Читать книгу The History of Mendelssohn's Oratorio 'Elijah' - F. G. Edwards - Страница 3

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I have been asked to say a few words as introduction to this volume, and I do so with pleasure.

To the mass of music-loving people of this country, however, I believe that Mendelssohn requires no introduction. It has been the fashion in some quarters to speak of him slightingly, nay injuriously; but this will pass, and he needs no defence—certainly not when "Elijah" is in question. In England the oratorio has taken its place, if not on a level with "The Messiah," very near it; and what more does any work of musical art require? Fortunately every additional fact that is elicited about this great composer testifies all the more to his insight, to the depth and warmth of his feelings, and to the indefatigable earnestness with which he worked until he had realised the entire meaning of his text and expressed it in music to the utmost of his power and with all the dramatic force that it was capable of. The letters now given—many of them for the first time—abound in instances of this.

The information which my friend Mr. Edwards has so carefully collected and so clearly stated, the new portrait which is due to the kindness of Mrs. Victor Benecke, and the fac-simile, will be very welcome; and the book is in my opinion a gain to musical literature, while it forms the fittest symbol to mark the anniversary of the production of the greatest oratorio of this century.

George Grove.

Lower Sydenham,

January 27, 1896.