Francis Poulenc, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver's 'Gloria, FP 144: II. Laudamus te' came out on January 1, 1995. The duration of Gloria, FP 144: II. Laudamus te is about two minutes long, specifically at 2:48. This song does not appear to have any foul language. Gloria, FP 144: II. Laudamus te's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 12 in the song's album "Poulenc: Gloria For Soprano, Mixed Chorus And Orchestra; Concerto For Organ, Strings And Timpani In G Minor; Concert Champetre For Harpsichord And Orchestra". In this album, this song's track order is #2. Furthermore, we believe that the track originated from Germany. Based on our statistics, Gloria, FP 144: II. Laudamus te's popularity 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.
With Gloria, FP 144: II. Laudamus te by Francis Poulenc, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver having a BPM of 140 with a half-time of 70 BPM and a double-time of 280 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with jogging or cycling. The time signature for this track is 4/4.
G Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Japanese Suite, Op. 33: V. Dance under the Cherry Tree | Gustav Holst, Ulster Orchestra, Joann Falletta | B♭ Major | 0 | 6B | 85 BPM | ||
Scriabin - Etude Op.2 No.1 | Elena Kuschnerova | D♭ Minor | 0 | 12A | 69 BPM | ||
Schwanengesang, S. 560: VII. Ständchen (2nd Version, After Schubert D. 957/4) | Franz Liszt, Angela Hewitt | A Major | 2 | 11B | 143 BPM | ||
Lose Blätter, Op. 13: No. 12, Choral | Max Reger, Markus Becker | D Major | 0 | 10B | 66 BPM | ||
Stabat Mater: Stabat Mater: I. Stabat mater dolorosa | Francis Poulenc, Cappella Amsterdam, Estonian National Symphony Orchestra, Estonian Philharmonic Chamber Choir, Daniel Reuss | A Minor | 1 | 8A | 135 BPM | ||
Nocturne No. 3 in A-Flat Major | John Field, Benjamin Frith | A♭ Major | 0 | 4B | 70 BPM | ||
Prélude en Ré b/Des | Lili Boulanger, Antonii Baryshevskyi | A♭ Major | 0 | 4B | 72 BPM | ||
Le Carnaval des Animaux, R.125: 4. Tortues | Camille Saint-Saëns, Pascal Rogé, Cristina Ortiz, London Sinfonietta, Charles Dutoit | B♭ Major | 0 | 6B | 83 BPM | ||
Pavane pour une infante défunte, M. 19 | Maurice Ravel, Anna Vinnitskaya | E Minor | 0 | 9A | 67 BPM | ||
Nocturne No. 2 in C Minor, H.25 | John Field, Elizabeth Joy Roe | C Minor | 1 | 5A | 80 BPM |
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