"Laudate Pueri: II. A solis ortu" by Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Giles Underwood, Academy of Ancient Music was released on May 24, 2024. With Laudate Pueri: II. A solis ortu being less than two minutes long, at 1:37, 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. The track order of this song in Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Academy of Ancient Music's "How Are The Mighty Fallen: Choral Music by Giovanni Bononcini" album is number 16 out of 27. On top of that, United Kingdom appears to be the country where this track was created. Laudate Pueri: II. A solis ortu 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.
We consider the tempo marking of Laudate Pueri: II. A solis ortu by Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Giles Underwood, Academy of Ancient Music to be Adagio (slowly with great expression) because the track has a tempo of 71 テンポ, a half-time of 36テンポ, and a double-time of 142 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of B Minor. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
21. Coro: Finale Hier liegen wir gerührte Sünder | Georg Anton Kreusser, Domkantorei St. Martin, Karsten Storck, Mainzer Domorchester | F Major | 2 | 7B | 72 BPM | ||
Te deum, LWV 55: XIV. Miserere nostri Domine, miserere nostri | Jean-Baptiste Lully, Stephane Fuget, Les Épopées, Les Pages & Les Chantres du Centre de Musique Baroque de Versailles | B♭ Major | 6 | 6B | 94 BPM | ||
Missa pro Quadragesima, MH 551: Credo | Michael Haydn, Purcell Choir, Orfeo Orchestra, members, Gyorgy Vashegyi | D Major | 1 | 10B | 71 BPM | ||
In tribulationibus, in angustiis: No. 5, O mons delitiarum | Rinaldo Alessandrini, Concerto Italiano, Andrés Montilla, Luca Cervoni, Gabriele Lombardi | A Major | 3 | 11B | 93 BPM | ||
Missa Sancti Spiritus, ZWV 4: Sanctus | Jan Dismas Zelenka, Ensemble Inégal, Adam Viktora | B Major | 3 | 1B | 98 BPM | ||
Biber: Plaudite tympana a 54 | Heinrich Ignaz Franz von Biber, Amsterdam Baroque Orchestra, Ton Koopman, Amsterdam Baroque Choir | A♭ Major | 2 | 4B | 85 BPM | ||
Miserere in G Minor, HocJ C1.23: I. Miserere, 1. Miserere mei Deus | Niccolò Jommelli, Il Gardellino, Peter Van Heyghen | B Minor | 0 | 10A | 140 BPM | ||
Alceste, Wq. 44 (Excerpts): Parez vos fronts de fleurs nouvelles | Christoph Willibald Gluck, Bavarian Radio Symphony Orchestra, Serge Baudo, Jessye Norman | G Major | 0 | 9B | 84 BPM | ||
Buccinate in neomenia tuba | Giovanni Gabrieli, Capella De La Torre, Bavarian Radio Chorus, Katharina Bauml, Florian Helgath | G Major | 1 | 9B | 93 BPM | ||
Les fêtes d'Hébé, RCT 41, Act I Scene 5: Revenez, tendre amant, embellissez ces lieux | Jean-Philippe Rameau, Lóránt Najbauer, Purcell Choir, Orfeo Orchestra, Gyorgy Vashegyi | E♭ Major | 0 | 5B | 99 BPM |