gb-1834-01-22-02

            3 Regent Square London. Jan 22. 1834 – My Dear Sir
I must begin my letter with apologizing for the trouble I am about to impose upon you, but to whom can I apply for musical information regarding your own Country, like yourself. It is your own exalted talent, and, let me add, your own kindness of heart, that brings this trouble upon you – Let me open my request to you.
I believe you know that the Norwich Musical Festival is one of the grandest & best conducted of our Musical performances. At the last (in September) we had 380 performers, under our friend Sir Geo. Smart’s direction. It is my duty to select the Music for this triennial celebration, & it has always been my wish and aim to render it the means of introducing to England some of the finest Sacred Oratorios of Germany – Here I brought out the “Tod Jesu” of Graun – “Die Letzen Dinge” of Spohr, & “Die Sündfluth of F. Schneider. I am intrusted intrusted by the Norwich Committee with the Selection of the Music for the next Festival, &, as I am desirous of pursuing the same plan as before, I venture to apply to you, as to the best source of information, to select for me about 4 or 6 of those Oratorios which you regard as the best. I trust I need not inform you that the Sacred Music of Haydn (exept the “Ritorno di Tobia”, which I never could obtain) Mozart, Beethoven & Spohr, is familiar to me – I have also “Das Weltgericht” by Schneider, and “Grosse Passionsmusik” by the immortal Sebastian Bach, & the “Joseph” of Mehul. But, as you know the demand for these works is small in England, few of them find their way here thro’ the Booksellers: for this reason I should never have known Spohr’s “Die Letzen Dinge”, or his “Vater Unser”, if my Sister Austin had not brought them from Bonn for me. Hence, I have no doubt that other Oratorios, of great excellence, exist, of which we English professors know nothing. – And this is the reason which impels me to trespass on your kindness. I presume you have not written an Oratorio, or I must, thro’ common fame, though not from your own mouth, have heard of it. The only sacred Music of yours I have had the gratification to hear were two Chorales, which I endeavoured to translate for our good friend Attwood. – You will easily understand why, in our protestant Country, we prefer a Sacred Oratorio to a Mass, however fine the music may be: besides that the Oratorio, being usually in a Dramatic form, impacts more interest in performance than any other species of sacred Music, or any Selection, however good. – If you will have the kindness thus to allow me the advantage of your excellent taste, allow me to say that the books might be sent, thro’ Schlesinger’s House to Boosey & Co here, or any other London house with whom they are in correspondence: or in any way most convenient to yourself, & that I will, most thankfully, repay you for them in any way you may do me the favour to point out.
 I have but little of musical intelligence to communicate to you from this Country, as you know our Season is scarcely begun. The first Vocal Concert was last Monday, where we performed “Die Harmonie die Sphaeren” by A. Romberg – part of “Die Zauberflotte” – with some of the Church Music & Madrigals of our early English Masters – particularly “Hosanna to the Son of David” by Orlando Gibbons: one of the finest specimens of Vocal Counterpoint that I am acquainted with: Nor were our English Glees forgotten. We endeavour to gather sweets from all ages & all countries. Next Concert we perform the 103d Psalm by Fesca. – . I had the pleasure to meet Horsley, Sir George Smart, Sir John Rogers, Walmisley and other members of the Concentores last night –
The Philharmonic promises to flourish this year. Bishop, Horsley & Novello have all written Vocal pieces for it, which we are shortly to try.
If I had announced that I was about to write to you, my paper would have been filled with remembrances from your friends here: and from us none more cordial than my brother John’s family, who are all well –
My Son desires his espescial regards. And now, my dear Sir, will you excuse the liberty I have taken, and believe me, with the sincerest esteem & regards Yours most faithfully
Edw: Taylor_          

            <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="gb-1834-01-22-02" xml:space="default"> <teiHeader xml:lang="de"> <fileDesc> <titleStmt> <title key="gb-1834-01-22-02">Edward Taylor an Felix Mendelssohn Bartholdy in Düsseldorf <lb></lb> London, 22. Januar 1834</title> <title level="s" type="incipit">I must begin my letter with apologizing for the trouble I am about to impose upon you, but to whom can I apply for musical information regarding your own Country, like yourself. It is your</title> <title level="s" type="sub">Felix Mendelssohn Bartholdy Correspondence Online (FMB-C)</title> <title key="unknown" type="precursor">unbekannt</title> <title key="fmb-1834-02-05-05" type="successor" xml:id="title_d1d48378-7118-4385-bd75-69223e135d1e">Felix Mendelssohn Bartholdy an Edward Taylor in London; Düsseldorf, 5. Februar 1834</title> <author key="PSN0115268">Taylor, Edward (1784-1863)</author><respStmt><resp resp="writer"></resp><persName key="PSN0115268" resp="writer">Taylor, Edward (1784-1863)</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> </publicationStmt> <seriesStmt> <p>Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)</p> </seriesStmt> <sourceDesc source="edition_template_manuscript"> <msDesc> <msIdentifier> <country>Großbritannien</country> <settlement>Oxford</settlement> <institution key="RISM">GB-Ob</institution> <repository>Oxford, Bodleian Library</repository> <collection>Music Section</collection> <idno type="signatur">M.D.M. d. 29/13.</idno> </msIdentifier> <msContents> <msItem> <idno type="autograph">Autograph</idno> <title key="gb-1834-01-22-02" type="letter">Edward Taylor an Felix Mendelssohn Bartholdy in Düsseldorf;  London, 22. Januar 1834</title> <incipit>I must begin my letter with apologizing for the trouble I am about to impose upon you, but to whom can I apply for musical information regarding your own Country, like yourself. It is your</incipit> </msItem> </msContents> <physDesc><p>1 Doppelbl.: S. 1-3 Brieftext; S. 4 Adresse, 8 Poststempel [GRENVILLE St], [F 34 / 9 6], [F 34 / 3 3], [HAMBURG / 27 IANR], [N.1 / 29/1 / C.], [BERLIN 6-7 / 29 / 1], [? 34], [N 1 / 3 2], Siegel. – Der Brief ist vollständig in lateinischen Buchstaben geschrieben.</p><handDesc hands="1"><p>Edward Taylor</p></handDesc><accMat><listBibl><bibl type="none"></bibl></listBibl></accMat></physDesc> <history> <provenance> <p>Green Books</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="1834-01-22">22. Januar 1834</date> </creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0115268" resp="author">Taylor, Edward (1784-1863)</persName><note>counter-reset</note><persName key="PSN0115268" resp="writer">Taylor, Edward (1784–1863)</persName> <placeName type="writing_place"> <settlement key="STM0100126">London</settlement> <country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place"> <settlement key="STM0100109">Düsseldorf</settlement> <country>Deutschland</country> </placeName> </correspAction> </correspDesc> <langUsage> <language ident="en">englisch</language> </langUsage> </profileDesc> <revisionDesc status="draft"></revisionDesc> </teiHeader> <text type="letter"> <body> <div type="address"> <head> <address> <addrLine>A</addrLine> <addrLine>Mons<hi rend="superscript">r</hi> Felix Mendelssohn Bartholdy</addrLine> <addrLine>à</addrLine> <addrLine><del cert="high" rend="strikethrough">Berlin</del></addrLine> <addrLine><hi n="1" rend="underline">Dusseldorf</hi></addrLine> </address> </head> </div> <div n="1" type="act_of_writing"> <docAuthor key="PSN0115268" resp="author" style="hidden">Taylor, Edward (1784–1863)</docAuthor> <docAuthor key="PSN0115268" resp="writer" style="hidden">Taylor, Edward (1784–1863)</docAuthor> <dateline rend="right">3 Regent Square</dateline> <dateline rend="right">London. <date cert="high" when="1834-01-22">Jan 22. 1834</date> –</dateline> <salute rend="left">My Dear Sir</salute> <p style="paragraph_without_indent">I must begin my letter with apologizing for the trouble I am about to impose upon you, but to whom can I apply for musical information regarding your own Country, like yourself. It is your own exalted talent, and, let me add, your own kindness of heart, that brings this trouble upon you – Let me open my request to you.</p> <p>I believe you know that the <placeName xml:id="placeName_76dafa7b-ca88-4d76-8881-afbf88fcfab9">Norwich Musical Festival<name key="NST0103310" style="hidden" subtype="" type="institution">Grand Musical Festival (allgemein)</name><settlement key="STM0100443" style="hidden" type="locality">Norwich</settlement><country style="hidden">Großbritannien</country></placeName><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_24511ff3-b158-4cdc-b64d-5aec3f133730" xml:lang="de">the Norwich Musical Festival – Die seit 1824 alle drei Jahre stattfindenden Grand Musical Festivals in Norwich wurden von Richard Mackenzie Bacon initiiert.</note> is one of the grandest &amp; best conducted of our Musical performances. At <placeName xml:id="placeName_166edd0a-4d5c-4678-97e6-a0436dc1c67b">the last<name key="NST0103311" style="hidden" subtype="" type="institution">Grand Musical Festival (1833)</name><settlement key="STM0100443" style="hidden" type="locality">Norwich</settlement><country style="hidden">Großbritannien</country></placeName><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_c224cc2c-598c-46e1-8222-1cbf9606508a" xml:lang="de">the last – Das Grand Musical Festival des Jahres 1833 hatte vom 17. bis zum 20. September stattgefunden.</note> (in September) we had 380 performers, under our friend <persName xml:id="persName_b3c64225-fc07-49d8-90d1-2cb503a27397">Sir Geo. Smart’s<name key="PSN0114944" style="hidden" type="person">Smart, Sir George Thomas (1776-1867)</name></persName> direction. It is my duty to select the Music for this triennial celebration, &amp; it has always been my wish and aim to render it the means of introducing to England some of the finest Sacred Oratorios of Germany – Here I brought out the <title xml:id="title_3d13e379-4a78-4363-86bc-1026a17c6b2f">“Tod Jesu” of Graun<name key="PSN0111513" style="hidden" type="author">Graun, Carl Heinrich (?-1759)</name><name key="CRT0108894" style="hidden" type="music">Der Tod Jesu GraunWV B : VII : 2</name></title> – <title xml:id="title_d0aaa3a7-a082-4cef-8787-7c9d29bc6c9a">“Die Letzen Dinge” of Spohr<name key="PSN0115032" style="hidden" type="author">Spohr, Louis (Ludewig) (1784–1859)</name><name key="CRT0110926" style="hidden" type="music">Die letzten Dinge WoO 61</name></title>, &amp; <title xml:id="title_951f7c71-7fc1-4eb4-9655-16e00003b4c9">“Die Sündfluth of F. Schneider<name key="PSN0114646" style="hidden" type="author">Schneider, Johann Christian Friedrich (1786–1853)</name><name key="CRT0110732" style="hidden" type="music">Die Sündfluth</name></title>. I am <del cert="high" rend="strikethrough">intrusted</del> <add place="above">intrusted<name key="PSN0115268" resp="writers_hand" style="hidden">Taylor, Edward (1784–1863)</name></add> by the <placeName xml:id="placeName_a11d2604-7de9-4b54-a4d2-23a54f5cfd92">Norwich Committee<name key="NST0103310" style="hidden" subtype="Komitee" type="institution">Grand Musical Festival (allgemein)</name><settlement key="STM0100443" style="hidden" type="locality">Norwich</settlement><country style="hidden">Großbritannien</country></placeName> with the Selection of the Music for the <placeName xml:id="placeName_a93b1ca2-912b-46ca-a7d3-d94300fd4809">next Festival<name key="NST0103316" style="hidden" subtype="" type="institution">Grand Musical Festival (1836)</name><settlement key="STM0100443" style="hidden" type="locality">Norwich</settlement><country style="hidden">Großbritannien</country></placeName>, &amp;, as I am desirous of pursuing the same plan as before, I venture to apply to you, as to the best source of information, to select for me about 4 or 6 of those Oratorios which you regard as the best. I trust I need not inform you that the Sacred Music of <persName xml:id="persName_1048d570-906f-4f55-ac38-57e77d771604">Haydn<name key="PSN0111789" style="hidden" type="person">Haydn, Franz Joseph (1732-1809)</name></persName> (exept the “<hi n="1" rend="underline"><title xml:id="title_fce5f915-0537-40e6-aa5c-0aec653a5f27">Ritorno di Tobia<name key="PSN0111789" style="hidden" type="author">Haydn, Franz Joseph (1732–1809)</name><name key="CRT0109079" style="hidden" type="music">Il ritorno di Tobia Hob. XXI : 1</name></title></hi>”, which I never could obtain) <persName xml:id="persName_866d7496-80d8-4f31-8387-cd24e02d78de">Mozart<name key="PSN0113466" style="hidden" type="person">Mozart, Wolfgang Amadeus (1756-1791)</name></persName>, <persName xml:id="persName_c9e500ea-43d1-4231-aabf-89eee20e9d64">Beethoven<name key="PSN0109771" style="hidden" type="person">Beethoven, Ludwig van (1770-1827)</name></persName> &amp; <persName xml:id="persName_ed5b34f4-cf50-4a97-ab7b-7ae44748d2e1">Spohr<name key="PSN0115032" style="hidden" type="person">Spohr, Louis (Ludewig) (1784-1859)</name></persName>, is familiar to me – I have also “<hi n="1" rend="underline"><title xml:id="title_761359ff-3f0f-4db2-8fc2-321d6ce1580f">Das Weltgericht<name key="PSN0114646" style="hidden" type="author">Schneider, Johann Christian Friedrich (1786–1853)</name><name key="CRT0110733" style="hidden" type="music">Das Weltgericht op. 46</name></title></hi>” by Schneider, and “<hi n="1" rend="underline"><title xml:id="title_ca2850e6-e09b-4efb-947e-285e4c3dd5bb">Grosse Passionsmusik<name key="PSN0109617" style="hidden" type="author">Bach, Johann Sebastian (1685–1750)</name><name key="CRT0107794" style="hidden" type="music">Matthäus-Passion BWV 244</name></title></hi>” by the immortal <persName xml:id="persName_05cfae00-7aeb-4ce3-b2c4-ea7ac92cf512">Sebastian Bach<name key="PSN0109617" style="hidden" type="person">Bach, Johann Sebastian (1685-1750)</name></persName>, &amp; the “<hi n="1" rend="underline"><title xml:id="title_f2eab893-1b4a-4140-93fa-8f0f36380222">Joseph<name key="PSN0113186" style="hidden" type="author">Méhul, Etienne-Nicolas (1763–1817)</name><name key="CRT0109934" style="hidden" type="music">Joseph</name></title></hi>” of <persName xml:id="persName_bf9ba979-bc87-4894-8e5c-d632c7792cb2">Mehul<name key="PSN0113186" style="hidden" type="person">Méhul, Etienne-Nicolas (1763-1817)</name></persName>. But, as <seg type="pagebreak">|2|<pb n="2" type="pagebreak"></pb></seg> you know the demand for these works is small in England, few of them find their way here thro’ the Booksellers: for this reason I should never have known Spohr’s “<hi n="1" rend="underline"><title xml:id="title_0fa33148-c962-443a-9854-397a7fb3c46d">Die Letzen Dinge<name key="PSN0115032" style="hidden" type="author">Spohr, Louis (Ludewig) (1784–1859)</name><name key="CRT0110926" style="hidden" type="music">Die letzten Dinge WoO 61</name></title></hi>”, or his “<hi n="1" rend="underline"><title xml:id="title_0017bac3-c61a-4755-a4c1-dea38715f37f">Vater Unser<name key="PSN0115032" style="hidden" type="author">Spohr, Louis (Ludewig) (1784–1859)</name><name key="CRT0110953" style="hidden" type="music">»Vater unser« für Solostimmen, Chor und Orchester WoO 67</name></title></hi>”, if <persName xml:id="persName_1201c2e1-d507-4549-805e-0f1d343017f3">my Sister Austin<name key="PSN0109592" style="hidden" type="person">Austin, Sarah (1793-1867)</name></persName> had not brought them from Bonn for me. Hence, I have no doubt that other Oratorios, of great excellence, exist, of which we English professors know nothing. – And this is the reason which impels me to trespass on your kindness. I presume <hi n="1" rend="underline">you</hi> have not written an Oratorio, or I must, thro’ common fame, though not from your own mouth, have heard of it. The only sacred Music of yours I have had the gratification to hear were two Chorales, which I endeavoured to translate for our good friend <persName xml:id="persName_92cd80f5-e968-41b1-a495-84bd80caad48">Attwood<name key="PSN0109576" style="hidden" type="person">Attwood, Thomas (1765-1838)</name></persName>. – You will easily understand why, in our protestant Country, we prefer a Sacred Oratorio to a Mass, however fine the music may be: besides that the Oratorio, being usually in a Dramatic form, impacts more interest in performance than any other species of sacred Music, or any Selection, however good. – If you will have the kindness thus to allow me the advantage of your excellent taste, allow me to say that the books might be sent, thro’ <persName xml:id="persName_461f21b5-1c84-4400-81d2-3b63b5ad04ff">Schlesinger’s House<name key="PSN0114585" style="hidden" type="person">A. M. Schlesinger, Musikverlag in Berlin</name></persName> to <persName xml:id="persName_c422a5de-0ab8-4288-bca8-52ce190c65f9">Boosey &amp; C<hi rend="superscript">o</hi><name key="PSN0110028" style="hidden" type="person">Boosey &amp; Co., Musikverlag in London</name></persName> here, or any other London house with whom they are in correspondence: or in any way most convenient to yourself, &amp; that I will, most thankfully, repay you for them in any way you may do me the favour to point out.</p> <p><seg type="pagebreak">|3|<pb n="3" type="pagebreak"></pb></seg> I have but little of musical intelligence to communicate to you from this Country, as you know our Season is scarcely begun. The first Vocal Concert was <date cert="high" when="1834-01-13" xml:id="date_1a56784c-0bee-439f-8b76-643586bdec14">last Monday</date>,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_32891cf5-be7a-4716-9aa7-cdef32bd42b9" xml:lang="de">The first Vocal Concert was last Monday – Das erste Konzert der Vocal Society hatte am 13. Januar 1834 in den Hanover Square Rooms in London stattgefunden (The London Literary Gazette; Journal of Belles Lettres, Arts, Sciences, &amp; c. Nr. 887, 18. Januar 1834, S. 43). </note> where we performed “<title xml:id="title_3b3c3b72-d2ec-4aa3-a49a-23a5f3841eda">Die Harmonie die Sphaeren<name key="PSN0114271" style="hidden" type="author">Romberg, Andreas Jacob (1767–1821)</name><name key="CRT0111663" style="hidden" type="music">Die Harmonie der Sphären op. 45 (SteR 248)</name></title>” by <add place="above">A.<name key="PSN0115268" resp="writers_hand" style="hidden">Taylor, Edward (1784–1863)</name></add> <persName xml:id="persName_ea940358-ac99-444a-b960-f665f72c6a50">Romberg<name key="PSN0114271" style="hidden" type="person">Romberg, Andreas Jacob (1767-1821)</name></persName> – part of “Die <title xml:id="title_e9b8cf0c-dd82-4c7f-bd4f-3e6849e36c7e">Zauberflotte<name key="PSN0113466" style="hidden" type="author">Mozart, Wolfgang Amadeus (1756–1791)</name><name key="CRT0110155" style="hidden" type="music">Die Zauberflöte KV 620</name></title>” – with some of the Church Music &amp; Madrigals of our early English Masters – particularly “<title xml:id="title_4c1666e5-da8e-4822-8378-ccbb668f05a1">Hosanna to the Son of David<name key="PSN0116818" style="hidden" type="author">Gibbons, Orlando (1583–1625)</name><name key="CRT0111662" style="hidden" type="music">Hosanna to the Son of David</name></title>” by Orlando Gibbons: one of the finest specimens of Vocal Counterpoint that I am acquainted with: Nor were our English Glees<note resp="FMBC" style="hidden" type="word_description" xml:id="note_41c07044-954e-4de5-ba81-bc8c69657bee" xml:lang="en">English Glees – Glee: drei- bis vierstimmige, unbegleitete Chorlieder für falsettierende Männer-Altstimmen. Das Glee hatte seine Blütezeit zwischen 1750 und 1830 und wurde vor allem in englischen Männerclubs gepflegt.</note> forgotten. We endeavour to gather sweets from all ages &amp; all countries. Next Concert we perform <title xml:id="title_46e837d8-7b94-4116-9d12-d70ae9057a19">the 103<hi rend="superscript">d</hi> Psalm<name key="PSN0111037" style="hidden" type="author">Fesca, Friedrich Ernst (1789–1826)</name><name key="CRT0108702" style="hidden" type="music">Lobe den Herrn (103. Psalm) op. 26</name></title> by <persName xml:id="persName_89e31b61-1ad4-4d02-ac68-e7b811f4886b">Fesca<name key="PSN0111037" style="hidden" type="person">Fesca, Friedrich Ernst (1789-1826)</name></persName>. – . I had the pleasure to meet <persName xml:id="persName_d65ad8b7-8f57-4e3d-9774-38dd11b6f2a0">Horsley<name key="PSN0112109" style="hidden" type="person">Horsley, William (1774-1858)</name></persName>, <persName xml:id="persName_e174186b-9545-4692-b7b8-c0954c5d6f05">Sir George Smart<name key="PSN0114944" style="hidden" type="person">Smart, Sir George Thomas (1776-1867)</name></persName>, <persName xml:id="persName_43da401c-9499-4cf6-87d7-21592902c10a">Sir John Rogers<name key="PSN0117992" style="hidden" type="person">Rogers, Sir John Leman (1780-1847)</name></persName>, <persName xml:id="persName_bb0f87e2-f991-4162-a2bb-5efeaa85a12c">Walmisley<name key="PSN0115617" style="hidden" type="person">Walmisley, Thomas Forbes (1783-1866)</name></persName> and other members of the <placeName xml:id="placeName_289a2b80-13ed-448b-be5f-3880e4362dcb">Concentores<name key="NST0103312" style="hidden" subtype="" type="institution">The Concentores Society (The Sodales Concentores)</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_6eb74f53-a8f1-4514-82ac-74b5b1a2d492" xml:lang="de">Concentores – The Concentores Society (auch: The Sodales Concentores), war eine 1798 von John Wall Callcott (1766-1821) gegründete Musikgesellschaft, diese bestand bis 1847.</note> last night –</p> <p><placeName xml:id="placeName_c3b57477-de0e-43bf-91e5-18cda26ccded">The Philharmonic<name key="NST0100287" style="hidden" subtype="" type="institution">Philharmonic Society</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName> promises to flourish this year. <persName xml:id="persName_b169cce7-32d5-4136-934f-5607e39bbfb6">Bishop<name key="PSN0109963" style="hidden" type="person">Bishop, (seit 1842) Sir Henry Rowley (1786-1855)</name></persName>, <persName xml:id="persName_25f74dfd-2afc-46a3-98cb-d6fa1611e6a4">Horsley<name key="PSN0112109" style="hidden" type="person">Horsley, William (1774-1858)</name></persName> &amp; <persName xml:id="persName_da8be660-2824-4642-b829-4d07d6edcca7">Novello<name key="PSN0113627" style="hidden" type="person">Novello, Vincent (1781-1861)</name></persName> have all written <title xml:id="title_88548a5a-6c88-4750-8f02-845aad020b27">Vocal pieces<name key="PSN0109963" style="hidden" type="author">Bishop, (seit 1842) Sir Henry Rowley (1786–1855)</name><name key="CRT0111688" style="hidden" type="music">The Seventh Day</name><name key="PSN0113627" style="hidden" type="author">Novello, Vincent (1781–1861)</name><name key="CRT0111661" style="hidden" type="music">Rosalba</name><name key="PSN0112109" style="hidden" type="author">Horsley, William (1774–1858)</name><name key="CRT0109372" style="hidden" type="music">Exaltabo te, Deus</name></title> for it,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_168619d7-08a4-4e5b-bf42-e428123c1eaa" xml:lang="de">Bishop, Horsley &amp; Novello have all written Vocal pieces for it – Für die anstehende Saison der Philharmonic Society waren die folgenden Vokalwerke entstanden: die geistliche Kantate »The Seventh Day« von Henry Rowley Bishop, die dramatische Kantate »Rosalba« von Vincent Novello und die Motette »Exaltabo te, Deus« von William Horsley (vgl. Foster, Philharmonic Society, S. 124).</note> which we are shortly to try.</p> <p>If I had announced that I was about to write to you, my paper would have been filled with remembrances from your friends here: and from <del cert="high" rend="strikethrough">us</del> <corr resp="writer">none</corr><add place="above">none<name key="PSN0115268" resp="writers_hand" style="hidden">Taylor, Edward (1784–1863)</name></add> more cordial than my brother John’s family, who are all well –</p> <closer rend="left"><persName xml:id="persName_cea199f5-8d7d-4df0-85c1-5e0bf2f8fbeb">My Son<name key="PSN0115273" style="hidden" type="person">Taylor, John Edward</name></persName> desires his espescial regards. And now, my dear Sir, will you excuse the liberty I have taken, and believe me, with the sincerest esteem &amp; regards</closer> <signed rend="right">Yours most faithfully</signed> <signed rend="right">Edw: Taylor_</signed> </div> </body> </text></TEI>