"Te Deum, Op. 22: Christe, rex gloriae - Live" by Hector Berlioz, Martin Haselböck, European Community Youth Orchestra, Claudio Abbado, London Symphony Chorus, London Philharmonic Choir, Wooburn Singers, St. Alban's School Choir, Haberdasher's Aske's School Boy's Choir, Southend Boys Choir, Desborough School Choir, The Choir of Forest School, Winnersh, The Choirboys of High Wycombe Parish Church was released on January 1, 1982. With this song being about 5 minutes long, at 5:16, "Te Deum, Op. 22: Christe, rex gloriae - Live" by Hector Berlioz, Martin Haselböck, European Community Youth Orchestra, Claudio Abbado, London Symphony Chorus, London Philharmonic Choir, Wooburn Singers, St. Alban's School Choir, Haberdasher's Aske's School Boy's Choir, Southend Boys Choir, Desborough School Choir, The Choir of Forest School, Winnersh, The Choirboys of High Wycombe Parish Church is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The song is number 4 out of 6 in Berlioz: Te Deum by Hector Berlioz, Francisco Araiza, Martin Haselböck, London Symphony Chorus, London Philharmonic Choir, Wooburn Singers, Boys Choirs, Richard Hickox, European Community Youth Orchestra, Claudio Abbado. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Te Deum, Op. 22: Christe, rex gloriae - Live 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.
The tempo marking of Te Deum, Op. 22: Christe, rex gloriae - Live by Hector Berlioz, Martin Haselböck, European Community Youth Orchestra, Claudio Abbado, London Symphony Chorus, London Philharmonic Choir, Wooburn Singers, St. Alban's School Choir, Haberdasher's Aske's School Boy's Choir, Southend Boys Choir, Desborough School Choir, The Choir of Forest School, Winnersh, The Choirboys of High Wycombe Parish Church is Adagio (slowly with great expression), since this song has a tempo of 67 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
This song is in the music key of B♭ Minor. Because this track belongs in the B♭ Minor key, the camelot key is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Symphony No. 3 in A Minor, Op. 56 "Scottish": Symphony No. 3 in A Minor, Op. 56 "Scottish": II. Vivace non troppo | Felix Mendelssohn, John Eliot Gardiner, London Symphony Orchestra | F Major | 2 | 7B | 135 BPM | ||
Bruch : Violin Concerto No.1 in G minor Op.26 : III Finale - Allegro energico | Max Bruch, Maxim Vengerov, Kurt Masur, Gewandhausorchester Leipzig | G Major | 2 | 9B | 90 BPM | ||
Das Liebesverbot: Overture | Richard Wagner, Staatskapelle Dresden, Giuseppe Sinopoli | G Major | 6 | 9B | 120 BPM | ||
The Bartered Bride: Overture | Bedřich Smetana, BBC Symphony Orchestra, Jiří Bělohlávek | F Major | 2 | 7B | 145 BPM | ||
Symphony No. 3 in D Minor, Part II: IV. Sehr langsam - Misterioso | Gustav Mahler, Leonard Bernstein, New York Philharmonic | A Major | 0 | 11B | 82 BPM | ||
Prince Igor (Knyaz Igor): Act III: Polovtsian March | Alexander Borodin, Angelina Shvachka, Dmytro Popov, Mykola Koval, Taras Shtonda, Mykola Hobdych, Kiev Chamber Choir, Ukraine National Radio Symphony Orchestra, Theodore Kuchar | A♭ Major | 3 | 4B | 128 BPM | ||
Konzertstück for 4 Horns and Orchestra in F Major, Op. 86: 4本のホルンと管弦楽のためのコンツェルトシュトゥック ヘ長調作品86 第1楽章 | Robert Schumann, Paavo Järvi, Deutsche Kammerphilharmonie Bremen | F Major | 0 | 7B | 70 BPM | ||
Brahms: Violin Concerto in D Major, Op. 77: II. Adagio | Johannes Brahms, Itzhak Perlman, Carlo Maria Giulini, Chicago Symphony Orchestra | F Major | 2 | 7B | 72 BPM | ||
Capriccio Espagnol: Variazioni | Nikolai Rimsky-Korsakov, London Philharmonic Orchestra, Alexander Lazarev, Joakim Svenheden | F Major | 1 | 7B | 81 BPM | ||
Les Troyens, Op. 29, H 133, Act IV: No. 35a. "Pardonne, Iopas" | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis, Ben Heppner, Michelle DeYoung | G Minor | 1 | 6A | 108 BPM |