Wolfgang Amadeus Mozart, Nikolaus Harnoncourt, Concentus Musicus Wien's 'Requiem in D Minor, K. 626: II. Kyrie: Kyrie' came out on July 12, 2004. The duration of Requiem in D Minor, K. 626: II. Kyrie: Kyrie is about two minutes long, specifically at 2:56. This song does not appear to have any foul language. Requiem in D Minor, K. 626: II. Kyrie: Kyrie's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Wolfgang Amadeus Mozart, Nikolaus Harnoncourt's "Mozart: Requiem" album is number 2 out of 14. On top of that, Germany appears to be the country where this track was created. Requiem in D Minor, K. 626: II. Kyrie: Kyrie 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 Requiem in D Minor, K. 626: II. Kyrie: Kyrie by Wolfgang Amadeus Mozart, Nikolaus Harnoncourt, Concentus Musicus Wien to be Andante (at a walking pace) because the track has a tempo of 81 BPM, a half-time of 40BPM, and a double-time of 162 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
The music key of this track is A Minor. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
The Magic Flute, K. 620, Act II: Ach! Ich fühl's, es ist verschwunden | Wolfgang Amadeus Mozart, Wilfried Gahmlich, Anna Gonda, Hungarian Festival Chorus, Budapest Failoni Chamber Orchestra, Michael Halasz, Hellen Kwon, Lotte Leitner, Herbert Lippert, Elizabeth Norberg-Schulz, Kurt Rydl, Georg Tichy, Julia Faulkner, Waltraud Winsauer | G Minor | 0 | 6A | 181 BPM | ||
Die Zauberflöte, K. 620, Act I: "Der Vogelfänger bin ich ja" | Teddy Tahu Rhodes, Tasmanian Symphony Orchestra, Ola Rudner | G Major | 1 | 9B | 129 BPM | ||
Requiem, Op. 48: Libera me | Gabriel Fauré, Collegium Vocale Gent, La Chapelle Royale, Stephan Genz, Philippe Herreweghe | D Minor | 0 | 7A | 62 BPM | ||
Great Mass in C Minor, K. 427: I. Andante Moderato (Kyrie) | Wolfgang Amadeus Mozart, Accentus, La Chambre Philharmonique, Emmanuel Krivine | F Major | 1 | 7B | 131 BPM | ||
Lohengrin, WWV 75 / Act III: "Treulich geführt ziehet dahin" | Richard Wagner, Renate Hasler, Gretchen Eder, Ulrike Erfurt, Marianne Sattmann, Vienna State Opera Chorus, Wiener Philharmoniker, Claudio Abbado | C Major | 1 | 8B | 75 BPM | ||
Addio del passato - Violetta | Giuseppe Verdi, Anna Netrebko | A Minor | 0 | 8A | 92 BPM | ||
Requiem In D Minor, K. 626: Sequence: VI. Lacrimosa Dies Illa | Slovak Philharmonic, Jaroslava Horska, Vladimir Ruso, Peter Mikulas, Stefan Klimo, Slovak Philharmonic Chorus, Jozef Kundlák, Magdaléna Hajóssyová, Wolfgang Amadeus Mozart | D Minor | 1 | 7A | 180 BPM | ||
Vivaldi: Gloria in D Major, RV 589: I. Gloria in excelsis Deo | Antonio Vivaldi, Nikolaus Harnoncourt, Arnold Schoenberg Chor, Concentus Musicus Wien | D♭ Major | 4 | 3B | 139 BPM | ||
Vesperae solennes de confessore, K. 339: VII. Magnificat | Wolfgang Amadeus Mozart, Greta de Reyghere, Marijke van Arnhem, Renaat Deckers, Jan van der Crabben, Capella Brugensis, Collegium Instrumentale Brugense, Patrick Peire | C Major | 2 | 8B | 109 BPM | ||
Mass No. 2 in G Major, D. 167: VI. Agnus Dei | Franz Schubert, Barbara Bonney, Andreas Schmidt, Katrine Bryndorf, Chamber Orchestra of Europe, Claudio Abbado, Chor der Wiener Staatsoper | E Minor | 0 | 9A | 73 BPM |
Section: 0.6689760684967041
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