"Wer weiß, wie nahe mir mein Ende BWV 27" by Johann Sebastian Bach, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Johannete Zomer, Sandrine Piau, Sibylla Rubens, The Amsterdam Baroque Orchestra & Opera, Johannette Zomer was released on March 7, 2007. With this song being about 5 minutes long, at 4:46, "Wer weiß, wie nahe mir mein Ende BWV 27" by Johann Sebastian Bach, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Johannete Zomer, Sandrine Piau, Sibylla Rubens, The Amsterdam Baroque Orchestra & Opera, Johannette Zomer 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 track order of this song in Johann Sebastian Bach, Ton Koopman's "J.S. Bach: Cantatas Vol. 16" album is number 6 out of 62. On top of that, Netherlands appears to be the country where this track was created. Wer weiß, wie nahe mir mein Ende BWV 27 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.
We consider the tempo marking of Wer weiß, wie nahe mir mein Ende BWV 27 by Johann Sebastian Bach, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Johannete Zomer, Sandrine Piau, Sibylla Rubens, The Amsterdam Baroque Orchestra & Opera, Johannette Zomer to be Andante (at a walking pace) because the track has a tempo of 77 BPM, a half-time of 38BPM, and a double-time of 154 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 F♯ Major. This also means that this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Les plaisirs: Sarabande | Jean-Baptiste Lully, Mary Enid Haines, Sharla Nafziger, Aradia Ensemble, Kevin Mallon | F♯ Minor | 0 | 11A | 144 BPM | ||
Melodie from "Orfeo ed Euridice" (Dance of the Blessed Spirits) - Arr. Giovanni Sgambati | Christoph Willibald Gluck, Evgeny Kissin | D Minor | 0 | 7A | 103 BPM | ||
Cello Concerto No. 1 in C Major, Hob. VIIb:1: I. Moderato | Franz Joseph Haydn, Yo-Yo Ma, José-Luis Garcia, English Chamber Orchestra | C Major | 1 | 8B | 138 BPM | ||
Andante festivo for Strings and Timpani, JS 34b | Jean Sibelius, Lahti Symphony Orchestra, Osmo Vänskä | G Major | 2 | 9B | 65 BPM | ||
Music: Stolzel: Bist Du Bei Mir | John Shrapnel, Jeremy Siepmann, Johann Sebastian Bach | E♭ Major | 1 | 5B | 64 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 | ||
Solomon, HWV 67 / Act III: Sinfonia "The Arrival of the Queen of Sheba" | George Frideric Handel, The English Concert, Trevor Pinnock | A Major | 3 | 11B | 118 BPM | ||
Concerto in D Minor for Two Violins, BWV 1043: Vivace | Johann Sebastian Bach, Jascha Heifetz, Erick Friedman, Thornton Lofthouse, The New Symphony Orchestra Of London, Sir Malcolm Sargent | A Minor | 2 | 8A | 94 BPM | ||
Nocturnes, Op. 27: No. 2 in D-Flat Major | Frédéric Chopin, Arthur Rubinstein | D♭ Major | 0 | 3B | 77 BPM | ||
Le Tic-Toc-Choc, ou Les Maillotins: 18ème ordre, 3ème livre | François Couperin, Iddo Bar-Shaï | C Major | 3 | 8B | 145 BPM |
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