"Requiem Canticles: II. Exaudi" by Igor Stravinsky, Vladimir Jurowski, London Philharmonic Orchestra, London Philharmonic Choir was released on April 26, 2024. With Requiem Canticles: II. Exaudi being less than two minutes long, at 1:40, 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 Igor Stravinsky, Vladimir Jurowski, London Philharmonic Orchestra, London Philharmonic Choir's "Jurowski conducts Stravinsky, Vol. 3 (Live)" album is number 9 out of 43. On top of that, United Kingdom appears to be the country where this track was created. Based on our statistics, Requiem Canticles: II. Exaudi'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.
We consider the tempo marking of Requiem Canticles: II. Exaudi by Igor Stravinsky, Vladimir Jurowski, London Philharmonic Orchestra, London Philharmonic Choir to be Allegro (fast, quick, and bright) because the track has a tempo of 140 BPM, a half-time of 70BPM, and a double-time of 280 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, jogging or cycling, can go well with this song. The time signature for this track is 3/4.
This song is in the music key of G Minor. Because this track belongs in the G Minor key, the camelot key is 6A. So, the perfect camelot match for 6A would be either 6A or 5B. While, a low energy boost can consist of either 6B or 7A. For moderate energy boost, you would use 3A and a high energy boost can either be 8A or 1A. However, if you are looking for a low energy drop, finding a song with a camelot key of 5A would be a great choice. Where 9A would give you a moderate drop, and 4A or 11A would be a high energy drop. Lastly, 9B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Requiem, Op. 9: IX. In paradisum | Maurice Duruflé, Maîtrise de Saint-Christophe de Javel, Chœur de filles Cæcilia, Yves Castagnet, Henri Chalet, Alice Korovitch | D Major | 0 | 10B | 67 BPM | ||
Ave Regina Coelorum | Philip Stopford, Truro Cathedral Choir, Christopher Gray | B♭ Major | 0 | 6B | 74 BPM | ||
Tantum ergo, WAB 32 | Anton Bruckner, Latvian Radio Choir, Sigvards Kļava | D Major | 1 | 10B | 86 BPM | ||
The Armed Man (Ensemble Version): XIII. Better is Peace | Karl Jenkins, Hertfordshire Chorus, David Temple, London Orchestra da Camera | G Major | 2 | 9B | 127 BPM | ||
Peer Gynt Suite No. 1, Op. 46: Morning Mood | London Philharmonic Orchestra | E Major | 1 | 12B | 132 BPM | ||
Elijah, Op. 70: "Be Not Afraid, Saith God the Lord" (Chorus) | Felix Mendelssohn, Gabrieli, William Whitehead, Paul McCreesh | G Major | 3 | 9B | 132 BPM | ||
Aftenstemning (Evening Mood), FS 48 | Carl Nielsen, Danish National Vocal Ensemble, Michael Schønwandt | D♭ Major | 0 | 3B | 112 BPM | ||
Missa Maria Magdalena: Agnus Dei | Stellan Sagvik, Annika Skoglund, Olle Persson, Hannah Holgersson, Carl Unander-Scharin, Staffan Alveteg, Bjorn Blomberg, Liselotte Lindgren, Maria Magdalena Motet Choir, Stockholm Chamber Choir, Ralph Gustafsson, Mathias Kjellgren, Stockholm Saxophone Quartet, Ragnar Bohlin | D Major | 1 | 10B | 86 BPM | ||
Variations on a Theme by Frank Martin, Op. 105: Var. 2, Adagio | Arnold Rosner, London Philharmonic Orchestra, Nick Palmer | C Minor | 1 | 5A | 136 BPM | ||
Carmen Suite No. 2: Habanera | London Philharmonic Orchestra | D Major | 0 | 10B | 121 BPM |
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