fmb-1834-02-05-05
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Düsseldorf, 5. Februar 1834
Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
4 beschr. S.; Adresse, mehrere Poststempel, Bemerkung von fremder Hand auf der Adressenseite: »F. Mendelssohn / Dusseldorf / Feb. 5. 1834«.
Felix Mendelssohn Bartholdy
-
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.
th1834
The receipt of your kind letter has given me a very great pleasure and I feel much obliged to you for the confidence you place in my musical judgment by choosing me to give you the required information in a matter of so great an importance for the progress of musical taste and knowledge in your country. Allow me to add that I shall be most happy whenever it may be in my power to be of any use to you. I am afraid my answer to your questions will be far from satisfactory to you; you tell me that as you never heard
Dusseldorf (on the Rhine) February the 5th 1834. My dear Sir The receipt of your kind letter has given me a very great pleasure and I feel much obliged to you for the confidence you place in my musical judgment by choosing me to give you the required information in a matter of so great an importance for the progress of musical taste and knowledge in your country. Allow me to add that I shall be most happy whenever it may be in my power to be of any use to you. I am afraid my answer to your questions will be far from satisfactory to you; you tell me that as you never heard of Spohr’s „letzte Dinge“ and his „Vater unser“ but by chance, you presume that other works of equal value may exist in our country, but I am sorry to say I believe this not to be the use. You enumerate in your letter almost all the excellent Oratorios which we possess (at least as far as I know) and although there are other works in the same style and of great value also, the greater part of them would not be fit at all for a performance at your great festivals. I mean to speak particularly of Seb. Bach’s works, which are almost all intended for our Cathedral service, which as you probably know is quite different from yours. But as you possess only his „grosse Passionsmusik secundum Matthaeum“ it may be interesting for you to look at another, „secundum Johannem“ which is less difficult and complicated than the great one, as it requires only one Chorus of the four voices, and one Orchestra, and is a great deal shorter. It is published at Berlin by Trautwein, and a selection of his Cathedral services by Simrock at Bonn. These last are of his deepest and most admirable compositions. – Another piece which is unknown in England and I am sorry to say in this country too is composed by Reichard, one of the famous and favourite composers of the end of last century; it is call’d „Miltons Morgengesang” (morning hymn of Milton) and is a favourite piece with me, full of genius & beauty; this I should consider a good piece for a festival if it is not too short, for it does not last above three quarters of an hour. There are beautiful solo’s for the different four voices in it, it is full of effect and contrast, and as brillant as music in so serious a style may be, without becoming trifling and unworthy of its object. The score is difficult to be got, as it is written only for the Singing-Academy at Berlin but I have no doubt I should succeed in getting a copy for you, if you should like to have it. – I must mention also some new Oratorio’s written by B. Klein, particularly one call’d David; but I cannot recommend them, although some of his friends praise them very highly; to me they appear dry, monotonous and very artificial, that is to say unnatural. There is also an Oratorio of Loewe, one of our best ballad writers now living; it is called the destruction of Jerusalem, and if talent, art, dramatic effects of all kind, and contrasts were sufficient to make an Oratorio this would be one of the best, we have; but as long as religious feeling and truth of expression and innocence are more necessary than all those, as long shall I continue to dislike it. I possess the score of it myself, and should be most happy to send it to you, as I should equally send you the abovementioned music of Bach, and the Reichard (if I can get it) but I must ask you to let me know another opportunity but Schlesingers House at Berlin, as I am now for the next two or three years settled here, and as it would be too expensive to send the music from here to Berlin. Perhaps there might be one of your countrymen travelling down the Rhine, who could take it with him, if not I shall send it by any other opportunity you will point out to me. Pray let me soon hear from you that I might write to Berlin for the Morgengesang and the second Passionsmusik which may then be sent by Schlesinger to Boosey. I wish I could bring them over in person this spring, but I am sorry to say that I shall not be able to visit England this year, and I need not add how much I regret it, you know how heartily I like your country. But I want now to write a great deal, and will not think of my pleasure, till I have done my duty, and may again deserve it. I should be much obliged to you if you would remember me to the whole of no. 12 Bedford Row and present my best regards to your son, whose health is improving, I hope, and wishing to hear from you very soon believe me my dear Sir yours very truly Felix Mendelssohn Bartholdy.
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Mus. ep. 491.</idno> </msIdentifier> <msContents> <msItem> <idno type="autograph">Autograph</idno> <title key="fmb-1834-02-05-05" type="letter" xml:id="title_84acf026-e3c9-42a7-b369-72bedb43d523">Felix Mendelssohn Bartholdy an Edward Taylor in London; Düsseldorf, 5. Februar 1834</title> <incipit>The receipt of your kind letter has given me a very great pleasure and I feel much obliged to you for the confidence you place in my musical judgment by choosing me to give you</incipit> </msItem> </msContents> <physDesc> <p>4 beschr. S.; Adresse, mehrere Poststempel, Bemerkung von fremder Hand auf der Adressenseite: »F. 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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="1834-02-05" xml:id="date_5f6e3315-b5d6-4306-9762-491b44597d86">5. Februar 1834</date></creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0000001" resp="author" xml:id="persName_b83bba6d-6d96-41f5-ab41-d1d0b5c56d66">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_5a3f98b5-9d9b-4787-a674-32f569ee1e65"> <settlement key="STM0100109">Düsseldorf</settlement> <country>Deutschland</country></placeName></correspAction> <correspAction type="received"> <persName key="PSN0115268" resp="receiver" xml:id="persName_640c9cec-6a79-4ae5-8c2f-a77ed60c4534">Taylor, Edward (1784-1863)</persName> <placeName type="receiving_place" xml:id="placeName_0d12d913-2086-49e1-8219-c138c8923965"> <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_2a28f5a4-3a23-4163-a532-be0ee00b2ff6"> <head> <address> <addrLine>Edward Taylor</addrLine> <addrLine>Esqu.</addrLine> <addrLine>London</addrLine> <addrLine>3 Regent Square</addrLine> </address> </head> </div> <div type="annotation" xml:id="div_92c52cfb-2362-4a13-8281-ad4c8590b2ee"> <note type="other-third-party-annotation" xml:id="note_dcdaacef-c665-4477-aa57-4eab2274fd94">Bemerkung von fremder Hand auf der Adressenseite: »F. Mendelssohn / Dusseldorf / Feb. 5. 1834«.</note> </div> <div n="1" type="act_of_writing" xml:id="div_454bec75-9039-4179-87ef-3be9abdab6e0"><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">Dusseldorf (on the Rhine)</dateline><dateline rend="right">February the <date cert="high" when="1834-02-05" xml:id="date_24a6fc76-e775-484a-85ec-5ee8b34d17f3">5<hi rend="superscript">th</hi> 1834</date>.</dateline><salute rend="left">My dear Sir</salute><p style="paragraph_without_indent">The receipt of your kind letter has given me a very great pleasure and I feel much obliged to you for the confidence you place in my musical judgment by choosing me to give you the required information in a matter of so great an importance for the progress of musical taste and knowledge in your country. Allow me to add that I shall be most happy whenever it may be in my power to be of any use to you. I am afraid my answer to your questions will be far from satisfactory to you; you tell me that as you never heard <title xml:id="title_6ee1b5b1-b1b0-4dd5-b056-9e929d92f7ec">of Spohr’s „letzte Dinge“<name key="PSN0115032" style="hidden" type="author">Spohr, Louis (Ludewig) (1784-1859)</name><name key="CRT0110926" style="hidden" type="music">Die letzten Dinge WoO 61</name></title> and his „<title xml:id="title_ae88f10c-344d-4679-b4f8-78005572825e">Vater unser“<name key="PSN0115032" style="hidden" type="author">Spohr, Louis (Ludewig) (1784-1859)</name><name key="CRT0110953" style="hidden" type="music">»Vater unser« für Solostimmen, Chor und Orchester WoO 67</name></title> but by chance, you presume that other works of equal value may exist in our country, but I am sorry to say I believe this not to be the use. You enumerate in your letter almost all the excellent Oratorios which we possess (at least as far as I know) and although there are other works in the same style and of great value also, the greater part of them would not be fit at all for a performance at <placeName xml:id="placeName_2b1fc27d-1fc1-49f9-835c-e001b8ee5b78">your great festivals<name key="NST0100444" style="hidden" subtype="" type="institution">Grand Musical Festival (1836)</name><settlement key="STM0100443" style="hidden" type="">Norwich</settlement><country style="hidden">Großbritannien</country></placeName>. I mean to speak particularly of <persName xml:id="persName_c4532224-7641-4907-8530-76325a8a78e7">Seb. Bach’s<name key="PSN0109617" style="hidden">Bach, Johann Sebastian (1685-1750)</name></persName> works, which are almost all intended for our Cathedral service, which as you probably know is quite different from yours. But as you possess only his „<title xml:id="title_0a836eff-4efc-4b67-9e0a-6c44886d2bd5">grosse Passionsmusik secundum Matthaeum“<name key="PSN0109617" style="hidden" type="author">Bach, Johann Sebastian (1685-1750)</name><name key="CRT0107794" style="hidden" type="music">Matthäus-Passion BWV 244</name></title> it may be interesting for you to look at another, <title xml:id="title_b7813582-a2f5-4f07-8eaa-bab7f3a7922b">„secundum Johannem“<name key="PSN0109617" style="hidden" type="author">Bach, Johann Sebastian (1685-1750)</name><name key="CRT0107772" style="hidden" type="music">Johannes-Passion BWV 245</name></title> which is less difficult and complicated than the great one, as it requires only one Chorus of the four voices, and one Orchestra, and is a great deal shorter. It is published at Berlin by <persName xml:id="persName_17b4f6c3-2882-48a3-a6e0-7254f8226833">Trautwein<name key="PSN0115371" style="hidden">Trautwein, Traugott (1787-1865)</name></persName>, and <title xml:id="title_cd225e3e-910e-4d45-938b-bf999b604050">a selection of his Cathedral services<name key="PSN0109617" style="hidden" type="author">Bach, Johann Sebastian (1685-1750)</name><name key="CRT0107804" style="hidden" type="music">Nimm von uns, Herr, du treuer Gott BWV 101</name><name key="PSN0109617" style="hidden" type="author">Bach, Johann Sebastian (1685-1750)</name><name key="CRT0107757" style="hidden" type="music">Herr, deine Augen sehen nach dem Glauben BWV 102</name><name key="PSN0109617" style="hidden" type="author">Bach, Johann Sebastian (1685-1750)</name><name key="CRT0107766" style="hidden" type="music">Ihr werdet weinen und heulen BWV 103</name><name key="PSN0109617" style="hidden" type="author">Bach, Johann Sebastian (1685-1750)</name><name key="CRT0107739" style="hidden" type="music">Du Hirte Israel, höre BWV 104</name><name key="PSN0109617" style="hidden" type="author">Bach, Johann Sebastian (1685-1750)</name><name key="CRT0107758" style="hidden" type="music">Herr, gehe nicht ins Gericht BWV 105 (BC A 114)</name><name key="PSN0109617" style="hidden" type="author">Bach, Johann Sebastian (1685-1750)</name><name key="CRT0107755" style="hidden" type="music">Gottes Zeit ist die allerbeste Zeit (Actus tragicus) BWV 106</name></title> by <persName xml:id="persName_4a612dbf-f536-43e9-be91-62c15585ed54">Simrock<name key="PSN0114935" style="hidden">N. Simrock, Musikverlag in Bonn</name></persName> at Bonn. These last are of his deepest and most admirable compositions. – Another piece which is unknown in England and I am sorry to say in this country too is composed by <persName xml:id="persName_f13bd580-e04e-48ef-b664-e3de3b3d287f">Reichard<name key="PSN0114109" style="hidden">Reichardt, Johann Friedrich (1752-1814)</name></persName>, one of the famous and favourite composers of the end of last century; it is call’d <title xml:id="title_d875d1f3-ef54-4f45-b4dd-43bb3b1b120a">„Miltons Morgengesang”<name key="PSN0114109" style="hidden" type="author">Reichardt, Johann Friedrich (1752-1814)</name><name key="CRT0110432" style="hidden" type="music">Miltons Morgengesang (»Allmächtiger, die herrliche Natur ist deiner Hände Werk«)</name></title> (<title xml:id="title_b1dea800-a074-4015-b956-ef830044c3d4">morning hymn<name key="PSN0113353" style="hidden" type="author">Milton, John (1608-1674)</name><name key="CRT0109985" style="hidden" type="literature">Paradise Lost</name></title> of Milton) and is a favourite piece with me, full of genius & beauty; this I should consider a good piece for a festival if it is not too short, for it does not last above three quarters of an hour. There are beautiful solo’s for the different four voices in it, it is full of effect and contrast, and as brillant as music in so serious a style may be, without becoming trifling and unworthy of its object. The score is difficult to be got, as <title xml:id="title_a5c8efae-02d4-4e04-b04d-937a5f131dda">it is written<name key="PSN0114109" style="hidden" type="author">Reichardt, Johann Friedrich (1752-1814)</name><name key="CRT0110432" style="hidden" type="music">Miltons Morgengesang (»Allmächtiger, die herrliche Natur ist deiner Hände Werk«)</name></title> only for the <placeName xml:id="placeName_9c620284-97aa-4dbb-a7f7-d03365e095f2">Singing-Academy<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> at Berlin but I have no doubt I should succeed in getting a copy for you, if you should like to have it. – I must mention also some new Oratorio’s written by <persName xml:id="persName_9270f7a5-9e23-494c-9f24-d355baaae996">B. Klein<name key="PSN0112411" style="hidden">Klein, Bernhard Joseph (1793-1832)</name></persName>, particularly one call’d <title xml:id="title_bbf8577c-9f3f-47f2-b0fb-b95710276277">David<name key="PSN0112411" style="hidden" type="author">Klein, Bernhard Joseph (1793-1832)</name><name key="CRT0109498" style="hidden" type="music">David op. 34</name></title>; but I cannot recommend them, although some of his friends praise them very highly; to me they appear dry, monotonous and very artificial, that is to say unnatural. There is also an Oratorio of <persName xml:id="persName_3a580e8f-4a3a-4b31-9262-dd504b9daee2">Loewe<name key="PSN0112914" style="hidden">Loewe, Johann Carl Gottfried (1796-1869)</name></persName>, one of our best ballad writers now living; it is called <title xml:id="title_3744fb79-1f16-4844-bbc2-2710f3766641">the destruction of Jerusalem<name key="PSN0112914" style="hidden" type="author">Loewe, Johann Carl Gottfried (1796-1869)</name><name key="CRT0109796" style="hidden" type="music">Die Zerstörung von Jerusalem op. 30</name></title>, and if talent, art, dramatic effects of all kind, and contrasts were sufficient to make an Oratorio this would be one of the best, we have; but as long as religious feeling and truth of expression and innocence are more necessary than all those, as long shall I continue to dislike it. I possess the <title xml:id="title_b32f29f8-7d54-4382-a4af-3de7cd595896">score<name key="PSN0112914" style="hidden" type="author">Loewe, Johann Carl Gottfried (1796-1869)</name><name key="CRT0109796" style="hidden" type="music">Die Zerstörung von Jerusalem op. 30</name></title> of it myself, and should be most happy to send it to you, as I should equally send you the abovementioned music of <persName xml:id="persName_1d6e1e70-a4a9-4ab1-b16a-3f6f6aca4c23">Bach<name key="PSN0109617" style="hidden">Bach, Johann Sebastian (1685-1750)</name></persName>, and the <persName xml:id="persName_eb9e1905-0fa4-405d-a0a8-bfcdd0339c2c">Reichard<name key="PSN0114109" style="hidden">Reichardt, Johann Friedrich (1752-1814)</name></persName> (if I can get it) but I must ask you to let me know another opportunity but <persName xml:id="persName_96bbadf0-9989-4992-9287-c90c0bff3b6f">Schlesingers<name key="PSN0114576" style="hidden">Schlesinger, Adolph Martin (bis 1812: Abraham Moses) (1769-1838)</name><name key="PSN0114585" style="hidden">A. M. Schlesinger, Musikverlag in Berlin</name></persName> House at Berlin, as I am now for the next two or three years settled here, and as it would be too expensive to send the music from here to Berlin. Perhaps there might be one of your countrymen travelling down the Rhine, who could take it with him, if not I shall send it by any other opportunity you will point out to me. Pray let me soon hear from you that I might write to Berlin for the <title xml:id="title_3cf7d7e4-1372-4ed6-b389-c72fe6e8b0d8">Morgengesang<name key="PSN0114109" style="hidden" type="author">Reichardt, Johann Friedrich (1752-1814)</name><name key="CRT0110432" style="hidden" type="music">Miltons Morgengesang (»Allmächtiger, die herrliche Natur ist deiner Hände Werk«)</name></title> and the <title xml:id="title_232d449d-f6d9-4f10-bb58-dc9c64bf8117">second Passionsmusik<name key="PSN0109617" style="hidden" type="author">Bach, Johann Sebastian (1685-1750)</name><name key="CRT0107772" style="hidden" type="music">Johannes-Passion BWV 245</name></title> which may then be sent by <persName xml:id="persName_4833f004-8cda-464e-ab4f-73357fb57c65">Schlesinger<name key="PSN0114576" style="hidden">Schlesinger, Adolph Martin (bis 1812: Abraham Moses) (1769-1838)</name></persName> to <persName xml:id="persName_8b40534c-2a99-4c6d-9e03-c9594024c795">Boosey<name key="PSN0110028" style="hidden">Boosey & Co., Musikverlag in London</name></persName>. I wish I could bring them over in person this spring, but I am sorry to say that I shall not be able to visit England this year, and I need not add how much I regret it, you know how heartily I like your country. But I want now to write a great deal, and will not think of my pleasure, till I have done my duty, and may again deserve it. I should be much obliged to you if you would remember me to the whole of no. 12 Bedford Row and present my best regards to <persName xml:id="persName_92d7af8d-af34-4d89-9dc4-ab16cc85e297">your son<name key="PSN0115273" style="hidden">Taylor, John Edward</name></persName>, whose health is improving, <seg type="closer" xml:id="seg_c5447063-569d-4583-ba5e-a034425def92">I hope, and wishing to hear from you very soon believe me my dear Sir</seg></p><signed rend="right">yours very truly</signed><signed rend="right">Felix Mendelssohn Bartholdy.</signed></div></body> </text></TEI>