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Elijah: Lord God of Abraham: Conductor Score & Parts

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Elijah: Lord God of Abraham Cover Image

Elijah: Lord God of Abraham: Conductor Score & Parts

By Felix Mendelssohn

Item: 36-A289905

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Additional Details
Series: Kalmus Choral Library
Publisher: Keiser Productions, Inc.
UPC: 660355193248
SKU: 36-A289905
Instrumentation: 2, 0, 2, 2 - 2, 0, 0, 0, str (2.2.1.1.1), solo Bar

More about this title

About the Composer: Felix Mendelssohn

Felix Mendelssohn (1809, 1847) was a German Romantic composer whose deep engagement with both symphonic form and choral writing shaped the direction of 19th-century music. A gifted conductor and pianist as well, he understood the technical demands and expressive possibilities of the orchestra from lived experience, writing for instruments with clarity and purpose.

Mendelssohn's oratorios, including Elijah, represent the apex of his dramatic choral vision. Unlike some of his contemporaries, he balanced theatrical grandeur with chamber-like intimacy, allowing soloists and smaller instrumental groups to carry narrative weight alongside the full ensemble.

Why we love this

This score sits at an unusual intersection: it's grand enough to command an audience yet intimate enough that a smaller chamber orchestra can deliver real impact without overwhelming a soloists. The writing for woodwinds and strings creates color and texture that keeps rehearsals engaging for musicians who might otherwise tire of purely accompanimental roles.

What to expect

Spare and searching, with moments of prophetic intensity. Mendelssohn's orchestration leaves space for the baritone soloist to inhabit the narrative fully, while the chamber ensemble creates an almost intimate backdrop despite the work's spiritual grandeur.

Who it's for

Conductors leading chamber orchestras with strong soloists and the patience to shape Romantic oratorio. This works well for ensembles looking to program substantial choral-orchestral repertoire without requiring a full symphonic orchestra.

How to get the most out of it

  • Establish the baritone soloist's voice as the anchor from the first rehearsal. The orchestration supports rather than dominates, so clarity of the solo line shapes how players balance their parts.
  • Pay attention to the string writing in passages where the orchestra breathes alone. Mendelssohn uses pizzicato, tremolo, and sustained tones to shift mood; these transitions require intentional rehearsal time.
  • The woodwind doublings (2 oboes, 2 clarinets) create warmth rather than weight. Resist the impulse to push; transparency serves the emotional arc better than volume.

How to use it

This excerpt functions beautifully as a concert centerpiece with a professional or advanced amateur baritone, especially in programs pairing it with smaller choral works or solo vocal repertoire. It also serves well as a teaching score for intermediate conductors learning to balance solo and ensemble.

Skills your students will build

  • Balancing accompanimental textures with solo voices
  • Reading Romantic-era orchestration for chamber forces
  • Shaping long-line harmonic progressions in ensemble playing
  • Responding to a soloist's interpretive choices while maintaining ensemble cohesion

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