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diff --git a/38223.txt b/38223.txt new file mode 100644 index 0000000..f48b2b4 --- /dev/null +++ b/38223.txt @@ -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 *** + +***** This file should be named 38223.txt or 38223.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/8/2/2/38223/ + +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.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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