"St. Paul's Suite, Op. 29 No. 2, H 118: 3. Intermezzo: Andante con moto" by Gustav Holst, Saint Paul Chamber Orchestra, Christopher Hogwood was released on December 1, 1993. With this song being around four minutes long, at 4:10, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The track order of this song in Christopher Hogwood, Saint Paul Chamber Orchestra's "Holst: St. Paul's Suite; A Fugal Concerto / Tippett: Fantasia on a Theme of Corelli / Corelli: Concerto grosso in F; Sonata in B minor" album is number 13 out of 14. St. Paul's Suite, Op. 29 No. 2, H 118: 3. Intermezzo: Andante con moto is 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.
We consider the tempo marking of St. Paul's Suite, Op. 29 No. 2, H 118: 3. Intermezzo: Andante con moto by Gustav Holst, Saint Paul Chamber Orchestra, Christopher Hogwood to be Andante (at a walking pace) because the track has a tempo of 88 テンポ, a half-time of 44テンポ, and a double-time of 176 テンポ. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of E Minor. Because this track belongs in the E Minor key, the camelot key is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
English Folk Song Suite: I. March (Seventeen Come Sunday) | Ralph Vaughan Williams, North Texas Wind Symphony, Eugene Migliaro | F Minor | 3 | 4A | 120 BPM | ||
Die Fledermaus (The Bat), Overture (RV 503-1) | Johann Strauss II, Edouard Strauss Orchestra, Edouard Strauss | D Major | 1 | 10B | 99 BPM | ||
Raymonda, Act III: Variation for male dancer | Alexander Glazunov, English National Ballet Philharmonic, Gavin Sutherland | A♭ Major | 0 | 4B | 61 BPM | ||
Les biches Suite, FP 36b: I. Rondeau | Francis Poulenc, RTÉ National Symphony Orchestra, Jean-Luc Tingaud | C Major | 1 | 8B | 79 BPM | ||
La Mer, L.109: 3. Dialogue Of The Wind And The Sea | Claude Debussy, Orchestre Symphonique de Montréal, Charles Dutoit | D♭ Major | 2 | 3B | 83 BPM | ||
The Moldau (from Má Vlast): Allegro. The First Source of the Moldau - The Second Source - Woods; Hunt; L'istesso tempo ma moderato. Peasant Wedding; L'istesso tempo. Moonlight | Bedřich Smetana, Chicago Symphony Orchestra, Daniel Barenboim | G Major | 1 | 9B | 142 BPM | ||
Peer Gynt Suite No.1 op. 46 Anitra's Dance (Tempo di Mazurka) | Academy of St. Martin in the Fields | E Minor | 0 | 9A | 168 BPM | ||
In the Steppes of Central Asia | Alexander Borodin, Royal Philharmonic Orchestra, Vladimir Ashkenazy | A Major | 0 | 11B | 69 BPM | ||
Vaughan Williams: Job, a Masque for Dancing, Scene 9: Epilogue | Ralph Vaughan Williams, Andrew Davis, BBC Symphony Orchestra | G Minor | 0 | 6A | 99 BPM | ||
Concerto Grosso: Intrada | Ralph Vaughan Williams, New Zealand Symphony Orchestra, James Judd | G Major | 3 | 9B | 78 BPM |