"Stabat mater, op.58: 8. Duo "Fac ut portem Christi mortem"" by Antonín Dvořák, Mariana Zvetkova, Johan Botha, Staatskapelle Dresden, Giuseppe Sinopoli was released on January 1, 2001. With this song being about 5 minutes long, at 4:42, "Stabat mater, op.58: 8. Duo "Fac ut portem Christi mortem"" by Antonín Dvořák, Mariana Zvetkova, Johan Botha, Staatskapelle Dresden, Giuseppe Sinopoli is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The song is number 3 out of 10 in Dvorák: Stabat mater, Op.58 by Antonín Dvořák, Staatskapelle Dresden, Giuseppe Sinopoli. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Stabat mater, op.58: 8. Duo "Fac ut portem Christi mortem" 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 Stabat mater, op.58: 8. Duo "Fac ut portem Christi mortem" by Antonín Dvořák, Mariana Zvetkova, Johan Botha, Staatskapelle Dresden, Giuseppe Sinopoli is Andante (at a walking pace), since this song has a tempo of 79 BPM. With that information, we can conclude that the song has a slow tempo. 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 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Notturno in G Minor | Fanny Mendelssohn, Heather Schmidt | G Minor | 1 | 6A | 125 BPM | ||
Notebook for Anna Magdalena Bach (1725) [Excerpts]: No. 17, Polonaise in G Minor, H. 1 No. 2 [Attrib. J.S. Bach's BWV Anh. 123] | Carl Philipp Emanuel Bach, Giovanni Mazzocchin | E♭ Major | 1 | 5B | 113 BPM | ||
Bagatelles et impromptus: VII. Love | Bedřich Smetana, William Howard | A Major | 0 | 11B | 71 BPM | ||
Schumann: 6 Studien in kanonischer Form, Op. 56: No. 1, Nicht schnell | Robert Schumann, Piotr Anderszewski | C Major | 0 | 8B | 173 BPM | ||
Prelude & Fugue in C Minor (Well-Tempered Clavier, Book I, No. 2), BWV 847: I. Prelude | Johann Sebastian Bach, Víkingur Ólafsson | C Minor | 2 | 5A | 65 BPM | ||
Valse Sentimentale, Op. 51, No. 6 (Arr. for Cello and Piano) | Pyotr Ilyich Tchaikovsky, Yo-Yo Ma, Kathryn Stott | A Minor | 0 | 8A | 73 BPM | ||
Don Quixote, Op. 35, TrV 184: Theme | Richard Strauss, Oslo Philharmonic Orchestra, Vasily Petrenko, Louisa Tuck, Catherine Bullock | G Major | 0 | 9B | 129 BPM | ||
Recuerdos de la Alhambra | Francisco Tárrega, Andrés Madariaga | D Major | 3 | 10B | 79 BPM | ||
Symphony No.9 in E minor, Op.95 "From the New World": 3. Scherzo (Molto vivace) | Antonín Dvořák, Cleveland Orchestra, Christoph von Dohnányi | E Minor | 1 | 9A | 127 BPM | ||
The Bartered Bride: Overture | Bedřich Smetana, BBC Symphony Orchestra, Jiří Bělohlávek | F Major | 2 | 7B | 145 BPM |
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