"Don Giovanni, K.527 / Act 1: "Come mai creder deggio"" by Wolfgang Amadeus Mozart, Peter Schreier, Orchestra Of The National Theatre Prague, Karl Böhm was released on August 1, 1967. With Don Giovanni, K.527 / Act 1: "Come mai creder deggio" being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. The track order of this song in Wolfgang Amadeus Mozart, Orchestre du Théatre National de Prague, Karl Böhm's "Mozart: Don Giovanni" album is number 24 out of 63. On top of that, Germany appears to be the country where this track was created. In terms of popularity, Don Giovanni, K.527 / Act 1: "Come mai creder deggio" is currently not that popular. Although the overall vibe is very danceable, it does project more negative sounds.
We consider the tempo marking of Don Giovanni, K.527 / Act 1: "Come mai creder deggio" by Wolfgang Amadeus Mozart, Peter Schreier, Orchestra Of The National Theatre Prague, Karl Böhm to be Moderato (at a moderate speed) because the track has a tempo of 119 BPM, a half-time of 60BPM, and a double-time of 238 BPM. Based on that, the speed of the song's tempo is moderate. Activities such as, walking, can go well with this song. The time signature for this track is 3/4.
The music key of this track is B♭ Major. This also means that this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Requiem in D Minor, K. 626: III. Sequenz, No. 6, Lacrymosa | Wolfgang Amadeus Mozart, Andrej Kucharsky, Catherine Bremen, Elisabeth Santi, Todd Donovan, London Philharmonic Choir, David Parry, London Philharmonic Orchestra | G Minor | 2 | 6A | 96 BPM | ||
Sonata in G major, Wq. 62/19: 2. Andante | Carl Philipp Emanuel Bach, Mikhail Pletnev | B Minor | 0 | 10A | 98 BPM | ||
Kinderszenen, Op. 15: 7. Träumerei | Robert Schumann, Martha Argerich | F Major | 0 | 7B | 130 BPM | ||
Lyric Pieces, Book 5, Op. 54: Nocturne | Edvard Grieg, Alessio Bax | C Major | 0 | 8B | 72 BPM | ||
Jazz Suite No. 2: 4. Waltz I | Dmitri Shostakovich, Concertgebouworkest, Riccardo Chailly | B♭ Major | 2 | 6B | 178 BPM | ||
Bocherini / Arr Grützmacher: Cello Concerto No. 9 in B-Flat Major, G. 482: II. Adagio non troppo (Arr. Grützmacher) | Luigi Boccherini, Jacqueline du Pré, Daniel Barenboim, English Chamber Orchestra | G Minor | 1 | 6A | 86 BPM | ||
Piano Concerto No. 20 in D Minor, K. 466: 2. Romance - Live | Wolfgang Amadeus Mozart, Mitsuko Uchida, Cleveland Orchestra | B♭ Major | 0 | 6B | 82 BPM | ||
2 Pieces, Op. posth., B. 188: No. 1. Lullaby in G Major | Antonín Dvořák, Stefan Veselka | G Major | 0 | 9B | 66 BPM | ||
6 Moments musicaux, Op. 94, D. 780: 3. Allegro moderato | Franz Schubert, Alfred Brendel | G Minor | 0 | 6A | 103 BPM | ||
Der Stein der Weisen, Act II: Fort, armer Jüngling | Wolfgang Amadeus Mozart, Johann Baptist Henneberg, Benedikt Schack, Franz Xaver Gerl, Emanuel Schikaneder, Boston Baroque, Martin Pearlman, Sharon Baker, Paul Austin Kelly | E♭ Major | 1 | 5B | 106 BPM |
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