Christoph Willibald Gluck, Francesco Albanese, Dino Dondi, Coro Del Teatro Alla Scala Di Milano, Orchestra Del Teatro Alla Scala, Milano, Nino Sanzogno's 'Ifigenia in Tauride (1998 Digital Remaster), Act II: Oh silenzio fera! (Pilade/Oreste)' came out on 1998. The duration of Ifigenia in Tauride (1998 Digital Remaster), Act II: Oh silenzio fera! (Pilade/Oreste) is about two minutes long, specifically at 2:28. This song does not appear to have any foul language. Ifigenia in Tauride (1998 Digital Remaster), Act II: Oh silenzio fera! (Pilade/Oreste)'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, Maria Callas's "Ifigenia in Tauride" album is number 13 out of 49. On top of that, United Kingdom appears to be the country where this track was created. Ifigenia in Tauride (1998 Digital Remaster), Act II: Oh silenzio fera! (Pilade/Oreste) is 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 Ifigenia in Tauride (1998 Digital Remaster), Act II: Oh silenzio fera! (Pilade/Oreste) by Christoph Willibald Gluck, Francesco Albanese, Dino Dondi, Coro Del Teatro Alla Scala Di Milano, Orchestra Del Teatro Alla Scala, Milano, Nino Sanzogno to be Andante (at a walking pace) because the track has a tempo of 84 テンポ, a half-time of 42テンポ, and a double-time of 168 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
C Major is the music key of this track. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Sonata a 5 in G Minor, Op. 2, No. 6: IV. Allegro | Tomaso Albinoni, Capella Istropolitana, Jaroslav Krcek | G Minor | 3 | 6A | 59 BPM | ||
6 Melodies, Op. 4 - 6 melodies, Op. 5: Allegretto | Fanny Mendelssohn, Beatrice Rauchs | G Minor | 1 | 6A | 107 BPM | ||
Sonata in B Minor, K. 87: Andante | Domenico Scarlatti, Ivo Pogorelich | B Minor | 0 | 10A | 147 BPM | ||
Widerstehe doch der Sünde, BWV 54 (Transcr. by Víkingur Ólafsson) | Johann Sebastian Bach, Víkingur Ólafsson | E♭ Major | 1 | 5B | 82 BPM | ||
Trio In G Minor, BWV 929 | Janos Sebestyen, Johann Sebastian Bach | G Minor | 2 | 6A | 126 BPM | ||
Organ Sonata No. 4, BWV 528: II. Andante [Adagio] (Transcr. by August Stradal) | Johann Sebastian Bach, Víkingur Ólafsson | B Minor | 0 | 10A | 71 BPM | ||
Nisi Dominus, RV 608 - Arr. Cello: 4. Cum dederit dilectis suis (Arr. Cello) | Antonio Vivaldi, Harriet Krijgh, Amsterdam Sinfonietta, Candida Thompson | G Minor | 0 | 6A | 106 BPM | ||
24 Préludes, Op.28: 15. In D Flat Major | Frédéric Chopin, Martha Argerich | D♭ Major | 0 | 3B | 95 BPM | ||
Come, Sweet Death (Arr. for 5 Cellos) | Johann Sebastian Bach, Sheku Kanneh-Mason, Hannah Roberts, Ben Davies, Desmond Neysmith, Max Ruisi | C Minor | 1 | 5A | 88 BPM | ||
Keyboard Concerto in G Major, Wq. 44: II. Andantino | Carl Philipp Emanuel Bach, Michael Rische, Kammersymphonie Leipzig | E Minor | 0 | 9A | 87 BPM |