"Stabat Mater, Op. 58: II. Quis est homo, qui non fleret (Andante sostenuto)" by Antonín Dvořák, Philippe Herreweghe, Royal Flemish Philharmonic, Ilse Eerens, Michaela Selinger, Maximilian Schmitt, Florian Boesch was released on 2011. Since Stabat Mater, Op. 58: II. Quis est homo, qui non fleret (Andante sostenuto) is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The song is number 2 out of 10 in Dvořák: Stabat Mater by Antonín Dvořák, Philippe Herreweghe, Antwerp Symphony Orchestra, Collegium Vocale Gent. Going off of the ISRC code of this track, we detected that the origin of this track is from Belgium. Based on our statistics, Stabat Mater, Op. 58: II. Quis est homo, qui non fleret (Andante sostenuto)'s popularity 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 Stabat Mater, Op. 58: II. Quis est homo, qui non fleret (Andante sostenuto) by Antonín Dvořák, Philippe Herreweghe, Royal Flemish Philharmonic, Ilse Eerens, Michaela Selinger, Maximilian Schmitt, Florian Boesch is Allegro (fast, quick, and bright), since this song has a tempo of 133 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 4/4.
A Major is the music key of this track. This also means that this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Mass in C Minor, K. 427 "Grosse Messe": Credo | Wolfgang Amadeus Mozart, Gabrieli, Paul McCreesh | C Major | 3 | 8B | 110 BPM | ||
3 Lieder, Op.12: 2. Liebst du um Schonheit | Clara Schumann, Barbara Bonney, Vladimir Ashkenazy | D♭ Major | 0 | 3B | 78 BPM | ||
Mass in C Major, K. 317 "Coronation": V. Benedictus | Wolfgang Amadeus Mozart, Barbara Bonney, Catherine Wyn-Rogers, Jamie MacDougall, Stephen Gadd, The English Concert Choir, The English Concert, Trevor Pinnock | D Major | 1 | 10B | 94 BPM | ||
Die Jahreszeiten, Hob. XXI:3, Der Frühling: VIII. Freudenlied mit abwechselndem Chor der Jugend, "Oh, wie lieblich ist der Anblick" | Franz Joseph Haydn, Christina Landshamer, Maximilian Schmitt, Florian Boesch, Collegium Vocale Gent, Orchestre des Champs-Élysées, Philippe Herreweghe | D Major | 1 | 10B | 68 BPM | ||
Chanson triste (version for voice and piano) | Henri Duparc, Paul Groves, Roger Vignoles | E♭ Major | 1 | 5B | 87 BPM | ||
Vivaldi: Gloria in D Major, RV 589: VII. Dominie Fili Unigenite | Antonio Vivaldi, Choir of King's College, Cambridge, Academy of Ancient Music, Stephen Cleobury | E Major | 3 | 12B | 135 BPM | ||
Vesperae solennes de confessore in C, K.339: 2. Confitebor tibi, Domine | Wolfgang Amadeus Mozart, Kiri Te Kanawa, Elizabeth Bainbridge, Ryland Davies, Gwynne Howell, John Constable, London Symphony Chorus, London Symphony Orchestra, Sir Colin Davis | F Major | 2 | 7B | 98 BPM | ||
Rossini: Petite messe solennelle: II. Gloria, 7. Cum Sancto Spiritu (Chorus). Allegro | Gioachino Rossini, Antonio Pappano | G Minor | 0 | 6A | 112 BPM | ||
Wohin?, Op. 25, No. 2, D. 795 | Franz Schubert, Philippe Sly, John Charles Britton | E Major | 1 | 12B | 167 BPM | ||
Strauss, R: 4 Letzte Lieder: No. 3, Beim Schlafengehen | Richard Strauss, Nina Stemme, Orchestra of the Royal Opera House, Covent Garden, Antonio Pappano | D♭ Major | 1 | 3B | 92 BPM |
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