anger and forsake the wrath,' which will do with the alteration of one or two notes being not slurred instead of slurred, and vice versâ.
"And pray let always accent go first, especially in the Choruses! And Songs! And Recitatives!
"Always yours very truly,
"Felix Mendelssohn-Bartholdy."
Mendelssohn's request for a good verbal accent throughout the whole translation of his oratorio is frequently expressed in these letters. No less anxious was he to retain, as nearly as possible, the familiar words of the English Bible, in preference to introducing new wordings of well-known texts—e.g., "Oh! that I knew where I might find Him."[40] And when this was not practicable, he would often alter the notes in order to gain his desired end. It is evident from these letters that Mendelssohn knew the English Bible well.
"O rest in the Lord" has attained such widespread popularity that it will come as a surprise to many to learn that, before the first performance, Mendelssohn decided to eliminate this favourite air from his oratorio. When Bartholomew received the manuscript of the song, he found that the melody began thus:—
[[Listen]]
He at once wrote the following letter to Mendelssohn:—
"2, Walcot Place, Hackney,
"July 20, 1846.