"Elijah, Op. 70, MWV A25 / Part 1: "Yet doth the Lord see it not"" by Felix Mendelssohn, Edinburgh Festival Chorus, Stephen Doughty, Orchestra of the Age of Enlightenment, Paul Daniel was released on January 1, 1997. With this song being around four minutes long, at 4:00, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The track order of this song in Felix Mendelssohn, Bryn Terfel, Renée Fleming, Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel's "Mendelssohn: Elijah" album is number 7 out of 44. On top of that, United Kingdom appears to be the country where this track was created. In terms of popularity, Elijah, Op. 70, MWV A25 / Part 1: "Yet doth the Lord see it not" 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.
We consider the tempo marking of Elijah, Op. 70, MWV A25 / Part 1: "Yet doth the Lord see it not" by Felix Mendelssohn, Edinburgh Festival Chorus, Stephen Doughty, Orchestra of the Age of Enlightenment, Paul Daniel to be Andante (at a walking pace) because the track has a tempo of 99 BPM, a half-time of 50BPM, and a double-time of 198 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
C Major is the music key of this track. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Stabat Mater: 4. Pro peccatis suae gentis | Gioachino Rossini, Ruggero Raimondi, Philharmonia Orchestra, Carlo Maria Giulini | C Major | 3 | 8B | 80 BPM | ||
Der Freischütz, J. 277 / Act III: "Wer legt auf ihn so strengen Bann?" | Carl Maria von Weber, Gundula Janowitz, Edith Mathis, Peter Schreier, Bernd Weikl, Franz Crass, Siegfried Vogel, MDR Leipzig Radio Chorus, Staatskapelle Dresden, Carlos Kleiber | E♭ Major | 2 | 5B | 70 BPM | ||
Messa di Gloria, Op.posth., Credo: Et unam sanctam catholicam - | Giacomo Puccini, London Symphony Chorus, London Symphony Orchestra, Antonio Pappano | A♭ Major | 1 | 4B | 85 BPM | ||
Mendelssohn: A Midsummer Night's Dream, Op. 61, MWV M13: No. 3, Song with Chorus. "Ye Spotted Snakes" | Felix Mendelssohn, Otto Klemperer, Heather Harper, Janet Baker, Philharmonia Chorus, Philharmonia Orchestra | G Major | 0 | 9B | 94 BPM | ||
Mass No. 2 in G Major, D. 167: III. Credo | Franz Schubert, Edith Lienbacher, Alexander Kaimbacher, Anton Scharinger, Erhard Nowak, Vienna Chamber Choir, Orpheus Orchester Wien, Johannes Prinz | G Major | 1 | 9B | 131 BPM | ||
Dona Nobis Pacem: Agnus Dei | Ralph Vaughan Williams, Christina Pier, Matthew Brook, The Bach Choir, Bournemouth Symphony Orchestra, David Hill | G Minor | 1 | 6A | 85 BPM | ||
Rusalka, Op. 114 / Act 3: Necitelná vodní moci | Antonín Dvořák, Renée Fleming, Czech Philharmonic Orchestra, Sir Charles Mackerras | E♭ Major | 2 | 5B | 85 BPM | ||
Sechs Lieder, Op. 48: Gruß, Op. 48/1 | Edvard Grieg, Anne Sofie von Otter, Bengt Forsberg | C Minor | 3 | 5A | 133 BPM | ||
Tannhäuser / Act II: "Gar viel und schön" | Richard Wagner, Thomas Quasthoff, Orchester der Deutschen Oper Berlin, Christian Thielemann, Chor der Deutschen Oper Berlin | E Minor | 2 | 9A | 72 BPM | ||
L'Orfeo - Act 5: Ritornello-Questi i campi di Tracia | Claudio Monteverdi, John Mark Ainsley, New London Consort, Philip Pickett | F Major | 1 | 7B | 71 BPM |
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