"4 Gesange, Op. 17: Es tont ein voller Harfenklang" by Johannes Brahms, Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Helmuth Rilling was released on January 1, 2000. The duration of 4 Gesange, Op. 17: Es tont ein voller Harfenklang is about 3 minutes long, at 3:15. Based on our data, "4 Gesange, Op. 17: Es tont ein voller Harfenklang" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 4 out of 9 in Brahms: Schicksalslied, Op. 54 / 4 Songs, Op. 17 / Nanie, Op. 82 by Johannes Brahms. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. In terms of popularity, 4 Gesange, Op. 17: Es tont ein voller Harfenklang is currently not that popular. 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 4 Gesange, Op. 17: Es tont ein voller Harfenklang by Johannes Brahms, Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Helmuth Rilling is Moderato (at a moderate speed), since this song has a tempo of 111 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 C Major. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Liturgical Chants: 4 Spiritual Songs: Cherubic Song | Valentin Silvestrov, Latvian Radio Choir, Sigvards Kļava | A Major | 0 | 11B | 80 BPM | ||
A Hymn to the Virgin | Benjamin Britten, Phoenix Chorale, Charles Bruffy, Kira Rugen, Amy Perciballi, Robert Comeaux, David Topping | E Major | 0 | 12B | 81 BPM | ||
From the Bavarian Highlands, Op. 27 (Version for Choir & Piano): No. 4, Aspiration | Edward Elgar, Bavarian Radio Chorus, Max Hanft, Howard Arman | F Minor | 2 | 4A | 69 BPM | ||
The Passing of the Year: No. 7. Ring out, wild bells | Jonathan Dove, Convivium Singers, Christopher Cromar, Neil Ferris | C Major | 1 | 8B | 89 BPM | ||
Six chansons: I. La biche | Paul Hindemith, Ensemble vocal Aedes, Mathieu Romano | E Major | 1 | 12B | 120 BPM | ||
Ein deutsches Requiem, Op.45: 5. Solo (Sopran) und Chor: "Ihr habt nun Traurigkeit" | Johannes Brahms, Barbara Hendricks, Rudolf Scholz, Wiener Philharmoniker, Herbert von Karajan, Wiener Singverein | G Major | 0 | 9B | 92 BPM | ||
Dixit Dominus, HWV 232: VIII. Conquassabit capita | George Frideric Handel, Vox Luminis, Lionel Meunier | A Major | 1 | 11B | 101 BPM | ||
La Rose Complete | Nordic Chamber Choir - Nicol Matt | D♭ Major | 0 | 3B | 125 BPM | ||
Vexilla regis, WAB 51 | Anton Bruckner, Latvian Radio Choir, Sigvards Kļava | F Major | 0 | 7B | 130 BPM | ||
Gloria, FP 144: 1. Gloria | Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver | C Major | 3 | 8B | 109 BPM |