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