"Lauda Sion, Op. 73: VIII. Sumit unus" by Felix Mendelssohn, Ruth Ziesak, Helene Schneiderman, Christoph Prégardien, Gotthold Schwarz, Deutsche Kammerphilharmonie Bremen, Kammerchor Stuttgart, Frieder Bernius was released on February 1, 1997. Since Lauda Sion, Op. 73: VIII. Sumit unus 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 track order of this song in Felix Mendelssohn, Deutsche Kammerphilharmonie Bremen, Kammerchor Stuttgart, Frieder Bernius's "Mendelssohn: Wie der Hirsch schreit. Kirchenwerke IV" album is number 16 out of 16. On top of that, Germany appears to be the country where this track was created. Lauda Sion, Op. 73: VIII. Sumit unus is not that popular right now. 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 Lauda Sion, Op. 73: VIII. Sumit unus by Felix Mendelssohn, Ruth Ziesak, Helene Schneiderman, Christoph Prégardien, Gotthold Schwarz, Deutsche Kammerphilharmonie Bremen, Kammerchor Stuttgart, Frieder Bernius to be Adagio (slowly with great expression) because the track has a tempo of 75 BPM, a half-time of 38BPM, and a double-time of 150 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
C Major is the music key of this track. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Spatzenmesse in C-Dur, KV. 220 'Missa - Kyrie' | Wolfgang Bankl, Ingrid Hofer, Brigitta Karwautz, Michael Gailit, Chor, Solisten & Orchester von St. Augustin, Manfred Equiluz | C Major | 2 | 8B | 85 BPM | ||
Bach, JS: Matthäus-Passion, BWV 244, Pt. 2: No. 49, Aria. "Aus Liebe will mein Heiland sterben" | Johann Sebastian Bach, Ton Koopman, Barbara Schlick, Amsterdam Baroque Orchestra | A Major | 2 | 11B | 112 BPM | ||
Requiem in D Minor, WAB 39: IVa. Agnus Dei | Anton Bruckner, Johanna Winkel, Sophie Harmsen, Michael Feyfar, Ludwig Mittelhammer, RIAS Kammerchor, Akademie für Alte Musik Berlin, Łukasz Borowicz | C Major | 0 | 8B | 65 BPM | ||
Petite messe solennelle: Sanctus | Gioachino Rossini, Orchestre de chambre de Paris, Accentus, Ottavio Dantone, Julia Lezhneva, Delphine Galou, Michael Spyres, Alexander Vinogradov | C Major | 1 | 8B | 71 BPM | ||
From the Bavarian Highlands, Op. 27 (Version for Choir & Piano): No. 1, The Dance | Edward Elgar, Bavarian Radio Chorus, Max Hanft, Howard Arman | G Minor | 1 | 6A | 134 BPM | ||
Trois chansons de Charles d'Orléans, L.62: 1. Dieu! qu'il a fait bon regarder! | Claude Debussy, The Monteverdi Choir, John Eliot Gardiner | F♯ Minor | 0 | 11A | 68 BPM | ||
Benedictus | MartÍn Palmeri | G Major | 3 | 9B | 83 BPM | ||
The Creation, Hob.XXI,2: Pt. 1, The Heavens are Telling the Glory of God | Joseph Haydn, Handel & Haydn Society, Sarah Tynan, Jeremy Ovenden, Matthew Brook, Harry Christophers | D Major | 1 | 10B | 74 BPM | ||
Tantum ergo in E-Flat Major, D. 962 | Franz Schubert, Barbara Bonney, Dalia Schaechter, Jorge Pita, Andreas Schmidt, Chamber Orchestra of Europe, Claudio Abbado, Chor der Wiener Staatsoper | B♭ Major | 1 | 6B | 82 BPM | ||
Magnificat in B flat major: Magnificat anima mea | Francesco Durante, Thomas Hengelbrock | A Major | 3 | 11B | 126 BPM |
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