The massive final movement of Handel's Messiah, scored for SATB chorus and full orchestra, includes unison rhythm choruses, four part fugal sections, a big ending, and a four-minute Amen section that could be considered a separate movement. Trumpets and kettledrums boost the energy of this truly grand finale.
D
One the most famous pieces of Baroque music, the beautiful Air from Johann Sebastian Bach's Orchestral Suite #3 in D Major is commonly performed as a prelude at weddings, graduations, and other special occasions. A later arrangement that made the melody playable on one string of the violin gave it the nickname "Air on the G String." Often arranged for soloists, this recording is from Bach's original score for string orchestra.
D
An instrumental version of the famous Bach aria Sheep May Safely Graze, recorded here with two flutes, cello, harpsichord, and violins on the melody. A beautiful and well-known work, it is often used to set a peaceful mood at the beginning of special events. For a backing track version that leaves out the violin part to make room for a soprano soloist, see track 1302.
Bb C G
An incredibly popular piece of baroque music, often played at weddings and graduations. This is the original arrangement by the German composer Johann Pachelbel, for three violins, cello, and harpsichord.
D
A processional for all seasons! This famous march is commonly used while the party enters in weddings, or as an alternate march in graduations, and is a common trumpet feature. Performed here by piccolo trumpet, pipe organ, and double bass. We provide two versions with your download, one with trumpet, and one without. The version without a trumpet features a short interlude between sections so that the soloist can rest.
D
This beautiful classical work is commonly performed as a recessional at weddings and at other joyous occasions. The opening of Act 3 from Handel's opera Solomon, it is recorded here from Handel's original scoring for string orchestra, two oboes, and harpsichord.
Bb
The sixth movement from Handel's Messiah - an aria for solo Alto. This orchestral recording follows Handel's original score, featuring strings, winds, and harpsichord. Popular oratorio for Christmas and Easter.
Dm
An accompaniment of the classic gospel hymn, featuring piano, electric keyboard and strings. One verse and two choruses, with lots of room for soloists to show their stuff. This is an original arrangement, but close enough to many popular arrangements to be easy to follow.
C F A
An orchestral "Fiddler On The Roof"-style arrangement of the traditional Jewish spiritual Let My People Go. About the Jewish people's freedom from slavery in Egypt, this song is commonly used during Passover seder, and commonly used as a metaphor for the enslavement and oppression of Africans in America.
Fm Am Dm Cm
A gentle orchestral arrangement of this classic Lent hymn. Soft strings, woodwinds, and horns anchor the simple melody and make it easy to sing.
F D A
Wintery and flowing, this full and lush orchestral arrangement of the Christmas hymn The Bells of Christmas will transport your congregation or audience back to the manger where Jesus was born. Features full orchestra, bells, and strings for an unforgettable Christmas eve hymn. Three verses.
Eb F Ab C
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
Here I Am To Worship, made popular by contemporary Christian artist Tim Hughes. Semi-acoustic version, containing a string quartet feel, acoustic guitar, piano, bass and drums. Perfect for solo male performance, or as an inviting opening piece for worship. Used under license from EMI/Thank You Music.
E
This long, slow, beautiful soprano aria begins the Third Part of Handel's Messiah. Very smooth and legato, this is a common solo for Easter. Tempos and direction are inspired by the well-known London Symphony Orchestra recordings. This is movement 45 of the Messiah.
E
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
