Christoph Willibald Gluck, Jochen Kowalski, Dagmar Schellenberger, Christian Fliegner, Rundfunkchor Berlin, Carl Philipp Emanuel Bach Chamber Orchestra, Hartmut Haenchen's 'Orfeo ed Euridice: Act II Scene 1: Ballo' came out on March 3, 2010. With Orfeo ed Euridice: Act II Scene 1: Ballo being less than two minutes long, at 1:16, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The track order of this song in Christoph Willibald Gluck, Hartmut Haenchen's "Gluck, G.W.: Orfeo ed Euridice" album is number 19 out of 51. On top of that, United States appears to be the country where this track was created. Orfeo ed Euridice: Act II Scene 1: Ballo is unknown 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 Orfeo ed Euridice: Act II Scene 1: Ballo by Christoph Willibald Gluck, Jochen Kowalski, Dagmar Schellenberger, Christian Fliegner, Rundfunkchor Berlin, Carl Philipp Emanuel Bach Chamber Orchestra, Hartmut Haenchen to be Andante (at a walking pace) because the track has a tempo of 89 BPM, a half-time of 44BPM, and a double-time of 178 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 3/4.
C Major is the music key of this track. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Messiah, HWV 56, Part I: Pastoral Symphony, "Pifa" (arr. L. Stokowski) | George Frideric Handel, Leopold Stokowski, Bournemouth Symphony Orchestra, José Serebrier | C Major | 0 | 8B | 92 BPM | ||
Préludes / Book 1, L. 117: 8. La fille aux cheveux de lin | Claude Debussy, Víkingur Ólafsson | F♯ Major | 0 | 2B | 76 BPM | ||
Wiegenlied, Op. 49, No. 4 | Johannes Brahms, Leonidas Kavakos, Yuja Wang | E♭ Major | 0 | 5B | 74 BPM | ||
Canción | Manuel de Falla, Javier Perianes | C Minor | 0 | 5A | 76 BPM | ||
Orfeo ed Euridice: Act III, Scene 3, Coro, Orfeo, Amore ed Euridice: Trionfi Amore, e il mondo intiero | Christoph Willibald Gluck, René Jacobs, Bernarda Fink, Maria Cristina Kiehr, RIAS Kammerchor, Freiburger Barockorchester, Veronica Cangemi | F♯ Minor | 1 | 11A | 125 BPM | ||
Liebestraum, S. 541, No. 3 | Franz Liszt, Evgeny Kissin | E♭ Major | 0 | 5B | 75 BPM | ||
Concerto a 5 in B flat, Op.7, no.10 for Strings and Continuo: 3. Allegro | Tomaso Albinoni, I Musici | B♭ Major | 2 | 6B | 107 BPM | ||
Capriol Suite: 5. Pied-en- l'air | Peter Warlock, Academy of St. Martin in the Fields, Nicholas Kraemer, Sir Neville Marriner | G Major | 1 | 9B | 113 BPM | ||
Orphée et Eurydice: Melodie (Arr. for Piano) | Christoph Willibald Gluck, Patrick Rapold | D Minor | 0 | 7A | 130 BPM | ||
Oboe Concerto in C: 3. Siciliana | Domenico Cimarosa, Heinz Holliger, I Musici | A Minor | 1 | 8A | 84 BPM |
Section: 0.8185207843780518
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