"Armida, Op. 115, B. 206, Act II: Act II: Vorspiel" by Antonín Dvořák, Joanna Borowska, Pavel Daniluk, George Fortune, Vratislav Kriz, Miroslav Podskalsky, Wiesław Ochman, Milan Bürger, Richard Sporka, Zdenek Harvanek, Jan Markvart, Vladimir Nachazel, Roman Janál, Monika Brychtova, Prager Kammerchor, Czech Philharmonic, Gerd Albrecht was released on July 1, 2016. With Armida, Op. 115, B. 206, Act II: Act II: Vorspiel being less than two minutes long, at 1:06, 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 8 out of 32 in Dvořák: Armida by Antonín Dvořák, Gerd Albrecht. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Armida, Op. 115, B. 206, Act II: Act II: Vorspiel is below average in popularity 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 Armida, Op. 115, B. 206, Act II: Act II: Vorspiel by Antonín Dvořák, Joanna Borowska, Pavel Daniluk, George Fortune, Vratislav Kriz, Miroslav Podskalsky, Wiesław Ochman, Milan Bürger, Richard Sporka, Zdenek Harvanek, Jan Markvart, Vladimir Nachazel, Roman Janál, Monika Brychtova, Prager Kammerchor, Czech Philharmonic, Gerd Albrecht is Andante (at a walking pace), since this song has a tempo of 83 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.
E♭ Major is the music key of this track. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Petite suite, L. 65: II. Cortège | Claude Debussy, Louis Lane, Cleveland Orchestra | C Major | 5 | 8B | 156 BPM | ||
Respighi: Pines of Rome P. 141: The Pines of Janiculum | Ottorino Respighi, San Francisco Symphony, Esa-Pekka Salonen | B Major | 0 | 1B | 95 BPM | ||
Orchestral Sounds | Anton Bruckner, Rundfunk Sinfonieorchester Berlin, Heinz Rögner | A Minor | 0 | 8A | 84 BPM | ||
Háry János Suite (Version for Orchestra): V. Közjáték | Zoltán Kodály, Buffalo Philharmonic Orchestra, Joann Falletta | D Minor | 1 | 7A | 113 BPM | ||
Symphony No. 3 in C Major, Op. 52: III. Moderato - Allegro ma non tanto | Jean Sibelius, Oslo Philharmonic Orchestra, Klaus Mäkelä | F♯ Minor | 1 | 11A | 66 BPM | ||
Spanish Capriccio in A Major, Op. 34: I. Alborada. Vivo e strepitoso | Nikolai Rimsky-Korsakov, Czech Philharmonic Orchestra, Vladimír Válek | B♭ Major | 2 | 6B | 133 BPM | ||
St Anthony Variations, Op. 56a "Haydn Variations": Var. 7. Grazioso | Johannes Brahms, Staatskapelle Dresden, Claudio Abbado | D Minor | 0 | 7A | 82 BPM | ||
Metropolis: II. Zwischenspiel: Der Tod | Gottfried Huppertz, Berlin Radio Symphony Orchestra, Frank Strobel | B♭ Minor | 5 | 3A | 95 BPM | ||
Divertimento for Strings, Sz. 113: I. Allegro non troppo | Béla Bartók, Chicago Symphony Strings, Sir Georg Solti | B♭ Major | 2 | 6B | 108 BPM | ||
スメタナ:連作交響詩 「わが祖国」 3 シャールカ | Czech Philharmonic Chamber Orchestra, Ken-Ichiro Kobayashi | A Major | 2 | 11B | 99 BPM |