"La Damnation de Faust, Op. 24, H 111 / Pt. 4: Scène 15. Romance. "D'amour l'ardente flamme"" by Hector Berlioz, Frederica von Stade, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti was released on May 3, 1982. La Damnation de Faust, Op. 24, H 111 / Pt. 4: Scène 15. Romance. "D'amour l'ardente flamme" appears to be safe for all ages as it is not explicit. The song is number 29 out of 35 in Berlioz: La Damnation de Faust by Hector Berlioz, Sir Georg Solti, Kenneth Riegel, Frederica von Stade, José van Dam, Malcolm King, Chicago Symphony Chorus, Chicago Symphony Orchestra. 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, La Damnation de Faust, Op. 24, H 111 / Pt. 4: Scène 15. Romance. "D'amour l'ardente flamme" 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 La Damnation de Faust, Op. 24, H 111 / Pt. 4: Scène 15. Romance. "D'amour l'ardente flamme" by Hector Berlioz, Frederica von Stade, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti is Andante (at a walking pace), since this song has a tempo of 108 テンポ. With that information, we can conclude that the song has a moderate tempo. The time signature for this track is 4/4.
This song is in the music key of F Major. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
L'Oiseau de feu, K010: I. Introduction | Igor Stravinsky, Chicago Symphony Orchestra, Pierre Boulez | E Minor | 0 | 9A | 102 BPM | ||
Carnival Of The Animals, Finale | Chicago Symphony Orchestra | C Major | 3 | 8B | 100 BPM | ||
Music for Strings, Percussion and Celesta, Sz. 106: II. Allegro | Béla Bartók, Chicago Symphony Orchestra, Sir Georg Solti | D♭ Major | 2 | 3B | 142 BPM | ||
Vier letzte Lieder, TrV 296: 2. September | Richard Strauss, Jessye Norman, Gewandhausorchester, Kurt Masur | D Major | 1 | 10B | 153 BPM | ||
Pictures At An Exhibition: Promenade | Modest Mussorgsky, Chicago Symphony Orchestra, Carlo Maria Giulini | F♯ Major | 1 | 2B | 74 BPM | ||
La Damnation de Faust, Op. 24, H 111 / Pt. 2: Chanson de Méphistophélès. "Une puce gentille" | Hector Berlioz, Kenneth Riegel, José van Dam, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | C Major | 1 | 8B | 85 BPM | ||
Der fliegende Holländer, WWV 63 / Act 2: "Johohoe! Traft ihr das Schiff im Meere an" | Richard Wagner, Chicago Symphony Orchestra, Sir Georg Solti, Janis Martin, Chicago Symphony Chorus | B♭ Major | 1 | 6B | 79 BPM | ||
Thomas: Act I: Soma, Soma … (Chorus, Thomas) | Einojuhani Rautavaara, Jorma Hynninen, Peter Lindroos, Matti Piipponen, Sini Rautavaara, Marko Putkonen, Antti Suhonen, Anssi Hirvonen, Hannu Sokka, Jaakko Hietikko, Anitta Juhala-Jolkkonen, Joensuu Music School Choir, Savonlinna Festival Opera Choir, Joensuu City Orchestra, Pekka Haapasalo | A♭ Minor | 2 | 1A | 168 BPM | ||
Lieutenant Kijé, Symphonic Suite, Op.60: 2. Romance | Sergei Prokofiev, Chicago Symphony Orchestra, Claudio Abbado | C Minor | 0 | 5A | 109 BPM | ||
Carmina Burana / 3. Cour d'amours: "Circa mea pectora" | Carl Orff, Bernd Weikl, Chicago Symphony Orchestra, James Levine, Chicago Symphony Chorus | D Minor | 2 | 7A | 135 BPM |