"Magnificat, Wq. 215: Magnificat, Wq. 215: 2. Arie. Quia respexit humilitatem (S)" by Carl Philipp Emanuel Bach, Elizabeth Watts, Akademie für Alte Musik Berlin, Hans-Christoph Rademann was released on February 10, 2014. Magnificat, Wq. 215: Magnificat, Wq. 215: 2. Arie. Quia respexit humilitatem (S) is about six minutes long, preciously at 5:30, making this song fairly long compared to other songs. The song is number 2 out of 14 in C.P.E. Bach: Magnificat, Wq. 215 by Carl Philipp Emanuel Bach, RIAS Kammerchor, Akademie für Alte Musik Berlin, Hans-Christoph Rademann. Magnificat, Wq. 215: Magnificat, Wq. 215: 2. Arie. Quia respexit humilitatem (S) 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 Magnificat, Wq. 215: Magnificat, Wq. 215: 2. Arie. Quia respexit humilitatem (S) by Carl Philipp Emanuel Bach, Elizabeth Watts, Akademie für Alte Musik Berlin, Hans-Christoph Rademann is Andante (at a walking pace), since this song has a tempo of 89 テンポ. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
B♭ Minor is the music key of this track. Because this track belongs in the B♭ Minor key, the camelot key is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Alcidiane: Recit chante par la Signora Anna | Jean-Baptiste Lully, Mary Enid Haines, Sharla Nafziger, Aradia Ensemble, Kevin Mallon | D♭ Minor | 0 | 12A | 83 BPM | ||
Alla polacca in G Minor, Wq. 112/11 (116/12), H. 168 | Carl Philipp Emanuel Bach, Ana-Marija Markovina | G Minor | 1 | 6A | 76 BPM | ||
Sinfonia in F Major, Fk 67: III. Allegro | Wilhelm Friedemann Bach, Akademie für Alte Musik Berlin, Stephan Mai | E♭ Major | 1 | 5B | 87 BPM | ||
Mass in C Minor, K.427 "Grosse Messe" (Ed. Maunder): Et incarnatus est | Wolfgang Amadeus Mozart, Arleen Auger, Academy of Ancient Music, Christopher Hogwood | A Minor | 2 | 8A | 173 BPM | ||
Amphitryon, Z. 572, "The 2 Sosias": V. Air | Henry Purcell, Andrea Jeffrey, Michelle Kettrick, Nicole Bower, Giles Tomkins, Aradia Ensemble, Kevin Mallon | F♯ Minor | 2 | 11A | 91 BPM | ||
Symphony in A Major, J-C 62: II. Andante e pianissimo | Giovanni Battista Sammartini, Aradia Ensemble, Kevin Mallon | A♭ Minor | 0 | 1A | 104 BPM | ||
Symphony No. 31 in D Major, K. 297/300a "Paris": II. Andante (first edition) | Wolfgang Amadeus Mozart, Akademie für Alte Musik Berlin, Bernhard Forck | D Major | 0 | 10B | 65 BPM | ||
When Saul was king: I. When Saul was king over us | Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Academy of Ancient Music | A Major | 1 | 11B | 170 BPM | ||
Croesus: ACT I, Scene 1, "Croesus herrsche, Croesus lebe" (Coro) | Reinhard Keiser, René Jacobs, RIAS Kammerchor, Akademie für Alte Musik Berlin | D♭ Major | 3 | 3B | 108 BPM | ||
Stabat Mater (Hob. XXbis) 1767: I. Stabat Mater Dolorosa | Joseph Haydn, Anthony Rolfe Johnson, The English Concert, Trevor Pinnock, The English Concert Choir | B Minor | 1 | 10A | 135 BPM |