All month long at Christ Over All<\/em>, we are meditating on Messiah <\/em>by George Frideric Handel (1685\u20131759). And in what follows, we are offering the full text of Handel\u2019s Messiah, <\/em>along with key musical terms, and links to every part of the performance. In other words, while it would be too much to say that this is a \u201ccritical\u201d edition of Handel\u2019s Messiah, it is a useful, interactive edition that will serve classical musicians and novices alike.<\/p>\n\n\n\n As you follow along, there is first some preliminary definitions of key musical terms to familiarize the untrained as to the various styles of music employed by Handel. Next, introducing each of the three parts is a brief introduction to the biblical texts that Charles Jennens (1700\u20131773) composed. Finally, each text (as it is sung in Messiah<\/em>) is listed, totaling fifty-three total texts of Scripture.[1]<\/a> And underneath the style of music is a hyperlink that leads to the performance of that section.<\/p>\n\n\n\n We pray that this interactive edition of Handel\u2019s Messiah, <\/em>with Charles Jennen\u2019s Scripture texts, serves as a blessed reminder of our Lord\u2019s promise, birth, life, sin-bearing death, exalted resurrection and ascension, along with the good news of resurrection from the dead and the hope of salvation for the whole world. For truly, that is why we sing Messiah <\/em>and share its Scripture-saturated lyrics with you.<\/p>\n\n\n\n To properly ascertain Messiah<\/em>, one must become familiar with a few basic terms and structures that Handel employs. There are 53 texts of scripture in the oratorio. These texts were compiled by \u201cthe wealthy and arrogant Leicestershire country gentleman, Charles Jennens.\u201d[2]<\/a> Jennens served as Handel\u2019s textwriter (librettist) for decades.[3]<\/a> Organized into Part I (Numbers 1\u201321), Part II, (Numbers 22\u201344), and Part III (Numbers 45\u201353), the selections bridge an expanse of revelation from Psalms to Revelation.<\/p>\n\n\n\n Handel portrays the biblical scenes with a method of musical variety, as if looking at the same substance from different angles. In no particular order (although an Air <\/em>tends to precede a Chorus<\/em>, that in turn may precede a Recitative<\/em>), Handel employs the Overture<\/em>, the Air<\/em>, the Chorus<\/em>, the Accompagnato<\/em>, and the Recitative<\/em>. Here are basic definitions:<\/p>\n\n\n\n Overture <\/strong>\u2013 a thematic, wordless piece of music used to introduce the theme and set the mood of a performance<\/p><\/blockquote><\/li>\n\n\n\n Air<\/strong> \u2013 a self-contained piece for a solo singer, often with orchestral accompaniment<\/p><\/blockquote><\/li>\n\n\n\n Chorus <\/strong>\u2013 a section of a musical piece where many singers perform together, often with orchestral accompaniment<\/p><\/blockquote><\/li>\n\n\n\n Accompagnato <\/strong>\u2013 a vocal delivery somewhere between speaking and singing, accompanied by music and often dramatic<\/p><\/blockquote><\/li>\n\n\n\n Recitative <\/strong>\u2013 a style of singing that imitates speech, is unrepeated, and lacks a fixed rhythm<\/p><\/blockquote><\/li>\n<\/ul>\n\n\n\n Part I of the work concerns the \u201cOld Testament anticipation of the advent of the Messiah, and the New Testament fulfillment of this expectation.\u201d[4]<\/a> Against the backdrop of a dramatic, almost hopeless overture, Messiah\u2019s <\/em>first words are the comfort spoken to Jerusalem, who anticipates the end of exile and war as God comes on a highway in the desert (Isa. 40:1\u20133). This is quickly followed by further reflections from Isaiah 40, which promises salvation to a people who have been under judgment (see Isaiah 1\u201339).<\/p>\n\n\n\n Following Isaiah 40:4\u20135, Messiah <\/em>sings of the crooked path made straight and the revelation of God\u2019s glory in the first Air <\/em>and Chorus<\/em>. The Lord\u2019s coming to earth, a simultaneously comforting and terrifying thought, is the continuing theme through sections of Haggai and Malachi. God\u2019s coming is like a \u201crefiner\u2019s fire\u201d (Mal. 3:2). Whatever messianic anticipation that seems vague is clarified as a Recitative <\/em>voice announces the words of Isaiah 7:14 (and Matthew 1:23): \u201cBehold, a virgin shall conceive and bear a son, and shall call His name Emmanuel, God with us.\u201d This son is heralded through accompagnato, air, <\/em>and chorus <\/em>as the great light in the midst of darkness, whose name shall be Wonderful Counselor, Mighty God, the Everlasting Father, and Prince of Peace in a world not at peace. (Isa. 60:2\u20133, Isa. 9:2, Isa. 9:6).<\/p>\n\n\n\n Part I continues with the Christmas story proper, as Handel alternates between the Recitative <\/em>and Accompagnato<\/em>. The shepherds, the heavenly host, and the glory of God are in full view as the \u201cgood tidings of great joy\u201d are announced in the birth of the Savior (Luke 2:10\u201311). A chorus<\/em> joins and sings glory to God (Luke 2:14). The first section of Messiah <\/em>concludes with a brief, selective picture of Christ\u2019s life. The peace, healing, gentleness, and rest that Jesus offers is brought into view (Zech. 9:9\u201310, Isa. 35:5\u20136, Isa. 40:11, Matt. 11:28\u201329). Commenting on this angelic declaration, Block rightly notes that \u201cthe birth of the Messiah guarantees peace for the human race that has been languishing in turmoil and chaos ever since the Fall.\u201d[5]<\/a> A chorus<\/em> ends with the simple words: \u201cHis yoke is easy, and His burden is light\u201d (Matt. 11:30).<\/p>\n\n\n\n <\/strong><\/p>\n\n\n\n 14a. <\/strong>Recitative<\/strong><\/a> (soprano)<\/strong> \u2013 \u201cThere were shepherds abiding in the field, keeping watch over their flock by night.\u201d (Luke 2:8<\/em>)<\/p>\n\n\n\n 14b. <\/strong>Accompagnato<\/strong><\/a> (soprano)<\/strong> \u201cAnd lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.\u201d (Luke 2:9<\/em>)<\/p>\n\n\n\n Part II of Messiah<\/em> shows how the storyline of redemption anticipates and pictures the death and resurrection of Christ by appealing to the Old and New Testaments. The contrast of the lightness of the Christ\u2019s yoke upon us and the heaviness of the burden of punishment he bears is hard to ignore.[6]<\/a> This time, a chorus begins: \u201cBehold the Lamb of God, that taketh away the sin of the world\u201d (John 1:29). This glorious triumph is highlighted in Christ\u2019s grief. We must not forget that He is the Suffering Servant.<\/p>\n\n\n\n The despising of the \u201cman of sorrows\u201d reminds us of Jesus\u2019s earthly life and ministry (Isa. 53:3). Yet in this very grief and crushing, in the midst of all of mankind going astray from God, Isaiah makes clear that Christ has \u201cborne our griefs\u201d, being \u201cwounded for our transgressions\u201d\u2014we are healed precisely because the \u201cLord hath laid on Him the iniquity of us all.\u201d (Isa. 53:4\u20136). In a vision of the Messiah \u201cthat is unique within the entire Biblical record,\u201d the servant-savior of Israel becomes a substitutionary sacrifice<\/em>.[7]<\/a> Three choruses exclaim these verses. The voices of mockers in Psalm 22:7\u20138 add insult to Christ\u2019s injury in an accompagnato <\/em>and a chorus. Solo tenors reiterate the \u201cheaviness\u201d of Christ\u2019s heart and the impossibility of any sorrow competing \u201cunto His sorrow\u201d (Ps. 69:20, Lam. 1:12).<\/p>\n\n\n\n Summing up the prior section of Part II is Isaiah 53:8. A sudden change shifts the concern of the story from Christ\u2019s death to his resurrection. With a somber and harrowing picture of the suffering servant in the background, the last airs<\/em>, choruses<\/em>, and recitatives<\/em> of Part II are marked by the triumph and exaltation of the King. Because Christ was not abandoned to Sheol and did not \u201csee corruption,\u201d Handel has the chorus sing Psalm 24, commanding heads to be raised and gates and doors to be flung wide so that the \u201cKing of Glory\u201d might enter (Ps. 16:10, Ps. 24:7\u201310).<\/p>\n\n\n\n Angelic song continues as the writer of Hebrews quotes Psalm 2 and attests that Christ is God\u2019s Son. This Divine, resurrected Son is to be worshipped in his resurrection, as an air <\/em>exclaims that he has \u201cgone up on high\u201d and \u201cled captivity captive\u201d (Ps. 68:18). The triumph of the resurrection, naturally, has missiological implications.[8]<\/a><\/p>\n\n\n\n The gospel, the good news, is news to be shared. Alternating airs <\/em>and choruses<\/em> picture the glad tidings of the sounds of this news that Christ lives being preached unto the ends of the world (Ps. 19:4, Ps. 68:11, Isa. 52:7, Romans 10:15, Romans 10:18). Those who receive this news in faith are surely blessed. In contrast, the rejection of this news is devasting. The nations and kings of Psalm 2 reject Christ as the anointed one of God, raging together. In judgment, God will rage against them unless they kiss the son. A packed air<\/em>, chorus<\/em>, reflective<\/em>, air <\/em>segment pictures God\u2019s wrath against the enemies of the Son\u2014He will \u201cbreak them with a rod of iron\u201d and \u201cdash them in pieces like a potter\u2019s vessel\u201d (Ps. 2:9).<\/p>\n\n\n\n What\u2019s the proper response from here? Praise. In what is the most famous, recognizable section of Messiah<\/em>, a powerful, heavenly, victorious \u201cHallelujah\u201d breaks out from the chorus, who loudly proclaim the rule and reign of the risen Christ, the King of Kings, throughout eternity (Rev. 19:6, Rev. 11:15, Rev. 19:16).<\/p>\n\n\n\n1. There are small differences in Handel\u2019s setting and the KJV. Musical terms are included, and a hyperlink will direct you to that particular verse in the performance. Scripture adapted from Corum, and Corum. \u201cHandel\u2019s Messiah<\/em>: Lyrics and Verse References<\/a>.\u201d HavenToday.org, March 29, 2021.<\/h6>\n\n\n\n
The Music: A Few Basic Terms <\/strong><\/h2>\n\n\n\n
2. Block, Daniel I. \u201cHandel\u2019s Messiah<\/em>: Biblical and Theological Perspectives<\/a>.\u201d Didaskalia<\/em> 12, no. 2 (2001): 1. Although Block has a minimalist understanding of Christ in the Old Testament, this article is a helpful introduction to the piece.<\/h6>\n\n\n\n
3. Crookshank, Esther R. \u201cThe Scriptures in Handel\u2019s Messiah<\/em>: An Overview<\/a>.\u201d Christ Over All<\/em>, December 2, 2024.<\/h6>\n\n\n\n\n
PART 1: Texts Number 1\u201321<\/h2>\n\n\n\n
4. Block, Daniel I. \u201cHandel\u2019s Messiah<\/em>: Biblical and Theological Perspectives<\/a>.\u201d Didaskalia<\/em> 12, no. 2 (2001): 3.<\/h6>\n\n\n\n
5. Block, Daniel I. \u201cHandel\u2019s Messiah<\/em>: Biblical and Theological Perspectives<\/a>.\u201d Didaskalia<\/em> 12, no. 2 (2001): 10.<\/h6>\n\n\n\n
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PART 2: Texts Number 22\u201344<\/h2>\n\n\n\n
6. Block, Daniel I. \u201cHandel\u2019s Messiah<\/em>: Biblical and Theological Perspectives<\/a>.\u201d Didaskalia<\/em> 12, no. 2 (2001): 13.<\/h6>\n\n\n\n
7. Block, Daniel I. \u201cHandel\u2019s Messiah<\/em>: Biblical and Theological Perspectives<\/a>.\u201d Didaskalia<\/em> 12, no. 2 (2001): 13.<\/h6>\n\n\n\n
8. Block, Daniel I. \u201cHandel\u2019s Messiah<\/em>: Biblical and Theological Perspectives<\/a>.\u201d Didaskalia<\/em> 12, no. 2 (2001): 17.<\/h6>\n\n\n\n
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