"Steffani: Niobe, regina di Tebe, Act 1: "Come padre, e come dio" (Anfione)" by Agostino Steffani, Philippe Jaroussky, Stephen Stubbs, Boston Early Music Festival Orchestra was released on January 5, 2015. The duration of Steffani: Niobe, regina di Tebe, Act 1: "Come padre, e come dio" (Anfione) is about 3 minutes long, at 3:01. Based on our data, "Steffani: Niobe, regina di Tebe, Act 1: "Come padre, e come dio" (Anfione)" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 127 in the song's album "Steffani: Niobe, regina di Tebe". In this album, this song's track order is #43. Steffani: Niobe, regina di Tebe, Act 1: "Come padre, e come dio" (Anfione) 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.
With Steffani: Niobe, regina di Tebe, Act 1: "Come padre, e come dio" (Anfione) by Agostino Steffani, Philippe Jaroussky, Stephen Stubbs, Boston Early Music Festival Orchestra having a テンポ of 74 with a half-time of 37 テンポ and a double-time of 148 テンポ, we would consider this track to have a Adagio (slowly with great expression) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 1/4.
B♭ Minor is the music key of this track. Which also means that the camelot key for this song is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Phaeton: Acte II, Chaconne | Jean-Baptiste Lully, Christophe Rousset, Chœur De Chambre De Namur, Les Talens Lyriques | F Major | 2 | 7B | 130 BPM | ||
Bononcini: La Nemica d'Amore fatta amante, Pt. 1: Sinfonia | Giovanni Bononcini, Maxim Emelyanychev, Il Pomo D'oro | F♯ Minor | 2 | 11A | 138 BPM | ||
Gluck: Orfeo ed Euridice, Wq. 30, Act 1: "Ah! se intorno a quest'urna funesta" (bis) [Chorus] | Christoph Willibald Gluck, Philippe Jaroussky, Diego Fasolis, I Barocchisti | B Minor | 2 | 10A | 35 BPM | ||
Mystery (Rosary) Sonata No. 2, "The Visitation": I. — | Heinrich Ignaz Franz von Biber, Sirkka-Liisa Kaakinen, Battalia | A♭ Major | 0 | 4B | 78 BPM | ||
Armide Opera In 5 Acts With Prologue: Que l'éclat de son nom | Jean-Baptiste Lully, Céline Scheen, Goedele Heidbüchel, Musica Antiqua Köln, Reinhard Goebel, Ex Tempore | B Major | 3 | 1B | 180 BPM | ||
Missa Dolorosa: IV. Sanctus | Antonio Caldara, Swiss Radio Choir, Aura Musicale Ensemble, Rene Clemencic | E♭ Minor | 1 | 2A | 71 BPM | ||
Klag Lied in D Minor, BuxWV 76: II. Contrapunctus II & Evolutio | Dietrich Buxtehude, Ensemble les Surprises, Louis-Noël Bestion de Camboulas, Maÿlis de Villoutreys | E Minor | 1 | 9A | 83 BPM | ||
Laudate pueri in G Major, RV 601 "Salmo 112": VIII. Sicut erat in principio (Allegro non molto) | Antonio Vivaldi, Sandrine Piau, Accademia Bizantina, Ottavio Dantone, Stefano Montanari | D♭ Major | 1 | 3B | 93 BPM | ||
Artasere, Act III Scene 1: Aria "Son qual nave ch'agitata" (Arbace) | Riccardo Broschi, Ann Hallenberg, Les Talens Lyriques, Christophe Rousset | G Minor | 0 | 6A | 172 BPM | ||
Rossi / Arr. Pluhar: L'Orfeo, Act 2: "Mio ben" (Eurydice) | Luigi Rossi, Christina Pluhar, Véronique Gens | D Minor | 1 | 7A | 119 BPM |