I have been asked to say a few words as introduction to this volume, and I do so with pleasure. To the mass of music-loving people of this country, however, I believe that Mendelssohn requires no introduction. It has been the fashion in some quarters to speak of him slightingly, nay injuriously; but this will pass, and he needs no defence—certainly not when "Elijah" is in question. In England the oratorio has taken its place, if not on a level with "The Messiah," very near it; and what more does

It is fifty years since Mendelssohn's "Elijah" was first performed. The place was Birmingham: the date August 26, 1846. The Jubilee of this event provides a fitting opportunity for presenting a history of Mendelssohn's familiar oratorio. In compiling the following pages, I have been favoured in having had access to much original matter on the subject of "Elijah." Especially is this the case in regard to the numerous letters from Mendelssohn and his correspondents which are here made public for t

Mendelssohn had no sooner completed his first oratorio, "St. Paul," than he began to think about setting another Bible story to music. "St. Paul" was produced at the Lower Rhine Musical Festival, Düsseldorf, May 22, 1836, under the composer's personal direction. Mendelssohn was then twenty-seven years of age. He spent six weeks in the summer of that year at Frankfort-on-the-Maine, as locum tenens for his friend Schelble, the founder of a Choral Society, famous then and now, under the name of the

Mendelssohn does not seem to have done anything with the music of "Elijah" until 1845. The Committee of the Birmingham Musical Festival were then making arrangements for their approaching triennial music meeting, to be held in 1846. The history of the Birmingham Musical Festival, which dates back to 1768, is full of interest. The artistic excellence of the Festival, and the enterprise which has also so long distinguished it, have earned for this great music-meeting a European reputation. Charity

The music of "Elijah" was composed to German words; an English version was therefore necessary. Mendelssohn had no hesitation in assigning the task of making the English translation to Mr. Bartholomew—"the translator par excellence ," as he called him—who is so well known as the translator or adaptor of Mendelssohn's "Athalie," "Antigone," "Œdipus," "Lauda Sion," "Walpurgis Night," the Finale to "Loreley," "Christus," and many of his songs and part-songs. Bartholomew also supplied the words of "

Mendelssohn arrived in London on August 17 or 18 (1846), and again stayed with Klingemann, at 4, Hobart Place, Eaton Square. A pianoforte rehearsal of the vocal solos of "Elijah" was held on the 19th (Wednesday), at Moscheles's house, 3, Chester Place, Regent's Park. Mendelssohn commenced the rehearsal by playing the Overture from memory, to the delight and admiration of those who heard it. The lady vocalists gave the composer some trouble. The soprano requested him to transpose "Hear ye, Israel

Mendelssohn , upon his return to Leipzig, was much exhausted after the severe strain of composing, and the exertion connected with the production of "Elijah." But, although he led "a vegetable existence, doing nothing the whole day but eat and sleep and take walks," he very soon began to work at the revision of his new oratorio. It has been shown that Mendelssohn had to write against time in order to complete his oratorio for the Birmingham Festival; and after—if not before, or during—the first