Johann Sebastian Bach, Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner's 'Matthäus-Passion, BWV 244 / Zweiter Teil: No. 31 "Die aber Jesum gegriffen hatten"' came out on January 1, 1989. With Matthäus-Passion, BWV 244 / Zweiter Teil: No. 31 "Die aber Jesum gegriffen hatten" being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. The song is number 2 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. Matthäus-Passion, BWV 244 / Zweiter Teil: No. 31 "Die aber Jesum gegriffen hatten" is not that popular right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
The tempo marking of Matthäus-Passion, BWV 244 / Zweiter Teil: No. 31 "Die aber Jesum gegriffen hatten" by Johann Sebastian Bach, Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner is Andante (at a walking pace), since this song has a tempo of 81 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 B Major. This also means that this song has a camelot key of 1B. So, the perfect camelot match for 1B would be either 1B or 2A. While, 2B can give you a low energy boost. For moderate energy boost, you would use 10B and a high energy boost can either be 3B or 8B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 1A or 12B will give you a low energy drop, 4B would be a moderate one, and 11B or 6B would be a high energy drop. Lastly, 10A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
III. Erfüllet, ihr himmlischen göttlichen Flammen (Aria) | Johann Sebastian Bach, Christoph Spering, Das Neue Orchester, Erika Tandiono | A♭ Major | 2 | 4B | 92 BPM | ||
Gloria in D Major, RV 589: I. Gloria in excelsis Deo | Antonio Vivaldi, The Sixteen, Harry Christophers | D♭ Major | 2 | 3B | 127 BPM | ||
Messiah / Part 2: "The Lord gave the word" | George Frideric Handel, Academy of St. Martin in the Fields Chorus, Academy of St. Martin in the Fields, Sir Neville Marriner | B♭ Major | 5 | 6B | 98 BPM | ||
Northern Lights | Ola Gjeilo, VOCES8 | D Minor | 1 | 7A | 136 BPM | ||
I. Christ Lag In Todes Banden BWV 4, 5. Coro (Versus IV): Es War Ein Wunderlicher Krieg | Holland Boys Choir, Netherlands Bach Collegium, Ruth Holton, Bas Ramselaar, Nico Van Der Meel, Sytse Buwalda, Johann Sebastian Bach, Pieter Jan Leusink | B Major | 1 | 1B | 71 BPM | ||
St. Matthew Passion, BWV 244 / Part One: No.8 Evangelist, Jesus: "Da das Jesus merkete" | Johann Sebastian Bach, Peter Schreier, Dietrich Fischer-Dieskau, Berliner Philharmoniker, Herbert von Karajan | F Minor | 6 | 4A | 165 BPM | ||
Messiah HWV56, PART 2: All we like sheep (chorus: Allegro moderato - Adagio) | George Frideric Handel, Choir of King's College, Cambridge, Stephen Cleobury | E Major | 2 | 12B | 116 BPM | ||
Vivaldi: Gloria in D Major, RV 589: IX. Qui tollis peccata mundi | Antonio Vivaldi, Choir of King's College, Cambridge, Academy of Ancient Music, Stephen Cleobury | B♭ Major | 1 | 6B | 98 BPM | ||
Vesperae solennes de confessore in C Major, K. 339: 5. Laudate Dominum omnes gentes (Ps. 116/117) | Wolfgang Amadeus Mozart, Barbara Bonney, The English Concert, Trevor Pinnock, The English Concert Choir | A Minor | 1 | 8A | 74 BPM | ||
Messiah, HWV 56 / Pt. 1: 11. "The people that walked in darkness" | George Frideric Handel, John Tomlinson, The English Concert, Trevor Pinnock, The English Concert Choir | B♭ Minor | 0 | 3A | 132 BPM |
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