"Walton: Belshazzar's Feast: I. Thus Spake Isaiah" by William Walton, Sir Simon Rattle, Cleveland Orchestra Chorus, City of Birmingham Symphony Chorus, Thomas Hampson, City Of Birmingham Symphony Orchestra was released on July 8, 2022. Walton: Belshazzar's Feast: I. Thus Spake Isaiah appears to be safe for all ages as it is not explicit. This song is part of Walton: Symphony No. 1 & Belshazzar's Feast by William Walton, Sir Simon Rattle. The song's track number on the album is #5 out of 10 tracks. Based on our data, United Kingdom was the country where this track was produced or recorded. Walton: Belshazzar's Feast: I. Thus Spake Isaiah 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.
Since Walton: Belshazzar's Feast: I. Thus Spake Isaiah by William Walton, Sir Simon Rattle, Cleveland Orchestra Chorus, City of Birmingham Symphony Chorus, Thomas Hampson, City Of Birmingham Symphony Orchestra has a tempo of 76 beats per a minute, the tempo markings of this song would be Adagio (slowly with great expression). With Walton: Belshazzar's Feast: I. Thus Spake Isaiah being at 76 BPM, the half-time would be 38 BPM with a double-time of 152 BPM.In addition, we consider the tempo speed to be pretty slow for this song. The time signature for this track is 4/4.
The music key of this track is B♭ Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
The Arts and the Hours | Jean-Philippe Rameau, Víkingur Ólafsson | D♭ Major | 0 | 3B | 136 BPM | ||
Variations on an Original Theme, Op. 36 "Enigma": 9. Nimrod. Adagio (Arr. Parkin) | Edward Elgar, Sheku Kanneh-Mason, Ashok Klouda, Caroline Dearnley, Hannah Roberts, Josephine Knight, Ben Davies | B♭ Major | 1 | 6B | 90 BPM | ||
Façade: NO. 6. Tango-Pasodoble | William Walton, English Opera Company Ensemble, Peter Pears, Anthony Collins | D Major | 4 | 10B | 142 BPM | ||
Scottish Fantasy for Violin and Orchestra, Op. 46: I. Introduction: Grave, Adagio cantabile | Max Bruch, Joshua Bell, Academy of St. Martin in the Fields | E♭ Major | 2 | 5B | 60 BPM | ||
Andante Cantabile | Pyotr Ilyich Tchaikovsky, St. Lawrence String Quartet | B♭ Major | 0 | 6B | 90 BPM | ||
Vaughan Williams: The Lark Ascending (Excerpt) | Ralph Vaughan Williams, Andrew Davis, Tasmin Little, BBC Symphony Orchestra | E Minor | 0 | 9A | 174 BPM | ||
Mazurka in C Minor | Mikhail Glinka, Inga Fiolia | C Minor | 0 | 5A | 106 BPM | ||
Brook Green Suite: III. Dance | Gustav Holst, English Sinfonia, Howard Griffiths | C Major | 3 | 8B | 82 BPM | ||
Belshazzar's Feast: And in that same hour | William Walton, Christopher Purves, Huddersfield Choral Society, Leeds Philharmonic Chorus, Laudibus, English Northern Philharmonia, Simon Lindley, Paul Daniel | D♭ Major | 1 | 3B | 119 BPM | ||
Capriol Suite: 1. Basse-danse | Peter Warlock, Academy of St. Martin in the Fields, Nicholas Kraemer, Sir Neville Marriner | D Minor | 2 | 7A | 133 BPM |
Section: 0.7035324573516846
End: 0.7073628902435303