"Peter and the Wolf - A Musical Tale for Children Op. 67 [Rushton version]: Introduction" by Sergei Prokofiev, Willie Rushton/London Philharmonic Orchestra/David Nolan/Sian Edwards, Sian Edwards, London Philharmonic Orchestra had its release date on March 26, 2012. With This song being less than two minutes long, at 1:46, 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 15 out of 30 in Carnival Of The Animals by Various Artists. Based on our statistics, Peter and the Wolf - A Musical Tale for Children Op. 67 [Rushton version]: Introduction's popularity is not that popular right now. 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 Peter and the Wolf - A Musical Tale for Children Op. 67 [Rushton version]: Introduction by Sergei Prokofiev, Willie Rushton/London Philharmonic Orchestra/David Nolan/Sian Edwards, Sian Edwards, London Philharmonic Orchestra is Allegro (fast, quick, and bright), since this song has a tempo of 134 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 3/4.
This song has a musical 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.
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| Track | Artist | Key | Energy | Camelot | BPM | ||
|---|---|---|---|---|---|---|---|
| Romeo and Juliet Suite No. 1, Op. 64bis: V. Masks (Live) | Sergei Prokofiev, Riccardo Muti, Chicago Symphony Orchestra | B♭ Major | 1 | 6B | 161 BPM | ||
| Symphonie fantastique: V. Dream of a Witches' Sabbath, Larghetto - Allegro) | Hector Berlioz, Philadelphia Orchestra, Christoph Eschenbach | C Minor | 1 | 5A | 61 BPM | ||
| Piano Concerto No. 5 in G Major, Op. 55: IV. Larghetto | Sergei Prokofiev, Francesco Tristano, Russian National Orchestra, Mikhail Pletnev | B♭ Major | 0 | 6B | 135 BPM | ||
| Sicilienne, Op. 78 | Gabriel Fauré, Harriet Krijgh, Kamilla Isanbaeva | G Minor | 1 | 6A | 123 BPM | ||
| Il barbiere di Siviglia: Overture (Sinfonia) | Gioachino Rossini, Academy of St. Martin in the Fields, Sir Neville Marriner | E Major | 1 | 12B | 92 BPM | ||
| Enigma Variations, Op. 36: Var. 1. L'istesso tempo "C.A.E." | Edward Elgar, BBC Symphony Orchestra, Leonard Bernstein | G Minor | 0 | 6A | 81 BPM | ||
| Brook Green Suite: I. Prelude | Gustav Holst, English Sinfonia, Howard Griffiths | D♭ Major | 0 | 3B | 66 BPM | ||
| Swan Lake, Op. 20: Op. 20: Act IV No. 29, Scène Finale | Pyotr Ilyich Tchaikovsky, Orchestra of the Royal Opera House, Covent Garden, Mark Ermler | B Major | 4 | 1B | 113 BPM | ||
| Concerto for 2 Violins in D Minor, BWV 1043: I. Vivace | Johann Sebastian Bach, Zubin Mehta, New York Philharmonic, Isaac Stern, Itzhak Perlman | D Minor | 4 | 7A | 93 BPM | ||
| Visions Fugitives, Op. 22: XIV. Feroce | Eteri Andjaparidze, Sergei Prokofiev | D Major | 2 | 10B | 80 BPM | ||
| Carmen Variations | Vladimir Horowitz | E Major | 2 | 12B | 148 BPM | ||
| Don Quixote: Act III: Finale: Spanish Dance | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | G Major | 2 | 9B | 144 BPM | ||
| Symphony No. 45 in F-Sharp Minor, Hob.I:45, "Farewell": I. Allegro assai | Joseph Haydn, Capella Istropolitana, Barry Wordsworth | F♯ Minor | 2 | 11A | 156 BPM | ||
| Hungarian Rhapsody No. 2 in C Sharp Minor, S. 244 | Franz Liszt, Roberto Szidon | D♭ Major | 3 | 3B | 102 BPM | ||
| Slavonic March, Op. 31, TH 45 | Pyotr Ilyich Tchaikovsky, Russian National Orchestra, Mikhail Pletnev | B♭ Minor | 2 | 3A | 110 BPM | ||
| L'Apprenti sorcier | Paul Dukas, Berliner Philharmoniker, James Levine | F Minor | 4 | 4A | 125 BPM | ||
| L'Arlésienne Suite No.2: Pastorale | Georges Bizet, Daniel Deffayet, Berliner Philharmoniker, Herbert von Karajan | A Major | 1 | 11B | 80 BPM | ||
| Carmen, Opera Suite No. 1: V. Seguedille, Act 1 | London Festival Orchestra, Alfred Scholz | D Major | 0 | 10B | 92 BPM | ||
| Aleko: Intermezzo | Sergei Rachmaninoff, Berliner Philharmoniker, Lorin Maazel | B♭ Major | 0 | 6B | 90 BPM | ||
| Waltz in C-sharp minor, Op. 64 No. 2 | Frédéric Chopin, Khatia Buniatishvili | D♭ Minor | 0 | 12A | 96 BPM | ||
| VII. Cinderella's Waltz | Sergei Prokofiev, Ukrainian State Symphony Orchestra, Theodore Kuchar | G Major | 3 | 9B | 194 BPM | ||
| The Marriage Of Figaro KV.592 | Alfred Scholz, London Philharmonic Orchestra | D Major | 1 | 10B | 142 BPM | ||
| Symphony No. 5 in B-Flat Major, Op. 100: II. Allegro marcato | Sergei Prokofiev, The Cleveland Orchestra, Franz Welser-Möst | C Major | 0 | 8B | 105 BPM | ||
| Symphony No. 6 in B Minor, Op. 74, TH 30 "Pathétique": IV. Finale. Adagio lamentoso - Andante | Pyotr Ilyich Tchaikovsky, Czech Philharmonic, Semyon Bychkov | B Minor | 1 | 10A | 106 BPM | ||
| Carmen Suite: VIII. Bolero (after G. Bizet): Introduction | Rodion Shchedrin, Ukrainian State Symphony Orchestra, Theodore Kuchar | D♭ Major | 0 | 3B | 99 BPM |