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[64] Bartholomew did not add the note after all. See No. 23, "The Lord hath exalted thee," bar 15, to which this refers.
[65] The alto part in oratorio choruses was always sung in England by men's voices (counter-tenors). It was not till the following year (1848) that some ladies were admitted into the alto division of the chorus at the Sacred Harmonic Society. The change was made when Costa began his reign as Conductor of the Society. Costa introduced a similar innovation at the Birmingham Festival of 1849, the first he conducted, and the first after the production of "Elijah." The male altos, however, greatly predominated on that occasion. The numbers were—ladies, 17; gentlemen, 59. At this Festival Mario sang "Then shall the righteous," which he finished on the upper A flat!
[66] Mr. George Perry ("leader" of the Sacred Harmonic Society from its foundation in 1832) was also the composer of an oratorio, entitled "Elijah, and the Priests of Baal," which was first performed at the Concert Room, St. George's Bridge, Norwich, on March 12, 1819.
[67] "The Sacred Harmonic Society: a Thirty-five Years' Retrospect, by Robert K. Bowley, Treasurer. Privately printed. 1867." Mr. Bowley was one of the deputation of two officers of the Society who waited upon Mendelssohn to present him with the Prince Consort's "affectionate token of sympathy." He was one of the oldest members of the Sacred Harmonic Society, and subsequently became Librarian, and then Treasurer. In 1858 he became General Manager of the Crystal Palace, which office he retained till his death in 1870. He also originated and carried out the Handel Festivals.
[68] It may be of interest to give the "terms" quoted by Mendelssohn for the English copyrights of some of his works. The information is derived from original letters from the composer to Buxton. The D minor Trio, 10 guineas. Books 4 and 5 of the "Lieder ohne Worte," 15 guineas each; Book 6, 24 guineas. "17 Variations Sérieuses," 8 guineas. "Festgesang" (which includes the familiar tune now associated with "Hark! the herald angels sing"), 4 guineas. "Scotch Symphony" (pianoforte arrangement), £20. Sonata for pianoforte and cello in D, 12 guineas. Six four-part Songs, Op. 59 (which includes "O hills! O vales!" the "Hunting Song," &c.), 10 guineas. "Scherzo, Notturno, and Wedding March" (from "Midsummer Night's Dream"), pianoforte duet arrangement, 15 guineas; the whole work, "consisting of 9 other pieces (except the Overture) would be the same again as those 3." Violin Concerto and "Hear my prayer," "20 guineas for both together." C minor Trio and Te Deum in A, £30.
In these letters from Mendelssohn to Buxton there are such apologetic phrases, in regard to the prices named by the composer, as, "which I hope will be convenient to you," and "I hope it will not be inconvenient to you, which I beg you will tell me sincerely." Mendelssohn also thanks Mr. Buxton for his "very good and kind intentions" towards him. In sending the MS. of "The Garland" (words by Thomas Moore), he says, "which you may publish if you like, and pay for it whatever you like."
[69] "Letters of Mendelssohn to Moscheles," by Felix Moscheles, p. 272.