Carl Heinrich Graun, Samuel Mariño, Orchestre de l'Opéra Royal, Stefan Plewniak made "Cesare e Cleopatra, Act I Scene 8: Aria. Tra le procelle assorto (Cleopatra)" available on October 8, 2021. Since Cesare e Cleopatra, Act I Scene 8: Aria. Tra le procelle assorto (Cleopatra) is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The track order of this song in Samuel Mariño, Filippo Mineccia, Valer Sabadus, Orchestre de l'Opéra Royal, Stefan Plewniak's "Les 3 Contre-ténors: Le concours de virtuosité des castrats" album is number 2 out of 13. On top of that, France appears to be the country where this track was created. Based on our statistics, Cesare e Cleopatra, Act I Scene 8: Aria. Tra le procelle assorto (Cleopatra)'s popularity is not that popular right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
We consider the tempo marking of Cesare e Cleopatra, Act I Scene 8: Aria. Tra le procelle assorto (Cleopatra) by Carl Heinrich Graun, Samuel Mariño, Orchestre de l'Opéra Royal, Stefan Plewniak to be Allegro (fast, quick, and bright) because the track has a tempo of 139 BPM, a half-time of 70BPM, and a double-time of 278 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
E♭ Major is the music key of this track. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Gluck: Orfeo ed Euridice, Wq. 30, Act 3: "Che fiero momento" (Euridice) | Christoph Willibald Gluck, Stefan Plewniak, Elsa Dreisig, Il Giardino d'Amore | D♭ Major | 3 | 3B | 129 BPM | ||
Canzon Francese del Principe | Carlo Gesualdo, Musica Sequenza, BURAK | F♯ Minor | 1 | 11A | 75 BPM | ||
Litaniae Omnium Sanctorum, ZWV 153: Propitius esto | Jan Dismas Zelenka, Inégal Ensemble, Adam Viktora, Gabriela Eibenová, Marian Krejcik, Terry Wey, Cyril Auvity | A♭ Major | 2 | 4B | 121 BPM | ||
Missa pro Defunctis in E-Flat Major, HocJ A1.3: II. Kyrie, 2. Christe eleison | Niccolò Jommelli, Il Gardellino, Gudrun Sidonie Otto, Helen Charlston, Daniel Johannsen, Sebastian Myrus, Peter Van Heyghen | F♯ Minor | 1 | 11A | 112 BPM | ||
Les goûts-réunis, ou Nouveaux Concerts, Concert No. 9 in E Major "Il ritratto dell'amore": No. 7, La douceur | François Couperin, Emanuel Abbühl, David Tomàs, Carla Sanfelix, Miklós Spányi, Benoît Fallai | E Major | 1 | 12B | 82 BPM | ||
Bach, JS: Matthäus-Passion, BWV 244, Pt. 1: No. 27, Aria und Chor. "So ist mein Jesus nun gefangen" | Johann Sebastian Bach, Nikolaus Harnoncourt, Arnold Schoenberg Chor, Bernarda Fink, Christine Schäfer, Vienna Boys' Choir, Concentus Musicus Wien | A♭ Major | 1 | 4B | 130 BPM | ||
Cesare e Cleopatra, Act I Scene 8: Aria. Tra le procelle assorto (Cleopatra) | Carl Heinrich Graun, Samuel Mariño, Orchestre de l'Opéra Royal, Stefan Plewniak | E♭ Major | 3 | 5B | 139 BPM | ||
Hamburg Symphony No. 3 in C Major, Wq. 182: III. Allegretto | Carl Philipp Emanuel Bach, Arte dei Suonatori, Marcin Świątkiewicz | F♯ Major | 2 | 2B | 136 BPM | ||
Mysliveček: Adamo ed Eva: "Non sò se il mio peccato" (Eva) | Josef Mysliveček, Vaclav Luks, Sophie Harmsen | E♭ Minor | 1 | 2A | 71 BPM | ||
Christus am Ölberge, Op. 85: VII. Recitative. Verkündet, Seraph, mir dein Mund Erbarmen | Ludwig van Beethoven, Orchestre des Champs-Élysées, Philippe Herreweghe, Sebastian Kohlhepp, Eleanor Lyons | C Major | 3 | 8B | 104 BPM |
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