Morning journal and courier., 1889-05-22
A MUSICAL EVENT.
Mendelssehn,s Oratorio Elijah.

Mendelssshn's OratoriO Elijah. To the Editor of the JOURNAL AND COURIER:
 The music loving people of New Haven are soon to have another opportunity of hearing Mendelssohn's oratorio Elijah, under the di- rsction of Prof. Jepson. It is hardly neces- sary to say that the oratorio is a recital of the principal events connected with the life of the grand old prophet, as arrated in the Bible.
 While the words are not precisely like those in the sacred scriptures, the changes are only such as are necessary for the best adaptation to musical needs.
 This charming work was in Mendelssohn's hands for several years before it was finished. During this time he was very much occupied with his various musical projects both in England and Germany and only took it up as 1t were to fill a gap-from time to time. Yet his whole soul was in the work when ever he resumed the task of composing or scoring, and it was also 8 constant subject of thought and deep consideration in his oor- respondence with his friends. At last it was concluded and performed for the first time in England, August 26th, 1S46.
 Many of the numbers are so devotional and spiritual in tone that they are often selected for use in church worship.
 Also, several of the solos are quite popular and are chosen for performance by all artists at the most classical concerts. There is something so peculiarly grand and lofty in the effect of the principal choruses when well rendered and accompanied by the superb or chsstral parts that they can never be foTgot- ten when once heard. In addition to this feature there is strong hesthenish character to the chorusss of the priests of Baal when calling on their God to come to their aid, though composed in correct form and with a fascinating style of melody which stamps the author as @ man of uncommon powers. Then the contrast of the tone of the music when Elijah calls on the true God is very impres- sive. The wild shouts of the people as they witness the fire descending from heaven and consuming the sacrifices on the altar are de- picted with fine effect.
 Mendelssohn had great reverence for the German chorals and introduced them in the most of his best works, St. Paul, Elijah and the Lob gesanR, with the best results.
 The first part of the oratorio is e represent tation of the period from the announcement that sfthere shall not be dew or rain," until the end of the years of drouth when the rain came.
 The second part is the reaction against Eliiah, his sojourn in the wilderness and his translation to heaven.
 The numbers of the first part that are per haps the most noticeable, are the plaintive duet for sopranos, "Zion spreadeth her hands for aid" one of those wild and tender melo- dies in which we get the genuine aroma of Mendelssohn's peculiar genius. In the pauses of the duet an old Jewish chant is heard by the entire female chorus al- ternating with the male chorus, on the words 'Lord bow thine ear to our prayer" :" Also the tender and consoling tenor song eff with all your heart ye truly seek me-"
 Then the dramatic scene of the challenge Of the priests of Baal, above referred to. Afterwards the simple and delicate choral like quartette, "Cast thy burden upon the Lord" Then at last the glorious chorus "Thanks be to Godl He laveth the thirsty land; the waters gather, etc."
 In the second part the trio for female voices without accompaniment, Lift thine eyes to the mountains" :" has been performed very frequently in church and concert. The fine effect connected with the announce ment "The Lord passed by" "Yet the Lord was not in the tempest" 'The earthquake, '' ssThe fire" and 'sThe still small voice." The oratorio closes with a solid massive figure, "Lord our creator, how excellent thy name." This oratorio is considered by many as Mendelssohu's best, but others again think his St. Paul the more strict and clas- sicsl in form. Elijah is the most popular of the two at the present time, but it may yet be found that St. Paul is the most enduring. When Mendelssohn brought out this, his last great work in England, he was suffering from great exhaustion, having for years overwork- ed himself in his perfect devotion to his art, for he was not obliged to follow the profes- | sion for a means of support. He died at Leipzig the following year.
 The announcement of this great loss to \ the musical world caused a sensation that has not since been equalled.
 J. l.. ENSIGN.