Henri Desmarets, Boston Early Music Festival Orchestra, Paul O'Dette, Stephen Stubbs, James Reese made "Circe: XIX. Fuis loin d’ici, Troupe odieuse" available on May 31, 2023. With Circe: XIX. Fuis loin d’ici, Troupe odieuse being less than two minutes long, at 1:22, 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 Henri Desmarets, Boston Early Music Festival Orchestra, Boston Early Music Festival Chorus, Paul O'Dette, Stephen Stubbs's "Henry Desmarest: Circé" album is number 19 out of 110. On top of that, Germany appears to be the country where this track was created. Circe: XIX. Fuis loin d’ici, Troupe odieuse is not that popular right now. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
We consider the tempo marking of Circe: XIX. Fuis loin d’ici, Troupe odieuse by Henri Desmarets, Boston Early Music Festival Orchestra, Paul O'Dette, Stephen Stubbs, James Reese to be Andante (at a walking pace) because the track has a tempo of 80 BPM, a half-time of 40BPM, and a double-time of 160 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
This song is in the music key of E♭ Major. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Little Consort in Two Parts for Severall Friends in C minor-major: VI. Ayre | Matthew Locke, Rachel Podger, Brecon Baroque | A♭ Minor | 2 | 1A | 112 BPM | ||
Arie, Op. 8: No. 6, Che si può fare (Arr. for voice and strings by Richard Birchall) | Barbara Strozzi, Héloïse Werner, Max Baillie, Julian Azkoul, Ruth Gibson, Colin Alexander, Marianne Schofield | D Minor | 1 | 7A | 140 BPM | ||
18 Sonatas, Op. 2: No. 1, La Cornara | Giovanni Legrenzi, Harmonia Urbis, Marco Silvi | A♭ Minor | 1 | 1A | 116 BPM | ||
Violin Sonata in G Minor, Op. 5 No. 5: I. Adagio (Version for Flute) | Arcangelo Corelli, Anna Besson, Myriam Rignol, Jean Rondeau | A♭ Major | 1 | 4B | 105 BPM | ||
Gluck: Orfeo ed Euridice, Wq. 30, Act 3: "Vieni, segui i miei passi" (Orfeo, Euridice) | Christoph Willibald Gluck, Stefan Plewniak, Elsa Dreisig, Jakub Józef Orliński, Il Giardino d'Amore | D♭ Major | 3 | 3B | 129 BPM | ||
Céphale et Procris, Prologue: Marche pour Nérée et les Dieux Marins | Élisabeth Jacquet de La Guerre, Reinoud Van Mechelen, A Nocte Temporis | F Minor | 1 | 4A | 75 BPM | ||
Christ lag in Todesbanden: I. Sonata | Johann Kuhnau, Paul Agnew, Les Arts Florissants | E Major | 4 | 12B | 101 BPM | ||
Marais: Pièces en trio: Suite No. 1 en do majeur: VII. Gavotte | Marin Marais, Ensemble Amalia | A Major | 0 | 11B | 76 BPM | ||
Membra Jesu Nostri, BuxWV 75, Ad faciem: Aria "Salve, caput cruentatum" | Dietrich Buxtehude, Mena Guillon Ricercar Consort, Philippe Pierlot, Carlos Mena, Jeffrey Thompson, Matthias Vieweg | C Minor | 2 | 5A | 90 BPM | ||
Violin Sonata in G Minor, Op. 5 No. 5: II. Vivace (Version for Flute) | Arcangelo Corelli, Anna Besson, Myriam Rignol, Jean Rondeau | A♭ Major | 1 | 4B | 105 BPM |
Section: 0.629939079284668
End: 0.6341350078582764