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 quiet, simple solo for tenor (or soprano), movement 30 of the Messiah is under two minutes long, and labeled an "arioso" (little aria) by Handel. The lyrics speak of Christ's sorrow, and tempos follow the London Philharmonic Orchestra recording.
Em
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
A brief four-measure tenor recitative, movement 34 of Handel's Messiah. Just a 20 second bridge between choruses, intended to be included in performances of the full Messiah, not performed on its own.
Dm
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
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 gentle acoustic version of this traditional hymn about depending on the cross. Perfect for Lent and Ash Wednesday. Piano, guitar, bass, viola, and light percussion in an arrangement that's easy to sing.
Bb G D
A common hymn during Lent about dedication to the cross. This relaxed acoustic arrangement includes piano, guitar, bass, and drums. Perfect for Ash Wednesday.
D Bb F
Sometimes used with children on Ash Wednesday because of the "ashes" in the lyrics, this is a light orchestral version of the traditional game. Brief introduction and interlude gives the kids time to get into position, and several repeats make it just long enough for a little performance.
C Bb D
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
Contemporary version of this hymn of praise and appreciation. Perfect for themes of appreciating what we have, or our environmental or natural world. Four verses, with the fourth modulating up a step. Upbeat contemporary sound features guitars and keyboards.
F G D
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
A traditional arrangement of the classic Lenten hymn for string orchestra, woodwinds and piano. Three verses. There are several tunes commonly used for this hymn- this arrangement uses the Vox Dilecti melody by John Dykes.
G Eb Bb