"Eugene Onegin, Op. 24, TH. 5 / Act I: Peasants' Chorus and Dance. "Bolyat moyi skori nozhenki so pokhodushki" - "Uzh kak po mostu, mostochku"" by Pyotr Ilyich Tchaikovsky, Rosemarie Lang, Staatskapelle Dresden, James Levine, MDR Leipzig Radio Chorus had its release date on January 1, 1988. With this song being about 5 minutes long, at This song is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. There are a total of 24 in the song's album "Tchaikovsky: Eugen Onegin". In this album, this song's track order is #3. Furthermore, we believe that the track originated from Germany. Eugene Onegin, Op. 24, TH. 5 / Act I: Peasants' Chorus and Dance. "Bolyat moyi skori nozhenki so pokhodushki" - "Uzh kak po mostu, mostochku" 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.
With Eugene Onegin, Op. 24, TH. 5 / Act I: Peasants' Chorus and Dance. "Bolyat moyi skori nozhenki so pokhodushki" - "Uzh kak po mostu, mostochku" by Pyotr Ilyich Tchaikovsky, Rosemarie Lang, Staatskapelle Dresden, James Levine, MDR Leipzig Radio Chorus having a BPM of 78 with a half-time of 39 BPM and a double-time of 156 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. The time signature for this track is 4/4.
This song has a musical key of E Minor. Which also means that the camelot key for this song is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
L'Orfeo - Act 5: Ritornello-Questi i campi di Tracia | Claudio Monteverdi, John Mark Ainsley, New London Consort, Philip Pickett | F Major | 1 | 7B | 71 BPM | ||
Lieder eines fahrenden Gesellen: I. Wenn mein Schatz Hochzeit macht | Gustav Mahler, Dietrich Fischer-Dieskau, Bavarian Radio Symphony Orchestra, Rafael Kubelík | C Minor | 2 | 5A | 89 BPM | ||
The Bartered Bride, Act I Scene V: Introduction. Polka | Bedřich Smetana, Sir Charles Mackerras, Philharmonic Orchestra, The Royal Opera Chorus | C Major | 3 | 8B | 103 BPM | ||
Grande messe des morts, Op. 5, "Requiem": Rex tremendae | Hector Berlioz, Michael Schade, Toronto Mendelssohn Choir, Toronto Mendelssohn Youth Choir, Elora Festival Orchestra, Noel Edison | B♭ Major | 0 | 6B | 79 BPM | ||
Manon Lescaut / Act 1: Donna non vidi mai | Giacomo Puccini, Luciano Pavarotti, Metropolitan Opera Orchestra, James Levine | B♭ Major | 3 | 6B | 79 BPM | ||
Dido and Aeneas, Z. 626: Act III: When I am Laid in Earth | Henry Purcell, Leontyne Price, Francesco Molinari-Pradelli | G Minor | 1 | 6A | 86 BPM | ||
In jener letzten der Nächte | Anton Bruckner, Philipp Sonntag, Robert Holzer, Thomas Kerbl, Regina Riel, Martin Kiener, Daniel Pannermayr, Isabell Czarnecki De Czarnce, Christian Schmidbauer | B Minor | 2 | 10A | 145 BPM | ||
Le colibri Op.2 N°7 | Ernest Chausson, Susan Manoff, Sandrine Piau | D♭ Major | 0 | 3B | 130 BPM | ||
German Requiem, Op. 45: Wie lieblich sind deine Wohnungen | Johannes Brahms, London Symphony Orchestra, London Symphony Chorus, Valery Gergiev | E♭ Major | 1 | 5B | 80 BPM | ||
Stabat Mater: 6. Vidit suum | Giovanni Battista Pergolesi, Margaret Marshall, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | F Minor | 0 | 4A | 138 BPM |