Antonín Dvořák, Prague Philharmonic Choir, Czech Philharmonic, Jiří Bělohlávek's 'Stabat Mater, Op. 58, B.71: 5. "Tui nati vulnerati"' came out on May 5, 2017. With this song being about 5 minutes long, at 4:51, "Stabat Mater, Op. 58, B.71: 5. "Tui nati vulnerati"" by Antonín Dvořák, Prague Philharmonic Choir, Czech Philharmonic, Jiří Bělohlávek 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, B.71 by Antonín Dvořák, Eri Nakamura, Elisabeth Kulman, Michael Spyres, Jongmin Park, Prague Philharmonic Choir, Czech Philharmonic Orchestra, Jiří Bělohlávek. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. Stabat Mater, Op. 58, B.71: 5. "Tui nati vulnerati" 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, Op. 58, B.71: 5. "Tui nati vulnerati" by Antonín Dvořák, Prague Philharmonic Choir, Czech Philharmonic, Jiří Bělohlávek is Adagio (slowly with great expression), since this song has a tempo of 69 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
A♭ Major is the music key of this track. This also means that this song has a camelot key of 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Suite in B-Flat Major, HWV 434: IV. Menuet | George Frideric Handel, Khatia Buniatishvili | G Minor | 0 | 6A | 59 BPM | ||
Orfeo ed Euridice, Wq. 30 (Arranged by Sgambati): Melodie dell'Orfeo | Christoph Willibald Gluck, Yuja Wang | D Minor | 0 | 7A | 70 BPM | ||
7 Variations on the Air Vien qua, Dorina bella by Bianchi, Op. 7, J. 53: Variation 1 | Carl Maria von Weber, Michael Endres | C Major | 0 | 8B | 134 BPM | ||
Scottish Fantasy for Violin and Orchestra, Op. 46: I. Introduction: Grave, Adagio cantabile | Max Bruch, Joshua Bell, Academy of St. Martin in the Fields | E♭ Major | 2 | 5B | 60 BPM | ||
Rondo in D Minor, Wq. 61/4, H. 290 | Carl Philipp Emanuel Bach, Christopher Hinterhuber | B♭ Major | 1 | 6B | 135 BPM | ||
L'Arlésienne Suite No. 2: Menuet | Georges Bizet, Orchestre Symphonique de Montréal, Charles Dutoit | E♭ Major | 0 | 5B | 128 BPM | ||
Humoresque No. 7 in G-flat Major, Op. 101 | Boston Symphony Orchestra, Yo-Yo Ma, Seiji Ozawa, Itzhak Perlman | F♯ Major | 1 | 2B | 83 BPM | ||
Navarra, Op. 33 | Pablo de Sarasate, Itzhak Perlman, David Garvey | A Major | 2 | 11B | 101 BPM | ||
Sibelius: 13 Pieces, Op. 76: No. 2, Étude | Jean Sibelius, Leif Ove Andsnes | A Minor | 1 | 8A | 127 BPM | ||
Capriccio brillant, Op. 22: Andante | Felix Mendelssohn, Matthias Kirschnereit, Michael Sanderling, Frankfurt Radio Symphony Orchestra | B Major | 0 | 1B | 91 BPM |
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