"Das Berliner Requiem (1929): 4. Legend of the Unknown Soldier: Moderato assai" by Kurt Weill, Philip Langridge, Benjamin Luxon, Michael Rippon, London Sinfonietta, David Atherton was released on January 1, 1976. The duration of Das Berliner Requiem (1929): 4. Legend of the Unknown Soldier: Moderato assai is about 3 minutes long, at 3:19. Based on our data, "Das Berliner Requiem (1929): 4. Legend of the Unknown Soldier: Moderato assai" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. This song is part of Weill: Kleine Dreigroschenmusik; Mahagonny Songspiel; Happy End; Berliner Requiem; Violin Concerto by Kurt Weill, London Sinfonietta, David Atherton. The song's track number on the album is #18 out of 42 tracks. In terms of popularity, Das Berliner Requiem (1929): 4. Legend of the Unknown Soldier: Moderato assai is currently unknown. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
Since Das Berliner Requiem (1929): 4. Legend of the Unknown Soldier: Moderato assai by Kurt Weill, Philip Langridge, Benjamin Luxon, Michael Rippon, London Sinfonietta, David Atherton has a tempo of 101 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Das Berliner Requiem (1929): 4. Legend of the Unknown Soldier: Moderato assai being at 101 テンポ, the half-time would be 50 テンポ with a double-time of 202 テンポ.In addition, we consider the tempo speed to be pretty slow for this song. The time signature for this track is 4/4.
This song is in the music key of A Minor. Which also means that the camelot key for this song is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
In the Steppes of Central Asia | Alexander Borodin, Royal Philharmonic Orchestra, Vladimir Ashkenazy | A Major | 0 | 11B | 69 BPM | ||
Tambourin in C Major | Jean-Marie Leclair, Patricia Kopatchinskaja, Sol Gabetta | C Minor | 2 | 5A | 144 BPM | ||
Mandolin Concerto in C Major, RV 425: I. Allegro | Antonio Vivaldi, Avi Avital, Venice Baroque Orchestra | C Major | 2 | 8B | 97 BPM | ||
A Midsummer Night's Dream / Act 2: A Midsummer Night's Dream, Act 2: "On The Ground, Sleep Sound" | Benjamin Britten, Choir Of Downside School, Purley, Wandsworth School Boys Choir, London Symphony Orchestra | F Minor | 0 | 4A | 176 BPM | ||
Tristan und Isolde - Concert Version: Liebestod | Richard Wagner, Berliner Philharmoniker, Herbert von Karajan | B Major | 2 | 1B | 94 BPM | ||
Die Zirkusprinzessin (The Circus Princess), Act I: Zwei Marchenaugen | Emmerich Kálmán, Maria Tiboldi, Marika Nemeth, Anna Zentai, Andrea Zsadon | C Major | 1 | 8B | 0 BPM | ||
Die Dreigroschenoper: Akt I, Der Morgenchoral des Peachum ("Wach auf, du verrotteter Christ!") | Kurt Weill, Wolfgang Neuss, Willy Trenk-Trebitsch, Wilhelm Brückner-Rüggeberg | G Minor | 1 | 6A | 124 BPM | ||
Ravel: Pavane pour une infante défunte, M. 19 | Maurice Ravel, Daniel Barenboim, Chicago Symphony Orchestra | G Major | 0 | 9B | 102 BPM | ||
Bizet: Carmen, Act 2: "Les tringles des sistres tintaient" (Carmen, Frasquita, Mercédès) | Georges Bizet, Maria Callas, Orchestre de l'Opéra National de Paris, Georges Prêtre, Orchestre du Théâtre National de l'Opéra Paris | C Major | 2 | 8B | 138 BPM | ||
Die Dreigroschenoper: Akt III, Die Schluss-Strophen der Moritat ("Und so kommt zum guten Ende") | Kurt Weill, Wilhelm Brückner-Rüggeberg, Sender Freies Berlin Orchestra | G Major | 0 | 9B | 74 BPM |