Johann Joseph Fux, BURAK, Musica Sequenza, Diana Ramirez's 'Dafne in Lauro, K 308: Lascio D'esser Ninfa, Si' came out on June 4, 2021. Dafne in Lauro, K 308: Lascio D'esser Ninfa, Si is about six minutes long, preciously at 6:09, making this song fairly long compared to other songs. The song is number 5 out of 17 in Bach Opium by Christian Forshaw, Grace Davidson, Franz Liszt, Jonas Kaufmann, Stefan Temmingh, Capricornus Consort Basel, Carl Philipp Emanuel Bach, Nevermind, Quatuor Ébène, BURAK, Musica Sequenza, Diana Ramirez. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. In terms of popularity, Dafne in Lauro, K 308: Lascio D'esser Ninfa, Si 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.
The tempo marking of Dafne in Lauro, K 308: Lascio D'esser Ninfa, Si by Johann Joseph Fux, BURAK, Musica Sequenza, Diana Ramirez is Moderato (at a moderate speed), since this song has a tempo of 115 BPM. With that information, we can conclude that the song has a moderate tempo. This song can go great with walking. The time signature for this track is 3/4.
This song is in the music key of E Major. This also means that this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Sonata Sexta in F Minor for Violin: II. Allegro | Daniel Purcell, La Rêveuse, Florence Bolton, Benjamin Perrot, Stephan Dudermel | B♭ Minor | 0 | 3A | 135 BPM | ||
Médée, H. 491, Prologue: Canaries | Marc-Antoine Charpentier, Le Concert Spirituel, Herve Niquet | G Minor | 1 | 6A | 93 BPM | ||
Stabat Mater in F Minor, RV 621: No. 2., Cuius animam gementem | Antonio Vivaldi, Andreas Scholl, Accademia Bizantina, Alessandro Tampieri | B Minor | 1 | 10A | 113 BPM | ||
Te Deum: VII. Tu ad dexteram Dei sedes | Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Academy of Ancient Music | B Minor | 2 | 10A | 71 BPM | ||
Kaiserrequiem: IV. Offertorium (Domine Jesu Christe - Sed signifer - Quam olim Abrahae) | Johann Joseph Fux, Vox Luminis, Lionel Meunier, Scorpio Collectif | F Major | 2 | 7B | 87 BPM | ||
Armide, LWV 71, Act I Scene 3: Sarabande (II) | Jean-Baptiste Lully, Vincent Dumestre, Le Poème Harmonique | C Major | 3 | 8B | 112 BPM | ||
XII sonate a tre o quattro strumenti e basso: Sonata III a 3 | Antonio Bertali, Ars Antiqua Austria, Gunar Letzbor | A♭ Minor | 1 | 1A | 114 BPM | ||
Concerto Armonico I: II. Allegro | Unico Wilhelm van Wassenaer, Mike Fentross, La Sfera Armoniosa | D♭ Major | 3 | 3B | 115 BPM | ||
Ariadne Musica: No. 2, Prelude & Fugue in C-Sharp Minor | Johann Caspar Ferdinand Fischer, Andreas Staier | C Minor | 2 | 5A | 124 BPM | ||
Ouverture in C Minor, GWV 413: VII. Sarabande | Christoph Graupner, Main-Barockorchester Frankfurt | F♯ Major | 1 | 2B | 101 BPM |
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