Pyotr Ilyich Tchaikovsky, Александр Ворошило, Mark Ermler, Оркестр Большого театра made "Иоланта, картина 6: Ария Роберта "Кто может сравниться с Матильдой моей?"" available on September 23, 2016. The duration of Иоланта, картина 6: Ария Роберта "Кто может сравниться с Матильдой моей?" is about two minutes long, specifically at 2:28. This song does not appear to have any foul language. Иоланта, картина 6: Ария Роберта "Кто может сравниться с Матильдой моей?"'s duration is considered a little bit shorter than the average duration of a typical track. There is only one song in Большой театр. Лучшее из архивов "Мелодии", so we believe that "Иоланта, картина 6: Ария Роберта "Кто может сравниться с Матильдой моей?"" is a single. Иоланта, картина 6: Ария Роберта "Кто может сравниться с Матильдой моей?" is not that popular right now. The mood doesn't appear to be that danceable, but it still produces a high amount of positive energy.
The tempo marking of Иоланта, картина 6: Ария Роберта "Кто может сравниться с Матильдой моей?" by Pyotr Ilyich Tchaikovsky, Александр Ворошило, Mark Ermler, Оркестр Большого театра is Andante (at a walking pace), since this song has a tempo of 77 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
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 | ||
---|---|---|---|---|---|---|---|
Le roi s'amuse: Passepied | Léo Delibes, Slovak Philharmonic, Ondrej Lenard | A Major | 1 | 11B | 88 BPM | ||
21 Hungarian Dances, WoO 1 (version for orchestra): Hungarian Dance No. 5 (orch. Schmeling) | Johannes Brahms, Budapest Symphony Orchestra, Istvan Bogar | G Minor | 1 | 6A | 144 BPM | ||
Cello Concerto in E Minor, Op. 85: I. Adagio - Moderato | Edward Elgar, Sheku Kanneh-Mason, London Symphony Orchestra, Sir Simon Rattle | E Minor | 1 | 9A | 102 BPM | ||
Symphony No. 40 in G Minor, K. 550: I. Allegro molto | Wolfgang Amadeus Mozart, Capella Istropolitana, Barry Wordsworth | G Minor | 2 | 6A | 109 BPM | ||
Beethoven: Symphony No. 6 in F Major, Op. 68 "Pastoral": I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo | Ludwig van Beethoven, Philadelphia Orchestra, Riccardo Muti | F♯ Major | 0 | 2B | 88 BPM | ||
Zdes' khorosho ('How Fair This Spot'), Op. 21, No. 7 | Sergei Rachmaninoff, Pablo Ferrandez, Denis Kozhukhin | A Major | 0 | 11B | 87 BPM | ||
Sorochintsi Fair, Act I: Gopak (Hopak) | Modest Mussorgsky, Slovak Philharmonic, Kenneth Jean | G Major | 2 | 9B | 127 BPM | ||
Suite Bergamasque, L. 75: III. Clair de lune (Andante très expressif) | Claude Debussy, Alain Planès | D♭ Major | 0 | 3B | 67 BPM | ||
Peer Gynt, Op. 23: Act II, 7, In the Hall of the Mountain King | Edvard Grieg, Esa-Pekka Salonen | B Minor | 2 | 10A | 104 BPM | ||
Violin Concerto No. 1 in G Minor, Op. 26: III. Allegro energico | Max Bruch, Itzhak Perlman, Bernard Haitink, Concertgebouworkest | G Major | 3 | 9B | 97 BPM |