"Quatre poèmes d’après l’intermezzo d’Heinrich Heine: Pourquoi vois-je pâlir la rose parfumée" by Guy Ropartz, Heinrich Heine, Philippe Sly, Michael McMahon was released on September 4, 2012. With this song being around four minutes long, at 4:09, 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 track order of this song in Philippe Sly, Michael McMahon's "In Dreams" album is number 22 out of 28. On top of that, Canada appears to be the country where this track was created. Based on our statistics, Quatre poèmes d’après l’intermezzo d’Heinrich Heine: Pourquoi vois-je pâlir la rose parfumée'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 Quatre poèmes d’après l’intermezzo d’Heinrich Heine: Pourquoi vois-je pâlir la rose parfumée by Guy Ropartz, Heinrich Heine, Philippe Sly, Michael McMahon to be Allegro (fast, quick, and bright) because the track has a tempo of 134 BPM, a half-time of 67BPM, and a double-time of 268 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 4/4.
This song is in the music key of D Minor. Because this track belongs in the D Minor key, the camelot key is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Sonata for Bassoon and Piano in G Major, Op. 168: I. Allegro moderato | Camille Saint-Saëns, Sophie Dervaux, Sélim Mazari | G Major | 0 | 9B | 60 BPM | ||
Nocturne No. 8 in A Major, H. 46 | John Field, Michael Collins, Michael McHale | A Major | 0 | 11B | 74 BPM | ||
Piano Concerto No. 2 Op. 102 in F Major: I. Allegro | Dmitri Shostakovich, Alexander Melnikov, Mahler Chamber Orchestra, Teodor Currentzis | B♭ Major | 2 | 6B | 73 BPM | ||
Symphony No. 3: V. Lustig im Tempo und keck im Ausdruck | Gustav Mahler, Berliner Philharmoniker, Gustavo Dudamel, Gerhild Romberger, Damen des Rundfunkchors Berlin, Knaben des Staats- und Domchors Berlin | F Major | 1 | 7B | 111 BPM | ||
Nocturne No. 3 | Guy Ropartz, Stephane Lemelin | E♭ Major | 1 | 5B | 99 BPM | ||
Requiem: Sanctus | Guy Ropartz, Catherine Dubosc, Jacqueline Mayeur, Michel Piquemal, Ensemble Instrumental Jean-Walter Audoli, Chœur régional Vittoria d'Ile de France | B Major | 1 | 1B | 81 BPM | ||
Moravian-Slovak Suite, Op. 32 (version for orchestra): III. The Lovers | Vítězslav Novák, Janáček Philharmonic Ostrava, Marek Štilec | E♭ Major | 1 | 5B | 137 BPM | ||
Cello Concerto in B Minor, Op. 104: III. Allegro moderato. Original Ending | Antonín Dvořák, Steven Isserlis, Daniel Harding, Mahler Chamber Orchestra | B Major | 0 | 1B | 77 BPM | ||
Alborada del gracioso, M. 43: Assez vif | Maurice Ravel, Berliner Philharmoniker, Pierre Boulez | D Major | 1 | 10B | 121 BPM | ||
Piano Concerto in F-Sharp Minor, Op. 20: I. Allegro | Alexander Scriabin, Anatol Ugorski, Chicago Symphony Orchestra, Pierre Boulez | D Major | 1 | 10B | 86 BPM |
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