fmb-1833-01-16-03
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Berlin, 16. Januar 1833
Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
4 beschr. S.; Adresse. – Der Brief wurde in den Brief gleichen Datums an Carl Klingemann eingeschlossen und von diesem persönlich überbracht. Siehe Brief Nr. 655 (fmb-1833-01-16-04) Felix Mendelssohn Bartholdy an Carl Klingemann in London; Berlin, 16. Januar 1833, Z. 39.
Felix Mendelssohn Bartholdy
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Felix Mendelssohn Bartholdy Correspondence Online-Ausgabe FMB-C: Digitale Edition der vollständigen Korrespondenz Hin- und Gegenbriefe Felix Mendelssohn Bartholdys auf XML-TEI-Basis.
Die Felix Mendelssohn Bartholdy Correspondence Online-Ausgabe FMB-C ediert die Gesamtkorrespondenz des Komponisten Felix Mendelssohn Bartholdy 1809-1847 in Form einer digitalen, wissenschaftlich-kritischen Online-Ausgabe. Sie bietet neben der diplomatischen Wiedergabe der rund 6.000 Briefe Mendelssohns erstmals auch eine Gesamtausgabe der über 7.200 Briefe an den Komponisten sowie einen textkritischen, inhalts- und kontexterschließenden Kommentar aller Briefe. Sie wird ergänzt durch eine Personen- und Werkdatenbank, eine Lebenschronologie Mendelssohns, zahlreicher Register der Briefe, Werke, Orte und Körperschaften sowie weitere Verzeichnisse. Philologisches Konzept, Philologische FMB-C-Editionsrichtlinien: Uta Wald, Dr. Ulrich Taschow. Digitales Konzept, Digitale FMB-C-Editionsrichtlinien: Dr. Ulrich Taschow. Technische Konzeption der Felix Mendelssohn Bartholdy Correspondence FMB-C Ausgabe und Webdesign: Dr. Ulrich Taschow.
th1833
I shall not try to thank you for the last letter, I received from you, or else I should be obliged to direct these lines to the whole of no. 1 high Row and to all
„Mr. Mendelssohn presents his compliments to
The Theatricals and the
thI had the rehearsal of my third Concert für den
thI had unfortunately a previous engagement at
P. S. I have forgotten to send my congratulation to
Berlin, Jan. 16th 1833My dear Sir I shall not try to thank you for the last letter, I received from you, or else I should be obliged to direct these lines to the whole of no. 1 high Row and to all your family, who have so kindly thought of me in the beginning of the merry Christmastime. But you know well how happy that letter must have made me, and so I need not say anything more of my thanks for it. It is very kind in you to take an interest in that bad state of spirits in which I was the greater part of last year; God thanks it has almost quite subsided, and I hope soon to be able to overcome it entirely. But you must not think the disagreeable Society of Berlin with its coldness the reason of it; I see but very little of the Berlinese (or Berlinian, I do not know, here Miss Fanny laughs at me) parties, and the little I see is almost the same as all the large parties in other countries, cold and full of „ennui“ And even their coldness for me has changed all at once in that enthusiasm which is also peculiar to them in which they know no other terms but celestial, prodigious and (litterally translated) monstruously beautifull, in which they adore every thing instead of enjoying it, in short which is as uncomfortable as every affectation. But it is true that the state of the music here has contributed to my low spirits; I found it quite the same, as I had left it three years ago, and it is a pity to see how little they do here with the extraordinary means they have. I wish you could hear the Chorus of the Academy with the great orchestra it is such mass of good voices and instruments, so much musical intelligence, that it would be a wonderfull performance, if it were but tolerably conducted. But as it is, there is no pleasure to be found, neither in the theatres, nor in the Oratorios, for every thing is neglected, nobody cares for a good execution, and only when foreigners come and conduct their own works, as Neukomm did and as Marschner shall do next month, we hear a good ensemble. We had last year Solomon and Joshua performed in public, and to morrow there is Samson; but I do not know whether I shall go; fancy that they put wind-instruments to it, during or after the rehearsal, whenever the harmony appears to them not rich enough; a thing, Mozart did with the utmost delicacy and carefullness after much study, is now done in a thoughtless hurry, Handel is improved by a set of tedious imitations & sentimental dissonances, there are flutes and clarionets which make me shudder. And yet the public cannot be alledged as the reason for it, for they like truly, what they call old music and the room is always crowded when there is something of Handels to be heard. I ventured even to play a Concerto of Seb. Bach in public, in the course of three concerts which I gave to the benefit of a kind of musical fund, we have here, and it succeeded more than could be expected, the applause did not cease after the first movement, which is indeed a most glorious composition, and the room was excessively crowded. I played also some of Beethovens new sonatas (usually called the mad ones) and I am sure, they did not seem so bad, as the musicians here used to find them. – You ask me what impression Neukomms oratorio has made upon me, but as I am afraid I should not be altogether of your opinion about it, and as I must then defend my own, allow me to answer, when I come to Kensington, when you show me your new motet in six parts, and when I may occasionally use a German word, which Miss Horsley will translate to you. Pray let me know more about that motet, whether it is with Latin or English words, in which tone it is, and whether it shall be finished for this season? I hope to come over in April, whenever I have written my Symphony and a new Concerto which I think much of. As for the Overture in which I wanted to introduce a boiling kettle, I am afraid I shall not be able to write it before that time. But now for my invitations: „Mr. Mendelssohn presents his compliments to Miss Sophy Horsley, and is very sorry not to be able to accept her invitation; he is confined to Berlin. “ The Theatricals and the Maccabaeus are past already and I cannot excuse my having been absent without answering but by a visit, which I shall pay as soon as my confinement is over, and when I shall explain, that on the 9th I had the rehearsal of my third Concert für den Orchesterwittwenfonds, and that the 12th I had unfortunately a previous engagement at Mr. de Ribeaupierres, where they celebrated the beginning of the new Russian year, by playing cards, lottery and the piano. – But if ever my curiosity has been excited, it has been by that word „Theatricals“. Was it a tragedy, an opera or worse than both, a melodram? Where and who was the orchestra? I had always the idea of having acted MidsummerNightsDream in the open air, your garden would be splendid for that purpose, but not exactly in Christmastime. Or was it without decorations, curtains and lamps? I am at a loss; and now Mr. Klingemann has written nothing of it, but that there was to be a play, to which Miss Sophy had composed the music! I hope the score will be showed to me, but before I must know more of the character of the whole, in order to judge of it; I shall be terribly severe, and woe to every fifths I meet with! As for Mrs. Horsleys promise to hang up a plum pudding for me, and to keep it waiting till next spring, shall it be realized? it must be a serious and rather sentimental feeling to eat such a venerable thing, that has lived so long, and seen so much of the world, and what may happen during its life! however I hope the Pudding and I shall both meet in good health, and then I shall be glad to contribute to its destruction. But now excuse this long letter. Will you have patience enough to read it through? And how often will Miss Horsley shake her head when there is a „will“ instead of „shall“? I know Mrs. Horsley will excuse me then, and praise my English as a foreigners, but the letter grows not better for it. Never mind, you will know what I meant to say, that I think of you and your kindness every day, and that it will be a happy time for me, when I shall see you again. And so farewell, my dear Sir, and be happy. Yours very truly Felix Mendelssohn Bartholdy P. S. I have forgotten to send my congratulation to Mr. John, for the medal he has won. I long to see the drawing for which he received it, and shall make my criticisms of it, as I did before.
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Horsley c. 1, fol. 5-6.</idno> </msIdentifier> <msContents> <msItem> <idno type="autograph">Autograph</idno> <title key="fmb-1833-01-16-03" type="letter" xml:id="title_ccebda13-402b-4ef2-ad82-07d6e0065c1c">Felix Mendelssohn Bartholdy an William Horsley in London; Berlin, 16. Januar 1833</title> <incipit>I shall not try to thank you for the last letter, I received from you, or else I should be obliged to direct these lines to the whole of no. 1 high Row and to</incipit> </msItem> </msContents> <physDesc> <p>4 beschr. S.; Adresse. – Der Brief wurde in den Brief gleichen Datums an Carl Klingemann eingeschlossen und von diesem persönlich überbracht. Siehe Brief Nr. 655 (fmb-1833-01-16-04) Felix Mendelssohn Bartholdy an Carl Klingemann in London; Berlin, 16. 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Sie bietet neben der diplomatischen Wiedergabe der rund 6.000 Briefe Mendelssohns erstmals auch eine Gesamtausgabe der über 7.200 Briefe an den Komponisten sowie einen textkritischen, inhalts- und kontexterschließenden Kommentar aller Briefe. Sie wird ergänzt durch eine Personen- und Werkdatenbank, eine Lebenschronologie Mendelssohns, zahlreicher Register der Briefe, Werke, Orte und Körperschaften sowie weitere Verzeichnisse. Philologisches Konzept, Philologische FMB-C-Editionsrichtlinien: Uta Wald, Dr. Ulrich Taschow. Digitales Konzept, Digitale FMB-C-Editionsrichtlinien: Dr. Ulrich Taschow. Technische Konzeption der Felix Mendelssohn Bartholdy Correspondence FMB-C Ausgabe und Webdesign: Dr. Ulrich Taschow.</p></editorialDecl></encodingDesc> <profileDesc> <creation> <date cert="high" when="1833-01-16" xml:id="date_64c9d8f5-6525-4b3f-b01f-7c69b94a32bf">16. Januar 1833</date></creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0000001" resp="author" xml:id="persName_2ac5425a-383a-413a-8fcd-3600c7c3adf1">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName><note>counter-reset</note><persName key="PSN0000001" resp="writer">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="writing_place" xml:id="placeName_8cc623f1-72de-4bbd-8970-7a31ea8b10d5"> <settlement key="STM0100101">Berlin</settlement> <country>Deutschland</country></placeName></correspAction> <correspAction type="received"> <persName key="PSN0112109" resp="receiver" xml:id="persName_219f792a-41ba-4889-800a-6c7a878c3878">Horsley, William (1774-1858)</persName> <placeName type="receiving_place" xml:id="placeName_5515e9fe-e5c4-43ed-ab21-72b51245ceaf"> <settlement key="STM0100126">London</settlement> <country>Großbritannien</country> </placeName></correspAction> </correspDesc> <langUsage> <language ident="en">englisch</language> </langUsage> </profileDesc> <revisionDesc status="draft"> </revisionDesc> </teiHeader> <text type="letter"> <body> <div type="address" xml:id="div_b109640d-6e35-4be3-bfb5-dc2e2259f821"> <head> <address> <addrLine>W. Horsley</addrLine> <addrLine>Esqu.</addrLine> <addrLine>no. 1 High Row</addrLine> <addrLine>Kensington Gravel</addrLine> <addrLine>Pits.</addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_61a190a8-3c02-4671-a363-6f5b80d7e3bb"><docAuthor key="PSN0000001" resp="author" style="hidden">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</docAuthor><docAuthor key="PSN0000001" resp="writer" style="hidden">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</docAuthor><dateline rend="right">Berlin, Jan. <date cert="high" when="1833-01-16" xml:id="date_05bed7ba-295a-4720-a131-e885c644127d">16<hi rend="superscript">th</hi> 1833</date></dateline><salute rend="left">My dear Sir</salute><p style="paragraph_without_indent">I shall not try to thank you for the last letter, I received from you, or else I should be obliged to direct these lines to the whole of no. 1 high Row and to all <persName xml:id="persName_58e0cb90-345d-4d98-bf6c-b9387acb8f5d">your family<name key="PSN0112100" style="hidden">Horsley, Familie von → William H.</name></persName>, who have so kindly thought of me in the beginning of the merry Christmastime. But you know well how happy that letter must have made me, and so I need not say anything more of my thanks for it. It is very kind in you to take an interest in that bad state of spirits in which I was the greater part of last year; God thanks it has almost quite subsided, and I hope soon to be able to overcome it entirely. But you must not think the disagreeable <placeName xml:id="placeName_0addc4be-46b6-41ca-94f0-c8e6cbda7205">Society<name key="NST0100203" style="hidden" subtype="" type="institution">Sing-Akademie</name><settlement key="STM0100101" style="hidden" type="">Berlin</settlement><country style="hidden">Deutschland</country></placeName> of Berlin with its coldness the reason of it; I see but very little of the Berlinese (or Berlinian, I do not know, here <persName xml:id="persName_64df250d-3c59-43aa-ba12-9d135efc29d8">Miss Fanny<name key="PSN0112105" style="hidden">Horsley, Frances Arabella (Fanny) (1815-1849)</name></persName> laughs at me) parties, and the little I see is almost the same as all the large parties in other countries, cold and full of „ennui“ And even their coldness for me has changed all at once in that enthusiasm which is also peculiar to them in which they know no other terms but celestial, prodigious and (litterally translated) monstruously beautifull, in which they adore every thing instead of enjoying it, in short which is as uncomfortable as every affectation. But it is true that the state of the music here has contributed to my low spirits; I found it quite the same, as I had left it three years ago, and it is a pity to see how little they do here with the extraordinary means they have. I wish you could hear the <placeName xml:id="placeName_31ae0197-daf8-4dab-a8ea-8f76eb0239da">Chorus<name key="NST0100203" style="hidden" subtype="" type="institution">Sing-Akademie</name><settlement key="STM0100101" style="hidden" type="">Berlin</settlement><country style="hidden">Deutschland</country></placeName> of the Academy with the <placeName xml:id="placeName_f2bfaa0b-84a7-4b04-a3d4-14880a3d762b">great orchestra<name key="NST0100406" style="hidden" subtype="" type="institution">Königliche Hofkapelle</name><settlement key="STM0100101" style="hidden" type="">Berlin</settlement><country style="hidden">Deutschland</country></placeName> it is such mass of good voices and instruments, so much musical intelligence, that it would be a wonderfull performance, if it were but tolerably conducted. But as it is, there is no pleasure to be found, neither in the theatres, nor in the Oratorios, for every thing is neglected, nobody cares for a good execution, and only when foreigners come and conduct their own works, as <persName xml:id="persName_5c5abdcb-eb53-4746-a9f7-f748eddd370d">Neukomm<name key="PSN0113580" style="hidden">Neukomm, Sigismund (seit 1815) Ritter von (1778-1858)</name></persName> did and as <persName xml:id="persName_f001d1b4-e4b4-452c-9087-d57b86d6df90">Marschner<name key="PSN0113090" style="hidden">Marschner, Heinrich August (1795-1861)</name></persName> shall do next month, we hear a good ensemble. We had last year <title xml:id="title_9c854dca-228b-4366-8e0f-3861d48d176d">Solomon<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685-1759)</name><name key="CRT0109020" style="hidden" type="music">Solomon HWV 67</name></title> and <title xml:id="title_2ff25734-4e29-4928-81a6-7bba3e9e4805">Joshua<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685-1759)</name><name key="CRT0108992" style="hidden" type="music">Joshua HWV 64</name></title> performed in public, and to morrow there is <title xml:id="title_ce5cdd60-b6fb-4620-95b3-9d3dedae01cc">Samson<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685-1759)</name><name key="CRT0109014" style="hidden" type="music">Samson HWV 57</name></title>; but I do not know whether I shall go; fancy that they put wind-instruments to it, during or after the rehearsal, whenever the harmony appears to them not rich enough; a thing, <persName xml:id="persName_82677c83-fa75-447f-961a-d69231dba6fd">Mozart<name key="PSN0113466" style="hidden">Mozart, Wolfgang Amadeus (1756-1791)</name></persName> did with the utmost delicacy and carefullness after much study, is now done in a thoughtless hurry, <persName xml:id="persName_a2d89fed-0a27-45f6-acf1-ed31fce7f08e">Handel<name key="PSN0111693" style="hidden">Händel, Georg Friedrich (1685-1759)</name></persName> is improved by a set of tedious imitations & sentimental dissonances, there are flutes and clarionets which make me shudder. And yet the public cannot be alledged as the reason for it, for they like truly, what they call old music and the room is always crowded when there is something of <persName xml:id="persName_bd7b282a-62de-4297-a0ad-3eeffe05783f">Handels<name key="PSN0111693" style="hidden">Händel, Georg Friedrich (1685-1759)</name></persName> to be heard. I ventured even to play a <title xml:id="title_1f2cfffe-99df-42ab-8d77-0cb3f10efbaf">Concerto of Seb. Bach<name key="PSN0109617" style="hidden" type="author">Bach, Johann Sebastian (1685-1750)</name><name key="CRT0107778" style="hidden" type="music">Konzert für Cembalo d-Moll, BWV 1052</name></title> in public, in the course of three concerts which I gave to the benefit of a kind of <placeName xml:id="placeName_cc7224a8-9b16-405d-8b86-ce5c49e06d7e">musical fund<name key="NST0100406" style="hidden" subtype="Orchesterwitwenfonds" type="institution">Königliche Hofkapelle</name><settlement key="STM0100101" style="hidden" type="">Berlin</settlement><country style="hidden">Deutschland</country></placeName>, we have here, and it succeeded more than could be expected, the applause did not cease after the first movement, which is indeed a most glorious composition, and the room was excessively crowded. I played also some of <title xml:id="title_932a0920-57a9-4695-81ad-6ef5c4a54d70">Beethovens new sonatas (usually called the mad ones)<name key="PSN0109771" style="hidden" type="author">Beethoven, Ludwig van (1770-1827)</name><name key="CRT0108023" style="hidden" type="music">Klaviersonate cis-Moll, op. 27/2 (»Mondschein«)</name><name key="PSN0109771" style="hidden" type="author">Beethoven, Ludwig van (1770-1827)</name><name key="CRT0108025" style="hidden" type="music">Klaviersonate C-Dur, op. 53 (»Waldstein«)</name></title> and I am sure, they did not seem so bad, as the musicians here used to find them. – You ask me what impression <title xml:id="title_27898f2a-541c-40d3-81d7-4513df4554c6">Neukomms oratorio<name key="PSN0113580" style="hidden" type="author">Neukomm, Sigismund (seit 1815) Ritter von (1778-1858)</name><name key="CRT0110203" style="hidden" type="music">Das Gesetz des alten Bundes, oder Die Gesetzgebung auf Sinai (Die zehn Gebote) NV 316</name></title> has made upon me, but as I am afraid I should not be altogether of your opinion about it, and as I must then defend my own, allow me to answer, when I come to Kensington, when you show me <title xml:id="title_9a26a7ac-b7f5-47a0-b663-158624a0db54">your new motet<name key="PSN0112109" style="hidden" type="author">Horsley, William (1774-1858)</name><name key="CRT0109372" style="hidden" type="music">Exaltabo te, Deus</name></title> in six parts, and when I may occasionally use a German word, which <persName xml:id="persName_b11d2e47-af4f-4ba4-bf91-bf1e3cc851f8">Miss Horsley<name key="PSN0112105" style="hidden">Horsley, Frances Arabella (Fanny) (1815-1849)</name></persName> will translate to you. Pray let me know more about that motet, whether it is with Latin or English words, in which tone it is, and whether it shall be finished for this season? I hope to come over in April, whenever I have written <title xml:id="title_43bc5f8d-78c7-4519-a9d6-92ed6b036f95">my Symphony<list style="hidden" type="fmb_works_directory" xml:id="title_4zd2m5c2-oq9d-vemr-ipae-nxy5qjx2xxot"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="instrumental_music" style="hidden"></item> <item n="3" sortKey="orchestral_music" style="hidden"></item> <item n="4" sortKey="symphonies" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100342" style="hidden">Sinfonie A-Dur (»Italienische«) für Orchester, [Ende 1830] bis 13. März 1833; [Juni 1834 bis Anfang 1835]<idno type="MWV">N 16</idno><idno type="op">90</idno></name></title> and a <title xml:id="title_698b9d42-c90f-4621-acee-60d15478beb2">new Concerto<list style="hidden" type="fmb_works_directory" xml:id="title_lz9px5ld-cppt-hcxs-ec04-bgcj1wnm7nic"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="works_not_executed" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100705" style="hidden">Klavierkonzert<idno type="MWV"></idno><idno type="op"></idno></name></title> which I think much of. As for the <title xml:id="title_cc196aeb-742a-40ef-b67f-577b655d50de">Overture<list style="hidden" type="fmb_works_directory" xml:id="title_jfocffaj-rnxg-wmgx-xo5t-i3kosyw4sylh"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="instrumental_music" style="hidden"></item> <item n="3" sortKey="orchestral_music" style="hidden"></item> <item n="4" sortKey="overtures_and_other_orchestral_works" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100358" style="hidden">Ouvertüre C-Dur (»Trompeten-Ouvertüre«), [Herbst 1825] bis 4. März 1826; Umarbeitung bis 10. April 1833<idno type="MWV">P 2</idno><idno type="op">101</idno></name></title> in which I wanted to introduce a boiling kettle, I am afraid I shall not be able to write it before that time. But now for my invitations:</p><p>„Mr. Mendelssohn presents his compliments to <persName xml:id="persName_56fabab0-0762-4b13-bcac-47ce0ef43e64">Miss Sophy Horsley<name key="PSN0112108" style="hidden">Horsley, Sophia Hutchins (Sophy) (1819-1894)</name></persName>, and is very sorry not to be able to accept her invitation; he is confined to Berlin.“</p><p>The Theatricals and the <title xml:id="title_7ab748ed-a417-4c5c-9a6f-33c538b5faf9">Maccabaeus<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685-1759)</name><name key="CRT0108993" style="hidden" type="music">Judas Maccabaeus HWV 63</name></title> are past already and I cannot excuse my having been absent without answering but by a visit, which I shall pay as soon as my confinement is over, and when I shall explain, that on the 9<hi rend="superscript">th</hi> I had the rehearsal of my third Concert für den <placeName xml:id="placeName_763bd40c-b2b4-44f2-9396-f6bec166487d">Orchesterwittwenfonds<name key="NST0100406" style="hidden" subtype="Orchesterwitwenfonds" type="institution">Königliche Hofkapelle</name><settlement key="STM0100101" style="hidden" type="">Berlin</settlement><country style="hidden">Deutschland</country></placeName>, and that the 12<hi rend="superscript">th</hi> I had unfortunately a previous engagement at <persName xml:id="persName_c9a6d554-ce1f-4803-8653-a6e4af84fec0">Mr. de Ribeaupierres<name key="PSN0114155" style="hidden">Ribeaupierre (Ribaupierre), Alexandre (Alexander Iwanowitsch) (Aleksandr Ivanovič) Comte de (1781-1865)</name></persName>, where they celebrated the beginning of the new Russian year, by playing cards, lottery and the piano. – But if ever my curiosity has been excited, it has been by that word „Theatricals“. Was it a tragedy, an opera or worse than both, a melodram? Where and who was the orchestra? I had always the idea of having acted <title xml:id="title_5e8552b0-950f-41de-9ab0-68d9ec88a8bb">MidsummerNightsDream<name key="PSN0114889" style="hidden" type="author">Shakespeare, William (1564-1616)</name><name key="CRT0110856" style="hidden" type="dramatic_work">Ein Sommernachtstraum (A Midsummer Night’s Dream)</name></title> in the open air, your garden would be splendid for that purpose, but not exactly in Christmastime. Or was it without decorations, curtains and lamps? I am at a loss; and now <persName xml:id="persName_de7a9aad-db88-420f-8bcb-6f3b1c46d18a">Mr. Klingemann<name key="PSN0112434" style="hidden">Klingemann, Ernst Georg Carl Christoph Konrad (1798-1862)</name></persName> has written nothing of it, but that there was to be <title xml:id="title_f5adf991-af43-44bd-8541-3f1cdaadb3a4">a play<name key="PSN0112108" style="hidden" type="author">Horsley, Sophia Hutchins (Sophy) (1819-1894)</name><name key="CRT0109368" style="hidden" type="music">The Magician, An Operating Tragedy</name></title>, to which Miss Sophy had composed the music! I hope the score will be showed to me, but before I must know more of the character of the whole, in order to judge of it; I shall be terribly severe, and woe to every fifths I meet with! As for <persName xml:id="persName_0af09303-8841-4474-88f6-3d2b177a05ee">Mrs. Horsleys<name key="PSN0112103" style="hidden">Horsley, Elizabeth Hutchins (1793-1875)</name></persName> promise to hang up a plum pudding for me, and to keep it waiting till next spring, shall it be realized? it must be a serious and rather sentimental feeling to eat such a venerable thing, that has lived so long, and seen so much of the world, and what may happen during its life! however I hope the Pudding and I shall both meet in good health, and then I shall be glad to contribute to its destruction. But now excuse this long letter. Will you have patience enough to read it through? And how often will <persName xml:id="persName_8060231a-4ca0-4b56-a907-ce6a26e8ed67">Miss Horsley<name key="PSN0112105" style="hidden">Horsley, Frances Arabella (Fanny) (1815-1849)</name></persName> shake her head when there is a „will“ instead of „shall“? I know <persName xml:id="persName_098d2672-f090-4c53-942b-8a5d39565ed3">Mrs. Horsley<name key="PSN0112103" style="hidden">Horsley, Elizabeth Hutchins (1793-1875)</name></persName> will excuse me then, and praise my English as a foreigners, but the letter grows not better for it. <seg type="closer" xml:id="seg_51ca8604-7916-4836-be3b-2f10fab29fdb">Never mind, you will know what I meant to say, that I think of you and your kindness every day, and that it will be a happy time for me, when I shall see you again. And so farewell, my dear Sir, and be happy.</seg></p><signed rend="right">Yours very truly</signed><signed rend="right">Felix Mendelssohn Bartholdy</signed></div><div n="2" type="act_of_writing" xml:id="div_6581053d-6c51-4df4-bec8-1eddddd5125d"><docAuthor key="PSN0000001" resp="author" style="hidden">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</docAuthor><docAuthor key="PSN0000001" resp="writer" style="hidden">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</docAuthor><p style="paragraph_without_indent">P. S. I have forgotten to send my congratulation to <persName xml:id="persName_f6d65ddb-5e5d-4f84-910e-670d9bb620d2">Mr. John<name key="PSN0112106" style="hidden">Horsley, John Callcott (1817-1903)</name></persName>, for the medal he has won. I long to see the <title xml:id="title_bfaa5abe-0b39-4321-b90a-bd2cabdbe8a7">drawing<name key="PSN0112106" style="hidden" type="author">Horsley, John Callcott (1817-1903)</name><name key="CRT0109367" style="hidden" type="art">Ölgemälde (1832)</name></title> for which he received it, and shall make my criticisms of it, as I did before.</p></div></body> </text></TEI>