"Libera me in C Minor, HocJ E.2: I. Libera me" by Niccolò Jommelli, Miriam Feuersinger, Il Gardellino, Gaia Petrone, Peter Van Heyghen was released on April 3, 2020. The duration of Libera me in C Minor, HocJ E.2: I. Libera me is about two minutes long, specifically at 2:02. This song does not appear to have any foul language. Libera me in C Minor, HocJ E.2: I. Libera me's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Niccolò Jommelli, Il Gardellino, Peter Van Heyghen's "Jommelli: Missa pro Defunctis, Libera me & Miserere" album is number 23 out of 50. Based on our statistics, Libera me in C Minor, HocJ E.2: I. Libera me'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.
We consider the tempo marking of Libera me in C Minor, HocJ E.2: I. Libera me by Niccolò Jommelli, Miriam Feuersinger, Il Gardellino, Gaia Petrone, Peter Van Heyghen to be Allegro (fast, quick, and bright) because the track has a tempo of 142 BPM, a half-time of 71BPM, and a double-time of 284 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 4/4.
This song has a musical key of B Minor. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Te deum, LWV 55: I. Te Deum | Jean-Baptiste Lully, Stephane Fuget, Les Épopées, Les Pages & Les Chantres du Centre de Musique Baroque de Versailles | B♭ Major | 5 | 6B | 79 BPM | ||
Alla tromba della Fama | Baldassare Galuppi, Maria Keohane, Niklas Eklund, Wasa Baroque Ensemble, Edward H. Tarr | B Major | 3 | 1B | 102 BPM | ||
Stabat Mater in F Minor, G. 532: III. Quae moerebat et dolebat. Allegretto con moto | Luigi Boccherini, Núria Rial, Orchester Le Phenix | A Minor | 1 | 8A | 65 BPM | ||
Motetto de S. Joanne Baptista: III. Coro. Alleluia | František Tůma, Andreas Scholl, Czech Ensemble Baroque, Roman Válek | B Major | 2 | 1B | 83 BPM | ||
Ouverture-suite in D Major, TWV 55:D18: I. Ouverture | Georg Philipp Telemann, Altberg Ensemble, Peter Van Heyghen | F♯ Minor | 4 | 11A | 144 BPM | ||
Te Deum, H. 146: II. Te Deum laudamus | Marc-Antoine Charpentier, Ensemble les Surprises, Louis-Noël Bestion de Camboulas, Jean-Christophe Lanièce | B♭ Major | 4 | 6B | 106 BPM | ||
2. Notenbüchlein für Anna Magdalena Bach: I. No. 41, Gedenke doch, mein Geist, zurücke, BWV 509 | Johann Sebastian Bach, Aki Matsui, Masaaki Suzuki, Toru Yamamoto | E♭ Minor | 2 | 2A | 74 BPM | ||
Die Auferstehung und Himmelfahrt Jesu, H. 777, Wq. 240, Pt. 1: No. 6. Rezitativ, "Die frommen Töchter Zions" (Tenor) | Carl Philipp Emanuel Bach, Karl Wilhelm Ramler, Il Gardellino, Kieran Carrel, Bart Van Reyn | D Major | 2 | 10B | 167 BPM | ||
Missa Dolorosa: I. Kyrie | Antonio Caldara, Swiss Radio Choir, Aura Musicale Ensemble, Rene Clemencic | E♭ Minor | 1 | 2A | 71 BPM | ||
Flute Concerto in E Minor: II. Adagio un poco andante | Franz Benda, Jan De Winne, Il Gardellino | D♭ Major | 3 | 3B | 176 BPM |
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