Antonín Dvořák, Chor der Sächsischen Staatsoper Dresden; see Dresden State Opera Chorus, Matthias Brauer, Staatskapelle Dresden, Giuseppe Sinopoli's 'Stabat mater, op.58: 5. Coro "Tui nati vulnerati"' came out on January 1, 2001. With this song being about 5 minutes long, at 4:50, "Stabat mater, op.58: 5. Coro "Tui nati vulnerati"" by Antonín Dvořák, Chor der Sächsischen Staatsoper Dresden; see Dresden State Opera Chorus, Matthias Brauer, Staatskapelle Dresden, Giuseppe Sinopoli is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The song is number 5 out of 10 in Dvorák: Stabat mater, Op.58 by Antonín Dvořák, Staatskapelle Dresden, Giuseppe Sinopoli. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Based on our statistics, Stabat mater, op.58: 5. Coro "Tui nati vulnerati"'s popularity is not that popular right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
The tempo marking of Stabat mater, op.58: 5. Coro "Tui nati vulnerati" by Antonín Dvořák, Chor der Sächsischen Staatsoper Dresden; see Dresden State Opera Chorus, Matthias Brauer, Staatskapelle Dresden, Giuseppe Sinopoli is Allegro (fast, quick, and bright), since this song has a tempo of 147 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with jogging or cycling. The time signature for this track is 4/4.
D Major is the music key of this track. This also means that this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Otello / Act IV: Ave Maria, piena di grazia | Giuseppe Verdi, Cheryl Studer, Orchestre de l'Opéra Bastille, Myung-Whun Chung | E Minor | 0 | 9A | 81 BPM | ||
Rossini: Guillaume Tell, Act 2 Scene 2: "Sombre forêt" (Mathilde) | Gioachino Rossini, Montserrat Caballé | A♭ Major | 1 | 4B | 74 BPM | ||
Te Deum In C Major - Hob. XXIIIc:2: "Te ergo quaesumus" Adagio | Franz Joseph Haydn, Nicholas Parle, The English Concert, Trevor Pinnock, The English Concert Choir | C Major | 0 | 8B | 70 BPM | ||
Brahms: Symphony No. 2 in D Major, Op. 73: III. Allegretto grazioso. Quasi andantino | Johannes Brahms, Berliner Philharmoniker, Sir Simon Rattle | D♭ Major | 2 | 3B | 140 BPM | ||
The Dream of Gerontius, Op. 38, Pt. 1: Sanctus fortis, Sanctus Deus | Edward Elgar, Gabrieli, Paul McCreesh, Nicky Spence | D Major | 0 | 10B | 85 BPM | ||
Messa di Requiem: Agnus dei | Giuseppe Verdi, Angela Gheorghiu, Claudio Abbado, Berliner Philharmoniker | C Major | 0 | 8B | 90 BPM | ||
Mahler: Symphony No. 8 in E-Flat Major "Of a Thousand", Pt. 2 "Final Scene from Faust": XIV. Komm! Komm! | Gustav Mahler, City Of Birmingham Symphony Orchestra, Sir Simon Rattle, City of Birmingham Symphony Chorus, Juliane Banse, London Symphony Chorus | B♭ Minor | 0 | 3A | 79 BPM | ||
Petite messe solennelle: XVII. O salutaris | Gioachino Rossini, Krassimira Stoyanova, Philip Mayers, Philip Moll, Ryoko Morooka, Marcus Creed | G Major | 0 | 9B | 103 BPM | ||
Elijah, Op.70, MWV A25 / Part 1: "Lord, bow Thine ear to our pray'r!" | Felix Mendelssohn, Edinburgh Festival Chorus, Renée Fleming, Libby Crabtree, Stephen Doughty, Orchestra of the Age of Enlightenment, Paul Daniel | E Major | 0 | 12B | 88 BPM | ||
Sea Pictures, Op. 37: No. 5, The Swimmer | Edward Elgar, Alice Coote, Sir Mark Elder, Hallé | E♭ Major | 4 | 5B | 124 BPM |
Section: 0.9028720855712891
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