"Elektra, Op. 58, TrV 223: "Elektra!" / "Schweig, und tanze."" by Richard Strauss, Marianne Schech, Inge Borkh, Staatskapelle Dresden, Karl Böhm was released on January 1, 1961. The duration of Elektra, Op. 58, TrV 223: "Elektra!" / "Schweig, und tanze." is about two minutes long, specifically at 2:21. This song does not appear to have any foul language. Elektra, Op. 58, TrV 223: "Elektra!" / "Schweig, und tanze."'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 27 in the song's album "Strauss: Elektra". In this album, this song's track order is #17. Furthermore, we believe that the track originated from Germany. The popularity of Elektra, Op. 58, TrV 223: "Elektra!" / "Schweig, und tanze." is currently not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Elektra, Op. 58, TrV 223: "Elektra!" / "Schweig, und tanze." by Richard Strauss, Marianne Schech, Inge Borkh, Staatskapelle Dresden, Karl Böhm having a テンポ of 179 with a half-time of 90 テンポ and a double-time of 358 テンポ, we would consider this track to have a Presto (very, very fast) tempo marking. Because of this, we believe that the song has an overall fast tempo. The time signature for this track is 4/4.
This song has a musical key of D♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Carmen Suite No. 1 (Arr. E. Guiraud): III. Intermezzo | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | A♭ Major | 3 | 4B | 161 BPM | ||
Much Ado about Nothing Suite, Op. 11: II. The Maiden in the Bridal Room | Erich Wolfgang Korngold, Marc Albrecht, Orchestre Philharmonique De Strasbourg | D♭ Major | 1 | 3B | 118 BPM | ||
Eine Alpensinfonie: V. Auf dem Gletscher - Gefahrvolle Augenblicke | Richard Strauss, Bernard Haitink, London Symphony Orchestra | F♯ Minor | 0 | 11A | 83 BPM | ||
Standchen, TrV 114 | Richard Strauss, Amelia Piano Trio, Max Mandel | G Major | 1 | 9B | 163 BPM | ||
Das Liebesverbot: Overture | Richard Wagner, Staatskapelle Dresden, Giuseppe Sinopoli | G Major | 6 | 9B | 120 BPM | ||
3 Preludes and Fugues, Op. 16: No. 2. Prelude and Fugue in B-Flat Major | Clara Schumann, Jozef De Beenhouwer | B♭ Major | 0 | 6B | 100 BPM | ||
Symphony No.8 In G, Op.88, B. 163: 4. Allegro ma non troppo | Antonín Dvořák, Berliner Philharmoniker, Rafael Kubelík | G Major | 2 | 9B | 141 BPM | ||
Pictures At An Exhibition: Promenade | Modest Mussorgsky, Chicago Symphony Orchestra, Carlo Maria Giulini | A♭ Major | 0 | 4B | 87 BPM | ||
L’arlésienne Suite No. 1, Op. 23bis, WD 40: II. Menuet | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | A♭ Major | 0 | 4B | 94 BPM | ||
Don Quixote, Op. 35, TrV 184: Variation III. Gespräche zwischen Ritter und Knappe | Richard Strauss, Oslo Philharmonic Orchestra, Vasily Petrenko, Louisa Tuck, Catherine Bullock | C Major | 0 | 8B | 134 BPM |