"The Seven Last Words of Christ, Hob. XX:1a, Op. 51: III. Fürwahr, Ich Sag es Dir: Grave e cantabile" by Hana Stolfova-Bandova, Peter Mikulas, Jozef Kandlak, Slovak Philharmonic, Magdaléna Hajóssyová was released on March 10, 2009. Since The Seven Last Words of Christ, Hob. XX:1a, Op. 51: III. Fürwahr, Ich Sag es Dir: Grave e cantabile 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 track order of this song in Various Artists's "Joseph Haydn: The Essential Works - 200 Year Anniversary Collection" album is number 41 out of 59. The Seven Last Words of Christ, Hob. XX:1a, Op. 51: III. Fürwahr, Ich Sag es Dir: Grave e cantabile 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 The Seven Last Words of Christ, Hob. XX:1a, Op. 51: III. Fürwahr, Ich Sag es Dir: Grave e cantabile by Hana Stolfova-Bandova, Peter Mikulas, Jozef Kandlak, Slovak Philharmonic, Magdaléna Hajóssyová to be Adagio (slowly with great expression) because the track has a tempo of 73 BPM, a half-time of 36BPM, and a double-time of 146 BPM. 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 E♭ Major. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Simple Symphony, Op. 4: IV. Frolicsome Finale | Benjamin Britten, Budapest Strings, Karoly Botvay | G Major | 2 | 9B | 144 BPM | ||
Renaissance Concerto: III. Recitative (After Monteverdi) | Lukas Foss, Amy Porter, Buffalo Philharmonic Orchestra, Joann Falletta | A Minor | 1 | 8A | 147 BPM | ||
Te deum, LWV 55: III. Te per orbem terrarum | Jean-Baptiste Lully, Stephane Fuget, Les Épopées | B♭ Major | 6 | 6B | 94 BPM | ||
Symphony No. 4 in D Minor, Op. 25: III. Intermezzo. Larghetto | Louis Théodore Gouvy, Deutsche Radio Philharmonie Saarbrücken-Kaiserslautern, Jacques Mercier | D Major | 0 | 10B | 82 BPM | ||
The Long Day Closes: I. Main Titles | Milo Paulus | E Major | 2 | 12B | 107 BPM | ||
Symphony No. 1: III. Intermezzo | Henri Dutilleux, Gustavo Gimeno, Orchestre Philharmonique Du Luxembourg | E Major | 4 | 12B | 163 BPM | ||
Ray | Philippe Rombi | C Minor | 0 | 5A | 80 BPM | ||
Elijah, Op. 70: "O Thou, Who Makest" (Recitative & Chorus) | Felix Mendelssohn, Simon Keenlyside, William Whitehead, Paul McCreesh, Gabrieli | B♭ Major | 2 | 6B | 72 BPM | ||
Orchestral Variations - 'The Seeds Long Hidden': Variation 5 | Anthony Payne, BBC Symphony Orchestra, Martyn Brabbins | B♭ Minor | 1 | 3A | 73 BPM | ||
Katya Kabanova, JW I/8, Act II Scene 2: Introduction | Leoš Janáček, Sir Simon Rattle, London Symphony Orchestra | A♭ Major | 0 | 4B | 79 BPM |
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