Wolfgang Amadeus Mozart, Carlo Maria Giulini, Elisabeth Schwarzkopf, Giuseppe Taddei, Graziella Sciutti, Dame Joan Sutherland, Luigi Alva, Piero Cappuccilli, Philharmonia Orchestra's 'Mozart: Don Giovanni, K. 527, Act 2: Epilogo. "Ah, dov'è il perfido?" (Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Masetto, Leporello)' came out on January 1, 1960. With Mozart: Don Giovanni, K. 527, Act 2: Epilogo. "Ah, dov'è il perfido?" (Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Masetto, Leporello) being less than two minutes long, at 1:39, 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 Wolfgang Amadeus Mozart, Carlo Maria Giulini's "Mozart: Don Giovanni" album is number 12 out of 72. On top of that, United Kingdom appears to be the country where this track was created. Based on our statistics, Mozart: Don Giovanni, K. 527, Act 2: Epilogo. "Ah, dov'è il perfido?" (Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Masetto, Leporello)'s popularity is not that popular 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 Mozart: Don Giovanni, K. 527, Act 2: Epilogo. "Ah, dov'è il perfido?" (Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Masetto, Leporello) by Wolfgang Amadeus Mozart, Carlo Maria Giulini, Elisabeth Schwarzkopf, Giuseppe Taddei, Graziella Sciutti, Dame Joan Sutherland, Luigi Alva, Piero Cappuccilli, Philharmonia Orchestra to be Allegro (fast, quick, and bright) because the track has a tempo of 125 BPM, a half-time of 62BPM, and a double-time of 250 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
The music key of this track is 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 | ||
---|---|---|---|---|---|---|---|
Premier Nocturne, Op. 22 | Charles-Valentin Alkan, Michael Landrum | B Major | 0 | 1B | 135 BPM | ||
Etude in F Minor | Felix Mendelssohn, Benjamin Frith | B♭ Major | 0 | 6B | 75 BPM | ||
Carmen Suite No. 1: 1. Prélude | Georges Bizet, Orchestre de Paris, Semyon Bychkov | A Minor | 1 | 8A | 96 BPM | ||
Ouverture in D Major, "Darmstadt": Harlequinade | Georg Philipp Telemann, Cologne Chamber Orchestra, Helmut Muller-Bruhl | D♭ Major | 1 | 3B | 174 BPM | ||
Hungarian Dance No. 5 in G Minor, WoO 1, No. 5 | Johannes Brahms, Budapest Festival Orchestra, Iván Fischer | F♯ Minor | 1 | 11A | 107 BPM | ||
2 Pieces, Op. posth., B. 188: No. 1. Lullaby in G Major | Antonín Dvořák, Stefan Veselka | G Major | 0 | 9B | 66 BPM | ||
Boccherini: Cello Concerto No. 9 in B-Flat Major, G. 482: III. Rondo. Allegro (Cadenza by Grützmacher) | Luigi Boccherini, Frédéric Lodéon, Theodor Guschlbauer, Bournemouth Sinfonietta | B♭ Major | 2 | 6B | 141 BPM | ||
Lyric Pieces Book I, Op. 12: No. 7 Album Leaf | Edvard Grieg, Alice Sara Ott | D Major | 2 | 10B | 121 BPM | ||
Adagio in F, H.XVII No.9 | Franz Joseph Haydn, Alfred Brendel | F Major | 0 | 7B | 71 BPM | ||
3 Preludes and Fugues, Op. 16: No. 2. Prelude and Fugue in B-Flat Major | Clara Schumann, Jozef De Beenhouwer | B♭ Major | 0 | 6B | 100 BPM |
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