"L'Oiseau de feu, K010: XVII. Berceuse (L'Oiseau de feu)" by Igor Stravinsky, Chicago Symphony Orchestra, Pierre Boulez was released on 1993. With this song being about 5 minutes long, at 5:16, "L'Oiseau de feu, K010: XVII. Berceuse (L'Oiseau de feu)" by Igor Stravinsky, Chicago Symphony Orchestra, Pierre Boulez 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. There is only one song in ストラヴィンスキー:バレエ《火の鳥》、バレエ《ペトルーシュカ》, so we believe that "L'Oiseau de feu, K010: XVII. Berceuse (L'Oiseau de feu)" is a single. L'Oiseau de feu, K010: XVII. Berceuse (L'Oiseau de feu) 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 L'Oiseau de feu, K010: XVII. Berceuse (L'Oiseau de feu) by Igor Stravinsky, Chicago Symphony Orchestra, Pierre Boulez is Larghetto (rather broadly), since this song has a tempo of 62 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 5/4.
This song is in the music key of E♭ Minor. Because this track belongs in the E♭ Minor key, the camelot key is 2A. So, the perfect camelot match for 2A would be either 2A or 1B. While, a low energy boost can consist of either 2B or 3A. For moderate energy boost, you would use 11A and a high energy boost can either be 4A or 9A. However, if you are looking for a low energy drop, finding a song with a camelot key of 1A would be a great choice. Where 5A would give you a moderate drop, and 12A or 7A would be a high energy drop. Lastly, 5B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Violin Concerto, Op. 30: Ia. Cadenza | Alberto Ginastera, Hilary Hahn, Frankfurt Radio Symphony Orchestra, Andrés Orozco-Estrada | C Major | 3 | 8B | 135 BPM | ||
Dvořák: From the Bohemian Forest, Op. 68, B. 182: No. 5, Silent Woods | Antonín Dvořák, Jacqueline du Pré, Daniel Barenboim, Chicago Symphony Orchestra | D♭ Major | 1 | 3B | 95 BPM | ||
Symphonie "Mathis der Maler": I. Engelkonzert | Paul Hindemith, Berliner Philharmoniker, Claudio Abbado | D Major | 1 | 10B | 106 BPM | ||
Ein Heldenleben, Op. 40, TrV 190: Des Helden Gefahrtin (The Hero's Companion) - | Richard Strauss, Chicago Symphony Orchestra, Bernard Haitink | B♭ Major | 0 | 6B | 136 BPM | ||
Symphony for Organ and Orchestra (1924): I. Andante | Aaron Copland, Leonard Slatkin | F♯ Major | 1 | 2B | 80 BPM | ||
Lutoslawski : Concerto for Orchestra : I Intrada - Allegro maestoso | Witold Lutosławski, Daniel Barenboim, Chicago Symphony Orchestra | F♯ Minor | 1 | 11A | 128 BPM | ||
Divertimento: V: Turkey Trot: Allegretto, ben misurato | Leonard Bernstein, Bournemouth Symphony Orchestra, Marin Alsop | D♭ Major | 1 | 3B | 106 BPM | ||
Piano Concerto in F-Sharp Minor, Op. 20: II. Andante | Alexander Scriabin, Anatol Ugorski, Chicago Symphony Orchestra, Pierre Boulez | B Major | 0 | 1B | 69 BPM | ||
Variations On An Original Theme, Op.36 "Enigma": 11. G.R.S. (Allegro di molto) | Edward Elgar, BBC Symphony Orchestra, Leonard Bernstein | D Major | 3 | 10B | 85 BPM | ||
Concerto for Orchestra, Sz. 116: 1. Introduzione (Andante non troppo - Allegro vivace | Béla Bartók, Chicago Symphony Orchestra, Sir Georg Solti | D♭ Major | 3 | 3B | 95 BPM |