Johann Sebastian Bach, Chor & Orchester der J.S. Bach-Stiftung, Rudolf Lutz, Charles Daniels, Peter Harvey, Philippe Rayot made "Matthäuspassion, BWV 244: 11. Rezitativ. "Er antwortete und sprach" (Evangelist, Jesus, Judas)" available on March 5, 2014. The duration of Matthäuspassion, BWV 244: 11. Rezitativ. "Er antwortete und sprach" (Evangelist, Jesus, Judas) is about two minutes long, specifically at 2:56. This song does not appear to have any foul language. Matthäuspassion, BWV 244: 11. Rezitativ. "Er antwortete und sprach" (Evangelist, Jesus, Judas)'s duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Johann Sebastian Bach, Chor & Orchester der J.S. Bach-Stiftung, Rudolf Lutz's "Matthäuspassion, BWV 244" album is number 11 out of 68. On top of that, Switzerland appears to be the country where this track was created. In terms of popularity, Matthäuspassion, BWV 244: 11. Rezitativ. "Er antwortete und sprach" (Evangelist, Jesus, Judas) is currently not that popular. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
We consider the tempo marking of Matthäuspassion, BWV 244: 11. Rezitativ. "Er antwortete und sprach" (Evangelist, Jesus, Judas) by Johann Sebastian Bach, Chor & Orchester der J.S. Bach-Stiftung, Rudolf Lutz, Charles Daniels, Peter Harvey, Philippe Rayot to be Moderato (at a moderate speed) because the track has a tempo of 117 BPM, a half-time of 58BPM, and a double-time of 234 BPM. Based on that, the speed of the song's tempo is moderate. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of F Minor. Because this track belongs in the F Minor key, the camelot key is 4A. So, the perfect camelot match for 4A would be either 4A or 3B. While, a low energy boost can consist of either 4B or 5A. For moderate energy boost, you would use 1A and a high energy boost can either be 6A or 11A. However, if you are looking for a low energy drop, finding a song with a camelot key of 3A would be a great choice. Where 7A would give you a moderate drop, and 2A or 9A would be a high energy drop. Lastly, 7B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Flute Concerto in D Minor, QV 5:81: II. Arioso | Johann Joachim Quantz, Mary Oleskiewicz, Concerto Armonico Budapest, Miklós Spányi | E♭ Major | 0 | 5B | 134 BPM | ||
Haydn: Cello Concerto No. 1 in C Major, Hob. VIIb, 1: II. Adagio (Cadenza by Britten) | Franz Joseph Haydn, Mstislav Rostropovich, Academy of St. Martin in the Fields | F Major | 1 | 7B | 124 BPM | ||
Bach Orchestral Suite No.2 in B Minor, BWV 1076: I. Ouverture | London Conchord Ensemble, Florian Uhlig | B Minor | 3 | 10A | 121 BPM | ||
Sonatina No. 1 in C Major, Op. 36: II. Andante | Lang Lang | F Major | 1 | 7B | 176 BPM | ||
Bruch : Violin Concerto No.1 in G minor Op.26 : III Finale - Allegro energico | Max Bruch, Maxim Vengerov, Kurt Masur, Gewandhausorchester Leipzig | G Major | 2 | 9B | 90 BPM | ||
Concerto Grosso in B-Flat Major, Op. 3, No. 1, HWV 312: III. Allegro | George Frideric Handel, Pamela Thorby, Rebecca Austen-Brown, Academy of St. Martin in the Fields, Iona Brown | G Minor | 4 | 6A | 120 BPM | ||
Abdelazar Suite, Z. 570: VI. Air | Henry Purcell, Camerata Nordica, Terje Tonnesen | G Minor | 2 | 6A | 131 BPM | ||
Double Concerto in A Minor, Op. 102 for Violin, Cello and Orchestra: II. Andante | Johannes Brahms, Joshua Bell, Steven Isserlis, Academy of St. Martin in the Fields | G Major | 1 | 9B | 95 BPM | ||
Choral-Vatiationen: Var. I. In canone all'Ottava | Igor Stravinsky, Philippe Herreweghe, Royal Flemish Philharmonic, Collegium Vocale Gent | C Major | 1 | 8B | 93 BPM | ||
Deuxieme livre, Suite en Mi: X. Tambourin | Jean-Philippe Rameau, Alexander Paley | A Major | 1 | 11B | 130 BPM |
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