"War Requiem, Op. 66: vii. Dies Irae - Liber scriptus" by Benjamin Britten, Gianandrea Noseda, Sabina Cvilak, London Symphony Chorus, London Symphony Orchestra was released on May 8, 2012. The duration of War Requiem, Op. 66: vii. Dies Irae - Liber scriptus is about two minutes long, specifically at 2:59. This song does not appear to have any foul language. War Requiem, Op. 66: vii. Dies Irae - Liber scriptus's duration is considered a little bit shorter than the average duration of a typical track. The song is number 7 out of 26 in Britten: War Requiem by Benjamin Britten, London Symphony Orchestra, Simon Keenlyside, Gianandrea Noseda, Ian Bostridge, London Symphony Chorus, Sabina Cvilak, Choir of Eltham College. War Requiem, Op. 66: vii. Dies Irae - Liber scriptus 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 War Requiem, Op. 66: vii. Dies Irae - Liber scriptus by Benjamin Britten, Gianandrea Noseda, Sabina Cvilak, London Symphony Chorus, London Symphony Orchestra is Larghetto (rather broadly), since this song has a tempo of 64 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
E Major is the music key of this track. This also means that this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Katya Kabanova, JW I/8, Act II Scene 1: "Vida, chvástala jsi se" | Leoš Janáček, Sir Simon Rattle, London Symphony Orchestra, Katarina Dalayman, Amanda Majeski | F♯ Major | 1 | 2B | 79 BPM | ||
Aniara: Act II Scene 4: Jag anar dödens skugga … | Karl-Birger Blomdahl, Lena Hoel, Viveca Anderberg, Erik Saeden, Jerker Arvidson, Bjorn Haugan, Stefan Parkman, Mikael Samuelson, Thomas Sunnegardh, Radio Chorus, Swedish Radio Symphony Orchestra, Stig Westerberg | D♭ Major | 0 | 3B | 90 BPM | ||
Symphony No. 3 in A Minor, Op. 44: II. Adagio ma non troppo - Allegro vivace | Sergei Rachmaninoff, London Symphony Orchestra, Valery Gergiev | E♭ Minor | 0 | 2A | 84 BPM | ||
Symphony No. 8 in E-Flat Major "Symphony of a Thousand": Tempo I (Allegro, etwas hastig) | Gustav Mahler, Leonard Bernstein, London Symphony Orchestra | A♭ Major | 0 | 4B | 80 BPM | ||
Prokofiev: Romeo and Juliet (Complete Ballet), Op. 64, Act 2: No. 29, Juliet with Friar Laurence | Sergei Prokofiev, André Previn, London Symphony Orchestra | D Major | 0 | 10B | 91 BPM | ||
Stabat Mater: 3. O quam tristis | Giovanni Battista Pergolesi, Margaret Marshall, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | G Minor | 1 | 6A | 80 BPM | ||
Wesendonck Lieder, WWV 91: Schmerzen | Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis | C Minor | 1 | 5A | 132 BPM | ||
Carmina Burana: IV. Omnia sol temperat | Carl Orff, London Symphony Chorus, London Symphony Orchestra, Richard Hickox | G Minor | 0 | 6A | 79 BPM | ||
Songs of Travel: IX. I Have Trod the Upward and the Downward Slope | Ralph Vaughan Williams, Bryn Terfel, Malcolm Martineau | D Minor | 0 | 7A | 85 BPM | ||
The Throne Room and End Title | John Williams, London Symphony Orchestra | C Major | 4 | 8B | 58 BPM |
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