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{{Infobox musical composition
The '''Games of the IV Olympiad''', originally scheduled to be held in [[Rome]], were instead held in [[1908]] in [[London]], [[England]].
| Name = ''Messiah''
| Cover = Messiah-titlepage.jpg
| Alt = Title page of Handel's autograph score
| Caption = Title page of Handel's autograph score
| Composer = [[George Frideric Handel]]
| Year = {{Start date|1741}}
| Form = [[Oratorio]]
| Period = [[Baroque music|Baroque]]
| Style =
| Movements = 53 in three parts:<br />[[Messiah Part I|Part I]] (5 scenes, 21)<br />[[Messiah Part II|Part II]] (7 scenes, 23)<br />[[Messiah Part III|Part III]] (4 scenes, 9)
| Text = [[Charles Jennens]], a compilation from the [[Authorized King James Version|King James Bible]] and the [[Book of Common Prayer]]
| Composed = {{Timeline-event|date={{Start date|1741|08|22|df=y}}|end_date={{End date|1741|09|14|df=y}}|location=London}}
| Performed = {{Plainlist|
* {{Timeline-event|date={{Start date|1742|04|13|df=y}}|location=Great Music Hall, [[Fishamble Street|Fishamble Street, Dublin]]}}
* {{Timeline-event|date={{Start date|1743|03|23|df=y}}|location=[[Royal Opera House#The first theatre|Covent Garden theatre, London]]}}
}}
| Published = {{Plainlist|
* {{Timeline-event|date={{Start date|1767}}|location=London}}
* {{Timeline-event|date={{Start date|1959}}|event=[[Novello & Co|Novello]]|location= London}}
* {{Timeline-event|date={{Start date|1965}}|event=[[Bärenreiter]], Kassel and Leipzig: [[Hallische Händel-Ausgabe]]}}
}}
| Scoring: = :
| Solo = {{abbr|S|soprano}} {{abbr|A|alto}} {{abbr|T|tenor}} {{abbr|B|bass}}
| Choir = [[SATB|{{abbr|SATB|soprano, alto, tenor and bass}}]]
| Instruments = 2{{abbr|Tr|tromba}} {{abbr|Ti|timpani}} 2{{abbr|Ob|oboe}} 2{{abbr|Vl|violino}} {{abbr|Va|viola}} {{abbr|Bc|basso continuo}}
| Obbligato =
| Related =
| Premiere date =
| Premiere conductor =
| Premiere location =
| Premiere performers =
| Misc =
}}
{{DISPLAYTITLE:Structure of Handel's ''Messiah''}}
:''For the full text, scriptural references and sound samples, see [[s:Messiah|''Messiah'' on Wikisource]]''
'''''[[Messiah (Handel)|Messiah]]''''' ([[HWV]] 56), the English-language [[oratorio]] composed by [[George Frideric Handel]] in 1741, is '''structured''' in three parts, listed here in tables for their musical setting and biblical sources.


== Oratorio ==
<TABLE border="1" cellpadding="2" cellspacing="0" align="right">
<TR bgcolor="#efefef"><TD colspan="2">'''Games of the IV Olympiad'''</TD></TR>
<TR><TD>Nations participating</TD><TD>22</TD></TR>
<TR><TD>Athletes participating</TD><TD>2,035 (1,999 men, 36 women)</TD></TR>
<TR><TD>Events</TD><TD>109 in 22 [[sport]]s</TD></TR>
<TR><TD>Opening ceremonies</TD><TD>[[April 27]], [[1908]]</TD></TR>
<TR><TD>Closing ceremonies</TD><TD>[[October 31]], [[1908]]</TD></TR>
<TR><TD>Officially opened by</TD><TD>[[Edward VII of the United Kingdom]]</TD></TR>
<TR><TD>[[Olympic Oath|Athlete's Oath]].</TD><TD>not applicable</TD></TR>
<TR><TD>Judge's Oath:</TD><TD>not applicable</TD></TR>
<TR><TD>[[Olympic Flame|Olympic Torch]]</TD><TD>not applicable</TD></TR>
</TABLE>
[[Italy|Italian]] authorities were preparing infrastructure for the games when [[Mount Vesuvius]] erupted on [[April 7]], [[1906]], devastating the nearby city of [[Naples]]. Funds that were to have gone to the Olympics were diverted to the reconstruction of Naples, so a new venue was required and London was selected. The [[White City Stadium]], built in very short time especially for the games, held 68,000 people and was considered by some to be a technological marvel for the time. The distance from the start of the [[Marathon]] to the finish at the stadium was established at this games; 26 miles, 385 yards. The starting line was move to allow the Royal Family a good view.


The [[libretto]] by Jennens is drawn from the Bible: mostly from the [[Old Testament]] of the [[Authorized King James Version|King James Bible]], but with several [[psalms]] taken from the [[Book of Common Prayer]].<ref name="Block 2001" /> Regarding the text, Jennens commented: "...the Subject excells every other Subject. The Subject is Messiah ...".<ref name="Heighes 1997" />
The games were surrounded by controversy. On opening day, it was the first time the various countries marched around an Olympic stadium behind their [[National flag|national flags]]. The [[Finland|Finnish]] team were expected to march under the [[Russia|Russian]] flag rather than the Finnish flag, so chose to march without a flag at all. [[Ireland|Irish]] athletes were compelled to compete for the [[Great Britain|British]] team so many of them withdrew. The [[United States|American]] flag had not been displayed above the stadium before the opening so the American flag bearer refused to dip the flag to the royal box, saying "This flag dips to no earthly [[Edward VII of the United Kingdom|king]]."


''Messiah'' differs from Handel's other oratorios in that it does not contain an encompassing narrative, instead offering contemplation on different aspects of the Christian Messiah:
The 1908 Olympics also prompted the establishment of standard rules for sports, and the selection of judges from different countries, rather than just the host. The reason for this was the 400 metre run in which the US winner was accused of interfering with the British runner. Part of the problem was the different definition of interference under British and US rules. The race was re-run, but the Americans refused to participate. The British runner, Wyndham Halswelle, won by running around the track on his own because three of the four original runners had been American.


{{quote
The most famous incident of the games came at the end of the marathon. It occurred when the first runner to re-enter the stadium, Dorando Pietri of Italy, collapsed several times and ran the wrong way. He was helped to the finishing line and was disqualified. The medal went to American John Hayes who was second over the line, but the glory went to Pietri.
| ''Messiah'' is not typical Handel oratorio; there are no named characters, as are usually found in Handel’s setting of the Old Testament stories, possibly to avoid charges of blasphemy. It is a meditation rather than a drama of personalities, lyrical in method; the narration of the story is carried on by implication, and there is no dialogue.
| [[Christopher Hogwood]]{{r|Block 2001}}
}}


=== Structure and concept ===
The [[Marathon]] distance is now fixed at 42.195 km (26 miles 385 yards) and has been since 1924. Before that time, the distance was not fixed and varied around 40 km according to local circumstances. The first race in 1896 was 40 km. The 1908 race was 42.195 km but the next two Olympics in 1912 and 1920 used different distances. It was only in 1924 that the distance was fixed.


The oratorio's structure follows the [[liturgical year]]: Part I corresponding with [[Advent]], [[Christmas]], and the life of Jesus; Part II with [[Lent]], [[Easter]], the [[Feast of the Ascension|Ascension]], and [[Pentecost]]; and Part III with the end of the church year—dealing with the end of time. The birth and death of Jesus are told in the words of the prophet [[Isaiah]], the most prominent source for the libretto. The only true "scene" of the oratorio is the [[annunciation to the shepherds]] which is taken from the [[Gospel of Luke]].<ref name="Gascoigne 2007" /><ref name="Luckett 1992" /> The imagery of shepherd and lamb features prominently in many movements, for example: in the aria "He shall feed His flock like a shepherd" (the only extended piece to talk about the Messiah on earth), in the opening of Part II ("Behold the Lamb of God"), in the chorus "All we like sheep", and in the closing chorus of the work ("Worthy is the Lamb").
These Games were the first to include Winter events, as was originally proposed for the Games. There were four figure skating events contested. However, the on ice events occurred months separated from most of the other events.


== Disciplines contested ==
=== Scenes ===

{|
The librettist arranged his compilation in "scenes", each concentrating on a topic.<ref name="Vickers 2012" />
|
; Part I: "The prophecy and realisation of God's plan to redeem mankind by the coming of the Messiah"
* [[Archery at the 1908 Summer Olympics|Archery]]
: [[Messiah Part I#Scene 1|Scene 1]]: "Isaiah's prophecy of salvation" (movements 2–4)
* [[Athletics at the 1908 Summer Olympics|Athletics]]
: [[Messiah Part I#Scene 2|Scene 2]]: "The prophecy of the coming of Messiah and the question, despite (1), of what this may portend for the World" (movements 5–7)
* [[Boxing at the 1908 Summer Olympics|Boxing]]
: [[Messiah Part I#Scene 3|Scene 3]]: "The prophecy of the Virgin Birth" (movements 8–12)
* [[Cycling at the 1908 Summer Olympics|Cycling]]
: [[Messiah Part I#Scene 4|Scene 4]]: "The appearance of the Angels to the Shepherds" (movements 13–17)
* [[Fencing at the 1908 Summer Olympics|Fencing]]
: [[Messiah Part I#Scene 5|Scene 5]]: "Christ's redemptive miracles on earth" (movements 18–21)
* [[Football at the 1908 Summer Olympics|Football]]
; Part II: "The accomplishment of redemption by the sacrifice of Christ, mankind's rejection of God's offer, and mankind's utter defeat when trying to oppose the power of the Almighty"
* [[Gymnastics at the 1908 Summer Olympics|Gymnastics]]
: [[Messiah Part II#Scene 1|Scene 1]]: "The redemptive sacrifice, the scourging and the agony on the cross" (movements 22–30)
* [[Hockey at the 1908 Summer Olympics|Hockey]]
: [[Messiah Part II#Scene 2|Scene 2]]: "His sacrificial death, His passage through Hell and Resurrection" (movements 31–32)
* [[Jeu de paume at the 1908 Summer Olympics|Jeu de paume]]
: [[Messiah Part II#Scene 3|Scene 3]]: "His ascension" (movement 33)
* [[Lacrosse at the 1908 Summer Olympics|Lacrosse]]
: [[Messiah Part II#Scene 4|Scene 4]]: "God discloses his identity in Heaven" (movements 34–35)
* [[Polo at the 1908 Summer Olympics|Polo]]
: [[Messiah Part II#Scene 5|Scene 5]]: "Whitsun, the gift of tongues, the beginning of evangelism" (movements 36–39)
|width=20|
: [[Messiah Part II#Scene 6|Scene 6]]: "The world and its rulers reject the Gospel" (movements 40–41)
|valign=top|
: [[Messiah Part II#Scene 7|Scene 7]]: "God's triumph" (movements 42–44)
* [[Rackets at the 1908 Summer Olympics|Rackets]]
; Part III: "A Hymn of Thanksgiving for the final overthrow of Death"
* [[Rowing at the 1908 Summer Olympics|Rowing]]
: [[Messiah Part III#Scene 1|Scene 1]]: "The promise of bodily resurrection and redemption from Adam's fall" (movements 45–46)
* [[Rugby at the 1908 Summer Olympics|Rugby]]
: [[Messiah Part III#Scene 2|Scene 2]]: "The Day of Judgement and general Resurrection" (movements 47–48)
* [[Sailing at the 1908 Summer Olympics|Sailing]]
: [[Messiah Part III#Scene 3|Scene 3]]: "The victory over death and sin" (movements 49–52)
* [[Shooting at the 1908 Summer Olympics|Shooting]]
: [[Messiah Part III#Scene 4|Scene 4]]: "The glorification of the Messianic victim" (movement 53)
* [[Swimming at the 1908 Summer Olympics|Swimming]]

* [[Tennis at the 1908 Summer Olympics|Tennis]]
=== Music ===
* [[Tug of War at the 1908 Summer Olympics|Tug of War]]

* [[Water Motorsports at the 1908 Summer Olympics|Water Motorsports]]
By the time Handel composed ''Messiah'' in London he was already a successful and experienced composer of Italian operas, and had created sacred works based on English texts, such as the 1713 ''[[Utrecht Te Deum and Jubilate]]'', and numerous oratorios on English [[Libretto|libretti]]. For ''Messiah'', Handel used the same musical technique as for those works, namely a structure based on chorus and solo singing.
* [[Water Polo at the 1908 Summer Olympics|Water Polo]]

* [[Wrestling at the 1908 Summer Olympics|Wrestling]]
Only two movements in ''Messiah'' are purely instrumental: the overture (written as "Sinfony" in Handel's autograph) and the Pifa (a [[pastorale]] introducing the shepherds in Bethlehem); and only a few movements are a duet or a combination of solo and chorus. The solos are typically a combination of recitative and aria. The arias are called Airs or Songs, and some of them are in [[da capo]] form, but rarely in a strict sense (repeating the first section after a sometimes contrasting middle section). Handel found various ways to use the format freely to convey the meaning of the text. Occasionally verses from different biblical sources are combined into one movement, however more often a coherent text section is set in consecutive movements, for example the first "[[Messiah structure#Scenes|scene]]" of the work, the annunciation of [[Christian salvation|Salvation]], is set as a sequence of three movements: recitative, aria and chorus. The center of Part III is a sequence of six movements based on a passage from [[Paul the Apostle|Paul]]'s [[First Epistle to the Corinthians]] on the resurrection of the dead, a passage that [[Johannes Brahms|Brahms]] also chose for ''[[A German Requiem (Brahms)|Ein deutsches Requiem]]''.

The movements marked "Recitative" (Rec.) are "[[Recitative#Secco|secco]]", accompanied by only the [[Figured bass#Basso continuo|continuo]], whereas the recitatives marked "Accompagnato" (Acc.) are accompanied by additional string instruments. Handel used four voice parts, [[soprano]] (S), [[alto]] (A), [[tenor]] (T) and [[Bass (voice type)|bass]] (B) in the solo and choral movements. Only once is the chorus divided in an upper chorus and a lower chorus, it is [[SATB]] otherwise. The orchestra scoring is simple: [[oboe]]s, [[String instrument|strings]] and [[Figured bass#Basso continuo|basso continuo]] of [[harpsichord]], [[violoncello]], [[violone]] and [[bassoon]]. Two [[trumpet]]s and [[timpani]] highlight selected movements, in Part I the song of the angels, ''Glory to God in the highest'', and with [[timpani]] the closing movements of both Part II, ''Hallelujah'', and of Part III, ''Worthy is the Lamb''.. Handel uses both [[Polyphony|polyphon]] and [[Homophony|homophon]] settings to illustrate the text best. Even polyphon movements typically end on a dramatic long musical [[Rest (music)|rest]], followed by a broad homophon conclusion. Handel often stresses a word by extended [[coloratura]]s, especially in several movements which are a [[Parody#Music|parody]] of music composed earlier on Italian texts. He uses a [[cantus firmus]] on long repeated notes especially to illustrate God's speech and majesty, for example "for the mouth of the Lord has spoken it" in movement [[#4|4]].<ref name="Burrows 1991" />

=== General notes ===

The following tables are organized by movement numbers. There are two major systems of numbering the movements of ''Messiah'': the historic [[Novello & Co|Novello]] edition of 1959 (which is based on earlier editions and contains 53 movements), and the [[Bärenreiter]] edition of 1965 in the [[Hallische Händel-Ausgabe]]. Not counting some short recitatives as separate movements, it has 47 movements. The Novello number (Nov) is given first, then the Bärenreiter number (Bär).

== Part I ==
{{main|Messiah Part I}}

{| class="wikitable"
! width="60" | Nov/Bär
! Title
! Form
! Bible source
! Notes
|-
| [[Messiah Part I#1|1]] || [[Sinfony]] || || ||
|-
| colspan="5" | [[Messiah Part I#Scene 1|Scene 1]]
|-
| [[Messiah Part I#2|2]] || ''Comfort ye, comfort ye my people'' || Acc. T || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 40 | verse = 1 | range = –3 }} || [[Book of Isaiah#A new Exodus|Isaiah, a new Exodus]]
|-
| [[Messiah Part I#3|3]] || ''Ev’ry valley shall be exalted'' || Air T || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 40 | verse = 4 }} ||
|-
| [[Messiah Part I#4|4]] || ''And the glory, the glory of the Lord'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 40 | verse = 5 }} ||
|-
| colspan="5" | [[Messiah Part I#Scene 2|Scene 2]]
|-
| [[Messiah Part I#5|5]] || ''Thus saith the Lord, the Lord of Hosts'' <br /> Behold, I will send my messenger || Acc. B || {{Sourcetext | source = Bible | version = King James | book = Haggai | chapter = 2 | verse = 6 | range = –7}} <br /> {{Sourcetext | source = Bible | version = King James | book = Malachi | chapter = 3 | verse = 1 }} || [[Book of Haggai#Outline|Haggai, splendor of the temple]] <br /> [[Book of Malachi#In Christianity|Malachi, the coming messenger]]
|-
| [[Messiah Part I#6|6]] || ''But who may abide the day of His coming'' || Air A || {{Sourcetext | source = Bible | version = King James | book = Malachi | chapter = 3 | verse = 2 }} ||
|-
| [[Messiah Part I#7|7]] || ''And He shall purify'' || chorus || {{Sourcetext | source = Bible | version = King James | book = Malachi | chapter = 3 | verse = 3 }} ||
|-
| colspan="5" | [[Messiah Part I#Scene 3|Scene 3]]
|-
| [[Messiah Part I#8|8]] || ''Behold, a virgin shall conceive'' || Rec. A || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 7 | verse = 14}} <br /> {{Sourcetext | source = Bible | version = King James | book = Matthew | chapter = 1 | verse = 23 }} || [[Book of Isaiah#Influence on Christianity|Isaiah, virgin birth]], quoted by [[Gospel of Matthew|Matthew]]
|-
| [[Messiah Part I#9|9]] / 8 || ''O thou that tellest good tidings to Zion'' <br /> Arise, shine || Air A Chorus || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 40 | verse = 9}} <br /> {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 60 | verse = 1 }} ||
|-
| [[Messiah Part I#10|10]] / 9 || ''For behold, darkness shall cover the earth'' || Acc. B || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 60 | verse = 2 | range = –3 }} ||
|-
| [[Messiah Part I#11|11]] / 10 || ''The people that walked in darkness'' || Air B || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 9 | verse = 2 }} ||
|-
| [[Messiah Part I#12|12]] / 11 || ''For unto us a Child is born'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 9 | verse = 6 }} ||
|-
| colspan="5" | [[Messiah Part I#Scene 4|Scene 4]]
|-
| [[Messiah Part I#13|13]] / 12 || ''Pifa'' || Pastorale || ||
|-
| [[Messiah Part I#14|14]] || ''There were shepherds abiding in the field'' || Rec. S || {{Sourcetext | source = Bible | version = King James | book = Luke | chapter = 2 | verse = 8 }} || [[Gospel of Luke]], [[Annunciation to the shepherds]]
|-
| [[Messiah Part I#15|15]] / 13 || ''And lo, the angel of the Lord came upon them'' || Acc. S || {{Sourcetext | source = Bible | version = King James | book = Luke | chapter = 2 | verse = 9 }} ||
|-
| || ''And the angel said unto them'' || Rec. S || {{Sourcetext | source = Bible | version = King James | book = Luke | chapter = 2 | verse = 9 | range = –10 }} ||
|-
| [[Messiah Part I#16|16]] / 14 || ''And suddenly there was with the angel'' || Acc. S || {{Sourcetext | source = Bible | version = King James | book = Luke | chapter = 2 | verse = 13 }} ||
|-
| [[Messiah Part I#17|17]] / 15 || ''Glory to God in the highest'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Luke | chapter = 2 | verse = 14 }} ||
|-
| colspan="5" | [[Messiah Part I#Scene 5|Scene 5]]
|-
| [[Messiah Part I#18|18]] / 16 || ''Rejoice greatly, O daughter of Zion'' || Air S || {{Sourcetext | source = Bible | version = King James | book = Zechariah | chapter = 9 | verse = 9 | range = –10 }} || [[Book of Zechariah#Chapter 9 to 14|Zechariah, God's providential dealings]]
|-
| [[Messiah Part I#19|19]] || ''Then shall the eyes of the blind open'd'' || Rec. A || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 35 | verse = 5 | range = –6 }} || [[Book of Isaiah#Structure|Isaiah, oracle of salvation for Israel]]
|-
| [[Messiah Part I#20|20]] / 17 || ''He shall feed His flock like a shepherd'' <br /> Come unto Him, all ye that labour || Duet A S || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 40 | verse = 11}} <br /> {{Sourcetext | source = Bible | version = King James | book = Matthew | chapter = 11 | verse = 28 | range = –29 }} || [[Book of Isaiah|Isaiah, the Shepherd]] <br /> [[Gospel of Matthew|Matthew, praise of the Father]]
|-
| [[Messiah Part I#21|21]] / 18 || ''His yoke is easy, His burthen is light'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Matthew | chapter = 11 | verse = 30 }} ||
|}
|}
* [[Figure Skating at the 1908 Summer Olympics|Figure Skating (on ice)]]


== Medal count ==
== Part II ==
{{main|Messiah Part II}}
'''Top medal-collecting nations:'''<br>

''(for the full table, see [[1908 Summer Olympics medal count]])''
{| class="wikitable"
! width="60" | [[#Movement numbers|No N / B]]
! Title
! Form
! Bible source
! Notes
|-
| colspan="5" | [[Messiah Part II#Scene 1|Scene 1]]
|-
| [[Messiah Part II#22|22]] / 19 || ''Behold the Lamb of God'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = John | chapter = 1 | verse = 29 }} || Testimony of [[John the Baptist]]
|-
| [[Messiah Part II#23|23]] / 20 || ''He was despised'' <br /> He gave his back to his smiters || Air A || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 53 | verse = 3}} <br /> {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 50 | verse = 6 }} || [[Servant songs|Songs of the suffering servant]] [[Servant songs#The fourth song|4]], [[Servant songs#The third song|3]]
|-
| [[Messiah Part II#24|24]] / 21 || ''Surely, He hath borne our griefs and carried our sorrows'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 53 | verse = 4 | range = –5 }} || [[Man of Sorrows]], 4 continued
|-
| [[Messiah Part II#25|25]] / 22 || ''And with His stripes we are healed'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 53 | verse = 5 }} ||
|-
| [[Messiah Part II#26|26]] / 23 || ''All we like sheep, have gone astray'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 53 | verse = 6 }} ||
|-
| [[Messiah Part II#27|27]] / 24 || ''All they that see Him, laugh Him to scorn'' || Acc. T || {{Sourcetext | source = Bible | version = King James | book = Psalms | chapter = 22 | verse = 7 }} || [[Psalm 22]]
|-
| [[Messiah Part II#28|28]] / 25 || ''He trusted in God'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Psalms | chapter = 22 | verse = 8 }} ||
|-
| [[Messiah Part II#29|29]] / 26 || ''Thy rebuke hath broken His heart'' || Acc. T || {{Sourcetext | source = Bible | version = King James | book = Psalms | chapter = 69 | verse = 20 }} || [[Psalm 69]]
|-
| [[Messiah Part II#30|30]] / 27 || ''Behold, and see if there be any sorrow'' || Arioso T || {{Sourcetext | source = Bible | version = King James | book = Lamentations | chapter = 1 | verse = 12 }} || [[Book of Lamentations]]
|-
| colspan="5" | [[Messiah Part II#Scene 2|Scene 2]]
|-
| [[Messiah Part II#31|31]] / 28 || ''He was cut off out of the land of the living'' || Acc. T || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 53 | verse = 8 }} || [[Man of Sorrows]]
|-
| [[Messiah Part II#32|32]] / 29 || ''But Thou didst not leave his soul in hell'' || Air T || {{Sourcetext | source = Bible | version = King James | book = Psalms | chapter = 16 | verse = 10 }} || [[Psalm 16]]
|-
| colspan="5" | [[Messiah Part II#Scene 3|Scene 3]]
|-
| [[Messiah Part II#33|33]] / 30 || ''Lift up your heads'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Psalms | chapter = 24 | verse = 7 | range = –10 }} || [[Psalm 24]]
|-
| colspan="5" | [[Messiah Part II#Scene 4|Scene 4]]
|-
| [[Messiah Part II#34|34]] || ''Unto which of the angels said he at all time'' || Rec. T || {{Sourcetext | source = Bible | version = King James | book = Hebrews | chapter = 1 | verse = 5 }} || [[Epistle to the Hebrews]]
|-
| [[Messiah Part II#35|35]] / 31 || ''Let all the angels of God worship Him'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Hebrews | chapter = 1 | verse = 6 }} ||
|-
| colspan="5" | [[Messiah Part II#Scene 5|Scene 5]]
|-
| [[Messiah Part II#36|36]] / 32 || ''Thou art gone up on high'' || Air A || {{Sourcetext | source = Bible | version = King James | book = Psalms | chapter = 68 | verse = 18 }} || [[Psalm 68]]
|-
| [[Messiah Part II#37|37]] / 33 || ''The Lord gave the word'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Psalms | chapter = 68 | verse = 11 }} ||
|-
| [[Messiah Part II#38|38]] / 34 || ''How beautiful are the feet of Him'' || Duet AI AII Chorus || {{Sourcetext | source = Bible | version = King James | book = Isaiah | chapter = 52 | verse = 7}} <br /> {{Sourcetext | source = Bible | version = King James | book = Romans | chapter = 10 | verse = 15 }} ||
|-
| [[Messiah Part II#39|39]] / 35 || ''Their sound is gone out into all lands'' || Arioso T || {{Sourcetext | source = Bible | version = King James | book = Romans | chapter = 10 | verse = 18}} <br /> {{Sourcetext | source = Bible | version = King James | book = Psalms | chapter = 19 | verse = 4 }} || [[Psalm 19#Verses 1-7: The glory of Yahweh|Psalm 19, The glory of God]] <br /> [[Epistle to the Romans]]
|-
| colspan="5" | [[Messiah Part II#Scene 6|Scene 6]]
|-
| [[Messiah Part II#40|40]] / 36 || ''Why do the nations so furiously rage together'' || Air B || {{Sourcetext | source = Bible | version = King James | book = Psalms | chapter = 2 | verse = 1 | range = –2 }} || [[Psalm 2]]
|-
| [[Messiah Part II#41|41]] / 37 || ''Let us break their bonds asunder'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Psalms | chapter = 2 | verse = 3 }} ||
|-
| [[Messiah Part II#42|42]] || ''He that dwelleth in heaven'' || Rec. T || {{Sourcetext | source = Bible | version = King James | book = Psalms | chapter = 2 | verse = 4 }} ||
|-
| colspan="5" | [[Messiah Part II#Scene 7|Scene 7]]
|-
| [[Messiah Part II#43|43]] / 38 || ''Thou shalt break them with a rod of iron'' || Air T || {{Sourcetext | source = Bible | version = King James | book = Psalms | chapter = 2 | verse = 9 }} ||
|-
| [[Messiah Part II#44|44]] / 39 || ''Hallelujah'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Revelation | chapter = 19 | verse = 6 | range = ,16}} <br /> {{Sourcetext | source = Bible | version = King James | book = Revelation | chapter = 11 | verse = 15 }} || [[Book of Revelation]]
|}

== Part III ==
{{main|Messiah Part III}}

{| class="wikitable"
! width="60" | [[#Movement numbers|No N–B]]
! Title
! Form
! Bible source
! Notes
|-
| colspan="5" | [[Messiah Part III#Scene 1|Scene 1]]
|-
| [[Messiah Part III#45|45]] / 40 || ''I know that my Redeemer liveth'' || Air S || {{Sourcetext | source = Bible | version = King James | book = Job | chapter = 19 | verse = 25 | range = –26 }} || [[Book of Job#In Christianity|Book of Job, Messianic anticipation]]
|-
| [[Messiah Part III#46|46]] / 41 || ''Since by man came death'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = 1 Corinthians | chapter = 15 | verse = 21 | range = –22 }} || [[Paul the Apostle|Paul]] on the [[1 Corinthians 15#Resurrection of the dead: 12-58|Resurrection of the dead]]
|-
| colspan="5" | [[Messiah Part III#Scene 2|Scene 2]]
|-
| [[Messiah Part III#47|47]] / 42 || ''Behold, I tell you a mystery'' || Acc. B || {{Sourcetext | source = Bible | version = King James | book = 1 Corinthians | chapter = 15 | verse = 51 | range = –52 }} || [[1 Corinthians 15#Resurrection of the body: 35-58|Resurrection of the body]]
|-
| [[Messiah Part III#48|48]] / 43 || ''The trumpet shall sound <br /> and the dead shall be rais'd'' || Air B || {{Sourcetext | source = Bible | version = King James | book = 1 Corinthians | chapter = 15 | verse = 52 | range = –53 }} ||
|-
| colspan="5" | [[Messiah Part III#Scene 3|Scene 3]]
|-
| [[Messiah Part III#49|49]] || ''Then shall be brought to pass'' || Rec. A || {{Sourcetext | source = Bible | version = King James | book = 1 Corinthians | chapter = 15 | verse = 54 }} || Victory over death
|-
| [[Messiah Part III#50|50]] / 44 || ''O death, where is thy sting?'' || Duet A T || {{Sourcetext | source = Bible | version = King James | book = 1 Corinthians | chapter = 15 | verse = 55 | range = –56 }} ||
|-
| [[Messiah Part III#51|51]] / 45 || ''But thanks be to God'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = 1 Corinthians | chapter = 15 | verse = 57 }} ||
|-
| [[Messiah Part III#52|52]] / 46 || ''If God be for us, who can be against us'' || Air S || {{Sourcetext | source = Bible | version = King James | book = Romans | chapter = 8 | verse = 31 | range = ,33–34 }} || [[Paul the Apostle|Paul]]'s [[Epistle to the Romans#Assurance of salvation (Rom 5-8,9-11)|Assurance of salvation]]
|-
| colspan="5" | [[Messiah Part III#Scene 4|Scene 4]]
|-
| [[Messiah Part III#53|53]] / 47 || ''Worthy is the Lamb that was slain'' || Chorus || {{Sourcetext | source = Bible | version = King James | book = Revelation | chapter = 5 | verse = 12 | range = –13 }} || [[Book of Revelation#Outline|The creatures in heaven give praise]]
|-
| || Amen'' || Chorus || ||
|}

== Alternative movements ==

Handel revised the work several times for specific performances. The alternative movements are part of the Bärenreiter edition, the Novello numbers are given in brackets.

{| class="wikitable"
! No.
! Title
! Form
|-
| 6a. || ''But who may abide'' || Air B
|-
| || ''But who may abide'' || Rec. A
|-
| (15) 13a. || ''But lo, the angel of the Lord'' || Arioso S
|-
| (18) 16a. || ''Rejoice greatly, O daughter of Zion'' || Air S
|-
| (19) || ''Then shall the eyes of the blind'' || Rec. S
|-
| (20) 17a. || ''He shall feed His flock '' || Air S
|-
| (36) 32a. || ''Thou art gone up on high'' || Air B
|-
| (36) 32b. || ''Thou art gone up on high'' || Air S
|-
| (38) 34a. || ''How beautiful are the feet'' || Air S
|-
| (38) 34b. || ''How beautiful are the feet'' || Air A
|-
| (39) 35a. || ''Their sound is gone out'' || Chorus
|-
| (43) || ''Thou shalt break them'' || Rec. T
|}

== References ==

{{refs
| colwidth = 30em
| refs =

<ref name="Block 2001">
{{cite journal
| last = Block
| first = Daniel I.
| year = 2001
| title = Handel's Messiah: Biblical and Theological Perspectives
| journal = [[Didaskalia]]
| volume = 12
| number = 2
| url = http://www.sbts.edu/documents/icw/messiah.pdf
| accessdate = 19 July 2011
}}
</ref>

<ref name="Heighes 1997">
{{cite web
| last = Heighes
| first = Simon
| year = 1997
| title = George Frideric Handel (1685–1759) / Messiah] Simon Heighes, for [[The Sixteen]] recording, Ach Herr, mich armen Sünder
| publisher = hyperion-records.co.uk
| url = http://www.hyperion-records.co.uk/al.asp?al=CDD22019
| accessdate = 11 July 2011
}}
</ref>

<ref name="Gascoigne 2007">
{{cite web
| last = Gascoigne
| first = David
| url = http://www.saint-andrews.co.uk/sac/messiah.html
| title = Text of pre-concert talk on Handel's Messiah
| date = 24 November 2007
| accessdate = 19 July 2011
| publisher = The Southern Baptist Theological Seminary
}}
</ref>

<ref name="Luckett 1992">
{{cite book
| last = Luckett
| first = Richard
| year = 1992
| title = Handel's Messiah: A Celebration
| publisher = Victor Gollancz
| location = London
| isbn = 978-0-575-05286-4
}}
</ref>


<ref name="Vickers 2012">
{| border="1" cellpadding="2" cellspacing="0"
{{cite web
|- bgcolor="#efefef"
| last = Vickers
! colspan=5 style="border-right:0px;";| [[1908 Summer Olympics]] [[1908 Summer Olympics medal count|medal count]]
| first = David
| style="border-left:0px"; | [[Image:Olympic-rings.png|50px]]
| year = 2012
|- bgcolor="#efefef"
| title = Messiah (HWV 56) "A Sacred Oratorio"
! |'''Pos'''||'''Country'''
| publisher = gfhandel.org
<TD bgcolor="gold">'''Gold'''</TD><TD bgcolor="silver">'''Silver'''</TD>
| url = http://www.gfhandel.org/messiah.html
<TD bgcolor="CC9966">'''Bronze'''</TD><TD>'''Total'''</TD>
| accessdate = 7 February 2013
</TR>
}}
<tr>
</ref>
<td>1</td><td>[[Image:Uk flag large.png|20px]] [[United Kingdom|Great Britain]]</td>
<td>56</td><td>51</td><td>38</td><td>145</td>
</tr>
<tr> <!-- link to 1908 flag when available -->
<td>2</td><td>[[Image:wikipedia_flag_united_states_large.png|20px|]] [[United States]]</td>
<td>23</td><td>12</td><td>12</td><td>47</td>
</tr>
<tr>
<td>3</td><td>[[Image:Sweden flag large.png|20px]] [[Sweden]]</td>
<td>8</td><td>6</td><td>11</td><td>25</td>
</tr>
<tr>
<td>4</td><td>[[Image:France flag large.png|20px]] [[France]]</td>
<td>5</td><td>5</td><td>9</td><td>19</td>
</tr>
<tr>
<td>5</td><td>[[Image:Germany_flag_1871.png|20px]] [[Germany]]</td>
<td>3</td><td>5</td><td>6</td><td>14</td>
</tr>
<tr><!-- link to imperial flag when available -->
<td>6</td><td>[[Image:Hungary flag large.png|20px]] [[Hungary]]</td>
<td>3</td><td>4</td><td>2</td><td>9</td>
</tr>
<tr>
<td>7</td><td>[[Image:Redensign.png|20px]] [[Canada]]</td>
<td>3</td><td>3</td><td>10</td><td>16</td>
</tr>
<tr>
<td>8</td><td>[[Image:Norway_flag_large.png|20px]] [[Norway]]</td>
<td>2</td><td>3</td><td>3</td><td>8</td>
</tr>
<tr><!-- link to royal flag when available -->
<td>9</td><td>[[Image:Italy flag large.png|20px]] [[Italy]]</td>
<td>2</td><td>2</td><td>0</td><td>4</td>
</tr>
<tr>
<td>10</td><td>[[Image:Belgium flag large.png|20px]] [[Belgium]]</td>
<td>1</td><td>5</td><td>2</td><td>8</td>
</tr></table>


<ref name="Burrows 1991">
==See also==
{{cite book
*[[International Olympic Committee]]
| last = Burrows
*[[WikiProject Sports Olympics]]
| first = Donald
*[[IOC country codes]]
| authorlink = Donald Burrows (musicologist)
| year = 1991
| title = Handel: Messiah
| publisher = Cambridge University Press
| location = Cambridge (UK)
| isbn = 978-0-521-37620-4
}}
</ref>


}}
==External links==
*[http://www.olympic.org/uk/games/past/index_uk.asp?OLGT=1&OLGY=1908 IOC London 1908 Page]
*[http://www.la21.org.uk/whitecity/stadium.html White City Stadium/BBC radio]


== Sources ==
{{Olympic_Games}}
* {{IMSLP2|id=Messiah%2C_HWV_56_(Handel%2C_George_Frideric)|cname=''Messiah'' (Handel)}}
* Scores
** [[Deutsche Händelgesellschaft]] Edition, edited by [[Friedrich Chrysander]], 1902
** Novello Edition, edited by [[Watkins Shaw]], first published in 1959, revised and issued 1965
** Bärenreiter Edition, edited by John Tobin, published in 1965
** [[Edition Peters|Peters]] Edition, edited by [[Donald Burrows (musicologist)|Donald Burrows]], vocal score published 1972
** [http://scores.ccarh.org/handel/messiah/ Handel's ''Messiah''] at the [[Stanford University Centers and Institutes#Center for Computer Research in Music and Acoustics|Center for Computer Assisted Research in the Humanities]]


== External links ==
[[Category:Olympics]]
{{commons|Messiah}}
[[Category:1908]]
{{Wikisource|Messiah}}
[[Category:London]]
* {{dmoz|Arts/Music/Composition/Composers/H/Handel,_George_Frederic/Messiah,_The|''Messiah'' (Handel)}}
* [http://opera.stanford.edu/iu/libretti/messiah.htm Georg Friedrich Händel / Messiah (1742) / A Sacred Oratorio / Words by Charles Jennens] opera.stanford.edu
* [http://www.hyperion-records.co.uk/al.asp?al=CDD22019 George Frideric Handel (1685–1759) / Messiah] Simon Heighes, for [[The Sixteen]] recording, 1997


{{George Frideric Handel}}


[[Category:Oratorios by George Frideric Handel]]
[[de:Olympische Sommerspiele 1908]]
[[Category:Christian music lists|Messiah Structure]]
[[et:1908. aasta suveolümpiamängud]]

Revision as of 15:26, 30 March 2013

Structure of Handel's Messiah
For the full text, scriptural references and sound samples, see Messiah on Wikisource

Messiah (HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts, listed here in tables for their musical setting and biblical sources.

Oratorio

The libretto by Jennens is drawn from the Bible: mostly from the Old Testament of the King James Bible, but with several psalms taken from the Book of Common Prayer.[1] Regarding the text, Jennens commented: "...the Subject excells every other Subject. The Subject is Messiah ...".[2]

Messiah differs from Handel's other oratorios in that it does not contain an encompassing narrative, instead offering contemplation on different aspects of the Christian Messiah:

Messiah is not typical Handel oratorio; there are no named characters, as are usually found in Handel’s setting of the Old Testament stories, possibly to avoid charges of blasphemy. It is a meditation rather than a drama of personalities, lyrical in method; the narration of the story is carried on by implication, and there is no dialogue.

— Christopher Hogwood[1]

Structure and concept

The oratorio's structure follows the liturgical year: Part I corresponding with Advent, Christmas, and the life of Jesus; Part II with Lent, Easter, the Ascension, and Pentecost; and Part III with the end of the church year—dealing with the end of time. The birth and death of Jesus are told in the words of the prophet Isaiah, the most prominent source for the libretto. The only true "scene" of the oratorio is the annunciation to the shepherds which is taken from the Gospel of Luke.[3][4] The imagery of shepherd and lamb features prominently in many movements, for example: in the aria "He shall feed His flock like a shepherd" (the only extended piece to talk about the Messiah on earth), in the opening of Part II ("Behold the Lamb of God"), in the chorus "All we like sheep", and in the closing chorus of the work ("Worthy is the Lamb").

Scenes

The librettist arranged his compilation in "scenes", each concentrating on a topic.[5]

Part I
"The prophecy and realisation of God's plan to redeem mankind by the coming of the Messiah"
Scene 1: "Isaiah's prophecy of salvation" (movements 2–4)
Scene 2: "The prophecy of the coming of Messiah and the question, despite (1), of what this may portend for the World" (movements 5–7)
Scene 3: "The prophecy of the Virgin Birth" (movements 8–12)
Scene 4: "The appearance of the Angels to the Shepherds" (movements 13–17)
Scene 5: "Christ's redemptive miracles on earth" (movements 18–21)
Part II
"The accomplishment of redemption by the sacrifice of Christ, mankind's rejection of God's offer, and mankind's utter defeat when trying to oppose the power of the Almighty"
Scene 1: "The redemptive sacrifice, the scourging and the agony on the cross" (movements 22–30)
Scene 2: "His sacrificial death, His passage through Hell and Resurrection" (movements 31–32)
Scene 3: "His ascension" (movement 33)
Scene 4: "God discloses his identity in Heaven" (movements 34–35)
Scene 5: "Whitsun, the gift of tongues, the beginning of evangelism" (movements 36–39)
Scene 6: "The world and its rulers reject the Gospel" (movements 40–41)
Scene 7: "God's triumph" (movements 42–44)
Part III
"A Hymn of Thanksgiving for the final overthrow of Death"
Scene 1: "The promise of bodily resurrection and redemption from Adam's fall" (movements 45–46)
Scene 2: "The Day of Judgement and general Resurrection" (movements 47–48)
Scene 3: "The victory over death and sin" (movements 49–52)
Scene 4: "The glorification of the Messianic victim" (movement 53)

Music

By the time Handel composed Messiah in London he was already a successful and experienced composer of Italian operas, and had created sacred works based on English texts, such as the 1713 Utrecht Te Deum and Jubilate, and numerous oratorios on English libretti. For Messiah, Handel used the same musical technique as for those works, namely a structure based on chorus and solo singing.

Only two movements in Messiah are purely instrumental: the overture (written as "Sinfony" in Handel's autograph) and the Pifa (a pastorale introducing the shepherds in Bethlehem); and only a few movements are a duet or a combination of solo and chorus. The solos are typically a combination of recitative and aria. The arias are called Airs or Songs, and some of them are in da capo form, but rarely in a strict sense (repeating the first section after a sometimes contrasting middle section). Handel found various ways to use the format freely to convey the meaning of the text. Occasionally verses from different biblical sources are combined into one movement, however more often a coherent text section is set in consecutive movements, for example the first "scene" of the work, the annunciation of Salvation, is set as a sequence of three movements: recitative, aria and chorus. The center of Part III is a sequence of six movements based on a passage from Paul's First Epistle to the Corinthians on the resurrection of the dead, a passage that Brahms also chose for Ein deutsches Requiem.

The movements marked "Recitative" (Rec.) are "secco", accompanied by only the continuo, whereas the recitatives marked "Accompagnato" (Acc.) are accompanied by additional string instruments. Handel used four voice parts, soprano (S), alto (A), tenor (T) and bass (B) in the solo and choral movements. Only once is the chorus divided in an upper chorus and a lower chorus, it is SATB otherwise. The orchestra scoring is simple: oboes, strings and basso continuo of harpsichord, violoncello, violone and bassoon. Two trumpets and timpani highlight selected movements, in Part I the song of the angels, Glory to God in the highest, and with timpani the closing movements of both Part II, Hallelujah, and of Part III, Worthy is the Lamb.. Handel uses both polyphon and homophon settings to illustrate the text best. Even polyphon movements typically end on a dramatic long musical rest, followed by a broad homophon conclusion. Handel often stresses a word by extended coloraturas, especially in several movements which are a parody of music composed earlier on Italian texts. He uses a cantus firmus on long repeated notes especially to illustrate God's speech and majesty, for example "for the mouth of the Lord has spoken it" in movement 4.[6]

General notes

The following tables are organized by movement numbers. There are two major systems of numbering the movements of Messiah: the historic Novello edition of 1959 (which is based on earlier editions and contains 53 movements), and the Bärenreiter edition of 1965 in the Hallische Händel-Ausgabe. Not counting some short recitatives as separate movements, it has 47 movements. The Novello number (Nov) is given first, then the Bärenreiter number (Bär).

Part I

Main article: Messiah Part I
Nov/Bär Title Form Bible source Notes
1 Sinfony
Scene 1
2 Comfort ye, comfort ye my people Acc. T Isaiah 40:1–3 Isaiah, a new Exodus
3 Ev’ry valley shall be exalted Air T Isaiah 40:4
4 And the glory, the glory of the Lord Chorus Isaiah 40:5
Scene 2
5 Thus saith the Lord, the Lord of Hosts
Behold, I will send my messenger		 Acc. B Haggai 2:6–7
Malachi 3:1		 Haggai, splendor of the temple
Malachi, the coming messenger
6 But who may abide the day of His coming Air A Malachi 3:2
7 And He shall purify chorus Malachi 3:3
Scene 3
8 Behold, a virgin shall conceive Rec. A Isaiah 7:14
Matthew 1:23		 Isaiah, virgin birth, quoted by Matthew
9 / 8 O thou that tellest good tidings to Zion
Arise, shine		 Air A Chorus Isaiah 40:9
Isaiah 60:1
10 / 9 For behold, darkness shall cover the earth Acc. B Isaiah 60:2–3
11 / 10 The people that walked in darkness Air B Isaiah 9:2
12 / 11 For unto us a Child is born Chorus Isaiah 9:6
Scene 4
13 / 12 Pifa Pastorale
14 There were shepherds abiding in the field Rec. S Luke 2:8 Gospel of Luke, Annunciation to the shepherds
15 / 13 And lo, the angel of the Lord came upon them Acc. S Luke 2:9
And the angel said unto them Rec. S Luke 2:9–10
16 / 14 And suddenly there was with the angel Acc. S Luke 2:13
17 / 15 Glory to God in the highest Chorus Luke 2:14
Scene 5
18 / 16 Rejoice greatly, O daughter of Zion Air S Zechariah 9:9–10 Zechariah, God's providential dealings
19 Then shall the eyes of the blind open'd Rec. A Isaiah 35:5–6 Isaiah, oracle of salvation for Israel
20 / 17 He shall feed His flock like a shepherd
Come unto Him, all ye that labour		 Duet A S Isaiah 40:11
Matthew 11:28–29		 Isaiah, the Shepherd
Matthew, praise of the Father
21 / 18 His yoke is easy, His burthen is light Chorus Matthew 11:30

Part II

Main article: Messiah Part II
No N / B Title Form Bible source Notes
Scene 1
22 / 19 Behold the Lamb of God Chorus John 1:29 Testimony of John the Baptist
23 / 20 He was despised
He gave his back to his smiters		 Air A Isaiah 53:3
Isaiah 50:6		 Songs of the suffering servant 4, 3
24 / 21 Surely, He hath borne our griefs and carried our sorrows Chorus Isaiah 53:4–5 Man of Sorrows, 4 continued
25 / 22 And with His stripes we are healed Chorus Isaiah 53:5
26 / 23 All we like sheep, have gone astray Chorus Isaiah 53:6
27 / 24 All they that see Him, laugh Him to scorn Acc. T Psalms 22:7 Psalm 22
28 / 25 He trusted in God Chorus Psalms 22:8
29 / 26 Thy rebuke hath broken His heart Acc. T Psalms 69:20 Psalm 69
30 / 27 Behold, and see if there be any sorrow Arioso T Lamentations 1:12 Book of Lamentations
Scene 2
31 / 28 He was cut off out of the land of the living Acc. T Isaiah 53:8 Man of Sorrows
32 / 29 But Thou didst not leave his soul in hell Air T Psalms 16:10 Psalm 16
Scene 3
33 / 30 Lift up your heads Chorus Psalms 24:7–10 Psalm 24
Scene 4
34 Unto which of the angels said he at all time Rec. T Hebrews 1:5 Epistle to the Hebrews
35 / 31 Let all the angels of God worship Him Chorus Hebrews 1:6
Scene 5
36 / 32 Thou art gone up on high Air A Psalms 68:18 Psalm 68
37 / 33 The Lord gave the word Chorus Psalms 68:11
38 / 34 How beautiful are the feet of Him Duet AI AII Chorus Isaiah 52:7
Romans 10:15
39 / 35 Their sound is gone out into all lands Arioso T Romans 10:18
Psalms 19:4		 Psalm 19, The glory of God
Epistle to the Romans
Scene 6
40 / 36 Why do the nations so furiously rage together Air B Psalms 2:1–2 Psalm 2
41 / 37 Let us break their bonds asunder Chorus Psalms 2:3
42 He that dwelleth in heaven Rec. T Psalms 2:4
Scene 7
43 / 38 Thou shalt break them with a rod of iron Air T Psalms 2:9
44 / 39 Hallelujah Chorus Revelation 19:6,16
Revelation 11:15		 Book of Revelation

Part III

Main article: Messiah Part III
No N–B Title Form Bible source Notes
Scene 1
45 / 40 I know that my Redeemer liveth Air S Job 19:25–26 Book of Job, Messianic anticipation
46 / 41 Since by man came death Chorus 1 Corinthians 15:21–22 Paul on the Resurrection of the dead
Scene 2
47 / 42 Behold, I tell you a mystery Acc. B 1 Corinthians 15:51–52 Resurrection of the body
48 / 43 The trumpet shall sound
and the dead shall be rais'd		 Air B 1 Corinthians 15:52–53
Scene 3
49 Then shall be brought to pass Rec. A 1 Corinthians 15:54 Victory over death
50 / 44 O death, where is thy sting? Duet A T 1 Corinthians 15:55–56
51 / 45 But thanks be to God Chorus 1 Corinthians 15:57
52 / 46 If God be for us, who can be against us Air S Romans 8:31,33–34 Paul's Assurance of salvation
Scene 4
53 / 47 Worthy is the Lamb that was slain Chorus Revelation 5:12–13 The creatures in heaven give praise
Amen Chorus

Alternative movements

Handel revised the work several times for specific performances. The alternative movements are part of the Bärenreiter edition, the Novello numbers are given in brackets.

No. Title Form
6a. But who may abide Air B
But who may abide Rec. A
(15) 13a. But lo, the angel of the Lord Arioso S
(18) 16a. Rejoice greatly, O daughter of Zion Air S
(19) Then shall the eyes of the blind Rec. S
(20) 17a. He shall feed His flock Air S
(36) 32a. Thou art gone up on high Air B
(36) 32b. Thou art gone up on high Air S
(38) 34a. How beautiful are the feet Air S
(38) 34b. How beautiful are the feet Air A
(39) 35a. Their sound is gone out Chorus
(43) Thou shalt break them Rec. T

References

  1. ^ a b Block, Daniel I. (2001). "Handel's Messiah: Biblical and Theological Perspectives" (PDF). Didaskalia. 12 (2). Retrieved 19 July 2011.
  2. ^ Heighes, Simon (1997). "George Frideric Handel (1685–1759) / Messiah] Simon Heighes, for [[The Sixteen]] recording, Ach Herr, mich armen Sünder". hyperion-records.co.uk. Retrieved 11 July 2011. {{cite web}}: URL–wikilink conflict (help)
  3. ^ Gascoigne, David (24 November 2007). "Text of pre-concert talk on Handel's Messiah". The Southern Baptist Theological Seminary. Retrieved 19 July 2011.
  4. ^ Luckett, Richard (1992). Handel's Messiah: A Celebration. London: Victor Gollancz. ISBN 978-0-575-05286-4.
  5. ^ Vickers, David (2012). "Messiah (HWV 56) "A Sacred Oratorio"". gfhandel.org. Retrieved 7 February 2013.
  6. ^ Burrows, Donald (1991). Handel: Messiah. Cambridge (UK): Cambridge University Press. ISBN 978-0-521-37620-4.

Sources

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