An Interactive Edition of Handel’s Messiah

By

All month long at Christ Over All, we are meditating on Messiah by George Frideric Handel (1685–1759). And in what follows, we are offering the full text of Handel’s Messiah, 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 “critical” edition of Handel’s Messiah, it is a useful, interactive edition that will serve classical musicians and novices alike.

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 (1700–1773) composed. Finally, each text (as it is sung in Messiah) is listed, totaling fifty-three total texts of Scripture.[1] And underneath the style of music is a hyperlink that leads to the performance of that section.

1. There are small differences in Handel’s 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. “Handel’s Messiah: Lyrics and Verse References.” HavenToday.org, March 29, 2021.

We pray that this interactive edition of Handel’s Messiah, with Charles Jennen’s Scripture texts, serves as a blessed reminder of our Lord’s 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 and share its Scripture-saturated lyrics with you.

The Music: A Few Basic Terms

To properly ascertain Messiah, 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 “the wealthy and arrogant Leicestershire country gentleman, Charles Jennens.”[2] Jennens served as Handel’s textwriter (librettist) for decades.[3] Organized into Part I (Numbers 1–21), Part II, (Numbers 22–44), and Part III (Numbers 45–53), the selections bridge an expanse of revelation from Psalms to Revelation.

2. Block, Daniel I. “Handel’s Messiah: Biblical and Theological Perspectives.” Didaskalia 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.









3. Crookshank, Esther R. “The Scriptures in Handel’s Messiah: An Overview.” Christ Over All, December 2, 2024.

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 tends to precede a Chorus, that in turn may precede a Recitative), Handel employs the Overture, the Air, the Chorus, the Accompagnato, and the Recitative. Here are basic definitions:

  • Overture – a thematic, wordless piece of music used to introduce the theme and set the mood of a performance

  • Air – a self-contained piece for a solo singer, often with orchestral accompaniment

  • Chorus – a section of a musical piece where many singers perform together, often with orchestral accompaniment

  • Accompagnato – a vocal delivery somewhere between speaking and singing, accompanied by music and often dramatic

  • Recitative – a style of singing that imitates speech, is unrepeated, and lacks a fixed rhythm

PART 1: Texts Number 1–21

Part I of the work concerns the “Old Testament anticipation of the advent of the Messiah, and the New Testament fulfillment of this expectation.”[4] Against the backdrop of a dramatic, almost hopeless overture, Messiah’s 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. 40:1–3). This is quickly followed by further reflections from Isaiah 40, which promises salvation to a people who have been under judgment (see Isaiah 1–39).

4. Block, Daniel I. “Handel’s Messiah: Biblical and Theological Perspectives.” Didaskalia 12, no. 2 (2001): 3.

Following Isaiah 40:4–5, Messiah sings of the crooked path made straight and the revelation of God’s glory in the first Air and Chorus. The Lord’s coming to earth, a simultaneously comforting and terrifying thought, is the continuing theme through sections of Haggai and Malachi. God’s coming is like a “refiner’s fire” (Mal. 3:2). Whatever messianic anticipation that seems vague is clarified as a Recitative voice announces the words of Isaiah 7:14 (and Matthew 1:23): “Behold, a virgin shall conceive and bear a son, and shall call His name Emmanuel, God with us.” This son is heralded through accompagnato, air, and chorus 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. 60:2–3, Isa. 9:2, Isa. 9:6).

Part I continues with the Christmas story proper, as Handel alternates between the Recitative and Accompagnato. The shepherds, the heavenly host, and the glory of God are in full view as the “good tidings of great joy” are announced in the birth of the Savior (Luke 2:10–11). A chorus joins and sings glory to God (Luke 2:14). The first section of Messiah concludes with a brief, selective picture of Christ’s life. The peace, healing, gentleness, and rest that Jesus offers is brought into view (Zech. 9:9–10, Isa. 35:5–6, Isa. 40:11, Matt. 11:28–29). Commenting on this angelic declaration, Block rightly notes that “the birth of the Messiah guarantees peace for the human race that has been languishing in turmoil and chaos ever since the Fall.”[5] A chorus ends with the simple words: “His yoke is easy, and His burden is light” (Matt. 11:30).

5. Block, Daniel I. “Handel’s Messiah: Biblical and Theological Perspectives.” Didaskalia 12, no. 2 (2001): 10.

 

  1. Sinfonia– (Instrumental)
  2. Accompagnato (Tenor)– “Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness, Prepare ye the way of the Lord, make straight in the desert a highway for our God.” (Isaiah 40:1–3)
  3. Air (Tenor)– “Ev’ry valley shall be exalted, and ev’ry mountain and hill made low: the crooked straight and the rough places plain:” (Isaiah 40:4)
  4. Chorus– “And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it. (Isaiah 40:5)
  5. Accompagnato (Bass)– “Thus saith the Lord, the Lord of hosts: Yet once, a little while and I will shake the heavens and the earth, the sea, and the dry land. And I will shake all nations, and the desire of all nations shall come.” (Haggai 2:6–7); “The Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in: behold, he shall come, saith the Lord of hosts.” (Malachi 3:1)
  6. Air (Bass)– “But who may abide the day of his coming? and who shall stand when he appeareth? for he is like a refiner’s fire.” (Malachi 3:2)
  7. Chorus– “And he shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.” (Malachi 3:3)
  8. Recitative (Alto)– “Behold, a virgin shall conceive and bear a son, and shall call his name Emmanuel, God with us.” (Isaiah 7:14; Matthew 1:23)
  9. Air (mezzo-soprano) and Chorus– “O thou that tellest good tidings to Zion, get thee up into the high mountain. O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, Behold your God!” (Isaiah 40:9); “Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee.” (Isaiah 60:1)
  10. Accompagnato (bass)– “For behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and his glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the brightness of thy rising.” (Isaiah 60:2–3)
  11. Air (bass)– “The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined.” (Isaiah 9:2)
  12. Chorus– “For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder; and his name shall be called Wonderful, Counsellor, The mighty God, The everlasting Father, The Prince of Peace.” (Isaiah 9:6)
  13. Pifa Pastoral Sinfonia– (Instrumental)

14a. Recitative (soprano) – “There were shepherds abiding in the field, keeping watch over their flock by night.” (Luke 2:8)

14b. Accompagnato (soprano) “And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.” (Luke 2:9)

  1. Recitative (soprano)– “And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord.” (Luke 2:10–11)
  2. Accompagnato (soprano)– “And suddenly there was with the angel a multitude of the heavenly host praising God, and saying,” (Luke 2:13)
  3. Chorus– “Chorus Glory to God in the highest, and peace on earth, good will toward men.” (Luke 2:14)
  4. Air (soprano)– “Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem: behold, thy King cometh unto thee: he is the righteous Saviour, and he shall speak peace unto the heathen.” (Zechariah 9:9–10)
  5. Recitative (mezzo-soprano)– “Then shall the eyes of the blind be opened, and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing.” (Isaiah 35:5–6)
  6. Duet (mezzo-soprano/soprano)– “He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and carry them in his bosom, and gently lead those that are with young. (Isaiah 40:11); “Come unto him, all ye that labour, come unto him, that are heavy laden, and he will give you rest. Take his yoke upon you, and learn of him; for he is meek and lowly of heart: and ye shall find rest unto your souls.” (Matthew 11:28–29)
  7. Chorus– “His yoke is easy, and his burthen is light.” (Matthew 11:30)

PART 2: Texts Number 22–44

Part II of Messiah 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’s yoke upon us and the heaviness of the burden of punishment he bears is hard to ignore.[6] This time, a chorus begins: “Behold the Lamb of God, that taketh away the sin of the world” (John 1:29). This glorious triumph is highlighted in Christ’s grief. We must not forget that He is the Suffering Servant.

6. Block, Daniel I. “Handel’s Messiah: Biblical and Theological Perspectives.” Didaskalia 12, no. 2 (2001): 13.

The despising of the “man of sorrows” reminds us of Jesus’s 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 “borne our griefs”, being “wounded for our transgressions”—we are healed precisely because the “Lord hath laid on Him the iniquity of us all.” (Isa. 53:4–6). In a vision of the Messiah “that is unique within the entire Biblical record,” the servant-savior of Israel becomes a substitutionary sacrifice.[7] Three choruses exclaim these verses. The voices of mockers in Psalm 22:7–8 add insult to Christ’s injury in an accompagnato and a chorus. Solo tenors reiterate the “heaviness” of Christ’s heart and the impossibility of any sorrow competing “unto His sorrow” (Ps. 69:20, Lam. 1:12).

7. Block, Daniel I. “Handel’s Messiah: Biblical and Theological Perspectives.” Didaskalia 12, no. 2 (2001): 13.

Summing up the prior section of Part II is Isaiah 53:8. A sudden change shifts the concern of the story from Christ’s death to his resurrection. With a somber and harrowing picture of the suffering servant in the background, the last airs, choruses, and recitatives of Part II are marked by the triumph and exaltation of the King. Because Christ was not abandoned to Sheol and did not “see corruption,” Handel has the chorus sing Psalm 24, commanding heads to be raised and gates and doors to be flung wide so that the “King of Glory” might enter (Ps. 16:10, Ps. 24:7–10).

Angelic song continues as the writer of Hebrews quotes Psalm 2 and attests that Christ is God’s Son. This Divine, resurrected Son is to be worshipped in his resurrection, as an air exclaims that he has “gone up on high” and “led captivity captive” (Ps. 68:18). The triumph of the resurrection, naturally, has missiological implications.[8]

8. Block, Daniel I. “Handel’s Messiah: Biblical and Theological Perspectives.” Didaskalia 12, no. 2 (2001): 17.

The gospel, the good news, is news to be shared. Alternating airs and choruses 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, chorus, reflective, air segment pictures God’s wrath against the enemies of the Son—He will “break them with a rod of iron” and “dash them in pieces like a potter’s vessel” (Ps. 2:9).

What’s the proper response from here? Praise. In what is the most famous, recognizable section of Messiah, a powerful, heavenly, victorious “Hallelujah” 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).

  1. Chorus– “Behold the Lamb of God, that taketh away the sin of the world.” (John 1:29)
  2. Air (mezzo-soprano)– “He was despised and rejected of men; a man of sorrows, and acquainted with grief. (Isaiah 53:3); “He gave his back to the smiters, and his cheeks to them that plucked off the hair: he hid not his face from shame and spitting.” (Isaiah 50:6)
  3. Chorus– “Surely he hath borne our griefs, and carried our sorrows: he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him;” (Isaiah 53:4–5)
  4. Chorus– “And with his stripes we are healed.” (Isaiah 53:5)
  5. Chorus– “All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.” (Isaiah 53:6)
  6. Accompagnato (tenor)– “All they that see him laugh him to scorn: they shoot out their lips, and shake their heads, saying,” (Psalm 22:7)
  7. Chorus– “He trusted in God that he would deliver him: let him deliver him, if he delight in him.” (Psalm 22:8)
  8. Accompagnato (tenor)– “Thy rebuke hath broken his heart; he is full of heaviness. He looked for some to have pity on him, but there was no man, neither found he any to comfort him.” (Psalm 69:20)
  9. Arioso (tenor)– “Behold, and see if there be any sorrow like unto his sorrow.” (Lamentations 1:12)
  10. Accompagnato (tenor)– “He was cut off out the land of the living: for the transgressions of thy people was he stricken.” (Isaiah 53:8)
  11. Air (tenor)– “But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.” (Psalm 16:10)
  12. Chorus– “Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory? The Lord strong and mighty, the Lord mighty in battle.” (Psalm 24:7–10)
  13. Recitative (tenor)– “Unto which of the angels said he at any time, Thou art my Son, this day have I begotten thee?” (Hebrews 1:5)
  14. Chorus– “Let all the angels of God worship him.” (Hebrews 1:6)
  15. Air (mezzo-soprano)– “Thou art gone up on high; thou hast led captivity captive, and received gifts for men: yea, even for thine enemies, that the Lord God might dwell among them.” (Psalm 68:18)
  16. Chorus– “The Lord gave the word: great was the company of the preachers.” (Psalm 68:11)
  17. Air (soprano)– “How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things!” (Romans 10:15)
  18. Chorus– “Their sound is gone out into all lands, and their words unto the ends of the world.” (Romans 10:18)
  19. Air (bass)– “Why do the nations so furiously rage together: and why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together against the Lord, and against his Anointed.” (Psalm 2:1–2)
  20. Chorus– “Let us break their bonds asunder, and cast away their yokes from us.” (Psalm 2:3)
  21. Recitative (tenor)– “He that dwelleth in heaven shall laugh them to scorn: the Lord shall have them in derision.” (Psalm 2:4)
  22. Air (tenor)– “Thou shall break them with a rod of iron; thou shall dash them in pieces like a potter’s vessel.” (Psalm 2:9)
  23. Chorus– “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); “King of Kings, and Lord of Lords.” (Revelation 19:16) “Hallelujah!”

PART 3: Texts Number 45–53

Part III represents the period of redemptive history between the first and second comings of Jesus. A soloist reminds us that Christ “shall stand at the latter day upon the earth” (Job 19:25–26). The redeemer envisioned by Job is identified with the Messiah. By extension, jumping to the New Testament, “the resurrection of Christ guarantees the resurrection of the believer.”[9] Wonderfully, he will not be alone, for he is simply the “first fruits of them that sleep” (1 Cor. 15:20). Christ is the God of the living, and because He lives, His people shall too. Likewise, the chorus reminds us that though we die in Adam, we are made alive in Christ (1 Cor. 15:21–22). When the trumpet sounds, the dead will be raised, and we will all be changed (1 Cor. 15:51–53). Leading up to the last lines of Messiah is the song of victory over death, evident in Christ’s resurrection and the one to come. In light of this, the last air recites Paul’s great question “if God is for us, who can be against us?” (Rom. 8:31). A final chorus sings the song that will be sung to the Lamb of God when all His people are gathered at His coming: worthy!

9. Block, Daniel I. “Handel’s Messiah: Biblical and Theological Perspectives.” Didaskalia 12, no. 2 (2001): 20.
  1. Air (soprano)– “I know that my Redeemer liveth, and that he shall stand at the latter day upon the earth: And though worms destroy this body, yet in my flesh shall I see God.” (Job 19:25–26); “For now is Christ risen from the dead, the first fruits of them that sleep.” (I Corinthians 15:20)
  2. Chorus– “Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.” (I Corinthians 15:21–22)
  3. Accompagnato (bass)– “Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed, In a moment, in the twinkling of an eye, at the last trumpet:” (I Corinthians 15:51–52)
  4. Air (bass)– “The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality.” (I Corinthians 15:52–53)
  5. Recitative (mezzo-soprano)– “Then shall be brought to pass the saying that is written: Death is swallowed up in victory.” (I Corinthians 15:54)
  6. Duet (mezzo-soprano/tenor)– “O death, where is thy sting? O grave, where is thy victory? The sting of death is sin; and the strength of sin is the law.” (I Corinthians 15:55–56)
  7. Chorus– “But thanks be to God, who giveth us the victory through our Lord Jesus Christ.” (I Corinthians 15:57)
  8. Air (soprano)– “If God be for us, who can be against us?” (Romans 8:31); “Who shall lay any thing to the charge of God’s elect? It is God that justifieth. Who is he that condemneth? It is Christ that died, yea rather, that is risen again, who is at the right hand of God, who makes intercession for us.” (Romans 8:33–34)
  9. Chorus– “Worthy is the Lamb that was slain, and hath redeemed us to God by his blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing, and honour, glory, and power, be unto him that sitteth upon the throne, and unto the Lamb for ever and ever.” (Revelation 5:12–14) “Amen.”



For further resources, see Handel’s Messiah: Singing Scripture’s Hallelujah!

 

ABOUT THE AUTHOR

Author

  • Chase Rea

    Chase Rea is a Master of Divinity student at The Southern Baptist Theological Seminary. He and his wife Jenna live in Louisville, KY and are members at Clifton Baptist Church. He currently serves as an assistant editor at Christ Over All.

Picture of Chase Rea

Chase Rea

Chase Rea is a Master of Divinity student at The Southern Baptist Theological Seminary. He and his wife Jenna live in Louisville, KY and are members at Clifton Baptist Church. He currently serves as an assistant editor at Christ Over All.