Paul Hindemith, Rafael Kubelik, Bayerischer Rundfunk, Bavarian Radio Symphony Orchestra's 'Mathis Der Maler, 3rd Tableau, Scene 3: Wir sind im innersten Grund verbunden (Ursula/Mathis)' had a release date set for April 1, 1995. The duration of This song is about 3 minutes long, at 3:14. Based on our data, This song appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The track order of this song in Paul Hindemith, Rafael Kubelik's "Hindemith: Mathis der Maler" album is number 6 out of 61. The popularity of Mathis Der Maler, 3rd Tableau, Scene 3: Wir sind im innersten Grund verbunden (Ursula/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, 3rd Tableau, Scene 3: Wir sind im innersten Grund verbunden (Ursula/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 5/4.
This song has a musical key of B♭ Minor. Because this track belongs in the B♭ Minor key, the camelot key is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Viola Sonata, Op. 31, No. 4: II. Lied. Ruhig, mit wenig Ausdruck. Langsame Viertel | Paul Hindemith, Nobuko Imai | G Major | 1 | 9B | 87 BPM | ||
Piano Sonata No. 2 ("Concord, Mass., 1840-1860"): III. The Alcotts | Charles Ives, Marc-André Hamelin | E♭ Major | 0 | 5B | 72 BPM | ||
Korngold: Violin Concerto in D Major, Op. 35: III. Allegro assai vivace | Erich Wolfgang Korngold, Itzhak Perlman, André Previn, Pittsburgh Symphony Orchestra | A Major | 1 | 11B | 122 BPM | ||
Symphony No. 4, Op. 29 "The Inextinguishable": II. Poco allegretto | Carl Nielsen, Danish National Symphony Orchestra, Fabio Luisi | C Major | 0 | 8B | 77 BPM | ||
Pictures at an Exhibition: Promenade. Moderato commodo assai e con delicatezza - attacca | Modest Mussorgsky, Ivo Pogorelich | D♭ Minor | 0 | 12A | 68 BPM | ||
Kleine Kammermusik, Op. 24, No. 2: 3. Ruhig und einfach | Paul Hindemith, Omega Ensemble | G Major | 0 | 9B | 116 BPM | ||
Trio for Oboe, Bassoon and Piano: 3. Rondo | Francis Poulenc, Hansjorg Schellenberger, Milan Turkovic, James Levine | D♭ Major | 2 | 3B | 71 BPM | ||
Concerto for Orchestra, Sz. 116: III. Elegia (Andante, non troppo) | Béla Bartók, Chicago Symphony Orchestra, Pierre Boulez | D Major | 1 | 10B | 73 BPM | ||
Ludus Tonalis: XX. Fuga decima in Des (Allegro moderato, grazioso) | Paul Hindemith, Alena Cherny | A♭ Major | 0 | 4B | 69 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 |