"Bach - 3 chorales, P. 167: No. 3. Andante (after J.S. Bach's Wachet auf ruft uns die Stimme, BWV 645)" by Ottorino Respighi, Seattle Symphony Orchestra, Gerard Schwarz was released on March 6, 2012. With this song being about 5 minutes long, at 5:08, "Bach - 3 chorales, P. 167: No. 3. Andante (after J.S. Bach's Wachet auf ruft uns die Stimme, BWV 645)" by Ottorino Respighi, Seattle Symphony Orchestra, Gerard Schwarz is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The song is number 3 out of 12 in Bach: Orchestral transcriptions by Respighi & Elgar by Ottorino Respighi, Gerard Schwarz. Going off of the ISRC code of this track, we detected that the origin of this track is from Hong Kong. In terms of popularity, Bach - 3 chorales, P. 167: No. 3. Andante (after J.S. Bach's Wachet auf ruft uns die Stimme, BWV 645) is currently average in popularity. 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 Bach - 3 chorales, P. 167: No. 3. Andante (after J.S. Bach's Wachet auf ruft uns die Stimme, BWV 645) by Ottorino Respighi, Seattle Symphony Orchestra, Gerard Schwarz is Moderato (at a moderate speed), since this song has a tempo of 110 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 has a musical key of E♭ Major. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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3 Nouvelles etudes, Op. posth.: II. Etude No. 26 in A-Flat Major | Frédéric Chopin, Idil Biret | A♭ Major | 0 | 4B | 74 BPM | ||
Scottish Fantasy for Violin and Orchestra, Op. 46: I. Introduction: Grave, Adagio cantabile | Max Bruch, Joshua Bell, Academy of St. Martin in the Fields | E♭ Major | 2 | 5B | 60 BPM | ||
Deux valses pour deux pianos: I. Valse lente (arr. for Solo Piano) | Germaine Tailleferre, Eric Le Sage | F♯ Minor | 1 | 11A | 94 BPM | ||
Tsarskaya nevesta (The Tsar's Bride): Overture | Nikolai Rimsky-Korsakov, Seattle Symphony Orchestra, Gerard Schwarz | A Minor | 1 | 8A | 78 BPM | ||
In the Steppes of Central Asia | Alexander Borodin, Ukraine National Radio Symphony Orchestra, Theodore Kuchar | A Major | 0 | 11B | 68 BPM | ||
Bach - Fantasy and Fugue in C Minor, Op. 86 (after J.S. Bach's BWV 537): Fantasia | Edward Elgar, Seattle Symphony Orchestra, Gerard Schwarz | F Minor | 1 | 4A | 143 BPM | ||
7 Variations on an original theme, Op. 9, J. 55: Andante | Carl Maria von Weber, Michael Endres | F Major | 0 | 7B | 121 BPM | ||
Warsaw Concerto | Richard Addinsell, Jean-Yves Thibaudet, BBC Symphony Orchestra, Hugh Wolff | B Major | 1 | 1B | 76 BPM | ||
Chopin: Cello Sonata in G Minor, Op. 65: III. Largo | Frédéric Chopin, Gautier Capuçon, Yuja Wang | G Major | 1 | 9B | 75 BPM | ||
Piano Concerto No. 1 in C Major, Op. 11, J. 98: II. Adagio | Carl Maria von Weber, Benjamin Frith, RTE Sinfonietta, Proinnsias O'Duinn | A♭ Major | 0 | 4B | 95 BPM |