# Elijah (oratorio)

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

## Music and its style

This piece was composed in the spirit of Mendelssohn's Baroque predecessors Bach and Handel, whose music he greatly admired. In 1829 Mendelssohn had organized the first performance of Bach's St Matthew Passion since the composer's death and was instrumental in bringing this and other Bach works to widespread popularity. By contrast, Handel's oratorios never went out of fashion in England. Mendelssohn prepared a scholarly edition of some of Handel's oratorios for publication in London. Elijah is modelled on the oratorios of these two Baroque masters; however, in its lyricism and use of orchestral and choral colour the style clearly reflects Mendelssohn's own skill as an early Romantic composer.
The work is scored for eight vocal soloists (two each of bass, tenor, alto, soprano), full symphony orchestra including 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, ophicleide, timpani, organ and strings and a large chorus usually singing in four, but occasionally eight parts. The title role was sung at the premiere by the Austrian bass Josef Staudigl.
Mendelssohn had discussed an oratorio based on Elijah in the late 1830s with his friend Karl Klingemann, who had provided him with the libretto for his comic operetta Die Heimkehr aus der Fremde, which resulted in a partial text that Klingemann was unable to finish. Mendelssohn then turned to Julius Schubring [de], the librettist for his earlier oratorio St. Paul, who quickly abandoned Klingemann's work and produced his own text that combined the story of Elijah as told in the Book of Kings with psalms. In 1845, the Birmingham Festival commissioned an oratorio from Mendelssohn, who worked with Schubring to put the text in final form and in 1845 and 1846 composed his oratorio to the German and English texts in parallel, taking care to change musical phrases to suit the rhythms and stresses of the translation by William Bartholomew, a chemist who was also an experienced amateur poet and composer.
The oratorio was first performed on 26 August 1846 at Birmingham Town Hall in its English version, conducted by the composer, and it was immediately acclaimed a classic of the genre. As The Times critic wrote: 'Never was there a more complete triumph – never a more thorough and speedy recognition of a great work of art'. Notwithstanding the work's triumph, Mendelssohn revised his oratorio wholesale before another group of performances in London in April 1847 – one (23 April) in the presence of Queen Victoria and Prince Albert. The German version was first performed on the composer's birthday, 3 February 1848, in Leipzig, a few months after Mendelssohn's death, under the baton of the composer Niels Gade.

## Biblical narrative

Mendelssohn uses biblical episodes relating to Elijah, which in the original, 1 Kings 17:19 and 2 Kings 2:1, are narrated in rather laconic form, to produce intensely dramatic scenes, while adding several related biblical texts, mostly taken from the Old Testament. These were doubtless well fitted to the taste of Mendelssohn's time, and a Victorian sentimentality also seems detectable in places.
Among the episodes is the resurrection of a dead youth. A dramatic episode is the contest of the gods, in which Jehovah consumes an offered sacrifice in a column of fire, while a sequence of increasingly frantic prayers by the prophets of the god Baal failed. Part I is concluded by the bringing of rain to parched Israel through Elijah's prayers. Part II depicts the persecution of Elijah by Queen Jezebel, his retirement to the desert, his vision of God appearing, his return to his work, and his ascension on a fiery chariot into heaven. The work ends with prophecies and praise.

## Structure

The work in two parts opens with a declamation by Elijah, after which the overture is played. The sections are listed in the following table, with the text in both German and English, a biblical source for the passage (the dramatic action highlighted by a background colour), and the voices. The choir is mostly four-part SATB, but up to eight parts. The soloists are Elijah (baritone); soprano (S), singing the Widow, the Youth (sometimes taken by a boy treble) and Angel II; alto (A), singing Angel I and the Queen; and tenor (T), singing the parts of Obadiah and Ahab. The work is often performed with four soloists.
Some movements are simple oratorio forms such as recitative and aria, others explore hybrid combinations, such as recitative with choir, for dramatic effect. The fugal overture leads attacca to the first choral movement. The choir acts as the people ("Das Volk"), but also comments, like the choir in Greek drama. The narrative passages from the books of Kings are highlighted by green background.
Movements of Part I of Mendelssohn's Elijah :
| No. | Description | Incipit | Translation | Text source | Voices |
| | Introduction | So wahr der Herr, der Gott Israels lebet | As God the Lord of Israel liveth | 1 Kings 17:1 | Elijah |
| | Overture | | | | |
| 1 | Chorus | Hilf, Herr! | Help, Lord! | Jeremiah 8:20 & Lamentations 4:4 | SATB |
| 2 | Duet with choir | Herr, höre unser Gebet! | Lord! bow thine ear to our prayer! | 2 Kings 19:16 & Lamentations 1:17 | S S SATB |
| 3 | Recitative | Zerreißet eure Herzen | Ye people, rend your hearts | Joel 2:12-13 | Obadiah |
| 4 | Aria | So ihr mich von ganzem Herzen suchet | If with all your hearts | Deuteronomy 4:29 & Job 23:3 | Obadiah |
| 5 | Chorus | Aber der Herr sieht es nicht | Yet doth the Lord see it not | Exodus 20:5-6 | SATB |
| 6 | Recitative | Elias, gehe von hinnen | Elijah! get thee hence | 1 Kings 17:3-4 | Angel I |
| 7 | Octet | Denn er hat seinen Engeln befohlen | For he shall give his angels | Psalm 91:11-12 | Angels: SSAATTBB |
| 7 | Recitative | Nun auch der Bach vertrocknet ist | Now Cherith's brook is dried up | 1 Kings 17:7, 1 Kings 17:9, & 1 Kings 17:14 | Angel I |
| 8 | Recitative, aria and duet | Was hast du mir getan | What have I to do with thee? | 1 Kings 17:17-24, Psalm 38:6, Psalm 86:15, Psalm 88:10 & Psalm 128:1 | Widow, Elijah |
| 9 | Chorus | Wohl dem, der den Herrn fürchtet | Blessed are the men who fear him | Psalm 128:1, Psalm 112:1,4 | SATB |
| 10 | Recitative with choir | So wahr der Herr Zebaoth lebet | As God the Lord of Sabaoth liveth | 1 Kings 18:15, 1 Kings 18:17-19, & 1 Kings 18:23-25 | Elijah, Ahab, SATB |
| 11 | Chorus | Baal erhöre uns! | Baal, we cry to thee; hear and answer us! | 1 Kings 18:26 | SSAATTBB |
| 12 | Recitative with choir | Rufet lauter! Denn er ist ja Gott! | Call him louder, for he is a god! | 1 Kings 18:27 | Elijah, SATB |
| 13 | Recitative with choir | Rufet lauter! Er hört euch nicht. | Call him louder! he heareth not! | 1 Kings 18:28 | Elijah, SATB |
| 14 | Aria | Herr, Gott Abrahams, Isaaks und Israels | Lord God of Abraham, Isaac and Israel! | 1 Kings 18:36-37 | Elijah, SATB |
| 15 | Quartet | Wirf dein Anliegen auf den Herrn | Cast thy burden upon the Lord | Psalm 55:22, Psalm 16:8, Psalm 108:5, & Psalm 25:3 | S A T B |
| 16 | Recitative with choir | Der du deine Diener machst zu Geistern | O thou, who makest thine angels spirits (The fire descends) | 1 Kings 18:38-40, Deuteronomy 6:4 | Elijah, SATB |
| 17 | Aria | Ist nicht des Herrn Wort wie ein Feuer | Is not his word like a fire? | Jeremiah 23:29 & Psalm 7:11-12 | Elijah |
| 18 | Arioso | Weh ihnen, dass sie von mir weichen! | Woe unto them who forsake him! | Hosea 7:13 | A |
| 19 | Recitative with choir | Hilf deinem Volk, du Mann Gottes! | O man of God, help thy people! | 1 Kings 18:43-45, Jeremiah 14:22, 2 Chronicles 6:19, Deuteronomy 28:23, & Psalm 28:1 | Obadiah, Elijah, SATB, Youth |
| 20 | Chorus | Dank sei dir, Gott | Thanks be to God | Psalm 93:3-4 | SATB |
Movements of Part II of Mendelssohn's Elijah :
| No. | Description | Incipit | Translation | Source | Voices |
| 21 | Aria | Höre, Israel | Hear ye, Israel! | Deuteronomy 6:4, Isaiah 41:10, Isaiah 48:1,18, Isaiah 49:7, Isaiah 51:12-13, & Isaiah 53:1 | S |
| 22 | Chorus | Fürchte dich nicht, spricht unser Gott | Be not afraid, saith God the Lord | Isaiah 41:10 & Psalm 91:7 | SATB |
| 23 | Recitative with choir | Der Herr hat dich erhoben | The Lord hath exalted thee | 1 Kings 14:7, 1 Kings 14:9, 1 Kings 14:15, & 1 Kings 16:30-33 | Elijah, Queen, SATB |
| 24 | Chorus | Wehe ihm, er muss sterben! | Woe to him, he shall perish | 1 Kings 19:2, 1 Kings 21:7, Jeremiah 26:9,11, & Ecclesiasticus 48:2-3 | SATB |
| 25 | Recitative | Du Mann Gottes, laß meine Rede | Man of God, now let my words | 2 Kings 1:13, Jeremiah 5:3, Jeremiah 26:11, Psalm 59:3, 1 Kings 19:4, Deuteronomy 31:6, Exodus 12:32, & 1 Samuel 17:37 | Obadiah, Elijah |
| 26 | Aria | Es ist genug, so nimm nun, Herr, meine Seele | It is enough, O Lord now take away my life | 1 Kings 19:4, 1 Kings 19:10, & Job 7:16 | Elijah |
| 27 | Recitative | Siehe, er schläft | See, now he sleepeth | 1 Kings 19:5 & Psalm 34:7 | Unnamed Tenor |
| 28 | Trio | Hebe deine Augen auf zu den Bergen | Lift thine eyes | Psalm 121:1-3 | Angels: S S A |
| 29 | Chorus | Siehe, der Hüter Israels schläft noch schlummert nicht | He, watching over Israel, slumbers not | Psalm 121:4 & Psalm 138:7 | SATB |
| 30 | Recitative | Stehe auf, Elias, denn du hast einen großen Weg vor dir | Arise, Elijah, for thou hast a long journey | 1 Kings 19:7-8, Isaiah 49:4, & Isaiah 64:1-2 | Angel I, Elijah |
| 31 | Aria | Sei stille dem Herrn | O rest in the Lord | Psalm 37:1,7 | Angel I: Alto |
| 32 | Chorus | Wer bis an das Ende beharrt, der wird selig. | He that shall endure to the end, shall be saved. | Matthew 10:22 Matthew 24:13 | SATB |
| 33 | Recitative | Herr, es wird Nacht um mich | Night falleth round me, O Lord! | 1 Kings 19:11-25 & 1 Kings 19:11 | Elijah, Angel II |
| 34 | Chorus | Der Herr ging vorüber | Behold! God the Lord passeth by! | 1 Kings 19:11-12 | SATB |
| 35 | Quartet with choir | Seraphim standen über ihm; Heilig ist Gott der Herr | Above him stood the Seraphim; Holy is God the Lord | Isaiah 6:2-3 | A; S S A A SATB |
| 36 | Choir and recitative | Gehe wiederum hinab! Ich gehe hinab | Go, return upon thy way! I go on my way | 1 Kings 19:15-18, Psalm 71:16, Psalm 16:2,9 | SSATTBB, Elijah |
| 37 | Arioso | Ja, es sollen wohl die Berge weichen | For the mountains shall depart | Isaiah 54:10 | Elijah |
| 38 | Chorus | Und der Prophet Elias brach hervor | Then did Elijah the prophet break forth | 2 Kings 2:1, 2 Kings 2:11, Ecclesiasticus 48:1, & Ecclesiasticus 48:6-7 | SATB |
| 39 | Aria | Dann werden die Gerechten leuchten | Then shall the righteous shine forth | Matthew 13:43 & Isaiah 51:11 | T |
| 40 | Recitative | Darum ward gesendet der Prophet Elias | Behold, God hath sent Elijah | Malachi 4:5-6 | S |
| 41 | Chorus | Aber einer erwacht von Mitternacht | But the Lord, from the north hath raised one | Isaiah 41:25, Isaiah 42:1, Isaiah 11:2, Isaiah 41:25, Isaiah 42:1, & Isaiah 11:2 | SSAATTBB |
| 42 | Chorus | Alsdann wird euer Licht hervorbrechen | And then shall your light break forth | Isaiah 58:8 Isaiah 63:8 | SATB |
| 42 | Chorus | Herr, unser Herrscher | Lord, our Creator | Psalm 8:1 | SATB |

## Reception

Elijah was popular at its premiere and has been frequently performed, particularly in English-speaking countries, ever since. It is a particular favourite of amateur choral societies. Its melodrama, easy appeal and stirring choruses have provided the basis for countless successful performances. Prince Albert inscribed a libretto for the oratorio Elijah in 1847: "To the noble artist who, surrounded by the Baal-worship of false art, has been able, like a second Elijah, through genius and study, to remain true to the service of true art." A number of critics later treated the work harshly, however, emphasizing its conventional outlook and undaring musical style. Bernard Shaw wrote in 1892:
    I sat out the performance on Wednesday to the last note, an act of professional devotion which was no part of my plan for the evening ... You have only to think of Parsifal, of the Ninth Symphony, of Die Zauberflöte, of the inspired moments of Bach and Handel, to see the great gulf that lies between the true religious sentiment and our delight in Mendelssohn's exquisite prettiness.
Similarly, after Boston's Handel and Haydn Society presented the work for the first time in February 1848, its success resulted in eight more performances that spring. In the mid-1920s, however, H.T. Parker, the city's principal music critic, described how members of the audience gazed upward at a recent performance: "How many of those eyes were there in rapture, or were counting the four dead lights in the central sunburst of the ceiling?.... Elijah is hopelessly, awfully, irremediably mid-Victorian.
However, with the widespread re-evaluation of Mendelssohn’s work in the late 20th and early 21st centuries, these critical opinions have largely changed. In his definitive biography of the composer, the musicologist R. Larry Todd wrote that “the oratorio was the crowning achievement of Felix’s career”. And in 2005 critic and musicologist Michael Steinberg described Elijah as “thrilling to sing” and noted that it “includes some of Mendelssohn’s finest music”.
Mendelssohn wrote the soprano part in Elijah for the 'Swedish Nightingale', Jenny Lind, although she was unavailable to sing the Birmingham premiere. In her place, the part was created by Maria Caterina Rosalbina Caradori-Allan. Lind was devastated by the composer's premature death in 1847. She did not feel able to sing the part for a year afterwards. She resumed singing the piece at Exeter Hall in London in late 1848, raising £1,000 to fund a scholarship in his name. After Arthur Sullivan became the first recipient of the Mendelssohn Scholarship, she encouraged him in his career.
Charles Salaman adapted "He that Shall Endure to the End" from Elijah as a setting for Psalm 93 (Adonai Malakh), sung on most Friday nights at the sabbath-eve service of the London Spanish & Portuguese Jewish community.