"Kammergesänge, Op. 32: No. 1, Sehsucht nach der Nachtigall" by Gottfried von Einem, Christian Simonis, Ulrike Pichler-Steffen was released on 1991. With Kammergesänge, Op. 32: No. 1, Sehsucht nach der Nachtigall being less than two minutes long, at 1:22, 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 track order of this song in Gottfried von Einem, andreas stöhr, Wiener Concert-Verein's "Gottfried von Einem: Orchestral Works" album is number 14 out of 24. On top of that, Austria appears to be the country where this track was created. Kammergesänge, Op. 32: No. 1, Sehsucht nach der Nachtigall 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 Kammergesänge, Op. 32: No. 1, Sehsucht nach der Nachtigall by Gottfried von Einem, Christian Simonis, Ulrike Pichler-Steffen to be Andante (at a walking pace) because the track has a tempo of 83 テンポ, a half-time of 42テンポ, and a double-time of 166 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 F♯ Minor. This also means that this song has a camelot key of 11A. So, the perfect camelot match for 11A would be either 11A or 10B. While, a low energy boost can consist of either 11B or 12A. For moderate energy boost, you would use 8A and a high energy boost can either be 1A or 6A. However, if you are looking for a low energy drop, finding a song with a camelot key of 10A would be a great choice. Where 2A would give you a moderate drop, and 9A or 4A would be a high energy drop. Lastly, 2B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
3 Zweistimmige Lieder, Op. 43/1: I. Wenn ich ein Vöglein wär | Robert Schumann, Barbican Quartet | N/A | N/A | N/A | 0 BPM | ||
The Sleeping Beauty Suite, Op. 66a, TH 234: III. Pas de caractere (Puss-in-Boots and the White Cat) | Pyotr Ilyich Tchaikovsky, Royal Philharmonic Orchestra, Sir Charles Mackerras | B Major | 3 | 1B | 76 BPM | ||
Piano Concerto, Op. 20: I. Molto moderato | Gottfried von Einem, Konstantin Lifschitz, Vienna Radio Symphony Orchestra, Cornelius Meister | B♭ Major | 1 | 6B | 125 BPM | ||
Der Prozeß, Act I: Ich habe ihnen heute | Gottfried von Einem, Michael Laurenz, Anke Vondung, ORF Vienna Radio Symphony Orchestra, H.K. Gruber | C Minor | 1 | 5A | 73 BPM | ||
The Young Person's Guide to the Orchestra, Op. 34: III. Variations E-H, Strings. Brillante, alla polacca - Meno mosso - Cominciando lento ma poco a poco accelerando | Benjamin Britten, Sir Simon Rattle, London Symphony Orchestra | B Major | 0 | 1B | 124 BPM | ||
Variations on a Rococo Theme, Op. 33b, TH 57 b: Var. 6, Adagio | Pyotr Ilyich Tchaikovsky, Li-wei Qin, Czech Philharmonic Chamber Orchestra, Michael Halasz | G Minor | 0 | 6A | 75 BPM | ||
Todo Início Carrega um Pouco do Fim | Anabel Santana, João Marcondes, Sonoras | B Major | 0 | 1B | 87 BPM | ||
Sapho: Solitude | Jules Massenet, Munich Radio Orchestra, Herve Niquet | B♭ Major | 1 | 6B | 74 BPM | ||
The Bloody Man Steps into the Abyss | Nexhagus | E♭ Major | 0 | 5B | 59 BPM | ||
Le Decameron des Jeunes Clarinettistes, 2e Suite: No. 20, Cavatine de Norma - Arr. pour Clarinette seule by H. Klosé | Hyacinthe Eléonore Klosé, Vincenzo Bellini, Luigi Magistrelli | E♭ Major | 0 | 5B | 115 BPM |