"Magnificat in D Major, BWV 243: Suscepit Israel" by Johann Sebastian Bach, Agnes Mellon, Philippe Herreweghe, La Chapelle Royale, Gérard Lesne, Barbara Schlick was released on 1990. With Magnificat in D Major, BWV 243: Suscepit Israel being less than two minutes long, at 1:50, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The track order of this song in Johann Sebastian Bach, Collegium Vocale Gent, La Chapelle Royale, Philippe Herreweghe's "J.S. Bach: Magnificat, BWV 243" album is number 10 out of 20. Based on our statistics, Magnificat in D Major, BWV 243: Suscepit Israel's popularity is below average in popularity 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 Magnificat in D Major, BWV 243: Suscepit Israel by Johann Sebastian Bach, Agnes Mellon, Philippe Herreweghe, La Chapelle Royale, Gérard Lesne, Barbara Schlick to be Allegro (fast, quick, and bright) because the track has a tempo of 131 テンポ, a half-time of 66テンポ, and a double-time of 262 テンポ. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of B♭ Minor. 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 | ||
---|---|---|---|---|---|---|---|
Stabat Mater: VIII. Virgo virginum | Antonio Caldara, Diego Fasolis, Swiss Radio Choir, Aura Musicale Ensemble, Rene Clemencic | E♭ Minor | 1 | 2A | 71 BPM | ||
Matthäus-Passion: Erster Teil, 1. Chorus I & II Kommt, ihr Töchter, helft mir klagen | Johann Sebastian Bach, RIAS Kammerchor, Staats- und Domchor Berlin, Akademie für Alte Musik Berlin, René Jacobs | E♭ Minor | 3 | 2A | 77 BPM | ||
Du bist die Ruh', Op. 59/3, D.776 | Franz Schubert, Dietrich Fischer-Dieskau, Gerald Moore | C Major | 0 | 8B | 80 BPM | ||
Bach, JS: Matthäus-Passion, BWV 244, Pt. 1: No. 1, Chor. "Kommt, ihr Töchter helft mir klagen" | Johann Sebastian Bach, Theo Altmeyer/Franz Crass/Teresa Zylis-Gara/Julia Hamari/Nicolai Gedda/Hermann Prey/Hans Sotin/Süddeutscher Madrigalchor/Consortium Musicum/Wolfgang Gönnenwein, Suddeutscher Madrigalchor, Wolfgang Gönnenwein, Consortium Musicum | A Minor | 1 | 8A | 114 BPM | ||
Requiem in D minor, K.626: 2. Kyrie (II) | Wolfgang Amadeus Mozart, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | C Major | 3 | 8B | 92 BPM | ||
Manon Lescaut / Act II: "In quelle trine morbide" | Giacomo Puccini, Anna Netrebko, Orchestra dell'Accademia Nazionale di Santa Cecilia, Antonio Pappano | B♭ Minor | 1 | 3A | 168 BPM | ||
Vespro della Beata Vergine, SV 206: V. Concerto "Pulchra es" | Claudio Monteverdi, Philippe Herreweghe, Dorothee Mields, Barbora Kabátková, Collegium Vocale Gent | A♭ Major | 0 | 4B | 114 BPM | ||
Languet anima mea BWV deest 1006: II. Aria: O vulnera, vita coelestis | Francesco Bartolomeo Conti, Johann Sebastian Bach, Bach Collegium Japan, Masaaki Suzuki, Hana Blaziková | E♭ Minor | 2 | 2A | 74 BPM | ||
4 Gesange, Op. 17: Es tont ein voller Harfenklang | Johannes Brahms, Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Helmuth Rilling | C Major | 1 | 8B | 111 BPM | ||
Diporti di Euterpe, Op. 7: Lagrime mie | Barbara Strozzi, Paul Beier, Emanuela Galli, Ensemble Galilei | E♭ Minor | 0 | 2A | 105 BPM |