Cornell University Library

ML

53.M53E4
a sacred drama.and other
poenis^^^^^

Elijah,

3""T924 022 148 104

THE GIFT OF
a.a,^....O^..g},.,.U^^

.A..I

5[pi.3..o

...MUSIC

'..^i.?..(..'.?..<?.*..

Cornell University Library

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ELIJAH:
THE MUSIC COMPOSED BY

MENDELSSOHN
ILLUSTRATED EDITIONWORDS AND MUSIC

WITH

A BIOGKAPHY OF MEISTDELSSOHN,

NEW-YORK:
PUBLISHED AT THE ACADEMY OF MUSIC.

LIFE OF MENDELSSOHN.

Bartholdt Felix Mendelssohn was the son of a rich merchant and banker, at Hamburg, and was born in that city on the 3d of February, 1809. Besides be ng thus favorably placed, Felix Mendelssohn entered upon the breathing world encircled with the areola of ancestral renown. He was the grandson of Moses Mendelssohn, a light of philosophy and science, as well as one of the most brilliant exponents of Jewish literature, whose name, moreover, is connected with music by more than one eesthetical disquisition in the course of his profound and varied works ; among which, if we recollect, is to be found a treatise on " equal temperament." The early development of the musical faculty in the young Felix Mendelssohn forces him into a comparison with the precocious Mozart ; but his more fortunate position saved him from the many evils resulting from the premafture drudgery of public display. His earliest musical instructor was the natural guardian .of his infancy his mother ; and on his father removing to Berlin, when Felix was but four years old, the child was placed under the musical tuition of another lady, Madame Bigot, to whose enlightened and affectionate care Mendelssohn was always proud to own his obligation. At this period, he was frequently accompanied by the witcheries of Baillot's violin. In tracing the progress of his perfect and well-conducted musical education, due weight should be allowed to these favoring circumstances, from which the future composer, no doubt, derived much of the faultless expres-

and the playful gayetj with which his woi'ks overflow. At the age of eight years he was esteemed amongst his friends a minute prodigy and not without reason. He could then play at sight the most intricate scores of Bach, and, without premeditation, transpose Cramer's exercises into all sorts of keys. He also evinced a wonderful faculty in extemporizing upon a given theme. At this period, he was put under the care of the severe an(J methodical Zelter, the contrapuntist, while hi% practice on the piano was directed by the romantic Louis Berger, whose enthusiastic nature set its stamp upon the susceptible heart of the incipient musician. Zelter was not the man to give ready way to fervid impressions ; yet the extent to which "his glorious boy," as he called him, had wound himself round his rigid affections, is manifest from the eagerness with which the professor desired to introduce his pupil to the " great man " of Germany, Goethe. When Sir Walter Scott, in his latter days, met Goethe, the eyes of Europe were fixed with intense interest on their interview. But here we have to tell of the mighty German genius permitting the introduction of a child of twelve years. Zelter, writing to Goethe, in 1831, tells him " I desire to show your face to my favorite pupil before
sion, the tenderness,

die." Upon the circle which surrounded Goethe as its centre, the young musician made a profound impression, winning, at the same
I

time, the affection of all, by his boyish openness, mingled with those little espilecfleries which belonged to the pupil "^ Madame Bigot, and

'

IV

LIFE OP ME If DELSS OHK.

1829 Mendelssohn was in London, and at once understood and cordially responded to that applausive sympathy which the performance of his works, by the Philharmonie Society, evoked, and which forever bound him to> that hospif ablo soil. The splendor of his reception in England gave him an extemporaneous fame throughout Europe. In 1831 we find him at Rome, where friend early the Walpurgisnacht of his Goethe occupied his eminently artistic pen. There also he pieced together the inspirations which he had previously conce;'/ed amongst t he basaltic caverns of the Western Isles of Sc' itland, and the romantic Hall of Fingal vm-f This overture was performed in the result. London, in 1832. While at Rome,' also, he struck into a new line of composition, altofri-ihei his own, in those matchless Lieder ohne Worte. which prove, beyond denial, that music has its His agreeapoetry, as well as poetry its music. ble exterior, his cultivated intelligence, and the independence of his position, made him evt^ry where received with distinction. And on bis second visit to London, in 1832, he found himself quite identified"with the artistic monde of
that capital.

the spoiled child of his mamma. It was on one of these occasions that he stopped in the midst of the performance of a fugue of Bach. His quick and delicate ear was oflfended by an informality in the score. He insisted that there were consecutive fifths. Hummel was present, and was lost in astonishment upon discovering that the passage actually contained " covered fifths," which had hitherto escaped detection. Hummel's wonderful performance on the pianoforte

delssohn, so

made a deep impression upon young Menmuch so, that he burst into tears

when once asked

to play after him. Felix had composed several works for the piano ; but it was not till in 1824 that he .appeared as a writer before the public. In that year were published two quartets for violin, tenor, violoncello, and piano, (Op. 1,) the young These aifthor being then not fifteen years old. were followed by a grand duo in F minor, for quartet in B minor ; and piano and violin ; several other works ; among others, the opera namedi)ie Hochseit des Camachos. The last-

named

opera, in three acts, was performed in any remarkable manifestation of public approval. Before his father would allow him to devote himself to music as his profession, he took him to Paris to consult the then aged Cherubini. The ordeal proposed by that consummate musician to test the proficiency of the aspirant was the composition of a Kyrie for chorus and to the filll orchestra, which ws accomplished perfect satisfaction of the renowned judge. This decision it was which gave to the world its Animated by this enfuture Mendelssohn. couragement, he resumed his studies under his former esteemed masters, and successively proBerlin, but without

In the

mean time he had

tourist

travelled, in

combined quality of

and

the musician,
;

through Scotland, France, Germany, and Italy

duced the works from Op. 5 to Op. 12; beside several quartets, and an octet. About .this period he made the acquaintance of Moscheles and as early as 1827 was performed in public that charming production of his pen The Midsummer Nighfs Dream, {Der Som;

tfiernachistraum.*)

But it was in England that his most brilliant successes were to be won, and in the hearts of

Englishmen that his talent was to be lastingly enshrined. Through the mediation of Ignace Moscheles, the banded artists of the Philharmonic Society extended to the talented stranger in the fruitless attempt to describe his unsurthe right hand of friendship ; and in the year passed excellence as a pianist ; and the churches were invaded by crowds, who thronged the aisles when he was expected to play on the
in 1825, at the

and after four years' improving and ennoblit)g absence, he returned to Berlin ; but not to make that home of his boyhood his exclusive residence. "In 1834," says M. Fetis, " I found him again at Aix-la-Chapelle, whither he had betaken himself on the occasion of the Musical F6te of the Pentecost. He was then twentyfive years of age ; his former youthful timidity had given place to the assurance of the ackn6vrledged artist, and even to a certain air of hauteur." Until 1836, he continued to direct the fetes at Dusseldorf and Cologne, and then retired, in consequence of his finding it impossible to keep in accordance with the artists and amateurs of Dusseldorf, where he resided. During this year, he spebt a considerable time at Frankfort ; and while there he married. Throughout the period of his celebrity, he was not only distinguished for his compositions, but universally run after as a performer. Language was exhausted of its tropes and figures

This must mcin the overture, which he composed In a word, the only thing he could not ago of aixteon. The other portions of organ. do on the organ was to " play the congregation that music were produced many years later.

; ; ;

lif:
out,"
fixed

OF

MENDELSSOHN
1

The more effectively he played, the more unite the classical qualities of the best masters congregation remained the more of the German school with a certain boldness artistically persuaBive his intimation to depart, of good augury. In fine, this young artist (M. the more determined were they not to go ; and Mendelssohn has not reached his thirty-first an instance is on record, how once, at St. Paul's year) is incontestably, up to this day, the musi Cathedral, the vergers, impatient to clear the cian who affords most hope to Germany, and church and get their supper, managed to give comprises in himself the future school, of that an effectual blow to the energy of the performer country. Talent does raot always manifest itself in the same way ; and but few examby surreptitiously stopping the bellows.
the

It was, possibly, his tran<;cendent skill as an executant that led to the notion, about this time generally received, that Mendelssohn was deficient in genius the possession of the lower faculty being takeia as a negation of the higher. ft is possible, moreover, that the strict and

known 'of that vigor of invention which burst forth with Rossini at the age of twenty ; with others, and even with the impetuous Beethoven, originality was the force of meditation. The same phenomenon appeared in the talent of Gluck." The prophetic spirit, gleaming through these formal discipline of the erudite Zelter had swathed the infant mind of his pupil in bands judicious criticisms, was amply accredited by of rigid form, which, retarded its development Mendelssohn's subsequent career, unhappily In 1846 he completed, and, on yet, perhaps, only to render its maturity more but too brief. beautiful and perfect. However this may be, the 26th of August, himself conducted, at the Mendelssohn was spoken of as a distinguished Birmingham Festival, the oratorio of Elijah ; talent, rather than as possessing a name likely the reception of whicn left his warmest admirto rar.k with Beethoven, Haydn, and Mozart. ers nothing to desire. But it was in the decrees of that unsearchable In reference to this opinion, M. Fetis has the Providence which often only shows us the following remarks " The childhood of M. Mendelssohn gave highly gifted, birth to tie hope, that we' should see another " To mockiOur fond pursuits, his earliest w^orks g-reat musician in Germany And teach our hiimblBd hopes tliat life is vain,'' gave indication of more talent than it is usual to find in youth, but did not seem to realize the qualities of genius which were supposed to that this star, the cynosure of all observers, be in him. There were, however, even in 1830, should stoop to the horizon before it had
pleo are

p.irticularly in the

originality in his productions, reached its culminating point. During his last overture of the Midsum- visit to England, the keen eye of anxious friendmer Night's Dream, which I heard at Paris ship might trace the secret ravages which the but it was easy to see that they were rather ethereal spirit within had made upon his deliHe was for the most the fruits of research and labor than of inspir- cately organized frame. Since then the artist has been continu- part invisible to the innumerable friendly ination.

tendencies to

growing ; and his manner has deyeloped quirers whom his celebrity brought about him, every day more individual qualities. His con- at No. 4 Hobart Place, Eaton Square, where certo in G minor for the piaaio-forte, his octet, he had fixed his temporary residence. So niland, above all, his oratorio of Si. Paul, are iia-mus, indeed, were the calls made upon him, Among his most that his old and faithful servant, in answer to works de grande porUe. beautiful compositions iire also mentioned the an inquiry, exclaimed; "Ach! me almost run cantata which be wrote for the anniversary fete down dere be so many visitors." of Albert Durer; another composed for the The honors which were accumulated upon fete given by M. Alexandre de Humboldt to him were oppressive to the constant sense of thu naturalists assembled at Berlin ; and also fatigue which possessed him. To a young his Walpurgis Night, on the poem of Goethe friend, who begged him to play after the triumalso a symphony for the fete of the reformation, phant conclusion of the Birmingham Festival, which has been performed at many of the great he replied mournfully even with tears in musical reiinions. M. Mendelssohn shows at expressive but imperfect English, that he could once fecundity and much ease in the composi- not play " write and practice too much," he The St. Paul seems to continued, " no strength can not play ;" and tion of his -works. me to be that which affords most hope for his placing his attenuated hand upon his pale foreavenir. In that piece he has found means to head, exclaiming, " O mj head my head !" he
ally

VI

OEATOEIO

01"

ELIJAH.

looked up to heaven, whither he was fast has- with amazing rapidity ; and, from the very tening. The abiding shadow of the unseen early age at which he began to hold a plac^ in \rorld was settling upon hinn. public estimation, his artistic life was by no In 1837 he had accepted the post of director means short. Although a painful apprehension of the concerts at Leipsic. in this city he con- to the contrary embittered his last days, yet he tinued to reside till his death, which happened lived long enough for fame. Not so with Menon the 6th of November, 1847. delssohn. However extended his mortal span Thus, at the age of thirty-eight, died this might have been, his fine talent would have great and accomplished man. tii the early continued, in all probability, to unfold and disperiod of his decease, Mendelssohn strikingly cover fresh beauties as long as his natural resembles Mozart, who died in his thirty-sixth faculties were perfect. He died in the period year. Of Mozart it can not be said that he of fall promise, withered in the spring-time of died prematurely. His faculty was developed bis genius.

AI^ALTSIS OF

MENDELSSOHN'S ELIJAH.
starved impulses, which, getting no expansion, only murmur of themselves are the alternate changes of one figure on this monotonous web of tones. And now the suffering finds a voice. There is a chorus of the people Help, Lord ! wilt still in minor, 4-4 thou quite destroy us ? time. Andante. First a loud cry. Help, Lord ! upon the minor common chord of D, the accompaniments traversing downwards and upwards through all its inversions for two bars ; then, as the air climbs one note higher, the same process is repeated on the crying chord of the Diminished Seventh, which, through the dominant Seventh upon C, would fain force its way out into the bright major key of F, and find relief; but while the base tends boldly minor returning in that way, the chord of the upper parts smothers the tendency, producing a discordant mixture of tonics, which is Wilt thou peculiarly expi'essive, on the words Out of this massive and quite destroy us ? compact beginning the tenors lead the way in a freer movement, chanting the two plaintive phrases : The harvest now is over, the Summer days are gone, and And yet no power eometh to help us, which are duly taken up by the other voices and passed round as the themes of a very beautiful and graceful Fugue, which works itself up by degrees, into the right chord for a traiisition to the key of E major, whea the Fugue is quelled for a while into a uniform

The following able Analysis of JSlijali, taken from DwighCs Journal of Music, will be read with unmingled pleasure and satisfaction The figure of the prophet is stationed, at once, boldly in the foreground. Even the Overttjre is prefaced by a brief Eecitative, in which, with firm, deep voice, he declares that There shall not be dew nor rain these years. Had Mendelssohn composed expressly for an American audience, who never begin to settle down into the listening state until they hear the human voice we might have suspected him of an innocent manoeuvre here, to procure silence, and a hearing for the Overture. In this Overture there is a sort of sullen, smothered, choking energy, fretting against chains self-forged ; an obdurate .willfulness seems depicted a desperate impulse continually trying itself over again, only to find the same fatal limita'tions ; it is the mood of an unrepenting The musieisall of very criminal ill his cell. short fibre, woven into the toughest, knottiest sort of texture; full of movement, but na progress. One or two little short starts of melody constantly repeated, are its themes ; and, though these are woven into a consistent and artistic whole, you hear nothing else from first This is in the appropriate key of to last. minor, and sheds the right murky coloring over all that is to follow, helping imagination to realize the state of Israel under Ahab. Drought and famine ; life denied its outward sustenance;
:

OEATOEIO OF ELIJAH.

''n?

movement, Will then the Lord be no more God bar at first it takes, as if unconsciously, th? in Zion ? with a fitful, tremulous accompani- form of seek aiid find a climbing arpeggio, ment ; but it soon breaks loose again, and, answered by a full chord ; when it reaches tho amid renewals of the cry, Help, Lord! from words. Oh ! that I knew where I might find

single voices,

terminates the chorus.

re-

Him, the whole

markable Choral Eecitativo succeeds, in which the complaints of famine come up in distinct, successive fragments of melody from one mass The deep affords no of voices after another The infant children ask for bread, etc. water
expressive, if the voices start the theme with perfect concert. Next we have a plaintive duet for sopranos, Zion spreadeth her one of those wild and tender hands for aid melodies, (each part a melody however,) in which we get the genuine aroma of Mendelssohn's peculiar genius, as in his Lieder. There In the pauses of are several such in jElijah. minor, and forming a the duet, which is in sort of background to it, is constantly heard -the burthen (an old Jewish Chant) alternately of the entire female and of the entire male chorus, in unison, on- the words. Lord, bow thine ear to our prayer. The effect is as poetic as it is original. At first was the popular complaint of the short harvest ; then, in the Recitative, it was the children hungering at home; now it is youthful loveliness and beauty interceding as by special affinity with heaven ; remark this fine touch of the delicate and feminine side of the composer's genius had

exceedingly

air pulses to the heart beat ol the melody, as the violins divide the measurv' into crystal and precise vibrations. Thci: breaks out the turbulent chorus in C minoi-. .'. his wrath will Yet doth the Lord see it not

pursue us, etc. ; full of diminished seventh and of discords from bold overlapping of oiio chord upon another. Its vehement and angrv motion is suddenly arrested on a discord nf this sort, (dominant seventh upon the tonic,) in the words till he destroys us ; and after tho pause, follows the grave, massive, psalm-like solid piece of counterpoint, all in long half-notes For He, the Lord our God, He is a jbalou? God, etc., thrown up like a mountain range of the primeval granite in the midst of this great musical creation ; yet its solemnity is not all barren, for erelong its sides wave with the forests sprung from the accumulated soil of ages, and the solemn procession of the clouds iii heaven passes in shadows over their surface the key shifts to the major the accompaniments acquire a freer movijment ; rich, refreshing modulations succeed each other smoothly, and the vocal parts diverge iti separate stream of perfect harmony, at the thought His MeuciBS ON thousands FALL, etc. Fit prelude tc
; : f. :

"

this

Duet been

left out, it

would hardly have the voice of

tive,

'angels

An

alto voice, in recita

I

been Mendelssohn.

So much in description of the drought. Now comes the appeal of Obadiah to the consciences of the people a Tenor Recitative, Bend your hearts, etc., followed by the exquisitely tender and consoling tenor song, (Andante, in E flat :) If with all your hearts ye truly seek me. If you comparfe it with Handel's Comfort ye, my people, you have the whole difference of complexion between these two deeply religious

natures.

In that,

it

is

the perfect

sanguine

buoyancy and confident announcement of hope more in this, it is hope tinged with sadness

of reflective yearning, and less of the child's unquestioning acceptance and assurance. It would compare more closely with He shall feed his flock ; only that is an alto song, and this a tenor, as befits the difference of aentir me'nt ; for in that, the feminine element, or Love, is all in all ; whereas in this, the mascuIn this line element of Justice tempers Love. song, as in the duet before, and as throughout
the oratorio, Mendelssohn displays his rare poetic invention in accompaniment ; in every

bids Elijah hence to Cherith's brook, tel ing of the ravens who will feed him. Then a remarkable double Quartet (four male and four female voices) follows with the words For He shall give his angels charge, etc. The very simplicity, together with the animated movfment of this, requiring perfect precision and blending of the eight distinct parts, makes it difficult to convey its beauty in a performance. Again the angel warns him to Zarephath to the widow woman ; and the homely images of the barrel of meal and the cruise of oil do not fail, or fall in any wise short of digtiity and beauty, in Mendelssohn's pure recitative, which quite transcends the usual common-place. have now reached the first in the serie* of dramatic sketches, of which the body of the Oratorio is mainly composed the miracle of raising the widow's son. The sentiment of the marvellous is first raised by the accompaniments, which, confined chiefly to the violins and treble wood instruments, keep up a light tremolo, to a melody, full of sad, sweet humility, (E minor, 6-8,) which introduces the lamenta:

We

Vlll

OKATOBIO OF ELIJAH.
vocation of the priests of Baal is very efTective musically, however fruitless for their purpose, and the music of it is in striking contrast with the severe and spiritual tone of the rest of the Noisy, impetuous, full of accent and Oratorio. of animal life, it befits the worshippers of natural things ; and it commences in the key of nature, or major. First, it is in 4-4 time, a double

!?m of the woman over her son. The answer of tae prophet, and his prayer, Twrn unto her, are
the major of the key, in grave, fourfold measure. The return of the tremolo, in the still more mystical key of F sharp major

swelling and diminishing, raises expectation to the height, and makes natural the woman's question of surprise. Wilt thou show wonders
to
th*.

The prayer is renewed, and so chorus, with a sort of bacchanalian energy, too the woman's exclamation, striking a higher Baal, we erg to thee j then sets in an Allegro note in her growing earnestness. Yet a third movement, with arpeggio accompaniment in time the prophet prays, amid crashing, measur- thirds, in single chorus, bases and altos in unied peals of harmony, announcing that the mir- son crying, Sear us, Baal I hear, mighty God, aculous agency is at work restoring life. The and sopranos and tenors in unison more earnjoy and devout thankfulness of the mother, est following, Baal, oh! answer us; let Ihg prompting the question, What shall I render flames fall and extirpate the foe, etc. In vain the Lord? are followed by the brief but.beauti- no help for them in long loud cadences (the fiil duet between her and the prophet, Thou minor third, so loved by Mendelssohn) with sliall love the Lord with all thy heart, which is hopeless pauses between their Hear us ! floats in broad four-fold measure, and glides directly away upon the empty air. The prophet taunts into the chorus. Blessed are the men who fear them Call him louder. Again they raise their him, which is distinguished by the soft, rippling cry, this time in F sharp minor, in hurried,
dead?
!
:

flow of the accompaniments, the violoncellos keeping up one uniformly varied and continuous figure in sixteenths through the whole of it, while the vocal parts steal in one after another with the same .whispered melody, which, with that multitude of voices, is like the soft rustle of the bending grass, before successive breathings of the west wind ^until the words, Through darkness riseth light to the upright, where the sopranos shout forth a clarion call, climbing through the harmonic intervals of the fifth of the key as far as its tenth, and closing with a cadence upon B, which note the bases take for a starting point, and thence repeat nearly the same figure, ending in A, where it is taken up by the' altos, and again echoed ere it is half out of their mouths by the tenors, until all come unitedly upoir the words He These is gracious, compassionate, righteous. words are treated somewhat after the manner of, And his name shall be called Wonderful, Counsellor, etc., in Handel's sublime chorus, though no such stupendous effects are here attempted. The original whispered melody flows in again with mingled fragments of the second theme, And the chorus ends with echoing, retreating calls of Blessed! while that rippling

4-4 time, the

full force of the orchestra reiterating quick, short, angry notes, as if they were all instruments of percussion, and trying rest-

and discordant modulations, as the voices with agonized impatience repeat : Jfbw arise ; Again the prophet taunts, wherefore slumber? and again they call on Baal, still in the same wild key, but with the most furious presto movement, in 6-8, ending as before in fruitless cadences. Hear and answer, succeeded by unless

broken pauses.
In a solemn AdaIt is now Elijah's turn. gio air, expressive of siiblimest faith and feeling of the right, and even of a tenderness which you can not help contrasting afterwards with his ruthless slaughter of his defeated rivals, he offers up his prayer to the God of Abraham, Isaac, and Israel, This is followed by a short and simple quartet : Cast thy burden upon the Lord. All this was in the confident key of flat major. In his invocation : O Thou, wh^ makest thine angels spirits Them, whose rfiinisters are flaming fires j let them, now descend! The prophet's voice, unaccompanied, rises a miner third in uttering the first clause, followed by the full minor chord, pianissimo, from the instruments ; in the second clause it ascends (through the minor third again, to the fifth) again more loudly answered by the instru.. ments ; and in the third clause it reaches th^ octave, when bursts forth the wild descriptive chorus : The fire descends from heaven ! This change to the minor in the invocation makes a presentioient of miracle, as surely as a prcteF

accompaniment floats skyward and is lost. Now comes the appearance of Elijah hefore Ahab, and the second dramatic scene, the chal.
lenge of the priests of Baal. The several proposals of Elijah (in bold recitative) are echoed in choral bursts from the people, Then we
sliall

see

whose God

is the

Lord,

etc.

The

in^

ORATORIO OF ELIJAH.
natural change of d&ylight, or the noon-day darkening of eclipse. The Fire-chorus, with its imitative accompaniments, we will not attempt to describe ; it is fearfully grand, and terminates in a massive Choral : The Lord is God, etc. ; the earth quakes as it rolls away, with the prolonged tremolo of the double bases, during which Elijah dooms the prophets

IX

along rejoicing, like the copious bllloivs o^ a torrent, while the instruments, by a well-ehosou figure, imitate the sound of dripping streams. You feel the changing temperature of the air in some of those modulations. What a gusto, what a sense of coolness in some of those flat sevenths in the base there are certain chords there which we would call barometrical or atof Baal mospheric, if the extravagance of fancy might This scene closes with twa remarkable songs. be allowed to keep pace with the fullness of First, a base solo by Elijah: Is not his word delight in listening to this tone-translation of like afire^ and like a hammer that breaketh the one of the inexhaustible phenomena of nature. rock into pieces ? Here the composer evidently This closes the First Part of the Oratorio. had in his mind a similar great solo in Handel's The Second Part has for its subject-matter Messiah. Both song and accompaniment are the reaction of the popular sentiment against cast in the same iron mould, requiring a gigan- Elijah,, at the instigation of the queen his sotic voice to execute it. Indeed, it is almost too journ in the wilderness, and his translation to great to be sung, as some parts are too great to heaven. This is prefaced by a song of warning be acted. Next, the exquisite alto solo. Woe to Israel, Hear ye, Israel, for a soprano voice, unto them that forsake Him ! which is again of in B minor, 3-8 time one of those quaint litthe Lieder ohne Wbrte order, haying that char- tle wild flowers of melody again, which seem acteristic wild-flower beauty, so indescribable in to have dropped so often from another planet the melodies of Mendelssohn. at the feet of Mendelssohn. The short-breathFinally, we have the coming of rain, pre- ed, syncopated form of the accompaniment, and pared in a dialogue between the people, the the continual cadence of the voice through a prophet and the youth whom he sends forth third, give it an expression of singularly childto look toward the sea. There is a gradual like innocence and seriousness. Then follows, mellowing of the instruments, so that you in the major of the key, in statelier 3-4 measeem almost to snuff rain in the parched sure, and with trumpet obligato, a cheering air, air. The responses of the youth, clear, which differs from the last as a bracing October trumpet-toned, in the major chord of C, as he morning from a soft summer Sabbath evening, declares, there is nothing, each time with the Thus saith the Lord, I am he that comforfeth, enhanced effect of the mellow, continuous high etc., leading into the very spirited chorus in monotone from the orchestra, and finally an- major Be not afraid, saith God the Lord. nouncing, amid the mysterious thrilling of the This has a full, broad, generous, Hatidelian flow, air with violin thirds, a little cloud no bigger like a great river rolling rapidly ; and as youp than a man's hand ; then the blackening the ear detects the mingling separate currents when heavens with clouds and with wind ; and then you heed the riyep's general roar more closely, the loud rushing of the storm, are wrought up so hurrying, pursuing, mingling, go the voices to an admirable olimajf, ftnd the .cljopus breaks of the fugue. Though thousands languish, forth, Ijlfa * pepfceit flood of joy, refreshing and which gives the. chorus a more thoughtful chapef lying all things : Thanks be to God ! He racter for a moment, before they arc all merged laveth the thirsty land. The waters gather; again in the grand whole of that first strain, they rush along ; they are lifting their voices Be not afraid ! The stormy billows are high ; their fury is One can not conceive how the scene which mighty ;, but the Lord is above them and Al- follows could have been wrought into music mighty ! This rain.chorus (which is in E flat with a more dramatic effect. The prophet demajor) is in perfect contrast with that Fire- nounces A-hab ; then the queen in the low tones chorus, The musjc itself is 0.S welcome as of deepest excitement, in angry and emphatic showers aftgr long drought ; as tears of joy sentences of recitative, demands. Hath he noi and reconciliation after years of barren, obsti- prophesied against all Israel ? Hath he not desnate self will and coldness ; as the revisiting of troyed BaaVs prophets ? Hath he not closed the inspired thoughts to the dry, dul), jaded, un- heavens ? etc. ; and to each question comes an guggestive brain ; and that not the less be- ominous, brief choral response We heard it c^iuse g,ll the music which precedes is rich and with our ears, etc. ; and finiiUy the furious varigus, Th? ygices sgeis to launch themselves chorus, Wqb (o Mm, h? shall perish^ if) which
!

OEATOEIO
seem
Yielding to Obadiah's friendly warning, the prophet journeys to the wilderness ; and here we have the tenderest and deepest portions of all this music ; here we approach Elijah in his solitary communings and his sufferings ; here we feel a more human interest and sympathy for the mighty man of miracle ; we forget the terrible denouncer of God's enemies, and love his human heart, all melting to the loveliness of justice, and mourning over Israel's insane separation of herself from God, more than over his ownstrials. Follow him there genial guides stand ready to your imagination's bidding first, the grand old words of the brief and simple Hebrew narrative ; then the befitting and congenial music of this modern descendant of the Hebrews, this artist, son of Mendel. Listen to that grand deep song which he has put here into the mouth of Elijah li is enough, Lord; now take away my life, for I am not better than
! : :

OF

ELIJAH.
m

the tbe quick, short petulant notes of the orchestra and fall of those softly modulated tripk-i*accompaniments. Voice after voice orealhcs to crackle and boil with rage.

out the melody and what unspeakable tenderness in the new theme which the tenors introduce, Shouldst thou, walking in grief, lartguish. He will quicken thee. Again follow him 1 Forty days and forty nights : so sings the angel, (alto recitative,) and again the noble recitative of the prophet.
:

" wrestling with the

Lord

in

prayer

:"

Lord!

Ohlthatlnow labored in vain ; might die ! This is relieved by the profoundly beautiful alto song, in the natural key, four fold

I have

measure:

Oh!

rest in

sumes; Night
Tliee, as

falleth

the Lord; and he reround me, Lord! Be

thou not far from

; my soul is thirsting for land ; which last suggestion the instruments accompany with a remi-

me

thirsty

niscence from that first chorus, descriptive of the drought, The harvest now is over, etc. And now he stands upon the mount, and

Behold ! Qod the Lord passed by ! We are His great too weary with fruitless attempts to convey a soul bowed to that unselfish sadness, gives you notion of the different portions of this oratorio a nobler, more colossal image than the fallen by words, to undertake the same thing with Saturn in the " Hyperion " of Keats. The grave this most descriptive and effective chorus. One and measured movement of the orchestra marks can not but remark the multitude of subjects But which the story of Elijah offers for every variwell his weary, thoughtful, heavy steps.

my fathers,

^\x,.

What resignation

summons a new energy, the smouldering music blazes up, as he remembers / have been very jealous for the Lord. Fatigue brings sleep, and Follow him sleep brings angel voices. Let that sweet tenor recitative interpret his wanderings and his whereabouts, and the angelic voices interpret the heaven in his heart. Under a juniper Mark the quaint simtree in the wilderness ! plicity of the words, and how heartily the musical vein in Mendelssohn adapts itself to such a child's narrative. And now hear, as the composer heard, the heavenly voices floating down. It is a scene almost as beautiful as that portrayed in Handel's music for the nativity of the Messiah. First a Trio (female voices) without accompaniments. Lift thine eyes to the mountains, pure and chaste as starlight ; then the lovely chorus, (for all four parts ;) He watching over Israel, slumbers not, nor sleeps. If the Trio was like heaven descending, this is like the peacefulness of earth encompassed with heaven ; it has a gentle, soothing, pastoral character, like " There were shepherds watching
his soul
: !

ety of' musical effects. The orchestra preludes the coming of the mighty wind. Voices, ac-

companied in loud high unison, proclaim. The Lord passed by ! the storm swells up amid the voices, wave on wave, with brief fury subsides and again the voices in whispered harmony pronounce, yet the Lord was not in tlie tempest. The same order of treatment is re-

peated with regard to the "earthquake," and with regard to the " fire." All this is in minor ; the key opens into the major, in the moist, mild, spring-like atmosphere of major, and the voices' in a very low, sweet chorus, in long notes, whispfer the coming of the still, small voice, while the liquid, stroking divisions of the accompaniment seem " smoothing the

raven

down of darkness
in
etc.,

till

it

smiles."

The

Seraphim are heard

Holy, holy,
city.

double chorus, chanting, marked by sublime simplirecitative

One more

go on

my way

from the prophet, in the strength of the Lord,

with the air, For the mountain shall depart, during which the instruments tread on with stately, solid steps, in notes of uniform length, The universal bosom in 6-4 measure ; and we have the marvellously their flocks by night." seems to heave with the serene feeling of pro- descriptive, awe-inspiring chorus which detection, and the heart to throb most joyously, scribes his ascent to heaven in the fiery chariot. most gently, with the equal and continuous rise There is no mistaking the sound of the swif'

OEATQRIO OF ELIJAH.
isvolving fiery wheels, suggested by the aci/ompaniment. Another beautiful tenor song, Then shall ihe righteous shine, and a fit conclusion to the

XI

Behold my servant, and mine elect, of the grandeur, but not the simpliIt is separated from the last city of Handel. by an exquisite quartet, Come, every one thai whole is made by two grand choruses, fore- thirsteth, which is wholly in the vein of Menshadowing the consummation of all prophecy in delssohn. And the whole closes with a solid, Lord, the God-Man, just leaving off" where Handel's massive fugue, in the grand old styl l/wsia/t, the oratorio of oratorios, began. our Creator J how excellent thy name.

The
has

first,

much

-^s*'-*-^-

-^-r,.^^

INTRODUCTION.
RECITATIVE.
Elijah.

As God the Lord of Israel liveth, before whom I stand, there shall not be tain these years, but according to my word.

dew nor

OVERTURE.
CHORUS. The
Help, Lord
! !

People.

quite destroy us ? The harvest now is over, the summer days are gone, and yet no iielp us Will then the Lord be no more God in Zion ?
wilt

Thou

power cometh

to

RECITATIVE CHORUS.
The deep affords no water ; and the rivers are exhausted now cleaveth for thirst to his mouth the infant children ask no one breaketh it to feed them
!

The

suckling's tongue

for bread,

and there

is

DUETT AND CHORUS.

Lord bow thine ear our prayer! DrETT. Zion spreadeth her hands and there
People.
!

co

for aid

is

neither help nor comfort.

RECITATIVE.

Obadiah.

people, rend your hearts, and not your garments for your transgressions ; even as Elijah hath sealed the heavens through the word of God. I therefore say to ye, Forsake your Idols, return to God ; for He is slow to anger, and merciful, and kind, and gracious, and repenteth him of the evil.

Ye

Andnte con moto


r^ i r f
1
'

ELIJAH.

7 ^^fi

*^-f

Tf'rJ^ -vd

J-

ELIJAH.
RECITATIVE.

An

Angel.

Cherith's brook is dried up, Elij.ali ; arise and depart and get thee to Zarephath ; thither abide for the Lord hath commatided a widow woman there to sustain And the barrel of meal shall not waste, neither shall the cruse of oil fail, until thee. the day that |he Lord sendeth rain upon the earth.
:

Now

REGIT.

AND
man

AIR.
of

The Widow.

What

have I to do with thee,

!

unto remembrance? to slay my son art my son is sick and his sickness is so sore that there is no breath in him mourning all the day long; I lay down and weep at night. See mine affliction. thou the orphan's helper
! !

God? art thou come to me, to call my sin thou come hither? Help me, rpan of God!
I

go

Be

Elijah.

Lord, my God in mercy help this widow's Give me thy son. Turn For thou art gracious., and full of compassion, and plenteous in mercy and truth. son let the spirit of this child return, that he again may live. Lord my God,

unto her,

The Widow.
W?'> thou show wonders unto thg dead?
T jrd

Shall the dead arise and praise thee

Elijah.

my

God,

let the spirit

of this child return, that he again

may

live

The Widow.
f he Lord hath heard thy prayer, the soul of
ELrJAH.

my

son reviveth

Now

behold, thy son liveth

The Widow.

know that thou art a man of God, and that his word in Now by the truth. What shall I render to the Lord, for all his benefits to me ? DUETT.
this I

thy mouth

is

Thou
with
all

shalt love the

Lord thy God

fear

with

all

thine heart, and with

all

thy soul, and

thy might. blessed are they

who

Him

CHORUS.
Blessed are the men who fear Him darkness riseth light to the upright.
:

they ever walk in the ways of peace. Through He is gracious, compassionate ; He is righteous.
Elijah, Ahab, and Chords.

RECITATIVE.

Elijah. As God the Lord of Sabaoth liveth, before whom I stand; three years this day fulfilled, I will shew myself unto Ahab and the Lord will then send rain upon
:

the earth.

AhAB.

it is ishoa, Ahab, and all thy father s troubled Israel's peace forsaken God's commands ; and thou hast followed Baalim Now sed and gather to me, the whole of Israel unto Mount Carmel: there summon the prophets of Baal, and also the prophets of the grove, who are feasted at Jezebel's Then we shall see whose God is the Lord. tables. Ohokus. And then we shall see whose God is God the Lord.

Chohus. Elijah.

Art thou Thou never

I

Elijah, he that troubleth Israel

art Elijah, he that troubleth Israel

:

house.

Ye have

! ;

ELIJAH.

Elijah. Rise, then, ye priests of Baal select and slay a bullock, and put no fire under it; uplift your voices, and call the god ye worship ; and I then will call on the Lord Jehovah and the God who by fire shall answer, let Him be God. Chorus. Yea and the God who by fire shall answer, let Him be God, Elijah. Call first upon your god your numbers are many I, even*! only remain, one prophet of the Lord Invoke your forest-gods and mountain-deitier!
:

CHOKUS.
Baa],

Priests of Baal.

we

cry to thee
!

hear and answer us!

Heed the

sacrifice

we

oflfer

hear us,

O O

hear us, Baal Hear, mighty god hear us, Baal

Baal,

answer us

Let thy flames

Elijah.
;

fall

and extirpate the foe

RECITATIVE.
Call him louder : for he is a god ney ; or peradventure, he sleepeth
!

he talketh
so

or he
:

is

pursuing

awaken him

call

him

; or he louder.

is in

a jour-

CHORUS. Priests
Hear our
cry,

op Baal.

Baal

now

arise

wherefore slumber?
Elijah.

REGIT. AND CHORUS.

!

he heareth not. With knives and lancets cut yourselves after Call him louder your manner leap upon the altar ye have made: call him, and prophecy! Not a voice-will answer you ; none will listen, none heed you.
:

Hear and answer, Baal

CHORUS. Mark how

come
!

Priests of Baal.

the scorner derideth us

Elijah.

Hear and answer

REGIT. AND AIR.

Draw
God
;

near, all ye people

I

to

me
!

Israel this day let it be known that Thou art O shew to all this people that I have done these things am thy servant heaf me. Lord, and answer me and show these people according to Thy word that Thou art Lord God and let their hearts again be turned
Isaac,

Lord God of Abraham,

and
!

and

QUARTETTE.
:

Angels.

Cast thy burden upon the Lord,"and He shall sustain thee: He never will suffer He is at thy right hand. the righteous to fall Thy mercy. Lord, is great ; and far above the heavens. Let nope be made ashamed that wait upon Thee.

RECITATIVE.
Thou,
let

Elijah.

who makest Thine

!

angels Spirits

Thou whose
Peopi.e.

ministers are flaming fires

them now descend

CHORUS. The
;
!

The fire descends from heaven the flames consume his offering. The Lord is God O Israel hear Before Him upon your faces fall one Lord ; and we will have no other gods before the Lord
:

Our God
,

ia

RECITATIVE.

Elijah.
:

Take all the prophets of Baal, and let not one of them, escape you to Kishon's brook ; and there let them be slain.

bring them

down

ELIJAH.
CHORUS. The
Take them
all

People.
;

the prophets of Baal

and

let not

one of them escape us

bring

all

and slay

AIK.
Is not
:

EujAH.
in pieces ? not, the Lord

hammer that breaketh the rock His word like a fire and For God is angry with the wicked every day and if the wicked turn will whet His sword ; and he hath bent His bow, and made it ready.
like a
:

ABIA.
Lento,

Alto

Solo.

m
$

on

*
Woe^

#
-

*
for
-

woe

an

to

tbem who

sake

^^=tiZ
!

^^
atruc
-

Uim

de

tioa

shall fall

up

^Fis*^

^E5E
For
ihey

':^--

^ "==
trans - gres - sed

a^^
gainst Him.

*
-

^
them:

have

trans

gres

- sed,

Though

im
Him
re
-

^^
him re - deem
-

p fe?
Him

g
re

they are

by

deem

ed,

by

ed,

though they are by

^^^^^^^^^^^^ ^^ i
deem
-

ed,

Yet

they have spo

ken

falce

ly

gainst

Him, spo

ken

falcely

^=^^^S3E^
uo

'^5^iVis-?=3
-

i i

^m ^ ^^
on
them. Though they are by
i;

gainst

Him

Woe, woe

to

them who

for

-sake Him! Des

tract-ion shall fall

up

Him

re

deem

r
-

3^3E3^
!
-

-*

&3g
they
fled
;

ed

From hem have

Though
=1=

1=^ -

5E5
by him
re -

^^t5^=S=P^ F
deem - ed
er

:k-:r5E5E
from

3*
fled.

they are

en

Him

have they

W03

i ir^ s*=^^
an
-

:?v=^=
Woe.

^
REGIT. AND CHORUS.

'^

*=$:
to

to

them

them!

Obadiah.

O man of God, help thy people

command the
rain, or

there any that can

Among th? idols of the Gentiles, arecause the heavens to give their showers? The!

Lord our God alone can do these things. Elijah. O Lord, Thou hast overthrQwn Thine enemies and destroyed them.

I<Ook

; !

ELIJAH.

down on
God!

us from heaven, Lord ; regard the distress of Thy people ; open the heavi.v; ens and send us relief: help, help. Thy servant now^O God! The People. Open the heavens and send us relief: help, help thy servant now, O

Elijah.-t-Go up no w^ child. attdloolSi towards-the,8fia.. Hath

my prayer, been heard

These is nothing. The heavens are as brass. above me. Elijah. When the heavens are closed up because they have sinned against Thee ; yet if they pray and confess Thy name, and turn from their sins when thou dost afflict Help, send thy servant help, O them ; then hear from heaven, and forgive the sin

by the Lord ? The Youth.

God
The- People.
vant help,

Tbenhearfrohi heaven,
again, and
still

and,: forgive Jthe *in

Helpi eni

thjr

liser-

look towards the sea. The-eartb is as iron ander me.*^ -'ELIJAH.r^Heare8t.tbou no,soJund of :rain ?-r^seest-thou;notbing;arisa&aiajthe-deep? The Youth. No ; there is nothingi, ELUAH.-rTHavfi respect to the pray^, of Thy servant, O Lord my Gad i Unto thee will I cry. Lord my rock ; be not silent to me : and Thy great mercies remember, Lord.

Elijah.

Go up

O God

The

YouTH,-^*Thereis:notbingi

The

Land! and louder

y<)UTH.--B6bSld, little eloudariseth now from the waters^f it is^^ like -i^^ The heavens are black with .clouds and with wind: the storm rusbeth louddr
PEopLE.-r*Tifaanka be^toriGod fot
to God, for

The
!

dU His mercies J
is gracious,'

-<

Elijah.Thanks be more

He

and His mercy^endttretb^lonever-

CHORUS.
Thankftbe.tefLGodI :He iayetb: the thirsty land along ; they are lifting theirvoices The stormy billows are bigh ; their fury is mighty
:

The

waters-gail^etv^ tiiey rash

is

but the Lord

above them,- and

Almighty!
-^^ *g<CP)s^ *^*

ARIA;r-iSopBANO- Solo.
Adagio.

g
Hear
.;

^
TIs

^~
ell

ye,

hear

what

m
Lord'

the

speak-

eth

^P^g^^^^^^^a
"Qh, had'st
tbou.

heed

ed,

heed

ed

?^
ra
- el!

^
n>y

com

mandments !"

Hear

ye,

?=
"Oh,
hadst

^
thou

;g^
heed
-

hear

what the

Lord

speaketh

ed

tlLIJAH.

m
heed- ed
.

fefe^^Eg
I

^
ud

Ud

JSt

017

.com

.'

maad

ments^

Ob

hadat

thou

heed.

ed,

^5^ I
f
heed-ed
hath be
-

:f5d^ SE^3^=s: ^^ azad^ :?=?= 1=^ =1^

my
com
-

g^HaES
-

mandraents, Oj. hadstthou heeded

my command

meats X-'
CRE
;

"*

Who

'

j.4J

Uv

ed our

re

-port!

to

>

whoia-

is

the

arm,
JiMZ

the

arm

of

the

ii

^^^^mm^^
liOid,

i
arm,.the

=(P
of
the ...Lord^

re

veal

ed ?

to

...whom

is

the

.arm

r&r

hear

ye.

i
B'
La

heed

^
ed,
'

Is

ra

..elf

'.

hear rvhat

the

.Lord .speak..-

eth.;,,-

"Oh,

.hadst. .thou

^^^
tz
-

:^
-

heed

ed

--.':?

-tS ^: my com

^^Efe^
...

maad.meats!

Oh,.

hadst

thou'

^-w
-

t^*~g=^^=SOb,
hadat thou heed
-

heed

cd,

ed

my

com

mand

ments !"

Hear

ye

PIU ATHRIrt

m
t;^*ant8
:

&Sz
Is

ra

el!

Is-ra-cl!

hear., .i....

what the Eord

^^
.

t=z5: rspeak
<

eth

Tlius saith the Lord, the

Redeemer of Israel, and

:

thus saith the Lord God, I will strengthen thee;

shall die

and forgettest the

am He that fcomforteth be not afraid, for I am thy Say, who art thou, that thou art afraid of a man that Lord thy Maker, who hath stretched forth the heavens,
I
:

his

Holy One,

to

him oppressed by

and

laid the earth's foundations ?

Be not

afraid, for I,
,.

thy God, wiU strengthen,

tljee.

CHORUS,
'Be not
thy
afriaid; saith God the Lord. Be God saith unto tWse, " Be not afraid." Though thousiahdis languish and fall beside
;

not afraid
thee,

thy help

is

nean

God,

tfife

'Lord

and tens of thousands ai^Ound thee

Elijah.
;

perish

yet

still it shall

not come nigh thee.

REGIT. AND CHORUS.

The Lord hath

exalted thee from

among

the people

aud over

his people, Israel bath

10

ELIJAH.

thee kiiig. But thou, Ahab, hast done evil to provoke him to anger above all that were before thee as if it had been a light thing for thee to walk in the sins of Jeroboam. Thou hast made a grove and an altar to Baal, and served him and worshiped him. Thou hast killed the righteous, and also taken possession. And the Lord shml smite all Israel, as a reed is shaken in the water; and He shall give Israel up, and thou shalt know He is the Lord.
:

made

The Queen.
Chorus.

Have ye not heard he hath prophesied against ^We heard with our The Queen. Hath he not prophesied against the King of Chorus.^We heard with our
it

all Israel ?

ears.

also

Israel ?

it

ears.

The QuEEN.^And why hath he spoken in the name of the Lord ? Doth Ahab govern the kingdom of Israel while Elijah's grower is greater than the king's ? The gods do so to me^ and more, if by to-morrow about this time, I make not his life aa tbt life of one of them whom he hath sacrificed at the brook of Kishon Chorus. He shall perish The Queen. Hath he not destroyed Baal's prophets ?

Chorus. He perish The Queen. by the sword he destroyed them Chorus.He destroyed them The Queen.He closed the heavens. Chorus.He the heavens. The Queen.And down a famine upon the Chorus.^And down a famine upon the
!

shall

^Yea,

all

all

also

also closed

called called

land. land.

The Queen.^So go ye
him
;

forth and do unto him as he hath done.

seize Elijah,for

he

is

worthy to

die

slaughter

CHORUS.
to him, he shall perish ; for he closed the heavens. And why hath he spoken in the name of the Lord ? Let the guilty prophet perish. He hath spoken falsely against our land and us, as we have heard with our ears. So go ye forth, seize on

Woe

him.

He

shall die

Thus saith Jezebel ; " Eli^ Man of God, now let my jah is worthy to' die." So the mighty gather against thee, and they have prepared a net for thy steps ; that they may seize thee, that they may slay thee. Arise then, and hasten for thy life to the wilderness joui-ney. The Lord thy God doth go with thee He will not fail thee ; He will not forsake thee. Now begone, and bless me also.
:

RECITATIVE. Obadiah. words be precious in thy sight.

Elijah.Though
Lord be with
thee.

stricken, they
I journey

have not grieved. hence to the wilderness.

AIR.
Elijah.

Tarry here,

my

servant

thi>s

life, for I am no better than my fathers. It is enough, I desire to live no longer ; now let me die, for my days are but vanity ! I have been very jealous for the Lord God of Hosts ; for the children of Israel have

Lord ; now take away

my

broken Thy covenant, thrown down Thine altars, and slain Thy prophets with the sword and I, even I only am left and they seek my life to take it away.
: :

RECITATIVE.
See now he sleepeth beneath a juniper tree in the wilderness: and there the angels of the Lord encamp round about all them that fear him.

ELIJAn.
TlilO.

II

Angkls.

Lift thine eyes to the mouritiiins. vvlience cometh help. Thy help cometh from the He liath said thy foot shall not be moved ; thy Lord, the Maker of heuveu and earth. Keeper will never slumber.

CHORUS. Angels.
,

languish

He, watching over Israel, slumbers not, nor sleeps. He will quicken thee. ;

Sliouldst thou, walking in grief,

RECITATIVE.
Elijah, for thou hast a long journey before thee. and forty nights shalt thou go ; to Horeb, the mount of God.

An Angel.Arise,
Elijah.
that

Forty daya

O Lord,

have labored

in vain

yea,

have spent

my

strength for nought.

;

Thou wouldst rend the heavens, that Thou wouldst come down that the mountains would flow down at Thy presence, to make Thy name known to Thine adversaries, through the wonders of Thy works Lord, why hast Tliou made them err from thy ways, and hardened their hearts that I now niiglit die that they do not fear Thee ?
! !

AKIA Alto
B:

solo,

The Angel.

P ^^m^^
-^ZT.
in

?^ U S^SES ?^f3=3
rest
in

:f^=::^5^
qsizre:
Lord, wuit

the

pa-

t-e.it-ly

fni'

llim.

and

He

fihall

gire

thee

thy heart's de

:g^=?^if^:^ ig^fci M--^^wait pa-tienl-ly

for

^-^

shea;

nst

the Lord,

Him,

m^i^^^^m
and He
shvill

give thue thy heart's de

aires,

and He shAllglvtf

t'l'

t;ijr

h art', d nirfs.

IJom-init. thy

wmm
way
frut
<', r-'itft-tly

t=

zf-Mz

uii - to

Him, and tmst in

pL^p^
Him; commit thy way mi
-

3=5^^^-^=:
Hiai,

i^.?i|i_5_C|^_,_.^_}izr___/_L^|^
and
ti-ust in

^^^^piijlsf^^
not thy- self
oiji;aus6

to

Him, anl

of

e-vil

rkB,

i
do
-

PJpfe-gr^^i5=^^_l^g^
rest
in

ers,

the

Lord, wait p:itiently

for

Him,

for

m,

rest in the

Lord, wait patiently for

Him,

aad He

-shall

give

thee thy

heart's de

i-in's,

and

He

shall

m^^~

zs\z
--$r-

^5v;
zzt.

pEp^^
rest

give thee thy heart's desires,

and

He

shall give thee thy heart's desires,

in

the

13

ELIJAH.

Lord,

?
O

-t-

^
wait

rest

in

the Lord,

and wait

pa

tient-ly

for

Him.

CHORUS.

He

that shall endure to the eiid, shall be saved.

Elijah.

KECITATIVE.

Thy

face,

Be thou not far from- me ! hide not ^Night falleth around me, O Lord ! Lord, from me ; my soul is thirsting for Thee,: as a thirsty land.

An Angel.
for there

Arise now get thee without, stand on the mount before the Lord His glory will appear and shine on thee! Thy face must be vieiled, for H
!

^raweth

near.

CHORUS.
Behold! God the Lord passed by And a mighty wind, rent the mouatains roood, brake in pieces the rocks, brake them before the Lord ; but yet the Lord was not io the tempest.
!

Behold God the Lord passed by. And the sea was upheaved, and the earth wat shaken ; but yet the Lord was not in the earthquake.
!

And And

after the earthquake there

after the firo there

camea fire
still

out yet the Lord was not ia the

fire.

came a

small voice: and in that. still small voicey onward

came the

Lord..

RECITATIVE.
^Above

Him

stood the Seraphim, and one cried to another:

QUARTETTE
Angels.
hath

and CHORUS.

Holy, holy, holy

the earth
.

is

God

the Lord

the

Lord Sabaoth!

Now.his

gloiy.

filled all

.,,

RECITATIVE. Chobus.
Go, return upon thy way For the Lord yet hath left Him seven thousand iB.l9<> rael, knees which have not bowed to Baal go, return upon thy way ; thus the Lord
! :

cbminandeth.

Elijah.

go on

I will suffer for JPhy sake.

shall also rest in hope.

my way in the strength of the Lord. My heart is therefore glad, my

ARIOSO.Bass

For thou

art

my

Lord

and

glory rejoiceth, and

my flesh

Solo, Elijah.

m
m
-

m
red
;

Sostenuto Assai.

s-

EE^E
rFor the
moantains
shall

EE
de
-

S^^EE -^=fi t:
and the
hills,

!:^-

be
re
-

part,.

the

hills

mo

rbut

^
Thy
kiadaesa
Bhall no^.

:^3

'^ -p-^^r
bat Thj kiadnesB, thy kiad

de

part

ELIJAH.

IS

-fti

I^-P
#-p.
de
-

-fip-

.^.J?^_-?-=
S::

?ai
part

f
I

'-

ness shall not

from me

neither ghall

the

co

ve

nant of

Thy

peace,

of

Thy

peace

be

re

raor-cd,

nei

ther

shall

the

T^^^-^ e
CO -Tenant

-T-^
be

P^F
re
-

^=e=
-

=?L!i-=1=
kiadaess ehall not

of

Thy peace.

mo7

ed

but

thy

m
part,

r-f-f
shall not

Itde
.

part,

but Tby. 'kind

ness

ehall

not

de

^
part,
i

de

shall

E fc
not
-

^
depart
,

-^2- P-:&
Xrom^pie ja nei r.ther shall

12^
...he,

1
_m
-

-t-

*-^fl

=i=F

-&-^

jnortfid.the.ca.-- jfcnaiit_jQL.Iby-pieace:,

.
.

CHORUS.
fire ; his words appeared like burning Mighty kings by him were overthrown. He stood on the mount of Sinai, and heard the judgmepts of..theftnre; and in. Horeb, itsvengeance. v,j *.,

Then

did Elijah the prophet break forth like a

torches.

'

And'whenthe Lord would take him away

;

to heaven, lol thereieame a fi^y efa&riot,

.'
;<

;*ith fiery; horses

and he went by a whirlwindito heaven.

r.

,:

>

ARIA.
Sostenuto.

Tenor Solo.
-^-^-

J-fe-f-r ^S5

*=P=Hi: ^=t2=ai

=i=i:

hi -h-

rri^=:5^=
in
their beavenly Father's -realm,

Then, then shall thetighteous-shin- forth- as

the *ttn

EE
thine
forth

::w=W=W
=;2=::;2= as
the

-
in their

W-

=P=?2=
-tt

=p=p=ic
sun

heavenly

Fa -

ther's realnv

^ 'i^=^ ^ ^?^ i
Thea shall .-the

V
in

\^

=i:
heavenly

righleottS

shone

forth

their

Fa

ther'a

realm, a as

>

the-.

fe*^
as

3t
the

fet
Si-

sun

in

their

heav'n

ly

Fath

cr's

realm.

14

KLTJAH.
:::p:
er
r
Ust-ing, Joy

^
i

-AzizMl
J07 on
their

P0oo
their

:iife
head shall be for er

S
ti

^
te
K^

head

Khali

be

fur

Is-^rfK
and
all

last - ing,

3fcr^

^^^
tor
-

^=^

k*a

^^^m
way,
shall
flee

i>=te
a
-

row and moarain^

shall flee

way

for

ip=:pr:
=t=

=J=|c
the

Then, then shall the righteous shine

forth as

sun

in

^^
Fa
-

their beav'nly

:ttP=

5fe it:
shine
in
their

Fath

er's

realtn

shine

forth,

heaven

ly

ther's

k^ S i
1^ s i

=il
1221

-G-

a
in
,

'^-

realm

shine

forth as the sun

their

hea

ven

ly

Fa

ther'i

--=realm
then
shall the

^
shine
in
their

3
hea
-

righteous

v'nly Father's

realm.

RECITATIVE.
Behold, God hath sent Elijah the prophet, before the coming of the great and dreadday of the Lord. And he shall turn the heart of the fathers to the children, and the heart of the children unto their fathers ; lest the Lord shall come and smite the earth with a curse.
ful

CHORUS.
call

But the Lord, from the north hath raised upon His name and come on princes.

one,

who from the

rising of the sun shall

Behold, my servant and mine elect, in whom my soul delighteth ! On him the spirit of God shall rest : the spirit of wisdom and understanding, the spirit of might and of counsel, the spirit of knowledge and of the fear of the Lord.

QUARTETTE.

O come, every one that thirsteth, and your souls shall live for ever
!

come

to the waters

come unto Him

hear,

CHORUS.

And then shall your light break forth as the light of morning breaketh 5 and your health shall speedily spring forth then ; and the glory of the Lord ever shall reward you.
Lord, our Creator, how excellent thy with thy glory.

Name is

in all the nations

Thou

iillest

heaven

Ambw.

TESTIMONIAL
FROM THE MOST DISTINGUISHED ARTISTS

STIiilll I SiiS.
New
The
Yokk, December,
1864.

Pianofortes, grand, square and upright, manufactured by iVfessrs. "Steinhave established for themselves so world-wide a reputation, that it is hardly possible for us to add anything to their just fame. Having thoroughly tested and tried these instruments personally for years, both in public and private, it becomes our pleasant duty to express our candid opinion regarding their unquestioned superiority over any other Piano, known to us. Among the chief points of their uniform excellence are Greatest possible depth, richness and volume of tone, combined with a rare hrilUancy, clearness and perfect evenness through'jut the entire scale, and, above all, a surprising ^duration of sound, the pure and .sumpathetic quality of which never changes under the most delicate or powerful touch. This peculiarity is found exclusivery in the " Stbinway " Piano, and together with the matchless precision, elasticity and promptness of action always characterizing these instruments, as well as their unequaled durability under the severest trials, is truly surprising and claims at once the admiration of every artist. therefore consider the " Steinvstay " PiAisros in all respects the Best Instruments made in this country or in Europe, use thbji solely and BXCLUsrvEtY ourselves IN PUBLIC OR PRIVATE, and recom,mend them invariably to our friends and the Public. have at different times expressed our opinion i-egarding the Pianos of various makers, but freely and unhesitatingly pronounce Messrs. STJEINWIA

WAT & Sons"

We

We

<&

iiONS^ Pianos superior to them

MILLS,

all.
B.

S. B.

WILLIE

PAPE,

EOBERT GOLDBECE, CARL WOLFSOHN, WM. BERGE,

A.

ROBERT HELLER,

WILLIAM MASON, ALFRED A. PEASE,

F.

HENRY
J.

DAVIS, THEO. THOMAS,

(Director of the Italian Opera.)

C. TIMM, FRED. BRANDEIS, F. L. RITTER,

von BREUNING, THEO SCHREINER.

MAX MARETZEK,
CARL AXSCHUTZ,
(Director of
tlie

MOSENTHAL, CARL BERGMANN,

Academy of Music
Society.)

THEO. MOELLING, E. MUZIO, THEO. EISFELD,

(Cond. of N.Y. &Brookl. Phil. Con.)

(Conduct, at the

and Philharmonic
Opera.)

German

CHARLES KUNKEL,

GEO.

W. MORGAN,
(Organist of Grace Church.)

STEINWAY & SONS' WAREROOMS:

NOS. 71

&

73 EAST

Between Union Square and Ibtins Place,

FOURTEENTH STREET, NEW i'ORK.

:=-J

STEINWAY &
GRAND

SONS'

AND

_%

UPRIGHT

are

now acknowledged the best instruments having taken

,jg^^

in

America, as well as in Europe,

Thirty-two First Premiums, Gold and Silver Medals,

at the Principal Fairs, held in this country within the last nine" years, dition thereto, they were awarded a

and

in ad-

'FTiEtsrr zpi^-iz^B is^EX).A.nii

AT THE

#uat

ftttnuational dxhibitian
IN

LONDON,
POK

1862,
'.

S'

tone, Powerful, clear, brilliant WITH EXCELLENCE OP WORKMANSHIP AS SHOWN IN GRAND AND SQUARE

and symjiathetic

f I^'ISTOS.
There were 269 Pianos, from all parts of the world, entered fot- competition, and the special Correspondent of the Times says "Messrs. Steinway's indorsement by the Jurors is emphatic, and stronger, and more to the point than that of any European makgr. " This greatest triumph of American Pianofortes in England has caused a sensation in musical circles throughout the continent, and as a result the Messrs. Steinway are in constant receipt of orders from Europe, thus inaugurating a new phase in the' history of American Pianoibrtes, by creating in them an article of export."
:

Every Pianoforte warranted

for

Five Years.

WAREROOMS,

Nos. 71

&

73 EAST.

14tli

STREET,

Between the Academy of Music and Union Square, 'New York.