"Peter Grimes, Op. 33 / Act 3: "Peter, We've Come To Take You Home"" by Benjamin Britten, Claire Watson, Sir Peter Pears, James Pease, Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden had its release date on January 1, 1959. The duration of This song is about two minutes long, specifically at 2:29. This song does not appear to have any foul language. Peter Grimes, Op. 33 / Act 3: "Peter, We've Come To Take You Home"'s duration is considered a little bit shorter than the average duration of a typical track. The song is number 18 out of 45 in Britten: Peter Grimes by Benjamin Britten, Sir Peter Pears, Claire Watson, Orchestra of the Royal Opera House, Covent Garden. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. In terms of popularity, Peter Grimes, Op. 33 / Act 3: "Peter, We've Come To Take You Home" is currently not that popular. 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 Peter Grimes, Op. 33 / Act 3: "Peter, We've Come To Take You Home" by Benjamin Britten, Claire Watson, Sir Peter Pears, James Pease, Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden is Andante (at a walking pace), since this song has a tempo of 106 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
B♭ Major is the music key of this track. This also means that 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 | ||
---|---|---|---|---|---|---|---|
5 Stücke im Volkston, Op. 102: 1. Vanitas vanitatum (Mit Humor) | Robert Schumann, Mstislav Rostropovich, Benjamin Britten | B Minor | 1 | 10A | 86 BPM | ||
Scheherazade, Op. 35: III. Andantino quasi allegretto "The Young Prince and The Young Princess" | Nikolai Rimsky-Korsakov, New York Philharmonic, Alan Gilbert, Lawrence Rock | G Major | 1 | 9B | 97 BPM | ||
Suite pastorale: III. Sous-bois | Emmanuel Chabrier, Wiener Philharmoniker, John Eliot Gardiner | G Major | 0 | 9B | 0 BPM | ||
Brandenburg Concerto No. 4 in G, BWV 1049: 2. Andante | Johann Sebastian Bach, English Chamber Orchestra, Benjamin Britten | B♭ Major | 1 | 6B | 109 BPM | ||
Tristan und Isolde - Concert Version: Liebestod | Richard Wagner, Berliner Philharmoniker, Herbert von Karajan | B Major | 2 | 1B | 94 BPM | ||
Mahler: Blumine | Gustav Mahler, San Francisco Symphony, Michael Tilson Thomas | C Major | 1 | 8B | 100 BPM | ||
In the Steppes of Central Asia | Alexander Borodin, Ukraine National Radio Symphony Orchestra, Theodore Kuchar | A Major | 0 | 11B | 68 BPM | ||
Pictures at an Exhibition (Orch. Ravel): I. Gnomus | Modest Mussorgsky, Wiener Philharmoniker, Gustavo Dudamel | E Major | 1 | 12B | 60 BPM | ||
Orpheo ed Euridice, Wq. 30, Act II: Dance of the Blessed Spirits | Christoph Willibald Gluck, Eugene Ormandy, Philadelphia Orchestra | D Minor | 1 | 7A | 67 BPM | ||
The Rite of Spring: Part Two: The Sacrifice: Sacrificial Dance (The Chosen One) | Igor Stravinsky, Teodor Currentzis, musicAeterna | D Minor | 5 | 7A | 136 BPM |