Gospel; while the third is occupied with the declaration of the
highest truths of doctrine,--faith in the existence of God, the surety of
immortal life, the resurrection, and the attainment of an eternity of
happiness.

The first part opens with an overture, or rather orchestral prelude, of
majestic chords, leading to a short fugue, developed with severe
simplicity and preparing the way for the accompanied recitative, "Comfort
ye My People," and the aria for tenor, "Every Valley shall be exalted,"
which in turn leads to the full, strong chorus, "And the Glory of the
Lord shall be revealed,"--the three numbers in reality forming one. The
prophecy is announced, only to be followed by the human apprehension in
the great aria for bass ("But who may abide the Day of His coming"),
written in the Sicilian pastoral style,--a form of which, Burney affirms,
Handel was very fond. The aria leads to the exquisitely constructed
number, "And He shall purify," a fugued chorus closing in simple harmony.
Once more the prophet announces, "Behold, a Virgin shall conceive,"
followed by the alto solo, "O Thou that tellest," which preludes a chorus
in the same tempo. The next aria ("The People that walked in Darkness"),
with its curious but characteristic modulations, leads to one of the most
graphic fugued choruses in the whole work ("For unto us a Child is
born"), elegantly interwoven with the violin parts, and emphasized with
sublime announcements of the names of the Messiah in full harmony and
with the strongest choral power. The grand burst of sound dies away,
there is a significant pause, and then follows a short but exquisite
Pastoral Symphony for the strings, which with the four succeeding bits of
recitative tells the message of the Angels to the Shepherds on the plains
of Bethlehem. Suddenly follows the chorus of the heavenly hosts ("Glory
to God"), which is remarkably expressive, and affords sharp contrasts in
the successive clear responses to the fugue. The difficult but very
brilliant aria for soprano, "Rejoice greatly," the lovely aria, "He shall
feed His Flock," originally written entire for soprano, in which Handel
returns again to the pastoral style, and a short chorus ("His Yoke is
easy"), close the first part.

The second part is the most impressive portion of the work. It begins
with a majestic and solemn chorus ("Behold the Lamb of God"), which is
followed by the aria for alto, "He was despised,"--one of the most
pathetic