fmb-1840-07-21-04
Hilfe zum Zitier-Tool
Um wichtige Textpassagen (Zitate) zu speichern und auf diese via Hyperlink zu verweisen, markieren Sie bitte den gewünschten Textbereich.
Daraufhin erscheint ein Fenster, in welchem Sie die ausgewählte Textpassage inkl. des Hyperlinks zur weiteren Verwendung in die Zwischenablage kopieren können.
Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
5 beschr. S. (vermutlich einschließlich unbeschriebene Seiten nach Maggs Bros., London, Catalogue No. 557, Early Books, Manuscripts and Autographs, 1931, Nr. 318. Sotheby & Co., London, Catalogue of Valuable Autograph Letters. Historical and Mediævel Manuscripts. Portulan Charts and Printed Books, Auktion, 18. und 19. Juli 1949, Nr. 485).
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.
I was not able to write to you until I had made up my mind as to my intended journey to England. My health was not in a very good state these last two months; the physician wanted to send me to some ‘Brunnen’ instead of a Musical Festival. I felt weary and uncomfortable, and there were many days when I had quite given up the idea of visiting England this year, and yet I defer="defer"red writing a decisive letter from one day to the other. Now, since I have come back from the medicus withdrew his opposition, and accordingly I wrote to-day to Birmingham and accepted positively; and now my first question is, how is it with your plans? with your beautiful idea of visiting Milan or Vienna, and crossing over with me and staying some time with us? Do you know that such a prospect would make my whole journey to England look bright and gay? What a pleasant journey we would have together! What a delightful chat from Belgium to Saxony! Pray let me soon hear that you still have the some intentions and adhere to this plan, which would give me such pleasure – and write me that you are not angry for my long silence, which is, indeed, the more inexcusable as your last letters are so friendly, so very welcome, and as I always wanted to thank you for them with all my heart. But this uncertainty would not allow me to write a single letter to England; and now that it is at an end, I have nothing to do but to excuse my former sins. I have also written to
I was glad to hear that you like
concerto
Leipzig, 21st July, 1840. My dear Sir,
I was not able to write to you until I had made up my mind as to my intended journey to England. My health was not in a very good state these last two months; the physician wanted to send me to some ‘Brunnen’ instead of a Musical Festival. I felt weary and uncomfortable, and there were many days when I had quite given up the idea of visiting England this year, and yet I defer="defer"red writing a decisive letter from one day to the other. Now, since I have come back from the Festival at Schwerin (where I got your very kind letter by Mr. Werner, whom I saw every day and liked very much), I am so much improved, and my spirits are so high again, that the medicus withdrew his opposition, and accordingly I wrote to-day to Birmingham and accepted positively; and now my first question is, how is it with your plans? with your beautiful idea of visiting Milan or Vienna, and crossing over with me and staying some time with us? Do you know that such a prospect would make my whole journey to England look bright and gay? What a pleasant journey we would have together! What a delightful chat from Belgium to Saxony! Pray let me soon hear that you still have the some intentions and adhere to this plan, which would give me such pleasure – and write me that you are not angry for my long silence, which is, indeed, the more inexcusable as your last letters are so friendly, so very welcome, and as I always wanted to thank you for them with all my heart. But this uncertainty would not allow me to write a single letter to England; and now that it is at an end, I have nothing to do but to excuse my former sins. I have also written to Klingemann this morning with the same object in view, and shall do so to the Moscheles’. I hope to find them all in England, and well, and the same kind friends as before. I have thought very often of our Oratorio plan; and although I could not reconcile myself to the idea of introducing Dives and Lazarus, your sketches have given me another idea for the introduction of my favourite plan, which I think is the right one, and which I long to communicate to you, and to hear your opinion of it. But I must do it in person, not in writing, and we must talk it over, not only correspond about it; and, therefore, pray keep much leisure time open for me and for my plans. Perhaps I shall annoy you very much with them, but then you must only accuse your own kindness, which induces me to think you more of an old friend than a new one. As for your opening of the second part, with the verses 31, &c., from Matthew, chap. XXV., it is a glorious idea, and that of course must remain, but “mündlich, mündlich. ”
I was glad to hear that you like Liszt so much; he is such an extraordinary artist. He wrote me that he would probably assist at the Festival at Birmingham; but I hear he has given a concert at Mayence one of these days. Is he to come back to England? and is Molique better, who was so very ill, as I understood? David sends his best regards and whishes: he is in better humour for playing and composing than ever, and his new concerto at the Schwerin Festival was capital. I am now finishing the concerto for him, of which you recollected the last movement so perfectly. By-the-bye, what an extraordinary memory you must have, to write three subjects of a piece, which you only heard once, without missing a note! But I have not altered anything at the end of the first movement of my Trio, and cannot make out what might have been the cause of your thinking so. Did they play it fast enough? I hope you will like my new ‘Lobgesang, ’ or ‘Song of Praise ,’ which we performed here at the Festival, and which they will give at Birmingham on the second morning. It is a kind of universal thanksgiving on the words of the last psalm, ‘Let all that hath breath praise God. ’ The instruments begin it with a symphony of three movements, but then it will not do; and the voices take it up and continue it with different feelings and words, solos and choruses, till they all unite again in the same words. It is rather long, but I think and hope you will like some parts of it better than my other things. I will also bring some other new compositions; and this leads me to a question which I also put to Klingemann, and to which I should like to know your answer and very sincere opinion, as I shall be guided by it. It is now so long since I have not been heard in public in London, that I should like to arrange a concert for some charitable institution during my stay in September next: it might either be in a church, and there I could only play the organ, or (which I would prefer) in a room, where I could perform my new pianoforte music, a new overture, &c. But the question is, first, whether such a thing is possible in the month of September, when everybody is out of town? then, if such concerts to benevolent purposes are known and liked in your country, and, in short, whether you advise the thing to be done or not? If the two first points are not an objection, I should like the idea; but, as I said, let me be guided by your view of the case. The period of my arrival is not yet quite fixed. If my wife can accompany me on the journey, I intend to be in London soon after the middle of next month; if not, I will only leave Leipzig in the beginning of September, as I know, by experience, how fidgetty I feel without her, even among my best and kindest friends. On our journey home from the ‘Norddeutsche Musikfest’, at Schwerin, we passed through Berlin, and spent three very pleasant days there. I found my family in excellent health and spirits; and they return your kind remembrance and whishes with all their heart. And now enough of my bad style and broken English; let me soon hear from you, my dear friend, and believe me always yours
Very truly
Felix Mendelssohn Bartholdy.
<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-1840-07-21-04" xml:space="default"> <teiHeader xml:lang="de"> <fileDesc> <titleStmt> <title key="fmb-1840-07-21-04" xml:id="title_3887e533-7252-4d73-a7fb-b40b0c98a9c8">Felix Mendelssohn Bartholdy an Henry Fothergill Chorley in London<lb></lb>Leipzig, 21. Juli 1840</title> <title level="s" type="incipit" xml:id="title_00000000-0000-0000-0000-000000000000">I was not able to write to you until I had made up my mind as to my intended journey to England. My health was not in a very good state these last two months;</title> <title level="s" type="sub" xml:id="title_f5d477cf-5291-488c-ad98-34ef5dc915da">Felix Mendelssohn Bartholdy Correspondence Online (FMB-C)</title> <title key="unknown" type="precursor">noch nicht eingetragen</title> <title key="unknown" type="successor">noch nicht eingetragen</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. 7, 2771 </idno> </publicationStmt> <seriesStmt> <p>Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)</p> </seriesStmt> <sourceDesc source="edition_template_printout" xml:id="sourceDesc_0d9a2e0b-65eb-4465-9a7a-de0a26f4d027"> <bibl type="printed_letter">Henry Fothergill Chorley, Autobiography, Memoir, and Letters, compiled by Henry Gay Hewlett, Vol. 1, London 1873, S. 314-320.</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-1840-07-21-04" type="letter" xml:id="title_b7f8b704-55a0-4720-af19-45caf9df9b20">Felix Mendelssohn Bartholdy an Henry Fothergill Chorley in London; Leipzig, 21. Juli 1840</title> <incipit>I was not able to write to you until I had made up my mind as to my intended journey to England. My health was not in a very good state these last two months; the physician wanted to send me to some ‘Brunnen’ instead of a Musical Festival. </incipit> </msItem> </msContents> <physDesc> <p>5 beschr. S. (vermutlich einschließlich unbeschriebene Seiten nach Maggs Bros., London, Catalogue No. 557, Early Books, Manuscripts and Autographs, 1931, Nr. 318. Sotheby & Co., London, Catalogue of Valuable Autograph Letters. Historical and Mediævel Manuscripts. Portulan Charts and Printed Books, Auktion, 18. und 19. Juli 1949, Nr. 485).</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">Bledsoe, Henry Fothergill Chorley, S. 104 f. (Teildruck).</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="1840-07-21" xml:id="date_b7be425a-0b28-410a-bcb0-6727f2a47161">21. Juli 1840</date></creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0000001" resp="author" xml:id="persName_5e953b4d-702e-4d87-8466-65bd2b17d78d">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_1aef82a8-2a05-4d3d-8c6b-b895503706ab"><settlement key="STM0100116">Leipzig</settlement><country>Deutschland</country></placeName> </correspAction> <correspAction type="received"> <persName key="PSN0110376" resp="receiver" xml:id="persName_b27c19b6-af37-4746-a433-f7b2e2ee50b0">Chorley, Henry Fothergill (1808-1872)</persName> <placeName type="receiving_place" xml:id="placeName_3a27b26b-1be5-4033-96f7-15b7fe2757de"><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_a0a7180c-8505-4197-9687-2aa498eb236b"> <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="1840-07-21" xml:id="date_7845dd71-0150-4883-bed4-4de1546da7c3">21st July, 1840</date>.</dateline> <salute rend="left">My dear Sir,</salute> <p style="paragraph_without_indent">I was not able to write to you until I had made up my mind as to my intended journey to England. My health was not in a very good state these last two months; the physician wanted to send me to some ‘Brunnen’ instead of a Musical Festival. I felt weary and uncomfortable, and there were many days when I had quite given up the idea of visiting England this year, and yet I defer="defer"red writing a decisive letter from one day to the other. Now, since I have come back from the <placeName xml:id="placeName_a3174112-b8da-4b0f-a4b1-edc645be490c">Festival at Schwerin<name key="NST0103815" style="hidden" subtype="" type="institution">2. Norddeutsches Musikfest (1840)</name><settlement key="STM0103812" style="hidden" type="locality">Schwerin</settlement><country style="hidden">Italien</country></placeName> (where I got your very kind letter by Mr. <persName xml:id="persName_27cce882-0eb6-439d-86b6-907e9fd3930c">Werner<name key="PSN0115721" style="hidden">Werner, Louis (eigtl. Levi)</name></persName>, whom I saw every day and liked very much), I am so much improved, and my spirits are so high again, that the <hi rend="underline">medicus</hi> withdrew his opposition, and accordingly I wrote to-day to Birmingham and accepted positively; and now my first question is, how is it with your plans? with your beautiful idea of visiting Milan or Vienna, and crossing over with me and staying some time with us? Do you know that such a prospect would make my whole journey to England look bright and gay? What a pleasant journey we would have together! What a delightful chat from Belgium to Saxony! Pray let me soon hear that you still have the some intentions and adhere to this plan, which would give me such pleasure – and write me that you are not angry for my long silence, which is, indeed, the more inexcusable as your last letters are so friendly, so very welcome, and as I always wanted to thank you for them with all my heart. But this uncertainty would not allow me to write a single letter to England; and now that it is at an end, I have nothing to do but to excuse my former sins. I have also written to <persName xml:id="persName_08b01c48-4950-4147-8f81-a2c45177fb7e">Klingemann<name key="PSN0112434" style="hidden">Klingemann, Ernst Georg Carl Christoph Konrad (1798-1862)</name></persName> this morning with the same object in view, and shall do so to the <persName xml:id="persName_2fb05b32-b14b-434d-8420-7ad18ad22bf2">Moscheles’<name key="PSN0113436" style="hidden">Moscheles, Charlotte (1805-1889)</name><name key="PSN0113441" style="hidden">Moscheles, Ignaz (Isack) (1794-1870)</name></persName>. I hope to find them all in England, and well, and the same kind friends as before. I have thought very often of our <title xml:id="title_6bdffefc-c16e-47b4-a2f0-fa27e089845f">Oratorio plan<name key="PSN0110376" style="hidden" type="author">Chorley, Henry Fothergill (1808-1872)</name><name key="CRT0108428" style="hidden" type="dramatic_work">Dives & Lazarus (Librettoentwurf)</name></title>; and although I could not reconcile myself to the idea of introducing <title xml:id="title_2b39dad5-17e1-46fd-bfd8-e366bcfe6a1d">Dives and Lazarus, your sketches<name key="PSN0110376" style="hidden" type="author">Chorley, Henry Fothergill (1808-1872)</name><name key="CRT0108428" style="hidden" type="dramatic_work">Dives & Lazarus (Librettoentwurf)</name></title> have given me another idea for the introduction of my favourite plan, which I think is the right one, and which I long to communicate to you, and to hear your opinion of it. But I must do it in person, not in writing, and we must talk it over, not only correspond about it; and, therefore, pray keep much leisure time open for me and for my plans. Perhaps I shall annoy you very much with them, but then you must only accuse your own kindness, which induces me to think you more of an old friend than a new one. As for your opening of the second <title xml:id="title_057cb034-b53b-4d14-a42f-c05d5e905c4c">part<name key="PSN0110376" style="hidden" type="author">Chorley, Henry Fothergill (1808-1872)</name><name key="CRT0108428" style="hidden" type="dramatic_work">Dives & Lazarus (Librettoentwurf)</name></title>, with the verses 31, &c., from Matthew, chap. XXV., it is a glorious idea, and that of course must remain, but “mündlich, mündlich.”</p> <p>I was glad to hear that you like <persName xml:id="persName_63da716a-9502-43a6-bc83-514e890a8090">Liszt<name key="PSN0112894" style="hidden">Liszt, Franz (Ferenc) (1811-1886)</name></persName> so much; he is such an extraordinary artist. He wrote me that he would probably assist at the Festival at <placeName xml:id="placeName_551c63d2-8469-460a-86ab-393451b8613b">Birmingham<name key="NST0100324" style="hidden" subtype="" type="institution">The Birmingham Triennial Music Festival</name><settlement key="STM0100323" style="hidden" type="locality">Birmingham</settlement><country style="hidden">Großbritannien</country></placeName>; but I hear <persName xml:id="persName_f942746a-5d46-479a-bbc2-565e94f5feca">he<name key="PSN0112894" style="hidden">Liszt, Franz (Ferenc) (1811-1886)</name></persName> has given a concert at Mayence one of these days. Is <persName xml:id="persName_e15fc673-55e3-4db2-84f9-c02cab38e885">he<name key="PSN0112894" style="hidden">Liszt, Franz (Ferenc) (1811-1886)</name></persName> to come back to England? and is <persName xml:id="persName_a7d896dd-8dc3-461b-aa11-8e5d05c8914b">Molique<name key="PSN0113381" style="hidden">Molique, Wilhelm Bernhard (1802-1869)</name></persName> better, who was so very ill, as I understood? <persName xml:id="persName_9653f943-897f-48d0-8239-7f5c86c545d4">David<name key="" style="hidden">David, Ferdinand</name></persName> sends his best regards and whishes: he is in better humour for playing and composing than ever, and his new <title xml:id="title_5f9e9812-d331-441b-bc81-2f79a30af18c">concerto<name key="PSN0110564" style="hidden" type="author">David, Ernst Victor Carl Ferdinand (1810-1873)</name><name key="CRT0108527" style="hidden" type="music">2. Violinkonzert D-Dur, op. 14</name></title> at the <placeName xml:id="placeName_8e9d7298-145b-4a5d-91e9-98ba2ee565eb">Schwerin Festival<name key="NST0103815" style="hidden" subtype="" type="institution">2. Norddeutsches Musikfest (1840)</name><settlement key="STM0103812" style="hidden" type="locality">Schwerin</settlement><country style="hidden">Italien</country></placeName> was capital. I am now finishing the <hi rend="underline">concerto </hi><title xml:id="title_bcb02c6b-28eb-4c9f-ac2c-4d4736939e73">for him<list style="hidden" type="fmb_works_directory" xml:id="title_mac7desx-5apz-f5oj-hgwz-bxw0vlpemonj"> <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="concerts_and_concertante_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="PRC0100356" style="hidden">Konzert e-Moll für Violine und Orchester, [Juli 1838] bis 16. September 1844<idno type="MWV">O 14</idno><idno type="op">64</idno></name></title>, of which you recollected the last movement so perfectly. By-the-bye, what an extraordinary memory you must have, to write three subjects of a piece, which you only heard once, without missing a note! But I have not altered anything at the end of the first movement of my <title xml:id="title_92f64faa-5e56-4c8b-9722-dcdfc4ab108d">Trio<list style="hidden" type="fmb_works_directory" xml:id="title_vjvwskg6-gqrq-ydj6-qhdz-pr2va8cc8vg2"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="instrumental_music" style="hidden"></item> <item n="3" sortKey="chamber_music" style="hidden"></item> <item n="4" sortKey="chamber_music_with_piano" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100387" style="hidden">Trio Nr. 1 (Grand Trio) d-Moll für Violine, Violoncello und Klavier, [Februar 1839] bis 18. Juli 1839; 23. September 1839<idno type="MWV">Q 29</idno><idno type="op">49</idno></name></title>, and cannot make out what might have been the cause of your thinking so. Did they play it fast enough? I hope you will like my new <title xml:id="title_5d5bba9b-7ce0-42ec-9749-bbef45eebceb">‘Lobgesang,’ or ‘Song of Praise<list style="hidden" type="fmb_works_directory" xml:id="title_zs5bwjgs-zw0c-rzfk-1jds-qmb9xayzjnxm"> <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="PRC0100118" style="hidden">Lobgesang / Hymn of Praise, Eine Sinfonie-Kantate nach Worten der Heiligen Schrift für Solostimmen, gemischten Chor, Orchester und Orgel, [erste Jahreshälfte 1840]; 27. November 1840<idno type="MWV">A 18</idno><idno type="op">52</idno></name></title>,’ which we performed here at the <placeName xml:id="placeName_2228db89-37f4-401f-a54f-b044f4d9344f">Festival<name key="NST0103712" style="hidden" subtype="" type="institution">400-Jahr-Feier der Erfindung der Buchdruckerkunst 1840</name><settlement key="STM0100116" style="hidden" type="">Leipzig</settlement><country style="hidden">Deutschland</country></placeName>, and which they will give at <placeName xml:id="placeName_0fab1e99-4e12-4395-a8c4-6bdb7fd19168">Birmingham<name key="NST0100324" style="hidden" subtype="" type="institution">The Birmingham Triennial Music Festival</name><settlement key="STM0100323" style="hidden" type="locality">Birmingham</settlement><country style="hidden">Großbritannien</country></placeName> on the second morning. It is a kind of universal thanksgiving on the words of the last psalm, ‘Let all that hath breath praise God.’ The instruments begin it with a symphony of three movements, but then it will not do; and the voices take it up and continue it with different feelings and words, solos and choruses, till they all unite again in the same words. <title xml:id="title_eead4a7b-cf9e-413d-8feb-83764b95a23b">It<list style="hidden" type="fmb_works_directory" xml:id="title_2rlpyriv-znnv-nu0m-acog-u46u5dresq4c"> <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="PRC0100118" style="hidden">Lobgesang / Hymn of Praise, Eine Sinfonie-Kantate nach Worten der Heiligen Schrift für Solostimmen, gemischten Chor, Orchester und Orgel, [erste Jahreshälfte 1840]; 27. November 1840<idno type="MWV">A 18</idno><idno type="op">52</idno></name></title> is rather long, but I think and hope you will like some parts of it better than my other things. I will also bring some other new compositions; and this leads me to a question which I also put to <persName xml:id="persName_8e7dab62-07ef-446e-b9bd-760f92ea5631">Klingemann<name key="PSN0112434" style="hidden">Klingemann, Ernst Georg Carl Christoph Konrad (1798-1862)</name></persName>, and to which I should like to know your answer and very sincere opinion, as I shall be guided by it. It is now so long since I have not been heard in public in London, that I should like to arrange a concert for some charitable institution during my stay in September next: it might either be in a church, and there I could only play the organ, or (which I would prefer) in a room, where I could perform my new pianoforte music, a new overture, &c. But the question is, first, whether such a thing is possible in the month of September, when everybody is out of town? then, if such concerts to benevolent purposes are known and liked in your country, and, in short, whether you advise the thing to be done or not? If the two first points are not an objection, I should like the idea; but, as I said, let me be guided by your view of the case. The period of my arrival is not yet quite fixed. If my <persName xml:id="persName_fc367aa2-b847-45de-b182-680d45c838e2">wife<name key="PSN0113252" style="hidden">Mendelssohn Bartholdy, Cécile Sophie Charlotte (1817-1853)</name></persName> can accompany me on the journey, I intend to be in London soon after the middle of next month; if not, I will only leave Leipzig in the beginning of September, as I know, by experience, how fidgetty I feel without her, even among my best and kindest friends. On our journey home from the ‘Norddeutsche Musikfest’, at <placeName xml:id="placeName_20682a3f-acc7-464b-a638-f6be6bf0531d">Schwerin<name key="NST0103815" style="hidden" subtype="" type="institution">2. Norddeutsches Musikfest (1840)</name><settlement key="STM0103812" style="hidden" type="locality">Schwerin</settlement><country style="hidden">Italien</country></placeName>, we passed through Berlin, and spent three very pleasant [days] there. I found my <persName xml:id="persName_d75cf9c7-0fae-47d0-b74a-d3023e6b7b1c">family<name key="PSN0113242" style="hidden">Mendelssohn Bartholdy, Familie von → Felix Mendelssohn Bartholdy</name></persName> in excellent health and spirits; and they return your kind remembrance and whishes with all their heart. And now enough of my bad style and broken English; let me soon hear from you, my dear friend, <seg type="closer" xml:id="seg_b0b6bb02-c426-4e1f-8c87-527dd9e805f6">and believe me always yours</seg></p> <signed rend="right">Very truly</signed> <signed rend="right">Felix Mendelssohn Bartholdy.</signed> </div> </body></text></TEI>