fmb-1834-08-23-01
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Düsseldorf, 23. August 1834
Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
4 beschr. S.; Adresse, mehrere Poststempel.
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.
d1834
I wish I could express to you all the pleasure I felt when I first received your kind and most interesting letter and a few days after the copy of
3
2
t
vaof the voices must have a very good effect, but yet I think the
3
2
Your account of the
Dusseldorf August 23d 1834. My dear Sir I wish I could express to you all the pleasure I felt when I first received your kind and most interesting letter and a few days after the copy of your motet for which I am really at a loss how to thank Mrs. Horsley, as the kindness which you show me by sending me so valuable a present is really too great, and I do not know how I deserve it. But I shall say no more of this, you will recollect that I never am able to express my thanks as I ought; I hoped by this time we might have sung the motet at our vocal society, but during the whole of the summer we had almost every fortnight a church service to perform, which absorbeb all the time we could have devoted to new music, and as I am now about to go to Berlin for some weeks I shall not have an opportunity of hearing it before my return and have only been able to play and sing it by myself and to peruse it as attentively as I could. But I think this even preferable as the Chorus is not likely to do justice to such a composition without a pretty long practice, and as I am able to fancy a more perfect and powerfull performance of a great work when I merely read it, than when in reality I am to hear it. However as I have now received the perfect impression of your motet, I hope to make them practise it next winter, till I may say that the performance is in some respect equal to the idea, which I now form of it, and as the orchestral parts are not difficult at all, I think a general performance will go pretty well here. The passage in 3 2 is I think my favorite, particularly when the voices and afterwards the Violins come in, (soave) and I almost wish this beautiful piece a little more extended, although the „one God“ with its two C’s, and the fugue afterwards are also full of effect and musical power – those two C’s and particularly their returning at the end would do well at St Paul’s – I must not forget the pianissimo „we beseech thee“ where the violins in the 8va of the voices must have a very good effect, but yet I think the 3 2 the most beautiful part of it, and once more I must thank Mrs. Horsley for the pleasure she has given me, in procuring to me the acquaintance of those beauties. Your account of the musical Festival is so lively that I fancy to have heard the forty violins which produced not more effect than fourteen, and railed at the trombonizing of Handel, (who knew just enough of his instruments) and seen the memorable band of gentlemen ushers, who had I dare say white stuff, or a crimson ribbond, or perhaps a whole costume of their own, and who seem to have been the very first band of any kind that has given general satisfaction. My Oratorio is not yet so advanced as you think it, for I have not quite finished the first part, which is to be shorter than the second, but if I proceed slowly it is at least without trombones, and I flatter myself to have been as moderate in the use of brass, as any enemy of the Birmingham industry or a friend to invalid trumpeters could have wished; for out of twelve Choruses in the first part there are but two with the brass band, and the beginning Chorus is even to be without „trumpets“! Are you not satisfied with this? And am I not likely to become a writer, whose dreams may be undisturbed by the ghosts of drummers and trumpeters arising and showing their wounds and crying: remember how we got them! At least I am firmly convinced that if the idea of the thing wants power all the trombones of Great Britain and Ireland are not able to supply it, and serve only to make the weakness of the idea more conspicuous. This I fear may also be the case in the new work to which you allude, but I must not dwell on this subject, as it would remind Mrs. Horsley of my opposition to Napoleons review and other pieces, which she used to defend. – I must conclude my letter, and if you allow me one trumpet bar for every fault in it, I shall make a most horrid and modern noise. Pray remember me kindly to your family and believe me dear Sir very truly yours Felix Mendelssohn Bartholdy.
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August 1834</title> <title level="s" type="incipit" xml:id="title_ec8b7c33-0e46-4302-9d08-a3d08c4b62f5">I wish I could express to you all the pleasure I felt when I first received your kind and most interesting letter and a few days after the copy of your motet for which I</title> <title level="s" type="sub" xml:id="title_df854a52-ba57-49ab-b19e-c986a20c73e5">Felix Mendelssohn Bartholdy Correspondence Online (FMB-C)</title> <title key="not_yet_determined" type="precursor">noch nicht ermittelt</title> <title key="not_yet_determined" type="successor">noch nicht ermittelt</title> <author key="PSN0000001">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</author><respStmt><resp resp="writer"></resp><persName key="PSN0000001" resp="writer">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName></respStmt><respStmt resp="transcription"> <resp resp="transcription">Transkription: </resp> <name resp="transcription">FMB-C</name> </respStmt> <respStmt resp="edition"> <resp resp="edition">Edition: </resp> <name resp="edition">FMB-C</name> </respStmt> </titleStmt> <publicationStmt> <publisher>Felix Mendelssohn Bartholdy Correspondence Online-Ausgabe (FMB-C). 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Horsley c. 1, fol. 10-11.</idno> </msIdentifier> <msContents> <msItem> <idno type="autograph">Autograph</idno> <title key="fmb-1834-08-23-01" type="letter" xml:id="title_64b86014-7f6f-4726-9987-8be05e0e33ad">Felix Mendelssohn Bartholdy an William Horsley in London; Düsseldorf, 23. August 1834</title> <incipit>I wish I could express to you all the pleasure I felt when I first received your kind and most interesting letter and a few days after the copy of your motet for which I</incipit> </msItem> </msContents> <physDesc> <p>4 beschr. 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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="1834-08-23" xml:id="date_895ac94a-168e-4051-9545-211c7332bf88">23. August 1834</date></creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0000001" resp="author" xml:id="persName_1a190203-071e-45c2-ae4c-cc17a70aa796">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_f19cc476-19b5-4c19-8d71-dbbce302e387"> <settlement key="STM0100109">Düsseldorf</settlement> <country>Deutschland</country></placeName></correspAction> <correspAction type="received"> <persName key="PSN0112109" resp="receiver" xml:id="persName_09d88666-2e4e-4892-9448-22d9b165306c">Horsley, William (1774-1858)</persName> <placeName type="receiving_place" xml:id="placeName_30bbf650-34d8-4945-9984-2a666fc27b14"> <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_4c473e23-9444-4329-814c-34ba0c054e28"> <head> <address> <addrLine>W. Horsley</addrLine> <addrLine>Esqu.</addrLine> <addrLine>London.</addrLine> <addrLine>no. 1 high Row, Kensington</addrLine> <addrLine>gravel pits</addrLine> <addrLine>fr.</addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_6411c662-e4b4-4f9b-8c33-02afd6148a67"><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 August <date cert="high" when="1834-08-23" xml:id="date_5465e23e-e367-4749-a378-a58ea9f3581a">23<hi rend="superscript">d</hi> 1834</date>.</dateline><salute rend="left">My dear Sir</salute><p style="paragraph_without_indent">I wish I could express to you all the pleasure I felt when I first received your kind and most interesting letter and a few days after the copy of <title xml:id="title_bfa645ad-966b-4a12-882c-f0d3406814bd">your motet<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></title> for which I am really at a loss how to thank <persName xml:id="persName_923428ae-26d3-4693-aa93-5a9de9a4f41f">Mrs. Horsley<name key="PSN0112103" style="hidden">Horsley, Elizabeth Hutchins (1793-1875)</name></persName>, as the kindness which you show me by sending me so valuable a present is really too great, and I do not know how I deserve it. But I shall say no more of this, you will recollect that I never am able to express my thanks as I ought; I hoped by this time we might have sung the motet at <placeName xml:id="placeName_d5996455-f439-4ccc-bf92-b91eac6a19b8">our 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>, but during the whole of the summer we had almost every fortnight a church service to perform, which absorbeb all the time we could have devoted to new music, and as I am now about to go to Berlin for some weeks I shall not have an opportunity of hearing it before my return and have only been able to play and sing it by myself and to peruse it as attentively as I could. But I think this even preferable as the Chorus is not likely to do justice to such a composition without a pretty long practice, and as I am able to fancy a more perfect and powerfull performance of a great work when I merely read it, than when in reality I am to hear it. However as I have now received the perfect impression of <title xml:id="title_61cb01c1-2412-44d6-b6d6-22004e666a08">your motet<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></title>, I hope to make them practise it next winter, till I may say that the performance is in some respect equal to the idea, which I now form of it, and as the orchestral parts are not difficult at all, I think a general performance will go pretty well here. The passage in <formula rend="fraction_slash"> <hi rend="supslash">3</hi> <hi rend="barslash"></hi> <hi rend="subslash">2</hi></formula> is I think my favorite, particularly when the voices and afterwards the Violins come in, (soave) and I almost wish this beautiful piece a little more extended, although the „one God“ with its two C’s, and the fugue afterwards are also full of effect and musical power – those two C’s and particularly their returning at the end would do well at S<hi rend="superscript">t</hi> <placeName xml:id="placeName_e7cbc10b-e639-491b-a149-f8c7e0913c87">Paul’s<name key="SGH0100307" style="hidden" subtype="" type="sight">St. Paul’s Cathedral</name><settlement key="STM0100126" style="hidden" type="">London</settlement><country style="hidden">Großbritannien</country></placeName> – I must not forget the pianissimo „we beseech thee“ where the violins in the 8<hi rend="superscript">va</hi> of the voices must have a very good effect, but yet I think the <formula rend="fraction_slash"> <hi rend="supslash">3</hi> <hi rend="barslash"></hi> <hi rend="subslash">2</hi></formula> the most beautiful part of it, and once more I must thank <persName xml:id="persName_d6bbf12d-24d0-4d2e-902d-b41a4e455f1f">Mrs. Horsley<name key="PSN0112103" style="hidden">Horsley, Elizabeth Hutchins (1793-1875)</name></persName> for the pleasure she has given me, in procuring to me the acquaintance of those beauties.</p><p>Your account of the <placeName xml:id="placeName_113ab8e4-0bc9-4e1e-b3c9-671a29ad0d53">musical Festival<name key="NST0100308" style="hidden" subtype="Westminster abbey" type="institution">Royal Musical Festival (1834)</name><settlement key="STM0100126" style="hidden" type="">London</settlement><country style="hidden">Großbritannien</country></placeName> is so lively that I fancy to have heard the forty violins which produced not more effect than fourteen, and railed at the trombonizing of Handel, (who knew just enough of his instruments) and seen the memorable band of gentlemen ushers, who had I dare say white stuff, or a crimson ribbond, or perhaps a whole costume of their own, and who seem to have been the very first band of any kind that has given general satisfaction. <title xml:id="title_8a79afe2-a693-43b7-9441-1bd884c90f1c">My Oratorio<list style="hidden" type="fmb_works_directory" xml:id="title_te3rmnlu-ufzg-441h-g5fk-vhuc5746ogo8"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="vocal_music" style="hidden"></item> <item n="3" sortKey="sacred_vocal_music" style="hidden"></item> <item n="4" sortKey="large-scale_sacred_vocal_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="PRC0100114" style="hidden">Paulus / St. Paul, Oratorium nach Worten der Heiligen Schrift für Solostimmen, gemischten Chor, Orchester und Orgel, [1832] bis 18. April 1836<idno type="MWV">A 14</idno><idno type="op">36</idno></name></title> is not yet so advanced as you think it, for I have not quite finished the first part, which is to be shorter than the second, but if I proceed slowly it is at least without trombones, and I flatter myself to have been as moderate in the use of brass, as any enemy of the Birmingham industry or a friend to invalid trumpeters could have wished; for out of twelve Choruses in the first part there are but two with the brass band, and the beginning Chorus is even to be without „trumpets“! Are you not satisfied with this? And am I not likely to become a writer, whose dreams may be undisturbed by the ghosts of drummers and trumpeters arising and showing their wounds and crying: remember how we got them! At least I am firmly convinced that if the idea of the thing wants power all the trombones of Great Britain and Ireland are not able to supply it, and serve only to make the weakness of the idea more conspicuous. This I fear may also be the case in the new work to which you allude, but I must not dwell on this subject, as it would remind <persName xml:id="persName_a3268772-0f76-458d-bcc4-da160bcbbc82">Mrs. Horsley<name key="PSN0112103" style="hidden">Horsley, Elizabeth Hutchins (1793-1875)</name></persName> of my opposition to <title xml:id="title_0395abe4-a0dd-4694-894c-94d0d7a712c5">Napoleons review<name key="PSN0113580" style="hidden" type="author">Neukomm, Sigismund (seit 1815) Ritter von (1778-1858)</name><name key="CRT0110210" style="hidden" type="music">Napoleon’s Midnight Review (Die nächtliche Heerschau) NV 325</name></title> and other pieces, which she used to defend. – I must conclude my letter, and if you allow me one trumpet bar for every fault in it, I shall make a most horrid and modern noise. <seg type="closer" xml:id="seg_d06a0feb-2c67-4c35-a6ab-37ac7dc65ccf">Pray remember me kindly to your family and believe me</seg></p><signed rend="right">dear Sir</signed><signed rend="right">very truly yours</signed><signed rend="right">Felix Mendelssohn Bartholdy.</signed></div></body> </text></TEI>