"Prokofiev: Cinderella, Op. 87, Act 1: No. 11, The Beggar-Woman returns (Adagio)" by Sergei Prokofiev, André Previn, London Symphony Orchestra was released on January 10, 1995. With Prokofiev: Cinderella, Op. 87, Act 1: No. 11, The Beggar-Woman returns (Adagio) being less than two minutes long, at 1:35, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. There are a total of 54 in the song's album "Prokofiev: Cinderella - Ballet/Symphony No. 1". In this album, this song's track order is #11. Prokofiev: Cinderella, Op. 87, Act 1: No. 11, The Beggar-Woman returns (Adagio) 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.
With Prokofiev: Cinderella, Op. 87, Act 1: No. 11, The Beggar-Woman returns (Adagio) by Sergei Prokofiev, André Previn, London Symphony Orchestra having a BPM of 52 with a half-time of 26 BPM and a double-time of 104 BPM, we would consider this track to have a Lento (slowly) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 3/4.
This song has a musical key of B♭ Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Overture to "A Midsummer Night's Dream", Op. 21: Tempo primo | Felix Mendelssohn, John Eliot Gardiner, London Symphony Orchestra | E Major | 0 | 12B | 140 BPM | ||
Stabat Mater: 4. Quae moerabat | Giovanni Battista Pergolesi, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | E♭ Major | 1 | 5B | 75 BPM | ||
Britten: The Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), Op. 34: Fugue (Allegro molto) | Benjamin Britten, Sir Simon Rattle, City Of Birmingham Symphony Orchestra | A Minor | 1 | 8A | 74 BPM | ||
Minkus: Don Quixote, Act 3: II. Adage | Ludwig Minkus, Robert Irving, Royal Philharmonic Orchestra | E♭ Major | 1 | 5B | 57 BPM | ||
Hérold & Lanchbery: La fille mal gardée, Act 1: No. 16c, Pas de deux de Fanny Elssler. Adage | Ferdinand Hérold, John Lanchbery, Royal Liverpool Philharmonic Orchestra, Barry Wordsworth | E♭ Major | 0 | 5B | 142 BPM | ||
Movement 6 | Floating Points, Pharoah Sanders, London Symphony Orchestra | C Minor | 3 | 5A | 89 BPM | ||
Symphony No. 6 in D Minor, Op. 104: I. Allegro molto moderato | Jean Sibelius, New Zealand Symphony Orchestra, Pietari Inkinen | A♭ Major | 2 | 4B | 106 BPM | ||
The Young Person's Guide to the Orchestra, Op. 34 (Variations and Fugue on a Theme of Purcell): Fugue: Full Orchestra (Allegro molto) | Benjamin Britten, Eugene Ormandy, Philadelphia Orchestra | D Major | 4 | 10B | 143 BPM | ||
Tchaikovsky: The Sleeping Beauty, Op. 66, Act I "The Spell": No. 9, Finale | Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra | A Major | 2 | 11B | 118 BPM | ||
1812 Overture - Finale (V for Vendetta) | London Symphony Orchestra, George Richter | E♭ Major | 5 | 5B | 158 BPM |
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