"War Requiem, Op. 66: xii. Dies Irae - Dies irae" by Benjamin Britten, Gianandrea Noseda, Sabina Cvilak, London Symphony Chorus, London Symphony Orchestra was released on May 8, 2012. The duration of War Requiem, Op. 66: xii. Dies Irae - Dies irae is about 3 minutes long, at 3:00. Based on our data, "War Requiem, Op. 66: xii. Dies Irae - Dies irae" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 12 out of 26 in Britten: War Requiem by Benjamin Britten, London Symphony Orchestra, Simon Keenlyside, Gianandrea Noseda, Ian Bostridge, London Symphony Chorus, Sabina Cvilak, Choir of Eltham College. War Requiem, Op. 66: xii. Dies Irae - Dies irae 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 War Requiem, Op. 66: xii. Dies Irae - Dies irae by Benjamin Britten, Gianandrea Noseda, Sabina Cvilak, London Symphony Chorus, London Symphony Orchestra is Andante (at a walking pace), since this song has a tempo of 77 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
B♭ Minor is the music key of this track. Because this track belongs in the B♭ Minor key, the camelot key is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Parsifal / Act 1: "Nun achte wohl und laß mich seh'n" - "Zum letzten Liebesmahle" | Richard Wagner, Claes-Håkon Ahnsjö, Kurt Moll, Kurt Rydl, Berliner Philharmoniker, Herbert von Karajan, Chor der Deutschen Oper Berlin | C Major | 1 | 8B | 66 BPM | ||
Lucia di Lammermoor: Act I: Regnava nel silenzio (Lucia, Alisa) | Gaetano Donizetti, Maria Callas, Giuseppe Di Stefano, Tito Gobbi, Raffaele Arie, Valiano Natali, Anna Maria Canali, Gino Sarri, Fiorentino Maggio Musicale Chorus, Orchestra del Maggio Musicale Fiorentino, Tullio Serafin | F♯ Major | 1 | 2B | 86 BPM | ||
Tchaikovsky: Swan Lake, Op. 20, Act 3: Arrival of the Guests & Waltz | Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra | A♭ Major | 1 | 4B | 91 BPM | ||
Oedipus Rex, Prologue and Act I: "Spectateurs, vous allez entendre…" | Igor Stravinsky, London Symphony Orchestra, Stuart Skelton, Fanny Ardant, The Monteverdi Choir, John Eliot Gardiner | B♭ Minor | 1 | 3A | 172 BPM | ||
Stabat Mater, FP 148: 7. Eja mater | Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver | E♭ Major | 3 | 5B | 98 BPM | ||
Carnival of the Animals: VI. Kangaroos | Camille Saint-Saëns, Barry Wordsworth, London Symphony Orchestra | C Minor | 0 | 5A | 125 BPM | ||
Wagner: Tannhäuser, Act 2: "Versammelt sind aus meinen Landen" (Landgraf, Walther, Heinrich, Wolfram, Biterolf, Reinmar, Elisabeth, Tannhäuser, Ritter, Pilger) | Richard Wagner, Daniel Barenboim, Chor der Deutschen Staatsoper Berlin, Gunnar Gudbjörnsson, Hanno Müller-Brachmann, Jane Eaglen, Peter Seiffert, René Pape, Staatskapelle Berlin, Stephan Rügamer, Thomas Hampson | F Major | 1 | 7B | 81 BPM | ||
Swan Lake, Op.20, Act I: 8. Dance with Goblets (Tempo di polacca) | Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra | E Major | 4 | 12B | 122 BPM | ||
The High Council Meeting and Qui-Gon's Funeral | John Williams, London Symphony Orchestra | F♯ Minor | 1 | 11A | 77 BPM | ||
Symphony No. 5 in E-Flat Major, Op. 82: III. Allegro molto | Jean Sibelius, London Symphony Orchestra, Sir Colin Davis | E♭ Major | 1 | 5B | 72 BPM |
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