"Tchaikovsky: Eugene Onegin, Op. 24, Act I: Tatiana's Letter Scene. "Puskay pogibnu ya, no prezhde" (Tatiana)" by Pyotr Ilyich Tchaikovsky, Lucia Popp, Stefan Soltesz, Munich Radio Orchestra was released on 1988. Tchaikovsky: Eugene Onegin, Op. 24, Act I: Tatiana's Letter Scene. "Puskay pogibnu ya, no prezhde" (Tatiana) appears to be safe for all ages as it is not explicit. The track order of this song in Lucia Popp, Stefan Soltesz, Munich Radio Orchestra's "Lucia Popp sings Slavonic Opera Arias" album is number 10 out of 10. On top of that, United Kingdom appears to be the country where this track was created. In terms of popularity, Tchaikovsky: Eugene Onegin, Op. 24, Act I: Tatiana's Letter Scene. "Puskay pogibnu ya, no prezhde" (Tatiana) is currently not that popular. 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 Tchaikovsky: Eugene Onegin, Op. 24, Act I: Tatiana's Letter Scene. "Puskay pogibnu ya, no prezhde" (Tatiana) by Pyotr Ilyich Tchaikovsky, Lucia Popp, Stefan Soltesz, Munich Radio Orchestra to be Andante (at a walking pace) because the track has a tempo of 103 BPM, a half-time of 52BPM, and a double-time of 206 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
This song has a musical key of D♭ Major. This also means that this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Ständchen, S. 560 (Trans. from Schwanengesang No. 4, D. 957) | Franz Schubert, Franz Liszt, Khatia Buniatishvili | D Major | 0 | 10B | 67 BPM | ||
Raymonda, Op. 57: Act III - Variation IV | Alexander Glazunov, Moscow Symphony Orchestra, Alexander Anissimov | D Minor | 0 | 7A | 90 BPM | ||
Schubert: 4 Impromptus, Op. 90, D. 899: No. 3 in G-Flat Major | Franz Schubert, Rudolf Buchbinder | G Major | 0 | 9B | 135 BPM | ||
Vremena Goda (The Seasons), Op. 67: Summer: Waltz of the Cornflowers and the Poppies | Alexander Glazunov, Slovak Radio Symphony Orchestra | D Major | 1 | 10B | 100 BPM | ||
Waltz No. 6 in D-Flat Major, Op. 64, No. 1 "Minute" | Frédéric Chopin, Alice Sara Ott | A♭ Major | 0 | 4B | 169 BPM | ||
Zdes' khorosho ('How Fair This Spot'), Op. 21, No. 7 | Sergei Rachmaninoff, Pablo Ferrandez, Denis Kozhukhin | A Major | 0 | 11B | 87 BPM | ||
Danse macabre in G Minor, Op. 40 | Camille Saint-Saëns, Slovak Radio Symphony Orchestra, Keith Clark | G Minor | 2 | 6A | 116 BPM | ||
Swan Lake, Op.20 - Mariinsky Version / Act 1: Scene 1: Pas de trois - Variation 1 (Allegro semplice) | Pyotr Ilyich Tchaikovsky, Mariinsky Orchestra, Valery Gergiev | E♭ Major | 2 | 5B | 97 BPM | ||
Solfeggio No. 1 in C Minor, Wq. 117/2, H. 220 | Carl Philipp Emanuel Bach, Ana-Marija Markovina | F Minor | 2 | 4A | 76 BPM | ||
Swan Lake, Op.20, Act IV: 27. Dance of the Little Swans (Moderato) | Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra | B♭ Minor | 0 | 3A | 98 BPM |
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