"Stabat Mater: 12. Quando corpus" by Giovanni Battista Pergolesi, Mieke van der Sluis, Gérard Lesne, Rene Clemencic, Clemencic Consort was released on January 1, 1999. With this song being about 5 minutes long, at 4:57, "Stabat Mater: 12. Quando corpus" by Giovanni Battista Pergolesi, Mieke van der Sluis, Gérard Lesne, Rene Clemencic, Clemencic Consort 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 17 in the song's album "Pergolesi-Salve regina-Stabat mater". In this album, this song's track order is #17. Furthermore, we believe that the track originated from France. Stabat Mater: 12. Quando corpus is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Stabat Mater: 12. Quando corpus by Giovanni Battista Pergolesi, Mieke van der Sluis, Gérard Lesne, Rene Clemencic, Clemencic Consort having a テンポ of 80 with a half-time of 40 テンポ and a double-time of 160 テンポ, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 3/4.
This song is in the music key of E Minor. Which also means that the camelot key for this song is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Brandenburg Concerto No. 2 In F Major, Bwv 1047: II. Andante | Cologne Chamber Orchestra, Johann Sebastian Bach | D Minor | 1 | 7A | 124 BPM | ||
Requiem, Op. 48: III. Offertoire | Gabriel Fauré, Laurence Equilbey, Accentus, Orchestre National De France | D Major | 1 | 10B | 76 BPM | ||
L'incoronazione di Poppea, SV 308 / Act III: "Pur ti miro" | Claudio Monteverdi, Sylvia McNair, Dana Hanchard, English Baroque Soloists, John Eliot Gardiner | G Major | 0 | 9B | 125 BPM | ||
Les plaisirs: Sarabande | Jean-Baptiste Lully, Mary Enid Haines, Sharla Nafziger, Aradia Ensemble, Kevin Mallon | F♯ Minor | 0 | 11A | 144 BPM | ||
Pergolesi: Confitebor: II. Confessor et magnificentia | Giovanni Battista Pergolesi, Philippe Jaroussky, Diego Fasolis, I Barocchisti | F♯ Major | 1 | 2B | 79 BPM | ||
Mystery (Rosary) Sonata No. 2, "The Visitation": I. — | Heinrich Ignaz Franz von Biber, Sirkka-Liisa Kaakinen, Battalia | A♭ Major | 0 | 4B | 78 BPM | ||
Rinaldo, HWV 7b: Act I Scene 7: Aria: Cara sposa, amante cara, dove sei? (Rinaldo) | George Frideric Handel, Marion Newman, Laura Whalen, Kimberley Barber, Jennifer Ens Modolo, Sean Watson, Barbara Hannigan, Giles Tomkins, Nicole Bower, Catherine Affleck, Melinda Delorme, Lenard Whiting, Opera in Concert, Aradia Ensemble, Kevin Mallon | E♭ Minor | 1 | 2A | 92 BPM | ||
L'incoronazione di Poppea: "Pur ti miro" | Claudio Monteverdi, Pianca Luca, Roberta Invernizzi, Sonia Prina, Ensemble Claudiana | D♭ Minor | 5 | 12A | 83 BPM | ||
Matthäus-Passion: Erster Teil, 1. Chorus I & II Kommt, ihr Töchter, helft mir klagen | Johann Sebastian Bach, RIAS Kammerchor, Staats- und Domchor Berlin, Akademie für Alte Musik Berlin, René Jacobs | E♭ Minor | 3 | 2A | 77 BPM | ||
Oboe Concerto in G Minor, Op. 9, No. 8: III. Allegro | Tomaso Albinoni, Anthony Camden, London Virtuosi, John Georgiadis | G Minor | 3 | 6A | 108 BPM |