"Requiem in B-Flat Minor, Op. 89, B. 165: VII. Confutatis maledictis" by Antonín Dvořák, Czech Philharmonic Orchestra, Prague Philharmonic Choir, Wolfgang Sawallisch, Lubomir Matl was released on 1985. With this song being about 5 minutes long, at 4:35, "Requiem in B-Flat Minor, Op. 89, B. 165: VII. Confutatis maledictis" by Antonín Dvořák, Czech Philharmonic Orchestra, Prague Philharmonic Choir, Wolfgang Sawallisch, Lubomir Matl 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 7 out of 13 in Dvořák: Requiem by Antonín Dvořák, Various Artists. Going off of the ISRC code of this track, we detected that the origin of this track is from Czechia. Based on our statistics, Requiem in B-Flat Minor, Op. 89, B. 165: VII. Confutatis maledictis'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.
The tempo marking of Requiem in B-Flat Minor, Op. 89, B. 165: VII. Confutatis maledictis by Antonín Dvořák, Czech Philharmonic Orchestra, Prague Philharmonic Choir, Wolfgang Sawallisch, Lubomir Matl is Allegro (fast, quick, and bright), since this song has a tempo of 125 テンポ. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 4/4.
F Major is the music key of this track. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony in B Minor (arr. T. Finno for orchestra): I. Allegro ben marcato | Claude Debussy, Tony Finno, Orchestre National De Lyon, Jun Markl | C Major | 1 | 8B | 99 BPM | ||
Symphonic Studies, Op. 13 - Version 1852 with Etudes from 1837 version: Variation II. Marcato il canto | Robert Schumann, Mikhail Pletnev | D♭ Minor | 1 | 12A | 69 BPM | ||
Prelude In C Major, BWV 924 : Praeambulum In C Major, BWV 924 | Janos Sebestyen, Johann Sebastian Bach | C Major | 2 | 8B | 139 BPM | ||
Symphonie Espagnole In D Minor, Op.21: 1. Allegro non troppo | Édouard Lalo, Itzhak Perlman, Orchestre de Paris, Daniel Barenboim | D Minor | 1 | 7A | 75 BPM | ||
8 Humoresques, Op. 101, B. 187: No. 7. Poco lento e grazioso in G-Flat Major (arr. for violin and piano) | Anonymous, Antonín Dvořák, Takako Nishizaki, Terence Dennis | D Major | 1 | 10B | 105 BPM | ||
Rhapsodie Orientale, Op. 29: 1. Andante | Alexander Glazunov, Orchestre Symphonique de Montréal, Charles Dutoit | D♭ Major | 0 | 3B | 89 BPM | ||
Shéhérazade, Op. 35: I. The Sea and Sinbad's Ship | Nikolai Rimsky-Korsakov, Sergej Galaktionov, Gianandrea Noseda, Filarmonica Teatro Regio Torino | E Major | 1 | 12B | 136 BPM | ||
Mazurka in C Minor | Mikhail Glinka, Evgeny Soifertis | C Minor | 0 | 5A | 103 BPM | ||
Vocalise, Op. 34, No. 14 - Version For Cello And Piano | Sergei Rachmaninoff, Mischa Maisky, Pavel Gililov | E Minor | 8 | 9A | 128 BPM | ||
Antiche Danze Ed Arie Per Liuto (Ancient Airs And Dances), P. 114: IV. Italiana | Ottorino Respighi, Konstantin Scherbakov | B Minor | 0 | 10A | 197 BPM |