Arleen Auger's 'Samson, HWV 57: Samson, HWV 57, Act III: Let the bright Seraphim in burning row' came out on January 1, 2000. Samson, HWV 57: Samson, HWV 57, Act III: Let the bright Seraphim in burning row is about six minutes long, preciously at 6:08, making this song fairly long compared to other songs. The song is number 4 out of 38 in Auger, Arleen: Arias by Arleen Auger. In terms of popularity, Samson, HWV 57: Samson, HWV 57, Act III: Let the bright Seraphim in burning row is currently not that popular. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
The tempo marking of Samson, HWV 57: Samson, HWV 57, Act III: Let the bright Seraphim in burning row by Arleen Auger is Moderato (at a moderate speed), since this song has a tempo of 110 BPM. With that information, we can conclude that the song has a moderate tempo. The time signature for this track is 4/4.
A Major is the music key of this track. This also means that this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Die Schöpfung, Hob. XXI:2, Erster Teil: III. Arie mit Chor "Nun schwanden vor dem heiligen Strahle" | Joseph Haydn, Collegium Vocale Gent, Orchestre des Champs-Élysées, Philippe Herreweghe, Maximilian Schmitt | G Minor | 3 | 6A | 120 BPM | ||
Serenade | Arleen Auger | F Major | 0 | 7B | 170 BPM | ||
Salve Regina : I. Salve Regina | Domenico Scarlatti, Jeanne Lamon, Tafelmusik Baroque Orchestra, Marie-Nicole Lemieux | F♯ Major | 1 | 2B | 88 BPM | ||
Ein deutsches Requiem, Op. 45: I. Selig sind, die da Leid tragen | Johannes Brahms, Collegium Vocale Gent, La Chapelle Royale, Orchestre des Champs-Élysées, Philippe Herreweghe | F Major | 0 | 7B | 66 BPM | ||
Petite messe solennelle: Offertorium. Prélude religieux | Gioachino Rossini, Christophe Henry, Orchestre de chambre de Paris, Ottavio Dantone | D♭ Major | 0 | 3B | 89 BPM | ||
Oboe Concerto in B-Flat Major, Wq. 164, H. 466: II. Largo e mesto | Carl Philipp Emanuel Bach, Jozsef Kiss, Budapest Ferenc Erkel Chamber Orchestra | G Minor | 1 | 6A | 149 BPM | ||
Te Deum, H. 146: III. Te aeternum Patrem | Marc-Antoine Charpentier, Véronique Gens, William Christie, Gilles Ragon, Jean-Paul Fouchécourt, Les Arts Florissants, Bernard Deletré | D♭ Major | 3 | 3B | 116 BPM | ||
Stabat Mater, Op. 58, B.71: 3. Coro "Eia mater, fons amoris" | Antonín Dvořák, Chor der Sächsischen Staatsoper Dresden; see Dresden State Opera Chorus, Matthias Brauer, Staatskapelle Dresden, Giuseppe Sinopoli | F♯ Major | 0 | 2B | 69 BPM | ||
Orlando, HWV 31 / Act 1: Consolati o bella | George Frideric Handel, Arleen Auger, Emma Kirkby, Catherine Robbin, Academy of Ancient Music, Christopher Hogwood | C Minor | 0 | 5A | 77 BPM | ||
Abdelazer, Z.570: Air - Jig - Hornpipe - Air | Henry Purcell, Academy of Ancient Music, Christopher Hogwood | F♯ Minor | 2 | 11A | 172 BPM |
Section: 0.9896471500396729
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