"Pelléas et Mélisande, Op.80: Chanson de Mélisande" by Gabriel Fauré, Lorraine Hunt, Boston Symphony Orchestra, Seiji Ozawa was released on January 1, 1987. The duration of Pelléas et Mélisande, Op.80: Chanson de Mélisande is about 3 minutes long, at 3:03. Based on our data, "Pelléas et Mélisande, Op.80: Chanson de Mélisande" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 3 out of 14 in Faure: Pelléas et Mélisande by Gabriel Fauré, Lorraine Hunt, Jules Eskin, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Pelléas et Mélisande, Op.80: Chanson de Mélisande 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 Pelléas et Mélisande, Op.80: Chanson de Mélisande by Gabriel Fauré, Lorraine Hunt, Boston Symphony Orchestra, Seiji Ozawa is Andante (at a walking pace), since this song has a tempo of 87 テンポ. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 3/4.
This song is in the music key of B♭ Major. 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 | ||
---|---|---|---|---|---|---|---|
Wesendonck Lieder, WWV 91: Schmerzen | Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis | C Minor | 1 | 5A | 132 BPM | ||
Piano Concerto No. 1 in E-Flat Major, S. 124: 1. Allegro maestoso | Franz Liszt, Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | A♭ Minor | 1 | 1A | 120 BPM | ||
Four Songs, Op.2: 2. The Nightingale and the Rose | Nikolai Rimsky-Korsakov, Greta Bradman, Adelaide Symphony Orchestra, Luke Dollman | B Minor | 0 | 10A | 87 BPM | ||
Après Un Rêve Opus 7/1 | Gabriel Fauré, Susan Manoff, Sandrine Piau | F Minor | 0 | 4A | 105 BPM | ||
Symphony No. 1, Op. 25 in D "Classical": Larghetto | Sergei Prokofiev, Yuri Temirkanov | A Major | 0 | 11B | 109 BPM | ||
Piano Concerto in A Minor, Op. 54: II. Intermezzo. Andantino grazioso | Robert Schumann, Evgeny Kissin, Carlo Maria Giulini, Wiener Philharmoniker | D♭ Major | 0 | 3B | 174 BPM | ||
Pictures at an Exhibition (Orch. Ravel): VII. The Market at Limoges | Modest Mussorgsky, Wiener Philharmoniker, Gustavo Dudamel | E♭ Major | 3 | 5B | 123 BPM | ||
Symphony No. 14 in G Minor, Op. 135: VIII. Réponse des Cosaques Zaporogues au Sultan de Constantinople | Dmitri Shostakovich, Alexander Tsymbalyuk, Boston Symphony Orchestra, Andris Nelsons | D Major | 7 | 10B | 146 BPM | ||
Dolly Suite, Op. 56 (arr. H. Rabaud): III. Le Jardin de Dolly | Henri Rabaud, Gabriel Fauré, RTE Sinfonietta, John Georgiadis | E Major | 0 | 12B | 64 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 |