Johann Sebastian Bach, Andreas Scholl, Collegium Vocale Gent, Philippe Herreweghe's 'Widerstehe doch der Sünde, BWV 54: I. Aria "Widerstehe doch der Sünde"' came out on January 1, 1998. Since Widerstehe doch der Sünde, BWV 54: I. Aria "Widerstehe doch der Sünde" 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 song is number 6 out of 15 in Bach: Cantatas for Alto Solo (Remastered) by Johann Sebastian Bach, Philippe Herreweghe, La Chapelle Royale, Collegium Vocale Gent. Going off of the ISRC code of this track, we detected that the origin of this track is from France. In terms of popularity, Widerstehe doch der Sünde, BWV 54: I. Aria "Widerstehe doch der Sünde" is currently unknown. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
The tempo marking of Widerstehe doch der Sünde, BWV 54: I. Aria "Widerstehe doch der Sünde" by Johann Sebastian Bach, Andreas Scholl, Collegium Vocale Gent, Philippe Herreweghe is Moderato (at a moderate speed), since this song has a tempo of 114 テンポ. With that information, we can conclude that the song has a moderate 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 | ||
---|---|---|---|---|---|---|---|
Concerto In G Major TWV 40:201, For 4 Violins Without Basso Continuo: 1. Largo e staccato | Georg Philipp Telemann, Reinhard Goebel, Stephan Schardt, Julia Huber-Warzecha, Mary Utiger | F♯ Major | 0 | 2B | 110 BPM | ||
Fantasia And Fugue In A Minor, BWV 904 : Fugue | Janos Sebestyen, Johann Sebastian Bach | A Minor | 3 | 8A | 132 BPM | ||
Dixit Dominus, HWV 232: 8. De torrente in via bibet | George Frideric Handel, Arleen Auger, Lynne Dawson, Orchestra of Westminster Abbey, Simon Preston | D Major | 4 | 10B | 77 BPM | ||
The Seven Last Words of Christ, Hob.XX:2: Sonata II "Fürwahr, ich sag' es dir" (Grave e cantabile) | Franz Joseph Haydn, Cuarteto Casals | C Minor | 0 | 5A | 77 BPM | ||
Recollection | Joseph Haydn, Andreas Scholl, Tamar Halperin | D Major | 0 | 10B | 129 BPM | ||
Monteverdi: Madrigals, Book 8: Ballo, SV 154b | Claudio Monteverdi, L'Arpeggiata, Christina Pluhar | A Minor | 1 | 8A | 127 BPM | ||
Messe en mi mineur: Messe en mi mineur: Kyrie. Feierlich | Anton Bruckner, Collegium Vocale Gent, Ensemble Musique Oblique, Philippe Herreweghe, La Chapelle Royale | E Minor | 0 | 9A | 74 BPM | ||
Schweigt stille, plaudert nicht, BWV 211, "Coffee Cantata": Aria: Ei, wie schmeckt der Coffee susse (Soprano) | Johann Sebastian Bach, Dorothea Röschmann, Hugues Saint-Gelas, Kevin McMillan, Les Violons du Roy, Bernard Labadie | B Minor | 1 | 10A | 123 BPM | ||
Salve Regina (Motetti a una, due vocie con sinfonie d'istromenti, Libro primo, 1621, A. Vincenti, Venezia) | Philippe Jaroussky, Ensemble Artaserse | G Minor | 1 | 6A | 75 BPM | ||
Come, ye sons of art, away (1694) Ode for the Birthday of Queen Mary II: Strike the viol, touch the lute | Henry Purcell, Andreas Scholl, Accademia Bizantina, Stefano Montanari | D♭ Minor | 2 | 12A | 115 BPM |