"Cello Suite No. 1, Op. 72: VI. Molto perpetuo e Canto" by Benjamin Britten, Alban Gerhardt was released on January 1, 2004. The duration of Cello Suite No. 1, Op. 72: VI. Molto perpetuo e Canto is about 3 minutes long, at 3:28. Based on our data, "Cello Suite No. 1, Op. 72: VI. Molto perpetuo e Canto" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 9 out of 18 in Britten: Cello Suite No. 1 / Bach, J.S.: Cello Suite No. 5 / Kodaly: Cello Sonata by Alban Gerhardt. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Cello Suite No. 1, Op. 72: VI. Molto perpetuo e Canto 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.
The tempo marking of Cello Suite No. 1, Op. 72: VI. Molto perpetuo e Canto by Benjamin Britten, Alban Gerhardt is Andante (at a walking pace), since this song has a tempo of 81 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
G Major is the music key of this track. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Gloria, FP 144: 2. Laudamus te | Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver | F Major | 2 | 7B | 139 BPM | ||
Eugene Onegin, Op. 24, TH. 5 / Act I: Introduction | Pyotr Ilyich Tchaikovsky, Staatskapelle Dresden, James Levine | G Minor | 1 | 6A | 107 BPM | ||
Les Illuminations Op. 18: IIIa. Phrase | Arthur Rimbaud, Benjamin Britten, John Mark Ainsley, Britten Sinfonia, Pauline Lowbury, Nicholas Cleobury | F Major | 0 | 7B | 75 BPM | ||
Symphony No.1 In C Minor, Op.68: 2. Andante sostenuto | Johannes Brahms, Berliner Philharmoniker, Herbert von Karajan | E Major | 1 | 12B | 85 BPM | ||
Sonata in D Minor for Cello & Piano, L.135: 3. Finale (Animé) | Claude Debussy, Mstislav Rostropovich, Benjamin Britten | G Major | 0 | 9B | 66 BPM | ||
La mer, L. 109: III. Dialogue of the Wind and the Sea | Claude Debussy, Berliner Philharmoniker, Herbert von Karajan | D♭ Major | 2 | 3B | 78 BPM | ||
The Sword in the Stone Suite (Arr. O. Knussen & C. Matthews): IV. Bird Music | Oliver Knussen, Colin Matthews, Benjamin Britten, Ohio State University Wind Symphony, Russel C. Mikkelson | E Minor | 2 | 9A | 112 BPM | ||
Pulcinella, Ballet in One Act After Pergolesi for Soprano, Tenor, Bass, Soloists and Orchestra: III. Scherzino (Allegro – Andantino - Allegro) | Igor Stravinsky, Vladimir Jurowski, London Philharmonic Orchestra | F Minor | 0 | 4A | 104 BPM | ||
Prokofiev: Symphony No. 1 in D Major, Op. 25, "Classical": II. Larghetto | Sergei Prokofiev, André Previn, London Symphony Orchestra | A Major | 0 | 11B | 104 BPM | ||
Also sprach Zarathustra, Op. 30, TrV 176: Von der großen Sehnsucht | Richard Strauss, Berliner Philharmoniker, Herbert von Karajan | G Major | 1 | 9B | 105 BPM |