M ovement 41 of Handel's Messiah is a lively, energetic SATB chorus. Imitative parts and frequent modulations present an interesting challenge for any choir. One measure has been added to the beginning to establish tempo and key.
C
Movement 28 of Handel's Messiah is a four-part SATB fugal work about Christ's faith in God. All vocal parts are doubled clearly in the orchestra, making the complex music easy to sing. A fairly fast allegro movement with a slow dramatic ending.
Cm
A slow, deliberate tenor recitative, movement 25 of Handel's Messiah, describing Christ's sorrow at being abandoned to his fate. String orchestra with harp and harpsichord, matching Handel's original score.
B
A quiet, simple solo for tenor (or soprano), movement 30 of the Messiah is under two minutes long, and labeled an "arioso" (little aria) by Handel. The lyrics speak of Christ's sorrow, and tempos follow the London Philharmonic Orchestra recording.
Em
A very brief accompanied recitative from Handel's Messiah for tenor (or soprano). Only 30 seconds long, movement 31 forms a bridge between two short tenor arias, "Behold, and See if There Be Any Sorrow" and "But Thou Didst Not Leave His Soul in Hell", so a recital soloist might perform all three as a set. Very slow and rubato, with tempos following the London Philharmonic recording with Walter Susskind conducting.
E
Movement 32 of Handel's Messiah is an aria for tenor (or soprano). Moderately, calm, and stately, it occurs just after Christ is killed, and reassures the audience that his death is temporary. Orchestral direction and tempos follow the London Philharmonic recording with Walter Susskind conducting.
A
Movement 33 of Handel's Messiah is celebratory and challenging, with a strong Amen ending, a great choral work for Christmas or other holidays. This SATB (and at times, SSATB) chorus that features strong unison rhythms alternating with quiet fugal sections. Full orchestra accompaniment that follows Handel's original score.
F
A brief four-measure tenor recitative, movement 34 of Handel's Messiah. Just a 20 second bridge between choruses, intended to be included in performances of the full Messiah, not performed on its own.
Dm
A joyous upbeat SATB chorus, Movement 35 of Handel's Messiah. Short and sweet with a powerful orchestral accompaniment. Follows Handel's original score.
D
A flowing aria for alto, movement 36 of the Messiah. Orchestral accompaniment follows Handel's original score.
Dm
A short, powerful SATB chorus from Handel's Messiah, relating the first time that Christ speaks to the preachers after rising from the dead. Fast virtuosic lines in all parts, clearly doubled in the orchestra. An impressive concert work. Movement 37 in Handel's Messiah.
Bb
A slow, peaceful aria for soprano with orchestral accompaniment. Movement 38 of Handel's Messiah, the lyrics praise Christians who spread peace and the good word. The slow tempo leaves room for vocal ornamentation.
Gm
A strong, energetic SATB chorus, movement 39 of the Messiah is fairly brief. Forte all the way through, it makes a good concert opener. The orchestra follows Handel's original score.
Eb
An exciting aria for bass soloist, movement 40 of the Messiah. Furiously bowing strings mirror the nations and kings in the lyrics, which "furiously rage together".
C
A forcefully dramatic tenor recitative, movement 27 of Handel's Messiah. Only a minute in length, it can also be performed by a soprano soloist.
Bbm