Zoltán Kodály, Neeme Järvi, Chicago Symphony Orchestra, Laurence Kaptain made "Hary Janos Suite: Háry János Suite: II. Viennese Musical Clock" available on October 1, 1990. The duration of Hary Janos Suite: Háry János Suite: II. Viennese Musical Clock is about two minutes long, specifically at 2:18. This song does not appear to have any foul language. Hary Janos Suite: Háry János Suite: II. Viennese Musical Clock's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Zoltán Kodály, Neeme Järvi, Chicago Symphony Orchestra, Laurence Kaptain's "Kodaly: Hary Janos Suite" album is number 3 out of 25. On top of that, United Kingdom appears to be the country where this track was created. Based on our statistics, Hary Janos Suite: Háry János Suite: II. Viennese Musical Clock's popularity is not that popular right now. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
We consider the tempo marking of Hary Janos Suite: Háry János Suite: II. Viennese Musical Clock by Zoltán Kodály, Neeme Järvi, Chicago Symphony Orchestra, Laurence Kaptain to be Allegro (fast, quick, and bright) because the track has a tempo of 121 テンポ, a half-time of 60テンポ, and a double-time of 242 テンポ. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
The music key of this track is B♭ Major. This also means that this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Soirees musicales, Op. 9: III. Tirolese | Benjamin Britten, Helsingborg Symphony Orchestra, Okko Kamu | A Major | 0 | 11B | 71 BPM | ||
Symphonie Fantastique, Op.14, H 48: 5b. Songe d'une nuit du Sabbat - Dies irae | Hector Berlioz, Chicago Symphony Orchestra, Claudio Abbado | G Minor | 1 | 6A | 63 BPM | ||
Symphony No. 7 in E Major, WAB 107 (Ed. Haas): III. Scherzo. Sehr schnell - Trio. Etwas langsamer | Anton Bruckner, Wiener Philharmoniker, Herbert von Karajan | F Major | 2 | 7B | 74 BPM | ||
Elgar: Pomp and Circumstance, Op. 39: II. March No. 2 in A Minor (Allegro molto) | Edward Elgar, London Philharmonic Orchestra, Sir Adrian Boult | B Minor | 3 | 10A | 131 BPM | ||
Concerto For Orchestra, Sz. 116: 5. Finale (Pesante - Presto) | Béla Bartók, Chicago Symphony Orchestra, Pierre Boulez | A♭ Major | 2 | 4B | 127 BPM | ||
Fountains Of Rome, P. 106: 3. The Trevi Fountain At Midday | Ottorino Respighi, Berliner Philharmoniker, Herbert von Karajan | A Major | 5 | 11B | 105 BPM | ||
Sextet, FP 100: Finale: Prestissimo | Francis Poulenc, Philippe Bernold, Olivier Doise, Hervé Joulain, Ronald Van Spaendonck, Alexandre Tharaud, Laurent Lefèvre | C Major | 1 | 8B | 136 BPM | ||
Haydn: Symphony No. 94 in G Major, Hob. I:94 "Surprise": IV. Finale. Allegro di molto | Franz Joseph Haydn, André Previn, Pittsburgh Symphony Orchestra | G Major | 2 | 9B | 140 BPM | ||
Peer Gynt, Op. 23 - Incidental Music: No. 5 Peer Gynt and the Herd Girls | Edvard Grieg, Maria Andersson, Monica Einarson, Charlotte Forsberg, Toralv Maurstad, Gothenburg Symphony Orchestra, Neeme Järvi, Gösta Ohlin's Vocal Ensemble, Pro Musica Chamber Choir, Gösta Ohlin | F Major | 1 | 7B | 95 BPM | ||
Pictures At An Exhibition: Cum mortuis in lingua mortua | Modest Mussorgsky, Chicago Symphony Orchestra, Carlo Maria Giulini | B Major | 0 | 1B | 102 BPM |