Page:The history of Mendelssohn's oratorio 'Elijah'.djvu/80

 HISTORY OF MENDELSSOHN'S "ELIJAH."

��energetic. But I will certainly think of what you say about an Introduction, although I am afraid it would be a difficult task, and do not know exactly what it should or could mean before that curse. And after it (I first thought to write the Overture after it), the chorus must immediately come in. Now once more excuse the haste and accept the thanks of

" Yours very truly,


 * Felix Mendelssohn-Bartholdy."

In regard to the Overture, referred to at the end of the foregoing (very long) letter, it may be interest- ing to quote an extract from one of Bartholomew's letters to Mendelssohn : —

K[lingemann], think it will be a new feature, and a fine one, to announce the curse. No. i. Then let an Introductory-movement be played, expressive, descriptive of the misery of famine — for the chorus ^I always thought) comes so very quickh- and suddenly after the curse, that there seems to elapse no time to produce its results."
 * ' I have maturely considered, and, with Mr.

It seems evident that Mendelssohn was indebted to Bartholomew for the suggestion of an Overture to " Elijah." That Mendelssohn accomplished what he calls his "difficult task" we know full well, and Bartholomew must have felt quite satisfied when the composer wrote to him and said, " I have written an Overture, and a long one." ( 62 )

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