"Psalmen Davids, Op. 2: No. 25, Zion spricht, der Herr hat mich verlassen, SWV 46" by Heinrich Schütz, Dorothee Mields, Marie Luise Werneburg, Tobias Mathger, Georg Poplutz, Karina Müller, Margret Baumgartl, Matthias Müller, Andreas Arend, Dresdner Barockorchester, Dresdner Kammerchor, Hans-Christoph Rademann was released on September 1, 2013. Psalmen Davids, Op. 2: No. 25, Zion spricht, der Herr hat mich verlassen, SWV 46 is about six minutes long, preciously at 5:40, making this song fairly long compared to other songs. The track order of this song in Heinrich Schütz, Dresdner Kammerchor, Dresdner Barockorchester, Hans-Christoph Rademann's "Heinrich Schütz: Psalmen Davids (Complete Recording Vol. 8)" album is number 12 out of 26. On top of that, Germany appears to be the country where this track was created. Psalmen Davids, Op. 2: No. 25, Zion spricht, der Herr hat mich verlassen, SWV 46 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 Psalmen Davids, Op. 2: No. 25, Zion spricht, der Herr hat mich verlassen, SWV 46 by Heinrich Schütz, Dorothee Mields, Marie Luise Werneburg, Tobias Mathger, Georg Poplutz, Karina Müller, Margret Baumgartl, Matthias Müller, Andreas Arend, Dresdner Barockorchester, Dresdner Kammerchor, Hans-Christoph Rademann to be Adagio (slowly with great expression) because the track has a tempo of 70 BPM, a half-time of 35BPM, and a double-time of 140 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 A Minor. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Taverner: Missa Corona spinea - 01. Gloria in excelsis Deo | John Taverner, Peter Phillips, The Tallis Scholars | E♭ Major | 1 | 5B | 88 BPM | ||
Sancte Michael | Timothy A. Helisek, Moscow Bow Tie Choir, Vladimir Podgoretsky | C Minor | 1 | 5A | 87 BPM | ||
Erhöre mich, wenn ich rufe, SWV 289 | Heinrich Schütz, Ensemble Polyharmonique, Alexander Schneider, Juliane Laake, Klaus Eichhorn, Magdalene Harer, Joowon Chung | F♯ Major | 1 | 2B | 166 BPM | ||
Missa si Deus pro nobis, a 16 voci: III. Kyrie eleison II | Orazio Benevoli, Le Concert Spirituel, Herve Niquet | A Minor | 2 | 8A | 82 BPM | ||
Musicalische Exequien, Op. 7, SWV 279-281: Herr nun, lassest du deinen Diener, SWV 281 | Heinrich Schütz, Bremen Weser-Renaissance | G Minor | 1 | 6A | 72 BPM | ||
All'imperio d'Amore: 7. Ineffabile ardore a 6 "Il rapimento di Cefalo" | Giulio Caccini, Ensemble Pygmalion, Raphael Pichon, Deborah Cachet, Zachary Wilder, Lucile Richardot, Davy Cornillot, Virgile Ancely, Maïlys De Villoutreys | B♭ Major | 3 | 6B | 103 BPM | ||
Stabat Mater à 10 voix et basse continue: I. Stabat Mater dolorosa | Domenico Scarlatti, Ensemble Zene, Bruno Kele-Baujard | C Major | 1 | 8B | 124 BPM | ||
Vater unser im Himmelreich, Variation 10 | Johann Ulrich Steigleder, Gustav Auzinger | D Major | 1 | 10B | 176 BPM | ||
Auferstehungshistorie, SWV 50: (Introitus) Die Auferstehung unseres Herren Jesu Christi | Heinrich Schütz, Ensemble Polyharmonique | D Minor | 3 | 7A | 134 BPM | ||
Membra Jesu Nostri, BuxWV 75: I. Ad pedes. Ecce super montes | Dietrich Buxtehude, Ensemble Correspondances, Sébastien Daucé | A♭ Major | 1 | 4B | 97 BPM |
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