gb-1834-02-18-02
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)
1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse, 5 Poststempel [F 34 / ?], [F 34 / 308], [Engeland / over Rotterdam], [22/2], [L?], Siegel. – Der Brief ist vollständig in lateinischen Buchstaben geschrieben.
Edward Taylor
Green Books
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.
A thousand thanks for your very kind and most welcome
nBach
giant) The former work I shall be proud to introduce into this country, associated as it is with the name of him who, of all her other worthies, England has most reason to be proud. I can conceive what sort of composition
„Berlioz is a young writer, & this Overture was sent to the Society as the greatest effort of the French school. It is the result of diseased craving after some unheard of musical combination. The Overture, as announced on its title page, is designed to pourtray “d’atroces clameurs – des plaintes – des paroles de mort – des pleurs – du sang et du feu”
Gun, drum, pistol, blunderbuss & thunder.
The composer’s design is realized by the employment of every noisy instrument that
We all regret that we shall be deprived of the pleasure of seeing you this year, but console ourselves with the assurance that you are labouring for the good of the musical world, & that, in due time, we shall be allowed, with the rest of Europe, to reap the fruit of your labours.
I had the pleasure to communicate your kind
Will you allow me to add that whatever mode of convergance shall be most convenient to you for the Music you have so kindly promised to procure me, will be equally convenient to me: and that I will directly pay the amount, with many thanks, thro’ whatever channel you will have the goodness to point out.
3 Regent Square – London Feb. 18. 1834 – My Dear Sir
A thousand thanks for your very kind and most welcome letter . When I wrote to you, I did not know that you had actually removed to Dusseldorf, altho’ I was aware that you had it in contemplation to do so. Most gladly do I avail myself of your most friendly offer, & will impose upon your kindness the trouble of procuring for me the score of the Morgengesang by Reichard, & the “passion secundum Johannem” by Sebn Bach (the musical giant) The former work I shall be proud to introduce into this country, associated as it is with the name of him who, of all her other worthies, England has most reason to be proud. I can conceive what sort of composition the Destruction of Jerusalem is, from your very significant & excellent description. In all that we do, whether painting, architecture, sculpture or Music, the same principle must be our guide – while we follow Nature we are right: when we leave her guidance we shall vainly endeavour to reach either truth, beauty or grandeur. What is it that constitutes one of the charms of your own delightful compositions? It is because they are a transcript of Nature. Will you pardon my vanity in thinking, that, though educated in different schools, & born in different countries, our ideas of the powers, the excellencies, & the proper use & application of Music are alike. But, alas! between us there is this wide difference – You can call all these powers into action, whereas I can only be a humble admirer of thin application. I had the great pleasure of hearing your new Overture at the Philharmonic Trial, since I wrote to you. I was not in the Orchestra, & did not know till the Overture was begun who was the composer, but I was not long in doubt. I soon recognized your masterly hand, & listened with more eagerness & (if possible) with more pleasure, on this account. The same evening a new French Overture by Berlioz was tried: of which one of our musical critics gives the following account, & in which I entirely concur.
„Berlioz is a young writer, & this Overture was sent to the Society as the greatest effort of the French school. It is the result of diseased craving after some unheard of musical combination. The Overture, as announced on its title page, is designed to pourtray “d’atroces clameurs – des plaintes – des paroles de mort – des pleurs – du sang et du feu”
Gun, drum, pistol, blunderbuss & thunder.
The composer’s design is realized by the employment of every noisy instrument that can be pressed into his service, (including a Gong!) blowing, thumping, braying, clashing, scraping, shrieking, squeaking – until the “hurly burly’s done. ”
Our Vocal Concerts, of which 3 are over, have been very successful. We have taken great pains with our Madrigals, & they are now sung by about 30 voices (all principal singers) most beautifully. We have quite revived the love for this beautiful species of vocal writing: and we have been singing some of the Madrigals written in honour of our great Queen Elizabeth in the presence of her little successor the princess Victoria. Next Monday we perform part of a Mass by the Abbè Vogler, which our friend Jn: Cramer very kindly brought us from Germany. We are all delighted with the composition; which, to our shame, we were wholly ignorant of till now. This Society affords us a delightful opportunity of increasing our knowledge of the great Continental writers of vocal music, as the Philharmonic does of instrumental.
We all regret that we shall be deprived of the pleasure of seeing you this year, but console ourselves with the assurance that you are labouring for the good of the musical world, & that, in due time, we shall be allowed, with the rest of Europe, to reap the fruit of your labours.
I had the pleasure to communicate your kind remembrances to my brother John’s family, by whom I am desired to convey to you their best thanks & wishes. I am happy to say that my son is quite well. He desires his kindest regards – Believe me My Dear Sir
Ever yours most truly
Edw: Taylor.
Will you allow me to add that whatever mode of convergance shall be most convenient to you for the Music you have so kindly promised to procure me, will be equally convenient to me: and that I will directly pay the amount, with many thanks, thro’ whatever channel you will have the goodness to point out.
<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-1834-02-18-02" xml:space="default"> <teiHeader xml:lang="de"> <fileDesc> <titleStmt> <title key="gb-1834-02-18-02">Edward Taylor an Felix Mendelssohn Bartholdy in Düsseldorf <lb></lb> London, 18. Februar 1834</title> <title level="s" type="incipit">A thousand thanks for your very kind and most welcome letter . When I wrote to you, I did not know that you had actually removed to Dusseldorf, altho’ I was aware that you had</title> <title level="s" type="sub">Felix Mendelssohn Bartholdy Correspondence Online (FMB-C)</title> <title key="fmb-1834-02-05-05" type="precursor" xml:id="title_f178e18d-5292-49fe-b2f5-414ed66c2170">Felix Mendelssohn Bartholdy an Edward Taylor in London; Düsseldorf, 5. Februar 1834</title> <title key="fmb-1834-05-05-01" type="successor" xml:id="title_20acc3a7-d80b-4832-8638-ba3f6d3225ec">Felix Mendelssohn Bartholdy an Edward Taylor in London; Düsseldorf, 5. Mai 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. 29/46.</idno> </msIdentifier> <msContents> <msItem> <idno type="autograph">Autograph</idno> <title key="gb-1834-02-18-02" type="letter">Edward Taylor an Felix Mendelssohn Bartholdy in Düsseldorf; London, 18. Februar 1834</title> <incipit>A thousand thanks for your very kind and most welcome letter . When I wrote to you, I did not know that you had actually removed to Dusseldorf, altho’ I was aware that you had</incipit> </msItem> </msContents> <physDesc><p>1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse, 5 Poststempel [F 34 / ?], [F 34 / 308], [Engeland / over Rotterdam], [22/2], [L?], 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="1834-02-18">18. Februar 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>Monsieur</addrLine> <addrLine>Felix Mendelssohn Bartholdy</addrLine> <addrLine>Dusseldorf</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 – London</dateline> <dateline rend="right"><date cert="high" when="1834-12-13">Feb. 18. 1834</date> –</dateline> <salute rend="left">My Dear Sir</salute> <p style="paragraph_without_indent">A thousand thanks for your very kind and most welcome <title xml:id="title_0911149d-278c-4276-899c-85a71b1f68fe">letter <name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name> <name key="fmb-1834-02-05-05" style="hidden" type="letter">Felix Mendelssohn Bartholdy an Edward Taylor in London; Düsseldorf, 5. Februar 1834</name> </title>. When I wrote to you, I did not know that you had actually removed to <placeName xml:id="placeName_6875c08b-5c2c-4b68-9f0e-a10f93105964">Dusseldorf<settlement key="STM0100109" style="hidden" type="locality">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName>, altho’ I was aware that you had it in contemplation to do so. Most gladly do I avail myself of your most friendly offer, & will impose upon your kindness the trouble of procuring for me the score of the <title xml:id="title_50525793-8f1b-4fe9-9513-6057d038ddb8">Morgengesang<name key="PSN0114109" style="hidden" type="author">Reichardt, Johann Friedrich (1752–1814)</name><name key="CRT0110432" style="hidden" type="music">Miltons Morgengesang (»Allmächtiger, die herrliche Natur ist deiner Hände Werk«)</name></title> by <persName xml:id="persName_3c7318a5-65b1-4046-b740-ebfc7ceb824b">Reichard<name key="PSN0114109" style="hidden" type="person">Reichardt, Johann Friedrich (1752-1814)</name></persName>,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_846020eb-fd66-4393-8eee-bc8fb852b375" xml:lang="de ">the score of the Morgengesang by Reichard – Johann Friedrich Reichardt hatte seine Hymne für vier Solostimmen, Chor und Orchester 1808 als »Miltons Morgengesang für die berlinische Singacademie des edlen Meisters C.[arl] Fasch« im Selbstverlag in Kassel herausgegeben.</note> & the “<title xml:id="title_aa0b2e29-c8d0-4025-a550-8636ef6130ae">passion secundum Johannem<name key="PSN0109617" style="hidden" type="author">Bach, Johann Sebastian (1685–1750)</name><name key="CRT0107772" style="hidden" type="music">Johannes-Passion BWV 245</name></title>” by <persName xml:id="persName_716a1aaf-dd89-46d7-896f-065efafa10dd">Seb<hi rend="superscript">n</hi> Bach<name key="PSN0109617" style="hidden" type="person">Bach, Johann Sebastian (1685-1750)</name></persName> (the musical <hi n="1" rend="underline">giant</hi>) The former work I shall be proud to introduce into this country, associated as it is with the name of him who, of all her other worthies, England has most reason to be proud. I can conceive what sort of composition <title xml:id="title_71386a68-111b-48dc-8124-e84fe2d95c83">the Destruction of Jerusalem<name key="PSN0112914" style="hidden" type="author">Loewe, Johann Carl Gottfried (1796–1869)</name><name key="CRT0109796" style="hidden" type="music">Die Zerstörung von Jerusalem op. 30</name></title> is, from your very significant & excellent description. In all that we do, whether painting, architecture, sculpture or Music, the same principle must be our guide – while we follow Nature we are right: when we leave her guidance we shall vainly endeavour to reach either truth, beauty or grandeur. What is it that constitutes one of the charms of your own delightful compositions? It is because they are a transcript of Nature. Will you pardon my vanity in thinking, that, though educated in different schools, & born in different countries, our ideas<seg type="pagebreak"> |2| <pb n="2" type="pagebreak"></pb></seg>of the powers, the excellencies, & the proper use & application of Music are alike. But, alas! between us there is this wide difference – You can call all these powers into action, whereas I can only be a humble admirer of thin application. I had the great pleasure of hearing <title xml:id="title_08da0541-de4c-40ca-a08f-a610657f7ce9">your new Overture<list style="hidden" type="fmb_works_directory" xml:id="title_9rshyfmz-s51k-xu0w-nl3g-c3pfkai2pomr"> <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="overtures_and_other_orchestral_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="PRC0100367" style="hidden">Konzert-Ouvertüre Nr. 4 zum Märchen von der schönen Melusine F-Dur, [März 1833] bis 14. November 1833; Umarbeitung bis 17. November 1835<idno type="MWV">P 12</idno><idno type="op">32</idno></name></title> at the <placeName xml:id="placeName_ab5f6d69-5a37-4f25-95a4-6e7ff2caad8a">Philharmonic Trial<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>,<note resp="FMBC" style="hidden" type="word_description" xml:id="note_578728ae-a79c-4bb7-a78c-053c6b96bd9d" xml:lang="en">Philharmonic Trial – eine öffentliche Probe der Philharmonic Society.</note> since I wrote to you. I was not in the Orchestra, & did not know till the Overture was begun who was the composer, but I was not long in doubt. I soon recognized your masterly hand, & listened with more eagerness & (if possible) with more pleasure, on this account. The same evening <title xml:id="title_144cb316-b2d9-4daa-9955-2832ec82c442">a new French Overture<name key="PSN0109886" style="hidden" type="author">Berlioz, Louis Hector (1803–1869)</name><name key="CRT0108199" style="hidden" type="music">Les Francs-Juges op. 3 (H 23)</name></title> by <persName xml:id="persName_80a06e7d-69a6-4763-9ceb-7cade86808ed">Berlioz<name key="PSN0109886" style="hidden" type="person">Berlioz, Louis Hector (1803-1869)</name></persName> was tried: of which one of our musical critics gives the following account, & in which I entirely concur.</p> <p>„Berlioz is a young writer, & this Overture was sent to the Society as the greatest effort of the French school. It is the result of diseased craving after some unheard of musical combination. The Overture, as announced on its title page, is designed to pourtray “d’atroces clameurs – des plaintes – des paroles de mort – des pleurs – du sang et du feu”<note resp="FMBC" style="hidden" type="translation" xml:id="note_a7070c63-49f3-449d-879b-dbe183ec0e2b" xml:lang="fr ">d’atroces clameurs … du sang et du feu – frz., furchtbare Schreie – Klagen – Todesworte – Weinen – Blut und Feuer.</note></p> <p>Gun, drum, pistol, blunderbuss & thunder.</p> <p>The composer’s design is realized by the employment of every noisy instrument that <gap quantity="1" reason="deletion" unit="words"></gap> can be pressed into his service, (including a Gong!) blowing, thumping, braying, clashing, scraping, shrieking, squeaking – until the “hurly burly’s done.”</p> <p><seg type="pagebreak"> |3| <pb n="3" type="pagebreak"></pb></seg><placeName xml:id="placeName_610acfcc-bf1f-4fbd-a827-6ca9e051a85c">Our Vocal Concerts<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>, of which 3 are over, have been very successful. We have taken great pains with our Madrigals, & they are now sung by about 30 voices (all principal singers) most beautifully. We have quite revived the love for this beautiful species of vocal writing: and we have been singing some of the Madrigals written in honour of our great Queen Elizabeth in the presence of her little successor the princess <persName xml:id="persName_fd98d103-17de-4d61-a6bf-043e7c1c1837">Victoria<name key="PSN0111572" style="hidden" type="person">Großbritannien und Irland, Alexandrina Victoria von (1819-1901)</name></persName>. <date cert="high" when="1834-02-24" xml:id="date_7f6576af-d16b-4042-b59c-d37eb28d18e3">Next Monday</date> we perform part of a Mass by the <persName xml:id="persName_c486aa20-44d8-46ef-91ff-9d859398a929">Abbè Vogler<name key="PSN0115532" style="hidden" type="person">Vogler, Georg Joseph (gen. Abbé Vogler) (1749-1814)</name></persName>, which our friend <persName xml:id="persName_6f0c0c60-3924-465a-bffe-96ce9f58aca7">Jn: Cramer<name key="PSN0110487" style="hidden" type="person">Cramer, Johann (John) Baptist (1771-1858)</name></persName> very kindly brought us <gap quantity="1" reason="covering" unit="words"></gap> from Germany. We are all delighted with the <gap quantity="1" reason="covering" unit="words"></gap> composition; which, to our shame, we were wholly ignorant of till now. This <placeName xml:id="placeName_8eab26f4-b858-4263-ad79-9ac31b198616">Society<name key="NST0100544" style="hidden" subtype="" type="institution">Sacred Harmonic Society</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_5d33a1e2-ebe6-43aa-ba3d-23874d6b74d6" xml:lang="de">This Society – Die Sacred Harmonic Society, welche 1832 gegründet wurde und sich der Aufführung von Oratorien widmete, oder die von Edward Taylor mitgegründete Vocal Society.</note> affords us a delightful opportunity of increasing our knowledge of the great Continental writers of vocal music, as <placeName xml:id="placeName_d536af33-390d-42d0-814d-e8ee4cd6c4a1">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> does of instrumental.</p> <p>We all regret that we shall be deprived of the pleasure of seeing you this year, but console ourselves with the assurance that you are labouring for the good of the musical world, & that, in due time, we shall be allowed, with the rest of Europe, to reap the fruit of your labours.</p> <p>I had the pleasure to communicate your kind<seg type="pagebreak"> |4| <pb n="4" type="pagebreak"></pb></seg>remembrances to <persName xml:id="persName_a8e456a9-20c5-4bff-84eb-aeec336a75a1">my brother John’s family<name key="PSN0115264" style="hidden" type="person">Taylor, Familie von → John T.</name></persName>, by whom I am desired to convey to you their best thanks & wishes. I am happy to say that <persName xml:id="persName_a2ce99e1-cef4-4840-9465-b2e9ed7b5ac4">my son<name key="PSN0115273" style="hidden" type="person">Taylor, John Edward</name></persName> is quite well. He desires his kindest regards – <seg type="closer">Believe me My Dear Sir</seg></p> <signed rend="right">Ever yours most truly</signed> <signed rend="right">Edw: Taylor.</signed> </div> <div n="2" 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> <p style="paragraph_without_indent">Will you allow me to add that whatever mode of convergance shall be most convenient to you for the Music you have so kindly promised to procure me, will be equally convenient to me: and that I will directly pay the amount, with many thanks, thro’ whatever channel you will have the goodness to point out. </p> </div> </body> </text></TEI>