"Cello Concerto, Op. 81 (1984 version): I. Con moto moderato" by Gunnar de Frumerie, Christian Lindberg, Bamberg Symphony, Leif Segerstam was released on January 31, 1988. Since Cello Concerto, Op. 81 (1984 version): I. Con moto moderato is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. There are a total of 10 in the song's album "Romantic Trombone Concertos". In this album, this song's track order is #8. In terms of popularity, Cello Concerto, Op. 81 (1984 version): I. Con moto moderato is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Cello Concerto, Op. 81 (1984 version): I. Con moto moderato by Gunnar de Frumerie, Christian Lindberg, Bamberg Symphony, Leif Segerstam having a テンポ of 100 with a half-time of 50 テンポ and a double-time of 200 テンポ, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
This song is in the music key of C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Tableaux De Provence: II. Cansoun Per Ma Mio | Paule Maurice, Saarländisches Staatsorchester, Asya Fateyeva, Sébastien Rouland | G Major | 0 | 9B | 73 BPM | ||
Singoalla, Op. 22, Act II: Quintet | Gunnar de Frumerie, Per-Arne Wahlgren, Erik Saeden, Inger Blom, Anne Sofie von Otter, Stig Tysklind, Hagersten Motet Choir, Royal Stockholm Philharmonic Orchestra, Yuri Ahronovitch | B♭ Minor | 1 | 3A | 87 BPM | ||
Anyone There? (From “the London Ripper”) | Swen Fettermann | B♭ Major | 1 | 6B | 66 BPM | ||
Hassan, DCW 8, Act 1 Scene 1: Prelude. Slow – Quietly but expressively | Frederick Delius, Britten Sinfonia, Jamie Phillips | D♭ Major | 1 | 3B | 130 BPM | ||
Concerto for Violin and Cello in A Minor, Op. 102: II. Andante | Johannes Brahms, Amanda Forsyth, Pinchas Zukerman, Canada's National Arts Centre Orchestra | D Major | 1 | 10B | 175 BPM | ||
Trombone Concertino in E-flat Major, Op. 4: III. Allegro maestoso I | Ferdinand David, Christian Lindberg, Swedish Chamber Orchestra | E♭ Major | 2 | 5B | 127 BPM | ||
Third Movement Moderate Pesante | Sir Adrian Boult, Vaughan Williams, London Philharmonic Orchestra | G Minor | 1 | 6A | 79 BPM | ||
Danzas fantásticas, Op. 22: II. Ensueño | Joaquín Turina, Juanjo Mena, BBC Philharmonic | G Major | 0 | 9B | 79 BPM | ||
Concerto for String Orchestra: II. Andante | Graźnya Bacewicz, Sinfonia Of London, John Wilson | A Minor | 4 | 8A | 130 BPM | ||
Sally in Our Alley | Frank Bridge, English Northern Philharmonia, David Lloyd-Jones | G Major | 1 | 9B | 115 BPM |