Italian operas. He had started in 1713 to also compose sacred music on English texts, such as the Utrecht Te Deum and Jubilate. He set many oratorios on English libretti. In Messiah he used practically the same musical means as for those works, namely a structure based on chorus and solo singing. Only a few movements are a duet or a combination of solo and chorus. The solos are typically a combination of recitative and aria. The arias are called Air or Song, some of them have da capo form, but rarely in a strict sense, repeating a first section after a sometimes contrasting middle section. Handel finds various ways to use the format freely, in order to convey the text. The movements marked "Recitative" (Rec.) are "secco", only accompanied by the basso continuo. Recitatives marked "Accompagnato" (Acc.) are accompanied by additional string instruments. Handel uses four voice parts in both solo and chorus, soprano (S), alto (A), tenor (T) and bass (B). Only once is the chorus divided in an upper chorus and a lower chorus, it is SATB otherwise. The orchestra scoring is simple: oboes, strings and basso continuo of harpsichord, violoncello, violone and bassoon. Two trumpets and timpani highlight selected movements, such as the closing movements of Part II, Hallelujah. Handel uses a cantus firmus on long repeated notes especially to illustrate God's speech and majesty, such as "King of Kings" in the Hallelujah chorus. General notes The following table is organized by movement numbers. There are two major systems of numbering the movements of Messiah: the historic Novello edition of 1959 (which is based on earlier editions and contains 53 movements), and the Bärenreiter edition of 1965 in the Hallische Händel-Ausgabe. Not counting some short recitatives as separate movements, there are therefore 47 movements. In the table below, the Novello number (Nov) is given first and is the index for the notes to individual movements in the "movements" section, then the Bärenreiter number (Bär). To emphasise the movements in which the oboes (ob) and the rarely used trumpets (tr) and timpani (ti) play, the summary below does not mention the regular basso continuo and the strings in movements. Details on the development of keys, different tempo markings times within a movement are given in notes on the individual movements. Part III Part III movements Scene 1 Scene 1 tells in an aria and a chorus of