CHAPTER I.

THE LIBRETTO.

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

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 He wrote the following letter, hitherto unpublished, to his old and attached friend, Carl Klingemann, in London.[1]

[Footnote 1: Carl Klingemann (1798-1862) was for upwards of thirty years resident in London as Secretary to the Hanoverian Legation. "He was," says Sir George Grove, "a man of great cultivation, considerable literary power, and very rare judgment in music." He wrote the libretto of Mendelssohn's operetta known as "Son and Stranger"; and nine of Mendelssohn's songs are set to words by Klingemann.]

[MENDELSSOHN TO KLINGEMANN.]

"THE HAGUE, _August_ 12, 1836.

"... A thousand thanks for all your care, and for the interest you take in the whole affair.[2] It is no doubt important for me that the performance and all the arrangements should be as perfect as possible; therefore, let me thank you for it all once more.

"But I wish you knew what a far greater favour you would confer upon me if, instead of doing so much for my old oratorio, you would write me a new one; and, by so doing, would stir me up to fresh activity, instead of my having to do this myself. When I have finished a composition, that which really gives me pleasure in it is the progress I see in the work, and the hope that it may lead me to attain to greater excellence in the next. Therefore, I long to be rid of all care of the finished work; and I feel as if I could only really thank you, from my heart, if you showed me that you like this oratorio sufficiently to help me to find a new 'text,' and thus encourage me to write another oratorio. If you would only give all the care and thought you now bestow upon 'St. Paul' to an 'Elijah,' or a 'St. Peter,' or even an 'Og of Bashan!'

"It may seem ungrateful that I write to you just now in this strain, and in a letter which should be all thanks; but it is as I feel at present, and we are far too intimate with each other for me to attempt to hide from you my present mood. You know, don't you, that I am not ungrateful? But I have felt very strongly of late that I need and long for an external impulse to urge me on; no recognition of work done can come up to that; it gives me great pleasure, but it has not the stimulating effect upon me which a suggestion for new work would have."

[Footnote 2: The proposed performance of "St. Paul" at the Liverpool Musical Festival, where it was given for the first time in England, under the direction of Sir George Smart, October 7, 1836.]

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

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

[MENDELSSOHN TO KLINGEMANN.]

"LEIPZIG, _February_ 18, 1837.

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

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

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

[MENDELSSOHN TO KLINGEMANN.]

FREIBURG, _April_ 30, 1837.

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

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

[MENDELSSOHN TO KLINGEMANN.]

LEIPZIG, _January_ 9, 1838.

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

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

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

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

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

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

[Footnote 3: The Rev. James Barry, M.A., who seems to have been curate at Bratton Clovelly for only a few months, died in April, 1849, aged forty-two, at the Parsonage there, and was buried in the centre of the chancel of the church. I am indebted to the Rev. Edward Seymour, M.A., the present rector of Bratton Clovelly, for this information. Strangely enough, Mr. Barry's libretto begins with the familiar Recitative: "As the Lord God of Israel liveth, before whom I stand, there shall not be dew nor rain these years, but according to my word."]

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

[MENDELSSOHN TO KLINGEMANN.]

"LEIPZIG, _February_ 9, 1838.

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

[Footnote 4: Probably "As the hart pants."]

After one or two more letters had passed between Mendelssohn and Klingemann, the latter returned to the composer the "sketch" they had made together in London in the autumn of 1837, and henceforth "Elijah," except in a casual way, drops out of their correspondence.

Mendelssohn then sought the aid of his intimate friend and the companion of his boyhood, the Rev. Julius Schubring, D.D., Rector of St. George's Church, Dessau--the same friend who has recorded some delightful reminiscences of the composer in his youthful days,[5] and who rendered him valuable service in the preparation of the "book" of "St. Paul." The interesting correspondence between Mendelssohn and Schubring on the subject of oratorio libretti has been published (in German), edited by Professor Dr. Julius Schubring, the son of Mendelssohn's clerical friend.[6]

[Footnote 5: "Daheim" (Leipzig) for 1866, No. 26. English translation in _Musical World_, May 12 and 19, 1866.]

[Footnote 6: The full title of the book is: "Briefwechsel zwischen Felix Mendelssohn Bartholdy und Julius Schubring, zugleich ein Beitrag zur Geschichte und Theorie des Oratoriums. Herausgegeben von Prof. Dr. Jul. Schubring, Direktor des Katharineums zu Lübeck. Leipzig: Verlag von Duncker und Humblot. 1892."]

Mendelssohn, having at last received the "sketch" from Klingemann, showed it to his friend Schubring, who was staying with the composer at Leipzig. The following letter gives Schubring's views on the said "sketch":--

[SCHUBRING TO MENDELSSOHN.]

"DESSAU, _October_ 28, 1838.[7]

"At last I must make a start. I wanted to write to you the first week after my visit, but when I thought of what you had entrusted to me, and to which I had done nothing, I felt ashamed; therefore the manuscript[8] became somewhat odious to me. I took it up three or four times, but either some of the sheets--large and small--had got mixed, or I could not make out the abbreviations; and then again I was often interrupted by other work. I was afraid I should have to send it back to you untouched. But yesterday the light suddenly dawned upon me and I understood everything at once--the whole and also the details. I see at the same time that there is still much to be done, and therefore I write at once to-day to ask if you can let me keep the MS. a little longer."

[The letter then goes on to make suggestions for the "text," which it is not necessary to reproduce here.]

[Footnote 7: "Briefwechsel," p. 124.]

[Footnote 8: This refers to Klingemann's "sketch" for "Elijah," London, September, 1837.]

To the above communication Mendelssohn replied in a letter which has hitherto been quoted as being the _earliest_ mention of "Elijah" in the Mendelssohn correspondence.

[MENDELSSOHN TO SCHUBRING.]

"LEIPZIG, _November_ 2, 1838.[9]

"Dear Schubring,--Many, many thanks for your letter, which I received the day before yesterday, and for the parcel, which came to-day. You again render me an essential service, and I feel most grateful to you. How can you ask whether I wish you to proceed in the same way? When all is so well put together, I have almost nothing to do but to write music for the words. I ought to have previously told you that the sheets you took away with you are by no means to be regarded as containing a mature design, but as a mere combination of the materials I had before me for the purpose of eventually forming a plan. So the omission of the passage of the widow, and also of the raven, is decidedly most advisable; and also the abridgment of the whole commencement, in order that the main points may be dwelt upon to one's heart's content. I would urgently entreat you to proceed with your work, so far as your time and leisure will permit, and soon to send me the continuation of the first part, which ought now to be considerable, from where you left off. Rest assured that, as I already told you, you will earn my most sincere gratitude.

"You say that at first you could not make anything of the subject, but that a sudden light dawned upon you. I figured to myself Elijah as a thorough prophet, such as we might again require in our own day--energetic and zealous, but also stern, wrathful, and gloomy; a striking contrast to the court rabble and popular rabble--in fact, in opposition to the whole world, and yet borne on angels' wings. Is this the inference you also draw from the subject, and is this the sense in which you conceived an affection for it? I am most anxious to do full justice to the _dramatic_ element, and, as you say, no epic narrative must be introduced. I am glad to learn that you are searching out the always heart-affecting sense of the Scriptural words; but if I might make one observation, it is that I would fain see the dramatic element more prominent, as well as more exuberant and defined--appeal and rejoinder, question and answer, sudden interruptions, etc., etc. Not that it disturbs me that Elijah, for example, first speaks of assembling the people, then forthwith addresses them--such liberties are the natural privileges of a composition such as an oratorio; but I should like to have the representation itself as spirited as possible; for instance, it annoys me that Elijah does not reply to Ahab's words, No. 16, till No. 18, various other speeches and a chorus intervening. I should like to have had an instant and eager rejoinder, etc., etc.

"But we are no doubt likely to agree about this; and I would only entreat you, when you resume your work, to think of this wish of mine. Above all, accept my thanks for your kindness, and write to me soon on the same subject.--Ever yours,

"FELIX M.-B."

[Footnote 9: "Briefwechsel," p. 134.]

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

[Footnote 10: "Briefwechsel," p. 129.]

[SCHUBRING TO MENDELSSOHN.]

"I have sought throughout--although it is not always possible--to introduce pieces, not merely suitable to the particular situation in question, but such as might awaken an echo in the hearts of the hearers--as, for instance, this aria ['If with all your hearts']. I have noticed that in your 'St. Paul,' for example, such numbers have excited the most interest.... In oratorios it does no harm if you exaggerate the dramatic effect: on the contrary, it seems to me necessary.... I think it will often occur to you, as it does to me, to marvel at the manifold things which can be found in the Bible."

In the letter[11] ("Dessau, November 1, 1838") which accompanied the new "plan," Schubring remarks:--

[Footnote 11: _Ibid._, p. 137.]

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

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

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

[Footnote 12: Mendelssohn's setting of Goethe's "Walpurgis Night."]

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

[Footnote 13: "Briefwechsel," p. 140.]

"Before I set to work I should like to know your idea of the matter. For the rest, I am more and more convinced that you will have to supply the principal part of the text yourself. How is one to know what is running through your mind on this or that occasion? Therefore the words are only set down as hints, suggesting what might be written."

Mendelssohn replied to Schubring in words which show that there was some difference of opinion between them as to the "plan" of the oratorio. Here is the composer's letter:--

[MENDELSSOHN TO SCHUBRING.]

"LEIPZIG, _December_ 6, 1838.[14]

"Dear Schubring,--Along with this you will receive the organ pieces and 'Bonifacius,' which I also enclose. Thank you much for the letter and for the manuscripts you have from time to time sent me for 'Elijah'; they are of the greatest possible use to me, and although I may here and there make some alterations, still the whole thing, by your aid, is now placed on a much firmer footing. With regard to the dramatic element, there still seems to be a diversity of opinion between us. With a subject like 'Elijah' it appears to me that the dramatic element should predominate, as it should in all Old Testament subjects, Moses, perhaps, excepted. The personages should act and speak as if they were living beings--for Heaven's sake let them not be a musical picture, but a real world, such as you find in every chapter of the Old Testament; and the contemplative and pathetic element, which you desire, ought to be entirely conveyed to our understanding by the words and the mood of the acting personages....

"I am now myself about to set to work again on the 'Elijah,' and to plough away at the soil as best I can; if I do not get on with it you must come to my aid, and I hope as kindly as ever, and preserve the same regard for your

"FELIX MENDELSSOHN-BARTHOLDY."

[Footnote 14: _Ibid._, p. 146.]

The following letter is the next from Schubring that is printed; but it was not written till nearly two months after that from Mendelssohn, just quoted.

[SCHUBRING TO MENDELSSOHN.]

DESSAU, _February_ 2, 1839.[15]

"... Unfortunately I can offer you nothing besides my good [birthday] wishes, though I would willingly have done so. I always thought that the 'Elijah' would turn out all right, but it will not, and you must seek help elsewhere. At a distance I seemed to have thought out the subject quite nicely; but whenever I come to it at close quarters I cannot clearly distinguish the separate figures. Elijah is in the society of the angels; he is in good company, leave him there. It is unbecoming for men to drive away the angels. I have held to one point where the Lord Himself ought to or could speak to Elijah. It seemed to me that as Elijah appeared to Christ on the Mount of Transfiguration (Matthew xvii.), so Christ might come to Elijah, transfigure him, and show him from afar the streams of peace, which flow over the heavenly Canaan. These three personages--Christ, Elijah, and the heavenly choir of angels--might suffice, with suitable dramatic alteration, to transform the earth into heaven, until the removal of Elijah. But you well know how sluggishly my poetical vein flows; how, here and there, with great effort I manage to gather a few crumbs together, but then I get no farther. Unless I am in the pulpit--where the Lord usually helps me joyfully to honour Him by my preaching--the creative power fails me utterly."

[Footnote 15: "Briefwechsel," p. 149. Mendelssohn was born February 3, 1809.]

For nearly seven years the subject of "Elijah" drops out of the Mendelssohn-Schubring correspondence, except two unimportant references. In a letter to Mendelssohn, dated January 17, 1840, Schubring says: "How about 'Elijah'? Have you quite put him aside?" And on November 10 of the same year: "You have told my brother that for the present you have given up composing oratorios. To this I have no objection; but I would like to see something else--sonatas, for instance, not short pieces."

It seems to be quite evident that the subject of "Elijah" was lying more or less fallow in Mendelssohn's mind for six years (1839-1845). There are, it is true, two casual references to the oratorio. To Moscheles, Mendelssohn wrote: "A new oratorio, too, I have begun; but how it is to end, and what is to come in the middle, Heaven only knows." And to Klingemann: "I have thought anew seriously of 'Elijah.' Perhaps I shall attack him now." But it was not until the summer of 1845, when he received the invitation from Birmingham (see the next chapter), that Mendelssohn, to use his own words, "again began to plough up the soil." He was then glad to seek fresh help from Schubring in the technicalities of the "text," which he did in the following letter to his clerical friend:--

[MENDELSSOHN TO SCHUBRING.]

"LEIPZIG, _December_ 16, 1845.[16]

"My dear Schubring,--I now send you, according to your permission, the text of 'Elijah,' so far as it goes. I do beg of you to give me your best assistance, and return it soon with plenty of notes in the margin (I mean Scriptural passages, etc.). I also enclose your former letters on the subject, as you wished, and have taken them out of the book in which they were. They must, however, be replaced, so do not forget to send them back to me. In the very first of these letters (at the bottom of the first page), you probably allude to the chief difficulty of the text, and the very point in which it is still most deficient--universally accepted and impressive words and thoughts; for of course it is not my intention to compose what you call 'a Biblical Walpurgis Night.' I have endeavoured to obviate this deficiency by the passages written in Roman letters; but there is still something wanting, even to complete these, and to obtain suitable comprehensive words for the subject. This, then, is the first point to which I wish to direct your attention, and where your assistance is very necessary. Secondly, in the 'dramatic' arrangement. I cannot endure the half operatic style of most of the oratorio words (where recourse is had to common figures--as, for example, an Israelite, a maiden, Hannah, Micaiah, and others; and where, instead of saying 'this and that is come to pass,' they are made to say, 'Alas! I see this and that happening'). I consider this very weak, and will not follow such a precedent. However, the everlasting "he spake," etc., is also not right. Both of these are avoided in the text; but this part still remains its weakest point.

"Will you consider, too, whether it is justifiable that no other dramatic figure besides Elijah appears? I think it is. He ought, however, at the close, at his ascension to heaven, to have something to say (or to sing). Can you find appropriate words for this purpose? The second part, moreover, especially towards the end, is still in a very unfinished condition. I have not as yet got a final chorus; what would you advise it to be? Pray study the whole carefully, and write in the margin a great many beautiful arias, reflections, pithy sentences, choruses, and all sorts of things, and let me have them as soon as possible....

"Speaking is a very different thing from writing. The few minutes I lately passed with you and yours were more enlivening and cheering than ever so many letters.--Ever your

"FELIX"

[Footnote 16: "Briefwechsel," p. 204. The date of the letter is wrongly given in Lady Wallace's translation of the "Letters" (p. 294) as 1842, instead of 1845.]

Early in January, 1846, Mendelssohn and Schubring met, and the plan of the oratorio was doubtless fully discussed between them. Soon after his return to Dessau, Schubring returned Mendelssohn's MS. of the "sketch," to which he had added a number of comments and suggestions. This "sketch" and its annotations are too long to be inserted here, but an extract or two may be quoted.

[SCHUBRING TO MENDELSSOHN.][17]

"In oratorios, chorales have produced the most powerful effect on me when they came _after_ other pieces of music [Schubring evidently knew Bach's "Passion"]. Dignity, simplicity, nobility, are then most perceptible in these circumstances. Therefore, it would be better to have no chorales at the beginning.... The overture, picturing a famine, must represent a period of three years...."

[Footnote 17: "Briefwechsel," p. 208.]

Upon the words "Hear the prayer and petition of Thy servant, O Lord," Schubring remarks: "Here it would be well to have a reference to God's own promise that He will answer prayer. (Daniel ix., 18; Psalm xxv., 6; Isaiah liv., 10, 7). Then the chorale--'Out of the depths I cry to Thee' (_Aus tiefer Noth_), verses 1 and 4, increasing in intensity. Pray do not reject this suggestion. There are plenty of praying people who heartily endorse the petition of Elijah."

Schubring's continued interest in the oratorio is shown in the following letter:--

[SCHUBRING TO MENDELSSOHN.]

"DESSAU, _February_ 3, 1846.[18]

"... I am curious to know how you are getting on with 'Elijah.' I must confess that I am getting more and more interested in it, and greatly look forward to it. Be sure and keep well at it. If some things in the text do not please you, they will come right in their proper time."

[Footnote 18: "Briefwechsel," p. 219.]

In May (1846), only three months before the oratorio was performed at Birmingham, Mendelssohn again sought the aid of Schubring. He wrote:--

"LEIPZIG, _May_ 23, 1846.[19]

"Dear Schubring,--Once more I must trouble you about 'Elijah'; I hope it is for the last time, and I also hope that you will at some future day derive enjoyment from it; and how glad I should be if this were to be the case! I have now quite finished the first part, and six or eight numbers of the second are already written down. In various places, however, in the second part I require a choice of really fine Scriptural passages, and I do beg of you to send them to me! I set off to-night for the Rhine, so there is no hurry about them; but in three weeks I return here, and then I purpose forthwith to take up the work and complete it. Therefore, I beseech you earnestly to send me by that time a rich harvest of fine Bible texts. You cannot believe how much you have helped me in the first part; this I will tell you more fully when we meet. On this very account I entreat you to assist me in beautifying the second part also. I have been able to dispense with all historical recitative, and to substitute individual persons; and I have always introduced an angel, or a chorus of angels, instead of the Lord. By that means the first part, and the largest half of the second, are finely rounded off. Now, however, the second part begins with the words of the Queen, 'So let the gods do to me, and more also,' etc. (1 Kings xix., 2); and the next words about which I feel secure are those in the scene in the wilderness (same chapter, 4th and following verses); but between these I want, _first_, something more particularly characteristic of the persecution of the prophet; for example, I should like to have a couple of choruses _against_ him to describe the people in their fickleness and their rising in opposition to him; _secondly_, a representation of the third verse of the same passage; for instance, a duet with the boy, who might use the words of Ruth, 'Where thou goest, I will go,' etc. But what is Elijah to say before and after this? and what could the chorus say? Can you furnish me with, first, a duet and also a chorus in this sense? Then, until verse 15, all is in order; but there a passage is wanted for Elijah, something to this effect: 'Lord, as Thou wilt, be it unto me' (this is not in the Bible, I believe?); for I wish that _after_ the manifestation of the Lord, he should announce his entire submission, and after all this despondency declare himself to be entirely resigned and eager to do his duty. I am in want, too, of some words for him to say at, or before, or even after, his ascension, and also some words for the chorus. The chorus sing the ascension historically with the words from 2 Kings ii., 11, but then there ought to be a couple of very solemn choruses. 'God is gone up with a shout' (Psalm xlvii., 5) will not do, for it is not the Lord but Elijah who went up; however, something of _that_ sort. At the close, I should wish to hear Elijah's voice once more.

"(May Elisha sing soprano? or is this inadmissible, as in the same chapter he is described as a 'bald head'? Seriously speaking, must he appear at the ascension as a prophet, or can he do so still as a youth?)

"Lastly, the passages which you have sent for the close of the whole (especially the trio between Peter, John, and James) are too historical and too far removed from the grouping of the (Old Testament) story; I could, however, manage to get over this difficulty by composing a chorus, instead of a trio to these words. It can easily be done, and I think that I shall probably do it. I return you the sheets that you may have every necessary information, but pray send them back to me. You will see from the sheets that the outline of Part II. as a whole is quite settled. It is only such lyrical passages (from which arias, duets, etc., could be composed) which I still require, especially towards the end. Therefore, pray get your large Concordance, look up the references, and again bestow upon me some of your time, that when I return three weeks hence at latest, let me find your answer. Continue your regard for your

"FELIX."

[Footnote 19: _Ibid._, p. 219.]

To the foregoing, Schubring replied in a long letter, from which the following is an extract:--

[SCHUBRING TO MENDELSSOHN.]

"DESSAU, _June_ 15, 1846.[20]

"... I want to put down a few thoughts concerning the close of the oratorio. I see most distinctly that the oratorio can have no other than a New Testament ending; the Old Testament (Malachi) and also the New Testament demand this in terms of the most definite kind. Elijah must help to transform the old into the new covenant--that gives him his great historical importance. Let Handel in his Old Testament oratorios move within this narrow circle--personages like Saul, etc., have no further meaning; but with Elijah, with you, and in our day, it must be otherwise. Therefore, I think the sense of the ending must remain essentially as I have suggested--the words themselves are immaterial.

"Your enquiry whether Elisha may sing soprano is comical. Such a question should not be put by one who has set Christ's words for a chorus.[21] There can be no doubt that at that time Elisha was no more a child. The word _Knabe_ (_Knappe_) is to be understood as referring to service, not to youth, like [Greek: ho pais] in classical Greek. One who ploughs with twelve yoke of oxen (1 Kings xix., 19) is no child. Do you know any passage where Elisha is called a boy? I think there is none. The first reference to him is in 1 Kings xix., 19 [? 16]....

"I earnestly hope that some of these suggestions may suit you, so that the work can get on. The news that Part I. is already finished has given me great joy."

[Footnote 20: "Briefwechsel," p. 222.]

[Footnote 21: The reference is to "St. Paul," in which, at Schubring's suggestion, Mendelssohn has set the words, "Saul, Saul, why persecutest thou Me?" for four-part female chorus.]

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

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

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

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

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