Antonio Salieri, Sir Neville Marriner, Academy of St. Martin in the Fields, Ambrosian Opera Chorus, John McCarthy made "Axur, Finale" available on January 1, 1984. With Axur, Finale being less than two minutes long, at 1:12, 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 5 out of 30 in Amadeus (The Complete Soundtrack Recording) by Wolfgang Amadeus Mozart, Sir Neville Marriner, Academy of St. Martin in the Fields. Going off of the ISRC code of this track, we detected that the origin of this track is from United States. In terms of popularity, Axur, Finale is currently below average in popularity. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
The tempo marking of Axur, Finale by Antonio Salieri, Sir Neville Marriner, Academy of St. Martin in the Fields, Ambrosian Opera Chorus, John McCarthy is Andante (at a walking pace), since this song has a tempo of 95 テンポ. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
G Major is the music key of this track. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Boito: Mefistofele, Prologue: "Ave, Signor degli angeli e dei santi" (Falangi celesti) | Arrigo Boito, Ambrosian Opera Chorus, London Symphony Orchestra, Julius Rudel | E Major | 1 | 12B | 86 BPM | ||
Piano Concerto No. 5 in F Major, Op. 103 "Egyptian": 3. Molto allegro | Camille Saint-Saëns, Pascal Rogé, Royal Philharmonic Orchestra, Charles Dutoit | A Major | 0 | 11B | 80 BPM | ||
Turandot: Tu, che di gel sei cinta | Mirella Freni, Vienna Volksoper Orchestra, Argeo Quadri | B Major | 2 | 1B | 87 BPM | ||
La fille du régiment / Act 1: Sacré nom d'une pipe! | Gaetano Donizetti, Spiro Malas, Dame Joan Sutherland, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | G Major | 2 | 9B | 62 BPM | ||
L'Arlésienne Suite No.2: Pastorale | Georges Bizet, Orchestre Symphonique de Montréal, Charles Dutoit | A Major | 1 | 11B | 106 BPM | ||
Don Giovanni, Act Il, Commendatore Scene | Wolfgang Amadeus Mozart, Sir Neville Marriner, Academy of St. Martin in the Fields, Ambrosian Opera Chorus, John McCarthy, John Tomlinson, Richard Stilwell, Willard White | A Major | 3 | 11B | 81 BPM | ||
Vier letzte Lieder, TrV 296: 2. September | Richard Strauss, Jessye Norman, Gewandhausorchester, Kurt Masur | D Major | 1 | 10B | 153 BPM | ||
Semele, HWV 58 / Act 1: Hail Cadmus! | George Frideric Handel, Samuel Ramey, Ambrosian Opera Chorus, English Chamber Orchestra, John Nelson | C Major | 2 | 8B | 91 BPM | ||
In a Persian Market | Albert Ketèlbey, Ambrosian Opera Chorus, London Promenade Orchestra, Alexander Faris | D Minor | 1 | 7A | 108 BPM | ||
Falstaff: Act II Scenes 9-10: Duet: Su, mio core, a gioir (Mrs. Ford, Falstaff) | Antonio Salieri, József Gregor, Mária Zempléni, Dénes Gulyás, Istvan Gati, Eva Panczel, Tamas Csurja, Eva Vamossy, Salieri Chamber Chorus, Salieri Chamber Orchestra, Tamas Pal | E♭ Major | 1 | 5B | 90 BPM |