"Stabat Mater in F Minor, RV 621: No. 2., Cuius animam gementem" by Antonio Vivaldi, Andreas Scholl, Accademia Bizantina, Alessandro Tampieri was released on March 8, 2024. With Stabat Mater in F Minor, RV 621: No. 2., Cuius animam gementem being less than two minutes long, at 1:55, 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 track order of this song in Andreas Scholl, Alessandro Tampieri, Accademia Bizantina's "Invocazioni Mariane" album is number 17 out of 27. On top of that, France appears to be the country where this track was created. In terms of popularity, Stabat Mater in F Minor, RV 621: No. 2., Cuius animam gementem is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Stabat Mater in F Minor, RV 621: No. 2., Cuius animam gementem by Antonio Vivaldi, Andreas Scholl, Accademia Bizantina, Alessandro Tampieri to be Moderato (at a moderate speed) because the track has a tempo of 113 BPM, a half-time of 56BPM, and a double-time of 226 BPM. Based on that, the speed of the song's tempo is moderate. The time signature for this track is 4/4.
B Minor is the music key of this track. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Le Carnaval du Parnasse, Prologue Scene 4: Air. Le printemps seul nous procure (Clarice) | Jean-Joseph Cassanéa De Mondonville, Hasnaa Bennani, Les Ambassadeurs ~ La Grande Écurie, Alexis Kossenko | D Major | 7 | 10B | 92 BPM | ||
Maddalena ai piedi di Cristo: No. 12 Aria Amor Celeste "Spera, consolati" | Antonio Caldara, René Jacobs, Schola Cantorum Basiliensis, Chiara Banchini, Andreas Scholl | E♭ Minor | 2 | 2A | 105 BPM | ||
Laudate pueri, HWV 237: II. Sit nomen Domini | George Frideric Handel, Carolyn Sampson, Akademie für Alte Musik Berlin, Justin Doyle | D♭ Major | 2 | 3B | 108 BPM | ||
Miserere in G Minor, HocJ C1.23: I. Miserere, 1. Miserere mei Deus | Niccolò Jommelli, Il Gardellino, Peter Van Heyghen | B Minor | 0 | 10A | 140 BPM | ||
Laudate Pueri: VII. Gloria Patri | Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford | A Major | 1 | 11B | 85 BPM | ||
Languet anima mea BWV deest 1006: III. Recitativo: Amoris tui iaculo | Francesco Bartolomeo Conti, Johann Sebastian Bach, Bach Collegium Japan, Masaaki Suzuki, Hana Blaziková | E♭ Minor | 2 | 2A | 74 BPM | ||
Libera me in C Minor, HocJ E.2: I. Libera me | Niccolò Jommelli, Miriam Feuersinger, Il Gardellino, Gaia Petrone, Peter Van Heyghen | B Minor | 0 | 10A | 142 BPM | ||
Te Deum, S.32: II. Te æternum Patrem | Michel Richard Delalande, Le Poème Harmonique, Ensemble Aedes, Vincent Dumestre | C Major | 3 | 8B | 176 BPM | ||
Missa Paschalis, ZWV 7: Gloria. Qui tollis | Jan Dismas Zelenka, Inégal Ensemble, Adam Viktora, Gabriela Eibenová, Marian Krejcik, Terry Wey, Cyril Auvity | F♯ Minor | 2 | 11A | 128 BPM | ||
Dido and Aeneas, Z.626, Act III Scene 2: Thy Hand Belinda; Darkness Shades Me (Dido) | Henry Purcell, Les Argonautes, Jonas Descotte, Camille Allérat | F♯ Major | 1 | 2B | 84 BPM |
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