fmb-1838-10-21-01

            … Mrs. Shaw began on Thursday last with Rossini’s Pensa alla Patria, which came after the ouverture of Freischütz. The very first notes she sang made the audience understand how great an artist they became acquainted with, and after the words ‘Amici in ogni evento, ’ all the faces cleared up, and seemed to anticipate the great treat to come, and after the conclusion of the recitative there was bustle, and humming, and talking to each other, which is perhaps more gratifying to an artist than the most brilliant reception beforehand. I do not speak to you of the applause that came from all parts of the room, crowded to excess as it was (for many persons had not been able to obtain admission) ; but yet I think after that first song people still compared other singers to what they had heard just now, while every comparison was forgotten after the second song, Mozart’s beautiful “Addio. ” Then the sensation was so deep, so unanimous, as to prove the audience worthy to listen to such a high degree of perfection, to the matchless performance of so matchless a composition, and with true and heartfelt accents in this song. Mrs. Shaw has secured that friendship which the German public feels but very seldom at once towards an artist. I saw some who shed tears at this beautiful melody, which nobody had ventured to sing in public concerts before her, and all the musicians were in raptures; she has made more friends with that simple song than she would have done, perhaps, with the most celebrated scena; and, as I know the public here, I am sure that impression here will be a lasting one, even if they could not hear her again. Add to this, that everybody who saw her here seems to be aware that she is not only to be praised as a great artist, but as a ladylike, unaffected, and most amiable person, and your question whether she has done honour to herself is answered I think; and if you ask whether she did honour to her country, I have only to repeat the same; and besides that there were Clara Novello and William Sterndale Bennett in the room at her first performance, and so I think your country was as powerfully represented in our music-room as the proudest Englishman might have wished. …          

            <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-1838-10-21-01" xml:space="default"> <teiHeader xml:lang="de"> <fileDesc> <titleStmt> <title key="fmb-1838-10-21-01" xml:id="title_bb0d6691-ff07-40c1-958c-7cd130b1e81f">Felix Mendelssohn Bartholdy an George Hogarth in London <lb></lb>Leipzig, 21. Oktober 1838</title> <title level="s" type="incipit" xml:id="title_bf1a35b9-2e6f-43b6-a741-63dc065bac1b">… Mrs. Shaw began on Thursday last with Rossini’s Pensa alla Patria, which came after the ouverture of Freischütz. The very first notes she sang made the audience understand how great an artist they became</title> <title level="s" type="sub" xml:id="title_bace86b5-017f-4c11-8a0e-69e242d29478">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). Institut für Musikwissenschaft und Medienwissenschaft. Humboldt-Universität zu Berlin</publisher> <address> <street>Am Kupfergraben 5</street> <placeName> <settlement>10117 Berlin</settlement> <country>Deutschland</country> </placeName> </address> <idno type="URI">http://www.mendelssohn-online.com</idno> <availability> <licence target="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International (CC BY 4.0)</licence> </availability> <idno type="MSB">Bd. 6, 2106</idno></publicationStmt> <seriesStmt> <p>Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)</p> </seriesStmt> <sourceDesc source="edition_template_printout" xml:id="sourceDesc_c41c4ab3-5409-4a86-b0a8-58d825184870"> <bibl type="printed_letter">The Times Nr. 16881, 8. November 1838, S. 5 (»Extract of a letter from Mendelssohn, the composer, dated Leipsie [!], Oct. 21«) (Teildruck).</bibl> <msDesc> <msIdentifier> <country>-</country> <settlement>-</settlement> <institution key="RISM">-</institution> <repository>-</repository> <collection>-</collection> <idno type="signatur">-</idno> </msIdentifier> <msContents> <msItem> <title key="fmb-1838-10-21-01" type="letter" xml:id="title_ab5d1634-d6d2-4c94-9049-e6637168c065">Felix Mendelssohn Bartholdy an George Hogarth in London; Leipzig, 21. Oktober 1838</title> <incipit>[…] Mrs. Shaw began on Thursday last with Rossini’s Pensa alla Patria, which came after the ouverture of Freischütz. The very first notes she sang made the audience understand how great an artist they became acquainted with, </incipit> </msItem> </msContents> <physDesc> <p>Kursivierungen im Druck wurden mit lateinischen Buchstaben dargestellt.</p> <handDesc hands="1"> <p>Felix Mendelssohn Bartholdy</p> </handDesc> <accMat> <listBibl> <bibl type="none"></bibl> </listBibl> </accMat> </physDesc> <history> <provenance> <p>-</p> </provenance> </history> </msDesc> </sourceDesc> </fileDesc> <encodingDesc><projectDesc><p>Felix Mendelssohn Bartholdy Correspondence Online-Ausgabe FMB-C: Digitale Edition der vollständigen Korrespondenz Hin- und Gegenbriefe Felix Mendelssohn Bartholdys auf XML-TEI-Basis.</p></projectDesc><editorialDecl><p>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.</p></editorialDecl></encodingDesc> <profileDesc> <creation> <date cert="high" when="1838-10-21" xml:id="date_0fe5e408-979d-420e-a6bc-1d7c39a60c78">21. Oktober 1838</date></creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0000001" resp="author" xml:id="persName_79fe2c37-bf93-4277-a6e3-56f78171f58e">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_2519d439-81ab-47f7-b8ab-70d92ec669e6"> <settlement key="STM0100116">Leipzig</settlement> <country>Deutschland</country></placeName></correspAction> <correspAction type="received"> <persName key="PSN0112048" resp="receiver" xml:id="persName_9cb1f168-55e7-4090-a3eb-b0d73bd4cd57">Hogarth, George (1783-1870)</persName> <placeName type="receiving_place" xml:id="placeName_f58ad56a-c91a-4a6a-aa8b-2b0e4c5fcf99"> <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_a27b1544-dbe6-4892-938e-367774562f36"><docAuthor key="PSN0000001" resp="author" style="hidden">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</docAuthor><docAuthor key="PSN0000001" resp="writer" style="hidden">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</docAuthor><p style="paragraph_without_indent">[…] <persName xml:id="persName_fa392d2b-bd3d-4117-9598-2d7ac98b7d0f">Mrs. Shaw<name key="PSN0114893" style="hidden">Shaw, Mary (1814-1876)</name></persName> began on Thursday last with <title xml:id="title_f98fe7d7-d31e-44ac-b2d5-ce6e6dab3bc1">Rossini’s<name key="PSN0114299" style="hidden" type="author">Rossini, Gioachino Antonio (1792-1868)</name><name key="CRT0110581" style="hidden" type="music">L’italiana in Algeri</name></title> <hi rend="latintype">Pensa alla Patria</hi>, which came after the <title xml:id="title_738be3c7-4574-4572-826b-9d9ba423f86f">ouverture<name key="PSN0115645" style="hidden" type="author">Weber, Carl Maria Friedrich Ernst von (1786-1826)</name><name key="CRT0111243" style="hidden" type="music">Der Freischütz op. 77 (WeV C. 7)</name></title> of <hi rend="latintype">Freischütz</hi>. The very first notes she sang made the audience understand how great an artist they became acquainted with, and after the words ‘Amici in ogni evento,’ all the faces cleared up, and seemed to anticipate the great treat to come, and after the conclusion of the recitative there was bustle, and humming, and talking to each other, which is perhaps more gratifying to an artist than the most brilliant reception beforehand. I do not speak to you of the applause that came from all parts of the room, crowded to excess as it was (for many persons had not been able to obtain admission); but yet I think after that first song people still compared other singers to what they had heard just now, while every comparison was forgotten after the second song, <title xml:id="title_f274efe6-bbc9-4e01-bf80-c06f36bb05ec">Mozart’s beautiful “Addio.”<name key="PSN0113466" style="hidden" type="author">Mozart, Wolfgang Amadeus (1756-1791)</name><name key="CRT0110095" style="hidden" type="music">Io ti lascio, o, cara, addio KV6 Anh. 245 (621a)</name></title> Then the sensation was so deep, so unanimous, as to prove the audience worthy to listen to such a high degree of perfection, to the matchless performance of so matchless a composition, and with true and heartfelt accents in this song. <persName xml:id="persName_cb9af61c-33d1-42f0-a88d-15ef7bac55af">Mrs. Shaw<name key="PSN0114893" style="hidden">Shaw, Mary (1814-1876)</name></persName> has secured that friendship which the German public feels but very seldom at once towards an artist. I saw some who shed tears at this beautiful melody, which nobody had ventured to sing in public concerts before her, and all the musicians were in raptures; she has made more friends with that simple song than she would have done, perhaps, with the most celebrated scena; and, as I know the public here, I am sure that impression here will be a lasting one, even if they could not hear her again. Add to this, that everybody who saw her here seems to be aware that she is not only to be praised as a great artist, but as a ladylike, unaffected, and most amiable person, and your question whether she has done honour to herself is answered I think; and if you ask whether she did honour to her country, I have only to repeat the same; and besides that there were <persName xml:id="persName_e6181917-a920-451f-a152-56c532351265">Clara Novello<name key="PSN0113621" style="hidden">Novello, Clara Anastasia (1818-1908)</name></persName> and <persName xml:id="persName_daa369db-874a-420c-81dd-00d097147e2d">William Sterndale Bennett<name key="PSN0109864" style="hidden">Bennett, (seit 1871) Sir William Sterndale (1816-1875)</name></persName> in the room at her first performance, and so I think your country was as powerfully represented in our music-room as the proudest Englishman might have wished. […]</p></div></body> </text></TEI>