"Requiem, Op. 9: In Paradisum" by Maurice Duruflé, Cathedral Choir of The Cathedral of St. Philip, David Fishburn, Dale Adelmann was released on January 13, 2015. The duration of Requiem, Op. 9: In Paradisum is about two minutes long, specifically at 2:51. This song does not appear to have any foul language. Requiem, Op. 9: In Paradisum's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Cathedral Choir of The Cathedral of St. Philip, Dale Adelmann's "Into the House and Gate of Heaven" album is number 17 out of 17. In terms of popularity, Requiem, Op. 9: In Paradisum 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 Requiem, Op. 9: In Paradisum by Maurice Duruflé, Cathedral Choir of The Cathedral of St. Philip, David Fishburn, Dale Adelmann to be Andante (at a walking pace) because the track has a tempo of 100 BPM, a half-time of 50BPM, and a double-time of 200 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of F♯ Major. This also means that this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Quatre petites prières de Saint François d’ Assise: I. Salut Dame Sainte | Francis Poulenc, Netherlands Chamber Choir | C Minor | 3 | 5A | 133 BPM | ||
Hymnen, Op. 140: Nr. 4 Ave Regina | Josef Rheinberger, Kammerchor Stuttgart, Ensemble Stuttgart, Frieder Bernius | D♭ Major | 1 | 3B | 69 BPM | ||
The lily and the rose (version for mixed chorus and piano) | Bob Chilcott, Wellensian Consort, Gemma Beeson, Christopher Finch | A Minor | 1 | 8A | 77 BPM | ||
Missa Tempore Quadragesimae, MH 553: Sanctus | Michael Haydn, Purcell Choir, Orfeo Orchestra, members, Gyorgy Vashegyi | A Major | 1 | 11B | 128 BPM | ||
Messe solennelle pour deux orgues et choeur, Op. 16: III. Sanctus | Louis Vierne, Michel Bouvard | E Major | 3 | 12B | 69 BPM | ||
Les Chansons des roses: No. 4. La Rose Complete. No. 5. Dirait-on | Morten Lauridsen, Leslie De'Ath, Elora Festival Singers, Noel Edison | D♭ Major | 0 | 3B | 79 BPM | ||
4 Gesange, Op. 17: Es tont ein voller Harfenklang | Johannes Brahms, Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Helmuth Rilling | C Major | 1 | 8B | 111 BPM | ||
6 Chansons: No. 2. Un cygne | Paul Hindemith, SWR Vokalensemble Stuttgart, Marcus Creed | E Minor | 1 | 9A | 82 BPM | ||
Requiem, Op. 9: Sanctus | Maurice Duruflé, Okka von der Damerau, Ljubomir Puškarić, Uladzimir Sinkevich, Bavarian Radio Chorus, Munich Radio Orchestra, Max Hanft, Ivan Repušić | G Minor | 1 | 6A | 145 BPM | ||
Warum ist das Licht gegeben dem Mühseligen? Op. 74 No. 1: II. Lasset uns. Wenig bewegter | Johannes Brahms, Cappella Amsterdam, Daniel Reuss | D♭ Major | 2 | 3B | 176 BPM |
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