THE LIBRETTO.
present you have given up composing oratorios. To this I have no objection; but I would like to see something else—sonatas, for instance, not short pieces."
It seems to be quite evident that the subject of "Elijah" was lying more or less fallow in Mendelssohn's mind for six years (1839—1845). There are, it is true, two casual references to the oratorio. To Moscheles, Mendelssohn wrote: "A new oratorio, too, I have begun; but how it is to end, and what is to come in the middle, Heaven only knows." And to Klingemann: "I have thought anew seriously of 'Elijah.' Perhaps I shall attack him now." But it was not until the summer of 1845, when he received the invitation from Birmingham (see the next chapter), that Mendelssohn, to use his own words, "again began to plough up the soil." He was then glad to seek fresh help from Schubring in the technicalities of the "text," which he did in the following letter to his clerical friend:—
[Mendelssohn to Schubring.]
"My dear Schubring,—I now send you, according to your permission, the text of 'Elijah,' so far as it goes. I do beg of you to give me your best assistance, and return it soon with plenty of notes in the margin (I mean Scriptural passages, etc.). I also enclose your former letters on the subject, as you
- ↑ "Briefwechsel," p. 204. The date of the letter is wrongly given in Lady Wallace's translation of the "Letters" (p. 294) as 1842, instead of 1845.
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