"Magnificat: Sicut Erat in Principio" by Nicola Porpora, San Francisco Girls Chorus was released on January 1, 1998. The duration of Magnificat: Sicut Erat in Principio is about two minutes long, specifically at 2:06. This song does not appear to have any foul language. Magnificat: Sicut Erat in Principio's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Carl Orff, Lynne Dawson, John Daniecki, Kevin McMillan, San Francisco Girls Chorus, San Francisco Boys Chorus, San Francisco Symphony Chorus, San Francisco Symphony, Herbert Blomstedt, San Francisco Girls Chorus's "Music from the Venetian Ospedali" album is number 20 out of 32. Magnificat: Sicut Erat in Principio 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.
We consider the tempo marking of Magnificat: Sicut Erat in Principio by Nicola Porpora, San Francisco Girls Chorus to be Larghissimo because the track has a tempo of 0 テンポ, a half-time of 0テンポ, and a double-time of 0 テンポ. Based on that, the speed of the song's tempo is slow.
This song has a musical key of A♭ Minor. Because this track belongs in the A♭ Minor key, the camelot key is 1A. So, the perfect camelot match for 1A would be either 1A or 12B. While, a low energy boost can consist of either 1B or 2A. For moderate energy boost, you would use 10A and a high energy boost can either be 3A or 8A. However, if you are looking for a low energy drop, finding a song with a camelot key of 12A would be a great choice. Where 4A would give you a moderate drop, and 11A or 6A would be a high energy drop. Lastly, 4B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Semiramide riconosciuta: "Passaggier che sulla sponda" | Nicola Porpora, Riccardo Minasi, Il Pomo D'oro, Franco Fagioli | D♭ Major | 4 | 3B | 126 BPM | ||
In Windsor Forest: No. 5, Epilogue | Ralph Vaughan Williams, London Choral Sinfonia, Michael Waldron | G Major | 1 | 9B | 79 BPM | ||
Tilge, Hochster, meine Sunden (Soprano, Alto) | Johann Sebastian Bach, Monika Frimmer, Kai Wessel, Munich Neue Hofkapelle, Christian Brembeck | F Minor | 2 | 4A | 151 BPM | ||
La Giuditta: Part I: Aria: Turbe timide, che fate? (Giuditta) | Alessandro Scarlatti, Sophie Landy, Raphael Pichon, Carl Ghazarossian, Ensemble Baroque de Nice, Gilbert Bezzina | B Major | 5 | 1B | 112 BPM | ||
Missa S. Marcellini: I. Kyrie - Live at Melk Abbey, 6/10/2000 | Johann Beer, Franz Raml | B♭ Minor | 1 | 3A | 77 BPM | ||
Magnificat, W. E22: Gloria Patri et filio (Chorus) | Johann Christian Bach, Elisabeth Scholl, Ruth Sandhoff, Andreas Karasiak, Gotthold Schwarz, Dresden Chamber Choir, La Stagione Frankfurt, Michael Schneider | B Major | 3 | 1B | 64 BPM | ||
Litaniae Omnium Sanctorum, ZWV 153: Propitius esto | Jan Dismas Zelenka, Inégal Ensemble, Adam Viktora, Gabriela Eibenová, Marian Krejcik, Terry Wey, Cyril Auvity | A♭ Major | 2 | 4B | 121 BPM | ||
Polifemo: Aria: Vo presagendo - Galatea, Calipso | Nicola Porpora, Julia Lezhneva, Sonja Runje, George Petrou, Armonia Atenea | D♭ Minor | 2 | 12A | 83 BPM | ||
Te Deum: XIII. In te Domine speravi | Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Academy of Ancient Music | B Minor | 2 | 10A | 71 BPM | ||
Misa Tango: I. Kyrie | MartÍn Palmeri, Astoria, Philippe Gérard | G Minor | 0 | 6A | 112 BPM |