"La Damnation de Faust, Op. 24, H. 111, Pt. II: Scène VII - Ballet des sylphes" by Hector Berlioz, London Symphony Orchestra, Sir Colin Davis was released on November 30, 2018. The duration of La Damnation de Faust, Op. 24, H. 111, Pt. II: Scène VII - Ballet des sylphes is about two minutes long, specifically at 2:23. This song does not appear to have any foul language. La Damnation de Faust, Op. 24, H. 111, Pt. II: Scène VII - Ballet des sylphes's duration is considered a little bit shorter than the average duration of a typical track. The song is number 16 out of 217 in Berlioz Odyssey: The Complete Colin Davis Recordings by Hector Berlioz, London Symphony Orchestra, Sir Colin Davis. Based on our statistics, La Damnation de Faust, Op. 24, H. 111, Pt. II: Scène VII - Ballet des sylphes's popularity is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of La Damnation de Faust, Op. 24, H. 111, Pt. II: Scène VII - Ballet des sylphes by Hector Berlioz, London Symphony Orchestra, Sir Colin Davis is Allegro (fast, quick, and bright), since this song has a tempo of 141 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with jogging or cycling. The time signature for this track is 3/4.
This song is in the music key of D Major. This also means that this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Pictures At An Exhibition: Gnomus | Modest Mussorgsky, Chicago Symphony Orchestra, Carlo Maria Giulini | B Major | 0 | 1B | 99 BPM | ||
Also sprach Zarathustra, Op. 30, TrV 176: Der Genesende | Richard Strauss, Berliner Philharmoniker, Herbert von Karajan | C Major | 3 | 8B | 83 BPM | ||
Romeo and Juliet, Op. 64 - Act 1: The Fight | Sergei Prokofiev, Cleveland Orchestra, Lorin Maazel | C Major | 4 | 8B | 108 BPM | ||
Scheherazade, Op. 35: I. Largo e maestoso - Allegro non troppo "The Sea and Sinbad's Ship" | Nikolai Rimsky-Korsakov, New York Philharmonic, Alan Gilbert, Lawrence Rock | E Major | 1 | 12B | 79 BPM | ||
Symphonie fantastique, Op. 14, H. 48: II. Un bal. Valse. Allegro non troppo | Hector Berlioz, Daniel Barenboim, Berliner Philharmoniker | A Major | 1 | 11B | 167 BPM | ||
String Quartet in D Minor, Op. posth. D.810 "Death and the Maiden": IV. Presto | Franz Schubert, Jerusalem Quartet | D Minor | 1 | 7A | 91 BPM | ||
Pictures at an Exhibition (Orch. Ravel): VII. The Market at Limoges | Modest Mussorgsky, Wiener Philharmoniker, Gustavo Dudamel | E♭ Major | 3 | 5B | 123 BPM | ||
Lohengrin, WWV 75 / Act III: "Treulich geführt ziehet dahin" | Richard Wagner, Renate Hasler, Gretchen Eder, Ulrike Erfurt, Marianne Sattmann, Vienna State Opera Chorus, Wiener Philharmoniker, Claudio Abbado | C Major | 1 | 8B | 75 BPM | ||
La Damnation de Faust, Op. 24, H 111 / Pt. 4: Scène 15. Romance. "D'amour l'ardente flamme" | Hector Berlioz, Frederica von Stade, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | F Major | 0 | 7B | 108 BPM | ||
Rienzi: Overture | Richard Wagner, Wiener Philharmoniker, Sir Georg Solti | D Major | 3 | 10B | 99 BPM |
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