“Magnificat in D, BWV 243: 3. Quia Respexit Humilitatem; 4. Omnes Generationes” by Johann Sebastian Bach [1733] performed by Maria Stader with Karl Richter and the Munich Bach Orchestra & Choir [1979]

Lest you forget that music could be so sublime… here is the soprano aria and exhilarating chorus that follows it from Bach’s Magnificat. This older recording was paired with the same musicians performing Bach’s other most famous choral work, Cantata #140 “Wachet Auf.” The album has been re-released multiple times since the 1979 original, although it appears to be out of print at present. [Amazon]

“Psalm 134: Or sus, serviteurs du Seigneur” by Loys Bourgeois [1551] performed by Paul Elliott and Concentus

The melody Loys Bourgeois wrote in about 1551 for a hymn based on Psalm 134 remains one of the most common melodies in the Christian world. Roughly eight years after Bourgeois’ French original, Scotsman William Kethe altered the lyrics when he created an English hymn based on the same melody. Kethe paraphrased Pslam 134 and included parts of Psalm 100 in “All People That on Earth Do Dwell.” Ever since the hymn has been known to English speakers as the “Old 100th.”

Both Bourgeois and Kethe spent much of the 1550s in Geneva, the focal point of the Protestant movement for followers of John Calvin. In fact, one reason these particular hymns spread so widely is that Calvin himself incorporated them into his teachings. It also didn’t hurt that these hymns followed the Calvinist view of religion in the vernacular. For parts of Europe this marked the end of the road for Latin plainchant.

“Messiah: Hallelujah” by George Frideric Handel [1742] performed by Boston Baroque under the direction of Martin Pearlman [1992]

Regardless your opinions on Christianity or on religion in general, it has inspired some incredible music - none more powerful than Handel’s “Messiah.”

George Frideric Handel wrote the entire work, based on a liberetto of Biblical verse by his friend Charles Jennens, in only 24 days in the summer of 1741. Handel premiered the work in Dublin, Ireland, during Lent the following year. While the pace and emotion of the work rise and fall, the climax comes at the end of the second (of three) segments. The “Hallelujah” chorus is the finale of the portion representing God’s ultimate triumph over non-believers. Powerful is an understatement. Just listen!

This Boston Baroque performance is among the best recordings available and is relatively cheap compared to some other inferior versions (which run as much as $30).