Boris Vladimirovich Asafiev, March, Sofia National Opera Orchestra, Boris Spassov's 'Die Flamme von Paris (Flames of Paris) (arr. March): Act IV: Moderato: Men's Variation' came out on January 1, 2002. With Die Flamme von Paris (Flames of Paris) (arr. March): Act IV: Moderato: Men's Variation being less than two minutes long, at 1:07, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The song is number 24 out of 26 in Ballet Music - Burgmuller, Tchaikovsky, Minkus, Paulli, Hertel, & Asafiev by Boris Spassov. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. In terms of popularity, Die Flamme von Paris (Flames of Paris) (arr. March): Act IV: Moderato: Men's Variation is currently below average in popularity. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
The tempo marking of Die Flamme von Paris (Flames of Paris) (arr. March): Act IV: Moderato: Men's Variation by Boris Vladimirovich Asafiev, March, Sofia National Opera Orchestra, Boris Spassov is Andante (at a walking pace), since this song has a tempo of 95 テンポ. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
A♭ Major is the music key of this track. This also means that this song has a camelot key of 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Le Corsaire: Act II - "4. Grand Pas: Variation: Ali" | Evergreen Symphony Orchestra, Kevin Galiè, Anna-Marie Holmes | A♭ Major | 1 | 4B | 121 BPM | ||
Mendelssohn: Symphony No. 4 in A Major, Op. 90, "Italian": IV. Saltarello (Presto) | Felix Mendelssohn, Christian Thielemann, Munich Philharmonic Orchestra | G Major | 2 | 9B | 74 BPM | ||
Romeo and Juliet, Op. 64 (Excerpts): Death of Juliet | Sergei Prokofiev, Esa-Pekka Salonen | C Major | 1 | 8B | 75 BPM | ||
Aleko: Finale: Moderato (Entrance of the Old Gypsy) | Sergei Rachmaninoff, Mariana Zvetkova, Andreana Nikolova, Boiko Zvetanov, Alexander Tekeliev, Peter Naydenov, Sofia National Opera Chorus, Sofia National Opera Orchestra, Nayden Todorov | E♭ Major | 3 | 5B | 82 BPM | ||
Tausendsapperment-Walzer, Op. 61 | Johann Strauss I, Slovak Sinfonietta Zilina, Christian Pollack | E Major | 1 | 12B | 173 BPM | ||
Capriccio espagnol, Op. 34: I. Alborada | Nikolai Rimsky-Korsakov, Seattle Symphony Orchestra, Gerard Schwarz | A Major | 3 | 11B | 127 BPM | ||
Giselle: Act II: Pas des premieres Wilis (The Wilis Appear) | Adolphe Adam, Slovak Radio Symphony Orchestra, Andrew Mogrelia | E♭ Major | 0 | 5B | 95 BPM | ||
La Fille Mal Gardee: Pas de (arr. March): Act II: Moderato: Women's variation | March, Peter Ludwig Hertel, Sofia National Opera Orchestra, Boris Spassov | C Major | 0 | 8B | 111 BPM | ||
Act 1: XIV. Juliet’s Variation | Sergei Prokofiev, Vasily Petrenko, Oslo Philharmonic Orchestra | F Major | 1 | 7B | 80 BPM | ||
Manon Ballet - Arranged and orchestrated by Leighton Lucas with the collaboration of Hilda Gaunt / Act 2: Scene 2 - Des Grieux's lodgings | Jules Massenet, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | B♭ Major | 1 | 6B | 81 BPM |