From references to the sermon: Felix Mendelssohn Bartholdys “Elias”

This article explores Felix Mendelssohn Bartholdy’s oratorio Elijah in the context of its dramatic expressiveness and rich symbolic layers. Although Mendelssohn did not leave behind any mature operas that satisfied his artistic ambitions, his musical thinking reveals a distinctly theatrical impulse. His approach to large-scale form reflects a search for inner architectonic structure - a kind of “centrifugal force” that draws the listener in and provides spatial and narrative coherence throughout the work. The central focus lies on Mendelssohn’s use of musical quotations and stylistic allusions that permeate the oratorio’s fabric. He refers to Bach’s Passions, the organ tradition, and chorale idioms - not through direct quotation, but through harmonic, rhythmic, and melodic analogies. The article argues that this use of chorale-like material, even in the absence of explicit quotations, serves as a sign of inner conviction and theological rootedness. A key question arises: Why does Mendelssohn construct such a consistent web of musical references? The answer, proposed by the author, is that these signals form a deliberate theological message-one in which the Old Testament figure of Elijah is interpreted as a prefiguration of Christ. Special attention is given to the role of chorale idiom in Elijah. By consciously avoiding direct quotations of well-known New Testament chorales, Mendelssohn creates musical structures that express steadfast faith while remaining faithful to the Old Testament narrative. In this way, a new theological dimension emerges-one that allows the light of the New Covenant to shine through the texture of the Old. The theological perspective of the article aligns with the Christological framework developed by E.W. Hengstenberg and stands in contrast to the views of Friedrich Schleiermacher. The author emphasizes that, despite the complexity of his personal and cultural identity, Mendelssohn inherits the Lutheran tradition and treats music as a form of preaching - embodying in Elijah the idea of grace as a foundational concept in Protestant theology. In conclusion, the article turns to the Christological horizon of the work. Mendelssohn appears as both a thoughtful and believing Lutheran, drawing on the theological legacy of J.S. Bach, Martin Luther, and Hengstenberg. Elijah becomes not merely a sacred drama, but a sonic sermon-an artistic meditation on divine grace as the sustaining power for the human soul in moments of weakness. It is grace that breaks through the Old Testament narrative and reveals Elijah not only as a prophet, but as a forerunner of the Messiah. The author declares no conflicts of interests.

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