Felix Mendelssohn, Harriet Krijgh, Magda Amara made "Mendelssohn: 6 Lieder, Op. 57 - 5. Venetianisches Gondellied, MWV K114" available on June 20, 2023. With Mendelssohn: 6 Lieder, Op. 57 - 5. Venetianisches Gondellied, MWV K114 being less than two minutes long, at 1:56, 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 song is number 38 out of 144 in Classical Sonosphere Vol. 3 by Gabriel Fauré, Antonín Dvořák, Felix Mendelssohn. Going off of the ISRC code of this track, we detected that the origin of this track is from Netherlands. In terms of popularity, Mendelssohn: 6 Lieder, Op. 57 - 5. Venetianisches Gondellied, MWV K114 is currently not that popular. The overall mood can be danceable to some, especially with it's high amount of postive energy.
The tempo marking of Mendelssohn: 6 Lieder, Op. 57 - 5. Venetianisches Gondellied, MWV K114 by Felix Mendelssohn, Harriet Krijgh, Magda Amara is Andante (at a walking pace), since this song has a tempo of 95 テンポ. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
A Major is the music key of this track. This also means that this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Scottish Fantasy for Violin and Orchestra, Op. 46: I. Introduction: Grave, Adagio cantabile | Max Bruch, Joshua Bell, Academy of St. Martin in the Fields | E♭ Major | 2 | 5B | 60 BPM | ||
Carmen Suite No. 1 (Arr. E. Guiraud): IV. Séguedille | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | D Major | 0 | 10B | 176 BPM | ||
Poulenc: Concerto for Two Pianos in D Minor, FP 61: II. Larghetto | Francis Poulenc, James Conlon, Rotterdam Philharmonic Orchestra | B♭ Major | 0 | 6B | 84 BPM | ||
Choral-Vatiationen: Var. I. In canone all'Ottava | Igor Stravinsky, Philippe Herreweghe, Royal Flemish Philharmonic, Collegium Vocale Gent | C Major | 1 | 8B | 93 BPM | ||
Schwanengesang, S. 560: Schubert - Schwanengesang, S. 560/R. 245: No. 7, Standchen (Leise flehen meine Lieder) [After F. Schubert] | Franz Liszt, Oxana Yablonskaya | D Major | 0 | 10B | 66 BPM | ||
Melody from « Orfeo » | Christoph Willibald Gluck, Roberto Giordano | G Minor | 2 | 6A | 115 BPM | ||
Le roi s'amuse: Final | Léo Delibes, Slovak Philharmonic, Ondrej Lenard | A Minor | 1 | 8A | 94 BPM | ||
Lyric Pieces Book VII, Op. 62: No. 4 Brooklet | Edvard Grieg, Emil Gilels | B Minor | 1 | 10A | 0 BPM | ||
Nocturne No. 9 in E-Flat Major | John Field, Benjamin Frith | E♭ Major | 0 | 5B | 56 BPM | ||
Holberg Suite, Op. 40: 2. Sarabande (Andante) | Edvard Grieg, Gothenburg Symphony Orchestra, Neeme Järvi | G Major | 0 | 9B | 75 BPM |