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+The Project Gutenberg EBook of The History of Mendelssohn's Oratorio
+"Elijah", by Frederick George Edwards
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The History of Mendelssohn's Oratorio "Elijah"
+
+Author: Frederick George Edwards
+
+Contributor: Sir George Grove
+
+Release Date: December 5, 2011 [EBook #38223]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HISTORY OF MENDELSSOHN'S ELIJAH ***
+
+
+
+
+Produced by Linda Cantoni, Bryan Ness, and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+
+
+
+[Transcriber's Note: The original text contains a few musical slur
+symbols appearing over words. In this e-book, these slurs are noted in
+brackets, e.g., [slur symbol], and follow the word over which the slur
+appears.
+
+The HTML version of this e-book contains links to sound files allowing
+you to hear the music examples.]
+
+
+
+
+THE HISTORY
+
+OF
+
+MENDELSSOHN'S ORATORIO
+
+'ELIJAH'
+
+
+BY
+
+F.G. EDWARDS.
+
+
+WITH AN INTRODUCTION BY
+
+SIR GEORGE GROVE, C.B.
+
+
+  LONDON: NOVELLO AND COMPANY, LIMITED
+  AND
+  NOVELLO, EWER AND CO., NEW YORK.
+
+  1896.
+
+  LONDON:
+  NOVELLO AND COMPANY, LIMITED,
+  PRINTERS.
+
+
+[Illustration: FELIX MENDELSSOHN-BARTHOLDY
+
+AT THE AGE OF 26.
+
+_From a Pencil Drawing by Mücke, in the possession of Mrs. Victor
+Benecke._]
+
+
+
+
+INTRODUCTION.
+
+
+I have been asked to say a few words as introduction to this volume,
+and I do so with pleasure.
+
+To the mass of music-loving people of this country, however, I believe
+that Mendelssohn requires no introduction. It has been the fashion in
+some quarters to speak of him slightingly, nay injuriously; but this
+will pass, and he needs no defence--certainly not when "Elijah" is in
+question. In England the oratorio has taken its place, if not on a
+level with "The Messiah," very near it; and what more does any work of
+musical art require? Fortunately every additional fact that is
+elicited about this great composer testifies all the more to his
+insight, to the depth and warmth of his feelings, and to the
+indefatigable earnestness with which he worked until he had realised
+the entire meaning of his text and expressed it in music to the utmost
+of his power and with all the dramatic force that it was capable of.
+The letters now given--many of them for the first time--abound in
+instances of this.
+
+The information which my friend Mr. Edwards has so carefully collected
+and so clearly stated, the new portrait which is due to the kindness
+of Mrs. Victor Benecke, and the _fac-simile_, will be very welcome;
+and the book is in my opinion a gain to musical literature, while it
+forms the fittest symbol to mark the anniversary of the production of
+the greatest oratorio of this century.
+
+GEORGE GROVE.
+
+  LOWER SYDENHAM,
+    _January_ 27, 1896.
+
+
+
+
+PREFACE.
+
+
+It is fifty years since Mendelssohn's "Elijah" was first performed.
+The place was Birmingham: the date August 26, 1846. The Jubilee of
+this event provides a fitting opportunity for presenting a history of
+Mendelssohn's familiar oratorio.
+
+In compiling the following pages, I have been favoured in having had
+access to much original matter on the subject of "Elijah." Especially
+is this the case in regard to the numerous letters from Mendelssohn
+and his correspondents which are here made public for the first time.
+These letters are not only unique in the information they convey, but
+they form the most interesting links in the chain of this "History."
+For the rest, I have carefully kept in view the duty of the historian,
+which is--I take it--that he should tell his story in as accurate,
+straightforward, and pleasant a manner as he can.
+
+I have to acknowledge the kind help of those who have so greatly
+facilitated my work. In addition to those specially mentioned in the
+course of the book, I tender my best thanks to Mrs. Carson
+(granddaughter of the late Mr. Edward Buxton, the former proprietor of
+the business of Messrs. Ewer & Co.); Dr. Carl and Dr. Felix
+Klingemann; Felix Moscheles, Esq.; William Moore, Esq.; and
+especially to Professor Dr. Julius Schubring of Lübeck, for their
+kindness in allowing me to publish the correspondence which passed
+between Mendelssohn and their respective relatives. Except where it is
+otherwise stated, the letters are translated from the German
+originals.
+
+Also to Messrs. Longmans, Green & Co., for extracts from
+"Mendelssohn's Letters from 1833 to 1847"; to my friends, Mr. Andrew
+Deakin, of Birmingham, and Mr. J.S. Shedlock, for their kind
+assistance; and in a special degree to Mrs. Victor Benecke
+(Mendelssohn's elder daughter), who has very kindly helped me to
+obtain permission to publish several letters relating to "Elijah"
+which have hitherto been unknown. Mrs. Benecke has also allowed the
+portrait of her father, which forms the frontispiece to this book, to
+be published. It was taken in 1835, and is here reproduced for the
+first time.
+
+My thanks are specially due to Miss Mounsey (formerly Miss Elizabeth
+Mounsey), without whose invaluable co-operation it would have been
+impossible for me to write this "History" with any approach to
+completeness. Miss Mounsey enabled me to acquire, three years ago, the
+originals of fourteen letters on the subject of the English
+translation of "Elijah," written by Mendelssohn to her brother-in-law,
+the late Mr. William Bartholomew. She subsequently placed in my
+possession a collection of MS. copies, parts, &c., of the oratorio,
+which were made for the production of the work at Birmingham, in 1846.
+These sheets, with the exception of some engraved chorus parts, are
+all in Mr. Bartholomew's handwriting, but they also contain several
+alterations written by Mendelssohn himself. Some of them possess
+additional interest from the fact that they are the actual copies from
+which the soloists sang at the first performance. Not only am I
+greatly indebted to my good friend Miss Mounsey for these manuscripts
+and a copy of the original word-book of 1846, but also for her
+encouragement and the kindly interest she has taken in this "History,"
+from the time I first mentioned it to her to that of its completion.
+
+My last word is one of gratitude to Sir George Grove for his kindness
+in contributing an Introduction.
+
+F.G.E.
+
+  HAMPSTEAD,
+    _February_, 1896.
+
+
+
+
+CONTENTS.
+
+
+                                                                  PAGE
+
+  CHAPTER I.
+
+  THE LIBRETTO                                                       1
+
+
+  CHAPTER II.
+
+  BIRMINGHAM                                                        28
+
+
+  CHAPTER III.
+
+  THE ENGLISH TRANSLATION                                           48
+
+
+  CHAPTER IV.
+
+  THE FIRST PERFORMANCE                                             76
+
+
+  CHAPTER V.
+
+  THE REVISED ORATORIO                                              97
+
+
+  INDEX                                                            135
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+                                                                  PAGE
+
+  PORTRAIT OF MENDELSSOHN                              _Frontispiece._
+
+  PORTRAIT OF MR. JOSEPH MOORE                                      30
+
+  PORTRAIT OF MR. WM. BARTHOLOMEW                                   48
+
+  PORTRAIT OF MADAME CARADORI-ALLAN                                 88
+
+  PORTRAIT OF HERR JOSEPH STAUDIGL                                  96
+
+  FAC-SIMILE OF MENDELSSOHN'S METRONOMIC TIMES FOR "ELIJAH"        125
+
+  FAC-SIMILE OF A LETTER FROM MENDELSSOHN TO WM. BARTHOLOMEW       142
+
+
+
+
+THE HISTORY OF MENDELSSOHN'S "ELIJAH."
+
+
+
+
+CHAPTER I.
+
+THE LIBRETTO.
+
+
+Mendelssohn had no sooner completed his first oratorio, "St. Paul,"
+than he began to think about setting another Bible story to music.
+"St. Paul" was produced at the Lower Rhine Musical Festival,
+Düsseldorf, May 22, 1836, under the composer's personal direction.
+Mendelssohn was then twenty-seven years of age. He spent six weeks in
+the summer of that year at Frankfort-on-the-Maine, as _locum tenens_
+for his friend Schelble, the founder of a Choral Society, famous then
+and now, under the name of the Cäcilien-Verein.
+
+During his temporary residence in the old Hanseatic city, Mendelssohn
+met Mdlle. Cécile Jeanrenaud, to whom he was betrothed in September.
+He spent the month of August at Scheveningen for the benefit of the
+sea-bathing there, and also, as we learn from the "Recollections" of
+his friend Devrient, to test the strength of his affection for the
+beautiful Cécile. Although his thoughts naturally and constantly
+turned towards Frankfort, he did not neglect his beloved art. He wrote
+the following letter, hitherto unpublished, to his old and attached
+friend, Carl Klingemann, in London.[1]
+
+[Footnote 1: Carl Klingemann (1798-1862) was for upwards of thirty
+years resident in London as Secretary to the Hanoverian Legation. "He
+was," says Sir George Grove, "a man of great cultivation, considerable
+literary power, and very rare judgment in music." He wrote the
+libretto of Mendelssohn's operetta known as "Son and Stranger"; and
+nine of Mendelssohn's songs are set to words by Klingemann.]
+
+     [MENDELSSOHN TO KLINGEMANN.]
+
+     "THE HAGUE, _August_ 12, 1836.
+
+     "... A thousand thanks for all your care, and for the
+     interest you take in the whole affair.[2] It is no doubt
+     important for me that the performance and all the
+     arrangements should be as perfect as possible; therefore,
+     let me thank you for it all once more.
+
+     "But I wish you knew what a far greater favour you would
+     confer upon me if, instead of doing so much for my old
+     oratorio, you would write me a new one; and, by so doing,
+     would stir me up to fresh activity, instead of my having to
+     do this myself. When I have finished a composition, that
+     which really gives me pleasure in it is the progress I see
+     in the work, and the hope that it may lead me to attain to
+     greater excellence in the next. Therefore, I long to be rid
+     of all care of the finished work; and I feel as if I could
+     only really thank you, from my heart, if you showed me that
+     you like this oratorio sufficiently to help me to find a new
+     'text,' and thus encourage me to write another oratorio. If
+     you would only give all the care and thought you now bestow
+     upon 'St. Paul' to an 'Elijah,' or a 'St. Peter,' or even an
+     'Og of Bashan!'
+
+     "It may seem ungrateful that I write to you just now in this
+     strain, and in a letter which should be all thanks; but it
+     is as I feel at present, and we are far too intimate with
+     each other for me to attempt to hide from you my present
+     mood. You know, don't you, that I am not ungrateful? But I
+     have felt very strongly of late that I need and long for an
+     external impulse to urge me on; no recognition of work done
+     can come up to that; it gives me great pleasure, but it has
+     not the stimulating effect upon me which a suggestion for
+     new work would have."
+
+[Footnote 2: The proposed performance of "St. Paul" at the Liverpool
+Musical Festival, where it was given for the first time in England,
+under the direction of Sir George Smart, October 7, 1836.]
+
+This letter, which discloses an article of Mendelssohn's artistic
+creed, is important, because it contains the earliest known reference
+to the oratorio of "Elijah." The date should be carefully noted, as it
+shows that Mendelssohn was engaged, more or less, upon his great
+oratorio for a period of more than ten years before it was given to
+the world in its finished and published form.
+
+Klingemann does not seem to have been taken with his friend's proposal
+that he should compile an oratorio libretto, even upon so original a
+subject for musical treatment as "Og of Bashan." The following letter,
+written a few weeks before the composer's marriage, contains a request
+for the "text" of an oratorio as a wedding present--surely a novelty
+in the way of a nuptial gift.
+
+     [MENDELSSOHN TO KLINGEMANN.]
+
+     "LEIPZIG, _February_ 18, 1837.
+
+     "... Here comes my request. Do write for me within the next
+     few weeks the text for a Biblical oratorio, so that I can
+     set to and compose it during next summer. The last time we
+     talked about it I mentioned to you two subjects which I like
+     equally well--'St. Peter' or 'Elijah.' What I would like
+     best would be for you to take 'Elijah'--divide the story
+     into two or three parts, write it out in choruses and airs,
+     either in verse or prose of your own; or, compile it from
+     the Psalms and Prophets, with powerful big choruses, and
+     then send it to me. The translation of Handel's oratorios
+     gave you so little trouble that I think you will only
+     require a few evenings, and the will to give them up to it,
+     and my 'text' will be written. You may let it be dramatic
+     like 'Judas Maccabæus,' or epic, or both combined. I am
+     satisfied with anything you do. You need not ask my advice,
+     but just write out what you think best. Then I can compose
+     it at once.
+
+     "If you do not care for either of these two subjects, then I
+     am willing to take any other--for instance, 'Saul.' But
+     somehow I think 'Elijah,' and his going up to heaven in the
+     end, would be a most beautiful subject. And if you think of
+     using Bible words, read up Isaiah lx. and lxiii., to the end
+     of the Prophet, and also chapter xl., and Lamentations, and
+     all the Psalms. When you have done this you will easily find
+     the right language. Just think what sort of an oratorio I
+     ought to be able to write at this moment, and such an one
+     send me. It ought to be your wedding present to me; it would
+     be the gift I would value most. Do not refuse my request. Of
+     course, if you are too busy, do not be vexed with me for
+     asking this of you; but do write to me, anyhow, very soon."
+
+Mendelssohn was married at Frankfort, on March 28, 1837. Klingemann
+evidently did not send a wedding present in the form of an oratorio
+"text" in time for the ceremony, since Mendelssohn, while on his
+honeymoon, wrote the following letter to his London friend:--
+
+     [MENDELSSOHN TO KLINGEMANN.]
+
+     FREIBURG, _April_ 30, 1837.
+
+     "... Will you soon be able to fulfil your promise about
+     'Elijah'? Forgive my pressing you thus for an answer. It is
+     not my fault; it is the fault of circumstances. It seems to
+     me more and more a mistake to imagine that anyone can make a
+     lasting impression by _one_ single work--it ought to be done
+     steadily, uninterruptedly, by progressive writings. Out of
+     these the best will eventually stand forth, if all are
+     conceived in an earnest spirit. Therefore, I want to write
+     some more sacred music soon, especially as I see no chance
+     of being able to compose an opera. Perhaps this is as well,
+     for it seems to me as if all the German theatres were at the
+     present moment in such bad condition, that one cannot reckon
+     on a good performance anywhere, and therefore there may yet
+     be a few years' time before me, and I may do it all the
+     better then; for that I must write operas is an idea I
+     cannot give up. The choral societies, on the other hand, are
+     just now good, and long for new music; and I should like to
+     give them something that would please me better than my 'St.
+     Paul' does. Do help me to this, and send me a new oratorio
+     'text.'"
+
+In the autumn of his marriage year, Mendelssohn paid his fifth visit
+to England, in fulfilment of an engagement to conduct his 'St. Paul'
+at the Birmingham Musical Festival of 1837, at which he also played
+the pianoforte and organ. He stayed (in London) at Klingemann's, 4,
+Hobart Place, Eaton Square. The house, which still stands, is opposite
+St. Peter's Church. During this visit Mendelssohn spent two whole
+mornings with his host on the "plan" of an oratorio of "Elijah." This
+"plan," or "sketch," was left with Klingemann for him to develop and
+to put "into verse." A few months afterwards he received the following
+letter:--
+
+     [MENDELSSOHN TO KLINGEMANN.]
+
+     LEIPZIG, _January_ 9, 1838.
+
+     "... Over all this chatting I am forgetting a very important
+     affair. I received last week by post a parcel (which cost me
+     nearly 10s. for postage), containing an English 'text' for
+     an oratorio of 'Elijah,' which was sent to me by a Mr.
+     Charles Greville (18, Vineyards, Bath, Somersetshire), in
+     the name of the poet, with a strange letter. Do you know
+     this gentleman, or the name of the poet, J. Barry, a
+     clergyman? I have never heard of them.... I should like to
+     know how they fixed on 'Elijah,' and on this way of treating
+     the subject, which certainly resembles our 'sketch' very
+     closely.... They have already dedicated their 'Elijah' to
+     the Duchess of Kent, and no doubt will make much ado about
+     it; and if I do not compose it, Neukomm, or some one else
+     may do so. Therefore--you see what is coming--I beg you for
+     two things: 1st, make our 'sketch' into verse and send it to
+     me at once (you may take Bible words to help you, or
+     whatever you like), so that I may compose it forthwith; and
+     secondly, send me, in any case (even if you will not comply
+     with No. 1), our 'plan' or 'sketch,' as we made it when last
+     we met (with all remarks) _copied_, and write to me at the
+     same time."
+
+The Rev. Mr. Barry's libretto of "Elijah," above referred to, was not
+published till 1869. A copy of the little book, now "out of print," is
+before me. Its title is:--
+
+     "ELIJAH, or the Baalim in Israel: a Metrical Libretto, in
+     four parts, dedicated in the year 1838, by express
+     permission, to Her late Royal Highness the Duchess of Kent.
+     By the late Rev. James Barry, M.A., curate of Bratton
+     Clovelly, Devonshire. Oxford and London: James Parker & Co.,
+     1869."
+
+The Preface, signed "E.S.B.B.," states:--
+
+     "The following production, illustrating the chief incidents
+     of Ahab's reign, was submitted in the year 1837 to Felix
+     Mendelssohn-Bartholdy, as a theme for one or more sacred
+     oratorios. His famous 'Elijah,' which since then has taken
+     its place among the masterpieces of Handel, Haydn, and
+     Beethoven, had not been given to the world; but on returning
+     this manuscript to its Author, Mendelssohn announced his
+     engagement on the same great subject, adding, that although
+     this work possessed both literary and poetical merit, it was
+     in his opinion too long for an Oratorio, but might well be
+     published as a Metrical Libretto. But for this
+     disappointment, a public having little leisure for songs
+     without music, might yet, in the pauses of their enthusiasm,
+     after hearing the 'Elijah,' have let fall some crumbs of
+     approbation on a poem in which the immortal part of
+     Mendelssohn had found a channel for his farewell
+     inspirations.
+
+     "... The manuscript was laid aside for nearly twelve years,
+     when, in January, 1849, he [the author] again took it up,
+     resolving to publish it in the form suggested by
+     Mendelssohn; but his death intervened to prevent it, and
+     again it was laid aside.... More than thirty years have thus
+     elapsed since this Libretto underwent the favourable
+     criticism of Mendelssohn ... and after much consideration,
+     the Author's children have at length ventured to offer to
+     the public, 'Elijah,' or the Baalim in Israel...."[3]
+
+[Footnote 3: The Rev. James Barry, M.A., who seems to have been curate
+at Bratton Clovelly for only a few months, died in April, 1849, aged
+forty-two, at the Parsonage there, and was buried in the centre of the
+chancel of the church. I am indebted to the Rev. Edward Seymour, M.A.,
+the present rector of Bratton Clovelly, for this information.
+Strangely enough, Mr. Barry's libretto begins with the familiar
+Recitative: "As the Lord God of Israel liveth, before whom I stand,
+there shall not be dew nor rain these years, but according to my
+word."]
+
+The receipt of Mr. Barry's libretto put Mendelssohn on his mettle, and
+he became very anxious as to the fate of _his_ projected oratorio (of
+"Elijah"). Klingemann, however, does not seem to have considered the
+matter as being of such paramount importance. His reply to
+Mendelssohn's letter of January 9 could not have been very reassuring
+to the composer, if we may judge from the following letter:--
+
+     [MENDELSSOHN TO KLINGEMANN.]
+
+     "LEIPZIG, _February_ 9, 1838.
+
+     "You say in your letter that ... you are now intending to
+     become poetical (as you express it), but you need to live to
+     be a hundred years old for it. If I now therefore ask you,
+     _when_ you can send me a worked-out copy of our 'plan,' do
+     not see in the question an _overbearing reminder_. I am just
+     now in such good working trim, and I must work for the next
+     few years with a will and get on. I have responsibilities
+     now, and also a great longing for work, and I think I could
+     write an oratorio within a year. My new Psalm,[4] which we
+     tried for the first time the day before yesterday, and which
+     pleases me more than any other church music of mine, proves
+     to me that I am right; for I wrote five new numbers for it
+     quite lately, which makes it sound now as I wanted it to
+     sound. The opera libretto--if I get it--will not be ready
+     before the middle of the summer. I should like to have a new
+     oratorio for the Düsseldorf Festival in 1839 ... therefore,
+     for all these reasons, I must ask you: _when_ could you send
+     it (the 'sketch') to me? And if other occupations, or
+     annoyance at my repeated requests, or any other reason,
+     prevent you from complying with my wish, do please send me,
+     by _return of post_, a copy of our 'sketch' of the oratorio,
+     and tell me whether I am to leave you in peace about the
+     matter, so that I know where I am. Only I must set to work
+     soon; that you will understand."
+
+[Footnote 4: Probably "As the hart pants."]
+
+After one or two more letters had passed between Mendelssohn and
+Klingemann, the latter returned to the composer the "sketch" they had
+made together in London in the autumn of 1837, and henceforth
+"Elijah," except in a casual way, drops out of their correspondence.
+
+Mendelssohn then sought the aid of his intimate friend and the
+companion of his boyhood, the Rev. Julius Schubring, D.D., Rector of
+St. George's Church, Dessau--the same friend who has recorded some
+delightful reminiscences of the composer in his youthful days,[5] and
+who rendered him valuable service in the preparation of the "book" of
+"St. Paul." The interesting correspondence between Mendelssohn and
+Schubring on the subject of oratorio libretti has been published (in
+German), edited by Professor Dr. Julius Schubring, the son of
+Mendelssohn's clerical friend.[6]
+
+[Footnote 5: "Daheim" (Leipzig) for 1866, No. 26. English translation
+in _Musical World_, May 12 and 19, 1866.]
+
+[Footnote 6: The full title of the book is: "Briefwechsel zwischen
+Felix Mendelssohn Bartholdy und Julius Schubring, zugleich ein Beitrag
+zur Geschichte und Theorie des Oratoriums. Herausgegeben von Prof. Dr.
+Jul. Schubring, Direktor des Katharineums zu Lübeck. Leipzig: Verlag
+von Duncker und Humblot. 1892."]
+
+Mendelssohn, having at last received the "sketch" from Klingemann,
+showed it to his friend Schubring, who was staying with the composer
+at Leipzig. The following letter gives Schubring's views on the said
+"sketch":--
+
+     [SCHUBRING TO MENDELSSOHN.]
+
+     "DESSAU, _October_ 28, 1838.[7]
+
+     "At last I must make a start. I wanted to write to you the
+     first week after my visit, but when I thought of what you
+     had entrusted to me, and to which I had done nothing, I felt
+     ashamed; therefore the manuscript[8] became somewhat odious
+     to me. I took it up three or four times, but either some of
+     the sheets--large and small--had got mixed, or I could not
+     make out the abbreviations; and then again I was often
+     interrupted by other work. I was afraid I should have to
+     send it back to you untouched. But yesterday the light
+     suddenly dawned upon me and I understood everything at
+     once--the whole and also the details. I see at the same time
+     that there is still much to be done, and therefore I write
+     at once to-day to ask if you can let me keep the MS. a
+     little longer."
+
+     [The letter then goes on to make suggestions for the "text,"
+     which it is not necessary to reproduce here.]
+
+[Footnote 7: "Briefwechsel," p. 124.]
+
+[Footnote 8: This refers to Klingemann's "sketch" for "Elijah,"
+London, September, 1837.]
+
+To the above communication Mendelssohn replied in a letter which has
+hitherto been quoted as being the _earliest_ mention of "Elijah" in
+the Mendelssohn correspondence.
+
+     [MENDELSSOHN TO SCHUBRING.]
+
+     "LEIPZIG, _November_ 2, 1838.[9]
+
+     "Dear Schubring,--Many, many thanks for your letter, which I
+     received the day before yesterday, and for the parcel, which
+     came to-day. You again render me an essential service, and I
+     feel most grateful to you. How can you ask whether I wish
+     you to proceed in the same way? When all is so well put
+     together, I have almost nothing to do but to write music for
+     the words. I ought to have previously told you that the
+     sheets you took away with you are by no means to be regarded
+     as containing a mature design, but as a mere combination of
+     the materials I had before me for the purpose of eventually
+     forming a plan. So the omission of the passage of the widow,
+     and also of the raven, is decidedly most advisable; and also
+     the abridgment of the whole commencement, in order that the
+     main points may be dwelt upon to one's heart's content. I
+     would urgently entreat you to proceed with your work, so far
+     as your time and leisure will permit, and soon to send me
+     the continuation of the first part, which ought now to be
+     considerable, from where you left off. Rest assured that, as
+     I already told you, you will earn my most sincere gratitude.
+
+     "You say that at first you could not make anything of the
+     subject, but that a sudden light dawned upon you. I figured
+     to myself Elijah as a thorough prophet, such as we might
+     again require in our own day--energetic and zealous, but
+     also stern, wrathful, and gloomy; a striking contrast to the
+     court rabble and popular rabble--in fact, in opposition to
+     the whole world, and yet borne on angels' wings. Is this the
+     inference you also draw from the subject, and is this the
+     sense in which you conceived an affection for it? I am most
+     anxious to do full justice to the _dramatic_ element, and,
+     as you say, no epic narrative must be introduced. I am glad
+     to learn that you are searching out the always
+     heart-affecting sense of the Scriptural words; but if I
+     might make one observation, it is that I would fain see the
+     dramatic element more prominent, as well as more exuberant
+     and defined--appeal and rejoinder, question and answer,
+     sudden interruptions, etc., etc. Not that it disturbs me
+     that Elijah, for example, first speaks of assembling the
+     people, then forthwith addresses them--such liberties are
+     the natural privileges of a composition such as an oratorio;
+     but I should like to have the representation itself as
+     spirited as possible; for instance, it annoys me that Elijah
+     does not reply to Ahab's words, No. 16, till No. 18, various
+     other speeches and a chorus intervening. I should like to
+     have had an instant and eager rejoinder, etc., etc.
+
+     "But we are no doubt likely to agree about this; and I would
+     only entreat you, when you resume your work, to think of
+     this wish of mine. Above all, accept my thanks for your
+     kindness, and write to me soon on the same subject.--Ever
+     yours,
+
+     "FELIX M.-B."
+
+[Footnote 9: "Briefwechsel," p. 134.]
+
+Schubring sent to Mendelssohn another "plan," for Part I., dated
+"Reformationsfest [October 31], 1838," accompanying it with the
+following (selected) observations[10]:--
+
+[Footnote 10: "Briefwechsel," p. 129.]
+
+     [SCHUBRING TO MENDELSSOHN.]
+
+     "I have sought throughout--although it is not always
+     possible--to introduce pieces, not merely suitable to the
+     particular situation in question, but such as might awaken
+     an echo in the hearts of the hearers--as, for instance, this
+     aria ['If with all your hearts']. I have noticed that in
+     your 'St. Paul,' for example, such numbers have excited the
+     most interest.... In oratorios it does no harm if you
+     exaggerate the dramatic effect: on the contrary, it seems to
+     me necessary.... I think it will often occur to you, as it
+     does to me, to marvel at the manifold things which can be
+     found in the Bible."
+
+In the letter[11] ("Dessau, November 1, 1838") which accompanied the
+new "plan," Schubring remarks:--
+
+[Footnote 11: _Ibid._, p. 137.]
+
+     "... I fear the first part will be too rich, or rather the
+     second part too poor. I confess I have some misgivings about
+     the second. As it now stands it is far from pleasing me. If
+     not unreasonable, I would propose to bring in the rain scene
+     at the beginning of the second part, and something could
+     certainly be found to replace it in the first part.
+
+     "What I feared and wrote to you about, has really come to
+     pass; and the thing is becoming too objective--an
+     interesting, even thrilling picture, but far from edifying
+     the heart of the listener. All the curses, the scenes of the
+     sacrifice and the rain, Jezebel, etc., in all this there is
+     nothing which now-a-days would come from the heart, and
+     therefore nothing which would go to the heart. Pieces in
+     your 'St. Paul,' like the aria in B minor ['Consume them
+     all'], or choruses, 'Ihr Männer von Israel helfet' [No. 38,
+     in the English edition], etc., are certainly fine and
+     characteristic; but they are interesting rather than
+     edifying. You will probably never hear people singing that
+     aria at the pianoforte for their pleasure; but the second
+     and third arias in 'St. Paul,' or that for tenor towards the
+     close ['Be thou faithful unto death'], they are for
+     everybody. There are many more passages in 'St. Paul' of
+     general interest than there are in this 'text' in its
+     present form. Therefore you must carefully consider whether
+     this time you prefer to turn away from Church music (_i.e._,
+     music which refreshes, consoles) and create a tone-picture
+     after the manner of the 'Blocksberg-Cantata.'[12] If not, we
+     must diligently set to work to keep down the dramatic, and
+     raise the sacred element, and always aim at this. Perhaps it
+     will suffice to lead back from the second part to the effect
+     of the rain scene in the first. I expect that will be very
+     fine. It can only be surpassed by bringing out prominently
+     Elijah's meaning (signification) for the New Covenant, as
+     the forerunner of the Messiah, pointing towards His coming,
+     and such like.
+
+     "All this lies in the future, and at present I am waiting
+     until you have written to me about the first part.
+     Therefore, let me conclude for the present--not my thoughts
+     of you, but my letter, and soon gladden me again with
+     something--not to do--but to enjoy. Good-bye. N.B.--The
+     _third_ letter to you this week!"
+
+[Footnote 12: Mendelssohn's setting of Goethe's "Walpurgis Night."]
+
+Schubring sent to Mendelssohn a draft sketch for Part II. on November
+17, 1838,[13] saying:--
+
+[Footnote 13: "Briefwechsel," p. 140.]
+
+     "Before I set to work I should like to know your idea of the
+     matter. For the rest, I am more and more convinced that you
+     will have to supply the principal part of the text yourself.
+     How is one to know what is running through your mind on this
+     or that occasion? Therefore the words are only set down as
+     hints, suggesting what might be written."
+
+Mendelssohn replied to Schubring in words which show that there was
+some difference of opinion between them as to the "plan" of the
+oratorio. Here is the composer's letter:--
+
+     [MENDELSSOHN TO SCHUBRING.]
+
+     "LEIPZIG, _December_ 6, 1838.[14]
+
+     "Dear Schubring,--Along with this you will receive the organ
+     pieces and 'Bonifacius,' which I also enclose. Thank you
+     much for the letter and for the manuscripts you have from
+     time to time sent me for 'Elijah'; they are of the greatest
+     possible use to me, and although I may here and there make
+     some alterations, still the whole thing, by your aid, is
+     now placed on a much firmer footing. With regard to the
+     dramatic element, there still seems to be a diversity of
+     opinion between us. With a subject like 'Elijah' it appears
+     to me that the dramatic element should predominate, as it
+     should in all Old Testament subjects, Moses, perhaps,
+     excepted. The personages should act and speak as if they
+     were living beings--for Heaven's sake let them not be a
+     musical picture, but a real world, such as you find in every
+     chapter of the Old Testament; and the contemplative and
+     pathetic element, which you desire, ought to be entirely
+     conveyed to our understanding by the words and the mood of
+     the acting personages....
+
+     "I am now myself about to set to work again on the 'Elijah,'
+     and to plough away at the soil as best I can; if I do not
+     get on with it you must come to my aid, and I hope as kindly
+     as ever, and preserve the same regard for your
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 14: _Ibid._, p. 146.]
+
+The following letter is the next from Schubring that is printed; but
+it was not written till nearly two months after that from Mendelssohn,
+just quoted.
+
+     [SCHUBRING TO MENDELSSOHN.]
+
+     DESSAU, _February_ 2, 1839.[15]
+
+     "... Unfortunately I can offer you nothing besides my good
+     [birthday] wishes, though I would willingly have done so. I
+     always thought that the 'Elijah' would turn out all right,
+     but it will not, and you must seek help elsewhere. At a
+     distance I seemed to have thought out the subject quite
+     nicely; but whenever I come to it at close quarters I cannot
+     clearly distinguish the separate figures. Elijah is in the
+     society of the angels; he is in good company, leave him
+     there. It is unbecoming for men to drive away the angels. I
+     have held to one point where the Lord Himself ought to or
+     could speak to Elijah. It seemed to me that as Elijah
+     appeared to Christ on the Mount of Transfiguration (Matthew
+     xvii.), so Christ might come to Elijah, transfigure him, and
+     show him from afar the streams of peace, which flow over the
+     heavenly Canaan. These three personages--Christ, Elijah, and
+     the heavenly choir of angels--might suffice, with suitable
+     dramatic alteration, to transform the earth into heaven,
+     until the removal of Elijah. But you well know how
+     sluggishly my poetical vein flows; how, here and there, with
+     great effort I manage to gather a few crumbs together, but
+     then I get no farther. Unless I am in the pulpit--where the
+     Lord usually helps me joyfully to honour Him by my
+     preaching--the creative power fails me utterly."
+
+[Footnote 15: "Briefwechsel," p. 149. Mendelssohn was born February 3,
+1809.]
+
+For nearly seven years the subject of "Elijah" drops out of the
+Mendelssohn-Schubring correspondence, except two unimportant
+references. In a letter to Mendelssohn, dated January 17, 1840,
+Schubring says: "How about 'Elijah'? Have you quite put him aside?"
+And on November 10 of the same year: "You have told my brother that
+for the present you have given up composing oratorios. To this I have
+no objection; but I would like to see something else--sonatas, for
+instance, not short pieces."
+
+It seems to be quite evident that the subject of "Elijah" was lying
+more or less fallow in Mendelssohn's mind for six years (1839-1845).
+There are, it is true, two casual references to the oratorio. To
+Moscheles, Mendelssohn wrote: "A new oratorio, too, I have begun; but
+how it is to end, and what is to come in the middle, Heaven only
+knows." And to Klingemann: "I have thought anew seriously of 'Elijah.'
+Perhaps I shall attack him now." But it was not until the summer of
+1845, when he received the invitation from Birmingham (see the next
+chapter), that Mendelssohn, to use his own words, "again began to
+plough up the soil." He was then glad to seek fresh help from
+Schubring in the technicalities of the "text," which he did in the
+following letter to his clerical friend:--
+
+     [MENDELSSOHN TO SCHUBRING.]
+
+     "LEIPZIG, _December_ 16, 1845.[16]
+
+     "My dear Schubring,--I now send you, according to your
+     permission, the text of 'Elijah,' so far as it goes. I do
+     beg of you to give me your best assistance, and return it
+     soon with plenty of notes in the margin (I mean Scriptural
+     passages, etc.). I also enclose your former letters on the
+     subject, as you wished, and have taken them out of the book
+     in which they were. They must, however, be replaced, so do
+     not forget to send them back to me. In the very first of
+     these letters (at the bottom of the first page), you
+     probably allude to the chief difficulty of the text, and the
+     very point in which it is still most deficient--universally
+     accepted and impressive words and thoughts; for of course it
+     is not my intention to compose what you call 'a Biblical
+     Walpurgis Night.' I have endeavoured to obviate this
+     deficiency by the passages written in Roman letters; but
+     there is still something wanting, even to complete these,
+     and to obtain suitable comprehensive words for the subject.
+     This, then, is the first point to which I wish to direct
+     your attention, and where your assistance is very necessary.
+     Secondly, in the 'dramatic' arrangement. I cannot endure the
+     half operatic style of most of the oratorio words (where
+     recourse is had to common figures--as, for example, an
+     Israelite, a maiden, Hannah, Micaiah, and others; and where,
+     instead of saying 'this and that is come to pass,' they are
+     made to say, 'Alas! I see this and that happening'). I
+     consider this very weak, and will not follow such a
+     precedent. However, the everlasting "he spake," etc., is
+     also not right. Both of these are avoided in the text; but
+     this part still remains its weakest point.
+
+     "Will you consider, too, whether it is justifiable that no
+     other dramatic figure besides Elijah appears? I think it is.
+     He ought, however, at the close, at his ascension to heaven,
+     to have something to say (or to sing). Can you find
+     appropriate words for this purpose? The second part,
+     moreover, especially towards the end, is still in a very
+     unfinished condition. I have not as yet got a final chorus;
+     what would you advise it to be? Pray study the whole
+     carefully, and write in the margin a great many beautiful
+     arias, reflections, pithy sentences, choruses, and all sorts
+     of things, and let me have them as soon as possible....
+
+     "Speaking is a very different thing from writing. The few
+     minutes I lately passed with you and yours were more
+     enlivening and cheering than ever so many letters.--Ever
+     your
+
+     "FELIX"
+
+[Footnote 16: "Briefwechsel," p. 204. The date of the letter is
+wrongly given in Lady Wallace's translation of the "Letters" (p. 294)
+as 1842, instead of 1845.]
+
+Early in January, 1846, Mendelssohn and Schubring met, and the plan of
+the oratorio was doubtless fully discussed between them. Soon after
+his return to Dessau, Schubring returned Mendelssohn's MS. of the
+"sketch," to which he had added a number of comments and suggestions.
+This "sketch" and its annotations are too long to be inserted here,
+but an extract or two may be quoted.
+
+     [SCHUBRING TO MENDELSSOHN.][17]
+
+     "In oratorios, chorales have produced the most powerful
+     effect on me when they came _after_ other pieces of music
+     [Schubring evidently knew Bach's "Passion"]. Dignity,
+     simplicity, nobility, are then most perceptible in these
+     circumstances. Therefore, it would be better to have no
+     chorales at the beginning.... The overture, picturing a
+     famine, must represent a period of three years...."
+
+[Footnote 17: "Briefwechsel," p. 208.]
+
+Upon the words "Hear the prayer and petition of Thy servant, O Lord,"
+Schubring remarks: "Here it would be well to have a reference to God's
+own promise that He will answer prayer. (Daniel ix., 18; Psalm xxv.,
+6; Isaiah liv., 10, 7). Then the chorale--'Out of the depths I cry to
+Thee' (_Aus tiefer Noth_), verses 1 and 4, increasing in intensity.
+Pray do not reject this suggestion. There are plenty of praying people
+who heartily endorse the petition of Elijah."
+
+Schubring's continued interest in the oratorio is shown in the
+following letter:--
+
+     [SCHUBRING TO MENDELSSOHN.]
+
+     "DESSAU, _February_ 3, 1846.[18]
+
+     "... I am curious to know how you are getting on with
+     'Elijah.' I must confess that I am getting more and more
+     interested in it, and greatly look forward to it. Be sure
+     and keep well at it. If some things in the text do not
+     please you, they will come right in their proper time."
+
+[Footnote 18: "Briefwechsel," p. 219.]
+
+In May (1846), only three months before the oratorio was performed at
+Birmingham, Mendelssohn again sought the aid of Schubring. He wrote:--
+
+     "LEIPZIG, _May_ 23, 1846.[19]
+
+     "Dear Schubring,--Once more I must trouble you about
+     'Elijah'; I hope it is for the last time, and I also hope
+     that you will at some future day derive enjoyment from it;
+     and how glad I should be if this were to be the case! I have
+     now quite finished the first part, and six or eight numbers
+     of the second are already written down. In various places,
+     however, in the second part I require a choice of really
+     fine Scriptural passages, and I do beg of you to send them
+     to me! I set off to-night for the Rhine, so there is no
+     hurry about them; but in three weeks I return here, and then
+     I purpose forthwith to take up the work and complete it.
+     Therefore, I beseech you earnestly to send me by that time a
+     rich harvest of fine Bible texts. You cannot believe how
+     much you have helped me in the first part; this I will tell
+     you more fully when we meet. On this very account I entreat
+     you to assist me in beautifying the second part also. I have
+     been able to dispense with all historical recitative, and to
+     substitute individual persons; and I have always introduced
+     an angel, or a chorus of angels, instead of the Lord. By
+     that means the first part, and the largest half of the
+     second, are finely rounded off. Now, however, the second
+     part begins with the words of the Queen, 'So let the gods do
+     to me, and more also,' etc. (1 Kings xix., 2); and the next
+     words about which I feel secure are those in the scene in
+     the wilderness (same chapter, 4th and following verses); but
+     between these I want, _first_, something more particularly
+     characteristic of the persecution of the prophet; for
+     example, I should like to have a couple of choruses
+     _against_ him to describe the people in their fickleness and
+     their rising in opposition to him; _secondly_, a
+     representation of the third verse of the same passage; for
+     instance, a duet with the boy, who might use the words of
+     Ruth, 'Where thou goest, I will go,' etc. But what is Elijah
+     to say before and after this? and what could the chorus say?
+     Can you furnish me with, first, a duet and also a chorus in
+     this sense? Then, until verse 15, all is in order; but there
+     a passage is wanted for Elijah, something to this effect:
+     'Lord, as Thou wilt, be it unto me' (this is not in the
+     Bible, I believe?); for I wish that _after_ the
+     manifestation of the Lord, he should announce his entire
+     submission, and after all this despondency declare himself
+     to be entirely resigned and eager to do his duty. I am in
+     want, too, of some words for him to say at, or before, or
+     even after, his ascension, and also some words for the
+     chorus. The chorus sing the ascension historically with the
+     words from 2 Kings ii., 11, but then there ought to be a
+     couple of very solemn choruses. 'God is gone up with a
+     shout' (Psalm xlvii., 5) will not do, for it is not the Lord
+     but Elijah who went up; however, something of _that_ sort.
+     At the close, I should wish to hear Elijah's voice once
+     more.
+
+     "(May Elisha sing soprano? or is this inadmissible, as in
+     the same chapter he is described as a 'bald head'? Seriously
+     speaking, must he appear at the ascension as a prophet, or
+     can he do so still as a youth?)
+
+     "Lastly, the passages which you have sent for the close of
+     the whole (especially the trio between Peter, John, and
+     James) are too historical and too far removed from the
+     grouping of the (Old Testament) story; I could, however,
+     manage to get over this difficulty by composing a chorus,
+     instead of a trio to these words. It can easily be done,
+     and I think that I shall probably do it. I return you the
+     sheets that you may have every necessary information, but
+     pray send them back to me. You will see from the sheets that
+     the outline of Part II. as a whole is quite settled. It is
+     only such lyrical passages (from which arias, duets, etc.,
+     could be composed) which I still require, especially towards
+     the end. Therefore, pray get your large Concordance, look up
+     the references, and again bestow upon me some of your time,
+     that when I return three weeks hence at latest, let me find
+     your answer. Continue your regard for your
+
+     "FELIX."
+
+[Footnote 19: _Ibid._, p. 219.]
+
+To the foregoing, Schubring replied in a long letter, from which the
+following is an extract:--
+
+     [SCHUBRING TO MENDELSSOHN.]
+
+     "DESSAU, _June_ 15, 1846.[20]
+
+     "... I want to put down a few thoughts concerning the close
+     of the oratorio. I see most distinctly that the oratorio can
+     have no other than a New Testament ending; the Old Testament
+     (Malachi) and also the New Testament demand this in terms of
+     the most definite kind. Elijah must help to transform the
+     old into the new covenant--that gives him his great
+     historical importance. Let Handel in his Old Testament
+     oratorios move within this narrow circle--personages like
+     Saul, etc., have no further meaning; but with Elijah, with
+     you, and in our day, it must be otherwise. Therefore, I
+     think the sense of the ending must remain essentially as I
+     have suggested--the words themselves are immaterial.
+
+     "Your enquiry whether Elisha may sing soprano is comical.
+     Such a question should not be put by one who has set
+     Christ's words for a chorus.[21] There can be no doubt that
+     at that time Elisha was no more a child. The word _Knabe_
+     (_Knappe_) is to be understood as referring to service, not
+     to youth, like [Greek: ho pais] in classical Greek. One who
+     ploughs with twelve yoke of oxen (1 Kings xix., 19) is no
+     child. Do you know any passage where Elisha is called a boy?
+     I think there is none. The first reference to him is in 1
+     Kings xix., 19 [? 16]....
+
+     "I earnestly hope that some of these suggestions may suit
+     you, so that the work can get on. The news that Part I. is
+     already finished has given me great joy."
+
+[Footnote 20: "Briefwechsel," p. 222.]
+
+[Footnote 21: The reference is to "St. Paul," in which, at Schubring's
+suggestion, Mendelssohn has set the words, "Saul, Saul, why
+persecutest thou Me?" for four-part female chorus.]
+
+A short letter (August 8, 1846), in which Schubring sends Mendelssohn
+a further suggestion, completes the "Elijah" correspondence between
+the composer and his clerical friend.
+
+Schubring, in his pleasant "Reminiscences" already referred to (p.
+10), thus speaks of his connection with the composer in compiling the
+book of "St. Paul," Mendelssohn's first oratorio:--
+
+     "Subsequently to 1832, we frequently discussed the subject
+     of oratorio 'texts.' With regard to 'St. Paul,' a
+     considerable amount of preliminary labour had been got
+     through before I knew anything about it. At Mendelssohn's
+     request I undertook a certain further amount of work of a
+     subordinate kind, such as connecting and introducing
+     suitable passages and arias.... He always proved himself a
+     thoughtful artist, and strove to obtain a clear appreciation
+     of each separate point--such, for instance, as the
+     admissibility of the chorale, of the narrative, recitatives,
+     etc. He rejected, also, much that was suggested, being so
+     well acquainted with his Bible, that he obtained a great
+     deal of valuable material himself. He was, however,
+     extremely grateful for any assistance."
+
+These words apply, though in a larger measure, to the part which
+Mendelssohn took in preparing the libretto of his second oratorio,
+"Elijah." Attention is specially directed to the fact that,
+notwithstanding the foregoing correspondence between the composer,
+Klingemann, and Schubring, Mendelssohn--while availing himself of the
+help his friends were willing to give him--accepted nothing without
+the most careful scrutiny. The following extract, from Ferdinand
+Hiller's "Recollections of Mendelssohn" (Macmillan), may fitly
+conclude this chapter.
+
+"One evening," says Hiller, "I found Felix deep in the Bible.
+'Listen,' he said; and then he read to me in a gentle and agitated
+voice the passage from the first Book of Kings, beginning at the
+words, 'And behold, the Lord passed by.' 'Would not that be splendid
+for an oratorio?' he exclaimed."
+
+
+
+
+CHAPTER II.
+
+BIRMINGHAM.
+
+
+Mendelssohn does not seem to have done anything with the _music_ of
+"Elijah" until 1845. The Committee of the Birmingham Musical Festival
+were then making arrangements for their approaching triennial music
+meeting, to be held in 1846.
+
+The history of the Birmingham Musical Festival, which dates back to
+1768, is full of interest. The artistic excellence of the Festival,
+and the enterprise which has also so long distinguished it, have
+earned for this great music-meeting a European reputation. Charity, in
+one of its best forms--the relief of the sick and suffering poor--has
+been richly sustained by the benefactions, amounting in the aggregate
+to the munificent sum of £132,000, which the Festivals have brought
+into the treasury of the Birmingham General Hospital.
+
+Mendelssohn loved England and the English people. He was never happier
+than when visiting this country, and Birmingham had a warm corner in
+his heart. His receptions at the Festivals of 1837 and 1840, when he
+conducted respectively his "St. Paul" and the "Hymn of Praise," were
+most cordial, and highly gratifying to him. It was therefore quite
+natural that the Festival Committee should look to Mendelssohn for the
+composition of a work which, in all probability, would give
+distinction to their Festival; and, that they should, if possible,
+secure, as an extra attraction, the presence of the composer as
+Conductor. The previous chapter shows that "Elijah" had occupied
+Mendelssohn's mind for many years previous to 1846; therefore, it can
+scarcely be said that he composed the oratorio "expressly for
+Birmingham," as is commonly stated and generally supposed. But,
+considering the composer's early death (in 1847), it may reasonably be
+assumed that had it not been for the Birmingham Festival of 1846,
+Mendelssohn's oratorio of "Elijah" would never have been given to the
+world.
+
+At a meeting of the Birmingham Festival Committee, held June 11, 1845,
+the following resolution was carried--doubtless _nem. con._:--
+
+"That it appears to this Committee desirable that the services of Dr.
+Mendelssohn be obtained to act as Conductor at the next Festival; and
+that he be requested to consider whether he can provide a new
+oratorio, or other music, for the occasion."
+
+This resolution was communicated to the composer by Mr. Joseph Moore
+(1766-1851), the indefatigable manager of the Festivals from 1802 till
+his death. Mr. Moore not only caused the noble Town Hall to be erected
+(in 1834), but spared no exertions to raise the Birmingham
+music-meetings to their present exalted position in the realm of
+music. Mr. Moore, who had early made the acquaintance of the
+Mendelssohn family in Berlin, became very intimate with Felix, who
+was always Mr. Moore's guest during his visits to Birmingham.
+
+[Illustration: JOSEPH MOORE
+
+(1766-1851)
+
+_Manager of the Birmingham Musical Festivals._]
+
+Here is Mendelssohn's reply to the Committee's invitation:--
+
+     [TO JOSEPH MOORE, ESQ.]
+
+     [_Written in English._]
+
+     "FRANKFORT, _July_ 24, 1845.
+
+     "My dear Sir,--Have many thanks for your very kind and
+     welcome letter, which I received a few days ago, and pray
+     tell the members of the Committee for the next Festival how
+     truly indebted I feel to them for the honour they have done
+     me in inviting me to come over to their meeting next year.
+
+     "I hope nothing shall prevent me to accept of so flattering
+     and honourable an invitation, and beg to thank the Committee
+     and yourself, my dear Sir, most sincerely for it.
+
+     "You know with how great a pleasure I have always visited
+     your country; the prospect of doing so again affords always
+     a true gratification to me, and your kind and hospitable
+     invitation greatly adds to the pleasure I may thus
+     anticipate. I have only to wish, then, that nothing may
+     occur to prevent me from accepting so much kindness; for it
+     is indeed a long time--more than a year--for settling any
+     plans. Pray let me know at what time you would wish to have
+     a positive and decided answer--I mean at what time you would
+     consider my answer as an engagement, which could not be
+     altered on any account; and let me also know what you mean
+     in saying that I am to assist you in selecting music,
+     conducting and directing as much as possible. As for
+     selecting, of course I shall be most happy to offer any
+     advice which may be asked; but do you mean that I should
+     have to conduct _all_ the performances, or the _greater_
+     part of them? This, I fear, would be a task above my powers;
+     but before I can say anything more on this subject, pray
+     explain me what _your_ meaning is, and name the period about
+     which I asked you before.
+
+     "Since some time I have begun an oratorio,[22] and hope I
+     shall be able to bring it out for the first time at your
+     Festival; but it is still a mere beginning, and I cannot yet
+     give you any promise as to my finishing it in time.
+
+     "I have written to Mr. Webb[23] some months ago, to tell him
+     that I had already begun to work on another subject, and
+     that I could not avail myself of his poem for that reason,
+     much as I regretted it. If my oratorio should be ready in
+     time (as I hope it will), there would be no occasion for any
+     other things of mine at the morning performances; but if I
+     should not be able to finish it, I have several other things
+     of mine which I could propose in its stead, either for the
+     morning or evening concerts.
+
+     "The 'Oedipus' (which is to be performed next month at
+     Potsdam) will scarcely do for any concert, I am afraid; but,
+     as I said, I have other things.
+
+     "I hear with much pleasure that you still go on with
+     improvements in your splendid organ; but if I shall play it
+     with pleasure, I must have a lighter touch, and broader keys
+     in the pedals than what I found there last year [? time]. I
+     am sure the pedals from C up to D (_two_ octaves and a note)
+     are quite enough, and it could then be contrived that the
+     keys have the breadth which feet and boots usually require.
+     And as for the heavy touch, I am sure that I admired your
+     organist very much who was able to play a Fugue on them. I
+     am afraid I would not have strength enough to do so, without
+     a very long previous practice. Perhaps you may speak to Mr.
+     Hill [the builder of the organ] of these observations, and
+     hear what he says to them....
+
+     "Believe me always, very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 22: "Elijah."]
+
+[Footnote 23: The Rev. John Webb, M.A. (1776-1869), often referred to
+as "the friend of the charity"--_i.e._, the Birmingham General
+Hospital. He submitted to Mendelssohn the text of an oratorio,
+entitled "Rachel in Ramah," which is the "poem" referred to in this
+letter.]
+
+On August 26 (exactly a year before "Elijah" was first performed) the
+Orchestral Committee resolved to recommend to the Musical Committee
+"That Dr. Mendelssohn Bartholdy be requested to compose a performance
+(_sic_) for the Wednesday morning, and to conduct all the morning
+performances." The Musical Committee at once adopted this
+recommendation, and communicated its purport to Mendelssohn, who
+replied as follows:--
+
+     [TO JOSEPH MOORE, ESQ.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _October_ 19, 1845.
+
+     "My dear Sir,--I received your first letter after an absence
+     of a few weeks, and should have answered it long ago, for
+     you know with how much pleasure I read it, and how truly
+     indebted I felt to you and the Committee for continuing your
+     very kind feeling towards me! But I was uncertain which
+     answer I had to give to some of the most important points,
+     and this uncertainty is still the same; yet I must write, as
+     I receive to-day your second letter, which shows your wish
+     to have an immediate answer.
+
+     "The principal point about which I am uncertain is whether I
+     shall be able to have my new oratorio ready in time for your
+     Festival. There would have been no doubt of it, had I been
+     able to continue my work quietly at Frankfort, as I began
+     it. But now there are so many businesses here, at Dresden,
+     and at Berlin, which took up all my leisure time during the
+     last months, that I have not been able to go on with it. If
+     the businesses continue as they have begun (which, however,
+     I hope they will not), I _shall not_ be able to finish my
+     oratorio in time. If they do _not_ continue, I _shall_
+     finish it in time. But during this uncertainty I am not able
+     to make an engagement as to the first performance of this
+     work.
+
+     "The second point is that I am afraid I shall not be strong
+     enough to go through the office of being sole conductor of
+     the morning performances at such a Festival as yours is. In
+     former years I had only to conduct my compositions, not the
+     other pieces of your programme; and yet I recollect how
+     excited and fatigued I always felt after the Festival was
+     over. Therefore, I hesitate to accept of the honour which
+     you intend doing me, and which I fear I should not be able
+     to go through, although I sincerely wished it.
+
+     "The question now is whether you would want me yet (to come
+     to the Festival without having a certainty as to these two
+     points, and even with the possibility of my answering them
+     at last in the negative), or whether you consider them as so
+     essential that the whole idea of my coming over (much as I
+     would regret it) must be given up with them.
+
+     "I beg you will give me an answer to this question as soon
+     as you conveniently can. If the first should be the case
+     (and I hope you fully know how glad I should be to see you
+     again, and to come), I would set at work as hard as I could
+     whenever any leisure is left me to finish my new piece; and
+     at any rate I should propose several others (although not so
+     extensive ones) for the morning performances. But if the
+     second should be the case, I sincerely hope and trust you
+     would be convinced of my deep regret, and would allow me
+     another year to enjoy of an honour and a treat which I
+     should have been obliged to give up so much against my
+     wishes this time. Be it as it may, I beg you will present my
+     best and most sincere thanks to the Committee, and I beg you
+     will think of me, my dear Sir, as of one who shall _always_
+     feel true gratitude and thankfulness for all the kindness
+     and friendship you have shown to him!...
+
+     "Very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+Mendelssohn then set vigorously to work at the music. Miss Dolby,
+afterwards Madame Sainton-Dolby, made her first appearance at the
+Leipzig Gewandhaus Concerts, for which she had been engaged by
+Mendelssohn, on October 25, 1845; and she records the progress of the
+new oratorio in the following anecdote. "We were dining," she says,
+"at Dr. Härtel's, and were all seated at the table. The guests
+included Dr. and Madame Schumann; but Mendelssohn, who was also
+invited, came late. A vacant place had been left for him by my side.
+He arrived after the soup had been served, and excused himself by
+saying he had been very busy with his oratorio; and then turning to me
+he said, 'I have sketched the bass part, and now for the contralto.'
+'Oh!' I exclaimed, 'do tell me what that will be like, because I am
+specially interested in that part.' 'Never fear,' he answered, 'it
+will suit you very well, for it is a true woman's part--half an angel,
+half a devil.' I did not know whether to take that as a compliment,
+but we had a good laugh over it."[24]
+
+[Footnote 24: In case the point of Mendelssohn's joke should be missed
+by anyone, it must be remembered that the contralto singer in "Elijah"
+takes the parts of both the Angel and Jezebel, the Queen.]
+
+Shortly afterwards Jenny Lind also made her first appearance at the
+Gewandhaus; and it may here be mentioned that there is every reason to
+suppose that Mendelssohn wrote the soprano part of his "Elijah"
+expressly for the "Swedish Nightingale." It is stated in the "Memoir"
+of Jenny Lind that amongst the beautiful notes of her splendid voice,
+"the upper F sharp possessed an irresistible charm" for Mendelssohn.
+He often spoke of it with admiration, and fully remembered that
+"wonderful F sharp," when he was writing the soprano part of his
+"Elijah." "He used it with striking effect, as the initial note of the
+first phrase in 'Hear ye, Israel,' and in many other passages, in
+which it rings like a trumpet-call throughout the air."[25] This will
+account for Mendelssohn's having set "Hear ye, Israel," in the keys of
+B minor and B major--the dominant note of which, and the predominating
+note of the air, is the said "F sharp."
+
+[Footnote 25: "Memoir of Madame Jenny Lind-Goldschmidt." By H. Scott
+Holland and W.S. Rockstro. London: John Murray (1891). II., p. 243.]
+
+Mendelssohn definitely accepted the invitation of the Birmingham
+Committee in the following letter, which, however, still left the new
+oratorio an "open question":--
+
+     [TO JOSEPH MOORE, ESQ.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _December_ 11, 1845.
+
+     "My dear Sir,--Many thanks for your very kind letter. I have
+     now made up my mind to come to Birmingham in August; but I
+     wish to conduct only my own music, as in former years, and
+     have nothing to do with the other parts of the programme. I
+     cannot yet give any promise as to my new oratorio; but in a
+     month or two I shall be able to tell you for certain
+     whether, and when, I can send it. If I cannot, I would try
+     to propose something else of my new music. You want
+     something, whether new or old, for the Friday: would the
+     'Walpurgisnacht' do for it? I conducted it only once in
+     England, at the last Philharmonic, 1844, and they seemed to
+     like it then. Or would the music to the 'Midsummer Night's
+     Dream' be the thing? My Symphony in A minor, about which you
+     questioned me in one of your former letters, lasts about
+     thirty-five to forty minutes.
+
+     "And if you can have Jenny Lind for the Festival, by all
+     means have her, for we have now no singer on the Continent
+     who is to be compared to her. But although she has no fixed
+     engagement, neither at Berlin nor elsewhere, I fear it will
+     be difficult to make her come, as they are all mad about
+     her, and force her into more engagements than she can
+     accept. And Pischek would also be the man, I am sure! But he
+     is known already in England; and if you get Jenny Lind, it
+     will be such a novelty at the same time, and will give a new
+     character to the Festival. Now, before all, I hope that
+     these lines may find you in better health, that your
+     indisposition will be forgotten long before they arrive, and
+     that I may meet you again in perfect strength and happiness.
+
+     "Yours very truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+The Committee at once acted upon Mendelssohn's suggestion that Jenny
+Lind should be invited to sing; and at their meeting on December 26
+resolved--"That Mr. Moore be requested to use his endeavours to engage
+Jenny Lind, and impress upon Mendelssohn the importance of completing
+his new oratorio." Moore evidently asked Mendelssohn to be the
+negotiator between the Committee and Jenny Lind, judging from the
+following letter:--
+
+     [TO JOSEPH MOORE, ESQ.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _January_ 15, 1846.
+
+     "My dear Sir,--Yesterday I received your letter of the 7th,
+     and answer it as early as I can. My oratorio is in progress,
+     and becomes every day more developed; but whether I shall be
+     able to finish it in time for your preparations is another
+     question, which I shall not be able to answer positively
+     before _two months_ are elapsed. It will then be the middle
+     of March, more than five months before the period of your
+     Festival, and if I should fail in my efforts of ending my
+     work in time (which I fully hope and trust to do), there
+     will be ample time for you to make it up by something else.
+     Your question about Jenny Lind is very important to the
+     success of the Festival, as I consider her, without
+     hesitation, as the first singer of the day, and perhaps of
+     many days to come. But I am not able to undertake the
+     negotiation which your chairman would entrust me with, as I
+     know how much she is surrounded with engagements of all
+     sorts, and how little likely it is that I could get anything
+     like a positive answer from her, unless a formal application
+     from the Committee had previously been made to her. It is by
+     no means certain that such an application would be
+     successful, but at any rate I think it the only way, if
+     there is one. When you formally wrote to me about the same
+     subject, I was at Berlin, and spoke to her about it, but
+     then she said she should not go to England, she had declined
+     it already twice, it was quite impossible, etc., etc.; so
+     that I am sure that she will not come to _London_ at least
+     (for I did not make any direct enquiries about Birmingham
+     and the Festival at that time). When you have determined
+     what you will do, and if you have written, or if another
+     (perhaps at Berlin) has negotiated for you, pray let me know
+     of it, and I could then, perhaps, be of some use in removing
+     some difficulties which might still arise, and in persuading
+     her to accept the Festival, which I should be most happy to
+     do. But at present, I am afraid, by beginning to talk or
+     correspond with Jenny Lind about this subject, I would do
+     your cause no good, and I therefore beg to be excused.
+
+     "Truly and sincerely yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+Nothing daunted, the Committee at their next meeting (January 30,
+1846) instructed Moore to ask Moscheles (who had been appointed
+Conductor-in-chief of the Festival) to use his influence with Jenny
+Lind. Although a good deal of pressure seems to have been brought to
+bear upon her to visit Birmingham for the purpose of singing in the
+first performance of "Elijah," it was of no avail. The reason of Jenny
+Lind's inability to come to England at that time may be traced to her
+fear of Mr. Alfred Bunn, the opera manager. Those who wish to follow
+the circumstances of that unpleasant episode in the great singer's
+career will find the story fully told in the chapter headed "The Bunn
+Contract," in Messrs. Holland and Rockstro's "Memoir of Jenny
+Lind-Goldschmidt," Vol. I., pp. 228 and 290; also Vol. II., pp. 39 and
+198.
+
+Meanwhile, the work of composition made slow progress, and the fate of
+the oratorio was decidedly precarious. On April 20, four months before
+the Festival, Mendelssohn wrote to Moscheles suggesting that "Athalie"
+should be an alternative to "Elijah." To Hauser, of Vienna, he wrote:
+"I sit, over both my ears, in my 'Elijah,' and if it only turns out
+half as good as I often think it will, I shall be glad indeed! The
+first part will be quite finished within the next few days, and a
+goodly portion of the second part also. I like nothing more than to
+spend the whole day in writing the notes down, and I often come so
+late to dinner that the children come to my room to fetch me, and drag
+me out by main force."[26]
+
+[Footnote 26: "Memoir of Madame Jenny Lind-Goldschmidt," I., 402.]
+
+Writing to Moscheles, Mendelssohn says: "I absolutely require a
+first-rate high baritone. Can such an one be found?" Again: "If, after
+all, there is no baritone to be got, the whole thing falls to the
+ground." To Jenny Lind: "Sometimes, in my room, I have jumped up to
+the ceiling when it seemed to promise so very well. (Indeed, I shall
+be but too glad if it turns out only half as good as it now appears to
+me.) But I am getting a little confused, through writing down, during
+the last few weeks, the immense number of notes that I previously had
+in my head, and working them now and then upon the paper into a
+piece, though not quite in the proper order, one after another."[27]
+To Devrient: "I am working day and night at my new oratorio to send to
+England, otherwise it will not be in time." To his sister Fanny: "I am
+more driven than ever, as an immense piece of 'Elijah' is not yet
+copied, whilst the first part is already in rehearsal in England....
+The first thing to-morrow morning I shall shut myself up, and decline
+to budge till 'Elijah' is finished, which may not be for another three
+weeks, and that I also swear by my beard."
+
+[Footnote 27: "Memoir of Madame Jenny Lind-Goldschmidt," I., 392.]
+
+The anxiety of the Birmingham Committee was somewhat relieved by the
+receipt of the following letter from the composer:--
+
+     [TO JOSEPH MOORE, ESQ.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _May_ 8, 1846.
+
+     "My dear Sir,--I write these lines to inform you that I
+     intend to send the whole of the first part of my oratorio to
+     Mr. Moscheles in the course of the next fortnight. It is by
+     far the greater part of the two; the choruses from the
+     second part will be in England towards the beginning of
+     July, and the rest of the whole in the middle of that month.
+     All this, _Deo volente_.
+
+     "I wish Mr. Bartholomew, in London, who has translated
+     several other vocal pieces of mine, would undertake also
+     this; and I wish he might take advice of my friend, Mr.
+     Klingemann, who understands both languages thoroughly, and
+     who understands my music better than both languages.
+
+     "The most essential condition for my oratorio is a most
+     excellent barytone singer--a man like Pischek, or Staudigl,
+     or Oberhofer. Will you have such a m...."
+
+     [Here the letter is torn away, and concluded in a lady's
+     handwriting, thus:]
+
+     "Believe me always yours truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+The summer of 1846 was very hot, and Mendelssohn often became
+exhausted over the close application which he gave to his work. "I
+have lived the life of a marmot," he writes, but he kept his time. The
+complete Part I. was despatched from Leipzig on May 23. He was then
+interrupted in the process of composition for three weeks by having to
+conduct the Lower Rhine Musical Festival at Aix-la-Chapelle (May 31 to
+June 2);[28] then a Soirée at Düsseldorf; after that the production of
+his "Lauda Sion," at Liège, on the Feast of Corpus Christi, June 11;
+and finally a great Choral Festival at Cologne--"an enormous
+'Sängerfest,'" he writes, of "nearly 2,000 men, which I have also to
+direct." For this Mendelssohn had composed a Festgesang on Schiller's
+"An die Künstler" ("To the Sons of Art"), Op. 68.
+
+[Footnote 28: It was on this occasion that Mendelssohn omitted the two
+"redundant bars" in the _Scherzo_ of Beethoven's C minor Symphony. See
+Sir George Grove's forthcoming work on "Beethoven," and the chapter on
+the C minor Symphony; also the "Dictionary of Music and Musicians,"
+Vol. II., 288_a_.]
+
+On his return to Leipzig, Mendelssohn heard that some members of the
+Philharmonic band, who had been discourteous to him during his
+previous visit to London, were not to be engaged for the Birmingham
+Festival. He at once wrote off to Moscheles in the following emphatic
+terms:--
+
+     [MENDELSSOHN TO MOSCHELES.]
+
+     "LEIPZIG, _June_ 26, 1846.[29]
+
+     "My dear Friend,--The occasion of these lines is a passage
+     in Mr. Moore's letter, in which he says: 'Nearly the whole
+     of the Philharmonic band are engaged [for Birmingham]; a few
+     only are left out who made themselves unpleasant when you
+     were there.'[30]
+
+     "Now, I strongly object to this restriction; and as I fancy
+     you can exercise your authority in the matter, I address my
+     protest to you, and beg you to communicate it to Mr. Moore.
+     There is nothing I hate more than the reviving of bygone
+     disputes; it is bad enough that they should have occurred.
+     This one of the Philharmonic is, as far as I am concerned,
+     dead and buried, and must on no account have any influence
+     on the selection made for the Birmingham Festival. If men
+     are to be rejected because they are incompetent, that is not
+     my business and I have nothing to say in the matter; but if
+     it is because 'they made themselves unpleasant when I was
+     there,' I consider that an injustice, against which I
+     protest. Any further disturbance on the part of these
+     gentlemen, I am sure, is not to be feared. That at least is
+     my belief, shared probably by all concerned. So you will
+     sincerely oblige me by having the selection made exactly as
+     if I were not coming to England. The only consideration that
+     can be shown me is not to take me into consideration at all.
+     You will do me a favour by putting this very strongly to Mr.
+     Moore, and requesting him to let the matter drop. If my
+     wishes are to be complied with, the incident must herewith
+     end. Should it be otherwise, I shall write a dozen letters
+     in protest against what I should consider a spirit of
+     vindictiveness. Excuse all this.--Ever yours,
+
+     "FELIX."
+
+[Footnote 29: From "Letters of Mendelssohn to I. and C. Moscheles," by
+Felix Moscheles (Trübner), p. 274.]
+
+[Footnote 30: At a Philharmonic rehearsal in 1844.]
+
+Two months before the performance Mendelssohn reports that "an immense
+piece of 'Elijah' is not yet copied"; and he writes to Moscheles to
+the effect that as the touch of the Birmingham organ was so very heavy
+the last time he played, he would not play one of his Sonatas at the
+Festival until he had first tried the organ; also that when "St. Paul"
+was given in 1837, it was followed by a selection from Handel's
+Oratorios. "I much disapproved of this," he says, "and trust it is not
+to be the case this time." He further adds that "Elijah" will take two
+hours in performance; and that if there must be something added to
+occupy the orthodox three hours, it should be a short complete work:
+"but, however this may be," he says, "don't let us have a ragout
+afterwards."
+
+Meanwhile the Birmingham Committee were completing their arrangements.
+The fee paid to Mendelssohn for his attendance at the Festival was 200
+guineas. Madame Caradori-Allan (the soprano) received a similar
+amount. Other fees were:--Staudigl (the original _Elijah_), 150
+guineas; John Braham (then sixty-eight years old), for one morning
+performance ("The Messiah"), £50; Dr. Gauntlett, as solo organist and
+organist in "Elijah," £30. Cooke and Willy, violinists, (leaders), £40
+and £20 respectively; Dando, violinist, £11; thirty-eight chorus
+singers from London, £6 each, instead of £7, as at the previous
+Festival, the difference being a free railway ticket.
+
+The Committee had some financial difficulty with the "Italian Party,"
+which seemed to be an indispensable and expensive feature of these
+Festivals. Mario, when treating for himself, doubled his former terms!
+Mr. Beale, the agent of the "Italian Party," asked for Grisi, 380
+guineas; Mario, 320; Lablache, 75; and Benedict, 50; making a total of
+825 guineas for the three singers and their accompanist. This amount
+alarmed the Committee, who resolved: "That these exorbitant terms be
+rejected, and that, the services of Benedict not being required, an
+offer of £700 be made for the other three." The fee of £100 paid to
+Moscheles as Conductor-in-chief of the Festival, and that of £210 to
+Mendelssohn, cannot be considered exorbitant, when compared with the
+amounts paid to the solo vocalists.
+
+The choral rehearsals were conducted by Mr. James Stimpson, the
+chorus-master of the Festival. It was not until after the middle of
+June, only two months before the Festival, that Mr. Stimpson received
+the first instalment of the chorus parts. Although these were printed
+(all the rest of the oratorio was sung and played from MS. copies),
+the deciphering of them was no easy matter, owing to the many
+alterations--black, red, and blue ink being freely used to indicate
+the alterations and re-alterations in the parts. Mr. John Bragg, who
+sang tenor in the chorus in 1846 and at several Festivals since,
+relates the following incident in connection with the first rehearsal
+of "Thanks be to God." Mr. Bragg says: "At the passage beginning 'But
+the Lord,' which was an entirely new one to choralists, Mr. Stimpson
+rapped his desk and asked for the separate voice parts one after
+another. He then compared them with his own MS. copy of the score,
+and, being evidently puzzled, said 'Well, gentlemen, the voice parts
+are right, and we must sing it so.' And _so it was sung_," adds the
+veteran Mr. Bragg, "then and ever after; and one of the greatest gems
+in the work shone out for the first time. Great was the enthusiasm of
+the chorus when they had completed the passage and realised the full
+effect of this masterly modulation."
+
+Mr. Stimpson had a most arduous task in preparing the choruses in the
+limited time at his disposal. As late as August 3, twenty-three days
+before the performance, the arrival of the first two choruses of Part
+II. was reported, and the last chorus was not received till nine days
+before the Festival! But the Birmingham singers were on their mettle.
+They enjoyed rehearsing the work, and they worthily maintained those
+splendid choral traditions which have so eminently distinguished the
+Birmingham Musical Festival.
+
+
+
+
+CHAPTER III.
+
+THE ENGLISH TRANSLATION.
+
+
+The music of "Elijah" was composed to German words; an English version
+was therefore necessary. Mendelssohn had no hesitation in assigning
+the task of making the English translation to Mr. Bartholomew--"the
+translator _par excellence_," as he called him--who is so well known
+as the translator or adaptor of Mendelssohn's "Athalie," "Antigone,"
+"Oedipus," "Lauda Sion," "Walpurgis Night," the _Finale_ to
+"Loreley," "Christus," and many of his songs and part-songs.
+Bartholomew also supplied the words of "Hear my Prayer," "which," he
+says, "its dear and lamented author composed for my paraphrastic
+version of the 55th Psalm."
+
+[Illustration: WILLIAM BARTHOLOMEW
+
+(1793-1867)
+
+_The English Translator of Mendelssohn's "Elijah."_
+
+_From the original Painting, now in the possession of Mrs. Harper._]
+
+William Bartholomew (1793-1867) was "a man of many
+accomplishments--chemist, violin player, and excellent flower
+painter." In 1841 he submitted to Mendelssohn the libretto of a fairy
+opera, entitled "Christmas Night's Dream"; and in this way an
+acquaintance commenced which developed into a close friendship
+between the two men--a friendship severed only by death.
+
+Here is Mendelssohn's first letter to Bartholomew on the subject of
+"Elijah."
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _May_ 11, 1846.[31]
+
+     "My dear Sir,--Many thanks for your kind letter of the 4th,
+     to which I hasten to reply, and to tell you that the
+     oratorio for the Birmingham Festival is _not_ the 'Athalie'
+     (nor the 'Oedipus,' of course), but a much greater, and
+     (to me) more important work than both together; that it is
+     not quite yet finished, but that I write continually to
+     finish it in time; and that I intend sending over the first
+     part (the longest of the two it will have) in the course of
+     the next ten or twelve days. I asked Mr. Moore from
+     Birmingham to have it translated by you, and I have no doubt
+     he will communicate with you about it as soon as he gets my
+     letter, which I wrote four or five days ago; and I beg you
+     will be good enough, if you can undertake it, to try to find
+     some leisure time towards the end of this month, that the
+     Choral parts with English words may be as soon as possible
+     in the hands of the Chorus singers. And pray give it your
+     best English words, for till now I feel so much more
+     interest in this work, than for my others--and I only wish
+     it may last so with me.
+
+     "Always very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 31: The original autograph of this letter is now in the
+Library of the Royal College of Music. The "important work" referred
+to in the letter is, of course, the oratorio of "Elijah."]
+
+The music of "Elijah" came to Bartholomew from Mendelssohn in
+instalments. The English translation was the subject of a long and
+elaborate correspondence between the composer and his translator in
+London. Both were unsparing in the labour they bestowed upon the
+translation. The following letters show that Mendelssohn went through
+the English version bar by bar, note by note, syllable by syllable,
+with an attention to detail which might be termed microscopic. These
+letters, written in Mendelssohn's own English, and the majority of
+which are now made public for the first time, cannot fail to be of
+interest.[32]
+
+[Footnote 32: With two exceptions, the letters from Mendelssohn to
+Bartholomew quoted in this "History" are now in my possession.]
+
+A letter from Bartholomew to Mendelssohn may, however, first be
+quoted, to show the spirit in which the English translator discharged
+his congenial task.[33]
+
+[Footnote 33: I am greatly indebted to Frau Geheimrath Wach, of
+Leipzig (Mendelssohn's younger daughter), and her daughter, for their
+kindness in copying the long correspondence on "Elijah" from
+Bartholomew to Mendelssohn. These letters are still carefully
+treasured in the "27 large green volumes" in which Mendelssohn
+"preserved all the letters he received, and stuck them in with his own
+hands."]
+
+     [BARTHOLOMEW TO MENDELSSOHN.]
+
+     "2, WALCOT PLACE,
+
+     "HACKNEY, LONDON, _June_ 23, 1846.
+
+     "My dear Sir,--I have at last, after toiling day and night,
+     got through the first portion of your noble oratorio. I wish
+     I could render words more worthy of such music. My endeavour
+     has been to keep them as _scriptural_ as possible; and in
+     order that you may be able to judge how far I have
+     succeeded, do me the favour to refer to the verses notified
+     in an English version of the Bible. When the second part, or
+     the parts of that, as they are completed, are sent, I hope
+     we shall have the words in the score written in letters
+     which are readable to us. I know not how so bad a scribe as
+     he who penned the libretto could have been found; words, nay
+     even _sentences_ were omitted, and words _changed_: _leben_
+     was written for _beten_, and there were no references to
+     where the verses might be seen in 'The Book.' All these
+     caused me much perplexity, trouble, and, what is worse than
+     all, _loss of time_. These, too, enhanced by my journeys to
+     Hobart Place, and the necessity of copying by my _own hand
+     all_ the vocal portion of the score for the engravers, and
+     those parts which you will receive through the medium of Mr.
+     Buxton for your perusal and decision, have rendered my toil,
+     although a labour of love, incessant. The choral portions
+     will this day be in the hands of the engravers; and I trust
+     you will send by every packet each of the pieces yet
+     forthcoming--one at a time--never mind how short, for the
+     time is short--and I want all the time to enable me to do it
+     as well as I can. And the choralists want all the time to
+     rehearse it as often as they can, for the more often it is
+     rehearsed the better.
+
+     "No. 6 wants the time; and I hope you will have time to
+     write an overture, or introduction, unless you expressly
+     design there shall be none. I understand they (the
+     Birmingham Directors) have engaged Staudigl, I hope with the
+     intention of giving him the Prophet's part, although it is
+     reported here that Phillips is to sing it. Much will depend
+     on who sings it [the oratorio] so far as the soloists are
+     concerned; but the choruses! they will be the main feature,
+     and the glory of their composer. The Baal Priests' choruses
+     are wrought to a climax truly _sublime_. Go on, my dear Sir,
+     go on! until you soar with your 'Elijah' on the returning
+     fire to the height from which he called it down!
+
+     "Your grateful and obliged
+
+     "W. BARTHOLOMEW."
+
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _July_ 3, 1846.[34]
+
+     "My dear Sir,--Many, many thanks for your kind letter and
+     for your translation of the first part of Elijah. I can but
+     write in great haste, else I would try to say more, and to
+     thank you better for all your kindness. But I will do so in
+     person, and meanwhile I merely say--I thank you most
+     heartily, most sincerely, and I hasten to answer your
+     questions.
+
+     "Those words in the choruses which you or I may now or
+     hereafter object to, might, I hope, still be altered _in
+     pencil or ink_ in the parts, if already printed; for if an
+     improvement can be made, it must never be omitted because
+     the printing should be finished. A little more trouble will
+     be amply repaid by a little improvement! And as for the Solo
+     Parts, they _must not be printed at all_ for the Festival,
+     but only written out (copied), and can only be printed
+     together with the pianoforte arrangement, and _after_ the
+     performance. For these accordingly we have time till then,
+     to alter and improve. Pray let Mr. Buxton [Ewer and Co., the
+     English publishers] read all this!
+
+     "No. 1. I wish to keep this if possible as in the English
+     Bible version; therefore I propose[35]:--
+
+     [Music: there shall not be dew nor rain these years, not dew
+     nor rain &c.]
+
+     "No. 5, at the end, I propose to say 'and in our affliction
+     He comforteth us,' and to slur from D to E flat, because I
+     prefer to have the word af_flic_tion on the G flat.[36]
+
+     "No. 6 {3}. The time is _Andante tranquillo_. The first
+     words are from Jerem. xxix., 13. And the following from Job
+     xxiii., 3, and I wish to keep these last literally: 'Oh,
+     that I knew (_slurred_) where I might find Him, that (added
+     note, as you also have) I might come [slur symbol] even to
+     His seat' (or 'presence,' perhaps, if the two notes shall
+     not be slurred.)[37] And before the first subject and the
+     first words return, the notes may be altered thus:--
+
+     [Music: Oh, that I knew, where I might find Him. If with
+     all, &c.]
+
+     "In No. 7 {5}, I prefer your first idea, 'for _He_ is Lord
+     and God,' to the two others which you propose; and I wish
+     you would have the 'He,' &c., inserted still in the choral
+     parts.
+
+     "No. 8 {6}, I prefer an alteration in the notes, and to keep
+     the words:--
+
+     [Music: and hide thyself by the brook Cherith.]
+
+     as also--[Music: and thou shalt drink of the brook.]
+
+     [Music: and I have commanded the ravens to feed thee, &c.]
+
+     "No. 9 {7}. Pray let the beginning stand as in the Bible,
+     viz.:--
+
+     [Music: For He shall give His _angels charge_ over thee.]
+
+     and if the end 'and thus harm thee' can be spared, and it
+     can finish with the words 'against a stone,' I should like
+     it better.
+
+     "No. 10 {between 7 and 8}, in the middle I propose again to
+     alter the notes in order to keep the Bible version:--
+
+     [Music: -bide. _Behold I have commanded a widow woman there
+     to sustain thee_, and thou shalt want nothing, _nor she and
+     her house_, through, &c.]
+
+     "No. 11[38] {8}. Again the same (bar 16, &c.):--
+
+     [Music: and his sickness is so sore, that there is no breath
+     left in him.]
+
+     and then--
+
+     [Music: art thou come to call my sin, to call my sin to
+     remembrance, to slay my son, to slay, to slay my son?]
+
+     and at the end: 'there is no breath, no [slur symbol] breath
+     [slur symbol] left in him,' instead of 'exhausted,' etc.
+
+     "Then again:--[Music: ELIJAH. give me thy son.]
+
+     "And instead of 'that he again may live,' I should prefer
+     always as you have at the end, 'that he again may praise
+     Thee.' Again the music should be altered for the Bible
+     version's sake in this:--
+
+     [Music: Wilt thou indeed show wonders to the dead?]
+
+     "In the following _Allegro agitato_, I prefer 'thy _prayer_'
+     to 'thy petition,' and beg you will alter the notes
+     accordingly.
+
+     "No. 12 {9}.[39] Is it as scriptural to say 'the men' as
+     'the man'? And if not, could not the sentence be 'Blessed is
+     the man who fears Him, who delights,' and so on? And what do
+     you like better: the amplification, 'light shining over
+     them,' or to say instead of these words, 'to the upright,'
+     and to slur the two notes thus:--
+
+     [Music: through darkness riseth light, light to the
+     _up_right.]
+
+     "Pray do it as _you_ think best.
+
+     "At the beginning of No. 13 {10}, I should wish to have the
+     same words as in No. 1, viz.: 'before whom I stand,'
+     instead of 'I tell thee truly.' And instead of 'that the
+     rain may fall,' etc., I should propose:--
+
+     [Music: and God will send rain again upon the earth.]
+
+     which is more according to the Bible. I prefer 'Let him be
+     God' to 'He shall be God' (which you have added in pencil).
+     Instead of 'I, even I alone stand here among you,' I propose
+     the alteration:
+
+     [Music: I, even I, only remain, &c.]
+
+     "I prefer 'Invoke your forest gods,' etc., as you do.
+
+     "In No. 15 {11}, is not the accent extírpate a wrong one?
+     The syllable _tir_ will always be the first in the bar and
+     the strongest, with a marked accent.
+
+     "No. 16. {12} [Music: or he is pursuing.]
+
+     and then--[Music: journey; _or_, peradventure.]
+
+     "In No. 18 {13}, could not the words 'with lancets cut
+     yourselves after your manner' be kept?
+
+     "No. 20. {14} [Music: people that I have done these things
+     according to Thy word! O hear me, Lord, &c. O hear me Lord,
+     &c.]
+
+     "I prefer 'and let their hearts again be turned,' as you do.
+
+     "In No. 22 {16}, could not the end be: 'and we shall have no
+     other god before Him,' or 'the Lord' (from Exodus xx., 3)?
+     Then instead of 'let not a prophet,' I propose:
+
+     [Music: and let not one of them escape ye: _bring_ them,
+     &c.]
+
+     "In No. 23 {18}, I prefer '_thee_' &c., to the other
+     version, according to your remarks. But the end I wish
+     thus:--
+
+     [Music: Woe unto them, woe unto them.]
+
+     "No. 24. {19} [Music: O Lord, Thou hast overthrown Thine
+     enemies, and destroy'd them! Now look on us, &c.]
+
+     "Then I wish the following notes altered:--
+
+     [Music: ELIJAH. Go up now, child, and look toward the sea.
+     Has my prayer been heard by the Lord?]
+
+     "I also prefer 'the heavens are _as_ brass'--a note might be
+     added. Then afterwards I propose:--
+
+     [Music: closed up, _because they have sinn'd, have sin-ned
+     against Thee_]
+
+     "And afterwards if 'and turn from _their_ sin' seems
+     preferable to you, a note might be added to keep the words
+     as in the Bible. In the following sentence it sounds to me
+     more scriptural to leave the words as in 2 Chronicles vi.,
+     27:--
+
+     [Music: Then hear from heav'n, and forgive the sin.]
+
+     "Then I wish the notes altered thus:--
+
+     [Music: Go up again, and still look towards the sea.]
+
+     "Then also 'the earth is _as_ iron.' And then would you like
+     this:--
+
+     [Music: There is a sound of abundance of rain.]
+
+     "If possible I should wish to have omitted 'I implore Thee,'
+     which does not sound as scriptural to me. If I am wrong,
+     pray leave it; but if not, the words 'to my prayer' might be
+     repeated instead of them. The following is Psalm xxviii.,
+     1:--
+
+     [Music: Unto Thee will I cry, Lord, my rock: be not silent
+     to me.]
+
+     and could not the following sentence be thus:--
+
+     [Music: and Thy great [_or_ Thy gracious] mercies do
+     remember, O Lord!]
+
+     "Then I prefer--[Music: like a man's hand!]
+
+     "Instead of 'His boundless,' I propose to omit the G (the
+     first note), and have instead 'for His' (mercies, &c.), and
+     to add afterwards a note (A), in order to say 'endureth
+     _for_ evermore.' I prefer 'The Lord is _above them_,' to 'is
+     the highest.'
+
+     "I am so very sorry you had that trouble with the words! And
+     the first portion of the second part, which I sent off
+     before the receipt of your letter, was again written in
+     German characters. But the numbers you receive with this
+     will, I hope, be legible; and I have made reference to the
+     verses of the Bible, and will continue to do so. With the
+     next packet you will again receive some pieces, and so
+     always on till the whole (at least of the choruses) is in
+     your hands, which I hope shall not last more than a
+     fourthnight (_sic_). And if there should be something left
+     it would be here or there a solo-piece, which (as it must
+     not be printed) will easily be done and copied in time. You
+     are right, the great question is, Who is to sing the
+     Elijah?--and I am at a loss why I have not yet heard some
+     news respecting this most essential point.
+
+     "My intention was to write no Overture, but to begin
+     directly with the curse. I thought it so energetic. But I
+     will certainly think of what you say about an Introduction,
+     although I am afraid it would be a difficult task, and do
+     not know exactly what it should or could mean before that
+     curse. And after it (I first thought to write the Overture
+     _after_ it), the chorus _must_ immediately come in. Now once
+     more excuse the haste and accept the thanks of
+
+     "Yours very truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 34: This letter is reproduced in _fac-simile_ at the end of
+this book.]
+
+[Footnote 35: In order to make the musical examples in the following
+letters more intelligible to the general reader, and easier of
+reference to the printed score, I have added clefs and key signatures
+where Mendelssohn did not think it necessary to insert them when
+writing to Bartholomew. The figures in brackets refer to the _present_
+numbers in Novello's Edition of the Oratorio.]
+
+[Footnote 36: This No. 5 was the _original_ form of the tenor
+Recitative (now No. 3), "Ye people, rend your hearts." Before the
+Birmingham performance Mendelssohn re-wrote it, making it much shorter
+(10 bars instead of 17) and less elaborate, and in the form in which
+it is now sung. The concluding bars of the original are here appended,
+with the two versions of the words, to show the force of Mendelssohn's
+suggested alteration:--
+
+[Music: TENOR SOLO.
+
+Bar 16 of _original_ RECIT.
+
+(_Bartholomew._) and He comforteth us in affliction, If with all &c.
+
+(_Mendelssohn._) and in our affliction He comforteth us.]
+
+The words of this Recit., as originally written by Bartholomew, were:
+"Ye people, rend your hearts, and not your garments, for your
+transgressions; even as Elijah hath sealed the heavens through the
+word of God.
+
+"I therefore say to ye, Forsake your idols, return to God; for He is
+ever enduring in goodness; repenting of the evil. He turneth our
+sorrow to gladness, and He comforteth us in affliction."]
+
+[Footnote 37: Bartholomew originally had these words: "Ah! could I
+find Him; and at His footstool bow before His presence."]
+
+[Footnote 38: Mendelssohn greatly altered the "Widow" scene before the
+oratorio was published.]
+
+[Footnote 39: The music of this chorus ("Blessed are the men") was
+afterwards much altered.]
+
+In regard to the Overture, referred to at the end of the foregoing
+(very long) letter, it may be interesting to quote an extract from one
+of Bartholomew's letters to Mendelssohn:--
+
+     "I have maturely considered, and, with Mr. K[lingemann],
+     think it will be a new feature, and a fine one, to announce
+     the curse, No. 1. Then let an Introductory-movement be
+     played, expressive, descriptive of the misery of famine--for
+     the chorus (I always thought) comes so very quickly and
+     suddenly after the curse, that there seems to elapse no time
+     to produce its results."
+
+It seems evident that Mendelssohn was indebted to Bartholomew for the
+suggestion of an Overture to "Elijah." That Mendelssohn accomplished
+what he calls his "difficult task" we know full well, and Bartholomew
+must have felt quite satisfied when the composer wrote to him and
+said, "I have written an Overture, and a long one."
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, 18_th_ _July_, 1846.
+
+     "My dear Sir,--I received yours of the 9th. And many thanks
+     again! And you copy yourself the solo parts! Whatever your
+     reason may be, I feel what an obligation you confer upon me.
+
+     "Now I go on with my remarks about those pieces of the
+     second part which you sent me the translation of, viz.: Nos.
+     33, 34, and 35. By-the-bye: No. 33 will be altered and
+     another Recit. (for a _Soprano_) comes in its stead with the
+     next parcel; but the words are the same, and your
+     translation will go quite as well to the new Recit.
+
+     "In No. 34 I again wish to alter the notes in order to keep
+     the English scriptural version. And it seems to me so
+     important that this should be done that I hope it is time
+     still to make the alteration in all the choral parts. The
+     beginning I wish altered thus:--
+
+     [Music: And behold, the Lord passed by.]
+
+     or, if 'passed' must have two syllables:--
+
+     [Music: Lord pass-ed]
+
+     "The end of the first phrase 'as He approached' is not quite
+     agreeable to me; could you not find _four_ syllables instead
+     of them (making the two _slurred_ notes single
+     ones)--_e.g._, 'as the Lord drew near' (don't laugh), or
+     something in which _the accent on the last syllable is
+     strong and decided_!
+
+     "Then comes:--
+
+     [Music: But the Lord was not in the tempest.]
+
+     "Then again: 'And behold, the Lord passed by.' And at the
+     end again, 'But the Lord was not in the earthquake.' Also
+     the third time: 'But the Lord was not in the fire.'
+
+     [Music: But the Lord, &c.]
+
+     "Then--
+
+     [Music: And after the fire there came a still small voice]
+
+     (here I think it is _quite_ necessary to keep the scriptural
+     expression _at least_ at the beginning!) And then perhaps:
+     'And in that voice the Lord came unto him.'
+
+     "The instrumental parts are all copied here, and I bring
+     them with me. Excuse the haste of these lines.--Always yours
+     very truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _July_ 21, 1846.
+
+     "My dear Sir,--After I had sent off my last letter to you in
+     the morning, yours of the 14th arrived in the evening. I
+     hasten to answer it, and will send the metronomes in a few
+     days, when the last two pieces of the second part will come.
+
+     "You receive to-day all the pieces that were still wanting
+     in the 2nd part, and only the Nos. 36, 37, 38, and 39 are
+     now to come, and will be sent off in a few days (two of them
+     are but short recitatives), so that I hope everything is now
+     safe with regard to rehearsals, &c., &c.
+
+     "I am quite of your opinion, that _accent_ is _the_ thing,
+     and I much prefer the alteration of a few notes to a bad
+     accent. So I hope you left 'Be not afraid, saith God the
+     Lord, be not afraid, for I am near,' which seems to me much
+     better than the other. At any rate, I hope to stay 6 or 8 or
+     10 days in London _before_ the Festival.
+
+     "In the song, 'O rest in the Lord' (_Sei stille dem Herrn_),
+     I beg you will adopt something like the words of Ps. 37, v.
+     4, instead of the words 'and He will ever keep the
+     righteous'! 'and He shall give thee' does very well with the
+     notes; and there is only another expression, instead of 'the
+     desires of thy heart,' necessary to make it fit the music
+     and everything. And instead of the end 'He will defend
+     thee,' &c., I should prefer also Ps. 37, v. 8, perhaps so:
+     'and cease from anger, and fret not thyself'; or, 'and cease
+     from [slur symbol] anger and forsake the wrath,' which will
+     do with the alteration of one or two notes being not slurred
+     instead of slurred, and _vice versâ_.
+
+     "And pray let always _accent_ go first, especially in the
+     _Choruses_! And Songs! And Recitatives!
+
+     "Always yours very truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+Mendelssohn's request for a good verbal accent throughout the whole
+translation of his oratorio is frequently expressed in these letters.
+No less anxious was he to retain, as nearly as possible, the familiar
+words of the English Bible, in preference to introducing new wordings
+of well-known texts--_e.g._, "Oh! that I knew where I might find
+Him."[40] And when this was not practicable, he would often alter the
+notes in order to gain his desired end. It is evident from these
+letters that Mendelssohn knew the English Bible well.
+
+[Footnote 40: See the letter to Bartholomew, July 3, 1846, p. 55.]
+
+"O rest in the Lord" has attained such widespread popularity that it
+will come as a surprise to many to learn that, before the first
+performance, Mendelssohn decided to eliminate this favourite air from
+his oratorio. When Bartholomew received the manuscript of the song, he
+found that the melody began thus:--
+
+[Music: Sei stille dem Herrn, und warte auf ihn.]
+
+He at once wrote the following letter to Mendelssohn:--
+
+     "2, WALCOT PLACE, HACKNEY,
+
+     "_July_ 20, 1846.
+
+     "And now, my dear Sir, having done all I can with 'Elijah,'
+     as much as I have of it--having corrected and revised the
+     second proofs of its printed first portion, and made the
+     alterations you suggested--nearly all--one or two remaining
+     for your assistance to complete--I am about to take a great
+     liberty with you, and the impulse which prompts it--be it
+     offensive or not--you must place to the account of the
+     feeling which you or your music has inspired within me. And
+     what is your music but yourself?--the incarnation of your
+     spirit, made material by creation, and thus
+     apparent--apparent through the agency of the body!
+
+     "Do you know a Scotch air, called 'Robin Gray'?
+
+     [Music: Young Jamie lov'd me well, and ask'd me for his
+     bride, &c.[41]]
+
+     "Now compare the aria (_Andante_, without a number) 'Sei
+     stille dem Herrn' ['O rest in the Lord'] with it. You may,
+     perhaps, see nothing semblant in the two; but so much
+     warranty have I for thinking that there is, that when
+     Buxton--who brought it to me while I was with Miss
+     Mounsey,[42] examining some of the proofs of your
+     'Elijah'--heard her, at his request, try it over--I being
+     engaged at the table copying--he said: 'Why that's like
+     "Robin Gray"!' _I_ thought so, ere the above phrase was
+     completed, and Miss Mounsey agreed with our opinions. I said
+     nothing more then, but when I returned home I looked at it
+     again, and at bar 10--look at it!--see the close:--
+
+     [Music: pound were both for me.]
+
+     [Music: Bar 10. _führen_.[43]]
+
+     "Other distinct features may be traced, but these two are
+     enough to give it the stamp of at _least_ an imitation,
+     which if you intend it to be, I have nothing further to say
+     on the subject; except that it will lay you open to the
+     impertinence of the saucy _boys_ of the musical press, one
+     of whom has had the audacity to accuse you of copying,
+     borrowing, making your own, the ideas of the little man of
+     the party!...
+
+     "Enough of this. Place what I have said to the right side of
+     my friendly account in your _ledger lines_! If you alter the
+     notation of the song, bring or send me another score of it,
+     and I will take care to place this one only in _your own
+     hands_. Mr. Klingemann thought I ought to tell you of the
+     coincidence, I having mentioned it to him."
+
+[Footnote 41: Mr. Bartholomew doubtless quoted this and the following
+example from memory.]
+
+[Footnote 42: Afterwards Mrs. Mounsey Bartholomew.]
+
+[Footnote 43: The German words which Mendelssohn _originally_ selected
+for "O rest in the Lord" were: "Sei stille dem Herrn, und warte auf
+ihn; der wird dich wohl zum Guten führen. Befiehl dem Herrn deine
+Wege, und hoffe auf ihn; der wird dich erretten von allem Übel." He
+subsequently changed the second and fourth clauses to the more
+familiar Luther version. (Psalm xxxvii., 7, 4, 5, 8.)]
+
+In answer to this letter--which Mendelssohn erroneously considered to
+be a request to _omit_ the song--came the following reply:--
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _July_ 28, 1846.[44]
+
+     "My dear Sir,--Here are the metronomes, which I beg you will
+     give the director of the choruses; but tell him that I
+     cannot promise they will be _exactly_ the same, but _nearly_
+     so, I think.
+
+     "Many thanks for your last letter, with the remarks about
+     the song ['O rest in the Lord']. I do not recollect having
+     heard the Scotch ballad to which you allude, and certainly
+     did not think of it, and did not _choose_ to imitate it; but
+     as mine is a song to which I always had an objection (of
+     another kind), and as the ballad seems much known, and the
+     likeness very striking, and before all, as you wish it, I
+     shall leave it out altogether (I think), and have altered
+     the two last bars of the preceding recitative, so that the
+     chorus in F may follow it immediately. Perhaps I shall bring
+     another song in its stead, but I doubt it, and even believe
+     it to be an improvement if it is left out.
+
+     "You receive here Nos. 36, 38, and 39. The only piece which
+     is not now in your hands is No. 37, a song of Elijah ['For
+     the mountains shall depart']. And this (and perhaps one song
+     to be introduced in the first part) I shall either send or
+     bring myself, for they will require only few words, and it
+     will be plenty of time to copy the vocal parts, and the
+     instrumental ones I bring over with me. I hope to be in
+     London on the 17th, and beg you will let us have a grand
+     meeting on the 18th, to settle all the questions and the
+     copies of the solo parts.
+
+     "Always yours very truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 44: The original autograph of this letter, together with a
+MS. copy of "O rest in the Lord," also in Mendelssohn's own hand, were
+personally presented by the late Mrs. Mounsey Bartholomew to the
+Guildhall Library, in May, 1880. But both MSS. suddenly and
+mysteriously disappeared at the time, and have not since been found.
+See _The Times_, May 15, 1880, p. 13.]
+
+It may perhaps be as well to complete the history of "O rest in the
+Lord" before proceeding farther, even at the risk of a little
+repetition. Mendelssohn does not seem to have liked the implied
+plagiarism of "Auld Robin Gray," although he says he had an
+"objection" to his song "O rest in the Lord" "of another kind." He
+repeated his request that it "must be left out" (see next letter).
+Bartholomew, however, wrote to him saying: "Why omit the song 'O
+rest,' when merely a note or two of the melody being changed would
+completely obliterate the identity, and I think not spoil the song as
+a whole? If you omit it, and especially upon such a reason as my hint
+may have afforded, I shall be very much pained."
+
+This last sentence must have so touched Mendelssohn's feelings that he
+somewhat relented from his former decision. He wrote to Bartholomew:
+"About the song 'O rest in the Lord,' we will settle everything when
+we meet." Bartholomew strongly urged him to retain the now familiar
+air; but even at the eleventh hour (at the rehearsal in London)
+Mendelssohn still wished to delete it from the oratorio. However, the
+advice of his friends ultimately prevailed, and "O rest in the Lord"
+was thereby spared the fate of utter oblivion. Mendelssohn altered the
+fifth note of the melody (taking it _down_ to C instead of _up_ to G)
+in order to destroy the supposed "Auld Robin Gray" likeness; but it is
+amusing to notice that he _retained his original note_ in the _coda_
+of the song, where, in two places, the fifth note goes up to G![45]
+
+[Footnote 45: Amongst the MSS. which Miss Mounsey kindly gave me in
+view of this "History," is the identical copy from which "O rest in
+the Lord" was first sung in public--by Miss M.B. Hawes, at the
+Birmingham Festival of 1846. The copy, written by Bartholomew, has
+pencilled alterations in Mendelssohn's own hand.]
+
+This break in the continuity of the correspondence may afford an
+opportunity of mentioning a phrase used by Bartholomew in one of his
+letters to Mendelssohn, which he calls "Irish Echoes." He says: "We
+must mind that any notation which may be altered shall not affect the
+band parts. Excuse my naming this. You do not write _Irish
+Echoes_--but yet by altering the notation they may inadvertently
+arise. Lest you should not know what I mean by an 'Irish Echo,' this
+may explain it. An Irishman, boasting of his country, said: 'It had an
+Echo, which, if you said 'How d'ye do?' replied, 'Pretty well, I thank
+you!'"
+
+But to resume the continuation of the letters:--
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _August_ 9, 1846.
+
+     "My dear Sir,--I write these lines merely to tell you that I
+     hope to see and speak to you on the 17th or 18th, and to ask
+     you to defer the printing of the words of 'Elijah' in the
+     books till after my arrival _if possible_. Moscheles writes
+     they want to print the books _now_, but I really think that
+     a week beforehand is early enough. However, as I do not know
+     how these things are managed in England, I beg that _if it
+     must be done_ before my arrival, you will introduce the
+     following alterations:
+
+     "1. After the words of Elijah (the curse), and before the
+     1st chorus, I should like to have in the books
+     'Introduction,' or 'Overture,' or some word like this, to
+     let people know that an Overture is coming before the
+     chorus--for I have written one, and a long one.
+
+     "2. The song 'Sei stille dem Herrn' ['O rest in the Lord']
+     must be left out.
+
+     "3. The _second_ part of No. 41, 'Er wird öffnen die Augen
+     der Blinden,' must also be left out; so that from the words
+     'und der Furcht des Herrn' ['and of the fear of the Lord']
+     it goes immediately to the quartett in B flat 'Wohlan, denn'
+     ['O come, every one that thirsteth']. Pray let the choral
+     people at Birmingham know this _directly_; it will spare
+     them much time, as the _Alla breve_ is not easy, and as I
+     am sure I will not let it stand. Of course the _whole
+     beginning_ of No. 41, 'Aber einer erscheint, &c.; der wird
+     des Herrn Namen' must _stand_ and _not_ be omitted; merely
+     from the _Alla breve_, and from the 1st introduction of the
+     words 'Er wird öffnen,' is to be left out.[46]
+
+     "Pray excuse all this trouble; and let me thank you in
+     person for all the hard work you have had on my account.
+
+     "Always very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 46: This section of the chorus (No. 41), which Mendelssohn
+rejected almost at the eleventh hour, was a somewhat extended movement
+in D, eighty-six bars long. It started with the following subject in
+the soprano:
+
+[Music: SOPRANO. He shall open, shall open the blind eyes, and He
+shall bring the prisoners from the prison; and them that sit, that sit
+in darkness out of the prison house.]]
+
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _August_ 10, 1846.
+
+     "My dear Sir,--In the letter I wrote to you yesterday I
+     forgot to mention the words of the song which I bring with
+     me (the No. 37 which is still wanting in your score) in
+     case it should be _indispensable_ to have the books printed
+     before my arrival. They are from Isaiah liv., 10, and I find
+     that the English words will apply literally to my music; so
+     I beg you will let No. 37 stand thus in the English version:
+     _No. 37, Arioso (Elijah)_. 'For the mountains shall depart
+     and the hills be removed; but Thy kindness shall not depart
+     from me, neither shall the covenant of Thy peace be
+     removed.'
+
+     "Excuse my negligence and the two letters.
+
+     "Always yours very truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY,
+
+     "who hopes to see you this day week."
+
+     "P.S.--I re-open this letter because I receive this moment
+     yours of the 4th.--Many, many thanks for all the trouble you
+     take. I shall bring an organ part if possible; and be sure
+     that I shall not be dissatisfied with _any_ thing you may
+     have done under your responsibility; I know you too well for
+     that. The synopsis of the second part is quite right, and
+     with the addition of No. 37 (as above) it is all in order. I
+     am certain our conference will not be half so difficult as
+     you anticipate, and in a few hours we will have settled
+     everything. Can we meet on the 18th at Mr. Klingemann's?
+     About the song, 'O rest in the Lord,' we will settle
+     everything when we meet."
+
+Mendelssohn and Bartholomew duly met in London, and the "everything"
+included numerous finishing touches and alterations, both in regard
+to the English words and the music. The correspondence between the
+two men was only temporarily suspended. It was renewed, with all its
+old characteristics, when "Elijah" was under revision; and the
+subsequent letters from Mendelssohn to his English translator will be
+found in Chapter V.--"The Revised Oratorio."
+
+
+
+
+CHAPTER IV.
+
+THE FIRST PERFORMANCE.
+
+
+Mendelssohn arrived in London on August 17 or 18 (1846), and again
+stayed with Klingemann, at 4, Hobart Place, Eaton Square. A pianoforte
+rehearsal of the vocal solos of "Elijah" was held on the 19th
+(Wednesday), at Moscheles's house, 3, Chester Place, Regent's Park.
+Mendelssohn commenced the rehearsal by playing the Overture from
+memory, to the delight and admiration of those who heard it. The lady
+vocalists gave the composer some trouble. The soprano requested him to
+transpose "Hear ye, Israel," a whole tone down, and to make certain
+changes to suit her particular style! "It was not a lady's song," she
+said. Mendelssohn resisted with studied politeness, and said, "I
+intended this song for the principal soprano; if you do not like it I
+will ask the Committee to give it to some other vocalist." Afterwards,
+when alone with Moscheles, he most unreservedly expressed himself as
+to the "coolness of such suggestions."
+
+When "O rest in the Lord" was tried over, the singer was anxious to
+introduce a long shake (on D) at the close! "No," said the composer,
+"I have kept that for my orchestra," and he then archly played the
+familiar shake, which is given to the flute in the orchestral
+accompaniment. He was still doubtful, even at the eleventh hour,
+whether he should not withdraw "O rest in the Lord." "It is too
+sweet," he said. His friends urged him at least to try its effect, and
+ultimately their advice was accepted. Mr. Charles Lockey, the young
+tenor singer, immediately won the composer's golden opinion, and
+Mendelssohn was more than satisfied with his beautiful and sympathetic
+voice at the first performance. The tenor solos had been previously
+assigned to Mr. J.W. Hobbs, who generously relinquished them in favour
+of the younger singer. The soloists had to sing from MS. copies which
+contained only the vocal melody and bass of the accompaniment. These
+copies, neatly written by Bartholomew on oblong-folio music-paper,
+contain several alterations in Mendelssohn's own hand.
+
+The orchestral parts had been previously tried over and corrected at
+Leipzig; the way was therefore made smooth for the band rehearsals in
+London. These rehearsals took place at the Hanover Square Rooms on the
+Thursday and Friday preceding the Festival. "Mendelssohn," records the
+late Mr. Rockstro, "looked very worn and nervous; yet he would suffer
+no one to relieve him, even in the scrutiny of the orchestral parts,
+which he himself spread out on some benches beneath the windows on the
+left-hand side of the room, and insisted upon sorting out and
+examining for himself." The late Henry Lazarus, the eminent
+clarinettist, related to me a personal incident in connection with
+this first London rehearsal. Near the end of the chorus "He, watching
+over Israel," occurs the following instrumental phrase in the
+clarinets and flutes--a phrase which is not fully discernible in the
+pianoforte arrangement of the score, and which is practically
+inaudible at a performance:--
+
+[Music: Bar 14 from the end.
+
+CHORUS. slumbers not, sleeps, not, &c.]
+
+"Mr. Lazarus," said Mendelssohn, "will you kindly make that phrase a
+little stronger, as I wish it to stand out more prominently? I know I
+have marked it _piano_." "Of course," added Mr. Lazarus, "I was
+playing it religiously as marked."
+
+The story that the holding C's for the oboe in No. 19 (which accompany
+"There is nothing") were inserted by Mendelssohn at the end of the
+first rehearsal to satisfy Grattan Cooke, the oboeist, is a pure myth.
+A MS. score of the work, used at Birmingham, and now in the possession
+of Messrs. Novello, Ewer and Co., shows that these notes were not
+subsequently added, but formed part of the original design. Moreover,
+Mendelssohn would hardly be guilty of the mock-descriptive in allowing
+the words "There is _nothing_" to be sung without any accompaniment.
+And Cooke could not complain that the composer had not given him any
+oboe solos, after he had played the beautiful oboe obbligato in "For
+the mountains shall depart," which was doubtless written by
+Mendelssohn expressly for Cooke.[47] The story probably took its
+origin from the following circumstance, which has been fully told by
+Dr. E.J. Hopkins. When the vocal score of "Elijah" was first
+published, Mendelssohn presented a copy to Grattan Cooke, who was a
+great favourite with the composer. In this copy Mendelssohn wrote the
+following inscription:--
+
+     [Music]
+
+     "An Grattan Cooke, zum freundlichen Andenken.
+
+     "FELIX MENDELSSOHN-BARTHOLDY.
+
+     "London, Frühling, 1847."
+
+[Footnote 47: According to the late Mr. J.W. Davison, "Mendelssohn was
+a long time uncertain whether he should add the oboe part, or limit
+the score to the string quartet."]
+
+Mendelssohn knew that Grattan Cooke was fond of a joke, and, as Dr.
+Hopkins says, the composer's quiet humour is well shown in the above
+inscription. The length of the note is seven bars of slow time, the
+last of which is not only indefinitely prolonged by a pause, but has
+in addition a _crescendo_ and _diminuendo_ mark. "Any oboeist,"
+observes the Temple organist, "who would dare to try and sustain that
+note as directed would, before bringing it to a termination, himself
+cease to exist!"[48]
+
+[Footnote 48: As a specimen of Grattan Cooke's humour, the following
+incident was related to me by a veteran musician who was a
+fellow-student of the witty oboeist at the Royal Academy of Music. At
+one of the early rehearsals of Mendelssohn's "Midsummer Night's Dream"
+Overture, Cooke was missed from his place in the orchestra, and was
+soon afterwards seen walking up the room carrying a ladder. "What on
+earth have you got that for?" he was asked. Cooke replied: "He's
+written the notes so tremendously high, that I've brought a ladder to
+get up to them!"]
+
+"Elijah" was honoured with the novelty of a preliminary analytical
+notice in _The Times_ of Monday, August 24, 1846, two days before the
+first performance. This article, two columns in length, was one of the
+earliest contributions of the late J.W. Davison, on his joining the
+staff of _The Times_, of which paper he was for many years the musical
+critic.
+
+Euston station presented an animated scene on the Sunday afternoon
+preceding the Festival, when a special train, which left London at 2
+p.m., conveyed Mendelssohn, the solo singers, the band, the London
+contingent of the chorus, and the "Gentlemen of the Press" to
+Birmingham.
+
+Monday morning was set apart for a full rehearsal of "Elijah" in the
+Town Hall, which is thus described in the _Birmingham Journal_:--
+
+     Mendelssohn was received by the performers with great
+     enthusiasm, renewed again and again, as his lithe and
+     _petit_ figure bent in acknowledgment of these spontaneous
+     and gratifying tributes to his genius, personal affability,
+     and kindness.... His manner, both in the orchestra and in
+     private, is exceedingly pleasing. His smile is winning, and
+     occasionally, when addressing a friendly correction to the
+     band or choir, full of comic expression. He talks German
+     with great volubility and animation, and speaks English
+     remarkably well. He possesses a remarkable power over the
+     performers, moulding them to his will, and though rigidly
+     strict in exacting the nicest precision, he does it in a
+     manner irresistible--actually laughing them into perfection.
+     Some of his remarks are exceedingly humorous. In the
+     Overture to the "Midsummer Night's Dream" [played at the
+     Festival], the gradations of sound were not well preserved;
+     a rattle of his _bâton_ on the music-stand brings the band
+     to a dead halt. "Gentlemen," says Mendelssohn, "that won't
+     do. All _fortissimo_, all _pianissimo_, no _piano_! A little
+     _piano_ between, if you please. Must have _piano_,
+     gentlemen; when you come to _fortissimo_, do as you like."
+     All this is expressed with animation and good humour, and a
+     roar of laughter over, the band tries again, and a smile
+     playing on the expressive features of the conductor, attests
+     the power of his pleasantly administered corrective.... At
+     its conclusion the whole band and chorus broke into a
+     torrent of enthusiastic acclamation. After the oratorio had
+     been rehearsed, Mendelssohn expressed himself highly pleased
+     with the manner in which the performers had rendered his
+     work, and complimented them on their extraordinary
+     efficiency.
+
+As Moscheles, the Conductor-in-chief of the Festival, was unwell,
+Mendelssohn conducted the evening rehearsal for him. At Mendelssohn's
+request the usual Tuesday evening concert was given up for an extra
+rehearsal of "Elijah." "After the rehearsal," says Mrs. Moscheles, "I
+helped Mr. Bartholomew in correcting the 'text,' and so we went on
+till one o'clock in the morning."
+
+The band and chorus for the Festival consisted of 396 performers. The
+band, mostly of the Philharmonic and the Opera orchestras, numbered
+125 players--93 strings and double wood-wind. The chorus, including a
+contingent of 62 from London, totalled 271, distributed thus:
+sopranos, 79; altos (all male voices, "bearded altos," as Mendelssohn
+called them), 60; tenors, 60; and basses, 72.
+
+The principal vocalists in "Elijah" were Madame Caradori-Allan, Miss
+Maria B. Hawes, Mr. Charles Lockey, and Herr Staudigl; the subordinate
+parts were filled by the Misses Williams (who sang the _duet_ "Lift
+thine eyes," now the trio), Miss Bassano, Mr. J.W. Hobbs, Mr. Henry
+Phillips, and Mr. Machin. Dr. Gauntlett was specially engaged to play
+the organ in the new oratorio. Mr. James Stimpson was the
+chorus-master and official organist of the Festival.
+
+       *       *       *       *       *
+
+The first performance of "Elijah" took place in the Birmingham Town
+Hall, on Wednesday morning, August 26, 1846. Benedict thus describes
+the scene: "The noble Town Hall was crowded at an early hour of that
+forenoon with a brilliant and eagerly-expectant audience. It was an
+anxious and solemn moment. Every eye had long been directed towards
+the conductor's desk, when, at half-past eleven o'clock, a deafening
+shout from the band and chorus announced the approach of the great
+composer. The reception he met with from the assembled thousands on
+stepping into his place was absolutely overwhelming; whilst the sun,
+emerging at that moment, seemed to illumine the vast edifice in honour
+of the bright and pure being who stood there the idol of all
+beholders."
+
+The new oratorio was received with extraordinary enthusiasm, and the
+composer's expectations of his work were more than realised. _The
+Times_ said: "The last note of 'Elijah' was drowned in a
+long-continued unanimous volley of plaudits, vociferous and deafening.
+It was as though enthusiasm, long-checked, had suddenly burst its
+bonds and filled the air with shouts of exultation. Mendelssohn,
+evidently overpowered, bowed his acknowledgments, and quickly
+descended from his position in the conductor's rostrum; but he was
+compelled to appear again, amidst renewed cheers and huzzas. Never was
+there a more complete triumph--never a more thorough and speedy
+recognition of a great work of art."
+
+Eight numbers were encored: "If with all your hearts," "Baal, we cry
+to thee," "Regard Thy servant's prayer" (now "Cast thy burden"),
+"Thanks be to God," "He, watching over Israel," "O rest in the Lord,"
+"For the mountains shall depart," and "O! every one that thirsteth."
+Herr Staudigl gave a majestic and ideal rendering of the music of the
+Prophet. In the opinion of the late Mr. Stimpson, who spoke from forty
+years' experience of the Birmingham Festivals, Staudigl's
+interpretation of the bass part has never yet been equalled. The
+junior tenor of the Festival, Mr. Charles Lockey, fairly won his
+laurels. He sang his two songs "deliciously," says a critic; the
+first, "If with all your hearts," was encored, and "the smile upon
+Mendelssohn's face while it was being sung showed how much he was
+pleased with the chaste execution of this young tenor." The soprano
+and contralto soloists failed to satisfy Mendelssohn.
+
+No small measure of the success of the performance was due to Mr.
+Stimpson, the unwearied chorus-master. At its conclusion Mendelssohn
+took him by both hands and said: "What can I give you in return for
+what you have done for my work?" The composer was delighted with the
+manner in which the band and chorus had rendered his music; and an old
+member of the band records "the eagerness with which Mendelssohn shook
+hands with all who could get near him in the artists' room, thanking
+them warmly for the performance." A veteran member of the choir,
+speaking from the recollections and experiences of more than fifty
+years, says of Mendelssohn's appearance and conducting: "It was one of
+the most impressive memories I have in matters musical."
+
+Before going into the Hall, Mendelssohn said to Chorley, the musical
+critic of the _Athenæum_: "Now stick your claws into my book. Don't
+tell me what you like, but tell me what you _don't_ like." After the
+performance, he said in his merriest manner to Chorley: "Come, and I
+will show you the prettiest walk in Birmingham." He then led the
+critic and other friends to the banks of the canal, bordered by coal
+and cinder heaps. There, on the towing-path between the bridges, they
+walked for more than an hour discussing the new oratorio. According to
+the late Mr. Moore, it was then and there, amidst the scenery of the
+cinder heaps, that a sudden thought struck Mendelssohn to change "Lift
+thine eyes" from a duet into a trio.
+
+Shortly after this "prettiest walk in Birmingham," Mendelssohn poured
+out his delighted feelings to his brother Paul in the following
+letter:--
+
+     [TO PAUL MENDELSSOHN-BARTHOLDY.]
+
+     "BIRMINGHAM, _August_ 26 [? 27], 1846.
+
+     "My dear Brother,--From the very first you took so kind an
+     interest in my 'Elijah,' and thus inspired me with so much
+     energy and courage for its completion, that I must write to
+     tell you all about its first performance yesterday. No work
+     of mine ever went so admirably the first time of execution,
+     or was received with such enthusiasm, by both the musicians
+     and the audience, as this oratorio. It was quite evident, at
+     the first rehearsal in London, that they liked it, and liked
+     to sing and to play it; but I own I was far from
+     anticipating that it would acquire such fresh vigour and
+     'go' in it at the performance. If you had only been there!
+     During the whole two hours and a half that it lasted, the
+     two thousand people in the large hall, and the large
+     orchestra, were all so fully intent on the one object in
+     question, that not the slightest sound was to be heard among
+     the whole audience, so that I could sway at pleasure the
+     enormous orchestra and choir, and also the organ
+     accompaniment. How often I thought of you during the time!
+     More especially, however, when the 'sound of abundance of
+     rain' came, and when they sang the final chorus with
+     _furore_, and when, after the close of the first part, we
+     were obliged to repeat the whole movement ['Thanks be to
+     God']. Not less than four choruses and four airs were
+     encored, and not one single mistake occurred in the whole of
+     the first part; there were some afterwards in the second
+     part, but even these were but trifling. A young English
+     tenor[49] sang the last air ['Then shall the righteous shine
+     forth'] so beautifully, that I was obliged to collect all my
+     energies so as not to be affected, and to continue beating
+     time steadily. As I said, if you had only been there!"
+
+[Footnote 49: Mr. Charles Lockey.]
+
+In a letter written from London (August 31, 1846) to Frau Livia Frege,
+of Leipzig--a gifted amateur singer with a very lovely and high
+soprano voice--Mendelssohn said:--
+
+     "You have always shown so much kind interest in my 'Elijah,'
+     that I look upon it as a duty to write to you after its
+     performance, and to give you an account of it. If this
+     should weary you, you have only yourself to blame; for why
+     did you allow me to come to you with the score under my arm,
+     and play to you those parts that were half completed, and
+     why did you sing so much of it to me at sight? You really
+     ought to have felt it a duty to travel with me to
+     Birmingham; for one ought not to make people's mouths water
+     and make them feel dissatisfied with their condition where
+     one cannot help them; and it was just the solo soprano part
+     I found there in a most helpless and lamentable state. But
+     there was so much that was good by way of compensation that,
+     on the whole, I bring back a very pleasant impression, and I
+     often thought that you also would have taken pleasure in it.
+
+     "The rich, full sounds of the orchestra and the huge organ,
+     combined with the powerful voices of the chorus, who sang
+     with sincere enthusiasm; the wonderful resonance in the huge
+     grand hall; an admirable English tenor; Staudigl, too, who
+     took all possible pains, and whose talents and powers you
+     already well know; some very good second soprano and
+     contralto solo singers; all executing the music with special
+     zest and the utmost fire and spirit, doing justice not only
+     to the loudest passages, but also to the softest _pianos_ in
+     a manner which I never before heard from such masses; and,
+     in addition, an impressionable, kindly, hushed, and
+     enthusiastic audience--now still as mice, now exultant--all
+     this is indeed sufficient good fortune for a first
+     performance. In fact, I never in my life heard a better, or
+     I may say one as good; and I almost doubt whether I shall
+     ever again hear one equal to it, because there were so many
+     favourable combinations on this occasion.
+
+     "With so much light the shadows were not absent, and the
+     worst was the soprano part. It was all so pretty, so
+     pleasing, so elegant, at the same time so flat, so
+     heartless, so unintelligent, so soulless, that the music
+     acquired a sort of amiable expression about which I could go
+     mad even to-day when I think of it. The alto had not enough
+     voice to fill the hall ... but her rendering was musical and
+     intelligent, which to me makes it far more easy to put up
+     with than want of voice. Nothing is so unpleasant to my
+     taste as such cold, heartless coquetry in music. It is so
+     unmusical in itself, and yet it is often made the basis of
+     singing and playing--making music, in fact."
+
+To Jenny Lind, Mendelssohn wrote:--
+
+     "The performance of my 'Elijah' was the best performance
+     that I ever heard of any one of my compositions. There was
+     so much go and swing in the way in which the people played,
+     and sang, and listened. I wish you had been there."
+
+[Illustration: MADAME CARADORI-ALLAN
+
+(1800-1865)
+
+_The original soprano in Mendelssohn's "Elijah."_]
+
+The opinions of the professional critic and the composer have been
+given; the impressions of a cultured amateur in the audience may
+therefore appropriately follow. The subjoined extract is from a letter
+written by the late Mrs. Samuel Bache, of Birmingham (mother of those
+gifted musicians, Francis Edward and Walter Bache), to her nephew, Mr.
+Russell Martineau, M.A., in which she gives a full account of the
+Festival:--
+
+     "EDGBASTON, _September_ 4, 1846.
+
+     "... Wednesday morning 'Elijah' was performed, and of this I
+     cannot exaggerate my reverential admiration. The old
+     admirers of Handel, who always crowd to 'The Messiah,' which
+     they _must not_ miss whatever else they give up, would be
+     shocked to hear anyone confess a greater, a more refined and
+     spiritual influence exercised by Mendelssohn over the mind
+     and heart; but to me it is so undoubtedly, whether _in part_
+     from too great familiarity lessening the impression in
+     Handel's case, I am not quite sure. I think it is that
+     Mendelssohn's whole nature is profoundly educated; that his
+     adaptation of the music to the meaning is not of that broad
+     unmistakable kind which even an uneducated ear can
+     comprehend, but is of that refined and far-reaching nature
+     which carries along with it in fullest sympathy, mind,
+     heart, and soul, be they cultivated ever so highly. If I
+     could send you my scheme [word-book] of 'Elijah' with my own
+     remarks, you would at once see what I mean; one instance
+     must suffice now--the Widow entreating Elijah's 'help' for
+     her sick son receives this answer, '_Give me_ thy son.' Then
+     follows his prayer for God's help that he again may live.
+     The 'Give me thy son' expressed all that religious reliance,
+     that confidence in power from above which already assured
+     the prayer's fulfilment; and Staudigl being Elijah,
+     Mendelssohn's every intention was carried out. Then the
+     contrast between the 'Baal music' and Elijah's and the
+     Israelites' prayers and adoration is finely and truly
+     maintained. To select beauties where the whole is so perfect
+     seems nearly impossible. There is one song deep in my heart,
+     like 'the Lord is mindful of His own' from 'Paul,' which I
+     should call _the song_ of the oratorio--namely, the angel's
+     comfort to Elijah in his despondency, 'O rest in the Lord,
+     wait patiently for Him, and He shall give thee thine heart's
+     desires,' &c. And one quartett of surpassing power and
+     beauty, viz., 'O! every one that thirsteth.' The choruses I
+     consider quite uncommonly impressive; no _noise_, all
+     _music_ and _meaning_, and some of almost unparalleled power
+     and grandeur. Such a triumphant first performance has, I
+     should think, seldom been known....
+
+     "And where was your cousin Edward [Bache] all the time? He
+     was in the orchestra, very near his old master, Mr. [Alfred]
+     Mellon, and our kind friend Mr. Flersheim, and thus had the
+     great advantage and enjoyment of hearing nearly all the
+     performances and taking his part on the violin; it has been
+     a great stimulus to him and an encouragement."[50]
+
+[Footnote 50: F. Edward Bache was then a boy of thirteen. His name
+does not appear in the official list of the Band; but Mr. Andrew
+Deakin's recollection of the event confirms the statement in Mrs.
+Bache's letter.]
+
+At the same time Mrs. Bache wrote to her sister, Mrs. Martineau, the
+wife of the Rev. Dr. James Martineau, as follows:--
+
+     "Let me tell you that Mendelssohn's noble oratorio of
+     'Elijah' was even more than I had expected, and I had _very_
+     great expectations. To see him conducting was worth
+     anything. He seemed inspired, and might well be forgiven
+     for something of self-reverence, though he looked all
+     humility; and when he came down from his chair when it was
+     all over, he seemed all unstrung as if he could no more. The
+     interest that invests that man is quite inexpressible, and
+     indeed I never felt, as I have done throughout this week's
+     Festival, the _greatness_ of a truly great _composer_; what
+     are all the performers compared with him!"[51]
+
+[Footnote 51: I am much indebted to Mr. Russell Martineau, and the
+surviving members of Mrs. Bache's family, for their kind permission to
+use these interesting extracts.]
+
+In a letter ("Leipzig, _September_ 28, 1846"), written in English, to
+his Birmingham host, Mr. Joseph Moore, Mendelssohn said:--
+
+     "I have now returned home, found all my family as well as I
+     might have wished, and, while I think over the events of
+     this last journey, I cannot help addressing these few lines
+     to you in order to express once more the most sincere and
+     most heartfelt thanks for your very kind reception, and for
+     the friendship you have again shown to me during my stay at
+     your house. Indeed, the first performance of my 'Elijah'
+     exceeded all the wishes which a composer may feel at such an
+     important moment, and the evident goodwill of all the
+     artists in the orchestra, as well as the kindness with which
+     the audience received the work, will be as long as I live a
+     source of grateful recollection. And yet it seems to me
+     that I should not have enjoyed so great a treat as
+     thoroughly and intensely as I did, if it had not been for
+     your kindness and continued friendship, and for the
+     comfortable home which you offered to me during those days
+     of excitement. Our quiet morning and evening conversations
+     with Mr. Ayrton and Mr. Webb are to my mind quite connected
+     with the performances at the Town Hall, and form an
+     important part of _my_ Musical Festival at Birmingham; and
+     while I should certainly never have assisted at one of them
+     if it had not been for our very old acquaintance, and while
+     I accordingly owe to you the whole of the treat which this
+     first performance of 'Elijah' afforded me, I must at the
+     same time thank you no less heartily and sincerely for the
+     quiet and comfortable stay, and the friendly reception at
+     your house, which enhanced all those pleasures so
+     considerably. That your health may now be quite restored
+     again after the fatigues you have undergone, and that we may
+     soon meet again (either in your country, or once more in
+     mine), and that you will continue the same kindness and
+     friendship which you have now shown to me, and which I
+     always met with from you since so many years, is the most
+     earnest wish and hope of
+
+     "Yours very truly and gratefully,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+In spite of Mendelssohn's protest, "Elijah" was immediately followed
+by two Italian "selections" and a Handel chorus! If the Committee
+tried their skill at providing an anti-climax, they admirably
+succeeded.
+
+At the concluding concert, on Friday morning, the final chorus of
+Handel's "Zadok the Priest" was set down for performance. Almost at
+the last minute it was found that there was no music for the preceding
+Recitative printed in the word-book.[52] The Committee were in a fix,
+and then they suddenly thought that Mendelssohn might be able to help
+them in their hour of need. He was sitting in the Vice-President's
+gallery, enjoying the performance, when the chairman of the Orchestral
+Committee, the late Mr. J.F. Ledsam, went to him and stated their
+difficulty. Mendelssohn at once proceeded to the ante-room, and, in a
+few minutes, composed a recitative for tenor solo, with accompaniment
+for strings and two trumpets. The parts were expeditiously copied by
+the indefatigable Goodwin, and the whole recitative was performed
+_prima vista_ by Mr. Lockey, a quintet of strings, and the two trumpet
+players. The audience were entirely ignorant of the circumstance of
+this impromptu composition, and doubtless thought that they were
+listening to music by Handel.
+
+[Footnote 52: The words of this Recitative, probably written by the
+Rev. John Webb, first appeared in the word-book of the 1837 Festival,
+just after the accession of Queen Victoria. They supplanted those
+beginning "When King David was old," first sung in 1820. These new
+(Victorian) words were also used at the Festival of 1840, but not in
+1843.]
+
+Through the kindness of the late Dr. W.A. Barrett and Messrs. Goodwin
+and Tabb, it is possible to give the score, together with
+Mendelssohn's felicitous postscript:--
+
+     [Music: RECIT. TENOR. The Lord God Almighty, who ordereth
+     all things in heaven and on earth, hath anointed His
+     handmaid, to be ruler over the nations, to gladden the
+     hearts, the hearts of His servants, Let the trumpets blow,
+     let the trumpets blow, And let all the people rejoice,
+     rejoice and say,
+
+     [_Chorus_--"God save the Queen."]]
+
+     "Composed expressly for this Festival, and for Mr. Lockey,
+     with _many_ thanks for--
+
+     [Music] and for [Music]
+
+     "by me,
+
+     "FELIX MENDELSSOHN-BARTHOLDY.
+
+     "Birmingham, August 28, 1846."
+
+Mendelssohn left Birmingham the same day and came to London, "where,"
+he says, "my only important business was a 'fish dinner' at
+Lovegrove's at Blackwall; after which I stayed four days at Ramsgate
+for sea air, and ate crabs, and enjoyed myself with the Beneckes." The
+late Mrs. Benecke, for whom Mendelssohn had a particular affection,
+remembered that he was in most cheerful and excellent spirits during
+his visit at the seaside, and that he often referred with great
+satisfaction to the first performance of his "Elijah." Although his
+stay at Ramsgate was so short, he there began to write out the
+pianoforte arrangement of the oratorio, and worked at it several hours
+daily.
+
+The Festival Committee, at their meeting immediately after the
+Festival (August 29), passed the following resolution:--
+
+     "That this Committee, deeply impressed by the unprecedented
+     success of the oratorio of 'Elijah,' written for this
+     Festival, do return their very cordial and grateful thanks
+     to Dr. Felix Mendelssohn-Bartholdy for a Composition in
+     which the most consummate musical knowledge and the highest
+     intellectual conceptions are displayed; a Composition which
+     will soon be universally known, and not only add to the
+     fame, already so great, of the Author, but tend to exalt the
+     art which he professes, and on which his genius and judgment
+     reflect so much honour."
+
+[Illustration: HERR JOSEPH STAUDIGL
+
+(1807-1861)
+
+_The original Elijah in Mendelssohn's Oratorio._]
+
+
+
+
+CHAPTER V.
+
+THE REVISED ORATORIO.
+
+
+Mendelssohn, upon his return to Leipzig, was much exhausted after the
+severe strain of composing, and the exertion connected with the
+production of "Elijah." But, although he led "a vegetable existence,
+doing nothing the whole day but eat and sleep and take walks," he very
+soon began to work at the revision of his new oratorio. It has been
+shown that Mendelssohn had to write against time in order to complete
+his oratorio for the Birmingham Festival; and after--if not before, or
+during--the first performance he discovered numerous instances in
+which the work could be greatly improved. He told Mr. Bartholomew that
+he should make _many_ alterations, and he did. In a letter to
+Klingemann, dated December 6, 1846, Mendelssohn says:--
+
+     "I have again begun to work with all my might at my
+     'Elijah,' and hope to amend the greater part of what I
+     thought deficient at the first performance. I have quite
+     completed one of the most difficult parts (the Widow); and I
+     am sure you will be satisfied with the alterations which I
+     may call improvements. 'Elijah' has become far more
+     impressive and solemn here. I missed that in my first
+     version and was annoyed by this want; but, unfortunately, I
+     never find out such things till afterwards, and till I have
+     improved them. I hope, too, to hit upon the true sense of
+     other passages that we have discussed together. I shall most
+     seriously revise all that I did not deem satisfactory; and I
+     hope to see the whole completely finished within a few
+     weeks, so as to be able to set to work on something new. The
+     parts that I have already remodelled prove to me again that
+     I am right not to rest till such work is as good as it is in
+     my power to make it; even though very few people care to
+     hear about such things, or notice them, and even though they
+     take very much time; yet the impression such passages, if
+     really better, produce in themselves and on the whole work,
+     is such a different one, that I feel I cannot leave them as
+     they now stand."
+
+In a letter to his English publisher, Mr. Buxton (Ewer & Co.),
+Mendelssohn calls this habit of constant alteration a "dreadful
+disease," from which he suffered chronically and severely. He says: "I
+was sorry to see that you will have to make so many alterations in the
+choral parts; but I think I told you before, that I was subject to
+this dreadful disease of altering as long as I did not feel my
+conscience quite at rest, and therefore I could not help it, and you
+must bear it patiently." In the same letter (written in English) he
+says:--"I did what I could to reconcile myself to the idea of adding a
+few bars to the Overture to make it a separate piece, and give it a
+conclusion; but, I assure you, it is _impossible_. I tried hard to do
+what you want, in order to show my goodwill--but I could not find an
+end, and I am sure there _is_ none to be found."
+
+The chief alterations (to quote from Sir George Grove's invaluable
+article "Mendelssohn," in his "Dictionary of Music and Musicians,"
+II., 289) were:--
+
+     "The chorus 'Help, Lord!' (No. 1), much changed: the end of
+     the double quartett (No. 7), re-written: the scene with the
+     Widow (No. 8), entirely re-cast and much extended: the
+     chorus 'Blessed are the men' (No. 9), re-scored: the words
+     of the quartett 'Cast thy burden' (No. 15), new: the soprano
+     air 'Hear ye' (No. 21), added to and re-constructed: in the
+     Jezebel scene a new chorus, 'Woe to him' (No. 24), in place
+     of a suppressed one, 'Do unto him as he hath done,' and the
+     recitative 'Man of God' added: the trio 'Lift thine eyes'
+     (No. 28) was originally a duet, quite different: Obadiah's
+     recitative and air (No. 25) are new: the chorus 'Go,
+     return,' and Elijah's answer (No. 36) are also new. The last
+     chorus (No. 42) is entirely re-written to fresh words, the
+     text having formerly been 'Unto Him that is abundantly
+     able,' etc. The _omissions_ are chiefly a movement of 95
+     {86} bars, _alla breve_, to the words 'He shall open the
+     eyes of the blind,' which formed the second part of the
+     chorus 'But thus saith the Lord' (No. 41), and a recitative
+     for tenor, 'Elijah is come already; and yet they have known
+     him not; but have done unto him whatsoever they listed,'
+     with which Part II. of the oratorio originally opened. In
+     addition to these more prominent alterations, there is
+     hardly a movement throughout the work which has not been
+     more or less worked upon."
+
+The phrase of four bars (instrumental) at the end of "Man of God" (No.
+25), and leading into "It is enough," was an afterthought, and, like
+the overture, was due to the English translator. Bartholomew made the
+suggestion--a hint, it may be called, but a very interesting one--in
+the following words: "Elijah--'Tarry here, my servant, and I will go a
+day's journey into the wilderness.' What if an instrumental interlude
+(short) gave time for the journey? and then, spent with fatigue, he
+might, from very weariness, say, 'It is enough!'"
+
+Another interesting instance of Mendelssohn's afterthoughts is that
+near the end of the last Baal chorus, where the sustained and piercing
+cry of the sopranos and altos was _not_ originally re-echoed by the
+tenors and basses:--
+
+[Music: Hear and answer.]
+
+The above impressive response to the entreaty of the female voices is
+inserted, in Bartholomew's writing, in a proof copy of the oratorio,
+now in my possession. Its appropriateness is unquestionable; yet it
+was not in the original version.
+
+The Sacred Harmonic Society, who, in 1837, had enrolled Mendelssohn as
+a member, and had presented him with a silver snuff-box,[53] were
+very anxious to be the first to perform the revised oratorio. Within a
+month of the Birmingham performance, the Secretary addressed to
+Mendelssohn a long letter, in which (1) the Society congratulated the
+composer upon the success of his new work, (2) asked that they might
+have the honour of giving the first performance of the revised version
+before a London audience, and (3) that, if possible, Mendelssohn
+should himself conduct the said performance. Here is Mendelssohn's
+reply:--
+
+[Footnote 53: This silver snuff-box, which cost nine guineas, bore
+upon it the following inscription:--
+
+  "Presented to
+  Felix Mendelssohn-Bartholdy,
+  by the
+  Sacred Harmonic Society, London,
+  on the occasion of
+  his attendance at their performance of his oratorio
+  'St. Paul,'
+  at Exeter Hall, on the 12th day of September, 1837."]
+
+     TO T. BREWER, ESQ., _Hon. Sec. to the Sacred Harmonic
+     Society_, _Exeter Hall, London_.
+
+     [_Written in English._]
+
+     "LEIPZIG, _October_ 7, 1846.
+
+     "Dear Sir,--I beg to express my best thanks for the letter
+     dated September 24, and it gives me much pleasure that the
+     Sacred Harmonic Society will undertake the first performance
+     of my 'Elijah' before a London Audience. I beg to thank the
+     Committee most sincerely for their flattering intention, and
+     of course should be most happy to conduct the work myself
+     on such an occasion, if I can come to London in April next.
+     I hope and trust that I may have that pleasure, and that
+     nothing may prevent me from doing so. But I am still
+     doubtful, and cannot give a positive promise as far as
+     regards my coming over; and as for the parts which you wish
+     to have as soon as possible, I shall speak to the Editor
+     [publisher] of them, Mr. Buxton, who, I hear, is expected
+     shortly in Leipzig, and will ask him to let you have them as
+     soon as they can be ready.
+
+     "With many thanks to yourself and the Society, believe me,
+     dear Sir, your very obedient servant,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+Before the receipt of the Sacred Harmonic Society's invitation,
+Mendelssohn must have begun the work of revision, as the following
+letter to Bartholomew (dated exactly a month after the Birmingham
+performance) will show:--
+
+     [_Written in English, and on a sheet of music-paper._]
+
+     "LEIPZIG, _September_ 26, 1846.
+
+     "Dear Mr. Bartholomew,--Many thanks for your new alterations
+     which you made to meet my wishes. I decidedly prefer the
+     _second_ version of the beginning of No. 41: 'But the Lord
+     from the north hath raised _one_!' (this is very good), but
+     at the last bar before the Andante I cannot approve of--
+
+     [Music] instead of [Music]
+
+     "Indeed these two long notes are _necessary_, for the
+     development of the whole phrase, as I intended it. Now,
+     could you not say '_call His name_,' instead of 'call upon
+     His name?' Then the chief difficulty would be removed. And
+     perhaps would it be possible to leave out 'of the sun,' and
+     only say 'from the rising' (this is done very often, at
+     least in our German Bible)? Then the second passage would
+     also stand nearly as with the German words:--
+
+     [Music: And from the rising he shall call His Name.]
+
+     "The rest of the _Andante con moto_ suits my music now very
+     well in the alteration, as you wrote it out, but I should
+     prefer there the first, and in the beginning (_Andante
+     sostenuto_) the second version. And why not? So the _Andante
+     con moto_ might begin: 'But the Lord hath upraised one, the
+     Lord,' etc. But if this is against your conscience, leave
+     here also the second version. For the beginning is much more
+     important.
+
+     "I prefer:
+
+     [Music: He shall call upon His Name, &c.]
+
+     "In No. 38 I should prefer: 'his words _appeared_ like
+     burning torches'--I am so obstinate about the _torches_
+     because they account for the F minor character which I gave
+     to that beginning more than any other word could possibly
+     do.[54]
+
+     "As for 'the transgressor,' etc., I may possibly send
+     another piece instead of the one which now stands, and
+     therefore we will settle the translation hereafter.
+
+     "In No. 34 I prefer:--[Music: Behold, _God the_]
+
+     and afterwards--[Music: But _yet_ the]
+
+     and likewise--[Music: But _yet_ the]
+
+     for I should not like to place the word 'God' on so short a
+     note, and in such a rhythm, while the word _yet_ is just as
+     light and insignificant as will do on such a note.
+
+     "And again many thanks,
+
+     "F.M.-B."
+
+[Footnote 54: Bartholomew had rendered the German words "und sein Wort
+brannte wie eine Fackel" as "his words appeared as _light in
+darkness_." The English Apocrypha (Ecclesiasticus xlviii., 1) has,
+"his word burned like a lamp." It is very difficult to fathom a
+composer's mind; but what _can_ be the connection between "torches"
+and the key of F minor? Strangely enough the source of these words
+(and also of No. 24) has always been wrongly given as Ecclesiast_es_,
+instead of Ecclesiast_icus_. This mistake has been continued for fifty
+years!]
+
+The following letters from Mendelssohn to Bartholomew, all written in
+English, may now follow on, _seriatim_; they lead up to the period of
+the composer's arrival--for the last time--in England.
+
+     "LEIPZIG, 30 _December_, 1846.
+
+     "My dear Sir,--I send to-day to Mr. Buxton all the pieces
+     which were still wanting in the first part of my 'Elijah.'
+     Wherever I could, I took the words from the English Bible
+     and adapted them as well as I could to the alterations, in
+     order to save you trouble; but, nevertheless, I must ask you
+     to look over all I have done, that no wrong accent or other
+     blunders might remain in it. So, for instance, in the 13
+     bars which I have added before the chorus 'Blessed are the
+     men,' and which are taken from Psalm cxvi. {12} and
+     Deuteron. vi., 15 {5}, I wrote the German words under the
+     English in case you should prefer the notation as originally
+     composed, and choose to add a word or a syllable here and
+     there in the English version, in order to give it the same
+     rhythm as in German. I should wish this in the passage just
+     quoted, particularly in the beginning of Elijah's answer,
+     'Du sollst den,' where the two slurred notes 'Thou [slur and
+     quarter note symbols] shalt' are not equally good. But I
+     could not find something else, and I also think that
+     passages like these are best left as in the Bible. In the
+     following chorus, No. 9, there is a curious specimen of the
+     different _meaning_ of the German and English version: the
+     words 'He is gracious,' &c. (or, as you had it, '_they_ are
+     gracious'), apply, in your version, to the righteous, while
+     in ours they apply to God, and the passage is in our
+     version, 'the light ariseth to the righteous _from_ Him who
+     is gracious, full of compassion,' &c., &c. Now I certainly
+     composed it with this last meaning, and the question is
+     whether you would think it advisable to introduce it, or
+     not. I proposed 'He is' instead of 'they are,' because I
+     thought it could then be understood both ways; but most
+     probably you might hit on something much better still.
+     Instead of 'who delight in His commands,' I preferred 'they
+     ever walk in the ways of peace' _only_, as more expressive,
+     and I hope you will be of my opinion. I see in the
+     Birmingham book that you quoted the words of this chorus
+     Psalm cvi., 3; but I took them from Psalm cxxviii., 1, and
+     Psalm cxii., 1 and 4, although nearly the same passage
+     occurs in Psalm cvi., 3.
+
+     "No. 15 is a piece in which I must again require your
+     friendly assistance. From the time I first sent it away for
+     the Birmingham performance I felt that it should not remain
+     as it stood, with its _verses and rimes_, the only specimen
+     of a Lutheran Chorale in this old-testamential work.[55] I
+     _wanted_ to have the _colour_ of a Chorale, and I felt that
+     I could not do _without it_, and yet I did not like to have
+     _a_ Chorale. At last I took those passages from the Psalms
+     which best apply to the situation, and composed them in
+     about the same style and colour, and very glad I was when I
+     found (as I looked into the English Bible) that the
+     beginning went word by word as in German. But after the
+     beginning my joy was soon at an end, and there it is that I
+     must ask you to come to my assistance. The words are taken
+     from Psalm lv., 23 {22}; Psalm cviii., 5 {4}; and Psalm
+     xxv., 3.
+
+     "In the chorus No. 16, I added the German words 'Fallt
+     nieder auf euer Angesicht,' in pencil, because I thought
+     that the English translation, 'adoring,' etc., did not
+     express the meaning entirely, nor did it render the rhythm
+     of the German, which is still more to be felt by the bar I
+     have added before the pause. Our 'fallt nieder' means
+     something still more awful, I think, than to 'bow down' or
+     'to adore'; but query whether it can or should be given in
+     English![56]
+
+     "You will also find the _Allegro_ of the Soprano song at the
+     beginning of Part 2 ['Hear ye, Israel'] with the subsequent
+     chorus. I never thought of omitting the _Allegro_ of the
+     song, but wanted to find something (in words and music)
+     better appropriated to make the transition from the slow
+     movement to the _Allegro_. The Recit. which I now send is
+     taken from Isaiah xlix., 7. Here again the English words
+     went at first perfectly well, but afterwards they would not
+     do at all, and (which is the most essential) their meaning
+     differed greatly. The German means that the Lord speaks 'to
+     the soul that is despised and _to the nation_ that is
+     abhorred by others, and to His servant who is _oppressed by
+     tyrants_,' and all this made me adopt the words for this
+     Recit., and therefore I wish it to be expressed also in the
+     English version.
+
+     "And besides all this you will find here and there little
+     deviations from your words, where I have been forced into
+     them by my alterations; and therefore I beg you will look
+     over the _whole_, that nothing might be in it of which you
+     did not approve.
+
+     "I owe you still many thanks for several very, very kind
+     letters, and indeed would have written long ago had it not
+     been for a sea of tedious and complicated businesses with
+     which they overload me here. I could not avail myself of the
+     whole of the amplification which you proposed for the
+     Widow's part, although I adopted several of your quotations
+     in that passage; but I was not able to give it the extent
+     you proposed; for although I very often feel the urgent
+     necessity of altering the _details_ (of which you now see so
+     many instances), I can but very seldom bring myself to a
+     deviation from the whole original plan; and I even make
+     those alterations almost everywhere in order to keep more
+     faithfully to the object I had first in view. And on that
+     account I _could_ not make the whole of this passage more
+     prominent, although I always wish to do as you advise.
+
+     "Of course 'commandments' must be left in the soprano song,
+     instead of 'commands,' if you do not approve of the latter.
+     Do you like my way of getting rid of 'to slay, _to_ slay my
+     son?'[57]
+
+     "And many, many thanks for the trouble you have taken with
+     the 'Sons of Art.' I am afraid the thing is only fit for a
+     German musical men-festival, and that it is impossible to
+     give it any effect in another language and at other
+     occasions; but whatever _can_ be done with it has indeed
+     been done by you. And so I end as I began with thanks and
+     thanks.
+
+     "Very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 55: The words of the Quartet, as sung at Birmingham, were:--
+
+    "Regard Thy servant's prayer,
+    While angels bow before Thee,
+    And worlds around Thy throne
+    In strains of praise adore Thee.
+    O, help him in his need,
+    Thy gracious ear accord--
+    Jehovah Sabaoth,
+    Creator, God, and Lord!"
+
+They were changed to the now familiar "Cast thy burden." The music was
+also altered, but its quartet-chorale form and slender accompaniment
+were retained.]
+
+[Footnote 56: The original English words in No. 16 (Chorus) were:--
+
+"Bow down, bow down! on your faces fall adoring!" They are now "Before
+Him, upon your faces fall." The music of this number was also much
+altered. The impressive phrase, "upon your faces fall," just before
+the Chorale, was originally:--
+
+[Music: adoring, adoring! The Lord is God, &c.]]
+
+[Footnote 57: Mr. Bartholomew writes "yes" on the original letter.]
+
+
+     "LEIPZIG, _January_ 20, 1847.
+
+     "My dear Mr. Bartholomew,--A happy new year to you (although
+     it is rather old already), and many, many thanks for your
+     kind and precious letter! Indeed, nobody could have written
+     it but you, and nobody could have taken so much trouble with
+     my choruses to the 'Athalie' but you, and to nobody could I
+     feel so sincerely and heartily indebted but to you. Have
+     many, many thanks, my dear Sir, and be sure that you confer
+     all these obligations to one who knows how to value them,
+     and who will always remain thankful to you!...
+
+     "The second part of 'Elijah' will in very short time be in
+     Mr. Buxton's [Ewer & Co.] hands. And now, my dear Sir, let
+     me repeat to you my heartfelt thanks for all you did again
+     for me when they performed the 'Athalie' choruses,[58] and
+     for your interesting report of all the proceedings before
+     and during that performance, and for all the kindness and
+     friendship which you always show me.
+
+     "Always very truly and sincerely yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 58: Performed, with the original French words and
+Mendelssohn's music, before the Queen, and at the instigation of the
+Prince Consort, at Windsor Castle, on New Year's Day, 1847. This was
+the first performance of "Athalie" in England.]
+
+
+     "L[EIPZIG], _February 2nd_, 1847.
+
+     "P.S.--This letter has been detained till to-day, when I
+     send a great parcel to Mr. Buxton.
+
+     "Now I must add a few things about the second part of
+     'Elijah,' which I send to-day. In the Recit. No. 33, 'Hear
+     me speedily, O Lord,' I have altered the beginning of the
+     words thus:--
+
+     [Music:
+
+     Herr, es wird Nacht um mich!
+     I KINGS, xix., 9.
+     Sei du nicht ferne! Verbirg dein, &c.
+     PS. xxii., 12, 20.
+     ]
+
+     "Pray alter the English words accordingly, and look that the
+     following alterations are made in the music of that same
+     Recitative: bar 16 (accompaniment) is to be thus:--
+
+     [Music]
+
+     Bar 22 (accompaniment) is to be thus:--
+
+     [Music]
+
+     Bar 24 the voice is to be thus:--
+
+     [Music: face must be veiled.]
+
+     and bar 27 (the last) is to be thus in the voice:--
+
+     [Music: for He draweth near.]
+
+     "Pray give your attention to all such passages of the words
+     which I wrote _in pencil_ in the arrangement. I think they
+     will all require a new translation, or a modification of the
+     old one. I always added the quotations. There are also some
+     different (and I am sure) better words in No. 21 where I
+     could not write them in pencil, but you will easily see and
+     I hope adopt and adapt them. It is in the slow movement, the
+     passage of Isaiah liii., 1, 'Aber wer glaubt uns'rer
+     Predigt?' ['Who hath believed our report?'], and in the
+     _Allegro_, instead of 'Wake up, Jerusalem,' etc., the direct
+     appeal to Elijah, 'Weiche nicht, denn ich bin dein Gott, ich
+     stärke dich!' ['Be not afraid, for I am thy God, I will
+     strengthen thee.'], Isaiah xli., 10, from which also the
+     following chorus ['Be not afraid'] is taken.[59]
+
+     "I hope the scene with the Queen and people [No. 23] will
+     now offer less difficulties to you, as the 'Er ist des Todes
+     schuldig' ['He is worthy to die'] occurs but once; and you
+     will also see that I took your hint about their seeking
+     Elijah, &c., &c.
+
+     "In the Terzetto, No. 28 ['Lift thine eyes'], without
+     accompaniment, there might perhaps be an occasion for
+     altering the words, although they are exactly the same as
+     they were in the Duet; but I do not think the beginning
+     would do well with the English words of the _Duet_.[60]
+
+     "And I write over the Chorus 'But, saith the Lord, I have
+     raised one,' the German word 'Schluss-Gesang'--_including
+     this_ Chorus, the following Quartett, and the last Chorus.
+     Could you find an English word which might be applied as
+     well? It must not be Finale, because that reminds me of an
+     Opera; and it must not be 'Final Chorus,' because it shall
+     mean two Choruses and a Quartett; but I should like to have
+     some word at the head of those three pieces, to show clearly
+     my idea of their connection, and also as a kind of
+     'Epilogue' contrasted with the 'Prologue,' or 'Introduction'
+     before the Overture.
+
+     "And excuse and pardon the trouble, and always and ever
+     believe me,
+
+     "Yours very truly and gratefully,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 59: It may be interesting to give the original English words
+(as sung at Birmingham) of this well-known air.
+
+_Adagio._--"Hear ye, Israel; hear what the Lord speaketh: 'Ah! had'st
+thou heeded my commandments!' He to His people calleth; yet they
+regard not His voice, nor will they obey His call.
+
+_Recit._--Yet to the righteous, saith the Lord, the Holy One of
+Israel;
+
+_Allegro._--I, I am he that comforteth, and ye are mine. Wake up,
+arise, Jerusalem! Say, who art thou that despairest, and forgettest
+the Lord thy Maker; who hath stretched forth the heavens, and laid the
+earth's foundations? Wake up, arise, Jerusalem!"]
+
+[Footnote 60: "Lift thine eyes" was originally written as a duet for
+soprano and contralto, and in this form it was sung at Birmingham by
+the Misses Williams. Mendelssohn, according to the late Mr. Lazarus,
+was very desirous that there should be no break between the trio,
+"Lift thine eyes," and the succeeding chorus, "He, watching over
+Israel." His special direction at the end of the trio, "_Attacca_,
+_No._ 29," shows the importance he attached to the connecting of these
+two numbers--the trio _and_ the chorus of angels.]
+
+
+     "LEIPZIG, 8th _February_, 1847.
+
+     "Dear Sir,--I receive your letter of the 2nd at the moment
+     when I send the Orchestra parts of the 1st Part of 'Elijah'
+     to Simrock, and the last chorus to Mr. Buxton, so I really
+     answer by return of post.
+
+     "_Recit._ 'Now Cherith's brook,' bar 9. I do not quite like
+     _your two_ slurs at the end; and as you do not like _my_
+     notation, what if we tried a third mode?
+
+     viz.:--[Music: neither shall the cruse of oil fail,]
+
+     "Now adopt which you like of the _three_. Bar 13, I prefer
+     _yours_.
+
+     "I do not speak of bar 26 and bar 38 of No. 8, because Mr.
+     Buxton will have informed you that I am going to send _a new
+     song_ for the Widow, and that therefore the whole No. 8 must
+     be postponed till then. I hope it will follow soon after
+     this letter, and then I will not teaze you any more about
+     this 'Elijah.' Bars 83, 95, 114, 123 as _you_ propose. Bar
+     151, as you like both ways, I should prefer _mine_; bar 155,
+     _yours_. Bar 157, I do not like the two B's and two C's on
+     the words 'render to the'; could it not be:--[Music: What
+     shall I render to the]
+
+     or, if you object to this, it must be at least--
+
+     [Music]
+
+     but I confess that I do _not like the quavers_, if they
+     _can_ be got rid of. The following bars, and bar 161, &c.,
+     as _you_ have them.
+
+     "No. 9, Chorus, bar 10, I cannot approve of the twice F
+     [sharp] in the Soprano, although I quite acknowledge the
+     truth of your observation. But I propose instead:--
+
+     [Music: Bar 10. Blessed { are the men
+                             { are     they]
+
+     "If you dislike this, pray propose another mode; but the
+     soprano _cannot_ have the two F [sharps] while the tenor
+     also has them.
+
+     "Bar 14 as _you_ have it. Instead of your and my bar 13, I
+     propose:--
+
+     [Music: men who fear Him.]
+
+     "Bars 18, 19, 20, &c., as _you_ have. Bar 15 also. And 44,
+     and 45, also.
+
+     "No. 19. Recit. For the end I prefer _by far_: 'The Lord our
+     God alone can do these things.' But in reading over these
+     words I wonder whether the word 'Gentiles' cannot be
+     objected to? Can one say of Baal that he is an idol of the
+     'Gentiles'? Indeed, Jeremiah seems to use the word in that
+     sense, but do we not use it exclusively in another sense? If
+     not, so much better. Pray answer to this, and excuse the
+     hasty lines.
+
+     "Always very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+
+     "LEIPZIG, 8_th_ _February_, 1847.
+
+     "My dear Sir,--I send you with these lines the last Chorus
+     of 'Elijah.' Now I have only the song which is to come in at
+     the beginning of No. 8 [the Widow scene], and as soon as
+     that will be finished I will not teaze you any more about
+     alterations and all that, for you have now the whole work in
+     hand. But pray do not forget to postpone the engraving of
+     No. 8 until I send you that song. All the rest may be
+     forthwith engraved.
+
+     "While I wrote the alterations in the Chorus No. 40 {41} (in
+     my last letter) I forgot to write that there is also one in
+     the accompaniment of that passage. So please to correct bars
+     47, 48, and 49 (they are the last but two of the last page
+     but one of that Chorus) thus:--
+
+     [Music]
+
+     "As for the story of the opera,[61] my friend Klingemann
+     will tell you all about it, as I have written it at length
+     to him, and I am so overloaded with Leipzig music, and with
+     letters, and with all sorts of things, that you must excuse
+     me if I refer you to him, and cannot repeat again what I
+     wrote about that story.
+
+     "Always very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY.
+
+     "P.S.--I am now almost sure that I shall be able to leave
+     here on the 6th of April, and to conduct in London my
+     'Elijah' on the 16th, &c. I shall then leave on the 30th (as
+     you suggested) and go to Switzerland; and if Mr. Mitchell
+     _must_ have me and the 'Athalie' in July, I shall come back
+     in July; if not I will stay at Vevay the whole summer, and
+     compose away!"
+
+[Footnote 61: The opera of "The Tempest," which Mr. Lumley, in his
+opera prospectus of 1847, announced as having been "expressly composed
+for Her Majesty's Theatre," by Mendelssohn.]
+
+
+     "LEIPZIG, 17 _February_, 1847.
+
+     "My dear Sir,--I write these lines merely to thank you for
+     yours dated February 9th, and to tell you that I agree with
+     all the different remarks you therein make about the wording
+     of the translation (_including_ 'commandments' instead of
+     'commands,' &c.). And I hope you will have received the MS.
+     of Part II. soon after you wrote, for I sent it off on the
+     2nd, with the exception of the Final Chorus, which I sent a
+     few days later. I daresay everything will now be safely in
+     your and Mr. Buxton's hands, and now I may begin to think of
+     something else, which indeed I have not been able to do all
+     the time since, with this Oratorio, nearly but not entirely
+     finished, weighing on my mind.
+
+     "Always very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+
+     "LEIPZIG, _February_ 25, 1847.
+
+     "My dear Sir,--I prefer[62]--
+
+     [Music: Who hath believed our report] then: [Music: -vealed
+     to]
+
+     "It _must_ be--
+
+     [Music: _be not afraid_, be] and _not_: [Music: be not a-]
+
+     which will not do for the quickness of the movement.
+
+     "Bar 89 is impossible as you propose, because on the _a_
+     [sharp symbol] and _g_ [sharp symbol], &c., _there must be
+     no words_ pronounced; they _must_ be _slurred_ notes, as in
+     the German wording, and moreover they must be sung on a
+     _good_ syllable (no "u," or "o," or, &c.). So I should
+     propose:--
+
+     [Music: 89. I, the Lord, will strengthen thee![63]]
+
+     "And at any rate pray _let the notes be slurred_, because it
+     is essential to the whole of the song. The same also when
+     the passage is repeated, bar 140.
+
+     "Bar 148 must be so--[Music: 148. for I thy]
+
+     "All those passages I do _not_ mention here are quite
+     excellent in the way you propose. Add a note for the
+     serv_ed_ him and worshipp_ed_ him. You are quite welcome to
+     it.[64]
+
+     "You see that I really answer by return of post, for
+     yesterday evening your letter came, and this morning this
+     leaves. But I do not understand why there is such a _hurry_
+     about the _Pianoforte arrangement_ being finished, and why
+     you say there is hardly time to wait my reply. For you know
+     that it cannot be published a day before Simrock has also
+     done it, and that will take much time still. However, I make
+     haste answering, and shall also do so with your next. I do
+     not think that I shall be able to be in London before the
+     13th April. But I am sure that is early enough, for I am
+     sure everything which you take in hand is right.
+
+     "Always yours truly,
+
+     "FELIX MENDELSSOHN."
+
+[Footnote 62: The music examples in this letter refer to the Soprano
+air "Hear ye, Israel," No. 21.]
+
+[Footnote 63: Bartholomew had written:
+
+[Music: Be not afraid, for I will strengthen thee!]]
+
+[Footnote 64: Bartholomew did not add the note after all. See No. 23,
+"The Lord hath exalted thee," bar 15, to which this refers.]
+
+
+     "LEIPZIG, _March_ 3, 1847.
+
+     "My dear Sir,--I have just received your letter of the 24th,
+     and hasten to reply. I like all the passages of the
+     translation you send me with but two exceptions. In No. 30,
+     'that Thou would'st please destroy me' sounds so odd to
+     me--is it scriptural? If it is, I have no objection, but if
+     not, pray substitute something else. And then in the new No.
+     8 [the widow scene]--the words from Psalm vi. which you
+     hesitated to adopt are, of course, out of the question; but
+     I also object to the second part of the sentence which you
+     propose to add to the words of Psalm xxxviii. {6}, viz.: 'I
+     water my couch,' etc. [Psalm vi., 6.]--I do dislike this so
+     very much, and it is so poetical in the German version. So
+     if you could substitute something in which no 'watering of
+     the couch' occurred, but which gave the idea of the tears,
+     of the night, of all that in its purity. Pray try!
+
+     "But what is this? Does Staudigl not come? Mr. Buxton told
+     me last autumn he was _sure_ to be there. I heard it since
+     from all sides. And now he does not come? What is to become
+     of my 'Elijah' then? _I cannot_ write to Staudigl and
+     persuade him to come, but I really do not know how the
+     performance could match that of Birmingham without
+     him--indeed I do not know how it could go. Of course Lockey
+     would be _quite_ sufficient for _all_ the Tenor solos! But
+     Staudigl! That word of yours has given me a great deal to
+     think of.
+
+     "Always very sincerely and gratefully yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+
+     "_Leipzig_, _March_ 10, 1847.
+
+     "My dear Sir,--Many thanks for your letter of the 1st. I
+     really do not know what a synopsis of the oratorio should be
+     good for--on the other hand, I do not see the harm it could
+     do--and, therefore, leave it to you to decide this point as
+     you think best. I shall send you the metronomes in a few
+     days; the organ part I do not forget.
+
+     "But tell me, should the whole series of performances not be
+     better postponed till _autumn_? What with your uncertainty
+     about Staudigl, and with all this uproar in London about the
+     two opera parties, and with Jenny Lind coming or not coming,
+     and with the 'Tempest' or not the 'Tempest,' and with the
+     difficulty you and Mr. Buxton have to make the parts
+     ready--would not such a delay be beneficial to all of us,
+     especially to the old prophet himself? Not to me certainly,
+     who like to shake my English friends by the hand the sooner
+     the better--but to all others?
+
+     "And now many thanks for your friendly advice in the opera
+     affair. Some time before you wrote your letter to me, I had
+     already informed Mr. Lumley that I should not be able to
+     produce an opera of the 'Tempest' in the season 1847; and,
+     according to the advice my friend Klingemann gave me some
+     days before your letter came, I have since again written to
+     Mr. Lumley (about the same words as you suggest), have asked
+     Klingemann to take care of seeing the letter safely
+     delivered, and have sent to him a duplicate of it. So that
+     the whole of your advice, the same which my friend Kl. gave,
+     has been followed literally, and I should be very glad if
+     thus the affair would come to an end. Of this I think I may
+     be sure, that Mr. Lumley will not continue his
+     advertisements of my opera after he heard that I had taken
+     the resolution _not to write_ the 'Tempest' for the season
+     1847....
+
+     "And now forgive this dry letter, and believe me, yours very
+     truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+Reading between the lines of the last-quoted letter, it is easy to see
+that Mendelssohn was much annoyed at the public announcements, made by
+Mr. Lumley in his opera prospectus of 1847, to the effect that "The
+celebrated Dr. Felix Mendelssohn-Bartholdy will likewise visit
+England, and produce an Opera expressly composed for Her Majesty's
+Theatre, the Libretto, founded on 'The Tempest' of Shakespeare,
+written by Scribe." These advertisements were, to say the least, very
+premature, as Mendelssohn had not only disapproved of parts of the
+libretto, but had not written a note of the music! The suggestion
+contained in the above letter that he (Mendelssohn) should postpone
+his visit till the autumn, must have caused some consternation amongst
+his London friends, especially as all arrangements had been made for
+the various performances of the revised oratorio, which were to be
+given under his own personal direction. Bartholomew--ever resourceful
+and indefatigable--at once wrote the following letter to the
+composer:--
+
+     "2, WALCOT PLACE, HACKNEY, _March_ 19, 1847.
+
+     "My dear Sir,--Yours of the 10th came to hand last night,
+     and in reply to it I can tell you twenty reasons why _you
+     should come_, and not one why _you should not come_. Upon
+     the faith of your letter, which Buxton has been obliged to
+     quote from in order to prove his warranty to treat for your
+     coming with the Committee at Exeter Hall, he has made the
+     engagement for _you_ with _them_, and _they_ have made
+     _their_ engagements with _others_ for April 16th and 23rd;
+     and, I think, the 28th. The Manchester Hargreaves Society
+     have fixed their date for one of the intervening days and
+     advertised it.... _Everybody_ is now in town expecting you
+     and anxious to _hail_ your appearance. _Nobody_ will be in
+     town in the autumn. (Is that a reason why you should come
+     then?) If you don't come, 'Elijah' would go--for go it
+     must--but I mean it won't _go well_....
+
+     "You have no idea how they are inundated with enquiries at
+     Newgate Street [Ewer & Co.'s] as to when 'Elijah' will be
+     published.... God bless you, dear Sir!
+
+     "W. BARTHOLOMEW."
+
+Whatever influence this letter from Bartholomew may have had upon its
+recipient, and doubtless others wrote in the same strain, Mendelssohn
+duly came to London--alas! for the last time--at the beginning of
+April, 1847, the year in which he died.
+
+       *       *       *       *       *
+
+The first performance of the revised version of "Elijah"--the form in
+which we now know the oratorio--took place, under the auspices of the
+Sacred Harmonic Society, at Exeter Hall, London, on Friday, April 16,
+1847, conducted by the composer. Miss Birch, Miss Dolby (afterwards
+Madame Sainton-Dolby), and Mr. Henry Phillips replaced Madame
+Caradori-Allan, Miss Hawes, and Herr Staudigl, who had "created" their
+respective parts at Birmingham. "Lockey would be _quite_ sufficient
+for _all_ the tenor solos," wrote Mendelssohn, and so he proved to be.
+
+Madame Sainton-Dolby records: "After I had sung 'O rest in the Lord,'
+Mendelssohn turned to me with tears in his eyes and said, with his
+bright frankness of manner, 'Thank you from my heart, Miss Dolby.' I
+shall never forget that look of brightness." Mr. W.H. Cummings, then a
+chorister of the Temple Church, sang alto in the chorus at the first
+London performance. He and some other boys were asked to help, as the
+alto part lay rather high for men's voices.[65] Master Cummings, as
+he was then, sat in the front row of the altos, and his enthusiastic
+singing attracted the notice of Mendelssohn, who asked the Temple
+chorister his name, which he wrote on one of his (Mendelssohn's)
+visiting cards, and gave to the youthful singer.
+
+[Footnote 65: The alto part in oratorio choruses was always sung in
+England by men's voices (counter-tenors). It was not till the
+following year (1848) that some ladies were admitted into the alto
+division of the chorus at the Sacred Harmonic Society. The change was
+made when Costa began his reign as Conductor of the Society. Costa
+introduced a similar innovation at the Birmingham Festival of 1849,
+the first he conducted, and the first after the production of
+"Elijah." The male altos, however, greatly predominated on that
+occasion. The numbers were--ladies, 17; gentlemen, 59. At this
+Festival Mario sang "Then shall the righteous," which he finished on
+the upper A flat!]
+
+The first London performance was not without some humour. _The Times_
+said: "Mr. Perry, the leader, was constantly beating time with his
+fiddle-stick in such a manner as to obstruct the views of the
+Conductor and confuse the attention of the instrumentalists."[66] A
+Frenchman, seated on the orchestra behind the chorus, was so excited
+with the performance that, at the close, he effusively embraced
+Mendelssohn and tried to kiss him!
+
+[Footnote 66: Mr. George Perry ("leader" of the Sacred Harmonic
+Society from its foundation in 1832) was also the composer of an
+oratorio, entitled "Elijah, and the Priests of Baal," which was first
+performed at the Concert Room, St. George's Bridge, Norwich, on March
+12, 1819.]
+
+[Illustration: _Fac-simile of Metronomic times for "Elijah" in
+Mendelssohn's handwriting. The note, signed "W.B." is in the
+handwriting of William Bartholomew. Slightly reduced from the
+original, in the possession of F.G. Edwards._]
+
+Three other performances were given in Exeter Hall, and under the same
+auspices, on the 23rd, 28th, and 30th of the same month (April), and
+were conducted by Mendelssohn. These four concerts attracted
+crowded audiences, and brought into the exchequer of the Sacred
+Harmonic Society a clear profit of £356.
+
+The second performance (April 23) was honoured by the presence of the
+Queen and the Prince Consort. What the Prince felt on that occasion
+found graceful expression in the following tribute to Mendelssohn's
+genius, which he wrote in the book of words he had used at the
+concert:--
+
+     "To the Noble Artist who, surrounded by the Baal-worship of
+     debased art, has been able, by his genius and science, to
+     preserve faithfully, like another Elijah, the worship of
+     true art, and once more to accustom our ear, amid the whirl
+     of empty, frivolous sounds, to the pure tones of sympathetic
+     feeling and legitimate harmony: to the Great Master, who
+     makes us conscious of the unity of his conception, through
+     the whole maze of his creation, from the soft whispering to
+     the mighty raging of the elements.
+
+     "Inscribed in grateful remembrance by
+
+     "ALBERT.
+
+     "Buckingham Palace, April 24, 1847."
+
+The original of this is now in the possession of Frau Wach, of
+Leipzig, Mendelssohn's younger daughter. In the few hours which
+elapsed between its receipt from the Palace and its presentation to
+Mendelssohn, the Sacred Harmonic Society had a _fac-simile_ copy made,
+which was carefully sealed up. When the news arrived of Mendelssohn's
+premature death, the Prince Consort at once gave permission for this
+copy to be lithographed and circulated.
+
+The following extract from the 1847 Report of the Sacred Harmonic
+Society records the presentation of the above "compliment" to
+Mendelssohn:--
+
+     "Both Her Majesty and Prince Albert were graciously pleased
+     to express their gratification at the Performance, and the
+     attention paid to them; and the Prince a few days afterwards
+     condescendingly inscribed in a Book of the Words of the
+     Oratorio, an elegant compliment to Dr. Mendelssohn, in his
+     native tongue, which was handed to him on the morning of his
+     departure from England, by a deputation from your Committee,
+     and received by him with marked feelings of pleasure and
+     gratitude.
+
+     "It cannot be described how deeply gratified Mendelssohn was
+     on the presentation to him of this affectionate token of
+     sympathy. His rapturous exclamations of delight, as over and
+     over again he read each word of the inscription, his
+     repeated expression of fears of his inability adequately to
+     acknowledge this touching mark of appreciation, were again
+     and again renewed."[67]
+
+[Footnote 67: "The Sacred Harmonic Society: a Thirty-five Years'
+Retrospect, by Robert K. Bowley, Treasurer. _Privately printed._
+1867." Mr. Bowley was one of the deputation of two officers of the
+Society who waited upon Mendelssohn to present him with the Prince
+Consort's "affectionate token of sympathy." He was one of the oldest
+members of the Sacred Harmonic Society, and subsequently became
+Librarian, and then Treasurer. In 1858 he became General Manager of
+the Crystal Palace, which office he retained till his death in 1870.
+He also originated and carried out the Handel Festivals.]
+
+Mendelssohn also conducted performances of the revised work at
+Manchester (Hargreaves Choral Society) on April 20, and at
+Birmingham, April 27--a total of six performances, conducted by the
+composer, within a fortnight. At Birmingham, where "Elijah" was given
+for Mr. Stimpson's "benefit," Mendelssohn not only refused to take any
+fee, but also declined to accept his travelling expenses--thus he
+generously showed his appreciation of Stimpson's invaluable services
+at the initial performance in 1846.
+
+"Elijah" was published in Germany by Simrock, Bonn; and in England by
+Messrs. Ewer & Co., who for some years previously had been
+Mendelssohn's sole publishers in this country. The then proprietor of
+the firm of Ewer & Co. was Mr. Edward Buxton, whose real business was
+that of a wool-broker, and who "had only taken to music publishing for
+his attachment to the art." The relations between the composer and his
+English publisher were of the most cordial nature. "Whatever you
+write, Dr. Mendelssohn," said Mr. Buxton, "I will publish, and pay you
+any terms you like to ask." Here was an ideal publisher, from a
+composer's point of view. Mr. Buxton had no reason to regret his
+words; and that Mendelssohn fully appreciated his publisher's generous
+offer, is abundantly shown in the "terms" he mentioned for the English
+copyrights of his compositions.[68]
+
+[Footnote 68: It may be of interest to give the "terms" quoted by
+Mendelssohn for the English copyrights of some of his works. The
+information is derived from original letters from the composer to
+Buxton. The D minor Trio, 10 guineas. Books 4 and 5 of the "Lieder
+ohne Worte," 15 guineas each; Book 6, 24 guineas. "17 Variations
+Sérieuses," 8 guineas. "Festgesang" (which includes the familiar tune
+now associated with "Hark! the herald angels sing"), 4 guineas.
+"Scotch Symphony" (pianoforte arrangement), £20. Sonata for pianoforte
+and cello in D, 12 guineas. Six four-part Songs, Op. 59 (which
+includes "O hills! O vales!" the "Hunting Song," &c.), 10 guineas.
+"Scherzo, Notturno, and Wedding March" (from "Midsummer Night's
+Dream"), pianoforte duet arrangement, 15 guineas; the whole work,
+"consisting of 9 other pieces (except the Overture) would be the same
+again as those 3." Violin Concerto and "Hear my prayer," "20 guineas
+for both together." C minor Trio and Te Deum in A, £30.
+
+In these letters from Mendelssohn to Buxton there are such apologetic
+phrases, in regard to the prices named by the composer, as, "which I
+hope will be convenient to you," and "I hope it will not be
+inconvenient to you, which I beg you will tell me sincerely."
+Mendelssohn also thanks Mr. Buxton for his "very good and kind
+intentions" towards him. In sending the MS. of "The Garland" (words by
+Thomas Moore), he says, "which you may publish _if_ you like, and pay
+for it _whatever_ you like."]
+
+Mendelssohn cannot be accused of being "hard" or "grasping" in
+negotiating with his publisher. The following letter shows the spirit
+in which he made his proposals for the publication of "Elijah" in
+England. It is written (in English) to Buxton, and dated "April 22,
+1846":--
+
+     "I must beg you to tell me the price which you could give
+     for the copyright of such a work. _I do not_ fix the price,
+     because I wish on such an occasion that neither you nor I
+     should be the loser; you must know the sale of such works,
+     and may thereby form an opinion. Indeed, _I_ should not be
+     able to name any sum for myself, and make conditions which
+     would appear unpleasant to you; but as on the other hand I
+     have been asked from England by different persons for the
+     copyright of such a work, I must think that it may also have
+     value for the publisher there, and you may easily form an
+     opinion of this: therefore I beg you will let me know your
+     answer as soon as you can."
+
+Mendelssohn wrote to Moscheles for his advice on the subject of the
+"terms" for the English copyright of "Elijah." Here is Moscheles's
+reply:--
+
+     "I quite feel the responsibility of advising you in the
+     matter; for if fifty years hence it is said, 'Mendelssohn
+     received only so many pounds sterling for this grandest of
+     works, this inexhaustible mine of wealth to the editor
+     [publisher], and that at the suggestion of Moscheles,' my
+     ashes will be disturbed in their rest. Well, well, you will
+     nod your venerable head, and say, 'Never mind; Moscheles
+     meant well.'
+
+     "You do not say what other offers you had, besides that from
+     Buxton. I think you will find him straightforward in his
+     dealings, and ready to recognise that the market value of
+     your productions is constantly increasing. So I should say
+     you might ask £50 more than you did for the 'Hymn of
+     Praise.' [Moscheles had probably forgotten the amount, £25,
+     that Mendelssohn received for the English copyright of his
+     'Hymn of Praise.'] One point to take into consideration is
+     whether this work is richer than the other in solos, these
+     being a better source of income to the publisher than
+     choruses."[69]
+
+[Footnote 69: "Letters of Mendelssohn to Moscheles," by Felix
+Moscheles, p. 272.]
+
+Mendelssohn received 250 guineas for the English copyright of
+"Elijah." Shortly after the composer's death, Mr. Buxton voluntarily
+sent to Frau Mendelssohn an additional sum of £100 for "Elijah," which
+she gracefully acknowledged in the following extract:--
+
+     "I hesitated a moment whether I ought to accept the £100
+     which you sent me; but then I remembered the great pleasure
+     it had given my husband when Mr. Simrock sent him an
+     additional sum for his 'St. Paul,' on account of the success
+     the oratorio had had. Why should I not feel a similar
+     pleasure in hearing that his last work is being so fully
+     appreciated in England? I thank you therefore that you think
+     of us by sending this money as a proof of the success of
+     'Elijah.'
+
+     "Berlin (Spring, 1849)."
+
+The work was published in June, 1847, as Op. 70. The lowest price of
+the first English edition--"Pianoforte score, with portrait on steel
+of the composer"--was thirty-six shillings! An octavo edition did not
+appear till five years later (1852): price ten shillings. A tonic
+sol-fa edition, published "by subscription" ("not less than 250
+subscribers"), was issued in 1866.
+
+The prosperity of "Elijah" was at once assured. The work bore upon it
+the imprint of success. It immediately shot into the front rank of
+popularity, a position which it has steadily maintained even unto this
+day.
+
+The story has now been told. Six months after the strains of "Elijah"
+had died away in Exeter Hall, the genius-brain that had conceived
+that noble work was for ever calmed in death.
+
+(Mendelssohn died at Leipzig, November 4, 1847, in his thirty-ninth
+year.)
+
+A memorable performance of "Elijah" was given by Jenny Lind in Exeter
+Hall, December 15, 1848, in aid of the Mendelssohn Scholarship Fund.
+This performance, which Mr. Otto Goldschmidt happily terms the
+"corner-stone of the Fund," was a triumphant success.
+
+       *       *       *       *       *
+
+No more fitting conclusion to this "History" could be found than the
+words of Jenny Lind, who, in writing to the composer's widow on her
+irreparable loss, said: "His 'Elijah' is sublime! In my opinion he
+never wrote anything finer; and assuredly could not have written
+anything loftier in the future! With what solemnity we all stood there
+(to perform it); and with what love do the people still speak of him!"
+
+To this tribute of reverence from one great artist to the memory of
+another, I venture to subscribe a fervent "AMEN."
+
+
+
+
+INDEX.
+
+
+  Aix-la-Chapelle, 42
+
+  "As the hart pants", 9 _note_
+
+  "Athalie", 40, 48 _et seq._, 109 _et seq._, 116
+
+  "Auld Robin Gray", 67 _et seq._
+
+  Ayrton, Wm., 92
+
+
+  Baal choruses, 52, 83, 100
+
+  Bach, J.S., 21
+
+  Bache family, The, 88 _et seq._
+
+  Barrett, W.A., 93
+
+  Barry, Rev. J., 7 _et seq._
+
+  Bartholomew, W. (and letters to), 41, 48 _et seq._, 81, 97 _et seq._
+
+  Bassano, Miss, 82
+
+  Beethoven, 42 _note_
+
+  "Behold, God the Lord", 63, 104
+
+  Benecke, Mrs., 95
+
+  Benedict, 45, 82
+
+  Birch, Miss, 123
+
+  Birmingham Musical Festivals, 6, 19, 22, 28 _et seq._
+
+  _Birmingham Journal_, 80
+
+  "Blessed are the men", 57, 99, 105, 114
+
+  Bowley, R.K., 128 _note_
+
+  Bragg, Mr. John, 46
+
+  Braham, John, 45
+
+  Brewer, T., 100
+
+  Buxton, E. (see also Ewer & Co.), 51, 53, 67, 98, 102, 110, 129 _et
+  seq._
+
+
+  Caradori-Allan, Madame, 45, 82, 87, 123
+
+  "Cast thy burden", 83, 96, 99, 106
+
+  Chorley, H.F., 84
+
+  Cologne Festival, 42
+
+  Cooke, Grattan, 78
+
+  Cooke, Tom, 45
+
+  Costa, 124 _note_
+
+  Cummings, Mr. W.H., 123
+
+
+  Dando, J.H.B., 45
+
+  Davison, J.W., 79 _note_, 80
+
+  Deakin, Mr. Andrew, 90 _note_
+
+  Devrient, E., 2, 41
+
+  Dolby, Madame Sainton, 34, 123
+
+  Düsseldorf, 1, 9
+
+
+  Ewer & Co. (see also Buxton), 98, 123, 129 _et seq._
+
+  Exeter Hall, 122 _et seq._, 132
+
+
+  "Festgesang", 129 _note_
+
+  "For the mountains", 69, 74, 79, 83
+
+  Four-part songs, 130 _note_
+
+  Frankfort, 1, 5, 33
+
+  Frege, Frau, 86
+
+
+  "Garland," The, 130 _note_
+
+  Gauntlett, Dr., 45, 82
+
+  Goodwin and Tabb, Messrs., 93
+
+  Grisi, 45
+
+  Grove, Sir George, 2 _note_, 42 _note_, 99
+
+  Guildhall Library, 69 _note_
+
+
+  Härtel, Dr., 35
+
+  Handel, and Handel Festivals, 25, 44, 89, 93, 128 _note_
+
+  "Hark! the herald angels sing", 129 _note_
+
+  Hauser, 40
+
+  Hawes, Miss M.B., 71 _note_, 82, 88, 123
+
+  "Hear my prayer", 48, 130 _note_
+
+  "Hear ye, Israel", 36, 99, 107, 111, 117
+
+  Hensel, Fanny, 41
+
+  "He, watching over Israel", 78, 83
+
+  Hiller, F., 27
+
+  Hobbs, J.W., 77, 82
+
+  Hopkins, Dr. E.J., 79
+
+  "Hymn of Praise", 28, 131
+
+
+  "If with all your hearts", 55, 84
+
+  "Irish echoes", 71
+
+  "It is enough", 100
+
+
+  Jeanrenaud, Mdlle. Cécile, 1
+
+  "Judas Maccabæus", 4
+
+
+  Klingemann, Carl (and letters to), 2 _et seq._, 5 _et seq._, 11, 19,
+  42, 62, 68, 74, 76, 97, 121
+
+
+  Lablache, 45
+
+  "Lauda Sion", 42, 48
+
+  Lazarus, H., 78, 112 _note_
+
+  Ledsam, J.F., 93
+
+  "Lieder ohne Worte", 129 _note_
+
+  Liège, 42
+
+  "Lift thine eyes", 82, 85, 99, 112
+
+  Lind, Jenny, 35, 37 _et seq._, 40, 84, 88, 120, 133
+
+  Liverpool Musical Festival, 2 _note_
+
+  Lockey, Mr. Charles, 77, 82, 83, 86 _note_, 93, 120, 123
+
+  Lower Rhine Musical Festivals, 1, 42
+
+  Lumley, Mr., 116 _note_, 121
+
+
+  Machin, 82
+
+  Manchester (Hargreaves Society), 122, 128
+
+  Mario, 45, 124 _note_
+
+  Martineau, Mr. Russell, 88, 90
+
+  Mellon, Alfred, 90
+
+  Mendelssohn-Bartholdy, Paul, 85
+
+  "Messiah", 89
+
+  "Midsummer Night's Dream", 37, 80 _note_, 81, 129 _note_
+
+  Mitchell, Mr., 116 _note_
+
+  Moore, Joseph (and letters to), 29 _et seq._, 44, 49, 85, 91
+
+  Moscheles (and letters to), 19, 39, 40, 43, 45, 76, 81, 131
+
+  Mounsey, Miss, 71 _note_
+
+  Mounsey-Bartholomew, Mrs., 67, 69 _note_
+
+
+  Novello, Ewer & Co., Messrs., 78
+
+
+  Oberhofer, 42
+
+  "O come, every one", 72, 83, 90
+
+  "Oedipus at Colonos", 31, 49
+
+  "Og of Bashan!", 3, 4
+
+  "O rest in the Lord" 65 _et seq._, 72, 74, 76, 83, 90
+
+  Organ (and Organ Sonatas), 32, 44
+
+  Overture ("Elijah"), 61, 62, 72, 76
+
+
+  Perry, George, 124
+
+  Philharmonic Society, 43, 82
+
+  Phillips, Henry, 52, 82, 123
+
+  Pischek, 37, 42
+
+  Prince Consort, The, 110 _note_, 127
+
+  Psalm 42 (Mendelssohn's), 9 _note_
+
+
+  Queen, The, 93 _note_, 110 _note_, 127
+
+
+  "Rachel in Ramah", 31 _note_
+
+  Ramsgate, 95
+
+  Recit. in the style of Handel, 94
+
+  Rockstro, W.S., 77
+
+  Royal College of Music, 49 _note_
+
+
+  Sacred Harmonic Society, 100 _et seq._, 122 _et seq._
+
+  "St. Paul", 1 _et seq._, 6, 10, 14, 15, 26, 28, 44, 101 _note_, 132
+
+  "St. Peter", 3, 4
+
+  "Saul", 4, 25
+
+  Schelble, 1
+
+  Schubring, Pastor (and letters to), 10 _et seq._, 26
+
+  Schumann and Madame Schumann, 35
+
+  "Scotch Symphony", 37, 128 _note_
+
+  Scribe, 122
+
+  Simrock, 119, 127, 133
+
+  Smart, Sir George, 2 _note_
+
+  "Son and Stranger", 2 _note_
+
+  Sonata, Pianoforte and Cello, in D, 130 _note_
+
+  "Sons of Art", 43, 109
+
+  Staudigl, 42, 45, 52, 82 _et seq._, 119 _et seq._
+
+  Stimpson, J., 46, 82 _et seq._, 129
+
+
+  "Tempest," Opera of the, 116 _note_, 120 _et seq._
+
+  Terms for copyrights, 129 _et seq._
+
+  "Thanks be to God", 46, 83, 86
+
+  "Then shall the righteous", 86, 124 _note_
+
+  "There is nothing", 78
+
+  "Torches", 103
+
+  Trios (D minor and C minor), 127, 130 _notes_
+
+
+  "Variations Sérieuses", 129 _note_
+
+
+  Wach, Frau Geheimrath, 50 _note_, 127
+
+  "Walpurgis Night", 15 _note_, 20, 36, 48
+
+  Webb, Rev. John, 31, 92, 93 _note_
+
+  "Widow scene", 56, 89, 97, 99, 108, 114, 115, 119
+
+  Williams, the Misses, 82, 112 _note_
+
+  Willy, J.T., 45
+
+
+  "Zadok the priest", 93
+
+
+_Fac-simile of a letter written by Mendelssohn to William Bartholomew,
+the English translator of "Elijah," in whose handwriting are the
+annotations on the letter. Re-produced, full size, from the original
+in the possession of F.G. Edwards._
+
+[Illustration]
+
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The History of Mendelssohn's Oratorio
+"Elijah", by Frederick George Edwards
+
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+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <meta http-equiv="Content-Style-Type" content="text/css" />
+    <title>
+      The History of Mendelssohn's Oratorio 'Elijah,' by F.G. Edwards.
+    </title>
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+<pre>
+
+The Project Gutenberg EBook of The History of Mendelssohn's Oratorio
+"Elijah", by Frederick George Edwards
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The History of Mendelssohn's Oratorio "Elijah"
+
+Author: Frederick George Edwards
+
+Contributor: Sir George Grove
+
+Release Date: December 5, 2011 [EBook #38223]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HISTORY OF MENDELSSOHN'S ELIJAH ***
+
+
+
+
+Produced by Linda Cantoni, Bryan Ness, and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+</pre>
+
+
+
+
+<div class="notes">
+<p><i>Transcriber's Notes:</i> Click on the [Listen] link to play a
+MIDI (or, in some cases, MP3) file of the music. Your browser may need
+a plug-in to play sound files.</p>
+
+<p>Full-page illustrations have been moved to the nearest paragraph
+break so as not to break the flow of the text. Missing page numbers
+are due to blank pages in the original.</p>
+
+<p>This e-book contains an ancient Greek phrase and some musical
+symbols, the display of which may depend on what fonts you have
+installed. In the HTML version, hover your mouse over these items
+to view a pop-up transliteration or description.</p>
+</div>
+
+
+<p class="centertbp"><b><a href="#CONTENTS">CONTENTS</a></b><br />
+<b><a href="#LIST_OF_ILLUSTRATIONS">LIST OF ILLUSTRATIONS</a></b></p>
+
+
+<p class="center border"><a name="FRONT" id="FRONT"></a>
+<img src="images/mendelssohn.jpg" width="345" height="500" alt="FELIX MENDELSSOHN-BARTHOLDY" title="FELIX MENDELSSOHN-BARTHOLDY" />
+</p>
+
+<p class="caption">FELIX MENDELSSOHN-BARTHOLDY<br />
+<span class="smcap">At the Age of 26.</span><br />
+<i>From a Pencil Drawing by Mücke, in the possession of Mrs. Victor Benecke.</i></p>
+
+
+
+
+<hr />
+
+<div class="bbox">
+<h1><span class="msm">THE HISTORY</span><br />
+<br />
+<span class="xsm">OF</span><br />
+<br />
+<span class="msm">MENDELSSOHN&#8217;S ORATORIO</span><br />
+<br />
+&#8216;ELIJAH&#8217;<br />
+<br />
+<span class="xsm">BY</span><br />
+<br />
+<span class="msm">F.G. EDWARDS.</span></h1>
+
+<hr class="short" />
+
+<p class="centerbp"><b>WITH AN <a href="#INTRODUCTION">INTRODUCTION</a> BY<br />
+<span class="lg">SIR GEORGE GROVE, C.B.</span></b></p>
+
+
+<p class="centertp msm">
+<span class="smcap">London</span>: NOVELLO AND COMPANY, <span class="smcap">Limited</span><br />
+AND<br />
+NOVELLO, EWER AND CO., NEW YORK.<br />
+</p>
+
+<hr class="short" />
+
+<p class="center">1896.</p>
+
+<hr class="short" />
+
+<p class="centerbp xsm">
+LONDON:<br />
+NOVELLO AND COMPANY, LIMITED,<br />
+PRINTERS.</p>
+</div>
+
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_iii" id="Page_iii">(iii)</a></span></p>
+<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION.</h2>
+
+<hr class="short" />
+
+<p><span class="smcap">I have</span> been asked to say a few words as introduction to this volume,
+and I do so with pleasure.</p>
+
+<p>To the mass of music-loving people of this country, however, I believe
+that Mendelssohn requires no introduction. It has been the fashion in
+some quarters to speak of him slightingly, nay injuriously; but this
+will pass, and he needs no defence&mdash;certainly not when "Elijah" is in
+question. In England the oratorio has taken its place, if not on a
+level with "The Messiah," very near it; and what more does any work of
+musical art require? Fortunately every additional fact that is
+elicited about this great composer testifies all the more to his
+insight, to the depth and warmth of his feelings, and to the
+indefatigable earnestness with which he worked until he had realised
+the entire meaning of his text and expressed it in music to the utmost
+of his power and with all the dramatic force that it was capable of.
+The letters now given&mdash;many of them for the first time&mdash;abound in
+instances of this.</p>
+
+<p>The information which my friend Mr. Edwards has so carefully collected
+and so clearly stated, the <a href="#FRONT">new portrait</a> which is due to the kindness
+of Mrs. Victor Benecke, and the <i><a href="#FACSIMILE">fac-simile</a></i>, will be very welcome;
+and the book is in my opinion a gain to musical literature, while it
+forms the fittest symbol to mark the anniversary of the production of
+the greatest oratorio of this century.</p>
+
+<p class="right"><span class="smcap">George Grove.</span></p>
+
+<p>
+<span class="smcap">Lower Sydenham</span>,<br />
+<span style="margin-left: 1em;"><i>January</i> 27, 1896.</span><br />
+</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_v" id="Page_v">(v)</a></span></p>
+<h2>PREFACE.</h2>
+
+<hr class="short" />
+
+<p><span class="smcap">It</span> is fifty years since Mendelssohn's "Elijah" was first performed.
+The place was Birmingham: the date August 26, 1846. The Jubilee of
+this event provides a fitting opportunity for presenting a history of
+Mendelssohn's familiar oratorio.</p>
+
+<p>In compiling the following pages, I have been favoured in having had
+access to much original matter on the subject of "Elijah." Especially
+is this the case in regard to the numerous letters from Mendelssohn
+and his correspondents which are here made public for the first time.
+These letters are not only unique in the information they convey, but
+they form the most interesting links in the chain of this "History."
+For the rest, I have carefully kept in view the duty of the historian,
+which is&mdash;I take it&mdash;that he should tell his story in as accurate,
+straightforward, and pleasant a manner as he can.</p>
+
+<p>I have to acknowledge the kind help of those who have so greatly
+facilitated my work. In addition to those specially mentioned in the
+course of the book, I tender my best thanks to Mrs. Carson
+(granddaughter of the late Mr. Edward Buxton, the former proprietor of
+the business of Messrs. Ewer &amp; Co.); Dr. Carl and Dr. Felix
+Klingemann; Felix Moscheles, Esq.; William Moore, Esq.; and<span class="pagenum"><a name="Page_vi" id="Page_vi">(vi)</a></span>
+especially to Professor Dr. Julius Schubring of Lübeck, for their
+kindness in allowing me to publish the correspondence which passed
+between Mendelssohn and their respective relatives. Except where it is
+otherwise stated, the letters are translated from the German
+originals.</p>
+
+<p>Also to Messrs. Longmans, Green &amp; Co., for extracts from
+"Mendelssohn's Letters from 1833 to 1847"; to my friends, Mr. Andrew
+Deakin, of Birmingham, and Mr. J.S. Shedlock, for their kind
+assistance; and in a special degree to Mrs. Victor Benecke
+(Mendelssohn's elder daughter), who has very kindly helped me to
+obtain permission to publish several letters relating to "Elijah"
+which have hitherto been unknown. Mrs. Benecke has also allowed the
+portrait of her father, which forms the <a href="#FRONT">frontispiece</a> to this book, to
+be published. It was taken in 1835, and is here reproduced for the
+first time.</p>
+
+<p>My thanks are specially due to Miss Mounsey (formerly Miss Elizabeth
+Mounsey), without whose invaluable co-operation it would have been
+impossible for me to write this "History" with any approach to
+completeness. Miss Mounsey enabled me to acquire, three years ago, the
+originals of fourteen letters on the subject of the English
+translation of "Elijah," written by Mendelssohn to her brother-in-law,
+the late Mr. William Bartholomew. She subsequently placed in my
+possession a collection of MS. copies, parts, &amp;c., of the oratorio,
+which were made for the production of the work at Birmingham, in 1846.
+These sheets,<span class="pagenum"><a name="Page_vii" id="Page_vii">(vii)</a></span> with the exception of some engraved chorus parts, are
+all in Mr. Bartholomew's handwriting, but they also contain several
+alterations written by Mendelssohn himself. Some of them possess
+additional interest from the fact that they are the actual copies from
+which the soloists sang at the first performance. Not only am I
+greatly indebted to my good friend Miss Mounsey for these manuscripts
+and a copy of the original word-book of 1846, but also for her
+encouragement and the kindly interest she has taken in this "History,"
+from the time I first mentioned it to her to that of its completion.</p>
+
+<p>My last word is one of gratitude to Sir George Grove for his kindness
+in contributing an <a href="#INTRODUCTION">Introduction</a>.</p>
+
+<p class="right">F.G.E.</p>
+
+<p>
+<span class="smcap">Hampstead</span>,<br />
+<span style="margin-left: 1em;"><i>February</i>, 1896.</span><br />
+</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_ix" id="Page_ix">(ix)</a></span></p>
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2>
+
+<hr class="short" />
+
+<table style="width: 75%" border="0" cellpadding="4" cellspacing="0" summary="contents">
+<tr><td>&nbsp;</td><td class="right"><span class="sm">PAGE</span></td></tr>
+<tr><td class="center" colspan="2"><a href="#CHAPTER_I">CHAPTER I.</a></td></tr>
+<tr><td><span class="smcap">The Libretto</span></td><td class="right"><a href="#Page_1">1</a></td></tr>
+<tr><td class="center" colspan="2"><a href="#CHAPTER_II">CHAPTER II.</a></td></tr>
+<tr><td><span class="smcap">Birmingham</span></td><td class="right"><a href="#Page_28">28</a></td></tr>
+<tr><td class="center" colspan="2"><a href="#CHAPTER_III">CHAPTER III.</a></td></tr>
+<tr><td><span class="smcap">The English Translation</span></td><td class="right"><a href="#Page_48">48</a></td></tr>
+<tr><td class="center" colspan="2"><a href="#CHAPTER_IV">CHAPTER IV.</a></td></tr>
+<tr><td><span class="smcap">The First Performance</span></td><td class="right"><a href="#Page_76">76</a></td></tr>
+<tr><td class="center" colspan="2"><a href="#CHAPTER_V">CHAPTER V.</a></td></tr>
+<tr><td><span class="smcap">The Revised Oratorio</span></td><td class="right"><a href="#Page_97">97</a></td></tr>
+<tr><td class="center" colspan="2">__________</td></tr>
+<tr><td><span class="smcap"><a href="#INDEX">Index</a></span></td><td class="right"><a href="#Page_135">135</a></td></tr>
+</table>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_x" id="Page_x">(x)</a></span></p>
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS.</h2>
+
+<hr class="short" />
+
+<table style="width: 75%" border="0" cellpadding="4" cellspacing="0" summary="illustrations">
+<tr><td>&nbsp;</td><td class="right"><span class="sm">PAGE</span></td></tr>
+<tr><td><span class="smcap"><a href="#FRONT">Portrait of Mendelssohn</a></span></td><td class="right"><i>Frontispiece.</i></td></tr>
+<tr><td><span class="smcap"><a href="#MOORE">Portrait of Mr. Joseph Moore</a></span></td><td class="right">30</td></tr>
+<tr><td><span class="smcap"><a href="#BARTH">Portrait of Mr. Wm. Bartholomew</a></span></td><td class="right">48</td></tr>
+<tr><td><span class="smcap"><a href="#CARADORI">Portrait of Madame Caradori-Allan</a></span></td><td class="right">88</td></tr>
+<tr><td><span class="smcap"><a href="#STAUDIGL">Portrait of Herr Joseph Staudigl</a></span></td><td class="right">96</td></tr>
+<tr><td><span class="smcap"><a href="#METRONOME">Fac-simile of Mendelssohn&#8217;s Metronomic Times for &#8220;Elijah&#8221;</a></span></td><td class="right vab">125</td></tr>
+<tr><td><span class="smcap"><a href="#FACSIMILE">Fac-simile of a Letter from Mendelssohn to Wm. Bartholomew</a></span></td><td class="right vab">142</td></tr>
+</table>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_1" id="Page_1">(1)</a></span></p>
+<h1>THE HISTORY OF<br />
+MENDELSSOHN&#8217;S &#8220;ELIJAH.&#8221;</h1>
+
+<hr class="short" />
+
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.</h2>
+
+<hr class="short" />
+
+<h3>THE LIBRETTO.</h3>
+
+
+<p class="tp"><span class="smcap">Mendelssohn</span> had no sooner completed his first oratorio, "St. Paul,"
+than he began to think about setting another Bible story to music.
+"St. Paul" was produced at the Lower Rhine Musical Festival,
+Düsseldorf, May 22, 1836, under the composer's personal direction.
+Mendelssohn was then twenty-seven years of age. He spent six weeks in
+the summer of that year at Frankfort-on-the-Maine, as <i>locum tenens</i>
+for his friend Schelble, the founder of a Choral Society, famous then
+and now, under the name of the Cäcilien-Verein.</p>
+
+<p>During his temporary residence in the old Hanseatic city, Mendelssohn
+met Mdlle. Cécile Jeanrenaud, to whom he was betrothed in September.
+He spent the month of August at Scheveningen for the benefit of the
+sea-bathing there, and also, as we<span class="pagenum"><a name="Page_2" id="Page_2">(2)</a></span> learn from the "Recollections" of
+his friend Devrient, to test the strength of his affection for the
+beautiful Cécile. Although his thoughts naturally and constantly
+turned towards Frankfort, he did not neglect his beloved art. He wrote
+the following letter, hitherto unpublished, to his old and attached
+friend, Carl Klingemann, in London.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Klingemann.</span>]</p>
+
+<p class="right">"<span class="smcap">The Hague</span>, <i>August</i> 12, 1836.</p>
+
+<p>"... A thousand thanks for all your care, and for the
+interest you take in the whole affair.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> It is no doubt
+important for me that the performance and all the
+arrangements should be as perfect as possible; therefore,
+let me thank you for it all once more.</p>
+
+<p>"But I wish you knew what a far greater favour you would
+confer upon me if, instead of doing so much for my old
+oratorio, you would write me a new one; and, by so doing,
+would stir me up to fresh activity, instead of my having to
+do this myself. When I have finished a composition, that
+which really gives me pleasure in it is the progress I see<span class="pagenum"><a name="Page_3" id="Page_3">(3)</a></span>
+in the work, and the hope that it may lead me to attain to
+greater excellence in the next. Therefore, I long to be rid
+of all care of the finished work; and I feel as if I could
+only really thank you, from my heart, if you showed me that
+you like this oratorio sufficiently to help me to find a new
+'text,' and thus encourage me to write another oratorio. If
+you would only give all the care and thought you now bestow
+upon 'St. Paul' to an 'Elijah,' or a 'St. Peter,' or even an
+'Og of Bashan!'</p>
+
+<p>"It may seem ungrateful that I write to you just now in this
+strain, and in a letter which should be all thanks; but it
+is as I feel at present, and we are far too intimate with
+each other for me to attempt to hide from you my present
+mood. You know, don't you, that I am not ungrateful? But I
+have felt very strongly of late that I need and long for an
+external impulse to urge me on; no recognition of work done
+can come up to that; it gives me great pleasure, but it has
+not the stimulating effect upon me which a suggestion for
+new work would have."</p>
+</div>
+
+<p>This letter, which discloses an article of Mendelssohn's artistic
+creed, is important, because it contains the earliest known reference
+to the oratorio of "Elijah." The date should be carefully noted, as it
+shows that Mendelssohn was engaged, more or less, upon his great
+oratorio for a period of more than ten years before it was given to
+the world in its finished and published form.</p>
+
+<p>Klingemann does not seem to have been taken with his friend's proposal
+that he should compile an<span class="pagenum"><a name="Page_4" id="Page_4">(4)</a></span> oratorio libretto, even upon so original a
+subject for musical treatment as "Og of Bashan." The following letter,
+written a few weeks before the composer's marriage, contains a request
+for the "text" of an oratorio as a wedding present&mdash;surely a novelty
+in the way of a nuptial gift.</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Klingemann.</span>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>February</i> 18, 1837.</p>
+
+<p>"... Here comes my request. Do write for me within the next
+few weeks the text for a Biblical oratorio, so that I can
+set to and compose it during next summer. The last time we
+talked about it I mentioned to you two subjects which I like
+equally well&mdash;'St. Peter' or 'Elijah.' What I would like
+best would be for you to take 'Elijah'&mdash;divide the story
+into two or three parts, write it out in choruses and airs,
+either in verse or prose of your own; or, compile it from
+the Psalms and Prophets, with powerful big choruses, and
+then send it to me. The translation of Handel's oratorios
+gave you so little trouble that I think you will only
+require a few evenings, and the will to give them up to it,
+and my 'text' will be written. You may let it be dramatic
+like 'Judas Maccabæus,' or epic, or both combined. I am
+satisfied with anything you do. You need not ask my advice,
+but just write out what you think best. Then I can compose
+it at once.</p>
+
+<p>"If you do not care for either of these two subjects, then I
+am willing to take any other&mdash;for instance, 'Saul.' But
+somehow I think 'Elijah,' and his going up to heaven in the
+end, would be<span class="pagenum"><a name="Page_5" id="Page_5">(5)</a></span> a most beautiful subject. And if you think of
+using Bible words, read up Isaiah lx. and lxiii., to the end
+of the Prophet, and also chapter xl., and Lamentations, and
+all the Psalms. When you have done this you will easily find
+the right language. Just think what sort of an oratorio I
+ought to be able to write at this moment, and such an one
+send me. It ought to be your wedding present to me; it would
+be the gift I would value most. Do not refuse my request. Of
+course, if you are too busy, do not be vexed with me for
+asking this of you; but do write to me, anyhow, very soon."</p>
+</div>
+
+<p>Mendelssohn was married at Frankfort, on March 28, 1837. Klingemann
+evidently did not send a wedding present in the form of an oratorio
+"text" in time for the ceremony, since Mendelssohn, while on his
+honeymoon, wrote the following letter to his London friend:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Klingemann.</span>]</p>
+
+<p class="right"><span class="smcap">Freiburg</span>, <i>April</i> 30, 1837.</p>
+
+<p>"... Will you soon be able to fulfil your promise about
+'Elijah'? Forgive my pressing you thus for an answer. It is
+not my fault; it is the fault of circumstances. It seems to
+me more and more a mistake to imagine that anyone can make a
+lasting impression by <i>one</i> single work&mdash;it ought to be done
+steadily, uninterruptedly, by progressive writings. Out of
+these the best will eventually stand forth, if all are
+conceived in an earnest spirit. Therefore, I want to write
+some more sacred music<span class="pagenum"><a name="Page_6" id="Page_6">(6)</a></span> soon, especially as I see no chance
+of being able to compose an opera. Perhaps this is as well,
+for it seems to me as if all the German theatres were at the
+present moment in such bad condition, that one cannot reckon
+on a good performance anywhere, and therefore there may yet
+be a few years' time before me, and I may do it all the
+better then; for that I must write operas is an idea I
+cannot give up. The choral societies, on the other hand, are
+just now good, and long for new music; and I should like to
+give them something that would please me better than my 'St.
+Paul' does. Do help me to this, and send me a new oratorio
+'text.'"</p>
+</div>
+
+<p>In the autumn of his marriage year, Mendelssohn paid his fifth visit
+to England, in fulfilment of an engagement to conduct his 'St. Paul'
+at the Birmingham Musical Festival of 1837, at which he also played
+the pianoforte and organ. He stayed (in London) at Klingemann's, 4,
+Hobart Place, Eaton Square. The house, which still stands, is opposite
+St. Peter's Church. During this visit Mendelssohn spent two whole
+mornings with his host on the "plan" of an oratorio of "Elijah." This
+"plan," or "sketch," was left with Klingemann for him to develop and
+to put "into verse." A few months afterwards he received the following
+letter:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Klingemann.</span>]</p>
+
+<p class="right"><span class="smcap">Leipzig</span>, <i>January</i> 9, 1838.</p>
+
+<p>"... Over all this chatting I am forgetting a very important
+affair. I received last week by post a parcel (which cost me
+nearly 10s. for postage),<span class="pagenum"><a name="Page_7" id="Page_7">(7)</a></span> containing an English 'text' for
+an oratorio of 'Elijah,' which was sent to me by a Mr.
+Charles Greville (18, Vineyards, Bath, Somersetshire), in
+the name of the poet, with a strange letter. Do you know
+this gentleman, or the name of the poet, J. Barry, a
+clergyman? I have never heard of them.... I should like to
+know how they fixed on 'Elijah,' and on this way of treating
+the subject, which certainly resembles our 'sketch' very
+closely.... They have already dedicated their 'Elijah' to
+the Duchess of Kent, and no doubt will make much ado about
+it; and if I do not compose it, Neukomm, or some one else
+may do so. Therefore&mdash;you see what is coming&mdash;I beg you for
+two things: 1st, make our 'sketch' into verse and send it to
+me at once (you may take Bible words to help you, or
+whatever you like), so that I may compose it forthwith; and
+secondly, send me, in any case (even if you will not comply
+with No. 1), our 'plan' or 'sketch,' as we made it when last
+we met (with all remarks) <i>copied</i>, and write to me at the
+same time."</p>
+</div>
+
+<p>The Rev. Mr. Barry's libretto of "Elijah," above referred to, was not
+published till 1869. A copy of the little book, now "out of print," is
+before me. Its title is:&mdash;</p>
+
+<div class="blockquot">
+<p>"<span class="smcap">Elijah</span>, or the Baalim in Israel: a Metrical Libretto, in
+four parts, dedicated in the year 1838, by express
+permission, to Her late Royal Highness the Duchess of Kent.
+By the late Rev. James Barry, M.A., curate of Bratton
+Clovelly, Devonshire. Oxford and London: James Parker &amp; Co.,
+1869."<span class="pagenum"><a name="Page_8" id="Page_8">(8)</a></span></p>
+</div>
+
+<p>The Preface, signed "E.S.B.B.," states:&mdash;</p>
+
+<div class="blockquot">
+<p>"The following production, illustrating the chief incidents
+of Ahab's reign, was submitted in the year 1837 to Felix
+Mendelssohn-Bartholdy, as a theme for one or more sacred
+oratorios. His famous 'Elijah,' which since then has taken
+its place among the masterpieces of Handel, Haydn, and
+Beethoven, had not been given to the world; but on returning
+this manuscript to its Author, Mendelssohn announced his
+engagement on the same great subject, adding, that although
+this work possessed both literary and poetical merit, it was
+in his opinion too long for an Oratorio, but might well be
+published as a Metrical Libretto. But for this
+disappointment, a public having little leisure for songs
+without music, might yet, in the pauses of their enthusiasm,
+after hearing the 'Elijah,' have let fall some crumbs of
+approbation on a poem in which the immortal part of
+Mendelssohn had found a channel for his farewell
+inspirations.</p>
+
+<p>"... The manuscript was laid aside for nearly twelve years,
+when, in January, 1849, he [the author] again took it up,
+resolving to publish it in the form suggested by
+Mendelssohn; but his death intervened to prevent it, and
+again it was laid aside.... More than thirty years have thus
+elapsed since this Libretto underwent the favourable
+criticism of Mendelssohn ... and after much consideration,
+the Author's children have at length ventured to offer to
+the public, 'Elijah,' or the Baalim in Israel...."<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p>
+</div>
+
+<p>The receipt of Mr. Barry's libretto put Mendelssohn on his mettle, and
+he became very anxious as<span class="pagenum"><a name="Page_9" id="Page_9">(9)</a></span> to the fate of <i>his</i> projected oratorio (of
+"Elijah"). Klingemann, however, does not seem to have considered the
+matter as being of such paramount importance. His reply to
+Mendelssohn's letter of January 9 could not have been very reassuring
+to the composer, if we may judge from the following letter:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Klingemann.</span>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>February</i> 9, 1838.</p>
+
+<p>"You say in your letter that ... you are now intending to
+become poetical (as you express it), but you need to live to
+be a hundred years old for it. If I now therefore ask you,
+<i>when</i> you can send me a worked-out copy of our 'plan,' do
+not see in the question an <i>overbearing reminder</i>. I am just
+now in such good working trim, and I must work for the next
+few years with a will and get on. I have responsibilities
+now, and also a great longing for work, and I think I could
+write an oratorio within a year. My new Psalm,<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> which we
+tried for the first time the day before yesterday, and which
+pleases me more than any other church music of mine, proves
+to me that I am right; for I wrote five new numbers for it
+quite lately, which makes it sound now as I wanted it to
+sound. The opera libretto&mdash;if I get it&mdash;will not be ready
+before the middle of the summer. I should like to have a new
+oratorio for the Düsseldorf Festival in 1839 ... therefore,
+for all these reasons, I must ask you: <i>when</i> could you send
+it (the 'sketch') to me? And if other occupations, or<span class="pagenum"><a name="Page_10" id="Page_10">(10)</a></span>
+annoyance at my repeated requests, or any other reason,
+prevent you from complying with my wish, do please send me,
+by <i>return of post</i>, a copy of our 'sketch' of the oratorio,
+and tell me whether I am to leave you in peace about the
+matter, so that I know where I am. Only I must set to work
+soon; that you will understand."</p>
+</div>
+
+<p>After one or two more letters had passed between Mendelssohn and
+Klingemann, the latter returned to the composer the "sketch" they had
+made together in London in the autumn of 1837, and henceforth
+"Elijah," except in a casual way, drops out of their correspondence.</p>
+
+<p>Mendelssohn then sought the aid of his intimate friend and the
+companion of his boyhood, the Rev. Julius Schubring, D.D., Rector of
+St. George's Church, Dessau&mdash;the same friend who has recorded some
+delightful reminiscences of the composer in his youthful days,<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> and
+who rendered him valuable service in the preparation of the "book" of
+"St. Paul." The interesting correspondence between Mendelssohn and
+Schubring on the subject of oratorio libretti has been published (in
+German), edited by Professor Dr. Julius Schubring, the son of
+Mendelssohn's clerical friend.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p>
+
+<p><span class="pagenum"><a name="Page_11" id="Page_11">(11)</a></span></p><p>Mendelssohn, having at last received the "sketch" from Klingemann,
+showed it to his friend Schubring, who was staying with the composer
+at Leipzig. The following letter gives Schubring's views on the said
+"sketch":&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Schubring to Mendelssohn.</span>]</p>
+
+<p class="right">"<span class="smcap">Dessau</span>, <i>October</i> 28, 1838.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p>
+
+<p>"At last I must make a start. I wanted to write to you the
+first week after my visit, but when I thought of what you
+had entrusted to me, and to which I had done nothing, I felt
+ashamed; therefore the manuscript<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> became somewhat odious
+to me. I took it up three or four times, but either some of
+the sheets&mdash;large and small&mdash;had got mixed, or I could not
+make out the abbreviations; and then again I was often
+interrupted by other work. I was afraid I should have to
+send it back to you untouched. But yesterday the light
+suddenly dawned upon me and I understood everything at
+once&mdash;the whole and also the details. I see at the same time
+that there is still much to be done, and therefore I write
+at once to-day to ask if you can let me keep the MS. a
+little longer."</p>
+
+<p>[The letter then goes on to make suggestions for the "text," which it
+is not necessary to reproduce here.]</p>
+</div>
+
+<p>To the above communication Mendelssohn replied in a letter which has
+hitherto been quoted as being<span class="pagenum"><a name="Page_12" id="Page_12">(12)</a></span> the <i>earliest</i> mention of "Elijah" in
+the Mendelssohn correspondence.</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Schubring.</span>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>November</i> 2, 1838.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p>
+
+<p>"Dear Schubring,&mdash;Many, many thanks for your letter, which I
+received the day before yesterday, and for the parcel, which
+came to-day. You again render me an essential service, and I
+feel most grateful to you. How can you ask whether I wish
+you to proceed in the same way? When all is so well put
+together, I have almost nothing to do but to write music for
+the words. I ought to have previously told you that the
+sheets you took away with you are by no means to be regarded
+as containing a mature design, but as a mere combination of
+the materials I had before me for the purpose of eventually
+forming a plan. So the omission of the passage of the widow,
+and also of the raven, is decidedly most advisable; and also
+the abridgment of the whole commencement, in order that the
+main points may be dwelt upon to one's heart's content. I
+would urgently entreat you to proceed with your work, so far
+as your time and leisure will permit, and soon to send me
+the continuation of the first part, which ought now to be
+considerable, from where you left off. Rest assured that, as
+I already told you, you will earn my most sincere gratitude.</p>
+
+<p>"You say that at first you could not make anything of the
+subject, but that a sudden light dawned upon you. I figured
+to myself Elijah as a thorough<span class="pagenum"><a name="Page_13" id="Page_13">(13)</a></span> prophet, such as we might
+again require in our own day&mdash;energetic and zealous, but
+also stern, wrathful, and gloomy; a striking contrast to the
+court rabble and popular rabble&mdash;in fact, in opposition to
+the whole world, and yet borne on angels' wings. Is this the
+inference you also draw from the subject, and is this the
+sense in which you conceived an affection for it? I am most
+anxious to do full justice to the <i>dramatic</i> element, and,
+as you say, no epic narrative must be introduced. I am glad
+to learn that you are searching out the always
+heart-affecting sense of the Scriptural words; but if I
+might make one observation, it is that I would fain see the
+dramatic element more prominent, as well as more exuberant
+and defined&mdash;appeal and rejoinder, question and answer,
+sudden interruptions, etc., etc. Not that it disturbs me
+that Elijah, for example, first speaks of assembling the
+people, then forthwith addresses them&mdash;such liberties are
+the natural privileges of a composition such as an oratorio;
+but I should like to have the representation itself as
+spirited as possible; for instance, it annoys me that Elijah
+does not reply to Ahab's words, No. 16, till No. 18, various
+other speeches and a chorus intervening. I should like to
+have had an instant and eager rejoinder, etc., etc.</p>
+
+<p>"But we are no doubt likely to agree about this; and I would
+only entreat you, when you resume your work, to think of
+this wish of mine. Above all, accept my thanks for your
+kindness, and write to me soon on the same subject.&mdash;Ever
+yours,</p>
+
+<p class="right">"<span class="smcap">Felix M.-B.</span>"</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_14" id="Page_14">(14)</a></span></p>
+
+<p>Schubring sent to Mendelssohn another "plan," for Part I., dated
+"Reformationsfest [October 31], 1838," accompanying it with the
+following (selected) observations<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a>:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Schubring to Mendelssohn.</span>]</p>
+
+<p>"I have sought throughout&mdash;although it is not always
+possible&mdash;to introduce pieces, not merely suitable to the
+particular situation in question, but such as might awaken
+an echo in the hearts of the hearers&mdash;as, for instance, this
+aria ['If with all your hearts']. I have noticed that in
+your 'St. Paul,' for example, such numbers have excited the
+most interest.... In oratorios it does no harm if you
+exaggerate the dramatic effect: on the contrary, it seems to
+me necessary.... I think it will often occur to you, as it
+does to me, to marvel at the manifold things which can be
+found in the Bible."</p>
+</div>
+
+<p>In the letter<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> ("Dessau, November 1, 1838") which accompanied the
+new "plan," Schubring remarks:&mdash;</p>
+
+<div class="blockquot">
+<p>"... I fear the first part will be too rich, or rather the
+second part too poor. I confess I have some misgivings about
+the second. As it now stands it is far from pleasing me. If
+not unreasonable, I would propose to bring in the rain scene
+at the beginning of the second part, and something could
+certainly be found to replace it in the first part.<span class="pagenum"><a name="Page_15" id="Page_15">(15)</a></span></p>
+
+<p>"What I feared and wrote to you about, has really come to
+pass; and the thing is becoming too objective&mdash;an
+interesting, even thrilling picture, but far from edifying
+the heart of the listener. All the curses, the scenes of the
+sacrifice and the rain, Jezebel, etc., in all this there is
+nothing which now-a-days would come from the heart, and
+therefore nothing which would go to the heart. Pieces in
+your 'St. Paul,' like the aria in B minor ['Consume them
+all'], or choruses, 'Ihr Männer von Israel helfet' [No. 38,
+in the English edition], etc., are certainly fine and
+characteristic; but they are interesting rather than
+edifying. You will probably never hear people singing that
+aria at the pianoforte for their pleasure; but the second
+and third arias in 'St. Paul,' or that for tenor towards the
+close ['Be thou faithful unto death'], they are for
+everybody. There are many more passages in 'St. Paul' of
+general interest than there are in this 'text' in its
+present form. Therefore you must carefully consider whether
+this time you prefer to turn away from Church music (<i>i.e.</i>,
+music which refreshes, consoles) and create a tone-picture
+after the manner of the 'Blocksberg-Cantata.'<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> If not, we
+must diligently set to work to keep down the dramatic, and
+raise the sacred element, and always aim at this. Perhaps it
+will suffice to lead back from the second part to the effect
+of the rain scene in the first. I expect that will be very
+fine. It can only be surpassed by bringing out prominently
+Elijah's meaning (signification) for the New Covenant, as
+the forerunner of the Messiah, pointing towards His coming,
+and such like.<span class="pagenum"><a name="Page_16" id="Page_16">(16)</a></span></p>
+
+<p>"All this lies in the future, and at present I am waiting
+until you have written to me about the first part.
+Therefore, let me conclude for the present&mdash;not my thoughts
+of you, but my letter, and soon gladden me again with
+something&mdash;not to do&mdash;but to enjoy. Good-bye. N.B.&mdash;The
+<i>third</i> letter to you this week!"</p>
+</div>
+
+<p>Schubring sent to Mendelssohn a draft sketch for Part II. on November
+17, 1838,<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> saying:&mdash;</p>
+
+<div class="blockquot">
+<p>"Before I set to work I should like to know your idea of the
+matter. For the rest, I am more and more convinced that you
+will have to supply the principal part of the text yourself.
+How is one to know what is running through your mind on this
+or that occasion? Therefore the words are only set down as
+hints, suggesting what might be written."</p>
+</div>
+
+<p>Mendelssohn replied to Schubring in words which show that there was
+some difference of opinion between them as to the "plan" of the
+oratorio. Here is the composer's letter:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Schubring.</span>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>December</i> 6, 1838.<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></p>
+
+<p>"Dear Schubring,&mdash;Along with this you will receive the organ
+pieces and 'Bonifacius,' which I also enclose. Thank you
+much for the letter and for the manuscripts you have from
+time to time sent me for 'Elijah'; they are of the greatest
+possible use to me, and although I may here and there make
+some<span class="pagenum"><a name="Page_17" id="Page_17">(17)</a></span> alterations, still the whole thing, by your aid, is
+now placed on a much firmer footing. With regard to the
+dramatic element, there still seems to be a diversity of
+opinion between us. With a subject like 'Elijah' it appears
+to me that the dramatic element should predominate, as it
+should in all Old Testament subjects, Moses, perhaps,
+excepted. The personages should act and speak as if they
+were living beings&mdash;for Heaven's sake let them not be a
+musical picture, but a real world, such as you find in every
+chapter of the Old Testament; and the contemplative and
+pathetic element, which you desire, ought to be entirely
+conveyed to our understanding by the words and the mood of
+the acting personages....</p>
+
+<p>"I am now myself about to set to work again on the 'Elijah,'
+and to plough away at the soil as best I can; if I do not
+get on with it you must come to my aid, and I hope as kindly
+as ever, and preserve the same regard for your</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+<p>The following letter is the next from Schubring that is printed; but
+it was not written till nearly two months after that from Mendelssohn,
+just quoted.</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Schubring to Mendelssohn.</span>]</p>
+
+<p class="right"><span class="smcap">Dessau</span>, <i>February</i> 2, 1839.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
+
+<p>"... Unfortunately I can offer you nothing besides my good
+[birthday] wishes, though I would willingly have done so. I
+always thought<span class="pagenum"><a name="Page_18" id="Page_18">(18)</a></span> that the 'Elijah' would turn out all right,
+but it will not, and you must seek help elsewhere. At a
+distance I seemed to have thought out the subject quite
+nicely; but whenever I come to it at close quarters I cannot
+clearly distinguish the separate figures. Elijah is in the
+society of the angels; he is in good company, leave him
+there. It is unbecoming for men to drive away the angels. I
+have held to one point where the Lord Himself ought to or
+could speak to Elijah. It seemed to me that as Elijah
+appeared to Christ on the Mount of Transfiguration (Matthew
+xvii.), so Christ might come to Elijah, transfigure him, and
+show him from afar the streams of peace, which flow over the
+heavenly Canaan. These three personages&mdash;Christ, Elijah, and
+the heavenly choir of angels&mdash;might suffice, with suitable
+dramatic alteration, to transform the earth into heaven,
+until the removal of Elijah. But you well know how
+sluggishly my poetical vein flows; how, here and there, with
+great effort I manage to gather a few crumbs together, but
+then I get no farther. Unless I am in the pulpit&mdash;where the
+Lord usually helps me joyfully to honour Him by my
+preaching&mdash;the creative power fails me utterly."</p>
+</div>
+
+<p>For nearly seven years the subject of "Elijah" drops out of the
+Mendelssohn-Schubring correspondence, except two unimportant
+references. In a letter to Mendelssohn, dated January 17, 1840,
+Schubring says: "How about 'Elijah'? Have you quite put him aside?"
+And on November 10 of the same year: "You have told my brother that
+for the<span class="pagenum"><a name="Page_19" id="Page_19">(19)</a></span> present you have given up composing oratorios. To this I have
+no objection; but I would like to see something else&mdash;sonatas, for
+instance, not short pieces."</p>
+
+<p>It seems to be quite evident that the subject of "Elijah" was lying
+more or less fallow in Mendelssohn's mind for six years (1839-1845).
+There are, it is true, two casual references to the oratorio. To
+Moscheles, Mendelssohn wrote: "A new oratorio, too, I have begun; but
+how it is to end, and what is to come in the middle, Heaven only
+knows." And to Klingemann: "I have thought anew seriously of 'Elijah.'
+Perhaps I shall attack him now." But it was not until the summer of
+1845, when he received the invitation from Birmingham (see the
+<a href="#CHAPTER_II">next chapter</a>), that Mendelssohn, to use his own words, "again began to
+plough up the soil." He was then glad to seek fresh help from
+Schubring in the technicalities of the "text," which he did in the
+following letter to his clerical friend:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Schubring.</span>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>December</i> 16, 1845.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a></p>
+
+<p>"My dear Schubring,&mdash;I now send you, according to your
+permission, the text of 'Elijah,' so far as it goes. I do
+beg of you to give me your best assistance, and return it
+soon with plenty of notes in the margin (I mean Scriptural
+passages, etc.). I also enclose your former letters on the
+subject, as you<span class="pagenum"><a name="Page_20" id="Page_20">(20)</a></span> wished, and have taken them out of the book
+in which they were. They must, however, be replaced, so do
+not forget to send them back to me. In the very first of
+these letters (at the bottom of the first page), you
+probably allude to the chief difficulty of the text, and the
+very point in which it is still most deficient&mdash;universally
+accepted and impressive words and thoughts; for of course it
+is not my intention to compose what you call 'a Biblical
+Walpurgis Night.' I have endeavoured to obviate this
+deficiency by the passages written in Roman letters; but
+there is still something wanting, even to complete these,
+and to obtain suitable comprehensive words for the subject.
+This, then, is the first point to which I wish to direct
+your attention, and where your assistance is very necessary.
+Secondly, in the 'dramatic' arrangement. I cannot endure the
+half operatic style of most of the oratorio words (where
+recourse is had to common figures&mdash;as, for example, an
+Israelite, a maiden, Hannah, Micaiah, and others; and where,
+instead of saying 'this and that is come to pass,' they are
+made to say, 'Alas! I see this and that happening'). I
+consider this very weak, and will not follow such a
+precedent. However, the everlasting "he spake," etc., is
+also not right. Both of these are avoided in the text; but
+this part still remains its weakest point.</p>
+
+<p>"Will you consider, too, whether it is justifiable that no
+other dramatic figure besides Elijah appears? I think it is.
+He ought, however, at the close, at his ascension to heaven,
+to have something to say (or to sing). Can you find
+appropriate words for this<span class="pagenum"><a name="Page_21" id="Page_21">(21)</a></span> purpose? The second part,
+moreover, especially towards the end, is still in a very
+unfinished condition. I have not as yet got a final chorus;
+what would you advise it to be? Pray study the whole
+carefully, and write in the margin a great many beautiful
+arias, reflections, pithy sentences, choruses, and all sorts
+of things, and let me have them as soon as possible....</p>
+
+<p>"Speaking is a very different thing from writing. The few
+minutes I lately passed with you and yours were more
+enlivening and cheering than ever so many letters.&mdash;Ever
+your</p>
+
+<p class="right">"<span class="smcap">Felix</span>"</p>
+</div>
+
+<p>Early in January, 1846, Mendelssohn and Schubring met, and the plan of
+the oratorio was doubtless fully discussed between them. Soon after
+his return to Dessau, Schubring returned Mendelssohn's MS. of the
+"sketch," to which he had added a number of comments and suggestions.
+This "sketch" and its annotations are too long to be inserted here,
+but an extract or two may be quoted.</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Schubring to Mendelssohn.</span>]<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></p>
+
+<p>"In oratorios, chorales have produced the most powerful
+effect on me when they came <i>after</i> other pieces of music
+[Schubring evidently knew Bach's "Passion"]. Dignity,
+simplicity, nobility, are then most perceptible in these
+circumstances. Therefore,<span class="pagenum"><a name="Page_22" id="Page_22">(22)</a></span> it would be better to have no
+chorales at the beginning.... The overture, picturing a
+famine, must represent a period of three years...."</p>
+</div>
+
+<p>Upon the words "Hear the prayer and petition of Thy servant, O Lord,"
+Schubring remarks: "Here it would be well to have a reference to God's
+own promise that He will answer prayer. (Daniel ix., 18; Psalm xxv.,
+6; Isaiah liv., 10, 7). Then the chorale&mdash;'Out of the depths I cry to
+Thee' (<i>Aus tiefer Noth</i>), verses 1 and 4, increasing in intensity.
+Pray do not reject this suggestion. There are plenty of praying people
+who heartily endorse the petition of Elijah."</p>
+
+<p>Schubring's continued interest in the oratorio is shown in the
+following letter:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Schubring to Mendelssohn.</span>]</p>
+
+<p class="right">"<span class="smcap">Dessau</span>, <i>February</i> 3, 1846.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></p>
+
+<p>"... I am curious to know how you are getting on with
+'Elijah.' I must confess that I am getting more and more
+interested in it, and greatly look forward to it. Be sure
+and keep well at it. If some things in the text do not
+please you, they will come right in their proper time."</p>
+</div>
+
+<p>In May (1846), only three months before the oratorio was performed at
+Birmingham, Mendelssohn again sought the aid of Schubring. He wrote:&mdash;</p>
+
+<div class="blockquot">
+<p class="right">"<span class="smcap">Leipzig</span>, <i>May</i> 23, 1846.<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a></p>
+
+<p>"Dear Schubring,&mdash;Once more I must trouble you about
+'Elijah'; I hope it is for the last time, and I also hope
+that you will at some future day derive<span class="pagenum"><a name="Page_23" id="Page_23">(23)</a></span> enjoyment from it;
+and how glad I should be if this were to be the case! I have
+now quite finished the first part, and six or eight numbers
+of the second are already written down. In various places,
+however, in the second part I require a choice of really
+fine Scriptural passages, and I do beg of you to send them
+to me! I set off to-night for the Rhine, so there is no
+hurry about them; but in three weeks I return here, and then
+I purpose forthwith to take up the work and complete it.
+Therefore, I beseech you earnestly to send me by that time a
+rich harvest of fine Bible texts. You cannot believe how
+much you have helped me in the first part; this I will tell
+you more fully when we meet. On this very account I entreat
+you to assist me in beautifying the second part also. I have
+been able to dispense with all historical recitative, and to
+substitute individual persons; and I have always introduced
+an angel, or a chorus of angels, instead of the Lord. By
+that means the first part, and the largest half of the
+second, are finely rounded off. Now, however, the second
+part begins with the words of the Queen, 'So let the gods do
+to me, and more also,' etc. (1 Kings xix., 2); and the next
+words about which I feel secure are those in the scene in
+the wilderness (same chapter, 4th and following verses); but
+between these I want, <i>first</i>, something more particularly
+characteristic of the persecution of the prophet; for
+example, I should like to have a couple of choruses
+<i>against</i> him to describe the people in their fickleness and
+their rising in opposition to him; <i>secondly</i>, a
+representation of the third verse of the same passage; for
+instance, a duet with the boy,<span class="pagenum"><a name="Page_24" id="Page_24">(24)</a></span> who might use the words of
+Ruth, 'Where thou goest, I will go,' etc. But what is Elijah
+to say before and after this? and what could the chorus say?
+Can you furnish me with, first, a duet and also a chorus in
+this sense? Then, until verse 15, all is in order; but there
+a passage is wanted for Elijah, something to this effect:
+'Lord, as Thou wilt, be it unto me' (this is not in the
+Bible, I believe?); for I wish that <i>after</i> the
+manifestation of the Lord, he should announce his entire
+submission, and after all this despondency declare himself
+to be entirely resigned and eager to do his duty. I am in
+want, too, of some words for him to say at, or before, or
+even after, his ascension, and also some words for the
+chorus. The chorus sing the ascension historically with the
+words from 2 Kings ii., 11, but then there ought to be a
+couple of very solemn choruses. 'God is gone up with a
+shout' (Psalm xlvii., 5) will not do, for it is not the Lord
+but Elijah who went up; however, something of <i>that</i> sort.
+At the close, I should wish to hear Elijah's voice once
+more.</p>
+
+<p>"(May Elisha sing soprano? or is this inadmissible, as in
+the same chapter he is described as a 'bald head'? Seriously
+speaking, must he appear at the ascension as a prophet, or
+can he do so still as a youth?)</p>
+
+<p>"Lastly, the passages which you have sent for the close of
+the whole (especially the trio between Peter, John, and
+James) are too historical and too far removed from the
+grouping of the (Old Testament) story; I could, however,
+manage to get over this difficulty by composing a chorus,
+instead of a trio to<span class="pagenum"><a name="Page_25" id="Page_25">(25)</a></span> these words. It can easily be done,
+and I think that I shall probably do it. I return you the
+sheets that you may have every necessary information, but
+pray send them back to me. You will see from the sheets that
+the outline of Part II. as a whole is quite settled. It is
+only such lyrical passages (from which arias, duets, etc.,
+could be composed) which I still require, especially towards
+the end. Therefore, pray get your large Concordance, look up
+the references, and again bestow upon me some of your time,
+that when I return three weeks hence at latest, let me find
+your answer. Continue your regard for your</p>
+
+<p class="right">"<span class="smcap">Felix.</span>"</p>
+</div>
+
+<p>To the foregoing, Schubring replied in a long letter, from which the
+following is an extract:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Schubring to Mendelssohn.</span>]</p>
+
+<p class="right">"<span class="smcap">Dessau</span>, <i>June</i> 15, 1846.<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a></p>
+
+<p>"... I want to put down a few thoughts concerning the close
+of the oratorio. I see most distinctly that the oratorio can
+have no other than a New Testament ending; the Old Testament
+(Malachi) and also the New Testament demand this in terms of
+the most definite kind. Elijah must help to transform the
+old into the new covenant&mdash;that gives him his great
+historical importance. Let Handel in his Old Testament
+oratorios move within this narrow circle&mdash;personages like
+Saul, etc., have no further meaning; but with Elijah, with
+you, and in our day, it must be otherwise. Therefore, I
+think the<span class="pagenum"><a name="Page_26" id="Page_26">(26)</a></span> sense of the ending must remain essentially as I
+have suggested&mdash;the words themselves are immaterial.</p>
+
+<p>"Your enquiry whether Elisha may sing soprano is comical.
+Such a question should not be put by one who has set
+Christ's words for a chorus.<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> There can be no doubt that
+at that time Elisha was no more a child. The word <i>Knabe</i>
+(<i>Knappe</i>) is to be understood as referring to service, not
+to youth, like <span lang="el" title="Greek: ho pais">&#8001; &#960;&#945;&#8150;&#962;</span> in classical Greek. One who
+ploughs with twelve yoke of oxen (1 Kings xix., 19) is no
+child. Do you know any passage where Elisha is called a boy?
+I think there is none. The first reference to him is in 1
+Kings xix., 19 [? 16]....</p>
+
+<p>"I earnestly hope that some of these suggestions may suit
+you, so that the work can get on. The news that Part I. is
+already finished has given me great joy."</p>
+</div>
+
+<p>A short letter (August 8, 1846), in which Schubring sends Mendelssohn
+a further suggestion, completes the "Elijah" correspondence between
+the composer and his clerical friend.</p>
+
+<p>Schubring, in his pleasant "Reminiscences" already referred to (<a href="#Page_10">p.
+10</a>), thus speaks of his connection with the composer in compiling the
+book of "St. Paul," Mendelssohn's first oratorio:&mdash;</p>
+
+<div class="blockquot">
+<p>"Subsequently to 1832, we frequently discussed the subject
+of oratorio 'texts.' With regard to 'St. Paul,' a
+considerable amount of preliminary labour<span class="pagenum"><a name="Page_27" id="Page_27">(27)</a></span> had been got
+through before I knew anything about it. At Mendelssohn's
+request I undertook a certain further amount of work of a
+subordinate kind, such as connecting and introducing
+suitable passages and arias.... He always proved himself a
+thoughtful artist, and strove to obtain a clear appreciation
+of each separate point&mdash;such, for instance, as the
+admissibility of the chorale, of the narrative, recitatives,
+etc. He rejected, also, much that was suggested, being so
+well acquainted with his Bible, that he obtained a great
+deal of valuable material himself. He was, however,
+extremely grateful for any assistance."</p>
+</div>
+
+<p>These words apply, though in a larger measure, to the part which
+Mendelssohn took in preparing the libretto of his second oratorio,
+"Elijah." Attention is specially directed to the fact that,
+notwithstanding the foregoing correspondence between the composer,
+Klingemann, and Schubring, Mendelssohn&mdash;while availing himself of the
+help his friends were willing to give him&mdash;accepted nothing without
+the most careful scrutiny. The following extract, from Ferdinand
+Hiller's "Recollections of Mendelssohn" (Macmillan), may fitly
+conclude this chapter.</p>
+
+<p>"One evening," says Hiller, "I found Felix deep in the Bible.
+'Listen,' he said; and then he read to me in a gentle and agitated
+voice the passage from the first Book of Kings, beginning at the
+words, 'And behold, the Lord passed by.' 'Would not that be splendid
+for an oratorio?' he exclaimed."</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_28" id="Page_28">(28)</a></span></p>
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.</h2>
+
+<hr class="short" />
+
+<h3>BIRMINGHAM.</h3>
+
+
+<p class="tp"><span class="smcap">Mendelssohn</span> does not seem to have done anything with the <i>music</i> of
+"Elijah" until 1845. The Committee of the Birmingham Musical Festival
+were then making arrangements for their approaching triennial music
+meeting, to be held in 1846.</p>
+
+<p>The history of the Birmingham Musical Festival, which dates back to
+1768, is full of interest. The artistic excellence of the Festival,
+and the enterprise which has also so long distinguished it, have
+earned for this great music-meeting a European reputation. Charity, in
+one of its best forms&mdash;the relief of the sick and suffering poor&mdash;has
+been richly sustained by the benefactions, amounting in the aggregate
+to the munificent sum of £132,000, which the Festivals have brought
+into the treasury of the Birmingham General Hospital.</p>
+
+<p>Mendelssohn loved England and the English people. He was never happier
+than when visiting this country, and Birmingham had a warm corner in
+his heart. His receptions at the Festivals of 1837 and 1840, when he
+conducted respectively his "St. Paul" and the "Hymn of Praise," were
+most<span class="pagenum"><a name="Page_29" id="Page_29">(29)</a></span> cordial, and highly gratifying to him. It was therefore quite
+natural that the Festival Committee should look to Mendelssohn for the
+composition of a work which, in all probability, would give
+distinction to their Festival; and, that they should, if possible,
+secure, as an extra attraction, the presence of the composer as
+Conductor. The <a href="#CHAPTER_I">previous chapter</a> shows that "Elijah" had occupied
+Mendelssohn's mind for many years previous to 1846; therefore, it can
+scarcely be said that he composed the oratorio "expressly for
+Birmingham," as is commonly stated and generally supposed. But,
+considering the composer's early death (in 1847), it may reasonably be
+assumed that had it not been for the Birmingham Festival of 1846,
+Mendelssohn's oratorio of "Elijah" would never have been given to the
+world.</p>
+
+<p>At a meeting of the Birmingham Festival Committee, held June 11, 1845,
+the following resolution was carried&mdash;doubtless <i>nem. con.</i>:&mdash;</p>
+
+<p>"That it appears to this Committee desirable that the services of Dr.
+Mendelssohn be obtained to act as Conductor at the next Festival; and
+that he be requested to consider whether he can provide a new
+oratorio, or other music, for the occasion."</p>
+
+<p>This resolution was communicated to the composer by Mr. Joseph Moore
+(1766-1851), the indefatigable manager of the Festivals from 1802 till
+his death. Mr. Moore not only caused the noble Town Hall to be erected
+(in 1834), but spared no exertions to raise the Birmingham
+music-meetings to their present exalted position in the realm of
+music. Mr. Moore, who had early made the acquaintance of the
+Mendelssohn<span class="pagenum"><a name="Page_30" id="Page_30">(30)</a></span> family in Berlin, became very intimate with Felix, who
+was always Mr. Moore's guest during his visits to Birmingham.</p>
+
+<p class="centertp border"><a name="MOORE" id="MOORE"></a>
+<img src="images/moore.jpg" width="375" height="500" alt="JOSEPH MOORE" title="JOSEPH MOORE" />
+</p>
+
+<p class="caption">
+JOSEPH MOORE<br />
+(1766-1851)<br />
+<i>Manager of the Birmingham Musical Festivals.</i>
+</p>
+
+<p>Here is Mendelssohn's reply to the Committee's invitation:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">To Joseph Moore, Esq.</span>]</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Frankfort</span>, <i>July</i> 24, 1845.</p>
+
+<p>"My dear Sir,&mdash;Have many thanks for your very kind and
+welcome letter, which I received a few days ago, and pray
+tell the members of the Committee for the next Festival how
+truly indebted I feel to them for the honour they have done
+me in inviting me to come over to their meeting next year.</p>
+
+<p>"I hope nothing shall prevent me to accept of so flattering
+and honourable an invitation, and beg to thank the Committee
+and yourself, my dear Sir, most sincerely for it.</p>
+
+<p>"You know with how great a pleasure I have always visited
+your country; the prospect of doing so again affords always
+a true gratification to me, and your kind and hospitable
+invitation greatly adds to the pleasure I may thus
+anticipate. I have only to wish, then, that nothing may
+occur to prevent me from accepting so much kindness; for it
+is indeed a long time&mdash;more than a year&mdash;for settling any
+plans. Pray let me know at what time you would wish to have
+a positive and decided answer&mdash;I mean at what time you would
+consider my answer as an engagement, which could not be
+altered on any account; and let me also know what you mean
+in saying that I am to<span class="pagenum"><a name="Page_31" id="Page_31">(31)</a></span> assist you in selecting music,
+conducting and directing as much as possible. As for
+selecting, of course I shall be most happy to offer any
+advice which may be asked; but do you mean that I should
+have to conduct <i>all</i> the performances, or the <i>greater</i>
+part of them? This, I fear, would be a task above my powers;
+but before I can say anything more on this subject, pray
+explain me what <i>your</i> meaning is, and name the period about
+which I asked you before.</p>
+
+<p>"Since some time I have begun an oratorio,<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> and hope I
+shall be able to bring it out for the first time at your
+Festival; but it is still a mere beginning, and I cannot yet
+give you any promise as to my finishing it in time.</p>
+
+<p>"I have written to Mr. Webb<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> some months ago, to tell him
+that I had already begun to work on another subject, and
+that I could not avail myself of his poem for that reason,
+much as I regretted it. If my oratorio should be ready in
+time (as I hope it will), there would be no occasion for any
+other things of mine at the morning performances; but if I
+should not be able to finish it, I have several other things
+of mine which I could propose in its stead, either for the
+morning or evening concerts.</p>
+
+<p>"The '&#338;dipus' (which is to be performed next month at
+Potsdam) will scarcely do for any concert, I am afraid; but,
+as I said, I have other things.<span class="pagenum"><a name="Page_32" id="Page_32">(32)</a></span></p>
+
+<p>"I hear with much pleasure that you still go on with
+improvements in your splendid organ; but if I shall play it
+with pleasure, I must have a lighter touch, and broader keys
+in the pedals than what I found there last year [? time]. I
+am sure the pedals from C up to D (<i>two</i> octaves and a note)
+are quite enough, and it could then be contrived that the
+keys have the breadth which feet and boots usually require.
+And as for the heavy touch, I am sure that I admired your
+organist very much who was able to play a Fugue on them. I
+am afraid I would not have strength enough to do so, without
+a very long previous practice. Perhaps you may speak to Mr.
+Hill [the builder of the organ] of these observations, and
+hear what he says to them....</p>
+
+<p class="center">"Believe me always, very truly yours,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+<p>On August 26 (exactly a year before "Elijah" was first performed) the
+Orchestral Committee resolved to recommend to the Musical Committee
+"That Dr. Mendelssohn Bartholdy be requested to compose a performance
+(<i>sic</i>) for the Wednesday morning, and to conduct all the morning
+performances." The Musical Committee at once adopted this
+recommendation, and communicated its purport to Mendelssohn, who
+replied as follows:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">To Joseph Moore, Esq.</span>]</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>October</i> 19, 1845.</p>
+
+<p>"My dear Sir,&mdash;I received your first letter after an absence
+of a few weeks, and should have answered it<span class="pagenum"><a name="Page_33" id="Page_33">(33)</a></span> long ago, for
+you know with how much pleasure I read it, and how truly
+indebted I felt to you and the Committee for continuing your
+very kind feeling towards me! But I was uncertain which
+answer I had to give to some of the most important points,
+and this uncertainty is still the same; yet I must write, as
+I receive to-day your second letter, which shows your wish
+to have an immediate answer.</p>
+
+<p>"The principal point about which I am uncertain is whether I
+shall be able to have my new oratorio ready in time for your
+Festival. There would have been no doubt of it, had I been
+able to continue my work quietly at Frankfort, as I began
+it. But now there are so many businesses here, at Dresden,
+and at Berlin, which took up all my leisure time during the
+last months, that I have not been able to go on with it. If
+the businesses continue as they have begun (which, however,
+I hope they will not), I <i>shall not</i> be able to finish my
+oratorio in time. If they do <i>not</i> continue, I <i>shall</i>
+finish it in time. But during this uncertainty I am not able
+to make an engagement as to the first performance of this
+work.</p>
+
+<p>"The second point is that I am afraid I shall not be strong
+enough to go through the office of being sole conductor of
+the morning performances at such a Festival as yours is. In
+former years I had only to conduct my compositions, not the
+other pieces of your programme; and yet I recollect how
+excited and fatigued I always felt after the Festival was
+over. Therefore, I hesitate to accept of the honour which
+you intend doing me, and which I fear I should not be able
+to go through, although I sincerely wished it.<span class="pagenum"><a name="Page_34" id="Page_34">(34)</a></span></p>
+
+<p>"The question now is whether you would want me yet (to come
+to the Festival without having a certainty as to these two
+points, and even with the possibility of my answering them
+at last in the negative), or whether you consider them as so
+essential that the whole idea of my coming over (much as I
+would regret it) must be given up with them.</p>
+
+<p>"I beg you will give me an answer to this question as soon
+as you conveniently can. If the first should be the case
+(and I hope you fully know how glad I should be to see you
+again, and to come), I would set at work as hard as I could
+whenever any leisure is left me to finish my new piece; and
+at any rate I should propose several others (although not so
+extensive ones) for the morning performances. But if the
+second should be the case, I sincerely hope and trust you
+would be convinced of my deep regret, and would allow me
+another year to enjoy of an honour and a treat which I
+should have been obliged to give up so much against my
+wishes this time. Be it as it may, I beg you will present my
+best and most sincere thanks to the Committee, and I beg you
+will think of me, my dear Sir, as of one who shall <i>always</i>
+feel true gratitude and thankfulness for all the kindness
+and friendship you have shown to him!...</p>
+
+<p class="center">"Very truly yours,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+<p>Mendelssohn then set vigorously to work at the music. Miss Dolby,
+afterwards Madame Sainton-<span class="pagenum"><a name="Page_35" id="Page_35">(35)</a></span>Dolby, made her first appearance at the
+Leipzig Gewandhaus Concerts, for which she had been engaged by
+Mendelssohn, on October 25, 1845; and she records the progress of the
+new oratorio in the following anecdote. "We were dining," she says,
+"at Dr. Härtel's, and were all seated at the table. The guests
+included Dr. and Madame Schumann; but Mendelssohn, who was also
+invited, came late. A vacant place had been left for him by my side.
+He arrived after the soup had been served, and excused himself by
+saying he had been very busy with his oratorio; and then turning to me
+he said, 'I have sketched the bass part, and now for the contralto.'
+'Oh!' I exclaimed, 'do tell me what that will be like, because I am
+specially interested in that part.' 'Never fear,' he answered, 'it
+will suit you very well, for it is a true woman's part&mdash;half an angel,
+half a devil.' I did not know whether to take that as a compliment,
+but we had a good laugh over it."<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></p>
+
+<p>Shortly afterwards Jenny Lind also made her first appearance at the
+Gewandhaus; and it may here be mentioned that there is every reason to
+suppose that Mendelssohn wrote the soprano part of his "Elijah"
+expressly for the "Swedish Nightingale." It is stated in the "Memoir"
+of Jenny Lind that amongst the beautiful notes of her splendid voice,
+"the upper F sharp possessed an irresistible charm" for Mendelssohn.
+He often spoke of it with admiration, and fully remembered that
+"wonderful F sharp," when<span class="pagenum"><a name="Page_36" id="Page_36">(36)</a></span> he was writing the soprano part of his
+"Elijah." "He used it with striking effect, as the initial note of the
+first phrase in 'Hear ye, Israel,' and in many other passages, in
+which it rings like a trumpet-call throughout the air."<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> This will
+account for Mendelssohn's having set "Hear ye, Israel," in the keys of
+B minor and B major&mdash;the dominant note of which, and the predominating
+note of the air, is the said "F sharp."</p>
+
+<p>Mendelssohn definitely accepted the invitation of the Birmingham
+Committee in the following letter, which, however, still left the new
+oratorio an "open question":&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">To Joseph Moore, Esq.</span>]</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>December</i> 11, 1845.</p>
+
+<p>"My dear Sir,&mdash;Many thanks for your very kind letter. I have
+now made up my mind to come to Birmingham in August; but I
+wish to conduct only my own music, as in former years, and
+have nothing to do with the other parts of the programme. I
+cannot yet give any promise as to my new oratorio; but in a
+month or two I shall be able to tell you for certain
+whether, and when, I can send it. If I cannot, I would try
+to propose something else of my new music. You want
+something, whether new or old, for the Friday: would the
+'Walpurgisnacht' do for it? I conducted it only once in
+England, at the last Philharmonic, 1844, and they seemed to
+like it<span class="pagenum"><a name="Page_37" id="Page_37">(37)</a></span> then. Or would the music to the 'Midsummer Night's
+Dream' be the thing? My Symphony in A minor, about which you
+questioned me in one of your former letters, lasts about
+thirty-five to forty minutes.</p>
+
+<p>"And if you can have Jenny Lind for the Festival, by all
+means have her, for we have now no singer on the Continent
+who is to be compared to her. But although she has no fixed
+engagement, neither at Berlin nor elsewhere, I fear it will
+be difficult to make her come, as they are all mad about
+her, and force her into more engagements than she can
+accept. And Pischek would also be the man, I am sure! But he
+is known already in England; and if you get Jenny Lind, it
+will be such a novelty at the same time, and will give a new
+character to the Festival. Now, before all, I hope that
+these lines may find you in better health, that your
+indisposition will be forgotten long before they arrive, and
+that I may meet you again in perfect strength and happiness.</p>
+
+<p class="center">"Yours very truly,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+<p>The Committee at once acted upon Mendelssohn's suggestion that Jenny
+Lind should be invited to sing; and at their meeting on December 26
+resolved&mdash;"That Mr. Moore be requested to use his endeavours to engage
+Jenny Lind, and impress upon Mendelssohn the importance of completing
+his new oratorio." Moore evidently asked Mendelssohn to be the<span class="pagenum"><a name="Page_38" id="Page_38">(38)</a></span>
+negotiator between the Committee and Jenny Lind, judging from the
+following letter:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">To Joseph Moore, Esq.</span>]</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>January</i> 15, 1846.</p>
+
+<p>"My dear Sir,&mdash;Yesterday I received your letter of the 7th,
+and answer it as early as I can. My oratorio is in progress,
+and becomes every day more developed; but whether I shall be
+able to finish it in time for your preparations is another
+question, which I shall not be able to answer positively
+before <i>two months</i> are elapsed. It will then be the middle
+of March, more than five months before the period of your
+Festival, and if I should fail in my efforts of ending my
+work in time (which I fully hope and trust to do), there
+will be ample time for you to make it up by something else.
+Your question about Jenny Lind is very important to the
+success of the Festival, as I consider her, without
+hesitation, as the first singer of the day, and perhaps of
+many days to come. But I am not able to undertake the
+negotiation which your chairman would entrust me with, as I
+know how much she is surrounded with engagements of all
+sorts, and how little likely it is that I could get anything
+like a positive answer from her, unless a formal application
+from the Committee had previously been made to her. It is by
+no means certain that such an application would be
+successful, but at any rate I think it the only way, if
+there is one. When you formally wrote to me about the same
+subject, I was at Berlin, and spoke to her about<span class="pagenum"><a name="Page_39" id="Page_39">(39)</a></span> it, but
+then she said she should not go to England, she had declined
+it already twice, it was quite impossible, etc., etc.; so
+that I am sure that she will not come to <i>London</i> at least
+(for I did not make any direct enquiries about Birmingham
+and the Festival at that time). When you have determined
+what you will do, and if you have written, or if another
+(perhaps at Berlin) has negotiated for you, pray let me know
+of it, and I could then, perhaps, be of some use in removing
+some difficulties which might still arise, and in persuading
+her to accept the Festival, which I should be most happy to
+do. But at present, I am afraid, by beginning to talk or
+correspond with Jenny Lind about this subject, I would do
+your cause no good, and I therefore beg to be excused.</p>
+
+<p class="center">"Truly and sincerely yours,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+<p>Nothing daunted, the Committee at their next meeting (January 30,
+1846) instructed Moore to ask Moscheles (who had been appointed
+Conductor-in-chief of the Festival) to use his influence with Jenny
+Lind. Although a good deal of pressure seems to have been brought to
+bear upon her to visit Birmingham for the purpose of singing in the
+first performance of "Elijah," it was of no avail. The reason of Jenny
+Lind's inability to come to England at that time may be traced to her
+fear of Mr. Alfred Bunn, the opera manager. Those who wish to follow
+the circumstances of that<span class="pagenum"><a name="Page_40" id="Page_40">(40)</a></span> unpleasant episode in the great singer's
+career will find the story fully told in the chapter headed "The Bunn
+Contract," in Messrs. Holland and Rockstro's "Memoir of Jenny
+Lind-Goldschmidt," Vol. I., pp. 228 and 290; also Vol. II., pp. 39 and
+198.</p>
+
+<p>Meanwhile, the work of composition made slow progress, and the fate of
+the oratorio was decidedly precarious. On April 20, four months before
+the Festival, Mendelssohn wrote to Moscheles suggesting that "Athalie"
+should be an alternative to "Elijah." To Hauser, of Vienna, he wrote:
+"I sit, over both my ears, in my 'Elijah,' and if it only turns out
+half as good as I often think it will, I shall be glad indeed! The
+first part will be quite finished within the next few days, and a
+goodly portion of the second part also. I like nothing more than to
+spend the whole day in writing the notes down, and I often come so
+late to dinner that the children come to my room to fetch me, and drag
+me out by main force."<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a></p>
+
+<p>Writing to Moscheles, Mendelssohn says: "I absolutely require a
+first-rate high baritone. Can such an one be found?" Again: "If, after
+all, there is no baritone to be got, the whole thing falls to the
+ground." To Jenny Lind: "Sometimes, in my room, I have jumped up to
+the ceiling when it seemed to promise so very well. (Indeed, I shall
+be but too glad if it turns out only half as good as it now appears to
+me.) But I am getting a little confused, through writing down, during
+the last few weeks, the immense number of notes that I previously had
+in my<span class="pagenum"><a name="Page_41" id="Page_41">(41)</a></span> head, and working them now and then upon the paper into a
+piece, though not quite in the proper order, one after another."<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a>
+To Devrient: "I am working day and night at my new oratorio to send to
+England, otherwise it will not be in time." To his sister Fanny: "I am
+more driven than ever, as an immense piece of 'Elijah' is not yet
+copied, whilst the first part is already in rehearsal in England....
+The first thing to-morrow morning I shall shut myself up, and decline
+to budge till 'Elijah' is finished, which may not be for another three
+weeks, and that I also swear by my beard."</p>
+
+<p>The anxiety of the Birmingham Committee was somewhat relieved by the
+receipt of the following letter from the composer:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">To Joseph Moore, Esq.</span>]</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>May</i> 8, 1846.</p>
+
+<p>"My dear Sir,&mdash;I write these lines to inform you that I
+intend to send the whole of the first part of my oratorio to
+Mr. Moscheles in the course of the next fortnight. It is by
+far the greater part of the two; the choruses from the
+second part will be in England towards the beginning of
+July, and the rest of the whole in the middle of that month.
+All this, <i>Deo volente</i>.</p>
+
+<p>"I wish Mr. Bartholomew, in London, who has translated
+several other vocal pieces of mine, would undertake also
+this; and I wish he might take advice<span class="pagenum"><a name="Page_42" id="Page_42">(42)</a></span> of my friend, Mr.
+Klingemann, who understands both languages thoroughly, and
+who understands my music better than both languages.</p>
+
+<p>"The most essential condition for my oratorio is a most
+excellent barytone singer&mdash;a man like Pischek, or Staudigl,
+or Oberhofer. Will you have such a m...."</p>
+
+<p>[Here the letter is torn away, and concluded in a lady's
+handwriting, thus:]</p>
+
+<p class="center">"Believe me always yours truly,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+<p>The summer of 1846 was very hot, and Mendelssohn often became
+exhausted over the close application which he gave to his work. "I
+have lived the life of a marmot," he writes, but he kept his time. The
+complete Part I. was despatched from Leipzig on May 23. He was then
+interrupted in the process of composition for three weeks by having to
+conduct the Lower Rhine Musical Festival at Aix-la-Chapelle (May 31 to
+June 2);<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> then a Soirée at Düsseldorf; after that the production of
+his "Lauda Sion," at Liège, on the Feast of Corpus Christi, June 11;
+and finally a great Choral Festival at Cologne&mdash;"an enormous
+'Sängerfest,'" he writes, of "nearly 2,000 men, which I have also to
+direct." For this Mendelssohn had composed a Festgesang on<span class="pagenum"><a name="Page_43" id="Page_43">(43)</a></span> Schiller's
+"An die Künstler" ("To the Sons of Art"), Op. 68.</p>
+
+<p>On his return to Leipzig, Mendelssohn heard that some members of the
+Philharmonic band, who had been discourteous to him during his
+previous visit to London, were not to be engaged for the Birmingham
+Festival. He at once wrote off to Moscheles in the following emphatic
+terms:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Moscheles.</span>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>June</i> 26, 1846.<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></p>
+
+<p>"My dear Friend,&mdash;The occasion of these lines is a passage
+in Mr. Moore's letter, in which he says: 'Nearly the whole
+of the Philharmonic band are engaged [for Birmingham]; a few
+only are left out who made themselves unpleasant when you
+were there.'<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a></p>
+
+<p>"Now, I strongly object to this restriction; and as I fancy
+you can exercise your authority in the matter, I address my
+protest to you, and beg you to communicate it to Mr. Moore.
+There is nothing I hate more than the reviving of bygone
+disputes; it is bad enough that they should have occurred.
+This one of the Philharmonic is, as far as I am concerned,
+dead and buried, and must on no account have any influence
+on the selection made for the Birmingham Festival. If men
+are to be rejected because they are incompetent, that is not
+my business and I have nothing to say in the matter; but if
+it is because<span class="pagenum"><a name="Page_44" id="Page_44">(44)</a></span> 'they made themselves unpleasant when I was
+there,' I consider that an injustice, against which I
+protest. Any further disturbance on the part of these
+gentlemen, I am sure, is not to be feared. That at least is
+my belief, shared probably by all concerned. So you will
+sincerely oblige me by having the selection made exactly as
+if I were not coming to England. The only consideration that
+can be shown me is not to take me into consideration at all.
+You will do me a favour by putting this very strongly to Mr.
+Moore, and requesting him to let the matter drop. If my
+wishes are to be complied with, the incident must herewith
+end. Should it be otherwise, I shall write a dozen letters
+in protest against what I should consider a spirit of
+vindictiveness. Excuse all this.&mdash;Ever yours,</p>
+
+<p class="right">"<span class="smcap">Felix.</span>"</p>
+</div>
+
+<p>Two months before the performance Mendelssohn reports that "an immense
+piece of 'Elijah' is not yet copied"; and he writes to Moscheles to
+the effect that as the touch of the Birmingham organ was so very heavy
+the last time he played, he would not play one of his Sonatas at the
+Festival until he had first tried the organ; also that when "St. Paul"
+was given in 1837, it was followed by a selection from Handel's
+Oratorios. "I much disapproved of this," he says, "and trust it is not
+to be the case this time." He further adds that "Elijah" will take two
+hours in performance; and that if there must be something added to
+occupy the orthodox three hours, it should<span class="pagenum"><a name="Page_45" id="Page_45">(45)</a></span> be a short complete work:
+"but, however this may be," he says, "don't let us have a ragout
+afterwards."</p>
+
+<p>Meanwhile the Birmingham Committee were completing their arrangements.
+The fee paid to Mendelssohn for his attendance at the Festival was 200
+guineas. Madame Caradori-Allan (the soprano) received a similar
+amount. Other fees were:&mdash;Staudigl (the original <i>Elijah</i>), 150
+guineas; John Braham (then sixty-eight years old), for one morning
+performance ("The Messiah"), £50; Dr. Gauntlett, as solo organist and
+organist in "Elijah," £30. Cooke and Willy, violinists, (leaders), £40
+and £20 respectively; Dando, violinist, £11; thirty-eight chorus
+singers from London, £6 each, instead of £7, as at the previous
+Festival, the difference being a free railway ticket.</p>
+
+<p>The Committee had some financial difficulty with the "Italian Party,"
+which seemed to be an indispensable and expensive feature of these
+Festivals. Mario, when treating for himself, doubled his former terms!
+Mr. Beale, the agent of the "Italian Party," asked for Grisi, 380
+guineas; Mario, 320; Lablache, 75; and Benedict, 50; making a total of
+825 guineas for the three singers and their accompanist. This amount
+alarmed the Committee, who resolved: "That these exorbitant terms be
+rejected, and that, the services of Benedict not being required, an
+offer of £700 be made for the other three." The fee of £100 paid to
+Moscheles as Conductor-in-chief of the Festival, and that of £210 to
+Mendelssohn, cannot be considered exorbitant,<span class="pagenum"><a name="Page_46" id="Page_46">(46)</a></span> when compared with the
+amounts paid to the solo vocalists.</p>
+
+<p>The choral rehearsals were conducted by Mr. James Stimpson, the
+chorus-master of the Festival. It was not until after the middle of
+June, only two months before the Festival, that Mr. Stimpson received
+the first instalment of the chorus parts. Although these were printed
+(all the rest of the oratorio was sung and played from MS. copies),
+the deciphering of them was no easy matter, owing to the many
+alterations&mdash;black, red, and blue ink being freely used to indicate
+the alterations and re-alterations in the parts. Mr. John Bragg, who
+sang tenor in the chorus in 1846 and at several Festivals since,
+relates the following incident in connection with the first rehearsal
+of "Thanks be to God." Mr. Bragg says: "At the passage beginning 'But
+the Lord,' which was an entirely new one to choralists, Mr. Stimpson
+rapped his desk and asked for the separate voice parts one after
+another. He then compared them with his own MS. copy of the score,
+and, being evidently puzzled, said 'Well, gentlemen, the voice parts
+are right, and we must sing it so.' And <i>so it was sung</i>," adds the
+veteran Mr. Bragg, "then and ever after; and one of the greatest gems
+in the work shone out for the first time. Great was the enthusiasm of
+the chorus when they had completed the passage and realised the full
+effect of this masterly modulation."</p>
+
+<p>Mr. Stimpson had a most arduous task in preparing the choruses in the
+limited time at his disposal. As late as August 3, twenty-three days
+before the<span class="pagenum"><a name="Page_47" id="Page_47">(47)</a></span> performance, the arrival of the first two choruses of Part
+II. was reported, and the last chorus was not received till nine days
+before the Festival! But the Birmingham singers were on their mettle.
+They enjoyed rehearsing the work, and they worthily maintained those
+splendid choral traditions which have so eminently distinguished the
+Birmingham Musical Festival.</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_48" id="Page_48">(48)</a></span></p>
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.</h2>
+
+<hr class="short" />
+
+<h3>THE ENGLISH TRANSLATION.</h3>
+
+
+<p class="tp"><span class="smcap">The</span> music of "Elijah" was composed to German words; an English version
+was therefore necessary. Mendelssohn had no hesitation in assigning
+the task of making the English translation to Mr. Bartholomew&mdash;"the
+translator <i>par excellence</i>," as he called him&mdash;who is so well known
+as the translator or adaptor of Mendelssohn's "Athalie," "Antigone,"
+"&#338;dipus," "Lauda Sion," "Walpurgis Night," the <i>Finale</i> to
+"Loreley," "Christus," and many of his songs and part-songs.
+Bartholomew also supplied the words of "Hear my Prayer," "which," he
+says, "its dear and lamented author composed for my paraphrastic
+version of the 55th Psalm."</p>
+
+<p class="centertp border"><a name="BARTH" id="BARTH"></a>
+<img src="images/bartholomew.jpg" width="390" height="500" alt="WILLIAM BARTHOLOMEW" title="WILLIAM BARTHOLOMEW" />
+</p>
+
+<p class="caption">
+WILLIAM BARTHOLOMEW<br />
+(1793-1867)<br />
+<i>The English Translator of Mendelssohn's &#8220;Elijah.&#8221;</i><br />
+<i>From the original Painting, now in the possession of Mrs. Harper.</i>
+</p>
+
+<p>William Bartholomew (1793-1867) was "a man of many
+accomplishments&mdash;chemist, violin player, and excellent flower
+painter." In 1841 he submitted to Mendelssohn the libretto of a fairy
+opera, entitled "Christmas Night's Dream"; and in this way an
+acquaintance commenced which developed into a<span class="pagenum"><a name="Page_49" id="Page_49">(49)</a></span> close friendship
+between the two men&mdash;a friendship severed only by death.</p>
+
+<p>Here is Mendelssohn's first letter to Bartholomew on the subject of
+"Elijah."</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Bartholomew.</span>]</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>May</i> 11, 1846.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a></p>
+
+<p>"My dear Sir,&mdash;Many thanks for your kind letter of the 4th,
+to which I hasten to reply, and to tell you that the
+oratorio for the Birmingham Festival is <i>not</i> the 'Athalie'
+(nor the '&#338;dipus,' of course), but a much greater, and
+(to me) more important work than both together; that it is
+not quite yet finished, but that I write continually to
+finish it in time; and that I intend sending over the first
+part (the longest of the two it will have) in the course of
+the next ten or twelve days. I asked Mr. Moore from
+Birmingham to have it translated by you, and I have no doubt
+he will communicate with you about it as soon as he gets my
+letter, which I wrote four or five days ago; and I beg you
+will be good enough, if you can undertake it, to try to find
+some leisure time towards the end of this month, that the
+Choral parts with English words may be as soon as possible
+in the hands of the Chorus singers. And pray give it your
+best English words, for till now I feel so much more
+interest in<span class="pagenum"><a name="Page_50" id="Page_50">(50)</a></span> this work, than for my others&mdash;and I only wish
+it may last so with me.</p>
+
+<p class="center">"Always very truly yours,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+<p>The music of "Elijah" came to Bartholomew from Mendelssohn in
+instalments. The English translation was the subject of a long and
+elaborate correspondence between the composer and his translator in
+London. Both were unsparing in the labour they bestowed upon the
+translation. The following letters show that Mendelssohn went through
+the English version bar by bar, note by note, syllable by syllable,
+with an attention to detail which might be termed microscopic. These
+letters, written in Mendelssohn's own English, and the majority of
+which are now made public for the first time, cannot fail to be of
+interest.<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a></p>
+
+<p>A letter from Bartholomew to Mendelssohn may, however, first be
+quoted, to show the spirit in which the English translator discharged
+his congenial task.<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a></p>
+
+<p><span class="pagenum"><a name="Page_51" id="Page_51">(51)</a></span></p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Bartholomew to Mendelssohn.</span>]</p>
+
+<p class="center">"2, <span class="smcap">Walcot Place</span>,</p>
+
+<p class="right">"<span class="smcap">Hackney, London</span>, <i>June</i> 23, 1846.</p>
+
+<p>"My dear Sir,&mdash;I have at last, after toiling day and night,
+got through the first portion of your noble oratorio. I wish
+I could render words more worthy of such music. My endeavour
+has been to keep them as <i>scriptural</i> as possible; and in
+order that you may be able to judge how far I have
+succeeded, do me the favour to refer to the verses notified
+in an English version of the Bible. When the second part, or
+the parts of that, as they are completed, are sent, I hope
+we shall have the words in the score written in letters
+which are readable to us. I know not how so bad a scribe as
+he who penned the libretto could have been found; words, nay
+even <i>sentences</i> were omitted, and words <i>changed</i>: <i>leben</i>
+was written for <i>beten</i>, and there were no references to
+where the verses might be seen in 'The Book.' All these
+caused me much perplexity, trouble, and, what is worse than
+all, <i>loss of time</i>. These, too, enhanced by my journeys to
+Hobart Place, and the necessity of copying by my <i>own hand
+all</i> the vocal portion of the score for the engravers, and
+those parts which you will receive through the medium of Mr.
+Buxton for your perusal and decision, have rendered my toil,
+although a labour of love, incessant. The choral portions
+will this day be in the hands of the engravers; and I trust
+you will send by every packet each of the pieces yet
+forthcoming&mdash;one at a time<span class="pagenum"><a name="Page_52" id="Page_52">(52)</a></span>&mdash;never mind how short, for the
+time is short&mdash;and I want all the time to enable me to do it
+as well as I can. And the choralists want all the time to
+rehearse it as often as they can, for the more often it is
+rehearsed the better.</p>
+
+<p>"No. 6 wants the time; and I hope you will have time to
+write an overture, or introduction, unless you expressly
+design there shall be none. I understand they (the
+Birmingham Directors) have engaged Staudigl, I hope with the
+intention of giving him the Prophet's part, although it is
+reported here that Phillips is to sing it. Much will depend
+on who sings it [the oratorio] so far as the soloists are
+concerned; but the choruses! they will be the main feature,
+and the glory of their composer. The Baal Priests' choruses
+are wrought to a climax truly <i>sublime</i>. Go on, my dear Sir,
+go on! until you soar with your 'Elijah' on the returning
+fire to the height from which he called it down!</p>
+
+<p class="center">"Your grateful and obliged</p>
+
+<p class="right">"<span class="smcap">W. Bartholomew.</span>"</p>
+</div>
+
+
+<div class="blockquot"><a name="LETTER" id="LETTER"></a>
+<p class="centertp">[<span class="smcap">Mendelssohn to Bartholomew.</span>]</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>July</i> 3, 1846.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a></p>
+
+<p>"My dear Sir,&mdash;Many, many thanks for your kind letter and
+for your translation of the first part of Elijah. I can but
+write in great haste, else I<span class="pagenum"><a name="Page_53" id="Page_53">(53)</a></span> would try to say more, and to
+thank you better for all your kindness. But I will do so in
+person, and meanwhile I merely say&mdash;I thank you most
+heartily, most sincerely, and I hasten to answer your
+questions.</p>
+
+<p>"Those words in the choruses which you or I may now or
+hereafter object to, might, I hope, still be altered <i>in
+pencil or ink</i> in the parts, if already printed; for if an
+improvement can be made, it must never be omitted because
+the printing should be finished. A little more trouble will
+be amply repaid by a little improvement! And as for the Solo
+Parts, they <i>must not be printed at all</i> for the Festival,
+but only written out (copied), and can only be printed
+together with the pianoforte arrangement, and <i>after</i> the
+performance. For these accordingly we have time till then,
+to alter and improve. Pray let Mr. Buxton [Ewer and Co., the
+English publishers] read all this!</p>
+
+<p>"No. 1. I wish to keep this if possible as in the English
+Bible version; therefore I propose<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a>:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music053.png" width="568" height="79" alt="there shall not be dew nor rain these years, not dew nor rain &amp;c." title="there shall not be dew nor rain these years, not dew nor rain &amp;c." />
+</p>
+
+<p class="centerbp">[<a href="music/music053.mid">Listen</a>]</p>
+
+<p>"No. 5, at the end, I propose to say 'and in our affliction
+He comforteth us,' and to slur from D to E<span class="pagenum"><a name="Page_54" id="Page_54">(54)</a></span> flat, because I
+prefer to have the word af<i>flic</i>tion on the G flat.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></p>
+
+<p><span class="pagenum"><a name="Page_55" id="Page_55">(55)</a></span></p>
+
+<p>"No. 6 {3}. The time is <i>Andante tranquillo</i>. The first
+words are from Jerem. xxix., 13. And the following from Job
+xxiii., 3, and I wish to keep these last literally: 'Oh,
+that I knew (<i>slurred</i>) where I might find Him, that (added
+note, as you also have) I might <span class="slur">come<img class="slur" src="images/slur.png" width="26" height="5" alt="slur" title="slur" /></span> even
+to His seat' (or 'presence,' perhaps, if the two notes shall
+not be slurred.)<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> And before the first subject and the
+first words return, the notes may be altered thus:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music055a.png" width="564" height="74" alt="Oh, that I knew, where I might find Him. If with all, &amp;c." title="Oh, that I knew, where I might find Him. If with all, &amp;c." />
+</p>
+
+<p class="centerbp">[<a href="music/music055a.mid">Listen</a>]</p>
+
+<p>"In No. 7 {5}, I prefer your first idea, 'for <i>He</i> is Lord
+and God,' to the two others which you propose; and I wish
+you would have the 'He,' &amp;c., inserted still in the choral
+parts.</p>
+
+<p>"No. 8 {6}, I prefer an alteration in the notes, and to keep
+the words:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music055b.png" width="366" height="85" alt="and hide thyself by the brook Cherith." title="and hide thyself by the brook Cherith." />
+</p>
+
+<p class="centerbp">[<a href="music/music055b.mid">Listen</a>]</p>
+
+<p>as also&mdash;</p>
+
+<p class="centertp">
+<img src="images/music055c.png" width="321" height="74" alt="and thou shalt drink of the brook." title="and thou shalt drink of the brook." />
+</p>
+
+<p class="centerbp">[<a href="music/music055c.mid">Listen</a>]</p>
+
+<p class="centertp">
+<img src="images/music055d.png" width="511" height="76" alt="and I have commanded the ravens to feed thee, &amp;c." title="and I have commanded the ravens to feed thee, &amp;c." />
+</p>
+
+<p class="centerbp">[<a href="music/music055d.mid">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_56" id="Page_56">(56)</a></span></p>
+
+<p>"No. 9 {7}. Pray let the beginning stand as in the Bible,
+viz.:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music056a.png" width="509" height="78" alt="For He shall give His angels charge over thee." title="For He shall give His angels charge over thee." />
+</p>
+
+<p class="centerbp">[<a href="music/music056a.mid">Listen</a>]</p>
+
+<p>and if the end 'and thus harm thee' can be spared, and it
+can finish with the words 'against a stone,' I should like
+it better.</p>
+
+<p>"No. 10 {between 7 and 8}, in the middle I propose again to
+alter the notes in order to keep the Bible version:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music056b.png" width="567" height="153" alt="-bide. Behold I have commanded a widow woman there to sustain thee, and thou shalt want nothing, nor she and her house, through, &amp;c.
+" title="-bide. Behold I have commanded a widow woman there to sustain thee, and thou shalt want nothing, nor she and her house, through, &amp;c.
+" /></p>
+
+<p class="centerbp">[<a href="music/music056b.mid">Listen</a>]</p>
+
+<p>"No. 11<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> {8}. Again the same (bar 16, &amp;c.):&mdash;</p>
+
+<p class="centertp">
+<img src="images/music056c.png" width="566" height="148" alt="and his sickness is so sore, that there is no breath left in him." title="and his sickness is so sore, that there is no breath left in him." />
+</p>
+
+<p class="centerbp">[<a href="music/music056c.mid">Listen</a>]</p>
+
+<p>and then&mdash;</p>
+
+<p class="centertp">
+<img src="images/music056d.png" width="567" height="145" alt="art thou come to call my sin, to call my sin to remembrance, to slay my son, to slay, to slay my son?" title="art thou come to call my sin, to call my sin to remembrance, to slay my son, to slay, to slay my son?" /></p>
+
+<p class="centerbp">[<a href="music/music056d.mid">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_57" id="Page_57">(57)</a></span></p>
+
+<p>and at the end: 'there is no breath, <span class="slur">no<img class="slursm" src="images/slur_sm.png" width="13" height="3" alt="slur" title="slur" /></span> <span class="slur">breath<img class="slur" src="images/slur.png" width="26" height="5" alt="slur" title="slur" /></span>
+left in him,' instead of 'exhausted,' etc.</p>
+
+<p>"Then again:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music057a.png" width="213" height="81" alt="ELIJAH. give me thy son." title="ELIJAH. give me thy son." />
+</p>
+
+<p class="centerbp">[<a href="music/music057a.mid">Listen</a>]</p>
+
+<p>"And instead of 'that he again may live,' I should prefer
+always as you have at the end, 'that he again may praise
+Thee.' Again the music should be altered for the Bible
+version's sake in this:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music057b.png" width="435" height="77" alt="Wilt thou indeed show wonders to the dead?" title="Wilt thou indeed show wonders to the dead?" />
+</p>
+
+<p class="centerbp">[<a href="music/music057b.mid">Listen</a>]</p>
+
+<p>"In the following <i>Allegro agitato</i>, I prefer 'thy <i>prayer</i>'
+to 'thy petition,' and beg you will alter the notes
+accordingly.</p>
+
+<p>"No. 12 {9}.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> Is it as scriptural to say 'the men' as
+'the man'? And if not, could not the sentence be 'Blessed is
+the man who fears Him, who delights,' and so on? And what do
+you like better: the amplification, 'light shining over
+them,' or to say instead of these words, 'to the upright,'
+and to slur the two notes thus:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music057c.png" width="508" height="83" alt="through darkness riseth light, light to the upright." title="through darkness riseth light, light to the upright." />
+</p>
+
+<p class="centerbp">[<a href="music/music057c.mid">Listen</a>]</p>
+
+<p>"Pray do it as <i>you</i> think best.</p>
+
+<p>"At the beginning of No. 13 {10}, I should wish to have the
+same words as in No. 1, viz.: 'before whom<span class="pagenum"><a name="Page_58" id="Page_58">(58)</a></span> I stand,'
+instead of 'I tell thee truly.' And instead of 'that the
+rain may fall,' etc., I should propose:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music058a.png" width="511" height="80" alt="and God will send rain again upon the earth." title="and God will send rain again upon the earth." />
+</p>
+
+<p class="centerbp">[<a href="music/music058a.mid">Listen</a>]</p>
+
+<p>which is more according to the Bible. I prefer 'Let him be
+God' to 'He shall be God' (which you have added in pencil).
+Instead of 'I, even I alone stand here among you,' I propose
+the alteration:</p>
+
+<p class="centertp">
+<img src="images/music058b.png" width="356" height="76" alt="I, even I, only remain, &amp;c." title="I, even I, only remain, &amp;c." />
+</p>
+
+<p class="centerbp">[<a href="music/music058b.mid">Listen</a>]</p>
+
+<p>"I prefer 'Invoke your forest gods,' etc., as you do.</p>
+
+<p>"In No. 15 {11}, is not the accent extírpate a wrong one?
+The syllable <i>tir</i> will always be the first in the bar and
+the strongest, with a marked accent.</p>
+
+<p>"No. 16. {12}</p>
+
+<p class="centertp">
+<img src="images/music058c.png" width="283" height="78" alt="or he is pursuing." title="or he is pursuing." /></p>
+
+<p class="centerbp">[<a href="music/music058c.mid">Listen</a>]</p>
+
+<p>and then&mdash;</p>
+
+<p class="centertp">
+<img src="images/music058d.png" width="318" height="73" alt="journey; or, peradventure." title="journey; or, peradventure." />
+</p>
+
+<p class="centerbp">[<a href="music/music058d.mid">Listen</a>]</p>
+
+<p>"In No. 18 {13}, could not the words 'with lancets cut
+yourselves after your manner' be kept?</p>
+
+<p>"No. 20. {14}</p>
+
+<p class="centertp">
+<img src="images/music058e.png" width="567" height="214" alt="people that I have done these things according to Thy word! O hear me, Lord, &amp;c. O hear me Lord, &amp;c." title="people that I have done these things according to Thy word! O hear me, Lord, &amp;c. O hear me Lord, &amp;c." />
+</p>
+
+<p class="centerbp">[<a href="music/music058e.mid">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_59" id="Page_59">(59)</a></span></p>
+
+<p>"I prefer 'and let their hearts again be turned,' as you do.</p>
+
+<p>"In No. 22 {16}, could not the end be: 'and we shall have no
+other god before Him,' or 'the Lord' (from Exodus xx., 3)?
+Then instead of 'let not a prophet,' I propose:</p>
+
+<p class="centertp">
+<img src="images/music059a.png" width="565" height="80" alt="and let not one of them escape ye: bring them, &amp;c." title="and let not one of them escape ye: bring them, &amp;c." />
+</p>
+
+<p class="centerbp">[<a href="music/music059a.mid">Listen</a>]</p>
+
+<p>"In No. 23 {18}, I prefer '<i>thee</i>' &amp;c., to the other
+version, according to your remarks. But the end I wish
+thus:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music059b.png" width="498" height="87" alt="Woe unto them, woe unto them." title="Woe unto them, woe unto them." />
+</p>
+
+<p class="centerbp">[<a href="music/music059b.mid">Listen</a>]</p>
+
+<p>"No. 24. {19}</p>
+
+<p class="centertp">
+<img src="images/music059c.png" width="569" height="165" alt="O Lord, Thou hast overthrown Thine enemies, and destroy&#39;d them! Now look on us, &amp;c." title="O Lord, Thou hast overthrown Thine enemies, and destroy&#39;d them! Now look on us, &amp;c." />
+</p>
+
+<p class="centerbp">[<a href="music/music059c.mid">Listen</a>]</p>
+
+<p>"Then I wish the following notes altered:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music059d.png" width="563" height="172" alt="ELIJAH. Go up now, child, and look toward the sea. Has my prayer been heard by the Lord?" title="ELIJAH. Go up now, child, and look toward the sea. Has my prayer been heard by the Lord?" /></p>
+
+<p class="centerbp">[<a href="music/music059d.mid">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_60" id="Page_60">(60)</a></span></p>
+
+<p>"I also prefer 'the heavens are <i>as</i> brass'&mdash;a note might be
+added. Then afterwards I propose:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music060a.png" width="567" height="81" alt="closed up, because they have sinn&#39;d, have sin-ned against Thee" title="closed up, because they have sinn&#39;d, have sin-ned against Thee" />
+</p>
+
+<p class="centerbp">[<a href="music/music060a.mid">Listen</a>]</p>
+
+<p>"And afterwards if 'and turn from <i>their</i> sin' seems
+preferable to you, a note might be added to keep the words
+as in the Bible. In the following sentence it sounds to me
+more scriptural to leave the words as in 2 Chronicles vi.,
+27:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music060b.png" width="508" height="78" alt="Then hear from heav&#39;n, and forgive the sin." title="Then hear from heav&#39;n, and forgive the sin." />
+</p>
+
+<p class="centerbp">[<a href="music/music060b.mid">Listen</a>]</p>
+
+<p>"Then I wish the notes altered thus:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music060c.png" width="562" height="75" alt="Go up again, and still look towards the sea." title="Go up again, and still look towards the sea." />
+</p>
+
+<p class="centerbp">[<a href="music/music060c.mid">Listen</a>]</p>
+
+<p>"Then also 'the earth is <i>as</i> iron.' And then would you like
+this:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music060d.png" width="487" height="74" alt="There is a sound of abundance of rain." title="There is a sound of abundance of rain." />
+</p>
+
+<p class="centerbp">[<a href="music/music060d.mid">Listen</a>]</p>
+
+<p>"If possible I should wish to have omitted 'I implore Thee,'
+which does not sound as scriptural to me. If I am wrong,
+pray leave it; but if not, the words 'to my prayer' might be
+repeated instead of them. The following is Psalm xxviii.,
+1:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music060e.png" width="561" height="87" alt="Unto Thee will I cry, Lord, my rock: be not silent to me." title="Unto Thee will I cry, Lord, my rock: be not silent to me." />
+</p>
+
+<p class="centerbp">[<a href="music/music060e.mid">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_61" id="Page_61">(61)</a></span></p>
+
+<p>and could not the following sentence be thus:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music061a.png" width="562" height="101" alt="and Thy great [or: Thy gracious] mercies do remember, O Lord!" title="and Thy great [or: Thy gracious] mercies do remember, O Lord!" />
+</p>
+
+<p class="centerbp">[<a href="music/music061a.mid">Listen</a>]</p>
+
+<p>"Then I prefer&mdash;</p>
+
+<p class="centertp">
+<img src="images/music061b.png" width="283" height="69" alt="like a man&#39;s hand!" title="like a man&#39;s hand!" />
+</p>
+
+<p class="centerbp">[<a href="music/music061b.mid">Listen</a>]</p>
+
+<p>"Instead of 'His boundless,' I propose to omit the G (the
+first note), and have instead 'for His' (mercies, &amp;c.), and
+to add afterwards a note (A), in order to say 'endureth
+<i>for</i> evermore.' I prefer 'The Lord is <i>above them</i>,' to 'is
+the highest.'</p>
+
+<p>"I am so very sorry you had that trouble with the words! And
+the first portion of the second part, which I sent off
+before the receipt of your letter, was again written in
+German characters. But the numbers you receive with this
+will, I hope, be legible; and I have made reference to the
+verses of the Bible, and will continue to do so. With the
+next packet you will again receive some pieces, and so
+always on till the whole (at least of the choruses) is in
+your hands, which I hope shall not last more than a
+fourthnight (<i>sic</i>). And if there should be something left
+it would be here or there a solo-piece, which (as it must
+not be printed) will easily be done and copied in time. You
+are right, the great question is, Who is to sing the
+Elijah?&mdash;and I am at a loss why I have not yet heard some
+news respecting this most essential point.</p>
+
+<p>"My intention was to write no Overture, but to begin
+directly with the curse. I thought it so<span class="pagenum"><a name="Page_62" id="Page_62">(62)</a></span> energetic. But I
+will certainly think of what you say about an Introduction,
+although I am afraid it would be a difficult task, and do
+not know exactly what it should or could mean before that
+curse. And after it (I first thought to write the Overture
+<i>after</i> it), the chorus <i>must</i> immediately come in. Now once
+more excuse the haste and accept the thanks of</p>
+
+<p class="center">"Yours very truly,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+<p>In regard to the Overture, referred to at the end of the foregoing
+(very long) letter, it may be interesting to quote an extract from one
+of Bartholomew's letters to Mendelssohn:&mdash;</p>
+
+<div class="blockquot">
+<p>"I have maturely considered, and, with Mr. K[lingemann],
+think it will be a new feature, and a fine one, to announce
+the curse, No. 1. Then let an Introductory-movement be
+played, expressive, descriptive of the misery of famine&mdash;for
+the chorus (I always thought) comes so very quickly and
+suddenly after the curse, that there seems to elapse no time
+to produce its results."</p>
+</div>
+
+<p>It seems evident that Mendelssohn was indebted to Bartholomew for the
+suggestion of an Overture to "Elijah." That Mendelssohn accomplished
+what he calls his "difficult task" we know full well, and Bartholomew
+must have felt quite satisfied when the composer wrote to him and
+said, "I have written an Overture, and a long one."<span class="pagenum"><a name="Page_63" id="Page_63">(63)</a></span></p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Bartholomew.</span>]</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, 18<i>th</i> <i>July</i>, 1846.</p>
+
+<p>"My dear Sir,&mdash;I received yours of the 9th. And many thanks
+again! And you copy yourself the solo parts! Whatever your
+reason may be, I feel what an obligation you confer upon me.</p>
+
+<p>"Now I go on with my remarks about those pieces of the
+second part which you sent me the translation of, viz.: Nos.
+33, 34, and 35. By-the-bye: No. 33 will be altered and
+another Recit. (for a <i>Soprano</i>) comes in its stead with the
+next parcel; but the words are the same, and your
+translation will go quite as well to the new Recit.</p>
+
+<p>"In No. 34 I again wish to alter the notes in order to keep
+the English scriptural version. And it seems to me so
+important that this should be done that I hope it is time
+still to make the alteration in all the choral parts. The
+beginning I wish altered thus:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music063a.png" width="400" height="79" alt="And behold, the Lord passed by." title="And behold, the Lord passed by." />
+</p>
+
+<p class="centerbp">[<a href="music/music063a.mid">Listen</a>]</p>
+
+<p>or, if 'passed' must have two syllables:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music063b.png" width="162" height="76" alt="Lord pass-ed" title="Lord pass-ed" />
+</p>
+
+<p class="centerbp">[<a href="music/music063b.mid">Listen</a>]</p>
+
+<p>"The end of the first phrase 'as He approached' is not quite
+agreeable to me; could you not find <i>four</i> syllables instead
+of them (making the two <i>slurred</i><span class="pagenum"><a name="Page_64" id="Page_64">(64)</a></span> notes single
+ones)&mdash;<i>e.g.</i>, 'as the Lord drew near' (don't laugh), or
+something in which <i>the accent on the last syllable is
+strong and decided</i>!</p>
+
+<p>"Then comes:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music064a.png" width="469" height="78" alt="But the Lord was not in the tempest." title="But the Lord was not in the tempest." />
+</p>
+
+<p class="centerbp">[<a href="music/music064a.mid">Listen</a>]</p>
+
+<p>"Then again: 'And behold, the Lord passed by.' And at the
+end again, 'But the Lord was not in the earthquake.' Also
+the third time: 'But the Lord was not in the fire.'</p>
+
+<p class="centertp">
+<img src="images/music064b.png" width="223" height="74" alt="But the Lord, &amp;c." title="But the Lord, &amp;c." />
+</p>
+
+<p class="centerbp">[<a href="music/music064b.mid">Listen</a>]</p>
+
+<p>"Then&mdash;</p>
+
+<p class="centertp">
+<img src="images/music064c.png" width="564" height="78" alt="And after the fire there came a still small voice" title="And after the fire there came a still small voice" />
+</p>
+
+<p class="centerbp">[<a href="music/music064c.mid">Listen</a>]</p>
+
+<p>(here I think it is <i>quite</i> necessary to keep the scriptural
+expression <i>at least</i> at the beginning!) And then perhaps:
+'And in that voice the Lord came unto him.'</p>
+
+<p>"The instrumental parts are all copied here, and I bring
+them with me. Excuse the haste of these lines.&mdash;Always yours
+very truly,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+
+<div class="blockquot">
+<p class="centertp">[<span class="smcap">Mendelssohn to Bartholomew.</span>]</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>July</i> 21, 1846.</p>
+
+<p>"My dear Sir,&mdash;After I had sent off my last letter to you in
+the morning, yours of the 14th arrived in the evening. I
+hasten to answer it, and will send<span class="pagenum"><a name="Page_65" id="Page_65">(65)</a></span> the metronomes in a few
+days, when the last two pieces of the second part will come.</p>
+
+<p>"You receive to-day all the pieces that were still wanting
+in the 2nd part, and only the Nos. 36, 37, 38, and 39 are
+now to come, and will be sent off in a few days (two of them
+are but short recitatives), so that I hope everything is now
+safe with regard to rehearsals, &amp;c., &amp;c.</p>
+
+<p>"I am quite of your opinion, that <i>accent</i> is <i>the</i> thing,
+and I much prefer the alteration of a few notes to a bad
+accent. So I hope you left 'Be not afraid, saith God the
+Lord, be not afraid, for I am near,' which seems to me much
+better than the other. At any rate, I hope to stay 6 or 8 or
+10 days in London <i>before</i> the Festival.</p>
+
+<p>"In the song, 'O rest in the Lord' (<i>Sei stille dem Herrn</i>),
+I beg you will adopt something like the words of Ps. 37, v.
+4, instead of the words 'and He will ever keep the
+righteous'! 'and He shall give thee' does very well with the
+notes; and there is only another expression, instead of 'the
+desires of thy heart,' necessary to make it fit the music
+and everything. And instead of the end 'He will defend
+thee,' &amp;c., I should prefer also Ps. 37, v. 8, perhaps so:
+'and cease from anger, and fret not thyself'; or, 'and cease
+<span class="slur">from<img class="slur" src="images/slur.png" width="26" height="5" alt="slur" title="slur" /></span> anger and forsake the wrath,' which will
+do with the alteration of one or two notes being not slurred
+instead of slurred, and <i>vice versâ</i>.</p>
+
+<p>"And pray let always <i>accent</i> go first, especially in the
+<i>Choruses</i>! And Songs! And Recitatives!</p>
+
+<p class="center">"Always yours very truly,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"<span class="pagenum"><a name="Page_66" id="Page_66">(66)</a></span></p>
+</div>
+
+<p>Mendelssohn's request for a good verbal accent throughout the whole
+translation of his oratorio is frequently expressed in these letters.
+No less anxious was he to retain, as nearly as possible, the familiar
+words of the English Bible, in preference to introducing new wordings
+of well-known texts&mdash;<i>e.g.</i>, "Oh! that I knew where I might find
+Him."<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> And when this was not practicable, he would often alter the
+notes in order to gain his desired end. It is evident from these
+letters that Mendelssohn knew the English Bible well.</p>
+
+<p>"O rest in the Lord" has attained such widespread popularity that it
+will come as a surprise to many to learn that, before the first
+performance, Mendelssohn decided to eliminate this favourite air from
+his oratorio. When Bartholomew received the manuscript of the song, he
+found that the melody began thus:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music066.png" width="467" height="76" alt="Sei stille dem Herrn, und warte auf ihn." title="Sei stille dem Herrn, und warte auf ihn." />
+</p>
+
+<p class="centerbp">[<a href="music/music066.mid">Listen</a>]</p>
+
+<p>He at once wrote the following letter to Mendelssohn:&mdash;</p>
+
+<div class="blockquot">
+<p class="right"><span style="margin-right: 1em;">"2, <span class="smcap">Walcot Place, Hackney</span>,</span><br />
+"<i>July</i> 20, 1846.</p>
+
+<p>"And now, my dear Sir, having done all I can with 'Elijah,'
+as much as I have of it&mdash;having corrected and revised the
+second proofs of its printed first portion, and made the
+alterations you suggested&mdash;nearly all&mdash;one or two remaining
+for your assistance<span class="pagenum"><a name="Page_67" id="Page_67">(67)</a></span> to complete&mdash;I am about to take a great
+liberty with you, and the impulse which prompts it&mdash;be it
+offensive or not&mdash;you must place to the account of the
+feeling which you or your music has inspired within me. And
+what is your music but yourself?&mdash;the incarnation of your
+spirit, made material by creation, and thus
+apparent&mdash;apparent through the agency of the body!</p>
+
+<p>"Do you know a Scotch air, called 'Robin Gray'?<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a></p>
+
+<p class="centertp">
+<img src="images/music067.png" width="566" height="84" alt="Young Jamie lov&#39;d me well, and ask&#39;d me for his bride, &amp;c." title="Young Jamie lov&#39;d me well, and ask&#39;d me for his bride, &amp;c." />
+</p>
+
+<p class="centerbp">[<a href="music/music067.mid">Listen</a>]</p>
+
+<p>"Now compare the aria (<i>Andante</i>, without a number) 'Sei
+stille dem Herrn' ['O rest in the Lord'] with it. You may,
+perhaps, see nothing semblant in the two; but so much
+warranty have I for thinking that there is, that when
+Buxton&mdash;who brought it to me while I was with Miss
+Mounsey,<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> examining some of the proofs of your
+'Elijah'&mdash;heard her, at his request, try it over&mdash;I being
+engaged at the table copying&mdash;he said: 'Why that's like
+"Robin Gray"!' <i>I</i> thought so, ere the above phrase was
+completed, and Miss Mounsey agreed with our opinions. I said
+nothing more then, but when I returned home I looked at it
+again, and at bar 10&mdash;look at it!&mdash;see the close:<span class="pagenum"><a name="Page_68" id="Page_68">(68)</a></span>&mdash;<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a></p>
+
+<table style="width: 75%; padding-top: 1em; padding-bottom: 1em;" border="0" cellpadding="5" cellspacing="0" summary="music">
+<tr>
+<td class="center vab"><img src="images/music068a.png" width="254" height="87" alt="pound were both for me." title="pound were both for me." /></td>
+<td class="center"><img src="images/music068b.png" width="168" height="104" alt="Bar 10. führen." title="Bar 10. führen." /></td>
+</tr>
+<tr>
+<td class="center">[<a href="music/music068a.mid">Listen</a>]</td>
+<td class="center">[<a href="music/music068b.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>"Other distinct features may be traced, but these two are
+enough to give it the stamp of at <i>least</i> an imitation,
+which if you intend it to be, I have nothing further to say
+on the subject; except that it will lay you open to the
+impertinence of the saucy <i>boys</i> of the musical press, one
+of whom has had the audacity to accuse you of copying,
+borrowing, making your own, the ideas of the little man of
+the party!...</p>
+
+<p>"Enough of this. Place what I have said to the right side of
+my friendly account in your <i>ledger lines</i>! If you alter the
+notation of the song, bring or send me another score of it,
+and I will take care to place this one only in <i>your own
+hands</i>. Mr. Klingemann thought I ought to tell you of the
+coincidence, I having mentioned it to him."</p>
+</div>
+
+<p>In answer to this letter&mdash;which Mendelssohn erroneously considered to
+be a request to <i>omit</i> the song&mdash;came the following reply:<span class="pagenum"><a name="Page_69" id="Page_69">(69)</a></span>&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Bartholomew.</span>]</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>July</i> 28, 1846.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a></p>
+
+<p>"My dear Sir,&mdash;Here are the metronomes, which I beg you will
+give the director of the choruses; but tell him that I
+cannot promise they will be <i>exactly</i> the same, but <i>nearly</i>
+so, I think.</p>
+
+<p>"Many thanks for your last letter, with the remarks about
+the song ['O rest in the Lord']. I do not recollect having
+heard the Scotch ballad to which you allude, and certainly
+did not think of it, and did not <i>choose</i> to imitate it; but
+as mine is a song to which I always had an objection (of
+another kind), and as the ballad seems much known, and the
+likeness very striking, and before all, as you wish it, I
+shall leave it out altogether (I think), and have altered
+the two last bars of the preceding recitative, so that the
+chorus in F may follow it immediately. Perhaps I shall bring
+another song in its stead, but I doubt it, and even believe
+it to be an improvement if it is left out.</p>
+
+<p>"You receive here Nos. 36, 38, and 39. The only piece which
+is not now in your hands is No. 37, a song of Elijah ['For
+the mountains shall depart']. And this (and perhaps one song
+to be introduced in the<span class="pagenum"><a name="Page_70" id="Page_70">(70)</a></span> first part) I shall either send or
+bring myself, for they will require only few words, and it
+will be plenty of time to copy the vocal parts, and the
+instrumental ones I bring over with me. I hope to be in
+London on the 17th, and beg you will let us have a grand
+meeting on the 18th, to settle all the questions and the
+copies of the solo parts.</p>
+
+<p class="center">"Always yours very truly,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+<p>It may perhaps be as well to complete the history of "O rest in the
+Lord" before proceeding farther, even at the risk of a little
+repetition. Mendelssohn does not seem to have liked the implied
+plagiarism of "Auld Robin Gray," although he says he had an
+"objection" to his song "O rest in the Lord" "of another kind." He
+repeated his request that it "must be left out" (see next letter).
+Bartholomew, however, wrote to him saying: "Why omit the song 'O
+rest,' when merely a note or two of the melody being changed would
+completely obliterate the identity, and I think not spoil the song as
+a whole? If you omit it, and especially upon such a reason as my hint
+may have afforded, I shall be very much pained."</p>
+
+<p>This last sentence must have so touched Mendelssohn's feelings that he
+somewhat relented from his former decision. He wrote to Bartholomew:
+"About the song 'O rest in the Lord,' we will<span class="pagenum"><a name="Page_71" id="Page_71">(71)</a></span> settle everything when
+we meet." Bartholomew strongly urged him to retain the now familiar
+air; but even at the eleventh hour (at the rehearsal in London)
+Mendelssohn still wished to delete it from the oratorio. However, the
+advice of his friends ultimately prevailed, and "O rest in the Lord"
+was thereby spared the fate of utter oblivion. Mendelssohn altered the
+fifth note of the melody (taking it <i>down</i> to C instead of <i>up</i> to G)
+in order to destroy the supposed "Auld Robin Gray" likeness; but it is
+amusing to notice that he <i>retained his original note</i> in the <i>coda</i>
+of the song, where, in two places, the fifth note goes up to G!<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a></p>
+
+<p>This break in the continuity of the correspondence may afford an
+opportunity of mentioning a phrase used by Bartholomew in one of his
+letters to Mendelssohn, which he calls "Irish Echoes." He says: "We
+must mind that any notation which may be altered shall not affect the
+band parts. Excuse my naming this. You do not write <i>Irish
+Echoes</i>&mdash;but yet by altering the notation they may inadvertently
+arise. Lest you should not know what I mean by an 'Irish Echo,' this
+may explain it. An Irishman, boasting of his country, said: 'It had an
+Echo, which, if you said 'How d'ye do?' replied, 'Pretty well, I thank
+you!'"<span class="pagenum"><a name="Page_72" id="Page_72">(72)</a></span></p>
+
+<p>But to resume the continuation of the letters:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">Mendelssohn to Bartholomew.</span>]</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>August</i> 9, 1846.</p>
+
+<p>"My dear Sir,&mdash;I write these lines merely to tell you that I
+hope to see and speak to you on the 17th or 18th, and to ask
+you to defer the printing of the words of 'Elijah' in the
+books till after my arrival <i>if possible</i>. Moscheles writes
+they want to print the books <i>now</i>, but I really think that
+a week beforehand is early enough. However, as I do not know
+how these things are managed in England, I beg that <i>if it
+must be done</i> before my arrival, you will introduce the
+following alterations:</p>
+
+<p>"1. After the words of Elijah (the curse), and before the
+1st chorus, I should like to have in the books
+'Introduction,' or 'Overture,' or some word like this, to
+let people know that an Overture is coming before the
+chorus&mdash;for I have written one, and a long one.</p>
+
+<p>"2. The song 'Sei stille dem Herrn' ['O rest in the Lord']
+must be left out.</p>
+
+<p>"3. The <i>second</i> part of No. 41, 'Er wird öffnen die Augen
+der Blinden,' must also be left out; so that from the words
+'und der Furcht des Herrn' ['and of the fear of the Lord']
+it goes immediately to the quartett in B flat 'Wohlan, denn'
+['O come, every one that thirsteth']. Pray let the choral
+people at Birmingham know this <i>directly</i>; it will spare
+them much time, as the <i>Alla breve</i> is not easy, and as I<span class="pagenum"><a name="Page_73" id="Page_73">(73)</a></span>
+am sure I will not let it stand. Of course the <i>whole
+beginning</i> of No. 41, 'Aber einer erscheint, &amp;c.; der wird
+des Herrn Namen' must <i>stand</i> and <i>not</i> be omitted; merely
+from the <i>Alla breve</i>, and from the 1st introduction of the
+words 'Er wird öffnen,' is to be left out.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a></p>
+
+<p>"Pray excuse all this trouble; and let me thank you in
+person for all the hard work you have had on my account.</p>
+
+<p class="center">"Always very truly yours,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+
+<div class="blockquot">
+<p class="centertp">[<span class="smcap">Mendelssohn to Bartholomew.</span>]</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>August</i> 10, 1846.</p>
+
+<p>"My dear Sir,&mdash;In the letter I wrote to you yesterday I
+forgot to mention the words of the song which I bring with
+me (the No. 37 which is still<span class="pagenum"><a name="Page_74" id="Page_74">(74)</a></span> wanting in your score) in
+case it should be <i>indispensable</i> to have the books printed
+before my arrival. They are from Isaiah liv., 10, and I find
+that the English words will apply literally to my music; so
+I beg you will let No. 37 stand thus in the English version:
+<i>No. 37, Arioso (Elijah)</i>. 'For the mountains shall depart
+and the hills be removed; but Thy kindness shall not depart
+from me, neither shall the covenant of Thy peace be
+removed.'</p>
+
+<p>"Excuse my negligence and the two letters.</p>
+
+<p class="center">"Always yours very truly,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy</span>,</p>
+
+<p class="center">"who hopes to see you this day week."</p>
+
+<p>"P.S.&mdash;I re-open this letter because I receive this moment
+yours of the 4th.&mdash;Many, many thanks for all the trouble you
+take. I shall bring an organ part if possible; and be sure
+that I shall not be dissatisfied with <i>any</i> thing you may
+have done under your responsibility; I know you too well for
+that. The synopsis of the second part is quite right, and
+with the addition of No. 37 (as above) it is all in order. I
+am certain our conference will not be half so difficult as
+you anticipate, and in a few hours we will have settled
+everything. Can we meet on the 18th at Mr. Klingemann's?
+About the song, 'O rest in the Lord,' we will settle
+everything when we meet."</p>
+</div>
+
+<p>Mendelssohn and Bartholomew duly met in London, and the "everything"
+included numerous finishing touches and alterations, both in regard
+to<span class="pagenum"><a name="Page_75" id="Page_75">(75)</a></span> the English words and the music. The correspondence between the
+two men was only temporarily suspended. It was renewed, with all its
+old characteristics, when "Elijah" was under revision; and the
+subsequent letters from Mendelssohn to his English translator will be
+found in <a href="#CHAPTER_V">Chapter V.</a>&mdash;"The Revised Oratorio."</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_76" id="Page_76">(76)</a></span></p>
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.</h2>
+
+<hr class="short" />
+
+<h3>THE FIRST PERFORMANCE.</h3>
+
+
+<p class="tp"><span class="smcap">Mendelssohn</span> arrived in London on August 17 or 18 (1846), and again
+stayed with Klingemann, at 4, Hobart Place, Eaton Square. A pianoforte
+rehearsal of the vocal solos of "Elijah" was held on the 19th
+(Wednesday), at Moscheles's house, 3, Chester Place, Regent's Park.
+Mendelssohn commenced the rehearsal by playing the Overture from
+memory, to the delight and admiration of those who heard it. The lady
+vocalists gave the composer some trouble. The soprano requested him to
+transpose "Hear ye, Israel," a whole tone down, and to make certain
+changes to suit her particular style! "It was not a lady's song," she
+said. Mendelssohn resisted with studied politeness, and said, "I
+intended this song for the principal soprano; if you do not like it I
+will ask the Committee to give it to some other vocalist." Afterwards,
+when alone with Moscheles, he most unreservedly expressed himself as
+to the "coolness of such suggestions."</p>
+
+<p>When "O rest in the Lord" was tried over, the singer was anxious to
+introduce a long shake (on D) at the close! "No," said the composer,
+"I have<span class="pagenum"><a name="Page_77" id="Page_77">(77)</a></span> kept that for my orchestra," and he then archly played the
+familiar shake, which is given to the flute in the orchestral
+accompaniment. He was still doubtful, even at the eleventh hour,
+whether he should not withdraw "O rest in the Lord." "It is too
+sweet," he said. His friends urged him at least to try its effect, and
+ultimately their advice was accepted. Mr. Charles Lockey, the young
+tenor singer, immediately won the composer's golden opinion, and
+Mendelssohn was more than satisfied with his beautiful and sympathetic
+voice at the first performance. The tenor solos had been previously
+assigned to Mr. J.W. Hobbs, who generously relinquished them in favour
+of the younger singer. The soloists had to sing from MS. copies which
+contained only the vocal melody and bass of the accompaniment. These
+copies, neatly written by Bartholomew on oblong-folio music-paper,
+contain several alterations in Mendelssohn's own hand.</p>
+
+<p>The orchestral parts had been previously tried over and corrected at
+Leipzig; the way was therefore made smooth for the band rehearsals in
+London. These rehearsals took place at the Hanover Square Rooms on the
+Thursday and Friday preceding the Festival. "Mendelssohn," records the
+late Mr. Rockstro, "looked very worn and nervous; yet he would suffer
+no one to relieve him, even in the scrutiny of the orchestral parts,
+which he himself spread out on some benches beneath the windows on the
+left-hand side of the room, and insisted upon sorting out and
+examining for himself." The late<span class="pagenum"><a name="Page_78" id="Page_78">(78)</a></span> Henry Lazarus, the eminent
+clarinettist, related to me a personal incident in connection with
+this first London rehearsal. Near the end of the chorus "He, watching
+over Israel," occurs the following instrumental phrase in the
+clarinets and flutes&mdash;a phrase which is not fully discernible in the
+pianoforte arrangement of the score, and which is practically
+inaudible at a performance:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music078.png" width="563" height="277" alt="Bar 14 from the end. Chorus. slumbers not, sleeps, not, &amp;c." title="Bar 14 from the end. Chorus. slumbers not, sleeps, not, &amp;c." />
+</p>
+
+<p class="centerbp">[<a href="music/music078.mp3">Listen</a>]</p>
+
+<p>"Mr. Lazarus," said Mendelssohn, "will you kindly make that phrase a
+little stronger, as I wish it to stand out more prominently? I know I
+have marked it <i>piano</i>." "Of course," added Mr. Lazarus, "I was
+playing it religiously as marked."</p>
+
+<p>The story that the holding C's for the oboe in No. 19 (which accompany
+"There is nothing") were inserted by Mendelssohn at the end of the
+first rehearsal to satisfy Grattan Cooke, the oboeist, is a pure myth.
+A MS. score of the work, used at Birmingham, and now in the possession
+of Messrs. Novello, Ewer and Co., shows that these notes were not
+subsequently added, but formed part of the<span class="pagenum"><a name="Page_79" id="Page_79">(79)</a></span> original design. Moreover,
+Mendelssohn would hardly be guilty of the mock-descriptive in allowing
+the words "There is <i>nothing</i>" to be sung without any accompaniment.
+And Cooke could not complain that the composer had not given him any
+oboe solos, after he had played the beautiful oboe obbligato in "For
+the mountains shall depart," which was doubtless written by
+Mendelssohn expressly for Cooke.<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> The story probably took its
+origin from the following circumstance, which has been fully told by
+Dr. E.J. Hopkins. When the vocal score of "Elijah" was first
+published, Mendelssohn presented a copy to Grattan Cooke, who was a
+great favourite with the composer. In this copy Mendelssohn wrote the
+following inscription:&mdash;</p>
+
+<div class="blockquot">
+<p class="centertp">
+<img src="images/music079.png" width="561" height="77" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music/music079.mp3">Listen</a>]</p>
+
+<p class="center">"An Grattan Cooke, zum freundlichen Andenken.</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span></p>
+
+<p>"London, Frühling, 1847."</p>
+</div>
+
+<p>Mendelssohn knew that Grattan Cooke was fond of a joke, and, as Dr.
+Hopkins says, the composer's quiet humour is well shown in the above
+inscription. The length of the note is seven bars of slow time,<span class="pagenum"><a name="Page_80" id="Page_80">(80)</a></span> the
+last of which is not only indefinitely prolonged by a pause, but has
+in addition a <i>crescendo</i> and <i>diminuendo</i> mark. "Any oboeist,"
+observes the Temple organist, "who would dare to try and sustain that
+note as directed would, before bringing it to a termination, himself
+cease to exist!"<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a></p>
+
+<p>"Elijah" was honoured with the novelty of a preliminary analytical
+notice in <i>The Times</i> of Monday, August 24, 1846, two days before the
+first performance. This article, two columns in length, was one of the
+earliest contributions of the late J.W. Davison, on his joining the
+staff of <i>The Times</i>, of which paper he was for many years the musical
+critic.</p>
+
+<p>Euston station presented an animated scene on the Sunday afternoon
+preceding the Festival, when a special train, which left London at 2
+p.m., conveyed Mendelssohn, the solo singers, the band, the London
+contingent of the chorus, and the "Gentlemen of the Press" to
+Birmingham.</p>
+
+<p>Monday morning was set apart for a full rehearsal of "Elijah" in the
+Town Hall, which is thus described in the <i>Birmingham Journal</i>:&mdash;</p>
+
+<div class="blockquot"><p>Mendelssohn was received by the performers with great
+enthusiasm, renewed again and again, as his lithe and
+<i>petit</i><span class="pagenum"><a name="Page_81" id="Page_81">(81)</a></span> figure bent in acknowledgment of these spontaneous
+and gratifying tributes to his genius, personal affability,
+and kindness.... His manner, both in the orchestra and in
+private, is exceedingly pleasing. His smile is winning, and
+occasionally, when addressing a friendly correction to the
+band or choir, full of comic expression. He talks German
+with great volubility and animation, and speaks English
+remarkably well. He possesses a remarkable power over the
+performers, moulding them to his will, and though rigidly
+strict in exacting the nicest precision, he does it in a
+manner irresistible&mdash;actually laughing them into perfection.
+Some of his remarks are exceedingly humorous. In the
+Overture to the "Midsummer Night's Dream" [played at the
+Festival], the gradations of sound were not well preserved;
+a rattle of his <i>bâton</i> on the music-stand brings the band
+to a dead halt. "Gentlemen," says Mendelssohn, "that won't
+do. All <i>fortissimo</i>, all <i>pianissimo</i>, no <i>piano</i>! A little
+<i>piano</i> between, if you please. Must have <i>piano</i>,
+gentlemen; when you come to <i>fortissimo</i>, do as you like."
+All this is expressed with animation and good humour, and a
+roar of laughter over, the band tries again, and a smile
+playing on the expressive features of the conductor, attests
+the power of his pleasantly administered corrective.... At
+its conclusion the whole band and chorus broke into a
+torrent of enthusiastic acclamation. After the oratorio had
+been rehearsed, Mendelssohn expressed himself highly pleased
+with the manner in which the performers had rendered his
+work, and complimented them on their extraordinary
+efficiency.</p></div>
+
+<p>As Moscheles, the Conductor-in-chief of the Festival, was unwell,
+Mendelssohn conducted the evening rehearsal for him. At Mendelssohn's
+request the usual Tuesday evening concert was given up for an extra
+rehearsal of "Elijah." "After the rehearsal," says Mrs. Moscheles, "I
+helped Mr. Bartholomew in correcting the 'text,' and so we went on
+till one o'clock in the morning."<span class="pagenum"><a name="Page_82" id="Page_82">(82)</a></span></p>
+
+<p>The band and chorus for the Festival consisted of 396 performers. The
+band, mostly of the Philharmonic and the Opera orchestras, numbered
+125 players&mdash;93 strings and double wood-wind. The chorus, including a
+contingent of 62 from London, totalled 271, distributed thus:
+sopranos, 79; altos (all male voices, "bearded altos," as Mendelssohn
+called them), 60; tenors, 60; and basses, 72.</p>
+
+<p>The principal vocalists in "Elijah" were Madame Caradori-Allan, Miss
+Maria B. Hawes, Mr. Charles Lockey, and Herr Staudigl; the subordinate
+parts were filled by the Misses Williams (who sang the <i>duet</i> "Lift
+thine eyes," now the trio), Miss Bassano, Mr. J.W. Hobbs, Mr. Henry
+Phillips, and Mr. Machin. Dr. Gauntlett was specially engaged to play
+the organ in the new oratorio. Mr. James Stimpson was the
+chorus-master and official organist of the Festival.</p>
+
+<hr class="med" />
+
+<p>The first performance of "Elijah" took place in the Birmingham Town
+Hall, on Wednesday morning, August 26, 1846. Benedict thus describes
+the scene: "The noble Town Hall was crowded at an early hour of that
+forenoon with a brilliant and eagerly-expectant audience. It was an
+anxious and solemn moment. Every eye had long been directed towards
+the conductor's desk, when, at half-past eleven o'clock, a deafening
+shout from the band and chorus announced the approach of the great
+composer. The reception he met with from the assembled thousands on
+stepping into his place was absolutely overwhelming;<span class="pagenum"><a name="Page_83" id="Page_83">(83)</a></span> whilst the sun,
+emerging at that moment, seemed to illumine the vast edifice in honour
+of the bright and pure being who stood there the idol of all
+beholders."</p>
+
+<p>The new oratorio was received with extraordinary enthusiasm, and the
+composer's expectations of his work were more than realised. <i>The
+Times</i> said: "The last note of 'Elijah' was drowned in a
+long-continued unanimous volley of plaudits, vociferous and deafening.
+It was as though enthusiasm, long-checked, had suddenly burst its
+bonds and filled the air with shouts of exultation. Mendelssohn,
+evidently overpowered, bowed his acknowledgments, and quickly
+descended from his position in the conductor's rostrum; but he was
+compelled to appear again, amidst renewed cheers and huzzas. Never was
+there a more complete triumph&mdash;never a more thorough and speedy
+recognition of a great work of art."</p>
+
+<p>Eight numbers were encored: "If with all your hearts," "Baal, we cry
+to thee," "Regard Thy servant's prayer" (now "Cast thy burden"),
+"Thanks be to God," "He, watching over Israel," "O rest in the Lord,"
+"For the mountains shall depart," and "O! every one that thirsteth."
+Herr Staudigl gave a majestic and ideal rendering of the music of the
+Prophet. In the opinion of the late Mr. Stimpson, who spoke from forty
+years' experience of the Birmingham Festivals, Staudigl's
+interpretation of the bass part has never yet been equalled. The
+junior tenor of the Festival, Mr. Charles Lockey, fairly won his
+laurels. He sang his<span class="pagenum"><a name="Page_84" id="Page_84">(84)</a></span> two songs "deliciously," says a critic; the
+first, "If with all your hearts," was encored, and "the smile upon
+Mendelssohn's face while it was being sung showed how much he was
+pleased with the chaste execution of this young tenor." The soprano
+and contralto soloists failed to satisfy Mendelssohn.</p>
+
+<p>No small measure of the success of the performance was due to Mr.
+Stimpson, the unwearied chorus-master. At its conclusion Mendelssohn
+took him by both hands and said: "What can I give you in return for
+what you have done for my work?" The composer was delighted with the
+manner in which the band and chorus had rendered his music; and an old
+member of the band records "the eagerness with which Mendelssohn shook
+hands with all who could get near him in the artists' room, thanking
+them warmly for the performance." A veteran member of the choir,
+speaking from the recollections and experiences of more than fifty
+years, says of Mendelssohn's appearance and conducting: "It was one of
+the most impressive memories I have in matters musical."</p>
+
+<p>Before going into the Hall, Mendelssohn said to Chorley, the musical
+critic of the <i>Athenæum</i>: "Now stick your claws into my book. Don't
+tell me what you like, but tell me what you <i>don't</i> like." After the
+performance, he said in his merriest manner to Chorley: "Come, and I
+will show you the prettiest walk in Birmingham." He then led the
+critic and other friends to the banks of the canal, bordered by coal
+and cinder heaps. There,<span class="pagenum"><a name="Page_85" id="Page_85">(85)</a></span> on the towing-path between the bridges, they
+walked for more than an hour discussing the new oratorio. According to
+the late Mr. Moore, it was then and there, amidst the scenery of the
+cinder heaps, that a sudden thought struck Mendelssohn to change "Lift
+thine eyes" from a duet into a trio.</p>
+
+<p>Shortly after this "prettiest walk in Birmingham," Mendelssohn poured
+out his delighted feelings to his brother Paul in the following
+letter:&mdash;</p>
+
+<div class="blockquot">
+<p class="center">[<span class="smcap">To Paul Mendelssohn-Bartholdy.</span>]</p>
+
+<p class="right">"<span class="smcap">Birmingham</span>, <i>August</i> 26 [? 27], 1846.</p>
+
+<p>"My dear Brother,&mdash;From the very first you took so kind an
+interest in my 'Elijah,' and thus inspired me with so much
+energy and courage for its completion, that I must write to
+tell you all about its first performance yesterday. No work
+of mine ever went so admirably the first time of execution,
+or was received with such enthusiasm, by both the musicians
+and the audience, as this oratorio. It was quite evident, at
+the first rehearsal in London, that they liked it, and liked
+to sing and to play it; but I own I was far from
+anticipating that it would acquire such fresh vigour and
+'go' in it at the performance. If you had only been there!
+During the whole two hours and a half that it lasted, the
+two thousand people in the large hall, and the large
+orchestra, were all so fully intent on the one object in
+question, that not the slightest sound was to be heard among
+the whole audience, so that I could sway at pleasure the<span class="pagenum"><a name="Page_86" id="Page_86">(86)</a></span>
+enormous orchestra and choir, and also the organ
+accompaniment. How often I thought of you during the time!
+More especially, however, when the 'sound of abundance of
+rain' came, and when they sang the final chorus with
+<i>furore</i>, and when, after the close of the first part, we
+were obliged to repeat the whole movement ['Thanks be to
+God']. Not less than four choruses and four airs were
+encored, and not one single mistake occurred in the whole of
+the first part; there were some afterwards in the second
+part, but even these were but trifling. A young English
+tenor<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> sang the last air ['Then shall the righteous shine
+forth'] so beautifully, that I was obliged to collect all my
+energies so as not to be affected, and to continue beating
+time steadily. As I said, if you had only been there!"</p>
+</div>
+
+<p>In a letter written from London (August 31, 1846) to Frau Livia Frege,
+of Leipzig&mdash;a gifted amateur singer with a very lovely and high
+soprano voice&mdash;Mendelssohn said:&mdash;</p>
+
+<div class="blockquot">
+<p>"You have always shown so much kind interest in my 'Elijah,'
+that I look upon it as a duty to write to you after its
+performance, and to give you an account of it. If this
+should weary you, you have only yourself to blame; for why
+did you allow me to come to you with the score under my arm,
+and play to you those parts that were half completed, and
+why did you sing so much of it to me at sight? You really
+ought to have felt it a duty to travel with me to<span class="pagenum"><a name="Page_87" id="Page_87">(87)</a></span>
+Birmingham; for one ought not to make people's mouths water
+and make them feel dissatisfied with their condition where
+one cannot help them; and it was just the solo soprano part
+I found there in a most helpless and lamentable state. But
+there was so much that was good by way of compensation that,
+on the whole, I bring back a very pleasant impression, and I
+often thought that you also would have taken pleasure in it.</p>
+
+<p>"The rich, full sounds of the orchestra and the huge organ,
+combined with the powerful voices of the chorus, who sang
+with sincere enthusiasm; the wonderful resonance in the huge
+grand hall; an admirable English tenor; Staudigl, too, who
+took all possible pains, and whose talents and powers you
+already well know; some very good second soprano and
+contralto solo singers; all executing the music with special
+zest and the utmost fire and spirit, doing justice not only
+to the loudest passages, but also to the softest <i>pianos</i> in
+a manner which I never before heard from such masses; and,
+in addition, an impressionable, kindly, hushed, and
+enthusiastic audience&mdash;now still as mice, now exultant&mdash;all
+this is indeed sufficient good fortune for a first
+performance. In fact, I never in my life heard a better, or
+I may say one as good; and I almost doubt whether I shall
+ever again hear one equal to it, because there were so many
+favourable combinations on this occasion.</p>
+
+<p>"With so much light the shadows were not absent, and the
+worst was the soprano part. It was all so pretty, so
+pleasing, so elegant, at the same time so<span class="pagenum"><a name="Page_88" id="Page_88">(88)</a></span> flat, so
+heartless, so unintelligent, so soulless, that the music
+acquired a sort of amiable expression about which I could go
+mad even to-day when I think of it. The alto had not enough
+voice to fill the hall ... but her rendering was musical and
+intelligent, which to me makes it far more easy to put up
+with than want of voice. Nothing is so unpleasant to my
+taste as such cold, heartless coquetry in music. It is so
+unmusical in itself, and yet it is often made the basis of
+singing and playing&mdash;making music, in fact."</p>
+</div>
+
+<p>To Jenny Lind, Mendelssohn wrote:&mdash;</p>
+
+<div class="blockquot">
+<p>"The performance of my 'Elijah' was the best performance
+that I ever heard of any one of my compositions. There was
+so much go and swing in the way in which the people played,
+and sang, and listened. I wish you had been there."</p>
+</div>
+
+<p class="centertp border"><a name="CARADORI" id="CARADORI"></a>
+<img src="images/caradori.jpg" width="336" height="500" alt="MADAME CARADORI-ALLAN" title="MADAME CARADORI-ALLAN" />
+</p>
+
+<p class="caption">
+MADAME CARADORI-ALLAN<br />
+(1800-1865)<br />
+<i>The original soprano in Mendelssohn&#8217;s &#8220;Elijah.&#8221;</i>
+</p>
+
+<p>The opinions of the professional critic and the composer have been
+given; the impressions of a cultured amateur in the audience may
+therefore appropriately follow. The subjoined extract is from a letter
+written by the late Mrs. Samuel Bache, of Birmingham (mother of those
+gifted musicians, Francis Edward and Walter Bache), to her nephew, Mr.
+Russell Martineau, M.A., in which she gives a full account of the
+Festival:&mdash;</p>
+
+<div class="blockquot">
+<p class="right">"<span class="smcap">Edgbaston</span>, <i>September</i> 4, 1846.</p>
+
+<p>"... Wednesday morning 'Elijah' was performed, and of this I
+cannot exaggerate my<span class="pagenum"><a name="Page_89" id="Page_89">(89)</a></span> reverential admiration. The old
+admirers of Handel, who always crowd to 'The Messiah,' which
+they <i>must not</i> miss whatever else they give up, would be
+shocked to hear anyone confess a greater, a more refined and
+spiritual influence exercised by Mendelssohn over the mind
+and heart; but to me it is so undoubtedly, whether <i>in part</i>
+from too great familiarity lessening the impression in
+Handel's case, I am not quite sure. I think it is that
+Mendelssohn's whole nature is profoundly educated; that his
+adaptation of the music to the meaning is not of that broad
+unmistakable kind which even an uneducated ear can
+comprehend, but is of that refined and far-reaching nature
+which carries along with it in fullest sympathy, mind,
+heart, and soul, be they cultivated ever so highly. If I
+could send you my scheme [word-book] of 'Elijah' with my own
+remarks, you would at once see what I mean; one instance
+must suffice now&mdash;the Widow entreating Elijah's 'help' for
+her sick son receives this answer, '<i>Give me</i> thy son.' Then
+follows his prayer for God's help that he again may live.
+The 'Give me thy son' expressed all that religious reliance,
+that confidence in power from above which already assured
+the prayer's fulfilment; and Staudigl being Elijah,
+Mendelssohn's every intention was carried out. Then the
+contrast between the 'Baal music' and Elijah's and the
+Israelites' prayers and adoration is finely and truly
+maintained. To select beauties where the whole is so perfect
+seems nearly impossible. There is one song deep in my heart,
+like 'the Lord is mindful of His own' from 'Paul,' which I
+should call <i>the song</i><span class="pagenum"><a name="Page_90" id="Page_90">(90)</a></span> of the oratorio&mdash;namely, the angel's
+comfort to Elijah in his despondency, 'O rest in the Lord,
+wait patiently for Him, and He shall give thee thine heart's
+desires,' &amp;c. And one quartett of surpassing power and
+beauty, viz., 'O! every one that thirsteth.' The choruses I
+consider quite uncommonly impressive; no <i>noise</i>, all
+<i>music</i> and <i>meaning</i>, and some of almost unparalleled power
+and grandeur. Such a triumphant first performance has, I
+should think, seldom been known....</p>
+
+<p>"And where was your cousin Edward [Bache] all the time? He
+was in the orchestra, very near his old master, Mr. [Alfred]
+Mellon, and our kind friend Mr. Flersheim, and thus had the
+great advantage and enjoyment of hearing nearly all the
+performances and taking his part on the violin; it has been
+a great stimulus to him and an encouragement."<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a></p>
+</div>
+
+<p>At the same time Mrs. Bache wrote to her sister, Mrs. Martineau, the
+wife of the Rev. Dr. James Martineau, as follows:&mdash;</p>
+
+<div class="blockquot">
+<p>"Let me tell you that Mendelssohn's noble oratorio of
+'Elijah' was even more than I had expected, and I had <i>very</i>
+great expectations. To see him conducting was worth
+anything. He seemed<span class="pagenum"><a name="Page_91" id="Page_91">(91)</a></span> inspired, and might well be forgiven
+for something of self-reverence, though he looked all
+humility; and when he came down from his chair when it was
+all over, he seemed all unstrung as if he could no more. The
+interest that invests that man is quite inexpressible, and
+indeed I never felt, as I have done throughout this week's
+Festival, the <i>greatness</i> of a truly great <i>composer</i>; what
+are all the performers compared with him!"<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a></p>
+</div>
+
+<p>In a letter ("Leipzig, <i>September</i> 28, 1846"), written in English, to
+his Birmingham host, Mr. Joseph Moore, Mendelssohn said:&mdash;</p>
+
+<div class="blockquot">
+<p>"I have now returned home, found all my family as well as I
+might have wished, and, while I think over the events of
+this last journey, I cannot help addressing these few lines
+to you in order to express once more the most sincere and
+most heartfelt thanks for your very kind reception, and for
+the friendship you have again shown to me during my stay at
+your house. Indeed, the first performance of my 'Elijah'
+exceeded all the wishes which a composer may feel at such an
+important moment, and the evident goodwill of all the
+artists in the orchestra, as well as the kindness with which
+the audience received the work, will be as long as I live a
+source of grateful recollection. And yet it seems<span class="pagenum"><a name="Page_92" id="Page_92">(92)</a></span> to me
+that I should not have enjoyed so great a treat as
+thoroughly and intensely as I did, if it had not been for
+your kindness and continued friendship, and for the
+comfortable home which you offered to me during those days
+of excitement. Our quiet morning and evening conversations
+with Mr. Ayrton and Mr. Webb are to my mind quite connected
+with the performances at the Town Hall, and form an
+important part of <i>my</i> Musical Festival at Birmingham; and
+while I should certainly never have assisted at one of them
+if it had not been for our very old acquaintance, and while
+I accordingly owe to you the whole of the treat which this
+first performance of 'Elijah' afforded me, I must at the
+same time thank you no less heartily and sincerely for the
+quiet and comfortable stay, and the friendly reception at
+your house, which enhanced all those pleasures so
+considerably. That your health may now be quite restored
+again after the fatigues you have undergone, and that we may
+soon meet again (either in your country, or once more in
+mine), and that you will continue the same kindness and
+friendship which you have now shown to me, and which I
+always met with from you since so many years, is the most
+earnest wish and hope of</p>
+
+<p class="center">"Yours very truly and gratefully,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+<p>In spite of Mendelssohn's protest, "Elijah" was immediately followed
+by two Italian "selections"<span class="pagenum"><a name="Page_93" id="Page_93">(93)</a></span> and a Handel chorus! If the Committee
+tried their skill at providing an anti-climax, they admirably
+succeeded.</p>
+
+<p>At the concluding concert, on Friday morning, the final chorus of
+Handel's "Zadok the Priest" was set down for performance. Almost at
+the last minute it was found that there was no music for the preceding
+Recitative printed in the word-book.<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a> The Committee were in a fix,
+and then they suddenly thought that Mendelssohn might be able to help
+them in their hour of need. He was sitting in the Vice-President's
+gallery, enjoying the performance, when the chairman of the Orchestral
+Committee, the late Mr. J.F. Ledsam, went to him and stated their
+difficulty. Mendelssohn at once proceeded to the ante-room, and, in a
+few minutes, composed a recitative for tenor solo, with accompaniment
+for strings and two trumpets. The parts were expeditiously copied by
+the indefatigable Goodwin, and the whole recitative was performed
+<i>prima vista</i> by Mr. Lockey, a quintet of strings, and the two trumpet
+players. The audience were entirely ignorant of the circumstance of
+this impromptu composition, and doubtless thought that they were
+listening to music by Handel.</p>
+
+<p>Through the kindness of the late Dr. W.A. Barrett and Messrs. Goodwin
+and Tabb, it is possible<span class="pagenum"><a name="Page_94" id="Page_94">(94)</a></span> to give the score, together with
+Mendelssohn's felicitous postscript:&mdash;</p>
+
+<div class="blockquot">
+<p class="centertp">
+<img src="images/music094.png" width="581" height="845" alt="Recit. Tenor. The Lord God Almighty, who ordereth all things in heaven and on earth, hath anointed His handmaid, to be ruler over the nations, to gladden the hearts, the hearts of His servants, Let the trumpets blow, let the trumpets" title="Recit. Tenor. The Lord God Almighty, who ordereth all things in heaven and on earth, hath anointed His handmaid, to be ruler over the nations, to gladden the hearts, the hearts of His servants, Let the trumpets blow, let the trumpets" />
+</p>
+
+<p><span class="pagenum"><a name="Page_95" id="Page_95">(95)</a></span></p>
+
+<p class="center">
+<img src="images/music095a.png" width="580" height="217" alt="blow, And let all the people rejoice, rejoice and say," title="blow, And let all the people rejoice, rejoice and say," />
+</p>
+
+<p class="centerbp">[<a href="music/music094-095a.mp3">Listen</a>]</p>
+
+<p class="center msm">[<i>Chorus</i>&mdash;"God save the Queen."]</p>
+
+<p>"Composed expressly for this Festival, and for Mr. Lockey,
+with <i>many</i> thanks for&mdash;</p>
+
+<table style="padding-top: 1em; padding-bottom: 1em" border="0" cellspacing="5" cellpadding="0" summary="postscript">
+<tr>
+<td class="center"><img src="images/music095b.png" width="210" height="63" alt="music" title="music" /><br />
+[<a href="music/music095b.mid">Listen</a>]</td>
+<td>and for<br />
+&nbsp;</td>
+<td class="center"><img src="images/music095c.png" width="282" height="63" alt="music" title="music" /><br />
+[<a href="music/music095c.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p class="center">"by me,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span></p>
+
+<p>"Birmingham, August 28, 1846."</p>
+</div>
+
+<p>Mendelssohn left Birmingham the same day and came to London, "where,"
+he says, "my only important business was a 'fish dinner' at
+Lovegrove's at Blackwall; after which I stayed four days at Ramsgate
+for sea air, and ate crabs, and enjoyed myself with the Beneckes." The
+late Mrs. Benecke, for whom Mendelssohn had a particular affection,
+remembered that he was in most cheerful and excellent spirits during
+his visit at the seaside, and that he often referred with great
+satisfaction to the first performance of his "Elijah." Although his
+stay at Ramsgate was so short, he there began to write out the
+pianoforte arrangement of the oratorio, and worked at it several hours
+daily.<span class="pagenum"><a name="Page_96" id="Page_96">(96)</a></span></p>
+
+<p>The Festival Committee, at their meeting immediately after the
+Festival (August 29), passed the following resolution:&mdash;</p>
+
+<div class="blockquot">
+<p>"That this Committee, deeply impressed by the unprecedented
+success of the oratorio of 'Elijah,' written for this
+Festival, do return their very cordial and grateful thanks
+to Dr. Felix Mendelssohn-Bartholdy for a Composition in
+which the most consummate musical knowledge and the highest
+intellectual conceptions are displayed; a Composition which
+will soon be universally known, and not only add to the
+fame, already so great, of the Author, but tend to exalt the
+art which he professes, and on which his genius and judgment
+reflect so much honour."</p>
+</div>
+
+<p class="centertp border"><a name="STAUDIGL" id="STAUDIGL"></a>
+<img src="images/staudigl.jpg" width="388" height="500" alt="HERR JOSEPH STAUDIGL" title="HERR JOSEPH STAUDIGL" />
+</p>
+
+<p class="caption">
+HERR JOSEPH STAUDIGL<br />
+(1807-1861)<br />
+<i>The original Elijah in Mendelssohn&#8217;s Oratorio.</i>
+</p>
+
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_97" id="Page_97">(97)</a></span></p>
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.</h2>
+
+<hr class="short" />
+
+<h3>THE REVISED ORATORIO.</h3>
+
+
+<p class="tp"><span class="smcap">Mendelssohn</span>, upon his return to Leipzig, was much exhausted after the
+severe strain of composing, and the exertion connected with the
+production of "Elijah." But, although he led "a vegetable existence,
+doing nothing the whole day but eat and sleep and take walks," he very
+soon began to work at the revision of his new oratorio. It has been
+shown that Mendelssohn had to write against time in order to complete
+his oratorio for the Birmingham Festival; and after&mdash;if not before, or
+during&mdash;the first performance he discovered numerous instances in
+which the work could be greatly improved. He told Mr. Bartholomew that
+he should make <i>many</i> alterations, and he did. In a letter to
+Klingemann, dated December 6, 1846, Mendelssohn says:&mdash;</p>
+
+<div class="blockquot">
+<p>"I have again begun to work with all my might at my
+'Elijah,' and hope to amend the greater part of what I
+thought deficient at the first performance. I have quite
+completed one of the most difficult parts (the Widow); and I
+am sure you will be satisfied with the alterations which I
+may call improvements.<span class="pagenum"><a name="Page_98" id="Page_98">(98)</a></span> 'Elijah' has become far more
+impressive and solemn here. I missed that in my first
+version and was annoyed by this want; but, unfortunately, I
+never find out such things till afterwards, and till I have
+improved them. I hope, too, to hit upon the true sense of
+other passages that we have discussed together. I shall most
+seriously revise all that I did not deem satisfactory; and I
+hope to see the whole completely finished within a few
+weeks, so as to be able to set to work on something new. The
+parts that I have already remodelled prove to me again that
+I am right not to rest till such work is as good as it is in
+my power to make it; even though very few people care to
+hear about such things, or notice them, and even though they
+take very much time; yet the impression such passages, if
+really better, produce in themselves and on the whole work,
+is such a different one, that I feel I cannot leave them as
+they now stand."</p>
+</div>
+
+<p>In a letter to his English publisher, Mr. Buxton (Ewer &amp; Co.),
+Mendelssohn calls this habit of constant alteration a "dreadful
+disease," from which he suffered chronically and severely. He says: "I
+was sorry to see that you will have to make so many alterations in the
+choral parts; but I think I told you before, that I was subject to
+this dreadful disease of altering as long as I did not feel my
+conscience quite at rest, and therefore I could not help it, and you
+must bear it patiently." In the same letter (written in English) he
+says:&mdash;"I did what I could to reconcile myself to the idea of adding a
+few bars to the Overture to make it a separate piece, and give it<span class="pagenum"><a name="Page_99" id="Page_99">(99)</a></span> a
+conclusion; but, I assure you, it is <i>impossible</i>. I tried hard to do
+what you want, in order to show my goodwill&mdash;but I could not find an
+end, and I am sure there <i>is</i> none to be found."</p>
+
+<p>The chief alterations (to quote from Sir George Grove's invaluable
+article "Mendelssohn," in his "Dictionary of Music and Musicians,"
+II., 289) were:&mdash;</p>
+
+<div class="blockquot">
+<p>"The chorus 'Help, Lord!' (No. 1), much changed: the end of
+the double quartett (No. 7), re-written: the scene with the
+Widow (No. 8), entirely re-cast and much extended: the
+chorus 'Blessed are the men' (No. 9), re-scored: the words
+of the quartett 'Cast thy burden' (No. 15), new: the soprano
+air 'Hear ye' (No. 21), added to and re-constructed: in the
+Jezebel scene a new chorus, 'Woe to him' (No. 24), in place
+of a suppressed one, 'Do unto him as he hath done,' and the
+recitative 'Man of God' added: the trio 'Lift thine eyes'
+(No. 28) was originally a duet, quite different: Obadiah's
+recitative and air (No. 25) are new: the chorus 'Go,
+return,' and Elijah's answer (No. 36) are also new. The last
+chorus (No. 42) is entirely re-written to fresh words, the
+text having formerly been 'Unto Him that is abundantly
+able,' etc. The <i>omissions</i> are chiefly a movement of 95
+{86} bars, <i>alla breve</i>, to the words 'He shall open the
+eyes of the blind,' which formed the second part of the
+chorus 'But thus saith the Lord' (No. 41), and a recitative
+for tenor, 'Elijah is come already; and yet they have known
+him not; but have done unto him whatsoever they listed,'
+with which<span class="pagenum"><a name="Page_100" id="Page_100">(100)</a></span> Part II. of the oratorio originally opened. In
+addition to these more prominent alterations, there is
+hardly a movement throughout the work which has not been
+more or less worked upon."</p>
+</div>
+
+<p>The phrase of four bars (instrumental) at the end of "Man of God" (No.
+25), and leading into "It is enough," was an afterthought, and, like
+the overture, was due to the English translator. Bartholomew made the
+suggestion&mdash;a hint, it may be called, but a very interesting one&mdash;in
+the following words: "Elijah&mdash;'Tarry here, my servant, and I will go a
+day's journey into the wilderness.' What if an instrumental interlude
+(short) gave time for the journey? and then, spent with fatigue, he
+might, from very weariness, say, 'It is enough!'"</p>
+
+<p>Another interesting instance of Mendelssohn's afterthoughts is that
+near the end of the last Baal chorus, where the sustained and piercing
+cry of the sopranos and altos was <i>not</i> originally re-echoed by the
+tenors and basses:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music100.png" width="362" height="105" alt="Hear and answer." title="Hear and answer." />
+</p>
+
+<p class="centerbp">[<a href="music/music100.mid">Listen</a>]</p>
+
+<p>The above impressive response to the entreaty of the female voices is
+inserted, in Bartholomew's writing, in a proof copy of the oratorio,
+now in my possession. Its appropriateness is unquestionable; yet it
+was not in the original version.</p>
+
+<p>The Sacred Harmonic Society, who, in 1837, had enrolled Mendelssohn as
+a member, and had presented<span class="pagenum"><a name="Page_101" id="Page_101">(101)</a></span> him with a silver snuff-box,<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> were
+very anxious to be the first to perform the revised oratorio. Within a
+month of the Birmingham performance, the Secretary addressed to
+Mendelssohn a long letter, in which (1) the Society congratulated the
+composer upon the success of his new work, (2) asked that they might
+have the honour of giving the first performance of the revised version
+before a London audience, and (3) that, if possible, Mendelssohn
+should himself conduct the said performance. Here is Mendelssohn's
+reply:&mdash;</p>
+
+<div class="blockquot">
+<p class="center"><span class="smcap">To T. Brewer, Esq.</span>, <i>Hon. Sec. to the Sacred Harmonic Society</i>,<br />
+<i>Exeter Hall, London</i>.</p>
+
+<p>[<i>Written in English.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>October</i> 7, 1846.</p>
+
+<p>"Dear Sir,&mdash;I beg to express my best thanks for the letter
+dated September 24, and it gives me much pleasure that the
+Sacred Harmonic Society will undertake the first performance
+of my 'Elijah' before a London Audience. I beg to thank the
+Committee most sincerely for their flattering intention, and
+of course should be most happy to conduct<span class="pagenum"><a name="Page_102" id="Page_102">(102)</a></span> the work myself
+on such an occasion, if I can come to London in April next.
+I hope and trust that I may have that pleasure, and that
+nothing may prevent me from doing so. But I am still
+doubtful, and cannot give a positive promise as far as
+regards my coming over; and as for the parts which you wish
+to have as soon as possible, I shall speak to the Editor
+[publisher] of them, Mr. Buxton, who, I hear, is expected
+shortly in Leipzig, and will ask him to let you have them as
+soon as they can be ready.</p>
+
+<p>"With many thanks to yourself and the Society, believe me,
+dear Sir, your very obedient servant,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+<p>Before the receipt of the Sacred Harmonic Society's invitation,
+Mendelssohn must have begun the work of revision, as the following
+letter to Bartholomew (dated exactly a month after the Birmingham
+performance) will show:&mdash;</p>
+
+<div class="blockquot">
+<p>[<i>Written in English, and on a sheet of music-paper.</i>]</p>
+
+<p class="right">"<span class="smcap">Leipzig</span>, <i>September</i> 26, 1846.</p>
+
+<p>"Dear Mr. Bartholomew,&mdash;Many thanks for your new alterations
+which you made to meet my wishes. I decidedly prefer the
+<i>second</i> version of the beginning of No. 41: 'But the Lord
+from the north hath raised <i>one</i>!' (this is very good), but
+at the last bar before the Andante I cannot approve of&mdash;</p>
+
+<table style="padding-top: 1em; padding-bottom: 1em" border="0" cellspacing="5" cellpadding="0" summary="last bar">
+<tr>
+<td class="center"><img src="images/music102a.png" width="215" height="69" alt="music" title="music" /><br />
+[<a href="music/music102a.mid">Listen</a>]</td>
+<td>instead of<br />
+&nbsp;</td>
+<td class="center"><img src="images/music102b.png" width="169" height="66" alt="music" title="music" /><br />
+[<a href="music/music102b.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>"Indeed these two long notes are <i>necessary</i>, for the<span class="pagenum"><a name="Page_103" id="Page_103">(103)</a></span>
+development of the whole phrase, as I intended it. Now,
+could you not say '<i>call His name</i>,' instead of 'call upon
+His name?' Then the chief difficulty would be removed. And
+perhaps would it be possible to leave out 'of the sun,' and
+only say 'from the rising' (this is done very often, at
+least in our German Bible)? Then the second passage would
+also stand nearly as with the German words:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music103a.png" width="523" height="87" alt="And from the rising he shall call His Name." title="And from the rising he shall call His Name." />
+</p>
+
+<p class="centerbp">[<a href="music/music103a.mid">Listen</a>]</p>
+
+<p>"The rest of the <i>Andante con moto</i> suits my music now very
+well in the alteration, as you wrote it out, but I should
+prefer there the first, and in the beginning (<i>Andante
+sostenuto</i>) the second version. And why not? So the <i>Andante
+con moto</i> might begin: 'But the Lord hath upraised one, the
+Lord,' etc. But if this is against your conscience, leave
+here also the second version. For the beginning is much more
+important.</p>
+
+<p>"I prefer:</p>
+
+<p class="centertp">
+<img src="images/music103b.png" width="413" height="87" alt="He shall call upon His Name, &amp;c." title="He shall call upon His Name, &amp;c." />
+</p>
+
+<p class="centerbp">[<a href="music/music103b.mid">Listen</a>]</p>
+
+<p>"In No. 38 I should prefer: 'his words <i>appeared</i> like
+burning torches'&mdash;I am so obstinate about the <i>torches</i>
+because they account for the F minor character<span class="pagenum"><a name="Page_104" id="Page_104">(104)</a></span> which I gave
+to that beginning more than any other word could possibly
+do.<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a></p>
+
+<p>"As for 'the transgressor,' etc., I may possibly send
+another piece instead of the one which now stands, and
+therefore we will settle the translation hereafter.</p>
+
+<p>"In No. 34 I prefer:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music104a.png" width="298" height="78" alt="Behold, God the" title="Behold, God the" />
+</p>
+
+<p class="centerbp">[<a href="music/music104a.mid">Listen</a>]</p>
+
+<p>and afterwards&mdash;</p>
+
+<p class="centertp">
+<img src="images/music104b.png" width="193" height="79" alt="But yet the" title="But yet the" />
+</p>
+
+<p class="centerbp">[<a href="music/music104b.mid">Listen</a>]</p>
+
+<p>and likewise&mdash;</p>
+
+<p class="centertp">
+<img src="images/music104c.png" width="222" height="79" alt="But yet the" title="But yet the" />
+</p>
+
+<p class="centerbp">[<a href="music/music104c.mid">Listen</a>]</p>
+
+<p>for I should not like to place the word 'God' on so short a
+note, and in such a rhythm, while the word <i>yet</i> is just as
+light and insignificant as will do on such a note.</p>
+
+<p>"And again many thanks,</p>
+
+<p class="right">"F.M.-B."</p>
+</div>
+
+<p>The following letters from Mendelssohn to Bartholomew, all written in
+English, may now follow on,<span class="pagenum"><a name="Page_105" id="Page_105">(105)</a></span> <i>seriatim</i>; they lead up to the period of
+the composer's arrival&mdash;for the last time&mdash;in England.</p>
+
+<div class="blockquot">
+<p class="right">"<span class="smcap">Leipzig</span>, 30 <i>December</i>, 1846.</p>
+
+<p>"My dear Sir,&mdash;I send to-day to Mr. Buxton all the pieces
+which were still wanting in the first part of my 'Elijah.'
+Wherever I could, I took the words from the English Bible
+and adapted them as well as I could to the alterations, in
+order to save you trouble; but, nevertheless, I must ask you
+to look over all I have done, that no wrong accent or other
+blunders might remain in it. So, for instance, in the 13
+bars which I have added before the chorus 'Blessed are the
+men,' and which are taken from Psalm cxvi. {12} and
+Deuteron. vi., 15 {5}, I wrote the German words under the
+English in case you should prefer the notation as originally
+composed, and choose to add a word or a syllable here and
+there in the English version, in order to give it the same
+rhythm as in German. I should wish this in the passage just
+quoted, particularly in the beginning of Elijah's answer,
+'Du sollst den,' where the two slurred notes '<span class="slur">Thou<span title="quarter note" class="lg">&#9833;</span><img class="slurlg" src="images/slur_lg.png" width="33" height="6" alt="slur" title="slur" /></span>
+shalt' are not equally good. But I
+could not find something else, and I also think that
+passages like these are best left as in the Bible. In the
+following chorus, No. 9, there is a curious specimen of the
+different <i>meaning</i> of the German and English version: the
+words 'He is gracious,' &amp;c. (or, as you had it, '<i>they</i> are
+gracious'), apply, in your version, to the righteous, while
+in ours they apply to God, and the passage is in our
+version, 'the light ariseth to the righteous <i>from</i> Him who
+is gracious,<span class="pagenum"><a name="Page_106" id="Page_106">(106)</a></span> full of compassion,' &amp;c., &amp;c. Now I certainly
+composed it with this last meaning, and the question is
+whether you would think it advisable to introduce it, or
+not. I proposed 'He is' instead of 'they are,' because I
+thought it could then be understood both ways; but most
+probably you might hit on something much better still.
+Instead of 'who delight in His commands,' I preferred 'they
+ever walk in the ways of peace' <i>only</i>, as more expressive,
+and I hope you will be of my opinion. I see in the
+Birmingham book that you quoted the words of this chorus
+Psalm cvi., 3; but I took them from Psalm cxxviii., 1, and
+Psalm cxii., 1 and 4, although nearly the same passage
+occurs in Psalm cvi., 3.</p>
+
+<p>"No. 15 is a piece in which I must again require your
+friendly assistance. From the time I first sent it away for
+the Birmingham performance I felt that it should not remain
+as it stood, with its <i>verses and rimes</i>, the only specimen
+of a Lutheran Chorale in this old-testamential work.<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> I
+<i>wanted</i> to have the <i>colour</i> of a Chorale, and I felt that
+I could not do <i>without it</i>, and yet I did not like to have
+<i>a</i> Chorale.<span class="pagenum"><a name="Page_107" id="Page_107">(107)</a></span> At last I took those passages from the Psalms
+which best apply to the situation, and composed them in
+about the same style and colour, and very glad I was when I
+found (as I looked into the English Bible) that the
+beginning went word by word as in German. But after the
+beginning my joy was soon at an end, and there it is that I
+must ask you to come to my assistance. The words are taken
+from Psalm lv., 23 {22}; Psalm cviii., 5 {4}; and Psalm
+xxv., 3.</p>
+
+<p>"In the chorus No. 16, I added the German words 'Fallt
+nieder auf euer Angesicht,' in pencil, because I thought
+that the English translation, 'adoring,' etc., did not
+express the meaning entirely, nor did it render the rhythm
+of the German, which is still more to be felt by the bar I
+have added before the pause. Our 'fallt nieder' means
+something still more awful, I think, than to 'bow down' or
+'to adore'; but query whether it can or should be given in
+English!<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a></p>
+
+<p>"You will also find the <i>Allegro</i> of the Soprano song at the
+beginning of Part 2 ['Hear ye, Israel'] with the subsequent
+chorus. I never thought of omitting<span class="pagenum"><a name="Page_108" id="Page_108">(108)</a></span> the <i>Allegro</i> of the
+song, but wanted to find something (in words and music)
+better appropriated to make the transition from the slow
+movement to the <i>Allegro</i>. The Recit. which I now send is
+taken from Isaiah xlix., 7. Here again the English words
+went at first perfectly well, but afterwards they would not
+do at all, and (which is the most essential) their meaning
+differed greatly. The German means that the Lord speaks 'to
+the soul that is despised and <i>to the nation</i> that is
+abhorred by others, and to His servant who is <i>oppressed by
+tyrants</i>,' and all this made me adopt the words for this
+Recit., and therefore I wish it to be expressed also in the
+English version.</p>
+
+<p>"And besides all this you will find here and there little
+deviations from your words, where I have been forced into
+them by my alterations; and therefore I beg you will look
+over the <i>whole</i>, that nothing might be in it of which you
+did not approve.</p>
+
+<p>"I owe you still many thanks for several very, very kind
+letters, and indeed would have written long ago had it not
+been for a sea of tedious and complicated businesses with
+which they overload me here. I could not avail myself of the
+whole of the amplification which you proposed for the
+Widow's part, although I adopted several of your quotations
+in that passage; but I was not able to give it the extent
+you proposed; for although I very often feel the urgent
+necessity of altering the <i>details</i> (of which you now see so
+many instances), I can but very seldom bring myself to a
+deviation from the whole original plan; and I even make
+those alterations almost everywhere in order to keep more
+faithfully to the object I had<span class="pagenum"><a name="Page_109" id="Page_109">(109)</a></span> first in view. And on that
+account I <i>could</i> not make the whole of this passage more
+prominent, although I always wish to do as you advise.</p>
+
+<p>"Of course 'commandments' must be left in the soprano song,
+instead of 'commands,' if you do not approve of the latter.
+Do you like my way of getting rid of 'to slay, <i>to</i> slay my
+son?'<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a></p>
+
+<p>"And many, many thanks for the trouble you have taken with
+the 'Sons of Art.' I am afraid the thing is only fit for a
+German musical men-festival, and that it is impossible to
+give it any effect in another language and at other
+occasions; but whatever <i>can</i> be done with it has indeed
+been done by you. And so I end as I began with thanks and
+thanks.</p>
+
+<p class="center">"Very truly yours,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+
+<div class="blockquot">
+<p class="right tp">"<span class="smcap">Leipzig</span>, <i>January</i> 20, 1847.</p>
+
+<p>"My dear Mr. Bartholomew,&mdash;A happy new year to you (although
+it is rather old already), and many, many thanks for your
+kind and precious letter! Indeed, nobody could have written
+it but you, and nobody could have taken so much trouble with
+my choruses to the 'Athalie' but you, and to nobody could I
+feel so sincerely and heartily indebted but to you. Have
+many, many thanks, my dear Sir, and be sure that you confer
+all these obligations to one who<span class="pagenum"><a name="Page_110" id="Page_110">(110)</a></span> knows how to value them,
+and who will always remain thankful to you!...</p>
+
+<p>"The second part of 'Elijah' will in very short time be in
+Mr. Buxton's [Ewer &amp; Co.] hands. And now, my dear Sir, let
+me repeat to you my heartfelt thanks for all you did again
+for me when they performed the 'Athalie' choruses,<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> and
+for your interesting report of all the proceedings before
+and during that performance, and for all the kindness and
+friendship which you always show me.</p>
+
+<p class="center">"Always very truly and sincerely yours,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+
+<div class="blockquot">
+<p class="right tp">"<span class="smcap">L[eipzig]</span>, <i>February 2nd</i>, 1847.</p>
+
+<p>"P.S.&mdash;This letter has been detained till to-day, when I
+send a great parcel to Mr. Buxton.</p>
+
+<p>"Now I must add a few things about the second part of
+'Elijah,' which I send to-day. In the Recit. No. 33, 'Hear
+me speedily, O Lord,' I have altered the beginning of the
+words thus:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music110.png" width="562" height="115" alt="Herr, es wird Nacht um mich! I KINGS, xix., 9. Sei du nicht ferne! Verbirg dein, &amp;c. PS. xxii., 12, 20." title="Herr, es wird Nacht um mich! I KINGS, xix., 9. Sei du nicht ferne! Verbirg dein, &amp;c. PS. xxii., 12, 20." />
+</p>
+
+<p class="centerbp">[<a href="music/music110.mid">Listen</a>]</p>
+
+<p>"Pray alter the English words accordingly, and look that the
+following alterations are made in the music<span class="pagenum"><a name="Page_111" id="Page_111">(111)</a></span> of that same
+Recitative: bar 16 (accompaniment) is to be thus:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music111a.png" width="197" height="136" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music/music111a.mid">Listen</a>]</p>
+
+<p>Bar 22 (accompaniment) is to be thus:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music111b.png" width="172" height="160" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music/music111b.mid">Listen</a>]</p>
+
+<p>Bar 24 the voice is to be thus:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music111c.png" width="242" height="74" alt="face must be veiled." title="face must be veiled." />
+</p>
+
+<p class="centerbp">[<a href="music/music111c.mid">Listen</a>]</p>
+
+<p>and bar 27 (the last) is to be thus in the voice:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music111d.png" width="241" height="78" alt="for He draweth near." title="for He draweth near." />
+</p>
+
+<p class="centerbp">[<a href="music/music111d.mid">Listen</a>]</p>
+
+<p>"Pray give your attention to all such passages of the words
+which I wrote <i>in pencil</i> in the arrangement. I think they
+will all require a new translation, or a modification of the
+old one. I always added the quotations. There are also some
+different (and I am sure) better words in No. 21 where I
+could not write them in pencil, but you will easily see and
+I hope adopt and adapt them. It is in the slow movement, the
+passage of Isaiah liii., 1, 'Aber wer glaubt uns'rer<span class="pagenum"><a name="Page_112" id="Page_112">(112)</a></span>
+Predigt?' ['Who hath believed our report?'], and in the
+<i>Allegro</i>, instead of 'Wake up, Jerusalem,' etc., the direct
+appeal to Elijah, 'Weiche nicht, denn ich bin dein Gott, ich
+stärke dich!' ['Be not afraid, for I am thy God, I will
+strengthen thee.'], Isaiah xli., 10, from which also the
+following chorus ['Be not afraid'] is taken.<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a></p>
+
+<p>"I hope the scene with the Queen and people [No. 23] will
+now offer less difficulties to you, as the 'Er ist des Todes
+schuldig' ['He is worthy to die'] occurs but once; and you
+will also see that I took your hint about their seeking
+Elijah, &amp;c., &amp;c.</p>
+
+<p>"In the Terzetto, No. 28 ['Lift thine eyes'], without
+accompaniment, there might perhaps be an occasion for
+altering the words, although they are exactly the same as
+they were in the Duet; but I do not think the beginning
+would do well with the English words of the <i>Duet</i>.<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a><span class="pagenum"><a name="Page_113" id="Page_113">(113)</a></span></p>
+
+<p>"And I write over the Chorus 'But, saith the Lord, I have
+raised one,' the German word 'Schluss-Gesang'&mdash;<i>including
+this</i> Chorus, the following Quartett, and the last Chorus.
+Could you find an English word which might be applied as
+well? It must not be Finale, because that reminds me of an
+Opera; and it must not be 'Final Chorus,' because it shall
+mean two Choruses and a Quartett; but I should like to have
+some word at the head of those three pieces, to show clearly
+my idea of their connection, and also as a kind of
+'Epilogue' contrasted with the 'Prologue,' or 'Introduction'
+before the Overture.</p>
+
+<p>"And excuse and pardon the trouble, and always and ever
+believe me,</p>
+
+<p class="center">"Yours very truly and gratefully,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy</span>."</p>
+</div>
+
+
+<div class="blockquot">
+<p class="right tp">"<span class="smcap">Leipzig</span>, 8th <i>February</i>, 1847.</p>
+
+<p>"Dear Sir,&mdash;I receive your letter of the 2nd at the moment
+when I send the Orchestra parts of the 1st Part of 'Elijah'
+to Simrock, and the last chorus to Mr. Buxton, so I really
+answer by return of post.</p>
+
+<p>"<i>Recit.</i> 'Now Cherith's brook,' bar 9. I do not quite like
+<i>your two</i> slurs at the end; and as you do not like <i>my</i>
+notation, what if we tried a third mode?</p>
+
+<p>viz.:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music113.png" width="393" height="81" alt="neither shall the cruse of oil fail," title="neither shall the cruse of oil fail," />
+</p>
+
+<p class="centerbp">[<a href="music/music113.mid">Listen</a>]</p>
+
+<p>"Now adopt which you like of the <i>three</i>. Bar 13, I prefer
+<i>yours</i>.<span class="pagenum"><a name="Page_114" id="Page_114">(114)</a></span></p>
+
+<p>"I do not speak of bar 26 and bar 38 of No. 8, because Mr.
+Buxton will have informed you that I am going to send <i>a new
+song</i> for the Widow, and that therefore the whole No. 8 must
+be postponed till then. I hope it will follow soon after
+this letter, and then I will not teaze you any more about
+this 'Elijah.' Bars 83, 95, 114, 123 as <i>you</i> propose. Bar
+151, as you like both ways, I should prefer <i>mine</i>; bar 155,
+<i>yours</i>. Bar 157, I do not like the two B's and two C's on
+the words 'render to the'; could it not be:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music114a.png" width="315" height="77" alt="What shall I render to the" title="What shall I render to the" />
+</p>
+
+<p class="centerbp">[<a href="music/music114a.mid">Listen</a>]</p>
+
+<p>or, if you object to this, it must be at least&mdash;</p>
+
+<p class="centertp">
+<img src="images/music114b.png" width="325" height="62" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music/music114b.mid">Listen</a>]</p>
+
+<p>but I confess that I do <i>not like the quavers</i>, if they
+<i>can</i> be got rid of. The following bars, and bar 161, &amp;c.,
+as <i>you</i> have them.</p>
+
+<p>"No. 9, Chorus, bar 10, I cannot approve of the twice F
+[sharp] in the Soprano, although I quite acknowledge the
+truth of your observation. But I propose instead:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music114c.png" width="365" height="97" alt="Bar 10. Blessed {are the men} {are they}" title="Bar 10. Blessed {are the men} {are they}" />
+</p>
+
+<p class="centerbp">[<a href="music/music114c.mid">Listen</a>]</p>
+
+<p>"If you dislike this, pray propose another mode; but the
+soprano <i>cannot</i> have the two F [sharps] while the tenor
+also has them.<span class="pagenum"><a name="Page_115" id="Page_115">(115)</a></span></p>
+
+<p>"Bar 14 as <i>you</i> have it. Instead of your and my bar 13, I
+propose:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music115.png" width="431" height="75" alt="men who fear Him." title="men who fear Him." />
+</p>
+
+<p class="centerbp">[<a href="music/music115.mid">Listen</a>]</p>
+
+<p>"Bars 18, 19, 20, &amp;c., as <i>you</i> have. Bar 15 also. And 44,
+and 45, also.</p>
+
+<p>"No. 19. Recit. For the end I prefer <i>by far</i>: 'The Lord our
+God alone can do these things.' But in reading over these
+words I wonder whether the word 'Gentiles' cannot be
+objected to? Can one say of Baal that he is an idol of the
+'Gentiles'? Indeed, Jeremiah seems to use the word in that
+sense, but do we not use it exclusively in another sense? If
+not, so much better. Pray answer to this, and excuse the
+hasty lines.</p>
+
+<p class="center">"Always very truly yours,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy</span>."</p>
+</div>
+
+
+<div class="blockquot">
+<p class="right tp">"<span class="smcap">Leipzig</span>, 8<i>th</i> <i>February</i>, 1847.</p>
+
+<p>"My dear Sir,&mdash;I send you with these lines the last Chorus
+of 'Elijah.' Now I have only the song which is to come in at
+the beginning of No. 8 [the Widow scene], and as soon as
+that will be finished I will not teaze you any more about
+alterations and all that, for you have now the whole work in
+hand. But pray do not forget to postpone the engraving of
+No. 8 until I send you that song. All the rest may be
+forthwith engraved.<span class="pagenum"><a name="Page_116" id="Page_116">(116)</a></span></p>
+
+<p>"While I wrote the alterations in the Chorus No. 40 {41} (in
+my last letter) I forgot to write that there is also one in
+the accompaniment of that passage. So please to correct bars
+47, 48, and 49 (they are the last but two of the last page
+but one of that Chorus) thus:&mdash;</p>
+
+<p class="centertp">
+<img src="images/music116.png" width="563" height="144" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music/music116.mid">Listen</a>]</p>
+
+<p>"As for the story of the opera,<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> my friend Klingemann
+will tell you all about it, as I have written it at length
+to him, and I am so overloaded with Leipzig music, and with
+letters, and with all sorts of things, that you must excuse
+me if I refer you to him, and cannot repeat again what I
+wrote about that story.</p>
+
+<p class="center">"Always very truly yours,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy</span>.</p>
+
+<p>"P.S.&mdash;I am now almost sure that I shall be able to leave
+here on the 6th of April, and to conduct in London my
+'Elijah' on the 16th, &amp;c. I shall then leave on the 30th (as
+you suggested) and go to Switzerland; and if Mr. Mitchell
+<i>must</i> have me and the 'Athalie' in July, I shall come back
+in July; if not I will stay at Vevay the whole summer, and
+compose away!"</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_117" id="Page_117">(117)</a></span></p>
+
+<div class="blockquot">
+<p class="right tp">"<span class="smcap">Leipzig</span>, 17 <i>February</i>, 1847.</p>
+
+<p>"My dear Sir,&mdash;I write these lines merely to thank you for
+yours dated February 9th, and to tell you that I agree with
+all the different remarks you therein make about the wording
+of the translation (<i>including</i> 'commandments' instead of
+'commands,' &amp;c.). And I hope you will have received the MS.
+of Part II. soon after you wrote, for I sent it off on the
+2nd, with the exception of the Final Chorus, which I sent a
+few days later. I daresay everything will now be safely in
+your and Mr. Buxton's hands, and now I may begin to think of
+something else, which indeed I have not been able to do all
+the time since, with this Oratorio, nearly but not entirely
+finished, weighing on my mind.</p>
+
+<p class="center">"Always very truly yours,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy</span>."</p>
+</div>
+
+
+<div class="blockquot">
+<p class="right tp">"<span class="smcap">Leipzig</span>, <i>February</i> 25, 1847.</p>
+
+<p>"My dear Sir,&mdash;I prefer<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a>&mdash;</p>
+
+<table style="padding-top: 1em; padding-bottom: 1em" border="0" cellspacing="5" cellpadding="0" summary="music">
+<tr>
+<td class="center"><img src="images/music117a.png" width="349" height="82" alt="Who hath believed our report" title="Who hath believed our report" /><br />
+[<a href="music/music117a.mid">Listen</a>]</td>
+<td>then:<br />
+&nbsp;</td>
+<td class="center"><img src="images/music117b.png" width="171" height="78" alt="-vealed to" title="-vealed to" /><br />
+[<a href="music/music117b.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>"It <i>must</i> be&mdash;</p>
+</div>
+
+<table style="padding-top: 1em; padding-bottom: 1em" border="0" cellspacing="5" cellpadding="0" summary="music">
+<tr>
+<td class="center"><img src="images/music117c.png" width="313" height="80" alt="be not afraid, be" title="be not afraid, be" /><br />
+[<a href="music/music117c.mid">Listen</a>]</td>
+<td>and <i>not</i>:<br />
+&nbsp;</td>
+<td class="center"><img src="images/music117d.png" width="188" height="76" alt="be not a-" title="be not a-" /><br />
+[<a href="music/music117d.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<div class="blockquot">
+<p>which will not do for the quickness of the movement.<span class="pagenum"><a name="Page_118" id="Page_118">(118)</a></span></p>
+
+<p>"Bar 89 is impossible as you propose, because on the <i>a</i><span title="sharp symbol">&#9839;</span>
+and <i>g</i><span title="sharp symbol">&#9839;</span>, &amp;c., <i>there must be
+no words</i> pronounced; they <i>must</i> be <i>slurred</i> notes, as in
+the German wording, and moreover they must be sung on a
+<i>good</i> syllable (no "u," or "o," or, &amp;c.). So I should
+propose:&mdash;<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a></p>
+
+<p class="centertp">
+<img src="images/music118a.png" width="451" height="97" alt="89. I, the Lord, will strengthen thee!" title="89. I, the Lord, will strengthen thee!" />
+</p>
+
+<p class="centerbp">[<a href="music/music118a.mid">Listen</a>]</p>
+
+<p>"And at any rate pray <i>let the notes be slurred</i>, because it
+is essential to the whole of the song. The same also when
+the passage is repeated, bar 140.</p>
+
+<p>"Bar 148 must be so&mdash;</p>
+
+<p class="centertp">
+<img src="images/music118b.png" width="305" height="87" alt="148. for I thy" title="148. for I thy" />
+</p>
+
+<p class="centerbp">[<a href="music/music118b.mid">Listen</a>]</p>
+
+<p>"All those passages I do <i>not</i> mention here are quite
+excellent in the way you propose. Add a note for the
+serv<i>ed</i> him and worshipp<i>ed</i> him. You are quite welcome to
+it.<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a></p>
+
+<p>"You see that I really answer by return of post, for
+yesterday evening your letter came, and this morning this
+leaves. But I do not understand why there is such a <i>hurry</i>
+about the <i>Pianoforte arrangement</i> being finished, and why
+you say there is hardly time to<span class="pagenum"><a name="Page_119" id="Page_119">(119)</a></span> wait my reply. For you know
+that it cannot be published a day before Simrock has also
+done it, and that will take much time still. However, I make
+haste answering, and shall also do so with your next. I do
+not think that I shall be able to be in London before the
+13th April. But I am sure that is early enough, for I am
+sure everything which you take in hand is right.</p>
+
+<p class="center">"Always yours truly,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn.</span>"</p>
+</div>
+
+
+<div class="blockquot">
+<p class="right tp">"<span class="smcap">Leipzig</span>, <i>March</i> 3, 1847.</p>
+
+<p>"My dear Sir,&mdash;I have just received your letter of the 24th,
+and hasten to reply. I like all the passages of the
+translation you send me with but two exceptions. In No. 30,
+'that Thou would'st please destroy me' sounds so odd to
+me&mdash;is it scriptural? If it is, I have no objection, but if
+not, pray substitute something else. And then in the new No.
+8 [the widow scene]&mdash;the words from Psalm vi. which you
+hesitated to adopt are, of course, out of the question; but
+I also object to the second part of the sentence which you
+propose to add to the words of Psalm xxxviii. {6}, viz.: 'I
+water my couch,' etc. [Psalm vi., 6.]&mdash;I do dislike this so
+very much, and it is so poetical in the German version. So
+if you could substitute something in which no 'watering of
+the couch' occurred, but which gave the idea of the tears,
+of the night, of all that in its purity. Pray try!</p>
+
+<p>"But what is this? Does Staudigl not come? Mr. Buxton told
+me last autumn he was <i>sure</i> to be there.<span class="pagenum"><a name="Page_120" id="Page_120">(120)</a></span> I heard it since
+from all sides. And now he does not come? What is to become
+of my 'Elijah' then? <i>I cannot</i> write to Staudigl and
+persuade him to come, but I really do not know how the
+performance could match that of Birmingham without
+him&mdash;indeed I do not know how it could go. Of course Lockey
+would be <i>quite</i> sufficient for <i>all</i> the Tenor solos! But
+Staudigl! That word of yours has given me a great deal to
+think of.</p>
+
+<p class="center">"Always very sincerely and gratefully yours,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p></div>
+
+
+<div class="blockquot">
+<p class="right tp">"<i>Leipzig</i>, <i>March</i> 10, 1847.</p>
+
+<p>"My dear Sir,&mdash;Many thanks for your letter of the 1st. I
+really do not know what a synopsis of the oratorio should be
+good for&mdash;on the other hand, I do not see the harm it could
+do&mdash;and, therefore, leave it to you to decide this point as
+you think best. I shall send you the metronomes in a few
+days; the organ part I do not forget.</p>
+
+<p>"But tell me, should the whole series of performances not be
+better postponed till <i>autumn</i>? What with your uncertainty
+about Staudigl, and with all this uproar in London about the
+two opera parties, and with Jenny Lind coming or not coming,
+and with the 'Tempest' or not the 'Tempest,' and with the
+difficulty you and Mr. Buxton have to make the parts
+ready&mdash;would not such a delay be beneficial to all of us,
+especially to the old prophet himself? Not to me certainly,
+who like to shake my English friends by the hand the sooner
+the better&mdash;but to all others?<span class="pagenum"><a name="Page_121" id="Page_121">(121)</a></span></p>
+
+<p>"And now many thanks for your friendly advice in the opera
+affair. Some time before you wrote your letter to me, I had
+already informed Mr. Lumley that I should not be able to
+produce an opera of the 'Tempest' in the season 1847; and,
+according to the advice my friend Klingemann gave me some
+days before your letter came, I have since again written to
+Mr. Lumley (about the same words as you suggest), have asked
+Klingemann to take care of seeing the letter safely
+delivered, and have sent to him a duplicate of it. So that
+the whole of your advice, the same which my friend Kl. gave,
+has been followed literally, and I should be very glad if
+thus the affair would come to an end. Of this I think I may
+be sure, that Mr. Lumley will not continue his
+advertisements of my opera after he heard that I had taken
+the resolution <i>not to write</i> the 'Tempest' for the season
+1847....</p>
+
+<p>"And now forgive this dry letter, and believe me, yours very
+truly,</p>
+
+<p class="right">"<span class="smcap">Felix Mendelssohn-Bartholdy.</span>"</p>
+</div>
+
+<p>Reading between the lines of the last-quoted letter, it is easy to see
+that Mendelssohn was much annoyed at the public announcements, made by
+Mr. Lumley in his opera prospectus of 1847, to the effect that "The
+celebrated Dr. Felix Mendelssohn-Bartholdy will likewise visit
+England, and produce an Opera expressly composed for Her Majesty's
+Theatre, the Libretto, founded on 'The Tempest' of Shakespeare,<span class="pagenum"><a name="Page_122" id="Page_122">(122)</a></span>
+written by Scribe." These advertisements were, to say the least, very
+premature, as Mendelssohn had not only disapproved of parts of the
+libretto, but had not written a note of the music! The suggestion
+contained in the above letter that he (Mendelssohn) should postpone
+his visit till the autumn, must have caused some consternation amongst
+his London friends, especially as all arrangements had been made for
+the various performances of the revised oratorio, which were to be
+given under his own personal direction. Bartholomew&mdash;ever resourceful
+and indefatigable&mdash;at once wrote the following letter to the
+composer:&mdash;</p>
+
+<div class="blockquot">
+<p class="right">"2, <span class="smcap">Walcot Place, Hackney</span>, <i>March</i> 19, 1847.</p>
+
+<p>"My dear Sir,&mdash;Yours of the 10th came to hand last night,
+and in reply to it I can tell you twenty reasons why <i>you
+should come</i>, and not one why <i>you should not come</i>. Upon
+the faith of your letter, which Buxton has been obliged to
+quote from in order to prove his warranty to treat for your
+coming with the Committee at Exeter Hall, he has made the
+engagement for <i>you</i> with <i>them</i>, and <i>they</i> have made
+<i>their</i> engagements with <i>others</i> for April 16th and 23rd;
+and, I think, the 28th. The Manchester Hargreaves Society
+have fixed their date for one of the intervening days and
+advertised it.... <i>Everybody</i> is now in town expecting you
+and anxious to <i>hail</i> your appearance. <i>Nobody</i> will be in
+town in the autumn. (Is that a reason why you should come
+then?) If you don't come, 'Elijah' would go&mdash;for go it
+must&mdash;but I mean it won't <i>go well</i>....<span class="pagenum"><a name="Page_123" id="Page_123">(123)</a></span></p>
+
+<p>"You have no idea how they are inundated with enquiries at
+Newgate Street [Ewer &amp; Co.'s] as to when 'Elijah' will be
+published.... God bless you, dear Sir!</p>
+
+<p class="right">"<span class="smcap">W. Bartholomew.</span>"</p>
+</div>
+
+<p>Whatever influence this letter from Bartholomew may have had upon its
+recipient, and doubtless others wrote in the same strain, Mendelssohn
+duly came to London&mdash;alas! for the last time&mdash;at the beginning of
+April, 1847, the year in which he died.</p>
+
+<hr class="med" />
+
+<p>The first performance of the revised version of "Elijah"&mdash;the form in
+which we now know the oratorio&mdash;took place, under the auspices of the
+Sacred Harmonic Society, at Exeter Hall, London, on Friday, April 16,
+1847, conducted by the composer. Miss Birch, Miss Dolby (afterwards
+Madame Sainton-Dolby), and Mr. Henry Phillips replaced Madame
+Caradori-Allan, Miss Hawes, and Herr Staudigl, who had "created" their
+respective parts at Birmingham. "Lockey would be <i>quite</i> sufficient
+for <i>all</i> the tenor solos," wrote Mendelssohn, and so he proved to be.</p>
+
+<p>Madame Sainton-Dolby records: "After I had sung 'O rest in the Lord,'
+Mendelssohn turned to me with tears in his eyes and said, with his
+bright frankness of manner, 'Thank you from my heart, Miss Dolby.' I
+shall never forget that look of brightness." Mr. W.H. Cummings, then a
+chorister of the Temple Church, sang alto in the chorus at the first
+London performance. He and some other boys were asked to help, as the
+alto part lay rather high<span class="pagenum"><a name="Page_124" id="Page_124">(124)</a></span> for men's voices.<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a> Master Cummings, as
+he was then, sat in the front row of the altos, and his enthusiastic
+singing attracted the notice of Mendelssohn, who asked the Temple
+chorister his name, which he wrote on one of his (Mendelssohn's)
+visiting cards, and gave to the youthful singer.</p>
+
+<p class="bp">The first London performance was not without some humour. <i>The Times</i>
+said: "Mr. Perry, the leader, was constantly beating time with his
+fiddle-stick in such a manner as to obstruct the views of the
+Conductor and confuse the attention of the instrumentalists."<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> A
+Frenchman, seated on the orchestra behind the chorus, was so excited
+with the performance that, at the close, he effusively embraced
+Mendelssohn and tried to kiss him!</p>
+
+<div class="bbox"><a name="METRONOME" id="METRONOME"></a>
+<div class="blockquot">
+<p><b><i>Fac-simile of Metronomic times for &#8220;Elijah&#8221; in
+Mendelssohn&#8217;s handwriting. The note, signed &#8220;W.B.&#8221; is in the
+handwriting of William Bartholomew. Slightly reduced from the
+original, in the possession of F.G. Edwards.</i></b></p>
+</div>
+
+<p class="centertp border2">
+<img src="images/metronome01_sm.jpg" width="341" height="526" alt="metronomic times" title="metronomic times" />
+</p>
+
+<p class="center">[<a href="images/metronome01_lg.jpg">Enlarge</a>]</p>
+
+<span class="pagenum"><a name="Page_126" id="Page_126">(126)</a></span>
+
+<p class="centertp border2">
+<img src="images/metronome02_sm.jpg" width="341" height="414" alt="metronomic times" title="metronomic times" />
+</p>
+
+<p class="centerbp">[<a href="images/metronome02_lg.jpg">Enlarge</a>]</p>
+</div>
+
+<p class="tp">Three other performances were given in Exeter Hall, and under the same
+auspices, on the 23rd, 28th, and 30th of the same month (April), and
+were conducted by Mendelssohn. These four concerts<span class="pagenum"><a name="Page_127" id="Page_127">(127)</a></span> attracted
+crowded audiences, and brought into the exchequer of the Sacred
+Harmonic Society a clear profit of £356.</p>
+
+<p>The second performance (April 23) was honoured by the presence of the
+Queen and the Prince Consort. What the Prince felt on that occasion
+found graceful expression in the following tribute to Mendelssohn's
+genius, which he wrote in the book of words he had used at the
+concert:&mdash;</p>
+
+<div class="blockquot">
+<p>"To the Noble Artist who, surrounded by the Baal-worship of
+debased art, has been able, by his genius and science, to
+preserve faithfully, like another Elijah, the worship of
+true art, and once more to accustom our ear, amid the whirl
+of empty, frivolous sounds, to the pure tones of sympathetic
+feeling and legitimate harmony: to the Great Master, who
+makes us conscious of the unity of his conception, through
+the whole maze of his creation, from the soft whispering to
+the mighty raging of the elements.</p>
+
+<p>"Inscribed in grateful remembrance by</p>
+
+<p class="right">"<span class="smcap">Albert.</span></p>
+
+<p>"Buckingham Palace, April 24, 1847."</p>
+</div>
+
+<p>The original of this is now in the possession of Frau Wach, of
+Leipzig, Mendelssohn's younger daughter. In the few hours which
+elapsed between its receipt from the Palace and its presentation to
+Mendelssohn, the Sacred Harmonic Society had a <i>fac-simile</i> copy made,
+which was carefully sealed up. When the news arrived of Mendelssohn's
+premature death, the Prince Consort at once gave permission for this
+copy to be lithographed and circulated.<span class="pagenum"><a name="Page_128" id="Page_128">(128)</a></span></p>
+
+<p>The following extract from the 1847 Report of the Sacred Harmonic
+Society records the presentation of the above "compliment" to
+Mendelssohn:&mdash;</p>
+
+<div class="blockquot">
+<p>"Both Her Majesty and Prince Albert were graciously pleased
+to express their gratification at the Performance, and the
+attention paid to them; and the Prince a few days afterwards
+condescendingly inscribed in a Book of the Words of the
+Oratorio, an elegant compliment to Dr. Mendelssohn, in his
+native tongue, which was handed to him on the morning of his
+departure from England, by a deputation from your Committee,
+and received by him with marked feelings of pleasure and
+gratitude.</p>
+
+<p>"It cannot be described how deeply gratified Mendelssohn was
+on the presentation to him of this affectionate token of
+sympathy. His rapturous exclamations of delight, as over and
+over again he read each word of the inscription, his
+repeated expression of fears of his inability adequately to
+acknowledge this touching mark of appreciation, were again
+and again renewed."<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a></p>
+</div>
+
+<p>Mendelssohn also conducted performances of the revised work at
+Manchester (Hargreaves Choral<span class="pagenum"><a name="Page_129" id="Page_129">(129)</a></span> Society) on April 20, and at
+Birmingham, April 27&mdash;a total of six performances, conducted by the
+composer, within a fortnight. At Birmingham, where "Elijah" was given
+for Mr. Stimpson's "benefit," Mendelssohn not only refused to take any
+fee, but also declined to accept his travelling expenses&mdash;thus he
+generously showed his appreciation of Stimpson's invaluable services
+at the initial performance in 1846.</p>
+
+<p>"Elijah" was published in Germany by Simrock, Bonn; and in England by
+Messrs. Ewer &amp; Co., who for some years previously had been
+Mendelssohn's sole publishers in this country. The then proprietor of
+the firm of Ewer &amp; Co. was Mr. Edward Buxton, whose real business was
+that of a wool-broker, and who "had only taken to music publishing for
+his attachment to the art." The relations between the composer and his
+English publisher were of the most cordial nature. "Whatever you
+write, Dr. Mendelssohn," said Mr. Buxton, "I will publish, and pay you
+any terms you like to ask." Here was an ideal publisher, from a
+composer's point of view. Mr. Buxton had no reason to regret his
+words; and that Mendelssohn fully appreciated his publisher's generous
+offer, is abundantly shown in the "terms" he mentioned for the English
+copyrights of his compositions.<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a></p>
+<p><span class="pagenum"><a name="Page_130" id="Page_130">(130)</a></span></p>
+<p>Mendelssohn cannot be accused of being "hard" or "grasping" in
+negotiating with his publisher. The following letter shows the spirit
+in which he made his proposals for the publication of "Elijah" in
+England. It is written (in English) to Buxton, and dated "April 22,
+1846":&mdash;</p>
+
+<div class="blockquot">
+<p>"I must beg you to tell me the price which you could give
+for the copyright of such a work. <i>I do not</i> fix the price,
+because I wish on such an occasion that neither you nor I
+should be the loser; you must know the sale of such works,
+and may thereby form an opinion. Indeed, <i>I</i> should not be
+able to name any sum for myself, and make conditions which
+would appear unpleasant to you; but as on the other hand I
+have been asked from England by different persons for the
+copyright of such a work, I must think that it may also have
+value for the publisher there, and you may easily form an
+opinion<span class="pagenum"><a name="Page_131" id="Page_131">(131)</a></span> of this: therefore I beg you will let me know your
+answer as soon as you can."</p>
+</div>
+
+<p>Mendelssohn wrote to Moscheles for his advice on the subject of the
+"terms" for the English copyright of "Elijah." Here is Moscheles's
+reply:&mdash;</p>
+
+<div class="blockquot">
+<p>"I quite feel the responsibility of advising you in the
+matter; for if fifty years hence it is said, 'Mendelssohn
+received only so many pounds sterling for this grandest of
+works, this inexhaustible mine of wealth to the editor
+[publisher], and that at the suggestion of Moscheles,' my
+ashes will be disturbed in their rest. Well, well, you will
+nod your venerable head, and say, 'Never mind; Moscheles
+meant well.'</p>
+
+<p>"You do not say what other offers you had, besides that from
+Buxton. I think you will find him straightforward in his
+dealings, and ready to recognise that the market value of
+your productions is constantly increasing. So I should say
+you might ask £50 more than you did for the 'Hymn of
+Praise.' [Moscheles had probably forgotten the amount, £25,
+that Mendelssohn received for the English copyright of his
+'Hymn of Praise.'] One point to take into consideration is
+whether this work is richer than the other in solos, these
+being a better source of income to the publisher than
+choruses."<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a></p>
+</div>
+
+<p>Mendelssohn received 250 guineas for the English copyright of
+"Elijah." Shortly after the composer's<span class="pagenum"><a name="Page_132" id="Page_132">(132)</a></span> death, Mr. Buxton voluntarily
+sent to Frau Mendelssohn an additional sum of £100 for "Elijah," which
+she gracefully acknowledged in the following extract:&mdash;</p>
+
+<div class="blockquot">
+<p>"I hesitated a moment whether I ought to accept the £100
+which you sent me; but then I remembered the great pleasure
+it had given my husband when Mr. Simrock sent him an
+additional sum for his 'St. Paul,' on account of the success
+the oratorio had had. Why should I not feel a similar
+pleasure in hearing that his last work is being so fully
+appreciated in England? I thank you therefore that you think
+of us by sending this money as a proof of the success of
+'Elijah.'</p>
+
+<p>"Berlin (Spring, 1849)."</p>
+</div>
+
+<p>The work was published in June, 1847, as Op. 70. The lowest price of
+the first English edition&mdash;"Pianoforte score, with portrait on steel
+of the composer"&mdash;was thirty-six shillings! An octavo edition did not
+appear till five years later (1852): price ten shillings. A tonic
+sol-fa edition, published "by subscription" ("not less than 250
+subscribers"), was issued in 1866.</p>
+
+<p>The prosperity of "Elijah" was at once assured. The work bore upon it
+the imprint of success. It immediately shot into the front rank of
+popularity, a position which it has steadily maintained even unto this
+day.</p>
+
+<p>The story has now been told. Six months after the strains of "Elijah"
+had died away in Exeter<span class="pagenum"><a name="Page_133" id="Page_133">(133)</a></span> Hall, the genius-brain that had conceived
+that noble work was for ever calmed in death.</p>
+
+<p>(Mendelssohn died at Leipzig, November 4, 1847, in his thirty-ninth
+year.)</p>
+
+<p>A memorable performance of "Elijah" was given by Jenny Lind in Exeter
+Hall, December 15, 1848, in aid of the Mendelssohn Scholarship Fund.
+This performance, which Mr. Otto Goldschmidt happily terms the
+"corner-stone of the Fund," was a triumphant success.</p>
+
+<hr class="med" />
+
+<p>No more fitting conclusion to this "History" could be found than the
+words of Jenny Lind, who, in writing to the composer's widow on her
+irreparable loss, said: "His 'Elijah' is sublime! In my opinion he
+never wrote anything finer; and assuredly could not have written
+anything loftier in the future! With what solemnity we all stood there
+(to perform it); and with what love do the people still speak of him!"</p>
+
+<p>To this tribute of reverence from one great artist to the memory of
+another, I venture to subscribe a fervent "<span class="smcap">Amen</span>."</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_135" id="Page_135">(135)</a></span></p>
+<h2><a name="INDEX" id="INDEX"></a>INDEX.</h2>
+
+<hr class="short" />
+
+<p>
+Aix-la-Chapelle, <a href='#Page_42'>42</a><br />
+<br />
+"As the hart pants", <a href='#Page_9'>9</a> <i>note</i><br />
+<br />
+"Athalie", <a href='#Page_40'>40</a>, <a href='#Page_48'>48</a> <i>et seq.</i>, <a href='#Page_109'>109</a> <i>et seq.</i>, <a href='#Page_116'>116</a><br />
+<br />
+"Auld Robin Gray", <a href='#Page_67'>67</a> <i>et seq.</i><br />
+<br />
+Ayrton, Wm., <a href='#Page_92'>92</a><br />
+<br />
+<br />
+Baal choruses, <a href='#Page_52'>52</a>, <a href='#Page_83'>83</a>, <a href='#Page_100'>100</a><br />
+<br />
+Bach, J.S., <a href='#Page_21'>21</a><br />
+<br />
+Bache family, The, <a href='#Page_88'>88</a> <i>et seq.</i><br />
+<br />
+Barrett, W.A., <a href='#Page_93'>93</a><br />
+<br />
+Barry, Rev. J., <a href='#Page_7'>7</a> <i>et seq.</i><br />
+<br />
+Bartholomew, W. (and letters to), <a href='#Page_41'>41</a>, <a href='#Page_48'>48</a> <i>et seq.</i>, <a href='#Page_81'>81</a>, <a href='#Page_97'>97</a> <i>et seq.</i><br />
+<br />
+Bassano, Miss, <a href='#Page_82'>82</a><br />
+<br />
+Beethoven, <a href='#Page_42'>42</a> <i>note</i><br />
+<br />
+"Behold, God the Lord", <a href='#Page_63'>63</a>, <a href='#Page_104'>104</a><br />
+<br />
+Benecke, Mrs., <a href='#Page_95'>95</a><br />
+<br />
+Benedict, <a href='#Page_45'>45</a>, <a href='#Page_82'>82</a><br />
+<br />
+Birch, Miss, <a href='#Page_123'>123</a><br />
+<br />
+Birmingham Musical Festivals, <a href='#Page_6'>6</a>, <a href='#Page_19'>19</a>, <a href='#Page_22'>22</a>, <a href='#Page_28'>28</a> <i>et seq.</i><br />
+<br />
+<i>Birmingham Journal</i>, <a href='#Page_80'>80</a><br />
+<br />
+"Blessed are the men", <a href='#Page_57'>57</a>, <a href='#Page_99'>99</a>, <a href='#Page_105'>105</a>, <a href='#Page_114'>114</a><br />
+<br />
+Bowley, R.K., <a href='#Page_128'>128</a> <i>note</i><br />
+<br />
+Bragg, Mr. John, <a href='#Page_46'>46</a><br />
+<br />
+Braham, John, <a href='#Page_45'>45</a><br />
+<br />
+Brewer, T., <a href='#Page_100'>100</a><br />
+<br />
+Buxton, E. (see also Ewer &amp; Co.), <a href='#Page_51'>51</a>, <a href='#Page_53'>53</a>, <a href='#Page_67'>67</a>, <a href='#Page_98'>98</a>, <a href='#Page_102'>102</a>, <a href='#Page_110'>110</a>, <a href='#Page_129'>129</a> <i>et seq.</i><br />
+<br />
+<br />
+Caradori-Allan, Madame, <a href='#Page_45'>45</a>, <a href='#Page_82'>82</a>, <a href='#Page_87'>87</a>, <a href='#Page_123'>123</a><br />
+<br />
+"Cast thy burden", <a href='#Page_83'>83</a>, <a href='#Page_96'>96</a>, <a href='#Page_99'>99</a>, <a href='#Page_106'>106</a><br />
+<br />
+Chorley, H.F., <a href='#Page_84'>84</a><span class="pagenum"><a name="Page_136" id="Page_136">(136)</a></span><br />
+<br />
+Cologne Festival, <a href='#Page_42'>42</a><br />
+<br />
+Cooke, Grattan, <a href='#Page_78'>78</a><br />
+<br />
+Cooke, Tom, <a href='#Page_45'>45</a><br />
+<br />
+Costa, <a href='#Page_124'>124</a> <i>note</i><br />
+<br />
+Cummings, Mr. W.H., <a href='#Page_123'>123</a><br />
+<br />
+<br />
+Dando, J.H.B., <a href='#Page_45'>45</a><br />
+<br />
+Davison, J.W., <a href='#Page_79'>79</a> <i>note</i>, <a href='#Page_80'>80</a><br />
+<br />
+Deakin, Mr. Andrew, <a href='#Page_90'>90</a> <i>note</i><br />
+<br />
+Devrient, E., <a href='#Page_2'>2</a>, <a href='#Page_41'>41</a><br />
+<br />
+Dolby, Madame Sainton, <a href='#Page_34'>34</a>, <a href='#Page_123'>123</a><br />
+<br />
+Düsseldorf, <a href='#Page_1'>1</a>, <a href='#Page_9'>9</a><br />
+<br />
+<br />
+Ewer &amp; Co. (see also Buxton), <a href='#Page_98'>98</a>, <a href='#Page_123'>123</a>, <a href='#Page_129'>129</a> <i>et seq.</i><br />
+<br />
+Exeter Hall, <a href='#Page_122'>122</a> <i>et seq.</i>, <a href='#Page_132'>132</a><br />
+<br />
+<br />
+"Festgesang", <a href='#Page_129'>129</a> <i>note</i><br />
+<br />
+"For the mountains", <a href='#Page_69'>69</a>, <a href='#Page_74'>74</a>, <a href='#Page_79'>79</a>, <a href='#Page_83'>83</a><br />
+<br />
+Four-part songs, <a href='#Page_130'>130</a> <i>note</i><br />
+<br />
+Frankfort, <a href='#Page_1'>1</a>, <a href='#Page_5'>5</a>, <a href='#Page_33'>33</a><br />
+<br />
+Frege, Frau, <a href='#Page_86'>86</a><br />
+<br />
+<br />
+"Garland," The, <a href='#Page_130'>130</a> <i>note</i><br />
+<br />
+Gauntlett, Dr., <a href='#Page_45'>45</a>, <a href='#Page_82'>82</a><br />
+<br />
+Goodwin and Tabb, Messrs., <a href='#Page_93'>93</a><br />
+<br />
+Grisi, <a href='#Page_45'>45</a><br />
+<br />
+Grove, Sir George, <a href='#Page_2'>2</a> <i>note</i>, <a href='#Page_42'>42</a> <i>note</i>, <a href='#Page_99'>99</a><br />
+<br />
+Guildhall Library, <a href='#Page_69'>69</a> <i>note</i><br />
+<br />
+<br />
+Härtel, Dr., <a href='#Page_35'>35</a><br />
+<br />
+Handel, and Handel Festivals, <a href='#Page_25'>25</a>, <a href='#Page_44'>44</a>, <a href='#Page_89'>89</a>, <a href='#Page_93'>93</a>, <a href='#Page_128'>128</a> <i>note</i><br />
+<br />
+"Hark! the herald angels sing", <a href='#Page_129'>129</a> <i>note</i><br />
+<br />
+Hauser, <a href='#Page_40'>40</a><br />
+<br />
+Hawes, Miss M.B., <a href='#Page_71'>71</a> <i>note</i>, <a href='#Page_82'>82</a>, <a href='#Page_88'>88</a>, <a href='#Page_123'>123</a><br />
+<br />
+"Hear my prayer", <a href='#Page_48'>48</a>, <a href='#Page_130'>130</a> <i>note</i><br />
+<br />
+"Hear ye, Israel", <a href='#Page_36'>36</a>, <a href='#Page_99'>99</a>, <a href='#Page_107'>107</a>, <a href='#Page_111'>111</a>, <a href='#Page_117'>117</a><br />
+<br />
+Hensel, Fanny, <a href='#Page_41'>41</a><br />
+<br />
+"He, watching over Israel", <a href='#Page_78'>78</a>, <a href='#Page_83'>83</a><br />
+<br />
+Hiller, F., <a href='#Page_27'>27</a><span class="pagenum"><a name="Page_137" id="Page_137">(137)</a></span><br />
+<br />
+Hobbs, J.W., <a href='#Page_77'>77</a>, <a href='#Page_82'>82</a><br />
+<br />
+Hopkins, Dr. E.J., <a href='#Page_79'>79</a><br />
+<br />
+"Hymn of Praise", <a href='#Page_28'>28</a>, <a href='#Page_131'>131</a><br />
+<br />
+<br />
+"If with all your hearts", <a href='#Page_55'>55</a>, <a href='#Page_84'>84</a><br />
+<br />
+"Irish echoes", <a href='#Page_71'>71</a><br />
+<br />
+"It is enough", <a href='#Page_100'>100</a><br />
+<br />
+<br />
+Jeanrenaud, Mdlle. Cécile, <a href='#Page_1'>1</a><br />
+<br />
+"Judas Maccabæus", <a href='#Page_4'>4</a><br />
+<br />
+<br />
+Klingemann, Carl (and letters to), <a href='#Page_2'>2</a> <i>et seq.</i>, <a href='#Page_5'>5</a> <i>et seq.</i>, <a href='#Page_11'>11</a>, <a href='#Page_19'>19</a>, <a href='#Page_42'>42</a>, <a href='#Page_62'>62</a>, <a href='#Page_68'>68</a>, <a href='#Page_74'>74</a>, <a href='#Page_76'>76</a>, <a href='#Page_97'>97</a>, <a href='#Page_121'>121</a><br />
+<br />
+<br />
+Lablache, <a href='#Page_45'>45</a><br />
+<br />
+"Lauda Sion", <a href='#Page_42'>42</a>, <a href='#Page_48'>48</a><br />
+<br />
+Lazarus, H., <a href='#Page_78'>78</a>, <a href='#Page_112'>112</a> <i>note</i><br />
+<br />
+Ledsam, J.F., <a href='#Page_93'>93</a><br />
+<br />
+"Lieder ohne Worte", <a href='#Page_129'>129</a> <i>note</i><br />
+<br />
+Liège, <a href='#Page_42'>42</a><br />
+<br />
+"Lift thine eyes", <a href='#Page_82'>82</a>, <a href='#Page_85'>85</a>, <a href='#Page_99'>99</a>, <a href='#Page_112'>112</a><br />
+<br />
+Lind, Jenny, <a href='#Page_35'>35</a>, <a href='#Page_37'>37</a> <i>et seq.</i>, <a href='#Page_40'>40</a>, <a href='#Page_84'>84</a>, <a href='#Page_88'>88</a>, <a href='#Page_120'>120</a>, <a href='#Page_133'>133</a><br />
+<br />
+Liverpool Musical Festival, <a href='#Page_2'>2</a> <i>note</i><br />
+<br />
+Lockey, Mr. Charles, <a href='#Page_77'>77</a>, <a href='#Page_82'>82</a>, <a href='#Page_83'>83</a>, <a href='#Page_86'>86</a> <i>note</i>, <a href='#Page_93'>93</a>, <a href='#Page_120'>120</a>, <a href='#Page_123'>123</a><br />
+<br />
+Lower Rhine Musical Festivals, <a href='#Page_1'>1</a>, <a href='#Page_42'>42</a><br />
+<br />
+Lumley, Mr., <a href='#Page_116'>116</a> <i>note</i>, <a href='#Page_121'>121</a><br />
+<br />
+<br />
+Machin, <a href='#Page_82'>82</a><br />
+<br />
+Manchester (Hargreaves Society), <a href='#Page_122'>122</a>, <a href='#Page_128'>128</a><br />
+<br />
+Mario, <a href='#Page_45'>45</a>, <a href='#Page_124'>124</a> <i>note</i><br />
+<br />
+Martineau, Mr. Russell, <a href='#Page_88'>88</a>, <a href='#Page_90'>90</a><br />
+<br />
+Mellon, Alfred, <a href='#Page_90'>90</a><br />
+<br />
+Mendelssohn-Bartholdy, Paul, <a href='#Page_85'>85</a><br />
+<br />
+"Messiah", <a href='#Page_89'>89</a><br />
+<br />
+"Midsummer Night's Dream", <a href='#Page_37'>37</a>, <a href='#Page_80'>80</a> <i>note</i>, <a href='#Page_81'>81</a>, <a href='#Page_129'>129</a> <i>note</i><br />
+<br />
+Mitchell, Mr., <a href='#Page_116'>116</a> <i>note</i><br />
+<br />
+Moore, Joseph (and letters to), <a href='#Page_29'>29</a> <i>et seq.</i>, <a href='#Page_44'>44</a>, <a href='#Page_49'>49</a>, <a href='#Page_85'>85</a>, <a href='#Page_91'>91</a><br />
+<br />
+Moscheles (and letters to), <a href='#Page_19'>19</a>, <a href='#Page_39'>39</a>, <a href='#Page_40'>40</a>, <a href='#Page_43'>43</a>, <a href='#Page_45'>45</a>, <a href='#Page_76'>76</a>, <a href='#Page_81'>81</a>, <a href='#Page_131'>131</a><br />
+<br />
+Mounsey, Miss, <a href='#Page_71'>71</a> <i>note</i><br />
+<br />
+Mounsey-Bartholomew, Mrs., <a href='#Page_67'>67</a>, <a href='#Page_69'>69</a> <i>note</i><span class="pagenum"><a name="Page_138" id="Page_138">(138)</a></span><br />
+<br />
+<br />
+Novello, Ewer &amp; Co., Messrs., <a href='#Page_78'>78</a><br />
+<br />
+<br />
+Oberhofer, <a href='#Page_42'>42</a><br />
+<br />
+"O come, every one", <a href='#Page_72'>72</a>, <a href='#Page_83'>83</a>, <a href='#Page_90'>90</a><br />
+<br />
+"&#338;dipus at Colonos", <a href='#Page_31'>31</a>, <a href='#Page_49'>49</a><br />
+<br />
+"Og of Bashan!", <a href='#Page_3'>3</a>, <a href='#Page_4'>4</a><br />
+<br />
+"O rest in the Lord" <a href='#Page_65'>65</a> <i>et seq.</i>, <a href='#Page_72'>72</a>, <a href='#Page_74'>74</a>, <a href='#Page_76'>76</a>, <a href='#Page_83'>83</a>, <a href='#Page_90'>90</a><br />
+<br />
+Organ (and Organ Sonatas), <a href='#Page_32'>32</a>, <a href='#Page_44'>44</a><br />
+<br />
+Overture ("Elijah"), <a href='#Page_61'>61</a>, <a href='#Page_62'>62</a>, <a href='#Page_72'>72</a>, <a href='#Page_76'>76</a><br />
+<br />
+<br />
+Perry, George, <a href='#Page_124'>124</a><br />
+<br />
+Philharmonic Society, <a href='#Page_43'>43</a>, <a href='#Page_82'>82</a><br />
+<br />
+Phillips, Henry, <a href='#Page_52'>52</a>, <a href='#Page_82'>82</a>, <a href='#Page_123'>123</a><br />
+<br />
+Pischek, <a href='#Page_37'>37</a>, <a href='#Page_42'>42</a><br />
+<br />
+Prince Consort, The, <a href='#Page_110'>110</a> <i>note</i>, <a href='#Page_127'>127</a><br />
+<br />
+Psalm <a href='#Page_42'>42</a> (Mendelssohn's), <a href='#Page_9'>9</a> <i>note</i><br />
+<br />
+<br />
+Queen, The, <a href='#Page_93'>93</a> <i>note</i>, <a href='#Page_110'>110</a> <i>note</i>, <a href='#Page_127'>127</a><br />
+<br />
+<br />
+"Rachel in Ramah", <a href='#Page_31'>31</a> <i>note</i><br />
+<br />
+Ramsgate, <a href='#Page_95'>95</a><br />
+<br />
+Recit. in the style of Handel, <a href='#Page_94'>94</a><br />
+<br />
+Rockstro, W.S., <a href='#Page_77'>77</a><br />
+<br />
+Royal College of Music, <a href='#Page_49'>49</a> <i>note</i><br />
+<br />
+<br />
+Sacred Harmonic Society, <a href='#Page_100'>100</a> <i>et seq.</i>, <a href='#Page_122'>122</a> <i>et seq.</i><br />
+<br />
+"St. Paul", <a href='#Page_1'>1</a> <i>et seq.</i>, <a href='#Page_6'>6</a>, <a href='#Page_10'>10</a>, <a href='#Page_14'>14</a>, <a href='#Page_15'>15</a>, <a href='#Page_26'>26</a>, <a href='#Page_28'>28</a>, <a href='#Page_44'>44</a>, <a href='#Page_101'>101</a> <i>note</i>, <a href='#Page_132'>132</a><br />
+<br />
+"St. Peter", <a href='#Page_3'>3</a>, <a href='#Page_4'>4</a><br />
+<br />
+"Saul", <a href='#Page_4'>4</a>, <a href='#Page_25'>25</a><br />
+<br />
+Schelble, <a href='#Page_1'>1</a><br />
+<br />
+Schubring, Pastor (and letters to), <a href='#Page_10'>10</a> <i>et seq.</i>, <a href='#Page_26'>26</a><br />
+<br />
+Schumann and Madame Schumann, <a href='#Page_35'>35</a><br />
+<br />
+"Scotch Symphony", <a href='#Page_37'>37</a>, <a href='#Page_128'>128</a> <i>note</i><br />
+<br />
+Scribe, <a href='#Page_122'>122</a><br />
+<br />
+Simrock, <a href='#Page_119'>119</a>, <a href='#Page_127'>127</a>, <a href='#Page_133'>133</a><br />
+<br />
+Smart, Sir George, <a href='#Page_2'>2</a> <i>note</i><br />
+<br />
+"Son and Stranger", <a href='#Page_2'>2</a> <i>note</i><br />
+<br />
+Sonata, Pianoforte and Cello, in D, <a href='#Page_130'>130</a> <i>note</i><br />
+<br />
+"Sons of Art", <a href='#Page_43'>43</a>, <a href='#Page_109'>109</a><span class="pagenum"><a name="Page_139" id="Page_139">(139)</a></span><br />
+<br />
+Staudigl, <a href='#Page_42'>42</a>, <a href='#Page_45'>45</a>, <a href='#Page_52'>52</a>, <a href='#Page_82'>82</a> <i>et seq.</i>, <a href='#Page_119'>119</a> <i>et seq.</i><br />
+<br />
+Stimpson, J., <a href='#Page_46'>46</a>, <a href='#Page_82'>82</a> <i>et seq.</i>, <a href='#Page_129'>129</a><br />
+<br />
+<br />
+"Tempest," Opera of the, <a href='#Page_116'>116</a> <i>note</i>, <a href='#Page_120'>120</a> <i>et seq.</i><br />
+<br />
+Terms for copyrights, <a href='#Page_129'>129</a> <i>et seq.</i><br />
+<br />
+"Thanks be to God", <a href='#Page_46'>46</a>, <a href='#Page_83'>83</a>, <a href='#Page_86'>86</a><br />
+<br />
+"Then shall the righteous", <a href='#Page_86'>86</a>, <a href='#Page_124'>124</a> <i>note</i><br />
+<br />
+"There is nothing", <a href='#Page_78'>78</a><br />
+<br />
+"Torches", <a href='#Page_103'>103</a><br />
+<br />
+Trios (D minor and C minor), <a href='#Page_127'>127</a>, <a href='#Page_130'>130</a> <i>notes</i><br />
+<br />
+<br />
+"Variations Sérieuses", <a href='#Page_129'>129</a> <i>note</i><br />
+<br />
+<br />
+Wach, Frau Geheimrath, <a href='#Page_50'>50</a> <i>note</i>, <a href='#Page_127'>127</a><br />
+<br />
+"Walpurgis Night", <a href='#Page_15'>15</a> <i>note</i>, <a href='#Page_20'>20</a>, <a href='#Page_36'>36</a>, <a href='#Page_48'>48</a><br />
+<br />
+Webb, Rev. John, <a href='#Page_31'>31</a>, <a href='#Page_92'>92</a>, <a href='#Page_93'>93</a> <i>note</i><br />
+<br />
+"Widow scene", <a href='#Page_56'>56</a>, <a href='#Page_89'>89</a>, <a href='#Page_97'>97</a>, <a href='#Page_99'>99</a>, <a href='#Page_108'>108</a>, <a href='#Page_114'>114</a>, <a href='#Page_115'>115</a>, <a href='#Page_119'>119</a><br />
+<br />
+Williams, the Misses, <a href='#Page_82'>82</a>, <a href='#Page_112'>112</a> <i>note</i><br />
+<br />
+Willy, J.T., <a href='#Page_45'>45</a><br />
+<br />
+<br />
+"Zadok the priest", <a href='#Page_93'>93</a><br />
+</p>
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_142" id="Page_142">(142)</a></span></p>
+
+
+<div class="bbox"><a name="FACSIMILE" id="FACSIMILE"></a>
+<div class="blockquot">
+<p class="tp"><b><i>Fac-simile of a <a href="#LETTER">letter</a> written by Mendelssohn to William Bartholomew,
+the English translator of &#8220;Elijah,&#8221; in whose handwriting are the
+annotations on the letter. Re-produced, full size, from the original
+in the possession of F.G. Edwards.</i></b></p>
+</div>
+
+<p class="centertp border2">
+<img src="images/facsimile01_sm.jpg" width="408" height="244" alt="facsimile letter pages 4 and 1" title="facsimile letter pages 4 and 1" />
+</p>
+
+<p class="center border2">
+<img src="images/facsimile02_sm.jpg" width="408" height="244" alt="facsimile letter pages 2 and 3" title="facsimile letter pages 2 and 3" />
+</p>
+
+<p class="centerbp">[<a href="images/facsimile_lg.pdf">Enlarged PDF of entire letter</a>]</p>
+</div>
+
+
+
+<hr />
+<h2>FOOTNOTES</h2>
+
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Carl Klingemann (1798-1862) was for upwards of thirty
+years resident in London as Secretary to the Hanoverian Legation. "He
+was," says Sir George Grove, "a man of great cultivation, considerable
+literary power, and very rare judgment in music." He wrote the
+libretto of Mendelssohn's operetta known as "Son and Stranger"; and
+nine of Mendelssohn's songs are set to words by Klingemann.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> The proposed performance of "St. Paul" at the Liverpool
+Musical Festival, where it was given for the first time in England,
+under the direction of Sir George Smart, October 7, 1836.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> The Rev. James Barry, M.A., who seems to have been curate
+at Bratton Clovelly for only a few months, died in April, 1849, aged
+forty-two, at the Parsonage there, and was buried in the centre of the
+chancel of the church. I am indebted to the Rev. Edward Seymour, M.A.,
+the present rector of Bratton Clovelly, for this information.
+Strangely enough, Mr. Barry's libretto begins with the familiar
+Recitative: "As the Lord God of Israel liveth, before whom I stand,
+there shall not be dew nor rain these years, but according to my
+word."</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Probably "As the hart pants."</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> "Daheim" (Leipzig) for 1866, No. 26. English translation
+in <i>Musical World</i>, May 12 and 19, 1866.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> The full title of the book is: "Briefwechsel zwischen
+Felix Mendelssohn Bartholdy und Julius Schubring, zugleich ein Beitrag
+zur Geschichte und Theorie des Oratoriums. Herausgegeben von Prof. Dr.
+Jul. Schubring, Direktor des Katharineums zu Lübeck. Leipzig: Verlag
+von Duncker und Humblot. 1892."</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> "Briefwechsel," p. 124.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> This refers to Klingemann's "sketch" for "Elijah,"
+London, September, 1837.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> "Briefwechsel," p. 134.</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> "Briefwechsel," p. 129.</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> <i>Ibid.</i>, p. 137.</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> Mendelssohn's setting of Goethe's "Walpurgis Night."</p></div>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> "Briefwechsel," p. 140.</p></div>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> <i>Ibid.</i>, p. 146.</p></div>
+
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> "Briefwechsel," p. 149. Mendelssohn was born February 3,
+1809.</p></div>
+
+<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> "Briefwechsel," p. 204. The date of the letter is
+wrongly given in Lady Wallace's translation of the "Letters" (p. 294)
+as 1842, instead of 1845.</p></div>
+
+<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> "Briefwechsel," p. 208.</p></div>
+
+<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> "Briefwechsel," p. 219.</p></div>
+
+<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> <i>Ibid.</i>, p. 219.</p></div>
+
+<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> "Briefwechsel," p. 222.</p></div>
+
+<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> The reference is to "St. Paul," in which, at Schubring's
+suggestion, Mendelssohn has set the words, "Saul, Saul, why
+persecutest thou Me?" for four-part female chorus.</p></div>
+
+<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> "Elijah."</p></div>
+
+<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> The Rev. John Webb, M.A. (1776-1869), often referred to
+as "the friend of the charity"&mdash;<i>i.e.</i>, the Birmingham General
+Hospital. He submitted to Mendelssohn the text of an oratorio,
+entitled "Rachel in Ramah," which is the "poem" referred to in this
+letter.</p></div>
+
+<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> In case the point of Mendelssohn's joke should be missed
+by anyone, it must be remembered that the contralto singer in "Elijah"
+takes the parts of both the Angel and Jezebel, the Queen.</p></div>
+
+<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> "Memoir of Madame Jenny Lind-Goldschmidt." By H. Scott
+Holland and W.S. Rockstro. London: John Murray (1891). II., p. 243.</p></div>
+
+<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> "Memoir of Madame Jenny Lind-Goldschmidt," I., 402.</p></div>
+
+<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> "Memoir of Madame Jenny Lind-Goldschmidt," I., 392.</p></div>
+
+<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> It was on this occasion that Mendelssohn omitted the two
+"redundant bars" in the <i>Scherzo</i> of Beethoven's C minor Symphony. See
+Sir George Grove's forthcoming work on "Beethoven," and the chapter on
+the C minor Symphony; also the "Dictionary of Music and Musicians,"
+Vol. II., 288<i>a</i>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> From "Letters of Mendelssohn to I. and C. Moscheles," by
+Felix Moscheles (Trübner), p. 274.</p></div>
+
+<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> At a Philharmonic rehearsal in 1844.</p></div>
+
+<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> The original autograph of this letter is now in the
+Library of the Royal College of Music. The "important work" referred
+to in the letter is, of course, the oratorio of "Elijah."</p></div>
+
+<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> With two exceptions, the letters from Mendelssohn to
+Bartholomew quoted in this "History" are now in my possession.</p></div>
+
+<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> I am greatly indebted to Frau Geheimrath Wach, of
+Leipzig (Mendelssohn's younger daughter), and her daughter, for their
+kindness in copying the long correspondence on "Elijah" from
+Bartholomew to Mendelssohn. These letters are still carefully
+treasured in the "27 large green volumes" in which Mendelssohn
+"preserved all the letters he received, and stuck them in with his own
+hands."</p></div>
+
+<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> This letter is reproduced in <i><a href="#FACSIMILE">fac-simile</a></i> at the end of
+this book.</p></div>
+
+<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> In order to make the musical examples in the following
+letters more intelligible to the general reader, and easier of
+reference to the printed score, I have added clefs and key signatures
+where Mendelssohn did not think it necessary to insert them when
+writing to Bartholomew. The figures in brackets refer to the <i>present</i>
+numbers in Novello's Edition of the Oratorio.</p></div>
+
+<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> This No. 5 was the <i>original</i> form of the tenor
+Recitative (now No. 3), "Ye people, rend your hearts." Before the
+Birmingham performance Mendelssohn re-wrote it, making it much shorter
+(10 bars instead of 17) and less elaborate, and in the form in which
+it is now sung. The concluding bars of the original are here appended,
+with the two versions of the words, to show the force of Mendelssohn's
+suggested alteration:&mdash;</p>
+
+<p class="centertp">
+<img src="images/musicfn036.png" width="574" height="496" alt="TENOR SOLO. Bar 16 of original RECIT. (Bartholomew.) and He comforteth us in affliction, If with all &amp;c. (Mendelssohn.) and in our affliction He comforteth us." title="TENOR SOLO. Bar 16 of original RECIT. (Bartholomew.) and He comforteth us in affliction, If with all &amp;c. (Mendelssohn.) and in our affliction He comforteth us." /></p>
+
+<p class="centerbp">[<a href="music/musicfn036.mp3">Listen</a>]</p>
+
+<p>The words of this Recit., as originally written by Bartholomew, were:
+"Ye people, rend your hearts, and not your garments, for your
+transgressions; even as Elijah hath sealed the heavens through the
+word of God.
+</p><p>
+"I therefore say to ye, Forsake your idols, return to God; for He is
+ever enduring in goodness; repenting of the evil. He turneth our
+sorrow to gladness, and He comforteth us in affliction."</p></div>
+
+<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> Bartholomew originally had these words: "Ah! could I
+find Him; and at His footstool bow before His presence."</p></div>
+
+<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> Mendelssohn greatly altered the "Widow" scene before the
+oratorio was published.</p></div>
+
+<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> The music of this chorus ("Blessed are the men") was
+afterwards much altered.</p></div>
+
+<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> See the <a href="#LETTER">letter</a> to Bartholomew, July 3, 1846, <a href="#Page_55">p. 55</a>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> Mr. Bartholomew doubtless quoted this and the following
+example from memory.</p></div>
+
+<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> Afterwards Mrs. Mounsey Bartholomew.</p></div>
+
+<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> The German words which Mendelssohn <i>originally</i> selected
+for "O rest in the Lord" were: "Sei stille dem Herrn, und warte auf
+ihn; der wird dich wohl zum Guten führen. Befiehl dem Herrn deine
+Wege, und hoffe auf ihn; der wird dich erretten von allem Übel." He
+subsequently changed the second and fourth clauses to the more
+familiar Luther version. (Psalm xxxvii., 7, 4, 5, 8.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> The original autograph of this letter, together with a
+MS. copy of "O rest in the Lord," also in Mendelssohn's own hand, were
+personally presented by the late Mrs. Mounsey Bartholomew to the
+Guildhall Library, in May, 1880. But both MSS. suddenly and
+mysteriously disappeared at the time, and have not since been found.
+See <i>The Times</i>, May 15, 1880, p. 13.</p></div>
+
+<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> Amongst the MSS. which Miss Mounsey kindly gave me in
+view of this "History," is the identical copy from which "O rest in
+the Lord" was first sung in public&mdash;by Miss M.B. Hawes, at the
+Birmingham Festival of 1846. The copy, written by Bartholomew, has
+pencilled alterations in Mendelssohn's own hand.</p></div>
+
+<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> This section of the chorus (No. 41), which Mendelssohn
+rejected almost at the eleventh hour, was a somewhat extended movement
+in D, eighty-six bars long. It started with the following subject in
+the soprano:</p>
+
+<p class="centertp">
+<img src="images/musicfn046.png" width="564" height="244" alt="SOPRANO. He shall open, shall open the blind eyes, and He shall bring the prisoners from the prison; and them that sit, that sit in darkness out of the prison house." title="SOPRANO. He shall open, shall open the blind eyes, and He shall bring the prisoners from the prison; and them that sit, that sit in darkness out of the prison house." />
+</p>
+
+<p class="centerbp">[<a href="music/musicfn046.mid">Listen</a>]</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> According to the late Mr. J.W. Davison, "Mendelssohn was
+a long time uncertain whether he should add the oboe part, or limit
+the score to the string quartet."</p></div>
+
+<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> As a specimen of Grattan Cooke's humour, the following
+incident was related to me by a veteran musician who was a
+fellow-student of the witty oboeist at the Royal Academy of Music. At
+one of the early rehearsals of Mendelssohn's "Midsummer Night's Dream"
+Overture, Cooke was missed from his place in the orchestra, and was
+soon afterwards seen walking up the room carrying a ladder. "What on
+earth have you got that for?" he was asked. Cooke replied: "He's
+written the notes so tremendously high, that I've brought a ladder to
+get up to them!"</p></div>
+
+<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> Mr. Charles Lockey.</p></div>
+
+<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> F. Edward Bache was then a boy of thirteen. His name
+does not appear in the official list of the Band; but Mr. Andrew
+Deakin's recollection of the event confirms the statement in Mrs.
+Bache's letter.</p></div>
+
+<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> I am much indebted to Mr. Russell Martineau, and the
+surviving members of Mrs. Bache's family, for their kind permission to
+use these interesting extracts.</p></div>
+
+<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> The words of this Recitative, probably written by the
+Rev. John Webb, first appeared in the word-book of the 1837 Festival,
+just after the accession of Queen Victoria. They supplanted those
+beginning "When King David was old," first sung in 1820. These new
+(Victorian) words were also used at the Festival of 1840, but not in
+1843.</p></div>
+
+<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> This silver snuff-box, which cost nine guineas, bore
+upon it the following inscription:&mdash;</p>
+
+<p class="center">
+"Presented to<br />
+Felix Mendelssohn-Bartholdy,<br />
+by the<br />
+Sacred Harmonic Society, London,<br />
+on the occasion of<br />
+his attendance at their performance of his oratorio<br />
+'St. Paul,'<br />
+at Exeter Hall, on the 12th day of September, 1837."
+</p></div>
+
+<div class="footnote"><p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> Bartholomew had rendered the German words "und sein Wort
+brannte wie eine Fackel" as "his words appeared as <i>light in
+darkness</i>." The English Apocrypha (Ecclesiasticus xlviii., 1) has,
+"his word burned like a lamp." It is very difficult to fathom a
+composer's mind; but what <i>can</i> be the connection between "torches"
+and the key of F minor? Strangely enough the source of these words
+(and also of No. 24) has always been wrongly given as Ecclesiast<i>es</i>,
+instead of Ecclesiast<i>icus</i>. This mistake has been continued for fifty
+years!</p></div>
+
+<div class="footnote"><p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> The words of the Quartet, as sung at Birmingham, were:&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="lyrics">
+<tr>
+<td>"Regard Thy servant's prayer,<br />
+While angels bow before Thee,<br />
+And worlds around Thy throne<br />
+In strains of praise adore Thee.<br />
+O, help him in his need,<br />
+Thy gracious ear accord&mdash;<br />
+Jehovah Sabaoth,<br />
+Creator, God, and Lord!"</td>
+</tr>
+</table>
+
+<p>They were changed to the now familiar "Cast thy burden." The music was
+also altered, but its quartet-chorale form and slender accompaniment
+were retained.</p></div>
+
+<div class="footnote"><p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> The original English words in No. 16 (Chorus) were:&mdash;</p>
+
+<p>"Bow down, bow down! on your faces fall adoring!" They are now "Before
+Him, upon your faces fall." The music of this number was also much
+altered. The impressive phrase, "upon your faces fall," just before
+the Chorale, was originally:&mdash;</p>
+
+<p class="centertp">
+<img src="images/musicfn056.png" width="565" height="167" alt="adoring, adoring! The Lord is God, &amp;c." title="adoring, adoring! The Lord is God, &amp;c." />
+</p>
+
+<p class="centerbp">[<a href="music/musicfn056.mp3">Listen</a>]</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> Mr. Bartholomew writes "yes" on the original letter.</p></div>
+
+<div class="footnote"><p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> Performed, with the original French words and
+Mendelssohn's music, before the Queen, and at the instigation of the
+Prince Consort, at Windsor Castle, on New Year's Day, 1847. This was
+the first performance of "Athalie" in England.</p></div>
+
+<div class="footnote"><p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> It may be interesting to give the original English words
+(as sung at Birmingham) of this well-known air.
+</p><p>
+<i>Adagio.</i>&mdash;"Hear ye, Israel; hear what the Lord speaketh: 'Ah! had'st
+thou heeded my commandments!' He to His people calleth; yet they
+regard not His voice, nor will they obey His call.
+</p><p>
+<i>Recit.</i>&mdash;Yet to the righteous, saith the Lord, the Holy One of
+Israel;
+</p><p>
+<i>Allegro.</i>&mdash;I, I am he that comforteth, and ye are mine. Wake up,
+arise, Jerusalem! Say, who art thou that despairest, and forgettest
+the Lord thy Maker; who hath stretched forth the heavens, and laid the
+earth's foundations? Wake up, arise, Jerusalem!"</p></div>
+
+<div class="footnote"><p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> "Lift thine eyes" was originally written as a duet for
+soprano and contralto, and in this form it was sung at Birmingham by
+the Misses Williams. Mendelssohn, according to the late Mr. Lazarus,
+was very desirous that there should be no break between the trio,
+"Lift thine eyes," and the succeeding chorus, "He, watching over
+Israel." His special direction at the end of the trio, "<i>Attacca</i>,
+<i>No.</i> 29," shows the importance he attached to the connecting of these
+two numbers&mdash;the trio <i>and</i> the chorus of angels.</p></div>
+
+<div class="footnote"><p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> The opera of "The Tempest," which Mr. Lumley, in his
+opera prospectus of 1847, announced as having been "expressly composed
+for Her Majesty's Theatre," by Mendelssohn.</p></div>
+
+<div class="footnote"><p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> The music examples in this letter refer to the Soprano
+air "Hear ye, Israel," No. 21.</p></div>
+
+<div class="footnote"><p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> Bartholomew had written:</p>
+
+<p class="centertp">
+<img src="images/musicfn063.png" width="563" height="76" alt="Be not afraid, for I will strengthen thee!" title="Be not afraid, for I will strengthen thee!" />
+</p>
+
+<p class="centerbp">[<a href="music/musicfn063.mid">Listen</a>]</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> Bartholomew did not add the note after all. See No. 23,
+"The Lord hath exalted thee," bar 15, to which this refers.</p></div>
+
+<div class="footnote"><p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> The alto part in oratorio choruses was always sung in
+England by men's voices (counter-tenors). It was not till the
+following year (1848) that some ladies were admitted into the alto
+division of the chorus at the Sacred Harmonic Society. The change was
+made when Costa began his reign as Conductor of the Society. Costa
+introduced a similar innovation at the Birmingham Festival of 1849,
+the first he conducted, and the first after the production of
+"Elijah." The male altos, however, greatly predominated on that
+occasion. The numbers were&mdash;ladies, 17; gentlemen, 59. At this
+Festival Mario sang "Then shall the righteous," which he finished on
+the upper A flat!</p></div>
+
+<div class="footnote"><p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> Mr. George Perry ("leader" of the Sacred Harmonic
+Society from its foundation in 1832) was also the composer of an
+oratorio, entitled "Elijah, and the Priests of Baal," which was first
+performed at the Concert Room, St. George's Bridge, Norwich, on March
+12, 1819.</p></div>
+
+<div class="footnote"><p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> "The Sacred Harmonic Society: a Thirty-five Years'
+Retrospect, by Robert K. Bowley, Treasurer. <i>Privately printed.</i>
+1867." Mr. Bowley was one of the deputation of two officers of the
+Society who waited upon Mendelssohn to present him with the Prince
+Consort's "affectionate token of sympathy." He was one of the oldest
+members of the Sacred Harmonic Society, and subsequently became
+Librarian, and then Treasurer. In 1858 he became General Manager of
+the Crystal Palace, which office he retained till his death in 1870.
+He also originated and carried out the Handel Festivals.</p></div>
+
+<div class="footnote"><p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> It may be of interest to give the "terms" quoted by
+Mendelssohn for the English copyrights of some of his works. The
+information is derived from original letters from the composer to
+Buxton. The D minor Trio, 10 guineas. Books 4 and 5 of the "Lieder
+ohne Worte," 15 guineas each; Book 6, 24 guineas. "17 Variations
+Sérieuses," 8 guineas. "Festgesang" (which includes the familiar tune
+now associated with "Hark! the herald angels sing"), 4 guineas.
+"Scotch Symphony" (pianoforte arrangement), £20. Sonata for pianoforte
+and cello in D, 12 guineas. Six four-part Songs, Op. 59 (which
+includes "O hills! O vales!" the "Hunting Song," &amp;c.), 10 guineas.
+"Scherzo, Notturno, and Wedding March" (from "Midsummer Night's
+Dream"), pianoforte duet arrangement, 15 guineas; the whole work,
+"consisting of 9 other pieces (except the Overture) would be the same
+again as those 3." Violin Concerto and "Hear my prayer," "20 guineas
+for both together." C minor Trio and Te Deum in A, £30.
+</p><p>
+In these letters from Mendelssohn to Buxton there are such apologetic
+phrases, in regard to the prices named by the composer, as, "which I
+hope will be convenient to you," and "I hope it will not be
+inconvenient to you, which I beg you will tell me sincerely."
+Mendelssohn also thanks Mr. Buxton for his "very good and kind
+intentions" towards him. In sending the MS. of "The Garland" (words by
+Thomas Moore), he says, "which you may publish <i>if</i> you like, and pay
+for it <i>whatever</i> you like."</p></div>
+
+<div class="footnote"><p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> "Letters of Mendelssohn to Moscheles," by Felix
+Moscheles, p. 272.</p></div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The History of Mendelssohn's Oratorio
+"Elijah", by Frederick George Edwards
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@@ -0,0 +1,4891 @@
+The Project Gutenberg EBook of The History of Mendelssohn's Oratorio
+"Elijah", by Frederick George Edwards
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The History of Mendelssohn's Oratorio "Elijah"
+
+Author: Frederick George Edwards
+
+Contributor: Sir George Grove
+
+Release Date: December 5, 2011 [EBook #38223]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HISTORY OF MENDELSSOHN'S ELIJAH ***
+
+
+
+
+Produced by Linda Cantoni, Bryan Ness, and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+
+
+
+[Transcriber's Note: The original text contains a few musical slur
+symbols appearing over words. In this e-book, these slurs are noted in
+brackets, e.g., [slur symbol], and follow the word over which the slur
+appears.
+
+The HTML version of this e-book contains links to sound files allowing
+you to hear the music examples.]
+
+
+
+
+THE HISTORY
+
+OF
+
+MENDELSSOHN'S ORATORIO
+
+'ELIJAH'
+
+
+BY
+
+F.G. EDWARDS.
+
+
+WITH AN INTRODUCTION BY
+
+SIR GEORGE GROVE, C.B.
+
+
+  LONDON: NOVELLO AND COMPANY, LIMITED
+  AND
+  NOVELLO, EWER AND CO., NEW YORK.
+
+  1896.
+
+  LONDON:
+  NOVELLO AND COMPANY, LIMITED,
+  PRINTERS.
+
+
+[Illustration: FELIX MENDELSSOHN-BARTHOLDY
+
+AT THE AGE OF 26.
+
+_From a Pencil Drawing by Muecke, in the possession of Mrs. Victor
+Benecke._]
+
+
+
+
+INTRODUCTION.
+
+
+I have been asked to say a few words as introduction to this volume,
+and I do so with pleasure.
+
+To the mass of music-loving people of this country, however, I believe
+that Mendelssohn requires no introduction. It has been the fashion in
+some quarters to speak of him slightingly, nay injuriously; but this
+will pass, and he needs no defence--certainly not when "Elijah" is in
+question. In England the oratorio has taken its place, if not on a
+level with "The Messiah," very near it; and what more does any work of
+musical art require? Fortunately every additional fact that is
+elicited about this great composer testifies all the more to his
+insight, to the depth and warmth of his feelings, and to the
+indefatigable earnestness with which he worked until he had realised
+the entire meaning of his text and expressed it in music to the utmost
+of his power and with all the dramatic force that it was capable of.
+The letters now given--many of them for the first time--abound in
+instances of this.
+
+The information which my friend Mr. Edwards has so carefully collected
+and so clearly stated, the new portrait which is due to the kindness
+of Mrs. Victor Benecke, and the _fac-simile_, will be very welcome;
+and the book is in my opinion a gain to musical literature, while it
+forms the fittest symbol to mark the anniversary of the production of
+the greatest oratorio of this century.
+
+GEORGE GROVE.
+
+  LOWER SYDENHAM,
+    _January_ 27, 1896.
+
+
+
+
+PREFACE.
+
+
+It is fifty years since Mendelssohn's "Elijah" was first performed.
+The place was Birmingham: the date August 26, 1846. The Jubilee of
+this event provides a fitting opportunity for presenting a history of
+Mendelssohn's familiar oratorio.
+
+In compiling the following pages, I have been favoured in having had
+access to much original matter on the subject of "Elijah." Especially
+is this the case in regard to the numerous letters from Mendelssohn
+and his correspondents which are here made public for the first time.
+These letters are not only unique in the information they convey, but
+they form the most interesting links in the chain of this "History."
+For the rest, I have carefully kept in view the duty of the historian,
+which is--I take it--that he should tell his story in as accurate,
+straightforward, and pleasant a manner as he can.
+
+I have to acknowledge the kind help of those who have so greatly
+facilitated my work. In addition to those specially mentioned in the
+course of the book, I tender my best thanks to Mrs. Carson
+(granddaughter of the late Mr. Edward Buxton, the former proprietor of
+the business of Messrs. Ewer & Co.); Dr. Carl and Dr. Felix
+Klingemann; Felix Moscheles, Esq.; William Moore, Esq.; and
+especially to Professor Dr. Julius Schubring of Luebeck, for their
+kindness in allowing me to publish the correspondence which passed
+between Mendelssohn and their respective relatives. Except where it is
+otherwise stated, the letters are translated from the German
+originals.
+
+Also to Messrs. Longmans, Green & Co., for extracts from
+"Mendelssohn's Letters from 1833 to 1847"; to my friends, Mr. Andrew
+Deakin, of Birmingham, and Mr. J.S. Shedlock, for their kind
+assistance; and in a special degree to Mrs. Victor Benecke
+(Mendelssohn's elder daughter), who has very kindly helped me to
+obtain permission to publish several letters relating to "Elijah"
+which have hitherto been unknown. Mrs. Benecke has also allowed the
+portrait of her father, which forms the frontispiece to this book, to
+be published. It was taken in 1835, and is here reproduced for the
+first time.
+
+My thanks are specially due to Miss Mounsey (formerly Miss Elizabeth
+Mounsey), without whose invaluable co-operation it would have been
+impossible for me to write this "History" with any approach to
+completeness. Miss Mounsey enabled me to acquire, three years ago, the
+originals of fourteen letters on the subject of the English
+translation of "Elijah," written by Mendelssohn to her brother-in-law,
+the late Mr. William Bartholomew. She subsequently placed in my
+possession a collection of MS. copies, parts, &c., of the oratorio,
+which were made for the production of the work at Birmingham, in 1846.
+These sheets, with the exception of some engraved chorus parts, are
+all in Mr. Bartholomew's handwriting, but they also contain several
+alterations written by Mendelssohn himself. Some of them possess
+additional interest from the fact that they are the actual copies from
+which the soloists sang at the first performance. Not only am I
+greatly indebted to my good friend Miss Mounsey for these manuscripts
+and a copy of the original word-book of 1846, but also for her
+encouragement and the kindly interest she has taken in this "History,"
+from the time I first mentioned it to her to that of its completion.
+
+My last word is one of gratitude to Sir George Grove for his kindness
+in contributing an Introduction.
+
+F.G.E.
+
+  HAMPSTEAD,
+    _February_, 1896.
+
+
+
+
+CONTENTS.
+
+
+                                                                  PAGE
+
+  CHAPTER I.
+
+  THE LIBRETTO                                                       1
+
+
+  CHAPTER II.
+
+  BIRMINGHAM                                                        28
+
+
+  CHAPTER III.
+
+  THE ENGLISH TRANSLATION                                           48
+
+
+  CHAPTER IV.
+
+  THE FIRST PERFORMANCE                                             76
+
+
+  CHAPTER V.
+
+  THE REVISED ORATORIO                                              97
+
+
+  INDEX                                                            135
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+                                                                  PAGE
+
+  PORTRAIT OF MENDELSSOHN                              _Frontispiece._
+
+  PORTRAIT OF MR. JOSEPH MOORE                                      30
+
+  PORTRAIT OF MR. WM. BARTHOLOMEW                                   48
+
+  PORTRAIT OF MADAME CARADORI-ALLAN                                 88
+
+  PORTRAIT OF HERR JOSEPH STAUDIGL                                  96
+
+  FAC-SIMILE OF MENDELSSOHN'S METRONOMIC TIMES FOR "ELIJAH"        125
+
+  FAC-SIMILE OF A LETTER FROM MENDELSSOHN TO WM. BARTHOLOMEW       142
+
+
+
+
+THE HISTORY OF MENDELSSOHN'S "ELIJAH."
+
+
+
+
+CHAPTER I.
+
+THE LIBRETTO.
+
+
+Mendelssohn had no sooner completed his first oratorio, "St. Paul,"
+than he began to think about setting another Bible story to music.
+"St. Paul" was produced at the Lower Rhine Musical Festival,
+Duesseldorf, May 22, 1836, under the composer's personal direction.
+Mendelssohn was then twenty-seven years of age. He spent six weeks in
+the summer of that year at Frankfort-on-the-Maine, as _locum tenens_
+for his friend Schelble, the founder of a Choral Society, famous then
+and now, under the name of the Caecilien-Verein.
+
+During his temporary residence in the old Hanseatic city, Mendelssohn
+met Mdlle. Cecile Jeanrenaud, to whom he was betrothed in September.
+He spent the month of August at Scheveningen for the benefit of the
+sea-bathing there, and also, as we learn from the "Recollections" of
+his friend Devrient, to test the strength of his affection for the
+beautiful Cecile. Although his thoughts naturally and constantly
+turned towards Frankfort, he did not neglect his beloved art. He wrote
+the following letter, hitherto unpublished, to his old and attached
+friend, Carl Klingemann, in London.[1]
+
+[Footnote 1: Carl Klingemann (1798-1862) was for upwards of thirty
+years resident in London as Secretary to the Hanoverian Legation. "He
+was," says Sir George Grove, "a man of great cultivation, considerable
+literary power, and very rare judgment in music." He wrote the
+libretto of Mendelssohn's operetta known as "Son and Stranger"; and
+nine of Mendelssohn's songs are set to words by Klingemann.]
+
+     [MENDELSSOHN TO KLINGEMANN.]
+
+     "THE HAGUE, _August_ 12, 1836.
+
+     "... A thousand thanks for all your care, and for the
+     interest you take in the whole affair.[2] It is no doubt
+     important for me that the performance and all the
+     arrangements should be as perfect as possible; therefore,
+     let me thank you for it all once more.
+
+     "But I wish you knew what a far greater favour you would
+     confer upon me if, instead of doing so much for my old
+     oratorio, you would write me a new one; and, by so doing,
+     would stir me up to fresh activity, instead of my having to
+     do this myself. When I have finished a composition, that
+     which really gives me pleasure in it is the progress I see
+     in the work, and the hope that it may lead me to attain to
+     greater excellence in the next. Therefore, I long to be rid
+     of all care of the finished work; and I feel as if I could
+     only really thank you, from my heart, if you showed me that
+     you like this oratorio sufficiently to help me to find a new
+     'text,' and thus encourage me to write another oratorio. If
+     you would only give all the care and thought you now bestow
+     upon 'St. Paul' to an 'Elijah,' or a 'St. Peter,' or even an
+     'Og of Bashan!'
+
+     "It may seem ungrateful that I write to you just now in this
+     strain, and in a letter which should be all thanks; but it
+     is as I feel at present, and we are far too intimate with
+     each other for me to attempt to hide from you my present
+     mood. You know, don't you, that I am not ungrateful? But I
+     have felt very strongly of late that I need and long for an
+     external impulse to urge me on; no recognition of work done
+     can come up to that; it gives me great pleasure, but it has
+     not the stimulating effect upon me which a suggestion for
+     new work would have."
+
+[Footnote 2: The proposed performance of "St. Paul" at the Liverpool
+Musical Festival, where it was given for the first time in England,
+under the direction of Sir George Smart, October 7, 1836.]
+
+This letter, which discloses an article of Mendelssohn's artistic
+creed, is important, because it contains the earliest known reference
+to the oratorio of "Elijah." The date should be carefully noted, as it
+shows that Mendelssohn was engaged, more or less, upon his great
+oratorio for a period of more than ten years before it was given to
+the world in its finished and published form.
+
+Klingemann does not seem to have been taken with his friend's proposal
+that he should compile an oratorio libretto, even upon so original a
+subject for musical treatment as "Og of Bashan." The following letter,
+written a few weeks before the composer's marriage, contains a request
+for the "text" of an oratorio as a wedding present--surely a novelty
+in the way of a nuptial gift.
+
+     [MENDELSSOHN TO KLINGEMANN.]
+
+     "LEIPZIG, _February_ 18, 1837.
+
+     "... Here comes my request. Do write for me within the next
+     few weeks the text for a Biblical oratorio, so that I can
+     set to and compose it during next summer. The last time we
+     talked about it I mentioned to you two subjects which I like
+     equally well--'St. Peter' or 'Elijah.' What I would like
+     best would be for you to take 'Elijah'--divide the story
+     into two or three parts, write it out in choruses and airs,
+     either in verse or prose of your own; or, compile it from
+     the Psalms and Prophets, with powerful big choruses, and
+     then send it to me. The translation of Handel's oratorios
+     gave you so little trouble that I think you will only
+     require a few evenings, and the will to give them up to it,
+     and my 'text' will be written. You may let it be dramatic
+     like 'Judas Maccabaeus,' or epic, or both combined. I am
+     satisfied with anything you do. You need not ask my advice,
+     but just write out what you think best. Then I can compose
+     it at once.
+
+     "If you do not care for either of these two subjects, then I
+     am willing to take any other--for instance, 'Saul.' But
+     somehow I think 'Elijah,' and his going up to heaven in the
+     end, would be a most beautiful subject. And if you think of
+     using Bible words, read up Isaiah lx. and lxiii., to the end
+     of the Prophet, and also chapter xl., and Lamentations, and
+     all the Psalms. When you have done this you will easily find
+     the right language. Just think what sort of an oratorio I
+     ought to be able to write at this moment, and such an one
+     send me. It ought to be your wedding present to me; it would
+     be the gift I would value most. Do not refuse my request. Of
+     course, if you are too busy, do not be vexed with me for
+     asking this of you; but do write to me, anyhow, very soon."
+
+Mendelssohn was married at Frankfort, on March 28, 1837. Klingemann
+evidently did not send a wedding present in the form of an oratorio
+"text" in time for the ceremony, since Mendelssohn, while on his
+honeymoon, wrote the following letter to his London friend:--
+
+     [MENDELSSOHN TO KLINGEMANN.]
+
+     FREIBURG, _April_ 30, 1837.
+
+     "... Will you soon be able to fulfil your promise about
+     'Elijah'? Forgive my pressing you thus for an answer. It is
+     not my fault; it is the fault of circumstances. It seems to
+     me more and more a mistake to imagine that anyone can make a
+     lasting impression by _one_ single work--it ought to be done
+     steadily, uninterruptedly, by progressive writings. Out of
+     these the best will eventually stand forth, if all are
+     conceived in an earnest spirit. Therefore, I want to write
+     some more sacred music soon, especially as I see no chance
+     of being able to compose an opera. Perhaps this is as well,
+     for it seems to me as if all the German theatres were at the
+     present moment in such bad condition, that one cannot reckon
+     on a good performance anywhere, and therefore there may yet
+     be a few years' time before me, and I may do it all the
+     better then; for that I must write operas is an idea I
+     cannot give up. The choral societies, on the other hand, are
+     just now good, and long for new music; and I should like to
+     give them something that would please me better than my 'St.
+     Paul' does. Do help me to this, and send me a new oratorio
+     'text.'"
+
+In the autumn of his marriage year, Mendelssohn paid his fifth visit
+to England, in fulfilment of an engagement to conduct his 'St. Paul'
+at the Birmingham Musical Festival of 1837, at which he also played
+the pianoforte and organ. He stayed (in London) at Klingemann's, 4,
+Hobart Place, Eaton Square. The house, which still stands, is opposite
+St. Peter's Church. During this visit Mendelssohn spent two whole
+mornings with his host on the "plan" of an oratorio of "Elijah." This
+"plan," or "sketch," was left with Klingemann for him to develop and
+to put "into verse." A few months afterwards he received the following
+letter:--
+
+     [MENDELSSOHN TO KLINGEMANN.]
+
+     LEIPZIG, _January_ 9, 1838.
+
+     "... Over all this chatting I am forgetting a very important
+     affair. I received last week by post a parcel (which cost me
+     nearly 10s. for postage), containing an English 'text' for
+     an oratorio of 'Elijah,' which was sent to me by a Mr.
+     Charles Greville (18, Vineyards, Bath, Somersetshire), in
+     the name of the poet, with a strange letter. Do you know
+     this gentleman, or the name of the poet, J. Barry, a
+     clergyman? I have never heard of them.... I should like to
+     know how they fixed on 'Elijah,' and on this way of treating
+     the subject, which certainly resembles our 'sketch' very
+     closely.... They have already dedicated their 'Elijah' to
+     the Duchess of Kent, and no doubt will make much ado about
+     it; and if I do not compose it, Neukomm, or some one else
+     may do so. Therefore--you see what is coming--I beg you for
+     two things: 1st, make our 'sketch' into verse and send it to
+     me at once (you may take Bible words to help you, or
+     whatever you like), so that I may compose it forthwith; and
+     secondly, send me, in any case (even if you will not comply
+     with No. 1), our 'plan' or 'sketch,' as we made it when last
+     we met (with all remarks) _copied_, and write to me at the
+     same time."
+
+The Rev. Mr. Barry's libretto of "Elijah," above referred to, was not
+published till 1869. A copy of the little book, now "out of print," is
+before me. Its title is:--
+
+     "ELIJAH, or the Baalim in Israel: a Metrical Libretto, in
+     four parts, dedicated in the year 1838, by express
+     permission, to Her late Royal Highness the Duchess of Kent.
+     By the late Rev. James Barry, M.A., curate of Bratton
+     Clovelly, Devonshire. Oxford and London: James Parker & Co.,
+     1869."
+
+The Preface, signed "E.S.B.B.," states:--
+
+     "The following production, illustrating the chief incidents
+     of Ahab's reign, was submitted in the year 1837 to Felix
+     Mendelssohn-Bartholdy, as a theme for one or more sacred
+     oratorios. His famous 'Elijah,' which since then has taken
+     its place among the masterpieces of Handel, Haydn, and
+     Beethoven, had not been given to the world; but on returning
+     this manuscript to its Author, Mendelssohn announced his
+     engagement on the same great subject, adding, that although
+     this work possessed both literary and poetical merit, it was
+     in his opinion too long for an Oratorio, but might well be
+     published as a Metrical Libretto. But for this
+     disappointment, a public having little leisure for songs
+     without music, might yet, in the pauses of their enthusiasm,
+     after hearing the 'Elijah,' have let fall some crumbs of
+     approbation on a poem in which the immortal part of
+     Mendelssohn had found a channel for his farewell
+     inspirations.
+
+     "... The manuscript was laid aside for nearly twelve years,
+     when, in January, 1849, he [the author] again took it up,
+     resolving to publish it in the form suggested by
+     Mendelssohn; but his death intervened to prevent it, and
+     again it was laid aside.... More than thirty years have thus
+     elapsed since this Libretto underwent the favourable
+     criticism of Mendelssohn ... and after much consideration,
+     the Author's children have at length ventured to offer to
+     the public, 'Elijah,' or the Baalim in Israel...."[3]
+
+[Footnote 3: The Rev. James Barry, M.A., who seems to have been curate
+at Bratton Clovelly for only a few months, died in April, 1849, aged
+forty-two, at the Parsonage there, and was buried in the centre of the
+chancel of the church. I am indebted to the Rev. Edward Seymour, M.A.,
+the present rector of Bratton Clovelly, for this information.
+Strangely enough, Mr. Barry's libretto begins with the familiar
+Recitative: "As the Lord God of Israel liveth, before whom I stand,
+there shall not be dew nor rain these years, but according to my
+word."]
+
+The receipt of Mr. Barry's libretto put Mendelssohn on his mettle, and
+he became very anxious as to the fate of _his_ projected oratorio (of
+"Elijah"). Klingemann, however, does not seem to have considered the
+matter as being of such paramount importance. His reply to
+Mendelssohn's letter of January 9 could not have been very reassuring
+to the composer, if we may judge from the following letter:--
+
+     [MENDELSSOHN TO KLINGEMANN.]
+
+     "LEIPZIG, _February_ 9, 1838.
+
+     "You say in your letter that ... you are now intending to
+     become poetical (as you express it), but you need to live to
+     be a hundred years old for it. If I now therefore ask you,
+     _when_ you can send me a worked-out copy of our 'plan,' do
+     not see in the question an _overbearing reminder_. I am just
+     now in such good working trim, and I must work for the next
+     few years with a will and get on. I have responsibilities
+     now, and also a great longing for work, and I think I could
+     write an oratorio within a year. My new Psalm,[4] which we
+     tried for the first time the day before yesterday, and which
+     pleases me more than any other church music of mine, proves
+     to me that I am right; for I wrote five new numbers for it
+     quite lately, which makes it sound now as I wanted it to
+     sound. The opera libretto--if I get it--will not be ready
+     before the middle of the summer. I should like to have a new
+     oratorio for the Duesseldorf Festival in 1839 ... therefore,
+     for all these reasons, I must ask you: _when_ could you send
+     it (the 'sketch') to me? And if other occupations, or
+     annoyance at my repeated requests, or any other reason,
+     prevent you from complying with my wish, do please send me,
+     by _return of post_, a copy of our 'sketch' of the oratorio,
+     and tell me whether I am to leave you in peace about the
+     matter, so that I know where I am. Only I must set to work
+     soon; that you will understand."
+
+[Footnote 4: Probably "As the hart pants."]
+
+After one or two more letters had passed between Mendelssohn and
+Klingemann, the latter returned to the composer the "sketch" they had
+made together in London in the autumn of 1837, and henceforth
+"Elijah," except in a casual way, drops out of their correspondence.
+
+Mendelssohn then sought the aid of his intimate friend and the
+companion of his boyhood, the Rev. Julius Schubring, D.D., Rector of
+St. George's Church, Dessau--the same friend who has recorded some
+delightful reminiscences of the composer in his youthful days,[5] and
+who rendered him valuable service in the preparation of the "book" of
+"St. Paul." The interesting correspondence between Mendelssohn and
+Schubring on the subject of oratorio libretti has been published (in
+German), edited by Professor Dr. Julius Schubring, the son of
+Mendelssohn's clerical friend.[6]
+
+[Footnote 5: "Daheim" (Leipzig) for 1866, No. 26. English translation
+in _Musical World_, May 12 and 19, 1866.]
+
+[Footnote 6: The full title of the book is: "Briefwechsel zwischen
+Felix Mendelssohn Bartholdy und Julius Schubring, zugleich ein Beitrag
+zur Geschichte und Theorie des Oratoriums. Herausgegeben von Prof. Dr.
+Jul. Schubring, Direktor des Katharineums zu Luebeck. Leipzig: Verlag
+von Duncker und Humblot. 1892."]
+
+Mendelssohn, having at last received the "sketch" from Klingemann,
+showed it to his friend Schubring, who was staying with the composer
+at Leipzig. The following letter gives Schubring's views on the said
+"sketch":--
+
+     [SCHUBRING TO MENDELSSOHN.]
+
+     "DESSAU, _October_ 28, 1838.[7]
+
+     "At last I must make a start. I wanted to write to you the
+     first week after my visit, but when I thought of what you
+     had entrusted to me, and to which I had done nothing, I felt
+     ashamed; therefore the manuscript[8] became somewhat odious
+     to me. I took it up three or four times, but either some of
+     the sheets--large and small--had got mixed, or I could not
+     make out the abbreviations; and then again I was often
+     interrupted by other work. I was afraid I should have to
+     send it back to you untouched. But yesterday the light
+     suddenly dawned upon me and I understood everything at
+     once--the whole and also the details. I see at the same time
+     that there is still much to be done, and therefore I write
+     at once to-day to ask if you can let me keep the MS. a
+     little longer."
+
+     [The letter then goes on to make suggestions for the "text,"
+     which it is not necessary to reproduce here.]
+
+[Footnote 7: "Briefwechsel," p. 124.]
+
+[Footnote 8: This refers to Klingemann's "sketch" for "Elijah,"
+London, September, 1837.]
+
+To the above communication Mendelssohn replied in a letter which has
+hitherto been quoted as being the _earliest_ mention of "Elijah" in
+the Mendelssohn correspondence.
+
+     [MENDELSSOHN TO SCHUBRING.]
+
+     "LEIPZIG, _November_ 2, 1838.[9]
+
+     "Dear Schubring,--Many, many thanks for your letter, which I
+     received the day before yesterday, and for the parcel, which
+     came to-day. You again render me an essential service, and I
+     feel most grateful to you. How can you ask whether I wish
+     you to proceed in the same way? When all is so well put
+     together, I have almost nothing to do but to write music for
+     the words. I ought to have previously told you that the
+     sheets you took away with you are by no means to be regarded
+     as containing a mature design, but as a mere combination of
+     the materials I had before me for the purpose of eventually
+     forming a plan. So the omission of the passage of the widow,
+     and also of the raven, is decidedly most advisable; and also
+     the abridgment of the whole commencement, in order that the
+     main points may be dwelt upon to one's heart's content. I
+     would urgently entreat you to proceed with your work, so far
+     as your time and leisure will permit, and soon to send me
+     the continuation of the first part, which ought now to be
+     considerable, from where you left off. Rest assured that, as
+     I already told you, you will earn my most sincere gratitude.
+
+     "You say that at first you could not make anything of the
+     subject, but that a sudden light dawned upon you. I figured
+     to myself Elijah as a thorough prophet, such as we might
+     again require in our own day--energetic and zealous, but
+     also stern, wrathful, and gloomy; a striking contrast to the
+     court rabble and popular rabble--in fact, in opposition to
+     the whole world, and yet borne on angels' wings. Is this the
+     inference you also draw from the subject, and is this the
+     sense in which you conceived an affection for it? I am most
+     anxious to do full justice to the _dramatic_ element, and,
+     as you say, no epic narrative must be introduced. I am glad
+     to learn that you are searching out the always
+     heart-affecting sense of the Scriptural words; but if I
+     might make one observation, it is that I would fain see the
+     dramatic element more prominent, as well as more exuberant
+     and defined--appeal and rejoinder, question and answer,
+     sudden interruptions, etc., etc. Not that it disturbs me
+     that Elijah, for example, first speaks of assembling the
+     people, then forthwith addresses them--such liberties are
+     the natural privileges of a composition such as an oratorio;
+     but I should like to have the representation itself as
+     spirited as possible; for instance, it annoys me that Elijah
+     does not reply to Ahab's words, No. 16, till No. 18, various
+     other speeches and a chorus intervening. I should like to
+     have had an instant and eager rejoinder, etc., etc.
+
+     "But we are no doubt likely to agree about this; and I would
+     only entreat you, when you resume your work, to think of
+     this wish of mine. Above all, accept my thanks for your
+     kindness, and write to me soon on the same subject.--Ever
+     yours,
+
+     "FELIX M.-B."
+
+[Footnote 9: "Briefwechsel," p. 134.]
+
+Schubring sent to Mendelssohn another "plan," for Part I., dated
+"Reformationsfest [October 31], 1838," accompanying it with the
+following (selected) observations[10]:--
+
+[Footnote 10: "Briefwechsel," p. 129.]
+
+     [SCHUBRING TO MENDELSSOHN.]
+
+     "I have sought throughout--although it is not always
+     possible--to introduce pieces, not merely suitable to the
+     particular situation in question, but such as might awaken
+     an echo in the hearts of the hearers--as, for instance, this
+     aria ['If with all your hearts']. I have noticed that in
+     your 'St. Paul,' for example, such numbers have excited the
+     most interest.... In oratorios it does no harm if you
+     exaggerate the dramatic effect: on the contrary, it seems to
+     me necessary.... I think it will often occur to you, as it
+     does to me, to marvel at the manifold things which can be
+     found in the Bible."
+
+In the letter[11] ("Dessau, November 1, 1838") which accompanied the
+new "plan," Schubring remarks:--
+
+[Footnote 11: _Ibid._, p. 137.]
+
+     "... I fear the first part will be too rich, or rather the
+     second part too poor. I confess I have some misgivings about
+     the second. As it now stands it is far from pleasing me. If
+     not unreasonable, I would propose to bring in the rain scene
+     at the beginning of the second part, and something could
+     certainly be found to replace it in the first part.
+
+     "What I feared and wrote to you about, has really come to
+     pass; and the thing is becoming too objective--an
+     interesting, even thrilling picture, but far from edifying
+     the heart of the listener. All the curses, the scenes of the
+     sacrifice and the rain, Jezebel, etc., in all this there is
+     nothing which now-a-days would come from the heart, and
+     therefore nothing which would go to the heart. Pieces in
+     your 'St. Paul,' like the aria in B minor ['Consume them
+     all'], or choruses, 'Ihr Maenner von Israel helfet' [No. 38,
+     in the English edition], etc., are certainly fine and
+     characteristic; but they are interesting rather than
+     edifying. You will probably never hear people singing that
+     aria at the pianoforte for their pleasure; but the second
+     and third arias in 'St. Paul,' or that for tenor towards the
+     close ['Be thou faithful unto death'], they are for
+     everybody. There are many more passages in 'St. Paul' of
+     general interest than there are in this 'text' in its
+     present form. Therefore you must carefully consider whether
+     this time you prefer to turn away from Church music (_i.e._,
+     music which refreshes, consoles) and create a tone-picture
+     after the manner of the 'Blocksberg-Cantata.'[12] If not, we
+     must diligently set to work to keep down the dramatic, and
+     raise the sacred element, and always aim at this. Perhaps it
+     will suffice to lead back from the second part to the effect
+     of the rain scene in the first. I expect that will be very
+     fine. It can only be surpassed by bringing out prominently
+     Elijah's meaning (signification) for the New Covenant, as
+     the forerunner of the Messiah, pointing towards His coming,
+     and such like.
+
+     "All this lies in the future, and at present I am waiting
+     until you have written to me about the first part.
+     Therefore, let me conclude for the present--not my thoughts
+     of you, but my letter, and soon gladden me again with
+     something--not to do--but to enjoy. Good-bye. N.B.--The
+     _third_ letter to you this week!"
+
+[Footnote 12: Mendelssohn's setting of Goethe's "Walpurgis Night."]
+
+Schubring sent to Mendelssohn a draft sketch for Part II. on November
+17, 1838,[13] saying:--
+
+[Footnote 13: "Briefwechsel," p. 140.]
+
+     "Before I set to work I should like to know your idea of the
+     matter. For the rest, I am more and more convinced that you
+     will have to supply the principal part of the text yourself.
+     How is one to know what is running through your mind on this
+     or that occasion? Therefore the words are only set down as
+     hints, suggesting what might be written."
+
+Mendelssohn replied to Schubring in words which show that there was
+some difference of opinion between them as to the "plan" of the
+oratorio. Here is the composer's letter:--
+
+     [MENDELSSOHN TO SCHUBRING.]
+
+     "LEIPZIG, _December_ 6, 1838.[14]
+
+     "Dear Schubring,--Along with this you will receive the organ
+     pieces and 'Bonifacius,' which I also enclose. Thank you
+     much for the letter and for the manuscripts you have from
+     time to time sent me for 'Elijah'; they are of the greatest
+     possible use to me, and although I may here and there make
+     some alterations, still the whole thing, by your aid, is
+     now placed on a much firmer footing. With regard to the
+     dramatic element, there still seems to be a diversity of
+     opinion between us. With a subject like 'Elijah' it appears
+     to me that the dramatic element should predominate, as it
+     should in all Old Testament subjects, Moses, perhaps,
+     excepted. The personages should act and speak as if they
+     were living beings--for Heaven's sake let them not be a
+     musical picture, but a real world, such as you find in every
+     chapter of the Old Testament; and the contemplative and
+     pathetic element, which you desire, ought to be entirely
+     conveyed to our understanding by the words and the mood of
+     the acting personages....
+
+     "I am now myself about to set to work again on the 'Elijah,'
+     and to plough away at the soil as best I can; if I do not
+     get on with it you must come to my aid, and I hope as kindly
+     as ever, and preserve the same regard for your
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 14: _Ibid._, p. 146.]
+
+The following letter is the next from Schubring that is printed; but
+it was not written till nearly two months after that from Mendelssohn,
+just quoted.
+
+     [SCHUBRING TO MENDELSSOHN.]
+
+     DESSAU, _February_ 2, 1839.[15]
+
+     "... Unfortunately I can offer you nothing besides my good
+     [birthday] wishes, though I would willingly have done so. I
+     always thought that the 'Elijah' would turn out all right,
+     but it will not, and you must seek help elsewhere. At a
+     distance I seemed to have thought out the subject quite
+     nicely; but whenever I come to it at close quarters I cannot
+     clearly distinguish the separate figures. Elijah is in the
+     society of the angels; he is in good company, leave him
+     there. It is unbecoming for men to drive away the angels. I
+     have held to one point where the Lord Himself ought to or
+     could speak to Elijah. It seemed to me that as Elijah
+     appeared to Christ on the Mount of Transfiguration (Matthew
+     xvii.), so Christ might come to Elijah, transfigure him, and
+     show him from afar the streams of peace, which flow over the
+     heavenly Canaan. These three personages--Christ, Elijah, and
+     the heavenly choir of angels--might suffice, with suitable
+     dramatic alteration, to transform the earth into heaven,
+     until the removal of Elijah. But you well know how
+     sluggishly my poetical vein flows; how, here and there, with
+     great effort I manage to gather a few crumbs together, but
+     then I get no farther. Unless I am in the pulpit--where the
+     Lord usually helps me joyfully to honour Him by my
+     preaching--the creative power fails me utterly."
+
+[Footnote 15: "Briefwechsel," p. 149. Mendelssohn was born February 3,
+1809.]
+
+For nearly seven years the subject of "Elijah" drops out of the
+Mendelssohn-Schubring correspondence, except two unimportant
+references. In a letter to Mendelssohn, dated January 17, 1840,
+Schubring says: "How about 'Elijah'? Have you quite put him aside?"
+And on November 10 of the same year: "You have told my brother that
+for the present you have given up composing oratorios. To this I have
+no objection; but I would like to see something else--sonatas, for
+instance, not short pieces."
+
+It seems to be quite evident that the subject of "Elijah" was lying
+more or less fallow in Mendelssohn's mind for six years (1839-1845).
+There are, it is true, two casual references to the oratorio. To
+Moscheles, Mendelssohn wrote: "A new oratorio, too, I have begun; but
+how it is to end, and what is to come in the middle, Heaven only
+knows." And to Klingemann: "I have thought anew seriously of 'Elijah.'
+Perhaps I shall attack him now." But it was not until the summer of
+1845, when he received the invitation from Birmingham (see the next
+chapter), that Mendelssohn, to use his own words, "again began to
+plough up the soil." He was then glad to seek fresh help from
+Schubring in the technicalities of the "text," which he did in the
+following letter to his clerical friend:--
+
+     [MENDELSSOHN TO SCHUBRING.]
+
+     "LEIPZIG, _December_ 16, 1845.[16]
+
+     "My dear Schubring,--I now send you, according to your
+     permission, the text of 'Elijah,' so far as it goes. I do
+     beg of you to give me your best assistance, and return it
+     soon with plenty of notes in the margin (I mean Scriptural
+     passages, etc.). I also enclose your former letters on the
+     subject, as you wished, and have taken them out of the book
+     in which they were. They must, however, be replaced, so do
+     not forget to send them back to me. In the very first of
+     these letters (at the bottom of the first page), you
+     probably allude to the chief difficulty of the text, and the
+     very point in which it is still most deficient--universally
+     accepted and impressive words and thoughts; for of course it
+     is not my intention to compose what you call 'a Biblical
+     Walpurgis Night.' I have endeavoured to obviate this
+     deficiency by the passages written in Roman letters; but
+     there is still something wanting, even to complete these,
+     and to obtain suitable comprehensive words for the subject.
+     This, then, is the first point to which I wish to direct
+     your attention, and where your assistance is very necessary.
+     Secondly, in the 'dramatic' arrangement. I cannot endure the
+     half operatic style of most of the oratorio words (where
+     recourse is had to common figures--as, for example, an
+     Israelite, a maiden, Hannah, Micaiah, and others; and where,
+     instead of saying 'this and that is come to pass,' they are
+     made to say, 'Alas! I see this and that happening'). I
+     consider this very weak, and will not follow such a
+     precedent. However, the everlasting "he spake," etc., is
+     also not right. Both of these are avoided in the text; but
+     this part still remains its weakest point.
+
+     "Will you consider, too, whether it is justifiable that no
+     other dramatic figure besides Elijah appears? I think it is.
+     He ought, however, at the close, at his ascension to heaven,
+     to have something to say (or to sing). Can you find
+     appropriate words for this purpose? The second part,
+     moreover, especially towards the end, is still in a very
+     unfinished condition. I have not as yet got a final chorus;
+     what would you advise it to be? Pray study the whole
+     carefully, and write in the margin a great many beautiful
+     arias, reflections, pithy sentences, choruses, and all sorts
+     of things, and let me have them as soon as possible....
+
+     "Speaking is a very different thing from writing. The few
+     minutes I lately passed with you and yours were more
+     enlivening and cheering than ever so many letters.--Ever
+     your
+
+     "FELIX"
+
+[Footnote 16: "Briefwechsel," p. 204. The date of the letter is
+wrongly given in Lady Wallace's translation of the "Letters" (p. 294)
+as 1842, instead of 1845.]
+
+Early in January, 1846, Mendelssohn and Schubring met, and the plan of
+the oratorio was doubtless fully discussed between them. Soon after
+his return to Dessau, Schubring returned Mendelssohn's MS. of the
+"sketch," to which he had added a number of comments and suggestions.
+This "sketch" and its annotations are too long to be inserted here,
+but an extract or two may be quoted.
+
+     [SCHUBRING TO MENDELSSOHN.][17]
+
+     "In oratorios, chorales have produced the most powerful
+     effect on me when they came _after_ other pieces of music
+     [Schubring evidently knew Bach's "Passion"]. Dignity,
+     simplicity, nobility, are then most perceptible in these
+     circumstances. Therefore, it would be better to have no
+     chorales at the beginning.... The overture, picturing a
+     famine, must represent a period of three years...."
+
+[Footnote 17: "Briefwechsel," p. 208.]
+
+Upon the words "Hear the prayer and petition of Thy servant, O Lord,"
+Schubring remarks: "Here it would be well to have a reference to God's
+own promise that He will answer prayer. (Daniel ix., 18; Psalm xxv.,
+6; Isaiah liv., 10, 7). Then the chorale--'Out of the depths I cry to
+Thee' (_Aus tiefer Noth_), verses 1 and 4, increasing in intensity.
+Pray do not reject this suggestion. There are plenty of praying people
+who heartily endorse the petition of Elijah."
+
+Schubring's continued interest in the oratorio is shown in the
+following letter:--
+
+     [SCHUBRING TO MENDELSSOHN.]
+
+     "DESSAU, _February_ 3, 1846.[18]
+
+     "... I am curious to know how you are getting on with
+     'Elijah.' I must confess that I am getting more and more
+     interested in it, and greatly look forward to it. Be sure
+     and keep well at it. If some things in the text do not
+     please you, they will come right in their proper time."
+
+[Footnote 18: "Briefwechsel," p. 219.]
+
+In May (1846), only three months before the oratorio was performed at
+Birmingham, Mendelssohn again sought the aid of Schubring. He wrote:--
+
+     "LEIPZIG, _May_ 23, 1846.[19]
+
+     "Dear Schubring,--Once more I must trouble you about
+     'Elijah'; I hope it is for the last time, and I also hope
+     that you will at some future day derive enjoyment from it;
+     and how glad I should be if this were to be the case! I have
+     now quite finished the first part, and six or eight numbers
+     of the second are already written down. In various places,
+     however, in the second part I require a choice of really
+     fine Scriptural passages, and I do beg of you to send them
+     to me! I set off to-night for the Rhine, so there is no
+     hurry about them; but in three weeks I return here, and then
+     I purpose forthwith to take up the work and complete it.
+     Therefore, I beseech you earnestly to send me by that time a
+     rich harvest of fine Bible texts. You cannot believe how
+     much you have helped me in the first part; this I will tell
+     you more fully when we meet. On this very account I entreat
+     you to assist me in beautifying the second part also. I have
+     been able to dispense with all historical recitative, and to
+     substitute individual persons; and I have always introduced
+     an angel, or a chorus of angels, instead of the Lord. By
+     that means the first part, and the largest half of the
+     second, are finely rounded off. Now, however, the second
+     part begins with the words of the Queen, 'So let the gods do
+     to me, and more also,' etc. (1 Kings xix., 2); and the next
+     words about which I feel secure are those in the scene in
+     the wilderness (same chapter, 4th and following verses); but
+     between these I want, _first_, something more particularly
+     characteristic of the persecution of the prophet; for
+     example, I should like to have a couple of choruses
+     _against_ him to describe the people in their fickleness and
+     their rising in opposition to him; _secondly_, a
+     representation of the third verse of the same passage; for
+     instance, a duet with the boy, who might use the words of
+     Ruth, 'Where thou goest, I will go,' etc. But what is Elijah
+     to say before and after this? and what could the chorus say?
+     Can you furnish me with, first, a duet and also a chorus in
+     this sense? Then, until verse 15, all is in order; but there
+     a passage is wanted for Elijah, something to this effect:
+     'Lord, as Thou wilt, be it unto me' (this is not in the
+     Bible, I believe?); for I wish that _after_ the
+     manifestation of the Lord, he should announce his entire
+     submission, and after all this despondency declare himself
+     to be entirely resigned and eager to do his duty. I am in
+     want, too, of some words for him to say at, or before, or
+     even after, his ascension, and also some words for the
+     chorus. The chorus sing the ascension historically with the
+     words from 2 Kings ii., 11, but then there ought to be a
+     couple of very solemn choruses. 'God is gone up with a
+     shout' (Psalm xlvii., 5) will not do, for it is not the Lord
+     but Elijah who went up; however, something of _that_ sort.
+     At the close, I should wish to hear Elijah's voice once
+     more.
+
+     "(May Elisha sing soprano? or is this inadmissible, as in
+     the same chapter he is described as a 'bald head'? Seriously
+     speaking, must he appear at the ascension as a prophet, or
+     can he do so still as a youth?)
+
+     "Lastly, the passages which you have sent for the close of
+     the whole (especially the trio between Peter, John, and
+     James) are too historical and too far removed from the
+     grouping of the (Old Testament) story; I could, however,
+     manage to get over this difficulty by composing a chorus,
+     instead of a trio to these words. It can easily be done,
+     and I think that I shall probably do it. I return you the
+     sheets that you may have every necessary information, but
+     pray send them back to me. You will see from the sheets that
+     the outline of Part II. as a whole is quite settled. It is
+     only such lyrical passages (from which arias, duets, etc.,
+     could be composed) which I still require, especially towards
+     the end. Therefore, pray get your large Concordance, look up
+     the references, and again bestow upon me some of your time,
+     that when I return three weeks hence at latest, let me find
+     your answer. Continue your regard for your
+
+     "FELIX."
+
+[Footnote 19: _Ibid._, p. 219.]
+
+To the foregoing, Schubring replied in a long letter, from which the
+following is an extract:--
+
+     [SCHUBRING TO MENDELSSOHN.]
+
+     "DESSAU, _June_ 15, 1846.[20]
+
+     "... I want to put down a few thoughts concerning the close
+     of the oratorio. I see most distinctly that the oratorio can
+     have no other than a New Testament ending; the Old Testament
+     (Malachi) and also the New Testament demand this in terms of
+     the most definite kind. Elijah must help to transform the
+     old into the new covenant--that gives him his great
+     historical importance. Let Handel in his Old Testament
+     oratorios move within this narrow circle--personages like
+     Saul, etc., have no further meaning; but with Elijah, with
+     you, and in our day, it must be otherwise. Therefore, I
+     think the sense of the ending must remain essentially as I
+     have suggested--the words themselves are immaterial.
+
+     "Your enquiry whether Elisha may sing soprano is comical.
+     Such a question should not be put by one who has set
+     Christ's words for a chorus.[21] There can be no doubt that
+     at that time Elisha was no more a child. The word _Knabe_
+     (_Knappe_) is to be understood as referring to service, not
+     to youth, like [Greek: ho pais] in classical Greek. One who
+     ploughs with twelve yoke of oxen (1 Kings xix., 19) is no
+     child. Do you know any passage where Elisha is called a boy?
+     I think there is none. The first reference to him is in 1
+     Kings xix., 19 [? 16]....
+
+     "I earnestly hope that some of these suggestions may suit
+     you, so that the work can get on. The news that Part I. is
+     already finished has given me great joy."
+
+[Footnote 20: "Briefwechsel," p. 222.]
+
+[Footnote 21: The reference is to "St. Paul," in which, at Schubring's
+suggestion, Mendelssohn has set the words, "Saul, Saul, why
+persecutest thou Me?" for four-part female chorus.]
+
+A short letter (August 8, 1846), in which Schubring sends Mendelssohn
+a further suggestion, completes the "Elijah" correspondence between
+the composer and his clerical friend.
+
+Schubring, in his pleasant "Reminiscences" already referred to (p.
+10), thus speaks of his connection with the composer in compiling the
+book of "St. Paul," Mendelssohn's first oratorio:--
+
+     "Subsequently to 1832, we frequently discussed the subject
+     of oratorio 'texts.' With regard to 'St. Paul,' a
+     considerable amount of preliminary labour had been got
+     through before I knew anything about it. At Mendelssohn's
+     request I undertook a certain further amount of work of a
+     subordinate kind, such as connecting and introducing
+     suitable passages and arias.... He always proved himself a
+     thoughtful artist, and strove to obtain a clear appreciation
+     of each separate point--such, for instance, as the
+     admissibility of the chorale, of the narrative, recitatives,
+     etc. He rejected, also, much that was suggested, being so
+     well acquainted with his Bible, that he obtained a great
+     deal of valuable material himself. He was, however,
+     extremely grateful for any assistance."
+
+These words apply, though in a larger measure, to the part which
+Mendelssohn took in preparing the libretto of his second oratorio,
+"Elijah." Attention is specially directed to the fact that,
+notwithstanding the foregoing correspondence between the composer,
+Klingemann, and Schubring, Mendelssohn--while availing himself of the
+help his friends were willing to give him--accepted nothing without
+the most careful scrutiny. The following extract, from Ferdinand
+Hiller's "Recollections of Mendelssohn" (Macmillan), may fitly
+conclude this chapter.
+
+"One evening," says Hiller, "I found Felix deep in the Bible.
+'Listen,' he said; and then he read to me in a gentle and agitated
+voice the passage from the first Book of Kings, beginning at the
+words, 'And behold, the Lord passed by.' 'Would not that be splendid
+for an oratorio?' he exclaimed."
+
+
+
+
+CHAPTER II.
+
+BIRMINGHAM.
+
+
+Mendelssohn does not seem to have done anything with the _music_ of
+"Elijah" until 1845. The Committee of the Birmingham Musical Festival
+were then making arrangements for their approaching triennial music
+meeting, to be held in 1846.
+
+The history of the Birmingham Musical Festival, which dates back to
+1768, is full of interest. The artistic excellence of the Festival,
+and the enterprise which has also so long distinguished it, have
+earned for this great music-meeting a European reputation. Charity, in
+one of its best forms--the relief of the sick and suffering poor--has
+been richly sustained by the benefactions, amounting in the aggregate
+to the munificent sum of L132,000, which the Festivals have brought
+into the treasury of the Birmingham General Hospital.
+
+Mendelssohn loved England and the English people. He was never happier
+than when visiting this country, and Birmingham had a warm corner in
+his heart. His receptions at the Festivals of 1837 and 1840, when he
+conducted respectively his "St. Paul" and the "Hymn of Praise," were
+most cordial, and highly gratifying to him. It was therefore quite
+natural that the Festival Committee should look to Mendelssohn for the
+composition of a work which, in all probability, would give
+distinction to their Festival; and, that they should, if possible,
+secure, as an extra attraction, the presence of the composer as
+Conductor. The previous chapter shows that "Elijah" had occupied
+Mendelssohn's mind for many years previous to 1846; therefore, it can
+scarcely be said that he composed the oratorio "expressly for
+Birmingham," as is commonly stated and generally supposed. But,
+considering the composer's early death (in 1847), it may reasonably be
+assumed that had it not been for the Birmingham Festival of 1846,
+Mendelssohn's oratorio of "Elijah" would never have been given to the
+world.
+
+At a meeting of the Birmingham Festival Committee, held June 11, 1845,
+the following resolution was carried--doubtless _nem. con._:--
+
+"That it appears to this Committee desirable that the services of Dr.
+Mendelssohn be obtained to act as Conductor at the next Festival; and
+that he be requested to consider whether he can provide a new
+oratorio, or other music, for the occasion."
+
+This resolution was communicated to the composer by Mr. Joseph Moore
+(1766-1851), the indefatigable manager of the Festivals from 1802 till
+his death. Mr. Moore not only caused the noble Town Hall to be erected
+(in 1834), but spared no exertions to raise the Birmingham
+music-meetings to their present exalted position in the realm of
+music. Mr. Moore, who had early made the acquaintance of the
+Mendelssohn family in Berlin, became very intimate with Felix, who
+was always Mr. Moore's guest during his visits to Birmingham.
+
+[Illustration: JOSEPH MOORE
+
+(1766-1851)
+
+_Manager of the Birmingham Musical Festivals._]
+
+Here is Mendelssohn's reply to the Committee's invitation:--
+
+     [TO JOSEPH MOORE, ESQ.]
+
+     [_Written in English._]
+
+     "FRANKFORT, _July_ 24, 1845.
+
+     "My dear Sir,--Have many thanks for your very kind and
+     welcome letter, which I received a few days ago, and pray
+     tell the members of the Committee for the next Festival how
+     truly indebted I feel to them for the honour they have done
+     me in inviting me to come over to their meeting next year.
+
+     "I hope nothing shall prevent me to accept of so flattering
+     and honourable an invitation, and beg to thank the Committee
+     and yourself, my dear Sir, most sincerely for it.
+
+     "You know with how great a pleasure I have always visited
+     your country; the prospect of doing so again affords always
+     a true gratification to me, and your kind and hospitable
+     invitation greatly adds to the pleasure I may thus
+     anticipate. I have only to wish, then, that nothing may
+     occur to prevent me from accepting so much kindness; for it
+     is indeed a long time--more than a year--for settling any
+     plans. Pray let me know at what time you would wish to have
+     a positive and decided answer--I mean at what time you would
+     consider my answer as an engagement, which could not be
+     altered on any account; and let me also know what you mean
+     in saying that I am to assist you in selecting music,
+     conducting and directing as much as possible. As for
+     selecting, of course I shall be most happy to offer any
+     advice which may be asked; but do you mean that I should
+     have to conduct _all_ the performances, or the _greater_
+     part of them? This, I fear, would be a task above my powers;
+     but before I can say anything more on this subject, pray
+     explain me what _your_ meaning is, and name the period about
+     which I asked you before.
+
+     "Since some time I have begun an oratorio,[22] and hope I
+     shall be able to bring it out for the first time at your
+     Festival; but it is still a mere beginning, and I cannot yet
+     give you any promise as to my finishing it in time.
+
+     "I have written to Mr. Webb[23] some months ago, to tell him
+     that I had already begun to work on another subject, and
+     that I could not avail myself of his poem for that reason,
+     much as I regretted it. If my oratorio should be ready in
+     time (as I hope it will), there would be no occasion for any
+     other things of mine at the morning performances; but if I
+     should not be able to finish it, I have several other things
+     of mine which I could propose in its stead, either for the
+     morning or evening concerts.
+
+     "The 'Oedipus' (which is to be performed next month at
+     Potsdam) will scarcely do for any concert, I am afraid; but,
+     as I said, I have other things.
+
+     "I hear with much pleasure that you still go on with
+     improvements in your splendid organ; but if I shall play it
+     with pleasure, I must have a lighter touch, and broader keys
+     in the pedals than what I found there last year [? time]. I
+     am sure the pedals from C up to D (_two_ octaves and a note)
+     are quite enough, and it could then be contrived that the
+     keys have the breadth which feet and boots usually require.
+     And as for the heavy touch, I am sure that I admired your
+     organist very much who was able to play a Fugue on them. I
+     am afraid I would not have strength enough to do so, without
+     a very long previous practice. Perhaps you may speak to Mr.
+     Hill [the builder of the organ] of these observations, and
+     hear what he says to them....
+
+     "Believe me always, very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 22: "Elijah."]
+
+[Footnote 23: The Rev. John Webb, M.A. (1776-1869), often referred to
+as "the friend of the charity"--_i.e._, the Birmingham General
+Hospital. He submitted to Mendelssohn the text of an oratorio,
+entitled "Rachel in Ramah," which is the "poem" referred to in this
+letter.]
+
+On August 26 (exactly a year before "Elijah" was first performed) the
+Orchestral Committee resolved to recommend to the Musical Committee
+"That Dr. Mendelssohn Bartholdy be requested to compose a performance
+(_sic_) for the Wednesday morning, and to conduct all the morning
+performances." The Musical Committee at once adopted this
+recommendation, and communicated its purport to Mendelssohn, who
+replied as follows:--
+
+     [TO JOSEPH MOORE, ESQ.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _October_ 19, 1845.
+
+     "My dear Sir,--I received your first letter after an absence
+     of a few weeks, and should have answered it long ago, for
+     you know with how much pleasure I read it, and how truly
+     indebted I felt to you and the Committee for continuing your
+     very kind feeling towards me! But I was uncertain which
+     answer I had to give to some of the most important points,
+     and this uncertainty is still the same; yet I must write, as
+     I receive to-day your second letter, which shows your wish
+     to have an immediate answer.
+
+     "The principal point about which I am uncertain is whether I
+     shall be able to have my new oratorio ready in time for your
+     Festival. There would have been no doubt of it, had I been
+     able to continue my work quietly at Frankfort, as I began
+     it. But now there are so many businesses here, at Dresden,
+     and at Berlin, which took up all my leisure time during the
+     last months, that I have not been able to go on with it. If
+     the businesses continue as they have begun (which, however,
+     I hope they will not), I _shall not_ be able to finish my
+     oratorio in time. If they do _not_ continue, I _shall_
+     finish it in time. But during this uncertainty I am not able
+     to make an engagement as to the first performance of this
+     work.
+
+     "The second point is that I am afraid I shall not be strong
+     enough to go through the office of being sole conductor of
+     the morning performances at such a Festival as yours is. In
+     former years I had only to conduct my compositions, not the
+     other pieces of your programme; and yet I recollect how
+     excited and fatigued I always felt after the Festival was
+     over. Therefore, I hesitate to accept of the honour which
+     you intend doing me, and which I fear I should not be able
+     to go through, although I sincerely wished it.
+
+     "The question now is whether you would want me yet (to come
+     to the Festival without having a certainty as to these two
+     points, and even with the possibility of my answering them
+     at last in the negative), or whether you consider them as so
+     essential that the whole idea of my coming over (much as I
+     would regret it) must be given up with them.
+
+     "I beg you will give me an answer to this question as soon
+     as you conveniently can. If the first should be the case
+     (and I hope you fully know how glad I should be to see you
+     again, and to come), I would set at work as hard as I could
+     whenever any leisure is left me to finish my new piece; and
+     at any rate I should propose several others (although not so
+     extensive ones) for the morning performances. But if the
+     second should be the case, I sincerely hope and trust you
+     would be convinced of my deep regret, and would allow me
+     another year to enjoy of an honour and a treat which I
+     should have been obliged to give up so much against my
+     wishes this time. Be it as it may, I beg you will present my
+     best and most sincere thanks to the Committee, and I beg you
+     will think of me, my dear Sir, as of one who shall _always_
+     feel true gratitude and thankfulness for all the kindness
+     and friendship you have shown to him!...
+
+     "Very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+Mendelssohn then set vigorously to work at the music. Miss Dolby,
+afterwards Madame Sainton-Dolby, made her first appearance at the
+Leipzig Gewandhaus Concerts, for which she had been engaged by
+Mendelssohn, on October 25, 1845; and she records the progress of the
+new oratorio in the following anecdote. "We were dining," she says,
+"at Dr. Haertel's, and were all seated at the table. The guests
+included Dr. and Madame Schumann; but Mendelssohn, who was also
+invited, came late. A vacant place had been left for him by my side.
+He arrived after the soup had been served, and excused himself by
+saying he had been very busy with his oratorio; and then turning to me
+he said, 'I have sketched the bass part, and now for the contralto.'
+'Oh!' I exclaimed, 'do tell me what that will be like, because I am
+specially interested in that part.' 'Never fear,' he answered, 'it
+will suit you very well, for it is a true woman's part--half an angel,
+half a devil.' I did not know whether to take that as a compliment,
+but we had a good laugh over it."[24]
+
+[Footnote 24: In case the point of Mendelssohn's joke should be missed
+by anyone, it must be remembered that the contralto singer in "Elijah"
+takes the parts of both the Angel and Jezebel, the Queen.]
+
+Shortly afterwards Jenny Lind also made her first appearance at the
+Gewandhaus; and it may here be mentioned that there is every reason to
+suppose that Mendelssohn wrote the soprano part of his "Elijah"
+expressly for the "Swedish Nightingale." It is stated in the "Memoir"
+of Jenny Lind that amongst the beautiful notes of her splendid voice,
+"the upper F sharp possessed an irresistible charm" for Mendelssohn.
+He often spoke of it with admiration, and fully remembered that
+"wonderful F sharp," when he was writing the soprano part of his
+"Elijah." "He used it with striking effect, as the initial note of the
+first phrase in 'Hear ye, Israel,' and in many other passages, in
+which it rings like a trumpet-call throughout the air."[25] This will
+account for Mendelssohn's having set "Hear ye, Israel," in the keys of
+B minor and B major--the dominant note of which, and the predominating
+note of the air, is the said "F sharp."
+
+[Footnote 25: "Memoir of Madame Jenny Lind-Goldschmidt." By H. Scott
+Holland and W.S. Rockstro. London: John Murray (1891). II., p. 243.]
+
+Mendelssohn definitely accepted the invitation of the Birmingham
+Committee in the following letter, which, however, still left the new
+oratorio an "open question":--
+
+     [TO JOSEPH MOORE, ESQ.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _December_ 11, 1845.
+
+     "My dear Sir,--Many thanks for your very kind letter. I have
+     now made up my mind to come to Birmingham in August; but I
+     wish to conduct only my own music, as in former years, and
+     have nothing to do with the other parts of the programme. I
+     cannot yet give any promise as to my new oratorio; but in a
+     month or two I shall be able to tell you for certain
+     whether, and when, I can send it. If I cannot, I would try
+     to propose something else of my new music. You want
+     something, whether new or old, for the Friday: would the
+     'Walpurgisnacht' do for it? I conducted it only once in
+     England, at the last Philharmonic, 1844, and they seemed to
+     like it then. Or would the music to the 'Midsummer Night's
+     Dream' be the thing? My Symphony in A minor, about which you
+     questioned me in one of your former letters, lasts about
+     thirty-five to forty minutes.
+
+     "And if you can have Jenny Lind for the Festival, by all
+     means have her, for we have now no singer on the Continent
+     who is to be compared to her. But although she has no fixed
+     engagement, neither at Berlin nor elsewhere, I fear it will
+     be difficult to make her come, as they are all mad about
+     her, and force her into more engagements than she can
+     accept. And Pischek would also be the man, I am sure! But he
+     is known already in England; and if you get Jenny Lind, it
+     will be such a novelty at the same time, and will give a new
+     character to the Festival. Now, before all, I hope that
+     these lines may find you in better health, that your
+     indisposition will be forgotten long before they arrive, and
+     that I may meet you again in perfect strength and happiness.
+
+     "Yours very truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+The Committee at once acted upon Mendelssohn's suggestion that Jenny
+Lind should be invited to sing; and at their meeting on December 26
+resolved--"That Mr. Moore be requested to use his endeavours to engage
+Jenny Lind, and impress upon Mendelssohn the importance of completing
+his new oratorio." Moore evidently asked Mendelssohn to be the
+negotiator between the Committee and Jenny Lind, judging from the
+following letter:--
+
+     [TO JOSEPH MOORE, ESQ.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _January_ 15, 1846.
+
+     "My dear Sir,--Yesterday I received your letter of the 7th,
+     and answer it as early as I can. My oratorio is in progress,
+     and becomes every day more developed; but whether I shall be
+     able to finish it in time for your preparations is another
+     question, which I shall not be able to answer positively
+     before _two months_ are elapsed. It will then be the middle
+     of March, more than five months before the period of your
+     Festival, and if I should fail in my efforts of ending my
+     work in time (which I fully hope and trust to do), there
+     will be ample time for you to make it up by something else.
+     Your question about Jenny Lind is very important to the
+     success of the Festival, as I consider her, without
+     hesitation, as the first singer of the day, and perhaps of
+     many days to come. But I am not able to undertake the
+     negotiation which your chairman would entrust me with, as I
+     know how much she is surrounded with engagements of all
+     sorts, and how little likely it is that I could get anything
+     like a positive answer from her, unless a formal application
+     from the Committee had previously been made to her. It is by
+     no means certain that such an application would be
+     successful, but at any rate I think it the only way, if
+     there is one. When you formally wrote to me about the same
+     subject, I was at Berlin, and spoke to her about it, but
+     then she said she should not go to England, she had declined
+     it already twice, it was quite impossible, etc., etc.; so
+     that I am sure that she will not come to _London_ at least
+     (for I did not make any direct enquiries about Birmingham
+     and the Festival at that time). When you have determined
+     what you will do, and if you have written, or if another
+     (perhaps at Berlin) has negotiated for you, pray let me know
+     of it, and I could then, perhaps, be of some use in removing
+     some difficulties which might still arise, and in persuading
+     her to accept the Festival, which I should be most happy to
+     do. But at present, I am afraid, by beginning to talk or
+     correspond with Jenny Lind about this subject, I would do
+     your cause no good, and I therefore beg to be excused.
+
+     "Truly and sincerely yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+Nothing daunted, the Committee at their next meeting (January 30,
+1846) instructed Moore to ask Moscheles (who had been appointed
+Conductor-in-chief of the Festival) to use his influence with Jenny
+Lind. Although a good deal of pressure seems to have been brought to
+bear upon her to visit Birmingham for the purpose of singing in the
+first performance of "Elijah," it was of no avail. The reason of Jenny
+Lind's inability to come to England at that time may be traced to her
+fear of Mr. Alfred Bunn, the opera manager. Those who wish to follow
+the circumstances of that unpleasant episode in the great singer's
+career will find the story fully told in the chapter headed "The Bunn
+Contract," in Messrs. Holland and Rockstro's "Memoir of Jenny
+Lind-Goldschmidt," Vol. I., pp. 228 and 290; also Vol. II., pp. 39 and
+198.
+
+Meanwhile, the work of composition made slow progress, and the fate of
+the oratorio was decidedly precarious. On April 20, four months before
+the Festival, Mendelssohn wrote to Moscheles suggesting that "Athalie"
+should be an alternative to "Elijah." To Hauser, of Vienna, he wrote:
+"I sit, over both my ears, in my 'Elijah,' and if it only turns out
+half as good as I often think it will, I shall be glad indeed! The
+first part will be quite finished within the next few days, and a
+goodly portion of the second part also. I like nothing more than to
+spend the whole day in writing the notes down, and I often come so
+late to dinner that the children come to my room to fetch me, and drag
+me out by main force."[26]
+
+[Footnote 26: "Memoir of Madame Jenny Lind-Goldschmidt," I., 402.]
+
+Writing to Moscheles, Mendelssohn says: "I absolutely require a
+first-rate high baritone. Can such an one be found?" Again: "If, after
+all, there is no baritone to be got, the whole thing falls to the
+ground." To Jenny Lind: "Sometimes, in my room, I have jumped up to
+the ceiling when it seemed to promise so very well. (Indeed, I shall
+be but too glad if it turns out only half as good as it now appears to
+me.) But I am getting a little confused, through writing down, during
+the last few weeks, the immense number of notes that I previously had
+in my head, and working them now and then upon the paper into a
+piece, though not quite in the proper order, one after another."[27]
+To Devrient: "I am working day and night at my new oratorio to send to
+England, otherwise it will not be in time." To his sister Fanny: "I am
+more driven than ever, as an immense piece of 'Elijah' is not yet
+copied, whilst the first part is already in rehearsal in England....
+The first thing to-morrow morning I shall shut myself up, and decline
+to budge till 'Elijah' is finished, which may not be for another three
+weeks, and that I also swear by my beard."
+
+[Footnote 27: "Memoir of Madame Jenny Lind-Goldschmidt," I., 392.]
+
+The anxiety of the Birmingham Committee was somewhat relieved by the
+receipt of the following letter from the composer:--
+
+     [TO JOSEPH MOORE, ESQ.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _May_ 8, 1846.
+
+     "My dear Sir,--I write these lines to inform you that I
+     intend to send the whole of the first part of my oratorio to
+     Mr. Moscheles in the course of the next fortnight. It is by
+     far the greater part of the two; the choruses from the
+     second part will be in England towards the beginning of
+     July, and the rest of the whole in the middle of that month.
+     All this, _Deo volente_.
+
+     "I wish Mr. Bartholomew, in London, who has translated
+     several other vocal pieces of mine, would undertake also
+     this; and I wish he might take advice of my friend, Mr.
+     Klingemann, who understands both languages thoroughly, and
+     who understands my music better than both languages.
+
+     "The most essential condition for my oratorio is a most
+     excellent barytone singer--a man like Pischek, or Staudigl,
+     or Oberhofer. Will you have such a m...."
+
+     [Here the letter is torn away, and concluded in a lady's
+     handwriting, thus:]
+
+     "Believe me always yours truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+The summer of 1846 was very hot, and Mendelssohn often became
+exhausted over the close application which he gave to his work. "I
+have lived the life of a marmot," he writes, but he kept his time. The
+complete Part I. was despatched from Leipzig on May 23. He was then
+interrupted in the process of composition for three weeks by having to
+conduct the Lower Rhine Musical Festival at Aix-la-Chapelle (May 31 to
+June 2);[28] then a Soiree at Duesseldorf; after that the production of
+his "Lauda Sion," at Liege, on the Feast of Corpus Christi, June 11;
+and finally a great Choral Festival at Cologne--"an enormous
+'Saengerfest,'" he writes, of "nearly 2,000 men, which I have also to
+direct." For this Mendelssohn had composed a Festgesang on Schiller's
+"An die Kuenstler" ("To the Sons of Art"), Op. 68.
+
+[Footnote 28: It was on this occasion that Mendelssohn omitted the two
+"redundant bars" in the _Scherzo_ of Beethoven's C minor Symphony. See
+Sir George Grove's forthcoming work on "Beethoven," and the chapter on
+the C minor Symphony; also the "Dictionary of Music and Musicians,"
+Vol. II., 288_a_.]
+
+On his return to Leipzig, Mendelssohn heard that some members of the
+Philharmonic band, who had been discourteous to him during his
+previous visit to London, were not to be engaged for the Birmingham
+Festival. He at once wrote off to Moscheles in the following emphatic
+terms:--
+
+     [MENDELSSOHN TO MOSCHELES.]
+
+     "LEIPZIG, _June_ 26, 1846.[29]
+
+     "My dear Friend,--The occasion of these lines is a passage
+     in Mr. Moore's letter, in which he says: 'Nearly the whole
+     of the Philharmonic band are engaged [for Birmingham]; a few
+     only are left out who made themselves unpleasant when you
+     were there.'[30]
+
+     "Now, I strongly object to this restriction; and as I fancy
+     you can exercise your authority in the matter, I address my
+     protest to you, and beg you to communicate it to Mr. Moore.
+     There is nothing I hate more than the reviving of bygone
+     disputes; it is bad enough that they should have occurred.
+     This one of the Philharmonic is, as far as I am concerned,
+     dead and buried, and must on no account have any influence
+     on the selection made for the Birmingham Festival. If men
+     are to be rejected because they are incompetent, that is not
+     my business and I have nothing to say in the matter; but if
+     it is because 'they made themselves unpleasant when I was
+     there,' I consider that an injustice, against which I
+     protest. Any further disturbance on the part of these
+     gentlemen, I am sure, is not to be feared. That at least is
+     my belief, shared probably by all concerned. So you will
+     sincerely oblige me by having the selection made exactly as
+     if I were not coming to England. The only consideration that
+     can be shown me is not to take me into consideration at all.
+     You will do me a favour by putting this very strongly to Mr.
+     Moore, and requesting him to let the matter drop. If my
+     wishes are to be complied with, the incident must herewith
+     end. Should it be otherwise, I shall write a dozen letters
+     in protest against what I should consider a spirit of
+     vindictiveness. Excuse all this.--Ever yours,
+
+     "FELIX."
+
+[Footnote 29: From "Letters of Mendelssohn to I. and C. Moscheles," by
+Felix Moscheles (Truebner), p. 274.]
+
+[Footnote 30: At a Philharmonic rehearsal in 1844.]
+
+Two months before the performance Mendelssohn reports that "an immense
+piece of 'Elijah' is not yet copied"; and he writes to Moscheles to
+the effect that as the touch of the Birmingham organ was so very heavy
+the last time he played, he would not play one of his Sonatas at the
+Festival until he had first tried the organ; also that when "St. Paul"
+was given in 1837, it was followed by a selection from Handel's
+Oratorios. "I much disapproved of this," he says, "and trust it is not
+to be the case this time." He further adds that "Elijah" will take two
+hours in performance; and that if there must be something added to
+occupy the orthodox three hours, it should be a short complete work:
+"but, however this may be," he says, "don't let us have a ragout
+afterwards."
+
+Meanwhile the Birmingham Committee were completing their arrangements.
+The fee paid to Mendelssohn for his attendance at the Festival was 200
+guineas. Madame Caradori-Allan (the soprano) received a similar
+amount. Other fees were:--Staudigl (the original _Elijah_), 150
+guineas; John Braham (then sixty-eight years old), for one morning
+performance ("The Messiah"), L50; Dr. Gauntlett, as solo organist and
+organist in "Elijah," L30. Cooke and Willy, violinists, (leaders), L40
+and L20 respectively; Dando, violinist, L11; thirty-eight chorus
+singers from London, L6 each, instead of L7, as at the previous
+Festival, the difference being a free railway ticket.
+
+The Committee had some financial difficulty with the "Italian Party,"
+which seemed to be an indispensable and expensive feature of these
+Festivals. Mario, when treating for himself, doubled his former terms!
+Mr. Beale, the agent of the "Italian Party," asked for Grisi, 380
+guineas; Mario, 320; Lablache, 75; and Benedict, 50; making a total of
+825 guineas for the three singers and their accompanist. This amount
+alarmed the Committee, who resolved: "That these exorbitant terms be
+rejected, and that, the services of Benedict not being required, an
+offer of L700 be made for the other three." The fee of L100 paid to
+Moscheles as Conductor-in-chief of the Festival, and that of L210 to
+Mendelssohn, cannot be considered exorbitant, when compared with the
+amounts paid to the solo vocalists.
+
+The choral rehearsals were conducted by Mr. James Stimpson, the
+chorus-master of the Festival. It was not until after the middle of
+June, only two months before the Festival, that Mr. Stimpson received
+the first instalment of the chorus parts. Although these were printed
+(all the rest of the oratorio was sung and played from MS. copies),
+the deciphering of them was no easy matter, owing to the many
+alterations--black, red, and blue ink being freely used to indicate
+the alterations and re-alterations in the parts. Mr. John Bragg, who
+sang tenor in the chorus in 1846 and at several Festivals since,
+relates the following incident in connection with the first rehearsal
+of "Thanks be to God." Mr. Bragg says: "At the passage beginning 'But
+the Lord,' which was an entirely new one to choralists, Mr. Stimpson
+rapped his desk and asked for the separate voice parts one after
+another. He then compared them with his own MS. copy of the score,
+and, being evidently puzzled, said 'Well, gentlemen, the voice parts
+are right, and we must sing it so.' And _so it was sung_," adds the
+veteran Mr. Bragg, "then and ever after; and one of the greatest gems
+in the work shone out for the first time. Great was the enthusiasm of
+the chorus when they had completed the passage and realised the full
+effect of this masterly modulation."
+
+Mr. Stimpson had a most arduous task in preparing the choruses in the
+limited time at his disposal. As late as August 3, twenty-three days
+before the performance, the arrival of the first two choruses of Part
+II. was reported, and the last chorus was not received till nine days
+before the Festival! But the Birmingham singers were on their mettle.
+They enjoyed rehearsing the work, and they worthily maintained those
+splendid choral traditions which have so eminently distinguished the
+Birmingham Musical Festival.
+
+
+
+
+CHAPTER III.
+
+THE ENGLISH TRANSLATION.
+
+
+The music of "Elijah" was composed to German words; an English version
+was therefore necessary. Mendelssohn had no hesitation in assigning
+the task of making the English translation to Mr. Bartholomew--"the
+translator _par excellence_," as he called him--who is so well known
+as the translator or adaptor of Mendelssohn's "Athalie," "Antigone,"
+"Oedipus," "Lauda Sion," "Walpurgis Night," the _Finale_ to
+"Loreley," "Christus," and many of his songs and part-songs.
+Bartholomew also supplied the words of "Hear my Prayer," "which," he
+says, "its dear and lamented author composed for my paraphrastic
+version of the 55th Psalm."
+
+[Illustration: WILLIAM BARTHOLOMEW
+
+(1793-1867)
+
+_The English Translator of Mendelssohn's "Elijah."_
+
+_From the original Painting, now in the possession of Mrs. Harper._]
+
+William Bartholomew (1793-1867) was "a man of many
+accomplishments--chemist, violin player, and excellent flower
+painter." In 1841 he submitted to Mendelssohn the libretto of a fairy
+opera, entitled "Christmas Night's Dream"; and in this way an
+acquaintance commenced which developed into a close friendship
+between the two men--a friendship severed only by death.
+
+Here is Mendelssohn's first letter to Bartholomew on the subject of
+"Elijah."
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _May_ 11, 1846.[31]
+
+     "My dear Sir,--Many thanks for your kind letter of the 4th,
+     to which I hasten to reply, and to tell you that the
+     oratorio for the Birmingham Festival is _not_ the 'Athalie'
+     (nor the 'Oedipus,' of course), but a much greater, and
+     (to me) more important work than both together; that it is
+     not quite yet finished, but that I write continually to
+     finish it in time; and that I intend sending over the first
+     part (the longest of the two it will have) in the course of
+     the next ten or twelve days. I asked Mr. Moore from
+     Birmingham to have it translated by you, and I have no doubt
+     he will communicate with you about it as soon as he gets my
+     letter, which I wrote four or five days ago; and I beg you
+     will be good enough, if you can undertake it, to try to find
+     some leisure time towards the end of this month, that the
+     Choral parts with English words may be as soon as possible
+     in the hands of the Chorus singers. And pray give it your
+     best English words, for till now I feel so much more
+     interest in this work, than for my others--and I only wish
+     it may last so with me.
+
+     "Always very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 31: The original autograph of this letter is now in the
+Library of the Royal College of Music. The "important work" referred
+to in the letter is, of course, the oratorio of "Elijah."]
+
+The music of "Elijah" came to Bartholomew from Mendelssohn in
+instalments. The English translation was the subject of a long and
+elaborate correspondence between the composer and his translator in
+London. Both were unsparing in the labour they bestowed upon the
+translation. The following letters show that Mendelssohn went through
+the English version bar by bar, note by note, syllable by syllable,
+with an attention to detail which might be termed microscopic. These
+letters, written in Mendelssohn's own English, and the majority of
+which are now made public for the first time, cannot fail to be of
+interest.[32]
+
+[Footnote 32: With two exceptions, the letters from Mendelssohn to
+Bartholomew quoted in this "History" are now in my possession.]
+
+A letter from Bartholomew to Mendelssohn may, however, first be
+quoted, to show the spirit in which the English translator discharged
+his congenial task.[33]
+
+[Footnote 33: I am greatly indebted to Frau Geheimrath Wach, of
+Leipzig (Mendelssohn's younger daughter), and her daughter, for their
+kindness in copying the long correspondence on "Elijah" from
+Bartholomew to Mendelssohn. These letters are still carefully
+treasured in the "27 large green volumes" in which Mendelssohn
+"preserved all the letters he received, and stuck them in with his own
+hands."]
+
+     [BARTHOLOMEW TO MENDELSSOHN.]
+
+     "2, WALCOT PLACE,
+
+     "HACKNEY, LONDON, _June_ 23, 1846.
+
+     "My dear Sir,--I have at last, after toiling day and night,
+     got through the first portion of your noble oratorio. I wish
+     I could render words more worthy of such music. My endeavour
+     has been to keep them as _scriptural_ as possible; and in
+     order that you may be able to judge how far I have
+     succeeded, do me the favour to refer to the verses notified
+     in an English version of the Bible. When the second part, or
+     the parts of that, as they are completed, are sent, I hope
+     we shall have the words in the score written in letters
+     which are readable to us. I know not how so bad a scribe as
+     he who penned the libretto could have been found; words, nay
+     even _sentences_ were omitted, and words _changed_: _leben_
+     was written for _beten_, and there were no references to
+     where the verses might be seen in 'The Book.' All these
+     caused me much perplexity, trouble, and, what is worse than
+     all, _loss of time_. These, too, enhanced by my journeys to
+     Hobart Place, and the necessity of copying by my _own hand
+     all_ the vocal portion of the score for the engravers, and
+     those parts which you will receive through the medium of Mr.
+     Buxton for your perusal and decision, have rendered my toil,
+     although a labour of love, incessant. The choral portions
+     will this day be in the hands of the engravers; and I trust
+     you will send by every packet each of the pieces yet
+     forthcoming--one at a time--never mind how short, for the
+     time is short--and I want all the time to enable me to do it
+     as well as I can. And the choralists want all the time to
+     rehearse it as often as they can, for the more often it is
+     rehearsed the better.
+
+     "No. 6 wants the time; and I hope you will have time to
+     write an overture, or introduction, unless you expressly
+     design there shall be none. I understand they (the
+     Birmingham Directors) have engaged Staudigl, I hope with the
+     intention of giving him the Prophet's part, although it is
+     reported here that Phillips is to sing it. Much will depend
+     on who sings it [the oratorio] so far as the soloists are
+     concerned; but the choruses! they will be the main feature,
+     and the glory of their composer. The Baal Priests' choruses
+     are wrought to a climax truly _sublime_. Go on, my dear Sir,
+     go on! until you soar with your 'Elijah' on the returning
+     fire to the height from which he called it down!
+
+     "Your grateful and obliged
+
+     "W. BARTHOLOMEW."
+
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _July_ 3, 1846.[34]
+
+     "My dear Sir,--Many, many thanks for your kind letter and
+     for your translation of the first part of Elijah. I can but
+     write in great haste, else I would try to say more, and to
+     thank you better for all your kindness. But I will do so in
+     person, and meanwhile I merely say--I thank you most
+     heartily, most sincerely, and I hasten to answer your
+     questions.
+
+     "Those words in the choruses which you or I may now or
+     hereafter object to, might, I hope, still be altered _in
+     pencil or ink_ in the parts, if already printed; for if an
+     improvement can be made, it must never be omitted because
+     the printing should be finished. A little more trouble will
+     be amply repaid by a little improvement! And as for the Solo
+     Parts, they _must not be printed at all_ for the Festival,
+     but only written out (copied), and can only be printed
+     together with the pianoforte arrangement, and _after_ the
+     performance. For these accordingly we have time till then,
+     to alter and improve. Pray let Mr. Buxton [Ewer and Co., the
+     English publishers] read all this!
+
+     "No. 1. I wish to keep this if possible as in the English
+     Bible version; therefore I propose[35]:--
+
+     [Music: there shall not be dew nor rain these years, not dew
+     nor rain &c.]
+
+     "No. 5, at the end, I propose to say 'and in our affliction
+     He comforteth us,' and to slur from D to E flat, because I
+     prefer to have the word af_flic_tion on the G flat.[36]
+
+     "No. 6 {3}. The time is _Andante tranquillo_. The first
+     words are from Jerem. xxix., 13. And the following from Job
+     xxiii., 3, and I wish to keep these last literally: 'Oh,
+     that I knew (_slurred_) where I might find Him, that (added
+     note, as you also have) I might come [slur symbol] even to
+     His seat' (or 'presence,' perhaps, if the two notes shall
+     not be slurred.)[37] And before the first subject and the
+     first words return, the notes may be altered thus:--
+
+     [Music: Oh, that I knew, where I might find Him. If with
+     all, &c.]
+
+     "In No. 7 {5}, I prefer your first idea, 'for _He_ is Lord
+     and God,' to the two others which you propose; and I wish
+     you would have the 'He,' &c., inserted still in the choral
+     parts.
+
+     "No. 8 {6}, I prefer an alteration in the notes, and to keep
+     the words:--
+
+     [Music: and hide thyself by the brook Cherith.]
+
+     as also--[Music: and thou shalt drink of the brook.]
+
+     [Music: and I have commanded the ravens to feed thee, &c.]
+
+     "No. 9 {7}. Pray let the beginning stand as in the Bible,
+     viz.:--
+
+     [Music: For He shall give His _angels charge_ over thee.]
+
+     and if the end 'and thus harm thee' can be spared, and it
+     can finish with the words 'against a stone,' I should like
+     it better.
+
+     "No. 10 {between 7 and 8}, in the middle I propose again to
+     alter the notes in order to keep the Bible version:--
+
+     [Music: -bide. _Behold I have commanded a widow woman there
+     to sustain thee_, and thou shalt want nothing, _nor she and
+     her house_, through, &c.]
+
+     "No. 11[38] {8}. Again the same (bar 16, &c.):--
+
+     [Music: and his sickness is so sore, that there is no breath
+     left in him.]
+
+     and then--
+
+     [Music: art thou come to call my sin, to call my sin to
+     remembrance, to slay my son, to slay, to slay my son?]
+
+     and at the end: 'there is no breath, no [slur symbol] breath
+     [slur symbol] left in him,' instead of 'exhausted,' etc.
+
+     "Then again:--[Music: ELIJAH. give me thy son.]
+
+     "And instead of 'that he again may live,' I should prefer
+     always as you have at the end, 'that he again may praise
+     Thee.' Again the music should be altered for the Bible
+     version's sake in this:--
+
+     [Music: Wilt thou indeed show wonders to the dead?]
+
+     "In the following _Allegro agitato_, I prefer 'thy _prayer_'
+     to 'thy petition,' and beg you will alter the notes
+     accordingly.
+
+     "No. 12 {9}.[39] Is it as scriptural to say 'the men' as
+     'the man'? And if not, could not the sentence be 'Blessed is
+     the man who fears Him, who delights,' and so on? And what do
+     you like better: the amplification, 'light shining over
+     them,' or to say instead of these words, 'to the upright,'
+     and to slur the two notes thus:--
+
+     [Music: through darkness riseth light, light to the
+     _up_right.]
+
+     "Pray do it as _you_ think best.
+
+     "At the beginning of No. 13 {10}, I should wish to have the
+     same words as in No. 1, viz.: 'before whom I stand,'
+     instead of 'I tell thee truly.' And instead of 'that the
+     rain may fall,' etc., I should propose:--
+
+     [Music: and God will send rain again upon the earth.]
+
+     which is more according to the Bible. I prefer 'Let him be
+     God' to 'He shall be God' (which you have added in pencil).
+     Instead of 'I, even I alone stand here among you,' I propose
+     the alteration:
+
+     [Music: I, even I, only remain, &c.]
+
+     "I prefer 'Invoke your forest gods,' etc., as you do.
+
+     "In No. 15 {11}, is not the accent extirpate a wrong one?
+     The syllable _tir_ will always be the first in the bar and
+     the strongest, with a marked accent.
+
+     "No. 16. {12} [Music: or he is pursuing.]
+
+     and then--[Music: journey; _or_, peradventure.]
+
+     "In No. 18 {13}, could not the words 'with lancets cut
+     yourselves after your manner' be kept?
+
+     "No. 20. {14} [Music: people that I have done these things
+     according to Thy word! O hear me, Lord, &c. O hear me Lord,
+     &c.]
+
+     "I prefer 'and let their hearts again be turned,' as you do.
+
+     "In No. 22 {16}, could not the end be: 'and we shall have no
+     other god before Him,' or 'the Lord' (from Exodus xx., 3)?
+     Then instead of 'let not a prophet,' I propose:
+
+     [Music: and let not one of them escape ye: _bring_ them,
+     &c.]
+
+     "In No. 23 {18}, I prefer '_thee_' &c., to the other
+     version, according to your remarks. But the end I wish
+     thus:--
+
+     [Music: Woe unto them, woe unto them.]
+
+     "No. 24. {19} [Music: O Lord, Thou hast overthrown Thine
+     enemies, and destroy'd them! Now look on us, &c.]
+
+     "Then I wish the following notes altered:--
+
+     [Music: ELIJAH. Go up now, child, and look toward the sea.
+     Has my prayer been heard by the Lord?]
+
+     "I also prefer 'the heavens are _as_ brass'--a note might be
+     added. Then afterwards I propose:--
+
+     [Music: closed up, _because they have sinn'd, have sin-ned
+     against Thee_]
+
+     "And afterwards if 'and turn from _their_ sin' seems
+     preferable to you, a note might be added to keep the words
+     as in the Bible. In the following sentence it sounds to me
+     more scriptural to leave the words as in 2 Chronicles vi.,
+     27:--
+
+     [Music: Then hear from heav'n, and forgive the sin.]
+
+     "Then I wish the notes altered thus:--
+
+     [Music: Go up again, and still look towards the sea.]
+
+     "Then also 'the earth is _as_ iron.' And then would you like
+     this:--
+
+     [Music: There is a sound of abundance of rain.]
+
+     "If possible I should wish to have omitted 'I implore Thee,'
+     which does not sound as scriptural to me. If I am wrong,
+     pray leave it; but if not, the words 'to my prayer' might be
+     repeated instead of them. The following is Psalm xxviii.,
+     1:--
+
+     [Music: Unto Thee will I cry, Lord, my rock: be not silent
+     to me.]
+
+     and could not the following sentence be thus:--
+
+     [Music: and Thy great [_or_ Thy gracious] mercies do
+     remember, O Lord!]
+
+     "Then I prefer--[Music: like a man's hand!]
+
+     "Instead of 'His boundless,' I propose to omit the G (the
+     first note), and have instead 'for His' (mercies, &c.), and
+     to add afterwards a note (A), in order to say 'endureth
+     _for_ evermore.' I prefer 'The Lord is _above them_,' to 'is
+     the highest.'
+
+     "I am so very sorry you had that trouble with the words! And
+     the first portion of the second part, which I sent off
+     before the receipt of your letter, was again written in
+     German characters. But the numbers you receive with this
+     will, I hope, be legible; and I have made reference to the
+     verses of the Bible, and will continue to do so. With the
+     next packet you will again receive some pieces, and so
+     always on till the whole (at least of the choruses) is in
+     your hands, which I hope shall not last more than a
+     fourthnight (_sic_). And if there should be something left
+     it would be here or there a solo-piece, which (as it must
+     not be printed) will easily be done and copied in time. You
+     are right, the great question is, Who is to sing the
+     Elijah?--and I am at a loss why I have not yet heard some
+     news respecting this most essential point.
+
+     "My intention was to write no Overture, but to begin
+     directly with the curse. I thought it so energetic. But I
+     will certainly think of what you say about an Introduction,
+     although I am afraid it would be a difficult task, and do
+     not know exactly what it should or could mean before that
+     curse. And after it (I first thought to write the Overture
+     _after_ it), the chorus _must_ immediately come in. Now once
+     more excuse the haste and accept the thanks of
+
+     "Yours very truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 34: This letter is reproduced in _fac-simile_ at the end of
+this book.]
+
+[Footnote 35: In order to make the musical examples in the following
+letters more intelligible to the general reader, and easier of
+reference to the printed score, I have added clefs and key signatures
+where Mendelssohn did not think it necessary to insert them when
+writing to Bartholomew. The figures in brackets refer to the _present_
+numbers in Novello's Edition of the Oratorio.]
+
+[Footnote 36: This No. 5 was the _original_ form of the tenor
+Recitative (now No. 3), "Ye people, rend your hearts." Before the
+Birmingham performance Mendelssohn re-wrote it, making it much shorter
+(10 bars instead of 17) and less elaborate, and in the form in which
+it is now sung. The concluding bars of the original are here appended,
+with the two versions of the words, to show the force of Mendelssohn's
+suggested alteration:--
+
+[Music: TENOR SOLO.
+
+Bar 16 of _original_ RECIT.
+
+(_Bartholomew._) and He comforteth us in affliction, If with all &c.
+
+(_Mendelssohn._) and in our affliction He comforteth us.]
+
+The words of this Recit., as originally written by Bartholomew, were:
+"Ye people, rend your hearts, and not your garments, for your
+transgressions; even as Elijah hath sealed the heavens through the
+word of God.
+
+"I therefore say to ye, Forsake your idols, return to God; for He is
+ever enduring in goodness; repenting of the evil. He turneth our
+sorrow to gladness, and He comforteth us in affliction."]
+
+[Footnote 37: Bartholomew originally had these words: "Ah! could I
+find Him; and at His footstool bow before His presence."]
+
+[Footnote 38: Mendelssohn greatly altered the "Widow" scene before the
+oratorio was published.]
+
+[Footnote 39: The music of this chorus ("Blessed are the men") was
+afterwards much altered.]
+
+In regard to the Overture, referred to at the end of the foregoing
+(very long) letter, it may be interesting to quote an extract from one
+of Bartholomew's letters to Mendelssohn:--
+
+     "I have maturely considered, and, with Mr. K[lingemann],
+     think it will be a new feature, and a fine one, to announce
+     the curse, No. 1. Then let an Introductory-movement be
+     played, expressive, descriptive of the misery of famine--for
+     the chorus (I always thought) comes so very quickly and
+     suddenly after the curse, that there seems to elapse no time
+     to produce its results."
+
+It seems evident that Mendelssohn was indebted to Bartholomew for the
+suggestion of an Overture to "Elijah." That Mendelssohn accomplished
+what he calls his "difficult task" we know full well, and Bartholomew
+must have felt quite satisfied when the composer wrote to him and
+said, "I have written an Overture, and a long one."
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, 18_th_ _July_, 1846.
+
+     "My dear Sir,--I received yours of the 9th. And many thanks
+     again! And you copy yourself the solo parts! Whatever your
+     reason may be, I feel what an obligation you confer upon me.
+
+     "Now I go on with my remarks about those pieces of the
+     second part which you sent me the translation of, viz.: Nos.
+     33, 34, and 35. By-the-bye: No. 33 will be altered and
+     another Recit. (for a _Soprano_) comes in its stead with the
+     next parcel; but the words are the same, and your
+     translation will go quite as well to the new Recit.
+
+     "In No. 34 I again wish to alter the notes in order to keep
+     the English scriptural version. And it seems to me so
+     important that this should be done that I hope it is time
+     still to make the alteration in all the choral parts. The
+     beginning I wish altered thus:--
+
+     [Music: And behold, the Lord passed by.]
+
+     or, if 'passed' must have two syllables:--
+
+     [Music: Lord pass-ed]
+
+     "The end of the first phrase 'as He approached' is not quite
+     agreeable to me; could you not find _four_ syllables instead
+     of them (making the two _slurred_ notes single
+     ones)--_e.g._, 'as the Lord drew near' (don't laugh), or
+     something in which _the accent on the last syllable is
+     strong and decided_!
+
+     "Then comes:--
+
+     [Music: But the Lord was not in the tempest.]
+
+     "Then again: 'And behold, the Lord passed by.' And at the
+     end again, 'But the Lord was not in the earthquake.' Also
+     the third time: 'But the Lord was not in the fire.'
+
+     [Music: But the Lord, &c.]
+
+     "Then--
+
+     [Music: And after the fire there came a still small voice]
+
+     (here I think it is _quite_ necessary to keep the scriptural
+     expression _at least_ at the beginning!) And then perhaps:
+     'And in that voice the Lord came unto him.'
+
+     "The instrumental parts are all copied here, and I bring
+     them with me. Excuse the haste of these lines.--Always yours
+     very truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _July_ 21, 1846.
+
+     "My dear Sir,--After I had sent off my last letter to you in
+     the morning, yours of the 14th arrived in the evening. I
+     hasten to answer it, and will send the metronomes in a few
+     days, when the last two pieces of the second part will come.
+
+     "You receive to-day all the pieces that were still wanting
+     in the 2nd part, and only the Nos. 36, 37, 38, and 39 are
+     now to come, and will be sent off in a few days (two of them
+     are but short recitatives), so that I hope everything is now
+     safe with regard to rehearsals, &c., &c.
+
+     "I am quite of your opinion, that _accent_ is _the_ thing,
+     and I much prefer the alteration of a few notes to a bad
+     accent. So I hope you left 'Be not afraid, saith God the
+     Lord, be not afraid, for I am near,' which seems to me much
+     better than the other. At any rate, I hope to stay 6 or 8 or
+     10 days in London _before_ the Festival.
+
+     "In the song, 'O rest in the Lord' (_Sei stille dem Herrn_),
+     I beg you will adopt something like the words of Ps. 37, v.
+     4, instead of the words 'and He will ever keep the
+     righteous'! 'and He shall give thee' does very well with the
+     notes; and there is only another expression, instead of 'the
+     desires of thy heart,' necessary to make it fit the music
+     and everything. And instead of the end 'He will defend
+     thee,' &c., I should prefer also Ps. 37, v. 8, perhaps so:
+     'and cease from anger, and fret not thyself'; or, 'and cease
+     from [slur symbol] anger and forsake the wrath,' which will
+     do with the alteration of one or two notes being not slurred
+     instead of slurred, and _vice versa_.
+
+     "And pray let always _accent_ go first, especially in the
+     _Choruses_! And Songs! And Recitatives!
+
+     "Always yours very truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+Mendelssohn's request for a good verbal accent throughout the whole
+translation of his oratorio is frequently expressed in these letters.
+No less anxious was he to retain, as nearly as possible, the familiar
+words of the English Bible, in preference to introducing new wordings
+of well-known texts--_e.g._, "Oh! that I knew where I might find
+Him."[40] And when this was not practicable, he would often alter the
+notes in order to gain his desired end. It is evident from these
+letters that Mendelssohn knew the English Bible well.
+
+[Footnote 40: See the letter to Bartholomew, July 3, 1846, p. 55.]
+
+"O rest in the Lord" has attained such widespread popularity that it
+will come as a surprise to many to learn that, before the first
+performance, Mendelssohn decided to eliminate this favourite air from
+his oratorio. When Bartholomew received the manuscript of the song, he
+found that the melody began thus:--
+
+[Music: Sei stille dem Herrn, und warte auf ihn.]
+
+He at once wrote the following letter to Mendelssohn:--
+
+     "2, WALCOT PLACE, HACKNEY,
+
+     "_July_ 20, 1846.
+
+     "And now, my dear Sir, having done all I can with 'Elijah,'
+     as much as I have of it--having corrected and revised the
+     second proofs of its printed first portion, and made the
+     alterations you suggested--nearly all--one or two remaining
+     for your assistance to complete--I am about to take a great
+     liberty with you, and the impulse which prompts it--be it
+     offensive or not--you must place to the account of the
+     feeling which you or your music has inspired within me. And
+     what is your music but yourself?--the incarnation of your
+     spirit, made material by creation, and thus
+     apparent--apparent through the agency of the body!
+
+     "Do you know a Scotch air, called 'Robin Gray'?
+
+     [Music: Young Jamie lov'd me well, and ask'd me for his
+     bride, &c.[41]]
+
+     "Now compare the aria (_Andante_, without a number) 'Sei
+     stille dem Herrn' ['O rest in the Lord'] with it. You may,
+     perhaps, see nothing semblant in the two; but so much
+     warranty have I for thinking that there is, that when
+     Buxton--who brought it to me while I was with Miss
+     Mounsey,[42] examining some of the proofs of your
+     'Elijah'--heard her, at his request, try it over--I being
+     engaged at the table copying--he said: 'Why that's like
+     "Robin Gray"!' _I_ thought so, ere the above phrase was
+     completed, and Miss Mounsey agreed with our opinions. I said
+     nothing more then, but when I returned home I looked at it
+     again, and at bar 10--look at it!--see the close:--
+
+     [Music: pound were both for me.]
+
+     [Music: Bar 10. _fuehren_.[43]]
+
+     "Other distinct features may be traced, but these two are
+     enough to give it the stamp of at _least_ an imitation,
+     which if you intend it to be, I have nothing further to say
+     on the subject; except that it will lay you open to the
+     impertinence of the saucy _boys_ of the musical press, one
+     of whom has had the audacity to accuse you of copying,
+     borrowing, making your own, the ideas of the little man of
+     the party!...
+
+     "Enough of this. Place what I have said to the right side of
+     my friendly account in your _ledger lines_! If you alter the
+     notation of the song, bring or send me another score of it,
+     and I will take care to place this one only in _your own
+     hands_. Mr. Klingemann thought I ought to tell you of the
+     coincidence, I having mentioned it to him."
+
+[Footnote 41: Mr. Bartholomew doubtless quoted this and the following
+example from memory.]
+
+[Footnote 42: Afterwards Mrs. Mounsey Bartholomew.]
+
+[Footnote 43: The German words which Mendelssohn _originally_ selected
+for "O rest in the Lord" were: "Sei stille dem Herrn, und warte auf
+ihn; der wird dich wohl zum Guten fuehren. Befiehl dem Herrn deine
+Wege, und hoffe auf ihn; der wird dich erretten von allem Uebel." He
+subsequently changed the second and fourth clauses to the more
+familiar Luther version. (Psalm xxxvii., 7, 4, 5, 8.)]
+
+In answer to this letter--which Mendelssohn erroneously considered to
+be a request to _omit_ the song--came the following reply:--
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _July_ 28, 1846.[44]
+
+     "My dear Sir,--Here are the metronomes, which I beg you will
+     give the director of the choruses; but tell him that I
+     cannot promise they will be _exactly_ the same, but _nearly_
+     so, I think.
+
+     "Many thanks for your last letter, with the remarks about
+     the song ['O rest in the Lord']. I do not recollect having
+     heard the Scotch ballad to which you allude, and certainly
+     did not think of it, and did not _choose_ to imitate it; but
+     as mine is a song to which I always had an objection (of
+     another kind), and as the ballad seems much known, and the
+     likeness very striking, and before all, as you wish it, I
+     shall leave it out altogether (I think), and have altered
+     the two last bars of the preceding recitative, so that the
+     chorus in F may follow it immediately. Perhaps I shall bring
+     another song in its stead, but I doubt it, and even believe
+     it to be an improvement if it is left out.
+
+     "You receive here Nos. 36, 38, and 39. The only piece which
+     is not now in your hands is No. 37, a song of Elijah ['For
+     the mountains shall depart']. And this (and perhaps one song
+     to be introduced in the first part) I shall either send or
+     bring myself, for they will require only few words, and it
+     will be plenty of time to copy the vocal parts, and the
+     instrumental ones I bring over with me. I hope to be in
+     London on the 17th, and beg you will let us have a grand
+     meeting on the 18th, to settle all the questions and the
+     copies of the solo parts.
+
+     "Always yours very truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 44: The original autograph of this letter, together with a
+MS. copy of "O rest in the Lord," also in Mendelssohn's own hand, were
+personally presented by the late Mrs. Mounsey Bartholomew to the
+Guildhall Library, in May, 1880. But both MSS. suddenly and
+mysteriously disappeared at the time, and have not since been found.
+See _The Times_, May 15, 1880, p. 13.]
+
+It may perhaps be as well to complete the history of "O rest in the
+Lord" before proceeding farther, even at the risk of a little
+repetition. Mendelssohn does not seem to have liked the implied
+plagiarism of "Auld Robin Gray," although he says he had an
+"objection" to his song "O rest in the Lord" "of another kind." He
+repeated his request that it "must be left out" (see next letter).
+Bartholomew, however, wrote to him saying: "Why omit the song 'O
+rest,' when merely a note or two of the melody being changed would
+completely obliterate the identity, and I think not spoil the song as
+a whole? If you omit it, and especially upon such a reason as my hint
+may have afforded, I shall be very much pained."
+
+This last sentence must have so touched Mendelssohn's feelings that he
+somewhat relented from his former decision. He wrote to Bartholomew:
+"About the song 'O rest in the Lord,' we will settle everything when
+we meet." Bartholomew strongly urged him to retain the now familiar
+air; but even at the eleventh hour (at the rehearsal in London)
+Mendelssohn still wished to delete it from the oratorio. However, the
+advice of his friends ultimately prevailed, and "O rest in the Lord"
+was thereby spared the fate of utter oblivion. Mendelssohn altered the
+fifth note of the melody (taking it _down_ to C instead of _up_ to G)
+in order to destroy the supposed "Auld Robin Gray" likeness; but it is
+amusing to notice that he _retained his original note_ in the _coda_
+of the song, where, in two places, the fifth note goes up to G![45]
+
+[Footnote 45: Amongst the MSS. which Miss Mounsey kindly gave me in
+view of this "History," is the identical copy from which "O rest in
+the Lord" was first sung in public--by Miss M.B. Hawes, at the
+Birmingham Festival of 1846. The copy, written by Bartholomew, has
+pencilled alterations in Mendelssohn's own hand.]
+
+This break in the continuity of the correspondence may afford an
+opportunity of mentioning a phrase used by Bartholomew in one of his
+letters to Mendelssohn, which he calls "Irish Echoes." He says: "We
+must mind that any notation which may be altered shall not affect the
+band parts. Excuse my naming this. You do not write _Irish
+Echoes_--but yet by altering the notation they may inadvertently
+arise. Lest you should not know what I mean by an 'Irish Echo,' this
+may explain it. An Irishman, boasting of his country, said: 'It had an
+Echo, which, if you said 'How d'ye do?' replied, 'Pretty well, I thank
+you!'"
+
+But to resume the continuation of the letters:--
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _August_ 9, 1846.
+
+     "My dear Sir,--I write these lines merely to tell you that I
+     hope to see and speak to you on the 17th or 18th, and to ask
+     you to defer the printing of the words of 'Elijah' in the
+     books till after my arrival _if possible_. Moscheles writes
+     they want to print the books _now_, but I really think that
+     a week beforehand is early enough. However, as I do not know
+     how these things are managed in England, I beg that _if it
+     must be done_ before my arrival, you will introduce the
+     following alterations:
+
+     "1. After the words of Elijah (the curse), and before the
+     1st chorus, I should like to have in the books
+     'Introduction,' or 'Overture,' or some word like this, to
+     let people know that an Overture is coming before the
+     chorus--for I have written one, and a long one.
+
+     "2. The song 'Sei stille dem Herrn' ['O rest in the Lord']
+     must be left out.
+
+     "3. The _second_ part of No. 41, 'Er wird oeffnen die Augen
+     der Blinden,' must also be left out; so that from the words
+     'und der Furcht des Herrn' ['and of the fear of the Lord']
+     it goes immediately to the quartett in B flat 'Wohlan, denn'
+     ['O come, every one that thirsteth']. Pray let the choral
+     people at Birmingham know this _directly_; it will spare
+     them much time, as the _Alla breve_ is not easy, and as I
+     am sure I will not let it stand. Of course the _whole
+     beginning_ of No. 41, 'Aber einer erscheint, &c.; der wird
+     des Herrn Namen' must _stand_ and _not_ be omitted; merely
+     from the _Alla breve_, and from the 1st introduction of the
+     words 'Er wird oeffnen,' is to be left out.[46]
+
+     "Pray excuse all this trouble; and let me thank you in
+     person for all the hard work you have had on my account.
+
+     "Always very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 46: This section of the chorus (No. 41), which Mendelssohn
+rejected almost at the eleventh hour, was a somewhat extended movement
+in D, eighty-six bars long. It started with the following subject in
+the soprano:
+
+[Music: SOPRANO. He shall open, shall open the blind eyes, and He
+shall bring the prisoners from the prison; and them that sit, that sit
+in darkness out of the prison house.]]
+
+
+     [MENDELSSOHN TO BARTHOLOMEW.]
+
+     [_Written in English._]
+
+     "LEIPZIG, _August_ 10, 1846.
+
+     "My dear Sir,--In the letter I wrote to you yesterday I
+     forgot to mention the words of the song which I bring with
+     me (the No. 37 which is still wanting in your score) in
+     case it should be _indispensable_ to have the books printed
+     before my arrival. They are from Isaiah liv., 10, and I find
+     that the English words will apply literally to my music; so
+     I beg you will let No. 37 stand thus in the English version:
+     _No. 37, Arioso (Elijah)_. 'For the mountains shall depart
+     and the hills be removed; but Thy kindness shall not depart
+     from me, neither shall the covenant of Thy peace be
+     removed.'
+
+     "Excuse my negligence and the two letters.
+
+     "Always yours very truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY,
+
+     "who hopes to see you this day week."
+
+     "P.S.--I re-open this letter because I receive this moment
+     yours of the 4th.--Many, many thanks for all the trouble you
+     take. I shall bring an organ part if possible; and be sure
+     that I shall not be dissatisfied with _any_ thing you may
+     have done under your responsibility; I know you too well for
+     that. The synopsis of the second part is quite right, and
+     with the addition of No. 37 (as above) it is all in order. I
+     am certain our conference will not be half so difficult as
+     you anticipate, and in a few hours we will have settled
+     everything. Can we meet on the 18th at Mr. Klingemann's?
+     About the song, 'O rest in the Lord,' we will settle
+     everything when we meet."
+
+Mendelssohn and Bartholomew duly met in London, and the "everything"
+included numerous finishing touches and alterations, both in regard
+to the English words and the music. The correspondence between the
+two men was only temporarily suspended. It was renewed, with all its
+old characteristics, when "Elijah" was under revision; and the
+subsequent letters from Mendelssohn to his English translator will be
+found in Chapter V.--"The Revised Oratorio."
+
+
+
+
+CHAPTER IV.
+
+THE FIRST PERFORMANCE.
+
+
+Mendelssohn arrived in London on August 17 or 18 (1846), and again
+stayed with Klingemann, at 4, Hobart Place, Eaton Square. A pianoforte
+rehearsal of the vocal solos of "Elijah" was held on the 19th
+(Wednesday), at Moscheles's house, 3, Chester Place, Regent's Park.
+Mendelssohn commenced the rehearsal by playing the Overture from
+memory, to the delight and admiration of those who heard it. The lady
+vocalists gave the composer some trouble. The soprano requested him to
+transpose "Hear ye, Israel," a whole tone down, and to make certain
+changes to suit her particular style! "It was not a lady's song," she
+said. Mendelssohn resisted with studied politeness, and said, "I
+intended this song for the principal soprano; if you do not like it I
+will ask the Committee to give it to some other vocalist." Afterwards,
+when alone with Moscheles, he most unreservedly expressed himself as
+to the "coolness of such suggestions."
+
+When "O rest in the Lord" was tried over, the singer was anxious to
+introduce a long shake (on D) at the close! "No," said the composer,
+"I have kept that for my orchestra," and he then archly played the
+familiar shake, which is given to the flute in the orchestral
+accompaniment. He was still doubtful, even at the eleventh hour,
+whether he should not withdraw "O rest in the Lord." "It is too
+sweet," he said. His friends urged him at least to try its effect, and
+ultimately their advice was accepted. Mr. Charles Lockey, the young
+tenor singer, immediately won the composer's golden opinion, and
+Mendelssohn was more than satisfied with his beautiful and sympathetic
+voice at the first performance. The tenor solos had been previously
+assigned to Mr. J.W. Hobbs, who generously relinquished them in favour
+of the younger singer. The soloists had to sing from MS. copies which
+contained only the vocal melody and bass of the accompaniment. These
+copies, neatly written by Bartholomew on oblong-folio music-paper,
+contain several alterations in Mendelssohn's own hand.
+
+The orchestral parts had been previously tried over and corrected at
+Leipzig; the way was therefore made smooth for the band rehearsals in
+London. These rehearsals took place at the Hanover Square Rooms on the
+Thursday and Friday preceding the Festival. "Mendelssohn," records the
+late Mr. Rockstro, "looked very worn and nervous; yet he would suffer
+no one to relieve him, even in the scrutiny of the orchestral parts,
+which he himself spread out on some benches beneath the windows on the
+left-hand side of the room, and insisted upon sorting out and
+examining for himself." The late Henry Lazarus, the eminent
+clarinettist, related to me a personal incident in connection with
+this first London rehearsal. Near the end of the chorus "He, watching
+over Israel," occurs the following instrumental phrase in the
+clarinets and flutes--a phrase which is not fully discernible in the
+pianoforte arrangement of the score, and which is practically
+inaudible at a performance:--
+
+[Music: Bar 14 from the end.
+
+CHORUS. slumbers not, sleeps, not, &c.]
+
+"Mr. Lazarus," said Mendelssohn, "will you kindly make that phrase a
+little stronger, as I wish it to stand out more prominently? I know I
+have marked it _piano_." "Of course," added Mr. Lazarus, "I was
+playing it religiously as marked."
+
+The story that the holding C's for the oboe in No. 19 (which accompany
+"There is nothing") were inserted by Mendelssohn at the end of the
+first rehearsal to satisfy Grattan Cooke, the oboeist, is a pure myth.
+A MS. score of the work, used at Birmingham, and now in the possession
+of Messrs. Novello, Ewer and Co., shows that these notes were not
+subsequently added, but formed part of the original design. Moreover,
+Mendelssohn would hardly be guilty of the mock-descriptive in allowing
+the words "There is _nothing_" to be sung without any accompaniment.
+And Cooke could not complain that the composer had not given him any
+oboe solos, after he had played the beautiful oboe obbligato in "For
+the mountains shall depart," which was doubtless written by
+Mendelssohn expressly for Cooke.[47] The story probably took its
+origin from the following circumstance, which has been fully told by
+Dr. E.J. Hopkins. When the vocal score of "Elijah" was first
+published, Mendelssohn presented a copy to Grattan Cooke, who was a
+great favourite with the composer. In this copy Mendelssohn wrote the
+following inscription:--
+
+     [Music]
+
+     "An Grattan Cooke, zum freundlichen Andenken.
+
+     "FELIX MENDELSSOHN-BARTHOLDY.
+
+     "London, Fruehling, 1847."
+
+[Footnote 47: According to the late Mr. J.W. Davison, "Mendelssohn was
+a long time uncertain whether he should add the oboe part, or limit
+the score to the string quartet."]
+
+Mendelssohn knew that Grattan Cooke was fond of a joke, and, as Dr.
+Hopkins says, the composer's quiet humour is well shown in the above
+inscription. The length of the note is seven bars of slow time, the
+last of which is not only indefinitely prolonged by a pause, but has
+in addition a _crescendo_ and _diminuendo_ mark. "Any oboeist,"
+observes the Temple organist, "who would dare to try and sustain that
+note as directed would, before bringing it to a termination, himself
+cease to exist!"[48]
+
+[Footnote 48: As a specimen of Grattan Cooke's humour, the following
+incident was related to me by a veteran musician who was a
+fellow-student of the witty oboeist at the Royal Academy of Music. At
+one of the early rehearsals of Mendelssohn's "Midsummer Night's Dream"
+Overture, Cooke was missed from his place in the orchestra, and was
+soon afterwards seen walking up the room carrying a ladder. "What on
+earth have you got that for?" he was asked. Cooke replied: "He's
+written the notes so tremendously high, that I've brought a ladder to
+get up to them!"]
+
+"Elijah" was honoured with the novelty of a preliminary analytical
+notice in _The Times_ of Monday, August 24, 1846, two days before the
+first performance. This article, two columns in length, was one of the
+earliest contributions of the late J.W. Davison, on his joining the
+staff of _The Times_, of which paper he was for many years the musical
+critic.
+
+Euston station presented an animated scene on the Sunday afternoon
+preceding the Festival, when a special train, which left London at 2
+p.m., conveyed Mendelssohn, the solo singers, the band, the London
+contingent of the chorus, and the "Gentlemen of the Press" to
+Birmingham.
+
+Monday morning was set apart for a full rehearsal of "Elijah" in the
+Town Hall, which is thus described in the _Birmingham Journal_:--
+
+     Mendelssohn was received by the performers with great
+     enthusiasm, renewed again and again, as his lithe and
+     _petit_ figure bent in acknowledgment of these spontaneous
+     and gratifying tributes to his genius, personal affability,
+     and kindness.... His manner, both in the orchestra and in
+     private, is exceedingly pleasing. His smile is winning, and
+     occasionally, when addressing a friendly correction to the
+     band or choir, full of comic expression. He talks German
+     with great volubility and animation, and speaks English
+     remarkably well. He possesses a remarkable power over the
+     performers, moulding them to his will, and though rigidly
+     strict in exacting the nicest precision, he does it in a
+     manner irresistible--actually laughing them into perfection.
+     Some of his remarks are exceedingly humorous. In the
+     Overture to the "Midsummer Night's Dream" [played at the
+     Festival], the gradations of sound were not well preserved;
+     a rattle of his _baton_ on the music-stand brings the band
+     to a dead halt. "Gentlemen," says Mendelssohn, "that won't
+     do. All _fortissimo_, all _pianissimo_, no _piano_! A little
+     _piano_ between, if you please. Must have _piano_,
+     gentlemen; when you come to _fortissimo_, do as you like."
+     All this is expressed with animation and good humour, and a
+     roar of laughter over, the band tries again, and a smile
+     playing on the expressive features of the conductor, attests
+     the power of his pleasantly administered corrective.... At
+     its conclusion the whole band and chorus broke into a
+     torrent of enthusiastic acclamation. After the oratorio had
+     been rehearsed, Mendelssohn expressed himself highly pleased
+     with the manner in which the performers had rendered his
+     work, and complimented them on their extraordinary
+     efficiency.
+
+As Moscheles, the Conductor-in-chief of the Festival, was unwell,
+Mendelssohn conducted the evening rehearsal for him. At Mendelssohn's
+request the usual Tuesday evening concert was given up for an extra
+rehearsal of "Elijah." "After the rehearsal," says Mrs. Moscheles, "I
+helped Mr. Bartholomew in correcting the 'text,' and so we went on
+till one o'clock in the morning."
+
+The band and chorus for the Festival consisted of 396 performers. The
+band, mostly of the Philharmonic and the Opera orchestras, numbered
+125 players--93 strings and double wood-wind. The chorus, including a
+contingent of 62 from London, totalled 271, distributed thus:
+sopranos, 79; altos (all male voices, "bearded altos," as Mendelssohn
+called them), 60; tenors, 60; and basses, 72.
+
+The principal vocalists in "Elijah" were Madame Caradori-Allan, Miss
+Maria B. Hawes, Mr. Charles Lockey, and Herr Staudigl; the subordinate
+parts were filled by the Misses Williams (who sang the _duet_ "Lift
+thine eyes," now the trio), Miss Bassano, Mr. J.W. Hobbs, Mr. Henry
+Phillips, and Mr. Machin. Dr. Gauntlett was specially engaged to play
+the organ in the new oratorio. Mr. James Stimpson was the
+chorus-master and official organist of the Festival.
+
+       *       *       *       *       *
+
+The first performance of "Elijah" took place in the Birmingham Town
+Hall, on Wednesday morning, August 26, 1846. Benedict thus describes
+the scene: "The noble Town Hall was crowded at an early hour of that
+forenoon with a brilliant and eagerly-expectant audience. It was an
+anxious and solemn moment. Every eye had long been directed towards
+the conductor's desk, when, at half-past eleven o'clock, a deafening
+shout from the band and chorus announced the approach of the great
+composer. The reception he met with from the assembled thousands on
+stepping into his place was absolutely overwhelming; whilst the sun,
+emerging at that moment, seemed to illumine the vast edifice in honour
+of the bright and pure being who stood there the idol of all
+beholders."
+
+The new oratorio was received with extraordinary enthusiasm, and the
+composer's expectations of his work were more than realised. _The
+Times_ said: "The last note of 'Elijah' was drowned in a
+long-continued unanimous volley of plaudits, vociferous and deafening.
+It was as though enthusiasm, long-checked, had suddenly burst its
+bonds and filled the air with shouts of exultation. Mendelssohn,
+evidently overpowered, bowed his acknowledgments, and quickly
+descended from his position in the conductor's rostrum; but he was
+compelled to appear again, amidst renewed cheers and huzzas. Never was
+there a more complete triumph--never a more thorough and speedy
+recognition of a great work of art."
+
+Eight numbers were encored: "If with all your hearts," "Baal, we cry
+to thee," "Regard Thy servant's prayer" (now "Cast thy burden"),
+"Thanks be to God," "He, watching over Israel," "O rest in the Lord,"
+"For the mountains shall depart," and "O! every one that thirsteth."
+Herr Staudigl gave a majestic and ideal rendering of the music of the
+Prophet. In the opinion of the late Mr. Stimpson, who spoke from forty
+years' experience of the Birmingham Festivals, Staudigl's
+interpretation of the bass part has never yet been equalled. The
+junior tenor of the Festival, Mr. Charles Lockey, fairly won his
+laurels. He sang his two songs "deliciously," says a critic; the
+first, "If with all your hearts," was encored, and "the smile upon
+Mendelssohn's face while it was being sung showed how much he was
+pleased with the chaste execution of this young tenor." The soprano
+and contralto soloists failed to satisfy Mendelssohn.
+
+No small measure of the success of the performance was due to Mr.
+Stimpson, the unwearied chorus-master. At its conclusion Mendelssohn
+took him by both hands and said: "What can I give you in return for
+what you have done for my work?" The composer was delighted with the
+manner in which the band and chorus had rendered his music; and an old
+member of the band records "the eagerness with which Mendelssohn shook
+hands with all who could get near him in the artists' room, thanking
+them warmly for the performance." A veteran member of the choir,
+speaking from the recollections and experiences of more than fifty
+years, says of Mendelssohn's appearance and conducting: "It was one of
+the most impressive memories I have in matters musical."
+
+Before going into the Hall, Mendelssohn said to Chorley, the musical
+critic of the _Athenaeum_: "Now stick your claws into my book. Don't
+tell me what you like, but tell me what you _don't_ like." After the
+performance, he said in his merriest manner to Chorley: "Come, and I
+will show you the prettiest walk in Birmingham." He then led the
+critic and other friends to the banks of the canal, bordered by coal
+and cinder heaps. There, on the towing-path between the bridges, they
+walked for more than an hour discussing the new oratorio. According to
+the late Mr. Moore, it was then and there, amidst the scenery of the
+cinder heaps, that a sudden thought struck Mendelssohn to change "Lift
+thine eyes" from a duet into a trio.
+
+Shortly after this "prettiest walk in Birmingham," Mendelssohn poured
+out his delighted feelings to his brother Paul in the following
+letter:--
+
+     [TO PAUL MENDELSSOHN-BARTHOLDY.]
+
+     "BIRMINGHAM, _August_ 26 [? 27], 1846.
+
+     "My dear Brother,--From the very first you took so kind an
+     interest in my 'Elijah,' and thus inspired me with so much
+     energy and courage for its completion, that I must write to
+     tell you all about its first performance yesterday. No work
+     of mine ever went so admirably the first time of execution,
+     or was received with such enthusiasm, by both the musicians
+     and the audience, as this oratorio. It was quite evident, at
+     the first rehearsal in London, that they liked it, and liked
+     to sing and to play it; but I own I was far from
+     anticipating that it would acquire such fresh vigour and
+     'go' in it at the performance. If you had only been there!
+     During the whole two hours and a half that it lasted, the
+     two thousand people in the large hall, and the large
+     orchestra, were all so fully intent on the one object in
+     question, that not the slightest sound was to be heard among
+     the whole audience, so that I could sway at pleasure the
+     enormous orchestra and choir, and also the organ
+     accompaniment. How often I thought of you during the time!
+     More especially, however, when the 'sound of abundance of
+     rain' came, and when they sang the final chorus with
+     _furore_, and when, after the close of the first part, we
+     were obliged to repeat the whole movement ['Thanks be to
+     God']. Not less than four choruses and four airs were
+     encored, and not one single mistake occurred in the whole of
+     the first part; there were some afterwards in the second
+     part, but even these were but trifling. A young English
+     tenor[49] sang the last air ['Then shall the righteous shine
+     forth'] so beautifully, that I was obliged to collect all my
+     energies so as not to be affected, and to continue beating
+     time steadily. As I said, if you had only been there!"
+
+[Footnote 49: Mr. Charles Lockey.]
+
+In a letter written from London (August 31, 1846) to Frau Livia Frege,
+of Leipzig--a gifted amateur singer with a very lovely and high
+soprano voice--Mendelssohn said:--
+
+     "You have always shown so much kind interest in my 'Elijah,'
+     that I look upon it as a duty to write to you after its
+     performance, and to give you an account of it. If this
+     should weary you, you have only yourself to blame; for why
+     did you allow me to come to you with the score under my arm,
+     and play to you those parts that were half completed, and
+     why did you sing so much of it to me at sight? You really
+     ought to have felt it a duty to travel with me to
+     Birmingham; for one ought not to make people's mouths water
+     and make them feel dissatisfied with their condition where
+     one cannot help them; and it was just the solo soprano part
+     I found there in a most helpless and lamentable state. But
+     there was so much that was good by way of compensation that,
+     on the whole, I bring back a very pleasant impression, and I
+     often thought that you also would have taken pleasure in it.
+
+     "The rich, full sounds of the orchestra and the huge organ,
+     combined with the powerful voices of the chorus, who sang
+     with sincere enthusiasm; the wonderful resonance in the huge
+     grand hall; an admirable English tenor; Staudigl, too, who
+     took all possible pains, and whose talents and powers you
+     already well know; some very good second soprano and
+     contralto solo singers; all executing the music with special
+     zest and the utmost fire and spirit, doing justice not only
+     to the loudest passages, but also to the softest _pianos_ in
+     a manner which I never before heard from such masses; and,
+     in addition, an impressionable, kindly, hushed, and
+     enthusiastic audience--now still as mice, now exultant--all
+     this is indeed sufficient good fortune for a first
+     performance. In fact, I never in my life heard a better, or
+     I may say one as good; and I almost doubt whether I shall
+     ever again hear one equal to it, because there were so many
+     favourable combinations on this occasion.
+
+     "With so much light the shadows were not absent, and the
+     worst was the soprano part. It was all so pretty, so
+     pleasing, so elegant, at the same time so flat, so
+     heartless, so unintelligent, so soulless, that the music
+     acquired a sort of amiable expression about which I could go
+     mad even to-day when I think of it. The alto had not enough
+     voice to fill the hall ... but her rendering was musical and
+     intelligent, which to me makes it far more easy to put up
+     with than want of voice. Nothing is so unpleasant to my
+     taste as such cold, heartless coquetry in music. It is so
+     unmusical in itself, and yet it is often made the basis of
+     singing and playing--making music, in fact."
+
+To Jenny Lind, Mendelssohn wrote:--
+
+     "The performance of my 'Elijah' was the best performance
+     that I ever heard of any one of my compositions. There was
+     so much go and swing in the way in which the people played,
+     and sang, and listened. I wish you had been there."
+
+[Illustration: MADAME CARADORI-ALLAN
+
+(1800-1865)
+
+_The original soprano in Mendelssohn's "Elijah."_]
+
+The opinions of the professional critic and the composer have been
+given; the impressions of a cultured amateur in the audience may
+therefore appropriately follow. The subjoined extract is from a letter
+written by the late Mrs. Samuel Bache, of Birmingham (mother of those
+gifted musicians, Francis Edward and Walter Bache), to her nephew, Mr.
+Russell Martineau, M.A., in which she gives a full account of the
+Festival:--
+
+     "EDGBASTON, _September_ 4, 1846.
+
+     "... Wednesday morning 'Elijah' was performed, and of this I
+     cannot exaggerate my reverential admiration. The old
+     admirers of Handel, who always crowd to 'The Messiah,' which
+     they _must not_ miss whatever else they give up, would be
+     shocked to hear anyone confess a greater, a more refined and
+     spiritual influence exercised by Mendelssohn over the mind
+     and heart; but to me it is so undoubtedly, whether _in part_
+     from too great familiarity lessening the impression in
+     Handel's case, I am not quite sure. I think it is that
+     Mendelssohn's whole nature is profoundly educated; that his
+     adaptation of the music to the meaning is not of that broad
+     unmistakable kind which even an uneducated ear can
+     comprehend, but is of that refined and far-reaching nature
+     which carries along with it in fullest sympathy, mind,
+     heart, and soul, be they cultivated ever so highly. If I
+     could send you my scheme [word-book] of 'Elijah' with my own
+     remarks, you would at once see what I mean; one instance
+     must suffice now--the Widow entreating Elijah's 'help' for
+     her sick son receives this answer, '_Give me_ thy son.' Then
+     follows his prayer for God's help that he again may live.
+     The 'Give me thy son' expressed all that religious reliance,
+     that confidence in power from above which already assured
+     the prayer's fulfilment; and Staudigl being Elijah,
+     Mendelssohn's every intention was carried out. Then the
+     contrast between the 'Baal music' and Elijah's and the
+     Israelites' prayers and adoration is finely and truly
+     maintained. To select beauties where the whole is so perfect
+     seems nearly impossible. There is one song deep in my heart,
+     like 'the Lord is mindful of His own' from 'Paul,' which I
+     should call _the song_ of the oratorio--namely, the angel's
+     comfort to Elijah in his despondency, 'O rest in the Lord,
+     wait patiently for Him, and He shall give thee thine heart's
+     desires,' &c. And one quartett of surpassing power and
+     beauty, viz., 'O! every one that thirsteth.' The choruses I
+     consider quite uncommonly impressive; no _noise_, all
+     _music_ and _meaning_, and some of almost unparalleled power
+     and grandeur. Such a triumphant first performance has, I
+     should think, seldom been known....
+
+     "And where was your cousin Edward [Bache] all the time? He
+     was in the orchestra, very near his old master, Mr. [Alfred]
+     Mellon, and our kind friend Mr. Flersheim, and thus had the
+     great advantage and enjoyment of hearing nearly all the
+     performances and taking his part on the violin; it has been
+     a great stimulus to him and an encouragement."[50]
+
+[Footnote 50: F. Edward Bache was then a boy of thirteen. His name
+does not appear in the official list of the Band; but Mr. Andrew
+Deakin's recollection of the event confirms the statement in Mrs.
+Bache's letter.]
+
+At the same time Mrs. Bache wrote to her sister, Mrs. Martineau, the
+wife of the Rev. Dr. James Martineau, as follows:--
+
+     "Let me tell you that Mendelssohn's noble oratorio of
+     'Elijah' was even more than I had expected, and I had _very_
+     great expectations. To see him conducting was worth
+     anything. He seemed inspired, and might well be forgiven
+     for something of self-reverence, though he looked all
+     humility; and when he came down from his chair when it was
+     all over, he seemed all unstrung as if he could no more. The
+     interest that invests that man is quite inexpressible, and
+     indeed I never felt, as I have done throughout this week's
+     Festival, the _greatness_ of a truly great _composer_; what
+     are all the performers compared with him!"[51]
+
+[Footnote 51: I am much indebted to Mr. Russell Martineau, and the
+surviving members of Mrs. Bache's family, for their kind permission to
+use these interesting extracts.]
+
+In a letter ("Leipzig, _September_ 28, 1846"), written in English, to
+his Birmingham host, Mr. Joseph Moore, Mendelssohn said:--
+
+     "I have now returned home, found all my family as well as I
+     might have wished, and, while I think over the events of
+     this last journey, I cannot help addressing these few lines
+     to you in order to express once more the most sincere and
+     most heartfelt thanks for your very kind reception, and for
+     the friendship you have again shown to me during my stay at
+     your house. Indeed, the first performance of my 'Elijah'
+     exceeded all the wishes which a composer may feel at such an
+     important moment, and the evident goodwill of all the
+     artists in the orchestra, as well as the kindness with which
+     the audience received the work, will be as long as I live a
+     source of grateful recollection. And yet it seems to me
+     that I should not have enjoyed so great a treat as
+     thoroughly and intensely as I did, if it had not been for
+     your kindness and continued friendship, and for the
+     comfortable home which you offered to me during those days
+     of excitement. Our quiet morning and evening conversations
+     with Mr. Ayrton and Mr. Webb are to my mind quite connected
+     with the performances at the Town Hall, and form an
+     important part of _my_ Musical Festival at Birmingham; and
+     while I should certainly never have assisted at one of them
+     if it had not been for our very old acquaintance, and while
+     I accordingly owe to you the whole of the treat which this
+     first performance of 'Elijah' afforded me, I must at the
+     same time thank you no less heartily and sincerely for the
+     quiet and comfortable stay, and the friendly reception at
+     your house, which enhanced all those pleasures so
+     considerably. That your health may now be quite restored
+     again after the fatigues you have undergone, and that we may
+     soon meet again (either in your country, or once more in
+     mine), and that you will continue the same kindness and
+     friendship which you have now shown to me, and which I
+     always met with from you since so many years, is the most
+     earnest wish and hope of
+
+     "Yours very truly and gratefully,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+In spite of Mendelssohn's protest, "Elijah" was immediately followed
+by two Italian "selections" and a Handel chorus! If the Committee
+tried their skill at providing an anti-climax, they admirably
+succeeded.
+
+At the concluding concert, on Friday morning, the final chorus of
+Handel's "Zadok the Priest" was set down for performance. Almost at
+the last minute it was found that there was no music for the preceding
+Recitative printed in the word-book.[52] The Committee were in a fix,
+and then they suddenly thought that Mendelssohn might be able to help
+them in their hour of need. He was sitting in the Vice-President's
+gallery, enjoying the performance, when the chairman of the Orchestral
+Committee, the late Mr. J.F. Ledsam, went to him and stated their
+difficulty. Mendelssohn at once proceeded to the ante-room, and, in a
+few minutes, composed a recitative for tenor solo, with accompaniment
+for strings and two trumpets. The parts were expeditiously copied by
+the indefatigable Goodwin, and the whole recitative was performed
+_prima vista_ by Mr. Lockey, a quintet of strings, and the two trumpet
+players. The audience were entirely ignorant of the circumstance of
+this impromptu composition, and doubtless thought that they were
+listening to music by Handel.
+
+[Footnote 52: The words of this Recitative, probably written by the
+Rev. John Webb, first appeared in the word-book of the 1837 Festival,
+just after the accession of Queen Victoria. They supplanted those
+beginning "When King David was old," first sung in 1820. These new
+(Victorian) words were also used at the Festival of 1840, but not in
+1843.]
+
+Through the kindness of the late Dr. W.A. Barrett and Messrs. Goodwin
+and Tabb, it is possible to give the score, together with
+Mendelssohn's felicitous postscript:--
+
+     [Music: RECIT. TENOR. The Lord God Almighty, who ordereth
+     all things in heaven and on earth, hath anointed His
+     handmaid, to be ruler over the nations, to gladden the
+     hearts, the hearts of His servants, Let the trumpets blow,
+     let the trumpets blow, And let all the people rejoice,
+     rejoice and say,
+
+     [_Chorus_--"God save the Queen."]]
+
+     "Composed expressly for this Festival, and for Mr. Lockey,
+     with _many_ thanks for--
+
+     [Music] and for [Music]
+
+     "by me,
+
+     "FELIX MENDELSSOHN-BARTHOLDY.
+
+     "Birmingham, August 28, 1846."
+
+Mendelssohn left Birmingham the same day and came to London, "where,"
+he says, "my only important business was a 'fish dinner' at
+Lovegrove's at Blackwall; after which I stayed four days at Ramsgate
+for sea air, and ate crabs, and enjoyed myself with the Beneckes." The
+late Mrs. Benecke, for whom Mendelssohn had a particular affection,
+remembered that he was in most cheerful and excellent spirits during
+his visit at the seaside, and that he often referred with great
+satisfaction to the first performance of his "Elijah." Although his
+stay at Ramsgate was so short, he there began to write out the
+pianoforte arrangement of the oratorio, and worked at it several hours
+daily.
+
+The Festival Committee, at their meeting immediately after the
+Festival (August 29), passed the following resolution:--
+
+     "That this Committee, deeply impressed by the unprecedented
+     success of the oratorio of 'Elijah,' written for this
+     Festival, do return their very cordial and grateful thanks
+     to Dr. Felix Mendelssohn-Bartholdy for a Composition in
+     which the most consummate musical knowledge and the highest
+     intellectual conceptions are displayed; a Composition which
+     will soon be universally known, and not only add to the
+     fame, already so great, of the Author, but tend to exalt the
+     art which he professes, and on which his genius and judgment
+     reflect so much honour."
+
+[Illustration: HERR JOSEPH STAUDIGL
+
+(1807-1861)
+
+_The original Elijah in Mendelssohn's Oratorio._]
+
+
+
+
+CHAPTER V.
+
+THE REVISED ORATORIO.
+
+
+Mendelssohn, upon his return to Leipzig, was much exhausted after the
+severe strain of composing, and the exertion connected with the
+production of "Elijah." But, although he led "a vegetable existence,
+doing nothing the whole day but eat and sleep and take walks," he very
+soon began to work at the revision of his new oratorio. It has been
+shown that Mendelssohn had to write against time in order to complete
+his oratorio for the Birmingham Festival; and after--if not before, or
+during--the first performance he discovered numerous instances in
+which the work could be greatly improved. He told Mr. Bartholomew that
+he should make _many_ alterations, and he did. In a letter to
+Klingemann, dated December 6, 1846, Mendelssohn says:--
+
+     "I have again begun to work with all my might at my
+     'Elijah,' and hope to amend the greater part of what I
+     thought deficient at the first performance. I have quite
+     completed one of the most difficult parts (the Widow); and I
+     am sure you will be satisfied with the alterations which I
+     may call improvements. 'Elijah' has become far more
+     impressive and solemn here. I missed that in my first
+     version and was annoyed by this want; but, unfortunately, I
+     never find out such things till afterwards, and till I have
+     improved them. I hope, too, to hit upon the true sense of
+     other passages that we have discussed together. I shall most
+     seriously revise all that I did not deem satisfactory; and I
+     hope to see the whole completely finished within a few
+     weeks, so as to be able to set to work on something new. The
+     parts that I have already remodelled prove to me again that
+     I am right not to rest till such work is as good as it is in
+     my power to make it; even though very few people care to
+     hear about such things, or notice them, and even though they
+     take very much time; yet the impression such passages, if
+     really better, produce in themselves and on the whole work,
+     is such a different one, that I feel I cannot leave them as
+     they now stand."
+
+In a letter to his English publisher, Mr. Buxton (Ewer & Co.),
+Mendelssohn calls this habit of constant alteration a "dreadful
+disease," from which he suffered chronically and severely. He says: "I
+was sorry to see that you will have to make so many alterations in the
+choral parts; but I think I told you before, that I was subject to
+this dreadful disease of altering as long as I did not feel my
+conscience quite at rest, and therefore I could not help it, and you
+must bear it patiently." In the same letter (written in English) he
+says:--"I did what I could to reconcile myself to the idea of adding a
+few bars to the Overture to make it a separate piece, and give it a
+conclusion; but, I assure you, it is _impossible_. I tried hard to do
+what you want, in order to show my goodwill--but I could not find an
+end, and I am sure there _is_ none to be found."
+
+The chief alterations (to quote from Sir George Grove's invaluable
+article "Mendelssohn," in his "Dictionary of Music and Musicians,"
+II., 289) were:--
+
+     "The chorus 'Help, Lord!' (No. 1), much changed: the end of
+     the double quartett (No. 7), re-written: the scene with the
+     Widow (No. 8), entirely re-cast and much extended: the
+     chorus 'Blessed are the men' (No. 9), re-scored: the words
+     of the quartett 'Cast thy burden' (No. 15), new: the soprano
+     air 'Hear ye' (No. 21), added to and re-constructed: in the
+     Jezebel scene a new chorus, 'Woe to him' (No. 24), in place
+     of a suppressed one, 'Do unto him as he hath done,' and the
+     recitative 'Man of God' added: the trio 'Lift thine eyes'
+     (No. 28) was originally a duet, quite different: Obadiah's
+     recitative and air (No. 25) are new: the chorus 'Go,
+     return,' and Elijah's answer (No. 36) are also new. The last
+     chorus (No. 42) is entirely re-written to fresh words, the
+     text having formerly been 'Unto Him that is abundantly
+     able,' etc. The _omissions_ are chiefly a movement of 95
+     {86} bars, _alla breve_, to the words 'He shall open the
+     eyes of the blind,' which formed the second part of the
+     chorus 'But thus saith the Lord' (No. 41), and a recitative
+     for tenor, 'Elijah is come already; and yet they have known
+     him not; but have done unto him whatsoever they listed,'
+     with which Part II. of the oratorio originally opened. In
+     addition to these more prominent alterations, there is
+     hardly a movement throughout the work which has not been
+     more or less worked upon."
+
+The phrase of four bars (instrumental) at the end of "Man of God" (No.
+25), and leading into "It is enough," was an afterthought, and, like
+the overture, was due to the English translator. Bartholomew made the
+suggestion--a hint, it may be called, but a very interesting one--in
+the following words: "Elijah--'Tarry here, my servant, and I will go a
+day's journey into the wilderness.' What if an instrumental interlude
+(short) gave time for the journey? and then, spent with fatigue, he
+might, from very weariness, say, 'It is enough!'"
+
+Another interesting instance of Mendelssohn's afterthoughts is that
+near the end of the last Baal chorus, where the sustained and piercing
+cry of the sopranos and altos was _not_ originally re-echoed by the
+tenors and basses:--
+
+[Music: Hear and answer.]
+
+The above impressive response to the entreaty of the female voices is
+inserted, in Bartholomew's writing, in a proof copy of the oratorio,
+now in my possession. Its appropriateness is unquestionable; yet it
+was not in the original version.
+
+The Sacred Harmonic Society, who, in 1837, had enrolled Mendelssohn as
+a member, and had presented him with a silver snuff-box,[53] were
+very anxious to be the first to perform the revised oratorio. Within a
+month of the Birmingham performance, the Secretary addressed to
+Mendelssohn a long letter, in which (1) the Society congratulated the
+composer upon the success of his new work, (2) asked that they might
+have the honour of giving the first performance of the revised version
+before a London audience, and (3) that, if possible, Mendelssohn
+should himself conduct the said performance. Here is Mendelssohn's
+reply:--
+
+[Footnote 53: This silver snuff-box, which cost nine guineas, bore
+upon it the following inscription:--
+
+  "Presented to
+  Felix Mendelssohn-Bartholdy,
+  by the
+  Sacred Harmonic Society, London,
+  on the occasion of
+  his attendance at their performance of his oratorio
+  'St. Paul,'
+  at Exeter Hall, on the 12th day of September, 1837."]
+
+     TO T. BREWER, ESQ., _Hon. Sec. to the Sacred Harmonic
+     Society_, _Exeter Hall, London_.
+
+     [_Written in English._]
+
+     "LEIPZIG, _October_ 7, 1846.
+
+     "Dear Sir,--I beg to express my best thanks for the letter
+     dated September 24, and it gives me much pleasure that the
+     Sacred Harmonic Society will undertake the first performance
+     of my 'Elijah' before a London Audience. I beg to thank the
+     Committee most sincerely for their flattering intention, and
+     of course should be most happy to conduct the work myself
+     on such an occasion, if I can come to London in April next.
+     I hope and trust that I may have that pleasure, and that
+     nothing may prevent me from doing so. But I am still
+     doubtful, and cannot give a positive promise as far as
+     regards my coming over; and as for the parts which you wish
+     to have as soon as possible, I shall speak to the Editor
+     [publisher] of them, Mr. Buxton, who, I hear, is expected
+     shortly in Leipzig, and will ask him to let you have them as
+     soon as they can be ready.
+
+     "With many thanks to yourself and the Society, believe me,
+     dear Sir, your very obedient servant,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+Before the receipt of the Sacred Harmonic Society's invitation,
+Mendelssohn must have begun the work of revision, as the following
+letter to Bartholomew (dated exactly a month after the Birmingham
+performance) will show:--
+
+     [_Written in English, and on a sheet of music-paper._]
+
+     "LEIPZIG, _September_ 26, 1846.
+
+     "Dear Mr. Bartholomew,--Many thanks for your new alterations
+     which you made to meet my wishes. I decidedly prefer the
+     _second_ version of the beginning of No. 41: 'But the Lord
+     from the north hath raised _one_!' (this is very good), but
+     at the last bar before the Andante I cannot approve of--
+
+     [Music] instead of [Music]
+
+     "Indeed these two long notes are _necessary_, for the
+     development of the whole phrase, as I intended it. Now,
+     could you not say '_call His name_,' instead of 'call upon
+     His name?' Then the chief difficulty would be removed. And
+     perhaps would it be possible to leave out 'of the sun,' and
+     only say 'from the rising' (this is done very often, at
+     least in our German Bible)? Then the second passage would
+     also stand nearly as with the German words:--
+
+     [Music: And from the rising he shall call His Name.]
+
+     "The rest of the _Andante con moto_ suits my music now very
+     well in the alteration, as you wrote it out, but I should
+     prefer there the first, and in the beginning (_Andante
+     sostenuto_) the second version. And why not? So the _Andante
+     con moto_ might begin: 'But the Lord hath upraised one, the
+     Lord,' etc. But if this is against your conscience, leave
+     here also the second version. For the beginning is much more
+     important.
+
+     "I prefer:
+
+     [Music: He shall call upon His Name, &c.]
+
+     "In No. 38 I should prefer: 'his words _appeared_ like
+     burning torches'--I am so obstinate about the _torches_
+     because they account for the F minor character which I gave
+     to that beginning more than any other word could possibly
+     do.[54]
+
+     "As for 'the transgressor,' etc., I may possibly send
+     another piece instead of the one which now stands, and
+     therefore we will settle the translation hereafter.
+
+     "In No. 34 I prefer:--[Music: Behold, _God the_]
+
+     and afterwards--[Music: But _yet_ the]
+
+     and likewise--[Music: But _yet_ the]
+
+     for I should not like to place the word 'God' on so short a
+     note, and in such a rhythm, while the word _yet_ is just as
+     light and insignificant as will do on such a note.
+
+     "And again many thanks,
+
+     "F.M.-B."
+
+[Footnote 54: Bartholomew had rendered the German words "und sein Wort
+brannte wie eine Fackel" as "his words appeared as _light in
+darkness_." The English Apocrypha (Ecclesiasticus xlviii., 1) has,
+"his word burned like a lamp." It is very difficult to fathom a
+composer's mind; but what _can_ be the connection between "torches"
+and the key of F minor? Strangely enough the source of these words
+(and also of No. 24) has always been wrongly given as Ecclesiast_es_,
+instead of Ecclesiast_icus_. This mistake has been continued for fifty
+years!]
+
+The following letters from Mendelssohn to Bartholomew, all written in
+English, may now follow on, _seriatim_; they lead up to the period of
+the composer's arrival--for the last time--in England.
+
+     "LEIPZIG, 30 _December_, 1846.
+
+     "My dear Sir,--I send to-day to Mr. Buxton all the pieces
+     which were still wanting in the first part of my 'Elijah.'
+     Wherever I could, I took the words from the English Bible
+     and adapted them as well as I could to the alterations, in
+     order to save you trouble; but, nevertheless, I must ask you
+     to look over all I have done, that no wrong accent or other
+     blunders might remain in it. So, for instance, in the 13
+     bars which I have added before the chorus 'Blessed are the
+     men,' and which are taken from Psalm cxvi. {12} and
+     Deuteron. vi., 15 {5}, I wrote the German words under the
+     English in case you should prefer the notation as originally
+     composed, and choose to add a word or a syllable here and
+     there in the English version, in order to give it the same
+     rhythm as in German. I should wish this in the passage just
+     quoted, particularly in the beginning of Elijah's answer,
+     'Du sollst den,' where the two slurred notes 'Thou [slur and
+     quarter note symbols] shalt' are not equally good. But I
+     could not find something else, and I also think that
+     passages like these are best left as in the Bible. In the
+     following chorus, No. 9, there is a curious specimen of the
+     different _meaning_ of the German and English version: the
+     words 'He is gracious,' &c. (or, as you had it, '_they_ are
+     gracious'), apply, in your version, to the righteous, while
+     in ours they apply to God, and the passage is in our
+     version, 'the light ariseth to the righteous _from_ Him who
+     is gracious, full of compassion,' &c., &c. Now I certainly
+     composed it with this last meaning, and the question is
+     whether you would think it advisable to introduce it, or
+     not. I proposed 'He is' instead of 'they are,' because I
+     thought it could then be understood both ways; but most
+     probably you might hit on something much better still.
+     Instead of 'who delight in His commands,' I preferred 'they
+     ever walk in the ways of peace' _only_, as more expressive,
+     and I hope you will be of my opinion. I see in the
+     Birmingham book that you quoted the words of this chorus
+     Psalm cvi., 3; but I took them from Psalm cxxviii., 1, and
+     Psalm cxii., 1 and 4, although nearly the same passage
+     occurs in Psalm cvi., 3.
+
+     "No. 15 is a piece in which I must again require your
+     friendly assistance. From the time I first sent it away for
+     the Birmingham performance I felt that it should not remain
+     as it stood, with its _verses and rimes_, the only specimen
+     of a Lutheran Chorale in this old-testamential work.[55] I
+     _wanted_ to have the _colour_ of a Chorale, and I felt that
+     I could not do _without it_, and yet I did not like to have
+     _a_ Chorale. At last I took those passages from the Psalms
+     which best apply to the situation, and composed them in
+     about the same style and colour, and very glad I was when I
+     found (as I looked into the English Bible) that the
+     beginning went word by word as in German. But after the
+     beginning my joy was soon at an end, and there it is that I
+     must ask you to come to my assistance. The words are taken
+     from Psalm lv., 23 {22}; Psalm cviii., 5 {4}; and Psalm
+     xxv., 3.
+
+     "In the chorus No. 16, I added the German words 'Fallt
+     nieder auf euer Angesicht,' in pencil, because I thought
+     that the English translation, 'adoring,' etc., did not
+     express the meaning entirely, nor did it render the rhythm
+     of the German, which is still more to be felt by the bar I
+     have added before the pause. Our 'fallt nieder' means
+     something still more awful, I think, than to 'bow down' or
+     'to adore'; but query whether it can or should be given in
+     English![56]
+
+     "You will also find the _Allegro_ of the Soprano song at the
+     beginning of Part 2 ['Hear ye, Israel'] with the subsequent
+     chorus. I never thought of omitting the _Allegro_ of the
+     song, but wanted to find something (in words and music)
+     better appropriated to make the transition from the slow
+     movement to the _Allegro_. The Recit. which I now send is
+     taken from Isaiah xlix., 7. Here again the English words
+     went at first perfectly well, but afterwards they would not
+     do at all, and (which is the most essential) their meaning
+     differed greatly. The German means that the Lord speaks 'to
+     the soul that is despised and _to the nation_ that is
+     abhorred by others, and to His servant who is _oppressed by
+     tyrants_,' and all this made me adopt the words for this
+     Recit., and therefore I wish it to be expressed also in the
+     English version.
+
+     "And besides all this you will find here and there little
+     deviations from your words, where I have been forced into
+     them by my alterations; and therefore I beg you will look
+     over the _whole_, that nothing might be in it of which you
+     did not approve.
+
+     "I owe you still many thanks for several very, very kind
+     letters, and indeed would have written long ago had it not
+     been for a sea of tedious and complicated businesses with
+     which they overload me here. I could not avail myself of the
+     whole of the amplification which you proposed for the
+     Widow's part, although I adopted several of your quotations
+     in that passage; but I was not able to give it the extent
+     you proposed; for although I very often feel the urgent
+     necessity of altering the _details_ (of which you now see so
+     many instances), I can but very seldom bring myself to a
+     deviation from the whole original plan; and I even make
+     those alterations almost everywhere in order to keep more
+     faithfully to the object I had first in view. And on that
+     account I _could_ not make the whole of this passage more
+     prominent, although I always wish to do as you advise.
+
+     "Of course 'commandments' must be left in the soprano song,
+     instead of 'commands,' if you do not approve of the latter.
+     Do you like my way of getting rid of 'to slay, _to_ slay my
+     son?'[57]
+
+     "And many, many thanks for the trouble you have taken with
+     the 'Sons of Art.' I am afraid the thing is only fit for a
+     German musical men-festival, and that it is impossible to
+     give it any effect in another language and at other
+     occasions; but whatever _can_ be done with it has indeed
+     been done by you. And so I end as I began with thanks and
+     thanks.
+
+     "Very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 55: The words of the Quartet, as sung at Birmingham, were:--
+
+    "Regard Thy servant's prayer,
+    While angels bow before Thee,
+    And worlds around Thy throne
+    In strains of praise adore Thee.
+    O, help him in his need,
+    Thy gracious ear accord--
+    Jehovah Sabaoth,
+    Creator, God, and Lord!"
+
+They were changed to the now familiar "Cast thy burden." The music was
+also altered, but its quartet-chorale form and slender accompaniment
+were retained.]
+
+[Footnote 56: The original English words in No. 16 (Chorus) were:--
+
+"Bow down, bow down! on your faces fall adoring!" They are now "Before
+Him, upon your faces fall." The music of this number was also much
+altered. The impressive phrase, "upon your faces fall," just before
+the Chorale, was originally:--
+
+[Music: adoring, adoring! The Lord is God, &c.]]
+
+[Footnote 57: Mr. Bartholomew writes "yes" on the original letter.]
+
+
+     "LEIPZIG, _January_ 20, 1847.
+
+     "My dear Mr. Bartholomew,--A happy new year to you (although
+     it is rather old already), and many, many thanks for your
+     kind and precious letter! Indeed, nobody could have written
+     it but you, and nobody could have taken so much trouble with
+     my choruses to the 'Athalie' but you, and to nobody could I
+     feel so sincerely and heartily indebted but to you. Have
+     many, many thanks, my dear Sir, and be sure that you confer
+     all these obligations to one who knows how to value them,
+     and who will always remain thankful to you!...
+
+     "The second part of 'Elijah' will in very short time be in
+     Mr. Buxton's [Ewer & Co.] hands. And now, my dear Sir, let
+     me repeat to you my heartfelt thanks for all you did again
+     for me when they performed the 'Athalie' choruses,[58] and
+     for your interesting report of all the proceedings before
+     and during that performance, and for all the kindness and
+     friendship which you always show me.
+
+     "Always very truly and sincerely yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 58: Performed, with the original French words and
+Mendelssohn's music, before the Queen, and at the instigation of the
+Prince Consort, at Windsor Castle, on New Year's Day, 1847. This was
+the first performance of "Athalie" in England.]
+
+
+     "L[EIPZIG], _February 2nd_, 1847.
+
+     "P.S.--This letter has been detained till to-day, when I
+     send a great parcel to Mr. Buxton.
+
+     "Now I must add a few things about the second part of
+     'Elijah,' which I send to-day. In the Recit. No. 33, 'Hear
+     me speedily, O Lord,' I have altered the beginning of the
+     words thus:--
+
+     [Music:
+
+     Herr, es wird Nacht um mich!
+     I KINGS, xix., 9.
+     Sei du nicht ferne! Verbirg dein, &c.
+     PS. xxii., 12, 20.
+     ]
+
+     "Pray alter the English words accordingly, and look that the
+     following alterations are made in the music of that same
+     Recitative: bar 16 (accompaniment) is to be thus:--
+
+     [Music]
+
+     Bar 22 (accompaniment) is to be thus:--
+
+     [Music]
+
+     Bar 24 the voice is to be thus:--
+
+     [Music: face must be veiled.]
+
+     and bar 27 (the last) is to be thus in the voice:--
+
+     [Music: for He draweth near.]
+
+     "Pray give your attention to all such passages of the words
+     which I wrote _in pencil_ in the arrangement. I think they
+     will all require a new translation, or a modification of the
+     old one. I always added the quotations. There are also some
+     different (and I am sure) better words in No. 21 where I
+     could not write them in pencil, but you will easily see and
+     I hope adopt and adapt them. It is in the slow movement, the
+     passage of Isaiah liii., 1, 'Aber wer glaubt uns'rer
+     Predigt?' ['Who hath believed our report?'], and in the
+     _Allegro_, instead of 'Wake up, Jerusalem,' etc., the direct
+     appeal to Elijah, 'Weiche nicht, denn ich bin dein Gott, ich
+     staerke dich!' ['Be not afraid, for I am thy God, I will
+     strengthen thee.'], Isaiah xli., 10, from which also the
+     following chorus ['Be not afraid'] is taken.[59]
+
+     "I hope the scene with the Queen and people [No. 23] will
+     now offer less difficulties to you, as the 'Er ist des Todes
+     schuldig' ['He is worthy to die'] occurs but once; and you
+     will also see that I took your hint about their seeking
+     Elijah, &c., &c.
+
+     "In the Terzetto, No. 28 ['Lift thine eyes'], without
+     accompaniment, there might perhaps be an occasion for
+     altering the words, although they are exactly the same as
+     they were in the Duet; but I do not think the beginning
+     would do well with the English words of the _Duet_.[60]
+
+     "And I write over the Chorus 'But, saith the Lord, I have
+     raised one,' the German word 'Schluss-Gesang'--_including
+     this_ Chorus, the following Quartett, and the last Chorus.
+     Could you find an English word which might be applied as
+     well? It must not be Finale, because that reminds me of an
+     Opera; and it must not be 'Final Chorus,' because it shall
+     mean two Choruses and a Quartett; but I should like to have
+     some word at the head of those three pieces, to show clearly
+     my idea of their connection, and also as a kind of
+     'Epilogue' contrasted with the 'Prologue,' or 'Introduction'
+     before the Overture.
+
+     "And excuse and pardon the trouble, and always and ever
+     believe me,
+
+     "Yours very truly and gratefully,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+[Footnote 59: It may be interesting to give the original English words
+(as sung at Birmingham) of this well-known air.
+
+_Adagio._--"Hear ye, Israel; hear what the Lord speaketh: 'Ah! had'st
+thou heeded my commandments!' He to His people calleth; yet they
+regard not His voice, nor will they obey His call.
+
+_Recit._--Yet to the righteous, saith the Lord, the Holy One of
+Israel;
+
+_Allegro._--I, I am he that comforteth, and ye are mine. Wake up,
+arise, Jerusalem! Say, who art thou that despairest, and forgettest
+the Lord thy Maker; who hath stretched forth the heavens, and laid the
+earth's foundations? Wake up, arise, Jerusalem!"]
+
+[Footnote 60: "Lift thine eyes" was originally written as a duet for
+soprano and contralto, and in this form it was sung at Birmingham by
+the Misses Williams. Mendelssohn, according to the late Mr. Lazarus,
+was very desirous that there should be no break between the trio,
+"Lift thine eyes," and the succeeding chorus, "He, watching over
+Israel." His special direction at the end of the trio, "_Attacca_,
+_No._ 29," shows the importance he attached to the connecting of these
+two numbers--the trio _and_ the chorus of angels.]
+
+
+     "LEIPZIG, 8th _February_, 1847.
+
+     "Dear Sir,--I receive your letter of the 2nd at the moment
+     when I send the Orchestra parts of the 1st Part of 'Elijah'
+     to Simrock, and the last chorus to Mr. Buxton, so I really
+     answer by return of post.
+
+     "_Recit._ 'Now Cherith's brook,' bar 9. I do not quite like
+     _your two_ slurs at the end; and as you do not like _my_
+     notation, what if we tried a third mode?
+
+     viz.:--[Music: neither shall the cruse of oil fail,]
+
+     "Now adopt which you like of the _three_. Bar 13, I prefer
+     _yours_.
+
+     "I do not speak of bar 26 and bar 38 of No. 8, because Mr.
+     Buxton will have informed you that I am going to send _a new
+     song_ for the Widow, and that therefore the whole No. 8 must
+     be postponed till then. I hope it will follow soon after
+     this letter, and then I will not teaze you any more about
+     this 'Elijah.' Bars 83, 95, 114, 123 as _you_ propose. Bar
+     151, as you like both ways, I should prefer _mine_; bar 155,
+     _yours_. Bar 157, I do not like the two B's and two C's on
+     the words 'render to the'; could it not be:--[Music: What
+     shall I render to the]
+
+     or, if you object to this, it must be at least--
+
+     [Music]
+
+     but I confess that I do _not like the quavers_, if they
+     _can_ be got rid of. The following bars, and bar 161, &c.,
+     as _you_ have them.
+
+     "No. 9, Chorus, bar 10, I cannot approve of the twice F
+     [sharp] in the Soprano, although I quite acknowledge the
+     truth of your observation. But I propose instead:--
+
+     [Music: Bar 10. Blessed { are the men
+                             { are     they]
+
+     "If you dislike this, pray propose another mode; but the
+     soprano _cannot_ have the two F [sharps] while the tenor
+     also has them.
+
+     "Bar 14 as _you_ have it. Instead of your and my bar 13, I
+     propose:--
+
+     [Music: men who fear Him.]
+
+     "Bars 18, 19, 20, &c., as _you_ have. Bar 15 also. And 44,
+     and 45, also.
+
+     "No. 19. Recit. For the end I prefer _by far_: 'The Lord our
+     God alone can do these things.' But in reading over these
+     words I wonder whether the word 'Gentiles' cannot be
+     objected to? Can one say of Baal that he is an idol of the
+     'Gentiles'? Indeed, Jeremiah seems to use the word in that
+     sense, but do we not use it exclusively in another sense? If
+     not, so much better. Pray answer to this, and excuse the
+     hasty lines.
+
+     "Always very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+
+     "LEIPZIG, 8_th_ _February_, 1847.
+
+     "My dear Sir,--I send you with these lines the last Chorus
+     of 'Elijah.' Now I have only the song which is to come in at
+     the beginning of No. 8 [the Widow scene], and as soon as
+     that will be finished I will not teaze you any more about
+     alterations and all that, for you have now the whole work in
+     hand. But pray do not forget to postpone the engraving of
+     No. 8 until I send you that song. All the rest may be
+     forthwith engraved.
+
+     "While I wrote the alterations in the Chorus No. 40 {41} (in
+     my last letter) I forgot to write that there is also one in
+     the accompaniment of that passage. So please to correct bars
+     47, 48, and 49 (they are the last but two of the last page
+     but one of that Chorus) thus:--
+
+     [Music]
+
+     "As for the story of the opera,[61] my friend Klingemann
+     will tell you all about it, as I have written it at length
+     to him, and I am so overloaded with Leipzig music, and with
+     letters, and with all sorts of things, that you must excuse
+     me if I refer you to him, and cannot repeat again what I
+     wrote about that story.
+
+     "Always very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY.
+
+     "P.S.--I am now almost sure that I shall be able to leave
+     here on the 6th of April, and to conduct in London my
+     'Elijah' on the 16th, &c. I shall then leave on the 30th (as
+     you suggested) and go to Switzerland; and if Mr. Mitchell
+     _must_ have me and the 'Athalie' in July, I shall come back
+     in July; if not I will stay at Vevay the whole summer, and
+     compose away!"
+
+[Footnote 61: The opera of "The Tempest," which Mr. Lumley, in his
+opera prospectus of 1847, announced as having been "expressly composed
+for Her Majesty's Theatre," by Mendelssohn.]
+
+
+     "LEIPZIG, 17 _February_, 1847.
+
+     "My dear Sir,--I write these lines merely to thank you for
+     yours dated February 9th, and to tell you that I agree with
+     all the different remarks you therein make about the wording
+     of the translation (_including_ 'commandments' instead of
+     'commands,' &c.). And I hope you will have received the MS.
+     of Part II. soon after you wrote, for I sent it off on the
+     2nd, with the exception of the Final Chorus, which I sent a
+     few days later. I daresay everything will now be safely in
+     your and Mr. Buxton's hands, and now I may begin to think of
+     something else, which indeed I have not been able to do all
+     the time since, with this Oratorio, nearly but not entirely
+     finished, weighing on my mind.
+
+     "Always very truly yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+
+     "LEIPZIG, _February_ 25, 1847.
+
+     "My dear Sir,--I prefer[62]--
+
+     [Music: Who hath believed our report] then: [Music: -vealed
+     to]
+
+     "It _must_ be--
+
+     [Music: _be not afraid_, be] and _not_: [Music: be not a-]
+
+     which will not do for the quickness of the movement.
+
+     "Bar 89 is impossible as you propose, because on the _a_
+     [sharp symbol] and _g_ [sharp symbol], &c., _there must be
+     no words_ pronounced; they _must_ be _slurred_ notes, as in
+     the German wording, and moreover they must be sung on a
+     _good_ syllable (no "u," or "o," or, &c.). So I should
+     propose:--
+
+     [Music: 89. I, the Lord, will strengthen thee![63]]
+
+     "And at any rate pray _let the notes be slurred_, because it
+     is essential to the whole of the song. The same also when
+     the passage is repeated, bar 140.
+
+     "Bar 148 must be so--[Music: 148. for I thy]
+
+     "All those passages I do _not_ mention here are quite
+     excellent in the way you propose. Add a note for the
+     serv_ed_ him and worshipp_ed_ him. You are quite welcome to
+     it.[64]
+
+     "You see that I really answer by return of post, for
+     yesterday evening your letter came, and this morning this
+     leaves. But I do not understand why there is such a _hurry_
+     about the _Pianoforte arrangement_ being finished, and why
+     you say there is hardly time to wait my reply. For you know
+     that it cannot be published a day before Simrock has also
+     done it, and that will take much time still. However, I make
+     haste answering, and shall also do so with your next. I do
+     not think that I shall be able to be in London before the
+     13th April. But I am sure that is early enough, for I am
+     sure everything which you take in hand is right.
+
+     "Always yours truly,
+
+     "FELIX MENDELSSOHN."
+
+[Footnote 62: The music examples in this letter refer to the Soprano
+air "Hear ye, Israel," No. 21.]
+
+[Footnote 63: Bartholomew had written:
+
+[Music: Be not afraid, for I will strengthen thee!]]
+
+[Footnote 64: Bartholomew did not add the note after all. See No. 23,
+"The Lord hath exalted thee," bar 15, to which this refers.]
+
+
+     "LEIPZIG, _March_ 3, 1847.
+
+     "My dear Sir,--I have just received your letter of the 24th,
+     and hasten to reply. I like all the passages of the
+     translation you send me with but two exceptions. In No. 30,
+     'that Thou would'st please destroy me' sounds so odd to
+     me--is it scriptural? If it is, I have no objection, but if
+     not, pray substitute something else. And then in the new No.
+     8 [the widow scene]--the words from Psalm vi. which you
+     hesitated to adopt are, of course, out of the question; but
+     I also object to the second part of the sentence which you
+     propose to add to the words of Psalm xxxviii. {6}, viz.: 'I
+     water my couch,' etc. [Psalm vi., 6.]--I do dislike this so
+     very much, and it is so poetical in the German version. So
+     if you could substitute something in which no 'watering of
+     the couch' occurred, but which gave the idea of the tears,
+     of the night, of all that in its purity. Pray try!
+
+     "But what is this? Does Staudigl not come? Mr. Buxton told
+     me last autumn he was _sure_ to be there. I heard it since
+     from all sides. And now he does not come? What is to become
+     of my 'Elijah' then? _I cannot_ write to Staudigl and
+     persuade him to come, but I really do not know how the
+     performance could match that of Birmingham without
+     him--indeed I do not know how it could go. Of course Lockey
+     would be _quite_ sufficient for _all_ the Tenor solos! But
+     Staudigl! That word of yours has given me a great deal to
+     think of.
+
+     "Always very sincerely and gratefully yours,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+
+     "_Leipzig_, _March_ 10, 1847.
+
+     "My dear Sir,--Many thanks for your letter of the 1st. I
+     really do not know what a synopsis of the oratorio should be
+     good for--on the other hand, I do not see the harm it could
+     do--and, therefore, leave it to you to decide this point as
+     you think best. I shall send you the metronomes in a few
+     days; the organ part I do not forget.
+
+     "But tell me, should the whole series of performances not be
+     better postponed till _autumn_? What with your uncertainty
+     about Staudigl, and with all this uproar in London about the
+     two opera parties, and with Jenny Lind coming or not coming,
+     and with the 'Tempest' or not the 'Tempest,' and with the
+     difficulty you and Mr. Buxton have to make the parts
+     ready--would not such a delay be beneficial to all of us,
+     especially to the old prophet himself? Not to me certainly,
+     who like to shake my English friends by the hand the sooner
+     the better--but to all others?
+
+     "And now many thanks for your friendly advice in the opera
+     affair. Some time before you wrote your letter to me, I had
+     already informed Mr. Lumley that I should not be able to
+     produce an opera of the 'Tempest' in the season 1847; and,
+     according to the advice my friend Klingemann gave me some
+     days before your letter came, I have since again written to
+     Mr. Lumley (about the same words as you suggest), have asked
+     Klingemann to take care of seeing the letter safely
+     delivered, and have sent to him a duplicate of it. So that
+     the whole of your advice, the same which my friend Kl. gave,
+     has been followed literally, and I should be very glad if
+     thus the affair would come to an end. Of this I think I may
+     be sure, that Mr. Lumley will not continue his
+     advertisements of my opera after he heard that I had taken
+     the resolution _not to write_ the 'Tempest' for the season
+     1847....
+
+     "And now forgive this dry letter, and believe me, yours very
+     truly,
+
+     "FELIX MENDELSSOHN-BARTHOLDY."
+
+Reading between the lines of the last-quoted letter, it is easy to see
+that Mendelssohn was much annoyed at the public announcements, made by
+Mr. Lumley in his opera prospectus of 1847, to the effect that "The
+celebrated Dr. Felix Mendelssohn-Bartholdy will likewise visit
+England, and produce an Opera expressly composed for Her Majesty's
+Theatre, the Libretto, founded on 'The Tempest' of Shakespeare,
+written by Scribe." These advertisements were, to say the least, very
+premature, as Mendelssohn had not only disapproved of parts of the
+libretto, but had not written a note of the music! The suggestion
+contained in the above letter that he (Mendelssohn) should postpone
+his visit till the autumn, must have caused some consternation amongst
+his London friends, especially as all arrangements had been made for
+the various performances of the revised oratorio, which were to be
+given under his own personal direction. Bartholomew--ever resourceful
+and indefatigable--at once wrote the following letter to the
+composer:--
+
+     "2, WALCOT PLACE, HACKNEY, _March_ 19, 1847.
+
+     "My dear Sir,--Yours of the 10th came to hand last night,
+     and in reply to it I can tell you twenty reasons why _you
+     should come_, and not one why _you should not come_. Upon
+     the faith of your letter, which Buxton has been obliged to
+     quote from in order to prove his warranty to treat for your
+     coming with the Committee at Exeter Hall, he has made the
+     engagement for _you_ with _them_, and _they_ have made
+     _their_ engagements with _others_ for April 16th and 23rd;
+     and, I think, the 28th. The Manchester Hargreaves Society
+     have fixed their date for one of the intervening days and
+     advertised it.... _Everybody_ is now in town expecting you
+     and anxious to _hail_ your appearance. _Nobody_ will be in
+     town in the autumn. (Is that a reason why you should come
+     then?) If you don't come, 'Elijah' would go--for go it
+     must--but I mean it won't _go well_....
+
+     "You have no idea how they are inundated with enquiries at
+     Newgate Street [Ewer & Co.'s] as to when 'Elijah' will be
+     published.... God bless you, dear Sir!
+
+     "W. BARTHOLOMEW."
+
+Whatever influence this letter from Bartholomew may have had upon its
+recipient, and doubtless others wrote in the same strain, Mendelssohn
+duly came to London--alas! for the last time--at the beginning of
+April, 1847, the year in which he died.
+
+       *       *       *       *       *
+
+The first performance of the revised version of "Elijah"--the form in
+which we now know the oratorio--took place, under the auspices of the
+Sacred Harmonic Society, at Exeter Hall, London, on Friday, April 16,
+1847, conducted by the composer. Miss Birch, Miss Dolby (afterwards
+Madame Sainton-Dolby), and Mr. Henry Phillips replaced Madame
+Caradori-Allan, Miss Hawes, and Herr Staudigl, who had "created" their
+respective parts at Birmingham. "Lockey would be _quite_ sufficient
+for _all_ the tenor solos," wrote Mendelssohn, and so he proved to be.
+
+Madame Sainton-Dolby records: "After I had sung 'O rest in the Lord,'
+Mendelssohn turned to me with tears in his eyes and said, with his
+bright frankness of manner, 'Thank you from my heart, Miss Dolby.' I
+shall never forget that look of brightness." Mr. W.H. Cummings, then a
+chorister of the Temple Church, sang alto in the chorus at the first
+London performance. He and some other boys were asked to help, as the
+alto part lay rather high for men's voices.[65] Master Cummings, as
+he was then, sat in the front row of the altos, and his enthusiastic
+singing attracted the notice of Mendelssohn, who asked the Temple
+chorister his name, which he wrote on one of his (Mendelssohn's)
+visiting cards, and gave to the youthful singer.
+
+[Footnote 65: The alto part in oratorio choruses was always sung in
+England by men's voices (counter-tenors). It was not till the
+following year (1848) that some ladies were admitted into the alto
+division of the chorus at the Sacred Harmonic Society. The change was
+made when Costa began his reign as Conductor of the Society. Costa
+introduced a similar innovation at the Birmingham Festival of 1849,
+the first he conducted, and the first after the production of
+"Elijah." The male altos, however, greatly predominated on that
+occasion. The numbers were--ladies, 17; gentlemen, 59. At this
+Festival Mario sang "Then shall the righteous," which he finished on
+the upper A flat!]
+
+The first London performance was not without some humour. _The Times_
+said: "Mr. Perry, the leader, was constantly beating time with his
+fiddle-stick in such a manner as to obstruct the views of the
+Conductor and confuse the attention of the instrumentalists."[66] A
+Frenchman, seated on the orchestra behind the chorus, was so excited
+with the performance that, at the close, he effusively embraced
+Mendelssohn and tried to kiss him!
+
+[Footnote 66: Mr. George Perry ("leader" of the Sacred Harmonic
+Society from its foundation in 1832) was also the composer of an
+oratorio, entitled "Elijah, and the Priests of Baal," which was first
+performed at the Concert Room, St. George's Bridge, Norwich, on March
+12, 1819.]
+
+[Illustration: _Fac-simile of Metronomic times for "Elijah" in
+Mendelssohn's handwriting. The note, signed "W.B." is in the
+handwriting of William Bartholomew. Slightly reduced from the
+original, in the possession of F.G. Edwards._]
+
+Three other performances were given in Exeter Hall, and under the same
+auspices, on the 23rd, 28th, and 30th of the same month (April), and
+were conducted by Mendelssohn. These four concerts attracted
+crowded audiences, and brought into the exchequer of the Sacred
+Harmonic Society a clear profit of L356.
+
+The second performance (April 23) was honoured by the presence of the
+Queen and the Prince Consort. What the Prince felt on that occasion
+found graceful expression in the following tribute to Mendelssohn's
+genius, which he wrote in the book of words he had used at the
+concert:--
+
+     "To the Noble Artist who, surrounded by the Baal-worship of
+     debased art, has been able, by his genius and science, to
+     preserve faithfully, like another Elijah, the worship of
+     true art, and once more to accustom our ear, amid the whirl
+     of empty, frivolous sounds, to the pure tones of sympathetic
+     feeling and legitimate harmony: to the Great Master, who
+     makes us conscious of the unity of his conception, through
+     the whole maze of his creation, from the soft whispering to
+     the mighty raging of the elements.
+
+     "Inscribed in grateful remembrance by
+
+     "ALBERT.
+
+     "Buckingham Palace, April 24, 1847."
+
+The original of this is now in the possession of Frau Wach, of
+Leipzig, Mendelssohn's younger daughter. In the few hours which
+elapsed between its receipt from the Palace and its presentation to
+Mendelssohn, the Sacred Harmonic Society had a _fac-simile_ copy made,
+which was carefully sealed up. When the news arrived of Mendelssohn's
+premature death, the Prince Consort at once gave permission for this
+copy to be lithographed and circulated.
+
+The following extract from the 1847 Report of the Sacred Harmonic
+Society records the presentation of the above "compliment" to
+Mendelssohn:--
+
+     "Both Her Majesty and Prince Albert were graciously pleased
+     to express their gratification at the Performance, and the
+     attention paid to them; and the Prince a few days afterwards
+     condescendingly inscribed in a Book of the Words of the
+     Oratorio, an elegant compliment to Dr. Mendelssohn, in his
+     native tongue, which was handed to him on the morning of his
+     departure from England, by a deputation from your Committee,
+     and received by him with marked feelings of pleasure and
+     gratitude.
+
+     "It cannot be described how deeply gratified Mendelssohn was
+     on the presentation to him of this affectionate token of
+     sympathy. His rapturous exclamations of delight, as over and
+     over again he read each word of the inscription, his
+     repeated expression of fears of his inability adequately to
+     acknowledge this touching mark of appreciation, were again
+     and again renewed."[67]
+
+[Footnote 67: "The Sacred Harmonic Society: a Thirty-five Years'
+Retrospect, by Robert K. Bowley, Treasurer. _Privately printed._
+1867." Mr. Bowley was one of the deputation of two officers of the
+Society who waited upon Mendelssohn to present him with the Prince
+Consort's "affectionate token of sympathy." He was one of the oldest
+members of the Sacred Harmonic Society, and subsequently became
+Librarian, and then Treasurer. In 1858 he became General Manager of
+the Crystal Palace, which office he retained till his death in 1870.
+He also originated and carried out the Handel Festivals.]
+
+Mendelssohn also conducted performances of the revised work at
+Manchester (Hargreaves Choral Society) on April 20, and at
+Birmingham, April 27--a total of six performances, conducted by the
+composer, within a fortnight. At Birmingham, where "Elijah" was given
+for Mr. Stimpson's "benefit," Mendelssohn not only refused to take any
+fee, but also declined to accept his travelling expenses--thus he
+generously showed his appreciation of Stimpson's invaluable services
+at the initial performance in 1846.
+
+"Elijah" was published in Germany by Simrock, Bonn; and in England by
+Messrs. Ewer & Co., who for some years previously had been
+Mendelssohn's sole publishers in this country. The then proprietor of
+the firm of Ewer & Co. was Mr. Edward Buxton, whose real business was
+that of a wool-broker, and who "had only taken to music publishing for
+his attachment to the art." The relations between the composer and his
+English publisher were of the most cordial nature. "Whatever you
+write, Dr. Mendelssohn," said Mr. Buxton, "I will publish, and pay you
+any terms you like to ask." Here was an ideal publisher, from a
+composer's point of view. Mr. Buxton had no reason to regret his
+words; and that Mendelssohn fully appreciated his publisher's generous
+offer, is abundantly shown in the "terms" he mentioned for the English
+copyrights of his compositions.[68]
+
+[Footnote 68: It may be of interest to give the "terms" quoted by
+Mendelssohn for the English copyrights of some of his works. The
+information is derived from original letters from the composer to
+Buxton. The D minor Trio, 10 guineas. Books 4 and 5 of the "Lieder
+ohne Worte," 15 guineas each; Book 6, 24 guineas. "17 Variations
+Serieuses," 8 guineas. "Festgesang" (which includes the familiar tune
+now associated with "Hark! the herald angels sing"), 4 guineas.
+"Scotch Symphony" (pianoforte arrangement), L20. Sonata for pianoforte
+and cello in D, 12 guineas. Six four-part Songs, Op. 59 (which
+includes "O hills! O vales!" the "Hunting Song," &c.), 10 guineas.
+"Scherzo, Notturno, and Wedding March" (from "Midsummer Night's
+Dream"), pianoforte duet arrangement, 15 guineas; the whole work,
+"consisting of 9 other pieces (except the Overture) would be the same
+again as those 3." Violin Concerto and "Hear my prayer," "20 guineas
+for both together." C minor Trio and Te Deum in A, L30.
+
+In these letters from Mendelssohn to Buxton there are such apologetic
+phrases, in regard to the prices named by the composer, as, "which I
+hope will be convenient to you," and "I hope it will not be
+inconvenient to you, which I beg you will tell me sincerely."
+Mendelssohn also thanks Mr. Buxton for his "very good and kind
+intentions" towards him. In sending the MS. of "The Garland" (words by
+Thomas Moore), he says, "which you may publish _if_ you like, and pay
+for it _whatever_ you like."]
+
+Mendelssohn cannot be accused of being "hard" or "grasping" in
+negotiating with his publisher. The following letter shows the spirit
+in which he made his proposals for the publication of "Elijah" in
+England. It is written (in English) to Buxton, and dated "April 22,
+1846":--
+
+     "I must beg you to tell me the price which you could give
+     for the copyright of such a work. _I do not_ fix the price,
+     because I wish on such an occasion that neither you nor I
+     should be the loser; you must know the sale of such works,
+     and may thereby form an opinion. Indeed, _I_ should not be
+     able to name any sum for myself, and make conditions which
+     would appear unpleasant to you; but as on the other hand I
+     have been asked from England by different persons for the
+     copyright of such a work, I must think that it may also have
+     value for the publisher there, and you may easily form an
+     opinion of this: therefore I beg you will let me know your
+     answer as soon as you can."
+
+Mendelssohn wrote to Moscheles for his advice on the subject of the
+"terms" for the English copyright of "Elijah." Here is Moscheles's
+reply:--
+
+     "I quite feel the responsibility of advising you in the
+     matter; for if fifty years hence it is said, 'Mendelssohn
+     received only so many pounds sterling for this grandest of
+     works, this inexhaustible mine of wealth to the editor
+     [publisher], and that at the suggestion of Moscheles,' my
+     ashes will be disturbed in their rest. Well, well, you will
+     nod your venerable head, and say, 'Never mind; Moscheles
+     meant well.'
+
+     "You do not say what other offers you had, besides that from
+     Buxton. I think you will find him straightforward in his
+     dealings, and ready to recognise that the market value of
+     your productions is constantly increasing. So I should say
+     you might ask L50 more than you did for the 'Hymn of
+     Praise.' [Moscheles had probably forgotten the amount, L25,
+     that Mendelssohn received for the English copyright of his
+     'Hymn of Praise.'] One point to take into consideration is
+     whether this work is richer than the other in solos, these
+     being a better source of income to the publisher than
+     choruses."[69]
+
+[Footnote 69: "Letters of Mendelssohn to Moscheles," by Felix
+Moscheles, p. 272.]
+
+Mendelssohn received 250 guineas for the English copyright of
+"Elijah." Shortly after the composer's death, Mr. Buxton voluntarily
+sent to Frau Mendelssohn an additional sum of L100 for "Elijah," which
+she gracefully acknowledged in the following extract:--
+
+     "I hesitated a moment whether I ought to accept the L100
+     which you sent me; but then I remembered the great pleasure
+     it had given my husband when Mr. Simrock sent him an
+     additional sum for his 'St. Paul,' on account of the success
+     the oratorio had had. Why should I not feel a similar
+     pleasure in hearing that his last work is being so fully
+     appreciated in England? I thank you therefore that you think
+     of us by sending this money as a proof of the success of
+     'Elijah.'
+
+     "Berlin (Spring, 1849)."
+
+The work was published in June, 1847, as Op. 70. The lowest price of
+the first English edition--"Pianoforte score, with portrait on steel
+of the composer"--was thirty-six shillings! An octavo edition did not
+appear till five years later (1852): price ten shillings. A tonic
+sol-fa edition, published "by subscription" ("not less than 250
+subscribers"), was issued in 1866.
+
+The prosperity of "Elijah" was at once assured. The work bore upon it
+the imprint of success. It immediately shot into the front rank of
+popularity, a position which it has steadily maintained even unto this
+day.
+
+The story has now been told. Six months after the strains of "Elijah"
+had died away in Exeter Hall, the genius-brain that had conceived
+that noble work was for ever calmed in death.
+
+(Mendelssohn died at Leipzig, November 4, 1847, in his thirty-ninth
+year.)
+
+A memorable performance of "Elijah" was given by Jenny Lind in Exeter
+Hall, December 15, 1848, in aid of the Mendelssohn Scholarship Fund.
+This performance, which Mr. Otto Goldschmidt happily terms the
+"corner-stone of the Fund," was a triumphant success.
+
+       *       *       *       *       *
+
+No more fitting conclusion to this "History" could be found than the
+words of Jenny Lind, who, in writing to the composer's widow on her
+irreparable loss, said: "His 'Elijah' is sublime! In my opinion he
+never wrote anything finer; and assuredly could not have written
+anything loftier in the future! With what solemnity we all stood there
+(to perform it); and with what love do the people still speak of him!"
+
+To this tribute of reverence from one great artist to the memory of
+another, I venture to subscribe a fervent "AMEN."
+
+
+
+
+INDEX.
+
+
+  Aix-la-Chapelle, 42
+
+  "As the hart pants", 9 _note_
+
+  "Athalie", 40, 48 _et seq._, 109 _et seq._, 116
+
+  "Auld Robin Gray", 67 _et seq._
+
+  Ayrton, Wm., 92
+
+
+  Baal choruses, 52, 83, 100
+
+  Bach, J.S., 21
+
+  Bache family, The, 88 _et seq._
+
+  Barrett, W.A., 93
+
+  Barry, Rev. J., 7 _et seq._
+
+  Bartholomew, W. (and letters to), 41, 48 _et seq._, 81, 97 _et seq._
+
+  Bassano, Miss, 82
+
+  Beethoven, 42 _note_
+
+  "Behold, God the Lord", 63, 104
+
+  Benecke, Mrs., 95
+
+  Benedict, 45, 82
+
+  Birch, Miss, 123
+
+  Birmingham Musical Festivals, 6, 19, 22, 28 _et seq._
+
+  _Birmingham Journal_, 80
+
+  "Blessed are the men", 57, 99, 105, 114
+
+  Bowley, R.K., 128 _note_
+
+  Bragg, Mr. John, 46
+
+  Braham, John, 45
+
+  Brewer, T., 100
+
+  Buxton, E. (see also Ewer & Co.), 51, 53, 67, 98, 102, 110, 129 _et
+  seq._
+
+
+  Caradori-Allan, Madame, 45, 82, 87, 123
+
+  "Cast thy burden", 83, 96, 99, 106
+
+  Chorley, H.F., 84
+
+  Cologne Festival, 42
+
+  Cooke, Grattan, 78
+
+  Cooke, Tom, 45
+
+  Costa, 124 _note_
+
+  Cummings, Mr. W.H., 123
+
+
+  Dando, J.H.B., 45
+
+  Davison, J.W., 79 _note_, 80
+
+  Deakin, Mr. Andrew, 90 _note_
+
+  Devrient, E., 2, 41
+
+  Dolby, Madame Sainton, 34, 123
+
+  Duesseldorf, 1, 9
+
+
+  Ewer & Co. (see also Buxton), 98, 123, 129 _et seq._
+
+  Exeter Hall, 122 _et seq._, 132
+
+
+  "Festgesang", 129 _note_
+
+  "For the mountains", 69, 74, 79, 83
+
+  Four-part songs, 130 _note_
+
+  Frankfort, 1, 5, 33
+
+  Frege, Frau, 86
+
+
+  "Garland," The, 130 _note_
+
+  Gauntlett, Dr., 45, 82
+
+  Goodwin and Tabb, Messrs., 93
+
+  Grisi, 45
+
+  Grove, Sir George, 2 _note_, 42 _note_, 99
+
+  Guildhall Library, 69 _note_
+
+
+  Haertel, Dr., 35
+
+  Handel, and Handel Festivals, 25, 44, 89, 93, 128 _note_
+
+  "Hark! the herald angels sing", 129 _note_
+
+  Hauser, 40
+
+  Hawes, Miss M.B., 71 _note_, 82, 88, 123
+
+  "Hear my prayer", 48, 130 _note_
+
+  "Hear ye, Israel", 36, 99, 107, 111, 117
+
+  Hensel, Fanny, 41
+
+  "He, watching over Israel", 78, 83
+
+  Hiller, F., 27
+
+  Hobbs, J.W., 77, 82
+
+  Hopkins, Dr. E.J., 79
+
+  "Hymn of Praise", 28, 131
+
+
+  "If with all your hearts", 55, 84
+
+  "Irish echoes", 71
+
+  "It is enough", 100
+
+
+  Jeanrenaud, Mdlle. Cecile, 1
+
+  "Judas Maccabaeus", 4
+
+
+  Klingemann, Carl (and letters to), 2 _et seq._, 5 _et seq._, 11, 19,
+  42, 62, 68, 74, 76, 97, 121
+
+
+  Lablache, 45
+
+  "Lauda Sion", 42, 48
+
+  Lazarus, H., 78, 112 _note_
+
+  Ledsam, J.F., 93
+
+  "Lieder ohne Worte", 129 _note_
+
+  Liege, 42
+
+  "Lift thine eyes", 82, 85, 99, 112
+
+  Lind, Jenny, 35, 37 _et seq._, 40, 84, 88, 120, 133
+
+  Liverpool Musical Festival, 2 _note_
+
+  Lockey, Mr. Charles, 77, 82, 83, 86 _note_, 93, 120, 123
+
+  Lower Rhine Musical Festivals, 1, 42
+
+  Lumley, Mr., 116 _note_, 121
+
+
+  Machin, 82
+
+  Manchester (Hargreaves Society), 122, 128
+
+  Mario, 45, 124 _note_
+
+  Martineau, Mr. Russell, 88, 90
+
+  Mellon, Alfred, 90
+
+  Mendelssohn-Bartholdy, Paul, 85
+
+  "Messiah", 89
+
+  "Midsummer Night's Dream", 37, 80 _note_, 81, 129 _note_
+
+  Mitchell, Mr., 116 _note_
+
+  Moore, Joseph (and letters to), 29 _et seq._, 44, 49, 85, 91
+
+  Moscheles (and letters to), 19, 39, 40, 43, 45, 76, 81, 131
+
+  Mounsey, Miss, 71 _note_
+
+  Mounsey-Bartholomew, Mrs., 67, 69 _note_
+
+
+  Novello, Ewer & Co., Messrs., 78
+
+
+  Oberhofer, 42
+
+  "O come, every one", 72, 83, 90
+
+  "Oedipus at Colonos", 31, 49
+
+  "Og of Bashan!", 3, 4
+
+  "O rest in the Lord" 65 _et seq._, 72, 74, 76, 83, 90
+
+  Organ (and Organ Sonatas), 32, 44
+
+  Overture ("Elijah"), 61, 62, 72, 76
+
+
+  Perry, George, 124
+
+  Philharmonic Society, 43, 82
+
+  Phillips, Henry, 52, 82, 123
+
+  Pischek, 37, 42
+
+  Prince Consort, The, 110 _note_, 127
+
+  Psalm 42 (Mendelssohn's), 9 _note_
+
+
+  Queen, The, 93 _note_, 110 _note_, 127
+
+
+  "Rachel in Ramah", 31 _note_
+
+  Ramsgate, 95
+
+  Recit. in the style of Handel, 94
+
+  Rockstro, W.S., 77
+
+  Royal College of Music, 49 _note_
+
+
+  Sacred Harmonic Society, 100 _et seq._, 122 _et seq._
+
+  "St. Paul", 1 _et seq._, 6, 10, 14, 15, 26, 28, 44, 101 _note_, 132
+
+  "St. Peter", 3, 4
+
+  "Saul", 4, 25
+
+  Schelble, 1
+
+  Schubring, Pastor (and letters to), 10 _et seq._, 26
+
+  Schumann and Madame Schumann, 35
+
+  "Scotch Symphony", 37, 128 _note_
+
+  Scribe, 122
+
+  Simrock, 119, 127, 133
+
+  Smart, Sir George, 2 _note_
+
+  "Son and Stranger", 2 _note_
+
+  Sonata, Pianoforte and Cello, in D, 130 _note_
+
+  "Sons of Art", 43, 109
+
+  Staudigl, 42, 45, 52, 82 _et seq._, 119 _et seq._
+
+  Stimpson, J., 46, 82 _et seq._, 129
+
+
+  "Tempest," Opera of the, 116 _note_, 120 _et seq._
+
+  Terms for copyrights, 129 _et seq._
+
+  "Thanks be to God", 46, 83, 86
+
+  "Then shall the righteous", 86, 124 _note_
+
+  "There is nothing", 78
+
+  "Torches", 103
+
+  Trios (D minor and C minor), 127, 130 _notes_
+
+
+  "Variations Serieuses", 129 _note_
+
+
+  Wach, Frau Geheimrath, 50 _note_, 127
+
+  "Walpurgis Night", 15 _note_, 20, 36, 48
+
+  Webb, Rev. John, 31, 92, 93 _note_
+
+  "Widow scene", 56, 89, 97, 99, 108, 114, 115, 119
+
+  Williams, the Misses, 82, 112 _note_
+
+  Willy, J.T., 45
+
+
+  "Zadok the priest", 93
+
+
+_Fac-simile of a letter written by Mendelssohn to William Bartholomew,
+the English translator of "Elijah," in whose handwriting are the
+annotations on the letter. Re-produced, full size, from the original
+in the possession of F.G. Edwards._
+
+[Illustration]
+
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The History of Mendelssohn's Oratorio
+"Elijah", by Frederick George Edwards
+
+*** END OF THIS PROJECT GUTENBERG EBOOK HISTORY OF MENDELSSOHN'S ELIJAH ***
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #38223 (https://www.gutenberg.org/ebooks/38223)