Madame Sainton-Dolby records: "After I had sung 'O rest in the Lord,' Mendelssohn turned to me with tears in his eyes and said, with his bright frankness of manner, 'Thank you from my heart, Miss Dolby.' I shall never forget that look of brightness." Mr. W.H. Cummings, then a chorister of the Temple Church, sang alto in the chorus at the first London performance. He and some other boys were asked to help, as the alto part lay rather high for men's voices.[65] Master Cummings, as he was then, sat in the front row of the altos, and his enthusiastic singing attracted the notice of Mendelssohn, who asked the Temple chorister his name, which he wrote on one of his (Mendelssohn's) visiting cards, and gave to the youthful singer.

The first London performance was not without some humour. The Times said: "Mr. Perry, the leader, was constantly beating time with his fiddle-stick in such a manner as to obstruct the views of the Conductor and confuse the attention of the instrumentalists."[66] A Frenchman, seated on the orchestra behind the chorus, was so excited with the performance that, at the close, he effusively embraced Mendelssohn and tried to kiss him!

Fac-simile of Metronomic times for “Elijah” in Mendelssohn’s handwriting. The note, signed “W.B.” is in the handwriting of William Bartholomew. Slightly reduced from the original, in the possession of F.G. Edwards.

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Three other performances were given in Exeter Hall, and under the same auspices, on the 23rd, 28th, and 30th of the same month (April), and were conducted by Mendelssohn. These four concerts attracted crowded audiences, and brought into the exchequer of the Sacred Harmonic Society a clear profit of £356.

The second performance (April 23) was honoured by the presence of the Queen and the Prince Consort. What the Prince felt on that occasion found graceful expression in the following tribute to Mendelssohn's genius, which he wrote in the book of words he had used at the concert:—