As a composer of oratorio, Mendelssohn's choruses, recitatives and German chorale melodies plainly show the influence of Bach's "Passion Music." This is particularly noticeable in "St. Paul." Mendelssohn's mightiest creation is undoubtedly "Elijah." It satisfies every demand by reason of its expressive recitative, its dramatic and descriptive choruses, its beauty of lyric episodes and the appropriateness of its structural form. The orchestral score of "Elijah" is one of Mendelssohn's best. Among minor details, the violas are brought into prominence as in the accompaniment to "Lord God of Abraham" where they are given the highest part. A well-known phrase is the 'cello accompaniment in thirds to the baritone solo. The brass is again reënforced by an opheicleide. The opening of the chorus, "O be gracious, ye immortals," in "St. Paul" is accompanied by divided violas and 'cellos, and parts for the serpent are to be found in the same work. Both the subject-matter and the orchestration of Mendelssohn's symphonies show exceptional originality, and the "Scotch," No. 2 in A minor, as well as the "Italian," No. 3 in A major, are worthy companions to the "Midsummer Night's Dream." His symphonies are full of freshness and vigor. Though classic purity of form is strictly adhered to, Beethoven's polyphony and Weber's picturesque portrayal are skilfully combined. Like Beethoven, he embodied in his symphonies certain dramatic characteristics. Rapid passages for the wood-wind, similar to those in the "Midsummer Night's Dream," are again to be met with in the Scherzo of the "Scotch" symphony. Mendelssohn was conservative in employing the brass; of all the early romanticists he remained the most faithful to traditional usage of the third group, although trombones were now incorporated as habitual members thereof. Among other novel combinations, divided violas, reënforced by clarinets, intone the second subject in the first movement of the "Lobgesang" symphony. In connection with Mendelssohn it is interesting to recall the fact that as late as 1829 the pianoforte was still sometimes employed as a means for conducting, since in that year he directed his C minor symphony in that way in London. Mendelssohn's overtures are more pronounced in their modern romantic tendencies than his symphonies. They are distinctly programmatic, even though in structure they are moulded on classic forms. From them dates the development of the modern romantic concert overture. Mendelssohn's merits and defects have led to much violent discussion, but the suavity of his melody, the purity of his form and the delicacy of his orchestration have been excelled by none. VI. The most prominent associates and disciples of Mendelssohn were F. Hiller, Rietz, the Englishman, Bennett, and the Dane, Gade.