Max Bruch, Midori, Mariss Jansons, Berliner Philharmoniker's 'Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio' came out on May 30, 2003. Since Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio 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 song is number 5 out of 6 in Bruch & Mendelssohn Violin Concertos by Midori. Going off of the ISRC code of this track, we detected that the origin of this track is from United States. In terms of popularity, Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio by Max Bruch, Midori, Mariss Jansons, Berliner Philharmoniker is Andante (at a walking pace), since this song has a tempo of 93 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. 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 | ||
---|---|---|---|---|---|---|---|
Schumann: Cello Concerto in A Minor, Op. 129: II. Langsam (Live) | Robert Schumann, Gautier Capuçon, Bernard Haitink, Chamber Orchestra of Europe | F Major | 0 | 7B | 83 BPM | ||
8 Pieces, Op. 83 (Arr. for Violin, Viola & Piano): No. 2, Allegro con moto | Max Bruch, Natalia Lomeiko, Yuri Zhislin, Ivan Martin | B Minor | 1 | 10A | 102 BPM | ||
Lyric Pieces Book I, Op. 12: No. 7 Album Leaf | Edvard Grieg, Alice Sara Ott | D Major | 2 | 10B | 121 BPM | ||
Cello Sonata in G Minor, Op. 19: IV. Allegro mosso | Sergei Rachmaninoff, Gautier Capuçon, Yuja Wang | G Major | 1 | 9B | 77 BPM | ||
Violin Concerto No.1 in G minor, Op.26: 1. Vorspiel (Allegro moderato) | Max Bruch, Joshua Bell, Academy of St. Martin in the Fields, Sir Neville Marriner | C Minor | 1 | 5A | 84 BPM | ||
Serenade for Strings in E Major, Op. 22, B. 52: III. Scherzo. Vivace | Antonín Dvořák, Prague Chamber Orchestra, Petr Skvor | F Major | 2 | 7B | 130 BPM | ||
Bruch: Concerto for Clarinet and Viola in E Minor, Op. 88: II. Allegro moderato | Max Bruch, Kent Nagano, Orchestre de l'Opéra de Lyon | A♭ Minor | 3 | 1A | 79 BPM | ||
12 Romances, Op. 21: No. 7, How Fair This Spot (Arr. Sheku Kanneh-Mason for Cello and Piano) | Sergei Rachmaninoff, Sheku Kanneh-Mason, Isata Kanneh-Mason | A Major | 1 | 11B | 89 BPM | ||
Piano Concerto in G Major, M. 83: II. Adagio assai | Maurice Ravel, Krystian Zimerman, Cleveland Orchestra, Pierre Boulez | E Major | 0 | 12B | 74 BPM | ||
Scheherazade: The Sea & Sinbad's Ship | Nikolai Rimsky-Korsakov, Joakim Svenheden | E Major | 1 | 12B | 82 BPM |
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