"Cello Sonata, Op. 26: II. —" by Aulis Sallinen, Mats Rondin had its release date on December 31, 1998. Since This song 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 13 in the song's album "Sallinen: Complete Works for Violin, Cello, Double Bass and Piano". In this album, this song's track order is #5. Furthermore, we believe that the track originated from Hong Kong. Cello Sonata, Op. 26: II. — is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Cello Sonata, Op. 26: II. — by Aulis Sallinen, Mats Rondin having a BPM of 86 with a half-time of 43 BPM and a double-time of 172 BPM, 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. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
A Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Want to find the BPM and music key for other songs? Check out our BPM and Key Finder page!
| Track | Artist | Key | Energy | Camelot | BPM | ||
|---|---|---|---|---|---|---|---|
| Hindemith: Mathis der Maler, Bild 6: "Der liebste Vater, er verstand mich" (Regina, Mathis) | Paul Hindemith, Rafael Kubelík, Dietrich Fischer-Dieskau, Urszula Koszut, Bavarian Radio Symphony Orchestra | G Minor | 0 | 6A | 87 BPM | ||
| Fantasia On Serbian Themes, Op. 6 | Moscow Symphony Orchestra, Nikolai Rimsky-Korsakov | D Major | 0 | 10B | 69 BPM | ||
| Las Hijas del Zebedeo: Carceleras | Ruperto Chapí, Elina Garanca, Staatskapelle Dresden, Fabio Luisi | D Minor | 1 | 7A | 82 BPM | ||
| Don Carlos, Act I: Dio, che nell'alma infondere | Giuseppe Verdi, José Carreras, Piero Cappuccilli, Luigi Roni, Vienna State Opera Chorus, Orchester der Wiener Staatsoper, Herbert von Karajan | C Major | 4 | 8B | 145 BPM | ||
| Rauta-aika (the Iron Age) Suite, Op. 55: II. Ainon laulu [the Song of Aino] | Aulis Sallinen, Helsinki Philharmonic Orchestra, Okko Kamu | F♯ Minor | 2 | 11A | 83 BPM | ||
| Elegia - Sebastian Knight´ille | Aulis Sallinen, Dan Styffe | A♭ Major | 1 | 4B | 79 BPM | ||
| Symphony No. 6 in D Minor, Op. 104: IV. Allegro molto | Jean Sibelius, New Zealand Symphony Orchestra, Pietari Inkinen | D Minor | 1 | 7A | 115 BPM | ||
| Stabat Mater, Op. 58: IV. Fac, ut ardeat cor meum (Largo) | Antonín Dvořák, Philippe Herreweghe, Collegium Vocale Gent, Royal Flemish Philharmonic, Florian Boesch | B♭ Minor | 0 | 3A | 79 BPM | ||
| Rusalka, Op. 114 / Act 3: Milácku, znás mne, znás? | Antonín Dvořák, Renée Fleming, Ben Heppner, Czech Philharmonic Orchestra, Sir Charles Mackerras | D♭ Major | 1 | 3B | 62 BPM | ||
| Mefistofele / Act III: "L'altra notte in fondo al mare" | Arrigo Boito, Anna Netrebko, Orchestra dell'Accademia Nazionale di Santa Cecilia, Antonio Pappano | C Major | 0 | 8B | 78 BPM | ||
| La traviata, Act II: Invitato a qui seguirmi | Giuseppe Verdi, Stefania Malagu, Ileana Cotrubas, Plácido Domingo, Walter Gullino, Bruno Grella, Giovanni Foiani, Alfredo Giacomotti, Chor der Bayerischen Staatsoper München, Bavarian State Orchestra, Carlos Kleiber | A♭ Major | 3 | 4B | 91 BPM | ||
| Rusalka, Op. 114 / Act 1: Sestry, jedna scházi z nás! | Antonín Dvořák, Franz Hawlata, Ben Heppner, Kühn Mixed Choir, Czech Philharmonic Orchestra, Sir Charles Mackerras | G Major | 2 | 9B | 138 BPM | ||
| Messa di Requiem: Agnus dei | Giuseppe Verdi, Angela Gheorghiu, Claudio Abbado, Berliner Philharmoniker | C Major | 0 | 8B | 90 BPM | ||
| Pelléas et Mélisande, CD 93, Act III: Mes longs cheveux descendent | Claude Debussy, Francois Le Roux, Maria Ewing, Wiener Philharmoniker, Claudio Abbado | A Minor | 1 | 8A | 123 BPM | ||
| Lucia di Lammermoor / Act 2: "Lucia, fra poco a te verrà" | Gaetano Donizetti, Pier Francesco Poli, Sherrill Milnes, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | F♯ Minor | 2 | 11A | 81 BPM | ||
| Lieder eines fahrenden Gesellen: Gieng heut' Morgen über's Feld | Gustav Mahler, Christian Gerhaher, Kent Nagano, Orchestre Symphonique de Montréal | E♭ Major | 0 | 5B | 80 BPM | ||
| Falstaff: Act III: Una, due, tre .... | Giuseppe Verdi, Anna Bonitatibus, Maurizio Comencini, Alessandro Cosentino, Franco de Grandis, Dilber, Enrico Facini, Julia Faulkner, Anna Maria di Micco, Roberto Servile, Domenico Trimarchi, Hungarian State Opera Chorus, Hungarian State Opera Orchestra, Will Humburg | D♭ Major | 0 | 3B | 82 BPM | ||
| Symphony No. 8 in E-Flat Major "Symphony of a Thousand": Gloria sit Patri Domin | Gustav Mahler, Barbara Kubiak, Izabella Kłosińska, Jadwiga Rappe, Ewa Marciniec, Timothy Bentch, Wojtek Drabowicz, Piotr Nowacki, Warsaw Philharmonic Choir, Polish Radio Choir, Cardinal Stefan Wyszynski University Choir, Warsaw Boys Choir, Warsaw Philharmonic Orchestra, Antoni Wit | A♭ Major | 2 | 4B | 85 BPM | ||
| Schoenberg: Gurre-Lieder, Pt. 1: "Ross! Mein Ross!" (Waldemar) | Arnold Schoenberg, Sir Simon Rattle, Berliner Philharmoniker, Karita Mattila, Thomas Moser, Anne Sofie von Otter, Thomas Quasthoff | E Major | 3 | 12B | 68 BPM | ||
| Belshazzar's Feast, JS 48: Prelude. Nocturno | Jean Sibelius, Turku Philharmonic Orchestra, Leif Segerstam | G Major | 2 | 9B | 98 BPM | ||
| Otello, Act II: Dove guardi splendono… Non parlo ancor di prova | Giuseppe Verdi, Sebastian Catana, Raffaella Angeletti, Robert Dean Smith, Orfeon Donostiarra, Los Peques del León de Oro, Oviedo Filarmonía, Friedrich Haider | G Minor | 1 | 6A | 103 BPM | ||
| Wagner: Lohengrin, Act 1: "Nun höret mich und achtet wohl! (Herald, Lohengrin, Frederick, Henry, Elsa, Ortrud, Chorus) | Richard Wagner, Daniel Barenboim, Emily Magee, Falk Struckmann, Peter Seiffert, René Pape, Roman Trekel, Staatskapelle Berlin | F Major | 1 | 7B | 81 BPM | ||
| Symphony No. 8 in E-Flat Major "Symphony of a Thousand": Er überwächst uns schon | Gustav Mahler, Izabella Kłosińska, Cardinal Stefan Wyszynski University Choir, Polish Radio Choir, Warsaw Boys Choir, Warsaw Philharmonic Choir, Warsaw Philharmonic Orchestra, Antoni Wit | A♭ Major | 2 | 4B | 85 BPM | ||
| Parsifal, Act II: Parsifal! Weile! | Richard Wagner, Barbara Hendricks, Janet Perry, Inga Nielsen, Dunja Vejzovic, Doris Soffel, Audrey Michael, Rohangiz Yachmi, Peter Hofmann, Berliner Philharmoniker, Herbert von Karajan, Chor der Deutschen Oper Berlin | B♭ Minor | 3 | 3A | 116 BPM | ||
| Symphony No.8 in E flat - "Symphony of a Thousand" / Part One: Hymnus "Veni creator spiritus": "Gloria sit Patri Domino" | Gustav Mahler, Heather Harper, Lucia Popp, Helen Watts, Yvonne Minton, René Kollo, John Shirley-Quirk, Martti Talvela, Wiener Singverein, Vienna Boys' Choir, Vienna State Opera Chorus, Chicago Symphony Orchestra, Sir Georg Solti | E♭ Major | 5 | 5B | 102 BPM |