Welcome to Mendelssohn: Hear My Prayer (WoO 15)
Welcome to your study guide for Felix Mendelssohn’s celebrated sacred anthem, Hear My Prayer. This work is a core set work for AS Unit 3: Responding to Music under Area of Study 2: Sacred Vocal Music (Anthems).
Whether you are comfortable analyzing musical scores or feeling a little overwhelmed by keys, chords, and vocal textures, do not worry! We will break down this beautiful piece step-by-step, looking closely at its background, structure, harmonic language, and word-painting so you can approach both aural perception questions and extended 15-mark essays with confidence.
1. Context and Essential Background
To understand the music, it helps to understand why and for whom Mendelssohn wrote it.
Key Facts at a Glance:
• Composer: Felix Mendelssohn (1809–1847), a leading master of the 19th-century Romantic period.
• Catalogue Number: WoO 15 (Werk ohne Opuszahl 15, meaning "Work without Opus Number 15").
• Text Source: Verses 1–8 of Psalm 55, translated into English by William Bartholomew (the same collaborator who translated Mendelssohn’s famous oratorio, Elijah).
• Composition & Premiere: Written in 1844 for a London concert series organized by Ann Mounsey at Crosby Hall. It was first performed on 8 January 1845 with organ accompaniment. Mendelssohn later scored an orchestral version in 1847.
• Performing Forces: Solo Soprano (or Treble solo), four-part choir (SATB), and Organ (or full Romantic orchestra: strings, woodwinds, horns, and timpani).
• Genre & Form: Often called a hymn or verse anthem, it functions as a continuous, multi-sectional sacred work (similar to a mini-cantata) integrating an aria, recitative, and chorus.
Did You Know?
Although Mendelssohn was German, this piece was written specifically in English for a London audience. This explains why the English text fits the musical rhythm so naturally!
Key Takeaway: Hear My Prayer was written in 1844 for an English concert setting, setting Psalm 55 (translated by William Bartholomew) for Soprano Solo, SATB Choir, and Organ/Orchestra.
2. Structural Overview
Mendelssohn does not divide the piece into separate, detached movements. Instead, it flows through four contrasting continuous sections that mirror the emotional journey of the speaker in Psalm 55—from humble prayer, to terror of enemies, to an exhausted plea, and finally to peaceful serenity.
Quick Structure Summary:
• Section 1 (bb. 1–67): Hear my prayer, O God — G major, 4/4 (Andante)
• Section 2 (bb. 68–138): The enemy shouteth — E minor, 3/8 (Allegro moderato)
• Section 3 (bb. 139–178): My heart is sorely pained — Fluid / G minor, 4/4 (Recitative / Arioso)
• Section 4 (bb. 179–end): O for the wings of a dove — G major, 6/8 (Andante con moto)
Memory Trick for Keys & Metres:
Think of the metres as a journey: 4/4 (Calm prayer) \(\rightarrow\) 3/8 (Turbulent sprint) \(\rightarrow\) 4/4 (Speech-like pause) \(\rightarrow\) 6/8 (Gentle flight of the dove).
The tonal journey mirrors this: G major \(\rightarrow\) E minor (Relative minor) \(\rightarrow\) G minor (Tonic minor) \(\rightarrow\) G major (Tonic home).
3. Detailed Section-by-Section Analysis
Section 1: "Hear my prayer, O God" (Bars 1–67)
Tempo & Key: Andante | G major | 4/4 metre
• Organ Introduction (bb. 1–8): Opens quietly with rising quaver motifs and gentle falling perfect fifths, establishing a prayerful, reverent atmosphere.
• Harmonic Interest: Mendelssohn uses a circle of fifths progression (bb. 9–11), subtle passing chromaticism, a brief modulation to A minor (b. 12), and a temporary tonicization of G minor (b. 13).
• Solo Soprano Entry: The solo soprano introduces the lyrical main theme ("Hear my prayer, O God, incline Thine ear..."). As the emotional tension builds, Mendelssohn uses rising harmonic sequences over a chromatic bass line (b. 24).
• Augmented Sixth Chord (b. 26): At bar 26, Mendelssohn heightens the dramatic pleading by inserting an augmented sixth chord that resolves upward as the soprano reaches a high G.
• Homage to J. S. Bach (b. 29): Mendelssohn was deeply inspired by J. S. Bach. At bar 29, the SATB choir enters in four-part homophony with a \(IIb^7 - V - I\) cadence containing an auxiliary note, perfectly evoking the sound of a traditional Bach Lutheran chorale.
• Choral Climax: The section ends with the full choir repeating the opening prayer phrase in homophonic and unison textures to create balance.
Section 2: "The enemy shouteth" (Bars 68–138)
Tempo & Key: Allegro moderato | E minor (relative minor) | 3/8 metre
• Dramatic Change of Mood: Suddenly, the calm prayer disappears! The metre shifts to an agitated 3/8 time and the key plunges into E minor.
• Rhythmic Vitality & Aggression: Mendelssohn illustrates the threatening enemy using forceful dotted rhythms, syncopation, and sharp accent marks.
• Dialogue Texture: The agitated soprano solo calls out in distress, answered by aggressive, dramatic SATB choral interjections ("The enemy shouteth, the godless come fast!").
• Harmonic Drama: The music modulates through closely related keys, shifting suddenly into B major at bar 84 with a striking forte dynamic.
• Depicting Terror: To capture the words "Fear and trembling come upon me", Mendelssohn employs diminished seventh chords, tremolando textures, and a driving, restless accompaniment.
Section 3: Recitative – "My heart is sorely pained" (Bars 139–178)
Tempo & Key: Recitative / Arioso | G minor / Fluid tonality | 4/4 metre
• Operatic Style: Here, Mendelssohn adopts the style of an operatic dramatic recitative transitioning into an expressive arioso.
• Expressive Devices: The soprano sings short, paused declamatory phrases with chromatic sighs and wide vocal intervals to depict total exhaustion and physical vulnerability.
• Transitional Role: The metre returns to 4/4, and the unstable harmony gradually resolves the turbulent panic of Section 2, preparing the listener for the tranquil final section.
Section 4: "O for the wings of a dove" (Bars 179–end)
Tempo & Key: Andante con moto | G major | 6/8 metre
• The Iconic Melody: The soprano introduces one of the most famous melodies in sacred music: a serene, stepwise, strophic/rondo-like arch-melody ("O for the wings, for the wings of a dove...").
• Choral Support: The SATB choir provides gentle, warm homophonic background chords and antiphonal echoes ("Fly away and be at rest"), never overpowering the solo line.
• Pastoral Rhythm: The lilting 6/8 metre creates an undulating, wave-like sensation that directly represents the soaring, effortless flight of a dove.
• Peaceful Conclusion: The work draws to a peaceful close in G major, utilizing gentle plagal and perfect cadential resolutions to convey ultimate rest and spiritual reassurance.
Key Takeaway: The four sections progress logically: Prayer (G major, 4/4) \(\rightarrow\) Conflict (E minor, 3/8) \(\rightarrow\) Exhaustion/Recitative (G minor/fluid, 4/4) \(\rightarrow\) Solace/Rest (G major, 6/8).
4. Masterclass: Word-Painting & Romantic Style
In 15-mark essay questions, examiners look for precise technical descriptions of how Mendelssohn paints the text. Avoid vague statements like "the music sounds scared". Use the specific musical devices below!
1. Restlessness and Pleading:
• Device: Rising harmonic sequences over chromatic bass lines (b. 24) and an augmented sixth chord (b. 26).
• Effect: Builds intense yearning on the soprano's highest notes.
2. Threat and Hostility:
• Device: Dotted rhythms, syncopated accents, rapid 3/8 metre, and abrupt forte entries.
• Effect: Depicts the relentless march of the enemies in "The enemy shouteth".
3. Fear and Trembling:
• Device: Diminished seventh chords, rapid accompaniment figurations, and tremolandi.
• Effect: Creates an unstable, shuddering harmonic foundation.
4. Exhaustion and Grief:
• Device: Chromatic descending sighs and fragmented, recitative-style phrasing in bb. 139–178.
• Effect: Portrays breathless weeping and vulnerability.
5. Heavenly Peace and Flight:
• Device: Undulating 6/8 pastoral metre, arching stepwise vocal contours, and sweet diatonic harmony.
• Effect: Evokes the gentle flapping of wings and peaceful rest.
5. Common Pitfalls to Avoid in the Exam
Pitfall 1: Confusing the Text Origin
Mistake: Claiming the text is a German Lutheran hymn translated into English.
Correction: The work was written to William Bartholomew’s English translation of Psalm 55 for an English premiere at Crosby Hall, London.
Pitfall 2: Over-simplifying the Structure
Mistake: Calling it a simple, single-movement church anthem.
Correction: Always emphasize its hybrid cantata-like design, featuring distinct recitative, aria, chorale, and choral sections woven into a single continuous piece.
Pitfall 3: Mixing up Metres and Keys
Mistake: Writing that "The enemy shouteth" is in 4/4 or G major.
Correction: Remember that the mood change triggers a shift to 3/8 metre and E minor!
Pitfall 4: Missing the Bach Influence
Mistake: Treating the work as purely 19th-century Romantic without historic influences.
Correction: Point out the 4-part homophonic entry at bar 29 (\(IIb^7 - V - I\)), which explicitly pays homage to J. S. Bach's chorale style.
6. Quick Revision Checklist
Make sure you can answer these five quick questions before your exam:
1. Who translated the text of Psalm 55 for Mendelssohn? \(\rightarrow\) William Bartholomew.
2. What dramatic chord occurs at bar 26? \(\rightarrow\) An augmented sixth chord.
3. What are the key and metre of "The enemy shouteth"? \(\rightarrow\) E minor and 3/8.
4. What Baroque musical genre is referenced at bar 29? \(\rightarrow\) A J. S. Bach-style 4-part chorale.
5. How does the metre of Section 4 ("O for the wings of a dove") reflect the text? \(\rightarrow\) The 6/8 metre provides an undulating pastoral rhythm that depicts the gentle flight of a dove.