"Symphony No. 9: Ih. Wie von Anfang - Live" by Gustav Mahler, Verbier Festival Orchestra, Daniel Harding was released on February 2, 2024. The duration of Symphony No. 9: Ih. Wie von Anfang - Live is about two minutes long, specifically at 2:03. This song does not appear to have any foul language. Symphony No. 9: Ih. Wie von Anfang - Live's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Gustav Mahler, Verbier Festival Orchestra, Daniel Harding's "Mahler: Symphony No. 9 (Live)" album is number 5 out of 29. On top of that, Germany appears to be the country where this track was created. Symphony No. 9: Ih. Wie von Anfang - Live 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.
We consider the tempo marking of Symphony No. 9: Ih. Wie von Anfang - Live by Gustav Mahler, Verbier Festival Orchestra, Daniel Harding to be Andante (at a walking pace) because the track has a tempo of 79 テンポ, a half-time of 40テンポ, and a double-time of 158 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of D♭ Major. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Wesendonck Lieder, WWV 91: Schmerzen | Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis | C Minor | 1 | 5A | 132 BPM | ||
Shylock, Op. 57: V. Nocturne | Gabriel Fauré, RTE Sinfonietta, John Georgiadis | G Major | 0 | 9B | 84 BPM | ||
Piano Concerto in G Major, M. 83: II. Adagio assai | Maurice Ravel, Krystian Zimerman, Cleveland Orchestra, Pierre Boulez | E Major | 0 | 12B | 74 BPM | ||
La Mer, L.109: 2. Play of the Waves (Jeux de vagues) | Claude Debussy, Orchestre Symphonique de Montréal, Charles Dutoit | E Major | 1 | 12B | 113 BPM | ||
Haydn: Cello Concerto No. 1 in C Major, Hob. VIIb, 1: I. Moderato (Cadenza by Britten) | Franz Joseph Haydn, Mstislav Rostropovich, Academy of St. Martin in the Fields | C Major | 1 | 8B | 68 BPM | ||
Ravel: Ma mère l'Oye, M. 60: II. Petit Poucet | Maurice Ravel, Yannick Nézet-Séguin, Rotterdam Philharmonic Orchestra | C Minor | 0 | 5A | 124 BPM | ||
Mahler: Symphony No. 2 in C Minor "Resurrection": V. (f) Etwas bewegter. "O glaube, mein Herz !" | Gustav Mahler, Otto Klemperer, Elisabeth Schwarzkopf, Hilde Rössel Majdan, The Philharmonia Chorus, Philharmonia Orchestra | D♭ Major | 0 | 3B | 170 BPM | ||
Masquerade - Ballet Suite: 2. Nocturne | Aram Khachaturian, John Georgiadis, London Symphony Orchestra, Stanley Black | A Major | 0 | 11B | 111 BPM | ||
Prélude à l'après-midi d'un faune, L.86 | Claude Debussy, Timothy Hutchins, Orchestre Symphonique de Montréal, Charles Dutoit | A♭ Minor | 0 | 1A | 90 BPM | ||
Symphonie fantastique, Op. 14, H 48: IV. Marche au supplice | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | B♭ Major | 1 | 6B | 155 BPM |