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قراءة كتاب The History of Mendelssohn's Oratorio 'Elijah'
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The History of Mendelssohn's Oratorio 'Elijah'
my having to do this myself. When I have finished a composition, that which really gives me pleasure in it is the progress I see in the work, and the hope that it may lead me to attain to greater excellence in the next. Therefore, I long to be rid of all care of the finished work; and I feel as if I could only really thank you, from my heart, if you showed me that you like this oratorio sufficiently to help me to find a new 'text,' and thus encourage me to write another oratorio. If you would only give all the care and thought you now bestow upon 'St. Paul' to an 'Elijah,' or a 'St. Peter,' or even an 'Og of Bashan!'
"It may seem ungrateful that I write to you just now in this strain, and in a letter which should be all thanks; but it is as I feel at present, and we are far too intimate with each other for me to attempt to hide from you my present mood. You know, don't you, that I am not ungrateful? But I have felt very strongly of late that I need and long for an external impulse to urge me on; no recognition of work done can come up to that; it gives me great pleasure, but it has not the stimulating effect upon me which a suggestion for new work would have."
This letter, which discloses an article of Mendelssohn's artistic creed, is important, because it contains the earliest known reference to the oratorio of "Elijah." The date should be carefully noted, as it shows that Mendelssohn was engaged, more or less, upon his great oratorio for a period of more than ten years before it was given to the world in its finished and published form.
Klingemann does not seem to have been taken with his friend's proposal that he should compile an oratorio libretto, even upon so original a subject for musical treatment as "Og of Bashan." The following letter, written a few weeks before the composer's marriage, contains a request for the "text" of an oratorio as a wedding present—surely a novelty in the way of a nuptial gift.
[Mendelssohn to Klingemann.]
"Leipzig, February 18, 1837.
"... Here comes my request. Do write for me within the next few weeks the text for a Biblical oratorio, so that I can set to and compose it during next summer. The last time we talked about it I mentioned to you two subjects which I like equally well—'St. Peter' or 'Elijah.' What I would like best would be for you to take 'Elijah'—divide the story into two or three parts, write it out in choruses and airs, either in verse or prose of your own; or, compile it from the Psalms and Prophets, with powerful big choruses, and then send it to me. The translation of Handel's oratorios gave you so little trouble that I think you will only require a few evenings, and the will to give them up to it, and my 'text' will be written. You may let it be dramatic like 'Judas Maccabæus,' or epic, or both combined. I am satisfied with anything you do. You need not ask my advice, but just write out what you think best. Then I can compose it at once.
"If you do not care for either of these two subjects, then I am willing to take any other—for instance, 'Saul.' But somehow I think 'Elijah,' and his going up to heaven in the end, would be a most beautiful subject. And if you think of using Bible words, read up Isaiah lx. and lxiii., to the end of the Prophet, and also chapter xl., and Lamentations, and all the Psalms. When you have done this you will easily find the right language. Just think what sort of an oratorio I ought to be able to write at this moment, and such an one send me. It ought to be your wedding present to me; it would be the gift I would value most. Do not refuse my request. Of course, if you are too busy, do not be vexed with me for asking this of you; but do write to me, anyhow, very soon."
Mendelssohn was married at Frankfort, on March 28, 1837. Klingemann evidently did not send a wedding present in the form of an oratorio "text" in time for the ceremony, since Mendelssohn, while on his honeymoon, wrote the following letter to his London friend:—
[Mendelssohn to Klingemann.]
Freiburg, April 30, 1837.
"... Will you soon be able to fulfil your promise about 'Elijah'? Forgive my pressing you thus for an answer. It is not my fault; it is the fault of circumstances. It seems to me more and more a mistake to imagine that anyone can make a lasting impression by one single work—it ought to be done steadily, uninterruptedly, by progressive writings. Out of these the best will eventually stand forth, if all are conceived in an earnest spirit. Therefore, I want to write some more sacred music soon, especially as I see no chance of being able to compose an opera. Perhaps this is as well, for it seems to me as if all the German theatres were at the present moment in such bad condition, that one cannot reckon on a good performance anywhere, and therefore there may yet be a few years' time before me, and I may do it all the better then; for that I must write operas is an idea I cannot give up. The choral societies, on the other hand, are just now good, and long for new music; and I should like to give them something that would please me better than my 'St. Paul' does. Do help me to this, and send me a new oratorio 'text.'"
In the autumn of his marriage year, Mendelssohn paid his fifth visit to England, in fulfilment of an engagement to conduct his 'St. Paul' at the Birmingham Musical Festival of 1837, at which he also played the pianoforte and organ. He stayed (in London) at Klingemann's, 4, Hobart Place, Eaton Square. The house, which still stands, is opposite St. Peter's Church. During this visit Mendelssohn spent two whole mornings with his host on the "plan" of an oratorio of "Elijah." This "plan," or "sketch," was left with Klingemann for him to develop and to put "into verse." A few months afterwards he received the following letter:—
[Mendelssohn to Klingemann.]
Leipzig, January 9, 1838.
"... Over all this chatting I am forgetting a very important affair. I received last week by post a parcel (which cost me nearly 10s. for postage), containing an English 'text' for an oratorio of 'Elijah,' which was sent to me by a Mr. Charles Greville (18, Vineyards, Bath, Somersetshire), in the name of the poet, with a strange letter. Do you know this gentleman, or the name of the poet, J. Barry, a clergyman? I have never heard of them.... I should like to know how they fixed on 'Elijah,' and on this way of treating the subject, which certainly resembles our 'sketch' very closely.... They have already dedicated their 'Elijah' to the Duchess of Kent, and no doubt will make much ado about it; and if I do not compose it, Neukomm, or some one else may do so. Therefore—you see what is coming—I beg you for two things: 1st, make our 'sketch' into verse and send it to me at once (you may take Bible words to help you, or whatever you like), so that I may compose it forthwith; and secondly, send me, in any case (even if you will not comply with No. 1), our 'plan' or 'sketch,' as we made it when last we met (with all remarks) copied, and write to me at the same time."
The Rev. Mr. Barry's libretto of "Elijah," above referred to, was not published till 1869. A copy of the little book, now "out of print," is before me. Its title is:—
"Elijah, or the Baalim in Israel: a Metrical Libretto, in four parts, dedicated in the year 1838, by express permission, to Her late Royal