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.

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]

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)

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.”

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.

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.

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.

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