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
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
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 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
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
A forceful, exciting aria for tenor, with lyrics describing God's wrath towards those who work against him. Orchestral direction follows the London Philharmonic recording. Movement 43 of Handel's Messiah, this aria occurs immediately before the famed Hallelujah Chorus.
Am
A dramatic SATB chorus, movement 46 of Handel's Messiah. Extremely slow and quiet sections describing death alternate with loud, upbeat sections describing resurrection. For this recording, organ quietly doubles the vocal parts in the a capella sections.
Am
Movement 47 of Handel's Messiah is a bass recitative that serves as a noble and grand introduction to the bass aria "The Trumpet Shall Sound".
D
A majestic, triumphant aria for bass, featuring solo trumpet and full orchestral accompaniment. Movement 48 of Handel's Messiah, it speaks of the end of the world: how the dead will be raised, and the mortal will become immortal. Quite lengthy, as practically the entire four-minute aria is repeated after a short interlude.
D
Movement 49 of Handel's Messiah is a short alto recitative, setting the tone (and the key) for the alto-tenor duet that follows it (O Death, Where is Thy Sting?)
Bb
