"Piano Concerto No. 2 in G Minor, Op. 16: IV. Finale: Allegro tempestoso" by Sergei Prokofiev, Kun-Woo Paik, Polish National Radio Symphony Orchestra, Antoni Wit was released on July 2, 1992. Piano Concerto No. 2 in G Minor, Op. 16: IV. Finale: Allegro tempestoso appears to be safe for all ages as it is not explicit. There are a total of 9 in the song's album "Prokofiev: Piano Concertos Nos. 2 and 5". In this album, this song's track order is #4. Furthermore, we believe that the track originated from Hong Kong. In terms of popularity, Piano Concerto No. 2 in G Minor, Op. 16: IV. Finale: Allegro tempestoso 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.
With Piano Concerto No. 2 in G Minor, Op. 16: IV. Finale: Allegro tempestoso by Sergei Prokofiev, Kun-Woo Paik, Polish National Radio Symphony Orchestra, Antoni Wit having a BPM of 93 with a half-time of 46 BPM and a double-time of 186 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.
This song has a musical key of D Minor. Which also means that the camelot key for this song is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Sorcerer's Apprentice | Paul Dukas, Orchestre Symphonique de Montréal, Kent Nagano | D♭ Major | 2 | 3B | 123 BPM | ||
Les contes d'Hoffmann (The Tales of Hoffmann): Tales of Hoffman: Intermezzo | Jacques Offenbach, Slovak Radio Symphony Orchestra, Keith Clark | G Major | 1 | 9B | 93 BPM | ||
Symphonie fantastique, Op. 14: II. Un bal | Hector Berlioz, Swedish Radio Symphony Orchestra, Daniel Harding | A Major | 1 | 11B | 107 BPM | ||
Finlandia, Op. 26, No. 7 | Jean Sibelius, Berliner Philharmoniker, Herbert von Karajan | A♭ Major | 3 | 4B | 67 BPM | ||
4 Pieces, Op. 51: 4. Danse languide | Alexander Scriabin, Evgeny Kissin | E♭ Major | 0 | 5B | 74 BPM | ||
Carmen Suite No. 1 (Arr. E. Guiraud): V. Les dragons d'Alcala | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | F Minor | 0 | 4A | 60 BPM | ||
Symphony No. 1 in D Major "Titan": II. Kraftig bewegt, doch nicht zu schnell | Gustav Mahler, Polish National Radio Symphony Orchestra, Michael Halasz | E♭ Minor | 2 | 2A | 113 BPM | ||
Visions Fugitives, Op. 22: XIV. Feroce | Eteri Andjaparidze, Sergei Prokofiev | D Major | 2 | 10B | 80 BPM | ||
Salome, Op. 54, TrV 215 / Scene 4: Salome's Dance of the Seven Veils | Richard Strauss, Berliner Philharmoniker, Herbert von Karajan | F Major | 1 | 7B | 67 BPM | ||
Ruslan and Ludmila: Overture | Mikhail Glinka, The USSR Bolshoy Theatre Orchestra, Yevgeny Svetlanov | F Major | 3 | 7B | 81 BPM |
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