Joseph Haydn, Handel & Haydn Society, Sarah Tynan, Harry Christophers's 'The Creation, Hob.XXI,2: Pt. 1, The Marv’llous Work Beholds' came out on 2015. With The Creation, Hob.XXI,2: Pt. 1, The Marv’llous Work Beholds being less than two minutes long, at 1:55, 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 track order of this song in Joseph Haydn, Handel & Haydn Society, Harry Christophers's "Haydn: The Creation & The Paris Symphonies" album is number 5 out of 56. On top of that, United Kingdom appears to be the country where this track was created. In terms of popularity, The Creation, Hob.XXI,2: Pt. 1, The Marv’llous Work Beholds is currently not that popular. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
We consider the tempo marking of The Creation, Hob.XXI,2: Pt. 1, The Marv’llous Work Beholds by Joseph Haydn, Handel & Haydn Society, Sarah Tynan, Harry Christophers to be Andante (at a walking pace) because the track has a tempo of 102 テンポ, a half-time of 51テンポ, and a double-time of 204 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of C Major. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Gideon, Pt. 3: Air. Let the Trumpet's Sound Inviting | George Frideric Handel, David Cordier, Barbara Hannigan, Stephan MacLeod, Linda Perillo, Knut Schoch, Nicola Wemyss, Junge Kantorei, Barockorchester Frankfurt, Joachim Carlos Martini | D Major | 1 | 10B | 77 BPM | ||
L'Orfeo - Act 5: Ritornello-Questi i campi di Tracia | Claudio Monteverdi, John Mark Ainsley, New London Consort, Philip Pickett | F Major | 1 | 7B | 71 BPM | ||
Puccini : Messa di Gloria : I Kyrie | Giacomo Puccini, Claudio Scimone, Philharmonia Orchestra | A♭ Major | 1 | 4B | 123 BPM | ||
Let thy Hand be strengthened, HWV 259: Alleluia | George Frideric Handel, Thomas Tallis Chamber Choir, Royal Academy Consort, Jeremy Summerly | G Major | 2 | 9B | 61 BPM | ||
Stabat Mater, Op. 58: IV. Fac, ut ardeat cor meum (Largo) | Antonín Dvořák, Philippe Herreweghe, Collegium Vocale Gent, Royal Flemish Philharmonic, Florian Boesch | B♭ Minor | 0 | 3A | 79 BPM | ||
Tannhäuser / Act II: "Gar viel und schön" | Richard Wagner, Thomas Quasthoff, Orchester der Deutschen Oper Berlin, Christian Thielemann, Chor der Deutschen Oper Berlin | E Minor | 2 | 9A | 72 BPM | ||
Verdi- Messa Da Requiem- 1. Requiem - Original | Sir Georg Solti, Vienna Philharmonic Solti | A Major | 1 | 11B | 73 BPM | ||
Requiem, Op. 48: II. Offertory | Gabriel Fauré, Robert Shaw, Atlanta Symphony Orchestra | D Major | 0 | 10B | 75 BPM | ||
Magnificat: Magnificat | Giovanni Battista Pergolesi, Choir of King's College, Cambridge, Academy of St. Martin in the Fields, Sir Neville Marriner | G Major | 1 | 9B | 172 BPM | ||
Eugene Onegin, Op. 24, TH.5 / Act 2: Entr'acte and Waltz with Chorus. "Vot tak syurpriz!" | Pyotr Ilyich Tchaikovsky, Dmitri Hvorostovsky, Neil Shicoff, Herve Hennequin, St.Petersburg Chamber Choir, Orchestre de Paris, Semyon Bychkov | D Major | 2 | 10B | 113 BPM |