"All-night Vigil, Op. 37, "Vespers": Come, let us worship" by Sergei Rachmaninoff, Eugen Antoni, Raisa Palmu, Erja Wimeri, Finnish National Opera Chorus, Eric-Olof Söderström was released on October 17, 2004. With All-night Vigil, Op. 37, "Vespers": Come, let us worship being less than two minutes long, at 1:40, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. There are a total of 15 in the song's album "Rachmaninov: Vespers, Op. 37". In this album, this song's track order is #1. Furthermore, we believe that the track originated from Hong Kong. In terms of popularity, All-night Vigil, Op. 37, "Vespers": Come, let us worship is currently below average in popularity. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With All-night Vigil, Op. 37, "Vespers": Come, let us worship by Sergei Rachmaninoff, Eugen Antoni, Raisa Palmu, Erja Wimeri, Finnish National Opera Chorus, Eric-Olof Söderström having a テンポ of 100 with a half-time of 50 テンポ and a double-time of 200 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 4/4.
This song has a musical key of G Minor. Which also means that the camelot key for this song is 6A. So, the perfect camelot match for 6A would be either 6A or 5B. While, a low energy boost can consist of either 6B or 7A. For moderate energy boost, you would use 3A and a high energy boost can either be 8A or 1A. However, if you are looking for a low energy drop, finding a song with a camelot key of 5A would be a great choice. Where 9A would give you a moderate drop, and 4A or 11A would be a high energy drop. Lastly, 9B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Der Jüngling an der Quelle, D.300 | Franz Schubert, Jonas Kaufmann, Helmut Deutsch | A Major | 0 | 11B | 174 BPM | ||
Poème de Théophile de Viau: À Chloris | Reynaldo Hahn, Marie-Nicole Lemieux | E♭ Major | 1 | 5B | 59 BPM | ||
Samson et Dalila, Op. 47, R. 288 / Act 2: "Mon coeur s'ouvre à ta voix" | Camille Saint-Saëns, Grace Bumbry, Deutsches Symphonie-Orchester Berlin, Kulka János | E♭ Major | 2 | 5B | 89 BPM | ||
6 Moments musicaux, Op. 16: No. 1, Andantino | Sergei Rachmaninoff, Boris Giltburg | E Minor | 2 | 9A | 126 BPM | ||
Variations On An Original Theme, Op.36 "Enigma": 1. C.A.E. (L'istesso tempo) | Edward Elgar, BBC Symphony Orchestra, Leonard Bernstein | G Minor | 0 | 6A | 81 BPM | ||
Symphony No. 2 in C Minor "Resurrection": IV. Urlicht. Sehr feierlich, aber schlicht | Gustav Mahler, Lorin Maazel, Wiener Philharmoniker | B♭ Major | 2 | 6B | 130 BPM | ||
Der Rosenkavalier, Op.59 / Act 1: "Di rigori armato il seno" | Richard Strauss, Luciano Pavarotti, Wiener Philharmoniker, Sir Georg Solti | D♭ Major | 3 | 3B | 89 BPM | ||
Mass in B Minor, BWV 232 "Hohe Messe": No. 4 Chorus: Et incarnatus est | Johann Sebastian Bach, Carlo Maria Giulini, Bavarian Radio Symphony Orchestra | B Minor | 0 | 10A | 75 BPM | ||
Lorca Suite, Op. 72b: II. El Grito | Einojuhani Rautavaara, Finnish Radio Chamber Choir, Eric-Olof Söderström | F♯ Major | 1 | 2B | 78 BPM | ||
Suomenkielinen (Finnish Piece) | Kaija Saariaho, Johanna Koivusalo, Hannu Ryynänen, Tapiola Chamber Choir, Eric-Olof Söderström | F♯ Major | 2 | 2B | 107 BPM |