"The Seven Last Words of our Saviour on the Cross, Op. 51 (Hob.III. 50-56): 5. Sonata IV (Largo)" 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): 5. Sonata IV (Largo) is about six minutes long, preciously at 5:43, 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 5 out of 9. On top of that, Netherlands appears to be the country where this track was created. In terms of popularity, The Seven Last Words of our Saviour on the Cross, Op. 51 (Hob.III. 50-56): 5. Sonata IV (Largo) 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 The Seven Last Words of our Saviour on the Cross, Op. 51 (Hob.III. 50-56): 5. Sonata IV (Largo) by Joseph Haydn, Berliner Philharmoniker, Riccardo Muti to be Moderato (at a moderate speed) because the track has a tempo of 116 BPM, a half-time of 58BPM, and a double-time of 232 BPM. Based on that, the speed of the song's tempo is moderate. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of C Minor. Because this track belongs in the C Minor key, the camelot key is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
The Creation, Hob. XXI:2: Pt. I, No.1: Die Vorstellung des Chaos (the Representation of Chaos) | Franz Joseph Haydn, Sunhae Im, Jan Kobow, Hanno Müller-Brachmann, Christine Wehler, Cologne Vocal Ensemble, Capella Augustina, Andreas Spering | C Minor | 0 | 5A | 70 BPM | ||
Symphony No. 45 in F-Sharp Minor, Hob.I:45, "Farewell": I. Allegro assai | Franz Joseph Haydn, Capella Istropolitana, Barry Wordsworth | F♯ Minor | 2 | 11A | 156 BPM | ||
12 Variations in C Major on "Ah, vous dirai-je Maman", K. 265: Variation No. 12 | Lang Lang | C Major | 2 | 8B | 137 BPM | ||
Das listige Bauernmädchen: No. 12, — | Paul Wranitzky, Czech Philharmonic Chamber Orchestra, Marek Štilec | D Major | 1 | 10B | 92 BPM | ||
Symphony No. 2 in B-Flat major, D. 125: II. Andante | Franz Schubert, Günter Wand | A Minor | 3 | 8A | 168 BPM | ||
4 Pieces, Op. 51: 2. Prélude | Alexander Scriabin, Evgeny Kissin | F Major | 0 | 7B | 75 BPM | ||
Sinfonia In B Flat Major: III. Allegro | Francois-Joseph Gossec, Northern Chamber Orchestra | B♭ Major | 1 | 6B | 127 BPM | ||
String Quartet No. 4 in C Minor, Op. 18, No. 4: IV. Allegro | Ludwig van Beethoven, Kodály Quartet | A♭ Major | 2 | 4B | 133 BPM | ||
Brahms: Double Concerto for Violin and Cello in A Minor, Op. 102: II. Andante | Johannes Brahms, Itzhak Perlman, Bernard Haitink, Concertgebouworkest | D Major | 1 | 10B | 105 BPM | ||
Fantasia And Fugue In A Minor, BWV 904 : Fugue | Janos Sebestyen, Johann Sebastian Bach | A Minor | 3 | 8A | 132 BPM |
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