Henri Desmarets, Boston Early Music Festival Orchestra, Paul O'Dette, Stephen Stubbs's 'Circe: XXIX. Prélude' came out on May 31, 2023. With Circe: XXIX. Prélude 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 track order of this song in Henri Desmarets, Boston Early Music Festival Orchestra, Boston Early Music Festival Chorus, Paul O'Dette, Stephen Stubbs's "Henry Desmarest: Circé" album is number 29 out of 110. On top of that, Germany appears to be the country where this track was created. In terms of popularity, Circe: XXIX. Prélude is currently unknown. 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 Circe: XXIX. Prélude by Henri Desmarets, Boston Early Music Festival Orchestra, Paul O'Dette, Stephen Stubbs to be Andante (at a walking pace) because the track has a tempo of 101 BPM, a half-time of 50BPM, and a double-time of 202 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
This song is in the music key of C Minor. Because this track belongs in the C Minor key, the camelot key is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
When Saul was king: IV. All the night she weepeth sore | Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Helen Charlston, Academy of Ancient Music | B Minor | 2 | 10A | 71 BPM | ||
Te Deum "de Lyon": IV. Te martyrum candidatus laudat exercitus | Henri Desmarets, Ensemble les Surprises, Louis-Noël Bestion de Camboulas | B♭ Major | 4 | 6B | 106 BPM | ||
Missa pro Defunctis in E-Flat Major, HocJ A1.3: III. Sequentia, 3. Oro supplex et acclinis | Niccolò Jommelli, Miriam Feuersinger, Il Gardellino, Gaia Petrone, Valerio Contaldo, Wolf Matthias Friedrich, Peter Van Heyghen | B Minor | 1 | 10A | 139 BPM | ||
Sonata No.6 in D Major, Op. 50: I. Largo | Joseph Bodin de Boismortier, Lucile Boulanger, Simon Pierre, Olivier Fortin | B♭ Minor | 3 | 3A | 94 BPM | ||
Armide, LWV 71, Act I Scene 3: Sarabande (II) | Jean-Baptiste Lully, Vincent Dumestre, Le Poème Harmonique | C Major | 3 | 8B | 112 BPM | ||
Libera me in C Minor, HocJ E.2: IV. Tremens factus sum ego | Niccolò Jommelli, Miriam Feuersinger, Il Gardellino, Peter Van Heyghen | D Major | 1 | 10B | 126 BPM | ||
Circé, Prologue Scene 2: Gigue pour les Nymphes et les Dieux des eaux | Henri Desmarets, Boston Early Music Festival Orchestra, Robert Mealy | C Major | 1 | 8B | 100 BPM | ||
Purcell: The Fairy Queen, Z. 629, Act II. Song. "One Charming Night" | Henry Purcell, Amsterdam Baroque Orchestra, Ton Koopman, Geraint Rogers | B Minor | 0 | 10A | 78 BPM | ||
Stabat Mater in G Minor: II. O quam tristis | Frantisek Tuma, Collegium 1704, Collegium vocale 1704, Vaclav Luks | D♭ Minor | 1 | 12A | 107 BPM | ||
Biber: Requiem a 15 in A Major: III. Sequenz | Heinrich Ignaz Franz von Biber, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra | B♭ Major | 0 | 6B | 139 BPM |
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