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Felix Mendelssohn-Bartholdy, Elijah: An Oratorio (1846)
Heinrich Heine could not help noticing the irony in the fact that when the greatest work of the Baroque sacred repertoire, Johann Sebastian Bach’s Matthew’s Passion, was finally recognized and put in its rightful place, it was a Jew who did it. Moreover, it was the grandson of history’s “Third Moses.” Though Felix Mendelssohn, like Heine, was a convert, unlike Heine, he was actually rather serious about his new-found religion. His composing shows it. And it also shows a commitment to the faith of his equally famous grandfather. An important part of Felix Mendelssohn’s genius lay in his uncanny ability to ferret out great works of the past – to brush off the outer finery of a long passed era and recognize the great pathos that was found inside. But another piece of Mendelssohn’s genius consisted of the transposition of the genre to the tastes of the Romantic era.
Not everything he did in this regard was an unqualified success, and even the most important, Elijah, has its detractors. (Bernard Shaw rather maliciously called it a “failed comic opera”). It takes as its subject matter the life of the prophet Elijah, set out in I Kings – this includes the well-known tale of Ahab and his wife Jezebel, and the rise of the cult of Baal among the Israelites. The music is marvelous – not so profound as Bach, but still melodic and beautiful, and some passages are very great indeed. The settings include several Psalms and messianic prophesies. The link here is to the London/Decca recording with Bryn Terfel and Renée Fleming with the Orchestra of the Age of the Enlightenment, but the Dietrich Fischer-Dieskau recording on EMI is even better, if you can find it.
More from Scott Horton:
Conversation — March 30, 2016, 3:44 pm
Joseph Hickman discusses his new book, The Burn Pits, which tells the story of thousands of U.S. soldiers who, after returning from Iraq and Afghanistan, have developed rare cancers and respiratory diseases.
Freddie Gray’s relatives arrived for the trial in the afternoon, after the prep-school kids had left. By their dress, they seemed to have just gotten off work in the medical and clerical fields. The family did not appear at ease in the courtroom. They winced and dropped their heads as William Porter and his fellow officer Zachary Novak testified to opening the doors of their police van last April and finding Freddie paralyzed, unresponsive, with mucus pooling at his mouth and nose. Four women and one man mournfully listened as the officers described needing to get gloves before they could touch him.
The first of six Baltimore police officers to be brought before the court for their treatment of Freddie Gray, a black twenty-five-year-old whose death in their custody was the immediate cause of the city’s uprising last spring, William Porter is young, black, and on trial. Here in this courtroom, in this city, in this nation, race and the future seem so intertwined as to be the same thing.
Pairs of moose-dung earrings sold each year at Grizzly’s Gifts in Anchorage, Alaska:
An Alaskan brown bear was reported to have scratched its face with barnacled rocks, making it the first bear seen using tools since 1972, when a Svalbardian polar bear is alleged to have clubbed a seal in the head with a block of ice.
A former prison in Philadelphia that has served as a horror-movie set was being prepared as a detention center for protesters arrested at the upcoming Democratic National Convention, and presumptive Republican presidential nominee Donald Trump fired his campaign manager.
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“Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'”