=Mendelssohn=.—The next great composer in Oratorio was a German; like him also his works had their greatest reception in England, =Felix Mendelssohn Bartholdy= (1809-1847). His first work, “St. Paul,” was given at Düsseldorf in 1836. His greatest oratorio, one that ranks with Handel’s “Messiah” in public favor, is “Elijah,” which was written for the Birmingham, England, Festival. It was first produced in 1846. As a diligent and enthusiastic student of Bach, it seems natural that Mendelssohn should have adopted the great master’s methods. In style “St. Paul” and “Elijah” show leanings toward Bach and the German oratorio rather than toward Handel. Mendelssohn, who produced Bach’s “Passion according to St. Matthew” in Berlin, in 1827, was thoroughly familiar with the plan of the German oratorio, a mingling of narrative, dramatic and meditative or reflective elements, and especially the Chorale to represent the Church, the chorus being, properly speaking, a part of the _dramatis personæ_, representing masses of people who share in the action, while the congregation represents the reflective element. He uses a fugal style quite freely in his choruses, but a strict fugue, in the style of Handel, is rare, as the composer’s feeling for emotional effects demands a freer style; the accompaniments are elaborate, partaking of the dramatic element and drawing upon the fullest resources of the orchestra. Mendelssohn had started the composition of another oratorio, “Christus,” on the lines of the “Passion” music of Bach, but died before the work was completed. His “Hymn of Praise” (1840), a large choral work that is occasionally sung, well represents Mendelssohn’s skill in combining vocal and orchestral effect. Riemann calls it a symphony-cantata, Parry says it “combines the qualities of a symphony and of an oratorio.” REFERENCES. Grove.—Dictionary of Music and Musicians, articles on Oratorio and on composers named in this lesson. Parry.—Evolution of the Art of Music, Chapters VII and XIII. QUESTIONS AND SUGGESTIONS. Give the names of the Italian composers who followed Carissimi in the Oratorio. What contributed to make Germany a congenial field for Oratorio? Who are the early composers of the “Passion” music? Give an account of Bach’s work in Oratorio. Give the names of the leading composers of the “Stabat Mater.” Describe Handel’s orchestra. Mention Handel’s most important works in Oratorio form. Give an account of Haydn’s work in Oratorio. What works did Mozart and Beethoven write in Oratorio form? Describe Spohr’s work in Oratorio. Where did Mendelssohn’s work become most popular? Give an account of his compositions in Oratorio form. The class should, if the works are at hand, read through the text of Bach’s, Handel’s, Haydn’s, Spohr’s and Mendelssohn’s oratorios, all or as many as can be secured. Each pupil may be asked to write an account of one work.