"Haydn: The Seven Last Words, Op. 51, Hob. XX/1B: Sonata I. "Pater, dimitte illis, quia nesciunt, quid faciunt"" by Joseph Haydn, Cherubini-Quartett was released on March 15, 2024. Since Haydn: The Seven Last Words, Op. 51, Hob. XX/1B: Sonata I. "Pater, dimitte illis, quia nesciunt, quid faciunt" 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. There are a total of 135 in the song's album "The Complete Warner Classics Recordings". In this album, this song's track order is #2. Furthermore, we believe that the track originated from Germany. In terms of popularity, Haydn: The Seven Last Words, Op. 51, Hob. XX/1B: Sonata I. "Pater, dimitte illis, quia nesciunt, quid faciunt" is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Haydn: The Seven Last Words, Op. 51, Hob. XX/1B: Sonata I. "Pater, dimitte illis, quia nesciunt, quid faciunt" by Joseph Haydn, Cherubini-Quartett having a BPM of 110 with a half-time of 55 BPM and a double-time of 220 BPM, we would consider this track to have a Moderato (at a moderate speed) tempo marking. Because of this, we believe that the song has an overall moderate tempo. The time signature for this track is 4/4.
This song is in the music key of C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Mass No. 5 in E-Flat Major, Hob. XXII:4, "Missa in honorem BVM", "Missa Sancti Josephi", "Grosse Orgelsolomesse": Agnus Dei | Joseph Haydn, Ann Hoyt, Luthien Brackett, Stephen Sands, Richard Lippold, Trinity Church Choir, New York, Dongsok Shin, Rebel Baroque Orchestra, Owen Burdick | G Minor | 2 | 6A | 90 BPM | ||
Bassoon Concerto in C Major, RV 474: I. Allegro | Antonio Vivaldi, Tamás Benkócs, Nicolaus Esterhazy Sinfonia, Béla Drahos | C Major | 2 | 8B | 123 BPM | ||
Amadis de Gaule, W. G39: Act II Scene V: Gigue | Johann Christian Bach, Ulrike Sonntag, Elfie Hobarth, Ibolya Verebics, James Wagner, Wolfgang Schöne, Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Helmuth Rilling | E Major | 1 | 12B | 132 BPM | ||
Oboe Concerto in D Minor, Op. 9, No. 2: III. Allegro | Tomaso Albinoni, Anthony Camden, London Virtuosi, John Georgiadis | D Minor | 3 | 7A | 101 BPM | ||
Violin Concerto No. 1 in G Minor, Op. 26: III. Allegro energico | Max Bruch, Itzhak Perlman, Bernard Haitink, Concertgebouworkest | G Major | 3 | 9B | 97 BPM | ||
Czech Suite in D Major, Op. 39, B. 93: IV. Romanza. Andante con moto | Antonín Dvořák, Prague Chamber Orchestra, Josef Vlach | G Major | 1 | 9B | 142 BPM | ||
Kinderszenen, Op.15: 2. Kuriose Geschichte | Robert Schumann, Martha Argerich | D Major | 0 | 10B | 66 BPM | ||
12 Variations in C Major on "Ah, vous dirai-je Maman", K. 265: Variation No. 11 | Lang Lang | C Major | 0 | 8B | 72 BPM | ||
Overture (Suite) No. 2 in B Minor, BWV 1067: V. Polonaise - Double | Johann Sebastian Bach, Akademie für Alte Musik Berlin | B♭ Minor | 0 | 3A | 125 BPM | ||
Oboe Concerto No. 3 in G Minor, HWV 287: III. Sarabande: Largo | George Frideric Handel, Anthony Camden, City of London Sinfonia, Nicholas Ward | B♭ Major | 0 | 6B | 85 BPM |
Section: 0.8121826648712158
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