Review

Felix Mendelssohn
Selections from the Oratorio Elijah:

Arranged by Marc S. Williams

6 tenor, 2 bass trombones, optional organ

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2020
URL: http://www.cherryclassics.com

Score and parts

Primary Genre: Trombone Ensembles - 8 trombones

Felix Mendelssohn’s travels to the British Isles brought him in frequent contact with the oratorios of George Frederic Handel. In response to a British commission and in the spirit of Handel, Mendelssohn composed his oratorio Elijah. Its libretto takes portions of the biblical account of this major prophet and intersperses it with commentary from other parts of the Bible, especially the Psalms. The work is scored for eight vocal soloists, chorus and orchestra. Marc Williams has set two choruses and part of a third for trombone octet and organ. He divides the ensemble into two quartets. The first generally features the choral parts from the original score. The second quartet primarily contains parts from the winds and brass sections of the orchestral score. The optional organ part is derived from the strings.

The arrangement begins with a setting of Cast Thy Burden Upon the Lord and He Shall Sustain Thee. This brief movement was originally for a quartet of soloists and orchestra. The first quartet plays the stately chorale. The second quartet and the organ join at the cadence points.  The next section is mistitled. The title on the publication is O Thou Who Makest Thine Angels Spirits, but the arrangement is actually a setting of Thanks Be to God For All His Mercies, a brief chorus and recitative that segues immediately into Thanks Be to God, the finale to the first half of the oratorio. This short section is fast—144 to the quarter note. Quartet one parts are sustained and chorale-like, but now the second quartet is challenged with rapid repeated triplets. Arpeggiated triplets in the organ part will provide a significant challenge to the organist. This section ends with a brief solo recitative. The solo is placed in the first trombone part of the second quartet. The final two-thirds of this setting is an arrangement of the monumental chorus Thanks Be to God. Williams retains the same organization as previously noted—first quartet contains the choral parts, second quartet portions of the orchestral winds and brass, and the organ covers the string parts. The faster tempo, the close imitation, and the dramatic expression make this a perfect showcase for the trombone octet. The sound is powerful and majestic.

Williams’ setting is intended for more advanced players. His scoring is reasonable, and the arrangement will be accessible to most college trombone choirs. The first parts of each quartet are given in tenor clef. The tessitura is high, rising to d-flat2 but because of the nature of the writing, there are many opportunities for rest. Endurance will not be a great concern. Having two valves will certainly aid the performance of the first bass trombone part, but it would be manageable with a single trigger. A double-valve instrument is recommended for the second bass trombone part since it features several low BB-naturals. The organ part is optional but adds significantly to the arrangement. It is quite difficult. In the third movement the constant sixteenth-note motion in both hands will present considerable challenge. Depending upon the strength of the trombone ensemble and the concert venue, the organ texture may need to be lightened in a few spots. The organist will certainly deserve a second bow.

Choral works are often a great resource for trombone ensemble arrangements, and this is no exception. Even without the organ this will make a satisfying musical statement. The grandeur of Mendelssohn’s Elijah is well suited to the majesty of a trombone octet.