"Briseida: No. 4, Aria "Adios prenda de mi amor"" by Antonio Rodríguez de Hita, Maria Bayo, Les Talens Lyriques, Christophe Rousset was released on 2003. Since Briseida: No. 4, Aria "Adios prenda de mi amor" 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. The song is number 8 out of 14 in Boccherini, Soler, Nebra & Hita: Arias de zarzuela barroca by Maria Bayo, Les Talens Lyriques, Christophe Rousset. Based on our statistics, Briseida: No. 4, Aria "Adios prenda de mi amor"'s popularity 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.
The tempo marking of Briseida: No. 4, Aria "Adios prenda de mi amor" by Antonio Rodríguez de Hita, Maria Bayo, Les Talens Lyriques, Christophe Rousset is Allegro (fast, quick, and bright), since this song has a tempo of 128 テンポ. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 4/4.
B♭ Major is the music key of this track. This also means that this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Mozart: Così fan tutte, K. 588, Act I, Scene 11: No. 13, Sestetto. "Alla bella Despinetta" (Don Alfonso, Ferrando, Guglielmo, Despina, Fiordiligi, Dorabella) | Wolfgang Amadeus Mozart, Walter Berry, Alfredo Kraus, Christa Ludwig, Elisabeth Schwarzkopf, Giuseppe Taddei, Hanny Steffek, Heinrich Schmidt, Karl Böhm, Philharmonia Orchestra | G Major | 1 | 9B | 56 BPM | ||
The Magic Flute, Act II: Why, why, why are you in this place of fear? | Wolfgang Amadeus Mozart, Sir Charles Mackerras, London Philharmonic Orchestra, Majella Cullagh, Sarah Fox, Diana Montague, Simon Keenlyside, Barry Banks, Christopher Purves | B Major | 3 | 1B | 70 BPM | ||
Mignonne, WWV 57 (Arr. Fontanelli for Voice and Ensemble) | Richard Wagner, KammerMusikKöln, Kathrin Zukowski | E♭ Major | 1 | 5B | 69 BPM | ||
The Magic Flute, Act I: Have mercy, have mercy | Wolfgang Amadeus Mozart, Sir Charles Mackerras, London Philharmonic Orchestra, Barry Banks, Majella Cullagh, Sarah Fox, Diana Montague | E♭ Major | 2 | 5B | 131 BPM | ||
Iphigénie en Tauride, Wq. 46 (Excerpts): Et tu prétends encore | Christoph Willibald Gluck, Munich Radio Orchestra, Lamberto Gardelli, Franco Bonisolli, Walton Groenroos | C Minor | 3 | 5A | 84 BPM | ||
Bach, CPE: Magnificat in D Minor, Wq. 215: V. Fecit potentiam | Carl Philipp Emanuel Bach, Geraint Jones, Thomas Hemsley, Geraint Jones Orchestra | E Major | 1 | 12B | 147 BPM | ||
Mass No. 4 in C Major, Op. 48, D. 452: Benedictus | Franz Schubert, Claudia Reinhard, Christine Wehler, Raimund Minarschik, Tobias Berndt, Immortal Bach Ensemble, Leipzig Chamber Orchestra, Morten Schuldt-Jensen | E Major | 0 | 12B | 76 BPM | ||
Mass No. 2 in G Major, D. 167: Gloria: Domine Deus | Franz Schubert, Claudia Reinhard, Rüdiger Ballhorn, Markus Flaig, Immortal Bach Ensemble, Leipzig Chamber Orchestra, Morten Schuldt-Jensen | E Major | 0 | 12B | 76 BPM | ||
Missa solemnis in B-Flat Minor, WAB 29 (2017 Critical Ed. by B.-G. Cohrs): I. Kyrie | Anton Bruckner, RIAS Kammerchor, Akademie für Alte Musik Berlin, Łukasz Borowicz | F Major | 0 | 7B | 73 BPM | ||
Wesendonck Lieder, WWV 91 (Arr. Fontanelli for Voice and Ensemble): No. 5, Träume | Richard Wagner, Kathrin Zukowski, KammerMusikKöln | A Major | 0 | 11B | 169 BPM |