Johann Sebastian Bach, Cornelius Hauptmann, English Baroque Soloists, John Eliot Gardiner's 'Matthäus-Passion, BWV 244 / Zweiter Teil: No. 64 "Am Abend, da es kühle war"' came out on January 1, 1989. With Matthäus-Passion, BWV 244 / Zweiter Teil: No. 64 "Am Abend, da es kühle war" being less than two minutes long, at 1:57, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The song is number 12 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. 64 "Am Abend, da es kühle war" 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. 64 "Am Abend, da es kühle war" by Johann Sebastian Bach, Cornelius Hauptmann, English Baroque Soloists, John Eliot Gardiner is Adagio (slowly with great expression), since this song has a tempo of 67 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
This song is in the music key of A Minor. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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St. John Passion, BWV 245: Part II: Recitative: Allda kreuzigten sei ihn (Evangelist) - Schreibe nicht: der Juden Konig (Chorus) – Recitative: Pilatus antwortet (Evangelist, Pilatus) | Johann Sebastian Bach, Joanne Lunn, Katherine Fuge, Bernarda Fink, Mark Padmore, Robert Murray, Paul Tindall, Hanno Müller-Brachmann, Peter Harvey, Julian Clarkson, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | E Minor | 1 | 9A | 125 BPM | ||
En natus est Emanuel | Michael Praetorius, Peter Kopp, Vocal Concert Dresden | F Major | 1 | 7B | 120 BPM | ||
Nessaja - Ich wollte nie erwachsen sein | Peter Maffay, Dresdner Kreuzchor | A Major | 4 | 11B | 96 BPM | ||
Requiem in D Minor, Op. 48: VI. Libera Me | Gabriel Fauré, Thomas Allen, Academy of St Martin in the Fields Chorus, Academy of St. Martin in the Fields, John Birch, Sir Neville Marriner | G Minor | 1 | 6A | 126 BPM | ||
Adam Lay Ybounden | The Sixteen | D Major | 2 | 10B | 0 BPM | ||
Christmas Oratorio, BWV 248 / Part Six - For The Feast Of Epiphany: No. 62 Aria: "Nun mögt ihr stolzen Feinde schrecken" | Johann Sebastian Bach, Hans Peter Blochwitz, Anthony Robson, Valerie Darke, English Baroque Soloists, John Eliot Gardiner | G Major | 1 | 9B | 87 BPM | ||
A Sea Symphony: III. Scherzo: The Waves (Allegro brillante) | Ralph Vaughan Williams, Margaret Marshall, Richard Hickox, Philharmonia Orchestra | D Minor | 2 | 7A | 84 BPM | ||
St. John Passion, BWV 245 / Pt. 1: No. 13 Aria (Tenor): "Ach mein Sinn" | Johann Sebastian Bach, Neill Archer, English Baroque Soloists, John Eliot Gardiner | D Major | 1 | 10B | 74 BPM | ||
Tchaikovsky: The Nutcracker, Op. 71, Act I, Scene 2: No. 8, The Forest of Fir Trees in Winter. Journey Through the Snow | Pyotr Ilyich Tchaikovsky, Berliner Philharmoniker, Sir Simon Rattle | C Major | 2 | 8B | 110 BPM | ||
First Vespers for the Nativity of the Blessed Virgin Mary: Psalm 117: Laudate Dominum omnes gentes; Antiphon 2: Beata progenies (mode II) | Anonymous, Choir of King's College, Cambridge, Stephen Cleobury | A Major | 1 | 11B | 80 BPM |
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