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Your Church Choir 

Can Sing Mendelssohn! 

Robert Chambers 

Often, when church choral 

conductors think of works by 

Felix Mendelssohn-Bartholdy, 

they call to mind the popular choruses excerpted 

from his oratorios: “He, Watching 

Over Israel,” “Lift Thine Eyes,” “He That Shall 

Endure to the End,” “How Lovely Are the 

Messengers,” “But the Lord Is Mindful of His 

Own,” “There Shall a Star from Jacob Come 

Forth,” etc. Some may be familiar with the 

Op. 78 psalm settings for eight-part choir, or 

the recently popular, if the number of editions 

is any indication, “Heilig, Heilig ist der Herr 

Zebaoth.” However, many conductors appear 

to be unaware of the other fi ne choral 

works Mendelssohn wrote for the church, 

or that are appropriate for church use, even 

if they were created for a choral society. 

In fact, a recent biography of Mendelssohn 

mentions only one of these works, and then 

Robert Chambers is a lecturer at Johnson Bible 

College in Knoxville, Tennessee, where he conducts 

the Campus Choir, Tintinnabulation (handbell choir), 

and teaches conducting, music ministry, worship, and 

private voice. He holds a BM and MME from Texas 

Christian University and a DMA from Southwestern 

Baptist Theological Seminary. 

only as representative of the infl uence of 

Bach on his compositions. 1 A limited number 

of these works can be sung by almost any 

four-part choir. These pieces include unaccompanied 

works for organ and choir, and a 

few pieces originally set to English texts. This 

article proposes to familiarize the reader 

with these works. 

The works for organ and choir include Op. 

23, No. 1 Aus tiefer Not schrei ich zu dir; the 

Drei geistliche Lieder: Lass, O Herr, mich Hilfe 

fi nden, Deines Kind’s Gebet erhöre, and Herr, 

wir traun auf deine Güte; Hear My Prayer; and 

the Te Deum, We Praise Thee, O God (Preis sei 

dir, O Gott). For this article, the three motets 

of Op. 69: No. 1, Lord, Now Lettest Thou Thy 

Servant Depart in Peace; No. 2, O Be Joyful in 

the Lord; and No. 3, My Soul Doth Magnify the 

Lord, will be considered works with organ 

accompaniment although they were printed 

posthumously as unaccompanied pieces with 

German text. 

Among the unaccompanied works, the 

four-part settings of the Hundredth Psalm, 

Jauchzet dem Herrn, alle Welt and the evening 

blessing, Zum Abendsegen, Herr, Herr, sei 

gnädig unserm Flehn [Lord, Lord, Have Mercy 

upon Us] will be considered here. 

Choral Journal • April 2010 33



Op. 23, No. 1 

Aus tiefer Not schrei ich zu dir 

[From Depths of Grief I Call to Thee] 

Aus tiefer Not, Op. 23, No. 1, for four-part 

chorus, alto, tenor, bass soloists, and organ is 

divided into fi ve sections. Four of the sections 

are unaccompanied or, in one edition, 

organo col basso, 2 another indicates orgel mit 

dem Bass when the choir enters after the 

solo in the middle section, 3 which is a tenor 

solo accompanied by organ. Another edition 

has an organ accompaniment throughout. 4 

Except during the tenor solo, this organ part 

is a doubling of the choral parts. This work… 

[U]nites chorale setting, motet-like 

through-imitation, soloistic and 

choral song form in a connected 

form, which structure—also 

without instruments—reminds one 

of a cantata, had its forerunners 

nevertheless in the motets of Bach’s 

time. 5 

The fi rst and last sections are simple chorale 

harmonizations with the last one having 

greatly changed harmony. When he was beginning 

his work on this piece, Mendelssohn 

had written Zelter (his composition teacher 

and conductor of the Berlin Singakademie) 

to ask “whether it would be all right to 

lengthen the fi rst note of the chorale!” 6 He 

did lengthen 

this note in 

the second 

and fi fth sections. 

Each of the 

fi rst two sections 

sets the 

fi rst stanza of 

the chorale. 

The second 

section is a 

double fugue 

with a main 

subject (Figure 

1a.) and 

two secondary 

subjects 

(Figure 1b. c.). 

The main subject 

(Figure 4a), which, in its fi rst statement, 

is an exact reproduction of the fi rst chorale 

phrase is accompanied for the fi rst third of 

the section by fi gure 4b. It is then introduced 

and accompanies the main theme to the 

midpoint of the section. The climax of the 

section is the presentation of the slightly altered 

main subject by the basses at measure 

sixty-eight. A wonderful dialogue between 

sopranos and tenors/basses eventually leads 

to the last entrances of fi gure 4a fi rst in the 

bass (with its initial interval expanded to 

an octave) then alto and fi nally, soprano. In 

Baroque-like fashion, the section closes with 

a homophonic phrase in long notes, constituting 

a written-out ritardando. 

The Adagio aria for tenor and organ, 

which is repeated by the chorus with few 

changes, seems estranged from its surroundings. 

Krummacher called the inclusion of this 

aria “a fl aw.” 7 In the relative A-fl at Major, it is 

the only section not based on the chorale 

and its cantabile style causes it to stand apart 

from the contrapuntal austerity of the two 

sections on either side of it. Optimism in 

this second stanza of the text justifi es the 

contrasting music and use of the solo voice. 

In response to the despair expressed in 

the previous sections, the text expresses 

confi dence in the forgiveness and goodness 

of God. 

A chorale concertato, which R. Larry 

Todd refers to as “Bachian,” 8 with the tune 

presented by the sopranos, forms the fourth 

section. Alto, tenor, and bass soloists introduce 

each text segment with independently 

composed materials. The fi nal note of each 

chorale phrase is overlapped by the soli anticipating 

the phrase that follows. The soloists 

usually enter imitatively except when following 

the fourth phrase. Similar treatment of 

the solo voices after phrases two, fi ve, and six 

add a greater sense of unity to this section. 

It is curious that the tenor and alto soloists 

sing the fi nal measure alone on a c 1 and a ♮2 

respectively. A simple chorale harmonization—different 

from the fi rst—closes this 

work in F minor, but, like the previous section, 

with a picardy third. 9 

34 Choral Journal • April 2010

The immediate predecessor of the “Lutheran 

project” that Mendelssohn composed 

on his Italian journey, Aus teifer Not was 

begun in Vienna in 1830 and completed, 

as were a large number of chorale-based 

works, while he was in Italy. The text came 

from a collection of Luther’s hymns that he 

received from Franz Hauser. 

How does one best perform this mini 

chorale cantata? Some fi nd it awkward 

to present the work as indicated in many 

scores—unaccompanied with organ only 

on the tenor solo and on the chorus that 

follows. Nott indicates the possibility of an 

entirely unaccompanied performance by 

simply omitting the tenor solo and beginning 

the middle section with the chorus parts. 10 

Musically, this is effi cient, but the darum auf 

[therefore] that begins the text of the chorus 

part does not fl ow logically from the end of 

stanza one. It demands the text of the tenor 

solo for full understanding. Certainly, Nott’s 

written out accompaniment could be used 

throughout the piece for church or concert 

use. Indeed, the implication of organo col basso 

from the Breitkopf & Häertel edition indicates 

the acceptability of continuous organ 

accompaniment. This also agrees with the 

infl uence of Bach on Mendelssohn’s church 

music. Some of Mendelssohn’s earlier works 

were created with almost a Baroque basso 

continuo. An organist doubling the bass line 

and fi lling in harmonies while occasionally 

bolstering individual parts would not offend 

the texture or the style. Though probably the 

longest work discussed in this article, more 

than twelve minutes in its entirety, this work, 

which has much to offer performers and 

listeners, deserves to be presented in church. 

The text is especially appropriate for times 

of penitence and would serve well for Lent 

or Holy Week services. 

Drei geistliche Lieder Op. 96 [Anthem] 

Charles Bayles Broadley, “an eccentric 

musical and literary amateur” 11 and a pupil 

of Mendelssohn’s friend Ignaz Moscheles, 

commissioned Mendelssohn to compose 

a setting of his choice of Psalms 13, 100, or 

126. Mendelssohn chose to set Broadley’s 

versifi cation of Psalm 13 for alto or mezzo 

soprano solo, choir, and organ. He compressed 

fi ve of Broadley’s quatrains into a 

solo anthem in three movements (Andante, 

Chorale, Allegro) that was completed on 

December 12, 1840. For the German edition, 

the title was changed from “Anthem” 

to “Geistliches Lied mit Chor” 

and a German text, possibly by 

the composer himself, was inserted 

below the English text. 

Also, the meter of the chorale 

was changed from alla breve 

to common meter (in hopes 

of preventing the customary 

German practice of singing 

chorales very slowly) for this 

edition, and an indication that 

the movements were to be 

performed with no pause between them 

was added. 12 The published title of the German 

edition, issued August 1841, ended up 

as Drei geistliche Lieder für einen Altstimme mit 

Chor und Orgelbegleitung. 

The work was to undergo a further 

transformation. Later, in 1841, Broadley 

requested an orchestral version, which 

Mendelssohn agreed to do, but due to 

his mother’s death, did not complete until 

January 1843. For this version of the work, 

Mendelssohn composed a fourth movement. 

This Fuga was based on a rewording 

of the fi nal phrase of Broadley’s text for the 

third movement. The addition is somewhat 




redundant musically as well as textually. It 

causes the orchestral version to follow a 

fugal movement with a fugue and seems 

anticlimactic. Except in a transcription by 

Moscheles, this added movement was never 

published with organ accompaniment. 13 The 

four-movement orchestral version only appeared 

in print posthumously as Hymne, op. 

96 in 1852. 

Until recently, this Anthem or Geistliche 

Lieder or Hymne has been only available in 

the United States as individual pieces. The 

fi rst movement alone had appeared with 

an English text until the late 1990s and the 

English texts were poetic translations of 

the German, not the original English text of 

Broadley. This text has been made available 

with the music through the Carus editions 

of the work. The three movements that 

comprised Mendelssohn’s original English 

language composition are considered here. 

Lass, o Herr, mich Hülfe fi nden 

[Help Me, Lord, in My Affl iction] 

Op. 96, No. 1 (Posthumous) 

The Andante fi rst movement, Lass, o Herr, 

mich Hülfe fi nden [Help me, Lord, in My Affl iction], 

is a prayer of penitence. A fairly simple 

ternary form in six-eight meter, this work has 

a B section that begins with the alto soloist 

presenting a melody that is repeated by 

the chorus in imitative fashion. This middle 

section uses staggered entrances, dense 

chromaticism, and melodic and harmonic 

diminished fi fths, which lead to the return 

of the opening solo on a cadence in the 

relative minor. The opening section of the 

work consists of a presentation of the lilting 

melody by the soloist. Four-part choir takes 

up the melody with sopranos echoing the 

fi rst phrase of the solo. Alto-tenor, sopranobass 

imitation begins the next phrase, 

which departs from the melody of the solo 

then leads to a cadence on the dominant 

with a descending sequence on the word 

“nevermore.” The shortened return of the 

A section consists of the soloist alternating 

phrases with the choir and then the choir 

joining soloist on the fi nal “nevermore.” 

Emphasizing the pleading of the penitent, 

the same text is used for both A sections. 


Deines Kind’s Gebet erhöre 

[Father, Hear Thy Child’s Petition] 

Op. 96, No. 2 

The short, simple chorale for alto solo, 

four-part choir, and organ, is set in B ♭ major, 

common meter, and with a Non lento tempo. 

Mendelssohn treats his original melody as a 

single stanza sung by the soloist with organ 

accompaniment which is then repeated by 

the choir with organ doubling the voices. 

Taken at the composer’s intended tempo, 

the melody is very pleasant and appropriate 

to the text. The harmony undergoes 

considerable alteration in the choral section, 

but only the fi fth of the seven phrases ends 

on a different chord (A major instead of F 

major). The second harmonization, vocally 

conceived, is an improvement over the one 

that accompanies the solo. 

This chorale setting can be sung by any 

choir with a mezzo soprano who will sing 

the solo version of the chorale and basses 

who can sing low F. Apart from the Carus 

edition, the piece is currently only available 

with German text. 

Herr, wir traun auf deine Güte 

[Lord, We Trust in Thy Great Goodness] 

Op. 96, No. 3 

A joyful outburst of faith, the Allegro is 

in common meter and marked Con moto e 

vivace in the third idition. The work, a ternary 

form with coda, employs four complete 

statements of the stanza. 

Without introduction, the soloist presents 

the melody and fi rst statement of the 

text accompanied mainly by running eight 

notes. This accompaniment remains essentially 

the same until the fi nal phrase of the 

song. Melodically, the whole piece is derived 

from fi ve measures (Figure 3). The motives 

3a and 3c always appear in the same form 

while 3b has its fi rst interval inverted in the 

extension of the B section. Altos and basses 

take up the fi rst phrase of the melody which 

is repeated a fi fth higher by the sopranos 

and tenors with fi rst alto and then bass harmony. 

The second phrase is then presented 

homophonically, but its extension is treated 

with imitative entrances that lead to the 

dominant key. 

The B section begins with the soloist 

presenting a new melody in F minor. The 

fi fth and sixth measures of this melody are 

exactly the same (transposed) as the corresponding 

measures of the original. Over the 

next two measures, the melody descends 

a seventh stepwise c 2 –d 1 . The soloist then 

sings an inversion of the second melodic motive 

(Figure 3b) with the last note descending, 

two measures of new material, and the 

concluding phrase (Figure 3c) in C minor. 

The return of the A section begins in C 

minor but with basses singing the fi rst two 

measures of the melody (Figure 3a) note for 

note. In turn, this is taken up by the tenors 

at the fi fth, the altos at the octave, and the 

sopranos an octave above the tenors. Once 

a voice enters it continues with only brief 

rests for the upper three voices. The section 

proceeds as a mini-development section 

based on the fi rst four measures. The only 

complete statement of this theme comes in 

the bass part, reinforced by octaves in the 

organ bass clef, at measures 55–58. As the 

basses reach the fi nal note of this phrase, 

the sopranos jump a sixth to A ♭2 . The piece 

reaches its climax eight measures later when 

successive entries of Figure 3a in alto, tenor, 

and soprano above a bass pedal tone B ♭ 

lead the sopranos to an extended forte A ♭2 . 

A cadence on the dominant seventh by the 

choir leads to the soloist’s entrance with 

the second melodic motive (Figure 3b). This 

phrase concludes similarly to the second 

phrase of the B section. The choir then takes 

up the melody from the soloist and closes 

with an extension similar to that of the A 

section but ending on the tonic. 

The coda consists of short phrases 

passed between the soloist and choir, a complete 

rendering of the second half of the text 

by the soloist on a melody that sequences 

upward, and a strong statement of the fi nal 

line of the text by chorus, soloist, and organ 

in long notes. A clever, well-integrated work, 

Her, wir traun, auf deine Güte, will prove not 

diffi cult and rewarding for those who attempt 

it. 

These Drei geistliche Lieder were intended 

by the composer to be sung as one work 

with no pauses. However, they have been 

published as separate pieces and each can 

stand alone as a single anthem for a worship 

service. The fi rst two are penitent in nature 

and would be appropriate for Lent or any 

service where a statement of confession is 

needed. The Andante is available in many 

English versions. The second and third pieces 

are only published with their English texts in 

scores with the other pieces (see the Carus 

editions). Number 3 would serve very well 

for any celebration of thanks and praise. 

Hear My Prayer 

[Hör, mein Bitten, Herr, neige dich zu mir] 

The hymn, Hear My Prayer, was composed 

in 1844 with the English text, but later 

published with the addition of a German 




text, Hör, mein Bitten, Herr, neige dich zu mir. 

Later (1847), the composer arranged it for 

orchestra. Mendelssohn set a paraphrase of 

Psalm 55 by William Bartholomew (1793– 

1867), who asked him to compose the 

piece. Bartholomew had translated several 

of Mendelssohn’s works into English. It was 

fi rst performed with organ accompaniment 

in 1844. 14 Although he composed it for a 

concert, the composer may have hoped to 

make it useable to churches by arranging the 

accompaniment for organ. Hear My Prayer is 

a testimony to Mendelssohn’s ability to absorb 

the form of the English anthem. Though 

this work enjoyed tremendous popularity 

in England during the nineteenth century, 

some twentieth century British scholars have 

complained that Felix “accommodated his 

style to English tastes.” 15 George Bernard 

Shaw, the playwright-critic, spoke of it in 

reverent tones 

[F]or Hear My Prayer. Unless you 

can sing those opening lines with 

the rarest nobility of tone and the 

most touching depth of expression, 

your one duty to them is to let them 

alone…: Success in delivering them 

is only possible to singers who have 

the fi nest temperamental sympathy 

with their spirit; and anything short 

of success is utter failure. 16 

The work is divided into four sections— 

an introduction for soprano solo joined by 

choir in the last two measures, an Allegro 

moderato in two parts for solo and chorus, 

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a recitative in which the chorus joins with 

brief imitation, and a fi nal section in ternary 

form. In the fi nal section, a soprano solo 

is followed by an imitative section for the 

chorus and then returns with the chorus 

underneath at one point, hinting at the imitation 

of the middle part. 

The Andante opening section consists of 

a thirty-three measure soprano solo that 

is, at fi rst, cantabile then recitative-like and 

returns to the cantabile before the chorus 

enters, singing in unison the fi rst phrase of 

the soprano solo. This G-major section shifts 

abruptly with the solo reentering to the Allegro 

moderato and E minor. 

This second section of the work also 

changes from common meter to 3/8. Until 

bar 64, there is a phrase-by-phrase echoing 

of the solo by unison choir. At 64, the choir 

breaks into parts with solo voice and soprano 

line the same. After the choir cadences, 

the soloist repeats the phrase that began 

this section. The unison choir again responds 

but this time a step lower and substituting 

an augmented fourth for the perfect fourth 

of the solo (Figure 4). 

The choir returns with similar parts as 

before and progresses to a climax on a 2 for 

both solo and sopranos. In block chords, the 

combined forces move to a cadence on the 

tonic. With one last outburst, “O God, hear 

my cry,” the soloist expands the skip in the 

fi rst motive of the section to a sixth. The 

choir then sings a phrase that ends on an E 

major six-fi ve chord which is the transition 

to the third section of the piece. 

A brief Recitative which becomes a Sostenuto 

when the choir joins the solo, the third 

section never reaches a point of harmonic 

rest until the fi nal D-major chord. One is 

only assured of this rest when the next 

section begins in the home key of G major. 

Melodically, all new material appears in this 

section. Only the fi nal unison phrase of the 

choir helps connect with what follows. The 

choir will reprise unison Ds in the middle of 

the fi nal section. 

The last section, Con un poco più di moto, 

begins with the soloist singing “O for the 

wings, for the wings of a dove,” to a poignantly 

fl owing melody. As in the Andante, 

the choir does not enter until the solo has 

presented her melody in its entirety (twentyeight 

measures). When the choir enters, they 

build up one part at a time from lowest to 

highest on the words with which the soloist 

began and then break into brief imitation 

on a descending arpeggio on the words “far 

away” before reaching a climax on a homophonic 

statement of those words. Imitation 

of a brief stepwise descending motive leads 

to a forceful declaration of “remain there for 

ever to rest” on unison Ds fi rst in the upper 

octave, then in the lower one. As the choir 

completes the only signifi cant portion of the 

work in which they sing independently of the 

soloist, the soloist enters and presents all 

but the fi nal phrase of the solo with which 


the section began. This time, however, she is 

accompanied not only by an almost identical 

organ part, but by the choir. At fi rst, the choir 

sings in longer notes under the solo but as 

the soloist reaches the climactic phrase, the 

choir adds one voice at a time as it had on 

its fi rst entrance (Figure 5). Choir and soloist 

build to one fi nal g 2 for the solo on the 

words “for ever at rest.” The soloist resumes 

the stepwise triplets of the section’s main 

theme which now turn upward for the fi rst 

time and then move with choir and organ 

supporting chords to the peaceful cadence. 

The extremely well-written piece forms 

a cohesive whole. Textually, it moves from 

a statement of a cry for God to hear to 

despair over circumstances to peaceful trust 

that God will provide refuge. Altogether, it 

seems too large for inclusion in a regular 

worship service, although it might serve well 

for a special occasion when more music is 

required. Contemporary recordings of the 

work cover approximately eleven minutes. 

Many published editions with organ or keyboard 

accompaniment solely consist of the 

fi rst section. Some use only the fi nal section, 

“O for the Wings of a Dove.” 

Te Deum, We Praise Thee, O God 

[Preis sei dir, O Gott] 

The Te Deum in A major has been described 

as “dignifi ed” and “mellifl uous.” 20 

Composed in 1832 as part of an English 

service project suggested by Vincent Novello, 

it is the only one of the proposed 

works fi nished that year. The Te Deum and 

Jubilate were to form the music for an Anglican 

Morning Service and the Magnifi cat 

and Nunc dimittis an Evening Service. The 

latter three works were completed in 1847 

and published posthumously. Mendelssohn 

revised the Te Deum in 1846 and it was 

published that year in the version for organ, 

soloists, and choir. 

A largely through-composed piece with 

little attempt at unifying the whole; the work 

unfolds over fi ve sections with the fi rst section 

being the longest. It betrays the infl u- 

ence of William Croft and William Boyce, 

composers whose works Mendelssohn had 

studied in Thomas Attwood’s library. 21 The 

use of material from the initial nine measures 

at the beginning of the third section 

constitutes the only attempt at providing 

overall unity in the work. Each section mixes 

homophonic phrases with imitative ones, 

and all except the second one contrast soli 

and tutti. The use of phrases with longer note 

values at the end of each section may help 

establish a sense of cohesiveness. 

In cut time, homophony rules the fi rst 

half of the Andante con moto before imitative 

entrances on a motive featuring the skip of 

a perfect fourth take over. Three phrases 

follow that end with the words “praise thee.” 

Each of theses phrases begins with a single 

voice. When that voice reaches “praise” it 

is joined by the two voices closest to it in 

range. The word “praise” in each phrase 




extends over three measures. The section 

ends with a lengthy phrase of similar rhythm 

and melodic movement to that with which it 

began, cadencing on the fi rst beat of a common 

time measure that begins the second 

section. 

This Adagio e lento, by far the shortest of 

the sections, includes the full chorus moving 

in block chords except for brief imitation on 

the words, “thine honourable.” It begins in D 

major and ends in C ♯ minor. 

As noted above, the Andante e lento 

resumes not only the meter and tempo, but 

the music from the beginning of the work. 

Soloists take up phrases that begin imitatively 

and lead to cadences fi rst in D major and 

then G major. The last half of this section uses 

mostly white notes and features echoing of 

soli and tutti. 

Even the Allegro moderato in Canone 

has a brief homophonic phrase for soli 

separating the two canonic tutti phrases. As 

he did in the second section, Mendelssohn 

changes the meter to common time. In this 

clever, though brief, double canon, the initial 

entries of all four voices seem to indicate a 

simple canon before the true picture unfolds 

(Figure 6). When the chorus returns, they 

appear at fi rst to be repeating the canon 

but quickly change to new material and end 

on the dominant. 

After the soloists enter imitatively, the 

fi nal Andante moves quietly and reverently, 

one note per beat. One fi ve-measure phrase 

(Figure 7) dominates the section. The work 

concludes with this phrase extended by repeating 

the fi rst two measures three times, 


Jubilate, one borrowed from 

Mendelssohn’s Sechs Sprüche. 

The German publisher, Breitkopf 

& Härtel designated the pieces 

motets and labeled them Op. 

69, Nos. 1–3. Mendelssohn had 

requested that the German version 

not be printed with English 

texts, but the publisher insisted. 

The order of the songs was also 

changed, disregarding the original 

purpose as English service 

music. Sadly for many church 

choirs outside of England, the 

German version of these pieces 

became more widely known. 

Opus 69, No. 1 

The Nunc Dimittis, Lord, Now 

Lettest Thou Thy Servant, is described 

by John Michael Cooper: 

leading to a peaceful end. 

The organ accompaniment doubles the 

voices throughout. Only in the last half of 

the fi rst section does Mendelssohn allow 

the bass of the organ to render moving 

quarters independent of the voices. Though 

not diffi cult, this Te Deum setting beautifully 

and effectively expresses a profound statement 

of faith. At present, the score can be 

obtained either in the Peters Edition of the 

choral works with organ or in the edition by 

Gunter Graulich. 22 

No. 3, My Soul Doth Magnify the Lord 

As described above, these pieces were 

originally begun in 1832, and, with the Te 

Deum, were intended to fulfi ll the needs of 

the Anglican Morning and Evening Services. 

The three settings were completed during 

the summer of 1847 and published in England 

presumably about the time of Mendelssohn’s 

death on November 4 of that year. 

The English version utilizes choir, soloists, and 

organ. Shortly after the composer’s death, 

they were published with German texts 

unaccompanied and with an altered Gloria 

Patri (Ehre sei dem Vater in German) for the 

[M]endelssohn employs a 

fl uid imitative counterpoint 

evocative of late Renaissance 

polyphony in the context 

of an overarching modern 

ternary form (ABA’), with 

each section subdivided into 

three sections. 23 

The A section remains solidly in E ♭ major 

while the B section, in C minor but mainly 

concerned with G minor, ends in G major. 

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Op. 69: No. 1, Lord, Now Lettest Thou Thy 

Servant Depart in Peace 

No. 2, O Be Joyful in the Lord 

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most emotionally poignant 

episodes.” 24 

When the A section returns it begins in 

G major but quickly fi nds the home key. 

Melodically, the piece opens with a theme 

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that moves through 

each voice featuring 

white notes with a 

single dotted-quarter-eighth 

rhythm 

(Figure 8). In the 

theme of the B 

section this rhythm 

becomes the dominant 

factor (Figure 

9). The Gloria Patri 

is a straight-forward 

hymn-like setting. 

Cooper praises the 

Amen for its “artful 

chain of suspensions 

in an extended cadential descent, 

[which] offers a deceptively simple but 

highly effective close to one of the Gospel’s 


The Jubilate in A major has 

two possible Gloria Patri settings. 

It is composed in three 

disparate sections, the outer 

sections in A major and alla 

breve, the middle section in 

A minor and common meter. 

The fi rst section, Allegro moderato, is made 

up of points of imitation. For seven measures, 

a rhythmic motive made up of the last three 

quarters in each measure drives the second 

half of this section to its E-major cadence. In 

the second section, Moderato, a single theme 

is initiated and carried throughout (Figure 

10). The hymn-like third section, Andante, 

repeats a single sixteen-bar phrase three 

times and then closes with a shortened 

version of the phrase. The A minor Gloria 

Patri composed for the Anglican version 

resembles Anglican chant in its fi rst twelve 

measures, which feature two almost identical 

phrases in which soprano and alto answer 

tenor and bass. Renaissance-like imitation 

leads to the conclusion of this version. In the 

Gloria Patri for the German edition, a statement 

that expands to eight parts is made 

and then repeated. Following this, an Amen 

is added, which pyramids from bass II at 

one-bar intervals through soprano I with the 

men’s entrances outlining an F major-seventh 

chord and the women’s entrances outlining 

a B ♭ major six-four chord. In this Gloria 

Patri, four of the seven phrases are unison 

and the others are eight-part. The German 

Gloria Patri was borrowed by the publishers 

from Mendelssohn’s Sechs Sprüche, Op. 79 

and transposed up one-half step to create 

a more uplifting ending. Neither version 

makes use of soloists. With alternate notes 

provided in one measure for the basses, this 

Jubilate presents the most moderate ranges 

for the singers of any of Mendelssohn’s 

choral works. The Anglican version is a 

beautifully subtle expression of joy. 

 



As with its companions, the Magnifi cat 

concludes with a setting of the Gloria Patri, 

which is preceded by six sections in fi ve 

different tempi. The meter changes from 

alla breve to three-two to common meter. 

The odd-numbered sections are polyphonic, 

the second is homophonic, and the other 

two are a mixture of chordal structure and 

imitation. In the Allegro moderato that 

opens the piece, imitation 

at two beats shortly turns 

into dotted quarter-eighth 

rhythms that remind one 

of Purcell’s anthems. In the 

second section the Anglican 

and German versions 

differ considerably from 

measures 40 to the third 

beat of measure 80. The 

Soprano part remains the 

same in both versions, but 

in the Anglican version, 

organ accompaniment supports a soprano 

soloist as chorus sopranos and altos provide 

harmonic support at two cadence points. In 

the German version, four part soli present 

these measures in chords with only slight 

 

 

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imitation. In both versions, the full choir 

enters at measure 80 beat three and concludes 

the section. In three-two meter, an 

Andante con moto follows. Points of imitation 

alternate between soli and tutti throughout 

this section. Common meter starts with 

the Maestoso and continues to the end of 

the work. The section introduces martial 

rhythms and block chords on the words “He 

hath shew’d strength with His arm” before 

yielding to imitation. The Andante fi fth section 

is a clever combination of homophonic 

and imitative phrases with the two ideas 

united in the penultimate phrase (Figure 11). 

It uses only solo voices unaccompanied. All 

forces return for the Allegro (sixth section), 

which introduces two separate themes in 

succeeding phrases and then combines the 

two (Figure 12). The Gloria Patri, similar to 

the other Gloria Patri sections in these English 

works, is hymn-like, but Mendelssohn cleverly 

repeats the material of the fi rst phrase in 

the second and trades parts between tenor 

and soprano. This Magnifi cat is perhaps the 

fi nest of these English pieces. 

Within the literature, it constitutes 

'one of the most important works of 

the nineteenth century,' according to 

Hermann Kretschmar. It is intensely 

contrapuntal, strict to the point of 

severity, and not easy to perform. 

But it enchants the listener through 

its wonderful lucidity of choral setting 

and through its variety of moods. 25 

With the Te Deum, these pieces for the 

Anglican service present music that fi ts well 

in worship and is approachable by many 

church choirs. Whether one chooses to perform 

the music with organ accompaniment 

or unaccompanied is a matter of personal 

taste or necessity. Mendelssohn did not live 

long enough to comment on the German 

edition. As is the case with many Anglican 

anthems of the Baroque era and much other 

music of that period, choirs with capable 

soloists will be able to produce convincing 

performances of these works. Though the 

Magnifi cat is a bit long for many services, 

its inclusion on special occasions should 

be welcomed. Choirs who attempt any of 

these works will fi nd the process extremely 

rewarding. 

The Hundredth Psalm, 

Jauchzet dem Herrn, alle Welt 26 

That Mendelssohn composed this Psalm 

100 for a Jewish synagogue as Eric Werner 

believed 27 has been disputed by R. Larry 

Todd. 28 Mendelssohn had been requested to 

compose either Psalm 24, 84, or 100 for the 

dedication of the new temple in Hamburg 

in December 1843, but it is highly doubtful 

that this Psalm 100 was in any way related 

to the piece he composed for that occasion. 

Psalm 100 is divided into three sections 

with no unifying material. The two outer 

sections are in the key of C major and use 

four-part choir. After the Andante con moto 

opens with a chordal statement, “Nations 

Give Thanks to the Lord” 

(Figure 13), the piece unfolds 

in alternating imitative and 

homophonic phrases. The 

middle section in F major 

employs eight solo voices. 

This Poco lento begins with 

eight bars in which the 

women answer the men and 

then this phrase is presented 

in reverse, men answering 

women. The final section 

consists of an eight-bar 

phrase sung by altos, tenors, 

and basses which is repeated 

in four parts with the sopranos 

singing the melody an 

octave higher than it was 


Conclusion 

Within these sacred works of Felix Mendelssohn-Bartholdy 

lie simplicity, challenge, 

beauty, joy, sincerity, and deep expressions 

of faith. It was the intent of this article to 

CONDUCTOR’S 

WORKSHOP 

fi rst sung. An alteration in the last measure 

of this repeat leads to a four bar extension 

that ends the piece. 

Any choir that can fi nd eight voices to 

cover the solo middle section will enjoy 

this cheerful setting of Psalm 100. The piece 

requires sopranos to sing up to g 2 , tenors 

to g 1 and the bass solo to descend to F. 

Otherwise, parts generally remain mid range. 

Zum Abendsegen, Herr, Herr, 

sei gnädig unserm Flehn 

(Lord, Lord, Have 

Mercy upon Us) 29 

This brief Responsory for Evening 

Prayer 30 is only forty-four measures in length. 

For four-voice choir unaccompanied, this 

Andante begins with cries of “Lord, Lord!“ 

set over two whole-note chords of the tonic 

A minor triad. 31 The second chord repositions 

the voices: basses move up an octave, 

all other voices move up to the next chord 

tone. The remainder of the work treats a 

theme fi rst introduced by tenors imitatively 

(Figure 14). Brief passages of chordal harmony 

interrupt the fl ow of the nine entrances 

of this theme. The last three of these pile on 

top of each other, one measure after the 

other (alto, tenor, soprano), to begin the 

fi nal phrase. The simple text consists of a 

single sentence: “Lord, have mercy upon us, 

and write all these thy laws in our hearts, we 

beseech thee!” A wonderful prayer, response 

to scripture, or benediction, any choir could 

enjoy singing this piece. 

For further 

information contact 

Tracey Greider at 

317.940.8043 or 

tgreider@butler.edu 

June 13 - 19, 2010 

HENRY LECK, FOUNDER & 

ARTISTIC DIRECTOR 

INDIANAPOLIS CHILDREN’S CHOIR 

BUTLER UNIVERSITY, 

INDIANAPOLIS, INDIANA 




present music that is accessible to average 

church choirs by one of the fi nest of early 

Romantic composers. These pieces have 

suffered neglect because they are largely unknown. 

The hope is that choral conductors 

will move from this introduction to the music 

itself and then challenge their choirs to 

sing it. These “beautiful, well-written pieces 

… are faithful settings of the spirit of the 

texts even if there are occasions of unfaithful 

declamation and liturgically unjustifi ed 

repetition.” 32 This music represents an important 

and personally signifi cant portion of 

Mendelssohn’s life’s work. It is unfortunate 

for these pieces to remain in obscurity and 

for music lovers and churches to be denied 

the privilege of hearing and worshiping with 

these fi ne pieces of sacred music. 

Anton Armstrong 

Adult Choir Conductor 

Christopher Aspaas 

Women’s Choir Conductor 

Notes on Performing 

Mendelssohn’s Church Music 

If these sacred compositions are to be 

performed today, a proper approach to 

performing them is perhaps best modeled 

on their composer’s own practice as 

a conductor. Felix Mendelssohn was widely 

acclaimed as a conductor. 

[W]hether a great conductor 

can ever be a great composer is 

a doubtful matter. No modern 

example of the kind exists, 

save, perhaps in the case of 

Mendelssohn:… 33 

Mendelssohn was one of the fi rst famous 

conductors to use the new baton technique. 

He was renowned for his work with the 

Gewandhaus Orchestra in Leipzig. He 

[B]ased his interpretation on classical 

principles, fluent, elastic, elegant; 

and the highly declamatory, so 

called ‘neo-German’ performance, 

of which Liszt was the inaugurator 

and Wagner the most important 

exponent. 34 

The tempo in Mendelssohn’s works should 

never be allowed to drag. The composer 

was often criticized for rapid tempi. He held 

many rehearsals and was not satisfi ed until 

all technical diffi culties were resolved. “He 

made certain that the musicians thoroughly 

understood the style and interpretation of 

35, 36 

the work under study.” 

So, perform the works of Mendelssohn 

in your churches and your schools. Beware 

that editor’s markings in contemporary 

editions do not always refl ect what Mendelssohn 

wrote. If you have doubts, check 

the complete works in a local university 

library or consult a musicologist. Where 

you are certain of Mendelssohn’s original 

markings, be careful to observe those fi rst 

before adding other interpretive dynamics. 

On questions of tempo, see above. As for 

style, err on the side of clarity of text and 

delineation of musical lines. Where Mendelssohn 

repeats material, as he often does, one 

should use similar declamation for similar 

music. For tone quality, consider that Mendelssohn 

often writes in a manner similar to 

Bach and yet his motets and other works 

are precursors of Brahms. Consider also 

that much of Mendelssohn’s church music is 

polyphonic, so vibrato must be controlled to 

allow various themes to shine through the 

fabric and to aid tuning. The vast majority of 

this music requires legato singing. In a few 

cases marcato may be called for, but there is 

almost never an instance in these pieces that 

requires staccato treatment. 

If your choir has never sung any Mendelssohn, 

begin with “Lord, Have Mercy,” one of 

the Geistliches Lieder, the Te Deum, or Psalm 

100. If you have sung “He Watching Over Israel” 

or “There Shall a Star from Jacob Come 

Forth,” you might begin with one of the Op. 

69 motets or include Aus tiefer Not or Hear 

My Prayer in a service that allows more time 

for music. Above all, sing Mendelssohn! You 

will enjoy it, your choir will grow through it, 

and your congregation will be uplifted. 

Heather Potter 

Youth Choir Conductor 

Kenney Potter 

Teen Choir Conductor 

The St. Olaf Conference on 

and 

Worship, Theology the Arts 

july 19–23, 2010 

northfield, minn. 

stolaf.edu/events/cwta • 800-726-6523 

2011 National Honor 

Daily worship will celebrate Advent, 

Christmas Eve and Epiphany. 


13 

NOTES 

Ibid., 6. 

1 Peter Mercer-Taylor, The Life of Mendelssohn, 

(New York: Cambridge University Press), 

2004, 100. 

2 Gunter Graulich, ed., Aus tiefer Not schrei ich zi dir 

by Felix Mendelssohn Op. 23, no. 1. Breitkopf 

& Häertel, EG 299. 

3 Felix Mendelssohn Bartholdy. Aus teifer Not schrei 

ich zu dir. Peters Edition, Nr. 1770a. 

4 David Nott, ed. In Deep Despair I Call to Thee 

Aus tiefer Not. Concordia Publishing House, 

97-4857. 

5 

[V]erbindet Kantionalsatz, motetische Durchimitation, 

solistischen wie chorischen Liedsatz 

zu einer Satzkette, die formal—auch ohne 

Instrumente—an eine Kantate errinert, ihre 

Pendants gleichwoll in Motetten der Bachzeit 

hat. Friedhelm Krummacher, Kunstreligion 

und die religioese Musik; zu aesthetischen 

problematic gesitlicher Musik im 19. 

Jahrhundert. Die Musikforschung 32 (1979): 

389. 

6 Eric Werner, Mendelssohn: A New Image of the 

Composer and His Age, Trans. Dika Newlin, 

(London: Collier-Macmillan Limited), 1963, 

209. 

7 Krummacher, “ein bruch,” Kunstreligion, p. 389. 

8 R. Larry Todd, Mendelssohn: A Life in Music, 

(Oxford, New York: Oxford University Press), 

2003, 234. 

9 A considerable portion of material in this article 

is based upon the author’s unpublished 

dissertation. Robert Ben Chambers, “The 

Shorter Works with Sacred Text of Felix 

Mendelssohn-Bartholdy” (DMA diss., 

Southwestern Baptist Theological Seminary, 

Fort Worth, Texas, 1984). 

10 Nott, In Deep Despair I Call to Thee. Preface. 

11 David Brodbeck, “Foreword,” Felix Mendelssohn 

Bartholdy Hymne op. 96 Drei geistliche Lieder 

und Fuge Orchesterfassung, (Stuttgart: Carus 

Verlag), 1998, p. 5. 

12 Ibid., 5. 

14 F.G. Edwards, “Mendelssohn’s 'Hear My Prayer': 

A Comparison Of The Original Ms. With The 

Published Score,” The Musical Times (February 

1, 1891): 79. 

15 Todd, Mendelssohn: A Life in Music, 468. 

16 George Bernard Shaw Shaw, Music in London 

1890–94, 3 vols., (London: Constable and 

Company Limited), 1956, 1:239. 

17 I Call to the Lord Coronet Press CP 196. 

18 G. Schirmer 4607; GIA Publications (G-RCL07) 

David Briggs, ed.; Concordia Publishing House. 

(98-3513U1) Robert S, Hines, ed. 

19 Choral Public Domain Library, CPDL #2539, 

Denis Mason, ed. www.cpdl.org. If you 

choose to use this edition, be aware of a 

few typos in the voice parts, particularly 

text underlay, and one or two notes. Be 

warned also that the editor has so altered 

the organ accompaniment, that it changes 

the mood of the work, especially the fi nal 

section, considerably. He may have been 

trying to create a reduction of the orchestral 

version rather than use Mendelssohn’s organ 

accompaniment. 

20 Philip Radcliffe, Mendelssohn, The Master Musicians 

Series, Rev., London: J. M. Dent & Sons, Ltd.), 

1976, 143. 

21 Todd, Mendelssohn: A Life in Music, p. 266. 

22 Carus Verlag 4016700. 

23 Eric Werner, “Mendelssohn’s Choral Music” 

American Choral Review 7 (1964): 2. 

24 Cooper, John Michael, ed., Preface, Mendelssohn 

Bartholdy Motets/Motetten Op. 69. New York: 

Bärenreiter Kassel BA8937, p. X. 

25 Cooper, Preface, X. 

26 Published editions with English text underlay 

include Concordia Publishing House The 

Hundredth Psalm edited by Robert S. Hines 

98-2215, Faber Music Ltd Felix Mendelssohn 

Four Sacred Partsongs edited by Judith 

Blezzard, and, National Music Publishing 

NMGW012 edited by George Lynn. 

27 Werner, Mendelssohn: A New Image of the Composer 

and His Age, 416. 

28 Todd, Mendelssohn: A Life in Music, 469. 

29 Currently available English text editions include 

Shawnee Press A-6278 edited by Robert M. 

Campbell and the edition in the C. F. Peters 

Kirchenmusik Band II Chorwerke a cappella. 

30 Subtitle of the edition by Charles G. Frischmann. 

Master Choir Series, Columbia Pictures 

Publications, 5048LC1X. 

31 The Peters Edition, the earliest edition examined 

by the author, has no dynamic markings. 

32 Chambers, Shorter Choral Works, 152. 

33 Henry F. Chorley, Thirty Years’ Musical Recollections, 

ed. by Ernest Newman, 

(New York: Alfred A. Knopf, 1926), 84. 

34 C. M. Shearer, “A Look at Choral Music in the 

Nineteenth Century: Part II,” Choral Journal 

8 (1968): 26. 

35 Ibid. 

36 Chambers, Shorter Choral Works, 160–61. 

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