Air for tenor tells of God's power against enemies, again taken from Psalm 2: "Thou shalt break them with a rod of iron" (). 44 Hallelujah Part II closes with the Hallelujah chorus which became famous as a stand-alone piece, set in the key of D major with trumpets and timpani. The choir introduces Hallelujah, repeated in homophony, in a characteristic simple motif for the word, playing with the interval of a second, which re-appears throughout the piece. Several lines from the Book of Revelation (, ) are treated differently, as in a motet, but unified by "Hallelujah" as a conclusion or as a countersubject in a fugal section. The line "for the Lord God omnipotent reigneth" is sung by all voices, first in unison, then in imitation with Hallelujah-exclamations interspersed. The second line "The kingdom of this world is become" is sung in a four-part setting like a chorale. The third idea "and he shall reign for ever and ever" starts as a fugue on a theme with bold leaps, reminiscent in sequence of Philipp Nicolai's Lutheran chorale "Wachet auf". As a countersubject, the words "for ever – and ever" assume the rhythm of the Hallelujah-motif. The final acclamation "King of Kings...and Lord of Lords" is sung on one note, energized by repeated calls Hallelujah and "for ever – and ever", raised higher and higher in the sopranos and trumpets, up to a rest full of tension and a final solemn Hallelujah. References External links Georg Friedrich Händel / Messiah (1742) / A Sacred Oratorio / Words by Charles Jennens opera.stanford.edu George Frideric Handel (1685–1759) / Messiah Simon Heighes, for The Sixteen recording, 1997 Handel Messiah Lindsay Kemp, program notes for Colin Davis recording, 2006 Messiah (Handel) Christian music lists 1741 compositions