soprano delivers in simple recitative the message "Fear not". The upward fourth, followed by a rest, stresses the phrases "for behold", "good tidings", "for unto you" and ultimately "which is Christ". 16 And suddenly there was with the angel With "And suddenly there was with the angel", the soprano continues to tell of the arrival of "a multitude of the heav'nly host". Singing more fourths and rests on "And suddenly" and "praising God", the music is supported by an even more vibrant accompaniment of the violins. 17 Glory to God Handel waited until the angels' song "Glory to God" to introduce the trumpets. He marked them as "da lontano e un poco piano" (from afar and somewhat quietly) and originally planned to place them offstage (in disparate), to create the effect of distance. In this initial appearance the trumpets appear without the regular timpani. Handel's setting of the famous words is strikingly simple and effective: "Glory to God, glory to God in the highest" is sung by the high voices (soprano, alto and tenor), whereas "and peace on earth" is given to the low voices of tenor and bass in unison, with the bass dropping an octave for "on earth". In great contrast, "goodwill towards men" is sung in a fast sequence of entries in imitation, with the word "goodwill" on another upward fourth. The sequence is repeated, but this time all four voices sing "glory" and "peace", the first in a high register, then low again with the bass dropping an octave. After the song the angels disappear, diminuendo, gradually thinned out in instrumentation, with more and more rests, and always rising. Scene 5 Scene 5 summarizes the deeds of the Messiah on earth and the response of man. The text is compiled from Zechariah (who saw God's providential dealings), Isaiah's oracle of salvation for Israel, and his vision of the Shepherd (seen fulfilled by the Evangelist Matthew). 18 Rejoice greatly, O daughter of Zion "Rejoice greatly, O daughter of Zion" () is usually performed as a virtuoso coloratura aria of the soprano which might express any kind of great joy—as seen in an opera—although the original version is an utterly charming Baroque dance in 12/8 time. An upward fourth followed by a rest accents "Rejoice", and further repeats of the word are rendered as seemingly endless coloraturas. "Behold, thy King cometh unto thee" is given in dotted rhythm