strauss: Elektra". In this album, this song's track order is #6. Furthermore, we believe that the track originated from Sweden. Elektra: Vi. Was heulst du? 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 Elektra: Vi. Was heulst du? by Richard Strauss, Hugo von Hofmannsthal, Anita Soldh, Laila Andersson-palme, Royal Swedish Opera Orchestra, Siegfried Köhler having a テンポ of 89 with a half-time of 44 テンポ and a double-time of 178 テンポ, 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. Looking at the テンポ of this song, this song might go great with yoga or pilates. The time signature for this track is 3/4.
This song has a musical key of E Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Haydn: Cello Concerto No. 1 in C Major, Hob. VIIb, 1: II. Adagio (Cadenza by Britten) | Franz Joseph Haydn, Mstislav Rostropovich, Academy of St. Martin in the Fields | F Major | 1 | 7B | 124 BPM | ||
Piano Concerto No. 2 in F Major, Op. 102: I. Allegro | Dmitri Shostakovich, I Musici de Montréal, Maxim Shostakovich | B♭ Major | 3 | 6B | 160 BPM | ||
Vaughan Williams: Job, a Masque for Dancing, Scene 9: Epilogue | Ralph Vaughan Williams, Andrew Davis, BBC Symphony Orchestra | G Minor | 0 | 6A | 99 BPM | ||
Piano Concerto in A Minor, Op. 7: Romanze: Andante non troppo con grazia | Clara Schumann, Francesco Nicolosi, Alma Mahler Sinfonietta, Stefania Rinaldi | G Minor | 7 | 6A | 100 BPM | ||
4 Pieces, Op. 51: 1. Fragilité | Alexander Scriabin, Evgeny Kissin | E♭ Major | 0 | 5B | 69 BPM | ||
Don Quixote, Op. 35, TrV 184: Variation III. Gespräche zwischen Ritter und Knappe | Richard Strauss, Oslo Philharmonic Orchestra, Vasily Petrenko, Louisa Tuck, Catherine Bullock | C Major | 0 | 8B | 134 BPM | ||
Dolly, Op.56: 2. Mi-A-Ou | Gabriel Fauré, Katia Labèque, Marielle Labèque | F Major | 1 | 7B | 71 BPM | ||
Cello Concerto No. 1 in A Minor, Op. 33: Tempo primo (H) | Camille Saint-Saëns, Mischa Maisky, Orpheus Chamber Orchestra | A Minor | 1 | 8A | 90 BPM | ||
Suite for String Orchestra, JW6 No. 2: III. Andante con Moto | Antonín Dvořák, Leoš Janáček, Josef Suk, Bohuslav Martinů, Bedřich Smetana, Ciconia Consort, Dick van Gasteren | E Minor | 2 | 9A | 129 BPM | ||
3 Bavarian Dances: No. 1 | Edward Elgar, New Zealand Symphony Orchestra, James Judd | F♯ Minor | 2 | 11A | 145 BPM |