Thank you for the cross Lord
Thank you for the price You paid
Bearing all my sin and shame
In love You came and gave amazing grace
Thank you for this love Lord
Thank you for the nail pierced hands
Washed me in Your cleansing flow
Now all I know Your forgiveness and embrace
Worthy is the Lamb
Seated on the throne
Crown You now with many crown
You reign victorious
High and lifted up
Jesus, Son of God
The Treasure of Heaven crucified
Worthy is the Lamb
Worthy is the Lamb
Thank you for the cross Lord
Thank you for the price You paid
Bearing all my sin and shame
In love You came and gave amazing grace
Thank you for this love Lord
Thank you for the nail pierced hands
Washed me in Your cleansing flow
Now all I know Your forgiveness and embrace
Worthy is the Lamb
Seated on the throne
Crown You now with many crown
You reign victorious
High and lifted up
Jesus, Son of God
The Treasure of Heaven crucified
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Seated on the throne
Crown You now with many crown
You reign victorious
High and lifted up
Jesus, Son of God
The Treasure of Heaven crucified
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Thank you for the price You paid
Bearing all my sin and shame
In love You came and gave amazing grace
Thank you for this love Lord
Thank you for the nail pierced hands
Washed me in Your cleansing flow
Now all I know Your forgiveness and embrace
Worthy is the Lamb
Seated on the throne
Crown You now with many crown
You reign victorious
High and lifted up
Jesus, Son of God
The Treasure of Heaven crucified
Worthy is the Lamb
Worthy is the Lamb
Thank you for the cross Lord
Thank you for the price You paid
Bearing all my sin and shame
In love You came and gave amazing grace
Thank you for this love Lord
Thank you for the nail pierced hands
Washed me in Your cleansing flow
Now all I know Your forgiveness and embrace
Worthy is the Lamb
Seated on the throne
Crown You now with many crown
You reign victorious
High and lifted up
Jesus, Son of God
The Treasure of Heaven crucified
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Seated on the throne
Crown You now with many crown
You reign victorious
High and lifted up
Jesus, Son of God
The Treasure of Heaven crucified
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
Worthy is the Lamb
song info:
Verified yes
LanguageEnglish
Genre−
Rank−
Duration00:05:49
Charts
Copyright ©Lyrics © ALFRED PUB CO INC, Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc.
WriterGeorge Frideric Handel
Lyrics licensed byLyricFind
AddedOctober 9th, 2016
Last updatedMarch 9th, 2022
AboutMessiah is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the version of the Psalms included with the Book of Common Prayer.
An oratorio (Italian pronunciation: [oraˈtɔːrjo]) is a large musical composition for orchestra, choir, and soloists. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias.
It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.
Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens' text is an extended reflection on Jesus as the Messiah called Christ. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion and ends with the "Hallelujah" chorus. In Part III he covers the resurrection of the dead and Christ's glorification in heaven.
Handel wrote Messiah for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified by (among others) Mozart. In the late 20th and early 21st centuries the trend has been towards reproducing a greater fidelity to Handel's original intentions, although "big Messiah" productions continue to be mounted. A near-complete version was issued on 78 rpm discs in 1928; since then the work has been recorded many times.
Many early recordings of individual choruses and arias from Messiah reflect the performance styles then fashionable—large forces, slow tempi and liberal re-orchestration. Typical examples are choruses conducted by Sir Henry Wood, recorded in 1926 for Columbia with the 3,500-strong choir and orchestra of the Crystal Palace Handel Festival, and a contemporary rival disc from HMV featuring the Royal Choral Society under Malcolm Sargent, recorded at the Royal Albert Hall.
The first near-complete recording of the whole work (with the cuts then customary) was conducted by Sir Thomas Beecham in 1928. It represented an effort by Beecham to "provide an interpretation which, in his opinion, was nearer the composer's intentions", with smaller forces and faster tempi than had become traditional. His contralto soloist, Muriel Brunskill, later commented, "His tempi, which are now taken for granted, were revolutionary; he entirely revitalised it". Nevertheless, Sargent retained the large scale tradition in his four HMV recordings, the first in 1946 and three more in the 1950s and 1960s, all with the Huddersfield Choral Society and the Liverpool Philharmonic Orchestra. Beecham's second recording of the work, in 1947, "led the way towards more truly Handelian rhythms and speeds", according to the critic Alan Blyth. In a 1991 study of all 76 complete Messiahs recorded by that date, the writer Teri Noel Towe called this version of Beecham's "one of a handful of truly stellar performances".
In 1954 the first recording based on Handel's original scoring was conducted by Hermann Scherchen for Nixa, quickly followed by a version, judged scholarly at the time, under Sir Adrian Boult for Decca. By the standards of 21st-century performance, however, Scherchen's and Boult's tempi were still slow, and there was no attempt at vocal ornamentation by the soloists. In 1966 and 1967 two new recordings were regarded as great advances in scholarship and performance practice, conducted respectively by Colin Davis for Philips and Charles Mackerras for HMV. They inaugurated a new tradition of brisk, small scale performances, with vocal embellishments by the solo singers. Among recordings of older-style performances are Beecham's 1959 recording with the Royal Philharmonic Orchestra, with orchestration commissioned from Sir Eugene Goossens and completed by the English composer Leonard Salzedo, Karl Richter's 1973 version for DG, and David Willcocks's 1995 performance based on Prout's 1902 edition of the score, with a 325-voice choir and 90-piece orchestra.
By the end of the 1970s the quest for authenticity had extended to the use of period instruments and historically correct styles of playing them. The first of such versions were conducted by the early music specialists Christopher Hogwood (1979) and John Eliot Gardiner (1982). The use of period instruments quickly became the norm on record, although some conductors, among them Sir Georg Solti (1985), continued to favour modern instruments. Gramophone magazine and The Penguin Guide to Recorded Classical Music highlighted two versions, conducted respectively by Trevor Pinnock (1988) and Richard Hickox (1992). The latter employs a chorus of 24 singers and an orchestra of 31 players; Handel is known to have used a chorus of 19 and an orchestra of 37.[138] Performances on an even smaller scale have followed.
Several reconstructions of early performances have been recorded: the 1742 Dublin version by Scherchen in 1954, and again in 1959, and by Jean-Claude Malgoire in 1980 There are several recordings of the 1754 Foundling Hospital version, including those under Hogwood (1979), Andrew Parrott (1989), and Paul McCreesh. In 1973 David Willcocks conducted a set for HMV in which all the soprano arias were sung in unison by the boys of the Choir of King's College, Cambridge, and in 1974, for DG, Mackerras conducted a set of Mozart's reorchestrated version, sung in German.
The first published score of 1767, together with Handel's documented adaptations and recompositions of various movements, has been the basis for many performing versions since the composer's lifetime. Modern performances which seek authenticity tend to be based on one of three 20th-century performing editions. These all use different methods of numbering movements:
The Novello Edition, edited by Watkins Shaw, first published as a vocal score in 1959, revised and issued 1965. This uses the numbering first used in the Prout edition of 1902.
The Bärenreiter Edition, edited by John Tobin, published in 1965, which forms the basis of the Messiah numbering in Bernd Baselt's catalogue (HWV) of Handel's works, published in 1984.
The Peters Edition, edited by Donald Burrows, vocal score published 1972, which uses an adaptation of the numbering devised by Kurt Soldan.
The Van Camp Edition, edited by Leonard Van Camp, published by Roger Dean Publishing, 1993 rev. 1995 (now Lorenz pub.).
The Oxford University Press edition by Clifford Bartlett, 1998.[145]
The Carus-Verlag Edition, edited by Ton Koopman and Jan H. Siemons, published in 2009 (using the HWV numbering).
The edition edited by Friedrich Chrysander and Max Seiffert for the Deutsche Händel-Gesellschaft (Berlin, 1902) is not a general performing edition, but has been used as a basis of scholarship and research.
In addition to Mozart's well-known reorchestration, arrangements for larger orchestral forces exist by Goossens and Andrew Davis; both have been recorded at least once, on the RCA and Chandos labels respectively.
An oratorio (Italian pronunciation: [oraˈtɔːrjo]) is a large musical composition for orchestra, choir, and soloists. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias.
It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.
Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens' text is an extended reflection on Jesus as the Messiah called Christ. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion and ends with the "Hallelujah" chorus. In Part III he covers the resurrection of the dead and Christ's glorification in heaven.
Handel wrote Messiah for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified by (among others) Mozart. In the late 20th and early 21st centuries the trend has been towards reproducing a greater fidelity to Handel's original intentions, although "big Messiah" productions continue to be mounted. A near-complete version was issued on 78 rpm discs in 1928; since then the work has been recorded many times.
Many early recordings of individual choruses and arias from Messiah reflect the performance styles then fashionable—large forces, slow tempi and liberal re-orchestration. Typical examples are choruses conducted by Sir Henry Wood, recorded in 1926 for Columbia with the 3,500-strong choir and orchestra of the Crystal Palace Handel Festival, and a contemporary rival disc from HMV featuring the Royal Choral Society under Malcolm Sargent, recorded at the Royal Albert Hall.
The first near-complete recording of the whole work (with the cuts then customary) was conducted by Sir Thomas Beecham in 1928. It represented an effort by Beecham to "provide an interpretation which, in his opinion, was nearer the composer's intentions", with smaller forces and faster tempi than had become traditional. His contralto soloist, Muriel Brunskill, later commented, "His tempi, which are now taken for granted, were revolutionary; he entirely revitalised it". Nevertheless, Sargent retained the large scale tradition in his four HMV recordings, the first in 1946 and three more in the 1950s and 1960s, all with the Huddersfield Choral Society and the Liverpool Philharmonic Orchestra. Beecham's second recording of the work, in 1947, "led the way towards more truly Handelian rhythms and speeds", according to the critic Alan Blyth. In a 1991 study of all 76 complete Messiahs recorded by that date, the writer Teri Noel Towe called this version of Beecham's "one of a handful of truly stellar performances".
In 1954 the first recording based on Handel's original scoring was conducted by Hermann Scherchen for Nixa, quickly followed by a version, judged scholarly at the time, under Sir Adrian Boult for Decca. By the standards of 21st-century performance, however, Scherchen's and Boult's tempi were still slow, and there was no attempt at vocal ornamentation by the soloists. In 1966 and 1967 two new recordings were regarded as great advances in scholarship and performance practice, conducted respectively by Colin Davis for Philips and Charles Mackerras for HMV. They inaugurated a new tradition of brisk, small scale performances, with vocal embellishments by the solo singers. Among recordings of older-style performances are Beecham's 1959 recording with the Royal Philharmonic Orchestra, with orchestration commissioned from Sir Eugene Goossens and completed by the English composer Leonard Salzedo, Karl Richter's 1973 version for DG, and David Willcocks's 1995 performance based on Prout's 1902 edition of the score, with a 325-voice choir and 90-piece orchestra.
By the end of the 1970s the quest for authenticity had extended to the use of period instruments and historically correct styles of playing them. The first of such versions were conducted by the early music specialists Christopher Hogwood (1979) and John Eliot Gardiner (1982). The use of period instruments quickly became the norm on record, although some conductors, among them Sir Georg Solti (1985), continued to favour modern instruments. Gramophone magazine and The Penguin Guide to Recorded Classical Music highlighted two versions, conducted respectively by Trevor Pinnock (1988) and Richard Hickox (1992). The latter employs a chorus of 24 singers and an orchestra of 31 players; Handel is known to have used a chorus of 19 and an orchestra of 37.[138] Performances on an even smaller scale have followed.
Several reconstructions of early performances have been recorded: the 1742 Dublin version by Scherchen in 1954, and again in 1959, and by Jean-Claude Malgoire in 1980 There are several recordings of the 1754 Foundling Hospital version, including those under Hogwood (1979), Andrew Parrott (1989), and Paul McCreesh. In 1973 David Willcocks conducted a set for HMV in which all the soprano arias were sung in unison by the boys of the Choir of King's College, Cambridge, and in 1974, for DG, Mackerras conducted a set of Mozart's reorchestrated version, sung in German.
The first published score of 1767, together with Handel's documented adaptations and recompositions of various movements, has been the basis for many performing versions since the composer's lifetime. Modern performances which seek authenticity tend to be based on one of three 20th-century performing editions. These all use different methods of numbering movements:
The Novello Edition, edited by Watkins Shaw, first published as a vocal score in 1959, revised and issued 1965. This uses the numbering first used in the Prout edition of 1902.
The Bärenreiter Edition, edited by John Tobin, published in 1965, which forms the basis of the Messiah numbering in Bernd Baselt's catalogue (HWV) of Handel's works, published in 1984.
The Peters Edition, edited by Donald Burrows, vocal score published 1972, which uses an adaptation of the numbering devised by Kurt Soldan.
The Van Camp Edition, edited by Leonard Van Camp, published by Roger Dean Publishing, 1993 rev. 1995 (now Lorenz pub.).
The Oxford University Press edition by Clifford Bartlett, 1998.[145]
The Carus-Verlag Edition, edited by Ton Koopman and Jan H. Siemons, published in 2009 (using the HWV numbering).
The edition edited by Friedrich Chrysander and Max Seiffert for the Deutsche Händel-Gesellschaft (Berlin, 1902) is not a general performing edition, but has been used as a basis of scholarship and research.
In addition to Mozart's well-known reorchestration, arrangements for larger orchestral forces exist by Goossens and Andrew Davis; both have been recorded at least once, on the RCA and Chandos labels respectively.