"Respighi: Pini di Roma: II. Pini presso una catacomba (Lento - Più mosso)" by Ottorino Respighi, Riccardo Muti, Philadelphia Orchestra was released on 1985. Since Respighi: Pini di Roma: II. Pini presso una catacomba (Lento - Più mosso) 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. There are a total of 12 in the song's album "Respighi: Symphonic Poems". In this album, this song's track order is #2. Respighi: Pini di Roma: II. Pini presso una catacomba (Lento - Più mosso) 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.
With Respighi: Pini di Roma: II. Pini presso una catacomba (Lento - Più mosso) by Ottorino Respighi, Riccardo Muti, Philadelphia Orchestra having a BPM of 74 with a half-time of 37 BPM and a double-time of 148 BPM, we would consider this track to have a Adagio (slowly with great expression) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 5/4.
This song has a musical key of B Minor. Or for those who are familiar with the camelot wheel, this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony No. 1, "Afro-American": IV. Aspiration (Lento, con risoluzione) | William Grant Still, Fort Smith Symphony, John Jeter | F♯ Major | 0 | 2B | 141 BPM | ||
Don Quixote, Op. 35: Introduction | Richard Strauss, Fritz Reiner, Antonio Janigro, Milton Preves, John Weicher | G Minor | 1 | 6A | 65 BPM | ||
Verdi: Aida, Act 1: "Possente, possente Fthà" (Sacerdotessa, Ramfis, Sacerdoti, Sacerdotesse) | Giuseppe Verdi, Riccardo Muti, New Philharmonia Orchestra | A♭ Major | 0 | 4B | 82 BPM | ||
Khachaturian: Spartacus (Highlights from the Ballet): Adagio of Spartacus and Phrygia | Aram Khachaturian, London Symphony Orchestra | A♭ Major | 1 | 4B | 88 BPM | ||
Notebook for Anna Magdalena Bach: Little Suite: III. Bist du bei mir, BWV 508 | Johann Sebastian Bach, Eugene Ormandy, Philadelphia Orchestra | D Major | 2 | 10B | 81 BPM | ||
Tchaikovsky: Swan Lake, Op. 20, Act III: No. 17, Entrance of the Guests and Waltz | Pyotr Ilyich Tchaikovsky, Wolfgang Sawallisch, Philadelphia Orchestra | E Major | 0 | 12B | 118 BPM | ||
Symphony No.8 In G, Op.88, B. 163: 1. Allegro con brio | Antonín Dvořák, Berliner Philharmoniker, Rafael Kubelík | G Major | 2 | 9B | 74 BPM | ||
The Planets, Op. 32: II. Venus, the Bringer of Peace | Gustav Holst, Royal Scottish National Orchestra Chorus, Female members, Royal Scottish National Orchestra, David Lloyd-Jones | A♭ Major | 0 | 4B | 55 BPM | ||
Tchaikovsky: Swan Lake, Op. 20, Act IV: No. 28, Scene. Allegro agitato | Pyotr Ilyich Tchaikovsky, Wolfgang Sawallisch, Philadelphia Orchestra | D Minor | 8 | 7A | 122 BPM | ||
Verdi: Aida, Act 2: "Danza di schiavi mori" | Giuseppe Verdi, Riccardo Muti, New Philharmonia Orchestra | D Minor | 3 | 7A | 170 BPM |
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