Antonín Dvořák, Christiane Libor, Ewa Wolak, Daniel Kirch, Janusz Monarcha, Chór Filharmonii Narodowej w Warszawie, Orkiestra Filharmonii Narodowej w Warszawie, Antoni Wit's 'Requiem, Op. 89 B. 165: Introitus: Requiem aeternam - Kyrie (Vocal Quartet, Chorus)' came out on November 4, 2014. Requiem, Op. 89 B. 165: Introitus: Requiem aeternam - Kyrie (Vocal Quartet, Chorus) appears to be safe for all ages as it is not explicit. The song is number 1 out of 13 in Dvořák: Requiem, Op. 89 by Antonín Dvořák, Chór Filharmonii Narodowej w Warszawie, Orkiestra Filharmonii Narodowej w Warszawie, Antoni Wit. Going off of the ISRC code of this track, we detected that the origin of this track is from Hong Kong. Requiem, Op. 89 B. 165: Introitus: Requiem aeternam - Kyrie (Vocal Quartet, Chorus) 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 Requiem, Op. 89 B. 165: Introitus: Requiem aeternam - Kyrie (Vocal Quartet, Chorus) by Antonín Dvořák, Christiane Libor, Ewa Wolak, Daniel Kirch, Janusz Monarcha, Chór Filharmonii Narodowej w Warszawie, Orkiestra Filharmonii Narodowej w Warszawie, Antoni Wit is Andante (at a walking pace), since this song has a tempo of 77 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
F Major is the music key of this track. 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.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Czech Suite in D Major, Op. 39, B. 93: V. Finale. Presto | Antonín Dvořák, Prague Chamber Orchestra, Josef Vlach | D Minor | 3 | 7A | 112 BPM | ||
Symphony No. 4 in E Minor, Op. 98: IV. Allegro energico e passionato - Più allegro | Johannes Brahms, Wiener Philharmoniker, Carlos Kleiber | F♯ Major | 7 | 2B | 129 BPM | ||
Symphony No. 2 in C Minor, "Resurrection": IV. Urlicht: Sehr feierlich, aber schlicht | Gustav Mahler, Charlotte Margiono, Jard van Nes, Dresden State Opera Chorus, Dresden Symphony Chorus, Staatskapelle Dresden, Bernard Haitink | D♭ Major | 0 | 3B | 80 BPM | ||
Die Meistersinger Von Nurnberg (The Mastersingers Of Nuremberg): Wach Auf! | Slovak Radio Symphony Orchestra, Slovak Philharmonic Chorus, Richard Wagner | G Major | 2 | 9B | 112 BPM | ||
St. Luke Passion: Part I: Deus meus (Psalm 21) | Krzysztof Penderecki, Izabela Klosinska, Krzysztof Kolberger, Adam Kruszewski, Romuald Tesarowicz, Warsaw Boys Choir, Warsaw Philharmonic Choir, Warsaw Philharmonic Orchestra, Antoni Wit | F Major | 0 | 7B | 131 BPM | ||
Sibelius: Violin Concerto in D Minor, Op. 47: III. Allegro ma non tanto | Jean Sibelius, Maxim Vengerov, Daniel Barenboim, Chicago Symphony Orchestra | D Major | 2 | 10B | 105 BPM | ||
Requiem, Op. 48: VII. Libera me | Gabriel Fauré, Harry Peeters, Netherlands Chamber Choir, Limburg Symphony Orchestra, Ed Spanjaard | G Minor | 1 | 6A | 134 BPM | ||
Poème de Théophile de Viau: À Chloris | Reynaldo Hahn, Marie-Nicole Lemieux | E♭ Major | 1 | 5B | 59 BPM | ||
Julius Caesar, HWV 17, Act III Scene 1: Flow, my tears (Cleopatra) | George Frideric Handel, Sir Charles Mackerras, English National Opera Orchestra, Valerie Masterson | E Major | 0 | 12B | 72 BPM | ||
Te Deum in C Major, WAB 45: I. Te deum | Anton Bruckner, Magdaléna Hajóssyová, Rosemarie Lang, Peter-Jurgen Schmidt, Hermann Christian Polster, Rundfunkchor Berlin, Rundfunk Sinfonieorchester Berlin, Heinz Rögner | D Major | 1 | 10B | 117 BPM |
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