Christoph Willibald Gluck, Orchestra of the Royal Opera House, Covent Garden, Sir Georg Solti made "Orfeo ed Euridice / Act 2: Ballo (Andante)" available on January 1, 1970. With this song being around four minutes long, at 3:48, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The track order of this song in Christoph Willibald Gluck, Marilyn Horne, Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Sir Georg Solti's "Gluck: Orfeo ed Euridice" album is number 11 out of 25. Based on our statistics, Orfeo ed Euridice / Act 2: Ballo (Andante)'s popularity is not that popular 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.
We consider the tempo marking of Orfeo ed Euridice / Act 2: Ballo (Andante) by Christoph Willibald Gluck, Orchestra of the Royal Opera House, Covent Garden, Sir Georg Solti to be Vivace (lively and fast) because the track has a tempo of 158 BPM, a half-time of 79BPM, and a double-time of 316 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, running, can go well with this song. The time signature for this track is 3/4.
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 | ||
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Come, Sweet Death (Arr. for 5 Cellos) | Johann Sebastian Bach, Sheku Kanneh-Mason, Hannah Roberts, Ben Davies, Desmond Neysmith, Max Ruisi | C Minor | 1 | 5A | 88 BPM | ||
Notebook for Anna Magdalena Bach (1725) [Excerpts]: No. 17, Polonaise in G Minor, H. 1 No. 2 [Attrib. J.S. Bach's BWV Anh. 123] | Carl Philipp Emanuel Bach, Giovanni Mazzocchin | E♭ Major | 1 | 5B | 113 BPM | ||
Orfeo ed Euridice, Wq. 30 (Arranged by Sgambati): Melodie dell'Orfeo | Christoph Willibald Gluck, Yuja Wang | D Minor | 0 | 7A | 70 BPM | ||
Schwanengesang, D. 957: IV. Ständchen in D Minor (Arr. for Violin and Piano) | Franz Schubert, Anne-Sophie Mutter, Daniil Trifonov | D Major | 1 | 10B | 108 BPM | ||
Love's Labour's Lost, Op. 28a: III. Dumaine's Poem | Gerald Finzi, Robert Plane, Royal Northern Sinfonia, Howard Griffiths | G Minor | 1 | 6A | 105 BPM | ||
Lieder ohne Worte, Op. 30/6: Allegretto tranquillo "Venetianisches Gondellied" | Felix Mendelssohn, Javier Perianes | F♯ Minor | 0 | 11A | 131 BPM | ||
Vocalise, Op. 34, No. 14 - Version For Cello And Piano | Sergei Rachmaninoff, Mischa Maisky, Pavel Gililov | E Minor | 8 | 9A | 128 BPM | ||
Antiche danze ed arie per liuto, Suite No. 3, P. 172: I. Italiana. Andantino | Ottorino Respighi, Orchestra Filarmonica Della Scala, Riccardo Chailly | B♭ Major | 1 | 6B | 172 BPM | ||
Solomon, HWV 67 / Act III: Sinfonia "The Arrival of the Queen of Sheba" | George Frideric Handel, The English Concert, Trevor Pinnock | A Major | 3 | 11B | 118 BPM | ||
Violin Sonata in B-Flat Major, Op. 5 No. 2: III. Vivace | Arcangelo Corelli, Lina Tur Bonet, Musica Alchemica | A♭ Major | 3 | 4B | 83 BPM |
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