"Dante, Acte IV: No. 32, Scène "C’est moi que l’on appelle"" by Benjamin Godard, Véronique Gens, Rachel Frenkel, Munich Radio Orchestra, Ulf Schirmer was released on October 27, 2017. With Dante, Acte IV: No. 32, Scène "C’est moi que l’on appelle" being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. The track order of this song in Benjamin Godard, Edgaras Montvidas, Véronique Gens, Bavarian Radio Chorus's "Godard: Dante" album is number 20 out of 42. Dante, Acte IV: No. 32, Scène "C’est moi que l’on appelle" is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Dante, Acte IV: No. 32, Scène "C’est moi que l’on appelle" by Benjamin Godard, Véronique Gens, Rachel Frenkel, Munich Radio Orchestra, Ulf Schirmer to be Andante (at a walking pace) because the track has a tempo of 81 テンポ, a half-time of 40テンポ, and a double-time of 162 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 1/4.
G Major is the music key of this track. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Danse Sacrée et Danse Profane, L. 103: II. Danse Profane | Claude Debussy, Nieuw Sinfonietta Amsterdam, Ernitine Stoop | A Major | 0 | 11B | 73 BPM | ||
Lieder ohne Worte, Op. 62: No. 6 Allegretto grazioso "Frühlingslied" (Arr. Ottensamer for Clarinet and Strings) | Felix Mendelssohn, Andreas Ottensamer, Schumann Quartett, Gunars Upatnieks | A Major | 1 | 11B | 99 BPM | ||
Rondo in D Minor, Wq. 61/4, H. 290 | Carl Philipp Emanuel Bach, Christopher Hinterhuber | B♭ Major | 1 | 6B | 135 BPM | ||
La Scandinavie: III. Polska norvégien | Percy Grainger, Andreas Brantelid, Christian Ihle Hadland | D Major | 0 | 10B | 87 BPM | ||
Bist du bei mir (Formerly Attrib. J.S. Bach as BWV 508, Transcr. for Oboe, Solo Violin, Strings and Basso continuo) | Gottfried Heinrich Stölzel, Albrecht Mayer, Gottfried Von Der Goltz, Berliner Barock Solisten | E♭ Major | 1 | 5B | 62 BPM | ||
Piano Concerto No. 6: II. Larghetto | John Field, Matthias Bamert, London Mozart Players, Miceal O'Rourke | E Major | 0 | 12B | 79 BPM | ||
Notturno in G Minor | Fanny Mendelssohn, Heather Schmidt | G Minor | 1 | 6A | 125 BPM | ||
20 Pièce pour le Piano, Op. 58: XIII. Variations sur un Air Ècossais in G Major | Benjamin Godard, Alessandro Deljavan | C Major | 1 | 8B | 69 BPM | ||
Concerto in D Minor for Two Violins, BWV 1043: Vivace | Johann Sebastian Bach, Jascha Heifetz, Erick Friedman, Thornton Lofthouse, The New Symphony Orchestra Of London, Sir Malcolm Sargent | A Minor | 2 | 8A | 94 BPM | ||
Poulenc: Concerto for Two Pianos in D Minor, FP 61: II. Larghetto | Francis Poulenc, James Conlon, Rotterdam Philharmonic Orchestra | B♭ Major | 0 | 6B | 84 BPM |