Klezmer backing track arrangement perfect for singing along to the Four Questions of the Passover Seder, also known as Halila Hazeh. Verses traditionally sung by the youngest in the family with everone singing the choruses.
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A contemporary version of the traditional Jewish prayer, the Sh'ma. Perfect for Shabbat services and prayer, as well as other Jewish gatherings such as the High Holidays. This version is commonly sung in reform and progressive synagogues.
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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.
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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.
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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.
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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.
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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.
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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.
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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?)
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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.
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The official anthem of the President of the United States, played here by a marching band. A good short instrumental fanfare for patriotic events.
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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.
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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.
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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.
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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.
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