Alessandro Scarlatti, Dorothea Röschmann, Akademie für Alte Musik Berlin, René Jacobs's 'Griselda, Op. 114, Atto Secondo, Scena 1: Aria. Mi rivedi, o selva ombrosa (Griselda)' came out on 2003. With this song being about 5 minutes long, at 4:48, "Griselda, Op. 114, Atto Secondo, Scena 1: Aria. Mi rivedi, o selva ombrosa (Griselda)" by Alessandro Scarlatti, Dorothea Röschmann, Akademie für Alte Musik Berlin, René Jacobs is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. There are a total of 62 in the song's album "Scarlatti: Griselda, Op. 114". In this album, this song's track order is #1. Furthermore, we believe that the track originated from France. In terms of popularity, Griselda, Op. 114, Atto Secondo, Scena 1: Aria. Mi rivedi, o selva ombrosa (Griselda) 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.
With Griselda, Op. 114, Atto Secondo, Scena 1: Aria. Mi rivedi, o selva ombrosa (Griselda) by Alessandro Scarlatti, Dorothea Röschmann, Akademie für Alte Musik Berlin, René Jacobs having a BPM of 92 with a half-time of 46 BPM and a double-time of 184 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 3/4.
F♯ Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
La castità al cimento: "Sparga il senso lascivo veleno" | Antonio Caldara, Cecilia Bartoli, Les Musiciens du Louvre, Marc Minkowski | B Major | 5 | 1B | 134 BPM | ||
Caccini: Le nuove musiche: VIII. Amarilli, mia bella | Giulio Caccini, Nathalie Stutzmann, Marie-Domitille Murez | F♯ Major | 1 | 2B | 170 BPM | ||
Die Zauberflöte, K.620 / Act 1: "Bei Männern, welche Liebe fühlen" | Wolfgang Amadeus Mozart, Dorothea Röschmann, Hanno Müller-Brachmann, Mahler Chamber Orchestra, Claudio Abbado | E♭ Major | 0 | 5B | 95 BPM | ||
Orfeo ed Euridice: Act II, Scene 1, Orfeo: Mille pene, ombre moleste | Christoph Willibald Gluck, René Jacobs, Freiburger Barockorchester, RIAS Kammerchor, Bernarda Fink | F Minor | 0 | 4A | 81 BPM | ||
Die Kunst der Fuge, BWV 1080: Contrapunctus 9. Doppelfuge über eine neues Thema und über das Hauptthema, a 4 | Johann Sebastian Bach, Akademie für Alte Musik Berlin, Stephan Mai | D♭ Minor | 3 | 12A | 102 BPM | ||
Giulio Cesare in Egitto, HWV 17, Atto I, Scena 3: "Empio, dirò" | George Frideric Handel, Jennifer Larmore, René Jacobs, Concerto Köln | B Minor | 3 | 10A | 119 BPM | ||
Mass in B Minor, BWV 232: Et in Spiritum sanctum Dominum | Johann Sebastian Bach, René Jacobs, Akademie für Alte Musik Berlin, Christian Immler | D♭ Major | 3 | 3B | 82 BPM | ||
Orfeo ed Euridice: Act I, Scene 1, Orfeo: Chiamo il mio ben così | Christoph Willibald Gluck, René Jacobs, Bernarda Fink, Freiburger Barockorchester | F Major | 1 | 7B | 171 BPM | ||
Dido and Aeneas / Act 1: "Ah! Belinda, I am prest with torment" | Henry Purcell, Jessye Norman, Marie McLaughlin, English Chamber Orchestra Chorus, English Chamber Orchestra, Raymond Leppard | C Minor | 0 | 5A | 101 BPM | ||
Miserere in C Minor Psalm 50, ZWV. 57 | Jan Dismas Zelenka, Il Fondamento, Il Fondamento Choir, Paul Dombrecht | B Major | 1 | 1B | 64 BPM |
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