George Frideric Handel\u2019s Messiah<\/em> is a masterpiece that has enjoyed unparalleled prominence with audiences all over the globe. This enduring success is not without reason. History recounts the near-miraculous composition of Messiah<\/em>. Handel wrote the first 100 pages in just six days, during which time he is said to have stayed in his room with meals left untouched. The entirety of Messiah<\/em> was completed in just over three weeks.[1]<\/a><\/p>\n\n\n\n In such a short amount of time, Handel set texts compiled by Charles Jennens to a majestic musical score designed to lift the affections of the audience as they consider the glory of God\u2019s redeeming work through the divine Messiah. As Christ Over All <\/em>considers all parts of this Messiah <\/em>this month,<\/em> I will examine the beginning of Part III, which focuses on the triumph of Christ and the hope of resurrection. Throughout this section, Handel draws deep connections with Parts I and II demonstrating the fulfillment of the biblical hope in not only the resurrection of Christ, but the promise of the resurrection for believers. To truly participate in the Messiah<\/em>, the listener must be truly participating in the Messiah, Jesus Christ, by faith. Handel\u2019s aim throughout Part III is to demonstrate the implications of the Messiah\u2019s work for the believer and to listener on to hope and trust Jesus Christ as he portrays the glorious promises found only through Jesus Christ. But to understand Part III, we must set the context moving through Parts I and II.<\/p>\n\n\n\n Throughout Parts I and II, Handel chronicled the coming of the Messiah. Part I enumerated various prophecies pointing to the plans and purposes of God in bringing forth the Messiah, his miraculous birth, and his glorious life. Then, Part II meditated on the death, burial, resurrection, and ascension of our glorious Lord, which culminated in the majestic \u201cHallelujah Chorus.\u201d Following the glory of the \u201cHallelujah Chorus,\u201d many have been spurred to ask, why include a third part? What more remains?<\/p>\n\n\n\n Calvin Stapert helpfully responds, \u201cThe answer is this: although the victory has been won and its results are certain, the results have not yet been fully realized.\u201d[2]<\/a> Part III, then, shifts to the glorious hope that Christians have because of the triumph of the Messiah. The Messiah\u2019s work is glorious because, we, his people are included in that work. To listen to the Messiah<\/em> is to participate in the glorious composition, but the Messiah<\/em> was not created as a mere musical score. The Messiah<\/em> invites the listener to participate in the glorious Christian hope by actively attempting to shape the affections of the listener. This is nowhere more obvious than the believers\u2019 participation in the hope for the return of Jesus Christ and the glory of the resurrection.<\/p>\n\n\n\n1. Gregory S. Athnos, Handel\u2019s Messiah: A New View of Its Musical and Spiritual Architecture–Study Guide for Listeners and Performers<\/em> (Eugene, OR: Cascade Books, 2023), 11. I am deeply indebted to Athnos for the insights in this article, and I commend his accessible work for those who are interested in learning more about Handel\u2019s Messiah<\/em>.<\/h6>\n\n\n\n
Setting the Context: Seeing All Three Parts<\/h2>\n\n\n\n
2. Calvin R. Stapert, Handel\u2019s Messiah: Comfort for God\u2019s People<\/em> (Grand Rapids, MI: Eerdmans, 2010), 142.<\/h6>\n\n\n\n
The Enduring Effects of Christ\u2019s Resurrection<\/h2>\n\n\n\n