"Kol Nidrei, Op.47 - Adagio on Hebrew Melodies for Cello and Orchestra (Adagio ma non troppo)" by Max Bruch, Matt Haimovitz, Chicago Symphony Orchestra, James Levine was released on January 1, 1989. Kol Nidrei, Op.47 - Adagio on Hebrew Melodies for Cello and Orchestra (Adagio ma non troppo) appears to be safe for all ages as it is not explicit. There are a total of 7 in the song's album "Saint-Saens: Cello Concerto / Lalo: Cello Concerto / Bruch: Kol Nidrei". In this album, this song's track order is #4. In terms of popularity, Kol Nidrei, Op.47 - Adagio on Hebrew Melodies for Cello and Orchestra (Adagio ma non troppo) is currently below average in popularity. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Kol Nidrei, Op.47 - Adagio on Hebrew Melodies for Cello and Orchestra (Adagio ma non troppo) by Max Bruch, Matt Haimovitz, Chicago Symphony Orchestra, James Levine having a BPM of 101 with a half-time of 50 BPM and a double-time of 202 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. The time signature for this track is 5/4.
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 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
String Quartet No. 53 in D Major, Op. 64, No. 5, Hob.III:63, "The Lark": II. Adagio - Cantabile | Franz Joseph Haydn, Kodály Quartet | A Major | 1 | 11B | 83 BPM | ||
Romeo and Juliet | Sergei Prokofiev, Chicago Symphony Orchestra, Riccardo Muti | F Major | 0 | 7B | 85 BPM | ||
Les chemins de l'amour, FP. 106 | Francis Poulenc, Mischa Maisky, Daria Hovora | E Major | 1 | 12B | 67 BPM | ||
Jocelyn, Suite No. 2: Berceuse | Benjamin Godard, Slovak Radio Symphony Orchestra, Ondrej Lenard | F Major | 0 | 7B | 92 BPM | ||
Schoenberg: 6 Little Piano Pieces, Op. 19: No. 1 Leicht, zart | Arnold Schoenberg, Daniel Barenboim, Chicago Symphony Orchestra | A Minor | 0 | 8A | 69 BPM | ||
Feu d'artifice, Op. 4 | Igor Stravinsky, Chicago Symphony Orchestra, Pierre Boulez | A♭ Major | 0 | 4B | 83 BPM | ||
Berceuse, Op. 16 | Gabriel Fauré, Michael Healy, RTE Sinfonietta, John Georgiadis | D Major | 0 | 10B | 75 BPM | ||
Symphony No. 1 in E flat, Op. 28: 3. Quasi fantasia (Grave) | Max Bruch, Gewandhausorchester, Kurt Masur | E♭ Minor | 0 | 2A | 77 BPM | ||
Mahler: Symphony No. 5 in C-Sharp Minor: I. Trauermarsch | Gustav Mahler, Daniel Barenboim, Chicago Symphony Orchestra | D♭ Minor | 1 | 12A | 122 BPM | ||
Symphony in D Minor, FWV 48 (Remastered): III. Finale - Allegro non troppo | César Franck, Pierre Monteux, Chicago Symphony Orchestra | D Major | 2 | 10B | 84 BPM |
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