Elijah (Elias), Op. 70: Part II, Chorus: He, watching over Israel Cover Image

Elijah (Elias), Op. 70: Part II, Chorus: He, watching over Israel: Cantata/ Oratorio, Orchestra Accompaniment, Full Score

$10.00 USD
$10.00 USD
Skip to product information
Elijah (Elias), Op. 70: Part II, Chorus: He, watching over Israel Cover Image
Elijah (Elias), Op. 70: Part II, Chorus: He, watching over Israel: Cantata/ Oratorio, Orchestra Accompaniment, Full Score

Elijah (Elias), Op. 70: Part II, Chorus: He, watching over Israel: Cantata/ Oratorio, Orchestra Accompaniment, Full Score

By Felix Mendelssohn, Libretto by Composer, Julius Schubring, Karl Lingemann, and William Bartholomew

Item: 36-A290401
$10.00
Shipped

One moment…

Description
ELIJAH, OP. 70, is an oratorio by Felix Mendelssohn (1809-1847) that depicts events in the life of the Prophet Elijah as told in the Old Testament. The work premiered on August 26 1846 at the City Hall Triennial Music Festival in Birmingham, with Mendelssohn conducting. The work was immediately met with praise. Composed in the spirit of Bach and Handel, both of whose music Mendelssohn greatly admired, the libretto was written in both English and German, with the musical phrasing adjusted to suit the language performed. While Mendelssohn preferred eight soloists to depict the various characters, the oratorio is not uncommonly performed with four soloists depicting more than one role. The chorus (usually SATB, but does split up to eight parts) functions as the people ("Das Volk"), but also comments, like the choir in Greek drama. The work is structured in two parts, each with its own climax. The Part II chorus "He, watching over Israel" sources its text from both Psalm 121:4 and Psalm 138:7. Instrumentation: 2.2.2.2: 2.0.0.0: Timp: Str (4.4.3.3.3 in set): Mx Chor.

Elijah (Elias), Op. 70: Part II, Chorus: He, watching over Israel: Cantata/ Oratorio, Orchestra Accompaniment, Full Score isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

Request This Title

Tell us you want it.

Start Your Free Trial

Explore everything that's ready to play right now.
Sample Pages

No sample pages found.
Sample Audio
No sample audio found.
Sample Video
No sample videos found.
Additional Details
Series: Kalmus Choral Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563254-0
ISBN13: 979-8-89-563254-3
UPC: 660355140334
SKU: 36-A290401
Instrumentation: 2.2.2.2: 2.0.0.0: Timp: Str (4.4.3.3.3 in set): Mx Chor

More about this title

About the Composer: Felix Mendelssohn

Felix Mendelssohn (1809-1847) was a German composer whose deep reverence for Bach and Handel shaped his approach to large-scale choral works. He combined the contrapuntal mastery of those Baroque giants with 19th-century harmonic language, creating oratorios that connected audiences emotionally while maintaining intellectual rigor. Mendelssohn's sacred music emerged from genuine spiritual conviction and technical brilliance in equal measure.

As a conductor, Mendelssohn championed the works of his predecessors and his contemporaries with equal passion, which informed his own compositional voice. His oratorios, particularly Elijah, represent the apex of Romantic-era sacred choral writing and remain central to the repertoire for advanced choral ensembles and orchestras.

Why we love this

This chorus sits at the dramatic heart of Part II, offering orchestral accompaniment that supports both the structural integrity of a large-scale oratorio and the expressive depth your ensemble needs to deliver. The combination of choral writing that balances accessibility with sophistication, paired with an orchestra part that colors without overwhelming, makes this one of the most rewarding passages in the entire work to bring to life.

What to expect

The music unfolds with quiet confidence and spiritual steadiness, supported by calm orchestral harmonies that create a sense of watchful protection. The text's promise of divine oversight finds expression in a gentle, lyrical melody that builds gradually without urgency, invoking both contemplative peace and unwavering faith.

Who it's for

This chorus is designed for advanced choral ensembles capable of sustained singing at a concert-appropriate tempo and comfort with both English and German text (depending on your preferred version). It works best in organizations with access to a trained chamber orchestra or full orchestral accompaniment; the orchestral foundation is essential to the piece's character and support.

How to get the most out of it

  • Balance the chorus texture by ensuring the lower voices (alto, tenor, bass) maintain independence rather than doubling the upper line; Mendelssohn's voice-leading rewards clarity and separation.
  • Shape the long phrases with strategic breath points that honor the text and create architectural arcs rather than breaking every natural phrase ending.
  • Use the orchestral opening to establish the harmonic and emotional landscape; let the strings establish the foundation before the chorus enters so singers hear the context.
  • Attend carefully to the double-choir sections if your forces split into eight parts; these moments require precise balance and clear independence between the two groups.

How to use it

Consider programming this as a standalone oratorio excerpt in a concert that celebrates Romantic sacred music or Mendelssohn's legacy; it functions beautifully as a complete thought. Alternatively, perform it as part of a full Elijah presentation, where it provides a moment of lyrical beauty and reflection between the drama of the surrounding action.

Skills your students will build

  • Sustaining long-lined, legato singing in English and German text with proper language-specific diction
  • Managing dynamic control in fortissimo passages while maintaining clarity and blend in chorus texture
  • Responding to and tracking orchestral accompaniment in a chamber orchestra setting
  • Executing clear voice-leading in SATB chorale writing with occasional expansion to eight-part texture
  • Shaping phrase architecture over measures of harmonic development without relying on obvious structural breaks

You May Also Like