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Title:
A Conductors Guide to the Interpretation of Mendelssohn's Elijah: A Theologically-Informed
Approach
Author:
Kim, Carlene Younghae

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2015

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UCLA Electronic Theses and Dissertations

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D.M.A., Music 0579UCLA

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DEAN, MICHAEL E

Committee:
CHEN-HAFTECK, LILY, LEFKOWITZ, DAVID S, PARSON, EDWARD, NEUEN, DONALD

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 UNIVERSITY OF CALIFORNIA

Los Angeles

A Conductors Guide

to the Interpretation of Mendelssohn's Elijah:

A Theologically-Informed Approach

A dissertation is submitted in partial satisfaction of the

Requirements for the degree Doctor of Musical Arts

by

Carlene Younghae Kim

2015
 Copyright by

Carlene Younghae Kim

2015
 ABSTRACT OF THE DISSERTATION

A Conductors Guide

to the Interpretation of Mendelssohn's Elijah:

A Theologically-Informed Approach

by

Carlene Younghae Kim

Doctor of Music Arts

University of California, Los Angeles, 2015

Professor Michael Dean, Chair

Felix Mendelssohns Elijah exists in many different performing versions. Conductors

often edit the work due to its length; in its original version, Elijah lasts almost two and one-half

hours, far longer than todays audiences are accustomed to listening. Also, many people believe

the work contains redundant scenes within the storyline that interrupt its dramatic flow.

Therefore, all conductors today face a dilemma: perform the work in its entirety, or make cuts to

the score. While this issue has been researched by many scholars, my paper further expands on

their work by considering Elijahs musical and dramatic structure in the context of their

theological functions.

First, I analyze the structure of Elijah by dramatic scene, considering in particular how

ii

the choruses function within the works overall scheme and affect the flow of the musical drama.

Second, I offer a discussion concerning the most common edits and cuts made by four renowned

conductorsRobert Shaw, Donald Neuen, Robert Page, and Daniel Delisiand provide

commentary on their decisions. By considering the textual history of Elijah, as well as the ideas

that Mendelssohn and his librettist, Pastor Julius Schubring, had at the outset of its composition,

I present a theological context that can help conductors decide which scenes to abridge

and which movements to delete. I conclude with a discussion of performance practice issues,

mainly with regard to diction and rhythmic articulation. I suggest ways to effectively convey the

text, which is sometimes difficult for listeners to understand, particularly during passages of fast

recitative or archaic Biblical verse. Thus, this paper will provide practical advice for prospective

conductors on how to use the works structure and intentions of the composer and librettist to

decide which parts of Elijah to edit.

iii

The dissertation of Carlene Younghae Kim is approved.

Lily Chen-Hafteck

David Samuel Lefkowitz

Edward Parson

Donald Neuen

Michael E. Dean, Committee Chair

University of California, Los Angeles

2015

iv

 DEDICATION

This dissertation is dedicated to my professor, Donald Neuen, who taught me what great

music should be. His teachings will stay with me forever, leading my musical career. I will

always be grateful for his enthusiastic teaching and inspirational encouragement.

 TABLE OF CONTENTS

ABSTRACT OF THE DISSERTATION ....................................................................................... ii

DEDICATION ................................................................................................................................ v
ACKNOWLEDGEMENTS .......................................................................................................... vii
LIST OF FIGURES ..................................................................................................................... viii
VITA .............................................................................................................................................. ix
INTRODUCTION .......................................................................................................................... 1
CHAPTER I: STRUCTURAL ANALYSIS ................................................................................... 4
CHAPTER II: TEXTUAL HISTORY .......................................................................................... 11
CHAPTER III: A DISCUSSION OF EDITING .......................................................................... 17
Four Conductors Versions .................................................................................................... 17
Dramatic Structure ................................................................................................................. 19
Discussion of Suggested Cuts by Four Conductors ............................................................... 22
1. Nos. 6, 7, 7a, 8, 9 ........................................................................................................ 22
2. No. 35 and No. 36 (mm. 1-9) ..................................................................................... 28
3. No. 5, Yet doth the Lord (mm. 66-137) .................................................................. 36
4. Nos. 40, 41, and 41a ................................................................................................... 37
CHAPTER IV: PERFORMANCE PRACTICE AND EFFECTIVE METHODS FOR
CONVEYING TEXT.................................................................................................................... 45
Diction and Rhythmic Interest ............................................................................................... 45
1. No. 1, Help, Lord .................................................................................................... 45
2. No. 20, Thanks be to God! ...................................................................................... 51
Effective Program and Supertitles ......................................................................................... 56
1. Effective Program ....................................................................................................... 56
2. Supertitles ................................................................................................................... 56
CONCLUSION ............................................................................................................................. 58
APPENDIX ................................................................................................................................... 61
BIBLIOGRAPHY ......................................................................................................................... 62

vi

 ACKNOWLEDGEMENTS

I would like to express the deepest appreciation to the members of my dissertation

committee, Michael Dean, Daivd Lefkowitz, Lily Chen-Hafteck, Edward Parson, and Donald

Neuen. Their suggestions and assistance have been an important part for the preparation of this

project. I offer my most sincere gratitude to all the committee members especially, my

committee chair, Professor Michael Dean, who led all the processes for my dissertation.

I would also like to thank Pastor Kenneth Kim who gave me professional advice about

Chrisotology. In addition, I would like to express my gratitude to my parents and my family for

supporting me to fulfill my dream of studying. Most of all, I bring glory to Christ, Jesus through

my dissertation and life.

vii

 LIST OF FIGURES

I-1. Structural Analysis ....................................................................................................................4

I-2. Each Parts Skeletal Structure ...................................................................................................5

I-3. The Categorization of the Choruses ..........................................................................................6

I-4. The Proportions of the Climatic Choruses Position in Parts One and Two .............................6

I-5. Part One: Nos. 11, 12, and 13 ...................................................................................................8

III-1. Suggested Cuts by Three Conductors ...................................................................................17

III -2. Summary of Suggested Cuts................................................................................................18

III -3. List of Suggested Cut Sections by Donald Neuen...............................................................43

III -4. List of Suggested Cut by Carlene Y. Kim ...........................................................................44

IV-1. No. 1, measures 1-2 ..............................................................................................................46

IV-2. No. 1, measures 7- 8 .............................................................................................................47

IV-3. No. 1, measures 9-11 ............................................................................................................47

IV-4. No. 1, measures 9-11 ............................................................................................................48

IV-5 No. 1, measures 12-13 ...........................................................................................................49

IV-6. No. 1, measure 24 .................................................................................................................50

IV-7. No. 1, measures 41 ...............................................................................................................50

IV-8. No. 1, measures 59-62 ..........................................................................................................51

IV-9. No. 20, measures 1-5 ............................................................................................................52

IV-10. No. 20, measures 11, 15, and 72- 73 ..................................................................................53

IV-11. No. 20, measures 21-23 ......................................................................................................54

IV-12. No. 20, measures 59-62 ......................................................................................................55

IV-13. No. 20, measures 70-71 ......................................................................................................55

viii

 VITA

1993 B.M., Music Composition

Ewha Womans University
Seoul, Korea

1996 M.M., Theological Study

New England conservatory
Boston, Massachusetts

1996-1997 Lecturer
South Dakota School of Mines & Tech.
Rapid city, south Dakoda

1998-2002 Conductor of Church Choir

Korean Baptist Church
Waynesville, Missouri

2003-2009 Conductor of Chamber Ensemble and Choir

Immanuel Church of Southern California
Los Angeles, California

2010-2011 Coordinator
Student Music Festival
World Mission University
Los Angeles, California

2010-2015 Conductor
Los Angeles Remnant Chamber Orchestra
Los Angeles, California

2014-2015 Lecturer
World Mission University
Los Angeles, California

ix

 INTRODUCTION

Felix Mendelssohns (1809-1847) Elijah is one of the most important choral works of the

nineteenth century. He made initial plans for the oratorio in 1836 but it was not completed until

1846 after he had received a commission from the Birmingham Festival, at which it premiered

on August 26. The first performance was so successful that Elijah continued to be featured at

nearly every subsequent festival, achieving status as a musical bookend on the same level as

George Frideric Handels Messiah.

From the mid-eighteenth century onward, music festivals in England, including the

Birmingham Festival and the Three Choirs Festival (at Worcester, Gloucester, and Hereford),

had a tradition of singing mostly oratorios by Handelthat is until the birth of Elijah. That these

large-scale music festivals lasted so long is due to social changes. Through the decline of

aristocratic patronage, the center of music making moved from courts and churches to homes and

public venues. While the orchestra in the nineteenth century was becoming an increasingly

professional organization, the choir consisted of mostly semi-professional and amateur

musicians. Organized as a choral society, the amateur choir was becoming increasingly active

throughout the cities of Western Europe. In Germany, the Berlin Singakademie, one of the first

choral societies, had over 350 members in 1832 under the direction of Carl Friedrich Zelter

(1758-1832), who was a teacher of Mendelssohn. It was under the auspices of Zelters leadership

that Johann Sebastian Bachs Passion according to St. Matthew1 could be famously revived at a

Singakademie performance conducted by Mendelssohn in 1829.

1
Forconveniencepurposes,IwillreferPassionaccordingtoSt.MatthewasSt.MatthewPassion.

1

 At the ever-expanding festivals the oratorio became the best genre for amateur singers to

interact with large-scale orchestras and top-level soloists. In addition, it provided audiences with

dignified and dramatic musical entertainment. With the intention of raising money for local

charitiesand to commemorate Handels oratorios as the central component of their programs

the festivals started commissioning new oratorios and other instrumental works. In 1830 the

Birmingham Festival became the first to initiate this idea and has since maintained a consistently

high level of new commissions focused on oratorios. Other festivals quickly followed this trend.

Even though many of these works have been performed only once or twice in the composers

lifetimes, the focus on new commissions nevertheless stimulated many others to produce large-

scale works for these festivals. This is the context in which Elijah was created in 1846as a

commission for the Birmingham Festivaland it was specifically intended as a successor to

Handels oratorios and Bachs passions.

From the age of seven, Mendelssohn had been thoroughly instructed in the exercises of

chorales, fugues, and canons in the Bach style by his teacher, Zelter, who was himself taught by

Carl Friedrich Christian Fasch (1736-1800) and Johann Philipp Kirnberger (1721-1783), both of

whom were pupils of Bach. Studying such an important compositional tradition became the

foundation for Mendelssohns strong interest and respect for music of the past. In addition to his

role in the revival of Bachs St. Matthew Passion as conductor, Mendelssohn also abridged the

score considerably in order to make the lengthy work concise, accessible, and dramatically

continuous. He also arranged and edited several of Handels works, such as Acis and Galatea

and Israel in Egypt, which further increased his familiarity with Baroque music.

 In Elijah, Mendelssohn employed various eighteenth-century oratorio conventions in

order to maximize drama: Handels wide range of the choral textures; the use of the chorus in

various narrative functions, such as crowd scenes (turba choruses) and commentary (chorales) in

Bachs passions; delivering comforting or spiritual messages from a Christian perspective, etc.

Mendelssohn fused these with early Romantic styles to intensify the effects of the music:

recitative accompanied by orchestra; unifying motives and links between movements; the

expression of emotional changes through delicate dynamic effects. To these we could add other

nineteenth-century elements: a big and powerful chorus; extended forms and textures of the

chorus (especially mixtures of homophonic, homorhythmic, and canonic textures); and greater

use of the narrators role; a large orchestra; and the concept of program music. This was the

choral and symphonic tradition Mendelssohn inherited.

In addition to these compositional features, Elijah delivers a theological message similar

to those found in Bachs passions and Handels Messiah. This message is that the key of all

covenants and prophesies of the Old Testament is the Christ, Jesus in the New Testament. Since

throughout Elijah, Mendelssohn, a converted Christian, allows this message to flow under the

works surface, the texts are either chosen from the Bible or newly written by the librettist or

composer. In any event, they should be read and understood in the context of Christ.

 CHAPTER I

STRUCTURAL ANALYSIS

Elijah consists of two parts. Part One addresses the Elijahs mission during a prolonged

drought in Israel; and Part Two focuses on his inner struggles and the continuation of his work

after receiving Gods call. Each part is divided into five scenes except the addition of a Prologue

and Epilogue, and a beginning section in the second which provides commentary. The scene

division in both parts is, interestingly, systematic and symmetrical. Each scene generally

proceeds in the following order: open with a recitative and close with a chorus, as shown below

in Figure I-1.

Figure I-1. Structural Analysis according to dramatic scene

Scene # Part One Scene # Part Two
(Number of (Number of
movements in movements in
each scene) each scene)
Prologue(2) Bass Solo Commentary No. 21 Aria (Soprano)
Overture (2) No. 22 Chorus
#1 (2) No. 1 Chorus & Recitative #6 (2) No. 23 Recitative (Bass & Alto)
No. 2 Chorus (w/Duet) No. 24 Chorus
#2 (3) No. 3 Recitative (Tenor ) #7 (5) No. 25 Recitative (Ten & Bass)
No. 5 Chorus No. 29 Chorus
#3 (4) No. 6 Recitative (Alto) #8 (3) No. 30 Recitative (Alto & Bass)
No. 9 Chorus No. 32 Chorus
#4 (4) No. 10 Recitative (Bass) #9 (3) No. 33 Recitative (Bass & Sop)
Nos.11&12 Chorus No. 34 Chorus
No. 13* Chorus No. 35 Chorus
#4a (5) No. 14 Aria (Bass) #10 (4) No. 36 Recitative (Chorus)
No. 16 Chorus No. 38 Chorus
No. 18 Arioso (Alto) No. 39 Aria (Tenor)
#5 (2) No. 19 Recitative (Tenor) Epilogue (3) No. 40 Recitative (Soprano)
No. 41 Chorus
No. 20 Chorus No. 42 Chorus
*Although Nos. 11-13 are considered one set expressing the same content, No. 13 is still the closing chorus of scene
#4.

4

 Most scenes start with a recitative that introduces the content, and close with the chorus.

The choruses, Nos. 1, 9, and 20 in Part One and Nos. 22, 32, and 42 in Part Two, function as the

structural skeleton and contain the main components of the plot.

Figure I-2. Each parts skeletal structure

Part One Part Two

Opening No. 1 Help, Lord No. 22 Be not afraid

Half No. 9 Blessed are the men who fear No. 32 He that shall endure
Him
Closing No. 20 Thanks be to God No. 42 And then shall your light break forth

Of these choruses, Nos. 9, 22, and 32 are contemplative pieces that are not involved in

the flow of the plot. Their role is special in that they allow the audience to reflect the scene by

providing corresponding spiritual messages before moving onto the next major event.

No. 9 (scene #3): before the battle between Elijah and Baals Prophets (scene #4)
No. 22 (beginning of Part Two):
before the confrontation of Elijah and Queen Jezebel (scene #6)
No. 32(scene #8): before Gods appearance on Mount Horeb (scene #9)

All choruses in Elijah can be categorized by one of five functions, as shown below.

Figure I-3. The categorization of the choruses

Part One Part Two

Story line Nos. 1, 2, 5, 11-13, 16, 20 Nos. 24, 34, 38
Climactic Moment Nos. 11-13, 16 Nos. 34, 38
Contemplation Nos. 7, 9, 15 Nos. 22, 29, 32, 35
Conclusion of Part No. 20 No. 42
Special Purpose* No. 41
* No.41 in the Epilogue does not fit into any of the five categories. This chorus will be discussed in detail in Chapter
II.

Of these categories the choruses in the Climatic moment groupNos. 11-13 and 16 in

Part One and Nos. 34 and 38 in Part Twoare the most dramatic ones in Elijah. It is noticeable

that these choruses are placed in the center of their respective scenes while most of the other

choruses take place at the ends of scenes (refer Figure I-1). A symmetrical structure appears in

two pairs: Nos. 11-13 corresponds with No. 34 and No. 16 corresponds with No. 38.

Figure I-4. The proportions of the climactic choruses position in Parts One and Two

Part No. (the Chorus position) /(total number of Part)

I Nos. 11-13 12/20 = 0.6
Climactic Moment-I
II No. 34 14/22 = 0.636

Climactic Moment-II and I No. 16 16/20 = 0.8

Falling Action II No. 38 18/22 = 0.818

 Figure I-4 illustrates that Mendelssohn originally constructed the climactic moments in

each part to be expressed by a powerful and dramatic chorus. We will look at how these choruses

contribute to the dramatic pacing and flow of the story.

Nos. 11-13 in Scene # 4

In the confrontation between Elijah and King Ahab in the No. 10 recitative with chorus,

the chorus is constantly interrupting their dialogue. The chorus also repeats the soloists words

with short and intense phrases. This kind of rapid antiphonal texture in the solo recitatives and

choruses escalates the tension before the coming battle between Elijah and the prophets of Baal.

The following choruses, Nos. 11, 12, and 13, portray the climax of Part One: the battle.

The prophets of Baal call on their god three times, growing furiously in their rituals. Elijah

precedes each call with a recitative that derides their gods as imaginary. Here, the number three

is particularly significant throughout the entire piece as an invocation of the Trinity.2

Mendelssohn employs it through various symbolic compositional gestures, such as the triple

repetition of motives in the fugue of the overture. In addition, the three songs sung by the

prophets of Baal (Nos. 11, 12, and 13) become intensified through the accelerating tempi, the

raising of key by half-step, the vigorous motives of the orchestra, and the nearly-mad screaming

of the furious chorus.

2
HerearesomeexamplesofTrinitariansymbolisminElijahdirectlyderivedfromtheBibleverses:
(No.8)1Kings17:21,ThenstretchedhimselfoutontheboythreetimesandcriedtotheLord.
(No.10)1Kings18:1,Afteralongtime,inthethirdyear,thewordoftheLordcametoElijah.
(No.16)1Kings18:34,Doitathirdtime,heordered,andtheydiditthethirdtime.

 Figure I-5. Part One: Nos. 11, 12, and 13

No. Tempo MM Meter Key Text

Andante grave e
11 Quarter note =84 4/4 F major Baal, we cry to thee
maestoso

12 Allegro vivace Quarter note =160 4/4 F# minor Hear our cry, O baal

Dotted quarter note Baal! Hear and answer,

13 Presto 6/8 F# minor
=126 Baal

By using these compositional devices, the audience gets absorbed deeply into the conflict

being represented on stage.

No. 16 in Scene #4a, The fire descends from heavn!

After the three frantic calls of Baals prophets have resulted in no answer, it is Elijahs

turn. He prays to God for fire from heaven in Scene #4a. Scenes #4 and #4a show a striking

contrast in between the choruses of the two scenes. Nos. 11- 13 show the large numbers (850) of

Baals prophets, as well as the intensity of their frantic rituals.3 In contrast, Scene #4a (Nos. 14-

18) contains only one major chorus (No. 16) in the center of the scene, which means Elijah is the

sole prophet of God who prays for fire just once.4 By comparison, there are 850 prophets of Baal

who call on their god three times. In a broader view of Christian theology, the significance of

having only one major chorus throughout Nos. 14-18 represents the existence of only one true

God.

3
1Kings18:26,ThentheycalledonthenameofBaalfrommorningtillnoon.
1Kings18:29,Middaypassed,andtheycontinuedtheirfranticprophesyinguntilthetimefortheeveningsacrifice.
4
1Kings18:36,Atthetimeofsacrifice,theprophetElijahsteppedforwardandprayed:OLord,GodofAbraham,Isaacand
Israel,letitbeknowntodaythatyouareGodinIsraelandthatIamyourservantandhavedoneallthesethingsatyour
command.Answerme,OLord,answerme,sothesepeoplewillknowthatyou,OLord,areGod,andthatyouareturningtheir
heartsbackagain.ThenthefireoftheLordfellandburnedupthesacrifice(1Kings18:3638,NIV)

8

No. 34 in Scene # 9, Behold, God the Lord passed by.

Nos.33-35 in Scene # 9 form the climax of Part Two in which Elijah stands on the

mountain in the presence of God. Many people regard the first section of the No. 34 chorus as

the most descriptive, magnificent and dramatic in the entire Elijah in its presentation of the

tempest, earthquake, and fire. In contrast, the latter section of this movement shows God coming

forth in a still small voice that is very gentle and ethereal. According to a biography of the

composer written by Ferdinand Hiller, Mendelssohns friend and fellow-composer, the No. 34

chorus inspired Mendelssohn to write the rest of the oratorio: 5

One evening I found Felix deep in the Bible. Listen, he said; and then he read to
me, in a gentle and agitated voice, the passage from the First Book of Kings,
beginning with the word: And behold, the Lord passed by. Would not that be
splendid for an oratorio? he exclaimed-and it did become part of Elijah.6

Mendelssohn places this powerful chorus at the center of Scene # 9 of Nos. 33-35.

No. 38 in Scene #10, Then did Elijah the prophet break forth like a fire.

Nos. 36-39 form the scene in which Elijah goes up to heaven in a whirlwind. The No. 38

chorus, Then did Elijah the prophet break forth like a fire, draws the story of Elijah to a close

before the Epilogue. The syncopated chords and rushing sixteenth-note triplet figures in the

strings provide an extraordinary amount of energy to the chorus and makes this scene very

exciting, which corresponds to the hopeful feelings associated with Elijahs ascension. Like the

5
JackWerner,MendelssohnsElijah:AHistoricalandAnalyticalGuidetotheOratorio(London:Chappell&Co.,
Ltd.,1965),70.
6
Ibid.,2.

9

other significant choruses, this is located in the center of the scene. However, it is similar to

No.16 in that there is no closing chorus that follows.

In conclusion, the choruses contribute to build the entire structure and flow of the story

with tension and relaxation. Especially, the choruses in the climactic moments of Elijah play a

central and crucial role in establishing the dramatic pace of tension and excitement. This results

from the combination of extremely powerful and dramatic choruses with their symmetrical

placement within the works structure. A letter from Mendelssohn to Klingemann, the first

librettist of Elijah, shows that the composer planned this from the beginning:

Here comes my request. Do write for me [Mendelssohn] within the next few
weeks the text for a Biblical oratorio, so that I can set to and compose it during
the next summer. The last time we talked about it I mentioned to you
[Klingemann] two subjects which I liked 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 I am
satisfied with anything you do Just write out what you think best. Then I can
compose it at once7

7
Ibid.,4.

10

 CHAPTER II

TEXTUAL HISTORY

After achieving success with his first oratorio, St. Paul (1836), Felix Mendelssohn began

planning a second. He thought of using the story of St. Peter or Elijah and commissioned a

libretto from his friend Karl Klingemann. Their collaboration resulted in a rough outline of the

work by August 30-31, 1837. Klingemann, however, had to withdraw from the project for

personal reasons after nearly completing a prose draft. Mendelssohn subsequently asked Julius

Schubring, a childhood friend and the librettist of St. Paul.

Schubring was given Klingemanns draft, to which he made extensive cuts and rewrites

between May and November of 1838. Mendelssohn was happy with the text since he felt

Klingemanns version was too long and contained so much detail that the composer could not

produce any kind of dramatic coherence or sense of direction.8

Although both agreed that the work should be composed in a church music style, the

two men had conflicting priorities about whether to emphasize religious edification or dramatic

content. Schubring wanted Mendelssohn to prioritize the former:

[W]hat I hoped to avoid and wrote to you about has in fact come to pass; that the
thing is becoming too objectivean 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 heart []
Therefore you must carefully consider whether this time you prefer to turn away
from church music (i.e., that which refreshes [the soul]) and creates a tone-picture
[] Otherwise we must work with renewed effort to keep down the dramatic, and
raise the sacred.

8
JeffreyS.Sposato,ThePriceofAssimilation:FelixMendelssohnandtheNineteenthCenturyAntiSemiticTradition
(NewYork:OxfordUniversityPress,2006),121.

11

 Letter dated 1 November 1838, from Schubring to Mendelssohn9

On the other hand, Mendelssohn persuaded Schubring to consider prioritizing the dramatic

content:

In my opinion, it is best to do full justice to the dramatic element, and, as you say,
there must be no epic narration. I am also glad that you are searching out the
basic, emotionally touching meaning of the scriptural words; but if I might make
one observation, it would be that I would like to see the dramatic element emerge
more succinctly and clearly here and there. Statement and response, question and
answer, sudden interruptions, etc. not that it disturbs me that, for example,
Elijah first speaks of assembling the people, then forthwith addresses the
assembled peoplesuch liberties are the natural privileges of such a
representation in an oratorio; but I would like such a representation itself to be as
lively as possible But we are no doubt likely to agree about this; I would only
entreat you, when you resume your work, to think of this wish of mine.
Letter dated 2 November 1838, from Mendelssohn to Schubring10

However, Schubring did not accept Mendelssohns suggestion:

I always thought that the Elijah would turn out all right, but it will not, and you
must seek help elsewhere.
- Letter dated 2 February 1839, from Schubring to Mendelssohn11

Their collaboration eventually broke apart when Schubring withdrew from the project in

February 1839. Afterwards, Mendelssohn suffered from a bout of depression until he was

commissioned by the Birmingham Music Festival committee in mid-July of 1845 to conduct an

oratorio at their triennial event. Mendelssohn promptly began to compose music but did not ask

9
Ibid.,122.
10
Ibid.,123.
11
Ibid.

12

Schubring to complete the libretto, choosing instead to write it himself. By December 1845, a

prose draft of Part One had been completed and Part Two was nearly done.12

Shortly after, however, Mendelssohn needed Schubrings assistance in correcting and

evaluating the text, and their collaboration resumed smoothly. This time Mendelssohn took

Schubrings comments to heart and the text incorporated some of his friends ideas for a

religiously edifying work while still retaining a dramatic focus.

Even if they agreed that Elijah should conclude with a Messianic message, they differed

in their conceptions of it. Schubring felt that Elijah had to end with a direct reference to the

prophecy for the Messiah in the New Testament. Therefore, he suggested adding a scene before

the ascension of Elijah, in which Elijah bestows a double portion of his spirit on his successor,

Elisha. Mendelssohn did not accept this idea for the insertion of a new character, but

nevertheless compromised by revising the prose draft to include a more obvious Messianic

ending.13

With a few months left before the scheduled premiere, Mendelssohn sent a completed

Part I and most of Part II to William Bartholomew for translation into English. The remaining

movements of Part II, Nos. 36 though 39, arrived ten days later. Mendelssohn originally planned

not to include an overture at the beginning. He thought that it would be more dramatically

effective if the chorus Help, Lord! followed immediately after the opening of Elijahs curse

there shall not be dew nor rain these years but according my word. However, Bartholomew

12
SeeFigure5.1inIbid.,11820
13
Ibid.,125.

13

suggested adding an overture immediately after Elijahs curse as a symbolic expression of the

three years of famine:

[Without an overture] the chorus [Help, Lord!]comes so quickly and suddenly

after the curse, that there seems to elapse no time to produce its results.
- Undated letter (ca. June 1846) from Bartholomew to Mendelssohn14

Ultimately, Mendelssohn managed to give Elijah a strikingly unconventional opening by

starting with recitative before the overture. At the same time, he managed to express the

Israelites suffering at the hands of Elijahs curse: "There will be neither dew nor rain in the next

few years except at my word" (1 Kings 17:1, NIV Bible). The phrase In the next few years

refers to exactly three years as indicated in the next chapter of the Bible: After a long time, in

the third year, the word of the LORD came to Elijah: Go and present yourself to Ahab, and I

will send rain on the land (1 Kings 18:1, NIV Bible). Therefore, Mendelssohn employs various

techniques to expresses the numerical significance of three in the overture, such as repeating

certain phrases three times. He also accompanies the main theme with chromatic ascending and

descending lines to depict the Israelites suffering from drought.

Before arriving in London, Mendelssohn recomposed No. 31, the alto aria O rest in the

Lord, wait patiently for Him, and eliminated the chorus He will open the eyes of the blind

people, which was designed to come just before the No. 41b quartet O come evry one that

thirsteth.

The premiere of Elijah at the Birmingham Festival on August 26, 1846 was very

successful. Mendelssohn expressed his pleasure in a letter to Jenny Lind:

14
Ibid.,206.

14

 The performance of my Elijah was the best first performance that I have ever
heard of any one of my compositions. There was so much go, and swing, in the
way in which the people played, and sang, and listened.15

Right after the premiere, Mendelssohn started revising Elijah for publication. He

reworked the text of the widows scene (No. 8), Obadiahs plea for rain (No. 19), Jezebels scene

(Nos. 23-24), Obadiahs farewell to Elijah (No. 25), and the introduction for Gods command to

Elijah to recommence his mission (No. 36). In particular, he composed new music for the

widows scene and revised the text even though Edward Bendemann, a friend and painter,

suggested that it should be eliminated altogether.16

The final version of Elijah was printed in England by Messrs. Ewer & Co. in June 1847

and in Bonn, Germany by Simrock. Mendelssohn premiered the final version at Exeter Hall in

London on April 16, 1847 and conducted three further performances there on the 23rd, 28th, and

30th of the month.

As this textual history shows, the process by which Mendelssohn and Schubring

produced the work was a complex one that involved careful decisions about which scenes and

texts to choose in order to structure the dramatic plot. The conflict between them concerning the

priority of the works message had a decisive effect on the closing scene. In addition, the scenes

and movements that Mendelssohn revised after the premiere suggests that Mendelssohn

eventually chose to focus on the works dramatic and/or theological elements despite comments

from his contemporaries that they were unnecessary. Therefore, if conductors attentively

15
Ibid.,127.
16
Ibid.

15

consider this textual history, they will gain valuable information that will give them greater

understanding about the interrelation of structure and theological implications of certain scenes.

16

 CHAPTER III

A DISCUSSION OF EDITING

Four Conductors Versions

The total performance time of the oratorio Elijah is approximately two and a half hours,

which is quite long for the modern concert audience. Therefore, it is often shortened to make it

less tiring for them. Daniel Delisis article Mendelssohns Elijah: Dramatic and Musical

Structure, Possible Cuts and Excerpts and Robert Summers book Choral Masterworks from

Bach to Britten: Reflections of a Conductor discuss the edits that modern conductors make.

Summer lists three well-known American conductors versions, in particular, along with the

ideas and reasons behind their decisions (Figure III-1).

Figure III-1. Suggested Cuts by Three Conductors

Robert Shaw (1991) Donald Neuen Robert Page

No.5 (mm. 74-138) No.5
Nos.6, 7, 7a Nos.6, 7, 7a
Nos.8, 9
Part One
No.11 (mm. 17-28) No.11 (mm. 17-28 & mm. 44-67)
No.13 (mm.16-44)
No.17
No.22 (mm.20-78) No.22 (mm.21-82)
Nos.23, 24
Part Two No.32
No.36 (mm 1-9) No.35 to m. 10 of No. 36
No.40, 41, 41a Nos.40, 41, 41a Nos.40, 41, 41a
The numbering used here is based on that used by Dover Publications.

17

Figure III-2 shows Daniel Delisis Summary of Suggested Cuts, as presented in his article.

Figure III-2. Summary of Suggested Cuts

Part One Part Two

No. 5, Chorus (mm. 88-138) No. 22, Chorus (mm. 21-78)
No. 6, Alto recitative No. 32, Chorus
No. 7, Double chorus No. 35, Chorus and quartet
No. 8, Alto/baritone duet No. 36, Chorus (mm. 1-9)
No. 9, Chorus No. 40, Soprano solo
No. 41, Chorus
From Mendelssohns Elijah: Dramatic and Musical Structure, Possible Cuts and Excerpts, p.30 by Daniel Delisi
*The entire movement is cut unless specific measures are indicated.

When the two lists are combined, the parts that are most commonly omitted can be

categorized into four groups as follows.

No. 5 Shaw1) Page Delisi1)

Nos. 6, 7, 7a, 8, 9 Shaw Neuen2) Delisi
3)
Nos. 35, 36 (mm. 1-9) Shaw Neuen Delisi
Nos. 40, 41, 41a Shaw Neuen Page Delisi
1)
Shaw cut No.5, mm.74-138. Delisi cut No.5, mm. 88-138.
2)
Neuen deleted only Nos.6,7,7a.
3)
Shaw omitted only No.36 mm.1-9.

A common theme among these scenes is that they were edited out because they were

redundant or otherwise unrelated to the storyline. The question that arises is, for what reasons did

the composer and librettist select these scenes and how did they connect them at the outset of the

project? This paper seeks to discuss their artistic aims in the context of the works musical and

dramatic structures and theological basis.

18

 Dramatic Structure

This is the basic plot structure of Part One and Two.

Part One

1) Exposition: Prologue - No. 5

Elijah predicts the beginning of a drought, and the people of Israel suffer from this

disaster and shout out Help, Lord.

2) Rising Action: Nos. 6-9

This section can be seen as foreshadowing the events of the exposition. God sends Elijah

to the wilderness, which dries out, and then he is sent to a widow in Zarephath. The bread and oil

served by the widow to Elijah keeps replenishing itself, and her dying son revives through

Elijahs prayers. These miracles allow Elijah and the widow to experience Gods omnipotent

powers. (This strongly showcases the Messianic Prophecy.)

3) Climatic Moment and Falling Action: Nos. 10-13 and Nos. 14-18

Three years later, God sends Elijah to King Ahab, and there is a battle between Baal and

Jehovah to prove who the True God is. Although Baals Prophets put on an increasingly frantic

performance, Baal does not answer their prayers. However, in answer to Elijah prayers, fire

comes down to his altar, showing that Jehovah is the only True God. Baals 850 Prophets are

slaughtered.

19

4) Resolution: Nos. 19-20

After Baals Prophets are eradicated, Elijah urges the Israelites to repent for their sin of

leaving God and worshipping idols, and to return to God. Elijah prays three times to God for

rain; finally, God makes it rain, and the Israelites sing a song of praise and gratitude.

Part Two

1) Commentary: Nos. 21-22

Part II, which is sung by solo soprano and chorus, starts with a commentary that the

Israelites must observe Gods commandments and rely on Him without fear.

2) Exposition: Nos. 23-24

When Elijah demands that King Ahab repent for the sin of violating Gods

commandments, Queen Jezebel tries to kill Elijah.

3) Rising Action: Nos. 25-29 and Nos. 30-32

Elijah, who flees to a desert, prays to God to take his life since he is the only one left

among those who kept to Gods covenant. At that moment, an angel comforts him and sends him

to Mount Horeb.

4) Climactic Moment and Falling Action: Nos. 33-35 and Nos. 36-39

On Mount Horeb, Elijah does not see God in the wind or earthquake, or even in the fire;

later, Gods presence emerges in a still, small voice. God tells Elijah to resume his mission since

20

He preserved seven thousand followers of the covenant. After Elijah completes his mission, he

goes up to heaven on a chariot of fire.

5) Resolution: Nos. 40-42

Elijah is a prophet similar to John the Baptist, who is prepared for the coming of Jesus

Christ. According to the Old Testament those who observed the covenant by risking their lives

would be redeemed by Christ, who comes to save all human beings. God is thus praised forever.

21

 Discussion of Suggested Cuts by Four Conductors

1. Nos. 6, 7, 7a, 8, 9

This section applies to the Rising Action sequence. This part is divided into two sections,

the first of which consists of Nos. 6, 7, and 7aElijahs wilderness and the Angels double

quartet, For He shall give His angels. The second section is No. 8 the widow and Elijahs

Duet, What Have I to do with thee and No.9 Chorus, Blessed are the men who fear Him.

Donald Neuen deleted Nos. 6-7 while Shaw and Delisi deleted Nos. 6-9. All three argue that

these parts were unrelated to the plot and had no influence on the musical and dramatic flow.

Robert Summer judges this section, in particular the widows scene (Nos. 8-9), as follows:

One scene, which many conductors eliminate or to which adjustments are made,
is the scene of Elijah with The Widow and her dying son. This scene can be
omitted without affecting the progression of the story if someone is concerned
about the overall length of the performance.17

Daniel Delisi also expresses the same idea in his article:

The dramatic continuity of Part One can be made more apparent through cuts in
two places. The second scene (nos. 6-9), which includes Elijah's wanderings and
the scene of the widow's son, is completely unrelated to any of the other action in
Part One. In effect, the scene stops the dramatic flow, and therefore can be cut
without losing any of the continuity of the oratorio. Some fine music is lost, but
the overall dramatic and musical flow of Part One is not hindered. Recitative no. 6
can be left in if desired to make reference to the journeying of the prophet. It is
short, but again is not essential to any other action in Part One.18

After the premiere of Elijah in 1846, Edward Bendermann, a friend of Mendelssohns

who sent suggestions to him throughout the project, indicated that the widows scene should be

17
RobertJ.Summer,ChoralMasterworksfromBachtoBritten(Lanham:Scarecrow,2007),72.
18
DanielDelisi,MendelssohnsElijah:DramaticandMusicalStructurePossibleCutsandExcerpts.(ACDAJournal
3(May1991),30.

22

deleted.19 Even the renowned Mendelssohn scholar Eric Werner assesses it as one of the

weakest in the oratorio, it might be better to leave it out.20

If the general consensus among scholars and conductors is that this section is completely

unrelated to any of the other action in Part I, as Delisi says, what was Mendelssohn and

Schubrings idea with this section in the first place? After the premiere, Mendelssohn revised the

widows scene. He was so seriously concerned about this scene that he almost recomposed new

music. However, if this scene was unnecessary to Elijahs story, then Mendelssohn could have

just removed it before the publication of the final version. So then why did he polish it even

more? To find the answer to this question, one needs to look at the Biblical context. First, we can

look at the corresponding Biblical passages to movements Nos. 6, 7, and 7a.

a. No. 6, 7, 7a

Elijah was a prophet during the time of the Israelite King Ahab. King Ahab, along with

Queen Jezebel, caused the people of Israel to commit the biggest sin against the God of Israel.

Ahab son of Omri did more evil in the eyes of the Lord than any of those before
him. He not only considered it trivial to commit the sins of Jeroboam son of
Nebat, but he also married Jezebel daughter of Ethbaal king of the Sidonians, and
began to serve Baal and worship him. He set up an altar for Baal in the temple of
Baal that he built in Samaria. Ahab also made an Asherah pole and did more to
provoke the Lord, the God of Israel, to anger than did all the kings of Israel before
him. (1 Kings 16:30-33, NIV)

19
Sposato,p.127
20
Summer,p.72

23

In 1 Kings 17:1, it is recorded that Elijah told King Ahab that there would be a drought because

of the sinful idol worship. This scene is the prologue in Elijah. Because of this, King Ahab

became furious and tried to get rid of Elijah. Therefore, God sent Elijah to the wilderness, where

no one could find him until it rained again.

As surely as the LORD your God lives, there is not a nation or kingdom where
my master [King Ahab] has not sent someone to look for you [Elijah]. And where
a nation or kingdom claimed you were not there, he made them swear they could
not find you. (1 Kings 18:10, NIV)

Reading the Bible provides the essential context for the Exposition of Elijah. However in the

oratorio, the scene where King Ahab orders Elijahs death is omitted before Nos. 6-7, and only

the Israelites suffering and supplication (Nos. 1, 2, & 5) and Obadiahs imploration to the

Israelites follow the prologue. If there were a scene before No. 6 depicting King Ahab ordering

that Elijah be killed, the scene of Nos. 6 and 7 would be regarded as absolutely necessary to

provide a solid reason why Elijah has to be in the wilderness. Delisi agrees with this point,

writing, Recitative no. 6 can be left in if desired to make reference to the journeying of the

prophet.21

The Angels Double quartet (No. 7) shows Elijah, who is in hiding from King Ahab, that

God has provided protection by surrounding him with eight angels. This is not indicated in the

Bible. If No. 6 were to function as a narration of the situation, then the audience would regard

the incident and scene in No. 7 as a purely religious experience. This is one of the important

functions of the conventional oratorio: it provides religious edification, often through fictional

21
Delisi,p.30.

24

supplements to the dramas original plot, allowing listeners to imagine the scene in a more

exuberant way.

Even though this scene has much importance, the entire story does not appear to be fully

conveyed in general. Otto Jahn describes this scene as one of disjointedness:

What we find in Elijah is not true action, which develops steadily, but rather a
series of situations in which Elijah is the focus, and which show his originality
from various points of view. This is the source of the works unity. But these
individual scenes must also be externally connected; since the simplest means for
thisnamely narrativehas been discarded, the result is a certain disjointedness,
sometimes even in distinctness, as one is introduced unexpectedly into the midst
of a situation that only gradually becomes comprehensible, as it develops.22

b. Nos. 8-9

Disjointedness also applies to the widows scene (Nos. 8-9) that follows. As mentioned

already, many have deemed the widows scene unnecessary to Elijahs dramatic flow. However,

it is unlikely that Mendelssohn and Schubring would have chosen this scene simply because it

was in the Bible, despite its lack of relation to the works main story. It seems that Mendelssohn

wanted to make Elijah into a symbolic work rather than a historical one, as he did with his first

oratorio, St. Paul:

As I see it, the subject [of St. Paul] absolutely must not be treated historically
In a historical treatment, Christ would have to appear in the earlier part of St.
Peters career, and where he appears, St. Peter could not lay claim to the chief
interest. I think, therefore, it must be symbolicthough all the historical points
should probably be included, the betrayal and repentance, the keys of heaven
given him by Christ, his sermon at the feast of Pentecostbut all of that not
historical, but prophetic.23

22
Sposato,p.128.
23
Sposato,p.129.

25

 Elijah is an Old Testaments prophet. His actions foreshadow the coming of the Messiah

or Christ, who was to appear in the New Testament. From this perspectivethat is from the

Christological perspective the encounter between Elijah and the widow is an important

incident that foretells to Christs ministry of salvation. As evidence, Jesus uses this encounter

while preaching at the Jewishs synagogue: Yet Elijah was not sent to any of them, but to

a widow in Zarephath in the region of Sidon (Luke 4:26, NIV).

Why was this verse quoted by Jesus in his preaching? The Israelites had thought of

themselves as the only chosen people of God and did not think that foreigners would be subject

to the grace of salvation. Zarephaths widow was a Gentile. Therefore, they could not understand

why the prophet of God, Elijah, went to a Gentile. There, food did not run out even during

extreme famine and the widows dying son was revived through Elijahs prayer. It is the

prefiguration of Christs salvation, of God coming to save people of all nations, not just the

Israelites but Gentiles as well. This is a significant value within Christological perspective.

From the perspective of Christology, what does the widows scene have in common with

the battle between Elijah and Baals Prophets that comes afterward?

According to the Bible, the raising of the widows son was the first miraculous answer

that Elijah received from his prayers to God. After experiencing Gods omnipotent power, Elijah

regained his confidence, stood in front of King Ahab, and engaged in battle with the Prophets of

Baal. This incident allowed him to develop unconditional conviction regarding God. From the

audiences viewpoint, it would seem that it is Mendelssohn and Schubrings intention to show

how Gods transcendent work and Elijahs corresponding faith becomes adamantlyfrom the

26

widows scene to the battle and the rainrelated to the Messianic Prophesy. Therefore, in this

context it is understandable why Mendelssohn did not eliminate this scene during the revision

process after the works premiere but, rather, recomposed almost entirely new music, even

though Bendemann suggested the whole thing was unnecessary. Jacobs commentary reinforces

this point:

It has the dramatic value of an interior scene. Moreover, the death of the child and
the grief of its mother affect us far more than the deaths of thousands who have
perished in the drought. And when, thrice-repeated, with rising intensity: the
prophets prayer recalls the childs departed soul to the body, it is as if he has
done the same for thousands.24

Mendelssohn and the author of his text have been criticized for having included
this episode [the widow scene] in the oratorio. They could not have chosen a more
effective one! For this scene is the only that does not take place under the open
sky.25

Sposato mentions that there is more evidence that Mendelssohn tried to emphasize the

association of the New Testament with Christology, as shown below.

The Beatitudes

The last line of text in the widows scene (No. 8), Blessed are they who fearis the same

as those in the No. 9 Chorus, Blessed are the man who fear Him, they ever walk in the

ways of peace. This is a textual parallel with Jesus beatitudes in the New Testament.26

Blessed are the poor in spirit, for theirs is the kingdom of heaven.(Matt. 5:3-12;
Luke 6:20-22, NIV)

Christs greatest commandment

24
HeinrichEdwardJacob,FelixMendelssohnandHisTimes(London:PrenticeHall,Inc.,1963),253.
25
Ibid,252.
26
Sposato,p.136.

27

 Another Christological addition is found in the text of No. 8. After the widows son

rejuvenates through Elijahs prayer, the widow asks Elijah what she shall render to the

Lord. Elijah answers with Christs greatest commandment, which originates from the Old

Testament (Deut. 6:5).

You shall love the Lord your God with all your heart, and with all your soul, and
with all your might (Matt. 22:37; Mark 12:30; Luke 10:27)

The material of the widows scene is Christological in order to present Elijahs Messianic

prophesy. I argue that if it is omitted, the climactic moment of the oratorio comes too early

without the proper rising action. Therefore, including this section would further increase the

expectation of the climactic moment in a dramatic way. Furthermore, by connecting this scene

with the battle and the rain, it portrays Mendelssohns viewpoint of theology: that God

continuously prepared the work of Christs salvation through Elijahs Messianic Prophecy.

2. No. 35 and No. 36 (mm. 1-9)

a. No. 35 Quartet and Chorus, Holy is God the Lord.

God does not reveal himself only in powerful miraculous ways but appears to Elijah in a

still small voice in the Chorus (No.34) Behold, God the Lord passed by. The following

Quartet with full Chorus (No.35), Holy is God the Lord, is a praise of the seraphim around

God. This movement is similar to the double Quartet (No.7) of Part One, For He shall give His

angels charge over thee, in two ways: the first is that both portray the realm of God; the second

is that both scenes do not exist in the story of Elijah in 1 Kings but are instead added by the

composer and librettist to heighten listeners spiritual experiences of the events. One important

28

difference between the two movements is that No.7 is narrated from the third-person perspective,

while No. 35 sings in the first-person perspective opening with an alto recitative, Above Him

stood the Seraphim, and one cried to another. In the Double Quartet (No.7) the angels act as

narrators, providing annotative interpretations of the scene and stirring up listeners

imaginations. In No.35, the seraphim function as actors singing the text from the Book of Isaiah.

Above him were seraphs, each with six wings: With two wings they covered their
faces, with two they covered their feet, and with two they were flying. And they
were calling to one another: Holy, holy, holy is the Lord Almighty; the whole
earth is full of his glory (Isaiah 6:2-3, NIV).

No. 35, in contrast to the preceding movement (No. 34) where God came onward in a

still, small voice, follows with the magnificent and overwhelming praise of numerous angels.

Not surprisingly, Mendelssohn employs here the largest force of performances in the entire

work: four individual voicesorganized as S1, S2, A1, A2and the full chorus. The use of such

an ensemble for the role of the seraphim is especially appropriate given the description of them

from the Book of Revelation by John the Apostle:

What sounded like a great multitude, like the roar of rushing waters and like loud
peals of thunder, shouting: Hallelujah! (Revelation 19:6, NIV).

Coincidently, No. 35 of Elijah occupies a similar proportional position within the whole work as

the No. 44 Chorus Hallelujah of Handels Messiah, as shown below:

No. 35 Holy is the God the Lord

35/42 (total number of movements in Elijah) = .833
No. 44 Hallelujah
44/53 (total number of movements in Messiah) = .830

29

If Mendelssohn deliberately modeled this structural position on that of the Hallelujah chorus, it

can be assumed that he tried to import a similar corresponding theological meaning from

Handels chorus to his own.

b. No. 36 Chorus-Recitative (mm. 1-9)

The first nine measures of the Chorus-Recitative (No. 36), flow seamlessly by attacca

from the No. 35 Chorus. They are deleted in the versions by Shaw, Neuen, and Delisi. These

nine bars are only a small amount of music, but they have great significance in that the text

reveals the background of Elijah as well as its key theme: Because Gods people, the Israelites,

disregarded the covenant and served Baal instead, God punished them with a drought to persuade

them to convert back. This relationshipone by covenantis the most important theme of

Elijah. Here, we will examine how it is presented in the entire piece.

The movements that deal with the Covenant of God are as follows:

i) Prologue: Elijah, As God the Lord.

[Now Elijah the Tishbite, from Tishbe in Gilead, said to Ahab], "As the
LORD, the God of Israel, lives, whom I serve, there will be neither dew
nor rain in the next few years except at my word" (1 Kings 17:1, NIV).

Elijah predicts that there will be no dew or rain for years on the land of Israel due to

the transgression of King Ahab and the Israelites. According to 1 Kings 17:1, this

prediction is proclaimed by Elijah to King Ahab.

ii) No. 3 Recitative: Obadiah, Ye people, rend your hearts.

30

 Ye people, rend your hearts and not your garments, for your transgressions,
the prophet Elijah hath sealed the heavens through the word of God. I
therefore say to ye, Forsake your idols, return to God (Joel 2:13, NIV).

Obadiah urges the Israelites to forsake their sins and come back to God. More

specifically, they are deviating from the covenant they made to serve only God and

are instead worshipping idols. Thus, he points out that Elijah has sealed the sky

according to Gods words.

iii) No. 5 Chorus: Israelites, Yet doth the Lord.

(Section A) Yet doth the Lord see it not: He mocked at us; His curse hath
fallen down upon us till He destroy us, pursue us!
(Section B) For He, the Lord our God, He is a jealous God: And He visiteth
all the fathers sins on the children to the third and the fourth generation of
them that hate Him. His mercies on thousands fall, His mercies on thousands
fall, fall on all them that love Him and keep His commandments (Exodus
20:5-6, NIV).

In the first section, the Israelites resent God for cursing them and leading them to ruin

through drought. As the musical texture changes in Section B, the text explicitly

exposes which sin the Israelites commit against the covenant between them and God.

This comes from the beginning of the Ten Commandments with a quote from Exodus

20: 56 in which God gives an order to the Israelites through Moses.

iv) No. 10 Recitative and Chorus: Elijah, As God the Lord.

I never troubled Israels peace: it is thou Ahab, and all thy fathers house.
Ye have forsaken God's commands, and thou hast follow'd Baalim (1 Kings
18:18, NIV).

31

 Three years later, Elijah meets with King Ahab and tells him that his sin of discarding

Gods commands and serving Baal has led Israel to suffer from drought. Then, a

contest is held with 850 prophets from Baal to determine which of the two (Baal or

the Lord) is the True God.

v) No. 19 Recitative: Elijah, O man of God, help thy people!

When the heavens are closed up because they have sinned against Thee: yet
if they pray and confess Thy name, and turn away from their sins when Thou
dost afflict them: then hear from heaven, and forgive the sin. Help, send Thy
servant help, O God!

The frantic sacrifice of the Baal prophets ends with no response, and a fire falls upon

the altar of Elijah, proving that the Lord is the True God. As a result, all 850 prophets

are killed. After that, Elijah urges King Ahab and the Israelites to return to the

covenant. Then it rains again.

vi) No. 21 Aria: Soprano solo, Hear ye, Israel.

Hear ye, Israel, hear what the Lord speaketh: 'Oh, hadst thou heeded my
commandments! Who hath believed our report! To whom is the arm of the
Lord revealed! (Isaiah 48:1, 18; 53:1, NIV).

Part Two begins with an admonition to the Israelites, again to Listen to Gods

words (or, in other words, Obey my orders and covenant). Even though it has

rained again, Israels worship of idols has not ended, and Gods prophets are still

being killed.

vii) No. 23 Recitative and Chorus: Elijah, The Lord hath exalted thee from among the

people.

The Lord hath exalted thee from among the people, and oer his people
Israel hath made thee King. 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

32

 walk in the sins of Jerobeam. Thou hast made a grove, and altar to Baal, and
servd him and worshippd him. Thou hast killed the righteous and also taken
possession. And the Lord shall smite all Israel as a reed is shaken is the
water; and He shall give Israel up, and thou shall know He is the Lord (1
Kings 16:30-33, NIV).

The plot of Part Two begins with a confrontation between Elijah and Queen Jezebel.

Here, Elijah mentions in detail the sins of King Ahab and Queen Jezebel, such as

worshipping idols and killing Gods prophets.

viii) No. 26 Aria: Elijah, It is enough.

It is enough! O Lord, now take away my life, for I am not better than my
fathers! 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 broken Thy covenant, and thrown down Thine altars, and slain all Thy
prophets, slain them with the sword. And I, even I only am left: and they seek
my life to take it away! (1 Kings 19:4, 10, NIV).

When Queen Jezebel tries to kill Elijah, he prays to God that he will die. He believes

that, despite the great victory of the Battle on Mount Carmel and his success in

stopping the drought, there is only one remnant who will remain in Gods covenant:

himself. Therefore, he thinks that there is no hope left.

ix) No. 36 Chorus: Go, return upon thy way and Recitative: Elijah, I go on my way.

Go, return upon thy way! For the Lord yet hath left him seven thousand in
Israel, knees which have not bowd to Baal. Go, return upon thy way! Thus
the Lord commandeth.(1 Kings 19:18, NIV).

God does not make an appearance even after the tempest, earthquake, and fire, but He

reveals his existence with a still, small voice. Here, God tells Elijah to continue his

mission, as presented in mm. 1-9 of No. 36, because He left behind 7,000 disciples

who have not yet yielded to Baal.

33

 Thus, we see that the key theme in Elijah is to maintain the covenant between God and

the Israelites. As shown above, the contents of the covenant are constantly revealed in a direct

and straightforward way before and after major events, mainly in recitatives, through the

Prologue, and Nos. 3, 5, 10, 19, 21, 23, 26, and 36. The numerous instances of this reminder

serve as the thematic skeleton of Elijah.

The mention of the 7,000 disciples in the first nine measures of No. 36 is highly symbolic

of Elijahs mission to maintain the covenant. Here, it is necessary to look at what the theological

meaning of the 7,000 disciples is. The battle between Elijah and Baals prophets, which is

developed throughout 1 Kings 17-19, emphasizes that Jehovah is the one, true God of all

creation, including rain and drought. Through his victory, Elijah demonstrates that Baal is just an

idol without the ability to alter the weather or even respond to the abusive rites of its followers

(1 Kings 18:20-46).27

The phrases Baal and the false prophets and Elijah and Yahweh portray this battle as

one of Jehovah, rather than that of Elijah. Therefore, even though Elijah collapses with

exhaustion, Jehovah hides 7,000 disciples, who have not knelt in worship of Baal, to fight on His

behalf (1 Kings 19:18).28 As a result, the battle with Baal shifts to these disciples. They receive

no mention in 1 Kings 19, but reappear whenever Jehovah finds it necessary (1 Kings 19:10, 14,

27
F.C.Fensham,AFewObservationsonthePolarizationbetweenYahwehandBaalin1Kings1719,Zeitschrift
frdieAlttestamentilicheWissenschaft92,no.2(1980):22736,esp.233.
28
SeeObadiahsdevotion(1Kings18:25).Here,kneelingdownmeansobeying(1Kings8:54;Ezra9:5;2Kings
1:13).SomescholarssaythattherearenotsufficientgroundstoassumethatthisindicatesworshipofBaal.See
MordechaiCogan,1Kings:ANewTranslationwithIntroductionandCommentary,TheAnchorYaleBible
CommentariesVol.10(NewYork:Doubleday,2000),454.

34

18).29 This idea of remnants runs throughout Isaiah (see the remnant idea in Isaiah 7:14) as

they are delivered to the apostle Paul in the New Testament (Romans 11:3-4), and forecast Gods

final victory through the body of the church, headed by the true remnant: Christ (Ephesians

1:10, 4:15-16; Colossians 1:24, 2:19; Revelation 1:5). Therefore, the 7,000 disciples is an Old

Testament prefiguration that describes Christs church. Consequently, we must not overlook

the importance of the disciples as a remnant, as they play an absolutely necessary role in the

battle between Elijah and Baal as Elijahs successors. Because the covenant is the only condition

for the salvation of humanity it must be maintained by the Israelites until the Messiah comes.

Even though, this section of No. 36 is only nine bars long, the text receives special

attention immediately after Angels Chorus of No. 35, Holy. The narration is not in solo-

recitative, but is sung in unison by the tenors and basses of the chorus. This passage is also

noticeable in that it is one of four partsin addition to Jezebels scene, Obadiahs farewell to

Elijah, and the Widows scenerevised by Mendelssohn after the premiere.30 This demonstrates

that the composer must have carefully considered including the text about the 7,000 disciples

because it was an important way of connecting the events of Elijahs ascension (No. 38) and

Christs coming (No. 41) in the Epilogue. In other words, this added scene is structurally and

dramatically necessary to ensure plot flow and enhance the works theological message.

29
SimonJ.DeVries,1Kings,WordBiblicalCommentaryVol.12(Nashville:ThomasNelsonPublishers,2003),236
37.
30
Sposato,p.127.

35

3. No. 5, Yet doth the Lord (mm. 66-137)

In a similar manner to the first nine measures of No. 36, 72 measures from No. 5 are

omitted in the versions by Shaw, Delisi, and Page (the latter of whom deletes the entire

movement). Yet, I argue that Mendelssohn and Schubring afforded this passage much

importance. The content of this text refers to the first and second of the Ten Commandments,

which together form a key theme in Elijah. The problem of the drought, which has been

presented in Elijahs prologue, is caused by King Ahabs and the Israelites idol worship, would

be solved if they would forsake their sin and return to the covenant of God.

And God spoke all these words: "I am the LORD your God, who brought you out
of Egypt, out of the land of slavery. You shall have no other gods before me. You
shall not make for yourself an idol in the form of anything in heaven above or on
the earth beneath or in the waters below. You shall not bow down to them or
worship them; for I, the LORD your God, am a jealous God, punishing the
children for the sin of the fathers to the third and fourth generation of those who
hate me, but showing love to a thousand {generations} of those who love me and
keep my commandments (Exodus 20:4-8, NIV).

Mendelssohn therefore emphasizes the content of the covenant through a chorale-like

texture that the listeners in the audience can clearly identify with. The phrase Yet doth the Lord

see it not in the first section of No. 5 (mm. 1-65) combines canonic and homophonic styles,

expressing feelings of ire in a fast Allegro vivace tempo. In contrast, For He the Lord our God,

He is a jealous God, in Section B of No. 5 (mm. 66-137), is given special emphasis through the

chorale texture in a Grave tempo, which makes each and every word of the text very clear.

No. 5 is also positioned structurally as the conclusion of a dramatic exposition

comprising movements Nos. 1-5. According to Robert Summer, Robert Page omits the entire

No. 5 chorus because he thought the ideas expressed in No. 5 have already been introduced in

36

previous movements; in No. 1, the people complain that no power cometh to help us, and in

No. 3 (Ye people, rend your hearts), the soloist describes the Lord as slow to anger, merciful,

kind, and gracious.31

The omission of No. 5 needs to be considered from a different angle, however. If we

think in terms of structural drama, No. 1-5 form an exposition, as I have previous stated, which

concludes with the No. 5 chorus before continuing on to the rising action. If this movement is

omitted according to Pages reasoning, the scenes from Nos. 3 to 8 might sound monotonous

because there are no choruses in between. It seems that Mendelssohn and Schubring would have

wanted to use the chorus strategically to deliver the content of Gods covenant to the audience.

4. Nos. 40, 41, and 41a

These three movements are often omitted by the four conductors I have mentioned

earlier. They assert that Elijahs ascension in the No. 38 Chorus is a satisfying conclusion to his

story and that the subsequent movements, Nos. 3941a, are not closely related to the main story.

Furthermore, they claim that these movements contain no distinguishable musical features that

make them worth performing. According to Delisi:

Dramatically, the weakest scene in the oratorio is the final one. Elijah has already
ascended to heaven in his fiery chariot, and Nos. 39-42[41a] take the form of a
final sermon with no new action... Although the soprano has sung least often of
the soloists, she will be heard again in the unique and beautiful quartet for
soloists, No. 42[41a]. The Text of her aria, No. 40, and of the following chorus,

31
Summer,p.73.

37

 No.41, are nothing more than general summaries of events from earlier in the
oratorio, with morals attached. Both of these numbers can be cut.32

Even if this were true, it would be worth reexamining what purpose Mendelssohn and

Schubring had in mind for this section at the time of composition. Although Mendelssohn did not

accept any of Schubrings suggestions for the closing scenes, he did nevertheless describe Elijah

as an Old Testament Christ, as shown by his selection of texts from the Old and New

Testaments for movements Nos. 39-41a. I would now like to examine these texts and the musical

contexts in which they were used.

a. No. 39 Aria (Tenor)

Then, then shall the righteous shine forth as the sun is their heavnly Fathers
realm (Matthew 13:43, NIV).

No. 39 is a tenor aria that follows the No. 38 Chorus, Then did Elijah the prophet break

forth, and it concludes the scene of Elijahs ascension. This tenor aria is rarely omitted by

conductors. As Delisi explains: The tenor aria, No. 39, flows so logically from chorus No. 38

connecting the penultimate and the tenor has been silent for so long, the aria easily sustains

interest and should be retained.33 The text in No. 39 pairs so well with the musics lyricism and

gentle mood that it relieves the tension and excitement from the previous climactic moment.

The text of No. 39in particular the phrase the righteousis an analogy of Elijahs

ascension. By selecting this text and especially the allegorical phrase the light from the sun

from Matthew, Mendelssohn created a smooth link between Elijah in the Old Testament and

32
Delisi,p.31.
33
Delisi,p.31.

38

Christ in the New Testament. This is a key theme of the subsequent movements (Nos. 40-41a)

and even the final chorus, No. 42, discussed below.

No. 39, the righteous shine forth as the sun (Matthew 13:43) = Elijah
No. 41, who, from the rising of the sun (Isaiah 42:25) = Christ
No. 42, your light will break forth like the dawn (Isaiah 58:8) = The people of Gods covenant

This is not unusual, however. There is evidence that such an allegorical approach was

typical of oratorio practices during Mendelssohns time. As Sposato explains:

Mendelssohns decision to make Elijah not merely symbolic, but also

Christological, was no doubt determined by his continued adherence to
contemporary oratorio practices. These conventions, as noted in relation to
Moses, demanded that Old Testament works orient themselves in some way
toward the New. Indeed, Schubring would later remind the composer of this
convention, stressing that Mendelssohn, of all people, could not afford to ignore
it:

I [Schubring] recognize now with perfect clarity that the oratorio can have no
other than a New Testament ending; the Old Testament (Malachi) and also the
New Testament definitely demand it. Elijah must help to transform the old
covenant into the new, that is his great historical importance.34

b. No. 40 Recitative (Soprano)

Behold, God hath sent Elijah the prophet [John the Baptist] before the coming of
the great and dreadful day of the Lord (Malachi 4:5-6).

The text in No. 40 cites Malachi 4:5-6 and connects the New Testament with the last

verses of the Old Testament. Therefore, Elijah the prophet refers to John the Baptist, who

prepares for the coming of the great and dreadful day of the Lord. This latter phrase functions

as an introduction to the next movement, the No. 41 Chorus, which refers to Christ/Jesus (Life

34
Sposato,p.129.

39

Applicable Bible, 1633). I believe this short recitative (No. 40) plays an important role in

connecting the story of Elijah to Christ in the New Testament.

In terms of structure, as with previous scenes (refer to Figure I-1 in Chapter I), the

Epilogue begins with a recitative (No. 40) and closes with the final chorus (No. 42). In the center

of this scene, the Chorus (No. 41) sings about the most significant theme, Christ.

c. No. 41 Chorus

But the Lord from the north hath raised one, [Christ] who, from the rising of the
sun, shall call upon His name, and come on princes.(Isaiah 41:25) Behold my
servant and mine elect, in whom my soul delighteth (Isaiah 42:1).

On him the Spirit of God shall rest the spirit of wisdom and understanding, the
spirit of might and counsel, the spirit of knowledge and of the fear of the Lord
(Isaiah 11:2).

For nearly ten years, from August 1837 to March 1847, Mendelssohn pondered with

Schubring, his librettist, on how to set up the text.35 Part II and the closing scene, in particular,

occupied both men were from the summer of 1845 to June 1846, only two months before the

works premiere.36 As they agonized over the closing scene, Schubring suggested adding the

character of Elisha and the transfiguration scene with John the Baptist/Christ and the three

disciples, Peter, John, and Jacob. However, since Mendelssohn did not want new characters to

appear suddenly in the closing scene, he selected instead Scriptures from the Old and the New

Testament that confirmed Elijahs ministry and the coming of Christ.

35
TherewasnoprogresswithElijahfromFebruary1839tothesummerof1845duetoSchubringsresignationfromhis
collaborationwithMendelssohn.
36
Sposato,p.118.

40

 According to Sposato, Schubring continued to push Mendelssohn to incorporate blatant

Christological symbolism in the oratorio. Examination of the drafts reveals additional material as

well as markings for deletion of passages that, in the librettists mind, had no clear New

Testament or Lutheran significance.37 Although Mendelssohn agreed to transform Elijah into a

Christological work, nevertheless he wanted to maintain an Old Testament flavor. Consequently,

he made a request to Schubring on May 23, 1846, for one final rich harvest of fine Bible texts.
38
The librettist later recounted that:

He [Mendelssohn] always proved himself a thoughtful artist, and strove to obtain

a clear appreciation of each separate point such, for instance, as the
admissibility of the chorale, of the narrative, recitatives, etc. He rejected, also,
much that was suggested, being so well acquainted with his Bible, that he
obtained a great deal of valuable material himself. He was, however, extremely
grateful for any assistance.39

As a result, Mendelssohn concluded Elijah with a statement of Christ in the No. 41

Chorus as the fulfillment of the Old Covenant and the light of salvation for all humankind,

following it with a gentle public invitation in the No. 41a Quartet for Anyone who is thirsty

come to me and drink.

In conclusion, it is neither unusual nor mysterious that the closing scene presents Christ.

However, this was never explicitly stated by the composer or librettist as the ultimate goal of the

oratorio. This is largely due to Mendelssohns preference for symbolic and metaphorical

approaches without using an overt narrative. With regard to criticism by Mendelssohns

37
Ibid,146.
38
Ibid,125.
39
FrederickG.Edwards,TheHistoryofMendelssohn'sOratorioElijah(London:NovelloandCo.,Ltd.,1896),n.p.

41

contemporaries and modern-day scholars that the composer failed to deliver the Christological

intention overtly, Jacob defends with the statement:

But who was there in the oratorio to tell the story? The epic narrator is no longer
on the scene. Direct action in Handelian manner might have been employed to
show events as they took place. But Mendelssohn distrusted such a method; his
reverence for the Biblical text was too great to allow him to invent action not
based upon the authentic words of Scripture. Hence the listener is obliged to
deduce what actually took place from arias and phrases from the psalms, and this
is a matter of some difficulty.40

On the other hand, Sposato described Mendelssohns methods in a different manner:

For as Handel and Jennens did with Messiah, Mendelssohns ultimately created in
Elijah a musical riddle, in which listeners with a strong New Testament
competence would be able to unravel the works Christological program.41

It is true that the closing scene is a musical riddle for many people. The core of Elijahs

story is the recovery of Gods covenant and its Messianic conclusion with Christ. Knowing this

will help modern conductors interpret and achieve a more profound understanding of this

oratorio. I do not believe that a successful performance depends on whether one is performing

the original or an edited version. Rather, it depends on the conductors understanding and

conception of the work, and whether or not s/he is able to convey that expressively and

powerfully to the audience and performers. In order to achieve this, the conductor should decide

on the purpose of the performance before s/he begins preparation.

I would suggest the following as an example if one wishes to convey a strongly

theological message at the conclusion. To begin with, the Epilogue should be treated at the same

level as any other previous scene, not only as a summarizing coda. As seen in Figure I-1 of

40
Jacob,p.254.
41
Sposato,p.146.

42

Chapter I, this scene begins with a recitative, No. 40, and closes with a chorus, No. 42. In

between, chorus No. 41 takes place in the center of the scene in a manner similar to the other

dramatic choruses I have discussed earlier (Nos. 11-13, 16, 34, and 38). Therefore conductors

should imbue this middle chorus with a sense of desperate energy, as if a whole new scene is

being started, rather than simply letting it transition to the final chorus.

As another example, conductors who wish to focus more on dramatic flow rather than

conveying a theological message can consider Donald Neuens cutting of the repeated sections

of certain movements. This approach can be particularly advantageous to those who have a

restricted time window in which to perform the work, and the cuts do not hinder the dramatic or

musical flow (Figure III-3). Other versions by Robert Shaw will be shown in the Appendix.

Figure III-3. List of suggested cut sections by Donald Neuen (2013)

Part One Part Two

No. 11 mm. 17-28 No. 22 m. 20 (the 3rd beat) -m. 83 (the 2nd
mm. 43-67 beat)

No. 13 mm. 16-43 No. 38 mm. 11-29

No. 20 m. 27(the 3rd beat) -m. 53 (the 2nd

beat)
mm. 100-128

This list does not include omitted movements: Part One: Nos. 6, 7,7a
Part Two: Nos. 23, 24, 33, 35, 36, 37, 40, 41, 41a
This version (2013) is different from Neuens 2005 version shown in Figure III-1.

43

The last example is a list of my suggested cuts, along with my reasoning.

Figure III-4. List of suggested cuts by Carlene Y. Kim

Cut sections Reasons

Part No. 11 mm. 17-28 This section is the second of three repetitions. Even
One mm. 43-67 though it corresponds to the three frantic rituals of Baals
prophets as a symbolic compositional gesture, it is still
musically unnecessary and will sound fine repeated only
twice.

No. 15 This is a chorale between Nos. 14 and 16 in a similar

manner as Bachs Passions. Because Elijahs aria, Draw
near, all ye people (No. 14) is similar to the No.15
chorale in terms of reflection and religious edification,
the latter can be omitted.

Part No. 22 mm. 21- 83 This section is structured primarily in ABA form. The
Two text of the B section is nearly twice the length of the A
section and the preceedin aria (No. 21). Thus, if the A
section is sung without the contrasting B section, the
result would be better integration of the texts of this
passage into a single musical theme rather than two
separate themes. For the sake of brevity in the
Introduction of Part Two, I would suggest omitting this
section.

No. 31 This alto aria is very gentle and contemplative. However,

its dramatic function is the same as the next chorus, No.
32, the latter of which is structurally important as a lead-
in to the climactic moment of Part Two. Therefore, the
aria can be omitted if one wishes to shorten the duration
of the performance while also maintaining a driving
dramatic pace.

44

 CHAPTER IV

PERFORMANCE PRACTICE
AND
EFFECTIVE METHODS FOR CONVEYING TEXT

Diction and Rhythmic Interest

When considering aspects of performance practice with Elijah, the main priority should

be dramatic expression. In particular, Mendelssohn wanted to magnify this with powerful big

choruses.42 The advantage of a large chorus is its wide range in dynamics. Mendelssohns

markings on the score show how he utilized this resource to bring greater dramatic meaning to

the text and music. On the other hand, it is not easy for such an ensemble to achieve clear diction

and rhythms for delicate and lively expression. In vocal music, it is no exaggeration to say that

diction is the biggest factor with regard to dramatic expression, especially if one wants to

impress listeners with his/her abilities to deliver the meaning, emotion, mood, and atmosphere of

the words. Naturally, diction is directly related to rhythm because the latter is an important

means of achieving clarity. In this chapter, the main discussion will be about how one can focus

on diction and rhythm in two of Elijahs major choruses to achieve maximum dramatic

expression.

1. No. 1, Help, Lord

a) The last phrase of the overture is followed by the words Help, Lord (mm. 1-5) a

desperate cry of pain by the chorus complaining of the sufferings brought on by drought. When

42
Werner,4.

45

singing at a forte dynamic, one should pay special attention to the consonants because the first

phrase of the text needs to be heard clearly by the audience. In particular, if the last consonants in

Help, Lordp and dare not articulated, the phrase sounds like [Hel-Law], which is

quite funny. Neuen explains in detail how to enunciate the final consonants:

Words that end in D, T, B, P and to lesser degree, V, M, N need to be enhanced

by setting them with a dotted rhythm or grace note. Pronounce them as though
they were followed by uh. Generally speaking, we pronounce these letters as
though they were followed by an h or ih and not an uh. However, in almost
every case, the uh is needed: Duh vs. Dh or Dih.43

Likewise, Help, Lord needs to be pronounced with intentional exaggeration, such as [puh] and

[duh], so that it can be heard by the audience over the full fortissimo sound of the orchestra. At

this time, the rhythm of [puh] (mm. 1, 3, and 5) should act as a grace note to Lord.

Figure IV-1. No. 1, mm. 1-2

b) With regard to the half note on us in m. 7, it should be changed to a quarter note and a

quarter rest because of the successive phrase Help, Lord in the basses in m. 8. This makes the

43
DonaldNeuen,EmpowertheChoir:ConceptsforSingers(Fayston,TheChoralExcellencePress,2008),16.

46

ending consonant s of us in all parts (S, A, T, B) sound clear at the fourth beat before the

basses begin their next phrase.

Figure IV-2. No. 1, mm. 7-8

c) Especially in mm. 9-11, the phrase is first introduced by the tenors. In order to convey the

meaning clearly, one should be careful to avoid eliding the words.

9 Figure IV-3. No. 1 mm. 9-11

As Neuen advises vowel articulation:

The single most important rule in effective English diction is: never elide the last
consonant (or vowel) of one word onto the beginning of the following word.

47

 When a word begins with a vowel, give it its own slight glottal attack [] This
rule, when adhered to, will improve not only diction, but also pitch and rhythm.
Although we dont speak this way, we must sing this way.44

The following example is a comparison of how this phrase (mm. 9-11) would sound if it were

spoken normally versus if we applied Neuens rule of diction.

Example. No. 1, mm. 9-11

[Wrong diction] The har-vest now is o-ver, the summer days are gone.
[Right diction] The har-vest now / is / o-ver, the summer days / are gone.

However, one should be mindful of the glottal attack and take care not to let it disturb the

soft and lyrical mood. Therefore, gentle glottal attacks will help express the desperation of the

words. At the same time, one should shape the crescendi and dimuendi according to the

inflections of the syllables.

Figure IV-4. No. 1, mm. 9-11

44
Ibid.

48

 The phrase The harvest now is over, the summer days are gone is repeated continually

by the four voice-parts in counterpoint from m. 9 to m. 35 as a main theme. Whenever a text is

repeated this much, rhythm should take priority over diction. Therefore, the dotted rhythms

should be emphasized by accentuating the shorter sixteenth note on -vest and are even if

singing is legato as shown above.

The tenors phrase in m. 12, And yet no power cometh to, starts on an off-beat. Putting

a stress on And can add vital rhythmic energy.

Figure IV-5. No. 1 mm. 12-13

12

The words no power in the sopranos at m. 24 is another phrase that begins on an off-

beat. In general performance practice no is not accentuated and power is diminished

according to syllable inflection. However, accentuating the off-beat no and stressing the first

syllable of power [po], while diminishing the two syllables of power, can express the phrase

artistically as well as clearly convey the meaning of the word no. This expression is the key to

ensuring beauty and vividness in such an off-beat phrase of consecutive eighth notes.

49

 Figure IV-6. No. 1, m. 24

24

d) Measure 41 starts a new musical idea with the phrase The harvest now is over in the

tenors. It is challenging to sing clearly with at a forte dynamic. This is because its first note, on

the, comes immediately after the last note of the preceding phrase. Therefore, one should

change the second beat-on from Zionof all voices (S, A, and B) to an eighth-note rest so

that the tenors can sing their new phrase strongly and clearly. If one wishes to create a full triad

at this point, the altos can split their part into g4 and e4. Furthermore, allowing the basses to

join the tenors at this point can make the phrase audible over the loud sound of the orchestra.

Figure IV-7. No. 1, m. 41

41

50

e) Measures 59-69 is a section that describes the pain of drought. We can apply the same

rule mentioned above: the off-beat phrase with a stress on the first note of The deep in m. 59

and The suckings in m. 62; the accent on the sixteenth note of the dotted rhythm in mm. 59

and 61; the slight glottal attack on the beginning vowel after the consonant of the preceding

word; and the syllable inflection on water in m. 59 and exhausted in m. 61.

Above of all, however, all expressions should maintain the soft and lyrical legato mood,

as well as legato phrasing, because this section is meant to describe dying people and their

suffering from the endless drought.

Figure IV-8. No. 1, mm. 59-62

59

2. No. 20, Thanks be to God!

This movement is a song that expresses gratitude to God for sending the rain in response

to Elijahs prayers. Therefore, the most important compositional element in this passage is the

dotted rhythm through which the fountain of life is expressed with a sense of vitality and vigor.

In particular, this vigor should sound like rushing water.

51

a) The basses need to be especially careful with regard to rhythm, pitch, and diction at mm.

2-5. The dotted rhythms can be performed in the manner Neuen suggests:

Sing the dotted eighth note, extending the vowel to the right as far (long) as
possible. Then accent the sixteenth note. We would like the sixteenth to be
exactly one fourth of the beat, but in allegro tempi it is very safe (within the
tempo-pulse/beat) to think of really extending the vowel, and then energetically
accenting the sixteenth into a solid relationship with the following note.45

Figure IV-9. No. 20, mm. 1-5

The vowels of be, He, -veth, and thir- on the eighth notes should be held as long as

possible. On the other hand, the sixteenth notes of to, He, the, and -sty should be

delayed as long as possible and sung with a slight accent. This will prevent the dotted rhythm

from becoming a triplet figure, which would reduce the sense of vitality necessary at an Allegro

tempo, as well as the mood of this movement.

b) The last consonantss of thanks and d of God and landshould be clearly

audible in order to express exultation. The dotted half note of m. 5 should be changed to a half

note followed by a quarter-note rest so that the basses can sing the following phrase strongly

with enough breath. This happens again with basses on the second beat of m. 11, except that the

half note should be changed to a quarter note on land followed by a quarter rest so that the

third beat on Thanks can be accentuated. At mm. 15 and 72, the quarter note in the basses prior

45
DonaldNeuen,ChoralConcepts(Belmont:Schirmer,2002),100.

52

to the phrase of the main motive should be shortened to an eighth note, quarter note, and quarter-

note rest to ensure that they have enough breath. In all these cases, however, the articulation of

the shortened notes should not be made into a staccato with accent because these notes are the

endings of the phrases, which should generally be treated with a diminuendo.

Figure IV-10. No. 20, m. 11, m. 15, and mm. 72-73

11 15 72

c) The off-beat start of the phrase at m. 21 needs careful attention. Because a strong accent

would normally be placed on the first down beat of the following measure, m. 22, the off-beat

eighth note on The, which starts the phrase of the new musical idea, tends to come late without

any accent. As a result, the listener barely hears the off-beat on this word even though it is the

beginning of a new phrase. Therefore, the eighth-note off-beat should come quite a bit earlier

than one thinks is correct and with a strong accent at a fortissimo dynamic. The phrase should

otherwise be treated in the same manner as any other in meter, as seen below.

53

 Figure IV-11. No.20, mm.21-23

21

Placing an emphasis on the off-beats results in added rhythmic interest. According to

Neuen, it makes music interesting and artistic, especially when paired with an emphasis on

forward motion and sensitivity to phrasing with crescendo-stress-diminuendo patterns.46

d) The off-beat phrases are the most distinct feature of the canonic section at mm. 65-99.

Every entrance should be accented, especially since Mendelssohn marks them with f. In addition,

the eighth note following the dotted quarter note (i.e., the shorter second note of the dotted

rhythm figure) should not be ignored but rather accentuated for increased rhythmic interest. This

can be achieved efficiently if the quarter notes before the accented off-beats of the basses in m.

68 and the altos and tenors in m. 69 are shortened to eighth notes (followed by eighth-note rests)

and the voices sing the last consonances with strong diction and a slight glottal attack as shown

in Figure IV-12.

46
Ibid.,77.

54

 Figure IV-12. No. 20, mm. 66-69

66

e) The two measures at mm. 70-71 present a hemiola that should be treated in the same

manner that I have been describing with off-beats. As shown below in Figure IV-13, the third

beat of m. 70 and the second of m. 71 should be accented the same way as the first down beat of

m.70.

Figure IV-13. No.20, mm.70-71

70

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 Effective Program and Supertitles

1. Effective Program

The most convenient way to deliver the text is through a program. Nowadays, it is very

common, even among prominent conductors and professional performing groups, to find a

program that does not include the numbers and titles of movements, or even the entire text, but

rather fills the space with performer profiles and advertisements by the sponsors. Whether or not

the language of the words being sung is the audiences native tongue, it is nearly impossible for

listeners to understand the content of the drama and to appreciate the music in depth if they can

rely only on what they hear.

It would be more appropriate if the program contains the numbers, titles, and soloists of

all the movements of the work along with the full text and relevant translations. This is

especially essential in the performance of oratorios because they contain recitative, through

which most of the story is narrated, but remain foreign to modern audiences who are

unaccustomed to this kind of music.

2. Supertitles

Another way to communicate with the audience is to project the text over or next to the

stageas supertitles or surtitles, respectively. Since the Canadian Opera Company began using

them in 1983 the practice has spread throughout many major concert halls and opera theatres.

Because oratorios, like operas, have libretti it is very beneficial for the audience to have the

words in translation so they can understand the text. Have supertitles displayed at the same time

56

as the music is certainly easier for the audience than having to read the text in a printed program

in the dark.

However, there are many limiting factors: the venue must already have a projector set up;

the operator must be well-versed in music especially in matching it with the libretto in real time;

and an ample budget is needed. In addition, translation should be done accurally so as not to

degrade the quality of the performance. In the case of Elijah, the dialogues are written in literary

style, due to their direct quotation from the Bible.

Although supertitles have been effective, many people have complained about aches from

craning their necks for the duration of the performance, captions passing by too fast, and

supertitles being obscured from vision. New technology, the Figaro Simultext, was developed

in response. This is an individual system where small screens similar to televisions are built into

the backs of every seat and are used to show the libretto and/or its translation according to the

audience members wishes. It offers much more functionality than the supertitle system since it

can display scene synopses, program notes, and translations in up to six languages.

If any kind of supertitle system is provided during a performance of Elijah, it would be

helpful for the audience to understand the music not only superficially but deeply because the

text is one of the most important elements of the work. The words play a vital role in

constructing the flow of the drama and conveying the composers ideas of the musical content.

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 CONCLUSION

Mendelssohn systematically constructed Elijah according to a symmetrical structure. In

the works frame, he symbolically intertwined dramatic dynamism and meditative depth.

However, despite the composer and librettists careful deliberations over it, the theological

message is not externally exposed, and the result is that Elijah is often performed in abridged

versions by conductors who do not understand fully the original idea behind the work. Even in

the rare instance that the oratorio is presented in its entirety, if the director only has a partial

understanding of the relationships between the scenes with regard to dramatic meaning, the

resulting performance can cause the listeners and even performers to underestimate the works

artistic value.

Therefore, in this paper, I have endeavored to illustrate how the scenes or movements

most commonly edited out are in fact closely related to the works main theme: the recovery of

the covenant between God and the Israelites. As seen in my discussion of the textual history, the

works conclusion presents all of Elijahs miraculous works as a preparation for the coming of

the Messiah. This theme permeates all the events of each scene.

Although Mendelssohn and his librettist, Schubring, disagreed whether Elijahs emphasis

should be on religious edification or theatrical drama, Mendelssohns progressive impetus on the

latter eventually prevailed, and thus Elijah is one of the most dramatic oratorios in the entire

choral repertory. The composer wanted to create a new and dramatic church-style oratorio with

his second work in this genre:

At the moment the choral society is in good form and longing for something new;
Id like to give them something that I like better than my previous oratorio []

58

 For that reason, I would really like to write something in the church style soon,
since an opera does not seem to be in the offing.47

However, his lack of a narrator function, which was used widely during the Baroque and

Classical eras, as well as Mendelssohns allegorical approach to Biblical text have caused many

to regard certain sections of Elijah as unrelated or unnecessary. As Jacob and Sposato state, this

is because there is a musical riddle in the work in that one should interpret the interrelation of

scenes through the lens of Christology. It is an entirely different matter to assert that performing

the original version of Elijah would be best for both performers and listeners. According to

Schonberg, even Mendelssohn himself did not conduct the original version of Bachs St.

Matthew Passion:

Like all musicians of the day, he had no hesitation about modernizing older
music; and he thoroughly modernized the St. Matthew Passion to make it more
palaFigure for his audiences. He chopped, recomposed, edited, romanticized and
introduced special effects, such as in the recitative, Und der Vorhang im Tempel
Zerreiss, where a lighting flash of sound ran through the orchestra. Mendelssohn
used a chorus of 400 and a greatly augmented orchestra.48

As Mendelssohn did himself, modern conductors should develop the ability to edit the

work according to the dramatic focus of their performances. Most people agree that the duration

of Elijah, at about two and a half hours, is too long for modern audiences in general. To resolve

this problem, one might cut certain repetitive sections as suggested in the last part of Chapter III.

In my judgment, however, the most important consideration should be the combination of the

theological and dramatic aspects of all events in the plot. In order to achieve the best result, I

believe that conductors should understand first the main theme regarding the covenant between

47
KurtPahlen,TheWorldoftheOratorio(Portland,Amadeus:1990),227.
48
HaroldC.Schonberg,TheGreatConductors(NewYork:Simon&Schuster,1967),118.

59

God and the Israelites as well as its role as the structural skeleton. Then, conductors should

consider all of these in relation to the context of the Christian theology. For this purpose, parts

within the plot of Elijah that seem unclear should not be deleted as simply unrelated moments

since they are theologically important ones. This paper will be useful to future conductors who

are eager to discover the works original meaning and how to apply it to modern-day audiences,

as well as those who wish to find useful ways of altering Elijah while still honoring

Mendelssohns conception of this oratorioa work that is dramatic as well as theologically

informative.

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 APPENDIX

From Choral Masterworks from Bach to Britten: Reflections of a Conductor, by Robert Summer

Suggested cuts by Robert Shaw for a performance in 1978

as part of the Westminster Choir College Summer Workshop

Part One Part Two

No. 1 (mm. 59-69 to be sung by No.22(mm.21-78)
soloists) No.23 (mm. 57-70: stop on
No. 5 (mm. 74-138) "perish" in m. 56)
Nos. 6, 7, 8, 9 No. 25 (mm. 1-25; begin at m. 26)
No. 10 (mm. 21-26 and nun. 71-77) No. 30 (mm. 1-6)
No. 11 (mm. 18-29 and nun. 45-68) No. 32
No. 15 No. 36 (mm. 1-9)
Nos. 40, 41, 41a

Suggested cuts by Robert Shaw (1991)

Part One Part Two

No.5 (mm. 74-138) No. 22 (mm. 20-78)
Nos. 6, 7, 8, 9 No. 36 (mm. 1-9)
No. 11 (mm. 17-28) Nos. 40, 41, 41a
No. 17

Donald Neuen was Director of Choral Activities at UCLA, conductor of the Angeles Chorale
and conductor of Crystal Cathedral Choir (CA). He taught for twelve years at the Eastman
School of Music (NY).

Robert Page was Director of Choral Activities at Carnegie-Mellon University (PA), and former
conductor of both the Mendelssohn Choir of Pittsburgh and The Cleveland Orchestra Chorus as
well as Assistant Conductor of The Cleveland Orchestra.

Robert Shaw was the Music Director of the Atlanta Symphony Orchestra and Chorus, the Robert
Shaw Chorale and the Robert Shaw Festival Singers. He died in 1999.

Daniel Delisi is Director of Choral Activities at Saint Leo College in Saint Leo, Florida.

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