"Cavalli: La Calisto, Act 2: "Erme, e solinghe cime ... Lucidissima face" (Endimione)" by Francesco Cavalli, Philippe Jaroussky was released on March 8, 2019. The duration of Cavalli: La Calisto, Act 2: "Erme, e solinghe cime ... Lucidissima face" (Endimione) is about 3 minutes long, at 3:26. Based on our data, "Cavalli: La Calisto, Act 2: "Erme, e solinghe cime ... Lucidissima face" (Endimione)" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 24 in the song's album "Ombra mai fu - Francesco Cavalli Opera Arias". In this album, this song's track order is #18. Cavalli: La Calisto, Act 2: "Erme, e solinghe cime ... Lucidissima face" (Endimione) is 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 Cavalli: La Calisto, Act 2: "Erme, e solinghe cime ... Lucidissima face" (Endimione) by Francesco Cavalli, Philippe Jaroussky having a BPM of 84 with a half-time of 42 BPM and a double-time of 168 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 1/4.
E Minor is the music key of this track. Which also means that the camelot key for this song is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Rameau: Nouvelles Suites de Pièces de Clavecin (1727), Suite in G Major, RCT 6: No. 3. Menuet I - Menuet II | Jean-Philippe Rameau, Jean Rondeau | F Major | 3 | 7B | 117 BPM | ||
Come ye sons of art: Sound the Trumpet | Henry Purcell, Andreas Scholl, Christophe Dumaux, Accademia Bizantina, Stefano Montanari | D♭ Major | 4 | 3B | 108 BPM | ||
Membra Jesu nostri, BuxWV 75: IVb. Ad latus: Salve latus Salvatoris | Dietrich Buxtehude, Roberto Balconi, Daniele Carnovich, Mario Cecchetti, Roberta Invernizzi, Caterina Trogu, Radio Svizzera Choir, Lugano, Sonatori de la Gioiosa Marca, Accademia Instrumentale Italiana, Diego Fasolis | F♯ Minor | 2 | 11A | 100 BPM | ||
Lo frate 'nnamorato: II. Andante | Giovanni Battista Pergolesi, Orchestra da Camera di Napoli, Enzo Amato | E Minor | 5 | 9A | 165 BPM | ||
Eia Mater: Andantino | Giovanni Battista Pergolesi, Rinaldo Alessandrini, Gemma Bertagnolli, Concerto Italiano, Sara Mingardo | E Minor | 0 | 9A | 0 BPM | ||
L'Egisto, Act III Scene 3: Lidio a l'alma (Lidio, Climene) | Francesco Cavalli, Vincent Dumestre, Le Poème Harmonique, Zachary Wilder, Ambroisine Bré | F♯ Major | 2 | 2B | 114 BPM | ||
Stabat Mater: 3. O quam tristis | Giovanni Battista Pergolesi, Emma Kirkby, James Bowman, Academy of Ancient Music, Christopher Hogwood | F♯ Minor | 1 | 11A | 80 BPM | ||
Pièces de viole, Cinquième livre, Suite No. 6: XVI. Le Rondeau Villeneuve | Marin Marais, La Rêveuse, Benjamin Perrot, Florence Bolton | F♯ Major | 1 | 2B | 114 BPM | ||
Déraisonnable beauté: Chaconne | Rinaldo Alessandrini | B Major | 1 | 1B | 124 BPM | ||
Maddalena ai piedi di Cristo: No. 1 Sinfonia | Antonio Caldara, René Jacobs, Schola Cantorum Basiliensis, Chiara Banchini | A♭ Major | 2 | 4B | 170 BPM |
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