"Matthäus-Passion, BWV 244 / Zweiter Teil: No. 57 "Komm, süßes Kreuz"" by Johann Sebastian Bach, Olaf Bär, English Baroque Soloists, John Eliot Gardiner was released on January 1, 1989. Matthäus-Passion, BWV 244 / Zweiter Teil: No. 57 "Komm, süßes Kreuz" is about six minutes long, preciously at 6:06, making this song fairly long compared to other songs. The song is number 5 out of 68 in Bach, J.S.: St. Matthew Passion, BWV 244 by Johann Sebastian Bach, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Matthäus-Passion, BWV 244 / Zweiter Teil: No. 57 "Komm, süßes Kreuz" 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.
The tempo marking of Matthäus-Passion, BWV 244 / Zweiter Teil: No. 57 "Komm, süßes Kreuz" by Johann Sebastian Bach, Olaf Bär, English Baroque Soloists, John Eliot Gardiner is Adagio (slowly with great expression), since this song has a tempo of 74 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of D♭ Minor. This also means that this song has a camelot key of 12A. So, the perfect camelot match for 12A would be either 12A or 11B. While, a low energy boost can consist of either 12B or 1A. For moderate energy boost, you would use 9A and a high energy boost can either be 2A or 7A. However, if you are looking for a low energy drop, finding a song with a camelot key of 11A would be a great choice. Where 3A would give you a moderate drop, and 10A or 5A would be a high energy drop. Lastly, 3B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Song of the Birds (Arr. Casals) | Anonymous, Sheku Kanneh-Mason, Isata Kanneh-Mason | A Minor | 1 | 8A | 87 BPM | ||
In the Bleak Midwinter (Arr. Kanneh-Mason) | Gustav Holst, Sheku Kanneh-Mason, Isata Kanneh-Mason | F Major | 0 | 7B | 75 BPM | ||
St. John Passion, BWV 245 / Part Two: No.15 Choral: "Christus, der uns selig macht" | Johann Sebastian Bach, English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | D Major | 1 | 10B | 74 BPM | ||
Exsultate, jubilate, K. 165: 4. Alleluia | Wolfgang Amadeus Mozart, Barbara Bonney, The English Concert, Trevor Pinnock | C Major | 1 | 8B | 128 BPM | ||
Messiah: Part 3, Since by man came death (Chorus) | The Sixteen | D♭ Minor | 1 | 12A | 85 BPM | ||
Magnificat, RV 610: 7. Suscepit Israel | Antonio Vivaldi, Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, Tõnu Kaljuste | G Minor | 2 | 6A | 103 BPM | ||
Nun danket alle Gott BWV 386 | Choir of King's College, Cambridge, Stephen Cleobury, Benjamin Bayl | G Major | 3 | 9B | 68 BPM | ||
I. Christ Lag In Todes Banden BWV 4, 4. Aria (Tenore) (Versus III): Jesus Christus, Gottes Sohn | Holland Boys Choir, Netherlands Bach Collegium, Ruth Holton, Bas Ramselaar, Nico Van Der Meel, Johann Sebastian Bach, Sytse Buwalda, Pieter Jan Leusink | B Major | 1 | 1B | 71 BPM | ||
Canticum in nativitatem Domini, 'Frigidae noctis umbra': Marche | Marc-Antoine Charpentier, Andrew Parrott | G Major | 0 | 9B | 85 BPM | ||
Weihnachtslieder, Op. 61: III. Maria | Richard Trunk, Wolfgang Anheisser, Julius Severin | G Major | 1 | 9B | 110 BPM |
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