"Cantata, BWV99: 5. Aria-Duet: Wenn des Kreuzes Bitterkeiten" by Johann Sebastian Bach, Anne Sofie von Otter, Karin Roman, Baroque Concerto Copenhagen, Lars Ulrik Mortensen was released on January 1, 2009. The duration of Cantata, BWV99: 5. Aria-Duet: Wenn des Kreuzes Bitterkeiten is about two minutes long, specifically at 2:49. This song does not appear to have any foul language. Cantata, BWV99: 5. Aria-Duet: Wenn des Kreuzes Bitterkeiten's duration is considered a little bit shorter than the average duration of a typical track. The song is number 3 out of 13 in Bach by Johann Sebastian Bach, Anne Sofie von Otter, Karin Roman, Anders J. Dahlin, Tomas Medici, Jakob Bloch Jespersen, Baroque Concerto Copenhagen, Lars Ulrik Mortensen. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. The popularity of Cantata, BWV99: 5. Aria-Duet: Wenn des Kreuzes Bitterkeiten is currently 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 Cantata, BWV99: 5. Aria-Duet: Wenn des Kreuzes Bitterkeiten by Johann Sebastian Bach, Anne Sofie von Otter, Karin Roman, Baroque Concerto Copenhagen, Lars Ulrik Mortensen is Vivace (lively and fast), since this song has a tempo of 170 BPM. With that information, we can conclude that the song has a fast tempo. The time signature for this track is 5/4.
This song is in the music key of F Minor. Because this track belongs in the F Minor key, the camelot key is 4A. So, the perfect camelot match for 4A would be either 4A or 3B. While, a low energy boost can consist of either 4B or 5A. For moderate energy boost, you would use 1A and a high energy boost can either be 6A or 11A. However, if you are looking for a low energy drop, finding a song with a camelot key of 3A would be a great choice. Where 7A would give you a moderate drop, and 2A or 9A would be a high energy drop. Lastly, 7B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Concerto No. 4 in G major, BWV 1049: I. Allegro | Johann Sebastian Bach, Freiburger Barockorchester | F Major | 2 | 7B | 99 BPM | ||
Capriccio in B Minor, Op. 76, No. 2 | Johannes Brahms, Arcadi Volodos | B Major | 1 | 1B | 84 BPM | ||
Tafelmusik - Banquet Music In 3 Parts / Production 1 - 3. Concert In A Major, TWV 53:A2: 2. Allegro | Georg Philipp Telemann, Musica Antiqua Köln, Reinhard Goebel | A♭ Major | 2 | 4B | 126 BPM | ||
6 Album Leaves, Op. 2, JB 1:51: No. 2 in A Minor, Chanson. Moderato | Bedřich Smetana, Jitka Čechová | A Minor | 0 | 8A | 66 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 | ||
Renaissance, Book 2: Sarabande (Lully) | Leopold Godowsky, Konstantin Scherbakov | E Minor | 0 | 9A | 94 BPM | ||
Matthäuspassion, BWV 244: Kommt, ihr Tochter, helft mir klagen (Chorus I and II) | Johann Sebastian Bach, Knaben des Kölner Domchores, Dresdner Kammerchor, Kolner Kammerorchester, Helmut Muller-Bruhl | E Minor | 1 | 9A | 87 BPM | ||
Nocturne No. 1 in E Flat Major, H.24 | John Field, Elizabeth Joy Roe | E♭ Major | 0 | 5B | 75 BPM | ||
Concerto Grosso In B Flat Major, Op. 6, No. 11: V. Sarabanda: Largo | Arcangelo Corelli, Quido Holbling, Daniela Ruso, Ludovit Kanta, Anna Holbling, Capella Istropolitana | D♭ Major | 1 | 3B | 118 BPM | ||
The Well-Tempered Clavier: Book 1, BWV 846-869: I. Prelude in C Major, BWV 846 | Lang Lang | C Major | 1 | 8B | 134 BPM |
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