To Paul Mendelssohn Bartholdy.
Birmingham, August 26th, 1846.
My dear Brother,
From the very first you took so kind an interest in my “Elijah,” and thus inspired me with so much energy and courage for its completion, that I must write to tell you of its first performance yesterday. No work of mine ever went so admirably the first time of execution, or was received with such enthusiasm, by both the musicians and the audience, as this oratorio. It was quite evident at the first rehearsal in London, that they liked it, and liked to sing and to play it; but I own I was far from anticipating that it would acquire such fresh vigour and impetus at the performance. Had you only been there! During the whole two hours and a half that it lasted, the large hall, with its two thousand people, and the large orchestra, were all so fully intent on the one object in question, that not the slightest sound was to be heard among the whole audience, so that I could sway at pleasure the enormous orchestra and choir, and also the organ accompaniments. How often I thought of you during the time! More especially, however, when the “sound of abundance of rain” came, and when they sang and played the final chorus with furore, and when, after the close of the first part, we were obliged to repeat the whole movement. Not less than four choruses and four airs were encored, and not one single mistake occurred in the whole of the first part; there were some afterwards in the second part, but even these were but trifling. A young English tenor sang the last air with such wonderful sweetness, that I was obliged to collect all my energies not be affected, and to continue beating time steadily. As I said before, had you only been there! But to-morrow I set off on my journey home. We can no longer say, as Goethe did, that the horses’ heads are turned homewards, but I always have the same feeling on the first day of my journey home. I hope to see you in Berlin in October, when I shall bring my score with me, either to have it performed, or at all events to play it over to you, and Fanny, and Rebecca, but I think probably the former (or rather both). Farewell, my dear Brother; if this letter be dull, pray forgive it. I have been repeatedly interrupted, and in fact it should only contain that I thank you for having taken such part in my “Elijah,” and having assisted me with it.—Your
Felix.
After the first performance of the “Elijah” in London, Prince Albert wrote the following in the book of words which he used on that occasion, and sent it to Mendelssohn as a token of remembrance:—“To the noble artist who, though encompassed by the Baal-worship of false art, by his genius and study has succeeded, like another Elijah, in faithfully preserving the worship of true art; once more habituating the ear, amid the giddy whirl of empty, frivolous sound, to the pure tones of sympathetic feeling and legitimate harmony;—to the great master who, by the tranquil current of his thoughts, reveals to us the gentle whisperings, as well as the mighty strife of the elements,—to him is this written in grateful remembrance, by
“Buckingham Palace.
“Albert.”