"Hör mein Bitten, WoO 15" by Felix Mendelssohn, Julia Hamari, Ensemble '76 Stuttgart, Kammerchor Stuttgart, Frieder Bernius was released on March 1, 1983. Since Hör mein Bitten, WoO 15 is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The track order of this song in Felix Mendelssohn, Julia Hamari, Ensemble '76 Stuttgart, Kammerchor Stuttgart, Frieder Bernius's "Mendelssohn: Hör mein Bitten. Kirchenwerke I" album is number 1 out of 7. On top of that, Germany appears to be the country where this track was created. In terms of popularity, Hör mein Bitten, WoO 15 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 Hör mein Bitten, WoO 15 by Felix Mendelssohn, Julia Hamari, Ensemble '76 Stuttgart, Kammerchor Stuttgart, Frieder Bernius to be Andante (at a walking pace) because the track has a tempo of 101 BPM, a half-time of 50BPM, and a double-time of 202 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 1/4.
E♭ Major is the music key of this track. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Missa Tempore Quadragesimae, MH 553: Kyrie | Michael Haydn, Purcell Choir, Orfeo Orchestra, members, Gyorgy Vashegyi | A Major | 0 | 11B | 77 BPM | ||
Requiem, Op. 48: I. Introitus | Gabriel Fauré, Netherlands Chamber Choir, Limburg Symphony Orchestra, Ed Spanjaard | D Minor | 0 | 7A | 131 BPM | ||
Grande Messe des Morts: V. Graduale: Requiem aeternam - Grave | Francois-Joseph Gossec, Roberta Invernizzi, Maite Arruabarrena, Howard Crook, Claude Darbellay, Radio Svizzera Choir, Lugano, Radio Svizzera Italiana Orchestra, Diego Fasolis | C Major | 0 | 8B | 72 BPM | ||
Stabat Mater: Stabat Mater: VI. Vidit suum dulcem natum | Francis Poulenc, Cappella Amsterdam, Estonian Philharmonic Chamber Choir, Estonian National Symphony Orchestra, Daniel Reuss, Carolyn Sampson | B Minor | 1 | 10A | 87 BPM | ||
Te Deum in C major, H. 23c/2 | Joseph Haydn, La Petite Bande, Sigiswald Kuijken | C Major | 1 | 8B | 111 BPM | ||
Jesu, meine Freude | Johann Sebastian Bach, The Monteverdi Choir, John Eliot Gardiner | E♭ Minor | 1 | 2A | 79 BPM | ||
Bist du bei mir, BWV 508 (Arie) | Johann Sebastian Bach, Núria Rial, Julia Schröder | D Major | 1 | 10B | 92 BPM | ||
Mass No. 2 in G Major, D. 167: IV. Sanctus | Franz Schubert, Katrine Bryndorf, Chamber Orchestra of Europe, Claudio Abbado, Chor der Wiener Staatsoper | A Major | 3 | 11B | 186 BPM | ||
Stabat Mater: 2. Cujus animam | Giovanni Battista Pergolesi, Emma Kirkby, Academy of Ancient Music, Christopher Hogwood | G Major | 1 | 9B | 79 BPM | ||
Ein deutsches Requiem (A German Requiem), Op. 45: III. Herr, lehre doch mich | Johannes Brahms, Katherine Fuge, Matthew Brook, The Monteverdi Choir, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner | D Major | 2 | 10B | 67 BPM |
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