"Handel: Admeto, HWV 22, Act 3: "A languir ed a penar m'ha destinato Amor" (Admeto)" by René Jacobs, Alan Curtis, Il Complesso Barocco was released on 1978. The duration of Handel: Admeto, HWV 22, Act 3: "A languir ed a penar m'ha destinato Amor" (Admeto) is about two minutes long, specifically at 2:33. This song does not appear to have any foul language. Handel: Admeto, HWV 22, Act 3: "A languir ed a penar m'ha destinato Amor" (Admeto)'s duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in René Jacobs, Alan Curtis's "Handel - Admeto, re di Tessaglia" album is number 1 out of 75. On top of that, Germany appears to be the country where this track was created. Handel: Admeto, HWV 22, Act 3: "A languir ed a penar m'ha destinato Amor" (Admeto) 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 Handel: Admeto, HWV 22, Act 3: "A languir ed a penar m'ha destinato Amor" (Admeto) by René Jacobs, Alan Curtis, Il Complesso Barocco to be Adagio (slowly with great expression) because the track has a tempo of 74 BPM, a half-time of 37BPM, and a double-time of 148 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 1/4.
This song has a musical key of B Minor. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Solfeggio No. 1 in C Minor, Wq. 117/2, H. 220 | Carl Philipp Emanuel Bach, Ana-Marija Markovina | F Minor | 2 | 4A | 76 BPM | ||
Ouverture in D Major, "Darmstadt": Harlequinade | Georg Philipp Telemann, Cologne Chamber Orchestra, Helmut Muller-Bruhl | D♭ Major | 1 | 3B | 174 BPM | ||
Dido & Aeneas: Dido & Aeneas: Act I, Belinda "Pursue thy conquest" | Henry Purcell, Orchestra of the Age of Enlightenment, Rosemary Joshua, René Jacobs | F♯ Major | 2 | 2B | 117 BPM | ||
Symphonie fantastique, Op. 14, H 48: II. Un Bal | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | A Major | 1 | 11B | 113 BPM | ||
Sinfonia in D Major, "La Veneziana": III. Presto | Antonio Salieri, Chopin Chamber Orchestra, Winston Dan Vogel | D Major | 1 | 10B | 109 BPM | ||
Symphonie fantastique, Op. 14: II. Un bal | Hector Berlioz, Swedish Radio Symphony Orchestra, Daniel Harding | A Major | 1 | 11B | 107 BPM | ||
Orfeo ed Euridice: Act II, Scene 1, Ballo e Coro (Presto): Chi mai dell'Erebo | Christoph Willibald Gluck, René Jacobs, RIAS Kammerchor, Freiburger Barockorchester | G Major | 3 | 9B | 122 BPM | ||
La traviata / Act 2: "Di Provenza il mar, il suol" | Giuseppe Verdi, Dmitri Hvorostovsky, Rotterdam Philharmonic Orchestra, Valery Gergiev | D♭ Major | 2 | 3B | 76 BPM | ||
Ein deutsches Requiem (A German Requiem), Op. 45: VII. Selig sind die Toten | Johannes Brahms, Katherine Fuge, Matthew Brook, The Monteverdi Choir, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner | F Major | 1 | 7B | 134 BPM | ||
Die Schöpfung, Hob.XXI:2, Part 1: No. 6, Arie "Rollend in schäumenden Wellen" (Raphael) | Joseph Haydn, René Jacobs, Johannes Weisser, Freiburger Barockorchester | B♭ Major | 4 | 6B | 115 BPM |
Section: 0.8095529079437256
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