(Part II,
Messiah)
From Psalm 2:3 (KJV):
Let us break their bonds asunder,
and cast away their yokes from us.
This is a chorus in Part II, following the bass aria “Why Do the Nations So Furiously Rage Together?”
Both movements draw from Psalm 2, so this chorus is like the collective voice of the rebellious nations after the bass soloist has announced their defiance.
Dramatically, it’s still in the “Rejection of the Messiah” section, before the transition to God’s response in “He That Dwelleth in Heaven” and “Thou Shalt Break Them.”
Tempo: Fast, Allegro (often in 4/4).
Key: Often in D major — brighter than the preceding D minor aria, reflecting not peace but bold, overconfident arrogance.
Texture: Starts with vigorous unison or homophonic declamation, quickly giving way to energetic fugal writing.
Orchestration: Violins and continuo provide a springy, propulsive accompaniment with rapid notes that reinforce the urgency.
“Break their bonds asunder” — jagged, broken rhythmic figures in the voices and instruments give a sense of tearing or snapping.
“Cast away their yokes” — often sung in quicker melismatic runs, suggesting flinging something far away.
The alternation between forceful block chords and quick fugato passages conveys both the unity of the rebellion and the chaotic nature of the uprising.
Handel uses fugal entrances to depict the spreading of rebellion — one voice begins the cry, then the others join, as if nations are rallying together.
Sequences drive the music forward, creating relentless energy and making it feel like the revolt is gaining momentum.
Despite the apparent chaos, Handel keeps the fugue tightly controlled, symbolizing that even rebellion exists under God’s sovereignty.
This chorus amplifies the bass aria’s message: after the narrator describes the rebellion, the people’s voice bursts forth to enact it.
Its energy and drive make it a kind of musical climax to Psalm 2’s description of defiance — but it is followed immediately by God’s scornful laughter (“He That Dwelleth in Heaven”), making this chorus a setup for divine judgment.
The shift from D minor in the aria to D major here is a classic Baroque dramatic device: major key does not equal “happy” — here, it’s a mocking brightness, the self-confident tone of the rebels who think they can succeed.