fmb-1839-06-17-01
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Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
4 beschr. S.; Adresse, Zusatz auf der Adressenseite von fremder Hand: »17th June 1839.«
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.
From your letter of the 12th ult. which I have just received it appears how difficult a task it is to combine a work the two parties living at so great a distance and one of them expressing himself but so imperfectly as I do in a foreign language. After what you say I must have misunderstood your last letter but one, but I also am certain that my last communication to you through before I had the third act or before I had been able to peruse the whole poem with the attention it requires. Afterwards I saw Mr. Chappell, tried to explain my ideas and wishes to him, tried to write them down because he wanted me to do so, and that was the first time I was able to express my idea of the whole work, and of those alterations I thought necessary. Your answer related more to my former letters (as I now see) than to my conversation and the written memoranda which comic pieces, comic situations & characters – of the public not liking clowns being introduced in a serious piece – while I never thougt of asking for comic scenes, for comic persons who might excite the laughter & merryment of the gallery. Nothing can be further of my meaning than this. But while I write this I feel the difficulty of expressing myself more accurately, than I must have done. I might have quoted comic scenes as an example but the real objection I had in view was the want of what I may call characteristic scenes, a full display of one or different lively and living characters. I wanted somebody to excite not the merriment but the eager interest of the gallery as well as of every hearer, and I even think that in my communications to
dact; I could then dwell upon the great beauties I found in the Concerted pieces & in the poetry everywhere, & could not form an idea of the effect of the whole & of its meaning. As soon however as I perused it as a whole, and the more often I did so, the same objections would occur to my mind. The making Marrant more prominent in the 3
dact – rendering him Gualtiers agent & involving him in the intrigue – would certainly meet my wishes much more than the introduction of
comiccharacters could have done. But I am afraid this alteration would only lead to others, and the question is whether you would be inclined to make them, & whether the improving one part of the drama would not hurt others and give no better effect to the whole? The best way for us to agree would have been (or I hope I may say would be) to settle in the first instance the plot, the different scenes and actions with the distribution of the concerted pieces, for if we are agreed on that subject I have seen enough of your poetry to know that I shall then have no further objection to make, and that your verses are as easily composed, as read. Perhaps you will say that the plot, „la marche de la piece“ is nothing to the Composer – but you will
notsay so, knowing better than I do how important it is; that no verses no music can make up for a want of strength in that quarter.
Once more I say, and believe me that it is no compliment but a heartfelt truth, that you are by very very far the best judge in these things, that in every other question of the kind I would much rather be guided by your opinion than by mine own; but here, where both must combine their efforts I feel that I should not be able to overcome the impression, which I tried to describe to you & which has become stronger the more I read or thought of the poem. Could I hope to have one day an Opera by you, produced in the way I mentioned before, – I mean in which we agreed about the plot before the verses & all the rest were written, in which we then advanced step by step, so that no misunderstanding could take place as we live unfortunately at such a distance from each other – could I preserve that hope it would be a true happiness to me & I should consider that view as a most wished for & delightful prospect,. If you think all this could be done with the
Now, my dear Sir, believe me that only a sense of what is due to yourself and
Frankfurt 17 June 1839. My dear Sir
From your letter of the 12th ult. which I have just received it appears how difficult a task it is to combine a work the two parties living at so great a distance and one of them expressing himself but so imperfectly as I do in a foreign language. After what you say I must have misunderstood your last letter but one, but I also am certain that my last communication to you through Mr. Chappell must have appeared to you in a different light to what I intended it to be; for as your answer to it (that same last letter but one) stated plainly your difference of opinion, and dissuaded me from asking for alterations I could not but think your view of the subject quite contrary to mine. You quote those letters of mine which I have written before I had the third act or before I had been able to peruse the whole poem with the attention it requires. Afterwards I saw Mr. Chappell, tried to explain my ideas and wishes to him, tried to write them down because he wanted me to do so, and that was the first time I was able to express my idea of the whole work, and of those alterations I thought necessary. Your answer related more to my former letters (as I now see) than to my conversation and the written memoranda which Mr. Chappell took with him for you; and although I now am aware that I must have misunderstood your meaning, and fully appreciate your kindness in offering me to comply with my wishes – yet there must still be a misunderstanding, occasioned by my want of skill in expressing myself, for you speak of comic pieces, comic situations & characters – of the public not liking clowns being introduced in a serious piece – while I never thougt of asking for comic scenes, for comic persons who might excite the laughter & merryment of the gallery. Nothing can be further of my meaning than this. But while I write this I feel the difficulty of expressing myself more accurately, than I must have done. I might have quoted comic scenes as an example but the real objection I had in view was the want of what I may call characteristic scenes, a full display of one or different lively and living characters. I wanted somebody to excite not the merriment but the eager interest of the gallery as well as of every hearer, and I even think that in my communications to Mr. Chappell I always used the word characteristic in preference to comic situations. The leading characters of the Opera, excepting Gualtier, seemed to me to act as men more bound by the necessity of the poëm, of the plot, than by their own human feeling, as real living people do. Even Gualtiers heroic deed in favour of that brother whom he hardly knows and whose character is so little developed before our eyes, loses by that reason much of its effect; but there is particularly the detention of Guillaume, the way in which is it performed which I may quote as an example of what I mean, if I ask for more character in the situation; I see only the stage and its necessities in the whole of this proceeding; – the same feeling occurs to me in the first meeting of Blanche & Guillaume in the first act; also in the conclusion of it when Guillaume is made prisoner, even in the Scene of Gualtier & the King, of which I admire so many beauties; – as the whole depends on the Kings magnanimity and pardon, and as the doubt of it (or the leaving these qualities uncertain for the spectator) would chiefly induce us to fear the death of the surrended I think the reiterated pardon must weaken the effect, the second time it is granted, of which depends the whole opera. When I only had the two first Acts, I did not know the manner in which the development would take place, I thought my objections were only relating to incidents, and the whole of the Characters would be proved necessary in the 3d act; I could then dwell upon the great beauties I found in the Concerted pieces & in the poetry everywhere, & could not form an idea of the effect of the whole & of its meaning. As soon however as I perused it as a whole, and the more often I did so, the same objections would occur to my mind. The making Marrant more prominent in the 3d act – rendering him Gualtiers agent & involving him in the intrigue – would certainly meet my wishes much more than the introduction of comic characters could have done. But I am afraid this alteration would only lead to others, and the question is whether you would be inclined to make them, & whether the improving one part of the drama would not hurt others and give no better effect to the whole? The best way for us to agree would have been (or I hope I may say would be) to settle in the first instance the plot, the different scenes and actions with the distribution of the concerted pieces, for if we are agreed on that subject I have seen enough of your poetry to know that I shall then have no further objection to make, and that your verses are as easily composed, as read. Perhaps you will say that the plot, „la marche de la piece“ is nothing to the Composer – but you will not say so, knowing better than I do how important it is; that no verses no music can make up for a want of strength in that quarter.
Once more I say, and believe me that it is no compliment but a heartfelt truth, that you are by very very far the best judge in these things, that in every other question of the kind I would much rather be guided by your opinion than by mine own; but here, where both must combine their efforts I feel that I should not be able to overcome the impression, which I tried to describe to you & which has become stronger the more I read or thought of the poem. Could I hope to have one day an Opera by you, produced in the way I mentioned before, – I mean in which we agreed about the plot before the verses & all the rest were written, in which we then advanced step by step, so that no misunderstanding could take place as we live unfortunately at such a distance from each other – could I preserve that hope it would be a true happiness to me & I should consider that view as a most wished for & delightful prospect, . If you think all this could be done with the „Brothers” pray send me that „plan“ (as mentioned) in order to go hand in hand from the present time – if you think (as I do) that such a rebuilding would be rather dangerous, you will not only find one but many Composers who will be too happy to have a work from your pen, to whom you might give it, and perhaps at a leisure hour you would feel disposed to think of a plot, which you would then send me, and which would lead to the result, which I am so anxious to obtain.
Now, my dear Sir, believe me that only a sense of what is due to yourself and Mr. Chappell as well as to myself could induce me to write to you all this at such a length; excuse me & believe me to remain your very sincere admirer
Felix Mendelssohn Bartholdy
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M., 17. Juni 1839</title> <incipit>From your letter of the 12th ult. which I have just received it appears how difficult a task it is to combine a work the two parties living at so great a distance and one</incipit> </msItem> </msContents> <physDesc> <p>4 beschr. S.; Adresse, Zusatz auf der Adressenseite von fremder Hand: »17th June 1839.«</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="printed_letter">Planché, Recollections and Reflections, Bd. 1, S. 299-303.</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="1839-06-17" xml:id="date_53fa6454-202e-4f82-943a-1dbd8f09d11d">17. Juni 1839</date> </creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0000001" resp="author" xml:id="persName_3f9547e3-4f05-46d7-9017-5fdcd9a89bf9">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_35dae805-e1ef-414e-a956-c9579c041d7d"> <settlement key="STM0100204">Frankfurt a. M.</settlement> <country>Deutschland</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0113896" resp="receiver" xml:id="persName_6b4c65fa-7cc4-429f-a7ce-4db0b187aff2">Planché, James Robinson (1796-1880)</persName> <placeName type="receiving_place" xml:id="placeName_2c30b0c3-9e35-4903-ad41-80a0166dc640"> <settlement key="STM0100126">London</settlement> <country>Großbritannien</country> </placeName> </correspAction> </correspDesc> <langUsage> <language ident="de">deutsch</language> </langUsage> </profileDesc> <revisionDesc status="draft"> </revisionDesc> </teiHeader> <text type="letter"> <body> <div type="address" xml:id="div_d22c4144-3ef1-41d3-9da3-62509f01745e"> <head> <address> <addrLine>J. R. Planché</addrLine> <addrLine>Esqure</addrLine> <addrLine>20 Brompton Crescent</addrLine> <addrLine>near London.</addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_e345bcbf-a2d2-49ce-9bb6-37cf57db0345"> <docAuthor key="PSN0000001" resp="author" style="hidden" xml:id="docAuthor_97091bf2-dbfd-4000-90f1-72472fcd1678">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809–1847)</docAuthor> <docAuthor key="PSN0000001" resp="writer" style="hidden" xml:id="docAuthor_373d571a-738e-4ec0-8307-18b617fc4f92">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809–1847)</docAuthor> <dateline rend="right">Frankfurt <date cert="high" when="1839-06-17" xml:id="date_c8105704-e2a0-4778-bb80-99f35e554183">17 June 1839</date>.</dateline> <salute rend="left">My dear Sir</salute> <p style="paragraph_without_indent">From your letter of the 12<hi rend="superscript">th</hi> ult. which I have just received it appears how difficult a task it is to combine a work the two parties living at so great a distance and one of them expressing himself but so imperfectly as I do in a foreign language. After what you say I must have misunderstood your last letter but one, but I also am certain that my last communication to you through <persName xml:id="persName_121287e8-d4ef-4b41-860c-959fe7db482b">Mr. Chappell<name key="PSN0110351" style="hidden">Chappell, William (1809-1888)</name></persName> must have appeared to you in a different light to what I intended it to be; for as your answer to it (that same last letter but one) stated plainly your difference of opinion, and dissuaded me from asking for alterations I could not but think your view of the subject quite contrary to mine. You quote those letters of mine which I have written <hi rend="underline">before</hi> I had the third act or before I had been able to peruse the whole poem with the attention it requires. <hi rend="underline">Afterwards</hi> I saw Mr. Chappell, tried to explain my ideas and wishes to him, tried to write them down because he wanted me to do so, and that was the first time I was able to express my idea of the whole work, and of those alterations I thought necessary. Your answer related more to my former letters (as I now see) than to my conversation and the written memoranda which <persName xml:id="persName_2ec269b3-5c4a-46d9-af21-92a7cf30e470">Mr. Chappell<name key="PSN0110351" style="hidden">Chappell, William (1809-1888)</name></persName> took with him for you; and although I now am aware that I must have misunderstood your meaning, and fully appreciate your kindness in offering me to comply with my wishes – yet there must still be a misunderstanding, occasioned by my want of skill in expressing myself, for you speak of <hi rend="underline">comic</hi> pieces, <hi rend="underline">comic</hi> situations & characters – of the public not liking clowns being introduced in a serious piece – while I never thougt of asking for comic scenes, for comic persons who might excite the laughter & merryment of the gallery. Nothing can be further of my meaning than this. But while I write this I feel the difficulty of expressing myself more accurately, than I must have done. I might have quoted comic scenes as an example but the real objection I had in view was the want of what I may call <hi rend="underline">characteristic</hi> scenes, a full display of one or different lively and living characters. I wanted somebody to excite not the merriment but the eager interest of the gallery as well as of every hearer, and I even think that in my communications to <persName xml:id="persName_fdc58e84-29ec-4381-9206-554b7e027758">Mr. Chappell<name key="PSN0110351" style="hidden">Chappell, William (1809-1888)</name></persName> I always used the word characteristic in preference to comic situations. The leading characters of the <title xml:id="title_4b855c6d-88f9-4833-9dab-1a4b1737a95e">Opera<list style="hidden" type="fmb_works_directory" xml:id="title_otleozvx-lc59-rbva-liew-ty4jv1uf0rzy"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="works_not_executed" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100703" style="hidden">The Brothers (auch: Edward III and the Siege of Calais / Eduard III. und die Belagerung von Calais)<idno type="MWV"></idno><idno type="op"></idno></name></title>, excepting Gualtier, seemed to me to act as men more bound by the necessity of the poëm, of the plot, than by their own human feeling, as real living people do. Even Gualtiers heroic deed in favour of that brother whom he hardly knows and whose character is so little developed before our eyes, loses by that reason much of its effect; but there is particularly the detention of Guillaume, the way in which is it performed which I may quote as an example of what I mean, if I ask for more character in the situation; I see only the stage and its necessities in the whole of this proceeding; – the same feeling occurs to me in the first meeting of Blanche & Guillaume in the first act; also in the conclusion of it when Guillaume is made prisoner, even in the Scene of Gualtier & the King, of which I admire so many beauties; – as the whole depends on the Kings magnanimity and pardon, and as the doubt of it (or the leaving these qualities uncertain for the spectator) would chiefly induce us to fear the death of the surrended I think the reiterated pardon must weaken the effect, the second time it is granted, of which depends the whole opera. When I only had the two first Acts, I did not know the manner in which the development would take place, I thought my objections were only relating to incidents, and the whole of the Characters would be proved necessary in the 3<hi rend="superscript">d</hi> act; I could then dwell upon the great beauties I found in the Concerted pieces & in the poetry everywhere, & could not form an idea of the effect of the whole & of its meaning. As soon however as I perused it as a whole, and the more often I did so, the same objections would occur to my mind. The making Marrant more prominent in the 3<hi rend="superscript">d</hi> act – rendering him Gualtiers agent & involving him in the intrigue – would certainly meet my wishes much more than the introduction of <hi rend="underline">comic</hi> characters could have done. But I am afraid this alteration would only lead to others, and the question is whether you would be inclined to make them, & whether the improving one part of the drama would not hurt others and give no better effect to the whole? The best way for us to agree would have been (or I hope I may say would be) to settle in the first instance the plot, the different scenes and actions with the distribution of the concerted pieces, for if we are agreed on that subject I have seen enough of your poetry to know that I shall then have no further objection to make, and that your verses are as easily composed, as read. Perhaps you will say that the plot, „la marche de la piece“ is nothing to the Composer – but you will <hi rend="underline">not</hi> say so, knowing better than I do how important it is; that no verses no music can make up for a want of strength in that quarter. </p> <p>Once more I say, and believe me that it is no compliment but a heartfelt truth, that you are by very very far the best judge in these things, that in every other question of the kind I would much rather be guided by your opinion than by mine own; but here, where both must combine their efforts I feel that I should not be able to overcome the impression, which I tried to describe to you & which has become stronger the more I read or thought of the poem. Could I hope to have one day an Opera by you, produced in the way I mentioned before, – I mean in which we agreed about the plot before the verses & all the rest were written, in which we then advanced step by step, so that no misunderstanding could take place as we live unfortunately at such a distance from each other – could I preserve that hope it would be a true happiness to me & I should consider that view as a most wished for & delightful prospect,. If you think all this could be done with the <title xml:id="title_892cd9e2-b03f-44a5-b01f-876f2c7e57ff">„Brothers”<list style="hidden" type="fmb_works_directory" xml:id="title_nd1pajn7-3pcc-6jei-kfri-lzhlp6qza0b8"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="works_not_executed" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100703" style="hidden">The Brothers (auch: Edward III and the Siege of Calais / Eduard III. und die Belagerung von Calais)<idno type="MWV"></idno><idno type="op"></idno></name></title> pray send me that „plan“ (as mentioned) in order to go hand in hand from the present time – if you think (as I do) that such a rebuilding would be rather dangerous, you will not only find one but many Composers who will be too happy to have a work from your pen, to whom you might give it, and perhaps at a leisure hour you would feel disposed to think of a plot, which you would then send me, and which would lead to the result, which I am so anxious to obtain. </p> <p>Now, my dear Sir, believe me that only a sense of what is due to yourself and <persName xml:id="persName_aeec868b-cb8f-4748-bd0d-93f506cb86fc">Mr. Chappell<name key="PSN0110351" style="hidden">Chappell, William (1809-1888)</name></persName> as well as to myself could induce me to write to you all this at such a length; excuse me & <seg type="closer">believe me to remain your very sincere admirer</seg></p> <signed rend="right">Felix Mendelssohn Bartholdy</signed> </div> </body></text></TEI>