Joseph Haydn, Sir Simon Rattle, City of Birmingham Symphony Chorus, Philip Langridge, City Of Birmingham Symphony Orchestra made "Haydn: The Creation, Hob. XXI:2, Pt. 1: No. 2, Air and Chorus. "Now Vanish Before the Holy Beams" (Uriel, Chorus)" available on March 11, 1991. With this song being around four minutes long, at 3:49, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The track order of this song in Sir Simon Rattle's "Haydn: The Creation" album is number 3 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. 2, Air and Chorus. "Now Vanish Before the Holy Beams" (Uriel, 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. 2, Air and Chorus. "Now Vanish Before the Holy Beams" (Uriel, Chorus) by Joseph Haydn, Sir Simon Rattle, City of Birmingham Symphony Chorus, Philip Langridge, 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 | ||
---|---|---|---|---|---|---|---|
Symphony No. 7 in A major, Op. 92: III. Presto | Nicolaus Esterhazy Sinfonia | D Major | 1 | 10B | 93 BPM | ||
Cello Concerto No. 1 in G Major: III. Rondo: Allegro | Carl Stamitz, Christian Benda, Prague Chamber Orchestra | G Major | 1 | 9B | 137 BPM | ||
Water Music, Suite No. 2, HWV 349: Water Music, Suite No. 2, HWV 349: XI. [Allegro] | George Frideric Handel, Akademie für Alte Musik Berlin | D♭ Major | 2 | 3B | 121 BPM | ||
String Octet in E-Flat Major, Op. 20, MWV R20: III. Scherzo: Allegro leggierissimo | Felix Mendelssohn, Kodály Quartet, Auer String Quartet | A Minor | 0 | 8A | 168 BPM | ||
Concerto for 2 Oboes in F Major, Op. 9, No. 3: II. Adagio (non troppo) | Tomaso Albinoni, Anthony Camden, London Virtuosi, John Georgiadis | D Minor | 1 | 7A | 61 BPM | ||
Symphony No. 82 in C Major, Hob.I:82, "L'ours" (The Bear): IV. Finale: Vivace | Franz Joseph Haydn, Capella Istropolitana, Barry Wordsworth | C Major | 2 | 8B | 72 BPM | ||
Fantasie in G Minor, Op. 123: II. The Hunter’s Song | Johann Nepomuk Hummel, Madoka Inui | F Major | 1 | 7B | 155 BPM | ||
Die Schöpfung Hob. XXI:2 / Erster Teil: 13. Chor mit Soli: Die Himmel erzählen die Ehre Gottes | Franz Joseph Haydn, Gösta Winbergh, Kathleen Battle, Kurt Moll, Berliner Philharmoniker, James Levine, Stockholm Radio Chorus, Stockholm Chamber Choir, Gustav Sjökvist | C Major | 3 | 8B | 97 BPM | ||
String Quartet No.6 In F Minor, Op.80, MWV R 37: 3. Adagio | Felix Mendelssohn, Emerson String Quartet | A♭ Major | 0 | 4B | 79 BPM | ||
Piano Concerto in A minor, Op. 16: II. Adagio | Edvard Grieg, Krystian Zimerman, Berliner Philharmoniker, Herbert von Karajan | D♭ Major | 0 | 3B | 77 BPM |
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