Joseph Haydn, Sir Simon Rattle, City of Birmingham Symphony Chorus, City Of Birmingham Symphony Orchestra made "Haydn: The Creation, Hob. XXI:2, Pt. 1: No. 10, Chorus. "Awake the Harp" (Chorus)" available on March 11, 1991. The duration of Haydn: The Creation, Hob. XXI:2, Pt. 1: No. 10, Chorus. "Awake the Harp" (Chorus) is about two minutes long, specifically at 2:09. This song does not appear to have any foul language. Haydn: The Creation, Hob. XXI:2, Pt. 1: No. 10, Chorus. "Awake the Harp" (Chorus)'s duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Sir Simon Rattle's "Haydn: The Creation" album is number 11 out of 38. On top of that, United Kingdom appears to be the country where this track was created. In terms of popularity, Haydn: The Creation, Hob. XXI:2, Pt. 1: No. 10, Chorus. "Awake the Harp" (Chorus) is currently not that popular. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
We consider the tempo marking of Haydn: The Creation, Hob. XXI:2, Pt. 1: No. 10, Chorus. "Awake the Harp" (Chorus) by Joseph Haydn, Sir Simon Rattle, City of Birmingham Symphony Chorus, City Of Birmingham Symphony Orchestra to be Moderato (at a moderate speed) because the track has a tempo of 109 BPM, a half-time of 54BPM, and a double-time of 218 BPM. Based on that, the speed of the song's tempo is moderate. The time signature for this track is 4/4.
This song is in the music key of B♭ Major. This also means that this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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The King shall rejoice (Coronation Anthem No.3, HWV 260): 4. Alleluja | George Frideric Handel, Academy of St. Martin in the Fields, Academy of St. Martin in the Fields Chorus, Sir Neville Marriner | D Major | 3 | 10B | 128 BPM | ||
Grande Messe des Morts: XXIII. Agnus Dei: Moderato | Francois-Joseph Gossec, Roberta Invernizzi, Maite Arruabarrena, Howard Crook, Claude Darbellay, Radio Svizzera Choir, Lugano, Radio Svizzera Italiana Orchestra, Diego Fasolis | C Minor | 0 | 5A | 132 BPM | ||
Beethoven: Symphony No. 8 in F Major, Op. 93: II. Allegretto scherzando | Ludwig van Beethoven, Wiener Philharmoniker, Sir Simon Rattle | B♭ Major | 0 | 6B | 86 BPM | ||
Mondonville : In exitu Israel : "Mare vivit" | Jean-Joseph Cassanéa De Mondonville, William Christie, Les Arts Florissants | D♭ Major | 3 | 3B | 62 BPM | ||
Schubert: Mass in G Major, D. 167: Sanctus | Franz Schubert, Lucia Popp, Elmar Schloter, Wolfgang Sawallisch, Bavarian Radio Symphony Orchestra | E Minor | 0 | 9A | 124 BPM | ||
Paulus: I. Teil: Nr. 21 Chor "O welch eine Tiefe" | Felix Mendelssohn, Collegium Vocale Gent, La Chapelle Royale, Philippe Herreweghe | F♯ Major | 2 | 2B | 114 BPM | ||
Credo, R.592: 2. Adagio: Et incarnatus est | Antonio Vivaldi, John Alldis Choir, English Chamber Orchestra, Vittorio Negri, Olga Hegedus, Adrian Beers | A Major | 1 | 11B | 80 BPM | ||
Schubert: Mass in G Major, D. 167: Gloria | Franz Schubert, Lucia Popp, Adolf Dallapozza, Elmar Schloter, Wolfgang Sawallisch, Bavarian Radio Symphony Orchestra | E Minor | 0 | 9A | 124 BPM | ||
Haydn: Symphony No. 94 in G Major, Hob. I:94 "Surprise": III. Menuetto. Allegro molto - Trio | Franz Joseph Haydn, André Previn, Pittsburgh Symphony Orchestra | G Major | 1 | 9B | 142 BPM | ||
Missa in Angustiis "Lord Nelson Mass": II. Gloria | Franz Joseph Haydn, Boston Baroque, Martin Pearlman, Mary Wilson, Abigail Fischer, Keith Jameson, Kevin Deas | F Major | 2 | 7B | 78 BPM |
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