[Op. 70]. Elijah, an Oratorio. [Piano-vocal score]. Felix MENDELSSOHN.
[Op. 70]. Elijah, an Oratorio. [Piano-vocal score]

[Op. 70]. Elijah, an Oratorio. [Piano-vocal score]

The Words, selected from the Old Testament, The English Version by W. Bartholomew, Esqr. ... Op. 70. Piano-forte arrangement by the Author ... Price, 36/ Separate Voice parts. / 24

London: Ewer & Co., [1847].

Large folio. Half dark blue morocco with marbled boards; spine with titling, rules, and decorative devices gilt; all edges gilt; marbled endpapers. 1f. (recto engraved title within decorative border, verso blank), 1f. (recto index, verso blank), [iv] (typeset libretto), 279, [i] (blank) pp. Text in English. Engraved.

With a fine frontispiece engraving of Mendelssohn by A.H. Payne and W.C. Wrankmore; small format single-page errata list bound in following title.

With performance note in pencil to margin of p. 121.

Binding slightly worn, rubbed, and bumped. Uniform light browning; minor soiling to frontispiece and title; frontispiece, title, and gutters of pp. 5/6 reinforced with cloth tape; minor creasing to four leaves (pp. 237-242 and 275-276).

First English edition, first issue, with "Newgate Strt."address, published in the same year as the first edition published by Simrock in Bonn. MWV A25. Mendelssohn Papers III, 362. Hoboken 10, 253.

Elijah was first performed in Birmingham on 26 August 1846 and in Manchester, London, and Birmingham in April of 1847.

"Mendelssohn was not the only 19th-century composer to revive the oratorio, but his two completed works, St Paul (1836) and Elijah (1846), were the only representatives of his time to achieve lasting popularity. ... With few exceptions, Mendelssohn's other sacred works lie largely in the shadow of St Paul and Elijah.

One of the most gifted and versatile prodigies, Mendelssohn stood at the forefront of German music during the 1830s and 40s, as conductor, pianist, organist and, above all, composer. His musical style, fully developed before he was 20, drew upon a variety of influences, including the complex chromatic counterpoint of Bach, the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber.

Mendelssohn’s emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic–Romantic dialectic in 18th and 19th-century music. To a large degree, his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online.

Item #36192

Price: $650.00  other currencies

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