On January 1, 1982, the song "The Fairy Queen, Z. 629 / Act 2: "Hush, no more"" was released by Henry Purcell, Stephen Varcoe, English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir. The duration of The Fairy Queen, Z. 629 / Act 2: "Hush, no more" is about 3 minutes long, at 3:19. Based on our data, "The Fairy Queen, Z. 629 / Act 2: "Hush, no more"" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 61 in the song's album "Purcell: The Fairy Queen". In this album, this song's track order is #19. Furthermore, we believe that the track originated from Germany. Based on our statistics, The Fairy Queen, Z. 629 / Act 2: "Hush, no more"'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.
With The Fairy Queen, Z. 629 / Act 2: "Hush, no more" by Henry Purcell, Stephen Varcoe, English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir having a BPM of 135 with a half-time of 68 BPM and a double-time of 270 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 4/4.
This song is in the music key of F♯ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Stabat Mater: 2. Cujus animam | Giovanni Battista Pergolesi, Barbara Bonney, Les Talens Lyriques, Christophe Rousset | G Major | 1 | 9B | 75 BPM | ||
Dido and Aeneas, Z. 626: Act II: Ritornelle | Henry Purcell, Kym Amps, David van Asch, Anna Crookes, The Scholars Baroque Ensemble | D♭ Minor | 0 | 12A | 83 BPM | ||
Die Zauberflöte, K.620 / Act 1: Nur geschwinde! (Monostratos, Pamina, Papageno, Chor) | Wolfgang Amadeus Mozart, Uwe Peper, Christiane Oelze, Gerald Finley, English Baroque Soloists, John Eliot Gardiner | G Major | 1 | 9B | 95 BPM | ||
My Beloved Spake | Henry Purcell, The Temple Church Choir, James Vivian | C Minor | 0 | 5A | 132 BPM | ||
Così fan tutte ossia La scuola degli amanti, K.588 / Act 1: Scioccerie di poeti | Wolfgang Amadeus Mozart, Rainer Trost, Rod Gilfry, Carlos Feller, English Baroque Soloists, John Eliot Gardiner | F Major | 1 | 7B | 175 BPM | ||
L'Orfeo / Prologo: Ritornello - Dal mio Permesso amato | Claudio Monteverdi, English Baroque Soloists, John Eliot Gardiner | A Major | 1 | 11B | 123 BPM | ||
Gloria: Cum Sancto Spiritu | Antonio Vivaldi, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | D♭ Major | 3 | 3B | 121 BPM | ||
Don Giovanni, ossia Il dissoluto punito, K.527 - Prague Version 1787 / Act 2: "L'ultima prova" - Live | Wolfgang Amadeus Mozart, Charlotte Margiono, Rod Gilfry, Ildebrando D'Arcangelo, English Baroque Soloists, John Eliot Gardiner | F Major | 2 | 7B | 77 BPM | ||
Die Entführung aus dem Serail, K.384 / Act 1: "Hier soll ich dich denn sehen" - "Aber wie soll ich in den Palast kommen?" | Wolfgang Amadeus Mozart, Stanford Olsen, English Baroque Soloists, John Eliot Gardiner | C Major | 1 | 8B | 90 BPM | ||
Alcidiane: Ritournelle et Recit Italien | Jean-Baptiste Lully, Mary Enid Haines, Sharla Nafziger, Aradia Ensemble, Kevin Mallon | D♭ Minor | 1 | 12A | 90 BPM |
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