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fmb-1834-04-03-01

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Felix Mendelssohn Bartholdy an William Horsley in London <lb></lb>Düsseldorf, 3. April 1834 Since MrKlingemanns return to England I intended to write to you, but my occupations increased so much, that it became quite impossible to find a moments leisure for it; the same is the case with Felix Mendelssohn Bartholdy Correspondence Online (FMB-C) noch nicht ermittelt noch nicht ermittelt Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847) Transkription: FMB-C Edition: FMB-C Felix Mendelssohn Bartholdy Correspondence Online-Ausgabe (FMB-C). Institut für Musikwissenschaft und Medienwissenschaft. Humboldt-Universität zu Berlin
Am Kupfergraben 5 10117 Berlin Deutschland
http://www.mendelssohn-online.com Creative Commons Attribution 4.0 International (CC BY 4.0) Bd. 3, 890

Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)

Deutschland Berlin D-B Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz Musikabteilung MA Nachl. 7,84,5. Abschrift fremder Hand Felix Mendelssohn Bartholdy an William Horsley in London; Düsseldorf, 3. April 1834 Since MrKlingemanns return to England I intended to write to you, but my occupations increased so much, that it became quite impossible to find a moments leisure for it; the same is the case with

Adresse (nach Abschrift in Privatbesitz). – Der Brief wurde in den Brief gleichen Datums an Elizabeth Hutchins Horsley (Nr. 891) eingeschlossen.

Unbekannt

-

Abschrift, Privatbesitz. Mendelssohn-Bartholdy, Goethe and Mendelssohn (1874), S. 108-111.

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.

3. April 1834 Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)counter-resetMendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847) Düsseldorf Deutschland Horsley, William (1774-1858) London Großbritannien englisch
W. Horsley Eqre.
Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)Dusseldorf 3 April 1834My dear Sir

Since Mr KlingemannsKlingemann, Ernst Georg Carl Christoph Konrad (1798-1862) return to England I intended to write to you, but my occupations increased so much, that it became quite impossible to find a moments leisure for it; the same is the case with you, as Mrs HorsleyHorsley, Elizabeth Hutchins (1793-1875) says in her kind letter to me, and I hope therefore you will excuse my long silence. I have been very happy to learn that you had finished, notwithstanding all those occupations two new Motetts<name key="PSN0112109" style="hidden" type="author">Horsley, William (1774-1858)</name><name key="CRT0109375" style="hidden" type="music">O God the King of Glory</name><name key="PSN0112109" style="hidden" type="author">Horsley, William (1774-1858)</name><name key="CRT0109372" style="hidden" type="music">Exaltabo te, Deus</name>, but the accounts Mrs HorsleyHorsley, Elizabeth Hutchins (1793-1875) gives of the first performance of them, when the Cantos were enquired for after the conclusion, without having been heard at all, does not make me regret to have missed them there, if I could find another opportunity to know them, and if perhaps you would be kind enough to allow Mr KlingemannKlingemann, Ernst Georg Carl Christoph Konrad (1798-1862) to have a copy taken from them and to send it to me, that I may perform them by myself in my room, or if possible with my vocal SocietySingvereinDüsseldorfDeutschland here, where the Cantos should be heard I promise you. You know that such a copy would be quite safe in my hands, that I should not give it to anybody else unless you would allow it, and how great a treat it would afford me if you would entrust me with it – If however it should be impossible, I wish you would give me at least a description of them, on which words they are (as Mrs HorsleyHorsley, Elizabeth Hutchins (1793-1875) only tells me they were Latin and English<name key="PSN0112109" style="hidden" type="author">Horsley, William (1774-1858)</name><name key="CRT0109375" style="hidden" type="music">O God the King of Glory</name><name key="PSN0112109" style="hidden" type="author">Horsley, William (1774-1858)</name><name key="CRT0109372" style="hidden" type="music">Exaltabo te, Deus</name>) and in short give me an equivalent to a performance (or rather reading) in your little study, which however I should prefer to any letter. But as this is impossible for this year, pray let me soon hear from you, and if you should write but a few lines, you know the great pleasure it will give me. – My occupations here are almost all pleasant and interesting; the “MusikvereinSingvereinDüsseldorfDeutschlandMusikvereinDüsseldorfDeutschland” or vocal society is as numerous as it possibly can be in such a small place as this is; there are 113 members, merely amateurs, who meet every Tuesday, and spend the evening with singing Choruses at the Piano, there are some excellent voices amongst them and even the Choruses go sometimes so well, that it is quite astonishing to me. I wish you could hear some of Handels Oratorios, particularly Israel<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685-1759)</name><name key="CRT0108989" style="hidden" type="music">Israel in Egypt HWV 54</name>, 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> and 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>, which they singSingvereinDüsseldorfDeutschland with a true enthusiasm. Besides there is an “instrumental Society”InstrumentalvereinDüsseldorfDeutschland” (less numerous, between 20 and 30) and then the militaryMilitärmusikDüsseldorfDeutschland bands of three regiments and the OrchestraStadttheaterDüsseldorfDeutschland of the theatre, although all of these three contain a great many shocking fiddlers, I hope I shall be able to form a pretty good Orchestra in selecting the good performers and leaving the bad ones behind. We had in the course of the winter a public Alexanders feast<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685-1759)</name><name key="CRT0108949" style="hidden" type="music">Alexander’s Feast or The Power of Musick HWV 75</name>, the Seasons<name key="PSN0111789" style="hidden" type="author">Haydn, Franz Joseph (1732-1809)</name><name key="CRT0109072" style="hidden" type="music">Die Jahreszeiten Hob. XXI : 3</name>, the Choruses of Oberon<name key="PSN0115645" style="hidden" type="author">Weber, Carl Maria Friedrich Ernst von (1786-1826)</name><name key="CRT0111259" style="hidden" type="music">Oberon, or the Elf King’s Oath WeV C. 10</name> & some from the Creation<name key="PSN0111789" style="hidden" type="author">Haydn, Franz Joseph (1732-1809)</name><name key="CRT0109080" style="hidden" type="music">Die Schöpfung Hob. XXI : 2</name>, a Mass<name key="PSN0110361" style="hidden" type="author">Cherubini, Maria Luigi Carlo Zenobio Salvatore (1760-1842)</name><name key="CRT0108385" style="hidden" type="music">Messe solennelle Nr. 4 C-Dur</name> of Cherubini, on good Friday some Palestrinas<name key="PSN0113727" style="hidden" type="author">Palestrina, Giovanni Pierluigi da (?-1594)</name><name key="CRT0110283" style="hidden" type="music">Popule meus</name> and Lassos<name key="PSN0112695" style="hidden" type="author">Lasso, Orlando di (?-1594)</name><name key="CRT0109665" style="hidden" type="music">Motetten</name> in the churchSt. MaximilianDüsseldorfDeutschland at night, and I hope it shall greatly improve till next year. Besides there is a Society for the improvementTheaterverein (1832 bis Anfang 1834: Provisorischer Theaterverein)DüsseldorfDeutschland of the theatreStadttheaterDüsseldorfDeutschland, of which I am a member and deputed in this quality to conduct some Operas, when I may have as many rehearsals as I like, so that I had 20 for Don Juan<name key="PSN0113466" style="hidden" type="author">Mozart, Wolfgang Amadeus (1756-1791)</name><name key="CRT0110089" style="hidden" type="music">Don Giovanni KV 527</name> (4 with Orchestra) and as much for “Les deux journées”<name key="PSN0110361" style="hidden" type="author">Cherubini, Maria Luigi Carlo Zenobio Salvatore (1760-1842)</name><name key="CRT0108366" style="hidden" type="music">Les Deux Journées, ou Le Porteur d’eau</name> which went most splendidly. It is true that it costs a great deal of time, and breath and quarreling, for nothing is yet as it ought to be, but a good performance makes one forget all the annoyance of stupidity and false notes. – I write all these details, dear Sir, as I hope you will the more excuse my long delay in sending this letter, when you see how much I had to do here this winter. Pray let me soon hear from you and believe me, yours very truly

Felix Mendelssohn Bartholdy
            Dusseldorf 3 April 1834My dear Sir
Since Mr Klingemanns return to England I intended to write to you, but my occupations increased so much, that it became quite impossible to find a moments leisure for it; the same is the case with you, as Mrs Horsley says in her kind letter to me, and I hope therefore you will excuse my long silence. I have been very happy to learn that you had finished, notwithstanding all those occupations two new Motetts, but the accounts Mrs Horsley gives of the first performance of them, when the Cantos were enquired for after the conclusion, without having been heard at all, does not make me regret to have missed them there, if I could find another opportunity to know them, and if perhaps you would be kind enough to allow Mr Klingemann to have a copy taken from them and to send it to me, that I may perform them by myself in my room, or if possible with my vocal Society here, where the Cantos should be heard I promise you. You know that such a copy would be quite safe in my hands, that I should not give it to anybody else unless you would allow it, and how great a treat it would afford me if you would entrust me with it – If however it should be impossible, I wish you would give me at least a description of them, on which words they are (as Mrs Horsley only tells me they were Latin and English) and in short give me an equivalent to a performance (or rather reading) in your little study, which however I should prefer to any letter. But as this is impossible for this year, pray let me soon hear from you, and if you should write but a few lines, you know the great pleasure it will give me. – My occupations here are almost all pleasant and interesting; the “Musikverein” or vocal society is as numerous as it possibly can be in such a small place as this is; there are 113 members, merely amateurs, who meet every Tuesday, and spend the evening with singing Choruses at the Piano, there are some excellent voices amongst them and even the Choruses go sometimes so well, that it is quite astonishing to me. I wish you could hear some of Handels Oratorios, particularly Israel, Maccabaeus and Samson, which they sing with a true enthusiasm. Besides there is an “instrumental Society”” (less numerous, between 20 and 30) and then the military bands of three regiments and the Orchestra of the theatre, although all of these three contain a great many shocking fiddlers, I hope I shall be able to form a pretty good Orchestra in selecting the good performers and leaving the bad ones behind. We had in the course of the winter a public Alexanders feast, the Seasons, the Choruses of Oberon & some from the Creation, a Mass of Cherubini, on good Friday some Palestrinas and Lassos in the church at night, and I hope it shall greatly improve till next year. Besides there is a Society for the improvement of the theatre, of which I am a member and deputed in this quality to conduct some Operas, when I may have as many rehearsals as I like, so that I had 20 for Don Juan (4 with Orchestra) and as much for “Les deux journées” which went most splendidly. It is true that it costs a great deal of time, and breath and quarreling, for nothing is yet as it ought to be, but a good performance makes one forget all the annoyance of stupidity and false notes. – I write all these details, dear Sir, as I hope you will the more excuse my long delay in sending this letter, when you see how much I had to do here this winter. Pray let me soon hear from you and believe me, yours very truly
Felix Mendelssohn Bartholdy          
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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="1834-04-03" xml:id="date_5a48ec10-eb6b-4f34-8bee-d7a90366469c">3. April 1834</date></creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0000001" resp="author" xml:id="persName_4dab9acc-5b2e-4ec5-8ee5-1fa51e47edd7">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_d2230707-6790-4726-b64d-252254072e21"> <settlement key="STM0100109">Düsseldorf</settlement> <country>Deutschland</country></placeName></correspAction> <correspAction type="received"> <persName key="PSN0112109" resp="receiver" xml:id="persName_4c26b8f2-4fcf-4473-a1f4-bc3edaf4652e">Horsley, William (1774-1858)</persName> <placeName type="receiving_place" xml:id="placeName_9e4decae-ef63-4dfb-b2da-25e2837a5071"> <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_888a57a0-0875-4768-a297-754979324255"> <head> <address> <addrLine>W. Horsley</addrLine> <addrLine>Eqre.</addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_8ea6d43d-0939-4379-8949-71195a9a959f"><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 <date cert="high" when="1834-04-03" xml:id="date_b266b68e-b4a2-4694-b3b2-a30667109161">3 April 1834</date></dateline><salute rend="left">My dear Sir</salute><p style="paragraph_without_indent">Since M<hi rend="superscript">r</hi> <persName xml:id="persName_95afb420-0a2d-4457-a377-159421cdadbb">Klingemanns<name key="PSN0112434" style="hidden">Klingemann, Ernst Georg Carl Christoph Konrad (1798-1862)</name></persName> return to England I intended to write to you, but my occupations increased so much, that it became quite impossible to find a moments leisure for it; the same is the case with you, as M<hi rend="superscript">rs</hi> <persName xml:id="persName_e9b7fb91-19df-4911-9c72-88e5549338bb">Horsley<name key="PSN0112103" style="hidden">Horsley, Elizabeth Hutchins (1793-1875)</name></persName> says in her kind letter to me, and I hope therefore you will excuse my long silence. I have been very happy to learn that you had finished, notwithstanding all those occupations two new <title xml:id="title_5b5187bd-5b58-4fab-b3c6-2ab27ae4e233">Motetts<name key="PSN0112109" style="hidden" type="author">Horsley, William (1774-1858)</name><name key="CRT0109375" style="hidden" type="music">O God the King of Glory</name><name key="PSN0112109" style="hidden" type="author">Horsley, William (1774-1858)</name><name key="CRT0109372" style="hidden" type="music">Exaltabo te, Deus</name></title>, but the accounts M<hi rend="superscript">rs</hi> <persName xml:id="persName_79474145-b096-45dc-b0e5-ecfd26c070f7">Horsley<name key="PSN0112103" style="hidden">Horsley, Elizabeth Hutchins (1793-1875)</name></persName> gives of the first performance of them, when the Cantos were enquired for after the conclusion, without having been heard at all, does not make me regret to have missed them there, if I could find another opportunity to know them, and if perhaps you would be kind enough to allow M<hi rend="superscript">r</hi> <persName xml:id="persName_370befa9-781c-4068-9da7-4002f572f23b">Klingemann<name key="PSN0112434" style="hidden">Klingemann, Ernst Georg Carl Christoph Konrad (1798-1862)</name></persName> to have a copy taken from them and to send it to me, that I may perform them by myself in my room, or if possible with my <placeName xml:id="placeName_6af7eda2-b05e-4864-a60a-314051ccdf4a">vocal Society<name key="NST0100306" style="hidden" subtype="" type="institution">Singverein</name><settlement key="STM0100109" style="hidden" type="">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName> here, where the Cantos should be heard I promise you. You know that such a copy would be quite safe in my hands, that I should not give it to anybody else unless you would allow it, and how great a treat it would afford me if you would entrust me with it – If however it should be impossible, I wish you would give me at least a description of them, on which words they are (as M<hi rend="superscript">rs</hi> <persName xml:id="persName_989919f5-7560-41ab-a958-05c162dc7610">Horsley<name key="PSN0112103" style="hidden">Horsley, Elizabeth Hutchins (1793-1875)</name></persName> only tells me they <title xml:id="title_932b4540-6c1f-4ab8-9c6b-18072fdf7715">were Latin and English<name key="PSN0112109" style="hidden" type="author">Horsley, William (1774-1858)</name><name key="CRT0109375" style="hidden" type="music">O God the King of Glory</name><name key="PSN0112109" style="hidden" type="author">Horsley, William (1774-1858)</name><name key="CRT0109372" style="hidden" type="music">Exaltabo te, Deus</name></title>) and in short give me an equivalent to a performance (or rather reading) in your little study, which however I should prefer to any letter. But as this is impossible for this year, pray let me soon hear from you, and if you should write but a few lines, you know the great pleasure it will give me. – My occupations here are almost all pleasant and interesting; the “<placeName xml:id="placeName_ba2bc4c2-ff51-4e0a-868a-00e5674abbb8">Musikverein<name key="NST0100306" style="hidden" subtype="" type="institution">Singverein</name><settlement key="STM0100109" style="hidden" type="">Düsseldorf</settlement><country style="hidden">Deutschland</country><name key="NST0100320" style="hidden" subtype="" type="institution">Musikverein</name><settlement key="STM0100109" style="hidden" type="">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName>” or vocal society is as numerous as it possibly can be in such a small place as this is; there are 113 members, merely amateurs, who meet every Tuesday, and spend the evening with singing Choruses at the Piano, there are some excellent voices amongst them and even the Choruses go sometimes so well, that it is quite astonishing to me. I wish you could hear some of Handels Oratorios, particularly <title xml:id="title_eec6b9e3-95df-4dd5-96e0-5cd0e6558562">Israel<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685-1759)</name><name key="CRT0108989" style="hidden" type="music">Israel in Egypt HWV 54</name></title>, <title xml:id="title_0d89c0c1-5f07-4511-98a5-b088b032988f">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> and <title xml:id="title_3417b1b4-4b56-4d53-bd28-d6a64d0dccc4">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>, which <placeName xml:id="placeName_a8510b59-c37a-4d39-b7ed-761eb2e25c37">they sing<name key="NST0100306" style="hidden" subtype="" type="institution">Singverein</name><settlement key="STM0100109" style="hidden" type="">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName> with a true enthusiasm. Besides there is an <placeName xml:id="placeName_3f3c82a6-c6c0-4244-9582-3e7ce3b2bd10">“instrumental Society”<name key="NST0100426" style="hidden" subtype="" type="institution">Instrumentalverein</name><settlement key="STM0100109" style="hidden" type="">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName>” (less numerous, between 20 and 30) and then the <placeName xml:id="placeName_c3419888-8c3b-4854-aa74-eac4707212a7">military<name key="NST0100442" style="hidden" subtype="" type="institution">Militärmusik</name><settlement key="STM0100109" style="hidden" type="">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName> bands of three regiments and the <placeName xml:id="placeName_f0612c85-0c90-4b1c-bcc5-d6fa7be60f87">Orchestra<name key="NST0100296" style="hidden" subtype="" type="institution">Stadttheater</name><settlement key="STM0100109" style="hidden" type="">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName> of the theatre, although all of these three contain a great many shocking fiddlers, I hope I shall be able to form a pretty good Orchestra in selecting the good performers and leaving the bad ones behind. We had in the course of the winter a public <title xml:id="title_1d8c6b7b-8c2a-45b8-8a84-4b1504266b4f">Alexanders feast<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685-1759)</name><name key="CRT0108949" style="hidden" type="music">Alexander’s Feast or The Power of Musick HWV 75</name></title>, the <title xml:id="title_7405fb87-b31a-40fb-87d3-356253e0ddc5">Seasons<name key="PSN0111789" style="hidden" type="author">Haydn, Franz Joseph (1732-1809)</name><name key="CRT0109072" style="hidden" type="music">Die Jahreszeiten Hob. XXI : 3</name></title>, the <title xml:id="title_1a831352-d108-4db7-b388-c2323eb2c516">Choruses of Oberon<name key="PSN0115645" style="hidden" type="author">Weber, Carl Maria Friedrich Ernst von (1786-1826)</name><name key="CRT0111259" style="hidden" type="music">Oberon, or the Elf King’s Oath WeV C. 10</name></title> &amp; some from the <title xml:id="title_c56dfb59-ef92-4b9f-b096-653f4eb437f0">Creation<name key="PSN0111789" style="hidden" type="author">Haydn, Franz Joseph (1732-1809)</name><name key="CRT0109080" style="hidden" type="music">Die Schöpfung Hob. XXI : 2</name></title>, a <title xml:id="title_38f2d689-ab00-440e-858a-72cbe715d9c7">Mass<name key="PSN0110361" style="hidden" type="author">Cherubini, Maria Luigi Carlo Zenobio Salvatore (1760-1842)</name><name key="CRT0108385" style="hidden" type="music">Messe solennelle Nr. 4 C-Dur</name></title> of Cherubini, on good Friday <title xml:id="title_8b24df7f-a904-446b-b895-e27918cf4605">some Palestrinas<name key="PSN0113727" style="hidden" type="author">Palestrina, Giovanni Pierluigi da (?-1594)</name><name key="CRT0110283" style="hidden" type="music">Popule meus</name></title> and <title xml:id="title_27a15723-c54e-47ca-9889-111bce64a5a1">Lassos<name key="PSN0112695" style="hidden" type="author">Lasso, Orlando di (?-1594)</name><name key="CRT0109665" style="hidden" type="music">Motetten</name></title> in the <placeName xml:id="placeName_c467f9ac-444d-4b69-ad52-a45ad2c8b1c7">church<name key="SGH0100313" style="hidden" subtype="" type="sight">St. Maximilian</name><settlement key="STM0100109" style="hidden" type="">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName> at night, and I hope it shall greatly improve till next year. Besides there is a <placeName xml:id="placeName_49bd362e-9818-413a-8451-7421aa1ed248">Society for the improvement<name key="NST0100325" style="hidden" subtype="" type="institution">Theaterverein (1832 bis Anfang 1834: Provisorischer Theaterverein)</name><settlement key="STM0100109" style="hidden" type="">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName> of the <placeName xml:id="placeName_d4b0c501-9539-455a-b735-48b1b8433382">theatre<name key="NST0100296" style="hidden" subtype="" type="institution">Stadttheater</name><settlement key="STM0100109" style="hidden" type="">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName>, of which I am a member and deputed in this quality to conduct some Operas, when I may have as many rehearsals as I like, so that I had 20 for <title xml:id="title_60f4200b-a2b8-4bdf-9bc9-8579d160f308">Don Juan<name key="PSN0113466" style="hidden" type="author">Mozart, Wolfgang Amadeus (1756-1791)</name><name key="CRT0110089" style="hidden" type="music">Don Giovanni KV 527</name></title> (4 with Orchestra) and as much for <title xml:id="title_74997b4a-b3c0-4ea2-9289-1b5559ebb099">“Les deux journées”<name key="PSN0110361" style="hidden" type="author">Cherubini, Maria Luigi Carlo Zenobio Salvatore (1760-1842)</name><name key="CRT0108366" style="hidden" type="music">Les Deux Journées, ou Le Porteur d’eau</name></title> which went most splendidly. It is true that it costs a great deal of time, and breath and quarreling, for nothing is yet as it ought to be, but a good performance makes one forget all the annoyance of stupidity and false notes. – I write all these details, dear Sir, as I hope you will the more excuse my long delay in sending this letter, when you see how much I had to do here this winter. <seg type="closer" xml:id="seg_2db4c977-da60-4919-b3d6-fccb80f574b5">Pray let me soon hear from you and believe me, yours very truly</seg></p><signed rend="right">Felix Mendelssohn Bartholdy</signed></div></body> </text></TEI>