"Concerto Funebre for Solo Violin and String Orchestra: I. Introduction (Largo)" by Karl Amadeus Hartmann, Marianne Piketty, Le Concert Idéal was released on April 10, 2020. With Concerto Funebre for Solo Violin and String Orchestra: I. Introduction (Largo) being less than two minutes long, at 1:32, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The song is number 6 out of 10 in Blue Hour by Marianne Piketty, Le Concert Idéal. Concerto Funebre for Solo Violin and String Orchestra: I. Introduction (Largo) 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.
The tempo marking of Concerto Funebre for Solo Violin and String Orchestra: I. Introduction (Largo) by Karl Amadeus Hartmann, Marianne Piketty, Le Concert Idéal is Andante (at a walking pace), since this song has a tempo of 87 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of D♭ Major. This also means that this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Shaker Loops: II. Hymning Slews | John Adams, Oxalys | A Major | 0 | 11B | 61 BPM | ||
Fantasia for Cello & Orchestra, W454: III. Allegro expressivo | Heitor Villa-Lobos, Antonio Meneses, Isaac Karabtchevsky, Orquestra Sinfônica do Estado de São Paulo | E♭ Major | 1 | 5B | 133 BPM | ||
Pulcinella, Ballet in One Act After Pergolesi for Soprano, Tenor, Bass, Soloists and Orchestra: XIV. Tarantella (Allegro moderato) | Igor Stravinsky, Vladimir Jurowski, London Philharmonic Orchestra | G Minor | 0 | 6A | 140 BPM | ||
Élégie, L. 146 (Arr. For Cello And Piano By Olivier Hébert-Bouchard) | Claude Debussy, Stéphane Tétreault, Olivier Hébert-Bouchard | A♭ Major | 0 | 4B | 170 BPM | ||
Tristan und Isolde, WWV 90: V, Liebestrank - Paraphrase for String Septet by Martina Trumpp | Richard Wagner, Martina Trumpp, Stephan Knies, Solistenensemble D'Accord | B Major | 2 | 1B | 85 BPM | ||
Violin Concerto “Adrano”: II. Cadenza - senza misura | Samy Moussa, Andrew Wan, Orchestre Symphonique de Montréal, Kent Nagano | E Major | 2 | 12B | 179 BPM | ||
Concerto for Orchestra, Sz. 116: I. Introduzione. Andante non troppo - Allegro vivace - Tempo I | Béla Bartók, Karina Canellakis, Netherlands Radio Philharmonic Orchestra | C Major | 1 | 8B | 100 BPM | ||
French Quadrilogy: No. 2, The Dream | Aivars Kalējs, Trio NYX | G Minor | 0 | 6A | 94 BPM | ||
A Child of our Time, Part I: The world turns on its dark side (Chorus) | Michael Tippett, BBC Symphony Chorus, BBC Symphony Orchestra, Andrew Davis | E Minor | 1 | 9A | 141 BPM | ||
12 Romances, Op. 21: No. 7, How Fair this Spot (Arr. for Piano Trio by Alexander Panfilov) | Sergei Rachmaninoff, Christoph Croisé, Andrey Baranov, Alexander Panfilov | D Major | 0 | 10B | 132 BPM |
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