Leonard Bernstein, Nicolai Gedda, London Symphony Orchestra, London Symphony Chorus made "Candide / Act II: 24. Bon Voyage" available on January 1, 1991. The duration of Candide / Act II: 24. Bon Voyage is about two minutes long, specifically at 2:43. This song does not appear to have any foul language. Candide / Act II: 24. Bon Voyage's duration is considered a little bit shorter than the average duration of a typical track. The song is number 9 out of 34 in Bernstein: Candide by Leonard Bernstein, London Symphony Orchestra. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. In terms of popularity, Candide / Act II: 24. Bon Voyage is currently not that popular. The overall tone is very danceable, especially with its high energy, which produces more of a euphoric, cheerful, or happy vibe.
The tempo marking of Candide / Act II: 24. Bon Voyage by Leonard Bernstein, Nicolai Gedda, London Symphony Orchestra, London Symphony Chorus is Andante (at a walking pace), since this song has a tempo of 95 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of B♭ Major. This also means that this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Carmina Burana: XVI. Dies, nox et omnia | Carl Orff, London Symphony Chorus, London Symphony Orchestra, Richard Hickox | D Major | 0 | 10B | 93 BPM | ||
Strauss, R: 3 Lieder, Op. 88: No. 1, Das Bächlein (Version with Orchestra) | Richard Strauss, Elisabeth Schwarzkopf, George Szell, London Symphony Orchestra | F Major | 2 | 7B | 92 BPM | ||
Daphne, Op. 82, TrV 272: "Ich komme, ich komme" | Richard Strauss, Renée Fleming, London Symphony Orchestra, Sir Georg Solti | E♭ Major | 0 | 5B | 135 BPM | ||
The Dream of Gerontius, Op. 38: No. 19, "Glory to Him" | Edward Elgar, Anne Sofie von Otter, London Symphony Orchestra, Sir Colin Davis | D Major | 0 | 10B | 84 BPM | ||
West Side Story: IV. The Dance at the Gym - Meeting Scene | Leonard Bernstein, Nina Bernstein, Alexander Bernstein | A Minor | 0 | 8A | 85 BPM | ||
Il Barbiere di Siviglia (1996 Digital Remaster): Insomma io ho tutti i torti ... (Figaro/Conte/Rosina/Basilio/Bartolo) | Gioachino Rossini, Beverly Sills, Nicolai Gedda, Sherrill Milnes, Renato Capecchi, Ruggero Raimondi, Michael Rippon, John Alldis Choir, Joseph Galiano, London Symphony Orchestra, James Levine, Fedora Barbieri | G Major | 2 | 9B | 67 BPM | ||
Battle of the Heroes | John Williams, London Symphony Orchestra | C Minor | 3 | 5A | 90 BPM | ||
La traviata / Act 3: "Ah, non più!" - "Ah! Gran Dio! Morir sì giovine" | Giuseppe Verdi, Cheryl Studer, Luciano Pavarotti, Metropolitan Opera Orchestra, James Levine | G Major | 1 | 9B | 64 BPM | ||
Carmina Burana: II. Fortune plango vulnera | Carl Orff, London Symphony Chorus, London Symphony Orchestra, Richard Hickox | A Minor | 2 | 8A | 120 BPM | ||
Cavalleria rusticana: "A casa, amici" - "Comare Lola" | Pietro Mascagni, The London Opera Chorus, Luciano Pavarotti, Carmen Gonzales, National Philharmonic Orchestra, Gianandrea Gavazzeni | C Major | 1 | 8B | 86 BPM |
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