George Frideric Handel, Renée Fleming, Orchestra of the Age of Enlightenment, Harry Bicket's 'Samson HWV 57 / Act 3: Let the bright seraphim' came out on January 1, 2004. Samson HWV 57 / Act 3: Let the bright seraphim is about six minutes long, preciously at 5:34, making this song fairly long compared to other songs. There are a total of 17 in the song's album "Renée Fleming - Handel Arias". In this album, this song's track order is #9. In terms of popularity, Samson HWV 57 / Act 3: Let the bright seraphim 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 Samson HWV 57 / Act 3: Let the bright seraphim by George Frideric Handel, Renée Fleming, Orchestra of the Age of Enlightenment, Harry Bicket having a BPM of 116 with a half-time of 58 BPM and a double-time of 232 BPM, we would consider this track to have a Moderato (at a moderate speed) tempo marking. Because of this, we believe that the song has an overall moderate tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 4/4.
This song is in the music key of D♭ Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
The Rake's Progress / Act I / Scene III: "I Go, I Go to Him" (Anne) | Igor Stravinsky, Deborah York, London Symphony Orchestra, John Eliot Gardiner | C Major | 1 | 8B | 135 BPM | ||
Vivaldi: Magnificat in G Minor, RV 611: III. Quia respexit (Ed. Malipiero) | Antonio Vivaldi, Riccardo Muti, Teresa Berganza, New Philharmonia Orchestra | C Minor | 2 | 5A | 76 BPM | ||
Vier Lieder, Op. 27, TrV 170: 4. Morgen | Richard Strauss, Renée Fleming, English Chamber Orchestra, Jeffrey Tate | G Major | 3 | 9B | 76 BPM | ||
Le nozze di Figaro, K.492 / Act 4: "Deh vieni, non tardar" | Wolfgang Amadeus Mozart, Dawn Upshaw, Metropolitan Opera Orchestra, James Levine | F Major | 0 | 7B | 97 BPM | ||
Stabat Mater, Op. 58: II. Quis est homo, qui non fleret (Andante sostenuto) | Antonín Dvořák, Philippe Herreweghe, Royal Flemish Philharmonic, Ilse Eerens, Michaela Selinger, Maximilian Schmitt, Florian Boesch | A Major | 1 | 11B | 133 BPM | ||
Sosarme, HWV 30: Act II, Duetto, "Per le porte del tormento" | George Frideric Handel, Bejun Mehta, Rosemary Joshua, René Jacobs | E♭ Major | 2 | 5B | 84 BPM | ||
Handel: Dixit Dominus, HWV 232: VI. Dominus a dextris tuis | George Frideric Handel, Emmanuelle Haïm, Denis Comtet | F♯ Minor | 4 | 11A | 132 BPM | ||
Les nuits d'été, Op.7: 1. Villanelle | Hector Berlioz, Anne Sofie von Otter, Berliner Philharmoniker, James Levine | B♭ Major | 0 | 6B | 129 BPM | ||
Brahms: Ein deutsches Requiem, Op. 45: IV. "Wie lieblich sind deine Wohnungen" | Johannes Brahms, Berliner Philharmoniker/Sir Simon Rattle/Rundfunkchor Berlin/Simon Halsey/Dorothea Röschmann/Thomas Quasthoff, Sir Simon Rattle, Berliner Philharmoniker | E♭ Major | 1 | 5B | 67 BPM | ||
Lauda Jerusalem (Psalm 147), R.609 | Antonio Vivaldi, Margaret Marshall, Ann Murray, John Alldis Choir, English Chamber Orchestra, Vittorio Negri, Jeffrey Tate, Alastair Ross | D Major | 3 | 10B | 105 BPM |
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