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
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 full-blown fugue for SATB chorus, in grand Renaissance style. Handel doubles all the choral parts clearly in the orchestra, making this an easy fugue to sing. Movement 25 of the Messiah.
Fm
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
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
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
A flowing duet for alto and tenor leads into a glorious SATB chorus thanking God. This track comprises movements 50 and 51 of the Messiah. Orchestral accompaniment is from Handel's original score.
Eb
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 of the traditional melodies for this Jewish prayer, accompanied by accordion, bass, violin, guitar, and drums. Two slow verses out front help people remember the words, and then four fast verses follow. A great rhythmic song for holidays, for both children and adults.
Am Cm Ebm
A joyful contemporary arrangement of this Easter hymn. Simple lyrics tell the Easter story, to the music of a Dutch folk tune. Acoustic guitar, piano, bass, and percussion.
C Eb G
A contemporary pop ballad arrangement of the Lenten hymn Christ the Life of All the Living, originally set to music in 1687. Features a delicate, lullaby-like piano and glock interlude, strings, and gentle rhythm. Perfect for Lent, Good Friday, and Easter, with themes of suffering, resurrection, crucifixion, and praise. This accompaniment track is three verses.
G F Bb
The Spiritrax.com Ultimate Jewish Music Collection includes fourteen traditional Jewish songs for the Chanukah and Passover holidays in their most commonly sung keys. Click each title below to preview that track. Each accompaniment background track comes with sheet music, and several tracks include a demonstration version.
A moving, mystical arrangement of the traditional Christmas hymn Let All Mortal Flesh Keep Silence. Featuring string orchestra, piano and french horn playing three verses, this version adds a bar of rest after each phrase to obtain even 4 bar phrasing.
Dm Cm Fm
