"Piano Concerto No. 21 in C Major, K. 467: II. Andante (From "Elvira Madigan")" by Wolfgang Amadeus Mozart, Cincinnati Pops Orchestra, Erich Kunzel, William Tritt was released on May 1, 1990. Since Piano Concerto No. 21 in C Major, K. 467: II. Andante (From "Elvira Madigan") 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 12 out of 17 in Classics of the Silver Screen by Erich Kunzel, Cincinnati Pops Orchestra. 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, Piano Concerto No. 21 in C Major, K. 467: II. Andante (From "Elvira Madigan") 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 Piano Concerto No. 21 in C Major, K. 467: II. Andante (From "Elvira Madigan") by Wolfgang Amadeus Mozart, Cincinnati Pops Orchestra, Erich Kunzel, William Tritt is Andante (at a walking pace), since this song has a tempo of 95 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 1/4.
The music key of this track is F Major. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Cavalleria Rusticana: Intermezzo Sinfonico | Pietro Mascagni, Balthasar Neumann Orchestra, Thomas Hengelbrock | E♭ Major | 1 | 5B | 76 BPM | ||
Theme From "Breakfast At Tiffany's" | Cincinnati Pops Orchestra, Erich Kunzel, Henry Mancini Chorus | A Minor | 0 | 8A | 147 BPM | ||
Sektenwahn | Marcel Barsotti | F Major | 1 | 7B | 131 BPM | ||
Variations on a Theme by Tchaikovsky, Op. 35a: Coda. Moderato | Anton Arensky, Metamorphose String Orchestra, Pavel Lyubomudrov | E Minor | 1 | 9A | 130 BPM | ||
Back to the Future | Alan Silvestri, Cincinnati Pops Orchestra, Erich Kunzel | B♭ Major | 3 | 6B | 130 BPM | ||
A PLAY ABOUT GHOSTS | ЧЕПЦОВ Александр, LEX STONE | D Major | 2 | 10B | 178 BPM | ||
Harp Concerto in C Major: III. Rondo. Allegro agitato | François-Adrien Boieldieu, Jutta Zoff, Staatskapelle Dresden, Siegfried Kurz | C Minor | 1 | 5A | 143 BPM | ||
Symphony No. 5 in C minor Op. 67: I. Allegro con brio | Sir Roger Norrington, London Classical Players | C Minor | 2 | 5A | 107 BPM | ||
Scènes de ballet, Op. 52: II. Marionnettes | Alexander Glazunov, Moscow Philharmonic Orchestra, Alexander Anissimov | D Major | 0 | 10B | 69 BPM | ||
Don Giovanni, ossia Il dissoluto punito, K.527 / Act 2: "Don Giovanni, a cenar teco m'invitasti" | Wolfgang Amadeus Mozart, Vitalij Kowaljow, Ildebrando D'Arcangelo, Luca Pisaroni, Mahler Chamber Orchestra, Yannick Nézet-Séguin, Vocalensemble Rastatt | C Minor | 2 | 5A | 99 BPM |
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