(from Zechariah 9:9–10, King James Version)
Rejoice greatly, O daughter of Zion;
shout, O daughter of Jerusalem:
behold, thy King cometh unto thee;
he is the righteous Saviour, and he shall speak peace unto the heathen.
This is No. 18 in Part I.
It follows the chorus “Glory to God” and continues the celebratory mood, but in a more personal, exuberant manner.
Scored for soprano soloist with orchestra, it’s one of the most virtuosic arias in the oratorio.
Originally in da capo aria form (A–B–A′):
A section (“Rejoice greatly, O daughter of Zion”): bright, exuberant, highly ornamented.
B section (“Behold, thy King cometh unto thee” / “He is the righteous Saviour”): slower, lyrical, often in a related minor key.
A′ section: Return of the opening material, usually with improvised embellishments by the soloist in Handel’s time.
A section: usually in B♭ major or D major depending on the edition; marked Allegro or Allegro moderato.
B section: contrasting slower tempo (Largo or Larghetto), modulating to the relative minor for warmth and gravity.
A section:
Rapid coloratura runs on “rejoice” and “shout,” painting the joy and energy of the text.
Leaping intervals convey exuberance.
Syncopations and rhythmic drive keep the forward motion lively.
B section:
More sustained, legato phrases, symbolizing the majesty and righteousness of the coming King.
Longer note values give a sense of dignity and calm.
“Rejoice greatly”: Long melismas with ascending patterns suggest soaring joy.
“Shout”: Accented high notes and leaps make the word feel like an actual shout.
“He shall speak peace”: Handel slows the tempo, softens dynamics, and smooths the line to reflect tranquility.
Strings: Agile, bright figures in the violins double and complement the soloist, adding sparkle to the A section.
Continuo: Harpsichord or organ with cello/bass supports harmonic clarity.
No trumpets or timpani — Handel relies on agility and lightness rather than sheer power.
A section demands vocal agility and precise articulation of rapid passages without losing clarity of text.
B section requires expressive phrasing and control of legato.
In the da capo repeat, Baroque style encourages tasteful ornamentation to avoid exact repetition.
“Rejoice Greatly” is one of the most exuberant arias in Messiah, radiating joy through virtuosic vocal writing while balancing it with a serene, reverent middle section. Handel contrasts ecstatic celebration with calm assurance, showing both the excitement of the Messiah’s coming and the peace He will bring.