"Funeste ca lucive (arr. for baritone and orchestra)" by Traditional, A. Gritsevitch, Dmitri Hvorostovsky, Russian Philharmonia, Constantine Orbelian was released on January 1, 2001. The duration of Funeste ca lucive (arr. for baritone and orchestra) is about 3 minutes long, at 3:22. Based on our data, "Funeste ca lucive (arr. for baritone and orchestra)" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The track order of this song in Dmitri Hvorostovsky, Constantine Orbelian's "Hvorostovsky, Dmitri: Baritone Arias - Curtis, E. / Tagliaferri, E. / Capua, E. / Cardillo, S. / Bixio, C. / Tosti, F. / Gambardella, S." album is number 15 out of 17. Funeste ca lucive (arr. for baritone and orchestra) 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.
We consider the tempo marking of Funeste ca lucive (arr. for baritone and orchestra) by Traditional, A. Gritsevitch, Dmitri Hvorostovsky, Russian Philharmonia, Constantine Orbelian to be Larghetto (rather broadly) because the track has a tempo of 61 BPM, a half-time of 30BPM, and a double-time of 122 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song has a musical key of E Minor. Because this track belongs in the E Minor key, the camelot key 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 | ||
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Pange Lingua Gloriosi: Chant Mode III | Chant Mode III, St. Thomas Aquinas, Catherine Bridge, Pam Erven-Sukonik, Kari Ferguson, Katherine Fitzgibbon, Anna Haagenson, Maria Karlin, Emily Kinkley, Stephanie Kramer, Catherine van der Salm, Angela Westhoff-Johnson | C Minor | 0 | 5A | 123 BPM | ||
Les Chansons Des Roses: V. Dirait-On (Morten Lauridsen, piano) | The Singers - Minnesota Choral Artists | D♭ Major | 0 | 3B | 75 BPM | ||
Adesto dolori meo | Jacob Clemens non Papa, Musica Sacra | B♭ Major | 1 | 6B | 87 BPM | ||
Tykus Tykus | University Of Pretoria Camerata | E♭ Major | 1 | 5B | 86 BPM | ||
Innsbruck, ich muß dich lassen | Heinrich Isaac, Amarcord | D Minor | 1 | 7A | 75 BPM | ||
Missa Quadragesimalis, MH 552: Agnus Dei | Michael Haydn, Purcell Choir, Orfeo Orchestra, members, Gyorgy Vashegyi | A♭ Minor | 1 | 1A | 0 BPM | ||
Byzantine Liturgy: Dostoino est (It is worthy), For male choir | Traditional, Chamber Choir, Lege Artis | A Major | 1 | 11B | 130 BPM | ||
Eternal Memory | "The Orthodox Singers" Male Choir, Georgiy Smirnov | D♭ Minor | 0 | 12A | 131 BPM | ||
3 Sacred Songs, Op. 69: No. 3, Abendlied "Bleib bei uns, es will Abend werden" | Josef Rheinberger, Westminster Kantorei, Amanda Quist | F Major | 2 | 7B | 134 BPM | ||
Of Thy Mystical Supper | Origen | C Minor | 3 | 5A | 72 BPM |
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