"Biber: Requiem a 15 in A Major: I. Introitus" by Heinrich Ignaz Franz von Biber, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra was released on January 1, 1994. Since Biber: Requiem a 15 in A Major: I. Introitus 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 1 out of 9 in Biber: Requiem a 15 & Vesperae a 32 by Heinrich Ignaz Franz von Biber, Ton Koopman, Amsterdam Baroque Orchestra. Going off of the ISRC code of this track, we detected that the origin of this track is from France. Based on our statistics, Biber: Requiem a 15 in A Major: I. Introitus's popularity is unknown 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 Biber: Requiem a 15 in A Major: I. Introitus by Heinrich Ignaz Franz von Biber, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra is Allegro (fast, quick, and bright), since this song has a tempo of 138 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 5/4.
This song is in the music key of B♭ Major. This also means that this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Bach, JS: Johannes-Passion, BWV 245, Pt. 2: No. 30, Aria. "Es ist vollbracht" | Johann Sebastian Bach, Ton Koopman, Kai Wessel, Amsterdam Baroque Orchestra | B♭ Minor | 0 | 3A | 108 BPM | ||
Stabat Mater: VIII. Virgo virginum | Antonio Caldara, Diego Fasolis, Swiss Radio Choir, Aura Musicale Ensemble, Rene Clemencic | E♭ Minor | 1 | 2A | 71 BPM | ||
Stabat Mater: III. Quis est home | Antonio Caldara, Diego Fasolis, Swiss Radio Choir, Aura Musicale Ensemble, Rene Clemencic | E♭ Minor | 1 | 2A | 71 BPM | ||
Violin Sonata No. 2 in Dorian Mode, C. 139: IV. Adagio | Heinrich Ignaz Franz von Biber, Ars Antiqua Austria, Gunar Letzbor | A♭ Major | 1 | 4B | 66 BPM | ||
Dido and Aeneas, Z. 626, Act II: The Grove - Thanks to these lonesome vales | Henry Purcell, La Nuova Musica, David Bates, Giulia Semenzato | F♯ Minor | 2 | 11A | 126 BPM | ||
Mondonville: In exitu Israel: I. (b) Chœur. "In exitu Israel" | Jean-Joseph Cassanéa De Mondonville, Emmanuelle Haïm | F Major | 2 | 7B | 119 BPM | ||
La parca | Cataldo Amodei, Cappella Mediterranea, Leonardo García-Alarcón, Léo Fernique | B♭ Minor | 0 | 3A | 110 BPM | ||
Overture-Suite in D Major, TWV 55:D1: VI. Conclusion: Allegro - Adagio - Allegro | Georg Philipp Telemann, The English Concert, Trevor Pinnock | D♭ Major | 3 | 3B | 118 BPM | ||
Céphale et Procris, Prologue: Chœur. Chantons, chantons sa valeur immortelle | Élisabeth Jacquet de La Guerre, Reinoud Van Mechelen, A Nocte Temporis, Chœur De Chambre De Namur | F Minor | 1 | 4A | 75 BPM | ||
Mystery (Rosary) Sonata: No. 5 in A Major “The Finding of Jesus in the Temple”: II. Allaman | Heinrich Ignaz Franz von Biber, Alan Choo, Jeannette Sorrell | B Major | 1 | 1B | 95 BPM |
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