Jacques Offenbach, André Cluytens, Fanély Revoil, Raoul Jobin, Orchestre du Théâtre national de l'Opéra-Comique made "Offenbach: Les contes d'Hoffmann, Act II: "Par Dieu, j'étais bien sûr de te trouver ici" - Chanson. "Une poupée aux yeux d'émail" (Nicklausse, Hoffmann)" available on January 1, 1948. The duration of Offenbach: Les contes d'Hoffmann, Act II: "Par Dieu, j'étais bien sûr de te trouver ici" - Chanson. "Une poupée aux yeux d'émail" (Nicklausse, Hoffmann) is about two minutes long, specifically at 2:28. This song does not appear to have any foul language. Offenbach: Les contes d'Hoffmann, Act II: "Par Dieu, j'étais bien sûr de te trouver ici" - Chanson. "Une poupée aux yeux d'émail" (Nicklausse, Hoffmann)'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 49 in the song's album "Offenbach: Les contes d'Hoffmann". In this album, this song's track order is #14. Furthermore, we believe that the track originated from France. Offenbach: Les contes d'Hoffmann, Act II: "Par Dieu, j'étais bien sûr de te trouver ici" - Chanson. "Une poupée aux yeux d'émail" (Nicklausse, Hoffmann) is unknown right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
With Offenbach: Les contes d'Hoffmann, Act II: "Par Dieu, j'étais bien sûr de te trouver ici" - Chanson. "Une poupée aux yeux d'émail" (Nicklausse, Hoffmann) by Jacques Offenbach, André Cluytens, Fanély Revoil, Raoul Jobin, Orchestre du Théâtre national de l'Opéra-Comique having a BPM of 82 with a half-time of 41 BPM and a double-time of 164 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 5/4.
This song is in the music key of C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphonie fantastique, Op. 14, H 48: II. Un Bal | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | A Major | 1 | 11B | 113 BPM | ||
Music for the Royal Fireworks, HWV 351: IV. La rejouissance | George Frideric Handel, Le Concert Spirituel, Herve Niquet | D♭ Major | 4 | 3B | 107 BPM | ||
Peer Gynt, Op. 23: No. 16, Anitra's Dance | Edvard Grieg, San Francisco Symphony, Herbert Blomstedt | A Minor | 0 | 8A | 82 BPM | ||
Brahms: 16 Waltzes, Op. 39: No. 15 in A-Flat Major | Johannes Brahms, Moura Lympany | A♭ Major | 1 | 4B | 102 BPM | ||
Werther: "Pourquoi me réveiller, ô souffle du printemps?" | Jules Massenet, Benjamin Bernheim, PKF – Prague Philharmonia, Emmanuel Villaume | F♯ Minor | 1 | 11A | 79 BPM | ||
King Arthur, Z. 628, "The British Worthy": Air | Henry Purcell, Nancy Argenta, CBC Vancouver Orchestra, Monica Huggett | D♭ Minor | 0 | 12A | 114 BPM | ||
Louisina Polka in E-Flat Major, JB 1:1 | Bedřich Smetana, Jan Novotný | E♭ Major | 1 | 5B | 107 BPM | ||
Legends, Op. 59, B. 122: VI. Allegro con moto | Antonín Dvořák, Cristian Măcelaru, WDR Sinfonieorchester | C Minor | 1 | 5A | 72 BPM | ||
Das Liebesverbot: Overture | Richard Wagner, Staatskapelle Dresden, Giuseppe Sinopoli | G Major | 6 | 9B | 120 BPM | ||
Mussorgsky: Pictures at an Exhibition: No. 1, Promenade I | Modest Mussorgsky, Berliner Philharmoniker, Sir Simon Rattle | F Major | 0 | 7B | 88 BPM |
Section: 0.7050330638885498
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