"Matthäus-Passion, BWV 244 / Zweiter Teil: No. 54 "O Haupt voll Blut und Wunden"" by Johann Sebastian Bach, The Monteverdi Choir, The London Oratory Junior Choir, English Baroque Soloists, John Eliot Gardiner was released on January 1, 1989. With Matthäus-Passion, BWV 244 / Zweiter Teil: No. 54 "O Haupt voll Blut und Wunden" being less than two minutes long, at 1:46, 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 song is number 2 out of 68 in Bach, J.S.: St. Matthew Passion, BWV 244 by Johann Sebastian Bach, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner. Matthäus-Passion, BWV 244 / Zweiter Teil: No. 54 "O Haupt voll Blut und Wunden" is below average in popularity 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 Matthäus-Passion, BWV 244 / Zweiter Teil: No. 54 "O Haupt voll Blut und Wunden" by Johann Sebastian Bach, The Monteverdi Choir, The London Oratory Junior Choir, English Baroque Soloists, John Eliot Gardiner is Andante (at a walking pace), since this song has a tempo of 78 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 E Major. This also means that this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Messiah / Part 2: "All they that see him...He trusted in God" | George Frideric Handel, Philip Langridge, Academy of St. Martin in the Fields Chorus, Academy of St. Martin in the Fields, Sir Neville Marriner | F Minor | 2 | 4A | 124 BPM | ||
Les fêtes d'Hébé / Act 2: Air tendre - Live | Jean-Philippe Rameau, Les Musiciens du Louvre, Marc Minkowski | D♭ Minor | 0 | 12A | 107 BPM | ||
Ave verum corpus, K. 618 - Live | Wolfgang Amadeus Mozart, Bavarian Radio Symphony Orchestra, Leonard Bernstein, Bavarian Radio Chorus | D Major | 0 | 10B | 86 BPM | ||
Requiem, Op. 9: II. Kyrie (1961 Version) | Maurice Duruflé, Orchestra of the Age of Enlightenment, Stephen Cleobury, Choir of King's College, Cambridge | F Major | 1 | 7B | 84 BPM | ||
The 4 Seasons: Violin Concerto in F minor, Op. 8, No. 4, RV 297, "L'inverno" (Winter): III. Allegro | Karoly Botvay | F Minor | 1 | 4A | 81 BPM | ||
Matthäus-Passion: Zweiter Teil, 68. Chorus I & II Wir setzen uns mit Tränen nieder | Johann Sebastian Bach, RIAS Kammerchor, Staats- und Domchor Berlin, Akademie für Alte Musik Berlin, René Jacobs | B Minor | 3 | 10A | 81 BPM | ||
Ave Maria | Franz Biebl, Oregon Repertory Singers, Ethan Sperry | C Minor | 0 | 5A | 77 BPM | ||
St. John Passion, BWV 245, Part I: No. 2a, Rezitativ "Jesus ging mit seinen Jüngern über den Bach Kidron" (Evangelist, Jesus) - No. 2e, "Jesus antwortete" (Evangelist, Jesus) | Johann Sebastian Bach, RIAS Kammerchor, Werner Güra, Johannes Weisser, Akademie für Alte Musik Berlin, René Jacobs | E Major | 1 | 12B | 108 BPM | ||
O Thou That Tellest Good Tidings To Zion - Live | George Frideric Handel, Andrew Davis, Toronto Mendelssohn Choir, Elmer Iseler Singers, Florence Quivar, John Aler, Samuel Ramey, Kathleen Battle, Toronto Symphony Orchestra | D Major | 0 | 10B | 84 BPM | ||
Calme des nuits, Op.68, No.1 | Camille Saint-Saëns, The Monteverdi Choir, John Eliot Gardiner | E Minor | 0 | 9A | 128 BPM |