"Messa di Gloria, Op.posth.: Kyrie: Kyrie eleison, Christe eleison" by Giacomo Puccini, London Symphony Chorus, London Symphony Orchestra, Antonio Pappano had its release date on 2001. With this song being about 5 minutes long, at This song 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. There are a total of 18 in the song's album "Puccini: Messa di Gloria, Preludio sinfonico & Crisantemi". In this album, this song's track order is #2. Furthermore, we believe that the track originated from United Kingdom. Messa di Gloria, Op.posth.: Kyrie: Kyrie eleison, Christe eleison 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.
With Messa di Gloria, Op.posth.: Kyrie: Kyrie eleison, Christe eleison by Giacomo Puccini, London Symphony Chorus, London Symphony Orchestra, Antonio Pappano having a テンポ of 65 with a half-time of 32 テンポ and a double-time of 130 テンポ, we would consider this track to have a Larghetto (rather broadly) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
This song is in the music key of C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
War Requiem, Op. 66: i. Requiem Aeternam - Requiem aeternam | Benjamin Britten, Gianandrea Noseda, London Symphony Chorus, London Symphony Orchestra | F Major | 0 | 7B | 133 BPM | ||
Petite messe solennelle: Gloria in excelsis Deo | Gioachino Rossini, Orchestre de chambre de Paris, Accentus, Ottavio Dantone, Julia Lezhneva, Michael Spyres, Alexander Vinogradov, Delphine Galou | F Major | 1 | 7B | 106 BPM | ||
Tannhäuser - Paris version / Act II: "Freudig begrüßen wir die edle Halle" | Richard Wagner, Chorus of the Royal Opera House, Covent Garden, Philharmonia Orchestra, Giuseppe Sinopoli | B Major | 2 | 1B | 122 BPM | ||
Stabat Mater: Stabat Mater: I. Stabat mater dolorosa | Francis Poulenc, Cappella Amsterdam, Estonian National Symphony Orchestra, Estonian Philharmonic Chamber Choir, Daniel Reuss | A Minor | 1 | 8A | 135 BPM | ||
Requiem, Op. 48 (version pour grand orchestre): Agnus Dei | Gabriel Fauré, Collegium Vocale Gent, Philippe Herreweghe, La Chapelle Royale, Joseph Moor | D Minor | 0 | 7A | 143 BPM | ||
Die tote Stadt (The Dead City), Op. 12: Act I Scene 5: Gluck, das mir verblieb (Marietta, Paul) | Erich Wolfgang Korngold, Klaus Florian Vogt, Tatiana Pavlovskaya, Michael Nagy, Hedwig Fassbender, Anna Ryberg, Jenny Carlstedt, Julian Prégardien, Hans-Jurgen Lazar, Frankfurt Opera Chorus, Frankfurt Opera Children's Chorus, Frankfurt Opera and Museum Orchestra, Sebastian Weigle | B♭ Major | 1 | 6B | 83 BPM | ||
Stabat Mater, FP 148: 1. Stabat Mater dolorosa | Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver | A Minor | 1 | 8A | 77 BPM | ||
Adriana Lecouvreur (1986 Digital Remaster): Ecco: respiro appena...Io son l'umile ancella | Maria Callas, Tullio Serafin | A♭ Major | 1 | 4B | 92 BPM | ||
Tchaikovsky: Swan Lake, Op. 20, Act 2: Scene (Allegro) | Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra | D Major | 1 | 10B | 124 BPM | ||
E l'uccellino | Giacomo Puccini, Tine Thing Helseth, Kathryn Stott | A Major | 0 | 11B | 110 BPM |