"Tristia, Op. 18, H.119: 1. Méditation religieuse, H.56b" by Hector Berlioz, Choeur de l'Orchestre Symphonique de Montréal, Orchestre Symphonique de Montréal, Charles Dutoit was released on July 1, 2001. With this song being about 5 minutes long, at 4:43, "Tristia, Op. 18, H.119: 1. Méditation religieuse, H.56b" by Hector Berlioz, Choeur de l'Orchestre Symphonique de Montréal, Orchestre Symphonique de Montréal, Charles Dutoit is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The song is number 19 out of 21 in Berlioz: Lélio; Symphonie fantastique; Tristia by Hector Berlioz, Charles Dutoit, Orchestre Symphonique de Montréal. 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, Tristia, Op. 18, H.119: 1. Méditation religieuse, H.56b 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 Tristia, Op. 18, H.119: 1. Méditation religieuse, H.56b by Hector Berlioz, Choeur de l'Orchestre Symphonique de Montréal, Orchestre Symphonique de Montréal, Charles Dutoit is Andante (at a walking pace), since this song has a tempo of 107 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of A Minor. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Polovetsian Dances from Prince Igor: Allegro vivo | Alexander Borodin, George Szell, Cleveland Orchestra | F Major | 3 | 7B | 81 BPM | ||
Lohengrin, WWV 75 / Act III: Prelude to Act III | Richard Wagner, Wiener Philharmoniker, Claudio Abbado | D Major | 1 | 10B | 94 BPM | ||
Symphonie fantastique, Op. 14, H. 48: II. Un bal. Valse. Allegro non troppo | Hector Berlioz, Daniel Barenboim, Berliner Philharmoniker | A Major | 1 | 11B | 167 BPM | ||
Symphonie Espagnole In D Minor, Op.21: 5. Rondo (Allegro) | Édouard Lalo, Itzhak Perlman, Orchestre de Paris, Daniel Barenboim | D Major | 2 | 10B | 83 BPM | ||
Sylvia: Act I: Les chasseresses (Fanfare) | Léo Delibes, Razumovsky Symphony Orchestra, Andrew Mogrelia | E♭ Major | 1 | 5B | 83 BPM | ||
Vaughan Williams: Job, a Masque for Dancing, Scene 9: Epilogue | Ralph Vaughan Williams, Andrew Davis, BBC Symphony Orchestra | G Minor | 0 | 6A | 99 BPM | ||
8 Slavonic Dances, Op.46, B.83: No.3 in A Flat Major (Poco allegro) | Antonín Dvořák, Czech Philharmonic Orchestra, Jiří Bělohlávek | A♭ Major | 1 | 4B | 98 BPM | ||
Romeo and Juliet, Op. 64: Introduction | Sergei Prokofiev, Cleveland Orchestra, Lorin Maazel | E Major | 1 | 12B | 112 BPM | ||
Piano Concerto No. 2 in F Major, Op. 102: I. Allegro | Dmitri Shostakovich, Leonard Bernstein, New York Philharmonic | F Major | 6 | 7B | 154 BPM | ||
Habanera | Emmanuel Chabrier, Wiener Philharmoniker, John Eliot Gardiner | A Major | 0 | 11B | 128 BPM |