"Khovanshchina: Act III: Batya, batya, vyidi k nam! (Chief-our-father, come to us!)" by Modest Mussorgsky, Elena Manistina, Mikhail Gubsky, Vladimir Krasov, Vladimir Matorin, Bolshoi Theatre Chorus, Bolshoi Theatre Orchestra, Alexander Vedernikov was released on January 1, 2009. Khovanshchina: Act III: Batya, batya, vyidi k nam! (Chief-our-father, come to us!) is about six minutes long, preciously at 6:27, making this song fairly long compared to other songs. There are a total of 11 in the song's album "Russian Opera Highlights, Vol. 2 - Mussorgsky, M.P. / Rimsky-Korsakov, N.A. / Tchaikovsky, P.I.". In this album, this song's track order is #3. Furthermore, we believe that the track originated from Netherlands. In terms of popularity, Khovanshchina: Act III: Batya, batya, vyidi k nam! (Chief-our-father, come to us!) is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Khovanshchina: Act III: Batya, batya, vyidi k nam! (Chief-our-father, come to us!) by Modest Mussorgsky, Elena Manistina, Mikhail Gubsky, Vladimir Krasov, Vladimir Matorin, Bolshoi Theatre Chorus, Bolshoi Theatre Orchestra, Alexander Vedernikov having a BPM of 109 with a half-time of 54 BPM and a double-time of 218 BPM, we would consider this track to have a Moderato (at a moderate speed) tempo marking. Because of this, we believe that the song has an overall moderate tempo. The time signature for this track is 3/4.
This song is in the music key of D♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
St. Paul's Suite, Op. 29, No. 2: II. Ostinato | Gustav Holst, English Sinfonia, Howard Griffiths | C Major | 1 | 8B | 108 BPM | ||
Gopak from Sorochinsky Fair | Modest Mussorgsky, Philharmonia Orchestra, Geoffrey Simon | G Major | 2 | 9B | 157 BPM | ||
Symphony No. 3 in D Major, Op. 29 "Polish": IV. Allegro vivo | Pyotr Ilyich Tchaikovsky, Vasily Petrenko, Royal Liverpool Philharmonic Orchestra | B Minor | 0 | 10A | 74 BPM | ||
L’arlésienne Suite No. 1, Op. 23bis, WD 40: I. Prélude | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | C Minor | 0 | 5A | 87 BPM | ||
Boris Godounov - Symphonic Synthesis by Leopold Stokowski: 1. Outside the Novodievichi Monastery - The people ask Boris for protection - Pilgrims are heard singing in the distance - They come closer and enter the Monastery | Modest Mussorgsky, Cleveland Orchestra, Oliver Knussen | A Major | 0 | 11B | 82 BPM | ||
Concerto for Strings in A Minor, RV 161: I. Allegro | Antonio Vivaldi, Accademia I Filarmonici, Alberto Martini | B♭ Major | 5 | 6B | 124 BPM | ||
Tchaikovsky: Symphony No. 4 in F Minor, Op. 36: III. Scherzo (Pizzicato ostinato - Allegro) | Pyotr Ilyich Tchaikovsky, San Francisco Symphony, Michael Tilson Thomas | C Major | 1 | 8B | 156 BPM | ||
Elgar: Cello Concerto in E Minor, Op. 85: II. Lento - Allegro molto | Edward Elgar, Jacqueline du Pré, London Symphony Orchestra, Sir John Barbirolli | G Major | 2 | 9B | 87 BPM | ||
The Firebird Suite (1919 Version): Finale - Remastered | Igor Stravinsky, Leonard Bernstein, New York Philharmonic | E Major | 3 | 12B | 78 BPM | ||
La mer, L. 109: II. Jeux de vagues | Claude Debussy, Orchestre National De Lyon, Jun Markl | E Major | 1 | 12B | 84 BPM |
Section: 0.6967422962188721
End: 0.7014977931976318