"The Seven Last Words of our Saviour on the Cross, Op. 51 (Hob.III. 50-56): 1. Introduzione (Maestoso ed Adagio)" by Joseph Haydn, Berliner Philharmoniker, Riccardo Muti was released on March 26, 1993. The Seven Last Words of our Saviour on the Cross, Op. 51 (Hob.III. 50-56): 1. Introduzione (Maestoso ed Adagio) is about six minutes long, preciously at 6:01, making this song fairly long compared to other songs. The track order of this song in Joseph Haydn, Riccardo Muti, Berliner Philharmoniker's "Haydn: The Seven Last Words Of Our Saviour On The Cross" album is number 1 out of 9. On top of that, Netherlands appears to be the country where this track was created. The Seven Last Words of our Saviour on the Cross, Op. 51 (Hob.III. 50-56): 1. Introduzione (Maestoso ed Adagio) 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 The Seven Last Words of our Saviour on the Cross, Op. 51 (Hob.III. 50-56): 1. Introduzione (Maestoso ed Adagio) by Joseph Haydn, Berliner Philharmoniker, Riccardo Muti to be Adagio (slowly with great expression) because the track has a tempo of 72 BPM, a half-time of 36BPM, and a double-time of 144 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of D Minor. Because this track belongs in the D Minor key, the camelot key is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Sonata in D Major, Hob. XVI:37: II. Largo e sostenuto | Franz Joseph Haydn, Olivier Cavé | D Minor | 0 | 7A | 70 BPM | ||
Die Schöpfung, Hob XXI:2, Part II: Die Schöpfung, Hob XXI:2, Part II: No. 26, Vollendet ist das große Werk | Joseph Haydn, Dresdner Philharmonie, Marek Janowski, Christiane Karg, Benjamin Bruns, Tareq Nazmi, MDR Leipzig Radio Choir | B♭ Major | 1 | 6B | 116 BPM | ||
Oboe Concerto in C Major: II. Allegro (Arr. by Benjamin) | Domenico Cimarosa, Heinz Holliger, Bamberg Symphony, Peter Maag | G Major | 2 | 9B | 108 BPM | ||
Mass No. 7 in B-Flat Major, Hob.XXII:7, "Missa brevis Sancti Joannis de Deo", "Kleine Orgelsolomesse" (Little Organ Mass): Sanctus | Joseph Haydn, Viktoria Loukianetz, Hungarian Radio Chorus, Nicolaus Esterhazy Sinfonia, Béla Drahos | B♭ Major | 2 | 6B | 88 BPM | ||
Overtures For 2 Horns, 2 Oboes And Strings / Overture No.2 In A: 2. Andante | Josef Mysliveček, Concerto Köln, Werner Ehrhardt | B Minor | 0 | 10A | 101 BPM | ||
La bergère châtelaine, S. 5 (Excerpts): Entr'acte to Act II | Daniel Auber, Czech Philharmonic Chamber Orchestra, Dario Salvi | A Major | 2 | 11B | 111 BPM | ||
Overture in D Major, P. 228: II. Andantino | Franz Danzi, Munich Chamber Orchestra, Howard Griffiths | F Major | 0 | 7B | 131 BPM | ||
Sonata in E Minor (Allegrissimo), Kk. 98 | Domenico Scarlatti, Ivo Pogorelich | E Minor | 0 | 9A | 84 BPM | ||
Die Schöpfung, Hob XXI:2, Part III: Die Schöpfung, Hob XXI:2, Part III: No. 27, Aus Rosenwolken bricht | Joseph Haydn, Dresdner Philharmonie, Marek Janowski, Benjamin Bruns | B♭ Major | 3 | 6B | 117 BPM | ||
Concerto Grosso in B-Flat Major, Op. 3, No. 1, HWV 312: III. Allegro | George Frideric Handel, Pamela Thorby, Rebecca Austen-Brown, Academy of St. Martin in the Fields, Iona Brown | G Minor | 4 | 6A | 120 BPM |
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