"Mélodies passagères Op. 27 (Rainer Maria Rilke): Départ" by Samuel Barber, Patricia Petibon, Susan Manoff was released on September 7, 2009. The duration of Mélodies passagères Op. 27 (Rainer Maria Rilke): Départ is about two minutes long, specifically at 2:00. This song does not appear to have any foul language. Mélodies passagères Op. 27 (Rainer Maria Rilke): Départ's duration is considered a little bit shorter than the average duration of a typical track. The song is number 8 out of 30 in Fast Cats and Mysterious Cows by The American Boychoir, Patricia Petibon, Catherine King. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. Based on our statistics, Mélodies passagères Op. 27 (Rainer Maria Rilke): Départ's popularity is unknown 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 Mélodies passagères Op. 27 (Rainer Maria Rilke): Départ by Samuel Barber, Patricia Petibon, Susan Manoff is Allegro (fast, quick, and bright), since this song has a tempo of 121 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 has a musical key of F♯ Minor. This also means that this song has a camelot key of 11A. So, the perfect camelot match for 11A would be either 11A or 10B. While, a low energy boost can consist of either 11B or 12A. For moderate energy boost, you would use 8A and a high energy boost can either be 1A or 6A. However, if you are looking for a low energy drop, finding a song with a camelot key of 10A would be a great choice. Where 2A would give you a moderate drop, and 9A or 4A would be a high energy drop. Lastly, 2B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Lo, the full, final sacrifice, Op. 26: Amen - Instrumental | Gerald Finzi, Amy Dickson, Aurora Orchestra, Nicholas Collon | E Major | 1 | 12B | 112 BPM | ||
La voyante: V. Chiromancie (Live) | Henri Sauguet, Leontyne Price, Samuel Barber | E Major | 0 | 12B | 96 BPM | ||
Dido and Aeneas, Z. 626: When I am laid in earth, "Dido's Lament" (arr. L. Stokowski) | Henry Purcell, Leopold Stokowski, Bournemouth Symphony Orchestra, José Serebrier | G Minor | 0 | 6A | 73 BPM | ||
Scheherazade: The Tale of the Kalendar Prince | Nikolai Rimsky-Korsakov, Joakim Svenheden | B Minor | 1 | 10A | 62 BPM | ||
La voyante: IV. Pour le temps à venir (Live) | Henri Sauguet, Leontyne Price, Samuel Barber | B Minor | 1 | 10A | 122 BPM | ||
Myrthen, Op. 25 - Version for Cello and Piano: XXIV. Du bist wie eine Blume | Robert Schumann, Kian Soltani, Aaron Pilsan | F Major | 0 | 7B | 116 BPM | ||
Concerto for Violin & Orchestra, Op.14: 2. Andante | Samuel Barber, Joshua Bell, Baltimore Symphony Orchestra, David Zinman | B♭ Minor | 1 | 3A | 133 BPM | ||
Du bist die Ruh, Op. 59/3, D. 776 | Franz Schubert, Mischa Maisky, Daria Hovora | E♭ Major | 0 | 5B | 67 BPM | ||
Symphony No. 7 In A, Op. 92: 2. Allegretto | Ludwig van Beethoven, Berliner Philharmoniker, Herbert von Karajan | E Minor | 0 | 9A | 77 BPM | ||
The Godfather: V. Love Theme | Nino Rota, Riccardo Muti, Milan La Scala Philharmonic Orchestra | D♭ Major | 1 | 3B | 88 BPM |
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