ith the blind
self-righteousness of Judaism and the mere sensuous morality of the
heathen schools. It is the contrast, or rather the struggle, of the
last two with the former, and the victory of the light and love of the
Gospel,--the light eternal, the love divine. This thought is made
incarnate in the persons of Stephen, Paul, and Barnabas, and it is
concentrated at that point which is really the central point of
interest to the oratorio,--the conversion of Saint Paul."

The work was written upon a commission given by the Cecilien Verein of
Frankfort in 1831; but it was not produced until May 22, 1836, on the
occasion of the Lower Rhine Festival at Duesseldorf. The principal parts
were sung by Madame Fischer-Achten, Mademoiselle Grabau, Herren Schmetzer
and Wersing, the latter artist taking the part of Paul. The second
performance was given at Liverpool, Oct. 3, 1836; and between the two
performances Mendelssohn revised the work and cut out fourteen numbers.

After a long and expressive overture for orchestra and organ, the first
part opens with a strong and exultant chorus ("Lord! Thou alone art
God"). It is massively constructed, and in its middle part runs into a
restless, agitated theme ("The Heathen furiously rage"). It closes,
however, in the same energetic and jubilant manner which characterizes
its opening, and leads directly to a chorale ("To God on High"), set to a
famous old German hymn-book tune, "Allein Gott in der Hoeh' sei Ehr,"
which is serenely beautiful in its clearly flowing harmony. The martyrdom
of Stephen follows. The basses in vigorous recitative accuse him of
blasphemy, and the people break out in an angry chorus ("Now this Man
ceaseth not to utter blasphemous Words"). At its close Stephen sings a
brief but beautiful solo ("Men, Brethren, and Fathers!"); and as the calm
protest dies away, again the full chorus gives vent to a tumultuous shout
of indignation ("Take him away"). A note of warning is heard in the
fervent soprano solo, "Jerusalem, thou that killest the Prophets;" but it
is of no avail. Again the chorus hurls its imprecations more furiously
than before ("Stone him to death"). The tragedy occurs. A few bars of
recitative for tenor, full of pathos, tell the sad story, and then
follows another beautiful chorale of submission ("To Thee, O Lord, I
yield my Spirit"). Saul's participation in the tragedy is barely touched
upon. The lament for Stephen is followed by the chorus, "