The History of Mendelssohn's Oratorio "Elijah" Part 15

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."]

Mendelssohn cannot be accused of being "hard" or "grasping" in negotiating with his publisher. The following letter shows the spirit in which he made his proposals for the publication of "Elijah" in England. It is written (in English) to Buxton, and dated "April 22, 1846":--

"I must beg you to tell me the price which you could give for the copyright of such a work. _I do not_ fix the price, because I wish on such an occasion that neither you nor I should be the loser; you must know the sale of such works, and may thereby form an opinion. Indeed, _I_ should not be able to name any sum for myself, and make conditions which would appear unpleasant to you; but as on the other hand I have been asked from England by different persons for the copyright of such a work, I must think that it may also have value for the publisher there, and you may easily form an opinion of this: therefore I beg you will let me know your answer as soon as you can."

Mendelssohn wrote to Moscheles for his advice on the subject of the "terms" for the English copyright of "Elijah." Here is Moscheles's reply:--

"I quite feel the responsibility of advising you in the matter; for if fifty years hence it is said, 'Mendelssohn received only so many pounds sterling for this grandest of works, this inexhaustible mine of wealth to the editor [publisher], and that at the suggestion of Moscheles,' my ashes will be disturbed in their rest. Well, well, you will nod your venerable head, and say, 'Never mind; Moscheles meant well.'

"You do not say what other offers you had, besides that from Buxton. I think you will find him straightforward in his dealings, and ready to recognise that the market value of your productions is constantly increasing. So I should say you might ask 50 more than you did for the 'Hymn of Praise.' [Moscheles had probably forgotten the amount, 25, that Mendelssohn received for the English copyright of his 'Hymn of Praise.'] One point to take into consideration is whether this work is richer than the other in solos, these being a better source of income to the publisher than choruses."[69]

[Footnote 69: "Letters of Mendelssohn to Moscheles," by Felix Moscheles, p. 272.]

Mendelssohn received 250 guineas for the English copyright of "Elijah." Shortly after the composer's death, Mr. Buxton voluntarily sent to Frau Mendelssohn an additional sum of 100 for "Elijah," which she gracefully acknowledged in the following extract:--

"I hesitated a moment whether I ought to accept the 100 which you sent me; but then I remembered the great pleasure it had given my husband when Mr. Simrock sent him an additional sum for his 'St. Paul,' on account of the success the oratorio had had. Why should I not feel a similar pleasure in hearing that his last work is being so fully appreciated in England? I thank you therefore that you think of us by sending this money as a proof of the success of 'Elijah.'

"Berlin (Spring, 1849)."

The work was published in June, 1847, as Op. 70. The lowest price of the first English edition--"Pianoforte score, with portrait on steel of the composer"--was thirty-six shillings! An octavo edition did not appear till five years later (1852): price ten shillings. A tonic sol-fa edition, published "by subscription" ("not less than 250 subscribers"), was issued in 1866.

The prosperity of "Elijah" was at once a.s.sured. The work bore upon it the imprint of success. It immediately shot into the front rank of popularity, a position which it has steadily maintained even unto this day.

The story has now been told. Six months after the strains of "Elijah"

had died away in Exeter Hall, the genius-brain that had conceived that n.o.ble work was for ever calmed in death.

(Mendelssohn died at Leipzig, November 4, 1847, in his thirty-ninth year.)

A memorable performance of "Elijah" was given by Jenny Lind in Exeter Hall, December 15, 1848, in aid of the Mendelssohn Scholarship Fund.

This performance, which Mr. Otto Goldschmidt happily terms the "corner-stone of the Fund," was a triumphant success.

No more fitting conclusion to this "History" could be found than the words of Jenny Lind, who, in writing to the composer's widow on her irreparable loss, said: "His 'Elijah' is sublime! In my opinion he never wrote anything finer; and a.s.suredly could not have written anything loftier in the future! With what solemnity we all stood there (to perform it); and with what love do the people still speak of him!"

To this tribute of reverence from one great artist to the memory of another, I venture to subscribe a fervent "AMEN."