"Elijah, Op. 70, MWV A25 / Part 1: "What have I to do with thee"" by Felix Mendelssohn, Renée Fleming, Bryn Terfel, Stephen Doughty, Orchestra of the Age of Enlightenment, Paul Daniel was released on January 1, 1997. Since Elijah, Op. 70, MWV A25 / Part 1: "What have I to do with thee" is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The track order of this song in Felix Mendelssohn, Bryn Terfel, Renée Fleming, Edinburgh Festival Chorus, Orchestra of the Age of Enlightenment, Paul Daniel's "Mendelssohn: Elijah" album is number 10 out of 44. On top of that, United Kingdom appears to be the country where this track was created. Based on our statistics, Elijah, Op. 70, MWV A25 / Part 1: "What have I to do with thee"'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 Elijah, Op. 70, MWV A25 / Part 1: "What have I to do with thee" by Felix Mendelssohn, Renée Fleming, Bryn Terfel, Stephen Doughty, Orchestra of the Age of Enlightenment, Paul Daniel to be Allegro (fast, quick, and bright) because the track has a tempo of 129 テンポ, a half-time of 64テンポ, and a double-time of 258 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.
B Minor is the music key of this track. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Requiem: IId. Liber scriptus | Giuseppe Verdi, Christa Ludwig, Wiener Singverein, Berliner Philharmoniker, Herbert von Karajan | D Major | 1 | 10B | 71 BPM | ||
Mahler: Rückert-Lieder: No. 3, Blicke mir nicht in die Lieder | Gustav Mahler, Dame Janet Baker, New Philharmonia Orchestra, Sir John Barbirolli | C Major | 0 | 8B | 82 BPM | ||
Rodelinda / Act 2: Ritorna, oh caro e dolce mio tesoro | George Frideric Handel, Renée Fleming, Orchestra of the Age of Enlightenment, Harry Bicket | F♯ Major | 1 | 2B | 72 BPM | ||
Die Schöpfung, Hob. XXI:2 / Erster Teil: 8. Arie: "Nun beut die Flur das frische Grün" | Franz Joseph Haydn, Gundula Janowitz, Berliner Philharmoniker, Herbert von Karajan | B♭ Major | 1 | 6B | 101 BPM | ||
The Dream of Gerontius, Op. 38, Pt.1: Sanctus fortis, Sanctus Deus | Sir Edward Elgar, Paul Groves, Sir Mark Elder, Hallé | B♭ Major | 2 | 6B | 48 BPM | ||
Mass in D Major, Op. 123 "Missa Solemnis": Sanctus: Praeludium | Ludwig van Beethoven, Berliner Philharmoniker, Herbert von Karajan | G Major | 1 | 9B | 74 BPM | ||
Carmen, Act I: No.3 bis Récit: C'est bien là, n'est-ce pas? (Zuniga/Don José) | Georges Bizet, Nicolas Cavallier, Michel Plasson, Wolff, Orchestre National Du Capitole De Toulouse | G Major | 1 | 9B | 84 BPM | ||
Dichterliebe, Op. 48: VIII. Und wüßten's die Blumen, die kleinen | Robert Schumann, Fritz Wunderlich, Hubert Giesen | D Minor | 1 | 7A | 126 BPM | ||
Daphne, Op. 82, TrV 272: "Ich komme, ich komme" | Richard Strauss, Renée Fleming, London Symphony Orchestra, Sir Georg Solti | E♭ Major | 0 | 5B | 135 BPM | ||
Carmina Burana / Uf dem Anger: "Chramer, gip die varwe mir" | Carl Orff, Chor der Deutschen Oper Berlin, Orchester der Deutschen Oper Berlin, Eugen Jochum | C Major | 0 | 8B | 152 BPM |