"Salve Regina in C minor (1736): 2. Ad te clamamus" by Giovanni Battista Pergolesi, Emma Kirkby, Academy of Ancient Music, Christopher Hogwood was released on January 1, 1989. With this song being around four minutes long, at 4:15, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. There are a total of 17 in the song's album "Pergolesi: Stabat Mater; Salve Regina". In this album, this song's track order is #14. Salve Regina in C minor (1736): 2. Ad te clamamus 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 Salve Regina in C minor (1736): 2. Ad te clamamus by Giovanni Battista Pergolesi, Emma Kirkby, Academy of Ancient Music, Christopher Hogwood having a テンポ of 85 with a half-time of 42 テンポ and a double-time of 170 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. Looking at the テンポ of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
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 | ||
---|---|---|---|---|---|---|---|
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 | ||
Stabat Mater: 3. O quam tristis | Giovanni Battista Pergolesi, Margaret Marshall, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | G Minor | 1 | 6A | 80 BPM | ||
Euridice, Scena I: Per quel vago boschetto | Jacopo Peri, Ensemble Albalonga, Aníbal E. Cetrangolo, Luca Dordolo, Sylva Pozzer, Alessandro Carmignani, Mirko Guadagnini, Alessandro Gargiulo | G Major | 0 | 9B | 101 BPM | ||
Ein deutsches Requiem (A German Requiem), Op. 45: VII. Selig sind die Toten | Johannes Brahms, Katherine Fuge, Matthew Brook, The Monteverdi Choir, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner | F Major | 1 | 7B | 134 BPM | ||
In darkness let me dwell | John Dowland, Andreas Scholl, Edin Karamazov | E Major | 0 | 12B | 83 BPM | ||
Dido and Aeneas, Z.626 / Act 3: "Thy Hand Belinda - When I Am Laid In Earth" | Henry Purcell, Catherine Bott, Academy of Ancient Music, Christopher Hogwood | F♯ Minor | 0 | 11A | 83 BPM | ||
Stabat Mater: 10. Fac ut portem | Giovanni Battista Pergolesi, Andreas Scholl, Les Talens Lyriques, Christophe Rousset | A Major | 0 | 11B | 173 BPM | ||
Armide, Act II, Scene 5: "Enfin, il est en ma puissance" (Armide) | Jean-Baptiste Lully, Collegium Vocale Gent, Philippe Herreweghe, Guillemette Laurens, La Chapelle Royale | D Minor | 2 | 7A | 141 BPM | ||
Stabat Mater (Hob. XXbis) 1767: I. Stabat Mater Dolorosa | Joseph Haydn, Anthony Rolfe Johnson, The English Concert, Trevor Pinnock, The English Concert Choir | B Minor | 1 | 10A | 135 BPM | ||
Exsultate, jubilate, K.165: 1. Exsultate, jubilate | Wolfgang Amadeus Mozart, Emma Kirkby, Academy of Ancient Music, Christopher Hogwood | F Major | 1 | 7B | 121 BPM |