"Kirchenmusik, Op. 23: II. Ave Maria, MWV B20" by Felix Mendelssohn, La Chapelle Royale, Collegium Vocale Gent, Orchestre de chambre de Paris, Philippe Herreweghe was released on 1998. Since Kirchenmusik, Op. 23: II. Ave Maria, MWV B20 is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The track order of this song in Felix Mendelssohn, Philippe Herreweghe, Orchestre de chambre de Paris, La Chapelle Royale, Collegium Vocale Gent's "Mendelssohn: Psalms" album is number 11 out of 11. On top of that, France appears to be the country where this track was created. Kirchenmusik, Op. 23: II. Ave Maria, MWV B20 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 Kirchenmusik, Op. 23: II. Ave Maria, MWV B20 by Felix Mendelssohn, La Chapelle Royale, Collegium Vocale Gent, Orchestre de chambre de Paris, Philippe Herreweghe 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.
D Major is the music key of this track. This also means that this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Herz und Mund und Tat und Leben, Cantata BWV 147: 10. “Jesus bleibet meine Freude” | Cantillation, Orchestra of the Antipodes, Brett Weymark | F♯ Major | 1 | 2B | 96 BPM | ||
Fünf Gesänge, Op. 104: I. Nachtwache I | Johannes Brahms, Cappella Amsterdam, Daniel Reuss | B♭ Major | 1 | 6B | 79 BPM | ||
Magnificat, RV 610: 1. Magnificat anima mea Dominum | Antonio Vivaldi, Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, Tõnu Kaljuste | D♭ Major | 3 | 3B | 114 BPM | ||
3 Sacred Songs, Op. 69: No. 3, Abendlied "Bleib bei uns, es will Abend werden" | Josef Rheinberger, Westminster Kantorei, Amanda Quist | F Major | 2 | 7B | 134 BPM | ||
Gloria: Qui sedes ad dexteram Patris | Antonio Vivaldi, Margaret Cameron, English Baroque Soloists, John Eliot Gardiner | B♭ Minor | 1 | 3A | 109 BPM | ||
Ode for St. Cecilia's Day, HWV 76: Air and chorus: As from the powers of sacred lays | George Frideric Handel, Dorothee Mields, Mark Wilde, Alsfelder Vocal Ensemble, Concerto Polacco, Wolfgang Helbich | G Minor | 2 | 6A | 74 BPM | ||
Abendlied: Bleib bei uns, Op. 69/3 | Josef Rheinberger, Thomas Hengelbrock | F Major | 1 | 7B | 78 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 | ||
Geistliche Chormusik: Herr, auf dich traue ich, SWV 377 | Heinrich Schütz, Collegium Vocale Gent, Philippe Herreweghe | G Major | 1 | 9B | 59 BPM | ||
All'imperio d'Amore: 5. Ineffabile ardore a 6 "Il rapimento di Cefalo" | Giulio Caccini, Ensemble Pygmalion, Raphael Pichon | B♭ Major | 2 | 6B | 113 BPM |
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