Giovanni Bononcini, Choir of St. John's College, Cambridge, London Philharmonic Orchestra, George Guest's 'Stabat Mater - Ed. Smith: 6. Sancta Mater' had a release date set for March 7, 1978. With This song being less than two minutes long, at 1:18, 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 song is number 7 out of 15 in Bononcini: Stabat Mater / Lotti: Crucifixus / Caldara: Crucifixus by Giovanni Bononcini, George Guest, Felicity Palmer, Philip Langridge, Paul Esswood, Christopher Keyte, Choir of St. John's College, Cambridge, London Philharmonic Orchestra. Based on our statistics, Stabat Mater - Ed. Smith: 6. Sancta Mater's popularity 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.
The tempo marking of Stabat Mater - Ed. Smith: 6. Sancta Mater by Giovanni Bononcini, Choir of St. John's College, Cambridge, London Philharmonic Orchestra, George Guest is Allegro (fast, quick, and bright), since this song has a tempo of 127 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 4/4.
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 | ||
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Gloria, ZWV 30: V. Qui sedes | Jan Dismas Zelenka, Collegium 1704, Collegium Vocale 1704, Vaclav Luks | E Major | 1 | 12B | 84 BPM | ||
La conversione di Maddalena, Pt. 1: No. 2, Lusinghe sonore dell'alma | Giovanni Bononcini, La Venexiana, Francesca Lombardi Mazzulli, Gabriele Palomba | F♯ Minor | 1 | 11A | 97 BPM | ||
Duetto si fugga, si sprezzi ; Aria allegro, se saétta un nero ciglio | Giovanni Bononcini, Yasunori Imamura, Fons Musicae | D♭ Minor | 1 | 12A | 184 BPM | ||
Membra Jesu Nostri, BuxWV 75, Ad genua: Aria "Salve Jesu, rex sanctorum" | Dietrich Buxtehude, Philippe Pierlot, Ricercar Consort, Jeffrey Thompson | C Minor | 2 | 5A | 90 BPM | ||
Symphony in A Major, H. 660, Wq. 182/4: III. Allegro assai | Carl Philipp Emanuel Bach, Akademie für Alte Musik Berlin, Mayumi Hirasaki | D♭ Major | 1 | 3B | 140 BPM | ||
Sinfonia per violoncello in G Minor: II. Allegro | Giovanni Bononcini, Marco Ceccato, Accademia Ottoboni | A♭ Minor | 1 | 1A | 73 BPM | ||
Vater unser im Himmelreich, Variation 10 | Johann Ulrich Steigleder, Gustav Auzinger | D Major | 1 | 10B | 176 BPM | ||
Gluck: Orfeo ed Euridice, Wq. 30, Act 2: "Anime avventurose" - "Torna o bella" (Orfeo, Coro) | Christoph Willibald Gluck, Stefan Plewniak, Il Giardino d'Amore Choir, Jakub Józef Orliński, Il Giardino d'Amore | D♭ Major | 3 | 3B | 129 BPM | ||
Missa Paschalis, ZWV 7: Credo. Credo in unum Deum | Jan Dismas Zelenka, Ensemble Inégal, Adam Viktora, Gabriela Eibenová, Marian Krejcik, Terry Wey, Cyril Auvity | F♯ Minor | 2 | 11A | 128 BPM | ||
Artaserse, Act I Scene 15: Aria. Vo solcando un mar crudele (Arbace) | Leonardo Vinci, Samuel Mariño, Orchestre de l'Opéra Royal, Stefan Plewniak | D♭ Major | 3 | 3B | 86 BPM |