Lev Atovmyan, Dmitri Shostakovich, Berlin Radio Symphony Orchestra, Michail Jurowski made "Maxim trilogy Suite, Op. 50a: IV. Waltz" available on January 1, 1996. The duration of Maxim trilogy Suite, Op. 50a: IV. Waltz is about 3 minutes long, at 3:08. Based on our data, "Maxim trilogy Suite, Op. 50a: IV. Waltz" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There is only one song in 20th Century Compositions - Orff, C. / Rachmaninov, S. / Ravel, M. / Reger, M. / Strauss, R. / Stravinsky, I. / Respighi, O. / Prokofiev, S., so we believe that "Maxim trilogy Suite, Op. 50a: IV. Waltz" is a single. In terms of popularity, Maxim trilogy Suite, Op. 50a: IV. Waltz is currently unknown. The overall mood can be danceable to some, especially with it's high amount of postive energy.
The tempo marking of Maxim trilogy Suite, Op. 50a: IV. Waltz by Lev Atovmyan, Dmitri Shostakovich, Berlin Radio Symphony Orchestra, Michail Jurowski is Andante (at a walking pace), since this song has a tempo of 108 BPM. With that information, we can conclude that the song has a moderate tempo. The time signature for this track is 4/4.
This song is in the music key of G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Scottish Fantasy for Violin and Orchestra, Op. 46: IV. Finale: Allegro guerriero | Max Bruch, Joshua Bell, Academy of St. Martin in the Fields | E♭ Major | 2 | 5B | 97 BPM | ||
La Fille Mal Gardee: Pas de (arr. March): Act II: Adagio | March, Peter Ludwig Hertel, Sofia National Opera Orchestra, Boris Spassov | G Major | 0 | 9B | 94 BPM | ||
Coppelia Ballet Suite: Festival of the Clocks and Dance of the Hours | Léo Delibes, Slovak Radio Symphony Orchestra, Ondrej Lenard | E♭ Major | 0 | 5B | 181 BPM | ||
Henry VIII: Danse de la gypsy | Camille Saint-Saëns, Razumovsky Symphony Orchestra, Andrew Mogrelia | D Minor | 1 | 7A | 82 BPM | ||
Kassya: Trepak | Léo Delibes, Slovak Philharmonic, Ondrej Lenard | D Minor | 1 | 7A | 127 BPM | ||
Contredanses, Op. 44 | Slovak Sinfonietta, Zilina, Johann Strauss I | E Major | 2 | 12B | 187 BPM | ||
Ancient Airs And Dances, Suite No.1, [P. 109]: 2. Gagliarda | Ottorino Respighi, Boston Symphony Orchestra, Seiji Ozawa | D Major | 1 | 10B | 93 BPM | ||
Soirées Musicales, Op. 9 (After Rossini): March | Adelaide Symphony Orchestra, Timothy Sexton | B♭ Major | 3 | 6B | 115 BPM | ||
Ballet Suite No. 4 (arr. L. Atovmyan): Waltz (The Song of Great Rivers) | Lev Atovmyan, Dmitri Shostakovich, Russian Philharmonic Orchestra, Dmitry Yablonsky | C Major | 2 | 8B | 96 BPM | ||
Cinderella-Suite Nr. 1, Op. 107: VI. Cinderella Goes to the Ball | Sergei Prokofiev, Ukrainian State Symphony Orchestra, Theodore Kuchar | D Minor | 2 | 7A | 77 BPM |
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