http://opera.stanford.edu/iu/libretti/saul.htm
Now a Diff'rent Measure Try - Shake the Dome - Then At Once from Rage Remove (from Solomon)
Maulbronn Chamber Choir, Maulbronner Kammerchor, Hannoversche Hofkapelle, Hanoverian Court Orchestra
George Frideric Handel
SOLOMON
(1749)
An Oratorio
Words attributed to Newburgh Hamilton
DRAMATIS PERSONAE
Solomon (alto)
Solomons's Queen (soprano)
Nicaule, Queen of Sheba (soprano)
First Harlot (soprano)
Second Harlot (mezzo-soprano)
Zadok, the High Priest (tenor)
A Levite (bass)
Attendant (tenor)
Chorus of Priests
Chorus of Israelites
Act 3
46. Solo and Chorus Solomon Israelites
Now a diff'rent measure try,
Shake the dome, and pierce the sky.
Rouse us next to martial deeds;
Clanking arms, and neighing steeds,
Seem in fury to oppose —
Now the hard-fought battle glows.
47. Recitative Solomon
Then at once from rage remove;
Draw the tear from hopeless love;
Lengthen out the solemn air,
Full of death and wild despair.

http://opera.stanford.edu/iu/libretti/judas.htm
Sion Now Her Head Shall Raise - Tune Your Harps (from Judas Maccabaeus)
Juergen Budday, Jurgen Budday, Maulbronn Chamber Choir, Maulbronner Kammerchor, Musica Florea Prague, Catherine King & Sinead Pratschke
George Frideric Handel
JUDAS MACCABAEUS
(1747)
A Sacred Drama
Words by Thomas Morell
DRAMATIS PERSONAE
Judas Maccabaeus (tenor)
Simon, his Brother (bass)
Israelitish Woman (soprano)
Israelitish Man (mezzo-soprano)
Eupolemus, the Jewish Ambassador to Rome (alto)
First Messenger (alto)
Second Messenger (bass)
Chorus of Israelites
Chorus of Youths
Chorus of Virgins
Act 2
31.Duet Israelitish Woman and Man
Sion now her head shall raise,
Tune your harps to songs of praise.
32. Chorus Israelites
Sion now her head shall raise,
Tune your harps to songs of praise.

http://opera.stanford.edu/iu/libretti/saul.htm
Already See, the Daughters of the Land - Welcome Mighty King (from Saul)
Juergen Budday, Jurgen Budday, Maulbronn Chamber Choir, Maulbronner Kammerchor, Hannoversche Hofkapelle, Hanoverian Court Orchestra & Nancy Argenta
SAUL
(1739)
An Oratorio; or Sacred Drama
Words by Charles Jennens
DRAMATIS PERSONAE
Saul (bass)
Merab (soprano)
Michal (soprano)
Jonathan (tenor)
David (alto)
Samuel (bass)
High Priest (tenor)
Witch of Endor (tenor)
Abner (tenor)
Amalekite (tenor)
Doeg (bass)
Chorus of Israelites
Chorus
Act 1 
21. Recitative Michal
Already see the daughters of the land,
In joyful dance, with instruments of music,
Come to congratulate your victory.
Scene 3 Saul, Michal, Chorus.
22. Chorus of Israelites
Welcome, welcome, mighty king!
Welcome all who conquest bring!
Welcome David, warlike boy,
Author of our present joy!
Saul, who hast thy thousands slain,
Welcome to thy friends again!
David his ten thousands slew,
Ten thousand praises are his due!

http://en.wikipedia.org/wiki/Es_ist_ein_Ros_entsprungen
Es ist ein Ros entsprungen, most commonly translated to English as Lo, How a Rose E'er Blooming or A Spotless Rose, is a Christmas carol and Marian Hymn of German origin. The text is thought to be penned by an anonymous author, and the piece first appeared in print in the late-16th century. The hymn has been used by both Catholics and Protestants, with the focus of the song being Mary or Jesus, respectively.^[1] In addition, there have been numerous versions of the hymn, with varying texts and lengths.
The tune most familiar today appears in the Speyer Hymnal (printed in Cologne in 1599), and the familiar harmonization was written by German composer Michael Praetorius in 1609.^[1] The tune was used by Johannes Brahms as the basis for a chorale fantasy for organ, later transcribed for orchestra by Erich Leinsdorf, and by Hugo Distler as the basis for his 1933 oratorio Weihnachtsgeschichte ("Christmas story").
The English translation "Lo, How a Rose E'er Blooming" was written by Theodore Baker in 1894.^[2] 
Another Christmas hymn, "A Great and Mighty Wonder," is set to the same tune as this carol and may sometimes be confused with it. It is, however, a hymn by St. Germanus, 734 (Μέγα χαί παράδοξον θαυμα), translated from Greek to English by John M. Neale, 1862.
http://www.cyberhymnal.org/htm/g/r/greatami.htm

http://en.wikipedia.org/wiki/John_Forbes_Nash,_Jr.
http://www.youtube.com/watch?v=vrAc5CVw2zQ&feature=related
Although he took prescribed medication, Nash wrote later that he only took it under pressure. After 1970 he was never committed to the hospital again and refused any medication. According to Nash, the film A Beautiful Mind inaccurately showed him taking new atypical antipsychotics during this period. He attributed the depiction to the screenwriter (whose mother, he notes, was a psychiatrist), who was worried about encouraging people with the disorder to stop taking their medication.^[12] Others^[who?], however, have questioned whether the fabrication obscured a key question as to whether recovery from problems like Nash's can actually be hindered by such drugs,^[13] and Nash has said they are overrated and that the adverse effects are not given enough consideration once someone is considered mentally ill.^[14][15][16] According to Sylvia Nasar, author of the book A Beautiful Mind, on which the movie was based, Nash recovered gradually with the passage of time. Encouraged by his then former wife, de Lardé, Nash worked in a communitarian setting where his eccentricities were accepted. De Lardé said of Nash, "it's just a question of living a quiet life".^[17]
Nash dates the start of what he terms "mental disturbances" to the early months of 1959 when his wife was pregnant. He has described a process of change "from scientific rationality of thinking into the delusional thinking characteristic of persons who are psychiatrically diagnosed as 'schizophrenic' or 'paranoid schizophrenic'"^[18] including seeing himself as a messenger or having a special function in some way, and with supporters and opponents and hidden schemers, and a feeling of being persecuted, and looking for signs representing divine revelation.^[19] Nash has suggested his delusional thinking was related to his unhappiness, and his striving to feel important and be recognized, and to his characteristic way of thinking such that "I wouldn't have had good scientific ideas if I had thought more normally." He has said, "If I felt completely pressureless I don't think I would have gone in this pattern".^[20] He does not see a categorical distinction between terms such as schizophrenia and bipolar disorder.^[21] Nash reports that he did not hear voices until around 1964, later engaging in a process of rejecting them.^[22] Nash reports that he was always taken to hospitals against his will, and only temporarily renounced his "dream-like delusional hypotheses" after being in a hospital long enough to decide to superficially conform, behave normally or experience "enforced rationality". Only gradually on his own did he "intellectually reject" some of the "delusionally influenced" and "politically-oriented" thinking as a waste of effort. However, by 1995, he felt that although he was "thinking rationally again in the style that is characteristic of scientists," he felt more limited.^[18][23]