Mendelssohn and Bartholomew duly met in London, and the "everything" included numerous finishing touches and alterations, both in regard to the English words and the music. The correspondence between the two men was only temporarily suspended. It was renewed, with all its old characteristics, when "Elijah" was under revision; and the subsequent letters from Mendelssohn to his English translator will be found in [Chapter V.]—"The Revised Oratorio."
CHAPTER IV.
THE FIRST PERFORMANCE.
Mendelssohn arrived in London on August 17 or 18 (1846), and again stayed with Klingemann, at 4, Hobart Place, Eaton Square. A pianoforte rehearsal of the vocal solos of "Elijah" was held on the 19th (Wednesday), at Moscheles's house, 3, Chester Place, Regent's Park. Mendelssohn commenced the rehearsal by playing the Overture from memory, to the delight and admiration of those who heard it. The lady vocalists gave the composer some trouble. The soprano requested him to transpose "Hear ye, Israel," a whole tone down, and to make certain changes to suit her particular style! "It was not a lady's song," she said. Mendelssohn resisted with studied politeness, and said, "I intended this song for the principal soprano; if you do not like it I will ask the Committee to give it to some other vocalist." Afterwards, when alone with Moscheles, he most unreservedly expressed himself as to the "coolness of such suggestions."
When "O rest in the Lord" was tried over, the singer was anxious to introduce a long shake (on D) at the close! "No," said the composer, "I have kept that for my orchestra," and he then archly played the familiar shake, which is given to the flute in the orchestral accompaniment. He was still doubtful, even at the eleventh hour, whether he should not withdraw "O rest in the Lord." "It is too sweet," he said. His friends urged him at least to try its effect, and ultimately their advice was accepted. Mr. Charles Lockey, the young tenor singer, immediately won the composer's golden opinion, and Mendelssohn was more than satisfied with his beautiful and sympathetic voice at the first performance. The tenor solos had been previously assigned to Mr. J.W. Hobbs, who generously relinquished them in favour of the younger singer. The soloists had to sing from MS. copies which contained only the vocal melody and bass of the accompaniment. These copies, neatly written by Bartholomew on oblong-folio music-paper, contain several alterations in Mendelssohn's own hand.
The orchestral parts had been previously tried over and corrected at Leipzig; the way was therefore made smooth for the band rehearsals in London. These rehearsals took place at the Hanover Square Rooms on the Thursday and Friday preceding the Festival. "Mendelssohn," records the late Mr. Rockstro, "looked very worn and nervous; yet he would suffer no one to relieve him, even in the scrutiny of the orchestral parts, which he himself spread out on some benches beneath the windows on the left-hand side of the room, and insisted upon sorting out and examining for himself." The late Henry Lazarus, the eminent clarinettist, related to me a personal incident in connection with this first London rehearsal. Near the end of the chorus "He, watching over Israel," occurs the following instrumental phrase in the clarinets and flutes—a phrase which is not fully discernible in the pianoforte arrangement of the score, and which is practically inaudible at a performance:—
