Johann Sebastian Bach, Sabine Devieilhe, Raphael Pichon's 'Bach, JS: Jauchzet Gott in allen Landen, BWV 51: No. 2, Rezitativ. "Wir beten zu dem Tempel an"' came out on November 5, 2021. The duration of Bach, JS: Jauchzet Gott in allen Landen, BWV 51: No. 2, Rezitativ. "Wir beten zu dem Tempel an" is about two minutes long, specifically at 2:12. This song does not appear to have any foul language. Bach, JS: Jauchzet Gott in allen Landen, BWV 51: No. 2, Rezitativ. "Wir beten zu dem Tempel an"'s duration is considered a little bit shorter than the average duration of a typical track. The song is number 21 out of 24 in Bach & Handel by Sabine Devieilhe, Ensemble Pygmalion, Raphael Pichon. Bach, JS: Jauchzet Gott in allen Landen, BWV 51: No. 2, Rezitativ. "Wir beten zu dem Tempel an" 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 Bach, JS: Jauchzet Gott in allen Landen, BWV 51: No. 2, Rezitativ. "Wir beten zu dem Tempel an" by Johann Sebastian Bach, Sabine Devieilhe, Raphael Pichon is Andante (at a walking pace), since this song has a tempo of 78 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
This song is in the music key of A♭ Minor. Because this track belongs in the A♭ Minor key, the camelot key is 1A. So, the perfect camelot match for 1A would be either 1A or 12B. While, a low energy boost can consist of either 1B or 2A. For moderate energy boost, you would use 10A and a high energy boost can either be 3A or 8A. However, if you are looking for a low energy drop, finding a song with a camelot key of 12A would be a great choice. Where 4A would give you a moderate drop, and 11A or 6A would be a high energy drop. Lastly, 4B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
BWV82: Aria: Ich freue mich auf meinen Tod | Johann Sebastian Bach, Lorraine Hunt Lieberson | D♭ Minor | 1 | 12A | 82 BPM | ||
Dido and Aeneas / Act 3: "Your counsel all is urged in vain...But death, alas" | Henry Purcell, Jessye Norman, Marie McLaughlin, Thomas Allen, English Chamber Orchestra Chorus, English Chamber Orchestra, Raymond Leppard | G Minor | 1 | 6A | 86 BPM | ||
Porpora: Semiramide riconosciuta, Act II: "Tradita, sprezzata" (Semiramide) | Nicola Porpora, Nathalie Stutzmann, Orfeo 55 | E♭ Minor | 4 | 2A | 101 BPM | ||
Jesu, meines Lebens Leben in D Minor, BuxWV 62: II. Ciaconna | Dietrich Buxtehude, Vox Luminis, Lionel Meunier, Ensemble Masques, Olivier Fortin | D Minor | 1 | 7A | 118 BPM | ||
Matthäus-Passion: Erster Teil, 4a. Evangelista Da versammleten sich die Hohenpriester 4b. Chorus I & II Ja nicht auf das Fest 4c. Evangelista Da nun Jesus war zu Bethanien 4d. Chorus I Wozu dienet dieser Unrat 4e. Evangelista, Jesus Da das Jesus merkete | Johann Sebastian Bach, Werner Güra, Johannes Weisser, Akademie für Alte Musik Berlin, René Jacobs | D♭ Minor | 2 | 12A | 205 BPM | ||
Mit zarten und vergnügten Trieben, BWV 36b (Arie) | Johann Sebastian Bach, Núria Rial, Julia Schröder | A♭ Major | 0 | 4B | 71 BPM | ||
Dido and Aeneas / Act 2: Ritornelle - "Thanks to these lonesome vales" | Henry Purcell, Emma Kirkby, The Academy Of Ancient Music Chorus, Academy of Ancient Music, Christopher Hogwood | D♭ Minor | 1 | 12A | 70 BPM | ||
All'imperio d'Amore: 1. Toccata "La Renuccini" | Girolamo Fantini, Ensemble Pygmalion, Raphael Pichon | D Major | 4 | 10B | 137 BPM | ||
Symphony in A Major, J-C 62: II. Andante e pianissimo | Giovanni Battista Sammartini, Aradia Ensemble, Kevin Mallon | A♭ Minor | 0 | 1A | 104 BPM | ||
Manna: Laudate pueri: II. Quis sicut Dominus | Gennaro Manna, Jakub Józef Orliński, Il pomo d'oro Choir, Francesco Corti, Il Pomo D'oro | B Minor | 2 | 10A | 91 BPM |
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