fmb-1839-04-03-01
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Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
4 beschr. S.; Adresse. – Handschriftlicher Vermerk von William Sterndale Bennett auf der Adressenseite über der Adresse: »From Mendelssohn – April 16. 1839.« Zusatz von Bennett (?) mit Blei auf der dritten Seite: »Smith’s Edition«.
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.
You are now in the middle of your London season, with Concerts foreigners, businesses &c of every kind, & you will be giddy and occupied enough I dare say; and yet I write these lines in order to encrease your occupations if possible, to add a new trouble to those that already surround you, in short to ask a question – perhaps also a favour. You will recollect that I had a mind to publish some of
I know your kindness and that if you are not too occupied and your time not too much taken up by the season you will answer in the affirmative. Allow me then to add a few questions, which the perusal of
1) Are the Cyphers (how do you call it? „Bezifferung“, the numbers that indicate the Chords in the Bass part) Handels or whose else? Are there any Cyphers in the manuscript?
2) Do you ever play the Organ in England to Handels Overtures as for instance to the beginning of Samson in g # 34
3) In some Oratorios I find Songs and Recitatives which are evidently not to be sung one after the other, but only composed to give a choice to the singer so that only one out of many must be performed. Several instances occur in Arnolds edition of the
thbar, pag. 30; song pag. 40; dito pag. 61; 62; 69 & 70; and p. 97 &c. &c. &c.
4) Is there no indication of „Presto“ in Handels handwriting in the Chorus „o first created beam“ when the words „to thy dark servant“ begin?
5) Is there another edition of the Score of Samson than Arnolds?
6) In pag. 46 of Arn. Ed. there are the 4 beginning bars of the Recit. without Accomp.; it comes afterwards in, nobody knows how. Is that also the Case in the ManuScript?
And if you find other things which strike you when comparing the M. S. with the printed Copy pray let me know them.
Now excuse all that trouble and let me have an answer as soon as possible. Tell me how you are, how you find yourself in England again[.] We are all well here, thank God. I have composed several new things, and added a new Chorus to
dof this month; from then till the end of May direct any communications to Dusseldorf poste rest.; from the beginning of June to Frankfurt post. rest. But communicate yourself to Dusseldorf! That would be better than the best letter I ever received. Farewell, my dear friend.
Do you know that you gave me
Leipzig 3 April 1839. My dear Mr. Bennett
You are now in the middle of your London season, with Concerts foreigners, businesses &c of every kind, & you will be giddy and occupied enough I dare say; and yet I write these lines in order to encrease your occupations if possible, to add a new trouble to those that already surround you, in short to ask a question – perhaps also a favour. You will recollect that I had a mind to publish some of Handels Scores viz: in the Original shape, and only with a written Organ part of mine, for those that do not know how to accompany that sort of music on the Organ, of whom we have plenty in this Country. Since your departure Breitkopf & Härtel have readily undertaken to publish three Oratorios in score as a beginning, and to go on with it if the Public takes interest in the matter. Now after I looked over my Arnolds edition I find it so full of mistakes so far from accurate in the details that it is impossible to give a new edition without comparing the manuscripts which are in your kings (or queens) library and the other editions of Handel which may exist. My question then is: will you do me the favour to assist me in that undertaking, by looking over the M. S. in those parts which appear doubtful in Arnolds edition, by comparing the other editions when the M. S does not explain the questioned passages, or by asking advice of those English musicians whom you think best acquainted with Handelian music & spirit, if the matter still remains undecided.
I know your kindness and that if you are not too occupied and your time not too much taken up by the season you will answer in the affirmative. Allow me then to add a few questions, which the perusal of Arnolds score of Samson (which is to be amongst the three) suggested to my mind, & which you would greatly oblige me in answering. I saw the original of Sampson in the kings library in 1829, and Mr. Anderson gave me then the permission to look it over and take memoranda.
1) Are the Cyphers (how do you call it? „Bezifferung“, the numbers that indicate the Chords in the Bass part) Handels or whose else? Are there any Cyphers in the manuscript?
2) Do you ever play the Organ in England to Handels Overtures as for instance to the beginning of Samson in g # 34 ?
3) In some Oratorios I find Songs and Recitatives which are evidently not to be sung one after the other, but only composed to give a choice to the singer so that only one out of many must be performed. Several instances occur in Arnolds edition of the Messiah. But also in Samson there are many songs which seem rather out of keeping, and some repetition which look as if they were only to give a choice, not to be performed one after the other. Are there any proofs of the truth of this to be found in the Manuscript? For instance in the beginning where the 3 airs in a #, d # and b minor, with the Chorus in d # repeated 3 times, seem rather doubtful? But more so th… 2 dead marches one after the other, one in c and one in d? Is… no indication, which was the original one? Also the repetition of the Chorus of Virgins pag. 89 of Arn. Ed., after it came in already pag. 88. Also (but for other reasons) Dalilas songs pag. 79 and 91. Also the Recitat., 6th bar, pag. 30; song pag. 40; dito pag. 61; 62; 69 & 70; and p. 97 &c. &c. &c.
4) Is there no indication of „Presto“ in Handels handwriting in the Chorus „o first created beam“ when the words „to thy dark servant“ begin?
5) Is there another edition of the Score of Samson than Arnolds?
6) In pag. 46 of Arn. Ed. there are the 4 beginning bars of the Recit. without Accomp. ; it comes afterwards in, nobody knows how. Is that also the Case in the ManuScript?
And if you find other things which strike you when comparing the M. S. with the printed Copy pray let me know them.
Now excuse all that trouble and let me have an answer as soon as possible. Tell me how you are, how you find yourself in England again. We are all well here, thank God. I have composed several new things, and added a new Chorus to my Psalm in e, instead of the one which you abhorred – and I also. My wife sends her best wishes for your health and happiness. A thousand things to David, and congratulations; even the German newspapers speak of his first appearance at the Philharmonic & the applause he gained. I shall stay here till the 23d of this month; from then till the end of May direct any communications to Dusseldorf poste rest. ; from the beginning of June to Frankfurt post. rest. But communicate yourself to Dusseldorf! That would be better than the best letter I ever received. Farewell, my dear friend. Think sometimes of me, as I always do of you.
Yre Felix.
Do you know that you gave me your Barcarole, perhaps without thinking of it?
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April 1839</title> <incipit>You are now in the middle of your London season, with Concerts foreigners, businesses &c of every kind, & you will be giddy and occupied enough I dare say; and yet I write these lines</incipit> </msItem> </msContents> <physDesc> <p>4 beschr. S.; Adresse. – Handschriftlicher Vermerk von William Sterndale Bennett auf der Adressenseite über der Adresse: »From Mendelssohn – April 16. 1839.« Zusatz von Bennett (?) mit Blei auf der dritten Seite: »Smith’s Edition«.</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> <additional> <listBibl> <bibl type="copy_from_foreign_hand">D-LEsm, Musik- und Theatergeschichte, MT/2011/411 (bis Anfang 2011: Berlin, Sammlung Dr. Rudolf Elvers).</bibl> <bibl type="printed_letter">Mendelssohn-Bartholdy, Goethe and Mendelssohn (1874), S. 152-155 (Teildruck).</bibl> <bibl type="printed_letter">Bennett, Mendelssohn als Herausgeber Händelscher Werke, S. 46-50 (mit dt. Übersetzung).</bibl> </listBibl> </additional> </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="1839-04-03" xml:id="date_39c00827-46ae-46b1-8f24-dfd1462a7f47">3. April 1839</date></creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0000001" resp="author" xml:id="persName_325eb106-bf15-4b29-bb94-e90b30a1a463">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_6ae41461-0f20-40d5-9c67-d6a855f5b6f2"> <settlement key="STM0100116">Leipzig</settlement><country>Deutschland</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0109864" resp="receiver" xml:id="persName_a8746ed9-5a6d-4f0a-a8df-b592f01f709f">Bennett, (seit 1871) Sir William Sterndale (1816-1875)</persName> <placeName type="receiving_place" xml:id="placeName_6d049105-66a5-4ffe-95ca-835732212f12"> <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_04b367a0-998b-46d0-bac5-4c0f510cb5c5"> <head> <address> <addrLine>W. Sterndale Bennett</addrLine> <addrLine>Esqure</addrLine> <addrLine>adr. Mess. Coventry & Hollier</addrLine> <addrLine>71 Dean Str. Soho.</addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_02d398c7-ddfe-4721-9a21-39fc5ab71fac"> <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">Leipzig <date cert="high" when="1839-04-03" xml:id="date_621cf8d0-1178-4d3e-b1f2-e51e66957460">3 April 1839.</date></dateline> <salute rend="left">My dear Mr. Bennett</salute> <p style="paragraph_without_indent">You are now in the middle of your London season, with Concerts foreigners, businesses &c of every kind, & you will be giddy and occupied enough I dare say; and yet I write these lines in order to encrease your occupations if possible, to add a new trouble to those that already surround you, in short to ask a question – perhaps also a favour. You will recollect that I had a mind to publish some of <persName xml:id="persName_af4e04fb-e7af-4ba0-9fac-f1d1dbdf9377">Handels<name key="PSN0111693" style="hidden">Händel, Georg Friedrich (1685-1759)</name></persName> Scores viz: in the Original shape, and only with a written Organ part of mine, for those that do not know how to accompany that sort of music on the Organ, of whom we have plenty in this Country. Since your departure <persName xml:id="persName_d99772a2-8e5f-464e-82a1-770f32d6d06f">Breitkopf & Härtel<name key="PSN0110112" style="hidden">Breitkopf & Härtel (bis 1786: Breitkopf), Verlag und Musikalienhandlung in Leipzig</name></persName> have readily undertaken to publish three <title xml:id="title_a71096a2-2e9f-4bfe-8d16-c14146fa8922">Oratorios<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> in score as a beginning, and to go on with it if the Public takes interest in the matter. Now after I looked over my <persName xml:id="persName_24e583fb-78d9-416a-b310-e5bf4adac6d1">Arnolds<name key="PSN0109541" style="hidden">Arnold, Samuel (1740-1802)</name></persName> edition I find it so full of mistakes so far from accurate in the details that it is impossible to give a new edition without comparing the manuscripts which are in your kings (or queens) <placeName xml:id="placeName_d4b6f781-7b92-4f60-953e-9b3e15fb4b2d">library<name key="NST0100413" style="hidden" subtype="" type="institution">King’s Library</name><settlement key="STM0100126" style="hidden" type="">London</settlement><country style="hidden">Großbritannien</country></placeName> and the other editions of Handel which may exist. My question then is: will you do me the favour to assist me in that undertaking, by looking over the M. S. in those parts which appear doubtful in Arnolds edition, by comparing the other editions when the M. S does not explain the questioned passages, or by asking advice of those English musicians whom you think best acquainted with Handelian music & spirit, if the matter still remains undecided.</p> <p>I know your kindness and that if you are not too occupied and your time not too much taken up by the season you will answer in the affirmative. Allow me then to add a few questions, which the perusal of <title xml:id="title_da25253f-94cc-4b66-8e56-1153d64e2a2e">Arnolds score of 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 is to be amongst the three) suggested to my mind, & which you would greatly oblige me in answering. I saw the original of Sampson in the kings library in 1829, and <persName xml:id="persName_9e5bc5e7-5228-40b9-9cca-ee1b856ced66">Mr. Anderson<name key="PSN0109480" style="hidden">Anderson, George Frederick (1793-1876)</name></persName> gave me then the permission to look it over and take memoranda.</p> <p>1) Are the Cyphers (how do you call it? „Bezifferung“, the numbers that indicate the Chords in the Bass part) Handels or whose else? Are there any Cyphers in the manuscript?</p> <p>2) Do you ever play the Organ in England to Handels Overtures as for instance to the beginning of Samson in g # <formula rend="fraction_slash"> <hi rend="supslash">3</hi><hi rend="barslash"></hi><hi rend="subslash">4</hi> </formula>?</p> <p>3) In some Oratorios I find Songs and Recitatives which are evidently not to be sung one after the other, but only composed to give a choice to the singer so that only one out of many must be performed. Several instances occur in Arnolds edition of the <title xml:id="title_7775bc1c-8ec4-4891-9968-4cf49091e04f">Messiah<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685-1759)</name><name key="CRT0108996" style="hidden" type="music">Messiah HWV 56</name></title>. But also in <title xml:id="title_94e3c11e-c99f-4081-8de6-6d2c61d889af">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> there are many songs which seem rather out of keeping, and some repetition which look as if they were only to give a choice, not to be performed one after the other. Are there any proofs of the truth of this to be found in the Manuscript? For instance in the beginning where the 3 airs in a #, d # and b minor, with the Chorus in d # repeated 3 times, seem rather doubtful? But more so th[…] 2 dead marches one after the other, one in c and one in d? Is[…] no indication, which was the original one? Also the repetition of the Chorus of Virgins pag. 89 of Arn. Ed., after it came in already pag. 88. Also (but for other reasons) Dalilas songs pag. 79 and 91. Also the Recitat., 6<hi rend="superscript">th</hi> bar, pag. 30; song pag. 40; dito pag. 61; 62; 69 & 70; and p. 97 &c. &c. &c.</p> <p>4) Is there no indication of „Presto“ in Handels handwriting in the Chorus „o first created beam“ when the words „to thy dark servant“ begin?</p> <p>5) Is there another edition of the Score of Samson than Arnolds?</p> <p>6) In pag. 46 of Arn. Ed. there are the 4 beginning bars of the Recit. without Accomp.; it comes afterwards in, nobody knows how. Is that also the Case in the ManuScript?</p> <p style="paragraph_centered"><note resp="FMBC" style="hidden" type="text_constitution" xml:id="note_fdecf27b-9f4b-c7481-23bd0-06425481fe4e" xml:lang="de">Noten, Grafiken, Sonderzeichen siehe FMB-Druckausgabe.</note> </p> <p>And if you find other things which strike you when comparing the M. S. with the printed Copy pray let me know them.</p> <p>Now excuse all that trouble and let me have an answer as soon as possible. Tell me how you are, how you find yourself in England again[.] We are all well here, thank God. I have composed several new things, and added a new Chorus to <title xml:id="title_abd820ae-ef28-4dda-ac46-8894ebaf4b63">my Psalm<list style="hidden" type="fmb_works_directory" xml:id="title_kwmd58oy-6ood-fiz7-lqmg-k0u3vrboavox"> <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="PRC0100116" style="hidden">Der 95. Psalm »Kommt, lasst uns anbeten« für Solostimmen, gemischten Chor, Orchester und Orgel, 6. April 1838; [1839]; 3. Juli 1841<idno type="MWV">A 16</idno><idno type="op">46</idno></name></title> in e <note resp="FMBC" style="hidden" type="text_constitution" xml:id="note_76e79693-3605-c91ab-d33f5-2ad939e5b98f" xml:lang="de">Noten, Grafiken, Sonderzeichen siehe FMB-Druckausgabe.</note>, instead of the one which you abhorred – and I also. <persName xml:id="persName_8e5d6adb-6a72-4b97-9cbe-9ee84ff3d482">My wife<name key="PSN0113252" style="hidden">Mendelssohn Bartholdy, Cécile Sophie Charlotte (1817-1853)</name></persName> sends her best wishes for your health and happiness. A thousand things to <persName xml:id="persName_2b4a77b8-7a4b-44fe-987c-e1dd275e14e8">David<name key="PSN0110564" style="hidden">David, Ernst Victor Carl Ferdinand (1810-1873)</name></persName>, and congratulations; even the German newspapers speak of his first appearance at the <placeName xml:id="placeName_c93fc7bb-32f0-43fb-92e2-6d5741437f0e">Philharmonic<name key="NST0100287" style="hidden" subtype="" type="institution">Philharmonic Society</name><settlement key="STM0100126" style="hidden" type="">London</settlement><country style="hidden">Großbritannien</country></placeName> & the applause he gained. I shall stay here till the 23<hi rend="superscript">d</hi> of this month; from then till the end of May direct any communications to Dusseldorf poste rest.; from the beginning of June to Frankfurt post. rest. But communicate yourself to Dusseldorf! That would be better than the best letter I ever received. Farewell, my dear friend. <seg type="closer" xml:id="seg_e731dea7-e0b6-4837-bd24-e39482279187">Think sometimes of me, as I always do of you.</seg></p> <signed rend="right">Yre Felix.</signed> </div> <div n="2" type="act_of_writing" xml:id="div_18b40247-578e-474b-9bbd-1ab199b2152c"> <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">Do you know that you gave me <title xml:id="title_1905b90a-d459-49b5-950e-b6f3461a845f">your Barcarole<name key="PSN0109864" style="hidden" type="author">Bennett, (seit 1871) Sir William Sterndale (1816-1875)</name><name key="CRT0108151" style="hidden" type="music">4. Klavierkonzert f-Moll, op. 19</name></title>, perhaps without thinking of it?</p> </div> </body> </text></TEI>