Max Bruch, Anne-Sophie Mutter, Berliner Philharmoniker, Herbert von Karajan's 'Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio' had a release date set for January 1, 1981. Since This song 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 Anne-Sophie Mutter, Berliner Philharmoniker, Herbert von Karajan's "Mendelssohn / Bruch: Violin Concertos" album is number 5 out of 6. On top of that, Germany appears to be the country where this track was created. Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio by Max Bruch, Anne-Sophie Mutter, Berliner Philharmoniker, Herbert von Karajan to be Andante (at a walking pace) because the track has a tempo of 82 BPM, a half-time of 41BPM, and a double-time of 164 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Also sprach Zarathustra, Op.30, TrV 176: Das Grablied | Richard Strauss, Berliner Philharmoniker, Herbert von Karajan | F♯ Minor | 1 | 11A | 93 BPM | ||
Masques et Bergamasques Suite, Op. 112: I. Ouverture | Gabriel Fauré, Sinfonieorchester Basel, Ivor Bolton | F Major | 1 | 7B | 135 BPM | ||
Rosen aus dem Süden, Op. 388 | Johann Strauss II, Berliner Philharmoniker, Herbert von Karajan | F Major | 1 | 7B | 181 BPM | ||
Suite No. 2 in B minor, BWV 1067: 7. Badinerie | Johann Sebastian Bach, Berliner Philharmoniker, Herbert von Karajan | C Minor | 2 | 5A | 103 BPM | ||
Apollon Musagète (1947 Version): Variation d'Apollon (Apollon et les Muses) | Igor Stravinsky, Berliner Philharmoniker, Herbert von Karajan | G Minor | 0 | 6A | 64 BPM | ||
Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio | Max Bruch, Arabella Steinbacher, Orquestra Gulbenkian, Lawrence Foster | E♭ Major | 0 | 5B | 100 BPM | ||
Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio | Max Bruch, Itzhak Perlman, Bernard Haitink, Royal Concertgebouw Orchestra | E♭ Major | 1 | 5B | 87 BPM | ||
Nabucco: Overture | Giuseppe Verdi, Berliner Philharmoniker, Claudio Abbado | F Major | 2 | 7B | 100 BPM | ||
Pelléas et Mélisande - Incidental Music To Maeterlinck's Play, Op.46 (1905): 1. At The Castle Gate | Jean Sibelius, Berliner Philharmoniker, Herbert von Karajan | G Major | 1 | 9B | 92 BPM | ||
La bohème / Act 1: "Che gelida manina" | Giacomo Puccini, Luciano Pavarotti, Berliner Philharmoniker, Herbert von Karajan | A♭ Major | 3 | 4B | 76 BPM |