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قراءة كتاب The History of Mendelssohn's Oratorio 'Elijah'
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The History of Mendelssohn's Oratorio 'Elijah'
write music for the words. I ought to have previously told you that the sheets you took away with you are by no means to be regarded as containing a mature design, but as a mere combination of the materials I had before me for the purpose of eventually forming a plan. So the omission of the passage of the widow, and also of the raven, is decidedly most advisable; and also the abridgment of the whole commencement, in order that the main points may be dwelt upon to one's heart's content. I would urgently entreat you to proceed with your work, so far as your time and leisure will permit, and soon to send me the continuation of the first part, which ought now to be considerable, from where you left off. Rest assured that, as I already told you, you will earn my most sincere gratitude.
"You say that at first you could not make anything of the subject, but that a sudden light dawned upon you. I figured to myself Elijah as a thorough prophet, such as we might again require in our own day—energetic and zealous, but also stern, wrathful, and gloomy; a striking contrast to the court rabble and popular rabble—in fact, in opposition to the whole world, and yet borne on angels' wings. Is this the inference you also draw from the subject, and is this the sense in which you conceived an affection for it? I am most anxious to do full justice to the dramatic element, and, as you say, no epic narrative must be introduced. I am glad to learn that you are searching out the always heart-affecting sense of the Scriptural words; but if I might make one observation, it is that I would fain see the dramatic element more prominent, as well as more exuberant and defined—appeal and rejoinder, question and answer, sudden interruptions, etc., etc. Not that it disturbs me that Elijah, for example, first speaks of assembling the people, then forthwith addresses them—such liberties are the natural privileges of a composition such as an oratorio; but I should like to have the representation itself as spirited as possible; for instance, it annoys me that Elijah does not reply to Ahab's words, No. 16, till No. 18, various other speeches and a chorus intervening. I should like to have had an instant and eager rejoinder, etc., etc.
"But we are no doubt likely to agree about this; and I would only entreat you, when you resume your work, to think of this wish of mine. Above all, accept my thanks for your kindness, and write to me soon on the same subject.—Ever yours,
"Felix M.-B."
Schubring sent to Mendelssohn another "plan," for Part I., dated "Reformationsfest [October 31], 1838," accompanying it with the following (selected) observations[10]:—
[Schubring to Mendelssohn.]
"I have sought throughout—although it is not always possible—to introduce pieces, not merely suitable to the particular situation in question, but such as might awaken an echo in the hearts of the hearers—as, for instance, this aria ['If with all your hearts']. I have noticed that in your 'St. Paul,' for example, such numbers have excited the most interest.... In oratorios it does no harm if you exaggerate the dramatic effect: on the contrary, it seems to me necessary.... I think it will often occur to you, as it does to me, to marvel at the manifold things which can be found in the Bible."
In the letter[11] ("Dessau, November 1, 1838") which accompanied the new "plan," Schubring remarks:—
"... I fear the first part will be too rich, or rather the second part too poor. I confess I have some misgivings about the second. As it now stands it is far from pleasing me. If not unreasonable, I would propose to bring in the rain scene at the beginning of the second part, and something could certainly be found to replace it in the first part.
"What I feared and wrote to you about, has really come to pass; and the thing is becoming too objective—an interesting, even thrilling picture, but far from edifying the heart of the listener. All the curses, the scenes of the sacrifice and the rain, Jezebel, etc., in all this there is nothing which now-a-days would come from the heart, and therefore nothing which would go to the heart. Pieces in your 'St. Paul,' like the aria in B minor ['Consume them all'], or choruses, 'Ihr Männer von Israel helfet' [No. 38, in the English edition], etc., are certainly fine and characteristic; but they are interesting rather than edifying. You will probably never hear people singing that aria at the pianoforte for their pleasure; but the second and third arias in 'St. Paul,' or that for tenor towards the close ['Be thou faithful unto death'], they are for everybody. There are many more passages in 'St. Paul' of general interest than there are in this 'text' in its present form. Therefore you must carefully consider whether this time you prefer to turn away from Church music (i.e., music which refreshes, consoles) and create a tone-picture after the manner of the 'Blocksberg-Cantata.'[12] If not, we must diligently set to work to keep down the dramatic, and raise the sacred element, and always aim at this. Perhaps it will suffice to lead back from the second part to the effect of the rain scene in the first. I expect that will be very fine. It can only be surpassed by bringing out prominently Elijah's meaning (signification) for the New Covenant, as the forerunner of the Messiah, pointing towards His coming, and such like.
"All this lies in the future, and at present I am waiting until you have written to me about the first part. Therefore, let me conclude for the present—not my thoughts of you, but my letter, and soon gladden me again with something—not to do—but to enjoy. Good-bye. N.B.—The third letter to you this week!"
Schubring sent to Mendelssohn a draft sketch for Part II. on November 17, 1838,[13] saying:—
"Before I set to work I should like to know your idea of the matter. For the rest, I am more and more convinced that you will have to supply the principal part of the text yourself. How is one to know what is running through your mind on this or that occasion? Therefore the words are only set down as hints, suggesting what might be written."
Mendelssohn replied to Schubring in words which show that there was some difference of opinion between them as to the "plan" of the oratorio. Here is the composer's letter:—
[Mendelssohn to Schubring.]
"Leipzig, December 6, 1838.[14]
"Dear Schubring,—Along with this you will receive the organ pieces and 'Bonifacius,' which I also enclose. Thank you much for the letter and for the manuscripts you have from time to time sent