When the directors of the Birmingham Festival commissioned Felix Mendelssohn to compose and conduct a new oratorio in 1846, the thirty-eight year old composer had long been the most celebrated musician in Europe. Mendelssohn had been a child prodigy, a virtuoso performer on both piano and organ as well as a composer. By the age of seventeen he had already written such outstanding works as the Octet for Strings and the Overture to A Midsummer Night's Dream. His compositions were extraordinarily popular; his violin concerto was performed so often that a little ditty was sung to the opening bars, "Schon wieder, schon wieder, das Mendelssohn Konzert," ("And yet again, that Mendelssohn Concerto!") He was no less eminent as a conductor and had fashioned the Leipzig Gewandhaus Orchestra into one of the premiere ensembles of Europe.

Early Career

As with Mozart, Mendelssohn's talent blossomed early. He made his debut as a soloist at age nine, the same year he had the first public performance of one of his compositions. Unlike Mozart, however, there was never any question of exploiting his talent. His father was a successful and wealthy banker, and young Felix had the opportunity to master his craft without public scrutiny. His memory was phenomenal. He could play all of Beethoven's symphonies by heart while still a boy and it was said that he remembered every piece of music he ever heard. He could instantly play anything after hearing it once.

His compositional skills were equally remarkable and he came into his mature style far earlier than Mozart. The Octet for Strings was written when he was only sixteen. With its expansive lyricism, it is not only one of the most beautiful pieces of music ever written but it also comes close to compositional perfection in its balance, form and structure. The next year, 1826, saw another landmark work, the Overture to A Midsummer Night's Dream. With the unprecedented gossamer-like texture in the opening strings, it broke new ground in musical tone painting and was followed with equally evocative works such as The Hebrides Overture and the Symphony No. 3 (Scottish), both from 1830.

Mendelssohn made another outstanding contribution to music of different sort when the twenty-year-old composer mounted a revival of Bach's St. Matthew Passion in Berlin in 1829. Bach's music had not been forgotten by any means, but he was known mainly by his keyboard music. Bach's sacred music, composed largely as part of his duties as cantor of the Thomaskirche in Leipzig, was considered merely service music. Mendelssohn's performance of the St. Matthew Passion reawakened an interest in Bach's choral music that has lasted to this day.

Mendelssohn as Conductor

That performance also helped Mendelssohn embark on yet another (simultaneous) career as a conductor. Although composers and soloists traditionally led orchestral performances, much of the interpretation as well as keeping time and cueing entrances was left to leaders within the ensemble. The concept of conductor as music director, who shaped the performance according to his interpretation, was a novel one at that time. Mendelssohn was one of the first conductors to use a baton and to take charge of conducting an entire performance. This caused quite a bit of controversy with the musicians when he was invited to take over the Leipzig Gewandhaus concerts in 1833, and Robert Schumann finally intervened to smooth matters out. An eyewitness related Mendelssohn's conducting style.

"Mendelssohn's fiery glance surveyed and dominated the entire orchestra. Reciprocally, all eyes were on the tip of his conductor's baton. Thus he was able, with sovereign freedom, to lead the masses at all times according to his will."

He was not, however, the prototype of the autocratic conductor. He realized that musicians required financial security in order to excel at their craft and he engaged in long and ultimately successful negotiations with municipal officials in Leipzig to obtain a guaranteed salary and pension benefits for the Gewandhaus Orchestra, laying the foundations of the modern professional orchestra. He also was the driving force for the founding of the Leipzig Conservatory, the first such institution in Germany dedicated to training musicians.

The scope of Mendelssohn's genius and his accomplishments astound us even today. It is puzzling why his reputation languishes. It is certainly not that his music is not played, for his symphonies, overtures, concerti and chamber music have long been in the standard repertoire. Some of his music has even made it into the public domain: his Spring Song and the Bridal March from A Midsummer Night's Dream have taken on lives of their own apart from their origins. In some ways Mendelssohn has become a victim of his own talent. Like Mozart, he had such facility at composition and worked out musical problems so smoothly that his music almost sounds obvious or predictable in unskilled hands. We want to see in composition the titanic struggle of creation à la Beethoven, with music paper covered in blots and worn through with scratching out and rewriting notes. We respect music that bears the mark of the forge, the occasional rough spot or seam. We can perhaps forgive Mozart his ease of composition because of the circumstances of his life, but it is difficult to forgive Mendelssohn for having had every advantage in life and incredible talent as well!

The Genesis of Elijah

Mendelssohn had long contemplated the idea of an oratorio dealing with Elijah. He had already composed the first successful oratorio since the days of Handel and Haydn, St. Paul, and had even tried to interest a librettist for a time. The commission from the Birmingham Festival afforded him the opportunity to take the project up again. He returned to the Rev. Julius Schubring, who had also supplied the libretto for St. Paul. Schubring had a rather didactic view of the project and wanted to include explicit

Christian theology. Mendelssohn had another view altogether and wrote, "I would fain see the dramatic element more prominent as well as more exuberant and defined....(T)he dramatic element should predominate." Mendelssohn repeatedly asked for specific scenes and texts to be set and ultimately the libretto was constructed. Although Mendelssohn spoke English fluently, he engaged his English friend William Bartholomew to prepare the English translation which would be set. The score was finally completed in mid-August of 1846, just in time for Mendelssohn to conduct the premiere at the Birmingham Festival on August 26, 1846. The oratorio was an instant success. There was thunderous applause and repeated encores (this was quite unusual in Britain at that time, where oratorio performances were seen as quasi-religious events and generally not applauded) and Elijah quickly took its place alongside Messiah and The Creation in the pantheon of oratorios.

Historical Background to the Story

The libretto of Elijah does not provide a continuous story line so a brief recounting of Elijah's story may be in order. Ahab is king in Israel and has married Jezebel, the daughter of the king of the Phoenician city Sidon. Jezebel has introduced the worship of the false god Baal, and Ahab has begun persecuting those who remained faithful to the Lord. Obadiah, Ahab's vizier, has remained faithful to the Lord and is providing a place of refuge to as many prophets and holy men as he can. Elijah suddenly appears and prophesies a drought. Elijah goes into the desert while Ahab searches in vain for him. After a while, Elijah goes to Zarephath, where he asks a widow to give him lodging and food. The widow has just enough for a single meal, but Elijah convinces her to trust in the Lord and He will provide for her. She agrees and during the time that Elijah stays with her, her food is miraculously replenished. Her son, however, sickens and dies, but Elijah prays to the Lord and the son's life is restored. At the end of three years, Elijah returns to Israel to face Ahab. He challenges Ahab to have a sacrifice prepared but no fire lit under it. The priests of Baal will invoke their god while Elijah will invoke the Lord to ignite the fire. The priests of Baal summon him in vain while Elijah mocks them. His own prayer to the Lord is answered by fire, and the people, seeing this, repent. Elijah has the priests of Baal taken and executed. He then prays for an end to the drought and the Lord sends rain again upon the land.

Elijah's triumph is short lived, for Jezebel stirs up the people against him. He is forced to flee into the desert, where he despairs over his failure to bring the people back to the Lord. Angels come to comfort him and he is directed to Mount Horeb, where the Lord will come to him. As he waits on the mount there is first a violent wind, then an earthquake and finally a raging fire, but the Lord is in none of them. He comes as a small, still voice, telling Elijah to return to Israel. Elijah passes from history for a time, but returns for one more confrontation with Ahab, who eventually repents of his ways, and a confrontation with Ahab's son and successor Ahaziah. Meanwhile, Elijah has been training his own successor Elisha. The Lord sends a fiery chariot with fiery horses to Elijah and the prophet is taken up into heaven in a whirlwind, much to the astonishment of Elisha.

Mendelssohn's Treatment of the Story

Part I

Elijah opens in dramatic fashion, not with the customary overture but with Elijah proclaiming the curse, much as the prophet himself abruptly appeared to Ahab. Mendelssohn in fact planned to omit the overture altogether since it interfered with the developing story line, but was later persuaded by Bartholomew to add one, placing it, however, after Elijah's introduction. This performance returns to Mendelssohn's original concept and the overture has been discarded. The people plead for rain ("Help, Lord" and "Lord, bow Thine ear") while Obadiah urges them to repent. An angel sends Elijah to the widow of Zarephath ("Elijah, get thee hence.") Elijah's duet with the widow ("What have I to do with thee") provides the first great dramatic moment, when Elijah prays to the Lord three times that her son might be restored to life. The magnificent chorus "Blessed are the men who fear Him" is one of Schubring's interpolations into the story, but provides Mendelssohn with an opportunity for some wonderfully evocative writing, such as the ascending triads to the text "through darkness riseth light."

Elijah returns to face Ahab ("As God the Lord of Sabaoth") and places his challenge to the priests of Baal. The priests invoke Baal ("Baal, we cry to thee") while Elijah mocks them ("Call him louder"). This is the dramatic high point of the oratorio, with Elijah's calm contrasting with the increasingly frenetic music of the chorus. Their invocation ends with a fortissimo "Hear and answer!" which is followed by dead silence, surely one of the most dramatic and effective moments in oratorio. By contrast, Elijah then invokes the Lord with music of great nobility and simplicity ("Draw near, all ye people.") There is a brief interpolation by a quartet ("Cast thy burden upon the Lord") before the fire comes down from heaven ("O Thou, who makest thine angels spirits.") Obadiah pleads with Elijah to send rain ("O man of God, help thy people.") Three times Elijah prays to the Lord for rain ("Thou hast overthrown thine enemies") and sends a young boy to the top of a hill to look out over the sea for rain. At the third time the rain comes, and the people join in an exuberant hymn of praise ("Thanks be to God.")

Part II

Part II of Elijah begins with hymns of reassurance ("Hear ye, Israel!" and "Be not afraid"), but Elijah is soon embroiled in controversy again. He confronts Ahab, taking him to task for his idolatry ("The Lord hath exalted thee") while Jezebel stirs up the people against Elijah ("Woe to him.") Obadiah advises him to flee ("Man of God") and Elijah, alone in the desert, is in despair ("It is enough.") Angels come and comfort him ("Lift thine eyes" and "He watching over Israel") and Elijah makes his way to Mount Horeb to await the Lord. Here Mendelssohn again uses some vividly descriptive music depicting the fury of the wind, the earthquake and the fire, contrasting that with the simplicity to which he sets the text "and in that still voice, onward came the Lord." There follows another hymn of praise ("Holy is God the Lord") and a choral recitative ("Go, return upon thy way") as Elijah is sent back to Israel refreshed in spirit ("For the

mountains shall depart.") Elijah is taken up to heaven in a whirlwind ("Then did Elijah") followed by Schubring's final interpolation, an invitation to come to the Lord ("O come, everyone that thirsteth") and the final choral hymn of praise ("And then shall your light break forth"), ending the oratorio with a majestic fugue.

Those familiar with Elijah may have detected another omission, the solo aria "O rest in the Lord." While it has become one of the most popular pieces in Elijah, Mendelssohn was originally inclined to cut it from the score. The melody bore a resemblance to a popular ballad and Mendelssohn did not really like it. It "is a song to which I have always had an objection," he wrote. "I shall leave it out altogether (I think) ... (I) believe it an improvement if it is left out." As it happened, Mendelssohn was persuaded by Bartholomew to leave it in, but in this performance the composer's original intention is being respected.

Program notes copyright © 1997 Mendelssohn Club of Philadelphia. All rights reserved.

Felix Mendelssohn Bartholdy
Oratorium Elias

Teil II ~ Disc 2

~ Print Document (PDF) ~

Felix Mendelssohn Bartholdy
Oratorio Elijah

Part II ~ Disc 2

~ Print Document (PDF) ~

Mahnung und Zuspruch

Exhortation and encouragement

1. No. 21 ~ Arie (Sopran Solo)

Sopran
Höre, Israel, höre des Herrn Stimme! Ach, daß du merkest auf sein Gebot. Aber wer glaubt unsrer Predigt, und wem wird der Arm des Herrn geoffenbart?

Rezitativ
So spricht der Herr, der Erlöser Israels, sein Heiliger zum Knecht, der unter den Tyrannen ist, so spricht der Herr:

Arie
Ich bin euer Tröster. Weiche nicht, denn ich bin dein Gott, ich stärke dich! Wer bist du denn, daß du dich vor Menschen fürchtest, die doch sterben, und vergissest des Herrn, der dich gemacht hat, der den Himmel ausbreitet, und die Erde gründet, wer bist du denn?

2. No. 22 ~ Chor

Chor
Fürchte dich nicht, spricht unser Gott, ich bin mit dir, ich helfe dir, denn ich bin der Herr, dein Gott, der zu dir spricht: Fürchte dich nicht! Ob tausend fallen zu deiner Seite und zehentausend zu deiner Rechten, so wird es doch dich nicht treffen.

1. No. 21 ~ Aria: Hear ye, Israel

Soprano
Hear ye, Israel, hear what the Lord speaketh:'Oh, hadst thou heeded my commandments'Who hath believed our report! To whom is the arm of the Lord revealed!

Recitative
Thus saith the Lord, the Redeemer of Israel, and His Holy One to him oppressed by tyrants, thus saith the Lord:

Aria
I am He that comforteth. Be not afraid, for I am thy God! I will strengthen thee! Say, who art thou, that thou art afraid of a man that shall die; and forgettest the Lord thy Maker, who hath stretched forth the heavens, and laid the earth's foundations? Say, who art thou!'

2. No. 22 ~ Chorus: Be Not Afaid

Chorus
"Be not afraid", saith God the Lord, "be not afraid, thy help is near!" God, the Lord, thy God, saith unto thee: "Be not afraid!" Though thousands languish and fall beside thee, and tens of thousands around thee perish, yet still it shall not come nigh thee.

Bedrohung und Rückzug des Elias

Retirement and withdrawal of Elijah

3. No. 23 ~ Rezitativ und Chor

Elias
Der Herr hat dich erhoben aus dem Volk und dich zum König über Israel gesetzt. Aber du, Ahab, hast Übel getan über alle, die vor dir gewesen sind. Es war dir ein Geringes, daß du wandeltest in der Sünde Jerobeams und machtest dem Baal einen Hain, den Herrn, den Gott Israels, zu erzürnen; du hast totgeschlagen und fremdes Gut genommen! Und der Herr wird Israel schlagen, wie ein Rohr im Wasser bewegt wird, und wird Israel übergeben, um eurer Sünde willen.

Die Königin
Habt ihr's gehört, wie er geweissagt hat wider dieses Volk?

Chor (Das Volk)
Wir haben es gehört!

Die Königin
Wie er geweissagt hat wider den König in Israel?

Chor (Das Volk)
Wir haben es gehört!

Die Königin
Warum darf er weissagen im Namen des Herrn? Was wäre für ein Königreich in Israel, wenn Elias Macht hätte über des Königs Macht? Die Götter tun mir dies und das, wenn ich nicht morgen um diese Zeit seiner Seele tue, wie dieser Seelen einer, die er geopfert hat am Bache Kison.

Chor (Das Volk)
Er muß sterben!

Die Königin
Er hat die Propheten Baals getötet.

Chor (Das Volk)
Er muß sterben!

Die Königin
Er hat sie mit dem Schwert erwürgt.

Chor (Das Volk)
Er hat sie erwürgt.

Die Königin
Er hat den Himmel verschlossen.

Chor (Das Volk)
Er hat den Himmel verschlossen.

Die Königin
Er hat die teure Zeit über uns gebracht.

Chor (Das Volk)
Er hat die teure Zeit über uns gebracht.

Die Königin
So ziehet hin und greift Elias, er ist des Todes schuldig. Tötet ihn, laßt uns ihm tun, wie er getan hat.

4. No. 24 ~ Chor

Chor (Das Volk)
Wehe ihm, er muß sterben! Warum darf er den Himmel verschließen? Warum darf er weissagen im Namen des Herrn? Dieser ist des Todes schuldig! Wehe ihm, er muß sterben, denn er hat geweissagt wider diese Stadt, wie wir mit unsern Ohren gehört. So ziehet ihn, greifet ihn, tötet ihn!

5. No. 25 ~ Rezitativ (Obadjah)

Obadjah
Du Mann Gottes, laß meine Rede etwas vor dir gelten! So spricht die Königin: "Elias ist des Todes schuldig". Und sie sammeln sich wider dich, sie stellen deinem Gange Netze, und ziehen aus, daß sie dich greifen, daß sie dich töten! So mache dich auf und wende dich von ihnen, gehe hin in die Wüste! Der Herr, dein Gott wird selber mit dir wandeln, er wird die Hand nicht abtun, noch dich verlasen. Ziehe hin und segne uns auch!

Elias
Sie wollen sich nicht bekehren! Bleibe hier, du Knabe, der Herr sei mit euch! Ich gehe hin in die Wüste.

6. No. 26 ~ Arie (Elias)

Elias
Es ist genug! So nimm nun, Herr, meine Seele! Ich bin nicht besser denn meine Väter. Ich begehre nicht mehr zu leben, denn meine Tage sind vergeblich gewesen. Ich habe geeifert um den Herrn, um den Gott Zebaoth, denn die Kinder Israels haben deinen Bund verlassen, deine Altäre haben sie zerbrochen, deine Propheten mit dem Schwert erwürgt. Und ich bin allein übrig geblieben und sie steh'n danach, daß sie mir mein Leben nehmen. Es ist genug! So nimm nun, Herr, meine Seele! Ich bin nicht besser denn meine Väter.

7. No. 27 ~ Rezitativ (Tenor Solo)

Tenor
Siehe, er schläft unter dem Wacholder in der Wüste, aber die Engel des Herrn lagern sich um die her, so ihn fürchten.

8. No. 28 ~ Terzett (Die Engel)

Drei Engel
Hebe deine Augen auf zu den Bergen, von welchen dir Hilfe kommt. Deine Hilfe kommt vom Herrn, der Himmel und Erde gemacht hat. Er wird deinen Fuß nicht gleiten lasen, und der dich behütet, schläft nicht.

9. No. 29 ~ Chor

Chor
Siehe, der Hüter Israels schläft noch schlummert nicht. Wenn du mitten in Angst wandelst, so erquickt er dich.

10. No. 30 ~ Rezitativ (Der Engel)

Der Engel
Stehe auf, Elias, denn du hast einen großen Weg vor dir. Vierzig Tage und vierzig Nächte sollst du geh'n bis an den Berg Gottes Horeb.

Elias
O Herr, ich arbeite vergeblich und bringe meine Kraft umsonst und unnütz zu. Ach, daß du den Himmel zerrissest und führest herab! Daß die Berge vor dir zerflössen! Daß deine Feinde vor dir zittern müßten durch die Wunder, die du tust! Warum lässest du sie irren von deinen Wegen und ihr Herz verstocken, daß sie dich nicht fürchten? O, daß meine Seele stürbe!

11. No. 31 ~ Arie

Ein Engel
Sei stille dem Herrn und warte auf ihn, der wird dir geben, was dein Herz wünscht. Befiel ihm deine Wege und hoffe auf ihn. Steh' ab vom Zorn und laß den Grimm.

12. No. 32 ~ Chor

Chor
Wer bis an das Ende beharrt, der wird selig.

3. No. 23 ~ Recitative and Chorus

Elijah
The Lord hath exalted thee from among the people: and over his people Israel hath made thee king.But thou, Ahab, hast done evil to provoke him to anger above all that were before thee: as if it had been a light thing to walk in the sins of Jeroboam. Thou hast made a grove and an altar to Baal, and served him and worshipped him. Thou hast killed the righteous, and also taken possession. And the Lord shall smite all Israel, as a reed is shaken in the water; and He shall give Israel up, and thou shalt know He is the Lord.

The Queen
Have ye not heard he hath prophesied against all Israel?

Chorus
We heard it with our ears.

The Queen
Hath he not prophesied also against the King of Israel?

Chorus
We heard it with our ears.

The Queen
And why hath he spoken in the name of the Lord? Doth Ahab govern the kingdom of Israel while Elijah's power is greater than the king's? The gods do so to me, and more; if, by tomorrow about this time, I make not his life as the life of one of them whom he hath sacrificed at the Brook of Kishon!

Chorus
He shall perish!

The Queen
Hath he not destroyed Baal's prophets?

Chorus
He shall perish!

The Queen
Yea, by the sword he destroyed them all!

Chorus
He destroyed them all!

The Queen
He also closed the heavens!

Chorus
He also closed the heavens!

The Queen
And called down a famine upon the land.

Chorus
And called down a famine upon the land.

The Queen
So go ye forth and seize Elijah, for he is worthy to die; slaughter him! do unto him as he hath done!

4. No. 24 ~ Chorus

Chorus (The People)
Woe to him, he shall perish; for he closed the heavens! And why hath he spoken in the name of the Lord? Let the guilty prophet perish! He hath spoken falsely against our land and us, as we have heard with our ears. So go ye forth; seize on him! He shall die!

5. No. 25 ~ Duet: Man of God

Obadiah
Man of God, now let my words be precious in thy sight. Thus saith Jezebel: "Elijah is worthy to die". So the mighty gather against thee, and they have prepared a net for thy steps; that they may seize thee, that they may slay thee. Arise then, and hasten for thy life; to the wilderness journey. The Lord thy God doth go with thee: He will not fail thee, He will not forsake thee. Now begone, and bless me also.

Elijah
Though stricken, they have not grieved! Tarry here my servant: the Lord be with thee. I journey hence to the wilderness.

6. No. 26 ~ Aria: It is enough

Elijah
It is enough! O Lord, now take away my life, for I am not better than my fathers! I desire to live no longer: now let me die, for my days are but vanity. I have been very jealous for the Lord God of Hosts, for the children of Israel have broken Thy covenant, and thrown down Thine altars, and slain all Thy prophets, slain them with the sword. And I, even I only am left: and they seek my life to take it away! It is enough! O Lord, now take away my life, for I am not better than my fathers!

7. No. 27 ~ Aria: See, now he sleepeth

Tenor
See, now he sleepeth beneath a juniper tree in the wilderness, but the angels of the Lord encamp round about all them that fear Him.

8. No. 28 ~ Trio: Lift thine eyes

The Angels
Lift thine eyes to the mountains, whence cometh help. Thy help cometh from the Lord, the Maker of heaven and earth. He hath said, thy foot shall not be moved, thy Keeper will never slumber

9. No. 29 ~ Chorus

Chorus
He, watching over Israel, slumbers not, nor sleeps. Shouldst thou, walking in grief, languish; He will quicken thee.

10. No. 30 ~ Recitative

An Angel
Arise, Elijah, for thou hast a long journey before thee. Forty days and forty nights shalt thou go; to Horeb, the mount of God.

Elijah
O Lord, I have laboured in vain; yea, I have spent my strength for naught, and in vain! O that thou wouldst rend the heavens, that Thou wouldst come down; that the mountains would flow down at Thy presence, to make Thy name known to Thine adversaries, through the wonders of Thy works! O Lord, why hast Thou made them to err from Thy ways, and hardened their hearts that they do not fear Thee? O that I now might die!

11. No. 31 ~ Aria: O Rest in the Lord

An Angel
Oh rest in the Lord, wait patiently for Him, and He shall give thee thy heart's desires. Commit thy way unto Him, and trust in Him, and fret not thyself because of evil-doers.

12. No. 32 ~ Chorus: He that shall endure

Chorus
He that shall endure to the end, shall be saved.

Erscheinung Gottes - Himmelfahrt des Elias

Appearance of God - The Ascension of Elijah

13. No. 33 ~ Elias

Elias
Herr, es wird Nacht um mich, sei du nicht ferne! Verbirg dein Antlitz nicht vor mir! Meine Seele dürstet nach dir, wie ein dürres Land.

Der Engel
Wohlan denn, gehe hinaus und tritt auf den Berg vor den Herrn, denn seine Herrlichkeit erscheinet über dir. Verhülle dein Antlitz, denn es naht der Herr.

14. No. 34 ~ Chor

Chor
Der Herr ging vorüber, und ein starker Wind, der die Berge zerriß, und die Felsen zerbrach, ging vor dem Herrn her, aber der Herr war nicht im Sturmwind. Der Herr ging vorüber, und die Erde erbebte, und das Meer erbrauste, aber der Herr war nicht im Erdbeben. Und nach dem Erdbeben kam ein Feuer, die Erde erbebte, das Meer erbrauste, aber der Herr war nicht im Feuer. Und nach dem Feuer kam ein stilles sanftes Sausen. Und in dem Säuseln nahte sich der Herr.

15. No. 35 ~ Rezitativ

Alt
Seraphim standen über ihm, und einer rief zum andern:

Solo-Quartett (Seraphim) & Chor
Heilig, heilig, heilig ist Gott, der Herr Zebaoth. Alle Lande sind seiner Ehre voll.

16. No. 36 ~ Chor & Rezitativ

Chor
Gehe wiederum hinab! Noch sind übrig geblieben siebentausend in Israel, die sich nicht gebeugt vor Baal. Gehe wiederum hinab, tue nach des Herrn Wort!

Elias
Ich gehe hinab in der Kraft des Herrn. Du bist ja der Herr! Ich muß um deinetwillen leiden, darum freuet sich mein Herz und ich bin fröhlich; auch mein Fleisch wird sicher liegen.

17. No. 37 ~ Arioso (Elias)

Elias
Ja, es sollen wohl Berge weichen und Hügel hinfallen, aber deine Gnade wird nicht von mir weichen, und der Bund deines Friedens soll nicht fallen.

18. No. 38 ~ Chor

Chor
Und der Prophet Elias brach hervor wie ein Feuer, und sein Wort brannte wie eine Fackel. Er hat stolze Könige gestürzt. Er hat auf dem Berge Sinai gehört die zukünftige Strafe und in Horeb die Rache. Und da der Herr ihn wollte gen Himmel holen, siehe! da kam ein feuriger Wagen mit feurigen Rossen und er fuhr im Wetter gen Himmel.

13. No. 33 ~ Recitative

Elijah
Night falleth round me, O Lord! Be not Thou far from me! hide not Thy face, O Lord, from me; my soul is thirsting for Thee, as a thirsty land.

An Angel
Arise now! get thee without, stand on the mount before the Lord; for there His glory will appear and shine on thee; Thy face must be veiled, for He draweth near.

14. No. 34 ~ Chorus

Chorus
Behold! God the Lord passed by! And a mighty wind rent the mountains around, brake in pieces the rocks, brake them before the Lord: but yet the Lord was not in the tempest. Behold! God the Lord passed by! And the sea was upheaved, and the earth was shaken: but yet the Lord was not in the earthquake. And after the earthquake there came a fire: but yet the Lord was not in the fire. And after the fire there came a still small voice; and in that still voice onward came the Lord.

15. No. 35 ~ Recitative & Chorus

Alto
Above Him stood the Seraphim, and one cried to another:

Solo Quartet (Seraphim) & Chorus
Holy, holy, holy is God the Lord - the Lord Sabaoth! Now His glory hath filled all the earth

16. No. 36 ~ Chorus & Recitative

Chorus
Go, return upon thy way! For the Lord yet hath left Him seven thousand in Israel, knees which have not bowed to Baal. Go, return upon thy way! Thus the Lord commandeth.

Elijah
I go on my way in the strength of the Lord For Thou art my Lord; and I will suffer for Thy sake. My heart is therefore glad, my glory rejoiceth; and my flesh shall also rest in hope.

17. No. 37 ~ Arioso: For the mountains

Elijah
For the mountains shall depart, and the hills be removed; but Thy kindness shall not depart from me; neither shall the covenant of Thy peace be removed.

18. No. 38 ~ Chorus: Then did Elijah

Chorus
Then did Elijah the prophet break forth like a fire; his words appeared like burning torches. Mighty kings by him were overthrown. He stood on the mount of Sinai and heard the judgments of the future, and in Horeb its vengeance. And when the Lord would take him away to heaven, lo! There came a fiery chariot with fiery horses, and he went by a whirlwind to heaven.

Erlösung und Ankündigung

Redemption and notice

19. No. 39 ~ Arie (Tenor Solo)

Tenor
Dann werden die Gerechten leuchten wie die Sonne in ihres Vaters Reich. Wonne und Freude werden sie ergreifen, aber Trauern und Seufzen wird vor ihnen fliehen.

20. No. 40 ~ Rezitativ (Sopran Solo)

Sopran
Darum ward gesendet der Prophet Elias, eh' denn da komme der große und schreckliche Tag des Herrn: er solle das Herz der Väter bekehren zu den Kindern, und das Herz der Kinder zu ihren Vätern, daß der Herr nicht komme und das Erdreich mit dem Banne schlage.

21. No. 41 ~ Chor

Chor
Aber einer erwacht von Mitternacht, und er kommt vom Aufgang der Sonne, der wird des Herrn Namen predigen, und wird über die Gewaltigen gehen; das ist sein Knecht, sein Auserwählter, an welchem seine Seele Wohlgefallen hat. Auf ihm wird ruhen der Geist des Herrn, der Geist der Weisheit und des Verstandes, der Geist des Rat's und der Stärke, der Geist der Erkenntnis und der Furcht des Herrn.

22. Quartett

Solisten-Quartett
Wohlan, alle die ihr durstig seid, kommt her zum Wasser, kommt her zu ihm, und neigt euer Ohr, und kommt zu ihm, so wird eure Seele leben.

23. No. 42 ~ Chor

Schlusschor
Alsdann wird euer Licht hervorbrechen wie die Morgenröte, und eure Besserung wird schnell wachsen, und die Herrlichkeit des Herrn wird euch zu sich nehmen. Herr, unser Herrscher, wie herrlich ist dein Name in allen Landen, da man dir danket im Himmel. Amen!

19. No. 39 ~ Aria

Tenor
Then shall the righteous shine forth as the sun in their heavenly Father's realm. Joy on their head shall be for everlasting, and all sorrow and mourning shall flee away for ever.

20. No. 40 ~ Recitative

Soprano
Behold, God hath sent Elijah the prophet, before the coming of the great and dreadful day of the Lord. And He shall turn the heart of the fathers to the children, and the heart of the children unto their fathers; lest the Lord shall come and smite the earth with a curse.

21. No. 41 ~ Chorus

Chorus
But the Lord, from the north has raised one, who from the rising of the sun shall call upon His name and come on princes. Behold my servant and mine elect, in whom my soul delighteth! On him the Spirit of God shall rest: the spirit of wisdom and understanding, the spirit of might and of counsel, the spirit of knowledge and of the fear of the Lord.

22. Quartet

Solo Quartet
O! come everyone that thirsteth, O come to the waters: come unto Him. O hear, and your souls shall live for ever!

23. No. 42 ~ Chorus

Final Chorus
And then shall your light break forth as the light of morning breaketh: and your health shall speedily spring forth then: and the glory of the Lord ever shall reward you. Lord, our Creator, how excellent Thy Name is in all the nations! Thou fillest heaven with Thy glory. Amen!