The Infl uence of the Polyphonic Technique of the Organ Sonatas, Opus 65, on the Oratorio “Elijah” by F. Mendelssohn-Bartholdy

Abstract

The author of the article reviews the development of the organ sonata and oratory genres in the works of composers of the 19th–21st centuries, which was driven by the Organ Sonatas, opus 65, and oratorio creativity of F. Mendelssohn. The author also considers the polyphony technique of the composer’s Organ Sonatas, opus 65, and their infl uence on the “Elijah” oratorio. These features belong to the composer’s creative style and represent innovation in form and content. It is revealed that elements of the composer’s technique of the organ sonatas penetrate into the oratorio compositions, and an interaction of homophonic and polyphonic forms occurs. The composer turns to the polyphonic techniques (imitation, canon, fugue) and interconnects the sonata form and fugue, which is refl ected in the oratorio “Elijah”.