"Death in Venice, Op. 88, Act I Scene 6: The Foiled Departure. I am become like one of my early heroes (Aschenbach, First Gondolier)" by Benjamin Britten, Richard Hickox, City of London Sinfonia, Philip Langridge, Vernon Kirk was released on February 1, 2005. With Death in Venice, Op. 88, Act I Scene 6: The Foiled Departure. I am become like one of my early heroes (Aschenbach, First Gondolier) being less than two minutes long, at 1:52, 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 20 out of 51 in Britten: Death in Venice by Benjamin Britten, Richard Hickox, City of London Sinfonia, Philip Langridge, Alan Opie, Michael Chance, BBC Singers, Stephen Betterridge. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. Death in Venice, Op. 88, Act I Scene 6: The Foiled Departure. I am become like one of my early heroes (Aschenbach, First Gondolier) is unknown 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 Death in Venice, Op. 88, Act I Scene 6: The Foiled Departure. I am become like one of my early heroes (Aschenbach, First Gondolier) by Benjamin Britten, Richard Hickox, City of London Sinfonia, Philip Langridge, Vernon Kirk is Adagio (slowly with great expression), since this song has a tempo of 68 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
D Major is the music key of this track. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Simple Symphony, Op. 4: IV. Frolicsome Finale | Benjamin Britten, Camerata Nordica, Terje Tonnesen | G Major | 3 | 9B | 78 BPM | ||
Gloria, FP 144: 2. Laudamus te | Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver | F Major | 2 | 7B | 139 BPM | ||
Rejoice in the Lamb, Op. 30: Rejoice in God, O ye Tongues | Benjamin Britten, Benedict Giles, Malcolm Green, Simon Wall, Thomas Williams, Iain Farrington, Choir of St. John's College, Cambridge, Christopher Robinson | D Major | 2 | 10B | 70 BPM | ||
The Prince of the Pagodas, Op. 57 - Act 2 Scene 2: The Prince and Belle Rose | Benjamin Britten, Orchestra of the Royal Opera House, Covent Garden | G Major | 0 | 9B | 150 BPM | ||
Andante Festivo | Jean Sibelius, Gothenburg Symphony Orchestra, Neeme Järvi | G Major | 1 | 9B | 86 BPM | ||
Light Year: II. Stella Polaris | Kenneth Fuchs, Sinfonia Of London, John Wilson | F Major | 1 | 7B | 93 BPM | ||
Sonata in D Minor for Cello & Piano, L.135: 1. Prologue (lent) | Claude Debussy, Mstislav Rostropovich, Benjamin Britten | G Major | 0 | 9B | 66 BPM | ||
Brandenburg Concerto No.1 in F, BWV 1046: 4. Menuetto: Trio I | Johann Sebastian Bach, English Chamber Orchestra, Benjamin Britten | F Major | 1 | 7B | 69 BPM | ||
Gloria, R. 589: Et in terra pax hominibus | Antonio Vivaldi, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | B♭ Minor | 1 | 3A | 59 BPM | ||
A Midsummer Night's Dream, Incidental Music, Op.61, MWV M 13: No.1 Scherzo | Felix Mendelssohn, Judi Dench, Boston Symphony Orchestra, Seiji Ozawa | G Minor | 2 | 6A | 123 BPM |
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