"Requiem, Op.48: 1. Introit et Kyrie (Chorus)" by Gabriel Fauré, Philharmonia Orchestra, Carlo Maria Giulini, Timothy Farrell, Philharmonia Chorus London, Horst Neumann was released on January 1, 1986. Since Requiem, Op.48: 1. Introit et Kyrie (Chorus) is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The song is number 1 out of 8 in Fauré: Requiem / Ravel: Pavane pour une infante défunte by Gabriel Fauré, Kathleen Battle, Andreas Schmidt, Philharmonia Orchestra, Carlo Maria Giulini, Philharmonia Chorus, Maurice Ravel. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Requiem, Op.48: 1. Introit et Kyrie (Chorus) 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 Requiem, Op.48: 1. Introit et Kyrie (Chorus) by Gabriel Fauré, Philharmonia Orchestra, Carlo Maria Giulini, Timothy Farrell, Philharmonia Chorus London, Horst Neumann is Andante (at a walking pace), since this song has a tempo of 87 テンポ. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 3/4.
This song is in the music key of B♭ Major. This also means that this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Requiem, Op. 48: Libera me | Gabriel Fauré, Caroline Ashton, Stephen Varcoe, The Cambridge Singers, Simon Standage, John Scott, City of London Sinfonia, John Rutter | E♭ Major | 1 | 5B | 96 BPM | ||
Saint-Saëns: Samson et Dalila, Op. 47, Act II, Scene 3: Air. "Mon cœur s'ouvre à ta voix" (Dalila, Samson) | Camille Saint-Saëns, Myung-Whun Chung, Plácido Domingo, Waltraud Meier, Orchestre de l'Opéra National de Paris | D♭ Major | 2 | 3B | 80 BPM | ||
Paride ed Elena / Act 1: "O del mio dolce ardor" | Christoph Willibald Gluck, Anne Sofie von Otter, Paul Goodwin, The English Concert, Trevor Pinnock | E Minor | 1 | 9A | 133 BPM | ||
Nabucco / Act I: Gli arredi festivi giù cadano infranti | Giuseppe Verdi, Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | E Major | 1 | 12B | 80 BPM | ||
Le Comte Ory, Act I, Scene VIII, No. 4: En proie à la tristesse... Vous que l'on dit sensible... Céleste providence | Gioachino Rossini, Pretty Yende, Marco Armiliato | E♭ Major | 2 | 5B | 88 BPM | ||
St. Matthew Passion, BWV 244 - Part One: 1. Kommt, ihr Töchter, helft mir klagen | Johann Sebastian Bach, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | E Minor | 3 | 9A | 139 BPM | ||
Petite Messe solennelle - Kyrie: Kyrie (I) | Gioachino Rossini, Academy of St Martin in the Fields Chorus, Academy of St. Martin in the Fields, Sir Neville Marriner | E♭ Major | 4 | 5B | 124 BPM | ||
Serse (Xerxes), HWV 40, Act I: Ombra Mai Fu, "Largo" | Camerata De Budapest, Jozsef Mukk, George Frideric Handel | F Major | 1 | 7B | 86 BPM | ||
Elgar: Sea Pictures, Op. 37: No. 3, A Sabbath Morning at Sea | Edward Elgar, Janet Baker, London Symphony Orchestra, Sir John Barbirolli | C Major | 1 | 8B | 86 BPM | ||
Giulio Cesare / Act 3: "Piangerò la sorte mia" | George Frideric Handel, Patricia Petibon, Venice Baroque Orchestra, Andrea Marcon | E♭ Major | 1 | 5B | 124 BPM |