As we have seen throughout this month, the marriage of Charles Jennens’ selected Scriptures with Handel’s musical genius resulted in a memorable oratorio that glorifies our beloved Messiah. Nowhere is this more evident than in the resounding words of Handel’s Hallelujah Chorus, which come from the book of Revelation. Truly, “Section 44” in Messiah is perhaps the loftiest composition in all of Christian music and certainly one of the most well-known. Accompanied by stringed instruments, the choir sings, “Hallelujah! For the Lord God omnipotent reigneth” (Revelation 19:6), “The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever” (Revelation 11:15), and “King of kings, and Lord of lords” (Revelation 19:16). This masterful interlacing of musical score and scriptural truth stirs within the Christian deep affection, reverence, and awe for the Lord Christ’s majesty.
In this brief account concerning the “Hallelujah Chorus,” I explore how Handel masterfully weaves together Jennens’ selected verses from Revelation with his musical composition, bequeathing to us his “Hallelujah Chorus” that evokes profound emotional and spiritual responses, intensifying our yearning for the full realization of Messiah’s dominion over all creation. These reflections accent how the majestic setting of Scripture to musical harmony and polyphony beckon us to raise our voices in worship of our sovereign God, King Jesus, and invigorate our hope for the fullness of his eternal reign.
Reflections on the Hallelujah Chorus: Word and Music Effectively Unified
The “Hallelujah Chorus,” the most universally memorable anthem from Handel’s Messiah, the closing chorus of Part II of the oratorio’s three parts, is regularly mistaken as the grand finale of the entire oratorio. This is because most contemporary performances of Messiah do not feature the entire oratorio but a pared-down version that includes most of Part I with the “Hallelujah Chorus” from Part II added as the grand finale.[1]
1. Hence, the practice of standing for the “Hallelujah Chorus” is understandable and proper though the origin of this custom has been fictionalized. No evidence exists King George II attended the oratorio’s performance. More likely, standing was a common practice after sitting through a long musical performance for the audience to change their posture by standing through all the choruses when the entire choir and orchestra performed with grand effect.
The chorus features resounding portions of three passages from the Apostle John’s Apocalypse in this order:
“Hallelujah: for the Lord God omnipotent reigneth” (Revelation 19:6).
“The kingdom of this world is become the kingdom of our Lord, and of his Christ; and he shall reign for ever and ever” (Revelation 11:15).[2]
“King of kings, and Lord of lords” (Revelation 19:16)
2. Those familiar with the King James Version should observe how Charles Jennens, Handel’s librettist, does not follow the plural “kingdoms” of the KJV in Rev. 11:15. Rather, Jennens correctly represents the biblical text as “The kingdom [singular] of this world is become the kingdom of our Lord, and of his Christ.” It seems he realized that the KJV’s plural “kingdoms” (ai basileiai), present in two late Greek manuscripts, should be rejected in favor of the singular, ā basileia.
Handel’s Section 44, known as the “Hallelujah Chorus,” begins with the familiar brief introductory sounds of orchestral strings, immediately followed by voices singing “Hallelujah” in two sequences of five.[3] This repetition of “Hallelujah” resembles the unified “voice of a great multitude” John heard, reminiscent of “the voice of many waters, and as the voice of mighty thunderings” (19:6). The music swells with intensity as voices strive to express Messiah’s majesty. The interplay between harmony and polyphony reflects the richness and complexity of the biblical text. Accompanied by the orchestra, female and male voices alternately sing “Hallelujah” and “For the Lord God omnipotent reigneth.”
3. Before reading further, listen here to the Hallelujah Chorus.
The fifth round is punctuated with all the voices harmonizing a somewhat prolonged “Hal-le-lu-jah!” The orchestra echoes the voices, transitioning to the midportion of the chorus, “The kingdom of this world is become the kingdom of our Lord, and of his Christ, and of his Christ, and of his Christ,” followed by “and he shall reign for ever and ever” four times. The music begins to crescendo with interspersing repetitions of “King of kings” “and Lord of lords,” each followed by reprisals of “for ever and ever” and “Hallelujah! Hallelujah!” Three “Hallelujahs!” crescendo to the climactic fourth, when the tempo slows to draw out the final “Hallelujah!” to close out Part 2 of Handel’s Messiah.
Despite Jennens’ initial misgivings concerning the speed with which Handel composed the oratorio, the composer’s genius remains undisputed.[4] Jennens’ lyrical prodigy greatly enhanced Handel’s musical brilliance. A staunch Anglican with a profound interest in Shakespeare’s works, music, and the Scriptures, Jennens arranged the scriptures of Messiah with a remarkable understanding of the biblical storyline.
4. On the composition of Messiah, see Esther Crookshank, “The Scriptures in Handel’s Messiah: An Overview” Christ Over All, Dec 4, 2024.
Indeed, the words of each text are by themselves splendid, but Jennens’ genius is evident in how he arranges their order. Consider the placement and ordering of Revelation 19:6, 11:15, and 19:16, which constitute the “Hallelujah Chorus.” Many mistakenly suppose the “Hallelujah Chorus,” derived from John’s Apocalypse, concludes the entire oratorio. It does not. Jennens placed the crescendoing “Hallelujah Chorus” at the close of Part 2, climaxing the meditation on the Lord Christ’s death, burial, resurrection, and ascension. What could possibly follow such a climactic marriage of sacred lyrics and glorious musical scores commemorating Messiah’s exaltation? Calvin Stapert correctly observes, “The answer is this: although the victory has been won and its results are certain, the results have not yet been fully realized.”[5] For this reason, the three passages from Revelation do not end Jennens’ libretto. Instead, Part III follows, featuring the Christian’s assured hope of being raised from death to stand justified on the Last Day, resting fully in Messiah’s own vindication by triumphing over death and the grave. Stated simply, Jennens and Handel have bequeathed to us a biblical theology set to music that tracks the Bible’s narrative arc concerning the already and not yet dimensions of Messiah’s regal triumph. His sacrificial death, burial, resurrection, and ascension already accomplished salvation for all his people who eagerly yearn for his not-yet-but-coming full royal dominion.
5. Calvin R. Stapert, Handel’s Messiah: Comfort for God’s People (Grand Rapids, MI: Eerdmans, 2010), 142.
Thus, with appreciation for that overarching biblical theology, let’s look at each Scripture text.
1. Revelation 19:6: The Lord God Omnipotent Reigneth
The first Scripture in the “Hallelujah Chorus” is Revelation 19:6—“And I heard as it were the voice of a great multitude, and as the voice of many waters, and as the voice of mighty thunderings, saying, Alleluia: for the Lord God omnipotent reigneth.” This verse exalts God’s omnipotence, declaring his reign over all creation. That the chorus begins with this triumphant proclamation sets the tone for the entire piece. The repeated use of “Hallelujah” reflects the multitude’s collective praise for God’s supreme authority and power.
With its rising crescendos and forceful rhythms, Handel’s music mirrors the awe-inspiring scene described in Revelation. The swell of the choir, representing the multitude, rises like “many waters” and “mighty thunderings.” As the voices rise and fall, the listener is drawn into the scene, almost hearing the heavenly host proclaiming God’s reign.
For Christians, hearing this verse sung with such power evokes a deep sense of reverence for the sovereign rule of God. The omnipotence of God, which may seem distant, is brought near through Handel’s music. Our hearts swell with love and awe as we reflect on the Messiah who reigns over all creation, holding the universe in his hands, and is worthy of universal praise. The music reinforces the truth of the words—“the Lord God omnipotent reigneth”—lifting our spirits to sing along, longing for the day when every knee should bow before him in heaven and on earth and under the earth, and every tongue confess, “Jesus Messiah is Lord,” to God the Father’s glory.
2. Revelation 11:15: The Kingdom of Our Lord and of His Christ
The second passage of the “Hallelujah Chorus” is the latter half of Revelation 11:15. “And the seventh angel sounded; and there were great voices in heaven, saying, ‘The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever.’” The Apostle John’s vision portrays the ultimate triumph of Christ and the establishment of his eternal kingdom. It proclaims Christ’s victory over sin, death, and the powers of darkness.
Handel’s musical treatment of this verse is profound. The melody and harmony build with increasing intensity, reflecting the unassailable progression of Christ’s kingdom. As the choir sings, “and He shall reign forever and ever,” the repetition signifies the eternal nature of Christ’s rule, assuring believers that Messiah’s reign has no termination date.
In a world where earthly kingdoms rise and fall, where human leaders are flawed and prone to failure, the promise that “the kingdom of this world is become the kingdom of our Lord” fills Christians with hope. It assures us that our prayers—“Let your Kingdom come; let your will be done on earth as it is in heaven”—will reach fulfillment in the kingdom ruled by the impartial, righteous, and loving King. Christ’s reign is not temporary or subject to the whims and corruption of politicians. Messiah’s reign is just, unshakable, and eternal.
This truth stirs the believer’s deep longing for Christ’s return to complete the extent of his dominion. As the music soars with the repeated “forever and ever,” our hearts soar, filled with joyful anticipation. Our Christian hope is kindled as we look longingly to the day Christ will reign fully and visibly over all creation.
3. Revelation 19:16: King of Kings and Lord of Lords
The final words Handel weaves into his Hallelujah Chorus derive from the latter portion of Revelation 19:16—“And he hath on his vesture and on his thigh a name written, King of kings, and Lord of lords.” The acclamation powerfully underscores Christ’s supreme authority. He is not just a king among many but “the King of kings and Lord of lords.” His authority infinitely surpasses all others.
Handel gives this verse special prominence in the chorus, repeating the title, “King of kings, and Lord of lords,” multiple times. The repetition and the music’s grandeur highlight Christ’s majesty and supremacy. The choir’s voices reach their highest peaks as they proclaim these words, capturing the glory and honor due the Messiah. The words conveyed through majestic and royal musical tones evoke a profound sense of awe and reverence. It lifts our hearts to worship the One who is over all powers and authorities, holding all things together, and reigning in glory. As we listen to this part of the chorus, how can our hearts not be drawn into deeper communion with Christ to acknowledge his rightful place as King over us and the whole of creation? Truly, our affections are stirred to worship the Messiah, bowing before him in humble adoration as our lips repeat, “King of kings and Lord of lords.”
Conclusion
Handel’s Messiah is more than exceptional music thanks to the selected Scriptures arranged by Charles Jennens. The marriage of the Bible’s arc of Messiah’s storyline and musical scores worthy of such a narrative sweeps us up to exalt our sovereign God who triumphs through Christ Jesus to reign eternally over all. The profound worship of the Lord Christ, spanning nearly three hours, is an extraordinary experience. Yet, the most memorable portion of the oratorio is not the climax at the end, with “Amen” repeated numerous times, but at the close of Part II, the “Hallelujah Chorus,” four minutes of the sublime exaltation of the Lord Jesus Christ.
Five years ago this month, following dinner with our younger son’s family, my wife and I last attended a performance of selected portions of Handel’s Messiah by the St. Paul Chamber Orchestras and Minnesota Choral Artists. During dinner and following the concert, we discussed the suitability of attending what is generally accepted as a sacred oratorio performed by instrumentalists and singers who do not confess Messiah as Lord on whom every word they sing focuses. It is understandable that some, such as John Newton (Rector of St. Mary in London) in 1784, the centenary of Handel’s birth, took issue with the Messiah’s performance at Westminster Abbey.[6]
6. Newton’s opposition prompted him to preach a series of fifty sermons. Bob Kauflin and Ben Purves comment on Newton’s approach. Here, I offer my own take.
The course of our conversation prompted me to raise several questions. Why would we presume that our Lord Jesus Christ does not receive praise from choirs and orchestras when they perform Handel’s Messiah, the words of which are entirely derived from God’s Holy Word, the Scriptures, even if those singers and instrumentalists have not yet entered God’s Kingdom? Did not the Word, the Creator of all things, bequeath to singers their talented voices and to instrumentalists their skilled fingers and lips to present the Messiah’s story so exquisitely, yes, despite their unbelief and misunderstanding? Though they know not God’s redemption in the Messiah of whom they sing, do they not bear testimony to themselves, to one another, and to every attendee concerning the advent of the King who now reigns and shall have full dominion over his entire creation? As their voices sing the words of Scripture and their fingers play harmonizing instruments, unwittingly and without constraint, do they not testify concerning the gospel of our Lord?[7] My response to these questions is to quote the Apostle Paul, who encountered similar questions concerning some who preached the gospel with evil motives. Paul responds: “What then? Only that in every way, whether in pretense or in truth, Christ is proclaimed, and in that I rejoice” (Philippians 1:18).
7. Concerning the “Hallelujah Chorus” being sung, Newton correctly notes the impotence of the music to transform hard hearts. “The impression which the performance of this passage in the oratorio usually makes upon the audience is well known. But however great the power of music may be it cannot soften and change the hard heart, it cannot bend the obdurate will of man. If all the people who successively hear the Messiah, who are struck and astonished for the moment by this chorus in particular, were to bring away with them an abiding sense of the importance of the sentiment it contains, the nation would soon wear a new face. But do the professed lovers of sacred music in this enlightened age live as if they really believed that the Lord God omnipotent reigneth? I appeal to conscience; I appeal to fact” (John M. Brentnall, “John Newton on Handel’s Messiah,” Banner of Truth (November 1, 2000). The impotence of which Newton speaks is also true concerning his and our preaching of God’s Word. However eloquently and loftily we may preach, the power is in the gospel message, the words preached or sung.
To attend such a performance of Handel’s Messiah beckons us to acknowledge the already and not yet aspects of Christ’s reign over God’s Kingdom. It is to witness and enjoy an earthly foreshadowing of what the Apostle Paul speaks of with these words: “Therefore God has highly exalted him and bestowed on him the name that is above every name, so that at the name of Jesus every knee should bow, in heaven and on earth and under the earth, and every tongue confess that Jesus Christ is Lord, to the glory of God the Father” (Philippians 2:9–11).
We must not underestimate the power of God’s gospel, which is being sung by vocalists and supported by instrumentalists who have not yet submitted to the Lord Jesus Christ. I believe the occasion calls for us to pray, not oppose performances of Messiah. We should receive the occasion for what it is: a welcomed incursion of the good news of God’s Kingdom into enemy territory. Thank the Lord for the event. Pray and revel in this wonder of the Advent season as a foreshadowing of that Day when every voice will acknowledge Christ Jesus as King of kings and Lord of lords. May this tradition of the Christmas Season become heartfelt worship and adoration of the King of kings. Pray that our God will bring about a grand revival of the gospel’s powerful work to attend every performance of the Messiah.
