Leonard Bernstein, Christa Ludwig, Nicolai Gedda, John Treleavan, Kurt Ollmann, London Symphony Chorus, London Symphony Orchestra made "Candide / Act II: XXVII. What's the Use" available on January 1, 1991. With this song being about 5 minutes long, at 4:30, "Candide / Act II: XXVII. What's the Use" by Leonard Bernstein, Christa Ludwig, Nicolai Gedda, John Treleavan, Kurt Ollmann, London Symphony Chorus, London Symphony Orchestra 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 12 out of 34 in Bernstein: Candide by Leonard Bernstein, London Symphony Orchestra. The popularity of Candide / Act II: XXVII. What's the Use is currently not that popular right now. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
The tempo marking of Candide / Act II: XXVII. What's the Use by Leonard Bernstein, Christa Ludwig, Nicolai Gedda, John Treleavan, Kurt Ollmann, London Symphony Chorus, London Symphony Orchestra is Presto (very, very fast), since this song has a tempo of 183 テンポ. With that information, we can conclude that the song has a fast tempo. The time signature for this track is 3/4.
This song is in the music key of E Minor. Because this track belongs in the E Minor key, the camelot key is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Eugene Onegin, Op. 24, TH. 5 / Act I: Introduction | Pyotr Ilyich Tchaikovsky, Staatskapelle Dresden, James Levine | G Minor | 1 | 6A | 107 BPM | ||
Symphony No. 9 in E Minor, Op. 95 "From the New World": II. Largo | Antonín Dvořák, New York Philharmonic, Alan Gilbert | D♭ Major | 0 | 3B | 87 BPM | ||
Polovetsian Dances from Prince Igor: Moderato alla breve | Alexander Borodin, George Szell, Cleveland Orchestra | A Major | 2 | 11B | 108 BPM | ||
Symphony in F Major, Op. 8, "The Cotswolds": I. Allegro con brio | Gustav Holst, Ulster Orchestra, Joann Falletta | F Major | 1 | 7B | 104 BPM | ||
Pictures At An Exhibition: Cum mortuis in lingua mortua | Modest Mussorgsky, Chicago Symphony Orchestra, Carlo Maria Giulini | B Major | 0 | 1B | 102 BPM | ||
Carmen Suite No. 2: Chanson du Toréador. Allegro molto moderato (Act II) | Georges Bizet, Leonard Bernstein, New York Philharmonic | F Major | 3 | 7B | 108 BPM | ||
The Sorcerer's Apprentice | Philharmonia Orchestra | D♭ Major | 2 | 3B | 130 BPM | ||
Cavalleria rusticana: Preludio | Pietro Mascagni, National Philharmonic Orchestra, Gianandrea Gavazzeni | F Major | 2 | 7B | 88 BPM | ||
Cuban Overture | George Gershwin, Chicago Symphony Orchestra, James Levine | G Major | 4 | 9B | 98 BPM | ||
8 Slavonic Dances, Op.46, B.83: No.1 in C (Presto) | Antonín Dvořák, Czech Philharmonic Orchestra, Jiří Bělohlávek | G Major | 2 | 9B | 106 BPM |