The seventh movement from Handel's Messiah, a full SATB chorus. This orchestral recording follows Handel's original score, featuring strings, winds, harpsichord, and organ. Popular oratorio for Christmas and Easter.
Gm
The eighth movement of Handel's Messiah, a very brief rubato recitative for alto soloist. Only six measures long, it begins in the key of D, but ends in A.
D
The ninth movement in Handel's Messiah begins with an alto aria, and ends with a triumphant SATB chorus. Together, they create a massive and grand piece of music. Smooth and flowing, this interpretation is inspired by the well-known London Symphony Orchestra recordings.
D
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
The twelfth movement in Handel's Messiah is a joyous SATB chorus celebrating Christ's birth. The vocal parts alternate between quiet sections of imitative polyphony and strong sections of heroic union fanfares. All parts match Handel's original score, and orchestral direction is similar to the well-known recordings by the London Symphony Orchestra.
G
An upbeat acoustic version of this classic Easter hymn played by praise band and orchestra. Bright and happy, perfect for Easter morning.
F D Ab 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 18 of Handel's Messiah is a dramatic and involved aria for soprano. A fast major-key beginning and end require virtuosic singing, and the slow minor-key middle section gives the singer lots of room to be expressive. Orchestral direction reflects the London Philharmonic Orchestra recording.
Bb
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
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
This slow minor-key SATB chorus is Movement 22 of Handel's Messiah, opening the second part. Beautiful and dramatic canonic entrances, with all the choral parts clearly mirrored in the orchestra.
Gm
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 powerful, strong SATB choral work, movement 24 of Handel's Messiah. In only 19 measures, the choir sings powerful unison rhythms, soft contrapuntal entrances, and a forceful antiphonal ending. Beautiful and recognizable.
Fm
