"The Seven Last Words of our Saviour on the Cross, Op. 51 (Hob.III. 50-56): 1. Introduzione (Maestoso ed Adagio)" by Joseph Haydn, Berliner Philharmoniker, Riccardo Muti was released on March 26, 1993. The Seven Last Words of our Saviour on the Cross, Op. 51 (Hob.III. 50-56): 1. Introduzione (Maestoso ed Adagio) is about six minutes long, preciously at 6:01, making this song fairly long compared to other songs. The track order of this song in Joseph Haydn, Riccardo Muti, Berliner Philharmoniker's "Haydn: The Seven Last Words Of Our Saviour On The Cross" album is number 1 out of 9. On top of that, Netherlands appears to be the country where this track was created. The Seven Last Words of our Saviour on the Cross, Op. 51 (Hob.III. 50-56): 1. Introduzione (Maestoso ed Adagio) 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 The Seven Last Words of our Saviour on the Cross, Op. 51 (Hob.III. 50-56): 1. Introduzione (Maestoso ed Adagio) by Joseph Haydn, Berliner Philharmoniker, Riccardo Muti to be Adagio (slowly with great expression) because the track has a tempo of 72 テンポ, a half-time of 36テンポ, and a double-time of 144 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of D Minor. Because this track belongs in the D Minor key, the camelot key is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Haydn: Mass in D Minor, Hob. XXII:11 "Nelson Mass": Kyrie | Joseph Haydn, Sir Neville Marriner, Hansjürgen Scholze, Margaret Marshall, MDR Leipzig Radio Chorus, Staatskapelle Dresden | G Minor | 3 | 6A | 115 BPM | ||
Overture (Suite) In G Minor, TWV 55: G4: I. Ouverture: Grave. Allegro. Grave | Cologne Chamber Orchestra, Georg Philipp Telemann | G Minor | 2 | 6A | 115 BPM | ||
Trumpet Sonata in D Major, Z. 850: I. Allegro | Henry Purcell, Ede Inhoff, Hungarian State Opera Chamber Orchestra | E♭ Minor | 0 | 2A | 83 BPM | ||
String Quartet No. 12 in E-Flat Major, Op. 127: III. Scherzando vivace | Ludwig van Beethoven, Kodály Quartet | D Major | 0 | 10B | 114 BPM | ||
Concerto In The Italian Style, BWV 971, "Italian Concerto": I. (Allegro) | Janos Sebestyen, Johann Sebastian Bach | F Major | 3 | 7B | 105 BPM | ||
Lieder ohne Worte, Op.19: No. 5 In F Sharp Minor (Agitato), MWV U 90 - "Restlessness" | Felix Mendelssohn, Daniel Barenboim | F♯ Minor | 1 | 11A | 128 BPM | ||
Fantasia And Fugue In C Minor (Extracts), Bwv 906: Fantasia In C Minor, BWV 906 | Janos Sebestyen, Johann Sebastian Bach | C Minor | 3 | 5A | 107 BPM | ||
Concerto for 2 Oboes in F Major, Op. 9, No. 3: II. Adagio (non troppo) | Tomaso Albinoni, Anthony Camden, London Virtuosi, John Georgiadis | D Minor | 1 | 7A | 61 BPM | ||
Viola Concerto in G Major, TWV 51:G9: IV. Presto | Georg Philipp Telemann, Ladislav Kyselák, Capella Istropolitana, Richard Edlinger | G Major | 2 | 9B | 114 BPM | ||
Concerto pour violoncelle No. 6 en ré majeur, G. 479: I. Allegro | Luigi Boccherini, Ophélie Gaillard, Pulcinella Orchestra | A Major | 1 | 11B | 82 BPM |