Paul Hindemith, Rafael Kubelik, Bayerischer Rundfunk, Bavarian Radio Symphony Orchestra's 'Mathis Der Maler, 4th Tableau, Scene 5: Wagen wollen, was ein Wille (Mathis)' had a release date set for April 1, 1995. The duration of This song is about two minutes long, specifically at 2:36. This song does not appear to have any foul language. Mathis Der Maler, 4th Tableau, Scene 5: Wagen wollen, was ein Wille (Mathis)'s duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Paul Hindemith, Rafael Kubelik's "Hindemith: Mathis der Maler" album is number 15 out of 61. The popularity of Mathis Der Maler, 4th Tableau, Scene 5: Wagen wollen, was ein Wille (Mathis) is currently 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 Mathis Der Maler, 4th Tableau, Scene 5: Wagen wollen, was ein Wille (Mathis) by Paul Hindemith, Rafael Kubelik, Bayerischer Rundfunk, Bavarian Radio Symphony Orchestra to be Vivace (lively and fast) because the track has a tempo of 174 テンポ, a half-time of 87テンポ, and a double-time of 348 テンポ. Based on that, the speed of the song's tempo is fast. The time signature for this track is 3/4.
This song has a musical key of 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 | ||
---|---|---|---|---|---|---|---|
Piano Concerto No. 2 in A Major, S. 125: 2. Allegro moderato - Allegro deciso | Franz Liszt, Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | A♭ Major | 1 | 4B | 78 BPM | ||
Cello Concerto No. 1 in A Minor, Op. 33: II. Allegretto con moto | Camille Saint-Saëns, Mischa Maisky, Orpheus Chamber Orchestra | B♭ Major | 0 | 6B | 109 BPM | ||
Gli uccelli (The Birds), P. 154: II. La colomba: Andante expressivo | Ottorino Respighi, Chamber Orchestra of New York, Salvatore Di Vittorio | F♯ Minor | 1 | 11A | 123 BPM | ||
Prelude In A Minor Op. 32 No. 8 | Vladimir Horowitz | F Major | 1 | 7B | 59 BPM | ||
Concerto for Viola & Orchestra: I. Andante comodo | William Walton, Yuri Bashmet, André Previn | D Minor | 0 | 7A | 87 BPM | ||
Quatuor pour la fin du Temps: III. Abîme des oiseaux | Olivier Messiaen, Martin Fröst | G Major | 0 | 9B | 131 BPM | ||
Symphony in E Minor, Op. 32, "Gaelic Symphony": II. Alla siciliana - Allegro vivace - Andante | Amy Beach, Nashville Symphony Orchestra, Kenneth Schermerhorn | F Major | 0 | 7B | 122 BPM | ||
Piano Sonata in G-Sharp Minor Op. 19, No. 2, "Sonata Fantasy": 1. Andante | Alexander Scriabin, Vladimir Ashkenazy | E Major | 0 | 12B | 66 BPM | ||
Pelléas et Mélisande, Op. 80: 1. Prélude. Quasi Adagio | Gabriel Fauré, Boston Symphony Orchestra, Seiji Ozawa | F Major | 2 | 7B | 98 BPM | ||
Ludus Tonalis: IV. Fuga secunda in G (Allegro) | Paul Hindemith, Alena Cherny | A♭ Major | 0 | 4B | 69 BPM |