Page:Selected letters of Mendelssohn 1894.djvu/67

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MENDELSSOHN.

53

At a comma

$\relative c' { \override Score.TimeSignature #'stencil = ##f \time 4/4 \clef tenor d d^\turn cis8 b16 d d4\fermata \bar ".." }$

and at the end when another person comes in

$\relative c' { \override Score.TimeSignature #'stencil = ##f \time 7/4 \clef tenor d d8^\turn[e fis e] d4 \grace a8 e'4 d2\fermata \bar ".." }$

Christ is represented by a bass, and always begins:—

$\relative c' { << \new Voice = "a" { \override Score.TimeSignature #'stencil = ##f \time 4/2 \clef bass g^\p^\markup { \italic Adagio. }(a b d c4. b8 a2) b4\fermata \bar ".." } \new Lyrics \lyricmode { \set associatedVoice = #"a" E\breve -- go.1 } >> }$

I could not get hold of the scheme, but I have noted down several passages, which I can show you, among others the words from the Cross. All the other speakers, Pilate, Peter, the maid, and the high priest, are now represented by the alto in G.

$\relative c'' { \override Score.TimeSignature #'stencil = ##f \time 4/4 g \grace { g8[g g] } g[fis e g] g4\fermata \bar ".." }$

The words of the People are sung by the choir above, all the rest from the altar. I must set down for you the “Crucifige” as I noted it, for the sake of its strangeness.

$\relative c' { << \new Voice = "a" { \time 4/4 \key g \major <d g b>2.\ff^\markup { \italic Allegro. } <d g b>4 <d g b>2(<cis e a>) <d g b>1 <g b d>2. <g b d>4 <g c e>2 << { d'2 } \\ { <g, b>4(<fis a>) } >> << { d'2(cis) } \\ { <e, a>1 } >> <fis a d>1 } \new Lyrics \lyricmode { \set associatedVoice = #"a" Tol2. -- le!4 Tol2 -- le! Cru1 -- ci2. -- fi4 -- ge1 e -- um. } \new Staff { \time 4/4 \key g \major \clef bass \relative c' { g2. g4 g2(a) g1 g2. g4 c2 g4(d) a'1 d, \bar ".." } } >> }$

The “Barabbam,” too, is curious; they are the mildest of Jews. But this letter is already too long, so I will be silent about the rest. Now come the prayers for all nations and institutions, each named