In this menacing bass aria, Handel signals darkness and danger with a "Jaws"-like musical motif in the orchestra. Simple and captivating, this is movement ten of the Messiah. Perfect for Easter or Good Friday. Direction is inspired by the London Symphony Orchestra recordings.
Bm
Movement 11 from Handel's Messiah is an aria for bass. The creepy chromatic melody is played unison by the orchestra and soloist, giving an unusual, dark character to the text. Tempos are similar to the London Symphony Orchestra recording.
Bm
This soprano recitative comprises movements 14 and 15 of Handel's Messiah. It tells of the angel of God appearing to the shepherds. Very slow and rubato, with timings carefully matched to the London Philharmonic Orchestra recording.
C
Movement 17 from Handel's Messiah, this is a joyous SATB chorus, complete with trumpets, woodwinds, strings, and harpsichord. The text of "peace on Earth, goodwill towards men" is perfect for Christmas. Orchestral direction reflects the London Philharmonic Orchestra recording. Includes mvmnt. 16 (an 8-measure soprano recitative) as an introduction.
D
Movement 19 of Handel's Messiah is a brief alto recitative, reciting the miracles that will occur when Jesus is born. Accompanied by bass, cello, and harpsichord.
Am
Movement 20 in Handel's Messiah is a gentle, flowing double aria for alto and soprano. The text describes how Jesus will protect his people. The alto sings the first half in F, and then the soprano takes over in Bb for the second half. Simple and beautiful. Could be done by one singer with a large range, but really perfect to feature two.
F
An exciting rendition of the American patriotic song by Irving Berlin. Full orchestra with a patriotic marching flavor, led in by gospel piano. Two verses, with the second modulating up a half step. Perfect for Labor Day, July 4th, Memorial Day, etc.
F Eb Ab
This grand and peaceful SATB chorus is movement 21 of Handel's Messiah. The last movement in Part 1, it is usually the last song before intermission in performances of the full work. Gentle and easy to sing with a triumphant ending, with a text simple enough for anyone to understand.
Bb
A slow, moving aria for alto, Movement 23 of Handel's Messiah, describing Christ's sorrows. Strings gently weep in the accompaniment. As the A section is over five minutes in length, Handel's instructions to continue with a bridge and then repeat the A section in its entirety are rarely followed. This recording ends, like most, at the end of the A section; the bridge is available separately as Spiritrax 1209, "He Gave His Back to the Smiters".
Eb
This quiet alto aria about Christ's generosity towards his abusers is the B section of movement 23 of the Messiah. It was recorded separately so that it can be used alone, as a short and simple aria, or as a bridge to "He Was Despised" (Spiritrax 1208) as per Handel's original instructions.
Cm
A bounding, joyous SATB chorus, movement 26 of Handel's Messiah. Ends with a slow quiet coda. Orchestral direction follows the London Philharmonic recording.
F
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
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
An ambient contemporary version of the classic Christmas carol. The sound of whistling wind brings out the cold, dark quality of this minor key carol, and an eclectic group of instruments (bass, piano, guitar, synthesizers, strings, and a variety of percussion) provide an easy background to sing over.
Am Cm Fm
A brief tenor recitative, accompanied by harpsichord and strings. Movement 42 of Handel's Messiah, this functions as a short introduction to the tenor aria "Thou Shalt Break Them".
E
