George Frideric Handel, London Symphony Orchestra, Sir Colin Davis, Tenebrae's ' "Messiah, HWV 56, Part II: No. 25, And With His Stripes We Are Healed" was released on its scheduled release date, October 9, 2007. The duration of This song is about two minutes long, specifically at 2:32. This song does not appear to have any foul language. Messiah, HWV 56, Part II: No. 25, And With His Stripes We Are Healed's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in George Frideric Handel, London Symphony Orchestra, Sir Colin Davis, Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles, Tenebrae's "Handel: Messiah" album is number 24 out of 53. On top of that, United Kingdom appears to be the country where this track was created. In terms of popularity, Messiah, HWV 56, Part II: No. 25, And With His Stripes We Are Healed is currently not that popular. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
We consider the tempo marking of Messiah, HWV 56, Part II: No. 25, And With His Stripes We Are Healed by George Frideric Handel, London Symphony Orchestra, Sir Colin Davis, Tenebrae to be Andante (at a walking pace) because the track has a tempo of 105 BPM, a half-time of 52BPM, and a double-time of 210 BPM. 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 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.
Want to find the BPM and music key for other songs? Check out our BPM and Key Finder page!
| Track | Artist | Key | Energy | Camelot | BPM | ||
|---|---|---|---|---|---|---|---|
| A Tender Shoot | Kerensa Briggs, The Chapel Choir of Pembroke College, Cambridge, The Pembroke College Girls’ Choir, Anna Lapwood | D♭ Major | 0 | 3B | 76 BPM | ||
| Palestrina : Motets, Book 5 : Gaude gloriosa | Giovanni Pierluigi da Palestrina, Chanticleer | A Major | 1 | 11B | 80 BPM | ||
| Palestrina: Collegio Romano MS 2852: Alma redemptoris | Giovanni Pierluigi da Palestrina, Edward Higginbottom, Choir of New College, Oxford | E Major | 0 | 12B | 139 BPM | ||
| Magnificat Quinti Toni | Hieronymus Praetorius, Voces8 | G Major | 1 | 9B | 116 BPM | ||
| Messiah: Part 1, For behold, darkness shall cover the earth (Accompagnato, Bass) | The Sixteen | A♭ Major | 1 | 4B | 79 BPM | ||
| A Ceremony Of Carols, Op. 28: As Dew In Aprille | Benjamin Britten, Sioned Williams, Harry Christophers | A♭ Major | 0 | 4B | 86 BPM | ||
| Remember O Thou Man | Choir of King's College, Cambridge, David Willcocks, Simon Preston | G Minor | 0 | 6A | 78 BPM | ||
| Alma Redemptoris Mater | Tomás Luis de Victoria, The Cambridge Singers, John Rutter | F♯ Minor | 0 | 11A | 107 BPM | ||
| Let all mortal flesh keep silence | Edward Bairstow, Choir of Clare College, Cambridge, Graham Ross, Alexander Porteous, Joshua Pacey | F♯ Minor | 1 | 11A | 132 BPM | ||
| Requiem, Op. 9: II. Kyrie (1961 Version) | Maurice Duruflé, Orchestra of the Age of Enlightenment, Stephen Cleobury, Choir of King's College, Cambridge | F Major | 1 | 7B | 84 BPM | ||
| The Coventry Carol | Anonymous | D Minor | 2 | 7A | 81 BPM | ||
| O salutaris hostia | Camille Saint-Saëns, Antonia Bourvé, Jens Hamann, Sabine Czinczel, Romano Giefer, Les Favorites, Holger Speck | A Major | 2 | 11B | 76 BPM | ||
| Ave Maris Stella | Trond Kverno, Kammerkoret Nova, Anne Karin Sundal-Ask | D♭ Major | 0 | 3B | 57 BPM | ||
| A Ceremony Of Carols, Op. 28: Procession | Benjamin Britten, The Sixteen, Harry Christophers | A Major | 0 | 11B | 138 BPM | ||
| Thompson: Alleluia | Robert Shaw, Robert Shaw Chamber Singers | D Major | 1 | 10B | 134 BPM | ||
| Oratorio de Noël, Op. 12: Air. Domine, ego credidi (Tenor, Chorus) | Camille Saint-Saëns, Verena Schweizer, Edith Wiens, Helena Jungwirth, Friedreich Melzer, Kurt Widmer, Hans-Joachim Bartsch, Barbara Biermann, Bachchor Mainz, Bachorchester Mainz, Diethard Hellmann | A Minor | 1 | 8A | 70 BPM | ||
| At the Manger Mary Sings | Graham Lack, VOCES8 | B♭ Major | 0 | 6B | 131 BPM | ||
| How Shall I Fitly Meet Thee? | Johann Sebastian Bach, Choir of King's College, Cambridge, Daniel Hyde | F♯ Major | 1 | 2B | 66 BPM | ||
| Of a Rose | Cecilia McDowall, The Sixteen, Harry Christophers | D Minor | 2 | 7A | 105 BPM | ||
| Mawby : Ave verum corpus | Colin Mawby, Westminster Cathedral Choir, City of London Sinfonia, James O'Donnell | G Major | 2 | 9B | 87 BPM | ||
| A Ceremony of Carols, Op. 28: III. There Is No Rose | Benjamin Britten, The Choir Of Trinity College, Cambridge, Richard Marlow, Frances Kelly, Marie-Claire Brookshaw, Clare Wilkinson | B♭ Major | 0 | 6B | 97 BPM | ||
| In nativitatem Domini canticum, H. 416: No. 11, Exultemus, jubilemus | Marc-Antoine Charpentier, The Monteverdi Choir, English Baroque Soloists, Christophe Rousset, Florian Störtz, Samuel Boden | D♭ Minor | 2 | 12A | 97 BPM | ||
| Weihnachts-Oratorium, BWV 248, Pt. 1: No. 7, Chorale & Recit. Er ist auf Erden kommen arm – Wer will die Liebe recht erhöhn | Johann Sebastian Bach, Olaf Bär, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | F♯ Major | 0 | 2B | 75 BPM | ||
| Messiah HWV56, PART 1: The people that walked in darkness (bass air: Larghetto) | George Frideric Handel, Choir of King's College, Cambridge, Stephen Cleobury, Matthew Rose | B♭ Minor | 1 | 3A | 76 BPM | ||
| Ave Maris Stella | Edvard Grieg, The Sixteen, Harry Christophers | G Major | 1 | 9B | 136 BPM |