George Frideric Handel, Gwynne Howell, Academy of St. Martin in the Fields, Sir Neville Marriner's 'Messiah / Part 1: "This said the Lord... But who may abide..."' had a release date set for January 1, 1976. With this song being around four minutes long, at 4:29, 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 George Frideric Handel, Sir Neville Marriner, Academy of St. Martin in the Fields's "Handel: Messiah" album is number 4 out of 37. Based on our statistics, Messiah / Part 1: "This said the Lord... But who may abide..."'s popularity 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.
We consider the tempo marking of Messiah / Part 1: "This said the Lord... But who may abide..." by George Frideric Handel, Gwynne Howell, Academy of St. Martin in the Fields, Sir Neville Marriner to be Allegro (fast, quick, and bright) because the track has a tempo of 130 テンポ, a half-time of 65テンポ, and a double-time of 260 テンポ. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 3/4.
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 | ||
---|---|---|---|---|---|---|---|
Magnificat: VII. Gloria Patri | John Rutter, City of London Sinfonia, The Cambridge Singers | G Major | 1 | 9B | 71 BPM | ||
Schubert: Deutsche Messe, D. 872: No. 5, Zum Sanctus | Franz Schubert, Bavarian Radio Chorus, Bavarian Radio Symphony Orchestra, Wolfgang Sawallisch, Elmar Schloter | E Minor | 0 | 9A | 124 BPM | ||
Messiah / Part 2: "Unto which of the angels...Let all the Angels" | George Frideric Handel, Philip Langridge, Academy of St Martin in the Fields Chorus, Academy of St. Martin in the Fields, Sir Neville Marriner | D Major | 2 | 10B | 111 BPM | ||
Psalm 23, Op. 132, D. 706 | Franz Schubert, The Cambridge Singers, Aurora Orchestra, John Rutter | A♭ Major | 1 | 4B | 70 BPM | ||
Handel - Messiah, K. 572 (Sung in German): Overture | Wolfgang Amadeus Mozart, Donna Brown, Cornelia Kallisch, Roberto Sacca, Alastair Miles, Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Helmuth Rilling | F♯ Minor | 0 | 11A | 83 BPM | ||
Concerto Grosso in G Minor, Op. 6, No. 8, "Christmas Concerto": I. Vivace - Grave | Arcangelo Corelli, Franz Liszt Chamber Orchestra, János Rolla | G Minor | 0 | 6A | 86 BPM | ||
Coronation Anthem - My Heart is Inditing, HWV261: Kings shall be thy nursing fathers | The Sixteen | D♭ Major | 3 | 3B | 108 BPM | ||
All We Like Sheep Have Gone Astray - Live | George Frideric Handel, Andrew Davis, Toronto Mendelssohn Choir, Elmer Iseler Singers, Florence Quivar, John Aler, Samuel Ramey, Kathleen Battle, Toronto Symphony Orchestra | F Major | 1 | 7B | 113 BPM | ||
Hark! The Herald Angels Sing | The City of Prague Philharmonic Orchestra, Richard Hein, Voices West | F Major | 2 | 7B | 107 BPM | ||
Vivaldi: Magnificat in G Minor, RV 610: VIII. Sicut locutus est | Antonio Vivaldi, Choir of King's College, Cambridge, Academy of Ancient Music, Stephen Cleobury | E Major | 2 | 12B | 93 BPM |