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Felix Mendelssohn Bartholdy an George Smart in London <lb></lb>Düsseldorf, 24. März 1835 It is so long since I ought to have written to you that I thought I had better wait for an opportunity of sending some music than send merely a letter to plead my excuse. 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. 4, 1119.

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

Deutschland Berlin D-B Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz Musikabteilung MA Nachl. 7,95,5 (datiert 24. März 1838). Abschrift fremder Hand Felix Mendelssohn Bartholdy an George Smart in London; Düsseldorf, 24. März 1835 It is so long since I ought to have written to you that I thought I had better wait for an opportunity of sending some music than send merely a letter to plead my excuse.

In der Abschrift und bei Cox ist der Brief fälschlicherweise auf 1838 datiert, bei Cox dazu noch auf den 27. März.

Felix Mendelssohn Bartholdy

-

H. Bertram Cox und C. L. E. Cox, Leaves from the Journals of Sir George Smart, London u. a. 1907, S. 289-291 (datiert 27. März 1838). Großmann-Vendrey, Musik der Vergangenheit, S. 77 f. (Teildruck, datiert 24. März 1835).

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.

24. März 1835 Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)counter-resetMendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847) Düsseldorf Deutschland Smart, Sir George Thomas (1776-1867) London Großbritannien englisch
Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)Dusseldorf March 24th 1838My dear Sir,

It is so long since I ought to have written to you that I thought I had better wait for an opportunity of sending some music than send merely a letter to plead my excuse. This opportunity presents itself to-day when I received the score of my three Overtures<list style="hidden" type="fmb_works_directory" xml:id="title_a0dlwthf-6oen-pddi-3xtj-0f2gtsueugcj"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="collective_sources" style="hidden"></item> <item n="3" sortKey="collective_prints" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100626" style="hidden">Drei Konzert-Ouvertüren für Orchester, 1835; enthält MWV P 3, P 7 und P 5<idno type="MWV">SD 10</idno><idno type="op"></idno></name> which is about to be published in this country and which I accordingly take the liberty of sending to you before its appearance in public; you have always been so kind to me that I hope you will accept it, and in looking over it think sometimes of the author, who shall always be thankful for your kindness and friendship. I had the idea of visiting your country again this spring, but have been obliged to give it up and to postpone it for another year, as I have too much to do with some compositions which I have begun last year and particularly with our musical festival17. Niederrheinisches Musikfest (1835)KölnDeutschland which takes place in the middle or rather at the end of the London Season, in June, and which gives a good deal of trouble as you know better than any. I need not say to you how sorry I am not to see England so soon as I expected, for you know how delighted I was with every residence I made in your country and how much pleasure I enjoy’d there. But let me hope to meet with the same kindness from you when I shall be able to revisit England, and believe me that I shall never cease to feel indebted to you, although I am rather afraid of trying to express it and of becoming tiresome with my very bad English. You see that I have forgotten more than I ever knew of it. – Yet I must try and ask you a musical question, which nobody can answer as well as you and which is of much interest to me and to the amateurs of this country. You know all the Oratorios of HandelHändel, Georg Friedrich (1685-1759) have been performed without the organ in this country; the want of harmony was made up by wind instruments, additional accompaniments etc very badly sometimes. I have now succeeded for the next festival at Cologne17. Niederrheinisches Musikfest (1835)KölnDeutschland, when 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> is to be performed to have an organ in the orchestra and hope to see this custom adopted afterwards in all the other performances of HandelHändel, Georg Friedrich (1685-1759) in this country. Now I should like to know how the organist plays it in England, whether there exists a written part for him, or whether he plays only the chords of the thorough bass, which are marked in the score; I know that the full organ comes in always towards the end of the Choruses which produces a very good effect, but I should like to know whether such places are marked or entirely left to the choice of the organist, and whether there are any other rules followed by the organ player in the Oratorios. It is very much asked, I know, to beg you will answer these questions, as all your hours will be taken up by this time with rehearsals, Concerts, players, Singers etc; but as I know what an interest you take in the cause of improvement, of musical taste and as your answer will certainly contribute to the success of our experiment I hope yet to receive some lines of you about this subject. And how do you perform the part of 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> in your country? It is written for a C. Alto, but I cannot fancy king Solomon with an Alto voice, and should wonder if HandelHändel, Georg Friedrich (1685-1759) really could. Now if you answer this of course you will say a few words how you and Lady SmartSmart, Frances Margaret (1802-1870) are, how music is going on in London, and in this way I may receive a letter from you; for which I really should be ashamed to ask after my long silence. I hope you may excuse it, as I have been busy composing this winter, I have nearly finished an Oratorio<list style="hidden" type="fmb_works_directory" xml:id="title_unnawmrs-id5l-ksga-irb0-dcnew9kotibv"> <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>, which shall be performed next autumn at Frankfort, then I have begun a new Sinfonia<list style="hidden" type="fmb_works_directory" xml:id="title_fovkxay5-efrl-gu5m-qkpu-kv3yvt1viiub"> <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><list style="hidden" type="fmb_works_directory" xml:id="title_j0ilktf6-oyr0-fbqe-tmen-xeny0ixgoott"> <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="PRC0100344" style="hidden">Sinfonie Nr. 3 a-Moll (»Schottische«) für Orchester, 30. Juli 1829; [ca. 1841] bis 20. Januar 1842<idno type="MWV">N 18</idno><idno type="op">56</idno></name>, written some Pianoforte music, and published some compositions, which I can never do without altering a good deal. So it is with the third of the three Overtures<list style="hidden" type="fmb_works_directory" xml:id="title_22shot1d-yd4v-4cai-i90i-gl9pjbjpybvy"> <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="PRC0100361" style="hidden">Konzert-Ouvertüre Nr. 3 Meeresstille und glückliche Fahrt D-Dur, [Februar bis September 1828]; Umarbeitung 1833/1834<idno type="MWV">P 5</idno><idno type="op">27</idno></name> which I wrote some years ago but was obliged to write it entirely once more, before I could publish it; the idea of it was given me by a poem of Goethe which has the title „Meeresstille und glückliche Fahrt“<name key="PSN0111422" style="hidden" type="author">Goethe, Johann Wolfgang (seit 1782) von (1749-1832)</name><name key="CRT0108840" style="hidden" type="literature">Meeresstille</name><name key="PSN0111422" style="hidden" type="author">Goethe, Johann Wolfgang (seit 1782) von (1749-1832)</name><name key="CRT0108822" style="hidden" type="literature">Glückliche Fahrt</name>, the two other Overtures<list style="hidden" type="fmb_works_directory" xml:id="title_fatjav3w-dicb-lbbd-oqqg-nyvrdhy5yjht"> <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="PRC0100359" style="hidden">Konzert-Ouvertüre Nr. 1 zu Shakespeares Sommernachtstraum E-Dur, [Juli 1826] bis 6. August 1826<idno type="MWV">P 3</idno><idno type="op">21</idno></name><list style="hidden" type="fmb_works_directory" xml:id="title_7shdsxqh-4zlf-dmrt-wffd-prdlk2ojywib"> <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="PRC0100363" style="hidden">Konzert-Ouvertüre Nr. 2 Die Hebriden / The Isles of Fingal (Zur einsamen Insel) h-Moll (»Fingals Höhle«), 7. August 1829 bis 16. Dezember 1830; Umarbeitung bis 20. Juni 1832<idno type="MWV">P 7</idno><idno type="op">26</idno></name> are known to you since long. I heard here Miss KembleKemble, Frances Anne (1809-1893) had left the stage and was married in America, is this true? And is there no other great talent, dramatic or musical, since I was in London? And shall I really and seriously write a tenor duet?

Now, my dear Sir, excuse this bad letter, I am living so quietly and uniformly that I have nothing of interest to tell and I only wished to remind you of me, and to tell you that I shall always bevery truly yoursF. M. B.
            Dusseldorf March 24th 1838My dear Sir,
It is so long since I ought to have written to you that I thought I had better wait for an opportunity of sending some music than send merely a letter to plead my excuse. This opportunity presents itself to-day when I received the score of my three Overtures which is about to be published in this country and which I accordingly take the liberty of sending to you before its appearance in public; you have always been so kind to me that I hope you will accept it, and in looking over it think sometimes of the author, who shall always be thankful for your kindness and friendship. I had the idea of visiting your country again this spring, but have been obliged to give it up and to postpone it for another year, as I have too much to do with some compositions which I have begun last year and particularly with our musical festival which takes place in the middle or rather at the end of the London Season, in June, and which gives a good deal of trouble as you know better than any. I need not say to you how sorry I am not to see England so soon as I expected, for you know how delighted I was with every residence I made in your country and how much pleasure I enjoy’d there. But let me hope to meet with the same kindness from you when I shall be able to revisit England, and believe me that I shall never cease to feel indebted to you, although I am rather afraid of trying to express it and of becoming tiresome with my very bad English. You see that I have forgotten more than I ever knew of it. – Yet I must try and ask you a musical question, which nobody can answer as well as you and which is of much interest to me and to the amateurs of this country. You know all the Oratorios of Handel have been performed without the organ in this country; the want of harmony was made up by wind instruments, additional accompaniments etc very badly sometimes. I have now succeeded for the next festival at Cologne, when Solomon is to be performed to have an organ in the orchestra and hope to see this custom adopted afterwards in all the other performances of Handel in this country. Now I should like to know how the organist plays it in England, whether there exists a written part for him, or whether he plays only the chords of the thorough bass, which are marked in the score; I know that the full organ comes in always towards the end of the Choruses which produces a very good effect, but I should like to know whether such places are marked or entirely left to the choice of the organist, and whether there are any other rules followed by the organ player in the Oratorios. It is very much asked, I know, to beg you will answer these questions, as all your hours will be taken up by this time with rehearsals, Concerts, players, Singers etc; but as I know what an interest you take in the cause of improvement, of musical taste and as your answer will certainly contribute to the success of our experiment I hope yet to receive some lines of you about this subject. And how do you perform the part of Solomon in your country? It is written for a C. Alto, but I cannot fancy king Solomon with an Alto voice, and should wonder if Handel really could. Now if you answer this of course you will say a few words how you and Lady Smart are, how music is going on in London, and in this way I may receive a letter from you; for which I really should be ashamed to ask after my long silence. I hope you may excuse it, as I have been busy composing this winter, I have nearly finished an Oratorio, which shall be performed next autumn at Frankfort, then I have begun a new Sinfonia, written some Pianoforte music, and published some compositions, which I can never do without altering a good deal. So it is with the third of the three Overtures which I wrote some years ago but was obliged to write it entirely once more, before I could publish it; the idea of it was given me by a poem of Goethe which has the title „Meeresstille und glückliche Fahrt“, the two other Overtures are known to you since long. I heard here Miss Kemble had left the stage and was married in America, is this true? And is there no other great talent, dramatic or musical, since I was in London? And shall I really and seriously write a tenor duet?
Now, my dear Sir, excuse this bad letter, I am living so quietly and uniformly that I have nothing of interest to tell and I only wished to remind you of me, and to tell you that I shall always bevery truly yours
F. M. B.          
            <TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.tei-c.org/ns/1.0 ../../../fmbc_framework/xsd/fmb-c.xsd" xml:id="fmb-1835-03-24-01" xml:space="default"> <teiHeader xml:lang="de"> <fileDesc> <titleStmt> <title key="fmb-1835-03-24-01" xml:id="title_a97c444d-9de4-4fda-8943-6c2b8697e8f2">Felix Mendelssohn Bartholdy an George Smart in London <lb></lb>Düsseldorf, 24. 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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="1835-03-24" xml:id="date_0136753b-820e-4669-9dab-65c1ec993ee8">24. März 1835</date></creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0000001" resp="author" xml:id="persName_e009b05b-f76d-4bb4-a5f0-80609cc5f261">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_169b9a4a-34be-4e56-8c11-e70f805b24af"> <settlement key="STM0100109">Düsseldorf</settlement> <country>Deutschland</country></placeName></correspAction> <correspAction type="received"> <persName key="PSN0114944" resp="receiver" xml:id="persName_bd6f3925-a677-45e3-842b-cd1b55ae0343">Smart, Sir George Thomas (1776-1867)</persName> <placeName type="receiving_place" xml:id="placeName_2b6d43a5-444c-4958-9047-8981dad6ae92"> <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 n="1" type="act_of_writing" xml:id="div_c3802462-88ce-49e2-8155-e87d216b4022"><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 March <date cert="high" when="1835-03-24" xml:id="date_9b25aa49-a70f-4a54-86e2-239a0a8051dc">24<hi rend="superscript">th</hi> 1838</date></dateline><salute rend="left">My dear Sir,</salute><p style="paragraph_without_indent">It is so long since I ought to have written to you that I thought I had better wait for an opportunity of sending some music than send merely a letter to plead my excuse. This opportunity presents itself to-day when I received the score of <title xml:id="title_6e31f7ba-5f98-4a3f-a663-37bfe9e559e8">my three Overtures<list style="hidden" type="fmb_works_directory" xml:id="title_a0dlwthf-6oen-pddi-3xtj-0f2gtsueugcj"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="collective_sources" style="hidden"></item> <item n="3" sortKey="collective_prints" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100626" style="hidden">Drei Konzert-Ouvertüren für Orchester, 1835; enthält MWV P 3, P 7 und P 5<idno type="MWV">SD 10</idno><idno type="op"></idno></name></title> which is about to be published in this country and which I accordingly take the liberty of sending to you before its appearance in public; you have always been so kind to me that I hope you will accept it, and in looking over it think sometimes of the author, who shall always be thankful for your kindness and friendship. I had the idea of visiting your country again this spring, but have been obliged to give it up and to postpone it for another year, as I have too much to do with some compositions which I have begun last year and particularly with <placeName xml:id="placeName_d8a41826-380a-428f-8ceb-e94fc77d9699">our musical festival<name key="NST0100551" style="hidden" subtype="" type="institution">17. Niederrheinisches Musikfest (1835)</name><settlement key="STM0100107" style="hidden" type="">Köln</settlement><country style="hidden">Deutschland</country></placeName> which takes place in the middle or rather at the end of the London Season, in June, and which gives a good deal of trouble as you know better than any. I need not say to you how sorry I am not to see England so soon as I expected, for you know how delighted I was with every residence I made in your country and how much pleasure I enjoy’d there. But let me hope to meet with the same kindness from you when I shall be able to revisit England, and believe me that I shall never cease to feel indebted to you, although I am rather afraid of trying to express it and of becoming tiresome with my very bad English. You see that I have forgotten more than I ever knew of it. – Yet I must try and ask you a musical question, which nobody can answer as well as you and which is of much interest to me and to the amateurs of this country. You know all the Oratorios of <persName xml:id="persName_ff3bafb1-98aa-4c4e-8422-31b6f4a6efbd">Handel<name key="PSN0111693" style="hidden">Händel, Georg Friedrich (1685-1759)</name></persName> have been performed without the organ in this country; the want of harmony was made up by wind instruments, additional accompaniments etc very badly sometimes. I have now succeeded for the <placeName xml:id="placeName_3fbc397a-2fb1-407d-be14-3a88779ebaab">next festival at Cologne<name key="NST0100551" style="hidden" subtype="" type="institution">17. Niederrheinisches Musikfest (1835)</name><settlement key="STM0100107" style="hidden" type="">Köln</settlement><country style="hidden">Deutschland</country></placeName>, when <title xml:id="title_869a0abb-0633-4220-9266-6c35c1f544f7">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> is to be performed to have an organ in the orchestra and hope to see this custom adopted afterwards in all the other performances of <persName xml:id="persName_c543e70d-6016-4ee1-aace-977b2913b800">Handel<name key="PSN0111693" style="hidden">Händel, Georg Friedrich (1685-1759)</name></persName> in this country. Now I should like to know how the organist plays it in England, whether there exists a written part for him, or whether he plays only the chords of the thorough bass, which are marked in the score; I know that the full organ comes in always towards the end of the Choruses which produces a very good effect, but I should like to know whether such places are marked or entirely left to the choice of the organist, and whether there are any other rules followed by the organ player in the Oratorios. It is very much asked, I know, to beg you will answer these questions, as all your hours will be taken up by this time with rehearsals, Concerts, players, Singers etc; but as I know what an interest you take in the cause of improvement, of musical taste and as your answer will certainly contribute to the success of our experiment I hope yet to receive some lines of you about this subject. And how do you perform the part of <title xml:id="title_c894b40b-9211-4877-b95a-9d828af7b4af">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> in your country? It is written for a C. Alto, but I cannot fancy king Solomon with an Alto voice, and should wonder if <persName xml:id="persName_d7d14bd8-9b36-4bb4-93ac-08d8890e214b">Handel<name key="PSN0111693" style="hidden">Händel, Georg Friedrich (1685-1759)</name></persName> really could. Now if you answer this of course you will say a few words how you and <persName xml:id="persName_5a7cf359-a416-488a-a407-6eea3ba55a7b">Lady Smart<name key="PSN0114943" style="hidden">Smart, Frances Margaret (1802-1870)</name></persName> are, how music is going on in London, and in this way I may receive a letter from you; for which I really should be ashamed to ask after my long silence. I hope you may excuse it, as I have been busy composing this winter, I have nearly finished an <title xml:id="title_aa9be5cd-363c-4e3c-acb8-31ab1c6d98a7">Oratorio<list style="hidden" type="fmb_works_directory" xml:id="title_unnawmrs-id5l-ksga-irb0-dcnew9kotibv"> <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>, which shall be performed next autumn at Frankfort, then I have begun a <title xml:id="title_273f7145-32c8-4456-8f76-ab6ac4918617">new Sinfonia<list style="hidden" type="fmb_works_directory" xml:id="title_fovkxay5-efrl-gu5m-qkpu-kv3yvt1viiub"> <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><list style="hidden" type="fmb_works_directory" xml:id="title_j0ilktf6-oyr0-fbqe-tmen-xeny0ixgoott"> <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="PRC0100344" style="hidden">Sinfonie Nr. 3 a-Moll (»Schottische«) für Orchester, 30. Juli 1829; [ca. 1841] bis 20. Januar 1842<idno type="MWV">N 18</idno><idno type="op">56</idno></name></title>, written some Pianoforte music, and published some compositions, which I can never do without altering a good deal. So it is with the <title xml:id="title_017528ad-8420-4429-8310-bf1530abdd62">third of the three Overtures<list style="hidden" type="fmb_works_directory" xml:id="title_22shot1d-yd4v-4cai-i90i-gl9pjbjpybvy"> <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="PRC0100361" style="hidden">Konzert-Ouvertüre Nr. 3 Meeresstille und glückliche Fahrt D-Dur, [Februar bis September 1828]; Umarbeitung 1833/1834<idno type="MWV">P 5</idno><idno type="op">27</idno></name></title> which I wrote some years ago but was obliged to write it entirely once more, before I could publish it; the idea of it was given me by a poem of Goethe which has the title <title xml:id="title_ae7765d2-bc75-42bd-85a1-d98602870c59">„Meeresstille und glückliche Fahrt“<name key="PSN0111422" style="hidden" type="author">Goethe, Johann Wolfgang (seit 1782) von (1749-1832)</name><name key="CRT0108840" style="hidden" type="literature">Meeresstille</name><name key="PSN0111422" style="hidden" type="author">Goethe, Johann Wolfgang (seit 1782) von (1749-1832)</name><name key="CRT0108822" style="hidden" type="literature">Glückliche Fahrt</name></title>, <title xml:id="title_06824bf9-7f25-44e6-9247-42013117618d">the two other Overtures<list style="hidden" type="fmb_works_directory" xml:id="title_fatjav3w-dicb-lbbd-oqqg-nyvrdhy5yjht"> <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="PRC0100359" style="hidden">Konzert-Ouvertüre Nr. 1 zu Shakespeares Sommernachtstraum E-Dur, [Juli 1826] bis 6. August 1826<idno type="MWV">P 3</idno><idno type="op">21</idno></name><list style="hidden" type="fmb_works_directory" xml:id="title_7shdsxqh-4zlf-dmrt-wffd-prdlk2ojywib"> <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="PRC0100363" style="hidden">Konzert-Ouvertüre Nr. 2 Die Hebriden / The Isles of Fingal (Zur einsamen Insel) h-Moll (»Fingals Höhle«), 7. August 1829 bis 16. Dezember 1830; Umarbeitung bis 20. Juni 1832<idno type="MWV">P 7</idno><idno type="op">26</idno></name></title> are known to you since long. I heard here <persName xml:id="persName_0fda059c-9d66-4715-91c8-00a8e66d4ad9">Miss Kemble<name key="PSN0117226" style="hidden">Kemble, Frances Anne (1809-1893)</name></persName> had left the stage and was married in America, is this true? And is there no other great talent, dramatic or musical, since I was in London? And shall I really and seriously write a tenor duet?</p><closer rend="left" xml:id="closer_c3fda963-1a0b-46d1-ade2-e799b7ff125c">Now, my dear Sir, excuse this bad letter, I am living so quietly and uniformly that I have nothing of interest to tell and I only wished to remind you of me, and to tell you that I shall always be</closer><signed rend="right">very truly yours</signed><signed rend="right">F. M. B.</signed></div></body> </text></TEI>