Elijah (oratorio)

Elijah (German: Elias), Op. 70, MWV A 25, is an oratorio by Felix Mendelssohn depicting events in the life of the Prophet Elijah as told in the books 1 Kings and 2 Kings of the Old Testament. It premiered on 26 August 1846.

Elijah
Elias
Oratorio by Felix Mendelssohn
The manuscript used for the premiere, by a copyist with notes by Mendelssohn, now in the collection of the Library of Birmingham
CatalogueMWV A 25
Opus70
TextJulius Schubring
LanguageEnglish, German
Based onLife of Elijah in biblical narration
PerformedAugust 26, 1846
Movements42
Scoring

Music and its style

This piece was composed in the spirit of Mendelssohn's Baroque predecessors Bach and Handel, whose music he greatly admired. In 1829 Mendelssohn had organized the first performance of Bach's St Matthew Passion since the composer's death and was instrumental in bringing this and other Bach works to widespread popularity. By contrast, Handel's oratorios never went out of fashion in England. Mendelssohn prepared a scholarly edition of some of Handel's oratorios for publication in London. Elijah is modelled on the oratorios of these two Baroque masters; however, in its lyricism and use of orchestral and choral colour the style clearly reflects Mendelssohn's own genius as an early Romantic composer.

The work is scored for eight vocal soloists (two each of bass, tenor, alto, soprano), full symphony orchestra including 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, ophicleide, timpani, organ and strings and a large chorus usually singing in four, but occasionally eight parts. The title role was sung at the premiere by the Austrian bass Josef Staudigl.[1]

Mendelssohn had discussed an oratorio based on Elijah in the late 1830s with his friend Karl Klingemann, who had provided him with the libretto for his comic operetta Die Heimkehr aus der Fremde,[2] which resulted in a partial text that Klingemann was unable to finish. Mendelssohn then turned to Julius Schubring, the librettist for his earlier oratorio St. Paul, who quickly abandoned Klingemann's work and produced his own text that combined the story of Elijah as told in the Book of Kings with psalms. In 1845, the Birmingham Festival commissioned an oratorio from Mendelssohn, who worked with Schubring to put the text in final form and in 1845 and 1846 composed his oratorio to the German and English texts in parallel, taking care to change musical phrases to suit the rhythms and stresses of the translation by William Bartholomew, a chemist who was also an experienced amateur poet and composer.[3]

The oratorio was first performed on 26 August 1846 at Birmingham Town Hall in its English version, conducted by the composer, and it was immediately acclaimed a classic of the genre. As The Times critic wrote: 'Never was there a more complete triumph  – never a more thorough and speedy recognition of a great work of art'.[4] Notwithstanding the work's triumph, Mendelssohn revised his oratorio wholesale before another group of performances in London in April 1847  – one (23 April) in the presence of Queen Victoria and Prince Albert. The German version was first performed on the composer's birthday, 3 February 1848, in Leipzig, a few months after Mendelssohn's death, under the baton of the composer Niels Gade.

Biblical narrative

The oratorio depicts events in the life of the prophet Elijah

Mendelssohn uses biblical episodes relating to Elijah, which in the original, 1 Kings 17:19 and 2 Kings 2:1, are narrated in rather laconic form, to produce intensely dramatic scenes, while adding several related biblical texts, mostly taken from the Old Testament. These were doubtless well fitted to the taste of Mendelssohn's time, and a Victorian sentimentality also seems detectable in places.

Among the episodes is the resurrection of a dead youth. A dramatic episode is the contest of the gods, in which Jehovah consumes an offered sacrifice in a column of fire, while a sequence of increasingly frantic prayers by the prophets of the god Baal failed. Part I is concluded by the bringing of rain to parched Israel through Elijah's prayers. Part II depicts the persecution of Elijah by Queen Jezebel, his retirement to the desert, his vision of God appearing, his return to his work, and his ascension on a fiery chariot into heaven. The work ends with prophecies and praise.

Structure

The work in two parts opens with a declamation by Elijah, after which the overture is played. The sections are listed in the following table, with the text in both German and English, a biblical source for the passage (the dramatic action highlighted by a background colour), and the voices. The choir is mostly four-part SATB, but up to eight parts. The soloists are Elijah (baritone); soprano (S), singing the Widow, the Youth (sometimes taken by a boy treble) and Angel II; alto (A), singing Angel I and the Queen; and tenor (T), singing the parts of Obadiah and Ahab. The work is often performed with four soloists.[5]

Some movements are simple oratorio forms such as recitative and aria, others explore hybrid combinations, such as recitative with choir, for dramatic effect. The fugal overture leads attacca to the first choral movement. The choir acts as the people ("Das Volk"), but also comments, like the choir in Greek drama. The narrative passages from the books of Kings are highlighted by green background.

Movements of Part I of Mendelssohn's Elijah
No. Description Incipit Translation Text source Voices
IntroductionSo wahr der Herr, der Gott Israels lebetAs God the Lord of Israel liveth1 Kings 17:1 Elijah
Overture
1ChorusHilf, Herr!Help, Lord!Jeremiah 8:20 & Lamentations 4:4SATB
2Duet with choirHerr, höre unser Gebet!Lord! bow thine ear to our prayer!2 Kings 19:16 & Lamentations 1:17S S SATB
3RecitativeZerreißet eure HerzenYe people, rend your heartsJoel 2:12-13Obadiah
4AriaSo ihr mich von ganzem Herzen suchetIf with all your heartsDeuteronomy 4:29 & Job 23:3Obadiah
5ChorusAber der Herr sieht es nichtYet doth the Lord see it notExodus 20:5-6SATB
6RecitativeElias, gehe von hinnenElijah! get thee hence1 Kings 17:3-4Angel I
7Double quartetDenn er hat seinen Engeln befohlenFor he shall give his angelsPsalm 91:11-12Angels: SSAATTBB
RecitativeNun auch der Bach vertrocknet istNow Cherith's brook is dried up1 Kings 17:7, 1 Kings 17:9, & 1 Kings 17:14Angel I
8Recitative, aria and duetWas hast du mir getanWhat have I to do with thee?1 Kings 17:17-24, Psalm 38:6, Psalm 86:15, Psalm 88:10 & Psalm 128:1Widow, Elijah
9ChorusWohl dem, der den Herrn fürchtetBlessed are the men who fear himPsalm 128:1, Psalm 112:1,4SATB
10Recitative with choirSo wahr der Herr Zebaoth lebetAs God the Lord of Sabaoth liveth1 Kings 18:15, 1 Kings 18:17-19, & 1 Kings 18:23-25Elijah, Ahab, SATB
11ChorusBaal erhöre uns!Baal, we cry to thee; hear and answer us!1 Kings 18:26SSAATTBB
12Recitative with choirRufet lauter! Denn er ist ja Gott!Call him louder, for he is a god!1 Kings 18:27Elijah, SATB
13Recitative with choirRufet lauter! Er hört euch nicht.Call him louder! he heareth not!1 Kings 18:28Elijah, SATB
14AriaHerr, Gott Abrahams, Isaaks und IsraelsLord God of Abraham, Isaac and Israel!1 Kings 18:36-37Elijah, SATB
15QuartetWirf dein Anliegen auf den HerrnCast thy burden upon the LordPsalm 55:22, Psalm 16:8, Psalm 108:5, & Psalm 25:3S A T B
16Recitative with choirDer du deine Diener machst zu GeisternO thou, who makest thine angels spirits (The fire descends)1 Kings 18:38-40, Deuteronomy 6:4Elijah, SATB
17AriaIst nicht des Herrn Wort wie ein FeuerIs not his word like a fire?Jeremiah 23:29 & Psalm 7:11-12Elijah
18AriosoWeh ihnen, dass sie von mir weichen!Woe unto them who forsake him!Hosea 7:13A
19Recitative with choirHilf deinem Volk, du Mann Gottes!O man of God, help thy people!1 Kings 18:43-45, Jeremiah 14:22, 2 Chronicles 6:19, Deuteronomy 28:23, & Psalm 28:1Obadiah, Elijah, SATB, Youth
20ChorusDank sei dir, GottThanks be to GodPsalm 93:3-4SATB
Movements of Part II of Mendelssohn's Elijah
No. Description Incipit Translation Source Voices
21AriaHöre, IsraelHear ye, Israel!Deuteronomy 6:4, Isaiah 41:10, Isaiah 48:1,18, Isaiah 49:7, Isaiah 51:12-13, & Isaiah 53:1S
22ChorusFürchte dich nicht, spricht unser GottBe not afraid, saith God the LordIsaiah 41:10 & Psalm 91:7SATB
23Recitative with choirDer Herr hat dich erhobenThe Lord hath exalted thee1 Kings 14:7, 1 Kings 14:9, 1 Kings 14:15, & 1 Kings 16:30-33Elijah, Queen, SATB
24ChorusWehe ihm, er muss sterben!Woe to him, he shall perish1 Kings 19:2, 1 Kings 21:7, Jeremiah 26:9,11, & Ecclesiasticus 48:2-3SATB
25RecitativeDu Mann Gottes, laß meine RedeMan of God, now let my words2 Kings 1:13, Jeremiah 5:3, Jeremiah 26:11, Psalm 59:3, 1 Kings 19:4, Deuteronomy 31:6, Exodus 12:32, & 1 Samuel 17:37Obadiah, Elijah
26AriaEs ist genug, so nimm nun, Herr, meine SeeleIt is enough, O Lord now take away my life1 Kings 19:4, 1 Kings 19:10, & Job 7:16Elijah
27RecitativeSiehe, er schläftSee, now he sleepeth1 Kings 19:5 & Psalm 34:7Unnamed Tenor
28TrioHebe deine Augen auf zu den BergenLift thine eyesPsalm 121:1-3Angels: S S A
29ChorusSiehe, der Hüter Israels schläft noch schlummert nichtHe, watching over Israel, slumbers notPsalm 121:4 & Psalm 138:7SATB
30RecitativeStehe auf, Elias, denn du hast einen großen Weg vor dirArise, Elijah, for thou hast a long journey1 Kings 19:7-8, Isaiah 49:4, & Isaiah 64:1-2Angel I, Elijah
31AriaSei stille dem HerrnO rest in the LordPsalm 37:1,7Angel I: Alto
32ChorusWer bis an das Ende beharrt, der wird selig.He that shall endure to the end, shall be saved.Matthew 10:22 Matthew 24:13SATB
33RecitativeHerr, es wird Nacht um michNight falleth round me, O Lord!1 Kings 19:11-25 & 1 Kings 19:11Elijah, Angel II
34ChorusDer Herr ging vorüberBehold! God the Lord passeth by!1 Kings 19:11-12SATB
35Quartet with choirSeraphim standen über ihm; Heilig ist Gott der HerrAbove him stood the Seraphim; Holy is God the LordIsaiah 6:2-3A; S S A A SATB
36Choir and recitativeGehe wiederum hinab! Ich gehe hinabGo, return upon thy way! I go on my way1 Kings 19:15-18, Psalm 71:16, Psalm 16:2,9SSATTBB, Elijah
37AriosoJa, es sollen wohl die Berge weichenFor the mountains shall departIsaiah 54:10Elijah
38ChorusUnd der Prophet Elias brach hervorThen did Elijah the prophet break forth2 Kings 2:1, 2 Kings 2:11, Ecclesiasticus 48:1, & Ecclesiasticus 48:6-7SATB
39AriaDann werden die Gerechten leuchtenThen shall the righteous shine forthMatthew 13:43 & Isaiah 51:11T
40RecitativeDarum ward gesendet der Prophet EliasBehold, God hath sent ElijahMalachi 4:5-6S
41ChorusAber einer erwacht von MitternachtBut the Lord, from the north hath raised oneIsaiah 41:25, Isaiah 42:1, Isaiah 11:2, Isaiah 41:25, Isaiah 42:1, & Isaiah 11:2SSAATTBB
42ChorusAlsdann wird euer Licht hervorbrechenAnd then shall your light break forthIsaiah 58:8 Isaiah 63:8SATB
Herr, unser HerrscherLord, our CreatorPsalm 8:1SATB

Reception

Birmingham Town Hall, where Elijah premiered

Elijah was popular at its premiere and has been frequently performed, particularly in English-speaking countries, ever since. It is a particular favourite of amateur choral societies. Its melodrama, easy appeal and stirring choruses have provided the basis for countless successful performances. Prince Albert inscribed a libretto for the oratorio Elijah in 1847: "To the noble artist who, surrounded by the Baal-worship of false art, has been able, like a second Elijah, through genius and study, to remain true to the service of true art."[6] A number of critics later treated the work harshly, however, emphasizing its conventional outlook and undaring musical style. Bernard Shaw wrote in 1892:

I sat out the performance on Wednesday to the last note, an act of professional devotion which was no part of my plan for the evening ... You have only to think of Parsifal, of the Ninth Symphony, of Die Zauberflöte, of the inspired moments of Bach and Handel, to see the great gulf that lies between the true religious sentiment and our delight in Mendelssohn's exquisite prettiness.[7]

Similarly, after Boston's Handel and Haydn Society presented the work for the first time in February 1848, its success resulted in eight more performances that spring. In the mid-1920s, however, H.T. Parker, the city's principal music critic, described how members of the audience gazed upward at a recent performance: "How many of those eyes were there in rapture, or were counting the four dead lights in the central sunburst of the ceiling?.... Elijah is hopelessly, awfully, irremediably mid-Victorian.[8]

However, with the widespread re-evaluation of Mendelssohn’s work in the late 20th and early 21st centuries, these critical opinions have largely changed. In his definitive biography of the composer, the musicologist R. Larry Todd wrote that “the oratorio was the crowning achievement of Felix’s career”.[9] And in 2005 critic and musicologist Michael Steinberg described Elijah as “thrilling to sing” and noted that it “includes some of Mendelssohn’s finest music”.[10]

Mendelssohn wrote the soprano part in Elijah for the 'Swedish Nightingale', Jenny Lind, although she was unavailable to sing the Birmingham premiere. In her place, the part was created by Maria Caterina Rosalbina Caradori-Allan. Lind was devastated by the composer's premature death in 1847. She did not feel able to sing the part for a year afterwards. She resumed singing the piece at Exeter Hall in London in late 1848, raising £1,000 to fund a scholarship in his name. After Arthur Sullivan became the first recipient of the Mendelssohn Scholarship, she encouraged him in his career.[11]

Charles Salaman adapted "He that Shall Endure to the End" from Elijah as a setting for Psalm 93 (Adonai Malakh), sung on most Friday nights at the sabbath-eve service of the London Spanish & Portuguese Jewish community.[12]

References

  1. Todd, R. Larry (1991). Mendelssohn and His World, p. 304. Princeton University Press
  2. Program notes for Concert Opera Boston performance of Son and Stranger, March 15, 2009, accessed November 23, 2009
  3. Temperley, Nicholas (1998) Programme note to the complete English recording of the oratorio (Decca Records)
  4. The Times (anonymous critic), 27 August 1846
  5. Schwarm, Betsy. "Elijah, Op. 70". Encyclopaedia Britannica. Retrieved 21 January 2017.
  6. Peter Mercer-Taylor, The Life of Mendelssohn (Cambridge University Press, 2000), 200
  7. Bernard Shaw in The World, 11 May 1892
  8. Teresa M. Neff and Jan Swafford, eds., The Handel and Haydn Society: Bringing Music to Life for 200 Years (Jaffrey, NH: David R. Godine, 2014), pp. 63, 161
  9. Todd, R. Larry, Mendelssohn, A Life in Music (Oxford University Press, 2003), p. 548
  10. Steinberg, Michael, Choral Masterworks, A Listener's Guide (Oxford University Press, 2005), p.235
  11. Rosen, Carole. "Lind, Jenny (1820–1887)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 7 Dec 2008
  12. "Sabbath Evening service". London Sephardi Congregational Melodies (Google Sites). Retrieved Dec 27, 2017.
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