"Muß nicht der Mensch immer in Streit sein, TWV 1:1146: V. Gottes Wort ist dem Teufel wie ein Mord" by Georg Philipp Telemann, Hans Christoph Begemann, Neumeyer Consort, Felix Koch was released on January 14, 2022. The duration of Muß nicht der Mensch immer in Streit sein, TWV 1:1146: V. Gottes Wort ist dem Teufel wie ein Mord is about two minutes long, specifically at 2:19. This song does not appear to have any foul language. Muß nicht der Mensch immer in Streit sein, TWV 1:1146: V. Gottes Wort ist dem Teufel wie ein Mord's duration is considered a little bit shorter than the average duration of a typical track. The song is number 14 out of 64 in Französischer Jahrgang, Vol. 1 by Georg Philipp Telemann, Neumeyer Consort, Felix Koch. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. In terms of popularity, Muß nicht der Mensch immer in Streit sein, TWV 1:1146: V. Gottes Wort ist dem Teufel wie ein Mord 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 Muß nicht der Mensch immer in Streit sein, TWV 1:1146: V. Gottes Wort ist dem Teufel wie ein Mord by Georg Philipp Telemann, Hans Christoph Begemann, Neumeyer Consort, Felix Koch is Andante (at a walking pace), since this song has a tempo of 95 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of F♯ Major. This also means that this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Oboe Concerto in C: 3. Siciliana | Domenico Cimarosa, Heinz Holliger, I Musici | A Minor | 1 | 8A | 84 BPM | ||
Trumpet Concerto in D Major, FWV L:D1: II. Largo | Johann Friedrich Fasch, Alain De Rudder, Il Gardellino | D♭ Major | 0 | 3B | 180 BPM | ||
Telemann: Tafelmusik, Pt. 1, Concerto for Flute, Violin and Cello in A Major, TWV 53:A2: III. Gratioso | Georg Philipp Telemann, Emmanuel Pahud, Berliner Barock Solisten, Georg Faust, Rainer Kussmaul | A Major | 0 | 11B | 114 BPM | ||
Concerto in G Minor: III. Allegro | Johann Friedrich Fasch, Combattimento Consort Amsterdam, Han De Vries | G Minor | 1 | 6A | 136 BPM | ||
Concerto Grosso in D Major, Op. 1, No. 5: III. Largo | Pietro Locatelli, Capella Istropolitana | G Minor | 1 | 6A | 50 BPM | ||
Concerto In B Flat Major For 3 Oboes, 3 Violins And Basso Continuo, TWV 44:43: 3. Allegro | Georg Philipp Telemann, Peter Westermann, Michael Niesemann, Piet Dhont, Musica Antiqua Köln, Reinhard Goebel | A Major | 2 | 11B | 144 BPM | ||
Symphony in D Major, Op. 3, No. 2: II. Andantino | Johann Stamitz, New Zealand Chamber Orchestra, Donald Armstrong | G Major | 0 | 9B | 113 BPM | ||
Correnti e balletti, Op. 4: No. 33, Ciaconna | Maurizio Cazzati, London Baroque | D♭ Major | 3 | 3B | 96 BPM | ||
Macbeth: End of Act 4 – The Earl of Douglas’s Lament | Samuel Arnold, Toronto Chamber Orchestra, Kevin Mallon | B♭ Major | 1 | 6B | 136 BPM | ||
Concerto I in Sol minore RV 157: Largo | Modo Antiquo, Federico Maria Sardelli | G Minor | 1 | 6A | 62 BPM |
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