"Stabat Mater, Op. 58: X. Quando corpus morietur (Andante con moto)" by Antonín Dvořák, Philippe Herreweghe, Collegium Vocale Gent, Royal Flemish Philharmonic, Ilse Eerens, Michaela Selinger, Maximilian Schmitt, Florian Boesch was released on 2011. Since Stabat Mater, Op. 58: X. Quando corpus morietur (Andante con moto) is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The song is number 10 out of 10 in Dvořák: Stabat Mater by Antonín Dvořák, Philippe Herreweghe, Antwerp Symphony Orchestra, Collegium Vocale Gent. Going off of the ISRC code of this track, we detected that the origin of this track is from Belgium. Stabat Mater, Op. 58: X. Quando corpus morietur (Andante con moto) 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: X. Quando corpus morietur (Andante con moto) by Antonín Dvořák, Philippe Herreweghe, Collegium Vocale Gent, Royal Flemish Philharmonic, Ilse Eerens, Michaela Selinger, Maximilian Schmitt, Florian Boesch is Adagio (slowly with great expression), since this song has a tempo of 76 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
C Minor is the music key of this track. Because this track belongs in the C Minor key, the camelot key is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony No.9 in E minor, Op.95 "From the New World": 3. Scherzo (Molto vivace) | Antonín Dvořák, Cleveland Orchestra, Christoph von Dohnányi | E Minor | 1 | 9A | 127 BPM | ||
Die Schöpfung, Hob. XXI:2, Erster Teil: II. Rezitativ mit Chor "Im Anfange schuf Gott Himmel und Erde" | Joseph Haydn, Collegium Vocale Gent, Orchestre des Champs-Élysées, Philippe Herreweghe, Rudolf Rosen, Maximilian Schmitt | A♭ Major | 0 | 4B | 127 BPM | ||
Missa Solemnis in D Major, Op. 123: III. Credo: Credo | Ludwig van Beethoven, Nikolaus Harnoncourt, Concentus Musicus Wien | D Minor | 1 | 7A | 136 BPM | ||
Schicksalslied, Op. 54: Orchestral Postlude with Choir (alternate version) | Johannes Brahms, Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Helmuth Rilling | A Major | 0 | 11B | 82 BPM | ||
Locus iste, WAB 23 | Anton Bruckner, St. Bride's Church Choir, Fleet Street, Robert Jones | C Major | 0 | 8B | 78 BPM | ||
Dido and Aeneas / Act 1: "Ah! Belinda, I am prest with torment" | Henry Purcell, Jessye Norman, Marie McLaughlin, English Chamber Orchestra Chorus, English Chamber Orchestra, Raymond Leppard | C Minor | 0 | 5A | 101 BPM | ||
Wesendonck Lieder, WWV 91: Träume | Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis | A♭ Major | 1 | 4B | 76 BPM | ||
The Rake's Progress / Act 1/Scene 1: "The woods are green" | Igor Stravinsky, Deborah York, Ian Bostridge, Martin Robson, London Symphony Orchestra, John Eliot Gardiner | A Major | 1 | 11B | 77 BPM | ||
Mass No. 7 in B-Flat Major, Hob. XXII:7, "Missa brevis Sancti Joannis de Deo", "Kleine Orgelsolomesse" (Little Organ Mass): Benedictus | Joseph Haydn, Ann Hoyt, Trinity Church Choir, New York, Dongsok Shin, Rebel Baroque Orchestra, Owen Burdick | E♭ Major | 1 | 5B | 112 BPM | ||
Requiem, Op.48: 1. Introit et Kyrie (Chorus) | Gabriel Fauré, Philharmonia Orchestra, Carlo Maria Giulini, Timothy Farrell, Philharmonia Chorus London, Horst Neumann | B♭ Major | 0 | 6B | 87 BPM |