The Rake's Progress, Act II: How Strange! by Igor Stravinsky, Eugene Conley, Hilde Gueden, Norman Scott, Mack Harrell, Martha Lipton, Blanche Thebom, Paul Franke, Lawrence Davidson, Metropolitan Opera Chorus, Metropolitan Opera Orchestra, Fritz Reiner Song Details

"The Rake's Progress, Act II: How Strange!" by Igor Stravinsky, Eugene Conley, Hilde Gueden, Norman Scott, Mack Harrell, Martha Lipton, Blanche Thebom, Paul Franke, Lawrence Davidson, Metropolitan Opera Chorus, Metropolitan Opera Orchestra, Fritz Reiner had its release date on August 4, 2017. With this song being about 5 minutes long, at This song is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. There are a total of 29 in the song's album "Stravinsky: The Rake's Progress". In this album, this song's track order is #13. Furthermore, we believe that the track originated from Italy. Based on our statistics, The Rake's Progress, Act II: How Strange!'s popularity 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.

BPM and Tempo

With The Rake's Progress, Act II: How Strange! by Igor Stravinsky, Eugene Conley, Hilde Gueden, Norman Scott, Mack Harrell, Martha Lipton, Blanche Thebom, Paul Franke, Lawrence Davidson, Metropolitan Opera Chorus, Metropolitan Opera Orchestra, Fritz Reiner having a BPM of 133 with a half-time of 66 BPM and a double-time of 266 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 5/4.

Music Key

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.

Want to find the BPM and music key for other songs? Check out our BPM and Key Finder page!

Popularity: 0%
Loudness: -17.018 dB
Acousticness: 99%
Danceability: 28%
Energy: 22%
Instrumentalness: 0%
Liveness: 11%
Loudness: 72%
Speechiness: 5%
Valence: 7%

Recommendations

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Sinfonietta, FP 141: I. Allegro con fuoco	Francis Poulenc, RTÉ National Symphony Orchestra, Jean-Luc Tingaud	G Major	0	9B	111 BPM
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The Rite of Spring, K15, Pt. 2: XIV. Sacrificial Dance	Igor Stravinsky, Berliner Philharmoniker, Herbert von Karajan	B♭ Major	5	6B	134 BPM
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Japanese Suite, Op. 33, H. 126: II. Ceremonial Dance	Gustav Holst, Ulster Orchestra, Joann Falletta	C Minor	3	5A	103 BPM
Piano Concerto No. 2 in F Major, Op. 102: I. Allegro	Dmitri Shostakovich, Leonard Bernstein, New York Philharmonic	F Major	6	7B	154 BPM
Symphony No. 2 in C Minor "Resurrection": III. In ruhig fließender Bewegung	Gustav Mahler, Leonard Bernstein, New York Philharmonic	B Minor	0	10A	112 BPM
The Firebird (L'oiseau De Feu) - Suite (1919): Finale	Igor Stravinsky, Orchestre de l'Opéra National de Paris, Myung-Whun Chung	E Major	2	12B	78 BPM
Scheherazade, Op. 35: II. Lento - Andantino "The Legend of the Kalendar Prince"	Nikolai Rimsky-Korsakov, New York Philharmonic, Alan Gilbert, Lawrence Rock	G Major	1	9B	59 BPM
Symphony No. 2 in D Major, Op. 43: III. Vivacissimo	Jean Sibelius, Leonard Bernstein, New York Philharmonic	B♭ Major	3	6B	98 BPM
Requiem Canticles: Libera me	Igor Stravinsky, Sally Burgess, Roderick Williams, Simon Joly Chorale, Philharmonia Orchestra, Robert Craft	B♭ Major	3	6B	136 BPM
Le rouet d'Omphale, Op. 31: Le Rouet d'Omphale	Camille Saint-Saëns, Slovak Radio Symphony Orchestra, Stephen Gunzenhauser	D Major	0	10B	121 BPM
Symphony No. 6 in B Minor, Op. 74 "Pathétique": IV. Finale. Adagio lamentoso – Andante	Pyotr Ilyich Tchaikovsky, Berliner Philharmoniker, Kirill Petrenko	B Minor	1	10A	71 BPM
3 Pieces in Old Style: No. 2, Menuetto I	Krzysztof Penderecki, Warsaw Philharmonic Chamber Orchestra, Antoni Wit	E Minor	1	9A	76 BPM
Serenade for Strings in E Major, Op. 22, B. 52: V. Finale (Allegro vivace)	Antonín Dvořák, Wiener Philharmoniker, Myung-Whun Chung	E Major	1	12B	84 BPM
Symphony No. 2 in C minor - "Resurrection" / 5th Movement: Sehr langsam und gedehnt ("der grosse Appell")	Gustav Mahler, Wiener Philharmoniker, Gilbert Kaplan	D♭ Minor	0	12A	67 BPM
Roman Festivals: I. Circenses	Ottorino Respighi, New York Philharmonic, Giuseppe Sinopoli, Johannes Geffert	D♭ Major	1	3B	135 BPM
Nocturnes, L. 91: 3. Sirènes	Claude Debussy, Berliner Philharmoniker, Claudio Abbado, Rundfunkchor Berlin, Robin Gritton	F♯ Major	1	2B	93 BPM
The Three-Cornered Hat: Suite No. 2 - Three Dances, II. The Miller's Dance - Farruca	Manuel de Falla, Philadelphia Orchestra, Raphael Frühbeck de Burgos	G Major	2	9B	78 BPM
Symphony No. 1 in E Minor, Op. 39: I. Andante, ma non troppo - Allegro energico	Jean Sibelius, Berliner Philharmoniker, Sir Simon Rattle	E Minor	1	9A	77 BPM
Piano Concerto No. 2 in F Major, Op. 102: I. Allegro	Dmitri Shostakovich, I Musici de Montréal, Maxim Shostakovich	B♭ Major	3	6B	160 BPM