"Requiem: Requiem: I. Introitus. Requiem aeternam. II. Kyrie" by Johann Christian Bach, RIAS Kammerchor, Akademie für Alte Musik Berlin, Hans-Christoph Rademann was released on October 25, 2011. Requiem: Requiem: I. Introitus. Requiem aeternam. II. Kyrie is about six minutes long, preciously at 5:31, making this song fairly long compared to other songs. The track order of this song in Johann Christian Bach, RIAS Kammerchor, Akademie für Alte Musik Berlin, Hans-Christoph Rademann's "Johann Christian Bach: Requiem" album is number 1 out of 22. Requiem: Requiem: I. Introitus. Requiem aeternam. II. 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: Requiem: I. Introitus. Requiem aeternam. II. Kyrie by Johann Christian Bach, RIAS Kammerchor, Akademie für Alte Musik Berlin, Hans-Christoph Rademann to be Andante (at a walking pace) because the track has a tempo of 83 BPM, a half-time of 42BPM, and a double-time of 166 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 1/4.
This song is in the music key of F Major. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Grande Messe des Morts: XVII. Sequentia: Pie Jesu - Amen: Andante | Francois-Joseph Gossec, Roberta Invernizzi, Maite Arruabarrena, Howard Crook, Claude Darbellay, Radio Svizzera Choir, Lugano, Radio Svizzera Italiana Orchestra, Diego Fasolis | G Minor | 1 | 6A | 123 BPM | ||
Stabat Mater: 11. Inflammatus | Giovanni Battista Pergolesi, Margaret Marshall, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | B♭ Major | 1 | 6B | 78 BPM | ||
Handel: Dixit Dominus, HWV 232: VI. Dominus a dextris tuis | George Frideric Handel, Emmanuelle Haïm, Denis Comtet | F♯ Minor | 4 | 11A | 132 BPM | ||
Requiem in C Minor: II. Graduale | Luigi Cherubini, Martin Pearlman, Boston Baroque | G Major | 1 | 9B | 81 BPM | ||
Matthäus-Passion: Erster Teil, 8. Aria (Sopran) Blute nur, du liebes Herz | Johann Sebastian Bach, Christina Roterberg, Akademie für Alte Musik Berlin, René Jacobs | B♭ Minor | 0 | 3A | 80 BPM | ||
Dido and Aeneas / Act 2: "Oft she visits...Behold, upon my bending spear" | Henry Purcell, Elizabeth Gale, Thomas Allen, Jessye Norman, Marie McLaughlin, English Chamber Orchestra, Raymond Leppard | D Major | 1 | 10B | 110 BPM | ||
Symphony in G Major, Op. 3, No. 6, W. C6: III. Allegro assai | Johann Christian Bach, Camerata De Budapest, Hanspeter Gmür | D Major | 1 | 10B | 84 BPM | ||
Te Deum: Symphonie | Jean-Baptiste Lully, Le Concert Spirituel, Herve Niquet | B Major | 2 | 1B | 106 BPM | ||
Orfeo: Aria : "Dall'amor più sventurato" | Nicola Porpora, Akademie für Alte Musik Berlin, René Jacobs, Vivica Genaux | C Minor | 0 | 5A | 88 BPM | ||
Spartacus, Act II: The Via Appia and Dance of the shepherd and shepherdess (arr. Y. Grigorovich) [1968 Bolshoi Version] | Aram Khachaturian, RIAS Kammerchor, Deutsches Symphonie-Orchester Berlin, Michail Jurowski | F Major | 1 | 7B | 87 BPM |
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