"Bachianas brasileiras No. 5 for Soprano and Cellos, W.389: Aria (Cantilena)" by Heitor Villa-Lobos, Kiri Te Kanawa, Lynn Harrell, Instrumentalensemble was released on January 1, 1992. Since Bachianas brasileiras No. 5 for Soprano and Cellos, W.389: Aria (Cantilena) 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 15 in the song's album "The Essential Kiri". In this album, this song's track order is #3. Furthermore, we believe that the track originated from United Kingdom. In terms of popularity, Bachianas brasileiras No. 5 for Soprano and Cellos, W.389: Aria (Cantilena) is currently below average in popularity. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Bachianas brasileiras No. 5 for Soprano and Cellos, W.389: Aria (Cantilena) by Heitor Villa-Lobos, Kiri Te Kanawa, Lynn Harrell, Instrumentalensemble having a テンポ of 99 with a half-time of 50 テンポ and a double-time of 198 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 A Minor. Which also means that the camelot key for this song is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Les indes galantes / Nouvelle Entrée: Les Sauvages Scène 6: Danse du Grand Calumet de la Paix (Rondeau) - Forêts paisibles | Jean-Philippe Rameau, Patricia Petibon, Kevin Greenlaw, La Cetra Barockorchester Basel, Andrea Marcon, La Cetra Vocalensemble Basel | F♯ Minor | 3 | 11A | 87 BPM | ||
Kinderszenen, Op. 15: 7. Träumerei (Arr. Cello & Piano) | Robert Schumann, Lynn Harrell, Bruno Canino | F Major | 0 | 7B | 67 BPM | ||
La Clemenza di Tito: Se mai senti spirarti sul volto | Christoph Willibald Gluck, Cecilia Bartoli, Akademie für Alte Musik Berlin, Bernhard Forck | D Major | 1 | 10B | 91 BPM | ||
Les Contes d'Hoffmann / Act 2: "Belle nuit, ô nuit d'amour" | Jacques Offenbach, Dame Joan Sutherland, Huguette Tourangeau, Chorus Pro Arte Lausanne Du Brassus, Radio Suisse Romande Chorus, Orchestre de la Suisse Romande, Richard Bonynge | D Major | 1 | 10B | 82 BPM | ||
Monteverdi: Sì dolce è'l tormento, SV 332 | Claudio Monteverdi, Christina Pluhar, Philippe Jaroussky | G Major | 0 | 9B | 134 BPM | ||
Vocalise, Op.34, No.14 | Sergei Rachmaninoff, Aida Garifullina, Vienna Radio Symphony Orchestra, Cornelius Meister | D♭ Minor | 2 | 12A | 83 BPM | ||
Requiem: Pie Jesu | Maurice Duruflé, Cecilia Bartoli, Orchestra dell'Accademia Nazionale di Santa Cecilia, Myung-Whun Chung, Daniele Rossi, Luigi Piovano | A♭ Major | 0 | 4B | 80 BPM | ||
Fauré: Requiem, Op. 48: V. Agnus Dei | Gabriel Fauré, Choeur de l'Orchestre de Paris, Orchestre de Paris, Paavo Järvi | F Major | 0 | 7B | 77 BPM | ||
Son tutta duolo | Alessandro Scarlatti, Cecilia Bartoli, György Fischer | G Minor | 0 | 6A | 92 BPM | ||
L'elisir d'Amor: Una furtiva lagrima | Carlo Bergonzi | F Minor | 3 | 4A | 63 BPM |