"Missa Tempore Quadragesimae, MH 553: Benedictus" by Michael Haydn, Purcell Choir, Orfeo Orchestra, members, Gyorgy Vashegyi was released on July 15, 2014. With Missa Tempore Quadragesimae, MH 553: Benedictus being less than two minutes long, at 1:09, 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 track order of this song in Michael Haydn, Purcell Choir, Gyorgy Vashegyi's "Haydn, M.: Masses" album is number 6 out of 28. On top of that, Hungary appears to be the country where this track was created. Missa Tempore Quadragesimae, MH 553: Benedictus 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.
We consider the tempo marking of Missa Tempore Quadragesimae, MH 553: Benedictus by Michael Haydn, Purcell Choir, Orfeo Orchestra, members, Gyorgy Vashegyi to be Adagio (slowly with great expression) because the track has a tempo of 67 BPM, a half-time of 34BPM, and a double-time of 134 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of F♯ Minor. This also means that this song has a camelot key of 11A. So, the perfect camelot match for 11A would be either 11A or 10B. While, a low energy boost can consist of either 11B or 12A. For moderate energy boost, you would use 8A and a high energy boost can either be 1A or 6A. However, if you are looking for a low energy drop, finding a song with a camelot key of 10A would be a great choice. Where 2A would give you a moderate drop, and 9A or 4A would be a high energy drop. Lastly, 2B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Requiem "Misa": XIV. Comunion. Lux aeterna | José de Nebra, Coro Victoria, Schola Antiqua, La Madrileña, José Antonio Montaño | F♯ Major | 2 | 2B | 71 BPM | ||
The Crucifixion: The Agony (Bass, Chorus) - Recitative: And they laid their hands on Him (Tenor, Bass) | John Stainer, James Gilchrist, Simon Bailey, Stephen Farr, Choir of Clare College, Cambridge, Tim Brown | D♭ Minor | 1 | 12A | 68 BPM | ||
Missa Charitatis, ZWV 10: Gloria in excelsis Deo | Jan Dismas Zelenka, Ensemble Inégal, Adam Viktora | A♭ Major | 3 | 4B | 101 BPM | ||
Andromeda e Perseo, P. 25: Act I: Sinfonia | Michael Haydn, Heike Porstein, Christine Wolff, Max Ciolek, Raimund Nolte, Gunther Cremer, Cologne Vocal Ensemble, Saarbrücken Radio Symphony Orchestra, Reinhard Goebel | C Major | 2 | 8B | 98 BPM | ||
La Pasión según San Mateo, BWV 244: No. 8, Blute nur | Orquesta de Cámara de Berlín, Karl Grossmann, Coros de Cámara de Berlín | B Minor | 3 | 10A | 92 BPM | ||
Nisi Dominus, HWV 238: Cum dederit | George Frideric Handel, The Scholars Baroque Ensemble | A♭ Major | 1 | 4B | 121 BPM | ||
Magnificat in B flat major: Magnificat anima mea | Francesco Durante, Thomas Hengelbrock | A Major | 3 | 11B | 126 BPM | ||
Missa Sancti Hieronymi: IX. Dona nobis pacem: Allegro Brioso | Michael Haydn, Ulf Söderberg, St. Jacob's Chamber Choir, Ensemble PhilidOr, Gary Graden | A♭ Major | 0 | 4B | 100 BPM | ||
Magnificat, W. E22: Gloria Patri et filio (Chorus) | Johann Christian Bach, Elisabeth Scholl, Ruth Sandhoff, Andreas Karasiak, Gotthold Schwarz, Dresden Chamber Choir, La Stagione Frankfurt, Michael Schneider | B Major | 3 | 1B | 64 BPM | ||
Herr Gott, dich loben alle wir (Chorus) | Johann Sebastian Bach, Malin Hartelius, Richard Wyn Roberts, James Gilchrist, Peter Harvey, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | B Major | 3 | 1B | 102 BPM |
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