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Following the somber E-minor Overture, George Frideric Handel’s Messiah (1741) opens the vocal narrative with a dramatic shift to , signaling a transition from darkness to divine promise. Movements 2 and 3 form a cohesive pair—an accompanied recitative followed by an air—that introduces the tenor soloist as a prophetic herald of the coming savior. 1. Movement No. 2: "Comfort ye my people" (Accompagnato)
: The transition to the wilderness setting, marked by the iconic phrase "The voice of him that crieth in the wilderness". Movement No
: Proclamation that Jerusalem's "warfare is accomplished" and iniquity is pardoned. This movement is a , meaning the singer
This movement is a , meaning the singer is supported by the full string section rather than just a harpsichord. : While primarily in E Major
: It is through-composed and organized into three main sections based on the text from Isaiah 40:1-3: Section 1 : God’s command to "comfort" his people.
: Handel breaks traditional recitative rules by making the vocal line highly lyrical and songlike, which reinforces the "comforting" nature of the text.
: While primarily in E Major , Handel employs modulations to B major (dominant) and A major (subdominant) to track the emotional shifts in the prophecy. 2. Movement No. 3: "Ev’ry valley shall be exalted" (Air)