Messiah, HWV 56: Part I, No. 4, Chorus: And the Glory of the Lord (Urtext): Cantata/ Oratorio, Orchestra Accompaniment, Full Score

This movement captures Handel at his most exuberant. The text unfolds through layers of orchestration and choral voice, building momentum through repetition and harmonic clarity that makes even complex polyphonic writing feel inevitable and joyful. Programming this showstopper demonstrates to singers and audiences alike why Baroque choral writing remains dramatically powerful.

Radiantly confident and celebratory. The music tumbles forward in waves of brightness, with the orchestra painting broad strokes while voices weave patterns of text and melody that build to moments of almost overwhelming affirmation. There is grandeur without heaviness, jubilation without sentimentality.

Conductors preparing a full Messiah performance or selecting a single showpiece chorus for intermediate to advanced choral ensembles. This urtext score serves conductors and chorus directors who want the original orchestration with scholarly editing and continuo realization, rather than simplified arrangements.

• Balance the oboes and continuo carefully; they anchor the harmonic progression while the chorus carries the text forward. The orchestra should support without obscuring the choral line.
• Shape each repetition of "And the glory of the Lord" with fresh articulation and dynamic variation. What lands powerfully the first time becomes heavy if repeated identically.
• Maintain rhythmic precision in the string accompaniment, especially in running sixteenth figures. Baroque style does not mean loose timekeeping; the ensemble's clarity depends on it.
• Allow space for the harpsichord continuo to breathe. In this urtext edition with Kurt Soldan's realization, the keyboard provides harmonic support that singers need to hear for intonation.

Slot this as a major work in a program celebrating Baroque choral music, or use it as the centerpiece of a Messiah-focused concert. Its 3-4 minute span makes it ideal for pairing with other shorter Handel movements, creating a compelling survey of his choral genius without requiring a complete oratorio performance.

• Reading eighteenth-century continuo notation and understanding figured bass
• Singing independent melodic lines while maintaining harmonic awareness
• Balancing clarity of text with Baroque vocal style
• Responding to conductor cueing across multiple orchestral and vocal sections
• Sustaining character and energy through repeated textual phrases