"Stabat Mater, FP 148: 2. Cujus animam gementem" by Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver was released on January 1, 1989. With Stabat Mater, FP 148: 2. Cujus animam gementem being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. There are a total of 18 in the song's album "Poulenc: Gloria; Stabat Mater". In this album, this song's track order is #8. Based on our statistics, Stabat Mater, FP 148: 2. Cujus animam gementem's popularity is not that popular right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Stabat Mater, FP 148: 2. Cujus animam gementem by Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver having a テンポ of 124 with a half-time of 62 テンポ and a double-time of 248 テンポ, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the テンポ of this song, this song might go great with walking. The time signature for this track is 3/4.
F Minor is the music key of this track. Which also means that the camelot key for this song is 4A. So, the perfect camelot match for 4A would be either 4A or 3B. While, a low energy boost can consist of either 4B or 5A. For moderate energy boost, you would use 1A and a high energy boost can either be 6A or 11A. However, if you are looking for a low energy drop, finding a song with a camelot key of 3A would be a great choice. Where 7A would give you a moderate drop, and 2A or 9A would be a high energy drop. Lastly, 7B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Carmina Burana / 3. Cour d'amours: "Amor volat undique" | Carl Orff, June Anderson, Chicago Symphony Orchestra, James Levine, Glen Ellyn Children's Chorus | D Minor | 2 | 7A | 135 BPM | ||
Stabat Mater, Op. 58: IX. Inflammatus et accensus (Andante maestoso) | Antonín Dvořák, Philippe Herreweghe, Royal Flemish Philharmonic, Michaela Selinger | G Major | 1 | 9B | 92 BPM | ||
Orfeo ed Euridice: Act II, Scene 1, Ballo e Aria con Coro: Deh! Placatevi con me | Christoph Willibald Gluck, René Jacobs, Freiburger Barockorchester, RIAS Kammerchor | E♭ Major | 1 | 5B | 179 BPM | ||
Don Giovanni, ossia Il dissoluto punito, K.527 / Act 1: "Batti, batti, o bel Masetto" | Wolfgang Amadeus Mozart, Kathleen Battle, Metropolitan Opera Orchestra, James Levine | F Major | 0 | 7B | 84 BPM | ||
La Coccinelle, WD 87 | Georges Bizet, Sylvia McNair, Roger Vignoles | A♭ Major | 0 | 4B | 132 BPM | ||
Lohengrin, WWV 75 / Act 3: In fernem Land, unnahbar euren Schritten | Richard Wagner, James King, Karl Ridderbusch, Bavarian Radio Symphony Orchestra, Rafael Kubelík, Bavarian Radio Chorus, Heinz Mende | E♭ Major | 4 | 5B | 124 BPM | ||
Immolation (With Our Lives, We Give Life) | John Williams, Boston Symphony Orchestra | F Major | 0 | 7B | 86 BPM | ||
Mozart: Don Giovanni, K. 527, Act 1 Scene 1: "Non sperar, se non m'uccidi" (Donna Anna, Don Giovanni, Leporello) | Wolfgang Amadeus Mozart, Carlo Maria Giulini, Philharmonia Orchestra | B♭ Major | 3 | 6B | 94 BPM | ||
Valses nobles et sentimentales, M.61: 3. Modéré | Maurice Ravel, Boston Symphony Orchestra, Seiji Ozawa | E♭ Major | 0 | 5B | 129 BPM | ||
Carmina Burana / 3. Cour d'amours: "Tempus est iocundum" | Carl Orff, June Anderson, Bernd Weikl, Chicago Symphony Orchestra, James Levine, Chicago Symphony Chorus, Glen Ellyn Children's Chorus | D Minor | 2 | 7A | 135 BPM |