"Handel: Admeto, HWV 22, Act 3: "A languir ed a penar m'ha destinato Amor" (Admeto)" by René Jacobs, Alan Curtis, Il Complesso Barocco was released on 1978. The duration of Handel: Admeto, HWV 22, Act 3: "A languir ed a penar m'ha destinato Amor" (Admeto) is about two minutes long, specifically at 2:33. This song does not appear to have any foul language. Handel: Admeto, HWV 22, Act 3: "A languir ed a penar m'ha destinato Amor" (Admeto)'s duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in René Jacobs, Alan Curtis's "Handel - Admeto, re di Tessaglia" album is number 1 out of 75. On top of that, Germany appears to be the country where this track was created. Handel: Admeto, HWV 22, Act 3: "A languir ed a penar m'ha destinato Amor" (Admeto) 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.
We consider the tempo marking of Handel: Admeto, HWV 22, Act 3: "A languir ed a penar m'ha destinato Amor" (Admeto) by René Jacobs, Alan Curtis, Il Complesso Barocco to be Adagio (slowly with great expression) because the track has a tempo of 74 テンポ, a half-time of 37テンポ, and a double-time of 148 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 1/4.
This song has a musical key of B Minor. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphonie fantastique, Op. 14: II. Un bal | Hector Berlioz, Swedish Radio Symphony Orchestra, Daniel Harding | A Major | 1 | 11B | 107 BPM | ||
Orfeo ed Euridice: Act III, Scene 1, Orfeo ed Euridice: Ecco un nuovo tormento! | Christoph Willibald Gluck, René Jacobs, Freiburger Barockorchester, Bernarda Fink, Veronica Cangemi | A♭ Major | 1 | 4B | 175 BPM | ||
Symphony in D Major, Op. 3, No. 2: I. Presto | Johann Stamitz, New Zealand Chamber Orchestra, Donald Armstrong | A Major | 1 | 11B | 83 BPM | ||
Les Indes galantes, RCT 44, Nouvelle entrée, Les sauvages, Scène VI: Chaconne | Jean-Philippe Rameau, Teodor Currentzis | D♭ Major | 2 | 3B | 114 BPM | ||
Requiem: XIV. Agnus Dei | Giuseppe Verdi, Sir Colin Davis, Christine Brewer, Karen Cargill, London Symphony Orchestra | C Major | 0 | 8B | 173 BPM | ||
Concerto grosso, Op. 3 (revised), No. 6 in E Minor: IV. Allegro | Francesco Geminiani, Concerto Köln | E♭ Minor | 1 | 2A | 129 BPM | ||
Brandenburg Concerto No. 1 in F BWV1046: III. Allegro | Johann Sebastian Bach, Catherine Mackintosh/Paul Goodwin/Timothy Brown/Susan Dent/Orchestra of the Age of Enlightenment, Orchestra of the Age of Enlightenment | E Major | 3 | 12B | 92 BPM | ||
Rinaldo, HWV 7a: Ouverture | George Frideric Handel, Freiburger Barockorchester, Vivica Genaux, René Jacobs | D♭ Minor | 4 | 12A | 81 BPM | ||
Beethoven: Violin Concerto in D Major, Op. 61: III. Rondo. Allegro | Ludwig van Beethoven, Itzhak Perlman, Carlo Maria Giulini, Philharmonia Orchestra | A Minor | 2 | 8A | 113 BPM | ||
Le Nozze di Figaro, K. 492: Atto terzo. Scene 11-14. N.23 Finale Figaro, Susanna, il Conte, la Contessa, 2 Ragazze, Coro "Ecco la marcia" | Wolfgang Amadeus Mozart, Collegium Vocale Gent, Concerto Köln, Elisabeth Rapp, Lorenzo Regazzo, Patrizia Ciofi, René Jacobs, Simon Keenlyside, Véronique Gens, Yeree Suh | G Major | 1 | 9B | 117 BPM |