"Stabat Mater, Op. 58: III. Eja, Mater, fons amoris (Andante con moto)" by Antonín Dvořák, Philippe Herreweghe, Collegium Vocale Gent, Royal Flemish Philharmonic was released on 2011. Stabat Mater, Op. 58: III. Eja, Mater, fons amoris (Andante con moto) is about six minutes long, preciously at 6:29, making this song fairly long compared to other songs. The song is number 3 out of 10 in Dvořák: Stabat Mater by Antonín Dvořák, Philippe Herreweghe, Antwerp Symphony Orchestra, Collegium Vocale Gent. Going off of the ISRC code of this track, we detected that the origin of this track is from Belgium. Stabat Mater, Op. 58: III. Eja, Mater, fons amoris (Andante con moto) 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 Stabat Mater, Op. 58: III. Eja, Mater, fons amoris (Andante con moto) by Antonín Dvořák, Philippe Herreweghe, Collegium Vocale Gent, Royal Flemish Philharmonic is Adagio (slowly with great expression), since this song has a tempo of 72 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
C Minor is the music key of this track. Because this track belongs in the C Minor key, the camelot key is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Te Deum, H. 146: III. Te aeternum Patrem | Marc-Antoine Charpentier, Véronique Gens, William Christie, Gilles Ragon, Jean-Paul Fouchécourt, Les Arts Florissants, Bernard Deletré | D♭ Major | 3 | 3B | 116 BPM | ||
Requiem in C Minor: III. Dies irae | Luigi Cherubini, Filharmonie Brno, Czech Philharmonic Chorus Brno, Petr Fiala | C Minor | 1 | 5A | 85 BPM | ||
Gloria: Domine Fili unigenite | Antonio Vivaldi, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | E Major | 2 | 12B | 79 BPM | ||
Dichterliebe, Op.48: 7. Ich grolle nicht | Robert Schumann, Dietrich Fischer-Dieskau, Christoph Eschenbach | C Major | 2 | 8B | 106 BPM | ||
Requiem in C Minor: II. Graduale | Luigi Cherubini, Martin Pearlman, Boston Baroque | G Major | 1 | 9B | 81 BPM | ||
Rodelinda / Act 1: Dove sei, amato bene? | George Frideric Handel, Andreas Scholl, Accademia Bizantina, Ottavio Dantone | E♭ Major | 1 | 5B | 130 BPM | ||
Fauré: Requiem, Op. 48: II. Offertoire | Gabriel Fauré, Daniel Barenboim, Dietrich Fischer-Dieskau, Edinburgh Festival Chorus, Orchestre de Paris | E♭ Major | 0 | 5B | 70 BPM | ||
Grande Messe des Morts: XXIII. Agnus Dei: Moderato | Francois-Joseph Gossec, Roberta Invernizzi, Maite Arruabarrena, Howard Crook, Claude Darbellay, Radio Svizzera Choir, Lugano, Radio Svizzera Italiana Orchestra, Diego Fasolis | C Minor | 0 | 5A | 132 BPM | ||
Tosca: Act III: O dolci mani mansuete e pure (Cavaradossi) | Giacomo Puccini, Nelly Miricioiu, Giorgio Lamberti, Silvano Carroli, Andrea Piccinni, Miroslav Dvorský, Jan Durco, Stanislav Beňačka, Jozef Spacek, Slovak Philharmonic Chorus, Slovak Radio Symphony Orchestra, Raimo Sirkia, Slovak Chamber Choir, Alexander Rahbari, Markus Lehtinen | F Major | 0 | 7B | 86 BPM | ||
Stabat Mater: 4. Quae moerabat | Giovanni Battista Pergolesi, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | E♭ Major | 1 | 5B | 75 BPM |