counterpoint that prove inextricable. A less dramatic composer than Handel would scarcely have rendered his solemn English text with such defiance, for the discrepancy between the self-accusing words and his vivacious music is patent to any listener emancipated from the lethargy of custom." The movement is based on the final section of the duet for two sopranos "Nò, di voi non vo' fidarmi" (HWV 189, July 1741). 27 All they that see Him, laugh Him to scorn The thought "All they that see Him, laugh Him to scorn" is taken from Psalm 22 (), the psalm from which Jesus quoted on the cross, according to Mark and Matthew. The text is set as a short tenor accompagnato, again based on a pattern of dotted notes in the instruments. The strings through in violent figures after "laugh Him to scorn" and "shoot out their lips", similar to an outburst of laughter. The key of B-flat minor is termed "remote and barbarous" by Hogwood. 28 He trusted in God, that He would deliver Him What they say is given to the chorus as a strict fugue in C minor: "He trusted in God, that He would deliver Him, if He delight in Him." Jonathan Keates observes that Handel depicts the mocking, menacing crowd here, comparable to the turbae in Bach's Passions. 29 Thy rebuke hath broken His heart The tenor returns to sing a verse of the Psalm 69: "Thy rebuke hath broken His heart" (). Aching chromatic chords picture the broken heart. The accompagnato begins in A-flat major, shifts without stability and ends in B major. The tenor voice, going to report death and resurrection in scene 2, is comparable to the Evangelist in the Passions of Bach. 30 Behold, and see if there be any sorrow The tenor arioso "Behold, and see if there be any sorrow" () is based on text from the Book of Lamentations which is frequently associated with Good Friday, both Jesus and his mother Mary, although it originally lamented the destruction of Jerusalem. In the short movement in E minor, the accompaniment pauses rather regularly on the first and third beat of a measure. Scene 2 Scene 2 covers death and resurrection in two tenor solo movements. 31 He was cut off out of the land of the living In a restrained way, the death of the Messiah is told in another tenor accompagnato, as