"St. Matthew Passion, BWV 244 / Part Two: No.57 Aria (Bass): "Komm, süsses Kreuz"" by Johann Sebastian Bach, Thomas Quasthoff, Gewandhausorchester, Riccardo Chailly was released on January 1, 2010. With this song being about 5 minutes long, at 5:29, "St. Matthew Passion, BWV 244 / Part Two: No.57 Aria (Bass): "Komm, süsses Kreuz"" by Johann Sebastian Bach, Thomas Quasthoff, Gewandhausorchester, Riccardo Chailly is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The song is number 20 out of 68 in Bach, J.S.: St. Matthew Passion by Johann Sebastian Bach, Thomanerchor Leipzig, Tölzer Knabenchor, Gewandhausorchester, Riccardo Chailly. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. St. Matthew Passion, BWV 244 / Part Two: No.57 Aria (Bass): "Komm, süsses Kreuz" 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 St. Matthew Passion, BWV 244 / Part Two: No.57 Aria (Bass): "Komm, süsses Kreuz" by Johann Sebastian Bach, Thomas Quasthoff, Gewandhausorchester, Riccardo Chailly is Andante (at a walking pace), since this song has a tempo of 83 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 D Minor. Because this track belongs in the D Minor key, the camelot key is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Piano Concerto in G Major, M. 83: II. Adagio assai | Maurice Ravel, Krystian Zimerman, Cleveland Orchestra, Pierre Boulez | E Major | 0 | 12B | 74 BPM | ||
Nocturne No. 9 In B, Op. 32 No. 1 | Frédéric Chopin, Maurizio Pollini | B Major | 0 | 1B | 80 BPM | ||
Renaissance, Book 2: Sarabande (Lully) | Leopold Godowsky, Konstantin Scherbakov | E Minor | 0 | 9A | 94 BPM | ||
Sonatina No. 1, Op. 67: III. Allegro moderato | Jean Sibelius, Leif Ove Andsnes | F♯ Major | 1 | 2B | 94 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 | ||
6 Moments musicaux, Op. 94, D. 780: No. 3 Allegro moderato | Lang Lang | F Minor | 1 | 4A | 128 BPM | ||
Shostakovich / Arr. Atovmyan: Suite from the Gadfly, Op. 97a: VIII. Romance | Dmitri Shostakovich, Tasmin Little, Piers Lane | C Major | 1 | 8B | 175 BPM | ||
Sarabande Variations (from Suite in D Minor, HWV 437): Variation VIII | George Frideric Handel, Martin Stadtfeld | D♭ Major | 0 | 3B | 74 BPM | ||
Concerto In F Major, F Dur BWV978, After Antonio Vivaldi: (Allegro) | Arts Music Recording, Rotterdam, Pieter Dirksen, Johann Sebastian Bach | E Minor | 1 | 9A | 81 BPM | ||
Keyboard Concerto in G Major, Wq. 44: II. Andantino | Carl Philipp Emanuel Bach, Michael Rische, Kammersymphonie Leipzig | E Minor | 0 | 9A | 87 BPM |