Paul (Mendelssohn)

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Paulus op. 36 ( MWV A 14 ) is the first of the two completed oratorios by Felix Mendelssohn Bartholdy . It deals with the life and work of the apostle Paul .

history

The Frankfurt Cäcilien-Verein commissioned Mendelssohn to write a Paulus oratorio in 1831 before his long trip to Paris . In 1832 he started working after his return to Berlin . Inspired by Bach and Handel , Mendelssohn asked his friend Julius Schubring to provide a text made up of biblical words and the inclusion of chorales "from the hymn book [...] in the style of Bach's Passion " (letter to Julius Schubring , December 22, 1832).

Adolf Bernhard Marx , who was also involved in the work, objected to it, calling the chorales a mistake, but Mendelssohn stuck to his plan. In 1834 the text was ready so that Mendelssohn could start composing. However, it was not finished by the planned premiere in spring 1836. Instead it took place a few weeks later at Whitsun at the 18th Niederrheinischen Musikfest 1836 in Düsseldorf in the Tonhalle . Mendelssohn then revised the work again for printing. In this final version it was listed in English as St. Paul in Liverpool in October 1836 . In the following eighteen months it was also performed at the Birmingham Triennial Music Festival and a total of over 50 other times.

Content and structure

Mendelssohn made a specific selection about which scenes he wanted to include in his Paul . The oratorio, divided into two parts, describes the development from Saul to Paul, the first part depicting his persecution of Christians (martyrdom of Stephen by stoning ) and the Damascus experience of the appearance of Christ . The second part tells about his work as a missionary and the dangers involved.

It was often regretted that Mendelssohn did not use particularly valuable dramatic scenes, such as those in the dungeon at Philippi and those of the tribunal of Caesarea, but he was probably more concerned with the implementation and narration of the Acts of the Apostles than the portrayal of Paul as a personality. In the second part the tone comes very close to that of a sermon . In the final choir, Mendelssohn draws the conclusion that not only Paul experiences God's righteousness through his steadfastness, "but all who love his appearance". Thus the oratorio also represents an invitation to conversion.

content

Stephanus sketched a scene by Oswald Achenbach , 1870
Temple scene design by Oswald Achenbach, 1870
Draft scene of Ananias by Oswald Achenbach, 1870

(in numerical order)

First part

  1. Overture (theme from No. 16 and fugue)
  2. Choir ("Lord, who you are the God")
  3. Choral (" Honor God alone on high ")
  4. Recitative and duet ("The multitude of believers was one heart" / "We heard it" / "And moved the people")
  5. Chorus ("This person doesn't stop talking blasphemous words")
  6. Recitative with chorus ("And they all looked at him" / "Away, away with that")
  7. Aria ("Jerusalem! You kill the prophets")
  8. Recitative and chorus ("But they stormed him" / "Stone him! He blasphemes God!")
  9. Recitative and chorale ("And they stoned him" / "You, Lord, I will surrender to you")
  10. Recitative ("And the witnesses took off their clothes")
  11. Choir ("See! We bless those who endure")
  12. Recitative and aria ("But Saul destroyed the community" / "Eat them, Lord of hosts!")
  13. Recitative and Arioso ("And went with a crowd towards Damascus" / "But the Lord does not forget his")
  14. Recitative with choir ("And when he was on the way" / "Saul! What are you following me?")
  15. Choir ("Open up! Become light!")
  16. Choral (" 'Wake up!' Calls us the voice ")
  17. Recitative ("But the men who were his companions")
  18. Aria ("God, have mercy on me for your goodness")
  19. Recitative ("But there was a disciple in Damascus")
  20. Aria with chorus ("I thank you, Lord, my God" / "The Lord will wipe the tears from all faces")
  21. Recitative ("And Ananias went there")
  22. Choir ("O what a depth of the riches of wisdom and knowledge of God!")

Second part

  2. Choir ("The earth is now the Lord's")
  3. Recitative ("And Paul came to the church")
  4. Duettino ("So we are now ambassadors for Christ")
  5. Chorus ("How lovely are the messengers who proclaim peace")
  6. Recitative and Arioso (“And how they sent out of the Holy Spirit” / “Let us sing of the grace of the Lord”)
  7. Recitative and chorus (“But when the Jews saw the people” / “Thus says the Lord: I am the Lord” / “And followed Paul”)
  8. Chorus and chorale ("Isn't that who disturbed all in Jerusalem?" / "O Jesus Christ, true light")
  9. Recitative ("But Paul and Barnabas spoke")
  10. Duet ("For so the Lord has commanded")
  11. Recitative ("And there was a man at Lystra")
  12. Choir ("The gods have become equal to men!")
  13. Recitative ("And called Barnabas Jupiter and Paulus Mercurius")
  14. Choir ("Have mercy, high gods!")
  15. Recitative, aria and chorus ("As the apostles heard" / "Don't you know?" / "But our God is in heaven")
  16. Recitative ("The people were excited against them")
  17. Choir ("Here is the Lord's Temple" / "Stone him! He blasphemes God!")
  18. Recitative ("And they all persecuted Paul on his way")
  19. Cavatine ("Be faithful to death")
  20. Recitative ("Paul sent and asked for the elders")
  21. Choir and recitative ("Take care of yourself" / "What are you doing that you cry?")
  22. Choir ("See what love the Father has shown us")
  23. Recitative ("And if he is about to be sacrificed")
  24. Final chorus ("Not only for him, but for all who love his appearance")

See also

literature

Web links