(from Luke 2:14, King James Version)
Glory to God in the highest,
and peace on earth,
goodwill toward men.
Glory to God is the 17th number in Part I.
It follows the recitative “There were shepherds abiding in the field” and the accompanied recitative “And suddenly there was with the angel…,” narrating the angelic announcement of Christ’s birth.
Dramatically, this is the heavenly outburst — the chorus represents the multitude of angels praising God.
Overall form: Simple ternary-like shape with contrasting textures.
A section (“Glory to God in the highest”): brilliant, fanfare-like, in D major.
B section (“and peace on earth”): slower, softer, more homophonic, and in a contrasting key (often B minor or G major depending on interpretation).
A' section (“goodwill toward men”): returns to brighter character but with lighter orchestration.
Opening: Homophonic declamation by the choir, reinforced by trumpets and timpani.
Middle (“peace on earth”): Reduced texture — often just lower voices and softer strings — to depict calmness and serenity.
Final phrase: Alternation of higher and lower voices with brief imitation, ending with full chorus.
Trumpets & Timpani: Essential for the “in the highest” brilliance. Handel uses them sparingly in Messiah, so their appearance here is dramatic.
Strings & Continuo: Provide rhythmic drive in the A section and gentle underpinning in the B section.
Dynamic contrast: Likely strong terraced dynamics — loud and triumphant vs. soft and intimate.
“Glory to God in the highest”: Ascending melodic lines and trumpet flourishes evoke heavenward praise.
“Peace on earth”: The sudden drop in dynamic and slower harmonic rhythm depict stillness and tranquility.
“Goodwill toward men”: Lighter texture and graceful motion convey benevolence and joy.
Rhythm: The A section uses dotted rhythms and fanfare patterns, matching the grandeur of royal announcements.
Melody: Stepwise motion interspersed with leaps for emphasis, especially on “highest.”
Contrast: The B section is smoother and more legato, avoiding the martial dotted figures.
Balance between trumpets/timpani and choir is critical — too much brass can overpower the text.
The shift from brilliant proclamation to gentle peace should be dramatic but seamless.
Clear diction is essential in the fast, bright opening so the words aren’t lost in the jubilant energy.
Glory to God is one of Handel’s most vivid contrasts in Messiah. The piece moves from blazing heavenly majesty to serene earthly peace in the space of a few measures, embodying both the grandeur of God’s glory and the gentleness of the peace offered to humankind.