Ludwig van Beethoven, Berliner Philharmoniker, Herbert von Karajan, Wiener Singverein made "Mass in D Major, Op. 123 "Missa Solemnis": Sanctus: Pleni sunt coeli" available on January 1, 1996. With Mass in D Major, Op. 123 "Missa Solemnis": Sanctus: Pleni sunt coeli being less than two minutes long, at 1:15, 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 song is number 15 out of 21 in Beethoven: Missa Solemnis, Op. 123 by Ludwig van Beethoven, Berliner Philharmoniker, Herbert von Karajan. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. In terms of popularity, Mass in D Major, Op. 123 "Missa Solemnis": Sanctus: Pleni sunt coeli is currently not that popular. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
The tempo marking of Mass in D Major, Op. 123 "Missa Solemnis": Sanctus: Pleni sunt coeli by Ludwig van Beethoven, Berliner Philharmoniker, Herbert von Karajan, Wiener Singverein is Andante (at a walking pace), since this song has a tempo of 100 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of D Major. This also means that this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Die Fledermaus / Act I: Nr. 1 Introduktion: "Täubchen, das entflattert ist" | Johann Strauss II, Lucia Popp, René Kollo, Bavarian State Orchestra, Carlos Kleiber | G Major | 1 | 9B | 50 BPM | ||
Norma - Critical Edition by Maurizio Biondi and Riccardo Minasi / Act 2 Scene 1: "Si, fino all’ore estreme" | Vincenzo Bellini, Cecilia Bartoli, Sumi Jo, Orchestra La Scintilla, Giovanni Antonini | F Major | 5 | 7B | 135 BPM | ||
Madama Butterfly / Act 1: Sorride Vostro Onore? | Giacomo Puccini, Christa Ludwig, Luciano Pavarotti, Robert Kerns, Wiener Philharmoniker, Herbert von Karajan | F Major | 1 | 7B | 105 BPM | ||
Mozart: Le nozze di Figaro / Act 3 - "Dove sono i bei momenti" | Kiri Te Kanawa, London Philharmonic Orchestra, Sir Georg Solti | C Major | 1 | 8B | 82 BPM | ||
Symphony No. 39 in E-Flat Major, K. 543: 2. Andante con moto | Wolfgang Amadeus Mozart, Berliner Philharmoniker, Karl Böhm | A♭ Major | 1 | 4B | 93 BPM | ||
Messa di Requiem, Dies irae: Mors stupebit | Giuseppe Verdi, Angela Gheorghiu, Claudio Abbado, Berliner Philharmoniker | F Major | 0 | 7B | 117 BPM | ||
Fidelio op.72 / Act 1: Ach! Vater, Vater, eilt! | Ludwig van Beethoven, Gundula Janowitz, Waldemar Kmentt, Walter Kreppel, Christa Ludwig, Walter Berry, Vienna State Opera Orchestra, Herbert von Karajan | D Major | 3 | 10B | 92 BPM | ||
La Cenerentola / Act 2: Della Fortuna instabile...Sposa - Signor perdona... | Gioachino Rossini, William Matteuzzi, Cecilia Bartoli, Alessandro Corbelli, Enzo Dara, Michele Pertusi, Fernanda Costa, Gloria Banditelli, Coro del Teatro Comunale di Bologna, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly | E Major | 1 | 12B | 92 BPM | ||
Elijah, Op. 70, MWV A25 / Part 2: "Woe to him! He shall perish!" | Felix Mendelssohn, Edinburgh Festival Chorus, Stephen Doughty, Orchestra of the Age of Enlightenment, Paul Daniel | E♭ Major | 0 | 5B | 113 BPM | ||
Variations On A Theme By Haydn, Op.56a: Variation I: Poco più animato | Johannes Brahms, Berliner Philharmoniker, Herbert von Karajan | B♭ Major | 1 | 6B | 179 BPM |
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