Johann Christian Bach, Elisabeth Scholl, Ruth Sandhoff, Andreas Karasiak, Gotthold Schwarz, Dresden Chamber Choir, La Stagione Frankfurt, Michael Schneider's 'Magnificat, W. E22: Fecit potentiam (Alto, Tenor, Bass, Chorus)' came out on January 1, 2002. The duration of Magnificat, W. E22: Fecit potentiam (Alto, Tenor, Bass, Chorus) is about 3 minutes long, at 3:08. Based on our data, "Magnificat, W. E22: Fecit potentiam (Alto, Tenor, Bass, Chorus)" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 14 out of 16 in Bach, C.P.E.: Magnificat / Bach, J.C.: Tantum Ergo by Michael Schneider. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Magnificat, W. E22: Fecit potentiam (Alto, Tenor, Bass, Chorus) 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 Magnificat, W. E22: Fecit potentiam (Alto, Tenor, Bass, Chorus) by Johann Christian Bach, Elisabeth Scholl, Ruth Sandhoff, Andreas Karasiak, Gotthold Schwarz, Dresden Chamber Choir, La Stagione Frankfurt, Michael Schneider is Larghetto (rather broadly), since this song has a tempo of 64 テンポ. 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 | ||
---|---|---|---|---|---|---|---|
Sinfonia Concertante in C Major, T. 289 No. 4: III. Allegretto | Johann Christian Bach, Academy of Ancient Music, Simon Standage, Rachel Brown, Frank de Bruine, David Watkin | C Major | 1 | 8B | 124 BPM | ||
Bach, JS : Well-Tempered Clavier Book 1 : Prelude No.5 in D major BWV850 | Daniel Barenboim | D Major | 1 | 10B | 72 BPM | ||
Sonata in E Minor (Allegrissimo), Kk. 98 | Domenico Scarlatti, Ivo Pogorelich | E Minor | 0 | 9A | 84 BPM | ||
Concerto 5 in A Minor, Op. 7: I. Vivace | Jean-Marie Leclair, Luis Otavio Santos, Les Muffatti, Peter Van Heyghen | D♭ Minor | 2 | 12A | 124 BPM | ||
Bach, JC: Keyboard Concerto in C Major, Op. 7 No. 1: II. Menuetto | Johann Christian Bach, Michel Corboz | C Major | 1 | 8B | 113 BPM | ||
Balletto à 3 in G Major, Op. 3 No. 3: I. Preludio. Largo | Tomaso Albinoni, London Baroque | F♯ Major | 2 | 2B | 105 BPM | ||
Rinaldo, HWV 7b: Act III Scene 11: Battaglia | George Frideric Handel, Marion Newman, Laura Whalen, Kimberley Barber, Jennifer Ens Modolo, Sean Watson, Barbara Hannigan, Giles Tomkins, Nicole Bower, Catherine Affleck, Melinda Delorme, Lenard Whiting, Opera in Concert, Aradia Ensemble, Kevin Mallon | A Major | 3 | 11B | 179 BPM | ||
Requiem: Requiem: 11. Aria (A). Oro supplex | Johann Christian Bach, Ruth Sandhoff, Akademie für Alte Musik Berlin, Hans-Christoph Rademann | C Major | 1 | 8B | 94 BPM | ||
Concerto No. 4 in G major, BWV 1049: I. Allegro | Johann Sebastian Bach, Freiburger Barockorchester | F Major | 2 | 7B | 99 BPM | ||
Oboe Concerto in C: 2. Allegro | Domenico Cimarosa, Heinz Holliger, I Musici | C Major | 2 | 8B | 114 BPM |