(from Isaiah 9:6, King James Version)
For unto us a Child is born, unto us a Son is given,
and the government shall be upon His shoulder:
and His name shall be called Wonderful, Counsellor,
the Mighty God, the Everlasting Father, the Prince of Peace.
1. Context in Messiah
For Unto Us a Child Is Born is the 12th number in Part I of Handel’s Messiah.
It follows the Pastoral Symphony (Pifa) and a pair of gentle recitatives announcing the birth of Christ.
Dramatically, it’s the first big outpouring of joy after the pastoral calm, celebrating the prophecy of Christ’s birth from Isaiah.
2. Musical Form & Structure
Overall form: Extended choral movement in da capo form (A–B–A’), though Handel varies the reprise.
Section A (“For unto us a Child is born…”): lively fugal writing, mostly in imitative counterpoint, with a buoyant dotted rhythm.
Section B (“and the government shall be upon His shoulder…”): slower, more homophonic, weighty and majestic, reflecting the solemnity of kingship and divine authority.
Section A’: Returns to the joyful fugal material but often with embellishment and richer textures.
3. Text Painting & Word Emphasis
“For unto us a Child is born” — rapid, leaping, and flowing melodies convey excitement and joy.
“Wonderful, Counsellor” — Handel breaks into long melismas on “Counsellor,” giving a sense of awe and grandeur.
“The Mighty God” — slower harmonic rhythm and full chordal texture give weight.
“The Prince of Peace” — graceful, calm melodic descent suggests serenity and peace.
4. Rhythmic & Melodic Features
Rhythm: The first section uses quick running notes (often in triplets or semiquavers) that keep the energy alive.
Melody: Stepwise motion for smooth flow, broken by jubilant leaps. The fugue subjects are easy to sing and memorable.
Counterpoint: True to Handel’s choral style, voices enter in imitation, weaving together seamlessly while keeping the text clear.
5. Orchestration
Strings play with a light, dancing quality, doubling the vocal lines in typical Baroque practice.
The continuo (harpsichord or organ with cello/bass) supports the harmonic foundation.
No trumpets or timpani here — Handel saves them for even grander moments later — but the energy still feels celebratory.
6. Performance Considerations
Choirs often need to balance clarity of text with the speed and intricacy of the fugal passages.
The contrast between the bright, joyful first section and the noble, slower middle section must be dramatic but still seamless.
Summary of Effect
This chorus is a musical embodiment of joy, energy, and reverence. Handel uses
contrasts — fast and slow, polyphonic and homophonic, light and weighty — to
capture both the excitement of the Messiah’s birth and the majesty of His divine
titles.