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[CONTENTS]
[LIST OF ILLUSTRATIONS]

FELIX MENDELSSOHN-BARTHOLDY
At the Age of 26.
From a Pencil Drawing by Mücke, in the possession of Mrs. Victor Benecke.

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.

INTRODUCTION.

I have been asked to say a few words as introduction to this volume, and I do so with pleasure.

To the mass of music-loving people of this country, however, I believe that Mendelssohn requires no introduction. It has been the fashion in some quarters to speak of him slightingly, nay injuriously; but this will pass, and he needs no defence—certainly not when "Elijah" is in question. In England the oratorio has taken its place, if not on a level with "The Messiah," very near it; and what more does any work of musical art require? Fortunately every additional fact that is elicited about this great composer testifies all the more to his insight, to the depth and warmth of his feelings, and to the indefatigable earnestness with which he worked until he had realised the entire meaning of his text and expressed it in music to the utmost of his power and with all the dramatic force that it was capable of. The letters now given—many of them for the first time—abound in instances of this.

The information which my friend Mr. Edwards has so carefully collected and so clearly stated, the [new portrait] which is due to the kindness of Mrs. Victor Benecke, and the [fac-simile], will be very welcome; and the book is in my opinion a gain to musical literature, while it forms the fittest symbol to mark the anniversary of the production of the greatest oratorio of this century.

George Grove.

Lower Sydenham,
January 27, 1896.

PREFACE.

It is fifty years since Mendelssohn's "Elijah" was first performed. The place was Birmingham: the date August 26, 1846. The Jubilee of this event provides a fitting opportunity for presenting a history of Mendelssohn's familiar oratorio.

In compiling the following pages, I have been favoured in having had access to much original matter on the subject of "Elijah." Especially is this the case in regard to the numerous letters from Mendelssohn and his correspondents which are here made public for the first time. These letters are not only unique in the information they convey, but they form the most interesting links in the chain of this "History." For the rest, I have carefully kept in view the duty of the historian, which is—I take it—that he should tell his story in as accurate, straightforward, and pleasant a manner as he can.

I have to acknowledge the kind help of those who have so greatly facilitated my work. In addition to those specially mentioned in the course of the book, I tender my best thanks to Mrs. Carson (granddaughter of the late Mr. Edward Buxton, the former proprietor of the business of Messrs. Ewer & Co.); Dr. Carl and Dr. Felix Klingemann; Felix Moscheles, Esq.; William Moore, Esq.; and especially to Professor Dr. Julius Schubring of Lübeck, for their kindness in allowing me to publish the correspondence which passed between Mendelssohn and their respective relatives. Except where it is otherwise stated, the letters are translated from the German originals.

Also to Messrs. Longmans, Green & Co., for extracts from "Mendelssohn's Letters from 1833 to 1847"; to my friends, Mr. Andrew Deakin, of Birmingham, and Mr. J.S. Shedlock, for their kind assistance; and in a special degree to Mrs. Victor Benecke (Mendelssohn's elder daughter), who has very kindly helped me to obtain permission to publish several letters relating to "Elijah" which have hitherto been unknown. Mrs. Benecke has also allowed the portrait of her father, which forms the [frontispiece] to this book, to be published. It was taken in 1835, and is here reproduced for the first time.

My thanks are specially due to Miss Mounsey (formerly Miss Elizabeth Mounsey), without whose invaluable co-operation it would have been impossible for me to write this "History" with any approach to completeness. Miss Mounsey enabled me to acquire, three years ago, the originals of fourteen letters on the subject of the English translation of "Elijah," written by Mendelssohn to her brother-in-law, the late Mr. William Bartholomew. She subsequently placed in my possession a collection of MS. copies, parts, &c., of the oratorio, which were made for the production of the work at Birmingham, in 1846. These sheets, with the exception of some engraved chorus parts, are all in Mr. Bartholomew's handwriting, but they also contain several alterations written by Mendelssohn himself. Some of them possess additional interest from the fact that they are the actual copies from which the soloists sang at the first performance. Not only am I greatly indebted to my good friend Miss Mounsey for these manuscripts and a copy of the original word-book of 1846, but also for her encouragement and the kindly interest she has taken in this "History," from the time I first mentioned it to her to that of its completion.

My last word is one of gratitude to Sir George Grove for his kindness in contributing an [Introduction].

F.G.E.

Hampstead,
February, 1896.

CONTENTS.

LIST OF ILLUSTRATIONS.

THE HISTORY OF
MENDELSSOHN’S “ELIJAH.”

CHAPTER I.

THE LIBRETTO.

Mendelssohn had no sooner completed his first oratorio, "St. Paul," than he began to think about setting another Bible story to music. "St. Paul" was produced at the Lower Rhine Musical Festival, Düsseldorf, May 22, 1836, under the composer's personal direction. Mendelssohn was then twenty-seven years of age. He spent six weeks in the summer of that year at Frankfort-on-the-Maine, as locum tenens for his friend Schelble, the founder of a Choral Society, famous then and now, under the name of the Cäcilien-Verein.

During his temporary residence in the old Hanseatic city, Mendelssohn met Mdlle. Cécile Jeanrenaud, to whom he was betrothed in September. He spent the month of August at Scheveningen for the benefit of the sea-bathing there, and also, as we learn from the "Recollections" of his friend Devrient, to test the strength of his affection for the beautiful Cécile. Although his thoughts naturally and constantly turned towards Frankfort, he did not neglect his beloved art. He wrote the following letter, hitherto unpublished, to his old and attached friend, Carl Klingemann, in London.[1]

[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."

This letter, which discloses an article of Mendelssohn's artistic creed, is important, because it contains the earliest known reference to the oratorio of "Elijah." The date should be carefully noted, as it shows that Mendelssohn was engaged, more or less, upon his great oratorio for a period of more than ten years before it was given to the world in its finished and published form.

Klingemann does not seem to have been taken with his friend's proposal that he should compile an oratorio libretto, even upon so original a subject for musical treatment as "Og of Bashan." The following letter, written a few weeks before the composer's marriage, contains a request for the "text" of an oratorio as a wedding present—surely a novelty in the way of a nuptial gift.

[Mendelssohn to Klingemann.]

"Leipzig, February 18, 1837.

"... Here comes my request. Do write for me within the next few weeks the text for a Biblical oratorio, so that I can set to and compose it during next summer. The last time we talked about it I mentioned to you two subjects which I like equally well—'St. Peter' or 'Elijah.' What I would like best would be for you to take 'Elijah'—divide the story into two or three parts, write it out in choruses and airs, either in verse or prose of your own; or, compile it from the Psalms and Prophets, with powerful big choruses, and then send it to me. The translation of Handel's oratorios gave you so little trouble that I think you will only require a few evenings, and the will to give them up to it, and my 'text' will be written. You may let it be dramatic like 'Judas Maccabæus,' or epic, or both combined. I am satisfied with anything you do. You need not ask my advice, but just write out what you think best. Then I can compose it at once.

"If you do not care for either of these two subjects, then I am willing to take any other—for instance, 'Saul.' But somehow I think 'Elijah,' and his going up to heaven in the end, would be a most beautiful subject. And if you think of using Bible words, read up Isaiah lx. and lxiii., to the end of the Prophet, and also chapter xl., and Lamentations, and all the Psalms. When you have done this you will easily find the right language. Just think what sort of an oratorio I ought to be able to write at this moment, and such an one send me. It ought to be your wedding present to me; it would be the gift I would value most. Do not refuse my request. Of course, if you are too busy, do not be vexed with me for asking this of you; but do write to me, anyhow, very soon."

Mendelssohn was married at Frankfort, on March 28, 1837. Klingemann evidently did not send a wedding present in the form of an oratorio "text" in time for the ceremony, since Mendelssohn, while on his honeymoon, wrote the following letter to his London friend:—

[Mendelssohn to Klingemann.]

Freiburg, April 30, 1837.

"... Will you soon be able to fulfil your promise about 'Elijah'? Forgive my pressing you thus for an answer. It is not my fault; it is the fault of circumstances. It seems to me more and more a mistake to imagine that anyone can make a lasting impression by one single work—it ought to be done steadily, uninterruptedly, by progressive writings. Out of these the best will eventually stand forth, if all are conceived in an earnest spirit. Therefore, I want to write some more sacred music soon, especially as I see no chance of being able to compose an opera. Perhaps this is as well, for it seems to me as if all the German theatres were at the present moment in such bad condition, that one cannot reckon on a good performance anywhere, and therefore there may yet be a few years' time before me, and I may do it all the better then; for that I must write operas is an idea I cannot give up. The choral societies, on the other hand, are just now good, and long for new music; and I should like to give them something that would please me better than my 'St. Paul' does. Do help me to this, and send me a new oratorio 'text.'"

In the autumn of his marriage year, Mendelssohn paid his fifth visit to England, in fulfilment of an engagement to conduct his 'St. Paul' at the Birmingham Musical Festival of 1837, at which he also played the pianoforte and organ. He stayed (in London) at Klingemann's, 4, Hobart Place, Eaton Square. The house, which still stands, is opposite St. Peter's Church. During this visit Mendelssohn spent two whole mornings with his host on the "plan" of an oratorio of "Elijah." This "plan," or "sketch," was left with Klingemann for him to develop and to put "into verse." A few months afterwards he received the following letter:—

[Mendelssohn to Klingemann.]

Leipzig, January 9, 1838.

"... Over all this chatting I am forgetting a very important affair. I received last week by post a parcel (which cost me nearly 10s. for postage), containing an English 'text' for an oratorio of 'Elijah,' which was sent to me by a Mr. Charles Greville (18, Vineyards, Bath, Somersetshire), in the name of the poet, with a strange letter. Do you know this gentleman, or the name of the poet, J. Barry, a clergyman? I have never heard of them.... I should like to know how they fixed on 'Elijah,' and on this way of treating the subject, which certainly resembles our 'sketch' very closely.... They have already dedicated their 'Elijah' to the Duchess of Kent, and no doubt will make much ado about it; and if I do not compose it, Neukomm, or some one else may do so. Therefore—you see what is coming—I beg you for two things: 1st, make our 'sketch' into verse and send it to me at once (you may take Bible words to help you, or whatever you like), so that I may compose it forthwith; and secondly, send me, in any case (even if you will not comply with No. 1), our 'plan' or 'sketch,' as we made it when last we met (with all remarks) copied, and write to me at the same time."

The Rev. Mr. Barry's libretto of "Elijah," above referred to, was not published till 1869. A copy of the little book, now "out of print," is before me. Its title is:—

"Elijah, or the Baalim in Israel: a Metrical Libretto, in four parts, dedicated in the year 1838, by express permission, to Her late Royal Highness the Duchess of Kent. By the late Rev. James Barry, M.A., curate of Bratton Clovelly, Devonshire. Oxford and London: James Parker & Co., 1869."

The Preface, signed "E.S.B.B.," states:—

"The following production, illustrating the chief incidents of Ahab's reign, was submitted in the year 1837 to Felix Mendelssohn-Bartholdy, as a theme for one or more sacred oratorios. His famous 'Elijah,' which since then has taken its place among the masterpieces of Handel, Haydn, and Beethoven, had not been given to the world; but on returning this manuscript to its Author, Mendelssohn announced his engagement on the same great subject, adding, that although this work possessed both literary and poetical merit, it was in his opinion too long for an Oratorio, but might well be published as a Metrical Libretto. But for this disappointment, a public having little leisure for songs without music, might yet, in the pauses of their enthusiasm, after hearing the 'Elijah,' have let fall some crumbs of approbation on a poem in which the immortal part of Mendelssohn had found a channel for his farewell inspirations.

"... The manuscript was laid aside for nearly twelve years, when, in January, 1849, he [the author] again took it up, resolving to publish it in the form suggested by Mendelssohn; but his death intervened to prevent it, and again it was laid aside.... More than thirty years have thus elapsed since this Libretto underwent the favourable criticism of Mendelssohn ... and after much consideration, the Author's children have at length ventured to offer to the public, 'Elijah,' or the Baalim in Israel...."[3]

The receipt of Mr. Barry's libretto put Mendelssohn on his mettle, and he became very anxious as to the fate of his projected oratorio (of "Elijah"). Klingemann, however, does not seem to have considered the matter as being of such paramount importance. His reply to Mendelssohn's letter of January 9 could not have been very reassuring to the composer, if we may judge from the following letter:—

[Mendelssohn to Klingemann.]

"Leipzig, February 9, 1838.

"You say in your letter that ... you are now intending to become poetical (as you express it), but you need to live to be a hundred years old for it. If I now therefore ask you, when you can send me a worked-out copy of our 'plan,' do not see in the question an overbearing reminder. I am just now in such good working trim, and I must work for the next few years with a will and get on. I have responsibilities now, and also a great longing for work, and I think I could write an oratorio within a year. My new Psalm,[4] which we tried for the first time the day before yesterday, and which pleases me more than any other church music of mine, proves to me that I am right; for I wrote five new numbers for it quite lately, which makes it sound now as I wanted it to sound. The opera libretto—if I get it—will not be ready before the middle of the summer. I should like to have a new oratorio for the Düsseldorf Festival in 1839 ... therefore, for all these reasons, I must ask you: when could you send it (the 'sketch') to me? And if other occupations, or annoyance at my repeated requests, or any other reason, prevent you from complying with my wish, do please send me, by return of post, a copy of our 'sketch' of the oratorio, and tell me whether I am to leave you in peace about the matter, so that I know where I am. Only I must set to work soon; that you will understand."

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]

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.]

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."

Schubring sent to Mendelssohn another "plan," for Part I., dated "Reformationsfest [October 31], 1838," accompanying it with the following (selected) observations[10]:—

[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:—

"... I fear the first part will be too rich, or rather the second part too poor. I confess I have some misgivings about the second. As it now stands it is far from pleasing me. If not unreasonable, I would propose to bring in the rain scene at the beginning of the second part, and something could certainly be found to replace it in the first part.

"What I feared and wrote to you about, has really come to pass; and the thing is becoming too objective—an interesting, even thrilling picture, but far from edifying the heart of the listener. All the curses, the scenes of the sacrifice and the rain, Jezebel, etc., in all this there is nothing which now-a-days would come from the heart, and therefore nothing which would go to the heart. Pieces in your 'St. Paul,' like the aria in B minor ['Consume them all'], or choruses, 'Ihr Männer von Israel helfet' [No. 38, in the English edition], etc., are certainly fine and characteristic; but they are interesting rather than edifying. You will probably never hear people singing that aria at the pianoforte for their pleasure; but the second and third arias in 'St. Paul,' or that for tenor towards the close ['Be thou faithful unto death'], they are for everybody. There are many more passages in 'St. Paul' of general interest than there are in this 'text' in its present form. Therefore you must carefully consider whether this time you prefer to turn away from Church music (i.e., music which refreshes, consoles) and create a tone-picture after the manner of the 'Blocksberg-Cantata.'[12] If not, we must diligently set to work to keep down the dramatic, and raise the sacred element, and always aim at this. Perhaps it will suffice to lead back from the second part to the effect of the rain scene in the first. I expect that will be very fine. It can only be surpassed by bringing out prominently Elijah's meaning (signification) for the New Covenant, as the forerunner of the Messiah, pointing towards His coming, and such like.

"All this lies in the future, and at present I am waiting until you have written to me about the first part. Therefore, let me conclude for the present—not my thoughts of you, but my letter, and soon gladden me again with something—not to do—but to enjoy. Good-bye. N.B.—The third letter to you this week!"

Schubring sent to Mendelssohn a draft sketch for Part II. on November 17, 1838,[13] saying:—

"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."

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."

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"

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...."

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."

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."

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 ὁ παῖς 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."

A short letter (August 8, 1846), in which Schubring sends Mendelssohn a further suggestion, completes the "Elijah" correspondence between the composer and his clerical friend.

Schubring, in his pleasant "Reminiscences" already referred to ([p. 10]), thus speaks of his connection with the composer in compiling the book of "St. Paul," Mendelssohn's first oratorio:—

"Subsequently to 1832, we frequently discussed the subject of oratorio 'texts.' With regard to 'St. Paul,' a considerable amount of preliminary labour had been got through before I knew anything about it. At Mendelssohn's request I undertook a certain further amount of work of a subordinate kind, such as connecting and introducing suitable passages and arias.... He always proved himself a thoughtful artist, and strove to obtain a clear appreciation of each separate point—such, for instance, as the admissibility of the chorale, of the narrative, recitatives, etc. He rejected, also, much that was suggested, being so well acquainted with his Bible, that he obtained a great deal of valuable material himself. He was, however, extremely grateful for any assistance."

These words apply, though in a larger measure, to the part which Mendelssohn took in preparing the libretto of his second oratorio, "Elijah." Attention is specially directed to the fact that, notwithstanding the foregoing correspondence between the composer, Klingemann, and Schubring, Mendelssohn—while availing himself of the help his friends were willing to give him—accepted nothing without the most careful scrutiny. The following extract, from Ferdinand Hiller's "Recollections of Mendelssohn" (Macmillan), may fitly conclude this chapter.

"One evening," says Hiller, "I found Felix deep in the Bible. 'Listen,' he said; and then he read to me in a gentle and agitated voice the passage from the first Book of Kings, beginning at the words, 'And behold, the Lord passed by.' 'Would not that be splendid for an oratorio?' he exclaimed."

CHAPTER II.

BIRMINGHAM.

Mendelssohn does not seem to have done anything with the music of "Elijah" until 1845. The Committee of the Birmingham Musical Festival were then making arrangements for their approaching triennial music meeting, to be held in 1846.

The history of the Birmingham Musical Festival, which dates back to 1768, is full of interest. The artistic excellence of the Festival, and the enterprise which has also so long distinguished it, have earned for this great music-meeting a European reputation. Charity, in one of its best forms—the relief of the sick and suffering poor—has been richly sustained by the benefactions, amounting in the aggregate to the munificent sum of £132,000, which the Festivals have brought into the treasury of the Birmingham General Hospital.

Mendelssohn loved England and the English people. He was never happier than when visiting this country, and Birmingham had a warm corner in his heart. His receptions at the Festivals of 1837 and 1840, when he conducted respectively his "St. Paul" and the "Hymn of Praise," were most cordial, and highly gratifying to him. It was therefore quite natural that the Festival Committee should look to Mendelssohn for the composition of a work which, in all probability, would give distinction to their Festival; and, that they should, if possible, secure, as an extra attraction, the presence of the composer as Conductor. The [previous chapter] shows that "Elijah" had occupied Mendelssohn's mind for many years previous to 1846; therefore, it can scarcely be said that he composed the oratorio "expressly for Birmingham," as is commonly stated and generally supposed. But, considering the composer's early death (in 1847), it may reasonably be assumed that had it not been for the Birmingham Festival of 1846, Mendelssohn's oratorio of "Elijah" would never have been given to the world.

At a meeting of the Birmingham Festival Committee, held June 11, 1845, the following resolution was carried—doubtless nem. con.:—

"That it appears to this Committee desirable that the services of Dr. Mendelssohn be obtained to act as Conductor at the next Festival; and that he be requested to consider whether he can provide a new oratorio, or other music, for the occasion."

This resolution was communicated to the composer by Mr. Joseph Moore (1766-1851), the indefatigable manager of the Festivals from 1802 till his death. Mr. Moore not only caused the noble Town Hall to be erected (in 1834), but spared no exertions to raise the Birmingham music-meetings to their present exalted position in the realm of music. Mr. Moore, who had early made the acquaintance of the Mendelssohn family in Berlin, became very intimate with Felix, who was always Mr. Moore's guest during his visits to Birmingham.

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 'Œdipus' (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."

On August 26 (exactly a year before "Elijah" was first performed) the Orchestral Committee resolved to recommend to the Musical Committee "That Dr. Mendelssohn Bartholdy be requested to compose a performance (sic) for the Wednesday morning, and to conduct all the morning performances." The Musical Committee at once adopted this recommendation, and communicated its purport to Mendelssohn, who replied as follows:—

[To Joseph Moore, Esq.]

[Written in English.]

"Leipzig, October 19, 1845.

"My dear Sir,—I received your first letter after an absence of a few weeks, and should have answered it long ago, for you know with how much pleasure I read it, and how truly indebted I felt to you and the Committee for continuing your very kind feeling towards me! But I was uncertain which answer I had to give to some of the most important points, and this uncertainty is still the same; yet I must write, as I receive to-day your second letter, which shows your wish to have an immediate answer.

"The principal point about which I am uncertain is whether I shall be able to have my new oratorio ready in time for your Festival. There would have been no doubt of it, had I been able to continue my work quietly at Frankfort, as I began it. But now there are so many businesses here, at Dresden, and at Berlin, which took up all my leisure time during the last months, that I have not been able to go on with it. If the businesses continue as they have begun (which, however, I hope they will not), I shall not be able to finish my oratorio in time. If they do not continue, I shall finish it in time. But during this uncertainty I am not able to make an engagement as to the first performance of this work.

"The second point is that I am afraid I shall not be strong enough to go through the office of being sole conductor of the morning performances at such a Festival as yours is. In former years I had only to conduct my compositions, not the other pieces of your programme; and yet I recollect how excited and fatigued I always felt after the Festival was over. Therefore, I hesitate to accept of the honour which you intend doing me, and which I fear I should not be able to go through, although I sincerely wished it.

"The question now is whether you would want me yet (to come to the Festival without having a certainty as to these two points, and even with the possibility of my answering them at last in the negative), or whether you consider them as so essential that the whole idea of my coming over (much as I would regret it) must be given up with them.

"I beg you will give me an answer to this question as soon as you conveniently can. If the first should be the case (and I hope you fully know how glad I should be to see you again, and to come), I would set at work as hard as I could whenever any leisure is left me to finish my new piece; and at any rate I should propose several others (although not so extensive ones) for the morning performances. But if the second should be the case, I sincerely hope and trust you would be convinced of my deep regret, and would allow me another year to enjoy of an honour and a treat which I should have been obliged to give up so much against my wishes this time. Be it as it may, I beg you will present my best and most sincere thanks to the Committee, and I beg you will think of me, my dear Sir, as of one who shall always feel true gratitude and thankfulness for all the kindness and friendship you have shown to him!...

"Very truly yours,

"Felix Mendelssohn-Bartholdy."

Mendelssohn then set vigorously to work at the music. Miss Dolby, afterwards Madame Sainton-Dolby, made her first appearance at the Leipzig Gewandhaus Concerts, for which she had been engaged by Mendelssohn, on October 25, 1845; and she records the progress of the new oratorio in the following anecdote. "We were dining," she says, "at Dr. Härtel's, and were all seated at the table. The guests included Dr. and Madame Schumann; but Mendelssohn, who was also invited, came late. A vacant place had been left for him by my side. He arrived after the soup had been served, and excused himself by saying he had been very busy with his oratorio; and then turning to me he said, 'I have sketched the bass part, and now for the contralto.' 'Oh!' I exclaimed, 'do tell me what that will be like, because I am specially interested in that part.' 'Never fear,' he answered, 'it will suit you very well, for it is a true woman's part—half an angel, half a devil.' I did not know whether to take that as a compliment, but we had a good laugh over it."[24]

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."

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]

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."

The anxiety of the Birmingham Committee was somewhat relieved by the receipt of the following letter from the composer:—

[To Joseph Moore, Esq.]

[Written in English.]

"Leipzig, May 8, 1846.

"My dear Sir,—I write these lines to inform you that I intend to send the whole of the first part of my oratorio to Mr. Moscheles in the course of the next fortnight. It is by far the greater part of the two; the choruses from the second part will be in England towards the beginning of July, and the rest of the whole in the middle of that month. All this, Deo volente.

"I wish Mr. Bartholomew, in London, who has translated several other vocal pieces of mine, would undertake also this; and I wish he might take advice of my friend, Mr. Klingemann, who understands both languages thoroughly, and who understands my music better than both languages.

"The most essential condition for my oratorio is a most excellent barytone singer—a man like Pischek, or Staudigl, or Oberhofer. Will you have such a m...."

[Here the letter is torn away, and concluded in a lady's handwriting, thus:]

"Believe me always yours truly,

"Felix Mendelssohn-Bartholdy."

The summer of 1846 was very hot, and Mendelssohn often became exhausted over the close application which he gave to his work. "I have lived the life of a marmot," he writes, but he kept his time. The complete Part I. was despatched from Leipzig on May 23. He was then interrupted in the process of composition for three weeks by having to conduct the Lower Rhine Musical Festival at Aix-la-Chapelle (May 31 to June 2);[28] then a Soirée at Düsseldorf; after that the production of his "Lauda Sion," at Liège, on the Feast of Corpus Christi, June 11; and finally a great Choral Festival at Cologne—"an enormous 'Sängerfest,'" he writes, of "nearly 2,000 men, which I have also to direct." For this Mendelssohn had composed a Festgesang on Schiller's "An die Künstler" ("To the Sons of Art"), Op. 68.

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."

Two months before the performance Mendelssohn reports that "an immense piece of 'Elijah' is not yet copied"; and he writes to Moscheles to the effect that as the touch of the Birmingham organ was so very heavy the last time he played, he would not play one of his Sonatas at the Festival until he had first tried the organ; also that when "St. Paul" was given in 1837, it was followed by a selection from Handel's Oratorios. "I much disapproved of this," he says, "and trust it is not to be the case this time." He further adds that "Elijah" will take two hours in performance; and that if there must be something added to occupy the orthodox three hours, it should be a short complete work: "but, however this may be," he says, "don't let us have a ragout afterwards."

Meanwhile the Birmingham Committee were completing their arrangements. The fee paid to Mendelssohn for his attendance at the Festival was 200 guineas. Madame Caradori-Allan (the soprano) received a similar amount. Other fees were:—Staudigl (the original Elijah), 150 guineas; John Braham (then sixty-eight years old), for one morning performance ("The Messiah"), £50; Dr. Gauntlett, as solo organist and organist in "Elijah," £30. Cooke and Willy, violinists, (leaders), £40 and £20 respectively; Dando, violinist, £11; thirty-eight chorus singers from London, £6 each, instead of £7, as at the previous Festival, the difference being a free railway ticket.

The Committee had some financial difficulty with the "Italian Party," which seemed to be an indispensable and expensive feature of these Festivals. Mario, when treating for himself, doubled his former terms! Mr. Beale, the agent of the "Italian Party," asked for Grisi, 380 guineas; Mario, 320; Lablache, 75; and Benedict, 50; making a total of 825 guineas for the three singers and their accompanist. This amount alarmed the Committee, who resolved: "That these exorbitant terms be rejected, and that, the services of Benedict not being required, an offer of £700 be made for the other three." The fee of £100 paid to Moscheles as Conductor-in-chief of the Festival, and that of £210 to Mendelssohn, cannot be considered exorbitant, when compared with the amounts paid to the solo vocalists.

The choral rehearsals were conducted by Mr. James Stimpson, the chorus-master of the Festival. It was not until after the middle of June, only two months before the Festival, that Mr. Stimpson received the first instalment of the chorus parts. Although these were printed (all the rest of the oratorio was sung and played from MS. copies), the deciphering of them was no easy matter, owing to the many alterations—black, red, and blue ink being freely used to indicate the alterations and re-alterations in the parts. Mr. John Bragg, who sang tenor in the chorus in 1846 and at several Festivals since, relates the following incident in connection with the first rehearsal of "Thanks be to God." Mr. Bragg says: "At the passage beginning 'But the Lord,' which was an entirely new one to choralists, Mr. Stimpson rapped his desk and asked for the separate voice parts one after another. He then compared them with his own MS. copy of the score, and, being evidently puzzled, said 'Well, gentlemen, the voice parts are right, and we must sing it so.' And so it was sung," adds the veteran Mr. Bragg, "then and ever after; and one of the greatest gems in the work shone out for the first time. Great was the enthusiasm of the chorus when they had completed the passage and realised the full effect of this masterly modulation."

Mr. Stimpson had a most arduous task in preparing the choruses in the limited time at his disposal. As late as August 3, twenty-three days before the performance, the arrival of the first two choruses of Part II. was reported, and the last chorus was not received till nine days before the Festival! But the Birmingham singers were on their mettle. They enjoyed rehearsing the work, and they worthily maintained those splendid choral traditions which have so eminently distinguished the Birmingham Musical Festival.

CHAPTER III.

THE ENGLISH TRANSLATION.

The music of "Elijah" was composed to German words; an English version was therefore necessary. Mendelssohn had no hesitation in assigning the task of making the English translation to Mr. Bartholomew—"the translator par excellence," as he called him—who is so well known as the translator or adaptor of Mendelssohn's "Athalie," "Antigone," "Œdipus," "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."

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 'Œdipus,' 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."

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]

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]

[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]:—

[[Listen]]

"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 affliction 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

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:—

[[Listen]]

"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:—

[[Listen]]

as also—

[[Listen]]

[[Listen]]

"No. 9 {7}. Pray let the beginning stand as in the Bible, viz.:—

[[Listen]]

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:—

[[Listen]]

"No. 11[38] {8}. Again the same (bar 16, &c.):—

[[Listen]]

and then—

[[Listen]]

and at the end: 'there is no breath, no