Il Complesso Barocco/Alan Curtis made "Il Sansone (Oratorio in due canti), Canto Secondo: Sinfonia" available on 2000. With Il Sansone (Oratorio in due canti), Canto Secondo: Sinfonia being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. The song is number 22 out of 34 in Ferrari - Il Sansome/Solo Songs by Benedetto Ferrari, Il Complesso Barocco/Alan Curtis. Based on our statistics, Il Sansone (Oratorio in due canti), Canto Secondo: Sinfonia's popularity is unknown right now. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
The tempo marking of Il Sansone (Oratorio in due canti), Canto Secondo: Sinfonia by Il Complesso Barocco/Alan Curtis is Allegro (fast, quick, and bright), since this song has a tempo of 128 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 5/4.
This song is in the music key of G Minor. Because this track belongs in the G Minor key, the camelot key is 6A. So, the perfect camelot match for 6A would be either 6A or 5B. While, a low energy boost can consist of either 6B or 7A. For moderate energy boost, you would use 3A and a high energy boost can either be 8A or 1A. However, if you are looking for a low energy drop, finding a song with a camelot key of 5A would be a great choice. Where 9A would give you a moderate drop, and 4A or 11A would be a high energy drop. Lastly, 9B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Telemann: Ouverture-Suite for Recorder and Strings in A Minor, TWV 55:a2: VI. Passepieds I & II | Georg Philipp Telemann, Sir Neville Marriner, David Munrow, Academy of St. Martin in the Fields | B♭ Major | 3 | 6B | 105 BPM | ||
A battaglia, pensieri: Aria: A battaglia, pensieri | Alessandro Scarlatti, Ruth Ziesak, Reinhold Friedrich, Budapest Strings, Karoly Botvay | C Major | 1 | 8B | 135 BPM | ||
Symphony in C Major, H. 659, Wq. 182/3: I. Allegro assai | Carl Philipp Emanuel Bach, Akademie für Alte Musik Berlin, Georg Kallweit | D♭ Major | 1 | 3B | 140 BPM | ||
Concerto in E Major: III. Siciliano | Carl Heinrich Graun, Fréderick Franssen, Members of the Netherlands Radio Philharmonic Orchestra | E♭ Major | 3 | 5B | 100 BPM | ||
Exaudiat te Dominus, LWV 77 No. 15: V. Exaudiet illum de caelo sancto suo | Jean-Baptiste Lully, Stephane Fuget, Les Épopées, Les Pages & Les Chantres du Centre de Musique Baroque de Versailles | B♭ Major | 6 | 6B | 94 BPM | ||
David, azione sacra, Parte Prima: Recitativo (Gionata, David, Micol) S'io t'ami, il sai.' Recitativo accompagnato (David) 'Eccelso Dio che sorgi' Recitativo (Micol, Gionata) 'Quasai al partir du lui' | Francesco Bartolomeo Conti, Il Complesso Barocco/Alan Curtis/Marijana Mijanovic/Birgit Christensen/Simone Kermes, Alan Curtis | D Major | 0 | 10B | 172 BPM | ||
Concerto VII in F Major: IV. Allegro | António Pereira da Costa, Ensemble Bonne Corde, Diana Vinagre | F Major | 2 | 7B | 109 BPM | ||
Les fêtes d'Hébé, RCT 41, Act I Scene 3: En vain contre Thélème | Jean-Philippe Rameau, Chantal Santon Jeffery, Orfeo Orchestra, Gyorgy Vashegyi | E♭ Major | 0 | 5B | 99 BPM | ||
Hamburg Symphony No. 6 in E Major, Wq. 182: II. Poco andante | Carl Philipp Emanuel Bach, Arte dei Suonatori, Marcin Świątkiewicz | D♭ Major | 3 | 3B | 100 BPM | ||
Missa Sancti Pauli: No. 4, Gloria in excelsis Deo | Francesco Bartolomeo Conti, Adriána Kalafszky, Peter Bárány, Purcell Choir, Orfeo Orchestra, Gyorgy Vashegyi | D Minor | 3 | 7A | 121 BPM |
Section: 0.5938608646392822
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