"Pelleas et Melisande, Op. 80 (arr. C. Koechlin): II. Andante" by Charles Koechlin, Gabriel Fauré, Sarah Wegener, Stuttgart Radio Symphony Orchestra, Heinz Holliger was released on May 1, 2012. With Pelleas et Melisande, Op. 80 (arr. C. Koechlin): II. Andante being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. The track order of this song in Charles Koechlin, Heinz Holliger's "Magicien orchestrateur" album is number 4 out of 14. On top of that, Germany appears to be the country where this track was created. Based on our statistics, Pelleas et Melisande, Op. 80 (arr. C. Koechlin): II. Andante's popularity is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Pelleas et Melisande, Op. 80 (arr. C. Koechlin): II. Andante by Charles Koechlin, Gabriel Fauré, Sarah Wegener, Stuttgart Radio Symphony Orchestra, Heinz Holliger to be Allegro (fast, quick, and bright) because the track has a tempo of 137 BPM, a half-time of 68BPM, and a double-time of 274 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 3/4.
A Minor is the music key of this track. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Sonate For Basson and Piano (1918/1919), Final, op. 71: Allegro - vigoureusement et rudement rythmé | Charles Koechlin, Dag Jensen, Midori Kitagawa | B Major | 1 | 1B | 67 BPM | ||
Symphony No. 104 in D Major, Hob. I:104 "London": II. Andante | Joseph Haydn, Stuttgart Radio Symphony Orchestra, Sir Roger Norrington | C Major | 1 | 8B | 147 BPM | ||
3 Romanzen, Op. 94: III. Nicht schnell | Robert Schumann, Céline Moinet, Florian Uhlig | D Major | 0 | 10B | 169 BPM | ||
Twilight "Pastoral" | Bernard Herrmann, Patrick Savage, Martin Cousin | A Minor | 1 | 8A | 90 BPM | ||
3 Preludi Sopra Melodie Gregoriane, P. 131: I. Molto Lento | Ottorino Respighi, Konstantin Scherbakov | A♭ Minor | 0 | 1A | 70 BPM | ||
Sonate pour basson, Op. 168: I. Allegretto moderato | Camille Saint-Saëns, Marc Trenel, Pascal Godart | G Major | 1 | 9B | 67 BPM | ||
Debussy: Beau Soir, L. 6 | Claude Debussy, Kyung Wha Chung, Kevin Kenner | E Major | 0 | 12B | 107 BPM | ||
4 Vocalises, Op. 212 (arr. L. Lencses): Vocalise No. 3 | Lajos Lencsés, Charles Koechlin, Toulouse National Chamber Orchestra, Alain Moglia | F♯ Minor | 1 | 11A | 95 BPM | ||
Suite from The Victorian Kitchen Garden: IV. Exotica | Paul Reade, Emma Johnson, Philip Ellis, BBC Concert Orchestra | F Minor | 0 | 4A | 124 BPM | ||
Debussy: Sonata for Flute, Viola and Harp, L. 137: I. Pastorale - Lento, dolce rubato | Claude Debussy, Bertrand Chamayou | F Major | 0 | 7B | 80 BPM |
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