Christoph Willibald Gluck, Philharmonia Orchestra, Riccardo Muti's 'Orfeo ed Euridice (Viennese version, 1762) (1997 Digital Remaster), Scene 3: Ballo I (Grazioso)' came out on 1982. The duration of Orfeo ed Euridice (Viennese version, 1762) (1997 Digital Remaster), Scene 3: Ballo I (Grazioso) is about two minutes long, specifically at 2:43. This song does not appear to have any foul language. Orfeo ed Euridice (Viennese version, 1762) (1997 Digital Remaster), Scene 3: Ballo I (Grazioso)'s duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Christoph Willibald Gluck, Riccardo Muti's "Gluck: Orfeo ed Euridice" album is number 10 out of 35. The popularity of Orfeo ed Euridice (Viennese version, 1762) (1997 Digital Remaster), Scene 3: Ballo I (Grazioso) is currently 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 (Viennese version, 1762) (1997 Digital Remaster), Scene 3: Ballo I (Grazioso) by Christoph Willibald Gluck, Philharmonia Orchestra, Riccardo Muti to be Vivace (lively and fast) because the track has a tempo of 173 BPM, a half-time of 86BPM, and a double-time of 346 BPM. Based on that, the speed of the song's tempo is fast. The time signature for this track is 3/4.
A Major is the music key of this track. This also means that this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Viola Concerto in G Major, TWV 51:G9: I. Largo | Georg Philipp Telemann, Ladislav Kyselák, Capella Istropolitana, Richard Edlinger | G Major | 1 | 9B | 144 BPM | ||
Aria de la Pastorale en ut mineur BWV 590 | Johann Sebastian Bach, Alexandre Tharaud | F Minor | 1 | 4A | 123 BPM | ||
Gluck : Iphigénie en Aulide : Act 1 "Nommez-nous la victime" [Chorus] | Christoph Willibald Gluck, John Eliot Gardiner, Orchestre de l'Opéra de Lyon | E♭ Major | 3 | 5B | 117 BPM | ||
Méditation de Thaïs | Jules Massenet, Julian Lloyd Webber, Royal Philharmonic Orchestra, James Judd | D Major | 1 | 10B | 72 BPM | ||
Nocturne-serenade, Op. 45 | Pablo de Sarasate, Tianwa Yang, Navarre Symphony Orchestra, Ernest Martinez Izquierdo | B♭ Major | 0 | 6B | 108 BPM | ||
Lohengrin: Prelude | Richard Wagner, Slovak Philharmonic, Michael Halasz | A Major | 0 | 11B | 75 BPM | ||
Overture (Suite) in B-Flat Major, TWV 55:B2: Aria IV: Sarabande | Georg Philipp Telemann, La Stagione Frankfurt, Michael Schneider | A Major | 1 | 11B | 98 BPM | ||
Mendelssohn: 6 Lieder ohne Worte, Book 6, Op. 67: II. Allegro leggiero | Felix Mendelssohn, Leif Ove Andsnes | F♯ Minor | 1 | 11A | 182 BPM | ||
Orfeo ed Euridice, Act II Scene 2: Ballet Music, "Reigen der seligen Geister" (arr. W. Kempff): Orpheus and Eurydice: Ballet Music - Reigen der seligen Geister (trans. W. Kempff) | Wilhelm Kempff, Christoph Willibald Gluck, Idil Biret | F Major | 0 | 7B | 81 BPM | ||
Orpheo ed Euridice, Wq. 30, Act II: Dance of the Blessed Spirits | Christoph Willibald Gluck, Eugene Ormandy, Philadelphia Orchestra | D Minor | 1 | 7A | 67 BPM |
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