Mendelssohn Bartholdy, Felix.

Elias, Ein Oratorium...Op.70 Clavierauszug,  Bonn: bey N. Simrock, [1846-1847],  107 leaves, folio (c.35 x 27cms), engraved music, Text in German, printed libretto, pagination defective, original publisher's card wrappers ("Elias"), inscribed "Correctur Exemplar: von Mendelssohn eigenhändig [c]orrigirt in Rothstift"), foxing, mainly to margins, sometimes heavy, some hinges reinforced



 

cf Hoboken, x 251

This is a striking and important item: a proof of the vocal score of one of Mendelssohn's greatest works, extensively and heavily revised by the composer, following the first performances. 

Mendelssohn composed Elijah for Birmingham, after a commission from the Birmingham Festival Committee in June 1845 for an oratorio.  Although composed to the German libretto included here, the first performance at Birmingham Town Hall  on 26 August 1846 was, of course, in English.  During the autumn of 1846, the composer worked on the oratorio for the publication of the vocal score, only completing his work in February of 1847. The revised Elijah was given in London, Manchester and Birmingham in April 1847.   There were six English performances, given on an immense scale with vast choral forces.  His last visit to England put a considerable strain on the fragile composer's health from which he never recovered. He died on 4 November 1847. 

There are many alterations to almost every page of this engraved proof, including music added by him in the margins with annotations ("Der Anfang wünsche ich lieber so gestochen:...").  Mendelssohn also alters notes and writes new music on the staves.  In a letter of 6 December 1846 (to Klingemann), Mendelssohn explained his tireless attention to detail: it was necessary even though the individual details passed unnoticed by the public.

...I have again begun to work with all my might at my Elijah, and hope to amend the greater part of what I thought deficient at the first performance...I shall most seriously revise all that I did not deem satisfactory and I hope to see the whole completely finished within a few weeks...The parts that I have rewritten prove to me again that I am right not to rest until such work is as good as it is in my power to make it; even though very few people care to hear about such things, or notice them, and even though a very great deal of time is spent on it...

This copy lacks some of the features of the edition as it was finally issued, including a consistent pagination: only pages 1-30 are numbered correctly on the plates. Pages numbered "85", "86", "87" (the first engraving of the Aria No.14 is replaced with a two-page version) and 116" are struck through and deleted. The "Zweiter Theil" is preceded by a blank page. The portrait is also lacking from this pre-publication copy.