Nothing daunted, the Committee at their next meeting (January 30, 1846) instructed Moore to ask Moscheles (who had been appointed Conductor-in-chief of the Festival) to use his influence with Jenny Lind. Although a good deal of pressure seems to have been brought to bear upon her to visit Birmingham for the purpose of singing in the first performance of "Elijah," it was of no avail. The reason of Jenny Lind's inability to come to England at that time may be traced to her fear of Mr. Alfred Bunn, the opera manager. Those who wish to follow the circumstances of that unpleasant episode in the great singer's career will find the story fully told in the chapter headed "The Bunn Contract," in Messrs. Holland and Rockstro's "Memoir of Jenny Lind-Goldschmidt," Vol. I., pp. 228 and 290; also Vol. II., pp. 39 and 198. Meanwhile, the work of composition made slow progress, and the fate of the oratorio was decidedly precarious. On April 20, four months before the Festival, Mendelssohn wrote to Moscheles suggesting that "Athalie" should be an alternative to "Elijah." To Hauser, of Vienna, he wrote: "I sit, over both my ears, in my 'Elijah,' and if it only turns out half as good as I often think it will, I shall be glad indeed! The first part will be quite finished within the next few days, and a goodly portion of the second part also. I like nothing more than to spend the whole day in writing the notes down, and I often come so late to dinner that the children come to my room to fetch me, and drag me out by main force."[26] [Footnote 26: "Memoir of Madame Jenny Lind-Goldschmidt," I., 402.] Writing to Moscheles, Mendelssohn says: "I absolutely require a first-rate high baritone. Can such an one be found?" Again: "If, after all, there is no baritone to be got, the whole thing falls to the ground." To Jenny Lind: "Sometimes, in my room, I have jumped up to the ceiling when it seemed to promise so very well. (Indeed, I shall be but too glad if it turns out only half as good as it now appears to me.) But I am getting a little confused, through writing down, during the last few weeks, the immense number of notes that I previously had in my head, and working them now and then upon the paper into a piece, though not quite in the proper order, one after another."[27] To Devrient: "I am working day and night at my new oratorio to send to England, otherwise it will not be in time." To his sister Fanny: "I am more driven than ever, as an immense piece of 'Elijah' is not yet copied, whilst the first part is already in rehearsal in England.... The first thing to-morrow morning I shall shut myself up, and decline to budge till 'Elijah' is finished, which may not be for another three weeks, and that I also swear by my beard." [Footnote 27: "Memoir of Madame Jenny Lind-Goldschmidt," I., 392.] The anxiety of the Birmingham Committee was somewhat relieved by the receipt of the following letter from the composer:-- [TO JOSEPH MOORE, ESQ.]