"Barmherziges Herze der ewigen Liebe, BWV 185: Chorale: Ich ruf zu dir, Herr Jesu Christ (Chorus)" by Johann Sebastian Bach, Magdalena Kozená, Nathalie Stutzmann, Paul Agnew, Nicolas Teste, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner was released on January 1, 2000. With Barmherziges Herze der ewigen Liebe, BWV 185: Chorale: Ich ruf zu dir, Herr Jesu Christ (Chorus) being less than two minutes long, at 1:14, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The song is number 12 out of 43 in Bach, J.S.: Cantatas, Vol. 3 - Bwv 24, 71, 88, 93, 131, 185 and 177 by Johann Sebastian Bach, John Eliot Gardiner. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. In terms of popularity, Barmherziges Herze der ewigen Liebe, BWV 185: Chorale: Ich ruf zu dir, Herr Jesu Christ (Chorus) is currently not that popular. 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 Barmherziges Herze der ewigen Liebe, BWV 185: Chorale: Ich ruf zu dir, Herr Jesu Christ (Chorus) by Johann Sebastian Bach, Magdalena Kozená, Nathalie Stutzmann, Paul Agnew, Nicolas Teste, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner is Moderato (at a moderate speed), since this song has a tempo of 110 BPM. With that information, we can conclude that the song has a moderate tempo. The time signature for this track is 1/4.
This song is in the music key of F♯ Minor. This also means that this song has a camelot key of 11A. So, the perfect camelot match for 11A would be either 11A or 10B. While, a low energy boost can consist of either 11B or 12A. For moderate energy boost, you would use 8A and a high energy boost can either be 1A or 6A. However, if you are looking for a low energy drop, finding a song with a camelot key of 10A would be a great choice. Where 2A would give you a moderate drop, and 9A or 4A would be a high energy drop. Lastly, 2B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Bach, JS: Concerto for Three Pianos in C Major, BWV 1064: I. Allegro | Johann Sebastian Bach, Jean-Pierre Wallez, Gabriel Tacchino, Jean-Philippe Collard, Michel Béroff, Orchestre de chambre de Paris | C Major | 2 | 8B | 83 BPM | ||
Choral-Vatiationen: Var. I. In canone all'Ottava | Igor Stravinsky, Philippe Herreweghe, Royal Flemish Philharmonic, Collegium Vocale Gent | C Major | 1 | 8B | 93 BPM | ||
Nocturnes, Op. 27: No. 2 in D-Flat Major | Frédéric Chopin, Arthur Rubinstein | D♭ Major | 0 | 3B | 77 BPM | ||
Bist du bei mir (Formerly Attrib. J.S. Bach as BWV 508, Notebook for Anna Magdalena Bach, 1725) | Gottfried Heinrich Stölzel, Daniil Trifonov | E♭ Major | 0 | 5B | 133 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 | ||
Keyboard Sonata in D Minor, Kk. 1 | Domenico Scarlatti, Ivo Pogorelich | D Minor | 1 | 7A | 107 BPM | ||
12 Romances, Op. 21: No. 7, How Fair This Spot (Arr. Sheku Kanneh-Mason for Cello and Piano) | Sergei Rachmaninoff, Sheku Kanneh-Mason, Isata Kanneh-Mason | A Major | 1 | 11B | 89 BPM | ||
The Wounded Heart, Op. 34, No. 1 (From "Elegiac Melodies") | Edvard Grieg, Yo-Yo Ma, Kathryn Stott | G Major | 1 | 9B | 81 BPM | ||
Concerto Grosso in D Major, Op. 1, No. 5: I. Largo | Pietro Locatelli, Capella Istropolitana, Jaroslav Krcek | D Major | 1 | 10B | 119 BPM | ||
Violin Sonata in B-Flat Major, Op. 5 No. 2: III. Vivace | Arcangelo Corelli, Lina Tur Bonet, Musica Alchemica | A♭ Major | 3 | 4B | 83 BPM |
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