The History of Mendelssohn's Oratorio 'Elijah,' by F.G. Edwards.

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.

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.

[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.

[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."

CHAPTER II.

BIRMINGHAM.

CHAPTER III.

THE ENGLISH TRANSLATION.