"Plaisir d'amour" by Jean-Paul-Égide Martini, Andrea Bocelli, London Symphony Orchestra, Lorin Maazel was released on January 1, 2002. With this song being around four minutes long, at 3:51, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The song is number 12 out of 17 in Andrea Bocelli - Sentimento by Andrea Bocelli, London Symphony Orchestra, Lorin Maazel, Franz Liszt, Gioachino Rossini, Jacques Offenbach, Jean-Paul-Égide Martini, Joaquín Rodrigo, Luigi Denza, Francesco Paolo Tosti, Ruggero Leoncavallo, Stanislao Gastaldon, Stefano Donaudy. Going off of the ISRC code of this track, we detected that the origin of this track is from Italy. Based on our statistics, Plaisir d'amour'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.
The tempo marking of Plaisir d'amour by Jean-Paul-Égide Martini, Andrea Bocelli, London Symphony Orchestra, Lorin Maazel is Allegro (fast, quick, and bright), since this song has a tempo of 130 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 4/4.
This song is in the music key of G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Die Fledermaus / Act 2: "Mein Herr Marquis" | Johann Strauss II, Lucia Popp, Chor der Bayerischen Staatsoper München, Bavarian State Orchestra, Carlos Kleiber | G Major | 2 | 9B | 133 BPM | ||
Carmen (Act I, Sequedille) | Agnes Baltsa | D Major | 2 | 10B | 112 BPM | ||
Tosca | Renata Tebaldi | E♭ Major | 2 | 5B | 84 BPM | ||
The Throne Room and End Title | John Williams, London Symphony Orchestra | C Major | 4 | 8B | 58 BPM | ||
Rigoletto / Act 3: "Bella figlia dell'amore" | Giuseppe Verdi, Dame Joan Sutherland, Huguette Tourangeau, Luciano Pavarotti, Sherrill Milnes, Martti Talvela, London Symphony Orchestra, Richard Bonynge | D♭ Major | 3 | 3B | 132 BPM | ||
Le nozze di Figaro, K.492 / Act 3: "Che soave zeffiretto" | Wolfgang Amadeus Mozart, Kiri Te Kanawa, Lucia Popp, London Philharmonic Orchestra, Sir Georg Solti | B♭ Major | 1 | 6B | 135 BPM | ||
Stabat Mater: 3. O quam tristis | Giovanni Battista Pergolesi, Margaret Marshall, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | G Minor | 1 | 6A | 80 BPM | ||
Loewe: My fair lady: "I could have danced all night" (Eliza Doolittle) | Frederick Loewe, Diana Damrau, David Charles Abell, Royal Liverpool Philharmonic Orchestra | C Major | 5 | 8B | 153 BPM | ||
For the Love of a Princess (from "Braveheart") | James Horner, HAUSER, Robin Smith, London Symphony Orchestra | D Minor | 3 | 7A | 93 BPM | ||
Climb Ev'ry Mountain - from "The Sound of Music" | Richard Rodgers, Kiri Te Kanawa, Mormon Tabernacle Choir, Utah Symphony Orchestra, Julius Rudel | E♭ Major | 3 | 5B | 184 BPM |
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