Michael Marissen wrote that Charles Jennens' libretto for this piece was anti-Semitic.
Michael Marissen wrote that Charles Jennens' libretto for this piece was anti-Semitic. Traditionalist conductors do not take the decelerando in this work's thrity-third measure, which precedes the text "The Kingdom of this World." The bassoon is the only instrument accompanying the strings in its introduction, which transitions the larger work to D Major after the air, "Thou Shalt Break Them." The choir chants "forever and ever" toward its climax while the tenors hold "King of Kings, Lord of Lords" finally celebrating the Last Judgment through repetitions of its central word. For 10 points, tradition has audiences stand during what most famous section of Handel's Messiah?
Michael Marissen wrote that Charles Jennens' libretto for this piece was anti-Semitic.
The “{Hallelujah}” Chorus [prompt on {Messiah} before it is read]